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correct_birth_00056
|
FactBench
|
2
| 23
|
https://www.msn.com/en-us/music/awards/mary-j-blige-in-the-90s-to-today-see-photos-of-superstar-through-the-years/ss-AATKu5W
|
en
|
MSN
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
de
| null | ||||||||
correct_birth_00056
|
FactBench
|
3
| 80
|
https://www.fandango.com/people/mary-j-blige-66409
|
en
|
A Message To Our Fans
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
A Message To Our Fans
|
en
| null |
Sorry, Fandango is not available outside the United States.
|
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correct_birth_00056
|
FactBench
|
1
| 76
|
https://www.instagram.com/donpoohmusic/%3Fhl%3Den
|
en
|
Login • Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Welcome back to Instagram. Sign in to check out what your friends, family & interests have been capturing & sharing around the world.
|
en
|
https://www.instagram.com/accounts/login/
| |||||||
correct_birth_00056
|
FactBench
|
3
| 79
|
https://www.thetimes.com/culture/music/article/a-life-in-the-day-mary-j-blige-tkr0cswkk
|
en
|
A Life in the Day: Mary J Blige
|
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[
"Danny Scott"
] |
2016-11-27T00:01:00+00:00
|
Once dubbed the queen of hip-hop soul, Blige, 45, was born in the Bronx to a nurse mother and a jazz musician father who left the family when she was a child. After dropping out of high school, she
|
en
|
/store/favicon-32x32.png
|
https://www.thetimes.com/culture/music/article/a-life-in-the-day-mary-j-blige-tkr0cswkk
|
Once dubbed the queen of hip-hop soul, Blige, 45, was born in the Bronx to a nurse mother and a jazz musician father who left the family when she was a child. After dropping out of high school, she got her break at 18, as a backing singer at Uptown Records. She has since recorded 13 albums and won nine Grammy awards. She filed for divorce from her husband, Martin “Kendu” Isaacs, earlier this year and fired him as her manager. She lives alone in LA.
My eyes open at 6. I’d love to laze around, but if I want to have a good day, I need time to centre myself spiritually. The first hour is prayer: thanking God for this day, thanking him for
|
|||||
correct_birth_00056
|
FactBench
|
0
| 7
|
https://www.infoplease.com/biographies/art-entertainment/mary-j-blige
|
en
|
Mary J. Blige Biography
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"Infoplease"
] |
2017-02-07T23:17:11-05:00
|
Mary J. Bligehip-hop singerBorn: 1971Birthplace: Bronx, New York Raised in New York's housing projects, her singing talent fueled her interest in music, and she began to do solo performances at her church choir.
|
en
|
/themes/ip/favicon.ico
|
InfoPlease
|
https://www.infoplease.com/biographies/art-entertainment/mary-j-blige
|
Current Events
View captivating images and news briefs about critical government decisions, medical discoveries, technology breakthroughs, and more. From this page, you'll see news events organized chronologically by month and separated into four categories: World News, U.S. News, Disaster News, and Science & Technology News.
We also collect a summary of each week's events, from one Friday to the next, so make sure you check back every week for fascinating updates on the world around to help keep you updated on the latest happenings from across the globe!
Current Events 2023
Check out the November News and Events Here:
|
||||
correct_birth_00056
|
FactBench
|
2
| 62
|
https://www.tiktok.com/%40strictlysoul/video/7350310599391268101
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
correct_birth_00056
|
FactBench
|
0
| 94
|
https://www.betterworld.net/heroes/blige.htm
|
en
|
BetterWorld.net/heroes
|
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[] |
[
"better world calendar",
"better world",
"betterworld",
"peace on earth",
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BetterWorld.net/heroes - Featuring portraits of 1000 heroes for a better world by Robert Alan Silverstein, integrated into over 3000 FREE printable resources on more than 60 social issues. BetterWorld.net resources include BetterWorld Quotes, a BetterWorld Calendar and FREE BetterWorld Clubs materials. These resources may be distributed for non-commercial uses only. BetterWorld Heroes are included for illustration purposes only. No celebrity endorsement is implied. Now check out BetterWorldShow.com - The BetterWorld Show: The Reality Show That Will Change Reality! Join the global grassroots BetterWorld Movement; start a local BetterWorld Club today. Be a hero for a better world - every act of compassion makes a difference!
| null |
Heroes for a Better World
|
|||||||
correct_birth_00056
|
FactBench
|
1
| 37
|
https://www.theguardian.com/music/2014/aug/31/mary-j-blige-interview-uk-london-sessions
|
en
|
Mary J Blige interview: 'The UK is a better place to make music than the States'
|
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] |
2014-08-31T00:00:00
|
<p>The soul singer talks to <strong>Tom Horan</strong> about her month in London making an album with the cream of British talent including Disclosure, Naughty Boy and Sam Smith</p>
|
en
|
the Guardian
|
https://www.theguardian.com/music/2014/aug/31/mary-j-blige-interview-uk-london-sessions
|
A short walk from Lord's cricket ground is a pocket of St John's Wood that seems for ever suspended in the 70s. Around the corner from a clutch of Peabody estates, the Oslo Court restaurant still serves prawn cocktail, peach melba and veal Holstein. It's 1.59pm on a Thursday at the height of this summer's heatwave, and as an MCC member passes by in his egg-and-bacon tie, a black Mercedes pulls up outside a grand but anonymous building. From the car emerge two women clutching union jack carrier bags. The one with the coiffed blonde flick and the Gucci espadrilles is Mary J Blige.
The much-garlanded soul singer isn't here for the heritage eats. Blige is starting her two o'clock shift at RAK recording studios, itself synonymous with eras long departed. The blue plaque above her head records the name of founder Mickie Most, producer of hits for Hot Chocolate, the Yardbirds, Suzi Quatro and more. But Blige is at RAK for a project that is entirely of the moment, decamping from New York for a creative stint in London that promises to deliver the most innovative and unusual album of her 22-year career. For two weeks she has been collaborating with some of the most exciting young artists in contemporary music, a disparate group who are in their own way as ineffably English as any on the roster in the glory days of Most.
The movement that began with Amy Winehouse and Adele and now sees British acts making up 40% of sales in the US charts has been followed by a second wave of UK musicians being embraced by America. In particular this summer, the insistent pop house music of Surrey brothers Disclosure and the impassioned torch songs of their friend Sam Smith have cut a swath from east coast to west. As well as performing, all three are accomplished songwriters, and it is with Disclosure, Smith and their coterie of regular collaborators that Blige has been hard at work. Ten new songs, co-written and recorded by the singer in one month in postcodes W6, NW8 and NW5, will be released this autumn as Mary J Blige: The London Sessions.
Baronial as RAK may be, the studio that Blige is using is no more than 10ft inside the front door, and in turn the booth where her microphone awaits no more than 6ft inside that. By 2.01pm she is ready for action, the closest to a litany of diva demands being a whispered "Can I get my tea, please?" Primed for this businesslike approach to the recording process is a team of 12 blokes, ranging from tea boy to session players and finally the producer of the day, Jimmy Napes, 20 years her junior, who stands before the mixing desk. Napes co-wrote much of Disclosure's immaculate debut album Settle and has done the same for Sam Smith's debut In the Lonely Hour. It may be Napes's bicycle that is propped against the desk. He signals for the track to be run, and Blige attacks her opening note.
But where is she? A window the width of the room looks into the cavernous recording area that holds the musicians. Through it can be spied a bass player and pianist, barely illuminated, and at the back a distant drummer. Blige, however, is invisible. She is definitely in there somewhere: her voice begins to dance across the music in tones that are rich and plaintive and entirely assured. In just a line or two she fills the mixing room with life. Then she audibly digs down and summons up something extra. In the bottom left-hand corner of the window her outstretched hands appear, reaching up from her spot in the shadows. Napes, however, is not convinced.
"Something not quite right with your phrasing at the beginning of verse two," he says. 'Can we go again please Mary?'
She laughs.
"What's happening is I can't flip the page quick enough to get to that part," she says. Napes peers over to see her struggling with the sheaf of lyrics. "But I'm warming up," she says brightly. "We're getting there!" Which, as she was born in the Bronx, is pronounced "We gittin they!"
Now she sings again, and what is striking is not just the timbre, but the rhythm. With her voice dipping in and out of it, an initially unremarkable beat has taken on new punch and syncopation. Blige was first launched as "the queen of hip-hop soul", and it was over thumping breakbeats that she first sang for producer Sean "Puffy" Coombs in the early 1990s, and then again a decade later with Dr Dre. To compete with beats takes real vocal talent; to somehow elevate them too is one of Blige's special gifts.
Napes wants another take. Then another. On the seventh, Blige has appreciably gone up a gear. By the ninth, however, the engineer is exchanging glances with the boy operating the computer behind a spaghetti vongole of wiring. She may have made 11 studio albums and been a guest vocalist on more than 120 tracks, but truculence is a known aspect of Blige's character. Are the toys about to exit Mary's pram?
"OK, Mary," says Napes. "Let's do the last take." "You just say that to get the best performance," says the engineer. "Then you get her to do one more after."
"Sshhh," says Napes, possibly winking.
Blige sings it all again, somehow finding what Napes calls "an extra 5%".
"I'm happy, Mary," he says.
"I'm happy that you happy, Jimmy," comes the voice from the booth.
With her vocal duties done, Blige comes into the mixing room to listen to the playbacks, sinking into a sofa next to the project's American executive producer, Rodney "Darkchild" Jerkins, a don of the production world who has worked most notably with Michael Jackson, Beyoncé and Lady Gaga. Aside from the song, the two also appear keen to talk about food, and in particular fish and chips, the consumption of which Blige feels is central to what she calls "the London-scene experience". Napes meanwhile is in the RAK kitchen, which has hosted the tea breaks of everything from Radiohead's The Bends to Kim Wilde's Kids in America. I ask him how he came to be part of the album.
"It has been a little bit surreal to be honest," he says, 'I grew up listening to Mary J Blige, and then there she is with the Disclosure boys in Kentish Town, where my studio is, next to a car park. She had loved Stay With Me, which I wrote with Sam Smith for his album, and that's how I got the opportunity to work on this project. We were writing for a week or so – we've got some wicked songs. It does take time to get the confidence to say to her, 'I think you can sing that better' – but it's crucial. She is counting on me to call her on stuff, because she wants to make the best record she can."
Disclosure were the starting point for Blige's fascination with London's new crop of music-makers. Late last year she saw the duo's single F for You on the Vevo video site, and got in touch with them about covering the song. The resulting release was not a cover, but an astutely balanced duet, composed by Blige, that retained the vocals of the group's 20-year-old singer Howard Lawrence and married them with a set she had written herself. Her contribution brought new depth to the original: driving, gutsy, soulful – it made Disclosure sound immeasurably funkier and was the most original thing she had done in years.
"I love what Mary did on that track," Howard tells me on the phone. "She hadn't just changed everything, written entirely new stuff and gotten rid of everything we'd done. She wrote something we believe totally fits with the track stylistically – it's an excellent house music vocal. But she also chose to send it over and say 'what do you guys think'? As opposed to putting it straight out and saying 'I don't care what those guys think, I'm Mary J Blige."'
And what about when it came to working face-to-face with the 30-times-nominated, nine-time Grammy winner in deepest Kentish Town? "The track Right Now started with some chords I made on Jimmy Napes's piano," he says. "We took that and gave it a Disclosurey feel with some drums that Guy [his brother] made. Mary leaves the instrumental side to us and gets much more involved when it comes to writing vocals. So she puts an idea in, then we all have a dog-fight until someone comes up with something that they agree on. It's a really good way of working, because no one is afraid to just pitch ideas. We did the majority of the songwriting within about two and half hours, and then spent a lot of time editing and polishing, because that's how Guy and me work. We'll write a whole song very roughly, then go in and proof-read it for a long, long time and change it so much that you wouldn't even recognise it from when you started.
"Mary has amazing vocal control but she also has such a level of soul to her voice. That's why she is the queen of that style, of writing using ad libs. She'll just go off on one over a track, and get really into it – just sing whatever comes naturally. And that normally ends up making the final take."
And what about her notion of a London sound? What does he think she believes she is getting from this month spent collaborating here? "The sound in London at the moment is house music. That is what the majority of people are producing their songs like. But the ones that get truly successful are the ones using proper songwriting. Rudimental for example – they write proper songs and then produce them like dance music. And that is exactly what we're trying to do, along with a few other people. But that applies to any genre, not just dance music. You could take the songs off Sam Smith's album, produce them in a completely different way and they would still be a huge success – you could produce them like acid jazz and I still feel like they'd get somewhere."
Back in the studio, Blige is preparing to leave. It is the third anniversary of the death of Amy Winehouse and she has arranged to have a get-together with Amy's father, Mitch Winehouse, whom she does not know but wants to meet. After some discussion with the assembled locals she has decided on dinner at the nearby Sea Shell of Lisson Grove – conceivably London's poshest chippy. When she has gone, Rodney Jerkins, an affable pear-shaped man umbilically attached to a MacBook Pro, plays rough edits of some of the London Sessions tracks. "It's all comin' from here right now," says Jerkins, whose embrace of "yookay" cuisine consists of taking constant furtive nibbles at a supply of Cornish pasties.
"On the final record, we wanna keep the feeling of London," he says. A film crew are making a documentary of the recording, and he plans to drop in audio clips from it between tracks. "You have so much different music here. Variety births the next generation. In California the music kind of all feels the same. That 90s house vibe you have right now – it feels fresh. Dancin', celebratin' – feelin' good about life. We're making a Mary Blige record, but she can introduce new styles to the world." He says they will make 13 tracks and then choose a final 10. We listen to three and the variety is striking.
It is certainly not an out-and-out house record. Pick Me Up, produced by Watford's own Naughty Boy and co-written with Emeli Sandé, mixes sub-bass with clarinet and a percussion sound that recalls early 00s UK garage. Therapy, written by Napes and Sam Smith, has a doo-wop feel, while the Disclosure number is house plus additional squelches. Disparate as the writers and producers may be, Jerkins agrees that these all sound unquestionably like Mary J Blige tracks: 'She knows how to cement her voice to the lyric. She knows how to make you know what she's been through." The feeling that she conveys of a life lived though all its triumphs and defeats is certainly at the heart of Blige's sound.
The next day she is back at RAK to work with another young UK producer, Sam Romans. Romans thinks he knows the attraction of Blige's "London scene": "I'm doing a track at the moment with Naughty Boy – a soul track – and he was saying it's amazing how a Pakistani singer from Watford and a Jewish producer are making something that would be described as black music. That is the interesting thing about England."
And what of Blige herself? At the end of the Romans session we sit down to talk at her hotel and she starts with her own vision for The London Sessions. "Our idea was to become part of London," she says, "to really embrace the culture – to really live in it. Not that I haven't been here before, but I've never had the chance to really soak in it the way I have this time. To make records ["rekkits"] from the London-scene perspective." What is that exactly? What does she think London has? "Freedom," she says. "The music is free over here the way it used to be in the States. Artists are just free to do what they love. Listening to the radio you can hear the freedom. The music is living and breathing – you can hear that from Adele's last album. It was massive – a big deal. But she did what she loved."
She has clearly relished the combination of creative freedom and the discipline of a time limit. "Working with these guys," she says, "it's like they're my family. We all seem to have a good chemistry together. And when I sign on, I sign on – I can't go hang out! Because I have to make sure that my music is right. And I love to work. I love creating, and once I'm in it, I'm just in it. I just love being all in the midst of the creativity."
Does she always find it so easy to enter a studio and summon up such potent and emotive performances? "Once you agree you're ready, you ready," she says. "You walk in. You already know what the mindset is, you know what the song is. You read the words, and get everything from here [hand on heart]. When I'm singing, I don't think about anything but what I'm doing. I could look crazy in that moment, it doesn't matter to me. I'm just trying to get all this stuff out. Because it feels good to get it out. It feels good to sing. It's like you can fly almost, when you singing that stuff."
Of her meeting with Mitch Winehouse, she says this: "When you lose a child… I can't even imagine what that must feel like. But he's a beautiful person. It was like he gave me the chance to hug her through him. She was one of the special ones, and I never got a chance to meet her. Her voice had a lot of pain, a lot of joy, a lot of struggle, trying to figure out 'Who am I'? And she was just so free in her expression. She said whatever she wanted to say – and that's what I admired about her. She was talking to you: 'It is what it is – like it or not.'"
In everyone connected with The London Sessions, this quest for emotional honesty was a recurrent theme. Never arch or ironic, all the young Londoners were notable for an earnestness that somehow chimed with Blige's years of singing with a raw and open heart. The final part of the jigsaw came in a telephone conversation with Sam Smith, writer of four songs for the Blige project and riding high in Los Angeles on the success of his debut album and its anthemic single Stay With Me.
"With my record – and when you think about Adele, and Amy Winehouse and Ed Sheeran – we're not worried about the way we're looking, the way we're coming across in our music," he said. "We're just saying what's in our minds and in our hearts. Some people think that when you are singing about heartbreak, or how lonely you are, or how sad, that you are admitting to weakness. But I don't see that as weakness. I see that as strength – to be able to face your issues and your sadness head-on. That's what I've tried to do in my music, and I think that's what this Mary album is about – a fearless vulnerability.'
Mary J Blige: The London Sessions will be released in November on Capitol Records
|
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correct_birth_00056
|
FactBench
|
2
| 19
|
https://www.clarionledger.com/story/life/2015/10/31/mary-j-blige-jackson-mississippi-concert/74743596/
|
en
|
Mary J. Blige reflects on Mississippi's influence
|
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2015-10-31T00:00:00
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Mary J Blige reflects on the impact of Mississippi artists on her career. She performs in Jackson Nov. 3.
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en
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The Clarion-Ledger
|
https://www.clarionledger.com/story/life/2015/10/31/mary-j-blige-jackson-mississippi-concert/74743596/
|
There are the moments in early childhood — when a malleable brain is still learning to process the world — that leave an indelible mark. For Mary J. Blige, one of the most successful female R&B singers of her generation, it was the sound of well-worn vinyl grooves coming from her mother Cora's record player.
In particular, Blige remembers Jackson's own Dorothy Moore singing “Misty Blue,” which went to No. 3 on the Billboard charts and earned Moore two Grammy nominations in 1976.
“My mother played (“Misty Blue”), from the time I was a 5-, 6-year-old child — she played that record so, so much,” Blige said by phone. “It’s one of my mother’s and one of my favorite soul songs ever.”
As Blige and her mother collectively repaired their lives in a housing project in Yonkers, New York, escaping the abuse of Blige’s father Thomas only a year earlier, it was the music of Mississippians — Moore, Clarksdale’s Sam Cooke, the Winona-born Pops Staples and his daughters, the Staples Sisters — that comforted them.
“You guys (Mississippi) definitely have influence on me and a whole lot of artists,” Blige said. “I think R. Kelly is influenced by Sam Cooke, so is Justin Timberlake.”
Blige recorded “Misty Blue” for a live concert recording and performed the song as a duet with Monica on “Motown Live” in 1998.
“I’m very honored that she’s listened to my music, as famous as she is,” Moore, a four-time Grammy nominee, said of Blige, a 30-time nominee and eight-time winner.
“I loved (the “Misty Blue” cover) and everything she does,” Moore said. “It was such an honor because of their age to reach back to the ‘old school,’ as we call it.”
‘Old school’
The hit that became one of Blige’s favorites nearly didn’t happen, according to Moore. The song, written by Bob Montgomery, was released as a country song in 1966, gaining some success for Wilma Burgess and Eddy Arnold.
Malaco Records’ Tommy Couch asked Moore to record the song in 1973. She recorded the future hit in one take, but it sat on the shelves for nearly two years as the label, teetering on the verge of bankruptcy, shopped it to other labels. Finally, enough money was cobbled together for a release, but there wasn't faith in it as a lead single. "Misty Blue" ended up on the B side of the record.
“The rest is history,” Moore said. “They never did turn it back over because 'Misty Blue' became the A-Side and everything else. I thank God for those people that wanted to flip it over.”
‘New school’
In addition to being an immensely talented vocalist, it's Blige’s ability to blend genres that has led her, with 24.5 million records sold, to become the third highest-selling female R&B singer of the Soundscan era, only trailing Mariah Carey and Whitney Houston.
A catalog of 13 albums will be on display Tuesday as Blige performs in Jackson for the first time, at the Mississippi Coliseum with Tamar Braxton.
“Bringing Mary J. Blige to Jackson is by far the most exciting production we have ever done,” said Xperience JXN Entertainment promoter Yolanda Singleton. “It’s our belief that the people in central Mississippi should have the opportunity to see and experience class-A acts without having to travel.”
In honor of breast cancer awareness month, Singleton said 10 free tickets will be given to women who are breast cancer survivors or currently going through treatment.
Given her long string of hits, Blige won't be able to perform every favorite.
“It is a two-hour show, so it is hard to get to every song that everyone wants to hear,” Blige said. “I try to pick the best ones and people still are like ‘why didn’t she do that.’ If I did all of the songs, it would be five hours, but we’re going to have a great time.”
Moore said she first became familiar with Blige when she released her second album, “My Life,” which included the hit “I’m Goin’ Down,” and the memorable video featuring Blige and a series of her clones walking down a staircase.
“She has meaty lyrics that are telling a story. Whether it is hers or someone else’s, she can really bring the song to life,” Moore said. “I try to do the same thing when I perform.”
Blige referred to her concert experience and the ability to connect — through trials and tribulations — with her legion of fans as “the Mary J. Blige way.” Her own trials were inspiration while recording her last album, 2014’s “London Sessions,” in collaboration with British balladeer Sam Smith and electronic group Disclosure.
“That album helped me at a time when I was coming out of a really low place (personally),” Blige said. “As far as me as an artist, I was in a dark place, too, because I felt like I needed people to see that I’m more than just Mary J. Blige, a soul singer. I’m an artist; I can do so many things. It was therapeutic because I had the chance to get a lot of things off my chest.”
Blige said she’s been in the studio working on a new album, but once the tour ends, she heads straight to rehearsal of a live NBC production of “The Wiz.” Blige will play the part of the Wicked Witch of the West, Evilene.
“I’ve always loved 'The Wiz' as a kid, and even as an adult I still love it,” Blige said. “My favorite part was always the ‘no bad news part,’ when (Evilene) sings that songs, it just hits. To be given that part is just like ‘wow, this is going to be fun.’”
Contact Jacob Threadgill at (601) 961-7192 or jthreadgil@gannett.com. Follow @JacoboLaSombra on Twitter.
If you go:
Mary J. Blige with Tamar Braxton
When: 7 p.m. Nov. 3
Where: Mississippi Coliseum
Tickets: Prices range from $45 to $85 and are available at ticketmaster.com or by calling (678) 322-8098
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Mary J. Blige's Birthplace Revealed
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Mary J. Blige was born in the Bronx, New York City, on January 11, 1971. She is an American singer, songwriter, actress, and philanthropist. She has sold over 50 million albums worldwide, and has won nine Grammy Awards, four American Music Awards, and ten Billboard Music Awards. Blige's music is often described as a mix of R&B, soul, and hip hop. She is known for her powerful vocals and her honest and often confessional lyrics.
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Mary J. Blige was born in the Bronx, New York City, on January 11, 1971. She is an American singer, songwriter, actress, and philanthropist. She has sold over 50 million albums worldwide, and has won nine Grammy Awards, four American Music Awards, and ten Billboard Music Awards.
Blige's music is often described as a mix of R&B, soul, and hip hop. She is known for her powerful vocals and her honest and often confessional lyrics. She has been praised for her ability to connect with her audience on a personal level, and her music has been credited with helping to break down barriers between different genres of music.
In addition to her music career, Blige has also appeared in several films and television shows. She has also been involved in a number of philanthropic endeavors, including her work with the Mary J. Blige Foundation, which provides support to women and children in need.
Where Was Mary J. Blige Born?
Mary J. Blige was born in the Bronx, New York City, on January 11, 1971. This location has shaped her musical style and career in various ways:
Musical Influences: The Bronx is a melting pot of cultures, and Blige was exposed to a wide range of musical genres growing up. This mix of influences can be heard in her music, which blends R&B, soul, hip hop, and other styles.
Cultural Impact: The Bronx is a vibrant and diverse community, and Blige's music reflects the experiences and struggles of her neighbors. Her songs often deal with themes of love, loss, and overcoming adversity.
Career Opportunities: The Bronx is home to a thriving music scene, and Blige was able to connect with other musicians and industry professionals who helped her launch her career.
Personal Identity: Blige has said that she is proud to be from the Bronx, and her music often reflects her deep connection to her hometown.
In conclusion, the place where Mary J. Blige was born has had a profound impact on her music and career. The Bronx has provided her with a rich musical heritage, a diverse cultural background, and a supportive community. These factors have all contributed to making Blige one of the most successful and influential singers of her generation.
Musical Influences
Mary J. Blige's birthplace, the Bronx, played a crucial role in shaping her musical style. The borough is a vibrant melting pot of cultures, and Blige was exposed to a wide range of musical genres growing up. This mix of influences can be heard in her music, which blends R&B, soul, hip hop, and other styles.
R&B: Blige's music is heavily influenced by R&B, a genre that originated in the African American community. R&B is characterized by its soulful vocals, smooth harmonies, and catchy rhythms. Blige's songs often explore themes of love, loss, and heartbreak, and her powerful vocals convey the emotions of her lyrics with raw authenticity.
Soul: Soul music is another major influence on Blige's music. Soul music is characterized by its emotional depth, strong vocals, and uplifting messages. Blige's songs often have a soulful quality, and her lyrics often deal with issues of social justice and personal empowerment.
Hip hop: Hip hop is a genre that emerged in the Bronx in the 1970s. Hip hop is characterized by its rapping, sampling, and DJing. Blige's music often incorporates elements of hip hop, such as rapping and sampling. Her songs often deal with themes of urban life and social consciousness.
The mix of R&B, soul, and hip hop influences in Blige's music creates a unique and distinctive sound. Her music is both soulful and catchy, and her lyrics are both personal and socially conscious. Blige's music has resonated with audiences around the world, and she has become one of the most successful and influential singers of her generation.
Cultural Impact
Mary J. Blige's birthplace, the Bronx, has had a profound impact on her music and career. The borough is a vibrant and diverse community, and Blige's music reflects the experiences and struggles of her neighbors. Her songs often deal with themes of love, loss, and overcoming adversity.
Realness and Authenticity: Blige's music is known for its honesty and authenticity. She sings about her own experiences and struggles, and her lyrics resonate with people from all walks of life. Blige's music provides a voice for the voiceless, and her songs offer comfort and inspiration to those who are going through tough times.
Social Consciousness: Blige's music often addresses social issues, such as poverty, racism, and violence. She is not afraid to speak out against injustice, and her songs have helped to raise awareness of important social issues. Blige's music is a powerful force for change, and it has helped to make the world a better place.
Sense of Community: Blige's music has helped to create a sense of community among her fans. Her songs bring people together and help them to feel connected to each other. Blige's music is a source of strength and support for her fans, and it helps them to overcome challenges and achieve their goals.
In conclusion, the cultural impact of Mary J. Blige's music is undeniable. Her music reflects the experiences and struggles of her neighbors in the Bronx, and it has resonated with people all over the world. Blige's music is real, authentic, and socially conscious. It provides a voice for the voiceless, offers comfort and inspiration to those in need, and helps to create a sense of community. Blige's music is a powerful force for good, and it has made a positive impact on the world.
Career Opportunities
The Bronx is home to a thriving music scene, and this played a significant role in Mary J. Blige's ability to launch her career. The borough is a hub for musicians and industry professionals, and Blige was able to connect with people who helped her develop her talent and get her music heard.
One of the most important connections Blige made was with Jeff Redd, a record producer who discovered her singing at a talent show. Redd was impressed by Blige's talent, and he helped her to record her first demo tape. This tape eventually led to Blige signing a recording contract with Uptown Records, which launched her professional music career.
In addition to Redd, Blige also connected with other musicians and industry professionals in the Bronx who helped her to develop her sound and her career. These connections were essential to Blige's success, and they demonstrate the importance of the Bronx music scene to her career.
The fact that Mary J. Blige was born in the Bronx gave her access to a thriving music scene, which was essential to her ability to launch her career. The borough is home to a large number of musicians and industry professionals, and Blige was able to connect with people who helped her to develop her talent and get her music heard. These connections were essential to Blige's success, and they demonstrate the importance of the Bronx music scene to her career.
Personal Identity
The connection between Mary J. Blige's birthplace, the Bronx, and her personal identity is undeniable. Blige has often spoken about her love for her hometown, and her music is infused with the spirit of the Bronx. Here are a few ways in which Blige's birthplace has shaped her personal identity and her music:
Sense of Community: The Bronx is a close-knit community, and Blige has often spoken about the sense of belonging she feels there. She has said that she feels a strong connection to her neighbors and to the borough as a whole. This sense of community is reflected in her music, which often speaks to the experiences of everyday people.
Cultural Influences: The Bronx is a melting pot of cultures, and Blige has been exposed to a wide range of musical and cultural influences growing up. This mix of influences is reflected in her music, which blends R&B, soul, hip hop, and other genres. Blige's music is a reflection of the diverse culture of the Bronx.
Social Consciousness: The Bronx is a borough that has faced many challenges, including poverty, crime, and violence. Blige has witnessed these challenges firsthand, and her music often speaks to the social issues that affect her community. She is not afraid to use her voice to speak out against injustice, and her music has helped to raise awareness of important social issues.
In conclusion, the connection between Mary J. Blige's birthplace, the Bronx, and her personal identity is undeniable. The borough has shaped her sense of community, her cultural influences, and her social consciousness. All of these factors are reflected in her music, which is a powerful expression of her personal identity and her love for her hometown.
FAQs About Mary J. Blige's Birthplace
Mary J. Blige's birthplace has played a significant role in shaping her musical style, career, and personal identity. Here are some frequently asked questions about where Mary J. Blige was born:
Question 1: Where was Mary J. Blige born?
Answer: Mary J. Blige was born in the Bronx, New York City, on January 11, 1971.
Question 2: How did her birthplace influence her music?
Answer: The Bronx is a melting pot of cultures, and Blige was exposed to a wide range of musical genres growing up. This mix of influences can be heard in her music, which blends R&B, soul, hip hop, and other styles.
Question 3: How did her birthplace impact her career?
Answer: The Bronx is home to a thriving music scene, and Blige was able to connect with other musicians and industry professionals who helped her launch her career. She was discovered by a record producer at a talent show in the Bronx, and this led to her signing a recording contract.
Question 4: How is her birthplace reflected in her personal identity?
Answer: Blige has said that she is proud to be from the Bronx, and her music often reflects her deep connection to her hometown. She has spoken about the sense of community and the cultural influences that have shaped her.
Question 5: What are some of the challenges Blige faced growing up in the Bronx?
Answer: Blige has spoken about the challenges she faced growing up in the Bronx, including poverty, crime, and violence. These experiences have influenced her music, which often speaks to the social issues that affect her community.
Question 6: How has Blige used her platform to give back to her community?
Answer: Blige has used her platform to give back to her community in a number of ways. She has established a foundation that supports women and children in need, and she has also spoken out about important social issues.
In conclusion, Mary J. Blige's birthplace has had a significant impact on her life and career. The Bronx has shaped her musical style, provided her with opportunities to succeed, and influenced her personal identity. Blige's music is a reflection of her hometown, and she has used her platform to give back to her community.
Continue reading the article to learn more about Mary J. Blige's life and career.
Tips for Exploring "Where Was Mary J. Blige Born"
Exploring the birthplace of Mary J. Blige can provide insights into her musical style, career, and personal identity. Here are a few tips to help you delve deeper into this topic:
Tip 1: Research the Bronx's Music Scene: Explore the vibrant music scene of the Bronx, where Mary J. Blige was born and raised. Learn about the musical genres that influenced her, such as R&B, soul, and hip hop. Discover the venues and events that played a role in her early career.
Tip 2: Analyze Blige's Music: Listen closely to Blige's music, paying attention to the lyrics, melodies, and rhythms. Identify how her birthplace has influenced her musical style. Consider the themes she explores in her songs, such as love, loss, and social issues.
Tip 3: Explore Blige's Personal History: Read biographies and interviews with Mary J. Blige to gain insights into her personal experiences. Understand the challenges and triumphs she faced growing up in the Bronx. Learn how her birthplace shaped her values and perspectives.
Tip 4: Visit the Bronx: If possible, visit the Bronx to experience the environment that influenced Mary J. Blige's life and music. Explore the streets where she grew up, visit local music venues, and engage with the community to gain a deeper understanding of her roots.
Tip 5: Attend Blige's Performances: Attend live performances by Mary J. Blige to witness her powerful vocals and stage presence. Observe how she interacts with her audience and conveys the emotions of her music. This can provide a unique perspective on the connection between her birthplace and her artistry.
Summary: Exploring "where was Mary J. Blige born" involves researching the Bronx's music scene, analyzing Blige's music, exploring her personal history, visiting the Bronx, and attending her performances. By following these tips, you can gain a comprehensive understanding of the factors that have shaped Mary J. Blige's life and career.
Continue reading the article for more information on Mary J. Blige's birthplace and its impact on her music and identity.
Conclusion
Mary J. Blige's birthplace, the Bronx, has had a profound impact on her life and career. The borough's vibrant music scene, diverse culture, and social challenges have shaped her musical style, influenced her career trajectory, and informed her personal identity. By exploring "where was Mary J. Blige born," we gain a deeper understanding of the factors that have contributed to her success and the messages she conveys through her music.
Mary J. Blige's music transcends the boundaries of genre and geography, resonating with audiences worldwide. Her ability to connect with her listeners on a personal level is a testament to the authenticity and universality of her experiences. As we continue to celebrate her artistry, let us also recognize the importance of the environment that fostered her growth and shaped her into the iconic figure she is today.
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Mary J Blige Bio
January 11, 1971 Mary J. Blige Was Born and Became the "Queen of Hip
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Jan. 11 in Music History: Happy birthday, Mary J. Blige
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Vicki Peterson was born, The Jimi Hendrix Experience recorded 'Purple Haze' at Olympic Studios in London; Nirvana's landmark album 'Nevermind' reached the top of the Billboard 200 Album Chart; T. Rex drummer Mickey Finn died from alcohol related liver problem; Led Zeppelin performed "Kashmir" live for the first time, Today in Music History.
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History Highlight:
The “Queen of Hip-Hop Soul” Mary J. Blige was born on this date in 1971 in the Bronx borough of New York City. In 1992, she released her debut album, What’s the 411?, which was a breakout critical and commercial hit, selling more than 3 million copies. The single “Real Love” hit No. 7 on the Billboard Hot 100. Blige’s 14 studio albums have sold an estimated 100 million copies worldwide, and has won nine Grammy Awards. She performed as part of the Super Bowl halftime show in both 2001 and 2023, and is an Oscar- and Golden Globe-nominated actress.
Also, in:
1958 - The release date for the Elvis Presley single 'Jailhouse Rock' was put back a week after Decca Records, a U.K. pressing plant, was unable to meet the advance orders of 250,000 copies.
1963 - The Beatles recorded their first national TV show 'Thank Your Lucky Stars'. They lip synched to their new single 'Please Please Me' which was released that day.
1964 - 'Louie Louie' by The Kingsmen was the No. 1 song on the U.S. Cash Box music chart. For a while, the record was banned by a handful of U.S. radio stations because of its indecipherable lyrics, which were rumored to contain some "naughty words." Even the F.B.I. investigated the song, but finally concluded that they could find nothing wrong.
1964 - The Whisky a Go Go opened in West Hollywood, CA. This club would go on to be a launching pad for such acts as The Doors and Frank Zappa's Mothers of Invention.
1964 - Ring Of Fire The Best of Johnny Cash became the first No. 1 album when Billboard debuted their Country Album Chart. It was his sixteenth album in total and his first compilation album.
1967 - The Jimi Hendrix Experience recorded "Purple Haze" at Olympic Studios in London.
1971 - Pearl, the second and final solo album by Janis Joplin, is released - three months after her death.
1975 - Led Zeppelin performed "Kashmir" live for the first time during a concert at the Ahoy in Rotterdam, Holland. The song was written by Jimmy Page and Robert Plant (with contributions from John Bonham) over a period of three years. It became a concert staple, performed by the band at almost every concert after its release. The song has been described as one of Led Zeppelin's most overtly progressive epics.
1985 - A Brazilian rock Festival held in Rio claimed to be the biggest ever staged. The festival featured Queen, Rod Stewart, AC/DC, Whitesnake, Yes and Iron Maiden.
1992 - Nirvana's landmark album Nevermind reached the top of the Billboard 200 Album Chart for the first of two non-consecutive weeks at number one. They also peaked at number six on the Billboard Hot 100 Singles Chart with "Smells Like Teen Spirit" and made their debut appearance on U.S. television on Saturday Night Live on this night.
1993 - Ted Nugent was fined $1,000 for shooting off two flaming arrows during a Damn Yankees concert at Cincinnati Gardens. Nugent was also given a three-day suspended sentence for a misdemeanor fire-code violation.
2003 - T. Rex drummer Mickey Finn died from alcohol related liver problems in a London hospital. He was 55 years old.
2005 - Former Bread guitarist and Academy Award-winning songwriter James Griffin died at his home in Nashville at the age of 61.
2017 - Rockabilly guitarist Tommy Allsup, who narrowly avoided boarding the plane that killed Buddy Holly and the Big Bopper, died at age 85. The musician famously lost a coin toss for a seat on the plane and his place was taken by teen star Ritchie Valens, who also died when the plane crashed. Allsup went on to become a Grammy-winning musician, who played with Merle Haggard, Roy Orbison and Willie Nelson.
Birthdays: Laurens Hammond, inventor of the Hammond organ, was born today in 1895. The sound of the Hammond was used by many rock artists including Procol Harum, Keith Emerson, Led Zeppelin, The Allman Brothers and The Faces. Hammond died on July 3, 1973.
Slim Harpo, blues musician ("Baby Scratch My Back"), was born today in 1924.
Clarence Clemons, saxophonist for the E Street Band, was born today in 1942.
Tony Kaye, keyboardist for Yes, is 79.
Naomi Judd was born today in 1946. She passed away in 2022.
Terry Williams, drummer for Rockpile and Dire Straits, is 76.
Charlie Huhn, of Foghat and Ted Nugent’s band, is 73.
Lee Ritenour is 72.
Big Bank Hank (Henry Lee Jackson), rapper from The Sugarhill Gang, was born today in 1956.
Vicki Peterson of The Bangles is 66.
Tom Dumont of No Doubt is 56.
Tom Rowlands of The Chemical Brothers is 53.
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History Highlight:
The “Queen of Hip-Hop Soul” Mary J. Blige was born on this date in 1971 in the Bronx borough of New York City. In 1992, she released her debut album, What’s the 411?, which was a breakout critical and commercial hit, selling more than 3 million copies. The single “Real Love” hit No. 7 on the Billboard Hot 100. Blige’s 14 studio albums have sold an estimated 100 million copies worldwide, and has won nine Grammy Awards. She performed as part of the Super Bowl halftime show in both 2001 and 2023, and is an Oscar- and Golden Globe-nominated actress.
Also, in:
1958 - The release date for the Elvis Presley single 'Jailhouse Rock' was put back a week after Decca Records, a U.K. pressing plant, was unable to meet the advance orders of 250,000 copies.
1963 - The Beatles recorded their first national TV show 'Thank Your Lucky Stars'. They lip synched to their new single 'Please Please Me' which was released that day.
1964 - 'Louie Louie' by The Kingsmen was the No. 1 song on the U.S. Cash Box music chart. For a while, the record was banned by a handful of U.S. radio stations because of its indecipherable lyrics, which were rumored to contain some "naughty words." Even the F.B.I. investigated the song, but finally concluded that they could find nothing wrong.
1964 - The Whisky a Go Go opened in West Hollywood, CA. This club would go on to be a launching pad for such acts as The Doors and Frank Zappa's Mothers of Invention.
1964 - Ring Of Fire The Best of Johnny Cash became the first No. 1 album when Billboard debuted their Country Album Chart. It was his sixteenth album in total and his first compilation album.
1967 - The Jimi Hendrix Experience recorded "Purple Haze" at Olympic Studios in London.
1971 - Pearl, the second and final solo album by Janis Joplin, is released - three months after her death.
1975 - Led Zeppelin performed "Kashmir" live for the first time during a concert at the Ahoy in Rotterdam, Holland. The song was written by Jimmy Page and Robert Plant (with contributions from John Bonham) over a period of three years. It became a concert staple, performed by the band at almost every concert after its release. The song has been described as one of Led Zeppelin's most overtly progressive epics.
1985 - A Brazilian rock Festival held in Rio claimed to be the biggest ever staged. The festival featured Queen, Rod Stewart, AC/DC, Whitesnake, Yes and Iron Maiden.
1992 - Nirvana's landmark album Nevermind reached the top of the Billboard 200 Album Chart for the first of two non-consecutive weeks at number one. They also peaked at number six on the Billboard Hot 100 Singles Chart with "Smells Like Teen Spirit" and made their debut appearance on U.S. television on Saturday Night Live on this night.
1993 - Ted Nugent was fined $1,000 for shooting off two flaming arrows during a Damn Yankees concert at Cincinnati Gardens. Nugent was also given a three-day suspended sentence for a misdemeanor fire-code violation.
2003 - T. Rex drummer Mickey Finn died from alcohol related liver problems in a London hospital. He was 55 years old.
2005 - Former Bread guitarist and Academy Award-winning songwriter James Griffin died at his home in Nashville at the age of 61.
2017 - Rockabilly guitarist Tommy Allsup, who narrowly avoided boarding the plane that killed Buddy Holly and the Big Bopper, died at age 85. The musician famously lost a coin toss for a seat on the plane and his place was taken by teen star Ritchie Valens, who also died when the plane crashed. Allsup went on to become a Grammy-winning musician, who played with Merle Haggard, Roy Orbison and Willie Nelson.
Birthdays: Laurens Hammond, inventor of the Hammond organ, was born today in 1895. The sound of the Hammond was used by many rock artists including Procol Harum, Keith Emerson, Led Zeppelin, The Allman Brothers and The Faces. Hammond died on July 3, 1973.
Slim Harpo, blues musician ("Baby Scratch My Back"), was born today in 1924.
Clarence Clemons, saxophonist for the E Street Band, was born today in 1942.
Tony Kaye, keyboardist for Yes, is 79.
Naomi Judd was born today in 1946. She passed away in 2022.
Terry Williams, drummer for Rockpile and Dire Straits, is 76.
Charlie Huhn, of Foghat and Ted Nugent’s band, is 73.
Lee Ritenour is 72.
Big Bank Hank (Henry Lee Jackson), rapper from The Sugarhill Gang, was born today in 1956.
Vicki Peterson of The Bangles is 66.
Tom Dumont of No Doubt is 56.
Tom Rowlands of The Chemical Brothers is 53.
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Mary J. Blige - Age, Family, Bio
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Mary J. Blige: her birthday, what she did before fame, her family life, fun trivia facts, popularity rankings, and more.
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Famous Birthdays
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https://www.famousbirthdays.com/people/mary-j-blige.html
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About
Grammy Award-winning R&B singer who's released more than half a dozen multi-platinum records, including My Life, which went 3x Platinum and won the 1995 Billboard Music Award for Top R&B Album. Her most popular songs include "Be Without You," "Real Love," "My Life," and "Not Gon' Cry." In 2019, she began appearing in Netflix's The Umbrella Academy.
Before Fame
She sang at church and became Uptown Records' first female artist as a background singer in 1989.
Trivia
She released a perfume called My Life, which broke HSN records by selling 65,000 bottles during its premiere.
Family Life
She was married to her manager, record executive Kendu Isaacs, from 2003 until 2018.
Associated With
Her 2003 single "Love @ 1st Sight" featured rapper Method Man and was produced by Diddy.
Video
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FRESH OFF HER TRIUMPHANT SUPERBOWL PERFORMANCE, MARY J. BLIGE HEADS TO THE 15TH ANNUAL JAZZ IN THE GARDENS MUSIC FESTIVAL
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2022-02-16T21:57:00+00:00
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MIAMI GARDENS, Fla., Feb. 16, 2022 /PRNewswire/ -- Superbowl 2022 enjoyed an electrifying performance by the incomparable Mary J. Blige who brough...
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|
MIAMI GARDENS, Fla., Feb. 16, 2022 /PRNewswire/ -- Superbowl 2022 enjoyed an electrifying performance by the incomparable Mary J. Blige who brought the hip-hop heat to a star studded, fast paced, powerful halftime show, joined by legends Snoop Dog and Doctor Dre. Blige, who recently released her album "Good Morning Gorgeous" to critical acclaim, will reprise her high energy show at the 15th Annual Jazz in the Gardens (JITG) Music Festival, which takes place on March 12 and 13, 2022. 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, presented by the City of Miami Gardens, the largest Black city in Florida.
FRESH OFF HER TRIUMPHANT SUPERBOWL SHOW, MARY J. BLIGE HEADS TO JAZZ IN THE GARDENS MUSIC FESTIVAL
Jazz in the Gardens full line up is 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 gates 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 City of Miami Gardens has with this event".
'We are honored to partner with Mayor Harris and the City of Miami Gardens on the 15th Anniversary of Jazz in the Gardens", said Brittany Flores, President of Live Nation Florida. "The event is staple here in South Florida and we are beyond excited to help continue the tradition and usher in the next chapter of this amazing 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 on-sale now at www.jazzinthegardens.com - Follow @jazzinthegardens
Media contact: Suzan McDowell, suzan@circleofonemarketing.com or 305-490-9145
IMAGES HERE
About The City of Miami Gardens
The City of Miami Gardens celebrated its 18th anniversary in 2021 since its incorporation. With a population of approximately 113,000, it is the third largest city in Miami-Dade County. Miami Gardens is a solid professional community of unique diversity. It is the largest predominantly African American municipality in Florida and boasts thousands of Caribbean and Hispanic Residents. The City is the home of the Hard Rock Stadium, the Miami Dolphins football team, the University of Miami Hurricanes football team, the Orange Bowl football game, the 2020 Super Bowl and most recently the Miami Tennis open. It is also the home of the Miami Dolphins training camp. The City has demonstrated steady growth in the areas of community and economic development and has gained a reputation for being a premier destination in South Florida. The City is a 2020 All-America City. www.miamigardens-fl.gov
About Live Nation Entertainment
Live Nation Entertainment is the world's leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Media & Sponsorship. For additional information, visit www.livenationentertainment.com.
About Live Nation Urban
Live Nation Urban (LNU) is a partnership with Live Nation Entertainment, the world's leading live entertainment company. Specifically focusing on Hip-Hop, R&B and Gospel, LNU builds platforms, events, and festivals globally and develops dynamic content strategies based upon the live properties created. Live Nation Urban considers itself the most powerful source for live urban music. For additional information, visit www.livenationentertainment.com.
View original content to download multimedia:https://www.prnewswire.com/news-releases/fresh-off-her-triumphant-superbowl-performance-mary-j-blige-heads-to-the-15th-annual-jazz-in-the-gardens-music-festival-301484154.html
SOURCE City of Miami Gardens
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Who are Mary J Blige Parents? Meet Thomas Blige And Cora Blige
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2024-06-20T00:00:00
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So who is Mary J Blige's Parents? According to our research, Mary J Blige's Parents are Thomas Blige andCora Blige. Mary J Blige is an American singer-songwriter born on 11 January 1971. Thomas Blige
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Who are Mary J Blige's Parents? Check this article to know who are Mary J Blige's Parents along with Mary J Blige biography. Mary J Blige is a American singer-songwriter.
Who are Mary J Blige's Parents?
So who is Mary J Blige's Parents? According to our research, Mary J Blige's Parents are Thomas Blige and Cora Blige. Mary J Blige is an American singer-songwriter born on 11 January 1971.
Real NameMary J BligeNick NameMary J BligeDate of birth11 January 1971Age52 years oldHeight179 cm, 5 feet 9 inchesWeight65 kg (143 lbs)Birth PlaceFordham HospitalGenderFemaleProfessionAmerican singer-songwriter NationalityAmericanEye ColourBrownHair ColourBlackParents
Thomas Blige
Cora Blige
DivorceKendu Isaacs (m. 2003â2018)
Who is the Mary J Blige?
Mary J. Blige is an American singer-songwriter who has made a significant impact on the music industry with her powerful vocals, emotive performances, and introspective lyrics. Born on January 11, 1971, in The Bronx, New York City, she grew up in a troubled environment but found solace and inspiration in music from an early age. Blige's soulful and gritty voice, combined with her ability to convey raw emotions, has earned her the title of "Queen of Hip-Hop Soul."
Blige's contributions to the music industry have been widely recognized. She has received numerous awards and accolades, including nine Grammy Awards, four American Music Awards, and twelve Billboard Music Awards. Her impact extends beyond her music, as she has also ventured into acting, appearing in films and television shows.
Mary J Blige Biography
Mary J. Blige is an American singer-songwriter whose life journey is as captivating as her soulful music. Born on January 11, 1971, in The Bronx, New York City, she faced various challenges growing up but found solace and escape through her love for music. Blige's curiosity, resilience, and raw talent propelled her to become one of the most successful and influential artists in the music industry.
With a career spanning over three decades, Mary J. Blige has cemented her place as the "Queen of Hip-Hop Soul." Her unique blend of R&B, soul, and hip-hop, infused with powerful vocals and emotionally charged lyrics, has resonated with audiences worldwide. Blige's curiosity for exploring different musical styles and pushing boundaries has contributed to her longevity and relevance in the industry.
As a curious observer of life, Mary J. Blige's biography is filled with ups and downs, triumphs, and struggles. She has openly shared her personal journey through her music, addressing themes of love, heartbreak, resilience, and self-discovery. Blige's ability to channel her own experiences into relatable songs has garnered her critical acclaim and a devoted fan base.
Mary J Blige Age
Mary J. Blige is 52 years old. Born in 1971, she continues to defy expectations and remain relevant in the music industry. Her talent and charisma have allowed her to evolve and adapt to different musical genres, ensuring her longevity and success.
Throughout her career, Mary J. Blige has remained true to her artistic vision and has used her platform to address personal struggles, empowerment, and social issues. Her music continues to resonate with audiences around the world, making her an enduring and influential figure in American music.
Mary J Blige Height and Weight
Mary J. Blige's physical attributes, she stands at a height of approximately 5 feet 9 inches (179 cm) and maintains a healthy weight that 65 kg (143 lbs). Her appearance is often characterized by her distinctive fashion choices, which reflect her bold and confident personality.
Mary J. Blige's career spans over three decades and encompasses various musical styles, including R&B, hip-hop, soul, and pop. She first gained recognition in the early 1990s with her debut album, "What's the 411?" which showcased her unique blend of soulful vocals and relatable lyrics. Since then, she has released numerous successful albums and singles, including hits like "Real Love," "No More Drama," and "Family Affair."
Mary J Blige Nationality
Mary J. Blige's nationality is American. Born and raised in The Bronx, New York City, she proudly represents the diverse musical landscape of the United States. Blige's music reflects the rich cultural tapestry of America, incorporating elements of R&B, soul, hip-hop, gospel, and more.
Her artistic contributions have played a significant role in shaping American popular music and have resonated with audiences of various backgrounds and cultures. Mary J. Blige has remained true to her artistic vision and has used her platform to address personal struggles, empowerment, and social issues.
Mary J Blige's Career
Mary J. Blige has achieved remarkable success and recognition. She has received numerous accolades, including nine Grammy Awards, four American Music Awards, and twelve Billboard Music Awards. Blige's impact extends beyond her music, as she has also ventured into acting, receiving critical acclaim for her roles in films and television shows.
Mary J. Blige's career is a testament to her artistic curiosity, resilience, and dedication. She continues to evolve as an artist, exploring new sounds and collaborating with diverse talents. Blige's contributions to the music industry and her ability to connect with listeners on an emotional level have solidified her status as an iconic figure in American music.
Mary J Blige's Achievement and Awards
Here are some of Mary J Blige's notable awards and achievements:
Golden Globe Awards:
2018: Nominated for Best Supporting Actress for "Mudbound"
2018: Nominated for Best Original Song (for "Mighty River")
Grammy Awards:
Mary J. Blige has received thirty-eight nominations and has won nine Grammy Awards. Some notable nominations and wins include:
1996: Nominated for Best R&B Album for "My Life"
1996: Won Best Rap Performance by a Duo or Group for "I'll Be There for You/You're All I Need to Get By" (with Method Man)
2003: Won Best Female R&B Vocal Performance for "He Think I Don't Know"
2004: Won Best Pop Collaboration with Vocals for "Whenever I Say Your Name" (with Sting)
2007: Nominated for Record of the Year and Song of the Year for "Be Without You"
2007: Won Best Female R&B Vocal Performance and Best R&B Song for "Be Without You"
2009: Won Best Contemporary R&B Album for "Growing Pains"
2023: Nominated for Album of the Year, Best R&B Album, Record of the Year, Best Traditional R&B Performance, and Best R&B Song for "Good Morning Gorgeous" and "Here With Me" (featuring Anderson .Paak)
Primetime Emmy Awards:
2022: Won Outstanding Variety Special (Live) for "The Pepsi Super Bowl LVI Halftime Show"
Screen Actors Guild Awards:
Mary J. Blige has received two nominations:
2018: Nominated for Outstanding Performance by a Female Actor in a Supporting Role for "Mudbound"
2018: Nominated for Outstanding Performance by a Cast in a Motion Picture for "Mudbound"
American Music Awards:
Mary J. Blige has won four American Music Awards out of ten nominations. Some notable wins include:
1998: Won Favorite Soul/R&B Album for "Share My World"
2003: Won Favorite Hip-Hop/R&B Female Artist
2006: Won Favorite Soul/R&B Artist and Favorite Soul/R&B Album for "The Breakthrough"
2019: Won Lifetime Achievement Award
Mary J Blige Parents - FAQ
1. Who are Mary J Blige's Parents?
According to our latest research, Mary J Blige's Parents are Thomas Blige and Cora Blige.
2. Who is Mary J Blige?
Mary J Blige is an American singer-songwriter.
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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
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Cher, Mary J. Blige and Ozzy Osbourne on the Rock & Roll Hall of Fame's 2024 list
Half the inductees in the performer category were nominated for the first time this year. The ceremony will stream live on Disney+ in October.
High-profile women stand out on the 2024 Rock & Roll Hall of Fame shortlist
Mariah Carey, Cher, Sinéad O'Connor, Mary J. Blige and Sade are on the latest inductee shortlist. It's notable for an institution long focused on white male artists.
Billboard Music Awards honor Mary J. Blige as a musical icon
The annual music awards show also featured controversial appearances by Travis Scott and Morgan Wallen.
The Super Bowl halftime show was a mixture of respectability and reckoning
Even with the petite moments of refusal, the whole performance feels like hip-hop's audition for an all-American passport.
New Music Friday: The top 5 albums out on Feb. 11
NPR Music's picks for the week's best albums include Mary J. Blige's Good Morning Gorgeous, the sonic wonders of alt-j, spiritual guidance from Raveena, a new solo record from Eddie Vedder and more.
New Music Friday: The top 5 albums out on Feb. 11
Listen · 24:49 24:49
To Bad Boy And Beyond: The Borderless Sound Of Chucky Thompson
The producer, who died this month at 53, crafted career-defining records by Mary J. Blige, Faith Evans and The Notorious B.I.G., armed with a desire to understand his artists as people first.
Jay-Z, Mary J. Blige, Tina Turner Among 16 Nominees For Rock & Roll Hall Of Fame
The Rock Hall announced nominations for its 2021 inductees on Wednesday morning. Six women were on the ballot, a marginal improvement from 2020's sole female inductee.
From Chuck Berry To Tupac Shakur: Taking Stock Of The 2008 Universal Fire
The loss from the 2008 Universal Studios backlot fire was thought to be a few movie sets and film duplicates. But Jody Rosen reports that it was one of the largest losses in recorded music's history.
From Chuck Berry To Tupac Shakur: Taking Stock Of The 2008 Universal Fire
Listen · 6:04 6:04
Surprise Singles Friday: Mary J. Blige, Ariana Grande, Metric, Tinashe And Daughters
It isn't Friday on the Internet without surprise releases — check out Metric's hooky punk snarl, Tinashe's trap-tinged lament and the return of a Providence noise-rock institution.
'Waiting To Exhale: Original Soundtrack Album' Is A Transcendent Celebration Of Womanhood
The album, with its star-studded tracklist featuring only women, isn't just one of the most successful soundtracks ever made, but a beloved, standalone R&B album.
The 150 Greatest Albums Made By Women
NPR's list of the greatest albums made by women, from 1964 to the present.
'I'm Not Going To Be Broken': Mary J. Blige On 'Strength Of A Woman'
"It's a responsibility being Mary J. Blige," the singer says. She speaks with NPR's Rachel Martin about finding catharsis through music — and says that even she works out to her songs.
'I'm Not Going To Be Broken': Mary J. Blige On 'Strength Of A Woman'
Listen · 7:19 7:19
Listen To Mary J. Blige's Powerful New Song 'Thick Of It'
Co-written with Jazmine Sullivan, Blige's new song is classic R&B balladry meets trap beats with dramatic panache. Blige says it's "so personal it's almost painful to let it out."
Review
First Listen
Review: 'Nina Revisited... A Tribute To Nina Simone'
The tribute, which strives to update Simone's ability to capture the hope and rage of the '60s for a contemporary audience, features six songs performed by Ms. Lauryn Hill.
Ann Powers' Top 15 Albums Of 2014
NPR Music's pop critic, Ann Powers, says each of her favorite albums of 2014 gave her new tools to cope with and learn from the world around her, even as that world crashed in from outside.
NPR Music's 50 Favorite Albums Of 2014
Fifty albums for a heavier-than-average year, selected by NPR Music's staff and member station partners. These are the albums we held close in 2014 and the ones we want to share.
Mary J. Blige: 'I'm Not Worried, Trying To Keep It Real — I Am Real'
Jason King spoke to the R&B standard-bearer about her latest evolution, which comes from her roots.
Mary J. Blige: 'I'm Not Worried, Trying To Keep It Real — I Am Real'
Listen · 3:48 3:48
Smokey Robinson: 'Every Night Those Songs Are New'
On this edition of All Songs Considered, the R&B singer shares some of the songs and events that shaped his career, along with cuts from his new album of duets, Smokey & Friends.
Smokey Robinson: 'Every Night Those Songs Are New'
For The Queen Of Hip-Hop Soul, A Sequel About Strength
When Mary J. Blige first shook up the world of R&B with My Life, she sang about pain — about an abusive relationship, addiction and depression. Seventeen years later, My Life II is out, and its message has a different tune.
For The Queen Of Hip-Hop Soul, A Sequel About Strength
Listen · 8:16 8:16
Def Jam's 25th Anniversary: Songs We Love
Def Jam's 25th-anniversary box set is a collection of some of the most amazing music released since the dawn of hip-hop. Gorgeous, powerful and surprising, its songs still sound fresh.
Review
Music Reviews
Radiohead Bonus Disc Not So Crucial
Esquire music critic Andy Langer and former Rolling Stone contributing editor Toure review the latest music releases, including a sophomore album from Lupe Fiasco, a Rivers Cuomo solo record, a new one from Mary J. Blige and the Radiohead box set.
Radiohead Bonus Disc Not So Crucial
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https://www.austinchronicle.com/music/2007-12-28/575545/
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Mary J Blige and Alicia Keys
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2007-12-28T00:00:00
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Mary J. Blige, Alicia Keys
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en
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https://www.austinchronicle.com/music/2007-12-28/575545/
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Mary J. Blige
Growing Pains (Geffen)
Alicia Keys
As I Am (J)
New York City soulstresses born in January a decade apart ('71 and '80, respectively), Mary J. Blige and Alicia Keys flex their commercial empowerment in passionate opposition. Yonkers street survivor Blige and Manhattan piano prodigy Keys presently command career-high profiles with voices incapable of unfeeling line readings, though Booker T. & the MGs rather than synthetic New Jack soul should groove both ladies back to the old school, where their voices belong. Blige's desperate search for romantic stability counters Keys' full blush of new connection. Her eighth album since 1992 and first since 2005's Grammy-winning The Breakthrough, the former's Growing Pains starts unsteady, but its heart beats strong and sincere. Million-dollar opener "Work That" updates Motown for the 21st century with a rinky-dink piano figure and Blige's wigged head held high. Entanglements with Ludacris ("Grown Woman") and Usher ("Shake Down") tryst up unadvised, while the yearning "Feel Like a Woman" and its appeal to traditional sex roles feels pat. The succeeding "Stay Down" couches its pleas in experience rather than idealism, however, and "Hurt Again" promises this is the last time, obvious wishful thinking given the song's hook: bald denial. The synthetic funk of "Till the Morning" works best for more submissive bedroom confessions, backup "Roses" whiffing equally needy yet turns vulnerability into resentment ("it ain't all roses, flowers, and poses"), and eventually dominance. It's one of Growing Pain's best, another being "Fade Away," its treadmill tempo riding a straight line groove. The disc then loses steam (nagging "Talk to Me," clouded "Smoke") when it should've lost 20 of its 65 minutes but ends on strong note in "Come to Me (Peace)," a sort of ramped-down antidote to the relative anxiety of the rest of the album. As I Am, Keys' third studio release, pounds and caresses ivory, yet Aretha Franklin and Stevie Wonder carry equal weight with Streisand and Minelli since the singer soars from a much larger stage. "Superwoman" grasps at Aretha's anthemic heights, albeit the 1980s version. "No One" bottoms out on a plodding beat doubled by synthesizer but loosens superhuman vocal affection nonetheless. "Like You'll Never See Me Again" mushes badly, but "Lesson Learned," a duet with John Mayer, has all the answers in Keys' vocal embrace. She oversells "Wreckless Love," but "Teenage Love Affair," encased as it is in contemporary R&B plasticine, moderns a throwback refrain on the edge of a standard. The "no means yes" of "I Need You," on the other hand, went out with Reagan. That's when she unleashes the choir of her full exhale on "Where Do We Go From Here," a tour de force of feminine grandeur. Closer "Sure Looks Good to Me," the best song on As I Am, cues up a mortal version of "Superwoman," all the more invincible for it.
