Mahogany Jones

It was a great night for the many artists that performed in East Atlanta Village this past Thursday. Throughout the evening, there were several showcases happening along the block, but one showcase, in particular, caught my attention. At the “This is My Year” showcase, I had the opportunity to see many underground artists with incredible potential. The show’s line-up included impressive performances by artists such as Pop Dollarz, Omar Aura, and Mahogany Jones.

It was a breath of fresh air to hear great lyrics from a female MC while at the showcase. Hip-Hip artist Mahogany Jones surely won the crowd over with her organic delivery and versatility. Jones is such a great performer that gives off vibes familiar to Lauryn Hill of the Fugees, and Queens rapper Lil’ Kim. Although there are many similarities in Jones’ music, she is still in a unique lane of her own. Equipped with the skills of singing and spitting creative raps, Jones set the bar so high during the showcase that everyone almost felt bad for the artist who had to hit the stage after her performance.
Jones played performed several original hits, as well as performed original lyrics over successful records like “Ready or Not,” by the Fugees, and Schoolboy Q’s “Collard Green’s” instrumental. During the panel, Jones spoke very highly of her love for Hip-Hop and what it means to her as an artist. She constantly told the crowd “I’m the last of a dying breed. Hip-Hop ain't what you do it’s what you bleed.” Jones is slowly working to push the sounds of Hip-Hop during the golden era of the 90’s. It even surprised me when Jones stopped her music doing her performance to start a cypher with female artist Monica Blair. Jones’musical influence can easily be seen within the structure of her records, which are filled with conscious flows and various soulful attributes. It is safe to say that Jones is in a league of her own. - A3c Blog

On this episode of First Spins, Adán Bean sits down with the Detroit-based emcee, Mahogany Jones, to talk about her latest album “Sugar Water” which dropped a couple months ago.

We were able to sit these two down during the 2016 A3C Festival (www.a3cfestival.com/festival) held this past week, which she was in-town as a performing artist. Forth listeners get an exclusive look at Mahogany Jones’ new project and a behind-the-scenes look at the making of each track including her work as a US music ambassador traveling everywhere from Botswana and Uganda to Ethiopia. The two talk everything from the making of good music, her creative process and the team behind her, as well as the highs and lows of early recognition, setbacks and ultimately, breakthroughs. Tune in! - ForthDistrict.com

Detroit-based rapper, educator and Hip-Hop ambassador Mahogany Jones has released her sophomore opus, Sugar Water. The project connects Jones’ distinct approach to lyricism with a heavy abundance of soul. While boom-bap will always remain the center of Jones’ style, Sugar Water moves her art into soulful environs.

As a continuation from her last release, the Pure compilation, the latest project serves Jones’ musical mission to inform and inspire. As Hip-Hop becomes more disparate between the genders by the day, Jones’ unrelenting pride and celebration of womanhood is at the core of Sugar Water along with the skill necessary to capture of the ears of those who might not be as receptive initially. - OK-Tho

On a surface level, Mahogany Jones' newest album is the sort of "safe" hip-hop you could play for your grandparents, due to its smooth beats and lack of foul language. Yet when you sit down with the album, it grabs your attention by the soul strings and makes you bounce like a puppet. And then you realize Jones is rapping about serious topics much bigger than herself.

On the album, the Kresge Arts Fellow plays with a few classic genre tropes, all revolving around a central theme. The intro track sets the tone for the album and poses a question that prepares the listener for the thematic exploration Jones indulges: "What's your definition of soul music?" A few different voices offer answers about passion, vulnerability, Curtis Mayfield, honesty, positivity, negativity, emotions, life, food, and timelessness. Throughout the album, Jones (who you might remember from BET's 106 & Park Freestyle Fridays as the first four-time undefeated champion in 2001) touches on how soul music is much more than just a genre — it's simultaneously all of these things.

My favorite answer in the song is the statement, "It's one of those things that helps people get through things." That's exactly what Jones is offering with this album. Whether you're going through some rough times or simply hate everything being played on the radio, Jones will stir your soul until you burst with inspiration.

The album title, Sugar Water, comes from the chorus on the first tune, "Bring Back the Soul." On this track, "soul" appears to be something from the past, a sweet drug that everyone was addicted to at some point in their lives, but have since replaced with things of lesser value. Jones' intentions are clear when she raps, "resurrect it, then perfect it, liquefy it, then inject it, in the hearts of the people when they least expect it, give 'em that sugar water" after verses of reminiscing on boom-bap, Michael Jackson, listening to music with her mother, and other touching memories.

After the second verse, it's clear we as a society have devolved from the purity Jones wants to bring back into music: "When being original was vital for survival, when having a rival wasn't about the image, wasn't about record sales, wasn't about the gimmicks, we was in it to win it and to win it didn't mean we had to mimic who was hot for a minute, cooled down by their second round, career was finished ... ain't nobody committed to making classics, you can feel the difference, we need soul." Amen.

Next, Jones shifts to a more literal interpretation of "soul" with the track "Gold," while still continuing the commentary on contemporary artists. A perfect Kendrick Lamar sample explains the inner turmoil Jones and many other artists will experience at some point in their careers: "Look inside of your soul and you can find out it never exist. Look inside of my soul and you can find gold and maybe get rich." Exploring the dangers and influence money can have over a person, Jones, similar to Lamar, is exploring the cost of making money off something that comes from a very sensitive place. The verses say: "don't you wanna know how it feels to make a mill," "what's real, I don't even know no more, don't even know what I'm looking for," and "is this really living, you're getting it just to make millions," which all lead up to the chorus: "your soul is worth so much more than gold."

All of this suggests that the potential millions aren't worth creating something that doesn't come from the soul. The value of the soul, and by extension, soul music, cannot be measured in gold. Jones and a killer guest feature are touching on an age-old cliché ("We broke but money can't fix") that proves the struggle of finding happiness yet needing money to survive as a human experience.

However, Jones bounces back from this state of confusion on the track "Untitled" — "lyrical Cassius, who needs cash when purpose is perfectly intertwined with rhythm and passion ... my words speak life ... resurrect the dead then they lead the masses." Here, Jones knows in her soul that her music provides fulfillment not just for herself, but for others as well. The rest of the song has two amazing features, and ends with more on the unifying powers of hip-hop. These dialogues all work to clue the listener in to what Jones is trying to do with the rest of the album.

The state of contemporary hip-hop isn't the only thing Jones is critical of on the album. On the track "Home," she delves into the soul-splitting dichotomy of living in a country that once thrived on the enslavement of her not-so-ancient ancestors and delivers a powerful verse: "This is information that's not falsified/I guess that's why I find it difficult that I reside in the land of the free and home of the brave/home of the brave is the home of the slave trade/tragic like the World Trade/tell me about a god that saves and turned around and made the Atlantic my mass grave/But how can I forget when daily I relive, no reconciliation, no recompense, no reparations."

