Thank You, Langston Hughes!

Posted on February 1, 2014 by BuddahDesmond611

Image courtesy of Travalanche.

Today is not only the first day of Black History Month, but it’s also the birthday of poet, novelist, playwright, and activist Langston Hughes (1902-1967). Hughes is one of the reasons why I write poetry today.

Growing up, I spent countless hours in the library losing myself in Hughes’ masterful poetry. His poetry was jazz. It was blues. It was filled with so much spirit and life. He captured the richness of our culture and history so eloquently.

Even given the social ills of the day, his work was evidence of his hope for a world where unity and equality trumped racism, inequality, and injustice. Though the times may be (somewhat) different, the relevance of his writing remains strong. The same can be said for the influence and inspiration of his artistry.

Thank you Langston Hughes for not dimming your light. We honor you for your greatness and the blessings of your many contributions. Here’s to you!

I, Too, Sing America by Langston Hughes

I, too sing America.

I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.

Tomorrow,
I’ll be at the table
When company comes.
Nobody’ll dare
Say to me,
“Eat in the kitchen,”
Then.

Besides,
They’ll see how beautiful I am
And be ashamed—

I, too, am America.

Happy Birthday Maysa!

Posted on August 17, 2013 by BuddahDesmond611

Maysa has been a musical fixture in my family since the early 90s. Growing up I remember many weekends waking to the sounds of Incognito and Maysa’s solo music. Nothing beats waking up to music, especially when it nurtures your soul. Songs like “Deep Water,” “Still A Friend Of Mine,” “What About Our Love,” “Sexy,” “All My Life,” “Got To Be Strong,” “Center Of The Sun,” “J.F.S,” and “Shade Of Blue” have a special place in heart because they represent a time when music became such a strong force in my life. Come to think of it, Maysa’s music has been nurturing my soul for 20 years now. There’s something about it that just enraptures you immediately. And her voice, instantly recognizable, takes you away.

Maysa’s most recent release, “Blue Velvet Soul” is her tenth solo album and is a perfect description of her music. Her music is smooth yet powerful, soulful, lush, hypnotic, ethereal, and eclectic. There’s a warmth and intensity to it that keeps you in sync, yearning for more. Maysa’s voice, a beautiful, distinctive instrument, is much the same. She’s a singer’s singer and one of the best in the industry today. She, like Nancy Wilson, Angela Bofill, and Phyllis Hyman, is a uniquely gifted song stylist and interpreter. She’s able to use music to connect with her audience on a much deeper level. There’s an endless love of her art that flows through her music. You cannot help but be touched by it, especially when you experience her live.

Maysa realizes the power of music and the role she plays as a singer-songwriter-producer. She says, “I am a storyteller, a counselor and a friend that helps others through the good times and bad through my music. It’s important for me to connect with the audience because it’s my God given job.” And she does it, effortlessly, with each album and every performance. Every ounce of her heart and soul goes into her music. There’s nothing phony or contrived about it. It’s honest, authentic music. And it’s a testament to her 20+ years in the industry and the love and loyalty of her fans and peers.

Happy Birthday Maysa! May there be many more years of life, love, prosperity, and enchanting music! We thank you for blessing us for so many years with your amazing gifts. Here’s to you!

Jody Watley is Still a Thrill

Posted on January 14, 2013 by BuddahDesmond611

Image courtesy of the Lucy Who site.

I have always been reinventing myself…I like to challenge myself and keep it interesting. I like evolution. It is part of my journey as an artist. ~ Jody Watley, 2012, More Magazine

I cannot recall when I first heard Jody Watley’s music. But I know that I’ve been a fan nearly all my life. There’s something about Watley that’s always moved and fascinated me. She’s a multi-talented, intelligent, knockout beauty who’s always been at the top of her game. Whether it was dancing on Soul Train, being an original member of Shalamar, or being a solo artist, Watley has always stood out from the rest as a trailblazing, trendsetting phenom in music, video, style, fashion, and dance.

