#90's in harlem

[yourboijod]

Big L & Pete Rock, 1993.

[elixir]

Alicia Keys bedroom studio in Harlem during the late 90’s.

[oldnewyorklandia]

Katsu Naito. Harlem, 90's.

[marzipanandminutiae]

with the earlier American Girl dolls, I think that they did actual research and worked hard to make a realistic portrait of a 9-10 yo girl of that year. Whereas the modern 90's dolls feel like the research was from movies and magazines rather than pulling from lived experiences.

Strongly agree.

And I feel so bad for the dolls whose concepts are great, who focus on inportant times and issues in American history but had the ill luck to be made when the company is...Like This. Nanea, Melody, and Claudie come to mind.

Let us all please take a moment to imagine what a Harlem Renaissance doll would have looked like in the Pleasant Company or immediately post-Mattel buyout era. Just really let all the tiny accessories and scrupulously accurate outfit pieces we never got percolate in your head.

Okay, now try not to cry when you look at this outfit:

Poor, poor Claudie. You deserved so much better than the embodiment of "womp womp" that you got.

[schmergo]

Time for one of my long, rambling informal reviews! This one is for RAGTIME at Signature Theatre and unlike some of the other reviews I've written, this show is still running for 3 more weeks, but tickets are selling EXTREMELY fast, so I'd recommend you snap some up if you haven't already! I will add that Signature's discounted 'partial view' seats are extremely good value and actually not a bad view at all, so don't sleep on those.

TLDR: This show is absolutely amazing and totally does the material of one of my favorite musicals justice in an intimate, innovative staging.

Ragtime is one of those musicals with a name that belies the complexity and darkness of the subject matter (along with Parade and Carousel), and yet there's no other simple name that could tie together such a dense and varied piece of musical theatre. If you're not familiar with it, this musical set in the early 20th century follows three different groups in New York: a white suburban upper class family, a family of new Jewish immigrants, and a star-crossed young family in the emerging Black middle class of Harlem-- plus a half dozen real historical figures of the period. Their paths intersect and intertwine in many unexpected ways, changing all of their lives forever. Expect some very intense themes like racism, sexism, gun violence, and exploitation of the working class, but also moments of surprising levity and loveliness.

It's one of my favorite musicals of all time, but it's also so complex and such an example of the '80's-'90's megamusical' that it's expensive and tricky to stage. So you might not think of the intimate blackbox venue of Shirlington's Signature Theatre as a prime candidate for this piece. But I can report that director Matthew Gardiner and the whole cast and crew knocked this piece out of the park (teehee, yes, this musical has a song about a baseball game). It was a spellbinding night of theatre and there wasn't a dry eye in the house at the end of the show.

I've seen some other shows at Signature-- including Sweeney Todd earlier this season-- where the goal of 'get creative with the intimate space' actually distracted from the material, but the biggest sign that this staging worked was that I barely noticed it at all or thought 'ooh, what a creative idea'. It just... worked. Fitting 33 performers and a 16-piece orchestra onto a small stage, plus massive set pieces like a WORKING REPLICA MODEL T FORD (absolutely show-stopping when it drove out) without feeling cramped or sacrificing audience sightlines shouldn't have been possible, but it all flowed seamlessly. Actors hung around on the sidelines when not part of the action, observing and serving as a backing chorus. This was the first Signature show I've seen with a turntable stage and it helped the show glide from scene to scene without being overused or feeling gimmicky. The use of the aisle space, staircases, and sharing the upper balcony with the fully visible orchestra also served the piece well.

The arched industrial-chic design of the set feels gritty and elegant at the same time, easily standing in for a factory, seaside pier, tenement, ocean liner, or train station, with gorgeous lighting design by Tyler Micoleau adding to the seamless transitions between scenes. Sumptuous costumes by Erik Teague set the tone from the moment the show started. (Mother's dreamy outfits give her an extra shimmer while also giving the impression of extreme restraint; there are outfits for a person whose job is to be decorative rather than effective.) My only true complaint was the sound balance: at times, the orchestra and the backing vocals drowned out soloists. I'm sure it can be difficult to fine-tune this when you have a fairly large band in a small space where natural acoustics battle with amplification.

