In the frigid elements of Toronto, Canada, around the filming of the movie Four Brothers, Taraji P. Henson and Andre 3000 were hanging out and decided to go to the movies. They were in foreign territory and directionally clueless. Andre 3000, perhaps at the height of his career at the time, decided he would be the one to gather some directions.

“Excuse me young sir, do you know how to get to the movies from here?” he asked natives, totally thrown off by his politeness and subtle comportment. Having received the directions he needed, he set off with Henson, long before anybody knew who he was. That, and other similar moments with the Class of 3000 creator, stuck with her like Velcro.

“He is the master of that act,” said Henson. “And he was totally cool with that. He just knows how to slip in and out the room… undetected.”

Henson, 38, is referring to the excess attention that will surely fly her way in 2009. If you talk to her now, she doesn’t really believe it. She doesn’t expect extra attention to change anything for her and her son. This is quite surprising for a woman who just finished filming a movie with Brad Pitt, but maybe that memo just hasn’t sunk in yet.

“I’ll probably start noticing it after that [The Curious Case of Benjamin Button] and the movie with Morris Chestnut [Not Easily Broken], said Henson. “People keep telling me to ‘get ready, get ready’ but I’m like, ‘what’s happening?’”

One could make the case that Henson has successfully streamlined her lifestyle with her career. And this is how she likes it. Never one to shy away from stating her goals, she intends on being ready for the eyes and cameras that will inundate her life.

“I’ve always said that my goal is to be an A-list actress,” she said. “So I have to adjust accordingly. Act as if it is mine.”

An actor’s success – and pay scale – is premised on the believability of their performance. Better yet, it is based on how well they “disappear into their role.” On the silver screen, this is paramount. But in life? Well, let’s just say it’s usually no fun to relegate yourself – or be relegated – to the background.

But don’t tell Ms. Henson that. After being around the consummate model for modesty in ‘Dre 3000, she would just rather let her talent do the talking for her. Besides, after just finishing a movie with Brad Pitt, she has seen up close the apex of how delirious celebrity can be.

“I love walking around unnoticed. I’ve seen the frenzy surrounding Brad Pitt and I don’t want that,” Henson said. “I just want to walk into a room and disappear.”

Shooting like a Comet
She has been a face known around the African-American audience for a while, starting with her performance as the emphatic, feisty and love-strong girlfriend Yvette in John Singleton’s Baby Boy. Followed by stints on television in The Division and All of Us, she garnered a role in the film Hair Show.

Then she kicked it into extra gear. Take away meaty roles in Hustle and Flow and her starring bit in the Oscar-award winning Best Song It’s Hard Out Here A Pimp, Four Brothers, Smokin’ Aces, Talk to Me, A Family That Preys and Boston Legal and Henson lives a relatively normal life. If she was a nameless actress to the mainstream audience before Christmas, that changed with the release of The Curious Case of Benjamin Button, a film that is nominated for five Golden Globes. Henson received two Screen Actors Guild Awards nominations for her role as well.

For cherry toppings, her name is also being thrown around in the Oscar conversations.

“It was an incredible experience,” Henson exclaimed. “Brad and Cate are two of the hottest actors on the planet. I was definitely nervous coming into filming, but you know what? So was Brad. He told me so and that what is amazing about him because to him, it’s about the craft not about the BS. When you are in a room with people like that, how can it not be incredible?”

Written by Eric Roth (Forrest Gump, Ali, and The Good Shepherd) and directed by David Fincher (Se7en, Fight Club and Panic Room), The Curious Case of Benjamin Button is a story about love, death and reminiscence. Henson plays Queenie, the mother of the eponymous Pitt character, Benjamin, who starts off mature in age but grows physically younger and stronger as the picture progresses.

“This movie puts life and death in perspective,” Queenie said. “Love is unconditional and this movie is a story in coping. My character was surrounded by death and she just deals with it. But she sees a chance in it to give life.”

This role touched especially close to Henson’s heart, for her father passed away before she went into production for this film. She was by his side constantly, even during his last breath. It was her father who made her embrace acting and take on Hollywood. It was her father who shook her out of her fear of rejection to pursue drama. It was her father who she thought about during the creation of this film.

“Do I still cry about it?” she asks rhetorically. “Not really anymore, but he is still greatly missed. I mean, this is my father. That’s a hole that will always be there. So for me this movie was definitely cathartic. His death is something that I will never fully get over.”

Amidst the Constellations
Henson has two movies coming on the horizon. Hurricane Season, a film also featuring Forest Whitaker and Isaiah Washington, is a true-to-life story about a Louisiana high school basketball coach who leads his team to the championships in the aftermath of Katrina (2009 release date not determined yet).

On January 9, however, Henson is set to star in another oeuvre, Not Easily Broken, a T.D. Jakes novel-turned-movie starring Morris Chestnut. This film is about the trials and tribulations about marriage and making it work. The creation of this movie was especially enjoyable for Henson because Bill Duke, who in Los Angeles taught her the basics of Acting 101, directed it.

Duke’s lesson: Acting is a spiritual process.

“He was the first person to let me know how spiritual acting is,” she intimated. “You have to allow yourself to disappear into your character. He’s a brilliant mind and really knows the craft of acting.”

But getting to that acting class with Duke in LA was a journey in itself. Rejected by the Duke Ellington School of Performing Arts High School, Henson shied away from acting and decided to go another route. Stung by the vestiges of rejection, she enrolled in North Carolina A&T.

“Eeny-meeny-miny-moe…electrical engineering! That seemed like it would pay well so I picked that,” she reflects.

But then she ran into Calculus. And Calculus won by knockout.

“I failed calculus!” she said, laughing. “I called my dad and told him that I failed and he basically told me ‘I’m glad you failed, so you can fall back on your faith. You need to be acting!’”

She soon transferred to Howard University to study Theater. It was there where she honed her art, fighting in a very competitive thespian environment, sharpening her edge with each audition.

“Howard prepared me for Hollywood, big time. There were no handouts and nothing was given lightly. You had to earn your roles in that drama department,” said Henson.

Upon graduating from Howard, she stayed in D.C. for a brief period. Then she made the move. With a one-year old baby boy in tow, at the behest of her father, she packed up and moved to Los Angeles. Since that move, her route has been replete with challenges and a steady rise that has rewarded her courage. Her dad instilled in her a backbone of hope and faith. She rolls around knowing that the galaxy is her limit, unbounded by gender or background or circumstance. A-list is her goal, and faith demands that A-list is what is she is going to get.

Daddy spoke that into her and now she lives it. One powerful role at a time.

“That’s how I know that faith works, because I’ve lived it,” Henson says emphatically. “No Plan B’s or C’s show great faith. I just knew that I had to be in Los Angeles. For me, there was no Plan B.”

Doo-rags, hoodies and baseball caps aren’t the usual attire of jazz aficionados, but Robert Glasper’s crowd is as notable for its youth as its urban fashion sense. He is dressed like one of them – over-sized T-shirt, baggy jeans and the obligatory glass of liquor in hand. “Don’t let this jazz thing fool you,” he jokes mid-gig as he threatens to break into a rap after seizing the mic from a guest MC. And it wouldn’t have been out of place if he had.