Image courtesy of Jody Watley’s Official Website.

Watley was never one to follow the pack. She charted a path that has consistently set her apart from her peers and the musical trends of the day. You can play each of Watley’s albums in succession and be astounded by the freshness, uniqueness, passion, and most importantly, the artistic growth. She gets better with each project. Easily fusing and moving between the lines of pop, r&b/soul, funk, jazz, dance, and electronica, she continues to defy categorization.

Image courtesy of Jody Watley’s Tumblr.

Watley’s art has been fueled by substance, innovation, and evolution, not by record sales. She’s also been involved in every aspect of her career. I remember being even more inspired by Watley after discovering her fifth studio album Affection (and subsequent albums Saturday Night Experience, Midnight Lounge, and The Makeover) was released on her own label Avitone Recordings (in 1995). Leaving the major record label system behind, Watley had even greater control over the direction of her career. Ever the pioneer, Watley was one of the first artists to (successfully) cross-market music and fashion (via celebrity campaign ads and appearances in several high-profile fashion magazines), the first African American woman (and musician) to release a million-selling video (1990’s Dance To Fitness), and the first African American to play Rizzo in the musical Grease on Broadway (in 1995).

The cover of Jody Watley’s 1987 self-titled debut solo album.

I’m not a trained dancer, singer nor writer – I do them all from my soul with my own distinct feel and style much like an improvisational jazz musician. There is a joy in dancing no matter the style. I’ve always loved it and always will – watching and doing. ~ Jody Watley, 2012, JodyWatley.net

There’s no denying how dynamic Watley is as a performer. All of the elements—music, style, fashion, and dance—come together in a way that is extraordinarily effortless. Even from her days on Soul Train—from her fashion sense to her dancing—she just had it. Speaking of her dancing, I have a running joke with friend and author Trent Jackson that Watley’s been voguing since 1978 (see Watley doing a waacking freestyle dance). This joke grew out of my frustration that she (and other artists) didn’t (always) seem to get credit for pushing the creative boundaries of music, video, dance, and fashion (as the praise always seemed to go to other artists of the day). Judging from recent accolades, appearances, and media features, the praise is coming back around.

Image courtesy of the Living Legends Music site.

With her recent collaboration on French Horn Rebellion’s single “Cold Enough,” the forthcoming release of “Nightlife” (featuring Gerald Brown, formerly lead singer of Shalamar), the first single from her tenth studio album Paradise, and appearances on the Soul Train Cruise and the Essence Music Festival, 2013 is destined to be a major year for Jody Watley. And it should be. So here’s to Jody Watley…still a thrill after all these years!

Jody Watley Albums: Jody Watley (1987), Larger Than Life (1989), Affairs Of The Heart (1991), Intimacy (1993), Affection (1995), Flower (1998), Saturday Night Experience, Vol. 1 (1999), Midnight Lounge (2001), and The Makeover (2006).

RIP Jayne Cortez, The Avant-Garde Jazz Poet

Posted on January 10, 2013 by BuddahDesmond611

Image courtesy of the Jazz Beyond Jazz website.

Jazz isn’t just one type of music, it’s an umbrella that covers the history of black people from African drumming to field hollers and the blues… In the sense that I also try to reflect the fullness of the black experience, I’m very much a jazz poet. ~ Jayne Cortez, 1997, The Weekly Journal

On December 28, 2012, the world lost Jayne Cortez, a masterful, fiery poet, performer, and activist. Ms. Cortez, who’s often referred to as an Avant-Garde or Jazz poet, came to prominence during the Black Arts Movement of the 1960s and 1970s. Her work is visceral, varied and rich, pulling from jazz, blues, the written tradition, the African/African-American oral tradition, jazz, blues, and the colloquy of social and political protest. “Meant for the ear even more than for the eye, her words combine a hurtling immediacy with an incantatory orality,” Margalit Fox of The New York Times said when describing her work.