The feeling of alienation in America in 2016 is possibly the most tragic sentiment expressed on the album, and something which is seen all too often in society at large. "Home, a place where there's love overflowing" is unfortunately not so easy to find.

Jones is not afraid to dig deep and open up about some very intense and important topics. This album is not only excellent ear candy, but an important discussion about contemporary issues. Jones uses hip-hop as her platform to address not only personal subjects, but also to further discussions we as a society have yet to resolve. This album is jam-packed with killer rhymes, smooth beats, and important topics that need to continue to be talked about. Jones closes the album with a bit of encouragement to help you get through some things, proving she has indeed brought back the soul: "Never call truce, minds never lose. Never call truce, spirits never lose." - MetroTimes

Mahogany Jones has been on quite the tear of late. She recently organized and performed at the Contemporary Interactive Women in Hip-Hop Conference, held as part of this weekend’s Allied Media Conference in her native Detroit, received an invitation to perform at A3C, the world’s largest conference celebrating hip-hop music and culture, received the prestigious Kresge Art Fellowship, and released a critically-acclaimed album on her birthday. The album, entitled Sugar Water, continues where her previous release, Pure, left off, with its jaw-dropping lyricism, substantive content, and neck-snapping drum breaks over emotive soul samples. All in all, it will remind the listener of the type of sound that endeared Slum Village to their legion of fans, with a contemporary flair.

Sugar Water is a gem for hip-hop purists, and/or those who have grown tired of the mundane content and sounds presented by mainstream hip-hop. Songs like Insight, Gold, Bring Back The Soul, and Grow are among the many treats on the album. Mahogany solicited the assistance of her long-time producer iRonicLee, Darell “Red” Campbell, and newcomer Mozaic for production. The album’s guests include Iomos Marad, Gwenation, Sean C. Johnson, Katrina Mitchell, Rocdwell, and Kamakazi. In many ways, Sugar Water represents what its name suggests–simple, sweet refreshment for those deprived of quality nourishment. With fourteen songs, coming in at just over an hour, Sugar Water will leave you satisfied.

For those unfamiliar, Mahogany Jones is a Detroit-based educator, emcee, and cultural ambassador who has released three full-length albums, and appeared on more than thirty albums, mixtapes, and/or compilations. She stormed onto national scene as a four-time, undefeated champion on BET’s 106 & Park’s Freestyle Fridays. In the time there since, she has headlined concerts in over sixteen countries, on four continents as an official U.S. music ambassador, and shared the stage with the likes of Gil Scot Heron, Talib Kweli, KEM, Rah Digga, India.Arie, The Roots, Jessica Care Moore. In many ways, she continues Detroit’s storied tradition of dexterous lyricism pouring over soulful boom-bap production. A dynamic performer, and master wordsmith, Mahogany simultaneously embodies hip-hop, femininity, and spirituality in a way all her own. Her work harnesses the power of music to uplift, educate, and empower. For example, she launched A PURE Movement “to empower women and girls and confront violence against women.” Moreover, she finds ways to contribute to the future of music by helping to organize a camp for children from ages ten to thirteen. - RESPECT.

Mahogany Jones wants to know why introductions for her need the categorical qualifier of “female rapper."

The accomplished MC, lyricist and educator is a key member of the Foundation, a collective of artists who organized the first Contemporary Interactive Women in Hip-Hop Conference, which is being held as part of this weekend’s Allied Media Conference.

The Foundation, based out of Detroit's 5e Gallery, has been aligning artists, activists and academics through various workshops, educational programs and open mics for several years, fostering public awareness of the vital role of women in hip-hop, along with attempting to shift the hip-hop narrative often portrayed by the media. The Foundation’s workshops cover hip-hop culture, lyric writing, rhyming, freestyling, DJing, production, graffiti, dance and more. This weekend's events will include programs intent on elevating women’s voices in hip-hop and encouraging greater involvement in all of its aspects, from performance, to production and beyond.

Jones (otherwise known as Charyse Lois Bailey) will perform at the Women in Hip-Hop concert Friday night, with Grammy-winning MC Rapsody, street-dance collective Venus Fly and the dynamic hip-hop/neo-soul singer Mama Sol & tha N.U.T.S.


Jones, who has served as a musical ambassador for the State Department’s American Music Abroad program, distinctively imbues her music with messages of positivity and empowerment. She poke to the Free Press about the weekend's event, her musical approach and more.

QUESTION: What can you tell us about the Foundation and the build-up to this first conference?

ANSWER: It started with a woman by the name of Piper Carter, a fashion photographer who lived dualy in New York and Detroit and had always been a big lover of hip-hop. In the midst of her career as a photographer, her mother had taken ill, and she then returned to Detroit permanently.

Piper Carter
Piper Carter (Photo: Piper Carter)
Upon returning to Detroit, her first question was "Where's the hip-hop at? Her second question was "Where are the women who, like me, love hip-hop?" (Carter) wanted engage women in hip-hop, and create an environment where women in hip-hop as well as in media were valued, respected and celebrated, so (Carter), along with Miz Korona and Invincible, both renowned Detroit hip-hop artists, and a few others, launched the Foundation.

It all began about six years ago, staring with weekly open mics (at the 5e Gallery). I joined about a year later, along with Nik Nak, and we noticed it kinda didn’t have a host. So we wanted to give (the open mics) some structure. Since then I've been part of the organizing. Our weekly open mic isn't running any longer. However we still facilitate workshops to empower women and the community in general. Since the beginning, it had always been Piper’s dream to one day have a Women in Hip-Hop Conference. Since being a Knight Challenge awardee, it's phenomenal that that "one day" has arrived.

Q: How do you feel about how the typical conversations about hip-hop, and what kind do you want to start this weekend?

A: It feels as if the conversation of hip-hop in the public eye is very myopic. Or that it’s one conversation, one viewpoint. It’s one conversation about its commercialism, or about over-sexualization, or about its hyper-violence. That’s cool ‘cause that is some people’s reality and that’s OK; I just feel the conversation we want to have is that there’s more room, there’s more room for more people’s lives and ways of being represented. There’s more room for community, there’s more room for love and appreciation for humanity; that’s the essence of hip-hop. Hip-hop started as a voice for the voiceless, and it just seems like, now, hip-hop is silencing too many people.

So we just want to create a conversation where people’s voices aren’t silenced, where people’s realities are represented in a broader spectrum and where men and women are working together. Ya know … in 2016, we shouldn’t even have to say “Women in Hip-Hop.” Why do we have to make that distinction: “female rappers”? As I say all the time, I didn’t know my brain had genitalia. I know that as a woman, I’m crafted in a certain way and see things in a certain way. That’s cool, but people don’t say “men in hip-hop.” Why can't it simply be "hip-hop"? Why can't the music just be the music?
Q: What kind of programming will be at the conference?

