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wrong_mix_range_award_00064
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FactBench
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1
| 94
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http://www.read52booksin52weeks.com/2013/12/
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en
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Read 52 Books in 52 Weeks
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[] |
[] |
[
""
] | null |
[
"Robin M"
] | null |
Challenge yourself to read 52 books through multiple perpetual, monthly, and mini challenges as well as selected books from the Well Educated Mind.
|
en
|
http://www.read52booksin52weeks.com/favicon.ico
|
http://www.read52booksin52weeks.com/2013/12/
|
"A book, too, can be a star, a living fire to lighten the darkness, leading out into the expanding universe.” ― Madeleine L'Engle
|
|||
wrong_mix_range_award_00064
|
FactBench
|
3
| 62
|
https://www.kaggle.com/code/devisangeetha/nobel-prize-winners-story
|
en
|
Nobel Prize Winners- Story
|
[] |
[] |
[] |
[
""
] | null |
[
"devisangeetha"
] |
2018-07-21T16:31:15.206666+00:00
|
Explore and run machine learning code with Kaggle Notebooks | Using data from Nobel Laureates, 1901-Present
|
en
|
/static/images/favicon.ico
|
https://www.kaggle.com/code/devisangeetha/nobel-prize-winners-story
| ||||||
wrong_mix_range_award_00064
|
FactBench
|
0
| 60
|
http://www.cssforum.com.pk/off-topic-section/general-knowledge-quizzes-iq-tests/61278-all-about-nobel-prize.html
|
en
|
All About Nobel Prize
|
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"Federal public service commission Pakistan"
] | null |
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Facts on the Nobel Prize 1901 to 2011 On 27 November 1895, Alfred Nobel signed his last will and testament, giving the largest share of his fortune to a series of prizes in Physics, Chemistry,
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Facts on the Nobel Prize in Chemistry from 1901 to 2011
Number of Nobel Prizes in Chemistry
Nobel Prizes in Chemistry have been awarded since 1901 = 103
Prizes have been given to one Laureate only = 63
Prizes have been shared by two Laureates = 22
Prizes have been shared between three Laureates = 18
It was not awarded in 1916, 1917, 1919, 1924, 1933, 1940, 1941, and 1942.
Number of Nobel Prize Laureates in Chemistry
The Nobel Prize in Chemistry has been awarded to 161 Laureates 1901-2011.
Frederick Sanger has been awarded twice.
Of the 160 individuals awarded the Nobel Prize in Chemistry, only four are women.
1911 - Marie Curie (also awarded the 1903 Nobel Prize in Physics)
1935 - Irène Joliot-Curie (daughter of Marie Curie and wife to Frédéric Joliot)
1964 - Dorothy Crowfoot Hodgkin
2009 - Ada Yonath
List of all Nobel Prize Laureates in Chemistry
2011 -Dan Shechtman
2010 -Richard F. Heck, Ei-ichi Negishi, Akira Suzuki
2009 -Venkatraman Ramakrishnan, Thomas A. Steitz, Ada E. Yonath
2008- Osamu Shimomura, Martin Chalfie, Roger Y. Tsien
2007 Gerhard Ertl
2006 -Roger D. Kornberg
2005 -Yves Chauvin, Robert H. Grubbs, Richard R. Schrock
2004 -Aaron Ciechanover, Avram Hershko, Irwin Rose
2003 -Peter Agre, Roderick MacKinnon
2002 -John B. Fenn, Koichi Tanaka, Kurt Wüthrich
2001 -William S. Knowles, Ryoji Noyori, K. Barry Sharpless
2000 -Alan J. Heeger, Alan G. MacDiarmid, Hideki Shirakawa
1999 -Ahmed H. Zewail
1998 -Walter Kohn, John A. Pople
1997 -Paul D. Boyer, John E. Walker, Jens C. Skou
1996 -Robert F. Curl Jr., Sir Harold W. Kroto, Richard E. Smalley
1995 -Paul J. Crutzen, Mario J. Molina, F. Sherwood Rowland
1994 -George A. Olah
1993 -Kary B. Mullis, Michael Smith
1992 -Rudolph A. Marcus
1991 -Richard R. Ernst
1990 -Elias James Corey
1989 -Sidney Altman, Thomas R. Cech
1988 -Johann Deisenhofer, Robert Huber, Hartmut Michel
1987 -Donald J. Cram, Jean-Marie Lehn, Charles J. Pedersen
1986 -Dudley R. Herschbach, Yuan T. Lee, John C. Polanyi
1985 -Herbert A. Hauptman, Jerome Karle
1984 -Robert Bruce Merrifield
1983 -Henry Taube
1982 -Aaron Klug
1981 -Kenichi Fukui, Roald Hoffmann
1980 -Paul Berg, Walter Gilbert, Frederick Sanger
1979 -Herbert C. Brown, Georg Wittig
1978 -Peter D. Mitchell
1977 -Ilya Prigogine
1976 -William N. Lipscomb
1975 -John Warcup Cornforth, Vladimir Prelog
1974 -Paul J. Flory
1973 -Ernst Otto Fischer, Geoffrey Wilkinson
1972 -Christian B. Anfinsen, Stanford Moore, William H. Stein
1971 -Gerhard Herzberg
1970 -Luis F. Leloir
1969 -Derek H. R. Barton, Odd Hassel
1968 -Lars Onsager
1967 -Manfred Eigen, Ronald George Wreyford Norrish, George Porter
1966 -Robert S. Mulliken
1965 -Robert Burns Woodward
1964 -Dorothy Crowfoot Hodgkin
1963 -Karl Ziegler, Giulio Natta
1962 -Max Ferdinand Perutz, John Cowdery Kendrew
1961 -Melvin Calvin
1960 -Willard Frank Libby
1959 -Jaroslav Heyrovsky
1958 -Frederick Sanger
1957 -Lord (Alexander R.) Todd
1956 -Sir Cyril Norman Hinshelwood, Nikolay Nikolaevich Semenov
1955 -Vincent du Vigneaud
1954 -Linus Carl Pauling
1953 -Hermann Staudinger
1952 -Archer John Porter Martin, Richard Laurence Millington Synge
1951 -Edwin Mattison McMillan, Glenn Theodore Seaborg
1950 -Otto Paul Hermann Diels, Kurt Alder
1949 -William Francis Giauque
1948 -Arne Wilhelm Kaurin Tiselius
1947 -Sir Robert Robinson
1946 -James Batcheller Sumner, John Howard Northrop, Wendell Meredith Stanley
1945 -Artturi Ilmari Virtanen
1944 -Otto Hahn
1943 -George de Hevesy
1942 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1941 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1940 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1939 -Adolf Friedrich Johann Butenandt, Leopold Ruzicka
1938 -Richard Kuhn
1937 -Walter Norman Haworth, Paul Karrer
1936 -Petrus (Peter) Josephus Wilhelmus Debye
1935 -Frédéric Joliot, Irène Joliot-Curie
1934 -Harold Clayton Urey
1933 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1932 -Irving Langmuir
1931 -Carl Bosch, Friedrich Bergius
1930 -Hans Fischer
1929 -Arthur Harden, Hans Karl August Simon von Euler-Chelpin
1928 -Adolf Otto Reinhold Windaus
1927 -Heinrich Otto Wieland
1926 -The (Theodor) Svedberg
1925 -Richard Adolf Zsigmondy
1924 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1923 -Fritz Pregl
1922 -Francis William Aston
1921 -Frederick Soddy
1920 -Walther Hermann Nernst
1919 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1918 -Fritz Haber
1917 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1916 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1915 -Richard Martin Willstätter
1914 -Theodore William Richards
1913 -Alfred Werner
1912 -Victor Grignard, Paul Sabatier
1911 -Marie Curie, née Sklodowska
1910 -Otto Wallach
1909 -Wilhelm Ostwald
1908 -Ernest Rutherford
1907 -Eduard Buchner
1906 -Henri Moissan
1905 -Johann Friedrich Wilhelm Adolf von Baeyer
1904-Sir William Ramsay
1903 -Svante August Arrhenius
1902 -Hermann Emil Fischer –
1901 -Jacobus Henricus van 't Hoff
Facts on the Nobel Prize in Physiology or Medicine from 1901 to 2011
Number of Nobel Prizes in Physiology/Medicine
Nobel Prizes in Medicine have been awarded since 1901 = 102
Prizes have been given to one Laureate only = 38
Prizes have been shared by two Laureates = 31
Prizes have been shared between three Laureates = 33
It was not awarded in 1915, 1916, 1917, 1918, 1921, 1925, 1940, 1941 and 1942.
Number of Nobel Laureates in Physiology/Medicine
The Nobel Prize in Physiology/Medicine has been awarded to 199 Laureates 1901-2011.
No one has been awarded twice yet.
Of the 199 individuals awarded the Nobel Prize in Physiology or Medicine, ten are women.
1947- Gerty Cori
1977- Rosalyn Yalow
1983- Barbara McClintock
1986- Rita Levi-Montalcini
1988- Gertrude B. Elion
1995- ChristianeNüsslein-Volhard
2004- Linda B.Buck
2008- Françoise Barré-Sinoussi
2009- Elizabeth H.Blackburn and Carol W. Greider
List of all Nobel Prize Laureates in Physiology/Medicine
2011- Bruce A. Beutler, Jules A. Hoffmann, Ralph M. Steinman
2010 -Robert G. Edwards
2009 -Elizabeth H. Blackburn, Carol W. Greider, Jack W. Szostak
2008 -Harald zur Hausen, Françoise Barré-Sinoussi, Luc Montagnier
2007 -Mario R. Capecchi, Sir Martin J. Evans, Oliver Smithies
2006 -Andrew Z. Fire, Craig C. Mello
2005 -Barry J. Marshall, J. Robin Warren
2004 -Richard Axel, Linda B. Buck
2003 -Paul C. Lauterbur, Sir Peter Mansfield
2002 -Sydney Brenner, H. Robert Horvitz, John E. Sulston
2001 -Leland H. Hartwell, Tim Hunt, Sir Paul M. Nurse
2000 -Arvid Carlsson, Paul Greengard, Eric R. Kandel
1999 -Günter Blobel
1998 -Robert F. Furchgott, Louis J. Ignarro, Ferid Murad
1997 -Stanley B. Prusiner
1996 -Peter C. Doherty, Rolf M. Zinkernagel
1995 -Edward B. Lewis, Christiane Nüsslein-Volhard, Eric F. Wieschaus
1994 -Alfred G. Gilman, Martin Rodbell
1993-Richard J. Roberts, Phillip A. Sharp
1992 -Edmond H. Fischer, Edwin G. Krebs
1991 -Erwin Neher, Bert Sakmann
1990 -Joseph E. Murray, E. Donnall Thomas
1989 -J. Michael Bishop, Harold E. Varmus
1988 -Sir James W. Black, Gertrude B. Elion, George H. Hitchings
1987 -Susumu Tonegawa
1986 -Stanley Cohen, Rita Levi-Montalcini
1985 -Michael S. Brown, Joseph L. Goldstein
1984 -Niels K. Jerne, Georges J.F. Köhler, César Milstein
1983 -Barbara McClintock
1982 -Sune K. Bergström, Bengt I. Samuelsson, John R. Vane
1981 -Roger W. Sperry, David H. Hubel, Torsten N. Wiesel
1980 -Baruj Benacerraf, Jean Dausset, George D. Snell
1979 -Allan M. Cormack, Godfrey N. Hounsfield
1978 -Werner Arber, Daniel Nathans, Hamilton O. Smith
1977 -Roger Guillemin, Andrew V. Schally, Rosalyn Yalow
1976 -Baruch S. Blumberg, D. Carleton Gajdusek
1975 -David Baltimore, Renato Dulbecco, Howard Martin Temin
1974 -Albert Claude, Christian de Duve, George E. Palade
1973 -Karl von Frisch, Konrad Lorenz, Nikolaas Tinbergen
1972 -Gerald M. Edelman, Rodney R. Porter
1971 -Earl W. Sutherland, Jr.
1970 -Sir Bernard Katz, Ulf von Euler, Julius Axelrod
1969 -Max Delbrück, Alfred D. Hershey, Salvador E. Luria
1968 -Robert W. Holley, Har Gobind Khorana, Marshall W. Nirenberg
1967 -Ragnar Granit, Haldan Keffer Hartline, George Wald
1966 -Peyton Rous, Charles Brenton Huggins
1965 -François Jacob, André Lwoff, Jacques Monod
1964 -Konrad Bloch, Feodor Lynen
1963 -Sir John Carew Eccles, Alan Lloyd Hodgkin, Andrew Fielding Huxley
1962 -Francis Harry Compton Crick, James Dewey Watson, Maurice Hugh Frederick Wilkins
1961 -Georg von Békésy
1960 -Sir Frank Macfarlane Burnet, Peter Brian Medawar
1959 -Severo Ochoa, Arthur Kornberg
1958 -George Wells Beadle, Edward Lawrie Tatum, Joshua Lederberg
1957 -Daniel Bovet
1956 -André Frédéric Cournand, Werner Forssmann, Dickinson W. Richards
1955 -Axel Hugo Theodor Theorell
1954 -John Franklin Enders, Thomas Huckle Weller, Frederick Chapman Robbins
1953 -Hans Adolf Krebs, Fritz Albert Lipmann
1952 -Selman Abraham Waksman
1951 -Max Theiler
1950 -Edward Calvin Kendall, Tadeus Reichstein, Philip Showalter Hench
1949 -Walter Rudolf Hess, Antonio Caetano de Abreu Freire Egas Moniz
1948 -Paul Hermann Müller
1947 -Carl Ferdinand Cori, Gerty Theresa Cori, née Radnitz, Bernardo Alberto Houssay
1946 -Hermann Joseph Muller
1945 -Sir Alexander Fleming, Ernst Boris Chain, Sir Howard Walter Florey
1944 -Joseph Erlanger, Herbert Spencer Gasser
1943 -Henrik Carl Peter Dam, Edward Adelbert Doisy
1942 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1941 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1940 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1939 -Gerhard Domagk
1938 -Corneille Jean François Heymans
1937 -Albert von Szent-Györgyi Nagyrápolt
1936 -Sir Henry Hallett Dale, Otto Loewi
1935 -Hans Spemann
1934 -George Hoyt Whipple, George Richards Minot, William Parry Murphy
1933 -Thomas Hunt Morgan
1932 -Sir Charles Scott Sherrington, Edgar Douglas Adrian
1931 -Otto Heinrich Warburg
1930 -Karl Landsteiner
1929 -Christiaan Eijkman, Sir Frederick Gowland Hopkins
1928 -Charles Jules Henri Nicolle
1927 -Julius Wagner-Jauregg
1926 -Johannes Andreas Grib Fibiger
1925 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1924 -Willem Einthoven
1923 -Frederick Grant Banting, John James Rickard Macleod
1922 -Archibald Vivian Hill, Otto Fritz Meyerhof
1921 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1920 -Schack August Steenberg Krogh
1919 -Jules Bordet
1918 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1917 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1916 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1915 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1914 -Robert Bárány
1913 -Charles Robert Richet
1912 -Alexis Carrel
1911 -Allvar Gullstrand
1910 -Albrecht Kossel
1909 -Emil Theodor Kocher
1908 -Ilya Ilyich Mechnikov, Paul Ehrlich
1907 -Charles Louis Alphonse Laveran
1906 -Camillo Golgi, Santiago Ramón y Cajal
1905 -Robert Koch
1904 -Ivan Petrovich Pavlov
1903 -Niels Ryberg Finsen
1902 -Ronald Ross
1901 -Emil Adolf von Behring
Facts on the Nobel Prize in Literature from 1901 to 2011
Number of Nobel Prizes in Literature
Nobel Prizes in Literature have been awarded since 1901 = 104
Prizes have been given to one Laureate only = 100
Prizes have been shared by two Laureates = 04
It was not awarded on Seven times in, 1914, 1918, 1935, 1940, 1941, 1942, and 1943
Number of Nobel Laureates in Literature
The Nobel Prize in Literature has been awarded to 108 Laureates 1901-2011.
No one has been awarded twice yet.
Of the 108 individuals awarded the Nobel Prize in Literature, 12 are women.
1909 - Selma Lagerlöf
1926 - Grazia Deledda
1928 - Sigrid Undset
1938 - Pearl Buck
1945 - Gabriela Mistral
1966 - Nelly Sachs
1991 - Nadine Gordimer
1993 - Toni Morrison
1996 - Wislawa Szymborska
2004 - Elfriede Jelinek
2007 - Doris Lessing
2009 - Herta Müller
List of all Nobel Prize Laureates in Literature
2011-Tomas Tranströmer
2010 -Mario Vargas Llosa
2009 -Herta Müller
2008 -Jean-Marie Gustave Le Clézio
2007 -Doris Lessing
2006 -Orhan Pamuk
2005 -Harold Pinter
2004 -Elfriede Jelinek
2003 -John M. Coetzee
2002 -Imre Kertész
2001 -Sir Vidiadhar Surajprasad Naipaul
2000 -Gao Xingjian
1999 -Günter Grass
1998 -José Saramago
1997 -Dario Fo
1996 -Wislawa Szymborska
1995 -Seamus Heaney
1994 -Kenzaburo Oe
1993 -Toni Morrison
1992 -Derek Walcott
1991 -Nadine Gordimer
1990 -Octavio Paz
1989 -Camilo José Cela
1988 -Naguib Mahfouz
1987 -Joseph Brodsky
1986 -Wole Soyinka
1985 -Claude Simon
1984 -Jaroslav Seifert
1983 -William Golding
1982 -Gabriel García Márquez
1981 -Elias Canetti
1980 -Czeslaw Milosz
1979 -Odysseus Elytis
1978 -Isaac Bashevis Singer
1977 -Vicente Aleixandre
1976 -Saul Bellow
1975 -Eugenio Montale
1974 -Eyvind Johnson, Harry Martinson
1973 -Patrick White
1972 -Heinrich Böll
1971 -Pablo Neruda
1970 -Aleksandr Isayevich Solzhenitsyn
1969 -Samuel Beckett
1968 -Yasunari Kawabata
1967 -Miguel Angel Asturias
1966 -Shmuel Yosef Agnon, Nelly Sachs
1965 -Mikhail Aleksandrovich Sholokhov
1964 -Jean-Paul Sartre
1963 -Giorgos Seferis
1962 -John Steinbeck
1961 -Ivo Andric
1960 -Saint-John Perse
1959 -Salvatore Quasimodo
1958 -Boris Leonidovich Pasternak
1957 -Albert Camus
1956 -Juan Ramón Jiménez
1955 -Halldór Kiljan Laxness
1954 -Ernest Miller Hemingway
1953 -Sir Winston Leonard Spencer Churchill
1952 -François Mauriac
1951 -Pär Fabian Lagerkvist
1950 -Earl (Bertrand Arthur William) Russell
1949 -William Faulkner
1948 -Thomas Stearns Eliot
1947 -André Paul Guillaume Gide
1946 -Hermann Hesse
1945 -Gabriela Mistral
1944 -Johannes Vilhelm Jensen
1943 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1942 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1941 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1940 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1939 -Frans Eemil Sillanpää
1938 -Pearl Buck
1937 -Roger Martin du Gard
1936 -Eugene Gladstone O'Neill
1935 -No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1934 -Luigi Pirandello
1933 -Ivan Alekseyevich Bunin
1932 -John Galsworthy
1931 -Erik Axel Karlfeldt
1930 -Sinclair Lewis
1929 -Thomas Mann
1928 -Sigrid Undset
1927 -Henri Bergson
1926 -Grazia Deledda
1925 -George Bernard Shaw
1924 -Wladyslaw Stanislaw Reymont
1923 -William Butler Yeats
1922 -Jacinto Benavente
1921 -Anatole France
1920 -Knut Pedersen Hamsun
1919 -Carl Friedrich Georg Spitteler
1918 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1917 -Karl Adolph Gjellerup, Henrik Pontoppidan
1916 -Carl Gustaf Verner von Heidenstam
1915 -Romain Rolland
1914 -No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1913 -Rabindranath Tagore
1912 -Gerhart Johann Robert Hauptmann
1911 -Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck
1910 -Paul Johann Ludwig Heyse
1909 -Selma Ottilia Lovisa Lagerlöf
1908 -Rudolf Christoph Eucken
1907 -Rudyard Kipling
1906 -Giosuè Carducci
1905 -Henryk Sienkiewicz
1904 -Frédéric Mistral, José Echegaray y Eizaguirre
1903 -Bjørnstjerne Martinus Bjørnson
1902 -Christian Matthias Theodor Mommsen
1901 -Sully Prudhomme
Facts on the Nobel Prize in Economic Science from 1901 to 2011
In 1968, Sveriges Riksbank (Sweden's central bank) established the prize Economic Sciences in Memory of Alfred Nobel, awarded from 1969 to 2011, founder of the Nobel Prize.
Number of Nobel Prizes in Economic Science
Nobel Prizes in Economic Sciences have been awarded since 1969 = 43
Prizes have been given to one Laureate only = 22
Prizes have been shared by two Laureates = 16
Prize has been shared by the three Laureates = 05
Number of Nobel Laureates in Economic Sciences
The Nobel Prize in Economic Sciences has been awarded to 69 Laureates 1969-2011.
No one has been awarded twice yet.
Of the 69 individuals awarded the Nobel Prize in Economic Sciences Literature, only one is women.
2009 Elinor Ostrom
List of all Nobel Prize Laureates in Economic Sciences
2011-Thomas J. Sargent, Christopher A. Sims
2010-Peter A. Diamond, Dale T. Mortensen, Christopher A. Pissarides
2009-Elinor Ostrom, Oliver E. Williamson
2008-Paul Krugman
2007-Leonid Hurwicz, Eric S. Maskin, Roger B. Myerson
2006-Edmund S. Phelps
2005-Robert J. Aumann, Thomas C. Schelling
2004-Finn E. Kydland, Edward C. Prescott
2003-Robert F. Engle III, Clive W.J. Granger
2002-Daniel Kahneman, Vernon L. Smith
2001-George A. Akerlof, A. Michael Spence, Joseph E. Stiglitz
2000-James J. Heckman, Daniel L. McFadden
1999-Robert A. Mundell
1998-Amartya Sen
1997-Robert C. Merton, Myron S. Scholes
1996-James A. Mirrlees, William Vickrey
1995-Robert E. Lucas Jr.
1994-John C. Harsanyi, John F. Nash Jr., Reinhard Selten
1993-Robert W. Fogel, Douglass C. North
1992-Gary S. Becker
1991-Ronald H. Coase
1990-Harry M. Markowitz, Merton H. Miller, William F. Sharpe
1989-Trygve Haavelmo
1988-Maurice Allais
1987-Robert M. Solow
1986-James M. Buchanan Jr.
1985-Franco Modigliani
1984-Richard Stone
1983-Gerard Debreu
1982-George J. Stigler
1981-James Tobin
1980-Lawrence R. Klein
1979-Theodore W. Schultz, Sir Arthur Lewis
1978-Herbert A. Simon
1977-Bertil Ohlin, James E. Meade
1976-Milton Friedman
1975-Leonid Vitaliyevich Kantorovich, Tjalling C. Koopmans
1974-Gunnar Myrdal, Friedrich August von Hayek
1973-Wassily Leontief
1972-John R. Hicks, Kenneth J. Arrow
1971-Simon Kuznets
1970-Paul A. Samuelson
1969-Ragnar Frisch, Jan Tinbergen
Facts on the Nobel Peace Prize from 1901 to 2011
Number of Nobel Peace Prizes
Nobel Peace Prizes have been awarded since 1901 = 92
It was not awarded on 19 occasions in 1914-1918, 1923, 1924, 1928, 1932, 1939- 1943, 1948, 1955, 1956, 1966, 1967 and 1972.
Prizes have been given to one Laureate only = 62
Prizes have been shared by two Laureates = 28
Prize has been shared by the three Laureates = 02
Number of Nobel Peace Prize
The Nobel Peace Prize has been awarded to 124 Laureates 1901-2011.
Awarded to individuals = 101 ( 99 times)
Awarded to organizations= 20 (23 times)
Of the 101 individuals awarded the Nobel Peace Prize, 15 are women.
1905 - Bertha von Suttner
1931 - Jane Addams
1946 - Emily Greene Balch
1976 - Betty Williams
1976 - Mairead Corrigan
1979 - Mother Teresa
1982 - Alva Myrdal
1991 - Aung San Suu Kyi
1992 - Rigoberta Menchú Tum
1997 - Jody Williams
2003 - Shirin Ebadi
2004 - Wangari Maathai
2011 - Ellen Johnson Sirleaf, Leymah Gbowee and Tawakkol Karman
List of all Nobel Peace Prize Laureates
2011-Ellen Johnson Sirleaf, Leymah Gbowee, Tawakkol Karman
2010-Liu Xiaobo
2009-Barack H. Obama
2008-Martti Ahtisaari
2007-Intergovernmental Panel on Climate Change (IPCC) , Albert Arnold (Al) Gore Jr.
2006-Muhammad Yunus, Grameen Bank
2005-International Atomic Energy Agency (IAEA) , Mohamed ElBaradei
2004-Wangari Muta Maathai
2003-Shirin Ebadi
2002-Jimmy Carter
2001-United Nations (U.N.) , Kofi Annan
2000-Kim Dae-jung
1999-Médecins Sans Frontières
1998-John Hume, David Trimble
1997-International Campaign to Ban Landmines (ICBL) , Jody Williams
1996-Carlos Filipe Ximenes Belo, José Ramos-Horta
1995-Joseph Rotblat, Pugwash Conferences on Science and World Affairs
1994-Yasser Arafat, Shimon Peres, Yitzhak Rabin
1993-Nelson Mandela, Frederik Willem de Klerk
1992-Rigoberta Menchú Tum
1991-Aung San Suu Kyi
1990-Mikhail Sergeyevich Gorbachev
1989-The 14th Dalai Lama (Tenzin Gyatso)
1988-United Nations Peacekeeping Forces
1987-Oscar Arias Sánchez
1986-Elie Wiesel
1985-International Physicians for the Prevention of Nuclear War
1984-Desmond Mpilo Tutu
1983-Lech Walesa
1982-Alva Myrdal, Alfonso García Robles
1981-Office of the United Nations High Commissioner for Refugees (UNHCR)
1980-Adolfo Pérez Esquivel
1979-Mother Teresa
1978-Mohamed Anwar al-Sadat, Menachem Begin
1977-Amnesty International
1976-Betty Williams, Mairead Corrigan
1975-Andrei Dmitrievich Sakharov
1974-Seán MacBride, Eisaku Sato
1973-Henry A. Kissinger, Le Duc Tho
1972-No Nobel Prize was awarded this year. The prize money for 1972 was allocated to the Main Fund.
1971-Willy Brandt
1970-Norman E. Borlaug
1969-International Labour Organization (I.L.O.)
1968-René Cassin
1967-No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1966-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1965-United Nations Children's Fund (UNICEF)
1964-Martin Luther King Jr.
1963-Comité international de la Croix Rouge (International Committee of the Red Cross) , Ligue des Sociétés de la Croix-Rouge (League of Red Cross Societies)
1962-Linus Carl Pauling
1961-Dag Hjalmar Agne Carl Hammarskjöld
1960-Albert John Lutuli
1959-Philip J. Noel-Baker
1958-Georges Pire
1957-Lester Bowles Pearson
1956-No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1955-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1954-Office of the United Nations High Commissioner for Refugees (UNHCR)
1953-George Catlett Marshall
1952-Albert Schweitzer
1951-Léon Jouhaux
1950-Ralph Bunche
1949-Lord (John) Boyd Orr of Brechin
1948-No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1947-Friends Service Council (The Quakers) , American Friends Service Committee (The Quakers)
1946-Emily Greene Balch, John Raleigh Mott
1945-Cordell Hull
1944-Comité international de la Croix Rouge (International Committee of the Red Cross)
1943-No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1942-No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1941-No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1940-No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1939-No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1938-Office international Nansen pour les Réfugiés (Nansen International Office for Refugees)
1937-Cecil of Chelwood, Viscount (Lord Edgar Algernon Robert Gascoyne Cecil)
1936-Carlos Saavedra Lamas
1935-Carl von Ossietzky
1934-Arthur Henderson
1933-Sir Norman Angell (Ralph Lane)
1932-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1931-Jane Addams, Nicholas Murray Butler
1930-Lars Olof Jonathan (Nathan) Söderblom
1929-Frank Billings Kellogg
1928-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1927-Ferdinand Buisson, Ludwig Quidde
1926-Aristide Briand, Gustav Stresemann
1925-Sir Austen Chamberlain, Charles Gates Dawes
1924-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1923-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1922-Fridtjof Nansen
1921-Karl Hjalmar Branting, Christian Lous Lange
1920-Léon Victor Auguste Bourgeois
1919-Thomas Woodrow Wilson
1918-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1917-Comité international de la Croix Rouge (International Committee of the Red Cross)
1916-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1915-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1914-No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1913-Henri La Fontaine
1912-Elihu Root
1911-Tobias Michael Carel Asser, Alfred Hermann Fried
1910-Bureau international permanent de la Paix (Permanent International Peace Bureau)
1909-Auguste Marie François Beernaert, Paul Henri Benjamin Balluet d'Estournelles de Constant, Baron de Constant de Rebecque
1908-Klas Pontus Arnoldson, Fredrik Bajer
1907-Ernesto Teodoro Moneta, Louis Renault
1906-Theodore Roosevelt
1905-Baroness Bertha Sophie Felicita von Suttner, née Countess Kinsky von Chinic und Tettau
1904-Institut de droit international (Institute of International Law)
1903-William Randal Cremer
1902-Élie Ducommun, Charles Albert Gobat
1901-Jean Henry Dunant
1901-Jean Henry Dunant, Frédéric Passy
Source:The Nobel Prizes
__________________
To succeed,look at things not as they are,but as they can be.:)
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"Contributors to Literawiki"
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2024-07-03T16:38:30+00:00
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The Nobel Prize in Literature (often referred to as the Nobel Prize for Literature) is a prestigious international prize awarded annually to authors in recognition of their outstanding bodies of literary work. It is one of the five prizes established by the Swedish chemist and inventor Alfred...
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en
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/skins-ucp/mw139/common/favicon.ico
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Literawiki
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https://literature.fandom.com/wiki/Nobel_Prize_in_Literature
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The Nobel Prize in Literature (often referred to as the Nobel Prize for Literature) is a prestigious international prize awarded annually to authors in recognition of their outstanding bodies of literary work. It is one of the five prizes established by the Swedish chemist and inventor Alfred Nobel (1833–1896) in his will.
Each year, the laureate is selected in October by the Nobel Committee of the Swedish Academy from a long list of candidates - usually about 200 nominations - received by the February 1 deadline. The laureate receives a gold medal and a diploma in addition to a large sum of money for the prize at a ceremony held in Stockholm.
With the exception of eight years (1914, 1918, 1935, 1940–1943 and 2018), the prize has been awarded continuously since 1901. In 1904, the prize was jointly awarded to the Spanish author José Echegaray and the French author Frédéric Mistral. In 1917, it was jointly awarded to the Danish authots Karl Adolph Gjellerup and Henrik Pontoppidian. In 1966, it was jointly awarded to the Israeli author Shmuel Yosef Agnon and the German-born Swedish author Nelly Sachs. In 1974, it was jointly awarded to the Swedish authors Eyvind Johnson and Harry Martinson. Although no prize was awarded in the year 2018, a winner for 2018 was officially named on October 10, 2019, at the same time that the 2019 winner was announced.
The Nobel Prize in Literature was declined by the Soviet writer Boris Pasternak in 1958 and by the French author Jean-Paul Sartre in 1966.
Winners[]
Year Winner 2023 Jon Fosse ( Norway) 2022 Annie Ernaux ( France) 2021 Abdulrazak Gurnah ( Tanzania/ United Kingdom) 2020 Louise Glück ( United States) 2019 Peter Handke ( Austria) 2018 Olga Tokarczuk ( Poland) 2017 Kazuo Ishiguro ( Japan/ United Kingdom) 2016 Bob Dylan ( United States) 2015 Svetlana Alexievich ( Belarus) 2014 Patrick Modiano ( France) 2013 Alice Munro ( Canada) 2012 Mo Yan ( China) 2011 Tomas Tranströmer ( Sweden) 2010 Mario Vargas Llosa ( Peru/ Spain) 2009 Herta Müller ( Romania/ Germany) 2008 Jean-Marie Gustave Le Clézio ( France/ Mauritius) 2007 Doris Lessing ( Iran/ United Kingdom) 2006 Orhan Pamuk ( Turkey) 2005 Harold Pinter ( United Kingdom) 2004 Elfriede Jelinek ( Austria) 2003 John M. Coetzee ( South Africa) 2002 Imre Kertész ( Hungary) 2001 V.S. Naipaul ( Trinidad and Tobago/ United Kingdom) 2000 Gao Xingjian ( China/ France) 1999 Günter Grass ( Germany) 1998 José Saramago ( Portugal) 1997 Dario Fo ( Italy) 1996 Wisława Szymborska ( Poland) 1995 Seamus Heaney ( Ireland) 1994 Kenzaburō Ōe ( Japan) 1993 Toni Morrison ( United States) 1992 Derek Walcott ( Saint Lucia) 1991 Nadine Gordimer ( South Africa) 1990 Octavio Paz ( Mexico) 1989 Camilo José Cela ( Spain) 1988 Naguib Mahfouz ( Egypt) 1987 Joseph Brodsky ( Soviet Union/ United States) 1986 Wole Soyinka ( Nigeria) 1985 Claude Simon ( French Madagascar/France) 1984 Jaroslav Seifert ( Czechoslovakia) 1983 William Golding ( United Kingdom) 1982 Gabriel García Márquez ( Colombia) 1981 Elias Canetti ( Bulgaria/ United Kingdom) 1980 Czesław Miłosz ( Poland) 1979 Odysseas Elytis ( Greece) 1978 Isaac Bashevis Singer ( Poland/ United States) 1977 Vicente Aleixandre ( Spain) 1976 Saul Bellow ( Canada/ United States) 1975 Eugenio Montale ( Italy) 1974 Eyvind Johnson ( Sweden) 1974 Harry Martinson ( Sweden) 1973 Patrick White ( United Kingdom/ Australia) 1972 Heinrich Böll ( West Germany) 1971 Pablo Neruda ( Chile) 1970 Aleksandr Solzhenitsyn ( Soviet Union) 1969 Samuel Beckett ( Ireland) 1968 Kawabata Yasunari ( Japan) 1967 Miguel Ángel Asturias ( Guatemala) 1966 Shmuel Yosef Agnon ( Israel) 1966 Nelly Sachs ( Germany/ Sweden) 1965 Mikhail Sholokov ( Soviet Union) 1964 Jean-Paul Sartre ( France) 1963 Giorgos Seferis ( Greece) 1962 John Steinbeck ( United States) 1961 Ivo Andrić ( Yugoslavia) 1960 Saint-John Perse ( France) 1959 Salvatore Quasimodo ( Italy) 1958 Boris Pasternak ( Soviet Union) 1957 Albert Camus ( French Algeria/France) 1956 Juan Ramón Jiménez ( Spain/ Puerto Rico) 1955 Halldór Laxness ( Iceland) 1954 Ernest Hemingway ( United States) 1953 Winston Churchill ( United Kingdom) 1952 François Mauriac ( France) 1951 Pär Lagerkvist ( Sweden) 1950 Bertrand Russell ( United Kingdom) 1949 William Faulkner ( United States) 1948 T.S. Eliot ( United States/ United Kingdom) 1947 André Gide ( France) 1946 Hermann Hesse ( Germany/ Switzerland) 1945 Gabriela Mistral ( Chile) 1944 Johannes Vilhelm Jensen ( Denmark) 1943 No prize awarded 1942 No prize awarded 1941 No prize awarded 1940 No prize awarded 1939 Frans Eemil Sillanpää ( Finland) 1938 Pearl S. Buck ( United States) 1937 Roger Martin du Gard ( France) 1936 Eugene O'Neiill United States) 1935 No prize awarded 1934 Luigi Pirandello ( Italy) 1933 Ivan Bunin ( Russian Empire/ France) 1932 John Galsworthy ( United Kingdom) 1931 Erik Axel Karlfedt ( Sweden) 1930 Sinclair Lewis ( United States) 1929 Thomas Mann ( Germany) 1928 Sigrid Undset ( Denmark/ Norway) 1927 Henri Bergson ( France) 1926 Grazia Deledda ( Italy) 1925 George Bernard Shaw ( Ireland) 1924 Władysław Reymont ( Poland) 1923 W.B. Yeats ( Ireland) 1922 Jacinto Benavente ( Spain) 1921 Anatole France ( France) 1920 Knut Hamsun ( Norway) 1919 Carl Spitteler ( Switzerland) 1918 No prize awarded 1917 Henrik Pontoppidan ( Denmark) 1917 Karl Adolph Gjellerup ( Denmark) 1916 Verner von Heidenstam ( Sweden) 1915 Roman Rolland ( France) 1914 No prize awarded 1913 Rabindranath Tagore ( India) 1912 Gerhart Hauptmann ( German Empire) 1911 Maurice Maeterlinck ( Belgium) 1910 Paul von Heyse ( German Empire) 1909 Selma Lagerlöf ( Sweden) 1908 Rudolph Christoph Eucken ( German Empire) 1907 Rudyard Kipling ( India/ United Kingdom) 1906 Giosuè Carducci ( Italy) 1905 Henryk Sienkiewicz ( Poland) 1904 Frédéric Mistral ( France) 1904 José Echegaray ( Spain) 1903 Bjørnstjerne Bjørnson ( Norway) 1902 Christian Matthias Theodor Mommsen ( German Empire) 1901 Sully Prudhomme ( France)
[]
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wrong_mix_range_award_00064
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FactBench
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3
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https://library.cumberland.edu/awardwinningbooks/nobel
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en
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Vise Library at Cumberland University
|
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Features titles of award winners such as the Newbery, Caldecott, and Coretta Scott King awards. Also includes the call number if the Vise Library owns a particular item.
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Karl Adolph Gjellerup - The Vise Library does not own any works by this author
Henrik Pontoppidan - The Vise Library does not own any works by this author
2021 Winner
Abdulrazak Gurnah - The library does not own any of the books published by this author.
2022 Winner
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Award ceremony speech
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The Nobel Prize in Literature 1906 was awarded to Giosuè Carducci "not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1906/ceremony-speech/
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Presentation Speech by C.D. af Wirsén, Permanent Secretary of the Swedish Academy, on December 10, 1906
From the unusually large number of poets and authors proposed for the Nobel Prize this year, the Swedish Academy has chosen a great Italian poet who for a long time has attracted the attention both of the Academy and of the entire civilized world.
Since antiquity, Northern men have been drawn to Italy by her history and her artistic treasures as well as by her sweet and gentle climate. The Northerner does not stop until he has arrived in the eternal city of Rome, just as the war for Italian unity could not stop before Rome was conquered. But before arriving in Rome the visitor is fascinated by the beauty of so many other places. Among these, in the Appenines, is the Etruscan city of Bologna, which is known to us through the Songs of Enzo by Carl August Nicander.
Since the Middle Ages, when a famous university gave it the title of learned, Bologna has been of great importance in the cultural history of Italy. Although in ancient times it was renowned as an authority on jurisprudence, it has now become especially famous for its poetic marvels. Thus, it is today still worthy of the expression «Bononia docet» (Bologna teaches). For its greatest poetic attainments of the present, it is indebted to the man to whom the Nobel Prize has been awarded this year – Giosuè Carducci.
Carducci was born on July 27, 1835, in Val di Castello. He himself has given an interesting account of his impressions from his childhood and youth, and he has been the subject of several good biographies.
In order to judge properly the development of his mind and his talents, it is important to know that his father, Dr. Michele Carducci, was a member of the Carboneria (a secret political society working for Italian unity) and was active in the political movements for Italian liberty, and that his mother was an intelligent and liberal woman.
Michele obtained a position as a doctor in Castagneto. The young poet thus spent his earliest years in the Tuscan Maremma. He learned Latin from his father, and Latin literature was to become very familiar to him. Although Carducci later opposed Manzoni’s ideas with great fervour, he was also strongly influenced for a long time by his father’s admiration for the poet. At this time he also studied the Iliad and the Aeneid, Tasso’s Gerusalemme, Rollin’s Roman history, and Thier’s work on the French Revolution.
It was a time of great political tension, and one can well believe that in those days of discord and oppression the young poet’s fiery imagination absorbed everything which had to do with ancient liberty and the impending unification.
The boy soon turned into a little revolutionary. As he himself recounts, in his games with his brothers and friends he organized little republics which were governed by archons or consuls or tribunes. Vigorous brawls frequently broke out. Revolution was considered a normal state of affairs; civil war was always the order of the day. The young Carducci stoned a make-believe Caesar who was about to cross the Rubicon. Caesar had to flee and the republic was saved. But the next day the little patriotic hero got a sound trouncing from the conquering Caesar.
Not too much stress need be laid on these games, since they are frequent among young boys. But Carducci did, in fact, embrace strong republican sympathies in later life.
In 1849 the family moved to Florence, where Carducci was enrolled in a new school. Here, in addition to his required studies, he first read the poetry of Leopardi, Schiller, and Byron. And soon he started writing poetry – satiric sonnets. He later studied at the Scuola Normale Superiore in Pisa, where he seems to have shown a great deal of energy in his work. After finishing his studies he became a teacher of rhetoric in San Miniato. Because of his expressions of radical ideas, the grand-ducal government annulled his later election to a post at the Arezzo elementary school. Afterward, however, he taught Greek at the lyceum in Pistoia. Finally he obtained a chair at the University of Bologna, where he has had a long and highly successful career.
These in brief are the general lines of his external life. There has been no lack of struggle in his career. He was, for example, even suspended for some time from teaching in Bologna, and on several occasions he was involved in lively polemics with several Italian authors. He suffered great personal tragedies, of which his brother Dante’s suicide was undoubtedly the most painful. But his family life and his love for his wife and children have offered him great consolation.
The fight for Italian liberty was extremely important to the development of his sensibility. Carducci was a passionate patriot; he followed the war with all the fire of his soul. And no matter how much he may have been embittered by the defeats at Aspromonte and Mentana, and no matter how much he was disillusioned by the new parliamentary government, which was not being organized in accordance with his desires, he was, nevertheless, overjoyed at the triumph of his sacred patriotic cause.
His ardent nature was tormented by anything which in his opinion interfered with the fulfilment of the work for Italian unity. He was not one to wait patiently; he continuously demanded immediate results and felt a strong aversion to diplomatic delays and the diplomatic festina lente.
In the meantime his poetry blossomed abundantly. Although he is also the author of excellent historical and literary criticism, we should be concerned above all with his poetry, for it is through his poetry that he has won his greatest fame.
The volume Juvenilia (1863) contains, as the title indicates, his youthful work of the 1850’s. Two qualities characterize this collection: on the one and, its classical cast and intonation, sometimes carried to the point where Carducci salutes Phoebus Apollo and Diana Trivia; and on the other, its profoundly patriotic tone, accompanied by a violent hatred of the Catholic Church and of the Pope’s power, the strongest obstacles to Italian unity.
In strong opposition to ultramontanism, Carducci in his songs evokes the memories of ancient Rome, the images of the great French Revolution, and the figures of Garibaldi and Mazzini. At times, when be believes Italy’s state hopeless and fears that all of its ancient virtues and valiant deeds have been vitiated, he plunges into the profoundest despair.
This bitterness helps to explain Carducci’s numerous attacks on various authors and on other people; Carducci was generally violent in his polemics. But in Juvenilia there are also poems with a more positive content, like the song to Victor Emanuel, written in 1859 at the moment when it became obvious that a war with Austria would soon break out. In this song he jubilantly celebrates the monarch who bore the banner of Italian unity.
True patriotism is expressed in the sonnet «Magenta» and in the poem «II Plebiscito», in which he renews his enthusiastic praise of Victor Emanuel. . . The most beautiful of the poems in Juvenilia is probably the poem to the Savoy cross…
The later collection called Levia Gravia ( 1868) [Light and Heavy ] contains the poems of the sixties. A certain sadness can be heard in many of these poems. The long delay of the conquest of Rome contributed much to Carducci’s bitter feelings, but there were a great many other things which Carducci passionately regretted in the prevailing politics of the day. Carducci had expected more from the new political conditions than they could offer. Yet we encounter some very beautiful poems in this collection. Carducci was familiar with fourteenth-century poetry, and a great many echoes of this epoch are heard, for instance, in «Poeti di Parte Bianca» [«Poets of the White Party»] and in his poem on the proclamation of the Italian kingdom.
Only in the Rime nuove (1877) [New Rhymes] and in the three collections of the Odi barbare (1877-89) [The Barbarian Odes ] do Carducci’s full lyrical maturity and accomplished stylistic beauty appear. Here we no longer find the same disdainful poet who fought with sword and fire under the pseudonym of Enotrio Romano. Instead, the character of the poet seems wholly transformed; sweeter, softer melodies are to be heard. The introductory poem «Alla Rima» [«To Rhyme»] is extremely musical, a true hymn to the beauty of rhyme. Its ending excellently characterizes Carducci himself… Evidently Carducci understood his own temperament, which he compares with the Tyrrhenian Sea. But his uneasiness is not continuous, and notes of real joy resound in the enchanting poem «Idillio di Maggio» [«A May Eclogue»]. «Mattinata» [«Morning»], which clearly recalls Hugo, is also lovely, as are the songs entitled «Primavere Elleniche» [«Hellenic Springtimes»] …
«Ca Ira» [«The Rebellion»], a section of the Rime nuove, is composed of a series of sonnets. Although it is not of great poetic value, it does represent Carducci’s more or less unreserved apotheosis of the French Revolution.
The poet’s greatness is more fully revealed in his Odi barbare, the first collection of which came out in 1877, the second in 1882, and the third in 1889. There is some justification, however, for criticism of the work’s form.
Although Carducci adopted ancient meters, he transformed them so entirely that an ear accustomed to ancient poetry will not hear the classical rhythms. Many of these poems attain the pinnacle of perfection in their poetic content. Carducci’s genius has never reached greater heights than in some of his Odi barbare. One need only name the fascinating «Miramar» and the melodious and melancholy poem «Alla Stazione in una Mattinata d’Autunno» [«To the Station On an Autumn Morning»], products of the most noble inspiration. The song «Miramar» is about the unfortunate emperor Maximilian and his brief Mexican adventure. It excels as much in its moving tragic tone as it does in its vivid nature imagery. The Adriatic shore is depicted with perfect mastery. This song exhales a certain feeling of compassion which is rare in Carducci’s treatment of Austrian subject matter, but which he expressed yet another time in the beautiful song on the Empress Elizabeth’s sad fate in Rime e Ritmi (1898) [Rhymes and Rythms]…
Many contrasts clearly are to be found in a violent and rich poetic nature like Carducci’s. Disapproval from many sides has thus been mixed with the just admiration for this poet. Yet Carducci is without doubt one of the most powerful geniuses of world literature, and such disapproval, voiced also by his compatriots, has not been spared even the greatest poets. No one is without defect.
The blame is not, however, directed at his sometimes passionate republican tendencies. Let his opinions remain his own possession. No one will contest his independent political position. In any case, his hostility toward the monarchy has subsided with the years. He has come more and more to consider the Italian dynasty as the protector of Italian independence. In fact, Carducci has even dedicated poems to the queen mother of Italy, Margherita. A venerable woman revered by almost all factions, her poetic soul has been celebrated by Carducci’s grandiose art. He has paid her beautiful and affectionate homage in the magnificent song «alla Regina d’Italia» [«To the Queen of Italy»] and in the immortal poem «Il Liuto e la Lira» [«Lute and Lyre»], in which, through the Provençal sirventes and the pastoral, he expresses his admiration of the noble princess… The petty, obstinate republicans, because of these and other tributes, have looked upon Carducci as a deserter of their cause. He justly responded, however, that a song of admiration dedicated to a magnanimous and good woman has nothing whatever to do with politics, and that he reserved the right to think and write whatever he pleased about the reigning Italian family and its members.
The reasons for the antagonism of his friends and political partisans toward him are of a completely different origin. This antagonism is occasioned less by his ferocious assaults on persons of differing political opinions than by his overenthusiastic paganism, which often assumes a biting tone toward Christianity itself. His anti-Christian sentiments have above all produced his much discussed hymn to Satan.
There is a good deal of justice in many of the attacks on Carducci’s anti-Christianity. Although one cannot perfectly approve of the way in which he has tried to defend himself in Confessioni e battaglie [Confessions and Battles] and in other writings, a knowledge of the attendant circumstances helps to explain, if not to justify, Carducci’s attitudes.
Carducci’s paganism is understandable to a Protestant, at least. As an ardent patriot who saw the Catholic Church as in many ways a misguided and corrupt force opposed to the freedom of his adored Italy, Carducci was quite likely to confuse Catholicism with Christianity, extending to Christianity the severe judgments with which he sometimes attacked the Church.
Still we must not forget the genuine religious sentiments expressed in some of his poems. It is helpful to remember the end of «La Chiesa di Polenta» [«The Church of Polenta«], which stands in healthy contrast to «In una Chiesa Gotica» [«In a Gothic Church»].
And as to the impetuous Inno a Satana (1865) [Hymn to Satan ], it would be a great wrong to Carducci to identify him, for example, with Baudelaire and to accuse Carducci of poisonous and unhealthy «Satanism» In fact, Carducci’s Satan has an ill-chosen name. The poet clearly means to imply a Lucifer in the literal sense of the word – the carrier of light, the herald of free thought and culture, and the enemy of that ascetic discipline which rejects or disparages natural rights. Yet it seems strange to hear Savanarola praised in a poem in which asceticism is condemned. The whole of the hymn abounds with such contradictions. Carducci himself in recent times has rejected the entire poem and has called it a «vulgar sing-song». Thus, there is no reason to dwell any longer on a poem which the poet himself has disavowed.
Carducci is a learned literary historian who has been nurtured by ancient literature and by Dante and Petrarch. But he cannot be easily classified. He is not devoted to romanticism, but rather to the classical ideal and Petrarchan humanism. Regardless of the criticism which can justly be launched against him, the irrefutable truth remains that a poet who is always moved by patriotism and a love of liberty, who never sacrifices his opinions to gain favour, and who never indulges in base sensualism, is a soul inspired by the highest ideals.
And insofar as his poetry in the aesthetic sense attains a rare force, Carducci can be considered worthy in the highest degree of the Nobel Prize in Literature.
The Swedish Academy thus pays respect to a poet who already enjoys a world-wide reputation, and adds its homage of admiration to the many praises already given him by his country. Italy has elected Carducci senator and repaid the honour he has brought her by assigning him a life-long pension amounting to a considerable sum.
At the banquet, C.D. af Wirsén spoke in Italian about the poet whom illness had prevented from coming to Stockholm. Subsequently he addressed himself to the Italian chargé d’affaires, Count Caprara, and recalled that through the Nobel Prize Sweden had wanted to honour his country and one of her greatest sons at the same time. Mr. Caprara expressed his gratitude in French and, after a speech addressed to the country of Alfred Nobel, promised to convey the homage to the poet.
From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969
Copyright © The Nobel Foundation 1906
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Nobel prize for literature: the full list of winners
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2022-09-30T00:00:00
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There have been 115 literature prizes awarded and nine years when no one won.
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https://www.thenationalnews.com/world/uk-news/2022/09/30/nobel-prize-for-literature-the-full-list-of-winners/
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View from London
Your weekly update from the UK and Europe
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https://musicbrainz.org/artist/6d82d1cc-a6c0-4b21-8cf8-c8a365cfc691
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Giosuè Carducci
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Type: Person, Gender: Male, Born: 1835-07-27 in Pietrasanta, Died: 1907-02-16 in Bologna, Area: Italy
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Discography
Album
YearTitleArtistRatingReleases2023Lieu-tempsJohn Young1
Showing official release groups for various artists (Show official release groups)
Artist information
Sort name:
Carducci, Giosuè
Type:
Person
Gender:
Male
Born:
Born in:
Pietrasanta, Lucca, Toscana, Italy
Died:
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Bologna, Bologna, Emilia-Romagna, Italy
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The Italian scientific community of cell and developmental biologists
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ABCD - The Italian scientific community of cell and developmental biologists
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http://abcd-it.org/magazine/detail/349/obituary-gunter-blobel-1936-2018
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Obituary
Günter Blobel (1936-2018)
Günter Blobel, one of the founding fathers of Cell Biology, died in New York City on February 18th, at the age of 81. Günter discovered how short aminoacid sequences within polypeptide chains act as signals to direct proteins to their proper locations within the cell. For this work he was awarded the Nobel Prize in Physiology or Medicine in 1999.
Günter was born in the small Silesian village of Waltersdorf in the Eastern part of Germany (now part of Poland). In 1945, he and his family fled their home to escape from the advancing Russian army and settled in Freiberg (then in the DDR). Günter later studied Medicine in Western Germany but, after earning his degree from the University of Tübingen, realized (in his own words) that he “was much more fascinated by the unsolved problems of medicine than by practicing it” (1). This realization spurred his decision to enroll in the graduate program at the University of Wisconsin-Madison where, in 1967, he obtained a PhD under the mentorship of Van Potter.
During his years as graduate student, Günter’s research was mainly concerned with the relationship between the two populations of polyribosomes in eukaryotic cells, those free in the cytosol and those associated with the Endoplasmic Reticulum (ER). To unravel the functional relationships between these two populations and the mechanisms underlying the association of ribosomes with the cytoplasmic face of the ER, he joined, as postodoctoral fellow, the group of George Palade at the Rockefeller University in New York. Günter remained at the Rockefeller University for the rest of his life, progressing through the tiers of Academic positions to full professorship in 1976.
Shortly after his arrival at Rockefeller, Günter teamed up with David Sabatini, who shared his interests. Colvin Redman, a former postdoctoral fellow in the Palade lab, had just demonstrated that ribosomes attached to the ER membrane synthesize different proteins from those translated by the free population, more specifically that the synthesis of secreted serum proteins occurred on attached rather than free ribosomes of rat liver (2). The burning question that this work opened was the nature of the information that drives populations of polyribosomes translating different proteins to different locations within the cell. During the many discussions on this problem, Günter and David, on a purely intuitive basis, generated the idea that the information for segregation of the two polyribosome populations might reside in the nascent polypeptide chain itself, rather than in biochemical differences between the translating ribosomes, or in direct docking of a subclass of mRNAs to the ER membrane. They furthermore postulated that the information might be encoded in a “signal peptide” at the N-terminus of the nascent polypeptide that would be removed after translocation into the ER lumen. Although there was initially no experimental support for this idea, Blobel and Sabatini described the model in a short review published in 1971 (3). The idea was, however, upgraded to an hypothesis by the finding of Cesar Milstein et al. in 1972, that Immunglobulin light chains are synthesized in cell-free systems with an N-terminal extension, which is not present in the mature product, nor in the product of cell-free translations carried out with rough microsomes rather than with isolated mRNA (4). Günter was greatly excited by Milstein’s results, and resolved to directly demonstrate the signal hypothesis.
The years 1972-73 brought about changes for the Cell Biology group at Rockefeller University: in 1972, David Sabatini moved to the NYU Medical School, where he chaired the Cell Biology Department for the next four decades; in the following year, George Palade moved with a large part of his group to Yale. Günter chose to remain at Rockefeller, and to pursue his work on the signal hypothesis there. The challenge was to set up a complete cell-free system, which would recapitulate the cellular phenomenon of recognition of the nascent chain of a secretory protein by the ER membrane and its translocation across the lipid bilayer. At the time, this was a formidable task. With the help of one postdoctoral fellow, Bernhard Dobberstein, and with outstanding determination and perseverance, in three years Günter succeeded in doing just this, and in providing the evidence for the signal hypothesis that he was seeking, Günter’s two landmark papers published in the J. Cell Biol. in 1975 (5, 6) constitute a particularly beautiful example of the strength of hypothesis-driven investigation.
Following the 1975 papers, Günter attracted a number of highly talented international collaborators, with whom he worked out mechanistic insight into the signal-directed process and extended the concept of signal-mediated targeting to organelles other than the ER. To mention only few: Vishu Lingappa (secretory protein translocation and glycosylation), Peter Walter (discovery of the Signal Recognition Particle), Chris Nicchitta (membrane components for translocation), Reid Gilmore (identification of Signal Recognition Particle Receptor), Emily Evans (isolation of Signal Peptidase), Sandy Simon (the aqueous channel for translocation), whose work much contributed to the Nobel Prize assignment. Günter’s lab during this time was characterized by a high degree of enthusiasm and solidarity among students and postdocs. Günter bred a highly successful “school” of cell biologists, with whom he remained bound by supportive friendship long after they left his lab to pursue their own careers.
Since his time as a graduate student in Wisconsin, Günter had developed, in addition to his focus on the ER, an interest in the biology of the nuclear pore complex (NPC). At Rockefeller, alongside his research on translocation of proteins across lipid bilayers, he kept open a line of research on the nucleus, which constituted his main research effort from the mid nineties onward. Also in this field Günter gave fundamental contributions, from the discovery of the first protein components of the NPC and of the first transport factors that chaperone cargo into and out of the nucleus to the application of X-ray cristallography to study NPC structure.
Günter’s contribution to cell biology is not limited to the novel concepts on organelle biogenesis that he introduced, which are, today, taken for granted. It is, importantly, also in demonstrating the feasibility of reconstituting complex cellular phenomena in cell-free systems, an approach which has subsequently been extended to, and given key information towards, the elucidation of processes such as vesicular transport and ER Associated Degradation (ERAD).
Günter had wide interests in areas outside of cell biology, including literature, music and the visual arts. Because of his lifelong marriage to Laura Maioglio, he had a strong bond to Italy, and spent extended periods in Laura’s family home in Fubine, near Alessandria. After the fall of communism, Günter became committed to the rebuilding of the Dresden 18th century Frauenkirche, destroyed by the 1945 bombing, and to the building of a new synagogue, to replace the one burnt down by the Nazis in 1938; he donated all the Nobel prize money towards these causes. On the occasion of Günter’s 65th birthday, all those who had been associated with him met in Dresden. Günter personally guided us through Dresden and the surrounding country. His satisfaction at showing us the nearly completed Frauenkirche possibly matched his gratification for having demonstrated the signal hypothesis years before.
Those who interacted with Günter remember him as a passionate, generous, and highly unconventional person. While his direct manner of forcefully expressing his disagreements surely bred dislike among some of his colleagues/competitors, he was a special friend, colleague, and mentor for many others. Günter will be badly missed by those who knew him well, and will be remembered by the wider community of biologists for his pioneering work that opened a new era in Cell Biology.
Nica Borgese (CNR Neuroscience Institute - n.borgese@in.cnr.it)
Stefano Bonatti (University of Naples Federico II - bonatti@unina.it)
NOTE: Giovanni Migliaccio (1959-2007) would have wholeheartedly remembered Günter together with us.
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Nobel Laureates born in July
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Poems of Giosuè Carducci, by Frank Sewall
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The Project Gutenberg EBook of Poems of Giosuè Carducci, by Giosuè Carducci and Frank Sewall This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Poems of Giosuè Carducci Translated with two introductory essays: I. Giosuè Carducci and the Hellenic reaction in Italy. II. Carducci and the classic realism Author: Giosuè Carducci Frank Sewall Release Date: March 9, 2018 [EBook #56711] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK POEMS OF GIOSUà CARDUCCI *** Produced by ellinora, Bryan Ness, Barbara Magni and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
The De Vinne Press, New-York, U. S. A.
[iii]
CONTENTS
PAGE Preface vii Essays i. Giosuè Carducci and the Hellenic Reaction in Italy 1 ii. Carducci and the Classic Realism 29 Translations i. Roma 57 ii. Hymn to Satan 58 iii. Homer 66 iv. Virgil 67 v. Invocation to the Lyre 68 vi. Sun and Love 70 vii. To Aurora 71 [iv] viii. Ruit Hora 76 ix. The Ox 77 x. To PhÅbus Apollo 78 xi. Hymn to the Redeemer 81 xii. Outside the Certosa 84 xiii. DanteâSonnet 85 xiv. In a Gothic Church 86 xv. Innanzi, innanzi! 88 xvi. Sermione 89 xvii. To a Horse 93 xviii. A Dream in Summer 94 xix. On a Saint Peter's Eve 97 xx. The Mother 99 xxi. âPassa la nave mia, sola, tra il piantoâ 101 xxii. Carnival. Voice from the Palace 102 Voice from the Hovel 103 Voice from the Banquet 105 Voice from the Garret 106 Voice from Beneath 107 xxiii. Sonnet to Petrarch 109 xxiv. Sonnet to Goldoni 110 xxv. Sonnet to Alfieri 111 xxvi. Sonnet to Monti 112 [v] xxvii. Sonnet to Niccolini 113 xxviii. In Santa Croce 114 xxix. Voice of the Priests 115 xxx. Voice of God 116 xxxi. On my Daughter's Marriage 117 xxxii. At the Table of a Friend 119 xxxiii. Dante 120 xxxiv. On the Sixth Centenary of Dante 126 xxxv. Beatrice 127 xxxvi. âA questi dà prima io la vidi. Usciaâ 130 xxxvii. âNon son quell'io che già d'amiche ceneâ 131 xxxviii. The Ancient Tuscan Poetry 132 xxxix. Old Figurines 133 xl. Madrigal 134 xli. Snowed Under 135
[vii]
PREFACE
In endeavouring to introduce Carducci to English readers through the following essays and translations, I would not be understood as being moved to do so alone by my high estimate of the literary merit of his poems, nor by a desire to advocate any peculiar religious or social principles which they may embody. It is rather because these poems seem to me to afford an unusually interesting example of the survival of ancient religious motives beneath the literature of a people old enough to have passed through a succession of religions; and also because they present a form of realistic literary art which, at this time, when realism is being so perverted and abused, is eminently refreshing, and sure to impart a healthy impetus to the literature of any people. For these reasons I have thought that, even under the garb of very inadequate translations, they would constitute a not unwelcome contribution to contemporary literary study.
I am indebted to the courtesy of Harper & Brothers for the privilege of including here, in an amplified form, the essay on Giosuè Carducci and the Hellenic Reaction in Italy, which appeared first in Harper's Magazine for July, 1890.
F. S.
Washington, D. C., June, 1892.
The passing of a religion is at once the most interesting and the most tragic theme that can engage the historian. Such a record lays bare what lies inmostly at the heart of a people, and has, consciously or unconsciously, shaped their outward life.
The literature of a time reveals, but rarely describes or analyses, the changes that go on in the popular religious beliefs. It is only in a later age, when the religion itself has become desiccated, its creeds and its forms dried and parcelled for better preservation, that this analysis is made of its passing modes, and these again made the subject of literary treatment.
Few among the existing nations that possess a literature have a history which dates back far enough to embrace these great fundamental changes, such as that from paganism to Christianity, and also a literature that is coeval with those changes. The Hebrew race possess indeed their ancient Scriptures, and with them retain their ancient religious ideas. The Russians and Scandinavians deposed their pagan deities to give place to the White Christ within comparatively recent times, but they can hardly be said to have possessed a literature [2] in the pre-Christian period. Our own saga of Beowulf is indeed a religious war-chant uttering the savage emotions of our Teutonic ancestors, but not a work of literary art calmly reflecting the universal life of the people.
It is only to the Latin nations of Europe, sprung from Hellenic stock and having a continuous literary history covering a period of from two to three thousand years, that we may look for the example of a people undergoing these radical religious changes and preserving meanwhile a living record of them in a contemporaneous literature. Such a nation we find in Italy.
So thorough is the reaction exhibited during the last half of the present century in that country against the dogma and the authority of the Church of Rome that we are led to inquire whether, not the church alone, as Mr. Symonds says,[1] but Christianity itself has ever âimposed on the Italian characterâ to such an extent as to obliterate wholly the underlying Latin or Hellenic elements, or prevent these from springing again into a predominating influence when the foreign yoke is once removed.
To speak of Christianity coming and going as a mere passing episode in the life of a nation, and taking no deep hold on the national character, is somewhat shocking to the religious ideas which prevail among Christians, but not more so than would have been to a Roman of the time of the Cæsars the suggestion that the Roman Empire might itself one day pass away, a transient phase only in the life of a [3] people whose history was to extend in unbroken line over a period of twenty-five hundred years.
In the work just referred to Mr. Symonds also briefly hints at another idea of profound significance,ânamely, whether there is not an underlying basis of primitive race character still extant in the various sections of the Italian people to which may be attributed the variety in the development of art and literature which these exhibit. In his Studii Letterari (Bologna, 1880), Carducci has made this idea a fundamental one in his definition of the three elements of Italian literature. These are, he says, the church, chivalry, and the national character. The first or ecclesiastical element is superimposed by the Roman hierarchy, but is not and never was native to the Italian people. It has existed in two forms. The first is Oriental, mystic, and violently opposed to nature and to human instincts and appetites, and hence is designated the ascetic type of Christianity. The other is politic and accommodating, looking to a peaceful meeting-ground between the desires of the body and the demands of the soul, and so between the pagan and the Christian forms of worship. Its aim is to bring into serviceable subjection to the church those elements of human nature or of natural character which could not be crushed out altogether. This element is represented by the church or the ecclesiastical polity. It becomes distinctly Roman, following the eclectic traditions of the ancient empire, which gave the gods of all the conquered provinces a niche in the Pantheon. It transformed the sensual paganism of the Latin races and the natural paganism of the Germanic into a religion which, if not Christianity, could be made to serve the Christian church.
In the same way that the church brought in the Christian element, both in its ascetic and its Roman or semi-pagan form, so did feudalism and the German Empire bring in that of chivalry. This, again, was no native development of the [4] Italian character. It came with the French and German invaders; it played no part in the actions of the Italians on their own soil. âThere never was in Italy,â says Carducci, âa true chivalry, and therefore there never was a chivalrous poetry.â With the departure of a central imperial power the chivalrous tendency disappeared. There remained the third element, that of nationality, the race instinct, resting on the old Roman, and even older Latin, Italic, Etruscan, Hellenic attachments in the heart of the people. Witness during all the Middle Ages, even when the power of the church and the influence of the empire were strongest, the reverence everywhere shown by the Italian people for classical names and traditions. Arnold of Brescia, Nicola di Rienzi, spoke to a sentiment deeper and stronger in the hearts of their hearers than any that either pope or emperor could inspire. The story is told of a schoolmaster of the eleventh century, Vilgardo of Ravenna, who saw visions of Virgil, Horace, and Juvenal, and rejoiced in their commendation of his efforts to preserve the ancient literature of the people. The national principle also exists in two forms, the Roman and the Italianâthe aulic or learned, and the popular. Besides the traditions of the great days of the republic and of the Cæsars, besides the inheritance of the Greek and Latin classics, there are also the native instincts of the people themselves, which, especially in religion and in art, must play an important part. Arnold of Brescia cried out, âNeither pope nor emperor!â It was then the people, as the third estate, made their voices heardââCi sono anch'io!â (Here am I too!).
After the elapse of three hundred years from the downfall of the free Italian municipalities and the enslavement of the peninsula under Austrio-Spanish rule, we have witnessed again the achievement by Italians of national independence and national unity. The effect of this political change on the free manifestations of the Italian character would seem to [5] offer another corroboration of Carducci's assertion that âItaly is born and dies with the setting and the rising of the stars of the pope and the emperor.â (Studii Letterari, p. 44.) Not only with the withdrawal of the Austrian and French interference has the pope's temporal power come to an end, but in a large measure the religious emancipation of Italy from the foreign influences of Christianity in every way has been accomplished. The expulsion of the Jesuits and the secularisation of the schools and of the monastic properties were the means of a more real emancipation of opinion, of belief, and of native impulse, which, free from restraint either ecclesiastical or political, could now resume its ancient habit, lift from the overgrowth of centuries the ancient shrines of popular worship, and invoke again the ancient gods.
The pope remains, indeed, and the Church of Rome fills a large space in the surface life of the people of Italy; and so far as in its gorgeous processions and spectacles, its joyous festivals and picturesque rites, and especially in its sacrificial and vicarious theory of worship, the church has assimilated to itself the most important feature of the ancient pagan religion, it may still be regarded as a thing of the people. But the real underlying antagonism between the ancient national instinct, both religious and civil, and that habit of Christianity which has been imposed upon it, finds its true expression in the strong lines of a sonnet of Carducci's, published in 1871, in the collection entitled Decennali. Even through the burdensome guise of a metrical translation, something of the splendid fire of the original can hardly fail to make itself felt. [I]
The movement for the revival of Italian literature may be said to have begun with Alfieri, at the close of the last and the beginning of the present century. It was contemporary with the breaking up of the political institutions of the past in Europe, the dissolution of the Holy Roman Empire, the [6] brief existence of the Italian Republic, the revival for a short joyous moment of the hope of a restored Italian independence. Again a thrill of patriotic ardour stirs the measures of the languid Italian verse. Alfieri writes odes on America Liberata, celebrating as the heroes of the new age of liberty Franklin, Lafayette, and Washington. Still more significant of the new life imparted to literature at this time is the sober dignity and strength of Alfieri's sonnets, and the manly passion that speaks in his dramas and marks him as the founder of Italian tragedy.
But the promise of those days was illusory. With the downfall of Napoleon and the return of the Austrian rule, the hope of the Italian nationality again died out. Alfieri was succeeded by Vincenzo Monti and his fellow-classicists, who sought to console a people deprived of future hope with the contemplation of the remote past. This school restored rather than revived the ancient classics. They gave Italians admirable translations of Homer and Virgil, and turned their own poetic writing into the classical form. But they failed to make these dead forms live. These remained in all their beauty like speechless marble exhumed and set up in the light and stared at. If they spoke at all, as they did in the verses of Ugo Foscolo and Leopardi, it was not to utter the joyous emotions, the godlike freedom and delight of living which belonged to the world's youthful time; it was rather to give voice to an all-pervading despair and brooding melancholy, born, it is true, of repeated disappointments and of a very real sense of the vanity of life and the emptiness of great aspirations, whether of the individual or of society. This melancholy, itself repugnant to the primitive Italian nature, opened the way for the still more foreign influence of the romanticists, which tended to the study and love of nature from the subjective or emotional side, and to a more or less morbid dwelling upon the passions and the interior [7] life. With a religion whose life-sap of a genuine faith had been drained away for ages, and a patriotism enervated and poisoned by subserviency to foreign rule and fawning for foreign favour, naught seemed to remain for Italian writers who wished to do something else than moan, but to compose dictionaries and cyclopædias, to prepare editions of the thirteenth-century classics, with elaborate critical annotations, and so to keep the people mindful of the fact that there was once an Italian literature, even if they were to despair of having another. The decay of religious faith made the external forms of papal Christianity seem all the more a cruel mockery to the minds that began now to turn their gaze inward, and to feel what Taine so truly describes as the Puritan melancholy, the subjective sadness which belongs peculiarly to the Teutonic race. The whole literature of the romantic school, whether in Italy or throughout Europe, betrayed a certain morbidness of feeling which, says Carducci, belongs to all periods of transition, and appears alike in Torquato Tasso, under the Catholic reaction of the sixteenth century, and in Châteaubriand, Byron, and Leopardi, in the monarchical restoration of the nineteenth. The despair which furnishes a perpetual undertone to the writing of this school is that which is born of the effort to keep a semblance of life in dead forms of the past, while yet the really living motives of the present have found neither the courage nor the fitting forms for their expression.
In many respects the present revival of Italian literature is a reawakening of the same spirit that constituted the Renaissance of the fourteenth and fifteen centuries, and disappeared under the subsequent influences of the Catholic reaction. Three hundred years of papal supremacy and foreign civic rule have, however, tempered the national spirit, weakened the manhood of the people, and developed a habit of childlike subserviency and effeminate dependence. While restraining [8] the sensuous tendency of pagan religion and pagan art within the channels of the church ritual, Rome has not meanwhile rendered the Italian people more, but, if anything, less spiritual and less susceptible of spiritual teaching than they were in the days of Dante or even of Savonarola. The new Italian renaissance, if we may so name the movement witnessed by the present century for the re-establishment of national unity and the building up of a new Italian literature, lacks the youthful zeal, the fiery ardour which characterised the age of the Medici. The glow is rather that of an Indian summer than that of May. The purpose, the zeal, whatever shall be its final aim, will be the result of reflection and not of youthful impulse. The creature to be awakened and stirred to new life is more than a mere animal; it is a man, whose thinking powers are to be addressed, as well as his sensuous instincts and amatory passion. Such a revival is slow to be set in motion. When once fairly begun, provided it have any really vital principle at bottom, it has much greater promise of permanence than any in the past history of the Italian people. A true renascence of a nation will imply a reform or renewal of not one phase alone of the nation's life, but of all; not only a new political life and a new poetry, but a new art, a new science, and, above all, a new religious faith. The steps to this renewal are necessarily at the beginning oftener of the nature of negation of the old than of assertion of the new. The destroyer and the clearer-away of the débris go before the builder. It will not be strange, therefore, if the present aspect of the new national life of Italy should offer us a number of conspicuous negations rather than any positive new conceptions; that the people's favorite scientist, Mantegazza,âthe ultra-materialist,âshould be the nation's chosen spokesman to utter in the face of the Vatican its denial of the supernatural; and that Carducci, the nation's foremost and favourite poet, should sing the return of [9] the ancient worship of nature, of beauty, and of sensuous love, and seek to drown the solemn notes of the Christian ritual in a universal jubilant hymn to Bacchus. These are the contradictions exhibited in all great transitions. They will not mislead if the destroyer be not confounded with the builder who is to follow, and the temporary ebullition of pent-up passion be not mistaken for the after-thought of a reflecting, sobered mind. No one has recognized this more truly than Carducci:
It was in the year 1859, when once more the cry for Italian independence and Italian unity was raised, that the newly awakened nation found its laureate poet in the youthful writer of a battle hymn entitled âAlla Croce Bianca di SavoiaââThe White Cross of Savoy. Set to music, it became very popular with the army of the revolutionists, and the title is said to have led to the adoption of the present national emblem for the Italian flag. As a poem it is not remarkable, unless it be for the very conventional commingling of devout, loyal, and valorous expressions, like the following, in the closing stanza:
But six years later, in 1865, there appeared at Pistoja a poem over the signature Enotrio Romano, and dated the âyear [10] MMDCXVIII from the Foundation of Rome,â which revealed in a far more significant manner in what sense its author, Giosuè Carducci, then in his thirtieth year, was to become truly the nation's poet, in giving utterance again to those deeply hidden and long-hushed ideas and emotions which belonged anciently to the people, and which no exotic influence had been able entirely to quench. This poem was called a âHymn to Satan.â The shock it gave to the popular sense of propriety is evident not only from the violence and indignation with which it was handled in the clerical and the conservative journals, one of which called it an âintellectual orgy,â but from the number of explanations, more or less apologetic, which the poet and his friends found it necessary to publish. One of these, which appeared over the signature Enotriofilo in the Italian Athenæum of January, 1886, has been approvingly quoted by Carducci in his notes to the Decennali. We may therefore regard it as embodying ideas which are, at least, not contrary to what the author of the poem intended. From this commentary it appears that we are to look here ânot for the poetry of the saints but of the sinners,âof those sinners, that is, who do not steal away into the deserts to hide their own virtues, so that others shall not enjoy them, who are not ashamed of human delights and human comforts, and who refuse none of the paths that lead to these. Not laudes or spiritual hymns, but a material hymn is what we shall here find. âEnotrio sings,â says his admiring apologist, âand I forget all the curses which the catechism dispenses to the world, the flesh, and the devil. Asceticism here finds no defender and no victim. Man no longer goes fancying among the vague aspirations of the mystics. He respects laws, and wills well, but to him the sensual delights of love and the cup are not sinful, and in these, to him, innocent pleasures Satan dwells. It was to the joys of earth that the rites of the Aryans looked; the [11] same joys were by the Semitic religion either mocked or quenched. But the people did not forget them. As a secretly treasured national inheritance, despite both Christian church and Gothic empire, this ancient worship of nature and of the joys of the earth remains with the people. It is this spirit of nature and of natural sensuous delights, and lastly of natural science, that the poet here addresses as Satan. As Satan it appears in nature's secret powers of healing and magic, in the arts of the sorcerer and of the alchemist. The anchorites, who, drunk with paradise, deprived themselves of the joys of earth, gradually began to listen to these songs from beyond the gratings of their cellsâsongs of brave deeds, of fair women, and of the triumph of arms. It is Satan who sings, but as they listen they become men again, enamoured of civil glory. New theories arise, new masters, new ideals of life. Genius awakes, and the cowl of the Dominican falls to earth. Now, liberty itself becomes the tempter. It is the development of human activity, of labour and struggle, that causes the increase of both bread and laughter, riches and honour, and the author of all this new activity is Satan; not Satan bowing his head before hypocritical worshippers, but standing glorious in the sight of those who acknowledge him. This hymn is the result of two streams of inspiration, which soon are united in one, and continue to flow in a peaceful current: the goods of life and genius rebelling against slavery.â
With this explanation of its inner meaning we may now refer the reader to the hymn itself. [II]
This poem, while excelled by many others in beauty or in interest, has nowhere, even in the poet's later verses, a rival in daring and novelty of conception, and none serves so well to typify the prominent traits of Carducci as a national poet. We see here the fetters of classic, romantic, and religious tradition thrown off, and the old national, which is in substance [12] a pagan, soul pouring forth in all freedom the sentiments of its nature. It is no longer here the question of either Guelph or Ghibelline; Christianity, whether of the subjective Northern type, brought in by the emperors, or of the extinct formalities of Rome, is bidden to give way to the old Aryan love of nature and the worship of outward beauty and sensuous pleasure. The reaction here witnessed is essentially Hellenic in its delight in objective beauty, its bold assertion of the rightful claims of nature's instincts, its abhorrence of mysticism and of all that religion of introspection and of conscience which the poet includes under the term âSemitic.â It will exchange dim cathedrals for the sky filled with joyous sunshine; it will go to nature's processes and laws for its oracles, rather than to the droning priests. While the worship of matter and its known laws, in the form of a kind of apotheosis of science, with which the poem opens and closes, may seem at first glance rather a modern than an ancient idea, it is nevertheless in substance the same conception as that which anciently took form in the myth of Prometheus, in the various Epicurean philosophies, and in the poem of Lucretius. Where, however, Carducci differs from his contemporaries and from the classicists so called is in the utter frankness of his renunciation of Christianity, and the bold bringing to the front of the old underlying Hellenic instincts of the people. That which others wrote about he feels intensely, and sings aloud as the very life of himself and of his nation. That which the foreigner has tried for centuries to crush out, it is the mission of the nation's true poet and prophet to restore.
