#2017 latin grammy | Explore Tumblr Posts and Blogs

one-additional-time · 2 years

Text

Daft Punk in Chronic'art 2007/2008 - scans & translated interview

Here it is, the long-awaited monster interview that sat untouched on my bookshelf for 6 years. I bought this magazine on eBay in 2017, fresh off the Grammys performance with The Weeknd, and I was really excited when I realized it was a huge 10 page spread... Until I started translating and realized the content was extremely in-depth and complicated. So, it got put to the side and accidentally left there for many years.

Anyway, here we go. Buckle in for a long read! Please note that I did not translate the extra sections of the article titled "Discovered" and "Very Disco" as these are just basic information about DP's discography and samples they've used- they are not part of the interview.

My usual disclaimer- I am not French, nor am I fluent in French, so some of this may be incorrect or interpreted differently than the author intended. If you find any glaring errors, my ask box is open for feedback and I can update the post/files as needed. (Post updated May 2023 with corrections)

Feel free to repost to other platforms/social media sites, but I humbly beg that you link back here or give me credit because I really spent a lot of time slaving over this (like 50+ hours).

Thank you so much for sticking around my blog after so many years. I really appreciate this fandom and community and I'm excited to experience new music with you all soon!

(Trigger warning for discussion of suicide [Electroma] in the interview!)

Download full scans and translation at my Dropbox.

Full translation below the cut.

In ten years, from Homework in 1997 to Alive 2007 and Electroma, the electro duo Daft Punk have popularized electronic music, launched fads (the French Touch, filtered house, monumental live shows), and transformed a simple music project into a verifiable universal, even metaphysical, concept. Are Daft Punk dropping the helmets?

BY: WILFRIED PARIS & OLIVIER LAMM | PHOTOS: © MAUD BERNOS

SCANS AND TRANSLATION BY STEPH @ ONE-ADDITIONAL-TIME.TUMBLR.COM

(Please see the downloadable PDF file for translation notes/comments)

Everyone has been hearing about Daft Punk for the last two months, because their live CD (Alive 2007, from EMI) and the DVD of their robotic road-movie Electroma are being released for the holidays. We wanted to go a little bit beyond the obligated promo, and the repeated wooden language found in all the media, by trapping Thomas Bangalter and Guy-Manuel de Homem-Christo for an hour and a half in a restaurant in the Latin Quarter, subjecting them to questioning, and if possible, making them drop the helmets a little bit, over ten pages and many questions.

We’re not going to harp on what you already know (the French touch, the robot helmets, the live pyrotechnics), we’ll just say that we wanted to do this thorough interview with Daft Punk because they’re more than a CD or a DVD, more than music, more than any current pop group. They are an essential symbol of our post-post-modern times, speaking in a very clear yet always paradoxical voice (between hedonistic joy and profound existential sadness) on the human condition, no less. Over the ten years of their career (Homework, like Chronic’art, again, decidedly, appeared in 1997), Daft Punk have invented a new way of presenting music to the world. The robot helmets reveal (social uniformity) more than they cover (buried humanity) and have given them perfect anonymity, which seems like the anonymity of those who succeeded, not in annihilating the self, but becoming self-less. This anonymity accentuates the dominance of the art over the artist, and it has made Daft Punk a universally well-liked and famous group.

A conceptual, pop, philosophical, even metaphysical group, Daft Punk mixes Andy Warhol (seriality, pop art, emptiness) and Friedrich Nietzsche (the man who wanted to die in Electroma, the superhuman for and against technology), mass culture (disco, Albator, Star Wars) and esoteric symbols (the masonic pyramid), the dancing body and thinking brain. In that respect, they are a purely manufactured product of our culture and likely represent the completion of the pop figure began by the Beatles: fragmented culture (the sample) and repetition, theatricality and abstraction, universalism and experimentation, technological innovation and advanced marketing, refusal of the embodiment and worship of the personality…

The current tour (Alive can also mean “en vie”) also refers to an interstellar voyage, like Discovery and Interstella, which seemed to mean that humanity is, by nature, dispossessed, that humans do not belong on Earth but came from Heaven and are destined to return there, that they are “stardust.” They themselves [Daft Punk] are probably not aware of the symbolic and almost metaphysical significance of their creations, and they always prefer to talk about “emotions” rather than thoughts, the heart instead of the head, and they act as the “guinea pigs” for their own experiments. Listening to them, we realized that Thomas Bangalter and Guy-Manuel de Homem-Christo do not really theorize their work, their music, or their image, but that they react to the infinite accumulation of data from our culture of abundance, that they are indeed the guinea pigs of an experience that has outrun them, marionettes played by “high culture,” pop culture, and the entertainment industry. Maybe Daft Punk really are robots, and no one is pulling the strings, certainly not them.

Chronic’art: Between Homework, which would correspond to your schoolwork or your learning phase, Discovery, which would represent your adolescence, the discovery of the world, microscopic to macroscopic, and Human After All, a moment of reset before a new cycle, it seems to us like you have come full circle, which would be represented by the mirroring of your two live albums, in 1997 and in 2007. Could you have scripted your career?

Thomas Bangalter: It’s strange. We have never written out any part of our career, because even ten years ago we didn’t think we would do this for a long time. After the fact, without having planned it, we realize more that we had sort of reset prior to the live show from 2007. For us, these concerts, this tour, this CD, they are more of a new step than a conclusion. We had not done concerts for 10 years, and there was something very exciting about doing things that weren’t technologically possible when we started. With the last live, we wanted to produce something original, that could predict what might become the norm of tomorrow. We know that we’ve done certain things in the past that were five years ahead of their time, and we are happy to be trying something no one else has done right now. We feel like, during each album, we’ve started back at zero and have had to create a new process, even if it’s true that there is a consistency which emerges in the straight line of our career. But this consistency is not defined a priori, we just emphasize working on projects that can become sort of a realignment of everything we’ve accomplished until now. Interstella was consistent with Discovery, the live show was consistent with our third album compared to the two previous albums, but each step represents, in the moment, the desire to start a new cycle. As for Human After All and Electroma, they’re about something darker, less celebratory… Maybe the live show is a loop; our record label released a Best Of last year, but the concert itself and the way we worked on it is more a way of combining things and expressing them in a new way, rather than celebrating a sort of anniversary or something from the past. We definitely didn’t want to give people the impression that they were in 1997, in a continuation of past music: we instead wanted to give them the chance to feel like they were really in 2007.

During the live shows, you mix together your own tracks, referencing and quoting yourselves. It’s like being simultaneously and precisely between 1997 and 2007, as if the past and the present were merging. All of your songs evolving in a sort of loop…

T.B.: It’s almost the third generation of sampling: us sampling ourselves. At the same time, it’s like having created a universe and an aesthetic that is more than the music, or that the music isn’t actually a central vector. Our approach isn’t at all demonstrative, it’s entirely sensory. There isn’t another message to understand. That being said, there is a desire for cohesion, to make sure that each element added to the structure resonates with the others, with the little mythology that governs this universe. It’s a bit like in a video game, each new element opens a new level in a new environment rather than replacing an older element. We wanted, for example, to break these things with Human After All, but in the end we realized that the album was very cohesive in the continuity of our work.

There is a very strong sense of nostalgia, mixed with a strangeness, in the timeless juxtapositions listeners are subjected to in the tracks. They seem to be complementing and responding to each other, as much musically as thematically…

Guy-Manuel de Homem-Christo: It’s especially very exciting to see that twelve or thirteen years after our first maxi, our music has not aged too much. There is a sense of nostalgia1, but it still works in the present, and it’s very strange to see that we can mix four tracks from four different eras simultaneously, and not a single one kills the mood. Right after we started making music, we were seeking timelessness. It’s the same with Electroma. At our core, we are fans of timeless things. If you listen to the Beatles, aside from their very first period which is a little bit stuck in the past, you notice that time doesn’t touch their music. We are following that: we are trying to move through time without getting stuck in it. In the same way, we are trying to make sure that our music can be listened to by a lot of different people, without having to worry about languages or genres.

The Beatles were, for that matter, the first group to reference themselves, for example in All You Need is Love, where John Lennon sings She Loves You…

G-M.H-C.: We don’t compare ourselves to the Beatles, either…

T.B.: The idea is constructing a cohesive universe from a series of spontaneous attempts. If you watch Star Wars, people don’t seem to come from when the film was made. It’s as if the 70s have no effect on the film’s universe. Its atmosphere is its own, even if mixes a lot of things together. For about five or six years we have tried not to let the times we live in make an impression on us.

