Sanctify Them Hits: Say Ahhh

If you have ever been to a black church then you know that the musical directors (who are usually young cats) always manage to sneak in instrumentals and songs that are slight variations of "secular" hits to the unsuspecting older church members who if aware would not approve. Its one of the most clever things about black churches....at some point you get an instrumental of "Get Me Bodied" as the collection plate is getting past around or "Bedrock" as the minister takes the post. But this clip here, Jesus would not approve of.

Blunty Breaks Down Fetus' (A.k.a Dani From A Shot At Love) Fandom

The truth is out there...and I am on a mission to find the folks willing to tell it.

Indie Soulers Don't Need To Try To Be Rihanna

by Chris Rizik

If you've been following independent soul for awhile, you're probably scratching your head about some recent trends. And if you're in your 40s or 50s, you may be beginning to draw blood from all that scratching.

Over the course of the last decade, a new generation of independent soul singers arrived. Proclaiming that they were carrying the torch of Donny and Marvin and Roberta, many of them captured the sense of purpose and melody of those classic soul artists of the 70s - for my money the high point of soul music - while bringing forward the sound with 21^st century sensibilities.

But a funny thing is happening to some of this newer generation of soul music torch bearers. They're now ten years older than when the movement began, and they appear to be suffering an identity crisis that is a corollary to what their major label counterparts are experiencing, as beautifully summarized in a recent piece from our Music Editor, L. Michael Gipson, about Toni Braxton:

No matter how big an act they are there is something mysterious that happens to artists and their labels once a talent turns thirty, or at least is forced to admit it, and the curiosity lasts until the artist hits their forties, when they are considered a vet and jazz, gospel, covers and a new comeback adventurism is allowed... It happened to multi-Grammy Award-winning Toni Braxton after the double-platinum The Heat (some might argue it happened after the 20 million-seller Secrets). Back then, Braxton's record label suddenly had no idea how to market her and the material began to suffer from trend chasing, a nearly always disastrous decision.

A somewhat similar malady now appears to be rearing its head in the world of independent soul. I say this because we receive advance cuts from upcoming albums of many independent artists, and I'm shocked at how many appear to have decided that they are going to enter their late 30s kicking and screaming, afraid of skewing "too old" with their audience (the same audience that became the mainstay of their fanbase for the past decade), or maybe even more afraid that, despite their indie credentials and a solid body of work, they are approaching 40 still not having achieved the level of commercial acclaim they wanted. So they are awkwardly reinventing their music to try to reach those elusive 20-somethings (who have never been their audience in the first place). Song after song I receive now features a talented adult soul artist adopting hip-hop elements and heavy electronics (boasting that their new, young producer also worked with this or that top 40 R&B performer), trying to proclaim its hipness at the expense of anything resembling the sense of melody and maturity that brought that artist to the show and won his or her existing fans. And what I'm hearing is not a creative step forward. It appears more like desperation from artists who neither appear comfortable nor all that interesting with their new autotuned electronic production that sounds like, well, everything else on the radio.

Part of delusion behind all this is the mistaken logic that the major record companies were singing for years: young people buy music and people over 30 don't. That was the music Gospel, until they found out it was completely false. Aside from teen artist Taylor Swift, the biggest selling albums of the past 3 years have been from artists like Michael Buble, Josh Groban, Carrie Underwood and Susan Boyle - artists who draw substantially from older audiences. The over 30 crowd buys more CDs, illegally downloads less and, frankly, has more money to spend on concerts and recorded music. And nowhere has that been more evident than in the new soul movement.

All that being said, not all the major indie soul artists are pandering to get a younger audience. Take the new album by P.J. Morton, Walk Alone, or Angela Johnson's upcoming It's Personal. In both cases these talented artists have created albums that are distinct from their earlier work and show them to be continuing to develop as musicians and lyricists. But both artists appear comfortable enough in their musical skins that they're not trying to mimic Rihanna or Jason Derulo in order to bring in younger fans. They are who they are, and if the history of music shows anything, it is that audiences find great music and that great careers invariably come from artists who are true to themselves. Indie soul king Eric Roberson received both praise and some criticism for his most recent album, Music Fan First, with it's increased hip-hop influences. But longtime Erro fans know that this was not youth pandering: those influences have always been in his music, and his incorporation of varied beats along with jazz and rock elements were part of an artistic explosion, resulting in his most complex and ambitious album to date. He was rewarded for his risk-taking with his most successful album ever (which, yes, brought in some younger audiences for the right reasons), as well as a Grammy nomination.