The sentiments underlying Carducci's writings we find to be chiefly three: a fervent and joyous veneration of the great poets of Greece and Rome; an intense love of nature, amounting to a kind of worship of sunshine and of bodily beauty and sensuous delights; and finally an abhorrence of [13] the supernatural and spiritual elements of religion. Intermingled with the utterances of these sentiments will be found patriotic effusions mostly in the usual vein of aspirants after republican reforms, which, while of a national interest, are not peculiar to the author, and do not serve particularly to illustrate the Hellenistic motive of his writing. The same may be said of his extensive critical labours in prose, his university lectures, his scholarly annotations of the early Italian poets. How far Carducci conforms to the traditional character of the Italian poetsâalways with the majestic exception of the exiled Danteâin that the soft winds of court favour are a powerful source of their inspiration on national themes, may be judged from the fact that while at the beginning of his public career he was a violent republican, now that he is known to stand high in the esteem and favour of Queen Margherita his democratic utterances have become very greatly moderated, and his praises of the Queen and of the bounties and blessings of her reign are most glowing and fulsome. Without a formal coronation, Carducci occupies the position of poet-laureate of Italy. A little over fifty years of age, an active student and a hard-working professor at the University of Bologna, where his popularity with his students in the lecture-room is equal to that which his public writings have won throughout the land, called from time to time to sojourn in the country with the court, or to lecture before the Queen and her ladies at Rome, withal a man of great simplicity, even to roughness of manners, and of a cordial, genial natureâsuch is the writer whom the Italians with one voice call their greatest poet, and whom not a few are fain to consider the foremost living poet of Europe.[2]
[14]
It would be interesting to trace the development of the Hellenic spirit in the successive productions of Carducci's muse, to note his emancipation from the lingering influences of romanticism, and his casting off the fetters of conventional metre in the Odi Barbare. But as all this has been done for us far better in an autobiographical sketch, which the author gives us in the preface of the Poesie (1871), we will here only glance briefly at some of the more characteristic points thus presented.
After alluding to the bitterness and violence for which the Tuscans are famous in their abuse, he informs us that from the first he was charged with an idolatry of antiquity and of form, and with an aristocracy of style. The theatre critics offered to teach him grammar, and the schoolmasters said he was aping the Greeks. One distinguished critic said that his verse revealed âthe author's absolute want of all poetic faculty.â The first published series of poems was in reality a protest against the religious and intellectual bitterness which prevailed in the decade preceding 1860, âagainst the nothingness and vanity under whose burden the country was languishing; against the weak coquetries of liberalism which spoiled then as it still spoils our art and our thoughts, ever unsatisfactory to the spirit which will not do things by halves, and which refuses to pay tribute to cowardice.â Naturally, even in literary matters inclined to take the opposite side, Carducci felt himself in the majority like a fish out of water. In the revolutionary years 1858 and 1859 he wrote poems on the [15] Plébiscite and Unity, counselling the king to throw his crown into the Po, enter Rome as its armed tribune, and there order a national vote. âThese,â says the poet, âwere my worst things, and fortunately were kept unpublished, and so I escaped becoming the poet-laureate of public opinion. In a republic it would have been otherwise. I would have composed the battle pieces with the usual grand wordsâthe ranks in order, arms outstretched in command, brilliant uniforms, and finely curled moustaches. To escape all temptation of this sort I resorted to the cold bath of philosophy, the death-shrouds of learningâlenzuolo funerario dell'erudizione. It was pleasant amid all that grand talk of the new life to hide myself in among the cowled shadows of the fourteenth and fifteenth centuries. I journeyed along the Dead Sea of the Middle Ages, studied the movements of revolution in history and in letters; then gradually dawned upon me a fact which at once surprised and comforted me. I found that my own repugnance to the literary and philosophical reaction of 1815 was really in harmony with the experience of many illustrious thinkers and authors. My own sins of paganism had already been committed, and in manifold splendid guises, by many of the noblest minds and geniuses of Europe. This paganism, this cult of form, was naught else but the love of that noble nature from which the solitary Semitic estrangements had alienated hitherto the spirit of man in such bitter opposition. My at first feebly defined sentiment of opposition thus became confirmed conceit, reason, affirmation; the hymn to PhÅbus Apollo became the hymn to Satan. Oh, beautiful years from 1861 to 1865, passed in peaceful solitude and quiet study, in the midst of a home where the venerated mother, instead of fostering superstition, taught us to read Alfieri! But as I read the codices of the fourteenth century the ideas of the Renaissance began to appear to me in the gilded initial letters like the eyes of nymphs in [16] the midst of flowers, and between the lines of the spiritual laude I detected the Satanic strophe. Meanwhile the image of Dante looked down reproachfully upon me; but I might have answered: âFather and master, why didst thou bring learning from the cloister into the piazza, from the Latin to the vulgar tongue? Why wast thou willing that the hot breath of thine anger should sweep the heights of papal and imperial power? Thou first, O great public accuser of the Middle Ages, gavest the signal for the rebound of thought: that the alarm was sounded from the bells of a Gothic campanile mattered but little!â So my mind matured in understanding and sentiment to the Levia Gravia, and thence more rapidly, in questions of social interest, to the Decennali. There are those who complain that I am not what I was twenty-four years ago:âgood people, for whom to live and develop is only to feed, like the calf qui largis invenescit herbis. In the Juvenilia I was the armour-bearer of the classics. In the Levia Gravia I held my armed watch. In the Decennali, after a few uncertain preliminary strokes of the lance, I venture abroad prepared for every risk and danger. I have read that the poet must give pleasure either to all or to the few; to cater to many is a bad sign. Poetry to-day is useless from not having learned that it has nothing to do with the exigencies of the moment. The lyre of the soul should respond to the echoes of the past, the breathings of the future, the solemn rumours of ages and generations gone by. If, on the contrary, it allows itself to be swayed by the breeze of society's fans or the waving of soldiers' cockades and professors' togas, then woe to the poet! Let the poet express himself and his artistic and moral convictions with the utmost possible candour, sincerity, and courage; as for the rest, it is not his concern. And so it happens that I dare to put forth a book of verses in these days, when one group of our literati [17] are declaring that Italy has never had a language, and another are saying that for some time past we have had no literature; that the fathers do not count for much, and that we are really only in the beginnings. There let them remain; or, as the wind changes, shift from one foreign servitude to another!â
In my selection of poems for translation, regard has been had not so much to the chronological order of their production as to their fitness for illustrating the three important characteristics of Carducci as a national poet which were enumerated above.
The first of these was his strong predilection for the classics, as evinced not only by his veneration for the Greek and Latin poets, but by his frequent attempts at the restoration of the ancient metres in his own verse. Of his fervent admiration for Homer and Virgil let the two sonnets III and IV testify, both taken from the fourth book of the Levia Gravia. Already in the Juvenilia, during his âclassical knighthood,â he had produced a poem of some length on Homer, and in the volume which contains the one I have given there are no less than three sonnets addressed to the venerated master, entitled in succession, âHomer,â âHomer Again,â and âStill Homer.â I have chosen the second in order. [III]
In the tribute to Virgil [IV] the beauty of form is only equalled by the tenderness of feeling. It shows to what extent the classic sentiment truly lived again in the writer's soul, and was not a thing of mere intellectual contemplation. In reading it we are bathed in the very air of Campania; we catch a distant glimpse of the sea glistening under the summer moon, and hear the wind sighing through the dark cypresses.
Here it will be proper to notice the efforts made by Carducci not only to restore as to their native soil the long-disused metres of the classic poets, but to break loose from all formal restrictions in giving utterance to the poetic impulse. [18] This intense longing for greater freedom of verse he expresses in the following lines from the Odi Barbare:
In the preface of the same volume (1877) he pleads in behalf of his new metres that âit may be pardoned in him that he has endeavoured to adapt to new sentiments new metres instead of conforming to the old ones, and that he has thus done for Italian letters what Klopstock did for the Germans, and what Catullus and Horace did in bringing into Latin use the forms of the Eolian lyric.â
In the Nuove Rime (1887) are three Hellenic Odes, under the titles âPrimavere Elleniche,â written in three of the ancient metres, the beauty of which would be lost by translation into any language less melodious and sympathetic than the Italian. We give a few lines from each:
I. EOLIA
II. DORICA
III. ALESSANDRINA
The second of these examples demands translation as exhibiting perhaps more forcibly than any others we could select the boldness with which Carducci asserts the survival of the Hellenic spirit in the love of nature as well as in art and literature, despite the contrary influences of ascetic Christianity:
The reader is also here referred to the âInvocation.â [V]
From this glance at the classic form which is so distinct a feature in Carducci's poems, we proceed to examine the feeling and conceptions which constitute their substance, and which will be found to be no less Hellenic than the metres which clothe them. Nothing could stand in stronger contrast with the melancholy of the romantic school of poets, or with the subjective thoughtfulness and austere introspection [20] of the Christian, than the unfettered outbursts of song in praise of the joy of living, of the delights of love and bodily pleasure, and of the sensuous worship of beautiful form, which we find in the poems âSun and Loveâ [VI] and the hymn âTo Aurora.â [VII]
The latter has in it the freshness and splendour of morning mists rising among the mountains and catching the rosy kisses of the sun. Equally beautiful but full of the tranquillity of evening is the Ruit Hora from the Odi Barbare of 1877. [VIII]
No one will fail to be struck with the beauty of the figure in the last stanza of this poem, nor with the picturesque force of the âgreen and silent solitudesâ of the first, a near approach to the celebrated and boldly original conception of a silenzio verde, a âgreen silence,â which forms one of the many rare and beautiful gems of the sonnet âTo the Ox.â [IX]
As an example of a purely Homeresque power of description and colouring, and at the same time of an intense sympathy with nature and exquisite responsiveness to every thrill of its life, this sonnet stands at the summit of all that Carducci has written, if indeed it has its rival anywhere in the poetry of our century. The desire to produce in English a suggestion at least of the broad and restful tone given by the metre and rhythm of the original has induced me to attempt a metrical and rhymed translation, even at the inevitable cost of a strict fidelity to the author's every word, and in such a poem to lose a word is to lose much. Nothing but the original can present the sweet, ever-fresh, and sense-reviving picture painted in this truly marvellous sonnet. The unusual and almost grotesque epithet of the opening phrase will be pardoned in view of the singular harmony and fitness of the original.
We know not where else to look for such vivid examples [21] as Carducci affords us of a purely objective and sensuous sympathy with nature, as distinguished from the romantic, reflective mood which nature awakens in the more sentimental school of poets. We feel that this strong and brilliant objectivity is something purely Greek and pagan, as contrasted with the analysis of emotions and thoughts which occupies so large a place in Christian writing. No one is better aware of the existence of this contrast than Carducci himself. For the dear love of natureâthat boon of youth before the shadows of anxious care began to darken the mind, or the queryings of philosophy, the conflicts of doubt, and the stings of conscience to torment itâfor this happy revelling of mere animal life in the world where the sun shines, the soul of the poet never ceases to yearn and cry out. The consciousness of the opposite, of a world of thought, of care, and of conscience ever frowning in sheer stern contrast from the strongholds of the present life and the opinions of menâthis is what introduces a kind of tragic motive into many of these poems, and adds greatly to their moral, that is, their human interest. For the poetry of mere animal life, if such were poetry, however blissful the life it describes, would still not be interesting.
Something of this pathos appears in the poem âTo PhÅbus Apollo,â [X] where the struggle of the ancient with the present sentiments of the human soul is depicted. It will interest the reader to know that at the time this poem was written (it appeared in Book II. of the Juvenilia) the author had not broken so entirely with the conventional thought of his time and people but that he could consent to write a lauda spirituale [XI] for a procession of the Corpus Domini, and a hymn for the Feast of the Blessed Diana Guintini, protectress of Santa Maria a Monti in the lower Valdarno. When called by the Unità Cattolica to account for this sudden transformation of the hymn-writer into the odist of PhÅbus [22] Apollo, Carducci replied by reminding his clerical critics that even in his nineteenth year he was given to writing parodies of sacred hymns, and he further offers by way of very doubtful apology the explanation that, being invited by certain priests who knew of his rhyming ability to compose verses for their feasts, the thought came into his head, âbeing in those days deeply interested in Horace and the thirteenth-century writers, to show that faith does not affect the form of poetry, and that therefore without any faith at all one might reproduce entirely the forms of the blessed laudists of the thirteenth century. I undertook the task as if it were a wager.â
In the lines of the poem To PhÅbus Apollo there is traceable a romantic melancholy, the faint remnant of the impression left by those writers through whom, says Carducci, âI mounted to the ancients, and dwelt with Dante and Petrarch,â viz., Alfieri, Parini, Monti, Foscolo, and Leopardi. He has not yet broken entirely with subjective reflection and its gloom, and entrusted himself to the life which the senses realize at the present moment as the whole of human well-being. This sentiment becomes more strongly pronounced in the later poems, where not even a regret for the past is allowed to enter to distract the worship of the present, radiant with its divine splendour and bounty. The one thought that can cast a shadow is the thought of death; but this is not at all to be identified with Christian seriousness in reflecting on the world to come. The poet's fear of death is not that of a judgment, or a punishment for sins here committed, and hence it is not associated with any idea of the responsibility of the present hour, or of the amending of life and character in the present conduct. The only fear of death here depicted is a horror of the absence of life, and hence of the absence of the delights of life. It is the fear of a vast dreary vacuum, of cold, of darkness, of nothingness. The moral effect of such a fear is [23] only that of enhancing the value of the sensual joys of the present life, the use of the body for the utmost of pleasure that can be got by means of it. This more than pagan materialism finds its bold expression in the lines from the Nuove Odi Barbare entitled âOutside the Certosa.â [XII]
In studying the religious or theological tendency of Carducci's muse, it is necessary to bear in mind constantly the inherent national blindness of the Hellenic and, in equal if not greater degree, the Latin mind to what we may call a spiritual conception of life, its duties, and its destiny. But in addition to this blindness towards the spiritual elements or substance of Christianity there is felt in every renascent Hellenic instinct a violent and unrelenting hostility towards that ascetic form and practice which, although in no true sense Christian, the greater religious orders and the general discipline of the Roman Church have succeeded in compelling Christianity to wear. The mortification of nature, the condemnation of all worldly and corporeal delights, not in their abuse, but in their essential and orderly use, the dishonouring of the body in regarding its beauty as only an incentive to sin, and in making a virtue of ugliness, squalor, and physical weaknessâthese things have the offensiveness of deadly sins to the sensuous consciousness of minds of the Hellenic type. To spiritual Christianity Carducci is not adverse because it is spiritualâas such it is still comparatively an unknown element to Italian mindsâbut because it is foreign to the national instinct; because it came in with the emperors, and so it is indissolubly associated with foreign rule and oppression. It is the Gothic or Teutonic infusion in the Italian people that has kept alive whatever there is of spiritual life in the Christianity that has been imposed on them by the Roman Church. The other elements of Romanism are only a sensuous cult of beautiful and imposing forms in ritual, music, and architecture on the one hand; [24] and on the other a stern, uncompromising asceticism, which in spirit is the direct contradiction of the former. While the principle of asceticism was maintained in theory, the sincerity of its votaries gradually came to be believed in by no one; the only phase of the church that seized hold of the sympathies and affections of the people was the pagan element in its worship and its festivals; and seeing these, the popes were wise enough to foster this spirit and cater in the most liberal measure to its indulgence, as the surest means of maintaining their hold on the popular devotion. In the ever-widening antagonism between the spirit and the flesh, between the subjective conception of Christianity on the one hand, as represented by the Teutonic race and the empire, and the sensuous and objective on the other, as represented by the Italic race and the pope, may we not discern the reason why the Italian people, in the lowest depths of their sensual corruption, were largely and powerfully Guelph in their sympathies, and why the exiled and lonely writer of the Divina Commedia was a Ghibelline? It is at least in the antagonism of principles as essentially native versus foreign that we must find the explanation of the cooling of Carducci's ardour towards the revered master of his early muse, even while the old spell of the latter is still felt to be as irresistible as ever. This double attitude of reverence and aversion we have already seen neatly portrayed in the reference Carducci makes in the autobiographical notes given above to Dante as the great âaccuser of the Middle Ages who first sounded the signal for the reaction of modern thought,â with the added remark that the signal being sounded from a âGothic campanileâ detracted but little from the grandeur of its import. The same contrast of sentiment finds more distinct expression in the sonnet on Dante in Book IV. of the Levia Gravia. [XIII]
But nowhere is the contrast between the Christian sense of awe in the presence of the invisible and supernatural and the [25] Hellenic worship of immediate beauty and sensuous pleasure displayed in such bold and majestic imagery as in the poem entitled âIn a Gothic Church.â [XIV] Here, in the most abrupt and irreverent but entirely frank transition from the impression of the dim and lofty cathedral nave to the passion kindled by the step of the approaching loved one, and in the epithets of strong aversion applied to the holiest of all objects of Christian reverence, the very shock given to Christian feeling and the suddenness of the awful descent from heavenly to satyric vision tell, with the prophetic veracity and power of true poetry, what a vast chasm still unbridged exists between the ancient inherent Hellenism of the Italian people and that foreign influence, named indifferently by Carducci Semitic or Gothic, which for eighteen centuries has been imposed without itself imposing on them.
The true poet of the people lays bare the people's heart. If Carducci be, indeed, the national poet of Italy we have in this poem not only the heart but the religious senseâwe had almost said the conscienceâof the Italian people revealed to view. Nor is this all Bacchantic; the infusion of the Teutonic blood in the old Etruscan and Italic stock has brought the dim shadows of the cathedral and its awful, ever-present image of the penalty of sin to interrupt the free play of Italian sunshine. But just as on the canvas of the religious painters of the Renaissance angels as amorous Cupids hover about between Madonna and saints, and as in the ordinary music of an Italian church the organist plays tripping dance melodies or languishing serenades between the intoned prayers of the priests or the canto firmo psalms of the choir, so here we behold the sacred aisles of the cathedral suddenly invaded by the dancing satyr, who, escaping from his native woods, has wandered innocently enough into this his ancient but strangely disguised shrine.
The stanzas that follow describe Dante's vision of the [26] âTuscan Virginâ rising transfigured amid the hymns of angels. The poet, on the contrary, sees neither angels nor demons, but is conscious only of feeling
and then exclaims:
Notwithstanding the bold assertion of the Hellenic spirit in this and in the greater part of his poems, that, nevertheless, Carducci has not been able to restore his fair god of light and beauty, the PhÅbus Apollo, to the undisputed sway he held in the ancient mind is evident from the shadows of doubt, of fear, and anxious questioning which still darken here and there the poet's lines, as in the sonnet Innanzi, Innanzi! [XV] It is here that the stern element of tragedy, the real tragedy of humanity, makes itself felt in this rhapsodist of joy and of love. It comes to tell us that to the [27] Italian as he is to-day life has ceased to be a carnival, and that other sounds than that of the Bacchante's hymn have gained an entrance, with all their grating discord, to his ear: and to silence this intruder will the praises of Lidia and of Apollo suffice, be they sung on a lyre never so harmonious and sweet? In this sonnet is depicted in wonderful imagery the ancient and awful struggle which the sensuous present life sustains with the question of an eternity lying beyond.
While our interest in Carducci is largely owing to the character he bears as the poet of the Italian people, it would be quite erroneous to consider him a popular poet. For popularity, whether with the court, the school, or the masses, he never aimed, as is evident from his satisfaction at narrowly escaping being made a political poet-laureate. Instead of writing down to the level of popular apprehension and taste, he rather places himself hopelessly aloof from the contact of the masses by his style of writing, which, simple and pure as it seems to the cultured reader, is nevertheless branded by the average Italian as learned and obscure, and not suited to the ordinary intelligence. As an innovator both in the form and in the content of his verse, he has still a tedious warfare to wage with a people so conservative as the Italians of old habits and old tastes, confirmed as these have been by the combined influence of centuries of political and ecclesiastical bondage. But Carducci's writing, springing nevertheless from a strong instinct, looks only to the people for a final recognition, even though that has to be obtained through the medium of the learned classes at first. How far he has succeeded in getting this vantage-ground of a general recognition and acquiescence on the part of the learned, the following testimony from Enrico Panzacchi, himself a critic and a poet of high reputation, may help us to conclude:
âI believe that I do not exaggerate the importance of Carducci when I affirm that to him and to his perseverance and [28] steadfast courageous work we owe in great part the poetic revival in Italy.
âI have great faith, I confess, in the initiative power of men of strong genius and will, and, to tell the truth, while it is the fashion of the day to explain always the individual by the age he lived in, I think it is often necessary to invert the rule, and explain the age by the individual.â
He goes on to show that, indifferent alike to conventional laws and public opinion, Carducci always persisted in the constant endeavour to far l'arte, to âdo his art.â He defied the critics, and tried to be himself.
Mr. Symonds says of the Renaissance that âit was a return in all sincerity and faith to the glory and gladness of nature, whether in the world without or in the soul of man.â Carducci reflects the spirit of the Renaissance in so far as by setting free the national instincts he has made way for the Hellenic reaction in favour of the âglory and the gladness of the world without.â He has shown, moreover, how foreign to these instincts is Christianity, considered apart from the Roman Church, whether in its ascetic or in its spiritual aspects. But it cannot be said of him, whatever may have been true of the poets of the Renaissance, that he has reawakened or rediscovered âthe glory and gladness of nature in the soul of man,â and without this the gladness of the world without is but a film of sunshine hiding the darkness of the abyss. Indeed, if the soul and not the senses be addressed, we question whether beneath all the Dionysian splendours and jollity of Carducci's verses there be not discernible a gloom more real than that of Leopardi. Even for Italy the day is past when Hellenism can fill the place of Christianity; the soul craves a substance for which mere beauty of form, whether in intellect, art, or nature, is a poor and hollow substitute; and to revive not the poetry alone, but the humanity of the nation, a force is needed greater and higher than that to be got by the restoration of either dead Pan or Apollo.
Sojourning one autumn in a quiet pension at Lugano, I came in contact with a fellow-boarder, who, notwithstanding he bore the title of a Sicilian count of very high-sounding name, proved on acquaintance to be a man of serious literary taste and not above accepting pecuniary compensation for the products of his pen.
He was engaged at that time in translating into the Italian a well-known English classic, and was in the habit of appealing to me occasionally for my judgment as to the accuracy of his interpretation of an English word or phrase.
This led to pleasant interviews on the literary art in general.
It was one day when the conversation turned on the extreme materialism of certain scientific writers of the day, and especially on Mantegazza of Florence, whose grossness in treating of the human passions has called forth expressions of disgust from Italians, as well as others, that my Sicilian friend quietly remarked, âWe Italians can never allow the holy Trine to be destroyedâthe True, the Good, the Beautiful. It is not enough that a writer tell the facts as they are; nor that his purpose be a useful one; there must be the [30] element of beauty also in his work, or the Italians will not accept it; and the ugly, the monstrous, and deformed the Italians will not endure.â
I thought herein he proved his lineage from a stock older than even his family titleâthat old race of the land where Theocritus sang as if for beauty alone, and whose Ãtna cherishes still her deep-down fires uncooled and untamed by modern as by ancient contrivances of man.
It is this presence of the love of the beautiful that everywhere accompanies the Greek race and their descendants, and imparts what we may call the Hellenic instinct of form. And in this sense of form born of the love of beauty lies the secret of the immortal art of the Greeks, whether as presented in sculpture, architecture, painting, or letters.
The survival of a certain Hellenic religious feeling in the Italian people after centuries of a superimposed Christianity has already been treated of in the previous essay. I desire here to speak of Carducci as affording an exampleâperhaps one among many, but I know none betterâof the restoration of the Greek love of form to modern letters, and so as illustrating what we may designate as the classic realism.
No term has been more abused of late years than this wordârealism. Become the watchword of schools of ârealistsâ in every branch of art and literature, it has been reduced at last to a service as empty of meaning as was ever the vaguest idealism empty of reality.
The tendency of the age has been unquestionably one of ultimation; everything presses into the plane of outermost effect. We have seemed to be no more satisfied with the contemplation of intangible ideals: we rest content only with what hand can touch and eye rest upon. The âpower in ultimatesâ is the display of force characteristic of this age of the world. The forces physical and mental have been [31] always there: it has taken a time like the present, an age of inventive frenzy filled with a yearning for the doing and trying of things long dreamt of, to give vent to these hidden forces.
This tendency to ultimation, the seeking expression of inmost emotions and conceptions in material embodiments, has characterized of late years every form of mental activity.
Religion exemplifies it in the impatience the people exhibit at fine analyses of doctrines and laborious attempts at creed-patching, at the same time that they are ready to engage in schemes of benevolence and social reform unparalleled in the history of the past. They would fain substitute a religion of doing for a religion of believing; and so impatient are they of the restrictions of dogma that they resent inquiry into the quality or inward motive of the doing, or even into its moral effect in the long run, so only some âgood workâ be done and done quickly.
We see the same tendency in music and the drama wonderfully illustrated in the whole conception and effort of the Wagnerian school. Expression is everything. The question is notâIs the thing in itself noble, but is the expression of it complete, unhindered by previous conventionalities? Is nothing kept back, or left to the imagination, but everything, rather, brought out into the actuality of sound, of color, of living performers, and material accessories?
The Ibsen drama, the Tourguenief and Tolstoi school of novelists, not to speak of Zola and his followers in France, writers like Capuana and Verga in Italy, and, although in a quite different vein, Howells among novelists and Whitman among poets in America, have aimed chiefly to give a faithful account of life as it is seen. Some have come dangerously near the assertion that by some mysterious law the bold doing ennobles even a commonplace motive, and that a regard for truth is enough whether there be any beauty behind it or not.
[32]
The power realised in full and free expression is one of the most exquisite delights known to man. We of a northern race who, according to the saying of our French neighbor, âtake our pleasures sadly,â do so because of a hereditary conviction of the sanctity of the unexpressed. We have therefore been slowest in arriving at these efforts towards realism, or the untrammelled giving forth of the inward self into outward embodiment. That pure externalism of the southern or Greek nature which sought its highest satisfaction in a visible embodiment of the divine in art, and which distinguishes still the Roman from the Saxon religious nature, has been regarded as verging on the sinful. It is not strange that a tendency so long suppressed when once set free should rush even into lawless extremes, and that an age or school of writers tasting the delights of this liberty for the first time should be loth to resign it and be ready rather to sacrifice all to its further extension. It is quite in accordance with this theory that puritan America should have given birth to Walt Whitman, who, with all his lawlessness, is in many respects the most of a Greek that modern literature can show.
To what extremes this delight has sought indulgence is shown not more plainly in Zola and his school above mentioned than in the whole contemporary school of French pictorial art. We see here how form, as expression, indulged in for its own sake, apart from a due consideration of the substance within the form, becomes itself monstrous and vicious. This is the essentially immoral element in artâthe licentious worship of form, or of external shape, regardless of an internal soul or motive.
When the realist says: âWith the motive of nature, of society, of man, I have nothing to do; it is enough if I portray faithfully his conduct,â he thereby advertises the fact that he is not an artist, but a kind of moral photographer. He falls short of being an artist in just the degree in which [33] he sees the details of form apart from their soul or spiritual essence; and as this spiritual element is that wherein the unity of the world as idea exists, therefore, failing to apprehend this, he fails to lay hold of the universal aspects which alone can assign true relation and true meaning to any of the details treated of. It is the apprehension of the universal element underlying the particulars that constitutes the peculiar gift of the artist. It is indeed true that nature, or humanity, is its own interpreter and its own preacher; and the most faithful servant of either will be he who most exactly presents his subject as he finds it. But the subject is never found by the true artist detached from its community-life, or severed from the endless woof of combinations, of causes and effects, of law and recompense, which go to make up any present moment of its existence; these constitute its âstory.â So far as these inner conditions are recognized and felt in giving the ultimate expression, so far alone is the portrayal a real one in the true sense.
Undoubtedly the inmost motive that can give form to the literature of any age or race is the religious one, by which I mean the recognition of a life within and above nature, not our own, but to which we entertain a personal relation. This is in the truest sense that âsoulâ which âis form, and doth the body make,â and its presence or absence is what sufficiently distinguishes the true from a false realism.
An age without a religion can produce only a soulless, and so an unreal, art. What it calls art may abound in shape, but will possess no form in the true sense of the word. For form is the combination of particulars with a view to a single purpose, for which every particular exists and to which it is subordinate; it is therefore never a many, but always a one out of many. This inward controlling motive that constitutes out of many the one, is the living substance within every true or real form. That which does not possess this motive [34] of unity is not form, but shape, or an artificial cast made to resemble the living thing, but having no life within it. Art is thus the form that grows from within, while shape is but the impression mechanically imposed on passive and lifeless material from without. The modern French school of realists in art are the fittest examples of this substitution of shape for form, and so of pseudo-realism. They have given us corpses, whether physical or moral, and called them human beings. They have preferred the charnel-house, the dissecting-room, or the field of carnage, as the subjects in which to display most effectively their realism. The more revolting the subject, the more hideously exact the representation, the more credit was claimed for the artist. In literature the case was parallel. Nothing so vile but it was to be admired for its faithfulness in representation. The inner motive, the moral purpose of the writing or the painting, was not only not there, but the producer scorned the judgment that would look for it. Never was religion, or the sentiment of reverence for the spiritual as the world's idea, so manifestly wanting as in these recent French materialists. The abjuring of the romantic and the ideal has gone so far as to extinguish the human element, and so we find in these schools skilfully painted bodies and an almost matchless power of expression; but, after all, how little is expressed!
Compare a Greek statue of Phidias's time with the latest production of a Parisian studio. Both are alike of hard, colourless, senseless marble; but can we not see in one the breathing of a god, while in the other we, at the most, study with a critical vision the outlines of a human animal?
Reality is not reached by the negative process of taking away conventional guises and concealments; and yet modern artists and writers have alike thought to get at truth in this way. But the nude is not the more real for being nude. The reality of an object depends on what is within it, and [35] not on anything that men put on or take away from it. How many writers of late years have been deluding themselves with the idea that if one can only succeed in avoiding everything like a moral purpose, or even interesting situations, and reveal what they call the bare facts of experience, one may thereby attain to the real? As if ever art existed except in the discovering of unity, the interpretation of purpose, and in the suggesting of that which is interesting to the human heart!
The emptiness of this kind of realism, which is as naked of soul within as of garments without, is proved by the reaction that is already setting in in France, where materialism has made its boldest claims in the domain of art. Not only in art is there a strong movement for restoring the lost elements of romance and piety, leading to a religious severity almost like that of the pre-Raphaelites, but in literature there is a similar protest against the degradation of the real to the plane of mere soulless matter. M. Paul Bourget, who has been through all phases of French expression and knows its extremes, gives voice to this reaction in the following passage from his âSensations d'Italieâ:
âSans doute, les grands peintres ont vu d'abord et avant tout l'être vivant; mais dans cet être, ils ont dégagé la race et ils ne pouvaient pas la sentir, cette race, sans démêler l'obscur idéal qui s'agite en elle, qui végète dans les créatures inférieures, ignoré d'elles-mêmes et cependant consubstantiel à leur sang. La langueur et la robustesse à la fois de ce pays de montagnes dont le pied baigne dans la fièvre, le mysticisme des compatriotes de Saint François d'Assise et leur sauvagerie, la mélancolie songeuse prise devant l'immobile sommeil des lacs, tous ces traits élaborés par le travail séculaire de l'hérédité, le Pérugin les a dégagés plus nettement qu'un autre, mais it n'a eu qu'à les dégager. Sa divination instinctive les a reconnus, sans peut-être qu'il s'en rendît compte, dans des [36] coupes de joues, des nuances de prunelles, des airs de tête. C'est là , dans cette interprétation à la fois soumise et géniale, que réside la véritable copie de la nature où tout est âme, même et surtout la forme,ââme qui se cherche, qui se méconnaît parfois, qui s'avilit, mais une âme tout de même et qui ne se révèle qu'à l'âme.â[4]
A Frenchman of to-day become an admirer of Perugino!
A tendency to realism, unlike that of French art in subject, but not unlike in method, is that which is exhibited in England in the recent religious novelists of the class headed by the authoress of âRobert Elsmere.â Here, again, the effort has been to get at the real by stripping off conventional religious admissions, pretensions, and errors, and depicting a moral basis of conduct which can exist independently of creed and church. The result has been disappointing, because a creed incapable of perversion or corruption becomes as lifeless and as powerless a factor in human character-building as is the multiplication table; and without a miraculous incarnation of Deity as its basis and its imperative authority, the whole system of Christian ethics, when thus reduced to a scientific conclusion or to an invention of man's individual [37] moral sense, loses not only its power to influence morally, but even to interest other minds. The ârealâ basis of religion thus arrived at is found to be no religion at all, but only the private opinion of this authoress as to what is good and right, with every divine and therefore every universal and obligatory element in it left out.
I have spoken indiscriminately, above, of the realists in our modern literature as all subject to the temptation to rest satisfied with photographic imitations of nature rather than with a reality created from their apprehension of its ideal form. The end sought for is faithfulness in expression, and the danger is that of making subordinate to this the substance of what is expressed. But among these writers there are all degrees of approach to the genuine realism which undoubtedly, like the art of the Greeks, is a thing that can never die, and which, even if for a long interval set aside, is sure to return again to its rightful place as the only true form of expression.
Among the various aspirants to the title of realist, we have no more interesting examples than in our own Howells and Whitman, both being avowed prophets of this school of writing. In Whitman we see a generous nature run away with by the passion of expression. His words are heaped like sand-dunes. There is a sound of roaring waves, but the landscape is, too often, on the whole, shapeless and wearisome. One feels that there is meaning in the poet's mind, but the expression is excessive, and so without form. The delight of ultimation has become a frenzy of word-piling or word-inventing. The disappointment is like that experienced on seeing a piece of sculpture which reveals a bold and vigorous design with magnificent anatomy and muscular strength, but which has a weak line in the face. It just falls short of being art.
[38]
With Howells the charm of his realism lies in the subtlety of his concealment of it. The deep moral purpose which, like a strong, irresistible current, underlies his recent and more serious writing, is all the more potent because it is not âpointedâ; and the reader is allowed to indulge, as if with the author himself, in the little delusion that this is only the ordinary superficial aspect of an every-day world which is being described, and that things do thus merely happen as they happen, without design or reason. So perfect is the form and so true to nature that, with the author, we keep up, too, the little deception, that it is with the form itself that we are pleased, and that this constitutes the realism of which the author is so ardent an advocate. Meanwhile we learn, when the story is ended, that this realism was all informed with a soul of moral and divine purpose, and that this is all that is real in it as in anything else.
To distinguish from the pseudo-realism of matter the genuine realism that is soul-informed, I do not know a better name for the latter than the Classic Realism. I mean by this something as far remote as possible from the classic formalism of the age of Pope and Dryden, as remote indeed as form is from formalism. For in that period it was neither truth to nature nor truth to the imagination that was aimed at in expression, but rather a cold and rigid conformity to the rules of correct writing as found in the recognized standards. âClassicâ hence got to mean merely according to the standards. But by a Classic Realism we will certainly understand that effort to obtain a form of expression which recognizes both the internal and the external reality of things, and is able to combine both in one ultimation like the soul and body that make the one man.
The subjectivity of the Saxon mind and a large inheritance of both the classic formalism and the romanticism of former [39] periods of English literature have prevented our English writers from attaining that spontaneous realism which was native to the Hellenic mind; and yet they have the gift to recognise and interpret it when found. This did Tennyson when he chose for translation the following lines closing the Eighth Book of the âIliadâ:
The same vision into the charmed world of the classic realism had Keats when he wrote his sonnet âOn First Looking into Chapman's Homer,â and put a whole age of ecstatic delight into these matchless lines:
Listen to Theocritus describing in most realistic language the Joys of Peace. Notice how he does not so much as mention [40] any emotion, but awakens it by his faithful description of the objective world:
And oh! that they might till rich fields, and that unnumbered sheep and fat might bleat cheerily through the plains, and that oxen, coming in herds to the stalls, should urge on the traveller by twilight. And oh! that the fallow lands might be broken up for sowing, when the cicada, sitting on his tree, watches the shepherd in the open day and chirps on the topmost spray; that spiders may draw their fine webs over martial arms, and not even the name of the battle-cry be heard. [Idyl XVI.]
Keats has felt the same appeal of nature to human sympathy in all the humblest forms of life, and has expressed it in his sonnet on the âGrasshopper and the Cricketâ:
This is realism, but a truly classic realism; it is earth, but the âpoetry of earth.â
Probably Whitman has here and there approached as nearly as any English writer to this pure realism, and, when he has not allowed his delight in words to outrun his inward conception, he has given us pictures possessing much of the vivid objectivity of the Greek realists. Compare with [41] the above passage from Theocritus the Farm Picture drawn by Whitman in these two lines:
Or this:
Perhaps it is because Whitman is not the literary heir of the past, but the beginner of his line, that he enjoys this freedom and completeness of ultimation. He could dare what Keats, born to the purple, would fain have dared, but, in his sonnet to Haydon, confesses his fear of attempting:
Undoubtedly true it is that a spring-like freshness and vigour in Whitman's poems give voice to the life of a strong and youthful nationality; and in grateful appreciation of this we will not stop to inquire to what extent he owes his [42] present popularity to the charm of novelty. But, novel as his style may seem, it is but the re-discovered secret of all true art, the realism that is the ultimation of the soul.
That Goethe was a realist in this sense is shown by the fact that where the emotion was deepest and the moral substance of his writing the most intense and unmistakable, the form was purely objective and classicâdealing with the simplest and commonest of the world's every-day material, and indulging in little or no reflection or introspection. Such is he in the Hermann und Dorothea, at once the most Teutonic and the most Hellenic of modern poems. Of this Professor Dowden says in a recent essay:[5]
âGoethe never attempted to transform himself into a Greek; on the contrary, it seemed to him essential for the object which he had in view that he should remain a German, since it was from the alliance of the Teutonic genius with the genius of Greece that he hoped for the birth of the ardent child Euphorion. And in the representative poem of this period, Hermann und Dorothea, if Goethe is more than elsewhere a Greek in the bright purity of his art and its fine simplicity of outline, here also more than elsewhere in the body of thought and feeling he is a German of the Germans.â
Coming now to study Carducci as a poet who more perfectly than any other living, perhaps, reflects the classic realism of his Hellenic literary ancestry, I desire to emphasise as a point of peculiar interest the fact that the religious element which I have spoken of above as the most essential one in all art is here not Christian, but avowedly pagan; but that, as such, it supplies that inward essence to Carducci's poems that gives them reality. There is all the difference imaginable between the description of landscape in his poem on the peninsula of Sermione [XVI] and that of our modern [43] writers who think to have outgrown Christianity and see no suggestion of supernatural presence or influence in the world around them. Were Carducci himself a believer in the present existence of the Gods of Greece, he could hardly have infused a more intense life into his writing than he has done by the continually suggested presence of the happy gods, sirens, and nymphs of the classic mythology. Our modern poets can use the same mythologic personages in figurative embellishment or in allegoric allusion. In Carducci they are real presences such as Wordsworth sighed for in his sonnet, âThe World is too much with usâ:
and as Keats felt when writing in his âOde on a Grecian Urnâ these lines:
The same vivid realisation of the presence of the supernatural in nature under truly pagan forms is seen in Carducci's poem âTo Auroraâ [VII]:
[44]
In this poem is contrasted in most realistic manner the Greek sense of the sunlight as a divine presence, imparting only joy to men and leading them to seek their delights under the open sky, with the exhausting nightly dissipations of modern life and the hatred of daylight which recalls men to their labour:
Next to the emotion of the supernatural, we are struck with the intense sympathy with nature both animate and inanimate, which gives so lively a glow to Carducci's description. The sonnet on âThe Oxâ [IX] I have referred to in the previous essay; here I would call attention to that addressed âTo a Horseâ [XVII], which, if the former can be called Homeric, can equally claim to be Phidian in the pure outline of the drawing and the Olympic spirit that seems to quiver in the poet's words:
Keats proves how deeply he has imbibed the Greek poetic spirit in his sonnet on the âGrasshopper and the Cricketâ; for here he expresses the same intense joy of communion with a certain soul in nature which caused Theocritus to never tire of singing, or having his Sicilian goatherds sing, of the bees that fed the imprisoned Comatas all through the springtime, of the Oaks that sung the dirges of the shepherd Daphnis, of the âshegoats feeding on the hill,â of âthe young lambs pasturing on the upland fields when the spring is on [45] the wane,â of âthe white calves browsing on the arbutus,â of the âcicada to cicada dear,â âthe prattling locusts,â and âlizards that sleep at midday by the dry stone wall.â
With the same zest Carducci delights to sing of the âforests awaking with a cool shiverâ at the rising of Aurora, of âthe garrulous nests that mutter amid the wet leavesâ in the early dawn, of the âgrey gull far off that screams over the purple sea,â âthe sorrel colt breaking away with high lifted mane and neighing in the wind,â and âthe pack of hounds, wakeful, answering from their kennels.â What Mr. Lang says of Theocritus may be as truly said of Carducci: âThere is nothing in Wordsworth more real, more full of the incommunicable sense of nature.... It is as true to nature as the statue of the native fisherman in the Vatican.â [Introduction to Theocritus.] Especially are we aware of the almost oppressive feeling of nature's languor and sweet melancholy on reading Carducci's poems on âA Dream in Summerâ [XVIII] and âOn a Saint Peter's Eveâ [XIX]. Here, indeed, the feeling is more modern than ancient, but the mode of expressing it is the same. How like Homer is the picture of
It seems like the reverse of the figure in the âIliad,â where the armed Diomed is described:
And further, when we read of the swallows that
[46]
and how there comes
a line which can only tell its full tale of tender sadness in the original:
how the sun looks down
and we are then as suddenly awakened out of our delicious reverie by the screaming of a peacock and a bat's wing grazing our head, we know that the poetry is real not by its mere accuracy of description, but by the feeling that it awakens as only nature itself could awaken it.
The âSummer Dreamâ recalls, in the vividness and delicacy of its landscape and tenderness of feeling, perhaps more of Dante than of the ancient poets. There is a vision of the mother walking with the poet's little brother by the river bank,
which suggests Dante's glimpse of the Countess Matilda in the daisy-sprinkled meadow, described in the twenty-eighth canto of the âPurgatory.â The bells of Easter-eve are telling from a high tower that
From the sea far below comes up the odorous breeze, while
The poet's thoughts wander to where, in the solemn shades of Certosa and on the flowering banks of the Arno, lie at rest the beloved ones. But quickly, with the sudden waking [47] from the nap, is dispelled the vision of the poet and with it the modern introspective gloom; these give place to the realism and the day-light contentment of the old time:
There is something majestic in the moral portraiture of the poem on âThe Mother.â [XX] We seem to be looking on a colossal bronze figure, in which are blended pure natural joy and an instinct of the divine holiness of motherhood. The reproach contained in the last verse belongs to the present time of social unrest; it is hard to convey in English the full intent of the subtle phrase:
Paul Bourget speaks, in his Sensations d'Italie, of the simplicity âpeculiar to the lofty style of Italian poetry introduced by Dante, under which one feels the glorious origin of the languageâ; and he quotes, as illustrating this simplicity, Carducci's âdivine sonnetâ commencing:
[XXI] On this he remarks:
âThe quality of the words in which Roman vigour still palpitates, the direct force of the image, the construction, at once flowing and concise, of the sentence, give this poetry the charm of precision which is the distinctive characteristic of the genius of the Romans. It is at once sober and grand.â Surely no better example of such writing could anywhere be found than in the poem on âThe Mother.â
With what awful severity such a style lends itself to the exposure of the corruption and inhumanity of society, like [48] a veritable Juvenal returned to hurl his satire at these modern times, is shown in the poem on âThe Carnival.â [XXII]
Another phase of Carducci's genuine realism is the subtle art of blending with nature, not his own personality, but that of great souls of the past who have lived amid the scenes described. Of this a fine example is the poem âSermioneâ mentioned above. [XVI] The peninsula so named, which juts boldly out into the southern bay of the Lago di Garda, the Lacus Benacus of the Romans, is about equidistant from Mantua on the south, the birthplace of Virgil, and from Verona on the east, the birthplace of Catullus. Near by is situated one of the castles of the Scaligers, where Dante may have had his abode when taking refuge with that family on his banishment from Florence in 1316. At the extremity of the promontory are still seen the relics of the villa of Catullus, in which he is supposed to have written many of his poems, especially the one beginning
How endeared was the lake to the tender-hearted poet, and how its cool and placid shores brought solace to his bosom, rent with the passions of Rome's giddy life, Carducci tells in the song of the Sirensâ
We feel ourselves to be listening for the poet, and would fain with him enjoy the fresh air, the soothing calm,
[49]
In the glimpses afforded, in this poem, of Garda lifting her dusky shoulders over the liquid mirror,
of Catullus,
of the
and,
and of the
centuries of literary history seem to pass before our eyes in living procession.
Most tender of all these tributes of the poet, interweaving the memory of his revered predecessors and masters with the nature loved by them, and by himself for them, is the sonnet addressed to Petrarch [XXIII]:
It is as delicate as the odour of jessamine
and breathes a rich melancholy, as if,
The sonnets addressed to the more recent poets, his fellow-countrymen, seem mainly to have served as vents for Carducci's [50] own indignation at the literary and political degeneracy of the present time. Many of them are from among the poet's earlier productions, and the changes which have occurred since their writing make them seem to belong already to a past period when perhaps more than at present his severe reflections on his country and countrymen were deserved. A foreigner can hardly enter into the bitterness of vituperation which finds utterance in such poems as those âIn Santa Croceâ [XXVIII], or âThe Voice of the Priestsâ [XXIX], the sonnet addressed to Vittorio Alfieri [XXV],
and that to Goldoni, the âTerence of the Adriaâ; but all of these, which we may call the literary sonnets, have a certain universal value in that they reflect more than individual feeling. Each poet addressed is identified in some way with the nation's weal or woe; and the soul of the patriot, and no mere dilettante admiration, is what pours forth those fervid utterances which, in another tongue and to the ear of strangers, will naturally often seem overwrought.
No less truly does the soul of the father speak in the beautiful verses âOn my Daughter's Marriage,â and the soul of manly friendship in that little song âAt the Table of a Friend,â which seems as if it had dropped from the pages of Horace like a purple grape from the cluster all odorous with its bloom.
Over all others in stern and majestic portraiture rise those verses, both of the earlier and later period, in which Carducci treats of Dante and his influence. Nowhere are we more impressed than here with the strange fascination of that man who
[51]
against whose Gothic sphere Carducci's Hellenic spirit continually fretted and rebelled. Yet his soul is ever thrilled (see the Sonnet on the Sixth Centenary of Dante [XXXIV]) with awe at the reappearing of that âmighty Form,â
which,
while âin earthly hearts a fear arose, discovering the awful presence of a God,â and there,
The antagonism between the pagan and the Christian religious instincts comes to light in all that Carducci writes of his revered master. Half in anger he chides the awful singer who
while upon his brow shines
because he cared not for
With the splendours of the holy kingdom, amid which Dante stood, Carducci contrasts the mortal fields of civil war and the wastes deserted and malignant,
[52]
and yet no commentator seems to become so transformed as Carducci into Dante's own being and manner when contemplating and describing him. The poem on Dante, beginning with the words [XXXIII]:
recalls, in its statuesque strength and supple beauty, Michael Angelo's âSleeping Slave.â It breathes all through with the spirit of the Italian Renaissance. In the narrative of Dante's secret heart-life and soul-life it seems as if we were turning new leaves of La Vita Nova rather than those of a nineteenth-century critic. No voice but Dante's seems to speak in lines like these, describing the first awaking of the passion of love in the youthful poet's heart:
This surely is the âintelletto d'amoreâ of Dante himself.
Hardly less like Dante is the picture of Beatrice in that half-playful, half-worshipful poem on that mysterious personage [XXXV]:
How sweet and true an echo from Sonnet XXV in La Vita Nova:
[53]
Here Carducci treats Beatrice under the favourite character of the Idea which is to elevate mankind from its rude savagery. As in Goethe,
Nevertheless, we cannot forget the satirical tone in which, in another poem, he contrasts the ideal love of Dante with the passion of a lower kind that found its home in the Greek nature, and sings rather of Lalage and Lesbia than of this âAngel in seeming.â
It is in his poetic power of interpretation that here, as in the poems on nature, Carducci proves himself the true realist. Whatever form he chooses, is for the time filled with its own life, and speaks from that and no other. I have introduced the âHymn to the Redeemerâ [XI], that Lauda Spirituale, which the poet describes in the passage from his autobiography quoted in the previous essay as a youthful literary experiment, in which he attempted to clothe the spiritual idea of the Christ with the form of the pagan triumphal ode. The heroic picture of the Redeemer of the world returning from Battle as a Victor and receiving triumphal honour and applause, is novel, and not without a high order of beauty. It seems, indeed, to minds trained to modern religious thought, more pagan than Christian; but one may question whether this aspect of Christ as the Hero is not one which the Church has erroneously overlooked in her tendency to lay stress on the vicarious sacrifice of Christ, rather than on the actual deliverance wrought for man by Him in His warfare against the infernal hosts, setting the race thereby spiritually free from bondage. Do we not see here the same attempt to [54] present the Christian Redemption in ancient heroic form, as the Pisan sculptors made when they copied from pagan sarcophagi the figures of their apostles and saints? It was not the conventional way; but we feel that they might have done worse.
A few poems from Carducci's youthful period, in which he indulges in the meaningless melancholy, the passion and despair, incident to that stage of the poet's growth, I have introduced, as showing that he too had his sentimental side. In these he describes his emotions. They are the sonnets from the Juvenilia, beginning respectively with the following lines:
As such they are beautiful, but they lack that objectivity and realistic power which is felt in those poems where, as in life, the emotion tells itself, and does not need to be described.
In the Odi Barbare, for which title I am unable to find a better rendering than âBarbaric Odes,â foreign as it may seem to the character of these exquisitely finished verses, I have followed the poet's choice in omitting to capitalize the initial words of the lines. Many of these poems are without rhyme, and, for the sake of greater faithfulness in translating them, I have sometimes discarded both the rhyme and the strict rhythmical form.
F. S.
Washington, D. C., June, 1892.
[55]
POEMS
VOICE FROM THE PALACE
VOICE FROM THE HOVEL
[105]
VOICE FROM THE BANQUET
VOICE FROM THE GARRET.
VOICE FROM BENEATH.
Transcriber's Notes
Original spelling and punctuation have been preserved as much as possible. Minor typographical errors have been corrected without note.
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Giosuè Carducci >The Italian poet Giosuè Carducci (1835-1907) was awarded the 1906 Nobel >Prize [1] in literature. His gradual development from youthful revolutionary >idealism to later acceptance of a conservative monarchy closely mirrors the >course of 19th-century Italian history.
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CARDUCCI, GIOSUÈ
CARDUCCI, GIOSUÈ (1835–1907), Italy's most notable poet of the post-Risorgimento era and the first Italian to win the Nobel prize.
Giosuè Carducci's poems, essays, editorial activities, and an occasional excursion into political life expressed the bitter discontent of many intellectuals with the new Italy that had been created in 1860. Although he did not participate in the wars of national unification, Carducci was a supporter of the republican nationalist Giuseppe Mazzini, but in 1859 and 1860 he accepted the necessity of uniting behind the monarchy. The triumph of the house of Savoy over the popular forces of Mazzini and Giuseppe Garibaldi provided a harbinger of the compromises and political deal making of the new parliamentary political class that Carducci judged incapable of realizing the potential greatness of the new Italy. The age of poetry seemed to give way to the age of accountants' ledgers. During the 1860s Carducci returned to republicanism and to faith in a popular leader who could embody the aspirations of the people.
What particularly annoyed him were the efforts of the new Italy to find a modus vivendi with the Catholic Church. Carducci was a lifelong anticlerical who held the church responsible for Italy's cultural and political backwardness, and he was incensed by the decision of the new government to bow to the wishes of the French emperor Louis Napoleon by blocking Giuseppe Garibaldi's attempts to seize Rome. In one of his first poems from the collection Juvenilia (1859–1860), Carducci wrote of independence and love of liberty that were "highly contemptuous of the Holy and Catholic Idea of a Church fixed on the firm foundation / of servile Europe's humiliation" (p. 3). His most notorious poem, Hymn to Satan (1865) identified Satan with nature, reason, and the spirit of rebellion against the combined forces of the church and the reactionary state. His collections Levia gravia (1868; Light and heavy) and Giambi ed epodi (1867–1869; Iambs and epodes) hammered away at the failure of the new state to respond to the currents of patriotic sentiment that had been unleashed by the Risorgimento, the movement for the political unification of Italy.
Despite his youthful reputation as a rebel, the new liberal monarchy appointed Carducci to the chair of rhetoric at the University of Bologna in 1860, a post he would hold until 1904. Although he never accepted the wheeling and dealing of parliamentary life, Carducci's republicanism became increasingly muted during the 1870s. He ran for Parliament in 1876 but failed to take his seat on a technicality. His poetry also became less overtly political and more personal and historical over time. In 1878, on the occasion of a visit by Italy's royal couple, Umberto I and Queen Margherita, Carducci was so taken by Margherita that he dedicated one of the poems in the collection Odi barbari (Barbarous odes) to her. The Odi barbari, published in various editions from 1877 to 1889, was Carducci's most significant work. The poems were marked by a rejection of Romanticism, which Carducci judged a foreign import, in favor of a renewed classicism. Carducci's productivity declined after a stroke in 1885, but by then his reputation in Italy was established.
During the 1880s and 1890s Carducci's politics became increasingly nationalistic. He was a firm supporter of the Sicilian statesman Francesco Crispi, who tried to combine a degree of social and economic reform with strong personal government and a dose of imperialism. The disastrous end to Crispi's government in 1896, when Italy was defeated by the Ethiopians at Adwa, failed to shake Carducci's loyalty to the Sicilian leader. For many post-Risorgimento intellectuals, of which Carducci was representative, an aggressive foreign policy and strong government were shortcuts to great-power status. They held that failure resulted not from bad planning or misguided policies but from the incapacity of parliamentary government to focus the national will. Thus Carducci's politics fed the growing antiparliamentary tradition that manifested itself after 1900 in organizations like the Italian Nationalist Association.
See alsoAnticlericalism; Crispi, Francesco; Italy; Mazzini, Giuseppe; Nationalism.
bibliography
Carducci, Giosuè. Carducci: A Selection of His Poems with Verse Translations, Notes, and Three Introductory Essays. Edited by G. L. Bickersteth. London, 1913.
Drake, Richard. Byzantium for Rome: The Politics of Nostalgia in Umbertian Italy, 1878–1900. Chapel Hill, N.C., 1980.
Alexander De Grand
Giosuè Carducci
The Italian poet Giosuè Carducci (1835-1907) was awarded the 1906 Nobel Prize in literature. His gradual development from youthful revolutionary idealism to later acceptance of a conservative monarchy closely mirrors the course of 19th-century Italian history.
Born in the Tuscan village of Val di Castello, Giosuè Carducci spent his childhood traveling along the coastal plain, where his father was regional physician. Early studies in Florence, which afforded him a solid foundation in Latin and the Italian classics, prepared Carducci for the Teachers College of Pisa, from which he graduated in 1856. After several years of teaching and editing texts, Carducci was appointed to the prestigious chair in Italian literature at the University of Bologna, a post he held until 1904. During his years at Bologna, he participated fully in the intellectual life of his times as poet, critic, parliamentary deputy (1876), and senator (1890).
A powerfully built man whose prominent jaw accentuated an aggressive appearance, Carducci in his early writings proudly declared himself to be "a shield bearer of the classics," that is, a defender of traditional literary formation. In rejecting romanticism as a betrayal of the Italian artistic heritage and a servile imitation of foreign ideologies, Carducci's first poetry, Juvenilia (1850-1860) and Levia gravia (1861-1871), exalts nationalistic ideals of progress and freedom through satire directed against the political and clerical obstacles to the unification of Italy. Typical of this Risorgimento poetry is his Masonic, antipapal "Hymn to Satan" (1863), in which Satan personifies reason, progress, and rebellion against the oppressive force of religion. Only later, when national unity had been achieved, did Carducci evidence an appreciation for the religious traditions of his country.
The Giambi ed epodi (1867-1879) signals a new direction in Carducci's poetry. While still polemical and satirical, there emerges a freshness, a genuine tone which makes itself heard above "the bold verse which slaps the face" of the discredited past. The 32 poems of this collection champion the ideals of liberty against clerically imposed limitations, but they also reveal the initial traces of introspection and self-contemplation that characterize much of his mature writings. During this period Carducci began his first sympathetic studies of foreign romanticists (Hugo, Shelley, Heine, and others), whose works he had formerly rejected.
The 105 poems of Carducci's three-part Rime nuove (1861-1886; New Rhymes) develop more fully this intimate vein. These barely controlled expressions of his emotions are at times highly personal ("Ancient Lament," written on the death of his infant son) and are often delicately reminiscent of visions from his youth ("The Maremanno Idyl"). Several love poems, which suggest that Carducci frequently strayed beyond the boundaries of his marriage, afford the closest possible view of Carducci's inner self.
The Odi barbare (1873-1889; Barbarous Odes) constitutes his last major poetic achievement. "Barbarous" denotes the non-Italian meters employed in these verses, which are based on Greek and Latin models. This collection of 57 poems derives unity from its form, but its thematic content varies widely, from glorification of Rome's past ("The Springs of the River Clitumnus") to contemplative visions of the author's own experiences ("At the Station").
In addition to his poetry, Carducci made major contributions to literary criticism with several studies written largely during the first 10 years of his professorship in Bologna. His sound, if unsystematic, judgments are reflected in The Development of a National Literature, The Varying Fortunes of Dante, and Essay on Petrarch. Carducci died in 1907. A product of his times, he fulfilled his lofty conception of the civic mission of a poet—the expression and exaltation of the values of his people.
Further Reading
Relatively little scholarship in English has been dedicated to Carducci. Orlo Williams, Giosuè Carducci (1914), provides a general outline of his life and major writings. See also Ruth Shepard Phelps, Italian Silhouettes (1924), and S. Eugene Scalia, Carducci: His Critics and Translators in England and America, 1881-1932 (1937). □
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List of Nobel laureates.docx - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. The document provides an overview of the Nobel Prizes including:
- Nobel laureates receive a gold medal, diploma, and monetary award (currently 9 million SEK or ~$1 million) for their contributions.
- The Nobel Prizes are awarded annually in physics, chemistry, physiology/medicine, literature and peace by different institutions in Sweden and Norway.
- Between 1901-2017, the Nobel Prizes were awarded 585 times to 923 individuals and organizations for their outstanding achievements.
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All Nobel Prizes
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Between 1901 and 2023, the Nobel Prizes and the Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel were awarded 621 times to 1000 people and organisations. With some receiving the Nobel Prize more than once, this makes a total of 965 individuals and 27 organisations. Below, you can view the full list of Nobel Prizes and Nobel Prize laureates.
Find all prizes in | physics | chemistry | physiology or medicine | literature | peace | economic sciences | all categories
2024
The 2024 Nobel Prizes will be announced 7–14 October.
1909
The Nobel Prize in Physics 1909
“in recognition of their contributions to the development of wireless telegraphy”
The Nobel Prize in Chemistry 1909
“in recognition of his work on catalysis and for his investigations into the fundamental principles governing chemical equilibria and rates of reaction”
The Nobel Prize in Physiology or Medicine 1909
“for his work on the physiology, pathology and surgery of the thyroid gland”
The Nobel Prize in Literature 1909
“in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings”
The Nobel Peace Prize 1909
“for their prominent position in the international movement for peace and arbitration”
1908
The Nobel Prize in Physics 1908
“for his method of reproducing colours photographically based on the phenomenon of interference”
The Nobel Prize in Chemistry 1908
“for his investigations into the disintegration of the elements, and the chemistry of radioactive substances”
The Nobel Prize in Physiology or Medicine 1908
“in recognition of their work on immunity”
The Nobel Prize in Literature 1908
“in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life”
The Nobel Peace Prize 1908
“for their long time work for the cause of peace as politicians, peace society leaders, orators and authors”
1907
The Nobel Prize in Physics 1907
“for his optical precision instruments and the spectroscopic and metrological investigations carried out with their aid”
The Nobel Prize in Chemistry 1907
“for his biochemical researches and his discovery of cell-free fermentation”
The Nobel Prize in Physiology or Medicine 1907
“in recognition of his work on the role played by protozoa in causing diseases”
The Nobel Prize in Literature 1907
“in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author”
The Nobel Peace Prize 1907
“for his work in the press and in peace meetings, both public and private, for an understanding between France and Italy”
“for his decisive influence upon the conduct and outcome of the Hague and Geneva Conferences”
1906
The Nobel Prize in Physics 1906
“in recognition of the great merits of his theoretical and experimental investigations on the conduction of electricity by gases”
The Nobel Prize in Chemistry 1906
“in recognition of the great services rendered by him in his investigation and isolation of the element fluorine, and for the adoption in the service of science of the electric furnace called after him”
The Nobel Prize in Physiology or Medicine 1906
“in recognition of their work on the structure of the nervous system”
The Nobel Prize in Literature 1906
“not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces”
The Nobel Peace Prize 1906
“for his role in bringing to an end the bloody war recently waged between two of the world's great powers, Japan and Russia”
1905
The Nobel Prize in Physics 1905
“for his work on cathode rays”
The Nobel Prize in Chemistry 1905
“in recognition of his services in the advancement of organic chemistry and the chemical industry, through his work on organic dyes and hydroaromatic compounds”
The Nobel Prize in Physiology or Medicine 1905
“for his investigations and discoveries in relation to tuberculosis”
The Nobel Prize in Literature 1905
“because of his outstanding merits as an epic writer”
The Nobel Peace Prize 1905
“for her audacity to oppose the horrors of war”
1904
The Nobel Prize in Physics 1904
“for his investigations of the densities of the most important gases and for his discovery of argon in connection with these studies”
The Nobel Prize in Chemistry 1904
“in recognition of his services in the discovery of the inert gaseous elements in air, and his determination of their place in the periodic system”
The Nobel Prize in Physiology or Medicine 1904
“in recognition of his work on the physiology of digestion, through which knowledge on vital aspects of the subject has been transformed and enlarged”
The Nobel Prize in Literature 1904
“in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist”
“in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”
The Nobel Peace Prize 1904
“for its striving in public law to develop peaceful ties between nations and to make the laws of war more humane”
1903
The Nobel Prize in Physics 1903
“in recognition of the extraordinary services he has rendered by his discovery of spontaneous radioactivity”
“in recognition of the extraordinary services they have rendered by their joint researches on the radiation phenomena discovered by Professor Henri Becquerel”
The Nobel Prize in Chemistry 1903
“in recognition of the extraordinary services he has rendered to the advancement of chemistry by his electrolytic theory of dissociation”
The Nobel Prize in Physiology or Medicine 1903
“in recognition of his contribution to the treatment of diseases, especially lupus vulgaris, with concentrated light radiation, whereby he has opened a new avenue for medical science”
The Nobel Prize in Literature 1903
“as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit”
The Nobel Peace Prize 1903
“for his longstanding and devoted effort in favour of the ideas of peace and arbitration”
1902
The Nobel Prize in Physics 1902
“in recognition of the extraordinary service they rendered by their researches into the influence of magnetism upon radiation phenomena”
The Nobel Prize in Chemistry 1902
“in recognition of the extraordinary services he has rendered by his work on sugar and purine syntheses”
The Nobel Prize in Physiology or Medicine 1902
“for his work on malaria, by which he has shown how it enters the organism and thereby has laid the foundation for successful research on this disease and methods of combating it”
The Nobel Prize in Literature 1902
“the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome”
The Nobel Peace Prize 1902
“for his untiring and skilful directorship of the Bern Peace Bureau”
“for his eminently practical administration of the Inter-Parliamentary Union”
1901
The Nobel Prize in Physics 1901
“in recognition of the extraordinary services he has rendered by the discovery of the remarkable rays subsequently named after him”
The Nobel Prize in Chemistry 1901
“in recognition of the extraordinary services he has rendered by the discovery of the laws of chemical dynamics and osmotic pressure in solutions”
The Nobel Prize in Physiology or Medicine 1901
“for his work on serum therapy, especially its application against diphtheria, by which he has opened a new road in the domain of medical science and thereby placed in the hands of the physician a victorious weapon against illness and deaths”
The Nobel Prize in Literature 1901
“in special recognition of his poetic composition, which gives evidence of lofty idealism, artistic perfection and a rare combination of the qualities of both heart and intellect”
The Nobel Peace Prize 1901
“for his humanitarian efforts to help wounded soldiers and create international understanding”
“for his lifelong work for international peace conferences, diplomacy and arbitration”
To cite this section
MLA style: All Nobel Prizes. NobelPrize.org. Nobel Prize Outreach AB 2024. Wed. 24 Jul 2024. <https://www.nobelprize.org/prizes/lists/all-nobel-prizes>
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Read all of the posts by rahuljindal185 on ITALY AND ITS CULTURE
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ITALY AND ITS CULTURE
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Before knowing about the history of Italy, lets see some facts related to Italy:
Capital :- Rome
Official name:- Republic of Italy
Anthem :- Il Canto degli italian
Government :- Unitary Parliamentary Constitutional Republic.
President :- Giorgio Napolitano
Prime Minister :- Enrico Letta
Unification :- 17 March 1861
Republic :- 2 June 1946
Currency :- Euro
National Animal :- Italian Wolf
Borders :
North :- France, Switzerland, Austria , and Solvenia.
South :- Italian Peninsula, Sicily, Sardinia.
Enclaves in Italy :- Sovereign states of San Marino and The Vatican City.
Excl-ave in Switzerland :- Campione d’Italia
Italy was the founding member of European Union in 1993. Italy is the member state of :-
Organisation for Economic Co-Operation and Development, G8, G20, NATO, Council Of Europe and The United Nations.
◘ HISTORY
The term Italia , from Latin Italia, was borrowed through Greek from the Oscan Viteliu meaning “Land of Young Cattle”. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italics , mentioned also by Aristotle and Thucydides.
Rome , a modest agricultural community , conventionally founded in 753 BC. According to legend , Rome was founded by Romulus and Remus in the heart o Etruscan Italy in 735 BC. Over the next several centuries , Rome expanded its its territories into what became known as The Roman Empire. The Romans named the Italian peninsula Italia.
◘ THE MIDDLE AGE ( 6th to 14th CENTURY).
A brief history of Italy in the middle ages begins with a series of invasion . In 493 the Ostrogoth’s, an eastern Germanic tribe conquered the Italian Peninsula. The resulting Gothic war led to the Lombard’s , another Germanic tribe , establishing a kingdom in northern Italy and three regions in the south in 568. In 756 French defeated Lombard’s and granted the popes authority over central Italy and Papal states ere created.
◘ THE RENAISSANCE (14th to 16th CENTURY).
At this point, the disparity among the regions were extreme. In contrast to the prosperous northern states , central and southern Italy were economically depressed. The Papacy temporarily relocated to Avignon in France, returning to Rome in 1478. Naples, Sicily and Sardinia were controlled by foreign powers.
◘ FOREIGN RULE (1559 to 1814).
Once again in this history of Italy, a golden era is followed by a dark one. In 1494 France invaded northern Italy collapsed . In 1527 Spain and Germany attacked Rome. By the end of the “Italian wars in 1559, three Italian republics regained their independence- Piedmont savoy, Corsica were later sold to France- Cosica in 1764 and Savoy in 1860. By 1559 Spain controlled Milan, Naples, Sicily and Sardinia and southern Tuscan’s. It lasted until 1713. During the Napoleonic Era (1796 to 1814), Italy was briefly unite by Napoleon as the Italian republic and later the Kingdom of Italy, becoming a client state of French Republic.
After the death of Napoleonic , in 1814, the congress of Vienna divided Italy in eight parts, most under foreign rule: Parma, Modena and Tuscan’s by Hapsburg’s, Lombard’s and Veneto were ruled by Austria, Piedmont , Sardinia, Genoa and the Papal states were independent.
◘ UNIFICATION (1814-1861).
The movement began in 1815 with a growing resentment towards the peninsula’s domination by Austria. Two prominent figures in the unification movement were Giuseppe Mazzini and Giuseppe Garibaldi.
Mazzini was imprisoned in 1830 for his role in carbonian secret society. He mounted unsuccessful uprisings in Italy, but worked with Garibaldi with a dream of unification. He died in 1872.
Italy was officially unified in 1861.
After two world wars and dictatorship of Benito Mussolini , a popular mandate declared Italy a republic in 1946.
(Source :- http://en.wikipedia.org/wiki/Italy , http://lavezzi.org/5.html , http://en.wikipedia.org/wiki/History_of_Italy , http://www.italianlegacy.com/brief-history-of-italy.html , )
The monuments of italy, thanks to the different civilizations that have left deep marks of their existence in different cities of italy 🙂 . One of the is Colosseum and is included in the seven wonders of the world.
◘ THE COLOSSEUM
The Colosseum also known as the Flavian Amphitheatre is an elliptical amphitheatre in the centre of the city of Rome, Italy. Built of concrete and stone, it was the largest amphitheatre of the Roman Empire, and is considered one of the greatest works of Roman architecture and Engineering It is the largest amphitheatre in the world.
The Colosseum is situated just east of the Roman Forum. The Colosseum is an iconic symbol of Imperial Rome. It is one of Rome’s most popular tourist attractions.
◘ THE LEANING TOWER OF PISA
The Leaning Tower of Pisa is the campanile, or freestanding bell tower, of the cathedral of the Italian city of Pisa, known worldwide for its unintended tilt to one side. It is situated behind the Cathedral.
The height of the tower is 55.86 metres (183.27 feet) from the ground on the low side and 55.70 metres (182.74 feet) on the high side. The width of the walls at the base is 4.09 m (13.42 ft) and at the top 2.48 m (8 ft 1.64 in). Its weight is estimated at 14,500 metric tons.The tower leans at an angle of 3.99 degrees.
◘ VATICAN MUSEUM
The Vatican Museums are the museums of the Vatican City and are located within the city’s boundaries. They display works from the immense collection built up by the Roman Catholic Church throughout the centuries including some of the most renowned classical sculptures and most important masterpieces of Renaissance art in the world.
◘ DOGE’S PALACE, VENICE
The Doge’s Palace is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice, northern Italy. The palace was the residence of the Doge Of Venice, the supreme authority of the Republic Of Venice, opening as a museum in 1923. Today, it is one of the 11 museums run by the Fondazione Musei Civici di Venezia.
Italian cuisine has developed through centuries of social and political changes. Italiain cuisine is noted for its regional diversity, taste, and its known to be one of the best cuisine in the world.
Italian cuisine is charactersized by its extreme simplicity with many dishes having 0nly fout to eight ingredients. Italian cusine is the one of the healthy and take less time to cook. Many italian dishes that were once regional have been spread through out the world in todays time like cheese, pasta , wine etc are major part of the italian cuisnine.
◘ Main ingredients
Olive oil : is the most commonly used vegetable fat in italian cooking
Pesto : A ligurian sause made out of basil , olive ol and pine nuts .
Tomatoes : are a stereotypical part of italian cusine n indian cusine but its usage started from 18th centuary.
◘ PASTA
Pasta is a type of noodle and is a staple food of traditional Italian cuisine , Italian cuisine is also well known for its use of a diverse variety of pasta. Pasta include noodles in various lengths , shapes and widths It can be made with flour from other cereals or grains , and eggs may be used instead of water. Pastas may be divided into two broad categories, dried and fresh .There are hundred of different shapes of pasta with at least locally recognised names.
◘ PIZZA
Pizza is an oven-baked, flat, round bread typically topped with a tomato sauce, cheese and various toppings.The modern day pizzas birth place was Naples ,Italy.The origin n most popular variety is Magherita which has only Tomatoes and Mozerella n basil .These colors represnt Italian Flag colors n legends says that this pizza was served to Queen Marghertia of savoy.
◘ Gelato
Gelato is italy’s version of ice cream. Gelato is defined in English as a soft ice cream containing little or no air .It contains many of the same ingredients as other frozen dairy deserts , but has lower butterfat and suger content. This ice cream is different from other ice cream because it can keep for long time and it remain fresh for many days.
Sports in Italy have a long tradition. In numerous sports, both individual and team, Italy has good representation and many successes. Football is the most popular sport in Italy. Basketball, Volleyball, and Cycling are the next most popular/played sports, with Italy having a rich tradition in all three.
◘ FOOTBALL
Football is the most popular sport in Italy. The Italian National Football Team has won the FIFA WORLD CUP four times (1934, 1938, 1982, and 2006), trailing only Brazil (with 5). Italy’s club sides have won 27 major European trophies, making them the most successful nation in European football. The Italian word for football is calico and this is the word used to make reference to the sport in Italy, as opposed to football in England or soccer in the United States and Canada.The Italian football has given many great players to the world like Mario Balotelli,Marco Materazzi,Gianluca Zambortta.
◘ BASKETBALL
Italy is one of the main basketball nations in Europe, along with Spain, Serbia, Greece, Slovenia, Lithuania, Croatia, Russia, Turkey, and France. It has a long and rich tradition in the sport.The Italian name for basketball is PALA CANESTA . The Italian National Basketball Team ‘s best results were gold at EuroBasket 1983 and Euro Basket 1999, as well as silver at the Olympics in2004.
◘ ATHLETICS
Athletics is a popular sport in Italy, because Italian World or Olympic champions are very celebrated people. There are many national and international events every year.
Cinema of Italy
The Cinema of Italy comprises the films made within Italy, or by Italian directors. Since the development of the Italian film industry in the early 1900s, Italian filmmakers and performers have, at times, experienced both domestic and international success, and have influenced film movements throughout the world. As of 2013, Italian films have won 13 Academy Awards for Best Foreign Language Film, the most of any country, as well as 12 Palmes d’Or, the second-most of any country.
Early Italian films were typically adaptations of books or stage plays. By the 1910s, Italian filmmakers were utilizing complex set designs, lavish costumes, and record budgets, to produce pioneering films such as Enrico Guazzoni‘s Quo Vadis (1912) and Giovanni Pastrone‘s Cabiria (1914). One of the first cinematic avante-garde movements, Italian Futurism, took place in Italy in the late 1910s. After a period of decline in the 1920s, the Italian film industry was revitalized in the 1930s with the arrival of sound film. A popular Italian genre during this period, the Telefoni Bianchi, consisted of comedies with glamorous backgrounds.[1]
While Italy’s Fascist government provided financial support for the nation’s film industry, most notably the construction of the Cinecittà studios, it also engaged in censorship, and thus many Italian films produced in the late 1930s were propaganda films. Post-World War II Italy saw the rise of the influential Italian neorealist movement, which launched the directorial careers of Luchino Visconti, Roberto Rossellini, and Vittorio De Sica. Neorealism declined in the late 1950s in favor of lighter films, such as those of the Commedia all’italiana genre. Actresses such as Sophia Loren and Gina Lollobrigida achieved international stardom during this period.[1]
The Spaghetti Western achieved popularity in the mid-1960s, peaking with Sergio Leone‘s Dollars Trilogy, which featured enigmatic scores by composer Ennio Morricone. Erotic Italian thrillers, or giallos, produced by directors such as Mario Bava and Dario Argento in the 1970s, influenced the horror genre worldwide. During the 1980s and 1990s, directors such as Federico Fellini, Bernardo Bertolucci, and Roberto Benigni brought critical acclaim back to Italian cinema.
