Monday, November 29, 2010
By: Iya Bakare
Cold temps were in the air outside, but hip hop neo-soul singer Dwele warmed our hearts at The Shrine Chicago on Saturday.
House deejays prepped the crowd with their mixes of old-school “feel good” music. With standing room only at the exclusive concert, Dwele graced the stage with his Detroit swagger and performed hits from his previous projects and his new CD, W.W.W. (W.ants W.orld W.omen). They included “Tainted Love” (his hit with Slum Village), “A Pimp’s Dream,” “I Think I Love You," “Flap Jacks” and others. With a masterful blend of jazz, R&B and hip hop, Dwele provided that old-school/new-school vibe that resonated with the audience, as we echoed the lyrics to his songs. He closed the concert when he joined the crowd as he jammed with us and sang "Find a Way."
Dwele’s concert was hosted by Zondra Hughes of M.O.O.D Lounge and WGCI-FM’s radio personality Leon Rogers.
Tuesday, November 23, 2010
Monday, November 22, 2010
By Jamenise Wilson
In today’s society, it’s common for men and women to engage in casual sex. It has become apart of a lifestyle for many; but does having sex on the first date ruin the chances of a male taking you seriously? Let’s think about that for a second…yes it does!
If you are seeking a fulfilling relationship from your male companion, jumping in the bed with him is not the way to go. This is for the women who are looking for a meaningful relationship. How do you expect a man to take you home to momma if he only sees you as a sex object and nothing more? How can you get mad at him when he calls you for sex if that is what the relationship was based on all the time? To end well you have to start well, and that means keeping the cookie jar closed until the time is right. If the mental aspect of the relationship is blossoming when the time is right, the sex will be better than ever.
Some ladies tend to take the chemistry aspect of the relationship and turn it into something more than it really is. Chemistry is nice to have, but it does not hold a relationship together in the long run. If we are talking long-term as far as relationships go, then we need to think about what factors we have in common and so on. With all these factors to consider, one would want to take the time and think about it before jumping in the bed even comes into play.
As women we go off of emotions and whether we like it or not, when we have sex, emotions get involved, but that is not always the case with men. Lust is always mistaken for love, and when you’re feelings are involved, why take the chance?
Having sex on the first date is not worth all the heartache and pain that it will bring in the long run. Taking things slow could be the best thing that ever happened for you and your relationship.
Leave Your Comments HERE! Let's Talk About ... well ... Sex!
Leave Your Comments HERE! Let's Talk About ... well ... Sex!
Jamenise’s Facts: Jamenise Wilson is a recent graduate of Tennessee State University. She enjoys writing poetry, urban fiction, and music. Jamenise also created the black Soap Opera “Ebony Heights.” Ebony Heights is posted every Monday, Wednesday, and Friday on the blog www.sincerelymissthang.com. She can be contacted at Jamenise@glossmagazineonline.com.
Sunday, November 21, 2010
By Parker, C
Tyler’s Perry new movie “For Colored Girls,” opened in theaters across the country November 5, 2010. This film is a departure from Perry’s typical drama and romance films, which usually scratch the surface on a wide range of issues within an extended African American family. They also often feature his infamous, beloved, and sometimes hilarious, Madea character.
The film “For Colored Girls” is an adaptation of the play “For Colored Girls Who Have Considered Suicide when the Rainbow Is Enuf,” written by poet Ntozake Shange. Written, directed and produced by Perry, it is also his first R-rated film. Based on Shange’s award winning stage play, the film has the difficult task of taking poetic words and turning them into a storyline. Tyler accomplishes this by adding male characters to the film––the original play consisted of only seven female characters.
The film addresses a series of “taboo” subjects within the African American community––from homosexuality and the recently written about down-low behavior of black gay men––to incest and molestation. The play was written in 1975 and appeared on Broadway in 1977. Therefore, there are probably generations of younger African Americans unaware of the play’s content. For those moviegoers who are unfamiliar with the play, if you’re expecting the typical Perry feel-good film, you will be disappointed. Madea is not in the “For Colored Girls” film. In fact, very little exist to laugh about in this film.
What’s missing is dialogue. The poetry spoken throughout the film begs for dialogue between characters, and not always the recital of one of the twenty poems from the original play. However, the film does get some parts right and perhaps we’ll see a trend in movies including more poetry. Or maybe, “For Colored Girls” will give a boost to poetry, like “Love Jones” gave a boost to spoken word.
The black ensemble cast of actresses and actors, including Janet Jackson, Loretta Devine, Phylicia Rashad, Kimberly Elise, Anika Noni Rose, Whoopi Goldberg, Macy Gray, Kerry Washington, Thandie Newton, Tessa Thompson, Omari Hardwick, Hill Harper, Michael Ealy, Khalil Kain and Richard Lawson, all give good performances but there are several outstanding, noteworthy performances. In particular, Loretta Devine, Thandie Newton, and Michael Ealy give strong, convincing performances of victims in denial of, hidden, accepted and ignored pain.
