Full of Excitement/Not One Lull

"We like Ruby Dee and Ossie, Martin and Coretta, doin' it to death no one do it better, when we leave our physical our spirits still together."
Gettin' Up by Q-Tip

my favorite boy...besides the obvious

how do I love Q-Tip...let me count the ways. he is smart. he is witty. he is weird. he is artsy. he is soulful. he has staying power (musically at least). he is eclectic. he is vintage, yet futuristic. he is well-versed. he is hip hop, up and down. he is like my old school common. but takes himself way less seriously. he has a new album out. he is my favorite boy, besides my obvious favorite boy.

Summer Playlist

My favorite songs of the summer so far...

1. Sumthin In The Air by Middle Child

2. Crazy/Wonderful by Amerie

3. Can't B Good by Janet Jackson

4. Back In Love by Estelle

5. Me by Erykah Badu

6. Me & Cousin by The Liquid Crystal Project

7. Escalad by The 3rd

8. Planets by Peter Hadar

9. Energy by Raheem Devaughn

10. Til the Sun Comes by Middle Child

11. I Decided, Part 1 by Solange

12. Lemme Get That by Rihanna

13. Fifteen Minutes by K'Naan

14. Shove It (Remix) by Santogold

15. My Drivethru by NERD

16. B Side Love Affair by Sy Smith

17. Gettin Up by Q Tip

18. Desire by Raheem Devaughn

Birthday Fiasco

I will be 27 in 10 days, and there will be no birthday fiasco, thank God. I plan on hanging out one night with friends, doing something relaxing and going to church.

I feel like a woman, for the first time. I am happy for developing my own personal style and wisdom. I am happy with my decisions in the face of adversity. I know who I am. I know why I am the way I am, and I am on schedule to correct the things needed to be changed.

I am glad my boyfriend showed up in my life when he did. A day earlier or later would have altered our relationship. I see my peers, out in the clubs, perusing over the hungry men and floating between lovers. I'm glad it's no longer me!

I'm glad that I am my weird, quirky self. I'm done trying to fit into a box that just doesn't fit anymore. I love life. I live strife. I love hard and I love tomorrow.

I have a short list of birthday wants, if I get them I'll be pleased. If I don't I'll get them soon.

1. A Braided Bun.
This look that Jessica Simpson is rocking is all the way fierce. In my search for a protective summer style, this is what I'm going to roll with. Nothing like a big ol fat bun, paired with some dope earrings and stunning eye makeup.

2. Smell Goods
I've been without a sexy scent for a while, so it's time to re-up. I wouldn't mind my signature scents CoCo Chanel Mademoiselle and DKNY Be Delicious. I am also loving this line of smell goods I discovered called Pacifica Soaps (http://www.pacificasoaps.com/) with earthy beautiful scents and natural products.


3. Fondue
Beacause I love sauces and dips, and I think it's sexy.

4. New music
You can pretty much get me new music for any occasion and it would be fitting. I've been checking out the latest albums by Peter Hadar (www.myspace.com/peterhadar), who so happends to be a friend of my beau. He is a lot more old school R&B as he seems, and relishes in his eclecticness, which is dope. He is also an industry head, so he knows all of your favorite artists personally. Sy Smith, whose resume reads like a dream, has a new gem with a mix of soulful house gems, and a stellar set of pipes.

The Macy's Music Festival in Cincinnati features many of my favorite artists, and is being held the week after my birthday. Earth, Wind & Fire, Jill Scott, Raheem Devaughn and Chrisette Michelle (would gladly see them again), all just a few on the lineup.

All that and just time to chill and be greatful would make my birthday a wonderful day.

Music I Love Right Now

Estelle's debut album, Shine really surprised me. Her first single, Wait A Minute (Just A Touch) was a little overrated to me. Her accent was cute, but a barrier for me to understand her Rap lyrics. But after she remixed Impatient by will.i.am and made the cheeky American Boy featuring Kanye West, I was intrigued to hear her whole album. Estelle encompasses the sassy, urban chick vibe perfectly well, with her collection of uptempo, Hip Hop and Reggae tinged anthems. Comparisons to Lauryn Hill arise, mostly due to her accent, island flair and production by Wyclef, but let's face it...no one combines raw emotion and musical depth like Ms. Hill. That's just an unfair comparison. I give her kudos for pulling some of the biggest names in urban-alternative music, with cuts featuring Cee-lo (Pretty Please), will.i.am (Just a Touch, American Boy), Kanye West (American Boy), John Legend (You Are), Mark Ronson (Maginificent) and Swizz Beats (Shine).