Here are top 10 italian movies :-
1. La Strada
Italian film is unthinkable without Federico Fellini, and this heartbreaking classic about a poor girl who is taken away by a cruel strongman to become a circus performer is impossible to resist. With wonderful performances by Anthony Quinn and Giulietta Masina. For more early Fellini, check out Nights of Cabiria, also with Masina.
2. Umberto D.
Vittorio De Sica’s 1952 neo-realist film about an old man who is stripped of his dignity is sad but not sentimental. We prefer it to The Bicycle Thief.
3. 1900
Bernardo Bertolucci’s epic history about a peasant and a land owner over the course of the first half of the century stars Robert De Niro and Gerard Depardieu. If you don’t have the time (1900 is over five hours long), try The Conformist.
4. The Battle of Algiers
Gillo Pontecorvo’s legendary re-telling of the struggle for Algerian independence from France is a timelessly powerful film.
4. The Battle of Algiers
Gillo Pontecorvo’s legendary re-telling of the struggle for Algerian independence from France is a timelessly powerful film.
5. The Best of Youth
This sprawling and all engrossing drama by Marco Tullio Giordana, the most recent film on this list, follows two brothers from the 1960s to the present. The film was first screened in Italy on television and in the U.S. as two films at three hours each. The times flies by.
6. La Dolce Vita
Yet another masterpiece by Federico Fellini, La Dolce Vita features Marcello Mastroianni as the original Paparazzo who chases Anita Ekberg through the streets of room and right into the Fontana di Trevi.
7. Open City
Roberto Rossellini’s landmark film portrays the struggle of Rome’s citizens during the final days of World War II.
8. L’Avventura
Monica Vitti plays a woman searching for a missing friend in the Mediterranean in Michelangelo Antonioni’s breakthrough film.
9. The Leopard
Burt Lancaster, Claudia Cardinale and Alain Delon star in an epic story of elegiac grace in Luchino Visconti’s Sicilian tale of revolution and decline.
10. Cinema Paradiso
Giuseppe Tornatore’s sentimental love letter to the movies is a film we love to hate, but we cannot ignore it.
Here are few oscar wining Italian movies and awrd wining actors :-
Today and Tomorrow, Investigation of a Citizen Above Suspicion, The Garden of the Finzi-Continis,Amacord, Cinema Paradiso, Mediterraneo and Life Is Beautiful. Additionally, Oscars were won by The
Bicycle Thief, Shoeshine, and Seven Beauties. And there are Italian film that won other awards: Two
Women (Best Actress), La Dolce Vita (Costumes), Divorce- Italian Style (Original Screenplay) and Il
Postino (Original Score).
The Nobel prize has been awarded 853 times, of which 23 awards were to organizations.
There are 20 novel prize winners from Italy in different fields. They are :-
Mario Capecchi*, Physiology or Medicine, 2007
Riccardo Giacconi*, Physics, 2002
Dario Fo, Literature, 1997
Rita Levi-Montalcini, Physiology or Medicine, 1986
Franco Modigliani, Economics, 1985
Carlo Rubbia, Physics, 1984
Renato Dulbecco*, Physiology or Medicine, 1975
Eugenio Montale, Literature, 1975
Salvador Luria*, Physiology or Medicine, 1969
Giulio Natta, Chemistry, 1963
Salvatore Quasimodo, Literature, 1959
Emilio G. Segrè, Physics, 1959
Daniel Bovet, born in Switzerland, Physiology or Medicine, 1957
Enrico Fermi, Physics, 1938
Luigi Pirandello, Literature, 1934
Grazia Deledda, Literature, 1926
Guglielmo Marconi, Physics, 1909
Ernesto Teodoro Moneta, Peace, 1907
Giosuè Carducci, Literature, 1906
Camillo Golgi, Physiology or Medicine, 1906
But among these novelist 6 novelist are more famous :-
Giosué Carducci (Awarded in 1906)
The first Italian to be awarded the Nobel Prize for Literature was the poet Giosué Carducci in 1906, the so-called poeta vate, whose energetic verse was combined with the use of personal and collective reminiscences. He was considered the heir to a national and patriotic lyrical tradition that had been prevalent for centuries in Italy; the end of this widespread sensibility was embodied in Carducci’s poems. The following year, the Nobel Prize for Literature was received by Rudyard Kipling whose vivid energy was not so different from Carducci’s. The ideals of patriotism and national identity, evident throughout Carducci’s works, were a recurrent European intellectual theme at the beginning of the Twentieth century.
Grazia Deledda (Awarded in 1926)
In contrast to Carducci’s nationalism, Grazia Deledda embodied a regional literary tradition, originating from Sardinia; her writing was a reflection of her native land’s sense of individuality and distinctiveness. Deledda’s narratives enthrall the reader, being the product of an imaginative mind and great sense of humanity. Her female presence in the Italian pantheon revealed to the peninsula a poignant awareness of the diversity of the Italian character in literature. D. H. Lawrence was attracted by Deledda’s emotional use of nature and human psychology, in which he found a major commitment to her island, Sardinia.
Luigi Pirandello (Awarded in 1934)
Luigi Pirandello was a playwright who received the Nobel Prize for literature in 1934. The theatre of Luigi Pirandello had to resist the rise and decline of Fascism and therefore had to adopt a subtle language made of absurd and ironic sentences to escape the tragedies of the two World Wars. His great contribution to European literature was not limited to his theatre, since Pirandello also wrote a number of brilliant essays on literature, above all about the humoristic tradition of which he felt he was a part. His relationship with Mussolini’s government, whose largesse he occasionally profited from, came under scrutiny following death in 1936. However the ambiguity of his works prohibits any attempts to paint him as a Fascist.
Salvatore Quasimodo (Awarded in 1959)
Salvatore Quasimodo refined and re-wrote the classical canon and therefore reinvigorated it, placing it at the heart of Italian cultural life once again. One of his finest works, his translations from Greek poetry, contributed to shaping his poetic language. Quasimodo’s poems, some of them translated in English in the collection The Night Fountain, show his reluctance to abandon his sense of belonging to a ‘primitive Mediterranean’, and his internal, laconic rejection of the world of the European Belles Lettres. His works indebted as they were to mythology and religion, were perceived to be evidence of a regressive trend in Italian Literature.
Eugenio Montale (Awarded in 1975)
Whereas Quasimodo embraced Italian lyricism, others struggled with its indifference to issues of the present day. Eugenio Montale rejected much of what was considered ‘Italian lyricism’ and, through his sophisticated poetical ear, strenuously re-built the rhythm and language of Italian poetry introducing his own bitter and disenchanted images. His poetic influence can be also, and above all, to be found in other poets, both within and outside the Italian scene. In 1987 the Russian poet, Joseph Brodsky, during his Nobel Prize speech, declared that all twentieth century poetry was truly inspired by Montale. Beyond all national tribute, Montale’s influence on such a wide range of international poets still stands as an impressive legacy.
Dario Fo (Awarded in 1997)
The playwright Dario Fo, like Deledda, offered a regional approach to conceptions of Italian prose. His use of dialects and legends, mainly from the north of Italy, together with his corrosive irony, disentangled Italy from the common stereotype of the provincial art. Fo’s Mistero Buffo, his most important theatrical success, has reformed Italian theatre from its roots; although his political and intellectual sharpness mostly defines his monologues and dialogues, Fo’s greatness stands in his sense of closeness to the oppressed and marginalized in Italian history and politics.
Source :- http://en.wikipedia.org/wiki/List_of_Nobel_laureates_by_country, theculturetrip.com/europe/italy/articles/six-italian-nobel-prize-winners-in-search-of-a-national-identity/)
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[] |
[] |
[
""
] | null |
[
"Phineas Phoenix"
] | null |
Features titles of award winners such as the Newbery, Caldecott, and Coretta Scott King awards. Also includes the call number if the Vise Library owns a particular item.
|
en
|
//d2jv02qf7xgjwx.cloudfront.net/apps/common/favicon/apple-touch-icon.png
|
https://library.cumberland.edu/awardwinningbooks/nobel
|
Karl Adolph Gjellerup - The Vise Library does not own any works by this author
Henrik Pontoppidan - The Vise Library does not own any works by this author
2021 Winner
Abdulrazak Gurnah - The library does not own any of the books published by this author.
2022 Winner
Annie Ernaux - The library does not own any of the books published by this author.
|
|||||
correct_birth_00056
|
FactBench
|
2
| 7
|
https://nationaltoday.com/birthday/mary-j-blige/
|
en
|
Mary J. Blige Birthday
|
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[
""
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[] |
2022-10-11T13:31:08+00:00
|
It’s Mary J. Blige’s birthday! Want to know more about the Queen of Hip-Hop Soul? Here are all of the amazing facts about the award-winning artist.
|
en
|
/apple-touch-icon-57x57.png
|
National Today
|
https://nationaltoday.com/birthday/mary-j-blige/
|
Background
Mary J. Blige was born in the Bronx, New York, to Cora and Thomas Blige on January 11, 1971. She was raised with her older sister. Mary’s parents split when she was four years old. Her mother ended up taking them to Georgia with her. However, that lifestyle did not suit them, so she moved to New York and lived in a seedy neighborhood for most of her early days, spending the majority of her time in constant dread for her life. She quickly became obsessed with hip-hop music as a result of her mother’s collection, and her trips to visit her father also aided her in establishing a strong musical sense. Mary would often practice singing by performing in church choirs and at family events. Her sister and mother encouraged her to pursue her interest, and she won a local singing competition when she was eight years old. To follow her musical dreams, she dropped out of school and focused only on her musical endeavors.
Blige began working with song producer Sean Combs, commonly known as Puff Daddy, after signing with Uptown. He was appointed executive producer and was responsible for the majority of her debut album. Mary’s debut album, “What’s the 411?,” was launched in July 1992. Unexpectedly, it was embraced by both critics and the general public. It was a rare fusion of two disparate musical styles, soul and hip-hop, yet it struck a chord with the audience. The album debuted at number one on the Billboard 200 list and was certified three times Platinum by the R.I.A.A. Two hits from the album, ‘Real Love’ and ‘You Remind Me,’ became highly well-known, and the American music business heralded the arrival of a new period known as “Mary J. Blige.” She was a woman with great potential and ambition.
“My Life,” her second album, was released in 1995. It conveyed the hardships she had experienced in her personal life and mellowed down the hip-hop section. It appeared to try for an inner connection with the listeners and was successful in doing so. The album topped the charts and sold millions of copies, proving that Blige was not a ‘one-hit wonder.’ In 1996, “My Life” received a Grammy nomination for “Best R&B Album.” Despite losing the title, she then won the ‘Best Rap Performance’ award for her performance with Method Man. “My Life” also signaled the end of her relationship with some of her close friends and the label Uptown.
“Be Without You,” the lead single from her seventh album, “The Breakthrough,” was a smashing success that stayed at the top of numerous charts for weeks. Since then, she has released blockbuster albums that have garnered several awards and nominations. Following that, Blige headed into the movie industry. In 2001, she made her debut with “Prison Song.” She has also previously starred in the T.V. sitcom, “The Jamie Foxx Show.” She went on to appear in films such as “Rock of Ages”, and the medieval drama “Mudbound.” She received critical praise as well as multiple honors and nominations for her performance in “Mudbound.”
She fell in love with Kendu Issacs in the early 2000s and married him in 2003, but she filed for divorce in 2016. She became addicted to drugs and alcohol during the early phases of her career, which she considers to be the darkest period of her life.
|
||||
correct_birth_00056
|
FactBench
|
1
| 58
|
https://nypost.com/2024/03/31/us-news/sean-diddy-combs-record-labels-marked-by-murder-death-prison/
|
en
|
The Combs Curse? Embattled Diddy’s record labels marked by murder, untimely deaths and prison
|
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[] |
[
"US News",
"Entertainment",
"hip-hop",
"rap",
"sean combs"
] | null |
[
"Selim Algar"
] |
2024-03-31T00:00:00
|
The two record labels associated with beleaguered hip-hop impresario Sean "Diddy" Combs have both collapsed during a spiral involving murder, death and imprisonment.
|
en
|
New York Post
|
https://nypost.com/2024/03/31/us-news/sean-diddy-combs-record-labels-marked-by-murder-death-prison/
|
The Curse of Combs may finally be catching up with Diddy.
After meteoric initial success, the two record labels associated with beleaguered hip-hop impresario Sean “Diddy” Combs have both collapsed during a spiral involving murder, death and imprisonment.
And Combs himself is now in the crosshairs of the law after federal law enforcement raids on his homes in Los Angeles and Miami in the wake of a number of stunning lawsuits accusing him of sexual misconduct.
The rapid ascent of Diddy, a former backup dancer, began when he started as an intern at Uptown records in 1990 at age 20 and was recruited by CEO Andre Harrell to work with their growing stable of young artists.
In launching Uptown, Harrell also tapped assistant Kim Porter to handle a variety of affairs as the budding label signed a young Yonkers rapper named Heavy D as its first act.
With rap’s popularity beginning to burgeon, the company had a string of successful releases and appeared primed to entrench itself as an industry power.
Diddy himself was vital in moulding the popularity of several emerging stars, including Mary J. Blige and the R&B group Jodeci.
But Harrell would later part ways with Combs over business and creative differences in 1993, and the ambitious Diddy would go on to form the label he became synonymous with, Bad Boy Records.
Tragically, the key originators of Uptown — Harrell, Porter and Heavy D, whose real name was Dwight Myers — would all later die untimely deaths.
Myers passed away after collapsing in front of his Beverly Hills home at age 44 in 2011 from a pulmonary embolism that stemmed from a blood clot in his leg.
Porter, who had a volatile relationship with Diddy and bore him three children, died at age 47 in 2018 in Toluca Lake, Calif. She had been suffering flu-like symptoms for days before her passing, and a medical examiner concluded that she suffered from pneumonia.
Harrell himself would pass in 2020 at age 59 in West Hollywood, Calif. His ex-wife said at the time that he died from heart failure.
Another early pillar at Uptown Records, singer Al B., Sure!, who also dated Porter, suddenly suffered renal failure in 2022, was intubated and fell into a coma for two months.
The Boston crooner, whose real name is Albert Brown, had a liver transplant and fully recovered.
The Bad Boy label, after initially vaulting to global renown based largely on the strength of rap immortal Notorious B.I.G. and Diddy’s savvy guidance, would also suffer through a string of deaths and criminal investigations.
The burly Brooklyn rapper Biggie, whose name was Christopher Wallace, was shot dead in a Los Angeles drive-by shooting at age 24 in 1997 during an ongoing coastal war with California rappers — most notably Tupac Shakur, who was killed the year earlier.
Bronx-born rhymer Craig Mack, another early Bad Boy standout, died at age 47 in 2018 in South Carolina from heart failure after having embraced Christianity and working with a ministry there.
East Harlem Bad Boy artist Black Rob, whose real name was Rob Ross, died in 2021 at age 52 from cardiac arrest in Atlanta after being homeless and suffering several strokes.
Several other artists on the label’s roster were imprisoned, too, after being charged with a variety of crimes.
The most notable among them was Belize-born rapper Shyne, who served eight years in prison after being convicted of a nightclub shooting incident that involved Diddy and his then-girlfriend, Jennifer Lopez.
A jury convicted Shyne of firing three shots during the crime after the Bad Boy contingent had an argument with another club attendee.
Diddy and his close friend and bodyguard Anthony “Wolf” Jones also faced charges stemming from the incident but were acquitted in a sensational case, which gripped New York City at the time.
While he survived the criminal case, Jones was later shot and killed after a confrontation outside of an Atlanta nightclub in 2003.
Former Bad Boy rapper Travell “G. Dep” Coleman, who also copped to a 1993 cold-case murder outside a housing project in 2010, had his 15 years to life sentence commuted last year by New York Gov. Kathy Hochul.
Another former Bad Boy act, Amir Junaid Muhadiuth, known as the rapper Loon, served seven years for drug-trafficking before he was granted an early release in 2020 during the COVID-19 crisis.
Several high-profile entertainers, including Snoop and Mary J. Blige, lobbied for his release.
As for the latest legal issues for Combs, his lawyers have ripped the actions as a baseless “witch hunt” and said he is innocent of the swirl of accusations now encircling him.
|
|||||
correct_birth_00056
|
FactBench
|
3
| 41
|
https://www.maryjblige.com/
|
en
|
Official Site of Mary J. Blige
|
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The official site of Mary J. Blige with upcoming tour dates, recaps & exclusive updates.
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correct_birth_00056
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FactBench
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0
| 55
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https://www.apbspeakers.com/speaker/mary-j-blige/
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en
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Book Mary J. Blige for Speaking, Events and Appearances
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Book Mary J. Blige to speak at your next event. Contact APB Speakers for bio, videos, topics, and to inquire about speaking fees and availability.
|
en
|
APB Speakers
|
https://www.apbspeakers.com/speaker/mary-j-blige/
|
Born in the Bronx, Blige grew up in housing projects in Yonkers, NY. While at a mall in White Plains, NY, she recorded herself singing Anita Baker's "Caught Up in the Rapture" into a karaoke machine. The tape was passed to Uptown Records CEO Andre Harrell who signed her. In 1991, Sean "Puffy" Combs took Blige under his wing and began working with her on What's the 411?, her debut album that bridged the gap between R&B and rap in a way that no female singer had before.
Called the new Chaka Khan or new Aretha Franklin, Blige helped adorn soul music with new textures and flavors that inspired a whole generation of musicians. With her blonde hair, self-preserving slouch, and combat boots, Blige was street-tough and beautiful all at once. As she softened her style to include sleek designer clothes, she remained a hero to thousands of girls growing up in the same kinds of rough places she came from.
Her second release, My Life, featuring Combs' handiwork, was full of ghetto pathos and Blige's own personal pain. After its release, she severed her ties with Combs and Uptown, hired Suge Knight as a financial advisor, and signed with MCA. Blige also involved herself in several projects, including "Not Gon' Cry,” for the soundtrack to Waiting to Exhale that became her biggest hit at the time. That year, she won her first Grammy Award for "Best Rap Performance by a Duo or Group.”
Blige released Share My World in 1997 that debuted at number one. It reflected her new creative partnerships with Jimmy Jam and Terry Lewis.
In 1999, Blige released her fourth album, Mary, a departure from her more familiar hip-hop-oriented sound that featured a collection of songs reminiscent of 1970s and early 1980s soul. Also featured on the album were high-profile guests, including Aretha Franklin, Elton John, Eric Clapton and Lauryn Hill. Her fifth album, No More Drama, reflected her own spiritual, emotional, and personal vision with "Family Affair,” her first number one single on the Billboard Hot 100. The album title proclaimed a period of greater calm and resilience in Blige which reflected a renewed commitment to cleaning up her life and she won her second Grammy for "Best Female R&B Vocal Performance.” In 2003, she was reunited with P. Diddy, who produced the majority of her next album, Love and Life.
Her next album, The Breakthrough, was a tremendous success, spawning a handful of major singles and breaking sales records by selling nearly three million copies in the US and over six million copies worldwide. It earned multiple awards and Blige received eight Grammy Award nominations at the 2007 Grammy Awards, the most of any artist for the 2007 awards.
In 2006, Blige released an album of duets, Mary J. Blige & Friends with Sting, Santana, Elton John, Robin Thicke, and Patti LaBelle with the proceeds going to the Boys & Girls Club of America. She also released Reflections - A Retrospective and recorded a duet with Aretha Franklin for the soundtrack to Bobby. In addition, Blige appeared in Ludacris' inspirational song and music video “Runaway Love” that raised awareness of the phenomenon of girls who run away from home because of abuse by men.
Blige made her acting debut on The Jamie Foxx Show and went on to appear in the independent feature film, Prison Song, and made a cameo on the Lifetime network series, Strong Medicine.
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correct_birth_00056
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FactBench
|
3
| 57
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https://en.salvemusic.com.ua/mary-j-blige-meri-dzhej-blajdzh-biografiya-peviczy/
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en
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Mary J. Blige (Mary J. Blige): Biography of the singer
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2020-02-08T12:31:55+00:00
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Mary J. Blige (Mary J. Blige): Biography of the singer - Salve Music - RnB - Biographies of musicians - Personal life - Interesting facts - Encyclopedia of music
|
en
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Salve Music
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https://en.salvemusic.com.ua/mary-j-blige-meri-dzhej-blajdzh-biografiya-peviczy/
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American singer, producer, actress, songwriter, winner of nine Grammy awards is Mary J. Blige. She was born on January 11, 1971 in New York (USA).
Childhood and youth of Mary J. Blige
The early childhood period of the raging star takes place in Savannah (Georgia). Subsequently, Mary's family moved to New York. Her difficult life path passed through many obstacles, there were surprises along the way, good and not so good.
Childhood was difficult. Constant conflicts with peers left their mark. Not liking going to school, Mary roamed the streets, she liked to hang out with her friends.
The beginning of the road to success
Absolutely by chance, she recorded the Anita Baker song Caught up in the Rapture. And maybe it's nothing, but Mary's stepfather showed the tape to Andre Harrell.
The stars aligned. Harrell was struck by the voice and instantly signed a contract. It should be noted that the rising star started with backing vocals.
A start was made. A combination of circumstances led to a chain of events, and now Sean "Puffy" Combs, fascinated by vocal abilities, helped the aspiring vocalist with the recording of the first album. Debut album What's the 411? came out in 1991.
It took several months to record it, and it turned out to be attractive, kind of innovative. An interesting musical accompaniment, combined with a strong and unusual voice, created a "musical thread" connecting blues and rap.
At that time, Blige gave all the best to 100%. Her first disc, not without the participation of rappers Grand Puba and Busta Rhymes, occupied the leading positions twice.
Topping the R&B/Hip-Hop albums chart, What's the 411? entrenched in the top ten hits of the Billboard 200.
Personal style and demeanor of the artist
The manner and style of clothing was very different from what was expected from Blige. Rap protest and internal struggle against the rules and injustice of life made Mary who she was.
The largest record companies (MCA, Universal, Arista, Geffen) were interested in the rising star at a rapid pace.
The managers of these firms fought desperately with the image of the singer, it seemed in vain. But time passed, changes took place in the soul of the young rap lady and sophisticated things appeared in the wardrobe.
For many girls with a similar fate, she forever remained a militant Mary J. Blige!
Career Mary J. Blige
In 1995, the second album My Life was released. Sean Combs took an active part in this. This album has had some changes.
So, lyrical and romantic intonations distracted the listener from the rap sound, and Mary seemed to tell her whole life, pain and problems. She was very worried about everything related to the infringement of the rights of blacks.
Her breakup with labelmate K-Ci Hailey also worried her. All this gave the album a very personal feel. As a rule, such recordings cling to the soul of listeners, because everyone sees in them a particle of their life.
My Life became an equally successful work, having done the same way in the charts. In the same year, the singer was among the nominees and won the Best Rap Song nomination for the track I'll Be There for You.
And then the singer changed the team. Now her producer is Suge Knight. This decision was not easy, but Mary, who knew what she wanted, clearly followed her goal.
Having signed a contract with MCA, the performer began to create a third studio album.
Two years later, in 1997, the LP Share My World was released as a collaboration between composers and producers Jimmy Jam and Terry Lewis. Share My World - one of the songs became a hit.
It was with this song that the singer supported the concert tour. A new live CD was released in 1998.
The mature period of the artist's work
As time passed, as Mary matured both spiritually and professionally, Mary's style changed. She no longer rebelled like a teenage girl.
In 1999, her new fourth album, Mary, was released. Now she looked like an expressive artist, with a powerful voice of extraordinary beauty. Her musical style has gained confidence and charm.
The sound of her voice, the semantic load retained its former emotionality. Mary reached No. 2 on the pop chart and entered the top twenty Canadian hits on her first R&B chart.
The fifth in a row, but not in terms of sound strength, the album No More Drama was released in 2001. This time, the singer concentrated considerable attention and a lot of energy on the creation of her offspring.
Previously, critics married composers, now Mary herself showed the listener her vision of music. This album was another bestseller, reaching #1 on the Top R&B/Hip-HopAlbums chart.
2003 and another studio release Love & Life. It was in this album that the performer demonstrated her high professionalism. A significant contribution to this album was made by Sean Combs (P. Diddy). The album's commercial success was largely due to him.
Of course, a difficult childhood left scars on the soul of the singer. Nevertheless, she walks with a confident gait, winning the hearts of millions, today she has become one of the best contemporary performers.
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correct_birth_00056
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FactBench
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1
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https://www.planetware.com/new-york/top-rated-attractions-things-to-do-in-the-bronx-ny-us-ny-78.htm
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en
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15 Top-Rated Attractions & Things to Do in the Bronx, NY
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https://www.planetware.com/new-york/top-rated-attractions-things-to-do-in-the-bronx-ny-us-ny-78.htm
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Written by Meagan Drillinger and Lavanya Sunkara
Updated Dec 23, 2023
We may earn a commission from affiliate links ( )
The Bronx does not often get as much of the New York City spotlight as neighboring boroughs like Manhattan, Queens, or Brooklyn. But the Bronx is one of the most authentic, diverse, and historically significant places in the entire country.
Located across the Harlem River northeast of Manhattan, the Bronx is the borough that gave us Hip Hop, and icons like George Carlin, Tony Curtis, Floyd Mayweather, Mary J. Blige, Lauren Bacall, and so many more.
Today the Bronx is home to some of the best things to see and do in New York City, from the world-famous Bronx Zoo to Yankee Stadium, the New York Botanical Garden, and the Bronx Museum of Arts. If you're visiting over the holiday season, you won't want to miss the Holiday Train Show at the Botanical Garden or the Bronx Zoo's Holiday Lights.
It is also a borough that has quite a few parks (including the largest park in New York City), and some beautiful beaches and off-shore islands. Pelham Bay Park, Orchard Beach, and City Island are among the best things to see in the Bronx.
Bronx is the only borough that is not an island itself and can be reached by subway and bus, as well as from New York City airports LaGuardia and John F. Kennedy International Airport.
Discover the best places to visit during your vacation in the Big Apple with our list of the top things to do in the Bronx.
1. Yankee Stadium
Whether you are a baseball fan or not, a trip to Yankee Stadium, home of the 27-time World Series champions, is sure to be a memorable experience.
Debuted in 2009, this modern stadium of the Yankees takes baseball watching to a new level, with comfortable seating in the lower level and food concessions beyond curly fries. Enjoy food from Jersey Mike's, Benihana, Mighty Quinn's BBQ, Haru Sushi, or Bareburger (which even has vegan options), as you watch the Yankees play against the Boston Red Sox, Detroit Tigers, Baltimore Orioles, Toronto Blue Jays, among others on their home turf.
Learn about the history of the most successful team in American baseball and check out memorabilia at the Yankees Museum or head to outdoor Monument Park for plaques of famous Yankee players, including Lou Gehrig, Babe Ruth, Joe DiMaggio, and Mickey Mantle. Baseball season lasts from April to October, sometimes longer, but if you happen to be visiting in the off season, you may still sign up for a stadium tour.
Address: 1 E 161 Street, The Bronx, New York
2. Bronx Zoo
The country's biggest urban zoo is a must-visit attraction for families and animal lovers. Located a short walk from the E. 180th St. subway station, the world-famous Bronx Zoo, run by the Wildlife Conservation Society, features more than 650 species. With a tagline like the "Wildest Place in the City," you will get your money's worth when making the trek to this special attraction, which features exhibits such as Congo Gorilla Forest, Wild Asia Monorail, a Children's Zoo, and opportunities to connect with animals through interactive programs.
The Congo Gorilla Forest gives visitors a rare opportunity to see the Western lowland gorilla, mandrill, and okapi up close. The seasonal Monorail takes you on a journey past expansive Asian habitats hosting tigers, elephants, pandas, and other endangered species. The zoo's Treetop Adventure is fun for both adults and kids, giving them a chance to climb or zipline from treetops.
Each year, the Run for the Wild event brings together people for a 5K run/walk to raise funds for the conservation of endangered species.
Address: 2300 Southern Blvd, The Bronx, New York
3. New York Botanical Garden
Located across the road from the Bronx Zoo and near Fordham University, the 250-acre New York Botanical Garden is a landmark attraction worth visiting for its numerous gardens, iconic Holiday Train Show featuring miniature NYC landmarks, and the stunning Orchid Show (held from February to April).
On your visit, take a walk through an old-growth forest at the Thain Family Forest, photograph beautiful blooms at the Jane Watson Irwin Perennial Garden and Peggy Rockefeller Rose Garden, and get transported to a tropical paradise in the magnificent Enid A. Haupt Conservatory. For those looking for a serene outdoor venue for a wedding, the New York Botanical Garden is a great choice.
The LuEsther T. Mertz Library, tucked in the grounds of the Botanical Garden, houses the largest collection of books and materials on botany; you're likely to find everything from vintage seed catalogs to centuries-old floral illustrations here.
Address: 2900 Southern Boulevard, Bronx, New York
4. City Island
The small community living on the 1.5-mile-long City Island is connected to the Bronx via a bridge from the edge of Pelham Bay Park. This former ship-building enclave offers a more New-England-style escape, with antique stores, galleries, old Victorian homes, and a slower pace of life compared to the rest of the bustling city.
Dine at popular seaside restaurants, like Johnny's Reef. Visit the City Island Historical Society and Nautical Museum for exhibits on the island's rich maritime history. For time on the water, rent a boat from Jack's Bait & Tackle and go on a fishing expedition. Keep in mind that the museum is closed during winter.
Address: 190 Fordham Street, City Island, New York
5. Universal Hip Hop Museum
Hip hop is a music genre that changed the world and it was born right here in the Bronx. The year 2023 celebrates 50 years of hip hop and there is no better place to learn about the history, legends, and impact than at the Universal Hip Hop Museum.
The museum is an interactive journey that uses artifacts, multimedia, AI, and virtual technology to help tell the story of Hip Hop. Learn about legends from Run DMC to Whodini, the Beastie Boys, and more. Watch as Hip Hop traveled across the country from the Bronx to Compton, California.
The museum is home to 30,000 objects and is still expanding its collection. It is, without a doubt, the preeminent place to learn about and appreciate the art of Hip Hop — right on the streets where it was born
Address: 610 Exterior Street, Bronx, NY 10451
6. Little Italy in the Bronx
When you think of New York City's Little Italy, you're probably thinking of the one in lower Manhattan. But the city is home to a second Little Italy that has far fewer tourists, and just as excellent (if not better and more authentic) Italian restaurants and markets.
Located in the Belmont section of the Bronx, Little Italy here centers around Arthur Avenue. A short stroll down this bustling thoroughfare will reveal dozens of delectable restaurants serving everything from brick-oven pizza and homemade, bubbly lasagna to shops selling imported cheeses, antipasto, and dried pastas.
The historic neighborhood dates back more than a century. It was, and still is, a haven for Italian immigrants and today is one of the best places to visit in New York City for a glimpse of its multicultural colors.
7. Woodlawn Cemetery
Dating back to 1863, Woodlawn Cemetery is now a National Historic Landmark. It's easy to see why. The landscaped, 400-acre cemetery features classical architecture, monuments, as well as a large community of birds and other wildlife. It even has five of New York City's "Great Trees," which are trees that are unusual in size, species, form, or historical association.
Today the cemetery is the final resting place for more than 310,000 souls. It's a non-sectarian cemetery and was envisioned as a place for the "famous and powerful," according to the National Historic Landmark plaque.
While visiting the cemetery, guests can also explore the arboretum, which has more than 140 varieties of trees.
Address: 4199 Webster Ave, Bronx, New York
8. Wave Hill
Wave Hill is part park and part horticultural garden and gives visitors a wonderful chance to connect with nature. This 28-acre once-private estate now belongs to the City of New York and is located in the Hudson Hill section of Riverdale. The estate had some luminary hosts, like Mark Twain and Teddy Roosevelt, throughout the years. The house that they resided in now houses a café serving beverages and snacks.
Spend some time browsing art at the Glyndor House Gallery before going on a leisurely walk on wooded trails affording expansive views of the Hudson River and the sheer cliffs of New Jersey Palisades. This year-round public parkland has manicured lawns and gardens, lily ponds, and benches at scenic overlooks. Wave Hill also offers guided walks, yoga classes, art workshops, exhibitions tied to nature, environmental programs, and concerts.
Admission to the estate is free on Tuesday and Saturday mornings. Free shuttle services are also available from the Van Cortlandt Park-242nd Street subway stop and the Metro-North stop at Riverdale. Just down the hill from Wave Hill, you will find Riverdale Park, where you can see the Hudson River up close.
Address: Front Entrance, 4900 Independence Ave, Bronx, New York
9. Pelham Bay Park
As the largest park in New York City, Pelham Bay Park eclipses Central Park three times over and boasts oak forests, marshes, and miles of shoreline, all spread across 2,772 acres. On the park's eastern shore, Bronx's only public beach, Orchard Beach, welcomes visitors in the warmer months.
Guests visiting the park can participate in horseback riding, tennis, bocce ball, football, and golf, among many other things to do.
The historic house and museum of Bartow-Pell Mansion, situated in the northern part of the park, invites visitors to admire its Greek-Revival-style architecture, elegant parlors and lavish design, and beautifully landscaped lawns and gardens.
10. Van Cortlandt Park
New York City's third largest park sits in the northwestern part of the Bronx, lush with valleys and woodlands, and the borough's largest freshwater lake, the Van Cortlandt Lake, all spread over a thousand acres. There are plenty of opportunities to soak in this natural beauty with friends and family. There are playing fields and playgrounds scattered about, and a public golf course for your recreation.
History buffs can visit the Van Cortlandt House Museum, the oldest surviving building in the Bronx, built in 1748, to learn about the namesake family that occupied the house in the 18th and 19th centuries.
11. Orchard Beach
The 115-acre, 1.1-mile-long, Orchard Beach is Bronx's only public beach and is considered the "Riviera of New York." As such, it sees a number of sun worshippers during the summer.
The crescent-shaped sandy beach faces the Long Island Sound and overlooks City Island. Visitors can enjoy the Orchard Beach Snack Bar; picnic areas; BBQ areas; playgrounds; and basketball, volleyball, and handball courts.
Changing rooms and showers are also available. Parking is available for a small fee during the beach season and for free during other times. Orchard Beach can be reached by subway to the Pelham Bay Station.
Read More: Top-Rated Beaches in New York City & Surrounding Area
12. Bronx Museum of the Arts
Housed in a former synagogue donated by the City of New York, the Bronx Museum of the Arts showcases contemporary art reflecting the diverse cultures that make up the borough, and focuses on political and social themes relevant to the communities.
The Bronx Museum of the Arts is located in the Grand Concourse Cultural District. It features a permanent collection of more than 2,000 artworks by artists of African, Latin American, and Asian backgrounds. The museum also offers events, educational programs, and group visits for students. Best of all, admission is free.
Address: 1040 Grand Concourse, Bronx, New York
13. Bronx River
Bronx River is the city's only freshwater river, and visitors can enjoy a refreshing day out on the water on canoeing and paddling trips. The river runs 23 miles long and flows through southeast of New York (eight miles in the Bronx) and empties into the East River and ultimately into the Long Island Sound.
This once-polluted waterway has been cleaned and revitalized, thanks to environmental groups such as the Bronx River Alliance. The annual Bronx River Flotilla celebrates the river's comeback with a five-mile paddling excursion. The alliance also organizes paddling trips and other river activities.
14. Edgar Allan Poe Cottage
Travel back in time to the world of poet Edgar Allan Poe, during a visit to his namesake 19th-century cottage, nestled between Kingsbridge Road and the Grand Concourse. Poe spent the last years of his life with his sick wife and mother-in-law at the cottage in the mid-1800s, hoping that the fresh country air would help heal his wife.
This tiny and charming cottage is tucked within Fordham University Rose Hill Campus's Poe Park and is operated by the New York City Department of Parks & Recreation. Inside, you'll find reproductions of furniture from Poe's time, along with some of his personal items. This cottage served as the inspiration for his poem, Annabel Lee.
Address: 2640 Grand Concourse, The Bronx, New York
15. Bronx Night Market
If you find yourself in the Bronx on a Saturday from May through October, head to Fordham Plaza for the free, open-air Bronx Night Market. It offers a taste of New York City's diverse culinary delights from more than 100 food vendors, as well as live music from local talent.
Expect to find flavorful provisions from eateries such as Mao's Bao, Rooster Boy, Chavas Empanadas, Mysttik Masaala, The BX Burger Co., and more. Fordham Plaza is a two-block commercial area located south of Fordham Road and across from the Fordham University's Rose Hill campus.
Address: Fordham Plaza, E. Fordham Road, The Bronx, New York
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correct_birth_00056
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FactBench
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0
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https://www.endorsco.agency/talent/mary-j-blige
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en
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Talent Marketing Agency
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Mary J Blige is an American rapper. Endorsco is a talent marketing agency of agencies. For agents, managers, contacts, bookings, and news.
|
en
|
https://www.endorsco.agency/talent/mary-j-blige
|
Booking Agency. Reimagined.
Endorsco is a global consultancy connecting brands to influential entertainment talent. Specializing in procurement and insights we're creating a leading talent network for events and advertising. Endorsco streamlines endorsement negotiations with a unique 'agency of agencies' model. As a one-stop-shop with expertise in marketing and legal functions we are a commercially-minded agency. Contact us today at contact@endorsco.com to explore who represents whom, for agent and manager contacts and to discuss our offering.
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correct_birth_00056
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FactBench
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3
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https://music.apple.com/us/artist/mary-j-blige/1392280
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âMary J. Blige
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Listen to music by Mary J. Blige on Apple Music. Find top songs and albums by Mary J. Blige including Family Affair, Everything and more.
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Apple Music - Web Player
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https://music.apple.com/us/artist/mary-j-blige/1392280
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Mary J. Blige is that rare singer who can channel your painâand then drag you onto the dance floor to sweat it away. Dubbed the Queen of Hip-Hop Soul in the â90s, Blige came off as tough and streetwise (unlike many of her contemporaries), and she could go toe to toe with rappers, including JAY Z, Method Man, and more recently Kendrick Lamar. Born Mary Jane Blige in the Bronx in 1971, Blige was raised mainly in Yonkers, NY, where she grew up listening to the greats: Aretha, Chaka, and Gladys Knight. Her voice is elastic, scrappy, and versatile, with more than a hint of world-weary grit, and when a chance recording of Anita Bakerâs âCaught Up in the Raptureâ came before Uptown Records execs in 1988, the label immediately snapped her up as its youngest (and first female) signee. She and Sean Combs crafted her 1992 debut, Whatâs the 411?, which spawned the ubiquitous and beloved jam âReal Loveâ and helped set the template for R&Bâs marriage to hip-hop. Bligeâs life was never separate from her art, and fans have followed her through addiction, marriage, divorce, and therapy, connecting with songs like âNot Gonâ Cryâ and âNo More Dramaâ out of deep identification: Here was an artist who sang womenâs realities as they were almost never presented in popular musicâand who always came out stronger. Mary (1999) saw her move toward a more classic sound, though 2001âs smash âFamily Affairâ swung back toward hip-hop; that fertile tension has remained in her music since. Even as sheâs gone Hollywood (earning an Academy Award nomination for 2017âs Mudbound), Mary J. remains a model R&B diva who paved the way for myriad successors, including Beyoncé and Ariana Grande. In 2022, she performed an Apple Music Live session in New York.
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correct_birth_00056
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FactBench
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1
| 74
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https://www.encyclopedia.com/education/news-wires-white-papers-and-books/martin-darnell-1964
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en
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Martin, Darnell 1964–
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Darnell Martin 1964
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https://www.encyclopedia.com/education/news-wires-white-papers-and-books/martin-darnell-1964
|
Darnell Martin 1964–
Filmmaker
Inspired by Faulkner Novel
Courted by Columbia TriStar
Found Work in Television
Selected works
Sources
Darnell Martin, writer and director of 1994’s I Like It Like That, attained a momentous first in the entertainment industry with her debut film: she became the first African-American woman to make a movie with the sponsorship of a major Hollywood studio. Martin’s film, a tale of love and hardship set in the South Bronx, won critical plaudits, but she has faced difficulties in building her subsequent career.
Inspired by Faulkner Novel
Born on January 7, 1964, Martin was the daughter of an unconventional set of parents: she rarely saw her African-American father, an attorney, when she was growing up, while her mother, of Irish heritage, was often busy performing with her African fire-dance troupe. Martin and her two older sisters grew up in various New York neighborhoods, including Morrisania in the South Bronx, and there were times when the family had to depend on public assistance. Morrisania in the early 1970s was a rough area, but as the future filmmaker told New York Times journalist Jan Hoffman, “When you’re a kid you don’t think drugs. You just notice that everyone seems kind of laid-back and tired.”
Martin’s mother tried to pave a way for her daughters out of Morrisania. Once, she found a job selling commodities and moved the family out of the boroughs and into Manhattan. She sought a scholarship so that Martin could attend the Barnard College School for Girls, and another time she was able to send her to a Greenwich, Connecticut, boarding school. It was there that Martin first read William Faulkner’s 1932 novel, Light in August. In it, an orphan named Joe Christmas is accused of being part African American even before he is born, and that rumor follows him for the rest of his lonely, isolated life, culminating in a shocking act of violence. She explained in an interview with Kate Meyers of Entertainment Weekly that the novel had inspired her deeply. “That a white man from the South, from a different period and a different social structure than I, could write something that was more close to me than anything I have ever read in my life says we’re all … human.”
At Sarah Lawrence College, Martin studied theater and literature, and decided to pursue filmmaking for her graduate education. She was rejected by all the film schools to which she applied, and instead took a job as a technician in a film laboratory in Manhattan. At other times she tended bar and worked for a camera-rental business. Through the film lab job, however, she met cinematographer-director Ernest Dickerson, best known for his work on a number of Spike Lee films. Dickerson helped Martin land a job doing second-assistant camera work on Lee’s 1989 movie Do the Right Thing, as well as for an Anita Baker video. Still formally untrained, Martin was hired for commercial and video work, but only made it into New York University’s (NYU) film school when Lee, an alumnus, made a phone call on her behalf.
At a Glance…
Born on January 7, 1964, in NY; daughter of Marilyn (a dancer) and an attorney; married Giuseppe Ducret (an artist). Education: Sarah Lawrence College, BA, 1960s; New York University Film School, MA, 1990s. Religion: Christian Scientist.
Career: Technician at film laboratories in New York City, 1980s; Do the Right Thing; second assistant camera person, 1989; film director, screenwriter, film producer, 1992-; television director, 1993-.
Memberships: Writers Guild of America.
Awards: Directing fellowship, Sundance Institute, Utah.
Addresses: Office —c/o Columbia Pictures, 3400 Riverside Dr., Los Angeles, CA 90027.
Courted by Columbia TriStar
Martin’s NYU student film, Suspect, was showcased in the New York Public Theater’s Young Black Cinema event in 1992, and helped win her a fellowship in directing at actor-director Robert Bedford’s prestigious Sundance Institute in Utah. She had already begun writing I Like It Like That while at NYU, originally calling it “Blackout,” and her timing was fortuitous. She took the finished script around to the studios, who were suddenly eager to take on work from young, untested African-American filmmakers. The box office success of movies like Boyz in the Hood, with their urban themes and already-known musical stars, awakened studios to the profit potential in courting a new generation of visual storytellers, and Martin was the first female among this first wave of black filmmakers to achieve success.
The road to making her debut feature film was not an easy one, however. New Line Cinema initially offered Martin $2 million to make it, which meant she would have had to shoot the entire movie in just seven weeks. As she recalled in the New York Times, at the time the offer came through she was out of money. “I was about to be evicted, and I was eating spaghetti and oil for dinner,” she told Hoffman. “But I thought ’If I shot that film in seven weeks, it wouldn’t be a good movie.’” She turned it down, and then Columbia TriStar Pictures offered her $5 million. The finished product, which starred newcomers Jon Seda and Lauren Vélez, earned strong reviews when shown at the 1994 Cannes Film Festival, and also did well at the box office.
I Like It Like That is set in a Hispanic-American community in the South Bronx. Velez plays Lisette, who is of mixed African-American and Latino heritage. She and Seda’s Chino, a bike messenger, have three young children. During a blackout, Chino tries to steal a stereo for her and is sent to prison. Lisette must find a job and rely on her family and community for help, which proves to be a mixed blessing. Her subtly racist mother-in-law, played by Rita Moreno, brags that their Puerto Rican family has only pure Spanish Castilian blood; Lisette’s brother is a transvestite who encourages her to model. Instead she finds work at a Manhattan record company. When her wealthy white boss drives her home one night, the neighbors assume she is cheating on Chino. “Like Martin’s own childhood, Lisette’s world is crowded with rakish relatives and friends who drop by uninvited, often to deliver unwelcome messages,” noted Hoffman in the New York Times.
The record company plot line aside, music was a key element in Martin’s debut film, and she noted later that some objected, claiming it was overpowering. She defended the soundtrack in an interview with American Visions, telling writer Steve Monroe that it reflected the world in which she grew up. “In New York you have people of all cultures—black, white, Latino—living on top of each other. You hear them talking and shouting, and you hear their music all the time.” She was eager to stress elsewhere, however, that the film was certainly not autobiographical, save for the South Bronx neighborhood. Her background was far closer to that of the movie’s oldest son, Li’l Chino, than to Lisette, she told Hoffman in the New York Times. “You’re a kid trying to break up a fight between the people who are taking care of you.”
Found Work in Television
Critics applauded both I Like It Like That and its creator. Cineaste writer Alvina Quintana asserted that the movie “offers viewers its share of familiar … stereotypes, images of virtuous and loose women, machomen, dysfunctional families, drug dealing gangs, poor barrio homes, and so forth. But other aspects of the film suggest that Martin’s portrayal of the young multiracial married couple exemplifies the struggle between the visions of the past and those of the future, representing the filmmaker’s attempt to challenge outdated cultural models.” Leah Rozen of People commented on the respect that Martin seemed to have for the characters she created, noting that she “doesn’t pretend anyone in this neighborhood has it easy but demonstrates the sense of belonging that can be had there.” Writing for Entertainment Weekly, Lisa Schwarzbaum called Martin’s status as Hollywood’s first black woman filmmaker an impressive achievement, but conceded that Martin was “not the one who needs the certificate. Columbia deserves the attaboy clap on the back for having latched on to such an intelligent, confident filmmaker at the start of her career.”
Despite such praise, Martin had a difficult time with her next project. The story came out of a film class she taught for underage offenders at New York City’s Spofford Correctional Facility, and she collaborated on the project with rapper Q-Tip, once a member of A Tribe Called Quest. The result was a musical called Prison Song, which never made it to theatrical release despite a solid performance by Mary J. Blige. Since then, Martin has worked primarily in television, finding a home as the director of episodes for the bleak HBO prison drama Oz, and for spin-offs of the network drama Law & Order.
Martin married Giuseppe Ducret, an artist from Italy, whom she met when she was 17 and traveling in Europe. She was pragmatic about her success in an Essence interview with Deborah Gregory. “The only reason I am living my dreams now is because my mother raised me to believe that I could be whoever I wanted to be,” she reflected. “A lot of people aren’t that lucky.”
Selected works
Films
Suspect, 1992.
I Like It Like That, 1994.
Prison Song, 2001.
Television
Homicide, Life on the Street, NBC, 1993.
ER, NBC, 1994.
Oz, HBO, 1997.
Law & Order: Special Victims Unit, NBC, 1997.
Law & Order: Criminal Intent, NBC, 2001.
Dragnet, ABC, 2003.
Sources
American Visions, October-November 1994, p. 43.
Black Collegian, October 1994, p. 8.
Cineaste, Summer 1996, p. 30.
Entertainment Weekly, October 21, 1994, p. 47; April 14, 1995, p. 72.
Essence, December 1994, p. 52; March 2000, p. 82.
Nation, November 14, 1994, p. 592.
New York Times, October 9, 1994, p. H28.
People, October 31, 1994, p. 20.
Variety, July 14, 1997, p. 34.
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correct_birth_00056
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FactBench
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2
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https://www.vibe.com/lists/best-moments-mjb-strength-of-a-woman-festival-summit/
|
en
|
5 Best Moments From Mary J. Blige’s 2024 Strength Of A Woman Festival & Summit
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"Amber Corrine"
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2024-05-14T22:36:27+00:00
|
Over Mother's Day weekend, Mary J. Blige held her third annual Strength of a Woman Festival and Summit in her hometown of New York City.
|
en
|
VIBE.com
|
https://www.vibe.com/lists/best-moments-mjb-strength-of-a-woman-festival-summit/
|
Tasha Smith Opening The Summit With A Sermon About Strength
Tasha Smith truly shined at the Strength of a Woman Summit & Festival, hosted by Jess Hilarious. The actress and producer not only sat on a panel alongside Mary J. Blige, Taraji P. Henson, and Angie Martinez but also opened the summit with a few spiritual words. Guests checked out the many installations, grabbed their Sun Goddess wine and lite bites from Pepsi‘s Dig in Village, and then flooded the conference room waiting to hear words that would shift their spirits and open their minds.
Jess kicked off the panel discussions with a warm introduction followed by Smith, who took the floor with a motivational sermon surrounding the theme of strength. “I don’t try and be preachy it’s just in my DNA,” she began before reciting the scripture Isaiah 40:31. “But they that wait upon the Lord shall renew their strength; they shall mount up with wings as eagles; they shall run, and not be weary; and they shall walk, and not faint.”
Tasha’s uplifting words set the tone for the rest of the afternoon, leaving the crowd roaring with applause and cheers. She definitely needs her own daytime talk show one day!
Watch below.
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"Girl Talk" With Mary J. Blige, Taraji P. Henson and Tasha Smith Hosted By Angie Martinez
Of all the panels held at Strength of a Woman 2024, “Girl Talk with MJB” had to be the highlight of the night as Mary J. Blige, Angie Martinez, Tasha Smith, and Taraji P. Henson let us all in their unfiltered group chat.
The relatable conversation celebrated the magical bond found in Black women’s friendships as they examined life, love, dating, family, careers, and everything in between. From beginning to end, the room murmured grunts of agreement, loud claps, and chants of “I know that’s right.” As they discussed their busy lives, Smith shared how she keeps her friendships healthy and alive, even if they go periods without speaking.
“When they’re doing dumb sh*t behind your back, they’re the ones that get more paranoid when they don’t hear from you,” the actress said when discussing fake friendships. “If I don’t talk to Taraji, I don’t think something’s wrong. I know she’s busy, and I know she loves me, and I know when I see her, we gonna pick up like we just did last week. Mary don’t get mad when I ain’t talking to her, she know we good. If she busy, and I call her and she don’t call me right back, I know we good. There is never a question.”
She went on, “So y’all women that be doing that dumb sh*t behind each other’s back y’all better stop, okay? And this is from the book of Tasha. I’ll get back to praying later from the Bible, but right now I’m going to say, if you want a good friend, here’s the scripture: ‘Show yourself friendly.’ And what is showing yourself friendly? Loyalty, commitment, not gossiping about a negro behind their back. Not backbiting. Really be there for your sisters. Really support them.”
The entire room clapped in agreement. Truly a mic-drop moment.
Method Man, Larenz Tate, Michael Rainey Jr., Mekai Curtis, And Da'Vinchi Honoring Black Women
SOAW Fest saw a slew of incredible discussions spearheaded by Black and brown women. Aside from the women-led panels that discussed topics including mental health, fashion, style, women’s reproductive health, financial literacy, friendship, maintaining community, and small business, notable Black men showed up for their own panel where they honored Black women.
BMF actor Da’Vinchi moderated a heartwarming panel featuring Method Man, Michael Rainey Jr., Larenz Tate, and Mekai Curtis. The gentlemen shared their love and respect for the women who have affected their lives. The actors also gave suggestions on how Black men can be better allies to Black women in a world that often pressures them to be strong.
“Pay them equally,” Meth called out as the crowd roared in applause. Tate added, “In our society most of the gatekeepers are male, and the decision-makers are male. I think that in order to take it to the next level where women are equal in a real way, we have to let– no, they need to be in positions to be the gatekeepers.”
Guest Treatments By Tooth Gems, Mielle Glam Sessions, Custom Floral Bouquets, And More
Attendees were in for a treat!
As panel discussions flowed throughout the day, guests were offered many installations to occupy their time outside of the scheduled discussions. Truly a Black woman’s playground, attendees flooded lines to get free tooth gems by Tooth Couture, create their own custom bouquet of flowers, get their hair touched up by Mielle, and even write Mary J. Blige a message about how she changed their life.
Guests were also invited to drop a video message in Pepsi‘s photo booth where they answered questions about Black culture. Of course, MJB’s signature Sun Goddess wine was available for purchase along with her Sister Love jewelry line with Simone I. Smith. Women viewed the station showcasing their signature bamboo doorknockers, necklaces, bracelets, and more.
Smith actually appeared on another panel with Misa Hylton and LaTonya Blige-DaCosta where she promoted her earrings line with MJB and her latest denim-diamond collection with Hylton.
|
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correct_birth_00056
|
FactBench
|
0
| 38
|
https://www.distractify.com/p/mary-j-blige-net-worth
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en
|
What Is Mary J. Blige's Net Worth? The Queen of Hip-Hop Soul Is Worth Every Penny
|
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2022-02-13T18:00:29.112000+00:00
|
Powerhouse musician, Grammy Award winner, and almost-EGOT winner Mary J. Blige has a long career, but what is her net worth? Here's the scoop.
|
en
|
https://www.distractify.com/favicon.ico
|
Distractify
|
https://www.distractify.com/p/mary-j-blige-net-worth
|
By Anna Garrison
Feb. 13 2022, Published 1:00 p.m. ET
Actress, musician, songwriter, and all-around creative talent Mary J. Blige is known for marrying hip-hop and soul. Her nickname, "the Queen of Hip-Hop Soul," is not an exaggeration, and her wide expanse of talent has extended from music to film and television as well. For all her accolades and accomplishments, fans want to know: what is Mary J. Blige's net worth?
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Read on for everything we know about Mary's legacy, net worth, and upcoming projects.
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What is Mary J. Blige's net worth?
Mary was born in the Bronx, New York City, the second child of four children. After her parents' divorce, she spent most of her youth in Savannah, Georgia, and Richmond Hill, Georgia, where she frequently sang in a Pentecostal church choir. Her family later moved back to New York in Yonkers.
Although her childhood was frequently difficult due to her father's post-traumatic stress, alcoholism, and her sexual abuse at a young age, Mary always had a passion for music. After dropping out of high school, she pursued creative exploits and was eventually signed to a record label in 1989.
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After being signed to Uptown Records, Mary began working with record producer Sean Combs, known then as Puff Daddy. He became the executive producer of her first album, "What's the 411?" that was released in 1992 to critical acclaim. Since then, she's released twelve more albums, won nine Grammy Awards, four American Music Awards, and 12 Billboard Music Awards.
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Mary J. Blige
Singer, Songwriter, Actress
Net worth: $20 Million
American singer, songwriter, and actress Mary J. Blige is the Queen of Hip-Hop Soul and began making music in 1989 after dropping out of high school. Mary has released thirteen albums and won nine Grammy Awards, four American Music Awards, and twelve Billboard Music Awards. She has also been nominated for two Golden Globe Awards and two Academy Awards.
Her first album, "What's the 411?" was released in 1992 to critical acclaim. She has acted in film and television roles, continued to create music, and recently released her fourteenth album, titled "Good Morning, Gorgeous," on Feb. 11, 2022.
Birth date: Jan. 11, 1971
Birth place: Yonkers, New York
Birth name: Mary Jane Blige
Father: Thomas Blige
Mother: Cora Blige
Marriages: Martin "Kendu" Isaacs (m. 2003—2018)
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Per Celebrity Net Worth, Mary's current net worth is an estimated $20 Million. In addition to her musical career, Mary J. Blige has appeared on the big screen, most notably as a supporting role in 2017's Mudbound, for which she was nominated at the Academy Awards for Best Original Song ("Mighty River") and Best Supporting Actress in the same year. She has also appeared on TV shows such as Empire, The Umbrella Academy, Power Book II: Ghost, and How to Get Away with Murder.
Early in her career, Mary struggled with addiction, clinical depression, and an abusive relationship, but she has since come out on the other side and is now sober. She recently released her fourteenth album, titled "Good Morning Gorgeous," on Feb. 11, 2022. Additionally, she will headline the SuperBowl Halftime Show for the second time in her career alongside rap legends Snoop Dogg, Dr. Dre, Eminem, and Kendrick Lamar.
|
||||
correct_birth_00056
|
FactBench
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1
| 23
|
https://www.dominicanabroad.com/things-to-do-in-the-bronx-hidden-gems/
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en
|
27 Uniquely Fun Things to Do in the Bronx + Hidden Gems
|
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2023-05-31T19:09:06-04:00
|
Ahhh. The Bronx. Easily one of the most culturally rich and entertaining boroughs of New York City with a history that doesn’t always get the credit it deserves. Sure, it’s home to Yankee Stadium and the Bronx Zoo, but tucked between the nooks and crannies are some truly special gems.…
|
en
|
Dominican Abroad | Travel & Culture Guides
|
https://www.dominicanabroad.com/things-to-do-in-the-bronx-hidden-gems/
|
Ahhh. The Bronx. Easily one of the most culturally rich and entertaining boroughs of New York City with a history that doesn’t always get the credit it deserves. Sure, it’s home to Yankee Stadium and the Bronx Zoo, but tucked between the nooks and crannies are some truly special gems. Through museums, national landmarks, and community experiences, these are my favorite things to do in the Bronx.
Fun Facts About the Bronx
But first. Let’s contextualize the BX. Here is a quick summary of the interesting history and cultural facts about the Bronx.
The Bronx is the Birthplace of Hip Hop: Yep–hip hop roots are deep in the Bronx, believed to have been born on 1520 Sedgwick Ave in 1973. The mastermind behind the style was DJ Kool Herc, a teenager who would spin records at parties between sets that his father played. His ability to engage the crowd with his beats and style of talking over Jamaican-style songs resulted in the beginning of hip-hop six years before it was named.
Home of the New York Yankees: The world-famous New York Yankees have been calling the Bronx home since 1923. The Yankees used to play their games at the Polo Grounds, which is now home to the New York Giants but had to move to a bigger stadium when Babe Ruth started drawing millions of fans. In 1923, Yankee Stadium finally came to life when the team bought a lumber yard across from the Hudson River that soon became one of the most visited attractions in the city.
Diverse Cultural Scene: The Bronx is like the Boyle Heights of Los Angeles– but instead of Mexican heritage, there is a rich Puerto Rican and Dominican influence. Nearly 35% of the population in the Bronx was born in other countries, which can easily be seen in the diversity of shops, restaurants, and events held across the borough. The largest concentration of cultures is from the Dominican Republic, China, and Jamaica, but there really are people from all around the world in this area.
Native American Heritage: Many don’t know this, but the Bronx has a rich Native American heritage beginning long before the skyscrapers and busy streets. Originally, the Bronx was inhabited by several Native American tribes, including the Lenape and Siwanoy. For centuries, these tribes lived within the modern-day Bronx boundary and along the Bronx River before the European invasion forced thousands from their homelands.
Notable Figures: Many famous people and celebrities grew up and called the Bronx home. Some of the most notable celebrities who proudly connect their roots to this borough are Jennifer Lopez, Sonya Sotomayor, Cardi B, Billy Joel, Alexandra Ocasio-Cortez, and Mary J. Blige.
Special Things to Do in the Bronx
1. Wave Hill Garden & Cultural Center ★
Wave Hill is one of the most famous public gardens in the Bronx, set on the northwest side of the borough with stunning views of the Hudson River. The property has some of the most alluring flower gardens, greenhouses, an alpine house, and a cultural center for visitors to explore. You can purchase food at the onsite cafe or bring your own to enjoy at one of two designated picnic areas. Free admission is available on Thursdays and a shuttle that runs from Thursday to Sunday each week to help visitors get to this magical place.
2. Bronx Museum of Art
The Bronx Museum of Art is one of our favorite free museums in NYC and a popular cultural destination for lovers of contemporary art. Their vibrant exhibitions focus on the true urban experience of the Bronx and reflect the dynamic and rich communities of the borough. Visitors can view more than 2,000 pieces with special exhibitions centering on local artists. The museum offers a ton of events from Wednesday to Sunday, including movie screenings, family nights, artist’s talks, and workshops for the public.
3. Paddle the Bronx River ★
Kayaking in the Bronx River is the perfect activity for NYC travelers searching for a taste of outdoor adventure without having to leave the city. But even better? You’re supporting such an important cause. Once considered one of the worst waterways in the country, the Bronx River has undergone a massive transformation thanks to the Bronx River Alliance. Today, they also provide opportunities to boat along the river’s southern parts through the Bronx Zoo and the Botanical Gardens.
If you visit NYC in the summer, the weather is perfect for kayaking ad navigating the waters without getting too hot or cold. You can use several launch sites and a map to navigate your trip. Or, go with the Bronx River Alliance to support an important cause.
Permits are required to launch both kayaks and canoes into the river.
4. The Lit Bar ★
The Lit Bar is a unique brick-and-mortar bookstore and wine bar that inspires book lovers to gather, read, and share. Owner and Bronx native Noëlle Santos opened the store on National Indie Bookstore Day back in 2019, intending to create a community center mimicking the eclectic style of the Bronx with her lifelong love for literature. Serving as the only bookshop in the borough, The Lit Bar has a carefully curated selection of books, gifts, and programs for visitors to participate in. Hours here a slightly limited, only open from Tuesday to Sunday, 12:00 pm to 5:00 pm.
5. Starlight Park
Located along the tranquil banks of the Bronx River, this park’s scenic oasis is part of the Bronx River Greenway, offering a picturesque escape from the city hustle. Here, you can bike, walk, and paddle along the gentle river currents or try your hand at fishing in designated areas.
For athletes, the park boasts well-maintained basketball courts and soccer fields, providing ample space for games with your friends. Children can delight in the Starlight Playground.
Nearby, is also Concrete Park, but it’s currently closed for renovations.
6. Bronx Brewery ★
The Bronx Brewery is more than just your average stop to grab a beer–it’s a hub for building community. The mission of the brewery is to create a diverse, vibrant culture that celebrates and unites the many cultures of the borough over handcrafted beers and good food. The original Brewery, Taproom, and Backyard (one of the best outdoor spaces in NYC) is located on 136th Street, where majority of beer production takes place. The brewery also partners with Empanology across the street that serve empanadas, artisanal pizzas, and other Puerto Rican-inspired dishes.
7. Bronx Night Market ★
From April to November, vendors from over 40 countries gather together to sell a variety of cuisine and treats at the Bronx Night Market. The streets come alive with music, events, and fun merchandise to celebrate and support local vendors showing off their creations. While the prices here can be a little high, you can find a ton of one-of-a-kind dishes from Bronx vendors, all in one place. This event is only held on the last Saturday of every month, so be sure to plan ahead if you want to attend.
8. La Morada Oaxacan Restaurant ★
From the outside, La Morado looks like a regular Mexican restaurant in the city, but there is a reason this spot is considered one of the best restaurants in NYC. The owners, Natalia Mendez and Antonio Saavedra, hail from the village of San Miguel Ahuehuetilán Oaxaca, coming to New York in 1993 after crossing the Sonoran Desert. They excel in their ability to create authentic Oaxaca meals, offering five types of moles and meatballs that are so popular you have to order in advance to get them! Family members help run the restaurant, so between the warm staff and rich dishes, you really feel as if you’re being welcomed into someone’s home.
9. Pelham Bay Park
In the northeast corner of the Bronx, Pelham Bay Park is the largest public park in the city and has a ton for outdoor visitors to do. There are miles of hiking trails and bridle paths, two golf courses, and 13 miles of saltwater shoreline along the Long Island Sound. Orchard Beach is a popular attraction in the park and one of the best beaches in NYC, perfect for swimming in the summer, with a view of City Island. There’s a ton of bike paths, but if you don’t have a bike, you can rent from several shops nearby or schedule a tour of the area, such as the ones offered through NYC Adventure Ebike Tours.
10. Admire Villa Charlotte Bronte
Set along the Hudson River with a view of the Palisades, there stands a set of breathtaking Italian villas named the Villa Charlotte Bronte. Designed by Robert W. Gardner–the designer of the Staten Island Museum–the property features stone archways, a courtyard, and beautiful architecture that makes you feel like you jumped from NYC to Italy! You can’t just enter the property, as people still live here, and it’s extremely private. But the villas are one of the things in the Bronx you have to pass through to on your way to other cool attractions nearby.
11. Little Italy (Arthur Avenue)
You can’t visit the Bronx without taking a stroll down Arthur Avenue and sampling the delicious comfort foods of Little Italy. This is the place to go for pasta, bread, meats, pastries, and delectable espressos that taste like they came straight from the cafes of Europe. Arthur Avenue is the result of decades of Italian immigrants settling and growing their families in the area. Some of the most notable places to stop are Mike’s Deli market, Full Moon Pizzeria, and Emillia’s if you’re looking for a sit-down dining experience. Top it all off with coffee and pastries at DeLillo Pastry Shop!
12. Chocobar Cortes
Cholocate is the star of this gastronomic hot spot serving a full menu of chocolate-infused creations. Chocobar Cortes has been manufacturing premier chocolate from bean to bar since 1929 as a 4th generation, family-owned brand. They use chocolate in unique ways to make some of the most delicious treats: grilled cheese with chocolate butter, grated chocolate guacamole, Blood Marys with chocolate bitters, and more. They also serve specialty cocktails with hints of chocolate and craft beers from the Bronx Brewery.
13. City Island (Boats & Food)
When the weather is warm, City Island is one of the best Bronx attractions to explore for its small community vibe, fresh seafood, and fun activities. You’re only a short bridge away from the mainland, but you feel like you’re in an ocean town hours outside the city, where only local restaurants and shops (aside from a Dunkin Donuts) reign. Most of the shops, eateries and galleries are located on City Island Avenue. If you find yourself visiting NYC in July around Independence Day, you can see all the different fireworks shows going off in each borough from across the water!
14. Universal Hip Hop Museum
This museum doesn’t officially open until 2024, but in the meantime, curators have been putting on rotating exhibitions at the temporary location in Bronx Terminal Market to hype up the city for this future attraction. These exciting exhibits give a sneak peek into the storytelling techniques, artifacts, and different types of materials the museum will use to educate others about the importance of hip-hop in our society. The Univeral Hip Hop Museum will be located in the birthplace of hip hop in the South Bronx. It will be the only institution that celebrates the history, evolution, and artistic expression behind this culture.
15. New York Botanical Garden + Thain Family Forest
The New York Botanical Garden is a living museum and cultural institute that is gorgeous to walk through during the warmer months. This is the largest city garden in the country, spreading over 250 acres with over 50 collections and 1 million plants to view! If you’re visiting NYC in Spring, the Orchid Show is a spectacular event from February to April where visitors can view thousands of orchids in a relaxing meditative space. Also in spring is the Daffodil Walk, where Daffodil Hill looks like a sea of yellow as these seasonal flowers bloom.
The Thain Family Forest takes up 50 acres along the Bronx River, full of old-growth trees and un-cut foliage that make up part of the New York Botanical Gardens. It used to be known as the Hemlock Grove, with a heritage dating back to pre-colonial Lenapechoking and is the largest surviving wilderness of what used to cover NYC. The forest is open year-round, and they offer a 1-hour walking tour where you can learn about the geology, history, and ecology of the area. You will have to pay admission to the Botanical Gardens to access this attraction.
16. Van Cortlandt Park
Van Cortlandt Park is the third largest park in NYC, sprawling over more than 1,000 acres on top of valleys and ridges. You’d never think of hiking, bird watching, or traipsing through thick forests when visiting the Bronx, but this park is full of outdoor activities. The entire property used to be in possession of the Van Cortlandt family, who worked the land with enslaved Africans for three generations, starting in 1698. Here are some of the spots we recommend visiting while you’re there:
Van Cortlandt House: A museum located in the park that serves as the centerpiece for what used to be the family plantation. The home was built between 1748 to 1749 and is open for self-guided tours, Tuesday to Sunday, with free admission on Wednesdays. They host of a variety of events on the lawn to celebrate the history of the slaves that used to work the land and their cultural traditions.
Vault Hill Overlook: This is a scenic spot in Van Cortlandt Park and the official burial land of the family. The land around Valult Hill puts hikers about 169 feet above sea level with beautiful views. On a clear day, you can see the Manhattan skyline.
Van Cortlandt Golf Lake House: This is a beautiful venue for a gathering or event with lake views of Van Cortlandt Lake. It has the oldest golf course in the country and caters to both private and public golfers. The Lake House Cafe has a full bar and grill.
17. Walk the High Bridge
You can take a walk to Manhattan from the Bronx on the High Bridge, the oldest standing bridge in the city! This landmark connects the neighborhoods of Washington Heights to Highbridge in the Bronx. It was built in the 19th century as a part of the Croton Aqueduct system but closed in the 1970s until it was reopened to the public back in 2015. You can access the bridge from the Bronx side at Univeristy Avenue and 170th Street, but street parking is limited.
18. Bronx Documentary Center
This is a smaller cultural center, but full of amazing exhibits and friendly staff that are passionate about what they do. The Bronx Documentary Center is a gallery and educational space concentrating on promoting social change and exploring vital issues affecting communities in the Bronx. The institute displays photography, mixed media, and film to inspire creativity in underserved communities of the Bronx. It’s less than 1 mile from Yankee Stadium, making it a perfect stop to hit before a game.
19. Edgar Allan Poe’s Cottage
Edgar Allan Poe was one of the most notable horror writers and poets of his time, and you can visit his former cottage right here in the Bronx! The small home is nestled into the Fordham neighborhood on Kingsbridge Road, right on the northern tip of Poe Park. Poe lived in the cottage from 1846 to 1849, caring for his sick wife Virginia, who suffered from tuberculosis. You can take a self-guided tour of the residence for $5 or less, but you must make an appointment first.
20. Woodlawn Cemetery
Find peace away from the city by perusing the beautiful grounds of the Woodlawn Cemetery. Tours are available throughout the year, catering to the season, history, and cultural heritage of the individuals at rest in the cemetery. If you’re into photography, this is a beautiful place to take pictures. Some of the events offered include live music, trolley tours, and ceremonies honoring veterans. Out of respect for those at rest, the grounds have strict rules about the types of recreation that can go on here, so please be respectful.
21. Bronx Historical Tours
Historical tours can help you find all the hidden gems in the Bronx that you may not be able to discover on your own. Tours are offered on foot, by bus, trolley, bike–pretty much all modes of transportation! Bronx Historical Tours will take you by all the noteworthy landmarks and provide the history behind these spots and how they have shaped the culture of the borough today. Some tours will last all day, so be sure not to plan too many other activities if you opt for one of these tours.
22. Yankee Stadium
Being that the Bronx is home to the New York Yankees, why not try to catch a game on your visit to the borough? Yankee Stadium is part ballpark and part museum, with the option to dive deep into the stadium’s history at Monument Park. Baseball season in NYC starts in the spring, from late March to early April, and goes till September to early October. The best part is you don’t have to know a lot about baseball to enjoy the festivities and excitement surrounding the games– just have a great time!
23. Bartow-Pell Mansion Museum
The Bartow-Pell Mansion Museum is built on land that was originally occupied by the Lenape beginning in 1,000 AD! It’s the last remaining 19th-century estate in Pelham Bay Park that serves as a cultural institute for the public to explore. The museum makes a note to acknowledge the history and contributions of the Siwanoy-Lenape ancestors who are connected to this land and educates the public on the culture of these tribes in addition to the previous owners of the estate. Mansion tours show off a number of time-period artifacts and architecture on weekends and Wednesdays, while the grounds are open daily for visitors.
24. Port Morris Distillery
Port Morris Distillery is a fantastic distillery specializing in Pitrro–a specialty moonshine native to Puerto Rico. The owners, Rafael Barbosa and William Valentin, are simply amazing and use an old family recipe to craft their moonshine, unlike any other drink you’ll find in the Bronx. Pitorro is composed of apples, honey, and brown sugar, which give the drink a bold flavor at 92 proof. Port Morris was the first Pitorro Distillery in the United States and is open on Fridays and Saturdays for visitors.
Note: Both times I’ve tried to visit this spot, it’s been closed despite the hours on the website. So call ahead to be sure.
Sharing is caring!
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correct_birth_00056
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FactBench
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https://www.townandcountrytoday.com/national-entertainment/mary-j-blige-enlists-taraji-p-henson-marsai-martin-and-more-for-womens-summit-in-new-york-8686112
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en
|
Mary J. Blige enlists Taraji P. Henson, Marsai Martin and more for women's summit in New York
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] |
2024-05-02T16:25:50+00:00
|
LOS ANGELES (AP) — Mary J. Blige is bringing her mission to empower women beyond her music to her hometown — with the help of the singer’s superstar friends. Taraji P.
|
en
|
TownAndCountryToday.com
|
https://www.townandcountrytoday.com/national-entertainment/mary-j-blige-enlists-taraji-p-henson-marsai-martin-and-more-for-womens-summit-in-new-york-8686112
|
LOS ANGELES (AP) — Mary J. Blige is bringing her mission to empower women beyond her music to her hometown — with the help of the singer’s superstar friends.
Taraji P. Henson, Tiffany Haddish and Jill Scott and other stars and experts will join Blige for her Strength of a Woman Summit and Festival starting May 10. Her three-day event during Mother’s Day weekend in New York will feature concerts, comedy shows, a gospel brunch, panel discussions along with workshops focusing on technology, beauty, entrepreneurship and financial literacy.
On Thursday, organizers announced additional speakers including Henson, Marsai Martin, Method Man, Larenz Tate, Tasha Smith, Michael Rainey Jr., Angie Martinez and Pinky Cole. The event will be hosted by comedian Jess Hilarious and podcaster Gia Peppers.
“We’re teaching each other, holding each other and uplifting each other,” the R&B singer said in a recent interview. “We’re helping each other to sustain in our businesses and sustain in the mental health and everything.”
Blige launched the Strength of a Woman event in 2022 after years of seeing women at her concerts “hanging on every word like my life is theirs.” The singer felt she connected with concertgoers when she delivered her own deep stories of overcoming pain.
“I was thinking to myself, ‘Let me do something more than just sing to them,’” said Blige, a nine-time Grammy winner who has won an Emmy, earned two Oscar nominations and will be inducted into the Rock & Roll Hall of Fame later this year.
“In the middle of my songs, it just jumps out of me,” she continued. “Some kind of words of inspiration. People love that. My team and I thought, ‘Why don’t we just create a festival about the same thing?’”
After two successful years in Atlanta, Blige moved her festival to her native New York City. She will hold a massive concert at the Barclays Center in Brooklyn with guest appearances by 50 Cent, Scott, Fat Joe, Jadakiss, Lola Brooke and Muni Long. Robert Glasper will headline a jazz concert at the Blue Note Jazz Club while Haddish will hit the stage for a comedy show at the Apollo Theatre.
Along with entertainment, Blige said she wants to provide resources that will help uplift and inspire attendees to achieve success in their lives.
“I’m doing my job,” she said. “I’m doing what I’ve been sent here to Earth for. I’m doing my job by uplifting women and letting them know you’re not the only one. You can come here as a safe haven and receive comfort.”
Jonathan Landrum Jr., The Associated Press
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https://ny1.com/nyc/all-boroughs/entertainment/2021/06/21/black-music-month--spotlighting-bronx-born-mary-j--blige
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en
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born Mary J. Blige shares her pain
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2021-06-21T00:00:00
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Singer Mary J. Blige talks good times and bad times.
|
en
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/etc/designs/news/clientlibs/css/images/favicon-latest/favicon.svg
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https://ny1.com/nyc/all-boroughs/entertainment/2021/06/21/black-music-month--spotlighting-bronx-born-mary-j--blige
|
NEW YORK â June marks Black Music Month and a local star is in the spotlight.
The life of Bronx-born singer Mary J. Blige has been on display for the world to witness over her more than 30-year career. That means her successes and her failures have been well documented. Sharing her pain in her music has helped to make Blige a superstar.
"'My Life' was probably my darkest album, like one of the darkest times I have had," Blige said in her Amazon Prime video documentary, which debuts Friday. "Most of the time I was just depressed and didn't want to live."
Titled, âMary J. Bligeâs My Life,â itâs about the making of her 1994 album, âMy Life.â
"There are so many people in this documentary explaining what this album did for them,â said Blige. "Fans are in groups talking about how it helped them to become better people and save their lives."
Successfully combining the hip-hop flavor of the 1980s and 90s and the gritty soul sound of the 60s and 70s, Mary J. Blige quickly became know as the queen of hip-hop soul in the 1990s.
Sharing her lifeâs story of trials and tribulations makes her extremely relatable and loved by her fans.
No personal topic seems untouchable. From a tough childhood, to her adult battles with abuse, depression and addiction, the music has it all and so does the documentary.
