Sometimes what looks like a dream is actually a bullet to dodge. There’s a peculiar heartache that comes with your dreams crumbling into dust; not because you didn’t give it your all, but because it wasn’t for you to have all along.

I was young, starry-eyed, and working in a recording studio named The Sound Spa while going to college. Convinced I was on my way to a magnificent music career as a taste-maker and producer, I looked to Sean ‘Puffy’ Combs’ career for inspiration. I wasn’t cool, but neither was he, initially. I was talented, and I could be made into cool, too, I thought.

 “So you end up chock full of an industry of money grubbing folks, tortured geniuses, people who are incredibly talented and don’t understand what’s going on. Like there’s just no, there’s no rules.”

- Jay Ray from “The Unspoken Truth: Exploitation in the Music Industry”

In the 90s, I, like so many others, admired Diddy as a visionary, a self-made executive who understood the audacity of turning raw talent into a gleaming empire. But watching his fall, witnessing the architectural way his empire was built on exploitation and control, I’ve felt something I didn’t expect: profound gratitude. Not bitterness. Not disappointment. Gratitude.

The music industry is a treacherous machine. It doesn’t just corrupt; it can manufacture corruption. The industry doesn’t accidentally create monsters. In many ways, it deliberately selects them, polishes them, gives them money, and sets them loose.

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Watching the documentary, Sean Combs: The Reckoning, made me feel like I was protected from something I couldn’t have handled. I glimpsed younger versions of myself in the stories of the artists who dreamed of bright lights. Back when I wanted to be accepted, to be “cool,” and didn’t have the strong sense of self to heed warnings to stay away.

I’m grateful that somewhere along my journey, I felt the darkness of the industry, obeyed my internal compass, and chose to do things my own way towards the light.

 “We got to change the way that we hold people up because they achieve a certain level of success and money in this white power structure. Because I’m telling y’all something in that milk don’t be clean all the time.”

- Jay Ray from “The Unspoken Truth: Exploitation in the Music Industry”

No, I didn’t become a music producer in the traditional sense. But I found my way back to music, to supporting artists who make it as a manager, to documenting its history, analyzing it, preserving it, and amplifying the voices that the industry tried to silence. I obey a different calling now. One that feeds my spirit instead of consuming it.

My heart aches for all the artists who signed away their futures for a moment of validation and promises from someone who was already corrupted before they ever met them. Sometimes the most extraordinary grace is being diverted from the path you thought you wanted.

My liberation wasn’t refusing to pursue ambition. It’s redirecting it toward paths that don’t require me to sacrifice my soul or anyone else’s.

Watch “The Unspoken Truth: Exploitation in the Music Industry”

Queensbridge isn’t just a dot on the New York City map, it’s one of the most important neighborhoods in Black music history. In “Queue Points: How Queensbridge and Marley Marl Shaped Black Music History,” DJ Sir Daniel and Jay Ray trace how this single housing project helped reshape early hip-hop production, launch Marley Marl and the Juice Crew, and change the way rap told stories about Black life.​​

This was a special episode for ’s The MPN Network's ‘The Neighborhood Feast’ Thanksgiving 2025 series of programming.

For DJ Sir Daniel, the starting point is clear: “The Queensbridge Projects is the most influential and consequential neighborhood in all hip hop history.” That statement opens up a larger story about how public housing built for white families during the 1930s became, through white flight and racist policy, a Black and Latino creative engine. Queensbridge’s insular design, schools, grocery stores, rec centers, and playgrounds all on site, fostered deep community ties and intense local pride, the perfect conditions for block‑by‑block competition and sound system battles that powered early hip-hop culture.​​

Read the full article at Queue Points

I grew up in a time when being a music lover often meant being a student of the sound, too. In the 80s and 90s, the rise of hip hop made this even more critical, as sampling became part of my listening experience. I didn’t just enjoy a song; I wanted to know where it came from and how it connected to everything else in the cultural universe of the moment and of the past. That curiosity was part of the joy. I had to learn about artists across genres and generations because context was how I unlocked deeper meaning. But today, when infinite musical catalogs are a tap away, the irony is that curiosity has become the rarest commodity in the room.

Nowhere is that loss more apparent than in watching social media engagement with artistry that’s rooted in historical exchange. Take, for example, Liza Minnelli. Minnelli’s career carries a fascinating thread of musical cross-pollination, one that ties her directly to the creations of Black musicians whose work shaped and defined 20th-century American sound.

On the latest episode of Queue Points, we explore Liza Minnelli’s performances of songs by Black artists, examining how she interpreted and honored that music. These performances sat within a musical continuum where popular entertainment was continuously enriched (and complicated) by the innovations of Black creatives. Minnelli’s repertoire reveals the deep interdependence between American pop culture and Black genius.

For Queue Points, engaging with this kind of story is more than nostalgia. Episode by episode, we are reclaiming the stories of how music evolves and circulates as an archiving practice. When you understand that the new songs you love today probably trace their DNA to gospel, soul, blues, or early jazz, the listening experience transforms. Songs stop existing as isolated products and start resonating as living artifacts of human exchange.

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The danger of our era’s overabundance is that information is flattening into background noise to fill space or our own emptiness. The endless playlists and a reliance on algorithms cause many listeners to drift through sonics without ever asking simple questions: Who wrote this? What cultural moment made this sound possible? Who was erased along the way? Without this curiosity, we lose touch with the human stories that build the soundtrack of our lives.

Understanding music history deepens empathy. Because to really hear music is to know that nothing we love exists in a vacuum. Every note has a lineage. And when we choose to care about those origins, we don’t just become better listeners, we become better keepers of the culture.

Oh, and bring back liner notes, too. We need them now more than ever.

I might be misremembering the details, but the feeling remains the truth.

As the 1990s dawned, Black music was undergoing rapid changes.

Hip-hop had become a commercial juggernaut, forcing everyone to adapt. New Jack Swing had reached incredible heights, crossing the pond and influencing pop and rock acts alike. But then came the Milli Vanilli lip sync controversy—a seismic shift that suddenly put Black artists under scrutiny. They had to prove they were real.

Real singing.
Real performing.
Real instrumentation.

