View allAll Photos Tagged Hitmaker,
The new wave/electro-pop troupe Fischerspooner were formed in New York City in 1998 and have come to incorporate multimedia, strange handmade costumes, dancing, and performance art. Originally a duo formed by classically trained musician Warren Fischer and video artist and experimental theater performer Casey Spooner for an impromptu rendition of their makeshift track "Indian Cab Fever" at the Astor Place Starbucks, the group grew to over 20 performers, mostly dancers and guest vocalists. These singers have included Cindy Greene, Lizzy Yoder (also of Sweet Thunder), and Korean pop recording artist Mona Trona. The group uses the stage antics of David Bowie and traditional mainstream pop vocalists, along with the campy electronics of Giorgio Moroder or Depeche Mode and vocoders of Trans Am. By the time of their 2000 eponymous debut, Fischerspooner were a certifiable sensation in downtown New York City art galleries and clubs. The single "Emerge" topped European charts, invited a six-song remix EP, and won Fischer and Spooner invitations to international fashion, art, and society happenings. The 2002 album 1 was a re-envisioning of their debut with yet another mix of "Emerge," this time more sedate and electro, following the trend of the times. The duo returned in 2005 with second album Odyssey, on which hitmaker Linda Perry, intellectual Susan Sontag, and Madonna producer Mirwais all made appearances. ~ Daphne Carr, All Music Guide
Fischerspooner live on Super Paradise beach, Mykonos - August 8, 2009
The new wave/electro-pop troupe Fischerspooner were formed in New York City in 1998 and have come to incorporate multimedia, strange handmade costumes, dancing, and performance art. Originally a duo formed by classically trained musician Warren Fischer and video artist and experimental theater performer Casey Spooner for an impromptu rendition of their makeshift track "Indian Cab Fever" at the Astor Place Starbucks, the group grew to over 20 performers, mostly dancers and guest vocalists. These singers have included Cindy Greene, Lizzy Yoder (also of Sweet Thunder), and Korean pop recording artist Mona Trona. The group uses the stage antics of David Bowie and traditional mainstream pop vocalists, along with the campy electronics of Giorgio Moroder or Depeche Mode and vocoders of Trans Am. By the time of their 2000 eponymous debut, Fischerspooner were a certifiable sensation in downtown New York City art galleries and clubs. The single "Emerge" topped European charts, invited a six-song remix EP, and won Fischer and Spooner invitations to international fashion, art, and society happenings. The 2002 album 1 was a re-envisioning of their debut with yet another mix of "Emerge," this time more sedate and electro, following the trend of the times. The duo returned in 2005 with second album Odyssey, on which hitmaker Linda Perry, intellectual Susan Sontag, and Madonna producer Mirwais all made appearances. ~ Daphne Carr, All Music Guide
Fischerspooner live on Super Paradise beach, Mykonos - August 8, 2009
It's your boy, Romeo! ('W' con Yandel!)
So nasty! (Oye, bebe!)
("Pa'l Mundo"!)
(Romeo)
¿Oye, que tal?
Soy el chico de las poesías
Tu fiel admirador
Y aunque no me conocías
Hoy es noche de sexo
Voy a devorarte, nena linda(Nelly)
Hoy es noche de sexo
Y voy a cumplir tus fantasías(Como)
Hoy es noche de sexo (Ayyy!)
Voy a devorarte, nena linda
Hoy es noche de sexo
Lo juro por Dios que esta noche serás mía
(Wisin)
(Queeeeeeeeeeeeeeeeee!)
Quiero arrancarte la tela con cautela
Mi piel canela enseguida pela
Ella es la protagonista de mi novela
Mi Cinderella conmigo es que vuela
Póngase romántica, please
Dame un kiss, no cometa un desliz
Ella combina la calle con la moda de Paris
La miss sigue matando en el paíis
(Romeo)
Hoy es noche de sexo
Voy a devorarte, nena linda
Hoy es noche de sexo
Y voy a cumplir tus fantasías
Hoy es noche de sexo (Ayyy!)
Voy a devorarte, nena linda
Hoy es noche de sexo
Lo juro por Dios que esta noche serás mía
(Yandel)
Acércateeee...
Te diré queee...
Nadie te va a tocar como yo
Nadie te lo va a hacer como yo
Acércateeee...
Te diré queee...
Nadie te va a tocar como yo(no)
Nadie te lo va a hacer como yo(no)
Decídete ya cuando será
Que tu boca tocara mi boca
So, dime ya que tú me das
Quiero sentirte, besarte
Mi lengua pasarte
Y vas a sentirte bien
Vamos a pasarla bien
Tu no vez que estoy sufriendo
Y pasando el tiempo sin comerte
(Romeo)
Empecemos en la playa
Terminemos en la cama
Trae la toalla porque te vas a mojar
En flex, mami, en sex
Lay on my bed and prepare for sex
Hoy es noche de sexo
Voy a devorarte, nena linda
Hoy es noche de sexo
Y voy a cumplir tus fantasías
Hoy es noche de sexo (Ayyy!)
Voy a devorarte, nena linda
Hoy es noche de sexo
Lo juro por Dios que esta noche serás mía
'W', el sobreviviente!
Con Yandel!
Tu Romeo Mami
Nelly!
Nesty!
No hay pa' nadie!
Llego el dream team!
El dream team!
Yandel
Salte de la vía!
Que por ahí viene el tren!
Boo!
Tra! (Frikia'o!)
Boo! (Tell them about the name!)
Tra! (Hitmaker!)
Boo! (Hitmaker, baby!)
Tra! (Don't stop, baby!)
Boo!
Tra!
Oye, Romeo!
El dúo de la historia!
na uoououououauauaua
Zumba, Romeo, zumba!
No hay pa' nadie!
Esta bien ya!
No llores!
El dúo de la historia!
Con Romeo!
Un junte pa' la historia!
Esto es de colección, hermano!
www.youtube.com/watch?v=uINgPW7J_XU
Right Now Sound
I be with the Hitmaker
Sound
Baby, come give me something new (hol' up) (ooh)
Baby, come give me something new (ooh)
'Cause I can't stop lovin' you (ooh, yeah)
Since I got a taste of your love (ooh, yeah)
Baby, come give me something new (ooh, ooh-whoa)
Goddamn, you know who I am
Try to be on the low, but you ain't slow
Keep my shirt open, eyes low
Get a lot of paper, I know
But you ain't into that
You like real facts
Like, if you show love, you gon' get it back
Like, if you fuck good, you gon' get it back
Like, if you cook, wanna a real nigga that
Gon' rap 'til that pussy like, uh, uh
We can go and get a private room
We could fuck for one night, ain't gotta jump the broom
Say your nigga, chill
Baby, come give me something new (ooh)
Baby, come give me something new (ooh)
'Cause I can't stop lovin' you (ooh, yeah)
Since I got a taste of your love (ooh, yeah)
Baby, come give me something new (ooh, ooh-whoa)
I can tell you ain't from 'round here
All that body, baby, it's not fair
Pull up on that ass in a drop, yeah
That's your ex, nigga? I'm dead
Lookin' for a real one? You found it
California King, we gon' go bounce on it
No doubt, yeah
Leave your legs shakin'
I might sing to that pussy like, la-da-da-di-da (di, yeah)
Girl, your shit so classic, it don't need no features (no, ooh yeah)
Baby, come give me something new (ooh)
Baby, come give me something new (ooh)
'Cause I can't stop lovin' you (ooh, yeah)
Since I got a taste of your love (ooh, yeah)
Baby, come give me something new (ooh, ooh-whoa)
Girl, you look just like somethin' out a magazine ('zine)
You smell great, know your body clean (yeah)
Them niggas been on you since you was a teen (teen)
Now you grown up, and I'm a boss, I'm just showin' love (love)
Smell like kush when I'm rollin' up (roll)
So much bank, I can't fold it up (fold)
It's so good, got you callin' up (call)
Tryna kick it with a nigga like, uh (brr), ooh
Baby, come give me something new (ooh)
Baby, come give me something new (ooh)
'Cause I can't stop lovin' you (ooh, yeah)
Since I got a taste of your love (ooh, yeah)
Baby, come give me something new (ooh, ooh-whoa)
Aaliyah Dana Haughton - January 16, 1979 – August 25,
2001)
www.youtube.com/watch?v=Q6MEBi4ejTs
Aaliyah Dana Haughton was a multi-platinum recording artist, fashion icon, philanthropist,
and burgeoning actress. She left behind a body of work that made an undeniable impact on R&B
music and remains a testament to her many talents. Her debut album in 1994, “Age Ain’t
Nothing But a Number,” was a hit due to her debut single “Back and Forth.” However, it was
her collaboration with a then unknown Missy Elliott and Timbaland for the album “One in a A
Million” that blew her career up.
Before her death, she also had an up-and-coming acting career in films like “Romeo Must Die”
and a role in the “Matrix” sequel. Aaliyah once told VIBE, “Of course, I would love to get
into acting and I am talking to a few producers now. That would be really exciting to be a
jack of all trades and do music, movies and TV. I love drama and I think I could be a good
dramatic actress. I have to ‘act out’ emotions in my videos a lot and I try to seem as
realistic as possible.”
She continued, “I also would like to make bigger impact on the world by giving back, and
using my celebrity to raise money for people who need it the most. What good is having money
and being famous if you can’t share it with others less fortunate than yourself? I always
felt that you should treat others how you yourself want to be treated.”
Sadly, we lost the singer in a plane crash on August 25, 2001 in the Bahamas. She was only
22 years old.
Biography
Aaliyah Dana Haughton - January 16, 1979 – August 25, 2001) was an American singer, actress,
and model. Born in Brooklyn, New York, and raised in Detroit, Michigan, she first gained
recognition at the age of 10, when she appeared on the television show Star Search and
performed in concert alongside Gladys Knight. At the age of 12, Aaliyah signed with Jive
Records and her uncle Barry Hankerson's Blackground Records. Hankerson introduced her to R.
Kelly, who became her mentor, as well as lead songwriter and producer of her debut album,
Age Ain't Nothing but a Number. The album sold 3 million copies in the United States and was
certified double platinum by the Recording Industry Association of America (RIAA). After
facing allegations of an illegal marriage with Kelly, Aaliyah ended her contract with Jive
and signed with Atlantic Records.
Aaliyah worked with record producers Timbaland and Missy Elliott for her second album, One
in a Million, which sold 3 million copies in the United States and more than 8 million
copies worldwide. In 2000, Aaliyah appeared in her first film, Romeo Must Die. She
contributed to the film's soundtrack, which spawned the single "Try Again". The song topped
the Billboard Hot 100 solely on airplay, making Aaliyah the first artist in Billboard
history to achieve this goal. "Try Again" also earned Aaliyah a Grammy Award nomination for
Best Female R&B Vocalist. After completing Romeo Must Die, Aaliyah filmed her role in Queen
of the Damned, and released her self-titled third and final studio album in 2001.
On August 25, 2001, Aaliyah and eight others were killed in a plane crash in the Bahamas
after filming the music video for the single "Rock the Boat". The pilot, Luis Morales III,
was unlicensed at the time of the accident and toxicology tests revealed that he had traces
of cocaine and alcohol in his system. Aaliyah's family later filed a wrongful death lawsuit
against Blackhawk International Airways, which was settled out of court. Aaliyah's music
continued to achieve commercial success with several posthumous releases, and has sold an
estimated 24 to 32 million albums worldwide. She has been credited for helping redefine
contemporary R&B, pop and hip hop,[1] earning her the nicknames the "Princess of R&B" and
"Queen of Urban Pop". Billboard lists her as the tenth most successful female R&B artist of
the past 25 years, and the 27th most successful in history.
Early life
Aaliyah Dana Haughton was born on January 16, 1979, in Brooklyn, New York,[2] and was the
younger child of Diane and Michael "Miguel" Haughton (1951–2012).[3] She was of African-
American descent, and had Native American (Oneida) heritage from a grandmother.[3][4][5] Her
name has been described as a female version of the Arabic "Ali", but the original Jewish
name "Aliya (Hebrew: אליה)" is derived from the Hebrew word "aliyah (Hebrew: עלייה)", meaning
"highest, most exalted one, the best."[6][7] The singer was highly fond of her Semitic name,
calling it "beautiful" and asserting she was "very proud of it" and strove to live up to her
name every day.[6] Aaliyah's mother enrolled Aaliyah in voice lessons at an early age.[2]
She started performing at weddings, church choir and charity events.[8] When Aaliyah was
five years old, her family moved to Detroit, Michigan, where she was reared along with her
older brother, Rashad.[9][10] She attended a Catholic school, Gesu Elementary, where in
first grade she was cast in the stage play Annie, which inspired her to become an
entertainer.[11] In Detroit, her father began working in the warehouse business, one of his
brother-in-law Barry Hankerson's widening interests. Her mother stayed home and raised
Aaliyah and her brother.[12]
Throughout Aaliyah's life, she had a good relationship with Rashad, who recalled Aaliyah
having a beautiful voice as a child.[11] Aaliyah's family was very close due to the
struggles of her grandparents and when they moved to Detroit, the Hankersons were ready to
take them in if necessary. These same bonds led to ties in the music industry, under the
Blackground Records label.[6]
Aaliyah's mother was a vocalist, and her uncle, Barry Hankerson, was an entertainment lawyer
who had been married to Gladys Knight.[10] As a child, Aaliyah traveled with Knight and
worked with an agent in New York to audition for commercials and television programs,
including Family Matters; she went on to appear on Star Search at the age of ten.[2] Aaliyah
chose to begin auditioning. Her mother made the decision to drop her surname.[12][13] She
auditioned for several record labels and at age 11 appeared in concerts alongside Knight.
[10][14] She had several pet animals during her childhood, including ducks, snakes and
iguanas. Her cousin Jomo had a pet alligator, which Aaliyah felt was too much, remarking,
"that was something I wasn't going to stroke."[6]
Her grandmother died in 1991. Years after her death, Aaliyah said her grandmother supported
everyone in the family and always wanted to hear her sing, as well as admitting that she
"spoiled" her and her brother Rashad. She also enjoyed Aaliyah's singing and would have
Aaliyah to sing for her. Aaliyah said she thought of her grandmother whenever she fell into
depression.[15] Aaliyah's hands reminded her of her aunt, who died when she was very young
and whom Aaliyah remembered as an "amazingly beautiful woman".[16]
Education
When she was growing up, Aaliyah attended Detroit schools and believed she was well-liked,
but got teased for her short stature. She recalled coming into her own prior to age 15 and
grew to love her height. Her mother would tell her to be happy that she was small and
compliment her. Other children disliked Aaliyah, but she did not stay focused on them. "You
always have to deal with people who are jealous, but there were so few it didn't even
matter. The majority of kids supported me, which was wonderful. When it comes to dealing
with negative people, I just let it in one ear and out the other. Those people were
invisible to me." Even in her adult life, she considered herself small. She had "learned to
accept and love" herself and added: "... the most important thing is to think highly of
yourself because if you don't, no one else will".[6]
During her audition for acceptance to the Detroit High School for the Fine and Performing
Arts, Aaliyah sung the song "Ave Maria" in its entirety in the Italian language.[17]
Aaliyah, who maintained a perfect 4.0 grade point average when graduating from high school,
felt education was important. She saw fit to keep her grades up despite the pressures and
time constraints brought on her during the early parts of her career. She labeled herself as
a perfectionist and recalled always being a good student. Aaliyah reflected: "I always
wanted to maintain that, even in high school when I first started to travel. I wanted to
keep that 4.0. Being in the industry, you know, I don't want kids to think, 'I can just sing
and forget about school.' I think it's very important to have an education, and even more
important to have something to fall back on." She did this in her own life, as she planned
to "fall back on" another part of the entertainment industry. She believed that she could
teach music history or open her own school to teach that or drama if she did not make a
living as a recording artist because, as she reasoned, "when you pick a career it has to be
something you love".[6]
Career
1991–1995: Age Ain't Nothing but a Number
R. Kelly was introduced to Aaliyah and became her mentor, as well as lead songwriter and
producer on her debut album.
After Hankerson signed a distribution deal with Jive Records, he signed Aaliyah to his
Blackground Records label at the age of 12.[18][19] Hankerson later introduced her to
recording artist and producer R. Kelly,[14] who became Aaliyah's mentor, as well as lead
songwriter and producer of her first album, which was recorded when she was 14.[2][19][20]
Aaliyah's debut album, Age Ain't Nothing but a Number, was released under her mononym
"Aaliyah", by Jive and Blackground Records on May 24, 1994; the album debut at number 24 on
the Billboard 200 chart, selling 74,000 copies in its first week.[21][22] It ultimately
peaked at number 18 on the Billboard 200 and sold over three million copies in the United
States, where it was certified two times Platinum by the RIAA.[22][23][24] In Canada, the
album sold over 50,000 copies and was certified gold by the CRIA.[25] Aaliyah's debut
single, "Back & Forth", topped the Billboard Hot R&B/Hip-Hop Songs chart for three weeks and
was certified Gold by the RIAA.[24][26] The second single, a cover of The Isley Brothers'
"At Your Best (You Are Love)", peaked at number six on the Billboard Hot 100 and was also
certified Gold by the RIAA.[24][26] The title track, "Age Ain't Nothing but a Number",
peaked at number 75 on the Hot 100.[26] Additionally, she released "The Thing I Like" as
part of the soundtrack to the 1994 film A Low Down Dirty Shame.[27]
Age Ain't Nothing But a Number received generally favorable reviews from music critics. Some
writers noted that Aaliyah's "silky vocals" and "sultry voice" blended with Kelly's new jack
swing helped define R&B in the 1990s.[28][29] Her sound was also compared to that of female
quartet En Vogue.[28][30] Christopher John Farley of Time magazine described the album as a
"beautifully restrained work", noting that Aaliyah's "girlish, breathy vocals rode calmly on
R. Kelly's rough beats".[31] Stephen Thomas Erlewine of AllMusic felt that the album had its
"share of filler", but described the singles as "slyly seductive".[2] He also claimed that
the songs on the album were "frequently better" than that of Kelly's second studio album, 12
Play.[2] The single "At Your Best (You Are Love)" was criticized by Billboard for being out
of place on the album and for its length.[32]
1996–1999: One in a Million
"If Your Girl Only Knew" (1996)
Menu
0:00
The first single released from her second studio album, "If Your Girl Only Knew" was
described as a sassy, organ-infused song.[33] Aaliyah was noted for having "smoother, more
seductive, and stronger" singing.[34]
Problems playing this file? See media help.
In 1996, Aaliyah left Jive Records and signed with Atlantic Records.[14] She worked with
record producers Timbaland and Missy Elliott, who contributed to her second studio album,
One in a Million.[10] Missy Elliott recalled Timbaland and herself being nervous to work
with Aaliyah, since Aaliyah had already released her successful début album while Missy
Elliott and Timbaland were just starting out. Missy Elliott also feared she would be a diva,
but reflected that Aaliyah "came in and was so warming; she made us immediately feel like
family."[35] The album yielded the single "If Your Girl Only Knew", which topped the
Billboard Hot R&B/Hip-Hop Songs for two weeks.[26] It also generated the singles "Hot Like
Fire" and "4 Page Letter". The following year, Aaliyah was featured on Timbaland & Magoo's
debut single, "Up Jumps da Boogie".[36] One in a Million peaked at number 18 on the
Billboard 200,[23] selling 3 million copies in the United States and over eight million
copies worldwide.[37][38] The album was certified double platinum by the RIAA on June 16,
1997, denoting shipments of two million copies.[24] The month prior to One in a Millions
release, on May 5, 1997, music publisher Windswept Pacific filed a lawsuit in U.S. District
Court against Aaliyah claiming she had illegally copied Bobby Caldwell's "What You Won't Do
for Love" for the single "Age Ain't Nothing but a Number".[39]
Aaliyah attended the Detroit High School for the Fine and Performing Arts, where she majored
in drama and graduated in 1997 with a 4.0 GPA.[14][40][41] Aaliyah began her acting career
that same year; she played herself in the police drama television series New York
Undercover.[42] During this time, Aaliyah participated in the Children's Benefit Concert, a
charity concert that took place at the Beacon Theatre in New York.[43] Aaliyah also became
the spokesperson for Tommy Hilfiger Corporation.[44] During Aaliyah's campaign for Tommy
Hilfiger the company had sold all 2,400 of the red, white and blue baggy jeans emblazoned
with the Hilfiger name that Aaliyah wore in their 1997 advertisements and they were
constantly restocking those jeans.[45] In 1997 Aaliyah performed the Christmas carol What
Child Is This at the annual holiday special Christmas in Washington.[46] She contributed on
the soundtrack album for the Fox Animation Studios animated feature Anastasia, performing a
cover version of "Journey to the Past" which earned songwriters Lynn Ahrens and Stephen
Flaherty a nomination for the Academy Award for Best Original Song.[27][38][47] Aaliyah
performed the song at the 1998 Academy Awards ceremony and became the youngest singer to
perform at the event.[48][49] The song "Are You That Somebody?" was featured on the Dr.
Dolittle soundtrack, which earned Aaliyah her first Grammy Award nomination.[50] The song
peaked at number 21 on the Hot 100.[51]
2000: Romeo Must Die
In 1999, Aaliyah landed her first film role in Romeo Must Die, released March 22, 2000.
Aaliyah starred opposite martial artist Jet Li, playing a couple who fall in love amid their
warring families. It grossed US$18.6 million in its first weekend, ranking number two at the
box office.[52] Aaliyah purposely stayed away from reviews of the film to "make it easier
on" herself, but she heard "that people were able to get into me, which is what I
wanted."[53] In contrast, some critics felt there was no chemistry between her and Jet Li,
as well as viewing the film was too simplistic.[54] This was echoed by Elvis Mitchell of The
New York Times, who wrote that while Aaliyah was "a natural" and the film was conceived as a
spotlight for both her and Li, "they have so little chemistry together you'd think they're
putting out a fire instead of shooting off sparks.[55] Her role was well received by Glen
Oliver by IGN who liked that she did not portray her character "as a victimized female" but
instead "as a strong female who does not come across as an over-the-top Women's Right
Advocate."[56]
Aaliyah in 2000
In addition to acting, Aaliyah served as an executive producer of the film's soundtrack,
where she contributed four songs.[57] "Try Again" was released as a single from the
soundtrack; the song topped the Billboard Hot 100, making Aaliyah the first artist to top
the chart based solely on airplay; this led the song to be released in a 12" vinyl and 7"
single.[26][58] The music video won the Best Female Video and Best Video from a Film awards
at the 2000 MTV Video Music Awards.[59] It also earned her a Grammy Award nomination for
Best Female R&B Vocalist.[60] The soundtrack went on to sell 1.5 million copies in the
United States.[61]
2001: Aaliyah
After completing Romeo Must Die, Aaliyah began to work on her second film, Queen of the
Damned. She played the role of an ancient vampire, Queen Akasha, which she described as a
"manipulative, crazy, sexual being".[19] Filming both Romeo Must Die and Queen of the Damned
delayed the release of the album. Aaliyah had not intended for her albums to have such a gap
between them. "I wanted to take a break after One in a Million to just relax, think about
how I wanted to approach the next album. Then, when I was ready to start back up, "Romeo"
happened, and so I had to take another break and do that film and then do the soundtrack,
then promote it. The break turned into a longer break than I anticipated."[62] Aaliyah
enjoyed balancing her singing and acting careers. Though she called music a "first" for her,
she also had been acting since she was young and had wanted to begin acting "at some point
in my career," but "wanted it to be the right time and the right vehicle" and felt Romeo
Must Die "was it".[61] Connie Johnson of the Los Angeles Times argued that Aaliyah having to
focus on her film career may have caused her to not give the album "the attention it
merited."[63] Collaborator Timbaland concurred, stating that he was briefly in Australia to
work on the album while Aaliyah was filming and did not feel the same production had gone
into Aaliyah as One in a Million had. He also said Virgin Records had rushed the album and
Aaliyah had specifically requested Missy Elliott and Timbaland work on Aaliyah with her.[64]
During the recording stages for the album, Aaliyah's publicist disclosed that the album's
release date was most likely in October 2000.[65] Ultimately she finished recording the
album in March 2001; after a year of recording tracks that began in March of the previous
year.[66] Aaliyah was released five years after One in a Million on July 17, 2001,[2] and it
debuted at number two on the Billboard 200, selling 187,000 copies in its first week.[67]
The first single from the album, "We Need a Resolution", peaked at number 59 on the
Billboard Hot 100.[26] The week after Aaliyah's death, her third and self-titled studio
album, rose from number 19 to number one on the Billboard 200.[68] "Rock the Boat" was
released as a posthumous single. The music video premiered on BET's Access Granted; it
became the most viewed and highest rated episode in the history of the show.[69] The song
peaked at number 14 on the Billboard Hot 100 and number two on the Billboard Hot R&B/Hip-Hop
Songs chart.[70] It was also included on the Now That's What I Call Music! 8 compilation
series; a portion of the album's profits was donated to the Aaliyah Memorial Fund.[71]
Promotional posters for Aaliyah that had been put up in major cities such as New York and
Los Angeles became makeshift memorials for grieving fans.[72]
"More than a Woman" and "I Care 4 U" were released as posthumous singles and peaked within
the top 25 of the Billboard Hot 100.[70] The album was certified double Platinum by the RIAA
and sold 2.6 million copies in the United States.[24][73] "More than a Woman" reached number
one on the UK singles chart making Aaliyah the first female deceased artist to reach number
one on the UK singles chart.[74][75] "More than a Woman" was replaced by George Harrison's
"My Sweet Lord" which is the only time in the UK singles chart's history where a dead artist
has replaced another dead artist at number one.[76] In July 2001, she allowed MTV's show
Diary behind-the-scenes access to her life and stated "I am truly blessed to wake up every
morning to do something that I love; there is nothing better than that." She continued,
"Everything is worth it – the hard work, the times when you're tired, the times when you are
a bit sad. In the end, it's all worth it because it really makes me happy. I wouldn't trade
it for anything else in the world. I've got good friends, a beautiful family and I've got a
career. I thank God for his blessings every single chance I get."[77]
Aaliyah was signed to appear in several future films, including Honey,[78] a romantic film
titled Some Kind of Blue,[79] and a Whitney Houston-produced remake of the 1976 film
Sparkle.[4] Whitney Houston recalled Aaliyah being "so enthusiastic" about the film and
wanting to appear in the film "so badly". Houston also voiced her belief that Aaliyah was
more than qualified for the role and the film was shelved after she died, since Aaliyah had
"gone to a better place".[80] Studio officials of Warner Brothers stated that Aaliyah and
her mother had both read the script for Sparkle. According to them, Aaliyah was passionate
about playing the lead role of a young singer in a girl group.[81] The film was released in
2012, eleven years after Aaliyah's death. Before her death Aaliyah was cast in the sequels
of The Matrix as the character Zee.[14][82] She had filmed part of her role in The Matrix
Reloaded and was scheduled to film and reprise her role in The Matrix Revolutions as Zee.