Columbus' own J Rawls and Middle Child are the latest producer/songtress duo to catch my attention, with their June release Rawls & Middle. The album is a delicate blend of straight up soul and solid production...with just enough sonic weirdness to keep your ear tuned for what's next. My favorite, Something In The Air, is a breezy tune, that would be jazzy if it wasn't for J Rawls obvious Hip Hop flair. Lovers On A Stroll is a song that warrants the dance floor with its dominate Spanish piano. Songs that touch on different genres are what makes this project a keeper, with each listen you'll find even more to appreciate. Just when you want to catagorize Rawls & Middle as an R&B album, a song like By Your Side, with a heavy Rock influence suprises you once again. Don't Lock The Drummer Up is song that is so hard to classify, yet so brilliantly simple and weird, it is bound to be one you have to listen to more than once in order to understand its urgency. You never know what you'll hear from these two in future, which makes it even more pertinent that you Google them every now again, in anticipate of their next releases.

You can never go wrong with Al Green, especially when paired with Neo-Soul pioneers like James Poysner and ?uestlove. His newest album, Lay It Down, is a Soul lovers dream, with rich, yet sparse arrangements, and songs that will get you through any lover's situation. The title track is a slow but steady stab at new love that updates yet respects Green's signature sound. Guest appearances by newbies are fitting and not gimmicks, with Corrine Bailey Rae, John Legend, Anthony Hamilton and horns by The Dap Kings (of Amy Winehouse fame). Each brings their own personality to the project without stepping on Green's toes. Hopefully this album will go one to earn many awards and accoladed, as it purposefully updates a Soul music legend. Modern-day crooners, take note.

I've never lost my faith in Soul music, even during its "R&B singers who want to look like rappers" phase. After seeing Raheem Devaughn and Chrisette Michele live this past weekend, I am pretty confident that the genre is florishing and not folding into Rap music. Both of these performers can blow. Michele has a sweet powerfulness to her voice that can be demanding and assertive at times (Good Girl, Be OK), and coy and feminine at others (Like A Dream, If I Had My Way). She stands out in a genre of amazing singers being more around the way than Jill Scott, more refined than Mary J. Blige and more theatrical than a Keyshia Cole. Devaughn may be the best Soul music performer out these days. Period. He is Hip Hop when he needs to be, but can produce hysterics from the crowd, just like any good Soul singer should. His albums are good, but the best way to experience what he dubs "the love experience" is to see Raheem live. Straight up.

My Ugly Sexy Boyfriend

It's not even that Ne-Yo is that ugly. What qualifies as cute nowadays, anyways?

What Ne-Yo lacks in the looks department, he sure does make up for in the creative, artsy, musician sexy boy department. My love affiar with Ne-Yo began long ago, when I couldn't stop bobbing my head to Let Me Love You by Mario. I noticed I was way more in love with the lyrics than the actual singer, Mario. I found out that a young chap named Ne-Yo penned the tune and have anxiously followed his career ever since.

My crush, however, has grown much in the last year. With production credits all over the place, Ne-Yo has firmly planted a spot as the premiere R&B/Pop producer of all the hottest singers. His song, This Can't B Good by Janet Jackson is by far the best song on her latest album Discipline. The aching allure to the song, screams of Ne-Yo's pen. And as sexy as Ms. Janet is purring over the rhythmic bassline, I can only think of Ne-Yo when I hear the song.

But let's not be mistaken. Just because Ne-Yo writes amazing music for many others, he definately saves the jems for himself. His new song, Closer, is everything I ever wanted out of House and R&B music. The lyrics are sexy and intricate, and the beat thumps enough to get any party started. Anticipating his new album, The Year of the Gentleman, has almost surpassed my excitement for my Pretty Sexy Boyfriend Usher's release.

Emcees Are Lucky She Doesn't Rap

Not to mention, her kids have the hottest emcees blood running through their veins.

Erykah Badu is the most commercially successful hip hop artist out. Yes, I am aware of who has deemed themselves the hottest rapper alive, who claims to be the king of New York and who's album sold the most. And there are many factors to suggest that Badu isn't even considered a hip hop artist:

1. She is a woman. Most hip hop artists are men.

2. She doesn't rap. Most hip hop artists are rappers.

But rap, isn't the only criteria for being hip hop. And, with all things considered, Erykah Badu writes better lyrics and rides the beat better than all of your favorite rappers combined.

Erykah Badu understands the legacy of of hip hop. It began as a voice for the underserved, black community. It was creative, witty, yet inspirational and party-oriented. It was serious, it was silly. And even when it seemed demeaning, or outright scary, there was always hope for change. To the detriment of many hip hop artists, many don't understand that the music associated with hip hop comes with a responsibility that other genres do not. Hip hop wants you to be proud of your roots, celebrate your gains, but not remember who was left behind.

Part of Erykah Badu was molded from the Yo Yos and Queen Latifahs of hip hop. She is sassy, serious, yet can rock over the most monsterous beats. Part of Erykah Badu is the old school classics that hip hop is sampled from. The blaring soprano of Chaka Khan and the moody blues of Lady Day. See, when you listen to an Erykah Badu album, you are getting the future and the past all in one.