"You get it from the horse's mouth and instead of on paper from a reporter,â Blige said while laughing.
âThere are so many songs that define me because they are all pretty much about me," she added.
Songs like, âWhatâs the 411?" âNo More Drama,â and âTake Me As I Am.â
Blige has earned multiple honors and awards, including nine Grammys. The singer and songwriter also has the acting bug with two Academy Award nominations and two Golden Globe nominations.
If thereâs more drama to come in the singerâs life, weâre sure to hear about it in her music.
------
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Urban Legends Store
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Shop exclusive music from the Official Urban Legends Store.
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en
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Urban Legends Store
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https://shop.urbanlegends.com/
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correct_birth_00056
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FactBench
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1
| 15
|
https://www.cbsnews.com/newyork/news/mary-j-blige-apollo-theater-walk-of-fame/
|
en
|
Singer Mary J. Blige Inducted Into Apollo Theater Walk Of Fame
|
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[
"Harlem",
"New York"
] | null |
[] |
2021-05-28T18:02:27-04:00
|
There was some "real love" for nine-time Grammy winner Mary J. Blige as she was inducted into the Apollo Walk of Fame Friday morning.
|
en
|
https://www.cbsnews.com/newyork/news/mary-j-blige-apollo-theater-walk-of-fame/
|
NEW YORK (CBSNewYork) - The queen of hip-hop soul Mary J. Blige has landed a spot on the Apollo Theater Walk of Fame.
As CBS2's Natalie Duddridge reported, there was some "real love" for nine-time Grammy winner Mary J. Blige as she was inducted into the Apollo Walk of Fame Friday morning.
"My very first time performing here at the Apollo, I was not on stage as myself. I was on stage singing background for Jeff Redd. And from there on, it was all history," Blige said.
"She is very deserving of this star," a fan named Sheila told Duddridge. "Mary J. means everything to me. She is the queen of R&B right now. Her voice is wonderful, marvelous. Her songs mean so much, they saved me."
Best known for songs like Family Affair, Not Gon Cry, No More Drama, the Bronx-born, Yonkers-raised 50-year-old superstar joins a long list of music legends who have performed at the Apollo Theater over the years, like Aretha Franklin, Quincy Jones, Smokey Robinson, Ella Fitzgerald, and the Temptations.
Blige first appeared on Showtime At The Apollo in 1992, and went on to perform many more sold-out shows at the iconic theater.
"She speaks from the soul. She sings from experience and her music is great, but it touches you. You can feel it. You can feel it, no matter where you're from," said Jacques Muna.
The story goes that she got her start recording her first demo tape at a karaoke machine set up at the Galleria Mall in Westchester. Blige says that demo tape ended up in the right hands and soon she was handed her first record deal.
"I love Mary J. We actually grew up together, she was friends with my sister in Yonkers," said fan Gee Gee Casanova. "Yes, in White Plains, they had a booth there, back in the day. We would go in there and sing."
And fans can visit her star, anytime, at the place where she first performed songs from her debut album.
|
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correct_birth_00056
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FactBench
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2
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https://www.rottentomatoes.com/celebrity/mary_j_blige
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en
|
Mary J. Blige
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Explore the filmography of Mary J. Blige on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
|
https://www.rottentomatoes.com/celebrity/mary_j_blige
|
Mary J. Blige made an immediate impression with her 1992 debut What's the 411?, and has remained one of R&B's more consistent artists in the decades since. Born in the Bronx, Blige had a tumultuous childhood; her father was a Vietnam vet with post-traumatic stress disorder; and Blige was molested by a family friend at a young age. She found solace in singing in church, but by age 16 had dropped out of school and was abusing various drugs. She was however still singing, and a cassette demo of her covering Anita Baker's "Caught Up in the Rapture" began making the rounds-- initially through her mother who was dating an Uptown Record executive. She was signed to the label and teamed with producer Sean Combs (then Puff Daddy), who oversaw much of the debut. A semi-autobiographical album, What's the 411? was framed with recordings from Blige's answering machine. Combs' production drew from modern hip-hop but allowed Blige to shine as a vocalist, She paid tribute to one role model, Chaka Khan, with a cover of Rufus' "Sweet thing" which joined "You Remind Me" and "Real Love:" as the album's hit singles. However Blige's newfound success coincided with one of her toughest personal periods, as she spiraled into depression and further drug use; it was also reported that she was in an abusive relationship with Jodeci member K-Ci Hailey. All of this was channeled into her second album, My Life, which was hailed as a modern R&B landmark. This time the classic soul influence was stronger than the hip=hop, and Blige had a hand in writing every song. Blige's personal life continued to inform her music; 1997's more upbeat Share My World celebrated her kicking both the drugs and the relationship with Hailey. She mined the same personal territory in 2001's No More Drama which produced her greatest hit, the Number One single "Family Affair." Meanwhile she launched an acting career, initially with music-related TV guest roles, but in 2004 she acted Off Broadway in the drama The Exonerated, playing a woman serving time for a crime she didn't commit. This led to her playing a variety of musical and dramatic roles, including starring as a supervillain in the Netflix series "The Umbrella Academy" (2019). She briefly hosted an Apple Music webcast, The 411, and surprised the first guest Hillary Clinton by singing a highly topical Bruce Springsteen song. As a recording artist Blige remains enormously popular; as of 2019 each of her thirteen studio albums has hit the Top Ten. During 2018 she was nominated for Academy Awards for the film "Mudbound," both as supporting actress and performer of the title song. She has become an entrepreneur, starting the Matriarch label and releasing her own brands of perfume and sunglasses. During 2019 she toured with Nas; the two also collaborated on the single "Thriving" which continued Blige's longtime message of personal strength.
|
||||
correct_birth_00056
|
FactBench
|
2
| 83
|
https://grammy.com/news/mary-j-blige-and-nas-announce-joint-tour
|
en
|
Mary J. Blige And Nas Announce Joint Tour
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[
"GRAMMY",
"GRAMMY.COM",
"Mary J. Blige And Nas Announce Joint Tour | GRAMMY.com"
] | null |
[] | null |
As the world's leading society of music professionals, the Recording Academy is dedicated to celebrating, honoring, and sustaining music's past, present, and future.
|
https://grammy.com/news/mary-j-blige-and-nas-announce-joint-tour
|
"That was the first time hip-hop was accepted in those walls," Hodge says sitting backstage at Red Rocks. It was also the first time Hodge composed orchestral accompaniments to a hip-hop album.
Since then, Hodge has composed symphonic works for other rappers including Jeezy and Common, and is set to deliver a symphonic rendition of Anderson .Paak's 2016 album, Malibu, at the Hollywood Bowl in September.
Hodge's passion for orchestral composition began when he was very young. He played upright bass by age seven and continued to practice classical composition in his spare moments while touring as a bassist with Terence Blanchard and Robert Glasper. On planes. In dressing rooms. In the van to and from the gig.
"It started as a dream. I didn't know how it was going to be realized. My only way to pursue that dream was just to do it without an opportunity in sight," Hodge says. "Who would've known that all that time people were watching? Friends were watching and word-of-mouth."
His dedication and word-of-mouth reputation eventually led Nas to entrust him with the orchestral arrangements for Illmatic. He asked Hodge and another arranger, Tim Davies, to write for the performance at the Kennedy Center.
"[Nas] didn't know much about me at all," Hodge says. "For him to trust how I was going to paint that story for an album that is very important to him and important to the culture, I have not taken that for granted."
Read more: How 'Illmatic' Defined East Coast Rap: Nas’ Landmark Debut Turns 30
Those parts Hodge wrote for the Kennedy Center are the same parts he conducted at Red Rocks. Over a decade later, he channels the same drive and hunger he had when he was practicing his compositions between gigs. "I hope that I never let go of that. I feel like these opportunities keep coming because I'm approaching each one with that conviction. Like this could be my last."
Before this latest performance, GRAMMY.com spoke with Hodge about bridging the worlds of classical and hip-hop, influencing the next generation of classical musicians, and how his experience as a bassist helps him lead an orchestra.
Throughout history, orchestral music has been celebrated by the highest echelons of society, whereas hip-hop has often been shunned by that echelon. What is it like for you to bring those two worlds together?
I love it. I've embraced the opportunity since day one. I was a young man showing up with Timberlands on and cornrows in my hair, and I knew the tendency to act and move in a certain perception was there. I knew then I have to represent hope in everything I do. I choose to this day to walk with a certain pair of blinders on because I feel like it's necessary. Because of that I never worry about how the classical world perceives me.
Oftentimes I'll stand before them and I know there may be questions but the love I show them, what I demand of them, and how I show appreciation when they take the music seriously…almost every situation has led to lifelong friendships.
I believe that's been part of my purpose. It's not even been to change minds or change perceptions. In serving the moment, even when people have preconceptions, they're in front of me playing music I wrote. How do I serve them best? How do I bring out the best in them just like I'm trying to bring out the best in the storyline of a hip-hop artist that may not relate to their story at all? The answer is just to be selfless. That's eliminated the distraction of trying to convince minds.
With that unifying principle, would you consider conducting the orchestra the same thing as playing bass with Robert Glasper?
The way I try to be selfless and serve the moment, it's no different. Maybe the skillset that's required. For example, conducting or working within a framework of composed music requires a certain way of making sure everybody's on the same page so we can get through these things on time and keep going. But I serve that moment no differently than when myself and Robert Glasper, Chris Dave, Casey Benjamin RIP, are creating a song in the moment.
I actually don't even think about how one thing is affecting the other. I will say the beauty of the bass and the bassists that have influenced me — from Ron Carter to the great Marcus Miller, Victor Wooten — is the way they can stand out while never abandoning the emotion of the moment. Remembering what is perceived as the role of the bass and how it glues things in a unique way. Harmonically and rhythmically. Being aware of the responsibility of being aware of everything.
I think that's one thing that's carried over to orchestrating and thinking about balances and how to convey emotion. I think some things are innate with bassists. We're always navigating through harmony and having a conversation through a lens of placement with drums. Placement with the diction if they're singers or rappers. There are a lot of decisions bass players are making in the moment that we don't even think about. It's just secondhand. But it's how are we serving what's necessary to make the conversation unified. I think that's one thing that's served me well in composition.
What's one song you're particularly excited to dive into for the Anderson .Paak arrangements?
So I'm intentionally not thinking in that way because we decided to treat it like a movie. Start to finish no matter what. With that in mind, I'm trying to approach it as if the whole thing is an arcing story because I didn't realize the succession of how he placed that record was really important to him.
**Hip-hop is often a very minimalist genre while an orchestra is frequently the opposite with dozens of instruments. How do you maintain that minimalist feel when writing orchestra parts for hip-hop albums like Illmatic?**
I'm so glad you asked that because that was the biggest overarching thing I had to deal with on the first one. With Nas. Because Illmatic, people love that as it is. Every little thing. It wasn't just the production. Nas's diction in between it, how he wrote it, how he told the story, and the pace he spoke through it. That's what made it. So the biggest thing is how do I honor that but also try to tell the story that honors the narrative of symphonic works? [The orchestra is] fully involved. How do I do things in a way where they are engaged without forcing them?
Illmatic was a part of my soundtrack. So I started with the song that meant the most to me at that time: "The World is Yours." That was the first piece I finished, and I emailed Pete Rock and asked "How is this feeling to you?" If the spirit of the song is speaking to him then I feel like this is something I can give to the people no matter how I feel about it. And he gave the thumbs up.
So instead of overly trying to prove a point within the flow of the lyrics, how do we pick those moments when the orchestra is exposed? Let them be fully exposed. Let them tell a story leading into that. Make what they do best marry well into what Nas and the spirit of hip-hop and hip-hop sampling do best. And then let there be a dance in between.
That first [Illmatic] show was a great experiment for me. I try to carve out moments whenever I can. Let me figure out what's a story that can combine this moment with this moment. That's become the beauty. Especially within the rap genre. To let something new that they're not familiar with lead into this story.
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The Bronx Nobody Knows: An Urban Walking Guide 9780691244013
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A neighborhood-by-neighborhood guide to New York City’s northern borough, from the award-winning author of The New York...
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dokumen.pub
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https://dokumen.pub/the-bronx-nobody-knows-an-urban-walking-guide-9780691244013.html
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Table of contents :
CONTENTS
INTRODUCTION
MOTT HAVEN
MELROSE
CONCOURSE
HUNTS POINT
CROTONA PARK EAST
MORRISANIA
TREMONT
MOUNT EDEN
HIGHBRIDGE
MORRIS HEIGHTS
UNIVERSITY HEIGHTS
BELMONT
FORDHAM
BEDFORD PARK
NORWOOD
KINGSBRIDGE
RIVERDALE
WOODLAWN
WAKEFIELD
EASTCHESTER & BAYCHESTER
WILLIAMSBRIDGE
ALLERTON
PELHAM PARKWAY & PELHAM GARDENS
MORRIS PARK
PARKCHESTER
SOUNDVIEW
CASTLE HILL
CASTLE HILL
PELHAM BAY
WESTCHESTER SQUARE
CO-OP CITY
CITY ISLAND
ACKNOWLEDGMENTS
APPENDIX
NOTES
BIBLIOGRAPHY
INDEX
Citation preview
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Mary Jane Blige is an American Grammy Award-winning singer, songwriter, actress, and producer. Blige was born on January 11, 1971, in Bronx, New York, where she began pursuing a music career after a difficult upbringing. In 1989, at the age of 18, she signed with Andre Harrell and Uptown...
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Mary J. Blige Wiki
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https://mary-j-blige.fandom.com/wiki/Mary_J._Blige
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Mary Jane Blige is an American Grammy Award-winning singer, songwriter, actress, and producer.
Biography[]
Early life[]
Blige was born on January 11, 1971, in Bronx, New York, where she began pursuing a music career after a difficult upbringing. In 1989, at the age of 18, she signed with Andre Harrell and Uptown Records, becoming the label's youngest and first female artist after recording a cover of Anita Baker's Caught Up in the Rapture.
Musical success[]
After signing, Blige began collaborating with Sean "Diddy" Combs, who executive produced her multi-platinum debut album What's the 411?, drawing inspiration from several of her musical influences, namely Aretha Franklin, Chaka Khan and Gladys Knight. Released on July 28, 1992, the album earned her two Soul Train Music Awards in 1993 and was so successful that she released a remix album. On November 29, 1994, Blige released her second album,My Life, which peaked at number seven on the U.S. Billboard 200 and landed the number one spot for the Top R&B/Hip-Hop Albums.
Blige began working with television and film studios during the mid 1990s. In 1995, she recorded Not Gon' Cry for the soundtrack to the romance film Waiting to Exhale. Not only did it land at number two on the Billboard Hot 100 and number one on the Hot R&B/Hip-Hop Songs, but Blige also earned her first two Grammy nominations. After working with main stream rappers such as Jay-Z and Ghostface Killah, Blige released her third album, Share My World, which was meant to be a new chapter in her career as she sought a healthier lifestyle with happier music. The album debuted at number one on the Billboard 200 and produced five hit singles.
After being nominated for her third Grammy Award and winning an American Music Award for "Favorite Soul/R&B Album", Blige dropped her now double platinum fourth album, titled Mary, on August 17, 1999. Two years later, On August 28, 2001, Blige's fifth studio album, No More Drama was released, and the Family Affair single was her first number one on the Billboard Hot 100. After her sixth album in 2003, which was her lowest-selling ever despite being produced by Diddy, Blige released her seventh album, The Breakthrough, and it became the biggest first-week sales for an R&B solo female artist in SoundScan history.
Blige later earned her fourth number-one album with the release of her eighth album, Growing Pains, which won the Grammy Award for "Best Contemporary R&B Album." She then performed at the Presidential Inauguration Committee's We Are One: The Obama Inaugural Celebration at the Lincoln Memorial. Since then, Blige has dropped multiple albums and even performed during the Super Bowl LVI halftime show.
Acting career[]
In addition to music, Blige began to focus more seriously on acting. She appeared in series such as The Jamie Foxx Show, Entourage, and Ghost Whisperer, as well as starring in various films, including Prison Song, Rock of Ages, and Mudbound, the latter of which she was nominated for multiple awards, including the Golden Globe Award for Best Supporting Actress.
In 2018, Blige was cast in the recurring role of Sherry Elliot for the third season of MTV's Scream television series. The following year, she landed a major role portraying Cha Cha in the Netflix Original series The Umbrella Academy. However, she is perhaps best known for her starring role as Monet Tejada on the Starz original crime drama Power Book II: Ghost, produced by 50 Cent.
[]
Official Website
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Mary J. Blige is an American singer-songwriter and actress who has been called the Queen of Hip-Hop Soul. A major artist of the late 20th and early 21st centuries who redefined music genres, Blige is especially known for soulful ballads and infectious dance hits, and her music is often personal, spiritual, and emotional.
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Encyclopedia Britannica
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https://www.britannica.com/biography/Mary-J-Blige
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Music career
Britannica Quiz
Pop Culture Quiz
Blige sang backup for various artists until the 1992 release of her first solo album, What’s the 411?, produced primarily by rapper Sean (“Puffy”) Combs (Diddy). That album reveals the pain of Blige’s childhood while presenting a unique sound that mixed classic soul with hip-hop and urban contemporary R&B, redefining soul music and influencing a generation of artists. The album also produced the top 10 hit “Real Love.” Her success continued with the introspective My Life (1994); a documentary centering on the album appeared in 2021.
Blige’s glamorous but street-tough image softened over time. However, her music remained personal, emotional, and spiritual. Among Blige’s host of hit singles are “Be Without You” (1994), “Not Gon’ Cry” (1996), and “Take Me as I Am” (2005). Her hit albums include Share My World (1997) and Growing Pains (2007), both of which reached number one on the Billboard charts. No More Drama (2001), Blige’s fifth studio album, presents an artist who is happy with the woman she has become. That album spawned the irresistible number one single, “Family Affair,” which spent six weeks at the top of the charts. Her 2006 release, Reflections (2006), provides a retrospective of her work.
Blige also joined rock band U2 on numerous occasions to perform their single “One,” most notably at a benefit concert for victims of Hurricane Katrina in 2005. She recorded a version of the song on her album The Breakthrough (2005), and another version was released as a single in mainland Europe and the United Kingdom in 2006. Of Blige’s passionate vocal delivery on “One,” U2 lead singer Bono said:
Mary J. Blige brought the song places I couldn’t possibly have been or understood. I don’t know exactly where she went, or the names she put on the places, or the problems she was trying to solve with her interpretation, but I felt them so strongly.
Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now
Blige’s 2008 tour with Jay-Z made her one of hip-hop’s top-grossing live acts, and the following year she won a Grammy Award for best contemporary R&B album—her ninth total career Grammy—for Growing Pains. Stronger with Each Tear (2009) was criticized for its overreliance on guest vocalists and Auto-Tune technology, but Blige rebounded in convincing fashion with My Life II…The Journey Continues (Act I) (2011), which plays to her strengths, balancing soulful ballads with catchy dance tunes that recall her earliest hits. An album of Christmas standards, A Mary Christmas, appeared in 2013. The following year she released the soundtrack for the comedy film Think Like a Man Too and The London Sessions, the latter of which features collaborations with several British producers and musicians, including Sam Smith, Naughty Boy, and the duo Disclosure. The critically acclaimed Strength of a Woman (2017) was inspired by Blige’s acrimonious breakup with her husband and manager, Kendu Isaacs. Blige’s 14th studio album, Good Morning Gorgeous, appeared in 2022. Shortly thereafter she was among a group of hip-hop stars—which included Snoop Dogg, Dr. Dre, and Eminem—who performed at the Super Bowl halftime show.
In 2019 Blige received a lifetime achievement award from Black Entertainment Television (BET). In 2024 Blige was scheduled to be inducted into the Rock and Roll Hall of Fame.
Acting career
Blige forayed into acting, making guest appearances on several television shows and taking supporting roles in such films as Rock of Ages (2012), Betty and Coretta (2013), Black Nativity (2013), and Mudbound (2017). For her work in the latter movie, a drama about racism in 1940s Mississippi, Blige earned an Academy Award nomination for best supporting actress. In addition, “Mighty River,” which she cowrote and sang for the film’s soundtrack, received an Oscar nod.
She later lent her voice to the animated feature Sherlock Gnomes (2018) and Trolls World Tour (2020). Her other credits from 2020 include the horror thriller Body Cam, in which she played a police officer. During this time she also had recurring roles on such TV shows as Scream and The Umbrella Academy. In Power Book II: Ghost (2020–24), a spin-off of the popular crime drama Power, Blige played a drug “queenpin.” (In early 2024 it was announced that the series would end after its fourth season concludes in September.) She played jazz great Dinah Washington in the Aretha Franklin biopic Respect (2021), which starred Jennifer Hudson in the lead role. In 2024 Blige costarred in the film Rob Peace, playing the mother of a young man whose promising future is compromised by his economic situation and issues involving his family and past.
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2015-12-03T22:57:24+00:00
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Bio: Mary J. Blige (born Mary Jane Blige on January 11, 1971 in The Bronx, New York) is an American singer, songwriter, model, and actress. Mary and her family moved to Richmond Hill, Georgia, when she was five years old, and spent her early years in the rural setting.
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Hollywood Life
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https://hollywoodlife.com/celeb/mary-j-blige/
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Bio:
Mary J. Blige (born Mary Jane Blige on January 11, 1971 in The Bronx, New York) is an American singer, songwriter, model, and actress. Mary and her family moved to Richmond Hill, Georgia, when she was five years old, and spent her early years in the rural setting. She and her mother moved back to Yonkers, where she attended Roosevelt High School. She would drop out and work as a stylist. In 1988, Mary recorded a version of Anita Baker’s “Caught Up in the Rapture” at a kiosk in a mall. Her mother’s boyfriend played the tape to an A&R rep, which led to her getting signed to Uptown Records in 1989. From there, a legendary career was born. Mary’s debut, 1992’s What’s The 411?, signaled a new era in R&B. Her single, “You Remind Me,” was a number one hit. Her second album, My Life, is considered one of the Greatest Albums of all time. She also topped the charts with her collaboration with Method Man on the song, “All I Need.” Since her debut, Mary has been nominated for a record-setting 30 Grammy awards, and she has won nine. She is one of few entertainers to have eight or more albums reach multi-platinum status. She made her acting debut in 1998, appearing on The Jamie Foxx Show. She has also acted in movies like Prison Song, on shows like Empire and in plays like The Exonerated. In 2015, she was cast as Evillene in NBC’s The Wiz Live!
Best Known For:
Mary J. Blige is best known as a singer, with hit songs like “Real Love,” “Not Gon’ Cry,” “Family Affair,” and “All I Need.”
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] |
[] |
[
""
] | null |
[
"Ryan Beagle"
] |
2020-11-04T04:11:43+00:00
|
Top 5 Rappers From Brooklyn: Welcome to part five of five of “The Top Five Rappers by NYC Borough”. Are your favorite emcees included?
|
https://hiphopgoldenage.com/wp-content/themes/hhga/img/icons/favicon.ico
|
Hip Hop Golden Age
|
http://hiphopgoldenage.com/list/top-5-rappers-from-brooklyn/
|
Welcome to part five of five of “The Top Five Rappers by NYC Borough”, my five-part article that outlines the top MC’s in each borough of New York City. This is the final installment in the series, as we will end our journey in the borough that has probably the highest concentration of talented rappers in all of New York City and the entire world – Brooklyn.
There is no doubt Hip Hop was born and raised in the Bronx, and that the most influential pioneers in the first five years or so of Hip Hop originated from that borough. However, by the mid-1980s, more and more talented rappers were emerging in droves out other boroughs. By the time Hip Hop reached its “golden years” in the late 1980s and through the middle 1990s, a staggeringly high concentration of talented rappers came out representing Brooklyn.
Brooklyn is responsible for the highest concentration of influential rappers from the 1990s, although you’ll find a couple of entries from this list that came out in the 1980s. The borough was and is represented proudly by some of the most successful and influential names in all of Hip Hop. In fact, the incredible amount of great MC’s to come out of Brooklyn made it nearly agonizing for me to narrow them down to a top five. Much like parts one and three of “The Top Five Rappers by NYC Borough”, touching on Queens and the Bronx respectively, I made an “honorable mention” top five, as I simply could not leave so many great rappers off of this list.
Since there are so many talented MC’s from Brooklyn, there is a good chance that you will read this list and find that one of your favorites didn’t make the cut. Trust me, I wanted to make this a top 30, but to stay in theme with the rest of the articles’ formats, I had to trim this down to a total of ten rappers. So if the lack of anyone on here frustrates you, my apologies – take my word for it, it was very tough to leave certain rappers off of this list. There is so much talent from Brooklyn that this was bound to happen, but that’s also what made putting together this list – and this entire five-part article – so rewarding.
|
|||||
correct_birth_00056
|
FactBench
|
3
| 61
|
https://www.yahoo.com/lifestyle/mary-j-blige-singer-songwriter-010637443.html
|
en
|
Mary J. Blige, Singer, Songwriter, Actress & Philanthropist
|
https://s.yimg.com/os/creatr-uploaded-images/2019-10/d8e29e90-eaa3-11e9-bf9e-8f5752c46db4
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https://s.yimg.com/os/creatr-uploaded-images/2019-10/d8e29e90-eaa3-11e9-bf9e-8f5752c46db4
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Iconic Grammy Award-winning singer, songwriter, actress and philanthropist, Mary J. Blige is a figure of inspiration, transformation and empowerment, making her one of the defining voices of the contemporary music era. With a track record of eight multi-platinum albums, nine Grammy Awards (plus a staggering 32 nominations), a 2012 Golden Globe nomination, and five American Music Awards, Blige is a global superstar. And in the ensuing years, the singer-songwriter has attracted an intensely loyal fan base responsible for propelling worldwide sales of more than 50 million albums. Born in the Bronx, New York, Blige began moving people with her soulful voice at 18 when she signed with Andre Harrell’s Uptown Records in 1989. At the time, Blige was the MCA-distributed label’s youngest and first female artist. Influenced at an early age by the music of Aretha Franklin, Chaka Khan and Gladys Knight, Blige brought her own gritty, urban-rooted style. She fused hip-hop, soul and honest, frank lyrics on her 1992 debut album What’s the 411? The multi-platinum set, executive produced by Sean “Diddy” Combs, quickly spun off several hits, including two No. R&B No. 1s: “You Remind Me” and “Real Love.” Blige helped redefine R&B and began forging a unique niche for herself on her more personal second album My Life released in 1994. Blige is an artist that uses her gift of song to lift spirits and touch lives while bringing her heart, soul and truth to those who are willing to listen. She is loved for her passionate, chart-topping hits like “Be Without You,” “No More Drama” and “Family Affair,” all of which have made her a force in music. And thus began the Blige movement: connecting legions of fans that identify with and have accompanied her throughout her personal travails and growth—all fearlessly related through her music. Each subsequent album reads like a chapter from an autobiography: Share My World (1997), Mary (1999), No More Drama (2001), Love & Life (2003), the multiple Grammy-winning and hit-spewing The Breakthrough (2005), Growing Pains (2007) and Stronger with Each Tear (2009). Along the way, she’s lined up a string of hit singles, including “Not Gon’ Cry,” “Love Is All We Need,” “Seven Days,” “All That I Can Say,” “Family Affair” and “Just Fine.” In October 2013, Blige released her first-ever holiday album titled, A Mary Christmas in collaboration with legendary producer, David Foster for Matriarch Records/Verve Records/Interscope Records. Blige's holiday album features her soulful interpretation of classic holiday tunes including “Have Yourself A Merry Little Christmas” and “The Christmas Song.” Blige, who co-penned “I Can See in Color” for the 2009 film Precious soundtrack has branched out into acting. She appeared in Tyler Perry’s dramatic comedy, I Can Do Bad All By Myself in 2009 and starred in Rock of Ages in 2012. Taking on a more dramatic role, in 2013, she starred as Betty Shabazz in the TV movie Betty & Coretta, a biographical story about the widows of Malcom X and Martin Luther King Jr. Then in November 2013, Mary J. Blige starred as the mysterious guardian angel “Platinum Fro,” in the holiday musical film drama Black Nativity. Ramping up her acting career, Blige has guest-starred on the ABC comedy, Black-ish and the FOX musical drama Empire. In 2014, Blige released her 13th studio album, The London Sessions, which reached the No.1 position on the Top R&B Albums chart and included a behind-the-scene documentary of her recording sessions that premiered at the Tribeca Film Festival 2015. Blige recently completed The King and Queen of Hearts World Tour with Maxwell and is finalizing her 14th album titled Strength of a Woman. Blige guest starred on ABC’s, How to Get Away with Murder and starred in MUDBOUND opposite Carey Mulligan and Garrett Hedlund. The film premiered to rave reviews in 2017 at Sundance and earned Blige a Golden Globe nomination.
|
en
|
https://s.yimg.com/rz/l/favicon.ico
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Yahoo Life
|
https://www.yahoo.com/lifestyle/mary-j-blige-singer-songwriter-010637443.html
|
Iconic Grammy Award-winning singer, songwriter, actress and philanthropist, Mary J. Blige is a figure of inspiration, transformation and empowerment, making her one of the defining voices of the contemporary music era. With a track record of eight multi-platinum albums, nine Grammy Awards (plus a staggering 32 nominations), a 2012 Golden Globe nomination, and five American Music Awards, Blige is a global superstar. And in the ensuing years, the singer-songwriter has attracted an intensely loyal fan base responsible for propelling worldwide sales of more than 50 million albums.
Born in the Bronx, New York, Blige began moving people with her soulful voice at 18 when she signed with Andre Harrell’s Uptown Records in 1989. At the time, Blige was the MCA-distributed label’s youngest and first female artist. Influenced at an early age by the music of Aretha Franklin, Chaka Khan and Gladys Knight, Blige brought her own gritty, urban-rooted style. She fused hip-hop, soul and honest, frank lyrics on her 1992 debut album What’s the 411? The multi-platinum set, executive produced by Sean “Diddy” Combs, quickly spun off several hits, including two No. R&B No. 1s: “You Remind Me” and “Real Love.”
Blige helped redefine R&B and began forging a unique niche for herself on her more personal second album My Life released in 1994. Blige is an artist that uses her gift of song to lift spirits and touch lives while bringing her heart, soul and truth to those who are willing to listen. She is loved for her passionate, chart-topping hits like “Be Without You,” “No More Drama” and “Family Affair,” all of which have made her a force in music.
And thus began the Blige movement: connecting legions of fans that identify with and have accompanied her throughout her personal travails and growth—all fearlessly related through her music. Each subsequent album reads like a chapter from an autobiography: Share My World (1997), Mary (1999), No More Drama (2001), Love & Life (2003), the multiple Grammy-winning and hit-spewing The Breakthrough (2005), Growing Pains (2007) and Stronger with Each Tear (2009). Along the way, she’s lined up a string of hit singles, including “Not Gon’ Cry,” “Love Is All We Need,” “Seven Days,” “All That I Can Say,” “Family Affair” and “Just Fine.”
In October 2013, Blige released her first-ever holiday album titled, A Mary Christmas in collaboration with legendary producer, David Foster for Matriarch Records/Verve Records/Interscope Records. Blige's holiday album features her soulful interpretation of classic holiday tunes including “Have Yourself A Merry Little Christmas” and “The Christmas Song.”
Blige, who co-penned “I Can See in Color” for the 2009 film Precious soundtrack has branched out into acting. She appeared in Tyler Perry’s dramatic comedy, I Can Do Bad All By Myself in 2009 and starred in Rock of Ages in 2012. Taking on a more dramatic role, in 2013, she starred as Betty Shabazz in the TV movie Betty & Coretta, a biographical story about the widows of Malcom X and Martin Luther King Jr. Then in November 2013, Mary J. Blige starred as the mysterious guardian angel “Platinum Fro,” in the holiday musical film drama Black Nativity. Ramping up her acting career, Blige has guest-starred on the ABC comedy, Black-ish and the FOX musical drama Empire.
In 2014, Blige released her 13th studio album, The London Sessions, which reached the No.1 position on the Top R&B Albums chart and included a behind-the-scene documentary of her recording sessions that premiered at the Tribeca Film Festival 2015.
Blige recently completed The King and Queen of Hearts World Tour with Maxwell and is finalizing her 14th album titled Strength of a Woman.
|
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correct_birth_00056
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FactBench
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1
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https://archive.commercialappeal.com/entertainment/arts/This-Week--339169792.html/
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en
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This Week: Indie Memphis Film Festival, Mary J. Blige, Allen Stone, etc.
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<br /><br />This week brings one of the city's signature cultural events as well as an interesting lineup of live music to enjoy once those Halloween hangovers wear off. Here are some entertainment recommendations courtesy of our GoMemphis writers and editors. <br />
|
en
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/Services/include.ashx?domain=www.commercialappeal.com&file=logo-ca-icon-192.png
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https://archive.commercialappeal.com/Services/include.ashx
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By Mark Richens of The Commercial Appeal
This week brings one of the city's signature cultural events as well as an interesting lineup of live music to enjoy once those Halloween hangovers wear off. Here are some entertainment recommendations courtesy of our GoMemphis writers and editors.
1. Indie Memphis Film Festival, opens Tuesday: Now in its 18th year, the festival stands as one of the city's premier arts and culture events. Its eight days of movie magic promise a 25th anniversary screening of Whit Stillman's Oscar-nominated debut feature, "Metropolitan"; a new documentary about Hi Records soul man Syl Johnson; and many more screenings, parties and panels. — Mark Richens
Tuesday through Thursday and Nov. 9-10: Screenings and panels at the Halloran Centre. Nov. 6-8: Screenings and panels at Circuit Playhouse, Hattiloo Theatre and Malco Studio on the Square. Admission prices range from $10 (for a single screening) to $250 (for a VIP pass). For tickets, passes, a full schedule and more information, visit indiememphis.com.
2. Mary J. Blige, Wednesday: The Bronx-born diva remains the epitome of modern R&B with a record 30 Grammy nominations and nine awards, in addition to her 50 million albums sold. After releasing her transatlantic collaboration “The London Sessions” last year, Blige is already recording a follow-up and is back working with a crew of Britons (including Romans songwriter Sam Roman). The disc is expected later in 2016. In the meantime, Blige is embarking on three-week tour of the South and the East Coast that will stop at Downtown’s Orpheum. — Bob Mehr
8 p.m. 203 S. Main. Tickets: $67.50 to $113, on sale now at all Ticketmaster outlets, ticketmaster.com or (800) 745-3000.
3. Everclear, Wednesday: Alt-rock hitmakers in the wake of fellow Pacific Northwesterners Nirvana, Everclear always had more of a classic-rock/singer-songwriter’s heart than most of their scene cohort, with frontman Art Alexakis emerging as something of a poet laureate of Divorced Dad Rock. The band will play the New Daisy Theatre. — Chris Herrington
8 p.m. 330 Beale St. $20-$25. 901-525-8981. newdaisy.com
4. Allen Stone, Monday: The blue-eyed soul singer-songwriter plays Beale Street’s freshly renovated New Daisy Theatre. The 28 year-old Washington-bred Stone has built up a grass-roots following, earning fan and record company attention with a series of solo albums over the past few years, including 2011’s self-titled LP and his latest for Capitol, “Radius.” Grammy-nominated Swedish songman Bern/hoft will open the show. — Mehr
Doors at 7 p.m., show at 8. Tickets: $22. On sale now at newdaisy.com or (877) 987-6487.
5. "American Cheerleader," Thursday: High school cheerleading as a competitive team sport is the subject of “American Cheerleader,” a highly entertaining and ultimately even moving documentary produced in cooperation with Varsity Spirit, the Memphis-based company that organized the first cheerleading championship in 1980 and has been a major sponsor of the sport’s growth. The documentary primarily follows two teams — one from small-town Kentucky, the other from urban New Jersey — as they head toward a national championship confrontation; supplementing the film itself will be “from the vault” footage of winning performances by cheer teams from years past. — Beifuss
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correct_birth_00056
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3
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https://www.becauseofthemwecan.com/culture-2/celebrating-mary-j-bliges-birthday
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Celebrating Mary J. Blige's Birthday: 10 Facts About the Queen of Hip
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2024-01-11T20:00:00+00:00
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Today is the birthday of our Queen of Hip-Hop Soul! Beyond the powerhouse vocals and chart-topping hits, here are 10 fascinating facts that showcase the uniqueness of the iconic Mary J. Blige.
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en
|
Because of Them We Can
|
https://www.becauseofthemwecan.com/culture-2/celebrating-mary-j-bliges-birthday
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Toast it up for a queen!
It’s our Queen of Hip-Hop Soul’s birthday! Beyond the powerhouse vocals and chart-topping hits, here are ten facts that showcase the uniqueness of the iconic Mary J. Blige.
Bronx Roots: Mary Jane Blige was born on January 11, 1971, in The Bronx, New York. Her upbringing in the heart of the hip-hop scene played a significant role in shaping her musical style and persona. She also called Richmond Hill, Georgia her home for a time, ultimately returning to New York.
First Hip-Hop Soul Artist: Mary J. Blige is credited with pioneering the genre known as “hip-hop soul.” Her debut album, “What’s the 411?” released in 1992, seamlessly blended R&B melodies with hip-hop beats, establishing a groundbreaking sound that resonated with audiences.
A Humble Beginning: Before her breakthrough, Mary faced financial struggles and even lived in housing projects. Her rise to fame is a testament to her resilience and determination to overcome adversity.
Academy Award Nominee: Mary J. Blige made history as the first person to be nominated for both a performance and an original song in the same year at the Academy Awards. This recognition came in 2018 for her role in the film “Mudbound” and the song “Mighty River.”
Method Acting: In preparation for her role in “Mudbound,” Mary J. Blige immersed herself in the character by wearing little to no makeup and spending time on a farm. Her commitment to method acting added authenticity to her portrayal.
Entrepreneur: Mary is not just a musical icon; she is also an entrepreneur. She launched her own sunglasses line, Melodies by MJB, reflecting her bold and stylish personal aesthetic, as well as Sun Goddess Wines, “an exclusive collection of limited-edition wines.”
Recognized in Academia: In 2010, she received an honorary Doctor of Music degree from Berklee College of Music, recognizing her contributions to the music industry.
Support for Women: Mary is a vocal advocate for women’s empowerment. She founded the Mary J. Blige and Steve Stoute Foundation for the Advancement of Women Now (FFAWN) to support and empower women in need.
Dual Grammy Wins: Mary J. Blige made history at the 50th Annual Grammy Awards in 2008 by winning both Best R&B Album and Best Female R&B Vocal Performance. Her album “Growing Pains” and the single “Just Fine” earned her these prestigious honors.
Stage Actress Extraordinaire: Not only has Mary J. Blige conquered the silver screen, but she has also showcased her talents on the stage. She portrayed the character Evillene, the Wicked Witch of the West, in the live television musical production of “The Wiz Live” in 2015. Her life’s work earned her a star on the Hollywood Walk of Fame in 2018.
|
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correct_birth_00056
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https://www.billboard.com/artist/mary-j-blige/
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Mary J. Blige
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Explore Mary J. Blige's music on Billboard. Get the latest news, biography, and updates on the artist.
|
en
|
Billboard
|
https://www.billboard.com/artist/mary-j-blige/
|
Billboard is a part of Penske Media Corporation. © 2024 Billboard Media, LLC. All Rights Reserved.
Powered by WordPress.com VIP
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correct_birth_00056
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How old is Mary J. Blige?
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How old is Mary J. Blige? Learn the birthday of Mary J. Blige and the exact age in years, months and days, with additional information of the singer.
|
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https://www.myagecalculator.com/favicon.ico
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https://www.myagecalculator.com/how-old-is-mary-j-blige
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Mary J. Blige is an American singer, actress, and musician famous for her hip hop and soul songs. She was born in 1971 in New York City and her father was a jazz musician. She grew up in a crowded family where love to music was very deep. Mary started her professional career in the early 1990s when she became a back vocalist for Puff Daddy. She recorded her first studio album named What's the 411? which became popular as one of the best debut albums of R&B music of the year. Blige has released 13 studio albums so far, with most of them becoming platinum and having plenty of hits like "The One", "Runaway Love", "Whenever I Say Your Name", "Mr. Wrong", "Family Affair", "Be Without You", and scores of more. She has won 9 Grammy and 10 Billboard Awards, as well as plenty of other ones. Bilge appeared in a number of TV shows and programs like The Jamie Foxx Show, American Idol, How To Get Away With Murder, as well as in a number of movies like Rock of Ages (with Tom Cruise, Alec Baldwin, etc.), Black Nativity, Mudbound and others. Mary J. Bilge was long time married to her manager but divorced him in 2018.
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correct_birth_00056
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https://theurbandaily.com/2931561/where-is-mary-j-blige-from/
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en
|
Where Is Mary J. Blige From?
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2014-03-24T11:28:34+00:00
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Where is Mary J. Blige from? Get the 411 on the singer's hometown here.
|
en
|
The Urban Daily
|
https://theurbandaily.com/2931561/where-is-mary-j-blige-from/
|
Where is Mary J. Blige from? Mary J. Blige is from the Bronx, New York, where she was born on January 11, 1971. Although she’s a New York City native, the singer spent her early years in Savannah, Georgia, before she moved with her mother and sister to Yonkers, New York. There, she had a rough childhood — she dropped out of high school in the 11th grade — but one day, she happened to record a version of Anita Baker’s “Caught Up in the Rapture” at a mall in White Plains. Thanks to her stepfather, the demo made its way to Uptown Records, and in 1992, with the help of up-and-coming producer Sean “Puff Daddy” Combs, she released her landmark debut, “What’s the 411?”
Mary J. Blige has come a long way from her Bronx/Yonkers roots, and in the years since “What’s the 411?” she’s released 10 additional studio albums and two live LPs. Four of her full-lengths have topped the Billboard 200, and she’s sold more than 50 million albums around the world. Blige is the rare singer who can collaborate with U2 and Sting one second and 50 Cent and Drake the next, and in addition to being the Queen of Hip-Hop Soul, she’s an artist with genuine pop crossover appeal. Blige first made her name with the single “Real Love,” a mix of soul and rap that changed the game and established her as a tough-but-pretty songstress with stunning pipes and street edge.
The answer to the question of where Mary J. Blige is from has never been much of a secret, as the singer is closely associated with NYC. And like any Big Apple striver, Blige has also made the jump into other business ventures — specifically TV and film. She’s appeared on such shows as “Ghost Whisperer,” “Entourage,” and “American Idol,” and in 2012, she appeared with Tom Cruise in “Rock of Ages.”
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Mary J. Blige
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2014-04-02T08:22:38
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Mary J. Blige has influenced a generation of artists with hits like 'Real Love' and 'Be Without You.' She has also had a successful acting career, including her Oscar-nominated performance in 'Mudbound.'
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Biography
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https://www.biography.com/musicians/mary-j-blige
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(1971-)
Who Is Mary J. Blige?
When a recording of 17-year-old Mary J. Blige singing at a karaoke booth came to the attention of Uptown Records, the company put her under contract immediately. She sang backup until the 1992 release of her first solo album, What's the 411?, a record that re-defined modern soul. Blige has had several No. 1 Billboard hits and has won nine Grammy Awards. She has also earned positive reviews for her acting in projects such as the 2013 TV movie Betty & Coretta and the 2017 World War II-era drama Mudbound.
Early Life
Born on January 11, 1971, in the Bronx, New York, Blige has won over millions of fans with her music. But before becoming a successful hip-hop singer, Blige endured a hellish childhood marred by violence, alcohol and drugs. Her mother, Cora Blige, was a nurse and an alcoholic; her father, Thomas Blige, was a jazz musician who played the bass guitar, as well as a Vietnam War veteran who suffered from severe post-traumatic stress disorder. "My mother went through awful abuse from my father," Blige once recalled. "He left us when I was 4, but he'd come back from time to time and abuse her some more."
Hoping to escape from her father, Blige and her mother moved to the Schlobohm Houses, a public housing project in Yonkers. The projects offered only more horror: "I'd hear women screaming and running down the halls from guys beating up on them. People chased us with weapons. I never saw a woman there who wasn't abused. It was a dangerous place. No one wanted anyone else to get ahead. When I was 5, sexual stuff was done to me. My mother was a single parent, a working woman. She left us with people she thought could be trusted. They hurt me."
Blige found escape from the terrible world of her childhood in church and in music. "I loved being there because I wouldn't be hurt," she said about going to church. "I felt wanted and special, and when I was 12, I sang the hymn 'Lord, Help Me To Hold Out Until My Change Has Come.' I was praying as I sang it. I felt the Spirit." However, by the time she turned 16, she had dropped out of school, stopped going to church, and become addicted to drugs and sex. "I ended up becoming my environment," Blige said. "It was bigger than me. I had no self-respect. I hated myself. I thought I was ugly. Alcohol, sex, drugs—I'd do whatever it took to feel a little better."
Albums: '411' and 'My Life'
It was Blige's voice that rescued her from the tragic life into which she was quickly falling. "Everyone talked about the karaoke machine at the mall," she remembered. "So I went in and recorded Anita Baker's 'Caught Up in the Rapture' on a cassette tape. I didn't think it was anything big." After four years of sending out her demo tape to no avail, Blige managed to get the tape to Uptown Records CEO Andre Harrell, who was blown away by her beautiful, powerful and soulful voice. He signed Blige to a record contract in 1992 and assigned a young up-and-coming music producer named Sean "Diddy" Combs to work with her. Blige released her debut album, What's the 411? later that year, and it instantly became a huge success. The album sold more than 3 million copies, bolstered by the hit singles "You Remind Me" and "Real Love."
Two years later, Blige released a second album, My Life, on which she wrote or co-wrote nearly all of the songs. My Life proved another critical and popular success with singles such as "Be Happy," "Mary Jane (All Night Long)" and "You Bring Me Joy." In 1996, she won her first Grammy Award (best rap performance by a duo or group) for "I'll be There For You/You're All I Need to Get By," a duet with Method Man of the Wu-Tang Clan. Her third album, 1997's Share My World, reached No. 1 on the Billboard albums chart, and featured hits like "Love Is All We Need" and "Everything."
Personal Struggles
While her music was adored by fans and critics alike, behind her professional success Blige's personal life continued to spiral out of control. "I didn't know my own worth," she said. "I was ignorant. The people making money off me kept me blind: 'Mary likes cocaine? OK, let's make sure she keeps getting it. Alcohol? Get her that.'" Blige finally managed to turn her life around when she met and fell in love with a music executive named Kendu Isaacs. "After I met him, everything changed in my life," she said. "He was the first person to ever challenge what I did: 'Why are you drinking? Why do you hate yourself? You don't need to be around people who tear you down. You're beautiful, Mary.' He was the first man to ever tell me that." Blige and Isaacs married in 2003, and she became a stepmother to his three children. In 2016, it was reported that the couple has called it quits.
In 2001, Blige released an album fittingly titled No More Drama. The album features her most popular song to date, "Family Affair," which was one of the most popular songs of the decade and remains a classic of the hip-hop soul genre. After her 2003 album Love & Life earned only lukewarm reviews, Blige recorded her most popular and acclaimed album to date, The Breakthrough, in 2005. In addition to selling more than 7 million copies worldwide, The Breakthrough was nominated for eight Grammy Awards and won three, for best R&B album, best R&B song and best R&B female vocal performance (for the song "Be Without You"). Blige continued to put out new albums thereafter, including Growing Pains (2007) and Stronger with Each Tear (2009).
Soundtrack and 'London Sessions'
In 2011, Blige contributed a song, "The Living Proof," to the soundtrack of the hit film The Help. She also released the album My Life: Part II ... The Journey Continues, which became a Top 5 hit. The record featured the song "Mr. Wrong," a collaboration with rapper Drake. The following year, Blige celebrated the 25th anniversary of her breakthrough debut What's the 411? with a new edition of this classic album and also released the holiday collection A Mary Christmas.
2014 saw the songstress handling all of the tracks for the soundtrack to Think Like a Man Too. That same year, refusing to rest on her laurels, Blige expanded her musical palette geographically with the album The London Sessions, showcasing her time in the United Kingdom and featuring songwriting from Sam Smith, Emeli Sandé and Disclosure. Renowned as the Queen of Hip-Hop Soul, Blige is undeniably one of the great singers and artists of her generation. She has sold over 50 million albums and, as of 2015, has won nine Grammy Awards.
In addition to music, Blige has branched out into acting. She appeared in Tyler Perry's dramatic comedy I Can Do Bad All By Myself in 2009, and sang in the musical film Rock of Ages alongside Tom Cruise, Alec Baldwin and Russell Brand in 2012. Taking on a more dramatic role, in 2013, she appeared as Dr. Betty Shabazz, the widow of slain civil rights leader Malcolm X, in the TV movie Betty & Coretta. Angela Bassett co-starred as Coretta Scott King, the widow of Martin Luther King Jr., in the small-screen production, which explored the lives of these two women in the wake of their husbands' deaths.
In 2017, Blige pulled off a rare acting/singing double nomination from the Golden Globes, earning consideration for her supporting role in the period drama Mudbound and its song "Mighty River." (Barbra Streisand is the only performer to win Globes in both categories the same year, for her contributions to A Star Is Born in 1976.) Blige later earned Academy Award nominations for Supporting Actress and Original Song.
Early in 2018, it was announced that Blige was being honored with a star on the Hollywood Walk of Fame, with Combs tapped to deliver the introduction for the January 11 ceremony.
Legal Woes
In May 2013, Blige was revealed to have a substantial outstanding tax bill. The Internal Revenue Service filed $3.4 million tax lien against her and her husband in New Jersey that February. This huge tab covered three years' worth of unpaid taxes. A spokesperson for Blige told the Associated Press that the singer is working "with her new team to resolve all these issues as quickly as possible."
QUICK FACTS
Name: Mary J. Blige
Birth Year: 1971
Birth date: January 11, 1971
Birth State: New York
Birth City: The Bronx
Birth Country: United States
Gender: Female
Best Known For: Mary J. Blige has influenced a generation of artists with hits like 'Real Love' and 'Be Without You.' She has also had a successful acting career, including her Oscar-nominated performance in 'Mudbound.'
Industries
Pop
Astrological Sign: Capricorn
Fact Check: We strive for accuracy and fairness. If you see something that doesn’t look right, contact us!
QUOTES
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Mary J. Blige: Queen of Hip-Hop Soul
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2024-06-20T09:59:29
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https://www.youtube.com/watch?v=WEvfUXWO3O0 Mary J. Blige: Queen of Hip-Hop Soul Mary J. Blige, often hailed as the "Queen of Hip-Hop Soul," is a ...
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en
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https://www.schooltube.com/mary-j-blige-queen-of-hip-hop-soul/
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Mary J. Blige, often hailed as the “Queen of Hip-Hop Soul,” is a Grammy Award-winning singer, songwriter, and actress. Her powerful vocals, raw honesty, and ability to blend hip-hop and soul music have earned her a place among the most influential artists of the past three decades.
Early Career and Breakthrough
Born in the Bronx, New York, in 1971, Blige’s musical journey began with singing in her church choir. Her early influences included soul singers like Aretha Franklin and Gladys Knight, as well as hip-hop artists like Run-DMC and LL Cool J. In the early 1990s, she caught the attention of Uptown Records executive Andre Harrell, who signed her to the label.
Blige’s debut album, What’s the 411?, released in 1992, was a critical and commercial success. The album’s lead single, “You Remind Me,” topped the Billboard Hot R&B Singles chart, and the album itself went triple platinum. The album’s success established Blige as a major force in contemporary R&B music.
Collaboration with Sean “Diddy” Combs
Blige’s career took an even bigger leap forward when she collaborated with Sean “Diddy” Combs, who was then known as Puff Daddy. Together, they created a string of hit songs, including “Real Love,” “I’m Goin’ Down,” and “Love Is All We Need.” These collaborations helped to solidify Blige’s image as a powerful and seductive vocalist, capable of delivering both soulful ballads and hard-hitting hip-hop tracks.
Rise to Fame and Critical Acclaim
Throughout the 1990s and 2000s, Blige continued to release successful albums, including My Life (1994), Share My World (1997), and No More Drama (2001). Her music often explored themes of love, heartbreak, and personal struggles, resonating deeply with audiences.
Blige has received numerous awards and accolades for her work, including nine Grammy Awards, a Golden Globe Award, and an Academy Award nomination. She has been inducted into the Songwriters Hall of Fame and the Rock & Roll Hall of Fame.
Impact on Music and Culture
Mary J. Blige’s impact on music and culture is undeniable. She helped to bridge the gap between R&B and hip-hop, paving the way for other artists to explore a more urban sound. Her honest and vulnerable lyrics inspired countless listeners and gave voice to a generation’s experiences. She is also known for her fashion sense, which has influenced trends in both music and mainstream culture.
Conclusion
Mary J. Blige’s legacy as a musical icon is secure. Her powerful vocals, honest lyrics, and groundbreaking collaborations have earned her a place in the pantheon of music legends. She continues to inspire new generations of artists and to influence the sound and direction of contemporary music.
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Mary J. Blige [1]1971— Singer, songwriter "Mary J. Blige [2] has been called the inventor of New Jill Swing," Ron Givens wrote in Stereo Review in 1993.
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https://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/mary-j-blige
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Mary J. Blige 1971–
Singer, songwriter
Early Life Shaped Her
Ushered in New Jill Swing
Attitude Turned Off Fans
Shared Her World
More Mature Mary
Selected discography
Sources
“Mary J. Blige has been called the inventor of New Jill Swing,” Ron Givens wrote in Stereo Review in 1993. When the vocalist came to the public’s attention the previous year, she became a magnet for the kind of superlatives music critics love to create. In an interview for the Source, Adario Strange described his subject as a “delicate ghetto-princess songstress,” “the flower of the ghetto,” and “the real momma of hip-hop R&B.” In his Washington Post review of Blige’s second album, Geoffrey Himes called her “the premier soul diva of the hip-hop generation.” But more than anything else, the music media has crowned her the Queen of Hip Hop Soul.
Early Life Shaped Her
Part of the fuel for Blige’s rocket to hip-hop stardom was her “street cred.” She was born on January 11, 1971 in Yonkers, and grew up in the Schlobohm Housing Projects—or “Slow Bomb” projects as its residents called it. Blige’s coming of age on the mean streets of the Bronx provided her with the “credentials” demanded by audiences who also grew up on city streets. Blige described the setting for Essence’s Deborah Gregory, recalling that there “was always some shit going on. Every day I would be getting into fights over whatever. You always had to prove yourself to keep from getting robbed or jumped. Growing up in the projects is like living in a barrel of crabs. If you try to get out, one of the other crabs tries to pull you down.” The family, including Blige’s older sister and two younger brothers, subsisted on her mother Cora’s earnings as a nurse after her father left the family in the mid-1970s. “My mother made me strong,” Blige told the Source. “Watching my mother struggle to raise us and feed us made me want to be a stronger woman,” she continued.
Blige’s environment also provided the sound and encouragement that first shaped her musical identity. A professional jazz musician, her father left his mark on Blige’s ability to harmonize during the brief time he was present. Block parties in the Bronx taught her the rhythms and sampling styles created by the early hip-hop deejays. At home, her mother played a steady stream of R&B, soul, and funk, including Sam Cooke, Aretha Franklin, Stevie Wonder, Chaka Khan, and Gladys Knight. Blige sang regularly with her mother and sister in the choir at the House of Prayer Pente
At a Glance…
Born Mary Jane Blige, January 11, 1971, in Yon-kers, NY; daughter of Cora (a nurse) and a jazz musician.
Career: Worked various part-time jobs in late teens. Released albums, What’s the 4111 1992; What’s the 41U-The Remix, 1993; My Ufe, 1994; Share My World, 1996; The Tour, 1998; Mary, 1999; No More Drama, 2001; appeared on The Jamie Foxx Show, 1998; film, Prison Song, 2000; performed in VM’s Divas Live concerts, 1999, 2001, 2002.
Awards: Soul Train Music Award, 1993; New York Music Award; NAACP Image Award; double-platinum album award for Whatfs the 411Ì; Grammy nomination for Best R&B Album, 1995, 1999, 2002; Grammy award, Best Rap Performance by a Duo or Group, with Method Man, 1996; American Music Award, 1998; Soul Train Lady of Soul awards, 1997, 1998; celebrity spokesperson, MAC AIDS Fund, 2001, 2002.
Addresses: Record company— MCA Records, c/o Maria Kleinman, National Director of Publicity, 70 universal City Plaza, Universal City, CA, 91608; Web-she— www.mjblige.com.
costal Church, honing vocal skills and imbibing gospel. “We used to go to church all night. Everybody would be real good to us,” Blige told Emil Wilbekin in a Vibe interview. She expanded on the experience for Essence’s Gregory, remembering that she “felt so much better going to church every Sunday, just being there, testifying and just being kids. It was a lot of fun.” By the time Blige was a teenager, she had solo spots in the choir and she made the rounds of local talent shows. Though she attended Lincoln High School—a school that specialized in the performing arts—studied music and participated in school sponsored talent shows, she dropped out of high school in the eleventh grade.
While she enjoyed singing, Blige did not expect to make her living at it and, like most teenagers in her position, helped bring in money with several part-time jobs. She told Allison Samuels of Newsweek, ” People in church would say ‘You should do something with your voice.’ And I’d be like ‘What? I am living in the projects in Yonkers. What am I going to do with my voice?’” Her first “demo” tape was, in fact, just a karaoke style recording made one night at a mall to entertain friends when she was 17. Before too long, however, the cover of Anita Baker’s “Caught Up In The Rapture” found its way to Andre Harrell, an executive with Uptown Records: Blige’s mother gave it to her boyfriend, who gave it to a friend, who gave it to R&B vocalist Jeff Redd. Redd passed it on, enthusiastically, to Harrell. On Harrell’s initiative, Blige was brought onto Uptown’s growing roster of young R&B talents. Sean “Puffy” Combs became the young singer’s mentor when the company began preparing her album.
Ushered in New Jill Swing
In 1992 What’s the 411? introduced Blige’s voice to audiences with a growing interest in the New Jack Swing take on R&B. The album not only fit neatly into that R&B revival, but also began to define it. Driven primarily by the single “Real Love,” 411 reached double-platinum status after it sold over two million copies in a short time. Its appeal crossed over from the R&B charts and entered the Top Ten on Billboard’s pop chart. When Havelock Nelson gave the album an “A” in his Entertainment Weekly review in August of 1992, he began with the news everyone would soon know—that Blige was “the first diva to deliver frisky, fly-girl funk” and that she “conquers everything she tackles.” He concluded that the album was “one of the most accomplished fusions of soul values and hip-hop to date.”
Nelson described, in particular, how Blige took the then male-defined domain of New Jack Swing and remade it in her own image, kicking off the rage for New Jill Swing. She became known as the initiator of a new female incarnation of hip-hop. “Mary has become an icon of today’s young Black nation,” wrote the Source’s Strange, “representing the feminine yet strong-willed woman that many young girls hope to be, and the sexy yet not too cute for a ruffneck girlfriend that many brothers from the hood long for.” In April of 1993, Rolling Stone reviewer Steve Hochman noted that Blige had “become the role model for the new breed of strong hip-hop women.” The Source dubbed her the “first true feminine hero of R&B lovin’ ghetto residents.” The singer commented on the phenomenon herself, telling Hochman, “I think I’m creating a style for women—a more feminine version of the way a lot of hip-hop guys dress now.” As the Source noted, the impact of 411 showed up soon on other performers, as “baseball caps and boots suddenly became in vogue for female singers” and “divas everywhere demanded hip-hop tracks to back up their cubic zirconian efforts.”
Attitude Turned Off Fans
The accolades was marred, however, by bad publicity. It seemed to begin at the 1993 Soul Train Music Awards, where Blige accepted her award not in the expected glittering evening gown, but in standard street gear: jeans and a shirt. The public expressed its disapproval instantly: as the Source reported, “radio stations everywhere were flooded with phone calls from disgruntled fans.” That incident occurred in the midst of other, less public, reports of bad behavior. Wilbekin recounted the history for Vibe, recalling that the “stories of tardiness, cancellations, and general lack of professionalism are endless. Mary was eight hours late to one magazine photo shoot, and threw a fit and walked out of at least one more. She conducted interviews where she did as much drinking as talking and acted like a zombie on national television. Then there was the concert in London where she was so out of it the crowd booed her off the stage.”
It was only after the release of her second album that Blige was able to reflect on what might have fed her behavior at the time. She speculated that the attention had disconcerted her—that she had not been prepared, socially or professionally, for the kind of intense spotlight music celebrity creates. Harrell suggested to Wilbekin in Vibe that “the whole experience was overwhelming for her. She wasn’t ready to be put under the microscope in that fashion.” Friend and manager Steve Lucas told Essence that “Mary got an undeserved bad rap because of what was going on around her—the confusion, the lack of organization. When you communicate honestly with Mary, there aren’t any problems. She’s willing to cooperate and do whatever it takes to be successful. She’s basically a very sweet, humble person.” The difficulty of the situation was exacerbated, Blige admitted to Rolling Stone’s Hochman, by her basic shyness. “I’m just not a very open person,” she told him. “The most open I am is when I sing. I’ve always been kind of shy.” On a more concrete note, she also felt there were problems with her management, which she changed before recording the second album. Combs was fired at Uptown and in 1993 started his own company, Bad Boy Entertainment, where Blige took her management business while still recording with Uptown.
Blige also pursued practical measures to prepare herself for the fresh onslaught of publicity that would accompany the second album: she enrolled with a public relations firm, Double XXposure, that trained artists to deal with the demands of public reputation. She worked extensively with the company’s president, Angelo Ellerbee, whom she later credited with not just polishing her interview style, but changing her life more broadly. She told Wilbekin in Vibe that Ellerbee “gave me a totally new kind of life. There was a time when I wouldn’t read nothin’,” but Ellerbee sparked her interest in books her for the first time, introducing her, for example, to a novel by Zora Neale Hurston called Their Eyes Were Watching God.
When Uptown released My Life in 1994, it marked many changes for Blige, including the personal refining that turned around her public image. The vocalist also contributed lyrics for most of the songs; she had been writing before the debut album, but had little confidence in her skill as a lyricist. The sound of the music shifted also, due in part to the use of live horns and strings in place of the standard sampling, moving Blige deeper into the fusion of hip-hop and soul. Ultimately, all of the changes added up successfully for Blige and her producers: My Life debuted in December in the top position on Billboard’s R&B album chart.
Shared Her World
In 1996 Blige released another album, Share My World. Along with the album, she sported a new attitude: self-love. She parted company from people who she felt were negative influences, including producer and mentor, Sean Combs, Deathrow Records president Suge Knight, and K-Ci of Jodeci fame, her on-again, off-again boyfriend. Her new attitude can also be traced to her renewed commitment to God. Blige spoke to Christopher John Farley of Time magazine, “God comes first. If I don’t love him, I can’t love anybody. And if I can’t love me, I can’t love nobody.”
Share My World also broadened Blige’s horizons. She worked with producers Jimmy Jam and Terry Lewis, TrackMasters, and R Kelly. Though known for songs with strong hip hop beats, Share My World’s songs were more mellow and showed Blige headed for mainstream R&B and pop. Amy Linden of People Weekly exclaimed, “Some might gripe that the overall sound is more polished than on her two previous multi-platinum CDs—and it is.” The album also included the Babyface-produced and written song, “Not Gon’ Cry,” from the Waiting To Exhale soundtrack. The song became the jilted black woman’s anthem.
Blige also continued to work on her image. In the beginning she did not care about her career or herself. During her interviews, Blige opened up and spoke about her lifestyle, which included using hard drugs. She told Kevin Chappell of Ebony, “I did a lot of stuff, things that a lot of girls wouldn’t do, because of a lack of self-love. I did drugs, I did a lot. I did things, not just weed, but beyond…” Her finances also were not in order. She made both management and personal changes. “I’m a young lady now; with growing up comes a lot of responsibilities. So there are a lot of things that I have to do, and there are a lot of things that I can’t do anymore.… I want to challenge myself more to see what comes out of it. Patience is a virtue to me,” she was quoted as saying in Ebony.
1998 saw Blige headlining her own tour. During the summer she released The Tour, a live album. “It was a great energy. And it’s really at the concert; there are no studio tricks. I’m not afraid for the audience to hear my voice crack,” she told Anita Samuels of Billboard. The album featured a medley of previous hits and two new covers. Blige also started her own label, Mary Jane Entertainment. She has also jump-started an acting career with an appearance on The Jamie Foxx Show.
More Mature Mary
Blige’s next album, simply entitled Mari; found Blige teaming up with legends such as Elton John, Stevie Wonder, and Aretha Franklin. Critics described the album as more mature, toning down the raunchier elements of her persona that had been evident since her debut and repositioning herself as a true soul singer. Mary was Blige’s first attempt to truly shape her new image and the results were spectacular. The single “All That I Can Say” with Lauryn Hill hit the Billboard top ten charts and the album was nominated for both a Grammy and a Billboard Music Award.
Starting in 1999 and continuing on into 2000 and 2001, Blige has been very open and vocal about the path that her career and personal life took throughout the nineties and how hard she has worked to turn those around into something that she can be proud of. Blige talked of an abusive relationship that she finally realized she had to get out of before something serious happened to her. In an interview with Essence she says of the relationship, “When I looked back I knew I did the right thing, because if I didn’t break out I was going to die. Somebody wanted me dead and subliminally it must have been me, because I drew someone to me who wanted to kill me.” Blige has spoken at length about her new found faith in religion. Blige has openly said that it is God that has allowed her to make the changes that she has made in her life. In a Jet interview with Calerence Waldron, Blige said, “I’m trying to build my foundation on the wisdom, the Word, so that I will be able to pass on the right information to the universe. Because you get exactly what you put out there. I’m just happy with that.”
One of the main regrets that Mary J. Blige has made public was the fact that she dropped out of high school before getting her diploma. Blige has repeatedly told interviewers that part of the reason that she was so careless with her money and her fame during her early career was due to the fact that she didn’t have the proper education and didn’t know how to properly invest her money or who she should trust. Blige studied with tutors and gained her Graduate Equivalence Degree (GED). Starting in 2000, Blige began touring schools, trying to convey the message that education was the most important thing and that students needed to stay in school. She told Jet, she emphasized to teens to “.… stay in school. Just be patient and pray. Finish school, finish high school. Don’t drop out.”
Blige continued to further her career and image with her 2001 release of her album No More Drama. This much developed album with songs such as “Rainy Dayz,” “Family Affair,” and “No More Drama” earned her another Grammy nomination and secured Blige’s place in the soul diva category. Blige attributed the popularity of the album to the fact that she herself is continuing on her in journey of self discovery and that her fans have turned the corner with her. In a Jet magazine interview, Blige says of No More Drama, ” This album is a continuation of a turnaround. The Mary album was a cleanup. It was about cleaning up me. And this album? It’s about solidifying and moving even further with the things I’ve learned and the strides I’ve made.”
The positive reviews on Blige are endless. Geoffrey Himes, among others, paid particular tribute to Blige: “Blige may be a gospel-trained siren like older soul divas,” he remarked in the Washington Times, ” but these arrangements sound like no record ever made by Aretha Franklin, Diana Ross or Patti LaBelle. All the gooey orchestrations that have sugarcoated romantic crooners from Dinah Washington to Anita Baker are gone, leaving a skeletal rhythm track and a spectacular voice freed from all superfluous sentiment and ornamentation.” J.D. Considine, of Baltimore’s Evening Sun, noted that “Blige has more than surpassed expectations” and argued that as “good as the grooves are, it’s her vocal work that ultimately drives these songs.” Similarly, Himes declared her a “major voice of her generation.”
In addition to makiing hit after hit, Blige continued to act. She has appeared in Prison Song, but it may be her last film as she explained in People Weekly, ” I didn’t like being on the set all day and doing scenes over and over.… I like performing more than gettin up in the morning.” Blige has lent her name and celebrity to support causes she believed in. She has appeared in ads for cosmetic company MAC’s Viva Gla, lipstick, which raised money for the MAC AIDS fund. Blige has performed at three VHl’s Divas Live concerts that helped raise money for the cable channel’s Save the Music Foundation. Blige was also featured on Carson hair company’s Dark & Lovely’s permanent hair color box, named Red Hot Mary, after the singer.
As Sean Combs explained to Strange in the Source, Blige “represents all the honeys in the urban communities in Detroit, Harlem, Chicago, and Los Angeles that’s growing up and going through regular every day things that are a part of hip-hop culture.” Blige sums up herself the best. Though gifted with a beautiful voice, she lacked confidence in herself. Mary J. Blige has come through her growing pains into a mature young lady who cares about herself. She stated in Time, ” You better believe that I give a damn now.”
Selected discography
What’s the 411?, Uptown/MCA, 1992.
My Life, Uptown/MCA, 1994.
Share My World, MCA, 1996.
The Tour, MCA, 1998.
Mary, MCA, 1999.
No More Drama, MCA, 2001.
Sources
Periodicals
Atlanta Journal, November 29, 1994.
Billboard, January 16, 1993; July 25, 1998.
Boston Globe, December 15, 1994.
Dallas Morning News, April 4, 2002.
Ebony, January 1999; June 2000; January 1998.
Entertainment Weekly, August 7, 1992; November 20, 1992; December 3, 1993; November 25, 1994.
Essence, March 1995; November 2001.
Evening Sun, (Baltimore, MD), December 2, 1994.
Jet, November 29, 1999; August 28, 2000; September 18, 2000; October 1, 2001.
Newsweek, May 5, 1997.
People, December 5, 1994; May 19, 1997; July 17, 2000.
Rolling Stone, April 15, 1993.
Source, January 1995.
Stereo Review, April 1993.
Time, April 28, 1997.
Vibe, February 1995.
Washington Post, November 27, 1994.
On-line
All Music Guide, www.allmusic.com
www.mjblige.com
Rock On The Net, www.rockonthenet.com
Other
Additional information for this sketch was obtained from Uptown Records.
—Ondine E. LeBlanc, Ashyia N. Henderson, and Ralph Zerbonia
Mary J. Blige
Singer, songwriter
For the Record …
What’s the 411? Spurred R&B Revival
Learned to Manage Fame
“Major Voice of Her Generation”
Selected discography
Sources
In a 1993 article in Stereo Review, Ron Givens wrote, “Mary J. Blige has been called the inventor of New Jill Swing.” When the vocalist came to the public’s attention the previous year, she was a magnet for the kind of superlatives music critics love to create. In an interview for the Source, Adario Strange described his subject as a “delicate ghetto-princess songstress,” “the flower of the ghetto,” and “the real momma of hip-hop R&B.” In his Washington Post review of Blige’s second album, Geoffrey Himes called her “the premier soul diva of the hip-hop generation.” But more than anything else, the music media has crowned her the Queen of Hip Hop Soul.
Part of the fuel for Blige’s rocket to hip-hop stardom was her “street cred.” Her youth in one of New York’s poorer neighborhoods—the Slowbam Projects in Yonkers, where she was born on November 1 in the early 1970s—provided her with the “credentials” demanded by audiences who also grew up on city streets. Blige described the setting for Essence’s Deborah Gregory, recalling that there “was always some sh** going on. Every day I would be getting into fights over whatever. You always had to prove yourself to keep from getting robbed or jumped. Growing up in the projects is like living in a barrel of crabs. If you try to get out, one of the other crabs tries to pull you down.” The family, including Blige’s older sister and two younger brothers, subsisted on her mother Cora’s earnings as a nurse after her father left the family in the mid-1970s. “My mother made me strong,” Blige told Strange. “Watching my mother struggle to raise us and feed us made me want to be a stronger woman.”
Blige’s environment also provided the sound and encouragement that first shaped her musical identity. A professional jazz musician, her father left his mark on Blige’s ability to harmonize during the brief time he was present. Block parties in the Bronx taught her the rhythms and sampling styles created by the early hip-hop deejays. At home, her mother played a steady stream of R&B, soul, and funk, including Sam Cooke, Aretha Franklin, Stevie Wonder, Chaka Khan, and Gladys Knight. Blige sang regularly with her mother and sisters in the choir at the House of Prayer Pentecostal Church, honing vocal skills and imbibing gospel. “We used to go to church all night. Everybody would be real good to us,” Blige told Emil Wilbekin in a Vibe interview. She expanded on the experience for Essence’ s Gregory, remembering that she “felt so much better going to church every Sunday, just being there, testifying and just being kids. It was a lot of fun.” By the time Blige was a teenager, she had solo spots in the choir and she made the rounds of local talent shows. Before she dropped out of school in the eleventh grade, around 1987, she also participated in shows there.
While she enjoyed singing, Blige didn’t expect to make her living at it and, like most teenagers in her position, helped bring in money with several part-time jobs. Her
For the Record…
Born Mary Jane Blige on November 1, c. 1971, in Yonkers, NY; daughter of Cora (a nurse) and a jazz musician.
Sang with mother and sister in House of Prayer Pentecostal Church choir; appeared in local and school talent shows; worked various part-time jobs in late teens; signed by Uptown Records, released debut album, What’s the 411?, 1992; headline tours in 1998 and 2000; released No More Drama, 2001.
Awards: Soul Train Music Awards, 1993, 2000; New York Music Award; Grammy Award, Best Rap Performance by a Duo or Group (with Method Man), 1996; American Music Award, Favorite Soul/R&B Album for Share My World, 1998; Soul Train Lady of Soul awards, 1997, 1998, 2000.
Addresses: Record company —Universal Music Group, 2220 Colorado Ave, Santa Monica, CA 90404; MCA Records, 2220 Colorado Ave, Santa Monica, CA 90404. Website— Mary J. Blige Official Website: http://www.mjblige.com.
first “demo” tape was, in fact, just a karaoke style recording made one night at a mall to entertain friends when she was 17. Before too long, however, the cover of Anita Baker’s “Rapture” found its way to Andre Harrell, an executive with Uptown Records: Blige’s mother gave it to her boyfriend, who gave it to a friend, who gave it to R&B vocalist Jeff Redd. Redd passed it on, enthusiastically, to Harrell. On Harrell’s initiative, Blige was brought onto Uptown’s growing roster of young R&B talents. Sean “Puffy” Combs became the young singer’s mentor when the company began preparing her album.
What’s the 411? Spurred R&B Revival
In 1992 What’s the 411? introduced Blige’s voice to audiences with a growing interest in the New Jack Swing take on R&B. The album not only fit neatly into that R&B revival, but also began to define it. Driven primarily by the single “Real Love,” 411 reached double-platinum status after it sold over two million copies in a short time. Its appeal crossed over from the R&B charts and entered the top ten on Billboards pop chart. When Havelock Nelson gave the album an “A” in his Entertainment Weekly review in August of 1992, he began with the news everyone would soon know; that Blige was “the first diva to deliver frisky, fly-girl funk” and that she “conquers everything she tackles.” He concluded that the album was “one of the most accomplished fusions of soul values and hip-hop to date.”
Nelson described, in particular, how Blige took the then male-defined domain of New Jack Swing and remade it in her own image, kicking off the rage for New Jill. She became known as the initiator of a new female incarnation of hip-hop. “Mary has become an icon of today’s young Black nation,” wrote the Source ’s Strange, “representing the feminine yet strong-willed woman that many young girls hope to be, and the sexy yet not too cute for a ruffneck girlfriend that many brothers from the hood long for.” In April of 1993, Rolling Stone reviewer Steve Hochman noted that Blige had “become the role model for the new breed of strong hip-hop women.” Strange dubbed her the “first true feminine hero of R&B lovin’ ghetto residents.” The singer commented on the phenomenon herself, telling Hochman, “I think I’m creating a style for women—a more feminine version of the way a lot of hip-hop guys dress now.” As Strange noted, the impact of 411 showed up soon on other performers, as “baseball caps and boots suddenly became in vogue for female singers” and “divas everywhere demanded hip-hop tracks to back up their cubic zirconian efforts.”
The applause was dimmed, however, by some bad publicity. It seemed to begin at the 1993 Soul Train Music Awards, where Blige accepted her award not in the expected glittering evening gown, but in standard street gear: jeans and a shirt. The public expressed its disapproval instantly: as the Source’s Strange reported, “radio stations everywhere were flooded with phone calls from disgruntled fans.” That incident occurred in the midst of other less public reports of bad behavior. Wilbekin recounted the history for Vibe, recalling that the “stories of tardiness, cancellations, and general lack of professionalism are endless. Mary was eight hours late to one magazine photo shoot, and threw a fit and walked out of at least one more. She conducted interviews where she did as much drinking as talking and acted like a zombie on national television. Then there was the concert in London where she was so out of it the crowd booed her off the stage.”
