HOW TO MARRY A BLACK MAN

BY
Mrs. Monique Jellerette-deJongh
and
Mrs. Cassandra Marshall Cato-Louis

One of my oldest and dearest friends sent me this email . . .

"This is a very good article {'Marriage Is for White People' By Joy Jones Sunday, March 26, 2006 A washingtonpost.com article}
and speaks to what most of us already feel and know...! Excellent article. Click on the article link."

In regards to the article:

'Marriage Is for White People' By Joy Jones Sunday, March 26, 2006
: A washingtonpost.com article

I disagree vehemently! I don't think it is an excellent article at all. I think it’s racists and outrageously ill conceived! And upon closer perusal I am actually angered at its poor thesis construction, lack of statistical continuity, blatant contradictory statements, gross generalizations and its harmful (criminal, if you ask me) perpetuation of falsehoods that are keeping black folk from meeting, mating, and marrying!

Unfortunately, I realize that the author, Ms. Joy Jones honestly believes that she's written a balanced, well researched and logical exploration of the topic "Marriage is for White People" NOT!

She hasn’t. Instead Ms. Jones wrote an article primarily based on her own personal life experiences which she manages to turn into fact for the entire African American Population. This is not okay. It would be tolerable had she maintained that the piece was just that: her editorial opinion, But she jumped that deep chasm of integrity; tempting as it is; no doubt; and projected her opinion onto statistical information; interpolating the dismal fate of marriage among all black people.

Ms. Jones is perpetuating a fraud. Please don't buy-into her non-sense? It’s self-destructive thinking like this, on the part of my fellow Black Sistahs that prompted me to write How to Marry a Black Man in the first place!

It saddens me even further that sisters, have swallowed all of her negativity - hook line and sinker! These negative beliefs that she's perpetuating, deepen your worst fears, strengthening your hindrances to finding happiness with a loving husband and fathers for your children.

I have a big problem with this article and here are my reasons why.

First of all Ms. Jones’ first two paragraphs are filled with random and gross generalizations. At first glance they seem to be didactically related but upon closer inspection they are a Freudian laundry list of her hurts, disappointments and, doubts about relationships. She practically eulogizes that “she saw as an adult”(as if her “seeing it is conclusive evidence) “that divorce almost becomes a rite of passage.” What the hell does that mean? It’s a statement based totally “out of any rational context” except, I suspect, the context of her very own un-dealt-with childhood wounds and how she’s allowing that to block her own blessings.

Then she admittedly bases her racist grand title and thesis: 'Marriage Is for White People' on the idle chatter of a l2 year old Black boy during a sixth grade class she was teaching. Ms. Jones neglects to mention his race but based on the accompanying photograph of her teaching a group of Black children – I assume he’s black. Instead of admitting that the young child’s remark confirmed her worst fear; that she might never marry, Ms. Jones turns this child’s statement into an alien monster of sorts; who’s responsible for all of the unmarried black people in the world. She is in complete and total denial of her direct influence on the out come of her own unmarried dilemma.

Ms. Jones never answers these thought provoking questions! Or proves their validity!

"How have we gotten here? What has shifted in African American customs, in our community, in our consciousness that has made marriage seem unnecessary or unattainable?"

And then she proceeds to give undeniable proof that what she’s stating is preposterous! By quoting this historical Fact about black coupling / relationships persevering even during slavery, Ms. Jones is unequivocally contradicting herself, in my humble opinion.

"Although slavery was an atrocious social system, men and women back then nonetheless often succeeded in establishing working families. In his account of slave life and culture, "Roll, Jordan, Roll," historian Eugene D. Genovese wrote: "A slave in Georgia prevailed on his master to sell him to Jamaica so that he could find his wife, despite warnings that his chances of finding her on so large an island were remote. . . . Another slave in Virginia chopped his left hand off with a hatchet to prevent being sold away from his son." I was stunned to learn that a black child was more likely to grow up living with both parents during slavery days than he or she is today, according to sociologist Andrew J. Cherlin."