What makes Badu so hip hop is her combination of understanding the "people," yet understanding that the people love the beat. It's an exquisite dance that she performs on her latest release, New Amerykah Part One, where she waxes poetically over the dirtiest of hip hop beats, falling right into place. Never has Badu sounded like a ridiculous R&B singer over a hip hop beat. From day one, she has always had the head nodding beats with the message of the hood in the lyrics.

She addresses, not only the ills of the hood with understanding, unlike most emcees. She speaks to the women of the black community. Now, which one of your favorite female rappers can claim to be the voice of the people. And no, Lil' Mama doesn't count. Where is there a song of sympathy for the woman who has fallen in love with the drug dealer, like The Otherside of the Game? Where is the song for the woman who is not trying to be a player, but loves two mean like Next Lifetime? And what female hip hop artist has ever been so supportive and concerned with the plight of the black male, as seen in Time's A Wastin?

She sums it up in her ode to hip hop, Love Of My Life, a female take on Common's jewel, I Used To Love Her. The remix, featuring Queen Latifah, Bahamadia and Angie Stone further illustrates her understanding of the genre, unlike many of her peers.

Badu has been the only woman who has managed to have her audience accept her creativity, while working with the hottest hip hop producers and keep her sexy without selling out. I know Badu is an emcee. For whatever reason, she hasn't let that part of her repetoire shine in full display. But all these emcees better be lucky she doesn't rap...yet. Because I'm sure she would shut the game down.

A Song For You

"Donna, I hope you don't still hate me. Please give me a call one day, I want us to be friends." The email was brief, and my ex-boyfriend kind of had a point. It had been at least two years since we had last communicated. And as tumultous as our ending was, I'm not the one who holds grudges. I've forgiven a lot more for a lot worst crimes.

But there was something about this situation I could not let go. More than the other chick. More than the embarrassment of being cheated on. More than the months of being led on. it was that song. My ex wrote a song about me, and put it on his MySpace page for everyone to hear. Okay, he wasn't T-Pain, so it wasn't for everyone to hear. But it was public enough to tear even more holes into any fabric of a friendship that still existed between us.

The gist of the song? I love this girl, but I just can't stop having sex with her. And she uses sex to keep me around. In his tale, summarizing the end of our relationship, he depicted me not only as manipulative...but desperate. He said, I used my body and my head to control his heart. I forced him to betray his heart for what his dick wanted. And all of this was set to a sample of Let's Stay Together by Al Green.

On a scale from 1 to 10, my feelings for this boy were a solid 6. So though the actual situation felt pretty horrendous, the calculation behind totally embarassing me afterwards is what really hurt. It's one thing to bad mouth an ex in the heat of a conversation. It's quite another to write a song, produce a beat, buy studio time to record it and then upload it onto MySpace.

So for that discretion, I'm finding it hard to reply to emails and random text messages from him...I can't even produce fake smiles as my friends casually mention this fella. For immortalizing my pain and making me look like a needy broad, I don't know if he can ever been forgiven.

My Favorite Things 2007-Part One

The Albums Edition

2007 wasn't a bad year in music. That's a sentence that your favorite music critic would probably cringe as they read. In retrospect, pop music is becoming more diverse, as niche rappers (crack rap) seen more mainstream presence. With the rise of diversity on the singles charts however, the album continues to suffer.

Long gone are the days where pop artists got double and triple platinum. Shit, I remember N'Sync selling 10 million albums in the late 90s. With more and more artists and record labels focusing on the immediate bang for their buck, the album has suffered. I don't knock artists who can make a cool million off of a catchy hook and sone ringtones. But, in this short attention-span day in age, special consideration must be given to those artists producing cohesive, well-conceptualized pieces of work.

So below is a list of my favorite albums of the year. There has also been a host of albums I didn't get to while entertaining all of the other new music I've been listening to. There are a couple I just haven't listened to yet (Get Back by Little Brother and The Big Doe Rehab by Ghostface, just to name a few). If it's hot and I didn't mention it, I haven't heard it!

If You Don't LiKe These Albums, Kill Yourself (Not Really)

American Gangster by Jay Z

Hands down, the best album of the year. Each track is potent and progresses the concept of the album. Jay Z at his most passionate since the Black Album. After a string of halfhearted attempts at a comeback, true Jigga fans can see the swagger, lyrical prowlness and maturation of their favorite rapper in American Gangster.

Back To Black by Amy Winehouse

Sadness and abuse in its most beautiful state, Amy Winehouse drags us through the ruins of her broken heart, while recruting some of hip hop's finest emcees as collaborators (Ghostface Killah, and Pharoah Monche and Jay Z on remixes). Showing that pop music can be vivid and soulful, as long as Amy Winehouse doesn't end up overdosing, she has more than proved herself with this collection of interesting and witty music.


Ear Drum by Talib Kweli

Talib has everything for every type of hip hop fan, hence his opening track Everything Man. Providing the best mix of intelligent, yet bangin' hip hop, you can't go wrong with any of the stunning tracks on this CD.

