Destiny Lost Its Wings

destiny lost its wings

Destiny lost its wings soaring through its flight

losing all sense of direction, forgetting about its plight.

Tell me where it all went wrong so I can make it right?

I’d move the clouds in the sky and align the stars at night.

I’d whisper to the ocean to calm the waves at sea.

I’d cross the Atlantic just to have you next to me.

Daydreaming against the moon wishing to belong,

wishing time stood still when you and I were strong.

Chasing after memories replaying like a song.

So many tears I’ve shed from the person you’ve become.

Why do you choose to distance me beyond the golden sun?

Tell me where, where have all the good times gone?

Yes I want them back yet you continue to run.

The laughter once shared is now growing faint.

The memories painted are now beginning to fade.

Why must it be this way?

Once my best-friend, somehow it began to change.

Twice my lover, is that when it rearranged?

We have something special beyond what you choose to see,

we have a bond created and bound in destiny.

Take me back where it all can be regained.

Prove to me the years we shared were not all in vain.

Though destiny’s wings are not visible in sight,

I know they can be restored if you are willing to put up a fight.

Tanisha P

I Choose You

 Like the warmth of the sun in its amber rays

You sustained me guiding me through my days

Enraptured by your presence

Unparalleled love you bountifully provide

Rest assured in your reverence this passion will never subside

How could I forget you?

Like waves crashing against the beaches shores

Like stars in the sky shining through the moon’s blue 

You complete me

 You persevere me through

You abound me, sending me to my knees

Your love is unconditional

If my love were the ocean, missing you would empty me

Lost in a world with pain and rejection at my feet

You shield me with your grace and mercy

Effortless in your range

No shift in life can ever change

Ever so lovingly, ever so pure

No love can fulfill like yours

You appreciate me

For you are the one I adore

Timeless love ever so true

And for that I choose you…

by Tanisha P

Fight 4 Me

will you truly fight for me?

not with words but by actions

visible for the eyes to see?

don’t let me down

cupid’s wearing his crown

and aimed his arrow towards me

words can never express the feelings you proclaim

i need you to show me if its me you wish to claim

yet why am i alone

staring at the phone

reading your promises

i have yet to see?