For Glasper, a Blue Note signed piano virtuoso, hip-hop is as intrinsic to his being as his first love, jazz. The fact that his show is taking place in a hip nightclub rather than a venerable jazz venue is testament to his street credentials. His warm-up act isn’t some young pretender polishing his bebop chops but a DJ whose vinyl cases are crammed with Soul and old-school hip-hop. At several points throughout his show I half expect Mos Def, Common or Talib Kweli to jump out from backstage and launch in to a freestyle. It could so easily be a cliché if Glasper wasn’t the real deal.

Born in Texas, raised on gospel and schooled by hip-hop, the classically trained pianist inherited his love of jazz from his mother. Describing his music as jazz/hip-hop/alternative, Glasper has collaborated with hip-hop royalty including Q-Tip, The Roots and the late, great J-Dilla, who he pays tribute to on his album, In My Element.

Clutch caught up with the talented musician after his sold out show. This is Robert Glasper in his element, in his own words:

On the youth and diversity of his audience
I have one foot in jazz and one foot in hip-hop. People know I play with Mos Def and Q-Tip. People know that I’ve been playing with Bilal for years. So doing those three things – and I’ve done stuff with Common, I play on and off with The Roots – I dwell in those kind of areas too. I’ve been in all the hip-hop magazines and stuff like that so that crowd of people know me as well. Also, on my last record, I did a tribute to J-Dilla and I can say I’m one of the only jazz cats who actually got to work with J-Dilla, like at his house. A lot of DJ’s copped that tribute and that thrust me in to another audience as well. Normally my trio set has a mixture of some more traditional type jazz and hip-hop stuff so it has a little bit for everybody. I attract older people too. Most of the older people I know are happy to see young, black, urban people at a jazz concert.

On the relationship between jazz and hip-hop
Jazz was also an outlaw, rebel-type music when it first was born. It didn’t get sophisticated until recently. People got it and made it this sophisticated thing. But really it was a tool for black people to cry out and be anti the situation of the time. So it was rebel music, kind of like hip-hop now except that jazz has lived longer so its had time to go through different stages and now it is known as sophisticated music. Hip-hop is only 30 years old, if that, so it hasn’t had time to get to what people call sophisticated. But I’m not trying to do anything. It’s just natural for me and my band to play that stuff. I like it so I play it. It’s of my generation. And that’s what jazz is missing a lot of the time because cats in their 30s, 40s and 50s were playing music of their generation. That was the hip stuff of now back then. People make the mistake of taking that stuff that was hip for them back then and playing it now and wondering why all the young people don’t think it’s hip. That’s because it was hip in the forties! So now you have to play what [matters] to society now to get people to come see you play and actually have a connection with it. I think that’s why I have the audience that I have and the diversity of the audience that I have.

On why jazz-influenced, hip-hop groups died out
The musical factor in music nowadays is in trouble because people don’t take time to make music anymore. Now everybody has an MP3, everybody is a producer. Now all you have to do is have a drum beat and some random chick with a big ass and you’ve got a hit. It’s not even about the music anymore. It’s about what’s hot right now and it’s whack. So nobody has that discipline and the audience has been dumbed down so much because people have fed them such ignorant dumb music that people think that’s what good music is. And that’s not it. Not all music but most of the music I hear on the radio makes me wanna die. Are you serious? You know what I mean? I think that’s what it is. The musician is a lost art. Everybody does everything on their own because they wanna make all the money. They don’t wanna hire musicians; it’s a whole lot of stuff. Especially nowadays, the music industry is a money industry. It’s not about music anymore. It’s about money and power. That’s all. It’s not even about musicality.

On being compared to jazz great, Herbie Hancock
Oh, it’s not a burden! I’m honored for anybody to say my name in the same breath as Herbie. I know what they mean when they say I’m like Herbie. He wasn’t afraid to branch off with a whole different band and go in to other music. He’s still like that today. He’s not one of those people who thinks that people are gonna call the jazz police if they do other than what’s the norm. He’s not the standard cat. He’s always growing. And I feel like I’m always growing and always trying to venture out and try something different and new so I think that’s the parallel. I tell people I wanna be like Stevie Wonder, Miles Davis, Herbie, John Coltrane. Like, anybody in any genre of music, if you go into their iPods, they’re probably gonna have a Stevie Wonder album. They’re probably gonna have a Coltrane album, they’re probably gonna have a Herbie album. You can even go in to Garth Brooks iPod and I bet you! I wanna do that. I don’t wanna be the jazz cat that only jazz people know about and listen to because I wanna reach the masses and make the jazz audience broader.

On his new album
On the new album I have two bands – one of my bands is called The Robert Glasper Experiment and that’s a more electric, hip-hop based type band and there’s my Trio at the same time. So half of the record is my trio and half is that. And I have Bilal on this record and some special guests that I can’t give away right now.

On chilling out
I’m a movie buff. Even when I’m in New York, I really don’t go anywhere. I’m always home and I watch movies. I love to sit down and watch TV or watch movies and have a snack and chill. My favorite TV show is King of Queens. I literally watch that all day, every day. Even when I’m on tour I have the whole box set.

On why he cut off his locs
A friend of mine started them by accident. She just started twisting one day and I just kept it going. And I had them for nine years and my neck was hot! After a while, when you have locs, you start sleeping wrong but you get used to sleeping wrong. I have neck problems and shoulder problems because you have all that bulk on your head and you’re so used to it you don’t realize it’s wrong and you develop a bad habit of sleeping wrong. You get all these knots in your shoulders… and it was time for my new record and I wanted to do something new, come out new, look new, you know, the whole thing.

J Dillalude - Robert Glasper

For more information about Robert Glasper please visit www.robertglasper.com and www.myspace.com/therealrobertglasper.

She’s been around for over ten years and has gone from the recording studio to Broadway. In addition to singing on wax and on stage, she’s also graced the film industry. Her hit song “Nobody’s Supposed to be Here” was released ten years ago and yet she’s still here with her recently dropped album, The Promise. In today’s industry that’s hard to come by. Deborah Cox, boasting nine number one hits on the Billboard Hot Dance Club Play chart, is a star that’s still shining even while staying away from the limelight. Clutch had a chance to catch up with Deborah and discuss motherhood, her new album, and her experience with Broadway and film.

Clutch: Your new album, The Promise is already in stores. What can we expect from that album?
Deborah Cox: This album is the same classic soulful sound. The material is songs that I have put together over the past three years. I hooked up with producers who happen to be close friends. John Legend wrote the title track. It takes you on a journey about the complexity of love. I think a lot of people can find themselves and their stories in the songs. The purpose of the album is at the end of it all; at the end of a relationship you have to look out for yourself.

