Archive for the ‘BLACKS IN KENYA’ Category


March 6, 2014

Lupita Nyong’o Delivers Moving Speech About How She Learned To Love The Color Of Her Skin

The Oscar nominated actress spoke candidly in her Black Women in Hollywood acceptance speech about her struggle to understand her own beauty.

posted on February 28, 2014 at 12:58

Yesterday, Lupita Nyong’o won the Essence Magazine Black Women In Hollywood Breakthrough Performance Award.

And while she has fast become one of the most idolized women on the red carpet in years…Lupita told the audience that she has not always felt that comfortable with the color of her skin.

Here is the full transcript of her beautifully honest speech.

I wrote down this speech that I had no time to practice so this will be the practicing session. Thank you Alfre, for such an amazing, amazing introduction and celebration of my work. And thank you very much for inviting me to be a part of such an extraordinary community. I am surrounded by people who have inspired me, women in particular whose presence on screen made me feel a little more seen and heard and understood. That it is ESSENCE that holds this event celebrating our professional gains of the year is significant, a beauty magazine that recognizes the beauty that we not just possess but also produce.

I want to take this opportunity to talk about beauty, Black beauty, dark beauty. I received a letter from a girl and I’d like to share just a small part of it with you: “Dear Lupita,” it reads, “I think you’re really lucky to be this Black but yet this successful in Hollywood overnight. I was just about to buy Dencia’s Whitenicious cream to lighten my skin when you appeared on the world map and saved me.”

My heart bled a little when I read those words, I could never have guessed that my first job out of school would be so powerful in and of itself and that it would propel me to be such an image of hope in the same way that the women of The Color Purple were to me.

I remember a time when I too felt unbeautiful. I put on the TV and only saw pale skin, I got teased and taunted about my night-shaded skin. And my one prayer to God, the miracle worker, was that I would wake up lighter-skinned. The morning would come and I would be so excited about seeing my new skin that I would refuse to look down at myself until I was in front of a mirror because I wanted to see my fair face first. And every day I experienced the same disappointment of being just as dark as I was the day before. I tried to negotiate with God, I told him I would stop stealing sugar cubes at night if he gave me what I wanted, I would listen to my mother’s every word and never lose my school sweater again if he just made me a little lighter. But I guess God was unimpressed with my bargaining chips because He never listened.

And when I was a teenager my self-hate grew worse, as you can imagine happens with adolescence. My mother reminded me often that she thought that I was beautiful but that was no conservation, she’s my mother, of course she’s supposed to think I am beautiful. And then Alek Wek came on the international scene. A celebrated model, she was dark as night, she was on all of the runways and in every magazine and everyone was talking about how beautiful she was. Even Oprah called her beautiful and that made it a fact. I couldn’t believe that people were embracing a woman who looked so much like me, as beautiful. My complexion had always been an obstacle to overcome and all of a sudden Oprah was telling me it wasn’t. It was perplexing and I wanted to reject it because I had begun to enjoy the seduction of inadequacy. But a flower couldn’t help but bloom inside of me, when I saw Alek I inadvertently saw a reflection of myself that I could not deny. Now, I had a spring in my step because I felt more seen, more appreciated by the far away gatekeepers of beauty. But around me the preference for light skin prevailed, to the beholders that I thought mattered I was still unbeautiful. And my mother again would say to me you can’t eat beauty, it doesn’t feed you and these words plagued and bothered me; I didn’t really understand them until finally I realized that beauty was not a thing that I could acquire or consume, it was something that I just had to be.

And what my mother meant when she said you can’t eat beauty was that you can’t rely on how you look to sustain you. What is fundamentally beautiful is compassion for yourself and for those around you. That kind of beauty enflames the heart and enchants the soul. It is what got Patsey in so much trouble with her master, but it is also what has kept her story alive to this day. We remember the beauty of her spirit even after the beauty of her body has faded away.

And so I hope that my presence on your screens and in the magazines may lead you, young girl, on a similar journey. That you will feel the validation of your external beauty but also get to the deeper business of being beautiful inside, that there is no shade in that beauty.

