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Hollywood heavyweights Michael B. Jordan and Donald Glover are reportedly in talks of possibly appearing in the highly-anticipated Black Panther sequel. According to a report, inside sources believe at least one – if not both – entertainers could come through on director Ryan Coogler’s much-needed follow-up.


John Legend and his wife Chrissy Teigen have bought a new penthouse apartment in New York for $9 million. The property is made up of three bedrooms.


A$AP Rocky and Kanye West ''shut down'' a hotel in Berlin with their creative endeavors.


The 2018 World Cup kicks off in Russia in just over three weeks. It’s been a very long time since he’s been active in his musical career, but it looks like Will Smith is going to make a comeback to rapping, with widespread reports that he’s to be involved with the official World Cup 2018 anthem this summer.














Female bodyguards/enforcers protected "Black Panther," in the movie.


In real life, the late Winnie Mandela had an assassination squad/enforcers-consisting of young males, below-(with a sinister twist); at her disposal 24/7.





Winnie Madikizela-Mandela, who has died aged 81, kept alive the flame of her husband’s resistance to apartheid for much of the time he was in jail, but as Nelson Mandela became the world’s most revered elder statesman, his wife became an embarrassment.

After the world learned of the reign of terror inflicted on Soweto by her street thug enforcers the "Mandela United Football Club."


In 1991 she received a jail sentence for her part in the kidnapping of 14-year-old Stompie Moeketsi (above) who was found with his throat cut after being accused of being a police informer.


Later reports suggested that the "Mandela United Football Club”, wearing orange and green tracksuits and accompanying Winnie as a kind of bodyguard, started exerting a reign of terror in Soweto.

It was reported that after Mandela United was formed in 1986, it established a “kangaroo court” at the back of Ms Madikizela-Mandela’s home and opened a black book of “defendants”, who faced beatings or worse if found “guilty”.

It was reported that Mandela United had been linked to firebombings and carving “Viva ANC” into the flesh of two teenagers while pouring battery acid on their wounds.

Later, a South African man convicted of murdering Winnie's doctor alleged she ordered the killing. It is claimed that Winnie organized the murder of Dr. Asvat, because he refused to provide her with an alibi on the day that Stompei Moketsi was murdered.


In 1995 her husband, South Africa’s first black president, was left with little option but to sack her from her cabinet job as corruption allegations emerged.


And in March 2013, nine months before Nelson Mandela died, Winnie used an interview with the London Evening Standard to accuse her ex-husband of letting down black South Africans.


It was all a far cry from the euphoric image of Winnie punching the air in a clenched fist salute as she walked hand-in-hand out of Cape Town's Victor Verster prison with her newly released husband on 11 February 1990.


As a strikingly attractive 22-year-old she caught Nelson Mandela’s eye at a Soweto bus stop in 1957.

After a whirlwind romance, they married in June 1958. Perhaps a little too prophetically in light of later controversies, the bride’s father is said to have warned her: “If your man is a wizard, then you must become a witch.”

Nelson and Winnie’s time together as anything resembling a normal husband and wife was short indeed.

The South African authorities may have silenced her husband by imprisoning him, but his iron-willed wife’s defiance in the face of arrests, banning orders and daily police harassment helped ensure that the world never forgot the Mandela name or cause.

In 1977 they tried exiling her to the remote town of Brandfort. That just made the world more interested in the beautiful activist with a jailed husband. Celebrities including Ted Kennedy and Richard Attenborough came flocking to visit her, bringing journalists with them.

Some accounts, though, suggest that behind the scenes, there was erratic, occasionally violent behaviour fuelled by heavy drinking.

Winnie's young lover MK Malefane had to sober her up before the arrival of Ted Kennedy by turning the garden hose on her.

In letters from prison, Mandela had not only accepted Malefane’s presence in his wife’s life, but also urged him to stay with her to help control her behavior.

According to sources, within days of her husband leaving prison, Winnie was flaunting her relationship with her then lover, while Mr. Mandela was telling friends that while he had not expected her to be celibate during his captivity, he had thought she could be discreet.


The couple officially divorced in 1996, and the following year at the TRC, Winnie embarrassed her ex-husband by refusing to show remorse for abductions and murders carried out by her followers.


In October 2001 there were more uncomfortable proceedings when she was charged with fraud and theft involving an elaborate bank loan scheme and nearly one million rands, a sum then equivalent to £75,000.


