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1970s Throwback, Lenora — Helping Fans to ‘Relax’ with her Music

NNPA NEWSWIRE — By every definition, Lenora is a throwback. For “Relax,” she introduces an alter-ego, “Suga’ Love,” an afro-wearing “Foxy Brown” like character whose looks underscore the fad-happy decade of the 1970s. “I’m a ’90s baby, but at heart, I’m like a child of the ’70s. That era of music heavily influences me,” she notes. (Photography, beauty and styling by RIOT MUSE)

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For “Relax,” she introduces an alter-ego, “Suga’ Love,” an afro-wearing Foxy Brown-like character whose looks underscore the fad-happy decade of the 1970s.

By Stacy M. Brown, NNPA Newswire Correspondent
@StacyBrownMedia

Chelsea Lenora White – simply Lenora to her family and fans – is proving herself to be one of the most exciting rising singers in the music industry.

The Houston-based crooner has released, “Relax,” a smooth tune with a languid feel that gives listeners a carefree, letting go, sensual experience.

Unintentionally reminiscent of Diana Ross’ “Love Hangover,” Lenora’s “Relax” counts as a throwback to the 1970s with enough appeal to make lasting impressions throughout the next decade.

“Just relax,” Lenora sings on the track. “You could do it if you put your mind to it.”

When asked about the connection to Ms. Ross, Lenora said she’s a fan, and “Love Hangover” happens to be a song she loves.

“It probably was subconscious for sure,” Lenora says of the similarity the opening of “Relax” has to “Love Hangover.”

“When I work with producers, I always will give them something that I have listened to and something that I like, and ‘Love Hangover’ is a song that I like,” she stated.

The single contains a bass guitar riff that is also a nod to Marvin Gaye’s, 1976 hit, “I Want You.”

By every definition, Lenora is a throwback.

For “Relax,” she introduces an alter-ego, “Suga’ Love,” an afro-wearing Foxy Brown-like character whose looks underscore the fad-happy decade of the 1970s.

“I’m a ’90s baby, but at heart, I’m like a child of the ’70s. That era of music heavily influences me,” she notes.

While the ’70s is known for the lack of boundaries, Lenora understands that modern-day artists are under more of a microscope, mostly because of social media.

“I’m cautious. I love that era of music, but it always has to be fresh and new,” Lenora stated.

“Even with the cover art we use for the single, I thought was tasteful.”

In the cover art, Lenora is in her underwear, but unlike the penchant today to photograph sexy women in thongs and G-strings, she’s decked out in full bottom briefs. She’s also facing away from the camera, so only the back of her bra is revealed.

It’s just another way in which Lenora gets her message across for people to “Relax.”

“I draw a parallel between blue cheese and ranch,” Lenora stated regarding the line she chooses not to cross when displaying such sensuality in her music.

“A lot of people don’t like blue cheese, but I love blue cheese. But ranch is agreeable to everyone. So, with ‘Relax” I was like okay; this record is like my ranch dressing. Everybody can get on board with this.”

Lenora and her team, which includes the influential Houston-based producers, Beanz n Kornbread, and award-winning songwriter Dustin “Dab” Bowie, wrote the hit single in one hour.

Lenora said she just so happened to be in the same studio as Bowie one night, and she eventually played some music for him.

It was a Saturday night in Los Angeles, Lenora explained.

A flight she had scheduled to leave two days later was delayed, so Lenora returned to the studio, and that’s where she and Bowie co-wrote “Relax.”

Already, the song has touched listeners in ways Lenora found surprising.

“I feel like music is therapy, music is escapism. I always hope my music will heal and provide therapy,” Lenora noted. “A girl told me that the song saved her life. She said that in the song, I remind people to breathe. Some people’s lives are so hectic that they want something for themselves to be able to get away even if they can’t afford to get away physically, the music can provide some of that escapism for them.”

Lenora started singing in Kindergarten and has wowed audiences from her church to local venues in Houston and on into college where she’s classically trained, and where her golden voice mastered the Opera.

It might surprise most who have heard her sing that Lenora went through a period of self-doubt and stopped performing.

“I think it was like six years that I didn’t put music out. It was 2017 when I finally started singing again,” Lenora said.