Confirmed: Lupita could not be more beautiful.


April 6, 2011





Traditional Attire of Nigerian and African Men
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By Philipo
Click thumbnail to view full-size
See all 14 photos

Surprisingly, most men in Nigeria especially Lagos State wear the traditional Yoruba cloths. This comes in various styles and designs. They have different names depending on the type of design like:

Agbada – this is a 4-piece Nigerian Agbada apparel that is made up of hat, buba, flowing Agbada and pants with embroidery.

Babariga – This is men’s 4-piece African Babariga clothing apparel comprising a Hat, long-sleeved shirt, flowing Buba and pants with embroidery.

3-piece Gbarie outfit. Hand-loomed Aso Oke material with matching embroidery.

They are suitable for special occasions and events. Have you seen what the Nigerian women wear? See this

The Headwear of Beautiful Black Yoruban/ Nigerian Women!!

May 15, 2009

These ladies do style, they are about class. They are ready to flaunt.
They’ve come prepared to show their
hats off. Brace yourself for the most
beautiful and vibrant, bright set of
colors. Oh, and the styles of the headwraps will make you want to
go purchase scarves for them.

It’s like a festival. It will make you want to dance, just maybe.
It’s a parade of glorious scarf hats.
The hats are so beautiful it will make
you lose gravity, just kidding, but they
are really really gorgeous.


March 7, 2009




Friday, March 6, 2009
PhotObama: Michelle Obama’s high school prom date was no Barack

By GottaLaff

Prom Night! 18-year-old beauty named Michelle Robinson: Check. Flirty low-cut dress slashed to the thigh: Check. Handsome prom date: Check. David Upchurch instead of Barack Obama: Ruh-roh!

Back then, [Upchurch] recalls Michelle exhibited the drive that would take her from a rough Chicago neighbourhood to Harvard University and on to a law career where she would later meet her husband, Barack Obama.

David said: ‘I grew up with Michelle and her brother Craig. We were neighbours, and our families were close.

‘When Michelle was in the middle of her junior year, we began dating and continued to date for a year-and-a-half.

‘Michelle knew what she wanted and after graduation she was off to Princeton University. I couldn’t stand in her way.’

Perhaps mindful that her husband is the President, David refuses to ‘kiss and tell’ about their time together.

He says he can’t even remember if he received a goodnight kiss after the prom.
The romance ended when Michelle went off to Princeton to study sociology. […]

‘I wished the best for Michelle because she has always been a wonderful person,’ he said.

‘I always knew Michelle was special and would make a difference in the world.’ […]

David, a divorced father-of-three from Colorado Springs, Colorado, says he finds it hard to believe his prom date ended up in the White House.

‘I cannot tell you how proud I am of her and her husband. I have never met Barack, but I have to say, he is a very lucky man,’ he said.

David Upchurch: The Pete Best of dating.

Posted by GottaLaff at 12:31 PM
Labels: david upchurch, first lady michelle obama, high school, prom
GottaLaff said…
He came THIS close… ; )

He sounds like a sweet man.

March 6, 2009 12:45 PM
Anonymous said…
LOL! I didn’t look close enough at first and just saw the mustache and thought, God Barack looks like crap with a mustache!

March 6, 2009 1:09 PM
Clancy said…
Oh, that dress! Let me tell you, prom pictures should be destroyed within five years of their taking. Every once in a while, mom likes to pull out my junior prom pics, in which I’m dressed in a 18th century period clothes (because I really loved my girlfriend).

March 6, 2009 1:15 PM
Dr. President said…
look at those long ass legs, go girl!

March 6, 2009 2:20 PM
Dr. President said…
look at those long ass legs, go girl!

March 6, 2009 2:20 PM
Anonymous said…
She looks as though she did not age a day. What is ya secret GF?

March 6, 2009 5:34 PM
Belinda said…
I wonder if President Obama is the jealous type. I bet he would pimp slap someone over his woman. I Already know Michelle would snatch a woman bald.

March 6, 2009 9:35 PM

African AMerican Art the way to your heart!!