Even on the major label side of soul, mature artists like Jaheim and Monica are finding both a creative and commercial groove by embracing their maturity, as recently they've each issued arguably the best album of their careers while achieving great sales - mostly to 30 and 40-somethings.

Unfortunately, much of what is hitting my desk - and what it appears we'll continue to experience as the year goes on - doesn't sound like indie artists stretching themselves to reach their creative potential or to embrace who they really are. It sounds instead like artistic confusion, an attempt to capture their own youth and to "finally make it" by grabbing a phantom larger, younger audience, even at the expense of their true muse and their longtime fans. It is a story that has played out hundreds of times over the past several decades, so I don't know why I should have expected something different from these artists who I've come to know and personally admire over the seven years of SoulTracks. But it feels like they're chasing shadows and stunting rather than enhancing their artistic development. And it will be sad to see some good people making a really bad mistake.

Allow Your Inner Light To Guide You

There comes a time when you must stand alone.

You must feel confident enough within yourself to follow your own dreams.

You must be willing to make sacrifices.

You must be capable of changing and rearranging your priorities so that your final goal can be achieved.

Sometimes, familiarity and comfort need to be challenged.

There are times when you must take a few extra chances and create your own realities.

Be strong enough to at least try to make your life better.

Be confident enough that you won't settle for a compromise just to get by.

Appreciate yourself by allowing yourself the opportunities to grow, develop, and find your true sense of purpose in this life.

Don't stand in someone else's shadow when it's your sunlight that should lead the way.

Janelle Monae Finally Gets a Release Date

Looks like May is shaping up to be a really good music month. "The ArchAndroid" drops on May 18th.

"Capitalism" Is a Love Story I Can't Wait To See Again

I have a big thirst for knowledge and information so its no wonder to me that my movie choices these days tend to gear more-so to documentaries (how times have changed..lol). I have seen all of Michael Moore's films, but until "Capitalism" none had really presented an argument that wasn't marred by some sort of emotional manipulation or some pointed presentation of the information designed to illicitly garner some kind of reaction out of me. You cannot deny Moore's passion with his presentations, but I felt "Capitalism" is a particular film to note from his filmography because it serves as a beautiful retrospective to his entire film career while being timely, relevant, and earnest with its message.

I have often had discussion with folks who are of the same generation and note how we are at a significant disadvantage than our parents in terms of obtaining the same kind of success and financial security that they had. Houses then costs about the same amount as a Toyota now and people were conditioned to save and to spend frugally rather than be beasts of consumerism. Jobs then allowed for a single income family to live comfortably and inflation hadn't made it nearly impossible to afford rent, a car note and groceries. Moore notes as much in "Capitalism" by taking us back to the very place where his journey first begun with "Roger and Me" Flint, Michigan. Moore recounts a time where his father worked at General Motors where life was ever bit the picture perfect utopia that Mid Century living made it out to be. This was the 50's and Moore's family enjoyed lavish vacations, all the amenities you could ask for and a comfortable lifestyle all on a single income. Flash forward a couple of decades and Flint, Michigan is not only a shell of its former self, but a veritable ground zero as the closing of the GM plant economically devastated the town and its people. Now, poverty is the new regime as Moore takes us on a quest to peek behind the iron curtain and see how the world really works. Needless to say, the little guy always gets shit on.

Moore starts off "Capitalism" of course with the controversial bank bail out and the collapse of the housing market. Giving us a glimpse of the cold and calculated task of kicking former homeowners out of their homes. All the while, framing his documentary in a way that makes it clear that its the common, every day, working people that are getting the short end of the stick. Of course, time is payed to the big discrepancy between the rich and poor, the absence of the middle class, and what this really means for a balance society. Corporatism and how we create enormous industries out of reaping benefits from others pain and tragedy and how the government is doing less and less for the people as corporations are ensuring that government intervenes as little as possible for the sake of the people. Yes, folks its a mad mad world and I have to admit, that sitting through Moore's "Capitalism" kind of made me feel helpless to the powers that be, but ohh how their is a silver lining because we still have the power to vote and this power is precisely what could bring the whole house of cards tumbling down.

