Zimbabwean Mutsa Modonko experienced the epitome of a bad hair day when he was partying at a Johannesburg, South Africa, nightclub. After 10 years of growing his dreadlocks, friends at the party found him passed out with his head cleanly shaven, and according to Johannesburg’s Times Live, stealing dreadlocks is becoming a growing trend.

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Natural hair and dreadlocks are huge business in South Africa.  The locks can be sold as hair extensions and can typically go for as much as $275, depending on the length.  As a matter of fact, the demand for the matted locks is so high that patrons often will not even question where the hair came from.

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Hairstylist John Wushe, who owns a Johannesburg salon told Times Live, “They are becoming very popular. On a busy day we get about 10 people [wanting] to extend their hair.”

The stolen hair can be weaved on to the head of a male or female, whereas before, synthetic hair had been used for eons. The typical weaving-in process can take up to two hours and can be woven on to the head using a crochet hook or needle and thread.  A stylist can charge up to about $170 to weave in the dreadlocks.

Although there appears to be numerous dreadlocks thefts, according to Johannesburg police, they have thus far received only one such report that came through last year.  Johannesburg police spokesman Captain John Maluleka told Times Live his department encourages residents to file police reports over such hair thefts, but he thinks their hesitation can be attributed to just sheer embarrassment.

In most of the cases, dreadlock thieves are zeroing in on the fairer sex, and according to Randburg hairstylist Lebo Masimong, he says, it is because women appear to be easier targets, “You are an easy target if you walk around the CBD (central business district) and your hair is loose. They don’t care about your money or fancy phone. They are only after your hair.”

A real hairy situation indeed!

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North Carolina native Phonte Coleman (pictured) could easily pull in three lines of revenue based off his natural talent alone. The gifted singer-songwriter and capable rapper is also quite the funnyman, a fact evidenced by his rants on Twitter and the humor he injects often in his songs and live sets. Finding fame as part of the Little Brother trio featuring producer 9^Th Wonder and Rapper Big Pooh, the group has since disbanded, leading way to Phonte’s current group, “The Foreign Exchange,” with Dutch producer Nicolay.

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Phonte has also stepped out on his own with 2011’s “Charity Starts At Home,” a critically acclaimed rap release that touched on issues befitting of a man who has literally grown up with Hip-Hop as his backdrop. NewsOne had a chance to chat with Phonte between a break in his heavy tour schedule as he shared how a bassist and vocalist from the Washington, D.C. area has inspired him.

Listen To Phonte Coleman Below “Charity Starts At Home”

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NewsOne: As a professional musician, can you speak on how music has changed your life and helped you grow as a person?

Phonte: Music was my connection to the rest of the world. I was always kind of an introverted kid, so music was always the way I could communicate with people. If I didn’t feel like talking, I would just play a song. No matter what emotion I was trying to get across, I had a song for it.

NewsOne: For someone so musically inclined, what was the main attraction and who did you check out as a young man?

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Phonte: It was my mother. Music actually brought us closer together. She would put on records when we had to clean the house, we would be singing around the house. My grandmother was big into the church, and I had to go with her. So I joined the choir and that’s what got me through it, the music. Music seriously got my family together. My mom and I may not have had the best relationship, but music was the bond we shared. If a Luther Vandross record came on, everything was cool (laughs).

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NewsOne: With June being Black Music Month and all the musical festivals happening nationwide, do you have any fond memories of attending a big summer concert?

Phonte: My fondest memory is my uncle taking me to the Fresh Fest in ’85; I couldn’t have been no more than six years old. It was Run-D.M.C., Fat Boys, Whodini…my uncle took his lady and her kids and me. I was just losing my mind. But afterwards, he got me a Fat Boys shirt and he was like, ‘I got you this but I had to hide it because I ain’t got the money to be buying shirts for all her bad ass kids’ and I learned several things that night. I learned how to rock a show and how to effectively date a woman with some bad ass kids (laughs).

