#as always member + era means a stage compilation set!

[yeonbinni]

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[a-froger-epic]

Interview with a Queen “groupie”

Cross-posted to AO3. I encourage you to leave any comments you have there.

---

I compiled this interview following a long email exchange with J, a very sweet lady who went to Ealing Art School between 1972 and 1974. She knew all four members of Queen personally and was part of their larger circle of friends.

First off, you may find this hard to believe. I don’t blame you. But I assure you I’m not pulling your leg. As well as the pictures I share in this post, I have seen current pictures of J (which I will not share to protect her privacy). There is no indication as far as I am aware that she isn’t who she says she is.

Nastally, hold up. How exactly did you find this lady?

She found me. It turns out that she has been following my story Dawn of Aquarius for quite some time. The story is set in 1969. A lot of research about the era went into it, because I wanted to portray that time period - and Freddie’s and Roger’s surroundings - as accurately and realistically as I possibly could. That was what drew J in. She tells me it brought back a lot of memories for her. One of the reasons I love DoA so much is the nostalgia, she says, which genuinely means the world to me. Eventually, she talked to me in the comment section. Of course, I freaked out!

And then, I asked her for an interview, to which she replied: I will give it a go, but you must remember that I am 65 and there were great drugs in the 70s, and at 16, away from home, I had a lot!

And so...

Here’s what is IMPORTANT TO KEEP IN MIND when you read this interview.

These are one woman’s 50-year-old memories and subjective impressions. J has been incredibly kind to let me pick her brain, trying to recall everything as best as she can. In her own words:

Just remember that when I answer the questions, it is from a 16-year-old who is 9 years younger than Freddie and a little girl with no family and friends in a strange country trying to fit in. The only reason I was there, was because some hippie thought I had a unique art style.

---

J as a teenager.

[I have edited the interview together from our long, and somewhat messy at times, email exchange. Typos have been fixed and some punctuation added for clarity, but I have not changed anything J has written to me. Again, bear in mind these are personal opinions and impressions.]

So, J, how did you end up at Ealing Art School in 1972 and what was it like?

This was the painting done for the Australian school-leaving certificate.

It placed first and gave me a scholarship. I could pick France, the USA or England. As a dual citizen of the UK, the choice was easy. The scholarship paid for board and fees, so had to be and sell whatever for spending money.

This picture is from the dorm. We all had a 10pm curfew and a very thick rule book that, I am proud to say, I broke every one of them, one by one. The rooms were on the 1st and 2nd floor. We were on the first floor, rooms one side and admin staff the other end. We had two bathrooms for 18 girls. One of them had two baths. The walls were your standard half wall, so it was a given that if you had a bath you run the risk of having a bucket of cold water dropped on you. Downstairs was the kitchen and lounge room.

I want to ask you a few things about life in London in the early 70s, to get a picture of what it was really like. For example, was there alcohol at the music gigs you went to?

If it was a school, church or community hall, no. If it was a pub, yes.

Did you and your friends drink as much then as young people tend to drink now when you all went out?

No, we didn't. I think it had a lot to do with money. We didn't have the disposable income, and it was unheard of to still be living at home with the parents after the age of 20.

Was weed and LSD as big and easily accessible as depictions of the 60s and 70s would have us believe?

The drugs! Got to have drugs. Pot (weed) was easy to grow, very cheap. Used to smoke it in bongs rather than joints, more bang for your buck. Trips [LSD] were cheap, I think. About 2 pounds and you were on the high for over 24 hours with no sleep. My drug of choice was hash. Either the oil or the block. It was a nice high, but you could not function well. But if you listen to the music of the time it really does reflect what it was like, to have a group of friends over for a session. Having said all that the most outlandish and shocking drug I ever saw anyone use was the birth control pill. Didn't you have to hide that stuff away?!

Can you tell us some 70s slang that isn’t really in use anymore? What in the world does “ultra-blagging” mean? (As written in a letter penned by Freddie to his friend Celine in 1969.)

Abso-bloody-lootely!