In later years, she seemed to some to have become something of a troublemaker, arriving late at rallies and haranguing comrades, including Thabo Mbeki, her ex-husband’s successor as president, and then Jacob Zuma when he became South Africa’s leader.








By: Michelle Lhooq


It's quite ironic that singer Carl Bean (top pic-far left) and Dynamic Superiors lead singer Tony Washington (bottom) pic were both gay and were both signed to the Motown label in 1974.


According to Carl Bean:


I moved to New York because I knew I wanted to sing and make a living from that. That's all I knew. My mother had died from a bad abortion, which was illegal at the time. At 14, I had what you'd call experimental sex with a young boy on my block. His parents went to my godparents, who were raising me, saying, "Carl did this to my son." My father went on to ask, "Where did this come from?" And I told him, his brother! My uncle had molested me from the age of about 3 up until about 11 or 12. Of course, it was our deep dark secret. So that came out and there was unrest in the family. Being basically a foster child, I felt like, now I'ma be kicked out because I'm a queer.I attempted suicide and landed in the mental health ward of a big hospital. There was a doctor there, a female exchange student from Europe. She said, "There are many people like you. I can't do what your parents want— make you a heterosexual—but I can help you accept who you are and go for your dreams." That gave me enlightenment and the chance to accept myself. If I had another doctor, I might have been a different animal.


My first thing was to join a church in Harlem. Other male singers that were gay would come from various parts of the country, and we formed a gospel group and started singing around the city. One day, we opened for a professional group in Harlem called The Gospel Wonders. Afterwards the manager of the Wonders came up to me and said, "Would you like to join a recording group?" His name was Calvin White and he had come from the Bradford Singers. From time to time, if they wanted a male voice for something, they would say, "Come on, Carl!" and I would go downtown to the Brill building, where there were these little rooms of pianos that you'd hear different tunes coming out of. I met all the young writers—Carole King, Burt Bacharach, Hal David—and that's when I began to get excited about really trying to be a secular artist.


One day I was in a supper club near the Apollo during the day. [Gospel singer and composer] Alex Bradford was there eating lunch and having a drink, and I was laid back over by the jukebox because I was afraid they would card me and know I was too young to be there. I was singing along to something from Motown, it might have been Martha & The Vandellas' "Dancing in The Street." He said, "Who's that boy? Bring him over here." I went over and he said, "I'm Alex Bradford, I like your voice, are you interested in singing with me?" He gave me money to carry me to the hotel where all the black acts stayed that played the Apollo, and said, "Tomorrow I'm going to audition you for a role." I became a Bradford singer and my life took off! The vehicle out of the ghetto for me was black gospel.



At the time, what the disc jockeys coined as "message music" was pretty big, and that's what I wanted to do. Message music came out in the late 60s, and it caught on with the young folk at the time. We were in the middle of the civil rights movement, women were staging sit-ins, and there was a huge dislike for the war in Vietnam. You started to hear, little by little, messages that spoke to what people were dealing with everyday—what people were feeling. Songwriters began to deal with the times, as opposed to just [writing] love songs or the "boy meets girl" thing. Philadelphia International was probably the biggest proponent of message music. Curtis Mayfield and The Impressions out of Chicago put out "Move On Up" and "People Get Ready," James Brown had "Say It Loud—I'm Black and I'm Proud," and Aretha sang "Young, Gifted and Black." Everybody was having hits. Message music was in every jukebox. So whether you're in the club or wherever, you were hearing about the times.


Once Motown gave me the lyrics for "I Was Born This Way," written by Bunny Jones and Chris Spierer, I felt spiritually that's what was calling me. [The original version of "I Was Born This Way"] by Bunny and Valentino was very different—it sounded pretty Broadway-ish. Everyone knew disco was a gay phenomenon. That became the thing for gay men, who carried their straight girlfriends with them [to the club], who then started bringing their straight boyfriends, and disco just kind of spread like wildfire. I guess Mr. Gordy felt, "Oh, this song will work in that environment." So when they signed me, they did it differently, riding that success in the dance market with black voices coming out of gospel and blues.


So Motown contracted the track out to MFSB in Philly. Philadelphia International's Norman Harris directed and arranged it, and sent the track back into LA. Then they sat me in the studio and told me to do my thing. So when I went into the booth and I just took it to church. They sent Ron Kersey, who had been a part of The Trammps and wrote a very big disco hit, to produce the session in the studio. While most people would try to tamper down voices like mine, he was able to open that mic and tell me, "Carl, don't even worry about loudness or any volume, you do your thing. I got the knob." And that's what gave me the freedom to just go for the gusto, as we say in blues and gospel. The inspiration was so natural to me because I had been a black men that had lived with all the injustice of being black—and on top of it, I was very openly gay. I never thought in my wildest dreams that I could sing about being homosexual.