February 27, 2009

African-American Art

African-American Art - Port. Of Self

African American Art

African-American Art


Wanda Bush 'The Queen', African-American Research Library and Cultural Center, Fort Lauderdale, Florida.

Wanda Bush 'Angst', African-American Research Library and Cultural Center, Fort Lauderdale, Florida.

Jasmine Zenoi-Schofill 'Rosa', African-American Research Library and Cultural Center, Fort Lauderdale, Florida.

Tony Thompson 'Mother Africa', African-American Research Library and Cultural Center, Fort Lauderdale, Florida.

Beautiful Mother.2007

Jesus is Black, See! (If you know history, Black people are the first race so ofcourse you know Jesus is Black) Pictures here!

February 26, 2009

Black Jesus

Black Jesus


Black Madonna

The Black Madonna ABove, Below
Black Jesus Pictures!


Black Jesus3


Black Jesus and the Rastafarian Disciples



September 18, 2008


Restoring The Dignity Of Africa

BY Sule E. Egya

Brain Gain for the African Renaissance, Edited by Okello Oculi and Yakubu Nasidi; published by Ahmadu Bello University Press, Zaria; 447 pages.

What we know of socio-cultural and scientific civilisation today, it has been established, started from Africa. Per Ankh, the house of life, in the ancient Egypt was a brain-home from where knowledge spread to other parts of the world. World-class African thinkers such as Cheik Anta Diop, Ayi Kwei Armah and Theophile Obenga have persistently forged a narrative to connect us to that glorious past. Regrettably, their narrative, what Armah calls “the way,” is countervailed by forces that have retrogressively reduced the height of Africa. The Africa that housed intellection in the past, as absurd as it sounds, is now a pitiable shadow of itself, its intellectuals driven to continental self-enslavement. During the slavery of the past, the white people came and captured Africans, but in the present slavery Africans willingly present themselves to the white people as slaves. It is the exodus to the West; it is the brain drain Africa suffers from.

To stem the tide of intellectual erosion as a result of the brain-drain phenomenon, Africa Vision 525, a non-governmental think-tank based in Kenya and Nigeria, has initiated what it calls Brain Gain book project. Part of the objective of this project, according to Okello Oculi and Yakubu Nasidi, editors of the first book in the series, is “to contribute to ameliorating [the crisis of brain drain] by drawing back into African universities intellectual products of the African Diaspora and Africanist scholars resident outside Africa” (ix). Contributions by outstanding scholars on the continent are also brought into the pool of intellectual productions the project injects into a system that is practically comatose. This first volume of the project demonstrates the feasibility and, indeed, the fruition of a concerted effort to reconstruct the canon of intellection in Africa. Here is a conscious response to a continent’s moral, ethical and intellectual failures; a measured criticism that validates the notion of inward positivism and a pragmatic approach to Africa’s solutions to Africa’s problems.

The theme of this volume is “Issues in Governance.” A crucial angle from which to begin the business of renaissance in Africa, you may say. The choice is vital. Governance is perhaps the most derailed sphere in the evolution of nationhood in Africa. It is a continental weakness—really, an insurmountable vice—that reduces one of the wealthiest continents in the world to beggardom. The choice of scholars to tackle these issues Brain Gain has made is both appealing and gratifying. The names are intimidating: Ali Mazrui, Toyin Falola, Okwudiba Nnoli, Georges Nzongola-Ntalaja, P. Anyang Nyongo’o, Okechukwu Ibeanu, Crawford Young, and others. In their diverse themes and styles, tones and tenors, these intellectuals engage the readers in profound dialogues that evaluate and define the course of governance in Africa.