Man, I thought I was the bees knees to be on a scholarship in London. But that didn't stop me from jigging or having a skive day. They were the days that I blagged my way into a pub, had too many lagers and ended up chundering in the gutter. That was how you knew your night was ace. I would get a right bollocking if anyone found out. It would be a bugger when all that you could find at a car boot sale was chavtastic, but sometimes you could be Jammy Dodger and tickety-boo you find something brilliant. Bob's your uncle. Anyways, I need to see a man about a dog.

[It seems to me that J uses a bit of Australian slang here, like chundering, which makes sense because she is, after all, Australian. She also provided the translation:]

Cheers

J

It would be my honour.

I felt very privileged to be given a scholarship that let me study in England. But being so young and having no family to guide me, it was often tempting to not turn up or give a false excuse for being sick. (I had a lot of food poisoning). These would often happen if the night before I had been drinking beer and ended up vomiting outside the pub. But in my young mind that was a good night. If any of the teachers found me drinking I would be in a lot of trouble. Often I would have to say I was holding it for someone else. Not having much clothes with me, I would buy them second hand from church jumble sales or other students and, yes, Kensington market (the market). Some of the stuff would not be very tasteful or in good condition. But sometimes you would find something that was cheap and in good condition. I will stop this text now as I must go to the toilet.

PS: Ultrablagging sounds very Freddie. Blagging was used, but not ultra, meaning to persuade someone to do something or act better than you are. They were always rock stars.

Sincerely

J

[It was at this point that I realised I was talking to an absolute legend. She also told me then that the majority of her old photographs had sadly been lost when her house was flooded in 1988, including most of the photographs from her stay in London. Noooo! :(]

When you went out to dance, did you have only live music? Were there DJs yet?

You know, that is hard. We did not have a DJ. Sometimes there would be a band. Often we looked for places with a band or the jukebox. I think pubs closed at 10pm and some stayed open to 12 or 1, but public transport stopped at 9. So if you had not arranged a lift then you had to make the last bus. Most of the time we would be heading back to someone's place to get stoned and then crash there. In the morning you would have to work out where you were. When I got back to Australia, the discos were all the rage. They could have been in London too but it was not cool to like disco.

How many people would show up to Queen’s gigs when they played in pubs or at, for example, the Imperial College?

Depending on the location and the night: 10 to 1000!

So how did you first meet the Queen boys?

I was at the pub talking about a band we saw last week when Brian stuck his head into our booth telling us he knew a better one. Thinking about seeing them at the stall... Roger not often, Freddie quite a lot. Often on different stalls, I think that is why I can't remember the name. [The name of the stall. Other sources confirm that Freddie also worked at Alan Muir’s stall, for example, selling shoes.]

How well did you know them?

Just looking at your tumblr account. [she has had a look at my blog, where somebody asked if ‘groupie’ meant she had slept with the band] No, I never slept with the boys. I would not say I was a close friend, but I started at Ealing Art College in ‘72 and moved in the same circles. I loved the music and could be called one of the first groupies. I had to sneak into the pubs because I was 16. Roger always teased me for being so young. They all did seem to be one very large family, not just the band. It was a group of about twenty regulars, both male and female. Everyone knew that Fred was too gay to function. We were all at the gay rights march in London in 1972, had to run after the march. Lots of sharpies [Australian slang: youth gang, thugs] wanting to bash us. Back then I was in every protest that was going, student union rights, even the secretary protest. Just part of the times, stick it to Man or Woman. I left London in ‘74 for Australia, been here ever since and lost track of the boys but have never stopped being a fan.

What do you remember about them? How would you describe their personalities?

Don’t let the trolls hate me, but I did not like Brian. I found him to be rather full of himself. Space was a subject you never brought up around Brian or you would die of old age before he stopped talking. He was always the first to speak and start a conversation and then quickly passed you off to John, who was always tired and shy. Roger was also quite shy at times. He was very self-conscious of his looks, as he felt being pretty, nobody would take him seriously. Fred, well, he was not yet the big star, so I think he was working on his stage persona. When talking to groups at parties, he had the best stories of things that had happened to him or close friends. They were very funny and very descriptive. He was the life of the party. When he had a few to drink or was the centre of attention, he would take a cigarette out of the closest person’s hand and start smoking. Now remember this is the point of view of a 16-year-old girl that was a fish out of water, trying to fit in and not having much worldly experience.