After a self-imposed hiatus, Lenora returned to the spotlight for a special performance in Washington, D.C.

She belted out another Diana Ross tune, “Reach Out and Touch (Somebody’s Hand)” during the enshrinement ceremony of her late grandmother and former Houston Forward Times Publisher, Lenora “Doll” Carter.

The ceremony inducted Carter into the Gallery of Distinguished Black Publishers.

“I knew I couldn’t stay away from music,” Lenora stated. “But, I had management and people telling me to do things that I didn’t necessarily agree with. When I did come back out, I did a performance called ‘Motown and More,’ and it’s a huge deal. There are 40,000 people there over the weekend for that show, and I had never done it before 2017. When I did the audition, they were like, “Who are you?” “Where have you been?” And I realized that this style of music is who I am.”

With a hot new single and tens of thousands of followers on social media, Lenora is on the fast track to superstardom.

“That Motown show opened doors for me in terms of people knowing what I do. ‘Relax’ is the biggest so far for me, it’s getting a lot of radio play,” Lenora stated.

“It’s trending in the West Indies and London, and that’s crazy because I’ve never been to any of those places yet. I’m not a brand-new artist, but essentially I am a new artist because I’ve rebranded, I’ve taken a step back.”

“Relax” is available on all streaming platforms.

Download “Relax”: https://song.link/relax

Connect with Lenora:

Facebook: Facebook.com/SincerelyLenora

Instagram: @SincerelyLenora

Twitter: @SincerelyLenora

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Rep. Al Green Files Articles of Impeachment Against President Trump

BLACKPRESSUSA NEWSWIRE — Rep. Green told Newsweek that he is moving on impeachment now before “tanks are rolling down the street.”

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By Lauren Burke

Congressman Al Green (D-TX) has filed articles of impeachment against President Trump. Rep. Green, 77, has served in Congress since 2005.  President Trump is the only President who has been impeached twice by the U.S. House of Representatives. Rep. Green told Newsweek that he is moving on impeachment now before “tanks are rolling down the street.” The impeachment resolution filed by Rep. Green on May 19, states that President Trump is, “unfit to represent the American values of decency and morality, respectability and civility, honesty, and propriety, reputability, and integrity, is unfit to defend the ideals that have made America great, is unfit to defend liberty and justice for all as extolled in the Pledge of Allegiance, is unfit to defend the American ideal of all persons being created equal as exalted in the Declaration of Independence, is unfit to ensure domestic tranquility, promote the general welfare and to ensure the blessings of liberty to ourselves and our posterity as lauded in the preamble to the United States Constitution, is unfit to protect government of the people…” Whether Rep. Green can force a vote in the U.S. House on impeachment remains an unknown issue. President Trump was impeached on December 18, 2019, for abuse of power and obstruction of Congress. He was then impeached a second time on January 13, 2021, for “Incitement of insurrection” in the wake of the violent January 6, 2021 attack on the U.S. Capitol by Trump’s supporters.

The White House stated Black Press USA on Rep. Green’s effort to impeach the President. “This week, Democrats ousted their DNC ‘leader,’ opposed the largest tax cut in history, and were exposed for actively covering up Joe Biden’s four-year cognitive decline. Now, Democrats have turned their sights to threatening impeachment. We are witnessing the collapse of the Democrat Party before our eyes. Not a single one of these efforts will help the American people. The contrast could not be more clear: President Trump is fighting for historic tax relief for the American people, Democrats are fighting themselves,” said White House Deputy Press Secretary Anna Kelly in a written statement. Several decisions and legal interpretations by the Trump Administration are currently being challenged in federal court. On May 15, the U.S. Supreme Court debated the issue of birthright citizenship after a legal challenge on the issue by the Trump Administration.

During that legal challenge, Justice Ketanji Brown Jackson challenged Trump’s solicitor general Dean John Sauer by saying, “Your argument seems to turn our justice system into a catch-me-if-you-can kind of regime … where everybody has to have a lawyer and file a lawsuit in order for the government to stop violating people’s rights.” Rep. Green’s impeachment resolution also focused on the issue of ignoring judicial orders by the executive branch. A notable example was the deportation case of Maryland father Kilmar Abrego Garcia. Garcia was deported to a prison in El Salvador by federal officials on March 15, 2025.“The Constitution does not tolerate willful disobedience of judicial orders — especially by officials of a coordinate branch who have sworn an oath to uphold it. To permit such officials to freely ‘annul the judgments of the courts of the United States’ would not just ‘destroy the rights acquired under those judgments’; it would make a solemn mockery’ of ‘the constitution itself.’” “You have no mandate,” Congressman Green stood up and yelled at President Trump during his State of the Union Speech on March 4. After the incident, Republicans who control the U.S. House considered sanctioning Rep. Green, but they did not complete an action against him.

