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Erykah Badu Live in Concert! Tags: erykah badu live feature blog word life production video week


 

Eryka Badu is the Queen of female liberation, black love, and life
Category: The Golden Era
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Along with D'Angelo and Mary J. Blige, singer Erykah Badu championed the hip-hop/soul movement of the '90s. Her smooth voice, trademark head wrap, and majestic demeanor manifest sentiments of black pride, self-love, and female liberation. Badu's collaborations with the Roots, as well as with jazz bassist Ron Carter, trumpeter Roy Hargrove, and funk vibraphonist Roy Ayers, signify her strong ties to the new and old schools of black music.

The daughter of professional actress Kolleen Wright, Badu began playing piano around the age of seven. She graduated from Dallas' Booker T. Washington High School, an arts-oriented magnet school, and studied theater at Grambling State University in Louisiana. After performing locally and cutting a demo with her cousin, Badu opened a concert for D'Angelo and impressed D'Angelo manager Kedar Mass nburg. Massenburg soon signed Badu to a solo deal for Universal and began transforming her demo into Baduizm (#2 pop, #1 R&B), which yielded the hits "On & On" (#12 pop, #1 R&B, 1997) and "Next Lifetime" (#61 pop, #1 R&B, 1997). An album that many critics would argue saved R&B music from complete dilution, Baduizm's integration of jazzy instrumentation, hip-hop beats, and soaring vocals quickly solidified Badu as torchbearer for soul music and won her two Grammys: Best Female R&B Vocal Performance and Best R&B Album. Badu's next album, November 1997's Live (#4 pop, #1 R&B), brought her acclaimed live performances to the masses and yielded "Tyrone" (#62 pop, #1 R&B, 1997), an anthem about a woman's scorn for an oft-apathetic boyfriend.

In 1999 Badu plied her acting skills, appearing in The Cider House Rules, which was nominated for a Best Picture Oscar. She also recorded a couple of successful songs with her Roots counterparts: the Grammy Award–winning "You Got Me" (#39 pop, #11 R&B, 1999) and "Southern Girl" (#76 pop, #24 R&B, 1999) with human beat-box Rahzel. For her next album, Mama's Gun (#11 pop, #3 R&B), a soulful journey into the genres of rock and reggae, Badu enlisted Roots drummer Ahmir-Khalib "?uestlove" Thompson for several tracks. The album yielded another hit, "Bag Lady" (#6 pop, #1 R&B, 2000).

This biography originally appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001).



Read more: http://www.rollingstone.com/music/artists/eryka-badu/biography#ixzz2fkGFZCJ0
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Aerosmith are the bad boys of Boston & America's greatest Rock & Roll Band Tags: aero smith bad boys boston america's greatest rock roll band ultimate rock classic word

Known for an aggressively rhythmic style as rooted in James Brown funk as in more traditional blues, Aerosmith were the top American hard-rock band of the mid-Seventies; if you set foot in a high school parking lot back then, the verbose back-alley numbers on 1975's Toys In The Attic and 1976's Rocks were inescapable. But the members' growing drug problems and internal dissension contributed to a commercial decline that accelerated through the late Seventies and early Eighties. Two crucial lineup changes and a few poorly received albums preceded a 1984 reunion of the original lineup and the multi-platinum Permanent Vacation, which signaled one of the most spectacular comebacks in rock history. Though by this time they were presenting themselves as vociferous adherents to the sober lifestyle, Aerosmith retained much of their bad-boy image. And despite a considerably more commercially slick and power-ballad oriented sound than they'd first emerged with, frequently drawing on outside songwriters, they managed to became even more popular the second time around.

Aerosmith was formed in 1970 by Joe Perry, Tom Hamilton and Steven Tyler, who was then a drummer. The group was completed with drummer Joey Kramer and Brad Whitford; Tyler, with his trademark high shriek, became lead singer. For the next two years all five members shared a small apartment in Boston and played almost nightly throughout the area, occasionally venturing to New York City. Clive Davis saw the band perform at Max's Kansas City in New York and signed them to Columbia. A minor hit and future FM-radio staple from their debut, "Dream On," strengthened their regional following.

Meanwhile, Aerosmith began to tour widely. In 1976 "Dream On" recharted, rising to Number Six. And by the time of "Walk This Way" (Number 10, 1977), the band had become headliners. Its phenomenal success was short-lived, however. A series of sold-out tours and platinum albums hit its peak in 1976.