Because of this, many artists shifted gears about how they made music. As my ear evolved, I found myself drawn to UK Soul—The Brand New Heavies, Mica Paris, Incognito, and others. Their music, along with the work of producers digging for classic sounds to sample, introduced me more deeply to a name I had always known: Roy Ayers.

Ubiquity Personified

For me, Roy Ayers wasn’t new. His Roy Ayers Ubiquity recordings were a fixture in my household and on the radio. “Running Away” had long been one of my favorite dance tunes, even though it was released the year I was born. His music was that important to my development.

And he lived up to the name of his band—Roy Ayers was the definition of ubiquity. If you wanted your record to have that sauce, Roy Ayers was on it.

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Today, people talk about music being “all vibes.” Well, Roy Ayers literally played vibes. And figuratively, that’s exactly who he was.

His mastery of the vibraphone—paired with his use of voice as a percussive element—forced me, as a young listener, to engage with the music in a way that shaped my ear forever.

Two 90s-Era Examples of Roy Ayers Power

The Roy Ayers Takeover on Nuyorican Soul

By any standard, Nuyorican Soul is a great album. Its star-studded lineup and seamless fusion of Latin Jazz, Disco, Hip-Hop, and Salsa landed it on many year-end "Best of" lists. But for me, Side B of the cassette was where the magic truly began—Roy Ayers’ time to shine.

With “Roy’s Scat,” seguing into a flawless rework of his “Sweet Tears,” Ayers demonstrated the perfect blend—the beauty in the rough and the sweetness in a song. He understood space, knew when to let the music breathe, and, in doing so, made it resonate even more.

“When You Think of Me” – Eric Benét

Eric Benét’s second album, A Day in the Life, leaned more into his commercial desires than his debut True to Myself. That wasn’t a bad thing—it gave him room to spread his wings. As the first half of the album closed, “When You Think of Me” arrived, co-produced by Benét alongside Philly legends James Poyser and Vikter Duplaix.

The song featured Roy Ayers, and what happened next was pure artistic commitment.

Roy entered with his vibraphone, his percussive force, and his voice—vocalizing every movement. Then, in the middle of that opening passage, he screamed and played:

“WHAT?!! WOOOOOW.”

And he kept going. Kept playing. Kept vocalizing.

My heart skipped. It hit me so hard.

Hitting The Right Note

That’s the thing about Roy Ayers. No matter how trends changed, no matter how recording methods evolved, his commitment never wavered. Every swing of his mallet, every hiccup in his voice—he always struck just the right note.

Roy Ayers passed away on March 4, 2025 at age 84. He’d been battling a long illness.

Rest well, sir. You did that!

What’s your favorite Roy Ayers song or feature? Comment below.

Honoring Angie Stone’s Career - A Queue Points Perspective

Angie's career was not only about producing music but also about creating art that challenged, inspired, and resonated across generations. However, as DJ Sir Daniel noted, she deserved justice for the challenges she faced, particularly regarding the ownership of her intellectual property and royalties. Her narrative was reminiscent of icons like Sister Nancy, who only recently received recognition for her influential work. Similarly, Angie deserved a significant moment of acknowledgment and justice.

Transitioning from a pioneering rapper to a celebrated R&B artist, Angie Stone consistently pushed the boundaries of her artistry. From Vertical Hold to her solo debut, "Black Diamond," she skillfully blended classic soul, '80s funk, and '90s hip-hop, showcasing both her vocal talent, production and songwriting abilities. Throughout her career, she collaborated with many artists, including D'Angelo, Raphael Saadiq, Erykah Badu and more, further solidifying her place in music history.​

One of Angie Stone's most memorable tracks for Queue Points was 2005’s "I Wasn't Kidding." The song, co-written by Andrea Martin and Adrian Austin, captured themes of love lost, resilience, and personal growth, resonating with listeners on multiple levels. It served as an example of how Angie’s work transcended simple genre classifications, allowing her to connect with a wide audience.​

Adrian was one of our earliest guests on Queue Points, and we recorded a conversation with him in tribute to Andrea Martin, following her passing. Thanks Adrian for being willing to share your stories about the creation of this gem with us. For more from Adrian, revisit Season 1 of Adrian’s Playlist of Conversations.

Adrian Austin Remembering Andrea Martin and on Creating Angie Stone’s “I Wasn’t Kidding” - A Queue Points Exclusive (2021)

Thank You, Angie

As we continue to honor Angie Stone's career, it is essential to recognize her as a pioneer who shaped the landscape of music. Her contributions extended beyond her discography; they encompassed the cultural shifts she influenced and the artists she inspired. Her groundbreaking hits will continue to be discovered and sampled—a true indicator of her lasting impact on the industry.​

Angie Stone passed away on March 1, 2025, at the age of 63, following a tragic auto accident. She was traveling, with her band, from a performance in Montgomery, Alabama to Atlanta.

DJ Sir Daniel and Jay Ray extend their heartfelt condolences to Angie’s family and send well wishes to those injured in the accident for a smooth and full recovery.

Angie, your legacy will continue to inspire and influence future generations. You will be missed. Thanks for the music.

Enter our "One of Them Days" Contest

So, We Watched. Here’s What We Thought.

Black buddy comedies have given us some of the most unforgettable moments in film, and One of Them Days continues that tradition and reminded us of a classic - House Party. With Keke Palmer and SZA leading the charge, this film brings back the wild, feel-good energy that made House Party a cornerstone of Black cinema.

At its core, One of Them Days embraces the spirit of shenanigans, and we love that kind of carrying on.

The film mirrors House Party’s essence - two friends caught in hilarious hijinks as they navigate life, money, and unexpected chaos. Just as Kid and Play’s night spirals into unforgettable territory, Palmer and SZA’s on-screen chemistry fuels a fresh adventure with humor, heart, and life lessons. The film doesn't just nod to House Party, it modernizes the formula, proving that Black joy and friendship on screen are as relevant today as they were in 1990.

One of Them Days taps into hip-hop culture, vibrant storytelling, and dynamic performances. And for those who grew up on House Party, this film is a love letter to the subgenre we’ve cherished for decades.

We give it a thumbs up!

What did you think about the film? Let us know!

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Watch Episode #108 About House Party

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Michael Jackson is renowned for his captivating shows and chart success. Yet there are numerous lesser known ways in which he impacted the music industry that deserve acknowledgment. From supporting his siblings to partnering with other artists Jackson's influence reaches beyond the stage.