NewsOne: What was the turning point for you in your life when you knew you wanted to do music for a living?

Phonte: Although the Fresh Fest was like a mind-blower and I was still trying to figure out how in the hell these brothers got all them damn people in the coliseum, I wasn’t thinking of myself rapping. It wasn’t until Big Daddy Kane’s “Long Live The Kane” album came out. My mom bought it for me as a Christmas present from K-Mart. If there ever was a moment I knew I wanted to do this for a living, it was then.

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NewsOne: Which musical artist inspires you the most overall?

Phonte: As strange as it may sound, Meshell Ndegeocello is my biggest inspiration and influence. She’s one of the few artists able to keep me engaged from album to album. Every album is different but the common thread is always her. So no matter if she’s doing something stripped down and acoustic like the “Bitter” record or something with a harder edge like “The World Has Made Me The Man Of My Dreams,” she remains true to herself. The hardest thing as an artist is to find your own voice and she represents herself as an artist that has found her voice.

No matter what genre she sings, she’s selling Meshell. She’s not selling anything else. I’m trying to do the same thing in my music. I’m not selling anything but my own experience and hope people can get into it. I’m not selling just R&B or rap. Trust and believe, if I decide to do a ukulele album, it’s gonna be the funkiest damn ukulele album you done ever heard (laughs). That ukulele album gonna be banging! But seriously, Meshell’s artistic freedom is amazing. She keeps me engaged.

To get familiar with Phonte’s music, visit the Foreign Exchange website.

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Oddisee (pictured) may not yet be a household name, but considering the incredible growth of the Washington-bred rapper that reality is due to change. Beginning his career officially in 2005, the impressive boom-bap sounds of his earlier work have now expanded into a rich and lush sound that incorporates live instruments and soundscapes that transcend his hip-hop beginnings.

Currently splitting time between the nation’s capital, Brooklyn, and London, Oddisee’s expansive worldview and approachable musical quality is made evident on his official debut album, “People Hear What They See,” an early contender for Album Of The Year. On the album, Oddisee displays an uncanny ability to offer angles of discussion that are certainly not present on mainstream channels, yet it never feels overbearing.

NewsOne caught up with Oddisee in Washington during a break in his busy schedule, where he talked about how music is a centerpiece in his life and how a homegrown musician’s ability to make people move and think simultaneously is a goal he aims for in his own compositions.

NewsOne: As a professional musician, what are some of the challenges you face?

Oddisee: The biggest challenge, I’d say, would be answering you, because you don’t necessarily have a boss, you don’t get paid every two weeks, so if you don’t stay on top of yourself it can be self-destructive. That same freedom you enjoy can also be your demise. So it’s an ongoing struggle to know you can wake up when you want to wake up, but you still gotta get yourself up (laughs).

NewsOne: You’ve seen the world not only because of music, but because of your Sudanese father. How do your travels help your music?

Oddisee: I think my travels help by adding to the diversity of my music. I think I’m an eclectic artist as a result of going to lots of places around the world. I think each place I travel to and each person I encounter, they rub off on me. The more places I go, the more people I meet, the more diverse my sound becomes.

NewsOne: Your instrumental album Rock Creek Park was highly conceptual piece of work, much unlike your earlier boom-bap sample work. Why was it necessary for you to grow into this more lush production style?

Oddisee: I guess I attribute that to just a natural evolution. When I first started making music, I started without a sampler. I would just play keys and loop it on a 4-track recorder. Then I would play the same notes for four minutes because I didn’t have the equipment to loop. I got into sampling later, and when I got better, I began playing keys over my samples. From there, I just started to work with more live instrumentation. I’ve always had this connection of going beyond the loop, so to speak. Also, once I’ve done something, I don’t want to go backward; I only want to go forward.

NewsOne: Being a producer, you surely have many influences. But which musical artist inspired you the most?