Finding Forever by Common

Common more than met his goal for creating "forever music" with this gem, as he continues to create and stretch his niche in adult contemporary hip hop music. Though his main producer, Kanye West, continues to overshadow him in the media, Finding Forever more than overshadows West's efforts.

Left by Eric Roberson

Your favorite artist's favorite artist, Erro raises his own bar with a futuristic, soulful collection of ballads that work as uptempo songs and dance grooves that can be slowed down. Basically, the most versatile soul record probably since Roberson's last attempt. Definately an artist at the height of his artistic game, and his growing legions of fans are always anticipating his next move.


The Real Thing by Jill Scott

Big girls do cry, sorry Fergie! Jill Scott is probably the most believable when it comes to mixing vulnerability, lonliness, pride, sex appeal and overall femininity. On her latest, and probably most underrated work, Scott goes through a kalediscope of emotions after her recent divorce, but manages to keep her confidence and artistry at its peak.

Honorable mentions to: Desire by Pharoah Monche, Introducing Joss Stone by Joss Stone, The Return of the Magnificent by DJ Jazzy Jeff, Graduation by Kanye West

How Amy Winehouse Changed My Life

" I think maybe your word choice is affecting your thoughts....or maybe vice versa"

--my homie Damon in the midst of one of my freakouts

Or maybe it's my music choice? Because this year has been the most somber, in terms of my emotions. Most of the time I would rather be sulking. Was that Amy Winehouse's fault?

Because ever since her American debut Back To Black entered my life, all of the silver linings of my clouds have been eroded. There is this soulful, yet corrosive underbelly that has developed in me. Everytime I hear Rehab, in spite of the clap-inducing music, the tone is clear. This song is about a chick at the brink of a breakdown.

Even when witty, as on Me and Mr. Jones, Amy Winehouse is dealing with the indifference of her mate. On Tears Dry On My Own, Amy takes the upbeat tone of Ain't No Mountain High Enough, and turns it into a declaration of lonliness. Amy's imagination gets the best of her on Back To Black, where she describes the other woman's wetness on her man's dick. In the video she actually has a funeral for her broken heart. Damn.

I usually can't control myself when I hear Love Is A Losing Game. It embodies just about everything I've felt about love up to this point. And after playing Wake Up Alone over and over again, I had to deal with the reality. I never really had a man who wanted to hold me all night, wake up next to me in the morning. No one who has ever been crazy about crazy me. Or would put their own pride to the side for my love. And on He Can Only Hold Her, the blame goes internal. Maybe it's my own fault, being a distant lover, and I need to address my own commitment issues. I'm only 26. Shit, maybe it's time to let some shit go.

Is it that Amy Winehouse turned me into a drinking, crying, lonely mess? Or is it that I was never comfortable with how emotionally bankrupt I really was until I heard her music? Because before Amy Winehouse, I never allowed myself to mourn over my broken heart. I was a trucker, and trucked on taking blow after debilitating blow. Every man I was dealing with was on the down low. Every love that I was seeking was hidden. But with Amy Winehouse made me confident in my sadness. Her music makes me feel like, it's okay to be feminine and lush with complexity. And sometimes that complexity isn't pretty. But it's real. So this year, I think that I became a lot more up front with myself and my own emotions. And I have to credit a majority of the growth to Amy Winehouse. I just hope she stays alive long enough so that I can see her live.

Crush Music

"I got my pick and my shovel, I'm diggin' you...been lusting for you"
Sweet Sour You, Bilal

You like him...or her. It doesn't matter why, where, who and how. It doesn't matter if the object of your affection has a mate, or prior convictions or the baby mamas. You want what you want. Even if it's not what you need.

The most exciting phase of any relationship is that period before intent has been clearly stated. Before you know what intent is. That crush period, that time when all you can think about is your beloved. Especially when they don't know.

Maybe I'm crushing on somebody. Maybe I'm not. Being coy is one of my best attributes. Below is a soundtrack that can help you through those yearning periods in life.

Crush Music Mix
Crush by Zhane
Just Friends by Amy Winehouse
Prototype by Andre 3000
Breathless by Corrine Bailey Rae
When I See You by Fantasia
The Girl Next Door by Musiq
I Wanna Be Down by Brandy
Let Me Love You by Mario
You Don't Know My Name by Alicia Keys
Sweet Sour You by Bilal
The Lowest 1 Of My Desires by Van Hunt
I Want Her by Keith Sweat
My Fantasy by Guy
C.R.U.S.H. by Ciara
My Boo by Ghost Town DJs
I Want You by Erykah Badu
Like You by Kelis
Come Close by Common
Hey Lover by LL Cool J
Crush On You by Lil' Kim
Get You Home by Foxxy Brown
I Wanna Be Your Man by Roger & Zapp
Hello by Lionel Richie

Whip Appeal

"'Cause we got a way of talking/And it's better than words/It's the strangest kind of relationship/Oh, but with us it always works"

Whip Appeal by Babyface

What more could a girl want? Actually, scratch that. Women want a lot out of relationships. They want to be fully understood. They want happiness and reciprocity. I don't need all of that out of a man. I don't need high levels of acceptance.