You are very privileged to be in a time when everything moves so fast, or everything ages so fast, right in the middle of acceleration. For example, you did a massive world tour without having an album to promote…

G-M.H-C.: The day before the first concert of the tour, at Coachella, we were terrified, we weren’t sure of anything. Every time we try something new, we start back at zero.

T.B.: It’s the live show that sparked the craze, I think, truly. The success was really unintentional. Separate from that, being immersed in a certain underground before our first album taught us a lot. We’ve seen all the trends come and go—jungle, speed garage, electroclash, new rave, French touch, revival—and we are really surprised to have slipped by all of that. We didn’t want to be specifically concentrated on music, we only released three albums in 15 years, and we had a lot of luck. The legitimacy of our music, the future of our music lives in the combination of different forms of expression, the scope of influences, the mixing of techno with funk, with metal, the intermingling of rules and cliches. A lot of important decisions have been roughly made; also by means of spending time solidifying this roughness in order to share it. In fact, electronic music, in the 90s, put you in a state of experimentation, urgency, innovation, it literally prohibited you from repeating yourself. Electronic music was still very elitist, because it was expensive—you had to go to the library to find out about these musicians, you had to go to Beaubourg to make photocopies of books on filmmakers, you had to go to small shops to buy old drum machines. We know what changed, we’re familiar with the saturation that followed. We were also lucky because actually there wasn’t much of that happening when we started out.

The permanence of Daft Punk is also really linked to your image. People don’t only dance to your music, they dance with your personas, with the robots, like you predicted the fatal characteristic of the embodiment of rock (John Lennon, Kurt Cobain). With your robot helmets, you have made the entire process of love, requisition, and the sacrificial reclaiming in your place impossible. You come across as impersonal and therefore verifiably impossible to sacrifice. Not gods, rockers, heroes, nor rulers. The helmet prohibits any kind of identification process. When put on, they show the listener-viewer their own reflection. By giving nothing, the helmet says (silently), “Know thyself.” Can your work be considered an invitation for people to know themselves?

G-M.H-C.: Yes, I agree with that interpretation. At least, that’s what happens with our concerts. Audience members, rather than being lost in the view of a far-off guy, Mick Jagger or another inaccessible idol above the audience, find themselves between us, or even with themselves. It’s kind of like a rave, without superstars, like in the era of anonymity. The robots don’t give the audience much except music. There are robots in a pyramid, but the audience enjoys it in a more selfish, more self-centered way.

T.B.: It’s a mixture—the chance to show the listener their own reflection, to respond to a question with another question, but also the opportunity to go back to a fiction, in a cult that isn’t the cult of a personality, but of an art, of an image, of an aesthetic. Without personification. Then we can let ourselves to be two robots in a pyramid of light. If our faces were uncovered, it would be the most megalomaniacal thing in the world; with the helmets, no one sees us because we stay within the fiction. And without wanting to make a joke, there is also a degree of separation, a distance. A distance from the reflection, like in Electroma, or a distance from the entertainment, softer.

All the lines from Human After All work in the same way. They recall Kraftwerk, but Kraftwerk developed a precise message about celebrating, in a way, the immediate future. Your messages are a lot more ambiguous: are they critical, ironic, devoid of meaning? Like we see so well in Electroma, your helmets are, above all else, mirrors…

T.B.: Ambiguity is good, because it allows for a certain interaction between the viewer and the artist; between what the viewer interprets and what the artist is trying to depict. It’s very participative, and that comes from a desire to go against the demonstration. We are the first consumers of our music, and we hold the view that we can’t make any judgement values by calling things into question. In speaking about technology, about consumer society, which completely inhabits our art, we don’t want to teach a lesson, or offer a point of view or a judgement, we just want to find paradoxes and point them out as is. For example, we’re dependent on consumer society and it’s so appealing, productive, optimized, and at the same time totally terrifying, horrible, and very funny.

Your work is dialectical: sometimes it seems to denounce a sort of robotic totalitarianism (like in the Technologic video which depicts propaganda of a robot on top of a pyramid) and at the same time it plays with this imagery, strikingly. The video for Around The World also shows how robots surround and surveil the population; they are in the last circle, and they are the ones who chant the phrase “Around The World.” Does the video denounce the surveillance of us by nonhumans, or does it condition us to accept it? We never know if you’re denouncing a conspiracy against humanity or if you’re participating in it. You use of language is equally dialectical. Your language is refined, born from catchphrases and words of totalitarian order (Technologic), and if taken literally, it’s this: the phrase “Television Rules The Nation” can be taken as the assertion of an established fact. It then becomes constraint, manipulation. At the same time, the distance imposed by the performance can give the words a double meaning, and adds to them a critique of this established fact, even the denunciation of a totalitarian power. This recalls the “doublethink” in Orwell’s 1984: the capacity to simultaneously accept two opposing points of view and thereby put critical thinking on the back burner. Where do you situate yourselves in this in-betweenness?

T.B.: But it’s inside this paradox where we progress. In terms of our experimentation, we are in fact the heart of the system; it would be totally obscene to lean more to one side or the other, to claim to be part of a totalitarian system, as if we were giving lectures. It’s because this is so interesting that we refused to do any promotion for Human After All, because there couldn’t be a willingness on our part to encourage people to buy the album, because of this paradox. Because it’s like an unbiased opinion on technology, on consumer society. The video for Technologic actually gives you the keys to derive an ironic and scary message from the track, but it has since been used by Apple in a commercial for the iPod, and there the lyrics turned into blind praise for technology! It’s funny seeing to what extent the double meaning has effectively functioned. That’s why we so often refer to Andy Warhol who had an experimental approach through his connection to pop culture that, depending on the project, had as much a place in very elitist and private circles as it did on supermarket shelves. Creating with perplexity, in short.

Nevertheless, you use very strongly significant symbols, like the robots or the pyramid. The pyramid that you use on stage is a Masonic symbol. It is on the dollar bill, with George Washington and the note, “New World Order.” The pyramid represents the structure of society, from the masses up to the elites and the leaders. The cornerstone with the “all-seeing eye” surely represents the summation of technology which, though it could be plainly operational, will make sure that the “New World Order” can truly start coming forward and establishing itself on Earth. Some interpret it like the construction of a new technology, a technologic eye that would see all, through a generalized surveillance. With that said, the presence of robots like operators of this pyramid makes a lot of sense. How do you fit in with regard to these symbols and this story?

T.B.: We work a lot with the senses, with the power of symbols on the subconscious, and the pyramid, in effect, is a very heavy symbol, in terms of the senses. We don’t want to discuss the details of the symbolism, but to question its power without its history. The pyramid has become a symbol because, geometrically, harmonically, it’s a magical, occult, mysterious object. There is also this mysterious and occult, on the verge of paranormal, power in music. No one can really theorize about the effects of music on the body and mind, so it’s incredible. We just try to pass on that magic in a rather empirical way. Moreover, we could carry out experiments on the way in which light or sound intensity acts on the body and on crowds, to see which types of sensations or emotions are provoked by one frequency or another. But we could never really explain the reason for these effects.

G-M.H-C.: We are the guinea pigs of our own universe. We managed to create a sort of self-sufficiency between the two of us, which lets us experiment with a consistent voice, and what works for us tends to work for the audience, it’s like a small miracle. We put a pyramid on stage because we think it’s cool, and it makes everyone trip out.

When you talk about guinea pigs, it’s as if you were manipulated from the outside, by a mysterious third-party, as if you were also puppets. There is a determinism there, but one that serves humanity. According to the Laws of Robotics by Isaac Asimov, it’s humankind who constructed the robot, and the robot is at its service…

T.B.: Above all we want to express a paradox on the discussion of human dependency on technology. We’re not virtuosos and we rely on technology like a crutch. We could never do it without technology, and at the same time, we try to value, like any artists, the human element in our work. The process we’ve used for these fifteen years has been to try merging the machines and us. We are the operators of these machines, the editors of the experiments: we select them, we choose them, and we decide to keep them or not. Daft Punk is the product of a tug of war between human and technology, always questioning the place of technology in the project.

Electroma addresses this discussion between human and machine, in a sort of grand general inversion. Electroma seems to be the account of a traumatic experience: in the world of robots, the two characters presented a human face to the others, in openness, generosity, expressiveness. The result of this demonstration of humanity leaves them ostracized, chased, and reduced to aimlessness and suicide. Do you think that showing your humanity is dangerous?