When they played the track in the production department where they chose what was going to be released, they all went nuts and felt like this is gonna make it. The track was assigned to the disco division of Motown, and the disco guys took it to the disc jockeys. I would daresay that 85 to 90 percent of disc jockeys across the country were gay men, and when they heard it, it blew them away. Frankie Crocker in New York at the largest black station WLIB put it on the air, and of course it was controversial—it was new. The phones opened up, and it got a great reaction. So the disc jockeys really played it in those discos nightly, and it went straight up the Billboard chart because they had never had anything like it before. It was the first time people could hear coming through the speakers something that reflected their own lives.


Even now, I'm shocked that it was lasting classic. I would hear things like, "I hope you don't mind that I'm heterosexual but 'Born this Way' is one of my favorite songs, and man when it used to come on in New York at Studio 54, I really used to get down because I felt like you were talking to me too!" People felt that they were born this way to maybe paint or dance or do something different from what their families wanted them to do. And they felt that my lyrics or the way I sang it encouraged them to go for their own dreams!

10 years later, the song had a renaissance in the 80s. This straight disc jockey from Newark—I don't even know his name—loved my song and began to put it back on the turntables. Robert Gordy called me and said, "Carl I'm looking for you because they're trying to find you in New Jersey and New York and Pennsylvania. This song is a smash again and they want you to come!" I said, "Did you tell them that I'm a clergy person now and I'm doing AIDS work?" I wanted to make it real plain that I was still openly gay, but I was doing social justice work and the bulk of my time was spent defending people with AIDS—advocating for funding and that kind of stuff. He said, "Yeah, but they still want you to come."

So I got to New York and there was a large white stretch limousine waiting that said "Carl Bean." I was just amazed. They took me from club to club all over New York, and parts of Jersey and Pennsylvania. [Before these performances] I was totally broke—totally busted. I left New York with thousands of dollars from singing for three nights, because I earned a thousand dollars every time I did it at every club. That song came back again, and it provided money for me to continue to live and provide services for men of color, who were still dealing with the virus at the time. The song just continued to have this life of its own.

Somehow, the message that "I was born this way" kept being picked up by various communities. I started doing a lot of speeches that made it to colleges, and was even brought to London to address their health department on how I began work for people of color in America.


Lady Gaga was the last one that heard it. She went on Howard Stern and said, "I was at a point in my life of trying to get access to things, and there was so much I couldn't figure out. I heard about this preacher, Reverend Carl Bean in Los Angeles. Someone introduced me to his song and it just answered everything that I was trying to get an answer to." Later on, she went on to write her [own version of] "Born This Way." A lot of people were saying things like, "Oh she's a thief, she's just like Madonna, all they do is steal," but I didn't feel that at all. I was flattered and proud that someone would still today continue to address those social justice needs in our society.



When Bean's version of "Born This Way," hit the airwaves, he toured with Sammy Davis, Jr. and Dionne Warwick and was friends with Richard Pryor.


Bean adds: "Now that I've retired from ministry and I'm in my 70s, I'm actually considering doing music [again] because we're in another one of those historic times, like in the 60s and 70s, where the country is in turmoil, and major groups of our citizens are saying, "No more. We're tired of it, and we're not taking it anymore."






by: Chris Williams


By the late 1980s, R&B music was at a crossroads with its aging audience and sound. The genre itself was looking to go into a more youthful direction. Fortunately, help was on the way in the form of a teenage prodigy from Harlem, New York.

Building off of the successes from Johnny Kemp and Keith Sweat in 1987, the newfound New Jack Swing genre was leaving its mark on pop culture audiences. In the same year, the mastermind behind this incredible blending of Hip-Hop and R&B would become part of a group named Guy that would ultimately define themselves as the trailblazing unit that would propel the dominance of New Jack Swing with their debut offering.

Their self titled album, Guy would be released on June 13, 1988 by Uptown Records.

Uptown Records was the newest label on the scene and their youthful exuberance shined through with the hot acts they were signing in both the R&B and Hip-Hop genres respectively. Guy became the first R&B group signed by Andre Harrell. From his previous working relationship with Teddy Riley, Harrell knew that the group possessed the capabilities to become something special. The group failed to disappoint with their debut offering and left quite the impression on the multitude of music fans worldwide.