It was only after the release of her second album that Blige was able to reflect on what might have fed her behavior at the time. She speculated that the attention had disconcerted her; that she hadn’t been prepared, socially or professionally, for the kind of intense spotlight music celebrity creates. Harrell suggested to Wilbekin in Vibe that “the whole experience was overwhelming for her. She wasn’t ready to be put under the microscope in that fashion.” Friend and manager Steve Lucas told Gregory that “Mary got an undeserved bad rap because of what was going on around her—the confusion, the lack of organization. When you communicate honestly with Mary, there aren’t any problems. She’s willing to cooperate and do whatever it takes to be successful. She’s basically a very sweet, humble person.” The difficulty of the situation was exacerbated, Blige admitted to Rolling Stone’ s Hochman, by her basic shyness. “I’m just not a very open person,” she told him. “The most open I am is when I sing. I’ve always been kind of shy.” On a more concrete note, she also felt there were problems with her management, which she changed before recording the second album. Combs moved out of Uptown and in 1993 started his own company, Bad Boy Entertainment, where Blige took her management business while still recording with Uptown.
Learned to Manage Fame
Blige also pursued practical measures to prepare herself for the fresh onslaught of publicity that would accompany the second album: she enrolled with a public relations firm, Double XXposure, that trained artists to deal with the demands of public reputation. She worked extensively with the company’s president, Angelo Ellerbee, whom she later credited with not just polishing her interview style, but changing her life more broadly. She told Wilbekin in Vibe that Ellerbee “gave me a totally new kind of life. There was a time when I wouldn’t read nothin’,” but Ellerbee sparked her interest in books for the first time, introducing her, for example, to a novel by Zora Neale Hurston called Their Eyes Were Watching God.
When Uptown released My Life in 1994, it marked many changes for Blige, including the personal refining that turned around her public image. The vocalist also contributed lyrics for most of the songs; she had been writing before the debut album, but had little confidence in her skill as a lyricist. The sound of the music shifted also, due in part to the use of live horns and strings in place of the standard sampling, moving Blige deeper into the fusion of hip-hop and soul. Ultimately, all of the changes added up successfully for Blige and her producers: My Life debuted in December in the top position on Billboard’s R&B album chart. One note sounded very consistently from the first album to the second, and that was Blige’s renown for being “real.” As Combs explained to Strange in the Source, Blige “represents all the honeys in the urban communities in Detroit, Harlem, Chicago and Los Angeles that’s growing up and going through regular every day things that are a part of hip-hop culture. This album shows the real of just how strong Black women have become.”
“Major Voice of Her Generation”
Geoffrey Himes, among others, paid particular tribute to Blige’s new take on R&B on My Life; “Blige may be a gospel-trained siren like older soul divas,” he remarked in the Washington Times, “but these arrangements sound like no record ever made by Aretha Franklin, Diana Ross or Patti LaBelle. All the gooey orchestrations that have sugarcoated romantic crooners from Dinah Washington to Anita Baker are gone, leaving a skeletal rhythm track and a spectacular voice freed from all superfluous sentiment and ornamentation.” J.D. Considine, writing for Baltimore’s Evening Sun, greeted the album by noting that “Blige has more than surpassed expectations” and argued that as “good as the grooves are, it’s her vocal work that ultimately drives these songs.” Similarly, Himes declared her a “major voice of her generation.”
Blige’s subsequent albums, Share My World in 1997, The Tour in 1998, Mary in 1999, and No More Drama in 2001, brought new recognition for the steadfast singer. She earned a Grammy Award in 1996 for her rap performance with Method Man followed by nominations in 1997, 1998, 2000, and 2001. She received Soul Train Lady of Soul awards for two years in succession—in 1997 and 1998—and in 1998 received an American Music Award. Additionally, she toured as a headline act in 1998 and again in 2000.
As the 1990s drew to a close, Blige’s self-generated strength reflected clearly in her subsequent projects, and she developed a new sense of social commitment, melding her career with worthy causes that concerned her deeply. The proceeds from her 2000 tour, The Mary Show, went to benefit One Hundred Black Men, Inc., of New York City, and in her capacity as spokesperson for MAC Cosmetics’ Viva Glam III line, she was invited to appear at the United Nations General Assembly Hall for the Race Against Poverty Awards in 2000 and 2001.
Selected discography
What’s the 411? (includes “Real Love” and “You Remind Me”), Uptown/MCA, 1992.
My Life (includes “I’m Going Down” and “You Bring Me Joy”), Uptown/MCA, 1994.
Share My World (includes “Everything,” “Not Goin’ Cry” and “I Can Love You”), MCA, 1997.
The Tour (live), MCA, 1998.
Mary, MCA, 1999.
No More Drama (includes “Family Affair”), MCA, 2001.
Ballads (includes “Overjoyed”; compilation), Polygram, 2001.
Sources
Atlanta Journal, November 29, 1994.
Billboard, January 16, 1993.
Boston Globe, December 15, 1994.
Entertainment Weekly, August 7, 1992; November 20, 1992; December 3, 1993; November 25, 1994.
Essence, March 1995; April 2001.
Evening Sun (Baltimore, MD), December 2, 1994.
Jet, July 3, 2000; October 16, 2000; December 25, 2000.
People, December 5, 1994.
PR Newswire, October 12, 2000; February 12, 2001; March 13, 2001; April 10, 2001.
Rolling Stone, April 15, 1993.
Source, January 1995.
Stereo Review, April 1993.
Vibe, February 1995.
Washington Post, November 27, 1994.
Additional information for this profile was obtained from Uptown Records publicity materials.
—Ondine E. Le Blanc
Mary J. Blige
Singer, songwriter
Early Musical Influences
Hip-hop Role Model Stumbled
Redefined with My Life
Selected discography
Sources
In a 1993 article in Stereo Review, Ron Givens wrote, “Mary J. Blige has been called the inventor of New Jill Swing.” When the vocalist came to the public’s attention the previous year, she became a magnet for the kind of superlatives music critics love to create. In an interview for the Source, Adario Strange described his subject as a “delicate ghetto-princess songstress,” “the flower of the ghetto,” and “the real momma of hip-hop R&B.” In his Washington Post review of Blige’s second album, Geoffrey Himes called her “the premier soul diva of the hip-hop generation.” But more than anything else, the music media has crowned her the Queen of Hip Hop Soul.
Part of the fuel for Blige’s rocket to hip-hop stardom was her “street cred.” Her youth in one of New York City’s poor neighborhoods— the Slowbam Projects in Yonkers, where she was born on January 11, 1971— provided her with the “credentials” demanded by audiences who also grew up on city streets. Blige described the setting for Essence’s Deborah Gregory, recalling that there “was always some sh** going on. Every day I would be getting into fights over whatever. You always had to prove yourself to keep from getting robbed or jumped. Growing up in the projects is like living in a barrel of crabs. If you try to get out, one of the other crabs tries to pull you down.” The family, including Blige’s older sister and two younger brothers, subsisted on her mother Cora’s earnings as a nurse after her father left the family in the mid-1970s. “My mother made me strong,” Blige told Strange. “Watching my mother struggle to raise us and feed us made me want to be a stronger woman.”
Early Musical Influences
Blige’s environment also provided the sound and encouragement that first shaped her musical identity. A professional jazz musician, her father left his mark on Blige’s ability to harmonize during the brief time he was present. Block parties in the Bronx taught her the rhythms and sampling styles created by the early hip-hop deejays. At home, her mother played a steady stream of R&B, soul, and funk, including Sam Cooke, Aretha Franklin, Stevie Wonder, Chaka Khan, and Gladys Knight. Blige sang regularly with her mother and sisters in the choir at the House of Prayer Pentecostal Church, honing vocal skills and imbibing gospel. “We used to go to church all night. Everybody would be real good to us,” Blige told Emil Wilbekin in a Vibe interview. She expanded on the experience for Essence’s Gregory, remembering that she “felt so much better going to church every Sunday, just being there, testifying and just being kids. It was a lot of fun.” By the time Blige was a teenager, she had solo spots in the choir and she made the rounds of local talent shows. Before she dropped out of school in the eleventh grade, around 1987, she also participated in shows there.
While she enjoyed singing, Blige didn’t expect to make her living at it and, like most teenagers in her position,
For the Record …
Born Mary Jane Blige on January 11, 1971, in Yonkers, NY; daughter of Cora (a nurse) and a jazz musician.
Sang with mother and sister in House of Prayer Pentecostal Church choir; appeared in local and school talent shows; worked various part-time jobs in late teens. Signed by Uptown Records and released debut album, What’s the 411?, 1992.
Awards: Soul Train Music Award, 1993; New York Music Award; National Association for the Advancement of Colored People (NAACP) Image Award; doubleplatinum album award for What’s the 411?
Addresses: Record company —Uptown Records, 729 Seventh Avenue, 12th Floor, New York, NY 10019.
helped bring in money with several part-time jobs. Her first “demo” tape was, in fact, just a karaoke style recording made one night at a mall to entertain friends when she was 17. Before too long, however, the cover of Anita Baker’s “Rapture” found its way to Andre Harrell, an executive with Uptown Records: Blige’s mother gave it to her boyfriend, who gave it to a friend, who gave it to R&B vocalist Jeff Redd. Redd passed it on, enthusiastically, to Harrell. On Harrell’s initiative, Blige was brought onto Uptown’s growing roster of young R&B talents. Sean “Puffy” Combs became the young singer’s mentor when the company began preparing her album.
In 1992 What’s the 411? introduced Blige’s voice to audiences with a growing interest in the New Jack Swing take on R&B. The album not only fit neatly into that R&B revival, but also began to define it. Driven primarily by the single “Real Love,” 411 reached double-platinum status after it sold over two million copies in a short time. Its appeal crossed over from the R&B charts and entered the Top Ten on Billboard’s pop chart. When Havelock Nelson gave the album an “A” in his Entertainment Weekly review in August of 1992, he began with the news everyone would soon know—that Blige was “the first diva to deliver frisky, fly-girl funk” and that she “conquers everything she tackles.” He concluded that the album was “one of the most accomplished fusions of soul values and hip-hop to date.”
Nelson described, in particular, how Blige took the then male-defined domain of New Jack Swing and remade it in her own image, kicking off the rage for New Jill.
She became known as the initiator of a new female incarnation of hip-hop. “Mary has become an icon of today’s young Black nation,” wrote the Source’s Strange, “representing the feminine yet strong-willed woman that many young girls hope to be, and the sexy yet not too cute for a ruffneck girlfriend that many brothers from the hood long for.” In April of 1993, Rolling Stone reviewer Steve Hochman noted that Blige had “become the role model for the new breed of strong hip-hop women.” Strange dubbed her the “first true feminine hero of R&B lovin’ ghetto residents.” The singer commented on the phenomenon herself, telling Hochman, “I think I’m creating a style for women— a more feminine version of the way a lot of hip-hop guys dress now.” As Strange noted, the impact of 411 showed up soon on other performers, as “baseball caps and boots suddenly became in vogue for female singers” and “divas everywhere demanded hip-hop tracks to back up their cubic zirconian efforts.”
Hip-hop Role Model Stumbled
The applause was marred, however, by some bad publicity. It seemed to begin at the 1993 Soul Train Music Awards, where Blige accepted her award not in the expected glittering evening gown, but in standard street gear: jeans and a shirt. The public expressed its disapproval instantly: as the Source’s Strange reported, “radio stations everywhere were flooded with phone calls from disgruntled fans.” That incident occurred in the midst of other, less public, reports of bad behavior. Wilbekin recounted the history for Vibe, recalling that the “stories of tardiness, cancellations, and general lack of professionalism are endless. Mary was eight hours late to one magazine photo shoot, and threw a fit and walked out of at least one more. She conducted interviews where she did as much drinking as talking and acted like a zombie on national television. Then there was the concert in London where she was so out of it the crowd booed her off the stage.”
It was only after the release of her second album that Blige was able to reflect on what might have fed her behavior at the time. She speculated that the attention had disconcerted her— that she hadn’t been prepared, socially or professionally, for the kind of intense spotlight music celebrity creates. Harrell suggested to Wilbekin in Vibe that “the whole experience was overwhelming for her. She wasn’t ready to be put under the microscope in that fashion.” Friend and manager Steve Lucas told Gregory that “Mary got an undeserved bad rap because of what was going on around her—the confusion, the lack of organization. When you communicate honestly with Mary, there aren’t any problems. She’s willing to cooperate and do whatever it takes to be successful. She’s basically a very sweet, humble person.” The difficulty of the situation was exacerbated, Blige admitted to Rolling Stone’ s Hochman, by her basic shyness. “I’m just not a very open person,” she told him. “The most open I am is when I sing. I’ve always been kind of shy.” On a more concrete note, she also felt there were problems with her management, which she changed before recording the second album. Combs moved out of Uptown and in 1993 started his own company, Bad Boy Entertainment, where Blige took her management business while still recording with Uptown.
Blige also pursued practical measures to prepare herself for the fresh onslaught of publicity that would accompany the second album: she enrolled with a public relations firm, Double XXposure, that trained artists to deal with the demands of public reputation. She worked extensively with the company’s president, Angelo Ellerbee, whom she later credited with not just polishing her interview style, but changing her life more broadly. She told Wilbekin in Vibe that Ellerbee “gave me a totally new kind of life. There was a time when I wouldn’t read nothin’,” but Ellerbee sparked her interest in books her for the first time, introducing her, for example, to a novel by Zora Neale Hurston called Their Eyes Were Watching God.
Redefined with My Life
When Uptown released My Life in 1994, it marked many changes for Blige, including the personal refining that turned around her public image. The vocalist also contributed lyrics for most of the songs; she had been writing before the debut album, but had little confidence in her skill as a lyricist. The sound of the music shifted also, due in part to the use of live horns and strings in place of the standard sampling, moving Blige deeper into the fusion of hip-hop and soul. Ultimately, all of the changes added up successfully for Blige and her producers: My Life debuted in December in the top position on Billboard’s R&B album chart.
Geoffrey Himes, among others, paid particular tribute to Blige’s new take on R&B; “Blige may be a gospel-trained siren like older soul divas,” he remarked in the Washington Times, “but these arrangements sound like no record ever made by Aretha Franklin, Diana Ross or Patti LaBelle. All the gooey orchestrations that have sugarcoated romantic crooners from Dinah Washington to Anita Baker are gone, leaving a skeletal rhythm track and a spectacular voice freed from all superfluous sentiment and ornamentation.” J.D. Considine, writing for Baltimore’s Evening Sun, greeted the album by noting that “Blige has more than surpassed expectations” and argued that as “good as the grooves are, it’s her vocal work that ultimately drives these songs.” Similarly, Himes declared her a “major voice of her generation.”
One note sounded very consistently from the first album to the second, and that was Blige’s renown for being “real.” As Combs explained to Strange in the Source, Blige “represents all the honeys in the urban communities in Detroit, Harlem, Chicago and Los Angeles that’s growing up and going through regular every day things that are a part of hip-hop culture. This album shows the real of just how strong Black women have become.”
Selected discography
What’s the 411? (includes “Real Love”), Uptown/MCA, 1992.
What’s the 411? Remix, Uptown/MCA, 1993.
My Life, Uptown/MCA, 1994.
Sources
Atlanta Journal, November 29, 1994.
Billboard, January 16, 1993.
Boston Globe, December 15, 1994.
Entertainment Weekly, August 7, 1992; November 20, 1992; December 3, 1993; November 25, 1994.
Essence, March 1995.
Evening Sun (Baltimore, MD), December 2, 1994.
People, December 5, 1994.
Rolling Stone, April 15, 1993.
Source, January 1995.
Stereo Review, April 1993.
Vibe, February 1995.
Washington Post, November 27, 1994.
Additional information for this profile was obtained from Uptown Records publicity materials.
—Ondine E. Le Blanc
Mary J. Blige 1971–
Singer, songwriter
Early Life Shaped Her
Ushered in New Jill Swing
Attitude Turned Off Fans
Shared Her World
Selected discography
Sources
“Mary J. Blige has been called the inventor of New Jill Swing,” Ron Givens wrote in Stereo Review in 1993. When the vocalist came to the public’s attention the previous year, she became a magnet for the kind of superlatives music critics love to create. In an interview for the Source, Adario Strange described his subject as a “delicate ghetto-princess songstress,” “the flower of the ghetto,” and “the real momma of hip-hop R&B.” In his Washington Post review of Blige’s second album, Geoffrey Himes called her “the premier soul diva of the hip-hop generation.” But more than anything else, the music media has crowned her the Queen of Hip Hop Soul.
Early Life Shaped Her
Part of the fuel for Blige’s rocket to hip-hop stardom was her “street cred.” She was born on November 11, 1971 in Yonkers, and grew up in the Schlobohm Housing Projects—or “Slow Bomb” projects as its residents called it. Blige’s coming of age on the mean streets of the Bronx provided her with the “credentials” demanded by audiences who also grew up on city streets. Blige described the setting for Essence’s Deborah Gregory, recalling that there “was always some shit going on. Every day I would be getting into fights over whatever. You always had to prove yourself to keep from getting robbed or jumped. Growing up in the projects is like living in a barrel of crabs. If you try to get out, one of the other crabs tries to pull you down.” The family, including Blige’s older sister and two younger brothers, subsisted on her mother Cora’s earnings as a nurse after her father left the family in the mid-1970s. “My mother made me strong,” Blige told Strange. “Watching my mother struggle to raise us and feed us made me want to be a stronger woman,” she continued.
Blige’s environment also provided the sound and encouragement that first shaped her musical identity. A professional jazz musician, her father left his mark on Blige’s ability to harmonize during the brief time he was present. Block parties in the Bronx taught her the rhythms and sampling styles created by the early hip-hop deejays. At home, her mother played a steady stream of R&B, soul, and funk, including Sam Cooke, Aretha Franklin, Stevie Wonder, Chaka Khan, and
At a Glance…
Bom Mary Jane Blige, November 11, 1971, in Yonkers, NY; daughter of Cora (a nurse) and a jazz musician.
Career: Worked various part-time jobs in late teens. Released albums, What’s the 411? 1992; What’s the 411? -The Remix, 1993; My Life, 1994; Share My World, 1996; The Tour, 1998. Appeared on The Jamie Foxx Show, 1998.
Awards: Soul Train Music Award, 1993; New York Music Award; NAACP Image Award; double-platinum album award for What’s the 411Ì; Grammy nomination for Best R & B Album, 1995; Grammy award, Best Rap Performance by a Duo or Group, with Method Man, 1996; American Music Award, 1998; Soul Train Lady of Soul awards, 1997, 1998.
Addresses: Record company—MCA Records, c/o Maria Kleinrnan, National Director of Publicity, 70 Universal City Plaza, Universal City, CA, 91608.
Gladys Knight. Blige sang regularly with her mother and sister in the choir at the House of Prayer Pentecostal Church, honing vocal skills and imbibing gospel. “We used to go to church all night. Everybody would be real good to us,” Blige told Emil Wilbekin in a Vibe interview. She expanded on the experience for Essence’s Gregory, remembering that she “felt so much better going to church every Sunday, just being there, testifying and just being kids. It was a lot of fun.” By the time Blige was a teenager, she had solo spots in the choir and she made the rounds of local talent shows. Though she attended Lincoln High School—a school that specialized in the performing arts—studied music and participated in school sponsored talent shows, she dropped out of high school in the eleventh grade.
While she enjoyed singing, Blige did not expect to make her living at it and, like most teenagers in her position, helped bring in money with several part-time jobs. She told Allison Samuels of Newsweek, “People in church would say ‘You should do something with your voice.’ And I’d be like ‘What? I am living in the projects in Yonkers. What am I going to do with my voice?’” Her first “demo” tape was, in fact, just a karaoke style recording made one night at a mall to entertain friends when she was 17. Before too long, however, the cover of Anita Baker’s “Caught Up In The Rapture” found its way to Andre Harrell, an executive with Uptown Records : Blige’s mother gave it to her boyfriend, who gave it to a friend, who gave it to R&B vocalist Jeff Redd. Redd passed it on, enthusiastically, to Harrell. On Harrell’s initiative, Blige was brought onto Uptown’s growing roster of young R&B talents. Sean “Puffy” Combs became the young singer’s mentor when the company began preparing her album.
Ushered in New Jill Swing
In 1992 What’s the 411? introduced Blige’s voice to audiences with a growing interest in the New Jack Swing take on R&B. The album not only fit neatly into that R&B revival, but also began to define it. Driven primarily by the single “Real Love,” 411 reached double-platinum status after it sold over two million copies in a short time. Its appeal crossed over from the R&B charts and entered the Top Ten on Billboard’s pop chart. When Havelock Nelson gave the album an “A” in his Entertainment Weekly review in August of 1992, he began with the news everyone would soon know—that Blige was “the first diva to deliver frisky, fly-girl funk” and that she “conquers everything she tackles.” He concluded that the album was “one of the most accomplished fusions of soul values and hip-hop to date.”
Nelson described, in particular, how Blige took the then male-defined domain of New Jack Swing and remade it in her own image, kicking off the rage for New Jill Swing. She became known as the initiator of a new female incarnation of hip-hop. “Mary has become an icon of today’s young Black nation,” wrote the Source’s Strange, “representing the feminine yet strong-willed woman that many young girls hope to be, and the sexy yet not too cute for a ruffneck girlfriend that many brothers from the hood long for.” In April of 1993, Rolling Stone reviewer Steve Hochman noted that Blige had “become the role model for the new breed of strong hip-hop women.” Strange dubbed her the “first true feminine hero of R&B lovin’ ghetto residents.” The singer commented on the phenomenon herself, telling Hochman, “I think I’m creating a style for women—a more feminine version of the way a lot of hip-hop guys dress now.” As Strange noted, the impact of 411 showed up soon on other performers, as “baseball caps and boots suddenly became in vogue for female singers” and “divas everywhere demanded hip-hop tracks to back up their cubic zirconian efforts.”
Attitude Turned Off Fans
The accolades was marred, however, by some bad publicity. It seemed to begin at the 1993 Soul Train Music Awards, where Blige accepted her award not in the expected glittering evening gown, but in standard street gear: jeans and a shirt. The public expressed its disapproval instantly: as the Source’s Strange reported, “radio stations everywhere were flooded with phone calls from disgruntled fans.” That incident occurred in the midst of other, less public, reports of bad behavior. Wilbekin recounted the history for Vibe, recalling that the “stories of tardiness, cancellations, and general lack of professionalism are endless. Mary was eight hours late to one magazine photo shoot, and threw a fit and walked out of at least one more. She conducted interviews where she did as much drinking as talking and acted like a zombie on national television. Then there was the concert in London where she was so out of it the crowd booed her off the stage.”
It was only after the release of her second album that Blige was able to reflect on what might have fed her behavior at the time. She speculated that the attention had disconcerted her—that she had not been prepared, socially or professionally, for the kind of intense spotlight music celebrity creates. Harrell suggested to Wilbekin in Vibe that “the whole experience was overwhelming for her. She wasn’t ready to be put under the microscope in that fashion.” Friend and manager Steve Lucas told Gregory that “Mary got an undeserved bad rap because of what was going on around her—the confusion, the lack of organization. When you communicate honestly with Mary, there aren’t any problems. She’s willing to cooperate and do whatever it takes to be successful. She’s basically a very sweet, humble person.” The difficulty of the situation was exacerbated, Blige admitted to Rolling Stone’s Hochman, by her basic shyness. “I’m just not a very open person,” she told him. “The most open I am is when I sing. I’ve always been kind of shy.” On a more concrete note, she also felt there were problems with her management, which she changed before recording the second album. Combs was fired at Uptown and in 1993 started his own company, Bad Boy Entertainment, where Blige took her management business while still recording with Uptown.
Blige also pursued practical measures to prepare herself for the fresh onslaught of publicity that would accompany the second album: she enrolled with a public relations firm, Double XXposure, that trained artists to deal with the demands of public reputation. She worked extensively with the company’s president, Angelo Eller-bee, whom she later credited with not just polishing her interview style, but changing her life more broadly. She told Wilbekin in Vibe that Ellerbee “gave me a totally new kind of life. There was a time when I wouldn’t read nothin’,” but Ellerbee sparked her interest in books for the first time, introducing her, for example, to a novel by Zora Neale Hurst on called Their Eyes Were Watching God.
When Uptown released My Life in 1994, it marked many changes for Blige, including the personal refining that turned around her public image. The vocalist also contributed lyrics for most of the songs; she had been writing before the debut album, but had little confidence in her skill as a lyricist. The sound of the music shifted also, due in part to the use of live horns and strings in place of the standard sampling, moving Blige deeper into the fusion of hip-hop and soul. Ultimately, all of the changes added up successfully for Blige and her producers: My Life debuted in December in the top position on Billboard’s R&B album chart.
Shared Her World
In 1996, Blige released another album, Share My World. Along with the album, she sported a new attitude: self-love. She parted company from people who she felt were negative influences, including producer and mentor, Sean Combs, Deathrow Records president Suge Knight, and K-Ci of Jodeci fame, her on-again, off-again boyfriend. Her new attitude can also be traced to her renewed commitment to God. Blige spoke to Christopher John Farley of Time magazine, “God comes first. If I don’t love him, I can’t love anybody. And if I can’t love me, I can’t love nobody.”
Share My World also broadened Blige’s horizons. She worked with producers Jimmy Jam and Terry Lewis, TrackMasters, and R Kelly. Though known for songs with strong hip hop beats, Share My World’s songs were more mellow and showed Blige headed for mainstream R&B and pop. Amy Linden of People Weekly exclaimed, “Some might gripe that the overall sound is more polished than on her two previous multi-platinum CDs—and it is.” The album also included the Babyface-produced and written song, “Not Gon’ Cry,” from the Waiting To Exhale soundtrack. The song became the jilted black woman’s anthem.
Blige also continued to work on her image. In the beginning she did not care about her career or herself. During her interviews, Blige opened up and spoke about her lifestyle, which included using hard drugs. She told Kevin Chappell of Ebony, “I did a lot of stuff, things that a lot of girls wouldn’t do, because of a lack of self-love. I did drugs, I did a lot. I did things, not just weed, but beyond …” Her finances also were not in order. She made both management and personal changes. “I’m a young lady now; with growing up comes a lot of responsibilities. So there are a lot of things that I have to do, and there are a lot of things that I can’t do anymore…. I want to challenge myself more to see what comes out of it. Patience is a virtue to me,” she was quoted as saying in Ebony
1998 saw Blige headlining her own tour. During the summer she released The Tour, a live album. “It was a great energy. And it’s really at the concert; there are no studio tricks. I’m not afraid for the audience to hear my voice crack,” she told Anita Samuels of Billboard. The album featured a medley of previous hits and two new covers. Blige also started her own label, Mary Jane Entertainment. She has also jump-started an acting career with an appearance on The Jamie Foxx Show.
The positive reviews on Blige are endless. Geoffrey Himes, among others, paid particular tribute to Blige: “Blige may be a gospel-trained siren like older soul divas,” he remarked in the Washington Times, “but these arrangements sound like no record ever made by Aretha Franklin, Diana Ross or Patti LaBelle. All the gooey orchestrations that have sugarcoated romantic crooners from Dinah Washington to Anita Baker are gone, leaving a skeletal rhythm track and a spectacular voice freed from all superfluous sentiment and ornamentation.” J.D. Considine, of Baltimore’s Evening Sun, noted that “Blige has more than surpassed expectations” and argued that as “good as the grooves are, it’s her vocal work that ultimately drives these songs.” Similarly, Himes declared her a “major voice of her generation.”
As Sean Combs explained to Strange in the Source, Blige “represents all the honeys in the urban communities in Detroit, Harlem, Chicago, and Los Angeles that’s growing up and going through regular every day things that are a part of hip-hop culture.” Blige sums up herself the best. Though gifted with a beautiful voice, she lacked confidence in herself. Mary J. Blige has come through her growing pains into a mature young lady who cares about herself. She stated in Time, “You better believe that I give a damn now.”
Selected discography
What’s the 411?, Uptown/MCA, 1992.
My Life, Uptown/MCA, 1994.
Share My World, MCA, 1996.
The Tour, MCA, 1998.
Sources
Periodicals
Atlanta Journal, November 29, 1994.
Billboard, January 16, 1993; July 25, 1998.
Boston Globe, December 15, 1994.
Ebony, January 1998.
Entertainment Weekly, August 7, 1992; November 20, 1992; December 3, 1993; November 25, 1994.
Essence, March 1995.
Evening Sun (Baltimore, MD), December 2, 1994.
Newsweek, May 5, 1997.
People, December 5, 1994; May 19, 1997.
Rolling Stone, April 15, 1993.
Source, January 1995.
Stereo Review, April 1993.
Time, April 28, 1997.
Vibe, February 1995.
Washington Post, November 27, 1994.
Other
Additional information for this sketch was obtained from Uptown Records.
—Ondine E. LeBlanc and Ashyia N. Henderson
Mary J. Blige
1971—
Singer, songwriter
"Mary J. Blige has been called the inventor of New Jill Swing," Ron Givens wrote in Stereo Review in 1993. When the vocalist came to the public's attention the previous year, she became a magnet for the kind of superlatives music critics love to create. In an interview for the Source, Adario Strange described his subject as a "delicate ghetto-princess songstress," "the flower of the ghetto," and "the real momma of hip-hop R&B." In his Washington Post review of Blige's second album, Geoffrey Himes called her "the premier soul diva of the hip-hop generation." She rose in esteem over the years to be crowned by the music media as the Queen of Hip Hop Soul.
Grew Up in the Ghetto
Part of the fuel for Blige's rocket to hip-hop stardom was her "street cred." She was born on January 11, 1971, in the Bronx, and raised in Savannah, Georgia, before moving to the Schlobohm Housing Projects—or "Slow Bomb" projects, as its residents called it, in Yonkers, New York. Blige's coming of age on the mean streets of the Bronx provided her with the "credentials"
demanded by audiences who also grew up on city streets. Blige described the setting for Essence's Deborah Gregory, recalling that there "was always some sh** going on. Every day I would be getting into fights over whatever. You always had to prove yourself to keep from getting robbed or jumped. Growing up in the projects is like living in a barrel of crabs. If you try to get out, one of the other crabs tries to pull you down." The family, including Blige's older sister and two younger brothers, subsisted on her mother Cora's earnings as a nurse after her father left the family in the mid-1970s. "My mother made me strong," Blige told Strange. "Watching my mother struggle to raise us and feed us made me want to be a stronger woman," she continued.
Blige's environment also provided the sound and encouragement that first shaped her musical identity. A professional jazz musician, her father left his mark on Blige's ability to harmonize during the brief time he was present. Block parties in the Bronx taught her the rhythms and sampling styles created by the early hip-hop deejays. At home, her mother played a steady stream of R&B, soul, and funk, including Sam Cooke, Aretha Franklin, Stevie Wonder, Chaka Khan, and Gladys Knight. Blige sang regularly with her mother and sister in the choir at the House of Prayer Pentecostal Church, honing vocal skills and imbibing gospel. "We used to go to church all night. Everybody would be real good to us," Blige told Emil Wilbekin in a Vibe interview. She expanded on the experience for Essence's Gregory, remembering that she "felt so much better going to church every Sunday, just being there, testifying and just being kids. It was a lot of fun." By the time Blige was a teenager, she had solo spots in the choir and she made the rounds of local talent shows. Though she attended Lincoln High School—a school that specialized in the performing arts—studied music and participated in school sponsored talent shows, she dropped out of high school in the eleventh grade.
While she enjoyed singing, Blige did not expect to make her living at it and, like most teenagers in her position, helped bring in money with several part-time jobs. She told Allison Samuels of Newsweek, "People in church would say ‘You should do something with your voice.’ And I'd be like ‘What? I am living in the projects in Yonkers. What am I going to do with my voice?’" Her first "demo" tape was, in fact, just a karaoke style recording made one night at a mall to entertain friends when she was 17. Before too long, however, the cover of Anita Baker's "Caught Up In The Rapture" found its way to Andre Harrell, an executive with Uptown Records: Blige's mother gave it to her boyfriend, who gave it to a friend, who gave it to R&B vocalist Jeff Redd. Redd passed it on, enthusiastically, to Harrell. On Harrell's initiative, Blige was brought onto Uptown's growing roster of young R&B talents. Sean "Puffy" Combs (later known as P. Diddy) became the young singer's mentor when the company began preparing her album.
Invented the New Jill Swing
In 1992, What's the 411? introduced Blige's voice to audiences with a growing interest in the New Jack Swing take on R&B. The album not only fit neatly into that R&B revival, but also began to define it. Driven primarily by the single "Real Love," 411 reached double-platinum status after it sold more than two million copies in a short time. Its appeal crossed over from the R&B charts and entered the Top Ten on Billboard's pop chart. When Havelock Nelson gave the album an "A" in his Entertainment Weekly review in August of 1992, he began with the news everyone would soon know—that Blige was "the first diva to deliver frisky, fly-girl funk" and that she "conquers everything she tackles." He concluded that the album was "one of the most accomplished fusions of soul values and hip-hop to date."
Nelson described, in particular, how Blige took the then male-defined domain of New Jack Swing and remade it in her own image, kicking off the rage for New Jill Swing. She became known as the initiator of a new female incarnation of hip-hop. "Mary has become an icon of today's young Black nation," wrote the Source's Strange, "representing the feminine yet strong-willed woman that many young girls hope to be, and the sexy yet not too cute for a ruffneck girlfriend that many brothers from the hood long for." In April of 1993, Rolling Stone reviewer Steve Hochman noted that Blige had "become the role model for the new breed of strong hip-hop women." Strange dubbed her the "first true feminine hero of R&B lovin' ghetto residents." The singer commented on the phenomenon herself, telling Hochman, "I think I'm creating a style for women—a more feminine version of the way a lot of hip-hop guys dress now." As Strange noted, the impact of 411 showed up soon on other performers, as "baseball caps and boots suddenly became in vogue for female singers" and "divas everywhere demanded hip-hop tracks to back up their cubic zirconian efforts."
At a Glance …
Born Mary Jane Blige on January 11, 1971, in Bronx, NY; raised in Savannah, GA, and Yonkers, NY; daughter of Cora (a nurse) and a jazz musician; married Kendu Isaacs (a music producer), 2003. Education: GED.
Career:
Singer, 1992-; actress, 1998-.
Awards:
Soul Train Music Award, 1993; New York Music Award; NAACP Image Award; double-platinum album award for What's the 411?; Grammy Award, for Best Rap Performance by a Duo or Group (with Method Man), 1995; American Music Award, 1998; Soul Train Lady of Soul awards, 1997, 1998; celebrity spokesperson, MAC AIDS Fund, 2001, 2002; Grammy Award, for Best Female R&B Vocal Performance, 2002; Grammy Award, for Best Pop Collaboration with Vocals (with Sting), 2003; Grammy Award, for Best R&B Album, for Best R&B Song, and for Best R&B Female Vocal Performance, all 2006.
Addresses:
Web—www.mjblige.com.
The accolades were marred, however, by some bad publicity. It seemed to begin at the 1993 Soul Train Music Awards, where Blige accepted her award not in the expected glittering evening gown, but in standard street gear: jeans and a shirt. The public expressed its disapproval instantly: as the Source's Strange reported, "radio stations everywhere were flooded with phone calls from disgruntled fans." That incident occurred in the midst of other, less public, reports of bad behavior. Wilbekin recounted the history for Vibe, recalling that the "stories of tardiness, cancellations, and general lack of professionalism are endless. Mary was eight hours late to one magazine photo shoot, and threw a fit and walked out of at least one more. She conducted interviews where she did as much drinking as talking and acted like a zombie on national television. Then there was the concert in London where she was so out of it the crowd booed her off the stage."
Worked on Image
It was only after the release of her second album that Blige was able to reflect on what might have fed her behavior at the time. She speculated that the attention had disconcerted her—that she had not been prepared, socially or professionally, for the kind of intense spotlight music celebrity creates. Harrell suggested to Wilbekin in Vibe that "the whole experience was overwhelming for her. She wasn't ready to be put under the microscope in that fashion." Friend and manager Steve Lucas told Gregory that "Mary got an undeserved bad rap because of what was going on around her—the confusion, the lack of organization. When you communicate honestly with Mary, there aren't any problems. She's willing to cooperate and do whatever it takes to be successful. She's basically a very sweet, humble person." The difficulty of the situation was magnified, Blige admitted to Rolling Stone's Hochman, by her basic shyness. "I'm just not a very open person," she told him. "The most open I am is when I sing. I've always been kind of shy." On a more concrete note, she also felt there were problems with her management, which she changed before recording the second album. Combs was fired at Uptown and in 1993 started his own company, Bad Boy Entertainment, where Blige took her management business while still recording with Uptown.
Blige also pursued practical measures to prepare herself for the fresh onslaught of publicity that would accompany the second album: she enrolled with a public relations firm, Double XXposure, that trained artists to deal with the demands of public reputation. She worked extensively with the company's president, Angelo Ellerbee, whom she later credited with not just polishing her interview style, but changing her life more broadly. She told Wilbekin in Vibe that Ellerbee "gave me a totally new kind of life. There was a time when I wouldn't read nothin'," but Ellerbee sparked her interest in books her for the first time, introducing her, for example, to a novel by Zora Neale Hurston called Their Eyes Were Watching God.
When Uptown released My Life in 1994, it marked many changes for Blige, including the personal refining that turned around her public image. The vocalist also contributed lyrics for most of the songs; she had been writing before the debut album, but had little confidence in her skill as a lyricist. The sound of the music shifted also, due in part to the use of live horns and strings in place of the standard sampling, moving Blige deeper into the fusion of hip-hop and soul. Ultimately, all of the changes added up successfully for Blige and her producers: My Life debuted in December in the top position on Billboard's R&B album chart.
In 1996, Blige released another album, Share My World. Along with the album, she sported a new attitude: self-love. She parted company from people who she felt were negative influences, including her producer and mentor, Combs, Deathrow Records president Suge Knight, and K-Ci of Jodeci fame, her on-again, off-again boyfriend. Her new attitude can also be traced to her renewed commitment to God. Blige spoke to Christopher John Farley of Time, "God comes first. If I don't love him, I can't love anybody. And if I can't love me, I can't love nobody."
Share My World also broadened Blige's horizons. She worked with producers Jimmy Jam and Terry Lewis, TrackMasters, and R Kelly. Though known for songs with strong hip hop beats, Share My World's songs were more mellow and showed Blige headed for mainstream R&B and pop. Amy Linden of People exclaimed, "Some might gripe that the overall sound is more polished than on her two previous multi-platinum CDs—and it is." The album also included the Babyface-produced and written song, "Not Gon' Cry," from the Waiting To Exhale soundtrack. The song became the jilted black woman's anthem.
Continued to Transform Herself
Blige also continued to work on her image. In the beginning she did not care about her career or herself. During her interviews, Blige opened up and spoke about her lifestyle, which included using hard drugs. She told Kevin Chappell of Ebony, "I did a lot of stuff, things that a lot of girls wouldn't do, because of a lack of self-love. I did drugs, I did a lot. I did things, not just weed, but beyond…." Her finances also were not in order. She made both management and personal changes. "I'm a young lady now; with growing up comes a lot of responsibilities. So there are a lot of things that I have to do, and there are a lot of things that I can't do anymore…. I want to challenge myself more to see what comes out of it. Patience is a virtue to me," she was quoted as saying in Ebony.
In 1998 Blige headlined her own tour, and that summer she released a live album, called The Tour. "It was a great energy. And it's really at the concert; there are no studio tricks. I'm not afraid for the audience to hear my voice crack," she told Anita Samuels of Billboard. The album featured a medley of previous hits and two new covers. Blige also started her own label, Mary Jane Entertainment. She toured again as a headliner in The Mary Show in 2000 and appeared with Aretha Franklin on the annual VH1 Divas Live broadcast in 2001. With seemingly bottomless energy, Blige made her television acting debut on The Jamie Foxx Show in 1998.
Blige's next album, simply entitled Mary found Blige teaming up with legends such as Elton John, Stevie Wonder, and Aretha Franklin. Critics described the album as more mature, toning down the raunchier elements of her persona that had been evident since her debut and repositioning herself as a true soul singer. Mary was Blige's first attempt to truly shape her new image and the results were spectacular. The single "All That I Can Say" with Lauryn Hill hit the Billboard top ten charts and the album was nominated for both a Grammy and a Billboard Music Award.
Starting in 1999 and continuing on into 2000 and 2001, Blige has been very open and vocal about the path that her career and personal life took throughout the 1990s and how hard she has worked to turn those around into something that she can be proud of. Blige talked of an abusive relationship that she finally realized she had to get out of before something serious happened to her. In an interview with Essence she says of the relationship, "When I looked back I knew I did the right thing, because if I didn't break out I was going to die. Somebody wanted me dead and subliminally it must have been me, because I drew someone to me who wanted to kill me." Blige has spoken at length about her newfound faith in religion. Blige has openly said that it is God that has allowed her to make the changes that she has made in her life. In a Jet interview with Calerence Waldron, Blige said, "I'm trying to build my foundation on the wisdom, the Word, so that I will be able to pass on the right information to the universe. Because you get exactly what you put out there. I'm just happy with that."
One of the main regrets that Mary J. Blige has made public was the fact that she dropped out of high school before getting her diploma. Blige has repeatedly told interviewers that part of the reason that she was so careless with her money and her fame during her early career was due to the fact that she didn't have the proper education and didn't know how to properly invest her money or who she should trust. Blige studied with tutors and gained her Graduate Equivalence Degree (GED). Starting in 2000, Blige began touring schools, trying to convey the message that education was the most important thing and that students needed to stay in school. She told Jet, she emphasized to teens to "… stay in school. Just be patient and pray. Finish school, finish high school. Don't drop out."
Made Further Strides
Blige continued to further her career and image with her 2001 release of her album No More Drama. This much-developed album with songs such as "Love," "Family Affair," and "No More Drama" earned her another Grammy nomination and secured Blige's place in the soul diva category. Blige attributed the popularity of the album to the fact that she herself is continuing on her in journey of self discovery and that her fans have turned the corner with her. In a Jet magazine interview, Blige says of No More Drama, "This album is a continuation of a turnaround. The Mary album was a cleanup. It was about cleaning up me. And this album? It's about solidifying and moving even further with the things I've learned and the strides I've made."
The positive reviews on Blige are endless. Music critic Geoffrey Himes, among others, paid particular tribute to Blige: "Blige may be a gospel-trained siren like older soul divas," he remarked in the Washington Times, "but these arrangements sound like no record ever made by Aretha Franklin, Diana Ross or Patti LaBelle. All the gooey orchestrations that have sugarcoated romantic crooners from Dinah Washington to Anita Baker are gone, leaving a skeletal rhythm track and a spectacular voice freed from all superfluous sentiment and ornamentation." J.D. Considine, of Baltimore's Evening Sun, noted that "Blige has more than surpassed expectations" and argued that as "good as the grooves are, it's her vocal work that ultimately drives these songs." Similarly, Himes declared her a "major voice of her generation."
She reunited with Diddy for Love and Life, in 2003. Also that year, she married music producer Kendu Isaacs. Blige won a Grammy award in 2004, with Sting, for Best Pop Collaboration with Vocals for their work, "Whenever I Say Your Name." In addition to making hit after hit, Blige continued to act. She has appeared in Prison Song, but it may be her last film as she explained in People, "I didn't like being on the set all day and doing scenes over and over…. I like performing more than getting up in the morning." Nevertheless, Blige did continue to act, appearing on the CBS series Ghost Whisperer in 2007. Blige has lent her name and celebrity to support causes she believed in. She has appeared in ads for cosmetic company MAC's Viva Glam lipstick, which raised money for the MAC AIDS fund. Blige has performed at three VH1's Divas Live concerts that helped raise money for the cable channel's Save the Music Foundation. Blige was also featured on Carson hair company's Dark & Lovely's permanent hair color box, named Red Hot Mary, after the singer.
Achieved a Breakthrough
As Sean Combs explained to Strange in the Source, Blige "represents all the honeys in the urban communities in Detroit, Harlem, Chicago, and Los Angeles [who are] growing up and going through regular every day things that are a part of hip-hop culture." Blige sums up herself the best. Though gifted with a beautiful voice, she lacked confidence in herself. Mary J. Blige has come through her growing pains into a mature young lady who cares about herself. She stated in Time, "You better believe that I give a damn now."
Her newfound confidence showed in her later recordings. In The Breakthrough, Blige included song that showcased her past, such as "Enough Cryin" and "Baggage," as well as her calmer present sense of self, as in "Be Without You." Blige explained her different approach to this album to Richard Harrington of the Washington Post: "I remember when I was a woman that was solely about pain—everything was pain, pain, pain. Now we're selling triumph over tragedy, and that's what [the album] was all about—being a victor instead of a victim. I put a lot of work into trying to get myself together, to get to the point where I could have the strength to show people my weaknesses like that." The album was a triumph itself, selling more copies in its first week than any other R&B album for a female solo artist. Blige was also honored in 2006 with eight Grammy nominations for her music—more than any other artist that year. For her efforts, she won three Grammy Awards, for Best R&B Album, for Best R&B Song, and for Best R&B Female Vocal Performance.
Blige continued her personal healing and next revisited her past as a way of moving on. She offered listeners her own take on her 15-year career with her 2006 album, Reflections—A Retrospective. The album featured re-recordings of some of her biggest hits as well as four new songs, including "We Ride (I See the Future)." "I'm just taking a look back before I move forward again," Blige told Jessica Herndon of People about the album. Blige's transformation from an unfocused young woman to a poised, principled R&B diva without missing a beat proves the Queen still reigns.
Selected discography
Albums
What's the 411?, Uptown/MCA, 1992.
My Life, Uptown/MCA, 1994.
Share My World, MCA, 1996.
The Tour, MCA, 1998.
Mary, MCA, 1999.
No More Drama, MCA, 2001.
Dance for Me, MCA, 2002.
Love & Life, Geffen, 2003.
Not Today, Geffen, 2003.
Love Is All We Need, Geffen, 2004.
The Breakthrough, Geffen, 2005.
Reflections—A Retrospective, Geffen, 2006.
Sources
Books
Brown, Terrell, Mary J. Blige, Mason Crest, 2007.
Torres, Jennifer, Mary J. Blige, Mitchell Lane, 2007.
Periodicals
Atlanta Journal, November 29, 1994.
Billboard, January 16, 1993; July 25, 1998.
Boston Globe, December 15, 1994.
Dallas Morning News, April 4, 2002.
Ebony, January 1998; January 1999; June 2000.
Entertainment Weekly, August 7, 1992; November 20, 1992; December 3, 1993; November 25, 1994.
Essence, March 1995; November 2001.
Evening Sun, (Baltimore, MD), December 2, 1994.
Jet, November 29, 1999; August 28, 2000; September 18, 2000; October 1, 2001; January 29, 2007, p. 60.
Newsweek, May 5, 1997.
People, December 5, 1994; May 19, 1997; July 17, 2000; January 8, 2007, p. 42.
Philadelphia Tribune, August 6, 2006, p. 18.
Rolling Stone, April 15, 1993; January 25, 2007; February 8, 2007.
Source, January 1995.
Stereo Review, April 1993.
Time, April 28, 1997.
Us Weekly, February 12, 2007, p. 48.
Vibe, February 1995.
Washington Post, November 27, 1994; February 11, 2007, p. Y5.
On-line
All Music Guide, www.allmusic.com (January 5, 2005).
"Mary J. Blige," MTV.com, www.mtv.com/bands/az/blige_mary_j/bio.jhtml (January 7, 2005).
Mary J. Blige, www.mjblige.com (January 5, 2005).
"Mary J. Blige, Making ‘The Breakthrough,’" National Public Radio, www.npr.org/templates/story/story.php?storyId=5165863 (April 3, 2007).
Rock On The Net, www.rockonthenet.com (January 5, 2005).
Other
Additional information for this sketch was obtained from Uptown Records.
—Ondine E. LeBlanc, Ashyia N. Henderson, Ralph Zerbonia, and Sara Pendergast
Mary J. Blige
Singer, songwriter
At a time when the mainstream music industry seems to be crumbling, Mary J. Blige has proven to be one of the music industry's few bankable stars. Enduringly popular, the sultry Bronx-born R&B singer-songwriter continues to make a difference with her music and as a leader in her community.
Stereo Review's Ron Givens wrote, "Mary J. Blige has been called the inventor of New Jill Swing." In his Washington Post review of Blige's second album, Geoffrey Himes called her "the premier soul diva of the hip-hop generation." But more than anything else, the music media has crowned her the Queen of Hip-Hop Soul. Blige's youth in one of New York's poorer neighborhoods—the Slowbam Projects in Yonkers—where she was born on January 11, 1971, provided her with the "credentials" demanded by audiences who also grew up on the city streets. Her family, including Blige's older sister and two younger brothers, subsisted on her mother Cora's earnings as a nurse after her father left the family in the mid-1970s. "My mother made me strong," Blige told Adario Strange in Source. "Watching my mother struggle to raise us and feed us made me want to be a stronger woman."
Blige's environment also provided the sound and encouragement that shaped her musical identity. A professional jazz musician, her father left his mark on Blige's ability to harmonize during the brief time he was present. Block parties in the Bronx taught her the rhythms and sampling styles created by the early hip-hop deejays. At home, her mother played a steady stream of R&B, soul, and funk. Blige sang regularly with her mother and sisters in the choir at the House of Prayer Pentecostal Church, honing vocal skills and imbibing gospel. By the time Blige was a teenager, she had solo spots in the choir and she made the rounds of local talent shows. Before she dropped out of school in the eleventh grade in about 1987, she had also participated in school shows.
While she enjoyed singing, Blige didn't expect to make her living at it, and like most teenagers in her position, she helped bring in money with several part-time jobs. However, a cover she made of Anita Baker's "Rapture" found its way to Andre Harrell, an executive with Uptown Records. On Harrell's initiative, Blige was brought onto Uptown's growing roster of young R&B talents. Sean "Puffy" Combs (later P. Diddy) became the young singer's mentor when the company began preparing her album.
What's the 411? Spurred R&B Revival
In 1992 What's the 411? introduced Blige's voice to audiences with a growing interest in the New Jack Swing take on R&B. The album not only fit neatly into that R&B revival, but also began to define it. Driven primarily by the single "Real Love," the album reached double-platinum status after it sold more than two mil- lion copies in a short time. It crossed over from the R&B charts and entered the top ten on Billboard's pop chart. When Havelock Nelson praised the album in his Entertainment Weekly review in August of 1992, he began with the news everyone would soon know; that Blige was "the first diva to deliver frisky, fly-girl funk" and that she "conquers everything she tackles." He concluded that the album was "one of the most accomplished fusions of soul values and hip-hop to date." Nelson described, in particular, how Blige took the then male-defined domain of New Jack Swing and remade it in her own image, kicking off the rage for New Jill.
Blige would become known as the initiator of a new female incarnation of hip-hop. Rolling Stone reviewer Steve Hochman noted that Blige had "become the role model for the new breed of strong hip-hop women." Strange dubbed her the "first true feminine hero of R&B lovin' ghetto residents." The singer commented on the phenomenon herself, telling Hochman, "I think I'm creating a style for women—a more feminine version of the way a lot of hip-hop guys dress now."
The applause was dimmed, however, by bad publicity, including at the 1993 Soul Train Music Awards, where Blige accepted her award not in the expected glittering evening gown, but wearing jeans and a shirt, causing an outcry of disapproval from fans. There were other less public reports of bad behavior. Emil Wilbekin of Vibe mentioned "stories of tardiness, cancellations, and general lack of professionalism," as well as drinking during interviews and performances. Blige herself admitted that she had not been prepared for the spotlight of celebrity status. She also felt there were problems with her management, and she took steps to make changes before recording her second album. Combs had moved out of Uptown and in 1993 started his own company, Bad Boy Entertainment, and Blige took her management business there while still recording with Uptown.
Blige also pursued practical measures to prepare herself for the fresh onslaught of publicity that would accompany the second album: she enrolled with a public relations firm, Double XXposure, that trained artists to deal with the demands of a public reputation. She worked extensively with the company's president, Angelo Ellerbee, whom she later credited with helping her change her life more broadly. She told Wilbekin that Ellerbee "gave me a totally new kind of life." Ellerbee even sparked her interest in books for the first time, introducing her, for example, to a novel by Zora Neale Hurston titled Their Eyes Were Watching God.
For the Record …
Born Mary Jane Blige on January 11, 1971, in Yonkers, NY; daughter of Cora (a nurse) and a jazz musician. Married Kendu Isaacs (works in the music industry), December 7, 2003.
Sang with mother and sister in House of Prayer Pentecostal Church choir; signed by Uptown Records, released debut album, What's the 411?, 1992; headlined tours in 1998 and 2000; released No More Drama, 2001; appeared as singer on numerous television programs including Late Show with David Letterman, Oprah Winfrey, Saturday Night Live, Entourage, and The Tonight Show with Jay Leno; appeared as actress on television programs such as Strong Medicine and Ghost Whisperer; released albums Love & Life, 2003, The Breakthrough, 2005, Growing Pains, 2007; co-founded Mary J. Blige and Steve Stout Foundation for the Advancement of Women Now, Inc., 2008.
Awards: Soul Train Music Awards, 1993, 2000; Grammy Award, Best Rap Performance by a Duo or Group (with Method Man), 1996; American Music Award, Favorite Soul/R&B Album, for Share My World, 1998; Soul Train Lady of Soul awards, 1997, 1998, 2000; Grammy Award, Best Pop Collaboration with Vocals (with Sting), for "Whenever I Say Your Name," 2004; BET Award, Best R&B Female Artist, 2006; American Music Award, Favorite Soul/R&B Album, for The Breakthrough, 2006; Billboard Music Award, R&B/Hip-Hop Album of the Year, for The Breakthrough, 2006; Billboard Music Award, Song of the Year, for "Be Without You," 2006; Billboard Music Award, R&B/Hip-Hop Artist of the Year, 2006; Grammy Awards, Best Female R&B Vocal Performance; Best R&B Song for "Be Without You" Best R&B album, for The Breakthrough, 2007; BET Award for Best Collaboration, for "Runaway Love" (with Ludacris), 2007; Grammy Awards, Best R&B Performance by a Duo or Group with Vocals, for "Disrespectful" (with Chaka Khan); Best Gospel Performance for "Never Gonna Break My Faith" (with Aretha Franklin, tied with the Clark Sisters), 2008.
Addresses: Record company—Universal Music Group, 2220 Colorado Ave., Santa Monica, CA 90404; MCA Records, 2220 Colorado Ave, Santa Monica, CA 90404. Web site—Mary J. Blige Official Web site: http://www.mjblige.com.
When Uptown released My Life in 1994, it marked many changes for Blige, including the personal refining that turned around her public image. The vocalist also contributed lyrics for most of the songs; she had been writing before the debut album, but had had little confidence in her skill as a lyricist. The sound of the music shifted also, due in part to the use of live horns and strings in place of the standard sampling, moving Blige deeper into the fusion of hip-hop and soul. Ultimately, all of the changes added up successfully for Blige and her producers. My Life debuted in December in the top position on Billboard's R&B album chart.
"Major Voice of Her Generation"
Geoffrey Himes, among others, paid particular tribute to Blige's new take on R&B in My Life: "Blige may be a gospel-trained siren like older soul divas," he remarked in the Washington Post, "but these arrangements sound like no record ever made by Aretha Franklin, Diana Ross or Patti LaBelle. All the gooey orchestrations … are gone, leaving a skeletal rhythm track and a spectacular voice freed from all superfluous sentiment and ornamentation." J.D. Considine, writing for Baltimore's Evening Sun, wrote that "Blige has more than surpassed expectations" and argued that as "good as the grooves are, it's her vocal work that ultimately drives these songs."
Blige's subsequent albums, Share My World (1997), The Tour (1998), and Mary (1999), brought new recognition for the singer. She earned a Grammy Award in 1996 for her rap performance with Method Man, followed by nominations in 1997 and 1998. She received Soul Train Lady of Soul awards in 1997 and 1998, and in 1998 received an American Music Award. Additionally, she toured as a headline act in 1998.
As the 1990s closed, Blige's self-generated strength reflected clearly in her subsequent projects, and she developed a new sense of social commitment, melding her career with worthy causes that concerned her deeply. The proceeds from her 2000 tour, The Mary Show, went to benefit One Hundred Black Men, Inc., of New York City, and in her capacity as spokesperson for MAC Cosmetics' Viva Glam III line, she was invited to appear at the United Nations General Assembly Hall for the Race Against Poverty Awards in 2000 and 2001.
Blige's career continued to see a resurgence during the early 2000s. Her first album of the decade, No More Drama (2001), featured tracks produced by Dr. Dre, Jimmy Jam, and Terry Lewis, among others, and she showed growth in her life and vocals with a more feel-good, upbeat message. A more straightforward R&B album, No More Drama included cover songs that paid tribute to her parents. The single "Family Affair," produced by Dre, was a major hit, and the album itself went triple platinum, selling nearly two million copies within six months of its release. A reworked "special edition" version of the album, released under the same name in 2002, sold an additional 1.1 million copies.
She reunited with Sean "P. Diddy" Combs for love & life in 2003, another upbeat release, which featured guest appearances by Jay-Z, 50 Cent, and Method Man, although critics gave it only mixed reviews. The album only sold about 944,000 copies, making it her lowest selling studio release. Blige's professional life continued to evolve, however, and her personal life saw growth as well, with a deep embracing of faith and a December 2003 marriage to Kendu Isaacs, a music industry insider who became her manager.
The Breakthrough Won Multiple Awards
In February of 2004 she shared the Grammy for Best Pop Collaboration with Vocals, for "Whenever I Say Your Name" with Sting. She received more honors for her next album, 2005's The Breakthrough, which employed 13 different producers. Another uplifting, self-assured album, it lived up to its title, immediately connecting with listeners. It sold about 727,000 copies in its debut week, helped by the strong hit single "Be Without You," which rode the R&B charts for an incredible 16 months. It was her first number one single on Billboard's Adult R&B chart in ten years. Clarence Waldron of Jet claimed that "The Breakthrough is the real Mary, and her fans can hear it." For the album, Blige won multiple BET Awards, American Music Awards, and Billboard Music Awards, as well as eight Grammy Award nominations.
Explaining Blige's appeal, Kevin Chappell of Ebony claimed that "Blige infatuates … an increasing number of people. Men adore her. Women respect her. Little girls want to be her. Singers want to sing like her. Her music has achieved legitimate crossover success. One of the few Black women in music to prove that she has staying power, Blige has moved to diva status, a level of superstardom that few ever achieve."
Also a Humanitarian
Continually working and refining her craft, Blige released Growing Pains in early 2008. Another number one album, it prompted Robert Christgau of Rolling Stone to comment: "Growing Pains is an edgier record than The Breakthrough, but Blige has definitely lost or just outgrown the brassy urgency of her twenties. Then, her confessions had the feel of painful late-night outbursts: these days, they sound more like she's had a lot of therapy."
Therapy or no, Blige has worked obsessively to stay on top of her profession and to provide service to the less fortunate. When she isn't touring with the likes of Jay Z, Alicia Keyes, and others, the superstar/ businesswoman acts as spokesperson for Carol's Daughter beauty products (her mother's company) and is the co-founder and spokesperson for the Mary J. Blige and Steve Stoute Foundation for the Advancement of Women Now, Inc. On FFAWN's Web site, former project-kid-turned-superstar Blige said that she and Stoute created the organization "because I believe every young woman, if given encouragement and a helping hand (a hand filled with resources), can reach her greatest potential. It is my hope that FFAWN will be a vehicle to help other women reach greater heights despite their environment, despite low self-esteem, despite their immediate circumstances."
Selected discography
What's the 411?, Uptown/MCA, 1992.
My Life, Uptown/MCA, 1994.
Share My World, MCA, 1997.
The Tour (live), MCA, 1998.
Mary, MCA, 1999.
No More Drama, MCA, 2001.
Ballads, Polygram, 2001.
No More Drama (special edition), MCA, 2002.
Dance for Me, MCA, 2002.
love & life, Geffen, 2003.
The Breakthrough, Geffen, 2005.
Reflections (A Retrospective), Geffen, 2006.
Growing Pains, Geffen, 2007.
Soul is Forever: The Remix Album, RGS, 2008.
Sources
Periodicals
Atlanta Journal, November 29, 1994.
Billboard, January 16, 1993; August 9, 2003; January 7, 2006; February 4, 2006; December 16, 2006.
Boston Globe, December 15, 1994.
Ebony, August 2002; March 2004.
Entertainment Weekly, August 7, 1992; November 20, 1992; December 3, 1993; November 25, 1994.
Essence, March 1995; April 2001.
Evening Sun (Baltimore, MD), December 2, 1994.
Hollywood Reporter, February 7, 2002.
Interview, September 2001, p. 164.
Jet, July 3, 2000; October 16, 2000; December 25, 2000; October 1, 2001; September 1, 2003; January 23, 2006; July 17, 2006; December 11, 2006; December 25, 2006.
Music Week, December 16, 2006.
Newsweek, August 25, 2003.
People, December 5, 1994.
PR Newswire, October 12, 2000; February 12, 2001; March 13, 2001; April 10, 2001.
Rolling Stone, April 15, 1993.
Source, January 1995.
Stereo Review, April 1993.
Vibe, February 1995.
Washington Post, November 27, 1994.
WWD, December 12, 2005.
Online
"The Continuing Drama of Mary J. Blige," Rolling Stone.com,http://www.rollingstone.com/news/story/9447919/the_continuing_drama_of_mary_j_blige (March 10, 2006).
E! Online, http://www.eonline.com (November 26, 2003).
"Growing Pains review," Rolling Stone.com,http://www.rollingstone.com (December 13, 2007).
"Mary J. Blige," All Music Guide,http://www.allmusic.com (June 16, 2008).
"Mary J. Blige," Internet Movie Database,http://www.imdb.com (June 16, 2008).
"Mary J. Blige," Mary J. Blige and Steve Stoute Foundation for the Advancement of Women Now,http://www.ffawn.org (June 22, 2008).
"Q&A: Mary J. Blige," Rolling Stone.com,http://www.rollingstone.com/news/story/13153301/qa_mary_j_blige (January 25, 2007).
Additional information for this profile was obtained from Uptown Records publicity materials.
—Ondine E. Le Blanc and Ken Burke
MARY J. BLIGE
Born: Bronx, New York, 11 January 1971
Genre: R&B, Hip-Hop
Best-selling album since 1990: Share My World (1997)
Hit songs since 1990: "You Remind Me," "Real Love," "Not Gon' Cry"
During the 1990s Mary J. Blige helped usher rhythm and blues music into the hip-hop era, becoming known as "The Queen of Hip-Hop Soul." Blige's longevity was due in part to producers who crafted complex, distinctive, and likable rhythms behind her vocals, but a more important key to her success was the personal artistic current that ran through her work. While her contemporaries such as Whitney Houston and Toni Braxton largely confined their work to love ballads, Blige used music to explore the travails of her life, bringi
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"Mary J. Blige",
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Mary J. Blige is an American hip-hop artist. She is a successful singer-songwriter with chart-topping albums and nine Grammy Awards. Blige’s music and popularity has led some…
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en
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/resources/icons/favicons/bkids/bkids-favicon-57c.png
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Britannica Kids
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https://kids.britannica.com/kids/article/Mary-J-Blige/631699
|
Blige released her first album, What’s the 411?, in 1992. The album mixed classic soul with hip-hop. It redefined soul music and influenced many other artists.
Through the 1990s and into the 2000s, Blige’s personal and emotional music continued to be popular with fans and critics. Her albums Share My World (1997) and Growing Pains (2007) earned the number-one spot on the music charts. Blige’s tour in 2008 with rapper Jay-Z made her one of hip-hop’s wealthiest live acts. She went on to win praise for later releases, such as My Life II…The Journey Continues (Act I) (2011) and Strength of a Woman (2017).
Blige found success in acting as well. She appeared on a number of television shows and in such films as Rock of Ages (2012) and Mudbound (2017). Blige earned two Academy Award nominations for her work in Mudbound: one as a supporting actress and one for “Mighty River,” the song she wrote for the film.
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correct_birth_00056
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FactBench
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2
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https://pologeorgis.com/blogs/press/tagged/mary-j-blige-style
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en
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PRESS
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POLOGEORGIS
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https://pologeorgis.com/blogs/press/tagged/mary-j-blige-style
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Strength of a Woman: Mary J. Blige Photographed By Carrie Mae Weems
Pologeorgis Furs
Posted on November 08 2017
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correct_birth_00056
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FactBench
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https://www.facebook.com/lonzowilliams/videos/lonzo-and-dusty-live-at-6pm/818304110181654/
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en
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We are back at our regular day and time discussing all things hip hop and more.
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We are back at our regular day and time discussing all things hip hop and more.
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/lonzowilliams/videos/lonzo-and-dusty-live-at-6pm/818304110181654/
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FactBench
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https://www.bulbapp.io/p/b17aa8c6-4c4a-4225-8201-dc093b9c18d0/mary-j-blige
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Mary J. Blige
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2024-01-21T11:27:33.791000+00:00
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Iconic R&B singer-songwriter, known for soulful vocals and empowering lyrics, has shaped the genre with timeless hits and profound influence.
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https://www.bulbapp.io/p/b17aa8c6-4c4a-4225-8201-dc093b9c18d0/mary-j-blige
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Mary Jane Blige was born on January 11, 1971, at Fordham Hospital in the Bronx, New York City, to nurse Cora and jazz musician Thomas Blige. She has an older sister, LaTonya Blige-DaCosta, a younger half-brother, Bruce Miller, and a younger half-sister, Jonquell, both from a relationship Blige's mother had with another man after divorcing her first husband.
She spent her early childhood in Richmond Hill, Georgia, where she sang in a Pentecostal church. She and her family later moved back to New York and resided in the Schlobohm Housing Projects, located in Yonkers.
The family subsisted on her mother's earnings as a nurse after her father left the family in the mid-1970s. Her father was a Vietnam War veteran who suffered from post-traumatic stress disorder and alcoholism.
At age five, she was molested by a family friend, and as a teenager she endured years of sexual harassment from her peers. She would eventually turn to alcohol, drugs and promiscuous sex to try and numb the pain. Blige dropped out of high school in her junior year.
Pursuing a musical career, Blige spent a short time in a Yonkers band named Pride with band drummer Eddie D'Aprile. In early 1988, she recorded an impromptu cover of Anita Baker's "Caught Up in the Rapture" at a recording booth in the Galleria Mall in White Plains, New York. Her mother's boyfriend at the time later played the cassette for Jeff Redd, a recording artist and A&R runner for Uptown Records. Redd sent it to the president and CEO of the label, Andre Harrell. Harrell met with Blige and in 1989 she was signed to the label as a backup vocalist for artists such as Father MC; she become the company's youngest and first female artist.
"After being signed to Uptown, Blige began working with record producer Sean Combs, also known as Puff Daddy. He became the executive producer and produced a majority of her first album. The title What's the 411? was an indication by Blige of being the 'real deal'. What's the 411? nevertheless established Blige as a dynamic storyteller whose performances of love narrative drew upon both her musical influences and her lived experiences as a hip-hop-generation woman. The music was described as 'revelatory on a frequent basis'. Blige was noted for having a 'tough girl persona and streetwise lyrics'. On July 28, 1992, Uptown/MCA Records released What's the 411?, to positive reviews from critics. What's the 411? peaked at number six on the Billboard 200 and topped the Top R&B/Hip-Hop Albums chart. It also peaked at number 53 on the UK Albums Chart. It was certified three times Platinum by the RIAA. According to Entertainment Weekly's Dave DiMartino, with the record's commercial success and Blige's 'powerful, soulful voice and hip-hop attitude', she 'solidly connected with an audience that has never seen a woman do new jack swing but loves it just the same'. According to Dave McAleer, Blige became the most successful new female R&B artist of 1992 in the United States."
"What's the 411? earned her two Soul Train Music Awards in 1993: Best New R&B Artist and Best R&B Album, Female. It was also voted the year's 30th best album in the Pazz & Jop—an annual poll of American critics nationwide, published by The Village Voice. By August 2010, the album had sold 3,318,000 copies in the US. What's the 411? has since been viewed by critics as one of the 1990s' most important records. Blige's combination of vocals over a hip hop beat proved influential in contemporary R&B. With the album, she was dubbed the reigning 'Queen of Hip Hop Soul.' The album's success spun off What's the 411? Remix, a remix album released in December that was used to extend the life of the What's the 411? singles on the radio into 1994, as Blige recorded her follow-up album.
Following the success of her debut album and a remixed version in 1993, Blige went into the recording studio in the winter of 1993 to record her second album, My Life. The album was a breakthrough for Blige, who at this point was in a clinical depression, battling both drugs and alcohol – as well as being in an abusive relationship with K-Ci Hailey. On November 29, 1994, Uptown/MCA released My Life to positive reviews. The album peaked at number seven on the US Billboard 200 and number one of the Top R&B/Hip-Hop Albums chart for selling 481,000 copies in its first week and remaining atop the Top R&B/Hip-Hop Albums chart for an unprecedented eight weeks. It ultimately spent 46 weeks on the Billboard 200 and 84 weeks on the R&B/Hip-Hop Albums chart. In 2002, My Life was ranked number 57 on Blender's list of the 100 greatest American albums of all time. The following year, Rolling Stone placed it at number 279 on their 500 Greatest Albums of All Time, and in 2006, the record was included in Time's 100 greatest albums of all-time list.
Blige involved herself in several outside projects, recording a cover of Aretha Franklin's '(You Make Me Feel Like) A Natural Woman' for the soundtrack to the FOX series New York Undercover, and 'Everyday It Rains' (co-written by R&B singer Faith Evans) for the soundtrack to the hip hop documentary, The Show. Later in the year, she recorded the Babyface-penned and produced 'Not Gon' Cry', for the soundtrack to the motion picture Waiting to Exhale. The platinum-selling single rose to number two on the Billboard Hot 100 and number one on the Hot R&B/Hip-Hop Songs in early 1996. Blige gained her first two Grammy nominations and won the 1996 Best Rap Performance by a Duo or Group for her collaboration with Method Man on 'I'll Be There for You/You're All I Need to Get By'. Shortly after, Blige was featured on Jay-Z's breakthrough single, 'Can't Knock the Hustle', from his debut Reasonable Doubt (1996) and with Ghostface Killah on 'All That I Got Is You' from his debut, Ironman, which was also released that year. In addition, Blige co-wrote four songs, provided background vocals and was featured prominently on two singles with fellow R&B singer Case on his self-titled debut album (1996) including the US top 20 hit, 'Touch Me, Tease Me', which also featured then up-and-coming rapper Foxy Brown.
What's the 411? highlights the featuring of woman centered narratives although in this album her narratives were regularly policed and told through male emcees. Nonetheless, it marked the start of a transition towards black women centered narratives that focused on the daily experiences and troubles of the black experience through the lens of women rather than necessarily singing about black trauma. Treva B. Lindsey, in her piece 'If You Look in My Life: Love, Hip-Hop Soul, and Contemporary African-American Womanhood', highlights the regulating by men saying, 'Although the lyrics on What's the 411? establish an African American woman-centered discourse, male artists' words of adoration and longing first introduce listeners to Blige as a hip-hop storyteller. What's the 411?, therefore, functions as an African American woman-centered storytelling space created largely by black men.'"
On April 22, 1997, MCA Records (parent company to Uptown Records, which was in the process of being dismantled) released Blige's third album, Share My World. By then, she and Combs had dissolved their working relationship. In his place were the Trackmasters, who executive-produced the project along with Steve Stoute. Sharing production duties were producers Jimmy Jam and Terry Lewis, R. Kelly, Babyface and Rodney Jerkins. The album was made at a time when Blige was trying to 'get her life together', by trying to overcome drugs and alcohol, as well as the ending of her relationship with Hailey. After an encounter with a person who threatened her life the previous year, she tried to quit the unhealthy lifestyle and make more upbeat, happier music. As a result, songs such as 'Love Is All We Need' and 'Share My World' were made. Share My World debuted at number one on the Billboard 200 and spawned five hit singles: 'Love Is All We Need' (featuring Nas), 'I Can Love You' (featuring Lil' Kim), 'Everything', 'Missing You' (UK only) and 'Seven Days' (featuring George Benson). In February 1997, Blige performed her hit at the time, 'Not Gon' Cry', at the 1997 Grammy Awards, which gained her a third Grammy Award nomination, her first for Best Female R&B Vocal Performance, as Blige was recording the follow-up to My Life. In early 1998, Blige won an American Music Award for 'Favorite Soul/R&B Album'. That summer, she embarked on the Share My World Tour, which resulted in a Gold-certified live album released later that year, simply titled The Tour. The album spawned one single, 'Misty Blue'.
On August 17, 1999, Blige's fourth album, titled Mary was released. It marked a departure from her more familiar hip hop-oriented sound; this set featured a more earthy, whimsical, and adult contemporary-tinged collection of songs, reminiscent of the 1970s to early 1980s soul. She also appeared on In Concert: A Benefit for the Crossroads Centre at Antigua with Eric Clapton in 1999. On December 14, 1999, the album was re-released as a double-disc set. The second disc was enhanced with the music videos for the singles 'All That I Can Say' and 'Deep Inside' and included two bonus tracks: 'Sincerity' (featuring Nas, Andy Hogan and DMX) and 'Confrontation' (a collaboration with hip hop duo Funkmaster Flex & Big Kap originally from their 1999 album The Tunnel). The Mary album was critically praised, becoming her most nominated release to date, and was certified double platinum. It was not as commercially successful as Blige's prior releases, though all of the singles: 'All That I Can Say', 'Deep Inside', 'Your Child', and 'Give Me You' performed considerably on the radio. In the meantime, MCA used the album to expand Blige's demographic into the nightclub market, as club-friendly dance remixes of the Mary singles were released. The club remix of 'Your Child' peaked at number-one on the Billboard's Hot Dance Club Play chart in October 2000. In 2001, a Japan-only compilation, Ballads, was released. The album featured covers of Stevie Wonder's 'Overjoyed', and previous recordings of Aretha Franklin's '(You Make Me Feel Like) A Natural Woman' and Dorothy Moore's 'Misty Blue'. In 1999, George Michael and Mary J. Blige covered the song 'As' written by Stevie Wonder, and worldwide outside of the United States, it was the second single from George Michael's greatest hits album Ladies & Gentlemen: The Best of George Michael. It became a top ten UK pop hit, reaching number four on the chart. It was not released on the U.S. version of the greatest hits collection or as a single in the U.S. Michael cited Blige's record company president for pulling the track in America after Michael's arrest for committing a lewd act.
On August 28, 2001, MCA released Blige's fifth studio album, No More Drama. The album's first single, 'Family Affair' (produced by Dr. Dre) became her first and only number-one single on the Billboard Hot 100, where it remained for six consecutive weeks. It was followed by two further hit singles, the European-only single 'Dance for Me' featuring Common with samples from 'The Bed's Too Big Without You' by The Police, and the Jimmy Jam and Terry Lewis-produced title track (originally recorded for the Mary album), which sampled 'Nadia's Theme', the piano-driven theme song to the daytime drama The Young and the Restless. Though the album sold nearly two million copies in the U.S., MCA was underwhelmed by its sales, and subsequently repackaged and re-released the album on January 29, 2002. The No More Drama re-release featured a new album cover, deleted three of the songs from the original tracklisting, while adding two brand-new songs—one of which was the fourth single and top twenty Hot 100 hit 'Rainy Dayz', (featuring Ja Rule), plus two remixes; one of the title track, serviced by Sean Combs/Puff Daddy and the single version of 'Dance for Me' featuring Common. Blige won a Grammy for 'Best Female R&B Vocal Performance' for the song 'He Think I Don't Know'. In April 2002, Blige performed with Shakira with the song 'Love Is a Battlefield' on VH1 Divas show live in Las Vegas, she also performed 'No More Drama' and 'Rainy Dayz' as a duet with the returning Whitney Houston.
On July 22, 2002, MCA released Dance for Me, a collection of club remixes of some of her past top hits including the Junior Vasquez remix of 'Your Child', and the Thunderpuss mix of 'No More Drama'. This album was released in a limited edition double pack 12" vinyl for DJ-friendly play in nightclubs.
On August 26, 2003, Blige's sixth album Love & Life was released on Geffen Records (which had absorbed MCA Records.) Blige heavily collaborated with her one-time producer Sean Combs for this set. Due to the history between them on What's the 411? and My Life, which is generally regarded as their best work, and Blige having just come off of a successful fifth album, expectations were high for the reunion effort.
Despite the album debuting at number one on the Billboard 200 and becoming Blige's fourth consecutive UK top ten album, Love & Life's lead-off single, the Diddy-produced 'Love @ 1st Sight', which featured Method Man, barely cracked the top ten on the Hot R&B/Hip-Hop Songs, while altogether missing the top twenty on the Hot 100 (although peaking inside the UK top twenty). The following singles, 'Ooh!', 'Not Today' featuring Eve, 'Whenever I Say Your Name' featuring Sting on the international re-release, and 'It's a Wrap' fared worse. Although the album was certified platinum, it became Blige's lowest-selling at the time. Critics and fans alike largely panned the disc, citing a lack of consistency and noticeable ploys to recapture the early Blige/Combs glory. Blige and Combs reportedly struggled and clashed during the making of this album, and again parted ways upon the completion of it.