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Affordable Childcare Remains a Barrier: Solutions in New Report

BLACKPRESSUSA NEWSWIRE — We also still haven’t put a dent in affordability for working families. That’s why we urgently need increased funding and new solutions.”

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While America’s childcare supply grew nationally, the price of that care continues to rise—placing affordable, high-quality care out of reach for many families. A new report released by Child Care Aware® of America (CCAoA), Child Care in America: 2024 Price & Supply, shows that despite promising signs of increased supply, affordability remains a major barrier — and underscores the need for increased sustained federal and state investment.

From 2023 to 2024, the number of childcare centers increased by 1.6% (to 92,613) and the supply of licensed family childcare (FCC) homes increased by 4.8% (to 98,807). The national growth in FCC homes’ supply is driven largely by four states (CA, KS, MA, VA) and is especially notable as it reverses a year-long downward trend.

At the same time, the national average price for childcare rose by 29% from 2020 to 2024, outpacing inflation and exceeding other major family household expenses like rent or mortgage payments in many states. Childcare is now so expensive that it consumes 10% of a married couple with children’s median household income and a staggering 35% for a single parent. In most states, families pay more for childcare than rent, mortgage payments, or in-state university tuition.

“Childcare supply is increasing, and that is a win—but it’s not enough,” said Susan Gale Perry, Chief Executive Officer of CCAoA. “Recent federal and state pandemic-era investments have stabilized and grown supply in some places, but a significant supply gap still exists — especially in rural communities and for infants and toddlers. We also still haven’t put a dent in affordability for working families. That’s why we urgently need increased funding and new solutions.”

CCAoA’s Childcare in America: 2024 Price & Supply report also found that:

  • The average price of childcare increased by 29% from 2020 to 2024, outpacing the national inflation rate of 22%.
  • In 45 states plus Washington, DC, the average annual price of center-based childcare for two children exceeded mortgage payments, in some states by up to 78%.
  • In 49 states plus Washington, DC, the price of center-based childcare for two children exceeded median rent payments ranging from 19% to over 100%.
  • In 41 states plus Washington, DC, infant care in a center cost more than in-state university tuition.

CCAoA urges policymakers to increase childcare funding at both state and federal levels to maintain the momentum of growing supply, address rising prices, and expand access to childcare for families. Federal funding increases have fallen short of the need and our research shows that total state investments in child care or preschool vary widely from state to state, putting children, families, and communities across America on an uneven playing field. Further, targeted investments in childcare supply building and stabilization and childcare workforce recruitment and retention strategies are essential to help sustain an adequate supply of high-quality childcare options nationwide.

Child Care Aware® of America (CCAoA) is the only national organization that supports every part of the childcare system. Together with an on-the-ground network of people doing the work in states and communities, it helps America become child care strong by providing research that drives effective practice and policy, building strong child care programs and professionals, helping families find and afford quality child care, delivering thought leadership to the military and direct service to its families, and providing a real-world understanding of what works and what doesn’t to spur policymakers into action and help them build solutions.

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Sex, Coercion, and Stardom: Diddy Case Mirrors Music’s Ugly History

BLACKPRESSUSA NEWSWIRE — It started with a Reddit post that didn’t just speculate on Diddy’s fate but questioned the very foundations of the culture that made him

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By Stacy M. Brown
Black Press USA Senior National Correspondent

As Sean “Diddy” Combs faces a federal sex trafficking case and the slow unraveling of his once-untouchable legacy, a larger question looms: Is this the moment the music industry finally confronts its darkest secrets?