Collectively, she produced nearly two dozen volumes of poetry and recordings, many of which were recorded with her band the Firespitters. Some of her volumes of poetry include: Scarifications (1973), Firespitter (1982), Poetic Magnetic: Poems from Everywhere Drums & Maintain Control (1991), and The Beautiful Book (2007); some of her recordings include: Unsubmissive Blues (1979), There It Is (1982), Taking the Blues Back Home (1994) and Find Your Own Voice: Poetry and Music, 1982-2003 (2004). She founded the Watts Repertory Theater Company, Bola Press, and co-founded the Organization of Women Writers of Africa (OWWA). Ms. Cortez was the recipient of the American Book Award, Langston Hughes Award, and International African Festival Award (amongst others).

Though Jayne Cortez is no longer with us, her authentic style and voice will continue to incite, inspire, teach, and uplift for many generations to come.

To learn more about Jayne Cortez, please go to her official website and check out her passionate, intense performance from the “Artists On The Cutting Edge” Series in the video below. (Warning: The beginning of the video contains flashing elements.)

Mary Wells – Something New

Posted on November 29, 2012 by BuddahDesmond611

Greetings! My apologies for the lack of posts this week. I got sick the day after Thanksgiving and have been resting as much as possible. Much to my surprise while resting and browsing on Amazon, I discovered a forthcoming 2-CD compilation from the iconic Mary Wells entitled, Something New: Motown Lost & Found. The official release date is 12.04.12 (just in time for the holidays). Something New is the perfect gift for Motown music lovers, Mary Wells fans, or simply connoisseurs of classic music.

Image courtesy of Longshot’s Blog.

Something New features stereo mixes (for the first time) of 47 rare tunes written and produced by Smokey Robinson, Holland Dozier Holland, Berry Gordy, Mickey Stevenson, and Sylvester Potts (of The Contours) to name a few. 23 of the collection’s tunes went unheard until now. Included in these gems are duets with Marvin Gaye; sides Wells recorded for an unfinished standards album; superb tunes Motown was gearing towards the AC (adult contemporary) market, some of which featuring The Four Tops on background vocals; “Your Loss, My Gain,” a b-side to Wells’ single “You Lost The Sweetest Boy” and the track which inspired the collection’s title “This Is Something New.”

The remaining are 24 tunes Motown released on a variety of collections after Wells’ departure from the label in 1964. Some of which were included on the 1966 Vintage Stock album, 1993’s Looking Back, Marvin Gaye’s first boxed set, and several other rarities albums. I don’t know about you, but I’m sold!

Image courtesy of the Soul Walking site.

In the last two years, I’ve fallen head-over-heels in love with Mary Wells. My lovefest with The Queen of Motown was spearheaded after learning more about her life and career through TVOne’s Unsung series. Like many, I swept away by her sweet, seductive, soulful, and emotive contralto. No one can sell a song like Mary Wells. Each song—a performance like no other—illustrated a different glimpse into her unique artistry.

Between 1961 (beginning with the self-penned “Bye Bye Baby”) and 1982 (“Gigolo,” her final hit), Wells scored nearly 20 top 50 hit singles between the R&B, Pop, and Disco/Dance charts. While most of her music is infectious, it was the Smokey Robinson-penned tunes that are most affecting and brought out Wells finest performances. These songs include “Two Lovers,” “You Beat Me To The Punch,” “The One Who Really Loves You,” “What’s Easy For Two Is So Hard For One,” and one of my all-time favorites,”When I’m Gone” (featured on Something New).

Wells’ music was moderately successful in the period following her departure from Motown. She recorded for a number of labels, but none of theme seemed to be well-suited in giving her music the attention and promotion it deserved. A resurgence in the 1980s led to Wells becoming an immensely popular touring artist. In 1989, Wells was recognized for her musical legacy as one of the first Pioneer Awards’ recipients from the Rhythm and Blues Foundation.