Clutch: Your latest single “Beautiful U R” is very inspirational, especially for women. What inspired you to record a song like that?
Deborah Cox: I was at a low point creatively. I felt like we had enough relationship songs. There were a lot of ballads so I wanted to make sure that there weren’t too many ballads on the album. It wasn’t intended to be a message song. It was just intended to be expressive. It’s something like a musical mantra that I would sing to myself but, ultimately I think people got something really positive from it.

Clutch: Did you actually write it?
Deborah Cox: No, I collaborated with Big Jim, Avila Brothers, and Sam Saulter. It was all of us in the room together.

Clutch: In the video for “Beautiful U R” you reveal that you’re pregnant. This is your third child. How has motherhood impacted your career?
Deborah Cox: It’s impacted my career in a way in which I have a different perspective that allows me to have more balance. I really don’t dwell on the negative as much because it’s a distraction from the kids. They all keep it in perspective for me. If something doesn’t work out on the business end there’s always something really positive or joyful that my kids will do that will take my mind completely off of the business. Before it was all about what was happening with my career and keeping it moving.

Clutch: A lot of people may not know that you’re Canadian. Can you give us some insight on the Canadian music market versus the American music market?
Deborah Cox: For me the Canadian music scene was predominantly Rock and Pop music. In the 80’s my only sense of hearing any kind of urban music was through a station out of Buffalo (NY) or hearing what my parents played. In Canada, urban music just isn’t that big. It’s still growing. Now things are totally different. We didn’t have the Internet back then and I just totally depended on the radio or what my parents played at home.

Clutch: In addition to singing you’ve also done some acting. What made you want to start acting?
Deborah Cox: I’ve always been an actor. I’ve done a lot of stuff in Canada before I was signed. I did a lot of small productions and theater in school. That sparked my interest in acting. When I had the opportunity to do the films that I did I jumped at the opportunity because acting is just as fulfilling as singing even though it’s a muscle that I don’t use all the time. It’s a great outlet emotionally. It’s a lot of fun to be another character for a while.

Clutch: Can we expect to see you in film again anytime soon?
Deborah Cox: Probably not until next year because I’m going to tour in the spring. Once I’m able to put things in full gear again then I’ll look at some more scripts. I’m always actively seeking and constantly getting scripts to read. A lot of times I really want to get involved in something that I’ll be really passionate about. My main focus is just being able to get out and tour during the New Year.

Clutch: You had a chance to do Broadway and perform in Aida. How was that experience different from performing at concerts or recording in the studio?
Deborah Cox: Doing Aida was much more of a grueling schedule because there were shows every night. My contract was for six shows a week. Normally when you do a musical like that it’s usually eight shows a week. It’s a pretty grueling schedule. Your stamina has to be there. You have to learn how to pace yourself. You can’t give everything every single night and then not have anything for the next night. It’s a certain type of discipline needed to do Broadway. It’s really an eye opening experience. I would absolutely do it again. I had such a great time doing that show.

Clutch: You seem to stay out of the limelight. How do you manage to do so?
Deborah Cox: Well, I live in Florida so it’s not the entertainment Mecca. I moved away from LA to get away from that, same with New York. I’ve always been a very low key person anyway. I know how to separate the celebrity from the normal, especially now with kids. I really like my anonymity. I like to just be mommy and not have to worry about running into any crazy paparazzi. That’s never happened in my case, thank God. The most people do is ask for a picture or autograph and that’s not annoying, that’s fun.

Clutch: Your fourth album, Destination Moon was a tribute to Dinah Washington. What about Dinah made you want to do a tribute to her?
Deborah Cox: I loved the fact that this woman was so diverse. She kind of reminds me of me in a sense. She sang jazz, big band, blues, and gospel. I have the same sort of path. I’m always on the road singing different styles of music. That was what intrigued me about her. Growing up I listened to a lot of her music. My mother played a ton of her songs. I just remember hearing this sassiness and spiciness in her voice. While I was in Aida I thought it would be really cool to do a classic sounding record. After bouncing a lot of ideas around it came down to a Dinah Washington project.

Clutch: Your most famous single, “Nobody’s Supposed to Be Here” held the record for the longest running number one single on Billboard’s Hot R&B Hip Hop Songs. How did that feel?
Deborah Cox: Oh my gosh, it was such an accomplishment. I was told by so many radio programs that it wouldn’t get played. I’ve been told that it sounds great but, it sounded too much like gospel. There were so many people that weren’t believers at first but, we just kept steadfast and before we knew it was number one. It just sat on the charts. I think there was a message that really resonated with people and ultimately the fans were the ones that kept that one going. That probably was the proudest moment so far.

Clutch: Out of all of your albums which one is the most intimate?
Deborah Cox: This album, because a lot of the songs I wrote. A lot of the topics really reflect things that I wanted to talk about. Like, when John Legend presented The Promise it was right where I was at. It’s a song that was most reflective or where I’m at and where I want to be.

Clutch: What type of album haven’t you made that you’d like to make?
Deborah Cox: I would love to do a Christmas album. Every time the holidays come I’m like “ahhhh.”

Clutch: Besides singing and acting is there anything else that you’d like to explore?
Deborah Cox: There are some things musically and acting wise that I’d like to explore. I’d love to do a romantic comedy and a really good drama. I’d love to do a show that sits either in Vegas or on Broadway.

Clutch: If you’re out on the town or at a red carpet client event what can be found in your clutch?
Deborah Cox: My cell phone, lipstick, and probably a little powder. Probably some gum too.

Clutch: You have to keep the breath fresh, right?
Deborah Cox: Yes (laughs).

Did You Ever Love Me - Deborah Cox

Deborah Cox - Nobodys Supposed To Be Here -

For more information about Deborah Cox please www.myspace.com/deborahcoxand www.deborahcox.com.

You may not yet know who Suai (pronounced “Sway”) is, but as her name suggests when you hear her beautiful music it will move you. With tracks like “Stronger (When a Woman Loves a Man)” featuring Akon, “Special” and “Oh Snap…I Fell in Love”, it’s clear that this Detroit native, who is signed to the city’s own Universal Motown Records, is highly adroit. Skilled in playing piano, guitar, cello and flute, this up and comer who has collaborated with Ne-Yo, steps from behind the instruments a bit to make the stage her ultimate playground. Aside from opening up for acts such as T-Pain and Brian McKnight, the 22-year-old has been making history as well. She performed at the unveiling of the restored Rosa Parks bus at the Henry Ford Museum, and was also featured on Yes We Can: Voices of a Grassroots Movement CD for Barack Obama. Clutch sat down to get to know a bit more about Suai.

Clutch: When did you first fall in love with music?
Suai: I fell in love with music in high school. I’ve been singing since I was seven, but it wasn’t something that I thought I could do. I always loved music, but I did not fall in love with it until I was 16 or 17 years old.

Clutch: Did you have any formal musical training?
Suai: Yes. My mom’s a music teacher, so she was my first teacher. She taught me how to play the piano when I was seven. I also had another teacher give me guitar, cello and flute lessons. I practiced ballet like a lot of little girls do, acted in school plays and was a member of the band. I’ve been into the arts all my life pretty much.