[36] Aaliyah told Access Hollywood that she was "beyond happy" to have landed the role.[83]
The role was subsequently recast to Nona Gaye.[82] Aaliyah's scenes were included in the
tribute section of the Matrix Ultimate Collection series.[84]
In November 2001, Ronald Isley stated that Aaliyah and the Isley Brothers had discussed a
collaboration prior to her death. She had previously covered the Isley Brothers' single "At
Your Best (You Are Love)".[85] Prior to her death, she expressed the possibility of
recording songs for the Queen of The Damned soundtrack and welcomed the possibility of
collaborating with Jonathan Davis.[66] By 2001, Aaliyah had enjoyed her now seven-year
career and felt a sense of accomplishment. "This is what I always wanted," she said of her
career in Vibe magazine. "I breathe to perform, to entertain, I can't imagine myself doing
anything else. I'm just a really happy girl right now. I honestly love every aspect of this
business. I really do. I feel very fulfilled and complete."[54]
Artistry
Voice and style
"Are You That Somebody?" (1998)
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0:00
Timbaland's stuttering, idiosyncratic productions challenged Aaliyah to reveal her artistic
personality more than she had on R. Kelly's smoother musical settings.[30]
Problems playing this file? See media help.
Aaliyah had the vocal range of a soprano.[14] With the release of her debut album "Age Ain't
Nothing But a Number", writer Dimitri Ehrlich of Entertainment Weekly compared her style and
sound to R&B group En Vogue.[86] Ehrlich also expressed that Aaliyah's "silky vocals are
more agile than those of self-proclaimed queen of hip-hop soul Mary J. Blige."[86] In her
review for Aaliyah's second studio album One in a Million Vibe magazine, music critic Dream
Hampton said that Aaliyah's "deliciously feline" voice has the same "pop appeal" as Janet
Jackson's.[87] Aaliyah described her sound as "street but sweet", which featured her
"gentle" vocals over a "hard" beat.[88] Though Aaliyah did not write any of her own
material,[14] her lyrics were described as in-depth.[89][90] She incorporated R&B, pop and
hip hop into her music.[10][91][92][93][94][95][96] Her songs were often uptempo and at the
same time often dark, revolving around "matters of the heart".[97] After her R. Kelly-
produced debut album, Aaliyah worked with Timbaland and Missy Elliott, whose productions
were more electronic.[98] Sasha Frere-Jones of The Wire finds Aaliyah's "Are You That
Somebody?" to be Timbaland's "masterpiece" and exemplary of his production's start-stop
rhythms, with "big half-second pauses between beats and voices".[99] Keith Harris of Rolling
Stone cites "Are You That Somebody?" as "one of '90s R&B's most astounding moments".[30]
Aaliyah's songs have been said to have "crisp production" and "staccato arrangements" that
"extend genre boundaries" while containing "old-school" soul music.[100] Kelefah Sanneh of
The New York Times called Aaliyah "a digital diva who wove a spell with ones and zeroes",
and writes that her songs comprised "simple vocal riffs, repeated and refracted to echo the
manipulated loops that create digital rhythm", as Timbaland's "computer-programmed beats
fitted perfectly with her cool, breathy voice to create a new kind of electronic
music."[101] When she experimented with other genres on Aaliyah, such as Latin pop and heavy
metal, Entertainment Weekly's Craig Seymour panned the attempt.[97] While Analyzing her
eponymous album British publication NME (New Musical Express) felt that Aaliyah's radical
third album was intended to consolidate her position as U.S.R&B's most experimental artist.
[102] As her albums progressed, writers felt that Aaliyah matured, calling her progress a
"declaration of strength and independence".[90][103] ABC News noted that Aaliyah's music was
evolving from the punchy pop influenced Hip hop and R&B to a more mature, introspective
sound on her third album.[104] Stephen Thomas Erlewine of AllMusic described her eponymous
album, Aaliyah, as "a statement of maturity and a stunning artistic leap forward" and called
it one of the strongest urban soul records of its time.[90] She portrayed "unfamiliar
sounds, styles and emotions", but managed to please critics with the contemporary sound it
contained.[90] Ernest Hardy of Rolling Stone felt that Aaliyah reflected a stronger
technique, where she gave her best vocal performance.[100] Prior to her death, Aaliyah
expressed a desire to learn about the burgeoning UK garage scene she had heard about at the
time.[98]
Influences
As an artist, Aaliyah often voiced that she was inspired by a number of performers. These
include Michael Jackson, Stevie Wonder, Sade, En Vogue, Nine Inch Nails, Korn, Prince,
Naughty by Nature, Johnny Mathis, Janet Jackson[105] and Barbra Streisand.[106] Aaliyah
expressed that Michael Jackson's Thriller was her "favorite album" and that "nothing will
ever top Thriller."[105] She stated that she admired Sade because "she stays true to her
style no matter what ... she's an amazing artist, an amazing performer ... and I absolutely
love her."[105] Aaliyah expressed she had always desired to work with Janet Jackson, whom
she had drawn frequent comparison to over the course of her career, stating "I admire her a
great deal. She's a total performer ... I'd love to do a duet with Janet Jackson."[105]
[107][108][109] Jackson reciprocated Aaliyah's affections, commenting "I've loved her from
the beginning because she always comes out and does something different, musically." Jackson
also stated she would have enjoyed collaborating with Aaliyah.[105]
Image
Aaliyah focused on her public image throughout her career. She often wore baggy clothes and
sunglasses, stating that she wanted to be herself.[110] She described her image as being
"important ... to differentiate yourself from the rest of the pack".[111] She often wore
black clothing, starting a trend for similar fashion among women in United States and
Japan.[14][112] Aaliyah's fashionable style has been credited for being an influence on new
fashion trends called "Health Goth"[113][114] and "Ghetto Goth" also known as GHE20 GOTH1K
[115][116] Aaliyah participated in fashion designer Tommy Hilfiger's All America Tour and
was featured in Tommy Jean ads, which depicted her in boxer shorts, baggy jeans and a tube
top. Hilfiger's brother, Andy, called it "a whole new look" that was "classy but sexy".[112]
Carson Daly A former VJ on MTV's Total Request Live commented on Aaliyah's style by saying
that she was "cutting edge" ,"always one step ahead of the curve" and that "the TRL audience
looks to her to figure out what's hot and what's new".[117]
When she changed her hairstyle, Aaliyah took her mother's advice and covered her left eye,
much like Veronica Lake.[118] The look has become known as her signature and been referred
to as fusion of "unnerving emotional honesty" and "a sense of mystique".[119] In 1998, she
hired a personal trainer to keep in shape, and exercised five days a week and ate diet
foods.[120] Aaliyah was praised for her "clean-cut image" and "moral values".[121] Robert
Christgau of The Village Voice wrote of Aaliyah's artistry and image, "she was lithe and
dulcet in a way that signified neither jailbait nor hottie—an ingenue whose selling point
was sincerity, not innocence and the obverse it implies."[122]
Aaliyah was viewed by others as a role model. Emil Wilbekin, described by CNN as "a friend
of Aaliyah's" and follower of her career, explained: "Aaliyah is an excellent role model,
because she started her career in the public eye at age 15 with a gold album entitled Age
Ain't Nothing but a Number. And then her second album, One in a Million went double
platinum. She had the leading role in Romeo Must Die, which was a box office success. She's
won numerous awards, several MTV music video awards, and aside from her professional
successes, many of her lyrics are very inspirational and uplifting. She also carried herself
in a very professional manner. She was well spoken. She was beautiful, but she didn't use
her beauty to sell her music. She used her talent. Many young hip-hop fans greatly admire
her."[123]
She also was seen by others as a sex symbol. Aaliyah did not have a problem with being
considered one. "I know that people think I'm sexy and I am looked at as that, and it is
cool with me," she stated. "It's wonderful to have sex appeal. If you embrace it, it can be
a very beautiful thing. I am totally cool with that. Definitely. I see myself as sexy. If
you are comfortable with it, it can be very classy and it can be very appealing."[124] The
single "We Need a Resolution" was argued to have transformed "the once tomboy into a sexy
grown woman".[125] Aaliyah mentioned that her mother, during her childhood, would take
pictures of her and notice a sex appeal. She reinforced her mother's belief by saying that
she did feel "sexy for sure" and that she embraced it and was comfortable with this view of
her.[54]
Personal life
In her spare time, she was mostly a homebody, which dated back to her younger years, but on
occasion went out and played laser tag. She reasoned this was due to her liking "the simple
things in life".[54] Despite having a prosperous career that allowed her to purchase the
vehicle she wanted, Aaliyah revealed during her final interview on August 21, 2001 on 106 &
Park that she had never owned a car because she lived in New York City and could hire a car
or driver on a regular basis.[126]
Family
Aaliyah's family played a major role in the course of her career.[54] Aaliyah's father
Michael Haughton served as her personal manager. Her mother assisted her in her career while
brother Rashad Haughton and cousin Jomo Hankerson worked with her consistently.[127] Her
father's illness ended his co-management of Aaliyah with her mother Diane Haughton. She ran
all of her decisions by Rashad.[54]
Aaliyah was known to have usually been accompanied by members of her family and the "Rock
the Boat" filming was credited by Rashad Haughton as being the first and only time her
family was not present. In October 2001, Rashad stated: "It really boggles everyone [that]
from Day One, every single video she ever shot there's always been myself or my mother or my
father there. The circumstances surrounding this last video were really strange because my
mother had eye surgery and couldn't fly. That really bothered her because she always
traveled. My dad had to take care of my mom at that time. And I went to Australia to visit
some friends. We really couldn't understand why we weren't there. You ask yourself maybe we
could have stopped it. But you can't really answer the question. There's always gonna be
that question of why."[128] Her friend Kidada Jones said in the last year of her life her
parents had given her more freedom and she had talked about wanting a family. "She wanted to
have a family, and we talked about how we couldn't wait to kick back with our babies."[129]
Gladys Knight, who had been married to Aaliyah's uncle Barry Hankerson, was essential to the
start of Aaliyah's career as she gave her many of her earlier performances. One of their
last conversations concerned Aaliyah having difficulty with "another young artist" that she
was trying to work with. Knight felt the argument was "petty" and insisted that she remain
being who she was in spite of the conflict.[130]
Illegal marriage
With the release of Age Ain't Nothing but a Number, rumors circulated of a relationship
between Aaliyah and R. Kelly,[14][131] including the allegation that they had secretly
married without her parents' knowledge,[132][133][134][135] Vibe later revealed a marriage
certificate that listed the couple married on August 31, 1994, in Sheraton Gateway Suites in
Rosemont, Illinois.[14][133] Aaliyah, who was 15 at the time, was listed as 18 on the
certificate; the illegal marriage was annulled in February 1995 by her parents.[20][133]
[136] The pair continued to deny marriage allegations, stating that neither was married.
[131]
Aaliyah reportedly developed a friendship with Kelly during the recording of her debut
album. As she recalled to Vibe magazine in 1994, she and Kelly would "go watch a movie" and
"go eat" when she got tired and would then "come back and work". She described the
relationship between her and Kelly as being "rather close."[137] In 2016, Kelly said that he
was as in love with Aaliyah as he was with "anybody else."[138] In December 1994, Aaliyah
told the Sun-Times that whenever she was asked about being married to Kelly, she urged them
not to believe "all that mess" and that she and Kelly were "close" and "people took it the
wrong way."[139] In his 2011 book The Man Behind the Man: Looking From the Inside Out,
Demetrius Smith Sr., a former member of Kelly's entourage, wrote that Kelly told him "in a
voice that sounded as if he wanted to burst into tears" that he thought Aaliyah was
pregnant.[140]
Jamie Foster Brown in the 1994 issue of Sister 2 Sister wrote that "R. Kelly told me that he
and Aaliyah got together and it was just magic." Brown also reported hearing about a
relationship between them. "I've been hearing about Robert and Aaliyah for a while—that she
was pregnant. Or that she was coming and going in and out of his house. People would see her
walking his dog, 12 Play, with her basketball cap and sunglasses on. Every time I asked the
label, they said it was platonic. But I kept hearing complaints from people about her being
in the studio with all those men." Brown later added "at 15, you have all those hormones and
no brains attached to them."[141]
The 2019 documentary Surviving R. Kelly revealed new details about their relationship and
marriage. Jovante Cunningham, a former backup dancer, claimed to have witnessed Kelly having
sex with Aaliyah on his tour bus[142][143] while Demetrius Smith again recounted the time
Kelly feared that he had impregnated her.[142] Smith also described how he helped Aaliyah
forge the necessary documents to show she was 18 and that the wedding was short and
unceremonious, as neither was dressed up and Aaliyah looked "worried and scared" the whole
time.[142] Smith states that he is "not proud" of his role in facilitating their illegal
marriage.[142]
Aaliyah admitted in court documents that she had lied about her age. In May 1997, she filed
suit in Cook County seeking to have all records of the marriage expunged because she was not
old enough under state law to get married without her parents' consent. It was reported that
she cut off all professional and personal ties with Kelly after the marriage was annulled
and ceased having contact with him.[144] In 2014, Jomo Hankerson stated that Aaliyah "got
villainized" over her relationship with Kelly and the scandal over the marriage made it
difficult to find producers for her second album. "We were coming off of a multi-platinum
debut album and except for a couple of relationships with Jermaine Dupri and Puffy, it was
hard for us to get producers on the album." Hankerson also expressed confusion over why
"they were upset" with Aaliyah given her age at the time.[145]
Aaliyah was known to avoid answering questions regarding Kelly following the professional
split. During an interview with Christopher John Farley, she was asked if she was still in
contact with him and if she would ever work with him again. Farley said Aaliyah responded
with a "firm, frosty 'no'" to both of the questions.[146] Vibe magazine said Aaliyah changed
the subject anytime "you bring up the marriage with her".[147] A spokeswoman for Aaliyah
said in 2000 that when "R. Kelly comes up, she doesn't even speak his name, and nobody's
allowed to ask about it at all".[148] Kelly later commented that Aaliyah had opportunities
to address the pair's relationship after they separated professionally but chose not to.
[149] In 2019, Damon Dash revealed to Hip Hop Motivation that Aaliyah didn't even speak of
her relationship with Kelly in private; she tried multiple times to discuss it with him, but
was only able to find the courage to say that Kelly was a "bad man".[143] She told him that
she could only possibly discuss the relationship with a professional counselor.[143] Dash
said he was unable to watch Surviving R. Kelly because its interviews with visibly
traumatized girls struggling to discuss their encounters with Kelly reminded him of how
Aaliyah behaved when trying to recount her relationship with Kelly.[143]
R. Kelly would have other allegations made about him regarding underage girls in the years
following her death and his marriage to Aaliyah was used to evidence his involvement with
them. He has refused to discuss his relationship with her, citing her death. "Out of respect
for her, and her mom and her dad, I will not discuss Aaliyah. That was a whole other
situation, a whole other time, it was a whole other thing, and I'm sure that people also
know that."[150] Aaliyah's mother, Diane Haughton, reflected that everything "that went
wrong in her life" began with her relationship with Kelly.[139] Damon Dash also noted that
lasting trauma from her relationship with Kelly negatively affected their relationship.[143]
However, the allegations have been said to have done "little to taint Aaliyah's image or
prevent her from becoming a reliable '90s hitmaker with viable sidelines in movies and
modeling."[32]
Engagement
Aaliyah was dating co-founder of Roc-A-Fella Records Damon Dash at the time of her death
and, though they were not formally engaged, in interviews given after Aaliyah's death, Dash
claimed the couple had planned to marry.[151] Aaliyah and Dash met in 2000[152] through his
accountant and formed a friendship.[153] Dash has said he is unsure of how he and Aaliyah
started dating and that the two just understood each other. "I don't know [how we got
involved], just spending time, you know, we just saw things the same and it was new, you
know what I mean? Meeting someone that is trying to do the same thing you are doing in the
urban market, in the same urban market place but not really being so urban. It was just; her
mind was where my mind was. She understood me and she got my jokes. She thought my jokes
were funny."[154]
Dash expressed his belief that Aaliyah was the "one" and claimed the pair were not
officially engaged, but had spoken about getting married prior to her death.[155] Aaliyah
publicly never addressed the relationship between her and Dash as being anything but
platonic. In May 2001, she hosted a party for Dash's 30th birthday at a New York City club,
where they were spotted together and Dash was seen escorting her to a bathroom. Addressing
this, Aaliyah stated that she and Dash were just "very good friends" and chose to "keep it
at that" for the time being.[147] Just two weeks before her death, Aaliyah traveled from New
Jersey to East Hampton, New York to visit Dash at the summer house he shared with Jay Z.
[129]
The couple were separated for long periods at a time, as Dash recalled that Aaliyah
continuously shot films and would be gone for months often to come back shortly and continue
her schedule. Dash was also committed to "his own thing", which did not make matters any
better. Despite this, they were understanding that the time they had together was special.
Dash remembered they would "be in a room full of people talking to each other and it felt
like everyone was listening but it would be just us. It would be like we were the only ones
in the room". Dash always felt their time together was essential and Aaliyah was the person
he was interested in being with, which is why, as he claimed, they had begun speaking about
engagement.[153] The relationship was mentioned in the lyrics of Jay-Z's remix to her song
"Miss You", released after her death.
Death
Main article: Death of Aaliyah
On August 25, 2001, at 6:50 p.m. (EDT), Aaliyah and the members of the record company
boarded a twin-engine Cessna 402B (registration N8097W) at the Marsh Harbour Airport in
Abaco Islands, the Bahamas, to travel to the Opa-locka Airport in Florida, after they
completed filming the music video for "Rock the Boat".[156] They had a flight scheduled the
following day, but with filming finishing early, Aaliyah and her entourage were eager to
return to the U.S. and made the decision to leave immediately. The designated airplane was
smaller than the Cessna 404 on which they had originally arrived, but the whole party and
all of the equipment were accommodated on board.[157] The plane crashed shortly after
takeoff, about 200 feet (60 m) from the end of the runway and exploded.[156]
Aaliyah and the eight others on board—pilot Luis Morales III, hair stylist Eric Forman,
Anthony Dodd, security guard Scott Gallin, family friend Keith Wallace, make-up stylist
Christopher Maldonado, and Blackground Records employees Douglas Kratz and Gina Smith—were
all killed.[158] Gallin survived the initial impact and spent his last moments worrying
about Aaliyah's condition, according to ambulance drivers.[159] The plane was identified as
being owned by Florida-based company Skystream by the US Federal Aviation Administration
(FAA) in Atlanta. Initial reports of the crash identified Luis Morales as "L Marael".[160]
According to findings from an inquest conducted by the coroner's office in the Bahamas,
Aaliyah suffered from "severe burns and a blow to the head", in addition to severe shock and
a weak heart.[161] The coroner theorized that she went into such a state of shock that even
if she had survived the crash, her recovery would have been nearly impossible given the
severity of her injuries.[162] The bodies were taken to the morgue at Princess Margaret
Hospital in Nassau, where they were kept for relatives to help identify them. Some of the
bodies were badly burned in the crash.[163]
As the subsequent investigation determined, when the aircraft attempted to depart, it was
over its maximum take-off weight by 700 pounds (320 kg) and was carrying one excess
passenger, according to its certification.[164] An informational report issued by the
National Transportation Safety Board stated, "The airplane was seen lifting off the runway,
and then nose down, impacting in a marsh on the south side of the departure end of runway
27."[165] It indicated that the pilot was not approved to fly the plane. Morales falsely
obtained his FAA license by showing hundreds of hours never flown, and he may also have
falsified how many hours he had flown in order to get a job with his employer, Blackhawk
International Airways.[166] Additionally, toxicology tests performed on Morales revealed
traces of cocaine and alcohol in his system.[167]
Aaliyah's funeral services were held on August 31, 2001, at the Frank E. Campbell Funeral
Chapel and St. Ignatius Loyola Church in Manhattan. Her body was set in a silver-plated
copper-deposit casket, which was carried in a glass horse-drawn hearse.[168] An estimated
800 mourners were in attendance at the procession.[20][169] Among those in attendance at the
private ceremony were Missy Elliott, Timbaland, Gladys Knight, Lil' Kim and Sean Combs.
[168][170][171] After the service, 22 white doves were released to symbolize each year of
Aaliyah's life.[172] Aaliyah was initially entombed in a crypt at the Ferncliff Mausoleum in
Hartsdale, New York; she was later moved to a private room at the left end of a corridor in
the Rosewood Mausoleum.[173] The inscription at the bottom of Aaliyah's portrait at the
funeral read: "We Were Given a Queen, We Were Given an Angel."[174]
After Aaliyah's death, the German newspaper Die Zeit published excerpts from an interview
done shortly before her death, in which she described a recurring dream: "It is dark in my
favorite dream. Someone is following me. I don't know why. I'm scared. Then suddenly I lift
off. Far away. How do I feel? As if I am swimming in the air. Free. Weightless. Nobody can
reach me. Nobody can touch me. It's a wonderful feeling."[175]
Posthumous career
Immediately after Aaliyah's death, there was uncertainty over whether the music video for
"Rock the Boat" would ever air.[176] It made its world premiere on BET's Access Granted on
October 9, 2001. She won two posthumous awards at the American Music Awards of 2002;
Favorite Female R&B Artist and Favorite R&B/Soul Album for Aaliyah.[177] Her second and
final film, Queen of the Damned, was released in February 2002. Before its release,
Aaliyah's brother, Rashad, re-dubbed some of her lines during post-production.[178][179] It
grossed US$15.2 million in its first weekend, ranking number one at the box office.[180] On
the first anniversary of Aaliyah's death, a candlelight vigil was held in Times Square;
millions of fans observed a moment of silence; and throughout the United States, radio
stations played her music in remembrance.[181] In December 2002, a collection of previously
unreleased material was released as Aaliyah's first posthumous album, I Care 4 U. A portion
of the proceeds was donated to the Aaliyah Memorial Fund, a program that benefits the Revlon
UCLA Women's Cancer Research Program and Harlem's Sloan Kettering Cancer Center.[182] It
debuted at number three on the Billboard 200, selling 280,000 copies in its first week.[183]
The album's lead single, "Miss You", peaked at number three on the Billboard Hot 100 and
topped the Hot R&B/Hip-Hop Songs chart.[70] In August of the following year, clothing
retailer Christian Dior donated profits from sales in honor of Aaliyah.[184]
In 2005, Aaliyah's second compilation album, Ultimate Aaliyah was released in the UK by
Blackground Records.[185] Ultimate Aaliyah is a three disc set, which included a greatest
hits audio CD and a DVD.[185] Andy Kellman of AllMusic remarked "Ultimate Aaliyah adequately
represents the shortened career of a tremendous talent who benefited from some of the best
songwriting and production work by Timbaland, Missy Elliott, and R. Kelly."[185] A
documentary movie Aaliyah Live in Amsterdam was released in 2011, shortly before the tenth
anniversary of Aaliyah's death. The documentary, by Pogus Caesar, contained previously
unseen footage shot of her career beginnings in 1995 when she was appearing in the
Netherlands.[186]
In March 2012, music producer Jeffrey "J-Dub" Walker announced on his Twitter account that a
song "Steady Ground", which he produced for Aaliyah's third album, would be included in the
forthcoming posthumous Aaliyah album. This second proposed posthumous album would feature
this song using demo vocals, as Walker claims the originals were somehow lost by his sound
engineer. Aaliyah's brother Rashad later refuted Walker's claim, claiming that "no official
album [is] being released and supported by the Haughton family."[187] On August 5, 2012, a
song entitled "Enough Said" was released online. The song was produced by Noah "40" Shebib
and features Canadian rapper Drake.[188] Four days later, Jomo Hankerson confirmed a
posthumous album is being produced and that it was scheduled to be released by the end of
2012 by Blackground Records.[189] The album was reported to include 16 unreleased songs and
have contributions from Aaliyah's longtime collaborators Timbaland and Missy Elliott, among
others.[189] On August 13, Timbaland and Missy Elliott dismissed rumors about being
contacted or participating for the project.[190] Elliott's manager Mona Scott-Young said in
a statement to XXL, "Although Missy and Timbaland always strive to keep the memory of their
close friend alive, we have not been contacted about the project nor are there any plans at
this time to participate. We've seen the reports surfacing that they have been confirmed to
participate but that is not the case. Both Missy and Timbaland are very sensitive to the
loss still being felt by the family so we wanted to clear up any misinformation being
circulated."[190] Elliott herself said, "Tim and I carry Aaliyah with us everyday, like so
many of the people who love her. She will always live in our hearts. We have nothing but
love and respect for her memory and for her loved ones left behind still grieving her loss.