Falola’s “Writing and Teaching National History in Africa in an Era of Global History” is a primal discourse. The eminent, globe-trotting scholar returns home, patriotic, having been exposed to the sophistry of globalisation. Beginning his argument from the existence of nation-states, in spite of what he refers to as the “ambiguities” surrounding them, Falola harps on the conspiracy of the globalists to undermine, and consequently nullify, national historiography. In doing this, he undresses globalisation and presents her to us in her full nakedness, with all her ugly joints. The scholar informs us that “[it] is the weak nations [in the sense we see all nations of Africa] that are being asked to adjust, to subordinate their national histories to the threatening agenda of a global world and a global history” (58). In this design, globalisation weakens weaker nations and strengthens stronger ones, insofar as the concept of globalisation is continuously fashioned and manoeuvred by the powerful nations of the world. A powerful nation, then, upstages her history to what Falola calls “metanarrative”. In this premise, the less powerful nations must evolve a history to confront the many lies and infamies of globalisation, and with resilient intellectualism and vigorous historiography. A further antidote, pragmatic in its chemistry, is offered here:

We have to keep decolonizing African historiography, to turn to indigenous creativity and ideas, to empower the marginalized voices, to shed light on the tremendous energy and success represented by popular cultures, market women, craft workers, and local cultivators, among others. Oral history should not be abandoned in the face of global history. Students and researchers must contribute to our understanding of a variety of topics: migration flows within Africa and nation-states; regional conflicts; ethnic and religious divisions; inter- and intra-national relations within Africa; development and modernization; processes of democratization and participatory practices; neoliberal reforms; cultural transformations; market and economic networks; the Cold War and its aftermath; ecological history and sustainable development; and mass communication. (Italics mine, 77-78)

It seems like a thesis that will liberate nation-states in Africa from what one may call globalism i.e. the dishonest rhetoric of globalisation. But many Africa-based students and scholars, as some of the essays in Brain Gain attest, have been engaging in the enterprise Falola proposes, except that the overall socio-political climate of Africa does not welcome—and, indeed, kills—intellectual activities meant to forge a liberated and equitable nationhood.

It is this hostile climate in Africa that Georges Nzongola-Ntalaja draws our attention to in his “Challenges to State Building in Africa”. His discourse is clear and familiar to us. His first sentence opens the wound we have been nursing for long: “After three to five decades of self-rule, the people of Africa have yet to see the fulfilment of their expectations of independence for full citizenship rights” (87). This is painfully true. The eminent scholar goes on to outline some of the factors responsible for this condition. The problems are home-based, though mostly engendered by the hypocritical posture of the West, Africa’s chief coloniser. Greed and Dishonesty, the twin sisters, are the hot-legged prostitutes cradling African leaders on their laps. They caused the disillusionment of the post-independence era, lengthened to destructive militarisation, which has begotten anaemic democracies in Africa. Nzogola-Ntalaja neatly ties this to the globalisation-syndrome Falola has expounded: “contrary to the political vision of Amilcar Cabral and other progressive founding fathers of African independence, post-colonial rulers have not transformed the inherited structures of the state and the economy to serve the deepest aspirations of their peoples instead of the interests of the dominant classes of the world system, with which these rulers tend to identify” (88). The gist is simply that African leaders, since independence, have set their visions abroad to cater for their greed and the interest of their colonial masters. Nzogola-Ntalaja believes that Africa is yet to severe its umbilical cord from the West and that is one of its greatest problems. He harks back to the early rhetoric of Pan-Africanism, reminding us of the good intentions of the fighters of independence, giving us an insight into the stupendous wealth waiting for Africa at the dawn of independence, and he regrets that Africa today is a famished continent whose children troop to the West in search of food and survival. Really, every section of Nzogola-Ntalaja’s essay echoes the ignominy that Africa Vision 525 intends to redeem with its book projects. Part of Nzogola-Ntalaja’s suggestion for a better Africa is that “a successful development strategy [for Africa] requires a radical break with the past, that is, with the authoritarian and predatory character of the colonial state, as well as the promotion of egalitarian and participatory values” (107).

