Winnie Harlow has admitted that she loves ''creating makeup ''and has hinted that she has her own makeup line in the works.


Actress Tessa Thompson has revealed she pretends to like any terrible Christmas gifts she's given.


Rap star Cardi B is reportedly ''very torn'' over the prospect of rekindling her romance with Offset.


Jada Pinkett Smith admitted race ''always'' caused the end of her relationships with white men.


Janelle Monae has been cast as Dorothy Pitman Hughes in the forthcoming Gloria Steinem biopic.


Atlanta rapper Future might be ready to really tie the knot. The hip-hop veteran took to social media this week to declare his clubbing days might be well behind him.





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Celebrities (including rappers) and athletes use this app to keep up with their stocks and cryptocurrency purchases and none of these celebrities have a financial background; that's just how easy this app is to use.


Always remember to research stocks and cryptocurrency prior to purchase.








People really wanted Biggie dead!  Even moreso than Tupac because he was killed with "rare ammunition" used by professional killers.


B.I.G. was shot and killed with rounds of Gecko 9mm armor piercing ammunition, which is rarely found in the United States and this ammunition is made in Germany.


Police raided a local gang house with a tip from a anonymous call finding the same caliber gun and rare ammunition (which was likely planted) because bangers and homeboys have never used this type of ammunition.  Someone wanted to give the impression that it was gang related or Coast related but a lot of outside factors point elsewhere.  This was an organized hit with "wet work" ammunition used by hired contract killers.


After an anonymous caller tipped off officials that an unnamed Mob Piru Bloods gang member was involved, a search warrant was obtained and 9mm guns and Gecko 9mm rounds were found.  How convenient.

A ballistic test was never done and according to documents (off book) "personal recruits" were involved in this matter.



Dr. Marcus Foster was murdered by cyanide laced bullets. Like Biggie, someone really wanted him dead.


When Oakland’s first black public school superintendent, Foster's heart and brains were laid out in the street by shotgun blasts, people couldn’t figure out who assassinated him and why. But it all involved an secret state and shadow government connected with an underground group.


It was later revealed that Foster was assassinated by members of the Symbionese Liberation Army (SLA).


The day of Dr. Foster assassination, the Oakland Unified School District (OUSD) was broke.  A massive theft and embezzlement of hundreds of millions of the school's `general funds.

At the time of Dr. Foster’s assassination, OUSD’s entire financial structure was the computerized creature of a major U.S. Defense Department contractor and war monger: ____.

The Monclarion newspaper revealed that the OUSD was about to spend $372,000 so the district can stop farming out its data processing and do the work at leased facilities. The proposed leased facilities were ______ at that time was a major PATRIOT contractor developing Vietnam War anti-personnel weapons such as land mines for the Department of Defense. They also had a “mind control” contract with an intelligence agency. ____ also merged with another giant defense and intelligence contractor at the time of the proposal.

Dr. Foster was also in the middle of exposing the OUSD’s collaboration regarding an intelligence director's secret MK ULTRA mind control experiments and testing on Black and Brown students at the UCLA Center for the Study and Reduction of Violence.

The stakes were high and PATRIOT fun and games surrounding Dr. Foster’s assassination were heavy, involving some of the most dangerous and covert counterintelligence and international elements on earth.

Ammunition is the gateway in regards to what kind of killer was involved in an murder. Cyanide laced bullets are linked to a shadowy conspiracy regarding Dr. Foster's death mentioned above and the same can be said about the rare ammunition used in Biggie's death.







by: Jered Stuffco


Old myths have a way of sticking around. Especially the one about Bobby Caldwell being black. It’s been 37 years since Caldwell broke through with the soul classic “What You Won’t Do For Love,” and yet, some are still shocked when they find out the singer is white. “Quite honestly, I never thought I sounded black,” says Caldwell. “I thought I sounded like a white guy that was influenced by R&B music. But people would swear up and down I was black. Huge amounts of money were lost in bets.” While the myth carries on today, the truth of how it all got started is a story rooted in the politics of ’70s American radio and the shrewd business practices of a record boss.


In 1977, Bobby Caldwell was already a has-been. Or maybe he was a never-gonna-be. For the past six years, the Miami-bred Caldwell had been working hard in Los Angeles: Playing in bar bands, cold-calling record labels, and trying to press his demo tape into the hands of as many industry suits as possible.


Caldwell and his band had initially gone to L.A. to play with Little Richard, who fired his backing band and hired Caldwell and company after sharing the stage with the young crew during a Florida tour stop. But after grinding it out on the circuit with Richard, Caldwell and his band figured they could make it on their own. Caldwell eventually went solo and recorded a disco-tinged single, but a big-time record deal remained elusive. “I just could not make it happen,” says Caldwell. “I basically ended up going back home with my tail between my legs to Miami, feeling pretty despondent.”