Clutch: What was your first love, instruments or singing?
Suai: I think it was a mix of both. I’ve just become comfortable with stepping away from my keys. I have been doing shows as an artist professionally since 2004, and all I knew how to do was sit there and play my songs at the piano. I had a stage coach tell me that I needed to work the stage and that it’s OK to get up. But I’m definitely at a point where I don’t want to do a show just sitting at the keyboard playing the piano for 45 minutes. I also don’t want to do a show where I’m just standing in the middle of the stage dancing and singing. I need to have a balance of both.

Clutch: By playing the piano, have you been compared to Alicia Keys?
Suai: Yes! It’s not a bad comparison though. She’s super successful and has paved the way for someone like myself. Whenever someone says “Oh my God, you’re like the next Alicia Keys!” I say no, I’m Suai. I respect her but I’m definitely not the next her but the first me.

Clutch: I love your name! Is that your stage name or were you born with it?
Suai: Thank you! I was born with it. Before my mother had me, she was writing, producing and had a demo. She wanted to do what I’m doing now. So when she had me it was like her passing the torch to her child. I’m sure she wanted to give me a name that was going to work as a stage name. I think she probably knew I was going to get into the arts some kind of way.

“Whenever someone says ‘Oh my God, you’re like the next Alicia Keys!’ I say no I’m Suai. I respect Alicia Keys, but I’m definitely not the next her but the first me.”

Clutch: What’s your favorite song off of your album?
Suai: I have two actually: “Hey” and “The Perfect Girl.” “The Perfect Girl” is a song that made the album at the last minute. I wrote it back in the summer and I was hesitant about submitting it to my label for inclusion on the album. It’s one of those songs that was like a journal entry you’d put away so no one else could read it. But I knew that it was the most honest song that I’ve ever written. So I figured why not go ahead and take a chance and let people see me for who I am. I’m not calling myself the perfect girl at all. It’s more like saying that music artists are presented as if we’re perfect. Fans look at us and think I wish I could be like them, they have it all. But it gets kind of lonely to go through everything by yourself. So the whole point of the song is if I had someone to share it all with that would make me the perfect girl. The other song I love is “Hey”. Ne-Yo wrote it for me and I just love performing that song! It’s so hot. It reminds me of being at an old school house party in someone’s basement and this record comes on and everyone starts dancing. It’s about a girl flipping the script on a guy and approaching him instead of him approaching her.

Clutch: What was it like working with Ne-Yo?
Suai: He’s one of the real cool people in the industry. Over the last three years since I’ve been signed, I’ve met a lot of people and some people just aren’t cool and you’re like I don’t want to meet them again! His company is called Compound Entertainment, and at the time I went to Atlanta to work with him, it was based in the basement of his condo. So, I’m at Ne-Yo’s house and he’s just got on a T-shirt, sweatpants, a blinged out chain and gym shoes. He was totally cool and was like ‘OK, whatcha wanna sing about?’ I told him and he wrote the record. We also did a couple more records together and “Hey” was the one song that made the album. Ever since we wrote that song together, I’ve opened shows for him in different cities. He’s always cool. Once when I opened up a show in Detroit for him, he came by my dressing room, gave me a hug and took pictures with all my background singers and band members. Ne-Yo’s a real cool dude.

Clutch: Who or what inspires you?
Suai: Not a person necessarily but music in general and pop culture. That could be a good and a bad thing, but for me it works. I check the blogs everyday they way people open up their New York Times on the subway. I want to see what’s going on, what people are doing and talking about. I get inspiration when I see Beyonce and Jay-Z sitting court side of a game or something. I think that’s cute. Pop culture just inspires me to write and be more creative than I was the last time. I just bought Brandy’s CD and it’s been on repeat everyday since. Just hearing her voice and fresh music in general really inspires me.

Clutch: Tell us about the fist song you’ve ever written.
Suai: I called it “He’s Got to Be.” I wrote it when I was 14 so you can imagine what that was like. It was about how guys don’t get or understand me and what I needed a guy to be for me. It was a cheesy record. But I sat and composed the verse, the hook and wrote the piano part. I was fooling around but my mom and friends really loved it, and that’s when I started to think that I should go into music.

Clutch: So, you’re like an all woman band by yourself! Did you play most of the instruments for your album?
Suai: No, we didn’t go in that direction, but it’s definitely something I want to get into for the live shows. I think that’s going to be something that really pulls people in. I think touring is going to be my thing. Not the huge stadium tours but those small dates where you’re really connecting with people, and your audience is five feet away instead of you being on this huge stage. I want to be right at eye-level with them. I think that’s something that’s going to work in my favor because I’ve been doing little venues like that for the last four or five years, and I like it. Those are the shows where I plan on doing some unconventional things with some of the instruments I’ve studied. I’m excited about that.

Clutch: Who are some of your favorite artists?
Suai: Brandy and Solange. I love Solange’s album! That was one of my favorites for ‘08 and I hope it got some Grammy nominations. I’m pretty sure she knew that “I Decided” was not what the typical urban ear wanted to hear but she did it anyway. It’s bold to do what you want to do and I respect that. I also really like Rihanna, Billie Holiday and Lauryn Hill.

Clutch: How does it feel to be with Motown?
Suai: We went to several different labels and they all said no. We came to Motown on a whim one day. We were in New York and weren’t even scheduled to meet. Sylvia Rhone was the president and she happened to be in her office that day and everything just kind of fell into place. After it all happened and everything was signed I was amazed. Here it is: I’m from Detroit and I’m signed to Motown. It’s not here anymore but it all started here with Motown. I feel a little pressure. I definitely feel like I’m carrying not only my city on my back but the label. When someone new reads about me they may think this new chic that’s signed to Motown better bring it! I used to think ‘what if I don’t do this or what if I don’t do that’, but I’m more relaxed about that now. Detroit is one of the music mega centers of this country. We were the originators so it’s definitely a good feeling to be with Motown.

Clutch: Tell us about your work with Akon.
Suai: I’ve done about eight to ten records with Akon and he’s probably the one I’ve worked with the most on this project. Sometimes we worked together in Atlanta and sometimes in Los Angeles. Each time we kicked it! He’s this super busy guy with multiple projects going on. Initially I thought “he’s this big producer, how is he going to treat me, this new artist?” Is he going to blow me off? What’s going to happen in this session? But we get in there and there’s a room full of guys, he puts them all out and we sit in the studio with a notepad between us, trading lines back and forth, writing to the song and that was the beginning of our creative relationship. Since then he’s always given me that attention and time whenever we worked together. When American Idol was on he had to do a taping for that, then he would fly back to Atlanta to work with me, or if he was in Africa, he would come back to the states and we would do another song together. He was always ready to work. Akon’s a real cool person to work with.

Clutch: Is there a title for your album yet?
Suai: We don’t have one yet, but at the top of the year we’re going to pick the single. I would like to title it The Perfect Girl being that the album is about love and relationships. It may even be self-titled.