Some of the essays in Brain Gain are very revealing. Okechukwu Ibeanu’s “Petroleum, Politics and Development in the Niger Delta” is an eye-opener for non-Nigerians whose knowledge of the Niger Delta conundrum is what the radio brings to them. The depth of Ibeanu’s research and the clarity of his language are such that you will see, most graphically, the situation in the Niger Delta today. “ECOMOG Operations in the Resolution of Conflicts in West Africa”, by Gani Yoroms, is another eye-opener for those who have heard much but have known less about Africa’s peace-keeping operations in Africa. Deftly expository, Yoroms’s essay is different from most others because of its tone which is less critical. Yoroms is interested in furnishing us with facts with which we can conclude that Africa, after all, can tackle its crises, although what we see of Somalia and Darfur today confounds us. But no matter what we see today, if we read Yoroms’s essay, we are likely to agree with him that “it is important to acknowledge that ECOMOG operations were indeed path breaking approaches to peace keeping in Africa” (373).

Other essays, such as Kristen Timothy’s “Defending Diversity, Sustaining Consensus: NGOs at the Beijing Women’s Conference and Beyond”; P. Anyang Nyong’o’s “Good Governance for Whom? How Presidential Authoritarianism Perpetuates Elitist Politics in Africa”; and Adagbo Ogbu Onoja’s “The Commonwealth Intervention in the Zimbabwe Land Reform Crisis: Africa’s Security in the Post Cold War Era” give us profound education on issues that are here with us and yet we know just little about them. Beyond the depth of the researches collected in this book, the spread, which is an attempt to embrace all facets of political life of Africa, is a commendable feat.

With about fifteen essays, the book is one that every scholar and thinker, irrespective of the field of specialisation, ought to possess and give it a prominent space on his/her shelf. Perhaps, those who need the service of this book most are the politicians and the policy-makers of present-day Africa who have become persistently noisy and noisome about reforms. The book will help them reform themselves, and give them a lead-way towards the evolution of a genuinely democratic norm in Africa.

Sule E. Egya, Ph.D, writer and scholar, teaches in the Department of English, Nasarawa State University, Keffi, Nasarawa State.


August 2, 2008




Black beauty
published: Monday | February 16, 2004


JAMAICAN MODELS have always done well overseas and their accomplishments have been well noted in the media. However, in recent years, there has been an overwhelming demand for dark-skinned models – mainly for their exotic look. Ethnic models such as Naomi Campbell from Britain, Alek Wek, Liya Kebede and Yasmine Warsame from Africa have definitely made their mark in the world of fashion and have paved the way for other dark-skinned beauties such as our own Nakeisha Robinson, Nadine Willis and Jaunel McKenzie.

Lately, other Jamaican black beauties have made an impact in the international fashion scene and one of the modelling agencies that have made this happen is Saint International. Headed by CEO Deiwight Peters, Saint has placed a number of Jamaican models with leading agencies in the fashion capitals of the world such as Milan, London, Paris and New York. The agency has also broken into the South African market, where a number of Jamaican models have been placed doing either editorials, commercials or both. In this week’s issue, Flair focuses on the successes of some of these Jamaican beauties who have stunned the world and are managing to hold their own in a glamorous yet competitive environment.


A former web-site administrator of the RJR Communication Group, Dionne Stephens entered the world of modelling two and a half years ago, but was signed internationally by Saint since last June. Standing at 5ft. 9in. tall, Stephens’ charcoal black skin is becoming a favourite among fashion photographers across Europe. She continues on her blazing success trail scoring the cover of one of Spain’s leading fashion magazines Punto H.

The black beauty, who is presently based in London with Profile Models, has also been a favourite among leading European magazines from the start. She has made two appearances in the iconic ID magazine with other high profile magazines such as Bolz, Tense, the South African Marie Claire, Colors, French Connection UK, Look Book, Star Mag among others. She also has an upcoming spread in Trace Magazine, which promises to take her career to yet another level.

In January, Stephens started the year with renowned British designer Ted Baker. She also strutted down the catwalk during London Fashion Week last year for another famous British designer Hamish Marrow and is expected to do so for other clients in this year’s Fashion Week.


We spoke to Stephens recently between castings in London via her cellphone and asked her a few questions about her new fabulous life as a model.

FL: How are you finding your new life as a fashion model. Is it glamorous as several persons may think?

Stephens: Before I started modelling, I always assumed as others that it was an exciting lifestyle. Now that I’m getting first-hand experience, I’ve realised that it’s not as exciting as it seems. It’s actually hard and photo shoots are definitely not glamorous while doing them. although the end results may seem so.

