KING OF POP'S FALSE ACCUSER'S PUNK AND KRAFTY ASS DAD CHECKS HIMSELF OUT

Motown legend Michael Jackson's fasle accusr's father Evan Chanler was found dead in his fancy apartment. The cause of death was ruled a suicide; the cops had found him holding a revolver to his head when he was discovered dead.
According to the police reports and sources close to the shady dentist and opportunitest, he have had numerous plastic surgeries to avoid being recognize by fans of the late Icon, who wanted to whip his ass for making false charges about the Icon molesting his son back in 1993.
A former dentist and asprinig screenwriter, Jordan hadn't seen his biological son since 1985, and had owed his mother close to $60,000 in back child support. He had also had his medical lisense revolted twice and was hit with several malpractice suits including one by a former porn actress, who received a settlement after he failed to produce accurate copies of her medical records. He began to reconnect with his son after he learned he was hanging with the singer, and decided to use Jordan as a ploy to get the singer to produce an screenplay he had written and when Jackson, who was running his record label and about to embark on the second leg of his "Dangerous Tour" refused. Outraged that he was turned down, he decied to plot revenge on Jackson by claiming that telling him he was going to ruin his career and he did so by claiming that he molested his son, and drugging his son Jordan before meeting with the legal officals. Jackson denied any wrong doing and the unfair media coverage forced Jackson to become addicted to painkillers, and forced him to cancel his tour the second of his tour which he had planned to bring to the US in 1994.
After recovering, Jackson was ordered by Tom Sneddon (Another snake) and the DA to have his body photographed for evidence, which didn't match Jordan's description.
Seeing how it was taking a toll on Jackson's physical and mental state, his insurance company, and legal team including the late Johnny Cocharan advised Michael to settle out of court. At first, Michael refused to give any money to the kid and his crafty father, but after his legal team, who saw that the prosecution wasn't being fair, told Michael what would happen if he went to trail in his state, he decided to settle out of court for an amount of close to $22 Million dollars, leaving many to wonder if he was guilty of the crime.
He told Diane Sawyer that it was his lawyers idea to settle. Not his.
The truth came out about the Chandler's shady idea when G.Q. magazine did an cover story asking Was Michael Framed, and that article spoke about everything that happened includiding how the father gave his son drugs days whenever he was supposed to meet with the attorneys and the social workers, and when the father said he gave Jordan the drug for dental work, many learned that the drug he was given wasn't meant for dental pratices at all, and when the media and fan who wanted to whip his ass got wind, he closed up his pratice and relocated to New Jersey, while he bought a home in Long Island and in Manhattan, and taking his son with him.
In 2005 when Jackson was false accused of molesting another child, his attorney, Tom Messina contacted Jordan and asked him to testify on Michael's behalf, being that he had told Jackson's original legal team that Michael didn't molest him, but he refused and a year later, Jordan had his father arrested for attacking him with mase and a barbell which resulted with him getting a restraining order against him and distaning himself from him.

How did I feel about this? I have some sympathy for Jordan, because at the time, he was being threatned, imtimidated and drugged by his bitch ass father, but he should have came forward after his father assaulted him because he had put Michael through alot of mental and physical pain, and to do that to a person who showed him love is hurtful. That what he should have done instead of taking ski trips around the world and trips to the city rocking a tank top, nikeys and a diamond braclet that you got from a man who worked hard for his weatlth.

As for the father, that bastard gets no sympathy from me! If he really cared about his son, he would have been supporting him after his wife divorced him. Not use him just to get his movie produced!! Granted his father wanted him to pursue a medical career, but he could have retired and did other things to get his movie produced instead of using his kid as a pawn and did he even try to do that when he got that settlement? No!!!!!!! That bitch ass was living the fine life, but had to wind up having plastic surgery to avoid being recognized from being the bitch ass coward that he was/is and to avoid getting his ass kicked by the fans!! And he knew that The Jacksons was going to sue his ass, so he opted to die instead of being dragged to the poor house.
He deseves to rot in hell and that's where he's gonna go for what he did to M.J. Not only did you take money from him, you also inflected pain to a person who did nothing but provide wonderful music and gave back to people and children, who didnt' have the resources to survive, while you was able to make a decent living as a dentist in Florida
You also messed up the life of your son and his relationship with his mother!! You was so pissed at Michael for turning you down that you threatned your ex-wife and husband bodily harm if they didn't go along with your plan and you thank them by keeping Jordan, who she carred for nine months from contacting her?! Plus Jordan had to go under an alias to avoid getting his ass whipped and from the media from following him around!! That's not a life to live, and your deceitful actions caused harm to many so you deserved to rot in hell you bastard!!!!!!

SONGS INSPIRED BY THIS POST

D.S. AND MONEY
PERFORMED, WRITTEN AND PRODUCED BY MICHAEL JACKSON
1995 EPIC/MJJ RECORDS

GHOSTS
PERFORMED BY MICHAEL JACKSON
WRITTEN AND PRODUCED BY MICHAEL JACKSON & TEDDY RILEY
1997 EPIC/MJJ RECORDS

KARMA
PERFOMED BY ALICIA KEYS

FLASHBACK REVIEW: CHANTE MOORE'S CLASSIC MEN APPRECATION SONG

CHANTE MOORE
CHANTE'S GOT A MAN
WRITTEN MY CHANTE MOORE, JAMES HARRIS III, TERRY LEWIS
PRODUCED BY JIMMY JAM & TERRY LEWIS FOR FLYTE TYME PRODUCTIONS
RELEASED SUMMER 1999

When Chante Moore dropped her comeback single "Chante's Got A Man" ten years ago, not only did it become her biggest selling single to date, it also became a huge hit with the males, who praised her for reconding a song showing men in a positive light.
The sultry singer and songwriter had a huge following with her sexy looks, and her angelic voice, but when she released her gold single, she was able to cross over to the Pop charts. In countless interviews, Moore had acknowledge how Black men have (and still do) thank her for letting people know that there are good Black men in the world, who don't rob, steal and beat women (It's no wonder why Oprah didn't have her on her show). It also became a huge hit with the Gay commuinity as well.

This classic songs has smooth Pop melodies courtesy of the piano and keyboards riffs, soulful vocals from Moore, who sang the hook to The Osmond's top charting classic "One Bad Apple" and heartfelt lyrics about being in love while letting her friends know that she's sorry they're in bad relationships and though she's sensitive to their situation, she reassures them that there are good men out there and she's not gonna allow their situation to persuade her from leaving hers.

Chante's got a man at home
It's hurting me that he's leaving you alone
I can't help it that your baby daddy's
Cheating with you
Creeping on you
Beating on you
Chante's got a man

This classic is timeless and it shows that there are good men in the world and it takes time for you to find your Prince Charming.

UNKNOWN FACTS ABOUT CHANTE'S GOT A MAN

1. The song came about during a playful conversation Moore was having with producers Jimmy Jam, who was teasing her about now singing songs about heartbreak and heartache. Chante responded with 'I can't help it if I got a man at home. Jam was excited with her reply he told her that was a hot idea for a song. He gave her the track and she wrote the lyrics that night in her hotel room.

2. The song was inspired by her relationship with actor/writer Kadeem Hardison, who she began dating in the early 1990's. They secretly married in the late 90's but divorced in 2000, and after the divorce she was on tour, and when she would perform that song, she would say 'It's ironic that I'm singing about having a man at home when in reality I don't have a man at home right now. That chagned when she married singer Kenny Lattimore on New Years day in 2002.

3. The song has been became a popular phrase that many writers have used in their stories including Lee Hayes, who used it in his debut novel Passion Marks, but instead of saying Chante's Got A Man, he had one of the character's use his name instead of Chante's

4. Whenever Chante performs at Gay Pride events, she always performs this song as her closing number.

This review is dedicated to all the men in the world who are making positive impacts in people lives and to the men who show their partners love and respect.

SONGS THAT OPENLY GAY & BISEXUAL SINGERS AND RAPPERS SHOULD REMAKE

I'm up now listening to Miss Janet's latest release "Number Ones" which is (with the exception of The Suprmes The 70's Anthology) one of the best greatest hits compliations, and while I have listening to her second Soul Top charting hit "Nasty" I was thinking about the conversation I was having with my friend author Donald Peebles, and we were talking about what songs we would love for Open Gay and Bisexual singers and rappers to remake.

