There are a couple of songs that I remember vividly the primary time I heard them (or saw them, if the video was my introduction). Outkast’s “Elevators (Me & U)” and Juvenile’s “Ha” immediately come to mind – each songs have had such an impact on my life that I even remember where I used to be when these songs became a component of my life. Black Star “Definition” that is one other one in all those records. The video aired on “Rap City” the summer before my sophomore yr of school in 1998, and as I sat on the couch, I immediately knew two things: 1) I used to be going to buy any album by these two rappers, Mos Def (now Yasiin Bey) and Talib Kweli released; and a couple of) Mos Def was

Some artists just have that something, that elusive quality that makes you are feeling like you are looking at a star. Mos Def was one in all those cats. From the opening bars: “From the first to the last, the message is passionate, the whole, not the half, the vocabulary, not the math…” I felt that he was a rapper I needed to know more about and wanted to hear more from. Black Star’s debut album “Mos Def and Talib Kweli are Black Star” released on September 29, 1998 (the most important release date in hip-hop history) didn’t disappoint. Both songwriters and producer Hi-Tek created an album that received critical acclaim. While I liked it, I didn’t prefer it, but it surely kept me waiting for what I (and everybody else) knew on the time. There was no way Mos Def would not release an album soon. The streets were asking for it.

And then, within the late summer of 1999, the primary single was released, “SM. Fat ass. Wait, did Mos Def, a rapper who could do almost anything lyrically, make a record that was flawless for each men and ladies? Yes. Yes, he did it. Have you ever heard a record that managed to tick all the best boxes instantly? He had rhythm, rhyme, life, ease of reference and the flexibility to work on the dance floor. Mos released the one, which became an fast classic and stays so to at the present time.

In 1999, it was the Mos Def experience. When Black on Both Sides was released in October 1999 – on October 12, to be precise – Mos had someway managed to release an album that was overly black, political, entertaining, rooted in real experiences, conspiratorial, respectful, offended, optimistic and prophetic. .

(*25*)Lifestyle

introductory disc, “Don’t be afraid of man” which borrows each its title and beat from Fela Kuti’s 1977 song and album of the identical name, opens with Mos’s statement and warning concerning the state of hip-hop, with Mos simply stating that whatever happens to people that is what what is going on to occur with hip-hop. These words ring more true in 2024 than I believe even Mos expected 25 years ago. Music reflects community and environment much more today with the appearance of social media than it ever did in 1999.

Black on Both Sides is an album filled with such moments. Many provisions are still valid in 2024. “I have” talks about how easy it’s to get robbed on the road if you happen to’re not being attentive, and unfortunately that is a lesson that many rappers have yet to learn. “Mr. Nigger” is a reminder that irrespective of what you achieve in life, society still prefers to see Black people as lower than ever possible. “Water of the New World” is made for the conspiracy theorist in all of us and you recognize what, the Internet has made conspiracy theories a component of on a regular basis life, the difference is that many conspiracy theories haven’t got that much reach.

The point is that Mos Def’s album, a classic by any definition of the word, can also be incredibly timely because Mos selected to focus on the human experience of being a black man in America and, in some cases, use real-life examples to make it work. It deals with the appropriation of black culture through music, specifically rock ‘n’ roll, and it is a conversation we’re still having and one which shows no signs of ending. Pop culture has borrowed and outright stolen black culture for profit, and it has been going on for so long as black art has been able to be commodified. Certainly, the material of the album shouldn’t be modern, but the whole lot in a single place and with such a transparent way of conveying the actual production – well, Mos Def is one in all the few who created an inventive work that has a lot power in a single package.

Surprisingly, thanks to the samples and production decisions made, the album doesn’t feel dated either. Sure, there are signs that the album is not recent, but there’s not a single mention of social media on the album. But someway that does not detract from the album’s impact. Just like most classic love songs omit words and phrases that might indicate their date, “Black on Both Sides” does this and I feel like I could introduce this album to someone in 2024 they usually might think it’s something recent. That’s a feat in itself. All while being Black on each side, a nod to the phrase “give me five on the side of the Black hand.”

“Black on Both Sides” is timeless hip-hop. It’s math.

Have you ever thought of trying something latest? Or do you transcend what others expect of you? Well, you are not alone. There are times in life when, after living a certain way for thus long, you are feeling like doing something more. To be seen as more. Sometimes this implies starting over and making a latest identity for yourself. Lucille O’Neal can relate to this.

The world may know Lucille O’Neal because the mother of NBA Hall of Famer and beloved personality Shaquille O’Neal and her three other children. But when she became synonymous along with her eldest son’s achievements, Lucille was inspired to indicate those that there was more to her.

This became the inspiration for her 2010 memoir, that highlighted the private battles, triumphs and realities of motherhood. O’Neal just updated her book with a brand new title .

“We have been in the spotlight since 1992 and everything that was said was not true. So when the opportunity came for me and our family to tell the truth, this was one way to do it,” he says.

Part of her truth is being honest about her own journey and the way her faith has carried her through many ups and downs.