FL: What has been your most difficult photo shoot?

Stephens: The hardest shoot for me was while doing the one for Trace Magazine. I was strapped in a harness from the ceiling while holding a pound of iron in my hands. It was quite uncomfortable to say the least.

FL: What has been your most exciting project?

Stephens: I have a small role in a 007 James Bond spoof. It’s actually a French movie in which I am a cocktail waitress in the film. Parts of the movie were shot in the Pinewood Studios in England.

FL: What’s your biggest indulgence since becoming a model?

Stephens: Definitely shoes. I just love them. Sometimes when I get my pay cheque, I head directly to a shoe store. My favourite type of shoes are boots, I love them when they are knee-high with stiletto heels.

FL: Do Europeans warm up to you knowing that you’re a Jamaican?

Stephens: On first meeting me, many persons here think I’m from Ghana or Kenya – not Jamaica. I have to convince them that I’m all-Jamaican. Jamaican music is actually doing very well now and Sean Paul is big in London right now.

FL: Which famous persons have you met since modelling internationally?

Stephens: There are a few persons yes. The ones who stand out readily in my mind are British designer Julian McDonald and international model Alek Wek.

FL: What is one thing you would like to tell your family now?

Stephens: I’d like to tell them not to worry about me as I’m having a great time and they’ll all get a chance to see me soon. Big up to my crew at RJR.


August 1, 2008


It’s Harder When You’re Darker
by: Tasha M. Martinez

Turn on the TV and flip to your favorite music video station.

I think of Spike Lee’s School Daze. Will there every be a sequel where the dark-skinned women are the sought after ones? The idolized? That movie touched upon the idea of racism within the race, which is still very much an issue between blacks, especially in entertainment today. I can see why so many little dark-skinned girls feel left out and uncelebrated. Because in entertainment, we are not the celebrated women. At a self-esteem developmental age, young girls start wishing they were something they are not, instead of loving who they are for what they are. Regardless of what anyone says, beauty IS only skin deep, and I know this. Beauty is not just one thing. God made us all beautiful and we are beautiful because we are different. Tell each side of the story. Show each shade of beauty. The other day, I was watching VH1’s Driven on Beyonce’. Ok, it’s a known fact. She is a beautiful, talented, young black woman. Something her younger sister Solange said in the documentary caught my attention. She basically said that Beyonce’ has always been “hated on.” She then added that you take a lot of slack for being a black girl with light skin and long hair. I feel it is the contrary. That may indeed be the case for little seven-year-old girls playing together and not liking each other. But I feel that dark-skinned black woman take slack for NOT being light-skinned with long hair. It’s not the other way around. Why would you take slack? You are what the entertainment industry sees as a beautiful black woman. Hearing Tupac say, “The blacker the berry, the sweeter the juice,” I’m sure made a lot of women feel good. But B2K wants to go on trips “with chicks that look like Alicia Keys.” This is what my three little sisters hear and see today in 2003. Now don’t get me wrong, I come from a family who instilled great self-confidence in me, and I have a mother who always taught me to love and respect myself because I am beautiful inside and out. She taught me to be proud of who I am, so I know that it starts at home for everyone. No one likes feeling left out though, especially when in most cases, those doing the berry picking are pots calling the kettle black. Basically, I feel it stinks the way dark-skinned women are portrayed, or are not portrayedÂ…more like betrayed. Is it that people have forgotten where they came from? Who they came from? If I started seeing chocolate beauties in music video’s now I’d think something was wrong because it is so out of the ordinary. I just feel like every form of media plays a major role in shaping our children’s lives. Imagine for just one moment that your pre-teen daughter comes to you feeling down because everyone on TV and in magazines that is classified as beautiful is the total opposite of her. This Essay Was Submitted By A VIBE Online User
Article tags: It’s, Harder, You’re, Darker

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Your comment:

t says:

I agree, they think they are better than us just because their light and that is tatall not true, half of them are so dag on UGLY and have the nerve to pick on our skin color,I`d rather be dark that look like who did it and ran…you cant wipe off ugly,being dark doesn’t make me ugly…being dark doesn’t make anyone who is ugly…I look at the inside too.if you have an ugly inside then dag on it you are hideous on the outside!!!! and besides the lightskin girls or boys are usually whores who end up in a no good situatuion,working for minimum wage or caught something and you know what that something is.I have alot to say about dark people but for now I am going to end it by saying BLACK IS* BEAUTIFUL!!!!!!!!!!!!!!!