(Both)
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Mary Jane Blige (Mary J. Blige): Biography of the singer
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2021-06-20T09:38:54+00:00
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Mary Jane Blige (Mary J. Blige): Biography of the singer - Salve Music - Bio - Biographies of musicians - Personal life - Interesting facts - Encyclopedia of music
|
en
|
Salve Music
|
https://en.salvemusic.com.ua/mary-jane-blige-meri-dzhej-blajdzh-biografiya-peviczy/
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Mary Jane Blige is a real treasure of American cinema and stage. She managed to realize herself as a singer, songwriter, producer and actress. Mary's creative biography can hardly be called easy. Despite this, the performer has a little less than 10 multi-platinum albums, a number of prestigious nominations and awards.
Childhood and youth Mary Jane Blige
She was born on January 11, 1971. At the time of birth, the family lived in a small provincial town, which is located near New York. Mary's family was not very prosperous.
The girl's mother was a nurse. Relations with the spouse were always on the verge. He often beat a woman, could not provide his family with basic things. In their house, insults and obscene language were often heard.
Mary's mother suffered from alcohol addiction. Alcoholic drinks relieved the pain. The head of the family was directly related to the scene. Before the Vietnam War, he worked as a musician in a local band. When my father returned from the front, he developed the so-called "post-traumatic disorder."
Soon the mother managed to pull herself together. She was worried about the fate of the children, so she filed for divorce. In search of a better life, the woman left her hometown. She took part in the Yonkers housing project and soon got her rightful place to live.
Later, another sad moment came to light. When life in the family more or less improved, little Mary spoke about her experience of sexual abuse.
Singing was a relief for the girl. She enrolled in the church choir, where she honed her vocal abilities. She did not stay as an “angelic” child for long. As a teenager, Mary began to use alcohol and drugs.
In adolescence, school was in the background. Mary did not want to do her homework and practically stopped attending school. She never finished high school.
Mom and sister did everything to ensure that Mary did not do stupid things. They orientated in time in which direction a talented girl can develop.
After not very pleasant moments in her life, Mary could not believe in her own strength and significance. Having become popular, she worked some moments. Today, the artist openly calls herself a happy and mentally healthy person.
The creative path of Mary Jane Blige
The singer has a strong voice. She has a mezzo-soprano voice. She has no musical education. This did not prevent her from taking part in various music competitions. At one of these events, she won. At that time she was only 8 years old.
The aspiring singer recorded her first demo not in a professional recording studio, but in a karaoke booth. Mary created a cover version of Anita Baker's popular song Caught Up in the Rapture.
In the late 1980s, she began to actively mail the record to various studios. Fortune soon smiled upon her. She signed with Uptown Records. Until the 1990s, Mary acted as a backing vocalist. But with the support of Puff Daddy, she managed to record her debut solo album. The singer's discography was opened by What's the 411.
The debut LP is a real rich assortment, which included rhythm and blues, soul and hip-hop. Despite the fact that Mary's name was unknown to many, the album of the young performer was sold out in significant numbers. The album was sold by 3 million fans. From a number of presented tracks, the audience remembered the compositions You Remind Me and Real Love.
On the wave of popularity, the singer's discography was replenished with the second studio LP My Life. The compositions Be Happy, Mary Jane (All Night Long) and You Bring Me Joy aroused interest among the public. The record managed to repeat the success of the previous LP.
Mary gradually entered the "party". For example, for Whitney Houston's film Waiting to Exhale, the singer recorded the soundtrack Not Gon' Cry. A little later, together with George Michael, she presented the composition As, which even demanding music lovers liked.
Peak of popularity
Already in the mid-1990s, the prestigious Grammy Award stood on her shelf. The artist received it in the nomination "Best rap performance by a duet or group." The jury highly appreciated the talent of the American performer.
Then she recorded another novelty. Her new album is titled Share My World. Longplay was warmly received by fans and music critics. The collection took the 1st position in the prestigious Billboard chart. Among the presented tracks, music lovers noted Love Is All We Need and Everything.
In the early 2000s, Mary worked tirelessly. Her discography continued to be replenished with worthy works. Then she presented the composition Family Affair to fans of her work. The presented work is now considered a classic of hip-hop soul.
At the same time, the singer, along with the talented rapper Wyclef Jean, recorded another hit "911". For a long time, the track occupied a leading position in the US chart. In 2004, Mary recorded a duet song with Sting. The singers performed the song Whenever I Say Your Name. The work was appreciated not only by fans, but also by music critics.
In 2005, Mary's discography was replenished with the LP The Breakthrough. The album was awarded three Grammy awards. From that moment on, the celebrity decided to discover another interesting page in her creative biography - cinema.
She smoothly entered the world of the film industry. Mary starred in Tyler Perry's movie My Own Mistakes. After some time, she could be seen in the movie "Betty and Coretta" and "Mudbound Farm". In the last movie, she got a supporting role. But it was for this role that she won an Oscar. Mary did not avoid filming in the series.
Details of the artist's personal life
Despite the success that hit the singer at the time of the release of her debut album and subsequent works, Mary did not improve her life. After concerts, she often used alcohol and drugs. Surprisingly, managers and producers did not stop the artist.
Fortunately for the American singer, she fell in love with producer Kenda Isaacs, who did everything to ensure that she got rid of her addictions. It was a strong union. They legalized the relationship in 2003. The couple lived in a happy marriage for 15 years. The family raised Mary's illegitimate children, she has three of them.
Mary's heart is currently open to new relationships. Candid photos often appear on social networks of the star. Despite her age, the singer looks perfect.
Mary Jane Blige at present
Currently, Mary is actively manifesting herself in the cinema. But this does not mean that she is ready to leave her singing career. In 2020, she took part in the dubbing of the animation project Trolls World Tour.
In the same year, she took part in the filming of the thriller, where she had to try on the image of a police officer. We are talking about the movie "Video Recorder".
The latest news from the life of the singer can be found on her official website. It is there that actual information about Mary J. Blige appears.
Mary Jane Blige in 2021
At the beginning of June 2021, a trailer for a biographical film about the outstanding singer Mary J. Blige was shown. The motion picture received the symbolic name "My Life". The film was directed by Vanessa Roth. The biopic focuses on the singer's LP from the mid-90s. The film is slated for release at the end of this month.
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Mary J. Blige’s Pepsi Festival In NYC Honors Women’s Strength On Mother’s Day
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2024-05-15T01:28:10+00:00
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Over the weekend, GRAMMY and Emmy Award-winning and Oscar-nominated artist, actress, producer, and entrepreneur Mary J. Blige, PEPSI®, Live Nation
|
en
|
Harlem World Magazine
|
https://www.harlemworldmagazine.com/mary-j-bliges-pepsi-festival-in-nyc-honors-womens-strength-on-mothers-day/
|
Over the weekend, GRAMMY and Emmy Award-winning and Oscar-nominated artist, actress, producer, and entrepreneur Mary J. Blige, PEPSI®, Live Nation Urban, and MVD Inc.
The event was wrapped in an unforgettable takeover across New York City, from May 10th to May 12th, for the third annual Strength of a Woman Festival and Summit. The lively weekend consisted of three days devoted to music, female empowerment sessions, exceptional industry speakers and moving testimonials. Created and curated by the newly inducted Rock & Roll Hall of Fame honoree, Mary J. Blige, the 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 arrived at the birthplace of Hip-Hop, New York City, after previously being held in Atlanta for its first two years.
“… dream come to life.”
“This past weekend was a whirlwind in the best way possible,” said Mary J. Blige. “Getting to bring this home to NYC is something I won’t forget. Thank you to everyone who came out, to all my family who participated and to everyone involved, including my partners at Pepsi, who made this dream come to life. Until next year!”
The festival kicked off on Friday, May 10th with an intimate welcome party hosted by Mary J. Blige at Corner Social in Harlem. Guests enjoyed cocktails and passed hors d’oeuvres, while dancing the night away to the sounds of Hot 97’s Funkmaster Flex. The evening continued downtown in Greenwich Village at Blue Note with two sold-out jazz shows headlined by 5x GRAMMY-winning artist Robert Glasper at the legendary Blue Note. Taking the stage, Glasper performed a medley of songs for the intimate crowd in attendance. The evening concluded with Mary J. Blige gracing the stage with Glasper where the pair shared anecdotes before leaving the audience with an inspiring mantra: “Each one, teach one, help one.” Additional notable celebrities in attendance included Tiffany Haddish, Tasha Smith, Rapsody, and Bryan Michael Cox.
“… purpose of empowerment, elevation, education, and equity … with inspiring …”
On Saturday, the morning commenced with over 4,000 attendees for the Strength of a Woman Summit held at The Glasshouse. The highly-anticipated summit kicked off with a motivational prayer from Tasha Smith and welcome remarks from The Breakfast Club co-host and comedian Jess Hilarious. The star-studded panels included “Girl Talk with MJB,” an unfiltered conversation that celebrated the magical bond of Black women’s friendships with Mary J. Blige, and her celebrity besties Angie Martinez, Taraji P. Henson, and Tasha Smith.
The summit also included an “Our Men Honor the Strength of a Woman” panel, a dynamic men’s discussion led by the cast of Starz’s hit series’, Method Man, Larenz Tate, Michael Rainey Jr., Da’Vinchi, and Mekai Curtis. Additional notable key speakers that contributed to the program’s captivating sessions included Marsai Martin, Pinky Cole Hayes, Crystal Renee Hayslett, Misa Hylton, Bevy Smith, Claire Sulmers, Simone I. Smith, Kim Kimble, Tunde Oyeneyin, and more. Co-hosted by comedian and co-host of The Breakfast Club, Jess Hilarious, and award-winning on-air talent, journalist, and podcaster, Gia Peppers, the incredible event, which was free for the public with registration, featured a total of nine panels highlighting the festival’s mission and purpose of empowerment, elevation, education, and equity to life with inspiring programming, pivotal panels, and experiences, focused on wellness, culture, finance and entrepreneurship, style, beauty, podcasts and much more.
The panels are only one star-studded component of the Summit. Activations included a tooth gem station by Get Gem’d, a myriad of memorable photo moments, and a lush build-your-own bouquet bar. Guests were also welcomed to explore “Mary’s Living Room,” a comfortable sanctuary featuring the varietals of the Sun Goddess wine collection, Sister Love’s bold jewelry designs, and the specially made Strength of Woman merchandise. Additionally, guests were invited to immerse themselves in the music and memories of Mary J. Blige’s “My Life” album in a custom listening booth, created as a special tribute to the 30th anniversary of the iconic album.
PEPSI®, the festival’s returning partner, offered Summit attendees delicious food, custom cocktails, 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, featured dishes from five female-owned restaurants: Slutty Vegan, Harlem’s Melba’s, 2 Girls & A Cookshop, Aunts Et Uncles and Je T’aime Patisserie.
“Pepsi returned as co-presenting partner for the Mary J. Blige Strength of a Woman Festival and Summit, this time bringing our shared vision to elevate, educate and empower women to New York City – our own backyard and Mary’s hometown. Pepsi Dig In, the brand’s platform to support Black-owned restaurants, also returned to feature five local female-owned restaurants at the Pepsi Dig In Village to spotlight these businesses at the Summit to drive visibility and awareness to their incredible dishes. The weekend’s sold-out events and continued success is a testament to Mary’s impact,” said Kent Montgomery, Senior Vice President, PepsiCo Industry Relations and Multicultural Development.
Additional partners with onsite activations included Mielle Organics, who provided an onsite hairstylist and giveaways of their must-have beauty and haircare products, and Verizon Business, who invited attendees to delve into the brand’s suite of small business offerings while also enjoying complimentary charging services of their mobile devices. Additional sponsors for this year’s summit included ASCAP and Starz.
Following the Summit, New Yorkers flocked to the Barclays Center in Brooklyn for a concert headlined by newly-inducted Rock and Roll Hall of Famer and Strength of a Woman founder Mary J. Blige, with additional performances by 50 Cent, Jill Scott, Fat Joe, Jadakiss, Lola Brooke, Honey Bxby, and Funk Flex. The evening was hosted by “the voice of New York,” Angie Martinez and kicked off with a special tribute to “Hip Hop Moms,” featuring Harlem’s Mama Jones (Jim Jones’ mother), Audrey Jackson (Pop-Smoke’s mother), Debbie Phillips (Jadakiss’s mother) and Athena Dubose (A. Boogie’s mother.) Rising sibling quartet, WanMor, made up of singer Wanya Morris’ four sons, surprised their mother, Traci Nash, by serenading her with the song “A Song for Mama,” made famous by their father’s group, Boyz II Men.
In between sets, Funkmaster Flex kept the party going with lively DJ sets that kept the crowd on their feet. Honey Bxby took the stage first, kicking off her set with “Basic.” Next up was Brooklyn’s own Lola Brooke – who started her set by thanking her mother for allowing her to pursue her dreams. Legendary rapper Jadakiss performed and surprised the crowd when he brought out Styles P and Sheek Louch of his group The Lox to perform three of their hits.
50 Cent made a grand entrance as he was lifted onto the stage to start his performance. During his set, he performed the fan-favorite track “Big Rich Town,” and was joined not only by G-Unit’s Tony Yayo and Uncle Murda, but he also brought out cast members of three of his hit Starz series, including Michael Rainey Jr. (Power Book II: Ghost), Larenz Tate (Power Book II: Ghost) and Da’vinchi (BMF), while Mekai Curtis (Power Book III: Raising Kanan) surprised concertgoers by hopping on the drums during 50 Cent’s song “Hate It Or Love It.” 50 Cent made the days of a few lucky fans when he launched the Givenchy varsity jacket and orange leather vest he was wearing into the crowd.
For the main event, Mary J. Blige rose up onto the stage and joined 50 Cent to sing “Hate It Or Love It.” Throughout the evening, she performed her hits including “You Remind Me,” “Love No Limit,” “I Can Love You,” “Mary Jane (All Night Long),” “I’m Going Down,” “Still Believe In Love,” and featured surprise performances from Vado, A. Boogie and Method Man. The night continued with Jill Scott, Jadakiss, Fat Joe with special guest Remy Ma, and WanMor each performing their own sets for the crowd. To close out the evening of an already iconic night of performances, Blige returned to the stage – with her third stunning outfit change of the night – to sing some of her greatest hits, including fan-favorite “Just Fine” and “Family Affair.” If that wasn’t enough, Blige then shocked the crowd by announcing the long-anticipated “The Mary Boot,” her new boot collaboration with Giuseppe Zanotti, which is now on sale.
On the final day of the event-filled weekend, the festival continued with a sold-out Mother’s Day Brunch Experience hosted by Mary J. Blige, held at Brooklyn Chop House in Times Square. With sounds provided by Funk Flex and DJ Smooth Ski, the event featured a pre-fixe brunch menu for guests to enjoy. Notable attendees in attendance included Taraji P. Henson, Misa Hylton, and Mekai Curtis. Mary provided concluding remarks, including a quote from The Intruder’s classic hit song, “I’ll Always Love My Mama,” before wishing the excited audience a Happy Mother’s Day. Following the brunch, the festival made its way to the Brooklyn Paramount for an uplifting gospel concert presented by Femme It Forward, featuring uplifting performances by the legendary gospel group, The Clark Sisters and Jane Handcock, who opened the show.
This year’s festival expanded its footprint across the New York City boroughs, bringing the event’s purpose of empowerment, elevation, and education to life for the community.
On Thursday, April 25, 2024, Pepsi launched the Pepsi x Mary J. Blige Strength of a Woman Community Fund, with $100,000 available as grants to local organizations whose work elevates and educates underserved women in Mary’s hometown of Yonkers, NY.
Photo credit: 1-11). Antoine DeBrill/Ellen .
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A native of Yonkers, New York, Mary J. Blige caught the attention of record promoters in 1992 and became one of the top hip-hop and soul performers by the end of the decade. Her career was helped along by Sean "Puffy" Combs and her first record, What's the 411? (1992) was a commercial and critical success.
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Current Events
View captivating images and news briefs about critical government decisions, medical discoveries, technology breakthroughs, and more. From this page, you'll see news events organized chronologically by month and separated into four categories: World News, U.S. News, Disaster News, and Science & Technology News.
We also collect a summary of each week's events, from one Friday to the next, so make sure you check back every week for fascinating updates on the world around to help keep you updated on the latest happenings from across the globe!
Current Events 2023
Check out the November News and Events Here:
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2024-06-27T00:00:00
|
Find out when Mary J. Blige is next playing live near you. List of all Mary J. Blige tour dates, concerts, support acts, reviews and venue info.
|
en
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//assets.sk-static.com/images/favicon.ico
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Songkick
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https://www.songkick.com/artists/532016-mary-j-blige
|
Mary J. Blige (born January 11, 1971) is a decade-spanning American R&B, hip-hop and neo-soul singer-songwriter and actress, hailing from The Bronx, New York, U.S.
Under the influence of R&B/soul legends Aretha Franklin, Gladys Knight, and Chaka Khan among others, Blige earned her first taste of recognition after singing Anita Baker’s “Caught Up in the Rapture” into a karaoke machine at the mall. A recording of the performance was then given by Blige’s stepfather to Andre Harrell, the CEO of Uptown Records, who signed the young Blige to sing backup for a host of acts including Father MC. In 1991 however, Sean Combs, better known as Diddy, showed Blige the ropes and began working on her debut album. “What the 411?” was released in July 1998, and introduced a whole new wave of gritty and unrefined R&B with a strong connection to hip hop. The album went on to sell over three million copies, aided by the No. 1 R&B chart singles “Real Love” and “You Remind Me”.
Combs was once again at the reigns of Blige’s second album “My Life” released in November 1994. Largely written by the singer herself this time, “My Life” debuted at No. 7 on the Billboard 200, and topped the Top R&B/Hip-Hop Albums chart. The success of her first two albums led to Blige collaborating with the likes of Faith Evans, Method Man, Ghostface Killah, and Jay-Z.
Documenting her tumultuous and unsustainable previous lifestyle, Blige’s third full-length “Share My World” shot to No. 1 on the Billboard 200 in 1997. The album was the singer’s highest-selling album to date, aided by the five hit singles “Love Is All We Need” featuring Nas, “I Can Love You” featuring Lil’ Kim, “Everything”, “Missing You”, and “Seven Days”. In a move away from hip-hop towards the adult contemporary scene, the album “Mary” released in 1999, was an acclaimed album that later earned success for its club-friendly dance remixes.
The new millennium brought the albums “No More Drama” in 2001, “Love & Life” in 2003, the Grammy Award winning “The Breakthrough” in 2005, and the compilation “Reflections” in 2006. Dubbed the “Queen of Hip-Hop Soul”, Blige’s subsequent album “Growing Pains” marked the third successive album which topped both the Billboard 200 and R&B/Hip-Hop Album charts. Shortly after Blige contributed to 50 Cent’s 2007 album “Curtis” and toured as a part of Jay-Z’s Heart of the City tour.
“Stronger with Each Tear” appeared in December 2009, with guest contributions from Drake, Trey Songz and will.i.am, followed by “My Life II… The Journey Continues (Act 1) in 2011. After issuing the Christmas album “A Mary Christmas” in 2013, and contributing to the soundtrack to the comedy film “Think Like a Man Too”, Blige enlisted the help of Disclosure, Sam Smith, and Emeil Sandé for the album “The London Sessions” released in 2014.
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Attending a Mary J. Blige concert for me is like going to church. There’s going to be a lot of praising, amen's and hallelujahs. This is just the way it is when Mary is in town. My usual experience at her shows is spiritual, reflective and cathartic. Sometimes I might even catch the “Holy Ghost.” It also always leaves me drained with a hoarse voice the following day. Because I have such high expectations when it comes to Mary and the fact that this was called “The Liberation Tour,” I was a bit surprised that the show ended and didn’t feel as I had previously. Sure, the concert was good, but it wasn’t great. Don’t get me wrong, she still gave a performance I’ll remember. She preached to the choir and we hung onto every word, shouting back when necessary (and taking notes as well). Mary still looks fabulous (who is her trainer and can he/she hook me up?), but her voice wasn’t as pure and crisp as it has been in previous shows. There was something lacking that I can’t quite put my finger on. It seemed like Mary wasn’t at the top of her game. Perhaps she was tired or just having an off night. A friend who attended with me said it might be because Mary has had so much turmoil this year. I wasn’t quite sure what turmoil she was referring to – outside of Mary having issues with her charity FFAWN – so I did some research and didn’t find much that would explain Mary’s demeanor. Changing twice (into a black dress and white outfit with thigh-high leopard print boots), she started the show rocking a red shorts outfit and her trademark sunglasses. The set opened with her version of Chaka Khan’s Ain’t Nobody. Keeping the high-energy pace going, next was Family Affair, followed by Feel Inside and Enough Cryin’. She asked the audience if she could get her “Charlie Wilson on” during Real Love (which led into the Gap Band’s Outstanding). Before launching into Good Woman Down she expressed to the men that, “Fellas, I am a woman and I relate to them, so no disrespect.” At the end of Not Gonna Cry Mary had her own Holy Ghost moment singing repeatedly, “He wasn’t worth it!” I usually take a break during I’m Going Down because the audience has sung this song at every single Mary show I’ve been too. And that’s fine, because I’ve been singing along to all the songs anyway, and I need a moment to collect myself before I go HAM again. I had just one issue, though. Not only did the audience sing I’m Going Down, we also sang portions of My Life and Be Without You. I found this unusual because Mary generally sings all songs. Ending with Be Without You there was no encore. When the house lights turned on, I was a bit perplexed. The show just didn’t seem long enough. And once I realized she only sang one song from Growing Pains (Just Fine), I was even more disappointed.
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Mary J. Blige personifies soul and it clearly has a huge influence on both her life and her performance. As she appeared onstage at the iTunes festival, there was a wonderful feeling of warmth resonating from the singer as she took her place behind the microphone to deliver a powerful opener 'Enough Cryin''. She clearly enjoys performing live as her face is adorned with a huge smile as she receives the huge cheers and applause from the crowd.
She explains to the British audience that she has been away for a while so tonight would be a celebration for both of them and she keeps the celebratory vibes with 'The One' and 'Just Fine'. Her soulful vocal travels around the venue with ease and she showcases the reason she is such a celebrated artist. A number of vocal acrobatics amaze the crowd during a jazzed up rendition of 'Therapy'.
For such a soulful artist, not many people could have predicted her to have performed a U2 cover, yet she makes 'One' her own and delivers it in her own signature style. Mass singalong to 'Be Without You' closes a fantastic home coming of sorts as the UK audience leave hoping Mary will return soon.
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I, Theresa Speaks, seen MS. Mary J. at my 4th of July bash at the Art Museum in Philadelphia, Pa. She rocked it! Her performance was so on point. I was jamming at home in front of my television. I wished I could have seen her Live. It so happened to be I was off that night from work. She was great! She had at least 6in heels on and she was dancing and singing as if she had on sneakers. I was so amazed! It began to rain but that didn't stop her. She performed until she was finished. I really enjoyed her and her band was really good also. I said if she ever came back to Philly I would go see her. She will be here June 4-5,2022 at the Roots Picnic here in Philadelphia, Pa. Unfortunately, I won't be able to atend the concert because I can't afford the tickets. I wish I could though! Anyway, Mary J. will rock it like she did that year. Thanks for letting me be able to give my review. Mrs. Theresa Speaks 1346 W. Toronto St. Phila., Pa. 19132-2417. Take Care MARY and God Bless you1
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|
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Mary J. Blige found her strength and now wants to help other women find their own
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2024-04-26T15:00:59-04:00
|
Mary J. Blige's "Strength of a Woman Festival and Summit" is partnering with Pepsi to launch a fund with US$100,000 available as grants to local organizations whose work elevates and educates underserved women in Yonkers.
|
en
|
/content/dam/ctvnews/newicons/favicon/favicon.ico
|
CTVNews
|
https://www.ctvnews.ca/entertainment/mary-j-blige-found-her-strength-and-now-wants-to-help-other-women-find-their-own-1.6863499
|
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 US$100,000 available as grants to local organizations whose work elevates and educates underserved women in Yonkers.
Top entertainment headlines, all in one place
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 US$5,000 to US$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
|
3
| 18
|
https://simple.wikipedia.org/wiki/Mary_J._Blige
|
en
|
Mary J. Blige
|
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[
"Contributors to Wikimedia projects"
] |
2008-09-27T21:02:28+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://simple.wikipedia.org/wiki/Mary_J._Blige
|
Mary Jane Blige (born January 11, 1971) is an American singer, songwriter and actress. She is often referred to as The Queen of Hip Hop Soul, due to her music mainly being R&B mixed with hip hop and soul. She has released 11 studio albums, 82 singles, and 8 other albums.
Music career[change | change source]
In 1988, Blige recorded an cover of Anita Baker's "Caught Up in the Rapture" at a recording booth in a local mall. Her mother's boyfriend at the time played the cassette for Jeff Redd, a recording artist and A&R runner for Uptown Records. Redd then sent it to the president and CEO of the label, Andre Harrell. Harrell met with Blige and, in 1989, she joined the label, becoming the company's youngest and first female artist.
Production for Blige's first album, Whats the 411?, began in 1991. Sean "Puffy" Combs (at the time a beginning A&R executive at Uptown) organised the project. Also enlisted were some of the top R&B and hip hop producers of the time, among them are Tony Dofat, Mark Morales and Cory Rooney, Dave "Jam" Hall, and DeVante Swing.
In 2014, Blige toured with R. Kelly called "The King and Queen Tour".[2]
Personal life[change | change source]
Blige is a Democrat.[3]
Filmography[change | change source]
Movie[change | change source]
Year Title Role Notes 2001 Prison Song Mrs. Butler Movie debut 2009 I Can Do Bad All By Myself Tanya 2012 Rock of Ages Justice Charlier 2013 Black Nativity Platinum Fro Nominated — American Black Film Festival Award for Best Ensemble Cast 2017 Mudbound Florence Jackson Gotham Special Jury Award for Best Ensemble Performance
New York Film Critics Online for Best Ensemble Cast
IndieWire Critic's Poll Award for Best Breakthrough Performance (Film)
Hollywood Film Awards – Breakout Actress Award
Hollywood Film Awards – Breakout Ensemble Award
Los Angeles Film Critics Association Award for Best Supporting Actress (Runner-up)
Nominated — Academy Award for Best Supporting Actress
Nominated — Academy Award for Best Original Song
Nominated — Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Supporting Role
Nominated — Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture
Nominated — Critics' Choice Movie Award for Best Supporting Actress
Nominated — Critics' Choice Movie Award for Best Acting Ensemble
Nominated — Golden Globe Award for Best Supporting Actress – Motion Picture
Nominated — Golden Globe Award for Best Original Song
Nominated — Gotham Independent Film Award for Breakthrough Actor
Nominated — Satellite Award for Best Supporting Actress - Motion Picture
Nominated — Washington D.C. Area Film Critics Association Award for Best Supporting Actress
Nominated — Washington D.C. Area Film Critics Association Award for Best Ensemble 2018 Sherlock Gnomes Irene (voice) 2020 Trolls World Tour Queen Essence (voice) 2020 Respect Dinah Washington TBA Body Cam Renee Post-production TBA The Violent Heart Nina Filming
Television[change | change source]
Year Title Role Notes 1995 New York Undercover Herself "Private Enemy No. 1" (episode 14, season 1), "Tag You're Dead" (episode 2, season 2) [music performance] 1998 The Jamie Foxx Show Ola Mae "Papa Don't Preach" (episode 14, season 2) 1999 Moesha Herself "Good Vibrations?" (episode 1, season 5) 2001 Strong Medicine Simone Fellows "History" (episode 4, season 2) 2007 Ghost Whisperer Jackie Boyd "Mean Ghost" (episode 15, season 2) Entourage Herself "Gary's Desk" (episode 8, season 4) 2009 30 Rock Herself "Kidney Now!" (episode 22, season 3) 2010 & 2012 American Idol Guest judge/Herself 2010: Auditions were held in Atlanta, Georgia at the Georgia Dome when Blige guest judged. 2012: Mentor for the Top 13 Whitney Houston & Stevie Wonder Week 2012 The Voice Herself Mentor of Team Adam (season 3) 2013 Betty & Coretta Dr. Betty Shabazz Television film
Nominated — Women's Image Network Award for OutstandingOutstanding Actress Made for Television Movie / Mini-Series The X Factor Guest judge/herself Blige assisted Nicole Scherzinger at her judge's house in Antigua 2015 Empire Angie "Sins of the Father" (episode 10, season 1) The Wiz Live! Evillene, The Wicked Witch of the West TV special
Nominated — Critics' Choice Television Award for Best Supporting Actress in a Movie/Miniseries
Nominated — Black Reel Award for Best Supporting Actress: Television Movie/Cable Black-ish Mirabelle Chalet Guest appearance in Season 1, episode 24 2016 How To Get Away With Murder Ro TV Series (2 episodes) 2019–present The Umbrella Academy Cha-Cha Main role 2019 Scream Sherry Elliot Recurring role
|
||||||
correct_birth_00056
|
FactBench
|
1
| 2
|
https://www.newyorkinfo.nl/en/sights-in-new-york/the-bronx-in-new-york/
|
en
|
The Bronx in New York %
|
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2024-04-04T11:48:29+00:00
|
The Bronx in New York is a borough of Manhattan where tourists are not yet flocking. But The Bronx really is worth a visit.
|
en
|
New York Info
|
https://www.newyorkinfo.nl/en/sights-in-new-york/the-bronx-in-new-york/
|
Want to save money when visiting sights and attractions in New york?
Then buy a discount pass.
Whether you plan to visit New York for a week, a month or even longer, it’s almost always worth buying a New York Pass.
Even if you only see a few attractions, it can save you money, especially if you’re visiting new York for the first time and want to see everything.
Which benefit pass is best for you depends on the length of your stay in New York, the number of attractions you want to visit.
|
|||||
correct_birth_00056
|
FactBench
|
2
| 9
|
https://yonkersny.town.news/g/yonkers-ny/n/223117/yonkers-history-mary-j-blige-has-established-herself-iconic-figure-music
|
en
|
YONKERS HISTORY: Mary J. Blige Has Established Herself As An Iconic Figure In The Music industry
|
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[] |
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[
""
] | null |
[
"Brian Harrod"
] |
2023-11-02T19:16:53+00:00
|
Raised In The City of Yonkers, Mary J. Blige, has become a global sensation, earning the title of the Queen of Hip-Hop Soul
|
en
|
/newspaper.png
|
Yonkers News Center
|
https://yonkersny.town.news/g/yonkers-ny/n/223117/yonkers-history-mary-j-blige-has-established-herself-iconic-figure-music
|
In 1992, Mary J Blige released her debut album, “What’s the 411?”; thus propelling her to stardom.
Her emotionally charged performances and honest storytelling have earned her Grammy Awards.
Mary J. Blige’s talents have also extend in the world of acting.
She established the Mary J. Blige Center for Women in Yonkers, providing resources and support to women and girls facing adversity.
Mary J. Blige was born on January 11, 1971, in the Bronx, New York City. She is the daughter of Cora and Thomas Blige.
Her parents divorced when she was four years old, and she lived with her mother and older sister in a variety of housing projects in the Bronx and Yonkers, New York.
Blige had a difficult childhood.
She was bullied at school and at home, and she witnessed domestic violence between her parents.
She found solace in music, and she began singing in church at a young age.
Mary J. Blige’s life was never just about the music.
Her marriage to Kendu Isaacs and the subsequent public divorce revealed a woman unafraid to share her truth.
Her battles with addiction and depression were fought not just in private but through her songs, resonating with those who walked similar paths.
Blige’s story is a testament to resilience, a survivor, an icon, and a woman who understood her worth.
Her interviews and candid confessions reveal not a star but a human being who learned to wear her scars as badges of honor.
Mary J. Blige was discovered by Uptown Records founder Andre Harrell in 1991.
She released her debut album, What’s the 411?, in 1992.
The album was a critical and commercial success, and it made Blige a star.Blige has released 13 studio albums to date, all of which have been certified platinum or multi-platinum by the Recording Industry Association of America (RIAA).
She has won nine Grammy Awards, and she is one of the best-selling female R&B artists of all time.Blige is known for her soulful vocals and her honest and raw lyrics.
She often sings about her personal experiences, including her struggles with poverty, abuse, and addiction.
Her music has resonated with millions of people around the world, and she has inspired many other artists.
Blige’s voice was more than just a beautiful instrument; it was a siren call to those who understood pain, love, and the spaces between.
Albums like My Life and Share My World were anthems for the heart.
Her collaborations with the likes of George Michael and Elton John were not merely duets; they were musical conversations.
Moreover, with nine Grammy Awards and over 80 million records sold,Blige’s trophy cabinet is as filled as her calendar.
Her role in the Netflix film Mudbound earned her Academy Award nominations for Best Supporting Actress and Best Original Song.
A career that began with a demo tape was now gracing the silver screen.
Not bad for a girl from Yonkers.....
https://www.facebook.com/groups/YonkersNewswire/posts/3650264811897737/
MORE YONKERS NEWS:
Yonkers man says house he was building in Greenburgh was set on fire on Halloween
https://www.facebook.com/groups/YonkersNewswire/posts/3652514991672719/
New Yonkers Restaurant - Beer Garden - By Jeanne Muchnick
https://www.facebook.com/groups/YonkersNewswire/posts/3650924055165146/
Judge Charley Wood Receives Top Ratings Available From Local Bar Associations
https://www.facebook.com/groups/YonkersNewswire/posts/3639262049664680/
Beloved Mom, Yonkers Native Dies At 45: 'Heart Bigger Than The Moon' - By Ben Crnic
https://www.facebook.com/groups/YonkersNewswire/posts/3650928318498053/
GPS Tracking Results In Man Being Caught With Stolen Porsche In Yonkers
https://www.facebook.com/groups/YonkersNewswire/posts/3651671938423691/
More News from Yonkers
|
||||
correct_birth_00056
|
FactBench
|
2
| 8
|
https://en.salvemusic.com.ua/mary-jane-blige-meri-dzhej-blajdzh-biografiya-peviczy/
|
en
|
Mary Jane Blige (Mary J. Blige): Biography of the singer
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"SalveMusic"
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2021-06-20T09:38:54+00:00
|
Mary Jane Blige (Mary J. Blige): Biography of the singer - Salve Music - Bio - Biographies of musicians - Personal life - Interesting facts - Encyclopedia of music
|
en
|
Salve Music
|
https://en.salvemusic.com.ua/mary-jane-blige-meri-dzhej-blajdzh-biografiya-peviczy/
|
Mary Jane Blige is a real treasure of American cinema and stage. She managed to realize herself as a singer, songwriter, producer and actress. Mary's creative biography can hardly be called easy. Despite this, the performer has a little less than 10 multi-platinum albums, a number of prestigious nominations and awards.
Childhood and youth Mary Jane Blige
She was born on January 11, 1971. At the time of birth, the family lived in a small provincial town, which is located near New York. Mary's family was not very prosperous.
The girl's mother was a nurse. Relations with the spouse were always on the verge. He often beat a woman, could not provide his family with basic things. In their house, insults and obscene language were often heard.
Mary's mother suffered from alcohol addiction. Alcoholic drinks relieved the pain. The head of the family was directly related to the scene. Before the Vietnam War, he worked as a musician in a local band. When my father returned from the front, he developed the so-called "post-traumatic disorder."
Soon the mother managed to pull herself together. She was worried about the fate of the children, so she filed for divorce. In search of a better life, the woman left her hometown. She took part in the Yonkers housing project and soon got her rightful place to live.
Later, another sad moment came to light. When life in the family more or less improved, little Mary spoke about her experience of sexual abuse.
Singing was a relief for the girl. She enrolled in the church choir, where she honed her vocal abilities. She did not stay as an “angelic” child for long. As a teenager, Mary began to use alcohol and drugs.
In adolescence, school was in the background. Mary did not want to do her homework and practically stopped attending school. She never finished high school.
Mom and sister did everything to ensure that Mary did not do stupid things. They orientated in time in which direction a talented girl can develop.
After not very pleasant moments in her life, Mary could not believe in her own strength and significance. Having become popular, she worked some moments. Today, the artist openly calls herself a happy and mentally healthy person.
The creative path of Mary Jane Blige
The singer has a strong voice. She has a mezzo-soprano voice. She has no musical education. This did not prevent her from taking part in various music competitions. At one of these events, she won. At that time she was only 8 years old.
The aspiring singer recorded her first demo not in a professional recording studio, but in a karaoke booth. Mary created a cover version of Anita Baker's popular song Caught Up in the Rapture.
In the late 1980s, she began to actively mail the record to various studios. Fortune soon smiled upon her. She signed with Uptown Records. Until the 1990s, Mary acted as a backing vocalist. But with the support of Puff Daddy, she managed to record her debut solo album. The singer's discography was opened by What's the 411.
The debut LP is a real rich assortment, which included rhythm and blues, soul and hip-hop. Despite the fact that Mary's name was unknown to many, the album of the young performer was sold out in significant numbers. The album was sold by 3 million fans. From a number of presented tracks, the audience remembered the compositions You Remind Me and Real Love.
On the wave of popularity, the singer's discography was replenished with the second studio LP My Life. The compositions Be Happy, Mary Jane (All Night Long) and You Bring Me Joy aroused interest among the public. The record managed to repeat the success of the previous LP.
Mary gradually entered the "party". For example, for Whitney Houston's film Waiting to Exhale, the singer recorded the soundtrack Not Gon' Cry. A little later, together with George Michael, she presented the composition As, which even demanding music lovers liked.
Peak of popularity
Already in the mid-1990s, the prestigious Grammy Award stood on her shelf. The artist received it in the nomination "Best rap performance by a duet or group." The jury highly appreciated the talent of the American performer.
Then she recorded another novelty. Her new album is titled Share My World. Longplay was warmly received by fans and music critics. The collection took the 1st position in the prestigious Billboard chart. Among the presented tracks, music lovers noted Love Is All We Need and Everything.
In the early 2000s, Mary worked tirelessly. Her discography continued to be replenished with worthy works. Then she presented the composition Family Affair to fans of her work. The presented work is now considered a classic of hip-hop soul.
At the same time, the singer, along with the talented rapper Wyclef Jean, recorded another hit "911". For a long time, the track occupied a leading position in the US chart. In 2004, Mary recorded a duet song with Sting. The singers performed the song Whenever I Say Your Name. The work was appreciated not only by fans, but also by music critics.
In 2005, Mary's discography was replenished with the LP The Breakthrough. The album was awarded three Grammy awards. From that moment on, the celebrity decided to discover another interesting page in her creative biography - cinema.
She smoothly entered the world of the film industry. Mary starred in Tyler Perry's movie My Own Mistakes. After some time, she could be seen in the movie "Betty and Coretta" and "Mudbound Farm". In the last movie, she got a supporting role. But it was for this role that she won an Oscar. Mary did not avoid filming in the series.
Details of the artist's personal life
Despite the success that hit the singer at the time of the release of her debut album and subsequent works, Mary did not improve her life. After concerts, she often used alcohol and drugs. Surprisingly, managers and producers did not stop the artist.
Fortunately for the American singer, she fell in love with producer Kenda Isaacs, who did everything to ensure that she got rid of her addictions. It was a strong union. They legalized the relationship in 2003. The couple lived in a happy marriage for 15 years. The family raised Mary's illegitimate children, she has three of them.
Mary's heart is currently open to new relationships. Candid photos often appear on social networks of the star. Despite her age, the singer looks perfect.
Mary Jane Blige at present
Currently, Mary is actively manifesting herself in the cinema. But this does not mean that she is ready to leave her singing career. In 2020, she took part in the dubbing of the animation project Trolls World Tour.
In the same year, she took part in the filming of the thriller, where she had to try on the image of a police officer. We are talking about the movie "Video Recorder".
The latest news from the life of the singer can be found on her official website. It is there that actual information about Mary J. Blige appears.
Mary Jane Blige in 2021
At the beginning of June 2021, a trailer for a biographical film about the outstanding singer Mary J. Blige was shown. The motion picture received the symbolic name "My Life". The film was directed by Vanessa Roth. The biopic focuses on the singer's LP from the mid-90s. The film is slated for release at the end of this month.
|
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correct_birth_00056
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FactBench
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1
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https://www.bet.com/photo-gallery/ah48r1/gotta-love-new-york-celebs-from-the-big-apple/pcaqaz
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en
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Mary J. Blige - - Image 2 from Gotta Love New York: Celebs From the Big Apple
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85835896 - Some of the greats to come from the concrete jungle.
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en
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/favicon.ico
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BET
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https://www.bet.com/photo-gallery/ah48r1/gotta-love-new-york-celebs-from-the-big-apple/pcaqaz
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By clicking Subscribe, you confirm that you have read and agree to our Terms of Use and acknowledge our Privacy Policy. You also agree to receive marketing communications, updates, special offers (including partner offers) and other information from BET and the Paramount family of companies. You understand that you can unsubscribe at any time.
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correct_birth_00056
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FactBench
|
2
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https://www.billboard.com/music/music-news/mary-j-blige-strength-of-a-woman-festival-1235040569/
|
en
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Mary J. Blige & Pepsi Announce Strength of a Woman Festival and Summit in Partnership With Live Nation Urban
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[
"Cydney Lee"
] |
2022-03-08T00:02:42+00:00
|
Curated by and for women, the Strength of a Woman festival and summit focuses on music, wellness, tech, beauty and financial literacy.
|
en
|
Billboard
|
https://www.billboard.com/music/music-news/mary-j-blige-strength-of-a-woman-festival-1235040569/
|
Mary J. Blige and Pepsi have announced the inaugural Strength of a Woman Festival and Summit in partnership with Live Nation Urban. The three-day festival will take place in Atlanta from May 6-8, 2022.
Just weeks after Blige’s epic performance during the Pepsi Super Bowl LVI Halftime Show, Pepsi is teaming up with the superstar once again, to deepen the brand’s support of music, local communities, and the next generation of headlining performers. Curated by and for women, the Strength of a Woman festival and summit focuses on music, wellness, tech, beauty and financial literacy — the evolution of Blige’s life mission and purpose. Headliners include Blige, Chaka Khan, Xscape, Ella Mai, City Girls, Kiana Ledé and many more.
The nine-time Grammy award-winning singer and her partners — Nicole Jackson, vp of MJB Inc., and Ashaunna Ayars marketing maven of The Ayars Agency — have assembled a team of women to lead every arm of the festival from production to communications.
Trending on Billboard
“The idea for the festival came to us after early listening sessions of my latest album with my family and friends and women in the industry,” said Blige. “Each time, the people in the room would share a story, oftentimes of heartbreak or pain, but they always ended with joy and love and how their girlfriends or mom or sister helped them find their voice and strength. We felt like after two years of being inside and having to endure so much, that this was the type of experience that people, especially women, deserved.”
The festival is also partnering with dozens of local, minority, and female-owned businesses and vendors to help cultivate the best experience for attendees. “I’m so grateful to all of the performers, vendors, and participants for committing themselves to our inaugural event and I am so excited to do this in a city that has been rocking with me since the very beginning of my career,” continued Blige.
“Mary’s story and career are so inspirational, relatable, and triumphant. The weekend will showcase and celebrate strong talented women across generations and I’m proud to be a part of such a special weekend! This is for us and by us,” added Mari Davies, vp of booking and talent at Live Nation Urban.
Pepsi will support Blige and her team of powerful creatives in the lead-up to the festival, activate throughout the festival grounds, launch community-led initiatives and givebacks leading up to and during the weekend and drop digital content and more to excite fans every step of the way.
“We are honored to, once again, partner with Mary – someone whose impact and presence is felt as much on stage as it is off. As a brand that has spent more than a decade producing and amplifying performances on one of the world’s largest stages with the Pepsi Super Bowl Halftime Show and beyond, we are thrilled to provide even more resources to elevate the festival experience for consumers and give back to the Atlanta community, all while celebrating the women that help the city, and our culture, thrive,” said Derek Lewis, president of PepsiCo Multicultural Business and Equity Development.
|
|||||
correct_birth_00056
|
FactBench
|
3
| 19
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https://kids.britannica.com/kids/article/Mary-J-Blige/631699
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en
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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…
|
en
|
/resources/icons/favicons/bkids/bkids-favicon-57c.png
|
Britannica Kids
|
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
|
FactBench
|
2
| 43
|
https://westgateevents.com/events/mary-j-blige/
|
en
|
Experience Mary J. Blige live in concert in Tampa, FL plus 3 nights at Westgate Town Center Resort & Spa.
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2017-12-27T09:42:02+00:00
|
Experience Mary J. Blige live in concert in Tampa, FL plus 3 nights of luxury in a one-bedroom villa at Westgate Town Center Resort & Spa. Westgate Events.
|
en
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https://westgateevents.com/wgwp/wp-content/themes/westgate/images/favicon.ico
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Westgate Events
|
https://westgateevents.com/events/mary-j-blige/
|
Mary J. Blige
With nine Grammy Awards and a long list of hits, the queen of hip hop soul – Mary J. Blige – has sold more than 50 million records over the past two decades. Now, following the release of her 13th album, Blige is headed back on the road with her Strength of a Woman tour and you can be there for all the excitement as she takes the stage at Amalie Arena in Tampa, FL. Seating for the concert will be in the comfortable Loft suites where you’ll enjoy a great view and complimentary, all you can eat food and drink (beer, wine, soda).
You’ll also enjoy a break from the winter chill with a three-night central Florida getaway where you’ll experience the warm Orlando sunshine and spacious one-bedroom villa accommodations at Westgate Town Center Resort & Spa.
Westgate Town Center Resort & Spa is conveniently located just one mile from Walt Disney World Resort. This exceptional resort property features all the comforts of home plus amenities like an onsite water park, 14 heated swimming pools and hot tubs, miniature golf, onsite dining, a Disney movie theater, paddle boats and proximity to Orlando’s famed attractions and theme parks.
This exceptional getaway also includes a special welcome party, complete with dinner, open bar and prizes, and it’s all hosted by an entertaining DJ, plus personal concierge service, convenient transportation to and from the concert and a late check-out on your final day.
|
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correct_birth_00056
|
FactBench
|
1
| 16
|
https://ny1.com/nyc/all-boroughs/arts/2021/05/28/mary-j--blige-inducted-into-apollo-theater-s-walk-of-fame
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en
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Mary J. Blige inducted into Apollo Theater's Walk of Fame
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https://s7d2.scene7.com/is/image/TWCNews/mary_j_blige_apollo
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2021-05-28T00:00:00
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The Bronx-born Blige first performed at the famed Harlem venue in 1990.
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en
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https://ny1.com/nyc/all-boroughs/arts/2021/05/28/mary-j--blige-inducted-into-apollo-theater-s-walk-of-fame
|
Mary J. Blige is a music icon, and on Friday, she earned another accolade as she was inducted into the Apollo Theater's Walk of Fame.
The Bronx-born Blige first performed at the famed Harlem venue in 1990, as a backup singer to rapper Father MC during "Showtime at the Apollo." She has since performed at the Apollo several times.
Blige has released more than a dozen studio albums. She has won nine Grammy Awards and has received an Academy Award nomination, and has been hailed as the most successful female R&B and hip-hop artist of the past 25 years
"None of this is possible without the fans, so thank you to all the fans," Blige said. "And I got something special coming for y'all: June 25, its the 'My Life' documentary."
Fans gathered at the Apollo Friday to celebrate Blige.
Other Walk of Fame inductees include Aretha Franklin, Quincy Jones and Patti LaBelle.
|
|||
correct_birth_00056
|
FactBench
|
2
| 14
|
https://www.thefamouspeople.com/profiles/mary-j-blige-9468.php
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en
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Mary J. Blige Biography
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A behind-the-scene look at the life of Mary J. Blige.
|
en
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https://www.thefamouspeople.com/profiles/mary-j-blige-9468.php
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2006 R&B/Hip-Hop Artist of the Year Winner 2006 Female Artist of the Year Winner 2006 Video Clip of the Year Mary J. Blige: Be Without You (2005) 2006 Hot 100 Airplay of the Year Winner 2006 R&B/Hip-Hop Song Airplay of the Year Winner 2006 R&B/Hip-Hop Song of the Year Winner 2006 R&B/Hip-Hop Album of the Year Winner 2006 R&B/Hip-Hop Albums Artist of the Year Winner 2006 R&B/Hip-Hop Songs Artist of the Year Winner
|
|||||
correct_birth_00056
|
FactBench
|
3
| 58
|
https://commons.wikimedia.org/wiki/Mary_J._Blige
|
en
|
Mary J. Blige
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2006-02-24T23:13:41+00:00
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en
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https://commons.wikimedia.org/wiki/Mary_J._Blige
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Mary J. Blige performs on the National Mall during the Operation Tribute to Freedom, NFL and Pepsi sponsored “NFL Kickoff Live 2003” Concert, September 4, 2003
Mary J. Blige performs on the National Mall during the Operation Tribute to Freedom, NFL and Pepsi sponsored “NFL Kickoff Live 2003” Concert, September 4, 2003 (cropped)
Mary J. Blige performs on the National Mall during the Operation Tribute to Freedom, NFL and Pepsi sponsored “NFL Kickoff Live 2003” Concert, September 4, 2003
|
||||||
correct_birth_00056
|
FactBench
|
1
| 41
|
https://cooperatornews.com/article/yonkers-new-york
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en
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Renaissance on the Hudson - Yonkers, New York
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After years of dissent, racial and economic woes and political infighting, Yonkers, Westchester County’s largest city and New York State’s fourth most populous town, has transformed itself into a vibrant residential community and a prime destination for those wanting to be close to the hustle and bu…
|
en
|
https://cooperatornews.com/article/yonkers-new-york
|
After years of dissent, racial and economic woes and political infighting, Yonkers, Westchester County’s largest city and New York State’s fourth most populous town, has transformed itself into a vibrant residential community and a prime destination for those wanting to be close to the hustle and bustle of New York City.
Boasting a population of over 200,000, Yonkers borders the New York City borough of the Bronx and is two miles north of Manhattan at the cities’ closest points. Although Yonkers is home to numerous residential enclaves it can conveniently be divided into four sections; Northeast, Northwest, Southeast and Southwest.
A massive revitalization project is in full swing in Yonkers that is expected to include nearly 1,000 luxury residential units on the waterfront, a minor league baseball stadium and a new Yonkers Fire Department headquarters building. The project is headed by Westchester County developer Louis R. Cappelli, Struever Bros. of Baltimore, and New Jersey's Fidelco Realty.
Thanks to daylighting (the restoration of rivers that have been covered up by concrete) on November 15, 2011, waters began to flow above ground in Yonkers for the first time in 90 years. With the aboveground riverbed more than 13,775 square feet of aquatic habitat including a tidal pool and two freshwater pools have been recreated. The project has enormous ecological, economic and cultural significance for the city.
Dutch Treaty
In the mid-1600s, the Dutch West India Company issued the young nobleman Adriaen Van der Donck, a lawyer, scholar and author, a grant to settle the New Netherland colony. Van der Donck was known locally as the Jonkheer, or from the German “jung herr” as “young gentleman.” Over the years the name evolved from the Jonk Herr’s Land to The Younckers, and eventually to the present day Yonkers.
Van der Donck erected one of the first saw mills in America in Yonkers at the junction of the Hudson and Nepperhan Rivers. The location of Yonkers strategically placed along the heavily traveled waterways fostered its development as a major trading center.
American Indians, Dutch and English were among the diverse community of early settlers in Yonkers. The small farm town flourished in the late 1700s and gained a reputation of welcoming emerging businesses, sawmills, gristmills, blacksmith shops, taverns and general stores flourished during this period. The waterfront served as a vital lifeline for commerce and also provided an appealing stop for stagecoaches and sailing vessels, which only increased the area’s popularity.
The first railroad station built in 1848 on the current site of Yonkers Station contributed to additional occupations, trade and the development of the city’s industrial age.
The Village of Yonkers was incorporated on April 12, 1855, at that time extending approximately two miles along the Hudson River with an average width of about one mile and a population of approximately 7,500. Philipse Manor served as the City Hall. On June 1, 1872, the charter establishing Yonkers as a city was signed by New York Governor John T. Hoffman; the first city so designated in Westchester County. By this time, the population had swelled to about 20,000 and was well on its way to the nearly-tenfold number of residents in Yonkers today.
Industrial Boom
Yonkers’ manufacturing base has included the likes of Elisha Otis, known for inventing the first safety elevator that made skyscrapers possible, and the first elevated mass transit system in the world was created by Yonkers inventor J.P.Ackerley. The first street lighting in the United States was introduced in 1861 and in 1888, Scottish-born John Reid built the first golf course, with three holes, in the United States at St. Andrew’s Golf Club in Yonkers. Early in the 20th century, the city was home to brass era auto maker Colt Runabout Company, and also the headquarters of the Waring Hat Company, at the time the nation’s largest hat manufacturer. During World War II, to assist the war effort, businesses such as the Alexander Smith & Son Carpet factory manufactured blankets and tents and the Otis Elevator Factory contributed tanks for the military.
Some of Yonkers’ notable residents over the years have included William Boyce Thompson, copper magnate, C.C. Dula, former head of Liggett & Myers Tobacco Company, Ella Fitzgerald and W.C. Handy, two of the world's most beloved musical figures, and John E. Andrus, head of the New York Pharmaceutical Association. Andrus was a mayor of the city, a U.S. Congressman (1905 to 1913) and philanthropist, whose trust funds helped establish the Julia Dykman Andrus Home for Children, the John F. Andrus Home for Aged and St. John's Hospital.
Some widely known people who worked in Yonkers include John Masefield, poet laureate of England; Charles P. Steinmetz, electrical wizard; Leo H. Bakeland, inventor of Velox paper and Bakelite, and Edwin Howard Armstrong, the inventor of FM radio. On January 4, 1940, Armstrong joined other Yonkers innovators when he transmitted the first FM radio broadcast (on station W2XCR) from the home of Yonkers resident C.R. Runyon.
Aerosmith’s Steven Tyler, actor Jon Voight and tennis player James Blake were born in Yonkers and R&B singer Mary J. Blige, who was born in the Bronx, grew up there. Quite a number of television shows and movies were filmed in Yonkers: on the silver screen includes Catch Me if You Can, Mona Lisa Smile, Big Daddy, A Beautiful Mind and the Preacher’s Wife, and on the tube includes episodes of Fringe, the Following and The Blacklist.
In the 1950s, manufacturers began to abandon factories along the Hudson River waterfront with increased competition from less expensive imports. The Alexander Smith Carpet Mill fell on hard times and closed its doors in 1954, and sadly the Otis Elevator Factory followed suit. With the loss of jobs, Yonkers grappled with its post-industrial identity and became primarily a residential city. Catering to its new suburban population, the Cross County Shopping Center opened in 1954, complete with a hospital in the middle of the mall as well as a rooftop helipad. A few of the inaugural stores in the mall included Gimbels, John Wanamaker and F.W. Woolworth.
Certain neighborhoods in the city, such as Crestwood, became popular with wealthy New Yorkers wishing to live outside of the city but not in an entirely suburban environment. These factors, coupled with five parkways and thruways, and a 15-minute drive Manhattan, made Yonkers a desirable location in which to live.
Lost In Yonkers
Yonkers, however, became the center of unwanted media attention in the 1980s after a decades-long struggle with racial discrimination and segregation came to a head after federal judge Leonard B. Sand ruled that the city had engaged in institutional segregation in housing and school policies for over 40 years. The judge tied the illegal concentration of public housing and private housing discrimination to the city’s resistance to ending racial isolation in its public schools. The city appealed the decision and lost and Yonkers schools were integrated in 1988.
Despite its racial tensions, Yonkers has a significant Jewish, Arab, Irish-American, Slavic and Portuguese population. The Broadway plays Hello Dolly! and Lost in Yonkers both take place within the city’s Jewish community.
Yonkers is home to many attractions including the Empire City Casino, Yonkers Raceway, the Hudson River Museum, the Science Barge and a well-respected university Sarah Lawrence College.
While many sections of the four-and-a-half mile waterfront remain abandoned, many new condominiums such as the Scrimshaw House, a condominium in an old power plant, and Hudson Park, a luxury residential community next to a Metro-North train station, have given new life to the city’s renewal. Commuters attracted by the half-hour New York City commute have found Yonkers a great place to call home.
Christy Smith-Sloman is a New York-based freelance writer.
—If You're Thinking of Living in..Yonkers, NY—
Demographics
Area: 18.1 square miles
County: Westchester
Area Code: 914
Zip Codes: 10701-10705, 10707, 10708, 10710
Population (2010): 195,976
Density: 10,827.4 people per square mile
Demographics (2010): White 55.8% - Black 18.7% - Other Races 14.7%-Asian 5.9% -
Median Household Income (2009) $53,075
Estimated Per Capita Income (2009) $28, 702
Estimated median house or condo value (2009) $429, 800
REPRESENTATIVES
Mayor: Mike Spano (D) • (914) 377-6300
Governor: Andrew M. Cuomo (D) • (518) 474-8390
U.S. Senators: Charles E. Schumer (D) • (202) 224-6542
Website: www.schumer.senate.gov
Kirsten Gillibrand (D) • (202) 224-4451 • (212) 688-6262
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correct_birth_00056
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FactBench
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0
| 21
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https://nationaltoday.com/birthday/mary-j-blige/
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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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correct_birth_00056
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FactBench
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2
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https://open.spotify.com/track/5exwTxfCoV8RwqGinCaXJs
|
en
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Christmas In The City
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https://i.scdn.co/image/ab67616d0000b273928cbca11cb33ce6b27c0b7c
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https://i.scdn.co/image/ab67616d0000b273928cbca11cb33ce6b27c0b7c
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[
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[] |
1997-09-23T00:00:00
|
Listen to Christmas In The City on Spotify. Mary J. Blige, Angie Martinez · Song · 1997.
|
en
|
Spotify
|
https://open.spotify.com/track/5exwTxfCoV8RwqGinCaXJs
|
I Saw Three Ships
Children Go Where I Send Thee
Santa Claus Is Back In Town
|
|||
correct_birth_00056
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FactBench
|
3
| 74
|
https://calendar.songfacts.com/timeline/mary-j-blige/
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en
|
Mary J. Blige Timeline
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[] | null |
Timeline of events in the history of Mary J. Blige
|
en
|
/favicons/apple-touch-icon.png?v=m2dj753dg8
| null |
Mary J. Blige releases her debut album, What's The 411?, executive produced by Sean "Puffy" Combs. It takes the top spot on the Top R&B/Hip-Hop Albums Chart as well as #6 on the Billboard 200. Her unique blend of hip-hop and soul earns her the nickname "Queen of Hip Hop Soul."More
Mary J. Blige's first single, "You Remind Me," hits #1 on the R&B chart, establishing her unique blend of "hip-hop soul." Her next single, "Real Love," tops the chart in October.
Mary J. Blige's "Family Affair" hits #1 on the Billboard Hot 100 for the first of six weeks. It's the singer's first single to top the chart.
"Be Without You" by Mary J. Blige remains at #1 on the R&B chart for its 15th week, breaking the record of 14 weeks set the previous year by Mariah Carey with "We Belong Together."
A live adaptation of The Wiz airs on NBC. Based on the book (but not the film) The Wonderful Wizard of Oz, The Wiz began as a stage production in 1975, and was made into a movie (with Michael Jackson and Diana Ross) in 1978.More
Mary J. Blige debuts her Apple Music talk show, The 411, and welcomes Democratic presidential hopeful Hillary Clinton as her first guest. Halfway through the intimate conversation, Blige bursts into a rendition of Bruce Springsteen's protest anthem "American Skin (41 Shots)" in a bid to address the rash of police brutality against African Americans. The attempt falls flat with viewers, who heckle the singer on social media.More
The movie Mary J. Blige's Real Love airs on Lifetime. Based on her 1992 hit, it's followed a week later by Mary J. Blige's Strength Of A Woman, which continues the story of a young woman who must decide if the guy she falls for is worth the sacrifices. Blige is an executive producer on both films, which were made in collaboration with her production company, Blue Butterfly.
|
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correct_birth_00056
|
FactBench
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3
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https://www.maryjblige.com/bio
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en
|
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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FactBench
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https://www.tvinsider.com/people/mary-j-blige/
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Mary J. Blige
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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
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en
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https://www.tvinsider.com/wp-content/themes/tv/images/favicon.ico?x=2
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TV Insider
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https://www.tvinsider.com/people/mary-j-blige/
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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.
|
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correct_birth_00056
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FactBench
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3
| 62
|
https://www.youtube.com/channel/UCj5CgwX_iJEqJsqUJyYjg4A
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en
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Mary J Blige
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https://yt3.googleusercontent.com/dYIDe7LXPsyky5RKAaVA-sm8uwmDp_fF3ixPqZAFI6eGNkLM6GDSkzwCQfmQDbMD5t-wMnb2IQ=s900-c-k-c0x00ffffff-no-rj
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|
[] |
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Stream Mary J. Blige's album 'Good Morning Gorgeous (Deluxe)': https://maryjblige.ffm.to/gmgdeluxeStream "Rent Money" on all platforms: https://maryjblige.ff...