They are always in our prayers."[190]
In June 2013, Aaliyah was featured on a new track by Chris Brown, titled "Don't Think They
Know"; with Aaliyah singing the song's hook. The video features dancing holographic versions
of Aaliyah. The song appears on Brown's sixth studio album, X.[191] Timbaland voiced his
disapproval for "Enough Said" and "Don't Think They Know" in July 2013. He exclaimed,
"Aaliyah music only work with its soulmate, which is me".[192] Soon after, Timbaland
apologized to Chris Brown over his remarks, which he explained were made due to Aaliyah and
her death being a "very sensitive subject".[193] In January 2014, producer Noah "40" Shebib
confirmed that the posthumous album was shelved due to the negative reception surrounding
Drake's involvement. Shebib added, "Aaliyah's mother saying, 'I don't want this out' was
enough for me ... I walked away very quickly."[194][195]
Aaliyah's vocals were reported to be featured on the T-Pain mixtape, The Iron Way, on the
track "Girlfriend", but were pulled after being met with criticism by fans and many in
attendance at a New York listening session that he hosted for the project. In response to
the criticism, T-Pain questioned if Aaliyah's legacy was driven by her death and claimed
that were she still alive, she would be seen as trying to emulate Beyoncé.[196] According to
T-Pain, he was given her vocals from a session she had done prior to her death after being
approached to work on a track for a posthumous Aaliyah album and completing the song,
calling the exchange "just like a swap."[197]
She was featured on the Tink track "Million", which was released in May 2015 and contained
samples from her song "One in a Million".[198] Collaborator Timbaland was involved in the
song's creation, having previously claimed that Aaliyah appeared to him in a dream and
stressed that Tink was "the one".[199]
In August 2015, Timbaland confirmed that he had unreleased vocals from Aaliyah and stated a
"sneak peek" would be coming soon.[200][201]
In September 2015, Aaliyah by Xyrena, an official tribute fragrance was announced.[202]
On December 19, 2015, Timbaland uploaded a snippet of a new Aaliyah song title "He Keeps Me
Shakin" on his Instagram account and said it would be released December 25, 2015, on the
Timbaland mixtape King Stays King.[203] On August 24, 2017 MAC Cosmetics announced that an
Aaliyah collection will be made available in the summer of 2018.[204] The Aaliyah for Mac
collection was released on June 20 online and June 21 in stores, along with the MAC
collection, MAC and i-D Magazine partnered up to release a short film titled "A-Z of
Aaliyah" which coincided with the launch.[205] The short film highlighted and celebrated the
legacy of Aaliyah with the help of select fans who were selected to be a part of the film
through a casting call competition held by Mac and i-d magazine.[206] The Aaliyah for Mac
collectors box was sold at $250 and it sold out within minutes during the first day of its
initial release.[207]
Legacy and influence
Aaliyah has been credited for helping redefine R&B, pop and hip hop in the 1990s, "leaving
an indelible imprint on the music industry as a whole."[1][89][208] According to Billboard,
Aaliyah revolutionized R&B with her sultry mix of pop, soul and hip hop.[209] In a 2001
review of her eponymous album, Rolling Stone professed that Aaliyah's impact on R&B and pop
has been enormous.[210] Steve Huey of AllMusic wrote Aaliyah ranks among the "elite" artists
of the R&B genre, as she "played a major role in popularizing the stuttering, futuristic
production style that consumed hip-hop and urban soul in the late 1990s."[211] Bruce Britt
of "music world" on Broadcast Music, Inc's. website stated that by combining "schoolgirl
charm with urban grit", Aaliyah helped define the teen-oriented sound that has resulted in
contemporary pop phenom's like Brandy, Christina Aguilera and Destiny's Child.[212]
Described as one of "R&B's most important artists" during the 1990s,[213] her second studio
album, One in a Million, became one of the most influential R&B albums of the decade.[33]
Music critic Simon Reynolds cited "Are You That Somebody?" as "the most radical pop single"
of 1998. Kelefah Sanneh of The New York Times wrote that rather than being the song's focal
point, Aaliyah "knew how to disappear into the music, how to match her voice to the bass
line", and consequently "helped change the way popular music sounds; the twitchy, beat-
driven songs of Destiny's Child owe a clear debt to 'Are You That Somebody'." Sanneh
asserted that by the time of her death in 2001, Aaliyah "had recorded some of the most
innovative and influential pop songs of the last five years."[101] Music publication Popdust
called Aaliyah an unlikely queen of the underground due mainly to her influence on the
underground alternative music scene, which consists of heavy sampling and references to her
music by underground artists. Popdust also mentioned that the forward-thinking music Aaliyah
did with Timbaland and the experimental music being made by many underground alternative
artists are somewhat cut from the same cloth.[214] While compiling a list of artists that
take cues from Aaliyah, MTV Hive mentioned that it's easy to spot her influence on
underground movements like dubstep, strains of indie pop, and lo-fi R&B movements.[215] With
sales of 8.1 million albums in the United States and an estimated 24 to 32 million albums
worldwide,[216][217][218][219][220] Aaliyah earned the nicknames "Princess of R&B" and
"Queen of Urban Pop",[221][222] as she "proved she was a muse in her own right".[223] Ernest
Hardy of Rolling Stone dubbed her as the "undisputed queen of the midtempo come-on".[19]
Aaliyah has been referred to as a pop icon and a R&B icon for her impact and contributions
to those respective genres.[224][225] Japanese pop singer Hikaru Utada has said several
times that "It was when I heard Aaliyah's Age Ain't Nothing but a Number that I got hooked
on R&B.", after which Utada released her debut album First Love with heavy R&B influences.
[226][227] Another Japanese pop singer Crystal Kay has expressed how she admired Aaliyah
when she was growing up and how she would practice dancing while watching her music videos.
[228]
Aaliyah was honored at the 2001 MTV Video Music Awards by Janet Jackson, Missy Elliott,
Timbaland, Ginuwine and her brother, Rashad, who all paid tribute to her.[229] In the same
year, the United States Social Security Administration ranked the name Aaliyah one of the
100 most popular names for newborn girls.[230] Aaliyah was ranked as one of "The Top 40
Women of the Video Era" in VH1's 2003 The Greatest series.[231][232] She was also ranked at
number 18 on BET's "Top 25 Dancers of All Time".[233] Aaliyah appeared on both 2000 and 2001
list of Maxim Hot 100 in position 41 and the latter at 14.[234][235] In 2002 VH1 created the
100 sexiest artist list and Aaliyah was ranked at number 36.[236] In memory of Aaliyah, the
Entertainment Industry Foundation created the Aaliyah Memorial Fund to donate money raised
to charities she supported.[237][238] In December 2009, Billboard magazine ranked Aaliyah at
number 70 on its Top Artists of the Decade,[239] while her eponymous album was ranked at
number 181 on the magazine's Top 200 Albums of the Decade.[240] She is listed by Billboard
as the tenth most successful female R&B artist of the past 25 years, and 27th most
successful R&B artist overall.[241] In 2012, VH1 ranked her number 48 in "VH1's Greatest
Women in Music".[242] Also in 2012, Aaliyah was ranked at number 10 on Complex magazine's
100 hottest female singers of all-time list[243] and number 22 on their 90 hottest women of
the 90's list.[244] In 2014, NME ranked Aaliyah at number 18 on NME's 100 most influential
artist list.[245] Aaliyah's dress that she wore at the 2000 MTV Video Music Award's was
featured in the most memorable fashion moments at the VMA's list by the fashion publication
Harper's Bazaar.[246] In October 2015 Aaliyah was featured in the 10 women who became Denim
Style icons list created by the fashion publication Vogue.[247] In August 2018 Billboard
ranked Aaliyah at number 47 on their Top 60 Female Artists of All-Time list.[248]
Aaliyah's music has influenced numerous artists including Adele,[249] The Weeknd,[250]
Ciara,[251] Beyoncé,[252] Monica,[253] Chris Brown,[191] Rihanna,[254] Azealia Banks,[255]
Sevyn Streeter,[256] Keyshia Cole,[257] J. Cole,[258] Ryan Destiny[259] Kelly Rowland,[260]
Zendaya,[261] Rita Ora,[262] The xx,[263][264][265] Arctic Monkeys,[266] Speedy Ortiz,[267]
Chelsea Wolfe,[268] Haim,[269] Angel Haze,[270] Kiesza,[271] Naya Rivera,[272] Normani[273]
Cassie,[274][275] Hayley Williams,[276] Jessie Ware,[277] Yeasayer,[278] Bebe Rexha,[279]
Omarion,[280] and Years & Years frontman Olly Alexander.[281] Canadian R&B singer Keshia
Chanté who was said to play as her in her pending biopic back in 2008, complimented the
singer's futuristic style in music and fashion.[282] Chanté backed out of the biopic after
speaking to Diane Haughton, but has expressed a willingness to do the project if "the right
production comes along and the family's behind it". Chanté also mentioned that Aaliyah had
been part of her life "since I was 6."[283] R&B singer and friend Brandy said about the late
singer "She came out before Monica and I did, she was our inspiration. At the time, record
companies did not believe in kid acts and it was just inspiring to see someone that was
winning and winning being themselves. When I met her I embraced her, I was so happy to meet
her."[284] Rapper Drake said that the singer has had the biggest influence on his career. He
also has a tattoo of the singer on his back.[285] Solange Knowles remarked on the tenth
anniversary of her death that she idolized Aaliyah and proclaimed that she would never be
forgotten.[286] Adam Levine, the lead vocalist of the pop rock group Maroon 5, remembers
that listening to "Are You That Somebody?" convinced him to pursue a more soulful sound than
that of his then-band Kara's Flowers.[287] Erika Ramirez, an associate editor of Billboard,
said at the time of Aaliyah's career "there weren't many artists using the kind of soft
vocals the ways she was using it, and now you see a lot of artists doing that and finding
success," her reasoning for Aaliyah's continued influence on current artists. She argued
that Aaliyah's second album One in a Million was "very much ahead of its time, with the bass
and electro kind of R&B sounds that they produced", referring to collaborators Timbaland and
Missy Elliott and that the sound, which "really stood out" at its time, was being
replicated.[288]
In 2012, British singer-songwriter Katy B released the song Aaliyah as a tribute to
Aaliyah's legacy and lasting impression on R&B music.[289] The song first appeared on Katy
B's Danger EP and featured Jessie Ware on guest vocals. In 2016, Swedish singer-songwriter
Erik Hassle released a song titled "If Your Man Only Knew" which serves as a tribute to
Aaliyah's 1996 single "If Your Girl Only Knew".[290]
There has been continuing belief that Aaliyah would have achieved greater career success had
it not been for her death. Emil Wilbekin mentioned the deaths of The Notorious B.I.G. and
Tupac Shakur in conjunction with hers and added: "Her just-released third album and
scheduled role in a sequel to The Matrix could have made her another Janet Jackson or
Whitney Houston".[291] Director of Queen of the Damned Michael Rymer said of Aaliyah, "God,
that girl could have gone so far" and spoke of her having "such a clarity about what she
wanted. Nothing was gonna step in her way. No ego, no nervousness, no manipulation. There
was nothing to stop her."[292]
On July 18, 2014, it was announced that Alexandra Shipp replaced Zendaya for the role of
Aaliyah for the Lifetime TV biopic movie Aaliyah: The Princess of R&B,
Brian Epstein
by Andy Edwards
2022
Unveiled 27th August 2022
Brian Epstein was a music entrepreneur who managed The Beatles from 1962 until he died in 1967.
Epstein was born in 1934 into a family of successful retailers in Liverpool, who put him in charge of their music shop where, in addition to being a successful retailer, he displayed a gift for talent spotting.
The statue, located on Whitechapel where Brian ran his music shop NEMS, commemorates Brian’s first visit to the Cavern to listen to a local band he was hearing great things about.
He is shown just about to turn into Button Street, which leads to Mathew Street, the home of The Cavern.
The pavement inscription with the statue reads:
Brian Epstein
1934–1967
On 9th November 1961, Brian Epstein left his family-owned record/electrical store NEMS, at 12–14 Whitechapel (opposite), and walked to the Cavern to see the Beatles for the first time.
He managed them through NEMS Enterprises, and his other Liverpool hitmakers included Cilla Black, Gerry and the Pacemakers, Billy J Kramer and the Fourmost.
Street Musician
An impressive vocalist. He's probably dreaming that Brian will discover him but he's a few years too late for that.
The Postcard
A postally unused carte postale published by F. Chapeau of Nantes.
Although the card was not posted, someone has written a date on the back:
"5. 12. 32".
Le Château des Ducs de Bretagne
Le Château des Ducs de Bretagne is a large castle located in the city of Nantes in the Loire-Atlantique département of France.
It is located on the right bank of the Loire, which formerly fed its ditches. It was the residence of the Dukes of Brittany between the 13th. and 16th. centuries, subsequently becoming the Breton residence of the French Monarchy.
The castle has been listed as a Monument Historique by the French Ministry of Culture since 1862.
Restoration of the Château
Starting in the 1990's, the town of Nantes undertook a massive programme of restoration and repairs to return the site to its former glory as an emblem of the history of Nantes and Brittany.
Following 15 years of works and three years of closure to the public, it was reopened on the 9th. February 2007, and is now a popular tourist attraction. Night-time illuminations at the castle further reinforce the revival of the château.
The restored edifice now includes the new Nantes History Museum, installed in 32 of the castle rooms. The museum presents more than 850 objects of interest with the aid of multimedia devices.
The château and its museum try to offer a modern vision of the heritage by presenting the past, the present and the future of the city.
The 500-metre round walk on the fortified ramparts provides views not just of the castle buildings and courtyards but also of the town.
The Sale of Liquor
So what else happened on Monday the 5th. December 1932?
Well, on that day, a joint resolution was introduced to the U.S. Congress repealing the Eighteenth Amendment, and turning the regulation of liquor over to the individual states.
British War Debts
Also on that day, the British government suggested issuing bonds to cover its war debts to the United States.
'Jane'
Also on that day, the comic strip 'Jane' by Norman Pett first appeared in the British tabloid newspaper the Daily Mirror.
Little Richard
The 5th. December 1932 also marked the birth, in Macon, Georgia, of Little Richard.
Richard Wayne Penniman, known professionally as Little Richard, was an American musician, singer, and songwriter. He was an influential figure in popular music and culture for seven decades.
Described as the "Architect of Rock and Roll", Richard's most celebrated work dates from the mid-1950's, when his charismatic showmanship and dynamic music, characterized by frenetic piano playing, pounding back beat and raspy shouted vocals, laid the foundation for rock and roll.
Richard's innovative emotive vocalizations and uptempo rhythmic music also played a key role in the formation of other popular music genres, including soul and funk.
He influenced numerous singers and musicians across musical genres from rock to hip hop, and his music helped shape rhythm and blues for generations.
"Tutti Frutti" (1955), one of Richard's signature songs, became an instant hit, crossing over to the pop charts in both the United States and the United Kingdom. His next hit single, "Long Tall Sally" (1956), hit No. 1 on the Billboard Rhythm and Blues Best-Sellers chart, followed by a rapid succession of fifteen more hits in less than three years.
Richard's performances during this period resulted in integration between the white Americans and black Americans in his audience.
In 1962, after a five-year period during which Richard abandoned rock and roll music for born again Christianity, concert promoter Don Arden persuaded him to tour Europe.
During this time, the Beatles opened for Richard on some tour dates. Richard advised the Beatles on how to perform his songs, and taught Paul McCartney his distinctive vocalizations.
Richard is cited as one of the first crossover black artists, reaching audiences of all races. His music and concerts broke the color line, drawing black and white people together despite attempts to sustain segregation.
Many of his contemporaries, including Elvis Presley, Buddy Holly, Bill Haley, Jerry Lee Lewis, the Everly Brothers, Gene Vincent and Eddie Cochran, recorded covers of his works.
Impressed by Richard's music and style, and personally covering four of Richard's songs on his own two breakthrough albums in 1956, Presley told Richard in 1969 that his music was an inspiration to him, and that he was "the greatest".
Richard was honored by many institutions. He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. He was also inducted into the Songwriters Hall of Fame.
Richard was the recipient of Lifetime Achievement Awards from The Recording Academy and the Rhythm and Blues Foundation.
In 2015, Richard received a Rhapsody & Rhythm Award from the National Museum of African American Music for his key role in the formation of popular music genres, and for helping to bring an end to the racial divide on the music charts and in concerts in the mid-1950's.
"Tutti Frutti" was included in the National Recording Registry of the Library of Congress in 2010, which stated that:
"Richard's unique vocalizing over the
irresistible beat announced a new era
in music".
Little Richard - The Early Years
Richard Wayne Penniman was the third of twelve children of Leva Mae (née Stewart) and Charles "Bud" Penniman. His father was a church deacon and a brick mason, who sold bootlegged moonshine on the side, and who also owned a nightclub called the Tip In Inn. Richard's mother was a member of Macon's New Hope Baptist Church.
Initially, his first name was supposed to have been "Ricardo", but an error resulted in "Richard" instead. In childhood, he was nicknamed "Lil' Richard" by his family because of his small and skinny frame.
The Penniman children were raised in a neighborhood of Macon called Pleasant Hill. A mischievous child who played pranks on neighbors, he began singing in church and taking piano lessons at a young age.
Possibly as a result of complications at birth, Richard had a slight deformity that left one of his legs shorter than the other. This produced an unusual gait, and he was mocked for his allegedly effeminate appearance.
Richard's family were very religious, and joined various A.M.E., Baptist, and Pentecostal churches, with some family members becoming ministers. He enjoyed the Pentecostal churches the most, because of their charismatic worship and live music.
Richard later recalled that people in his neighborhood sang gospel songs throughout the day during segregation to keep a positive outlook, because:
"There was so much poverty, so
much prejudice in those days".
He had observed that:
"People sing to feel their connection
with God, and to wash their trials and
burdens away."
Gifted with a loud singing voice, he recalled that:
"I was always changing the key upwards,
and I was once stopped from singing in
church for screaming and hollering so loud.
My singing gave me the nickname "War Hawk".
Richard recalled that:
"As a child, I would beat on the steps
of the house, and on tin cans and pots
and pans, or whatever, while I was
singing, and this used to annoy the
neighbors."
Richard's initial musical influences were gospel performers such as Brother Joe May, Sister Rosetta Tharpe, Mahalia Jackson, and Marion Williams.
Joe May, a singing evangelist who was known as "The Thunderbolt of the Middle West" because of his phenomenal range and vocal power, inspired Richard to become a preacher. He credited the Clara Ward Singers for one of his distinctive hollers.
Richard attended Macon's Hudson High School, where he was a below-average student. He eventually learned to play alto saxophone, joining the school's marching band while in fifth grade.
While still in high school, Richard got a part-time job at Macon City Auditorium for local secular and gospel concert promoter Clint Brantley. He sold Coca-Cola to crowds during concerts of star performers of the day such as Cab Calloway, Lucky Millinder, and his favorite singer Sister Rosetta Tharpe.
Little Richard's Music Career
(a) 1947–1955: Beginnings
In October 1947, Sister Rosetta Tharpe overheard the fourteen-year-old Richard singing her songs before a performance at the Macon City Auditorium, and she invited him to open her show.
After the show, Tharpe paid Richard, inspiring him to become a professional performer. Richard stated that his piano style was greatly influenced by Ike Turner's piano intro on "Rocket 88".
In 1949, Richard began performing in Doctor Nubillo's traveling show. He was inspired to wear turbans and capes in his career by Nubillo, who also:
"Carried a black stick and exhibited
something he called 'the devil's child'—
supposedly the dried-up body of a
baby, with claw feet like a bird, and
horns on its head."
Nubillo told Richard:
"You're gonna be famous, but you'll
have to go where the grass is greener".
Before entering the tenth grade, Richard left his family home and joined Hudson's Medicine Show in 1949, performing Louis Jordan's "Caldonia". Richard recalled that the song was the first secular R&B song he learned, since his family had strict rules against playing R&B music, which they considered "devil music".
Little Richard was influenced by Jordan. In fact, the whoop sound on Jordan's record "Caldonia" sounds eerily like the vocal tone Little Richard adopted, in addition to the "Jordan-style pencil-thin mustache".
Richard also performed in drag during this time, performing under the name "Princess LaVonne".
In 1950, Richard joined his first musical band, Buster Brown's Orchestra, where Brown gave him the name Little Richard. Performing in the minstrel show circuit, Richard, in and out of drag, performed for various vaudeville acts such as Sugarfoot Sam from Alabam, the Tidy Jolly Steppers, the King Brothers Circus, and Broadway Follies.
Having settled in Atlanta at this point, Richard began listening to rhythm and blues, and frequented Atlanta clubs, including the Harlem Theater and the Royal Peacock, where he saw performers such as Roy Brown and Billy Wright onstage.
Richard was further influenced by Brown's and Wright's flashy style of showmanship, and was even more influenced by Wright's flamboyant persona. Inspired by Brown and Wright, he decided to become a rhythm-and-blues singer, and after befriending Wright, began to learn how to be an entertainer from him.
Richard began to sport a pompadour hairdo similar to Wright's, as well as a pencil mustache, using Wright's brand of facial pancake makeup and wearing flashier clothes.
Impressed by his singing voice, Wright put him in contact with Zenas Sears, a local D. J. Sears recorded Richard at his station, backed by Wright's band. The recordings led to a contract that year with RCA Victor. Richard recorded a total of eight sides for RCA Victor, including the blues ballad, "Every Hour", which became his first single, and a hit in Georgia.
The release of "Every Hour" improved his relationship with his father, who began regularly playing the song on his nightclub jukebox. Shortly after the release of "Every Hour", Richard was hired to front Perry Welch and His Orchestra, and played at clubs and army bases for $100 a week.
Richard left RCA Victor in February 1952 after his records for the label failed to chart; the recordings were marketed with little promotion from RCA Victor, although ads for the records showed up in Billboard Magazine.
After his father´s death in 1952, Richard began to find success, RCA Victor re-issued the recordings on the budget RCA Camden label. He continued to perform during this time, and Clint Brantley agreed to manage Richard's career.
Moving to Houston, he formed a band called the Tempo Toppers, performing as part of blues package tours in Southern clubs such as Club Tijuana in New Orleans, and Club Matinee in Houston.
Richard signed with Don Robey's Peacock Records in February 1953, recording eight sides, including four with Johnny Otis and his band that were unreleased at the time. Like Richard's venture with RCA Victor, none of his Peacock singles charted, despite Richard getting knocked out by Robey during a scuffle.
Disillusioned by the record business, Richard returned to Macon in 1954. Struggling with poverty, he settled for work as a dishwasher for Greyhound Lines.
While in Macon, he met Esquerita, whose flamboyant onstage persona and dynamic piano playing deeply influenced Richard's approach to performance. That year, he disbanded the Tempo Toppers, and formed a harder-driving rhythm and blues band, the Upsetters, which included drummer Charles Connor and saxophonist Wilbert "Lee Diamond" Smith.
In 1954, Richard signed on to a Southern tour with Little Johnny Taylor. The band supported R&B singer Christine Kittrell on some recordings, then began to tour successfully, even without a bass guitarist, forcing drummer Connor to thump "real hard" on his bass drum in order to get a "bass fiddle effect". Around this time, Richard signed a contract to tour with fellow R&B singer Little Johnny Taylor.
At the suggestion of Lloyd Price, Richard sent a demo to Price's label, Specialty Records, in February 1955. Months passed before Richard got a call from the label. Finally, in September of that year, Specialty owner Art Rupe loaned Richard money to buy out of his Peacock contract, and set him to work with producer Robert "Bumps" Blackwell.
Upon hearing the demo, Blackwell felt that Richard was Specialty's answer to Ray Charles. However, Richard told him that he preferred the sound of Fats Domino. Blackwell sent him to New Orleans, where he recorded at Cosimo Matassa's J&M Studios, recording there with several of Domino's session musicians, including drummer Earl Palmer and saxophonist Lee Allen.
Richard's recordings that day failed to produce much inspiration or interest (although Blackwell saw some promise). Frustrated, Blackwell and Richard went to relax at the Dew Drop Inn nightclub. According to Blackwell, Richard then launched into a risqué dirty blues he titled "Tutti Frutti".
Blackwell felt that the song had hit potential, and hired songwriter Dorothy LaBostrie to replace some of Richard's sexual lyrics with less controversial ones. He also changed the microphone placement, and pushed Richard's voice forward.
Recorded in three takes in September 1955, "Tutti Frutti" was released as a single that November, and became an instant hit, reaching No. 2 on Billboard magazine's Rhythm and Blues Best-Sellers chart and crossing over to the pop charts in both the United States and the United Kingdom. It reached No. 21 on the Billboard Top 100 in America, and No. 29 on the British singles chart, eventually selling a million copies.
(b) 1956–1962: Initial Success and Conversion
Richard's next hit single, "Long Tall Sally" (1956), hit number one on the R&B chart and number thirteen on the Top 100 while reaching the top ten in Great Britain. Like "Tutti Frutti", it sold over a million copies.