This was perhaps the first time I walked away from a Moore film and saw him for the man he is rather than the ego he purports. For "Capitalism" isn't showy in the least bit and that may be because the reality of the film is that it suggest that we hav been fed the most intricate and deceptive of lies, that you can work for and therefore obtain the "American Dream". But the truth is, if you are not the President of your company, a CEO, or rank in the top %1 of the population (which has more wealth combined than 99 percent of the population) then this country does little to work in your favor. As America has been managed very much like a corporation and its this corporate thought that threatens to tear us away from our humanity.

It was obvious to me that "Capitalism" is a love story to America and a time in this country where we were the key producers of industry, where we didn't demonize the Unions, and were prosperity was blanketed over several segments of the population and not just those that hold all the cards. It also made me realize that as voters, we need to be more keen to the issues we are voting on in order to insight real change. As consumers, we still have buying power and the real deception, to me at least, is how corporations have made you, the folks of this country, feel slave to their products. But the truth is that these corporation can't survive without you as their customer. Something tells me that we would figure out a way to survive without them.

Yahzarah Gears Up to Debut "The Ballad of Purple Saint James"

Critically acclaimed R&B vocalist YahZarah returns with her long-awaited album "The Ballad of Purple Saint James," dropping May 4 on The Foreign Exchange Music. The 13-track set, overseen by Grammy-nominated production duo Nicolay and Phonte of The Foreign Exchange, represents her brightest, most complete work to date.

"It feels good to put our combined talents, efforts, and resources behind an artist that so deserves to be heard," says Nicolay. "I couldn't be more proud of The Ballad..."

YahZarah, a singer-songwriter who first made her mark as a background singer for Erykah Badu, has spent the past few years touring in support of her albums "Hear Me" (2001), "Blackstar" (2003), and 2008's "The Prelude." She worked on "The Ballad..." independently for a number of years before reaching out to Phonte (a longtime friend and fellow NC Central music student), and finally selecting +FE Music as her label home.

"YahZarah is the best singer I personally know, and for years it's been my dream to produce her, " says Phonte. "My goal was to take her vast repertoire of melodic influences, and combine it with material that allowed her voice to really shine."

Clocking in at under an hour, "The Ballad..." showcases YahZarah's rich soprano in a variety of musical settings. The new wave bounce of the first single "Why Dontcha Call Me No More" evokes Pat Benatar, while the throwback synth funk of "Change Your Mind" suggests Solar Records in its heyday. Highlighting YahZarah's classical jazz training is "Shadow," a stunning Zo!-produced piece that features her backed solely by piano and a haunting orchestral arrangement.

In addition to production by The Foreign Exchange, "The Ballad..." also includes contributions from TheRealFocus...(Marsha Ambrosius, Raphael Saddiq), Nate Smith (Michael Jackson), Steve McKie (Jill Scott, Bilal), and guest appearances from Jaspects, drummer Lil' John Roberts, and singer Darien Brockington.

"Completing 'The Ballad...' with Phonte and Nicolay allowed me an opportunity to return back to the joy of making music and to create a project that is sexy, fearless, beautiful and sincere," says YahZarah. "This work is a true reflection of me."

Tracklisting

01. Strike Up The Band
02. Why Dontcha Call Me No More
03. Cry Over You feat. Phonte
04. All My Days feat. Darien Brockington
05. Come Back As A Flower
06. Dedicated To You
07. The Lie
08. Last To Leave
09. Have A Heart
10. Change Your Mind
11. Starship
12. Shadow
13. Love, Come Save The Day

Splice Finally Gets a Release Date

I am a huge huge fan of the "Cube" series so when I heard that director Vincenzo Natali was directing a new sci-fi flick i instantly started salivating with excitement. Slated for a October 2009 release which then was pushed back to November, "Splice" seem destined not to be released at all until I did a little investigating to find that Indeed "Splice" had a distributor and a release date. This one promises to be a real treat for Sci fi/Horror fans so if you have a twisted sense of humor and an eye for mayhem, then I will see you on June 4th.

iMaxi for your iPad

Not sure if this is real, but it looks just as pointless as the iPad.

It Would Be Funnier If She Was Watching a Tyler Perry Movie!!!

This has got to be hands down, one of the funniest scenes I have ever seen in a movie. Its so funny how art imitates life and vice versa.

