TOP 10
SINGLES
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TOP 10
ALBUMS
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The Middle
Zedd, Maren Morris & Grey
Psycho
Post Malone Feat. Ty Dolla $ign
Nice For What
Drake
Never Be The Same
Camila Cabello
Delicate
Taylor Swift
No Tears Left To Cry
Ariana Grande
In My Blood
Shawn Mendes
Meant To Be
Bebe Rexha & Florida Georgia Line
God’s Plan
Drake
Mine
Bazzi
EVERYTHING IS LOVE
The Carters
Nasir
Nas
Youngblood
5 Seconds Of Summer
Liberation
Christina Aguilera
Post Traumatic
Mike Shinoda
The Greatest Showman
Soundtrack
SQUARE UP (EP)
BLACKPINK
Redemption
Jay Rock
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XXXTENTACION
KIDS SEE GHOSTS
KIDS SEE GHOSTS
Presented by
wireless
K’reema and her dad, Yellowman, perform at a concert. Pieter van Dijen
Yellowman to drop new album this summer
Racial tales Temps on Broadway
tolerate and rules you wouldn’t
abide. Same with your grandma:
scrapbooks, history books and
museums are the only places
you’ll see what she lived. So
what will your children know? As
in “Black is the Body” by Emily
Bernard, what’s your story?
In 1994, while sitting in a
quiet coffee shop and wresting
with a college paper she was
writing, Emily Bernard was
stabbed “in the gut” by a white
man with a hunting knife. That’s
her story to tell and she’s recited
it often in the last two-decadesplus,
though it’s told differently
by others who were there. It’s
a story that kicks off her book,
but she insists that it does not
define her.
Nor does racism. Bernard is
proud of her Black body.
She’s also proud of her experiences,
the successes she’s had,
the people she’s known, and the
stories she carries inside her.
These become tales that recall
her mother’s unhappiness before
she died, that lent Bernard’s
grandmother the strength to
stand up to misogynistic rules,
and that shape Bernard’s stories
to come.
Caribbean Life, M 40 arch 29–April 4, 2019 BQ
Like any good story, though,
there are catches to the telling.
Take, for instance, the way we
deal with “the n-word.” And how
Black women can sometimes
hate their hair. And how we let
“the absurd and illogical nature
of American racial identity” tell
us who we are or should be.
No, Bernard lets family do
that.
Her husband is white, a fact
that some in her mother’s family
hated — although they ultimately
bonded with him through
food, as though it were a new
language. Her grandmother disliked
the Civil Rights Movement.
Her mother died too young. Bernard’s
adopted twin daughters
were born in Ethiopia and she
calls them brown girls who are
“’growing up in a house with a
white person who loves them.”’
They, too, will have experiences
their mother won’t have, and
stories to tell.
“Black is the Body” is one of
those books that’ll make you
wish you had a Time Travel
machine. Devour this book, set
the machine for 20 years into
the future, and see what author
Emily Bernard’s daughters
would write in a sequel…
industry on her own path.
Yellowman will be “dropping”
his new album this summer. His
first single, “No More War,” will
be released off the upcoming
album in the last week of April.
K’reema said she is garnering
attention for herself and setting
out to make her own name in
reggae, “just like good ole dad,”
with whom she will be performing
at “Reggae in the Desert” in
Las Vegas on June 3.
K’reema’s single, “Father’s
Love,” featuring King Yellowman
himself, was released June 2016
in Reggaeville in London. Reggaeville
is known to Dancehall
artistes and lovers as “Home of
Music Premieres.”
“Father’s Love” curated over
1.6 million views, “and is still
growing,” K’reema said.
“This decider pays homage to
the positive role of a father figure
in a child’s life, through which
she honors her own flesh and
blood,” she said.
K’reem said she started producing
music since she was 5.
“Coming from a musical background,
everything else came
easy to me,” she said. “Watching
my father create music was
a major highlight growing up in
Jamaica.
“I really want to make my dad
proud and definitely his fans, as I
continue to build on that legacy
with my style of music,” added
K’reema about the launching of
“Yellow Baby Records” in New
York City.
Continued from Page 39
Continued from Page 39 music fraternity and induction
into the Rock and Roll
Hall of Fame.
Through the years, tragedies
and other unforeseen
circumstances have impacted
change and replacements that
now leave Otis Williams, the
only living original member
of the group that first began
with Eldridge “Al” Bryant,
Paul Williams, Melvin Franklin,
Eddie Kendricks and Williams.
To that end, it is Williams’
testimony that has made its
way onto the Imperial Theater
stage of the Great White Way.
Adapted from a book he
penned titled “The Temptations,”
“Ain’t Too Proud To
Beg” a foot-stomping, handclapping,
musical sensation
recently opened to SRO audiences
anxious to chorus or
echo every lyric recorded
more than half a century ago
until now.
Through a bare stage nostalgic
reprise, Williams pays
tribute to the city, genre,
songwriters, family, friends
and collaborators who aided
the elevation of rhythm and
blues and Motown’s most
prominent septet.
The title harkens back to
the 1966 track led by David
Ruffin that for a time found
permanence on radio playlists
throughout the nation.
Written by Norman Whitfield
and Edward Holland Jr.,
Whitfield gets the lion’s share
of all hit tracks recorded by
the winning Temps.
Although there was nary a
mention of the Holland-Dozier
Holland songwriting team
that ruled the Motown stable
with Robinson, a barrage of
hits featuring: “My Girl,” “Just
My Imagination,” “Papa Was
A Rollingstone,””Since I Lost
My Baby,” “The Way You Do
The Things You Do,” “What
Becomes of the Brokenhearted,”
“War,” “I Can’t Get
Next To You,” “Ball of Confusion
(Cloud Nine),” “Runway
Child, Running Wild,” “I Wish
It Would Rain,” “I’m Gonna
Make You Love Me,” “Get
Ready” and others honed the
spotlight.
Continued from Page 39