don’t let me down

cupids wearing his crown

and shot an arrow through me

by tanisha p


being with you was like a joy to no end

until i began to weigh it all in

selfless confessions i professed

actions of love  i attest

there were no scales unbalanced

a fair game at play

to the ends of the earth

my heart displayed

my love had no limits

unconditional from the heart

until you dealt me a deceiving card

your love had conditions

its unjust

not fair

i began to question if you even cared

and there began the ending of it all

a beautiful story goes untold

from love i fall

theirs pain and beauty in it all

true love i have yet to see

patience has the best of me

in wrath of a beautiful disaster

yet i grasp on to hope

of what God ordained to be

by tanisha p

drInK AwAy the PAIN

some drink it for its taste

some use it to escape

quenching away the thirst

to drown away the pain

many depend

leaning on it as a friend

to help relieve the hurt sheltered deep within

times when you’re shy

feelings bottled inside

actions can no longer tell

words seem to fail

judgment impaired

boundary lines go unclear

feelings untamed

impulses unrestrained

revealing the true

secrets kept inside of you

actions can no longer hide

swallowing your pride

pouring out your heart

all walls begin to fall

letting down your guards

professing sentiments of love

expressing actions of affection

passion ignites in each kiss

lips slowly confessing

drunk and drenched in love

purifying in each swallow

building shelter

and creating the rain

intoxicated by its taste

driving me insane

quenching my thirst

i drink away the pain

by Tanisha P

dRoWn N mY tEaRz


off to the side

I disappear in my pain

wallowing in pity

sadness in the rain

fading into shadows

my heart grows faint

nothing left to do

nothing left to say

I guess I’ll sit here

and drown in my tears

while u are free as a bird

I reminisce to hold u near

so sad how love has left my side

I swallow my pride

you left me alone to cry

there’s nothing left to do

nothing left to gain

no one to relate to

love has left me shackled in shame

so I guess I’ll sit here

and drown in my tears

chasing away my sorrow

wishing you were here

by tanisha p

Frank “Sugar Chile” Robinson


Detroit dynamite, “Sugar Chile” Robinson. Born Frankie Robinson, the youngest of six children, in Detroit in 1940, “Sugar Chile” began pounding on the family piano as a toddler – he reputedly banged out a recognizable version of Erskine Hawkins’ Tuxedo Junction at the age of two – and by 1945 he had been “discovered” by pianist and bandleader Frankie Carle. Within a year he was asked to play at a Whitehouse party for President Harry Truman, had guested with Lionel Hampton’s Orchestra and even appeared performing the title song in the 1946 MGM romantic comedy film “No Leave, No Love”. It was not until July 1949, however, that he made his first records for the Capitol label, when, in the consummate company of jazz veterans Leonard Bibbs on bass and drummer Zutty Singleton, Robinson took his first two releases into the Billboard R&B chart in late 1949; Numbers Boogie made it to number four, while Caldonia (What Makes Your Big Head So Hard) only reached number 14. His subsequent national tour broke box-office records everywhere and it is claimed that his appearance at Chicago’s Regal Theatre remains the biggest one-week attraction of the theatre’s entire history, easily beating the jazz royalty of the day like Count Basie and Duke Ellington. Robinson toured with Basie in 1950 and made a celebrated musical short with the Basie Sextet and Billie Holiday in Hollywood in August to showcase his hits. The Christmas season of 1950 witnessed Sugar Chile’s first European release and Christmas Boogie c/w Rudolph The Red-Nosed Reindeer sold well enough to spark a European tour in 1951, including rave reviews for his spot at the London Palladium. He was a big hit on US radio and TV all through 1951 and then, while still in his pre-teens, Robinson’s career was suddenly over; his last single release was issued in August 1952, shortly followed by a 10″ compilation LP of boogie woogie that featured many of his 1952 recordings.

Earl “Snake Hips” Tucker


Earl “Snakehips” Tucker (1905 – 1937) became known as the “Human Boa Constrictor” after the dance he popularized in Harlem in the 1920s called the “snakehips (Dance)“.

Tucker frequented Harlem music clubs and was a regular at the Savoy Ballroom. He built his reputation by exhibiting his unusual style of dance, which involved a great deal of hip motion.

Tucker’s extraordinary dance moves appear that he was as flexible as a snake, and eventually the dance became his calling card. He became popular enough to eventually perform at Connie’s Inn and the Cotton Club.

In 1935, Tucker reached the peak of his fame when he appeared in a short film called Symphony in Black: A Rhapsody of Negro Life. The film was based around a Duke Ellington composition, and included clips of Ellington composing, as well as Billie Holiday singing and Tucker doing the “snakehips.”

The Berry Brothers


Berry Brothers, dancers, consisted of Ananias “Nyas” Berry (18 Aug. 1913-5 Oct. 1951) and James Berry (c. 1915-28 Jan. 1969), both born in New Orleans, Louisiana, and Warren Berry (25 Dec. 1922-10 Aug. 1996), born in Denver, Colorado, the sons of Ananias Berry and Redna Berry, whose occupations are unknown.

In 1919, Nyas and James first began performing together, touring the church circuit in Chicago as elocutionists reciting poems by Paul Laurence Dunbar. After the family moved to Denver, the two elder brothers branched out and began playing carnivals. Their father, a very religious man, had forbidden them to dance, but Nyas had memorized dances he had seen other performers do, and had built upon them himself. He persuaded his father to let him enter an amateur dance contest, in which he floored the audience. The theater manager offered Nyas $75 a week; the elder Ananias insisted that Nyas and James continue as a team.

They then put together an act based on the widely acclaimed Bert Williams and George Walker, the most famous African-American show business performance team of their time. Nyas and James named their act “The Miniature Williams and Walker.” In the mid-1920s the Berry family moved to Hollywood, California, where James danced at parties given by silent film stars such as Mary Pickford and Clara Bow. They also appeared in Our Gang comedies. Toward the end of the decade they opened as a duo, “the Berry Brothers,” with the already legendary Duke Ellington at Harlem’s Cotton Club. Although the famous nightclub would remain their home base for the next four and a half years, they toured and performed in other groundbreaking shows. In 1929 they traveled to London and were featured performers in Lew Leslie‘s popular and highly acclaimed all-African-American revue Blackbirds of 1928. They were the first African-American act at the Copacabana in 1929. They appeared in “Rhythmania” at the Cotton Club and “Rhapsody In Black” in 1931. When Radio City Music Hall had its grand opening on 27 December 1932, the Berry Brothers were on the bill.