10 Depressingly Annoying Things About Modern Rap

Written by Phillip Mlynar

Phillip Mlynar isn’t Australian, doesn’t roam a post-apocalyptic wasteland searching for fuel and may not even own a dog. But ask him the timeless question, ‘U mad, doggie?’ and he’ll reply, ‘Yes, I am.’ Fresh from his stint of yelling ‘Eff you and Your Heroes‘ like this was a listening session for the first Lench Mob tape, Phillip is back to vent his frustrations about the current state of the rap game.

10. Branding

“I like Nike but wait a minute/The neighborhood supports so put some money in it…” So proclaimed the great Chuck D. Sadly, these days his words sound like a relic from an altogether punchier era, such is the enthusiasm rappers show towards basically agreeing to rhyme for a free baseball cap that won’t really protect them against the global-warming era elements anyway. Corporate sponsorship of artists could have been a philanthropic solution to declining record sales. Instead, thanks to the myopic desperation of most rappers, it’s become nothing but a pass for large corporations to rejoice in a cost-cutting 99% decrease in their promotional budgets. Note to rappers: Aligning yourself with companies who don’t give a damn about hip-hop isn’t healthy for any aspect of the scene. And when you get too fat and old for them to care about giving you free jeans, that ol’ box of Newports and some Puma sweats is going to seem like the financial nest egg you never quite could attain.

9. The Non-Retirement Of Shawn Carter Vol. 3

It’s easy to criticize the recent edition of Uncle Shawn: He’s basically re-made the same album five times over since The Blueprint; he insists on trying to name drop hip bands like some out-of-touch uncle gesticulating “Yo!” while wearing a chunky-knit cardigan; creatively he’s given up the idea of progressing as a writer; and his recent hits sound peculiarly like Shirley Bassey numbers. More strikingly, it’s arguable that hip-hop would be in better creative shape if he’d held good on his promise to put down the mic.

Jay-Z’s not just a rapper considered the GOAT by a whole generation – he also holds a gate-keeper position in the industry that few, if any, artists have ever attained. And it’s a position he seems intent on milking solely for his own pockets. Jay’s presidency at Def Jam could have been a cue to bring through a hungry new wave of rap talent – or an opportunity to give deserving acts like The Roots and Ghostface real financial promotional support – but instead he kinda kept all the kitty money for his own shenanigans. And while his Live Nation deal probably meant that he could finally add one of those fancy Viking stoves to his kitchen, that’s a whopping $150 million that’s never going to be invested in new talent. Throw in Jigga’s woeful record in talent spotting (see: overlooking Kanye for so long; putting on a stream of rubbish Roc-A-Fella oiks), and it’s a sad truth that while Jay-Z’s still at the top as both a recording artist and a man who does business (as I think he once so wittily quipped), it’s gonna be hard for a fresh batch of faces to scale to similar heights.

8. Public Image

Back in the era when signing to a major label was a common goal for hip-hop artists, a new rapper’s attempt to make a name for themselves was an earnest and simple thing. First, they’d likely co-star as a featured guest or on a posse cut with a more famous rapping friend. Then, if people warmed enough to their verse, they’d be given a shot with a solo single (often produced by a popular beatsmith of the day). Some showed and proved, others were Preacher Earl. But the nuts and bolts of the come-up process was largely done with dignity and behind closed doors.

Not any more. Now we’re exposed to the turgid sight of an upcoming rapper’s every excruciating industry move. It’s hard to drum up excitement for someone like B.o.B. when you’ve already been bombarded with umpteen YouTube videos and failed single attempts and viral video shots and shoe-horned collabos that are never going to work and a billion email blasts. And B.o.B’s one of the better new wave rappers. There’s come to prominence this horrid belief that it’s best to put it all out there in the hope that something somehow will stick – but most cases it only shows how false and calculated a rapper’s image is. How many changes has the perennially-not-gonna-blow Wiz Khalifa been though? I remember interviewing him back when he was making Kanye-esque music full of soul samples. Then he started being a techno-happy club kid. Then a T.I.-lite. If Yelawolf takes off he’ll probably discover some white trash roots next.