A: It’s gonna be pretty jam-packed. The conference is going to be very interactive. We have DJ Stacey (Hotwaxx) Hale, the godmother of Detroit techno and house music; she’s designed the practice spaces for the majority of the conference. The workshops we have are very engaging, we have DJ workshops, B-girl workshops, we have keynotes from hip-hop scholars Dr. Ruth Nicole Brown and Aisha Durham, where they’ll talk about the poetics and politics of women in hip-hop. We have some workshops on the business aspects of music, as well. And, of course, we kick things off with the concert, which will be really cool, with Mama Sol & tha N.U.T.S., from Flint, with myself, Mahogany Jones and my band and none other than Grammy Award-winning Rapsody. We’re so glad to have her. We also have Venus Fly (street-dance crew), and it will be hosted by renowned author and poet Jessica Care Moore.

Q: Can you talk about being selected to be a State Department music ambassador in 2012 and forming your live backing band?

A: A former mentor, Toni Blackman, was the first hip-hop cultural envoy that the State Department engaged to travel abroad. The State Department, since the days of Dizzy Gillespie, would export music and culture to Europe and overseas as a way to build people-to-people diplomacy. And the program, American Voices, recently opened up to more American genres, and the one that became big was hip-hop. (Blackman) said I should audition.

I got the band together and got the call back to be one of the 2012 ambassadors. I have since served about 13 countries, and it’s been so great to build these relationships.

Q: The championing messages of positivity and empowerment is one thing that’s set your songs apart.

A: When I moved to Detroit in 2004, a lot of the open mics I attended were more poetry or spoken word. When I later stumbled on the 5e Gallery it was a breath of fresh air. No disrespect to Detroit hip-hop, but a lot of the open mics back then really didn’t have content that was very conscientious; it was just, "I got these bars, I wanna get these bars off…"

I mean, I wanted to use my art for sharing a message that would potentially make a difference; I wanted to make the world a better place. Though a lofty pursuit, it's one I feel can be achieved. Now to be clear, I don't knock those who simply do this for the paper or their ego — there’s a place for that, and that’s cool. But that wasn’t really where my heart was at.

When I came across the Foundation, it was just, like, ‘Wow!’ This place has a mission!" We’re doing art because we want our voices to shift the culture. So, even though it’s "Women in Hip-hop," it’s not just a conversation about that. We’re having a conversation about humanity, about family, a conversation about dissolving a lot of the divisions in the community. What are you here for? How do you feel about what’s going on? Let’s chop it up and see how we can truly be agents of change for ourselves, for our communities, for the people. - Detroit Free Press

Let’s be real people, the fact that Mahogany Jones has probably dropped one of the best hip-hop albums of 2016 by any artist signed or unsigned, shouldn’t be a surprise to any aficionado of quality music. Matter of fact, it should be expected, considering the outstanding resume & discography of the wordsmith born Charyse Bailey. “Sugar Water” is a more than worthy follow up to her debut “Morphed” & her compilation project & thematic masterpiece “PURE VOL. 1” that might as well have been her second album, considering her ‘omnipresence’ with it. Almost 2 years in the making, “Sugar Water” boldly goes where most albums rarely go in terms of songcraft, substance & sophistication, and the results are soothing, surprising and in multiple cases….mind blowing.
The album starts with “Soul Music (Introlude)”, a track that could easily be the 2016 equivalent of the opening scene of the 2002 motion picture ‘ode to hip-hop’ cult classic “Brown Sugar. The recording finds various fans of soul music passionately sharing their take on what it is and what it means to them. The same sample used on intro flows effortlessly into “Sugar Water”’s lead track: 'Bring Back The Soul’, a heartfelt manifesto encouraging artists & creatives (including herself) to come alive, rise and give people what they are in desperate need of artistically in these modern times. Mahogany then proceeds to do just that with the Sean C. Johnson assisted “Gold”, a cautionary double-time rhyming gem where Jones chanels her “inner-Kendrick Lamar” to expose the detrimental sacrifices & vices that 'tag along’ with the trappings of fame.
Introspection is Mahogany’s calling card throughout “Sugar Water” and it’s executed in a way that is never mundane, redundant, without nuance or without a sense of daring & adventure. “Where Would I Be?” is a sterling example of that, where the Detroit MC simultaneously pays tribute to musical greats, shares musical & African American history & candidly breaks down her personal and professional “come up”. Her line about her former '106 & Park’ freestyle champion status compared to her current notoriety is especially telling. Also very telling is the undeniable technical acumen that Mahogany displays lyrically on “More” and the Redd Lettaz duet known as “Untitled”. Those two songs offer a great balance with powerful trains of thought that exist on the album like “Lament”, which is a haunting and visceral look at police brutality & race relations. Then there’s “Dying Breed”, a moving and intensified boom-bap "history lesson”, figuratively & literally, with its Black Moon-esque vibe that is incredibly necessary in a post-Lupe Fiasco era, where rappers like Lil Yachty are more likely to dismiss the credentials of 80’s & 90’s hip-hop legends than celebrate them.
It’s a testament that a seasoned lyricist such Mahogany Jones is still willing to experiment and expand the depth & range of her vocals and her flow instead of solely sticking to what she’s already mastered & “Home” is a gorgeous example of that, and it is easily one of my favorites on “Sugar Water”, add “Insight” and “Get Your Life” and you’re left with ambitious and satisfying long player of an album (despite an interlude or two, or a cool but weaker song like “Grow” that wouldn’t have been missed from making the final cut). It’s an album that is also impeccably produced for the most part by Moziac, who needs to continue to be the 'Dr. Dre’ to Mahogany’s 'Eminem’.
Three albums in, Mahogany Jones continues to make a case for being one of the greatest (female) emcees Christian hip-hop has ever produced, and spiritually, culturally and consciously, “Sugar Water” is another gleaming jewel in “the crown” of a unparalleled musical legacy. Mahogany’s latest is available now on iTunes, Apple Music, Spotify, Amazon, Google Play & more. - I'm On That Next

DJ’s and Emcees are the essence of Hip-hop music. DJ Stacey Hottwaxx Hale & Mahogany Jones talk about their bond to music. The Foundation will lead the inaugural Women in Hip-hop Conference June 16 – 19 during the Allied Media Conference. Hotwaxx & Mahogany are full of character and charm sharing their pasts into music and love for the upcoming conference. - Detroit IS Different

Kresge Arts In Detroit Announces, Rapper, Mahogany Jones Among its 2016 Kresge Artist Fellows

Rapper Mahogany Jones Selected out of 450 Applicants to become Second Female Rapper Awarded the Prestigious Kresge Artist Fellowship.