Oddisee: My biggest inspiration and influence is Marvin Gaye, and I know that’s one a lot of artists say. For me, it wasn’t necessarily Marvin’s singing that was an inspiration but more so his idea that he understood how to make music successful and impactful without compromising the integrity of his work. Marvin had this unique ability to give you a song with a message without it sounding preachy. So if you wanted to party and dance to that song, you may not hear the seriousness of the message. Or if you did choose to focus on the lyrics, you could absorb the message.

He wrote in layers; the message didn’t interfere with the entertainment and vice versa. That’s the line I’ve always been trying to get to in my own music. How do you rise from your underground status to a point where people are hearing your message yet still are be entertaining? I think Marvin mastered that and I hope to head there too.

NewsOne: Over the years, your music has always maintained a certain standard, but with your album “People Hear What They See,” you’ve embraced a mature sound. Why is that?

Oddisee: I put out a lot of music over the years but “People Hear What They See” is my official solo album. Mine is a career built on cameos and collaborations, not to mention my production work. But I’ve never done a full length featuring myself. So I had a lot to say. I never consciously worked on the album as it was done over time. I would just record, and eventually I got enough songs where I could form an album. I worked on the record for over four years and it just captures various snapshots of my life during those times.

For listeners unfamiliar to Oddisee’s work, a great starting point would be the aforementioned “Rock Creek Park” project and his debut album currently available for purchase People Hear What They See by way of the Mello Music Group label.

Watch Oddisee’s “You Know Who You Are” here:

RELATED: Rev. Jamal H. Bryant: ‘Marvin Gaye Had The Biggest Impact On My Manhood, Methodology’

RELATED: Rev. Jamal H. Bryant: ‘Marvin Gaye Had The Biggest Impact On My Manhood, Methodology’

Professor, author, political commentator, and television host Melissa Harris-Perry (pictured) has emerged as one of the leading young voices on political and cultural issues, especially those that affect the African-American community. Although Professor Harris-Perry has made her mark as a notable talk show guest and speaker, she now commands her own eponymously-named live MSNBC weekend program full of spirited banter and discussion.

The author of the proactive “Barbershops, Bibles, and BET: Everyday Talk and Black Political Thought” and her latest title “Sister Citizen: Shame, Stereotypes, and Black Women in America,” sat with NewsOne to discuss how music has influenced her work as a professor of political studies at Tulane University, the balance of being a hip-hop fan and feminist, and openly shared how an iconic R&B singer inspires her. She also lets NewsOne in on her current musical obsession with R&B’s top diva.

Check out the interview with writer D.L. Chandler and Melissa Harris-Perry below:

RELATED: Rev. Al Sharpton: ‘James Brown Gave Us In-Your-Face Black Authenticity’

RELATED: Rev. Jamal H. Bryant: ‘Marvin Gaye Had The Biggest Impact On My Manhood, Methodology

During the late ’60s as the Civil Rights Movement continued to reverberate in the consciousness of young Black Americans looking for reasons to press on, one soul singer’s bold and funky style gave license and credence to a teenaged boy in New York who would become one of the most vocal proponents of Civil Rights living today.  MSNBC television host and founder of the National Action Network Rev. Al Sharpton spoke with NewsOne and shared why he feels the “Godfather Of Soul” James Brown helped to shape him as a young man and remains an inspiration to him even to this day.

NewsOne: Could you tell us about one musical artist that’s inspired you and your life’s work?

Rev. Al Sharpton:  Well, there’s no one close to James Brown. James Brown was like a Father to me personally, because I was around from when I was a teenager. I even styled my hair like his. But James Brown’s music was dominant even before I got to know him. “Say It Loud, I’m Black And I’m Proud” came out in ’68 when I was 13 years old, and it literally changed me and my contemporaries from Negros to Blacks, even though we were already in the Civil Rights Movement. His hard-driving style and his beat, which he called the “one,” and the kind of pulsating in-your-face Black authenticity defined how a lot of us, then, styled ourselves.