In 1934 Nyas Berry left the act and married Valaida Snow, a popular African-American entertainer. It was during this time that Warren Berry, the youngest brother, was pulled out of school and formal dance classes and drafted into the act. James Berry taught his younger brother every move of the Berry Brothers’ act, and soon this new duo was performing steadily. When Nyas’s marriage dissolved, he talked his brothers into forming a Berry Brothers act with three Berrys. Nyas also persuaded them to move back to Hollywood. The Berry Brothers enjoyed tremendous success in their newly formed trio and appeared extensively throughout the United States on stage, in clubs, and in film, as well as throughout Europe. The brothers possessed three distinct personalities and styles: Nyas was the king of the strut, James was the comedian and singer, and Warren was the solid dancer/acrobat. Their act remained virtually unchanged for over twenty years. In addition to their work in the 1941 musical film Lady Be Good, the Berrys also appeared in Panama Hattie (1942), Boarding House Blues (1948), and You’re My Everything (1949). Their club engagements over the years included the Apollo Theatre, the Zanzibar Café, and the Savoy Ballroom in New York, the Moulin Rouge in Paris, and the Rio Cabana in Chicago.

In 1938, at the downtown Cotton Club, a legendary competition took place between the Berry Brothers and the Nicholas Brothers, another great dance act. The Berrys devised a memorable finish in which Nyas and James ran up side stairways onto an elevated balcony and took a flying leap twelve feet out and over the heads of the entire Cab Calloway orchestra, while Warren, on the stage below, completed a flip-flop twist. On the last note of the music, all three landed simultaneously in splits. “People talked about that for a long time!” recalled Warren Berry (Frank, 1990/1995).

The secret of the Berry Brothers’ success was timing, precision, and dynamics. They were masters of the “freeze and melt,” the sparkling contrasts between posed immobility and sudden flashing action. The act that the three brothers perfected stayed their act for over twenty years. This repetition was common throughout vaudeville, when acts toured the country year after year. During that time, audiences wanted to see exactly the same familiar act with no changes. When the Berry Brothers contemplated using a new song or creating a new dance routine, the bookers dissuaded them. Resigned, the Berry Brothers kept their act intact until Nyas’s death of heart failure at the age of thirty-nine, in New York. Warren and James performed together and then as solo acts individually for a time. But then Warren’s hip injury that he had suffered as a teen finally disabled him. In 1969 James Berry died in New York of complications of arteriosclerosis. Warren worked for over fifteen years as a film editor for Screen Gems in New York City. During his last years he worked in Los Angeles on several unpublished scripts; he died in Los Angeles.

The Berry Brothers are remembered as one of the greatest dance acts in the history of the American stage and cinema in the twentieth century. At a time when tap dancers were “a dime a dozen,” these brothers combined their talents to form a unique act that remains unsurpassed. Ironically, they never wore taps on their shoes because the work that they did with the canes and acrobatics required leather-soled shoes for safety. Their mixture of the Cakewalk’s Strut, tap dancing, thrilling acrobatics, and amazing cane work was a winning and lasting formula.

Hip-Hop’s Strange Fruit

From a article, it seems as though Hip-Hop is getting tired of the corporate hand in Black Music or just good music in general. I must agree, Scarface makes some really good points. In reality the truth seems to be absent in the corporate culture and he is unapologetically  exposing it! What do you think? Dialogue is highly encouraged.




 Scarface blasts “wack” rap and the hip hop music industry as a whole: 


Most people heard about the interview you did with DJ Vlad when you were saying “F*ck Rap”, so you obviously have some issues with the industry. If you were the overseer of the Hip-Hop/Rap game, how would you start to rebuild?

I’d start from the top. The first thing is everything would have to be screened. The fu*cking fruit snack Rap would be done.

What’s considered fruit snack Rap?

Anything that punishes Hip-Hop.

Well what do you think punishes Hip-Hop?

Anything that does not add to the art form and that takes away from what Hip-Hop is. Hip-Hop is a feeling man, it’s a way of life. Anything that radio plays is wack. All the great records don’t get played. I feel like radio and big record companies are trying to destroy Black music with the shit that they play… by the way that they exploit it. You got Black America thinking it’s cool for women to walk around with their breasts out. I think to cover up what’s really going on today in the world they flood the market with some bullshit. It’s like Watergate, the shit is a crime.

Is there one record label in particular that you believe engages in this the most?

I’d say all of them, that’s my one record label. The shit went from Eric B and Rakim to fuddy duddy and the tennis shoe clique [laughs]. Now videos are about drinking champagne, show as much jewellery and ride in all the fu*king cars.

Would you fire some record label executives?

No, I’d make them muthaf*ckas come see me like the United Nations before they do something. In 1989 or 1999 if you brought that bullshit in, you would’ve got laughed at.

What about certain artists? Jay-Z has been doing it for quite sometime, how do you feel about his position in the rap game right now?

Who Jay? He’s the best, what else could you say? He got here and all you can do is move forward. He’s a UFO baller! Jigga’s the unidentified flying object, he’s skyballin’, we’re playing basic ball.