Following his success, Richard built up his backup band, The Upsetters, with the addition of saxophonists Clifford "Gene" Burks and leader Grady Gaines, bassist Olsie "Baysee" Robinson and guitarist Nathaniel "Buster" Douglas.
Richard began performing on package tours across the United States. Art Rupe described the differences between Richard and a similar hitmaker of the early rock and roll period by stating that:
"While the similarities between Little Richard
and Fats Domino for recording purposes were
close, Richard would sometimes stand up at
the piano while he was recording and onstage,
whereas Domino was plodding, and very slow,
Richard was very dynamic, completely uninhibited,
unpredictable, and wild. So the band took on
the ambience of the vocalist."
Richard's performances, like most early rock and roll shows, resulted in integrated audience reaction during an era where public places were divided into "white" and "colored" domains. In these package tours, Richard and other artists such as Fats Domino and Chuck Berry would enable audiences of both races to enter the building, albeit still segregated (e.g. blacks on the balcony and whites on the main floor).
As his later Producer H. B. Barnum, explained, Richard's performances enabled audiences to come together to dance. Despite broadcasts on television from local supremacist groups such as the North Alabama White Citizens Council warning that rock and roll "brings the races together", Richard's popularity was helping to shatter the myth that black performers could not successfully perform at "white-only venues", especially in the South where racism was most overt.
Richard's high-energy antics included lifting his leg while playing the piano, climbing on top of his piano, running on and off the stage and throwing souvenirs to the audience. He also began using capes and suits studded with multi-colored stones and sequins. Richard said he began to be more flamboyant onstage so that no one would think he was "after the white girls".
Little Richard recalled:
"A lot of songs I sang to crowds first
to watch their reaction. That's how I
knew they'd hit."
Richard claims that a show at Baltimore's Royal Theatre in June 1956 led to some women throwing their panties onstage at him, resulting in other female fans repeating the action, saying that it was "the first time" that had happened to any artist.
Richard's show stopped several times that night due to fans being restrained from jumping off the balcony and then rushing to the stage to touch him.
Overall, Richard produced seven singles in the United States alone in 1956, with five of them also charting in the UK, including "Slippin' and Slidin'", "Rip It Up", "Ready Teddy", "The Girl Can't Help It" and "Lucille".
Immediately after releasing "Tutti Frutti", which was then protocol for the industry, "safer" white recording artists such as Pat Boone covered the song, sending the song to the top twenty of the charts, several positions higher than Richard's.
His fellow rock and roll peers Elvis Presley and Bill Haley also recorded his songs later that same year. Befriending Alan Freed, Richard was given a role in "rock and roll" movies such as Don't Knock the Rock, and Mister Rock and Roll.
Richard was given a larger singing role in the 1956 film, The Girl Can't Help It starring Jayne Mansfield. That year, he scored more hit successes with songs such as "Jenny, Jenny" and "Keep A-Knockin,'" the latter becoming his first top ten single on the Billboard Top 100.
By the time he left Specialty in 1959, Richard had scored a total of nine top 40 pop singles and seventeen top 40 R&B singles.
Richard performed at the famed twelfth Cavalcade of Jazz held at Wrigley Field in Los Angeles on the 2nd. September 1956.
Also performing that day were Dinah Washington, The Mel Williams Dots, Chuck Higgins' Orchestra, Bo Rhambo, Willie Hayden & Five Black Birds, The Premiers, Gerald Wilson and his 20-Piece Recording Orchestra, and Jerry Gray and his Orchestra.
Shortly after the release of "Tutti Frutti", Richard relocated to Los Angeles. After achieving success as a recording artist and live performer, Richard moved into a wealthy, formerly predominantly white neighborhood, living close to black celebrities such as boxer Joe Louis.
Richard's first album, Here's Little Richard, was released by Specialty in March 1957, and peaked at number thirteen on the Billboard Top LPs chart. Similar to most albums released during that era, the album featured six released singles and a number of "filler" tracks.
In October 1957, Richard embarked on a package tour in Australia with Gene Vincent and Eddie Cochran. During the middle of the tour, he shocked the public by announcing that he intended to follow a life in the ministry.
Richard claimed in his autobiography that during a flight from Melbourne to Sydney, his plane was experiencing some difficulty, and he claimed to have seen the plane's red hot engines, and felt that angels were "holding it up".
At the end of his Sydney performance, Richard saw a bright red fireball flying across the sky above him, and claimed that he was "deeply shaken". Though he was eventually told that it was the launching of the first artificial Earth satellite Sputnik 1, Richard took it as a "sign from God" to repent from performing secular music and his wild lifestyle at the time.
Returning to the States ten days earlier than expected, Richard later read that the flight he had originally planned to take had crashed into the Pacific Ocean, He regarded this as a further sign to "do as God wanted".
After a "farewell performance" at the Apollo Theater and a "final" recording session with Specialty later that month, Richard enrolled at Oakwood College in Huntsville, Alabama, to study theology.
Despite his claims of spiritual rebirth, Richard admitted his reasons for leaving were more monetary. During his tenure at Specialty, despite earning millions for the label, Richard complained that he was unaware that Speciality had reduced the percentage of royalties he was to earn from his recordings.
In early 1958, Specialty released Richard's second album, Little Richard, which didn't chart.
Specialty continued to release Richard's recordings, including "Good Golly, Miss Molly" and his unique version of "Kansas City", until 1960. Finally ending his contract with the label, Richard agreed to relinquish any royalties for his material.
In 1958, Richard formed the Little Richard Evangelistic Team, traveling across the country to preach. A month after his decision to leave secular music, Richard met Ernestine Harvin, a secretary from Washington, D.C., and the couple married on the 11th. July 1959.
Richard ventured into gospel music, first recording for End Records, before signing with Mercury Records in 1961, where he eventually released King of the Gospel Singers, in 1962, produced by Quincy Jones, who later remarked that Richard's vocals impressed him more than any other vocalist that he had worked with.
Richard's childhood heroine, Mahalia Jackson, wrote in the notes of the album that:
"Richard sings gospel the
way it should be sung".
While Richard was no longer charting in the U.S. with pop music, some of his gospel songs such as "He's Not Just a Soldier" and "He Got What He Wanted", and "Crying in the Chapel", reached the pop charts in the U.S. and in the UK.
(c) 1962–1979: Return to Secular Music
Mick Jagger said of Richard:
"I heard so much about the audience
reaction, I thought there must be some
exaggeration. But it was all true.
He drove the whole house into a
complete frenzy ... I couldn't believe
the power of Little Richard onstage.
He was amazing."
In 1962, concert promoter Don Arden persuaded Little Richard to tour Europe after telling him his records were still selling well there.
With soul singer Sam Cooke as an opening act, Richard, who featured a teenage Billy Preston in his gospel band, figured it was a gospel tour and, after Cooke's delayed arrival forced him to cancel his show on the opening date, performed only gospel material during the show. This led to boos from the audience, who were expecting Richard to sing his rock and roll hits.
The following night, Richard viewed Cooke's well-received performance. Bringing back his competitive drive, Richard and Preston warmed up in darkness before launching into "Long Tall Sally", resulting in frenetic, hysterical responses from the audience.
A show at Mansfield's Granada Theatre ended early after fans rushed the stage. Hearing of Richard's shows, Brian Epstein, manager of the Beatles, asked Don Arden to allow his band to open for Richard on some tour dates, to which he agreed.
The first show for which the Beatles opened was at New Brighton's Tower Ballroom that October. The following month they, along with Swedish singer Jerry Williams and his band The Violents, opened for Richard at the Star-Club in Hamburg.
During this time, Richard advised the group on how to perform his songs, and taught Paul McCartney his distinctive vocalizations.
Back in the United States, Richard recorded six rock and roll songs with his 1950's band, the Upsetters for Little Star Records, under the name "World Famous Upsetters", hoping this would keep his options open in maintaining his position as a minister.
In the fall of 1963, Richard was called by a concert promoter to rescue a sagging tour featuring The Everly Brothers, Bo Diddley and the Rolling Stones. Richard agreed, and helped to save the tour from flopping.
At the end of that tour, Richard was given his own television special for Granada Television titled The Little Richard Spectacular. The special became a ratings hit, and after 60,000 fan letters, was rebroadcast twice.
In 1964, now openly re-embracing rock and roll, Richard released "Bama Lama Bama Loo" on Specialty Records. Due to his UK exposure, the song reached the top twenty there, but only climbed to number 82 in the U.S.
Later in the year, he signed with Vee-Jay Records, then on its dying legs, to release his "comeback" album, Little Richard Is Back. Due to the arrival of the Beatles and other British bands as well as the rise of soul labels such as Motown and Stax Records and the popularity of James Brown, Richard's new releases were not well promoted, nor well received by radio stations.
In November 1964, Jimi Hendrix joined Richard's Upsetters band as a full member.
In December 1964, Richard brought Hendrix and childhood friend and piano teacher Eskew Reeder to a New York studio to re-record an album's worth of his greatest hits. He went on tour with his new group the Upsetters to promote the album.
In early 1965, Richard took Hendrix and Billy Preston to a New York studio where they recorded the Don Covay soul ballad, "I Don't Know What You've Got (But It's Got Me)", which became a number 12 R&B hit.
Three other songs were recorded during the sessions, "Dance a Go Go" aka "Dancin' All Around the World", "You Better Stop", and "Come See About Me." However "You Better Stop" was not issued until 1971, and "Come See About Me" has yet to see official release.
Around this time, Richard and Jimi appeared in a show starring Soupy Sales at the Brooklyn Paramount, New York. Richard's flamboyance and drive for dominance reportedly got him thrown off the show.
Hendrix and Richard clashed over the spotlight, as well as Hendrix's tardiness, wardrobe and stage antics. Hendrix also complained over not being properly paid by Richard. In early July 1965, Richard's brother Robert Penniman "fired" Jimi. However, Jimi wrote to his father, Al Hendrix, that he quit Richard because:
"You can't live on promises when
you're on the road, so I had to cut
that mess aloose".
Hendrix had not been paid for five-and-a-half weeks, and was owed 1,000 dollars. Hendrix then rejoined the Isley Brothers' band, the IB Specials.
Richard later signed with Modern Records, releasing a modest charter, "Do You Feel It?" before leaving for Okeh Records in early 1966.
His former Specialty labelmate Larry Williams produced two albums for Richard on Okeh - the studio release The Explosive Little Richard, which utilised a Motown-influenced sound and produced the modest charters "Poor Dog" and "Commandments of Love." Secondly Little Richard's Greatest Hits: Recorded Live! which returned him to the album charts.
Richard was later scathing about this period, declaring Larry Williams "the worst producer in the world". In 1967, Richard signed with Brunswick Records, but after clashing with the label over musical direction, he left the label the following year.
Richard felt that producers on his labels failed to promote his records during this period. Later, he claimed they kept trying to push him to record in a style similar to Motown, and felt he wasn't treated with appropriate respect.
Richard often performed in dingy clubs and lounges with little support from his label. While Richard managed to perform at huge venues in England and France, in the U.S. Richard had to perform on the Chitlin' Circuit.
Richard's flamboyant look, while a hit during the 1950's, failed to help his labels to promote him to more conservative black record buyers. Richard later claimed that his decision to "backslide" from his ministry, led religious clergymen to criticise his new recordings.
Making matters worse, Richard said, was his insistence on performing in front of integrated audiences at the time of the black liberation movement shortly after the Watts riots and the formation of the Black Panthers. This caused many black radio disk jockeys in certain areas of the country, including Los Angeles, to choose not to play his music.
By then acting as his manager, Larry Williams convinced Richard to focus on his live shows. By 1968, he had ditched the Upsetters for his new backup band, the Crown Jewels, performing on the Canadian TV show, "Where It's At".
Richard was also featured on the Monkees' TV special 33⅓ Revolutions per Monkee in April 1969.
Williams booked Richard shows in Las Vegas casinos and resorts, leading Richard to adopt a wilder, flamboyant, and androgynous look, inspired by the success of his former backing guitarist Jimi Hendrix.
Richard was soon booked at rock festivals such as the Atlantic City Pop Festival, where he stole the show from headliner Janis Joplin. Richard produced a similar show stealer at the Toronto Pop Festival with John Lennon as the headliner.
These successes brought Little Richard to talk shows such as the Tonight Show Starring Johnny Carson, and the Dick Cavett Show, making him a major celebrity again.
Responding to his reputation as a successful concert performer, Reprise Records signed Richard in 1970, and he released the album, The Rill Thing, with the philosophical single, "Freedom Blues", becoming his biggest charted single in years.
In May 1970, Richard made the cover of Rolling Stone magazine. Despite the success of "Freedom Blues", none of Richard's other Reprise singles charted, with the exception of "Greenwood, Mississippi", a swamp rock original by guitar hero, Travis Wammack, who incidentally played on the track.
It charted only briefly on the Billboard Hot 100 and Cash Box pop chart, also on the Billboard Country charts; it made a strong showing on WWRL in New York, before disappearing.
Richard became a featured guest instrumentalist and vocalist on recordings by acts such as Delaney and Bonnie, Joey Covington and Joe Walsh, and was prominently featured on Canned Heat's 1972 hit single, "Rockin' with the King".
To keep up with his finances and bookings, Richard and three of his brothers formed a management company, Bud Hole Incorporated. On American TV, Richard announced that he would appear in a Rock Hudson motion picture, playing "The Insane Minister". (The appearance has never seen the light of day.)
Richard also mentioned a new project involving Mick Jagger and Joe Cocker, celebrating his 20 years in show business, though it was never realized.
By 1972, Richard had entered the rock and roll revival circuit, and that year, he co-headlined the London Rock and Roll Show at Wembley Stadium with his musical peer Chuck Berry, Richard would come on stage and announce himself as "The King of Rock and Roll", fittingly also the title of his 1971 album with Reprise, and told the packed audience there to "let it all hang out".
Richard, however, was booed during the show when he climbed on top of his piano and stopped singing; he also seemed to ignore much of the crowd. To make matters worse, he showed up with just five musicians, and struggled through low lighting and bad microphones.
When the concert film documenting the show came out, his performance was considered generally strong, though his fans noticed a drop in energy and vocal artistry. Two songs he performed did not make the final cut of the film.
The following year, he recorded a charting soul ballad, "In the Middle of the Night", released with proceeds donated to victims of tornadoes that had caused damage in twelve states.
Richard did no new recordings in 1974, although two "new" albums were released. In the summer, came a major surprise for fans, "Talkin' 'bout Soul", a collection of released and unreleased Vee Jay recordings, all never before on a domestic LP. Two tracks were new to the world: the title tune and "You'd Better Stop", both uptempo.
Later that year came a set recorded in one night, early the previous year, called "Right Now!", and featuring "roots" material, including a vocal version of an unreleased Reprise instrumental "Mississippi", released in 1972 as "Funky Dish Rag"; his third try at his gospel-rock "In the Name"; and a 6 minute plus rocker, "Hot Nuts", based upon a 1936 song by Li'l Johnson ("Get 'Em From The Peanut Man").
1975 was a big year for Richard, with a world tour, and acclaim over high energy performances throughout England and France. His band was perhaps his best to date. He cut a top 40 single (US and Canada), with Bachman-Turner Overdrive, "Take It Like a Man".
Richard worked on new songs with sideman, Seabrun "Candy" Hunter. He told Dee-Jay, Wolfman Jack, that he planned on releasing a new album with Sly Stone, but it never materialized.
In 1976, he decided to retire again, being physically and mentally exhausted, having experienced family tragedy and the drug culture. He was talked into once again re-cutting his greatest hits, for Stan Shulman in Nashville. This time, they did not use new arrangements, but stuck to the original arrangements.
Richard re-recorded eighteen of his classic rock and roll hits for K-Tel Records, in high-tech stereo recreations, with a single featuring the new versions of "Good Golly Miss Molly" and "Rip It Up," with both tracks reaching the UK singles chart.
Richard later admitted that he was heavily addicted to drugs and alcohol. By 1977, worn out from years of drug abuse and wild partying, as well as a string of personal tragedies, Richard quit rock and roll again and returned to evangelism, releasing one gospel album, God's Beautiful City, in 1979.
At the same time, while touring once again as a minister and returning to talk shows, a controversial album was released by the discount label, Koala, taken from a 1974 concert.
It includes an 11 minute discordant version of "Good Golly, Miss Molly". The performances are widely panned as subpar, and the album has gained some notoriety amongst record collectors.
(d) 1984–1999: Comeback
In 1984, Richard filed a $112 million lawsuit against Specialty Records, Art Rupe and his publishing company, Venice Music, and ATV Music for not paying royalties to him after he left the label in 1959. The suit was settled out of court in 1986.
According to some reports, Michael Jackson allegedly gave him monetary compensation for his work, which he co-owned with Sony-ATV, songs by the Beatles and Richard.
In September 1984, Charles White released the singer's authorized biography, Quasar of Rock: The Life and Times of Little Richard, which put Richard back in the spotlight. Richard returned to show business in what Rolling Stone referred to as "a formidable comeback" following the book's release.
Reconciling his roles as evangelist and rock and roll musician for the first time, Richard stated that the genre could be used for good or evil. After accepting a role in the film Down and Out in Beverly Hills, Richard and Billy Preston penned the faith-based rock and roll song "Great Gosh A'Mighty" for its soundtrack.
Richard won critical acclaim for his film role, and the song found success in the American and British charts. The hit led to the release of the album Lifetime Friend (1986) on Warner Bros. Records, with songs deemed "messages in rhythm", including a gospel rap track.
In addition to a version of "Great Gosh A'Mighty", cut in England, the album featured two singles that charted in the UK, "Somebody's Comin,'" and "Operator".
Richard spent much of the rest of the decade as a guest on television shows and appearing in films, winning new fans with what was referred to as his "unique comedic timing."
In 1988, he surprised fans with a serious tribute to Otis Redding at his Rock and Roll of Fame induction ceremony, singing several Redding songs, including "Fa Fa Fa (sad song)", "These arms of mine", and "Dock of the Bay ".
He told Otis' story, and explained how his 1956 tune "All Around the World" was Redding's reference on his 1963 side, "Hey, Hey Baby".
In 1989, Richard provided rhythmic preaching and background vocals on the extended live version of the U2–B.B. King hit "When Love Comes to Town". That same year, Richard returned to singing his classic hits following a performance of "Lucille" at an AIDS benefit concert.
In 1990, Richard contributed a spoken-word rap on Living Colour's hit song, "Elvis Is Dead", from their album Time's Up. That same year he appeared in a cameo for the music video of Cinderella's "Shelter Me".
In 1991, he was one of the featured performers on the hit single and video "Voices That Care" that was produced to help boost the morale of U.S. troops involved in Operation Desert Storm.
The same year, he recorded a version of "The Itsy Bitsy Spider" for the Pediatric AIDS Foundation benefit album For Our Children. The album's success led to a deal with Walt Disney Records, resulting in the release of a hit 1992 children's album, Shake It All About.
In 1994, Richard sang the theme song to the award-winning PBS Kids and TLC animated television series The Magic School Bus based on the book series created by Joanna Cole and Bruce Degen. He also opened Wrestlemania X from Madison Square Garden on the 20th. March that year, miming to his reworked rendition of "America the Beautiful".
Throughout the 1990's, Richard performed around the world and appeared on TV, film, and tracks with other artists, including Jon Bon Jovi, Elton John and Solomon Burke.
In 1992 he released his final album, Little Richard Meets Masayoshi Takanaka, featuring members of Richard's then current touring band.
(e) 2000–2020: The Later years
In 2000, Richard's life was dramatized for the biographical film Little Richard, which focused on his early years, including his heyday, his religious conversion and his return to secular music in the early 1960's.
Richard was played by Leon Robinson, who earned an NAACP Image Award nomination for his performance.
In 2002, Richard contributed to the Johnny Cash tribute album, Kindred Spirits: A Tribute to the Songs of Johnny Cash. In 2004–2005, he released two sets of unreleased and rare cuts, from the Okeh label 1966/67 and the Reprise label 1970/72. Included was the full Southern Child album, produced and composed mostly by Richard, scheduled for release in 1972, but shelved.
In 2006, Little Richard was featured in a popular advertisement for the GEICO brand. A 2005 recording of his duet vocals with Jerry Lee Lewis on a cover of the Beatles' "I Saw Her Standing There" was included on Lewis's 2006 album, Last Man Standing.
The same year, Richard was a guest judge on the TV series Celebrity Duets. Richard and Lewis performed alongside John Fogerty at the 2008 Grammy Awards in a tribute to the two artists considered to be cornerstones of rock and roll by the NARAS.
That same year, Richard appeared on radio host Don Imus' benefit album for sick children, The Imus Ranch Record. In June 2010, Richard recorded a gospel track for an upcoming tribute album to songwriting legend Dottie Rambo.
In 2009, Richard was Inducted into The Louisiana Music Hall Of Fame in a concert in New Orleans, attended by Fats Domino.
Throughout the first decade of the new millennium, Richard kept up a stringent touring schedule, performing primarily in the United States and Europe. However, sciatic nerve pain in his left leg and then replacement of the involved hip began affecting the frequency of his performances by 2010.
Despite his health problems, Richard continued to perform to receptive audiences and critics. Rolling Stone reported that at a performance at the Howard Theater in Washington, D.C., in June 2012:
"Richard was still full of fire, still a master
showman, his voice still loaded with deep
gospel and raunchy power."
Richard performed a full 90-minute show at the Pensacola Interstate Fair in Pensacola, Florida, in October 2012, at the age of 79, and headlined at the Orleans Hotel in Las Vegas during Viva Las Vegas Rockabilly Weekend in March 2013.
In September 2013, Rolling Stone published an interview with Richard who said that he would be retiring from performing. He told the magazine:
"I am done, in a sense, because I don't
feel like doing anything right now.
I think my legacy should be that when I
started in showbusiness there wasn't no
such thing as rock'n'roll.
When I started with 'Tutti Frutti', that's
when rock really started rocking."
Richard performed one last concert in Murfreesboro, Tennessee in 2014.
In June 2015, Richard appeared before a benefit concert audience, clad in sparkly boots and a brightly colored jacket at the Wildhorse Saloon in Nashville to receive the Rhapsody & Rhythm Award from and raise funds for the National Museum of African American Music.
He charmed the crowd by reminiscing about his early days working in Nashville nightclubs. In May 2016, the National Museum of African American Music issued a press release indicating that Richard was one of the key artists and music industry leaders that attended its third annual Celebration of Legends Luncheon in Nashville.
In 2016, a new CD was released on Hitman Records, California (I'm Comin') with released and previously unreleased material from the 1970's, including a cappella version of his 1975 single release, "Try to Help Your Brother".
On the 6th. September 2017, Richard participated in a long television interview for the Christian Three Angels Broadcasting Network, appearing in a wheelchair, clean-shaven, without make-up, dressed in a blue paisley coat and tie, where he discussed his lifelong Christian faith.
On the 23rd. October 2019, Richard addressed the audience after appearing to receive the Distinguished Artist Award at the 2019 Tennessee Governor's Arts Awards at the Governor's Residence in Nashville, Tennessee.
Little Richard's Personal Life
(i) Relationships and Family
Around 1956, Richard became involved with Audrey Robinson, a sixteen-year-old college student, originally from Savannah, Georgia. Richard and Robinson quickly got acquainted, despite Robinson not being a fan of rock and roll music.
Richard said in his 1984 autobiography that he invited other men to have sexual encounters with her, including Buddy Holly, although Audrey denied those statements.
Richard proposed marriage to Robinson, but she refused. Robinson later became known under the name Lee Angel as a stripper and socialite. Richard re-connected with Robinson in the 1960's, though she left him again after his drug abuse worsened.
Robinson was interviewed for Richard's 1985 documentary on The South Bank Show, and denied Richard's statements. According to Robinson, Richard would use her to buy food in whites-only fast food stores, as he could not enter any, due to the color of his skin.
Richard met his only wife, Ernestine Harvin, at an evangelical rally in October 1957. They began dating that year, and wed on the 12th. July 1959 in California. According to Harvin, she and Richard initially enjoyed a happy marriage with "normal" sexual relations.
When the marriage ended in divorce in 1964, Harvin said it was due to her husband's celebrity status, which had made life difficult for her. Richard said the marriage fell apart due to his being a neglectful husband and because of his sexuality.
Both Robinson and Harvin denied Richard's statements that he was gay, and Richard believed they did not know it because:
"I was such a pumper
in those days".
During the marriage, Richard and Harvin adopted a one-year-old boy, Danny Jones, from a late church associate. Richard and his son remained close, with Jones often acting as one of his bodyguards. Harvin later married McDonald Campbell in Santa Barbara, California, on the 23rd. March 1975.
(ii) Little Richard's Sexuality
In 1984, Richard said that he just played with girls as a child, and was subjected to homosexual jokes and ridicule because of his manner of walking and talking. His father brutally punished him whenever he caught him wearing his mother's makeup and clothing.
The singer said he had been sexually involved with both sexes as a teenager. Because of his effeminate mannerisms, his father kicked him out of their family home when he was fifteen. In 1985, on The South Bank Show, Richard explained:
"My daddy put me out of the house.
He said he wanted seven boys, and
I had spoiled it, because I was gay."
Richard got involved in voyeurism in his early twenties. A female friend would drive him around picking up men who would allow him to watch them having sex in the backseat of cars.
Richard's activity caught the attention of the Macon police in 1955, and he was arrested after a gas station attendant reported sexual activity in a car Richard was occupying with a heterosexual couple. Cited on a sexual misconduct charge, he spent three days in jail, and was temporarily banned from performing in Macon.