Throughout this entire article Ms. Jones only mentions the basic human need for love and intimacy once in an extremely poorly-constructed run-on sentence. She states, as a testament by “One {who} told me that…sex and love...have become a la cart choices rather than a package deal that comes with marriage.” I find it curious that she never delves into the probable riches of intimacy and avoids extolling the untold depths of love that are only possible in a uniquely committed bond like marriage. ..instead reducing marriage’s only possible virtues to and I quote “– male companionship, close family ties {and} - a house – I already had, or were within reach and with exponentially less drama.”

Ms. Jones expresses an adolescent construct of marriage (based on a he-said-she-said argument building technique) that confirms a bizarre predisposition that it must suck since she can’t attain it. A basic psychology 101 “sour grapes” attitude if you ask me!

I could conceivably go on deconstructing her composition, sentence by sentence demonstrating to you her really atrocious writing skill, horrific fact finding ability, poor argument building technique, resulting in ill-gotten conclusions; paragraph after paragraph. But it’s just too painful. I hope you can see what I mean?

Her constant reference to unidentified sources is not only tedious but consistently discredits her “advice/findings”? Even so the most credible thing Ms. Jones cites in this entire piece of drivel is by an unidentified “…Black male acquaintance…” His “…prediction” about the lack of marriages is the only relevant truth she actually imparts:

"I don't believe marriage is going to be extinct, but I think you'll see fewer people married," he said. "It's a bad thing. I believe it takes the traditional family -- a man and a woman -- to raise kids." He has worked with troubled adolescents, and has observed that "the girls who are in the most trouble and who are abused the most -- the father is absent. And the same is true for the boys, too."

I believe with all of my being that it is completely possible for you my sistahs, to meet, and marry the man of your dreams. You are the only one who can determine this outcome. You must be as determined to heal your childhood wounds (not completely) but just enough to allow you to let love into your heart. There is no such thing as the perfect man or the perfect marriage; neither do I advise you to seek perfection of yourself. Love yourself unconditionally and open up your heart to the possibility(s).

All of the rest is poppycock.

How to marry a Black Man is complete with advice for trying to always be positive.

Ten of Monique and Cassandra's twenty-five tips...

1. Get your act togetha, so when you finally do meet Mr. Right, he can't resist you.
2. Smile and say "hello" to every Black man you see.
3. Forgive old lovers and make peace with them.
4.Tell everyone you know that you're looking for a husband.
5. Go on as may blind dates as possible.
6. Date men who are not your "type"--you may be pleasantly surprised.
7. If you ask a man a series of questions within the first five minutes of meeting him, he'll tell you almost anything you want to know. After that he clams up and won't tell you a thing.
8. If you realize right away he is someone you don't like but does have an interesting job or hobby, he may have a friend who's perfect for you.
9. If he's available and you like him, don't hesitate to let him know.
10. Dress conservatively. If you attract him with your body, how are you going to keep him with your mind?

About sixteen years ago, on the eve of her thirtieth birthday, Monique Jellerette was desperate to get married, but couldn't seem to find the right man. A married friend, Cassandra, offered some solid (albeit unsolicited) advice. Monique, determined to do it her own way, suffered through a few more dates from Hell before she realized Cassandra's tips might make sense. So she started putting Cassandra's suggestions to work, made up a few tricks of her own, and devised a plan of action...Six months later Monique met and married Bob and became Mrs. Monique Jellerette deJongh! Now, in How to Marry a Black Man, Mrs. Monique Jellerette deJongh and Mrs. Cassandra Marshall Cato-Louis share their secrets wwith women everywhere.

Based on Monique and Cassandra's proven techniques, and coupled with the results of all-male focus groups on what Black men are really looking for in a prospective mate, How to Marry a Black Man is part manual/journal and part workbook, and delivers the goods on how to master the dating game and find a husband.