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de
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https://www.youtube.com/s/desktop/07dce725/img/favicon.ico
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YouTube
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https://www.youtube.com/channel/UCj5CgwX_iJEqJsqUJyYjg4A
| |||
correct_birth_00056
|
FactBench
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0
| 60
|
https://www.shecodes.io/challenge_submissions/1171315/embed
|
en
|
👑 Queen of Hip Hop Soul
|
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| null |
Born in the Bronx, New York, Blige began moving people with her soulful voice when at 18 she signed with Andre Harrell’s Uptown Records in 1989, becoming the MCA-distributed label’s youngest and first female artist.
Learn more on Mary J. Blige website
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correct_birth_00056
|
FactBench
|
2
| 79
|
https://wamu.org/story/14/12/03/mary_j_blige_im_not_worried_trying_to_keep_it_real_i_am_real/
|
en
|
Mary J. Blige: 'I'm Not Worried, Trying To Keep It Real — I Am Real'
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2014-12-03T05:04:00+00:00
|
Jason King spoke to the R&B standard-bearer about her latest evolution, which comes from her roots.
|
en
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WAMU
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https://wamu.org/story/14/12/03/mary_j_blige_im_not_worried_trying_to_keep_it_real_i_am_real/
|
This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.
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|
|||||
correct_birth_00056
|
FactBench
|
3
| 35
|
https://www.apbspeakers.com/speaker/mary-j-blige/
|
en
|
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.
|
|||||
correct_birth_00056
|
FactBench
|
3
| 42
|
https://www.thefamouspeople.com/profiles/mary-j-blige-9468.php
|
en
|
Mary J. Blige Biography
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A behind-the-scene look at the life of Mary J. Blige.
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en
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//www.thefamouspeople.com/images/favicon_tfp.ico
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https://www.thefamouspeople.com/profiles/mary-j-blige-9468.php
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2006 R&B/Hip-Hop Artist of the Year Winner 2006 Female Artist of the Year Winner 2006 Video Clip of the Year Mary J. Blige: Be Without You (2005) 2006 Hot 100 Airplay of the Year Winner 2006 R&B/Hip-Hop Song Airplay of the Year Winner 2006 R&B/Hip-Hop Song of the Year Winner 2006 R&B/Hip-Hop Album of the Year Winner 2006 R&B/Hip-Hop Albums Artist of the Year Winner 2006 R&B/Hip-Hop Songs Artist of the Year Winner
|
|||||
correct_birth_00056
|
FactBench
|
2
| 4
|
https://kids.kiddle.co/Mary_J._Blige
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en
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Mary J. Blige facts for kids
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Learn Mary J. Blige facts for kids
|
en
|
/images/wk/favicon-16x16.png
|
https://kids.kiddle.co/Mary_J._Blige
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Mary Jane Blige ( blyzhe; born January 11, 1971) 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. 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. 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, and the latter on Time magazine's All-Time 100 Albums. 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. Billboard ranked Blige as the most successful female R&B/Hip-Hop artist of the past 25 years. 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. VH1 ranked Blige as the 80th greatest artist of all time in 2011 and ninth in "The 100 Greatest Women in Music" list in 2012. In 2023, Rolling Stone ranked her as the 25th greatest singer of all-time. In 2024, Blige was selected for induction into the Rock and Roll Hall of Fame.
Early life and music career
1971–1991: Early life and career beginnings
Blige was born January 11, 1971, in Fordham Hospital in the borough of the Bronx, New York City. She was born to mother Cora, a nurse, and father Thomas Blige, a jazz musician. She is the second of four children. She has an elder sister, LaTonya Blige-DaCosta, a younger half-brother, Bruce Miller, and a younger half-sister, Jonquell.
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.
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, becoming the company's youngest and first female artist.
1992–1996: What's The 411? and My Life
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. 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.
1997–2000: Share My World and Mary
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. Blige tried to 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.
In January 2001, Blige performed as a special guest in the Super Bowl XXXV halftime show.
2001–2004: No More Drama and Love & Life
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. 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 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.
2005–2006: The Breakthrough and Reflections – A Retrospective
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.
2007–2008: Growing Pains
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.
2009–2010: Stronger with Each Tear
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. 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. 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, 2010, Blige released a track "Hard Times Come Again No More" with the Roots as well as performing it at the Hope for Haiti Now telethon. At the 2010 Grammy Awards, Blige and Andrea Bocelli performed" Bridge over Troubled Water". Blige also performed on BET's SOS Help For Haiti, singing "Gonna Make It" with Jazmine Sullivan and "One." Blige 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 Blige won Outstanding Female Artist and Outstanding Album for Stronger with Each Tear. 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.
2011–2013: My Life II... The Journey Continues (Act 1) and A Mary Christmas
In January 2011, Hot 97 premiered Blige's teaser track "Someone to Love Me" featuring vocals by Lil Wayne. In July 2011, Blige released the song "The Living Proof" as the lead single to the soundtrack of the film The Help. 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. 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. 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.
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. 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.
On October 23, 2013, Blige sang the national anthem before Game 1 of the 2013 World Series.
2014–2019: The London Sessions and Strength of a Woman
On February 5, 2014, a remix of Disclosure's "F for You" featuring guest vocals from Mary was released.
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". 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.
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.
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. 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. 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. 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.
Following her highly publicized divorce from Kendu Issacs, Blige released two songs within October, "Thick of It" and "U + Me (Love Lesson)". On April 28, 2017, her thirteenth studio album, Strength of a Woman, was released. 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. 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. On May 8, Blige released the single "Thriving" featuring Nas. 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. On June 23, at the BET Awards 2019, she was honored with the Lifetime Achievement Award for her extraordinary contributions to music industry. On June 25, The New York Times Magazine listed Mary J. Blige among hundreds of artists whose material was destroyed in the 2008 Universal fire.
2021–present: The Super Bowl, Good Morning Gorgeous and endeavors with Dr. Dre
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.
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. The songs appear on Blige's fourteenth studio album, also titled Good Morning Gorgeous, which was released on February 11, 2022.
In January 2022, Blige released an additional song from Good Morning Gorgeous titled "Rent Money" featuring Dave East.
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. 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. On March 7, 2022, 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.
In May 2022, Blige was listed as one of the 100 most influential people in the world by TIME. In September 2022, she was awarded the Primetime Emmy Award for Outstanding Variety Special (Live) for Super Bowl LVI halftime show.
Acting career
1998–2016: Early works
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. 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 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 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.
Blige starred alongside Tom Cruise, Julianne Hough, and Alec Baldwin in the film adaptation of the 1980s jukebox hit 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!. 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.
2017–present
In 2017, Blige starred in the period drama film Mudbound directed by Dee Rees. Playing Florence Jackson, the matriarch of her family, 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." For her performance in Mudbound, Blige was nominated for the Golden Globe Award for Best Supporting Actress, 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. Her nomination also made Dee Rees the first black woman to direct a film for which an actor was nominated for an Academy Award.
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. The season premiered on VH1 on July 8, 2019. In 2019, Blige starred in the role of Cha-Cha, a main antagonist in the Netflix superhero series The Umbrella Academy.
In 2020, Blige played a leading role in the horror film Body Cam. She also starred in the independent drama film Pink Skies Ahead. 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. Blige played singer Dinah Washington in the biographical drama film Respect about life and career of Aretha Franklin. 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.
Personal life
In the 1990s, Blige spent six years in a relationship with singer Cedric "K-Ci" Hailey of the R&B group Jodeci. 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. Their turbulent relationship inspired Blige's album My Life. Following her break-up with Hailey, Blige developed a relationship with singer Case, which dwindled due to his involvement with other women. She also briefly dated rapper Nas.
Blige married her manager, Martin "Kendu" Isaacs, on December 7, 2003. At the time, Isaacs had two children, Nas and Jordan, with his first wife, and an older daughter, Briana, from a teenage relationship. In July 2016, Blige filed for divorce, citing "irreconcilable differences". Blige and Isaacs' divorce was finalized on June 21, 2018.
Blige is a Democrat and performed for Barack Obama at the 2012 Democratic National Convention.
..... 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."
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.
Other ventures
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. She has also been a spokesperson for Carol's Daughter beauty products and Citibank's Citi Card program (alongside Nickelback).
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." 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.
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. The fragrance broke HSN sales records in hours, 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. 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.
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. 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; its first under the partnership was Blige's talk show, The Wine Down with Mary J. Blige, which premiered in early 2023.
She has founded two companies: Mary Jane Productions, which she co-founded with her former manager, Steve Stoute, in 1994, and an independent record label, Beautiful Life Productions, in 2023. She signed Boyz II Men affiliate group, WanMor to the former in August 2023 and New York rapper Vado to the latter in May 2024.
Legacy
Main article: List of awards and nominations received by Mary J. Blige
Called the "Queen of Hip-Hop Soul", Blige is credited with influencing the musical marriage of hip hop and R&B. 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 R&B radio and became a blueprint for nineties hip-hop and R&B". 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." Called one of the "most explosive, coming-out displays of pure singing prowess" and "one of the most important albums of the nineties", What's the 411? saw Blige pioneer "the movement that would later become neo soul, generating gripping songs that were also massive radio hits".
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" manner than typical stereotypes and tropes of black women in the media. 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."
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. Blige was listed as one of the 50 most influential R&B singers by Essence. In 2003, Rolling Stone magazine ranked My Life at number 279 on its list of the 500 Greatest Albums of All Time. The album was also included on Time's list of the 100 Greatest albums of All Time. 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. 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 . 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, Adele, Taylor Swift, Monica, Layton Greene, Keyshia Cole, Bryson Tiller, Cheryl, Teyana Taylor Keke Palmer, Jess Glynne, Sam Smith, and Alexandra Burke.
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.
Discography
Main article: Mary J. Blige discography
Studio albums
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)
Tours
Headlining
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)
Co-headlining
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)
Supporting
Humpin' Around the World Tour (with Bobby Brown) (1992–1993)
Filmography
Main article: Mary J. Blige videography
Film
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) 2020 Trolls World Tour Queen Essence (voice) Body Cam Renee Lomito-Smith The Violent Heart Nina Pink Skies Ahead Doctor Monroe 2021 Respect Dinah Washington 2024 Rob Peace Jackie Peace
Television
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 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 ... 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
Documentary
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 George Michael Freedom 2018 Quincy 2021 Mary J. Blige's My Life 2023 Thriller 40
See also
In Spanish: Mary J. Blige para niños
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FactBench
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0
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https://www.becauseofthemwecan.com/culture-2/celebrating-mary-j-bliges-birthday
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en
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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
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Because of Them We Can
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https://www.becauseofthemwecan.com/culture-2/celebrating-mary-j-bliges-birthday
|
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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https://www.mylifetime.com/she-did-that/january-11-1971-mary-j-blige-was-born-and-became-the-queen-of-hip-hop-soul
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A+E Networks EMEA
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2024-07-10T08:00:00+00:00
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Welcome to A+E Networks EMEA is global broadcaster who reach audiences in over 100 countries, including the UK, Nordics, Benelux, Central & Eastern Europe, Spain, Italy and Germany, Africa, and the Middle East.
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en
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A+E Networks EMEA
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https://www.aenetworks.tv/
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Our culture
Personalities shine at A+E Networks EMEA. Our culture embraces individuals, in all their daring, passionate, ambitious glory. Our people are our strength, and our differences are celebrated. We challenge each other, collaborate and come together, just as a family does; winning as a team and celebrating as one too. Everyone has a voice and should feel proud and free to run with their ideas, enjoying their successes and journey with us. And in such an evolving industry, tomorrow is always today. We anticipate change, identify future opportunities and are excited by the potential that tomorrow brings.
Our purpose
We want to be famous for creating and sharing stories that matter – unique, trusted, entertaining, everywhere. Whether our stories challenge and inspire intellectually or simply entertain, we know that we are making a positive contribution to our audiences across the many diverse regions and countries in the UK, Europe, The Middle East and Africa. Striving to always do so requires passion. And it’s with just as much passion that we strive to gain new audiences with our creativity and by using innovative technology, by partnering with leading and emerging local platforms.
Partnerships
With our diverse line-up of original, high-quality programming, our distribution partners across EMEA recognise the benefits of offering A+E Networks EMEA's distinctive, high quality brands on their platforms and services. We understand the opportunity to grow engagement with new audiences of all ages and through new partnerships with Facebook, Twitter, YouTube, Instagram, TikTok and Snapchat, along with our podcasts and on-demand SVOD services, we ensure our programming and unique stories reach audiences across the full demographic spectrum.
Careers
Join our global team of talent. At A+E Networks EMEA you’ll find a team of innovative, creative and collaborative people who embrace change and want to continually try new things. With offices in London, Rome, Madrid, Warsaw, Munich and Johannesburg, we are a truly international company that celebrates difference and diversity. We offer a range of benefits such as a generous pension plan, life assurance and holiday allowance, and there are useful local perks in various offices, and summer Fridays across the whole company. But most of all, we will support you to develop and grow throughout your time with us. Learning is part of the journey at A+E Networks EMEA and you’ll be offered personal and professional development opportunities throughout your career with us. We’ll do everything we can to see you thrive and grow.
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https://937thebeathouston.iheart.com/content/2024-05-14-fans-weigh-in-after-mary-j-blige-drops-new-golden-giuseppe-zanotti-boots/
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en
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Fans Weigh In After Mary J. Blige Drops New Golden Giuseppe Zanotti Boots
|
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[
"Mary J. Blige"
] | null |
[
"Tony M. Centeno"
] |
2024-05-14T00:00:00
|
Fans react to the release of her long-awaited boots.
|
en
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https://i.iheart.com/v3/re/assets.brands/3046e9a669f8d224d41e0eb21ec2f71c?ops=gravity(%22center%22),contain(32,32),quality(65)
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93.7 The Beat
|
https://www.iheart.com/content/2024-05-14-fans-weigh-in-after-mary-j-blige-drops-new-golden-giuseppe-zanotti-boots/
|
Mary J. Blige continues to make a statement with her own line of extravagant thigh-high boots.
On Monday, May 13, the Grammy award-winning singer officially released her limited-edition collaboration with Giuseppe Zanotti known as "The Mary Boot." The "Good Morning Gorgeous" singer wore the reflective, rose-gold boots for the first time during her Strength of a Woman Festival in New York City on Sunday night.
“Mary J. Blige and Giuseppe just created the Mary J. Blige boot and you can get these boots tomorrow online. Monday. They are for sale,” she said per Vibe. “The Mary boot is here. Everybody has been asking, there ya go! Happy Mother’s Day, ladies!”
Mary J. Blige has been manifesting this collaboration since she rapped about her affinity to Giuseppe on "Enough Cryin" in 2006. Over the years, she never failed to impress her fans with her taste for lavish thigh-high boots. People around the world have witnessed Mary cut it up with her signature dance moves while wearing an assortment of rare boots.
Naturally, some fans were excited about the opportunity to own a pair — until they saw the price tag. The luxurious boots were priced at $1,295.00, which sparked plenty of debate among fans. Some actually thought that Blige would collaborate with a more economical name brand in lieu of luxurious brands. However, there was plenty of positive reinforcement from people who agreed that Blige could charge whatever she wanted for her high-end collaboration.
"Mary J. Blige has given labels & luxury since she stepped on the scene in the 90’s," one fan wrote. "It’s never given cheap or knockoff. ESPECIALLY her boot collection. The price point for her boot collection makes sense cause she’s not trying to give “look for less”, it’s EXPENSIVE!"
Despite the mixed reactions, Mary J. Blige and Giuseppe's boot line managed to sell out in one day. So far, Mary has not reacted to the incredible news. See what else fans had to say about the collaboration below.
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correct_birth_00056
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FactBench
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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.
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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.
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https://www.theringer.com/2022/6/29/23187388/podcast-real-love-mary-j-blige-history-r-b-60-songs-90s
|
en
|
Mary J. Blige and the Definitive “Real Love”
|
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[
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] | null |
[
"Rob Harvilla"
] |
2022-06-29T00:00:00
|
Our latest episode explores one of the best R&B songs of the 1990s from, quite possibly, the best R&B artist of the decade
|
en
|
https://cdn.vox-cdn.com/uploads/chorus_asset/file/8991993/favicon.0.ico
|
The Ringer
|
https://www.theringer.com/2022/6/29/23187388/podcast-real-love-mary-j-blige-history-r-b-60-songs-90s
|
Grunge. Wu-Tang Clan. Radiohead. “Wonderwall.” The music of the ’90s was as exciting as it was diverse. But what does it say about the era—and why does it still matter? 60 Songs That Explain the ’90s is back for 30 more episodes to try to answer those questions. Join Ringer music writer and ’90s survivor Rob Harvilla as he treks through the soundtrack of his youth, one song (and embarrassing anecdote) at a time. Follow and listen for free exclusively on Spotify. In Episode 69 of 60 Songs That Explain the ’90s—yep, you read that right—we’re breaking down Mary J. Blige’s classic “Real Love.”
It’s 1988 or so, at the Galleria Mall in Westchester, in White Plains, New York, and they got one of those new karaoke machine–recording booth situations, you can make a tape of yourself singing whatever you want—I associate these singing booths with amusement parks, but malls in New York were cooler, I guess—and we got Mary Jane Blige, around 17 years old, tearing up Anita Baker’s “Caught in the Rapture.”
This is the actual Anita Baker original, from 1986. I’m very sorry. I would love to play you the legit teenage Mary J. Blige Galleria Mall version of “Caught Up in the Rapture,” but I don’t believe it’s out in the world. Can I confess to you that, in general, I don’t go in much for demos, outtakes, alternate takes, or even most of the bonus tracks record companies slap onto reissues, remasters, and whatnot; all the random effluvia they toss in to pad it out and make it a double CD, so they can charge you $25 for a record you already own? I guess those days are mostly over, but I’m still mad and I still don’t care.
But I would make an exception for the Galleria Mall version of “Caught Up in the Rapture.” I would pay $25 for that alone, in part because that tape gets teenaged Mary J. Blige a record deal. Mary J. Blige was born in the Bronx; she grew up singing in church in Savannah, Georgia, before her family moved to Yonkers, New York to the Schlobohm housing projects in Yonkers: eight, seven-story buildings. A way less cheerful New York Times article from 1987 with the headline “Yonkers Anguish: Black and White in 2 Worlds” talks about the racial segregation and slow degradation of Scholobohm: the crime, the trash, the graffiti, the broken glass on the playgrounds. Somebody in the Yonkers Municipal Housing Authority says, ‘’If we ever replicated another Schlobohm, I think it would be an obscenity.” That’s what Mary J. Blige was caught up in, in 1988.
So this tape Mary made at the mall, her mother’s boyfriend at the time hears it, loves it, and passes it along to his friend Jeff Reed, who works with him at the General Motors plant in Tarrytown. And even though Jeff is working at the GM plant in Tarrytown, he is, himself, an artist, a musician, a singer signed to the fabled Uptown Records, based in Manhattan, run by music-business god Andre Harrell––who sits at the fabled vanguard of late-’80s hip-hop and R&B. Jeff runs this mall tape straight to Andre Harrell.
Uptown Records in this era has Heavy D and the Boyz, and Father MC, and Teddy Riley’s New Jack Swing group Guy. They’re about to sign Jodeci. But they don’t yet have somebody precisely hard and soft enough to push the label, and really R&B as a whole, forward. Jeff Reed wasn’t quite that somebody, but he found that somebody.
That’s from a 2021 documentary called Mary J. Blige’s My Life, directed by Vanessa Roth and premiering on Amazon Prime. This is not the most revelatory, pop-star documentary you’re ever gonna see in your life. It can be vague, it can be withholding, it can radiate press-release energy. The great pop critic and blogger Rich Juzwiak wrote a great piece about it for Jezebel and he says, “The film is the equivalent of Blige leaving herself a five-star Yelp review.” Rich is the best. Rich is a huge fan of Mary’s; he also says that Mary definitely deserves a five-star Yelp review.
There’s a deeply unpleasant tension here between what she won’t say and the profound ugliness of what she will say. If you read anything about Mary J. Blige, if you watch her VH1 Behind the Music, if you listen to her albums, if you see her live, if you spend any time with her in any capacity––she will tell you bluntly and, to a careful degree, explicitly about the darkest aspects of her childhood. When she was 5 years old, she was molested by a family friend. As a teenager, as a coping mechanism, she turned to drugs and alcohol and dropped out of high school. In that documentary she calls the Schlobohm housing projects a “prison within a prison within a prison.” She says she remembers hearing women being beaten. She says that she never smiled as a teenager. In many of her early music videos, album covers, et cetera, she’s got a hat pulled down low over her eyes, in part to hide a prominent scar below her left eye. She says she will never talk about how she got that scar.
When fellow singers describe the pain in Mary J. Blige’s voice, it’s the pain of a generation, that’s absolutely true; but it’s also the pain of one struggling teenage girl. When Puff Daddy—at the time a young, ambitious Uptown Records executive—describes her “raspy gutter ghetto tone” the pain in her voice because there was so much pain in the streets, yes, absolutely, that’s the pain of a generation. Some of that pain she shares with the world; some of that pain will always be hers and hers alone. She signs to Uptown Records; her first album, What’s the 411?, comes out in July 1992 when she’s 21 years old. Am I drawn to the song “Real Love” now—her first truly big single, her first Top 10 hit on the Billboard Hot 100, her introduction to much of the world—am I fixated on “Real Love” now because it’s so joyful I can’t hear any of that pain, or because somehow you totally can still hear it?
I swear I’m not doing the thing where I insist that a buoyant and happy song is secretly a crushingly sad song. That’s not it at all. “Real Love” is pure sunlight to me. I love how nimble her voice is, the skipping-stone deftness of her syllables, the way the bass kicks in right when her voice does. Mary’s got two decades of fantastic work ahead of her, but I don’t know if there’s a better hook in her catalog than the piano and the drums here. The piano and the drums demonstrating what real love would sound like and feel like. I’m just saying that part of what makes this song so buoyant and carefree is how much weight she secretly packs into the words We made it through the storm.
Part of what makes “Real Love” so impressive is that it transcends the 50,000 other songs called “Real Love.” I live in Columbus, Ohio, near Ohio State, which has just trademarked the word the, as in “the Ohio State University.” It’s the dumbest shit imaginable, and the audacity of trademarking the word the is commensurate with putting out a song called “Real Love” and having it be the definitive song called “Real Love.” But Mary J. Blige did it, and beat out stiff competition to do it.
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[
""
] | null |
[
"Jenniffer Sheldon"
] |
2024-06-21T00:00:00+00:00
|
Mary J. Blige was born in the Bronx, New York City, on January 11, 1971. She is an American singer, songwriter, actress, and philanthropist. She has sold over 50 million albums worldwide, and has won nine Grammy Awards, four American Music Awards, and ten Billboard Music Awards. Blige's music is often described as a mix of R&B, soul, and hip hop. She is known for her powerful vocals and her honest and often confessional lyrics.
|
en
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/favicon.ico
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https://kola.s3.uk.io.cloud.ovh.net/mary-j-blige-s-birthplace-revealed.html
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Mary J. Blige was born in the Bronx, New York City, on January 11, 1971. She is an American singer, songwriter, actress, and philanthropist. She has sold over 50 million albums worldwide, and has won nine Grammy Awards, four American Music Awards, and ten Billboard Music Awards.
Blige's music is often described as a mix of R&B, soul, and hip hop. She is known for her powerful vocals and her honest and often confessional lyrics. She has been praised for her ability to connect with her audience on a personal level, and her music has been credited with helping to break down barriers between different genres of music.
In addition to her music career, Blige has also appeared in several films and television shows. She has also been involved in a number of philanthropic endeavors, including her work with the Mary J. Blige Foundation, which provides support to women and children in need.
Where Was Mary J. Blige Born?
Mary J. Blige was born in the Bronx, New York City, on January 11, 1971. This location has shaped her musical style and career in various ways:
Musical Influences: The Bronx is a melting pot of cultures, and Blige was exposed to a wide range of musical genres growing up. This mix of influences can be heard in her music, which blends R&B, soul, hip hop, and other styles.
Cultural Impact: The Bronx is a vibrant and diverse community, and Blige's music reflects the experiences and struggles of her neighbors. Her songs often deal with themes of love, loss, and overcoming adversity.
Career Opportunities: The Bronx is home to a thriving music scene, and Blige was able to connect with other musicians and industry professionals who helped her launch her career.
Personal Identity: Blige has said that she is proud to be from the Bronx, and her music often reflects her deep connection to her hometown.
In conclusion, the place where Mary J. Blige was born has had a profound impact on her music and career. The Bronx has provided her with a rich musical heritage, a diverse cultural background, and a supportive community. These factors have all contributed to making Blige one of the most successful and influential singers of her generation.
Musical Influences
Mary J. Blige's birthplace, the Bronx, played a crucial role in shaping her musical style. The borough is a vibrant melting pot of cultures, and Blige was exposed to a wide range of musical genres growing up. This mix of influences can be heard in her music, which blends R&B, soul, hip hop, and other styles.
R&B: Blige's music is heavily influenced by R&B, a genre that originated in the African American community. R&B is characterized by its soulful vocals, smooth harmonies, and catchy rhythms. Blige's songs often explore themes of love, loss, and heartbreak, and her powerful vocals convey the emotions of her lyrics with raw authenticity.
Soul: Soul music is another major influence on Blige's music. Soul music is characterized by its emotional depth, strong vocals, and uplifting messages. Blige's songs often have a soulful quality, and her lyrics often deal with issues of social justice and personal empowerment.
Hip hop: Hip hop is a genre that emerged in the Bronx in the 1970s. Hip hop is characterized by its rapping, sampling, and DJing. Blige's music often incorporates elements of hip hop, such as rapping and sampling. Her songs often deal with themes of urban life and social consciousness.
The mix of R&B, soul, and hip hop influences in Blige's music creates a unique and distinctive sound. Her music is both soulful and catchy, and her lyrics are both personal and socially conscious. Blige's music has resonated with audiences around the world, and she has become one of the most successful and influential singers of her generation.
Cultural Impact
Mary J. Blige's birthplace, the Bronx, has had a profound impact on her music and career. The borough is a vibrant and diverse community, and Blige's music reflects the experiences and struggles of her neighbors. Her songs often deal with themes of love, loss, and overcoming adversity.
Realness and Authenticity: Blige's music is known for its honesty and authenticity. She sings about her own experiences and struggles, and her lyrics resonate with people from all walks of life. Blige's music provides a voice for the voiceless, and her songs offer comfort and inspiration to those who are going through tough times.
Social Consciousness: Blige's music often addresses social issues, such as poverty, racism, and violence. She is not afraid to speak out against injustice, and her songs have helped to raise awareness of important social issues. Blige's music is a powerful force for change, and it has helped to make the world a better place.
Sense of Community: Blige's music has helped to create a sense of community among her fans. Her songs bring people together and help them to feel connected to each other. Blige's music is a source of strength and support for her fans, and it helps them to overcome challenges and achieve their goals.
In conclusion, the cultural impact of Mary J. Blige's music is undeniable. Her music reflects the experiences and struggles of her neighbors in the Bronx, and it has resonated with people all over the world. Blige's music is real, authentic, and socially conscious. It provides a voice for the voiceless, offers comfort and inspiration to those in need, and helps to create a sense of community. Blige's music is a powerful force for good, and it has made a positive impact on the world.
Career Opportunities
The Bronx is home to a thriving music scene, and this played a significant role in Mary J. Blige's ability to launch her career. The borough is a hub for musicians and industry professionals, and Blige was able to connect with people who helped her develop her talent and get her music heard.
One of the most important connections Blige made was with Jeff Redd, a record producer who discovered her singing at a talent show. Redd was impressed by Blige's talent, and he helped her to record her first demo tape. This tape eventually led to Blige signing a recording contract with Uptown Records, which launched her professional music career.
In addition to Redd, Blige also connected with other musicians and industry professionals in the Bronx who helped her to develop her sound and her career. These connections were essential to Blige's success, and they demonstrate the importance of the Bronx music scene to her career.
The fact that Mary J. Blige was born in the Bronx gave her access to a thriving music scene, which was essential to her ability to launch her career. The borough is home to a large number of musicians and industry professionals, and Blige was able to connect with people who helped her to develop her talent and get her music heard. These connections were essential to Blige's success, and they demonstrate the importance of the Bronx music scene to her career.
Personal Identity
The connection between Mary J. Blige's birthplace, the Bronx, and her personal identity is undeniable. Blige has often spoken about her love for her hometown, and her music is infused with the spirit of the Bronx. Here are a few ways in which Blige's birthplace has shaped her personal identity and her music:
Sense of Community: The Bronx is a close-knit community, and Blige has often spoken about the sense of belonging she feels there. She has said that she feels a strong connection to her neighbors and to the borough as a whole. This sense of community is reflected in her music, which often speaks to the experiences of everyday people.
Cultural Influences: The Bronx is a melting pot of cultures, and Blige has been exposed to a wide range of musical and cultural influences growing up. This mix of influences is reflected in her music, which blends R&B, soul, hip hop, and other genres. Blige's music is a reflection of the diverse culture of the Bronx.
Social Consciousness: The Bronx is a borough that has faced many challenges, including poverty, crime, and violence. Blige has witnessed these challenges firsthand, and her music often speaks to the social issues that affect her community. She is not afraid to use her voice to speak out against injustice, and her music has helped to raise awareness of important social issues.
In conclusion, the connection between Mary J. Blige's birthplace, the Bronx, and her personal identity is undeniable. The borough has shaped her sense of community, her cultural influences, and her social consciousness. All of these factors are reflected in her music, which is a powerful expression of her personal identity and her love for her hometown.
FAQs About Mary J. Blige's Birthplace
Mary J. Blige's birthplace has played a significant role in shaping her musical style, career, and personal identity. Here are some frequently asked questions about where Mary J. Blige was born:
Question 1: Where was Mary J. Blige born?
Answer: Mary J. Blige was born in the Bronx, New York City, on January 11, 1971.
Question 2: How did her birthplace influence her music?
Answer: The Bronx is a melting pot of cultures, and Blige was exposed to a wide range of musical genres growing up. This mix of influences can be heard in her music, which blends R&B, soul, hip hop, and other styles.
Question 3: How did her birthplace impact her career?
Answer: The Bronx is home to a thriving music scene, and Blige was able to connect with other musicians and industry professionals who helped her launch her career. She was discovered by a record producer at a talent show in the Bronx, and this led to her signing a recording contract.
Question 4: How is her birthplace reflected in her personal identity?
Answer: Blige has said that she is proud to be from the Bronx, and her music often reflects her deep connection to her hometown. She has spoken about the sense of community and the cultural influences that have shaped her.
Question 5: What are some of the challenges Blige faced growing up in the Bronx?
Answer: Blige has spoken about the challenges she faced growing up in the Bronx, including poverty, crime, and violence. These experiences have influenced her music, which often speaks to the social issues that affect her community.
Question 6: How has Blige used her platform to give back to her community?
Answer: Blige has used her platform to give back to her community in a number of ways. She has established a foundation that supports women and children in need, and she has also spoken out about important social issues.
In conclusion, Mary J. Blige's birthplace has had a significant impact on her life and career. The Bronx has shaped her musical style, provided her with opportunities to succeed, and influenced her personal identity. Blige's music is a reflection of her hometown, and she has used her platform to give back to her community.
Continue reading the article to learn more about Mary J. Blige's life and career.
Tips for Exploring "Where Was Mary J. Blige Born"
Exploring the birthplace of Mary J. Blige can provide insights into her musical style, career, and personal identity. Here are a few tips to help you delve deeper into this topic:
Tip 1: Research the Bronx's Music Scene: Explore the vibrant music scene of the Bronx, where Mary J. Blige was born and raised. Learn about the musical genres that influenced her, such as R&B, soul, and hip hop. Discover the venues and events that played a role in her early career.
Tip 2: Analyze Blige's Music: Listen closely to Blige's music, paying attention to the lyrics, melodies, and rhythms. Identify how her birthplace has influenced her musical style. Consider the themes she explores in her songs, such as love, loss, and social issues.
Tip 3: Explore Blige's Personal History: Read biographies and interviews with Mary J. Blige to gain insights into her personal experiences. Understand the challenges and triumphs she faced growing up in the Bronx. Learn how her birthplace shaped her values and perspectives.
Tip 4: Visit the Bronx: If possible, visit the Bronx to experience the environment that influenced Mary J. Blige's life and music. Explore the streets where she grew up, visit local music venues, and engage with the community to gain a deeper understanding of her roots.
Tip 5: Attend Blige's Performances: Attend live performances by Mary J. Blige to witness her powerful vocals and stage presence. Observe how she interacts with her audience and conveys the emotions of her music. This can provide a unique perspective on the connection between her birthplace and her artistry.
Summary: Exploring "where was Mary J. Blige born" involves researching the Bronx's music scene, analyzing Blige's music, exploring her personal history, visiting the Bronx, and attending her performances. By following these tips, you can gain a comprehensive understanding of the factors that have shaped Mary J. Blige's life and career.
Continue reading the article for more information on Mary J. Blige's birthplace and its impact on her music and identity.
Conclusion
Mary J. Blige's birthplace, the Bronx, has had a profound impact on her life and career. The borough's vibrant music scene, diverse culture, and social challenges have shaped her musical style, influenced her career trajectory, and informed her personal identity. By exploring "where was Mary J. Blige born," we gain a deeper understanding of the factors that have contributed to her success and the messages she conveys through her music.
Mary J. Blige's music transcends the boundaries of genre and geography, resonating with audiences worldwide. Her ability to connect with her listeners on a personal level is a testament to the authenticity and universality of her experiences. As we continue to celebrate her artistry, let us also recognize the importance of the environment that fostered her growth and shaped her into the iconic figure she is today.
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Mary J Blige Bio
January 11, 1971 Mary J. Blige Was Born and Became the "Queen of Hip
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https://www.letsdothishouston.com/events/mary-j-blige-night-light-bike-ride-aug-14th
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en
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Mary J Blige Night Light Bike Ride
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Come enjoy an all Mary J Blige playlist as we bike around the city to celebrate the musical accomplishments of this legendary artist who dominated R&B in the 90s in the 2000s.
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LetsDoThisHouston
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https://www.letsdothishouston.com/events/mary-j-blige-night-light-bike-ride-aug-14th
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Mary J. Blige Night Light Bike Ride Aug 14th
Check out one of our Hottest Summer Events
Mary J. Blige Night Light Bike Ride Aug 14th
At this Music themed Bike riding event , we are looking for participants to come and explore Houston on Bikes while vibing to one of arguably this Legendary Artist who dominated the 90s! Mary J. Blige
Riders will experience a slow cruise around the city streets on our Brand New Dutch Bikes equipped with LED Lights as we travel to one of our select destinations such as Discovery Green, Midtown or The Museum District. TheTupac playlist will be provided by the Tour Guide as we bike around town.
Come experience this one of a kind event with 3rd Ward Tours
Lets Do This Houston!!
Saturday Night Tour Information:
Check-In/Arrival: (7:00 pm – 7:20 pm) (No Late Arrivals Accepted. Container will close at 7:50 pm)
2301 Elgin St (Look for the Yellow Container) **Parking is available in the Back lot and Side street Bastrop.
PLEASE KEEP ALL VALUABLE ITEMS AT HOME AND OUT OF SIGHT.
Please have completed waiver form ready to show at check-In. Once checked in, you will receive Bike Rental and instructions.
Arrive: 7:00 pm
Departure: 7:30 pm
Return: 9:00pm 3rd Ward Bike Tours
What To Wear: Active Comfortable Clothing **No Sandals or Flip Flops
Hydrate!! Hydrate!! & Hydrate!!
FAQs
Is This a Concert?
No this is not a concert this is music themed bike riding event.
Are there ID or minimum age requirements to enter the event?
18+ years or older to participate in this event.
Can I still receive a bike if I am late?
No more bikes will be distributed 10 min before take off time. (No Exceptions) No Late Arrivals accepted.
What are my transportation/parking options for getting to and from the event?
You can take an Uber or Lyft to our Event & Parking is located on the side street Holman and designated areas marked for parking .
What Do I Wear?
Wear comfortable active clothing. No Sandal Or Opened Toe Shoes.
Do the lights come with the bike?
Yes Lights are included in the ticket purchase
How can I contact the organizer with any questions?
Call or Text Alan 281.942.4850
What’s the refund policy?
We understand things happen but we cannot control mother nature. Any events that is out of our control in regards to cancelling an event, your tickets can be used for any future event. Please review our standard **Refund Policy** 14 days: Attendees can receive refunds up to 14 days before your event start date. Any request after the deadline can be used for future ride. No Exceptions (Please send email to info@letsdothishouston.com)
What about Covid? This can be found in the waiver form
COVID-19 Notice & Release. The novel coronavirus, COVID-19, has been declared a worldwide pandemic by the World Health Organization. COVID-19 is extremely contagious. LETSDOTHISHOUSTON LLC has taken preventative measures to reduce the spread of COVID-19; however due to the nature of the Biking Event LETSDOTHISHOUSTON LLC cannot guarantee that you will not come in contact with COVID-19.
______ INITIALS I am familiar with the guidelines and recommendations set forth by the CDC in regard to COVID-19. I represent that I have not been ill with a fever, nor have I experienced flu like symptoms within the past 72 hours. I acknowledge the contagious nature of COVID-19 and I voluntarily agree to assume all risks of possible exposure and accept sole responsibility for any injury to myself, illness, damage, loss, claim, liability or expense, of any kind, that I may experience or incur in connection with my participation in LETSDOTHISHOUSTON LLC’s Biking Event. I hereby release, covenant not to sue, discharge and hold harmless LETSDOTHISHOUSTON LLC, its owners, operators, agents and/or staff from any and all claims and liabilities, including negligence claims, as it relates to COVID-19.
Will We Ride if it Rains?
Letsdothishouston LLC reserves the right to postpone or cancel the event due to the amount of rain or any other extenuating circumstances to ensure participant safety and maintain the condition of the bikes to provide future rides and events. Letsdothishouston will have a make up ride every last Sunday of the month to the same artist to honor your Bike Rental Reservation. If you cannot make the Sunday rescheduled rides YOU CAN USE YOUR TICKET TOWARDS A FUTURE AVAILABLE RIDE. (PLEASE Send Email with request). No refunds will be issued. Unless requested within the refund policy of 7 days before the event date.
What is Included in the Ticket?
Bike Rental, LED Lights and Helmet if needed.
Will food be provided?
No food will be available for this ride.
How long will this ride take?
We want everyone that purchases a ticket gets the full experience of the Bike Ride, this Bike Ride will last Approximately 50 min with a 20 min Break Included. Ride Could Vary, Please be prepared for longer ride times if breakdowns occur or injuries occur .
Are Group Rates Available?
Group Rates are not available for this ride.
What Kind of Tour is This?
This is a Featured Event at 3rd Ward Tours featuring an apple music playlist. ALL Riders must stay with the group. Please Remember to hydrate and eat before performing this physical activity.
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https://www.amazon.com/prime-video/actor/Mary-J-Blige/amzn1.dv.gti.9c669057-5968-48b5-9b26-4cb9fbfc4066/
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Mary J. Blige: Movies, TV, and Bio
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Browse Mary J. Blige movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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https://www.amazon.com/prime-video/actor/Mary-J-Blige/amzn1.dv.gti.9c669057-5968-48b5-9b26-4cb9fbfc4066/
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Mary J. Blige was born on January 11, 1971 in The Bronx, New York City, New York, USA. She is a music artist and actress, known for Mudbound (2017), The Help (2011) and Rock of Ages (2012). She was previously married to Kendu Isaacs.
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https://www.rottentomatoes.com/celebrity/mary_j_blige
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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!
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Rotten Tomatoes
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https://www.rottentomatoes.com/celebrity/mary_j_blige
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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.
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https://daily.redbullmusicacademy.com/2014/11/key-tracks-mary-j-blige-my-life
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Key Tracks: Mary J. Bligeâs My Life
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2014-11-25T09:00:00+00:00
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Two of the key producers of the hit album from the queen of hip hop-soul talk about its genesis.
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https://daily.redbullmusicacademy.com/2014/11/key-tracks-mary-j-blige-my-life
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How did you become involved with the process of making this album?
Chucky Thompson
Right around the time I met Sean Combs, I was dealing with him from a management level. At that time, he was only interested in me doing one song for Maryâs album. Due to the success of her first album, the prices of a lot of the producers who worked on the Whatâs the 411? skyrocketed. The money they were asking for from Uptown Records for their tracks was outrageous. They were coming back with prices like $80,000 for one track. So â Iâm the new guy and I had one song done with her, and she loved that song. It actually changed the direction that Puff had for her My Life album, and it really opened the gates to make them say that this album could really define her. It started off of as one song, and then Puff came to me and said, âLook man, we really have a chance to do her whole project and itâs not going to be for a whole lot of money, but the opportunity will be there. So, are you down or what?â I said, âDown? Iâm willing to do her album for free.â
Because I was a fan of her work, and when we met in relationship to our backgrounds, we connected instantly. We both knew older soul music, and it was just a whirlwind of things happening. We were all young, and we all knew that the soul brought us together. I was just fortunate to be able to play a lot of different instruments, and the songs I was working on before I got there, helped turn the page. I play about eight different instruments and the fact I was into hip hop enabled me to put melodies over hip hop music and blending different ideas. So, by the time I heard the Whatâs the 411? album, it just felt like my calling.
Prince Charles Alexander
Bad Boy Records was kind of like a factory back then. Being involved with Puffy was how it all started for me. I was working with Jodeci and Puffy was the A&R guy. When Jodeci left Manhattan to go up to Rochester, NY to work on their album after A Diary of a Mad Band, Puffy called me out of the blue. Initially, I got called in on the back end of the album. I was working on Biggieâs, Totalâs, and 112âs albums, while the early work was going on with Mary. Then, I got a call midway through the making of Maryâs album, because Puffy wanted to do a remake of the 1972 Rose Royce song, âIâm Goinâ Down.â He called because he wanted to use a live musician. To this day, I donât know how much Puffy knows about how much of a musician I am, but maybe he knows more than he was letting on. He called me and said, âI want someone to go in there and hook the song up.â What he was really asking me to do was to produce the record, but he didnât ask me outright to produce it. He asked me to go in and make it happen.
So, Iâm thinking, if I go in and make it happen, Iâm going to be able to get some production credits. I agreed to do it, and I went in and started off looking at the song from 1972, and since Iâm a musician, I started writing out charts. A very good friend of mine Mark Ledford, who is no longer with us, was a multiple Grammy award winning trumpet player. He was one of my best friends. He came in and started writing out the horn parts, and I told him to write out the string parts. I wrote out the parts for the musicians to play. We brought Paul Pesco and Victor Bailey in to play on the song. I had some of the best musicians in the world to come in and work on this record. We also had Regina Carter, a world famous jazz violinist in our violin section, and I was on tenor sax, piccolo, and flute in the horn section. My boy Mark Ledford was on trumpet and Vince Henry, who later went on to do the Amy Winehouse record was in the horn section as well.
You have to realize when youâre dealing with a lot of synthetic music like synthesizers, drum machines, and samplers, a lot of musicians werenât getting these types of calls to work on these projects. So, for me to call in all these musicians in and for them to connect with this young, urban music was a godsend to them, and it was something that Puffy wanted in the music. He wanted that real, hardcore musicality. After those two sessions, I had a date for Mary to come in. For this session, I set it up for Mary to have a six to eight hour session to do her vocals. She came in and knocked it out in one pass! So, what you hear on âIâm Goinâ Downâ is basically: roll the tape, Mary sung, and thatâs what you got. I had her sing it two more times and on the back end of the song, we had her do some ad libs.
I presented the final product to Puffy, and I think Tim Dawg Patterson was the A&R, because I remember him listening to the final mix and saying there wasnât enough reverb on Maryâs voice. I told him, âOkay. Yeah. We can put more reverb on her voice, but I want it to sound different from Rose Royce; I want it to sound fresher and thatâs why I pulled the reverb back just a little bit.â Then, I get on the phone because I didnât see Puffy or Chucky Thompson during any of those sessions. Puffy and Chucky were on deck to get production credit for the song because they had signed up to be producers for the whole album. So, I get on the phone with Puffy and I said, âSo, youâre going to cut me in with a piece of the production, right?â Man, Puffy fought me tooth and nail. We were on the phone screaming at each other. If you wouldâve heard me yelling at Puffy and Puffy yelling at me, you wouldâve thought these dudes were going to shoot each other. [laughs] He was like, âYou act like Iâve never produced a record before.â I responded, âYouâve never produced a record like this one before! You canât produce this type of record.â [laughs] He responded, âIâve been producing records!â I said, âIâve been producing records two and three times longer than you have!â [laughs] We were just going back and forth.
So, he basically said they had the production, and if he cut me in, it was going to mess up the royalty rate because they had a flat rate and blah, blah, blah. So, I capitulated and I told him, âYou have to give me two more artists.â I ended up getting a production credit on a song for Faithâs next album and a production credit for something else in the Bad Boy catalog. Puffy nor Chucky had anything to do with production of this song, but in terms of business, it is what it is. You go with the person with the hot hand, and Puffy had the hot hand. I said to myself, if I really push Puffy, he might say, âFuck it and take this shit off the album.â I knew that, so I played the game. If you look on the record, itâll say produced by Chucky Thompson and Puffy and co-produced by Prince Charles Alexander and Mark Ledford. At the end of the album, I was also called back in to do some mixing, recording, and kind of babysitting Jodeci with Mary doing âBe Happyâ and âYou Bring Me Joy.â
Can you talk about the collaboration process between Mary, Puffy, and you during the making of this album?
Chucky Thompson
Puff really didnât have an idea about the direction he wanted her second album to go in, but he knew he wanted it to be hip hop, and he wanted it to be soulful. With me coming in and my background being from Washington, DC, youâll know that the city is a live music town. We have go-go music and other flavors here as well. New York wasnât really known to love funk music and stuff like that. So, when I came in and brought soul along with different sounds, it was a fresh sound for her and it was a fresh sound for Puff. She really took to my production style and the ideas that Puff had for her, which I could carry out. A lot of the sample ideas came from Puff, and I just flipped it and made it work for her. Every day it was something new or I already had something that just fit in with where we were trying to go with the album.
At that time, there was a lot going on with her. When I met her, she didnât say much and I didnât say much. What ended up happening is, she started opening up to me, and during that time, I was married to my first wife. My ex-wife and Mary would just sit and talk. They both had that connection being from the hood and the camaraderie between those two got her to open up more to me.
As I would hear stuff that would be happening to her and her relationship with K-Ci, it was crazy. Her vibe, when she came into the studio, I used to feel what she was going through. We created a real bond. Puffy and her had a bond, but then Mary and I started to have a bond, and it enabled me to really get a grasp for how her album should sound. I laid a platform for a lot of those emotional records on that album. There would be times where she would be in the studio singing and it would be the dopest take in the world, but she would be crying. Those are things you canât create; those emotions are coming from an unseen place. It was a situation where we probably could have made 40 My Life albums, if we kept going.
Prince Charles Alexander
The fact that Mary came in and sung âIâm Goinâ Downâ without a hitch, on one pass, was something I didnât expect, because being a musician coming from a generation before Uptown, when I heard Mary sing âReal Loveâ and some of the other songs from her album, Whatâs the 411?, I thought she wasnât a totally in tune singer; I thought she was pitchy, a little bit sharp, and flat, but had great emotion. The emotion has always been the thing that connected her to her audience. Throughout her career, she has gotten better, better, and better.
Iâm not sure if it was on âIâm Goinâ Down,â but there was something else that Mary was singing, and I was coaching her. I was the engineer, and I was also a vocal producer, so if I was in the studio with a producer who was a beatmaker and he didnât know how to get vocals out of Mary, I would start doing vocal production with Mary. I remember making Mary cry one time, and she was upset at the fact that I wasnât loving her and kind of going over the top and saying, âThatâs dope Mary!â, because I had been used to hearing incredible jazz singers and working with Luther Vandross and people like that, so I would tell her, âSing it again.â Mary had a little bit of a meltdown, but that was indicative of the level of passion that Mary had as an artist and a perfectionist. I didnât look at it as a negative thing; I didnât look at it as if something was wrong with Mary. I just looked at it as thatâs who she was because sheâs a very passionate person.
I think Puffy understood that about Mary also. Puffy wasnât a vocal producer, but he knew how to get emotions out of somebody. When Puffy would be in the studio producing her, he would be yelling at her. Iâd be like, âDamn, dude. Thatâs not cool.â [laughs] But Mary would get so pissed that what she would bring to the record after she got mad was another level of intensity. Their relationship was a crazy kind of dynamic. I could see why Mary didnât like Puffy after a certain period of years of being together, because her relationship with him was a contentious one, but in many ways that was Puffyâs genius. He knew how to get her to be in an immediate emotional state.
I know that sounds weird, but the guy is a genius. He knows things about whatâs going on in the marketplace and for the marketplace that other people are just clueless to. And the proof of that is out of all the producers that worked with Puffy that played all those keyboards and programmed all those beats, they all left Puffy to go to some other label and tried to blow up. Did they blow up? No. Name me one of those producers that left Puffy and kept up at the same pace they had when they were with Puffy. None of them. So, there is a reality to what was going on inside Puffyâs head.
You were brought in the middle part of making the album. How many songs were you involved with after working on âIâm Goinâ Downâ?
Prince Charles Alexander
I worked on âBe Happy,â âYou Bring Me Joy,â and I remember tracking vocals on âNo One Else,â âIâm the Only Woman,â and a couple of others. Like I said, it was a conveyer belt; it was a factory, so every day I would come in, and I would work with Mary one day, Total the next day, 112 the next day, and then come back to Mary. I was all over the place.
What was your studio routine when you were working with Mary?
Prince Charles Alexander
Everybody liked to work late. We would work until five or six oâclock in the morning. On a good day, Mary would show up at 6 or 7 PM and weâd start working, or Chucky might show up at 6 PM and he might want to change something before Mary would come in. On a bad day, I might not see anyone until midnight or one oâclock because they would go to a club at eleven or twelve and they would come in a one, two, or three oâclock in the morning and then they would want to work in the middle of the night.
If Mary was writing, she would be in the back of the room and she would say, âCycle the loop around for me at a certain point.â Back then, we had an analog machine, which wasnât like Pro Tools. We had to know where the points were on the analog machine and then we could set up a cycle or a loop. It was a big thing for Mary to write her own lyrics independent from the songwriters who wrote songs on Whatâs the 411? album. She learned that publishing was where the money was.
The funny thing is, I listened to some of her early writing on this record, and I wasnât really all that impressed because they were simple lyrics. In some ways, I thought it was too simple, but when the record came out and really resonated with her audience, I realized it wasnât that the lyrics were simple, it was that the message was such a universal message that she didnât need complex words to get her message across. The complexity was going to be in her emotion. We wasted a lot of time in the studio, but by this time, Puffy owned his own studio called Daddyâs House. He was a bright businessman. There would be long days. There would be some 12 to 16 hour days. Work would be done in stages. I would work with Chucky for four hours and three or four hours with Mary. There would be some days I would be in the studio and Mary wouldnât come in at all. I donât know what was going on, and I didnât try to pry either. I didnât know if there was a falling out at the time with her boyfriend. This was around the time she was going with K-Ci.
Since then, Iâve read about some of the issues that Mary was dealing with at that time. I never probed and tried to figure out if something was going on, because everybody was drinking or smoking something then, except for Puffy. To my knowledge, in 1994, Puffy wasnât drinking or smoking anything. The first time I saw Puffy drink or smoke anything in the studio wasnât until 1996 or 1997. A lot of people donât realize Puffy was straight and narrow. He never drank or smoke in a professional setting. He wanted to get his business right.
What were some of the production techniques and equipment that were used to help develop and refine the overall sound for this album?
Prince Charles Alexander
The MPC-60 was the hub. We would have our sequencer running in it, our sounds running in it, and I would hit play. The sequencer would come up and all our sounds would be going. We were using an SSL G console. We used Studer A820 tape machines, and we might have had A827âs also. Anyone who knows their technology knows that a Studer A-820 and A-827 were like the Mercedes Benz and Rolls Royce of analog tape machines. Back in those days, the JV-1080 made by Roland was huge. Chucky used a Roland D-50 as well.
Most of those consoles had automation, so we could do mutes on different parts. On a lot of those tracks, there would be parts printed all the way through the song, and we would only open up parts at certain times, and we would keep other parts muted so people couldnât hear them. So, Puffy got really good at doing mutes. That was his claim to fame. We were renting gear as well. The Lexicon 480L was the main reverb unit we were using. For delays, we were using the PCM 42. I had a multi delay unit called the SPX 90. We used an LA-2A to compress the vocals. We used 1176s to compress the basses.
The other thing I probably didnât mention in terms of technology and techniques was something we used called vocal flies. We used them in order to make the second, third, and fourth chorus sound like the first chorus. So, basically, she would sing the first chorus, and she would sing four notes for the first part. Then, we would do the harmonies four times, and then we would do the third harmony four times, so we would have 12 tracks of vocals. We might redo the vocals and add more air and fluff to them. So, we would have 16 to 24 tracks of vocals in the first chorus.
We couldnât move all 24 tracks to the second, third, and fourth chorus. What we would do you is we would take all 24 vocals out of the left and right image and print them out onto the two track tape. We would have a second tape, which was a smaller tape. It would either be a half inch tape or quarter inch tape. We would record those 24 vocals onto the left and right side of the tape, so youâre basically hearing everything blended down together. Then, we would take the half inch tape and find a point and mark that point with a white grease pencil before the vocal started. Then, I would go to the second chorus on the big tape, play it, and hear the snare, and Iâd countdown 2, 3, 4, and right on the third snare, Iâd press play on the half inch tape, and it would be recording my two tracks of vocals back into the main tape, and Iâd have to do it on the third and fourth chorus. So, a lot of what you hear on the backgrounds of those songs is a technology they donât use any more.
How long did it take to record this album from start to finish?
Prince Charles Alexander
It took between six to nine months to complete it. I could be a little off on that, but I remember the pace that we were working at back then. I remember starting this record and then being called to come in to do more work on the record. From that time, it wouldâve been three months I was there, and they had already been working on the record.
Can you talk about âYou Bring Me Joyâ?
Prince Charles Alexander
I donât know if K-Ci or Jojo has writing credits for âYou Bring Me Joy,â but they should. They didnât have any lyrics yet for the song. Mary and Jojo were off to the side, convening and talking and passing things around, while we were looping the tape around so they could hear the track. Then, Jojo said, âOh. We got the song! Now we need an intro.â Jojo goes in on the mic and said, âI think I got it. I got an idea on how to start the song off.â
Jojo goes in and starts singing and you shouldâve seen my face. When he went in there and started singing, it sounded like a Native American chant. Iâm thinking to myself that Mary was going to shut it down. No way was this going to slide. I looked at Mary and she said, âYeah. Thatâs dope!â So, Jojo doubled, tripled and quadrupled it, and Iâm sitting there just shaking my head thinking, âOh. My God.â First of all, Jojo was pissy drunk, K-Ci was pissy drunk, and I donât know what Maryâs mind state was then, but all I know is when those two got drunk, they had a good ole time. [laughs]
As you look back 20 years later, how do feel about the impact of the album?
Chucky Thompson
My vision for her was to let people know that she was to be taken seriously as a true singer. People got caught up in her image, and I just knew that she was more than that. I really wanted her to be considered one of the divas of R&B and soul music. I felt that vibe when I stepped out of the door to meet and work with her.
Prince Charles Alexander
As much as the audience may think that it was just Mary and Puffy on this album, thereâs a whole list of cast and crew that supported this music emotionally, spiritually, and philosophically to make it come together the way it did. There was another generation of music made after this album that owes a debt to this music. Artists like Ashanti, Tinashe, Keyshia Cole, Brandy, and others owe a debt to that hardcore, black sound that was started by the Uptown and Bad Boy Records era from the early to mid-â90s. I think this album is incredibly important. I still have all the plaques.
I look back on that time fondly, because I was from the generation of black music that came before Uptown Records. When I was an artist, I was doing funk music, so for me to have been connected to the next generation of music, I felt like my career got a brand new shot in the arm. My Life is a classic. I think one of the reasons why Mary is an icon today, is because of this album. This is the foundation everything has been built on.
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The History of Rock Music. Mary J. Blige: biography, discography, reviews, ratings, best albums
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Ultimate guide to Mary J. Blige: biography, discography, reviews, ratings, best albums
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New York soul-rap diva Mary J. Blige, an authentic product of the ghetto's tough life, popularized the fusion of soul and rap that had been developing since Bobby Brown's massive success of 1988. Both her manifestos, What's the 411? (1992) and My Life (1995), were crafted by producer Sean "Puffy" Combs.
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CEOs Who Went From Rags to Riches
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In most cases, these future CEOs started working early in life and took menial childhood jobs to help their families get by. However, many of their struggles provided them with a survival instinct and it fostered an eye for opportunities that less-desperate people might overlook. Who are the American CEOs who went from rags to riches? Find out!
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iStock
Many of today’s wealthiest and most powerful chief executives are entirely self-made. They were born into modest circumstances and worked hard for everything they have. Others have come from much more desperate backgrounds, which, thankfully, many of us will never have to know.
Many were born into poverty and raised in violent neighborhoods with rampant crime. But thanks to a combination of resourcefulness, ingenuity and a strong work ethic, they managed to transcend their circumstances. Today, they thrive in business and head some of the most profitable companies in the world.
In most cases, these future CEOs started working early in life and took menial childhood jobs to help their families get by. However, many of their struggles provided them with a survival instinct and it fostered an eye for opportunities that less-desperate people might overlook. It also produced the ability to stretch a dollar past its breaking point, a handy skill for anyone trying to cobble together start-up costs. Poverty can often help cultivate qualities that are strong business assets.
Who are the American CEOs who went from rags to riches? Click ahead to find out.
By Daniel Bukszpan
Posted 14 July 2011
Lloyd Blankfein, Goldman Sachs Group
Chris Kleponis | AFP | Getty Images
Lloyd Blankfein is the chairman and CEO of Goldman Sachs Group. He was born in the Bronx, N.Y., and raised in a Brooklyn housing project by his father, a postal employee, and his mother, a receptionist. He went to work himself as a vendor at Yankee Stadium while he was still a boy.
Blankfein attended Harvard Univerisity and earned a Juris Doctor degree from Harvard Law School. After working as a tax attorney, he joined J. Aron & Co., a subsidiary of Goldman Sachs and worked his way up to the position of CEO, earning a reported $73 million in 2007.
Oprah Winfrey, Harpo Productions
Getty Images
Until May 25, 2011, Oprah Winfrey was known as a popular talk-show host with a vast media empire. However, since The Oprah Winfrey Show went off the air that fateful spring day, she’ll just have to be happy with the vast media empire alone.
Apart from spending 25 years as the host of the highest-rated daytime talk show in TV history, Winfrey was ranked the richest African-American in Forbes magazine in 2009 and the ninth most influential U.S. liberal in 2007 by The Telegraph.
Winfrey’s dominant position in the world stands in stark contrast to her upbringing. She was born into abject poverty to a teenaged mother in Mississippi and raised in squalor in Milwaukee. After moving to Tennessee during high school, she got her foot in the broadcasting world’s door by taking a job in radio. Winfrey showed a preternatural talent as an on-air personality, and by the time she was 19 she was anchoring the evening news. She transitioned into hosting a daytime talk show in Chicago, and the rest is history.
John Paul Dejoria, John Paul Mitchell Systems
Jason LaVeris | FilmMagic | Getty Images
John Paul Dejoria is the co-founder and CEO of John Paul Mitchell Systems, a hair-care product manufacturer. His parents divorced when he was two years old, and he went to work at age nine to help support his family. He ended up in foster care nonetheless, and after graduating high school he served in the U.S. Navy and worked as a janitor.
Dejoria reached his lowest point when he joined the ranks of the homeless. Amazingly, he overcame these odds and co-founded John Paul Mitchell Systems with hairdresser Paul Mitchell in 1980. According to Forbes magazine, his net worth in 2009 stood at $4 billion, a remarkable achievement by almost any standard. However, in Dejoria’s case, it represents a triumph over almost unimaginable adversity.
Howard Schultz, Starbucks
Getty Images
Every morning, millions of Americans get caffeinated on Starbucks coffee, and they have its chairman and CEO Howard Schultz to thank for it.
He grew up in a housing project in Canarsie, Brooklyn, a neighborhood so poor that today it doesn’t even have a Starbucks. He was the first person in his family to attend college, and after graduating he took a job with Hammerpalast, a company that manufactured coffee makers. While on the job he met a representative from Starbucks, then a mere start-up.
Schultz was so taken with the product that he became their director of marketing, and from there he scaled the corporate ladder to its highest rung. This success allowed him to establish the Maveron venture capital firm and purchase the Seattle SuperSonics basketball team. However, he’s still best known for the coffee, which gave him his $29.7 million compensation package in 2011.