It started with a Reddit post that didn’t just speculate on Diddy’s fate but questioned the very foundations of the culture that made him: “How much damage could Diddy do to the state of hip hop?” the user asked. “Supposedly, he has incriminating evidence against those who attended his parties. The same parties that had a lot of bad things happen, to say the least.” The implication was chilling—if Diddy were to cooperate with federal authorities, the fallout might not stop at his feet. Names floated in the post—Jay-Z, Beyoncé, Usher, Justin Bieber—aren’t confirmed in any court filings, but their inclusion highlights the breadth of Diddy’s influence and the potential reach of any revelations. If even a fraction of the speculation proves true, the reverberations wouldn’t stop at hip-hop—they’d hit every corner of the music industry. For his part, Combs denies all allegations. His legal team has described the now-infamous “freak-offs” as consensual encounters, part of his non-monogamous lifestyle. But prosecutors allege something much more sinister: a criminal enterprise powered by the machinery of his music and business empire—one that trafficked women, coerced labor, obstructed justice, and used influence and intimidation to maintain control. Still, for all the headlines Combs generates, his alleged crimes do not exist in isolation. The music industry has long tolerated, enabled, and even glamorized behavior that would trigger career-ending consequences in other arenas. Diddy’s story might be shocking—but it’s not new.

Rock music has its own rogue’s gallery. Jerry Lee Lewis nearly destroyed his career in 1958 after marrying his 13-year-old cousin. Elvis Presley met 14-year-old Priscilla Beaulieu when he was 24 and later moved her into his home in Memphis. In more recent years, Aerosmith’s Steven Tyler faced (and ultimately evaded) a lawsuit from a woman who says he sexually assaulted her in the 1970s when she was 17. A judge dismissed the case due to the statute of limitations. Phil Spector, the genius producer behind the “Wall of Sound,” died in prison after being convicted of murdering actress Lana Clarkson. Gary Glitter was convicted of possessing child pornography and later child sex abuse. Kid Rock and Creed frontman Scott Stapp were filmed with strippers in a sex tape that leaked online in 2006. A new biography of the Rolling Stones claims Mick Jagger had sexual relationships with at least two of his male bandmates, raising further questions about the power dynamics inside even the most celebrated groups.

Journalist Ann Powers, writing for NPR, once noted that the “history of rock turns on moments in which women and young boys were exploited in myriad financial, emotional and sexual ways.” Powers added: “From the teen-scream 1950s onward, one of the music’s fundamental functions has been to frame and express sexual feelings for and from the very young… relating to older men whose glamour and influence encourages trust, not caution.” This brings the spotlight back to Diddy—not just as an accused individual but as a symbol. He was once the archetype of success: Harlem-born mogul, founder of Bad Boy Records, and kingmaker behind artists like Notorious B.I.G., Faith Evans, Ma$e, 112, and French Montana. He transformed hip-hop into a global business and amassed influence far beyond the recording booth. He sold more than 500 million records, earned multiple Grammy Awards, and was honored by MTV, Howard University, and the City of New York—until those honors were swiftly revoked after a video surfaced showing him physically assaulting singer Cassie Ventura. Ventura, his longtime partner and protégé, has accused Combs of brutal physical abuse and psychological control. Her lawsuit and the video evidence ignited a wave of allegations from other women and men, describing similar patterns of coercion, manipulation, and fear. “This is not just about bad behavior. This is about systemic exploitation and abuse made possible by fame, money, and silence,” said one advocate for survivors in the entertainment industry.

While hip-hop has long been a target of criticism for misogyny and violence, what’s now being laid bare is a broader, genre-defying truth: from rock and pop to hip-hop and beyond, the music industry has operated for decades without accountability for its biggest stars. “Sex isn’t the problem,” one Reddit user responded. “Coercion via job opportunities is.” Another added, “Zero [impact], just like R. Kelly and MJ did zero to R&B,” referencing the R&B superstar’s conviction and Michael Jackson’s controversial legacy. Others argued hip hop would endure, regardless of Combs’ fate. Maybe it will. But the Diddy scandal pulls back the curtain—not just on the parties, the rumors, or the headlines—but on an industry-wide culture that has, for too long, allowed power to shield predation. As one survivor put it outside a recent court appearance: “This isn’t just a hip hop problem. It’s not even just a music problem. It’s a power problem.” And now, the music industry has to decide: Will it finally tune in, or will it keep playing the same old song?

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