Maimouna Youseef-Shine Your Light

Whats up party people
This is ya girl
Sherry Duveaux
On WTLC rocking for the hard working folks
Just getting off of one gig and heading to another.
But in this crazy Friday rush hour traffic
I gotta jam that will smooth you out and get you right for the night
Imma about to split but before I do
An instant classic by none other than Maimouna Youssef
Dig the lyrics jack, she’s dropping some knowledge and making you feel good too
A little inspiration from your favorite station, a groove to get you in the mood,
Some Sounds for your get down
I know its rough out there yall, the Man’s foot always on ya neck
but don’t worry about that sucka, just shine your light and I’ll catch you on the flip side…

 

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Keep on Walking with your head held high (shine your light 2x)
Keep on talking like you heard it from the sky (shine your light 2x)
We aint gonna let ‘em bring us down (shine your light 2x)
You know we come too far to give up now (shine your light 2x)
The chosen people bare the hardest load (shine your light 2x)
Heavy is the head that wears the crown you know (shine your light 2x)
Give Him thanks cuz we got Soul (shine your light 2x)
Baby shake it off and let the good times roll (shine your light 2x)
And lets party, everybody come together if only for one night (shine your light 2x)
Forget the troubles of the world (shine your light 2x)

 

Hook:
Lead: Oh and let the good times roll BGV: Shine your light (Repeat)
Lead: its good to be a light
Hey Let the good times roll, it feels so good to be alive
Child is born with no state of mind
Raised up in this ghetto life
Three strikes got daddy doing time
Feel like he was born under a bad sign
Crooked cops shoot your kids right in the back
They raided my grandmamma house, she had a heart attack
And when black girls go missing they never look for that
This ain’t nowhere to live but sh*t its where we’re at

Always seeming like we falling on some bad times
But we find a way to smile and keep our heads up high
Oh party Just forget about the troubles of the world HeyToo much hard times will hurt your pride (shine your light 2x)
And the ones that you love don’t ever do you right (shine your light 2x)
So I keep on living with my head up high (shine your light 2x)
Everywhere I go Im going to shine my light (shine your light 2x)
Im going to stand on my feet if I have to die (shine your light 2x)
I’ll never live on my knees just to pacify (shine your light 2x)
People don’t you have no fear tonight (shine your light 2x)
God Children were promised ever lasting life (shine your light 2x)

 

Hook:
People come together, forget about the troubles of the world,
shake it off and let the good times roll,
shake it off and let the good times roll baby,
feels good to let the good times roll

Teshay Makeda

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This gorgeous woman is talented singer Teshay Makeda. Makeda was born in south London and raised in a Rastafarian household. Her upbringing has also influenced her styles in music which have elements of reggae, roots, soul, funk and rock to name a few.
Through her music, Teshay spreads Rastafari livity through her feminine energy. She has a Self Titled EP out Teshay Makeda which she promotes and distributes on the various showcases she does around the UK. Teshay Makeda is currently writing her first album.
Coming from a musical background, Teshay Makeda has been singing since the age of seven which started on showcases on The Twelve Tribes of Israel and being part of the school choir. At the age of Ten, she joined Vocal Zones Productions where she was vocally trained amongst other things which really improved her performance ability. These foundations have molded her into the artist that she is today.

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R. Kelly: Sexual Predator or Scapegoat?

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I anticipate that this post will be unpopular. I acknowledge the contention that my assertions will certainly prompt and welcome the scathing comments in the section below. With that being said, I still very must feel that my perspective is worthy of articulation and exposure to those that care to listen.

Singer and R&B legend R.Kelly made headlines this week for allegedly assembling a sex cult consisting of underaged girls. These allegations bear a disturbing connection to R. Kelly’s previous trouble with the law, portraying Kelly as a an OJ-like figure–a haughty  recidivist who finagled through the loopholes of the American legal system.
I feel obliged to state that I have no respect for R. Kelly as a man. I do however, respect his talent. I perceive the ‘Pied Piper’ as an enslaved black who used America’s need to hyper sexualize the black man as a means to foment his career. While Kelly defiantly made family friendly songs like “Step in The Name of Love” and inspirational songs like “I Believe I Can Fly” and “The World’s Greatest” most of Kelly’s hits are sexualized slow jams to which I’m sure proved background music to the conception of many post millennials. His sexualized image fueled a career spanning over two decades with a plethora of adoring black female fans.