This album would introduce the collective pioneering the development of a groundbreaking genre of music, which placed them in a different class among their contemporaries. Their style of rhythm and blues was a welcomed breath of fresh air with the lovers of the genre. Each of the 10 songs on the album highlighted the captivating, soul stirring lead vocals of Aaron Hall, songwriting of Timmy Gatling, and the prodigious songwriting and production talents of Edward “Teddy” Riley. All of these elements proved to be explosive once the album hit stores in the early summer of 1988.

The concept for the group was formulated by Timmy Gatling and Aaron Hall when they worked together at the same clothing store in 1987. Shortly thereafter, Teddy Riley was introduced to Aaron Hall by Timmy Gatling and Guy formed as a trio. As the story goes, the group was managed by Gene Griffin, which led to a meeting with Andre Harrell at Uptown Records. Upon hearing the music the group created, they were signed to the label immediately. It would be here where they would stake their claim as a force to be reckoned with in the world of music. After signing their record deal, Guy would release their debut album a year later and the rest would be history.


“The group was formed with Timmy Gatling and Aaron Hall,” says Riley. “Timmy Gatling used to work at a store in Brooklyn called Abraham & Straus. Timmy discovered that Aaron could sing one day when they were working together. Once Timmy heard Aaron singing, he was curious to know what Aaron was doing with his talent and who he was working with. Aaron told him he wasn’t working with anyone because he was singing in the church.

“Timmy gave him the idea that they should get together to form a group. At first, it was just about Timmy and Aaron being in a group. He brought Aaron to the studio with me and I was just finishing up Keith Sweat’s album. The studio was out in New Jersey and it was an extension of the Power Plant studios. It was called Quantum Sounds.

“He brought him to the studio and I met Aaron and Timmy told me he wanted me to produce them. I said that’s cool. Timmy wanted me to hear Aaron sing and he blew me away with everything. I never heard anyone sing that way other than Charlie Wilson or Stevie Wonder.

“I told Timmy that I’d love to work with Aaron and the feeling was mutual. Aaron told us he’d like to do this as a whole group and he wanted me to be in the actual group because he heard me play and then I heard him play so we really attached ourselves at the hip from that point on. I told him we could do a few records to see how they would turn out and that I really didn’t want to be part of a group. Aaron told me if you’re not going to be in the group then I’m not sure I want to do this at all because he thought it would be great with me being the producer and that I should sing too.”

He continues. “Aaron and my mother were the ones to push me to sing because I never wanted to be a singer. We met the next day after I finished Keith’s album. Aaron came over to my house and we exchanged ideas about doing the group and going back to Gene after we finished the demos. We figured he still had contacts to help us get a record deal. We found Gene and he just came back to New York and he was staying downtown in a five-star hotel. We went down there and told him that we had something. He told us he would come to my house to see what we had. At this time, I was living in the St. Nick’s projects on the first floor.

“Gene came to the house and Aaron was already there. As soon as he came to the house, Aaron and I had already started knocking out joints. Our first song was ‘I Like.’ When we first got together, our group didn’t have a name at all. We were at the house and we went down to 125th street to go to a clothing store. I remember that I kept seeing him wear the same clothes. He told me he only had one pair of shoes. I told him we were going to the store to get some clothes and shoes. Timmy and I took him to this store named Two Guys. It was here where we found our style for the group. At this store, we found the name for our group also. We took the ‘s’ off of Guys and removed the ‘Two’ and that’s how we came up with the name Guy for our group.”

Riley retraces all of the footsteps involved in landing the group’s record deal.

“We got our record deal through Uptown Records because I worked with Keith Sweat, but at the same time I was working at Roof Top Records with my partners,” says Riley. “We owned the company and we signed Kool Moe Dee as our first artist. While working at Roof Top Records, I remember Andre Harrell and all of Queens and Brooklyn coming up to the Roof Top. My uncle Willie and my partner Gusto actually owned the place. My other partner was Greg G from the group, the Disco Four and Lavaba Mallison. Lavaba and all of us used to be at the Roof Top.

“This is around the time Andre Harrell said he was going uptown to check out this kid who was doing music. I can remember people talking about me and how I was doing music. I produced ‘Go See the Doctor,’ ‘Rap’s New Generation,’ and Doug E. Fresh’s song ‘The Show.’ They thought all I could produce were rap records, but no one knew I did R&B too even when I did Keith Sweat’s album.