HERE ARE MY CHOICES

1. BWP'S TWO MINUTE BROTHER
2. JANET'S SOMEDAY IS TONIGHT
3. BELL-BIV-DEVOE'S DO ME!
4. SWV'S DOWNTOWN
5. DONNA SUMMER'S LOVE TO LOVE YOU BABY
6. MELISA MORGAN'S DO ME BABY
7. RICK JAMES & TEENA MARIE'S FIRE AND DESIRE
8. MC HAMMER'S PUMPS IN A BUMP
9. OAKTOWN'S 357'S JUICY GOTCHA CRAZY AND IT'S NOT YOUR MONEY
10. TLC'S I'M GOOD AT BEING BAD
11. MICHAEL JACKSON'S BREAK OF DAWN
12. TINA TURNER'S PRIVATE DANCER
13. JOHNNY GILL'S MY MY MY
14. BOBBY BROWN'S GOOD ENOUGH
15. JANET'S CONTROL, THAT'S THE WAY LOVE GOES, IF, ALL NIGHT DON'T STOP
16. THE SUPREMES' TOUCH
17. JODY WATLEY'S LOOKING FOR A NEW LOVE AND EVERYTHING
18. BOYZ II MEN'S I'LL MAKE LOVE TO YOU, 50 CANDLES
19. DEBARGE'S A DREAM
20. BIGGIE'S ONE MORE CHANCE & BIG POPPA
21. MARY J. BLIGE'S MY LIFE AND BREAKTHROUGH ALBUMS
22. SELWYN'S CUTIE
23. 50 CENT'S CANDY SHOP
24. WILL SMITH'S GETTING JIGGY WITH IT
25. ENVOUGE'S DON'T LET GO (LOVE) AND MY LOVING (YOU'RE NEVER GONNA GET IT)
26. ALICIA KEYS-DIARY AND YOU DON'T KNOW MY NAME
27. ONE CHANCE'S PRIVATE
28. LLOYD'S YOU
29. THE TEMPTATIONS'S JUST MY IMAGINATION, HEAVENLY,. STAY AND TEMP ME
30. LABELLE'S LADY MARMALADE
31. THE SUPREMES' HE'S MY MAN
32. THE HERB ALPERT-JANET JACKSON-LISA KEITH CLASSICS DIAMONDS AND MAKING LOVE IN THE RAIN
33. SMOKEY ROBINSON'S CRUSIN'
34. MARVIN GAYE'S I WANT YOU AND SEXUAL HEALING
35. TEENA MARIE'S OH LA LA LA
36. LAURYN HILL'S THE LOST ONES
37. CHRIS BROWN'S TAKE YOU DOWN AND GLOW IN THE DARK
38. NE-YO'S SAY IT
39. DESTINY'S CHILD'S BILL, BILL, BILLS AND CATER 2 U
40. KELLY ROWLAND'S COMEBACK AND THE SHOW
41. GINUWINE & SOLE'S SEX
42. THE FOUR TOPS' WHEN SHE WAS MY GIRL
43. NELLY'S HOT IN HERRE
44. JENNIFER HUDSON'S POCKETBOOK
45. MISSY ELLIOT'S WORK IT AND HOT BOYZ
46. TINA TURNER AND BARRY WHITE'S IN YOUR WILDEST DREAMS
47. WHITNEY HOUSTON'S OH YES,M MILION DOLLAR BABY, EXHALE SHOOP SHOOP, I'M YOUR BABY TONIGHT
48. QUEEN LATIFAH AND MONIE LOVE'S LADIE'S FIRST
49. MONIE LOVE'S FULL TERM LOVE
50. LISA STANFSIELD'S ALL WOMAN
51. LE-TOYA LUCKETT'S TORN AND REGRET
52. LUDACRIS'S STAND UP
53. PLEASURE P'S DID YOU WRONG, BOYFRIEND NUMBER 2, YOUR LOVE, UNDER
54. PRETTY RICKY'S ON THE HOTLINE, CUDDLE UP, BEDROOM BEAST, DOGGYSTYLE, MR. GOODBAR
55. NEW EDITION'S CAN YOU STAND THE RAIN, HIT ME OFF, STILL IN LOVE WITH YOU, COME HOME WITH ME, HOW DO YOU LIKE YOUR LOVE SERVED
56. RALPH TRESVANT'S SENSISTIVITY
57. THE WHISPERS GET YOU IN THE MOOD, ROCK STEADY, LET ME MAKE LOVE TO YOU
58. SIMON WEBBE'S FREE, MY SOUL PLEADS FOR YOU
59. GUY'S PIECE OF MY LOVE, LET'S CHILL, TEASE ME TONIGHT
60. STEPHANIE MILLS' A COMFORT OF A MAN, SOMETHING IN THE WAY ME FEEL
61. ANGELA WINBUSH'S ANGEL
62. THE ISLEY BROTHERS' BETWEEN THE SHEETS, THAT LADY, FOR THE LOVE OF YOU, SENSUALITY
63. STEVIE WONDER'S AS, PART TIME LOVER, PASSONATE RAINDROPS
64. CHANTE MOORE'S CHANTE'S GOT A MAN

MOTOWN FLASHBACK REVIEW: PHILLY QUARTET'S POPULAR AND SUCCESSFUL FOLLOW-UP

BOYZIIMEN
II
MOTOWN RECORDS
ORINGALLY RELEASED AUGUST 1994

EXECUTIVE PRODUCERS: BOYZIIMEN
PRODUCERS: BOYZ II MEN, WANYA MORRIS, SHAWN STOCKMAN, DALLAS AUSTIN, JIMMY JAM & TERRY LEWIS, TIM & BOB, THE CHARACTERS, TONY RICK & L.A. REID, BABYFACE.

When Philly quartet Boyz II Men dropped their classic album "II" in 1994, it became an istant classic debutting at # 1 on the Pop and R&B album charts and selling over 20 million copies, making it Motown Records largest selling album and one of largest selling follow ups in music history.
The award winning quartet had done well since they first released their classic album "Cooleyhighharmony" three years prior. They've won a large legion of fans with their barbershop style harmony, and classy image, while their top charting ballad "End of The Road" broke Elvis Presley's record by peaking at #1 on the Pop Charts for 13 weeks, and expectaions for Nathan and Wanya Morris, Michael Mc Cray and Shawn Stockman were high, and they didn't disappoint. In fact, teenagers, college students and adults flocked to get their tape when it was first release 15 years ago and many enjoyed playing it during the labor day weekend as well as rewarding the group with two 1 singles, and in honor of the album's 15th year anniversary, here is my review of one of my favorite classic albums, that showcased the group's writing and producing talents.
The album opens with their self-penned track "Thank You" which showcases their tradmark harmony being sung over the Slick Rick & Doug E. Fresh classic "LaDiDaDi"
Co-produced with Dallas Austin, the song also features bass singer Mc Cray singing some lines in a smooth bass that adds a spiritual vibe to this uplifting classic, that contains lyrics thanking their loved ones and fans for showing them love and support during the good and bad times. This is followed by "All Around The World" my all-time favorite song by the award winning group, who's known for showing their fans appreciation and love.
What makes this song hot are the drums, percussion, beats, French introduction and outro by Tamara Spinner, Mc Cray's spoken seagments, and call and response between him and the group, Nathan's smooth riff when he introduces Wanya and the lyrics that features all the Cities and states and their love for performing for the fans without any complaints.

Here we go on another tour
On the road again
Feeling good
(Feeling good)
It's alright
(It's alright)
Come and take a flight with
Boyz II Men
All around the world
Back around the world
And we're coming to your town
All we do
All we do
Is for you
Cause you've always been there
and we appreciation you.

"U Know" is a cool mid-tempo song that has a James Bondish theme vibe courtest of the bass and horn riffs, and great rich harmony, also featured on the smooth flowing "Vibin'" which they co-wrote and produced with Tim and Bob. The classic has lyrics about people having a great time dancing and listening to good music, something that's needed instead of people hating and throwing shade at each other.
The Jazzy-flavored Tony Rich penned "I Sit Away" showcases the quartet's ability to phrase, ad-lib and riff. It also contains Jazzy and classy piano riffs also featured on "Jezzebel" which features the group's performing scatting-type harmonizing, and a skit that features Wanya and Stockman wanting to take the B train to the studio, while Nate and Michael decides to the studio. This song should have been released as a single.
Their self-produced song "Khalil" still forces me to hold back tears. This is a beautiful song written in memory of their late road manager and mentor Khalil Roundtree, who was killed in a Chicago hotel elevator while the group was touring with M.C. Hammer in 1992. What gives this song the spirutal vibe is the piano performance by Bob Robinson, who performance a beautiful classy solo on the ballad "Trying Times" which was co-wrtten with group member Wanya who showcases his soulful vocal talents. The classic top charting "I'll Make Love To You" is still a favorite among concert goers, and hopeless romantics (this nerd included) who loves to listen to timeless love songs. This song has timeless tasteful lyrics written by Babyface, soulful phrasing by Shawn and Wanya and strong harmony by the group. A great song for Gay and hetero couples to play while making love along with "50 Candles" an underated classic co-written by Stockman that could have also been a huge hit had it been released as a single. What gives the song sex appeal are the strings, percussion, raindrops, the lyrics about making love under candlights, the group's vocal performance while they're making the uh-ah sound during the second verse.

Take them off
Throw them down
Come here and let 'em down
The outside world is of no concern
Just let our bodies and the candles in the room burn
With feverish passion uncontained

Mike's spoken part
Come and get this
Waited all my life for your touch and soft kiss
And life will never be the same, while ya moan and groan my name
Holding your body like a plastic moaning
Your soul I'll be controlling

"On Bended Knee" is another favorite that will have listeners putting this song on repeat and rewind. Written and produced by Jimmy Jam & Terry Lewis, this ballad features touching lyrics about sharing admitting one's mistakes and begging and pleading for their loved ones to return home to make the relationship group. It also features the group singing the chorus in falsetto that gives the song the heartbreak feeling that helped make this song become their third # 1 Pop hit.
The CD closes with an accepella version of The Beatles' classic "Yesterday," which further demonstrates their trademark harmony and capability to sing other genres of music besides R&B, and make them they're own.

I really enjoyed re-listening to Boyz II Men's classic CD. It brought back memories of how music is supposed to make you feel, and though it would have been nice had some of the songs they group had co-wrote and produced became bigger hits, this classic showed that they were more than just singers, which is why this album is the classic that it is today and they showed how to make a follow up album

This review is dedicated to the memories of Khalil Roundtree, former Motown Records President Jheryl Busby and to the memory of Bondy's Records a record store that used to sell tapes and CD's a day (and sometimes) a week before the actual release date

UKNOWN FACTS ABOUT II

1. "Thank You" was originally scheduled to be the first single to be released from the album. On Behind The Music, the group had stated that they wanted an up-tempo song to be released to show their capability of singing other forms of music besides ballads, but Jheryl Busby, then President of Motown Records decided to release the Babyface penned and produced ballad "I'll Make Love To You" as the album's lead single, and this made the group upset because they had shot a video for the song. They got over their anger when the song topped the Pop charts for 14 weeks. "Thank You" was later released as the third single and it became a top 20 Pop hit.

2. While the group was working on the album, they reached out to Jimmy Jam & Terry Lewis to collaborate, and at first Jam felt that the group didn't need their assitance beng tha they had success with "End of The Road." When the group was in the producers hometown of Minnieapolis for a basketball game, they paid an unexpected visit to their Flyte Tyme recording studios and asked them to work with them on their album. In an interview with the Billboard Books of Number Ones, Jam said how the group told him how they loved the work they did on their idols New Edition's classic album "Heartbreak" and how they took the song "Boys To Men" for the name of their group. They also asked them if they would produce a song for them what would it be. The Grammy Award winning duo came up with the title after looking through a book of titles they keep in their studio.

3. When Motown decided to release "On Bended Knee" as the next single, producer Jimmy Jam wanted Motown to wait another week so the group could break their own record. By that time the group's single "I'll Make Love To You" had been number one for 14 weeks and Jam, who is good friends with Babyface, wanted the group to set another record. Motown chosed to release the single, and it became another historic moment for the group; it replaced "I'll Make Love To You" and topped the Pop charts for 6 weeks.


4. While the group was working on the album, Michael Jackson had came to the studio to work with Jam and Lewis, and when The King of Pop (who was a huge fan of the quartet)learned they were there, he asked them to provide backing vocals on his song HIStory.

ANOTHER RANDOM THOUGHT: PAYBACK IS A MOTHER SHUT YO MOUTH

Have you ever been mistreated by a person, who had things going for them such as looks, body and popularity?
Have you seen the assholes who mistreated months and years later, and they're not as hot as they used to be?
That has happened to me several times in my life, and (with the exception of seeing a person homeless), I've gotten some pleasure knowing that God had punished them for their actions.

A few weeks ago as I was heading towards the Circle of Sisters convention, I happened to see my former church/cult mentor and his wife heading towards me direction, and when I saw him, I was shocked to see how much he put on. He stomach was larger than mines, and he was walking wide-legged, as I crossed the street and watched him cross the street, all I could say was Karma's a bitch.