How do you feel about an artist like Soulja Boy?

I think Soulja Boy had a brilliant idea, what he did with it was great. He took what he had and made money from it. If he’s that f*cking smart he’s going to be a billionaire. So I got a lot of respect for Soulja Boy. I don’t have respect for all the shit that gets like 50,000 spins a week for eight months, and then when their record comes out they sell like eight copies the first week. Their six months into their album and they only got 3000 records, but they sold 150,000 ringtones . How do you face your momma with that shit? I think it’s bullshit, it discredits the whole Hip-Hop movement when you resort to ringtone rapping. It’s not respecting the game, it’s disrespecting it. I think the internet, Black radio and big record companies are hurting Black music. 

Would you ever want to be the head of a record label again?

Yeah, but I’d probably be fired like the third week. I’m not going to sign that two step shit. They’ll be thinking oh man this is f*cking hot for the radio… I’m like this shit is f*cking trash. How can a gang of white boys tell a n*gga what’s hot? Quote that, I said that, I said it!

How the f*ck can you tell me about Hip-Hop, man… I’m Hip-Hop! So I think the f*cking roles need to be reversed. N*ggas should be sitting behind the desk, them muthaf*ckas should be running around. Giving certain artists the spotlight, their moving inside our position, it’s bullshit!

How do you feel about white rappers?

I don’t mind if they rap, I just mind them playing slave master and slave driver. It’s white boys who own the big magazines that talk about rap. A white woman owns the biggest rap magazine in the South. Don’t get me wrong I love her, but does she know more about Hip-Hop than you? Here I go! [Laughs]

It’s refreshing to hear real talk about this hot topic. Folks are really growing tired of this tired ass corporate formula that’s infected hip hop.


Langston Hughes

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  Hold fast to dreams
For if dreams die
Life is a broken-winged bird
That cannot fly.
Hold fast to dreams
For when dreams go
Life is a barren field
Frozen with snow.

Dream Variations
  To fling my arms wide
In some place of the sun,
To whirl and to dance
Till the white day is done.
Then rest at cool evening
Beneath a tall tree
While night comes on gently,
Dark like me-
That is my dream!To fling my arms wide
In the face of the sun,
Dance! Whirl! Whirl!
Till the quick day is done.
Rest at pale evening…
A tall, slim tree…
Night coming tenderly
Black like me.


Recession in Session

Fed cuts target for key rate to record low

Fed cuts target for key interest rate to record low, pledges to use all available tools

  • Tuesday December 16, 2008, 2:38 pm EST

WASHINGTON (AP) — The Federal Reserve has cut its target for a key interest rate to the lowest level on record and pledged to use “all available tools” to combat a severe financial crisis and prolonged recession.

The central bank on Tuesday said it had reduced the federal funds rate, the interest that banks charge each other, to a range of zero to 0.25 percent. That is down from the 1 percent target rate in effect since the last meeting in October. Many analysts had expected the Fed to make a smaller cut to 0.5 percent.

Federal Reserve Chairman Ben Bernanke and his colleagues also pledged to use “all available tools” as they struggle to contain a financial crisis that is the worst since the 1930s and a recession that is already the longest in a quarter-century.

The Fed also made clear that it intends to keep the funds rate at extremely low levels.

“The committee anticipates that weak economic conditions are likely to warrant exceptionally low levels of the federal funds rate for some time,” the central bank’s panel that sets interest rates said in a statement.

The Fed’s decision is expected to be quickly matched by a reduction in banks’ prime lending rate, the benchmark rate for millions of business and consumer loans. Before the Fed announcement, the prime rate stood at 4 percent.

The Fed has never pushed its target for the federal funds rate as low as zero to 0.25 percent. The lowest target rate before had been 1 percent, a level seen only once before in the past half-century.

Given how low interest rates are, the central bank said it planned to use a variety of unconventional methods to flood the banking system with credit and drive interest rates lower.

“The Federal Reserve will employ all available tools to promote the resumption of sustainable economic growth and to preserve price stability,” the Fed said.

Pinkie Gordon Lane

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by Pinkie Gordon Lane

It is the color of light,
The shape of sound high in the evergreens
It lies suspended in hills,
A blue line in a red sky.

I am looking at sound.

I am hearing the brightness
Of high bluffs and almond trees
I am tasting the wilderness
of lakes, rivers, and streams
Caught in an angle of song.

I am remembering water
That glows in the dawn
The motion tumbled in earth
Life hidden in mounds.

I am dancing a bright beam of light

I am remembering love.