This doesn't mean I'm cold as ice. That's the perception I've been trying to fight since I decided I wasn't going to be as giving in relationships. Just because my love is no longer an open book, that doesn't mean I won't entertain long looks.

This is hard to explain to people. Men are a lot more emotional than they think. And older ones are looking for stability and relationships. They are looking to lock it down with a wife. The are looking to be understanding and give a woman happiness and make her feel need constantly.

That's doing too much for me.

But I want to communicate. I want to disagree and be mad without causing drama. I want to be ecstatic and excited with just cause. I want my passion to erupt and ebb and flow throughout the relationship. I just don't want a man to make a big deal about it. I want a man who understands my whip appeal.

And has whip appeal of his own.

I heard the song, Whip Appeal, made popular by Babyface, on the radio the other day. And it explained exactly the kind of relationship I am looking for. See, I do a lot of talking and explaining and schmoozing for a living. With a man, I want it to be simple.

Come home and go hard. And not just sexually. Just someone who is ready to use all their senses to experience me. And leave the drama outside the door.

In the song, Babyface says, "whip all your sweet, sad lovin on me." Even the sadness of the world. Use it and express it while loving me.

That's the kind of man I want. One with whip appeal.

Just in case you need a refresher:

The Whip Appeal video (you know you wanna click it)

I Am An R&B Sadist

She never really looks that happy anyways

I was a little undewhelmed with Jill Scott's last album. I mean, I still have many of the songs from Beautifully Human in my iPod, but her bubbly effervescence was kind of annoying. Song after song of love making and submission; I Am Not Afraid, Golden, Whatever and Spring Summer Feeling...her fanbase was obvious aware of her marriage to that man she lamented over on her first album. Had Lyzel stole her thunder?

After hearing the sampler to her latest effort, The Real Thing, and reading all about her and Lyzel's break up in Essence Magazine, I found myself a little more interested in Jilly from Philly. Then it hit me. I like my R&B singers more when they are crying, out of love and resistant! I am an R&B sadist.

Mary J. Blige is probably the biggest victim of this phenomenon. The drug-induced cries on My Life is her best album. After sobering up and meeting the man of her dreams, many of Mary's fans are missing those passion drenched break up songs that were her claim to fame. Now, Mary is free from her chains and a recovered, fierce woman. But something in me wants to hear that angst present in Be Happy or the longing of You Bring Me Joy. Tell me you didn't contemplate your own existence after hearing Never Wanna Live Without You. Even when old Mary was happy, she was sad.

Mariah Carey is the queen of comebacks, rejuvinating her audience after a devastating public breakdown. I have to say, I enjoy the Mariah of Breakdown, Shake It Off and We Belong Together way more than the pop/inspirational numbers she sang in the beginning of her career. I like my R&B singers broken, but bandaged. Working toward completion, but not yet there.

Sure, this could be a commentary on how I view African Americans in media, or my jaded stance in relationships. But I am not alone. The pleading and begging of R&B singers has been a requirement of the genre. R&B singers have always lusted and yearned for their beloved. Happy songs mostly mean crossover hits. If you check out the R&B Billboard charts today, you will see that half of the songs in the top ten are sad songs. If we are sexin' or dancin' we are crying.

Can you imagine Amy Winehouse, fluttering and free of her worries? I want Lauryn Hill back, not for her uplifting songs, but the grit I felt when she moaned When It Hurts So Bad and Ex Factor. My love for 80s music was even full of angst. Superstar by Luther Vandross featured a powerless man, almost in stalker-mode. I even dig the introspective, moody Prince of The Beautiful Ones and Pop Life. Some of my favorite songs are depressing as hell: Never Can Say Goodbye by Isaac Hayes, Is It A Crime by Sade, Distant Lover by Marvin Gaye. There is something quite pleasing when I hear new schoolers like Please Don't Go by Tank and the sorrows of Keyshia Coles. And don't even get me started on my Al Green obssession! I think I might have a problem!

I like sad singers. I am an R&B sadist. When my favorite singers get a little happy, they lose a little intrigue, to me. Happiness is an upfront emotion, that is eager to be expressed to many. But to those who can really dig in the bellows of human existence, they deserve praise for their vulnerabilities. It's that, or I just get off on other folks' sadness.

Better Than Kanye and Curtis

Heads always say that the real hip hop is in the underground. That hip hop ain't dead, it's just zipped up in some backpack or in the alleys, outside of some hood spot. Well, seekers of the hip hop truth don't even have to look that far. Because Talib Kweli has put out the best hip hop album (that I have heard) of the year. And you can cop that on iTunes and Best Buy.