Kresge Arts In Detroit Announces, Rapper, Mahogany Jones Among its 2016 Kresge Artist Fellows

Rapper Mahogany Jones Selected out of 450 Applicants to become Second Female Rapper Awarded the Prestigious Kresge Artist Fellowship.

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DETROIT - June 24, 2016 - PRLog -- The Kresge Foundation announced Mahogany Jones among the recipients of its 2016 Artist Fellowship, given to those whose commitment to artistic achievement is evident in the quality of their work. Mahogany is one of six recipients selected from 450 applicants in the Film & Music fellowship category. She is only the second female rapper to win this award, following her colleague, Invincible.

Recording and performance artist, educator, and activist Mahogany Jones's career is distinguished by titles. Mahogany is the only four time undefeated Champion of BET's 106 & Park "Freestyle Fridays" (2001), and a U.S. Music Ambassador, selected by the U.S. State Department from over 300 ensembles in 2012. She has served in 11 countries including Brazil, France, Iraq, Finland, Sudan, Botswana, and Montenegro. Mahogany has graced stages with such greats as Gil Scott Heron, Talib Kweli, KEM, Rah Digga, India.Arie, The Roots, and Jessica Care Moore. Most recently, she was billed alongside Grammy Award-winning rapper, Rhapsody at the much publicized and successful, Detroit's First Women in Hip Hop Concert.

Frustrated with the objectification of women, Mahogany leveraged her latest CD, "PURE," to spearhead aPUREmovement using media, events and campaigns to wage war against the mistreatment of women. Mahogany's next album, "Sugar Water," is set to release Summer 2016 and will be an ode to the art forms of Hip Hop and Soul Music that inform her musical style.
The Kresge Arts in Detroit program is an investment in metro Detroit artists with the intent to strengthen the iconic city's position as a major center for arts and culture around the world. Receiving the Kresge fellowship means Mahogany's career will benefit from an unrestricted $25,000 grant and a year of professional practice support provided by Creative Many Michigan. Also included is intensive professional development courtesy of New York-based artist-service organization Creative Capital.

For more information about Mahogany Jones, business inquires or to request interviews, visit www.MahoganyJones.com (http://www.mahoganyjones.com/) or contact Mahogany, LLC at 313-241-6262 or booking@MahoganyJones.com. Information about the Kresge Arts in Detroit Program can be found at www.kresgeartsindetroit.org. - PRLOG

I can make one guarantee here: You’re not expecting this CD. It’ll catch you off guard whether you’re familiar with its artist, Mahogany Jones, or you’ve never before heard her name. And when will this realization begin to sink in? The minute you scope the cover art: There she is, Mo Jones tuned into the sounds of a flashy headset, eyes closed, lids painted, pleasant expression; and laid over this cover are words in a font that is a cross between art deco and funk era. They read “Mahogany Jones” and the title of the CD: “Morphed.”

Then there’s another unexpected surprise. You’ll load your CD player (or download to your mp3) with music from this talented and proven hip hop artist … but the first thing you’ll hear will be … wait a second! That sounds like techno! Electronic? Disco-ish? What’s going on? I told you so. But don’t worry. I didn’t completely ruin it for you. Hearing is believing in this case; and nothing that I can write will cause you to entirely snoop these sounds. That is, not until you cop this project yourself. As you sit back and let each of the tracks from this album rush over you, it’s likely you’ll experience an astonishing sense of satisfaction. Morphed is music. Good music with a seldom-touched message, hot vocals, superior production and gifted lyricism. If you’re able to deconstruct the categories you may have that define music genres and not determine your ability to enjoy songs based on their adherence to those genres, you’ll love this album. And the irresistible sounds of Morphed will gain heavy rotation in your music player.

As is deftly communicated in its introductory track, this project is an effort to divulge Mo’s transformation from a non-Christian to a convert, and an immature believer to a more mature one. In other words, she’s “morphed” from one being to another and, in fact, she’s still morphing. In so doing, this first official Mahogany Jones solo release encompasses all kinds of tracks that deal with assorted topics in no particular order. It seems it’s up to the listener to determine the proper sequence of thoughts and events, and how they’ve played into the life of the artist.

“Easy,” for example, digs into the near-insanity survived by folks who wrestle with the challenges of human love. Encased by BeeLee’s creative tempo, the song follows Mo Jones’ signature exhaled delivery, consistently punctuated by the beautiful voices of Chris Lawson and Aisha Johnsie:

Easy come / easy go / but it’s not that easy though / when you think / when you think that you’re in love so // take your time / take it / slow / ‘cause God wants to show you / real love / real love

Another illustration is the incessant attempt to show that part of the morphing process was Ms. Jones’ departure from using her artistry according to the expectations of others to rhyming & making music in concert with her own personal style. This is displayed throughout the album, but one lyrical segment in particular shows off Mahogany’s ability to mention concepts, ideas, and terms you don’t normally see in hip hop lyrics: “Let me get that techno, disco, hip hop, bee bop, neo-soul / merengue, calypso, reggaeton, blues, jazz, Afrobeat … it can all be Gospel.” “Afrobeat”? From the H.E.R. Project through The Gathering, I must admit that Mo Jones never fails to display her knack for pulling many aspects of human existence into her rhymes. Including names of international music many hip hop heads have never even heard of.

A third example of the assortment of tunes revealing this artist’s transformation is “Hate this Life.” Mo Jones introduces this song this way: “You know, some mornings I wonder am I actually living in someone else’s dream. And if so, I wish they’d wake up. ‘Cause sometimes … life really sucks.” After giving a taste of the hook, which will only fully unfold at the end of the song, Mo Jones spits over a sharp array of strings and an undeniable bass. The agonizing chorus at the end is bound to have anyone who has ever been through anything nodding in agreement by the time it’s all over.

These and, frankly, every last one of the tunes on display in Morphed are well worth a listen. This album is exceptional to the point that even its questionable attributes are muffled by redeeming qualities. For instance, Mahogany Jones’ vocals sometimes sink and are hard to hear, plus there are times she seems a bit out of breath and is rushing to catch up with the tempo. But much of this is related to her personal style and unique delivery. At times she spits with a bit of a pant involved and her accent includes points where the ends of words come out low. That’s simply the way Mahogany Jones spits, for better or worse. Also, her vocals on this album are simply not as rugged as many fans are used to from this artist. But again, this project exchanges ruggedness for passion; moreover, Mo’s ability to rap over these largely electronic tracks is noteworthy. It’s a - DaSouth.com

I repent! I repent! I repent, of all of my male chauvinistic views of what Christian Hip Hop [CHH] is and who can represent it. I must admit, I have never been a fan of women on the mic. I mean I didn't have anything against it (at least I don't think), and I never thought it was wrong; I just never heard a woman bring it and keep pace with what I was used to. Maybe I was being myopic, but whatever the case, all of my preconceived ideas of what CHH is or should be have been shattered courtesy of Mahogany Jones and her solo debut - Morphed.

