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On Sisterhood: Syleena Johnson Talks About Show, New Music

CHICAGO DEFENDER — Singer/songwriter/talk show host Syleena Johnson may be living and working in Atlanta but she is Chicago through and through. Johnson sat down with the Chicago Defender during a recent trip where she headlined Bantu Fest. Johnson talked about “Sister Circle Live,” her new album “Woman,” and where she goes to eat when she comes back to Chicago to visit.

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Syleena Johnson (Photo by: chicagodefender.com)

By Tia Carol Jones

Singer/songwriter/talk show host Syleena Johnson may be living and working in Atlanta but she is Chicago through and through. Johnson sat down with the Chicago Defender during a recent trip where she headlined Bantu Fest. Johnson talked about “Sister Circle Live,” her new album “Woman,” and where she goes to eat when she comes back to Chicago to visit.

In the second of a three-part series, Johnson talks about her upcoming album, “Woman.”

CD: So, let’s talk about my favorite part. The music.

SJ: The new album is called “Woman.” It’s dedicated to women: based on what we have had to endure in this country and in general. How we’ve been disrespected. We’ve been disregarded, how we’ve been sexually preyed upon, how we’ve been shunned, not listened to, not taken seriously.

So, this is an album that kind of celebrates us and it is coming from our heart, you know our perspective. It’s trying to explain who we are, how we feel. There’s a song on there, called “I Deserve,” where we talk about what we deserve in a man. There’s a song on there, called “She-ro,” which talks about a woman who will be there for her man.

One of the misconceptions is that women do not celebrate our men, and that is not true — that is not true one single solitary bit. We absolutely do celebrate our men. we are not being celebrated enough by them.

So, it’s just basically an album that comes from a woman’s heart, you know, and I think there’s been a misconception and a misunderstanding of how we really are, especially with black women. I think we are viewed as angry and difficult and I think that that prevents us from being able to even communicate properly and bridge the gap between male and female.

CD: When is the album set to be released?

SJ: We do not have a set street date. But we’re looking at fall, late September, early October. There will be a pre-order link up in the following weeks. We’re still in the process of mixing and mastering the album. Once the pre-order goes up, you’re going to get two gratis singles — “Woman” and another one. And then, as time progresses, we’ll probably release five gratis singles before the album actually drops. So, if you get the pre-order, you’ll also get like a single here and there and then when the album comes out, you’ll get the rest of the album.

CD: And, speaking of “Woman.” I watched the video on YouTube and that opening visual of the women in black is very powerful and strong. Is that what  you were feeling you wanted to convey when you (created the video)?

SJ: Yes, I feel like there have been a lot of images showing us being abused, weakened and I felt like that’s not just who we are. You know, we’re strong and lit, as well. We’re very lit. Especially black women, you know!

And, I wanted to give an almost black panther tease to it. So that it’s like a revolt, revolutionary, standing up for your rights, loving on other women which was indicative of the women walking and giving me different things, even though it was like jewelry and necklaces and different things. It was like, “come on girl. Let’s get your stuff.” Kind of like we need each other to continue to progress. I just wanted to show us in a strong front. Our president saying disgusting, vile things and actually getting away with it, being disrespectful telling those women of color in Congress to go back where they came from. You know we’re in a time right now where it is okay to be disrespectful towards women, the mothers of the earth, the women who birth and go through nine months of anguish and anxiety carrying a child to then push it out of their body. We should be celebrated for that alone, you know, not to mention everything that we do as nurturers to help continue making the world go around, what we’ve invented, what we’ve created. So, I just wanted to show us in a strong visual: a strong positive visual. Not just a weakened, beaten, or ignorant, immature state.

CD: And so, I love the lyrics, “and if it’s a man’s world then the world is yours because woman gave birth to the man.”

SJ: I mean, I don’t know what else to say. If it’s a man’s world then how did you get here? That means that everything that you have is because of a woman. If my son, if it’s is his world then it’s very much mine because actually I had him. These things are not taken into consideration. And another thing that irritates me about this country is when it comes to women or just men in general, if we dig up or put out a highlight on what women have done. It doesn’t mean that it takes away from what you’ve done. Turns out we were right here with you.

CD: And, so for me, that song seems like it’s an anthem?

SJ: I’m hoping so, child. I’m hoping that it can be an anthem. I wrote it to be an anthem. I wrote it to be something that a woman can hold onto, especially because of the whole dumb slogan “Make America Great Again,” which is so dumb because America was never great if it was built on slavery. Please explain to me, for black people, where it was ever great. So that’s dumb to us. It wasn’t really great for women either, we couldn’t even vote. So, with that being said if you want to “Make America Great Again,” you need to start respecting your women but women have to stand up and rise up and not be afraid to speak their mind. And then, we can’t care about what people think and say about us. We have to work together because there’s strength in numbers. We can’t keep working against each other within the infrastructure of women when we have to stop competing with each other.

CD: What was your mindset when you were creating the tracks for the album?

SJ: I was upset. Frustrated. Working with “Sister Circle” you have to be like a low-key reporter and a journalist. So, when I come out there to do a top of a show, I’ve already gone through a myriad of different stories and topics. And it might have been the one when the police threw the woman down and had her breast come out or it could have been some sexual charges or our president could have said something stupid. You know, and then it might have just annoyed me. So, I went in the studio and all of this is happening all at the same time. I just wanted to say something to us to keep us strong. You know, it’s like anything — you can always use racism because at first, if you think of anything negative, racism it is, or slavery. It’s like with anything if you keep having to be in something all the time, you’re going to get frustrated and you’re going to feel oppressed all the time and it’s stressful.

This article originally appeared in the Chicago Defender.

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#NNPA BlackPress

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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