“I moved on to R&B music and that’s when I came up with the style of putting rap and R&B music together. Andre Harrell bought Heavy D to me and I didn’t really need Gene to make that contact. I ended up bringing Gene in to make that contact, but in the end I had a middle man. I actually could have signed the deal by bringing up Aaron and Timmy to Andre’s offices and cutting out the middle man. Either way, I felt like there was something happening and that there was something special going on with this group. I felt like we were the Gap Band on steroids. I met Andre Harrell first and then I made the contact between Andre and Gene so that our business would be straight and no one would get over on us.

“Coming in, we didn’t know the business; we just wanted to do music. That’s how we got with Andre Harrell because I was working with Heavy D, Al B. Sure, Groove B. Chill, Finesse and Sequence and a group called The Girls. They were all signed to Uptown and Andre was just sending me group after group to work with. I was knocking everything out as he was sending it to me.

“I thank Andre Harrell for the opportunity to help me explore my music back then. I was just on to something. I felt like a kid in a candy store who bought some new candy, which was R&B. I didn’t know what I was doing, but I was playing chords that felt good to me. This is what Andre Harrell loved.”

Riley recalls the studio atmosphere during the recording of the album, the chemistry that existed between the group members and manager Gene Griffin, and why Timmy Gatling quit the group before the album was completed.

“The studio atmosphere was at my mother’s house,” says Riley. “We did the whole album there and I used the Akai 12 track. I couldn’t afford anything and the Akai 12 track was given to me by a friend of mine who was an engineer. He started giving me equipment because I knew how to use it. My uncle Willie brought me the keyboards and the little drum machines that I needed. I did the vocals in my bathroom and when I didn’t have a drum machine I would use the microphone that my uncle bought me as a bass drum. I would put the microphone between the holes of the toilet tissue and that would be my bass drum.

“I learned from Doug E. Fresh how to do the snare drum and hi-hat sound with my mouth. When I did the snare drum and hi-hat sounds, the microphone was taped between the holes of the toilet paper roll and that’s where the sound came out of,” he laughs. “I did this all in the bathroom, but I had the ambience from the bathroom to give me the reverb. I had every vintage keyboard including a Fender Rhodes and a clavinet.

“Everything you hear on that album was developed in my mother’s house. My witnesses are my mother and the lady upstairs named Ms. Black, who used to bang on the pipes telling me to turn my music down. After we made our first hit, she told me we could play our music anytime we wanted to. She was always for kids to stay off the streets and not sell drugs. I was always in the house and she would wonder what I was doing because she was always hearing me bang on my machine until I got the sound I wanted out of it.

“I had Sound Tools, which is Pro Tools now, but Sound Tools is how I was able to record separate vocals on that Akai 12 track. We would mix it down with Sound Tools. I developed this album with everything I had. I tried to use different sounds, but it was just the stock sounds on the Roland D-50. Everyone used that keyboard after I used it. I made that keyboard famous. The same keyboard string sounds I used for Guy records I used for Michael Jackson as well. I never changed until I started getting the real deal Holyfield.”

He adds. “The creative synergy that Timmy, Aaron, and I had was just magical. It was something where we didn’t even know what we had. People around us could see it, but we couldn’t. My uncle Boopsy used to come around to sing our songs. Pretty much every artist and celebrity has that one uncle who will come in and try to sing your songs while you’re trying to create. Well, that’s when we knew we had something special. My uncle used to come over my house just to hear us sing. Then, he used to try and join in like he was going to be a part of our band,” he laughs.

“I lived on the first floor so you could actually come to my window and hear me play music. When Aaron would sing, all of my friends and the kids from the block used to come to the window to see and hear us. They heard the music before we even put it out. Basically, we had a live concert there for everyone.

“It’s so crazy how Timmy left the group. We all used to live in Washington, DC with Gene. When we lived out there, we didn’t get along at all. Aaron and I got along real well, but Timmy was jealous of Aaron and I being so close. Timmy and Aaron would get into little fights. They got into a big, big argument and it almost came to blows. Gene got upset with all of us. I was the youngest of the bunch and I never got into trouble.

“Timmy and Aaron used to argue with each other a lot. We used to do crazy stuff with girls and what not and Gene was playing that Joe Jackson type of role by keeping us away from those crazy things. It was good for us and it was good for me. One day, Aaron was hanging out and Gene told him not to go out. Aaron went out and got into a car accident again with this girl he was seeing. Aaron came back home with his neck hurting. Gene thought he was lying because he told him not to go anywhere. Gene made Aaron take the train back to New York because we were on our way back up there.

