Feeling sexy and cute❤️⭕😘🥰

Just cause it’s been a while😋😋

The Brush Cut Beautician

When I created Nubian 7 a few years ago, I purposely crafted her appearance so that the viewer places her in Africa or The West Indies. But she could also be a hairdresser from Buffalo. Let's say that this hairdresser hoped to open her own shop, so she would earn some quick cash by stripteasing on demand. One day she learned that she was being dispatched to a home with two unsupervised junior high school boys. She suspected that the youngsters were uncertain about the legality about what they're doing. So she planned on scaring the bejesus out of them by showing up dressed as a cop. That way when one of them comes to the door, she will tell them that she's there to arrest them. But once she entered the house, she starts her stripper routine. Did she take it all off for a pair of underage boys? Of course not! Don't be ridiculous! However she did strip all the way down to her thigh-high stockings, bra and panties while alternating between shaking her buns and boobs in their faces. Since she scared the living daylights out of them by threatening to take them to jail earlier in her visit, she wanted to put their minds at ease by allowing them a little guilty pleasure. Which consisted entirely of letting them touch her booty while she was bent over shaking it in their faces. But the urchins were hesitant to lay a hand on her; because they still feared being busted. Not by the police; but by their mothers when they inevitably found out. For her grand finale, she stood face-to-face with one of the schoolboys, took both of his hands, and firmly squeezed them around her breasts. She did the same for his friend before she collected the money, wrapped herself up in a trenchcoat, gathered her belongings, and left. A week later the hairdresser was at the beauty salon fixing the hair of one her best customers, who was raving about her son. The hairdresser responds " He sounds like a fine boy. I'd love to meet him!" Her customer points him out by declaring: " He's sitting right there waiting to get his hair cut!" The hairdresser immediately recognized her son as one of the junior high school boys from a week ago. When they made eye contact, the hairdresser gives him a devilish I'm-gonna-tell-your-momma-on-you smirk. Which he cringes to in response. His mother defends his reaction by saying: "Don't mind him. He can be a little shy sometimes."

Winter 1993 Mixtape.

Ice Cube The Predator

Brand Nubian “Love Me Or Leave Me Alone”

Positive K “Nightshift” (f. Big Daddy Kane)

Redman “Time 4 Sum Akshun”

Mary J. Blige “What’s The 411?” (f. Grand Puba)

MC Ren “Final Frontier”

Pete Rock & CL Smooth “Straighten It Out”

Chaka Demus “Murder She Wrote”

Shabba Ranks “Slow And Sexy”

Spice 1 “In My Neighborhood”

Utah Saints “Something Good”

Positive K “I Got A Man”

Mary J. Blige “Sweet Thing”

Redman “Blow Your Mind”

AB Logic “Get Up (Move Boy Move)”

Ice Cube “No Vaseline”

Apache “Gangsta Bitch”

Sheeesh🫣🤤

Today's compilation:

Basic Laws Vol. 1 2001 Deep House / Broken Beat

Got four brilliantly deep and lush dance tracks here that were originally released as exclusives back in 2001 on the small, yet still operational Italian label, Neroli, whose tagline on this debut 12-inch of theirs was "sexy house for the whole family."

Now, I'm not sure that I know *exactly* what that means, but this whole record is nonetheless smooth and sleek as hell, packed with wonderfully thick and built-up atmospheric grooves whose kick-drums sometimes pound and throb with a little bit of softness 😌.

And while all of these tunes are quite good, I think the best one among them is undoubtedly the first one, Nubian Mindz' "Can't Wait," which is by a guy named Colin Lindo, who had actually previously been a drum n bass artist on the elite Reinforced Records as Alpha Omega, but then decided to diversify his output.

What Lindo really seems to exemplify with this track of his here is just how artistic deep house really has the capability of being. A lot of people seem to regard deep house as more of a vibes-based type of genre and something that's satisfying as looped-up ambiance, but this is a song that advances far past some of those limiting categorizations, because "Can't Wait" isn't just one of those dime-a-dozen, super chill beats that you study to; it's really something that deserves to be put on a pedestal and requires your full, undivided attention in order for you to fully appreciate its truly mesmerizing beauty 😋. And can you believe that it had been missing from YouTube up until just about two weeks ago too?!? 😯 Insane!