Early Influences and Breakthroughs

Michael Jackson's journey in the industry took a notable turn when he landed a role in the movie The Wiz. This chance encounter led him to connect with producer Quincy Jones, sparking the onset of a partnership. This opportunity provided Jackson with the freedom to express his creativity and laid the groundwork for the tremendous success that awaited him later on.

Jones' help resulted in albums that are now considered legendary. Their joint efforts on Off The Wall, Thriller and Bad not only reshaped the music landscape but also solidified Jacksons status as a solo sensation.

Songwriting and Production Contributions

Jackson wasn't solely a performer he also excelled as a songwriter and producer. While his contributions to other artists may not receive attention they showcase his adaptability and artistic flair. Here are a few noteworthy tracks where Jackson had an impact in the background.

Centipede by Rebbie Jackson

One of our favorite Michael contributions was to his sister Rebbie's debut album. He both wrote and produced her song "Centipede" which highlighted his distinct sound and creativity. Released in 1984 the track included vocals from the Weather Girls enhancing its appeal. With its lyrics and infectious rhythm the song became a beloved favorite.

Muscles by Diana Ross

In 1982, Michael Jackson penned and produced the song "Muscles" for Diana Ross, solidifying it as a fixture in her musical repertoire. Jackson's harmonies brought an added layer of depth and richness, making it a standout piece in Ross's body of work.

Say Say Say by Paul McCartney and Michael Jackson

Michael Jackson's partnership, with Paul McCartney on the song Jackson-penned "Say Say Say" was part of a trio of songs they worked on in the early 1980s. Released in 1983 the track stands out as one of McCartney's and Jackson's cherished hits.

Background Vocals and Hidden Gems

Tell Me I'm Not Dreaming by Jermaine Jackson

All I Do by Stevie Wonder

Somebody's Watching Me by Rockwell

Reflection on Michael Jackson’s Legacy

Michael Jackson's impact on music goes beyond his shows. His talent as a songwriter and producer for artists highlights his adaptability and ingenuity. Whether supporting his family or teaming up with icons in the field Jackson's presence resonates in the realm of music.

While his famous songs often steal the spotlight, his lesser known works and contributions also deserve their due recognition. As we honor his legacy let's not forget the remarkable talent and innovation he showcased both in his performances and behind the scenes.

Key Takeaways

• Michael Jackson was not only a performer but also a prolific songwriter and producer.

• His collaborations with artists like Rebbie Jackson, Diana Ross, and Paul McCartney highlight his versatility.

• Jackson's leadership in projects like "We Are The World" showcased his commitment to social change.

• His background vocal contributions on tracks like "Tell Me I'm Not Dreaming" and "All I Do" enhanced the music of fellow artists.

• Michael Jackson's legacy continues to inspire future generations of musicians and performers.

Controllerise in Atlanta has become a haven for DJs, musicians, and beat makers to showcase their craft in a laid-back, collaborative atmosphere. Hosted every Monday night at Monday Night Brewery, this event draws creative minds from across the city. DJ Sir Daniel, known for his eclectic sound and deep knowledge of music, recently performed a unique set at Controllerise. In this interview, Sir Daniel shares how he crafted his set, his approach to the vibe, and what makes Controllerise a standout event.

Q&A Interview (Edited for clarity)

Jay Ray: Sir Daniel, you recently performed at Controllerise in Atlanta. Before we dive into your set, how did you get the invite, and what’s the setup like at Controllerise?

DJ Sir Daniel: I was invited by DJ Empress Rah, who runs Controllerise with her partner STLNDRMS (Stolen Drums). They’ve built more than just an event—it’s an ecosystem where DJs, musicians, and beat makers come together every Monday. It’s at Monday Night Brewery, so there’s a chill vibe with bars, food trucks, and vendors like JB’s Record Lounge. You can play board games, color, and even watch cult classics or anime projected on the big screen with headsets. It’s a creative space where everyone can relax and enjoy.

Jay Ray: That sounds amazing! I caught your set, and it was a different vibe from what I’m used to. Normally, your sets are high-energy, but this one was more laid-back. How did you approach creating it?

DJ Sir Daniel: At first, I planned to play freestyle and bass-heavy tracks to stand out. But the day before the event, Empress Rah and STLNDRMS called to check in. They reminded me that this was a space for music I wouldn’t normally get to play—tracks I love but might not fit in other venues. So, I went with B-sides, some chill hip-hop, and sample records. I even did a live mashup of Les Nubians and Wu-Tang. It was a 30-minute set where I packed in a lot of music that speaks to who I am as a DJ.

Sir Daniel Said So

The official newsletter of DJ Sir Daniel. DJ/Selector and part of Atlanta's, all-vinyl crew, Wax Fundamentals. Co-host of the Queue Points podcast.

By DJ Sir Daniel

Jay Ray: I love that you got the freedom to experiment. How did it feel to be part of something like Controllerise?

DJ Sir Daniel: It meant a lot. Just being asked to perform was an honor. And to play music I’ve always wanted to but never had the right space for—it was really special. I’m grateful to Empress Rah and STLNDRMS for giving me that chance.

Jay Ray: Make sure to check out DJ Sir Daniel’s set on Controllerise’s YouTube, and we’ll also share it on the Queue Points platforms. Congrats again, brother!

DJ Sir Daniel: Thanks, I appreciate it!

DJ Sir Daniel’s set at Controllerise was a true reflection of his artistic freedom and musical range. Controllerise continues to provide a space where artists can push boundaries and share their creativity. Be sure to check out Sir Daniel’s set on Controllerise’s YouTube, and keep an eye out for more!

In music, particularly in the 80s and 90s, music videos were essential for storytelling and captivating the audience. Music videos have progressed from basic performance footage to intricate showcases that can come with a price tag in the millions. Today we'll explore the priciest music videos by Black artists. To no one's surprise Michael Jackson makes the most entries on the list.

1. Scream - Michael Jackson & Janet Jackson

Price tag: $7 million (roughly $13.9 million today).

The collaboration between Michael and Janet Jackson in this legendary video stands as a significant milestone in the realm of music videos. With captivating visuals showcasing choreography and a strong message addressing media scrutiny it's more than a mere video; it's a bold declaration.

