Black Love Music I

Ankh - The Ankh symbol represents the union between the Black man and woman. It's an ancient symbol that represented and continues to represent life. The circle represents the womb, the woman's reproductive system. The "T" shape represents the male reproductive system. Put these two together and life is produced.

CMZ Black Love Music I

Age Ain't Nothing But A Number

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Legacy: Greatest Hits

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Gladys Knight & The Pips

The Best of Gladys Knight & The Pips

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Who is Jill Scott

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Dr. George Washington Carver &

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Black Love Music I

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Black Love Music

By: CMZ Staff Writers

The American slave system established and perpetuated by White Americans significantly impaired the core structure of the Black African family unit, as it exists today. Physical slavery of Black people by White Americans existed for 258 years. This was the most brutal system that was constructed and perpetuated by White Americans, which no other people in recent or ancient history have suffered through. The mental slave system continues today and the relationship between the Black male and female has suffered significantly. Unlike the greatest Black love affair that ever existed, the relationship between Nefertari II and Rameses II in ancient Egypt, the Black male/female relationship of today has been severely damaged. Conscious Music Zone (CMZ) is dedicated in helping to re-strengthen the love between Black men and women that we once had in ancient times. One of our goals at CMZ, is to help rekindle or re-unite the relationship between Black couples. The artists we chose on our Black Love Music page are artists that have consistently created and continue to create music that represents Black Love. Black Love music or baby-making music has been and continues to be significant in re-uniting the love between the Black man and the Black woman. We know at CMZ that we left some artists off our initial list unintentionally. The artists currently represented on this page are just the first cut. However, we intentionally left off Beyonce and Mary J. Blige for touring with the white "artist" Robin Thicke. Robin Thicke copied and mimicked his style from Black singers. When whites mimic our singing styles, they rob Black artists in doing so, the same way Eminem has robbed Black rappers. All White "artists" who sing in a Black style are fakes and copy cats. Soul music comes from the soul. True Black singers sing from the soul and white people do not have the "Souls of Black Folks". Beyonce and Mary J. Blige could have easily toured with Musiq Soulchild or any other Black male recording star. At CMZ, we will not endorse those who do not promote Black Love and keeping the Black dollars in the Black community. We need to participate in business ventures that will re-build the Black family structure that was significantly damaged from the negative actions of whites during slavery and the current attack by whites who actively participate in white supremacy. In addition, we will not promote any Black artist who works with Justin Timberlake. We at CMZ, will never forget the horrific incident that Justin Timberlake participated in a few years back. If you remember, Justin Timberlake appeared on national TV and ripped off Janet Jackson's top exposing her breast during a Super Bowl half time show that was watched by millions of people world-wide. That act was synonymous to a white man raping and abusing any Black woman anytime and any place he wanted to without any negative consequences towards the white man. We at CMZ, recall that after the incident, 99% of the criticism was directed towards Janet Jackson. No one really criticized or took a stand against Justin Timberlake. CMZ will take a stand of not supporting any Black artist who collaborates or works with Justin Timberlake on any current or future music projects. Although Beyonce and Mary "J" are not currently on Black Love Music web page, we commend them both for marrying brothers. Our message to them is to stay strong with your relationships because the White power structure is working overtime especially to destroy high profile Black couples.

As stated before, the Black Love music page is a dedication to all Black Artists who created Black Love music. These Black artists did not directly focus on the revolution or liberation solutions of Black people. However, their music indirectly helps toward the overall situation of Black people by creating the environment of re-uniting the love between the Black man and the Black woman which is the foundation of re-uniting the Black Nation.

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A singer, a self-taught keyboardist, and a prolific songwriter, Angie Stone's first claim to fame was being the lead vocalist on Vertical Hold's smooth urban dance track "Seems You're Much Too Busy." An R&B Top 40 hit during the summer of 1993, it eventually led to a solo career, and her debut album Black Diamond was issued in 1999 by Arista. She moved to J-Records in 2001 for her second record, Mahogany Soul, and the record cracked the Top 40 thanks to the pop/R&B hit "Brotha." Three years later, her third record Stone Love became her biggest hit, with a number 14 placing. In 2004, Stone Love was issued, followed by a live recording of her greatest hits in 2005.

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Born in Denver, CO, to parents from Memphis and Detroit, music was always in Arie's life. The family moved to Atlanta when India was 13 and after high school she began playing guitar at the encouragement of her mother. Involvement in the fertile Atlanta urban music scene led to the formation of an artist's collective called Groovement and an independent label, EarthShare, which released a compilation CD featuring Arie's first songs. A second-stage slot on the 1998 Lilith Fair tour garnered major-label interest, but Arie eventually signed with Motown after being assured of having full artistic control.

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First formed in the early '50s, the Isley Brothers enjoyed one of the longest, most influential, and most diverse careers in the pantheon of popular music -- over the course of nearly a half century of performing, the group's distinguished history spanned not only two generations of Isley siblings but also massive cultural shifts which heralded their music's transformation from gritty R&B to Motown soul to blistering funk.

In 1973, the Isleys scored a massive hit with their rock-funk fusion cover of their own earlier single "Who's That Lady," retitled "That Lady, Pt. 1"; the album 3 + 3 also proved highly successful, as did 1975's The Heat Is On, which spawned the smash "Fight the Power, Pt. 1." As the decade wore on, the group again altered its sound to fit into the booming disco market; while their success on pop radio ran dry, they frequently topped the R&B charts with singles like 1977's "The Pride," 1978's "Take Me to the Next Phase, Pt. 1," 1979's "I Wanna Be With You, Pt. 1," and 1980's "Don't Say Goodnight." While the Isleys' popularity continued into the 1980s, Ernie and Marvin, along with Chris Jasper, defected in 1984 to form their own group, Isley/Jasper/Isley; a year later, they topped the R&B charts with "Caravan of Love." On March 31, 1986.

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