Image courtesy of the WikiMusicGuide site.

Wells career was cut short in 1990 after being diagnosed with laryngeal cancer. Without proceeds from record sales or touring, cancer treatment took a tremendous toll on her finances. Fortunately she was able to maintain treatment and stay afloat through financial support from the Rhythm and Blues Foundation and fellow artists like Stevie Wonder, Diana Ross, Mary Wilson, Aretha Franklin, Anita Baker, Bonnie Raitt, and Bruce Springsteen (to name a few). Wells also received an undisclosed six-figure settlement from a lawsuit against Motown for lost and unpaid royalties from her recordings. After a brief remission, her cancer returned in the summer of 1991. Sadly, Wells died on July 26, 1992.

Wells was fighter till the end. Her spirit, no matter how great the setbacks in her life were, never seemed to diminish. Wells—like Florence Ballard and Tammi Terrell—was a beautiful and remarkably talented and gifted singer who life ended too soon. But thankfully, her artistry and soul will forever transcend space and time in the musical legacy she left behind.

To learn more about Mary Wells, check out the full episode of TVOne’s Unsung on the SoulTracks site. Also check out the latest biography by Peter Bejaminson entitled Mary Wells: The Tumultuous Life of Motown’s First Superstar. Benjaminson is also the author of The Lost Supreme: The Life of Dreamgirl Florence Ballard.

101 Days Project: Music Tributes & Reviews

Posted on October 3, 2012 by BuddahDesmond611

As those who read my blog know, music has always played an immense role in my life. I feel irregular when I don’t hear it, feel it, sing along to it, or speak about it. The 101 Days Project has given me the opportunity to write about music on a more consistent basis. I’ve written a series of tributes/homages and reviews of artists I feel are/were representations of artistry at its best… Artists whose contributions to music come from a place that’s so much deeper than what you hear and see on the surface… Artists who touch your heart and soul and can move you with a single line, a simple movement or gesture, or the slightest bend or shade of a note. I truly believe music is the universal language of life (and love is the nourishment our lifeforce needs to survive). I plan to share more about my love of music and those who I feel are using it not only to make us groove but to bring us together and tell our stories.

Check out the following music tributes and reviews featured in the 101 Days Project:

Running Into Memories: A Tribute to Vesta Williams (1957-2011)

Posted on September 26, 2012 by BuddahDesmond611

Image courtesy of the Karen Vaughan site.

The first time I heard Vesta Williams’ voice I had to be around 4 or 5 years old. It was most likely on the radio one morning while my mother and I were getting ready for work and school. WKYS (93.9) and WHUR (96.3) were the stations of choice then. They played some of the best in classic and contemporary R&B/Soul music. It was during this time, between 1986 and 1989, that I fell in love with Vesta’s music, along with Phyllis Hyman, Miki Howard, Meli’sa Morgan, Regina Belle, Stephanie Mills, and Anita Baker. During this period of R&B/Soul music, real vocalists still reigned supreme. Though, we could see the glimmer of the industry’s future with the rise of videos—where image began to be everything and talent became an after thought. As we know, Vesta (along with the aforementioned powerhouse vocalists) had ample talent. She could sing like nobody’s business. She said you have to be an actress to properly tell the story and convey the emotions of a song. And what an actress Vesta Williams was.

At the age of 4 or 5, I probably couldn’t verbalize or understand it completely but there was something about Vesta’s voice that left me enraptured. It spoke to me. It captivated me…touched me. It was similar to the feeling I get when listening to Chaka Khan (who was one of many artists Vesta sang backup for in her early years). In terms of vocal characteristics, Vesta and Chaka Khan’s voices were similar in terms of timbre, color, phrasing, and agility. Not to mention the fiery, playful, seductive qualities of their voices.