It is said that Freddie and Roger were very stylish. How did they dress in everyday life?

Fred would do his hair and makeup to check the mail. Yes, he was always turned out, but so were a lot of people. Freddie did go over the top with hats, scarfs and jewellery. With Roger, it is a surprise he was able to have kids his jeans were that tight. And his shirts were always open unless he was in a jumper. I think it could have been so that you knew he was male, as it was the start of the unisex clothing. When I travelled out of London I realised it was a London thing. When I got back to Australia everyone thought I was a show-off.

There are some disagreements about how tall especially Freddie was. I know this is a difficult thing to try and remember accurately. But do you remember?

Freddie was taller than me but everyone was. Roger was shorter than Fred, but I never saw Roger in platform shoes. I did meet up with the band by chance at Sydney airport in 1984, said ‘hello’ but they did not remember me, or if they did then they did not say anything and I did not want to be a dork. At that time Fred was the same height as me (5ft 8in/1.72m), Roger was taller than me. It made me think at the time that he had a growth spurt! John was shorter than me and Brian has always been tall. [I have a feeling the platform shoes - or lack thereof - played a vital role here! Although 172cm for Freddie seems likely.]

You said everyone knew Freddie was “too gay to function”. Attitudes towards homosexuality have changed so much that it can be hard for us, now, to fathom what exactly people must have thought of him. Was it more of a joke that he was so camp? Was it something he would have been teased for? Also, he had a girlfriend. Did you ever meet Mary or the other girlfriends?

In 1972 a whole group of us - and I am pretty sure that Fred, Roger, Brian and Tim were there - were in a gay pride march. [Since then, J has found and showed me a picture of a boy she thought was Tim Staffel, and it wasn't, so Tim was most definitely not there. Whether Freddie, Roger and Brian really were there or if J is misremembering, who knows?] Us youth believed you could not choose who you fell in love with and if it was same sex, so what? However, if it was two girls then it was every guy’s duty to change her!

It was also a time that the gayer the guy was, the more the girls were interested. Also, if a guy was gay then you did not have to worry about him and he was a good person to take with you if you were going out drinking. However, the police, parents, teachers and anyone of authority were horrified and treated them badly. I did meet Mary a couple of times at pubs and once after a gig. This is just my opinion, but I found her a bitch. It could be that I was so young. It could be that I was very Australian. It could be that she felt threatened as my accent was a magnet to people around. And the boys (Queen) were no exception. Brian had a cousin in OZ and was always asking questions. I remember that my close group of friends thought that Mary made the perfect girlfriend for Fred as they were as fake as each other. Having said that about them, I often wonder if I would think the same now and if my perceptions were just because she would not give me the time of Day. Chrissy and Jo were a lot of fun.

This was before your time, but I read that Freddie's nickname at Ealing Art School was ‘Freddie Baby’. Any ideas how this came about? His showmanship or maybe personality traits?

I don't think so. There were an older crowd that would talk like that. I think the slang ‘baby’ was a 60’s thing, like groovy baby.

How long, roughly, did Roger and Freddie have their stall? I can't find anywhere when it closed down. What did it actually look like? Was it a sort of wooden stall type of thing? Or an actual room? What were some of the other things people sold at Kensington Market? Mostly clothes or all sorts?

The markets were little divided shops. The back was brick and the walls wood. I have been trying all day to remember the name. [Of the stall.] I think it was something hard to say. More often than not it would be Freddie's dad in the store. It was still open when I left. Roger and Freddie were both in the store on Saturdays and some Sundays. There was a girl, I think Jill, who was in the store more. And during the week it could be anyone. You name it and you could get it at the markets. Second hand or designer clothes, shoes, jewellery, pot and assortments. Hair cuts, food, bric-a-brac.