T.B.: Yes, that’s the background of the film. But speaking more broadly, formally, it’s part of the same approach as what we’ve been able to do before; to know how to create emotion while using machines, in a creative process. Without actors, without a script, without a real plotline, but with photography, color, framing, made from machines, objects, just like a still life. We began with creating an environment around the spectator, who is almost like the only actor in the film, and wondering how to make them experience these emotions, which are not the same as those on the dancefloor, but aesthetic emotions, where the spectator can project onto themselves. The film is totally open, and we thought a lot about Magritte when making the plans. What you can see in Electroma is essentially sensation, that’s a lot more at the level of the gut or the eyes than of the brain…

Robots After All by Philippe Katerine was clearly inspired by your album Human After All and touches on the idea that human society has attained such a degree of conditioning and conforming that humanity became a species of robot, a determined creature, ruled by automation, in their language as much as their everyday comportment. When we recently asked what he thought about your music, Katerine told us, “I hear nothingness in it, so I want to find a place there.” Is the universality of your music due to the fact that it’s also, in a sense, empty?

T.B.: It’s empty because it’s more sensory than significance, yes. Theoretically devoid of sense, it allows people to see something from nothing and project themselves there. We just heard Katerine’s single. Our music is open, it can be interpreted and taken in different ways.

The musical abstraction and loops that by and large make up your music allow each person to take possession of the music and go beyond it. There is a shamanic aspect in this usage of emptiness and repetition. As a matter of fact, musicians like Animal Collective, who were inspired by shamanic trances, now cite you as an influence. Also, you could interpret the end of Electroma, when the two robots die by explosion and combustion, as referring to shamanic initiation rituals, in which one goes through a symbolic death by division of the body or self-combustion. Could you say that the end of Electroma represents, in some sort, this symbolic and initiatory death? In other words, do you perceive a shamanic side to your music?

T.B.: Yes, it’s a trance: the loop, the heartbeats… We use samples to express the desire of prolonging a strong sensation that comes during one or two seconds in a track, and wanting to repeat this sensation, not only feeling it for ten minutes, but also seeing what consequences come from ten minutes of that feeling, how everything unfolds. Visually, with Electroma, our desire is the same: to create images or an assembly of images that produce a physical sensation, a feeling of hypnosis, wandering, or weariness; in any case a state of mind that you can only reach by feeling this sensation for a certain time, for quite a long time.

Wandering, loss of identity, and expropriation are pop themes in a sense. If you think of the Beatles, the “Magical Mystery Tour,” the transformation of the Beatles into the “Lonely Hearts Club Band.” As of now, you are a group that “turns,” that travels, to those “lonely hearts.” Is there a “trip” pop?

T.B.: It’s true that during this tour, we felt a little bit of a psychedelic thing: there are people who saw and re-watched the concert multiple times, almost like a Grateful Dead concert, with this idea of there being, during the concert, something imperceptible that you can never capture on disc or on film: an experience which was unique and can only live in reality, at a time where everything is virtualized. We felt like people wanted happenings, concrete experiences, which could consequently be produced by advanced technology: we could multiply the giant screens, have a very strong sound, and combine everything into these unprecedented audiovisual processes, which had never been seen anywhere before. Even a film projected in an IMAX theater could be no more than the “ghettoblaster” from another experiment with new technologies. Our music is moving: it was within an industrial system which ended, it was dependent on the economy. And the economy was destroying itself, it influenced new formats and new ways of creation, like the tours we’re doing currently.

Today, music needs to find new ways for distribution, with the death of the record industry and the virtualization of music. The live show, as a unique experience, is a response to this situation. You were the first to start a download site on the internet, with the Daft Club in 2001, which didn’t work out. Was it five years too early?

T.B.: Being current five years too early is really better than we can hope for. It’s good to be precursory, it’s almost our principal objective. Speaking about the musical economy, I think that music has never been as important as it is now, and the concert isn’t a response to difficulty selling CDs nowadays, because live shows are also very expensive. Economic upheavals are interesting: I read a book recently by Jacques Attali, Bruits, which talks about the musical economy and its power since the Middle Ages, and if you look at the place of music in the world in the last 2 thousand or 3 thousand years, the place of the record and pop music industries will have not been an end in itself, compared to music as a whole. It’s interesting to try to find out where music will go and what it will generate, in the sense that it is often a precursor of the relationship to come between social and economic powers. But we define ourselves less as musicians than as artists and creators, in trying to combine things and experiment with new formats and new technologies. We aren’t uniquely musicians.

Homework represents a sort of pinnacle of the age where a certain technologic novelty was expressed directly through music. You could literally hear knobs being turned. Does Daft Punk necessarily have to excel technologically in an age where all these methods have become normalized? Were the concerts from your new tour sort of like an advantage?

T.B.: It’s not an advantage, it’s a set of challenges that could be technological, actually. You wind up with a concert that looks sort of futuristic, like a remake of Close Encounters of the Third Kind or a mix of a Grateful Dead and a Kraftwerk concert. Making something that we couldn’t make before. We pick up the tools, we manipulate them, we try to progress. Electronic music in itself, in 2007, doesn’t seem to me to be very conducive to experimentation from a strictly musical point of view. I’m waiting for the new generations to prove to me otherwise… We pay attention to technological developments because we’re interested in them, and because they are at the heart of our art. Musical instruments are advanced technologies which have continuously reinvented music.

Since Human After All was released online, there were a lot of rumors about the album, which was an indication that people were waiting for you. In that context, are you able to feel free as musicians? Have you produced things in reaction to the public’s expectations?

T.B.: Actually, we aren’t free relative to our own expectations. We can’t totally set the public aside, but we have our own demands and we respond to our own vision of what we make, while taking into account paradoxes, contradictions, restarts, new beginnings. But we don’t think about the public: it’s both selfish and more respectful for people because we don’t have the pretentiousness of putting ourselves in their shoes.

G-M.H-C.: We are our own fans. We work until we find moments of pleasure in our work, and when we save those moments and explore them on an album or in a film which we release, that resonates for people. But within those moments, which are like lightning, we are like spectators—we feel like we’re revealing something, and discovering something we created at the same time. In this way we are ourselves in the position of spectators and fans. I imagine that this process is even more evident in painting: you have a piece of canvas in front of you, and there is a tangible process of creation. Creation is a mystery and you can really speak about magic when it comes to music or art.

Could the image of the pyramid that you use be a graphic representation of your music? With its foundations, progressions, ascents, and its climax? Bercy, it so happens, also has a pyramid shape…

G-M.H-C.: Not all of our songs follow a progression. We have flat songs, square songs, round songs… And in the live show, there are a few final moments where the tension comes back down. Bercy really does have a pyramid shape, but the top is missing. And it’s true that we would have really liked to play on top of it (laughs)…

#daft punk #HAA #interviews #translations #thomas #guyman #PHEW it's finally done #I really spent so many nights poring over this #including painting out cat hairs and ink spots in photoshop :')#ifcwdjd- master- how did you do it so many times

88 notes · View notes

twopoppies · 2 years

Note

I know we should ignore these things, but I like debunking them. So, the article about Harry and Yan Yan Chan originally came from Woman’s Day in Australia, which is bottom of the barrel. Not like other tabloids are better but Woman’s Day will literally say whatever.

I searched her name on Twitter just to see if maybe they got a tip from somewhere, cause it seemed random, there are very few tweets with her name, but I found two from a hardcore Harrie who tweeted in early March that she knew they were hooking up (lol) and that she had confirmation four days ago (double lol).

In the second tweet, a friend replies “how do we know?” and she says that Pip Edwards (another Australian influencer) works with her sister and told her they were hooking up casually in the US and that Yan Yan was at two of his shows in Australia (Perth and Sydney) and they had breakfast together. She didn’t give a source for this last part (I presume she was spotted at the Sydney show because the article says the same). The fan says “apparently” about the shows and the breakfast.

So I went to Yan Yan’s instagram to track if it would even be possible for her and Harry to have hooked up in the US (I obviously don’t believe it, but would the narrative fit?)

Well, Harry was “dating” O until November, correct? Yan Yan was in New York until early November, then she went to a Chanel event in Miami for a few days, then back to NYC until early December. She posted almost every day, tagged her locations and the captions are like “today I took a stroll” or “finally arrived in Miami.” Harry was in LA the entirety of November with his residency, until very late November when he went to his Latin American leg of tour, which finished in mid December. So no cigar there.

Yan Yan then went to the Cayman Islands in early December and back to New York. Harry did a pit stop in LA after Brazil (AFTER Yan Yan was back in NYC), then straight to London, where he stayed until late January, then flew to LA for the postponed shows and the Grammys. Yan Yan went to Australia in mid January and has been there ever since.