In the early 1950's, Richard became acquainted with openly gay musician Billy Wright, who helped in establishing Richard's look. Billy advised Richard to use pancake makeup, and to wear his hair in a long-haired pompadour style similar to his.
As Richard got used to the makeup, he ordered his band, the Upsetters, to wear makeup too, in order to gain entry into predominantly white venues. He later stated:
"I wore the make-up so that white
men wouldn't think I was after the
white girls.
It made things easier for me, plus
it was colorful too."
In 2000, Richard told Jet magazine:
"I figure if being called a sissy would
make me famous, let them say what
they want to."
Richard's look, however, still attracted female audiences, who would send him naked photos and their phone numbers.
During Richard's heyday, his obsession with voyeurism and group sex continued, with his girlfriend Audrey Robinson participating. Richard wrote that Robinson would have sex with men while she sexually stimulated Richard.
Despite saying he was "born again" after leaving rock and roll for the church in 1957, Richard left Oakwood College after exposing himself to a male student. The incident was reported to the student's father, and Richard withdrew from the college.
In 1962, Richard was arrested for spying on men urinating in toilets at a Trailways bus station in Long Beach, California. However he still participated in orgies, and continued to be a voyeur.
On the 4th. May 1982, on Late Night with David Letterman, Richard said:
"God gave me the victory. I'm not gay
now, but, you know, I was gay all my
life. I believe I was one of the first gay
people to come out.
But God let me know that he made
Adam be with Eve, not Steve.
So, I gave my heart to Christ."
In his 1984 book, while demeaning homosexuality as "unnatural" and "contagious", he told Charles White that he was "omnisexual".
In 1995, Richard told Penthouse that he always knew he was gay, saying "I've been gay all my life". In 2007, Mojo Magazine referred to Richard as "bisexual".
In October 2017, Richard once again denounced homosexuality in an interview with the Christian Three Angels Broadcasting Network, stating that:
"Homosexual and transgender identity
is an unnatural affectation that goes
against the way God wants you to live."
(iii) Little Richard's Drug Use
During his initial heyday in the 1950's rock and roll scene, Richard was a teetotaler, abstaining from alcohol, cigarettes, and drugs. Richard often fined bandmates for drug and alcohol use during this era.
By the mid-1960's, however, Richard began drinking large amounts of alcohol, as well as smoking cigarettes and marijuana. By 1972, he had developed an addiction to cocaine. He later lamented that period:
"They should have called me
Lil Cocaine, I was sniffing so
much of that stuff!"
By 1975, he had developed addictions to both heroin and PCP, otherwise known as "angel dust". His drug and alcohol misuse began to affect his professional career and personal life. He later recalled:
"I lost my reasoning."
Of his cocaine addiction, Richard said that he did whatever he could to use cocaine. Richard admitted that his addictions to cocaine, PCP and heroin were costing him as much as $1,000 a day.
In 1977, longtime friend Larry Williams once showed up with a gun and threatened to kill Richard for failing to pay his drug debt. Richard said that this was the most fearful moment of his life; Williams' own drug addiction made him wildly unpredictable.
Richard did acknowledge that he and Williams were "very close friends," and when reminiscing about the drug-fueled clash, he recalled thinking:
"I knew he loved me—
I hoped he did!"
Within that same year, Richard had several devastating personal experiences, including his brother Tony's death from a heart attack, the accidental shooting of his nephew whom he loved like a son, and the murder of two close personal friends – one a valet at "the heroin man's house."
These experiences convinced the singer to give up drugs and alcohol, along with rock and roll, and return to the ministry.
(iv) Little Richard and Religion
Richard's family had deep evangelical (Baptist and African Methodist Episcopal) Christian roots, including two uncles and a grandfather who were preachers. He also took part in Macon's Pentecostal churches, which were his favorites, mainly due to their music, charismatic praise, dancing in the Holy Spirit and speaking in tongues.
At the age of ten, influenced by Pentecostalism, he would go around saying that he was a faith healer, singing gospel music to people who were feeling sick, and touching them.
He later recalled that they would often say that they felt better after he prayed for them, and would sometimes give him money. Richard had aspirations of being a preacher due to the influence of singing evangelist Brother Joe May.
After he was born again in 1957, Richard enrolled at Oakwood College in Huntsville, Alabama, a mostly black Seventh-day Adventist college, to study theology. It was also at this time that he became a vegetarian.
Richard returned to secular music in the early 1960's. He was eventually ordained a minister in 1970, and resumed evangelical activities in 1977. Richard represented Memorial Bibles International, and sold their Black Heritage Bible, which highlighted the Book's many black characters.
As a preacher, he evangelized in anything from small churches to packed auditoriums of 20,000 or more. His preaching focused on uniting the races, and bringing lost souls to repentance through God's love.
In 1984, Richard's mother, Leva Mae, died following a period of illness. Only a few months prior to her death, Richard promised her that he would remain a Christian.
During the 1980's and 1990's, Richard officiated at celebrity weddings. In 2006, in one ceremony, Richard wedded twenty couples who had won a contest.
Richard used his experience and knowledge as an elder statesman of rock and roll to preach at funerals of musical friends such as Wilson Pickett and Ike Turner.
At a benefit concert in 2009 to raise funds to help rebuild children's playgrounds that were destroyed by Hurricane Katrina, Richard asked guest of honor Fats Domino to pray with him and others. His assistants handed out inspirational booklets at the concert, a common practice at Richard's shows.
Richard told a Howard Theatre, Washington, D.C. audience in June 2012:
"I know this is not Church, but
get close to the Lord. The world
is getting close to the end. Get
close to the Lord."
In 2013, Richard elaborated on his spiritual philosophies, stating:
"God talked to me the other night.
He said He's getting ready to come.
The world's getting ready to end,
and He's coming, wrapped in flames
of fire with a rainbow around His
throne."
Rolling Stone reported that Richard's apocalyptic prophesies generated snickers from some audience members as well as cheers of support. He responded to the laughter by stating:
"When I talk to you about Jesus, I'm
not playing. I'm almost 81 years old.
Without God, I wouldn't be here."
Little Richard's Health Problems and Death
In October 1985, having finished his album Lifetime Friend, Richard returned from England to film a guest spot on the show Miami Vice. Following the taping, he accidentally crashed his sports car into a telephone pole in West Hollywood. He suffered a broken right leg, broken ribs and head and facial injuries.
Richard's recovery from the accident took several months, preventing him from attending the inaugural Rock and Roll Hall of Fame ceremony in January 1986 where he was one of several inductees. He instead supplied a recorded message.
In 2007, Richard began having problems walking due to sciatica in his left leg, requiring him to use crutches. In November 2009, he entered hospital to have replacement surgery on his left hip.
Despite returning to performing the following year, Richard's problems with his hip continued, and he was brought onstage in a wheelchair, only being able to play sitting down.
On the 30th. September 2013, he revealed to CeeLo Green at a Recording Academy fundraiser that he had suffered a heart attack at home the week before. Taking aspirin and having his son turn on the air conditioner saved his life, according to his doctor. Richard stated:
"Jesus had something for me.
He brought me through."
On the 28th. April 2016, Richard's friend Bootsy Collins stated on his Facebook page that:
"Richard is not in the best of
health, so I ask all the Funkateers
to lift him up."
Reports began being posted on the internet stating that Richard was in grave health, and that his family were gathering at his bedside. On the 3rd. May 2016, Rolling Stone issued a rebuttal by Richard and his lawyer. Richard stated:
"Not only is my family not gathering
around me because I'm ill, but I'm still
singing. I don't perform like I used to,
but I have my singing voice, I walk
around, I had hip surgery a while ago,
but I'm healthy.'"
His lawyer said:
"He's 83. I don't know how many
83-year-olds still get up and rock
it out every week, but in light of
the rumors, I wanted to tell you
that he's vivacious and conversant
about a ton of different things, and
he's still very active in a daily routine."
Though Richard continued to sing into his eighties, he kept away from the stage.
On the 9th. May 2020, after a two month illness, Richard died at the age of 87 at his home in Tullahoma, Tennessee, from a cause related to bone cancer. His brother, sister, and son were with him at the time.
Richard received tributes from many popular musicians, including Bob Dylan, Paul McCartney, Mick Jagger, John Fogerty, Elton John, and Lenny Kravitz, as well as many others, such as film director John Waters, who were influenced by Richard's music and persona.
Richard was laid to rest at Oakwood University Memorial Gardens Cemetery in Huntsville, Alabama.
Little Richard's Legacy
Richard claimed to be "The Architect of Rock and Roll", and history would seem to bear out his boast. More than any other performer—save, perhaps, for Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona.
On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as "Tutti Frutti", "Long Tall Sally" and "Good Golly, Miss Molly" defined the dynamic sound of rock and roll.
Richard's music and performance style had a pivotal effect on the sound and style of popular music genres of the 20th. century. As a rock and roll pioneer, Richard embodied its spirit more flamboyantly than any other performer.
Richard's raspy shouting style gave the genre one of its most identifiable and influential vocal sounds, and his fusion of boogie-woogie, New Orleans R&B and gospel music blazed its rhythmic trail.
Richard's innovative emotive vocalizations and uptempo rhythmic music also played a key role in the formation of other popular music genres, including soul and funk.
He influenced numerous singers and musicians across musical genres from rock to hip hop; his music helped shape rhythm and blues for generations to come.
Combining elements of boogie, gospel, and blues, Richard introduced several of rock music's most characteristic musical features, including its loud volume and vocal style emphasizing power, and its distinctive beat and innovative visceral rhythms.
He departed from boogie-woogie's shuffle rhythm, and introduced a new distinctive rock beat, where the beat division is even at all tempos. He reinforced the new rock rhythm with a two-handed approach, playing patterns with his right hand, with the rhythm typically popping out in the piano's high register.
His new rhythm, which he introduced with "Tutti Frutti" (1955), became the basis for the standard rock beat, which was later consolidated by Chuck Berry.
"Lucille" (1957) foreshadowed the rhythmic feel of 1960's classic rock in several ways, including its heavy bassline, slower tempo, strong rock beat played by the entire band, and verse–chorus form similar to blues.
Richard's voice was able to generate croons, wails, and screams unprecedented in popular music. He was cited by two of soul music's pioneers, Otis Redding and Sam Cooke, as contributing to the genre's early development.
Redding stated that most of his music was patterned after Richard's, referring to his 1953 recording "Directly From My Heart To You" as the personification of soul, and that:
"Richard has done a lot for
me and my soul brothers
in the music business."
Cooke said in 1962 that:
"Richard has done so
much for our music".
Cooke had a top 40 hit in 1963 with his cover of Richard's 1956 hit "Send Me Some Loving".
James Brown and others credited Richard and his mid-1950's backing band, The Upsetters, with having been the first to put funk in the rock beat. This innovation sparked the transition from 1950's rock and roll to 1960's funk.
Richard's hits of the mid-1950's, such as "Tutti Frutti", "Long Tall Sally", "Keep A-Knockin'" and "Good Golly, Miss Molly", were generally characterized by playful lyrics with sexually suggestive connotations.
AllMusic writer Richie Unterberger stated that:
"Little Richard merged the fire of
gospel with New Orleans R&B,
pounding the piano and wailing
with gleeful abandon. While other
R&B greats of the early 1950's had
been moving in a similar direction,
none of them matched the sheer
electricity of Richard's vocals.
With his high-speed deliveries,
ecstatic trills, and the overjoyed
force of personality in his singing,
he was crucial in upping the voltage
from high-powered R&B into the
similar, yet different, guise of rock
and roll."
Emphasizing the folk influences of Richard, English professor W. T. Lhamon Jr. wrote:
"His songs were literally good
booty. They were the repressed
stuff of underground lore.
And in Little Richard they found
a vehicle prepared to bear their
chocked energy, at least for his
capsulated moment."
Ray Charles introduced him at a concert in 1988 as:
"A man that started a kind of music
that set the pace for a lot of what's
happening today."
Richard's contemporaries, including Elvis Presley, Buddy Holly, Bill Haley, Jerry Lee Lewis, Pat Boone, the Everly Brothers, Gene Vincent and Eddie Cochran, all recorded covers of his works.
As they wrote about him for their Man of the Year – Legend Category in 2010, GQ magazine stated that:
"Richard is, without question, the
boldest and most influential of the
founding fathers of rock'n'roll."
Little Richard's Influence on Society
In addition to his musical style, Richard was cited as one of the first crossover black artists, reaching audiences of all races. His music and concerts broke the color line, despite attempts to sustain segregation.
As H. B. Barnum explained in Quasar of Rock:
"Little Richard opened the door.
He brought the races together."
Barnum described Richard's music as follows:
"It wasn't boy-meets-girl-girl-meets-boy,
they were fun records, all fun. And they
had a lot to say sociologically in our
country and the world."
Barnum also stated that:
"Richard's charisma was a whole
new thing to the music business.
He would burst onto the stage
from anywhere, and you wouldn't
be able to hear anything but the
roar of the audience. He might
come out and walk on the piano.
He might go out into the audience."
Barnum also stated that Richard was innovative in that he would wear colorful capes, blouse shirts, makeup and suits studded with multi-colored stones and sequins, and that he also brought flickering stage lighting from his show business experience into performance venues where rock and roll artists performed.
In 2015, the National Museum of African American Music honored Richard for helping to shatter the color line on the music charts and changing American culture for ever.
Ian "Lemmy" Kilmister of the heavy metal band Motörhead spoke highly of Little Richard, stating:
"Little Richard was always my main
man. How hard must it have been
for him: gay, black and singing in
the South? But his records are a
joyous good time from beginning
to end."
The Influence of Little Richard
Richard influenced generations of performers across musical genres. Quincy Jones stated that:
"Richard was an innovator whose
influence spans America's musical
diaspora from Gospel, the Blues &
R&B, to Rock & Roll, & Hip-Hop."
James Brown and Otis Redding both idolized him. Brown allegedly came up with the Famous Flames debut hit, "Please, Please, Please", after Richard had written the words on a napkin.
Redding started his professional career with Richard's band, The Upsetters, and first entered a talent show performing Richard's "Heeby Jeebies", winning for fifteen consecutive weeks.
Ike Turner claimed that most of Tina Turner's early vocal delivery was based on Richard, something Richard reiterated in the introduction to Turner's autobiography, Takin' Back My Name.
Bob Dylan first performed covers of Richard's songs on piano in high school with his rock and roll group, the Golden Chords; in 1959 when leaving school, he wrote in his yearbook under "Ambition": "to join Little Richard".
Jimi Hendrix was influenced in appearance (clothing and hairstyle/mustache) and sound by Richard. He was quoted in 1966 saying:
"I want to do with my guitar what
Little Richard does with his voice."
Brian Epstein
by Andy Edwards
2022
Unveiled 27th August 2022
Brian Epstein was a music entrepreneur who managed The Beatles from 1962 until he died in 1967.
Epstein was born in 1934 into a family of successful retailers in Liverpool.
He managed the family's music shop where, in addition to being a successful retailer, he displayed a gift for talent spotting.
The statue, located on Whitechapel, where Brian's music shop was located, commemorates Brian’s first visit to the Cavern to listen to a local band he was hearing great things about.
He is shown just about to turn into Button Street, which leads to Mathew Street, the home of The Cavern.
The pavement inscription with the statue reads:
Brian Epstein
1934–1967
On 9th November 1961, Brian Epstein left his family-owned record/electrical store NEMS, at 12–14 Whitechapel (opposite), and walked to the Cavern to see the Beatles for the first time.
He managed them through NEMS Enterprises, and his other Liverpool hitmakers included Cilla Black, Gerry and the Pacemakers, Billy J Kramer and the Fourmost.
Audience swings and sways to the music of Neil Diamond at The
Golden Gate Theater in San Francisco, California. The performance, called "A Beautiful Noise", is an energy-filled musical memoir that tells the untold true story of how one of America’s greatest hitmakers became a star, set to the songs that defined his career like "Sweet Caroline" and "Coming To America".
Brian Epstein
by Andy Edwards
2022
Unveiled 27th August 2022
Brian Epstein was a music entrepreneur who managed The Beatles from 1962 until he died in 1967.
Epstein was born in 1934 into a family of successful retailers in Liverpool, who put him in charge of their music shop where, in addition to being a successful retailer, he displayed a gift for talent spotting.
The statue, located on Whitechapel where Brian ran his music shop NEMS, commemorates Brian’s first visit to the Cavern to listen to a local band he was hearing great things about.
He is shown just about to turn into Button Street, which leads to Mathew Street, the home of The Cavern.
The pavement inscription with the statue reads:
Brian Epstein
1934–1967
On 9th November 1961, Brian Epstein left his family-owned record/electrical store NEMS, at 12–14 Whitechapel (opposite), and walked to the Cavern to see the Beatles for the first time.
He managed them through NEMS Enterprises, and his other Liverpool hitmakers included Cilla Black, Gerry and the Pacemakers, Billy J Kramer and the Fourmost.
Downtown Nashville was rockin' on Wednesday Dec. 30th when the Hard Rock Cafe celebrated its Grand Re-Opening featuring a guitar smash and live performance. The V.I.P. event included a star studded red carpet with special guests such as country hitmakers Rodney Atkins, Bucky Covington and Cowboy Troy. Nashville Predators own Jordan Tootoo along with cheerleaders from the TN Titans and dancers from the Nashville Predators and many others.
taken by my wife
"BRIAN EPSTEIN / 1934 -1967 On 9th November 1961 Brian Epstein left his family-owned / record / electrical store NEMS, at 12 / 14 Whitechapel (opposite), / and walked to the Cavern to see the Beatles for the first time, / He managed them through NEMS Enterprises, / and his other Liverpool hitmakers included Cilla Black, / Gerry and the Pacemakers, Billy J Kramer, and the Fourmost. / Sculptor Andrew Edwards / July 2022"
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
__Exclusive__
_ KEYS AND BEATZ WED
Parents_to_be ALICIA KEYS and rap producer SWIZZ BEATZ have married in a ceremony in Corsica_ France.
The No One hitmaker_ who is pregnant with the couple_s first child_ walked down the aisle on Saturday _31Jul10_ in front of family_ friends and A_list stars including U2 rocker Bono and Queen Latifah.
Keys looked radiant in a flowing white gown and headband_ while the groom wore a white tuxedo jacket_ pink shirt and bow tie for their big day.
The nuptials on the Mediterranean island proved to be a relaxed affair _ Keys showed off her baby bump in a bikini while enjoying a dip in the pool before exchanging vows.
The singer announced her pregnancy and engagement to Beatz in May _10_ and their first child is due later this year _10_. _PAW_WN_ZN_
Alicia Keys
sunbathes with friends before her wedding to Swizz Beatz
Corsica_ France _ 31.07.10
__Only available for publication in the UK_ USA_ Germany_ Austria_ Switzerland_ Australia_ Portugal_ Canada_ United Arab Emirates _ China. Not available for the rest of the world__
Mandatory Credit_ WENN.com
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
__Exclusive Allrounder__
_ KEYS AND BEATZ WED
Parents_to_be ALICIA KEYS and rap producer SWIZZ BEATZ have married in a ceremony in Corsica_ France.
The No One hitmaker_ who is pregnant with the couple_s first child_ walked down the aisle on Saturday _31Jul10_ in front of family_ friends and A_list stars including U2 rocker Bono and Queen Latifah.
Keys looked radiant in a flowing white gown and headband_ while the groom wore a white tuxedo jacket_ pink shirt and bow tie for their big day.
The nuptials on the Mediterranean island proved to be a relaxed affair _ Keys showed off her baby bump in a bikini while enjoying a dip in the pool before exchanging vows.
The singer announced her pregnancy and engagement to Beatz in May _10_ and their first child is due later this year _10_. _PAW_WN_ZN_
Alicia Keys
sunbathes with friends before her wedding to Swizz Beatz
Corsica_ France _ 31.07.10
__Only available for publication in the UK_ USA_ Germany_ Austria_ Switzerland_ Australia_ Portugal_ Canada_ United Arab Emirates _ China. Not available for the rest of the world__
Mandatory Credit_ WENN.com
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Ellie Goulding
English singer, songwriter and multi-instrumentalist Ellie Goulding headlined the first night of the 2015 Apple Music Festival at Camden's Roundhouse, the newly re-branded iTunes festival which has been running at the venue since 2009.
Following a well received festival-opening set from American soul, R&B, jazz and blues singer Andra Day, the now customary big-screen countdown clock into the headline act arriving had the North London crowd counting along ahead of Goulding making her appearance.
The 28-year-old burst on stage from the centre, dressed in a black and red military-workout combo outfit which was well-suited to her energetic performance.
Leading with Calvin Harris collaboration track Outside, Goulding barely stood still, bounding about and making good use of the extended Roundhouse stage.
Halcyon tracks Ritual and Goodness Gracious followed, the crowd lapping up hits from her last release.
"It's so good to be back in London", the Starry Eyed-hitmaker said of playing the Camden venue. "I only live up the road!"
Major Lazar collaboration track Powerful was accompanied by a stunning light show, coherent light sources in a multitude of colours lighting up the re-purposed train roundhouse.
Hits Figure 8, Anything Could Happen and Burn also made an appearance, the latter allowing Goulding a sole outing with her black Gibson Les Paul guitar for a suitable flailing-haired rock chick moment.
Following the announcement, this past week, of her third studio album Delirium hitting shelves in November, new music was promised at tonight's show. And she didn't disappoint, giving newest single On My Mind it's live debut to open the show's encore.
"Lets end with a love song" Goulding said, introducing show closer Love Me Like You Do.
It's clear to see how this once subdued singer-songwriter and guitarist is now headlining major music festivals and playing to thousands at her own arena shows with two studio records under her belt as she brought her brand of colourful pop, dramatic theatrics and sheer energy of those large-scale productions to the comparably tiny Camden Roundhouse.
The Apple Music Festival continues over the next 8 nights with headline sets from Take That, One Direction, Florence + the Machine and Mumford and Sons amongst others.
Catch Ellie on the UK leg of her Delirium arena tour in March 2016 with a stop at London's O2 Arena on March 24th.
Very sad news this morning. Musician Alex Chilton collapsed yesterday while mowing his yard in New Orleans and later died at the hospital. He was 59.
Chilton was the greatest musician I've had the chance to see in person (see below for a summary of his career from the Memphis Commercial Appeal).
The best show I ever saw (by any musician) was a Chilton show at the 9:30 Club in Washington, D.C. in January 1982. I was exhausted (having just finished a brief on a Supreme Court case) and there was a big snowstorm in progress. But this was a show I couldn't miss. There were only 19 people there (I counted). It was magical.
Years later, I saw an article by local rock critic Mark Jenkins talking about the greatest shows he'd ever seen -- the best was that January 1982 show by Alex Chilton with 19 people there.
I was pleased to see that Chilton had married and had a son. He was the poster boy for abusing your body (drugs, alcohol, hard living in general) and I'm actually surprised he lasted so long.
Chilton is undoubtedly best known to the general public for his teenage lead vocals for the Boxtops in the late 60s -- they had a massive hit with "The Letter" ("give me a ticket for aeroplane, ain't got time to take a fast train, lonely days are gone, I'm a going home, my baby done wrote me a letter") and a lesser (but superior) hit with "I Met Her in Church."
But his best work was with the uber-pop band Big Star, his solo work, and his work with Memphis deconstructionist roots band Panther Burns. Check out any of these albums and you'll see what a big loss this is: Big Star - Radio City & Third; solo - Like Flies on Sherbert & Lost Decade; Panther Burns - Behind the Magnolia Curtain.
----------------------
Obituary from the Commerical Appeal:
Alex Chilton, the pop hitmaker, cult icon and Memphis rock iconoclast best known as a member of 1960s pop-soul act the Box Tops and the 1970s power-pop act Big Star, died Wednesday at a hospital in New Orleans.
The singer, songwriter and guitarist was 59.
"I'm crushed. We're all just crushed," said John Fry, owner of Memphis' Ardent Studios and a longtime friend of Chilton's. "This sudden death experience is never something that you're prepared for. And yet it occurs."
Chilton had been complaining about his health earlier Wednesday, Fry said. He was taken by paramedics from his home to the emergency room but could not be revived.
Chilton and Big Star had been scheduled to play Saturday as part of the South by Southwest festival in Austin, Texas. The band was also scheduled to play at the Levitt Shell in Memphis on May 15. It's unknown what will happen to those shows.
The Memphis-born Chilton rose to prominence at age 16 when his gruff vocals powered the massive Box Tops hit "The Letter," as well as "Cry Like a Baby" and "Neon Rainbow."
After the Box Tops broke up in 1970, Chilton had a brief solo run in New York before returning to Memphis. He soon joined forces with a group of Anglo-pop-obsessed musicians -- fellow songwriter/guitarist Chris Bell, bassist Andy Hummel and drummer Jody Stephens -- to form Big Star.
The group became the flagship act for Ardent's Stax-distributed label. Big Star's 1972 debut album, #1 Record, met with critical acclaim but poor sales.
The group briefly disbanded, but reunited without Bell to record the album Radio City. Released in 1974, the second album suffered a similar fate, plagued by Stax's distribution woes.
The group made one more album, Third/Sister Lovers, with just Chilton and Stephens -- and it, too, was a minor masterpiece. Darker and more complex than the band's previous pop-oriented material, it remained unreleased for several years.
In 2003, Rolling Stone magazine named all three Big Star albums to its list of the 500 Greatest Albums of All Time.
"It's a fork in the road that a lot of different bands stemmed from," said Jeff Powell, a respected local producer who worked on some of Chilton's records. "If you're drawing a family tree of American music, they're definitely a branch."