“He said to Aaron, ‘If you can make it back to New York, you may still be in the group.’ He used to have us doing military stuff,” he laughs. “At that time, Aaron didn’t really have a place to go, but he ended up making it back and he came to my house in the projects. I let him in and we ended up going back to the studio to do more work. Gene gets there and says ‘What is this mother f-cker here for?’

“I said to myself I’m in trouble now. I said to him, ‘Because he’s in the group and if he’s not in the group there won’t be a group at all. I’m not going to be in the group if Aaron isn’t going to be in the group.’ He said, ‘Whatever you say Midas.’ He used to call me Midas because he said I had the Midas touch. The day Aaron came back is the day Timmy and he got into another heated argument.

“Gene told Timmy that he wasn’t going to be starting anymore fights. Timmy basically told him he wasn’t going to tell him what to do. Gene then told him it was time for him to leave. Timmy left and that was it. We weren’t worried about the group being broken up because I had Aaron still. Gene came back in the room and said ‘Timmy is out of the group and that it was final.’

“I didn’t really know much of anything that was going on behind the scenes because Gene and Aaron kept that stuff away from me. Aaron was more protective of me more than anything so that it wouldn’t mess with my creativity. Aaron was always protective over me until Damion Hall came to the group,” he laughs. “Gene had us straight and he never let anyone take advantage of us.”

Riley briefly recalls the making the first single from the album, “Round and Round (Merry Go Round of Love).”

“‘Round and Round (Merry Go Round of Love)’ is a song that I didn’t like at all,” says Riley. “It was because it sounded too much like the Gap Band. It was always a dream of mine to have the Gap Band and Guy perform this song together. It’s the reason why I said I didn’t like it because I would rather perform the song with them.”

“Round and Round (Merry Go Round of Love)” went on to peak at #24 on the Billboard R&B/Hip-Hop Songs Chart in the late autumn of 1988.

The next single to follow “Round and Round (Merry Go Round of Love)” was the up tempo, infectious “Groove Me.” Riley remembers how the song came together at his house and later on in the studio.

“Groove Me’ started at the house and Aaron did the vocals,” says Riley. “The original vocals from the 12 track ended up being the ones we used, but when we got to Sound Works Studios, Aaron wanted to try to sing his vocals over again because he knew he could do better. Gene told him to go for it. He never stepped on Aaron’s toes when it came to singing part because Aaron was the teacher of the group.

“We did the vocals over on “Groove Me,” but they ended up not being the actual vocals that we sung at the house. We ended up using a lot of vocals from the house recordings because they were real. There weren’t any off notes. He was just on point. He did his thing.”

“Groove Me” went on to peak at #4 on the Billboard R&B/Hip-Hop Songs Chart and #33 on the Billboard Dance/Club Play Singles Chart.

The third single to be released from the album would be “Teddy’s Jam.” Riley explains how the song’s title was influenced by Aaron Hall.

“Teddy’s Jam” “Like I said before, Aaron was always pushing me to sing,” says Riley. “He came up with this song in the house. I told him it was a cool idea because when I played him the music he said he wanted to put some singing on it. He started singing ‘Jam’ all over the track. And it ended up being ‘Teddy’s Jam.’ We didn’t have a name for the actual song, but Teddy’s Jam just stuck. It became a signature track. I love performing this song live.”

“Teddy’s Jam” went on to peak at #5 on the Billboard R&B/Hip-Hop Songs Chart and #25 on the Billboard Dance/Club Play Singles Chart.

The fourth single to be released from the album would be the iconic “I Like.” Riley recounts how Timmy Gatling played a role in shaping the song.

“Timmy had the idea and the lyrics for ‘I Like,’” says Riley. “He just started singing them and after I heard the lyric ‘My dreams are now reality’ I started cooking up chords to go with it. I was doing hip-hop beats and marrying them to some chords and that’s how we came up with this song.”

“I Like” went on to peak at #70 on the Billboard Hot 100 Singles Chart, #2 on the Billboard R&B/Hip-Hop Songs Chart and #36 on the Billboard Dance/Club Play Singles Chart.

The final song to be released from the album would be “Spend the Night.” Riley tells a compelling story after the song was completed.

“This is the time where Aaron and I saw our lives passing by very quickly. After Aaron and I produced the song ‘Spend the Night,’ the same day we were at Tony Bennett’s son, Dave’s house at Hill Sound Studios in Teaneck, New Jersey. After finishing that song, we were so happy and we were on our way back to the projects.