By 1977 the group's constant touring and its members' heavy drug use (Perry and Tyler were nicknamed "the Toxic Twins" for their substance abuse) had begun to take their toll. After months of rest, Aerosmith recorded Draw the Line and appeared as the villains in Robert Stigwood's movie Sgt. Pepper's Lonely Hearts Club Band. Their version of Lennon and McCartney's "Come Together" from the soundtrack was a minor hit. But Aerosmith was unraveling: In 1979, admitting to long-standing personality and musical conflicts with songwriting partner Tyler, Perry quit and started a band called the Joe Perry Project. Jim Crespo took his place. The next year Whitford departed to form the Whitford/St. Holmes band with ex—Ted Nugent sidekick Derek St. Holmes and was replaced by Rick Dufay. Neither Perry's nor Whitford's records sold particularly well.

Rock in a Hard Place, Aerosmith's first new recording in almost three years and the first without Perry, peaked at Number 32 in 1982. But in early 1984 the five original members met backstage at an Aerosmith concert and decided to re-form. Done With Mirrors, their first "comeback" LP, sold moderately. But he group's re-ascendance began in earnest when Aerosmith collaborated with Run-D.M.C. on the duo's hip-hop version of the 1975 Aerosmith warhorse "Walk This Way." That fall, just as "Walk This Way" was peaking at Number Four on the pop chart, Permanent Vacation (Number 11, 1987) was released. The album wound up spawning three hit singles, while the songs' videos introduced Aerosmith to the MTV generation. Aerosmith further consolidated its success with the critically acclaimed, quadruple-platinum Pump (Number Five, 1989), which boasted three Top 10 hits. "Janie's Got a Gun" (Number Four, 1989), about a teenage girl getting revenge for incestuous molestation by her father, won 1990's Grammy for Best Rock Performance by a Duo or Group With Vocal.

In 1991 the group signed a record deal with Sony worth a reported $30 million for four albums. Three years later, in summer 1994, Aerosmith landed a seven-figure deal from G.P. Putnam's Sons for their group autobiography. With the hit ballads "Living on the Edge" (Number 18, 1993), "Cryin" (Number 12, 1993) and "Crazy" (Number Seven, 1993) ubiquitous on MTV, Get a Grip hit Number One, followed by 1994's double-platinum Number Six greatest-hits package, Big Ones.

But Aerosmith soon re-entered rougher waters. The band started working on the follow-up to Get a Grip, but didn't get along with producer Glen Ballard, who left in the middle of the sessions and was replaced by Kevin Shirley. Meanwhile, Joey Kramer's father had died, sending the drummer into such a depression that he had to be replaced by session drummer Steve Ferrone on some tracks. In the midst of it all, the band fired its longtime manager, Tim Collins, who had helped the musicians through sobriety and helmed their Eighties comeback. Collins retaliated by suggesting that some of the band members had fallen off the wagon; Tyler was then accused of "not being part of the team" in a letter sent to him by his four bandmates. Tyler denied taking drugs, insisting, "I've had no mood-altering substances in 10 years."

When Nine Lives finally came out in 1997, it entered the chart at Number One. And though the album didn't yield a major hit single, "Pink" (Number 27, 1998) earned Aerosmith another Grammy, for Best Rock Performance by a Duo or Group With Vocal. In 1998, "I Don't Want to Miss a Thing", Aerosmith's contribution to the soundtrack of Armageddon (which starred Tyler's daughter Liv), became a Number One pop hit, and was nominated for an Academy Award. In early 2001, Aerosmith was inducted into the Rock and Roll Hall of Fame, just as the band's new album, Just Push Play (Number Two, 2001) scored with the powerpoppish hit single "Jaded" (Number Seven, 2001).