Harry followed Yan Yan in 2020, so maybe they hooked up before O? Wrong, Yan Yan was in a relationship with Nathan Jolliffe, ever since 2017, they broke up in July 2022. So either they’re gonna go with “they cheated”, they’re gonna wipe Yan Yan’s social media to make them meeting plausible, or it’s just a het Harrie who wants them to be together (she’s seriously super weird about it), probably because she’s Australian and wants him to date a fellow Aussie 🥴, who tipped off Woman’s Day, and Daily Mail picked it up.

Honestly, tho, part of me hopes that if they’re gonna give Harry another beard, it’s at least a woman of color lmao, I seriously can’t stand Brad and I’m (no offense) tired of white blonde women. I hope he doesn’t have to for a while, O was exhausting. But I’m ngl the amount of ridiculous rumors Australians made up about him hooking up with random women in their periods, I’m like “oh god maybe a beard would be better” 😭 but ik that’s selfish cause he’d have to actually do something with a beard

LOLLLLL! Bless you for the patience it took to look through her IG and compare their schedules. 😅😅😅 The whole thing is so stupid. And yeah, I agree with you about at least it’s a WOC. The same thing happened with Kiko Mizuhara when he was in Japan a few years ago and it obviously was fake (she even said she’d never met him when the rumors were first spread). But the rumors were non stop about them until the article came out denying it.

I just wish everyone would ignore this stuff. When they want us to know, we know. Like, fucking holivia was splashed everywhere. It wasn’t leaked by some random clout chasing harries.

#harry rumors #yan yan chan #stunts #Harry in Sydney #kiko mizuhara #debunked or not

61 notes · View notes

lboogie1906 · 6 months

Text

William James Adams Jr. (born March 15, 1975), known professionally as Will.i.am, is a rapper, singer, songwriter, actor, and record producer. He rose to prominence as the founder and lead member of the Black Eyed Peas.

As a solo artist, he has released four albums, beginning with Lost Change (2001), through Atlantic Records. His second solo outing, Must B 21, was released on September 23, 2003. The track “Go!” is used as the theme for the NBA Live 2005 and Madden NFL 2005 seasons. The third album, Songs About Girls, was released on September 25, 2007. He released his fourth studio album, #willpower, in 2013.

He has worked for other artists including A.R. Rahman, Cheryl, Michael Jackson, Justin Bieber, Kesha, Britney Spears, Miley Cyrus, David Guetta, U2, Rihanna, Lady Gaga, Usher, Justin Timberlake, Nicki Minaj, 2NE1, Baby Kaely. In collaborations with the Black Eyed Peas, he has a total of 41 top-40 entries on the UK Singles Chart since 1998 and has sold 9.4 million singles in the UK.

He has been a judge and mentor on the television talent show series The Voice UK (2012–present), The Voice Australia (2014), and The Voice Kids (2017–present). He is the recipient of a Latin Grammy Award, a Daytime Emmy Award, and seven Grammy Awards.

The i.am Angel Foundation provided fast internet access to the Estrada Courts housing project in Boyle Heights where he formerly lived. #africanhistory365 #africanexcellence

4 notes · View notes

zot3-flopped · 10 months

Note

Not the Liam Payneful stans celebrating 4 years of LP like it won 10 Grammys 🤣🤣🤣

An apt moment to remind ourselves of what Pitchfork said about it!

Score: 4.3

By Rawiya Kamei

REVIEWED:

December 16, 2019

The former One Direction member’s solo debut is just another pop star flailing to find his identity amid trend-hopping production and half-baked lyrics.

One Direction was famously assembled because Simon Cowell and his fellow X-Factor judges didn’t have much faith in the boys’ potential as solo artists. If Liam Payne’s debut, released more than a decade after the band’s televised genesis, is any indication, Cowell was right. Payne is, at best, competent.

His voice is pleasant but not especially charismatic. His choices are safe but uninspired. A couple of years after launching his career, his musical identity remains wholly unremarkable. (Cowell has since criticized Payne in the press for signing with Capitol, and not his own pop-pipeline label.)

LP1’s 17 songs, including a 2018 Rita Ora collab from the 50 Shades Freed soundtrack and a Christmas number tacked on at the end, have the ambiance and trend-scraping of a Zara fitting room.

The journey from boy band to solo act has broken many aspiring pop stars. But what it requires most—gesturing at a distinct, compelling identity—is Payne’s biggest question mark. Despite being a UK tabloid fixture, he’s been unable to convey a discernible personality—or any personality at all.

Even with a built-in global audience of millions, it’s unclear who this collection of middling songs could possibly resonate with. Former Directioners clamoring for a solo Liam album? New fans seeking nondescript, paint-by-numbers pop? And yet, improbably, Payne has been among the band’s most successful solo members, metrics-wise.

“Strip That Down,” a 2017 love song premised on his freedom from One Direction and featuring a bloodless verse from Quavo, has amassed billions of plays. Other singles, like “Familiar” with J Balvin and “Get Low” with Zedd, despite being completely unmemorable, have proved adequate enough to satisfy the low bar of a generic pop playlist.

Throwing spaghetti at a Spotify algorithm and seeing what sticks appears to be Payne’s strategy with the rest of LP1. The single “Stack It Up,” featuring A Boogie Wit Da Hoodie, further betrays his ambition of an Ed Sheeran-style metabolism of the current pop sounds. There are layered R&B harmonies, vaguely Latin rhythms, and compressed synths as melody, but even with two songs written by Sheeran himself, Payne only gasps at his radio-ready effectiveness.

In recent press, Payne has hinted at the complexity of his life post-One Direction, including fatherhood, brushes with substance abuse, and frustration with accepting his role as the band’s most-boring member. But he draws little inspiration from that wealth of real-life experience. Instead, he relies on inane songwriting concepts, rote misogyny, and feelingless flexing.

The lyrics are puerile and half-baked. It’s hardly worth laying them all out on the page, but the worst offender must be from (the nerve!) “Hips Don’t Lie”: “Don’t be giving me the eye/Unless you got what I need/I hope your hips don’t lie/Unless they’re lying with me,” he sings.

One song, “Both Ways,” takes the trope of hetero objectification of bisexual women to gross new lows: “No, no, I don’t discriminate/Bring it back to my place/Yeah, she like it both ways.”

In addition to being offensive, it’s not even convincing as an expression of desire. If you can’t effectively use a pop song to communicate horniness, the most basic of human emotions, then what do you have?

Listening to LP1, you almost feel sorry for Payne. It’s maybe more pathetic to have failed not for risking too much, but after seeming to have tried so little.

#liam payne #lp1 #lp1 reviews

3 notes · View notes

wellthatwasaletdown · 2 years

Note

You know how larries and mlm harries start getting anxious every single time harry is seen next to a woman, right? So the moment the name yan yan appeared next to harry’s, they had to know everything about her. They stalked her social medias...everything. So this anon was sent on a larry blog : “So I went to Yan Yan’s instagram to track if it would even be possible for her and Harry to have hooked up in the US (I obviously don’t believe it, but would the narrative fit?) Well, Harry was “dating” O until November, correct? Yan Yan was in New York until early November, then she went to a Chanel event in Miami for a few days, then back to NYC until early December. She posted almost every day, tagged her locations and the captions are like “today I took a stroll” or “finally arrived in Miami.” Harry was in LA the entirety of November with his residency, until very late November when he went to his Latin American leg of tour, which finished in mid December. So no cigar there. Yan Yan then went to the Cayman Islands in early December and back to New York. Harry did a pit stop in LA after Brazil (AFTER Yan Yan was back in NYC), then straight to London, where he stayed until late January, then flew to LA for the postponed shows and the Grammys. Yan Yan went to Australia in mid January and has been there ever since. Harry followed Yan Yan in 2020, so maybe they hooked up before O? Wrong, Yan Yan was in a relationship with Nathan Jolliffe, ever since 2017, they broke up in July 2022. So either they’re gonna go with “they cheated”, they’re gonna wipe Yan Yan’s social media to make them meeting plausible, or it’s just a het Harrie who wants them to be together (she’s seriously super weird about it), probably because she’s Australian and wants him to date a fellow Aussie 🥴, who tipped off Woman’s Day, and Daily Mail picked it up. Honestly, tho, part of me hopes that if they’re gonna give Harry another beard, it’s at least a woman of color lmao” These fans are really stalkers. 🤦🏽‍♀️ They really can’t stand the thought of harry with a woman.