“I lost my identity when Shaquille got drafted into the NBA. People didn’t know who I was or they just called me Shaq’s mom. I’m more than Shaq’s mom; I also have other children. So this book is more than just a memoir; it became my testimony,” he says. “I’ve been through some things and I wanted people to know that God all the time has a plan for us. I now have a platform where I can speak out on a wide range of topics and I’m very completely happy to share it. I can encourage and motivate people. I’m not attempting to be perfect. But I do know that what God did for me, He can do for you too.

shares his extraordinary life journey. The creator and motivational speaker reveals her whole self in probably the most authentic way. This includes her experience entering motherhood as a teen, coping with drug addiction within the family, and coping with the pain of divorce. It also involves pursuing your passions later in life.

“Being a mother of kids who play basketball or enter the world of entertainment brings plenty of reflection. Who am I without all this attention on family? That’s why I tested myself again,” she says. “Apart from all of the things happening around me, I began to take a look at Lucille. You can lose yourself on this process, and when you don’t end up, you will not know who you might be anymore.

She adds, “So I started encouraging myself, praying, and remembering the lessons my mother taught me. She always told me to hold my head up and be proud of who I was. Now I tell my kids to be real, stay true to who you are and try to work towards something bigger.”

And the work she did. After successfully raising 4 children, including a superstar, she accomplished her higher education, began public speaking and have become fully involved in philanthropy. She finally had a likelihood to forge her own identity, in her own way.

“Parenting is tough because, to start with, you do not know what you are doing. I used to be a mother on the age of 17 and I had no idea about it. If it weren’t for my grandmother and mother, I probably would not have learned many staple items about being a mother,” she says. “I believe being a mother is a special gift. You must do every little thing in your power to nurture your child and the gift inside him. Sometimes this requires putting things on the back burner. When Shaquille was born, I had not graduated from highschool, but I all the time desired to go to school. It took me 30 years to get there. I tell everyone that he blessed me because he paid for my college education.

The creator encourages other parents by sharing her overall journey. While nurturing their kid’s dreams, they shouldn’t ignore their very own.

“I tell mothers, fathers and all women who want to make a change to never let your dreams die,” says Lucille. “If you hold on to your dreams, they are going to eventually come true. Then you discover out that one dream turns into one other dream, and that dream turns into one other dream.

NEW YORK (AP) – Ken Page, the stage and film actor who played alongside him Beyoncé in “Dreamgirls” introduced Broadway audiences to Old Deuteronomy v “Cats” and scared generations of kids when the voice of Oogie Boogie, the villain from the 1993 animated holiday movie “The Nightmare Before Christmas,” died. He was 70 years old.

Talent agent Todd M. Eskin of ATB Talent Agency announced the artist’s death to The Associated Press on Tuesday, but no details were provided.

“He was quite simply one of the best and most generous souls I know. Full of life and filled with joy. Talented and then some. “Ken, my friend, you will be greatly missed,” wrote writer-producer Tim Burton in X.

Page made his Broadway debut in “The Wiz” because the Cowardly Lion and then took on the role of Nicely-Nicely Johnson in “Guys and Dolls” with Robert Guillaume. He also appeared in the unique forged of Fats Waller’s musical Ain’t Misbehavin, winning a Drama Desk Award, and was on board when the musical returned to Broadway in 1988.

Page originated the role of the sensible Old Deuteronomy when “Cats” landed on Broadway in 1982 and achieved a then-record performance singing “Old Deuteronomy,” “The Moments of Happiness” and “The Ad-Dressing of Cats.”

Elaine Paige, who originated the role of Grizabella on Cats and reprized the role in the 1998 film version of Cats, paid tribute to her X co-star, saying Page had “moved on to the heavyweight layer” and added: “He was a wonderful, kind and talented man.”

In 2010, Page revisited the Old Book of Deuteronomy at the Muny, a community theater association in St. Louis — and St. Louis critic. Louis Post-Dispatch said, “Emerging from a gentle presence, Page acts as a feline spirit guide to the hilt,” adding, “Maybe no one will bow to a kitten while chanting ‘OH CAT,’ but Page can make it at least look over you’ll think about it.”

Page can have made his best impression because the voice of Oogie Boogie, a burlap sack with lots of of bugs crawling inside, in Burton’s “The Nightmare Before Christmas.” His character hoped to develop into the King of the Seven Christmases by kidnapping the Christmas (*70*) for the remaining holidays. “It’s hopeless/you’re done/you don’t have a prayer/’cause I’m Mr. Oogie Boogie/and you’re not going anywhere,” he sang to Santa.

He then reprized his role as Oogie Boogie, including: in video games and at the film’s thirtieth anniversary concert at the Hollywood Bowl in 2023. He also provided the voice of King Gator in the 1989 Disney animated film All Dogs Go to Heaven.

His other movies include 1988’s “Torch Song Trilogy,” in which he played the witty drag queen Murray, and 2006’s “Dreamgirls,” in which he played Max Washington. His television shows include “Family Matters,” “Touched by an Angel” and “Maleficent.”

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