2. Black or White - Michael Jackson

Price Tag: $4 million (roughly $8.9 million today)

This video was revolutionary for its use of morphing technology to portray racial harmony. Directed by John Landis it boasted a star studded cast and a standout performance that solidified Michael's reputation as a pop sensation. The extended cut of the video, often overlooked, was controversial at the time.

3. Remember the Time - Michael Jackson

Price tag $2 million (roughly $4.34 million today)

The video, helmed by John Singleton showcases a lineup of celebrities like Eddie Murphy and Iman. With its backdrop of ancient Egypt, it weaves together storytelling and mesmerizing dance sequences, earning its place as a beloved choice among us.

4. Bad - Michael Jackson

Price tag: $2 million (roughly $5.9 million today)

This video, directed by Martin Scorsese tells a story of street culture and defiance highlighting Michaels growth as a performer. The dance routines and imagery are memorable showcasing the era and pushing the boundaries of video artistry.

5. Doesn't Really Matter - Janet Jackson

Price tag: $2.5 million (roughly $4.6 million today)

The video showcases impressive visuals and dance routines, all set in a futuristic environment. Janet's stage presence is enchanting and the video played a role, in promoting the movie Nutty Professor II: The Klumps.

6. Heartbreaker - Mariah Carey

Price: $2.5 million (equivalent to about $4.6 million today)

In this video we are introduced to Mariah's alter ego, Bianca. Featuring top notch production quality it captures the blend of playfulness and allure that defines Mariah's music style.

7. Honey - Mariah Carey

Price tag: $2 million (roughly equivalent to $3.79 million today).

In the video Mariah breaks away from her history displaying her self assurance and fresh musical style. The visuals are lively Mariah busts a move all while marking an important shift in her music and life journey.

8. What's It Gonna Be?! - Busta Rhymes featuring Janet Jackson

Price: $2.4 million (around $4.4 million today)

This captivating video showcases cutting edge visuals showcasing the dynamic between Busta and Janet. It serves as a tribute to the artistic flair that characterizes both performers.

9. 2 Legit 2 Quit - MC Hammer

Price tag: $2.5 million (roughly $5.3 million today)

Although it didn't age well this video was a grand project that highlighted Hammer's unique dance moves and charisma cementing his spot in the annals of music history.

10. Victory - Puff Daddy featuring The Notorious B.I.G. & Busta Rhymes

Price tag $2.7 million (roughly $5 million today)

The video showcases a lavish production and stunning visuals. However despite its budget it failed to make a lasting impact, with many of our listeners not even remembering the video. It reflects Puff's desire to leave a mark in the industry.

The significance of these videos extends, beyond their worth. They serve as landmarks in history highlighting the skills and imagination of Black music makers. While we appreciate these works of art we acknowledge their influence on the history of music videos.

DISCLAIMER: “What’s Poppin’ Penny?” is a sponsor of Queue Points.

Music is a universal language that transcends barriers, age, and even time. For Toni Kennedy music has always been a central part of her life and career as an educator. From her childhood experiences with a diverse musical collection to her innovative use of music in classrooms, Toni believes in the transformative power of melodies and rhythms to ignite young minds, and she’s used that power as Miss Toni Sings and with “Little Chick,” her puppet she’s used to educate young children.

Toni's gift extends beyond the classroom. In her podcast “What's Poppin' Penny?”, Penny, a “little girl with brown skin and curly hair,” embarks on adventures with her talking cat Penelepaw and her teddy bear, who also happens to be inhabited by the spirit of her trusted adult, her grandfather, known as T.A. The show is a beautiful amalgamation of imagination, storytelling, and valuable lessons interwoven with cultural wisdom and family traditions. Even the theme song itself is a testament to the show’s vibrancy. The song, written by Kennedy, and brought to life by producer Lucas F. Morelli and singer Paige Montgomery (Toni’s daughter), welcomes listeners into a joyous world of learning and family.

"What's Poppin' Penny?" is set to release a special episode on Juneteenth, 2024. The Juneteenth special follows Penny and her family as they travel from the big city to the family farm for a family reunion. This journey is not just a physical one but also a voyage through history and culture. 

The episode features Betty Reid Soskin, playing the role of Aunt Jessie, the family griot. In a captivating narrative, she explains the origins of a magical teddy bear that has been a part of Penny’s journey, seamlessly blending fiction with history.

The upcoming Juneteenth episode is more than just a show—it's a celebration of culture, history, and the enduring power of music. Tune in on June 19, 2024 and make it a part of your family’s celebration. Let Penny’s adventures spark meaningful conversations and joyous memories.

For more from Toni Kennedy, follow "What's Poppin' Penny?" wherever you listen to your podcasts.

Other Queue Points Episodes About The Power of Music For Children

In Black music, slow jams are not just an R&B signature, but as a profound medium for connection, vulnerability, and healing. The songs, often nostalgic, helps foster deeper connections among Black people. According to DJ Sir Daniel, "Slow jams are the heartbeat of R&B," further highlighting their role in expressing the complexities of Black love and life.

Whitney Jones, the visionary behind Slow Drag, has taken her love of slow jams to new heights, creating a space where Black folks come together to experience the magic of slow jams in a communal setting. Jones stopped by Queue Points to discuss her work as we honored Valentine’s Day.

For Jones, Slow Drag is not just an event; it's a movement dedicated to reviving the tradition of slow dancing, thereby fostering intimacy and connections that transcend the dance floor. As Jones eloquently puts it, "Slow Drag's mission is to bring Black folk together in a space that not only uplifts the sounds at the heart of Black music but also encourages us to be vulnerable with each other."

The event's atmosphere, characterized by its signature blue lights and 70’s slow jams music selection, creates a haven for attendees to let down their guards and connect on a level that is rare in today's fast-paced world. At Slow Drag, instead of turning up, the whole point is turning down and tuning in. It is a space where Black men and women can shed societal expectations and simply be. “The vulnerability piece alone is such a huge component for me for Slow Drag because, honestly, I feel like Black folks need more softness with each other,” says Jones.