O, Yeah! The Ultimate Aerosmith Hits (Number Four, 2002) was the first best-of collection to combine music from the band's Columbia and Geffen tenures. Tours with the likes of Kiss and Kid Rock followed, as did Honkin' on Bobo (Number Five, 2004), an album of blues covers that was certified gold in the U.S, despite its ill-advised title. In 2006, though, two members of the band fell ill: Tyler announced that he had ruptured blood vessels in his larynx, while Hamilton disclosed that he was being treated for throat cancer. Both recovered, though Hamilton missed much of the band's 2006 tour. Nonetheless, in 2007, the band performed one of its most geographically extensive tours ever, traveling to countries like Russia and Latvia for the first time in its career

When the band went on the road again in 2009, the tour hit a number of snags, as Whitford and Hamilton recovered from surgery and Tyler from a leg injury. In August 2009, Tyler fell off a stage in South Dakota, damaging his back and neck; he was taken to the hospital, and the show was canceled. Within a few days, the rest of the tour was called off as well, though select concerts were performed later in the year. Rumors circulated in November 2009 about Tyler leaving the band, but this speculation was scuttled when he joined Perry for a performance of "Walk This Way" in New York that month.

Tyler entered rehab shortly after the surprise appearance, and in May 2010 Aerosmith launched another world tour — even though their most recent album was now nearly a decade in the past. Toward the end of the tour, word surfaced that Tyler was signed to be a judge on American Idol. In typical Aerosmith fashion, the rest of the band first learned about it from news reports. "It's one step above Teenage Mutant Ninja Turtles," a furious Perry told the press. "I don't want Aerosmith's name involved with it." In early 2011, Aerosmith (sans Perry) cut a series of demos for a possible new album. At the same time, however, Tyler continued work on his solo debut — leaving the future of the band as murky as ever.

Portions of this biography appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001). Chuck Eddy contributed to this article.



Read more: http://www.rollingstone.com/music/artists/aerosmith/biography#ixzz2fjnQhZCv
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Barbados native Hoszia Hinds is recognized as one of the new breakout artists from the Caribbean. Tags: Hosaiz hinds bridgetown barbados christian urban gospel word life production feature

Hoszia released his first Album, “THE COMING OUT” and produced his first Music Videos for I’m Calling and The Coming Out. Hoszia won the Gospel Flame Award for “MOST IMPROVED ACT” and was nominated for Gospel Music Channel Awards USA - SOUL Category where he was a top 5 finalist along with artists such as Marvin Sapp, Dewayne Woods, Blind Boys of Alabama and Kevin Lebar.

His musical versatility covers such genres as Urban, Contemporary Gospel/Reggae, Pop, Alternative and R&B. Hoszia’s music videos have aired on the Gospel Music Channel, Tempo, MTV, BET Gospel, JCTV, among other TV & Radio Stations around the world, including an appearance on the TCT Television Network.

In 2012 Hoszia lead the Flame Gospel Awards with nine nominations, of which he won Artist of the Year, Male Vocalist of the Year and Best Rap song of the Year.In the summer of 2012 Hoszia signed with Sonorous Entertainment Inc. Canada, an independent Christian recording and entertainment label.

 

IN THIS MONTH'S LEGENDARY CORNER-THE BEAUTIFUL ERICA BADU Tags: erica badu legendary corne word life production underground network

 There is perhaps one story that explains Erykah Badu’s cyclical outlook on her new album, New Amerykah Part Two:Return Of The Ankh, and it involves a visit to a Santeria priest in Cuba in 1999. Dressed for the occasion, Badu wore an all-white dress and, despite the humid weather, her signature towering head wrap. As she sat on the dusty sidewalk waiting to enter the house of Ifa, a young man who could best be described as curious looking barreled down next to her, popped open a can of beer, lit a cigarette, and began making small talk to another guy who Badu assumed was also waiting for a reading. Soon after, the house door opened and a charming old lady welcomed her; the young man, dressed in white cut-off denim shorts and a faded American sportswear jersey, followed them into the house. Uncertain of his reason for being there, Badu became reserved and uncomfortable with the idea of someone else sitting in on her reading.And then it dawned on her: This young manwas the priest. He came from a long line of respected priests. He didn’t have to wear fancy garments, or signal his faith with outward expressions. He just was. From that moment on, Badu’s head wrap came off — both figuratively and literally.

When Badu says “return of the ankh,” she doesn’t mean she’s returning to wearing the head wrap or any other accessory that evokes 1997’s Baduizm epoch. She means much more. The return of the ankh is the return of a feeling, what makes her creative, what makes her passionate, what makes her Badu.