7. Premature Rap Ejaculation

Having no knowledge of any music scene other than hip-hop that’s made by artists who reached their peak back in August of 1995, I have no idea how prolific guitar bands and classical pianists are, but I’d blindly bet that no other genre comes close to releasing ‘new’ music with the unfiltered gusto of hip-hop. Charles Hamilton’s run of releasing seven or eight mixtapes over seven or eight months in the run-up to his supposed debut album now seems like a model of restraint compared to cats like Gorilla Zoe dropping a mixtape a day. The insane frequency of new music unfortunately means that its hype-life is next to zero: When Joell Ortiz put together his Covers The Classics tape it was the buzz of the blogs for about six hours. Then it all but disappeared. Before ‘leaking’ their latest barrage of non-stop music, hip-hop artists would do well to consider this: If you’re releasing more albums a year than Jimi Hendrix, Miles Davis or Chas & Dave, then you’re very obviously not taking enough time to master your art.

6. Faith In Live Music Saving Rap

As they used to say: “Mwa-ha-ha-ha-ha!” As anyone who’s suffered through the horrors of a live rap gig can attest, there are only three NME-accredited hip-hop groups that can put on a good live show, and those are Public Enemy, The Roots and Michael Franti’s Spearhead. Everyone else still sucks mega donkey dick live on stage.

5. Oh, Snap!

An album cover or a photograph of a rapper in a magazine used to help take you inside their world, add to their mystique, and ultimately enhance the listening experience. Think the Ultramagnetic MC’s in all their shiny-tracksuit glory standing around in the rubble of the Bronx, making them look like four space cats roaming across an undiscovered world. Think Redman alternately on the cover of The Source with tissue up his nose or buried neck deep in mud for Dare Iz A Darkside. Love ‘em or mock ‘em, even the Pen-N-Pixel covers caught the eye and made you wonder about the music contained inside. Now, instead, we have Google image search. It’s a quick and direct link to lots of rubbish, low-res pictures of rappers looking entirely ordinary. So, manna to the undiscerning blog aggregator kids. Handily, with web-publishing the norm and downloads replacing physical releases, it’s all but obliterated the idea of a label or artist commissioning a decent photo shoot. You’ve probably bought some amazing records in the past on the basis of the cover art alone. That ain’t gonna happen any more.

4. Em Pee Frees!!!

Talk about using it to drum up hype and get your name around, but there’s no doubt about it: free music is synonymous with worthless music. It usually holds no value, and with no investment from the listener it normally forms no lasting bond. (At this point I should insert an anecdote about buying a record from my local store and reading the liner notes on the bus on the way home. Which might be a bit of a cliched reminisce, but it’s a sure bet that any record you read on the bus home is one you still treasure.)

Frustratingly, giving away music for free is more and more becoming the norm – and in more and more inexplicable ways. Roc Marciano just dropped a very good record that obviously has a very niche market (er, largely people reading this website). But ahoy there! Now he’s going to ruin it by quickly following up an album he presumably wants people to buy with one that he’s giving out for free (Marcberg Reloaded)! All it’s likely to do is decrease his sales due to people downloading the presumably inferior songs that didn’t make the album cut and deciding it’s not worth paying for.

And there’s more! Increasingly, labels are starting to release an album in digital form first and physical form later – and not even in particularly lust-worthy packaging (see: the Diamond District CD debacle). This is pretty much penalizing those people left who still want to pay for their music and own something tangible. It’s like saying, “Hey, we know you used to hold us down but now we’d prefer to put something out there for the thrifty right-click hawks and then if we luck out and make enough money from those seven legit iTunes downloads we’ll let you buy it on vinyl.” Cheers.

(Stating The Bloody Obvious Note: The only people really using free music as an effective promotional tool, whether for their albums proper or live shows, are already established cats on majors like Jay-Z or Lil Wayne, the latter of whom most people seem to have handily forgot had a very successful ten-plus year career as a platinum-selling rapper with The Hot Boys before using a few mixtapes to help him achieve ubiquity.)

3. The “Support” Movement

There has never been a more self-pitying piece of hip-hop slang than the current trend of people asking you to “support” a rapper. You support a football team through their ups and downs because you have an emotional and visceral attachment to them. You support a family through thick and thin because it’s what you do. You shouldn’t, however, feel any pressure to “support” a rapper – and especially not one whose entire contribution to the artform is little more than one hastily cobbled-together mixtape attached to a badly-phrased promotional email (likely not BCC’d to boot). Supporting people without talent only helps to lower the threshold for the tolerance of wackness – which only results in inferior music. Unless rappers are suddenly able to claim charitable status from their local municipal office – and produce an authenticated certificate – then the sad pleas for “support” need to stop.