Last summer, I posted a blog about me being rushed to the hospital for chest pains and how members of a group I used to volunteer with had looked out for me as well as compared the difference between the support I received from them and the lack of compassion one of my former church mentors had for my needs. As I walked around the Javits, I often thought of the way K* mistreated me.

When he told me that he was going to be my DP, things started off good as in most relationships. We had gotten to know each other and I would ask him for his opinons about things, and though I did appreciate his input, by the second month, I had began to noticed his lack of sensitivity.
I had called him to inform him that I wouldn't be able to attend service because of an painful ear infection. "Jesus suffered more pain than you and you need to be at service" he told me
I was shocked. He wasn't being considerate of me being in physical pain to the point where I was holding my head and feeling weak and sluggish.
"You don't understand what I'm going though. I don't wanna come to service being cranky and being in pain."
"I don't understand what you're going through, but you need to be at service because Jesus suffered a whole lot more than you did, and you can't miss service unless you're in a hospital with tubes inside you."
I went to service the next day ill, and got better after I ate, then we went to a friend's crib and afterwards, he said "the next time you get sick, remember the fun we had here."
By the fall he had become obessed with me converting people, that the only time he would speak to me was when I had a person studying the bible and/or attending service.
Towards the end of the year, I had lost two people who I was cool with. The day before service I was providing my friend comfort and helping her with arrangments for her grandmother's funeral, and that nigga called and wanted to know how I was doing. When I told him about the loss, he said 'sorry to hear that. Did you call J* to see if he was coming to service?" When I told him I didn't he wanted to know why, and when I informed (rather reminded)him that I losted a family friend and I was helping with funeral arrangements, that ass didn't show anytype of sympahty what so ever. "You're supposed to be doing your follow ups. Don't use your friends' grandmother's death as an excuse" with an attitude.
I couldn't believe he stooped that low and said that. A few days later he wanted to know what my plans for New Years day and when I informed him that my classmate was murdered and I was meeting with the classmates, did he offer any sympathy? No. He told me to take Phillipe* a Latin clone of his with me and to share our faith and invite the class out to service. I did ask Phillipe* to come with me, but when the class learned that our friend's killer was captured, we were speechless, angry and sad. I couldn't even began to think about inviting anybody out. Especially when I learned that her wake was going to be the same place and time as my friend's grandmother's.
Throughout the year, our relationship had became very business-like. He also began to give me the Sandra Clark from 227 treatment by greeting everybodyelse with hugs, while he would give me an occasion pat on my back and shoulder. I noticed that he began to show favortism for other members in our bible group. He forced and guilted me into sitting a bible study with a student they were trying to convert despite me informing him that I had an upset stomach (which in reality was a slight case of food poisoning), but when Phillipe was suffering from a stomach virus, not only did he allow him to miss a week of service and recuperate, he told me to give him a call to lift his spirits. He also got mad at me for applying for government aid, but when his wife was laid off, he told her to apply for unemployment benefits. He really showed his true colors when I told him that I was going to bring a salad to our park service, because like the sisters, I needed a break since I was doing most of the cooking.
The incident that still upsets me was the day we had a physical altercation on campus.
I had gone down to the basement in the student lounge building, and I happened to see Kyle finishing conducting a bible study. I went over to him to see what was going on as far as the activities for bible talk. I'm not sure whether that jackass was having PMS that day or what, but the way he greeted me was not Christ-Like.
"Did Ollie* tell you about the study?" he asked.
"No" I replied.
"Well how you know I was down?!!"
I couldn't beleive how indignent he was acting. First of all, I wasn't even looking for him, and second, I didn't even know he was on campus that day. I began to pick up a vibe taht something dramatic was about to happen, and I was right. It did. After Ollie came to speak to him, Kyle* wanted me to do a sin and repentance study because I looked down, he (like most legalistic leaders) assumed that I was involved masturbating, getting my freak on outside of the chruch.
"I know something is wrong because you can't even look me in the eye" he said.
(I do have problems maintaing eye-contact with people due to my shyness.
He began to yell and when I looked at the clock and saw that it almost 2, I told him that I had an doctor's appointment, and I had no time to argue with him and as I began to leave, that nigga grabbed me!!
"GET OVER HERE!" He screamed as grabbed my arm.
I was shocked. I got mad and pulled away from him, and when I did that, he got more angry and started saying "You're pulling away from me?!! I'm afraid for you!!"
I went outside and I became Frozen. I didn't know whether to leave or speak to him. I just stood between the mensroom and door paralyzed with confusion and fear as he continued to scream at me.
A few mintues later, one of the female student aids approached me and wanted to know if I was OK
"What's the matter" she asked.
"Are you alright? Please don't cry"
She then stormed over to Kyle* to confront him.
"Alright I wanna know what's going on! He looks like he's about to cry. I wanna know what's going on? What' the problem? What did you do to him?"
"I don't know!" Kyle* replied in an angry tone of voice.
While she was intergating him, I flew out of the lounge and went to my appointment. Later that evening, he called me and told me that was the last time I was going to embarass him. He then said that I was a guy who as on his Heaven, and that we needed to stop arguing and get along.
Did that happened? No. Things remained the same, and it had gotten to the point where I couldn't trust him. I also began to hate him.
The thing that made me transfer to another minstry was the night I (unknown to him) almost smacked him.
Me, him, Phillpe* and Ollie* had went to the movies and to the pizza shop, and when Kyle* wanted to know how was things going as far as studies and covnerting people, I told him that I bumped into a guy who was interested. He wanted to know why didn't I told him.
I forget.
Instead of being cool with it, he had a hissy fit and said that I should have answered him a certain way. This bitch had began to push my buttons and adding insult to injury was Ollie and Phillipe telling me not to be angry with him and to express my feelings.
I told Kyle that he wasn't being fair when I told him that I was only making salad for the park service. I had reminded him that I was cooking for all the services, and that I was tired and I needed a break and he said that he understand how I felt, but the meal wasn't complete. And that when he asked me what I brought, I said salad in a firm tone of voice.
I also told him that he wasn't being respectful to me and that I was getting bad vibes from him and that's when Ollie and Phillpe sided against me by saying that I shouldn't be going by my feelings and I couldn't be getting mad at Kyle, because he was the bible talk leader. He also said that I needed to be grateful about how Kelvon* was patient with me when I was doing a particualar study. That had nothing to do with me and Kyle's issues. I was so hurt and mad that I stormed out the pizza shop and stood outside to get some air. When Kyle and Phillipe approached me, he wanted to know if I wanted to be a disciple. I told him yes.
"Are you sure it's the right thing to do?"
"Yes" I answred.
That bitch then smirked and continued to talk to his clone. I got so mad that I was about to slap the shit out of him, but something stopped me from doing so. I calmed down and said to myself, let me transfer to Harlem before I wind up hurting him.
A month later, I transfered to the Harlem sector of the cult, and though we patched up, whenever I saw him, I still felt uncomfortable around him to the point where I couldn't trust him. I did however decided that since we were moving into the year 2000 to be the mature one and rebuild a decent friendship and when I made that suggestion, he was like "whatever!" That was it for me. But not for him. The following year, he began to call me to ask information about the Tae-Kwon-Do and areobics classes I was taking. Funny thing was Phillip was enrolled for a week, but left, but I never told anybody I was taking areboics. (Things that make you go hmmm). By 2002, I had left the cult and was focusing on my education and moving on with my life, and the following year, I bumped into him one evening.
He had told me that he was going steady with this sister (the one he told to apply for unemployment) and that he was getting married and that he wanted me to be there the day he got hitched. "Let me have your number" he asked in a commanding tone of voice.
"Is your number the same?" I asked.
"Yeah."
"Alright. I see you later" I said as I left the computer lab and headed home.
I hadn't seen him since late 2001 and I couldn't believe he had the audacity to tell me that he wanted me to be at his wedding. I was moving on with my life, and he was one of the last people I expected and ever wanted to see. Well it seemed that God had also wanted him out my life as well, and a few weeks later, he gave me the strength move on.
I was in the student lounge center at a table with D* a fellow student having a late lunch when Kyle walked in and said hello to me.
I waved as he sat at the table with some sisters. I was about to get ready to head to my Latin studies class when he approached me saying he wanted to speak to me. I told him that I was on my way to class.
"It only take 5 minutes" he said.
"I have to head to class" I replied.
Sensing that things was about to get serious, D* excused himself and told me that he would holla at me later. Kyle was adamant that he speak to me and it seemed that he wasn't gonna take no for an answer.
"I'll walk out with you" he said after I told him I had to be at class.
We left the dining area and that's when he started to accuse me of greeting him with waves everytime he saw me.
I knew he was lying because I only saw him once and had to greet him with a wave because I was running late for class. The second time I saw him which was this day I had food in my mouth and I wasn't gonna talk with a mouth full of food.
That's when I told him that I was moving on with my life and was cutting certain people out my life.
He didn't catch the hint.
I told him that we needed to go our seperate ways.
He was shocked. He asked me did I leave the chruch and I finally told him yes.
"Just because you left the chruch doesn't mean I think of you any differently. I still think you're a great guy. You used to keep me up on the latest music. Did I do anything to you?"
I knew that I couldn't remind Kyle of how he treated me because he would have denied and/or justified his actions, and I wasn't in the mood for another episode of an arguement we had in the staircase in the summer of 1997.
"Let's just say that during my last months in Brooklyn in 1998, we did not have a good relationship" was all I could say to get this over with.
This reminds of me of how Puffy felt when Faith Evans told him to let her out of her contract. He was shocked, and tried to get her to stay, but when she informed him that she was serious, he accepted her decision and honored her request, and things between them were peaceful.
It was the total opposite for me and Kyle. He still kinda acted like an moron when I told him we needed to go our ways.
"Can I say hello to you?"
"If you want to?"
"Can I ask you about the latest music?"
"If you want to"
He shrugged his shoulders and walked away. Though I was releived that he wasn't going to be a part of my life, I decided to congraulate him on his upcoming wedding and wished him the best. Was he grateful? That bitch wasn't.
He laughed and said thank you in a nasty tone of voice and walked away.
I wanted to run behind him and slap him, but I chose not to. I left the building, went to class, came home and spoke to several friends about what happened and they were happy that I severed ties with him, but they were also shocked, pissed and appauled for his behavior. I knew that God was going to handle him in his own time and way, and he did.
A few months after I left Brooklyn, he started going out with this sister he had been pursuing, and it didn't last long. Seeing how much weight he put on gave me some comfort and justification that his mistreatment was punished. He used to have an average built and he used to be working out at his home and dressing sharp. I also thought of the times when he wanted me to do things when I was under the weather, and the few times when I told him I had to go home due to illness and he would tell me to go home with an attitude. I'm now blessed with several people who look out for me and if they see or sense I'm tired or under the weather, they'll let me know that I need to take it easy and get some rest.