The theatre is so intimate that you can see the subtlest expressions in the characters' eyes and that makes Signature stand out among other local theatres as a place where musical theatre truly feels led by actors and not just spectacle. In a mega musical like Ragtime, that human element is desperately needed, and it's why this production and the one Ford's Theatre presented several years ago stand out to me as the best I've seen rather than the Kennedy Center production that transferred to Broadway.

Almost every single member of this cast was a standout, even the hardworking ensemble members. This is where I simply have to ramble on about everyone and how beautifully they acted and sounded. My personal favorite performer of the night, in a show more crowded with stars than a planetarium, was Awa Sal Secka as the desperate young mother Sarah. The challenging score sounded like it was written for her, which is saying something because her role was originated by Audra McDonald. Her powerful but sweet voice pours effortlessly from her mouth as though raw feelings have been distilled into pure music. Sal Secka’s simple, earnest characterization of the young woman is utterly heartbreaking. I won't spoil her character's trajectory, but expect to feel every possible emotion in the spectrum. She's incredible.

As her love interest and the show’s anti-hero, Coalhouse Walker Jr., Nkrumah Gatling is perfectly cast. I’ve rarely seen someone in a stage musical act so effectively with just his eyes, flitting from mischievously charming to stone cold in mere seconds. There’s an edge to his rich baritone that might remind you of Brian Stokes Mitchell, who originated the part, but he puts his own spin on the music and gives it a new texture. I’d have loved to have seen Gatling’s take on Sweeney Todd earlier this season. Still, I didn’t get the ‘main character energy’ from this character that I typically have in past productions. Rather than feeling like the show’s central figure, he blended into the rest of the cast—which may say more about how wonderful his co-stars were than any fault of his.

Teal Wicks did exude star quality as Mother, a disaffected housewife who awakes to the world’s injustices and starts to see her life through new eyes. She conveyed every turning point in her character’s life with clarity. Her mellifluous, creamy voice soars on big ballad numbers and her relationships with the show’s many characters feel fully realized. One of the only things I knew about her before seeing this show was that she had played Elphaba on Broadway in Wicked. But here she uses more of a classical-sounding mix voice that fits right into this antique setting.

Matthew Scott plays her stuffy husband, Father, as more sympathetic than I’ve seen before. He seems younger than most actors who’ve played this role (he and Wicks are both in their early 40’s, while I’ve often seen Father cast as significantly older than Mother), and as we see him try to fulfill his role as ‘patriarch,’ we can tell he’s insecure and uncomfortable there.

We had an understudy for the other major role, Tateh, a Jewish immigrant with big dreams and artistic gifts who wants above all else to give his daughter a better life. I was disappointed to see this because Bobby Smith, who usually plays the role, is one of my favorite local actors, but his understudy Edward L. Simon did an absolutely charming job. He imbues Tateh with an impish lightness at times that only make the dark moments more heartbreaking and nimbly navigates musical numbers with a lovely voice. Like many understudies, you could tell he was giving 110% at all times and his energy sparkled. Still, there were a few dramatic moments that I’d have loved to have seen given more power and the orchestra drowned him out more than any other character. I’m guessing that sound levels may have been calibrated to a performer with a bigger voice.

Simon is also by far the youngest-seeming Tateh I’ve seen. This works, adding to the earnest naivety his character shows when he first arrives in America, but I’d be so curious to see how the dynamic works with the usual actor, Bobby Smith, who seems to be about 30 years older than Simon. I’m so tempted to go see the show again with Smith and compare the two performances, but rest assured that if Simon is the understudy at your performance, the role is in deftly capable hands.

I loved Jake Loewenthal as Mother’s Younger Brother, an awkward young man in search for meaning in life. I previously enjoyed him as the Baker in Signature’s Into the Woods but thought, “This guy was born to play the Baker, but I can’t picture him in any other roles. He’s just TOO specific and TOO good as the Baker to play anyone else well.” I was wrong. He’s perfect here, filled with a tightly coiled intensity that is, in his character’s own words, ‘like a firework, unexploded.’ There’s a quirky piercing nasality to his voice, but it shines out in Younger Brother’s effusive self-discovery. Among other family members, Declan Fennell is adorable and NOT annoying as the family’s weird (and slightly psychic) little son Edgar and Lawrence Redmond is a hoot as the drily snarky Grandfather.