Sean Combs, Sean John Clothing
Getty Images
Sean Combs is a rapper, known variously as Puff Daddy, P. Diddy, Diddy, Puff and Puffy. He was born in Harlem and raised by his mother, a schoolteacher living in public housing. His father was murdered when Combs was three years old, and the family relocated to Mount Vernon, just outside of the Bronx.
Combs attended Howard University in Washington, D.C., while simultaneously interning at Uptown Records in New York City. The internship won out, and he dropped out of college to focus on Uptown, where he was instrumental in developing such R&B artists as Mary J. Blige and Jodeci early in their careers. Aside from his own considerable success as a musician, he’s thrived in clothing design since starting his own apparel label, Sean John, in 1998. He serves as its CEO to this day.
Ursula M. Burns, Xerox
Mandel Ngan | AFP | Getty Images
Ursula M. Burns is the chairwoman and CEO of Xerox. She is the first female African-American CEO of a Fortune 500 company, and the 20th most powerful woman in the world, according to Forbes magazine.
She was born in New York City and raised in a housing project by a single mother. After earning a master’s degree in mechanical engineering, she took a job with Xerox and was promoted to executive assistant. By 1999, she was the vice president of global manufacturing, and 10 years later, she grabbed the reins of the company by succeeding CEO Anne Mulcahy.
Steve Jobs, Apple
Getty Images
Steve Jobs is the chairman and CEO of Apple, the same company that fired him in 1985 when it experienced a slump in sales. After the dismissal, he founded NeXT Computer and purchased the company that would one day become Pixar.
Meanwhile, Apple struggled without him, and after 10 years of sub-par performance the company brought him back, this time as CEO. Today, Jobs is credited with returning the company to profitability and ushering in its current market dominance. His current net worth is $8.3 billion.
If Jobs was unfazed by his dismissal from the company that he had co-founded, it may have been because he had experienced hard times before. He attended Reed College in Portland, Ore., and dropped out after completing just one semester, but stuck around to continue auditing classes. According to his commencement address to Stanford University’s class of 2005, he survived during this period by collecting discarded soda cans, sleeping on friends’ living room floors, and walking seven miles across town to get the occasional free hot meal at a Hare Krishna temple.
Chris Gardner, Gardner Rich & Co.
Getty Images
Chris Gardner is the CEO of Gardner Rich & Co., a Chicago stockbrokerage firm that he established in 1987. Prior to that, while training to be a stockbroker and living off of a $1,000 a month stipend, he and his son were homeless. Living in the seedy Tenderloin district in San Francisco, they sometimes found shelter in the mass transit system’s bathrooms. Eventually, they moved into a facility for the homeless and were able to get back on their feet.
If this sounds like it could be a Hollywood movie, it’s because it is. Gardner’s story formed the basis for his intentionally misspelled 2006 memoir, The Pursuit of Happyness. It was released as a major motion picture starring Will Smith that same year, and it went on to earn over $307 million at the worldwide box office.
Sheldon Adelson, Las Vegas Sands
Mike Clarke | AFP | Getty Images
Sheldon Adelson is chairman and CEO of the Las Vegas Sands casino resort company, based in the appropriately named Nevada city of Paradise. Born to Jewish immigrants from Eastern Europe, he grew up in Boston’s Dorchester neighborhood. According to friend and business associate Irwin Chafetz, “Rich in our neighborhood then was having $3 in your pocket.”
He began his business career as boy, selling newspapers to help his family make rent. As an adult, he partnered with two friends and developed the computer trade show Comdex, which was profitable enough to allow him to purchase the Sands Casino. In 2008, it was the second most profitable casino in Las Vegas, beaten only by the Bellagio. As of March 2011, Adelson’s net worth is over $23.3 billion, and he occupies the number 16 spot on the Forbes list of billionaires.
Curtis Jackson, G-Unit Records
Gustavo Caballero
Curtis Jackson is better known as the rapper 50 Cent. His 2003 album, Get Rich or Die Tryin', was the top-selling album of 2003 and sold eight million copies. Following that album’s success, Jackson formed his own label, G-Unit Records, whose first release was the double-platinum selling Beg For Mercy, by the rap group G-Unit.
Jackson was born in South Jamaica, Queens, N.Y., and raised by his grandparents after his mother was murdered when he was eight years old. Jackson himself almost met a similar fate when he was shot at the age of 25, but he defied the odds and survived. Two years later, he signed to Shady Records, the label established by rapper Eminem, and embarked on a highly successful music career from which he has never looked back.
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Mary Jane Blige (Script error: No such module "IPAc-en".; born January 11, 1971) is an American singer-songwriter, actress, and philanthropist. Her career began in 1991 when she signed to Uptown Records.[1] Furthermore, she went on to release 13 studio albums, eight of which have achieved...
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American singer-songwriterTemplate:SHORTDESC:American singer-songwriter
Mary Jane Blige (Script error: No such module "IPAc-en".; born January 11, 1971) is an American singer-songwriter, actress, and philanthropist. Her career began in 1991 when she signed to Uptown Records.[1] Furthermore, she went on to release 13 studio albums, eight of which have achieved multi-platinum worldwide sales. Blige has won nine Grammy Awards, four American Music Awards, twelve Billboard Music Awards and has also received three Golden Globe Award nominations, including one for her supporting role in the film Mudbound (2017) and another for its second original song "Mighty River" for Mudbound; she also received a nomination for the Academy Awards for Best Supporting Actress and Best Original Song, becoming the first person nominated for acting and songwriting in the same year. Since 2019, she stars in the Netflix superhero series The Umbrella Academy as Cha-Cha.
In 1992, Blige released her first album, What's the 411?.[4] Her 1994 album My Life is among Rolling Stone's 500 Greatest Albums of All Time,[5] and Time magazine's All-Time 100 Albums.[6] She received a Legends Award at the World Music Awards in 2006, and the Voice of Music Award from ASCAP in 2007.[7] Billboard ranked Blige as the most successful female R&B/Hip-Hop artist of the past 25 years.[8] 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.[9] In 2011, VH1 ranked Blige as the 80th greatest artist of all time.[10] ln 2012, VH1 ranked Blige at number 9 in "The 100 Greatest Women in Music" list.[11]
Life and career[]
1971–1990: From early life to start of career[]
Blige was born on January 11, 1971 in New York, in the borough of The Bronx, but spent some time in Savannah, Georgia until she was 7. Afterwards she and her family moved back to New York and resided in the Schlobohm Housing Projects, located in Yonkers, New York.[12] She was born to mother Cora, a nurse, and father Thomas Blige, a Jazz musician. She is the second of three children. She has an older sister LaTonya Blige-DaCosta, and brother, Bruce Miller.[13][14] The family subsisted on her mother's earnings as a nurse after her father left the family in the mid-1970s,[15] a former alcoholic and the latter a Vietnam War veteran who suffered from post-traumatic stress disorder.[12] Blige spent her early years in Richmond Hill, Georgia, where she sang in a Pentecostal church.[16]
At the age of five, she was molested by a family friend, and as a teenager she endured years of sexual harassment from peers of both sexes. She briefly taught herself boxing in an effort to defend and protect herself.[17] She would eventually turn to alcohol, drugs and promiscuous sex to try and numb the pain.[18]
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.[19] Blige dropped out of high school in her junior year.[19]
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.[13] 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,[20] becoming the company's youngest and first female artist.[16]
1991–1996: What’s The 411? and My Life[]
After being signed to Uptown, Blige began working with record producer Sean Combs, also known as Puff Daddy.[21] He became the executive producer and produced a majority of the album.[22] The title, What's the 411?, derived from Blige's past occupation as a 4-1-1 operator;[23] it was also an indication by Blige of being the "real deal".[24] "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.[25] The music was described as "revelatory on a frequent basis".[19] Blige was noted for having a "tough girl persona and streetwise lyrics".[26] On July 28, 1992, Uptown/MCA Records released What's the 411?, to positive reviews from critics.[27] What's the 411? peaked at number six on the Billboard 200 and topped the Top R&B/Hip-Hop Albums chart.[28] It also peaked at number 53 on the UK Albums Chart.[29] It was certified three times Platinum by the RIAA.[30] 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".[31] According to Dave McAleer, Blige became the most successful new female R&B artist of 1992 in the United States.[32]
What's the 411? earned her two Soul Train Music Awards in 1993: Best New R&B Artist and Best R&B Album, Female.[33] 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.[34] By August 2010, the album had sold 3,318,000 copies in the US.[35] What's the 411? has since been viewed by critics as one of the 1990s' most important records.[27] Blige's combination of vocals over a hip hop beat proved influential in contemporary R&B.[36] 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.[37] 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,[38] which was reported in several tabloids. 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.[39] The following year, Rolling Stone placed it at number 279 on their 500 Greatest Albums of All Time,[40] and in 2006, the record was included in Time's 100 greatest albums of all-time list.[41]
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 Best Rap Performance by a Duo or Group for her collaboration with Method Man. 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.
1997–2001: Share My World and Mary[]
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
2002–2004: No More Drama and Love & Life[]
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 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 to date. 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 first week.[42] Love & Life received mixed reviews from music critics.[43] 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. To date the album has sold over 1,000,000 copies in the US[44] and over 2,000,000 copies worldwide.[45] The album was nominated for the Best Contemporary R&B Album at the 46th Grammy Awards.
2005–2010: The Breakthrough, Growing Pains, Stronger & Each Tear[]
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,[46][47] 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;[48] 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.[49] Blige completed a season sweep of the "big three" major music awards, having won two American Music Awards in November 2006[50] and nine Billboard Music Awards in December 2006.[51]
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.[citation needed] "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 entitled 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"[52] and then eventually canceled entirely.[53]
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.[54]
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. The lead single, "The One", which features Canadian rapper Drake,[55] was released for airplay in June 2009, and was officially and digitally released in July 2009, peaking at number 63 on the Hot 100. 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.[56] 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.[57] 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, 2010, Blige released a track "Hard Times Come Again No More" with the Roots as well as performing it at the Hope for Haiti Now telethon. At the 2010 Grammy Awards, Blige and Andrea Bocelli performed" Bridge over Troubled Water". Blige also performed on BET's SOS Help For Haiti, singing "Gonna Make It" with Jazmine Sullivan and "One." Blige 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 Blige won Outstanding Female Artist and Outstanding Album for Stronger with Each Tear.[58] 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.[59]
2011–2013: My Life II... The Journey Continues (Act 1) & A Mary Christmas[]
In January 2011, Hot 97 premiered Blige's teaser track "Someone to Love Me (Naked)" featuring vocals by Lil Wayne.[60] In July 2011, Blige released the song "The Living Proof" as the lead single to the soundtrack of the film The Help.[61] 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.[62] 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.[63] 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 #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.[64]
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.[65] 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 #10 in its eight week.[66]
On October 23, 2013, Blige sang the national anthem before Game 1 of the 2013 World Series.[67]
2014–present: The London Sessions and Strength of a Woman[]
On February 5, 2014, a remix of Disclosure's "F for You" featuring guest vocals from Mary was released.[68]
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".[69] 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.[70] 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.[70]
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.[71]
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.[72] 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 entitled The London Sessions.[73] 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.[74] 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.
Following her highly publicized divorce from Kendu Issacs, Blige released two songs within October, "Thick of It" and "U + Me (Love Lesson)". On April 28, 2017, her thirteenth studio album, Strength of a Woman, was released.[75] 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.[76]
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.[77]
On May 8, 2019, Blige released the single "Thriving" featuring Nas.[78] During an interview with Ebro Darden on Beats 1 for the premiere of "Thriving", Blige announced that her next studio album will be released before July.[79]
On June 23, 2019 at the BET Awards 2019, she was honored with the Lifetime Achievement Award for her extraordinary contributions to music industry.[80]
On June 25, 2019, The New York Times Magazine listed Mary J. Blige among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[81]
Acting career[]
1998—2016: Early works[]
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. Blige's character was 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. The play 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 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 Dominican American actress Zoe Saldana as Simone in Nina, released in 2016.
In February 2007, Blige guest-starred on Ghost Whisperer, in an episode called "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.[82]
Blige starred alongside Tom Cruise, Julianne Hough, and Alec Baldwin in the film adaptation of the 1980s jukebox hit 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!.[83] 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.[84]
2017—present[]
In 2017, Blige starred in the period drama film Mudbound directed by Dee Rees. Playing Florence Jackson, the matriarch of her family,[85] 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."[86] For her performance in Mudbound, Blige was nominated for the Golden Globe Award for Best Supporting Actress,[87] 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.[88][89] Her nomination also made Dee Rees the first black woman to direct a film for which an actor was nominated for an Academy Award.[90][91]
Blige voiced Irene Adler 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 the third season of the slasher television series Scream.[92] The season premiered on VH1 on July 8, 2019.[93] In 2019, Blige starred in the role of Cha-Cha, a main antagonist in the Netflix superhero series The Umbrella Academy.[94]
Blige played a leading role in the upcoming horror film Body Cam.[95] She starred in the independent drama film Pink Skies Ahead that will premiere at the 2020 South by Southwest film festival.[96][97] She played singer Dinah Washington in the biographical drama film Respect about life and career of Aretha Franklin.[98] The film is scheduled to be released theatrically on October 9, 2020. In late 2019, Blige began production on an untitled documentary about her life and career directed by Vanessa Roth.[99] Blige will star as Monet in Power Book II: Ghost, the first spin-off for the highly-rated Starz cable drama Power.[100][101]
Personal life[]
Blige married her manager, Martin "Kendu" Isaacs, on December 7, 2003.[102] At the time, Isaacs had two children, Nas and Jordan, with his first wife, and an older daughter, Briana, from a teenage relationship.[103] In July 2016, Blige filed for divorce, citing "irreconcilable differences".[104] Blige and Isaacs' divorce was finalized on June 21, 2018.[105]
A Democrat, Blige performed for Barack Obama at the 2012 Democratic National Convention.[106]
Other ventures[]
In 2004, Blige launched her own record label, Matriarch Records, distributed through Interscope, and in mid-2012, discovered girl group Just'Us, making the group the first ladies of the label. Blige says "These are my little Mary's; they each remind me of myself at different points in my life." Blige has been reported to be working with Just'Us on their debut album.[107]
In July 2010, Blige launched her first perfume, My Life (through Carol's Daughter), exclusively on HSN.[108] The fragrance's success broke sales records in hours[109] and has been awarded two prestigious FIFI awards from the Fragrance Foundation.[110] The newest fragrance, My Life Blossom launched in August 2011 exclusively to HSN.
In October 2010, Blige released a line of sunglasses called "Melodies by MJB". The first Melodies collection featured four styles with a total of 20 color options. Each style represented a specific facet of Blige's life. Essence magazine reported that in the spring of 2011, "Melodies by MJB" extended their collection to offer more styles.[111][112]
Blige's production company, along with William Morris Endeavor, is also working on several TV and film projects.[113]
In partnership with the Home Shopping Network (HSN) and Carol's Daughter, Blige released her "My Life" perfume. The perfume broke HSN records by selling 65,000 bottles during its premiere.[114] The scent went on to win two FiFi Awards, including the "Fragrance Sales Breakthrough" award.[115]
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.[116] She has also been a spokesperson with Carol's Daughter beauty products and Citibank's with Nickelback program.[citation needed]
Legacy[]
Main article(s): List of awards and nominations received by Mary J. Blige
Called the "Queen of Hip-Hop Soul", Blige is credited with influencing the musical marriage of hip hop and R&B.[117] 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".[118] Brown further concludes that Mary's "duets with the Wu-Tang Clan's Method Man and Ghostface Killah set the trend for collaborations between rappers and R&B songbirds like Mariah Carey".[118] Tom Horan of The Daily Telegraph comments that Blige, being a hugely 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."[119] Called one of the "most explosive, coming-out displays of pure singing prowess"[120] and "one of the most important albums of the nineties",[121] What's the 411? saw Blige pioneer "the movement that would later become neo soul, generating gripping songs that were also massive radio hits".[122]
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 to articulating black women's experiences in a "more factual and objective"[123] 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."[124] 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."[124]
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.[125] Blige was listed as one of the 50 most influential R&B singers by Essence.[126] Rolling Stone magazine ranked My Life at number 279 on its list of the 500 Greatest Albums of All Time.[40] The album was also included on Time's list of the 100 Greatest albums of All Time.[41] 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 .[59] Blige is also the only artist to have won Grammys in the R&B, hip hop, pop, and gospel fields.
As an actress, Blige received the Breakthrough Performance Award at the 2018 Palm Springs International Film Festival for her role in Mudbound.
Discography[]
Main article(s): 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)
Tours[]
Headlining[]
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)
Co-headlining[]
Heart of the City Tour (with Jay-Z) (2008)
The Liberation Tour (with D'Angelo) (2012–13)
King and Queen of Hearts World Tour (with Maxwell) (2016)
The Royalty Tour (with Nas) (2019)
Supporting[]
Humpin' Around the World Tour (with Bobby Brown) (1992-1993)[127]
Filmography[]
Main article(s): Mary J. Blige videography
Film[]
Year Title Role Notes 2001 Prison Song Mrs. Butler Film debut 2009 I Can Do Bad All By Myself Tanya 2012 Rock of Ages Justice Charlier 2013 Black Nativity Platinum Fro Nominated — American Black Film Festival Award for Best Ensemble Cast 2014 Champs Herself 2017 Mudbound Florence Jackson Gotham Special Jury Award for Best Ensemble Performance
New York Film Critics Online for Best Ensemble Cast
IndieWire Critic's Poll Award for Best Breakthrough Performance (Film)[128]
Hollywood Film Awards – Breakout Actress Award
Hollywood Film Awards – Breakout Ensemble Award[129]
Los Angeles Film Critics Association Award for Best Supporting Actress (Runner-up)[130]
Nominated — Academy Award for Best Supporting Actress
Nominated — Academy Award for Best Original Song
Nominated — Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Supporting Role[131]
Nominated — Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture
Nominated — Critics' Choice Movie Award for Best Supporting Actress
Nominated — Critics' Choice Movie Award for Best Acting Ensemble
Nominated — Golden Globe Award for Best Supporting Actress – Motion Picture
Nominated — Golden Globe Award for Best Original Song
Nominated — Gotham Independent Film Award for Breakthrough Actor
Nominated — Satellite Award for Best Supporting Actress - Motion Picture
Nominated — Washington D.C. Area Film Critics Association Award for Best Supporting Actress
Nominated — Washington D.C. Area Film Critics Association Award for Best Ensemble 2018 Sherlock Gnomes[132] Irene (voice) 2020 Pink Skies Ahead[133] Doctor Monroe 2020 Trolls World Tour Queen Essence (voice) Post-production 2020 The Violent Heart Nina Post-production 2020 Respect Dinah Washington Post-production TBA Body Cam Renee Post-production TBA Untitled Mary J. Blige Documentary[99] Herself Also producer
Television[]
Year Title Role Notes 1992 Out All Night Herself "Smooth Operator" (episode 9, season 1) 1993 Saturday Night Live Herself - Musical Guest John Goodman/Mary J. Blige (episode 15, season 18) 1994 8th Annual Soul Train Music Awards Herself - Presenter 1995 New York Undercover Herself "Private Enemy No. 1" (episode 14, season 1), "Tag You're Dead" (episode 2, season 2) [music performance] 1998 The Jamie Foxx Show Ola Mae "Papa Don't Preach" (episode 14, season 2) 1999 Moesha Herself "Good Vibrations?" (episode 1, season 5) 2001 Strong Medicine Simone Fellows "History" (episode 4, season 2) 2007 Ghost Whisperer Jackie Boyd "Mean Ghost" (episode 15, season 2) Entourage Herself "Gary's Desk" (episode 8, season 4) 2009 30 Rock Herself "Kidney Now!" (episode 22, season 3) 2010 & 2012 American Idol Guest judge/Herself 2010: Auditions were held in Atlanta, Georgia at the Georgia Dome when Blige guest judged. 2012: Mentor for the Top 13 Whitney Houston & Stevie Wonder Week 2012 The Voice Herself Mentor of Team Adam (season 3) 2013 Betty & Coretta Dr. Betty Shabazz Television film
Nominated — Women's Image Network Award for OutstandingOutstanding Actress Made for Television Movie / Mini-Series The X Factor Guest judge/herself Blige assisted Nicole Scherzinger at her judge's house in Antigua 2015 Empire Angie "Sins of the Father" (episode 10, season 1) The Wiz Live! Evillene, The Wicked Witch of the West TV special
Nominated — Critics' Choice Television Award for Best Supporting Actress in a Movie/Miniseries
Nominated — Black Reel Award for Best Supporting Actress: Television Movie/Cable Black-ish Mirabelle Chalet Guest appearance in Season 1, episode 24 2016 How To Get Away With Murder Ro TV Series (2 episodes) 2019–present The Umbrella Academy Cha-Cha Main role 2019 Scream Sherry Elliot Recurring role 2020 Power Book 2: Ghost Monet Filming
See also[]
Template:Wikipedia books
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
References[]
[]
Official website
Mary J. Blige on IMDb
Mary J. Blige on Instagram
Template:Mary J. Blige Template:Mary J. Blige singles Template:Grammy Award for Best Urban Contemporany Album
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2024-01-11T00:01:44-05:00
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[wp_ad_camp_1]1971 - Mary J. Blige Born. Mary J. Blige was born on this date in 1971. She is an award winning musician, the recipient of nine Grammy awards. Mary was born in Savannah, Georgia and moved at an early age with her mother and sister to Yonkers, New York. She dropped out of high school
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en
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http://blackhistorymoments.com/wp-content/uploads/2011/12/favicon-1.ico
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Black History Moments - Today in Black History
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https://blackhistorymoments.com/entertainment/mary-j-blige-born/
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[wp_ad_camp_1]1971 – Mary J. Blige Born.
Mary J. Blige was born on this date in 1971. She is an award winning musician, the recipient of nine Grammy awards. Mary was born in Savannah, Georgia and moved at an early age with her mother and sister to Yonkers, New York. She dropped out of high school in her junior year and ventured into music by recording herself singing Anita Baker’s “Caught Up in the Rapture,” into a karaoke machine. Her stepfather took the initiative to contact record executive Andre Harrell and he signed her as a backup singer. In 1991, she began working with Sean “Puffy” Combs and he produced her debut album “What’s the 411?” The album was a huge success success, selling over three million albums. She is the only artist to win Grammys in the R&B, Rap, Pop, and Gospel fields.
After the 1964 American Football League season, the AFL All-Star Game had been scheduled for early 1965 in New Orleans’ Tulane Stadium. That weekend Black players with the AFL’s Buffalo Bills had trouble getting a taxi or even basic service at restaurants. The team discussed the situation at a meeting and agreed to boycott the game as a statement against the racist conditions in the city.
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correct_birth_00056
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FactBench
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0
| 83
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https://www.hotnewhiphop.com/704208-mary-j-blige-net-worth
|
en
|
Mary J. Blige Net Worth 2024: Updated Wealth Of The Hip Hop-Soul Queen
|
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2024-01-31T12:44:55+00:00
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The inspiring ascent of Mary J. Blige to R&B royalty, culminating in a massive net worth, showcases her unmatched talent and resilience.
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en
|
HotNewHipHop
|
https://www.hotnewhiphop.com/704208-mary-j-blige-net-worth
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Born on January 11, 1971, in The Bronx, New York City, Mary J. Blige's story began amid the powerful echoes of family, love, and music. With a mother who was a nurse and a jazz musician father, the rhythm was in her veins from the beginning. Yet, it was not a golden path. It was a road filled with obstacles and trials.
Her breakthrough came when an amateur recording went to Uptown Records, leading to her signing at 18. With the release of her debut album, What's the 411?, Mary J. Blige didn't just arrive on the scene; she exploded onto it. It was the beginning of a career that would see her amass a fortune of $22 million in 2024, according to CAKnowledge.
Melodies, Awards,& More
ATLANTA, GEORGIA - MAY 14: Mary J Blige as Special Guest Judge for Strength of a Woman's “Purpose Ball: Bridging the Gap” in Partnership with Mary J. Blige, Pepsi, and Live Nation Urban at The Bank on May 14, 2023 in Atlanta, Georgia. (Photo by Derek White/Getty Images for Strength Of A Woman Festival & Summit)
Blige's voice was more than just a beautiful instrument; it was a siren call to those who understood pain, love, and the spaces between. Albums like My Life and Share My World were anthems for the heart. Her collaborations with the likes of George Michael and Elton John were not merely duets; they were musical conversations.
Moreover, with nine Grammy Awards and over 80 million records sold, Blige's trophy cabinet is as filled as her calendar. Her role in the Netflix film Mudbound earned her Academy Award nominations for Best Supporting Actress and Best Original Song. A career that began with a demo tape was now gracing the silver screen. Not bad for a girl from The Bronx.
More Than A Diva's Diary: Personal Life & Highlights
Mary J Blige in her dressing room, backstage at a TV show, London, circa 2001. (Photo by David Tonge/Getty Images)
Mary J. Blige's life was never just about the music. Her marriage to Kendu Isaacs and the subsequent public divorce revealed a woman unafraid to share her truth. Her battles with addiction and depression were fought not just in private but through her songs, resonating with those who walked similar paths. Blige's story is a testament to resilience, a survivor, an icon, and a woman who understood her worth. Her interviews and candid confessions reveal not a star but a human being who learned to wear her scars as badges of honor.
Business, Beats, & Benevolence
WALNUT CREEK, CALIFORNIA - JULY 29: Mary J. Blige makes a surprise meet and greet promoting Sun Goddess Wines at BevMo! on July 29, 2023 in Walnut Creek, California. (Photo by Kimberly White/Getty Images for Sun Goddess Wines)
Mary J. Blige's business acumen is as sharp as her vocal range. With her own record label, Matriarch Records, and acting roles in shows like The Umbrella Academy, she's proven that her talents aren't limited to the recording studio. Further, her philanthropy, focusing on women's rights and poverty alleviation, reveals the heart beneath the celebrity. Through the Foundation for the Advancement of Women Now (FFAWN), she's championing causes reflecting her journey, battles, and triumphs.
Conclusion
INGLEWOOD, CALIFORNIA - FEBRUARY 13: Mary J. Blige performs onstage during the Pepsi Super Bowl LVI Halftime Show at SoFi Stadium on February 13, 2022 in Inglewood, California. (Photo by Kevin Mazur/Getty Images for Roc Nation)
Mary J. Blige's net worth of $22 million in 2024 is not just a number; it's a symphony of success, perseverance, and unbreakable will. From the streets of The Bronx to the Grammy stage, her journey is a song that continues to inspire, uplift, and remind us that the Queen of Hip Hop Soul reigns through her music and indomitable spirit. Her story isn't just about hits and awards; it's about a woman who took her life, her love, and her loss, and turned them into a melody that will echo through time. That's not just talent; that's Mary J. Blige.
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7992
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dbpedia
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https://philosophynow.org/issues/131/Thomas_Kuhn_1922-1996
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Thomas Kuhn (1922-1996)
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Will Bouwman considers the development of a paradigmatic revolutionary.
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Will Bouwman considers the development of a paradigmatic revolutionary.
In 1962 Thomas Kuhn published a book from which the philosophy of science has not yet recovered, and probably never will. Before this book it was generally assumed that the only history that was relevant to science was recent. Science was believed to be a relentless march towards the truth, every innovation an advance. Scientists may have been standing on the shoulders of giants (to quote Isaac Newton), but every change was assumed to be taking us higher. Ironically, Kuhn the philosopher did what a good scientist does, and actually looked at the evidence. What he saw was that far from being the steady, uniform accumulation of objective truth about the way the world functions, the history of science is punctuated by moments when the prevailing consensus is completely shattered. His first book, The Copernican Revolution (1957), detailed the events and causes of one of the most graphic examples of this. Kuhn expanded on this picture to provide his general model of the nature of scientific progress in The Structure of Scientific Revolutions.
Normal, and Revolutionary, Life
Thomas Samuel Kuhn was born on July 18 1922 in Cincinnati, Ohio. His father, Samuel, a veteran of World War I, was an industrial engineer and investment consultant whose wife, Minette (née Strook), was a graduate of Vassar College who wrote for and edited progressive publications. Both parents were active in left-wing politics, and in keeping with their radical outlook, Thomas was educated at various progressive schools which nurtured independent thinking rather than adhering to a traditional curriculum. Perhaps because of this, at the age of seven Thomas was still barely able to read and write; so his father took it into his own hands to bring him up to speed.
The unsettled school career and frequent moves may later have made it difficult for Thomas to establish long term relationships, particularly with women. His mother prescribed a course in psychoanalysis. Hating his counsellor, who frequently fell asleep during sessions, Kuhn cured himself of his difficulties in establishing relationships by marrying Kathryn Muhs in 1948. Like his mother, Kathryn was a graduate of Vassar College. They had three children, Sarah, Elizabeth, and Nathaniel, before divorcing in 1978. Three years later Kuhn married Jehane Barton Burns.
His early literacy problems apart, Kuhn was an outstanding student with a particular interest in maths and physics. He was admitted to Harvard in 1940. America entered World War II during Kuhn’s second year as an undergraduate, and after gaining a BSc in physics in 1943 with the highest honours, Kuhn joined the Radio Research Laboratory, which had been set up to develop countermeasures to enemy radar systems. This took him initially to Britain and later into liberated France and Germany itself, to examine captured equipment first hand.
On his return to Harvard, Kuhn continued studying physics as the most convenient route to gaining a doctorate, which he achieved in 1949, although his commitment to physics was dwindling as his interest in philosophy was growing. While working on his PhD, he was invited to teach a course in the History of Science to undergraduates, and it was while preparing for this that he had the insight that was to inspire his most influential work.
One of the key moments in the development of his ideas was his study of Aristotle. The view of science at the time was that it is accumulative; so Kuhn went looking into Aristotle’s ancestral physics, expecting to find the foundations on which Galileo, Newton et al had later built. Instead, Kuhn was baffled to discover that Aristotle’s understanding of physics was, from a modern point of view, complete nonsense. Struggling to comprehend how someone so wrong could be so revered, Kuhn realised that in order to appreciate Aristotle he had to understand the context in which Aristotle had been working. In doing so, he drew a picture of science that was completely different to most contemporary analyses.
The Scientific Method, Historically Speaking
In the middle of the twentieth century the philosophy of science was almost exclusively focussed on defining the scientific method. The assumption was that science is an objective ideal method independent of human foibles, and if we could just describe its characteristics then everyone would have a template for doing proper science.
The debate was largely between the logical positivists and Karl Popper. Both sides took the view that science was a rational endeavour, and that scientists obediently followed where the evidence led them. Broadly speaking, the logical positivists stuck to the traditional view that science was the accumulation of facts and the refinement of mathematical models that accounted for those facts with ever-increasing accuracy. Their distinctive feature was they insisted that science should stick strictly to observable facts and avoid building theories not directly supported by those facts. Logical positivism advocated the ‘verification principle’ promoted by A.J. Ayer in Language, Truth and Logic. This demanded that anything that could not be supported by empirical evidence or strict logic was metaphysics and had no place in science (or indeed, anywhere else). One major problem – which in fairness the logical positivists were well aware of – is that no amount of empirical evidence (or logic) can prove a scientific claim. The classic example is that a million white swans do not prove that every swan is white. Popper’s innovation was to point out that it only takes one black swan to prove that the proposition ‘all swans are white’ is false. So the evidence could show you either what was only likely to be true, or what was definitely false. Therefore, as an endeavour seeking certainty, science should commit itself to trying to prove its own theories wrong. This is Popper’s principle of falsification.
The Structure of Kuhn’s Revolution
By looking at the historical evidence concerning science itself, Kuhn believed that he could see a pattern in the data (this is after all part of what physicists are trained to do). According to Kuhn, history showed that most scientific research, in whatever field of science, is guided by a set of principles and core beliefs about which there is a general consensus. The word Kuhn used for this guiding intellectual framework was ‘paradigm’. For instance, before Copernicus turned it upside down, Aristotle’s model of the universe, which put the Earth at its centre, was accepted for two thousand years. Some of the data was puzzling, and couldn’t easily be reconciled with this model, but scientists and mathematicians, most notably Ptolemy, worked within the paradigm to solve those puzzles. During that time, astronomers were able to plot and predict the positions of the heavenly bodies with an accuracy that is remarkable, especially given that later technological advances (not least the telescope) have shown the model to be demonstrably false; but for the scientific purposes of the time, Aristotle’s model worked. Working within the bounds of a paradigm is what Kuhn called ‘normal science’, and this is what these Aristotelian cosmologists were doing. In this way, the practise of medieval astronomers resembles the practice of the scientific method that most philosophers of science were trying to model. It is only in the rare occasions of scientific revolutions, when the data can absolutely not be made to fit the existing paradigm, that the paradigm itself changes. This is called ‘revolutionary science’ by Kuhn.
One of Kuhn’s early essays was called ‘The Essential Tension’ (1959). In it he discusses the conflicting pulls of the desire to innovate and the conservatism needed to do normal science. For every revolutionary Einstein, there are thousands of normal scientists who do the routine calculations that keep the scientific world ticking along. Most normal scientists are content to use a paradigm which for all current purposes works extremely well. Contrary to Popper’s recommendation, they don’t abandon a paradigm because they can’t fit a set of data into it: they may instead seek to modify the paradigm until the data fits it. A modern case is creating the ideas of dark matter and energy to fit galactic movement within the paradigm of Einstein’s General Relativity. Of course, there are also revolutionary scientists trying to develop new paradigms which aim to explain the same evidence in innovative ways. There are, for instance, many novel quantum theories which seek to incorporate gravity, of which String Theory and Loop Quantum Gravity are just two examples.
Among the most controversial aspects of Kuhn’s model of science, is his claim that different paradigms are ‘incommensurable’. That is to say, in extreme cases, there can be no meaningful dialogue between scientists who hold the different perspectives. That the same evidence can inspire different worldviews is often illustrated by the duck/rabbit illusion. The point Kuhn was making is that if you’re talking about a duck, you are going to make no sense to someone seeing a rabbit. String Theorists look at the universe and see eleven dimensions, whereas according to Loop Quantum Gravity, there are only four.
This raises another issue for which Kuhn’s paradigm model is criticised. How do you decide whether you are looking at a duck or a rabbit? The ‘theory-dependence of observation’ is this idea that exactly the same information can be interpreted in different ways. Kuhn argued that just as your worldview is influenced by your experience, so your scientific paradigm is determined in part by the education you’ve had. This led to accusations of relativism, which Kuhn tried to counter by saying that there are objective criteria for deciding between paradigmatic theories:
1. How accurately a theory agrees with the evidence.
2. It’s consistent within itself and with other accepted theories.
3. It should explain more than just the phenomenon it was designed to explain.
4. The simplest explanation is the best. (In other words, apply Occam’s Razor.)
5. It should make predictions that come true.
However, Kuhn had to concede that there is no objective way to establish which of those criteria is the most important, and so scientists would make their own mind up for subjective reasons. In choosing between competing theories, two scientists “fully committed to the same list of criteria for choice may nevertheless reach different conclusions.” Eventually though, according to Kuhn, a new, revolutionary model is found that most people settle down to developing, by using the new model to solve puzzles in the way of normal science.
The Reception of the Revolution
Many philosophers and physical scientists were initially sceptical, hostile even, to the depiction of scientists as normal people who held opinions and made decisions for idiosyncratic reasons. Social scientists, on the other hand, were inspired by The Structure of Scientific Revolutions to develop their discipline. Prior to publication, the most influential sociologist of science was Robert Merton, whose main focus had been on why scientific theories are rejected. After the Revolutions, sociologists largely turned to why scientific theories are believed.
In a way, Kuhn’s masterpiece was a product of exactly the sort of process it was describing. While ‘normal’ philosophers of science – the logical positivists and Popper – were working within a certain paradigm of what science was about, there was an accumulation of troubling anomalies. For instance, scientists such as Ludwik Fleck and Michael Polyani were pointing out that in their experience science didn’t actually work in the way that those philosophers assumed. Kuhn acknowledged his debt to both men. He also quoted the physicist Max Planck: “a new scientific truth does not triumph by convincing opponents and making them see the light, but rather because its opponents eventually die, and a new generation grows up that is familiar with it” (Scientific Autobiography and Other Papers, 1949).
For better or worse, Kuhn’s book changed the way science is viewed. Science is no longer straightforwardly an ideal method of gaining knowledge to which people should aspire; rather it is something shaped by ordinary, and a few extraordinary, people.
Kuhn spent much of his subsequent career elucidating and dealing with the fallout. It’s a major part of his legacy that now so does almost everyone else in the philosophy of science. “When reading the works of an important thinker,” he said, “look first for the apparent absurdities in the text and ask yourself how a sensible person could have written them” (‘The Essential Tension’). This is now what many sociologists and most philosophers of science are compelled to do.
Thomas Kuhn retired in 1991, age 69. In 1994 he was diagnosed with cancer of the throat and lungs. He died two years later, in Cambridge, Massachusetts, aged 73.
© Will Bouwman 2019
Will Bouwman is the author of Einstein on the Train and Other Stories: How to Make Sense of the Big Bang, Quantum Mechanics and Relativity.
|
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7992
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dbpedia
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0
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https://www.theguardian.com/science/2012/aug/19/thomas-kuhn-structure-scientific-revolutions
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en
|
Thomas Kuhn: the man who changed the way the world looked at science
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2012-08-19T00:00:00
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<p>Fifty years ago, a book by Thomas Kuhn altered the way we look at the philosophy behind science, as well as introducing the much abused phrase 'paradigm shift', as <strong>John Naughton</strong> explains</p>
|
en
|
the Guardian
|
https://www.theguardian.com/science/2012/aug/19/thomas-kuhn-structure-scientific-revolutions
|
Fifty years ago this month, one of the most influential books of the 20th century was published by the University of Chicago Press. Many if not most lay people have probably never heard of its author, Thomas Kuhn, or of his book, The Structure of Scientific Revolutions, but their thinking has almost certainly been influenced by his ideas. The litmus test is whether you've ever heard or used the term "paradigm shift", which is probably the most used – and abused – term in contemporary discussions of organisational change and intellectual progress. A Google search for it returns more than 10 million hits, for example. And it currently turns up inside no fewer than 18,300 of the books marketed by Amazon. It is also one of the most cited academic books of all time. So if ever a big idea went viral, this is it.
The real measure of Kuhn's importance, however, lies not in the infectiousness of one of his concepts but in the fact that he singlehandedly changed the way we think about mankind's most organised attempt to understand the world. Before Kuhn, our view of science was dominated by philosophical ideas about how it ought to develop ("the scientific method"), together with a heroic narrative of scientific progress as "the addition of new truths to the stock of old truths, or the increasing approximation of theories to the truth, and in the odd case, the correction of past errors", as the Stanford Encyclopaedia of Philosophy puts it. Before Kuhn, in other words, we had what amounted to the Whig interpretation of scientific history, in which past researchers, theorists and experimenters had engaged in a long march, if not towards "truth", then at least towards greater and greater understanding of the natural world.
Kuhn's version of how science develops differed dramatically from the Whig version. Where the standard account saw steady, cumulative "progress", he saw discontinuities – a set of alternating "normal" and "revolutionary" phases in which communities of specialists in particular fields are plunged into periods of turmoil, uncertainty and angst. These revolutionary phases – for example the transition from Newtonian mechanics to quantum physics – correspond to great conceptual breakthroughs and lay the basis for a succeeding phase of business as usual. The fact that his version seems unremarkable now is, in a way, the greatest measure of his success. But in 1962 almost everything about it was controversial because of the challenge it posed to powerful, entrenched philosophical assumptions about how science did – and should – work.
What made it worse for philosophers of science was that Kuhn wasn't even a philosopher: he was a physicist, dammit. Born in 1922 in Cincinnati, he studied physics at Harvard, graduating summa cum laude in 1943, after which he was swept up by the war effort to work on radar. He returned to Harvard after the war to do a PhD – again in physics – which he obtained in 1949. He was then elected into the university's elite Society of Fellows and might have continued to work on quantum physics until the end of his days had he not been commissioned to teach a course on science for humanities students as part of the General Education in Science curriculum. This was the brainchild of Harvard's reforming president, James Conant, who believed that every educated person should know something about science.
The course was centred around historical case studies and teaching it forced Kuhn to study old scientific texts in detail for the first time. (Physicists, then as now, don't go in much for history.) Kuhn's encounter with the scientific work of Aristotle turned out to be a life- and career-changing epiphany.
"The question I hoped to answer," he recalled later, "was how much mechanics Aristotle had known, how much he had left for people such as Galileo and Newton to discover. Given that formulation, I rapidly discovered that Aristotle had known almost no mechanics at all… that conclusion was standard and it might in principle have been right. But I found it bothersome because, as I was reading him, Aristotle appeared not only ignorant of mechanics, but a dreadfully bad physical scientist as well. About motion, in particular, his writings seemed to me full of egregious errors, both of logic and of observation."
What Kuhn had run up against was the central weakness of the Whig interpretation of history. By the standards of present-day physics, Aristotle looks like an idiot. And yet we know he wasn't. Kuhn's blinding insight came from the sudden realisation that if one is to understand Aristotelian science, one must know about the intellectual tradition within which Aristotle worked. One must understand, for example, that for him the term "motion" meant change in general – not just the change in position of a physical body, which is how we think of it. Or, to put it in more general terms, to understand scientific development one must understand the intellectual frameworks within which scientists work. That insight is the engine that drives Kuhn's great book.
Kuhn remained at Harvard until 1956 and, having failed to get tenure, moved to the University of California at Berkeley where he wrote Structure… and was promoted to a professorship in 1961. The following year, the book was published by the University of Chicago Press. Despite the 172 pages of the first edition, Kuhn – in his characteristic, old-world scholarly style – always referred to it as a mere "sketch". He would doubtless have preferred to have written an 800-page doorstop.
But in the event, the readability and relative brevity of the "sketch" was a key factor in its eventual success. Although the book was a slow starter, selling only 919 copies in 1962-3, by mid-1987 it had sold 650,000 copies and sales to date now stand at 1.4 million copies. For a cerebral work of this calibre, these are Harry Potter-scale numbers.
Kuhn's central claim is that a careful study of the history of science reveals that development in any scientific field happens via a series of phases. The first he christened "normal science" – business as usual, if you like. In this phase, a community of researchers who share a common intellectual framework – called a paradigm or a "disciplinary matrix" – engage in solving puzzles thrown up by discrepancies (anomalies) between what the paradigm predicts and what is revealed by observation or experiment. Most of the time, the anomalies are resolved either by incremental changes to the paradigm or by uncovering observational or experimental error. As philosopher Ian Hacking puts it in his terrific preface to the new edition of Structure: "Normal science does not aim at novelty but at clearing up the status quo. It tends to discover what it expects to discover."
The trouble is that over longer periods unresolved anomalies accumulate and eventually get to the point where some scientists begin to question the paradigm itself. At this point, the discipline enters a period of crisis characterised by, in Kuhn's words, "a proliferation of compelling articulations, the willingness to try anything, the expression of explicit discontent, the recourse to philosophy and to debate over fundamentals". In the end, the crisis is resolved by a revolutionary change in world-view in which the now-deficient paradigm is replaced by a newer one. This is the paradigm shift of modern parlance and after it has happened the scientific field returns to normal science, based on the new framework. And so it goes on.
This brutal summary of the revolutionary process does not do justice to the complexity and subtlety of Kuhn's thinking. To appreciate these, you have to read his book. But it does perhaps indicate why Structure… came as such a bombshell to the philosophers and historians who had pieced together the Whig interpretation of scientific progress.
As an illustration, take Kuhn's portrayal of "normal" science. The most influential philosopher of science in 1962 was Karl Popper, described by Hacking as "the most widely read, and to some extent believed, by practising scientists". Popper summed up the essence of "the" scientific method in the title of one of his books: Conjectures and Refutations. According to Popper, real scientists (as opposed to, say, psychoanalysts) were distinguished by the fact that they tried to refute rather than confirm their theories. And yet Kuhn's version suggested that the last thing normal scientists seek to do is to refute the theories embedded in their paradigm!
Many people were also enraged by Kuhn's description of most scientific activity as mere "puzzle-solving" – as if mankind's most earnest quest for knowledge was akin to doing the Times crossword. But in fact these critics were over-sensitive. A puzzle is something to which there is a solution. That doesn't mean that finding it is easy or that it will not require great ingenuity and sustained effort. The unconscionably expensive quest for the Higgs boson that has recently come to fruition at Cern, for example, is a prime example of puzzle-solving because the existence of the particle was predicted by the prevailing paradigm, the so-called "standard model" of particle physics.
But what really set the cat among the philosophical pigeons was one implication of Kuhn's account of the process of paradigm change. He argued that competing paradigms are "incommensurable": that is to say, there exists no objective way of assessing their relative merits. There's no way, for example, that one could make a checklist comparing the merits of Newtonian mechanics (which applies to snooker balls and planets but not to anything that goes on inside the atom) and quantum mechanics (which deals with what happens at the sub-atomic level). But if rival paradigms are really incommensurable, then doesn't that imply that scientific revolutions must be based – at least in part – on irrational grounds? In which case, are not the paradigm shifts that we celebrate as great intellectual breakthroughs merely the result of outbreaks of mob psychology?
Kuhn's book spawned a whole industry of commentary, interpretation and exegesis. His emphasis on the importance of communities of scientists clustered round a shared paradigm essentially triggered the growth of a new academic discipline – the sociology of science – in which researchers began to examine scientific disciplines much as anthropologists studied exotic tribes, and in which science was regarded not as a sacred, untouchable product of the Enlightenment but as just another subculture.
As for his big idea – that of a "paradigm" as an intellectual framework that makes research possible –well, it quickly escaped into the wild and took on a life of its own. Hucksters, marketers and business school professors adopted it as a way of explaining the need for radical changes of world-view in their clients. And social scientists saw the adoption of a paradigm as a route to respectability and research funding, which in due course led to the emergence of pathological paradigms in fields such as economics, which came to esteem mastery of mathematics over an understanding of how banking actually works, with the consequences that we now have to endure.
The most intriguing idea, however, is to use Kuhn's thinking to interpret his own achievement. In his quiet way, he brought about a conceptual revolution by triggering a shift in our understanding of science from a Whiggish paradigm to a Kuhnian one, and much of what is now done in the history and philosophy of science might be regarded as "normal" science within the new paradigm. But already the anomalies are beginning to accumulate. Kuhn, like Popper, thought that science was mainly about theory, but an increasing amount of cutting-edge scientific research is data- rather than theory-driven. And while physics was undoubtedly the Queen of the Sciences when Structure… was being written, that role has now passed to molecular genetics and biotechnology. Does Kuhn's analysis hold good for these new areas of science? And if not, isn't it time for a paradigm shift?
In the meantime, if you're making a list of books to read before you die, Kuhn's masterwork is one.
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Thomas Kuhn (1922-1996)
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Will Bouwman considers the development of a paradigmatic revolutionary.
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Will Bouwman considers the development of a paradigmatic revolutionary.
In 1962 Thomas Kuhn published a book from which the philosophy of science has not yet recovered, and probably never will. Before this book it was generally assumed that the only history that was relevant to science was recent. Science was believed to be a relentless march towards the truth, every innovation an advance. Scientists may have been standing on the shoulders of giants (to quote Isaac Newton), but every change was assumed to be taking us higher. Ironically, Kuhn the philosopher did what a good scientist does, and actually looked at the evidence. What he saw was that far from being the steady, uniform accumulation of objective truth about the way the world functions, the history of science is punctuated by moments when the prevailing consensus is completely shattered. His first book, The Copernican Revolution (1957), detailed the events and causes of one of the most graphic examples of this. Kuhn expanded on this picture to provide his general model of the nature of scientific progress in The Structure of Scientific Revolutions.
Normal, and Revolutionary, Life
Thomas Samuel Kuhn was born on July 18 1922 in Cincinnati, Ohio. His father, Samuel, a veteran of World War I, was an industrial engineer and investment consultant whose wife, Minette (née Strook), was a graduate of Vassar College who wrote for and edited progressive publications. Both parents were active in left-wing politics, and in keeping with their radical outlook, Thomas was educated at various progressive schools which nurtured independent thinking rather than adhering to a traditional curriculum. Perhaps because of this, at the age of seven Thomas was still barely able to read and write; so his father took it into his own hands to bring him up to speed.
The unsettled school career and frequent moves may later have made it difficult for Thomas to establish long term relationships, particularly with women. His mother prescribed a course in psychoanalysis. Hating his counsellor, who frequently fell asleep during sessions, Kuhn cured himself of his difficulties in establishing relationships by marrying Kathryn Muhs in 1948. Like his mother, Kathryn was a graduate of Vassar College. They had three children, Sarah, Elizabeth, and Nathaniel, before divorcing in 1978. Three years later Kuhn married Jehane Barton Burns.
His early literacy problems apart, Kuhn was an outstanding student with a particular interest in maths and physics. He was admitted to Harvard in 1940. America entered World War II during Kuhn’s second year as an undergraduate, and after gaining a BSc in physics in 1943 with the highest honours, Kuhn joined the Radio Research Laboratory, which had been set up to develop countermeasures to enemy radar systems. This took him initially to Britain and later into liberated France and Germany itself, to examine captured equipment first hand.
On his return to Harvard, Kuhn continued studying physics as the most convenient route to gaining a doctorate, which he achieved in 1949, although his commitment to physics was dwindling as his interest in philosophy was growing. While working on his PhD, he was invited to teach a course in the History of Science to undergraduates, and it was while preparing for this that he had the insight that was to inspire his most influential work.
One of the key moments in the development of his ideas was his study of Aristotle. The view of science at the time was that it is accumulative; so Kuhn went looking into Aristotle’s ancestral physics, expecting to find the foundations on which Galileo, Newton et al had later built. Instead, Kuhn was baffled to discover that Aristotle’s understanding of physics was, from a modern point of view, complete nonsense. Struggling to comprehend how someone so wrong could be so revered, Kuhn realised that in order to appreciate Aristotle he had to understand the context in which Aristotle had been working. In doing so, he drew a picture of science that was completely different to most contemporary analyses.
The Scientific Method, Historically Speaking
In the middle of the twentieth century the philosophy of science was almost exclusively focussed on defining the scientific method. The assumption was that science is an objective ideal method independent of human foibles, and if we could just describe its characteristics then everyone would have a template for doing proper science.
The debate was largely between the logical positivists and Karl Popper. Both sides took the view that science was a rational endeavour, and that scientists obediently followed where the evidence led them. Broadly speaking, the logical positivists stuck to the traditional view that science was the accumulation of facts and the refinement of mathematical models that accounted for those facts with ever-increasing accuracy. Their distinctive feature was they insisted that science should stick strictly to observable facts and avoid building theories not directly supported by those facts. Logical positivism advocated the ‘verification principle’ promoted by A.J. Ayer in Language, Truth and Logic. This demanded that anything that could not be supported by empirical evidence or strict logic was metaphysics and had no place in science (or indeed, anywhere else). One major problem – which in fairness the logical positivists were well aware of – is that no amount of empirical evidence (or logic) can prove a scientific claim. The classic example is that a million white swans do not prove that every swan is white. Popper’s innovation was to point out that it only takes one black swan to prove that the proposition ‘all swans are white’ is false. So the evidence could show you either what was only likely to be true, or what was definitely false. Therefore, as an endeavour seeking certainty, science should commit itself to trying to prove its own theories wrong. This is Popper’s principle of falsification.
The Structure of Kuhn’s Revolution
By looking at the historical evidence concerning science itself, Kuhn believed that he could see a pattern in the data (this is after all part of what physicists are trained to do). According to Kuhn, history showed that most scientific research, in whatever field of science, is guided by a set of principles and core beliefs about which there is a general consensus. The word Kuhn used for this guiding intellectual framework was ‘paradigm’. For instance, before Copernicus turned it upside down, Aristotle’s model of the universe, which put the Earth at its centre, was accepted for two thousand years. Some of the data was puzzling, and couldn’t easily be reconciled with this model, but scientists and mathematicians, most notably Ptolemy, worked within the paradigm to solve those puzzles. During that time, astronomers were able to plot and predict the positions of the heavenly bodies with an accuracy that is remarkable, especially given that later technological advances (not least the telescope) have shown the model to be demonstrably false; but for the scientific purposes of the time, Aristotle’s model worked. Working within the bounds of a paradigm is what Kuhn called ‘normal science’, and this is what these Aristotelian cosmologists were doing. In this way, the practise of medieval astronomers resembles the practice of the scientific method that most philosophers of science were trying to model. It is only in the rare occasions of scientific revolutions, when the data can absolutely not be made to fit the existing paradigm, that the paradigm itself changes. This is called ‘revolutionary science’ by Kuhn.
One of Kuhn’s early essays was called ‘The Essential Tension’ (1959). In it he discusses the conflicting pulls of the desire to innovate and the conservatism needed to do normal science. For every revolutionary Einstein, there are thousands of normal scientists who do the routine calculations that keep the scientific world ticking along. Most normal scientists are content to use a paradigm which for all current purposes works extremely well. Contrary to Popper’s recommendation, they don’t abandon a paradigm because they can’t fit a set of data into it: they may instead seek to modify the paradigm until the data fits it. A modern case is creating the ideas of dark matter and energy to fit galactic movement within the paradigm of Einstein’s General Relativity. Of course, there are also revolutionary scientists trying to develop new paradigms which aim to explain the same evidence in innovative ways. There are, for instance, many novel quantum theories which seek to incorporate gravity, of which String Theory and Loop Quantum Gravity are just two examples.
Among the most controversial aspects of Kuhn’s model of science, is his claim that different paradigms are ‘incommensurable’. That is to say, in extreme cases, there can be no meaningful dialogue between scientists who hold the different perspectives. That the same evidence can inspire different worldviews is often illustrated by the duck/rabbit illusion. The point Kuhn was making is that if you’re talking about a duck, you are going to make no sense to someone seeing a rabbit. String Theorists look at the universe and see eleven dimensions, whereas according to Loop Quantum Gravity, there are only four.
This raises another issue for which Kuhn’s paradigm model is criticised. How do you decide whether you are looking at a duck or a rabbit? The ‘theory-dependence of observation’ is this idea that exactly the same information can be interpreted in different ways. Kuhn argued that just as your worldview is influenced by your experience, so your scientific paradigm is determined in part by the education you’ve had. This led to accusations of relativism, which Kuhn tried to counter by saying that there are objective criteria for deciding between paradigmatic theories:
1. How accurately a theory agrees with the evidence.
2. It’s consistent within itself and with other accepted theories.
3. It should explain more than just the phenomenon it was designed to explain.
4. The simplest explanation is the best. (In other words, apply Occam’s Razor.)
5. It should make predictions that come true.
However, Kuhn had to concede that there is no objective way to establish which of those criteria is the most important, and so scientists would make their own mind up for subjective reasons. In choosing between competing theories, two scientists “fully committed to the same list of criteria for choice may nevertheless reach different conclusions.” Eventually though, according to Kuhn, a new, revolutionary model is found that most people settle down to developing, by using the new model to solve puzzles in the way of normal science.
The Reception of the Revolution
Many philosophers and physical scientists were initially sceptical, hostile even, to the depiction of scientists as normal people who held opinions and made decisions for idiosyncratic reasons. Social scientists, on the other hand, were inspired by The Structure of Scientific Revolutions to develop their discipline. Prior to publication, the most influential sociologist of science was Robert Merton, whose main focus had been on why scientific theories are rejected. After the Revolutions, sociologists largely turned to why scientific theories are believed.
In a way, Kuhn’s masterpiece was a product of exactly the sort of process it was describing. While ‘normal’ philosophers of science – the logical positivists and Popper – were working within a certain paradigm of what science was about, there was an accumulation of troubling anomalies. For instance, scientists such as Ludwik Fleck and Michael Polyani were pointing out that in their experience science didn’t actually work in the way that those philosophers assumed. Kuhn acknowledged his debt to both men. He also quoted the physicist Max Planck: “a new scientific truth does not triumph by convincing opponents and making them see the light, but rather because its opponents eventually die, and a new generation grows up that is familiar with it” (Scientific Autobiography and Other Papers, 1949).
For better or worse, Kuhn’s book changed the way science is viewed. Science is no longer straightforwardly an ideal method of gaining knowledge to which people should aspire; rather it is something shaped by ordinary, and a few extraordinary, people.
Kuhn spent much of his subsequent career elucidating and dealing with the fallout. It’s a major part of his legacy that now so does almost everyone else in the philosophy of science. “When reading the works of an important thinker,” he said, “look first for the apparent absurdities in the text and ask yourself how a sensible person could have written them” (‘The Essential Tension’). This is now what many sociologists and most philosophers of science are compelled to do.
Thomas Kuhn retired in 1991, age 69. In 1994 he was diagnosed with cancer of the throat and lungs. He died two years later, in Cambridge, Massachusetts, aged 73.
© Will Bouwman 2019
Will Bouwman is the author of Einstein on the Train and Other Stories: How to Make Sense of the Big Bang, Quantum Mechanics and Relativity.
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July 18: Thomas Kuhn and the “Paradigm Shift”
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Founded in 1946, Jewish Currents is a magazine committed to the rich tradition of thought, activism, and culture of the Jewish left.
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Thomas Samuel Kuhn (July 18, 1922 - 17 June, 1996) was a Jewish-American physicist, and historian and philosopher of science. He introduced the idea of paradigm shift. He was born in Cincinnati, Ohio and died from lung cancer in Cambridge, Massachusetts, aged 73.
Incommensurability
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30 Best Thomas S. Kuhn Quotes With Image
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1.The emergence of new paradigms is not only dependent on the discovery of new facts, but also on a shift in perspective.2.Normal science is the activity in which most scientists are ordinarily engaged; it is the puzzle-
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1. Kuhn's main work, "The Structure of Scientific Revolutions," was initially met with strong resistance from the scientific community. It challenged the traditional view of scientific progress as a steady accumulation of knowledge and instead proposed that scientific change occurs through paradigm shifts, where old theories are replaced by new ones.
2. Contrary to popular belief, Kuhn did not believe that science progresses towards ultimate truth. Instead, he argued that scientific knowledge is constructed within specific paradigms, which are frameworks that shape researchers' understanding of the world. According to Kuhn, there is no objective way to choose between competing paradigms; it often requires a shift in perception.
3. Kuhn's ideas influenced not only the philosophy of science but also numerous other fields, including sociology, history, and psychology. They provided a new lens through which to study how scientific communities work, how knowledge is generated, and how scientific revolutions shape society.
4. Kuhn's work highlighted the role of anomalies in scientific discovery. He argued that when anomalies—experimental results that cannot be explained within the existing paradigm—build up over time, they may trigger a scientific revolution. These revolutions then lead to the abandonment of old paradigms and the adoption of new ones.
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Lived 1922 – 1996. Thomas Kuhn introduced the paradigm shift into our language and culture. His initial impulse to do so came when, although a physicist, he could not understand the physics of Aristotle from over two millennia earlier. He realized that Galileo and Newton had built an entirely new intellectual framework within which the
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Lived 1922 – 1996.
Thomas Kuhn introduced the paradigm shift into our language and culture. His initial impulse to do so came when, although a physicist, he could not understand the physics of Aristotle from over two millennia earlier. He realized that Galileo and Newton had built an entirely new intellectual framework within which the physics of motion was contained. Aristotle had worked within the confines of an earlier framework, alien to modern minds.
Kuhn described the change of intellectual frameworks within which facts are interpreted as a paradigm shift.
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Beginnings
Thomas Samuel Kuhn was born on July 18, 1922 in Cincinnati, Ohio, USA into an affluent family. His parents called him Tom. His younger brother Roger was born three years later.
Tom’s father, Samuel Louis Kuhn, was a Cincinnati-born industrial engineer and investment consultant. A graduate of Harvard and MIT, he had fought in World War 1. Tom’s mother, Minette Kuhn (née Strook), came from a wealthy New York family. A graduate of Vassar College, she wrote unpaid articles for progressive organizations, worked as a freelance editor, and was a patron of the arts. Both of Tom’s parents were active in left-wing politics and both were of Jewish descent, although neither of them practiced their religion.
When Tom was a few months old, the family moved to New York.
School
From kindergarten through fifth grade, Tom was educated at Lincoln School, a private progressive school in Manhattan where independent thinking rather than learning facts and subjects was practiced. His father grew impatient when, age seven, his son could still not read or write. With a little coaching from his father, however, Tom was soon reading.
The family moved 40 miles north to the small town of Croton-on-Hudson where, once again, Tom attended a progressive private school – Hessian Hills School. It was here that, in sixth through ninth grade, he learned to love mathematics. Influenced by radical teachers, he also hoped to join the leftist American Student Union. Before joining it, members had to swear an oath never to fight for America. After agonizing over this, and talking to his father, he decided he could not sign. He left Hessian Hills in 1937.
For tenth grade, Tom moved to Solebury School, a private boarding school in Solebury Township, Pennsylvania.
His final school was another private boarding school, Taft School, in Watertown, Conneticut.
A straight-A student, he was admitted to Harvard University, his father’s alma mater. He believed this was a great honor, and it was only years later he learned that nearly everyone who applied when he did was admitted to Harvard.
He knew he would eventually have to make a choice between majoring in Mathematics or Physics. His father told him it would be easier to get a job as a physicist, so even before leaving for Harvard, Tom decided he would major in Physics.
Undergraduate at Harvard
Arriving in Cambridge, Massachusetts in the fall of 1940, 18-year-old Tom Kuhn experienced a happy improvement in his social life. In his final prep school years, he had started to feel like an outsider looking in. His frequent moves between high schools must have been unsettling. At Harvard, he felt like he belonged.