Songs played and inspired for this post

GOD DON'T LIKE UGLY
PERFORMED BY ROBERTA FLACK
WRITTEN BY GWEN GUTHRIE
PRODUCED BY ROBERTA FLACK AND ERIC MERCURY
1980 ATLANTIC RECORDS

THE POWER OF GOODBYE
PERFORMED BY MADONNA
WRITTEN BY MADONNA & RICK KNOWELS
PRODUCED BY MADONN, WILLIAM ORBIT AND PAT LEONARD
1998 MAVERICK RECORDS

KARMA
PERFORMED BY ALICA KEYS
WRITTEN BY ALICIA KEYS, TENISHA SMITH & KERRY BROTHERS, JR
2003 J RECORDS

LEGENDARY DISCO QUEEN SHOWED BROOKLYN LOVE AND WHY SHE'S STILL THE QUEEN

When I learned that Disco Legend Donna Summer was going to be performing in Brooklyn this past summer, I was excited!! I was finally going to see one of my favorite Divas live for the first time, and I was so excited that I told my friend and fellow Donna fan Rod about it, and he decided to come. Especially after we learned the seats were only five dollars! After meeting in the city, we made our journey to Brooklyn, and when we arrived, we were suprised to see the number of people waiting on line to see the Goddess of Love perform including a fellow from South America.
Summer's show began with her band playing a mixture of Rock and Dance music, while her talented and sexy young dancers Bradley Johnson, Travis Cooper and Randy Mitchell appeared in purple Royal costumes carrying toy trumpets and before you knew it, the 5 time Grammy Award winner began to make her entrance by posing against a revolving wall donned in a sequenced Black dress and proceeded to perform "The Queen Is Back" followed by her classic "I Feel Love" where she performed her trademark robotic arm movements, which earned a loud round applause from the crowd.
"Thanks so much for caring" Summer told the crowd in a Boston accent.
"You're bringing me close to tears."
She then performed a teasing version of her self-penned classic "Dim All The Lights" where she told the crowd "I'm gonna act like a lady" before performing her current # 1 hit "I'm A Fire", where she displayed her Gospel and Theatre training, while her background vocalists sang in different ranges and her dancers rocked red shirts, black slacks and shoes. Giving the performance fire was the graphics of flames against the background. After changing into a flower dress, Summer took the crowd down memory lane with "Could It Be Magic" and spoke about the joy of performing in her husband singer/songwriter Bruce Sudano's hometown.
"I waited so long for you Brooklyn" she said, before sitting on a stool and talking about the joy of watching the beautiful view from her Miami vacation home and without missing a beat, Donna performed "Sand On My Feet" accompanied by her guitarist, who added bits of Accoustic Rock and Latin that had couples in the audience cuddling, and rubbing their partners ears, necks and back. After putting the audience in the mood for love, Donna performed her classic "On The Radio" and asked the crowd to sing the song's chours, before launching into "Mr Music" which had the crowd out their seats dancing and shaking their groove thangs, while her dancers danced behind two card board I-Pods, while her DJ performed the scratches. The crowded also grooved to "Crayons" which had a nice Caribbean groove thanks to her bass player.
Donna returned to the stage for the dramatic part of her show. Dressed in a red jumpsuit and carrying an umbrella, she performed the classic top charter "No More Tears (Enough Is Enough)" with her sister Mary Gaines Bernard singing Barbra Streisand's part gracefully (it would have been better had they performed the second verse of the song). Summer than performed her first # 1 hit "Mac Arthur Park" with a tribute to Michael Jackson followed with Summer performing the Charlie Chaplin tune "Smile" which had the audience in tears and chanting the gloved one's name. Especially when pictures of him came on the screen.
She further demonstrated her acting skills during a skit that featured her confronting her dancers putting down one for missing the football during a game. When the dancer tried to get loud with the legend by calling her by her first name, she put him in check in a motherly tone.
"It's Ms Summer to you" she said that had the audience (especially the gay men) cheering and snapping. After telling the wounded dancer not to let anybody disrespect him, Donna performed into the album's lead single "Stamp Your Feet" where her dancers performed various forms of dancing includind modern, popping and hip-hop as well as hyped the crowd before Donna empowered the crowd with her 1983 comeback single "She Works Hard For The Money" which contained hot guitar and saxophone solos. While she changed into a brown suit, Summer's music director introduced the band, who played solos, before the Disco Diva returned to the stage to perform her classic "Bad Girls" where her background singer Latasha Alfred dressed in a black sequence dress, portrayed a hooker, while two of the dancers attempted to kick game to her. Summer cut loose while performing the Rocking "Hot Stuff" and she showed the crowd that Black women can rock with her soulful vocal performance, riff and holding the microphone stand up in the air with one hand, while her guitarist played the song's hot guitar solo. Wanting more, the crowd began to chant her name, and after smiling, she performed her upcoming single "Fame" where she worked the stage by doing various diva poses with photos of Hollywood and Marylin Monroe in the background while the dancers posed as British photographers and her background singers wore sunglasses. The show ended with Donna performing her award-winning classic "Last Dance" and what made this performance special was her telling the audience to come towards the stage to take photographs of her while she sang one of the 70's popular dance classics. She futhter demonstrated her comedic skills by pretending to ask a guy for a dance in a high pitch voice.
Donna Summer gave an excellent show this past summer. Not only was her vocals tight, she showed the audience and the wanna divas that a 60 year old grandmother can give a show and be grand at the same time. I wish that she would have performed her classics "This Time I Know It's For Real" and "Dinner With Gershwin." Those would have made the show hot, but Donna did a great job providing Brooklyn with some "Hot Stuff" and great singing. For those who want Donna to return to Sea Gate next year, go to www.brooklnconcerts.com and call the hotline number on the site and leave several messagesl

MOTOWN CLASSIC FLASHBACK: THE TEMPTS CLASSIC ANTHEM FOR LADIES

THE TEMPTATIONS
TREAT HER LIKE A LADY
WRITTEN BY OTIS WILLIAMS & ALI-OLLIE WODDSON
PRODUCED BY ALBERT PHILLIP McKAY & RALPH RANDOLPH JOHNSON
1984 GORDY RECORDS
RELEASED OCTOBER 1, 1984
# 2 R&B/ # 48 Pop
TEMPTATIONS LINEUP AT THE TIME-OTIS WILLIAMS, MELVIN FRANKLIN, RICHARD STREET, RON TYSON & ALI-OLLIE WOODSON.

In the mid 1980's, New Wave, Rock and Rap music started to dominate the music charts and airwaves and as always, The Temptations came though with a classic hit. "Treat Her Like A Lady" which became the legendary Motown's group biggest selling single of the 1980's, amd became a personal favorite of the fans and the group's founder and surviving member Otis Williams who co-wrote this hot track with former lead singer Ali-Ollie Woodson, who's electrifying vocals made this song an anthem for women who wanted to treated with class and for men who wanted to imppress the ladies without being hypomacho.
"This is one of my favorites, and not because I wrote part of it" Williams wrote in the liner notes of the group's "My Girl: The Very Best of The Temptations" and Gold compliations. "It was one of those songs that never seems to fade."
Williams is right; many teenage boys used to perform this song at talent shows and most of the time they wound up coming in first and second place. This song has great music arrangements and melodies courtesy of the keyboards and synsersizers performed by Woodson, harmony by the group which at the time consisted of Williams, Melvin Franklin, Richard Street, Ron Tyson and Woodson, who was able to sing, ad-lib and riff, while blending with the group.

Now I like opening doors
Picking your hanky off the floor
Treat her like a lady
Treat her like a lady
Light her cigarette if she smokes
Even
Help her with her coat
Treat her like a lady
Compliment her on her hair
Even help her with her chair
Treat her like a lady
Treat her like a lady
Now bow you should remember to be a gentleman
Treat her like a lady.

This classic sounds as good as it did when it was first released twenty five years ago, and it showed that The Tempts had the ability to show the males that treating a lady with respect will never go out of style.

RANDOM THOUGHTS FROM DA-PROFESSOR

For years, I have heard many stories about youth pariticapting in negative activies such as crime, shooting, robberies, rape, vandalism and hate crimes, and when people were asked how they did feel about the situation, most have always used the excuse about them not having a father in the home.
Whenever I hear a person use that as an excuse for a person's behavior, I get upset. I do understand that the lack of a positive male figure in the households is high, but that shouldn't be used as an excuse for a person who does things willingly.
I was raised in a single parent household and I wasn't no perfect kid, but I never used that as an excuse; I was able to finish high school, graduate from a Community and four-year college.
Plus I've known kids who come from two-parent homes, who act up, misbehave and partake in just as much negative activities as those who come from single-parent homes, which is something that the media and society doesn't like to acknowledge and accept.

Examples:
I remember seeing this kid named G* smack a kid in the back of his head, and punch another kid, who had back problems in his back, and when they retaliated, G's mother, who saw him hit the kids walked over to them and instead of punishing her son, she chastied the kids, who defended themselves, by asking them their ages, and height, and then they told them, her reply was 'Well, you're too old and too tall to be hitting on my son."
I couldn't believe what I saw and heard. She was saying that the boys couldn't hit her son because they were two years older and few inches taller than him, but it was OK for G* to hit them for no apparent reason? Because he and her husband lived in the surburbs? A few months later, when we were at camp, G* was being disrespectful to our camp leader. He didnt' want to go to bed and he was cursing, and when the leader went to shake his bunk bed, G kicked him in his face and later hit him with his flashlight. After getting a few lickings, the leader told G* that he was gonna tell his father about his behavior, and G8 tried to played Mr. Hardrock by saying' My pop's is gonna kick your ass. Blah, blah, blah"
That Sunday when we returned to New York, G's father came to take him home and when the leader informed him about his misbehavior, his father told G, "You know what? I am going to do some butt kicking. It's gonna be yours!" G was shocked, and before he could say anything, his father told him about himself in a calm, but firm tone of voice and made him apologize. It seemed that his mother allowed him to misbehave, while his father on the other hand didn't tolerate any form of misbehavior at all. A few months later, when the camp leader informed G's mother that he wouldn't be getting any of his awards because he didn't complet the assignments, Miss Thang had a hissy fit saying that she wanted a new Camp leader, and she wanted to get her lawyer.
When I learned what happened, I told my mother who was like 'Don't let me go up there! If he would have did what he was supposed to do, he would have gotten his awards. I had to agree. All he had to do was do the required work, but his mother didn't want to hear that, and her Nasty attitude began to rub off on her son, who was asked to leave the group.