Moping around the family home one day, Caldwell’s mom passed her 27-year-old son an issue of the Miami Herald. On the cover was a photo of KC and the Sunshine Band, emblazoned with the headline: “Miami’s Favorite Sons.” Caldwell’s mom suggested her depressed son check out TK Records, the Miami-based label behind KC’s rise. “I went down to this little joint, and in two days, I had a record deal,” says Caldwell. “When I walked into TK Records, it all came together. I was exactly what they were looking for.”


What TK was looking for was something different.


I guess they got skittish with going to black radio with somebody who was whiter than a loaf of bread.

Led by disco don Henry Stone, TK had been slaying the dance market with a constant flow of chart-topping acts: KC and the Sunshine Band, Anita Ward, T-Connection, Voyage and George McCrae, to name but a few. But as disco fever burned through the mid-’70s, the boss at TK started worrying about a burnout.


Through 1976, Columbia Records singer Boz Scaggs had enjoyed huge success with the groovy and sophisticated “Lowdown,” and TK was looking for something similar. “People were going disco weary. I think they saw me as their guy to usher in something with more of a pop approach to R&B music, without the pounding of a kick drum and the nonsensical disco lyrics,” says Caldwell. “They wanted something that was more art than dance.”


Thanks to Caldwell’s jazzy tunes and his effortlessly soulful vocals, he was given free rein in the studio, and he spent ten months recording the songs for his now-classic, self-titled debut. But when Stone – a notoriously shrewd businessman – heard the final mixes, he wasn’t satisfied they had a hit. Caldwell was sent back into the studio, and he quickly wrote and recorded “What You Won’t Do For Love,” a slice of slinky smooth R&B based on a jazzy, four-chord progression.


Stone loved it. The label had their lead single, but there was still a glitch: Caldwell’s image. “We did a shoot for the album cover, and my hair was down to my shoulders and (the shoot) was done on the beach. And for them, I guess they got skittish with going to black radio with somebody who was whiter than a loaf of bread,” says Caldwell.


Indeed, TK’s bread was buttered on black radio. Jo Maeder, a radio DJ at Miami’s Y-100 at the time, said TK used a domino style of promotion to get their records into the mainstream. “R&B radio was all over TK Records, it was their strongest base,” says Maeder. Without support from black radio, TK worried the record would be a flop.


Determined, Caldwell took matters into his own hands and mocked up his own album cover – an evocative image of a mysterious man sitting on a park bench. “It was me who came up with the idea of a silhouette, which I actually drew, based on a photo that had been taken,” he says. “I had a piece of acetate. There was a photo of me on a bench, I traced the photograph and filled it all in to make it silhouette. Everyone just loved it – problem solved and we were able to make the release in time.”


Soon after its release, with his song gaining traction in the pop charts, Caldwell was invited by Natalie Cole to open up her tour of U.S. auditoriums. “It’s the very first night in Cleveland, at an amphitheater. We’re talking about 7,000 brothers and sisters, and I was the only cracker there,” says Caldwell. “And everyone is coming to hear ‘soul brother’ Bobby Caldwell. I walked out on stage and you could hear a pin drop, just a total hush came over the crowd. It was like, ‘What the fuck is this!?’” Caldwell gulped and his band launched into their first song. “I stayed and delivered, after about ten minutes, I had them in my pocket. That was the night I became a man, I’ll tell ya.”


The song eventually peaked inside the top 10 on the Billboard Pop Chart, but it really struck a chord with black audiences. “It was such an anthem and still is, and so embraced by the black community and R&B radio,” says Caldwell. “And even after they found out I was white, it wasn’t like, ‘We’ve been betrayed.’ They took the idea that music has no color.” American Urban Radio Networks staffer Ty Miller, who has spun many Caldwell tracks over his career as a DJ on black radio through the 1980s, echoed that sentiment. “You think about it now, soul has no color. He sounded like a typical, R&B soul singer,” says Miller. “If you were in the industry like me, you knew he was white, however, it was the sound more so than the color. The phrasing, the instrumentation; it lent itself to being played on black radio and that’s why a lot of people liked it.”


Somehow they all loved this cracker with the blonde hair, and I just don’t know what I did!

DJ Spinna recalled that his own introduction to Caldwell came from famed New York DJ Frankie Crocker, who broke many new soul cuts on WBLS, including “What You Won’t Do For Love.” “People were bugging when they discovered he was white as well,” said Spinna in an interview with the Soulisms Official Blog. “The funny thing is, the album with that track ‘What You Won’t Do For Love’ probably didn’t have his face on the cover for that same reason, but that’s a big tune. Still gets into my soul when I hear it.” (According to legend, Crocker himself wasn’t aware of Caldwell’s race, and once he found out, he announced it over the radio as a pseudo news bulletin.)