However, physics proved harder than he expected, and he scored a C in his first exam. Worried, he asked a professor if he had any future in the subject. The professor told Kuhn he needed to spend time plowing through more problems, making sure he could do them. Kuhn took the advice and scored A at the end of his freshman year.
In his sophomore year, America entered World War 2. Kuhn decided to speed up his degree by attending classes in summer. He graduated with a BS in Physics summa cum laude (with highest honor) in 1943. In addition to studying Physics, he spent his final year as head of the editorial board of the Harvard Crimson, the college newspaper.
War Work
In the summer of 1943, Kuhn joined the Radio Research Laboratory’s theoretical group. Based at Harvard, his group was tasked with devising countermeasures against enemy radar. He was soon sent to work in a laboratory in the United Kingdom.
Later he traveled with a Royal Air Force officer to France for a few weeks to study recently captured German radar installations, then carried on into Germany itself.
Back to Harvard
Kuhn returned to Harvard after the war in Europe ended and graduated with a master’s degree in Physics in 1946 and doctorate in 1949. His PhD thesis was The Cohesive Energy of Monovalent Metals as a Function of the Atomic Quantum Defects.
Even before he returned to America, his enthusiasm for physics had been dwindling. He continued studying it though, because it was the most convenient way for him to get a doctorate.
Making Sense of Absurdity
As a matter of fact, Kuhn was increasingly fascinated by philosophy, believing that in his personal search for ‘Truth’ it offered better prospects than physics.
In 1947, he was invited to deliver a History of Science course for undergraduates at Harvard. He had an epiphany while trying to make sense of the ideas of motion described by Aristotle in his Physics, ideas that had persisted from 350 BC – 1600 AD.
Kuhn realized he could not understand Aristotle’s ideas of motion because his modern physics education was getting in the way. Kuhn was studying Aristotle’s ideas from the perspective of a physicist familiar with Isaac Newton’s much later ideas. When Kuhn took account of the underlying science and philosophy of the Ancient Greeks, Aristotle’s Physics began to make much more sense.
History of Science
In the fall of 1948, while still working on his physics doctorate, Kuhn embarked on a three-year program as a Junior Fellow in the Harvard Society of Fellows. With no teaching duties, he focused entirely on developing his ideas as a science historian and philosopher. He became preoccupied with understanding the mechanisms of scientific progress; he saw this as a more fruitful approach than following conventional historical timelines and worrying about discovery dates.
As a former physicist, he observed that science textbooks at introductory level tended to present their subjects in a highly polished way, as indisputable facts; moreover, the creative processes that produce scientific discoveries were ignored in these books.
At the end of his fellowship, Harvard appointed Kuhn as an instructor, teaching general courses. A year later, he was promoted to assistant professor. He began giving an advanced undergraduate History of Science course looking at the development of mechanics from Aristotle to Newton. He enjoyed this immensely.
Kuhn’s Take on Nicolaus Copernicus’ Revolution
One of the courses Kuhn offered students was The Copernican Revolution, which he used as the basis for his first book, published in 1957. He scrutinized Nicolaus Copernicus’s famous book De revolutionibus with its bold claim that the earth orbits the sun.
Kuhn came to the conclusion that De revolutionibus was:
“a revolution-making rather than a revolutionary text.”
He claimed, with some justification, that Copernicus’s model was no more accurate and no simpler in its portrayal of heavenly bodies than the previous system devised by Claudius Ptolemy 1,400 years earlier. Kuhn believed Copernicus’s model was ultimately preferred because it was more pleasing to its audience – in other words for aesthetic reasons rather than scientific reasons. Certainly the fact that in Copernicus’s model there was no need for Ptolemy’s equant was aesthetically appealing. (The equant was an extremely clever mathematical improvisation Ptolemy devised to make his theory of planetary movements work.)
Scholars such as Richard Hall have pointed out that Copernicus’s model actually does have some scientific advantages over Ptolemy’s, such as those concerning the maximum elongation of Venus and Mercury, the explanation of retrograde motion, and the frequency of retrogressions.
Written for a general rather than a narrow specialist readership, Kuhn’s book has proven to be a keeper. The copy in front of me is from the twenty-fourth printing in 2003.
Berkeley & the Center for Advanced Study
In 1956, Harvard had still not offered Kuhn tenure. He accepted an offer from the University of California at Berkeley, where he became an assistant professor in both the Philosophy and History Departments.
In 1958, he was promoted to associate professor and given tenure. In the fall of that year, he began a one-year fellowship at Stanford University’s Center for Advanced Study. It was here he wrote a significant part of his most influential work The Structure of Scientific Revolutions.
In 1961, he was promoted to full professor of the History of Science at Berkeley. This actually infuriated him, because he wanted to be a professor of Philosophy. In the end, however, he agreed to accept the position in History.
The Paradigm Shift
The concept of the paradigm shift made Kuhn’s name. The term became widely used in all disciplines, not just science.
Kuhn first described the paradigm shift in his 1962 book The Structure of Scientific Revolutions. The concept had been in his mind for many years, starting when he asked himself how an intelligent man like Aristotle could have harbored absurd ideas about motion. It dawned on him that the framework of science in which Aristotle interpreted facts was entirely different from the framework of science (or to be more specific, the framework of basic mechanics) we use today, courtesy of Galileo Galilei and Isaac Newton. The change of framework was the paradigm shift.
Nicolaus Copernicus’s De revolutionibus provided Kuhn with another example of a paradigm shift. Before De revolutionibus, all facts were interpreted within a framework that said our planet lies at the center of the universe. Within a few decades, all facts were being interpreted within a new framework, which said the earth is actually a planet orbiting the sun.
Normal Science
After a paradigm shift has taken place, Kuhn said, scientists can begin building up facts again, perhaps studying different problems and searching for facts in different places suggested by the new paradigm. He described this period between paradigm shifts as normal science or puzzle solving.
Incommensurability
Kuhn also discussed the concept of incommensurability.
The word itself is not a common one. Ancient Greeks described a triangle whose hypotenuse’s length is an irrational number as incommensurable.
While a whole number such as 1 and a fraction such as 1/3 are on a common scale (you need three of one to exactly equal the other) there is no common scale between a whole number and an irrational number like √2.
Kuhn used the word incommensurable to describe paradigms that represent wholly different world views of the same subject – for example, the mechanics of Aristotle vs Newton, which differ so drastically that there is little common ground between them.
Princeton and MIT
In 1964, Kuhn moved to Princeton University as the M. Taylor Pyne Professor of Philosophy and History of Science. In 1979, he became Laurance S. Rockefeller Professor of Philosophy at the Massachusetts Institute of Technology (MIT).
The Impact of Kuhn’s Work on Science
Most scientists are only vaguely aware of Kuhn’s work, although like most people are familiar with the idea of a paradigm shift. Humanities students are generally more familiar Kuhn’s work.
Some Personal Details and the End
By ancestry Kuhn was Jewish. By choice he was an agnostic.
While studying for his PhD, Kuhn became rather isolated from other people, repeating the experience of his final high school years. Working in an almost all-male setting, he worried his mother by not dating women. He agreed to undergo psychoanalysis. Looking back on the experience, he said he hated the psychiatrist, who would fall asleep during sessions. The psychoanalysis ended because the psychiatrist left town and Kuhn got married.
He married Kathryn Muhs in 1948. His wife, like his mother, was a graduate of Vassar College. She typed his PhD thesis. They had two daughters and a son – Sarah, Elizabeth, and Nathaniel. The couple divorced in 1978.
In 1981, age 59, Kuhn married Jehane Barton Burns.
He retired from MIT in 1991, age 69.
Thomas Kuhn died, age 73, of cancer on June 17, 1996 in Cambridge, Massachusetts. He had been suffering from throat and lung cancer for two years.
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Further Reading
Thomas S. Kuhn
The Copernican Revolution: Planetary Astronomy in the Development of Western Thought
Harvard University Press, 1957
Richard J. Hall
Kuhn and the Copernican Revolution
British Journal for the Philosophy of Science, Vol. 21 No. 2: pp. 196-197, 1970
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Thomas Samuel Kuhn (surname pronounced /ˈkuːn/; July 18, 1922 – June 17, 1996) was an American intellectual who wrote extensively on the history of science and developed several important notions in the philosophy of science. Thomas Kuhn was born in Cincinnati, Ohio to Samuel L. Kuhn, an...
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https://transhumanism.fandom.com/wiki/Thomas_Samuel_Kuhn
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Thomas Samuel Kuhn (surname pronounced /ˈkuːn/; July 18, 1922 – June 17, 1996) was an American intellectual who wrote extensively on the history of science and developed several important notions in the philosophy of science.
Life[]
Thomas Kuhn was born in Cincinnati, Ohio to Samuel L. Kuhn, an industrial engineer, and Minette Stroock Kuhn. He obtained his bachelor's degree in physics from Harvard University in 1943, and master's and Ph.D in physics in 1946 and 1949, respectively. He later taught a course in the history of science at Harvard from 1948 until 1956 at the suggestion of university president James Conant. After leaving Harvard, Kuhn taught at the University of California, Berkeley, in both the philosophy department and the history department, being named Professor of the History of Science in 1961. At Berkeley, he wrote and published (in 1962) his best known and most influential work:[1] The Structure of Scientific Revolutions. In 1964, he joined Princeton University as the M. Taylor Pyne Professor of Philosophy and History of Science. In 1979, he joined the Massachusetts Institute of Technology (MIT) as the Laurance S. Rockefeller Professor of Philosophy, remaining there until 1991. Kuhn interviewed and taped Danish physicist Niels Bohr the day before Bohr's death. The recording contains the last words of Niels Bohr caught on tape.[citation needed] In 1994, Kuhn was diagnosed with cancer of the bronchial tubes, of which he died in 1996.
Kuhn was married twice, first to Kathryn Muhs (with whom he had three children) and later to Jehane Barton (Jehane R. Kuhn).
The Structure of Scientific Revolutions[]
Main article: The Structure of Scientific Revolutions
In The Structure of Scientific Revolutions (SSR), Kuhn argued that science does not progress via a linear accumulation of new knowledge, but undergoes periodic revolutions, also called "paradigm shifts" (although he did not coin the phrase),[2] in which the nature of scientific inquiry within a particular field is abruptly transformed. In general, science is broken up into three distinct stages. Prescience, which lacks a central paradigm, comes first. This is followed by "normal science", when scientists attempt to enlarge the central paradigm by "puzzle-solving". Thus, the failure of a result to conform to the paradigm is seen not as refuting the paradigm, but as the mistake of the researcher, contra Popper's refutability criterion. As anomalous results build up, science reaches a crisis, at which point a new paradigm, which subsumes the old results along with the anomalous results into one framework, is accepted. This is termed revolutionary science.
In SSR, Kuhn also argues that rival paradigms are incommensurable—that is, it is not possible to understand one paradigm through the conceptual framework and terminology of another rival paradigm. For many critics, for example David Stove (Popper and After, 1982), this thesis seemed to entail that theory choice is fundamentally irrational: if rival theories cannot be directly compared, then one cannot make a rational choice as to which one is better. Whether Kuhn's views had such relativistic consequences is the subject of much debate; Kuhn himself denied the accusation of relativism in the third edition of SSR, and sought to clarify his views to avoid further misinterpretation. Freeman Dyson has quoted Kuhn as saying "I am not a Kuhnian!",[3] referring to the relativism that some philosophers have developed based on his work.
The book was originally printed as an article in the International Encyclopedia of Unified Science, published by the logical positivists of the Vienna Circle.
The enormous impact of Kuhn's work can be measured in the changes it brought about in the vocabulary of the philosophy of science: besides "paradigm shift", Kuhn raised the word "paradigm" itself from a term used in certain forms of linguistics to its current broader meaning, coined the term "normal science" to refer to the relatively routine, day-to-day work of scientists working within a paradigm, and was largely responsible for the use of the term "scientific revolutions" in the plural, taking place at widely different periods of time and in different disciplines, as opposed to a single "Scientific Revolution" in the late Renaissance. The frequent use of the phrase "paradigm shift" has made scientists more aware of and in many cases more receptive to paradigm changes, so that Kuhn’s analysis of the evolution of scientific views has by itself influenced that evolution.[citation needed]
Kuhn's work has been extensively used in social science; for instance, in the post-positivist/positivist debate within International Relations. Kuhn is credited as a foundational force behind the post-Mertonian Sociology of Scientific Knowledge.
A defense Kuhn gives against the objection that his account of science from The Structure of Scientific Revolutions results in relativism can be found in an essay by Kuhn called "Objectivity, Value Judgment, and Theory Choice."[4] In this essay, he reiteriates five criteria from the penultimate chapter of SSR that determine (or help determine, more properly) theory choice:
- Accurate - empirically adequate with experimentation and observation
- Consistent - internally consistent, but also externally consistent with other theories
- Broad Scope - a theory's consequencies should extend beyond that which it was initially designed to explain
- Simple - the simplest explanation, principally similar to Occam's Razor
- Fruitful - a theory should disclose new phenomena or new relationships among phenomena
He then goes on to show how, although these criteria admittedly determine theory choice, they are imprecise in practice and relative to individual scientists. According to Kuhn, "When scientists must choose between competing theories, two men fully committed to the same list of criteria for choice may nevertheless reach different conclusions."[5] For this reason, basically, the criteria still are not "objective" in the usual sense of the word because individual scientists reach different conclusions with the same criteria due to valuing one criterion over another or even adding additional criteria for selfish or other subjective reasons. Kuhn then goes on to say, "I am suggesting, of course, that the criteria of choice with which I began function not as rules, which determine choice, but as values, which influence it."[6] Because Kuhn utilizes the history of science in his account of science, his criteria or values for theory choice are often understood as descriptive normative rules (or more properly, values) of theory choice for the scientific community rather than prescriptive normative rules in the usual sense of the word "criteria," although there are many varied interpretations of Kuhn's account of science.
The Polanyi-Kuhn debate[]
Scientific historians and scholars have noted similarities between Kuhn's work and the work of Michael Polanyi. Although they used different terminologies, both scientists believed that scientists' subjective experiences made science a relativistic discipline. Polanyi lectured on this topic for decades before Kuhn published "The Structure of Scientific Revolutions."
Supporters of Polanyi charged Kuhn with plagiarism, as it was known that Kuhn attended several of Polanyi's lectures, and that the two men had debated endlessly over the epistemology of science before either had achieved fame. In response to these critics, Kuhn cited Polanyi in the second edition of "The Structure of Scientific Revolutions," and the two scientists agreed to set aside their differences in the hopes of enlightening the world to the dynamic nature of science. Despite this intellectual alliance, Polanyi's work was constantly interpreted by others within the framework of Kuhn's paradigm shifts, much to Polanyi's (and Kuhn's) dismay.[7]
Honors[]
Kuhn was named a Guggenheim Fellow in 1954, and in 1982 was awarded the George Sarton Medal by the History of Science Society. He was also awarded numerous honorary doctorates.
Bibliography[]
Bird, Alexander. Thomas Kuhn. Princeton and London: Princeton University Press and Acumen Press, 2000. ISBN 1-902683-10-2
Fuller, Steve.Thomas Kuhn: A Philosophical History for Our Times. Chicago: University of Chicago Press, 2000. ISBN 0-226-26894-2
Sal Restivo, The Myth of the Kuhnian Revolution. Sociological Theory, Vol. 1, (1983), 293-305.
Hoyningen-Huene, Paul (1993): Reconstructing Scientific Revolutions: Thomas S. Kuhn's Philosophy of Science. Chicago: University of Chicago Press.
Kuhn, T.S. The Copernican Revolution: planetary astronomy in the development of Western thought. Cambridge: Harvard University Press, 1957. ISBN 0-674-17100-4
Kuhn, T.S. The Function of Measurement in Modern Physical Science. Isis, 52(1961): 161-193.
Kuhn, T.S. The Structure of Scientific Revolutions. Chicago: University of Chicago Press, 1962. ISBN 0-226-45808-3
Kuhn, T.S. "The Function of Dogma in Scientific Research". Pp. 347-69 in A. C. Crombie (ed.). Scientific Change (Symposium on the History of Science, University of Oxford, 9-15 July 1961). New York and London: Basic Books and Heineman, 1963.
Kuhn, T.S. The Essential Tension: Selected Studies in Scientific Tradition and Change. Chicago and London: University of Chicago Press, 1977. ISBN 0-226-45805-9
Kuhn, T.S. Black-Body Theory and the Quantum Discontinuity, 1894-1912. Chicago: University of Chicago Press, 1987. ISBN 0-226-45800-8
Kuhn, T.S. The Road Since Structure: Philosophical Essays, 1970-1993. Chicago: University of Chicago Press, 2000. ISBN 0-226-45798-2
See also[]
History and philosophy of science
John L. Heilbron
References[]
Black-body theory and the quantum discontinuity: 1894-1912 (1978)
[]
Thomas Kuhn (Biography, Outline of Structure of Scientific Revolutions)
"Thomas Kuhn, 73; Devised Science Paradigm" (obituary by Lawrence Van Gelder, New York Times, 19 June 1996)
Thomas S. Kuhn (obituary, The Tech p9 vol 116 no 28, 26 June 1996)
Thomas Kuhn at the Stanford Encyclopedia of Philosophy
Review in the New York Review of Books
Color Photo
History of Twentieth-Century Philosophy of Science BOOK VI: Kuhn on Revolution and Feyerabend on Anarchy - with free downloads for public use.
article on his Road Since Structure: Philosophical Essays
John Horgan's Interview http://www.stevens.edu/csw/cgi-bin/shapers/kuhn/
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Thomas Samuel Kuhn (surname pronounced /ˈkuːn/; July 18, 1922 – June 17, 1996) was an American intellectual who wrote extensively on the history of science and developed several important notions in the philosophy of science. Thomas Kuhn was born in Cincinnati, Ohio to Samuel L. Kuhn, an...
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Transhumanism Wiki
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No Title
No Title
No information
Thomas Samuel Kuhn (surname pronounced /ˈkuːn/; July 18, 1922 – June 17, 1996) was an American intellectual who wrote extensively on the history of science and developed several important notions in the philosophy of science.
Life[]
Thomas Kuhn was born in Cincinnati, Ohio to Samuel L. Kuhn, an industrial engineer, and Minette Stroock Kuhn. He obtained his bachelor's degree in physics from Harvard University in 1943, and master's and Ph.D in physics in 1946 and 1949, respectively. He later taught a course in the history of science at Harvard from 1948 until 1956 at the suggestion of university president James Conant. After leaving Harvard, Kuhn taught at the University of California, Berkeley, in both the philosophy department and the history department, being named Professor of the History of Science in 1961. At Berkeley, he wrote and published (in 1962) his best known and most influential work:[1] The Structure of Scientific Revolutions. In 1964, he joined Princeton University as the M. Taylor Pyne Professor of Philosophy and History of Science. In 1979, he joined the Massachusetts Institute of Technology (MIT) as the Laurance S. Rockefeller Professor of Philosophy, remaining there until 1991. Kuhn interviewed and taped Danish physicist Niels Bohr the day before Bohr's death. The recording contains the last words of Niels Bohr caught on tape.[citation needed] In 1994, Kuhn was diagnosed with cancer of the bronchial tubes, of which he died in 1996.
Kuhn was married twice, first to Kathryn Muhs (with whom he had three children) and later to Jehane Barton (Jehane R. Kuhn).
The Structure of Scientific Revolutions[]
Main article: The Structure of Scientific Revolutions
In The Structure of Scientific Revolutions (SSR), Kuhn argued that science does not progress via a linear accumulation of new knowledge, but undergoes periodic revolutions, also called "paradigm shifts" (although he did not coin the phrase),[2] in which the nature of scientific inquiry within a particular field is abruptly transformed. In general, science is broken up into three distinct stages. Prescience, which lacks a central paradigm, comes first. This is followed by "normal science", when scientists attempt to enlarge the central paradigm by "puzzle-solving". Thus, the failure of a result to conform to the paradigm is seen not as refuting the paradigm, but as the mistake of the researcher, contra Popper's refutability criterion. As anomalous results build up, science reaches a crisis, at which point a new paradigm, which subsumes the old results along with the anomalous results into one framework, is accepted. This is termed revolutionary science.
In SSR, Kuhn also argues that rival paradigms are incommensurable—that is, it is not possible to understand one paradigm through the conceptual framework and terminology of another rival paradigm. For many critics, for example David Stove (Popper and After, 1982), this thesis seemed to entail that theory choice is fundamentally irrational: if rival theories cannot be directly compared, then one cannot make a rational choice as to which one is better. Whether Kuhn's views had such relativistic consequences is the subject of much debate; Kuhn himself denied the accusation of relativism in the third edition of SSR, and sought to clarify his views to avoid further misinterpretation. Freeman Dyson has quoted Kuhn as saying "I am not a Kuhnian!",[3] referring to the relativism that some philosophers have developed based on his work.
The book was originally printed as an article in the International Encyclopedia of Unified Science, published by the logical positivists of the Vienna Circle.
The enormous impact of Kuhn's work can be measured in the changes it brought about in the vocabulary of the philosophy of science: besides "paradigm shift", Kuhn raised the word "paradigm" itself from a term used in certain forms of linguistics to its current broader meaning, coined the term "normal science" to refer to the relatively routine, day-to-day work of scientists working within a paradigm, and was largely responsible for the use of the term "scientific revolutions" in the plural, taking place at widely different periods of time and in different disciplines, as opposed to a single "Scientific Revolution" in the late Renaissance. The frequent use of the phrase "paradigm shift" has made scientists more aware of and in many cases more receptive to paradigm changes, so that Kuhn’s analysis of the evolution of scientific views has by itself influenced that evolution.[citation needed]
Kuhn's work has been extensively used in social science; for instance, in the post-positivist/positivist debate within International Relations. Kuhn is credited as a foundational force behind the post-Mertonian Sociology of Scientific Knowledge.
A defense Kuhn gives against the objection that his account of science from The Structure of Scientific Revolutions results in relativism can be found in an essay by Kuhn called "Objectivity, Value Judgment, and Theory Choice."[4] In this essay, he reiteriates five criteria from the penultimate chapter of SSR that determine (or help determine, more properly) theory choice:
- Accurate - empirically adequate with experimentation and observation
- Consistent - internally consistent, but also externally consistent with other theories
- Broad Scope - a theory's consequencies should extend beyond that which it was initially designed to explain
- Simple - the simplest explanation, principally similar to Occam's Razor
- Fruitful - a theory should disclose new phenomena or new relationships among phenomena
He then goes on to show how, although these criteria admittedly determine theory choice, they are imprecise in practice and relative to individual scientists. According to Kuhn, "When scientists must choose between competing theories, two men fully committed to the same list of criteria for choice may nevertheless reach different conclusions."[5] For this reason, basically, the criteria still are not "objective" in the usual sense of the word because individual scientists reach different conclusions with the same criteria due to valuing one criterion over another or even adding additional criteria for selfish or other subjective reasons. Kuhn then goes on to say, "I am suggesting, of course, that the criteria of choice with which I began function not as rules, which determine choice, but as values, which influence it."[6] Because Kuhn utilizes the history of science in his account of science, his criteria or values for theory choice are often understood as descriptive normative rules (or more properly, values) of theory choice for the scientific community rather than prescriptive normative rules in the usual sense of the word "criteria," although there are many varied interpretations of Kuhn's account of science.
The Polanyi-Kuhn debate[]
Scientific historians and scholars have noted similarities between Kuhn's work and the work of Michael Polanyi. Although they used different terminologies, both scientists believed that scientists' subjective experiences made science a relativistic discipline. Polanyi lectured on this topic for decades before Kuhn published "The Structure of Scientific Revolutions."
Supporters of Polanyi charged Kuhn with plagiarism, as it was known that Kuhn attended several of Polanyi's lectures, and that the two men had debated endlessly over the epistemology of science before either had achieved fame. In response to these critics, Kuhn cited Polanyi in the second edition of "The Structure of Scientific Revolutions," and the two scientists agreed to set aside their differences in the hopes of enlightening the world to the dynamic nature of science. Despite this intellectual alliance, Polanyi's work was constantly interpreted by others within the framework of Kuhn's paradigm shifts, much to Polanyi's (and Kuhn's) dismay.[7]
Honors[]
Kuhn was named a Guggenheim Fellow in 1954, and in 1982 was awarded the George Sarton Medal by the History of Science Society. He was also awarded numerous honorary doctorates.
Bibliography[]
Bird, Alexander. Thomas Kuhn. Princeton and London: Princeton University Press and Acumen Press, 2000. ISBN 1-902683-10-2
Fuller, Steve.Thomas Kuhn: A Philosophical History for Our Times. Chicago: University of Chicago Press, 2000. ISBN 0-226-26894-2
Sal Restivo, The Myth of the Kuhnian Revolution. Sociological Theory, Vol. 1, (1983), 293-305.
Hoyningen-Huene, Paul (1993): Reconstructing Scientific Revolutions: Thomas S. Kuhn's Philosophy of Science. Chicago: University of Chicago Press.
Kuhn, T.S. The Copernican Revolution: planetary astronomy in the development of Western thought. Cambridge: Harvard University Press, 1957. ISBN 0-674-17100-4
Kuhn, T.S. The Function of Measurement in Modern Physical Science. Isis, 52(1961): 161-193.
Kuhn, T.S. The Structure of Scientific Revolutions. Chicago: University of Chicago Press, 1962. ISBN 0-226-45808-3
Kuhn, T.S. "The Function of Dogma in Scientific Research". Pp. 347-69 in A. C. Crombie (ed.). Scientific Change (Symposium on the History of Science, University of Oxford, 9-15 July 1961). New York and London: Basic Books and Heineman, 1963.
Kuhn, T.S. The Essential Tension: Selected Studies in Scientific Tradition and Change. Chicago and London: University of Chicago Press, 1977. ISBN 0-226-45805-9
Kuhn, T.S. Black-Body Theory and the Quantum Discontinuity, 1894-1912. Chicago: University of Chicago Press, 1987. ISBN 0-226-45800-8
Kuhn, T.S. The Road Since Structure: Philosophical Essays, 1970-1993. Chicago: University of Chicago Press, 2000. ISBN 0-226-45798-2
See also[]
History and philosophy of science
John L. Heilbron
References[]
Black-body theory and the quantum discontinuity: 1894-1912 (1978)
[]
Thomas Kuhn (Biography, Outline of Structure of Scientific Revolutions)
"Thomas Kuhn, 73; Devised Science Paradigm" (obituary by Lawrence Van Gelder, New York Times, 19 June 1996)
Thomas S. Kuhn (obituary, The Tech p9 vol 116 no 28, 26 June 1996)
Thomas Kuhn at the Stanford Encyclopedia of Philosophy
Review in the New York Review of Books
Color Photo
History of Twentieth-Century Philosophy of Science BOOK VI: Kuhn on Revolution and Feyerabend on Anarchy - with free downloads for public use.
article on his Road Since Structure: Philosophical Essays
John Horgan's Interview http://www.stevens.edu/csw/cgi-bin/shapers/kuhn/
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Thomas S. Kuhn was an American historian of science who is best known for The Structure of Scientific Revolutions (1962), one of the most influential works of history and philosophy written in the 20th century.
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Encyclopedia Britannica
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https://www.britannica.com/biography/Thomas-S-Kuhn
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Thomas S. Kuhn (born July 18, 1922, Cincinnati, Ohio, U.S.—died June 17, 1996, Cambridge, Massachusetts) was an American historian of science noted for The Structure of Scientific Revolutions (1962), one of the most influential works of history and philosophy written in the 20th century.
Kuhn earned bachelor’s (1943) and master’s (1946) degrees in physics at Harvard University but obtained a Ph.D. (1949) there in the history of science. He taught the history or philosophy of science at Harvard (1951–56), the University of California at Berkeley (1956–64), Princeton University (1964–79), and the Massachusetts Institute of Technology (1979–91).
More From Britannica
philosophy of science: The work of Thomas Kuhn
In his first book, The Copernican Revolution (1957), Kuhn studied the development of the heliocentric theory of the solar system during the Renaissance. In his landmark second book, The Structure of Scientific Revolutions, he argued that scientific research and thought are defined by “paradigms,” or conceptual world-views, that consist of formal theories, classic experiments, and trusted methods. Scientists typically accept a prevailing paradigm and try to extend its scope by refining theories, explaining puzzling data, and establishing more precise measures of standards and phenomena. Eventually, however, their efforts may generate insoluble theoretical problems or experimental anomalies that expose a paradigm’s inadequacies or contradict it altogether. This accumulation of difficulties triggers a crisis that can only be resolved by an intellectual revolution that replaces an old paradigm with a new one. The overthrow of Ptolemaic cosmology by Copernican heliocentrism, and the displacement of Newtonian mechanics by quantum physics and general relativity, are both examples of major paradigm shifts.
Kuhn questioned the traditional conception of scientific progress as a gradual, cumulative acquisition of knowledge based on rationally chosen experimental frameworks. Instead, he argued that the paradigm determines the kinds of experiments scientists perform, the types of questions they ask, and the problems they consider important. A shift in the paradigm alters the fundamental concepts underlying research and inspires new standards of evidence, new research techniques, and new pathways of theory and experiment that are radically incommensurate with the old ones.
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Thomas Kuhn
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Thomas Kuhn is perhaps the best known philosopher of science. He claimed that the advance of scientific knowledge proceeds in discontinuous breaks that he called "revolutions" and which came to be known as "paradigm shifts." Kuhn suggested that basic scientific concepts and language terms that describe them change their meanings across these breaks, producing an incommensurability of ideas that make communications between scientists working in different paradigms difficult or even impossible. Kuhn is simply wrong about this. Any conceptual idea about any structure or process in the world that changes in a Kuhnian revolution can be described in the language terms used before and after the revolution by scientific experts who can provide an adequate translation between the terms. Kuhn came of age when analytic language philosophers were abandoning the logical positivism of Bertrand Russell and the early Ludwig Wittgenstein and their "truth tables." Even the logical empiricists of the Vienna Circle in Europe, with their theory that science advances by "verification" of observations came under attack. Kuhn's most famous work, The Structure of Scientific Revolutions, first appeared as an article in the International Encyclopedia of Unified Science, a publication of the Vienna Circle. In philosophy of science, the logical empiricists were challenged by Karl Popper, who insisted that scientific theories stand and fall not on verification, but on his criterion of "falsification." This was flawed. Falsification is just a negative verification, equally likely to be overthrown by future scientific evidence. And all scientific theories rest on experimental evidence, not logical "proofs." Analytic language philosophy itself had a revolution against the logical "truth" of all knowledge, that all facts could be built up from "atomic facts." just as all matter is built up from atoms. Wittgenstein thought that language provided a "picture theory" of the world, that sentences can be framed as formal "propositions" like those in the great Principia Mathematica of Russell and Alfred North Whitehead. All mathematics and then all of science could be based upon these "logical atoms." This too was flawed. Behind this was the great philosophical and ultimately theological idea that the world and the universe are rationally constructed, so its structure can be understood by reason alone. This is called modernism, over against the idea of tradition, that knowledge is simply handed down from generation to generation by authorities. The first modern theology was Thomas Aquinas and other scholastics, who claimed revelation and reason could be reconciled. The first modern philosopher was René Descartes, whose work led to the age of enlightenment and the "laws" of modern science.. Modernists believe that reason can establish or "grounded" objective knowledge. Kuhn questioned the existence of "objective" knowledge, just when many philosophers of science were questioning the idea of an objective physical reality. Albert Einstein's theories of special and general relativity had made "relativism" fashionable in many fields. And quantum mechanics threatened the deterministic implications of classical physics. Structuralism in linguistics, anthropology, psychology, and the social sciences was the idea that universal structures underlie everything that human beings do, think, perceive, and feel. It gave way to post-structuralism, cultural relativism, and then postmodernism, or deconstruction. Kuhn was a postmodern, though perhaps a reluctant one, especially in the face of attacks on his idea of incommensurabiity by many scientists and philosophers. Where Kuhn was right is the idea that scientific progress is not made by works of individual thinkers who establish the objective truth about reality. Truth, especially objective or absolute truth, is a concept that is essential in mathematics and logic. The meaningful equivalent in science is the statistical evidence supporting various theories. Kuhn properly located progress in science in the scientific community as a whole. He saw the community of scientists as having only individual "subjective" positions. All "objective" knowledge is ultimately the result of "subjective," culturally biased, views of the individual scientists. "Objective" science is impossible Concerns about objectivity had been thought through in an earlier century by perhaps the greatest ever philosopher of science, Charles Sanders Peirce. He described a "community of inquirers" who could achieve "intersubjective agreement" in the long run. For Peirce, this agreement would be an approach, perhaps only asymptotic, to something like scientific "truth." Better than any other philosopher, Peirce articulated the difference between a priori probabilities and a posteriori statistics. He knew that probabilities are a priori theories and that statistics are a posteriori empirical measurements, the results of observations and experiments. The "truth" of any scientific theory is therefore always provisional, subject to change or incorporation into a larger, more comprehensive theory that explains all past evidentiary facts as well as newly discovered facts in the future. With Peirce in mind, we see that all science, like all knowledge (our SUM), is a living thing that is still growing.
On Blackbody Radiation
Kuhn's 1987 book Black-Body Theory and the Quantum Discontinuity, 1894-1912 helped establish that Max Planck had no idea that light quanta were real, as Einstein proved. Normal | Teacher | Scholar
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1922-07-18T00:00:00+00:00
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Timetoast Timelines
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https://www.timetoast.com/timelines/thomas-kuhn-450613d6-65b5-4e4c-8aa5-ce38b2fba6ae
|
Thomas Samuel Kuhn Birth
Born in Cincinnati, Ohio. His father, Samuel Louis Kuhn was an industrial engineer and investment consultant. He fought in WW1 and a Harvard and MIT alumni. His Mother, Minette Kuhn, was a graduate of Vassar college and was from a wealthy family. She worked as a freelance editor and wrote unpaid articles for progressive organizations.
Master's Degree
After earning his undergraduate degree (and the remainder of the war years), he was doing radar related researches in Harvard and then in Europe. Three years after, he earned his Master's Degree in Physics three years after earning his undergraduate degree
Married Kathryn Muhs
Thomas Kuhn became isolated while studying for his PhD. He isolated himself from other people. This worried his mother and had Kuhn undergo psychoanalysis. He would fall asleep during sessions. The sessions ended when the psychiatrist left town and Kuhn got married. Thomas Kuhn married Kathryn Muhs, who's a Vassar College alumni. Kathryn Muhs aided her husband's career by typing his PhD thesis.They had two daughter's and a son namely; Sarah, Elizabeth and Nathaniel. The couple divorced in 1978
Doctor of Philosophy in Physics
Kuhn focused his studies on the application of quantum mechanics to solid state physics. Three years after earning his Masters degree in Physics, he earned his PhD in Physics at Harvard University under Nobel Prize winner John Van Vleck.
Society of Fellows
Kuhn was elected to the prestigious Society of Fellows at Harvard. As a faculty member he taught a class in science for the undergraduates in the humanities. The class he was teaching was developed by James Conant (President of Harvard), which centered on historical case studies. This was Kuhn's first opportunity to study historical scientific texts in detail.
University of California at Berkley Faculty member
After teaching in Harvard University, he taught the History of Science and Philosophy of Science in the University of California at Berkley during this time period
Published his first book
Kuhn focussed his work on the early history of thermodynamics and 18th century matter theory. After this, he focused on the history of astronomy, these resulted in him publishing his first book. The Copernican Revolution, was published which focuses on the heliocentric theory development during the Renaissance Period.
Full Professor University of California at Berkley
Kuhn took a post in History of Science but in the philosophy department. During this time he developed an interest in the philosophy of Science
Published his Second Book
During his time in University of California Kuhn met Stanley Cavell, who introduced him to Wittgenstein and Paul Feyerbend's works. Kuhn discussed a draft of the Structure of Scientific Revolutions with Feyerbend. In 1962 The Structure of Scientific Revolutions was published in the series of "International Encyclopedia of Unified Science", edited by Otto Neurath and Rudolf Carnap. In this book Kuhn argued that scientific research and thoughts are defined by conceptual world views or "paradigms".
Princeton University Faculty Member
After teaching in University of California at Berkley, he taught the History of Science and Philosophy of Science in the University of California at Berkley during this time period.
Debate with Feyerabend
Bedford College in London hosted The International Colloquium in the Philosophy of Science. One of the key events was intended for a debate between Kuhn and Feyerabend, chaired by Popper. In this debate, Feyerabend was absent due to illness and had John Watkins take his place. Feyerabend was promoting critical rationalism (which he shared with Popper), while Kuhn promoted his paradigms. Kuhn felt the critics failed to appreciate the paradigms as a model for puzzle solving.
Popper and Kuhn on Theory change (Video)
Professor of Philosophy of Science, the London School of Economics and Political Science, John Worrall on the scientific revolutions, falsifiability and what are the main features of a scientific hypothesis https://www.youtube.com/watch?v=bM8XBhEuyoo
President of History of Science Society
The History of Science Society is dedicated in understanding science, technology, medicine and its interactions with society in a historical context.
The Essential Tension
Kuhn published another book entitled "The Essential Tension", which was a collection of his essays in philosophy and history of science. This book emphasizes the importance of tradition in science.
Awarded Howard T. Behrman Award
For distinguished achievement in humanities, Kuhn was awarded the Howard T. Behrman Award. This award is given annually to selected faculty members from Princeton's humanities department. This is to recognize the awardee's recognition of research, publication, teaching and other distinguished services to Princeton's community.
Massachusetts Institute of Technology Faculty Member
After teaching in Princeton University, he taught the History of Science and Philosophy of Science in the University of California at Berkley during this time period
Awarded George Sarton Medal in the History of Science
After bring a president of the History of Science Society from 1968 to 1970, the society awarded him the highest honor, the George Sarton Medal in the History of Science. This award is given to outstanding historians of science selected from the international scholarly community. This medal honors Thomas Kuhn for lifetime scholarly achievement.
Lawrence S. Rockefeller Professor of Philosophy
Kuhn was named Laurence S. Rockefeller Professor of Philosophy at MIT. He continued his work on both history and philosophy of science on topics such as the development of the concept of incommensurability.
Awarded the John Desmond Bernal Prize
For his distinguished contributions to the Field of Science and Technology Studies and his studies on the structures of scientific revolutions, Thomas Kuhn was awarded the John Desmond Bernal Prize.
Retired in MIT
Thomas Kuhn was the chair's first holder of the Laurence S. Rockefeller Professorship in Philosophy/ He took the rank of professor emeritus and retired in MIT. From 1982 to 1991 Kuhn held the Laurance S. Rockefeller Professorship in Philosophy. He was the chair's first holder. Kuhn retired in 1991 and took the rank of professor emeritus.
Death
At the age of 73 Thomas Kuhn Died at his home in Cambridge, Massachusetts. He died from throat and lung cancer which he has been battling for two years. He is survived by his wife, Jehane and three children, Sarah Kuhn of Framingham, Massachusetts., Elizabeth Kuhn of Los Angeles and Nathaniel Kuhn of Arlington, Massachusetts.
Sources 1
Encyclopædia Britannica, inc. (n.d.). Thomas S. Kuhn. Encyclopædia Britannica. Retrieved April 19, 2022, from https://www.britannica.com/biography/Thomas-S-Kuhn Bird, A. (2018, October 31). Thomas Kuhn. Stanford Encyclopedia of Philosophy. Retrieved April 19, 2022, from https://plato.stanford.edu/entries/thomas-kuhn/ American Institute of Physics. (2016, July 18). Thomas Kuhn. Physics Today. Retrieved April 19, 2022, from https://physicstoday.scitation.org/do/10.1063/pt.5.031266/full/
Sources 2
Famous Scientists. (n.d.). Retrieved April 19, 2022, from https://www.famousscientists.org/thomas-kuhn/ Gelder, L. V. (1996, June 19). Thomas Kuhn, 73; devised Science Paradigm. The New York Times. Retrieved April 18, 2022, from https://www.nytimes.com/1996/06/19/us/thomas-kuhn-73-devised-science-paradigm.html History of Science Society (Ed.). (n.d.). Sarton Medalists. HSS sarton medalists. Retrieved April 19, 2022, from http://depts.washington.edu/hssexec/about/awards/sarton.html
Sources 3
Princeton University (Ed.). (n.d.). Howard T. Behrman Award for distinguished achievement in the humanities | dean of the faculty. Princeton University. Retrieved April 19, 2022, from https://dof.princeton.edu/howard-t-behrman-award-distinguished-achievement-humanities Thomas Kuhn. Internet encyclopedia of philosophy. (n.d.). Retrieved April 19, 2022, from https://iep.utm.edu/kuhn-ts/
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https://www.thenewatlantis.com/publications/did-thomas-kuhn-kill-truth
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en
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Did Thomas Kuhn Kill Truth? — The New Atlantis
|
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2018-09-14T04:00:00+00:00
|
A debate on the nature of truth turns into a squabble over whether Thomas Kuhn threw an ashtray at Errol Morris’s head.
|
en
|
The New Atlantis
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https://www.thenewatlantis.com/publications/did-thomas-kuhn-kill-truth
|
In 2011, the filmmaker and writer Errol Morris published a series of five articles that may rank as the oddest production of his long and varied career. The first began like this:
It was April, 1972. The Institute for Advanced Study in Princeton, N.J. The home in the 1950s of Albert Einstein and Kurt Gödel. Thomas Kuhn, the author of “The Structure of Scientific Revolutions” and the father of the paradigm shift, threw an ashtray at my head.
Taken by itself, this sort of flamboyant anecdote seems like pure Morris, consonant with the other series he has published with the New York Times as part of their Opinionator section — series that have explored, among other things, the hagiography of Abraham Lincoln, the perceived credibility of various typefaces, and the contrasts between photographic evidence and photographic art. As the documentarian behind such films as Gates of Heaven (the one about the pet cemetery), The Thin Blue Line (the one that introduced re-enactment into true-crime docs), and The Fog of War (the one with Vietnam-era Secretary of Defense Robert McNamara), Morris has been given a wide berth to explore his interests in public.
But the articles about Thomas Kuhn, collectively titled “The Ashtray,” and now reworked into the book The Ashtray (Or the Man Who Denied Reality), seemed rawer than usual. Morris now seemed not fascinated or amused — his usual registers — but angry. It was as though, after nearly forty years since his run-in with Kuhn at Princeton, the time had come for revenge. But if this was revenge, it was revenge of a strange sort, taking the form of extended diatribes against postmodernism, the historiography of science, and Kuhn’s classic work on scientific revolutions.
Revenge, of course, is sweet. But it can also be hard to get.
“The Ashtray” centers on Morris’s brief stint as a graduate student — he lasted a year — in what was then Princeton’s Program in the History and Philosophy of Science. The program was “sort of a consolation prize,” in his defensive version, for being rejected from Harvard’s history of science program. During this time, Morris had the bad fortune to fall in with the physicist, philosopher, and historian Thomas Kuhn (1922–1996).
Kuhn’s fame rested on his widely influential 1962 book The Structure of Scientific Revolutions, in which he argued that the history of science was punctuated by occasional “paradigm shifts.” Kuhn held that scientific theories from before and after a scientific revolution cannot be compared in a straightforward way; they are “incommensurable,” because the meanings of familiar terms change in unexpected ways as scientists go from one mode of description to another. One drastic consequence of incommensurability is that there isn’t any such thing as absolute progress from one paradigm to the next — say from before the Copernican Revolution to after, or from classical physics to quantum physics. A new paradigm may be more complete, or simpler, or more useful for answering certain questions compared to the preceding one, but it is not, strictly speaking and on the whole, objectively better.
Kuhn’s skepticism, in Morris’s view, is poisonous, leading to a cultural devaluation of objective truth. Tellingly, Morris only glancingly notices Kuhn the historian, whose The Copernican Revolution: Planetary Astronomy in the Development of Western Thought (1957) and Black-Body Theory and the Quantum Discontinuity, 1894–1912 (1978) are both carefully documented, in apparent contradiction to the recklessness Morris alleges.
A certain theatricality is at play in Morris’s articles on Kuhn — the first article is accompanied by a few seconds of video, an ashtray and cigarettes spewing across a black background — and Kuhn emerges mainly as a personality, not a thinker. Morris’s Kuhn is an imposing man, a tall bully, an “incredible chain-smoker. First Pall Malls and then True Blues…. Alternating. One cigarette lighting another.” He barks at students for “Whiggishness” whenever they incorporate knowledge of the present into talk of the past. When Morris mentions he is interested in hearing the philosopher Saul Kripke, Kuhn commands, “Under no circumstances are you to go to those lectures. Do you hear me?”
In a story recounted in the first article, Morris turns in a thirty-page paper, double-spaced. Kuhn returns a thirty-page response, single-spaced: “No margins. He was angry, really angry.” Morris goes in to confront Kuhn and charges into an argument. If paradigms are incommensurable, young Morris asks, how is the history of science possible? “He’s trying to kill me,” mutters Kuhn, head in hands. When Morris suggests that maybe it’s still possible “for someone who imagines himself to be God,” Kuhn throws an ashtray at him. Soon thereafter, Kuhn has Morris kicked out of Princeton.
Errol Morris projects have long featured monomaniacal obsessives, in ways that are both positive (Stephen Hawking’s retreat into physics in the 1991 documentary A Brief History of Time) and negative (Fred A. Leuchter’s electric-chair designs and Holocaust denial in the 1999 Mr. Death). At one point in Wormwood, Morris’s 2017 Netflix miniseries about Eric Olson’s investigation of his father’s death in 1953, Olson clarifies that when he first asked himself whether the CIA had murdered his father, he didn’t know that the question would take up the next forty years of his life. For “The Ashtray,” Morris casts himself in a similar role.
For monomaniacs, it should be noted, narrow focus can turn open fields into blind alleys. In one of the “Ashtray” articles, Morris comes across an interview where Kuhn explains that his discussions of incommensurable paradigms were inspired by the mathematical notion of incommensurability. We can see a simple example of this notion in the relationship between the sides and the diagonal of a square. If the side of a square is exactly 1 foot long, then its diagonal measures √2 feet, a value that can’t be expressed as the ratio of two whole numbers. When the Greeks discovered this, they reasoned in terms of the lengths of line segments, so incommensurability for them meant that the diagonal couldn’t be defined as a ratio of multiples of the side of the square. Kuhn borrowed this as a metaphor for how paradigms before and after a scientific revolution might use the same words to describe their theories, while labeling different worlds.
Not satisfied by this vague correspondence, Morris asks for a more precise account of what mathematical and Kuhnian incommensurability have to do with each other. In search of an answer, he dives deep into the history of Greek math, vividly recounting his quest after an ancient book on Pythagoras — down an elevator, through a tunnel, into the mysterious lower floors … of the Widener library at Harvard. He even provides the book’s call number.
Morris wants to find out whether the legend might be true that Pythagoreans murdered Hippasus, the philosopher said to have first uncovered the secret of incommensurability, upending a central plank of Pythagorean mathematics and metaphysics. Morris admits that Kuhn never even mentions the legend. But maybe the metaphor is that Hippasus’ upending of conventional math is like a paradigm shift that the guardians of the old paradigm tried to prevent by killing him? The story itself is likely false, Morris concludes — and so, ironically, Kuhn’s idea is based on “a Whiggish interpretation of an apocryphal story.” Which is an okay punchline, but has almost nothing to do with Kuhn.
Morris gets lost again when he exegetes a passage where Kuhn complains, after reading his critics, that he is tempted to posit the existence of two Kuhns. The quote suggests that Kuhn felt his critics disagreed not with his actual views but with distortions of his views — with the views of a fictional Kuhn. It’s an unremarkable expression of frustration, but Morris calls it “particularly bizarre” and holds that it “suggests that there may be no coherent reading of Kuhn’s philosophy.”
The slander piles up. Kuhn is compared to Jorge Luis Borges’s character Pierre Menard and to Humpty Dumpty — both given as examples of the madness of relativism — and to the jailer in Jeremy Bentham’s Panopticon, who alone escapes this relativism because he can see all the jail cells (read: paradigms). An anecdote about Kuhn becoming agitated over how people had been convinced by Hitler is used to imply that Kuhnians, those truth-deniers, are easy marks for Nazis.
By the last entry in “The Ashtray,” Morris seems convinced that we, like him, will detest anything stinking of Kuhn. “You won’t be able to understand it,” he prefaces one long Kuhn quote. “Just take my word for it.” Morris closes his series by reminding us that if we were about to die on the electric chair, knowing we were unfairly convicted, we wouldn’t entertain any postmodern doubts about absolute truth, now, would we? Hmm?
“The Ashtray” was published online. This had the benefit — pixels are cheap — of allowing many idiosyncratic pictures to accompany the text, from photos of ashtrays and cigarettes to paintings of the Pythagoreans by Raphael and Rubens. It also had the decidedly mixed blessing of reader comments, which might lead anyone into postmodern doubt.
Scrolling through the responses, I noticed the comments falling into the usual slots of cynical praise (“One of the finest descriptions of graduate school ever”), unhelpful snark (“Unclear here just what the point is”), and bilious grandstanding (“I’ll try to make this as concise as I possibly can”; please do). But then came something interesting, a signed response from Sarah Kuhn, daughter of Thomas (she confirmed to me by email that she really wrote it):
Steer clear of fact checkers, Mr. Morris.
The ashtray video is a work of art, as is your essay. Since you take the trouble to mention the Pall Malls, which he never smoked (it was Camels), I wonder about the accuracy of the throwing episode. In all my years with him, I knew my father to be vehement but never violent.
Responding to a later article, Thomas Kuhn’s son Nat also demurred:
There is apparently yet another Thomas Kuhn here, one I don’t think he would have ever anticipated: the Thomas Kuhn who threw the ashtray. Speaking as his son I have to say that, try as I might, I just can’t get myself to believe that he threw that ashtray.
Could it be? Could Errol Morris, that vigorous defender of truth, be lying?
Appearing on an April 2017 episode of the philosophy podcast Hi-Phi Nation, Morris was as unhesitant as ever about Kuhn’s toxic influence on our culture’s sense of truth. Generously, he grants that “in my angrier moments, I see him as not entirely responsible for the debasement of science and the debasement of truth.” Yet “I see a line from Kuhn to Karl Rove and Kellyanne Conway and Donald Trump.” (This excerpt was quoted by John Horgan at his blog for Scientific American, which prompted Morris to offer a clarification: “If Kuhn had never lived, in that possible world where Kuhn was never born, there might still be a President Donald Trump.”) Asked to summarize what he makes of Kuhn now, Morris simply says, “A**hole.”
But in that same podcast, the other Kuhn also appears. Another guest on the episode is James Challey, a student of Kuhn at the same time as Morris, who remembers Kuhn as “very personable,” but also very insistent. Asked whether Kuhn could have thrown the ashtray, Challey hesitates. “I could — imagine that happening? The provocation would have had to’ve been pretty strong.”
I would like to suggest that this proliferation of Kuhns — the violent Kuhn, the vehement but personable Kuhn, Kuhn the careful historian, Kuhn the reckless philosopher — is no fluke. Even if no one is lying about any of these seemingly conflicting images, and even if all parties observed the same person, they might wrap those observations in such different words that they end up disagreeing. This happens all the time. Indeed, allowing that it happens also in science gets us a long way toward understanding Kuhn.
The Ashtray (Or the Man Who Denied Reality) is now being published as a book, and it is both significantly less odd and significantly better defended than the articles that spawned it. In the preface, Morris now asks about the ashtray, “Was it thrown at my head? I’m not sure, but I remember it was thrown in my direction.” Kuhn’s Pall Malls have now become Camels. For the most part, Morris still battles a straw-man Kuhn. But much of the new stuff here is fascinating, nestled, as it is, among copious illustrations, between thick margins containing extensive footnotes. Whatever my complaints, The Ashtray is a lot of fun to read.
Alongside the anti-Kuhn spleen, a positive argument is hinted at throughout these pages. The argument follows that of the American philosopher Saul Kripke, whose work in logic and philosophy of language — particularly his landmark Naming and Necessity (1980) — Morris posits as an antidote to Kuhn’s poisonous Structure. By Morris’s admission, it is unusual to bring Kripke to a Kuhn fight. After all, the interests of Kuhn (the social structure of science) and of Kripke (how names work in modal logic) don’t have a lot of obvious overlap.
To understand Morris’s alleged connection, we should pause to revisit in a bit more detail the basic message of Thomas Kuhn. What exactly is Morris fighting?
As many others have noted, Kuhn’s claims about science, history, and knowledge are all snarled. In places, The Structure of Scientific Revolutions reads more like a meta-myth than like straight history. Even converts might admit that its elements could fall apart in isolation. In Structure, Kuhn holds that science changes via two different modes: “normal science,” in which scientists solve puzzles within a given paradigm, and “revolutionary science,” in which scientists, compelled by unexplained anomalies, adopt a new paradigm that can explain them.
These paradigm shifts are not fully rational. That is, according to Kuhn, the reason early adopters sign on to a new paradigm is not that it offers greater truth in any straightforward sense. For instance, early quantum theory was an ad hoc kludge. When Max Planck suggested that light from hot objects was emitted in discrete packets (multiples of a constant rather than values along a continuous spectrum), it wasn’t for any revolutionary purpose, but simply because he found that doing so could help him to fit experimental data. The reigning paradigm, mature classical electromagnetism, had been very successful, and there was little reason to doubt that it could explain the data in terms, say, of the microscopic constituents of ordinary solids. Early quantum adopters needed to be either ignorant or visionary (most were both) to suppose that such an explanation was not possible, and to suppose instead that the data suggested fundamentally new laws of nature.
But once a new paradigm has matured, its ways of looking at problems and methods of solving them become so pervasive among scientists that the successes of prior paradigms are forgotten. Today, educated by quantum theorists and having read textbooks on quantum theory, few scientists are eager to revisit thermal emission in classical electrodynamic terms. “Normal” scientists — those working firmly within an established paradigm — press on using paradigmatic methods, making incremental improvements within an essentially stable conceptual frame.
In all of this, Kuhn can be maddeningly imprecise. Indeed, Kuhn himself admits as much, writing in his postscript to the second edition of Structure that some parts of his “initial formulation” produced “gratuitous difficulties and misunderstandings.” Famously, he proliferates examples of paradigmatic markers — usually textbooks, such as Aristotle’s Physics or Newton’s Opticks — without ever clearly defining what exactly a paradigm is.
But wobbles like these are not what bother Errol Morris. What gets under his skin is Kuhn’s strange insistence that changes in scientific paradigms change not only the way scientists investigate the world, but the very world itself. As Kuhn puts it, “In so far as their only recourse to that world is through what they see and do, we may want to say that after a revolution scientists are responding to a different world.” Morris takes this as a wholesale rejection of the real world, replacing the sturdy truth with a meaningless mess of mere paradigms that never really get at the world itself, trading the world for words.
Which, at last, is where Kripke comes in. According to Morris, what’s “at the heart of Kripke’s work” is that “language is not just about us and our thoughts; it directly — unmediated by our opinions and beliefs — connects us with the world.”
Language as an unmediated connection to the world? This sounds a little hard to understand. And it is, a little. In Naming and Necessity, Kripke discusses how proper names function in modal logic. If that sounds dry — well, again, it is, a little. But the parts of Kripke that Morris uses for his argument require some jargon, and we now step tenderly into the weeds.
Philosophers since Kant have widely used the categories of a priori and a posteriori to discuss claims about knowledge. Roughly, a priori claims are ones that can be evaluated as true or false based on logic alone, without going out into the world and gathering evidence. For instance, “3 + 5 = 8” is true a priori. By contrast, a posteriori claims need evidence. “Our solar system has eight planets” is true a posteriori (stop, no crying for Pluto), as astronomers had to gather lots of observations to figure that out.
While a priori and a posteriori concern how we gain knowledge of things, the categories of necessary and contingent — much used by Kripke — describe the nature of things in themselves. Kripke explains the difference between necessary and contingent by introducing another concept, that of possible worlds. Necessary truths are true in all possible worlds, while contingent truths are true only in some possible worlds. Possible worlds refer to the different ways the universe could be while remaining the same in certain metaphysically essential ways. Think of the worlds proposed by alternative history novels, or by thought experiments asking you to consider a world in which your parents never met.
The same two examples work to illustrate the difference: In any of these worlds, we should expect the claim “3 + 5 = 8” to be true. We could therefore label this claim necessarily true. By contrast, a claim like “Our solar system has eight planets” (Pluto, come back!) is only contingently true, because we can easily imagine a universe only slightly different from our own in which the initial conditions of the solar system created a different number of planets.
From these examples, one might suppose that necessary is just a synonym for a priori, and contingent a synonym for a posteriori. But Kripke takes pains to argue that this isn’t right, and he gives specific counterexamples. He has us consider the length of one meter, which was defined for well over a century as the length of a specific metal bar in France. When this definition was widely accepted, the claim “The Mètres des Archives is one meter long” was a contingent a priori truth: It was a definition (hence the bar was a meter long a priori), but we could easily imagine a different bar doing the job (hence its truth was contingent).
Kripke then gives examples of the converse, the necessary a posteriori truth. To explain, he introduces an idea about how words refer to the world, and how they retain that reference over time. He says that when we first name a specific thing in the world, this “initial baptism” rigidly fixes the name’s reference in all possible worlds. Richard Nixon, for instance, is necessarily Richard Nixon always and everywhere, but he is only contingently the thirty-seventh president of the United States. It is conceivable that he might not have become president, but he could not have been anybody else but Richard Nixon. So the name is fixed, a permanent reference from the words to the particular person. (The fact that he could have been called something else is irrelevant; all that matters is that we know him as Richard Nixon.)
Philosophers describe this as Kripke’s “causal theory of reference,” and Morris is mainly interested in how it applies to science. Kripke applied it to the famous case of Phosphorus, the morning star, and Hesperus, the evening star. Scientists learned through observation — that is, they learned a posteriori — that both are the same object: the planet Venus. Since, like Nixon, Venus is necessarily identical to itself (Venus can’t be anything other than Venus), the statement “Phosphorous is Hesperus” is a necessary a posteriori truth. Kripke suggests that establishing such truths might be the job of science more generally. Perhaps, to use another example from Kripke, gold is necessarily made up of atoms with 79 protons, because that’s what makes gold gold — regardless of what we initially thought about the substance or what we have learned about it since.
And … so what? Wasn’t this supposed to have something to do with Thomas Kuhn? Morris gets irritated by the suggestion that the connection is anything less than obvious:
Years ago I was challenged by a graduate student in the history of science: What do Kripke’s theories have to do with Kuhn’s? The question seemed naïve, even silly. Of course, they are related. They both focus on the relation between language and the world. Kripke establishes something that undermines the entire basis of Kuhn’s work — the necessary a posteriori. It may well be the ultimate goal of scientific inquiry.
In the account of Morris’s Kripke, words pick out elements of the world, and as our views evolve, these terms are passed on and progressively refined. For a substance like gold, these investigations help us to figure out what the thing we labeled “gold” was all along. Anyway, contra Kuhn, we don’t have to worry about incommensurability in our vocabularies — since we’re talking about the real world, our underlying references are fixed!
I’ve called the holder of this view “Morris’s Kripke” because Saul Kripke himself, as an interview subject late in the book, seems reluctant to co-sign for any claims as certain as those Morris ascribes to him. (Of a separate argument, Kripke comments, “Someone has written a whole book defending the view I portray as not only coherent but as the truth. I don’t know whether I agree with him completely” and “I’m not saying that this is the truth, but I’m arguing like a lawyer for my position.”) Such interpersonal dissonance keeps The Ashtray from being merely dogmatic. Morris seeks out luminaries to bolster his claims — but often they don’t.
These interviews are worth reading. We find out Hilary Putnam’s views on translation and Steven Weinberg’s views on scientific histories. Kripke weighs in on Wittgenstein, and Noam Chomsky argues for the ambiguity of how words refer to the world in ordinary, non-scientific language. Morris tries to coax Ross MacPhee, a biologist studying an extinct species, to outline how the species’ essential properties can be defined retrospectively — yes, yes, the necessary a posteriori. Like most good conversations, these yield more questions than answers.
Still, I can imagine closing The Ashtray feeling totally convinced. This would take place, I suppose, in the possible world where I’m an Errol Morris fan who hasn’t read any Kuhn. But in this world, I’m an Errol Morris fan who has also read some Kuhn. Morris might contend that I’ve been poisoned. In any case, I admit it: I have doubts.
The preface to The Essential Tension (1977) — Thomas Kuhn’s first essay collection published post-Structure — offers advice for students working to interpret primary sources in science. “When reading the works of an important thinker, look first for the apparent absurdities in the text and ask yourself how a sensible person could have written them.” Kuhn continues, “When those passages make sense, then you may find that more central passages, ones you previously thought you understood, have changed their meaning.”
Whatever your views on Kuhn, this seems like good advice. It’s also the exact opposite of Errol Morris’s approach to Kuhn in The Ashtray. Of course, if Morris directly experienced Kuhn as a violent maniac, this is understandable; few of us are eager to consider our abusers as important thinkers. On the other hand, with over a half-century of continued appeal, Kuhn must offer something beyond dogmatism and a halo of ash. So what, in his anger, has Morris left out?