James Brown represented that powerful Black manhood a lot of us patterned our lives after. Unlike other artists, you can hear the first three chords of his records and know it was a James Brown song. It was identifiable, it was distinct, and it was all him. So by me having known him well, so much so that I preached at his funeral, his unique style was just who he was. He knew too that he was unique and he influenced me to never just join the crowd and instead do what’s right and that would resonate with people.

NewsOne: James Brown’s funk sound helped serve as a precursor to the revolutionary sounds of hip-hop. Do you think the Godfather Of Soul has any current contemporaries?

Rev. Al: I think he was one of a kind, but I think there will be others who have a similar impact in their own unique fashion. I don’t think anyone should imitate anyone ahead of them, they should instead learn from them and make their own way. I think that’s the height of an artist, their creativity. So just as I think of who’s like a James Brown today, I can’t think of anyone like him before his time. He brought it to another level, so anyone who’s around today should bring it to another level too.

I used to say to him in his later years if he thought Michael Jackson was the new James Brown or Prince and even Usher, and he said to me the only advice I can give to them is don’t be the next James Brown, be the first Michael, be the first Prince, the first Usher because I was the first James Brown. He even put it on me. He said don’t try to be the next Dr. [Martin L.] King or the next Jesse Jackson, even though I admired them. He said learn from Dr. King, learn from Jesse Jackson. If you do you, you can’t miss because can’t nobody do you like yourself, and I never forgot that.

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Music is a universal language that binds us all, with many African-American artists serving as an inspiration to individuals in our society that have gone on to do great things. For Rev. Dr. Jamal H. Bryant (pictured) of the Empowerment Temple in Baltimore, music is an important fixture within his church and in his personal life. Rev. Bryant named the late and legendary crooner Marvin Gaye as his musical inspiration.

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“I think the artist that’s had the greatest impact on my manhood and my methodology would probably be Marvin Gaye,” shared Dr. Bryant. “When he was in the studio recording the album What’s Going On, Berry Gordy begged him not to do it. But Marvin stuck to his guns. It really is the signature piece of his entire career, far beyond “Sexual Healing.”

When asked what musical artist of today has the potential to carry on Marvin’s vision, Rev. Bryant named Wyclef Jean,  Common, Talib Kweli, and even added Nas to his list. “Depending on what moment or mood Nas is in for today, he can go that way or go in the opposite direction,” said Dr. Bryant with a chuckle.

Check out the interview with writer D.L. Chandler and Rev. Dr. Jamal H. Bryant below:

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And we mean literally feel her pain.

The Daily Mail reports that Hartman, 34, allegedly yelled “You and I just had sex last night” before tasing the father of her child, Alvin Hennis, with her key-chain stun gun as he lay butt naked in bed. Hartman chased his lover, Cordelia Rose, outside of the house.

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Rose was getting into her car before Hartman caught up with her and tased her in the neck.

Neither Rose no Hennis were seriously injured as the strength of the stun gun was reportedly too weak to cause major damage.

Hartman was arrested and charged with battery. It is not known what kind of gun Hartman used. She did not have a permit for it, however. During Hartman’s hearing, Hennis took the blame for the entire situation.

“It was pretty much my fault,’ Mr Hennis told Broward Court Judge John Hurley at Hartman’s hearing.

“We were supposed to do something together that morning, and I forgot. I went to my house, and things happened.”

WATCH THE COURT HEARING WHERE HARTMAN HOLDS BACK LAUGHTER

Hennis pleaded with Judge Hurley to go easy on the mother of his child, saying that she is a great mom.

‘She is a beautiful mother, a hard worker and very responsible. I think she got emotional by what she saw,’ Mr Hennis told Judge Hurley.

‘I could imagine things could get very emotional,’ Judge Hurley answered.

‘Oh, things got very emotional,’ Mr Hennis said. ‘Very emotional.’