Among the smaller roles, standouts include Dani Stoller’s impassioned firebrand Emma Goldman, Jordyn Taylor as show-stopping soloist “Sarah’s Friend,” and Tobias Young’s Booker T. Washington, more memorable than I’ve ever seen this character portrayed. But more than any of these, Maria Rizzo stole her scenes as vaudeville sensation Evelyn Nesbit. She seemed to be having an absolute blast up there and gave the character both more depth (hints of trauma!) and risqué sultriness than I’ve seen before. If sometimes she verged into showboating, I couldn’t possibly complain. She was just too much fun to watch.

This is a score full of HARD-HITTING ballads and intense big production numbers, with almost every number including dramatic swells of the orchestra and singing to the rafters. Every time you think you've seen the showstopping number of the night, another one comes along to blow you away. Some of the standout songs in this piece include Sal Secka's haunting lament "Your Daddy's Son," Wicks' journey of self-discovery in "Back to Before," Gatling's anthem "Make Them Hear You" and the adrenaline-pumping duet "Wheels of a Dream," but you will find that some of the smaller numbers between them will also send chills down your spine and bring tears to your eyes. One of my personal favorites was the sweet duet "Our Children," which sees the spark of a potential relationship forming as two parents watch their children play together.

What does this show say about America? Basically everything up to and including the kitchen sink. Is it a land where people can triumph against adversity and succeed? Yes! Is it is a place where dreams are broken and crushed by reality? That, too! Is it a place where understanding can win out over hate and people find they’re more alike than different? Yes! But is it a place where hatred and bigotry can tear lives and families apart in the blink of an eye? Yes! Is there a hope of a brighter future for the country? Yes! But do we see the struggles of present day reflected in these characters from over a century ago? A resounding yes. Every audience member will come away with different moments resonating in their minds, but the rich tapestry of humanity in all its strengths and flaws showcased in this production is a marvel to behold.

I’m attaching a few clips from the show in the comments so you can see some of what it was like for yourself! Please consider seeing this show if you can. It’s the most powerfully affecting piece of musical theatre I’ve seen in the DC area since before the pandemic and will no doubt stick with you long after the cast takes its last bow.

[babybratzmaraj]

Get To Know Me Tag Game!

thank yew tew the lovely @megamindsecretlair for tag me to join it and allat good shitty shits

i MAY get extra ion know we gone see

1. Were you named after anyone?

Yes actually, my mama alwayssss tell me how she use to tell me a story abt how she use to work at the schools and it was the cute lil girl with her name and said “imma name my daughter after you!” and boom, here i is!

2. When was the last time you cried?

i can not remember. im slow NEXTTT

3. Do you have kids?

to put it short, NAWL!! do love my niece n nephews but kids outta my cooter aint happening soon

4. What sports do you play/ have you played?

volleyball basketball love volleyball to death💕

5. Do you use sarcasm?

i use it too much idk even know when i do so sure!

6. What is the first thing you notice about people?

how their vibe is. i NEED a serioussssss vibe check before i continue, if i cant juh vibe witchu this aint gone work booboo!!

7. What is your eye color?

dark brown, but if you wanna see the pretty shit i gotta do it😁

8. Scary movies or happy endings?

both.

9. Any talents?

my toxic trait is thinking that i can sing like im mfkin toni braxton in the 90’s but my pen game throws down! so thats one of em

10. Where were you born?

Flint, Michigan! #freerio

11. What are your hobbies?

writing, reading, gaming (ps n mobile girlie) listening to music, sleeping, eating, watching shows (im currently on the godfather of harlem and im so hurt of this dude dying😭😭)

12. Do you have any pets?

i have a bad ass fuckin pitbull name Blade dats my son yawl i do love himmmmmm but he do be making mama wanna drink

13. How tall are you?

5’3. imma fuckin migdet yawl short, black n fat im gods favorite!!

14. Favorite subject in high school?

lunch! na im playing but id sayyyyy english bc i love to write fr

15. Dream Job?

i always wanted to be a actress. always have always will want to be, ill start off on tubi soon💋

uhhhhhh ion got nobody to tag hea so ill tag myself! @bratzmaraj

have a black ass day💋💫

[aliceramblesonnerdity]

ALRIGHT BITCHES. WE BACK. HES BACK.

MY FAVORITE HERO IS BACK YALL

Off the bat, the cover is beautiful but the redesign SUCKS. It's just close enough to the original for the changes to just look wrong.