Another example: In the summer of 1994, I was watching the news and they reported a story about a female college student in Virgina being raped by a college Freshman. While the anchor woman's voiceover was being played, they showed footage of the cops arresting a Black 18 year-old and taking him into custody. Many viewers may have thought that the teen, was from the ghetto from the attire he was wearing (T-Shirt, baggy blue jeans and timberland boots), but in reality, he was raised in a middle class Southern neighborhood by two college educated parents, who were deeply involved in their church, and when the news interviewed many of the parents friends, and neighbors, they said that both parents were down to earth and hard work people, who never drank, smoked or did drugs.
I never heard any follow up stories of the case, and I'm not an Thearpist, but I can only give my opinon on what the family situation. His parents, though educated, and were deeply into the church, probably gave their son material items such as money, clothes and anything his heart desired, but didn't give him any emotional love. Or his parents probably sheltered and overprotected him by not allowing him to hang with people other than family or church members, and when he got on his own, he probably didn't know how to cope with life away from his family.

While I'm on the subjects of families, there are the myths about Blacks and Latinos being rude, vulgar and not having class and interests in acheiving their dreams. BULLSHIT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

There are lots of White people who be acting like a bunch of assholes also and be starting trouble also.

There have been times when I see a bunch of white kids in the city by acting like they own the city. They act like minorities are supposed to kiss they ass, but when a minority puts their ass in check, they cop major attitude and be having fits.
Most white kids' parents spoil them with money, and having them beleive they're superior, and that the world must kiss their asses. When they don't get their ways, they curse the parents out and even whip their asses. That wouldn't happen in a Black or Latin household.
The thought of a Black and Latin kid even attempting to raise their hand to their parents will result in a ass whipping.

Many people think that White girls are submissive to men. That's true, but there are many who are bitchy people.

I remember being in summer camp, putting chairs on the table, when I almost slipped on a small puddle of water, and as a result, the chair slipped out my hand and accidently hit this girl, who didn't give me the opportunity to apoligize
"Bitch! Why didn't you say sorry?" she said as she hit me in my arm. I hit her back a few times and she stormed out the mess hall. I learned that many people (including her own kind didn't like her attidue). When I spoke to this white boy about what happened, he said "She's stupid." A week later, me and that bitch got into another altercation. I was on a hike, talking to my friend Melissa, when that heifer came over to me and asked was Melissa my girlfriend. I told her yes, and she kept teasing us. I can't remember what words were said, but it did invovled name calling and me telling her several times to leave me alone. After the verbal assaults, she came over to me and hit me. I hit her back, She hit me I hit her back. She punched me in shoulder blade, and I scratched that bitch in her neck and in her face. She was shocked and pissed that her so-called beautiful face was maked up that she stormed away screaming "I'm gonna get my brother to kick your ass and you can cry!"
She wasn't the only one who was pissed at me; one of the white counnselors was too.
"I can't beleive you had the nerve to hit on a girl" she said not caring or acknowledging that the bitch had struck me first.
"My mothet told me if anybody hit me to hit them back" I repled.
"I don't care what your mother said
"My mother don't care what you said! I replied as I shock my head in a diva style.

Those are my thoughts, views and observations about reality and I should be posting more pretty soon.

FLASHBACK REVIEW: JACKSON 5IVE ASSISTANT VOCALIST CLASSIC

JERMAINE JACKSON
DON'T TAKE IT PERSONAL
ARISTA RECORDS
ORIGINALLY RELEASED OCTOBER 1989

When Jermaine Jackson began a full-time solo career in 1976, many reviewers always comment of his songwriting and his production skills, but when it came for him to record his third solo album for Arista Records, he told Clive Davis that he didn't want to produce his album. Why the famous executive asked why, he explained to him how he wanted to be remembered and respected as a vocalist, so Davis and the A&R selected contacted members of the R&B/Quiet Storm group Surface to create some songs for the Jackson 5 bassist and vocalist, and not only did "Don't Take It Personal" become a hit, it became Jackson's second # 1 R&B solo hit, and it captured his ability to sing and harmonize smoothly without losing his soul roots.
In addition to Jermaine's vocals, the song has a nice smooth groove, and touching lyrics where one is telling his partner that the relationship has run it's course and that they should be able to move while being remaining friends, and that you're still a good person that has alot to other to the next person.

Don't be sad
Don't be blue
You've got your whole life ahead of you
Love was here.
Now it's gone
So it's time you keep moving on
Don't take it personal
Take the bitter with the sweet
Easy come Easy Go

This song really showcased Jermaine's vocal ability and it's a great song to listen to if you have to end a relationship.

UNKNOWN FACTS ABOUT DON'T TAKE IT PERSONAL

1. This song was originally going to be recorded by Milli Vanilli for their debut album "Girl You Know It's True." In a interview in the Billboard Book of Number One Rhythm and Blues Singles, the songs producer David Conley said that when he was told that the group was going to record the song, their producer Frank Farrian wanted him to send the tapes to Germany, and Conley resisted. He insisted on flying to Germany to work with him, but Farrian refused, and after several debates, he decided to take the song back and give to Jermaine.

2. Jermaine didn't like the songs that he submitted at first, but when he learned that Conley was a member of the group Surface, he changed his mind. He was a fan of their music, and when it came time to record the album, he insisted on recording where the group recorded their now-classic album "2nd Wave" which was in the basement of Conley's home in New Jersey.

3. Conely was impressed with how prepared Jermaine was when he came to the studio. He already knew how he was going to record the song and the record sessions went smoothly.

FLASHBACK REVIEW: JODY WATLEY SHOWS TENDER SIDE ON CLASSIC DEBUT BALLAD

JODY WATLEY
EVERYTHING
MCA RECORDS
WRITTEN BY GARDNER COLE & JAMES NEWTON HOWARD
PRODUCED BY ANDRE CYMONE
FROM ALBUM LARGER THAN LIFE
ORIGINALLY RELEASED OCTOBER 1989

In 1989, singer/songwriter/cheoragrapher Jody Watley had grown for becoming an solo artist to had to proof herself to an cultural and Icon. Her second album "Larger Than Life" was on it's way to platnium status, while her solo tour gained great reviews, thanks to the album's third single "Everything", which became a favorite of fans and a highlight during her concert tours. Known for recording Pop/Soul and Dance tunes, this was the first ballad that the Goddaughter of the late Jackie Wilson had recorded as a solo artist, and it showcase her tender side. Written by Gardner Cole and James Newton Howard, the song has a nice Pop/Soul and Latin feel courtesy of the lyrics about hurting a lover who treated you good, as well as keyboards by Cole, percusion by Paulina Da Costa, and saxophone solo by Larry Williams. It also showcased her ability to phrase while singing mid and high ranges, which makes the song sad, yet beautiful

I know I hurt you when I said goodbye
And I don't know the reason
I never stopped beleiving
I needed any one but you.
I was too blind to see
When you belong to me
You were my everything
(Yeah)
Now I give everything
To feel the love you bring
You were my everything
You were my life
You were my love.

This song brings back great memories for me. This was the first cassette single I brought that I used to play at night when I went to sleep and it's a great song with a message to appreciate the positive people in your life and not cut them off so quickly.

IF MUSIC SUPPOSED TO BE COLOR-BLIND, THEN WHY ARE SO MANY BLACKS HATING ON PEOPLE FOR THOSE CHOICES?

Last August I was on the A Train heading to the city, and I over-heard this Black mature teenager telling one of his friends how this wanna-be thug tried to dis by calling him an Uncle Tom because he was into rapper Lupe Fiasco instead of Lil' Wayne, who the ignorant ass kid dubbed the greatest rapper. The kid told his friend that he whipped that nigga's ass and told him not to ever disrespect him again.
I was proud of that kid for standing his ground because it seems like most people are always putting down people for their choices of music, which I think is the most stupidiest ass thing to do. Just because a person doesn't like a particular artist doesn't give them the right to mistreat them.
I recall many people making fun of me because of my choices of music.
When I was in junior high, one kid came up to me and asked 'What you doing listening to Culture Club?" while some just laughed and acted very ignorant.
A year later this Black Indian-Domenican girl told me, please don't bring your Tina Turner, Aretha Franklin and your Ray Charles to the Christmas Party because they're played out. She was shocked and upset because I wasn't heavily into Rap music. I had brought Tina's single We Dont' Need Another Hero (Thunderdome) to homeroom and our teacher, who's late brother Juggy Murrary, had signed Tina and her ex to their first record deal in 1960.
On the subject of Rap music, when M.C. Hammer burst on the scene in 1989, it seemed that most Black kids from New York didn't like him or any entertainer that was affiliated with the Award winning rap legend, who's sophmore album "Please Hammer Don't Hurt 'Em" was the first Hip-Hop album to sell over ten million copies in the US. I was a huge fan of the Hammer man, because of his music, his style of dress and the way he danced and gave you a show, and it seemed that many brothers from the church I used to attend, weren't fans of him or his posse. I recall going to a meeting the night I brought his tape, and one of the choir members, (who was also a member of a now-defuncted quote-on-quote conscious rap group) got mad, and said "I should smack you! Wby didn't you get the single?
"It was sold out! I replied. He was so pissed at me for buying Hammer's tape, that he would constantly ask me when was I going to purchase Howard Hewitt's self-titled release.
As long as I've been listening to and purchasing music, it seemed that the most criticism I received was from Blacks, who fells that a Black person is only supposed to certain types fo music and if they don't, then they're considered to be not hip, soft and not quote on quote down. PLEEEEEEEEEEEEEEEEEEEEEZE!!!!!!!!!
Just becasue a person doesn't listen to a certain rapper doesn't make them soft. Everybody has the right to their opinion, but that doesn't mean you have to put down a person because they may not like the artist you like. I bet they would be pissed if a White man called them ignorant for listenigng to rap music all the time.
They need to understand that many Black artists had to fight to get the recognition, the airplay and the respect by the mass media to become the success that they are. They had to perform in hotels they wouldn't allow them to stay after they performed several times a night as well as having to use dirty toliets and sinks while traveling through the south before the intergration laws came into affect, so they should be grateful for the artist who fought to have music accessable for all people to listen to.