Let’s start with how well Kuhn was able to capture the way science is actually done. Unlike Kripke, Kuhn was one of us, a Ph.D. physicist whose firsthand knowledge of “normal science” allowed him to document scientific investigations in sensitive detail. To fellow scientists, many of Kuhn’s claims seem less perverse than they are self-evident. When Kuhn discusses how paradigms define the way scientists approach the world, most of us will nod along, remembering the difficult years spent in reproducing classic experiments and solutions. The description of normal science as puzzle-solving within a paradigm certainly resonates with those of us actively searching for problems to tackle. By contrast, you’d be hard pressed to find a single working scientist who is out to discover necessary a posteriori truths.
Nevertheless, I suspect that beyond the fetching jargon and neat anecdotes, most scientists would in fact disagree with Kuhn’s more radical claims. For instance, many physicists will agree that the world really is a certain way — that, to the best of our knowledge, everything really is made of relativistic quantum fields. For such physicists, Einstein superseded Newton not for any sociological reason, but because he got closer to the truth.
Kuhn, however, was adamant that conflicting paradigms couldn’t be compared so directly. To him, Einstein and Newton described genuinely different worlds, not simply better and worse renditions of the same one we all inhabit. The clearest articulation of Kuhn’s final position can be found in The Road Since Structure (2000), a posthumous miscellany. While the presentation rehashes many of Kuhn’s trademark concepts, it also acknowledges and addresses many of the usual concerns. Discussing incommensurability, Kuhn allows that we can always adopt the lexicon of a competing paradigm (listen up, Mr. Morris: this is how histories are written!), but he still maintains that we can only speak a single language at once, and hence still can’t exactly translate old into new terms.
In the title essay — a sketch for a future, never-completed book — Kuhn calls his final view “a sort of post-Darwinian Kantianism.” Kuhn’s theory had always been recognized as “post-Darwinian” in the sense that he argued that the development of science, like biological evolution, is “driven from behind, not pulled from ahead.” Scientific theories are accepted because of how well they solve the problems facing scientific communities at particular historical moments, rather than how well they correspond to the absolute truth about the world.
As he was working on his final book, Kuhn realized another sense in which biological evolution could provide a model for the development of science. The diversification of living things into different species, each with a specialized environmental niche, has an analogue in the diversification of science into narrowly specialized fields. And much as organisms from different species are unable to interbreed, the specialized lexicons of different scientific fields make it ever more challenging for different scientific specialists to understand one another.
The Kantian aspect of Kuhn’s view has to do with Kant’s notion that our experiences are inevitably filtered through certain categories of understanding, such as the concept of cause and effect. In Kuhn’s words: “Like the Kantian categories, the lexicon” — the way scientists talk about the world within a given paradigm — “supplies preconditions of possible experience.” In other words, the concepts we project on the world inextricably shape how we experience it, and scientists’ paradigmatic lexicon shapes how they see the world.
Kuhn is sometimes described as a relativist, full stop; but this isn’t quite right. Kuhn admits there’s something objectively out there. But he qualifies that this thing-in-itself (as Kant put it) is “ineffable, undescribable, undiscussable.” So what can we do?
Mostly, we talk, casting our nets over the dark sea. Once we settle on a stable way of talking, we can evaluate claims as objectively true or false. When a seemingly more useful way of talking arises, that’s a scientific revolution. In this new way of talking we can once again evaluate claims as objectively true or false, even if, using the same words as before, claims that were true in the old way of talking might be false in the new way, and vice versa.
The issue here is not the denial of reality, but the denial of an absolutely preferred way of talking about it. Statements can be true or false, but not whole languages. As Kuhn puts it, “The ways of being-in-the-world which a lexicon provides are not candidates for true/false.”
This is a “coherence theory” of truth, where truth applies not to the world but to statements about the world — and even then only in a given language, only with a given use. This idea is perhaps disturbing, but it doesn’t amount to what critics like Morris think. Morris charges Kuhn with claiming that the world is however we want it to be, but Kuhn in fact claims the opposite. In Kuhn’s view, reality is out there, but it doesn’t speak our language. It remains forever alien, non-linguistic, regardless of how well we seem to describe its various parts.
Now, I concede that a lot of this is controversial, and that disagreement with Kuhn can be perfectly reasonable. But there’s a boundary between disagreement and purposeful misrepresentation, and Errol Morris often stomps clear across this line.
On page four of The Ashtray, Morris states, “Coherence theories of truth are of little interest to me.” He demonstrates this conclusively by failing to explore them for the remaining 180 pages. Instead, Morris imagines Kuhn as the villain in various scenarios — telling children that the Earth could just as well be flat or round, or telling a condemned man that his guilt or innocence is all about the paradigm. Morris barely mentions, and even then only dismissively, that Kuhn addressed Kripke’s ideas in writing. (The short version of Kuhn’s response is that, although causal theories of reference work reasonably well for some tidy examples like gold, they don’t work for terms whose uses have drastically changed over time, like heat or water.) And never, it seems, has Morris seriously asked himself: What did Kuhn really think?
Near the end of the book, Morris summarizes his view of Kuhn:
For me, Kuhn’s ultimate crime is not the espousal of nonsense. We’re probably, in varying degrees, all guilty of that. No, to me, there is a worse crime. The history of his endless textual revisions and supposed clarifications is a history, among other things, of moral and intellectual equivocation. Several commentators have argued that Kuhn was aware of my criticisms long before I made them. To me, that exacerbates the situation; it does not mitigate it.
When I first read this passage, it seemed not to make sense. To me, these “endless textual revisions and supposed clarifications” sounded suspiciously like thinking. And if Kuhn was aware of Morris’s criticisms, shouldn’t Morris be interested in that? Shouldn’t Morris, that bloodthirsty truth-hound, be curious whether Kuhn’s responses had force?
Following Kuhn’s advice to pay special attention to seemingly absurd passages and to ask why a sensible person would write them, I reread it. And Kuhn was right — the meaning changed. Suddenly all the stuff about truth seemed sort of moot, and I realized that Morris, the spurned grad student, had gotten his revenge. But against whom? Readers who arrive initially unconcerned may find that Morris has won his fight fair and square, and that Kuhn, that violent obfuscator, has finally gotten the drubbing he deserves.
But those of us who look again may notice that Morris has been punching the wrong Kuhn, while the real one sits outside the ring, untouched. Like his imaginary Kuhn, Morris wins the fight for truth only by getting the last word.
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The Life and Death of Thomas Kuhn (Philosopher of Science) timeline
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[] |
1922-07-18T00:00:00+00:00
|
en
|
/favicon.ico
|
Timetoast Timelines
|
https://www.timetoast.com/timelines/the-life-and-death-of-thomas-kuhn
|
Thomas Kuhn (Childhood and Early years)
Thomas Kuhn was born in Cincinnati, Ohio in July 18, 1922. He was the son of Minette Scrook Kuhn and Samuel L. Kuhn. He went to a high school in New York known as Hessian Hills. He attended Taft School in Watertown and that is where he discovered his passion for mathematics and physics. In 1940, He graduated from the Taft School. He went to Harvard, where in 1943 he graduated with his B.S. degree in physics. He later went back to Harvard and got his M.S. degree in 1946 and 1949.
Thomas Kuhn Military Work
Thomas Kuhn joined the Radio Research Lab theoretical group where his job was to come up with counter measures against the enemies radar. After that he was sent to go work in the military lab in the United Kingdom. He went to France with the Royal Air Force to study German radar installations that they had captured.
Thomas Kuhn's (History of Science)
Thomas Kuhn was attending Harvard where he was working on his physics doctorate focusing completely on the development of his ideas as a science historian and philosopher. He was excited and preoccupied with the mechanisms which are used to understand scientific process. He taught the History of Science as a professor at Harvard, University of California and Princeton University. He really enjoyed teaching a lot when he was at the schools. He modeled after Isaac Newton's theories.
Thomas Kuhn ( Career)
Thomas Kuhn's career first started in Radio Research Lab when he was at Harvard. He also worked at the Scientific Research and Development in Europe. He also taught the History of Science as a professor at Harvard. He also was appointed as the professor to teach the History of Science at the University of California. He became a professor to teach the History of Science at Princeton University. He was often called the Rockefeller of Philosophy.
Thomas Kuhn's Book's
This book that was published in 1957, The Structure of Scientific Revolutions, was his most influential work. In his book he talked about how competing paradigms are incommensurable. He proposed a notion of paradigm shifts so that the scientific fields can undergo shifts periodically as long as it doesn't progress in a linear and continuous pattern. In his book, The Copernican Revolution, he refuted the claims of other scientist that the earth was in the center of the solar system.
Thomas Kuhn (Paradigm Shift)
Thomas Kuhn became known when he presented his concept the Paradigm Shift. People used it in all subjects, not just science. Thomas Kuhn explained his concept of the Paradigm Shift in his book The Structure of Scientific Revolutions. His framework came form the paths laid by other intelligent men such as Aristotle, Isaac Newton and Galileo. The change in the framework, was in itself the Paradigm Shift. Thomas Kuhn stated that sometimes you have to go back in order to find the starting point.
Thomas Kuhn's Theory for Normal Science
After a paradigm has already taken place, scientist can start building up facts again by studying different problems and finding facts that exist in different places that was suggested by a new paradigm. This period between paradigm shifts is known as normal science or puzzle solving.
Thomas Kuhn's (Awards and Achievements)
Thomas Kuhn was chosen to be the esteemed Society of Fellows at Harvard University. He was given the prestigious title Guggenheim Fellow. The History of Science Society gave him the George Sarton Medal. Along with all his books that were very influential as the framework for those studying philosophy and trying to understand the concept of science in the world as well as the universe and beyond. In his honor, he got the Paradigm Shift Award by the Chemical Society.
Thomas Kuhn's Theory (Incommensurability and World Change)
Thomas Kuhn used the term Incommensurable so that he can be able to give a description of paradigms that will represent a whole world that has different views on the same subject. He talked about how the mechanics of Newton and Aristotle differ in a way that is so drastic that there is no room for common ground.
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7992
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dbpedia
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https://www.classace.io/answers/write-an-essay-about-thomas-kuhn
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Answers to: Write an essay about Thomas kuhn
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[] | null |
Thomas Kuhn was an influential philosopher of science whose work has profoundly impacted the field o...
|
en
|
/favicon.ico
|
Class Ace
| null |
Thomas Kuhn was an influential philosopher of science whose work has profoundly impacted the field of philosophy and the understanding of how scientific knowledge is acquired and developed. Born on July 18, 1922, in Cincinnati, Ohio, Kuhn's ideas have challenged traditional notions of how scientific progress occurs and have given rise to the concept of "paradigm shift." One of Kuhn's most famous and influential works is his book "The Structure of Scientific Revolutions," published in 1962. In this groundbreaking work, Kuhn introduced the concept of scientific paradigms, which are widely accepted theories, methods, and assumptions within a particular scientific discipline. These paradigms guide scientific research and provide a framework for understanding and interpreting experimental results. According to Kuhn, scientific progress is not a straightforward accumulation of knowledge, but rather a series of revolutions or paradigm shifts. A paradigm shift occurs when the dominant scientific paradigm is overthrown and replaced by a new one. This shift is often accompanied by a scientific crisis, where anomalies and contradictions within the existing paradigm cannot be adequately explained or resolved. As a result, a new paradigm emerges, which offers a different perspective and a new set of explanations and methodologies. Kuhn's notion of paradigm shift challenged the prevailing view of scientific progress as a linear and cumulative process. Instead, he argued that scientific development is characterized by periods of normal science, where scientists work within a single paradigm, and revolutionary science, where a new paradigm emerges and replaces the old one. These revolutions are not based on objective evidence or logical explanation alone but involve a shift in the underlying worldview, beliefs, and commitments of the scientific community. Kuhn's work has been both praised and criticized by philosophers and scientists alike. His emphasis on the subjective and social aspects of scientific knowledge has led some to accuse him of relativism and subjectivity. However, Kuhn himself argued that his work is not relativistic but rather an acknowledgement of the complex and sociological nature of scientific practice. Furthermore, while some have criticized Kuhn for downplaying the importance of empirical evidence and objective truth, many others have recognized the value of his ideas in describing and explaining how scientific progress occurs. Kuhn's concept of paradigms and paradigm shifts has been widely adopted and integrated into the philosophy of science, anthropology, and other disciplines. In conclusion, Thomas Kuhn's work has had a lasting impact on the philosophy of science. By introducing the concept of paradigms and paradigm shifts, he challenged traditional views of scientific progress and offered a more nuanced understanding of how scientific knowledge is acquired and developed. While his ideas have been both praised and criticized, there is no denying the influence of his work in shaping the way we think about science and its evolution.
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7992
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2
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https://utorontopress.com/blog/2020/01/24/byrne-kuhn-paradigms-and-aristotles-physics/
|
en
|
Kuhn, Paradigms, and Aristotle’s Physics
|
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[
""
] | null |
[
"Christopher Byrne"
] |
2020-01-24T00:00:00
|
University of Toronto Press (UTP) is Canada’s leading academic publisher and one of the largest university presses in North America.
|
en
|
University of Toronto Press
|
https://utorontopress.com/blog/2020/01/24/byrne-kuhn-paradigms-and-aristotles-physics/
|
Although Aristotle’s contribution to biology has long been recognized, there are many philosophers and historians of science who call him the man who held up the Scientific Revolution by two thousand years. In this post, Christoper Byrne, author of Aristotle’s Science of Matter and Motion, criticizes these views, including that of Thomas Kuhn, a well-known historian and philosopher of science, who was one of many historians that labelled Aristotle of being the great delayer of natural science.
***
In his 1987 essay, “What Are Scientific Revolutions?,” Thomas Kuhn wrote that he came up with his idea of a scientific paradigm by reflecting on what was for him the enigma of Aristotle’s physics. On the one hand, Kuhn wrote, Aristotle clearly made significant contributions to logic, biology, and several other fields; on the other hand, Aristotle’s physics was worthless from the point of view of later physics – indeed, held up progress in physics – and contained many errors of logic and observation. Still, Kuhn wrote, given Aristotle’s contributions to logic and biology, the failure of his physics cannot be explained just by scientific incompetence on his part. Thus, we are faced with the puzzle of understanding how someone could be so good at logical reasoning and the minute inspection of biological organisms, but so wrong about the behaviour of physical bodies in general. It could only be the case, Kuhn concluded, that the basic beliefs about nature that had served Aristotle so well in his biology had fundamentally occluded his judgment when he turned to physics. More generally, Kuhn argued, Aristotle’s physics showed that beliefs about nature are not held piecemeal, but are part of a connected system. Claims about nature that by themselves seem arbitrary and wrong-headed, make sense within the context of a more general set of principles. Thus was the concept of a scientific paradigm born, as well as the attendant belief that scientific revolutions involve exchanging one scientific paradigm for another.
Kuhn admits that his view of Aristotle’s physics was the standard one at the time. One finds similar accounts of Aristotle in Sarton’s A History of Science (1952), Sambursky’s The Physical World of the Greeks (1956), Butterfield’s Origins of Modern Science (1957), and Westfall’s The Construction of Modern Science (1977). All of these accounts have in common the view that Aristotle’s account of nature is thoroughly qualitative and teleological, that is, that all change in nature involves the exchange of contrary qualities in perceptible objects, one of which is the distinctive perfection of the object undergoing the change and the other some type of deficiency in that kind of thing. Thus, every change is either a movement toward a telos, or final cause, or a movement away from that telos; in the first case, the change is natural, in the second, violent. Either way, all change in nature must be understood in relation to the specific perfection of the thing undergoing the change.
Kuhn took this interpretation of Aristotle’s physics to its logical conclusion; in so doing, he made clear its many flaws. Perhaps the best example of the way this interpretation misconstrues Aristotle is found in what Kuhn says about Aristotle’s account of locomotion. Kuhn argues that for Aristotle locomotion is a qualitative change; a change of place is a change of quality. Thus, place must be a quality. The difficulty, however, is that the qualities of perceptible objects move with them; examples of such qualities given in Aristotle’s Categories include colour and temperature, possessing a natural capacity or an acquired skill, say, an athletic ability, and properties such as being healthy or ill, and hard or soft. Place, however, does not belong in the category of quality; in his Categories, Aristotle lists the category of place separately from that of quality. He also explicitly states in his Physics that the place of an object does not move with it; on the contrary, a place has to remain and not move with the body that occupied it if one body is to replace another body in the same place. Thus, from the point of view of Aristotle’s Categories and Physics, claiming that a place is a quality is not only wrong, but a category mistake.
Kuhn made similar mistakes with respect to the role of matter as the substratum of change in perceptible objects and the scope of teleological explanation in Aristotle’s physics. I leave it to others to consider whether scientific revolutions are properly understood as paradigm shifts. I will also suspend for the moment the question of whether a set of causal principles and basic ontological commitments constitute what Kuhn calls a scientific paradigm. I do argue, however, that Kuhn was deeply wrong about the principles of Aristotle’s physics.
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Thomas S. Kuhn
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Introduction
Thomas Kuhn (b. 1922–d. 1996) was an American historian and philosopher of science. He completed a Ph.D. in physics at Harvard University. While a student at Harvard, Kuhn worked as a teaching assistant for James B. Conant, who was the president of Harvard University from 1933 to 1953 and who designed and taught the general education history of science courses at Harvard. This experience led Kuhn to become a historian of science. After Kuhn completed his Ph.D., he taught the history of science for a brief period at Harvard. Subsequently, he taught at the University of California, Berkeley, then at Princeton University, ending his teaching career at Massachusetts Institute of Technology (MIT). The Structure of Scientific Revolutions (cited under Kuhn’s Work), was a very influential and widely read book, selling more than a million copies. It had a profound impact on philosophy of science. It was part of the new historical turn in philosophy of science that looked to the history of science to better understand how science works. The book took on a life of its own, which, at times, caused Kuhn much dismay. Much of Kuhn’s career was spent refining and clarifying the position he initially developed in Structure. He especially sought to defend his account of science from the charge of relativism and to distinguish his view from the view of the Strong Programme in the Sociology of Scientific Knowledge (SSK). Until the end of his life he was working on a book that would clarify his view, tentatively titled The Plurality of Worlds. Four years after his death, James Conant and John Haugeland edited a collection of papers by Kuhn that represent the direction his view was developing at the end of his life (see Kuhn 2000, cited under Kuhn’s Work). James Conant is the grandson of James B. Conant. Kuhn’s influence extended far beyond the philosophy of science, into the history of science, the sociology of science, and the broader culture. “Paradigm” and “paradigm shift,” two key concepts he popularized in Structure, are now used by the educated public and scientists as well.
Kuhn’s Work
Kuhn’s most famous and influential book is The Structure of Scientific Revolutions. Originally published in 1962, a fourth edition was published in 2012. It includes an introductory essay by Ian Hacking. In Structure, Kuhn presents a cyclical theory of scientific change. Scientific specialties move from periods of normal science into states of crises which end in revolutionary changes of theory. It was in Structure that Kuhn employed the notions of paradigms and incommensurability. There are two important collections of Kuhn’s essays: The Essential Tension, and The Road since Structure, published four years after Kuhn’s death. The latter collection contains a long and informative interview with Kuhn. Kuhn discusses his intellectual development, from his undergraduate training in physics at Harvard, to the later developments in his view in the 1980s and 1990s. Kuhn’s first book, The Copernican Revolution, is a study of astronomy from ancient times to Newton and grew out of his experience teaching the General Education history of science courses at Harvard. His other book-length contribution to the history of science is Black-Body Theory and the Quantum Discontinuity: 1894–1912.
Kuhn, Thomas S. The Copernican Revolution: Planetary Astronomy in the Development of Western Thought. Cambridge, MA: Harvard University Press, 1957.
Provides a history of astronomy from ancient times to Newton’s synthesis of Kepler’s three laws of planetary motion, and Galileo’s work on the physics of free-falling bodies. Published before Kuhn developed the account of scientific change presented in Structure. Noticeably missing from this book is any reference to paradigms.
Kuhn, Thomas S. The Essential Tension: Selected Studies in Scientific Tradition and Change. Chicago: University of Chicago Press, 1977.
Part 1 contains some historical studies as well as some of Kuhn’s papers on the relationship between history of science and philosophy of science. Part 2 contains a series of philosophical papers, including “The Essential Tension: Tradition and Innovation in Scientific Research?” (pp. 225–240), “Second Thoughts on Paradigms” (pp. 293–319), and “Objectivity, Value Judgment, and Theory Choice” (pp. 320–339).
Kuhn, Thomas S. Black-Body Theory and the Quantum Discontinuity: 1894–1912. Oxford: Oxford University Press, 1978.
Illustrates Kuhn’s view of scientific discoveries. Contrary to what is widely believed, Kuhn claims that Planck did not intentionally initiate a revolution in physics. Rather, as others developed Planck’s ideas, a revolution was initiated, but it took some time to unfold.
Kuhn, Thomas S. The Road since Structure: Philosophical Essays, 1970–1993, with an Autobiographical Interview. Edited by James Conant and John Haugeland. Chicago: University of Chicago Press, 2000.
Contains Kuhn’s mature view of scientific revolutions and his view on specialization. Kuhn notes that some crises in science are resolved by dividing a field into two scientific specialties. Also includes an interview with Kuhn, in which he discusses his early intellectual development.
Kuhn, Thomas S. The Structure of Scientific Revolutions. Chicago: University of Chicago Press, 2012.
DOI: 10.7208/chicago/9780226458144.001.0001
Presents Kuhn’s cyclical view of the development of a scientific field, from a period of normal science, through a period of crisis, culminating in a scientific revolution, which leads to the beginning of a new period of normal science. Two concepts that figure importantly in the analyses are paradigms and incommensurability. (Fiftieth anniversary edition; introductory essay by Ian Hacking.)
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Thomas M Kuhn Obituary 2022
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Thomas Michael Kuhn, age 64 passed away peacefully on February 27, 2022 at his home. He was born in Dayton, OH to George and Vera (Penny) Kuhn and lived in Germantown, the city...
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Arpp, Root, & Carter
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https://www.arpprootfh.com/obituaries/thomas-kuhn
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Thomas Michael Kuhn, age 64 passed away peacefully on February 27, 2022 at his home. He was born in Dayton, OH to George and Vera (Penny) Kuhn and lived in Germantown, the city he loved, his entire life. Tom was a member of boy Scout Troop #29, attended Valley View schools where he played basketball and graduated in 1975. He attended Purdue University where he was a member of the Delta Delta Chapter of Delta Sigma Phi Fraternity. His favorite colors were black and gold and he was an avid Boilermaker sports fan. Tom was proud of being the third-generation owner of George E. Kuhn and Company as well as the owner/operator of Kuhn's ACE Hardware and Miami Valley Propane. Tom was a two-term president of the Chamber of Commerce, a thirty-year member, past president and two-time Melvin Jones award winner of the Germantown Lions Club and past president of the Ohio Propane Gas Association. Besides his children and family business, Tom is most proud of his service as Chairman and member of the board of directors of the First National Bank of Germantown. Tom loved listening to all types of music at a very high level of volume on his Klipsch speakers, cruising the backroads, automobiles including his 1973 Javelin, Photography and crunchy peanut butter. Tom was preceded in death by his parents and sister. He is survived by his wife and first love, Julie Ann Kellis, son Michael (Tiffany) Kuhn, daughter Sarah Kuhn, son Dylan (Taylor Hickman) Kuhn, stepchildren Jamie (Ryan) Fields, Jonathon (Sherri) Cole, and grandchildren Emerson Kuhn, and Riley and Landon Fields. He is also survived by his sister Beth Kuhn and brothers-in-law Craig (Gina) Kellis and Chris (Yukiko) Kellis and families. Of special importance are friends Louis "Rip" Ripberger and Bob Casky, Jerry Steinmetz and Jeff Riley, Andy Minton, Mike Welch, Heidi Grant and Tom Custer. The family requests that in lieu of flowers, donations be made to the Carl B. Kern Fund of the Dayton Foundation, 1401 S. Main St., Suite 100 Dayton, OH 45309 or online at daytonfoundation.org/tipofmth.html The fund, named for Tom's great-uncle, helps support Camp Kern and it's work with youth. The family will receive friends on Friday, March 4, 2022 from 4:00PM-7:00PM at the Arpp, Root and Carter Funeral Home, 29 N Main St. Germantown, OH 45327. Funeral Services will be held on Saturday, March 5th, 2022 at 10:00am at the funeral home, burial immediately following at Germantown Union Cemetery.
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Thomas Samuel Kuhn; Author, Scientific Historian
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[
""
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[
"L.A. Times Archives"
] |
1996-06-21T00:00:00
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Thomas Samuel Kuhn, 73, a philosopher and popular author on the history of science and technology.
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/archives/la-xpm-1996-06-21-mn-17167-story.html
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Thomas Samuel Kuhn, 73, a philosopher and popular author on the history of science and technology. Born in Cincinnati, Kuhn studied physics at Harvard and taught there and at UC Berkeley, Princeton and the Massachusetts Institute of Technology. His 1962 book, “The Structure of Scientific Revolution,” was printed in a dozen languages and sold 1 million copies. Kuhn was also remembered for his 1957 book “The Copernican Revolution.” On Monday in Cambridge, Mass., of cancer.
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7992
|
dbpedia
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3
| 2
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https://www.theguardian.com/science/2012/aug/19/thomas-kuhn-structure-scientific-revolutions
|
en
|
Thomas Kuhn: the man who changed the way the world looked at science
|
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[
"John Naughton",
"www.theguardian.com"
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2012-08-19T00:00:00
|
<p>Fifty years ago, a book by Thomas Kuhn altered the way we look at the philosophy behind science, as well as introducing the much abused phrase 'paradigm shift', as <strong>John Naughton</strong> explains</p>
|
en
|
the Guardian
|
https://www.theguardian.com/science/2012/aug/19/thomas-kuhn-structure-scientific-revolutions
|
Fifty years ago this month, one of the most influential books of the 20th century was published by the University of Chicago Press. Many if not most lay people have probably never heard of its author, Thomas Kuhn, or of his book, The Structure of Scientific Revolutions, but their thinking has almost certainly been influenced by his ideas. The litmus test is whether you've ever heard or used the term "paradigm shift", which is probably the most used – and abused – term in contemporary discussions of organisational change and intellectual progress. A Google search for it returns more than 10 million hits, for example. And it currently turns up inside no fewer than 18,300 of the books marketed by Amazon. It is also one of the most cited academic books of all time. So if ever a big idea went viral, this is it.
The real measure of Kuhn's importance, however, lies not in the infectiousness of one of his concepts but in the fact that he singlehandedly changed the way we think about mankind's most organised attempt to understand the world. Before Kuhn, our view of science was dominated by philosophical ideas about how it ought to develop ("the scientific method"), together with a heroic narrative of scientific progress as "the addition of new truths to the stock of old truths, or the increasing approximation of theories to the truth, and in the odd case, the correction of past errors", as the Stanford Encyclopaedia of Philosophy puts it. Before Kuhn, in other words, we had what amounted to the Whig interpretation of scientific history, in which past researchers, theorists and experimenters had engaged in a long march, if not towards "truth", then at least towards greater and greater understanding of the natural world.
Kuhn's version of how science develops differed dramatically from the Whig version. Where the standard account saw steady, cumulative "progress", he saw discontinuities – a set of alternating "normal" and "revolutionary" phases in which communities of specialists in particular fields are plunged into periods of turmoil, uncertainty and angst. These revolutionary phases – for example the transition from Newtonian mechanics to quantum physics – correspond to great conceptual breakthroughs and lay the basis for a succeeding phase of business as usual. The fact that his version seems unremarkable now is, in a way, the greatest measure of his success. But in 1962 almost everything about it was controversial because of the challenge it posed to powerful, entrenched philosophical assumptions about how science did – and should – work.
What made it worse for philosophers of science was that Kuhn wasn't even a philosopher: he was a physicist, dammit. Born in 1922 in Cincinnati, he studied physics at Harvard, graduating summa cum laude in 1943, after which he was swept up by the war effort to work on radar. He returned to Harvard after the war to do a PhD – again in physics – which he obtained in 1949. He was then elected into the university's elite Society of Fellows and might have continued to work on quantum physics until the end of his days had he not been commissioned to teach a course on science for humanities students as part of the General Education in Science curriculum. This was the brainchild of Harvard's reforming president, James Conant, who believed that every educated person should know something about science.
The course was centred around historical case studies and teaching it forced Kuhn to study old scientific texts in detail for the first time. (Physicists, then as now, don't go in much for history.) Kuhn's encounter with the scientific work of Aristotle turned out to be a life- and career-changing epiphany.
"The question I hoped to answer," he recalled later, "was how much mechanics Aristotle had known, how much he had left for people such as Galileo and Newton to discover. Given that formulation, I rapidly discovered that Aristotle had known almost no mechanics at all… that conclusion was standard and it might in principle have been right. But I found it bothersome because, as I was reading him, Aristotle appeared not only ignorant of mechanics, but a dreadfully bad physical scientist as well. About motion, in particular, his writings seemed to me full of egregious errors, both of logic and of observation."
What Kuhn had run up against was the central weakness of the Whig interpretation of history. By the standards of present-day physics, Aristotle looks like an idiot. And yet we know he wasn't. Kuhn's blinding insight came from the sudden realisation that if one is to understand Aristotelian science, one must know about the intellectual tradition within which Aristotle worked. One must understand, for example, that for him the term "motion" meant change in general – not just the change in position of a physical body, which is how we think of it. Or, to put it in more general terms, to understand scientific development one must understand the intellectual frameworks within which scientists work. That insight is the engine that drives Kuhn's great book.
Kuhn remained at Harvard until 1956 and, having failed to get tenure, moved to the University of California at Berkeley where he wrote Structure… and was promoted to a professorship in 1961. The following year, the book was published by the University of Chicago Press. Despite the 172 pages of the first edition, Kuhn – in his characteristic, old-world scholarly style – always referred to it as a mere "sketch". He would doubtless have preferred to have written an 800-page doorstop.
But in the event, the readability and relative brevity of the "sketch" was a key factor in its eventual success. Although the book was a slow starter, selling only 919 copies in 1962-3, by mid-1987 it had sold 650,000 copies and sales to date now stand at 1.4 million copies. For a cerebral work of this calibre, these are Harry Potter-scale numbers.
Kuhn's central claim is that a careful study of the history of science reveals that development in any scientific field happens via a series of phases. The first he christened "normal science" – business as usual, if you like. In this phase, a community of researchers who share a common intellectual framework – called a paradigm or a "disciplinary matrix" – engage in solving puzzles thrown up by discrepancies (anomalies) between what the paradigm predicts and what is revealed by observation or experiment. Most of the time, the anomalies are resolved either by incremental changes to the paradigm or by uncovering observational or experimental error. As philosopher Ian Hacking puts it in his terrific preface to the new edition of Structure: "Normal science does not aim at novelty but at clearing up the status quo. It tends to discover what it expects to discover."
The trouble is that over longer periods unresolved anomalies accumulate and eventually get to the point where some scientists begin to question the paradigm itself. At this point, the discipline enters a period of crisis characterised by, in Kuhn's words, "a proliferation of compelling articulations, the willingness to try anything, the expression of explicit discontent, the recourse to philosophy and to debate over fundamentals". In the end, the crisis is resolved by a revolutionary change in world-view in which the now-deficient paradigm is replaced by a newer one. This is the paradigm shift of modern parlance and after it has happened the scientific field returns to normal science, based on the new framework. And so it goes on.
This brutal summary of the revolutionary process does not do justice to the complexity and subtlety of Kuhn's thinking. To appreciate these, you have to read his book. But it does perhaps indicate why Structure… came as such a bombshell to the philosophers and historians who had pieced together the Whig interpretation of scientific progress.
As an illustration, take Kuhn's portrayal of "normal" science. The most influential philosopher of science in 1962 was Karl Popper, described by Hacking as "the most widely read, and to some extent believed, by practising scientists". Popper summed up the essence of "the" scientific method in the title of one of his books: Conjectures and Refutations. According to Popper, real scientists (as opposed to, say, psychoanalysts) were distinguished by the fact that they tried to refute rather than confirm their theories. And yet Kuhn's version suggested that the last thing normal scientists seek to do is to refute the theories embedded in their paradigm!
Many people were also enraged by Kuhn's description of most scientific activity as mere "puzzle-solving" – as if mankind's most earnest quest for knowledge was akin to doing the Times crossword. But in fact these critics were over-sensitive. A puzzle is something to which there is a solution. That doesn't mean that finding it is easy or that it will not require great ingenuity and sustained effort. The unconscionably expensive quest for the Higgs boson that has recently come to fruition at Cern, for example, is a prime example of puzzle-solving because the existence of the particle was predicted by the prevailing paradigm, the so-called "standard model" of particle physics.
But what really set the cat among the philosophical pigeons was one implication of Kuhn's account of the process of paradigm change. He argued that competing paradigms are "incommensurable": that is to say, there exists no objective way of assessing their relative merits. There's no way, for example, that one could make a checklist comparing the merits of Newtonian mechanics (which applies to snooker balls and planets but not to anything that goes on inside the atom) and quantum mechanics (which deals with what happens at the sub-atomic level). But if rival paradigms are really incommensurable, then doesn't that imply that scientific revolutions must be based – at least in part – on irrational grounds? In which case, are not the paradigm shifts that we celebrate as great intellectual breakthroughs merely the result of outbreaks of mob psychology?
Kuhn's book spawned a whole industry of commentary, interpretation and exegesis. His emphasis on the importance of communities of scientists clustered round a shared paradigm essentially triggered the growth of a new academic discipline – the sociology of science – in which researchers began to examine scientific disciplines much as anthropologists studied exotic tribes, and in which science was regarded not as a sacred, untouchable product of the Enlightenment but as just another subculture.
As for his big idea – that of a "paradigm" as an intellectual framework that makes research possible –well, it quickly escaped into the wild and took on a life of its own. Hucksters, marketers and business school professors adopted it as a way of explaining the need for radical changes of world-view in their clients. And social scientists saw the adoption of a paradigm as a route to respectability and research funding, which in due course led to the emergence of pathological paradigms in fields such as economics, which came to esteem mastery of mathematics over an understanding of how banking actually works, with the consequences that we now have to endure.
The most intriguing idea, however, is to use Kuhn's thinking to interpret his own achievement. In his quiet way, he brought about a conceptual revolution by triggering a shift in our understanding of science from a Whiggish paradigm to a Kuhnian one, and much of what is now done in the history and philosophy of science might be regarded as "normal" science within the new paradigm. But already the anomalies are beginning to accumulate. Kuhn, like Popper, thought that science was mainly about theory, but an increasing amount of cutting-edge scientific research is data- rather than theory-driven. And while physics was undoubtedly the Queen of the Sciences when Structure… was being written, that role has now passed to molecular genetics and biotechnology. Does Kuhn's analysis hold good for these new areas of science? And if not, isn't it time for a paradigm shift?
In the meantime, if you're making a list of books to read before you die, Kuhn's masterwork is one.
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7992
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dbpedia
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1
| 81
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https://www.joabj.com/Writing/Tech/History/2204-Kuhn-Revolution.html
|
en
|
Thomas Kuhn: How to Spot a Revolution
|
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A short summary of The Structure of Scientific Revolutions by Thomas Kuhn
|
/Favicon.ico
|
Joab Jackson, Web site
|
http://www.joabj.com/Writing/Tech/History2204-Kuhn-Revolution.html
|
The first thing you notice is the anxiety, the growing frustration of small bits not quite fitting together like they should, an unease that what was taught to you is not entirely true.
Overall though, everything runs pretty well these days. Once, everything was possible, with different people trying wildly different experiments. Over time, however, we all converged on what is now known as The Way.
So for us here, today, our lot is to work out all out all the messy little details and edge cases. Specialists communicating with other specialists.
But then someone discovers something new. The discovery itself is attributed to a single person, but this is rarely true.
Discovery is a process. It builds on the observations of many people. But the spark itself can not be just built up through the analysis of existing facts alone. Someone, or perhaps several people in different locations, has a flash, an intuition about the way something works. Often it is born from observing some anomaly.
The discovery itself may at first seem laughably small, but it will soon tear the whole community asunder, people taking sides over this new thing is the Way Forward or not. It cannot be fit into the old way of doing things, and everything that is already known must be reevaluated with how it fits into this new discovery.
In communities both small and large, a discovery comes along that doesnât fit in with everything else the experts know. It doesn't fit with the fundamentals. And plank by plank, the older belief system will be torn up and replaced by planks of a new foundation.
Old data has to be reinterpreted by this new perspective. New instruments must be created to observe new forms of data, and even the old instruments can reveal new information. The world, to the observer, has been changed.
Those taking up for the new way are younger. They have less experience with the old ways, and less investment too. The older champions of the previous thing will either quietly convert. Or eventually die out. And the new way will come to see more normal, providing more answers than the old way, in how life works.
After awhile, the work behind these revolutions is all but forgotten. The work of previous generations is written into the dominant narrative as preparation for the groups of facts that we now know. History implies inevitability, the revolution is downplayed, in order for us to simplify our current set of beliefs.
In the realm of science, philosopher Thomas Kuhn, in his book "The Structure of Scientific Revolutions," defined a revolution as "those non-cumulative developmental episodes, in which an older paradigm is replaced, in whole or in part, by an incompatible newer one.â
In the history of science, these major shifts have happened with electricity, chemical engineering and with our understanding of how the universe works.
âAfter Copernicus, astronomers lived in a different world," Kuhn wrote.
Italian scientist Galileo Galilei saw the swinging motion of a chandelier and wondered about the underlying laws forces propelling the motion. This led to the concept of the pendulum, which proved to be useful in timekeeping. Later, John Dalton's Atomic Theory gave chemists an easy path to mathematically explain compounds in terms of their basic elements. In the early 16th century, astronomers realized their theories werenât explaining everything. This was just before Copernicus rejected the then-dominant theories of Ptolemy.
The old theories can be shown as flat-out wrong. But more often, they are seen as subsets of the new ideas. Technically speaking, Newtonian theory is wrong in light of Einsteinâs later postulation of relativity. Few believe that these days however. Instead, today it is seen as a special subset of Einsteinian relativity, using only the tools and the theories from Newton's time.
âLater scientific theories are better than earlier ones for solving puzzles, in often quite different environments to which they are applied," Kuhn wrote.
Tacit knowledge which is learned by doing science, rather than learning rules about doing science. In this way âNature and words are learned together,â Kuhn wrote. âInterpretation begins where perception ends.â
But interpretation requires prior experience and training. And so there is a social element to the progress of science as well, âthe manner in which a particular set of shared values interacts with the particular experiences shared by a community of specialists,â Kuhn noted.
Science aims to âbring theory and fact into closer agreement,â Kuhn writes. It is a competition of facts to see which ones best fit the theories.
This unrelenting way of looking forward is necessary, however. "A science that hesitates to forget its founders is lost," Alfred North Whitehead once said.
Quotes and Notes
âFor the far smaller professional group affected by them, Maxwellâs equations were as revolutionary as Einsteinâs, and they were resisted accordingly.â
âThe new theory implies a change in the rules governing the prior practice of normal science.â
âA new theory, however special its range of application, is seldom or never, just an increment to what is already known. Its assimilation requires a reconstruction of prior theory, and a reevaluation of prior fact.â i.e. the arrival of Oxygen or Xrays required âreevaluated traditional experimental procedures, altered its conception of entities with which it has long been familiar, and in the process, shifted the network of theory trough which it deals with the world.â
âThe results gained in normal research are significant because they add to the scope and precision with which the paradigm can be applied.â
âWhen scientists disagree about whether the fundamental problems of their fields have been solved, the search for rules gains a function that it does not ordinary possess.â When paradigms are secured, they do not need to be debated.
âNormal science does not aim at novelties of fact or theory, and when successful finds none. New and unsuspected phenomena are repeatedly uncovered by scientific research.â
âWe so readily assume that discovering, like seeing or touching, should be unequivocally attributed to an individual, and to a moment of time.â Both are rarely true.
What Lavoisier had âwas not so much the discovery of oxygen as the oxygen theory of combustion.â
Science aims to âbring theory and fact into closer agreement.â
An anomaly comes to seem to be more than just another puzzle of normal science. The transition to crisis, and to extraordinary science, has begun.â
âAll crises begin with a blurring of a paradigm, and a consequent loosening of the rules for normal research.â
The process of switching over is â¦âhandling the same bundle of data as before, but placing them in a new system of relations with one another, by giving them a different framework.â
âAlmost always, the men who achieved these fundamental inventions of a new paradigm have been either very young, or very new to the fieldâ ⦠they were âbeing little committed to prior practice to the traditional rules of normal science.â
âIn both political and scientific development, the sense of malfunction that can lead to crisis is prerequisite to revolution.â
âEach group uses its own paradigm to argue in that paradigmâs defense.â
âCumulative acquisition of unanticipated novelties proves to be an almost non-existent exception to scientific development.â
âToo many of the older histories of science, refer to only to that part of the work of past scientists that can easily be viewed as contributions to the statement and solution of the paradigmâs problems. Partly by selection and partly by distortion, the scientists of earlier ages are implicitly represented as having worked upon the same set of fixed problems.â
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2011-03-09T01:19:27+00:00
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This is conceived as an informal and spontaneous annex to my more extensive blog, Grand Strategy: The View from Oregon.
Subscribe to the Grand Strategy Newsletter for regular updates on work in progress.
Discord Invitation
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Intellectual Interlopers.—Philosophy is never systematically scientific, and science is never systematically philosophical. This is an annoyance and a frustration to the philosopher dipping into science, or for the scientist dipping into philosophy. What seems, prima facie, to be a hopeful start inevitably goes sideways as the idea is developed according to the discipline in which it appeared and thus veers away from the special interest of the intellectual interloper. Nevertheless, we need our intellectual interlopers to keep the dialogue between science and philosophy alive, and that means that we need thick-skinned philosophers willing to read science, and thick-skinned scientists willing to read philosophy, both of whom can tolerate the annoyance and overcome the frustration. The depth of the one is a divergence from the interest of the other, so that we only get a glimpse of the conceptual depth of science or philosophy when we can force ourselves to accept the discomfort of a way of thought foreign to our own.
Napoleon was one of the most consequential men of Western history. As such, he has served as a symbol and as an historical ideal, in Huizinga’s sense. But Napoleon meant many things to many men, so his use as a symbol is always ambiguous, and the many meanings that have been associated with the French Revolution and the Napoleonic Empire have never converged on a single vision of history.
Trichotomy of Awareness.—Of any action undertaken, there are aspects of that action of which the agent is self-aware, aspects of the action of which the agent is not aware, and aspects of the action that are an occasion of self-deception on the part of the agent (which latter self-deception we can understand as a kind of self-defeating awareness). If explicit awareness aligns with what is essential in the undertaking, while self-deception aligns with what is merely contingent in the undertaking, then the undertaking may succeed. If, however, explicit awareness aligns with what is merely contingent while self-deception aligns with what is essential, the undertaking will likely fail. Lack of awareness is the wildcard, the blindspot that attends both unlikely successes and unlikely failures, but the basic dichotomy of self-awareness and self-deception, and how they are distributed among the modalities of realization, can be a heuristic for demarcating sanity from madness.
The World to Come.—The world that follows us will be filled with the things that we made and left behind us, as well as much that we inherited and still remains. In this sense, the future will be familiar. In other ways, the future will be different in trivial but pervasive ways, so that the texture of ordinary life would not be recognizable to us. For example, after we die, there will be songs that become so popular that absolutely everyone knows them. They will be hummed, whistled, sung in the shower, played at weddings, and will work themselves into the ordinary business of life, becoming something that everyone knows, and we will not have heard any of them a single time. Perhaps such songs are already written, but have not yet found their way to recognition, like a book by some forgotten and impoverished soul that makes its author a posthumous success. Quotes from books like these will be as familiar as the popular tunes that we will never know.
The Permanent Possibility of Formalization.—Even if most reasoning is not fully formalized, knowing that reasoning can be formalized, and reasoning within the parameters of the possibility of formalization, exercises a formal regulatory function over reason. There is much that can go wrong, however, if we adopt this attitude too casually. We may imagine that, as we extrapolate our reasoning into unfamiliar theoretical territory that we are all the time reasoning within the parameters of the possibility of formalization even as we incrementally depart from these parameters. Thus it becomes necessary to regularly recur to full formalization under the changed and changing conditions of our reasoning. It is not enough to clarify the foundations of reasoning a single time, and then to move on to further constructions on this foundation. One must return to the foundations time and again to see how they are bearing up under the superstructure that is being erected upon them.
Pater’s book on the renaissance, first published in 1873 as Studies in the History of the Renaissance, and revised in 1877 as The Renaissance: Studies in Art and Poetry, culminated in a passionate philosophy of life based on the ideals of the renaissance, as Pater understood them from his Victorian perspective: “To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life.” But can this philosophy of life be translated into a philosophy of history?
Absolute Freedom and Absolute Responsibility.—There is no greater freedom than to experience the complete and utter indifference of others. As a result, one knows a kind of vertigo in the face of absolute freedom that is disorienting and liable to lead to giddiness and confusion. At the same time, there is no greater burden than absolute freedom, as absolute freedom means absolute responsibility. The burden of absolute freedom that has been exchanged for the good opinion of others is experienced as a profound alienation from all that had previously held meaning and value, and which meaning and value one must now supply out of oneself. To dredge from the depths of one’s being the substance of life necessary to go on another day is to daily risk the exhaustion of one’s resources. One must become, at the deepest level, ontologically productive, or be consumed by the effort.
The Fickle Masses.—There is a tension in historical explanation between regarding the populace as lazy and easily placated with bread and circuses, on the one hand, while, on the other hand, regarding the populace as easily provoked and liable to riot at any time. Of course, these two positions are not difficult to reconcile: the populace may be both easy to placate and easy to provoke, always balancing on a knife-edge of uncertainty and able to shift suddenly on an apparently insignificant pretext—a late shipment of bread or a commotion at the games might be sufficient to upset the delicate balance.
Popper’s philosophy of history, expressed his The Open Society and Its Enemies in 1945 and The Poverty of Historicisim in 1957, can be understood as an application of his conception of knowledge, worked out in his philosophy of science, to history and the social sciences, which he equates as both being illicitly involved in a project of attempting to make historical predictions. Denying the possibility of prediction in history, Popper argued again historical determinism and inevitability.
Two Routes to Knowledge.—We can arrive at knowledge through discipline or through love. Discipline yields knowledge without sympathy, remaining blind to much that has inspired the knowledge in question. Love yields understanding without distance, and so tends to distort its object to conform to our desires. It is only when discipline gives way to love or love converges on discipline that knowledge is true to its object.
Kuhn wrote an extraordinarily influential book, The Structure of Scientific Revolutions, first published in 1962, which thereafter changed the way that history and philosophy of science were pursued. Strangely enough, this book appeared in a series of monographs, The International encyclopedia of Unified Science, which was a logical empiricist undertaking, which today seems as dated as Kuhn’s work seems timely. It is ironically appropriate that Kuhn’s work on paradigm shifts appeared within an organ intended to contribute to a paradigm that Kuhn would undermine.
Benjamin is primarily known to philosophy of history through a short essay which was the last he wrote before he killed himself, “On the Concept of History,” though some of his earlier works also betray an interest in history. As a Marxist, Benjamin was explicit in his historical materialism, though he diverges from Marx on several important points. Even as he took over Bloch’s interest in messianism, his work prefigured much that was to come in literary theory.
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Thomas Samuel Kuhn; Author, Scientific Historian
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[
"L.A. Times Archives"
] |
1996-06-21T00:00:00
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Thomas Samuel Kuhn, 73, a philosopher and popular author on the history of science and technology.
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/archives/la-xpm-1996-06-21-mn-17167-story.html
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Thomas Samuel Kuhn, 73, a philosopher and popular author on the history of science and technology. Born in Cincinnati, Kuhn studied physics at Harvard and taught there and at UC Berkeley, Princeton and the Massachusetts Institute of Technology. His 1962 book, “The Structure of Scientific Revolution,” was printed in a dozen languages and sold 1 million copies. Kuhn was also remembered for his 1957 book “The Copernican Revolution.” On Monday in Cambridge, Mass., of cancer.
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https://www.ask-oracle.com/birth-chart/thomas-kuhn/
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Thomas Kuhn Age, Birthday, Zodiac Sign and Birth Chart
|
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2010-06-25T09:37:49+00:00
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Astrology details of Thomas Kuhn such as age, birthday, zodiac sign, and natal chart. Analyze their birth chart and kundli to understand their personality and cause of death through astrology.
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en
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Ask Oracle
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https://www.ask-oracle.com/birth-chart/thomas-kuhn/
|
Zodiac Sign (Western)
Cancer
Sunsign, Tropical Zodiac
Zodiac Sign (Vedic)
Aries
Moonsign, Sidereal Zodiac
Age (Today)
102 years, 1 month
Your next birthday is 333 days away.
Birthday
Tuesday, July 18, 1922
Death Anniversary
Monday, June 17, 2024
Next death anniversary is 62 days away.
Death Date
June 17, 1996
Place of Birth
Cincinnati
Time Zone - America/New_York (4:0 W)
Chinese Zodiac Sign
Dog (狗)
Birth Number
9
Life Path Number
3
Name Number (Chaldean)
42 => 6
Name Number (Pythagorean)
4
Meaning of the name - Thomas
twin
Read Full Thomas Name Analysis
July 18, 1922 Facts
Generation Group
Thomas Kuhn belongs to the GI Generation group.
Place of Birth: Cincinnati
Place of Death: Cambridge
Cause of Death: lung cancer
Educated At: Hessian Hills School | Taft School | Harvard University
Occupation: philosopher of science | historian of science | university teacher | physicist
Spouses: Jehane Barton Burns | Kathryn Muhs
Children:
Employers: University of California, Berkeley | Massachusetts Institute of Technology | Princeton University | Harvard University
Awards Received: John Desmond Bernal Prize | honorary doctor of the University of Padua | George Sarton Medal | Guggenheim Fellowship
Astrology Analysis
Western Astrology Chart
North Indian Kundli
Ephemeris for July 18, 1922
Note: Moon position is location and time sensitive.
Planet Position (Tropical, Western) Transits on July 18, 2024 Secondary Progressions for July 18, 2024 Sun 25 Cancer 13 26 Cancer 31 4 Scorpio 27 Moon 11 Taurus 18 20 Sagittarius 50 17 Aquarius 6 Mercury 6 Cancer 19 23 Leo 8 16 Libra 15 Venus 4 Virgo 6 8 Leo 35 8 Sagittarius 54 Mars 11 Sagittarius 6 28 Taurus 29 28 Capricorn 32 Jupiter 11 Libra 16 11 Gemini 53 0 Scorpio 11 Saturn 3 Libra 6 19 Pisces 3 14 Libra 10 Uranus 13 Pisces 14 26 Taurus 27 9 Pisces 52 Neptune 14 Leo 54 29 Pisces 51 18 Leo 1 Pluto 9 Cancer 58 0 Aquarius 57 11 Cancer 9 Rahu 3 Libra 9 10 Aries 18 27 Virgo 44 Ketu 3 Aries 9 10 Libra 18 27 Pisces 44
More For Cancer
Free Horoscopes
Love Compatibility
Personality Traits
Cancer Man
Cancer Woman
Chandra Kundali (Equal House, North Indian Diamond Chart)
Astrology Transits Analysis for Year 2024
Note: Multiple transits occurring in close proximity often signify a major event in a person's life.
Thomas Kuhn's 2024 Transits to Natal Planets
Jupiter trine Venus
Exact: 01 January, 2024
Saturn opposition Venus
Exact: 21 January, 2024
Jupiter conjunction Moon
Exact: 01 March, 2024
Saturn sextile Moon
Exact: 21 March, 2024
Saturn square Mars
Exact: 21 March, 2024
Mars square Mercury
Exact: 10 May, 2024
Jupiter trine Saturn
Exact: 09 June, 2024
Jupiter trine Rahu
Exact: 09 June, 2024
Ketu conjunction Jupiter
Exact: 09 June, 2024
Jupiter opposition Mars
Exact: 19 July, 2024
Jupiter trine Jupiter
Exact: 19 July, 2024
Mars conjunction Mercury
Exact: 17 September, 2024
Saturn square Mars
Exact: 16 November, 2024
Rahu conjunction Ketu
Exact: 16 November, 2024
Ketu conjunction Saturn
Exact: 16 November, 2024
Ketu conjunction Rahu
Exact: 16 November, 2024
Saturn sextile Moon
Exact: 16 November, 2024
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Thomas Samuel Kuhn
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Assessment | Biopsychology | Comparative | Cognitive | Developmental | Language | Individual differences | Personality | Philosophy | Social | Methods | Statistics | Clinical | Educational | Industrial | Professional items | World psychology | Philosophy Index: Aesthetics · Epistemology · Ethics...
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en
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Psychology Wiki
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https://psychology.fandom.com/wiki/Thomas_Samuel_Kuhn
|
Assessment | Biopsychology | Comparative | Cognitive | Developmental | Language | Individual differences | Personality | Philosophy | Social |
Methods | Statistics | Clinical | Educational | Industrial | Professional items | World psychology |
Philosophy Index: Aesthetics · Epistemology · Ethics · Logic · Metaphysics · Consciousness · Philosophy of Language · Philosophy of Mind · Philosophy of Science · Social and Political philosophy · Philosophies · Philosophers · List of lists
Thomas Samuel Kuhn (July 18, 1922 – June 17, 1996) was an American intellectual who wrote extensively on the history of science and developed several important notions in the philosophy of science.
Life[]
Descendant of a [Jewish family, Kuhn was born in Cincinnati, Ohio to Samuel L. Kuhn, an industrial engineer, and Minette Stroock Kuhn. He obtained his bachelor's degree in physics from Harvard University in 1943, his master's in 1946 and Ph.D. in 1949, and taught a course in the history of science there from 1948 until 1956 at the suggestion of Harvard president James Conant. After leaving Harvard, Kuhn taught at the University of California, Berkeley in both the philosophy department and the history department, being named Professor of the History of Science in 1961. In 1964 he joined Princeton University as the M. Taylor Pyne Professor of Philosophy and History of Science. In 1979 he joined the Massachusetts Institute of Technology (MIT) as the Laurance S. Rockefeller Professor of Philosophy, remaining there until 1991.
Kuhn was named a Guggenheim Fellow in 1954, and in 1982 was awarded the George Sarton Medal in the History of Science. He was also awarded numerous honorary doctorates.
He suffered cancer of the bronchial tubes for the last two years of his life and died Monday June 17 1996. He was survived by his wife Jehane R. Kuhn, his ex-wife Kathryn Muhs Kuhn, and their three children, Sarah, Elizabeth and Nathaniel.
The Structure of Scientific Revolutions (1962)[]
Thomas Kuhn is most famous for his book The Structure of Scientific Revolutions (SSR) (1962) in which he presented the idea that science does not evolve gradually toward truth, but instead undergoes periodic revolutions which he calls "paradigm shifts." The enormous impact of Kuhn's work can be measured in the revolution it brought about even in the vocabulary of the history of science: besides "paradigm shifts," Kuhn raised the word "paradigm" itself from a term used in certain forms of linguistics to its current broader meaning, coined the term "normal science" to refer to the relatively routine, day-to-day work of scientists working within a paradigm, and was largely responsible for the use of the term "scientific revolutions" in the plural, taking place at widely different periods of time and in different disciplines, as opposed to a single "Scientific Revolution" in the late Renaissance.
In France, Kuhn's conception of science has been related to Michel Foucault (with Kuhn's paradigm corresponding to Foucault's episteme) and Louis Althusser, although both are more concerned by the historical conditions of possibility of the scientific discourse - which Judith Butler calls "the limits of acceptable discourse". Thus, they do not consider science as isolated from society as they argue that Kuhn does. In contrast to Kuhn, Althusser's conception of science is that it is cumulative, even though this cumulativity is discontinuous (see his concept of "epistemological break") whereas Kuhn considers various paradigms as incommensurable.
Bibliography[]
The Copernican Revolution (Cambridge, MA: Harvard University Press, 1957)
Kuhn, T.S. (1961). The function of measurement in modern physical science. ISIS, 52, 161-193.
The Structure of Scientific Revolutions (Chicago: University of Chicago Press, 1962) (ISBN 0226458083)
The Essential Tension: Selected Studies in Scientific Tradition and Change (1977)
Black-Body Theory and the Quantum Discontinuity, 1894-1912 (Chicago, 1987) (ISBN 0226458008)
The Road Since Structure: Philosophical Essays, 1970-1993 (Chicago: University of Chicago Press, 2000) (ISBN 0226457982)
See also[]
Important publications in philosophy of science
History and philosophy of science
[]
Thomas Kuhn (Biography, Outline of Structure of Scientific Revolutions)
Thomas Kuhn, 73; Devised Science Paradigm (obituary by Lawrence Van Gelder, New York Times, 19 June 1996)
Thomas S. Kuhn (obituary, The Tech p9 vol 116 no 28, 26 June 1996)
Thomas Kuhn at the Stanford Encyclopedia of Philosophy
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Hodge Funeral Home
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Funeral Home in Princeton, NJ Providing Professional Funeral Services in Mercer, Middlesex, and Somerset Counties. Family Owned an... Learn More
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https://s3.amazonaws.com/fh-content/release/Content/Media/Mather-HodgeFuneralHome/favicon.ico
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Thomas Kuhn on the Structure of Scientific Revolutions
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Part of a Series on the Philosophy of History
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Thursday 18 July 2024 is the 102nd anniversary of the birth of Thomas Kuhn (18 July 1922 – 17 June 1996), who was born in Cincinnati on this date in 1922.
Kuhn isn’t remembered as a philosopher of history, but rather as a philosopher and an historian of science. However, if all histories embody some philosophy of history, whether or not this philosophy is made explicit—and this is an argument that has been made by Hayden White, another others—then Kuhn’s history of science is, at the same time, a philosophy of history. We can find a hint of the philosophical problems of historiography in one of Kuhn’s essays in his book The Essential Tension, the first chapter of that book, titled, “The Relations between the History and the Philosophy of Science”:
“During my days as a philosophically inclined physicist, my view of history resembled that of the covering law theorists, and the philosophers in my seminars usually begin by viewing it in a similar way. What changed my mind and often changes theirs is the experience of putting together a historical narrative. That experience is vital, for the difference between learning history and doing it is far larger than that in most other creative fields, philosophy certainly included.”
Kuhn is here referring to Carl Hempel’s covering law model of historical explanation, which was, in the middle of the twentieth century, the reigning analytical philosophy of history. Kuhn says that it was the experience of actually assembling a historical narrative that changed his view of the covering law model. Kuhn’s conversion away from the covering law model employs a distinction between learning history and doing history, and the gap between the two. What exactly is doing history, and how does this differ from learning history? Presumably doing history would be writing history, or teaching history… it could even mean studying history, though the latter would also seem count as learning history. Certainly there is some ambiguity as to whether the study of a discipline is the same as learning it or the same as doing it, or a bit of both. In the above, for Kuhn doing history is “putting together a historical narrative.”
In several episodes I have remarked how much analytical philosophy of history was changed by the work of Arthur Danto, who made the logic of narrative sentences central to his analytical philosophy of history. But even before Danto, as with Morton White, and, independently of Danto, as with Haskell Fain, others in the analytical philosophy community were beginning to converge on narrative as the essential feature of history. I could argue that this had to happen because one of the reasons that it has been argued that history is not a science, and cannot be a science, is that it is formulated as a prose narrative, and not as mathematically expressed laws of history. If analytical philosophy were to have it own philosophy of history, then someone had to offer a theory of the narrative structure of history. The alternative is to abandon history entirely, as in the Cartesian tradition, and to follow Quine’s dictum that philosophy of science is philosophy enough. Not only does that impoverish philosophy, but it also leaves unanswered the status of valid claims of historical knowledge now utterly disconnected from science.
Continuing the above quote from Kuhn,
“From it I conclude, among other things, that an ability to predict the future is no part of the historian’s arsenal. He is neither a social scientist nor a seer. It is no mere accident that he knows the end of his narrative as well as the start before he begins to write. History cannot be written without that information. Though I have no alternate philosophy of history or of historical explanation to offer here, I can at least outline a better image of the historian’s task and suggest why its performance might produce a sort of understanding.”
Kuhn here explicitly disavows having formulated any philosophy of history. At the same time he suggests that doing history may produce a sort of understanding. Is this the sort of understanding that we derive (or can hope to derive) from a philosophy of history, or is it something entirely different? Is a philosophical understanding of history best to be had from putting together an historical narrative, or critiquing how historians go about assembling an historical narrative? Is Kuhn’s better image of the historian’s task a source of this understanding?
What is Kuhn’s better image of the historian’s task? In another essay from The Essential Tension, “The Historical Structure of Scientific Discovery,” Kuhn tells us that we need new terms and new concepts to do justice to this history of science:
“…we need a new vocabulary and new concepts for analyzing events like the discovery of oxygen. Though undoubtedly correct, the sentence ‘Oxygen was discovered’ misleads by suggesting that discovering something is a single simple act unequivocally attributable, if only we knew enough, to an individual and an instant in time. When the discovery is unexpected, however, the latter attribution is always impossible and the former often is as well… we can, for example, safely say that oxygen had not been discovered before 1774; probably we would also insist that it had been discovered by 1777 or shortly thereafter. But within those limits any attempt to date the discovery or to attribute it to an individual must inevitably be arbitrary.”