Well, let's have fun with this.

Didn't that other anon say Yan Yan was in London in January? And Harry was in London in January?

4 notes · View notes

whileiamdying · 1 year

Text

Rita Lee, Brazilian rocker with feminist message, dies at 75

Rita Lee, Brazil’s “queen of rock” who gained an international following with her colorful and candid style and songs that helped introduce Brazilian society to feminism, died May 8 at her home in São Paulo. She was 75.

The death was announced in a statement posted to her official Instagram account.

With a career spanning six decades, the singer left a lasting mark with her irreverence, creativity and hits such as “Mania de Você” (1979) and “Ovelha Negra” (1975). She also publicly addressed her struggles with drug abuse.

Although Ms. Lee regarded her voice as “weak and a little out of tune,” she enjoyed a long run of top-selling albums, including “Rita Lee” (1979) and “Rita Lee and Roberto de Carvalho” (1982). Dozens of her songs were featured in widely watched telenovelas in Latin America. The behemoth television network Globo used her rendition of the song “Poison Weed” in three of its programs.

“I was not born to get married and wash underwear. I wanted the same freedom as the boys who used to play in the street with their toy cars,” she told the Brazilian edition of Rolling Stone in 2008. “When I got into music, I realized that the ‘machos’ reigned absolute, even more in rock music. ‘Wow,’ I said, ‘this is where I’m going to let my fangs out and, literally, give them a hard time.’”

She was a singer and songwriter praised for her versatility, playing at least five instruments: drums, guitar, piano, harmonica and autoharp. She was also one of the first Brazilian musicians to use electric guitar.

Eventually her popularity extended beyond Brazil. She performed in Portugal, England, Spain, France and Germany. In 1988, the British newspaper Daily Mirror revealed that Prince Charles admired her 1981 song “Lança Perfume” (“Spray Perfume”) and considered her his favorite singer. She won a Latin Grammy in the Best Portuguese Language Album category in 2001 for her album “3001.”

Rita Lee Jones was born on Dec. 31, 1947, in São Paulo, the daughter of immigrants from Italy and the United States. Her father’s family, which relocated to Brazil soon after the Civil War, retained many American customs, including speaking English at home, according to a biographical sketch in Contemporary Musicians.

Ms. Lee rose to fame with the group Os Mutantes (The Mutants), starting in 1966. Colors and creativity, as well as irony and irreverence, were Ms. Lee’s trademarks from the start. By the mid-1970s, after selling 200,000 copies of the 1975 album “Forbidden Fruit,” Ms. Lee began to be called the “queen of rock” on the music scene.

The most popular and interesting stories of the day to keep you in the know. In your inbox, every day.

In an interview with the music website I Have More Records Than Friends! in 2017, Lulu Santos, judge of the Brazilian version of “The Voice,” recalled seeing Ms. Lee play autoharp at a concert.

“She brought that thing onstage, in those clothes … it was completely mythological,” the musician said. “There really is a lineage of ‘girls’ tied to rock in Brazil, of which she is a legitimate representative. But I see her as an element that distances herself from the cliches of rock. She, from her feminine point of view, sees the clumsiness of the worn-out cliche of the male rocker, the one who plays with his legs open. She saw right through him.”

She was one of the first public figures in Brazil to popularize feminist themes, such as infusing the lyrics of her 1979 song “Mania de Voce” (“Mania for You”) with female sexuality and pleasure. Similar songs followed, such as “Amor e Sexo” (“Love and Sex”), which contrasted the two in detail, and “Lança Perfume,” an ode to unbridled hedonism.

Later in life, she became a vegan and animal rights activist. For decades, she kept her hair bright red and often wore matching glasses, a popular look that she discarded in recent years as she allowed her gray to grow out. She resolved in 2015 to reinvent herself as a white butterfly.

In her autobiography, published the following year, she described the sexual abuse she suffered as a child at the hands of a man who had come to fix her mother’s sewing machine.

She also referred to herself as a “rebel” and “hippie communist,” and wrote of sneaking out the windows of her house as a teenager to play, being arrested during the dictatorship for possession of marijuana, and her multiple stints in rehab clinics for drugs and alcohol.

“I recognize that my best songs were written in an altered state, and my worst too. I only regret my delay in realizing that the ‘medicine’ had long since expired,” she wrote. “My generation suffered the claustrophobia of a brutal dictatorship, and using drugs was a way to breathe airs of freedom.”

In an interview with the television program “Fantastico” in 2020, she explained that physical frailty had prompted her to leave the stage eight years earlier.

“Getting old, for me, was a surprise, because I’ve never been old in my life,” she told the show. “I was left wanting to live my old age away from the stage, without sharing it with the public.”

Survivors include three children and her husband, musician Roberto do Carvalho, with whom she shared a 44-year musical partnership. In 2021, they released a new song, “Change,” and a remix of some of the singer’s biggest hits.

Years before, she imagined her death: “I will be in heaven,” she wrote, “with my soul present playing my autoharp and singing to God, ‘Thank you, Lord, finally sedated.’ Epitaph: She was never a good example, but she was good people.”

Washington Post staff contributed to this report.

#rita lee jones #rita lee #obituary

3 notes · View notes

wikibiofact · 2 years

Text

Bad Bunny Net Worth 2023, Bio, Age, Height, Career, Family, Girlfriend

The past few years have seen an exponential rise in Bad Bunny’s net worth, as well as a phenomenal leap to fame. His innovative sound and trend-setting style have turned him into a recognizable figure among Latin music enthusiasts.

The celebrity and fortune his success has granted him have paved the way for other Latin artists to achieve recognition in the mainstream industry.

In this article, we will delve into the particulars of Bad Bunny’s net worth, biography, career, age, height, weight, awards, girlfriend, and salary.

Bad Bunny Net Worth 2023, Bio, Age, Height, Career, Family, Girlfriend

Born on March 10, 1994, Benito Antonio Martínez Ocasio, better known as Bad Bunny, grew up in the working-class family of a truck driver and schoolteacher in Vega Baja, Puerto Rico.

From a young age, Bad Bunny was immersed in the musical world of Vico C and Tego Calderón and was passionate about hip-hop. He was also an ardent basketball player in his youth.

Also Read- Tim McGraw Net Worth & Bio

Bad Bunny started his music journey as a SoundCloud artist in 2015, putting out his songs on the internet. He soon grabbed the attention of DJ Luian, who signed him with his label, Hear This Music.

In 2016, his first single, “Diles” was released featuring Ozuna, Arcangel and Farruko, making waves and putting him in the limelight of the Latin music industry.

In 2017, Bad Bunny catapulted to fame with the hit single “Soy Peor,” creating a social media buzz. An accompanying YouTube music video amassing millions of views only added to the fame.

Later that year, he released additional songs, such as “Chambea,” “Amorfoda,” and “Estamos Bien,” featuring well-known artists like Cardi B, J Balvin, and Drake.

The following year, Bad Bunny released his debut album, “X 100pre,” which achieved widespread recognition from fans and critics. Among its popular songs were “Mía,” “I Like It,” and “Soltera.”

Throughout his career, Bad Bunny has created numerous collaborations with artists such as Daddy Yankee, Nicky Jam, and Anuel AA.

His achievements are impressive, receiving awards such as Latin Grammy Awards, Billboard Latin Music Awards, and Premios Juventud.

Additionally, he has featured in multiple films and TV series, with 2020 seeing him make his acting debut in Narcos: Mexico as Arturo “Kitty” Paez.

At the 2023 Grammys, Bad Bunny was crowned the victor for the Best Musica Urbana Album…. Read More

#bad bunny #pop music #Bad Bunny net worth #reggaeton #rap #latin music #hip hop

2 notes · View notes

camilorico · 2 years

Text

About Karol G - the Woman who Rose to the Top of the Reggaeton World

One artist that I have been listening to non-stop lately is a Latin artist who goes by the name of Karol G. You may have heard her name as she has become famous not only in Latin America but globally. Karol G is a Colombian artist of mainly the reggaeton, Latin trap and hip-hop genres. Reggaeton is defined as a music genre that blends Jamaican influences of reggae music with Latin American dance hall music and hip-hop influences. Throughout her career, Karol G has collaborated with many well-known artists in Latin America, but in the U.S. as well, which have helped boost her to the global status she maintains now.