I heard Mahogany Jones on the Yuinon Genocide album, great album by the way, and I remember liking the tracks that she did, but it was a compilation CD, so I really didn't give her credence as an emcee because she wasn't the featured artist throughout. I also heard rumors that this sista ripped 106 and Park Freestyle Fridays (four time champ if I'm not mistaken), but since I don't watch 106 and Park I never had the opportunity to see for myself the skill God has blessed her with.

I'm just going to come out and say it; THIS IS ONE OF MY TOP 2 - 3 FAVORITE CDs EVER! Musically and lyrically this CD fills a lot of voids that listeners find in hip hop. Straight out of the gate, from the intro on down, this CD is straight fiyah even though it doesn't fit what I typically listen to in the CHH arena. Normally I'm into the crunk synths, hard hitting bass, snare rolls, and ridiculous hi hat patterns, but this CD wasn't that at all. Mahogany Jones resisted the temptation follow the mainstream rage with her production, she went a totally different direction, and in my opinion took the game to a whole new level. The feel I got from the production wasn't really hip hop, to me, but I loved it. It felt more of a mellow R&B vibe with an electronica flavor blended in. The entire album was produced in that manner, but there was no monotony or staleness to it; my neck was hurting from listening (and no it's not because my head is too big for my neck, J), but just do to the fact that this CD is an all out banger.

The flow sista girl brought from beginning to end was unforgettable. Much to my family's dismay, I ain't been able to stop singing the hook of the intro since I heard it. About every five minutes you'll hear me bust out "Come morph with me [followed by a squealing riff]". Mahogany Jones is so official with the flow that you almost have to have critical listening skills and a trained ear to catch everything she is saying. She varies pace and tempo, gives you all kinds of change ups and some vicious word play. She makes full use of allegories and metaphors, and gives you different perspectives from song to song.

If you don't pick up this CD, you are doing yourself a disservice. Morphed is a listening experience, not something you just load up on your MP3 or pop into your disc changer, listen to once, and then forget about. Only things I skipped, I am a notorious track skipper by the way, were the skits, so that means you got 14 songs to edify your life. Support this sista, and go cop a CD or two.

Spiritual Significance

This CD isn't one that will beat you over the head with Scripture and deep theology, but at the same time there is no lack of biblical content or Christ centered themes. Take for instance the song "Lose Control". It's all focused on having a love affair with Christ. She looks at it as a school girl crush or infatuation with God and how awesome He is. Mahogany uses this song as a venue to make herself a fool for Christ and just to exalt Him. Then there is "Easy". This song is about waiting on the Lord to supply your needs, especially in the area of bringing you a spouse to enrich your life. "Easy" also talks about knowing the role God has placed you in and seeking God's face and direction before you make a move. On the last verse of the song Mahogany flips the verse and brings you God's perspective on our quest to find a spouse. My favorite line says "you throw Me away for some sexual healin / moment of pleasure / lifetime of pain / if you lose yo' soul / tell me what's to gain".

Another song that is pretty deep is "They Say". This song is very cleverly done and pits the world and their view of right and wrong against the Truth. What I found so intriguing about the song is the way she used snippets of conversations from people with a world viewpoint and then combated it with truth. Mahogany uses "They Say" to bring light to the fact the world just doesn't know who God is and how they try and justify their ways by excluding God from their lives. She also takes the time to point out the truth that Christ is the only way, and there are no alternatives. The best line from "They Say" is a simple one. It says "Book of Live - V.I.P. / He put me on the list"; she repeats that and just gives you a chance to marinate on it as the song transitions into another conversation snippet. "They Say" is definitely a dominant track on the CD.

Topics Covered

God's r - TrailblazinMinistries.com

As I was thinking about how to characterize Mahogany Jones’ album Morphed, I told Maji jokingly it should be called Morphed: The Spiritual Education of Charyse Bailey. Even though I know that to many music lovers, even an underhanded reference to Lauryn Hill’s beloved solo debut is “blasphemy”, I think it’s an apt comparison for a few reasons, despite the fact that Mahogany doesn’t SING and Jesus is undoubtedly Lord. However, the vibe, and sound of this album is something different for Miss Jones. It’s her spiritual, musical, and emotional catharsis, and she arrives at a place it doesn’t seem many of her “emancipated” female counterparts in the industry are able to. Ahh, what a relief it is to be in Jesus!
Produced primarily by Ironic-Lee, with assists from newcomer Midi Beats, BeeLee, JR, and Temple, Morphed like the allusion it evokes, is a beautiful audio butterfly that the sonically impatient might miss. Conspicuous in his absence from a production standpoint is Maji, however, his contribution is still an important one, giving an album that is a curveball for its artist, the quality mix it needed. Morphed is mellow, and groove heavy; a mature hip-hop album that could appeal to a cross section of audiences and hopefully pave the way for wider acceptance of other Christ-centered females who spit and are undoubtedly on deck with projects. Mahogany gets her “grown woman on” with subject matter ranging from self-esteem, materialism, relationships, spiritual growth, and decision-making to name a few.

The spiritual content of Mo’s rhymes come through as sort of an implicit lyrical outworking of these issues. For example on They Say, church traditions, relative truth, morality and spiritual inquisitiveness are debated, complete with sound bytes from Oprah and others, culminating with the resolution that’s only found in Christ. On Thin Lines, arguably the most transparent relationship song HHH has seen yet, Mo attempts to rhyme her way to the peace & clarity she lacks. While on Easy, she seems to have arrived at it. Everybody’s Everything is audio self-therapy, a song that manages to evolve with Mo initially as a “spineless, people pleasing” job seeker and ends with her as an empowered resignee. Vocalist LaToya Petree nails it with her accompanying vocals, underscoring the transformation. eople who’ve heard Mahogany on past Yuinon projects such as The H.E.R. Project, Genocide, or her jaw dropping Obedient Dirt Mixtape: The Gathering, are likely to be expecting, and will probably miss, (like I did initially) the aggressive, more rugged feel of songs like Manifesto, Off the Hook, Warrior, or Raise Up, but instead they’ll get a more reflective, contemplative Mo, who has channeled her energy into a gratitude filled retrospective on her own spiritual growth path, adding gems like Keep On, and Lose Control, to a growing and diverse roster of songs that have led many to label her as one of the genre’s most diverse MCs, male OR female. Speaking of Lose Control, as the “official” album opener, this smooth mid-tempo JR produced track might throw the “casual” listener for a loop and they mistake some dude as the object of Mo’s rhyme about letting go and letting God. Wispy female vocals don’t help either. It’s an intentional “contradiction” that works.