Like the vocal greats before her, Vesta was a song stylist and interpreter. When listening to her music, disbelief was suspended instantaneously. There’s no doubt that she knew and felt what she was singing about. You weren’t alive if you couldn’t feel a Vesta tune, especially the ballads. You felt Vesta’s heartbreak and thought the guy that did her wrong was a creep after hearing “Once Bitten Twice Shy.” Because Vesta seemed like the type of woman who gave everything her all, you’d wonder why any guy would screw up after listening to the funky “Don’t Blow A Good Thing.” You felt the longing and hope in Vesta’s search for love on “Somebody For Me.” When Vesta gets to the chorus of “Congratulations,” your heart sinks just thinking about the notion of the one you truly love getting married to someone else, and the growth it takes to be able to let them go. And if real, true love was embodied in the form of songs, the tender “Sweet Sweet Love” and “Special” would be at the top of the list.

Image courtesy of the Billboard Music site.

If you had the chance to see her perform live (in-person or videotaped), you could understand why other singers would be pissed or scared to perform after her. She owned the stage, giving high-energy yet moving performances. She could dance her ass off too. Her video for the single “Do Ya” is proof of that. Vesta was also a natural comedienne, which added to her charm and magnetic, addictive personality. I have wonderful memories of watching her on The Arsenio Hall Show and BET’s Video Soul (as she was a frequent guest on both), and losing it because she was so funny. Her impersonations of Tina Turner and Chaka Khan (amongst others) were spot-on. She’d also had memorable performances in the Mario Van Peebles film Posse (1993) and a recurring role on the TV sitcom Sister, Sister during the 1998-1999 season. I’d always hoped to see her doing more on TV and in film. Could you imagine if she’d had her own show? It would’ve been sidesplitting. For a time, Vesta was a radio personality and co-hosted a morning radio on KRNB, a Dallas/Fort Worth station. Oh what joy it must’ve been hearing Vesta cut up on the radio in the morning!

Vesta lent her horn-like, four-octave voice to TV theme songs for the ABC miniseries The Women Of Brewster Place and the UPN sitcom Malcolm and Eddie. She also did jingles for a variety of brands such as Nike, Revlon, Diet Coke, and Exxon. One of her infamous spots was a commercial for McDonald’s where she sang with another vocal legend, Al Jarreau. Trading rhythmic vocal lines, scats, back and forth—it was an event. They sang their faces off! The performance was so divine it made you want to go against your constitution and have a Big Mac (or two, or three, or four).

No matter what happened in her career, Vesta never strayed too far away from the music. Between albums or periods when she wasn’t signed to a label, she toured and went back to session singing–guesting on a number artists albums like George Duke, Phil Perry, Howard Hewitt and Najee. Most notably, she appeared on the remix to Norman Brown’s remake of SWV’s “Rain.” The oft-requested tune was an instant favorite amongst fans. The first time I heard the song was while I was on break from college. I remember being pissed because the version of Norman Brown’s album that we had, Celebration (2002), didn’t have the remix with Vesta on it. I rejoiced years later when I found this version of the song for sale on iTunes.

Image courtesy of the TVOne site.

Vesta was fighter. Even when faced with challenges, she never gave up. She dealt with record executives who didn’t know what to do with her (A&M Records) and said they couldn’t promote her because she was too fat. This was typical at a time when executives were putting image over everything (as discussed previously). The label eventually dropped her, but she continued performing and making music. Vesta battled with an addiction to cocaine that she successfully conquered in the 1990s. Not too long after the release of her Everything-N-More album, Vesta lost 100 pounds (which she kept off). She attributed her weight loss to changing her lifestyle (eating healthier and exercising more). Her weight loss also inspired her to become an advocate for juvenile diabetes and childhood obesity.

TVOne gave a fitting tribute to Vesta in January 2012 with an episode of its Unsung series. It was one of the last projects she worked on before her passing. I can’t believe that as of September 22, 2012, it’s been a year since her death. I, like many others, miss her presence dearly. Though she’s no longer with us, there’s joy in knowing her beautiful spirit and musical legacy will continue to enrich our lives and the lives of those who come after us. Vesta’s final album, Seven, was scheduled to be released in May 2012 via Bronx Bridge Entertainment. Though there’s been no updated information, there’s still hope that Seven will see the light of day in late 2012/early 2013. I’ll be one of the many fans looking forward to its release. I’m sure it will be another soulful chapter in Vesta’s storied career.