And the rest of these tracks are on the same exact type of wavelength as "Can't Wait" too, but I really don't think that any of them are quite as transcendent, because as far as deep and soul-piercing electronic music of any kind goes, what Lindo managed to do with that tune in particular is really damn near perfect.

Highlights:

Nubian Mindz - "Can't Wait" Stephane A - "Distant Planet" Domu - "The Long Way Up" Chateau Flight - "Pergola"

She’s a cocoa, shea butter, bonnet, head scarf, durag, wearing, deep conditioning, sun kissed, honey dipped, brown sugar, chocolate, pecan, caramel, loc, braid, bundle, natural, Afro, kink, short haired, fashionable, Nubian, tribal, spiritual, ethnic, intelligent, sexy, sensual…

Anything else?

Victor Varconi and Majel Coleman in The King of Kings (Cecil B. DeMille, 1927)

Cast: H.B. Warner, Dorothy Cumming, Ernest Torrance, Joseph Schildkraut, James Neil, Joseph Striker, Jacqueline Logan, Rudolph Schildkraut, Victor Varconi, Majel Coleman, Montagu Love, William Boyd, Michael D. Moore, Kenneth Thomson, Alan Brooks. Screenplay: Jeanie Macpherson. Cinematography: J. Peverell Marley. Production design: Dan Sayre Groesback, Anton Grot, Julian Harrison, Edward C. Jewell, Mitchell Leisen. Film editing: Anne Bauchens, Harold McLernon. Music: Hugo Riesenfeld.

Director Cecil B. DeMille always had a fondness for unintentionally hilarious dialogue. Think of Anne Baxter's Nefretiri purring to Charlton Heston's Moses in The Ten Commandments (1956), "Oh, Moses, Moses, you stubborn, splendid adorable fool!" I'm almost sorry that The King of Kings is a silent film, so that we can't hear Mary Magdalene (Jacqueline Logan) utter the line: "Harness my zebras -- gift of the Nubian king! This Carpenter shall learn that he cannot hold a man from Mary Magdalene!" After the intertitle card fades, she swans off to rescue her lover, Judas Iscariot (Joseph Schildkraut), from the clutches of Jesus (H.B. Warner). It seems that Judas has become a disciple of Jesus because he believes that he has a chance at a powerful position in the new kingdom that Jesus is planning. This isn't the only hashing-up of the gospels that the credited scenarist, Jeanie Macpherson, commits, but it's the most surprising one. It also gives director DeMille an opportunity to introduce some sexy sinning before he gets pious on us: The Magdalene is vamping around a somewhat stylized orgy and wearing a costume (probably designed by an uncredited Adrian, who was good at that sort of thing) that leaves one breast almost bare. This opening sequence is also in two-strip Technicolor, as is the Resurrection scene some two and a half hours later. Yes, it's an enormously tasteless movie. Warner's Jesus is the usual blue-eyed blond in a white bathrobe found in vulgar iconography, and the actor has little to do but stand around looking wistful and sad at the plight of the world, occasionally giving a little smile that, with Warner's thin, lipsticked mouth, verges dangerously on a smirk. The film goes heavy on the miracles, even recasting one of the gospel writers, Mark, as a boy (Michael D. Moore) cured of lameness by Jesus. (When he throws away his crutch, it accidentally strikes one of the Pharisees standing nearby, only adding to their enmity to Jesus.) Unfortunately, DeMille stages the revival of Lazarus (Kenneth Thomson) in a way that enhances its creepiness, having him emerge from a sarcophagus swathed in bandages like a horror-film mummy. Still, there's entertainment to be had, if you're not too demanding. Schildkraut's Judas is fun to watch at times: Once, he even skulks away like Dracula with his face hidden by his cloak. His father, Rudolph Schildkraut, plays the sneering high priest Caiaphas, Victor Varconi is a suitably conflicted Pontius Pilate, and William Boyd, soon to make his name as Hopalong Cassidy, is Simon of Cyrene, who helps Jesus carry the cross. The storm and earthquake after the Crucifixion is a DeMille-style special-effects extravaganza. The cinematography by J. Peverell Marley leans heavily on filters and screens to cast halos around Jesus, but does what it can to bring DeMille's characteristic tableau groupings to life. Fortunately, the movie also goes out of its way to avoid arousing antisemitism: The crowds calling for crucifixion are shown to be largely made up of bribed bullies who are suppressing those who want Jesus released, and one man furiously rejects the bribe by saying that as a Jew he cannot betray a brother.