I would have liked to have been surprised to hear this “new” Mo too for the first time, on Morphed but I’ve seen the album actually well, morph; with several incarnations of songs competing to more fully capture Mo’s artistic vision. Good art indeed takes time. A surprise I wasn’t privy to is the intro. Although it aptly sets the tone, I’m glad it’s just that, an intro, and the album doesn’t have any more bouts of the T-Pain-itis everybody and their moms in the industry seems to have at the moment.
Almost two years ago, Mahogany explained that her first solo joint would be a “concept” album where people would finally get to hear the “real her.” I was like; the other joints you’ve spit on weren’t you? She said, “No, I simply submitted to the producer’s vision for the track and gave them what they wanted.” Dag, now that’s humility. I’ve heard on more than a few occasions that often MCs, especially good ones, have a hard time being “produced.” Not to mention that those previous album joints have helped spark Mo’s buzz, and endeared her to listeners across the country, so to depart from what’s worked is brave indeed.

Perhaps it was easier because of the place she’s in. Her contentment seemingly coming from newfound clarity, Mahogany’s lyrical delivery is confident as ever, keeping you interested even as you adjust to the “new her.” A good case in point is the 2nd verse of Farewell. As track #13, it may not grab you at first listen but upon closer inspection, it’s a meaty, heartfelt goodbye to the world and unsaved loved ones that is arguably the album’s (unexpected) spiritual centerpiece. It’s a rare apocalyptic rhyme for Mo, Ironic-lee juxtaposed (literally and figur - TheYuinon.com

At its worse, rap music is often seen as the lowest common denominator - an uninspiring and counterproductive appeal made to our basest instincts and desires with the primary aim of seeing a fiscal and commercial windfall. At its best however, real hip hop - progressive hip hop - is the black secular response to pressing and impactful issues and commentary of our times.

It's music that is about something, because its actually saying something.

Like spirituals, the blues and gospel music, real hip hop is deeply connected into black religious traditions and when done the right way is a careful arrangement of organized sounds and relevant narrative blended smoothly into rhythm, tone, pitch and power. The end result is beautiful noise that teaches and inspires.

Brooklyn-born and now Detroit-based Mahogany Jones is one MC who is looking to bring the focus of hip hop back to its core - spiritual poetry. Jones came from a strong music pedigree as her great aunt (Noreen Woods) was the first African American vice president for Atlantic Records (the first in the label's history) and her grandmother was the lead assistant to executive Doug Morris when he was at Atlantic Records. Her mother worked for 15 years as a radio promoter for Warner Brothers and Polygram Records.

A bad experience with a religious cult drove her away from her first love the church and spirituality at an early age, but Jones filled that seeming void with a love of the boom bap - hip hop. She would also supplement that with a deep passion for the arts - poetry, dancing, playing piano, etc.

Growing up in New York with its rich history of rhymes and break beats set against a diverse cultural canvas heavily influenced Jones' drive and ambition. She describes herself being raised within an artistic vortex and weaned on 3am cyphers, where poetry and beat boxing converged. She first saw a young Mos Def and Talib Kweli get their start doing poetry at Kweli's mother's bookstore. She performed her first set of spoken word poetry with emerging playwright, poet and friend Sarah Jones. Her first love met her at the iconic Nuyorican Poets Cafe and taught her how to freestyle.

Jones had a thorough reading of both the hip hop and poetry scenes and took her wordsmithing cues from standout acts like MC Lyte, Toni Blackman and FreeStyle Union, The Anomolies, Saul Williams, Ashe Bandelle, Mums the Schemer, Way, Second to Last Poets and Wood Harris.

Even through all of that Jones hadn't decided that her future lie in being an artist until a chance conversation with hip hop ambassador/activist Toni Blackman. Blackman had taken Jones under her wing as part of the Freestyle Union, a hip hop workshop emporium that doubled as a hip hop bootcamp complete with freestyle sessions, movement training and accountability forums that emphasized social awareness in hip hop.

"I had completed an arts program that was facilitated by Toni when a door opened for me to do freestyle on BET's 106 & Park show," said Jones. "(Even though I had been estranged from the church) I remember praying before I went on and asking God not to let me look foolish and let me win four times. Sure enough I won four times."

The 106 & Park gig was was followed by another defining moment. Jones who was working at Universal Records by this time was approached by the VP of the Black Music Division who asked her what she wanted to do with music. Jones tried to cover her unknowingness and unsurety with the typical bravura seen in hip hop, but was both slightly puzzled and frightened by her lack of an answer.

"I realized that if I did music, I was going to share my heart, my life and it's truths good or bad regardless of how I looked in hopes that people could relate and perhaps take something from my failures and successes," she said. "I was going to do that and be authentic. There was no way to hide the fact that my relationship with Christ was what really shaped my perspective and life."

She went through a period of emotional terpitude that was mingled with the requisite level of pain and pleasure, agony and ecstasy that not only motivated her to go back and embrace her spiritual side but would later lead her to articulate her travails in future works.

"I suffered the breaking of an engagement, struggled working a 9 to 5 (job) that I hated, wrestled with my own hypocrisy of living one way on Sunday (and another the rest of the time)," she said. "(I was dealing with) so many other straws that (they) one by one became too heavy for me to bear (emotionally). It was at this time that I felt God's love impact me deeply, so much that I wrote the album based on that time in my life."

Her album doesn't disappoint. Aptly titled "Morphed," Jones guides listeners through her spiritual awakening with a cognitive vision that gives the disc a sense of community and purpose. It is also a release that while being spiritual with gospel underpinnings doesn't - www.examiner.com

Detroit-based rapper, educator and Hip-Hop ambassador Mahogany Jones has released her sophomore opus, Sugar Water. The project connects Jones’ distinct approach to lyricism with a heavy abundance of soul. While boom-bap will always remain the center of Jones’ style, Sugar Water moves her art into soulful environs.

As a continuation from her last release, the Pure compilation, the latest project serves Jones’ musical mission to inform and inspire. As Hip-Hop becomes more disparate between the genders by the day,
Jones’ unrelenting pride and celebration of womanhood is at the core of Sugar Water along with the skill necessary to capture of the ears of those who might not be as receptive initially.

Tracks such as “Insight,” “Gold,” “Bring Back The Soul,” and “Grow” are among the many highlights present on the project. With production from Mahogany’s long time producer iRonicLee, Darell “Red” Campbell & new comer Mozaic and features Iomos Marad, Gwenation, Katrina Mitchell, Rocdwell and Kamakazi Sugar Water aims to enlighten as well as entertain.