The cover IS a nice homage to his original mini, so I can't complain there, but redesigning a mask that has importance to his character is... Odd.

Perfect interior art imo. And Roubpheap is here and.. I definitely didn't shed a tear over Chord being dead... Nope...

Kicking screaming crying forgetting batman ever existed. The Taylor-Chord family never being used is why I settle for the Batfamily being my favorite. These pages are so good, I missed Dwayne, I missed Roubpheap, I'm glad they're dealing with Thrash's survivors guilt.

When this was announced I was terrified they'd assassinate the characters but so far Sil is as strong and badass as ever, Dwayne still is Dwayne at his best and worst... It's perfect so far.

Reading further ahead, a gang of kids rob a gentrified area of Harlem, Dwayne tries to catch them but the cops detain him because... Y'know ... He's black. And that's what cops do (hoping we see Midnight's Fire some how return but who knows) I do enjoy when Superhero stories tackle the themes of the struggles of the oppressed, from the perspective of the oppressed. I'm a huge Milestone fan and this makes me feel right at home.

Also this is what leads Dwayne to start considering not shutting down the Foundation, to be able to play the system against the cops and systemic issues THROUGH the foundation. Batman comics could learn A LOT from this book.

They've maintained Silhouette as a core character which I love. I love that she's as bad ass as the 90's made her, it really makes me mad that we don't get representation like her anymore. Tho on the next page Dwayne just starts listing off teammates who... Aren't in the picture? That pic is rage, Microbe, Sil, Thrasher, and Firestar. The next page he lists Donyell, Namorita, rage and microbe which... I mean sure, but the inconsistency is odd, and what about Speedball?

Rage is the BBEG! Interesting, he's not like... Evil evil. But he's the antagonist here which like... This guy was IMPORTANT to the original Warriors run.

The sins? Of his past?? IN THIS ECONOMY???

Ok ok, no onto the Sihloette back up!!!

It still hurts to see Chord like this, having grown up reading New Warriors omnibus from the library CONSTANTLY. I'm so thankful they're focusing on the family dynamics here.

That's basically all of the issue. It's everything I could have asked for. Everyone is here that should be, it's dealing with exactly the themes of hope for, and everyone is characterized perfectly. I adore this book. I'm definitely going to try to find more of Holtman's work in the future.

[thatcartoonnetworkblog]

Cartoon Network Friday Spotlight: The New Scooby-Doo Movies- “The Spirit Spooked Sports Show”

The New Scooby-Doo Mysteries is the second Scooby series to be made, airing just after Where Are You? and before The Scooby-Doo Show’s return to form, and it feels like a logical next part, containing similar aesthetics and the same musical cues that made the original series instantly iconic. Yet, these episodes aren’t quite as strong, stretching the formula into double length without adding much justification for the length besides to show off whichever special guest they could score that week. While we would get solid feature length Scooby stories even 15 years later, I don’t think Hanna-Barbera’s crew at the time were ready to make the characters fit into extended periods at this time.

Some episodes are more iconic than others, with the Batman and Harlem Globetrotters episodes widely available in individual videos before getting partly-complete DVD releases. It helps that Batman, Robin and the Globetrotters remain recognizable to this day, but a lot of actual celebrity appearances feel closer tied to their day, like Tim Conway here. While Scooby continues to draw kids in to this day, I don’t think there were many young fans of The Carol Burnett Show when stories like this were airing frequently on CN in the late 90′s and early 2000′s... but hey, prove me wrong! (I’d suspect that I have more fans of his Disney work with fellow Scooby guest star Don Knotts on here)

But anyway, onto the story. In this one, Velma has the gang drive to her old high school- which begs the question, how old are the Mystery Inc gang, and if they didn’t go to the same high school, how did they meet?- to view and participate in their upcoming sports expo. The problem is that the school is haunted by the ghost of the school’s most iconic athlete, who has scared away anyone who dares to take his place, and is threatening the closer of the school, as one of their biggest backers is planning to fall out if they can’t support one winning team.

Tim Conway factors in because he’s signed up as the school’s coach to gain real world experience for a movie and wow does this sound convoluted for a damn Scooby-Doo story. But because these are meddling kids, they insist on sticking around to help Mr. Conway and the school, but the ghost keeps coming around and messing with them.