In the mid-'70s, Chilton began what would be a polarizing solo career, releasing several albums of material, including 1979's Like Flies on Sherbet -- a strange, chaotically recorded mix of originals and obscure covers that divided fans and critics.
Chilton also began performing with local roots-punk deconstructionists the Panther Burns.
In the early '80s, Chilton left Memphis for New Orleans, where he worked a variety of jobs and stopped performing for several years.
But interest in his music from a new generation of alternative bands, including the Replacements and R.E.M., brought him back to the stage in the mid-'80s.
He continued to record and tour as a solo act throughout the decade. Finally, in the early '90s, the underground cult based around Big Star had become so huge that the group was enticed to reunite with a reconfigured lineup.
The band, featuring original member Stephens plus Jon Auer and Ken Stringfellow of the Posies, continued to perform regularly over the next 16 years. Big Star became the subject of various articles, books and CD reissue campaigns, including the September 2009 release of the widely hailed box set, Keep an Eye on the Sky.
"I played with Alex for eight or 10 years regularly, and he was one of the best musicians I ever knew," said Doug Garrison. "That's what really locked the first time I played with him, this feel on the guitar. He just played flawlessly. He had a limited technique, but he did what he did really well."
Chilton was often described as "mercurial," but those who knew him well described a man with a keen sense of humor, a tremendous musician and a generous friend.
"He was the only person on a record I've ever worked with where you'd come up with a horn arrangement, and he'd say, 'Look, I'm going to make you guys a co-writer on the song now,'" said Jim Spake, who played sax on the most recent Big Star record.
Chilton is survived by his wife, Laura, a son, Timothy, and a sister, Cecilia.
"When some people pass, you say it was the end of an era. In this case, it's really true," said Van Duren, a fellow Memphis musician who knew Chilton for decades. "It puts an end to the Big Star thing, and that's a very sad thing."
-- Bob Mehr: 529-2517
-- Jody Callahan: 529-6531
Alex Chilton, 1950-2010
— Born December 28, 1950, in Memphis
— Was the lead singer for the Box Tops in the 1960s; recorded "The Letter," which hit No. 1 on the pop charts
— Formed Big Star in 1971 with guitarist/singer Chris Bell, bassist Andy Hummel and drummer Jody Stephens
— Big Star put out two albums -- #1 Record and Radio City
— Group broke up in 1975 while working on a third album, which was eventually released overseas called Third/Sister Lovers
— Moved to New Orleans in early 1980s and released some solo albums on Ardent label
— Reunited with Big Star in the mid-1990s
— Rhino Records released a four-disc, 98-song retrospective in September 2009 called Keep an Eye on the Sky
— Band had been scheduled to launch the spring 2010 season at the Levitt Shell at Overton Park with a benefit concert on May 15
What they're saying
“I’ve been thinking about him a lot lately, because I heard he just got married. I’d been thinking about stopping by, but I just didn’t have time. I certainly didn’t think I needed to hurry and do that.”
— Doug Garrison, a member of Chilton’s band from 1984-92
“He graciously said, ‘Man, I want to make you a co-producer and give you a point on the record. That’s unbelievable. That’s never happened before.”
— Jeff Powell, who engineered and mixed some of Chilton’s records
“He changed music. There’s no other way to say it. It’s just true.”
— Steve McGehee, former owner of the legendary Antenna club
“(He was) really talented in ways you might not expect. I remember sitting at Ardent with him one time, when I was auditioning with him as a fourth member of Big Star. I remember him sitting down at a piano, and just playing ragtime piano for about 10 minutes just flawlessly.”
— Memphis musician Van Duren
“He was a little quirky maybe. He didn’t care what people thought. He just did his thing.”
— Saxophonist Jim Spake, who played on several Chilton records
“It’s obvious to anybody that listens to his live performances or his body of recorded work, his tremendous talent as a vocalist and songwriter and instrumentalist.”
— John Fry, owner of Ardent Studios
"Alex Chilton always messed with your head, charming and amazing you while doing so. His gift for melody was second to none, yet he frequently seemed in disdain of that gift,"
— Brent Gulke, creative director of South by Southwest music festival in Austin.
Jason Derulo
Alcatraz - Milano
10 Marzo 2014
Ph.Mairo Cinquetti
After emerging in 2009 with his 3x-platinum debut single, “Whatcha Say,” Miami-born singer, songwriter, dancer, and actor Jason Derulo has parlayed his songwriting and performing talent and sheer determination into becoming a regular fixture on the pop chart over the last three years with a steady stream of best-selling singles, including the 2x-platinum “In My Head” and the 2x-platinum “Ridin’ Solo” from his self-titled 2010 debut, and the platinum “Don’t Wanna Go Home” (which spent five consecutive weeks in the Top 10), and “It Girl,” both from Derulo’s current album Future History. However everything came to a screeching halt in January when Derulo suffered a severe neck injury and was nearly paralyzed while rehearsing for a headlining world tour in support of Future History. Fortunately Derulo made a full recovery and returned in May with an appearance on the season finale of American Idol, during which he performed a new song, “Undefeated,” which featured lyrics submitted by fans through the Coca-Cola Perfect Harmony contest. Derulo has streamed more than half a billion views on his YouTube Channel and sold more than 16 million singles worldwide. He was a five-time winner at the 2011 BMI Pop Awards including being honored as "Songwriter of the Year" (which he shared with Lady Gaga and his debut album’s producer JR Rotem), and took home a 2010 Teen Choice Award for “Choice Music: Album, R&B.” Derulo has also been nominated for a four additional Teen Choice Awards, a 2011 NAACP Image Award, an American Music Award, an ARIA and MOBO Award, two MTV Video Music Awards, two MTV Europe Music Awards, and a Much Music Award. He is currently in the studio working on his third album for Beluga Heights/Warner Bros. Records.
The 21-year-old chart-topper is set to release his eagerly awaited sophomore effort, Future History, on Beluga Heights/Warner Bros. Records on September 27th. “It’s where I see myself going in the future,” says Derulo of the meaning behind the album title. “These are the songs I’m going to be singing for the rest of my life, and I’d like my music to live on after I’m no longer around.”
Future History finds Derulo moving seamlessly from ultra-sexy urban dance tracks to poppy love songs, once again offering up a unique genre-blurring blend of varied sounds deeply rooted in pop. This time, production is handled by The Fliptones, including the first single and instant summer anthem “Don’t Wanna Go Home,” as well as hitmakers J.R. Rotem, Frank E, The Dream, and Eman.
“On this album I just wanted to be me,” explains Derulo, who wrote all of the songs on Future History either by himself or in collaboration with top names like Kara Dioguardi, The Dream, and Claude Kelly. The new batch of songs reflects a newfound maturity in Derulo’s personality as well as the music that he’s eager to share with his fans. “I was 19 before and now I’m 21 and I’ve really kind of found myself,” he says. “So you can hear a whole new person, a new being almost.”
While recording in Serenity Studio in Los Angeles, Derulo created the ideal vibe to inspire the creative process. “Music becomes conversational and real,” says Derulo of his ritual of keeping the studio dimly lit with candles so he can put himself in the place he’s singing about in each song, and express exactly what he’s feeling. “I’m not diluting what I’m saying with a pen, and I’m not editing myself. I’m saying what I feel.”
He’s certainly not shying away from his romantic side on Future History, with songs like “It Girl”—on which he sings of his ideal woman being his “greatest hit”—and “Breathing,” a gorgeous love song that also pays tribute to his late cousin with such lyrics as, “I only miss you when I’m breathing.”
“The lyrics are heartfelt, but they’re hidden behind a beat that makes them seem very light,” says Derulo of exposing his softer side on the song, which also features him breaking into an impromptu African chant. “That’s what I think is so cool about it. The song has both a positive and negative vibe. You have both elements.”
And you won’t find Derulo holding back when it comes to the details of sexual relationships on tracks like “Make It Up As We Go,” an ode to friends with benefits, and the testosterone-fueled “My Shit,” which he says is the result of his “no boundaries” approach to expressing himself. “It’s pretty graphic,” admits Derulo with a laugh. “It’s a super-manly sexual side, rather than a gentle sexual side. I think there should be a balance. It’s about an amazing time in the bedroom and just giving ownership to what’s mine.”
Derulo has been honing his songcraft for as long as he can remember. Raised on a healthy diet of Prince, Michael Jackson, Elvis, and Madonna while growing up in Miami, Derulo composed his first song, a little ditty called "Crush On You," on the piano at just eight years old. By the time he was a teen, he was attending the American Musical and Dramatic Academy in New York, where he also competed for and won The Apollo's Grand Championship in 2006.
At the age of 17, Derulo composed and sang the chorus to "Bossy” for Southern rapper Birdman, and soon became a sought-after tunesmith, crafting songs for hip-hop star Lil Wayne, R&B singer Cassie, and girl group Danity Kane, to name a few. Around this time, producer J.R. Rotem’s brother Tommy was searching for artists to sign to Rotem’s new label, Beluga Heights, and contacted Derulo through his MySpace page and invited him out to Los Angeles to pen songs for Sean Kingston’s second album.
"Jason is one of those guys who can write songs for other people but has a career of his own," says Rotem, who produced “Pick Up The Pieces,” “Be Careful,” and “Dumb” on Future History. Rotem quickly realized that Derulo belonged in the spotlight himself. "Jason can write pop songs for women to sing, R&B for men to sing, he can write ballads; he's very eclectic,” Rotem says. “He has really inspired us."
Produced by Rotem, Derulo’s debut album brought him a string of smash hit singles last year—the 3x-platinum "Whatcha Say" and the 2x-platinum "In My Head" and "Ridin' Solo"—making Derulo the first male solo artist to score consecutive No. 1's on Billboard's Pop Songs radio airplay chart in its 17-year-history with his first two entries.
Also that year, Derulo tried his hand at acting, appearing in the MTV feature film Turn the Beat Around in between tours with two of the biggest acts in the world—first on a six-week stint with Lady Gaga on her sold-out “Monster Ball” tour of North America, and then as support for the Black Eyed Peas in Canada—before headlining his own tour. Since then, Derulo’s live show has continued to grow. “The venues have doubled in size which is pretty cool,” he says. “It’s crazy that it happened in two years.”
Derulo plans to take Future History on his most extensive world tour yet, which will begin in Europe before hitting Australia and America, where he’s sure to put on his most memorable shows to date. “I’m excited to perform this album all over the world,” Derulo says. And fans can expect to see him continue to evolve, as he mounts an even bigger live production, complete with never-seen-before dance moves and plenty of costume changes.
“My goals for myself are almost impossible to reach,” explains Derulo when looking to the future. “It’s just me doing what I’m doing, and that is making music for the world, and hopefully making it a brighter place for somebody.”
* SPEARS CRACKS WHIP ON NEW YORK TV CIRCUS SHOW
BRITNEY SPEARS has turned New York into a Circus show with another hit TV
performance, days after wrapping her whirlwind European tour.
The pop star followed televised shows in Germany, France and the U.K. as she
tamed the thousands of fans who turned out to see her perform on Good Morning
America on Tuesday (02Dec08) - marking her 27th birthday.
Spears showed off her newly-fit figure wearing a belly-baring black top,
skin-tight pants and top hat as she took the stage at the Big Apple Circus
Tent.
The star unleashed a team of dancers dressed as clowns and circus freaks who
were caged behind her, and later re-emerged from a ring of fire wearing
booty-bearing shorts, black fishnets and a cropped red top as she continued her
lip-synced remix of songs.
But the Toxic hitmaker was in for her own surprise when fellow stars Hugh
Jackman, Reese Witherspoon and Taylor Swift wished her a happy birthday in a
video montage - and she was then presented with a towering cake.
Smiling, Spears told the roaring crowd, "That's so sweet thank you," as her
two sons, Sean Preston, three, and Jayden James, two, watched from the front
row with the singer's mum, Lynne.
Spears also confirmed her plans to embark upon a North American tour
beginning in March (09), with the first show near her hometown in New Orleans,
Louisiana.
But preparations will be put on hold as she continues her birthday
festivities with a star-studded, "very private, Circus-theme event," reportedly
scheduled for Tuesday night at New York nightspot Tenjune. (JMA/WNVGM&WN/ZN)
Britney Spears
performs on ABC's 'Good Morning America' at The Big Apple Circus Tent at Lincoln Center
New York City, USA - 02.12.08
Credit: (Mandatory): PNP/ WENN
__Exclusive__
_ KEYS AND BEATZ WED
Parents_to_be ALICIA KEYS and rap producer SWIZZ BEATZ have married in a ceremony in Corsica_ France.
The No One hitmaker_ who is pregnant with the couple_s first child_ walked down the aisle on Saturday _31Jul10_ in front of family_ friends and A_list stars including U2 rocker Bono and Queen Latifah.
Keys looked radiant in a flowing white gown and headband_ while the groom wore a white tuxedo jacket_ pink shirt and bow tie for their big day.
The nuptials on the Mediterranean island proved to be a relaxed affair _ Keys showed off her baby bump in a bikini while enjoying a dip in the pool before exchanging vows.
The singer announced her pregnancy and engagement to Beatz in May _10_ and their first child is due later this year _10_. _PAW_WN_ZN_
Alicia Keys
sunbathes with friends before her wedding to Swizz Beatz
Corsica_ France _ 31.07.10
__Only available for publication in the UK_ USA_ Germany_ Austria_ Switzerland_ Australia_ Portugal_ Canada_ United Arab Emirates _ China. Not available for the rest of the world__
Mandatory Credit_ WENN.com
Deskription Info Bla bla
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A handcrafted perpetual award plaque encircled in a glamorous golden toilet seat. Whether a winner or a loser; who wouldn’t feel honored to have their name engraved in brilliant gold at the center of all the action? 21 individual name plates make it a party! An iconic conversation piece to hang on the wall. Guaranteed to WOW the crème de la crème of your Fantasy Football League buddies, with your league name at the very top in bright, bold, gold letters.
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Michael Kirk Douglas (born September 25, 1944)[2] is an American actor and producer. He has received numerous accolades, including two Academy Awards, five Golden Globe Awards, a Primetime Emmy Award, the Cecil B. DeMille Award, and the AFI Life Achievement Award.[3
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WERBE PROFI AWARD 2009 – SILBER
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Goldener Zaunpfahl (Absurdes Gendermarketing)[7][8]
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Pascha des Monats, von der Zeitschrift Emma in jeder Ausgabe verliehene Auszeichnung für besonders auffällige chauvinistische Erscheinungsformen
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Saure Gurke (frauenfeindliche Fernsehbeiträge)
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Schwarzes Schaf der Denkmalpflege, jährlich vergeben vom Denkmalverbund Thüringen e. V. an Denkmaleigentümer, die sich durch besondere Verantwortungslosigkeit im Umgang mit ihrem Denkmal hervortun[9]
Silberne Zitrone, erstmals 1971[10] vergeben von der Zeitschrift ADAC Motorwelt an den Neuwagen mit den meisten Pannen und Herstellungsfehlern[11] (eingestellt)
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The TMF Awards are an annual television awards show broadcast live on TMF (The Music Factory).
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INTERNATIONAL MUSIC AWARD 2019: Gewinner, Performances und weitere Highlights der Preisverleihung
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Vaporware Awards And The Award For Best Vaporware Goes To… | Elia Insider
(angekündigte, aber nicht zum angegebenen Zeitpunkt fertiggestellte Hardware- oder Software-Produkte
aber nicht zum angegebenen Zeitpunkt fertiggestellte Hardware- oder Software-Produkte)
Roger Award Laureus Awards, Roger Federer
Public Eye Awards
Spike's Trophies
Pigasus Award
Pigasus Award
Ig-Nobelpreis
Golden Turkey Award
Ashton Kutcher wins first 'Foot In Mouth Award'
Darwin Award
Blue Planet Award Preisträger
Black Planet Award
Big Brother Award
de.wikipedia.org/wiki/Liste_von_Negativpreisen
Die beliebtesten Hotels mit dem Gold Award
Goldene Ananas Award - Die inspirierende Auszeichnung
Das Goldene Brett vorm Kopf oder kurz das Goldene Brett
Das Goldene Brett vorm Kopf oder kurz das Goldene Brett
Stings Great Hit 2019 - Die beste Sammlung von Sting-Songs
volamoure award
Mauli Maulwurf ( DDR ) Schiff Award
Die Goldene Himbeere Award
7 Sinne Golden Award
diffusions in the human body Campus Award
Goldenes Bienen Nest Award
de.wikipedia.org/wiki/Goldene_Himbeere
7 Sinne Golden Award
dr.freisler heidenheim Vorlesungen Fachreferat Dozent
1,2,3,4,5,6,7 – ein jeder Mensch hat 7 Sinne Golden Award
7 Sinnessystemen Award
der Sehsinn (Augen)
der Geruchssinn (Nase)
der Gehörsinn (Ohren)
der Haut- oder Tastsinn (Haut)
der Geschmackssinn (Zunge)
der Bewegungssinn
der Gleichgewichtssinn
5 Sinnesorgane Golden Award
5 Sinnesorgane Golden Award
human
National Pig Awards 2016
A double at the National Pig Awards - Rattlerow Farms Ltd
A double at the National Pig Awards - Rattlerow Farms Ltd
pig-mascot-awardBildergebnis für pig award vor 6 Tagen
video music music Award 2019 mtv
Buma Awards
tagesschau 22:15 Uhr, 13.12.2019
Stings Great Hit 2019 - Die beste Sammlung von Sting-Songs
Stings Great Hit 2019 - La Mejor Colección De Canciones De Sting
Drums: Graham Walker
Bass: Pete Rees
Keyboards: Vic Martin
Composer, Lyricist, Writer: Gary Moore
Composer, Writer: Moore
La Mejor Colección De Canciones De Sting
?
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The Icon,The Legend,The Hitmaker,
'A Life in Songs'
With very special guests
Live in Concert
www.ticketmaster.co.uk/ / www.Axs.com
Just Announced
**********************************************************************
EVENTS NEAR YOU
2020 Summer Tour
May 29 – Chicago, IL – United Center
May 30 – Milwaukee, WI – Fiserv Forum (Tickets)
May 31 – Detroit, MI – Little Caesars Arena (Tickets)
June 2 – Toronto, ON, CA – Scotiabank Arena
June 3 – Montreal, QC, CA – Bell Centre
June 6 – Washington, DC – Capital One Arena (Tickets)
June 8 – Charlotte, NC – Spectrum Center (Tickets)
June 9 – Atlanta, GA – State Farm Arena (Tickets)
June 11 – Miami, FL – AmericanAirlines Arena (Tickets)
June 12 – Orlando, FL – Amway Center (Tickets)
July 17 – Minneapolis, MN – Xcel Energy Center
July 19 – St. Louis, MO – Enterprise Center (Tickets)
July 20 – Kansas City, MO – Sprint Center (Tickets)
July 21 – Tulsa, OK – BOK Center (Tickets)
July 23 – Austin, TX – Frank Erwin Center
July 24 – Dallas, TX – American Airlines Center (Tickets)
July 25 – Houston, TX – Toyota Center (Tickets)
July 28 – Glendale, AZ – Gila River Arena (Tickets)
July 30 – Denver, CO – Pepsi Center (Tickets)
Aug. 1 – Salt Lake City, UT – Vivint Smart Home Arena (Tickets)
Aug. 3 – Portland, OR – MODA Center (Tickets)
Aug. 5 – Vancouver, BC, CA – Rogers Arena
Aug. 7 – George, WA – The Gorge Amphitheatre
announces 2020 Winter Tour with special guests
Dr. Dog Winter Tour 2020 Dates & Tickets
Feb. 3 – Pittsburgh, PA – Roxian Theatre
Feb. 4 – Detroit, MI – Majestic Theatre (Tickets)
Feb. 5 – Chicago, IL – Thalia Hall
Feb. 6 – Chicago, IL – Thalia Hall
Feb. 7 – Nashville, TN – Marathon Music Works
Feb. 9 – Kansas City, MO – The Truman (Tickets)
Feb. 10 – Fort Collins, CO – Washington's
Feb. 12 – Missoula, MT – The Wilma
Feb. 14 – Seattle, WA – Neptune Theatre
Feb. 16 – Portland, OR – Roseland Theater
Feb. 18 – Santa Cruz, CA – The Catalyst
Feb. 19 – San Francisco, CA – The Independent
Feb. 20 – San Francisco, CA – The Independent
Feb. 21 – San Francisco, CA – The Independent
Feb. 22 – San Francisco, CA – The Independent
Feb. 24 – San Luis Obispo, CA – Fremont Theater
Feb. 25 – Santa Ana, CA – Yost Theater (Tickets)
Feb. 27 – Los Angeles, CA – The Novo (Tickets)
Feb. 28 – San Diego, CA – The Observatory
Feb. 29 – Tempe, AZ – Innings Festival
March 1 – Tempe, AZ – Innings Festival
Best Live Band Ever
in the Picture: Marvin Gaye (April 2,1939–April 1,1984) photographed at Golden West Studios for Motown Records during the "Let's Get It On" recording session..
Today marks the 25th anniversary of the death of the music legend and im posting this picture to pay tribute to an artist whose songs inspired many over the 26 years of his life and still are 25 years after his death!
May Ur soul Rest In Peace
"There are still times I feel unhappy and I must smile, and there are times I want to cry and I must laugh... people rarely see the real Marvin Gaye"
Gaye
And Here's his Biography!
With a career that exemplified the maturation of romantic black pop into a sophisticated form spanning social and sexual politics, Marvin Gaye was one of the most consistent and enigmatic of the Motown hitmakers. Certainly among the most gifted composers and singers, with a mellifluous tenor and a three-octave vocal range, Marvin Gaye was also moody — avoiding TV, rarely performing live, and sometimes not showing up for the few concerts he did schedule. From "How Sweet It Is (To Be Loved by You)" to "Heard It Through the Grapevine," from "What's Going On" to "Sexual Healing," Gaye sang some of the most memorable black pop of the '60s, '70s, and '80s. He was nominated for eight Grammys before winning one in 1983. His life ended tragically one year later — and one day before his 45th birthday — when he was shot to death by his father, an Apostolic preacher, after a violent argument. In many respects, Gaye was, as his friend, the cowriter of "Sexual Healing," and author David Ritz titled his biography of him, a divided soul.
Gaye started singing at age three in church and was soon playing the organ as well. After a stint in the Air Force, he returned to DC and started singing in streetcorner doo-wop groups, including a top local group, the Rainbows. He formed his own group, the Marquees, in 1957. Under the auspices of supporter Bo Diddley, they cut "Wyatt Earp" for the Okeh label. In 1958 Harvey Fuqua heard the group and enlisted it to become the latest version of his ever-changing backing ensemble, the Moonglows. As such, Gaye was heard on "Mama Loocie" and other songs for the Chess label in 1959.
By 1961, the group was touring widely. Detroit impresario Berry Gordy Jr. heard the group and quickly signed Gaye to his fledgling Motown organization later that year. Soon after, Gaye married Gordy's sister Anna. Gaye's first duties with the label were as a session drummer (he played on all the early hits by Smokey Robinson and the Miracles).
Gaye got his first hit with his fourth release, "Stubborn Kind of Fellow," in 1962. Over the next 10 years, working with nearly every producer at Motown (including the team of Holland-Dozier-Holland, Smokey Robinson, and Norman Whitfield), he enjoyed over 20 big hits. Although he specialized in midtempo ballads, he also had dance hits: "Hitch Hike" (Number 30, 1963), the 12-bar blues "Can I Get a Witness" (Number 22, 1963), which became a virtual anthem among the British mods), and "Baby Don't You Do It" (Number 27, 1964). But by and large he favored romantic, sometimes sensual ballads. He felt that his desire to move into a more mainstream, sophisticated style was hindered by Motown's emphasis on hits. For a performer as unenthusiastic about some of his material as Gaye later claimed to be, he gave almost every song he ever recorded an inspired reading. His Top 10 hits included "Pride and Joy" (Number 10, 1963), "I'll Be Doggone" (Number Eight, 1965), "Ain't That Peculiar" (Number Eight, 1965), and "How Sweet It Is to Be Loved by You" (Number Six, 1965). Among his 39 Top 40 singles of the period were also such unlikely hits as "Try It Baby" (Number 15, 1964, with background vocals by the Temptations), "You're a Wonderful One" (Number 15, 1964, with backing vocals by the Supremes), "One More Heartache" (Number 29, 1966), "Chained" (Number 32, 1968), and "You" (Number 34, 1968).
Beginning in 1964 Gaye was teamed with Mary Wells [se,e entry] for a couple of hits, "Once Upon a Time" (Number 19, 1964) and "What's the Matter With You" (Number 17, 1964), and with Kim Weston for "It Takes Two" (Number 17, 1967). But his greatest duets were with Tammi Terrell: "Ain't No Mountain High Enough" (Number 19, 1967), "Your Precious Love" (Number Five, 1967), "Ain't Nothing Like the Real Thing" (Number Eight, 1968), and "You're All I Need to Get By" (Number Seven, 1968), all penned and produced by Nicholas Ashford and Valerie Simpson. In a 1967 concert Terrell collapsed into Gaye's arms onstage, the first sign of the brain tumor that killed her three years later. Although, contrary to popular belief, Gaye and Terrell were not romantically involved (she was involved with Temptation David Ruffin), he was deeply affected by her illness and death. Shortly thereafter Gaye had his biggest solo hit of the '60s with a dejected, paranoid reading of Norman Whitfield and Barrett Strong's "I Heard It Through the Grapevine" (Number One, 1968), a song that had already been given a fiery treatment by another Motown act, Gladys Knight and the Pips.