The album became Blige's first album in six years to debut at number one on the Billboard 200, selling 285,298 copies in the first week. Love & Life received mixed reviews from music critics. AllMusic gave it 4 stars and said the album 'beamed with joy' and Rolling Stone gave it three stars, saying 'You may not always love Blige's music, but you will feel her'. The album was eventually certified Platinum by the RIAA for shipping over 1,000,000 copies in the US. The album was nominated for the Best Contemporary R&B Album at the 46th Grammy Awards."
Geffen Records released Blige's seventh studio album, The Breakthrough on December 20, 2005. For the album, Blige collaborated with J.U.S.T.I.C.E. League, Rodney Jerkins, will.i.am, Bryan-Michael Cox, 9th Wonder, Jimmy Jam and Terry Lewis, Raphael Saadiq, Cool and Dre, and Dre & Vidal. The cover art was photographed by Markus Klinko & Indrani. It debuted at number one on both the Billboard 200 and Top R&B/Hip-Hop Albums charts. Selling 727,000 copies in its first week, it became the biggest first-week sales for an R&B solo female artist in SoundScan history, the fifth largest first-week sales for a female artist, and the fourth largest debut of 2005.
The lead-off single, 'Be Without You', peaked at number three on the Billboard Hot 100, while peaking at number one on the R&B chart for a record-setting fifteen consecutive weeks; it remained on the chart for over sixteen months. 'Be Without You' found success in the UK (peaking in the lower end of the top forty) it became Blige's longest charting single on the UK Singles Chart. It is her second-longest charting single to date. The album produced three more singles including two more top-five R&B hits—'Enough Cryin'', which features Blige's alter ego Brook-Lynn (as whom she appeared on the remix to Busta Rhymes's 'Touch It' in 2006); and 'Take Me as I Am' (which samples Lonnie Liston Smith's 'A Garden of Peace'). Blige's duet with U2 on the cover of their 1992 hit, 'One' gave Blige her biggest hit to date in the UK, peaking at number two on the UK Singles Chart eventually being certified one of the forty highest-selling singles of 2006; it was her longest charting UK single. The success of The Breakthrough won Blige nine Billboard Music Awards, two American Music Awards, two BET Awards, two NAACP Image Awards, and a Soul Train Award. She received eight Grammy Award nominations at the 2007 Grammy Awards, the most of any artist that year. 'Be Without You' was nominated for both 'Record of the Year' and 'Song of the Year'. Blige won three: 'Best Female R&B Vocal Performance', 'Best R&B Song' (both for 'Be Without You'), and 'Best R&B Album' for The Breakthrough. Blige completed a season sweep of the 'big three' major music awards, having won two American Music Awards in November 2006 and nine Billboard Music Awards in December 2006.
In December 2006, a compilation called Reflections (A Retrospective) was released. It contained many of Blige's greatest hits and four new songs, including the worldwide lead single 'We Ride (I See the Future)'. In the UK, however, 'MJB da MVP' (which appeared in a different, shorter form on The Breakthrough) was released as the lead single from the collection. The album peaked at number nine in the U.S, selling over 170,000 copies in its first week, while reaching number forty in the UK In 2006, Blige recorded a duet with rapper Ludacris, 'Runaway Love', which is the third single on his fifth album, Release Therapy. It reached the top five on the Billboard Hot 100 and the R&B chart. Blige was featured with Aretha Franklin and the Harlem Boys Choir on the soundtrack to the 2006 motion picture Bobby, on the lead track 'Never Gonna Break My Faith' written by Bryan Adams. The song was nominated for a Golden Globe and won the Grammy Award for Best Gospel Performance at the 50th Annual Grammy Awards."
Blige's eighth studio album, Growing Pains, was released on December 18, 2007, debuting at number two on the Billboard 200 and at number one on the Top R&B/Hip-Hop Albums chart. It sold 629,000 copies in its first week, marking the third time since Nielsen SoundScan began collecting data in 1991 that two albums sold more than 600,000 copies in a week in the United States. In its second week, the album climbed to number one, making it Blige's fourth number-one album. The lead single, 'Just Fine', peaked at number twenty-two on the Billboard Hot 100 and at number three on the Hot R&B/Hip-Hop Songs chart. 'Just Fine' was nominated for the Grammy Award for Best Female R&B Vocal Performance, and Blige won Best R&B Performance by a Duo or Group with Vocals for the Chaka Khan duet 'Disrespectful' (featured on Khan's album Funk This) which Blige wrote.
Growing Pains was not released in the UK until February 2008, where it became Blige's fifth top ten and third-highest-charting album. The Breakthrough and Reflections (A Retrospective) were released in the Christmas rush and therefore settled for lower peaks, although both selling more than her top five album Mary. 'Just Fine' returned Blige to the UK singles chart top 20 after her previous two singles failed to chart highly. Subsequent singles from Growing Pains include 'Work That', which accompanied Blige in an iTunes commercial, and 'Stay Down'.
Blige was featured on 50 Cent's 2007 album, Curtis, in the song 'All of Me'. In March 2008, she toured with Jay-Z in the Heart of the City Tour. They released a song called 'You're Welcome'. In the same period, cable network BET aired a special on Blige titled The Evolution of Mary J. Blige, which showcased her career. Celebrities such as Method Man and Ashanti gave their opinions about Blige and her music. Blige is featured on singles by Big Boi, and Musiq Soulchild. Growing Pains was nominated for and won the Grammy Award for 'Best Contemporary R&B Album', at the 51st Grammy Awards held on February 8, 2009, earning Blige her 27th Grammy nomination, in a mere decade. Blige went on the Growing Pains European Tour, her first tour there in two years. A tour of Australia and New Zealand was scheduled for June but was postponed due to 'weariness from an overwhelming tour schedule' and then eventually canceled entirely.
On August 7, 2008, it was revealed Blige faced a US$2 million federal suit claiming Neff-U wrote the music for the song 'Work That', but was owned by Dream Family Entertainment. The filing claimed that Dream Family never gave rights to use the song to Blige, Feemster or Geffen Records. Rights to the lyrics of the song used in an iPod commercial are not in question."
Discography
What's the 411? (1992)
My Life (1994)
Share My World (1997)
Mary (1999)
No More Drama (2001)
Love & Life (2003)
The Breakthrough (2005)
Growing Pains (2007)
Stronger with Each Tear (2009)
My Life II... The Journey Continues (Act 1) (2011)
A Mary Christmas (2013)
Think Like a Man Too (2014)
The London Sessions (2014)
Strength of a Woman (2017)
Good Morning Gorgeous (2022)
References
|
||||
correct_birth_00056
|
FactBench
|
1
| 14
|
https://www.connectsavannah.com/music-and-clubs/mary-j-blige-stokley-civic-center-5681561
|
en
|
Mary J. Blige, Stokley @Civic Center
|
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[] |
[
"The Savannah Civic Center"
] | null |
[
"Anna Chandler"
] |
2017-09-20T01:00:00
|
Though Blige was born in the Bronx, she spent several years of her early childhood living in Richmond Hill, where she sang in a Pentecostal church.
|
en
|
/favicon.ico
|
Connect Savannah
|
https://www.connectsavannah.com/music-and-clubs/mary-j-blige-stokley-civic-center-5681561
|
LET'S get crunk, 'cause Mary’s back!
Hurricane Irma threatened to reschedule the highly-anticipated homecoming of Savannah-raised R&B superstar Mary J. Blige, but the show will go on.
Though Blige was born in the Bronx, she spent several years of her early childhood living in Richmond Hill, where she sang in a Pentecostal church. She, her mother, and sister eventually moved to Yonkers, New York.
“The Queen of Hip-Hop Soul” made her debut with 1992’s What’s the 411?, a stellar record of modern R&B stylings, vintage soul influence, and hip-hop edge that was executive-produced by Puff Daddy. My Life, its follow-up, offered intimate lyricism and a smoother sound and was a smash success for Blige. Rolling Stone, Time and Vibe consider it to be among the greatest albums ever recorded.
Share My World followed in 1997, debuting at number one on the Billboard 200 and producing the singles “Love Is All We Need” (Featuring Nas), “I Can Love You” (featuring Lil’ Kim), “Everything,” “Missing You,” and “Seven Days” (featuring George Benson).
Blige’s first number-one single, “Family Affair,” arrived in 2001 and remains a club staple. No More Drama received two Grammy nominations, and Blige’s song “He Think I Don’t Know” won a Grammy for “Best Female R&B Vocal Performance” the following year. To this day, she has earned nine Grammy awards and thirty nominations and is the only artist to have won Grammys in the R&B, hip-hop, pop, and gospel categories.
The Queen continues to consistently release music, most recently sharing Strength of a Woman, her 13th studio album, this year. The record debuted at Number One on Billboard’s R&B Album Chart, and single “Thick of It” topped the U.S. Adult R&B Songs chart for 16 consecutive weeks. Strength of a Woman features such guests as Kanye West, DJ Khaled, Missy Elliott, and more.
Stokley, former lead vocalist for the band Mint Condition and two-time Grammy nominee, will be Blige’s special guest for the tour.
Friday, September 22, 8 p.m., $29-149, all-ages
|
||||
correct_birth_00056
|
FactBench
|
0
| 58
|
https://twitter.com/BronxWorks/status/1802687874174763310
|
en
|
x.com
|
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[] |
[] |
[
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] | null |
[] | null |
X (formerly Twitter)
| null | ||||||||
correct_birth_00056
|
FactBench
|
2
| 41
|
https://www.theguardian.com/music/2017/nov/05/mary-j-blige-i-lost-my-gut-and-my-gift-but-i-got-it-back
|
en
|
Mary J Blige: ‘I lost my gut and my gift. But I got it back’
|
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[
"Rebecca Nicholson",
"www.theguardian.com"
] |
2017-11-05T00:00:00
|
The R&B singer turned actor tells Rebecca Nicholson about her heartache, reborn hope, and why she sometimes needs to get away from herself
|
en
|
the Guardian
|
https://www.theguardian.com/music/2017/nov/05/mary-j-blige-i-lost-my-gut-and-my-gift-but-i-got-it-back
|
In 2015, Mary J Blige gave an impassioned performance on the Pyramid Stage at Glastonbury. The crowd watched her through the pouring rain, and as her most famous single, No More Drama, came to a rapturous end, she fell to the floor, and looked as if she was about to break down into tears. “I didn’t know so many people knew my songs,” she says, two years later, over dinner in a London hotel. “It was really emotional for me, for so many reasons that I can’t even get into. But life is revealing them right now.”
There’s a lot going on in Blige’s life. She’s just off the plane from the United States, and she needs fried food, so the artist known as the queen of hip-hop soul ends up picking at fish and chips and drinking a cup of tea. She seems tired. She keeps circling back to the end of her marriage. In 2016, she filed for divorce from her husband of 12 years, Kendu Isaacs, citing irreconcilable differences. He had also been her manager. She doesn’t want this interview to be “all about that one thing”, yet she can’t seem to help but talk about it, again and again. The past five years have been hard, but change is on the horizon. “This is a whole other chapter of my life,” she insists.
The previous chapters have been action-packed, to say the least. Blige grew up in Yonkers, New York, and was signed to Uptown Records as a teenager in the late 80s, after a tape of her singing an Anita Baker track in a shopping mall found its way to the label. She was a backing singer first, before she released her debut album, What’s the 411?, produced by Puff Daddy, in 1992. Her star rose fast. The album won multiple awards and went triple platinum, selling more than 3m copies. She collaborated with George Michael, U2 and Elton John, who said she had “one of the best voices you’re ever going to hear”. Her music was often raw, and laid out the suffering she endured in toxic relationships. She’d had problems with drink and drugs. In 2001, when she released No More Drama, there was a sense that she was drawing a line under the pain.
But Blige is not here to promote a new album, though she released one of her best records in years back in April, The Strength of a Woman. She moved to Los Angeles towards the end of her marriage in order to take acting more seriously. She’d acted before, doing bit parts and guest roles here and there, mostly in comedies, but today she’s talking about Mudbound, the new film she’s starring in, which tells an evocative story of racism and friendship on a farm in Mississippi in the period immediately after the Second World War. Blige is Florence Jackson, the stoic mother of a GI who returns from war to the same old prejudice. It isn’t a subtle story, but it’s deeply harrowing and has a hefty emotional grip that lingers long after it’s over. As Florence, Blige negotiates hardship, pain and fierce injustice with a surprising and gentle subtlety. “I believe it will have that effect on everyone, because of how close it is now to how we’re living in the world,” says Blige. She doesn’t want to be too political, she says, but there’s a reason that it resonates now, and she’s angry and articulate about the state of her home nation. “Look at what our leadership is doing. He’s exploding. It’s a nightmare. I’ve never seen anything like this. How did we go from President Obama, maturity and positivity and wisdom, to negativity and texting and twittering and all this bullshit, and blowing up and pointing the finger? It’s crazy.”
Mudbound is her first real chance at a meaty role, and she more than holds her own against a seasoned cast that includes Jonathan Banks and Carey Mulligan. Director Dee Rees has said she only wanted Blige for Florence; Blige said she accepted immediately, because the script moved her to tears. She hired an acting coach, who taught her to use what was going on in her life – “I always have a lot of stuff going on in my life,” she smiles. She set to work on shedding her pop star skin: “You can’t be Mary J Blige. You’ve got to be Florence, in the heat, in the mosquitoes, in the mud, in the little shack with all the kids and the husband. Mary J Blige don’t have a husband… any more.” Was it nice to not be Mary J Blige for a while? “Absolutely. It was liberating. I used to wear a lot of weaves and wigs and cover up my edges and stuff. Florence got me out here wearing my edges out. I was running around with no perm, no press, just my own natural hair, barely any make-up. It was good for me.”
In her diamond hoop earrings and black lace top, wavy blonde hair tied high, Blige is predictably glamorous, despite the fish and chips in front of her. (“What is this?” she asks at one point, prodding something small and round on the side of her plate. It looks like a pickled egg, I say. She’s appalled at the idea.) The film made her realise how vain she normally is. “I was angry about not having lashes! I was kind of hot about that, and then I was like, ‘Oh my God Mary, you’re so vain.’”
Where Blige grew up, in the housing projects of Yonkers, appearance mattered. “Everything was about how you look. Although you didn’t have, it was about how you looked. So when Salt-N-Pepa had the blonde hair, it was about that, it was about the sneakers, it was about the jackets. Then I became Mary J Blige, and it was really about that. She’s such a real person that I had to get rid of her to make sure that character lived.” I am briefly confused. Who’s the real person? “Mary is a real person,” she clarifies. “I had to really surrender from her to make sure Florence could live. Turns out Florence is even doper than Mary J Blige.”
Blige often talks of “Mary J Blige” like this, as if she’s a separate entity to the woman sitting across the table from me. Why? “Well, Mary J Blige is me, but she is a business, and separate. But she’s me.” It’s been 25 years since What’s the 411? came out, and the disconnect between the two – Mary the performer, the star, and Mary the human being – is so pronounced that she seems disoriented by it, even now. She grasps for the precise words to describe how it feels to go from poverty to riches, from the projects to such fame. “If you have a lot of money, you can cover up everything. When you don’t have a lot of money, it doesn’t cover anything. So you learn how to walk through embarrassment and shame. I appreciate it and I’m so grateful for it.” That gratitude is all part of her survival instinct, which has come in handy over the years. “You know how to weather that storm when you don’t have money. You know how to weather that storm when some embarrassing shit on TMZ hits you. It all teaches you tough skin.”
I wonder how tough her skin really is. She’s had plenty of dramas over the course of her life, despite declaring that there would be no more of them, but whenever I’ve heard her talk about the various scandals or controversies she’s encountered, she sounds genuinely upset by it all. Last year she interviewed the then-presidential candidate Hillary Clinton, and was widely mocked for singing at her. “I thought that I was trying to help us to make a change,” she sighs. “This is me, this is Mary J Blige, I’m no journalist, I’m scared to death.” During their conversation, she offered Clinton a brief cover of Bruce Springsteen’s American Skin (41 Shots), a song about police brutality. “It affected me that people just cannot look at something positive and get on board. They’ve got to pick on you. No matter how positive it is, they’ve got to find some way to make a meme about it. It’s like – cool. You know what, fine. Fuck ’em. Right?” She laughs, drily. “That’s how you move on.”
Unprompted, she comes back to her divorce again. For the past year or so the couple have been going through a nasty court battle. When things were going wrong in her professional life, personal alarm bells began to ring. “I had the Burger King commercial [she starred in an ad that was quickly pulled when it was criticised for racial stereotyping], then my taxes and my business were all over the TV, and then it was this, then it was that. I was like, ‘What the hell is going on? Have I been abandoned? Yes.’ That was a big signal. I had been abandoned in my marriage.” What was the big signal? “Every single thing that was happening. It was one bad thing after the next.”
She started to see herself not only on celebrity gossip sites, but on the news. “On the ticker, at the bottom of the TV. Yikes. At the same time, there was something beautiful about that. It made me realise how important I was to the world. I’m that big of a star? Well, let me get my shit together then.” There’s that dry laugh again. “It’s not the things I did right that informed me. It’s all the mistakes I made that are helping me to better my life. Because that was a disaster. I didn’t know if I was going to make it.” Do you mean last year? “The last five years were a disaster. And then on top of that I was having trouble in my marriage, hoping to save it, when my marriage was already gone. I was left alone.”
Blige felt so lost during this time that she began to question whether she even wanted to make music any more. “I just wasn’t sure about anything. If someone chips away at your self-esteem and it’s so low that you don’t even know you can do what you do…” She trails off. She moved to London for a while, to get away, and in 2014 released The London Sessions, an album she made with Sam Smith and Disclosure, among others. “They helped boost my self-esteem and they helped me believe in my talent. They believed in me and I was like, ‘Well shit, maybe I should start believing in myself again.’” Hang on, I say. You’re Mary J Blige! Why do you need Disclosure to tell you how good you are? “It doesn’t matter, you know,” she says, sadly. “When you’ve been in something so long that you’ve been chipped away, and it happens little by little, and it’s a crazy thing. It was about seeing that someone appreciated me.” This year, she released the painfully honest The Strength of a Woman. “Yeah. When it comes to music now, I know my gut is great. That’s what I lost, my gut and my gift. But I got it back. It’s back now.”
Then there’s Mudbound, which is keeping Blige busy, and more acting to come. She’s got another couple of roles lined up, though she can’t talk about what they are yet. She’s taking care of her own finances for the first time in her life, overseeing every single bit of what comes in and what goes out, because she feels as if she can’t trust people enough to do it for her. She says that she kept meeting people and thinking they were decent, “and meantime they were robbing you just like everyone else was robbing you”. We end up talking about the recent Whitney Houston documentary. “Yeah. She was very lonely. She couldn’t have the person who she really, really loved around, because other people came in and moved that person out, and now she’s alone. So yeah. You know that saying, it’s lonely at the top? It’s not a saying, it’s true,” she says, softly.
Mudbound will launch on Netflix and in cinemas with Curzon on 17 November
|
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correct_birth_00056
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FactBench
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2
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https://thisisrnb.com/2022/03/mary-j-blige-h-e-r-rick-ross-the-roots-and-t-pain-all-on-one-stage-at-jazz-in-the-gardens/
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en
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Mary J. Blige, H.E.R., Rick Ross, The Roots and T-Pain all on one stage at Jazz in the Gardens
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2022-03-07T12:34:54-05:00
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Slowly and surely, concerts and festivals are making a comeback! Fresh off her triumphant Super Bowl LVI Performance, Mary J. Blige brings her rich auntie vibes to the 15th Annual Jazz In The Gardens Music Festival. Blige, who recently released her 14th studio album, “Good Morning Gorgeous” to critical acclaim, will reprise her high-energy show … Continue reading Mary J. Blige, H.E.R., Rick Ross, The Roots and T-Pain all on one stage at Jazz in the Gardens
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en
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ThisisRnB.com - New R&B Music, Artists, Playlists, Lyrics
|
https://thisisrnb.com/2022/03/mary-j-blige-h-e-r-rick-ross-the-roots-and-t-pain-all-on-one-stage-at-jazz-in-the-gardens/
|
Slowly and surely, concerts and festivals are making a comeback! Fresh off her triumphant Super Bowl LVI Performance, Mary J. Blige brings her rich auntie vibes to the 15th Annual Jazz In The Gardens Music Festival. Blige, who recently released her 14th studio album, “Good Morning Gorgeous” to critical acclaim, will reprise her high-energy show at JITG, which takes place on March 12 and 13, 2022, in Miami Gardens, FL. The R&B megastar, who also stars in the riveting Starz series “Power Book II,” is the only headline artist to perform three times in the festival’s 15-year history. Affectionally known as “the Queen of Hip-Hop Soul,” Blige was invited back after thousands of fans clamored for her return to the country’s fastest-growing jazz & R&B festival.
The Jazz in the Gardens full lineup includes Mary J. Blige, H.E.R, Rick Ross, The Isley Brothers, SWV, The Roots with special guest T-Pain, Stokely, Johnathan McReynolds, Mike Phillips, and Mark Allen Felton, with local performers still to be announced. Syndicated radio host and comedian Rickey Smiley will return as the host for the 2022 JITG.
In 2020, in the wake of the global pandemic, Jazz in the Gardens was forced to cancel just two days before the doors were slated to open. Now, almost two years later, the 2022 festival represents an impressive comeback as the City of Miami Gardens’ signature event and is anticipated to be an even better experience for the thousands of loyal and eager ticket buyers who hail from all over the world. Entrants will be required to show a valid COVID-19 vaccination card or a negative COVID-19 test. Social distancing protocols will be observed and face masks will be strongly encouraged.
“Not only are we excited for the return of Jazz in the Gardens, but we are also honored to host Mary J. Blige once again in the great City of Miami Gardens,” said Mayor Rodney Harris. “Mary J is an outstanding artist who consistently delivers a soulful and entertaining performance for her audience. We are happy to welcome her back to Miami Gardens, and to share the experience with all the Jazz in the Gardens fans.”
“As a manager, my clients have played this festival several times over the past decade,” said Shawn Gee President of Live Nation Urban, “so when presented with the opportunity to work alongside the city to produce the event this year, I was super excited. Jazz in the Gardens is one of the most important live events in the culture of Jazz & R&B music, globally. Our goal is not only to produce a stellar event but to let the world know about the hidden gem that the City of Miami Gardens has with this event.”
The 15th Annual Jazz in the Gardens also showcases an eclectic mix of goods and great buys in the Merchandise Village and delicious, exotic cuisine in the Food Village.
Tickets are on sale now at www.jazzinthegardens.com.
Follow @jazzinthegardens
|
|||||
correct_birth_00056
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FactBench
|
1
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https://www.tiktok.com/%40thenineonefour/video/7243479904782863662
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en
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Make Your Day
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correct_birth_00056
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FactBench
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1
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https://afropop.org/articles/rab-bakari-decodes-afrobeats-naija-pop-and-more
|
en
|
Rab Bakari Decodes Afrobeats, Naija Pop and More
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Afropop Worldwide
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https://afropop.org/articles/rab-bakari-decodes-afrobeats-naija-pop-and-more
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Rab Bakari is one of a kind: producer, entrepreneur, DJ and artist agent. We first met during the research for Afropop’s 2013 Hip Deep in Ghana series. Rab had played a central role in the creation of the genre known as hiplife, a distinctly Ghanaian fusion of highlife and hip-hop. Rab’s mother was born in Ghana, but he grew up in New York City, coming of age during the birth years of hip-hop. As he memorably said in our first interview, “I came out of the late ‘70s, early ‘80s in New York. There were no community centers to teach me to play an instrument. But I knew about two turntables and a mixer, and spray paint.”
Rab admires innovation and creativity, and that’s why a few years back, he left his job at Universal, and began traveling to African cities, in search of artists he thought could help him to bring contemporary African music more deeply into America, especially African-American cultural life. So when it came time to assess the state of African music in 2016 for our program “African Music at the Crossroads,” he seemed the perfect person to look up. And he came through. Here’s an edited transcript of our conversation.
Banning Eyre: So, Rab, what have you been up to?
Rab Bakari: Trying to go back and see what's going on in urban areas, the metropolitan areas of the various African nations. I specifically deal with Accra, Ghana, Lagos, Nigeria, Tshwani and Johannesburg, South Africa, Luanda, Angola and Nairobi, Kenya. And each metropolitan area has certain forms of urban or modern music. They're taking influences from all over the North American continent, the South American continent, and within the African continent.
When we spoke in 2013, you talked about how the Francophone countries had been in touch with each other for a long time. They were exchanging artists. People touring from Mali and Senegal going to Ivory Coast, Guinea and so on. That had not been happening in the Anglophone countries, but it was starting to happen. What's the update three years later?
It's actually transcended colonial languages. Back in the ‘40s, ‘50s, ‘60s, ‘‘70s, and ‘‘80s, music on the African continent was broken up by whatever colonizer existed at the time. Those people only communicated with themselves. Cabo Verde talked to Sao Tome and Sao Tome talked to Angola, and Senegal talked to Mali, also to countries like Rwanda when they touted the French language.
Lusophone, Francophone and Anglophone–those were the categories.
Right. I’ll give you an example. In the Anglophone countries, specifically in West Africa, there was a commonality between what we consider highlife. So Sierra Leone had their version of highlife, Nigeria had their version of highlife, Ghana had its version of highlife. And to a certain extent, the mariners from the merchant marine in Liberia had their version of highlife. And they were all Anglophone countries.
But now, language doesn't group music at all. A lot of the modern musicians, whether they know how to play an instrument, or how to sing through auto pitch correction, or whatever, they are singing in their mother or father's tongue. And it's being played in other countries where people have no understanding of that particular African language. We used to talk about Francophone countries. You can’t even say that anymore. That's changed. And it has a lot to do with the American, specifically the African-American blueprint of what they call rhythm & blues, what they call rap, which I'll get lumped into this thing called Hip-Hop. That set a template for everyone to follow. That's what I believe, and empirically, that's what I know.
So less English and French.
Less English and French, yes. However, the Lusophone countries are still singing in Portuguese. I spoke to my friend from Mozambique, and you would think the southern African languages would be there, but he still singing in Portuguese. Even in pop music.
But in East and West Africa, a move away from English and French, toward urban local languages.
Right. And urban local languages can be a mixture of a local language with the European language. Like what they speak in Abidjan. That kind of French is a little different. It's a kind of pidgin. And of course, places like Dakar, they would rather sing or rap in Wolof instead of French. It’s definitely going more towards the local languages of the metropolitan areas. It's not pure. It's been mixed up with all kinds of stuff.
Interesting. The impression I had in Ghana, talking about this subject three years ago, was that there was no advantage to singing in English, because you had a bigger market. You could sell in all these other countries. And I remember back in the old days when we were first going to Africa, in the ‘80s, people always said that the reason people from Zimbabwe didn't know anything about music from Senegal was because of language. If they didn't understand it, they didn't want listen to it. And the one exception there was Congolese music, the ultimate dance music.
Right. They sang in Lingala, and they just transcended over the language.
But that was really the exception. Other kinds of local popular music were not listened to outside their language areas. So I had the impression a few years ago that this was driving people to perform at least partly in English, so they could be understood. Is that different now?
The attitudes have changed. It's totally different. And I'll give you an example. There's this rap artist who came on the Ghanaian scene first. He's from Tema, which is a sister city to Accra. It's about 30 km east of Accra. Sarkodie came on the scene, and he did not rap in English at all. All the guest appearances he made, he rapped in Asanti-Twi. Akan language.
Fast.
Fast, yes. And to this day in 2016, he hasn't changed that. And all his music plays in South Africa, in Zimbabwe, in Cameroon. He's done collaborations with Angolan artists, with Kenyan artists, with South African artists, Tanzanian and Moroccan artists, all over the place. And I'm sure those artists that he did collaborations with don't understand a word of the Akan language called Twi.
Sarkodie
If you were to analyze why this change is happening now, is it a generational thing? Is it just part of Internet life, globalization, just a greater openness to hearing music and not caring if you don't understand half or all of the words? Is it really just a change in the way young people think about music worldwide? Is there a political agenda?
There is no political agenda, but there is definitely a change in how the young generation, meaning under 35, think about music, and want to claim it as their own. In the ‘80s, even the ‘60s, a lot of people left the African continent, whatever nation, whatever conflict or disruption in the economy caused people to leave. And it created these diaspora families in North America, Europe, Australia to the largest extent, and also other countries. And for some reason, people wanted to claim their own. So the more authentic the sound was, the more it was yours. So that rise from the diaspora, the Ghanaians living in Washington, D.C., the Somalis living in New York or St. Paul, the Liberians living in New York. All over. The diaspora outside, and then of course we know what happened in London, which I'm leading up to, this thing called Afropop and then Afrobeats.
It was the diaspora calling to say, "This is ours. We want to claim it. We don't want to be considered Jamaican. We don't want to be identified as Bajan, we don't want to be considered Panamanian. Or Dominican or Latino. This is our stuff.
O.K., but what about that kid in South Africa was listening to Sarkodie? He can't understand anything that's being said, so what is the appeal there?
So this is the thing. If you have a kid, and you want to be hip, and the rest of the world is saying Africa is one country, what they're saying is that Africa is not a country. It's diverse. So yes, Sarkodie can play in South Africa. He can do a collaboration with the South African artist, and his music can be played along right after a South African record, because the young producers that are using electronic music to make this music all started getting into this certain groove. And the only thing I can think of as a parallel to this is what happened in the ‘70s with funk. O.K., James Brown the godfather of funk, African-American, American, United States--you had countries from Benin, Nigeria, Ghana, Kenya trying to emulate that funk sound.
Our colleague Mark LeVine talks about "the funk belt," that whole stretch of countries that fell under this influence you’re talking about.
So fast-forward three or four decades. The rap scene in America has come of age. Rap music has become pop music in North America, so they're rapping in Spanish in Mexico, Canada is quasi-U.S. or whatever. So that groove is put out to the world again. So the kids are saying for us to be noticed and become popular, let’s follow the blueprint that was set in the United States. It's nothing different. It's been done before with the funk music. And the r&b, the rhythm & blues.
So could you say that the stylistic coming together across all these countries is becoming more important than the language?
It's definitely becoming more important than the language. And one of my good friends, DJ Edu, with BBC 1 Extra, “Destination Africa,” and we talk about how all the music is similar. At a party, you can play an Angolan record, and people don't understand Portuguese, and blend that same record, the BPMs, beats per minute, are the same and go straight into a Ghanaian record--and this was at the time when Ghana had a dance associated with the music called azonto.
Azonto. Is that kind of over now?
Yeah, they've moved on to something else since then. And then you go from that, you go to a Nigerian record that has traditional Naija rhythms, whether from the southwest or the southeast of the country--that blended right in with the Ghanaian record, and then from there you go straight into Côte d'Ivoire and get into their coupé decalé. It all just blends right in.
Now this has been bubbling and bubbling in for the last 10 years. So, 2005, 2006, to now 2015, 2016, it's been bubbling. Now, they all can do concerts together. They all can do shows together. And the persons consuming that won't even break a sweat, saying, "Oh, I don't know what this is. I can't jam to this." So you can go from Diamond Platnumz Tanzania to somebody from Ghana, to somebody from Nigeria like Davido, and then it's down to Angola.
And it has a lot to do with the beats per minute.
Yes. DJs play a huge role, but the unsung heroes in all this are the producers. Producers in the American sense, not the financier, but the one sitting in the studio programming. We need a guitar player who can play a certain kind of rhythm. They can’t play it themselves. So they get the guitar player. And they remember some drum patterns from some festival or something, and they re-create that electronically on Native Instruments, Machine Studio, Akai MPC, whatever, pads. Dump all the vocals into Pro Tools, and then you got something going.
Diamond Platnumz
So they are more apt to do it that way than by sampling old stuff, like we talked about last time.
Right. People like me, part of the whole hiplife movement Ghana, we did that. That sound was so incredible from back in the ‘70s from my mother's records that we had to go back and sample. So now they're recouping that sound electronically. And the thing is, in every metropolitan area, whether it's Luanda, Angola, Lagos, Nigeria, Accra, Ghana, Tshwani—which used to be called Pretoria—Johannesburg with the Afro-house, and Nairobi, Kenya experimenting with electronic and funk music and r&b music--they are creating their own sound by trying to re-create the old sound electronically. So everybody's doing the same thing.
At the right BPM. So can you give us the range? What's the sweet spot?
I'd say 125. 125, yeah.
Let's talk about Nigeria which now dominates African pop music. You once told me that in the mid-’90s, when you first went to Ghana, there was nothing really happening rap-wise in Nigeria.
No, there was not.
Naija pop star, Flavour
So this rise of Nigerian music is really something that has gone from zero to ruling the world in 20 years. How the hell did this happen?
It's the same thing that happened with South Africa abolishing apartheid, and now corporations are able to leave South Africa and start tele-companies like MTN. Military government ended in Nigeria later than in other places. There is a direct correlation of people being happy and under the thumb of oppression. Any oppressive regime holds things back. People are afraid to socialize. Remember the early days of Rawlings’ revolution in Ghana in the late ‘70s and early ‘80s. They put in curfews and shut down all live bands. They effectively killed live music in Ghana, and Ghana had been touted as the live music place. People from South Africa, Zimbabwe, all migrated to Ghana to participate in the music. Hugh Masekela wanted to play his horn in Ghana. Fela wanted to hire Ghanaian musicians.
So the same thing happened in Nigeria. When Sani Abacha passed away… Sea change.
Yes. Change. Paradigm shift, maybe? People came back from living in New York and London, Toronto. People came out of the woodwork and of course, they bypassed the whole instruments thing and went straight to electronic equipment. To the chagrin of many. So you had music coming out like Ras Kimono, and then you had the whole fuji movement and stuff to try to counter the electronic revolution.
And those things are still happening I'm sure.
It's still happening, but it's like an underground thing right now. So the electronic thing--it was easy to go buy a beat machine and set up on your Windows or Mac computer, and compose. And that's what the producers did. They composed what was in their head, trying to re-create traditional sounds and they created various forms of Naija. There is no one Naija sound. They created various forms.
O.K., I have two questions. First, I'm wondering when people started lumping all the Nigerian stuff together and calling it Naija pop. Was that just a marketing thing, or was it something that happened organically among fans? And the other question is, why were the Nigerians so much better at it that they were able to establish such a dominance in the market?
This goes back. A lot of the key players in the Nigerian music business, and I've got the hand quotes up in the air, "music industry." They claim that they studied what was done in Ghana, so that means they were studying me and other people.
That's a familiar trope, isn't it? Things start in Ghana and become successful in Nigeria.
So they studied, and they took it to the level to the American standards. The reason why most artists in the United States went to record labels in the day, not so much now, but in the day--you pitch to them and say you have a business idea. "I can sing, and everybody will love me, I need financial backing." We used to call that a record deal. O.K., here’s $750,000. We are going to invest in you.
So the Nigerians took that mindset. Take plenty of money and put it behind one artist, and make that person bigger than Jesus. Dress them. Fake it till you make it. Put them in a mansion. It might even be a politician's mansion. And then those politicians or those businessman who have wealthy children that they sent to school, and they got influenced by American music, they just tap into their parents account to be what they want to be. They want to be a top DJ. They want to be the top… “Buy me the electronic equipment to produce. I'll become a rap star.” So it became a money thing. Ghana didn't have that much money.
A money thing. Nigeria had more money.
Money. I will make you a star. When you walk down the street, people will believe you’re a star, even if you came from humble beginnings. Your dress, your videos. They just took it to the next level finance-wise. If it cost him millions of dollars to get the hottest equipment imported from Europe and America, fine. If it costs $1 million to do the video. Got to rent this car for some big woolly guy for the day, and we got to use his mansion. That's what we have to do. And that's what they did, over and over again.
To this day, the formula is still the same. The male artist, the fancy car, the big house. You look at all the Nigerian music videos, it's the same. And then male dominance, and you bring in the girls. The girls are usually below them, dancing, complementing them, but not shining over them. So a star like Tiwa Savage is somewhat of an outlier in that paradigm, right?
Yeah. She's an outlier because she's a female, coming from the Yoruba people, but at the same time, she's using the same formula. O.K., what are the American women doing? Women over here are looked down on in society. Women over here are not elevated as a man is. But look at the women in the United States, specifically black American women when they sing and stuff. Mariah Carey or whatever. I need to be on that level, coming from left field. So what if they criticize that I'm shaking and doing something sexual and sensual. That's what the Americans are doing. An outlier yes.
DJ Abrantee
O.K., let me ask you about Naija pop. First of all, I've seen this word popping up in the literature and press just in the last few years. Where did it start? Who coined the term? And what does it really mean? Why do they spell Naija that way? I think it comes from pidgin. But just riff on Naija pop a moment.
O.K., Naija. N-A-I-J-A. Naija is slang for the country Nigeria. Every country has some type of slang, you know. People refer to the United States, they say Americans, or they could say Yankees. Yankees is kind of archaic, but you get the gist. So Naija is the slang, but that originated within Nigeria. That's not an outside person saying that. Because usually when an outside person calls someone something, it's derogatory.
When Nigerians started making music, they still call the music by the genres that you and I are familiar with, praising God, specifically praising Jesus, it's called gospel. If you’re talking about hope and lifting of the human race: inspirational music. Bob Marley set the pace in the late ‘60s, so there's this thing called reggae music. If you're toasting over a staccato beat, it's ragga, which is really from the Brits. In Jamaica, in America, they call it dancehall music. Rapping, making words rhyme, it's called rap. So Nigeria never really had a term for its music.
Well, they had highlife, juju and fuji…
I'm talking about the modern music. Because how many ethnicities are there Nigeria? It's not a homogenous country.
So one of the characteristics of this new music is that it is not ethnic, right?
It's not. So that means that a wedding in Jos, Plateau State, they can play some artist who grew up in the southwest in--pick a state –Ogun State, Yoruba Land. “Ah, he’s speaking Yoruba. Actually, he's rhyming and singing in a broken type of Yoruba. It's the slang of Lagos, because Lagos happens to be in the traditional Yoruba area. So everybody, no matter what part of Nigeria they come from, they're going to end up speaking some type of Yoruba sentence or something like that.
I think it had to be the media within Nigeria recently that branded the music as Naija pop. Because when they started exporting to countries like South Africa through satellite television, or DSTV, all these little networks like Sound City or Channel O, they had to give this Nigerian music some kind of generic brand name. Because if we just said Nigerian music, we'd be talking again about juju and whatever they're doing up in Kano—the Hausa people and the Fulani people have a whole different mindset of music and stuff—so they had to give it some generic name. That's a recent phenomenon.
How recent? When did you first start hearing that word?
I started hearing Naija pop when I went to Johannesburg and saw South Africans dancing to Nigerian music. They called it Naija pop.
How long ago was that?
Maybe 2012. But before that, the diaspora in the United Kingdom, specifically the DJs that started playing this music, started calling it Afrobeats, with an “s” on the end.
So this is DJs in London specifically.
Right. They never called it Afrobeats in Ghana or Nigeria. Never.
DJ Edu
Do we know who first coined the term Afrobeats?
There's a debate between two London DJs, DJ Edu and DJ Abrantee. Edu, Edward Otieno, is a Kenyan. And Abrantee is Ghanaian. Abrantee means like a strong boy in Twi. They started doing mix tapes with Ghanaian music, and some Nigerian music, but then they started realizing that South African Afro-house, and Angolan kuduro and Angolan Afro-house also… Basically South Africa just about copied the Afro-house of Angola. DJ Edu started playing all of those together, along with the Ivoirian coupé decalé. Yes there was still ndombolo and soukous being made by the Congolese artists, but it didn't blend in with those.
Right. Those are clavé based. There’s a different rhythmic structure.
Right. It didn't blend in. That went by the wayside, what was coming out of Brazzaville, Brussels, Kinshasa.
So what year does this happen? A little earlier.
I'd say 2009. Hiplife was still going on, but then these pop beats started coming on. People could sing the hooks. And then a lot of artists stopped the rapping. Rappers started singing. But they were just mimicking what the Americans were doing, because American rappers started singing also. But often, they can't carry a tune. They can't follow the pitch. So you fire up your plug-in, throw that person a pitch. But some of them are so off you get that trill. You ever hear that trill?
Sure.
That's the Auto-Tune. If you can sing, you'll never hear that trill, because he will be in perfect pitch. Those who are forcing to sing, and then they started using the voice as an instrument. So everybody started doing it. Forget T-Pain and all that stuff, in America. T-Pain started around 2003, 2004, by the time Ghana, Nigeria, Kenya, South Africa, they started learning about it was many years later.
About five years later.
Yeah, about five years later. And that became the trademark. That branded as Afrobeats. You hear that, and you know it's the Afrobeats sound.
So it's a combination of the singing, the Auto-Tune, and being at this particular beats per minute level, so that you have this combination and move from country to country. That explains a lot.
Right. Then, the drum pattern. And every ethnic group has its own drum pattern, so you can imagine every nation has various ethnic groups. So how do you brand all that stuff? They’re singing in different languages, they’re playing different types of rhythms.
Different countries, different cultures, but you got to have some way to talk about it.
That's it, so I may ask him, "What are you playing?” They can't say I am playing Nigerian music, because Nigerian music is gospel, inspirational, jazz. I may go down the list. Rap music, whatever. So they call it Afrobeats.
So it comes in London, from DJs.
Right. Growing up here in New York, I never heard the term Afrobeats. We can go back to Fela: Afrobeat.
Of course. But I do wonder what those first DJs and that term were thinking. Because I asked a number of people at the Barclays Center event, “What does Afrobeat mean?” Someone say that it was paying homage to Fela.
[Laughs]. I don't buy that.
O.K., so they really weren't thinking about Afrobeat and Fela at all. They were just looking for a word that would work.
You see, in these metropolitan areas like Luanda and Johannesburg, Black Coffee and them, they call their music “house music,” and then they started putting Afro on it, Afro-house. Generic term, right? Renato from Luanda, and these guys go back and forth to Europe and stuff. In Ghana, we had azonto, and that was tied to a dance. So you have people like EL and Killbeats, who created the azonto sound. Before, Ghana had the jama sound, and before that, they had hiplife. So they had names, but what's all this music sounded similar, you could DJ and blend one into another.
So how do you talk about them all at once?
All at once. And so they just generically started calling it Afrobeats.
When we went to Ghana in 2013, nobody in Accra then seemed to be using that term.
Right.
But now they are? I had the impression at the One Africa Fest that this is now a word everybody uses. So it starts with DJs in London, but it has this kind of logic to it, because it simplifies the problem of all these different languages and quality patterns.
But doesn't it always happen like that? Rock 'n’ roll in the ‘50s. How do you call that type of music when different cities in the United States were playing it in different ways.
But some names last and some don't. I guess it's too early to say about either Naija pop or Afrobeats, because they're both so young. But I could really see a difference talking to artists at the Barclays Center, at the One Africa Music Fest, that they were all using the term Afrobeats, whereas a few years earlier in Ghana, they were not. So now it's becoming a genre.
Well, it's sort of a genre, but at least it's a commonly used term. People know what it means.
Yes, it's the modern, urban music. There's always an urban movement. People from the hinterland grab a guitar in the ‘60s, and the next thing you know, you got these polyrhythmic orchestras. So this is the modern, urban music of Africa. So you have kids in Douala, Cameroon, and kids in Yaounde, imitating that whole Afrobeats sound, totally disregarding the sound that they're supposed to be playing in those towns. Now Naija pop is a little bit different, because it has to be something that is danceable, and I can fit into a dance music mix.
You wouldn't think of Naija pop as being a subgenre within Afrobeats?
No.
How are they different?
You know, there’s a formula for pop music around the world. So Naija pop would follow that formula. Some silly, catchy phrase, you know.
So give me an example of the Naija pop artist or song that’s not Afrobeats.
Oh.
I’m putting you on the spot here.
That’s interesting. Because they’re going back and forth. As a matter fact, some of them that were doing Naija pop, and pure Afrobeats, like techno, then they’re doing dancehall. Or, they’re guesting on some rap record.
One of the people we asked about this said that Afrobeats can be anything. It can be dancehall. It can be rap. It can be r&b. Whatever. It just has to be the modern urban musical of Africa.
Well, Naija pop will be the pop formula, whatever is the pattern of music for the day. So pop in 1978 in America was disco. Pop in the early ‘80s was DX7 Yamaha keyboards and Debbie Gibson. Pop now, it has a lot of rap elements, swag and all that stuff. Justin Timberlake. All that stuff. Pop is the thing of the day. It has that formula that appeals to everyone. So a 5-year-old kid can dance to Naija pop and the 85-year-old grandmother can also dance to Naija pop.
I interviewed the Nigerian artist Lagbaja last year.
The saxophonist.
Davido
Yes, the guy who wears a mask. Interesting guy. He was telling us that there had been a big hit recently, I think it was by Davido, that changed the rhythm of the music. It was putting a 12/8 feel into it.
He’s probably talking about “Aye,” which means “life” in Yoruba.
Right. And he said that since then, a lot of people are following that lead and doing that.
Yes. I could find tons of them right now on my phone.
That’s interesting to me, because I really like 6/8 and 12/8 music. Because we don’t have that much of it in our pop music. But now there’s more of it happening in this modern music. You could see that as a factor of inserting more of an African identity in music that could otherwise be seen as more derivative.
It is a movement within Afrobeats. But Naija pop has to be able to convince a 22-year-old Copenhagen woman in Denmark to dance, and that’s what the whole focus of the Naija pop is. And then you crank up the BPM. BPM can go anywhere from 122 to 135. And getting with those dance records. That same formula. First, cheesy verse, then right over to a really corny, catchy repetitive chorus.
So I’m getting the feeling that you’re not all that impressed with Naija pop as a movement.
I’m not impressed with any type of pop music at all.
Oh really? So what are you digging these days?
Stuff that people you see are really trying to turn an instrument into something that it never did. That’s how bebop came in jazz. Someone playing the piano, you can play like Beethoven did, you can play different way.
I relate to that. That’s what I love about African guitar players. They’d play the instrument in ways that no one else would ever think of.
Wizkid
Or take a turntable, let it turn around 33 1/3, pull it back, and turn it into an instrument. That. I did stuff like that. Or if you’re doing electronic musician, what they call EDM, you’re tweaking that sine wave oscillation, filters, you really dig into it and take it and make it do something different.
Speaking about turntables and all that, I know that you came up in New York in the ‘70s. You talked about your childhood. I’m wondering if you seen this new Netflix show The Get Down.
Yes I have. You know, you could be an academic type person and say it should’ve been presented as a documentary. Or you could look at it as pure entertainment. They presented it as a combination between West Side Story, a Motown movie called The Last Dragon in 1985, with elements of Hip-Hop. You know. And they made Grandmaster Flash into a guru. That was quite interesting. Or Kool Herc as a peacemaker.
So I shouldn’t take it as gospel.
No.
But did you enjoy it?
I enjoyed it. Because me, growing up in New York City, I remember the Hip-Hop era. We didn’t even call it Hip-Hop then. That was a generic term that was slapped on later, when the rappers hit with, “Hip, hop, hippity hop...”
Now there’s a term that’s not going away.
Right. But probably Afrobeats isn’t going to go away either, because it just branded something. We called ourselves beat boys in the late ‘70s, or break boys. In this show they use the term “get down.” When you took the break, whether it was a bass break, a rhythm guitar break, drum break or conga break. You looped it by going back and forth with the two turntables and the mixer.
That’s’s when we would go down to the floor and break, but we didn’t call it that. We didn’t have a name for what it was. The media called it that. But I appreciate The Get Down because it captures the whole thing, interweaving Mayor Ed Koch, corrupt politicians, the burning of the Bronx, the graffiti on the subway trains. The juxtaposition between pop and disco. I’ve seen it all. I was there. The fashion of the disco people as opposed to the fashion with teenagers who later became the Hip-Hop heads, the boys. The immigrant community at the time, the Puerto Ricans who came into New York at the time.
It’s all very evocative.
It was very nostalgic for me to see that.
It’s really great to catch up with you and talk about these things. You know, we are inevitably perceived as old school, and in many ways we are. But it’s fascinating to see how quickly and profoundly popular music is changing. That’s why we’re going to Lagos next year to really take the pulse of Afrobeats and Naija pop at the epicenter.
Back to Lagos, the economy and infrastructure supports this entertainment industry. They really don’t need to go to London, Toronto, or New York, Washington, D.C. to record. If they’re doing it, it’s because there’s somebody over in those cities that they want to work with. They don’t really need to go to those cities. Everything is there.
There’s this impresario Paul Okoye, the man behind the One Africa Music Fest. He spoke from the stage about how this music was breaking in America, but the audience was all young African and Caribbean diaspora folks.
And you notice, it wasn’t a Nigerian thing. He said “This music.” He brought artists in Tanzania, Ghana, and Nigeria.
So clearly the music is reaching the big diaspora. The African/Caribbean diaspora in America now is more upwardly mobile and numerous and they were 15 or 20 years ago. It’s not just a little niche.
And the music is not exotic anymore. You remember the early ‘90s when Mali bands used to come and everything was exotic.
Yes. That’s the world I grew up in. Malians would come and look out at an all-white audience and say, “What the hell is this?” What we’re seeing now is very different. But as you say, these bands don’t have to come here. It’s just an interesting thing to do. I doubt anyone made a lot of money on that One Africa Fest. There were so many people to pay.
Yes. And it was not a big deal in the media in Africa that they performed here. Because they come and go all the time to perform. They perform for the Ghanaians who left Ghana when they were four years old, or the Nigerians who left [when they] were 10 years old. They come all the time. It’s just that the New York Times, the New York Post, the Village Voice, they don’t really write about these things. But these artists, all the time. There are three artists in town right now.
So there’s a big disconnect. In the ‘80s and ‘90s, when African acts started coming here in number, there were still record labels to support tours and promote. There was a whole sub-industry that developed around music you could generally described as Afropop.
So here’s where we’re going now. Specifically speaking about: has it arrived in North America? It’s the same thing with ska and reggae. It arrived for those who knew about it, but then, when the major labels--at the time they were the financiers--got to it, then it really arrived in America. So now, in the early ‘70’s, everyone knows reggae. Then later, in the ‘80s and ‘90s, it became dancehall. The sound systems were doing it in the dance halls in New York, Toronto, Kingston, Jamaica, London and the U.K. That became a popular thing, and then later the Latinos wanted their voice, so they borrowed from dancehall, that one rhythm, and they created reggaeton. So now everybody from Panama, Colombia, the Dominican Republic, Cuba, Puerto Rico. They’re all doing reggaeton.
So Afrobeats is the next logical thing for America. And I always tell people, when it gets to the black Americans, then that’s when it’s going to become a thing. So the black American at a barbecue in Atlanta plays Chris Brown, this young r&b artist. Then they moved to the Caribbean artists. So they have Sean Paul. Everybody knows Sean Paul. Regardless of his color, he is Jamaican. The next logical person that Universal or Sony wants that to be is Wizkid. So an African-American, who’s never been to Africa, and her name is Mrs. Jackson, she knows knows Chris Brown, Sean Paul and Wizkid, all in one barbecue sitting, and she’s dancing from one record to the next.
Is that happening yet?
Not yet. But when that happens, that’s when this thing we call Afrobeats—I’m not talking about Naija pop—Afrobeats will come to America. Not when it’s playing for the diaspora kid who came when he was 8 years old, went to high school here, went to college, and only went home back to Nigeria, Ghana, Kenya for Christmas or something.
And that’s who was at the Barclays Center.
Yes. When it plays for that African-American, that’s what makes it to America. Course when it becomes African-American, then all the African-American artists will do it, and the sample switch. The next thing you know you’ll hear Mary J. Blige and Ludicris doing Afrobeats.
Tiwa Savage
Let’s talk about that barbecue scene. What’s it going to take?
Radio. Terrestrial radio. That’s it. When a person gets in the car and they hear the same song. And 25 minutes later, after they play the adverts and commercials, that song is there again. It beats in your brain. You don’t need to understand the Yoruba of Davido and Wizkid to hear it on whatever Hot or Kiss or Power or whatever.
O.K., so these African artists haven’t reached that barbecue yet. But it does seem like there’s a little bit of progress, hasn’t there?
Exactly. It’s a little bit. Because when I go out and hang out with some friends that have never been to an African metropolitan area, like one of the cities I’ve named. They are hearing about it. They don’t know what it is, but it’s actually quite specific. “That’s Nigerian music.” As opposed to it’s “African music.” Little by little. Like that.
So the process is happening, but like all these things, it’s not happening fast.
Unfortunately, these African metropolitan areas are going to move onto something else. The stuff we’re talking about now is already in its fifth year of popularity. It’s getting old. How long did disco last? Disco came out of the funk era. The transition between funk and… You can probably remember when bands that you love went disco. You can probably remember the day.
Oh yes. I was disappointed.
I’m talking about from rock bands. The Eagles to Isaac Hayes, James Brown.
The Bee Gees.
Everybody was doing disco. But how long did that last? Four years. Think about eras. How long was the break dance era? Four years?
And it moves even faster now.
Yes. So the whole branding of Afrobeats. Naija pop may always be there. It may become another genre of music along with Christian gospel and their variation of jazz, their fuji. But Afrobeats, with the whole branding, the sounds will change. It may get slower. The rhythms may come back down to 90.
But that’s what’s so brilliant about that name. It’s so nonspecific that the music can change and it will still be Afrobeats. And for that reason, it may be around for a while. So let’s talk about you. What’s going on with you these days?
Rab, at his desk at Universal
Since I’ve left Universal, almost three years ago now, my title is pretty much an agent. I take artists, specifically musical artists, although it can be other, and pair them with corporate partners. Because there is no such thing as a proper record label. Traditionally, you would go to a record label to finance your dream and your idea if you are a musician. These days, they go to corporations, whether it’s a telecom, whether it’s a beverage company, or an alcohol company, or tobacco company, or some manufacturer, some product.
So maybe the campaign budget is $45,000 for three months, I get a percentage of that to cover my costs. That’s how I operate. So I don’t need to make music anymore. Because the 21-year-old kid’s music is more relevant than my music from 20 years ago. I don’t need to compose songs. I don’t need to perform on stage. If I DJ, I do it in the sense of this new, 21st century term called curator. I’m familiar with what’s going on in Luanda. I’m familiar with what’s going on in Nairobi. I’m familiar with what’s going on in Accra. I see what matches and what pairs and everything. So I can compare your wine to food. I can curate it. But I still have the skills to manipulate turntables, CD players, iPods, whatever. Doesn’t matter.
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https://grammy.com/artists/mary-j-blige/779
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Mary J. Blige
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https://i8.amplience.net/i/naras/MI0005426577-MN0000376204
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https://i8.amplience.net/i/naras/MI0005426577-MN0000376204
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[] |
[] |
[
"GRAMMY",
"GRAMMY.COM",
"Mary J. Blige | Artist | GRAMMY.com"
] | null |
[] | null |
Read more about Mary J. Blige GRAMMY History and other GRAMMY-winning and GRAMMY-nominated artists on GRAMMY.com
|
https://grammy.com/artists/mary-j-blige/779
|
@ 2024 - Recording Academy. All rights reserved.
Terms of Service
Privacy Policy
Cookie Policy
Copyright Notice
Contact Us
Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.
|
|||||
correct_birth_00056
|
FactBench
|
0
| 81
|
https://acharts.co/artist/mary_j_blige
|
en
|
Mary J. Blige
|
[
"https://draw.acharts.net/cover/81345-54d08c981412c-s.jpg",
"https://draw.acharts.net/cover/31299-54d009b040423-s.jpg",
"https://draw.acharts.net/cover/13004-5570335a7c619-s.jpg",
"https://draw.acharts.net/cover/30005-54d0097e2f425-s.jpg",
"https://draw.acharts.net/cover/67277-54d08725e22d2-s.jpg",
"https://draw.acharts.net/cover/19411-56de35b69729d-s.jpg",
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"https://draw.acharts.net/cover/52713-54d00f5292f70-s.jpg",
"https://draw.acharts.net/cover/14256-54d0031dc62bc-s.jpg",
"https://draw.acharts.net/cover/89617-5900a6bfe14ff-s.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
See Mary J. Blige's singles & albums global chart performance, including offical music videos.
|
en
|
/favicon.ico
| null |
#55
1 wk Ain't Nobody
48/11 - 49/11 – wks: 2 48/11 2 49/11 #3
1 wk Be Without You
47/05 - 26/08 – wks: 183 47/05 183 26/08 #52
1 wk Bridge Over Troubled Water
Mary J. Blige and Andrea Bocelli
07/10 - 07/10 – wks: 2 07/10 2 07/10 #74
1 wk Come Close To Me
Common and Mary J. Blige
10/03 - 13/03 – wks: 4 10/03 4 13/03 #33
1 wk Da MVP
Mary J. Blige featuring The Game and 50 Cent
17/05 - 05/07 – wks: 15 17/05 15 05/07 #40
1 wk Do You Hear What I Hear?
Mary J. Blige and Jessie J
48/13 - 49/13 – wks: 3 48/13 3 49/13 #32
1 wk Enough Cryin
Mary J. Blige and Brook-lyn
16/06 - 38/06 – wks: 28 16/06 28 38/06 #48
1 wk Family Affair
08/22 - 09/22 – wks: 2 08/22 2 09/22 #83
1 wk Good Morning Gorgeous
08/22 - 10/22 – wks: 3 08/22 3 10/22 #34
1 wk I Am
50/09 - 24/10 – wks: 43 50/09 43 24/10 #59
1 wk I Try
Talib Kweli and Mary J. Blige
51/04 - 51/04 – wks: 1 51/04 1 51/04 #58
1 wk Ifuleave
Musiq and Mary J. Blige
46/08 - 10/09 – wks: 29 46/08 29 10/09 #16
1 wk Just Fine
44/07 - 13/08 – wks: 36 44/07 36 13/08 #97
1 wk Lord Above
Fat Joe featuring Dre , Eminem and Mary J. Blige
51/19 - 51/19 – wks: 1 51/19 1 51/19 #15
2 wks Love @ 1st Sight
Mary J. Blige and Method Man
27/03 - 48/03 – wks: 70 27/03 70 48/03 #76
2 wks Mr. Wrong
Mary J. Blige and Drake
51/11 - 15/12 – wks: 24 51/11 24 15/12 #59
1 wk No More Drama
43/12 - 43/12 – wks: 1 43/12 1 43/12 #40
1 wk Not Today
Mary J. Blige and Eve
47/03 - 07/04 – wks: 24 47/03 24 07/04 #1
7 wks One
Mary J. Blige and U2
01/06 - 49/11 – wks: 334 01/06 334 49/11 #29
1 wk Ooh!
36/03 - 47/03 – wks: 12 36/03 12 47/03 #19
1 wk Remember Me
T.I. and Mary J. Blige
33/09 - 37/09 – wks: 9 33/09 9 37/09 #87
1 wk Right Now
50/14 - 50/14 – wks: 1 50/14 1 50/14 #2
1 wk Runaway Love
Ludacris and Mary J. Blige
48/06 - 21/07 – wks: 41 48/06 41 21/07 #97
1 wk Someone To Love Me (naked)
Mary J. Blige featuring Diddy and Lil Wayne
17/11 - 21/11 – wks: 5 17/11 5 21/11 #22
1 wk Stay Down
38/08 - 41/08 – wks: 4 38/08 4 41/08 #58
1 wk Take Me As I Am
40/06 - 06/07 – wks: 17 40/06 17 06/07 #63
1 wk The One
Mary J. Blige and Drake
32/09 - 41/09 – wks: 11 32/09 11 41/09 #27
1 wk We Ride (i See The Future)
01/07 - 11/07 – wks: 14 01/07 14 11/07 #66
1 wk What Child Is This
Andrea Bocelli and Mary J. Blige
51/09 - 51/09 – wks: 1 51/09 1 51/09 #50
1 wk Whenever I Say Your Name
Sting and Mary J. Blige
50/03 - 03/04 – wks: 6 50/03 6 03/04
|
|||||
correct_birth_00056
|
FactBench
|
2
| 77
|
https://mykiss1031.com/mary-j-blige-stars-as-a-cop-in-thriller-body-cam/
|
en
|
Mary J. Blige Stars As A Cop In Thriller “Body Cam”
|
[
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"https://townsquare.media/site/513/files/2020/04/sinners-wanted-clifton-e1585764234491.jpg?w=980&q=75",
"https://townsquare.media/site/625/files/2015/09/GettyImages-482487716.jpg?w=980&q=75"
] |
[] |
[] |
[
"mary j. blige",
"movie",
"body cam",
"trailer",
"first look",
"police",
"articles"
] | null |
[
"Jamien Green",
"Melz On The MIC"
] |
2020-05-19T13:55:14+00:00
|
The R&B megastar and Oscar nominated Actress has a new movie out today on digital platforms.
|
en
|
Kiss 103.1 FM
|
https://mykiss1031.com/mary-j-blige-stars-as-a-cop-in-thriller-body-cam/
| ||||||
correct_birth_00056
|
FactBench
|
1
| 22
|
https://states.aarp.org/new-york/black-lawmakers-talk-about-their-life-in-advocacy
|
en
|
Black Lawmakers Share Insight on Their Advocacy Work for Black History Month
|
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2024-01-30T15:10:05.650000+00:00
|
AARP New York is proud to celebrate Black History Month by asking our New York elected officials from around the state to share their stories about why they decided to run for office, why it’s important to celebrate Black History Month, and what New Yorkers age 50-plus can do to get involved in local and state public policy.
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en
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/apple-touch-icon.png
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New York
|
https://states.aarp.org/new-york/black-lawmakers-talk-about-their-life-in-advocacy
|
AARP New York is proud to celebrate Black History Month by asking our New York elected officials from around the state to share their stories about why they decided to run for office, why it’s important to celebrate Black History Month, and what New Yorkers age 50-plus can do to get involved in local and state public policy.
Visit our Black History Month blog to learn more about upcoming events!
Here is what the legislators shared with us:
Senator
Andrea Stewart-Cousins
35th Senate District
1. What have you learned since being in the office and what impact would you like to see in the community?
I have learned three important things along my journey: 1) the importance and power of compromising your positions, but not your principles, 2) respecting the views of others, and 3) you should be willing to change your mind when new information is presented that requires a change.
I hope my impact will be to help people understand that voting matters, and who sits in these positions truly matters because our policies come from the people who hold elected office.
2. Why is it important that we celebrate Black History Month?
Black History month gives an opportunity to focus on the fact that Black History is American history, and to not only remember the strife and the struggle, but also the hope, innovation, aspiration, and perseverance for a more perfect union.
3. Why should Black New Yorkers 50 plus get involved in public policy decisions?
Black New Yorkers who are 50+ have lived history, a history which limited opportunity in voting rights, reproductive rights, and economic advancement. We have made progress, but we also understand how easy the progress can be lost if we don’t continue to educate and stay in the forefront of public discourse and policy.
4. We have just celebrated the 50th Anniversary of Hip-Hop and we highlight the importance of African American/Black influences. What impact has Hip Hop had on you and on this country and beyond?
I grew up in the Bronx, the birthplace of Hip Hop. Now, it is an internationally recognized and celebrated genre. Hip Hop has been and always will be synonymous with New York and Black culture. In 2022, the legislature awarded the Hip Hop museum $11 million, to show our commitment to celebrating the rich history and cultural importance of this genre. Hip Hop often tells the story of personal experiences, self-determination, ambition, pride, and power. I am proud to represent an area that raised Mary J. Blige, DMX, who would often return to support his neighborhood, and the Lox. In fact, it has been my privilege to work with Jadakiss and Styles P on things such as distributing turkeys at Thanksgiving and educating members of our community on healthy lifestyles and the benefits of juicing at their store in Yonkers, Juices for Life. When we took over the Majority I reminded myself and my conference of how far we had come with the words of Drake, “Started from the bottom now we’re here.” Half a century later, despite all odds, this genre is still here and it is still shaping opinions and providing opportunities for expression, education, and success.
Assemblywoman
Kimberly Jean-Pierre
Assembly District 11
1. What have you learned since being in the office and what impact would you like to see in the community?
First, all politics is local. I have learned that you need to be flexible in your thinking as an elected official or person in any position of power. Certain skills are necessary, including keeping an open mind and being creative in thinking about how to accomplish goals. Getting new legislation passed can be a very slow process. However, working with constituents and being on the ground in your community has an immediate impact. One of the most important and rewarding roles is connecting people with resources.
There are many important issues at stake, our educational system and ensuring that all students, regardless of what hamlet or zip code they live in, have equal opportunities and access to an excellent education and a variety of community resources. There are a number of other equity issues in the community. Transportation continues to be an issue for many. We need comprehensive, frequent, accessible and affordable public transportation options that covers all of Long Island. Equity in healthcare is also another impact area that is important to me. We continue to need more resources for support services and preventions services in the community. There are many community organizations doing great work to address these issues. I would like to see more organizations working together collaboratively to obtain funding for projects that support these community initiatives.
2. Why is it important that we celebrate Black History Month?
Black History is American history, but we are not yet in a place in this country where Black History is celebrated as American History. We need to continue to highlight the progress and success of the Black community, including past leaders and community advocates, but we also need to acknowledge and address the challenges still faced by the Black communities and the many areas of inequality that exist. There are striking disparities in our communities in healthcare, education and many other areas including representation by elected officials.
3. Why should Black New Yorkers 50 plus get involved in public policy decisions?
50+ New Yorkers have life experience and wisdom. A variety of diverse 50+ voices and experiences brings the best policy outcomes. Encouraging younger generations to work with and learn from older New Yorkers is important for policy making because this collaboration leads to greater success. Intergenerational communication is very important.
4. We have just celebrated the 50th Anniversary of Hip-Hop. What impact has Hip Hop had on you and on this country and beyond?
I grew up in the city. I grew up with artists talking about various issues that plagued our community. It was not until I got older that I understood true impact of hip hop on the community and the world. Hip Hop is part of the Black American culture and it vocally defines the struggles of Black Americans in this country. It is an outlet and a voice and provided a stage for global community to learn more about the culture and experiences of Black Americans.
Assemblywoman
Crystal D. Peoples-Stokes
Assembly District 141
1. What have you learned since being in the office and what impact would you like to see in the community?
I’ve learned the value of being a public servant and problem solver. Our communities have a lot of needs and concerns, in many cases, government is the first line for access to information, assistance with services, and much more.
2. Why is it important that we celebrate Black History Month?
If we don’t know our past, we cannot prosper in the future. We are a brilliant people and need to properly educate ourselves and acknowledge our societal accomplishments.
3. Why should Black New Yorkers 50 plus get involved in public policy decisions?
If you are not at the table, your issues and concerns won’t be discussed.
4. We have just celebrated the 50th Anniversary of Hip-Hop. What impact has Hip Hop had on you and on this country and beyond?
Hip Hop is a genre created by blacks for blacks, which spoke to our experience of living in America for over 50yrs. It’s become iconic internationally, when most thought it was just a fad and wouldn’t last. Hip Hop has generated billions of dollars in entertainment, merchandising, marketing, and more.
|
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correct_birth_00056
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FactBench
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0
| 39
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https://www.tvguide.com/celebrities/mary-j-blige/3030386116/
|
en
|
Mary J. Blige
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[] | null |
Learn more about Mary J. Blige - movies and shows, full bio, photos, videos, and more at TV Guide
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en
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TVGuide.com
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https://www.tvguide.com/celebrities/mary-j-blige/3030386116/
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Join or Sign In
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Continue with Facebook Continue with email
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correct_birth_00056
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FactBench
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3
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https://www.tvrage.com/person/id-36/Mary_J-_Blige/
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en
|
Mary J. Blige Biography & TV
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Mary J. Blige information: Biography, Picture, TV Appearances, Trivia, Quotes, News and more...
|
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| null |
Angela Bassett set to play Coretta Scott King in Lifetime biopic Aug/23/2012
All news
Trivia
Her sister, LaTonya Blige DaCosta is also a singer and was her former manager before 2003.
Mary won Best Rap Performance By a Duo or Group from her single "I'll Be There For You/You're All I Need" w/ Method Man(1996)
Mary J. Blige Quotes
No quotes added for this person
|
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correct_birth_00056
|
FactBench
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https://www.vibe.com/news/events/mary-j-blige-strength-of-a-woman-festival-new-york-lineup-1234858022/
|
en
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Mary J. Blige’s Strength Of A Woman Festival Is Coming “Home” To New York
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[] |
[] |
[
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[
"DeMicia Inman"
] |
2024-03-06T16:55:25+00:00
|
Mary J. Blige announces her annual 'Strength Of A Woman' festival and summit will take place in New York City for this year's edition.
|
en
|
VIBE.com
|
https://www.vibe.com/news/events/mary-j-blige-strength-of-a-woman-festival-new-york-lineup-1234858022/
|
Mary J. Blige is migrating her Strength Of A Woman Festival and Summit this year, bringing the weekend of music and culture to her hometown for the first time. The third annual event is set to take place from May 10-12 in New York City. In its first two years, SOAW brought the Queen of Hip-Hop Soul to Atlanta.
Organized in partnership with Live Nation Urban, the three-day event is set to highlight music and comedy with female empowerment sessions and more.
“I’m so excited to bring our Strength of a Woman Festival and Summit to my hometown, New York City, a place that has always been a huge source of inspiration for me,” explained the 53-year-old.
“Having the opportunity to continue to uplift, inspire, and build within my community is the reason I created this festival. I’m so grateful for all the support from our performers, attendees, and of course, our partners Live Nation Urban and Pepsi. Nobody does it like New York, so get ready.”
The Strength of a Woman Summit is hosted by Angie Martinez and aims to empower and engage with women. This includes inspiring programming, pivotal panels, keynote speakers, workshops, and much more.
Performers handling the festival aspect of the event, outside of headlining act Mary J. Blige, are 50 Cent, Jill Scott, Fat Joe, Jadakiss, Muni Long, Lola Brooke, Robert Glasper, The Clark Sisters, and Funk Flex. There is also a planned comedy show with Tiffany Haddish, Don’t Call Me White Girl, and Paris Sashay.
Tickets for the anticipated event are available on the official website on Wednesday (March 6) with the presale code “STRENGTH,” while general ticket sales begin Friday. Take a look at the full schedule and lineup below.
2024 Strength Of A Woman Festival And Summit
Friday, May 10, 2024
Comedy Show
The Apollo Theatre
Performances by Tiffany Haddish, Don’t Call Me White Girl, and Paris Sashay
Jazz Concert
Blue Note Jazz Club
Performance by Robert Glasper
Saturday, May 11, 2024
Strength of a Woman Summit
The Glasshouse
Hosted by Angie Martinez
Strength of a Woman Concert
Barclays
Performances by Mary J. Blige, 50 Cent, Jill Scott, Fat Joe, Jadakiss, Muni Long, Lola Brooke, and Funk Flex
Sunday, May 12, 2024
Gospel Brunch
Brooklyn Chophouse in Times Square
Hosted by Mary J. Blige
Gospel Concert
Brooklyn Paramount
Performance by The Clark Sisters with Femme It Forward
|
|||||
correct_birth_00056
|
FactBench
|
3
| 95
|
https://www.thelist.com/445251/the-tragic-story-of-mary-j-bliges-childhood/
|
en
|
The Tragic Story Of Mary J. Blige's Childhood
|
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] |
[] |
[] |
[
""
] | null |
[
"Ashley Moor"
] |
2021-06-24T01:44:13+00:00
|
A new Amazon documentary about Mary J. Blige reveals the tragic experiences of her childhood, and how that ultimately affected her music and life.
|
en
|
The List
|
https://www.thelist.com/445251/the-tragic-story-of-mary-j-bliges-childhood/
|
Earlier this month, Amazon Studios released the trailer for R&B singer Mary J. Blige's latest project — a documentary called "Mary J. Blige's My Life." The new documentary, which is set to premiere on Amazon Prime on June 25, reveals the difficult circumstances Blige dealt with in her childhood and early life that eventually inspired the content in her seminal 1994 album, "My Life" (via New York Daily News).
Advertisement
Though the album was a triple-platinum success, its subject matter is rather dark. In the trailer for the documentary, Blige also admits to experiencing serious depression during this point in her life. "'My Life' is probably my darkest album at one of my darkest times I had," Blige says in the trailer, according to the New York Daily News. "Most of the times, I was just depressed and didn't want to live."
Before becoming an award-winning musician, Blige struggled to maintain a happy and healthy life in the streets of Yonkers as a child. "What made it hard was the environment," Blige told People. "It was a lot of people hurting — trying to survive and the environment was just terrible. That's all I can say. Everybody did what they had to do to survive."
Advertisement
The troubles in Mary J. Blige's life came at a very early age. Blige's father, Thomas Blige, left the family when she was only four years old (via Biography). During Blige's earliest years, she often struggled to cope with her mother's alcoholism and her father's consistent abuse toward her mom. At five years old, Blige and her mother, Cora, moved into the Schlobohm Houses, a public housing project in Yonkers, to escape the abuse from her father. Though they left to escape the abuse at home, the pair encountered a different sort of trauma at the housing project. "I'd hear women screaming and running down the halls from guys beating up on them," Blige said, according to Biography. "People chased us with weapons. I never saw a woman there who wasn't abused. It was a dangerous place."
Advertisement
During this turbulent time in her early life, Blige revealed to VH1's "Behind the Music" that she was also being sexually assaulted by a family friend (via New York Daily News). The shame that she felt after the molestation, which occurred when she was just five years old, led her to make poor choices as a teenager. "That thing followed me all my life," she said. "The shame of thinking my molestation was my fault — it led me to believe I wasn't worth anything."
Blige tried to escape though sex and substance abuse. "I ended up becoming my environment," she told Parade in 2007 (via New York Daily News). "It was bigger than me. I had no self-respect. I hated myself. I thought I was ugly. Alcohol, sex, drugs — I'd do whatever it took to feel better."
Advertisement
Eventually, Mary J. Blige turned her life around. She got sober, learned to love herself, found peace — and along the way became one of the most successful musicians of all time.
If you or anyone you know has been a victim of sexual assault, help is available. Visit the Rape, Abuse & Incest National Network website or contact RAINN's National Helpline at 1-800-656-HOPE (4673).
If you or anyone you know is struggling with addiction issues, help is available. Visit the Substance Abuse and Mental Health Services Administration website or contact SAMHSA's National Helpline at 1-800-662-HELP (4357).
|
|||||
correct_birth_00056
|
FactBench
|
2
| 61
|
https://amsterdamnews.com/news/2024/05/16/go-with-the-flo-gayle-king-monifah-mary-j-blige/
|
en
|
Go With The Flo: Gayle King, Monifah and Mary J. Blige
|
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[
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[
"Florence Anthony"
] |
2024-05-16T00:00:00
|
Gayle King was surprised to learn that she is among the cover girls for the Sports Illustrated Swimsuit’s special 60th anniversary edition.
|
en
|
New York Amsterdam News
|
https://amsterdamnews.com/news/2024/05/16/go-with-the-flo-gayle-king-monifah-mary-j-blige/
|
Congratulations to Gayle King! The 69-year-old co-anchor of CBS Mornings was surprised to learn that she is among the cover girls for the Sports Illustrated Swimsuit’s special 60th anniversary edition. Additional models on the cover Kate Upton and Hunter McGrady surprised King with the news on her show May 14. King clapped right away and asked, “I’m on the cover?” She continued, “They told me I was just going to be on the inside. I just never saw myself this way. I still don’t see myself this way. But when I look at that….I go, I look good.” King is also featured in the Sports Illustrated Legends edition. Meanwhile, Oprah Winfrey’s BFF also became a grandmother for the second time on May 12 when her daughter Kirby Bumpus and her husband, Virgil Miller, welcomed their second child, a daughter, Grayson, who joins big brother, Luca. King posted on social media, it was the “best Mother’s Day ever.” ……
Harlem-based fashion designer Edwing D’Angelo collaborated with New York City Council Speaker Adrienne Eadie Adams, whom he had the honor of dressing her for the Met Gala 2024 on May 6, at The Metropolitan Museum of Art. D’Angelo envisioned an ensemble for Speaker Adams that encapsulates the ethereal elegance of a Palladian villa’s enchanted garden, with lush hues of tulip hues and the delicate translucence of petals. This year’s Met Gala theme was “The Garden of Time,” which drew from the Costume Institute’s exhibit “Sleeping Beauties: Reawakening Fashion.”…….
Legendary R&B/LGBTQ+ Singer/Songwriter Monifah, released a new single “Testify” on all music platforms on May 10. “Testify” is from Monifah’s album “Grace at Midnight” on Quantize recordings which comes out in early Fall 2024. The single is written and co-produced by Monifah and Grammy nominated artist Anthony Giles. Said Monifah, “I’m thrilled to share ‘Testify’ with the world. This song represents a new chapter for me, where I embrace different musical styles that resonate with my spirit. My new music project ‘Grace at Midnight’ is a testament to my growth as an artist and a celebration of life’s diverse rhythms.” It has been nine years since Monifah released her last single “One Moment” …..