Her first hit was “Ahora Me Llama” (Now He Calls Me) featuring Puerto Rican trap artist Bad Bunny in 2017. She continued to produce more hits such as “Culpables” (Guilty) in 2018 with Anuel AA, another famous trap artist like Bad Bunny. There were rumors about her dating Anuel after they released that song, so by the end of 2018, the two released a song together confirming their dating relationship to the public called “Secreto” (Secret) which was another success. The two had a “power couple” status commonly compared to Beyonce and Jay-Z’s level in Latin America. Karol G continued to release more hits such as “China” in 2019, which was a collaboration with Anuel AA, Daddy Yankee, Ozuna, and J Balvin - all who are popular Latin reggaeton/trap artists, “Tusa” (Heartbreak) with Nicki Minaj in 2019, “Bichota” (Bad B*tch) in 2020, “Provenza” (Provence) in 2021, and she featured in Becky G’s song “MAMIII” in 2022. To clarify, these are only some of her top hits which had charted the billboards and even won her Grammy Awards, Billboard Music Awards, etc.

As we can clearly see, Karol G did not fail to stay relevant in the music industry since her breakthrough in 2017, with a new release or feature every consecutive year. However she did not immediately start out in the limelight when she began pursuing her music career. Karol G’s real name is Carolina Giraldo Navarro and she was born and raised in Colombia. She was first recognized for her musical talents when she performed on the Colombian version of The X-Factor in her country when she was 14 years old, and a few years later, she had her first record contract with Colombian company Flamingo Records and Puerto Rican company Diamond Music, and by then she chose her artist name to be Karol G. She released a few songs from 2007 to 2010 but they were not very successful, so she continued to study music at the University of Antioquia in Colombia. Karol G then traveled to Universal Studios in Miami, Florida where she presented her project but was rejected to be signed for a record due to her gender. Karol comments about it in an interview with PAPER magazine, "About nine years ago, I went to Miami for the first time; my parents got me a meeting [with the label]. I presented my project,’ she says, ‘and they liked it. But they said I could maybe be a songwriter, but a woman making reggaeton? That wouldn't work.’”.

This is because reggaeton has always been a male-dominated genre so not many women have become popular in the genre, with a few exceptions like Dominican artist Natti Natasha, Mexican-American artist Becky G, and Puerto Rican artist Ivy Queen, who became famous in the early 2000s and is known as the “Queen of Reggaeton”. However, it can be safely said that there are many more mainstream male reggaeton artists, like the artists I had previously mentioned. Even the “King of Reggaeton”, Daddy Yankee, who you have probably heard of before, is more globally known than the “Queen of Reggaeton”. In fact, I even asked my friend, who was born and raised in Dominican Republic until he migrated to New Jersey at 16 years old, if he knew who Ivy Queen was, and he said he did not know her, but of course when I mentioned I was writing about "reggaeton", the first person he thought of was Daddy Yankee.

However Karol G was not deterred by the rejection and continued to perform wherever she could back in Colombia with the support of her father, but by 2014 she moved to New York to try to boost her career in America again. Karol G saw an advertisement for business administration classes on the subway, which helped her learn more about the industry. From that time until she released “Ahora Me Llama” (Now He Calls Me) with Bad Bunny in 2017, Karol G released some more songs, one of them called “Ricos Besos” (Sweet Kisses) which was a hit in Colombia, and she signed with Universal Music Latino. Karol G created a strong foundation for her career which can explain how she is flourishing now as a global reggaeton icon and did not end up as a “one-hit wonder”.

I personally admire Karol G a lot because she is a strong advocate for woman empowerment and breaking the misogynistic boundaries of the reggaeton genre, which she has demonstrated through her rise to the top of the reggaeton world with songs confidently embracing her femininity and sexuality.

youtube

From just looking at some of the lyrics from her breakthrough song “Ahora Me Llama” (Now He Calls Me), Karol G states, “Yo soy dueña de mi vida, a mí nadie me manda” (I am the owner of my life, no one controls me). Marty Preciado of NPR Music describes this song as, “A bass-heavy, unapologetic trap anthem to the power of femininity, soiled in hi-hats and heavy sub-bass, the song challenges hegemonic masculinity, singing about respect, love and sex-positive decisions… Karol G confidently states about the ownership, control and enjoyment of her life, femininity and sexuality.”

youtube

Another one of her biggest hits, “Tusa” (Heartbreak) became a global anthem for women, as the reggaeton song is about a woman trying to get over her ex and heal and to remind her to “know her worth”. The collaboration with Nicki Minaj, who has been globally known as the "Queen of Rap" for years and is never ashamed to express her sexuality and boost confidence in fellow women, makes the song an even more powerful piece of motivation to help women move on to bigger and better things.

youtube

Karol G’s song, “Bichota” (Bad B*tch) is another viral anthem of femininity where she created her own unique term from Puerto Rican word “bichote” which means “a powerful drug dealer”, to “a strong and empowered woman”. She explained further in an interview on the “The Tonight Show” with Jimmy Fallon, “I wanted to create a ‘bichota’ but its meaning is going to be: a bitch boss girl, powerful, great, incredible, doing her things by herself, you know?”.

youtube

The last track that I think really shows Karol G’s support for women is not a part of any of her albums, since she was the featured artist, but “MAMIII” by Becky G is a reggaeton track about female empowerment for ending a toxic relationship, which many women can relate to.

I think these four songs that I mentioned were really unique in the reggaeton genre because since it is such a male-dominated genre, there are not many reggaeton songs about women ending toxic relationships or female empowerment. In fact, it is a very common trend in reggaeton for male artists to over-sexualize and objectify women in their songs instead, so the fact that Karol G made all these four songs that basically diss men and motivate women into hits, shows that the genre is moving in a new direction.

Altogether, Karol G is such an inspiring icon for women, proving that she overcame barriers due to her gender by making a name for herself in a genre that has barely been touched by women. I think it is important to recognize that she is truly changing the industry through her consistent billboard chart-topping hits, her creation of “bichota”, a new female-empowering term, and just her overall loyal global fanbase. In fact, the same company that rejected Karol, Universal Studios, actually offered her a contract 7 years later because of her global status, so I think she is living proof that anything is possible with hard work and dedication.

I would like to end this blog post with a motivating quote that Karol G said in an interview with the LA Times, “For years, I heard that women do not do reggaeton. Reggaeton and urban music belong to men, but as a woman, you belong to men. Now women are on another level. We are well prepared to lead. We've earned it and we're going to fight for it”. Hopefully we can continue to see Karol G progress with even more hits and be able to break the boundaries of reggaeton with her large influence. If you would like to take a listen to some of Karol G's music, I have linked her Spotify playlist below!

#reggaeton #karol g #women empowerment #bichota #Youtube #Spotify

3 notes · View notes

ncisladaily · 29 days

Text

UPDATED: Anitta, Karol G, LL Cool J and Shawn Mendes round out the roster of artists set to perform at the 2024 VMAs, which will air live on Wednesday, September 11 from New York’s UBS Arena.

Anitta, the first-ever Brazilian to win at the VMAs in 2022, is vying for her third consecutive “Best Latin” win this year, with 2 nominations in the category among her three total noms. She returns to the MTV stage with a medley of “Savage Funk” and “Alegria” plus the world premiere of “Paradise” with guest appearances by Fat Joe, DJ Khaled and Tiago PZK.

Last year, five-time Latin Grammy and Grammy Award winner Karol G secured her first Moon Person for “Best Collaboration” alongside Shakira and made her VMAs debut with a sultry rendition of “Oki Doki” / “Tá Ok.” Her Mañana Será Bonito made her the first woman, and only the second artist ever, to top the Billboard 200 with an all-Spanish-language album. This year, she’s poised to take home her second Moon Person and her first win in the “Best Latin” category.

His first VMAs performance in over 25 years, LL Cool J will return to the storied MTV stage with a performance from his upcoming album The Force. The first Hip-Hop artist to amass 10 consecutive platinum-plus selling albums, LL performed and took home his first Moon Person in 1991 for “Best Rap.”

Mendes will make his first televised performance from his upcoming fifth studio album, self-titled Shawn at the 2024 VMAs. He previously had three back-to-back years of performances at the VMAs – “There’s Nothing Holdin’ Me Back” (2017), “In My Blood” (2018) and “If I Can’t Have You” and “Señorita” (2019) – and most recently, his 2021 “Summer of Love” collaboration with Tainy.

#LL Cool J #vmas

0 notes

wearelatinamericanrockers · 11 months

Text

Fea or Girls in a Coma was a Chicana Punk Rock band made in 2006 and ended in 2013. They were prevalent during the riot grrrl movement and such all of their songs are about feminism and racism.

they applied their own music's philosophy in real life as Fea got together with the SoundStrike to campaign against Arizona's anti-immigration SB 1070 law. the band was pulled over and almost arrested by authorities, that encounter made their music more explicit after that.