He apologized for his actions, adding that he forgot to lock the door to the master bedroom.

‘That probably was your first mistake,’ Judge Hurley said.

Tell us about it! Hartman was free on $2,500 bond and ordered to stay away from Rose.

WASHINGTON — President Obama announced yesterday that June will be African-American Music Appreciation Month .

Read the full proclamation from the President below:

The music of our Nation has always spoken to the condition of our people and reflected the diversity of our Union. African-American musicians, composers, singers, and songwriters have made enormous contributions to our culture by capturing the hardships and aspirations of a community and reminding us of our shared values. During African-American Music Appreciation Month, we honor the rich musical traditions of African-American musicians and their gifts to our country and our world.

From the cadenced hums of spirituals to the melodies of rhythm and blues, African-American music has been used to communicate, to challenge, to praise, and to uplift in times of both despair and triumph. The rhythmic chords embedded in spirituals have long expressed a deep faith in the power of prayer, and brought hope to slaves toiling in fields. The soulfulness of jazz and storytelling in the blues inspired a cultural renaissance, while the potent words of gospel gave strength to a generation that rose above the din of hatred to move our country toward justice and equality for all.

Today, African-American musicians continue to create new musical genres and transform the scope of traditional musical formats. The artistic depth of soul, rock and roll, and hip-hop not only bring together people across our Nation, but also energize and shape the creativity of artists around the world. The contributions of African-American composers and musicians to symphony, opera, choral music, and musical theater continue to reach new audiences and encourage listeners to celebrate fresh interpretations of these and other genres.

In cherished songs passed down through generations and innovative musical fusions crafted today, African-American music continues to transcend time, place, and circumstance to provide a source of pride and inspiration for all who hear its harmonies. This month, we celebrate the legacy of African-American music and its enduring power to bring life to the narrative of our Nation.

NOW, THEREFORE, I, BARACK OBAMA, President of the United States of America, by virtue of the authority vested in me by the Constitution and laws of the United States, do hereby proclaim June 2011 as African-American Music Appreciation Month. I call upon public officials, educators, and all the people of the United States to observe this month with appropriate activities and programs that raise awareness and foster appreciation of music which is composed, arranged, or performed by African Americans.

IN WITNESS WHEREOF, I have hereunto set my hand this thirty-first day of May, in the year of our Lord two thousand eleven, and of the Independence of the United States of America the two hundred and thirty-fifth.

________________

Radio One has also launched a national campaign in celebration of African-American Music Month.

Click here to see a breakdown of the many exclusives that will be getting under way this month including The Urban Daily’s very own FourSquare check-in sweepstakes, Black Music Trivia Text contest and the “It’s All Black Music Meter,” just to name a few.

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From WhiteHouse.gov:

Music can tell a story, assuage our sorrows, provide blessing and redemption, and express a soul’s sublime and powerful beauty. It inspires us daily, giving voice to the human spirit. For many, including the African-American community, music unites individuals through a shared heritage. During African-American Music Appreciation Month, we celebrate the extraordinary legacy of African-American singers, composers, and musicians, as well as their indelible contributions to our Nation and our world.

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Behind The Scenes At The White House

Start Gallery

Throughout our history, African-American music has conveyed the hopes and hardships of a people who have struggled, persevered and overcome. Through centuries of injustice, music comforted slaves, fueled a cultural renaissance, and sustained a movement for equality. Today, from the shores of Africa and the islands of the Caribbean to the jazz clubs of New Orleans and the music halls of Detroit, African-American music reflects the rich sounds of many experiences, cultures, and locales.

African-American musicians have created and expanded a variety of musical genres, synthesizing diverse artistic traditions into a distinctive soundscape. The soulful strains of gospel, the harmonic and improvisational innovations of jazz, the simple truth of the blues, the rhythms of rock and roll, and the urban themes of hip-hop all blend into a refrain of song and narrative that traces our Nation’s history.

Click here to read more.

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