2. The Minajian Philosophy

On her own demerits, there’s nothing much wrong with Young Money rapstress Nicki Minaj. She’s a terrible rapper who spits worse than Lil Mama and makes music that’s perfect for 12-year-old girls to listen to. As such, she’s unlikely to register on the radar of anyone who’s interested to hear that Tribeca’s still making music. So taking time to get annoyed at her is a waste of energy. Unfortunately, people won’t leave it at that – especially ‘cos there’s little that excites writers more than the novelty of a female rapper (a trait only pipped by the socio-eco-anthro-political potential of writing about a white rapper).

So as Ms Minaj gears up to release her album (early prediction shocker: It won’t be very good), we’re going to be swamped by a stream of articles and blog posts attempting to contextualize her. Because that’s what people like to do. Someone will run a profile calling her the sassy new face of a generation. Someone will analogize her to a real-life black Barbie doll; they might even attempt to pitch an urban re-make of Mannequin (another prediction: It also won’t be very good, but Lil Wayne will make a cameo). People will try and contextualize her whole Japanese Harajuku obsession, instead of making cheap jokes asking why she couldn’t just have gone and gotten a tattoo of some Kanji symbols that really translates as “Whore For Hire” like everyone else. Someone will pay a poncy stylist to make her look like a futuristic female assassin and slap her on the cover of a style magazine. Come Christmas, you’ll probably be able to buy The Minajian Theory in your local Urban Outfitters, next to those books full of photos of cats dressed up in hats. Enough already. Please.

1. Cheap-Ass Rap Fans

Yup, we can all pat ourselves on the back with this one. You don’t need to read any of these 3,000 word articles attempting to decipher the state of the music industry to settle on one sad truth: Without fans stumping up to pay for music, we’re pretty much sailing full-steam up shit creek. The easiest way of letting an artist know that you value their music is to buy it. But that’s clearly not happening any more. Speaking to DJ Spinna last year, he stated that back in ye glory indie rap days an artist would view 10,000 sales of a 12-inch single as the benchmark for a successful release. Now, he said, it was 1,000 CD sales. Which is a number so low it’s a wonder anyone bothers.

Accepted, often the labels and artists don’t seem to be helping themselves (i.e. not releasing vinyl versions of albums when aging vinyl collectors might be the one demographic left who’ll still stump up money for an album). But none of the much-ballyhooed alternative revenue streams seem to have effectively taken up the slack. And it’s telling that more and more of the dialogue in hip-hop these days is about ‘the industry’, whether it’s rappers moaning about their labels via Twitter or fans wittering about first-week sales. (Aside: Why do people who never buy music use first-week sales to judge the quality or success of an album?) If the commentary reflects the health of the scene, then we’re sadly teetering on the edge of a panic. But it’s one that could be quite easily solved by simply – ahem – manning up and paying a small amount for some music you like. A few years back, if everyone who clamored to claim they were a Clipse fan actually bought Hell Hath No Fury then the brothers Thornton would be multi-platinum. They’re not, ‘cos it’s a lot easier to just download the album than pay for it. But consider this: If you download all your music for free, you can’t then legitimately complain when your favorite rapper decides that it’s just not worth it any more.

Ho Shit is the New Come Up for 2010: Tiger Woods Edition

I really didn't want to address this Nike commercial at all, but then I started to feel bad about how hard I was going in on Kiely Williams when this shit trumps all of that. Forget about the infidelity and the scandal...this brings Tiger to a new low for me folks. Its one thing to whore yourself out to a corporation for ends, but having a deceased dad myself, there is no way I would allow a corporation to use my dad's voice so egregiously in a campaign designed both to clean up my image and turn a profit. Ohh look at Tiger in all his sad black and white glory, looking like a kid who stole a pack of gum from the convenience store and now has to sit and receive a lecture from his dad. This is flat out disgusting!!!

Kiely Williams Responds to Her Own Nonsense

what planet does this girl live on. She looks thrilled to be getting so much attention. Using her dumb ass logic, does this mean that the next video will show her at a crack house, dancing around used needles on the floor and then overdosing on heroin.....you know...to bring attention to drug abuse....I mean, it happens to a lot of twenty somethings and its an issue that needs to be addressed.

Kiely Williams says "Sex could very quickly change the rest of your life" - Well So Can a HO -TASTIC Video