Wait, wait. What? Freddie’s dad? Really now?

Yeah, it was an older Indian man. so we just assumed it was his father. It was my understanding that he started the stall then the boys would work it as the whole markets were set up for younger people, but if needed he would work there. I don't think the boys would be able to pay the rent on their own. [I have since found out that the stall closed in late 1971, and Freddie continued to work at the Market until '74, for Alan Mair and possibly others. So the stall J witnessed wasn't their original stall - explaining all the different people she saw there - but she had no way of knowing that it wasn't.] They always had incense burning that was very big in the 70s. I still occasionally bring out the sticks, but it does not last like the candles and diffusers of today. If you could get in touch with Robert Daniels, he ran ChaChaDumDum it was the stall across from Freddie. He would know the dates.

[J says it’s this look, in a picture she happened across while looking at my tumblr] Yep, that is the one. It usually means that he does not believe or agree with something that was said and is working out how to respond, or he has lost the plot.

You mentioned Roger seemed shy to you at times. Was he also quite charming? We read a lot about what a chick magnet he was. Was this the impression you had?

My favorite subject! I had a thing for Roger. Everyone has a type and mine is the blue-eyed blond. Now, before you ask, was he brunet? No, he was a mouse/dirty blond. If it was summer he would have blond streaks mostly at the ends. He knew he was pretty and was always dressed in the latest fashion and had the current hairstyle. So, being my type I was constantly watching him. Everyone slept around during that time. I did not notice Roger doing it more or less. 80% of the time he was with Jo. Yes, he was a chick magnet, but he did not do the chasing. He was always very polite to everyone. If it ever looked like there would be any conflict he would be the first to leave it. It was not that he was a coward, just not into conflict. If he saw anyone that needed help he was right there, and often had to have Freddie's back. I never saw him in a fight. He could always talk his way out of things. He was also very patient and would listen for hours to other people talk. However, he would get this vacant look in his eyes at times.

And Freddie would either click his fingers, change the subject or just give up. I don’t think that Brian noticed, and it would be fair game for John, he would see how far he could push it. Roger liked to drink a fair bit and when drunk he would be hanging all over Jo. If she was not there then he missed Jo. If, however, he thought that he or his friends were not being respected, then look out! It was a verbal volcano heading your way. That is what happened to me one time. I was trying to talk with my friends close to where a drunken Roger was and I yelled at him to shut the hell up, you wannabe blond. We/I coped a mouthful back, all in the same sentence, that finished with: Sorry, I didn't realise you were on your rags (period)! I have to have the last word, so I told him the truth: I don’t get them yet! (I was a late starter.) He went so red in the face and called me JB [jail bait] from then.

You also mentioned Roger’s cat Ziggy having kittens. I read about this but never when exactly it was. Do you remember?

I think it was winter ‘73. I remember being cold when he was asking around the pub. [To find homes for the kittens, I gather.]

Is it quite strange reading fictional interpretations of real people you knew? When did you first find out there was Queen fanfic?

No, we used to make up stories about people all the time, a verbal fanfic. Was looking up Adam Lambert and came across the fanfics. Some had me in stitches! Others, like DoA, had me hooked.

Please, allow me to be a little self-indulgent at the end. What's one thing I got totally RIGHT in DoA?

All the Ibex stuff.

What's one thing I got totally WRONG in DoA?

Roger did not have a temper, and I don’t know what the go with his father was, but he would talk about him quite a bit and was always visiting his mum. [Absolutely fair, not only did I change the timeline of Roger’s parents divorce in DoA - for lack of information at the time - but also created a completely fictional narrative around it for the sake of storytelling.]

J, thank you so much for all this, sincerely. Can you tell me a little more about yourself? Are you still an artist?