"Black men, get this--the sisters have done it! They got the formula for turning the brothers into husbands. Buy it, read it, and learn how to protect yourself, or don't--just go buy the ring." --Melvin Van Peebles

Prince's Androgynous Sexuality Saves Us All!

By Monique Jellerette-deJongh

A Response To An Uptown Article:

All The Ladies Call Me Electric Man

By Vicki Shuttleworth ~ Uptown Issue #48 (2001)

Uptown: All The Ladies Call Me Electric Man - link:
By Vicki Shuttleworth ~ Uptown Issue #48 (2001)
Women are a window into Prince's art and inner life. Whether as the subject of lyrics, or part of the "show,' they offer insights into what drives his music and how he relates to the world as a man and an artist. Women have shared in some of his most private and painful moments and, in public, have played the role of sibyl or messenger. In this article, Vicki Shuttleworth looks at the ways in which Prince has constructed roles and identities for women he has worked with. She suggests some reasons as to why his seeming empathy with women and for all things feminine has not produced an enduring intimacy with any one woman.

What we think we “know” about Prince, The Man, has largely been mediated through women. From Gayle Chapman, Jill Jones, Lisa Coleman through to Mayte Garcia, women have alternately acted as an onstage foil in Prince’s performances or been intermediaries and narrators of his public life. They have also defined the parameters of how dirty and daring he is prepared to be on stage by, for example, performing simulated fellatio, or acting as angelic handmaidens to his spiritual renewals as lngrid Chavez and Mayte have done. The women in Prince’s world have often been dismissed by the media as “proteges” (a word implying prostitution and rarely applied to males even in its masculine form) or described as part of an unimpressive collection of “sundry other women” (George Nelson).

By contrast, Prince himself has placed women centre stage and almost exclusively enlisted women to tell his story — Troy Beyer narrates The Ryde Dyvine, Kirstie Alley plays journalist Vanessa Bartholomew in the “My Name Is Prince” video and on the f album, Vanessa Marcil stumbles into a rehearsal for The Undertaker, Nona Gaye plays the lonely fan who finds The Beaut(ful Experience and Corrie Dana is the fan/atic in Love 4 One Another. The versatile Mayte penned letters to official Fanzines Controversy and NPG Magazine on Prince’s behalf, narrated a segment on the NPG shop in Minneapolis and spoke for a voiceless Tora Tora on the BBC’s The Sunday Show. Telling Prince’s storyA common thread in all of these “scripts” is Prince as the elusive and unattainable object of desire. A frustrated female reporter (Troy Beyer, Kirstie Alley) arrives on the scene of an excited and expectant crowd, but where is Prince? Fan/abc, Corrie Dana gets to hang out with band members but the closest she comes to meeting her “soul mate” is on the other end of a telephone. Women also play the role of ingenue through which Prince delivers his message or moral “truth”: a disconsolate Jan (Nona Gaye) accesses the “beautiful experience” and learns the importance of self-love and inner beauty. In her letter to Prince’ (NPG Magazine, No.1), Mayte assumes the role of the adoring fan who while”...a little confused with everything that’s going on in your life” pleads for “a chance to experience Prince’ and his new music.” Every shift in Prince’s career or persona has produced a reinterpretation of his relationship with women. He started out as the Horny Toad whose sexual appetite could only be sated by an endless procession of willing females. By the time he became Lovesexy it was all about understanding — he understood them and they in turn understood him better than any male could. “The Most Beautiful Girl In The World” competition and video set out to affirm this empathy by identifying an almost complete spectrum of women as “beautiful”: old, young pretty, plain, elegant, ungainly, fat, slim, and all shades of colour. When Prince finally became Somebody’s Somebody and he could no longer hang loose with the girls, his relationship with women was further internalized and became a matter of him feeling comfortable with his “feminine side.”