Born Erica Wright on February 26, 1971 in Dallas, Texas, Erykah Badu inherited a taste for music from her mother Kolleen Wright, who introduced her to multiple genres of music (Joni Mitchell, Parliament-Funkadelic, Pink Floyd, Phoebe Snow, Chaka Khan). At the tender age of four, Badu began singing and dancing in productions at the local Dallas Theatre Centre. It wasn’t until her acting debut in the Martin Luther King Jr. Recreational Center’s musical production of “Really Rosie,” directed by her godmother Gwen Hargrove, that Badu realized she was a natural performer. “I played Alligator,” Badu says, “and at 6 years old, I got my first standing ovation. I knew I wanted to bring people to their feet from that point on.

Badu stayed true to her artistic leanings and enrolled at Booker T. Washington High School for the Performing Arts in the late ’80s. Tomboyish and a bit of a class clown, Badu devoted most of her time to perfecting her dance form, studying the techniques of Martha Graham and Katherine Dunham, as well as practicing ballet, tap, and modern dance. Badu also sharpened her Hip-Hop skills, freestyling on the Dallas radio station 90.9 FM KNON under the name Apples the Alchemist until she eventually changed the spelling of her name from “Erica Wright” to “Erykah Badu,” “kah” being Kemetic (Egyptian) for a human’s vital energy or “inner-self” and “ba-du” after her favorite jazz scat-sound. But later, Badu would discover that her chosen name holds a far deeper meaning.

Badu enrolled at Grambling State University, where she majored in theater and minored in Quantum Physics. She left in 1993 to pursue music full-time. During the day, she taught drama and dance at the South Dallas Cultural Center and worked as a coffeehouse waitress. At night, she recorded and performed songs like “Appletree,” produced by her cousin Robert “Free” Bradford. In 1994, her 19-song demo caught the attention of aspiring record executive Kedar Massenburg by way of the SXSW music festival. Massenburg signed her to his upstart label Kedar Entertainment. The company eventually merged with Motown/Universal and Badu started opening for D’Angelo, prepping the world for the massive Neo soul movement to come.

The New York Times described Badu’s groundbreaking debut, 1997’s Baduizm, as “traditional soul vocals, staccato hip-hop rhythms and laid-back jazzy grooves.” Yet, hindsight reveals that Badu’s debut was more than just an album, it was the introduction of a new lifestyle. The music evoked speakeasies, incense, head wraps, and boho coffee shop culture all in one easy breath. Propelled by the lead single “On & On,” the album went multi-platinum, winning her two Grammys for Best Female R&B Vocal Performance and Best R&B Album. Badu topped Rolling Stone’s Reader’s poll for Best R&B Artist, and Entertainment Weekly named her Best New Female Singer of 1997.

The year yielded more blessings as Badu gave birth to her first child, Seven Sirius, whose father is the legendary Andre Benjamin of OutKast on the same day that her second LP, 1997’s Live, was released in the U.S. Live rode the wave of Baduizm’s success, going double-platinum. On the album, Badu showed that she could not be categorized, as the improvised “Tyrone” became a megahit, peaking at No. 1 for six weeks straight.

In addition to reinforcing her reputation as a dynamic live performer, Badu’s big screen debut as Rose Rose in the 1999 film The Cider House Rules added another credit to her brown bag of artistic miscellany. And in 2000, she opened her trophy cabinet once again to welcome a Grammy award for Best Rap Performance by a Duo or Group for her appearance on “You Got Me” by The Roots.

These checkpoints only heightened anticipation for Badu’s second studio album, 2000’s Mama’s Gun. A rich assembly of soul, funk, and organic Hip-Hop textures, Mama’s Gun achieved platinum status and topped the R&B charts for seven weeks bolstered by the album’s lead single “Bag Lady.” The song’s video paid homage to Ntozake Shange’s award-winning play, “For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf,” with Badu presenting a “choreopoem” performed by herself and four other dancers. The album also marked the beginning of her collaborations with the late J Dilla, who produced “Didn’t Cha Know” and “Kiss Me On My Neck (Hesi),” and to whom Badu pays tribute on a track called “Telephone” from 2008’s New Amerykah Part One: 4th World War. Capped off with the emotional hit “Green Eyes,” Mama’s Gun packed a graceful combination of potent lyrics and stirring melisma, surpassing Baduizm’s first week numbers with more than 190,000 copies sold.