FLASHBACK REVIEW: ROCK LEGEND'S CLASSIC SINGLE THAT MADE HER A SHERO

TINA TURNER
WHAT'S LOVE GOT TO DO WITH IT?
CAPITOL RECORDS
WRITTEN BY TERRY BRITTEN AND GRAHAM LYLE
PRODUCED BY TERRY BRITTEN
ORIGINALLY RELEASED MAY 1984
PEAKED AT # 1 FOR 3 WEEKS in September 1984

When Rock & Soul legend Tina Turner's current manager Roger Davies asked her what did she want to do with her solo career, she informed him that she didn't want to record any Blues songs and she didn't want to sing 'my man did my wrong or I'm down songs.' She told him that she wanted to do Rock and Roll and she wanted to record ballads and songs about romance. Well after scoring a international silver hit with her version of Al Green's classic "Let's Stay Together," Tina began to work on her breakthough solo album, and was excited about doing the type of songs she wanted, but when Davies, played her the demo for "What's Love Got To Do With It," she freaked. She didn't want to record any Pop songs, and she didn't want to do any songs that was light weight.
"Roger would play that song, and I would go run and hide in a closet and say 'get that song away from me" she said on VH-1's Behind The Music. Turner gave in, and not only did the song become a huge hit, it became her first number 1 hit, as well as a favorite among her fans, who showed their support by giving the sexy ageless legend a classic.
What makes this classic song are the flutes, guitar, bass, synsersizers, harmomica adding a smooth combination of R&B, Pop, Reggae and New Wave and the way background singers Teesa Niles and Britten blend with Turner's soulful vocals. This song also caputred Turner's ability to sing in mid range and to sing powerful without screaming, giving the fans the opportunity to showcase her ability to sing, and phrase properly.
Listening to this song brought back memories of me doing the routine from Tina's classic video in front of my grandmother's house the time it was on the top of the charts, and I know that this classic will bring back many memories to those who wanted to be in love, and for those who loved seeing Tina enjoying the success that she worked hard for.

UNKNOWN FACTS ABOUT WHAT'S LOVE GOT TO DO WITH IT

The song was originally written for the late Phyliss Hyman

As mentioned earlier, Tina didn't like the song at first. Her manager Roger Davies had to convience Tina meet the song's co-writer Terry Britten, who also co-penned the single "Show Some Respect." When Tina learned that his all-time favorite song was her self-penned classic "Nutbush City Limits," she has a change of heart. She told him that she wanted to record the song in a higher key.

Tina learned that the single topped the Pop charts when she was at a signing session at Tower Records in Greenwich Villiage. She Roger told her the news, she and the crowd went crazy and screamed for joy. She also made history twice with that song;
She had become the first artist to have a # 1 single during the same week, when her debut single " A Fool In Love" entered the charts 24 years earlier. She had also became the oldest female to score a # 1 single, until her friend Cher scored with her Award winning hit "Beleive" 15 years later.

Rapper Warren G and singer Adina Howard redid this song in 1996.

In 2005, Rapper/Actress/Singer Queen Latifah performed this classic when Tina was honored at the Kennedy Center in 2005

This review is dedicated to my mother who used to play this song whenever we went shopping and to the memories of my grandmothers Clythia Dorsey and Angie Chisolm, who both loved the Queen of Rock and Soul

MOTOWN LEGEND BUNNY DEBARGE SHARES PAIN IN DEEP MEMOIR

In the early 1980’s, singer/songwriter/arranger Bunny DeBarge was living out her dreams of being an entertainer As a member of the singing group DeBarge, Bunny and her brothers Randy, Mark, El and James had won legions of fans with their heavenly harmonies, timeless and lovely lyrics, and angelic and sexy looks, while her brothers Bobby and Tommy scored as members of the group Switch with their hit “I Call Your Name.” Bunny and her siblings conquered the charts with “I Like It,” “All This Love,” “Time Will Reveal,” “Love Me In A Special Way,” “Rhythm of The Night” and “Your Wear It Well” while Bunny’s self-penned and led radio hit “A Dream” became an instant classic that’s been covered and sampled by 2Pac, Mary J, Blige and BLACKStreet, and is played by many couples during intimate moments and while they’re doing their housecleaning. She also scored a # 18 R&B solo hit with “Save The Best For Me”, but shortly after, she disappeared from the music scene and returned to her hometown of Grand Rapids. For the past twenty two years, many fans have wondered what happened to DeBarge. With the exception of singing background on brother El’s single “Cross My Heart” the Angelic singer has spent the last two decades raising her children, overcoming an addiction to painkillers, coping with her brother’s Bobby’s and Chico’s incarceration as well as Bobby’s death from AIDS. She also reconnected with God, and began to deal with being a biracial child during the time when interracial relationships were not accepted in certain states as well as the physical and sexual abuse she endured as a child by her father and force her mother to accept that it happened.
The talented Motown legend shares her pain in her autobiography “The Kept Ones” (Deborah Smith Publications), which is just as revealing as Natalie Cole’s and Rick James’ memoirs and once readers read her story, they will shed tears, and hopefully begin to embark on their own path of healing.
Bunny was born on March 5, 1955 as Etterlene DeBarge on March 10, 1955 in Detroit Michigan to Etterlene Abney a Black high school graduate, and Robert DeBarge, a white French Canadian who met his future wife on the telephone while serving in the military, and informed her that he always had an attraction and fondness of Black women.
“In fact, Daddy wasn’t attracted to white girls at all” Bunny writes in her memoirs. “Mama was flattered at the way Daddy talked to her. He was kind, with good manners and she liked his charm.” They continued to talk over the phone, and they met at a rolling skating rink where Robert was dressed in his military uniform, and didn’t care what people thought of him and his date.
“Momma laughed at him because he stuck out from everyone”
A few days later, he found out where she lived, and went to visit her and despite reservation from both their parents, they got married and became the parents of ten children; Bunny, Bobby, Tommy, Randy, Mark, El, James, Chico, and the twins, Carole and Darrell. (Actually it was Etterlene’s parents and Robert’s mother who didn’t approve of their marriage. His father secretly didn’t care who his son dated, but was forced to go along with his controlling, adulterous wife, who was jealous of the father-son bond Bunny’s father had with her grandfather, who sadly never had the opportunity to see his grandchildren). Shortly before Bunny began kindergarten, Bunny had witnessed her father mentally and physically abusing her mother, who would find comfort by worshipping and singing in church, while Bunny and her brothers found comfort while visiting their aunts and uncles, who took them in from time to time. Whenever Bunny would ask her mother when would the boogeyman (the nickname they had for their father) would stop being mean, her mother would say “You don’t have to like your father, but you have to love him. Momma prayed for Daddy to be saved from God. Momma was more afraid of going to hell then she was of Daddy” Bunny writes of her mother’s decision to stay with their dad. Her mother’s prayers didn’t help his behavior improve; he became worse. In addition to drinking, he also verbally and physically abuse Bobby by calling him a sissy, and they affect made him act out by setting neighbor’s garages on fire, and attacking his younger brother James, who was their father’s favorite child. Perhaps the saddest act that happen was when Bunny started getting molested by her father whenever her mother was in church meetings and rehearsals, and like most children who was violated by an adult, she kept it to herself until her brother Bobby informed their mother, who promised that she would leave their father if she told the truth, and after learning what happened, she moved the family to Chicago, then Grand Rapids, but wound up returning after her father talked her mother into coming home. Bunny’s aunt refused to allow her to return to that environment and was adamant that she stay with her, and while Bunny was happy, she was sad that Bobby had to return home.
“I know how Bobby felt, but I could say nothing to console him” she writes about the pain she felt of not being able to protect Bobby.
“I put my arms around him and led him to the back of the house. We already knew what the outcome would be.” This would cause Bunny to have a strong dislike and mistrust of her mother, who she felt should have seen the signs and did more to protect her children. Bunny enjoyed the unconditional love she received from her aunts, uncles and cousin, but it was short-lived when her parents and brothers (who was probably coached) told her they missed her and wanted her to return home. Her Aunts and uncles refused, and they even went as far as to have Bunny tested to prove that she was molested, but when it came time for Bunny to have the final examination, she got scared due to the memory of her father’s violation fresh in her mine, so she returned home, but her uncle Bobby, who knew that his brother-in-law would slip up told Bunny that if he her father hits her and leaves a bruise, call him ASAP and they would take care of him.
“I knew in my heart that was a matter of time before Daddy went back to his old ways” Bunny writes about her uncle’s plans to give her father a dose of his own medicine. “So I actually prayed for Daddy to hit me. I actually looked forward to it.” A few days later, her father stuck both Bunny and her mother, who had finally stood up to him, and when Bunny contacted her uncles Bobby and Norman, they flew over to her house, and gave her father an long overdue ass whipping, that had him crying and begging for mercy.
“Eterlene and the children moved way up here to get away from you. Now you’re here doing the same thing you did here” Bunny’s uncle Norman said as he whipped his ass. “See how it feels, man? Don’t feel good, huh?”
That was the last time that Bunny and her siblings were ever struck by their father, but they would have a hard time forgiving him causing them to have emotional issues that would stay with them for many years. They began to find comfort by performing and creating music. They would perform at their family’s church and school choir, but Bunny had grew tired of being restricted to the church and events that her parents (who had decided to divorce), so she began to rebel and attend dances, house parties and pursuing boys, capturing the attention of Kevin, a high school senior-college bound student, who though was jealous of Bunny’s talent, had encouraged her to finish high school, and when he learned she was skipping school, dumped her, but later returned after she gave birth to their daughter. Things worked out good, but once Kevin began to see another female, she decided to not to chase him and she unexpectedly hooking up and marrying a guy from her brother’s former band, who loved Bunny and her child. It was during this time when Bunny began to seriously listen to music by Soul and Pop artists including The Jackson 5, Curtis Mayfield, Minnie Rippleton, Marvin Gaye and Stevie Wonder, who inspired Bunny to refocus on her singing and songwriting.
“I had this yearning inside me to write songs. The only singing I was doing was along with my records and I had this itch in me to sing somewhere besides at home” she writes about her passion to let her creative juices flow. “I had a void in my life and smoking weed and acting silly and listening to the albums on the record player wasn’t getting it.”
Bunny also writes about how her brother Bobby had moved to California to play in White Heat, a group that the late Barry White created, and dropped after one album, forcing the group to rebound as Switch, who got signed with Motown and scored several hits with “I Call Your Name,” “There’ll Never Be” and “I Wanna Be Closer.” She also shares how he became a confident man, and checked in on his family whenever he has a break from recording and touring. He also helped his brothers and sister score an audition with Jermaine Jackson, and while the group was happy, they were torn between singing deciding to either sing Gospel or Secular music. Bunny’s brother El decided that they was going to record love songs.
“We’re writing about love” Randy added. “And God is Love”
“I knew were El was going with this” Bunny writes. “He was saying it was okay for us to sing about love, that we didn’t have to feel condemned.”
Jermaine and his first wife Hazel was so impressed with what they heard and saw, that they offered them a deal and the opportunity to write and produce their own material, and history was made.