“I remember I was driving my brand new 5.0 Mustang that Gene just gave to me. It was kind of icy on the ground and we were listening to the song. I was in tears listening to the first song I ever sung on. Not even 10 minutes from leaving Dave Bennett’s house, we got into a five car accident and it was my fault. I hit the gas because I was feeling good and I was singing my part of the song in the car. I hit the gas again and my car swerved and I ended up hitting four brand new Cadillac’s at a Cadillac dealership.

“We went from side to side because it was a one way street and my foot was still on the gas so it felt like we were on a bad amusement park ride. At the end of it, we landed in a parking spot. My head hit the steering wheel and almost hit the glass. Aaron’s head and neck went into the glass, but it didn’t break because the dashboard was holding him back. His neck ended up being fractured and my face was bashed in and I was bleeding from the nose and mouth. I had my first car accident after singing my first song.”

“Spend the Night” went on to peak at #15 on the Billboard R&B/Hip-Hop Songs Chart

Riley provides insight on how some of the remaining songs on the album came together.

“‘Piece of My Love’ and ‘Goodbye Love’ were the album selling songs. They were the incognito tracks that people could only hear if they bought the album. These two tracks are the reasons why our album sold so many copies.

“When all of the rumors came out where people thought Aaron was saying ‘you dumb b-tch,’ it’s what made the guys and girls go out to buy the album. People used to come up to me and say these are my songs. When Aaron got into the room during the recording, he knew exactly how he wanted to sing these two songs.”

Guy peaked at #27 on the Billboard 200 Albums Chart and #1 on the Billboard R&B/Hip-Hop Albums Chart. It managed to stay atop the Billboard R&B/Hip-Hop Albums Chart for five non consecutive weeks between 1988 and 1989. The album went on to sell more than three million units worldwide. To this day, it’s regarded as one of the best albums released from an R&B group during the decade of the 1980s.

Their debut record signified that the brand new genre of New Jack Swing had staying power on the music charts. It also signaled a generation shift and set in motion a new blueprint for R&B groups in the early part of the following decade. These three young men gave the world one more reason to love harder with their timeless ballads and club records. Guy holds its weight among other classic albums from any group in any generation of music proving their legacy will endure through the rest of time.







You've probably heard of Napoleon Hill's legendary book "Think and Grow Rich," (2nd pic) which has sold over 15 million copies worldwide.

The bestselling book was the end result of interviewing and researching over 500 successful men and women in an effort to discover the exact method they used in order to achieve their respective goals.

Included among these 500 men and women were Thomas Edison, Henry Ford, Theodore Roosevelt, Charles Schwab, Woodrow Wilson, Alexander Graham Bell, John D. Rockefeller, along with many others.
In the introduction of his book, Napoleon Hill gives mention of a Hidden Secret, which was in essence, the exact how-to methodology of thinking and achieving the goals you desire, not just that of financial success.


The secret is revealed in the book: "The Hidden Secret in Think And Grow Rich," (first pic). 


Examples: "If you are ready for the secret, you already possess one half of it."

"If you are ready to put it to use, you will recognize it at least once in every chapter."
"Somewhere as you read, the secret to which I refer will jump from the page and stand boldly before you, if you are ready for it! When it appears, you will recognize it."



Book Review:


I read the book and agree with it whole heartedly. I believe this was the much needed follow up to Napoleon Hill's classic.

When I first read "Think and Grow Rich," I missed the secret, so my results were great, but they were not consistent.

You will certainly enlighten a lot of souls."

Click on the top images for more information. 


-Kirk Nugent






This ebook shows you how to purchase your dream car or SUV at auction; saving thousands in the process. 


The ebook "How To Buy Cars At Auction," provides an array of information regarding car auctions; unknown to the public.


On the show "Miami Vice," Don Johnson portrayed a cop yet drove a convertible Ferrari that he purchased at a car auction (the type of auction described in the above ebook).


You can now make your dream a reality!


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All Natural Remedies For The Most Common Food Cravings -- Carbs, Sugar, Alcohol, Soda, Salt, And More Are Covered In This Audio & Book. Click on the above image.


