We get it: With everything going on in the world, it can be difficult to carve out time to discover new music. Industry-pushed tunes that you may not even bang with like that could also get in the way of you finding something that tingles your consumer taste buds.
An unidentified man was shot and killed by Louisville Metro Police and the National Guard on Monday morning, capping off a violent weekend in which police across the country had escalated demonstrations protesting police brutality by employing aggressive tactics against protesters.
In a show of solidarity with black protesters fed up with police officers brutalizing black citizens, a group of white protesters formed a human shield blocking the Louisville Metro Police from harming black demonstrators, according to The Grio.
The Kentucky National Organization for Women posted a picture from a protest last week in downtown Louisville. The photograph showed a line of white protesters, with their arms locked, forming a standing barrier between Louisville Metro Police officers and black protesters.
Louisville photographer Tim Druck captured the picture that has gone viral. The photo appeared on the Facebook page of the Kentucky National Organization for Women. During the rally, protesters called for justice in the death of EMT worker Breonna Taylor, who was shot to death in her apartment in March by Louisville police while they were serving on a no-knock warrant. The protest also supported the Black Lives Matter movement amid the recent spate of police killings of unarmed black people.
“This is a line of white people forming a barrier between Black protesters and the police. This is love. This is what you do with your privilege,” the post states.
The Louisville Courier-Journal reports that according to Druck, Chanelle Helm, a lead organizer for Black Lives Matter Louisville, addressed the white protesters using a bullhorn and said: “If you are going to be here, you should defend this space,” and instructed people to form the line facing police at 6th and Jefferson streets.
Druck, who stated he showed up to take photos of the protest around 9 p.m. Thursday, said a police presence had come to that territory to block off intersections downtown as the crowd grew.
“She was asking for white folks to use their privilege, and put their bodies between police and the other demonstrators,” Druck said. “And people responded. They didn’t, they didn’t need to be convinced. Everybody willingly and enthusiastically did it.”
According to TMZ, after twenty years of friendship, Evans and Stevie J were married in 2018. In an interview with The Breakfast Club in 2016, Stevie J said, “Once you start dating your best friend, it’s a little different.”
The marriage is the third for Evans, who is the widow of the late, great Christopher “Notorious B.I.G.” Wallace. She was previously married to her former manager Todd Russaw with whom she has two children. She also has a daughter, Chyna, and a son Christopher Wallace, Jr., who is a cannabis entrepreneur.
This is Stevie J’s first marriage to Evans, however, he has six children from previous relationships. The GRAMMY award-winning producer was previously romantically linked to reality star, Joseline Hernandez. The two starred on Love & Hip Hop: Atlanta and Stevie J & Joseline Go Hollywood.
In late 2019, the couple dispelled rumors that their marriage was ending after a series of cryptic tweets. “Found out that NO woman is faithful. Knew that & it’s a blessing to know.” The tweets were later deleted and Stevie J claimed that his Twitter was hacked.
Faith Evans has six albums under her belt. She has collaborated with numerous artists including her late husband, Notorious B.I.G., Diddy, Carl Thomas, and Whitney Houston.
Evans’s autobiography, Keep the Faith: A Memoir won an African American Literary Award for Best Biography/Memoir in 2009.
Stevie J, born Steven Jordan, was an in-house producer for Bad Boy Records where he produced some of Wallace’s biggest hit records including “I’ll Be Missing You,” the tribute record which featured Evans, Diddy, and 112. The song won a GRAMMY award for “Best Rap Performance by a Duo or Group” in 1998.
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