This book was very deep and sad, but it also displayed how Bunny was able to rely on God to help her during the trials and tribulations, and though I wished she would have made the book longer, it seems like the follow up is going to be filled with more joy and pain.

This review is dedicated to El DeBarge who's currently serving time in prison, and to the memory of Bobby DeBarge.

DID YOU GET YOUR TICKETS YET

Did you get your tickets for the Queer Black Cienama Film Festival yet?
What are you waiting for?

Make like Aretha Franklin and Jump To IT

PREPARING FOR THE QUEER BLACK CINEMA FILM FESTIVAL

For those of you Gays and Lesbians who are looking to watch films that represent us, check out the Queer Black Cinema film festival this month.
This festival is going to be a good event; films directed and written by many talented Gay and Lesbians, who has stories they want to share but had to overcome obstacles to get their work shown and it will be a great event to attend.

There have many complaints about the lack of quality films that repesents our community, but now there's one so you should come out and enjoy

It will be held at the National Black Theatre on during the weekend of October 17-19

WHEN WILL KAYNE GROW UP?

Kayne you're a public figure
Don't act like a dumb nigga

Grow up boy
Grow up, grow up son.
Grow up, kid, grow up son.
Grow up, kid, grow up kid
Grow up, kid, grow up

Since rapper/producer Kayne West bust on the scene in 2003, he's has become one of the industry's successful and innovative performers, but he's also known for having hissy fits and temper tanturms as well, and his behavior at last night's MTV Video awards showed how immature he is. When Country singer Taylor Swift walked on stage to accept her award for Best Female Video, not only did the Grammy-award winning rapper jumped onstage, he had the freaking audacity to snatch the microphone from her and say that he felt that Original Destiny's Child member Beyonce should have won for her hit "Single Ladies (Put A Ring On It)"
West's behavior shocked everybody in the audience including Knowles who facial expression saidk 'what the hell is his problem?' When she won for video of the year, Knowles called Swift back onstage and allowed her to give her acceptance speech, showing that she had more class then West.

This is not the first time that the College Dropout had hissy fits at award shows.
In 2004, he held a press conference and said that he wasn't going to perform at the American Music Awards because he felt that he was snubbed by not winning the award for Best New Artist. He was saying that he couldn't beleive that a Country artist had won instead of him, and that he should have won, because of the many hit records and albums that he had produced that year.
The AMA are voted by fans, and he should have been greatful that he was nominated, especially when artist who paved the way for him were never even nominated for that award.

His behavior last night was beyonc childish; not only was he disrespectful, but hyprocitical;he also tok away Taylors' shingign moment; that was the first award she even won, but had the nerve to bast Chris Brown for the fight he had with Rhianna. Kanye even though you didn't strivke, her , you was still disrespectful, and you made an ass out of yourself.

Kanye's behavvior is adding to the sterotypes about Black enterainers not having class and being ingorant, and I bet that Oprah Winfrey is having some major hot flashes and hissy fits, and (probably) scraming I can't beleive I had that rapper on my show. Yes Oprah interviewed Kayne back in 2005, and allowed him to perform a song he wrote about his late mother, but she wouldn't allow rapper Ice Cube to appear with the rest of the cast of "The Barber Shop" a film that he wrote, produced and directed!!!!

I feel that Kanye needs to take some time off, relax and mourn his mother's passing, then return to the industy, because he's on the path for self-destruction. I don't know how he's coping with the loss of his mother in private, but it seems that he has some unresolved-issues, and the best thing for him to do is to take some time away. It's not like he's working a regular 9-to-5 or 10-6, and is living from pay check to pay check. He's releases several successful albums and has wrote and produced several hit for many artists that have gone gold and platnium, and receives air play, which is bringing him mad coins, so he can afford to take a vacation.
Losing a loved one that was a mjor part and influence for most of your life isn't easy; I lost my last grandmother two day days after Michael Jackson and it's hard to cope and sometimes accept that she's gone. I have my good days, and I also have my days when I become sad and depressed, but I take life one day and step at a time, and I feel that Kanye needs to deal with his issues before he winds up hurting others and himself.

HAPPY BIRTHDAY MICHAEL JACKSON

I want to send birthday wishes to Motown Legend and entertainer Michael Jackson, who is up in heaven celebrating his birthday, and looking down from above.
Michael would have turned 51 today had he lived, and while many are celebrating his life, music and legacy, there are many who are sad that he died so unexpectedly.
Michael did more than sing and dance, he helped raised the bar and standards of being a performer and he made it possible for Black artists to have their videos aired on MTV, who had refused to air Black artists.
He also gave millions of dollars to charites and he provided the soundtrack to many of our lives.

Michael it's your birthday
Happy birthday Michael.

MOTOWN LEGEND, FUNK-BALLADER AND AMERICAN IDOL BRINGS SOULS TO BROOKLYN

Last week, the borough of Brooklyn got their souls soothed when Soul singers Teena Marie, Jeffery Osborne and Ruben Studdard shared their God-given talents with the crowd who came out to Wingate field despite the hot weather and brief windy weather that slightly occured.

The show began with American Idol winner Studdard's band playing with the announcement of him being announced that he had become the second winner of "American Idol" and before you could blink an eye, the Alabama native, walked on stage in a cream-colored suit.
"How you doing?" he asked in a southern drawl before he performed his hits "Fly Away," "So Sorry" and "Why You Wanna Change Me?" which had elements of Gospel and Jazz thanks to the keyboardist and call and response between Studdard and his background vocalists during the performance of the former, while the later had the brothers singing along with him.
He then performed his current single "What It Would Take" before he closed his set with a tribute to Luther Vandross by peforming the late singer's classics "Bad Boy/Having a Party," "Never Too Much," "So Amazing" and "Until You Come Back To Me/Superstar", which for the later featured him showcasing his range by doing riffs away from the microphone. He also had the women scream sing it baby, while he sang 'it's alright, it's alright' just like Vandross who was Studdard's main inspiration and idol.

Former LTD member Osborne followed by appearing on stage wearing a black suit and performing "Come All The Way" and "Don't You Get So Mad About It", which had the audience out their seats singing and dancing. After addressing the crowd, he performed his classic ballard "I'm Only Human" with a LTD medley following before he performed his rendition of Teddy Pendergrass's classic "Close The Door," which should have had a slower tempo, but the band's breaks and Osborne's soulful vocals compensated for the loss. The sexy 60-year old legend also had fun with the audience with attempts to hook the brothers up with a potential date for the evening.
"I'm about to set you up for the night" he said before he performed the bride 'let me make sweet love to you baby' and asked the brothers to look to a female and sing the bridge to her as well. When they fell sort of short, he asked the females to sing the bridge, and they did in a soulful and sexy way.
"Damn you're making me warm up tonite" he told the brothers.
Osborne then performed his classic ballad "On The Wings of Love" where he removed his blazer and performed soulful riffs, and a sexy call and respsonses with her background vocalists during his performances of "Hold On" "Concentrate on You" and "Take Your Time" where his female vocalist sang 'take your time' as Osborne removed his vest, and grinded his hips.
"You know what I'm talking about" he said before he performed "You Should Be Mine (The Woo Song)." Wanting to have futher fun with the audience, he asked two members to sing the hook of the song, and while they didn't have strong voices, they gave it their all. He closed his set with his former group's top charting classic "Back In Love Again" which had the crowd dancing, singing and clapping their hands like they were at a party in the 1970's.

Motown legend Teena Marie's set began with photographs of her being displayed on the monitor before she appeared on stage in a white suit and performed a hot powerful version of Lynn Collins' classic "Think (About It)" which had the crowd out their seats pumping their first and snapping their fingers.
"Brooklyn, you're bad!" she said before she performed her classic "Behind The Groove" where she danced with her background vocalist, before launching into her ballads "Dejavu" where she incorporated Reggae music and chanting into her the classic, while she showed her sensual side during "Portuguese Love" which feature her singing "I got your back and leaning of the back of her sexy saxophonist Adam Flectcher, who along with her guitarist Dave played some hot Rock, Jazz and soulful solos. After acknowledging her musicians, she took the crowd down memory lane with her debut single "I'm A Sucker For Love" which she played guitar and gave props to President Obama and saying that all she wanted to do be the head of the music department in the White House as well as singing happy birthday to a female member of the audience. The show was going well until the stage hand told Marie that she had only fifteen minutes left to perform. Neither she or the crowd wasn't pleased to hear that and she decided to displayed her ghetto side be reminding the staff that she was contracted to perform a certain amount of time.
"My contract says 75 minutes" she said as the crowd applauded her for taking her stand.
After getting things straightened out, she performed a Jazzy version of her top charting ballad "Ooh La La La", putting the crowd in the mood for love, but one of the show's highlight was when she asked her daughter Alia Rose to sing Faith Evans' part on "Can't Last A Day", and both mother and daughter sounded great together earning a standing ovation from the audience, who was impressed with her daughter's professionalism and range (mother is raising her well). The touching part of her set came when she paid tribute to her late mentor Rick James by performing their classic duet "Fire And Desire" and let me tell you, she hit the notes higher and longer than the actual recording (something that Brintey Spears and Jessica Simpson aren't skilled to do). She sang that song with so much soul and passion that I though that Rick was going to make a surprise appearance from heaven to join her. She added some Gospel flavor to the song ad libbing sometimes I don't even know my name, which had the audience shouting and in tears. She then performed her Pop hit "Lovergirl" and closed with "I Need Your Loving" and "Square Biz."

The show was hot, but it would have been better had Studdard acknowledge Luther Vandross as he performed his songs, while Osborne should have performed his former group's hit "Stranger" as well as had his female vocalist join him to sing the duets "The Last Time I Made Love" and "Love Power" songs that he performed with Joyce Kennedy and Dionne Warwick. Marie's performance was good, but I would love for her to incorporate The Fugees' Fugee La along with the original version of "Oh La La La" which she had been doing since she returned to performing in the early 2000's. All in all it was a good concert and showed Brooklyn that people of all ages and races do have soul.

BROOKLYN BASED SINGER CHATS WITH BROOKLYN BLOGGER

FORT GREENE SINGER SPEAKS WITH HEART OF BROOKLYN WRITER

Brooklyn has produced a great talented singers including Lena Horne, Little Anthony & The Imperials, Full Force and Aaliyah, and Soul/R&B singer Nathaniel P, plans on keeping the legacy alive with his singing, and songwriting. Born and raised in Fort Green projects, Nathaniel honed his chops be singing in Church with his family, while listening to the Soulful sounds of Boyz II Men. He later stated to perform in a group that included his brothers, but decided to pursue a solo career, when the group decided to pursue other interests. Nathaniel has been making a name for himself by performing at various venues (with some upcoming dates in the Midwest next month) as well as shooting his first video for his single “Let Me In.”
I had the opportunity to meet this talented and cool singer at his video premiere party in Manhattan where he spoke about his influences, and the

DA-PROFESSOR: HOW DID YOU GET INTO MUSIC
NATHANIEL: My moms raised me in church singing in the choir like most of the best singers out their. They started in church. I’m trying to be like them.