Their most famous songs are "Mujer moderna", "Ya sé" and "You can't change me" Fan submitted propaganda below:

"el mejor all girl chicana punk band !!!!!!!!!"

---------------------- Mon Laferte is a Chilean-Mexican Indie Rock musician starting her career since 2003

She has been the Chilean artist with the most nominations in a single edition of the Latin Grammys (five in 2017), as well as the first to receive more of these in the aforementioned awards (fifteen on six occasions). Mon has sold more than 1.5 million recordings worldwide, including albums and singles, making her the best-selling Chilean artist of the digital era.

She is also uses her platform to heavily support on Feminism and the LGBT community, her most famous songs are "Mi buen amor", "Tu Falta de Querer", and "Amárrame".

#fea band #girl in a coma #mon laferte #Latino rock tournament #round 2 #polls #No quise que enfrentara tan pronto disculpa mujeres

15 notes · View notes

biographygen · 1 month

Text

Jennifer Lopez - Biography Net Worth, Songs, Movies, Career, Age, Early Life, Awards and Achievements, Relationships, Husband

Full NameJennifer Lynn LopezNet Worth$400 MillionDate Of Birth24 July 1969Age55 YearsGenderFemaleHeight5' 5"(165cm)

Jennifer Lopez Biography

Born on July 24, 1969, with a height of 5' 4½" (1,64 m), Jennifer Lynn Lopez, popularly known by her stage name J.Lo, is an American actress, singer, record producer, dancer, fashion designer, and television personality. Lopez made her television debut as a dancer on the comedy series In Living Color. After taking a chance on acting, she became well-known for her role in the action-thriller Money Train in 1995. Selena (1997), a biographical film, was her first major role for which she won an ALMA Award for Outstanding Actress. She won her second ALMA Award for her role in the 1998 film Out of Sight. Since then, she has acted in a number of movies, such as Monster-in-Law (2005), Shall We Dance? (2004), Maid in Manhattan (2002), The Wedding Planner (2001), and The Back-up Plan (2010). which gave rise to the number one hit single "If You Had My Love" on the 6 (1999). Eight million copies of her second studio album, J.Lo (2001), were sold worldwide, making it a commercial success. J to the L-O: Her third and fourth studio albums, This Is Me… Then (2002) and Rebirth (2005), peaked at number two on the Billboard 200, while The Remixes (2002) became her second consecutive album to debut at number one. Her first full-length Spanish-language album, Como Ama una Mujer, and her fifth English-language studio album, Brave, were both released in 2007. On April 19, 2011, Lopez, who is making a comeback to the music industry with a new record label, will release her seventh studio album, Love titled, on April 19, 2011. Its single "On the Floor" is currently impacting charts worldwide. 19 April 2011. Its single "On the Floor" is presently having an impact on global charts. Among the many accolades she has received for her work in the music industry are two Grammy Award nominations, two Latin Grammy Award nominations, three American Music Awards, six nominations total, and an estimated 55 million records sold globally. She was listed as the 27th Artist of the 2000s decade by Billboard. Lopez is presently a judge on the American reality television series American Idol, where she shares her musical expertise with others. In February 2007, she was ranked first on the "100 Most Influential Hispanics" list by People en Español. She has used her celebrity endorsements to launch a fashion line and a variety of perfumes. Apart from her employment in the entertainment sector, Lopez advocates human rights, vaccinations and is a supporter of Children's Hospital Los Angeles.

Jennifer Lopez Full Biography

Full NameJennifer Lynn LopezNick Name J. Lo, La Lopez, World Of Dance, Rapper Heavy D & Jenny From The BlockPorfessionFilm Actress, Dance, Singer, Songwriter, Voice Actor & Fashion DesignerName Earned World Of DancePhysical Height Eye Colour Hair Colour 5' 5"(165cm) Light Brown Golden BrownDate Of Birth24 July 1969Age55 YearsBirthplaceThe Bronx, New York City, USNationalityAmericanReligionChristianity (Roman Catholic)HometownThe Bronx, New York City, USSchool Holy Family School Preston High School, New YorkCollege/ UniversityBaruch College , New YorkEducational QualificationDropped Out Of A Business Course In Second SemesterFood Non- VegetarianHobbiesDancing, Shopping, Fashion & Working OutColourBlueFood Rice & Beans, Chicken, Veggies and FruitsSport'sFootball, TennisBoyfriend's NameSean “Diddy" Combs (1999-2001) Cris Judd (2001) Ben Affleck (2002-2004) Marc Anthony (2004) Casper Smart (2011) Drake (2016) Alex Rodriguez (2017) Marriage Date & Husband Name22 February 1997 with Ojani Noa 29 September 2001 with Cris Judd 5 June 2004 with Marc Anthony 16 July 2022 with Ben AffleckChildren NameEmme Maribel Muniz, Max Muniz

Jennifer Lopez Net Worth

Image Credit- Sergi Alexander/Getty Images Jennifer Lopez has accumulated substantial wealth through her varied career. Her estimated net worth as of 2024 is $400 million. Her income from endorsement deals, movies, music, and business endeavors accounts for this remarkable sum. Jennifer's financial success is fueled by her astute business sense and unwavering work ethic. With a $400 million net worth, Jennifer Lopez is an American actress, singer, dancer, fashion designer, television producer, and businesswoman. After more than 25 years of professional success, Jennifer Lopez is currently regarded as one of Hollywood's biggest A-list stars. With a $400 million net worth, Jennifer Lopez surpasses the $350 million net worth of her ex-boyfriend Alex Rodriguez by $50 million. J-Lo and A-Rod had a combined net worth of $750 million when they were dating. Jennifer wed Ben Affleck in July 2022. Ben's wealth is $250 million less than hers. In her life, Jennifer has worn an engagement ring six times. That's one fewer than Tom Brady and the same as Michael Jordan's championship rings, which resulted in some

Jennifer Lopez Songs Career

Jennifer Lopez established a prosperous music career in addition to her acting career. Popular songs from her 1999 debut album "On the 6" included "If You Had My Love" and "Waiting for Tonight." She has put out multiple albums over the years, with hits including: "Love Is Free of Cost" "The Block's Jenny" "On the Floor," with Pitbull in it She's become a worldwide sensation thanks to her music, which is known for its vibrant dance beats and catchy tunes. With the release of her debut album "On the 6" in 1999, Lopez launched her musical career. Since then, she has put out multiple studio albums, one of which is in Spanish. Her albums and songs have both spent a lot of time in the Billboard charts. This Is Me… Then, Lopez's third studio album, was released on November 25, 2002. She dedicated it to her then-fiance, actor Ben Affleck. "Jenny from the Block," the album's lead single, was subsequently hailed as her most iconic song by MTV News. Lopez put out eight albums between 1999 and 2014, including On the 6, J.Lo, This Is Me, etc.Next came Rebirth, Brave, Love?, Como Ama una Mujer, and A.K.A. This Is Me… Now, her upcoming studio album, will be available in 2023following the 2022 release of the soundtrack to her film, Marry Me, which contained the singles "On My Way" and "Marry Me." Her Las Vegas residency concert show was announced in May 2015, and it made its debut on January 20, 2016, the first of twenty initial dates. It was called All I Have and it happened at the Zappos Theater at Planet Hollywood. Lopez agreed to a three-year contract extension to remain a resident of Las Vegas. She did 120 shows during the lucrative residency. During its three-year run, the residency sold over $100 million worth of tickets before coming to an end on September 29, 2018. Jennifer Lopez was the featured performer during Super Bowl LIV in Miami on February 2, 2020, between the San Francisco 49ers and the Kansas City Chiefs.