October 12, 2007 at 6:03 pm

Ebone says:

I enjoyed your article concerning color issues that still hold us hostage as african american people. As a teacher and aspiring recording artist, it has always been evident to me that the industry is one-sided. And it really is a shame because the industry has no idea what they’re missing out on. Chocolate beauties have reigned supreme for years, whether its been celebrated or not. I have always been the “exception”. You know the girl who hears so often, “wow, I’ve never seen such a beautiful dark-skinned woman like you before!” As ignorant as that seems, its the reality and how do I respond, with knowledge hoping that it will breed some type of positivity. I find myself schooling our people everyday and not just my students about how lucky we are as a people to be represented as a rainbow of so many different hues and colors that should be celebrated and not ignored. We must press on and let our sun-kissed little sisters know just how royally beautiful they are and that their uniqueness will take them far. As f or me, I plan to take this music industry by storm and help change this poisonous mind-set that has resulted in bleaching creams and self-hatred. BLACK is beautiful and that will never change despite what anyone says !!!!!!

October 6, 2007 at 11:23 am

ray says:

i love me some dark skinned women. they the most beautiful women on earth. i would choose gabriele union and foxy brown over beyonce anyday. not every black male thinks light is right. im not gonna sit here and say i am not attracted to bright girls but i prefer chocolate more than caramel. at the end of the day all black women are beautiful and its time the media realised that. its not realistic to show all light skin women in videos- they not the only appealing females out there. there should be more divirsity so every one is represented. its not fair that in this day and age, little black girls are growin up with self-hatred coz they aint light enough.

December 31, 2006 at 2:54 pm

david says:

I agree with alot of what you are trying to say but, in my opinion you’re not looking at the total reality from both sides of the black color spectrum. mixed people aren’t blacks, and they never were black, only whites choose to group them as African Americans which have become a loose term and okay by me. the exat same way that each and every other amerian of half racial ancestry, that isnt white, is grouped.
Blacks in reality are dark, medium and lightskinned naturally, like most other darkskinned people are. while our ethnic features remain the same. its not so much about dark or light skin being accepted in our culture but the entire black race, regardless of complexion, being excluded in representation. outside of beyonce name more than five light skinned full black girls you know in the industry, and in fact there may be more darkskinned blacks you could named than you could lightskinned blacks . monica is a lightskin black girl to me or close to it, but she still doesn’t fit the standards americans are try to fit into these days.

i also want to mention that alot of the lightskinned females you see nowadays in hip hop video are in fact latino or of other ethnicities not black. and that the industry has become increasingly more diverse over the years since it has come to be as it has for the last ten years. So should we say NO Latinos in any videos. But i must also admit you are right and more ways than i think you are wrong. as most times these latino and more mixed looking individuals portray black characters’ roles it seems these days.

December 18, 2006 at 7:31 pm


July 17, 2008





Just like in one of her songs, there’s No More Rain these days for ANGIE STONE. This soul queen from Columbia, South Carolina had success with the groups Sequence and Vertical Hold before launching a solo career that led to hit albums Black Butterfly, Mahogany Soul (with the anthem Brotha) and Stone Love. That just wasn’t enough for the fickle music industry. So Stone kept busy in the studio and started acting (TV sitcoms, plays and the film The Fighting Temptations) before signing with the resurrected Stax label to release her latest smash The Art of Love & War.