Eardrum isn't for everybody. Just like everyone doesn't want to pick up Wuthering Heights in order to appreciate literature. In his third solo release, Kweli has put together his most accesible piece of work. He is finally achieved that balance of lyrical lushness and production gold. His delivery is exciting. His content is sophisticated and highly stylized. Kanye wishes he could sharpen his point of view the way Kweli has. 50 Cent wishes he could be as convincing.

Far from a conscious rapper, Talib Kweli is just smart. It is clear through his diversity of topics and indulgence of language that he is the thinking man's emcee. The pulse that begins Everything Man sets the tone for the life Kweli is about to breathe into the whole album. The song is a description of not only Kweli and his many facets, but the roles of that all black men are given or expected to fill, whether they choose to or not. Say Something is a sonically interesting ego bash, featuring Jean Grae who easily hangs with the prominent emcee. Kweli shows that New Yorkers can have respect for Southern hospitality on Country Cousins, featuring UGK. Eat To Live describes mental and physical poverty that effects blacks throughout the diaspora. In The Mood is a slinky, smooth number that features Roy Ayers and Kanye. I prefer the version with J. Sands, but oh well. Give Em Hell is a more thorough lesson in religion and culture than I've ever heard in any church. Both parts of Hostile Gospel are an inside and out lyrical cleansing of the soul. Hot Thing features will.i.am. in a perfect fit, where Kweli gets sexy and waxes poetically about his better half. Let's not forget the kids; Kweli gives them a stellar tribute on Oh My Stars, which features Musiq in a roll that a sobered D'Angelo would have killed.

Needless to say, Kweli has covered the bases of the middle class struggles and the responsible folks. Each song is full of life and provides an earful of material to digest. It's hard to get into conscious rap sometimes. The bran flakes apperance and mediocre song composition can be impalatable. However, Kweli has surely transcended the image of the rapper who has lots say and little means to express it. No need to rely purely on Kanye for insight or Curtis for bangers. With Talib Kweli, you can have the beats and the brains.

Kanye's Fatal Flaw

"I feel the pressure, under more scrutiny/And what'd I do? Act more stupidly"

Can't Tell Me Nothing, Kanye West

At least Kanye West knows what his flaws are. And that recognition and the humanity that he injects into most of his songs, are what people like about Kanye. But it's hard to root for Kanye, who says he's been an underdog his whole life, when he pulls publicity stunts and acts like an ass.

Regardless of his public persona, Kanye as an artist has been one of the most progressive in recent pop music. His latest effort, Graduation, is a fitting end to his school series, showing a developed artist who blends his talents behind the boards as well as in front of the mic to make more than just beats and lyrics. Kanye composes songs.

Singles Stronger and Can't Tell Me Nothing set a very high bar for the artistic range that Graduation would display. Though both songs talk about the weakness of lust, the underlying theme of personal strength triumph in the end. The latest single, Good Life, is a feel-good jam with a strategically-placed P.Y.T. sample. Other than that song, Kanye has focused less on singles and more on solid, album-sustainable tracks.

Barry Bonds is a ball-grabbing, b-boy stance bravado duet with rap's most prolific rambler Lil' Wayne. Homecoming, plays off of Common's I Used To Love H.E.R., and turns Kanye's beloved hometown into a lady. Big Brother, the song that everyone has waited to here, is a peek inside the somewhat enigmatic relationship between Kanye and his mentor/boss Jay-Z. Nothing in this song as contraversial as people once thought; it is nice to see rappers show appreciation for one another. Drunk & Hot Girls is a dramatic ode to club hoes, that features Mos Def in the unconvetional role of wingman. Flashing Lights is introspective, featuring instrumentation you can see Naomi Campbell stomping to and vocals by Dwele.

The album isn't as sonically diverse as Late Registration. However, Kanye spreads his wings as he journeys into Japanese art, Austrailian and European music and electronica. The album is an interesting and fitting end to his series; as an emcee and producer, Kanye has come a long way from being known for his chipmunk-sped up soul samples. He has learned to take so much of himself out of the production, in order to contribute to the seemlessness of the song. So many rappers depend so much on over-produced backgrounds, it takes away from the overall feel of the music. Kanye has developed a convincing music/lyric balance.

And then he goes on MTV and acts like an ass. And then he goes and participates in this ridiculous and staged feud with 50 Cent. It gets harder to separate the humble, everyman that opens up on Kanye's albums from the jerk who whores for the media. The guy isn't perfect, and he isn't afriad to admit that though. So as long as he doesn't start pissing on little girls like fellow Chicagoan R.Kelly, I hope his shenanagans and big head doesn't ruin his career.

Michael Jackson Was Kinda Hot

There was something about that growling falsetto that drove women mad, way back in the day. There was this cocoa brown brother, with a hint of innocence who could command audiences, yet step away as if nothing just occured. There was a new kind of rock star in development, circa 1979, in Michael Jackson. He wasn't heady or overtly sexual. He was sensitive, yet a star. How else could a man almost blush under the the watch of cameras and flashing lights, yet wear sequinced gloves.