Slow Drag also highlights the significance of creating inclusive spaces within the Black community. Slow Drag welcomes everyone, regardless of their relationship status or sexual orientation, championing the idea that intimacy and connection are universal desires. This inclusivity is crucial in a world where Black queer folks often find themselves marginalized, even within their own communities. It has the potential to heal communities by bringing people together, breaking down barriers, and fostering a culture of empathy and understanding. In Jones's words, "Slow jams can single-handedly change how Black folks move with each other...it's about leaning into being Black and free and comfortable."

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As we continue to navigate the complexities of life, may we always find solace in the slow jams that remind us of the power of our connection, the beauty of vulnerability, and the enduring strength of Black music. What we we have is truly “much more than they can see.”

What’s your favorite slow jam? Let us know by clicking the button below.

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"Slow Jams Can Heal Us" celebrates the soulful embrace of love, intimacy and connection. Through the power of slow jams, we're reminded of the deep healing and unity found in the rhythms of love. #SlowJamsHeal

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OTHER QUEUE POINTS CONTENT ABOUT SLOW JAMS

The year 2000 is an important year in my musical evolution. Philadelphia, in particular, wasn’t just the region I lived in (I grew up south of the city in Chester, PA), but, by 2000, after The Roots’ Things Fall Apart, the city was incubating some of the most interesting new Black music.

What’s even more interesting is there was a Detroit-brother who was inspiring a whole new sound that combined the foundations of hip-hop, jazz and soul. His name was Jay Dee a.k.a. J Dilla.

It was hard to put my finger on it, but I explained my experience listening to Slum Village’s Fantastic Vol. 2 as “grown up hip-hop.” I remember catching the video for “Climax.” The lush arrangement stopped me in my tracks. The rhyming style was so unique to me. It was rhythmic, jazz-inflected and almost staccato how they jumped all over the beat. Particularly from, who I later learned was the famed, Jay Dee.

Like many hip-hop fans, by 2000, we knew who Jay Dee was. He’d been present on the national music scene since we first heard “Runnin’” by The Pharcyde. Many of us didn’t realize we were listening to him for the better part of four years straight as part of the famed production outfit The Ummah.

It wasn’t until after reading Dan Charnas’ biography Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm that I understood Dilla’s grip on my ear. In 2000, at 23 years old, I was maturing, and Dilla’s production style was training my ear. I was learning how to listen to hip-hop with a sense of nuance. I wanted my samples to be both nostalgic and reimagined. I wanted my hip-hop producers to dream deeper.

I wasn’t surprised to see Dilla move in the electronic direction with his production. He was from Detroit, the birthplace of Techno, of course it’s in his DNA. I remember listening to “Soul Power” from Common’s Electric Circus, and couldn’t believe what I was hearing. It was masterful. The world wasn’t quite ready.

"Man I will NEVER forget the weekend Dilla & Com came back from detroit w the beat to the untitled “Soul Power” completed and I got to hear it for the first time when we transferred it to 2 inch tape," he said on IG. "Dill told me he made some “Let’s Go Crazy” type jawn which instantly put me in the mind frame of PE’s “Brothes Gonna Work It Out” space——I was NOT expecting this. The second I heard it I was like “this is our album opener” hands down."

- Questlove

In the era of the super-producer, Dilla was respected, but not as visible as other producers of the era. He gave the world some of the most interesting music we’ll ever hear, and it inspired many, including me. Pharrell was once name checked Dilla as his favorite producer we’d probably never heard of. That was his impact.

There aren’t a lot of videos of Dilla, so watching “Climax” today is not only musically satisfying, but also a good historical artifact. If you’ve gotten this far, and didn’t click on that video, I suggest you do so.

Our good brother Mr. Al Pete joined me and DJ Sir Daniel for a discussion on the legacy of Dilla for his birthday. Be sure to tap in. Below are all of our favorite Dilla joints we mentioned on the show. Enjoy!

Also, check out my “Everyday Is Dilla Day” playlist with songs in the spirit of J Dilla.

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Top J Dilla Productions According to Queue Points and Mr. Al Pete

Mr. Al Pete

DJ Sir Daniel

Jay Ray

“What’s beef? Beef is when you make your enemies start your Jeep

Beef is when you roll no less than 30 deep

Beef is when I see you

Guaranteed to be in ICU…”

- Notorious B.I.G. “What’s Beef?”

Maybe I am experiencing PTSD or deja vu, but the anxiety is palpable. Finally, after a 48 hour rant in all caps, Nicki Minaj announced to her legion of Barbz “Tomorrow - 3PM PST - #BIGFOOT.” I, like many of you, lived through a range of emotions from “is she trolling?” to “is she okay?”

Thanks to social media, the birth of the latest rap beef starring Nicki Minaj & Megan Thee Stallion came to life in rapid time. Of course, both sides have been stewing in their own personal insecurities and anger for quite some time now. But this thing is real and it’s right in our faces without the courtesy of subliminal shots and thinly veiled references in songs or magazine interviews. We are here.

“Ya’ll just p*ss on me, sh*t on me, spit on my grave/Talk about me, laugh behind my back but in my face

Ya’ll some ‘well wishers,’ friendly acting, envy hiding snakes..”

- Nas “Ether”

“This is what hip-hop is all about!” is a very simplified sentiment many are sharing in their examinations of Nicki vs. Megan, but to me, this feels very different. I was only four days into my 21st year of adulthood when Tupac Shakur met his untimely death at the age of 25. We all know what happened the following March of 1997, but I will share with you what happened to me.

The music form that I once looked at with longing and adoration now gave me pause. My idols were being murdered, and the news channels kept their bullet-hole riddled bodies on a 24 hour loop for us to relive the tragedy over and over again.

Fast forward to December 4th, 2001 a country barely piecing itself back together after 9/11, gets rocked by Nas when he unleashed “Ether,” in what rap historians consider, one of the best consciously crafted “diss songs.” The focus of “Ether” - Jay-Z. Jay was well on his way to collecting his crown of rap supremacy and houses were soon divided. The industry was divided. Everyone from magazine writers to radio announcers felt compelled to pick sides. Once again, rap music became more unrecognizable to me. 

“..an all you b*tches got your style from me, the capital S-H-A-N-T-E

You used to go to my show, analyze how the sound flow. On the downlow, f-ck around, lay around h*e!”