After TK went bankrupt in 1981, Caldwell continued to release music and also moved into writing pop hits for others, such as Chicago and Boz Scaggs. The song that broke him has been sampled, covered and remade dozens of times, while other cuts in Caldwell’s discography have also proved fruitful for beatmakers. In Japan, Caldwell has enjoyed enduring success and has earned the nickname “Mr. AOR.” But at home, his audience remains mostly black.


These days, Caldwell is both confused about his enduring appeal and grateful. “Well y’know, I don’t know how I escaped this, it certainly wasn’t intentionally that I was able to have the success, to be embraced by black radio. But somehow, they all loved this cracker with the blonde hair, and I just don’t know what I did!”


Caldwell adds that TK’s scheme turned out to be a blessing, because it not only broadened his audience, but gave him an incredibly loyal fan base. “All I know is, I look out in the audience today, and I have a demographic that’s mind-boggling.”








Just outside of Houston, Texas, is a neighborhood filled with upscale homes and manicured lawns. In the early 1980s, Sam and Judith Haney settled in at the far western edge of the development. Sam described it as their dream home:

“When we bought the house in Newport, it was the house that we had always been looking for. So, it was the house that we intended to stay at for a long period of time.”

But there was a morbid secret about the Haney’s perfect home, one that soon turned their lives into a never-ending nightmare. Sam said it all began when a mysterious old man showed up at their door with an ominous warning:

“This elderly man told me that he had noticed that we were putting a swimming pool in our backyard and that there was something about our backyard that I needed to know about. So I followed him around to my backyard and he pointed at the ground and said that there are some graves right here. And he marked a spot on the ground where they were. And I really didn’t know how to react to that. I didn’t know if he was just joking. I couldn’t understand why anyone would want to joke about something like that.”

Using a backhoe, Sam decided to see if the man’s alarming claims were true. Sam says it wasn’t long before he hit something:

“And at that point, we stopped with the backhoe and we got down into the hole and continued digging by hand. There were pine boards. When we lifted up the first board, we could see an indentation of a skeleton form. It didn’t take long to figure out that it was actual human remains.”

Sam immediately called the Sheriff and county coroner who conducted an official exhumation. Most of the bones had turned to powder. But 25 fragments were found, some so brittle that they disintegrated when touched.


A second coffin, located alongside the first, hadn’t been disturbed. Inside, two wedding rings were discovered on the frail index finger of the exposed skeleton.


Judith Haney was mortified by the discovery:

“They handed me the rings and it was sickening to think that I had desecrated somebody’s grave.”

Wanting desperately to do the right thing, the Haneys decided to find out whose remains were buried in their backyard. The search led them to a longtime resident named Jasper Norton.


Years earlier, Norton had dug several graves in the area. He told the Haneys that their home and a dozen others were built on top of an old African American cemetery called Black Hope. The deceased were mainly former slaves. The last burial was in 1939, and as many as 60 people were interred there in paupers’ graves.

Jean decided to dig for the bodies
The two people buried in the Haney’s backyard were Betty and Charlie Thomas. They died during the 1930s and their graves were eventually forgotten.

Judith and Sam Haney made an extraordinary decision. They reburied Betty and Charlie in their yard, and prayed their spirits would rest in peace. But, according to Judith, peace was not forthcoming:

“There was a clock in my bedroom and one night it started sparking and putting out a sort of blue glow.”
When Judith checked the clock, she found that it was unplugged. That was only the beginning of the Haneys’ ordeal. On another evening, Sam went to work the night shift, leaving Judith alone:

“I heard the sliding glass door open and I heard what I thought was Sam saying, ‘What you doing?’ Everything was quiet, the sliding glass doors were locked, and I thought, ‘Well, you know, you must be losing your mind. This really must be getting to you.’ But much to my amazement that’s not where the story ended. In the morning I awoke, went in my closet to get my red shoes, and I could not find them anywhere.”
Sam backed up Judith’s story:

“So, of course, I started looking for them and went through all of her closets where she normally puts things. And we just couldn’t find them. We had walked just a short distance from where the gravesites were and I could see something on the grave. And they were both side-by-side like someone had just picked them up and carried them over and laid them down on the gravesite.”

Even more disturbing to Sam was the realization that this was Betty Thomas’ birthday:

“And I kinda got the feeling that it was like Charlie was giving Betty a birthday present.”

Judith felt she knew what was going on:

“I began to come to the realization that this was not all in my mind and that this had to have some relationship to Betty and Charlie’s graves being disturbed. Their spirits were saying, ‘This isn’t right.’”