I don't paint or draw any more. At the age of a 50 the doctors operated on an aneurysm or three, and now my eyesight is very bad, I have no fine motor skills and a tremor. I was married in January 1984 and have just celebrated our 37 year anniversary. I have one daughter who is 30 and two great, although tiring grandkids. A girl, 11, and one boy, 5. I have lived my life as the average middle class Australian with great memories. Talking with you has helped me a lot to remember a time when the world was mine for the taking. When I returned to OZ I started nursing, met my best friend, and we planned that once we graduated we would go back to London to study midwifery. But I fell in love instead.

J's wedding in 1984. As you can see, she found her own blue-eyed blond.

---

Upon request, J has shared some of her past and present artwork with me.

These are from her time at Ealing Art School:

These were done later, back in Australia:

J: Did this just before Christmas as you had inspired me. It did not require fine motor skills!

So there you have it! I hope you found this little glimpse through a 16-year-old girl’s eyes as much of a fascinating read as I did. I urge everybody one more time to remember that J did not have to share any of this, and I think we all owe her a big thank you for delving into her memories. She is likely to see the responses on AO3, so I have comment moderation enabled there as I will not let anybody harass this lovely lady. The tumblr she created is @since72, but she isn’t really an active user and also very new to it all. Again, I can only urge everybody to be respectful.

If you have other burning question for J, feel free to leave them in the comments on AO3. I will either pass them on, or she may want to reply to them herself directly.

[fremedon]