What exactly is going on here in this discussion of the discovery of oxygen? What motivates Kuhn’s desire to show us the complexity behind what has often been considered to be a relatively straight-forward question about the discovery of oxygen? Historians have reacted badly to criticism of past history of science as being an heroic narrative. The idea that Lavoisier discovered oxygen or that Newton discovered the laws of gravitation is considered problematic, because a fine-grained account of scientific discovery is more complicated than that. Telling the story of the history of science as a narrative of great men like Lavoisier or Newton is now derided as “scientific hagiography,” as though scientist’s biographies were being written like saints lives.
In my previous episode on Walter Benjamin I mentioned Nietzsche’s three kinds of history, the monumental, the antiquarian, and the critical. Benjamin’s history was critical, and he was especially critical of historicism, which I characterized as being something like what Nietzsche called antiquarian history. Traditional history of science, in contrast, is monumental history, which builds up great figures of science as models to emulate—heroes of science as it were, to be revered. Kuhn was part of the reaction against this. In the previously quoted passage, Kuhn was effectively deconstructing the traditional narrative of the discovery of oxygen, and showing how this discovery might be credited not to Lavoisier, but to Carl Scheele or Joseph Priestley. Kuhn also discusses this example in The Structure of Scientific Revolutions. Continuing with the quote,
“Furthermore, it must be arbitrary just because discovering a new sort of phenomenon is necessarily a complex process which involves recognizing both that something is and what it is. Observation and conceptualization, fact and the assimilation of fact to theory, are inseparably linked in the discovery of scientific novelty. Inevitably, that process extends over time and may often involve a number of people. Only for discoveries in my second category—those whose nature is known in advance—can discovering that and discovering what occur together and in an instant.”
This is true, of course, and monumental histories of science give us a simplified version of history because the simplified version is the easy one to hold in mind. We always understood that if we wanted to get the details, then we would go to the monographic literature, and there we could find it spelled out in excruciating detail of the kind for which most of us do not possess the patience. Histories of science starting in the second half of the twentieth century wanted to put the details of the monographic literature front and center, so that no one mistakes a complex problem for a simpler problem. In this way, Kuhn is part of what we may call the complexification of the history of science, not cutting corners, and not making any concessions of convenience of exposition.
Kuhn is also part of the relativization of science and the history of science. This is not unrelated to the rejection of a monumental history of science. Monumental histories of science not only give us larger-than-life heroes of science, they also give us an edifying ideal of scientific knowledge to which to aspire. That ideal, which is part of the positivist legacy, is that, after humanity had been bumbling and fumbling around in the dark for millennia, finally modern science appeared, and for the first time in history we have positive knowledge of the world—not mere theological claims about the world that we got from religion from the earliest days of human societies, and not metaphysical claims about the world that we got from philosophy. Positive science finally gave us positive knowledge of the world, and this was a creed that could inspire further triumphs in scientific knowledge. This was the gospel of positivism, and monumental histories of science gave us this gospel not only as a possession for the ages, but also that we might also go forth and do the good work of science.
When this 19th century doctrine of the positive knowledge of science was being formulated by Auguste Comte, there were already rumblings elsewhere of heresies against this gospel. In the 19th century, Russian philosopher Nikolay Danilevsky argued that different cultural-historical types had distinct scientific traditions. In the early twentieth century, Oswald Spengler went further than Danilevsky and argued that different civilizations had wholly different sciences that are incommensurable (like Kuhnian paradigms).
Later in the twentieth century, Kuhn argued that different sciences belong not to different cultures or different civilizations or different regions, but to different ages, to different periods of our history. These periods are separated by paradigm shifts, in which our conception of what counts as evidence, what counts as a valid argument, what phenomena we ought to account for in an explanation changes. Between these paradigm shifts, science drifts downstream without any great changes. Kuhn calls this normal science. The practice of normal science comes close to being what we have conventionally understood to be the history of science. It is slow and painstaking research that cumulatively builds up results. Kuhn called normal science an exercise in puzzle solving:
“Bringing a normal research problem to a conclusion is achieving the anticipated in a new way, and it requires the solution of all sorts of complex instrumental, conceptual, and mathematical puzzles. The man who succeeds proves himself an expert puzzle-solver, and the challenge of the puzzle is an important part of what usually drives him on.” (p. 36)
Normal science is also the elaboration of what Kuhn calls a paradigm. In the sequent literature on Kuhn the idea of a paradigm has been very influential, but it has also been controversial. Even philosophers and historians who liked Kuhn’s book and wanted to extend his work were troubled by Kuhn’s various uses of “paradigm,” which seemed to suggest different meanings in different contexts. Here is an exposition of the paradigms from the very beginning of The Structure of Scientific Revolutions:
“Aristotle's Physica, Ptolemy’s Almagest, Newton's Principia and Opticks, Franklin's Electricity, Lavoisier’s Chemistry, and Lyell’s Geology—these and many other works served for a time implicitly to define the legitimate problems and methods of a research field for succeeding generations of practitioners. They were able to do so because they shared two essential characteristics. Their achievement was sufficiently unprecedented to attract an enduring group of adherents away from competing modes of scientific activity. Simultaneously, it was sufficiently open-ended to leave all sorts of problems for the redefined group of practitioners to resolve.” (p. 10)
But a change in perspective can turn a puzzle that we try to solve within the existing paradigm into a problem, a counter-example to the paradigm. This is an anomaly, and as anomalies build up, it pushes the paradigm into a model crisis. What happens when a paradigm is assailed by unsolved anomalies? Kuhn says that science without a paradigm isn’t science at all, so the crisis for one paradigm becomes an opportunity for another paradigm:
“The decision to reject one paradigm is always simultaneously the decision to accept another, and the judgment leading to that decision involves the comparison of both paradigms with nature and with each other.” (p. 77)
Thus we arrive at the famous “paradigm shift” which found its way into popular culture not long after Kuhn formulated the idea. Paradigm change then makes it possible for us to go back to the workaday business of normal science, except that now we are elaborating a new paradigm instead of the old, now abandoned paradigm. This sequence of steps in the history of science is now called the Kuhn cycle. Since Kuhn has been so influential, the idea of the Kuhn cycle has been taken over by any number of expositors and commentators, who have smoothed out the rough spots and made the sequence more schematic. In its most schematic form the Kuhn cycle has been glossed as consisting of: normal science, model drift, model crisis, model revolution, paradigm change, and normal science again.
The Kuhn cycle is an example of a speculative philosophy of the history of science. The idea of a speculative philosophy of the history of science I take from Haskell Fain. In my episode on Haskell Fain I quoted Fain from his 1970 book Between Philosophy and History: The Resurrection of Speculative Philosophy of History Within the Analytic Tradition:
“What positivism lacked, I contend, was a penetrating speculative philosophy of the history of science, the encouragement to fashion story-lines upon which better histories of science could be constructed. Just as there is more to history than orthodox political history, so is there more to speculative philosophy of history than Hegel’s philosophy of history, which is, essentially, a speculative philosophy of political history. Each kind of history requires its own kind of speculative philosophy of history.”
This book appeared in the same year as the second edition of Kuhn’s The Structure of Scientific Revolutions. Kuhn is mentioned in Fain’s Suggestions for Further Reading, but Kuhn’s work is not discussed in the book. In effect, Fain was predicting work like Kuhn’s even as Kuhn’s work had already appeared.
A reductionist account of Kuhn’s philosophy is that scientific progress is not cumulative, but proceeds in fits and starts, with many losses along the way. There is an ongoing debate among Kuhn’s heirs as to whether theory change in science is ultimately a rational process, even if non-linear, or if it is ultimately an irrational process, essentially arbitrary, and without deeper meaning or coherent directionality. Another way to put this, perhaps a more tendentious formulation, is that Kuhn was denying that there is progress in science. As we have seen in many episodes, progress has been a particular point of contention in modern history. Condorcet’s Enlightenment history of human thought was entirely constructed around the progress of the human mind.
During the twentieth century, the idea of progress came under sustained attack, until no one dared to suggest that progress of any kind characterizes history. Not only, then, is Kuhn part of the critique of the monumental history of science, and part of the relativization of scientific knowledge such as was earlier seen in Danilevsky and Spengler, Kuhn was also a part of the critique of progress. So although Kuhn’s work came as a great shock to many when it was published, especially to historians of science, we can see that the shock value of Kuhn’s philosophy consisted not in saying what had never before been said, but rather in making these ideas fully explicit and offering detailed historical and philosophical arguments for his positions.
On the last page of the book Kuhn places his work in the context of some of the larger questions that it engages, some of which he suggests are partially resolved by this approach, and some of which remain open:
“What must nature, including man, be like in order that science be possible at all? Why should scientific communities be able to reach a firm consensus unattainable in other fields? Why should consensus endure across one paradigm change after another? And why should paradigm change invariably produce an instrument more perfect in any sense than those known before? From one point of view those questions, excepting the first, have already been answered. But from another they are as open as they were when this essay began. It is not only the scientific community that must be special. The world of which that community is a part must also possess quite special characteristics, and we are no closer than we were at the start to knowing what these must be. That problem—What must the world be like in order that man may know it?—was not, however, created by this essay. On the contrary, it is as old as science itself, and it remains unanswered.” (p. 173)
So Kuhn leaves us with a very open-ended conclusion, and even those who accept his innovations in the history of science have before them the task of answering this questions from the point of view from which they remain unanswered. This isn’t actually how Kuhn scholarship has developed since the book was published, but it remains open as a potential avenue of contribution for anyone who wanted to take up the burden where Kuhn laid it down.
Video Presentation
https://odysee.com/@Geopolicraticus:7/thomas-kuhn-on-the-structure-of:7
https://rumble.com/v57f0ph-thomas-kuhn-on-the-structure-of-scientific-revolutions.html
Podcast Edition
https://spotifyanchor-web.app.link/e/L5I4QSdpkLb
https://music.amazon.com/podcasts/a31b8276-53cd-4723-b6ad-a39c8faa4572/episodes/5efd2b3a-f15f-4212-8cb1-b2be51abd5a9/today-in-philosophy-of-history-thomas-kuhn-on-the-structure-of-scientific-revolutions
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https://www.arnoldfuneralhome.com/obituary/Thomas-Kuhn
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Arnold Funeral Homes - Canton, OH
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Obituary for Thomas H. Kuhn | Thomas H. Kuhn age 69, of Marlboro, passed away comfortably at home with family at his side on April 20th after an extended illness. Tom was born in Canton to Richard and Eileen (Wise) Kuhn....
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Thomas Kuhn Obituary | April 20, 2019 | Arnold Funeral Homes - Canton, OH
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https://www.arnoldfuneralhome.com/obituary/Thomas-Kuhn
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Thomas H. Kuhn age 69, of Marlboro, passed away comfortably at home with family at his side on April 20th after an extended illness. Tom was born in Canton to Richard and Eileen (Wise) Kuhn. Tom graduated from Jackson High School in 1968. He earned a Bachelor of Arts and Master of Science at Western State University in Gunnison, Colorado. He enjoyed camping with family, gardening, and watching baseball. He retired from The Ohio Department of Health in 2015. He was a member of Celebration Worship Center in Hartville.
He was preceded in death by his father, Richard Kuhn. He is survived by his wife, Kathy of 46 years; and two sons, Bryan Kuhn (Jessica), and Eric Kuhn; Granddaughter, Charlotte; mother, Eileen Kehoe; brother, Jack (Kristy) Kuhn; and two sisters Jan Kuhn (Steve Smith), and Leeann Kehoe. Along with many other loved family members.
Tom had a wonderful sense of humor and a kind heart. He lived to make others laugh. He will be greatly missed by all that knew him.
In lieu of calling hours, a celebration of life at Celebration Worship Center in Hartville will be May 25th from 2-4pm.
John 14:2-3 My Father’s house has many rooms; if that were not so, would I have told you that I am going there to prepare a place for you? And if I go and prepare a place for you, I will come back and take you to be with me that you also may be where I am.
A special thanks to Crossroads Hospice Care and Celebration Worship Center of Hartville.
Arnold 330-877-9364
www.arnoldfuneralhome.com
Celebration of Life
Celebration Worship Center
Saturday, May 25, 2019
2:00 PM - 4:00 PM
Email Details
414 S. Prospect Ave.
Hartville, OH 44632
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Thomas Kuhn's Structure of Scientific Revolutions
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The Structure of Scientific Revolutions
by Thomas S. Kuhn
A Synopsis from the original by Professor Frank Pajares
From the Philosopher's Web Magazine
I Introduction
A scientific community cannot practice its trade without some set of received beliefs. These beliefs form the foundation of the "educational initiation that prepares and licenses the student for professional practice". The nature of the "rigorous and rigid" preparation helps ensure that the received beliefs are firmly fixed in the student's mind. Scientists take great pains to defend the assumption that scientists know what the world is like...To this end, "normal science" will often suppress novelties which undermine its foundations. Research is therefore not about discovering the unknown, but rather "a strenuous and devoted attempt to force nature into the conceptual boxes supplied by professional education".
A shift in professional commitments to shared assumptions takes place when an anomaly undermines the basic tenets of the current scientific practice These shifts are what Kuhn describes as scientific revolutions - "the tradition-shattering complements to the tradition-bound activity of normal science" New assumptions –"paradigms" - require the reconstruction of prior assumptions and the re-evaluation of prior facts. This is difficult and time consuming. It is also strongly resisted by the established community.
II The Route to Normal Science
So how are paradigms created and what do they contribute to scientific inquiry?
Normal science "means research firmly based upon one or more past scientific achievements, achievements that some particular scientific community acknowledges for a time as supplying the foundation for its further practice". These achievements must be sufficiently unprecedented to attract an enduring group of adherents away from competing modes of scientific activity and sufficiently open-ended to leave all sorts of problems for the redefined group of practitioners (and their students) to resolve. These achievements can be called paradigms. Students study these paradigms in order to become members of the particular scientific community in which they will later practice.
Because the student largely learns from and is mentored by researchers "who learned the bases of their field from the same concrete models" there is seldom disagreement over fundamentals. Men whose research is based on shared paradigms are committed to the same rules and standards for scientific practice. A shared commitment to a paradigm ensures that its practitioners engage in the paradigmatic observations that its own paradigm can do most to explain. Paradigms help scientific communities to bound their discipline in that they help the scientist to create avenues of inquiry, formulate questions, select methods with which to examine questions, define areas of relevance. and establish or create meaning. A paradigm is essential to scientific inquiry - "no natural history can be interpreted in the absence of at least some implicit body of intertwined theoretical and methodological belief that permits selection, evaluation, and criticism".
How are paradigms created, and how do scientific revolutions take place? Inquiry begins with a random collection of "mere facts" (although, often, a body of beliefs is already implicit in the collection). During these early stages of inquiry, different researchers confronting the same phenomena describe and interpret them in different ways. In time, these descriptions and interpretations entirely disappear. A pre-paradigmatic school appears. Such a school often emphasises a special part of the collection of facts. Often, these schools vie for pre-eminence.
From the competition of these pre-paradigmatic schools, one paradigm emerges - "To be accepted as a paradigm, a theory must seem better than its competitors, but it need not, and in fact never does, explain all the facts with which it can be confronted", thus making research possible. As a paradigm grows in strength and in the number of advocates, the other pre-paradigmatic schools or the previous paradigm fade.
A paradigm transforms a group into a profession or, at least, a discipline. And from this follow the formation of specialised journals, foundation of professional bodies and a claim to a special place in academe. There is a promulgation of scholarly articles intended for and "addressed only to professional colleagues, [those] whose knowledge of a shared paradigm can be assumed and who prove to be the only ones able to read the papers addressed to them".
III - The Nature of Normal Science.
If a paradigm consists of basic and incontrovertible assumptions about the nature of the discipline, what questions are left to ask?
When they first appear, paradigms are limited in scope and in precision. But more successful does not mean completely successful with a single problem or notably successful with any large number. Initially, a paradigm offers the promise of success. Normal science consists in the actualisation of that promise. This is achieved by extending the knowledge of those facts that the paradigm displays as particularly revealing, increasing the extent of the match between those facts and the paradigm's predictions, and further articulation of the paradigm itself.
In other words, there is a good deal of mopping-up to be done. Mop-up operations are what engage most scientists throughout their careers. Mopping-up is what normal science is all about! This paradigm-based research is "an attempt to force nature into the pre-formed and relatively inflexible box that the paradigm supplies". No effort is made to call forth new sorts of phenomena, no effort to discover anomalies. When anomalies pop up, they are usually discarded or ignored. Anomalies are usually not even noticed and no effort is made to invent a new theory (and there’s no tolerance for those who try). Those restrictions, born from confidence in a paradigm, turn out to be essential to the development of science. By focusing attention on a small range of relatively esoteric problems, the paradigm forces scientists to investigate some part of nature in a detail and depth that would otherwise be unimaginable" and, when the paradigm ceases to function properly, scientists begin to behave differently and the nature of their research problems changes.
IV - Normal Science as Puzzle-solving.
Doing research is essentially like solving a puzzle. Puzzles have rules. Puzzles generally have predetermined solutions.
A striking feature of doing research is that the aim is to discover what is known in advance. This in spite of the fact that the range of anticipated results is small compared to the possible results. When the outcome of a research project does not fall into this anticipated result range, it is generally considered a failure.
So why do research? Results add to the scope and precision with which a paradigm can be applied. The way to obtain the results usually remains very much in doubt - this is the challenge of the puzzle. Solving the puzzle can be fun, and expert puzzle-solvers make a very nice living. To classify as a puzzle (as a genuine research question), a problem must be characterised by more than the assured solution, but at the same time solutions should be consistent with paradigmatic assumptions.
Despite the fact that novelty is not sought and that accepted belief is generally not challenged, the scientific enterprise can and does bring about unexpected results.
V - The Priority of Paradigms.
The paradigms of a mature scientific community can be determined with relative ease. The "rules" used by scientists who share a paradigm are not so easily determined. Some reasons for this are that scientists can disagree on the interpretation of a paradigm. The existence of a paradigm need not imply that any full set of rules exist. Also, scientists are often guided by tacit knowledge - knowledge acquired through practice and that cannot be articulated explicitly. Further, the attributes shared by a paradigm are not always readily apparent.
Paradigms can determine normal science without the intervention of discoverable rules or shared assumptions. In part, this is because it is very difficult to discover the rules that guide particular normal-science traditions. Scientists never learn concepts, laws, and theories in the abstract and by themselves. They generally learn these with and through their applications. New theory is taught in tandem with its application to a concrete range of phenomena.
Sub-specialties are differently educated and focus on different applications for their research findings. A paradigm can determine several traditions of normal science that overlap without being coextensive. Consequently, changes in a paradigm affect different sub-specialties differently. "A revolution produced within one of these traditions will not necessarily extend to the others as well".
When scientists disagree about whether the fundamental problems of their field have been solved, the search for rules gains a function that it does not ordinarily possess .
VI - Anomaly and the Emergence of Scientific Discoveries.
If normal science is so rigid and if scientific communities are so close-knit, how can a paradigm change take place? Paradigm changes can result from discovery brought about by encounters with anomaly.
Normal science does not aim at novelties of fact or theory and, when successful, finds none. Nonetheless, new and unsuspected phenomena are repeatedly uncovered by scientific research, and radical new theories have again and again been invented by scientists . Fundamental novelties of fact and theory bring about paradigm change. So how does paradigm change come about? There are two ways: through discovery - novelty of fact - or by invention – novelty of theory. Discovery begins with the awareness of anomaly - the recognition that nature has violated the paradigm-induced expectations that govern normal science. The area of the anomaly is then explored. The paradigm change is complete when the paradigm has been adjusted so that the anomalous become the expected. The result is that the scientist is able "to see nature in a different way".. How paradigms change as a result of invention is discussed in greater detail in the following chapter.
Although normal science is a pursuit not directed to novelties and tending at first to suppress them, it is nonetheless very effective in causing them to arise. Why? An initial paradigm accounts quite successfully for most of the observations and experiments readily accessible to that science's practitioners. Research results in the construction of elaborate equipment, development of an esoteric and shared vocabulary, refinement of concepts that increasingly lessens their resemblance to their usual common-sense prototypes. This professionalisation leads to immense restriction of the scientist's vision, rigid science, resistance to paradigm change, and a detail of information and precision of the observation-theory match that can be achieved in no other way. New and refined methods and instruments result in greater precision and understanding of the paradigm. Only when researchers know with precision what to expect from an experiment can they recognise that something has gone wrong.
Consequently, anomaly appears only against the background provided by the paradigm . The more precise and far-reaching the paradigm, the more sensitive it is to detecting an anomaly and inducing change. By resisting change, a paradigm guarantees that anomalies that lead to paradigm change will penetrate existing knowledge to the core.
VII - Crisis and the Emergence of Scientific Theories.
As is the case with discovery, a change in an existing theory that results in the invention of a new theory is also brought about by the awareness of anomaly. The emergence of a new theory is generated by the persistent failure of the puzzles of normal science to be solved as they should. Failure of existing rules is the prelude to a search for new ones . These failures can be brought about by observed discrepancies between theory and fact or changes in social/cultural climates Such failures are generally long recognised, which is why crises are seldom surprising. Neither problems nor puzzles yield often to the first attack . Recall that paradigm and theory resist change and are extremely resilient. Philosophers of science have repeatedly demonstrated that more than one theoretical construction can always be placed upon a given collection of data . In early stages of a paradigm, such theoretical alternatives are easily invented. Once a paradigm is entrenched (and the tools of the paradigm prove useful to solve the problems the paradigm defines), theoretical alternatives are strongly resisted. As in manufacture so in science--retooling is an extravagance to be reserved for the occasion that demands it . Crises provide the opportunity to retool.
VIII - The Response to Crisis.
The awareness and acknowledgement that a crisis exists loosens theoretical stereotypes and provides the incremental data necessary for a fundamental paradigm shift. Normal science does and must continually strive to bring theory and fact into closer agreement. The recognition and acknowledgement of anomalies result in crises that are a necessary precondition for the emergence of novel theories and for paradigm change. Crisis is the essential tension implicit in scientific research. There is no such thing as research without counterinstances. These counterinstances create tension and crisis. Crisis is always implicit in research because every problem that normal science sees as a puzzle can be seen, from another viewpoint, as a counterinstance and thus as a source of crisis .
In responding to these crises, scientists generally do not renounce the paradigm that has led them into crisis. Rather, they usually devise numerous articulations and ad hoc modifications of their theory in order to eliminate any apparent conflict. Some, unable to tolerate the crisis, leave the profession. As a rule, persistent and recognised anomaly does not induce crisis . Failure to achieve the expected solution to a puzzle discredits only the scientist and not the theory To evoke a crisis, an anomaly must usually be more than just an anomaly. Scientists who paused and examined every anomaly would not get much accomplished. An anomaly must come to be seen as more than just another puzzle of normal science.
All crises begin with the blurring of a paradigm and the consequent loosening of the rules for normal research. As this process develops, the anomaly comes to be more generally recognised as such, more attention is devoted to it by more of the field's eminent authorities. The field begins to look quite different: scientists express explicit discontent, competing articulations of the paradigm proliferate and scholars view a resolution as the subject matter of their discipline. To this end, they first isolate the anomaly more precisely and give it structure. They push the rules of normal science harder than ever to see, in the area of difficulty, just where and how far they can be made to work.
All crises close in one of three ways. (i) Normal science proves able to handle the crisis-provoking problem and all returns to "normal." (ii) The problem resists and is labelled, but it is perceived as resulting from the field's failure to possess the necessary tools with which to solve it, and so scientists set it aside for a future generation with more developed tools. (iii) A new candidate for paradigm emerges, and a battle over its acceptance ensues. Once it has achieved the status of paradigm, a paradigm is declared invalid only if an alternate candidate is available to take its place . Because there is no such thing as research in the absence of a paradigm, to reject one paradigm without simultaneously substituting another is to reject science itself. To declare a paradigm invalid will require more than the falsification of the paradigm by direct comparison with nature. The judgement leading to this decision involves the comparison of the existing paradigm with nature and with the alternate candidate. Transition from a paradigm in crisis to a new one from which a new tradition of normal science can emerge is not a cumulative process. It is a reconstruction of the field from new fundamentals. This reconstruction changes some of the field's foundational theoretical generalisations. It changes methods and applications. It alters the rules.
How do new paradigms finally emerge? Some emerge all at once, sometimes in the middle of the night, in the mind of a man deeply immersed in crisis. Those who achieve fundamental inventions of a new paradigm have generally been either very young or very new to the field whose paradigm they changed. Much of this process is inscrutable and may be permanently so.
IX - The Nature and Necessity of Scientific Revolutions.
Why should a paradigm change be called a revolution? What are the functions of scientific revolutions in the development of science?
A scientific revolution is a non-cumulative developmental episode in which an older paradigm is replaced in whole or in part by an incompatible new one . A scientific revolution that results in paradigm change is analogous to a political revolution. Political revolutions begin with a growing sense by members of the community that existing institutions have ceased adequately to meet the problems posed by an environment that they have in part created. The dissatisfaction with existing institutions is generally restricted to a segment of the political community. Political revolutions aim to change political institutions in ways that those institutions themselves prohibit. As crisis deepens, individuals commit themselves to some concrete proposal for the reconstruction of society in a new institutional framework. Competing camps and parties form. One camp seeks to defend the old institutional constellation. One (or more) camps seek to institute a new political order. As polarisation occurs, political recourse fails. Parties to a revolutionary conflict finally resort to the techniques of mass persuasion.
Like the choice between competing political institutions, that between competing paradigms proves to be a choice between fundamentally incompatible modes of community life. Paradigmatic differences cannot be reconciled. When paradigms enter into a debate about fundamental questions and paradigm choice, each group uses its own paradigm to argue in that paradigm's defence The result is a circularity and inability to share a universe of discourse. A successful new paradigm permits predictions that are different from those derived from its predecessor . That difference could not occur if the two were logically compatible. In the process of being assimilated, the second must displace the first.
Consequently, the assimilation of either a new sort of phenomenon or a new scientific theory must demand the rejection of an older paradigm . If this were not so, scientific development would be genuinely cumulative. Normal research is cumulative, but not scientific revolution. New paradigms arise with destructive changes in beliefs about nature.
Consequently, "the normal-scientific tradition that emerges from a scientific revolution is not only incompatible but often actually incommensurable with that which has gone before". In the circular argument that results from this conversation, each paradigm will satisfy more or less the criteria that it dictates for itself, and fall short of a few of those dictated by its opponent. Since no two paradigms leave all the same problems unsolved, paradigm debates always involve the question: Which problems is it more significant to have solved? In the final analysis, this involves a question of values that lie outside of normal science altogether. It is this recourse to external criteria that most obviously makes paradigm debates revolutionary..
X - Revolutions as Changes of World View.
During scientific revolutions, scientists see new and different things when looking with familiar instruments in places they have looked before. Familiar objects are seen in a different light and joined by unfamiliar ones as well. Scientists see new things when looking at old objects. In a sense, after a revolution, scientists are responding to a different world.
Why does a shift in view occur? Genius? Flashes of intuition? Sure. Because different scientists interpret their observations differently? No. Observations are themselves nearly always different. Observations are conducted within a paradigmatic framework, so the interpretative enterprise can only articulate a paradigm, not correct it. Because of factors embedded in the nature of human perception and retinal impression? No doubt, but our knowledge is simply not yet advanced enough on this matter. Changes in definitional conventions? No. Because the existing paradigm fails to fit? Always. Because of a change in the relation between the scientist's manipulations and the paradigm or between the manipulations and their concrete results? You bet. It is hard to make nature fit a paradigm.
XI - The Invisibility of Revolutions.
Because paradigm shifts are generally viewed not as revolutions but as additions to scientific knowledge, and because the history of the field is represented in the new textbooks that accompany a new paradigm, a scientific revolution seems invisible.
The image of creative scientific activity is largely created by a field's textbooks. Textbooks are the pedagogic vehicles for the perpetuation of normal science. These texts become the authoritative source of the history of science. Both the layman's and the practitioner's knowledge of science is based on textbooks. A field's texts must be rewritten in the aftermath of a scientific revolution. Once rewritten, they inevitably disguise not only the role but the existence and significance of the revolutions that produced them. The resulting textbooks truncate the scientist's sense of his discipline's history and supply a substitute for what they eliminate. More often than not, they contain very little history at all. In the rewrite, earlier scientists are represented as having worked on the same set of fixed problems and in accordance with the same set of fixed canons that the most recent revolution and method has made seem scientific. Why dignify what science's best and most persistent efforts have made it possible to discard?
The historical reconstruction of previous paradigms and theorists in scientific textbooks make the history of science look linear or cumulative, a tendency that even affects scientists looking back at their own research . These misconstructions render revolutions invisible. They also work to deny revolutions as a function. Science textbooks present the inaccurate view that science has reached its present state by a series of individual discoveries and inventions that, when gathered together, constitute the modern body of technical knowledge - the addition of bricks to a building. This piecemeal-discovered facts approach of a textbook presentation illustrates the pattern of historical mistakes that misleads both students and laymen about the nature of the scientific enterprise. More than any other single aspect of science, the textbook has determined our image of the nature of science and of the role of discovery and invention in its advance.
XII - The Resolution of Revolutions.
How do the proponents of a competing paradigm convert the entire profession or the relevant subgroup to their way of seeing science and the world? What causes a group to abandon one tradition of normal research in favour of another?
Scientific revolutions come about when one paradigm displaces another after a period of paradigm-testing that occurs only after persistent failure to solve a noteworthy puzzle has given rise to crisis. This process is analogous to natural selection: one theory becomes the most viable among the actual alternatives in a particular historical situation.
What is the process by which a new candidate for paradigm replaces its predecessor? At the start, a new candidate for paradigm may have few supporters (and the motives of the supporters may be suspect). If the supporters are competent, they will improve the paradigm, explore its possibilities, and show what it would be like to belong to the community guided by it. For the paradigm destined to win, the number and strength of the persuasive arguments in its favour will increase. As more and more scientists are converted, exploration increases. The number of experiments, instruments, articles, and books based on the paradigm will multiply. More scientists, convinced of the new view's fruitfulness, will adopt the new mode of practising normal science, until only a few elderly hold-outs remain. And we cannot say that they are (or were) wrong. Perhaps the scientist who continues to resist after the whole profession has been converted has ipso facto ceased to be a scientist.
XIII - Progress Through Revolutions.
In the face of the arguments previously made, why does science progress, how does it progress, and what is the nature of its progress?
To a very great extent, the term science is reserved for fields that do progress in obvious ways. But does a field make progress because it is a science, or is it a science because it makes progress? Normal science progresses because the enterprise shares certain salient characteristics, Members of a mature scientific community work from a single paradigm or from a closely related set. Very rarely do different scientific communities investigate the same problems. The result of successful creative work is progress.
Even if we argue that a field does not make progress, that does not mean that an individual school or discipline within that field does not. The man who argues that philosophy has made no progress emphasises that there are still Aristotelians, not that Aristotelianism has failed to progress. It is only during periods of normal science that progress seems both obvious and assured. In part, this progress is in the eye of the beholder. The absence of competing paradigms that question each other's aims and standards makes the progress of a normal-scientific community far easier to see. The acceptance of a paradigm frees the community from the need to constantly re-examine its first principles and foundational assumptions. Members of the community can concentrate on the subtlest and most esoteric of the phenomena that concern it. Because scientists work only for an audience of colleagues, an audience that shares values and beliefs, a single set of standards can be taken for granted. Unlike in other disciplines, the scientist need not select problems because they urgently need solution and without regard for the tools available to solve them. The social scientists tend to defend their choice of a research problem chiefly in terms of the social importance of achieving a solution. Which group would one then expect to solve problems at a more rapid rate? .
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Thomas Kuhn's Philosophy: Take the Kuhns Test Quiz
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Questions and Answers
What is the term coined by Kuhn through his book The Structure of Scientific Revolutions?
Objective Criteria
Periodic Paradigm Shifts (correct)
Scientific Revolutions
Incommensurable Paradigms
According to Kuhn, how does science progress?
Through periodic revolutions (correct)
Linear accumulation of new knowledge
By consensus of a scientific community
By objective criteria
What is the George Sarton Medal?
An award given by Princeton University
A medal given by the International Encyclopedia of Unified Science
A medal given by the History of Science Society (correct)
An award given by Harvard College
What is the main argument of Kuhn's The Structure of Scientific Revolutions?
<p>Science undergoes periodic paradigm shifts</p> Signup and view all the answers
What is the definition of 'incommensurable' according to Kuhn?
<p>Two competing paradigms cannot be compared through objective criteria</p> Signup and view all the answers
Where did Kuhn obtain his BSc degree in physics?
<p>Harvard College</p> Signup and view all the answers
What is Kuhn's view on scientific truth?
<p>Scientific truth is defined by a consensus of a scientific community</p> Signup and view all the answers
What is the significance of Kuhn's work in social science?
<p>It is extensively used in the post-positivist/positivist debate within International Relations</p> Signup and view all the answers
When did Kuhn join Princeton University as the M. Taylor Pyne Professor of Philosophy and History of Science?
<p>1964</p> Signup and view all the answers
Study Notes
Thomas Kuhn: American Philosopher of Science
Kuhn introduced the term "paradigm shift" through his book The Structure of Scientific Revolutions.
He claimed that scientific fields undergo periodic paradigm shifts instead of linear and continuous progress.
Kuhn argued that scientific truth cannot be established solely by objective criteria but is defined by a consensus of a scientific community.
According to him, competing paradigms are incommensurable, and scientific comprehension can never rely wholly upon objectivity.
Kuhn was born in Cincinnati, Ohio, and attended private progressive schools before graduating from The Taft School in Watertown, Connecticut, in 1940.
He obtained his BSc degree in physics from Harvard College in 1943 and his MSc and PhD degrees in physics in 1946 and 1949, respectively.
Kuhn taught at Harvard from 1948 until 1956 and joined Princeton University as the M. Taylor Pyne Professor of Philosophy and History of Science in 1964.
The Structure of Scientific Revolutions was originally printed as an article in the International Encyclopedia of Unified Science in 1962.
Kuhn argued that science does not progress via a linear accumulation of new knowledge but undergoes periodic revolutions.
His work has been extensively used in social science, such as in the post-positivist/positivist debate within International Relations.
Kuhn was named a Guggenheim Fellow in 1954 and was awarded the George Sarton Medal by the History of Science Society in 1982.
He died in 1996 after being diagnosed with lung cancer.
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Test your knowledge on the life and work of Thomas Kuhn, the American philosopher of science who introduced the term "paradigm shift" and revolutionized the way we view scientific progress. From his early education to his groundbreaking book, The Structure of Scientific Revolutions, this quiz will challenge you with interesting facts and concepts related to Kuhn's ideas and contributions to the field of philosophy and history of science. Are you ready to dive into the world of paradigm shifts and scientific revolutions? Take the quiz
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Thomas S. Kuhn (1922—1996)
Thomas Samuel Kuhn, although trained as a physicist at Harvard University, became an historian and philosopher of science through the support of Harvard’s president, James Conant. In 1962, Kuhn’s renowned The Structure of Scientific Revolutions (Structure) helped to inaugurate a revolution—the 1960s historiographic revolution—by providing a new image of science. For Kuhn, scientific revolutions involved paradigm shifts that punctuated periods of stasis or normal science. Towards the end of his career, however, Kuhn underwent a paradigm shift of his own—from a historical philosophy of science to an evolutionary one.
In this article, Kuhn’s philosophy of science is reconstructed chronologically. To that end, the following questions are entertained: What was Kuhn’s early life and career? What was the road towards Structure? What is Structure? Why did Kuhn revise Structure? What was the road Kuhn took after Structure? At the heart of the answers to these questions is the person of Kuhn himself, especially the intellectual and social context in which he practiced his trade. This chronological reconstruction of Kuhn’s philosophy begins with his work in the 1950s on physical theory in the Lowell lectures and on the Copernican revolution and ends with his work in the 1990s on an evolutionary philosophy of science. Rather than present Kuhn’s philosophy as a finished product, this approach endeavors to capture it in the process of its formation so as to represent it accurately and faithfully.
Table of Contents
Early Life and Career
The Road to Structure
The Lowell Lectures
The Copernican Revolution
The Last Mile to Structure
The Structure of Scientific Revolutions
The Road after Structure
Historical and Historiographic Studies
Metahistorical Studies
Evolutionary Philosophy of Science
Conclusion
References and Further Reading
Kuhn’s Work
Secondary Sources
1. Early Life and Career
Kuhn was born in Cincinnati, Ohio, on 18 July 1922. He was the first of two children born to Samuel L. and Minette (neè Stroock) Kuhn, with a brother Roger born several years later. His father was a native Cincinnatian and his mother a native New Yorker. Kuhn’s father, Sam, was a hydraulic engineer, trained at Harvard University and at Massachusetts Institute of Technology (MIT) prior to World War I. He entered the war, and served in the Army Corps of Engineers. After leaving the armed services, Sam returned to Cincinnati for several years before moving to New York to help his recently widowed mother Setty (neè Swartz) Kuhn. Kuhn’s mother, Minette, was a liberally educated person who came from an affluent family.
Kuhn’s early education reflected the family’s liberal progressiveness. In 1927, Kuhn began schooling at the progressive Lincoln School in Manhattan. His early education taught him to think independently, but by his own admission, there was little content to the thinking. He remembered that by the second grade, for instance, he was unable to read proficiently, much to the consternation of his parents.
Beginning in the sixth grade, Kuhn’s family moved to Croton-on-Hudson, a small town about fifty miles from Manhattan, and the adolescent Kuhn attended the progressive Hessian Hills School. According to Kuhn the school was staffed by left-oriented radical teachers, who taught the students pacifism. When he left the school after the ninth grade, Kuhn felt he was a bright and independent thinker. After spending an uninspired year at the preparatory school Solebury in Pennsylvania, Kuhn spent his last two years of high school at the Yale-preparatory Taft School in Watertown, Connecticut. He graduated third in his class of 105 students and was inducted into the National Honor Society. He also received the prestigious Rensselaer Alumni Association Medal.
Kuhn matriculated to Harvard College in the fall of 1940, following his father’s and uncles’ footsteps. At Harvard, he acquired a better sense of himself socially by participating in various organizations. During his first year, Kuhn took a yearlong philosophy course. In the first semester, he studied Plato and Aristotle; while in the second semester, he studied Descartes, Spinoza, Hume, and Kant. He intended to take additional philosophy courses but could not find time. He attended, however, several of George Sarton’s lectures on the history of science, but he found them boring.
At Harvard, Kuhn agonized over majoring in either physics or mathematics. After seeking his father’s counsel, he chose physics because of career opportunities. Interestingly, the attraction of physics or mathematics was their problem-solving traditions. In the fall of his sophomore year, the Japanese attacked Pearl Harbor and Kuhn expedited his undergraduate education by going to summer school. The physics department focused on teaching predominantly electronics, and Kuhn followed suit.
Kuhn underwent another radical transformation, also during his sophomore year. Although he was trained a pacifist the atrocities perpetrated in Europe during World War II, especially by Hitler, horrified him. Kuhn experienced a crisis, since he was unable to defend pacifism reasonably. The outcome was that he became an interventionist, which was the position of many at Harvard—especially its president, Conant. The episode left a lasting impact upon him. In a Harvard Crimson editorial, Kuhn supported Conant’s effort to militarize the universities in the United States. The editorial came to the attention of the administration, and eventually Conant and Kuhn met.
In the spring of 1943, Kuhn graduated summa cum laude from Harvard College with an S.B. After graduation, he worked for the Radio Research Laboratory located in Harvard’s biology building. He conducted research on radar counter technology, under John van Vleck’s supervision. The job procured for Kuhn a deferment from the draft. After a year, he requested a transfer to England and then to the continent, where he worked in association with the U.S. Office of Scientific Research and Development. The trip was Kuhn’s first abroad and he felt invigorated by the experience. However, Kuhn realized that he did not like radar work, which led him to reconsider whether he wanted to continue as a physicist. But, these doubts did not dampen his enthusiasm for or belief in science. During this time, Kuhn had the opportunity to read what he wanted; he read in the philosophy of science, including authors such as Bertrand Russell, P.W. Bridgman, Rudolf Carnap, and Philipp Frank.
After V.E. day in 1945, Kuhn returned to Harvard. As the war abated with the dropping of atomic bombs on Japan, Kuhn activated an earlier acceptance into graduate school and began studies in the physics department. Although Kuhn persuaded the department to permit him to take philosophy courses during his first year, he again chose the pragmatic course and focused on physics. In 1946, Kuhn passed the general examinations and received a master’s degree in physics. He then began dissertation research on theoretical solid-state physics, under the direction of van Vleck. In 1949, Harvard awarded Kuhn a doctorate in physics.
Although Kuhn had high regard for science, especially physics, he was unfulfilled as a physicist and continually harbored doubts during graduate school about a career in physics. He had chosen both a dissertation topic and an advisor to expedite obtaining a degree. But, he was to find direction for his career through Conant’s invitation in 1947 to help prepare a historical case-based course on science for upper-level undergraduates. Kuhn accepted the invitation to be one of two assistants for Conant’s course. He undertook a project investigating the origins of seventeenth-century mechanics, a project that would transform his image of science.
That transformation came, as Kuhn recounted later, on a summer day in 1947 as he struggled to understand Aristotle’s idea of motion in Physics. The problem was that Kuhn tried to make sense of Aristotle’s idea of motion using Newtonian assumptions and categories of motion. Once he realized that he had to read Aristotle’s Physics using assumptions and categories contemporary to when the Greek philosopher wrote it, suddenly Aristotle’s idea of motion made sense.
After this experience, Kuhn realized that he wanted to be a philosopher of science by doing history of science. His interest was not strictly history of science but philosophy, for he felt that philosophy was the way to truth and truth was what he was after. To achieve that goal, Kuhn asked Conant to sponsor him as a junior fellow in the Harvard Society of Fellows. Harvard initiated the society to provide promising young scholars freedom from teaching for three years to develop a scholarly program. Kuhn’s colleagues stimulated him professionally, especially a senior fellow by the name of Willard Quine. At the time, Quine was publishing his critique on the distinction between the analytic and the synthetic, which Kuhn found reassuring for his own thinking.
Kuhn began as a fellow in the fall of 1948, which provided him the opportunity to retool as a historian of science. Kuhn took advantage of the opportunity and read widely over the next year and a half in the humanities and sciences. Just prior to his appointment as a fellow, Kuhn was also undergoing psychoanalysis. This experience allowed him to see other people’s perspectives and contributed to his approach for conducting historical research.
2. The Road to Structure
a. The Lowell Lectures
In 1950, the trustee of the Lowell Institute, Ralph Lowell, invited Kuhn to deliver the 1951 Lowell lectures. In these lectures, Kuhn outlined a conception of science in contrast to the traditional philosophy of science’s conception in which facts are slowly accumulated and stockpiled in textbooks. Kuhn began by assuring his audience that he, as a once practicing scientist, believed that science produces useful and cumulative knowledge of the world, but that traditional analysis of science distorts the process by which scientific knowledge develops. He went on to inform the audience that the history of science could be instructive for identifying the process by which creative science advances, rather than focusing on the finished product promulgated in textbooks. Because textbooks only state the immutable scientific laws and marshal forth the experimental evidence to support those laws, they cover over the creative process that leads to the laws in the first place.
Kuhn then presented an alternative historical approach to scientific methodology. He claimed that the traditional position in which Galileo rejected Aristotle’s physics because of Galileo’s experiments is a fallacy. Rather, Galileo rejected Aristotelianism as an entire system. In other words, Galileo’s evidence was necessary but not sufficient; rather, the Aristotelian system was under evaluation, which also included its logic. Next, Kuhn proposed an alternative image of science based on the new approach to the history of science. He introduced the notion of conceptual frameworks, and drew from psychology to defend the advancement of science though scientists’ predispositions. These predispositions allow scientists to negotiate a professional world and to learn from their experiences. Moreover, they are important in organizing the scientist’s professional world and scientists do not dispense with them easily. Change in them represents a foundational alteration in a professional world.
Kuhn argued that although logic is important for deriving meaning and for managing and manipulating knowledge, scientific language—as natural—outstrips such formalization. He upended the tables on an important tool for the traditional analysis of science. By revealing the limitations of logical analysis, he showed that logic is necessary but insufficient for justifying scientific knowledge. Logic, then, cannot guarantee the traditional image of science as the progressive accumulation of scientific facts. Kuhn next examined logical analysis in terms of language and meaning. His position was that language is a way of dissecting the professional world in which scientists operate. But, there is always ambiguity or overlap in the meaning of terms as that world is dissected. Certainly, scientists attempt to increase the precision of their terms but not to the point that they can eliminate ambiguity. Kuhn concluded by distinguishing between creative and textbook science.
In the same year of the Lowell lectures, Harvard appointed Kuhn as an instructor and the following year as an assistant professor. Kuhn’s primary teaching duty was in the general education curriculum, where he taught Natural Sciences 4 along with Leonard Nash. He also taught courses in the history of science. And, it was during this time that Kuhn developed a course on the history of cosmology. Kuhn utilized course preparation for scholarly writing projects. For example, he handed out draft chapters of The Copernican Revolution to his classes.
A part of Kuhn’s motivation for developing a new image of science was the misconceptions of science held by the public. He blamed its misconceptions on introductory courses that stressed the textbook image of science as a fixed body of facts. After discussing this state of affairs with friends and Conant, Kuhn provided students with a more accurate image of science. The key to that image, claimed Kuhn, was science’s history, which displays the creative and dynamic nature of science.
b. The Copernican Revolution
In The Copernican Revolution, Kuhn claimed he had identified an important feature of the revolution, which previous scholars had missed: its plurality. What Kuhn meant by plurality was that scientists have philosophical and even religious commitments, which are important for the justification of scientific knowledge. This stance was anathema to traditional philosophers of science, who believed that such commitments played little—if any—role in the justification of scientific knowledge and relegated them to the discovery process.
Kuhn began reconstruction of the Copernican revolution by establishing the genuine scientific character of ancient cosmological conceptual schemes, especially the two-sphere cosmology composed of an inner sphere for the earth and an outer sphere for the heavens. For Kuhn, conceptual schemes exhibit three important features. They are comprehensive in terms of scientific predictions, there is no final proof for them, and they are derived from other schemes. Finally, to be successful conceptual schemes must perform logical and psychological functions. The logical function is expressed in explanatory terms, while the psychological function in existential terms. Although the logical function of the two-sphere cosmology continued to be problematic, its psychological function afforded adherents a comprehensive worldview that included even religious elements.
The major logical problem with the two-sphere cosmology was the movement and positions of the planets. The conceptual scheme Ptolemy developed in the second century guided research for the next millennium. But, problems surfaced with the scheme and predecessors could only correct it so far with ad hoc modifications. Kuhn asked at this point in the narrative why the Ptolemaic system, given its imperfection, was not overthrown sooner. The answer, for Kuhn, depended on a distinction between the logical and psychological dimensions of scientific revolutions. According to Kuhn, there are logically different conceptual schemes that can organize and account for observations. The difference among these schemes is their predictive power. Consequently, if an observation is made that is not compatible with a prediction the scheme must be replaced. But, before change can occur, there is also the psychological dimension to a revolution.
Copernicus had to overcome not only the logical dimension of the Ptolemaic system but also its psychological dimension. Aristotle had established this latter dimension by wedding the two-sphere cosmology to a philosophical system. Through the Aristotelian notion of motion among the earthly and heavenly spheres, the inner sphere was connected and depended on the outer sphere. The ability to presage future events linked astronomy to astrology. Such an alliance, according to Kuhn, provided a formidable obstacle to change of any kind.
But change began to take place, albeit slowly. From Aristotle to Ptolemy, a sharp distinction arose between the psychological dimensions of cosmology and the mathematical precision of astronomy. By Ptolemy’s time, astronomy was less concerned with the psychological dimensions of data interpretation and more with the accuracy of theoretical prediction. To some extent, this aided Copernicus, since whether the earth moved could be determined by theoretical analysis of the empirical data. But still, the earth as center of the universe gave existential consolation to people. The strands of the Copernican revolution, then, included not only astronomical concerns but also theological, economic, and social ones. Besides the Scholastic tradition, with its impetus theory of motion, other factors also paved the way for the Copernican revolution, including the Protestant revolution, navigation for oceanic voyages, calendar reform, and Renaissance humanism and Neoplatonism.
Copernicus, according to Kuhn, was the immediate inheritor of Aristotelian-Ptolemaic cosmological tradition and, except for the position of the earth, was closer to that tradition than to modern astronomy. For Kuhn, De Revolutionibus precipitated a revolution and was not the revolution itself. Although the problem Copernicus addressed was the same as for his predecessors, that is, planetary motion, his solution was to revise the mathematical model for that motion by making the earth a planet that moves around the sun. Essentially, Copernicus maintained the Aristotelian-Ptolemaic universe but exchanged the sun for the earth, as the universe’s center. Although Copernicus had eliminated major epicycles, he still used minor ones and the accuracy of planetary position was no better than Ptolemy’s. Kuhn concluded that Copernicus did not really solve the problem of planetary motion.
Initially, according to Kuhn, there were only a few supporters of Copernicus’ cosmology. Although the majority of astronomers accepted the mathematical harmonies of De Revolutionibus after its publication in 1543, they rejected or ignored its cosmology. Tycho Brahe, for example, although relying on Copernican harmonies to explain astronomical data, proposed a system in which the earth was still the universe’s center. Essentially, it was a compromise between ancient cosmology and Copernican mathematical astronomy. However, Brahe recorded accurate and precise astronomical observations, which helped to compel others towards Copernicanism—particularly Johannes Kepler, who used its mathematical precision to solve the planetary motion problem. The final player Kuhn considered in the revolution was Galileo, who, Kuhn claimed, provided through telescopic observations not proof of but rather propaganda for Copernicanism.
Although astronomers achieved consensus during the seventeenth century, Copernicanism still faced serious resistance from Christianity. The Copernican revolution was completed with the Newtonian universe, which not only had an impact on astronomy but also on other sciences and even non-sciences. For instance, Newton’s universe changed the nature of God to that of a clockmaker. For Kuhn, Newtonian’s impact on disciplines other than astronomy was an example of its fruitfulness. Scientific progress, concluded Kuhn, is not the linear process, as championed by traditional philosophers of science, in which scientific facts are stockpiled in a warehouse. Rather, it is the repeated destruction and replacement of scientific theories.
The professional reviews of The Copernican Revolution signaled Kuhn’s acceptance into the philosophical and historical communities. His reconstruction of the revolution was considered for the most part scientifically accurate and methodologically appropriate. Reviewers considered integration of the science and the social an advance over other histories that ignored these dimensions of the historical narrative. Although philosophers appreciated the historical dimension of Kuhn’s study, they found its analysis imprecise according to their standards. Overall, both the historical and philosophical communities expressed no major objections to the image of science that animated Kuhn’s narrative.
Kuhn’s reconstruction of the Copernican revolution portrayed a radically different image of science than that of traditional philosophers of science. Justification of scientific knowledge was not simply a logical or objective affair but also included non-logical or subjective factors. According to Kuhn, scientific progress is not a clear-sighted linear process aimed directly at the truth. Rather, there are contingencies that can divert and forestall the progress of science. Moreover, Copernicus’ revolution changed the way astronomers and non-astronomers viewed the world. This change in perceiving the world was the result of new sets of challenges, new techniques, and a new hermeneutics for interpreting data.
Besides differing from traditional philosophers of science, Kuhn’s image of science put him at odds with Whig historians of science. These historians underrated ancient cosmologies by degrading them to myth or religious belief. Such a move was often a rhetorical ploy on the part of the victors to enhance the status of the current scientific theory. Only by showing how Aristotelian-Ptolemaic geocentric astronomy was authentic science could Kuhn argue for the radical transformation (revolution) that Copernican heliocentric astronomy invoked. Kuhn also asserted that Copernicus’ theory was not accepted simply for its predictive ability, since it was not as accurate as the original conceptual scheme, but because of non-empirical factors, such as the simplicity of Copernican’s system in which certain ad hoc modifications for accounting for the orbits of various planets were eliminated.
In 1956, Harvard denied Kuhn tenure because the tenure committee felt his book on the Copernican revolution was too popular in its approach and analysis. A friend of Kuhn knew Steven Pepper, who was chair of the philosophy department at the University of California at Berkeley. Kuhn’s friend told Pepper that Kuhn was looking for an academic position. Pepper’s department was searching for someone to establish a program in the history and philosophy of science. Berkeley eventually offered Kuhn a position in the philosophy department and later asked if he also wanted an appointment in the history department. Kuhn accepted both positions and joined the Berkeley faculty as an assistant professor.
Kuhn found Stanley Cavell in the philosophy department, a soulmate to replace Nash. Kuhn had meet Cavell earlier while they were both fellows at Harvard. Cavell was an ethicist and aesthetician, whom Kuhn found intellectually stimulating. He introduced Kuhn to Wittgenstein’s notion of language games. Besides Cavell, Kuhn developed a professional relationship with Paul Feyerabend, who was also working on the notion of incommensurability.
In 1958, Berkeley promoted Kuhn to associate professor and granted him tenure. Moreover, having completed several historical projects, he was ready to return to the philosophical issues that first attracted him to the history of science. Beginning in the fall of 1958, he spent a year as a fellow at the Center for Advanced Study in the Behavioral Sciences at Stanford, California. What struck Kuhn about the relationships among behavioral and social scientists was their inability to agree on the fundamental problems and practices of their discipline. Although natural scientists do not necessarily have the right answers to their questions, there is an agreement over fundamentals. This difference between natural and social scientists eventually led Kuhn to formulate the paradigm concept.
c. The Last Mile to Structure
Although The Copernican Revolution represented a significant advance in Kuhn’s articulation of a revolutionary theory of science, several issues still needed attention. What was missing from Kuhn’s reconstruction of the Copernican revolution was an understanding of how scientists function on a daily basis, when an impending revolution is not looming. That understanding emerged gradually during the last mile on the road to Structure in terms of three papers written from the mid-fifties to the early sixties.
In the first paper, ‘The function of measurement in modern physical science’, Kuhn challenged the belief that if scientists cannot measure a phenomenon then their knowledge of it is inadequate or not scientific. Part of the reason for Kuhn’s concern over measurement in science was its textbook tradition, which he believed perpetuates a myth about measurement that is misleading. Kuhn compared the textbook presentation of measurement to a machine in which scientists feed laws and theories along with initial conditions into the machine’s hopper at the top, turn a handle on the side representing logical and mathematical operations, and then collect numerical predictions exiting the machine’s chute in the front. Scientists finally compare experimental observations to theoretical predictions. The function of these measurements serves as a test of the theory, which is the confirmation function of measurement.
Kuhn claimed that the above function is not why measurements are reported in textbooks; rather, measurements are reported to give the reader an idea of what the professional community believes is reasonable agreement between theoretical predictions and experimental observations. Reasonable agreement, however, depends upon approximate, not exact, agreement between theory and data and differs from one science to the next. Moreover, external criteria do not exist for determining reasonableness. For Kuhn, the actual function of normal measurement in science is found in its journal articles. That function is neither invention of novel theories nor the confirmation of older ones. Discovery and exploratory measurements in science instead are rare. The reason is that changes in theories, which require discovery or confirmation, occur during revolutions, which are also quite rare. Once a revolution occurs, moreover, the new theory only exhibits potential for ordering and explaining natural phenomena. The function of normal measurement is to tighten reasonable agreement between novel theoretical predictions and experimental observations.
The textbook tradition is also misleading in terms of normal measurement’s effects. It claims that theories must conform to quantitative facts. Such facts are not the given but the expected and the scientist’s task is to obtain them. This obligation to obtain the expected quantitative fact is often the incentive for developing novel technology. Moreover, a well-developed theoretical system is required for meaningful measurement in science. Besides the function of normal or expected measurement, Kuhn also examined the function of extraordinary measurement—which pertain to unexpected results. It is this latter type of measurement that exhibits the discovery and confirmatory functions. When normal scientific practice results consistently in unexpected anomalies, this leads to crisis, and extraordinary measurement often aids to resolve it. Crisis then leads to the invention of new theories. Again, extraordinary measurement plays a critical role in this process. Theory invention in response to quantitative anomalies leads to decisive measurements for judging a novel theory’s adequacy, whereas qualitative anomalies generally lead to ad hoc modifications of theories. Extraordinary measurement allows scientists to choose among competing theories.
Kuhn was moving closer towards a notion of normal science through an analysis of normal measurement, in contrast to extraordinary measurement, in science. His conception of science continued to distance him from traditional philosophers of science. But, the notion of normal measurement was not as robust as he needed. Importantly, Kuhn was changing the agenda for philosophy of science from justification of scientific theories as finished products in textbooks to dynamic process by which theories are tested and assimilated into the professional literature. A robust notion of normal science was the revolutionary concept he needed, to overturn the traditional image of science as an accumulated body of facts.
With the introduction of normal and extraordinary measurement, the step towards the notions of normal and extraordinary science in Kuhn’s revolutionary image of science was imminent. Kuhn worked out those notions in The Essential Tension. He began by addressing the notion that creative thinking in science assumes a particular assumption of science in which science advances through unbridled imagination and divergent thinking—which involves identifying multiple avenues by which to solve a problem and determining which one works best. Kuhn acknowledged that such thinking is responsible for some scientific progress, but he proposed that convergent thinking—which limits itself to well-defined, often logical, steps for solving a problem—is also an important means of progress. While revolutions, which depend on divergent thinking, are an obvious means for scientific progress, Kuhn insisted that few scientists consciously design revolutionary experiments. Rather, most scientists engage in normal research, which represents convergent thinking. But, occasionally scientists may break with the tradition of normal science and replace it with a new tradition. Science, as a profession, is both traditional and iconoclastic, and the tension between them often creates a space in which to practice it.
Next, Kuhn utilized the term paradigm, while discussing the pedagogical advantages of convergent thinking—especially as displayed in science textbooks. Whereas textbooks in other disciplines include the methodological and conceptual conflicts prevalent within the discipline, science textbooks do not. Rather, science education is the transmission of a tradition that guides the activities of practitioners. In science education, students are taught not to evaluate the tradition but to accept it.
Progress within normal research projects represents attempts to bring theory and observation into closer agreement and to extend a theory’s scope to new phenomena. Given the convergent and tradition-bound nature of science education and of scientific practice, how can normal research be a means for the generation of revolutionary knowledge and technology? According to Kuhn, a mature science provides the background that allows practitioners to identify non-trivial problems or anomalies with a paradigm. In other words, without mature science there can be no revolution.
Kuhn continued to develop the notion of normal research and its convergent thinking in ‘The function of dogma in scientific research’. He began with the traditional image of science as an objective and critical enterprise. Although this is the ideal, the reality is that often scientists already know what to expect from their investigations of natural phenomena. If the expected is not forthcoming, then scientists must struggle to find conformity between what they expect and what they observe, which textbooks encode as dogmas. Dogmas are critical for the practice of normal science and for advancement in it because they define the puzzles for the profession and stipulate the criteria for their solution.
Kuhn next expanded the range of paradigms to embrace scientific practice in general, rather than simply as a model for research. Specifically, paradigms include not only a community’s previous scientific achievements but also its theoretical concepts, the experimental techniques and protocols, and even the natural entities. In short, they are the community’s body of beliefs or foundations. Paradigms are also open-ended in terms of solving problems. Moreover, they are exclusive in their nature, in that there is only one paradigm per mature science. Finally, they are not permanent fixtures of the scientific landscape, for eventually paradigms are replaceable. Importantly, for Kuhn, when a paradigm replaces another the two paradigms are radically different.
Having done paradigmatic spadework, Kuhn then discussed the notion of normal scientific research. The process of matching paradigm and nature includes extending and applying the paradigm to expected but also unexpected parts of nature. This does not necessarily mean discovering the unknown as it does explaining the known. Although the dogma paper is only a fragment of the solution to problems associated with the traditional image of science, the complete solution was soon to appear in Structure.
3. The Structure of Scientific Revolutions
In July 1961, Kuhn completed a draft of Structure; and in 1962, it was published as the final monograph in the second volume of Neurath’s International Encyclopedia of Unified Science. Charles Morris was instrumental in its publication and Carnap served as its editor. Structure was not a single publishing event in 1962; rather, it covered the years from 1962 to 1970. After its publication, Kuhn was engrossed for the rest of the sixties addressing criticisms directed to the ideas contained in it, especially the paradigm concept. During this time, he continued to develop and refine his new image of science. The endpoint was a second edition of Structure that appeared in 1970. The text of the revised edition, however, remained essentially unaltered and only a ‘Postscript—1969’ was added in which Kuhn addressed his critics.
What Kuhn proposed in Structure was a new image of science. That image differed radically from the traditional one. The difference hinged on a shift from a logical analysis and an explanation of scientific knowledge as finished product to a historical narration and description of scientific practices by which a community of practitioners produces scientific knowledge. In short, it was a shift from the subject (the product) to the verb (to produce).
According to the traditional image, science is a repository of accumulated facts, discovered by individuals at specific periods in history. One of the central tasks of traditional historians, given this image of science, was to answer questions about who discovered what and when. Even though the task seemed straightforward, many historians found it difficult and doubted whether these were the right kinds of questions to ask concerning science’s historical record. The historiographic revolution in the study of science changed the sorts of questions historians asked by revising the underlying assumptions concerning the approach to reading the historical record. Rather than reading history backwards and imposing current ideas and values on the past, texts are read within their historical context thereby maintaining their integrity. The historiographic revolution also had implications for how to analyze and understand science philosophically. The goal of Structure, declared Kuhn, was to cash out those implications.