Clutch: Do you have any advice for those wanting to break-in to this business?
Suai: Yes! Make sure this is something that you really want to do. Stick with it and don’t give up. It’s hard to set yourself apart, and it’s not easy to get on. I also would not suggest this business for the faint of heart. I learned the hard way that you really have to have thick skin and you really have to believe that you are what you say you are. You have to convince people to go out and spend their money on you. If you don’t believe in yourself and you’re not giving honest music, it’s going to come off that way. It’s not easy or glamorous the way it looks on the blogs. There’s a whole lot of behind the scenes stuff that will give you a headache. I’ve had multiple headaches this week. But I push through it, write another song, take it for what it is and make the best out of it.

Clutch: What’s in your clutch?
Suai: I don’t even carry a clutch, I have too much crap! I do have a super clutch though. My Blackberry is in there, a whole bunch of M.A.C. products, I keep my Bible with me all the time, my hair products and chewing gum. I gotta stay fresh! When it’s time to find something, there’s definitely a situation.

Special - Mixed - Suai

To learn more about Suai and hear her music visit www.suaionline.com and www.myspace.com/suai.

You wouldn’t think that South Africa, Canada and England have much in common musically but in Zaki Ibrahim’s songs, the Vancouver-born, Cape Town-raised singer manages to fuse the best elements of these diverse cultures together. Part poetry, part spoken word, all drenched in layers of assorted sound, Ibrahim’s name has been mentioned alongside Jill Scott and Erykah Badu following the release of her EP, Eclectica (Episodes in Purple). Having received rave reviews in all the right places, Ibrahim is one to watch. In 2009, the singer-songwriter unleashes her creativity full scale with the release of a full length album, which promises to be as eclectic as her EP. You heard it here first!

On the eve of a trip to her beloved native, Zaki spoke to Clutch about her music, her influences, her life so far and her plans for the future.

Clutch: Your music has so many different sounds, flavours and rhythms. How would you describe it to someone who’s never heard it before?
Zaki: My favorite question! It’s music, first and foremost! It has influences from so many different things. But I feel like it’s really hard to describe what it is that I do. It’s a mixture of a lot of different things, a lot of influences, a lot of different sounds. It’s like my imagination coming through. So it has hip-hop inside, it has a lot of old R&B/Soul, it has a lot of World/Jazz and Afrobeat and all sorts of stuff. So it’s always a long winded answer with that one.

Clutch: You’re father is South African and your mother is Scottish/English and you grew up in Vancouver. What kind of music was playing in the background when you were growing up?
Zaki: It ranged from a lot of different things. We had records up to the ceiling. We had a lot of jazz like Miles Davis and Coltrane. We also had a lot of Makosa, Hugh Masakela, Miriam Makeba. A lot, a lot, a lot! Lionel Richie, Stevie Wonder, Sade… so much!

Clutch: What was it like for you growing up as you have diverse roots in Africa, Europe and North America?
Zaki: I actually grew up between Cape Town, South Africa and Canada’s West Coast and in between that there was a little bit of England and a little bit of France and a few spots in between in the States. So there was a lot of going back and forth and there were a lot of differences from the one lifestyle to the other. There was constant culture shock going on but in a good way. I’d be able to pay attention to differences and my family definitely encouraged that and I think seeing the differences so often I was able to take note and observe a lot of the differences.

Clutch: What was it like in South Africa? You were there during apartheid…
Zaki: It was the tail end of apartheid. I’m the youngest of five. My sister had to come to Canada because at her school every other day there were riots and her school kept getting shut down. There were lots of demonstrations at the time and all sorts of family members were either injured or they were coming back from a riot, so there was a lot of turmoil. But it didn’t seem so much like struggle when you’re living there and you’re a kid but it was definitely something that my sisters and brothers, and aunts and uncles talk about now as being definite struggle. And there still is this kind of struggle in the country and there’s still a lot of violence. But I do remember some wonderful, wonderful times with cousins and aunts and lots of love and lots of music too.

Clutch: Do you get to go back to South Africa often these days?
Zaki: I don’t go back as often as I want and it’s funny because I feel like it’s getting closer and closer. My dream is to build a bridge between the two homes – Canada and South Africa - because I feel like I’ve got one foot over there and one foot over here. So I don’t go often enough but I do feel like it’s going to become more frequent and I feel like music is gonna play a role in that.

Clutch: How would you say those experiences have influenced your music and what you write about? Lyrically as well as musically.
Zaki: I definitely think that it must have impact. My dad was the thinker and my mum being the open mind and the poet, I was encouraged to be open and look at things from all sorts of angles and express what I feel and what I’m observing through poetry. Poetry is something you can take for your own and break down in a way that you feel it and hopefully the music still contains the original feeling of the observation or whatever.

Clutch: So tell me a bit about your EP, Eclectica (Episodes in Purple). What’s the concept?
Zaki: It’s a collection of songs that represent a lot of different things. It was an experiment for me to learn different methods of recording. For instance, on the first song I wanted to create a water feeling so we literally wrapped plastic wrap around the microphone and put it in a bucket of water and just tried to get certain sounds and certain filters. So it was very much a learning thing. The name Eclectica started off by poking fun at the word ‘eclectic’ for a long time and the same with the word “exotic.” Like, if you can’t figure out what it is then it’s eclectic or if you can’t figure out what that person is they’re exotic. So it was kind of like this funny thing that people use this word too much. It kind of came out of a joke. I started making up this word “eclectica” and it just stuck. Maybe that’s the genre, maybe that’s what it’s called. So it has a lot of different things in it.

Clutch: What can we expect from a full album and when can we expect that?
Zaki: The opposite! Its been in the works for a while and there was a point a little while back when I was starting to feel a little anti and a little like, “OK, I can probably just get this thing done and put it out” and that kind of thing. But the lyrics are there, I feel like the structure of the album is there and I’m feeling good about that but it’s the sound of it. In the last few months I’ve been discovering new sounds, new players, new people to get on. And there’s a certain, almost like an industrial sound meets very, very organic. So I wanna really just put everything aside for a second and just really capture that sound and spend some good time mixing.

Clutch: What do you want people to take away from your music?
Zaki: The ability to feel, to capture the feeling of where it’s coming from and to be inspired to express themselves and open up because that’s kind of what I’m doing. Every time I get on the stage it’s a little bit raw. I’m nervous and I’m scared to do this thing. But I often feel like it kind of inspires other people to open up in some kind of funny way.

Eclectica (Episodes In Purple) - Zaki Ibrahim

Daylight - Zaki Ibrahim

For more information about Zaki Ibrahim please www.zakiibrahim.com and www.myspace.com/zakiibrahim.

Afro Latin sisters now have a home on the Net thanks to enterprising Panamanian, Mahogany Kinell. Mahogany set up website Revista Caoba to cater for Spanish-speaking women of African descent like herself who, while embracing their blackness on a universal scale needed something specific to their own unique needs.