- Roxanne Shanté “Big Mama”

One Sunday in October, 1992, I was tuned into “Rhythm & Vibes,” an underground hip-hop show broadcasting from the campus of Georgia State University in Atlanta. It was one of those moments you never forget as a diehard rap fan. Talib Shabazz prefaced a new record he was about to drop from Roxanne Shanté as “shocking.” He went so far as to warn us that we may not be ready for its full impact. Shanté began sliding on the Grand Daddy I.U. and Kay Cee-produced beat reminding us who she was and that she was not to be played with. But, then she went further.

She began naming names. Big names. People we felt were untouchable by reputation, but Shanté tagged them one by one and as the kids say today, she kinda gagged me a lot.

The hoopla died down, years passed by and hip-hop evolved into a commercial juggernaut. Shanté became a pariah in the community she helped build. For close to twenty years, she and hip-hop broke up.

Sir Daniel Said So

The official newsletter of DJ Sir Daniel. DJ/Selector and part of Atlanta's, all-vinyl crew, Wax Fundamentals. Co-host of the Queue Points podcast.

By DJ Sir Daniel

The concept of feuds in the rap industry are not alien. As a matter of fact, “battle rapping” is one of the pillars of what it means to be an emcee. In 2024 the stakes are a lot higher. Rap artists are no longer battling for neighborhood supremacy. Many artists require your allegiance to them and it’s not enough to just buy their album. The term “cult” is used frequently to describe certain fanbases. Cult leaders depend on unquestioned loyalty and an aggressive approach to anyone that voices criticism.

If your livelihood depended on a streaming platform to pay you pennies on the dollar for your art, it stands to reason you feel the need to dominate the marketplace. But, at what cost? Today, as both a fan and cultural commentator of hip-hop music, I am struck at how much the industry leans into conflict and controversy to sell merchandise.

Traditional album roll-outs are a thing of the past making way for guerilla tactics with social media in their arsenal. I am exhausted and find myself checking out bit-by-bit. During the height of all the hip-hop 50th anniversary celebrations, dream hampton, prolific journalist and filmmaker, sent my head spinning with her response to a question in an article in the Washington Post:

Helena Andrews-Dyer: ‘Do you still believe hip-hop is revolutionary? Was it ever?’

dream hampton: ‘You can’t be a revolutionary with broken gender politics. You can’t be a revolutionary and be homophobic. And this is before we even get to capitalism. To be homophobic, transphobic and misogynistic? No, you’re not a revolutionary. You’re not even a radical. You’re actually quite status quo. What it was was a radical sound, and that’s not even true anymore.’

I was dumbfounded. I was in complete agreement. 

My hope for this 21st century generation of rappers is that they grow old. Because at this point, growing old is the real flex. Maturing and aging is the real title-bout for all the clout.

Join Queue Points On Wednesday, January 31, 2024 at 8PM ET for Intended Souley, Exclusively on Mixcloud

Event Description

Rap beefs have moved from the stage to the record to the streets and finally to the fans. In our current moment, the beefs between two women MCs have boiled over, and it got us thinking about one of the greatest diss records of all time - “Big Mama” by Roxanne Shanté.

On this inaugural episode of Intended Souley, Queue Points’ members-only monthly show, we are reminiscing about the song, the period, and what we can learn from it. Join us on Mixcloud as we play some music from the era and chat about 1992.

#HipHop #QueuePoints #IntendedSouley #MembersOnly

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A peek at the Wikipedia entry for the “Hot R&B Songs” of 1992 reveals two very interesting things about the state of music at the time.

Observation #1: There are more than 30 artists to hit number one on the chart. That’s a lot more variety of folks to listen to that were deemed excellent at their craft. 1992 marked the last year that happened.

Every year, since, fewer and fewer artists hit number one on the R&B chart. In fact, the R&B Chart isn’t even just R&B anymore. It’s now known as the R&B/Hip-Hop chart.

Observation #2: The kind of artists, specifically the men (groups and solo), have their own unique style. Here are the men who hit number one in 1992:

• Shai

• Chuckii Booker

• Al B. Sure!

• R. Kelly and Public Announcement

• Tevin Campbell

• Bobby Brown

• Boyz II Men

• Luther Vandross

• Lionel Richie

• Michael Jackson

• Jodeci

• Aaron Hall

• Glenn Jones

• Prince

• Gerald Levert and Eddie Levert

• Keith Sweat

Some of those names, folks won’t recognize at all today.

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Deep baritone and bass voices have been a hallmark of Soul and R&B music since the beginning. Queue Points spent some time honoring a few of these unique voices - Teddy Pendergrass, Isaac Hayes and Barry White. The through line for all of those men is both the balance of strength and tenderness their music represented. Also, each one pushed the sound of music in new and impactful directions.

In 2022, the top R&B songs of the year included songs from, Steve Lacy, Silk Sonic and The Weeknd. All of these men are talented, but it raises a question for us…

So where did the deep baritone and bass voices go in contemporary Black music? Comment below, and let us know your thoughts.

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As a child, Christmas in my house was filled with lights, the smell of my Mom’s cooking and music. There are two albums that I remember moving to the front of the pile, Nat King Cole’s “The Christmas Song” and The Temptations.

We discussed these albums on the final Queue Points’ episode of the year where we pondered the question “Who really rules Christmas?”

Like with any show, I prepared by listening to songs from the albums Essence referenced in the article “The Best Black Christmas Albums of All Time, Ranked.”

At #2 sat The Temptations Christmas Card from 1970, and in my mind (see what I did there?) I thought, of course, that has the brilliant “Silent Night” on it. I was right about the brilliant part, but completely wrong about the song. Yes, there is a version of “Silent Night” on this album, and it’s beautiful. It includes Eddie Kendricks on lead, and is a more traditional version of the song.

It was at this moment that I realized The Temptations have two versions of this song, and both are beautiful and classics in their own right.

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More About The Temptations Christmas Card

Released in 1970, "The Temptations Christmas Card" was the group's first foray into holiday music. The album was produced by Motown mainstays Barrett Strong and Clay McMurray, this album showcased the group's ability to infuse traditional Christmas songs with their Temps-sound of the era.

This line of The Temps was the third version of the group, I believe, and featured: Dennis Edwards, Melvin Franklin, Eddie Kendricks, Paul Williams, and Otis Williams.

So, as it turned out, the Christmas album that I most remember from The Temptations is the second one, Give Love At Christmas.