Vesta was a multi-talented, multifaceted woman. She exuded confidence and a belief in her herself and her talent that was inspiring. There will never another like her.

Vesta—the dynamic diva who gave her all—may your soul rest in peace.

Vesta releases: Vesta (1986), Vesta 4 U (1988), Special (1991), Everything-N-More (1993), Relationships (1998), and Distant Lover (2007).

Day 100: Aaliyah—Tribute to a Princess

Posted on September 12, 2012 by BuddahDesmond611

Image courtesy of the African Limelight site.

Missing you so…

Haven’t been right since The Creator called you home.

The fact that your presence will never grace us again is still so unreal.

The exalted one—yes, you were.

One in a million—yes, you were.

Your spirit and the legacy you left behind—yes, it will go on and on.

You came on the scene at the age of 15 and immediately captured everyone’s hearts.

Something about your soul, your style, and your sound that struck a cord.

It also set you apart and made you seem so much older than what you actually were.

You went on to become one of the most sought after entertainers of the day.

You created musical magic with R. Kelly and again with Timbaland and Missy Elliott.

You didn’t need to follow the trends—you set them.

You left us spellbound with your beautiful, angelic voice, intricate dance moves, and extraordinary, inspired music videos.

You had us in a trance while watching you on the big screen in your first major film role.

Undeniably, it was your talent and your magnetism that made you one of the brightest

stars and had industry insiders saying you were the one to watch.

And just as you were getting ready for what was being called the next big phase of

your career, you were called home.

We were grief-stricken, in denial.

We couldn’t believe you were gone.

We thank God for you.

We thank God you were blessed to wake up each day to do what you loved.

And we were happy and blessed just the same.

How could we forget an entertainer who was so influential in such a short period of time,

And one who will forever be regarded as one of the best of her generation?

The exalted one—yes, Aaliyah was.

One in a million—yes, Aaliyah was.

Everything Aaliyah gave—yes, forever, it will go on and on.

Day 99: 9/11—Day of Remembrance

Posted on September 12, 2012 by BuddahDesmond611

The true legacy of 9/11 will not be one of fear or hate or division. It will be a safer world; a stronger nation; and a people more united than ever before. ~ President Obama during the September 11th Observance Ceremony at the Pentagon Memorial, Sept. 11, 2012: http://wh.gov/WrlO

Rest in peace to the many who lost their lives on 9/11. My prayers go out to their loved ones. We will never forgot you. Humanity is doomed in a world where hate prevails. May we continue to strive for harmony, unity, and peace in this world.

Day 93: RIP Chris Lighty

Posted on September 1, 2012 by BuddahDesmond611

Image courtesy of the BrooklynVegan site.

‘”I am utterly, utterly devastated…It feels unfair to us. He was our wealth. Chris was like the fruition of all that could be. He was loved.”‘ ~ Harry Allen, Hip-Hop Activist (NY Daily News, 2012)

When I first started seeing tweets on Thursday that Hip-Hop mogul Chris Lighty had passed, I couldn’t believe it. I immediately started doing some research to see if these claims were true. Eventually, site after site confirmed that he had in fact died. Suddenly it seemed as if my day was at a standstill. I couldn’t do anything. His passing saddened me so. Lighty was, at only 44, yet another pivotal figure gone too soon.

Lighty, CEO and co-founder of Violator Management/Brand Assets Group, was a fixture in the world of Hip-Hop since the late 80s. It was impossible to experience anything in Hip-Hop without feeling Lighty’s impact. He truly was one of the last great power moguls in the entertainment industry. Lighty began his career carrying records for Kool DJ Red Alert and acting as a party enforcer for the DJ and their Violators crew (The Grio, 2012). Also a DJ, Lighty was known as “Baby Chris.” He went on to become a respected manager, managing the careers of several Native Tongues acts, including the groundbreaking, influential groups De La Soul and A Tribe Called Quest.