There’s online Oscar buzz surrounding this film. It’s been rumored that “For Colored Girls” might win Perry his first Oscar nomination. If so, then the performances by Devine, Newton, and Ealy are all worthy of Oscar nominations.
Warning: disclaimer ahead.
It should be noted this film may upset some moviegoers. There were not many dry eyes in the audience when I viewed the film. That said, if you are a survivor of physical abuse, molestation, or sexual abuse, some of the content––and in particular one scene––might be especially disturbing.
By Samantha Mitchell
Love Your Self First, Inc., founded by Kristi Dawson, hosted their annual Breast Cancer Fundraiser Saturday November 6, 2010, at Big City Swing in Chicago. This annual event is used as a tool to bring awareness to breast cancer, and also raises funds for non-profit cancer support group Helping Her Live, Inc
Keeping the good energy flowing, Gospel Singer Melinda Watts, winner of the 2008 “Gospel Dream Competition,” kept the crowd uplifted while performing two of her hit songs, "Happy" and "Walk In Your Purpose." Watts, diagnosed with Cervical Cancer in college, talked briefly about her cancer survival, singing career, and motherhood. Watts also founded a non-profit youth group, "Dreamgirls," which she calls "her baby." The group targets young girls ages 8 to 18-years-olds who need positive role models in their lives. Dreamgirls has been on tours in various cities, including: New Jersey, New York City, Cleveland and Miami. They will soon bring the tour to Chicago.
The night ended with two award recipients. One received the Pink Passion Award and the other received the Breast Cancer Survivor Award.
Founder and host Kristi Dawson, who's also a Cervical Cancer Survivor, expressed that she built her foundation on a promise that she made to her grandmother. "I promised my grandmother, who suffered from cancer, that no one else would suffer like she did––which inspired me to start Love Yourself First."
Guests enjoyed an array of Hors d'oeuvres and beverages, party music, and networking with media outlets such as: Action Magazine, Moody Radio, Flair TV, and GlossMagazineOnline.
For more information on Love Yourself First, Inc., contact Kristi Dawson at email@example.com.
Sunday, November 7, 2010
Monday, September 13, 2010
Friday, August 27, 2010
By Nicole Walker
Jabari Asim, editor-in-chief of The Crisis, the NAACP’s national magazine, and author of The N Word and What Obama Means…For Our Culture, Our Politics, Our Future, beautifully weaves together stories of members of a community living through the civil rights era.
Too many times, the younger generation looks back on historical events without an eye to the reality that they were not only members of a period; they were real people who lived, loved, struggled and achieved. With that premise, Asim takes us to the hot summer of 1967 in the fictional town of Gateway City where the descendants of the Great Migrators enjoy some sense of autonomy but are reminded daily that there is an our side of town and a their side of town. Although racial strife is an overarching theme, Asim enchants us with tales of young people coming of age and of not-so-young people coming into their own.
Eighteen stories, although separate, should be read together. The same characters waltz in and out of the lives of the others, and we feel as though we know each a little better at every turn. It is the best kind of story collection: Although one could close the book after the end of one tale, the desire to press on to the next one remains. Refreshingly, there is no gimmick here: He does not use any cheap trick or cliffhanger to taunt the reader to read on.
The tales center around Reuben and Pristine Jones and their three children, Ed, Shomburg and Crispus. We are introduced to the fictitious Gateway City by young Crispus, who, while in the shadow of two handsome, popular older brothers, must find something great within himself. He has tightly-coiled naps, is called “Beanshots” and describes himself as yellow during a time when Black is finally deemed beautiful.
We are captivated by Crispus as he takes in the world around him. He notes that his eldest brother Ed, now 17, has become inspired by the revolution rising and no longer has time to share comic books with him anymore. He takes pity – in the way only a child can – on a broken and blind candy store owner whose days of love and light have come and gone. He attempts to become cool like his brothers by getting a girlfriend (who is the best he can get under the circumstances, he decides). He is on the cusp of becoming a young man, but his world is still full of bullies, zombies and a mysterious child ghost who sits on his living room couch.
The adults of Gateway City too try to make sense of their world and ask themselves whether they believe in second chances. One character must decide if she will continue an abusive relationship or if she will try to see herself the way a certain admiring man does. Another must decide if she will allow a traumatic event to take away her will to live despite the fact that she has a brilliant son who needs her. We follow them closely hoping for the best but remaining in suspense until the end.