Learn How To Beat Cravings For:


Artificial Sweeteners & Aspartame – diet soda
Caffeine – Coffee & Soda
Carbohydrates – Bread and Pasta
Dairy Products – Cheese & Butter
Desserts – cookies, cakes, pies, donuts
Fried foods, fast foods, pizza
Oils and Fats
Salty snacks – chips, salted nuts, popcorn
Soda (Diet and Regular)
Sugar – Candy/Sweets
Wheat – bread, pasta, crackers

Alcohol – wine, beer, hard liquor








3 simple steps to eat lots of carbs and never store them as fat. Lower belly and abdominal fat as well.  The following 4 ebooks are free with purchase: (14 carbs cycling desserts, carb cycling dinners, day rapid fat loss-fast start guide and fat loss tricks).  60 Day money back guarantee. Click above images.





Download the free trial version of "The Attorney's Guide To Credit Repair," by clicking on the above image. 


Are you tired of being rejected for car loans and credit cards? Do you want to buy a home but the banks have denied your mortgage application? Is bad credit preventing you from getting the job you want?

Included in the ebook: A step-by-step formula (it only takes 3 steps), that you could use to dramatically improve your credit rating. A formula so powerful, it can add 257 points or more to your FICO Score.

Would this be something you'd be interested?

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Take it for a trial spin. Use it for a full 60 days. You have 2 months to put everything to the test

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Order your fat burning kitchen recipe book (above) for the very low price of $10 with a money back guarantee. Also included: 101 anti-aging foods. Click on the above images for more information.





The above ebook features a stock trading strategy ideal for beginners with a money back guarantee.


If you purchase the above ebook by clicking on the image, 15 additional books (on stocks) will be included in your download for "free," including the four titles featured below:







Imagine what you would do and where you would go if you knew how to live a complete life with all your needs met for $20 a day? Would you head to a national park like Yellowstone, Yosemite or Glacier and hike and photograph wildlife for a month? Would you relax a month away on Florida's pristine white powder sand beaches sipping cold Mojito's? Would you hit the tables in Vegas for some exciting gaming, outrageous pool parties, followed by a mind blowing world class show? Would you dine out every night for a week on the pier in San Francisco? Would you go hunting, fishing, camping, hiking, biking, boating, surfing, skiing, or otherwise get off the grid and out of the grind for a month or two at a time? Click the above image to learn more.




Health & Fitness: You ever wonder how celebrities lose weight so fast yet stay healthy?  They use this little known "3 week diet" (mentioned above) created by a celebrity fitness trainer; this diet also works well against belly fat. Click image (above) to learn more.  Results are guaranteed or your money back.



Health & Fitness: Coconut oil is a miracle drug and can cure a variety of ailments. The three ebooks (pictured above) are excellent and contain additional information and benefits; never discussed before.  Download them for the low price of $10.00 by clicking the above image.


Patti Sanger's "Millionaire Matchmaker Handbook," shows women how to find and keep the right man.  If you're not satisfied, you can return the book for a 90-day money back guarantee. To read more, click on any of the above images.



Click on the above link to find out on how to get backstage "without credentials" where you can meet your favorite entertainer or professional athlete.





Vail: (Black supermodel turned-intelligence broker/assassin-in-training)....

Ryder: (CIA agent who went rogue/current enforcer and assassin for an illegal spider network).

Andreas Xavier: (The General of an illicit invisible empire named "Shadow Syndicate." This criminal conglomerate is involved in every illegal endeavor known to mankind.

Dominique Desiree: (Superstar attorney who unwittingly gets entangled in a web of deceit & deception).

Also starring: Jacks (CIA), G-Mac (Weapons Specialist), Dayna (HIV Assassin), Lear (CIA/Hollywood Fixer), Nikki (Freelance Assassin), Phelps (3-Charley/Sweeper), Lauryn (heads a cocaine banking cartel) and Cartier, (Former Black Hollywood drug kingpin/International Fugitive)......

Click Here To Get Started: Ballin' 8





*To read about Hollywood Damage Control Experts (Fixers), International Intrigue and Movie Star Coverups, click the following link: SPYCRAFT & EYES ONLY




*Past " Special Reports & Features," can be found in one of the following 14 categories: Rap Classified    Black Data Archives   Mainstream Classified & Scandals   Declassified   Scandal Sheet   Blackballed Affluent Report  Missing & Unsolved  Downfall  Coverups  Celebrity Tragedies  Spycraft/Eyes Only   Little Known Information   Bizarre & Unusual (Human Oddities)

Additional Old School Features: Motown Era & Scandals   Old School Tidbits   Where Are They Now?   Nostalgia Archives

*We are "NOT," to be held accountable, nor do we endorse nor are we responsible or liable regarding websites/bloggers who publish photos accompanying "our" blind items, suggesting the person(s) in the photo(s) accompanying the blind item(s) is the correct answer to the blind item(s).












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