It’s fun enough, but does feel bloated as a double length classic Scooby story that doesn’t need to be so long. Still, it’s fun to see Tim Conway match Scooby and Shaggy as the biggest coward on campus, and see the latter two become shockingly decent athletes. I also dig how old-timey the ghost looks, like a remnant of the gay 90′s. I believe you can get this and most of the other episodes in the recent almost full series release- IIRC, only the Addams Family episodes are missing.

[heronstill]

Katsu Naito. Harlem, 90's.

[randomvarious]

New York City Hip Hop Playlist (YouTube)

Started building a unique playlist of hip hop tunes that originated from the city that gave birth to the genre in the first place: New York. Here we have a slate that begins in the party-oriented early 80s South Bronx and progresses all the way through the late 90s into a bunch of raw, underground, hot street rap fire 🔥😎.

So, if you've been following me long enough, you know that my forte with these playlists is to load up on great obscurities, and I've got a bunch here, but I've also got some classic jams as well, all of which come courtesy of Grandmaster Flash & the Furious Five and Melle Mel. There's shortened versions of two early hip hop cornerstones: "The Message," which was the genre's first ever lyrically conscious hit, and then the anti-cocaine anthem, "White Lines," which Grandmaster Flash actually had nothing to do with, even though Sugarhill Records slapped his name on it in order to help boost its record sales.

But speaking of anti-drug hip hop anthems, a lesser known one from around that same early 80s time period is The Funky Four's "King Heroin," which heavily interpolated The O'Jays' own "For the Love of Money," aka the theme song from The Apprentice (🎶 money, money, money, money....mon-ay! 🎶). "King Heroin" is definitely not a completely unknown song, but in comparison to "White Lines," far less people are aware of it, and in total, it has about 62,000 plays on YouTube across a handful of uploads. Fun, catchy, early hip hop gold as far as I'm concerned.

But once we hit the mid-90s, that's when we really get into some of these underheard Big Apple rap goodies, like a pair of mid-90s boom bap cuts from a Harlem native called Raucous aka Sabotage, who at some point decided to leave an oversaturated US rap market for Germany. 1995's "Say No More" has around 1,100 total plays on YouTube and the Roey Marquis II remix of "No Way Out" from 1996 has about 2,400.

And Brooklyn's own mighty Mos Def aka Yasiin Bey makes an appearance on here too, on a rare remix of N'Dea Davenport's "Bullshittin'," which I'm pretty sure was produced by the one and only J Dilla. Super chilly synth tones on this one that's approaching 20,000 YouTube plays.

And lastly, Manhattan trio Missin' Linx supplies "M.I.A.," a song whose beat very well may have been jacked by Dr. Dre himself so he could release his iconic "The Next Episode" the following year. Both songs utilize the same main sample from David McCallum's "The Edge," but according to WhoSampled, either producer VIC was the first to ever sample the song for "M.I.A.," or one of his collaborators, Godfather Don, was the first to use it for underground New York rapper Scaramanga's "Death Letter" remix. Either way, although "The Next Episode" would come to be hailed as a late 90s west coast rap classic, Dre wasn't the first to sample that McCallum song. And "M.I.A." has about 176,100 YouTube plays while "The Next Episode" has managed to rack up hundreds of millions.

This playlist is ordered as chronologically as possible:

The Furious Five Meets the Sugarhill Gang - "Showdown" Grandmaster Flash & The Furious Five - "The Message" Grandmaster Flash & Melle Mel - "White Lines (Don't Do It)" West Street Mob - "Mosquito" Funky Four - "King Heroin" Dana Dane - "Something Special" Nine - "Any Emcee" Raucous a; k; a Sabotage - "Say No More" Raucous a; k; a Sabotage - "No Way Out (Roey Marquis II Remix)" Smoothe Da Hustler - "Hustlers Theme" N'Dea Davenport feat. Mos Def - "Bullshittin'" D.I.T.C. - "Themes, Dreams & Schemes" Missin' Linx - "M.I.A." Mr. Supreme feat. Al' Tariq - "Run the Show"

And this playlist is also on YouTube Music.