More About Give Love at Christmas

Released a decade later, in 1980, Give Love At Christmas was produced by Gil Askey, one of the architects of the Motown sound. This album is a smooth R&B affair, and their version of “The Little Drummer Boy” has a funky groove you can’t help but dance to. The album featured a different lineup from their first Christmas album, with Dennis Edwards, Melvin Franklin, Richard Street, Glenn Leonard, and Otis Williams this time around. This variation in membership undoubtably contributed to the distinct sound that resonated with the music scene of the era.

"Silent Night" - A Timeless Rendition

Of course, the song I remember the most is the final track on the album - “Silent Night.” Lovingly referred to as "Silent Night (In My Mind),” this soul-filled interpretation has Dennis Edwards on lead vocals, and was a staple in my household during the holiday season.

Happy Holidays From Queue Points!

Antoinette, the rapper from Bronx, NY, isn't as famous as some of her peers or today's hip-hop artists, but is still significant in the history of the culture. Known for her relentless flow and cadence, Antoinette was definitely “next to blow” when she hit the scene in late 1988.

Her rise to fame was closely tied to her collaboration with producer Hurby Luv Bug. At the onset of her career, the rapper was associated with Hurby’s the Idol Makers, even appearing in their classic crew photo.

It was Luv Bug who produced the universally lauded, classic track, “I Got An Attitude,” which was included on the album Hurby’s Machine: The House The Rap Built.

What should have been a victory lap, didn’t turn out that way. “I Got An Attitude” placed Antoinette at the center of a controversy that she knew nothing about, at the time. As it turns out, “I Got An Attitude” jump started one of the most infamous diss wars in hip hop history - MC Lyte vs. Antoinette.

Antoinette was censored by her management team, and couldn’t respond.

“A true battle for me meant being somewhere at the same time spitting rhyme for rhyme, not that song shit. If going to do it for real, I wanted no holds barred rather than the punk vinyl surprise. This is how I came up. Battling was the norm, and I was willing to go head to head. Instead, I was forced to sit back as my competitor freely challenged my womanhood and authorship, while I grappled with my manager and company censorship. I was deflated.”

- Antoinette from her memoir All That Glitters: From Attitude To Gratitude

Despite this, the rapper pressed on.

With two albums - 1989’s “Who’s The Boss” and 1990’s “Burnin’ at 20 Below” - fans thought that Antoinette’s career was poised to blow. After those two albums, it turns out, she chose to step away from the industry.

What the audience didn’t know was the rapper was in a predatory management deal and dealing with personal tragedies.

“I was done. I quit. I was completely finished with the music business. I wasn’t making any money off my own material or performing like I should’ve been anyway. Promoting my work or building relationships with my peers didn’t happen either, because [Matthew] Klein held me hostage, so to speak. It sucked all of the life and passion out of me; I wanted no parts of it. I was not going to hang around and let Klein make another cent off me. The exploitation was too high, and I had goals and aspirations.”

- Antoinette from her memoir All That Glitters: From Attitude To Gratitude

While we understand the tendency, it’s imperative that Antoinette not solely be defined by a diss war. Despite her interrupted career, she is an MC that deserves our attention, for her musical contributions, as we celebrate 50 years of hip hop (#HipHop50).

With several classics from 1988-1990, she inspired a generation of MCs and a couple podcasters. :-)

Watch “From Kid 'n Play to Salt-N-Pepa: The History of Hurby Luv Bug's Hit Machine”

Queue Points Favorite Antoinette Tracks

"Who’s The Boss”

“Let’s Take It From The Top”

“Watch The Gangstress Boogie”

“Shake Rattle and Roll”

Doing a musical tribute performance is a coveted role during an awards program. For an artist who’s living, you get to have them watch you perform some of their finest work. For an artist who’s no longer living, it’s an opportunity to remember them for what they’ve accomplished and how much of an impact they have made in music.

It’s not easy to do.

Patti LaBelle is a legendary singer known for her powerful vocals and impressive stage presence. DJ Sir Daniel has written about LaBelle's status as an icon of hip hop. 

Tina Turner was an icon. Ms. Turner’s performing career spanned five decades from the late-1950s - late-2000s, and is distinguished by a singular fact - she didn’t become a mega star until the 1980s; 26 years into her already historic career. We discussed Turner’s career at length on episode 102.

LaBelle was set to perform a musical tribute to Tina Turner during the 2023 BET Awards. 

That’s not a bad choice. LaBelle and Turner are from the same musical generation, and both women are rock stars in their own right. So after a night of performances that mostly centered #HipHop50, a tribute to Tina Turner would be a nice break in the tone of the night.

Unfortunately, it was a moment to remember, but not in the way we would have hoped.

Ms. LaBelle couldn’t see her teleprompter with the lyrics, making for a repeat of the, viral, “where are my background singers?” moment at the most inopportune time - tributing one of the most beloved Black women performers of all time, the Queen of Rock & Roll, Tina Turner.

You could see the BET Awards audience laughing. What happened wasn’t fair to Ms. LaBelle, who, at 79, wouldn’t be expected to learn songs in such a short amount of time needed to perform the tribute.

Here are three ways Patti LaBelle was set up to fail:

1. Picking Patti LaBelle for the tribute. 

The 2023 BET Awards was a hip hop celebration, and selecting Patti LaBelle for the tribute was a missed opportunity. This moment could have been used to draw a bridge between the work of Tina Turner and the new generation of performers. It would have also given some of the new women an opportunity to show what they were made of by performing some of Turner’s biggest hits.

Picking LaBelle was a safe bet that didn’t pay off.

2. Poor Song Choice

“The Best” is one of Tina Turner’s best known songs, and it’s a great tune. But, in America, it’s the 1980s equivalent of a Tiktok hit. Many Americans only know the hook. Why? “The Best” wasn’t a Top 10 American hit, but a huge song internationally. It’s from Turner’s record Foreign Affair which didn’t even crack the Top 20 in the US, but hailed as Turner’s big transition into being an international superstar. 

Also, “The Best” has a lot of lyrics. It would have been better to select one of Turner’s more well known American hits, “Proud Mary” or “What’s Love Got To Do With It.” Both songs are sing songy enough that LaBelle wouldn’t have had to do much work.