It’s almost Yuletide! This will be my 18th Yuletide! My first Yuletide story will be old enough to vote this year and I have some mixed feelings about that! But also I have never missed or defaulted on a Yuletide since, and I have to say I feel pretty proud of that. I am still pretty far down the Les Misérables rabbit hole (speaking of which, it is not too late to propose programming for Barricades!), and unsurprisingly all the fandoms I'm nominating/requesting this year are set in July Monarchy France--Les Mis canon era: Petit-Cénacle RPF, Champavert: Contes Cruelles | Champavert: Immoral Tales - Pétrus Borel, and Les Enfants du Paradis | Children of Paradise. Petit-Cénacle RPF The Petit-Cénacle was a French Romantic salon, slightly younger and considerably more politically radical than the Cénacle centered on Hugo and Dumas; it included painters and sculptors as well as writers and critics, and most of its members at least dabbled in both written and visual arts. Its best-known members today are Théophile Gautier, Gérard de Nerval, and Pétrus Borel (the Lycanthrope)--the last two are thinly fictionalized in Les Misérables as Jean Prouvaire and Bahorel. (It's debatable how much Grantaire owes to Gautier but it's probably a nonzero amount.) The group coalesced around Borel and Nerval as the organizers of the Battle of Hernani--a fight between Romantics and classicists at the premiere of Victor Hugo's play Hernani in 1830. Most theater productions at this time had claques--groups of paid supporters of a show or an actor, who were planted in the audience to drum up applause. For Hernani--the first Romantic work staged at the prestigious Comédie-Français, which broke classical norms so thoroughly that it no longer seems at all transgressive--Hugo and the theater management decided they were going to need more than just a claque. They recruited a few of Hugo's fans--Gautier was so star-struck he had to be physically hauled up the stairs to Hugo's apartment--to stage An Event. The fans recruited their friends. They showed up in cosplay, with the play already memorized and callback lines devised. It was basically the Rocky Horror Picture Show of its day. It almost immediately turned into an actual fight, with fists and projectiles flying. And it made Hernani the hottest ticket in Paris. This is the group's origin story, and they pretty much spent their lives living up to it. They were every bit as extra as you would expect--Nerval allegedly walked a lobster on a leash in the Champs-Elyseés, explaining that "it knows the secrets of the deep, and it does not bark"--but they also stayed friends all their lives, often living together, supporting each other through poverty and mental illness and absurd political upheaval. I'm nominating Pétrus Borel | Le Lycanthrope, Théophile Gautier, Gérard de Nerval, and Philothée O’Neddy; you could nominate other people like Jehan Duseigneur, Celestin Nanteuil, or the Deverias, or associates of the group like Dumas and Hugo. The Canon Gautier's History of Romanticism covers the early days of the group and the Battle of Hernani in some detail. (There is also a 2002 French TV movie, La bataille d'Hernani, which is charming and pretty accurate; hit me up if you want a copy.) Other than that--this crowd wrote a lot, and they're all very present in their work--even in their fiction, which is shockingly modern in a ton of ways. For Gautier, Mademoiselle de Maupin has a lot of genderfeels, surprisingly literal landscape porn, and a fursuit sex scene in chapter two. If you want Nerval's works in English, you might be limited to dead-tree versions, but I highly, highly recommend The Salt Smugglers, a work of metafiction that answers the question, "What if The Princess Bride had been written in 1850 specifically to troll the press censorship laws of Prince President Louis-Napoleon Bonaparte?" Borel's experimental short story collection Champavert has a new and very good English translation by Brian Stableford and is also my next fandom :D. Champavert: Contes Immoraux | Champavert: Immoral Tales - Pétrus Borel Last year I requested Borel RPF but I decided this book was unfanficcable. This year, I am going to have a little more faith in the Yuletide community. Champavert, available in ebook and dead tree form, is a weird as hell little book and probably the best thing I read last year. It's an experimental short story collection from 1830. Someone on one of my Les Mis Discords described it as "a collection of gothic creepypasta, but the author is constantly clanging pots and pans together and going 'JUST IN CASE you didn't notice, the real horror was colonialism and misogyny all along and i'm very angry about it!'" And, yeah, pretty much that, with added metafictional weirdness, intense nerding about architecture and regional languages, and the absolute delight that is Borel's righteously ebullient voice. Borel wrote for a couple of years under the name of The Lycanthrope, and though he kills the alter ego in this book, the name stuck, and would continue to be used by friends and enemies alike all his life. Pretty much everyone who met Pétrus agreed that 1) he was just ungodly hot; 2) he was probably a werewolf, sure, that makes sense; and 3) he was definitely older than he claimed to be, possibly by centuries, possibly just immortal, who knows. But, like I said, he kills the alter ego in this book: it begins with an introduction announcing that "Pétrus Borel" has been a pseudonym all along, that the Lycanthrope's real name is Champavert--and that the Lycanthrope is dead and these are his posthumous papers, compiled by an unnamed editor; the papers include some of Borel's actual poems and letters, published