So, we currently sit at 14 songs with a runtime of one hour so far. And maybe when I find more to add, I'll have enough songs to make a Spotify playlist too.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[cyarskj1899]

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Home › Arts & Entertainment › Film

Nostalgic Cinema: Remember ’Our Friend, Martin’ On Its Release 24 Years Ago

Posted January 16, 2023

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As we celebrate the national holiday honoring Dr. Martin Luther King, Jr., let us remember a film that debuted 24 years ago on Jan. 12. Our Friend, Martin is nostalgic cinema that every 90’s kid recalls watching in their adolescence.

The animated film was released Jan. 12, 1999 and it features some of the most prominent Black voices of our time including LeVar Burton, Samuel L. Jackson, Whoopi Goldberg and Angela Bassett. The film follows the story of a Black teenager named Miles, who is portrayed by Robert Ri’chard from Harlem and One On One. Miles goes on a class field trip to the museum to learn about what Dr. Martin Luther King, Jr. did for humanity, but he’d much rather play baseball instead. The story continues with two teens who are sent back in time to meet Dr. Martin Luther King Jr. at several points of his life.

The animated and educational movie was watched in classrooms across the nations. Our Friend, Martin was another way to explore the teachings of King before the national holiday, MLK Day, would be celebrated at home. There are countless documentaries, films and stories that detail King’s dynamic life, but this classic movie is one that will resonate amongst millennials forever. From the upbeat music to the cultural relevance, we could all relate to Miles and the story of Our Friend, Martin.

Take some time to rewatch this classic movie while celebrating the time off with family and friends on MLK Day, which falls on Monday, Jan. 16 this year. Make it a reflective time to watch the hour long film while dissecting the systemic issues our country still faces in 2023.

Our Friend, Martin can be streamed on YouTube for free below.

RELATED TAGSANNIVERSARYCELEBRATIONCELEBRITY NEWSCINEMADR. MARTIN LUTHER KING JRFILMFILM ANNIVERSARYMLKMLK DAYMOVIENATIONAL HOLIDAYNEWSLETTERNOSTALGIAOUR FRIEND MARTINWATCH

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[yourboijod]

McGruff - Destined To Be

[raybizzle]

"Who's the Man?" (1993) is a comedic urban noir mystery film with a hip-hop theme based in N.Y.C. This movie is an excellent timepiece for black culture during the golden age of rap music. The film stars Ed Lover and Doctor Dre (not to be confused with the music producer), who were the hosts of Yo! MTV Raps in the early 90s. This film was at the peak of New Jack Cinema, so it incorporates some of the familiar characteristics of the era. New Jack Cinema is an alternative categorization of urban films from the late 80s and early 90s, generally associated with films out of N.Y.C. "Whodunnit" movies are rare in black filmmaking, with some of the most notable being "Together Brothers" (1974), "A Solider's Story" (1984), and "Caught Up" (1998). However, you can go as far back as "Mightnight Shadow" (1939) or "Murder in Harlem" (1935) if you want to explore this genre further. The film's cinematography is terrific, as the director filmed most of it on the streets of N.Y.C., particularly in Harlem. As a result, there are several moments where you get gritty looks into the environment while the soundtrack entraps you into the moment. The comedic value of the movie is everything the early 90s represented, featuring comedians Bernie Mac and Bill Bellamy, who gained attention from their performances on Def Comedy Jam. Several hip-hop artists made cameo appearances in the movie, such as Ice-T, Busta Rhymes, Run D.M.C., Guru, Naughty By Nature, Fab 5 Freddy, Queen Latifa, Flavor Flav, Pete Rock, C.L. Smooth, B-Real, Moni Love, and many more! In addition, the soundtrack to the movie is about as good as you can ask for from a hip-hop score. The soundtrack also features Notorious B.I.G.'s first single, "Party and Bullsh*t," which introduced him to mainstream audiences outside of N.Y.C. However, the official soundtrack only includes some tracks from the film. For example, "Follow the Leader" by Eric B. and Rakim is not on the soundtrack but was included in a chase scene in the movie. I grew up on this movie. I had the VHS tape, and I used to play it religiously. I still love this movie, and it's one of my favorite comedies from the 90s. It's a fun film and, honestly, a decent movie to research the culture. Director: Ted Demme Writers: Doctor Dré (story), Ed Lover (story), Seth Greenland (story) Starring Ed Lover, Doctor Dré, Badja Djola, Cheryl 'Salt' James, Jim Moody, Ice-T, Andre B. Blake, Rozwill Young, Colin Quinn, Todd 1, Bowlegged Lou, Bernie Mac, Bill Bellamy, T-Money, Denis Leary Storyline Ed Lover (Ed Lover) and Doctor Dre (Andre Brown) are hapless New York City barbers who test the patience of their boss, Nick Crawford (Jim Moody), one too many times and end up at a police academy to try out careers in law enforcement. Training under the tough-as-nails Sergeant Cooper (Denis Leary), Ed, and Dre eventually learn enough skills to become rookie cops. For their first major assignment, they attempt to thwart a corrupt businessman at odds with Nick over property development. https://www.daarac.ngo https://www.daaracarchive.org/2012/10/whos-man-1993_14.html Available on DVD and streaming services. https://www.amazon.com/Whos-Man-Maynell-Thomas/dp/B0000TWMWA