These fans remained loyal to Kelly even after a video surfaced of the singer issuing a golden shower to a then-fifteen year old girl. The charges were eventually dropped and buried in the past of a musician who was still able to maintain his mogul stature despite dramatic changes in the music industry.
While my argument is not to pardon R. Kelly from blame, it is that he is not the primary cause of the hyper-sexualized black female body that faces violation without consequence. R. Kelly was relieved of any legal responsibility in previous allegations of sexually violating a black female teen simply because the black female body bears no significance to the Western world outside of monetary gain. Consider how quickly the western world kills and incarcerates the black body.  The reason why Kelly was not susceptible to these consequences is not because of his riches, but because his “crimes” served an integral purpose in maintaining white supremacy. Moreover, the world was and is more interested in portraying Kelly and his victim as sexual beasts than to upholding the integrity of those they do not see as a human let alone bearing the presumed innocence of femininity or childhood.
To the western gaze, the hyper sexuality of the young black female body violently seduces Kelly. To this same gaze, Kelly is a sexualized being unable to resist the callings of his bestial urges. Together, these caricatured images of black sexuality function assemble the historical narrative of blacks as primitive and underdeveloped beings worthy of the death and incarceration that befalls them.

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Kelly, a melanated individual who believes his conventional success consummates his transition to whiteness, feels as entitled to young bodies as the white man did and does to young black females. Kelly, is a symbol of what happens when a morally impoverished black youth offsets a journey to acquire physical wealth and not a collective consciousness. As members of an oppressed collective, it is essential that we proceed with consciousness. To proceed without it, is to inevitably mirror our oppressors in thought and action.

There is also a large possibility that this ordeal is entirely fictional, and yet another means to lynch a black man by the rope of hyper sexuality. But the verity of these accusations does little to supersede its societal function. The scenario depicts how the black man and women are commonly pitted against one another and how the black male is villanized for implementing what he was nurtured to idolize—white male ideology.

The teachings of white supremacy are second nature to anyone not possessing a conscious gaze. I read The Bluest Eye by Toni Morrison, a few years back and was mortified at what Pecola’s father does to her on the kitchen floor. I resented Morrison for years, holding her in contempt for depicting the black man as indifferently robbing his child of her innocence.

It took me several strides into consciousness to realize that the father was a man systemized and nurtured to become an animal, a subjugate human who performs the dirty work of his master in his oppressed state. This is not an excuse, as his actions are detestable and hard to read, yet even more difficult to process as a factual fate rendered to so many blacks throughout the diaspora silent in the shame of their systemic violation.

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Kelly symbolically stands in the same image of this fictional black man who encompasses the factual narrative of so many other black males castrated by earthly demons who program the black body to inflict white evil onto their own people.

Kelly’s actions function to lure black women from blackness into the arms of feminism–yet example of society’s dedication to turning racist issues into sexist issues to further the cyclical disenfranchisement of blacks by hurling our struggle into oblivion. A second offense by a black praised for his prodigious talent, serves another blow to our collective identity alongside similar allegations afforded to other black greats like the late Michael Jackson, Bill Cosby, Kobe Bryant, amongst others. These allegations function to fuel white esteem and denigrate black collective worth in staining the black psyche with portraits of themselves that seemingly lack a moral compass.

So, to those quick to compartmentalize a black man as a sexual villain— I would like to redirect your attention to the words of the late and great Malcolm X:

“If you’re not careful, the newspapers will have you hating the people who are being oppressed, and loving the people who are doing the oppressing.”

To what contempt will you hold a system that upholds the systemic soiling of black female bodies?

To reiterate I am in no way excusing Kelly, but evoking a sense of nationalism to assert that we as a collective have been wronged by a system that lures us to incessantly blame ourselves but seldom confront the  true villain and sole benefactor of global racism.

In closing, the power of blackness lies largely in realizing if and when we are being played. So while we may not be playing chess, our systemized state as blacks bears a close resemblance to a king being used to seize the most powerful piece of the game–his queen.