In the three years between Mama’s Gun and Badu’s next release, 2003’s Worldwide Underground, the singer-songwriter went on her affectionately dubbed “The Frustrated Artist” tour to inspire new material for the album. On the CD—which was recorded in Badu’s mobile recording studio on her tour bus and features guest appearances by Lenny Kravitz, Caron Wheeler, and Zap Mama—Badu would also debut her new production team, FREAQuency (Badu, James Poyser, Rashad “Ringo-Tumbling Dice” Smith, and R.C. Williams). By September 2003, Worldwide Underground, an experimental, atmospheric jam session, was ready for release. In keeping with her track record for collaborating with Hip-Hop’s finest, Worldwide Underground found Badu enjoying critical acclaim for the crunk “Danger” and “Love of My Life Worldwide,” which featured femcees du jour Bahamadia, Queen Latifah, MC Lyte, and soul singer Angie Stone.

Badu also kept busy outside of the lab. In 2003, she founded her non-profit group, B.L.I.N.D. (Beautiful Love Incorporated Non-Profit Development), which is geared toward creating social change through economic, artistic, and cultural development. She also transformed the legendary Forest Theater in South Dallas into a headquarters for live shows and charity benefits. “When I came home, I saw the bad condition the building was in,” says Badu. “I felt like it was my job to reestablish music there, to reformat the whole thing and refit it.” Among B.L.I.N.D.’s many accomplishments, the organization has provided arts, crafts, and dance classes to children displaced by Hurricane Katrina.

In 2004, Badu gave birth to her daughter Puma Sabti, who she describes as a “mini-me.” In September of that same year, Badu appeared in the Brooklyn-based concert documentary Dave Chappelle’s Block Party, performing an animated set that included the hits “Back in the Day (Puff)” and the Grammy-winning smash “Love of My Life (An Ode to Hip-Hop).” Along with Queen Latifah andJill Scott,Badu also founded a successful summer festival tour called Sugar Water. Also in 2004, Badu’s charitable efforts helped raise hundreds of thousands of dollars to support the scholarship fund at St. Phillips School and Community Center in Dallas, Texas.

Badu flexed her entrepreneurial muscles with the launch of her own label, Control FreaQ, in 2005. The label, whose mission is to “free the slaves and the slave masters” by allowing signed artists to own their own masters in a 10-year conversion deal, operates primarily as a production house. Control FreaQ’s first project is developing New Orleans-born MC/Lyricist Jay Electronica. The label also produces remixed records and supports Badu’s side projects such as The Cannabinoids, the group she founded with Dallas-based DJs, musicians and beatsmiths, which is an improvisation production akin to a live “remix” set.

In 2008, as the U.S. engaged in the Iraq War and the nation prepared for an historic presidential election, Badu presented her own offering for the evolving times with New Amerykah Part One: 4th World War. Badu’s fourth studio album and the first installment of the two-part New Amerykah series kept Badu’s Hip-Hop spirit kindled. New Amerykah Part One boasts beats from the best soundsmiths in the game — including Madlib, 9th Wonder, Shafiq Husayn (for Sa-Ra Creative Partners), Sa-Ra, Karriem Riggins, Ahmir “?uestlove” Thompson of The Roots, James Poyser, Georgia Anne Muldrow, and Mike “Chav” Chavaria. With the singles “Honey” and “The Healer” generating significant cyberspace buzz, Badu reclaimed her cherished throne as a soul music phenom. New Amerykah Part One debuted at No. 2 on the Billboard 200 chart and Rolling Stone named it one of the year’s best albums.For the once self-proclaimed “analog girl,” Badu is now pushing the limits of the digital world. On February 1, 2009, Badu and boyfriend Jay Electronica blogged about the birth of their daughter Mars Merkab in real-time on the micro-blogging site Twitter, thus becoming the first celebrity couple to ever Tweet the birth of a child.

In 2010, Badu announced yet another new arrival: New Amerykah Part Two: Return Of The Ankh. Whereas Part One was social and political in tone, Part Two taps into the more romantic and emotional side of Badu. “It reminds me of the days of Baduizm,” she says. “It’s just about beats and rhymes in a cipher.” 

Indeed, diehard fans of Badu will love New Amerykah Part Two: Return Of The Ankh and newcomers to Badu’s world will be curiously intrigued by the mystique and authenticity of an artist who is totally comfortable in her own skin. Whether directing a dope music video or exposing her vulnerabilities in rhyme, Badu transcends image. Just like the Santeria priest she met in Cuba, Badu no longer tries to be, she just is.

For more information, please visit:
www.BaduWorld.com and www.ErykahBadu.com


 

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