He even tantalized Oprah viewers (1996) with the revelation that analysts had discovered two people inside him — one possibly female. Whatever the truth, his most relaxed interviews are undoubtedly with women: notably an awestruck Mel B who allowed him to shape and direct their Beautiful Strange encounter. Transient relationshipsGiven his much publicized affinity with women and all things feminine, it’s curious that none of Prince’s relationships with women — personal or professional — have endured. Wendy and Lisa were still offering unflattering and bitter comments about their former boss 15 years after their departure. Their current relationship with Prince seems guarded and distant pointing to unfinished business Prince clearly accepts and perhaps even admires strong self-sufficient women — educator Marva Collins and fellow artists Mavis Staples, Patti La Belle, Rosie Gaines and Chaka Khan. Yet every one of these relationships including those most personally intense — with Kim Upsher, Susan Moonsie, Jill Jones, Vanity, Susannah Melvoin, Sheila F., Anna Garcia, Kim Basinger, Carmen Electra and Mayte — appear to be transient. The man himself has perhaps provided one kind of explanation: “I like to watch.” Prince has always presented himself as a singular man — a unique musician, a renegade, an outsider, a watcher, even a voyeur whose “curiosity knows no shame”. The voyeur features in many of Prince’s songs including “Violet The Organ Grinder,” “Pheromone,” “I Wanna Melt With U,” the videos for which sample the style of pornographic movies, as does “Acknowledge Me” where the boys wear suspender belts and the girls in true S&M style lead men on chains like dogs. The voyeur is represented by the eye and it’s no coincidence that many of Prince’s studio photographs and recording artworks feature his eye or eyes looking out into the world with a detached and dispassionate stare.

The roles played by Kirstie Alley, Nona Gaye and Corrie Dana also express that detachment. As characters they watch Prince at a distance; as actors they are agents for Prince in maintaining his distance from the crowd. Bitch or angelPrince’s detachment is most apparent in the idiosyncratic way he stylizes women. All of the women in his entourages have fitted somewhere along a continuum of familiar sexual types — from “bitches” (Vanity) through to angels (Mayte). As a “bitch” concept, Vanity 6 and Apollonia 6 have been variously damned as “tacky,” “perverted” and an outdated adolescent fantasy that demeaned women. In a sense Vanity 6 and Apollonia 6 were far from being an anachronism; they were very much part of ‘8os Retro. Their “sisters” may have been padding out their corporate shoulders and talking about sexploitation but like most late 70s/earIy ‘8os performers, Vanity and Apollonia’s “look” was a direct take on an earlier style — in their case ‘405-505 “Cheesecake.” Prince had been borrowing and recycling styles long before the Vanity 6 project — punk and pimp, for example. Early commentators put this down to Prince’s eclecticism but it was more than that Whereas other ‘805 performers (for example, Adam Ant and Boy George) studied a particular genre and absorbed it into their own personal style, Prince tended to take only the most obvious, familiar aspects of a concept or fashion and use it as a fetish for his audience. With Diamonds And Pearls he took the Gangsta Glam of Raymond Chandler and Film Noir, threw in some Audrey Hepburn/Jane Russell sophistication (Diamond and Pearl) and added a little of the Epic from ancient Assyria and Rome with his hairstyle and stage settings — all chosen for their readily identifiable cultural meanings. Thus Vanity was a “nasty girl” before she sang even one note. She and her “ladies” wore all the recognizable fetishes — lace underwear, suspender belts, leather. From 1999 through to Come, Prince sets and videos are a visual catalogue of fetishistic gear: captain caps, masks, chains, bars, leather and feathers, not to speak of Prince’s own frills, laces, and bottomless breeches. As a keen observer of the ways in which people “show” or express their Inner life, Prince knows how to press all the right cultural buttons on sexuality.