In a landscape that is devoid of true sustenance, Mahogany Jones aims to change that reality with the release of Sugar Water. The project is available at most digital retailers, including iTunes, Google Play, Bandcamp and more. - Get Money Music.com

An evening of inspirational and uplifting hip-hop by Mahogany Jones and surprise guests.
Jones joined us all the way from Detroit to showcase her spoken-word poetry, freestyle skills and singer/songwriter talents. Her travels throughout the U.S. as both a spoken-word artist and emcee have allowed Jones to grace the stage with such artists as The Roots, Dead Prez, India Arie and many others.
Read more about Mahogany Jones >
About Mahogany Jones
Mahogany Jones is a lyrical force, hailed internationally for her work, as a recording and performance artist, arts advocate, community activist and educator.
Named the only four time undefeated Champion of BET’s 106 & Park “Freestyle Fridays” in 2001, Jones set about establishing herself as an emcee with a cause appearing on over 30 albums and gracing stages with such greats as Gil Scot Heron, Talib Kweli, KEM, Rah Digga, India.Arie, The Roots, Jessica Care Moore and many others.
2012 marked the transition of Jones into an international artist when she selected by the U.S. State Department to serve as an official Hip Hop Ambassador to 5 nations in Africa. She has since served in Iraq, Kurdistan, Sudan, Brazil, and Haiti.
The native New Yorker is also a writer-in-residence for Detroit’s largest literary arts education nonprofit, InsideOut and is a facilitator of hip-hop based prevention programming with the non-profit, The Yuinon.
In addition to teaching, mentoring and recording, Jones serves as weekly host and organizer of 5e Gallery’s The Foundation open-mic. Her latest album, PURE, is due out February 4, 2014 and is dedicated to the healing and empowerment of women.
Named the only four time undefeated Champion of BET’s 106 & Park “Freestyle Fridays” in 2001, Jones set about establishing herself as an emcee bums and gracing stages with such greats as Gil Scot Heron, Talib Kweli, KEM, Rah Digga, India.Arie, The Roots, Jessica Care Moore and many others.
2012 marked the transition of Jones into an international artist when she selected by the U.S. State Department to serve as an official Hip Hop Ambassador to 5 nations in Africa. She has since served in Iraq, Kurdistan, Sudan, Brazil, and Haiti.
The native New Yorker is also a writer-in-residence for Detroit’s largest literary arts education nonprofit, InsideOut and is a facilitator of hip-hop based prevention programming with the non-profit, The Yuinon.
In addition to teaching, mentoring and recording, Jones serves as weekly host and organizer of 5e Gallery’s The Foundation open-mic. Her latest album, PURE, out February 4, 2014, is dedicated to the healing and empowerment of women. - WorldChessHallofFame.org

Mahogany Jones Returns From African Music Tour
NOVEMBER 28, 2012 BY NEWS RELEASE

SOUTHFIELD, Michigan – Detroit-based, inspirational rapper/singer/poet, Mahogany Jones and her band have just returned from a month and half abroad representing the country as an official U.S. Music Ambassador. Now the musical artist will appear on Detroit’s Fox 2 (WJBK) Morning Newscast on Friday, November 30, 2012 during the 8 a.m. segment.

Mahogany Jones performs at the Amaka Arts Festival in Zambia
Mahogany Jones performs at the Amaka Arts Festival in Zambia
During the interview, Mahogany Jones will share about her tour across Zambia, Botswana, Rwanda, Uganda, and Ethiopia and inform the audience of the now open application process with the U.S. State Department’s American Music Abroad program.

Mahogany Jones-Live was one of 12 ensembles selected by the U.S. State Department out of 300 applicants to represent the United States through the American Music Abroad program administered by American Voices. As part of their mission to build cultural bridges, Mahogany Jones and her band performed free concerts, conducted music workshops, encouraged youth in schools, collaborated with native artists, engaged foreign dignitaries and promoted America’s musical contributions on foreign media outlets.

Upon returning to Detroit, Mahogany Jones has been asked to serve as a judge for the next round of artist selections. In addition to this, Jones seeks to speak to media to inform other artists of how they can apply for the same amazing opportunity American Music Abroad.

When not performing abroad, Mahogany Jones, whose real name is Charyse Bailey, substitute teaches in the Warren Public school district, leads after school mentoring programs with the non-profit The Yuinon, and co-hosts an Open Mic celebrating women in hip-hop at Old Miami with the 5e’s Gallery The Foundation.

For more information about Mahogany Jones and American Voices or to request an interview, please contact her management at (313) 986-1966 or email info@MahoganyJones.com. - DearBorn Free Press

Kresge Arts In Detroit Announces, Rapper, Mahogany Jones Among its 2016 Kresge Artist Fellows
Rapper Mahogany Jones Selected out of 450 Applicants to become Second Female Rapper Awarded the Prestigious Kresge Artist Fellowship.

DETROIT - June 24, 2016 - EntSun -- The Kresge Foundation announced Mahogany Jones among the recipients of its 2016 Artist Fellowship, given to those whose commitment to artistic achievement is evident in the quality of their work. Mahogany is one of six recipients selected from 450 applicants in the Film & Music fellowship category. She is only the second female rapper to win this award, following her colleague, Invincible.

Recording and performance artist, educator, and activist Mahogany Jones's career is distinguished by titles. Mahogany is the only four time undefeated Champion of BET's 106 & Park "Freestyle Fridays" (2001), and a U.S. Music Ambassador, selected by the U.S. State Department from over 300 ensembles in 2012. She has served in 11 countries including Brazil, France, Iraq, Finland, Sudan, Botswana, and Montenegro. Mahogany has graced stages with such greats as Gil Scott Heron, Talib Kweli, KEM, Rah Digga, India.Arie, The Roots, and Jessica Care Moore. Most recently, she was billed alongside Grammy Award-winning rapper, Rhapsody at the much publicized and successful, Detroit's First Women in Hip Hop Concert. - EntSun News

Every Tuesday of the year, from 8pm to 2am, the 5E Gallery hosts The Foundation, where resident organizers and artists Piper Carter, Mahogany Jones and DJ Mel Wonder, invite fellow hip hop artists to fill the place up with joy, grace, and love.

When I showed up last Tuesday, July 24th, it was Detroit’s 311th anniversary. I asked Piper: “Anybody got a good song about Detroit tonight?” Sure enough, Piper replied “We gonna make one for you.”

And then, this is what happened. All of the Detroit family joined together for a freestyle:
DJ Mel Wonder hits up the beats. On the mic Mahogany Jones honors Detroit, from Joe Louis to Better Made (chips made in Detroit) Faygo (the soda, or “pop” from the D). She ends with a shout-out to the Great Lakes region and the State of Michigan:

“Throw your mittens up if you’re feeling it!” - Detroit Jetaime

American hip hop and soul artist Mahogany Jones ended her one-week tour of Rwanda with a pledge to help strengthen the local music industry.