“I always searched for a medium in which I could identify,”

Mahogany says. “Conventional magazines have very little or nothing for us when it comes to hair care or beauty. I found magazines catered for black women in English, French and even Portuguese but none in Spanish. So I decided to do it myself since I was sure that many women out there felt left out, just like me, especially in our countries where we are considered a minority.”

Caoba was launched in 2006 and today receives thousands of visitors a month from all over the world including Spain, Colombia, Mexico and Argentina. On the site there are articles about fashion, beauty and hair care but there’s also a section dedicated to embracing African heritage in every corner of Latin America through art, dance, music and history. It’s about empowerment as much as anything else. “The web is a fantastic way to reach people globally. Many readers send messages thanking us for the initiative, for remembering them, for existing. It’s been a beautiful journey so far, and we are just starting.”

Clutch: Why did you decide to set up Revista Caoba?
Mahogany: Revista Caoba was created based on my own need. I was always searching for a magazine where I could find beauty and hair care tips for me. I managed to find several in English, French and even Portuguese but none in Spanish. I could imagine that there were many black Hispanic women out there who also wanted to feel included and empowered, women who wanted to learn about hair and skin care, how to wear make up, but also how to develop their careers and to look forward to a bright future. I also wanted Caoba to be a connecting point for the Afro Latin community where we could interact and learn from each other. After 3 years I’m convinced this goal has been achieved.

Clutch: What does Revista Caoba mean and why did you decide to call it that?
Mahogany: Revista Caoba is Spanish, “Revista” meaning Magazine and “Caoba” meaning Mahogany. I chose the name because of its meaning. Mahogany is a very fine wood and our slogan is “Color con clase,” which means “Classy color.” I wanted Caoba to represent our community in the most positive way, to end the stereotypes that have been assigned to us by society. Our team work hard to provide interesting articles in a professional format, while always keeping the essence and values of our community.

Clutch: Who is your main readership? Where do they come from?
Mahogany: Caoba readers are mainly women between 18 and 35 years old, but teenagers as well as women over 50 are also part of our family. We have readers from all over the world. The majority come from Spain, or are Spanish immigrants from Colombia, Mexico, Panama and the US. But we’ve received messages from people from so many places: Ecuador, Curacao, Saudi Arabia, Equatorial Guinea, China, Argentina, Bolivia, Zaire… We truly feel that Caoba caters for the Afro Latin community on a global scale. Since Caoba is not only about beauty and fashion, but also about culture and empowerment, many men are also part of our circle of readers. That is why we have created a Men Zone where we also give them tips about grooming, fashion and how to be a gentleman!

Clutch: What are the main features of the site?
Mahogany: Caoba consists of four main sections. Chic y Guapa features articles about beauty and skin care, hair care, make up and fashion. In Culture Club you’ll find articles about cultural expressions of our community in the form of art, literature, dance, music, film as well as history. Estilo de Vida (Lifestyle) is all about health and fitness, but it also includes a very popular section called “Mente Positiva” (think positive), which has many inspirational articles. Mundo Actual covers topics such as news reports, tips on how to boost your career and be on top of your finances, as well as information about the different Afro descendant communities in Latin America.

Clutch: What kind of feedback have you had from readers?
Mahogany: The feedback has been favorable from the beginning, especially since we added the option to add comments on each article. We’ve received hundreds of “thank you” messages from men and women around the world. They are happy that we exist, that we care about them and they love the format. They feel truly identified and also part of the family. Everyday we receive motivating words from our readers and it feels great. It’s good to know that your hard work is appreciated. They send us ideas and suggestions and always encourage us to keep on going since we make them proud.

Clutch: What direction would you like to take the site in in the coming year?
Mahogany: We would like to launch a printed version, a real magazine that our readers can look forward to receiving and exploring. Many readers have asked us for it so we want to give it a try. We hope to receive enough support from advertisers and investors who believe in our cause and who will visualize the potential of this project. Also, we would love to feature Caoba in other languages.

Clutch: Tell us about the Afro Latin community. What would you like people to know?
Mahogany: The Afro Latin Community is huge and quite unknown by many people. Afro descendants of the Latin American countries have always been considered a minority and, therefore, have been subject to poverty, poor education and many limitations. Additionally, we live with the stigma of slavery as, unfortunately, our history books only talk about the negative events. This makes many people live in denial of their roots, of their identity. However, the spirit of battle of our ancestors remains and little by little we’ve gained the respect and inclusion in society that we deserve. Today we are an important part of the diversity of our countries, as the majority of the Latin American nations have strong African roots in their culture. Many people would never imagine that in countries like Argentina, Mexico or Uruguay there is an Afro Latin population. The truth is that there isn’t a country in America that doesn’t have a black presence and a story behind it. Through Caoba we want to bring Afro Latinos together, to help them learn about each other, but most of all, to make them feel proud about who they are and to regard the future with vision and hope.

Clutch: Tell me about yourself.
Mahogany: I am Panamanian with Jamaican roots. I lived my whole life in sunny Panama until I obtained a scholarship to study for a Masters in Marketing in Madrid, Spain. There I met my husband who is Swiss, that’s why I say that love brought me to Switzerland! He encourages me to pursue my dreams and supports all my projects, especially Revista Caoba. I’ve been living here for 4 years now and have worked as an Internet Sales and Marketing Manager for a Global Swedish company in the International Education industry. I am currently working on improving my German, leveraging Revista Caoba and looking into becoming a freelancer in Offline and Online Marketing. Living in Europe has been amazing so far. I’ve learned about so many cultures, traveled around the world and met incredible people. In my free time I like to write songs and sing. You can listen to my songs here: www.facebook.com/pages/Mahogany/35407907227

I also miss Panama truly. My family, my friends, the noise, the lively atmosphere…the Latino spirit! There’s no place like home.

For more information about Mahogany and Revista Caoba please visit es.caoba.org/index.html.

A few years ago my girlfriends and I were watching that episode of Sex and the City where Carrie tries on the wedding dress and breaks out into hives. While my friends were all commenting on how she was overreacting, Carrie was claiming that she was missing “the bride gene,” and while I must admit that the series was a little corny, exaggerated and unrealistic, it was one of those moments where I felt like I could relate to Carrie in a sense and wondered if I too were missing this “bride gene.”

I never thought about my dream wedding or what type of furniture we would get for our brand new home. I never imagined what the perfect proposal would look like or showing off my ring to friends and family. The most I probably daydreamed about was which exotic Polynesian island my over-water bungalow would reside on during my honeymoon, but even then I imagined myself sunbathing alone. What does this say about me? Am I noncommittal? Yes my parents got divorced when I was seven and yes I’ve seen people get hurt in relationships, but to be honest I haven’t been hurt to the extent that I would call all men dogs or say that a happy marriage is a figment of our imaginations, I’ve actually known many awesome men who are beautiful and would make great husbands.

I believe in marriage and I think it can be a wonderful thing if you’re willing to work hard at making each day better than the last. Speaking to some women I can’t help but think that a lot of them are more in love with the idea of a big wedding and not the idea of holy matrimony, and for me the idea of a wedding was always temporary because before you know it all the guests are gone and it’s just the two of you left to build your lives’ together.