Mayte’s transformation - Mayte has played every role that Prince ever required of a woman including the two traditional extremes of desirability — the pneumatic lover with pussy control and virgin/angel. Mayte starts as the pretty, innocent girl on roller skates, evolves into a mysterious and alluring belly dancer, and goes on to be a hip hop sex pot. She even transforms herself into Prince as part of the Act II show not only demonstrating the illusory nature of ”Prince” but also hinting at their more personal association. How then did Mayte make the transition to friend, lover, mother, wife? Do we believe Prince when he told Oprah, “I almost willed her to me”? Prince’s words shouldn’t be taken too literally but power, control, intimacy and freedom have been ongoing themes and tensions in both his public and private lives. The handcuffs of sexual bondage used in “Automatic” become the handcuffs he gives to Mayte as a symbol of their spiritual bond; the diamante handcuffs of ”creative bondage” he wore during his battle with Warners become the manacles that he breaks apart in Emancipation.

The way in which Prince attempted to stage manage the progress of his marriage to Mayte and their separation however, reveals both a will to control public perceptions and a high level of personal detachment With a couple of notable exceptions (the marriage ceremony and the death of their child) Prince placed every aspect of his relationship with Mayte in the public domain. Its representation may not have been realistic or believable (suggesting that he was either out of touch with his own feelings or public understanding) but Prince certainly made his marriage part of the “show.” Managing his own messageAs a married man with a wife who had “retired,” there was no other woman who could act as mediator, apart from a female publicist producing the occasional press release. For the first time, Prince was managing his own message and he turned to the kinds of imagery and spin that he was most familiar with. There was the Internet wedding program, which mythologized their relationship as a quasi-religious Epic, followed by a syndicated wedding photo showing the couple in a steamy Mills & Boon pose. His official website Love4oneanother.com posted a sequence of salacious reports about Tom the Peeper, who allegedly took explicit photos of the couple making love on a beach in Hawaii (August1997). Was the purpose of these postings to show that Prince was immune to blackmail, or, to sell the idea that he and Mayte we’re still a “hot” couple? There was also the vignette of an outdoor lunch at Campiello’s (September, 1997) as they “spent their last afternoon 2gether (until next month...).’ Was Prince generously sharing an intimate moment with fans, or, anticipating the inevitable gossip when people noticed that they were no longer the inseparable couple?

Whatever his motives, these seemingly private moments were served up to a gossip greedy public for its delectation. Likewise, the press conference held in late 1998 in Spain where Prince announced that he and Mayte had annulled their marriage Contract and would “re-marry” on St Valentine’s Day 1999. The purchase of the house in Spain was variously reported as a gift to Mayte, then the NPG, then proposed as an orphanage. Photos of the house suggest that Prince was well and truly the “owner” if not the occupier. In true Lord of the Manor style his symbol (incorporating an “M” as a minor detail) is stamped on plate ware, furnishings and the exterior of the house. One of the last images of their marriage is the Steve Parke photo of Mayte and Prince at rest (Style, May 2000). In a coolly immaculate and symmetrically composed shot they are curled upon a bed end to end. The import of the pose is clear — together yet apart.

Prince can hardly have overlooked this interpretation and it stands as a very public and oddly detached statement on what most people might have otherwise assumed was a loving relationship. From engagement through to divorce, Mayte and Prince’s relationship may indeed have been the Greatest Romance That’s Ever Been Sold. It undoubtedly served a purpose in maintaining Prince’s public presence and sense of who he thought he should be at that particular time in his life. The New WorldThe ladies may still call Prince “Electric Man” but it’s unlikely that he will ever rely on a female mediator or ingenue in quite the same way he did in the ‘8os and ‘90s. Apart from anything else, the gawdy days of rock gods, princes and princesses with their fairy tale entourages and court gossip have been usurped by a rising of the masses. In 2001, the public can watch the transformation of the boy/girl next door into a Popstar or a Survivor through “reality” television programs.

Prince is yet to create a path for himself in this New World. This is apparent in the way he has chosen to present his new dancer, Geneva. While the Geneva wallpaper on offer for download from the npgonlineltd.com website is reminiscent of Vanity “Cheesecake” poses, so far there has been no attempt to construct a public persona or mythology around her and she is predominantly feted for her extraordinary dancing. Whether by choice or circumstance, perhaps Prince has finally recognized the value of being his own messenger and to let the music speak for itself.