Article by CC Saunders

Oshun-Sango

No pressure, you don’t have to love me
Just give me some time, just make me feel lucky
When you lay with me night
And when the sun comes up to meet the light
You say that you don’t care
I’m big enough to handle it
Just play in my hair and kiss me while the candles lit
Your secrets safe with me and I won’t tell
I don’t mind if you hurt me it’s my own fault that I fell
And I tell myself I need you, but you don’t feel the same
And double standards taught me I should let you play the game
But I’m not ashamed of playing the fool
Just call me beautiful
You tell me things like you’ll leave her when we both know that’s not true
And make promises of the things we both know you won’t do
Boy it’s cool, I’ll crumble alone
And you gone live your life and only fuck when in the zone
And yeah you make me moan
I put you on a throne; you won’t pick up your phone
But baby you make me feel grown
So I persist to give you everything you want
Even though you kept it real with me and you been blunt
Saying that we won’t be together and this is only lust
And never equals never
I’m on the same page as you
There’s nothing that I can explain to you
To show you why

Oshun...

I just keep on giving
I cannot keep living for you
Got my mind spinning round
You gon’ let me drown
But I’m sick of falling
I wanna rise to love
Rise to love
Rise

(Verse 2)
A weak woman goes where she is smiled at
But I’ve never seen a smile quite like yours
Said he loves me, he loves me not
Well he’s not sure but he knows he wants me
Yeah he said I’m making him hot hot hot
And so I let him take my top off
I don’t know thinking maybe things will pop off
Or sparks from the physical signals to his mental for a certain type of spiritual relationship
But, he just want the rhythm of my hips
Placing seldom kisses upon my lips
You know that quick fix satisfaction
Bridging to nowhere, a fatal attraction
Like whoa there, why did we go there so fast?
We knew that purely matter never ever last
Now morning glass outside looking in
While your bragging bout my ass to your friends
And I know this all begins with my issues with men
That’s why

(Chorus 2)
I keep on defending
The fact that I’m depending on you
I know it’s true that
A weak woman goes where she is smiled at
But I’ve never seen a smile quite like yours
Whether you love me or love me not
I’ll adore you forever more

(Chorus 1)
And I’ll just keep on giving
I cannot keep living for you
Got my mind spinning round
You gon’ let me drown
But I’m sick of falling
I wanna rise to love
Rise to love
Rise

Jasmine Burke

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Jasmine Burke was born on August 13,1983. Jasmine Burke is an award winning, American Actor/ Singer/Filmmaker from Atlanta, Georgia who attended Kennesaw State University on full scholarship. Growing up in musical theatre paid off when on a whim, during college, Jasmine tried out for the hit talent competition MTV’s Making the Band 3 and advanced to being a finalist. After the whirlwind experience Jasmine decided to go after her real passion, acting. Soon after she caught the attention of legendary casting director Rueben Cannon who cast her in Tyler Perry’s Meet The Browns and then Daddy’s Little Girls. Since, Jasmine Burke has been full steam ahead making notable appearances in The Secret Life of Bees, Van Wilder, Vampire Diaries, Army Wives and Ride Along, to name a few. Also starring in Vh1’s Drumline: A New Beat and Bounce TV’s record breaking Saints and Sinners.

Exercising her many talents, in 2009 Jasmine wrote, executive produced and directed her first film, a comedy, Lucky Lotto. Lucky Lotto went on to become a winner at the 2010 Women in Film and Television International Short Film Showcase. Jasmine also won an achievement for directing Lucky Lotto at the 2010 WIFTA’s.

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Jasmine’s philantrophy extends to global organizations such as The Boys&Girls Club of America, Girls Inc., The Miss Black Teen Atlanta Scholarship Pageant, C.A.S.A (Court Appointed Special Advocate), 500 Songs for Kids.

Ryan Destiny

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Ryan Destiny Irons was born January 8,1995.   Destiny recently was featured in a recurring role on the cable drama “Low Winter Sun,” opposite Mark Strong and Lennie James. She currently stars on the Fox drama Star.

Destiny starred in the 2015 independent film “A Girl Like Grace,” opposite Garcelle Beauvais, Paige Hurd, Raven-Symone and Meagan Good. For her performance in the movie, which premiered at the Los Angeles Film Festival, she earned a Nollywood and African Film Critics’ Award (NAFCA) nomination for Best Lead Actress in 2015.

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She also is a former member of the pop music trio Love Dollhouse and currently is working on a solo project.

Destiny resides in Detroit, MI, where she was born and raised.