Ok, I probably sound pessimistic, but I’ve always considered myself more of a realist than an idealist, I still have to ask myself again, how does a 26 year-old woman not want to get married anytime soon? One reason is I don’t feel like what I’ve been taught by society is valid; go to school, meet the man, make the man fall in love with you, marry the man, have the wonderful career, buy the house, have the babies, raise the babies and dedicate your life to the family, or whatever order it is! I love family and truly do value a healthy structure especially a healthy, black family structure, but what if things don’t happen by this societal deadline we’ve been assigned, are we then left to feel like inadequate spinsters that nobody wants? And I’m talking about women who haven’t even reached 35 yet.

There is nothing wrong with wanting to tie the knot, I have friends who would die to be called someone’s wife, but what I can’t stand is when they begin to compare themselves and their state of singledom to other friends who have already made commitments. One thing in life that we should never do is wish for what other people have; you never know what it’s like on the inside or how they are maintaining it and they might be secretly wishing for what you have. People, the grass is always greener. But on the opposite end of the spectrum, I also have friends who still want to travel or be a little more adjusted in their careers and their own personal journeys before they jump the broom.

There are certain transitions in life that we may never be 100% ready for and marriage and children are a few of those things in my world, but I want people to start to examine themselves and their own personal convictions about marriage before saying “I do.” Ask questions, talk to people who’ve been together for 20 and 30 years, not your friends or family members who are placing unnecessary pressure on you and really don’t know much about the topic themselves. Whether we all end up married within the next five years, have a boyfriend for the next 15 or stay single for the rest of our lives we should all make a pact to never stop growing, never stop learning and always stay our interesting, intellectual, eternally evolving selves. Even Carrie found her bride gene in the end.

If some of your favorite music artists are Beyonce, Rihanna, Jennifer Lopez, Janet Jackson, T.I., Mariah Carey, or Avant, then you’re likely bobbing your head to the dope lyrics of one of the music world’s top hit making and highly sought after songwriting divas, Makeba Riddick. Working with top producers like Rodney Jerkins, Swizz Beats and many music acts alike, Makeba has penned some high energy favorites like “Déjà vu”, “Get Me Bodied” and “Upgrade You” from Beyonce’s sophomore album B’Day. Makeba has also recently made headlines with the co-written smash hit single “Live Your Life” by T.I. featuring Rihanna, which snatched the #1 spot on Billboard’s Hot 100 Singles Chart, staying there for several weeks. Not only is Makeba a hit maker here in the U.S., her hotness can be felt abroad in the U.K. and beyond, creating tunes for up and coming international acts. From Baltimore, Maryland where her talent and passion for music was cultivated and nurtured by her grandmother, to the New York City offices of Bad Boy signing big time publishing deals with Sean Combs, Makeba Riddick, self-described as “Girl Wonder” is definitely a force to be reckoned with.

We spoke to Makeba to see just how this lyrical genius has gone from a little humming bird to the full-grown songbird she is today.

Clutch: So Makeba, when did you first fall in love with music?
Makeba: From as far back as I can remember I have always been into music. My family said that before I could even talk, I was singing. When everyone would come over for the holidays, they would put me on the table and I sung little songs. That’s when they recognized that I not only had a talent for music but a passion for it too. I started playing the piano at the age of five, sung in the church choir, attended a performing arts school and performed in arts workshops, showcases and more.

Clutch: I know you must get this question all the time, but I’m sure our Clutchettes want to know what it’s like working with Beyonce.
Makeba: I must honestly say that working with her is like being in the studio with one of my home girls I grew up with or working with a distant cousin. From the moment we first shook hands I knew that it was going to work out well. We always have a ball in the studio.

Clutch: You’re self-described as “Girl Wonder” Why do you call yourself that?
Makeba: That’s something that I called myself back when I finished school and moved to New York City. I was on the grind interning for Columbia Records, temping at Def Jam and going to the studio at night. I just tagged myself as “Girl Wonder” like “Superwoman” because people like my family and friends would say that it’s not humanly possible the way I don’t sleep, always working and still find the time to be creative, write songs and pursue my dreams in the world of music and entertainment. So I gave myself the name “Girl Wonder” around the time I was working with 3LW and B2K.

“I always knew I was going to do something great, and be dope at whatever I set out to do because that’s just how I am. I go hard for everything.”

Clutch: On Beyonce’s latest CD, I Am… Sasha Fierce, there’s a song you co-wrote called “Ave Maria”. I think this song is so beautiful and different from anything I’ve ever heard Beyonce perform. What was the inspiration behind the creation of this song?
Makeba: I used to go to Catholic school and I always heard the song but never knew what it meant. When B (Beyonce), some friends of ours from London and I were hanging out in the studio, one of the girls stated she had come down the aisle on her wedding day to that particular song. The song is over 800 years old and about a girl who knows what it means to lose love and have her heart broken, but thank God, love has now found me, Ave Maria. I was so touched and inspired by this meaning. There are so many people out there waiting for their Ave Maria moment and I thought it could be a powerful song.

Clutch: Are you working with any international acts?
Makeba: I am! I was just in London about a month ago working with a new artist signed to the new Rock Nation label, and he’s a phenomenal alternative artist! People are going to be so surprised because he’s coming out of the Rock Nation camp when you would think that he would be hip-hop or urban. This artist has so much staying power and he’s so different.

Clutch: So you’re not only a songwriter but a musician too. When are you going to start keeping some of these hits for yourself?
Makeba: Lot’s of people ask me that. It’s going to happen when it’s supposed to happen. I don’t believe in forcing anything. I’ve gotten numerous offers, but it just has to be the right time for me. God has to tell me that he’s giving me the torch, now go. I have not yet had that moment. I don’t wake up in the morning dying to be on a road tour. I’ve lived the life of an artist with all the traveling, all the perks, and all the hit records on the radio. I actually think my life is better than most artists so I’m not in any hurry to change that.

Clutch: Will you be adding producer to your skill set?
Makeba: Definitely! I’ve actually hand picked a few producers that I’m going to be working with in 2009 on a bunch of new stuff that I have coming out. Producing has always been easy for me because I’ve played the piano my whole life.

Clutch: What’s your favorite song?
Makeba: I would have to say “Adore” by Prince. Also a song by Jeffrey Osborne called “Love Song” that K-Ci and JoJo remade, and anything Jodeci has ever done. They’re my all time favorite artists ever.

Clutch: Who would you like to work with in the future?
Makeba: John Mayer. I think he’s phenomenal! It was my dream to work with T.I. and now I have a hit record with him, “Live Your Life”. I also love Keyshia Cole. I think she’s very talented. I may not be able to write for her because she’s such a dope writer herself. But hopefully maybe one day we could collaborate. I love her as an artist and I love her voice.