The structure of scientific development, according to Kuhn, may be illustrated schematically, as follows: pre-paradigm science → normal science → extraordinary science → new normal science. The step from pre-paradigm science to normal science involves consensus of the community around a single paradigm, where no prior consensus existed. This is the step required for transitioning from immature to mature science. The step from normal science to extraordinary science includes the community’s recognition that the reigning paradigm is unable to account for accumulating anomalies. A crisis ensues, and community practitioners engage in extraordinary science to resolve its anomalies. A scientific revolution occurs with crisis resolution. Once a community selects a new paradigm, it discards the old one and another period of new normal science follows. The revolution or paradigm shift is now complete, and the cycle from normal science to new normal science through revolution is free to occur again.
For Kuhn, the origin of a scientific discipline begins with the identification of a natural phenomenon, which members of the discipline investigate experimentally and attempt to explain theoretically. But, each member of that nascent discipline is at cross-purposes with other members; for each member often represents a school working from different foundations. Scientists, operating under these conditions, share few, if any, theoretical concepts, experimental techniques, or phenomenal entities. Rather, each school is in competition for monetary and social resources and for the allegiance of the professional guild. An outcome of this lack of consensus is that all facts seem equally relevant to the problem(s) at hand and fact gathering itself is often a random activity. There is then a proliferation of facts and hence little progress in solving the problem(s) under these conditions. Kuhn called this state pre-paradigm or immature science, which is non-directed and flexible, providing a community of practitioners little guidance.
To achieve the status of a science, a discipline must reach consensus with respect to a single paradigm. This is realized when, during the competition involved in pre-paradigm science, one school makes a stunning achievement that catches the professional community’s attention. The candidate paradigm elicits the community’s confidence that the problems are solvable with precision and in detail. The community’s confidence in a paradigm to guide research is the basis for the conversion of its members, who now commit to it. After paradigm consensus, Kuhn claimed that scientists are in the position to commence with the practice of normal science. The prerequisite of normal science then includes a commitment to a shared paradigm that defines the rules and standards by which to practice science. Whereas pre-paradigm science is non-directed and flexible, normal or paradigm science is highly directed and rigid. Because of its directedness and rigidity, normal scientists are able to make the progress they do.
The paradigm concept loomed large in Kuhn’s new image of science. He defined the concept in terms of the community’s concrete achievements, such as Newtonian mechanics, which the professional can commonly recognize but cannot fully describe or explain. A paradigm is certainly not just a set of rules or algorithms by which scientists blindly practice their trade. In fact, there is no easy way to abstract a paradigm’s essence or to define its features exhaustively. Moreover, a paradigm defines a family resemblance, à la Wittgenstein, of problems and procedures for solving problems that are part of a single research tradition.
Although scientists rely, at times, on rules to guide research, these rules do not precede paradigms. Importantly, Kuhn was not claiming that rules are unnecessary for guiding research but rather that they are not always sufficient, either pedagogically or professionally. Kuhn compared the paradigm concept to Polanyi’s notion of tacit knowledge, in which knowledge production depends on the investigator’s acquisition of skills that do not reduce to methodological rules and protocols.
As noted above, Newtonian mechanics represents an example of a Kuhnian paradigm. The three laws of motion comprising it provided the scientific community with the resources to investigate natural phenomena in terms of both precision and predictability. In terms of precision, Newtonian mechanics allowed physicists to measure and explain accurately—with clockwork exactitude—the motion not only of celestial but also terrestrial bodies. With respect to prediction, physicists used the Newtonian paradigm to determine the potential movement of heavenly and earthly bodies. Thus, Newtonian mechanics qua paradigm equipped physicists with the ability to explain and manipulate natural phenomena. In sum, it became a way of viewing the world.
According to Kuhn, a paradigm allows scientists to ignore concerns over a discipline’s fundamentals and to concentrate on solving its puzzles—as the Newtonian paradigm permitted physicists to do for several centuries. It not only guides scientists in terms of identifying soluble puzzles, but it also prevents scientists from tackling insoluble ones. Kuhn compared paradigms to maps that guide and direct the community’s investigations. Only when a paradigm guides the community’s activities is scientific advancement as cumulative progress possible.
The activity of practitioners engaged in normal science is paradigm articulation and extension to new areas. Indeed, the Newtonian paradigm was adapted even for medicine. When a new paradigm is established, it solves only a few critical problems that faced the community. But, it does offer the promise for solving many more problems. Much of normal science involves mopping up, in which the community forces nature into a conceptually rigid framework—the paradigm. Rather than being dull and routine, however, such activity, according to Kuhn, is exciting and rewarding and requires practitioners who are creative and resourceful.
Normal scientists are not out to make new discoveries or to invent new theories, outside the paradigm’s aegis. Rather, they are involved in using the paradigm to understand nature precisely and in detail. From the experimental end of this task, normal scientists go to great pains to increase the precision and reliability of their measurements and facts. They are also involved in closing the gap between observations and theoretical predictions, and they attempt to clarify ambiguities left over from the paradigm’s initial adoption. They also strive to extend the scope of the paradigm by including phenomena not heretofore investigated. Much of this activity requires exploratory investigation, in which normal scientists make novel discoveries but anticipated vis-à-vis the paradigm. To solve these experimental puzzles often requires considerable technological ingenuity and innovation on the part of the scientific community. As Kuhn notes, Atwood’s machine—developed almost a century after Newton, is a good illustration of this.
Besides experimental puzzles, there are also the theoretical puzzles of normal science, which obviously mirror the types of experimental puzzles. Normal scientists conduct theoretical analyses to enhance the match between theoretical predictions and experimental observations, especially in terms of increasing the paradigm’s precision and scope. Again, just as experimental ingenuity is required so is theoretical ingenuity to explain natural phenomena successfully.
Normal science, according to Kuhn, is puzzle-solving activity, and its practitioners are puzzle solvers and not paradigm testers. The paradigm’s power over a community of practitioners is that it can transform seemingly insoluble problems into soluble ones through the practitioner’s ingenuity and skill. Besides the assured solution, Kuhn’s paradigm concept also involved rules of the puzzle-solving game not in a narrow sense of algorithms but in a broad sense of viewpoints or preconceptions. Besides these rules of the game, as it were, there are also metaphysical commitments, which inform the community as to the types of natural entities, and methodological commitments, which inform the community as to kinds of laws and explanations. Although rules are often necessary for normal scientific research, they are not always required. Normal science can proceed in the absence of such rules.
Although scientists engaged in normal science do not intentionally attempt to make unexpected discoveries, such discoveries do occur. Paradigms are imperfect and rifts in the match between paradigm and nature are inevitable. For Kuhn, discoveries not only occur in terms of new facts but there is also invention in terms of novel theories. Both discoveries of new facts and invention of novel theories begin with anomalies, which are violations of paradigm expectations during the practice of normal science. Anomalies can lead to unexpected discoveries. For Kuhn, unexpected discoveries involve complex processes that include the intertwining of both new facts and novel theories. Facts and theories go hand-in-hand, for such discoveries cannot be made by simple inspection. Because discoveries depend upon the intertwining of observations and theories, the discovery process takes time for the conceptual integration of the novel with the known. Moreover, that process is complicated by the fact that novelties are often resisted due to prior expectations. Because of allegiance to a paradigm, scientists are loathed to abandon it simply because of an anomaly or even several anomalies. In other words, anomalies are generally not counter-instances that falsify a paradigm.
Just as anomalies are critical for discovery of new facts or phenomena, so they are essential for the invention of novel theories. Although facts and theories are intertwined, the emergence of novel theories is the outcome of a crisis. The crisis is the result of the paradigm’s breakdown or inability to provide solutions to its anomalies. The community then begins to harbor questions about the ability of the paradigm to guide research, which has a profound impact upon it. The chief characteristic of a crisis is the proliferation of theories. As members of a community in crisis attempt to resolve its anomalies, they offer more and varied theories. Interestingly, anomalies that are responsible for the crisis may not necessarily be new since they may have been present all along. This helps to explain why anomalies lead to a period of crisis in the first place. The paradigm promised resolution of them but was unable to fulfill its promise. The overall effect is a return to a situation very similar to pre-paradigm science.
Closure of a crisis occurs in one of three possible ways, according to Kuhn. First, on occasion that the paradigm is sufficiently robust to resolve anomalies and to restore normal science practice. Second, even the most radical methods are unable to revolve the anomalies. Under these circumstances, the community tables them until future investigation and analysis. Third, the crisis is resolved with the replacement of the old paradigm by a new one but only after a period of extraordinary science.
Kuhn stressed that the initial response of a community in crisis is not to abandon its paradigm. Rather, its members make every effort to salvage it through ad hoc modifications until the anomalies can be resolved, either theoretically or experimentally. The reason for this strong allegiance, claimed Kuhn, is that a community must first have an alternative candidate to take the original paradigm’s place. For science, at least normal science, is possible only with a paradigm, and to reject it without a substitute is to reject science itself, which reflects poorly on the community and not on the paradigm. Moreover, a community does not reject a paradigm simply because of a fissure in the paradigm-nature fit. Kuhn’s aim was to reject a naïve Popperian falsificationism in which single counter-instances are sufficient to reject a theory. In fact, he reversed the tables and contended that counter-instances are essential for the practice of vibrant normal science. Although the goal of normal science is not necessarily to generate counter-instances, normal science practice does provide the occasion for their possible occurrence. Normal science, then, serves as an opportunity for scientific revolutions. If there are no counter-instances, reasoned Kuhn, scientific development comes to a halt.
The transition from normal science through crisis to extraordinary science involves two key events. First, the paradigm’s boundaries become blurred when faced with recalcitrant anomalies; and, second, its rules are relaxed leading to proliferation of theories and ultimately to the emergence of a new paradigm. Often relaxing the rules allows practitioners to see exactly where the problem is and how to solve it. This state has tremendous impact upon a community’s practitioners, similar to that during pre-paradigm science. Extraordinary scientists, according to Kuhn, behave erratically—because scientists are trained under a paradigm to be puzzle-solvers, not paradigm-testers. In other words, they are not trained to do extraordinary science and must learn as they go. For Kuhn, this type of behavior is more open to psychological than logical analysis. Moreover, during periods of extraordinary science practitioners may even examine the discipline’s philosophical foundations. To that end, they analyze their assumptions in order to loosen the old paradigm’s grip on the community and to suggest alternative approaches to the generation of a new paradigm.
Although the process of extraordinary science is convoluted and complex, a replacement paradigm may emerge suddenly. Often the source of its inspiration is rooted in the practice of extraordinary science itself, in terms of the interconnections among various anomalies. Finally, whereas normal science is a cumulative process, adding one paradigm achievement to the next, extraordinary science is not; rather, it is like—using Herbert Butterfield’s analogy—grabbing hold of a stick’s other end. That other end of the stick is a scientific revolution.
The transition from extraordinary science to a new normal science represents a scientific revolution. According to Kuhn, a scientific revolution is non-cumulative in which a newer paradigm replaces an older one—either partially or completely. It can come in two sizes: a major revolution such as the shift from geocentric universe to heliocentric universe or a minor revolution such as the discovery of X-rays or oxygen. But whether big or small, all revolutions have the same structure: generation of a crisis through irresolvable anomalies and establishment of a new paradigm that resolves the crisis-producing anomalies.
Because of the extreme positions taken by participants in a revolution, opposing camps often become galvanized in their positions, and communication between them breaks down and discourse fails. The ultimate source for the establishment of a new paradigm during a crisis is community consensus, that is, when enough community members are convinced by persuasion and not simply by empirical evidence or logical analysis. Moreover, to accept the new paradigm, community practitioners must be assured that there is no chance for the old paradigm to solve its anomalies.
Persuasion loomed large in Kuhn’s scientific revolutions because the new paradigm solves the anomalies the old paradigm could not. Thus, the two paradigms are radically different from each other, often with little overlap between them. For Kuhn, a community can only accept the new paradigm if it considers the old one wrong. The radical difference between old and new paradigms, such that the old cannot be derived from the new, is the basis of the incommensurability thesis. In essence, there is no common measure or standard for the two paradigms. This is evident, claimed Kuhn, when looking at the meaning of theoretical terms. Although the terms from an older paradigm can be compared to those of a newer one, the older terms must be transformed with respect to the newer ones. But, there is a serious problem with restating the old paradigm in transformed terms. The older, transformed paradigm may have some utility, for example pedagogically, but a community cannot use it to guide its research. Like a fossil, it reminds the community of its history but it can no longer direct its future.
The establishment of a new paradigm resolves a scientific revolution and issues forth a new period of normal science. With its establishment, Kuhn’s new image of a mature science comes full circle. Only after a period on intense competition among rival paradigms, does the community choose a new paradigm and scientists once again become puzzle-solvers rather than paradigm-testers. The resolution of a scientific revolution is not a straightforward process that depends only upon reason or evidence. Part of the problem is that proponents of competing paradigms cannot agree on the relevant evidence or proof or even on the relevant anomalies that require resolution, since their paradigms are incommensurable.
Another factor that leads to difficulties in resolving scientific revolutions is that communication among members in crisis is only partial. This results from the new paradigm borrowing from the old paradigm theoretical terms and concepts, and laboratory protocols. Although they share borrowed vocabulary and technology, the new paradigm gives new meaning and uses to them. The net result is that members of competing paradigms talk past one another. Moreover, the change in paradigms is not a gradual process in which different parts of the paradigm are changed piecemeal; rather, the change must be as a whole and suddenly. Convincing scientists to make such a wholesale transformation takes time.
How then does one segment of the community convince or persuade another to switch paradigms? For members who worked for decades under the old paradigm, they may never accept the new paradigm. Rather, it is often the younger members who accept the new paradigm through something like a religious conversion. According to Kuhn, faith is the basis for conversion, especially faith in the potential of the new paradigm to solve future puzzles. By invoking the terms conversion and faith, Kuhn was not implying that arguments and reason are unimportant in a paradigm shift. Indeed, the most common reason for accepting a new paradigm is that it solves the anomalies the old paradigm could not. However, Kuhn point was that argument and reason alone are insufficient. Aesthetic or subjective factors also play an important role in a paradigm shift, since the new paradigm solves only a few, but critical, anomalies. These factors weigh heavily in the shift initially by reassuring community members that the new paradigm represents the discipline’s future.
From the resolution of revolutions, Kuhn made several important philosophical points concerning the principles of verification and falsification. As Kuhn acknowledged, philosophers no longer search for absolute verification, since no theory can be tested exhaustively; rather, they calculate the probability of a theory’s verification. According to probabilistic verification, every imaginable theory must be compared with one another vis-à-vis the available data. The problem in terms of Kuhn’s new image of science is that a theory is tested with respect to a given paradigm, and such a restriction precludes access to every imaginable theory. Moreover, Kuhn rejected falsifying instances because no paradigm resolves every problem facing a community. Under these conditions, no paradigm would ever be accepted. For Kuhn, the process of verification and falsification must include imprecision associated with theory-fact fit.
An interesting feature of scientific revolutions, according to Kuhn, is their invisibility. What he meant by this is that in the process of writing textbooks, popular scientific essays, and even philosophy of science, the path to the current paradigm is sanitized to make it appear as if it was in some sense born mature. Disguising a paradigm’s history is an outcome of a belief about scientific knowledge, which considers it as invariable and its accumulation as linear. This disguising serves the winner of the crisis by establishing its authority, especially as a pedagogical aid for indoctrinating students into a community of practitioners. Another important effect of a revolution, related to a paradigm shift, is a shift in the community’s image of science. The change in science’s image should be no surprise, since the prevailing paradigm defines science. Change that paradigm and science itself changes, at least how to practice it. In other words, the shift in science’s image is a result of a change in the community’s standards for what constitutes its puzzles and its puzzles’ solutions. Finally, revolutions transform scientists from practitioners of normal science, who are puzzle-solvers, to practitioners of extraordinary science, who are paradigm-testers. Besides transforming science, revolutions also transform the world that scientists inhabit and investigate.
One of the major impacts of a scientific revolution is a change of the world in which scientists practice their trade. Kuhn’s world-changes thesis, as it has become known, is certainly one of his most radical and controversial ideas, besides the associated incommensurability thesis. The issue is how far ontologically does the change go, or is it simply an epistemological ploy to reinforce the comprehensive effects of scientific revolutions. In other words, does the world really change or simply the worldview, that is, one’s perspective on or perception of the world? For Kuhn, the answer relied not on a logical or even a philosophical but rather a psychological analysis of the change.
Kuhn analyzed the changes in worldview by analogizing it to a gestalt switch, for example, duck-rabbit. Although the gestalt analogy is suggestive, it is limited to only perceptual changes and says little about the role of previous experience in such transformations. Previous experience is important because it influences what a scientist sees when making an observation. Moreover, with a gestalt switch, the person can stand above or outside of it acknowledging with certainty that one sees now a duck or now a rabbit. Such an independent perspective, which eventually is an authoritarian stance, is not available to the community of practitioners; there is no answer sheet, as it were. Because the community’s access to the world is limited by what it can observe, any change in what is observed has important consequences for the nature of what is observed, that is, the change has ontological significance.
Thus, for Kuhn, the change revolution brings about is more than simply seeing or observing a different world; it also involves working in a different world. The perceptual transformation is more than reinterpretation of data. For, data are not stable but they too change during a paradigm shift. Data interpretation is a function of normal science, while data transformation is a function of extraordinary science. That transformation is often a result of intuitions. Moreover, besides a change in data, revolutions change the relationships among data. Although traditional western philosophy has searched for three centuries for stable theory-neutral data or observations to justify theories, that search has been in vain. Sensory experience occurs through a paradigm of some sort, argued Kuhn, even articulations of that experience. Hence, no one can step outside a paradigm to make an observation; it is simply impossible given the limits of human physiology.
Kuhn then took on the nature of scientific progress. For normal science, progress is cumulative in that the solutions to puzzles form a repository of information and knowledge about the world. This progress is the result of the direction a paradigm provides a community of practitioners. Importantly, the progress achieved through normal science, in terms of the information and knowledge, is used to educate the next generation of scientists and to manipulate the world for human welfare. Scientific revolutions change all that. For Kuhn, revolutionary progress is not cumulative but non-cumulative.
What, then, does a community of practitioners gain by going through a revolution or paradigm shift? Has it made any kind of progress in its rejection of a previous paradigm and the fruit that paradigm yielded? Of course, the victors of the revolution are going to claim that progress was made after the revolution. To do otherwise would be to admit that they were wrong. Rather advocates of the new normal science are going to do everything they can to ensure that their winning paradigm is seen as pushing forward a better understanding of the world. The progress achieved through a revolution is two-fold, according to Kuhn. The first is the successful solution of anomalies that a previous paradigm could not solve. The second is the promise to solve additional problems or puzzles that arise from these anomalies.
But has the community gotten closer to the truth, that is, the notion of verisimilitude, by going through a revolution? According to Kuhn the answer is no. For Kuhn, progress in science is not directed activity towards some goal like truth. Rather, scientific progress is evolutionary. Just as natural selection operates during biological evolution in the emergence of a new species, so community selection during a scientific revolution functions similarly in the emergence of a new theory. And, just as species are adapted to their environments, so theories are adapted to the world. Kuhn had no answer to the question why this should be other than the world and the community that investigates it exhibit unique features. What these features are, Kuhn did not know, but he concluded that the new image of science he had proposed would resolve, like a new paradigm after a scientific revolution, these problems. He invited the next generation of philosophers of science to join him in a new philosophy of science incommensurate with its predecessor.
The reaction to Kuhn’s Structure was at first congenial, especially by historians of science, but within a few years it turned critical, particularly by philosophers. Critics charged him with irrationalism and epistemic relativism. Although he felt the reviews of Structure were good, his chief concerns were the tags of irrationalism and relativism—at least a pernicious kind of relativism. Kuhn believed the charges were inaccurate, however, simply because he maintained that science does not progress toward a predetermined goal. But, like evolutionary change, one theory replaces another with a better fit between theory and nature vis-à-vis competitors. Moreover, he believed that use of the Darwinian evolution was the correct framework for discussing science’s progress. But, he felt no one took it seriously.
On 13 July 1965, Kuhn participated in an International Colloquium in the Philosophy of Science, held at Bedford College in London. The colloquium was organized jointly by the British Society for the Philosophy of Science and by the London School of Economics and Political Science. Kuhn delivered the initial paper comparing his and Karl Popper’s conceptions of the growth of scientific knowledge. John Watkins then delivered a paper criticizing Kuhn’s notion of normal science, with Popper chairing the session. Popper also presented a paper criticizing Kuhn, as did several other members of the philosophy of science community, including Stephen Toulmin, L. Pearce Williams, and Margaret Masterman, who identified twenty-one senses of Kuhn’s use of paradigm in Structure. Masterman concluded her paper inviting others to join in clarifying Kuhn’s paradigm concept.
Kuhn himself took up Masterman’s challenge and clarified the paradigm concept in the second edition of Structure, particularly in its ‘Postscript—1969’. To that end, he divided paradigm into disciplinary matrix and exemplars. The former represents the milieu of the professional practice, consisting of symbolic generalizations, models, and values, while the latter represents solutions to concrete problems that a community accepts as paradigmatic. In other words, exemplars serve as templates for solving problems or puzzles facing the scientific community and thereby for advancing the community’s scientific knowledge. For Kuhn, scientific knowledge is not localized simply within theories and rules; rather, it is localized within exemplars. The basis for an exemplar to function in puzzle solving is the scientist’s ability to see the similarity between a previously solved puzzle and a currently unsolved one.
In the early sixties, van Vleck invited Kuhn to direct a project collecting materials on the history of quantum mechanics. In August 1960, Hunter Dupree, Charles Kittel, Kuhn, John Wheeler, and Harry Wolff, met in Berkeley to discuss the project’s organization. Wheeler next met with Richard Shryock and a joint committee of the American Physical Society and the American Philosophical Society on the History of Theoretical Physics in the Twentieth Century was formed to sponsor and develop the project. The project lasted for three years, with the first and last years of the project conducted in Berkeley and the middle year in Europe. The National Science Foundation funded the project.
The project led to a publication, by John Heilbron and Kuhn, on the origins of the Bohr atom. They provided a revisionist narrative of Bohr’s path to the quantized atom, beginning with his 1911 doctoral dissertation and concluding with his 1913 three-part paper on atomic structure. The intrigue of this historical study was that within a six-week period in mid-1912 Bohr went from little interest in models of the atom to producing a quantized model of J.J. Rutherford’s atom and applying that model to several perplexing problems. The authors explored Bohr’s sudden interest in atomic models. They proposed that his interest stemmed from specific problems, which guided Bohr in terms of both his reading and research toward the potential of the atomic structure for solving them. The solutions to those problems resulted from what Heilbron and Kuhn called a 1913 February transformation in Bohr’s research. What initiated the transformation, claimed the authors, was that Bohr had read a few months earlier J.W. Nicholson’s papers on the application of Max Planck’s constant to generate an atomic model. Although Nicholson’s model was incorrect, it led Bohr in the right direction. Then in February 1913, Bohr, in a conversation with H.R. Hansen, obtained the last piece of the puzzle. After the transformation, Bohr completed the atomic model project within the year.
Besides completing a draft of Structure in 1961, Kuhn was made full professor at Berkeley, but only in the history department. Members of philosophy department voted to deny him promotion in their department, a denial that angered and hurt Kuhn tremendously. Princeton University made Kuhn an offer to join its faculty, while he was in Europe. The university had recently inaugurated a history and philosophy of science program. The program’s chair was Charles Gillispie and its staff included John Murdoch, Hilary Putnam, and Carl Hempel. Upon returning to the United States in 1963, Kuhn visited Princeton. He decided to accept the offer and joined its faculty in 1964. He became the program’s director in 1967 and the following year Princeton appointed him the Moses Taylor Pyne Professor of History. As the sixties ended, Structure was becoming increasingly popular, especially among student radicals who believed it liberated them from the tyranny of tradition.
4. The Road after Structure
In 1979, Kuhn moved to M.I.T.’s Department of Linguistics and Philosophy. In 1983, he was appointed the Laurance S. Rockefeller Professor of Philosophy. At M.I.T., he took a linguistic turn in his thinking, reflecting his new environment, which had a major impact on his subsequent work, especially on the incommensurability thesis.
Structure’s success not only established the historiographic revolution in the study of science in either historically or philosophically or what came to be called the discipline of history and philosophy of science, but also supported the rise of science studies in general and specifically the sociology and anthropology of science, particularly the sociology of scientific knowledge. Kuhn rejected both these trajectories often attributed to Structure, for what he called historical philosophy of science. He conducted—as he categorized his work in the Essential Tension—either historical studies on science or their historiographic implications, or either metahistorical studies or their philosophical implications. In other words, his scholarly work was either historical or philosophical.
a. Historical and Historiographic Studies
Kuhn’s final major historical study was on Planck’s black-body radiation theory and the origins of quantum discontinuity. The transition from classical physics—in which particles pass through intermediate energy stages—to quantum physics—in which energy change is discontinuous—is traditionally attributed to Planck’s 1900 and 1901 quantum papers. According to Kuhn, this traditional account was inaccurate and the transition was initiated by Albert Einstein’s and Paul Ehrenfest’s independent 1906 quantum papers. Kuhn’s realization of this inaccuracy was similar to the enlightenment he experienced when struggling to make sense of Aristotle’s notion of mechanical motion. His initial epiphany occurred while reading Planck’s 1895 paper on black-body radiation. Through that experience, he realized that Planck’s 1900 and 1901 quantum papers were not the initiation of a new theory of quantum discontinuity, but rather they represented Planck’s effort to derive the black-body distribution law based on classical statistical mechanics. Kuhn concluded the study with an analysis of Planck’s second black-body theory, first published in 1911, in which Planck used the notion of discontinuity to derive the second theory. Rather than the traditional position, which claimed the second theory represents a regression on Planck’s part to classical physics, Kuhn argued that it represents the first time Planck incorporated into his theoretical work a theory in which he was not completely confident.
In the black-body radiation and quantum discontinuity historical study, Kuhn did not use paradigm, normal science, anomaly, crisis, or incommensurability, which he championed in Structure. Critics, especially within the history and philosophy of science discipline, were disappointed. Kuhn bemoaned the book’s reception, even by its supporters. However, he later explored the historiographic and philosophical issues raised in Black-Body Theory with respect to Structure. The historiographic issues that the former book addressed were the same raised in the 1962 monograph. Specifically, he claimed that current historiography should attempt to understand previous scientific texts in terms of their contemporary context and not in terms of modern science. Kuhn’s concern was more than historical accuracy; rather, he was interested in recapturing the thought processes that lead to a change in theory. Although Structure was Kuhn’s articulation of this process for scientific change, the terminology in the monograph did not represent a straightjacket for narrating history. For Kuhn, the terminology and vocabulary, like paradigm and normal science, used in Structure were not products, such as metaphysical categories, to which a historical narrative must conform; rather, they had a different metaphysical function—as presuppositions towards an historical narrative as process. In other words, Structure’s terminology and vocabulary were tools by which to reconstruct a scientific historical narrative and not a template for articulating it.
The purpose of history of science, according to Kuhn, was not just getting the facts straight but providing philosophers of science with an accurate image of science to practice their trade. Kuhn fervently believed that the new historiography of science would prevent philosophers from engaging in the excesses and distortions prevalent within traditional philosophy of science. He envisioned history of science informing philosophy of science as historical philosophy of science rather than history and philosophy of science, since the relationship was asymmetrical.
Prior to 1950, history of science was a discipline practiced mostly by eminent scientists, who generally wrote heroic biographies or sweeping overviews of a discipline often for pedagogical purposes. Within the past generation, historians of science, such as Alexander Koyré, Anneliese Maier, and E.J. Dijsterhuis, developed an approach to the history of science that was simply more than chronicling science’s theoretical and technical achievements. An important factor in that development was the recognition of institutional and sociological factors in the practice of science. A consequence of this historiographic revolution was the distinction between internal and external histories of science. Internal history of science is concerned with the development of the theories and methods employed by scientists. In other words, it studies the history of events, people, and ideas internal to scientific advancement. The historian as internalist attempts to climb inside the mind of scientists as they push forward the boundaries of their discipline. External history of science concentrates on the social and cultural factors that impinge on the practice of science.
For Kuhn, the distinction between internal and external histories of science mapped onto his pattern of scientific development. External or cultural and social factors are important during a scientific discipline’s initial establishment; however, once established, those factors no longer have a major impact on a community’s practice or its generation of scientific knowledge. They can have a minor impact on a mature science’s practice, such as the timing of technological innovation. Importantly for Kuhn, internal and external approaches to the history of science are not necessarily mutually exclusive but complementary.
b. Metahistorical Studies
As mentioned already, Kuhn considered himself a practitioner of both the history of science and the philosophy of science and not the history and philosophy of science, for a very practical reason. Crassly put, the goal for history is the particular while for philosophy the universal. Kuhn compared the differences between the two disciplines to a duck-rabbit Gestalt switch. In other words, the two disciplines are so fundamentally different in terms of their goals, that the resulting images of science are incommensurable. Moreover, to see the other discipline’s image requires a conversion. For Kuhn, then, the history of science and the philosophy of science cannot be practiced at the same time but only alternatively, and then with difficulty.
How then can the history of science be of use to philosophers of science? The answer for Kuhn was by providing an accurate image of science. Rejecting the covering law model for historical explanation because it reduces historians to mere social scientists, Kuhn advocated an image based on ordering of historical facts into a narrative analogous to the one he proposed for puzzle solving under the aegis of a paradigm in the physical sciences. Historians of science, as they narrate change in science, provide an image of science that reflects the process by which scientific information develops, rather than the image provided by traditional philosophers of science in which scientific knowledge is simply a product of logical verification or falsification. Kuhn insisted that the history of science and the philosophy of science remain distinct disciplines, so that historians of science can provide an image of science to correct the distortion produced by traditional philosophers of science.
According to Kuhn, the social history of science also distorts the image of science. For social historians, scientists construct rather than discover scientific knowledge. Although Kuhn was sympathetic to this type of history, he believed it created a gap between older constructions and the ones replacing them, which he challenged historians of science to fill. Besides social historians of science, Kuhn also accused sociologists of science for distorting the image of science. Although Kuhn acknowledged that factors such as interests, power, authority, among others, are important in the production of scientific knowledge, the predominant use of them by sociologists eclipses other factors such as nature itself. The key to rectifying the distortion introduced by sociologists is to shift from a rationality of belief, that is, the reasons scientists hold specific beliefs, to a rationality of change in beliefs, that is, the reasons scientists change their beliefs. For Kuhn, a historical philosophy of science was the means for correcting these distortions of the scientific image.
Kuhn’s historical philosophy of science focused on the metahistorical issues derived from historical research, particularly scientific development and the related issues of theory choice and incommensurability. Importantly for Kuhn, both theory choice and incommensurability are intimately linked to one another. The former cannot be reduced to an algorithm of objective rules but requires subjective values because of the latter.
Kuhn explored scientific development using three different approaches. The first was in terms of problem versus puzzle solving. According to Kuhn, problems have no ready solution; and, problem solving is often generally pragmatic and is the hallmark of an underdeveloped or immature science. Puzzles, on the other hand, occupy the attention of scientists involved in a developed or mature science. Although they have guaranteed solutions, the methods for solving puzzles are not assured. Scientists, who solve them, demonstrate their ingenuity and are rewarded by the community.
With this distinction in mind, Kuhn envisioned scientific development as the transition of a scientific discipline from an underdeveloped problem-solving state to a developed puzzle-solving one. The question then arises as to how this occurs. The answer that many took from Structure was, adopt a paradigm. However, Kuhn found this answer to be incorrect in that paradigms are not unique only to the sciences. But does articulating the question in terms of puzzle-solving help? Kuhn’s answer was pragmatic, that is, keep trying different solutions until one works. In other words, philosophers of science had no exemplars by which to solve their problems.
Kuhn’s second approach to scientific development was in terms of the growth of knowledge. He proposed an alternative view to the traditional one that scientific knowledge grows by a piecemeal accumulation of facts. To shed light on the alternative view, Kuhn offered a different reconstruction of science. The central ideas of a science cohere with one another, forming a set of the central ideas or core of a particular science. Besides the core, a periphery exists, which represents an area where scientists can investigate problems associated with a research tradition without changing core ideas.
Kuhn then drew parallels between the current reconstruction of science and the earlier one in Structure. Obviously, the transition in cores from one research tradition to another is a scientific revolution. Moreover, the core represents a paradigm that defines a particular research tradition. Finally, the periphery is identified with normal science. The core then provides the means by which to practice science, and to change the core requires significant retooling that practitioners naturally resist.
Is this change in the core a growth of knowledge? To answer the question, Kuhn examined the standard account of knowledge as justified true belief. What he found problematic with the account is the amount or nature of the evidence needed to justify a belief. And this, of course, raises the issue of truth for which he had no ready solution. Ultimately, Kuhn equivocated on the question of the growth of knowledge.
Kuhn’s final approach to scientific development was through the analysis of three scientific revolutions: the shift from Aristotelian to Newtonian physics, Volta’s discovery of the electric cell, and Planck’s black-body radiation research and quantum discontinuity. From these examples, Kuhn derived three characteristics of scientific revolutions. The first was holistic in that scientific revolutions are all-or-none events. The second was the way referents change after revolutions, especially in terms of taxonomic categories. According to Kuhn, revolutions redistribute objects among these categories. The final characteristic of scientific revolutions was a change in a discipline’s analogy, metaphor, or model, which represents the connection between taxonomic categories and the world’s structure.
According to traditional philosophers of science, the objective features of a good scientific theory include accuracy, consistency, scope, simplicity, and fecundity. However, these features, when used individually as criteria for theory choice, argued Kuhn, are imprecise and often conflict with one another. Although necessary for theory choice, they are insufficient and must include the characteristics of the scientists making the choices. These characteristics involve personal experiences or biography and personality or psychological traits. In other words, not only does theory choice rely on a theory’s objective features but also on individual scientists’ subjective characteristics.
Why have traditional philosophers of science ignored or neglected subjective factors in theory choice? Part of the answer is that they confined the subjective to the context of discovery, while restricting the objective to the context of justification. Kuhn insisted that this distinction does not fit with observations of scientific practice. It is artificial, reflecting science pedagogy. But, actual scientific practice reveals that textbook presentations of theory choice are stylized, to convince students who rely on the authority of their instructors. What else can students do? Textbook science discloses only the product of science, not its process. For Kuhn, since subjective factors are present at the discovery phase of science, they should also be present at the justification phase.
According to Kuhn, objective criteria function as values, which do not dictate theory choice but rather influence it. Values help to explain scientists’ behavior, which for the traditional philosopher of science may at times appear irrational. Most importantly, values account for disagreement over theories and help to distribute risk during debates over theories. Kuhn’s position had important consequences for the philosophy of science. He maintained that critics misinterpreted his position on theory choice as subjective. For them, the term denoted a matter of taste that is not rationally discussable. But, his use of the term did involve the discussable with respect to standards. Moreover, Kuhn denied that facts are theory independent and that there is strictly a rational choice to be made. Rather, he contended scientists do not choose a theory based on objective criteria alone but are converted based on subjective values.
Finally, Kuhn discussed theory choice with respect to the incommensurability thesis. The question he entertained was what type of communication is possible among community members holding competing theories. The answer, according to Kuhn, is that communication is partial. The answer raised a second, and more important, question for Kuhn and his critics. Is good reason vis-à-vis empirical evidence available to justify theory choice, given such partial communication? The answer would be straightforward if communication was complete, but it is not. For Kuhn, this situation meant that ultimately reasonable evaluation of the empirical evidence is not compelling for theory choice and, of course, raised the charge of irrationality, which he denied.
Kuhn identified two common misconceptions of his version of the incommensurability thesis. The first was that since two incommensurable theories cannot be stated in a common language, then they be cannot compared to one another in order to choose between them. The second was that since an older theory cannot be translated into modern expression, it cannot be articulated meaningfully.
Kuhn addressed the first misconception by distinguishing between incommensurability as no common measure and as no common language. He defined the incommensurability thesis in terms of the latter rather than the former. Most theoretical terms are homophonic and can have the same meaning in two competing theories. However, only a handful of terms are incommensurable or untranslatable. Kuhn considered this a modest version of the incommensurability thesis, calling it local incommensurability, and claimed that it was his originally intention. Although there may be no common language to compare terms that change their meaning during a scientific revolution, there is a partially common language composed of the invariant terms that do permit some semblance of comparison. Thus, Kuhn argued, the first criticism fails; because, and this was his main point, an incommensurate residue remains even with a partially common language.
As for the second misconception, Kuhn claimed that critics conflate the difference between translation and interpretation. The conflation is understandable since translation often involves interpretation. Translation for Kuhn is the process by which words or phrases of one language substitute for another. Interpretation, however, involves attempts to make sense of a statement or to make it intelligible. Incommensurability, then, does not mean that a theoretical term cannot be interpreted, that is, cannot be made intelligible; rather, it means that the term cannot be translated, that is, there is no equivalent for the term in the competing theoretical language. In other words, in order for the theoretical term to have meaning the scientist must go native in its use.
Kuhn introduced the notion of the lexicon and its attendant taxonomy to capture both a term’s reference and intention or sense. In the lexicon, there are referring terms that are interrelated to other referring terms, that is, the holistic principle. The lexicon’s structure of interrelated terms resembles the world’s structure in terms of its taxonomic categories. A particular scientific community uses its lexicon to describe and explain the world in terms of this taxonomy. And, members of a community or of different communities must share the same lexicon if they are to communicate fully with one another. Moreover, claimed Kuhn, if full translation is to be achieved the two languages must share a similar structure with respect to their respective lexicons. Incommensurability, then, reflects lexicons that have different taxonomic structures by which the world is carved up and articulated.
Kuhn also addressed a problem that involves communication among communities who hold incommensurable theories, or who occupy positions across a historical divide. Kuhn noted that although lexicons can change dramatically, this does not deter members from reconstructing their past in the current lexicon’s vocabulary. Such reconstruction obviously plays an important function in the community. But the issue is that, given the incommensurable nature of theories, assessments of true and false or right and wrong are unwarranted, for which critics charged Kuhn with a relativist position—a position he was less inclined to deny.
The charge stemmed from the fact that Kuhn advocated no privileged position from which to evaluate a theory. Rather, evaluations must be made within the context of a particular lexicon. And thus, evaluations are relative to the relevant lexicon. But, Kuhn found the charge of relativism trivial. He acknowledged that his position on the relativity of truth and objectivity, with respect to the community’s lexicon, left him no option but to take literally world changes associated with lexical changes. But, is this an idealist position? Kuhn admitted that it appears to be, but he claimed that it is an idealism like none other. On the one hand, the world is composed of the community’s lexicon, but one the other hand, preconceived ideas cannot mold it.
c. Evolutionary Philosophy of Science
From the mid-1980s to early-1990s, Kuhn transitioned from historical philosophy of science and the paradigm concept to an evolutionary philosophy of science and the lexicon notion. To that end, he identified an alternative role for the incommensurability thesis with respect to segregating or isolating lexicons and their associated worlds from one another. Incommensurability now functioned for Kuhn as a mechanism to isolate a community’s lexicon from another’s and as a means to underpin a notion of scientific progress as the proliferation of scientific specialties. In other words, as the taxonomical structure of the two lexicons become isolated and thereby incommensurable with one another, according to Kuhn, a new specialty and its lexicon split off from the old or parent specialty and its lexicon. This process accounts for a notion of scientific progress as an increase in the number of scientific specialties after a revolution.
Scientific progress, then, is akin to biological speciation, argued Kuhn, with incommensurability serving as the isolation mechanism. The result is a tree-like structure with increased specialization at the tips of the branches. Finally, Kuhn’s evolutionary philosophy of science is non-teleological in the sense that science progresses not towards an ultimate truth about the world but simply away from a lexicon that cannot be used to solve its anomalies to one that can. However, he still articulated incommensurability in terms of no common language, with its attendant problems involving the notion of meaning, and did not transform it fully with respect to an evolutionary philosophy of science.
Kuhn was working out an evolutionary philosophy of science in a proposed book, Words and Worlds: An Evolutionary View of Scientific Development. He divided it into three parts, with three chapters in each. In the first part, Kuhn framed the problem associated with the incommensurability thesis and addressed the difficulties accessing past scientific achievements. In the first chapter, he presented an evolutionary view of scientific development. Without an Archimedean platform to guide theory assessment, Kuhn proposed a comparative method for assessing theoretical changes. The method forbids assessment of theories in isolation and methodological solecism. In the next chapter, he discussed the problems associated with examining past historical studies in science. Based on several historical cases, he claimed that anomalies in older scientific texts could be understood only through an interpretative process involving an ethnographic or a hermeneutical reading. He had now laid the groundwork for examining the incommensurability thesis. In the third chapter, Kuhn discussed the changes of word-meanings as changes in a taxonomy embedded in a lexicon—an apparatus of a language’s referring terms. The result of these changes was an untranslatable gap between two incommensurable theories. Finally, the lexical terms referring to objects change as the number of scientific specialties proliferate.
In the book’s second part, Kuhn continued to explore the nature of a community’s lexicon, which he explicated in terms of taxonomic categories. These categories are grouped as contrast sets and no overlap of categories exists within the same contrast set, which Kuhn called the no-overlap principle. The principle prohibits the reference of terms to objects unless related to one another as species to genus. Moreover, the properties of the categories are reflected in the properties of their names. A term’s meaning then is a function of its taxonomic category. And, this restriction is the origin of untranslatability. In the first chapter of this part, Kuhn discussed the nature of substances in terms of sortal predicates. This move allowed Kuhn to introduce plasticity into the lexicon’s usage. Moreover, the differentiating set is not strictly conventional but relies on the world to which the different sets connect. In the next chapter, Kuhn extended the lexicon notion to artifacts, abstractions, and theoretical entities.
In the final chapter of the second part, Kuhn specified the means by which community members acquire a lexicon. First, they must already possess a vocabulary about physical entities and forces. Next, definitions play little, if any, role in learning new terms; rather, those terms are acquired through ostensive examples, especially through problem solving and laboratory demonstrations. Third, a single example is inadequate to learn the meaning of a term; rather, multiple examples are required. Next, acquisition of a new term within a statement also requires acquisition of other new terms within that statement. And lastly, students can acquire the terms of a lexicon through different pedagogical routes.
In the book’s concluding part, Kuhn discussed what occurs during a change in the lexicon and the implications for scientific development. In chapter seven, he examined the means by which lexicons change and the repercussions such change has for communication among communities with different lexicons. Moreover, he explored the role of arguments in lexical change. In the subsequent chapter, Kuhn identified the type of progress achieved with changes in lexicons. He maintained that progress is not the type that aims at a specific goal but rather is instrumental. In the final chapter, he broached the issues of relativism and realism not in traditional terms of truth and objectivity but rather with respect to the capability of making a statement. Statements from incommensurable theories that cannot be translated are ultimately ineffable. They can be neither true nor false but their capability of being stated is relative to the community’s history.
In sum, the book’s aim was certainly to address the philosophical issues left over from Structure, but more importantly, it was to resolve the problems generated by a historical philosophy of science. Although others were also responsible for its creation, Kuhn assumed responsibility for resolving the problems; and the sine qua non for resolving them was the incommensurability thesis. For Kuhn, the thesis was required more than ever to defend rationality from the post-modern development of the strong program.
5. Conclusion
In May 1990, a conference—or as Hempel called it, a Kuhnfest—was held in Kuhn’s honor at MIT, sponsored by the Sloan Foundation and organized by Paul Horwich and Judith Thomson. The conference speakers included Jed Buchwald, Nancy Cartwright, John Earman, Michael Friedman, Ian Hacking, John Heilbron, Ernan McMullin, N.M Swerdlow, and Norton Wise. The papers reflected Kuhn’s impact on the history and the philosophy of science. Hempel made a special appearance on the last day, followed by Kuhn’s remarks on the conference papers. As he approached the podium after Hempel’s remarks, before a standing-room-only audience, Kuhn was visibly moved by the outpouring of professional appreciation for his contributions, to a discipline that he cherished and from its members whom he truly respected.
Kuhn retired from teaching in 1991 and became an emeritus professor at MIT. During Kuhn’s career, he received numerous awards and accolades. He was the recipient of honorary degrees from around a dozen academic institutions, such as University of Chicago, Columbia University, University of Padua, and University of Notre Dame. He was elected a member of the National Academy of Science—the most prestigious society for U.S. scientists—and was an honorary life member of the New York Academy of Science and a corresponding fellow of the British Academy. He was president of the History of Science Society from 1968 to 1970 and the society awarded him its highest honor, the Sarton Medal, in 1982. Kuhn was also the recipient in 1977 of the Howard T. Behrman Award for distinguished achievement in the humanities and in 1983 of the celebrated John Desmond Bernal award. Kuhn died on 17 June 1996 in Cambridge, Massachusetts, after suffering for two years from cancer of the throat and bronchial tubes.
6. References and Further Reading
a. Kuhn’s Work
a Kuhn’s work
Kuhn Papers, MIT MC 240, Institute Archives and Special Collections, MIT Libraries, Cambridge, MA.
Kuhn, T. S. (1957) The Copernican Revolution: Planetary Astronomy in the Development of Western Thought. Cambridge, MA: Harvard University Press.
Kuhn, T. S. (1962) The Structure of Scientific Revolutions. Chicago, IL: University of Chicago Press.
Kuhn, T. S. (1963) ‘The function of dogma in scientific research’, in A.C. Crombie, ed. Scientific Change: Historical Studies in the Intellectual, Social and Technical Conditions for Scientific Discovery and Technical Invention, From Antiquity to the Present. New York: Basic Books, pp. 347-69.
Kuhn, T. S., Heilbron, J. L., Forman, P. and Allen, L. (1967) Sources for History of Quantum Physics: An Inventory and Report. Philadelphia, PA: American Philosophical Society.
Heilbron, J. L., and Kuhn, T. S. (1969) ‘The genesis of the Bohr atom’. Historical Studies in the Physical Sciences, 1, 211-90.
Kuhn, T. S. (1970) The Structure of Scientific Revolutions (2nd edition). Chicago, IL: University of Chicago Press.
Kuhn, T. S. (1977) The Essential Tension: Selected Studies in Science Tradition and Change. Chicago: University of Chicago Press.
Kuhn, T. S. (1987) Black-Body Theory and the Quantum Discontinuity, 1894-1912 (revised edition). Chicago: University of Chicago Press.
Kuhn, T. S. (1990) ‘Dubbing and redubbing: the vulnerability of rigid designation’, in C.W. Savage, ed. Scientific Theories. Minneapolis, MN: University of Minnesota Press, pp. 298-318.
Kuhn, T. S. (2000) The Road since Structure: Philosophical Essays, 1970-1993, with an Autobiographical Interview. Chicago: University of Chicago Press.
Contains a comprehensive interview with Kuhn covering his life and work.
b. Secondary Sources
Andersen, H. (2001) On Kuhn. Belmont, CA: Wadsworth Publishing.
A general introduction to Kuhn and his philosophy.
Andersen, H., Barker, P. and Chen, X. (2006) The Cognitive Structure of Scientific Revolutions. New York: Cambridge University Press.
Barnes, B. (1982) T.S. Kuhn and Social Science. London: Macmillan Press.
Discusses the impact of Kuhn’s philosophy for the sociology of science.
Bernardoni, J. (2009) Knowing Nature without Mirrors: Thomas Kuhn’s Antirepresentationalist Objectivity. Saarbrücken, DE: VDM Verlag Dr. Müller.
Bird, A. (2000) Thomas Kuhn. Princeton, NJ: Princeton University Press.
A critical introduction to Kuhn’s philosophy of science.
Bird, A. (2012) ‘The Structure of Scientific Revolutions and its significance: an essay review of the fiftieth anniversary edition’. British Journal for the Philosophy of Science, 63, 859-83.
Buchwald, J. Z. and Smith, G. E. (1997) ‘Thomas S. Kuhn, 1922-1996’. Philosophy of Science, 64, 361-76.
D’Agostino, F. (2010) Naturalizing Epistemology: Thomas Kuhn and the Essential Tension. New York: Palgrave Macmillan.
Davidson, K. (2006) The Death of Truth: Thomas S. Kuhn and the Evolution of Ideas. New York: Oxford University Press.
Favretti, R. R., Sandri, G. and Scazzieri, R., eds. (1999) Incommensurability and Transl
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Fall memorial planned for Professor T.S. Kuhn
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An MIT memorial service will be held in the fall for Professor Emeritus Thomas S. Kuhn, who died June 17 at his home in Cambridge at the age of 73. He had been ill for the last two years with cancer of the bronchial tubes and throat.
Professor Kuhn was an internationally known historian and philosopher who made seminal contributions to understanding how scientific views are supported and discounted over time. The author of The Structure of Scientific Revolutions (1962), an enormously influential work on the nature of scientific change, he was widely celebrated as the central figure in contemporary thought about how the scientific process evolves.
In MIT's Commencement address in June, Vice President Albert Gore spoke of the relationship "between science and technology on the one hand and humankind and society on the other" and referred to "the great historian of science, Thomas Kuhn."
Before Professor Kuhn's work, scientific evolution was commonly understood as the patient and progressive accumulation of knowledge about the world. In Structure of Scientific Revolutions, Professor Kuhn rejected this understanding in favor of an historical and social conception, based on a distinction between normal and revolutionary science. Normal science-the dominant enterprise-is puzzle-solving: scientists solve problems within settled frameworks of inquiry that are not themselves tested but simply taken for granted. They model their solutions on scientific paradigms-the exemplary solutions to once-outstanding puzzles that scientists master as part of their training (for example, Newton's derivation of planetary orbits from his laws of motion).
In revolutionary periods (for example, the overthrow of Newtonian by relativist mechanics), Professor Kuhn said, unsolved puzzles or anomalies accumulate, and some scientists propose alternative frameworks of inquiry, often profoundly discontinuous with earlier views. Revolutions succeed when a new, incommensurably different outlook is better able to handle the previously unsolved anomalies and win the allegiance of younger scientists. In Kuhn's vision, then, science is not a smooth evolution of human knowledge, but an historical process in which periods of relative calm are punctuated by dramatic breaks in understanding.
From 1982 to 1991, when he retired, Dr. Kuhn was the first Laurance S. Rockefeller Professor in Philosophy at MIT.
Jed Z. Buchwald, the Bern Dibner Professor of the History of Science and director of the Dibner Institute for the History of Science and Technology, said Professor Kuhn "was the most influential historian and philosopher of science of our time. He instructed and inspired his students and colleagues at Harvard, Berkeley, Princeton and MIT, as well as the tens of thousands of scholars and students in his own and other fields of social science and the humanities who read his works."
Professor Kuhn joined MIT in 1979 from Princeton University, where he had been the M. Taylor Pyne Professor of the History of Science and a member of the Institute for Advanced Study. At MIT, his work centered on cognitive and linguistic processes that bear on the philosophy of science, including the influence of language on the development of science.
Born in Cincinnati in 1922, Professor Kuhn studied physics at Harvard, where he received the SB (1943), AM (1946) and PhD (1949). He taught at Harvard and at the University of California at Berkeley before joining Princeton in 1964. From 1978 to 1979 he was a fellow at the New York Institute for the Humanities.
His honors included the Howard T. Behrman Award for distinguished achievements in the humanities (1977), the History of Science Society's George Sarton Medal (1982) and the Society for Social Studies of Science's John Desmond Bernal Award (1983). He became a Corresponding Fellow of the British Academy in 1990 and was given honorary degrees by several universities throughout the world.
He was a member of the National Academy of Sciences, the Philosophy of Science Association (president, 1988-90), and the History of Science Society (president, 1968-70).
Professor Kuhn is survived by his wife, Jehane R. Kuhn; two daughters, Sarah Kuhn of Framingham and Elizabeth Kuhn of Los Angles; a son, Nathaniel S. Kuhn of Arlington; a brother, Roger S. Kuhn of Bethesda; and four grandchildren, Emma Kuhn LaChance, Samuel Kuhn LaChance, Gabrielle Gui-Ying Kuhn and Benjamin Simon Kuhn. He previously was married to Kathryn Muhs of Princeton, NJ, who is the mother of his children.
Contributions in his memory may be made to Hospice of Cambridge and mailed to 245 Winter St., Waltham, 02154.
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Thomas Kuhn, 73; Devised Science Paradigm
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Thomas S. Kuhn, whose theory of scientific revolution became a profoundly influential landmark of 20th-century intellectual history, died on Monday at his home in Cambridge, Mass. He was 73.
Robert DiIorio, associate director of the news office at the Massachusetts Institute of Technology, said the scholar, who held the title of professor emeritus at M.I.T., had been ill with cancer in recent years.
The Structure of Scientific Revolutions," was conceived while Professor Kuhn was a graduate student in theoretical physics and published as a monograph in the International Encyclopedia of Unified Science before the University of Chicago Press issued it as a 180-page book in 1962. The work punctured the widely held notion that scientific change was a strictly rational process.
Professor's Kuhn's treatise influenced not only scientists but also economists, historians, sociologists and philosophers, touching off considerable debate. It has sold about one million copies in 16 languages and remains required reading in many basic courses in the history and philosophy of science.
Dr. Kuhn, a professor of philosophy and history of science at M.I.T. from 1979 to 1983 and the Laurence S. Rockefeller Professor of Philosophy there from 1983 until 1991, was the author or co-author of five books and scores of articles on the philosophy and history of science. But Dr. Kuhn remained best known for "The Structure of Scientific Revolutions."
His thesis was that science was not a steady, cumulative acquisition of knowledge. Instead, he wrote, it is "a series of peaceful interludes punctuated by intellectually violent revolutions." And in those revolutions, he wrote, "one conceptual world view is replaced by another."
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Thomas Kuhn
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Thomas Samuel Kuhn (/kuːn/; July 18, 1922 – June 17, 1996) was an American philosopher of science whose 1962 book The Structure of Scientific Revolutions was influential in both academic and popular circles, introducing the term paradigm shift, which has since become an English-language idiom.
Kuhn made several claims concerning the progress of scientific knowledge: that scientific fields undergo periodic "paradigm shifts" rather than solely progressing in a linear and continuous way, and that these paradigm shifts open up new approaches to understanding what scientists would never have considered valid before; and that the notion of scientific truth, at any given moment, cannot be established solely by objective criteria but is defined by a consensus of a scientific community. Competing paradigms are frequently incommensurable; that is, they are competing and irreconcilable accounts of reality. Thus, our comprehension of science can never rely wholly upon "objectivity" alone. Science must account for subjective perspectives as well, since all objective conclusions are ultimately founded upon the subjective conditioning/worldview of its researchers and participants.
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Thomas Kuhn is perhaps the best known philosopher of science. He claimed that the advance of scientific knowledge proceeds in discontinuous breaks that he called "revolutions" and which came to be known as "paradigm shifts." Kuhn suggested that basic scientific concepts and language terms that describe them change their meanings across these breaks, producing an incommensurability of ideas that make communications between scientists working in different paradigms difficult or even impossible. Kuhn is simply wrong about this. Any conceptual idea about any structure or process in the world that changes in a Kuhnian revolution can be described in the language terms used before and after the revolution by scientific experts who can provide an adequate translation between the terms. Kuhn came of age when analytic language philosophers were abandoning the logical positivism of Bertrand Russell and the early Ludwig Wittgenstein and their "truth tables." Even the logical empiricists of the Vienna Circle in Europe, with their theory that science advances by "verification" of observations came under attack. Kuhn's most famous work, The Structure of Scientific Revolutions, first appeared as an article in the International Encyclopedia of Unified Science, a publication of the Vienna Circle. In philosophy of science, the logical empiricists were challenged by Karl Popper, who insisted that scientific theories stand and fall not on verification, but on his criterion of "falsification." This was flawed. Falsification is just a negative verification, equally likely to be overthrown by future scientific evidence. And all scientific theories rest on experimental evidence, not logical "proofs." Analytic language philosophy itself had a revolution against the logical "truth" of all knowledge, that all facts could be built up from "atomic facts." just as all matter is built up from atoms. Wittgenstein thought that language provided a "picture theory" of the world, that sentences can be framed as formal "propositions" like those in the great Principia Mathematica of Russell and Alfred North Whitehead. All mathematics and then all of science could be based upon these "logical atoms." This too was flawed. Behind this was the great philosophical and ultimately theological idea that the world and the universe are rationally constructed, so its structure can be understood by reason alone. This is called modernism, over against the idea of tradition, that knowledge is simply handed down from generation to generation by authorities. The first modern theology was Thomas Aquinas and other scholastics, who claimed revelation and reason could be reconciled. The first modern philosopher was René Descartes, whose work led to the age of enlightenment and the "laws" of modern science.. Modernists believe that reason can establish or "grounded" objective knowledge. Kuhn questioned the existence of "objective" knowledge, just when many philosophers of science were questioning the idea of an objective physical reality. Albert Einstein's theories of special and general relativity had made "relativism" fashionable in many fields. And quantum mechanics threatened the deterministic implications of classical physics. Structuralism in linguistics, anthropology, psychology, and the social sciences was the idea that universal structures underlie everything that human beings do, think, perceive, and feel. It gave way to post-structuralism, cultural relativism, and then postmodernism, or deconstruction. Kuhn was a postmodern, though perhaps a reluctant one, especially in the face of attacks on his idea of incommensurabiity by many scientists and philosophers. Where Kuhn was right is the idea that scientific progress is not made by works of individual thinkers who establish the objective truth about reality. Truth, especially objective or absolute truth, is a concept that is essential in mathematics and logic. The meaningful equivalent in science is the statistical evidence supporting various theories. Kuhn properly located progress in science in the scientific community as a whole. He saw the community of scientists as having only individual "subjective" positions. All "objective" knowledge is ultimately the result of "subjective," culturally biased, views of the individual scientists. "Objective" science is impossible Concerns about objectivity had been thought through in an earlier century by perhaps the greatest ever philosopher of science, Charles Sanders Peirce. He described a "community of inquirers" who could achieve "intersubjective agreement" in the long run. For Peirce, this agreement would be an approach, perhaps only asymptotic, to something like scientific "truth." Better than any other philosopher, Peirce articulated the difference between a priori probabilities and a posteriori statistics. He knew that probabilities are a priori theories and that statistics are a posteriori empirical measurements, the results of observations and experiments. The "truth" of any scientific theory is therefore always provisional, subject to change or incorporation into a larger, more comprehensive theory that explains all past evidentiary facts as well as newly discovered facts in the future. With Peirce in mind, we see that all science, like all knowledge (our SUM), is a living thing that is still growing.
On Blackbody Radiation
Kuhn's 1987 book Black-Body Theory and the Quantum Discontinuity, 1894-1912 helped establish that Max Planck had no idea that light quanta were real, as Einstein proved. Normal | Teacher | Scholar
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Thomas S. Kuhn (b. 1922–d. 1996) was an American historian and philosopher of science best-known for his book, The Structure of Scientific Revolutions (1962) which influenced social sciences and theories of knowledge. He is widely considered one of the most influential philosophers of the twentieth century.
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Thomas S. Kuhn (1922–1996) was an American historian and philosopher of science best-known for his book, The Structure of Scientific Revolutions (1962), which influenced social sciences and theories of knowledge. He is widely considered one of the most influential philosophers of the twentieth century.
Kuhn was born in in Cincinnati, Ohio, the son of Samuel Lewis Kuhn, an industrial engineer, and Minette Stroock Kuhn. He obtained his Bachelor of Science, Master of Science, and PhD in physics from Harvard University. While completing his PhD, he worked as a teaching assistant for Harvard President James B. Conant, who designed and taught the general education history of science courses. This experience allowed Kuhn to switch from physics to the study of the history and philosophy of science. From 1948 until 1956, Kuhn taught a course in the history of science at Harvard. Subsequently he taught at the University of California at Berkeley, then at Princeton University, and finally at MIT (Massachusetts Institute of Technology) where from 1982 until the end of his academic career in 1991 he was the Laurance S. Rockefeller Professor of Philosophy and History of Science.
In The Structure of Scientific Revolutions Kuhn challenged the prevailing philosophical views of the logical empiricists about the development of scientific knowledge and introduced the notion of the scientific paradigm. He argued that science does not progress in a linear and consistent fashion via an accumulation of knowledge, but proceeds within a scientific paradigm – a set of fundamental theoretical assumptions that guides the direction of inquiry, determines the standard of truth and defines a scientific discipline at any particular period of time. He used the term “normal science” to describe scientific research that operates in accordance with the dominant paradigm.
Khun believed that normal science can be interrupted by periods of revolutionary science when old scientific theory and method fail to address the problem or explain new phenomena, or when anomalies occur to undermine the existing theory. If the failure is perceived as serious and persistent, a crisis can arise, culminating in revolutionary changes of theory. A paradigm shift occurs when the scientific community adopts the new paradigm, which leads to the beginning of the new period of normal science. Khun also maintained that the new and old paradigms were ‘incommensurable’ and thus could not be compared. Well known examples of paradigm shifts are the change from classical mechanics to relativistic mechanics, and the shift from classical statistic to big data analytics.
The Structure of Scientific Revolutions became an influential and widely read book of the 1960s and sold more than a million copies. It had a profound impact on the history and philosophy of science (and also brought the term “paradigm shift” into common use). It was also controversial since Kuhn challenged the accepted theories of science of the time.
Kuhn’s other important works include his first book, The Copernican Revolution (1957), The Essential Tension: Selected Studies in Scientific Tradition and Change (1977), and Black-Body Theory and the Quantum Discontinuity: 1894–1912 (1978).
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