The musician, who arrived in the country on October 19, met various artists and personalities to discuss how American artists can collaborate with local artistes to help develop the country’s music industry.

Ms Jones held public concerts, master classes, lecture-demonstrations, workshops and media outreach.

The artist and her band, known as Mahogany Jones LIVE, embarked on a tour of Africa after her group won this year’s US State Department contest to become one of 12 US musical ambassadors.

The State Department’s Bureau of Educational and Cultural Affairs sponsors the American Music Abroad Programme, which this year attracted 300 applicants.

Ms Jones said the aim of her visit was to help strengthen Rwanda’s music industry, bolster organisations for musicians, build networks and contribute to the diversity in the music scene.

“We want to create a bridge between Rwanda and the US using music. We would like to collaborate with different Rwandan artists and even record several songs, which we can promote in the US,” Ms Jones told Rwanda Today.

Performance

On the performance of African music in the US Ms Jones said there are some parts of the country that love it especially in “major cities like New York where I come from we love African culture as a whole.”

Mahogany Jones LIVE performed at the National University of Rwanda in Butare. They had modern musical instruments and DJ Sean Blu was on hand to bring out the band’s best sound.

Lauren Johnson, the band’s drummer and percussionist, delighted the crowd with her hip hop style drumming skills.

The show started on time at 7pm and ran for two hours with Mahogany Jones LIVE performing nonstop. The University’s main auditorium was filled with students and hip hop lovers.

The band’s Africa tour started in Zambia from September 29- October 5; Botswana on October 6-11; Uganda from October 12-18; Rwanda October 19-26 and will end in Ethiopia from October 27- November 5.

Band members

The members of Mahogany Jones LIVE are Mahogany Jones, Lauren Johnson, Rosyln Welch and DJ Sean Blu. - The East African

Petit Stade was the hub of fun on Friday night when U.S Hip-hop artiste Mahogany Jones and her band mesmerised revellers. All photos / Dennis Ndemo

Talk of electric performance and the definition is Mahogany Jones-Live Band.

The four-piece band comprising of Mahogany Jones, team leader and lead singer, Roslyn Welch, Déjà Sean Blu and an energetic Lauren Johnson on the drum, thrilled their Rwandan fans on Friday evening at Petit Stade in Kigali.

The U.S based band performed for several hours leaving the crowd yearning for more.

By 4 p.m, the stage was already set for the big gig with technicians trying to ensure everything was perfect and the show successful.

Prior to the performance, the Mahogany band members mingled freely with the swelling crowd and one could hardly differentiate them from the rest if the crowd, save for their African- American accent.

As daylight succumbed to darkness, so did the crowd increase in size. The security detail was also well articulated with the police at hand to watch out for any trouble.

The event began with a welcome note from Susan Falatko, the Public Affairs Officer at the U.S embassy in Rwanda, who thanked music lovers for turning up to cheer up the American band.

“I want to welcome each one of you and hope we share a language of music and a message of self esteem.” Falatko told the crowd before wishing them a great night of entertainment.

The curtain raisers were local artistes and as the pages of the night flapped open, the story of the night became richer.

There were several performances by local artistes including young rapper Babou, who eventually handed over the microphone to the night’s main performer Mahogany.

The pace changed and a wave of entertainment rented the room in a fresh way, as revellers cheered and danced uncontrollably.

Others were looking for their steps as they lost the beat of the music. The tall lady in jungle green dress, orange boob top and some colourful stilettos moved swiftly and it was a real showcase of America’s talent on the Rwandan stage.

The songs had a range of thematic concerns but notably, the place of women in t society.

“Women are not sexual objects, they are more than their boobs, if you don’t respect life then you don’t respect a woman,” those were the lyrics of one of the songs the band played out.

As the performance intensified, the crowd enjoyed even more, everyone swaying to the musical melodies of the band and as the four-some wound up their act, there was a sense of satisfaction in the audience.

“The State Department did every thing to have such events across the world. They have performed better than they did in the American root competition to emerge top twelve out of 300 groups in America,”

said Jeremy, from the American Music Abroad program. Mahogany, a teacher by profession, told The New Times that she designed the group when the opportunity presented itself. “I finally fulfilled my childhood dream of coming to Africa where I trace my roots. I hope to establish a school of art on in the continent soon.” The Hip-hop songbird called on young women to know their worth and aspire to fulfil their potential without anyone undermining them. “You should learn to change things and know your values and power, and use the same to work alongside men,” observed Jones. The show ended at 9 p.m. Rwanda was the fourth country to tour after Zambia, Botswana and Uganda. The band’s African tour ends in Ethiopia. - New Times

Levantine Public Diplomacy was honored to send the global hip hop ambassador Mahogany Jones to Helsinki to work with the U.S. Embassy to Finland on the “Rhyme with Reason” program.

In Helsinki, Mahogany Jones conducted workshops on female empowerment with Finnish girls, focusing on MCing, spoken word and theater.

Mahogany also connected with Finnish rappers for a freestyle workshop.

Finally, Mahogany Jones was re-united with DJ Zlijay, of the NL Sarajevo Academy and Global NL program, for a final concert in Helsinki. - Levantine Public Diplomacy

Between November 29 and December 4, the US Consulate General in São Paulo received the Artist Hip Hop Mahogany Jones for a program of "Hiplomacy" , ie Diplomacy Hip Hop, with the aim of promoting cultural exchange, emphasizing the Hip Hop as a tool of social change and promoting diversity.

The Consulate, in cooperation with the Special Advisory Hip Hop Secretary of State for Culture, organized activities in São Paulo, Diadema and Santos, including a discussion with leaders of the movement Hip Hop on the influence and role of Hip Hop in the education of young people. Mahogany led Hip Hop workshops with English students of binational centers Brazil-United States Cultural Center (CCBEU) in Santos, and Alumni Association in São Paulo, and also with participants Stars Basketball program at SESC Consolação. Mahogany spoke about the origins of Hip Hop, emphasizing its roots as a peaceful protest movement. Proving that there are no language barriers in music, she also taught young people to rap - creating rhymes to the beat led by Brazilian DJ Lasdenas Simonne, who accompanied all programming and helped Mahogany tell the story of Hip Hop.


This program reflects the continuous efforts of the US Mission in Brazil to make use of cultural diplomacy as a tool of engagement and promotion of education and social inclusion. Mahogany participate the meeting Paulista Hip Hop, which was unfortunately delayed due to the fire at the Memorial of Latin America. Despite this fatality, the singer shared memorable experiences with local youth and the Hip Hop movement enthusiasts. - Embassy and Consulate of The United States Brazil