On May 10, Mary J. Blige and Pepsi kicked off the third annual Strength of a Woman Festival and Summit, in partnership with Live Nation Urban, with an intimate welcome soiree at Corner Social in Harlem. DJ’ed by Funkmaster Flex, followed by a sold-out jazz concert headlined by Robert Glasper at the Blue Note in New York City’s Greenwich Village. Blige joined Glasper onstage for a short chat. Notable celebrities in attendance included Tiffany Haddish, Tasha Smith and Bryan-Michael Cox……
|
|||||
correct_birth_00056
|
FactBench
|
0
| 97
|
https://facts.net/history/people/20-facts-about-mary-j-blige/
|
en
|
20 Facts About Mary J Blige
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[
"Berna Antonio"
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2023-07-12T12:01:03+08:00
|
Explore the fascinating life and career of the legendary Mary J Blige through these 20 incredible facts. From her humble beginnings to Grammy-winning success, discover the woman behind the music.
|
en
|
https://facts.net/wp-content/uploads/2019/09/fac-icon.ico
|
Facts.net
|
https://facts.net/history/people/20-facts-about-mary-j-blige/
|
Mary J Blige was born on January 11, 1971, in The Bronx, New York.
Mary J Blige, whose full name is Mary Jane Blige, was born and raised in The Bronx, providing her with a unique perspective on life and music.
She is known as the “Queen of Hip-Hop Soul.”
Mary J Blige earned this title due to her distinct blend of hip-hop and soul music, which resonated with audiences and helped define a new sound in the industry.
Mary J Blige has won nine Grammy Awards throughout her career.
Her exceptional talent and contribution to the music industry have earned her numerous accolades, including nine Grammy Awards in various categories.
She released her debut album, “What’s the 411?,” in 1992.
This album catapulted Mary J Blige to fame and showcased her powerful vocals and emotional depth, setting the stage for her successful career.
Mary J Blige has sold over 80 million records worldwide.
Her impressive record sales demonstrate the widespread appeal and enduring popularity of her music among fans across the globe.
She has appeared in several movies and TV shows.
Apart from her successful music career, Mary J Blige has also showcased her acting skills in films like “Mudbound” and TV shows like “Power.”
Mary J Blige has been nominated for two Academy Awards.
Her performance in the movie “Mudbound” earned her nominations for both Best Supporting Actress and Best Original Song at the Academy Awards.
She established the Mary J Blige and Steve Stoute Foundation for the Advancement of Women Now.
This foundation aims to empower and inspire women by providing them with educational opportunities and resources for personal and professional growth.
Mary J Blige has collaborated with numerous artists throughout her career.
She has worked with notable musicians including U2, Jay-Z, and Drake, creating memorable and chart-topping collaborations.
She was honored with a star on the Hollywood Walk of Fame in 2018.
This recognition is a testament to Mary J Blige’s impact and influence on the entertainment industry.
Mary J Blige has been open about her struggles with substance abuse.
Despite facing personal challenges, she has used her experiences as a source of strength and inspiration in her music.
She is known for her signature blonde bob hairstyle.
Mary J Blige’s iconic hairstyle has become a recognizable part of her image throughout her career.
Mary J Blige has been named one of Time magazine’s 100 most influential people.
This recognition highlights her cultural impact and significance beyond the realm of music.
She has been recognized as one of Rolling Stone’s 100 Greatest Singers of All Time.
Her extraordinary vocal abilities have earned her a place among the greatest singers in music history.
Mary J Blige’s album “My Life” is considered a groundbreaking and influential work.
This album, released in 1994, is often celebrated for its raw and introspective lyrics, resonating with listeners on a deeply emotional level.
She has been awarded the BET Lifetime Achievement Award.
This prestigious award acknowledges Mary J Blige’s long-standing impact and contributions to the world of music.
Mary J Blige has ventured into the world of fashion with her own clothing line.
Her fashion line, called “Melodies by MJB,” features chic and stylish designs that reflect her personal sense of style.
She has written an autobiography titled “My Life.”
In this memoir, Mary J Blige shares her personal journey and reflects on the challenges she has overcome throughout her life.
Mary J Blige has been credited with influencing a new generation of artists.
Her unique blend of R&B, soul, and hip-hop continues to inspire and shape the sound of contemporary music.
She is known for her philanthropic efforts and involvement in various charitable causes.
Mary J Blige has used her platform to support organizations focused on youth empowerment, education, and fighting poverty.
Conclusion
In conclusion, Mary J Blige is an incredibly talented and influential artist who has made a tremendous impact on the music industry. Her powerful voice, soulful lyrics, and raw emotion have resonated with millions of fans worldwide. Through her music, she has shared her personal struggles, triumphs, and experiences, creating a deep connection with her audience.Mary J Blige’s achievements and accolades speak for themselves. With numerous Grammy Awards, Billboard chart-topping hits, and a star on the Hollywood Walk of Fame, she has solidified her status as a musical icon. Beyond her musical career, she has also excelled as an actress, philanthropist, and entrepreneur.As a true pioneer of R&B and hip-hop, Mary J Blige has paved the way for many artists, especially women, to speak their truth and tell their stories through music. Her influence can be felt in the works of artists across genres, and her impact on popular culture is undeniable.Mary J Blige’s journey is a testament to perseverance, determination, and the power of music to heal and inspire. Her enduring legacy is sure to continue to inspire future generations of artists for years to come. Mary J Blige is a true trailblazer and a force to be reckoned with in the music industry.
FAQs
1. When did Mary J Blige start her music career?
Mary J Blige began her music career in the late 1980s.
2. How many Grammy Awards has Mary J Blige won?
Mary J Blige has won a total of nine Grammy Awards throughout her career.
3. Is Mary J Blige involved in any philanthropic work?
Yes, Mary J Blige is actively involved in various philanthropic endeavors, particularly in areas such as education and cancer research.
4. Has Mary J Blige appeared in any films or TV shows?
Yes, Mary J Blige has ventured into acting and has appeared in films such as “Mudbound” and TV shows like “Power.”
5. Is Mary J Blige still actively making music?
Yes, Mary J Blige continues to release new music and tour around the world.
6. What is Mary J Blige’s most famous song?
Mary J Blige’s most famous song is arguably “Real Love,” which became a breakout hit for her in the early 1990s.
|
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correct_birth_00056
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FactBench
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1
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https://www.instagram.com/bronxworks/%3Fhl%3Den
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Login • Instagram
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Welcome back to Instagram. Sign in to check out what your friends, family & interests have been capturing & sharing around the world.
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https://www.instagram.com/accounts/login/
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correct_birth_00056
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FactBench
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3
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https://theatlantavoice.com/mary-j-blige-yonkers-grants/
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en
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Mary J. Blige found her strength and now wants to help other women find their own
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2024-04-28T20:49:16+00:00
|
Mary J. Blige's Strength of a Woman Festival and Summit partners with Pepsi to raise $100,000 for underserved women
|
en
|
The Atlanta Voice
|
https://theatlantavoice.com/mary-j-blige-yonkers-grants/
|
(CNN) — Mary J. Blige just might be the most famous native of Yonkers, New York, and yet she’s not forgotten her roots there.
The newly announced Rock and Roll Hall of Fame inductee is giving back to the community that helped launch her start.
Blige’s “Strength of a Woman Festival and Summit” is partnering with Pepsi to launch a fund with $100,000 available as grants to local organizations whose work elevates and educates underserved women in Yonkers.
The singer couldn’t be happier about the partnership and how it’s helping her to further the work she does uplifting women.
“It’s so fulfilling,” Blige told CNN. “It’s everything that my movement is about. I always wanted to give back, especially to the women in Yonkers.”
Known as the “queen of hip-hop soul,” Blige’s early career was marked by passionate, yet often sad songs that reflected her own struggles in her personal life.
Her 2021 documentary “My Life” explores Blige’s past struggles with depression, substance abuse and an abusive relationship.
She persevered through it all, and in the process learned that her healing could help others.
Blige said she didn’t realize she had a “ministry” in terms of her music until the release of her 1997 album “Share My World,” which strongly resonated with her fans.
“My testimony was just to help. Helping so many people,” she said. “Helping people who were saying ‘Mary, me too. Me too.’ And if you could come through, what I could come through so can you.”
In 2022 she launched the “Strength of a Woman Festival and Summit,” a muilti-day event filled with panels, concerts and fellowship.
The new fund is part of the outreach Blige feels called to do.
Created in partnership with United Way of Westchester and Putnam, which helps residents become self-sufficient and thrive in a stronger community, the funds will be distributed via grants between $5,000 to $20,000 to qualifying organizations that support programs in education, financial stability and food security.
Blige returned home Thursday to announce the fund during a surprise appearance at Westchester Community College. This year the festival and summit are moving from Atlanta to New York City.
“I love it. This is my home. This is where I was born and raised and this is where I wanted it originally,” Blige said of the change in the venue. “I’m excited about it being here. And New York is excited, and the world is excited. Everybody’s coming to the thing.”
The event will run May 10-12 and more information can be found at the “Strength of a Woman” site.
|
|||||
correct_birth_00056
|
FactBench
|
0
| 54
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https://www.encyclopedia.com/women/dictionaries-thesauruses-pictures-and-press-releases/blige-mary-j-1971
|
en
|
Blige, Mary J. (1971–)
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Blige, Mary J. (1971–)American R&B and pop singer. Born Jan 11, 1971, in Bronx, NY.Released debut album What's the 411? (1992) which reached #1; consistently topped R&B charts with singles, including "You Remind Me" (1992), "Real Love" (1992), "I'll Be There for You/You're All I Need to Get By" (Grammy winner with Method Man, 1995), and "Not Gon' Cry" (1996). Other albums include My Life (1994, #1 R&B), Share My World (1997, #1 R&B), Mary (1999), No More Drama (2001) and Love and Life (2003). Source for information on Blige, Mary J. (1971–): Dictionary of Women Worldwide: 25,000 Women Through the Ages dictionary.
|
en
|
/sites/default/files/favicon.ico
|
https://www.encyclopedia.com/women/dictionaries-thesauruses-pictures-and-press-releases/blige-mary-j-1971
|
Citation styles
Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).
Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.
Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:
Notes:
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correct_birth_00056
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FactBench
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https://www.allmusic.com/artist/mary-j-blige-mn0000376204
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Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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AllMusic
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https://www.allmusic.com/updated
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correct_birth_00056
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FactBench
|
3
| 17
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https://www.vogue.com/article/my-life-mary-j-blige-documentary
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en
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A New Documentary Explores the Origins of ‘My Life,’ Mary J. Blige’s Most Personal Album
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2021-06-24T15:56:37.341000-04:00
|
Released in 1994, “My Life” reflected a deeply challenging period for Blige—and changed the course of hip-hop and soul.
|
en
|
https://www.vogue.com/verso/static/vogue/assets/us/favicon.ico
|
Vogue
|
https://www.vogue.com/article/my-life-mary-j-blige-documentary
|
With 13 albums, nine Grammy awards, and millions of records sold, Mary J. Blige has more than earned the title the “Queen of Hip-Hop Soul.” But My Life, a new documentary arriving on Amazon Prime tomorrow, shows that the superstar’s journey to the top hasn’t been without its struggles.
The documentary, directed by Vanessa Roth, looks back on one of Blige’s most famous albums, 1994’s My Life, which remains not only one of her most personal and raw album to date—touching on her experiences in an abusive relationship, struggles with addiction, and more—but also effectively changed the course of hip-hop and soul music.
The film begins by exploring Blige’s upbringing in Yonkers, New York. She recalls falling in love with music after hearing “Everybody Loves The Sunshine” by Roy Ayers. “I don’t know what’s in that record, but there’s something in it that just cracked open everything in me,” Blige says. “That was the first music as a child that struck with me, because it made me forget we live where we live. That record made me feel like I could have something.”
Raised by a single mother, Blige longed to pursue music, but she found that the housing projects she lived in made it tough to dream big. “With families in the projects, it’s like a prison inside of a prison inside of a prison,” says Blige. “It’s people hurting people hurting each other… I carried people’s pain, and I carried my own pain.” Singing, she says, was her escape from it all. “Singing made me forget that we were struggling so much.”
When she was 19, however, Blige got her big break after a demo she recorded was sent to Uptown Records. “When Mary opened her mouth and sang, it spoke to a generation of children and kids who were coming out of [an area] where they raised themselves,” says Jeff Redd, a former Uptown Records artist. Blige then began working with Diddy, who was with the label at the time, and they produced her first record, What’s the 411?. It was a big hit.
But it was on Blige’s second album, My Life, that the singer says she really came into herself as an artist. At the time, Blige was in an abusive relationship, and still grappling with her newfound fame. “I couldn’t even enjoy my success,” she says, noting that her ex-boyfriend would verbally and physically abuse her while she recorded. “When it started happening to me, all I could think about was my mom, [who was also abused],” says Blige. “She was a fighter.” But Blige channelled those difficult times into her music, penning tracks that were vulnerable and honest. “I spilled myself into this album,” says Blige. “The album [was saying], ‘Please love me, don’t go. I need you.’ It was a cry for help.”
The documentary goes on to explore how Blige’s songwriting struck a chord with her fans, and what many of them felt hearing My Life for the first time. It also delves into the album’s influence on other R&B artists—and how Blige’s personal style became an influence all its own. Together with stylist Myisa Hylton, she created a whole new “ghetto-fabulous” look, as they describe it, that many rappers would later replicate. Danyel Smith, the former editor of Vibe, says that the style was more than just a fashion statement. “Mary was the first to bring her own R&B, hip-hop swag to the boy-based rap scene,” she says. Friend Taraji P. Henson adds, “She gave us a face, a name, and a story. She humanized us.”
|
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correct_birth_00056
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FactBench
|
0
| 15
|
http://www.soultracks.com/birthday-mary-j-blige-2024
|
en
|
Happy 52nd birthday to iconic singer Mary J. Blige
|
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2024-01-08T18:11:49+00:00
|
Today we wish a very happy birthday to legendary singer Mary J. Blige, born on January 11, 1971. A Bronx, New York native, Blige is a Grammy Award-winning singer, songwriter, and actress renowned for her groundbreaking contributions to the R&B and hip-hop genres. She emerged in the early 1990s as the “Queen of Hip-Hop Soul,” […]
|
en
|
SoulTracks
|
https://soultracks.com/birthday-mary-j-blige-2024/
|
Today we wish a very happy birthday to legendary singer Mary J. Blige, born on January 11, 1971.
A Bronx, New York native, Blige is a Grammy Award-winning singer, songwriter, and actress renowned for her groundbreaking contributions to the R&B and hip-hop genres. She emerged in the early 1990s as the “Queen of Hip-Hop Soul,” blending soulful vocals with gritty urban beats to create a sound that resonated with a diverse audience.
Blige’s 1992 debut album, What’s the 411? catapulted her to stardom, featuring hits like “Real Love” and “You Remind Me.” Her raw and emotive singing style, coupled with her introspective lyrics, set her apart in the music industry. Subsequent albums, including My Life (1994) and Share My World (1997), solidified her status as an artist who spoke to her audience in personal vulnerable ways that created incredibly close artist-fan bonds.
Known for infusing her personal experiences into her music, Blige’s work often explores themes of love, heartbreak, and empowerment. Her powerful, soul-stirring performances have earned her a basketful of Grammys, numerous career awards and an incredibly loyal following. Now more than 15 albums into her illustrious career, Mary J. Blige shows no signs of stopping. Happy Birthday!
|
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correct_birth_00056
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FactBench
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3
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https://www.tvinsider.com/people/mary-j-blige/
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en
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Mary J. Blige
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[
""
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[] |
2024-06-28T09:00:00-05:00
|
From Wikipedia, Free Online Encyclopedia: Mary Jane Blige is an American singer, songwriter, actress, and philanthropist. She started her career as a backing
|
en
|
https://www.tvinsider.com/wp-content/themes/tv/images/favicon.ico?x=2
|
TV Insider
|
https://www.tvinsider.com/people/mary-j-blige/
|
Mary J. Blige made an immediate impression with her 1992 debut What's the 411?, and has remained one of R&B's more consistent artists in the decades since. Born in the Bronx, Blige had a tumultuous childhood; her father was a Vietnam vet with post-traumatic stress disorder; and Blige was molested by a family friend at a young age. She found solace in singing in church, but by age 16 had dropped out of school and was abusing various drugs.
She was however still singing, and a cassette demo of her covering Anita Baker's "Caught Up in the Rapture" began making the rounds-- initially through her mother who was dating an Uptown Record executive. She was signed to the label and teamed with producer Sean Combs (then Puff Daddy), who oversaw much of the debut. A semi-autobiographical album, What's the 411? was framed with recordings from Blige's answering machine.
Combs' production drew from modern hip-hop but allowed Blige to shine as a vocalist. She paid tribute to one role model, Chaka Khan, with a cover of Rufus' "Sweet Thing" which joined "You Remind Me" and "Real Love" as the album's hit singles.
However, Blige's newfound success coincided with one of her toughest personal periods, as she spiraled into depression and further drug use; it was also reported that she was in an abusive relationship with Jodeci member K-Ci Hailey. All of this was channeled into her second album, My Life, which was hailed as a modern R&B landmark. This time the classic soul influence was stronger than the hip-hop, and Blige had a hand in writing every song.
Blige's personal life continued to inform her music; 1997's more upbeat Share My World celebrated her kicking both the drugs and the relationship with Hailey. She mined the same personal territory in 2001's No More Drama which produced her greatest hit, the Number One single "Family Affair." Meanwhile she launched an acting career, initially with music-related TV guest roles, but in 2004 she acted Off Broadway in the drama The Exonerated, playing a woman serving time for a crime she didn't commit.
This led to her playing a variety of musical and dramatic roles, including starring as a supervillain in the Netflix series "The Umbrella Academy" (2019). She briefly hosted an Apple Music webcast, The 411, and surprised the first guest Hillary Clinton by singing a highly topical Bruce Springsteen song.
As a recording artist Blige remains enormously popular; as of 2019 each of her thirteen studio albums has hit the Top Ten. During 2018 she was nominated for Academy Awards for the film "Mudbound," both as supporting actress and performer of the title song. She has become an entrepreneur, starting the Matriarch label and releasing her own brands of perfume and sunglasses.
During 2019 she toured with Nas; the two also collaborated on the single "Thriving" which continued Blige's longtime message of personal strength.
|
||||
correct_birth_00056
|
FactBench
|
1
| 52
|
https://dc-whi.org/meet-our-team/
|
en
|
Washington Health Institute in District of Columbia
|
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[
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] | null |
[
"Washington Health Institute"
] |
2021-02-04T19:15:05+00:00
|
WHI invites you to meet our team that is dedicated to providing expert and compassionate medical care in the District of Columbia
|
en
|
Washington Health Institute
|
https://dc-whi.org/meet-our-team/
|
Aysha Rizwan is a Nurse Practitioner at Washington Health Institute.
Aysha’s areas of focus as an NP are Internal Medicine, Women’s Health, Geriatrics, and Pain Management.
Aysha earned her Master’s of Science in Nursing (MSN) as a Family Nurse Practitioner from George Washington University in 2018 and is certified by the AANP (American Association of Nurse Practitioners).
She has a keen interest in Women’s Health and is committed to providing services that meet the unique needs of women throughout their lives. She’s trained to provide comprehensive gynecological services including PAP tests, internal exams, contraception and family planning, and education, screening and treatment for sexually transmitted infections (STIs).
Aysha believes in a holistic model of care that incorporates counseling on ways to promote a woman’s health and well-being through nutrition, exercise, and targeted advice based on her age and health history.
She has a special interest in Pain Management and performing in-office procedures to help control chronic pain conditions. Her scope of practice within pain management includes opioid management, treating conditions such as arthritis, back pain, joint pain, fibromyalgia, and diabetic peripheral neuropathy. She is a registered practitioner in the Medical Cannabis Program for DC and is eligible to make recommendations as needed.
Her goal with pain management is to help patients and their families develop an individualized treatment plan to help relieve and control chronic pain conditions and to improve and maintain quality of life. She believes every patient is unique and developing a multi-modal treatment plan is the best way to combat chronic pain.
Aysha graduated from the Texas Woman’s University with a Bachelor’s of Science in Nursing (BSN) in 2011. As an RN, she practiced in multiple specialties including Orthopedics, Gynecological Oncology, and Cardiology.
Outside of work, Aysha loves spending time with her family, cooking, and enjoying nature.
Dr. Kamilah Marie Woodson is a Licensed Clinical Psychologist Full Professor and the Department Chair “woman” in the Howard University School of Education, Department of Human Development and Psycho-educational Studies. Dr. Woodson has also been a Professor in the Department of Psychiatry at the Howard University College of Medicine/Howard University Hospital, in the Howard University Division of Nursing and was the Director of the AGEP Program in the Howard University Graduate School. Additionally, Dr. Woodson served on the Editorial Board of the Journal of Negro Education as the Book Review Editor for 7 years, has been the program evaluator on several NSF-Sponsored research projects, including the HU-ADVANCE IT grant. Dr. Woodson is a graduate of the California School of Professional Psychology, LA, where she received the Ph.D. & MA., degrees in Clinical Psychology and earned her Baccalaureate degree in Psychology from the University of Michigan, Ann Arbor. She is currently working to earn a Doctorate Degree in Ministry from the Howard University School of Divinity. Dr. Woodson began her career conducting research on the impact of global colorism and furthered this agenda through the recent edited volume, “Colorism: Investigating a Global Phenomenon, with Implications for Research, Policy and Practice,” (2020) and through research as result of being a Fulbright-Hayes Fellow (Brazil, South America).
Dr. Woodson has had a wide variety of clinical experiences. She rained at the South Central Training Consortium, Los Angeles, CA, Shields for Families Substance Abuse Treatment Facility, Compton, CA, The Federal Bureau of Prisons (FCI-Terminal Island, San Pedro, CA), completed her Predoctoral training at the Howard University Counseling Service’s APA Accredited Predoctoral Internship training program, Washington, DC, and completed her Post-doctoral Training at the Progressive Life Center, Baltimore, MD. Dr. Woodson’s primary theoretical orientation is Psychodynamic, and she has over 25 years of experience working with individuals, couples and groups. She specializes in Sex Therapy, Mood Disorders, Anxiety Disorders and treatment of LGBTQIA+ clients. Dr. Woodson has worked in the Howard University Hospital Faculty Practice Plan, Department of Psychiatry, and maintains a small private therapy and consulting practice, Metropolitan Comprehensive Health Services, PLLC, in Maryland/Washington DC.
Having worked in the medical field for three years, Karla Amaya has a passion for giving her patients the best care and helping them reach optimum health. She comes from a close family of strong women and her love for her daughter inspires her commitment to learning and growing in her career.
In her free time, Karla surrounds herself with nature; she loves palm tree-lined beaches where she finds tranquility and rejuvenation. As an avid angler (“fisherwoman”), Karla can catch dinner in the surf off the beach, as well as cook it up over an open fire.
Karla sees life as a dance, where stumbling is just part of the choreography, and a resilient and positive mindset prepare the dancer to soar in the next variation.
A smile at the right time can make a difference in someone’s world.
William Baron joined Washington Health Institute (WHI) in Spring of 2023 as the Practice Manager. He first earned his Bachelor of Fine Arts in Animation from Northern Illinois University, then transitioned into healthcare as a long-term care facility dementia preceptor as their lead nursing assistant. From there, he moved into a more clinical role as an American Society Clinical Pathology (ASCP) Certified Phlebotomist. He also worked in the hospital’s main laboratory as a Microbiology technician and as a Client Service Problem Resolution Specialist. With closer exposure to acute care management, direct patient care experience and clinical coordination, he returned to school and earned a Bachelor of Science in Nursing from George Washington University during the height of the COVID Pandemic. Since graduating, he had been working as an ICU Registered Nurse at MedStar Washington Hospital Center in Washington DC and had decided to take the next step into healthcare management with WHI.
William enjoys the outdoors, including hiking, camping, and white-water rafting. He likes to stay active and work out in his spare time. His passion for self-care, awareness, and health equity drives his Nursing centered care not only for his patients, but also his colleagues.
Tiffany joined WHI in August of 2021. She has 20 years of experience in the healthcare industry and has taken on various roles such as assistant third-party insurance administrator, patient care coordinator, medical biller, charge entry specialist and medical receptionist. Tiffany received her medical billing training at Med Tech and has also attended St. Augustine’s College (University) in Raleigh, NC with a concentration in Communications. She is currently continuing her education at American Public University with a concentration in English along with a focus on creative writing, and is a member of the Sigma Tau Delta International English Honor Society.
Tiffany has a musical background and has sung in various choirs and groups, and has been lucky enough to sing with a famous gospel artist. She has two sons, and in her spare time, she enjoys friends and family, hanging out with her youngest son, writing poems and short stories, and online shopping.
Corey Howell is a public health practitioner with over 10 years of experience in community mobilization, capacity building, and coalition building. Corey is a Certified Health Education Specialist and Certified Community Health Worker in Maryland with expertise in HIV/STI testing and conducting psychosocial support groups for Black men with HIV. In 2009, he was appointed by Governor Tim Kaine to the Board of Trustees of the Virginia Foundation for Healthy Youth, the statewide agency charged with reducing youth tobacco use and childhood obesity. Corey earned his Bachelor of Arts in Public Health from American University, where his research examined the intersection of health policy and health disparities. Corey is driven by his passion to disseminate evidence-based solutions into marginalized communities to foster positive outcomes and, ultimately, achieve health equity for all. A native of suburban Richmond, Corey is a long-time resident of Washington, D.C. Outside of the office, you can find him exploring different D.C. neighborhoods or doing genealogical research on his family tree.
Jerry Monroe is the Director for the Center of Community Health and Wellness at Washington Health Institute where he serves in a key leadership role responsible for the operations, performance, and growth of the Case Management and Holistic Care Departments. This includes medical/non-medical case management, psychosocial support, early intervention services, wellness programs, and outreach services. He is the previous Director of Certification and Testing at the National Association for Addiction Professionals (NAADAC) and previous Associate Vice President of Workforce Development at Home Builders Institute (HBI) and Chief Academic Officer at Contemporary Family Services (CFS), a previous family-owned business for over 20 years. He has also served as Director of Postsecondary and Nonpublic Schools Accreditation with AdvancED, where he worked heavily in accreditation and curriculum development. Community health and wellness combined with workforce development and educational initiatives has been a vital part of Mr. Monroe’s career.
Mr. Monroe credits two universities with preparing him for all paths he has taken in the fields of community health and wellness combined with education and workforce initiatives, Grambling State University, and Northeast Louisiana University, where he pursued both his undergraduate and graduate degrees. Although the outcomes of mastering these universities have produced earned credentials, the academic lessons combined with life’s lessons from these undergraduate institutions are what gave him the motivation and courage to step beyond boundaries to extend his talents and skills to a more diverse and larger audience. With previous experiences serving as Dean of Academic Affairs, Director of Education, Program Director and Associate Executive Director at Med Tech College and Lincoln College, Mr. Monroe combines all his endeavors to support a continuous improvement process in community health, education, and workforce development.
Mr. Monroe has led and served on more than 200 accreditation site visits at various institutions around the world and has been instrumental in ensuring that compliance and accreditation standards were met successfully. He has also served on various Advisory Boards, Committees and Subject Matter Expert Coalitions promoting community health, holistic care, human rights initiatives, and educational opportunities for improvement. He has also worked heavily with lobbyists on various campaigns and initiatives. He wholeheartedly believes that all individuals should be granted the opportunity to gain professional development and employability skills to get them successfully functioning in society.
When he’s not involved in expanding the minds of others and empowering community health and wellness, he enjoys socializing with friends while sharing brilliant ideas and embracing one another’s differences. He also enjoys traveling the world with his spouse, cooking, relaxing on his favorite float in his pool, real estate flipping, interior design, and most of all his special cuddle time with his fluffy poodle Samson, whom he spoils rotten.
Born and raised in Charlotte, North Carolina, Darryl E. Vaughn comes from a city where being a native Charlottean is rare and transplants are commonplace. Since moving to the Washington, DC area, he is now a transplant himself among natives Washingtonians. He obtained his Bachelor of Arts in Sociology and Africana Studies from The University of North Carolina at Charlotte (UNCC) and his Master of Social Work from the University of South Carolina (USC).
In the realm of social work, Darryl’s passion is housing, having over 5 years of experience with the homeless population. He has worked in various housing programs, such as Rapid Rehousing (RRH), Permanent Supportive Housing (PSH), and most recently, the Homeless Prevention Program (HPP). Darryl has seen first hand that Housing First works and that clients will be more engaged with services when the biggest barrier is amended. Despite being macro focused, Darryl likes to engage with clients directly and the community at large.
Outside of work, Darryl loves going to social outings (happy hours, parties, and festivals, just to name a few) by himself, with friends, or with his frat brothers of Phi Beta Sigma Fraternity, Inc. when in his extroverted mood. However, when he’s feeling more introverted, he’ll be at home catching up on shows, watching YouTube videos, listening to music, and playing video games. Above all else, he values his family and friends, which gives him the motivation to chase his dreams.
Melika Adhanom is a dedicated public health epidemiologist based in Washington DC she holds a Master of Public Health specializing in Epidemiology from Florida International University and a Bachelor of Science in Public Health from the University of South Florida. Melika has demonstrated her commitment to community outreach and working with at-risk populations through her professional experiences.
Moreover, Melika has garnered international exposure through her Public Health Internship with the United Nations Development Programme – SDGs & Inclusive Growth Unit and the Ministry of Health under the U=U campaign in Lusaka, Zambia. During this internship, she focused on the restructure of the refugee resettlement and improving the social cohesion environment within the community. During her time with the Ministry of Health, she worked on educating the local community about HIV/AIDs and preventative measures. For the past two years, Melika devoted her time passionately and dedication to public health and engaging diverse communities by trying to improve the well-being of communities making her an invaluable asset in any health-related endeavor.
Ana Maria is a Clinical Research Coordinator for Washington Health Institute (WHI). She has 15 years of experience in the medical field, heath administration, and health audit combined.
Ana Maria is an internationally trained physician, heath administrator, and health audit professional with a Master of Health information Management from American Public University. She was on the Dean’s list repeatedly due to her academic achievements. Her work experience includes insurance companies, providers, and medical networks. She has been developing clinical and administrative strategies to impact the quality of health and life of populations living which chronic and high-cost illnesses such as hemophilia, kidney failure, transplantation, arthritis, psoriasis, HIV/AIDS, among other projects in Pharmacoeconomics, quality processes, and health risk management.
Ana Maria believes that communication, teamwork, and commitment add value to an organization. She thrives in work that involves strategies to change healthcare outcomes and provide a positive impact on the patient, caregivers, and the general community. WHI is a multidisciplinary organization that counts its combined expertise in different areas of healthcare, and Ana Maria’s primary goal is to contribute her experience, grow her knowledge and expertise, and commit to the organization’s success.
Ana loves spending time with her child, enjoys reading books, visiting museums, and cultural events. She also enjoys oil and watercolor painting as art is her passion.
Darmani Paramore is a Clinical Research Coordinator at Washington Health Institute. He received his Bachelor of Science in Health Administration from Norfolk State University and is currently working on a Master of Public Health from Capella University. Darmani has a specific interest in sexual health and educating people on sexually transmitted infections.
Darmani was led to the field of public health and infectious disease after applying for a temp job that he didn’t think he would actually get but did. He went to work as a disease intervention specialist for the Virginia Department of Health and ended up loving the job. After a year at the job, he decided to pursue his master’s degree in public health and never looked back.
Darmani’s favorite part of the job is talking to patients and sharing his experiences to let them know they are not alone. He wants his patients to never think of themselves as less than or nasty because of their diagnosis. Mistakes happen, and accidents happen. We can’t control everything. Darmani wants everyone, especially his patients, to know that he just wants them to have the best healthy sex life, and he wants them to do it without shame. He will never judge his patients, no matter what they disclose! Darmani also wants them to know that he isn’t perfect. He’s a mess just trying to keep it together.
Born and raised in the small town of Stafford, VA, Darmani is half Jamaican and doesn’t have an accent, but he does understand the dialect pretty well. He has three siblings, one sister and two brothers, and everyone in his family works in the medical field. Darmani’s favorite thing about living in the Washington, DC area is how fast-paced and diverse the city is. He loves, loves, loves the bars in the area. He only had like 3 in Stafford. Outside of work, you can find him all over the place. You might see him at a bar for happy hour one day and then catch him at home reading a good book or binge-watching tv the next. It really just depends on his mood.
Jasmine Sibert was born on September 7th, in Prince George’s County, Maryland. Raised by her loving parents, Tracy and Teviar Sibert, Jasmine has one sister, one brother, and two beautiful children, Zyon and J’von. She graduated from Eleanor Roosevelt High School in 2012 and attended MedTech Institute in Silver Spring, Maryland to become a Certified Medical Assistant. She has been working in the medical field since 2017. Jasmine appreciates having the opportunity to work with different doctors to gain experience with each doctor’s style of practice. It has been an amazing journey. Starting at Washington Health Institute in December 2019 as a Medical Assistant, Jasmine became interested in clinical research and worked to be promoted to a Clinical Research Coordinator. She is focused on learning, building her knowledge, increasing her professional intelligence and upholding the best work ethic.
Anna Pellesco has over 15 years of dedicated experience in healthcare. She has seamlessly navigated the intersection of clinical expertise and administration, ensuring optimal patient care while driving operational efficiency. As a certified Project Manager armed with a Master’s degree in Business Administration, Anna spearheaded countless successful projects and managed programs, demonstrating a keen ability to blend healthcare acumen and strategic business initiatives.
Her expertise extends to budget and financial management where she implemented strategies to optimize resource allocation and maximize profitability. Anna excels in improvement processes, identifying areas for enhancement, and implementing sustainable solutions that elevate patient outcomes and organizational effectiveness. Her proficiency in workflow technique has been instrumental in streamlining operations and enhancing productivity across healthcare settings. Beyond professional endeavors- Anna is deeply committed to giving back to the community, volunteering her time and skills in various organizations, further enhancing her holistic approach to healthcare settings.
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Bronx-born singer-songwriter Mary J. Blige is often regarded as "The Queen of Hip-Hop Soul" due to her signature musical style of blending...
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394 likes, 5 comments - fotografiska.newyork on March 7, 2023: "Bronx-born singer-songwriter Mary J. Blige is often regarded as "The Queen of Hip-Hop Soul" due to her signature musical style of blending rap beats with R&B hooks and her frequent collaborations with Hip-Hop's top artists and producers.
Blige's influence on Hip-Hop's culture is undeniable. Danyel Smith, the former editor of Vibe Magazine, notes: “Mary was the first to bring her own R&B, Hip-Hop swag to the boy-based rap scene.”
Trivia Tuesday continues... How many studio albums has Mary J. Blige released throughout her career? Head to our stories to cast your vote!
#TriviaTuesday #MaryJBlige #HipHop50 #FotografiskaNewYork
Image: Mary J. Blige, New York City (1991) © Lisa Leone".
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Mary J. Blige
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American singer (born 1971)
Mary Jane Blige ( BLYZHE; born January 11, 1971)[5] is an American singer, songwriter, and actress. Often referred to as the "Queen of Hip-Hop Soul" and "Queen of R&B", Blige has won nine Grammy Awards, a Primetime Emmy Award, four American Music Awards, twelve NAACP Image Awards, and twelve Billboard Music Awards, including the Billboard Icon Award. She has been nominated for three Golden Globe Awards and two Academy Awards, including one for her supporting role in the film Mudbound (2017) and another for its original song "Mighty River", becoming the first person nominated for acting and songwriting in the same year.
Her career began in 1988 when she was signed to Uptown Records by its founder Andre Harrell. During this time, Blige performed background vocal work for other artists on the label such as Father MC and Jeff Redd.[1] In 1992, Blige released her debut album, What's the 411?, which is credited for introducing the mix of R&B and hip hop into mainstream pop culture. Its 1993 remix album became the first album by a singer to have a rapper on every song, popularizing rap as a featuring act.[6] Both What's the 411? and her 1994 album My Life are featured on the Rolling Stone's 500 Greatest Albums of All Time list,[7] and the latter on Time magazine's All-Time 100 Albums.[8] Throughout her career, Blige went on to release 14 studio albums, including four Billboard 200 number-one albums. Her biggest hits include "Real Love", "You Remind Me", "I'm Goin' Down", "Not Gon' Cry", "Be Without You", "Just Fine" and the Billboard Hot 100 number-one single "Family Affair".
Blige has also made a successful transition to both the television and movie screen, with supporting roles in films such as Prison Song (2001), Rock of Ages (2012), Betty and Coretta (2013), Black Nativity (2013), her Oscar and Golden Globe-nominated breakthrough performance as Florence Jackson in Mudbound (2017), Trolls World Tour (2020), Body Cam (2020), The Violent Heart (2021) and co-starring as jazz singer Dinah Washington in the Aretha Franklin biopic Respect (2021). In 2019, Blige starred as Cha-Cha on the first season of the Netflix television series The Umbrella Academy. She currently stars as Monet Tejada in the spin-off of the highly-rated TV show drama Power in Power Book II: Ghost.
She received a Legends Award at the World Music Awards in 2006, and the Voice of Music Award from ASCAP in 2007.[9] Billboard ranked Blige as the most successful female R&B/Hip-Hop artist of the past 25 years.[10] In 2017, Billboard magazine named her 2006 song "Be Without You" as the most successful R&B/Hip-Hop song of all time, as it spent an unparalleled 15 weeks atop the Hot R&B/Hip-Hop Songs chart and over 75 weeks on the chart.[11] VH1 ranked Blige as the 80th greatest artist of all time in 2011[12] and ninth in "The 100 Greatest Women in Music" list in 2012.[13] In 2023, Rolling Stone ranked her as the 25th greatest singer of all-time.[14] In 2024, Blige was selected for induction into the Rock and Roll Hall of Fame.[15][16]
Mary Jane Blige[1][17] was born on January 11, 1971, at Fordham Hospital in the Bronx, New York City, to nurse Cora and jazz musician Thomas Blige. She has an older sister, LaTonya Blige-DaCosta, a younger half-brother, Bruce Miller, and a younger half-sister, Jonquell, both from a relationship Blige's mother had with another man after divorcing her first husband.[18][19]
She spent her early childhood in Richmond Hill, Georgia,[20][6] where she sang in a Pentecostal church.[21] She and her family later moved back to New York and resided in the Schlobohm Housing Projects, located in Yonkers.[22] The family subsisted on her mother's earnings as a nurse after her father left the family in the mid-1970s.[23] Her father was a Vietnam War veteran who suffered from post-traumatic stress disorder and alcoholism.[22]
At age five, she was molested by a family friend; as a teenager she endured years of sexual harassment from her peers.[24] She would eventually turn to alcohol, drugs and promiscuous sex to try and numb the pain.[25] Blige dropped out of high school in her junior year.[26]
Influenced by the music of Aretha Franklin, Chaka Khan and Gladys Knight,[27][28] she began pursuing a musical career. Blige spent a short time in a Yonkers band named Pride with band drummer Eddie D'Aprile. In early 1988, she recorded an impromptu cover of Anita Baker's "Caught Up in the Rapture" at a recording booth in the Galleria Mall in White Plains, New York. Her mother's boyfriend at the time later played the cassette for Jeff Redd, a recording artist and A&R runner for Uptown Records.[18] Redd sent it to the president and CEO of the label, Andre Harrell. Harrell met with Blige, and in 1989 she was signed to the label as a backup vocalist for artists such as Father MC,[29] becoming the company's youngest and first female artist.[21]
After being signed to Uptown, Blige began working with record producer Sean Combs, also known as Puff Daddy.[30] He became the executive producer and produced a majority of her first album.[31] The title What's the 411?[32] was an indication by Blige of being the "real deal".[33] What's the 411? nevertheless established Blige as a dynamic storyteller whose performances of love narrative drew upon both her musical influences and her lived experiences as a hip-hop-generation woman.[34] The music was described as "revelatory on a frequent basis".[26] Blige was noted for having a "tough girl persona and streetwise lyrics".[35] On July 28, 1992, Uptown/MCA Records released What's the 411?, to positive reviews from critics.[36] What's the 411? peaked at number six on the Billboard 200 and topped the Top R&B/Hip-Hop Albums chart.[37] It also peaked at number 53 on the UK Albums Chart.[38] It was certified three times Platinum by the RIAA.[39] According to Entertainment Weekly's Dave DiMartino, with the record's commercial success and Blige's "powerful, soulful voice and hip-hop attitude", she "solidly connected with an audience that has never seen a woman do new jack swing but loves it just the same".[40] According to Dave McAleer, Blige became the most successful new female R&B artist of 1992 in the United States.[41]
What's the 411? earned her two Soul Train Music Awards in 1993: Best New R&B Artist and Best R&B Album, Female.[42] It was also voted the year's 30th best album in the Pazz & Jop—an annual poll of American critics nationwide, published by The Village Voice.[43] By August 2010, the album had sold 3,318,000 copies in the US.[44] What's the 411? has since been viewed by critics as one of the 1990s' most important records.[36] Blige's combination of vocals over a hip hop beat proved influential in contemporary R&B.[45] With the album, she was dubbed the reigning "Queen of Hip Hop Soul" The album's success spun off What's the 411? Remix, a remix album released in December that was used to extend the life of the What's the 411? singles on the radio into 1994, as Blige recorded her follow-up album.
Following the success of her debut album and a remixed version in 1993, Blige went into the recording studio in the winter of 1993 to record her second album, My Life.[46] The album was a breakthrough for Blige, who at this point was in a clinical depression, battling both drugs and alcohol – as well as being in an abusive relationship with K-Ci Hailey.[47][48] On November 29, 1994, Uptown/MCA released My Life to positive reviews. The album peaked at number seven on the US Billboard 200 and number one of the Top R&B/Hip-Hop Albums chart for selling 481,000 copies in its first week and remaining atop the Top R&B/Hip-Hop Albums chart for an unprecedented eight weeks. It ultimately spent 46 weeks on the Billboard 200 and 84 weeks on the R&B/Hip-Hop Albums chart. In 2002, My Life was ranked number 57 on Blender's list of the 100 greatest American albums of all time.[49] The following year, Rolling Stone placed it at number 279 on their 500 Greatest Albums of All Time,[50] and in 2006, the record was included in Time's 100 greatest albums of all-time list.[51]
Blige involved herself in several outside projects, recording a cover of Aretha Franklin's "(You Make Me Feel Like) A Natural Woman" for the soundtrack to the FOX series New York Undercover, and "Everyday It Rains" (co-written by R&B singer Faith Evans) for the soundtrack to the hip hop documentary, The Show. Later in the year, she recorded the Babyface-penned and produced "Not Gon' Cry", for the soundtrack to the motion picture Waiting to Exhale. The platinum-selling single rose to number two on the Billboard Hot 100 and number one on the Hot R&B/Hip-Hop Songs in early 1996. Blige gained her first two Grammy nominations and won the 1996 Best Rap Performance by a Duo or Group for her collaboration with Method Man on "I'll Be There for You/You're All I Need to Get By". Shortly after, Blige was featured on Jay-Z's breakthrough single, "Can't Knock the Hustle", from his debut Reasonable Doubt (1996) and with Ghostface Killah on "All That I Got Is You" from his debut, Ironman, which was also released that year. In addition, Blige co-wrote four songs, provided background vocals and was featured prominently on two singles with fellow R&B singer Case on his self-titled debut album (1996) including the US top 20 hit, "Touch Me, Tease Me", which also featured then up-and-coming rapper Foxy Brown.
What's the 411? highlights the featuring of woman centered narratives although in this album her narratives were regularly policed and told through male emcees. Nonetheless, it marked the start of a transition towards black women centered narratives that focused on the daily experiences and troubles of the black experience through the lens of women rather than necessarily singing about black trauma. Treva B. Lindsey, in her piece "If You Look in My Life: Love, Hip-Hop Soul, and Contemporary African-American Womanhood", highlights the regulating by men saying, "Although the lyrics on What's the 411? establish an African American woman-centered discourse, male artists' words of adoration and longing first introduce listeners to Blige as a hip-hop storyteller. What's the 411?, therefore, functions as an African American woman-centered storytelling space created largely by black men."[52]
On April 22, 1997, MCA Records (parent company to Uptown Records, which was in the process of being dismantled) released Blige's third album, Share My World. By then, she and Combs had dissolved their working relationship. In his place were the Trackmasters, who executive-produced the project along with Steve Stoute. Sharing production duties were producers Jimmy Jam and Terry Lewis, R. Kelly, Babyface and Rodney Jerkins. The album was made at a time when Blige was trying to "get her life together", by trying to overcome drugs and alcohol, as well as the ending of her relationship with Hailey. After an encounter with a person who threatened her life the previous year, she tried to quit the unhealthy lifestyle and make more upbeat, happier music. As a result, songs such as "Love Is All We Need" and "Share My World" were made. Share My World debuted at number one on the Billboard 200 and spawned five hit singles: "Love Is All We Need" (featuring Nas), "I Can Love You" (featuring Lil' Kim), "Everything", "Missing You" (UK only) and "Seven Days" (featuring George Benson). In February 1997, Blige performed her hit at the time, "Not Gon' Cry", at the 1997 Grammy Awards, which gained her a third Grammy Award nomination, her first for Best Female R&B Vocal Performance, as Blige was recording the follow-up to My Life. In early 1998, Blige won an American Music Award for "Favorite Soul/R&B Album". That summer, she embarked on the Share My World Tour, which resulted in a Gold-certified live album released later that year, simply titled The Tour. The album spawned one single, "Misty Blue".
On August 17, 1999, Blige's fourth album, titled Mary was released. It marked a departure from her more familiar hip hop-oriented sound; this set featured a more earthy, whimsical, and adult contemporary-tinged collection of songs, reminiscent of the 1970s to early 1980s soul. She also appeared on In Concert: A Benefit for the Crossroads Centre at Antigua with Eric Clapton in 1999. On December 14, 1999, the album was re-released as a double-disc set. The second disc was enhanced with the music videos for the singles "All That I Can Say" and "Deep Inside" and included two bonus tracks: "Sincerity" (featuring Nas, Andy Hogan and DMX) and "Confrontation" (a collaboration with hip hop duo Funkmaster Flex & Big Kap originally from their 1999 album The Tunnel). The Mary album was critically praised, becoming her most nominated release to date, and was certified double platinum. It was not as commercially successful as Blige's prior releases, though all of the singles: "All That I Can Say", "Deep Inside", "Your Child", and "Give Me You" performed considerably on the radio. In the meantime, MCA used the album to expand Blige's demographic into the nightclub market, as club-friendly dance remixes of the Mary singles were released. The club remix of "Your Child" peaked at number-one on the Billboard's Hot Dance Club Play chart in October 2000. In 2001, a Japan-only compilation, Ballads, was released. The album featured covers of Stevie Wonder's "Overjoyed", and previous recordings of Aretha Franklin's "(You Make Me Feel Like) A Natural Woman" and Dorothy Moore's "Misty Blue". In 1999, George Michael and Mary J. Blige covered the song 'As' written by Stevie Wonder, and worldwide outside of the United States, it was the second single from George Michael's greatest hits album Ladies & Gentlemen: The Best of George Michael. It became a top ten UK pop hit, reaching number four on the chart. It was not released on the U.S. version of the greatest hits collection or as a single in the U.S. Michael cited Blige's record company president for pulling the track in America after Michael's arrest for committing a lewd act.
In January 2001, Blige performed as a special guest in the Super Bowl XXXV halftime show.[53]
On August 28, 2001, MCA released Blige's fifth studio album, No More Drama. The first single in the album, "Family Affair" (produced by Dr. Dre) became her first and only number-one single on the Billboard Hot 100, where it remained for six consecutive weeks. It was followed by two further hit singles, the European-only single "Dance for Me" featuring Common with samples from "The Bed's Too Big Without You" by The Police, and the Jimmy Jam and Terry Lewis-produced title track (originally recorded for the Mary album), which sampled "Nadia's Theme", the piano-driven theme song to the daytime drama The Young and the Restless. Though the album sold nearly two million copies in the U.S., MCA was underwhelmed by its sales, and subsequently repackaged and re-released the album on January 29, 2002. The No More Drama re-release featured a new album cover and deleted three of the songs from the original track listing, while adding two brand-new songs—one of which was the fourth single and top twenty Hot 100 hit "Rainy Dayz", (featuring Ja Rule), plus two remixes; one of the title track, serviced by Sean Combs/Puff Daddy and the single version of "Dance for Me" featuring Common. Blige won a Grammy for 'Best Female R&B Vocal Performance' for the song "He Think I Don't Know". In April 2002, Blige performed with Shakira with the song "Love Is a Battlefield" on VH1 Divas show live in Las Vegas, she also performed "No More Drama" and "Rainy Dayz" as a duet with the returning Whitney Houston.
On July 22, 2002, MCA released Dance for Me, a collection of club remixes of some of her past top hits including the Junior Vasquez remix of "Your Child", and the Thunderpuss mix of "No More Drama". This album was released in a limited edition double pack 12" vinyl for DJ-friendly play in nightclubs.
On August 26, 2003, Blige's sixth album Love & Life was released on Geffen Records (which had absorbed MCA Records.) Blige heavily collaborated with her one-time producer Sean Combs for this set. Due to the history between them on What's the 411? and My Life, which is generally regarded as their best work, and Blige having just come off of a successful fifth album, expectations were high for the reunion effort.
Despite the album debuting at number one on the Billboard 200 and becoming Blige's fourth consecutive UK top ten album, Love & Life's lead-off single, the Diddy-produced "Love @ 1st Sight", which featured Method Man, barely cracked the top ten on the Hot R&B/Hip-Hop Songs, while altogether missing the top twenty on the Hot 100 (although peaking inside the UK top twenty). The following singles, "Ooh!", "Not Today" featuring Eve, "Whenever I Say Your Name" featuring Sting on the international re-release, and "It's a Wrap" fared worse. Although the album was certified platinum, it became Blige's lowest-selling at the time. Critics and fans alike largely panned the disc, citing a lack of consistency and noticeable ploys to recapture the early Blige/Combs glory. Blige and Combs reportedly struggled and clashed during the making of this album, and again parted ways upon the completion of it.
The album became Blige's first album in six years to debut at number one on the Billboard 200, selling 285,298 copies in the first week.[54] Love & Life received mixed reviews from music critics.[55] AllMusic gave it 4 stars and said the album "beamed with joy" and Rolling Stone gave it three stars, saying "You may not always love Blige's music, but you will feel her". The album was eventually certified Platinum by the RIAA for shipping over 1,000,000 copies in the US.[39] The album was nominated for the Best Contemporary R&B Album at the 46th Grammy Awards.
Geffen Records released Blige's seventh studio album, The Breakthrough on December 20, 2005. For the album, Blige collaborated with J.U.S.T.I.C.E. League, Rodney Jerkins, will.i.am, Bryan-Michael Cox, 9th Wonder, Jimmy Jam and Terry Lewis, Raphael Saadiq, Cool and Dre, and Dre & Vidal. The cover art was photographed by Markus Klinko & Indrani. It debuted at number one on both the Billboard 200 and Top R&B/Hip-Hop Albums charts. Selling 727,000 copies in its first week, it became the biggest first-week sales for an R&B solo female artist in SoundScan history,[56][57] the fifth largest first-week sales for a female artist, and the fourth largest debut of 2005.
The lead-off single, "Be Without You", peaked at number three on the Billboard Hot 100, while peaking at number one on the R&B chart for a record-setting fifteen consecutive weeks; it remained on the chart for over sixteen months. "Be Without You" found success in the UK (peaking in the lower end of the top forty) it became Blige's longest charting single on the UK Singles Chart. It is her second-longest charting single to date. The album produced three more singles including two more top-five R&B hits—"Enough Cryin'", which features Blige's alter ego Brook-Lynn (as whom she appeared on the remix to Busta Rhymes's "Touch It" in 2006); and "Take Me as I Am" (which samples Lonnie Liston Smith's "A Garden of Peace"). Blige's duet with U2 on the cover of their 1992 hit, "One" gave Blige her biggest hit to date in the UK, peaking at number two on the UK Singles Chart eventually being certified one of the forty highest-selling singles of 2006;[58] it was her longest charting UK single. The success of The Breakthrough won Blige nine Billboard Music Awards, two American Music Awards, two BET Awards, two NAACP Image Awards, and a Soul Train Award. She received eight Grammy Award nominations at the 2007 Grammy Awards, the most of any artist that year. "Be Without You" was nominated for both "Record of the Year" and "Song of the Year". Blige won three: "Best Female R&B Vocal Performance", "Best R&B Song" (both for "Be Without You"), and "Best R&B Album" for The Breakthrough.[59] Blige completed a season sweep of the "big three" major music awards, having won two American Music Awards in November 2006[60] and nine Billboard Music Awards in December 2006.[61]
In December 2006, a compilation called Reflections (A Retrospective) was released. It contained many of Blige's greatest hits and four new songs, including the worldwide lead single "We Ride (I See the Future)". In the UK, however, "MJB da MVP" (which appeared in a different, shorter form on The Breakthrough) was released as the lead single from the collection. The album peaked at number nine in the U.S, selling over 170,000 copies in its first week, while reaching number forty in the UK In 2006, Blige recorded a duet with rapper Ludacris, "Runaway Love", which is the third single on his fifth album, Release Therapy. It reached the top five on the Billboard Hot 100 and the R&B chart. Blige was featured with Aretha Franklin and the Harlem Boys Choir on the soundtrack to the 2006 motion picture Bobby, on the lead track "Never Gonna Break My Faith" written by Bryan Adams. The song was nominated for a Golden Globe and won the Grammy Award for Best Gospel Performance at the 50th Annual Grammy Awards.
Blige's eighth studio album, Growing Pains, was released on December 18, 2007, debuting at number two on the Billboard 200 and at number one on the Top R&B/Hip-Hop Albums chart. It sold 629,000 copies in its first week, marking the third time since Nielsen SoundScan began collecting data in 1991 that two albums sold more than 600,000 copies in a week in the United States. In its second week, the album climbed to number one, making it Blige's fourth number-one album. The lead single, "Just Fine", peaked at number twenty-two on the Billboard Hot 100 and at number three on the Hot R&B/Hip-Hop Songs chart. "Just Fine" was nominated for the Grammy Award for Best Female R&B Vocal Performance, and Blige won Best R&B Performance by a Duo or Group with Vocals for the Chaka Khan duet "Disrespectful" (featured on Khan's album Funk This) which Blige wrote.
Growing Pains was not released in the UK until February 2008, where it became Blige's fifth top ten and third-highest-charting album. "Just Fine" returned Blige to the UK singles chart top 20 after her previous two singles failed to chart highly. Subsequent singles from Growing Pains include "Work That", which accompanied Blige in an iTunes commercial, and "Stay Down".
Blige was featured on 50 Cent's 2007 album, Curtis, in the song "All of Me". In March 2008, she toured with Jay-Z on the Heart of the City Tour. Together, they released a song called "You're Welcome". In the same period, cable network BET aired a special on Blige titled The Evolution of Mary J. Blige, which showcased her career. Celebrities such as Method Man and Ashanti gave their opinions about Blige and her music. Blige is featured on singles by Big Boi, and Musiq Soulchild. Growing Pains was nominated for and won the Grammy Award for "Best Contemporary R&B Album", at the 51st Grammy Awards held on February 8, 2009, earning Blige her 27th Grammy nomination, in a mere decade. Blige went on the Growing Pains European Tour, her first tour there in two years. A tour of Australia and New Zealand was scheduled for June but was postponed due to "weariness from an overwhelming tour schedule"[62] and then eventually canceled entirely.[63]
On August 7, 2008, it was revealed Blige faced a US$2 million federal suit claiming Neff-U wrote the music for the song "Work That", but was owned by Dream Family Entertainment. The filing claimed that Dream Family never gave rights to use the song to Blige, Feemster or Geffen Records. Rights to the lyrics of the song used in an iPod commercial are not in question.[64]
Blige returned to performing in January 2009 by performing the song "Lean on Me" at the Presidential Inauguration Committee's, "We Are One: The Obama Inaugural Celebration at the Lincoln Memorial". Blige also performed her hit 2007 single, "Just Fine", with a new intro at the Neighborhood Inaugural Ball after Barack Obama was sworn in on January 20, 2009. Blige appeared as a marquee performer on the annual Christmas in Washington television special.
Blige's ninth studio album, Stronger with Each Tear, was released on December 21, 2009, debuting at number two on the Billboard 200 and at number one on the Top R&B/Hip-Hop Albums chart, selling 332,000 units in its first week of release. It became her fifth album not to take the top spot in the United States. Blige recorded "Stronger", as the lead single from the soundtrack to the basketball documentary "More than a Game" in August 2009. The second single from Stronger with Each Tear, "I Am", was released in December 2009 and reached number fifty-five on the Hot 100. The third international single from the album, "Each Tear", was remixed with different featured artists from different countries, then being released in February 2010. The single failed to chart anywhere except in the UK where it reached number one-hundred-eighty-three and in Italy where it reached number one. The album's third U.S. single, "We Got Hood Love" featuring Trey Songz, was released in March 2010 and reached number tw25 on the Hot R&B/Hip-Hop Singles chart though it failed to reach the Hot 100.[65] One of Blige's representatives reported to Us Weekly magazine that a tour in support of Stronger with Each Tear would begin in the fall of 2010.[66] In March 2010, Blige released Stronger with Each Tear in the United Kingdom, as well as in the European markets. The album performed modestly in the United Kingdom, debuting at number 33 on the UK Albums Chart and at number four on the UK R&B Chart. It reached the top 100 in other countries.
Blige was honored at the 2009 BET Honors Ceremony and was paid tribute by Anita Baker and Monica. On November 4, 2009, Blige sang The Star-Spangled Banner at Yankee Stadium before the New York Yankees and Philadelphia Phillies played the last game (game 6) of the World Series. Blige performed two songs from her ninth album as well as her previous hits, "No More Drama" and "Be Without You" along with the song "Color", which was featured on the Precious soundtrack. Blige appeared as a guest judge on the ninth season of American Idol on January 13, 2010.
On January 23, Blige released a track titled "Hard Times Come Again No More" with the Roots, performing it at the Hope for Haiti Now telethon. Blige also performed on BET's SOS Help For Haiti, singing "Gonna Make It" with Jazmine Sullivan and "One." At the 2010 Grammy Awards, Blige performed "Bridge over Troubled Water" with Andrea Bocelli. She also took part in February 2010's We Are the World 25 for Haiti, singing the solo originally sung by Tina Turner in the original 1985 We Are the World version. At the 41st NAACP Image Awards on February 26, Blige won Outstanding Female Artist and Outstanding Album for Stronger with Each Tear.[67] On November 18, 2010, Billboard revealed Mary J. Blige as the most successful female R&B/hip hop artist on the Top 50 R&B/Hip Hop Artists of the Past 25 Years list. She came in at number 2 overall.[68]
In January 2011, Hot 97 premiered Blige's teaser track "Someone to Love Me (Naked)" featuring vocals by Lil Wayne.[69] In July 2011, Blige released the song "The Living Proof" as the lead single to the soundtrack of the film The Help.[70] On July 24, VH1 premiered their third Behind the Music that profiled her personal and career life. In August 2011, Blige released her first single off the album, "25/8". Blige's tenth studio album, My Life II... The Journey Continues (Act 1), was released in November 2011.[71] The album, primarily recorded in Los Angeles and New York City, saw Blige looking toward the future while acknowledging the past. "From me to you, My Life II... Our journey together continues in this life", the singer explained. "It's a gift to be able to relate and identify with my fans at all times. This album is a reflection of the times and lives of people all around me." The album features production by Kanye West and the Underdogs.[72] The second single "Mr. Wrong" featuring Canadian rapper Drake was the most successful single from the album, peaking at number 10 on Billboard's R&B/Hip-Hop Songs chart. The rest of the songs released, including lead single "25/8" achieved only moderate success, peaking within the top 40 on R&B/Hip-Hop Songs. The album itself debuted at No. 5 on the Billboard 200, selling 156,000 copies in the first week; it was eventually certified Gold in 2012 and has sold 763,000 in the US.[73]
On February 28, 2012, Blige performed "Star Spangled Banner" at the 2012 NBA All-Star Game. Blige appeared as guest mentor on American Idol on March 7, 2012, and performed "Why" on the results show the following night.[74] On September 23, 2012, Blige was a performer at the iHeartRadio Music Festival at the MGM Grand Las Vegas. Blige was featured on the song "Now or Never" from Kendrick Lamar's album Good Kid, M.A.A.D City, released on October 22, 2012.
In early 2013, reports surfaced that Blige was recording a Christmas album. The album, titled, A Mary Christmas was released on October 15, 2013, through Matriarch and Verve Records, her first release with the latter. The album includes collaborations with Barbra Streisand, the Clark Sisters, Marc Anthony and Jessie J. In early December, A Mary Christmas became Blige's 12th top ten album after it rose to No. 10 in its eight week.[75]
On October 23, 2013, Blige sang the national anthem before Game 1 of the 2013 World Series.[76]
On February 5, 2014, a remix of Disclosure's "F for You" featuring guest vocals from Mary was released.[77]
In May 2014 Blige was featured on Mariah Carey’s song It's a Wrap as part of Carey’s deluxe edition of her 2014 album Me. I Am Mariah... The Elusive Chanteuse.[78] It was announced May 30, 2014, that Think Like a Man Too (Music from and Inspired by the Film), released June 17 on Epic Records, would introduce new songs by Mary J. Blige, including the single "Suitcase".[79] Blige recorded a collection of music from and inspired by the film. In the United States, Think Like a Man Too debuted at number 30 on the Billboard 200, with 8,688 copies sold in its first week, becoming the lowest sales debut of any of her studio albums.[80] On Billboard's R&B/Hip-Hop chart, the soundtrack album charted at number six, marking Blige's 16th top ten entry on the chart, tying her with Mariah Carey for the second-most top tens by a female artist.[80]
June 2, 2014, saw Blige pairing up with another English musician with the release of a reworked version of Sam Smith's "Stay with Me". A live visual to the song was released on the same day.[81]
Following her concert date at the Essence Festival, on July 9, 2014, it was announced Blige would move to London to experiment with a new sound for her new album.[82] Blige spent a month in London recording her album in RAK Studios with a host of young British acts, including Disclosure, Naughty Boy, Emeli Sandé and Sam Smith. Ten new songs, co-written and recorded by the singer, were released on November 24, 2014, on an album titled The London Sessions.[83] That same month, she announced that she left Geffen and Interscope and signed with Capitol Records.
In August 2016, Blige was recruited to perform the new theme song for the ABC Daytime talk show The View for its twentieth season titled "World's Gone Crazy" written by Diane Warren. A music video was also shot for the new theme song with co-hosts Whoopi Goldberg, Joy Behar, Candace Cameron Bure, Raven-Symoné, Paula Faris, Sara Haines, Sunny Hostin and Jedediah Bila. Blige also appeared on The View alongside Maxwell during its premiere week on September 9, 2016, to discuss their joint tour and theme song.
On September 30, 2016, Blige premiered a new show, The 411, on Apple Music.[84] On its debut episode, she interviewed Hillary Clinton. A trailer was released online with Blige singing a cover of Bruce Springsteen's "American Skin" to a bewildered Clinton. The exchange received mixed and negative reaction on social media. Two weeks later, a studio version, this time featuring a verse from American rapper Kendrick Lamar was released online.
In October 2016, following her highly publicized divorce from Kendu Issacs, Blige released two songs: "Thick of It" and "U + Me (Love Lesson)". Her thirteenth studio album, Strength of a Woman, was released on April 28, 2017.[85] It peaked at number three on the Billboard 200, number two on the Top R&B/Hip-Hop Albums chart and topped the R&B Albums chart.[86] On July 12, 2018, Blige released the single "Only Love" on Republic Records, following her exit from Capitol Records.
On April 16, 2019, Blige announced that she is co-headlining a North American summer tour with Nas titled The Royalty Tour.[87] On May 8, Blige released the single "Thriving" featuring Nas.[88] During an interview with Ebro Darden on Beats 1 for the premiere of "Thriving", Blige announced that her next studio album would be released before July.[89] On June 23, at the 2019 BET Awards, she was honored with the Lifetime Achievement Award for her extraordinary contributions to the music industry.[90]
In June 2021, Blige celebrated the 25th anniversary of her album My Life with the release of the Amazon Studios documentary Mary J. Blige's My Life, directed by Vanessa Roth.[91][47] In December 2021, it was announced that Blige had formed her own label, Mary Jane Productions, in conjunction with 300 Entertainment. Along with the news came the release of two new singles, "Good Morning Gorgeous" and "Amazing" featuring DJ Khaled. In January 2022, Blige released "Rent Money" featuring Dave East.[92] The songs appear on Blige's fourteenth studio album, also titled Good Morning Gorgeous, which was released on February 11, 2022.[93]
On February 13, 2022, Blige performed at the Super Bowl LVI halftime show alongside fellow American rappers Dr. Dre, Eminem, Kendrick Lamar, Snoop Dogg, 50 Cent, and Anderson .Paak.[94] Days later, on February 17, Blige said on the radio show The Breakfast Club that she is working on an album entirely produced by Dr. Dre.[95] On March 7, Blige and Pepsi announced the inaugural Strength of a Woman Festival and Summit, a three-day festival in Atlanta, in partnership with Live Nation Urban.[96] In May 2022, Blige was listed as one of the 100 most influential people in the world by TIME.[97] In September 2022, she was awarded the Primetime Emmy Award for Outstanding Variety Special (Live) for Super Bowl LVI halftime show.[98] In February 2023, Mariah Carey released an EP of her song It's a Wrap which featured Mary’s remix of the track.[99]
In October 2023, Blige released a deluxe version of A Mary Christmas, which included four additional tracks.[100][101] On October 27, 2023, Blige released the single "Still Believe In Love", which features rapper Vado.[102][103][104]
In 1998, Blige made her acting debut on the sitcom The Jamie Foxx Show, playing the apparently southern Ola Mae, a preacher's daughter who wanted to sing more than gospel music. Her father was portrayed by Ronald Isley of the Isley Brothers. In 2001, Blige starred opposite rapper Q-Tip in the independent film Prison Song. That same year, Blige made a cameo on the Lifetime network series, Strong Medicine; playing the role of Simone Fellows, the lead singer of a band who was sick, but would not seek treatment. In 2000, Blige was featured in a superhero web cartoon in junction with Stan Lee. Blige used the cartoon as part of her performance while on her 2000 Mary Show Tour. In 2004, Blige starred in an Off-Broadway play, The Exonerated, which chronicled the experiences of death row inmates. Blige portrayed Sunny Jacobs, a woman who spent 20 years in prison for a crime she did not commit. In late 2005, it was reported that Blige landed the starring role in the upcoming MTV Films biopic on American singer/pianist and civil rights activist, Nina Simone. By the spring of 2010, Blige was slated to star as Simone with British actor David Oyelowo portraying her manager Clifton Henderson. Blige later dropped out of the role due to financial issues and the role was subsequently recast with actress Zoe Saldana as Simone in Nina, released in 2016.
In February 2007, Blige guest-starred on Ghost Whisperer, in the episode "Mean Ghost", as the character Jackie Boyd, the school's cheerleader coach grieving for the death of her brother and affected by the ghost of a dead cheerleader. The episode features many of Blige's songs. In August 2007, Blige was a guest star on Entourage, in the role of herself, as a client of Ari Gold's agency. In October 2007, Blige was also a guest star on America's Next Top Model, as a creative director for a photoshoot by Matthew Rolston. In May 2009, Mary made a guest appearance on 30 Rock, as an artist recording a benefit song for a kidney. Blige also had a supporting role in Tyler Perry's movie I Can Do Bad All by Myself, which was released in September 2009.[105]
Blige starred alongside Tom Cruise, Julianne Hough, and Alec Baldwin in the 2012 film adaptation of the 1980s jukebox musical Rock of Ages. Blige played Justice Charlier, the owner of a Sunset Strip gentlemen's club. Production began in May 2011 and the film was released in June 2012.
Blige starred in the Lifetime movie Betty and Coretta alongside Angela Bassett, Malik Yoba and Lindsay Owen Pierre. She played Dr. Betty Shabazz, the widow of Malcolm X. The film premiered in February 2013. In December 2015, she portrayed Evillene, the Wicked Witch of the West in NBC's The Wiz Live!.[106] In October 2016, Blige guest-starred on ABC legal drama How to Get Away with Murder as an old acquaintance of Annalise Keating played by Viola Davis.[107]
In 2017, Blige starred in the period drama film Mudbound directed by Dee Rees. Playing Florence Jackson, the matriarch of her family,[108] she received praise such as Variety's review: "Mary J. Blige, as the mother of the Jackson family, gives a transformative performance that will elevate the acting career of the R&B star."[109] For her performance in Mudbound, Blige was nominated for the Golden Globe Award for Best Supporting Actress,[110] the Critics' Choice Movie Award for Best Supporting Actress, the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Supporting Role, and the Academy Award for Best Supporting Actress. As she was also nominated for the Academy Award for Best Original Song (with Taura Stinson and Raphael Saadiq), she became the first person nominated for an Academy Award for acting and original song in the same year.[111][112] Her nomination also made Dee Rees the first black woman to direct a film for which an actor was nominated for an Academy Award.[113][114]
Blige voiced Irene in the 2018 animated film Sherlock Gnomes, and in 2020 voiced Queen Essence in the animated musical film Trolls World Tour. In 2018, it was announced that Blige was cast as Sherry Elliot in Scream: Resurrection, the third season of the slasher television series Scream.[115] The season premiered on VH1 on July 8, 2019.[116] In 2019, Blige starred in the role of Cha-Cha, a main antagonist in the Netflix superhero series The Umbrella Academy.[117]
In 2020, Blige played a leading role in the horror film Body Cam.[118] She also starred in the independent drama film Pink Skies Ahead.[119][120] Blige currently stars as Monet Stewart Tejada in Power Book II: Ghost, the first spin-off for the highly rated Starz cable drama Power which premiered in September 2020.[121][122] Blige played singer Dinah Washington in the biographical drama film Respect about life and career of Aretha Franklin.[123] The film was released theatrically on August 13, 2021.
In 2023, Blige was cast in the drama film Rob Peace, a film adaptation of The Short and Tragic Life of Robert Peace, written and directed by Chiwetel Ejiofor.[124]
In the 1990s, Blige spent six years in a relationship with singer Cedric "K-Ci" Hailey of the R&B group Jodeci.[125] Their turbulent relationship inspired Blige's album My Life.[47] During a 1995 interview on the UK television show The Word, Blige confirmed the two were engaged; Hailey denied that they were going to get married.[126][127] Following her break-up with Hailey, Blige developed a relationship with singer Case,[128][129] which dwindled due to his involvement with other women.[130] She also briefly dated rapper Nas.[131]
Blige married her manager, Martin "Kendu" Isaacs, on December 7, 2003.[132] At the time, Isaacs had two children, Nas and Jordan, with his first wife, and an older daughter, Briana, from a teenage relationship.[133] In July 2016, Blige filed for divorce, citing "irreconcilable differences".[134] Blige and Isaacs' divorce was finalized on June 21, 2018.[135]
Blige is a Democrat and performed for Barack Obama at the 2012 Democratic National Convention.[136]
Blige has dealt with drug and alcohol addiction, and as of 2019, she had been sober for several years.[137] She is also a childfree person, proclaiming in a February 2022 interview with E! News, "I have nieces and nephews forever, and I'm always watching how people are scrambling around for babysitters. I don’t want to go through that. I like my freedom. I like being able to get up and go and move and do what I want to do."[138][139]
Blige is a close friend to Taraji P. Henson, Missy Elliott, Simone Smith (wife of rapper LL Cool J), and fashion stylists June Ambrose and Misa Hylton, as well as former radio personality Angie Martinez, whose son, Niko Ruffin, is Blige's godson.[140][141][142][143]
Blige has had endorsement contracts with Reebok, Air Jordan, Pepsi, Coca-Cola, Gap, Target, American Express, AT&T Inc., M·A·C, Apple Inc., Burger King and Chevrolet.[144] She has also been a spokesperson for Carol's Daughter beauty products and Citibank's Citi Card program (alongside Nickelback).[145]
In 2004, Blige launched her own record label, Matriarch Records, distributed through Interscope. In 2012, she discovered girl group Just'Us, making the group the first ladies of the label. At the time, Blige said, "These are my little Mary's; they each remind me of myself at different points in my life."[146] Blige was reportedly working with the group on their debut album, but it never materialized, and Just'Us has since disbanded.
In 2009, Blige's production company, along with William Morris Endeavor, was working on several TV and film projects.[147]
In July 2010, in partnership with the Home Shopping Network (HSN) and Carol's Daughter, Blige launched her first perfume, My Life (through Carol's Daughter), exclusively on HSN.[148] The fragrance broke HSN sales records in hours,[149][150] by selling 50,000 bottles during its premiere, and has been awarded two prestigious FIFI awards from the Fragrance Foundation, including the "Fragrance Sales Breakthrough" award.[151][152] In August 2011, another scent called My Life Blossom was launched exclusively to HSN.
In October 2010, Blige released "Melodies by MJB", a line of sunglasses. The first Melodies collection featured four styles with a total of 20 color options. Each style represented a specific facet of Blige's life. In the spring of 2011, Essence magazine reported that "Melodies by MJB" had extended their collection to offer more styles.[153][154]
In late 2020, Blige and her close friend, Simone Johnson-Smith, a cancer survivor and wife of rapper LL Cool J, co-founded Sister Love, a jewelry line for women.[155][156] Blige also announced the 2019 formation of a film and television production label, Blue Butterfly Productions. On December 16, 2022, the label signed a first-look lucrative deal with BET for scripted and non-scripted content;[157][158] its first under the partnership was Blige's talk show, The Wine Down with Mary J. Blige, which premiered in early 2023.[159]
She has founded two companies: Mary Jane Productions, which she co-founded with her former manager, Steve Stoute, in 1994,[160] and an independent record label, Beautiful Life Productions, in 2023. She signed Boyz II Men affiliate group, WanMor to the former in August 2023[161] and New York rapper Vado to the latter in May 2024.[162][163]
Called the "Queen of Hip-Hop Soul", Blige is credited with influencing the musical marriage of hip hop and R&B.[164] Ethan Brown of The New Yorker says that albums "What's the 411?" and "My Life", in hindsight, invented "the sample-heavy sound that reinvigorated urban radio and became a blueprint for nineties hip-hop and R&B".[165] Tom Horan of The Daily Telegraph comments that Blige, being an immensely influential figure in popular music, "invented what is now called R&B by successfully combining female vocals with muscular hip hop rhythm tracks. All over the world, that recipe dominates today's charts."[166] Called one of the "most explosive, coming-out displays of pure singing prowess"[167] and "one of the most important albums of the nineties",[168] What's the 411? saw Blige pioneer "the movement that would later become neo soul, generating gripping songs that were also massive radio hits".[169]
African American scholars have noted the implications of Blige's presentation and representation of black womanhood and femininity in the typically male-dominated and centric sphere of hip hop. Blending the vocal techniques of rapping in hip hop with aspirational messages in R&B, Blige is credited with articulating black women's experiences in a "more factual and objective"[170] manner than typical stereotypes and tropes of black women in the media. Using her personal experiences and struggles with her family as source material for her songs, Blige refutes notions of black female hypersexuality by "imploring women to love and empower themselves through both autonomy and intimacy."[171] This desire for love does more than connect to her audience members. With particular attention on her single "Real Love", critics note how the song is "a performative text, declaratively demand[ing] recognition of Blige's full humanity and, more broadly, that of hip-hop-generation women."[171]
Blige has received notable awards and achievements. In 2010, she was ranked 80th on VH1's list of the 100 Greatest Artist of All Time.[172] Blige was listed as one of the 50 most influential R&B singers by Essence.[173] In 2003, Rolling Stone magazine ranked My Life at number 279 on its list of the 500 Greatest Albums of All Time.[50] The album was also included on Time's list of the 100 Greatest albums of All Time.[51] In 2020, both What's the 411? and My Life were featured in a rebooted list of the 500 Greatest Albums of All Time, at 271 and 126 respectively.[7] Alternately called the "Queen of R&B" for her success in the realm of R&B, Blige has amassed ten number one albums on the R&B/Hip Hop Albums chart .[68] Blige is also the only artist to have won Grammys in the R&B, hip-hop, pop, and gospel fields.
Blige and her work have influenced several recording artists, including Beyoncé,[174] Adele,[175][176] Taylor Swift,[177] Layton Greene,[178] Cheryl,[179] Teyana Taylor,[180] Keke Palmer,[181] Jess Glynne,[182] Sam Smith,[183] Summer Walker,[184] K. Michelle,[185] Rihanna,[186] Keyshia Cole[187] and Alexandra Burke.[188]
As an actress, Blige received the Breakthrough Performance Award at the 2018 Palm Springs International Film Festival for her role in Mudbound.
In 2020, Kamala Harris, the first Black and South Asian female Vice President-elect on a major party, walked out to "Work That" at the 2020 Democratic National Convention, campaign events (including her own presidential campaign), and her victory speech.