[cyarsk52-20]

They have to do what Black American women, and Caribbean women did in Harlem, and Flatbush Brooklyn, in the 90’s. BOYCOTT those stores, that will shut them down, and get people who hate Black people, out your neighbourhoods!

[dream-wrecker-blog]

IM OK WITH BEING THE VILLAIN!!!

One of the things that life seems to keep me on my toes about is that not all people are going to like you. Thats kind of obvious at this point. But! What is not obvious is that people wont like you just for the sake of not liking you!

I have come to the understanding that, people have this notion, I have probably said it before in another post that. People really do think that the world is supposed to operate the way they perceive it to be. That the world is a one size fits all case. Which, we should know by now that it is not!

I bring all of this up because my sister recently had a conversation about me with some other family members. In a vague dismissive kind of way but in a way! I have a very short fuse when it comes to people I trust and I fuck with. These family members and I have burned bridges, each of us on our own side with one another. And well! It is what it is.

ON November 14th I had found out that my great aunt had passed way! She and I had a very good understanding about one another. Or! At least this is what I think. She was born in the 60's and grew up in the 70's and raised children in the 80's and late 90's. Which this means she had seen the epidemics that effect Harlem and other places in America. Although she is my great aunt I knew her as my aunt. The ranking system in my family is a little messed up. I'll probably discuss that in another post.

Knowing who my aunt is, it greatly saddens me that she's no longer here with us. As a spiritualist, I don’t grieve for her in ways that other people do. I grieve because I know she must have been lost and sad and scared in her transition over. Well, it was more of a…….I know she has rather than a must have. Earlier that day I decided to paint a picture of a bear. On my down time I like to practice my watercolor painting.

I was scrolling though the gram and I happen to see an oil painting that I really like and though that I could do it in watercolor. try my skills out. Sharpen them.

Once I was able to go my little room and started sketching the bear. I felt this magnetic pull. I just assumed that it was me bing hyper focused. Or! That I was inspired by (Keisha) the stray abrasive cat that meows so loudly outside the defact. But as I sketched, the magnetism grew stronger and stronger and I would see is my aunt in my head. I thought that she may have been talking that stuff about me.

The falling out that I have with my great aunt goes way back to when I was homeless. Which I do think is very petty. I was house hopping at the time and had very little to myself. I was depressed and defensive and trusted no one and took whatever help I could at the time.

I felt abandoned and very unloved. which is why I love my spirits and the Orisha. These two power house has had my back so much and has gotten me through so many dark times in my life that I'm just like. I love you more than the members who are alive. Having this deep spiritual bond and connection. Means that for my safety, things are known about people. Information becomes extremely clear. So that no matter what I was never caught off guard by anyone. I'm not blaming anyone or anything. I'm mearly stating facts about my spiritual experience.

As I started the actual painting. I looked over and decided to use my gouache paint over my watercolor paints. The good stuff. So I started to paint and I just began to make it more and more detailed. Moments after, I get a call from my sister stating that I was right! That my aunt had died. (I had told my sister that I sensed DEATH and that I had thought it was my great Aunt)

I knew my aunt like to dabble in things that were no good for her. I also knew that she was a women who needed help, therapy and concealing. Don’t get me wrong, She was not one of those people who you could not have around you. She was. She was very much so the life of the party. She would make you laugh and had a way of bringing you in to her energy. It was sad to know that this light of hers had been put out. And the fact that It was done by her own hand bothers me.