By Vicki Shuttleworth.

Prince's Androgynous Sexuality Fuels Us All!
By Monique Jellerette-deJongh

In response to Uptown Articles Collection: : All The Ladies Call Me Electric Man

By Vicki Shuttleworth ~ Uptown Issue #48 (2001)

Prince's Androgynous Sexuality Fuels Us All!

Ms. Vicki Shuttleworth's writing hints of an unexpected jealousy - a preferred perfectionism...to traditional heterosexual-ism. Prince's androgynous sexuality, in my opinion is the core emotional foundation that fuels his his entire career as a Superstar Performer always with his finger on the pulse of success! By focusing your observations so much only on the pivotal relationships he's had with straight women in the latter part of hiss life; Ms. Shuttleworth implies his genius is all male concocted and totally unaffected by the (his) feminine mystique. A fact that sweetly confounds his music! Ms. Shuttleworth's, implication that his deliberate control of his celebrity is only a facade of getting married and maintaining a somewhat 'normal' family man image (as opposed to) an on going ignition of his infamous reputation as an uncontainable volatile sex slave; is ill conceived, I do believe. You've failed to unravel his clever honesty and ambiguity about his own sexual orientation...a sort of bi-sexual; bi-racial sub-identity that underlines his sensitive lyrics and transcends obvious definitions of male/femaleness. This honest exploration of sexuality; however thwarted by his male appetite for porn images and unabashed dominance of all things feminine; has always been reflected in his music. He's never been traditional about the private choices men and women have in relationships. I for one, love that about him.

Granted he uses Women as reflections of his own self-objectification! As a sex object himself he shares the role of the passive aggressive seducer much like Houdini distracts his audience from unmasking the secrets of his 'tricks' with a quick flash of color or flamboyance; Prince stimulates your deep unconscious sexual desires. Considering Prince grew up secretly watching his father play brilliant piano in 'dirty mind' strip joints around Minneapolis I think you are missing the exquisite uniqueness of his splendor - he has flipped the script on interpersonal relationships - revealing what many off us veterans of scarred love affairs and tried and true marriages have learned the hard way - that men can be and are more oft than not - 'soft and wetter' than their 'female' counterparts. . . and as their wives/lovers/healers we are the protectors of this secret and their mystic spiritual guides to their own true natures.I personally love Prince for never falling for the traditional image(s) of manhood ; womanhood; and/or marriage. I adore his attention to erotic detail that I only wish my husband had the capacity to maintain.

Prince's music remains an ever lasting tribute to the enigma; the yin/yang of sexuality and it's vices, privileges and responsibilities...Would you want to be responsible for Princes ongoing orgasms? Keeping it fresh by constantly reinventing yourself as to keep inspiring his mature (twin/duel Gemini) genius musicians 'dirty mind' as his 'whore' in the bedroom (similar to the women he peeped in his childhood) all the while walking that ever challenging tight rope of being his 'Virginal' Madonna wife/lover/friend/life partner in the public eye?? Not I.I admire his attempts at self-healing and self redemption. They are a true balancing act in the face of fame and fortune.

And Big Props to those fragile women who took on the challenge to love, understand and heal such a complex sexually-oriented male human being, who also happens to be a mega star musician in need of spiritual grounding as much as any man on earth.AND as if that weren't enough he's a self-taught multitasking musician; able to play several instruments funkily in a single bound...his genius know no boundaries. What a complex person to really love, in the face of your own faults and shortcomings; all under public scrutiny!Ms. Shuttleworth seems to think he fits into the 'typical' mold of husband and father? Relying on the women in his life to somehow not become his parallel sex objects or fascinations of the public eye.