Lest we get too comfortable, Asim reminds us that there is another side of Gateway City, which holds itself above and apart from the characters we have grown to know. Good resources, including grocery stores, are all on the white side of town. “Thirteen years after Brown…and Gateway City’s schools are still separate and still unequal,” a local newspaper notes. The only white citizens of the city who appear in our black world are the police represented by racist cop Ray Mortimer who taunts and harasses anyone with brown skin, regardless of guilt or innocence. White people, even when they are not present, are still in the back of the minds of the residents. Ed, while contemplating the common refrain that black people must be twice as good to be considered half as good, acknowledges that while this newfound blackness was empowering, it was also confusing since it made so many things he deemed good – like standard English and Ivy League schools – white, and thus bad. This debate is still a hot topic in our community’s discussions today.
Tying all of the stories together is the string of community. We can reminisce on the times when we played as children until the streetlight came on because we knew at least one of the neighbors, if not several of them, was keeping an eye on us. Sadly, with our new world of separate lives where no one trusts each other and usually for good reason, we often don’t know our neighbors enough to wave “good morning” as we pull out of our cul-de-sacs, let alone trust them with our children, our houses and our lives. In one scene, Pristine sends Crispus back home to run an errand after dark:
The door is closed but the latch is off. Just make sure you pull the door shut
when you leave…Mr. and Mrs. Collins are on their porch. They’ll look out for you.
A series of serious events, culminating in an event suited for the times, remind us of the importance of community and family. A Taste of Honey not only entertains; it inspires. Asim, in the character Reuben Jones, shows us how the heroes can inspire us to greatness and tells us in the names he gives his children to remember those who came before us. And so it goes: the lives of those in the present – whenever that particular present may be, whether it is the present for the characters in 1967 or our own current present – not only strive to aspire to their own dreams but also struggle with comparing them to the lives of others around them, of those before them, and of those who will come afterwards. Perhaps Mr. Asim will again revisit the realm of fiction. Let us all hope he does.
Nicole Walker has been a writer for 10 years and has had poetry published in the University of Georgia's Stillpoint literary magazine. She is currently working on a short story collection.
Sunday, July 11, 2010
By Bonita Holmes
I took my seat among the crowd of spectators at the Arie Crown Theater on May 19, 2010 with a mind full of anticipation and prejudgment. The humble cast of Angela Barrow-Dunlap’s “Church Girl” provided me with a prelude to the play, which made the experience comforting and inspirational. Naturally, I assumed that “Church Girl” would convey what most urban, African American stage productions accomplish—the cliché tales of the lives of people in the black church culture. However, unknowingly, “Church Girl” would uplift me spiritually and open my eyes to so many new ideas.
The production, which featured such stars as Robin Givens, Drew Sidora, A’ngela Wimbush, Demetria McKinney and Sean Blakemore, opened up to a typical church scene where precisely dressed middle-aged women bellowed the sounds of the gospel. Style and class were the themes of the cast’s wardrobe. Every individual who graced the stage modeled off their “Sunday’s Best.” Their clothing sparkled, allowing their performances to be all the more exciting. Demetria McKinney, who portrayed the role of Emily Franklin, the lead character and ultimately the good girl gone bad, brought innocence and lust to the stage. Her character emphasized the power of love, hate and how easily one can be misled by friends, men and life.
Robin Givens, who portrayed a role she has often done in the past, nearly mastered this idea of a scorn woman leaning on a man for comfort and protection. Her character Cat Jones is stylish, witty and the reason why Emily’s secret life no longer remains hidden. For some reason, the character Cat Jones is alternated between Givens and Drew Sidora who didn’t have the opportunity to perform on this particular night.
A’ngela Wimbush brought a strong presence to the stage with her stunning voice and motherly affection. Her character, Maya Franklin represented the typical black woman—strong, and God fearing yet hurt by a troubled marriage. She is indirectly living her life through her daughter, which causes Emily to become rebellious. Sean Blakemore portrays the suave, classy, yet greedy and manipulative Jacob Sinclair. This character is the epitome of a woman’s weakness whose devilish ways are overcome by a congregation’s belief in God.
The stage design was quite impressive, although it only seemed to alternate between a church and a night club, and the music consisted of selections which catered to all age groups. A blend of gospel, hip hop and R&B allowed the characters to also tell their stories through song, which eventually became annoying and predictable. The other downside was how long the play became, and soon each scene started becoming drawn out, leaving no time for the main point of the plot.
“Church Girl” was an interesting tale of a young woman who started off on the right path but allowed the cruelties of life to trick her into a dangerous lifestyle. The play is about overcoming triumph and getting over your pride to be where you should be in life. I would recommend “Church Girl” to the 30 and above crowd only because it seems that they’d receive the messages on a greater level.
Saturday, March 13, 2010
Read about Steven A. Butler, Jr's musical stage play, "All That Glitters" on GlossMagazineOnline.Com.