Jennifer Lopez Movie Career

The acting career of Jennifer Lopez is truly amazing. She has acted in many different kinds of films, including thrillers and romantic comedies. Among her well-known motion pictures are: Selena (1997): She was nominated for a Golden Globe for this role. Jennifer and George Clooney costarred in the 1998 crime movie Out of Sight. Her role as a leading lady in Hollywood was cemented with the romantic comedy The Wedding Planner (2001). Another romantic hit that captivated audiences was Maid in Manhattan (2002). Hustlers (2019): She received multiple award nominations and critical praise for her portrayal of Ramona. From 1993 to 1995, Lopez starred in a few small roles in movies and television series. She landed the lead in the Selena biopic, which was her breakthrough motion picture role, in 1995. Jennifer played the late Tejano singer Selena in the film, who was shot and killed by a former coworker, friend, and president of her fan club. After that, Jennifer starred in numerous other movies, including Anaconda, Lopez costarred with Ben Affleck in the romantic comedy Gigli in August 2003. The movie was a box office failure and is regarded as one of the worst movies ever made. The film's unfavorable reception was ascribed to bad reviews that preceded its premiere as well as the media focus on Lopez and Affleck's engagement, which eclipsed the movie for the most part. Later on in her career, Lopez would refer to this as the low point. Alongside Affleck, Lopez starred in a small part in the film Jersey Girl in March 2004. In the 2016 season of Shades of Blue, an NBC crime drama series, Lopez played Detective Harlee Santos, a single mother and police detective who goes undercover for the FBI to look into her own squad. With 8.6 million viewers, Shades of Blue marked the network's most-watched Thursday debut in seven years when it debuted on January 7, 2016. After being renewed for a second season, Shades of Blue debuted in March 2017. The show received a third season renewal that same month. The movie Hustlers, which Lopez starred in and executive produced in 2019, was based on a true story about a group of New York City strippers who deceive wealthy men. With $33.2 million, Lopez's portrayal of an experienced stripper led to her best-ever opening weekend at the box office for a live-action movie. Additionally, Lopez was nominated for Screen Actors Guild, Independent Spirit, Critic's Choice Movie, and Golden Globe Awards for Best Supporting Actress. Lopez and Netflix inked a multi-year agreement in 2021 for Lopez to produce motion pictures and television series under Nuyorican Productions. When Marry Me was released in 2022, it made over $50 million in revenue and was the most-streamed daytime film on Peacock. In January 2023, the action-comedy Shotgun Wedding was made available on Amazon Prime.

Jennifer Lopez Early Life

Image Credit- Frazer Harrison/Getty Images On July 24, 1969, Jennifer Lopez was born in New York City's Bronx. Her identity was greatly influenced by her loving family of Puerto Rican descent, where she was raised. Jennifer was raised by her parents, David Lopez and Guadalupe Rodriguez, who taught her the importance of perseverance and hard work at an early age. Jennifer had a strong passion for singing and dancing when she was younger, frequently giving performances in front of her family. When Jennifer was five years old, she began taking dance and singing lessons. In an attempt to keep their three daughters out of trouble, her parents encouraged them to perform in front of their friends and each other at home by singing and dancing. Throughout her whole academic career, Lopez attended Catholic schools. She participated in national track meets, performed gymnastics, and played softball for her high school. Lopez went on the casting call for the independent film My Little Girl, which had a modest budget, during her final year of high school. JLo realized after this experience that she wanted to be a well-known movie star. That was a "really stupid" idea in her parents' opinion because "no Latinos did that." Her parents wanted her to attend Baruch College, so she did that.To please her parents, she enrolled in Baruch College but dropped out after the first semester.

Jennifer Lopez Personal Life

Jennifer Lopez's personal and professional lives have been widely reported. She has had high-profile relationships with celebrities like Ben Affleck and Alex Rodriguez, and she has been married three times. Emme and Max, the twins Jennifer shares with her ex-husband, singer Marc Anthony, are proudly raised by their mother. Jennifer prioritizes her kids over her career, and she frequently posts pictures of her family on social media. Lopez has been in several well-known relationships. She has dated backup dancer Casper Smart, Ben Affleck, and Sean Combs. She's had three marriages. In 1997, Lopez wed Ojani Noa. In 1998, they got divorced. She then wed Cris Judd, a backup dancer, in 2001; however, they divorced in 2003. In 2004, she wed the singer Marc Anthony. The pair gave birth to son and daughter fraternal twins in 2008. Lopez declared in 2011 that she and Anthony were divorcing. In 2017, she started dating former MLB player Alex Rodriguez. In March 2019, they became engaged, but they later broke up. Jennifer married Ben Affleck in a Las Vegas ceremony in July 2022.

Jennifer Lopez Awards and Achievements

Jennifer has received various honors and recognitions as a result of her talent and diligence, including: American Music Awards: She received multiple awards for her musical contributions. Honored at the Billboard Music Awards for her influence on the music business. Honored for her legendary music videos at the MTV Video Music Awards. Hollywood Walk of Fame: In 2013, Jennifer was awarded a star on the Walk of Fame in Hollywood.

Jennifer Lopez Relationships

Diddy Combs, Sean

Credit: Kevin Winter/ImageDirect/Getty Images After meeting on the set of a music video, Lopez started dating the hip-hop mogul in 1999. However, the couple broke up in 2001. The Maid in Manhattan actress accused Diddy of being unfaithful to her in a 2003 interview with Vibe magazine. For his part, the former rapper waxed lyrical about Lopez in 2017, saying that she was "without a doubt" one of his greatest loves. The ex-couple is still good friends; in September 2018, they hugged warmly backstage at her All I Have residency in Las Vegas. Beau "Casper" Smart

Credit: Jason Merritt/Getty Images In November 2011, just four months after divorcing Anthony, the "Dinero" singer began dating the backup dancer. Subsequently, Lopez appointed Smart as the creative director for her Las Vegas residency, All I Have. The ex-couples faced a setback in 2014 when rumors circulated on the gossip website The Dirty, claiming to have proof that Smart had been messaging and exchanging pictures with a transgender model. Although they parted ways in June of that year, they kept up their intermittent romance until their final breakup in 2016. But after their final split, there were no hard feelings. In March 2017, Smart stated to Us Weekly, "Jennifer is, like, phenomenal, phenomenal, phenomenal." Drake

Following his attendance at her All I Have show in December 2016, Lopez and the rapper known for "God's Plan" hit it off backstage. A source told Us Weekly in January 2017 that the two were dating and "the real deal." During their courtship, Drake allegedly went all out, dressing up an L.A. church for an informal prom with a winter wonderland theme where they were "crowned" king and queen. The "Nice for What" crooner's European tour caused their brief relationship to "die down a bit," a source told Us at the time. Nevertheless, Us announced their breakup in February of that year. In "Diplomatic Immunity," Drake hinted at their romance by rapping, "2017 Rodriguez, Alex

Is the fourth time lucky? After dating for more than two years, Lopez and the former Yankee announced their engagement in March 2019. The couple, who were first connected in February 2017, frequently exclaimed about how much they loved and admired each other. For her then-boyfriend's birthday in July 2018, the former Fly Girl wrote a heartfelt tribute: "Baby, spending time with you over the past year and a half … getting to know the real you more and more … The kind, giving person you are to me and everyone around you astounds me every day. The couple was considering moving in together, according to a source who spoke with Us Weekly in October 2018. This made sense because they had successfully combined their families. together (Rodriguez shares Natasha and Ella with ex-wife Cynthia Scurtis). In December 2018, Rodriguez noted that Lopez made him “feel like a kid again.” A source told Us that month, “An engagement is definitely on the horizon. Alex is obsessed with Jen and spends as much time as he can with her.”

Jennifer Lopez Husband

Noa Ojani

Image by Steve Granitz/WireImage In February 1997, the Selena star tied the knot with the producer, but their union was short-lived as they divorced 11 months later. A permanent injunction prohibiting Noa from "criticizing, denigrating, casting in a negative light or otherwise disparaging" his ex-wife was issued in August 2007 by an arbitrator appointed by the court. Later in 2016, Noa made an appearance on Millionaire Matchmaker. Criss Judd

Credit: KMazur/WireImage/Getty Images The Monster-in-The dancer and the actress from Law first connected on the set of her "Love Don't Cost a Thing" music video, and in September 2001 they were married. By June 2002, the couple's marriage had ended, and in 2003, their divorce was formally finalized. Judd said in a September 2014 interview with Us Weekly that their marriage "just didn't work out". "I'm not able to explain to you why her relationships don't succeed. That is work, in my opinion. Whether you want to work on it or not is up to you. Everybody has issues and baggage. At the time, he told Us, "It's whether you want to deal with those problems." "You cannot simply walk away from a marriage once you sign up for it. Marc Anthony

Credit: Dave M. Benett/VF1/WireImage/Getty Images Max and Emme Lopez, twins, were born in February 2008 to Marc Anthony Lopez and Anthony, who were married in June 2004. But in July 2011, they made their split public. Later, the Enough actress told W in April 2016 that she "knew very quickly that wasn't the right thing." "It was not easy to find forgiveness when my marriage ended." It wasn't the dream I had imagined, and it would have been simpler to stoke my anger, disappointment, and resentment. Nevertheless, Marc will always be my children's father. Read the full article

0 notes