We learned through her stint on VH1’s Celebrity Fit Club two years ago that she suffered from Type 2 diabetes. “[It] was brought on by Prednisone,” she told Tasty Clips. “I was taking some medication that saved my organs but enhanced the diabetes. I’m hearing that some research was done that said gastric bypass kills diabetes because the disease lives in your stomach. [It’s] under control because I don’t eat like I’m crazy and do what I’m supposed to do most of the time. When you’re a person on a steroid for medication a lot of working out doesn’t help you. It hurts you more than help you because you build muscle and mass. My regiment is joy and love and living life to the fullest. I go bowling two or three times a week and have a routine in my house. I clean instead of having a maid. If I stay active within the space I’m in I’ll be OK.”

These days, Stone serves as a spokesperson for the F.A.C.E. Diabetes campaign, which launched at Chicago’s Salem Baptist Church Children’s Ministry Building. Through a series of practical and sustainable programs in local communities, their goal is to help foster behavioral and attitudinal changes in areas critical to success in managing diabetes such as nutrition/cooking, physical activity, health and overall well-being.

Signing with a smaller label like Stax was a surprise. What made you make that decision? “Cause anyplace was better than J Records at the time. I’d had enough of [them] and I wanted a change. So I went and started from scratch with an independent label which eventually turned into another major situation.” Was J not giving you enough freedom? “Well I always had my freedom. It’s just that they start looking at you like they’re equal to you. When you become a slash artist/producer/mentor/and go-to girl for advice, you start to feel like an employee as well as an artist.” Are you happy with the way you’re being promoted? “Now. It’s getting better. Originally I wasn’t.” The Concord label is basically handling it. “[They’re] still handling it but I don’t think that they really have a clue, in terms of this level of success with an artist, of what to do.” Well, you seem to be doing an excellent job. “Guess what? The record is doing it because with very little presence I’m very excited and appreciative that [it’s] moving. Even though the pace is slower than normal, it’s moving nonetheless with very little awareness.”

How tough is it in the music industry now if you don’t have a certain look? “Well I think I look fabulous. Have you seen me lately?” I have. John Legend has a new artist Estelle who is considered difficult to promote because of her look. It really comes down to the music, doesn’t it? “It does come down to the music. We have to get out of this fairy tale guideline of looking a certain way. That’s not to discredit beautiful people, but God didn’t make us all look the same way. We all look the way we look. People need to recognize that in this world beauty is only skin deep. The industry is caught up in looks because that’s the way Satan has designed the game to control the mentality of the weaker species. I really feel sad because this young lady has a great record out and not even the relationship with [John Legend] can afford her a better outlook. It tells you that we’re in trouble.” There’s so much more to it and that seems to be gone. “Well, you know it goes back to the very beginning. If you were light skinned you were in, if you were dark skinned you were out. It very well works that way in the industry. You see very [few] dark skinned people on top of the game. Most of the superstars are very fair or mulatto people. You can check your stats. It works that way in the film world too. I have lost almost every single opportunity to star in a film to Macy Gray or Jill Scott because they’re light and I’m dark. I’ve been told so many times that it’s a certain look that they’re looking for. So you can’t even use weight anymore. You can’t use age because everybody’s over 35 that’s running around doing it. It comes down to what is more appealing. I’m only good for the pro political stuff that will afford all of my people from the hood to vote for the right president – or to support whatever because I’m more on their level, so to speak. So to me it hasn’t changed much. Slavery has just taken on a whole new different direction but it’s the same process.”

In addition to concerts, what can we expect from you this year? “I’m actually working on two books right now – [one is] poetry and [the other is] called Life and the Shadows of a Sex Symbol.” Is this biographical? “Hmmm. I won’t say that. There is some real stuff, then there’s some REAL stuff. You have to wait and see. I’m supposed to be working with Robi Reed on something and [also] Tracey Edmonds. I’m still working on a stage project and becoming a producer. I’m always ahead of the game. I have music in my back pocket.”

And apparently it runs in the family. Angie’s daughter Diamond Stone dubbed The Princess of Hip-Hop Soul is hitting the stage of Headliners on a bill led by southern Rock N Soul sensation Joe Tucker on June 14th. Diamond recently added a new title to Angie’s rep: Grandmom!

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