The second, quite distinct phase of Gaye's career — and black popular music — began in 1971 with What's Going On. Along with Stevie Wonder, Gaye was one of the first Motown artists to gain complete artistic control of his records. What's Going On was a self-composed and produced song cycle that could rightfully be called a concept album. Berry Gordy Jr., who still maintains that he didn't understand the record, was reluctant to release it. Gaye was vindicated when the album hit Number 6 and spun off three Top 10 singles: "What's Going On" (Number Two, 1971), "Inner City Blues (Make Me Wanna Holler)" (Number Nine, 1971), and "Mercy Mercy Me (the Ecology)" (Number Four, 1971) were impassioned, timeless statements on Vietnam, civil rights, and the state of the world. "What's Going On"; has been covered many times in the ensuing years, including a Top 20 version by Cyndi Lauper in 1986.
In 1972 Gaye scored the 20th Century–Fox film Trouble Man, and the dark, minimalist title track gave him yet another Top 10 hit (Number Seven, 1973). By 1973, he had shifted his attention to pure eroticism with Let's Get It On, the title track of which went to Number 1. His late-1973 album with Diana Ross, Diana and Marvin, produced three fairly successful singles: "You're a Special Part of Me" (Number 12, 1973), "Don't Knock My Love" (Number 46, 1974), and "My Mistake (Was to Love You)" (Number 19, 1974), but this project was one of many things Gaye did with Motown that he felt were forced upon him.
Gaye's rocky marriage of 14 years to Anna Gordy Gaye was the subject of Here, My Dear as the '70s closed, with Gaye still reeling from the divorce settlement. He filed for bankruptcy, and his ex-wife later considered suing him for invasion of privacy over the content of Here, My Dear. (The album had been precipitated by court hearings in 1976, when a judge instructed Gaye to make good on overdue alimony payments by recording an album and giving his wife $600,000 in royalties.) With Gordy he fathered a son, Marvin Gaye III. He married his second wife, Janice, in 1977 and that year had a Number 1 hit, & . ;Got to Give It Up, Pt. 1." They had two children: Nona, who has since become a recording artist in her own right, and Frankie. Janice was Gaye's muse, but he was also obsessed with her, and the relationship was tumultuous.
Under pressure from the Internal Revenue Service, Gaye moved to Europe to record his 1981 release, In Our Lifetime, which concentrated on his philosophies of love, art, and death. The next year, he left Motown for Columbia. His first album for the label, Midnight Love, sold 2 million copies and included the hit "Sexual Healing," which won a Grammy for Best Male R&B Vocal Performance. He sang live on the Grammy broadcast and, in 1983, in concert at Radio City Music Hall. During his Sexual Healing Tour, Gaye closed the show singing his hit in a silk robe, often stripping down to bikini underwear. Fan reaction was mixed. Also in 1983 he appeared in one of the more memorable segments of Motown's 25th-anniversary television special, obviously somewhat disoriented but riveting nonetheless. His a cappella version of "The Star-Spangled Banner," performed before the 1983 NBA All-Star game that year, became an instant bootlegged classic and is included on The Marvin Gaye Collection.
Gaye's comeback was one for the record books. But even with the recognition he longed for, Gaye was depressed, and his cocaine abuse was escalating, despite several attempts to clean up. He returned to the U.S. and moved into his parents' home — where he often quarreled with his father, with whom he'd been at odds since his teenage years. As Gaye later confessed to David Ritz, his internal life was marked by what Gaye viewed as an irreconcilable conflict between good (as represented by his strict religious upbringing) and evil (sex, drugs). In early 1984 Gaye reportedly threatened suicide several times and had become paranoid and irrational. Following a Sunday morning shouting match in his parents' home, Gaye's father shot him to death at point-blank range, he later claimed, in self-defense. Gaye's father was charged with and convicted of involuntary manslaughter. He was found to have a brain tumor, and was given a six-year suspended prison sentence.
After his death Motown and Columbia collaborated to produce Dream of a Lifetime and Romantically Yours, both based on unfinished recordings from the Sexual Healing sessions; among the tracks on the first album were the ribald, "Savage in the Sack" and "Masochistic Beauty," and some questioned whether Gaye had intended to release them at all. Since then, Gaye's work has been repackaged in a steady stream of new compilations. In addition, his work has been the subject of several tribute projects. In 1987 Gaye was inducted into the Rock and Roll Hall of Fame. He was also inducted to Hollywood's Rock Walk in 1989 and was given a star on the Hollywood Walk of Fame in 1990
from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)
&
Wikipedia
P.S.: This is only for the ppl who appreciate good Music
Lulu Santos e Orquestra Arte Viva
HSBC Brasil - 12/11/09
Projeto "Vozes Pela Infância" - em prol da causa Childhood Brasil (Instituto WCF-Brasil).
Shock rocker MARILYN MANSON prefers romancing teen EVAN RACHEL WOOD to dating older women - because she equals his "emotional immaturity"..Manson has been dating actress Wood, 19, since the collapse of his marriage to Dita Von Teese in December (06)..And the Antichrist Superstar hitmaker believes he has finally found someone who understands him..He says, "I think that it helps to match my emotional maturity. I am always going to be fundamentally immature. As someone beingâ¦being Marilyn Manson, I shouldnât be expected to grow up in a conventional way."
Jason Derulo
Alcatraz - Milano
10 Marzo 2014
Ph.Mairo Cinquetti
After emerging in 2009 with his 3x-platinum debut single, “Whatcha Say,” Miami-born singer, songwriter, dancer, and actor Jason Derulo has parlayed his songwriting and performing talent and sheer determination into becoming a regular fixture on the pop chart over the last three years with a steady stream of best-selling singles, including the 2x-platinum “In My Head” and the 2x-platinum “Ridin’ Solo” from his self-titled 2010 debut, and the platinum “Don’t Wanna Go Home” (which spent five consecutive weeks in the Top 10), and “It Girl,” both from Derulo’s current album Future History. However everything came to a screeching halt in January when Derulo suffered a severe neck injury and was nearly paralyzed while rehearsing for a headlining world tour in support of Future History. Fortunately Derulo made a full recovery and returned in May with an appearance on the season finale of American Idol, during which he performed a new song, “Undefeated,” which featured lyrics submitted by fans through the Coca-Cola Perfect Harmony contest. Derulo has streamed more than half a billion views on his YouTube Channel and sold more than 16 million singles worldwide. He was a five-time winner at the 2011 BMI Pop Awards including being honored as "Songwriter of the Year" (which he shared with Lady Gaga and his debut album’s producer JR Rotem), and took home a 2010 Teen Choice Award for “Choice Music: Album, R&B.” Derulo has also been nominated for a four additional Teen Choice Awards, a 2011 NAACP Image Award, an American Music Award, an ARIA and MOBO Award, two MTV Video Music Awards, two MTV Europe Music Awards, and a Much Music Award. He is currently in the studio working on his third album for Beluga Heights/Warner Bros. Records.
The 21-year-old chart-topper is set to release his eagerly awaited sophomore effort, Future History, on Beluga Heights/Warner Bros. Records on September 27th. “It’s where I see myself going in the future,” says Derulo of the meaning behind the album title. “These are the songs I’m going to be singing for the rest of my life, and I’d like my music to live on after I’m no longer around.”
Future History finds Derulo moving seamlessly from ultra-sexy urban dance tracks to poppy love songs, once again offering up a unique genre-blurring blend of varied sounds deeply rooted in pop. This time, production is handled by The Fliptones, including the first single and instant summer anthem “Don’t Wanna Go Home,” as well as hitmakers J.R. Rotem, Frank E, The Dream, and Eman.
“On this album I just wanted to be me,” explains Derulo, who wrote all of the songs on Future History either by himself or in collaboration with top names like Kara Dioguardi, The Dream, and Claude Kelly. The new batch of songs reflects a newfound maturity in Derulo’s personality as well as the music that he’s eager to share with his fans. “I was 19 before and now I’m 21 and I’ve really kind of found myself,” he says. “So you can hear a whole new person, a new being almost.”
While recording in Serenity Studio in Los Angeles, Derulo created the ideal vibe to inspire the creative process. “Music becomes conversational and real,” says Derulo of his ritual of keeping the studio dimly lit with candles so he can put himself in the place he’s singing about in each song, and express exactly what he’s feeling. “I’m not diluting what I’m saying with a pen, and I’m not editing myself. I’m saying what I feel.”
He’s certainly not shying away from his romantic side on Future History, with songs like “It Girl”—on which he sings of his ideal woman being his “greatest hit”—and “Breathing,” a gorgeous love song that also pays tribute to his late cousin with such lyrics as, “I only miss you when I’m breathing.”
“The lyrics are heartfelt, but they’re hidden behind a beat that makes them seem very light,” says Derulo of exposing his softer side on the song, which also features him breaking into an impromptu African chant. “That’s what I think is so cool about it. The song has both a positive and negative vibe. You have both elements.”
And you won’t find Derulo holding back when it comes to the details of sexual relationships on tracks like “Make It Up As We Go,” an ode to friends with benefits, and the testosterone-fueled “My Shit,” which he says is the result of his “no boundaries” approach to expressing himself. “It’s pretty graphic,” admits Derulo with a laugh. “It’s a super-manly sexual side, rather than a gentle sexual side. I think there should be a balance. It’s about an amazing time in the bedroom and just giving ownership to what’s mine.”
Derulo has been honing his songcraft for as long as he can remember. Raised on a healthy diet of Prince, Michael Jackson, Elvis, and Madonna while growing up in Miami, Derulo composed his first song, a little ditty called "Crush On You," on the piano at just eight years old. By the time he was a teen, he was attending the American Musical and Dramatic Academy in New York, where he also competed for and won The Apollo's Grand Championship in 2006.
At the age of 17, Derulo composed and sang the chorus to "Bossy” for Southern rapper Birdman, and soon became a sought-after tunesmith, crafting songs for hip-hop star Lil Wayne, R&B singer Cassie, and girl group Danity Kane, to name a few. Around this time, producer J.R. Rotem’s brother Tommy was searching for artists to sign to Rotem’s new label, Beluga Heights, and contacted Derulo through his MySpace page and invited him out to Los Angeles to pen songs for Sean Kingston’s second album.
"Jason is one of those guys who can write songs for other people but has a career of his own," says Rotem, who produced “Pick Up The Pieces,” “Be Careful,” and “Dumb” on Future History. Rotem quickly realized that Derulo belonged in the spotlight himself. "Jason can write pop songs for women to sing, R&B for men to sing, he can write ballads; he's very eclectic,” Rotem says. “He has really inspired us."
Produced by Rotem, Derulo’s debut album brought him a string of smash hit singles last year—the 3x-platinum "Whatcha Say" and the 2x-platinum "In My Head" and "Ridin' Solo"—making Derulo the first male solo artist to score consecutive No. 1's on Billboard's Pop Songs radio airplay chart in its 17-year-history with his first two entries.
Also that year, Derulo tried his hand at acting, appearing in the MTV feature film Turn the Beat Around in between tours with two of the biggest acts in the world—first on a six-week stint with Lady Gaga on her sold-out “Monster Ball” tour of North America, and then as support for the Black Eyed Peas in Canada—before headlining his own tour. Since then, Derulo’s live show has continued to grow. “The venues have doubled in size which is pretty cool,” he says. “It’s crazy that it happened in two years.”
Derulo plans to take Future History on his most extensive world tour yet, which will begin in Europe before hitting Australia and America, where he’s sure to put on his most memorable shows to date. “I’m excited to perform this album all over the world,” Derulo says. And fans can expect to see him continue to evolve, as he mounts an even bigger live production, complete with never-seen-before dance moves and plenty of costume changes.
“My goals for myself are almost impossible to reach,” explains Derulo when looking to the future. “It’s just me doing what I’m doing, and that is making music for the world, and hopefully making it a brighter place for somebody.”
Jason Derulo
Alcatraz - Milano
10 Marzo 2014
Ph.Mairo Cinquetti
After emerging in 2009 with his 3x-platinum debut single, “Whatcha Say,” Miami-born singer, songwriter, dancer, and actor Jason Derulo has parlayed his songwriting and performing talent and sheer determination into becoming a regular fixture on the pop chart over the last three years with a steady stream of best-selling singles, including the 2x-platinum “In My Head” and the 2x-platinum “Ridin’ Solo” from his self-titled 2010 debut, and the platinum “Don’t Wanna Go Home” (which spent five consecutive weeks in the Top 10), and “It Girl,” both from Derulo’s current album Future History. However everything came to a screeching halt in January when Derulo suffered a severe neck injury and was nearly paralyzed while rehearsing for a headlining world tour in support of Future History. Fortunately Derulo made a full recovery and returned in May with an appearance on the season finale of American Idol, during which he performed a new song, “Undefeated,” which featured lyrics submitted by fans through the Coca-Cola Perfect Harmony contest. Derulo has streamed more than half a billion views on his YouTube Channel and sold more than 16 million singles worldwide. He was a five-time winner at the 2011 BMI Pop Awards including being honored as "Songwriter of the Year" (which he shared with Lady Gaga and his debut album’s producer JR Rotem), and took home a 2010 Teen Choice Award for “Choice Music: Album, R&B.” Derulo has also been nominated for a four additional Teen Choice Awards, a 2011 NAACP Image Award, an American Music Award, an ARIA and MOBO Award, two MTV Video Music Awards, two MTV Europe Music Awards, and a Much Music Award. He is currently in the studio working on his third album for Beluga Heights/Warner Bros. Records.
The 21-year-old chart-topper is set to release his eagerly awaited sophomore effort, Future History, on Beluga Heights/Warner Bros. Records on September 27th. “It’s where I see myself going in the future,” says Derulo of the meaning behind the album title. “These are the songs I’m going to be singing for the rest of my life, and I’d like my music to live on after I’m no longer around.”
Future History finds Derulo moving seamlessly from ultra-sexy urban dance tracks to poppy love songs, once again offering up a unique genre-blurring blend of varied sounds deeply rooted in pop. This time, production is handled by The Fliptones, including the first single and instant summer anthem “Don’t Wanna Go Home,” as well as hitmakers J.R. Rotem, Frank E, The Dream, and Eman.
“On this album I just wanted to be me,” explains Derulo, who wrote all of the songs on Future History either by himself or in collaboration with top names like Kara Dioguardi, The Dream, and Claude Kelly. The new batch of songs reflects a newfound maturity in Derulo’s personality as well as the music that he’s eager to share with his fans. “I was 19 before and now I’m 21 and I’ve really kind of found myself,” he says. “So you can hear a whole new person, a new being almost.”
While recording in Serenity Studio in Los Angeles, Derulo created the ideal vibe to inspire the creative process. “Music becomes conversational and real,” says Derulo of his ritual of keeping the studio dimly lit with candles so he can put himself in the place he’s singing about in each song, and express exactly what he’s feeling. “I’m not diluting what I’m saying with a pen, and I’m not editing myself. I’m saying what I feel.”
He’s certainly not shying away from his romantic side on Future History, with songs like “It Girl”—on which he sings of his ideal woman being his “greatest hit”—and “Breathing,” a gorgeous love song that also pays tribute to his late cousin with such lyrics as, “I only miss you when I’m breathing.”
“The lyrics are heartfelt, but they’re hidden behind a beat that makes them seem very light,” says Derulo of exposing his softer side on the song, which also features him breaking into an impromptu African chant. “That’s what I think is so cool about it. The song has both a positive and negative vibe. You have both elements.”
And you won’t find Derulo holding back when it comes to the details of sexual relationships on tracks like “Make It Up As We Go,” an ode to friends with benefits, and the testosterone-fueled “My Shit,” which he says is the result of his “no boundaries” approach to expressing himself. “It’s pretty graphic,” admits Derulo with a laugh. “It’s a super-manly sexual side, rather than a gentle sexual side. I think there should be a balance. It’s about an amazing time in the bedroom and just giving ownership to what’s mine.”
Derulo has been honing his songcraft for as long as he can remember. Raised on a healthy diet of Prince, Michael Jackson, Elvis, and Madonna while growing up in Miami, Derulo composed his first song, a little ditty called "Crush On You," on the piano at just eight years old. By the time he was a teen, he was attending the American Musical and Dramatic Academy in New York, where he also competed for and won The Apollo's Grand Championship in 2006.
At the age of 17, Derulo composed and sang the chorus to "Bossy” for Southern rapper Birdman, and soon became a sought-after tunesmith, crafting songs for hip-hop star Lil Wayne, R&B singer Cassie, and girl group Danity Kane, to name a few. Around this time, producer J.R. Rotem’s brother Tommy was searching for artists to sign to Rotem’s new label, Beluga Heights, and contacted Derulo through his MySpace page and invited him out to Los Angeles to pen songs for Sean Kingston’s second album.
"Jason is one of those guys who can write songs for other people but has a career of his own," says Rotem, who produced “Pick Up The Pieces,” “Be Careful,” and “Dumb” on Future History. Rotem quickly realized that Derulo belonged in the spotlight himself. "Jason can write pop songs for women to sing, R&B for men to sing, he can write ballads; he's very eclectic,” Rotem says. “He has really inspired us."
Produced by Rotem, Derulo’s debut album brought him a string of smash hit singles last year—the 3x-platinum "Whatcha Say" and the 2x-platinum "In My Head" and "Ridin' Solo"—making Derulo the first male solo artist to score consecutive No. 1's on Billboard's Pop Songs radio airplay chart in its 17-year-history with his first two entries.
Also that year, Derulo tried his hand at acting, appearing in the MTV feature film Turn the Beat Around in between tours with two of the biggest acts in the world—first on a six-week stint with Lady Gaga on her sold-out “Monster Ball” tour of North America, and then as support for the Black Eyed Peas in Canada—before headlining his own tour. Since then, Derulo’s live show has continued to grow. “The venues have doubled in size which is pretty cool,” he says. “It’s crazy that it happened in two years.”
Derulo plans to take Future History on his most extensive world tour yet, which will begin in Europe before hitting Australia and America, where he’s sure to put on his most memorable shows to date. “I’m excited to perform this album all over the world,” Derulo says. And fans can expect to see him continue to evolve, as he mounts an even bigger live production, complete with never-seen-before dance moves and plenty of costume changes.
“My goals for myself are almost impossible to reach,” explains Derulo when looking to the future. “It’s just me doing what I’m doing, and that is making music for the world, and hopefully making it a brighter place for somebody.”
Jason Derulo
Alcatraz - Milano
10 Marzo 2014
Ph.Mairo Cinquetti
After emerging in 2009 with his 3x-platinum debut single, “Whatcha Say,” Miami-born singer, songwriter, dancer, and actor Jason Derulo has parlayed his songwriting and performing talent and sheer determination into becoming a regular fixture on the pop chart over the last three years with a steady stream of best-selling singles, including the 2x-platinum “In My Head” and the 2x-platinum “Ridin’ Solo” from his self-titled 2010 debut, and the platinum “Don’t Wanna Go Home” (which spent five consecutive weeks in the Top 10), and “It Girl,” both from Derulo’s current album Future History. However everything came to a screeching halt in January when Derulo suffered a severe neck injury and was nearly paralyzed while rehearsing for a headlining world tour in support of Future History. Fortunately Derulo made a full recovery and returned in May with an appearance on the season finale of American Idol, during which he performed a new song, “Undefeated,” which featured lyrics submitted by fans through the Coca-Cola Perfect Harmony contest. Derulo has streamed more than half a billion views on his YouTube Channel and sold more than 16 million singles worldwide. He was a five-time winner at the 2011 BMI Pop Awards including being honored as "Songwriter of the Year" (which he shared with Lady Gaga and his debut album’s producer JR Rotem), and took home a 2010 Teen Choice Award for “Choice Music: Album, R&B.” Derulo has also been nominated for a four additional Teen Choice Awards, a 2011 NAACP Image Award, an American Music Award, an ARIA and MOBO Award, two MTV Video Music Awards, two MTV Europe Music Awards, and a Much Music Award. He is currently in the studio working on his third album for Beluga Heights/Warner Bros. Records.
The 21-year-old chart-topper is set to release his eagerly awaited sophomore effort, Future History, on Beluga Heights/Warner Bros. Records on September 27th. “It’s where I see myself going in the future,” says Derulo of the meaning behind the album title. “These are the songs I’m going to be singing for the rest of my life, and I’d like my music to live on after I’m no longer around.”
Future History finds Derulo moving seamlessly from ultra-sexy urban dance tracks to poppy love songs, once again offering up a unique genre-blurring blend of varied sounds deeply rooted in pop. This time, production is handled by The Fliptones, including the first single and instant summer anthem “Don’t Wanna Go Home,” as well as hitmakers J.R. Rotem, Frank E, The Dream, and Eman.
“On this album I just wanted to be me,” explains Derulo, who wrote all of the songs on Future History either by himself or in collaboration with top names like Kara Dioguardi, The Dream, and Claude Kelly. The new batch of songs reflects a newfound maturity in Derulo’s personality as well as the music that he’s eager to share with his fans. “I was 19 before and now I’m 21 and I’ve really kind of found myself,” he says. “So you can hear a whole new person, a new being almost.”
While recording in Serenity Studio in Los Angeles, Derulo created the ideal vibe to inspire the creative process. “Music becomes conversational and real,” says Derulo of his ritual of keeping the studio dimly lit with candles so he can put himself in the place he’s singing about in each song, and express exactly what he’s feeling. “I’m not diluting what I’m saying with a pen, and I’m not editing myself. I’m saying what I feel.”
He’s certainly not shying away from his romantic side on Future History, with songs like “It Girl”—on which he sings of his ideal woman being his “greatest hit”—and “Breathing,” a gorgeous love song that also pays tribute to his late cousin with such lyrics as, “I only miss you when I’m breathing.”
“The lyrics are heartfelt, but they’re hidden behind a beat that makes them seem very light,” says Derulo of exposing his softer side on the song, which also features him breaking into an impromptu African chant. “That’s what I think is so cool about it. The song has both a positive and negative vibe. You have both elements.”
And you won’t find Derulo holding back when it comes to the details of sexual relationships on tracks like “Make It Up As We Go,” an ode to friends with benefits, and the testosterone-fueled “My Shit,” which he says is the result of his “no boundaries” approach to expressing himself. “It’s pretty graphic,” admits Derulo with a laugh. “It’s a super-manly sexual side, rather than a gentle sexual side. I think there should be a balance. It’s about an amazing time in the bedroom and just giving ownership to what’s mine.”
Derulo has been honing his songcraft for as long as he can remember. Raised on a healthy diet of Prince, Michael Jackson, Elvis, and Madonna while growing up in Miami, Derulo composed his first song, a little ditty called "Crush On You," on the piano at just eight years old. By the time he was a teen, he was attending the American Musical and Dramatic Academy in New York, where he also competed for and won The Apollo's Grand Championship in 2006.
At the age of 17, Derulo composed and sang the chorus to "Bossy” for Southern rapper Birdman, and soon became a sought-after tunesmith, crafting songs for hip-hop star Lil Wayne, R&B singer Cassie, and girl group Danity Kane, to name a few. Around this time, producer J.R. Rotem’s brother Tommy was searching for artists to sign to Rotem’s new label, Beluga Heights, and contacted Derulo through his MySpace page and invited him out to Los Angeles to pen songs for Sean Kingston’s second album.
"Jason is one of those guys who can write songs for other people but has a career of his own," says Rotem, who produced “Pick Up The Pieces,” “Be Careful,” and “Dumb” on Future History. Rotem quickly realized that Derulo belonged in the spotlight himself. "Jason can write pop songs for women to sing, R&B for men to sing, he can write ballads; he's very eclectic,” Rotem says. “He has really inspired us."
Produced by Rotem, Derulo’s debut album brought him a string of smash hit singles last year—the 3x-platinum "Whatcha Say" and the 2x-platinum "In My Head" and "Ridin' Solo"—making Derulo the first male solo artist to score consecutive No. 1's on Billboard's Pop Songs radio airplay chart in its 17-year-history with his first two entries.
Also that year, Derulo tried his hand at acting, appearing in the MTV feature film Turn the Beat Around in between tours with two of the biggest acts in the world—first on a six-week stint with Lady Gaga on her sold-out “Monster Ball” tour of North America, and then as support for the Black Eyed Peas in Canada—before headlining his own tour. Since then, Derulo’s live show has continued to grow. “The venues have doubled in size which is pretty cool,” he says. “It’s crazy that it happened in two years.”
Derulo plans to take Future History on his most extensive world tour yet, which will begin in Europe before hitting Australia and America, where he’s sure to put on his most memorable shows to date. “I’m excited to perform this album all over the world,” Derulo says. And fans can expect to see him continue to evolve, as he mounts an even bigger live production, complete with never-seen-before dance moves and plenty of costume changes.
“My goals for myself are almost impossible to reach,” explains Derulo when looking to the future. “It’s just me doing what I’m doing, and that is making music for the world, and hopefully making it a brighter place for somebody.”