You see, Michael Jackson was kind of hot, back in the day. He had that boyish charm that Justin Timberlake strives for and those suggestive lyrics that Usher handles so well. Before the scandals and the skin changes, Michael Jackson was a hottie to those women who appreciated the burgeouning art/pop star.

And it wasn't just his persona. Michael Jackson sung songs chock full of emotions and vivid imagery. He was coy, but masculine during Rock With You, helping the chosen woman to "let the rhythm get into you." Lady Of My Life was lovely, but also sexy as MJ broke it down and hungrily pawed for his lady. One of my favorites, I Can't Help It, is a daydream of a recent trist, and Michael sings like he can still feel the moment. Hot stuff.

And though Thriller was a little creepy to me, Michael Jackson continued in this roll of protector of women and shy seducer. He was upfront in PYT, asking the fly honey, "Where did you come from baby/And ooh, won't you take me there." That's smoother than any of Keith Sweat's clawing lines.

For various reasons, Michael Jackson fell off his sexy. Sure songs like Keep It In The Closet, Remember The Time and Butterflies attempt to recapture Michael Jackson's charm and appeal. However, when you really tries to take Michael seriously, you just can't. Anytime you hear Michael's voice delve into the emotional realm, you expect his lover to be...well, I'm not going to go there.

The list is kinda short, but below is the Michael Jackson Was Kinda Hot mixtape. Included are some The Jacksons songs, back when all the brother were smokin' hotties.

Michael Jackson Was Kinda Hot mixtape

1.Shake Your Body (Down To The Ground)
2. Dancin' Machine

3. Can You Feel It

4. Rock With You

5. She's Out Of My Life

6. I Can't Help It

7. Baby Be Mine

8. Thriller

9. Human Nature

10. PYT

11. The Lady In My Life

12. Off The Wall

Is It A Crime?

My favorite Sade song is Is It A Crime. His favorite Sade song so happends to be Is It A Crime. Those are the types of intricate details that manifest into turn ons. Sure, well-known stunners like Cherish The Day and calypso coolers like Smooth Operator are many Sade fan favorites. But a man who can appreciate the feminine agnst inside of Is It A Crime...well, he just might be a keeper.

In spite of his stellar music tastes, there are other traits he posses that has my faith wavering. He's not always there when I call. He's never on time. He is aggressive and heady. He doesn't listen well. But this connection we have...it exists in music alone. Our mutual friends are musicians. The way we met was through an obscure Chaka Khan song. A song that isn't exactly special, I Know You, I Live You, but the lyrics are telling of our connection.

Unfortunately for him, I am not the romantic I used to be. And even though all of these coincidences and magical occurences made the idea of he and I very sweet, I am still skeptical. Though our favorite songs coincided at several points...the lack of consideration for my time and the pig-headedness prevaile. Those elements are stronger than any appreciation for Sade we share.

Last week, I was privileged enough to experience Kevin Sandbloom, a musician who has an organic blend of acoustic, bluesly, poetic soul music. Touring alongside percussionist/singer/assumingly his woman Melody Bell, the two shared a sinergy that was hard to pinpoint. The melding of his music into hers, her harmonies into his was magnificient.

He so happends to cover Sade's Is It A Crime. Is this a coincidence? One of many swirling between me and my unnamed guy. I chuckled when the first words, "It may come/it may come as a surprise..." floated from Sandbloom's lips. See, earlier that day, my favorite Sade song, one that was not a single, and therefore doesn't receive much radio play, so happened to pop up on the radio. "Is it a crime?" my siren asked via the airwaves, when I so happened to be in the car, listening to the radio.

Sandbloom delivered a soul-stirring, masculine take on the song. His version ached of a man at his wit's end. Maybe of a man who didn't know how to salvage the ruins of a failed love. I asked Sandbloom, why Is It A Crime. He said, "It reminds me of a failed relationship too." I told him of my coincidences and happenstances concerning my distant lover. "So what does all that mean?" he asked me. I shrugged. "Well, it's not like it is a happy song."

So let's tie together all those loose ends. Yes, I am discouraged. Yes, I am jaded. Yes, however, I am curious. Is music speaking to me? Is music telling me to try again? Is the song, Is It A Crime, haunting me, telling me to give this guy another chance? Or are all these just lucky turns on the radio dials?

DJ Ella Jones

I just created a deejay name for myself. Yes, along with the writing, sometimes visual art and almost photographer, I want to dj too. It is DJ Ella Jones. Ella is feminine in Spanish, and when you pronounce it, it stands for "L" in love...like Love Jones...get it?

So my Haiku series continues. This time, the topic is deejays.

Manipulation Haiku
He moves from me to
Her with no seams his mistress
Feels his scratches more

Blending Haiku

Like collages he
Cuts and pastes his rhythms with
Other people’s art

Slow Set Haiku
Cyrano with a
Serato he enchants me
Like snake charmer songs

Lifesaver Haiku
Last night a savior
Between two orbs mixed faith with
Dope beats and saved lives

Oochie Coochie La La La!