under his own name. The final story in the collection is called "Champavert, The Lycanthrope," and is situated as an autobiographical story, following a collection of fictional tales--which share thematic elements and, in the frame of the book, start to look like "Champavert"'s attempts to use fiction to come to terms with events of his own life. And that's probably an oversimplification; this is a dense little book and it's doing a lot. The subtitle is Contes Immoraux. It's part of a genre of "contes cruelles" (and, content note for. Um. A lot), but it's never gratuitously cruel--it's very consciously interrogating the idea of the moral story, and what sort of morality is encoded in fables, and what it means to set a story where people get what they deserve in an unjust world where that's rarely the case. I'm nominating the unnamed editor, Champavert, his friend Jean-Louis from the introduction and the final story, and Flava from the final story; you could also nominate characters from the explicitly fictional stories. Les Enfants du Paradis | Children of Paradise This is a film made between 1943 and 1945 in Vichy and Occupied France and set...somewhere?...around the July Revolution, probably, I'll get into that :D. There's a DVD in print from Criterion and quite possibly available through your local library system. (And it's streaming on Amazon Prime and the Criterion Channel.) It's beautifully filmed, with gorgeous sets and costumes and a truly unbelievable number of extras, and some fantastic pantomime scenes. (On stage and off; there's a scene where a henchman attempts to publicly humiliate a mime, and it goes about as well as you would expect.) "Paradise," in the title, is the equivalent of "the gods" in English--the cheap seats in the topmost tier of a theater. It's set in and around the theaters of the Boulevard du Temple--the area called the Boulevard du Crime, not for the pickpockets outside the theaters but for the content of the melodramas inside them. The story follows a woman called Garance, after the flower (red madder), a grisette turned artists' model turned sideshow girl turned actress turned courtesan, and four men who love her, some of whom she loves, all of whom ultimately fail to connect with her in the way she needs or wants or can live with. This sounds like a setup for some slut-shaming garbage. It's not--Garance is a person, with interiority, and the story never blames her for what other people project onto her. Of those four men, one is a fictional count and the other three are heavily fictionalized real people: the actor Frédérick Lemaître, the mime Baptiste Deburau, and the celebrity criminal Lacenaire. Everyone in this story is performing for an audience, pretty much constantly, onstage or off: reflexively, or deliberately, or compulsively. Garance's survival skill is to reflect back to people what they want to see of themselves. She never lies, but she shows very different parts of herself to different people. We get the impression that there are aspects of herself she doesn't have much access to without someone else to show them to. Frédérick is also a mirror, in a way that makes him and Garance good as friends and terrible as lovers--an empty hall of mirrors. He's always playing a part--the libertine, the artist, the lover--and mining his actual life and emotions for the sake of his art. Baptiste channels his life into his art as well, but without any deliberation or artifice--everything goes into the character, unfiltered. It makes him a better artist than any of the others will ever be, but his lack of self-awareness is terrifying, and his transparency fascinates Garance and Frédérick, who are more themselves with him than with anyone else. Lacenaire, the playwright turned thief and murderer, seems to no self at all, except when other people are watching. Against the performers are the spectators: the gaze of others--fashion, etiquette, and reputation--personified by Count Mornay; and the internal gaze personified in Nathalie, an actress and Baptiste's eventual wife, who hopes that if they observe the forms of devotion for long enough the feeling will follow. The time frame is deliberately vague--it's set an idealized July Monarchy where all these people were simultaneously at the most exciting part of their careers. In the real world, Frédérick turned his performance of Robert Macaire into burlesque in 1823, Baptiste's tragic pantomime Le Marrrchand d’Habits! ("The Old-Clothes Seller") played in 1842, and Lacenaire's final murder, for which he is guillotined, is 1832; these all take place in Act II of the movie within about a week of each other. (Théophile Gautier, mentioned but tragically offstage in the film, was a fan of Baptiste; Le Marrrchand d’Habits! started as Gautier's fanfic--he wrote a fake review of a nonexistent pantomime, and the review became popular enough the Theater des Funambules decided to actually stage it. It only ran for seven performances.) I am nominating Garance, Frédérick Lemaître, Baptiste Deburau, and Pierre François Lacenaire. You could nominate any of the other characters (Count Mornay, Nathalie, the old-clothes seller Jéricho, Baptiste's father, his landlady, Nathalie's father the Funambules manager). Gautier, regrettably, does not actually appear in the film but you can bet that's going to be one of my prompts. So, that's one good movie you definitely have time to watch before signups, several good books you probably have time for and that are probably not like whatever else you're reading right now, and one RPF rabbit hole to go down! Please consider taking up any or all of these so that you can write me fanfic about Romantic shenanigans.