Jason Derulo
Alcatraz - Milano
10 Marzo 2014
Ph.Mairo Cinquetti
After emerging in 2009 with his 3x-platinum debut single, “Whatcha Say,” Miami-born singer, songwriter, dancer, and actor Jason Derulo has parlayed his songwriting and performing talent and sheer determination into becoming a regular fixture on the pop chart over the last three years with a steady stream of best-selling singles, including the 2x-platinum “In My Head” and the 2x-platinum “Ridin’ Solo” from his self-titled 2010 debut, and the platinum “Don’t Wanna Go Home” (which spent five consecutive weeks in the Top 10), and “It Girl,” both from Derulo’s current album Future History. However everything came to a screeching halt in January when Derulo suffered a severe neck injury and was nearly paralyzed while rehearsing for a headlining world tour in support of Future History. Fortunately Derulo made a full recovery and returned in May with an appearance on the season finale of American Idol, during which he performed a new song, “Undefeated,” which featured lyrics submitted by fans through the Coca-Cola Perfect Harmony contest. Derulo has streamed more than half a billion views on his YouTube Channel and sold more than 16 million singles worldwide. He was a five-time winner at the 2011 BMI Pop Awards including being honored as "Songwriter of the Year" (which he shared with Lady Gaga and his debut album’s producer JR Rotem), and took home a 2010 Teen Choice Award for “Choice Music: Album, R&B.” Derulo has also been nominated for a four additional Teen Choice Awards, a 2011 NAACP Image Award, an American Music Award, an ARIA and MOBO Award, two MTV Video Music Awards, two MTV Europe Music Awards, and a Much Music Award. He is currently in the studio working on his third album for Beluga Heights/Warner Bros. Records.
The 21-year-old chart-topper is set to release his eagerly awaited sophomore effort, Future History, on Beluga Heights/Warner Bros. Records on September 27th. “It’s where I see myself going in the future,” says Derulo of the meaning behind the album title. “These are the songs I’m going to be singing for the rest of my life, and I’d like my music to live on after I’m no longer around.”
Future History finds Derulo moving seamlessly from ultra-sexy urban dance tracks to poppy love songs, once again offering up a unique genre-blurring blend of varied sounds deeply rooted in pop. This time, production is handled by The Fliptones, including the first single and instant summer anthem “Don’t Wanna Go Home,” as well as hitmakers J.R. Rotem, Frank E, The Dream, and Eman.
“On this album I just wanted to be me,” explains Derulo, who wrote all of the songs on Future History either by himself or in collaboration with top names like Kara Dioguardi, The Dream, and Claude Kelly. The new batch of songs reflects a newfound maturity in Derulo’s personality as well as the music that he’s eager to share with his fans. “I was 19 before and now I’m 21 and I’ve really kind of found myself,” he says. “So you can hear a whole new person, a new being almost.”
While recording in Serenity Studio in Los Angeles, Derulo created the ideal vibe to inspire the creative process. “Music becomes conversational and real,” says Derulo of his ritual of keeping the studio dimly lit with candles so he can put himself in the place he’s singing about in each song, and express exactly what he’s feeling. “I’m not diluting what I’m saying with a pen, and I’m not editing myself. I’m saying what I feel.”
He’s certainly not shying away from his romantic side on Future History, with songs like “It Girl”—on which he sings of his ideal woman being his “greatest hit”—and “Breathing,” a gorgeous love song that also pays tribute to his late cousin with such lyrics as, “I only miss you when I’m breathing.”
“The lyrics are heartfelt, but they’re hidden behind a beat that makes them seem very light,” says Derulo of exposing his softer side on the song, which also features him breaking into an impromptu African chant. “That’s what I think is so cool about it. The song has both a positive and negative vibe. You have both elements.”
And you won’t find Derulo holding back when it comes to the details of sexual relationships on tracks like “Make It Up As We Go,” an ode to friends with benefits, and the testosterone-fueled “My Shit,” which he says is the result of his “no boundaries” approach to expressing himself. “It’s pretty graphic,” admits Derulo with a laugh. “It’s a super-manly sexual side, rather than a gentle sexual side. I think there should be a balance. It’s about an amazing time in the bedroom and just giving ownership to what’s mine.”
Derulo has been honing his songcraft for as long as he can remember. Raised on a healthy diet of Prince, Michael Jackson, Elvis, and Madonna while growing up in Miami, Derulo composed his first song, a little ditty called "Crush On You," on the piano at just eight years old. By the time he was a teen, he was attending the American Musical and Dramatic Academy in New York, where he also competed for and won The Apollo's Grand Championship in 2006.
At the age of 17, Derulo composed and sang the chorus to "Bossy” for Southern rapper Birdman, and soon became a sought-after tunesmith, crafting songs for hip-hop star Lil Wayne, R&B singer Cassie, and girl group Danity Kane, to name a few. Around this time, producer J.R. Rotem’s brother Tommy was searching for artists to sign to Rotem’s new label, Beluga Heights, and contacted Derulo through his MySpace page and invited him out to Los Angeles to pen songs for Sean Kingston’s second album.
"Jason is one of those guys who can write songs for other people but has a career of his own," says Rotem, who produced “Pick Up The Pieces,” “Be Careful,” and “Dumb” on Future History. Rotem quickly realized that Derulo belonged in the spotlight himself. "Jason can write pop songs for women to sing, R&B for men to sing, he can write ballads; he's very eclectic,” Rotem says. “He has really inspired us."
Produced by Rotem, Derulo’s debut album brought him a string of smash hit singles last year—the 3x-platinum "Whatcha Say" and the 2x-platinum "In My Head" and "Ridin' Solo"—making Derulo the first male solo artist to score consecutive No. 1's on Billboard's Pop Songs radio airplay chart in its 17-year-history with his first two entries.
Also that year, Derulo tried his hand at acting, appearing in the MTV feature film Turn the Beat Around in between tours with two of the biggest acts in the world—first on a six-week stint with Lady Gaga on her sold-out “Monster Ball” tour of North America, and then as support for the Black Eyed Peas in Canada—before headlining his own tour. Since then, Derulo’s live show has continued to grow. “The venues have doubled in size which is pretty cool,” he says. “It’s crazy that it happened in two years.”
Derulo plans to take Future History on his most extensive world tour yet, which will begin in Europe before hitting Australia and America, where he’s sure to put on his most memorable shows to date. “I’m excited to perform this album all over the world,” Derulo says. And fans can expect to see him continue to evolve, as he mounts an even bigger live production, complete with never-seen-before dance moves and plenty of costume changes.
“My goals for myself are almost impossible to reach,” explains Derulo when looking to the future. “It’s just me doing what I’m doing, and that is making music for the world, and hopefully making it a brighter place for somebody.”
Jason Derulo
Alcatraz - Milano
10 Marzo 2014
Ph.Mairo Cinquetti
After emerging in 2009 with his 3x-platinum debut single, “Whatcha Say,” Miami-born singer, songwriter, dancer, and actor Jason Derulo has parlayed his songwriting and performing talent and sheer determination into becoming a regular fixture on the pop chart over the last three years with a steady stream of best-selling singles, including the 2x-platinum “In My Head” and the 2x-platinum “Ridin’ Solo” from his self-titled 2010 debut, and the platinum “Don’t Wanna Go Home” (which spent five consecutive weeks in the Top 10), and “It Girl,” both from Derulo’s current album Future History. However everything came to a screeching halt in January when Derulo suffered a severe neck injury and was nearly paralyzed while rehearsing for a headlining world tour in support of Future History. Fortunately Derulo made a full recovery and returned in May with an appearance on the season finale of American Idol, during which he performed a new song, “Undefeated,” which featured lyrics submitted by fans through the Coca-Cola Perfect Harmony contest. Derulo has streamed more than half a billion views on his YouTube Channel and sold more than 16 million singles worldwide. He was a five-time winner at the 2011 BMI Pop Awards including being honored as "Songwriter of the Year" (which he shared with Lady Gaga and his debut album’s producer JR Rotem), and took home a 2010 Teen Choice Award for “Choice Music: Album, R&B.” Derulo has also been nominated for a four additional Teen Choice Awards, a 2011 NAACP Image Award, an American Music Award, an ARIA and MOBO Award, two MTV Video Music Awards, two MTV Europe Music Awards, and a Much Music Award. He is currently in the studio working on his third album for Beluga Heights/Warner Bros. Records.
The 21-year-old chart-topper is set to release his eagerly awaited sophomore effort, Future History, on Beluga Heights/Warner Bros. Records on September 27th. “It’s where I see myself going in the future,” says Derulo of the meaning behind the album title. “These are the songs I’m going to be singing for the rest of my life, and I’d like my music to live on after I’m no longer around.”
Future History finds Derulo moving seamlessly from ultra-sexy urban dance tracks to poppy love songs, once again offering up a unique genre-blurring blend of varied sounds deeply rooted in pop. This time, production is handled by The Fliptones, including the first single and instant summer anthem “Don’t Wanna Go Home,” as well as hitmakers J.R. Rotem, Frank E, The Dream, and Eman.
“On this album I just wanted to be me,” explains Derulo, who wrote all of the songs on Future History either by himself or in collaboration with top names like Kara Dioguardi, The Dream, and Claude Kelly. The new batch of songs reflects a newfound maturity in Derulo’s personality as well as the music that he’s eager to share with his fans. “I was 19 before and now I’m 21 and I’ve really kind of found myself,” he says. “So you can hear a whole new person, a new being almost.”
While recording in Serenity Studio in Los Angeles, Derulo created the ideal vibe to inspire the creative process. “Music becomes conversational and real,” says Derulo of his ritual of keeping the studio dimly lit with candles so he can put himself in the place he’s singing about in each song, and express exactly what he’s feeling. “I’m not diluting what I’m saying with a pen, and I’m not editing myself. I’m saying what I feel.”
He’s certainly not shying away from his romantic side on Future History, with songs like “It Girl”—on which he sings of his ideal woman being his “greatest hit”—and “Breathing,” a gorgeous love song that also pays tribute to his late cousin with such lyrics as, “I only miss you when I’m breathing.”
“The lyrics are heartfelt, but they’re hidden behind a beat that makes them seem very light,” says Derulo of exposing his softer side on the song, which also features him breaking into an impromptu African chant. “That’s what I think is so cool about it. The song has both a positive and negative vibe. You have both elements.”
And you won’t find Derulo holding back when it comes to the details of sexual relationships on tracks like “Make It Up As We Go,” an ode to friends with benefits, and the testosterone-fueled “My Shit,” which he says is the result of his “no boundaries” approach to expressing himself. “It’s pretty graphic,” admits Derulo with a laugh. “It’s a super-manly sexual side, rather than a gentle sexual side. I think there should be a balance. It’s about an amazing time in the bedroom and just giving ownership to what’s mine.”
Derulo has been honing his songcraft for as long as he can remember. Raised on a healthy diet of Prince, Michael Jackson, Elvis, and Madonna while growing up in Miami, Derulo composed his first song, a little ditty called "Crush On You," on the piano at just eight years old. By the time he was a teen, he was attending the American Musical and Dramatic Academy in New York, where he also competed for and won The Apollo's Grand Championship in 2006.
At the age of 17, Derulo composed and sang the chorus to "Bossy” for Southern rapper Birdman, and soon became a sought-after tunesmith, crafting songs for hip-hop star Lil Wayne, R&B singer Cassie, and girl group Danity Kane, to name a few. Around this time, producer J.R. Rotem’s brother Tommy was searching for artists to sign to Rotem’s new label, Beluga Heights, and contacted Derulo through his MySpace page and invited him out to Los Angeles to pen songs for Sean Kingston’s second album.
"Jason is one of those guys who can write songs for other people but has a career of his own," says Rotem, who produced “Pick Up The Pieces,” “Be Careful,” and “Dumb” on Future History. Rotem quickly realized that Derulo belonged in the spotlight himself. "Jason can write pop songs for women to sing, R&B for men to sing, he can write ballads; he's very eclectic,” Rotem says. “He has really inspired us."
Produced by Rotem, Derulo’s debut album brought him a string of smash hit singles last year—the 3x-platinum "Whatcha Say" and the 2x-platinum "In My Head" and "Ridin' Solo"—making Derulo the first male solo artist to score consecutive No. 1's on Billboard's Pop Songs radio airplay chart in its 17-year-history with his first two entries.
Also that year, Derulo tried his hand at acting, appearing in the MTV feature film Turn the Beat Around in between tours with two of the biggest acts in the world—first on a six-week stint with Lady Gaga on her sold-out “Monster Ball” tour of North America, and then as support for the Black Eyed Peas in Canada—before headlining his own tour. Since then, Derulo’s live show has continued to grow. “The venues have doubled in size which is pretty cool,” he says. “It’s crazy that it happened in two years.”
Derulo plans to take Future History on his most extensive world tour yet, which will begin in Europe before hitting Australia and America, where he’s sure to put on his most memorable shows to date. “I’m excited to perform this album all over the world,” Derulo says. And fans can expect to see him continue to evolve, as he mounts an even bigger live production, complete with never-seen-before dance moves and plenty of costume changes.
“My goals for myself are almost impossible to reach,” explains Derulo when looking to the future. “It’s just me doing what I’m doing, and that is making music for the world, and hopefully making it a brighter place for somebody.”
Jason Derulo
Alcatraz - Milano
10 Marzo 2014
Ph.Mairo Cinquetti
After emerging in 2009 with his 3x-platinum debut single, “Whatcha Say,” Miami-born singer, songwriter, dancer, and actor Jason Derulo has parlayed his songwriting and performing talent and sheer determination into becoming a regular fixture on the pop chart over the last three years with a steady stream of best-selling singles, including the 2x-platinum “In My Head” and the 2x-platinum “Ridin’ Solo” from his self-titled 2010 debut, and the platinum “Don’t Wanna Go Home” (which spent five consecutive weeks in the Top 10), and “It Girl,” both from Derulo’s current album Future History. However everything came to a screeching halt in January when Derulo suffered a severe neck injury and was nearly paralyzed while rehearsing for a headlining world tour in support of Future History. Fortunately Derulo made a full recovery and returned in May with an appearance on the season finale of American Idol, during which he performed a new song, “Undefeated,” which featured lyrics submitted by fans through the Coca-Cola Perfect Harmony contest. Derulo has streamed more than half a billion views on his YouTube Channel and sold more than 16 million singles worldwide. He was a five-time winner at the 2011 BMI Pop Awards including being honored as "Songwriter of the Year" (which he shared with Lady Gaga and his debut album’s producer JR Rotem), and took home a 2010 Teen Choice Award for “Choice Music: Album, R&B.” Derulo has also been nominated for a four additional Teen Choice Awards, a 2011 NAACP Image Award, an American Music Award, an ARIA and MOBO Award, two MTV Video Music Awards, two MTV Europe Music Awards, and a Much Music Award. He is currently in the studio working on his third album for Beluga Heights/Warner Bros. Records.
The 21-year-old chart-topper is set to release his eagerly awaited sophomore effort, Future History, on Beluga Heights/Warner Bros. Records on September 27th. “It’s where I see myself going in the future,” says Derulo of the meaning behind the album title. “These are the songs I’m going to be singing for the rest of my life, and I’d like my music to live on after I’m no longer around.”
Future History finds Derulo moving seamlessly from ultra-sexy urban dance tracks to poppy love songs, once again offering up a unique genre-blurring blend of varied sounds deeply rooted in pop. This time, production is handled by The Fliptones, including the first single and instant summer anthem “Don’t Wanna Go Home,” as well as hitmakers J.R. Rotem, Frank E, The Dream, and Eman.
“On this album I just wanted to be me,” explains Derulo, who wrote all of the songs on Future History either by himself or in collaboration with top names like Kara Dioguardi, The Dream, and Claude Kelly. The new batch of songs reflects a newfound maturity in Derulo’s personality as well as the music that he’s eager to share with his fans. “I was 19 before and now I’m 21 and I’ve really kind of found myself,” he says. “So you can hear a whole new person, a new being almost.”
While recording in Serenity Studio in Los Angeles, Derulo created the ideal vibe to inspire the creative process. “Music becomes conversational and real,” says Derulo of his ritual of keeping the studio dimly lit with candles so he can put himself in the place he’s singing about in each song, and express exactly what he’s feeling. “I’m not diluting what I’m saying with a pen, and I’m not editing myself. I’m saying what I feel.”
He’s certainly not shying away from his romantic side on Future History, with songs like “It Girl”—on which he sings of his ideal woman being his “greatest hit”—and “Breathing,” a gorgeous love song that also pays tribute to his late cousin with such lyrics as, “I only miss you when I’m breathing.”
“The lyrics are heartfelt, but they’re hidden behind a beat that makes them seem very light,” says Derulo of exposing his softer side on the song, which also features him breaking into an impromptu African chant. “That’s what I think is so cool about it. The song has both a positive and negative vibe. You have both elements.”
And you won’t find Derulo holding back when it comes to the details of sexual relationships on tracks like “Make It Up As We Go,” an ode to friends with benefits, and the testosterone-fueled “My Shit,” which he says is the result of his “no boundaries” approach to expressing himself. “It’s pretty graphic,” admits Derulo with a laugh. “It’s a super-manly sexual side, rather than a gentle sexual side. I think there should be a balance. It’s about an amazing time in the bedroom and just giving ownership to what’s mine.”
Derulo has been honing his songcraft for as long as he can remember. Raised on a healthy diet of Prince, Michael Jackson, Elvis, and Madonna while growing up in Miami, Derulo composed his first song, a little ditty called "Crush On You," on the piano at just eight years old. By the time he was a teen, he was attending the American Musical and Dramatic Academy in New York, where he also competed for and won The Apollo's Grand Championship in 2006.
At the age of 17, Derulo composed and sang the chorus to "Bossy” for Southern rapper Birdman, and soon became a sought-after tunesmith, crafting songs for hip-hop star Lil Wayne, R&B singer Cassie, and girl group Danity Kane, to name a few. Around this time, producer J.R. Rotem’s brother Tommy was searching for artists to sign to Rotem’s new label, Beluga Heights, and contacted Derulo through his MySpace page and invited him out to Los Angeles to pen songs for Sean Kingston’s second album.
"Jason is one of those guys who can write songs for other people but has a career of his own," says Rotem, who produced “Pick Up The Pieces,” “Be Careful,” and “Dumb” on Future History. Rotem quickly realized that Derulo belonged in the spotlight himself. "Jason can write pop songs for women to sing, R&B for men to sing, he can write ballads; he's very eclectic,” Rotem says. “He has really inspired us."
Produced by Rotem, Derulo’s debut album brought him a string of smash hit singles last year—the 3x-platinum "Whatcha Say" and the 2x-platinum "In My Head" and "Ridin' Solo"—making Derulo the first male solo artist to score consecutive No. 1's on Billboard's Pop Songs radio airplay chart in its 17-year-history with his first two entries.
Also that year, Derulo tried his hand at acting, appearing in the MTV feature film Turn the Beat Around in between tours with two of the biggest acts in the world—first on a six-week stint with Lady Gaga on her sold-out “Monster Ball” tour of North America, and then as support for the Black Eyed Peas in Canada—before headlining his own tour. Since then, Derulo’s live show has continued to grow. “The venues have doubled in size which is pretty cool,” he says. “It’s crazy that it happened in two years.”
Derulo plans to take Future History on his most extensive world tour yet, which will begin in Europe before hitting Australia and America, where he’s sure to put on his most memorable shows to date. “I’m excited to perform this album all over the world,” Derulo says. And fans can expect to see him continue to evolve, as he mounts an even bigger live production, complete with never-seen-before dance moves and plenty of costume changes.
“My goals for myself are almost impossible to reach,” explains Derulo when looking to the future. “It’s just me doing what I’m doing, and that is making music for the world, and hopefully making it a brighter place for somebody.”
Jason Derulo
Alcatraz - Milano
10 Marzo 2014
Ph.Mairo Cinquetti
After emerging in 2009 with his 3x-platinum debut single, “Whatcha Say,” Miami-born singer, songwriter, dancer, and actor Jason Derulo has parlayed his songwriting and performing talent and sheer determination into becoming a regular fixture on the pop chart over the last three years with a steady stream of best-selling singles, including the 2x-platinum “In My Head” and the 2x-platinum “Ridin’ Solo” from his self-titled 2010 debut, and the platinum “Don’t Wanna Go Home” (which spent five consecutive weeks in the Top 10), and “It Girl,” both from Derulo’s current album Future History. However everything came to a screeching halt in January when Derulo suffered a severe neck injury and was nearly paralyzed while rehearsing for a headlining world tour in support of Future History. Fortunately Derulo made a full recovery and returned in May with an appearance on the season finale of American Idol, during which he performed a new song, “Undefeated,” which featured lyrics submitted by fans through the Coca-Cola Perfect Harmony contest. Derulo has streamed more than half a billion views on his YouTube Channel and sold more than 16 million singles worldwide. He was a five-time winner at the 2011 BMI Pop Awards including being honored as "Songwriter of the Year" (which he shared with Lady Gaga and his debut album’s producer JR Rotem), and took home a 2010 Teen Choice Award for “Choice Music: Album, R&B.” Derulo has also been nominated for a four additional Teen Choice Awards, a 2011 NAACP Image Award, an American Music Award, an ARIA and MOBO Award, two MTV Video Music Awards, two MTV Europe Music Awards, and a Much Music Award. He is currently in the studio working on his third album for Beluga Heights/Warner Bros. Records.
The 21-year-old chart-topper is set to release his eagerly awaited sophomore effort, Future History, on Beluga Heights/Warner Bros. Records on September 27th. “It’s where I see myself going in the future,” says Derulo of the meaning behind the album title. “These are the songs I’m going to be singing for the rest of my life, and I’d like my music to live on after I’m no longer around.”
Future History finds Derulo moving seamlessly from ultra-sexy urban dance tracks to poppy love songs, once again offering up a unique genre-blurring blend of varied sounds deeply rooted in pop. This time, production is handled by The Fliptones, including the first single and instant summer anthem “Don’t Wanna Go Home,” as well as hitmakers J.R. Rotem, Frank E, The Dream, and Eman.
“On this album I just wanted to be me,” explains Derulo, who wrote all of the songs on Future History either by himself or in collaboration with top names like Kara Dioguardi, The Dream, and Claude Kelly. The new batch of songs reflects a newfound maturity in Derulo’s personality as well as the music that he’s eager to share with his fans. “I was 19 before and now I’m 21 and I’ve really kind of found myself,” he says. “So you can hear a whole new person, a new being almost.”
While recording in Serenity Studio in Los Angeles, Derulo created the ideal vibe to inspire the creative process. “Music becomes conversational and real,” says Derulo of his ritual of keeping the studio dimly lit with candles so he can put himself in the place he’s singing about in each song, and express exactly what he’s feeling. “I’m not diluting what I’m saying with a pen, and I’m not editing myself. I’m saying what I feel.”
He’s certainly not shying away from his romantic side on Future History, with songs like “It Girl”—on which he sings of his ideal woman being his “greatest hit”—and “Breathing,” a gorgeous love song that also pays tribute to his late cousin with such lyrics as, “I only miss you when I’m breathing.”
“The lyrics are heartfelt, but they’re hidden behind a beat that makes them seem very light,” says Derulo of exposing his softer side on the song, which also features him breaking into an impromptu African chant. “That’s what I think is so cool about it. The song has both a positive and negative vibe. You have both elements.”
And you won’t find Derulo holding back when it comes to the details of sexual relationships on tracks like “Make It Up As We Go,” an ode to friends with benefits, and the testosterone-fueled “My Shit,” which he says is the result of his “no boundaries” approach to expressing himself. “It’s pretty graphic,” admits Derulo with a laugh. “It’s a super-manly sexual side, rather than a gentle sexual side. I think there should be a balance. It’s about an amazing time in the bedroom and just giving ownership to what’s mine.”
Derulo has been honing his songcraft for as long as he can remember. Raised on a healthy diet of Prince, Michael Jackson, Elvis, and Madonna while growing up in Miami, Derulo composed his first song, a little ditty called "Crush On You," on the piano at just eight years old. By the time he was a teen, he was attending the American Musical and Dramatic Academy in New York, where he also competed for and won The Apollo's Grand Championship in 2006.
At the age of 17, Derulo composed and sang the chorus to "Bossy” for Southern rapper Birdman, and soon became a sought-after tunesmith, crafting songs for hip-hop star Lil Wayne, R&B singer Cassie, and girl group Danity Kane, to name a few. Around this time, producer J.R. Rotem’s brother Tommy was searching for artists to sign to Rotem’s new label, Beluga Heights, and contacted Derulo through his MySpace page and invited him out to Los Angeles to pen songs for Sean Kingston’s second album.
"Jason is one of those guys who can write songs for other people but has a career of his own," says Rotem, who produced “Pick Up The Pieces,” “Be Careful,” and “Dumb” on Future History. Rotem quickly realized that Derulo belonged in the spotlight himself. "Jason can write pop songs for women to sing, R&B for men to sing, he can write ballads; he's very eclectic,” Rotem says. “He has really inspired us."
Produced by Rotem, Derulo’s debut album brought him a string of smash hit singles last year—the 3x-platinum "Whatcha Say" and the 2x-platinum "In My Head" and "Ridin' Solo"—making Derulo the first male solo artist to score consecutive No. 1's on Billboard's Pop Songs radio airplay chart in its 17-year-history with his first two entries.
Also that year, Derulo tried his hand at acting, appearing in the MTV feature film Turn the Beat Around in between tours with two of the biggest acts in the world—first on a six-week stint with Lady Gaga on her sold-out “Monster Ball” tour of North America, and then as support for the Black Eyed Peas in Canada—before headlining his own tour. Since then, Derulo’s live show has continued to grow. “The venues have doubled in size which is pretty cool,” he says. “It’s crazy that it happened in two years.”
Derulo plans to take Future History on his most extensive world tour yet, which will begin in Europe before hitting Australia and America, where he’s sure to put on his most memorable shows to date. “I’m excited to perform this album all over the world,” Derulo says. And fans can expect to see him continue to evolve, as he mounts an even bigger live production, complete with never-seen-before dance moves and plenty of costume changes.
“My goals for myself are almost impossible to reach,” explains Derulo when looking to the future. “It’s just me doing what I’m doing, and that is making music for the world, and hopefully making it a brighter place for somebody.”