DA-PROFESSOR: WHERE WERE YOU BORN AND RAISED?
NATHANIEL: Brooklyn, New York. Fort Green projects. Farside (laughs).

DA-PROFESSOR: WHICH SINGERS GOSPEL AND R&B INSPIRED YOU?
NATHANIEL: I would say as far as Boyz II Men. I’m still bumping my ole Boyz II Men (both laugh). I like real music like Carl Thomas, R. Kelly, Dave Hollister. All the real substantial artists, and on the Gospel tip, Smokey Norfil, Shirley Caesar, Tonex. Just the real Gospel artists.

DA-PROFESSOR: Nathaniel you brought up a good point about the real soul music . It seems that most record executives tend to sign artists who want to do the Pop computerized sound instead of signing the ones who wants to be original and have a authentic and original sound. How do you feel about that?
NATHANIEL: It’s true. I think that it’s kind of what the game is missing now. Labels are looking for the one single to push it to get rid of the artist instead of looking for an artists that they can groom and develop and put out substance. You know what I’m saying? I feel that there’s gonna be less money made in the game; our genre in R&B is gonna deplete if they don’t put out real R&B.

DA-PROFESSOR: WHEN DID YOU START PERFORMING PROFESSIONALLY?
NATHANIEL: Professional. I’ve been with my group five years, but solo, six months (laughs). That’s when I started solo; six months. I would say with my ground five years, so it’s been about five years since I stepped on stage.

DA-PROFESSOR: DID YOU RECORD ANY SINGLES WITH THE GROUP?
NATHANIEL: We recorded a lot of different songs,. We never put out one single. We just had a lot of different music, so it gave me that ear to develop harmony so now that I’m a solo artist, I still incorporate the same harmony because I’m used to it.

DA-PROFESSOR: WHAT PROMPTED YOU TO PURSUE A SOLO CAREER?
NATHANIEL: We went out separate ways just from us being grown men. We wanted to do different things. We all believe in each other and I listened to how I sounded doing solo material. A lot of people supported me and now I’m running with it and it’s looking real good.

DA-PROFESSOR: WHAT WAS IT LIKE FILMING YOUR FIRST MUSIC VIDEO?
NATHANIEL: It was official man. I had mad back-up dancers, I had real casted video girls. Everything was a big movement. It was new for me because as a group, we never did something of that magnitude so new to do it solo it let me know that maybe I should be doing this for real.

DA-PROFESSOR: YOU HAVE AN EP OUT. WHAT DOES IT CONSISTS OF?
NATHANIEL: I say it consists of a nice melody CD. You’ve got your slow jams. You’ve got your club joints. You got your I’m on the block joints. A quick collage of songs; I try to give you each side of me in five songs real quick.

DA-PROFESSOR: YOU MENTIONED SLOW JAMS. I LOVE BALLADS (BOTH LAUGH)
WHAT INSPIRED YOU TO WRITE BALLADS?
NATHANIEL: We all make love don’t we? (Both laugh loudly) I mean that’ s what it really is. I like that moment and freeze it. I don’t technically write. I kinda record and go along so I try to freeze and record it.

DA-PROFESSOR: I SEE THAT MICHAEL JACKSON WAS AN INFLUENCE BY THE DANCE ROUTINES IN YOUR VIDEO. HOW DO YOU THINK HE MADE AN IMPACT ON MUSIC?
NATHANIEL: I feel that was a big than M.J. did for us as African-Americans. Him going was way too soon. He made me realize that it’s a magnitude of fame and just touching people if you work hard enough and that’s the direction I’m going with.

DA-PROFESSOR: WHICH ARTIST YOU LIKE TO WORK WITH?
NATHANIEL: I would like to work with artists who are making numbers now. That’s making a positive change. Usher cuz I like him. Musiq Soulchild, definitely one of my idols, but let’s go back; Stevie Wonder. I would love to do a joint with him. John Legend. I would love to do joint with John Legend. Rap artists, Hova. He’s from Marcy. I’m from Fort Green. Fabulous.

DA-PROFESSOR: YOU MENTIONED YOU’RE FROM BROOKLYN. THERE HASN’T BEEN TOO MANY R&B ARTIST THAT EMERGE FROM BROOKLYN SINCE FULL FORCE. HOW DOES IT FEEL TO BE PUTTING BROOKLYN ON THE R&B MAP?
NATHANIEL: I think it’s a good look. As long as I keep Brooklyn behind me, I think I definitely will fill changed like I got an battery in my back cuz I know I got to hold down. Brooklyn artists come out and they go hard so I’m not gonna drop the ball and mess it up from Brooklyn so I’m going hard.

DA-PROFESSOR: WHERE DO YOU SEE YOURSELF IN THE NEXT 5-1- YEARS?
NATHANIEL: I see myself an entrepreneur with my own label. My clothing line. My own cologne. Production company. Publishing company One of the promising and provident writers out there. I want to write for everybody out there.

DA-PROFESSOR: HOW IMPORTANT IS IT FOR ARTISTS TO OWN THEIR OWN PUBLISHING?
NATHANIEL: Yes. Very important. Especially nowadays where labels are trying to take more and give less. If you come up with any ill melodies and you feel like you’re nice and you can come up with your own stuff, go with it! It’s important to know that’s where the money’s at.

MY DAY CHILLING WITH QUEENS BASED HIP-HOP/POP GROUP

DA-PROFESSOR’S ONE-ON-ONE WITH CONCRETE CITY

The borough of Queens have produced many talented and legendary recording artists including Run DMC, Salt-N-Pepa, Kwame, and Onyx, and R&B/Pop/Hip-Hop group
Concrete City plans on keeping Queens on the musical map with their talent, music and professionalism. Consisting of rapper Ace and singer Suave, the duo has been best friends since childhood, which I noticed when they called to confirm our interview and when they met me at the Long Island Rail Road, and spoke on the way to Burger King where they spoke about their friendship, career and the importance of not being placed in a musical box and staying on top of their business.

DA-Professor: How did you get involved with music?

Ace: When we were younger, we had a lot of different types of music we listened to, so I found out he sang, and he found out I rapped and we formed together and figured we can do it ourselves.

DA-Professor: Who are your influences?

Ace: Big L, Beyonce (all laugh) Usher.
Suave: Luther Vandross, Stevie Wonder.


Da-Professor: You like some classic soul and old school music.
Suave: Yeah. I like a lot of old school music.


Da-Professor: How did you come up with the group’s name and what does the name represent?
Ace: We got the concrete part because we’ve been best friends since we were little, so if you was to go somewhere and they would see me alone, they would way where’s Suave at? And vice-versa. So we came up with the name Concrete because we have a tight bond together.
Suave: That came from the fact that we’re from New York and we always see the billboards and every time we see it, we’re like ‘we want to be up there one day. We came up with the city part basically we’re from. We basically put the two together.

Da-Professor: I listened to your music and I notice that you don’t have the typical computerized beats. It has a live sound. What made you decide to do that instead of looping?

Ace: We like the live sound of real pianos, organs, drums, violins. (We like to) think out of the box.
Suave: We don’t like to put barriers on ourselves as far as considering us as Hip-Hop and R&B cause we do all types of music as well. A lot of times, we refer to ourselves as a Pop/Hip-Hop group.

Da-Professor: You made an interesting point. It seems that white artists can do R&B and Hip-Hop and be accepted, but when Blacks and Latinos add other genres like Pop and Rock to their music, they sometimes find it hard to be accepted by the media and Black audience. How do you feel about that?

Ace: As for at the Black race, I just think there’s a certain way you have to go about doing it and the certain kind of music you have to make a certain type of determination you have to have with that market. When a white person tries to enter Hip-Hop, a lot of people say that he’s trying to be Black when its just not that; you have to work harder to get into that market.



Da-Professor: You recently performed at LaGuardia Community College. How was that performance?

Ace: It was a good show.
Suave: We had a very good response from the audience. They really took to our performance. They really like the songs. We had people come up to us after the show and shook hands.

Da-Professor: Your song “Best Friend” is hot and I can tell it’s one of our favorites. What was the inspiration for that song? (We all laugh)

Ace: From personal experience.
Suave: I think everybody can relate to it. Everybody been in a relationship or a situation where they had a partner and they met that person. Partner. Friend.

Ace: Best friend.
Suave: Friend. Cousin. Whoever it may be.
Ace Come into the picture and
Suave: and like why didn’t I meet that person first? (Both laugh).

Da-Professor: Another song I like is “So Confused” which deals with bad relationships and domestic violence. How important is it for you to discuss these topics?

Suave: It’s funny you asked that. “So Confused” is one of those songs you put in the Pop category and also with that song, we came up with that song before the whole Chris Brown/Rhianna situation. Even with that being said, it’s funny how that song relates to that topic. That song also talks about domestic abuse in relationships.

Da-Professor: When it comes to domestic violence, we hear about the females getting abuse they have sympathy for them, but when you hear stories about males getting abuse, they brush it off. How do you feel about that?

Ace: Well as far as the brushing off, I think that certain type of guys have a certain amount of pride so they’re not gonna break that pride. They’re not gonna say anything.
Suave: It does exist.
Ace: It does exist.

Da-Professor: In addition to music, what else do you do?
Suave: Model. Act. In our performances, we dance.
Ace: We write all of our songs and produce all of our songs.



Da-Professor: That’s interesting. What made you decide to take control of your music?
Ace: We like having a lot of hands on with our project.
Suave: We like knowing what’s being done because we like what’s being done.
Ace: Even with management. It’s the same thing. We can have a thousand people putting out posters, but at the end of the day, we’re gonna be out there putting up posters too.

Da-Professor: You’re from the borough where acts like Run D.M.C., Jam Master Jay and Onyx. How does it feel being born and raised in this borough and how you’re gonna add to the legacy of Queens musicians?

Ace: I feel blessed to be mentioned in the same town as these people.
Suave: (And) everyone you named, we listened to all of them and you will hear influences from those people in the music.

Da-Professor: It seems that artists who are talented and business-minded intimidate people. How do you feel about that?

Ace: As long as you know what you’re doing and you know everything about what you doing, then you’ll always be a step ahead of the competition.
Suave: You always gotta make yourself knowledgeable of what you’re trying to pursue.
Ace As well as being the artist.
Suave: Exactly.