I've always had a thing for boys with different names. If I shake your hand, and something like James DeShannon Davis comes, your chances of hollering at me jump significantly.

Back in the early 90s, way before I took up wine drinking and eyelash batting, a young rapper from Cleveland named MC Brains was on the scene. He was signed to Michael Bivins record label, and he was nasty. I don't even know why my mom let me listen to Oochie Coochie. It was kind of like the male version of Ain't Too Proud To Beg by TLC. Well, in the early 90s, everybody was groping and gyrating...music was just getting vulgar.

Oochie Coochie is this lewd and crass little diddy about vagina. Not only does MC Brains describe in detail various sexcapades with women of different nationalities, but promises to "caress and love you like a pooCHIE" (empasis on the high-pitched 'chie'). MC Brains cares about his hoes. He reminds them to "stay on that pill/cause I ain't gonna hurt you baby/but the next man will." Aww.

But there was another side to MC Brains. Literally, the B-Side to the gyrating Oochie Coochie was Brainstorming, a cognac-smooth ballad about a lovelost bachelor. The excited and rauncy rapper, was throaty and sincere, in a letter-writing salute to some chick, who was probably sick of that constant raunch. The slow jam featured labelmates Boyz II Men on the chorus, with added sensuality to the sadness.

Needless to say, I thought MC Brains was awesome. First off, he was from Cleveland. But he has a trait on sexiness that rappers forgot exist. Sure, LL Cool J popularized teh hip hop love song, even adding sex songs to repetoire. Nowadays, most hip hop songs are either sappy (sorry Common) or way to nasty (fill in the name of the rapper of your choice) or just too commercial (Nelly comes to mind). Ludacris may be the only rapper that straddles that line of nasty, yet respectable (What's Your Fantasy, Splash/Waterfalls).

MC Brains was a casualty of that sudden 90s drop off that left many New Jack Swing artists in the dust. The undercover nastiness in his raps were losing steam, songs like G-String...about g strings...were being shunned for stuff a littl more hardcore. Plus, he allegeds that Michael Bivins fleeced him out of tons of money. Yeah, take a number and have a seat with that claim.

So MC Brains is STILL RAPPING in Cleveland, under the moniker Brainz Davis. You can check him out on his MySpace page. no, he doesn't have Oochie Coochie* on his play list, but Brainstorming is there to download. You wouldn't think he was embarrassed of that song, would you? Real talk, next time I'm in Cleveland, I'm looking him up! La, la, la!


Oochie Coochie video



*This has got to be the most times I've ever written the words Oochie Coochie in my life. Swear.

Comfortable With Lust

I went to bed uneasy last night. Uneasy is a lax term for the way I felt. See, one of my favorite artists had released a short and sexy selection of new music. And I hadn't the heart to download it, nor the money to buy it from iTunes.

The Popular Machine is Van Hunt's latest EP, previewing the album of the same name, to be released in January of 2008. Judging from the two new songs, The Lowest 1 Of My Desires and Turn My TV On, Hunt is sinking cozier into the often talked about area of lust. However, the difference between him, and say R.Kelly's animal sex or J. Holiday's bedtime banter is a loss of control. Hunt seems to be fully aware of how women make him feel.

Dayton native Van Hunt, is constantly dodging comparisions to Prince, some to Rick James. While it's true that his combination of funky instrumentation and lavicous lyrics call to mind those funk forefathers, there is a clear difference between Rick James' lusts and Van Hunt's desires.

Van Hunt is no pimp. He doesn't brag about the things he could do to a woman. However, in his songs, he describes most vividly and poignantly the way women make him feel. Some women, as described in The Lowest 1 Of My Desires, make him want to fuck. Point blank. But this declaration isn't offensive. He never says that an overtly sexual woman entrances him into making want to have sex with her. No drunk freaks or hoeish activities seem to be going on.

Van Hunt has always been comfortable with his descriptions of lust. Men lust for women. And many times, the women aren't doing anything but expressing who they are. Women don't want to feel like they have to be slithering video vixens in order to peak a man's interest. Sometimes it is just a woman walking across a room. In Being A Girl, it's a chick with a winter coat and cigarettes. In Down Here In Hell With You, it's a chick who he argues with. Van Hunt almost seems turned off with the sexually aggresive chicks. On Hot Stage Lights, the girl who turns all her attention towards him, is charged with doing too much. He seems to mock his groupies on If I Take You Home.

Through his music, Van Hunt seems to want the woman who is not trying. Who just is. And without oversinging and over-emoting, he describes those feelings. And sometimes, he just wants to fuck. But even in fucking, he is giving it his artistic attention.

I couldn't download The Popular Machine last night. See, not only do I appreciate the Ohio in Van Hunt...but I appreciate his willingness to express how femininity affects men; unmushy and honestly.