Main article: Mary J. Blige discography
What's the 411? (1992)
My Life (1994)
Share My World (1997)
Mary (1999)
No More Drama (2001)
Love & Life (2003)
The Breakthrough (2005)
Growing Pains (2007)
Stronger with Each Tear (2009)
My Life II... The Journey Continues (Act 1) (2011)
A Mary Christmas (2013)
The London Sessions (2014)
Strength of a Woman (2017)
Good Morning Gorgeous (2022)
Share My World Tour (1997–98)
The Mary Show Tour (2000)
No More Drama Tour (2002)
Love & Life Tour (2004)
The Breakthrough Experience Tour (2006)
Growing Pains European Tour (2008)
Love Soul Tour (2008)
Music Saved My Life Tour (2010–11)
The London Sessions Tour (2015)
Strength of a Woman Tour (2017)
Good Morning Gorgeous Tour (2022)
Heart of the City Tour (with Jay-Z) (2007)
The Liberation Tour (with D'Angelo) (2012–13)
King and Queen of Hearts World Tour (with Maxwell) (2016)
The Royalty Tour (with Nas) (2019)
Humpin' Around the World Tour (with Bobby Brown) (1992–1993)[189]
Main article: Mary J. Blige videography
Year Title Role Notes 2001 Prison Song Mrs. Butler 2009 I Can Do Bad All by Myself Tanya 2010 Chico and Rita - (voice) 2012 Rock of Ages Justice Charlier 2013 Betty & Coretta Dr. Betty Shabazz TV movie Black Nativity Angel 2014 Champs Herself 2015 The Wiz Live! Evillene TV movie 2017 Mudbound Florence Jackson 2018 Sherlock Gnomes Irene (voice) [190] 2020 Trolls World Tour Queen Essence (voice) Body Cam Renee Lomito-Smith The Violent Heart Nina Pink Skies Ahead Doctor Monroe [191] 2021 Respect Dinah Washington 2024 Rob Peace Jackie Peace
Year Title Role Notes 1992 Soul Train Herself Episode: "Al Jarreau/Mary J. Blige/Pete Rock & C.L. Smooth" In Living Color Herself Episode: "Men on Cooking" Out All Night Herself Episode: "Smooth Operator" The Uptown Comedy Club Herself Episode: "Episode #1.11" 1992-01 Showtime at the Apollo Herself Recurring Guest 1993 MTV Unplugged Herself Episode: "Uptown Unplugged" 1993-06 Saturday Night Live Herself Recurring Guest 1995 New York Undercover Herself Guest Cast: Seasons 1-2 1997 All That Herself Episode: "Mary J. Blige" 1997-06 Top of the Pops Herself Recurring Guest 1998 The Jamie Foxx Show Ola Mae Episode: "Papa Don't Preach" 1999 Moesha Herself Episode: "Good Vibrations?" 2000 The Greatest Herself Episode: "100 Greatest Rock & Roll Moments on TV" 2001 Behind the Music Herself Episode: "Sean 'P. Diddy' Combs" Journeys in Black Herself Episode: "Patti LaBelle" Access Granted Herself Episode: "Mary J. Blige: Family Affair" Strong Medicine Simone Fellows Episode: "History" 2001-04 Intimate Portrait Herself Recurring Guest 2002 The Nick Cannon Show Herself Episode: "Nick Takes Over Music" 2005 Soul Deep: The Story of Black Popular Music Herself Episode: "From Ghetto to Fabulous" Access Granted Herself Episode: "Lil Kim: Lighters Up" 2006 The Life & Rhymes of... Herself Episode: "Mary J. Blige" Dancing with the Stars Herself Episode: "Final Results" 2006-08 One Life to Live Herself Recurring Cast 2006-12 American Idol Herself Recurring Guest 2007 Classic Albums Herself Episode: "Jay Z: Reasonable Doubt" America's Next Top Model Herself Episode: "The Girl Who Gets a Mango" Ghost Whisperer Jackie Boyd Episode: "Mean Ghost" Entourage Herself Episode: "Gary's Desk" 2008 Live from Abbey Road Herself Episode: "Episode #2.1" Dancing with the Stars Herself Episode: "Round 6: Results" Imagine Herself Episode: "Jay-Z: He Came, He Saw, He Conquered" 2009 Extreme Makeover: Home Edition Herself Episode: "Ward Family" So You Think You Can Dance Herself Episode: "Finale: Winner Announced" 30 Rock Herself Episode: "Kidney Now!" 2011 The Marriage Ref Herself Episode: "Episode #2.4" & "#2.5" 2011-13 The X Factor USA Herself Episode: "Episode #1.22" & "#3.26" 2012 Life After Herself Episode: "Andre Harrell" Tamar & Vince Herself Episode: "Meet the Herberts" Great Performances Herself Episode: "Rod Stewart: Merry Christmas, Baby" The Voice Herself/Adviser Recurring Adviser: Season 3 2013 The X Factor UK Herself Episode: "Episode #10.12" & "#10.26" 2015 Lip Sync Battle Herself Episode: "Terrence Howard vs. Taraji P. Henson, Part 1" The Voice Herself/Adviser Episode: "The Battles Premiere" Empire Angie Episode: "Sins of the Father" Black-ish Mirabelle Chalet Episode: "Pops' Pops' Pops" 2016 Inside the Label Herself Episode: "Uptown Records, Part I & II" How to Get Away with Murder Ro Guest Star: Season 3 2019 The Umbrella Academy Cha-Cha Main Cast: Season 1 [192] Scream: Resurrection Sherry Elliot Recurring Cast: Season 3 2020 Peace of Mind with Taraji Herself Episode: "Episode 3, Part 1: Holiday Blues with Mary J. Blige" 2020- Power Book II: Ghost Monet Stewart Tejada Main Cast 2021 The Badass Questionnaire Herself Episode: "Mary J. Blige" Celebrity IOU: Joyride Herself Episode: "Don't Go Ham" 2022 Earnin' It Herself Main Guest Lost Ollie Rosy (voice) Main Cast 2023 The Wine Down with Mary J. Blige Herself/Host Main Host
Year Title Notes 2001 It's Only Rock and Roll 2004 Urban Soul: The Making of Modern R&B Mary J. Blige: Queen of Hip Hop Soul Fade to Black 2005 All We Are Saying 2010 Teenage Paparazzo 2011 Beats, Rhymes & Life: The Travels of A Tribe Called Quest 2012 Be Inspired: The Life of Heavy D 2017 Can't Stop, Won't Stop: A Bad Boy Story Welcome to My Life [193] George Michael Freedom 2018 Quincy 2021 Mary J. Blige's My Life [194] 2023 Thriller 40
List of artists who reached number one in the United States
List of black Golden Globe Award winners and nominees
Honorific nicknames in popular music
|
||||||
correct_birth_00056
|
FactBench
|
2
| 50
|
https://www.essence.com/entertainment/soaw-summit-festival-2024/
|
en
|
Taraji P. Henson, Method Man, Marsai Martin And More Join Mary J. Blige For 2024 Strength Of A Woman Summit | Essence
|
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2024-05-02T17:54:25+00:00
|
Co-hosted by Jess Hilarious and Gia Peppers, this year’s event takes place on Saturday, May 11 at The Glasshouse in New York City.
|
en
|
Essence
|
https://www.essence.com/entertainment/soaw-summit-festival-2024/
|
Today, Mary J. Blige announced the talent, official sponsors and exclusive experiences offered at the third annual Strength of a Woman Summit, being held Saturday, May 11th at The Glasshouse in New York City. This year’s event will be co-hosted by comedian and co-host of The Breakfast Club, Jess Hilarious and award-winning on-air talent, journalist and podcaster, Gia Peppers.
This year’s speakers include Taraji P. Henson, Tasha Smith, Method Man, Marsai Martin, Larenz Tate, Angie Martinez, Pinky Cole Hayes, Crystal Renee Hayslett, Misa Hylton, Bevy Smith, Claire Sulmers, Michael Rainey Jr. among others, with Blige herself also participating in one of the panel conversations.
The panels are only one star-studded component of the Summit. Activations include a tooth gem station, a lush build-your-own bouquet bar, “Mary’s Living Room,” a welcoming sanctuary featuring the varietals of the Sun Goddess wine collection, Sister Love’s bold jewelry designs and the specially made Strength of a Woman merch. Attendees can also immerse themselves in the music and memories of Mary J. Blige’s My Life in a unique listening booth, created as a special tribute to the 30th anniversary of the iconic album.
PEPSI, the festival’s returning partner, will be on-site to offer attendees delicious food, custom cocktails and mocktails and complimentary beverages at the Pepsi Dig In Village, capturing the diverse flavors of the major foodie city.Pepsi Dig In, the brand’s platform designed to drive access, business growth, and awareness for Black-owned restaurants, will spotlight and feature dishes from five female-owned restaurants: Slutty Vegan, Melba’s, 2 Girls & A Cookshop,Aunts Et Uncles and Je T’aime Patisserie.The food will be available for purchase throughout the day to go towards supporting these businesses.
In addition to Pepsi’s DigIn Village, Mielle’s beauty carousel boasts hair demos and services with an onsite hairstylist and giveaways of their must-have products. Verizon Business is also inviting attendees to delve into the brand’s suite of small business offerings while also enjoying complimentary charging services of their mobile devices.
Strength of a Woman Festival and Summit is the only festival experience in the market, brought to you exclusively by an all-Black, female team, and will head to the birthplace of Hip-Hop, New York City. After selling out in less than 72 hours last year, the festival will bring, what is sure to be, iconic moments with three incredible nights of music and entertainment.
|
|||||
correct_birth_00056
|
FactBench
|
2
| 46
|
https://www.soawfestival.com/
|
en
|
Strength of a Woman Festival & Summit
|
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New York, NY â Mary J. Blige and Pepsi proudly announce the 2024 âStrength of a Woman Festival and Summitâ in partnership with Live Nation Urban. The festival will take place in New York City with three days devoted to music, comedy, and community building. All tickets can be purchased at www.soawfestival.com
| null |
2025 PARTNER OPPORTUNITIES
â
Interested in becoming a partner for SOAW Festival and Summit?
E-mail info@soawfestival.com to connect with us!
|
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FactBench
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2
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https://theurbandaily.com/2931561/where-is-mary-j-blige-from/
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en
|
Where Is Mary J. Blige From?
|
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[
"ioneasktud",
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2014-03-24T11:28:34+00:00
|
Where is Mary J. Blige from? Get the 411 on the singer's hometown here.
|
en
|
The Urban Daily
|
https://theurbandaily.com/2931561/where-is-mary-j-blige-from/
|
Where is Mary J. Blige from? Mary J. Blige is from the Bronx, New York, where she was born on January 11, 1971. Although she’s a New York City native, the singer spent her early years in Savannah, Georgia, before she moved with her mother and sister to Yonkers, New York. There, she had a rough childhood — she dropped out of high school in the 11th grade — but one day, she happened to record a version of Anita Baker’s “Caught Up in the Rapture” at a mall in White Plains. Thanks to her stepfather, the demo made its way to Uptown Records, and in 1992, with the help of up-and-coming producer Sean “Puff Daddy” Combs, she released her landmark debut, “What’s the 411?”
Mary J. Blige has come a long way from her Bronx/Yonkers roots, and in the years since “What’s the 411?” she’s released 10 additional studio albums and two live LPs. Four of her full-lengths have topped the Billboard 200, and she’s sold more than 50 million albums around the world. Blige is the rare singer who can collaborate with U2 and Sting one second and 50 Cent and Drake the next, and in addition to being the Queen of Hip-Hop Soul, she’s an artist with genuine pop crossover appeal. Blige first made her name with the single “Real Love,” a mix of soul and rap that changed the game and established her as a tough-but-pretty songstress with stunning pipes and street edge.
The answer to the question of where Mary J. Blige is from has never been much of a secret, as the singer is closely associated with NYC. And like any Big Apple striver, Blige has also made the jump into other business ventures — specifically TV and film. She’s appeared on such shows as “Ghost Whisperer,” “Entourage,” and “American Idol,” and in 2012, she appeared with Tom Cruise in “Rock of Ages.”
|
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correct_birth_00056
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FactBench
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https://laist.com/shows/take-two/tuesday-reviewsday-mary-j-blige-tribecastan-and-more
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Tuesday Reviewsday: Mary J. Blige, TriBeCaStan and more
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2014-12-10T00:26:25+00:00
|
It's time for Tuesday Reviewsday, our weekly new music segment. This week we've got new music from Mary J. Blige, TriBeCaStan, Tētēma and Whitey Morgan.
|
en
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/apple-touch-icon.png
|
LAist
|
https://laist.com/shows/take-two/tuesday-reviewsday-mary-j-blige-tribecastan-and-more
|
It's time for Tuesday Reviewsday, our weekly new music segment. Joining A Martinez in the studio this week are music journalists Chris Martins and Steve Hochman.
Chris Martins
Artist: Mary J. Blige
Album: "The London Sessions"
Songs: "Right Now," "Whole Damn Year"
Notes: This, to me, is a story of artistic reinvention and aging very, very gracefully. We all know Mary J. Blige. This is her 13th album. She's got nine Grammys and is universally recognized as "The Queen of Hip-Hop Soul." And the past couple of years have been rife with nostalgia for the early-'90s R&B sound that she helped create and define. So, obviously she decided to just recycle old sounding material to cash in on this trend. Right? Wrong.
Mary moved to England to make this album, which is why it's called "The London Sessions." She worked with all of these incredible talents: house-pop duo Disclosure, soul sensation Sam Smith, Adele songwriter Eg White, Emile Sandé, and a bunch of others. There's a real scene over there, and she managed to plug right in, which is quite feat.
As I see it, any established, maybe past-prime artist can have her label source a few singles from whoever's hot at the moment. All it takes is money, and an email account to transfer the files. It's another thing to recognize quality amidst hype, and another still to fly across the ocean and embed yourself in someone else's world. And to find genuine chemistry there at the other side of that trip?
This album shouldn't sound as good, and as organic, as it does. And you can also hear the serious emotional depth and vocal charisma of Ms. Blige on songs like "Whole Damn Year." She's been through a lot over the years - addiction, depression, and abusive relationships. It's clear this London crew gave her a safe space to emote from.
Artist: Tētēma (Mike Patton, Anthony Pateras)
Album: "Geocidal"
Songs: "Tenz," "Irundi"
Notes: What we have here is nothing less than an attempt to "create a sonic universe from scratch." That sounds a bit lofty, but consider the constituent parts. Tētēma is Mike Patton - the most gifted and unhinged vocalist of our time - and Anthony Pateras, a genius composer, pianist, synth wizard who's been holding down the avant-garde in Australia. They also wrangle a 12-piece of classical mavericks to do their bidding.
Even if you don't recognize Patton's name, there's about zero percent chance you haven't heard that voice. He was, and is, the singer of "Faith No More," who are working on a new album.
"Geocidal" was recorded across three continents. Pateras started in France, where he locked himself in a remote convent for 10 days in order to figure out the framework. He then returned to Australia for over a year of orchestration. Finally, he visited Mike in S.F. and voila!
Conceptually, the album "investigates the murder of place" in light of the digital interconnectedness of everything. Does physical location matter? Why leave home? Is there something distinct out there, or is it all a big general culture mush? Not sure this'll answer the question, but to get an idea of what they're getting at, check out the track "Irundi."
Steve Hochman
https://www.youtube.com/watch?v=tiiP7Grx7Mw
Artist: Whitey Morgan and the 78s
Album: "Born, Raised & Live From Flint"
Songs: "Buick City Blues," "I Ain't Drunk"
Notes: We're approaching 40 years since the release of Wanted: The Outlaws, the compilation of Waylon Jennings, Willie Nelson, Jessie Colter and Tompall Glaser tracks that marked the official breakthrough of the outlaw country movement to the mainstream. Well, that edgy, rough-edged, plain-spoken sound is long gone from the country mainstream now, whatever the country mainstream is now. "Bro-country?" Kinda don't even want to know. Regardless, the Outlaw movement is experiencing a welcome new resurgence, with such artists as Sturgill Simpson bringing earnest, rowdy honky-tonk music up to date. The rowdy honky-tonk in question here was the Machine Shop in Flint, Michigan, from which Whitey Morgan and his band the 78s hail. The album opens with "Buick City Blues," an ode to his beleaguered town and the industry that made and broke it.
But his viewpoint is nationwide, and spans generations, tapping into the same spirit that's being heard in many places. The album's being released by Chicago's Bloodshot Records label, a long-time haven for gutty roots and country acts. Here in L.A. there's the regular Grand Ol' Echo events showcasing the latest generation of smart, frills-free California country. The titles alone tell much of the tale here, striking out from the "Buick City" working folks ode. And you might catch a theme with "Turn Up the Bottle," "Another Round" and then, implausibly, "I Ain't Drunk" - though in the next phrase he readily admits "I've Just Been Drinking."
You say tomato, I say another Bloody Mary, bartender. There are also several heroes honored, with versions of Johnny Paycheck's "Cocaine Train," Johnny Cash's "Bad News" and Dale Watson's tribute to Billy Joe Shaver, "Where Do You Want It." Only slightly off that road is Bruce Springsteen's "I'm On Fire" as Waylon might have done it, with that alternating bass pattern and steel guitar. The album closes with a cover of Hank Williams' "Mind Your Own Business." Waylon, in one of his '70s signature songs, stared down the Nashville country assembly line and shook his head, singing, "I don't think Hank done it this way." Whitey Morgan isn't even paying any mind to Nashville. Hank and Waylon would approve.
Artist: TriBeCaStan
Album: "Coal, Again!"
Songs: "Good King What's His Name," "Little Drummer Boychick"
Notes: Raise your hand if you're already sick of holiday music. Yup. Well, here's a nice variation, some familiar tunes done in the traditional styles of the country of TriBeCaStan. Oh, there's no such country as TriBeCaStan? Of course not. It's a band from, as the name indicates, the TriBeCa slice of Lower Manhattan, which arguably is all countries, or at least has representations from multiple cultures among its culture-conscious populace.
The sprawling band, founded and led by multi-instrumentalist/multi-culturalists John Kruth and Jeff Greene, has made a name for a truly global reach, weaving together bits and pieces of music from all over, with neither the dilettantishness nor New Age-i-ness that infects many such attempts. It also brings in a lot of humor, where solemnity is often the case. Hence when it came to a holiday collection, it wasn't going to be just another in the ho-ho-ho-hum routine. Here we get "O Little Town of Bethlemayhem," jamming together "O Tannenbaum" and "Little Town of Bethlehem" with ska beats and steel drums.
"Silver Bells" transitions from Hawaiian-ized country to trippy Klezmer. "Little Drummer Boychick" rides Claire Daly's deep, deep baritone sax into "Peter Gunn" territory, if Gunn was on a case that took him along the Silk Road, that is. And then there's "Good King What's His Name," in which Javanese gamelan meets Central African flutes. "Carol of the Bells," it turns out, is already an adaptation of a Ukrainian folk tun, "Schedryk," so of course the TriBeCaStanis drag it in directions they say draw on free jazz iconoclast Albert Ayler and prog masters King Crimson. Sure, why not?
|
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https://www.8notes.com/biographies/blige.asp
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Mary J Blige biography
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Mary J Blige Biography - 8notes.com
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Mary Jane Blige (born January 11, 1971) is an American R&B and soul singer, songwriter and producer. She was born in The Bronx, New York but grew up in the housing projects of Yonkers, eventually dropping out of school before graduating.
Blige's musical career began after she recorded 'Caught Up in the Rapture' (Anita Baker) with a mall karaoke machine in 1989. The tape found its way to Uptown Records, who signed her as a back-up singer. Up-and-coming producer Sean 'Puffy' Combs took an interest, however, and helped her with her critically acclaimed debut, What's the 411?, released in 1992. The album's mix of hip hop and soul music is sometimes called the beginning of nu soul.
The follow-up, My Life, while less successful than its predecessor, became an influential R&B album and would pave the groundwork for some of today's female R&B singers. After Uptown folded in 1994, Mary remained an artist for MCA Records throughout the 90s. In 1996 Blige scored a #2 hit with 'Not Gon' Cry,' a song she contributed to the soundtrack for the movie Waiting To Exhale. With Share My World, released in 1997, Blige began working with Jimmy Jam and Terry Lewis; the album was a commercial success, though reviews were mixed. After two years, Blige released her fourth and most critically-acclaimed album, Mary in 1999. The album sold over two million copies.
In 2001, Blige's fifth album, No More Drama was released. The first single, 'Family Affair,' shot straight to number one on Billboard's pop charts in the fall of 2001, becoming Blige's biggest hit single to date. The title track and 'Rainy Dayz' featuring Ja Rule, one of the most popular rappers of the time, also became two of Blige's biggest pop hits to date in 2002. The title song on this album borrowed the piano melody from the theme song to the soap opera The Young and the Restless.
At the Grammy Awards in early 2002, Blige created one of the best performances of the award show's history by going into an emotional version of No More Drama where she was seen crying at the end. After signing with Geffen after MCA folded in 2003, Blige released her sixth studio release, Love & Life. The album, featuring the Top 40 hit, Love at First Sight was certified Platinum.
Mary J. Blige is a 3-time Grammy award winner. One of which was her first for Best Rap Performance by a Duo or Group with rapper Method Man on their remake of the classic Marvin Gaye and Tammi Terrell single, You're All I Need to Get By, retitled I'll Be There For You/You're All I Need, in 1996. Blige is also an American Music Award and Soul Train Music award winner and won her first MTV Video Music Award for the video for No More Drama in 2002.
Blige is currently working on a new record, scheduled for a 2005 release.
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https://www.sportingnews.com/us/nfl/news/mary-j-blige-age-net-worth-hometown-super-bowl/itlgt6ashj8immqrko4i6ygp
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Who is Mary J. Blige? Age, net worth, hometown & more to know about Super Bowl halftime performer
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2022-02-13T13:47:00+00:00
|
Here are a few things you should know about Mary J. Blige before she takes the stage for the Super Bowl 56 halftime show.
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https://static-nw-production.sportingnews.com/fc55a8bcac977f3f5617cc289754ca23d3e9afb0-static/assets/images/favicon.ico
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|
Everyone step aside. The Queen of Hip-Hop Soul is coming through.
Mary J. Blige is set to join Dr. Dre, Eminem, Snoop Dogg and Kendrick Lamar on Sunday at SoFi Stadium for the Super Bowl 56 halftime show. The five music legends have combined for a total of 43 Grammy Awards and produced numerous hit songs, so they are expected to deliver stellar performances when the Bengals and Rams head to their locker rooms.
"I had the chance to sit back and watch [Blige's] set, and it gave me goosebumps," Dr. Dre said at the pre-Super Bowl press conference. "So, if I'm getting them, I know what the audience is gonna feel when she hits the stage. ... I'm not blowing smoke. I literally got goosebumps."
Here are a few things you should know about Blige before she takes the stage for the Super Bowl 56 halftime show.
MORE: Complete history of Super Bowl halftime show performers
How old is Mary J. Blige?
Mary Jane Blige is 51 years old. She was born on Jan. 11, 1971, in the Bronx, N.Y. She spent the first few years of her life moving around before settling in Yonkers, telling People in 2020 that growing up there was "very, very hard."
"I sang a lot. I just sang. It made me feel better," Blige said. "I'd wake up in the morning singing and go to bed singing and it just made me feel great. ... What made it hard was the environment. It was a lot of people hurting — trying to survive and the environment was just terrible. That's all I can say. Everybody did what they had to do to survive."
At 17 years old, Blige recorded a version of Anita Baker's "Caught Up in the Rapture," and the song found its way to Uptown Records. The label signed Blige, and she worked as a backup singer until she released her first solo album, "What's the 411?," in 1992. Sean "Puff Daddy" Combs served as a producer on the album, which achieved great commercial success.
Mary J. Blige net worth
Blige's net worth is $20 million, according to Celebrity Net Worth. She has built her fortune through her music and acting careers as well as endorsement deals with various brands.
MORE: How much are Super Bowl halftime show performers paid?
Where is Mary J. Blige from?
Blige is a proud New Yorker. While she had a rough upbringing, she considers the city "one of my favorite places."
"New York is just amazing and people need to know how amazing it is," Blige told People. "There's too much fun, too many things to eat, too many places to go and so many places to shop in New York."
MORE HALFTIME SHOW: 5 best performances ever | 5 worst performances ever
Mary J. Blige's family life
Is Mary J. Blige married?
Blige married her former manager Martin "Kendu" Isaacs in 2003, but she filed for divorce in 2016. The divorce was finalized in 2018 after a lengthy legal battle.
Blige does not have any biological children. Issacs had three children before starting his relationship with Blige.
Mary J. Blige's songs
"Be Without You"
"Family Affair"
"Just Fine"
"Not Gon' Cry"
"Real Love"
Super Bowl 56 halftime show trailer
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Mary J. Blige Birthday
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2022-10-11T13:31:08+00:00
|
It’s Mary J. Blige’s birthday! Want to know more about the Queen of Hip-Hop Soul? Here are all of the amazing facts about the award-winning artist.
|
en
|
/apple-touch-icon-57x57.png
|
National Today
|
https://nationaltoday.com/birthday/mary-j-blige/
|
Background
Mary J. Blige was born in the Bronx, New York, to Cora and Thomas Blige on January 11, 1971. She was raised with her older sister. Mary’s parents split when she was four years old. Her mother ended up taking them to Georgia with her. However, that lifestyle did not suit them, so she moved to New York and lived in a seedy neighborhood for most of her early days, spending the majority of her time in constant dread for her life. She quickly became obsessed with hip-hop music as a result of her mother’s collection, and her trips to visit her father also aided her in establishing a strong musical sense. Mary would often practice singing by performing in church choirs and at family events. Her sister and mother encouraged her to pursue her interest, and she won a local singing competition when she was eight years old. To follow her musical dreams, she dropped out of school and focused only on her musical endeavors.
Blige began working with song producer Sean Combs, commonly known as Puff Daddy, after signing with Uptown. He was appointed executive producer and was responsible for the majority of her debut album. Mary’s debut album, “What’s the 411?,” was launched in July 1992. Unexpectedly, it was embraced by both critics and the general public. It was a rare fusion of two disparate musical styles, soul and hip-hop, yet it struck a chord with the audience. The album debuted at number one on the Billboard 200 list and was certified three times Platinum by the R.I.A.A. Two hits from the album, ‘Real Love’ and ‘You Remind Me,’ became highly well-known, and the American music business heralded the arrival of a new period known as “Mary J. Blige.” She was a woman with great potential and ambition.
“My Life,” her second album, was released in 1995. It conveyed the hardships she had experienced in her personal life and mellowed down the hip-hop section. It appeared to try for an inner connection with the listeners and was successful in doing so. The album topped the charts and sold millions of copies, proving that Blige was not a ‘one-hit wonder.’ In 1996, “My Life” received a Grammy nomination for “Best R&B Album.” Despite losing the title, she then won the ‘Best Rap Performance’ award for her performance with Method Man. “My Life” also signaled the end of her relationship with some of her close friends and the label Uptown.
“Be Without You,” the lead single from her seventh album, “The Breakthrough,” was a smashing success that stayed at the top of numerous charts for weeks. Since then, she has released blockbuster albums that have garnered several awards and nominations. Following that, Blige headed into the movie industry. In 2001, she made her debut with “Prison Song.” She has also previously starred in the T.V. sitcom, “The Jamie Foxx Show.” She went on to appear in films such as “Rock of Ages”, and the medieval drama “Mudbound.” She received critical praise as well as multiple honors and nominations for her performance in “Mudbound.”
She fell in love with Kendu Issacs in the early 2000s and married him in 2003, but she filed for divorce in 2016. She became addicted to drugs and alcohol during the early phases of her career, which she considers to be the darkest period of her life.
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Mary Jane Blige is a minor actress on How to Get Away with Murder, who portrays the role of Rolanda. Blige was born on January 11, 1971, in Bronx, New York,[1] She is the second of four children born to mother Cora, a nurse, and second to father Thomas Blige, a jazz musician, The family...
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en
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https://static.wikia.nocookie.net/howtogetawaywithmurderabc/images/4/4a/Site-favicon.ico/revision/latest?cb=20210706222642
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How to Get Away with Murder Wiki
|
https://howtogetawaywithmurder.fandom.com/wiki/Mary_J._Blige
|
Mary Jane Blige is a minor actress on How to Get Away with Murder, who portrays the role of Rolanda.
Biography[]
Early Life[]
Blige was born on January 11, 1971, in Bronx, New York,[1] She is the second of four children born to mother Cora, a nurse, and second to father Thomas Blige, a jazz musician, The family subsisted on her mother's earnings as a nurse after her father left the family in the mid-1970s, the former an alcoholic and the latter a Vietnam War veteran who suffered from post-traumatic stress disorder. Blige spent her early years in Richmond Hill, Georgia, where she sang in a Pentecostal church.[2] Blige later moved to Schlobohm Houses in Yonkers, New York, immediately north of New York City, where she lived with her mother and older sister. Blige dropped out of high school in her junior year.[3]
Later Life[]
On February 5, 2014 a remix of Disclosure's "F for You" featuring guest vocals from Mary was released.[4] It was announced May 30, 2014 that Think Like a Man Too (Music from and Inspired by the Film), released June 17 on Epic Records, would introduce new songs by Mary J. Blige, including the single "Suitcase".[5] Blige recorded a collection of music from and inspired by the film. In the United States, Think Like a Man Too debuted at number 30 on the Billboard 200, with 8,688 copies sold in its first week, becoming the lowest sales debut of any of her studio albums. On Billboard's R&B/Hip-Hop chart, the soundtrack album charted at number six, marking Blige's 16th top ten entry on the chart, tying her with Mariah Carey for the second-most top tens by a female artist.[6]
June 2, 2014 saw Blige pairing up with another English musician with the release of a re-worked version of Sam Smith's "Stay with Me". A live visual to the song was released on the same day.[7] Following her concert date at the Essence Festival, on July 9, 2014 it was announced Blige would move to London to experiment with a new sound for her new album.[8] Blige spent a month in London recording her album in RAK Studios with a host of young British acts, including Disclosure, Naughty Boy, Emeli Sandé and Sam Smith. Ten new songs, co-written and recorded by the singer, was released on November 24, 2014 on an album entitled, The London Sessions.[9] That same month, she announced that she left Geffen and Interscope and signed with Capitol Records.
In August 2016, Blige was recruited to perform the new theme song for the ABC Daytime talk show The View for its twentieth season titled "World's Gone Crazy" written by Diane Warren. A music video was also shot for the new theme song. Blige also appeared on The View alongside Maxwell during its premiere week on September 9, 2016 to discuss their joint tour and theme song. On September 30, 2016 Blige premiered a new show The 411 on Apple Music. For its debut episode, Blige interviewed Hillary Clinton. A trailer was released online with Blige singing a cover of Bruce Springsteen's "American Skin" to a bewildered Clinton. The exchange received mixed and negative reaction from social media. Two weeks later, a studio version, this time featuring a verse from American rapper Kendrick Lamar was released online. It too is set to appear on Strength of a Woman.
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https://open.spotify.com/artist/1XkoF8ryArs86LZvFOkbyr
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Mary J. Blige
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Listen to Mary J. Blige on Spotify. Artist · 10.9M monthly listeners.
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en
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Spotify
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https://open.spotify.com/artist/1XkoF8ryArs86LZvFOkbyr
|
Be Without You - Kendu Mix
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correct_birth_00056
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FactBench
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3
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https://www.nickiswift.com/107991/tragic-real-life-story-mary-j-blige/
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en
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The Tragic Real-Life Story Of Mary J. Blige
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"Stassi Reid"
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2018-02-02T18:25:28+00:00
|
The Grammy award-winning singer has proven she's a multi-faceted talent, but she has a dark past. Here's the heartbreaking story of Mary J. Blige's tragic life.
|
en
|
Nicki Swift
|
https://www.nickiswift.com/107991/tragic-real-life-story-mary-j-blige/
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Since the '90s, Mary J. Blige has made a living out of pouring her heart and past experiences from her childhood and adulthood into her music. After being signed to Uptown Records as a teenager, the Queen of Hip-Hop Soul topped the charts with impassioned tunes like "Real Love" and "You Remind Me." And Collaborations and duets with George Michael, Elton John, and U2 soon followed, catapulting her into the A-List forever.
The Grammy award-winning singer has also proven that she's a multi-faceted talent. Her musical contributions, as well as her acting performances in films like the 2017 Netflix movie Mudbound, earned her a much-deserved star on the iconic Hollywood Walk of Fame in January 2018. But her constant string of success has only exacerbated deep-rooted issues, and brought along a whole new set of personal problems. Her real life is much more harrowing than any song she has ever written. Here's the heartbreaking story of Mary J. Blige's tragic life.
Growing up in the gritty city of Yonkers with her mom Cora, sister, five cousins, and two aunts, Mary J. Blige was always surrounded by music, she revealed to the Telegraph. Hits by great soul artists, such as Aretha Franklin and Patti LaBelle, were always on rotation. Although they lived in poverty in a drug-riddled neighborhood, love and a strong family unit sometimes has the ability to overcome even the most unsavory situations, but Blige's upbringing was anything but rosy.
While speaking to the The Guardian, she used some harsh language to describe her family members. "The environment that I was in — they'll be mad at me, but it's the truth — they were angry, hateful, jealous, ignorant, prideful people," she said. And she specifically called out her aunts as being "very mean people."
Her relationship with her mom was also severely strained, saying her mom wanted to be singer. "It might be that she's living vicariously through me, but I believe she's gotten real bitter about it," Blige said. "It's probably why we've never really got along."
In 2017, it appeared they had patched up their relationship when Blige gave a heartwarming speech in dedication to her mom during VH1's Dear Mama event. She said, "I'm happy that I chose you to be my mom because you gave me everything that I love about me."
In a 2002 interview with The Guardian, reporter Caroline Sullivan recalled an experience she had with the singer some years prior when she was still getting adjusted to fame. Things went all the way left when Sullivan asked the seemingly innocuous question: "Is there a Mr. Mary J. Blige?" Blige, assuming Sullivan was referring to her father, Thomas, got up and left the room.
It was then revealed that Thomas had walked out on their family at some point during her childhood, and Blige didn't get the opportunity to meet him for many years. When they finally came face to face, Thomas was pre-occupied with his failed career as a musician, according to a follow-up piece by The Guardian. The article read: "His focus was all to do with his being a washed-up bass player who never made it, and with her having somehow stolen a march on him."
Despite his animosity, Blige credited him for teaching her how to "hold notes, how to harmonize," and she even went as far as to thank him in the credits of her album sleeves on some of her earlier records. But by the time her 2001 album No More Drama was released, The Guardian noticed that Thomas' name had been omitted, signaling yet another shift in their seemingly non-existent relationship.
While speaking with The Washington Post, Mary J. Blige said as a child, she "didn't care about getting an education," and she ultimately dropped out of school in the 11th grade, according to CBS. Reading at only an eighth-grade level meant she ran into many issues throughout her career. "It hurts a lot when you cannot really comprehend what a person is saying in a meeting or you don't even understand what you're reading in your contract," she said.
In 2011, she decided to make her education a priority by obtaining her GED. "What I came to understand about education is that it is the key to life," she said. There were also rumors that she was headed off to Howard University, and that rumor allegedly came straight from Blige herself. After serenading fans in New York's Central Park on ABC's Good Morning America, Blige allegedly shared with the crowd (while off camera) that she had gotten accepted to the college and would begin her studies in 2014.
Everyone was completely shocked by the news, especially the university. The Washington Post's Reliable Voices reported on a statement from the school, and they shot down the rumor and denied Blige had been accepted to the historically black campus. However, they left the door open for her to someday become an HU Bison by saying: "We are happy to work with Ms. Blige on completing the formal process for admission."
In an interview with Makers (via Essence), Mary J. Blige described how her life took a turn after the release of her debut album, What's the 411?
She was still living with her family in the projects in Yonkers, N.Y., and she soon realized she wouldn't be getting a pat on the back or fist bumps from her neighbors whenever her songs came on the radio. "People want to buy your records, they want to see you," she said. "But, people in the neighborhood wanted to kill you for it. So you plucked this girl from the hood and throw her in all of this stuff and so, she's going to survive the only way she knows how."
She went on to describe how she was "in hell" during the early stages of her career, but it made her realize that singing could save her. "I was like, 'Whoa! You have to sing for your life," she said.
She went on to record her sophomore album, My Life, which she described as her "call for help." She told the publication: "I didn't think anybody would pay attention to my call for help, but my fanbase did." The winning formula for her album proved to be the "depression and all this oppression" she was dealing with in her real life, and when she fueled that gut wrenching pain into her lyrics, she became a musical force to be reckoned with.
After facing so many devastating life events, Mary J. Blige turned to drugs. In a 2013 interview with Los Angeles Confidential (via USA Today), the "Not Gon' Cry" singer opened up about her past addictions — which she later revealed as cocaine use — by saying, "So many dark moments—which all added up and that's what sprung on the drug addiction, trying to numb it all with the drugs."
Illicit drugs weren't her only vice. The singer kicked her cocaine habit and "traded" it for alcohol to help "cover up guilt. Shame. Abandonment." Her wake up call occurred in 2012 following the death of fellow singer, Whitney Houston. "Whitney Houston's death really affected me," she said. "Her death is another reason I stopped [drinking]."
To fight her addiction, she didn't enroll in a rehab center. Instead, she turned to a higher power. "I believe that anything man himself can do for me, God can do for me in a greater way," she explained. "I decided to pray and to seek God on my own. I just stayed in The Word. And it worked."
Since then, Blige has taken an unorthodox approach to battling alcoholism. In a 2012 appearance on The Wendy Williams Show (via BET), she admitted she hasn't given up the booze for good. "I don't need alcohol to get me out of a depression or get me out of a bad moment, but I have occasional drinks with my friends," she explained.
In the '90s, hip-hop soul — a mixture of R&B infused with hip-hop beats — was reigning supreme. Mary J. Blige fell in love with a fellow singer who was also immersed in this same genre of music: Cedric "K-Ci" Hailey of the R&B quartet Jodeci. Their romance appeared to be the sweet melodic merging of two artists who were equally meshed, career-wise at least, and it lasted for 12 years, according to Essence. However, Blige admitted things had turned disrespectful and abusive in a taped interview.
During one incident, she and Jodeci were in London to perform, and they had separate on-camera interviews with the same television show. Blige, unaware of what K-Ci had discussed during his segment, shared the news of their engagement with the show's hosts and audience. The show then ran a pre-recorded clip from K-Ci's segment with him announcing to the crowd: "K-Ci is not getting married!" When the camera cut back to Blige, with her face full of hurt and anger, she hastily responded to the footage by saying: "No, we're not getting married now."
After that event, Blige still attempted to keep their relationship intact. "When I was supposed to let go I started feeling like, nah, I can't let these women take what I know I worked so hard for, what I cried over every night and what I actually fought and [was] abused by," she said.
In 2003, Mary J. Blige married Martin "Kendu" Isaacs. She later hired him as her manager, and things appeared to be going smoothly...until they weren't anymore. In 2016, she filed for divorce, citing irreconcilable differences. Their divorce was anything but amicable, and soon enough, the former couple was squabbling over everything, from spousal support payments to rumors that Isaacs had cheated during their marriage.
During her VH1 documentary, Strength of a Woman (via Extra), Blige opened up to fellow singer Ne-Yo, who was producing tracks on her new album, about the cheating rumors. She cited her own protégée, a singer named LaNeah "Starshell" Menzies, as the woman who came between them, although Starshell's name was bleeped out of audio. "All these years have come to this, like, you didn't even pick me, you picked somebody else," she said. "That s**t is humiliating. It hurt real bad. But... they got beds, we gotta lay in it."
In another clip from the show (via Page Six), Blige said to Ne-Yo in reference to Starshell, "And just so we're clear... Do not let her anywhere near what you're doing for me, because she's the reason for all of this s**t." Starshell was also listed in Blige's divorce petition, according to TMZ. During their marriage, the singer claimed her estranged husband had taken more than $420,000 for "travel charges," but the money was allegedly spent on his mistress instead.
The turmoil she experienced throughout her life almost pushed her over the edge, and the singer revealed to CNN that at one point, she even struggled with suicidal thoughts.
Speaking candidly, Mary J. Blige stated, "I guess it was something in me did want to die — you know, I guess my spirit didn't want to die, but my physical body definitely was at some point was like I gotta get out of here." Thankfully, her inner self helped her through those dark moments. "My physical body was contemplating suicide and all this other crazy stuff," she continued, "and my spirit is what saved me, I believe."
If you or someone you know is having suicidal thoughts, please call the National Suicide Prevention Lifeline at 1-800-273-TALK (8255) or text HOME to the Crisis Text Line at 741741.
In 2009, Mary J. Blige co-founded a center in Yonkers called the Foundation for the Advancement of Women Now (FFAWN). The center was created as a safe haven where women and young girls could receive life skills, self-help, and gain the tools they needed to become more empowered. The foundation is something Blige holds dear to her heart, but during the center's ribbon cutting ceremony, the layer of sadness beneath her excitement soon reared its head.
While speaking to CNN, Blige said she was compelled to help women, especially after what she had experienced while growing up. "As a child I [saw] women really, really suffer terrible, terrible situations, and I vowed as a child to want to do something — anything — that can help them have better self-esteem so that they don't have to be subjected to men that wanted to kill them."
She continued by saying the opening ceremony gave her mixed feelings. "It was happy and sad because you know the very place where I've seen so many women suffer is the sad part, and the very place that I suffered is the sad part," she explained. "But the happy part is I'm back to help. I'm back doing what I dreamed to do. My dream is coming true."
"It took a lot of prayer," Mary J. Blige told Self in an Oct. 2019 interview about how she dealt with her tragedies in her life. But while she wears her heart on her sleeve in her music and the openness in which she talks about her past, there are some thing the public will never know — and for valid reason. "Everybody thinks they know everything, but nobody really knows," she explained. "You only know what I tell you. And I don't tell everything."
"As public as I am, I'm real private.... I'll give you the juice and the truth, but not the stuff that's going to kill me.... I grew up in a neighborhood where we couldn't tell everything," she continued. "It would kill us. So you 'know,' but you don't [know]. You know?"
However, Blige knows that talking about her own trauma has helped her connect to her fans and hopes it can help others heal. "The relationship that I've built with my fans — just because I'm Mary J. Blige and I'm a big superstar, I'm going to start denying them our therapy? Nah," she said. "This stuff happens so that we can talk."
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correct_birth_00056
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FactBench
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https://www.cram.com/essay/Essay-On-Mary-Blige/PCWYKHB66PV
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en
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Essay On Mary Blige - 614 Words
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https://www.cram.com/essay/Essay-On-Mary-Blige/PCWYKHB66PV
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The “queen of hip hop soul” is what they called Mary J. Blige. She is known for her deep emotional songs that are inspired by the trials and tribulations stemming from her childhood through to her adulthood. Mary J. Blige is of the most inspirational idols of today because of her adverse childhood, how she overcame setbacks, and her continuing advocacy of the strength and independence of women.
Mary J. Blige’s childhood emulates mine in many ways. Mary Jane Blige was born on January 17, 1971, in the Bronx, New York to parents Cora and Thomas Blige. Her mom was a hardworking nurse and her dad was an ex war veteran and later a jazz singer. Mary’s father suffered from PTSD and would physically and emotionally abuse her mother and even Mary and her siblings. Mary’s mom managed to get her and her siblings out of the home and moved them. …show more content…
She began to sing at church and this improved her singing. As she got older, Mary J. Blige lacked self-confidence. This caused her to drop out of high school. She turned to a life of drugs and alcohol. According to Mary, this made her feel better, but it was only a way to escape reality. Her discovery came when she sent a recording of her voice to Andre Harrell who was CEO of Uptown Records. Mary would begin her successful career as a singer. Like Mary J Blige, I lacked self-confidence. As a child growing up, I worried about my image. I resorted to poetry as a way to express my feelings just as Mary J. Blige turned to music. Throughout her career Mary J. Blige continues to inspire and uplift woman through there hardships. She encourages independence and empowerment of women in her songs which all have a powerful message behind them. My mom has always instilled in me to never rely on any man. Today, I continue to follow this motto, and like Mary J. Blige, I empower my friends when they are feeling down. Mary J. Blige is a true representation of strength through her
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Music News
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With the release of Mary J. Blige’s album “Good Morning Gorgeous”, it’s a good time to look back at her iconic catalog. Putting together a list of the best songs by legendary singer Mary J. Blige is no easy task. The iconic Queen of Hip-Hop Soul has given us so much good music over the past three decades that simply picking her best songs in nearly impossible.
The list you will find below represents an eclectic mix of songs from throughout Blige’s career. It would have been very simple to select all of the songs from her first few classic albums, but that wouldn’t be fair.
What we are reminded of when revisiting the discography of Mary J. Blige is how many times she’s been able to reinvent her sound while still creating great music that is true to her soul. The fact that you will find many of the songs she released from earlier in her career in our Top 10 is not an indication that she hasn’t released great music in recent years, but more so how timeless those earlier songs really were.
Click Here to view all of our Top 10 Lists.
Without further ado, here is our list of The Top 10 Best Mary J. Blige Songs in chronological order. (click any song title to listen to it).
Real Love (from the “What’s the 411?” album)
This R&B classic released in 1992 from Mary’s debut album. It became one of her signature songs, blending hip-hop beats with soulful vocals, and it catapulted her to fame. “Real Love” is celebrated for its empowering lyrics and infectious groove, solidifying Mary J. Blige as the “Queen of Hip-Hop Soul.”
My Life (from the “My Life” album)
The title track from Mary J. Blige’s second studio album, released in 1994. It’s a deeply personal and introspective R&B song where Blige reflects on her struggles, growth, and resilience. The album and its title track are praised for their raw emotion, honesty, and Blige’s ability to connect with listeners through her soulful voice and poignant lyrics. “My Life” remains one of Mary J. Blige’s most iconic and influential songs.
Mary Jane (All Night Long) (from the “My Life” album)
An iconic representation of the timeless work Blige did with Chucky Thompson and Sean “Puffy” Combs on her first two albums.
Everything (from the “Share My World” album)
This song showcases Blige’s powerful vocals and emotional depth, and is especially notable for its heartfelt lyrics and smooth production.
Share My World (from the “Share My World” album) (from the “Share My World” album)
This Rodney Jerkins produced gem is the title track from Blige’s third studio album. The song’s lyrics express vulnerability and a desire for connection, reflecting Blige’s personal growth and evolution as an artist.
All That I Can Say (from the “Mary” album)
This Lauryn Hill written jam is notable for its emotional depth and vocal prowess, a highlight of Blige’s ability to convey genuine emotion through her music.
Family Affair (from the “No More Drama” album)
The lead single from Blige’s fifth album, this song has an infectious beat courtesy of Dr. Dre and undeniable groove.
Be Without You (from “The Breakthrough” album)
The song became a major hit, topping the charts and earning Blige several awards, including a Grammy. “Be Without You” is praised for its powerful vocals, heartfelt lyrics, and its portrayal of love and resilience, cementing its place as one of Blige’s most iconic songs.
Work That (from the “Growing Pains” album)
“Work That” is an empowering R&B and hip-hop track where Blige celebrates self-confidence, inner strength, and overcoming adversity. The song showcases Blige’s ability to blend personal storytelling with empowering lyrics, making it a motivational anthem for many.
U Me (Love Lesson) (from the “Strength of a Woman” album)
“U Me (Love Lesson)” is a song by Mary J. Blige from her album “Strength of a Woman,” released in 2017. The song’s heartfelt lyrics and emotional delivery highlight Blige’s ability to connect with listeners through her personal experiences and soulful vocals.
Honorable Mention:
-You Remind Me (from the “What’s the 411?” album)
-Sweet Thing (from the “What’s the 411?” album)
-Reminisce (Remix featuring C.L. Smooth) (from the “What’s the 411? Remix” album)
-I’m Goin Down (from the “My Life” album)
-I Love You (from the “My Life” album)
-I Can Love You (featuring Lil’ Kim) (from the “Share My World” album)
-Seven Days (from the “Share My World” album)
-Not Gon’ Cry (from the “Waiting to Exhale” soundtrack)
-A Dream (from the “Money Talks” soundtrack)
-Beautiful (from the “How Stella Got Her Groove Back” soundtrack)
-Deep Inside (from the “Mary” album)
-Give Me You (from the “Mary” album)
-No More Drama (from the “No More Drama” album)
-Dance For Me (featuring Common) (from the “No More Drama” album)
-Don’t Go (from the “Love & Life” album)
-Ooh(from the “Love & Life” album)
-No One Will Do (from “The Breakthrough” album)
-Just Fine (from the “Growing Pains” album)
-Stay Down (from the “Growing Pains” album)
-I Am (from the “Stronger With Each Tear” album)
-25/8 (from the “My Life II… The Journey Continues (Act 1)” album)
-Suitcase (from the “Think Like a Man Too” soundtrack)
-Whole Damn Year (from “The London Sessions” album)
-Thick Of It (from the “Strength of a Woman” album)
-Good Morning Gorgeous (from the “Good Morning Gorgeous” album)
-Still Believe In Love (Non-Album Single)
The post The Top 10 Best Mary J. Blige Songs appeared first on YouKnowIGotSoul.com | New R&B Music, Songs, Podcast, Interviews.
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en
|
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|
Star 94.7
|
https://947-star.com/music/you-know-i-got-soul-news/02131cb78cc91203c0652e81725aa16e
|
With the release of Mary J. Blige’s album “Good Morning Gorgeous”, it’s a good time to look back at her iconic catalog. Putting together a list of the best songs by legendary singer Mary J. Blige is no easy task. The iconic Queen of Hip-Hop Soul has given us so much good music over the past three decades that simply picking her best songs in nearly impossible.
The list you will find below represents an eclectic mix of songs from throughout Blige’s career. It would have been very simple to select all of the songs from her first few classic albums, but that wouldn’t be fair.
What we are reminded of when revisiting the discography of Mary J. Blige is how many times she’s been able to reinvent her sound while still creating great music that is true to her soul. The fact that you will find many of the songs she released from earlier in her career in our Top 10 is not an indication that she hasn’t released great music in recent years, but more so how timeless those earlier songs really were.
Click Here to view all of our Top 10 Lists.
Without further ado, here is our list of The Top 10 Best Mary J. Blige Songs in chronological order. (click any song title to listen to it).
Real Love (from the “What’s the 411?” album)
This R&B classic released in 1992 from Mary’s debut album. It became one of her signature songs, blending hip-hop beats with soulful vocals, and it catapulted her to fame. “Real Love” is celebrated for its empowering lyrics and infectious groove, solidifying Mary J. Blige as the “Queen of Hip-Hop Soul.”
My Life (from the “My Life” album)
The title track from Mary J. Blige’s second studio album, released in 1994. It’s a deeply personal and introspective R&B song where Blige reflects on her struggles, growth, and resilience. The album and its title track are praised for their raw emotion, honesty, and Blige’s ability to connect with listeners through her soulful voice and poignant lyrics. “My Life” remains one of Mary J. Blige’s most iconic and influential songs.
Mary Jane (All Night Long) (from the “My Life” album)
An iconic representation of the timeless work Blige did with Chucky Thompson and Sean “Puffy” Combs on her first two albums.
Everything (from the “Share My World” album)
This song showcases Blige’s powerful vocals and emotional depth, and is especially notable for its heartfelt lyrics and smooth production.
Share My World (from the “Share My World” album) (from the “Share My World” album)
This Rodney Jerkins produced gem is the title track from Blige’s third studio album. The song’s lyrics express vulnerability and a desire for connection, reflecting Blige’s personal growth and evolution as an artist.
All That I Can Say (from the “Mary” album)
This Lauryn Hill written jam is notable for its emotional depth and vocal prowess, a highlight of Blige’s ability to convey genuine emotion through her music.
Family Affair (from the “No More Drama” album)
The lead single from Blige’s fifth album, this song has an infectious beat courtesy of Dr. Dre and undeniable groove.
Be Without You (from “The Breakthrough” album)
The song became a major hit, topping the charts and earning Blige several awards, including a Grammy. “Be Without You” is praised for its powerful vocals, heartfelt lyrics, and its portrayal of love and resilience, cementing its place as one of Blige’s most iconic songs.
Work That (from the “Growing Pains” album)
“Work That” is an empowering R&B and hip-hop track where Blige celebrates self-confidence, inner strength, and overcoming adversity. The song showcases Blige’s ability to blend personal storytelling with empowering lyrics, making it a motivational anthem for many.
U Me (Love Lesson) (from the “Strength of a Woman” album)
“U Me (Love Lesson)” is a song by Mary J. Blige from her album “Strength of a Woman,” released in 2017. The song’s heartfelt lyrics and emotional delivery highlight Blige’s ability to connect with listeners through her personal experiences and soulful vocals.
Honorable Mention:
-You Remind Me (from the “What’s the 411?” album)
-Sweet Thing (from the “What’s the 411?” album)
-Reminisce (Remix featuring C.L. Smooth) (from the “What’s the 411? Remix” album)
-I’m Goin Down (from the “My Life” album)
-I Love You (from the “My Life” album)
-I Can Love You (featuring Lil’ Kim) (from the “Share My World” album)
-Seven Days (from the “Share My World” album)
-Not Gon’ Cry (from the “Waiting to Exhale” soundtrack)
-A Dream (from the “Money Talks” soundtrack)
-Beautiful (from the “How Stella Got Her Groove Back” soundtrack)
-Deep Inside (from the “Mary” album)
-Give Me You (from the “Mary” album)
-No More Drama (from the “No More Drama” album)
-Dance For Me (featuring Common) (from the “No More Drama” album)
-Don’t Go (from the “Love & Life” album)
-Ooh(from the “Love & Life” album)
-No One Will Do (from “The Breakthrough” album)
-Just Fine (from the “Growing Pains” album)
-Stay Down (from the “Growing Pains” album)
-I Am (from the “Stronger With Each Tear” album)
-25/8 (from the “My Life II… The Journey Continues (Act 1)” album)
-Suitcase (from the “Think Like a Man Too” soundtrack)
-Whole Damn Year (from “The London Sessions” album)
-Thick Of It (from the “Strength of a Woman” album)
-Good Morning Gorgeous (from the “Good Morning Gorgeous” album)
-Still Believe In Love (Non-Album Single)
|
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correct_birth_00056
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https://ny1.com/nyc/all-boroughs/entertainment/2021/06/21/black-music-month--spotlighting-bronx-born-mary-j--blige
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en
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born Mary J. Blige shares her pain
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Singer Mary J. Blige talks good times and bad times.
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https://ny1.com/nyc/all-boroughs/entertainment/2021/06/21/black-music-month--spotlighting-bronx-born-mary-j--blige
|
NEW YORK â June marks Black Music Month and a local star is in the spotlight.
The life of Bronx-born singer Mary J. Blige has been on display for the world to witness over her more than 30-year career. That means her successes and her failures have been well documented. Sharing her pain in her music has helped to make Blige a superstar.
"'My Life' was probably my darkest album, like one of the darkest times I have had," Blige said in her Amazon Prime video documentary, which debuts Friday. "Most of the time I was just depressed and didn't want to live."
Titled, âMary J. Bligeâs My Life,â itâs about the making of her 1994 album, âMy Life.â
"There are so many people in this documentary explaining what this album did for them,â said Blige. "Fans are in groups talking about how it helped them to become better people and save their lives."
Successfully combining the hip-hop flavor of the 1980s and 90s and the gritty soul sound of the 60s and 70s, Mary J. Blige quickly became know as the queen of hip-hop soul in the 1990s.
Sharing her lifeâs story of trials and tribulations makes her extremely relatable and loved by her fans.
No personal topic seems untouchable. From a tough childhood, to her adult battles with abuse, depression and addiction, the music has it all and so does the documentary.
"You get it from the horse's mouth and instead of on paper from a reporter,â Blige said while laughing.
âThere are so many songs that define me because they are all pretty much about me," she added.
Songs like, âWhatâs the 411?" âNo More Drama,â and âTake Me As I Am.â
Blige has earned multiple honors and awards, including nine Grammys. The singer and songwriter also has the acting bug with two Academy Award nominations and two Golden Globe nominations.
If thereâs more drama to come in the singerâs life, weâre sure to hear about it in her music.
------
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Love Thy Community Presents The Lit Bar
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2023-04-24T00:00:00
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Love Thy Community Presents The Lit Bar April 24, 2023 Introducing the latest business in our ongoing Love Thy Community initiative. At Kith, we believe in uplifting underrepresented communities by amplifying their voices, and we are proud to continue this mission in partnership with Vault by Vans. The program’s third
|
en
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Kith
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https://kith.com/blogs/kith/love-thy-community-presents-the-lit-bar
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Who is Noëlle Santos?
I’m a regular, degular, shmegular girl from The Bronx.
Why a bookstore? Was this a lifelong dream of yours?
I believe there are purebred entrepreneurs, and then there are people who are entrepreneurial – I consider myself the latter. I never imagined owning a bookstore or any type of business. In 2014, I came across a petition on Facebook that stated the last bookstore in The Bronx was in jeopardy of being displaced. I signed it and got some friends to join me, but it wasn't enough. I recognized that books were the windows that offered me possibilities and an escape from my challenging upbringing. I became enraged that "the adults" allowed our access to books to be up for debate. I felt cowardly for once measuring my success by how far I might one day get away from The Bronx. The reality that over 1.5 million people in the literary capital of the world could lose such a vital resource, and that no one was coming to save us, stopped me in my tracks. I decided to be the change I wanted to see.
When was The Lit. Bar founded?
I signed that petition on October 22, 2014 and The Lit. Bar was incorporated on January 15, 2015. It took me over 3 years to study two industries that were foreign to me, write a business plan, test the market, create a buzz, raise capital, and make it out of construction hell. I opened the store on National Indie Bookstore Day, April 27, 2019.
Why did you choose to incorporate a wine bar?
What better way to loosen our tongues and talk about the books we love? During my initial market research, I learned very quickly what indie bookstores were up against, and that I couldn’t just be a place to buy books. I needed to bring The Lit. Bar into the future in order for it to be sustainable, and that meant making it a social experience. I also needed something to counter the slim profit margins on books. The solution came organically to me because it’s the vibe I set when I’m reading at home.
What challenges did you face in your transition from HR to a bookstore owner?
One of the biggest challenges was that many gatekeepers in banking, real estate, and even some local politicians didn't believe that The Bronx was a viable market for a bookstore. This made it difficult to secure the financing and real estate necessary to open The Lit. Bar. Another challenge I faced was balancing my full-time job with the physically and mentally taxing startup demands. I worked up until the day my construction started and it took almost a full year to complete. It was a challenging journey, and still is, but this labor of love has all been worth it.
How has your community been a part of your journey?
From the very beginning, they showed up for me by contributing to my crowdfunding campaign and helping to make my dream a reality. Community members generously volunteered their time to make my pop-up shops a success. Even during the build-out of the store, the community was involved, voting on design choices, and complete strangers brought me dinner as I worked around the clock. Our neighboring businesses and landlord also played a crucial role by educating me on bar equipment, construction, licensing, and operations.In 2020, New York City was the epicenter of the COVID-19 pandemic and the country's racial reckoning, and The Bronx was at the heart of it all. Despite such a challenging time, the community rallied behind us and ensured that we could survive the store closure and protests and continue serving them.
What have been some of your favorite accomplishments with The Lit. Bar?
While I was interviewing President Obama, I asked him to throw up the “X” for The Bronx, and he did it! It was at that moment that I felt like I made it. JLo, Carmelo Anthony, Mary J. Blige, Neil DeGrasse Tyson, Fat Joe, Slick Rick, Justice Sonia Sotomayor, Alfre Woodard, and more have all graced us with their presence. These opportunities excite me not only for the exposure and clout they bring, but also because connecting pop culture and literature helps me win over some of our young reluctant readers. We’re exposing them to careers in the book industry and inspiring them to stay and invest in their own community.
Tell us a bit about your design choices for the shoes.
When I first announced The Lit. Bar’s concept, a lot of the responses I received were “books and wine? That is so white”. I know where those internalized sentiments come from, so I wanted to show my community that books and wine are not reserved for white people. We too deserve nice things in our community and we can do so while preserving the culture that already exists here. This inspired the store’s theme of graffiti and chandeliers to pay homage to the art form born here with a touch of sophistication. I carried that theme onto the shoes.
Have you always been into poetry? What inspired your poem that we see on the back of your shirt? Hip-hop is poetry, so yes.I entered a business plan competition and rapped my pitch for a little razzle-dazzle (of course, I won). Those lit barz would later become the lyrics for the video of my crowdfunding campaign (I won that too). They state our mission and our ethos, and I thought it would be dope to keep them front and center on the t-shirt – emphasizing the lines that evoke emotion in our red wine brand color.
How does it feel to have your very own capsule with Vans x Kith?
I bet the world expected me to write a book before I designed apparel. So did I. I couldn’t dream of a more special way to bring in National Indie Bookstore Day and The Lit. Bar’s 4-year anniversary.It is truly an honor to have my very own capsule with such an iconic brand like Vans and create alongside a progressive and innovative brand like Kith. It’s a brilliant partnership and I am so grateful for the opportunity to showcase The Lit. Bar and The Bronx on a larger platform. Thank you for seeing us! This partnership is not just about fashion, but about shining a light on minority-owned businesses and amplifying our voices. I hope this collaboration will inspire others to support and uplift their own communities.
Do you have more planned for The Lit. Bar?
I can't speak about my future plans just yet, but here’s a hint: I believe that media is the future of retail.
Where can we find you?
131 Alexander Avenue in the South Bronx and everywhere @thelitbar. You can find me making bossy & bookish commentary and doing hoodrat things with my friends @1st.Noelle on Instagram.
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correct_birth_00056
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FactBench
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2
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https://www.maryjblige.com/bio
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en
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Mary J Blige
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Iconic Grammy Award-winning singer, songwriter, actress and philanthropist, Mary J. Blige is a figure of inspiration, transformation and empowerment making her one of the defining voices of the contemporary music era. With a track record of eight multi-platinum albums, nine Grammy Awards (plus a staggering 32 nominations), a 2012 Golden Globe nomination, and five American Music Awards, Blige is a global superstar. In the ensuing years, the singer/songwriter has attracted an intensely loyal fan baseâresponsible for propelling worldwide sales of more than 50 million albums.
| null |
Born in the Bronx, New York, Blige began moving people with her soulful voice when at 18 she signed with Andre Harrellâs Uptown Records in 1989, becoming the MCA-distributed labelâs youngest and first female artist.
Influenced at an early age by the music of Aretha Franklin, Chaka Khan and Gladys Knight, Blige brought her own gritty, urban-rooted style â fusing hip-hop, soul and honest, frank lyrics â to the forefront on her 1992 debut album Whatâs the 411? The multi-platinum set, executive produced by Sean âDiddyâ Combs, quickly spun off several hits, including two No. R&B No. 1s: You Remind Me and Real Love.Â
Blige helped redefine R&B and began forging a unique niche for herself on the more personal second album, 1994âs My Life. Blige is an artist that uses her gift of song to lift spirits and touch lives while bringing her heart, soul, and truth to those who are willing to listen. She is loved for her passionate, chart-topping hits like âBe Without Youâ, âNo More Dramaâ and âFamily Affairâ all of which have made her a force in music.Â
Strength of a Woman
Blige most recently released her 14th studio album Strength of a Woman in 2017. The first single, âThick of It,â held the number 1 spot on the Urban AC Chart for 16 consecutive weeks after its release in November. Blige also scored her latest #1 single off this album with âU + Me (Love Lesson).âÂ
On the acting side, Blige starred as Florence Jackson in the 2017 Netflix breakout film MUDBOUND, to which she received critical acclaim including two Academy Award nominations for Best Support Actress and Best Original Song. She starred in the Netflix series âThe Umbrella Academy,â which premiered on the platform in February 2019.
On the producing side, Blige launched her production company, Blue Butterfly, and signed a first-look TV deal with Lionsgate. Blige also entered the fashion and beauty realm with her jewelry line âSister Loveâ with long-time friend Simone I. Smith, and her âLove Meâ lipstick line with MAC Cosmetics.Â
TVÂ & Film
This past April, Blige voiced âQueen Essenceâ in Dreamworksâ TROLLS WORLD TOUR movie. The star-studded cast included J Balvin, Ozzy Osbourne, Anderson.Paak, Anna Kendrick, Justin Timberlake, Kelly Clarkson and more. Blige also Executive Produced Lifetimeâs The Clark Sisters: First Ladies of Gospel. The biopic marked the highest-rated original movie for Lifetime since 2016.
Blige most recently starred in Paramountâs Body Cam, alongside Nat Wolff, that was released digitally this May. Blige also dropped a new single entitled âCanât Be Life,â an original song for Body Cam that speaks candidly to the current times. The song is available on Apple Music and Spotify and is featured over the end credits of the film.Â
Blige is currently filming STARZâs POWER BOOK II: GHOST, a new television series inspired by the original show, POWER.
|
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correct_birth_00056
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FactBench
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3
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https://www.blackpast.org/african-american-history/blige-mary-j-1971/
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en
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Mary J. Blige (1971
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[
"Tristan Michael Pelton"
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2018-03-11T19:19:11+00:00
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When Mary J. Blige was born on January 11, 1971, in The Bronx, New York, few observers would have imagined her becoming one of the most successful rhythm and blues (R&B) artists within a musical world increasingly dominated by hip-hop. Blige’s father abandoned the family when she was four. She … Read MoreMary J. Blige (1971- )
|
en
|
https://www.blackpast.org/african-american-history/blige-mary-j-1971/
|
When Mary J. Blige was born on January 11, 1971, in The Bronx, New York, few observers would have imagined her becoming one of the most successful rhythm and blues (R&B) artists within a musical world increasingly dominated by hip-hop. Blige’s father abandoned the family when she was four. She and her mother and sister moved to the Schlobam Housing Project in The Bronx and became one of thousands of impoverished single-parent families in New York’s public housing system. Blige was sexually assaulted as a child and later dropped out of high school.
In 1988, Blige recorded a demo in a shopping mall self-recording booth. The demo made its way to Uptown Records in Harlem, and she signed a recording contract a year later. For her first album, Blige was guided by then little-known producer Sean Combs. Her debut album What’s the 411? changed the sound of both hip-hop and soul for artists in both of the genres. The album integrated soul and rap music. Blige’s raw singing and rugged image reflected her project-raised youth. Her songs were sampled by rap artists, including The Notorious B.I.G., which added to her streetwise credibility.
Mary J. Blige recorded another six albums, all of which achieved spectacular success, reaching platinum (over one million albums sold) status. Along with commercial success, Blige has also earned a number of awards, including two NAACP Image Awards and six Grammys. By 2013 she had sold 75 million records worldwide. On April 30, 2017, she released Strength of a Woman, her thirteenth studio album.
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correct_birth_00056
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FactBench
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https://www.rnbhaven.com/artists/Mary-J-Blige/35
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en
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Mary J Blige
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Whatever happened to Mary J Blige? Find the discography, biography, lyrics and more for all of Mary J Blige's music.
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en
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https://www.rnbhaven.com/artists/Mary-J-Blige/35
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Mary J Blige was born in 1971 in the Bronx, New York. Mary's father left her family when she was only four years old, leaving her, her sister and their mother to fend for themselves. The family moved to Yonkers a few years later and lived in one of the most dangerous sections of the city. At seven, Mary won a talent show for singing Aretha Franklin's 'Respect' and music quickly became her refuge. She also sang in the church choir. In her teenage years, trouble arose as she began experimenting with drugs and dropped out of high school.
However, Mary's love of music never died and in 1988, she recorded a cover of Anita Baker's 'Caught Up In The Rapture' at a recording booth in the mall. Her mother's boyfriend played the cassette for a friend of his in the music industry, Jeff Redd, who worked at Uptown Records. The tape reached the president of the label, Andre Harrell, who met with Mary and signed hre to the label in 1989. Blige was the youngest and first female artist on the label.
Yet the early days on the label were uneventful for Mary as the label focused on its more established acts like Guy and Heavy D & the Boyz. Mary's first assignment came in 1991 when she sang the hook on 'I'll Do 4 U' a track by label mate Father MC.
Finally, Uptown gave her the go in 1992 and Mary worked with the young Sean 'Puffy' Combs. The album was released the same year and was titled What's The 411? It's first single 'You Remind Me' reached #1 on the R&B charts. The second single, 'Real Love' had similar success and even managed to reach #7 on the Hot 100. The album was successful enough to go triple platinum, showing Uptown they had a star on their hands.
In 1994, Mary J Blige released her second album My Life. The album was overseen by Combs, even though he had left Uptown to start his own label. While the album's single 'Be Happy' reached #6 on the R&B charts and the album sold three million copies, times were not happy for Blige. Suffering from a drug addiciton, alcoholism and depression, she was also in an abusive relationship with K-Ci Hailey of the group Jodeci.
1995 was a year of further success in Blige's career as she sang the duet 'I'll Be There For You/You're All I Need To Get By' with Method Man, winning a Grammy. She also sang 'Not Gon' Cry' on the soundtrack Waiting to Exhale. The single would reach #2 on the Hot 100 and #1 on the R&B charts.
Mary's third album, Share My World, was on a new label, MCA Records, and was her first without the involvement of Puff Daddy (Combs) after conflicts in their working relationship. Yet the album still had strong production, under the guidance of Rodney Jerkins and with tracks produed by Jimmy Jam and Terry Lewis and R. Kelly. The album debuted at #1 and went triple platinum. It featured four hit singles: 'Love Is All We Need,' 'I Can Love You,' 'Everything' and 'Seven Days.'
Changing pace, Blige's fourth album Mary, was released in 1999 and featured a softer sound than the more hip-hop influenced early works. The album featured artists such as Aretha Franklin, Elton John and Lauryn Hill but still failed to reach the sales levels of earlier works. Nevertheless, the album managed to go double platinum.
In 2001, Mary scored her first #1 hit on the Hot 100 with the song 'Family Affair.' The song was off her fifth album, No More Drama, which also featured the hit title track. The album's sales failed to impress, so MCa re-released the album with a few changes in the tracks, pushing it to eventually sell two million copies in the U.S. Mary also won her second Grammy for the song 'He Think I Don't Know.'
Difficulties were set aside between Diddy (Puff Daddy) and Mary for her sixth album 'Love & Life' released in 2003. Yet while the album debuted at #1, it received mixed reviews from critics and underperformed commercially. The album only went platinum and caused Diddy and Blige to part ways once again.
Coming out guns blazing, Mary's seventh album, The Breakthrough, proved to be a big success on the charts. The album debuted at #1, selling 727,163 copies its first week, a record for R&B solo female artists. The album has since gone double platinum.
Outside of her music career, Blige has had a few acting roles, playing Mrs. Butler in the movie Prison Song. She also performed in the play, The Exonerated, in 2004.
Blige's personal life was dominated for many years by her relationship with Cedric 'K-Ci' Hailey. This relationship is largely blamed for her drug abuse. Blige credits her escaping her alcohol abuse in 2000 to her relationship with Martin Kendu Isaacs. Isaacs told Blige he would leave her if she ever came home drunk and she was able to kick the habit, helping her lose 40 pounds. They married in 2003, making Blige the stepmother of his three children.
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https://www.lohud.com/story/news/local/westchester/yonkers/2024/04/23/yonkers-ny-native-mary-j-blige-chosen-for-rock-and-roll-hall-of-fame/73423417007/
|
en
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Yonkers legend Mary J. Blige among 2024 Rock & Roll Hall of Fame inductees
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2024-04-23T00:00:00
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The Yonkers native will be inducted into the Rock & Roll Hall of Fame in Cleveland on Oct. 19.
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en
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Rockland/Westchester Journal News
|
https://www.lohud.com/story/news/local/westchester/yonkers/2024/04/23/yonkers-ny-native-mary-j-blige-chosen-for-rock-and-roll-hall-of-fame/73423417007/
|
Yonkers hip-hop and R&B legend Mary J. Blige will be one of the newest performers inducted into the Rock & Roll Hall of Fame this October.
American Idol host Ryan Seacrest and 2022 Hall of Fame honoree Lionel Richie announced the inductees live on ABC Sunday during a "Rock & Roll Hall of Fame" episode of the show.
Blige, 53, is joined in this class by other notable inductees, including Cher, A Tribe Called Quest, Peter Frampton, Ozzy Osbourne and the Dave Matthews Band.
“Rock ‘n’ roll is an ever-evolving amalgam of sounds that impacts culture and moves generations,” Rock & Roll Hall of Fame Foundation chairman John Sykes said in a release. “This diverse group of inductees each broke down musical barriers and influenced countless artists that followed in their footsteps.”
In order to be nominated, a music artist or act must have released its first commercial song at least 25 years before the nomination year. Blige was first nominated for the Hall of Fame in 2021.
The Westchester native took to Instagram Sunday evening to express her gratitude for the nomination, which coincides with the 30th anniversary of her second album My Life, released in 1994.
Raised in Yonkers; recorded demo at Galleria
Blige was born in the Bronx and raised in Yonkers' William A. Schlobohm housing projects, now known as Palisade Towers after its renovation in 2019.
In the 2021 documentary, "My Life," she spoke about her childhood in Yonkers and her experiences with trauma, and with drug and alcohol use in her teen years, before her rise to stardom.
Blige signed with Uptown Records in 1989 after recording artist Jeff Redd heard a demo of her singing Anita Baker's "Caught Up in the Rapture," which she recorded at an empty recording booth at the former Galleria Mall in White Plains. She became the label's youngest and first female artist.
She released her debut album, "What's the 411?" in 1992. It peaked at number 6 on the Billboard Hot 200 album chart and gave Blige her first top 10 radio hit with "Real Love," which peaked at number 7 on the Hot 100 charts.
"Her debut singlehandedly kick-started the hip-hop soul genre," the Rock & Roll Hall of Fame said. "Her image – oversized jerseys, backwards baseball hats, and combat boots – introduced a new look to R&B music, and her lyrics embraced an authenticity that resonated with fans – especially women."
Since then, Blige has gone on to release 15 studio albums, eight of which went multi-platinum, win nine Grammy Awards and sell over 50 million albums.
Her most recent album, Good Morning Gorgeous, was released in February 2022, just days before she performed at the Super Bowl LVI halftime show in Los Angeles with Eminem, Dr. Dre and 50 Cent. The halftime show earned her her first Emmy award.
Locally, September 17 was designated Mary J. Blige Day in 2020 by Yonkers Mayor Mike Spano. She was also honored with a star on the Apollo Walk of Fame in Harlem in 2021.
"Blige’s music echoes our experiences with love and life. She helps us move on, move out, and move up," the Hall of Fame said. "She’s the much-needed soundtrack to our heartache, vulnerability, and courage to refuse to accept anything less than we deserve."
This year's Rock & Roll Hall of Fame induction ceremony will be held on Oct. 19 at the Rocket Mortgage Fieldhouse in Cleveland. The ceremony will be streamed live on Disney Plus.
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correct_birth_00056
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FactBench
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https://music.apple.com/za/artist/mary-j-blige/1392280
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Listen to music by Mary J. Blige on Apple Music. Find top songs and albums by Mary J. Blige, including Family Affair, Mr. Wrong (feat. Drake) and more.
|
en
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|
Apple Music - Web Player
|
https://music.apple.com/za/artist/mary-j-blige/1392280
|
Mary J. Blige is that rare singer who can channel your painâand then drag you onto the dance floor to sweat it away. Dubbed the Queen of Hip-Hop Soul in the â90s, Blige came off as tough and streetwise (unlike many of her contemporaries), and she could go toe to toe with rappers, including JAY Z, Method Man and more recently Kendrick Lamar. Born Mary Jane Blige in the Bronx in 1971, Blige was raised mainly in Yonkers, New York, where she grew up listening to the greats: Aretha, Chaka and Gladys Knight. Her voice is elastic, scrappy and versatile, with more than a hint of world-weary grit, and when a chance recording of Anita Bakerâs âCaught Up in the Raptureâ came before Uptown Records execs in 1988, the label immediately snapped her up as its youngest (and first female) signee. She and Sean Combs crafted her 1992 debut, Whatâs the 411?, which spawned the ubiquitous and beloved jam âReal Loveâ and helped set the template for R&Bâs marriage to hip-hop. Bligeâs life was never separate from her art, and fans have followed her through addiction, marriage, divorce and therapy, connecting with songs like âNot Gonâ Cryâ and âNo More Dramaâ out of deep identification: here was an artist who sang womenâs realities as they were almost never presented in popular musicâand who always came out stronger. Mary (1999) saw her move toward a more classic sound, though 2001âs smash âFamily Affairâ swung back toward hip-hop; that fertile tension has remained in her music since. Even as sheâs gone Hollywood (earning an Academy Award nomination for 2017âs Mudbound), Mary J. remains a model R&B diva who paved the way for myriad successors, including Beyoncé and Ariana Grande. In 2022, she performed an Apple Music Live session in New York.
|