Clutch: What qualities would you say are needed for this business?
Makeba: A lot of perseverance. You have to be built for this. It rarely happens overnight. It’s a journey. It takes a long time and you’ll face a lot of rejection and disappointment. But if you keep persevering and running in the race, eventually you’re going to get closer and closer to the finish line. Integrity is another quality you need. You also have to make sure you build good relationships, because it’s not so much about who you know but who knows and likes you. Building relationships in high places like the presidents of the labels, the artists’ managers and the producers that are proactive and go hard for you just like you would for yourself.

Clutch: Did you envision this kind success for yourself?
Makeba: I always knew I was going to do something great, and be dope at whatever I set out to do because that’s just how I am. I go hard for everything.

The other day, I walked into my closet hoping to find something to wear for the night. But although clothes, shoes, bags, belts and jewelry surrounded me from every angle, I couldn’t find anything to put on. Barely any of the garments fit the mood I was in, or just fit my body for that matter. None were appropriate for the weather outside or suitable for the evening’s events. And there were few items which I had shoes to match, or that didn’t still need to be hemmed, re-buttoned, or dry-cleaned. There was nothing. Thirty minutes into my search, I was still rockin’ my white plush robe and Target slippers.

So I plopped down in the midst of it all, and got to thinking: How the hell did I acquire all this stuff ? What is it, and where did it come from in the first place? God forbid I calculate how much it all must have cost. A couple dollars here, couple hundred there. Surely some more bills could’ve been paid with those funds. Most importantly, what purpose are all these things serving in my closet, if not to keep me dressed on a day-to-day basis? In my years as a so-called fashionista, something had gone terribly wrong: I had begun to hoard fashion “junk.”

“After taking several trips down memory lane, it occurred to me that perhaps, it wasn’t the actual clothing or accessories that I was hoarding. Rather, it was the memories attached to each piece that I was subconsciously trying to hold onto.”

Now it’s not to say that the things in my closet were cheap or ugly, as the word “junk” would probably indicate. No, no, no, quite the contrary. But instead, there had reached a point at which I was holding on to things that no longer served their original purpose. For example, in thumbing through the racks I had come across that lovely pair of dark-washed skinny jeans that I was apparently no longer skinny enough to fit into. I tried the age-old trick where you lay across the foot of the bed, and slowly try to wiggle your way in, inch by inch. I even held my breath! It didn’t work. But for some reason, I just couldn’t toss them out. Maybe after I shed a couple pounds, right? Pssshhh, we’ve all had those plans…

And then there was that old Coogi sweater that I found at the thrift store last summer. Ooooooh, how it brought back memories of DC in the early 90s! Back then you just knew you were fly with your Coogi sweater and Versace jeans. I still have the pictures to prove it. Now, did I mention that it was only $14.99? You can’t beat such a price for a $200 garment. And although I hadn’t worn it yet, I just knew they would be back “in” soon enough. Nope, couldn’t throw that one away.

Rumbling through the top shelf where I store all the purses, I also came across my favorite; a small, green suede Gucci “Pochette” with the monogram print down the middle and a gold chain-link handle. I worked hard summer of ’04 for that bag! Sacrificed a little bit of money each paycheck until I had just enough (plus tax, of course). I remember like it was yesterday, walking into the handbag department of Saks. They stared me down, as I’d become accustomed to during my frequent window shopping trips, and facetiously asked if they could assist me in finding anything. But on that particular occasion, I didn’t need any assistance. I walked over to the wall and pulled down my bag, whipped out my Wachovia envelope full of $20 bills and strutted my stuff to the counter. That saleswoman couldn’t tell me anything! But now, the bag just wasn’t the same. As cute as it is, the size barely allows me to carry a cell phone and car keys, let alone my wallet, make-up bag, and day planner. But it was such an investment piece; my first major handbag purchase. Needless to say, I couldn’t let that one go either. Back up on the shelf it went.

After taking several trips down memory lane, it occurred to me that perhaps, it wasn’t the actual clothing or accessories that I was hoarding. Rather, it was the memories attached to each piece that I was subconsciously trying to hold onto. Yeah, the jeans were kinda cute. But just maybe, it was the image of that previous, more slender figure that I couldn’t work up the strength to throw away. And of course, the Gucci handbag was adorable and the brand is classic. But just maybe, it was the feeling of victory that I received after paying that snooty saleswoman that I was storing on that top shelf. Not the bag, itself.

Today, as we move into a fabulous new year that promises to be even more enjoyable, memorable, and prosperous than the last, I have a challenge for you all: LET’S CLEAN OUT OUR CLOSETS! Give yourselves a day, that’s right – a full day, where you go into your closet and, piece-by-piece, began to rid your space and your life of unnecessary clutter. Let go of those garments that no longer fit, or that you will never have anything to wear with. Let go of those items that seemed like great bargains at the time, but have since been collecting dust on the shelf. Let go of the outfits from graduation, that first date with your old boo, the day you got the promotion; let it go! Understand that it wasn’t the clothing that brought to you such pleasant times but it was your own self-confidence, personality, hard work or focus that allowed you to such great memories.

If it’s a new body you want, lets head the gym. A better job? Let’s start building up that resume. But until we clean up shop and get rid of all the old material things and dated memories that we’ve been holding onto, there won’t be any room for all the great new things to come. I don’t know about you all, but I – Chelsea Smith – am ready for a clean closet and a new wardrobe! 2009 never sounded better.

2009 is the year to stop making useless empty resolutions and to start making ones that you keep. I am sure most of us have started a year with the best intentions to stay healthy, take care of our skin, treat our hair better and exercise more. Then by the end of the month we are back to our old ways. What happens? How do you go from being excited of the prospect of change to acting like you don’t remember even making a resolution.

Some of it may have to do with the level of difficulty in keeping these resolutions. If something is to hard when you begin it when things get busy or stressful it will be the first thing to go by the wayside. So this year try to find things that you can commit to that are easier to stick with it. To make that journey easier we here at Clutch have complied a list of products that will help you become a new person without much work from you. No excuses now.

Resolution: “Take better care of my skin”
Product that will make this easier to keep if you have acne: Dr. Miracles My Goodbye Acne System ($19.99, sallybeautysupply.com)
What it does: It’s a 3-step regimen that was developed and tailored to the specific needs of African American women and men. The easy 3 steps will stop you from saying you don’t have time to take care of your skin. After application existing acne will clear up in days while continued use will help prevent any future flare-ups.

System Includes:
Exfoliating Cleanser, Regenerating Toner and Tingling Repairing Lotion.

Product that will make this easier to keep if you have aging skin: Lancôme High Resolution Night Refill-3X ($90, lancome-usa.com)

What it does: Sometimes fighting aging is exhausting and you just want to throw in the towel. This hydrating crème will help you keep fighting. It helps to boost the synthesis of the three natural skin fillers – collagen, histrionic acid and Elston – at night. Your skin will immediately feel significantly softer and smoother. In 4 weeks, wrinkles will appear significantly reduced, as though refilled from within. Skin will be noticeably more supple and plumped. All without much work from you. Perfect way to keep the resolution.