The Haneys were not alone. A dozen of their neighbors also reported lights, televisions and water faucets turning on and off, and unearthly sounds and supernatural apparitions. Worse, these bizarre events were becoming malicious.

Like the Haneys, Ben and Jean Williams thought that they had found their suburban paradise when they moved into the same neighborhood. But Jean said she never felt at peace in the house:

“After we moved, in everything changed. When I tried to plant new plants, they just would not live no matter what I did. You know, fertilizer or whatever, they still would not live. And I constantly had a foreboding feeling, a feeling of things are not right or something bad is about to happen.”

The Williams said that near their flowerbed, sinkholes appeared in the unmistakable shape of a coffin. The Williams would fill them in, only to have them reappear a few days later. The Williams also felt their ideal home was being invaded by a menacing presence. Random shadows slid along the walls, followed by whispered words and a putrid smell.

At the time, the Williams’ granddaughter, Carli, lived with the couple. During the blazing heat of summer, Carli said she would stumble into bone-chilling pockets of ice-cold air:

“It would be very, very chilly and you’d have this feeling of foreboding, or just, you know, like something wasn’t right. Anywhere in the house you’d have a feeling that you were not alone. Somebody was watching you. It terrified me to be in the house by myself. The toilets used to flush on their own. As the water went down I could hear, it was almost like conversations. You could hear people murmuring to themselves. It was a presence or spirit or something there. Something that wanted to be heard. Wanted me to know that it was there.”

Jean Williams had no doubt as to the source of the disturbances:

“I absolutely believe that all of these things happened to us because we were on the graveyard, and that we were simply going to be tormented until we left there.”

Ben said he and Jean debated what to do next:

“Me and Jean, we talked it over. And she said, ‘Well what can we do? Walk off and leave it?’ She said, ‘We ain’t got enough money to pay down on another home.’ I said, ‘We’ve always been fighters. We’re gonna stay right here and fight it and try to beat it.’”
According to Ben, it wasn’t long before he got his chance:

“I came home from work around ten after twelve from the midnight shift, and I walked straight to the kitchen, opened the refrigerator door, and that’s when I seen these two ghostly figures. And they went straight backwards into the den. And then they started heading right down the hall to Jean’s. And it was standing right about a foot and a half from the end of the bed. The only thing I really thought of was, ‘They ain’t messing with me wife.’ As I dove through it, I felt a sticky cold sensation in my body.”

Down the street at the Haney’s, Judith said the disturbances caused her life to unravel:

“I was crying all the time. I was frightened. I was scared of doing my daily routine in my own home.”

The Haneys decided to fight back in court. They sued the builder for not disclosing that their home was built over a cemetery, in part, so that everyone would know what was happening at their subdivision. A jury awarded them $142,000 for mental anguish. But a reversal ruled on legal grounds that the developers were not liable. The verdict was thrown out and the Haneys were ordered to pay $50,000 in court costs. Sam Haney recounted the total cost of their ordeal:

“At that point we decided to file bankruptcy. All in all, we ended up losing the case, losing the money, losing the house.”

The Williams also explored legal recourse. But they say that they were told that without definitive proof of a cemetery on their property, nothing could be done. It was then that Jean made a decision that she will forever regret:

“That was the last straw. You want a body? I’ll show you a body. So, I thought to myself, I can dig about two feet a day and I knew I would reach a body.”

But soon after she started digging, Jean felt ill. Her adult daughter, Tina, volunteered to finish the job. After digging for a half hour, Tina also fell ill. Carli Karluk was there that day:

“I remember her saying that she was, that she felt funny. She was getting dizzy as well. She put the shovel down and she went back inside. And she just laid down on the couch. She’s like mom, daddy, I don’t feel right. There’s something wrong. The last thing I remember her saying was, ‘Mommy, take care of my baby, take care of my baby.’ And she looked so scared.”

While waiting for paramedics to arrive, Jean tried to keep her daughter conscious:

“Almost immediately her eyes started glazing over. And I was talking to her, trying to talk her out of dying. ‘Please Tina, talk to me.’ And all this time her eyes were changing until they got to the point where I knew that she wasn’t responding at all.”

Tina had suffered a massive heart attack. Two days later she died. Jean burdened the blame:

“I realize that I had desecrated another grave and now I’m paying. I told Ben, ‘We have to get out of here. It doesn’t matter what we lose, what we had.’ And I knew that if we didn’t, that I was not going to make it, because my fight was gone. I could fight no more.”

The Williams escaped to Montana and later moved back to another house and another neighborhood in Texas. Today they are a happily growing family, no longer plagued by mysterious noises, horrific apparitions or heart-breaking tragedies.

Back in their old neighborhood, none of the current residents have reported any paranormal activity. No one has ever been able to explain what happened to the Williams or the Haneys.







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