What do U think drives his huMANness? ...His music...His mystique?
I would die 4 U . . . ? Only if U want me 2! ;-)or If I were your girlfriend...

By Monique Jellerette-deJongh

I would die 4 U - lyrics
By Prince
(extended Version)

I'm not a womanI'm not a manI am something that U'll never understand I'll never beat U I'll never lie And if U're evil I'll forgive U by and by Cuz U - I would die 4 U, yeah If U want me 2 U - I would die 4 U, yeahI'm not your lover But I'll be your friend I am something that U'll never comprehend No need 2 worry No need 2 cry He's your messiah and U're the reason why Cuz U - I would die 4 U, yeah Darling, if U want me 2 U - I would die 4 U, yeahLead line, help meU're just a, U're just a...U're just a sinner I am told Be your fire when U're cold Make U happy when U're sad Make U good when U are bad I'm not a human, I am a dove I'm your conscience, I am love All I really need is 2 know that U believeI would die 4 U, yeah Darlin', if U want me 2 U - I would die 4 U

If I were your girlfriend...
By Prince
If I Was Your Girlfriend [Controversy Music, ASCAP - 1987]------------------------"Look at the bargains over here, ladies..."If I was your girlfriendWould U remember2 tell me all the things U forgot when I was your man?When I was your manIf I was your best friendWould U let me take care of UAnd do all the things that only a best friend canOnly best friends canIf I was your girlfriend If I was your girlfriendIf I was your girlfriendWould U let me dress UI mean, help U pick out your clothesBefore we go outNot that you're helplessBut sometime, sometimeThose are the things that bein' in love's aboutIf I was your one and only friendWould U run 2 me if somebody hurt UEven if that somebody was me? (Even if that somebody was me?)Sometimes I trip on how happy we could bePleaseIf I was your girlfriend If I was your girlfriendWould U let me wash your hairCould I make U breakfast sometimeOr then, could we just hang out, I meanCould we go 2 a movie and cry togetherCuz 2 me baby that would be so fine (That would be so fine)(If I was your girlfriend)Baby can I dress UI mean, help U pick out your clothesBefore we go out(If I was your girlfriend)Listen girl, I ain't sayin you're helplessBut sometime, sometimeThose are the things that bein' in love's about (Sugar)Sugar do U know what I'm saying 2 U this evening? (Sugar)Maybe U think I'm being a little self-centered (If I was your girlfriend)But I, I said I want 2 be (Sugar)All of the things U are 2 me (Sugar) (If I was your girlfriend)Surely, surely U can seeIs it really necessary 4 me 2 go out of the roomJust because U wanna undress? (If I was your girlfriend)We don't have 2 make children 2 make love And we don't have 2 make love 2 have an orgasm (If I was your girlfriend)Your body's what I'm all about (If I was your girlfriend)Can I see it?I'll show U (If I was your girlfriend)Why not?U can do it because I'm your friendI'll do it 4 UOf course I'll undress in front of U! (If I was your girlfriend)And when I'm naked, what shall I do?How can I make U see that it's cool? (If I was your girlfriend)Can't U just trust me?If I was your girlfriend U could (If I was your girlfriend)Oh, yeah, I think soListen, 4 U naked I would dance a ballet (If I was your girlfriend)Would that get U off?Then tell me what will!If I was your girlfriend, would U tell me? (If I was your girlfriend)Would U let me see U naked then?Would U let me give U a bath?Would U let me tickle U so hard U'd laugh and laugh (If I was your girlfriend)And would U, would U let me kiss U there (If I was your girlfriend)You know down there where it counts (If I was your girlfriend)I'll do it so good I swear I'll drink every ounceAnd then I'll hold U tight and hold U long (If I was your girlfriend)And together we'll stare into silenceAnd we'll try 2 imagine what it looks likeYeah, we'll try 2 imagine what, what silence looks likeYeah, we'll try 2 imagine what silence looks likeYeah, we'll try...

Let me know what you think?
Mo-J