Lighty credited his time working in several executive positions under Russell Simmons and Lyor Cohen at Def Jam and Rush Artist Management as being pivotal to him becoming an entrepreneur. Under their tutelage, Lighty, in a 2011 Black Enterprise article, said,

‘”I learned you are only as strong as the people around you,” he says. “You’ve got to build a good team–from your accountant to your right-hand man to employees–the whole nine yards,” he says. “I also learned you can have a plan [for what you want your business to look like], but you need to know when to deviate from it. You have to be able to bend and sway with the moment…“‘

And it’s clear that the he applied (and expounded upon) what he learned from his experiences when establishing his own business, Violator Management/Brand Assets Group, with co-founder Mona Scott. Lighty was a highly lauded and favored, achieving stellar success managing the careers of artists such as LL Cool J, Missy Elliott, Busta Rhymes, Foxy Brown, Mariah Carey, Diddy, and 50 Cent. Lighty was also praised for brokering multi-million dollar endorsement deals for his artists, most notably for LL Cool J and 50 Cent.

Lighty, in a 2011 Black Enterprise article, said one of the keys to success in the entertainment industry is diversification.

‘”From my point of view you have to be a multi-tasker and know every aspect of the entertainment business,” says Lighty, whose marketing firm has inked deals with Adidas, Coca Cola, Sprite, Reebok and Motions Hair products and others. “Back in the day you could get away with focusing on one thing, like A&R. Now whether its digital, marketing, A & R, radio, whatever–you have to know how to get your artist from A to Z, even if you need help pulling it all off.”‘

Other important keys to his success, as highlighted in 2011 by Black Enterprise, were 1) thinking outside of the box, 2) consistent common courtesy, 3) always adapting to your environment, 4) believing in your business or failing in your business, and 5) using persistence to overcome resistance.

Lighty was respected, admired, and loved by so many, within and outside of the entertainment industry. The outpouring of love on Twitter was more than enough to signify this. Devastating already, the news that his death was a suicide made the impact, I’m sure, even more so affecting. You never know what a person is truly going through, especially when it appears from the outside that everything is cool. News reports state he was having financial woes, and that he’d gotten into a spat with his estranged wife over the phone just before taking his life (NY Daily News, 2012). We may never know or understand the full extent of what Lighty was going through, but sadly—he was troubled.

With Lighty’s untimely death, I hope our community takes it upon itself to say enough is enough. It perplexes me why mental health remains such a taboo subject in our community. So many of us are suffering in silence. There’s no need for it. It must stop. If we have to look beyond ourselves to get the help we need, so be it. Prayer is not always enough. Ignoring and suppressing our issues is not cutting it. Self-medicating with alcohol, drugs, and other addictions—thinking it will make everything better—is no way to win the battle. Sometimes we need an intervention from trained professionals in the form of counseling, therapy, and/or medication. As someone who’s battled with depression, I know. We must not be afraid to speak on our issues and get the help we need. There’s always support available. We have to take better care of ourselves. Good mental and emotional health is critical to sustaining our overall well-being. We have to prevail.

My condolences to Chris Lighty’s family and friends. As writer Danyel Smith said in a recent NPR story,

“Chris Lighty made history. He helped make hip-hop. He was a success story. He was a sweet and brilliant man. But there will be no more knowing of him — the complexities, the simple s—-, nothing. The man in the liner notes, the kid backstage, the dude counting the show money, the father with his children. It’s beyond tragic. Everybody’s Baby Chris is gone.”

We’ll miss you Baby Chris. Rest in peace.

Buddah Desmond

Author of Prevail: Poems on Life, Love, and Politics

Category Archives: Tribute