3. Production Issues

Ms. LaBelle is almost 80 years old, and in order to ensure a top shelf performance, you have to be certain the performer is set up for success. If the choice is made for the artist to perform a song they don’t fully know, you have to have all of the things in place.

Clearly, LaBelle couldn’t read the teleprompter with the lyrics. It’s been rumored that because people were standing it obscured her view. This should have been thought of early. She needed contingency plans in place that weren’t available to her. That’s unfortunate.

What happened was a mistake that Ms. LaBelle was pushing through - “I’m trying y’all…” she said exasperated on live television. This time, the background singers stepped in to help, but it wasn’t the help she needed at that moment.

Let us know in the comments, who would you have selected to pay tribute to Tina Turner at the 2023 BET Awards?

Formed in the mid-1980s, rap group Public Enemy is a cultural phenomenon. The group, led by Chuck D, and his partner-in-crime Flavor Flav had music different from other hip hop groups at the time. Together, with production team The Bomb Squad, they created an intense mix of funk, rock and hip hop that captivated audiences around the world with their politically-charged lyrics that addressed injustices against Black people within American society.

Originally signed to Def Jam Records, Public Enemy released their debut album Yo! Bum Rush The Show in 1987, which went on to be certified gold. From there they went on to release several critically acclaimed albums such as Fear Of A Black Planet (1990) and Apocalypse 91...The Enemy Strikes Black (1991). Their albums were bursting with messages about racism and inequality which resonated heavily with fans across all genres of music.

Public Enemy's iconic song "Fight the Power" has been inspiring people to fight for their rights since its release in 1989. The music video for the song is as powerful and iconic as the lyrics themselves. Directed by Spike Lee, the song was part of his movie "Do The Right Thing," which starred Ossie Davis, Ruby Dee, Rosie Perez and Giancarlo Esposito among others.

Queue Points Podcast Episode on Public Enemy’s It Takes A Nation of Millions To Hold Us Back

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The video incorporates an on-location shoot of Public Enemy as part of a realistic community march in Brooklyn on April 22, 1989. The music video show the group part protest and part performance. Scenes in the video are intercut with archival images, the group, and the community chanting “fight the power.” Lee captured some powerful images that really gave realism to the video.

Chuck D and Flavor Flav along with Professor Griff, the S1Ws and Terminator X made an indelible mark on music, and are one of the most important rap groups in history. Their music continues to influence generations of new rappers today due to its timelessness and relevance to political events happening right now.

“Fight The Power” will live on as an important achievement in music video history.

"Hurricane G to the rescue. Here to bless you with the bilingual special.

Mic check. My lyrical manifestation. Divination..

Chicks please, I put that ass at ease...like McIntosh and wash 

all that paste off ya face with these flows I lace stinging you like mace. Big banking like Chase."

- Hurricane G "Underground Lockdown"

The news was devastating and official. Eric Sermon, legendary producer, and half of the duo EPMD made a post on Instagram announcing Gloria Rodriguez passed away.

Superstorms originate in West Africa, follow a path through the Caribbean and the subsequent impact can be both overwhelming and cause for restructure. Like The Real Roxanne before her, and future superstar Cardi B., Hurricane G.’s artistry echoed bilingual voices of the Diaspora and rap skills cultivated in the projects of Brooklyn.

Rodriguez’s underground and high-profile appearances punched through and punched up any song. Her debut album “All Woman” released September 1997 remains unmatched vocally and in content. And like some works of genius, not readily accepted by the masses.

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Performers like Hurricane G may not readily ring bells to today’s Hip-Hop generation, but seeing social media littered with loving tributes and clips of her most vicious flows is heartwarming and inspiring. Hip-Hop needs that right now. Still reeling from the murder of Takeoff, founding member of the Migos, our mourning is cross generational. Hurricane G is now in Yoruba terms, Ibaye; an ancestor; one who should be celebrated and honored.

I take a literal approach to pay homage via an all-vinyl salute to Black women performers of Pop/R&B and Hip-Hop. SHUGA-HONEY ON THE ROCKS puts on display musical offerings of both obscure and widely celebrated artists. 

Déjame quitarte ese gran dolor 

Y llenarte con un gran amor.

Rest In Power Gloria Rodriguez AKA Hurricane G. 1970-2022

"Every chick I fuck with is a dime...
I'm like Patti LaBelle, homie, I'm on my own
Where I lay my hat is my home, I'm a rolling stone ..."

- 50 CENT "What Up Gangsta?"

The Internet became all abuzz when a teaser for an upcoming episode of Revolt TV's  " Drink Champs " featuring the effervescent Patti Labelle went viral. In a very loving and humble moment, Ms. Labelle recounted the moment her son Zuri informed her that she would be appearing on Hip-Hop's favorite " Inside The Actor's Studio " format talk-show.

When legends of her generation would turn their nose up in disgust or be dismissive, Patti Labelle jumped at the opportunity. She said one thing that we couldn't disagree with more. In a hushed voice she stated "...I am not Hip-Hop, but I am.."

Chop the first part of that statement, Miss Patti, because you ABSOLUTELY are Hip-Hop.

The Godmother of Soul Patti LaBelle has done it all. She is a legendary singer who has rocked the stage for decades and has graced us with her powerhouse voice. LaBelle has always shown love to the Hip-Hop generation and has made several cameos in Rap music.

In 2001, a cover of the iconic "Lady Marmalade" with rappers Lil' Kim, Mya, and Christina Aguilera became a massive hit and won a Grammy Award for Best Pop Collaboration with Vocals. LaBelle also collaborated with rapper Big Daddy Kane on the song "Feels Like Another One" from her 1991 album Burnin'. In 2012, she made an appearance in the video "Dilemma" by rapper Nelly. LaBelle's energy and passion for music are undeniable, and she continues to inspire upcoming artists today.

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Aside from her undeniable presence in Hip-Hop, Patti Labelle turns up in many Rap lyrics and her music has been sampled by everyone from Kanye West to OutKast.

Labelle's original group Labelle can be credited with creating a lane for women to express themselves through music and visually. Performers like Lady Gaga and the CITY GIRLS all owe Patti Labelle, Nona Hendrix and the late Sarah Dash a world of gratitude. The next time your fav stirs it up on stage, remind yourself Miss Patti did that.