[ktaebwi]

170918 BTS ‘LOVE YOURSELF: Her’ Press Conference - Compilation

- Rap Monster: “LOVE YOURSELF: Her is a series following after ‘Hwa Yang Yeon Hwa’ and ‘WINGS’. This album takes the role of ‘seung’ in ‘gi seung jeon gyeol’ and features 11 songs.” (TV Report) (seung: explanation, gi seung jeon gyeol: introduction - explanation - twist - conclusion)

- Rap Monster: “I think this album will become one of our turning points.” (TV Report)

- Jin: “Please love our song ‘DNA’ that contains our DNA.” (Mydaily)

- Suga: “I was greatly surprised when I heard the news about the number of pre-orders. It was 700,000 for the last album and we were very grateful to our fans and everyone who listened to our album then too. This time we thought we shall grow a little greedier and it would possibly reach 800,000 orders, we were greatly surprised seeing the news. I’m grateful that this many people love us. I think the pre-orders represent the trust and love for our music, I’m really grateful.” (Herald Pop)

- Rap Monster: “‘DNA’ contains our message of reconciliation and unite that we want to throw at the society.” (Mydaily)

- [About the meaning of ‘harmony’] Rap Monster: “I think love is an ability. If you can’t love yourself, you can’t love others. I often hear people saying that love is an illusional and vague thing these days. I thought about the method of loving. The time we spend looking into ourselves is getting lesser ad lesser because of smart phones and news media. I consider loving oneself to be the answer to many things. We don’t have the confidence to love ourselves completely, but we want to try and think about that answer. Starting from loving ourselves. That’s how it started. Although we haven’t been able to find that answer yet, we hope we can as we go along with the ‘gi seung jeon gyeol’ series.” (Mydaily, Joynews24)

- [About the whistle sound] Rap Monster: “I and Jungkook did the whistling together but I don’t know which one they used.” (News Inside)

- [About new goals] Suga: “Whenever we receive this question, we always said that our goal is to enter the Billboard Hot 100 chart. The Hot 100 chart actually requires having many albums sold, having songs streamed a lot and another important thing is radio play. This is not easy at all. We are holding expectation whether it will come true this time, but luckily US radio stations are giving us a lot of attention and select our songs often, so we’re carefully placing hope this time. Our album is being sold in the US this time and so many people are showing expectation and attention for us so we want to enter the Billboard Hot 100 chart this time.” (Newsen)

- Jimin: “I really want us to top the digital music chart when the digital album is released. I hope many people will love all of our songs this time as well as give BTS who always attempt new things a lot of love.” (Newsen)

- ‘DNA’ is a song of an uncommonly seen music structure in K-pop, featuring the foreign trendy EDM pop genre and bold use of beat drop. The song contains the message ‘we are entwined by fate from the beginning, we are one from the DNA’. (Newsen)

- Suga: “BTS members and the company staff often hold meetings together. The album concepts are from our thoughts and the producers’ thoughts merged together. When we first debuted, we each were busy making our own music, but now we combine BTS’ thoughts and the company’s ones and come up with the concepts.” (Maeil Kyungje)

- Rap Monster: “I often have meetings and hang out with the company staff. I talk with the producers, including Bang Shihyuk PD. The company keeps an eye on what we think.” (Maeil Kyungje)

- Rap Monster: “I always want to give good influence socially. Whenever I see people who like us, I feel a sense of responsibility. It can be become their inspiration or be left as good impression to them, but I think even mere appreciation like enjoying listening to our music or feeling our dance to be cool can also give good influence. I’m feeling the responsibility to keep offering good influence.” (Newsen)

- Suga: “Music is an extraordinary act that can moves someone. I hope the world will eventually become a world where many people are happy.” (Maeil Kyungje)

- [About ‘GO Rather Than Worrying’] Suga: “These days the young generation uses words like ‘YOLO’ and ‘spendthrift’, and I can’t understand why they use those words that much. We interpreted it from the perspective of BTS (in the song), I hope you would think about why the young generation uses ‘YOLO’ and ‘spendthrift’ while listening.” (Mydaily)

- [About ‘DNA’ music video] Suga: “We emphasized on the fancy impression to portray the feeling of falling in love. I was amazed every time I see the music video filming set, because it was so beautiful. I feel good since the result will come out great.” (Sports Joseon)

- Jin: “‘Best Of Me’ is a great song to listen to with lyrical melodies. This song was mixed by a partner who works together with The Chainsmokers. I hope many people would listen to it.” (Sports Joseon)

- Rap Monster: “There’s a famous performance in which president Obama dropped his mic to wrap up the new year speech. It was one of the performances that hold the meaning ‘My speech was good, right?’. ‘MIC Drop’ is a track connected with it. It features a lot of our swag and ambitions and was inspired by president Obama’s speech.” (Seoul Kyungje)

- [About collaboration with Seo Taiji] V: “He gave us support and told us that it’s our era now. I can truly feel that it’s an honor to be able to perform together with such a legendary senior singer.” (Mydaily)

- Jin: “Seo Taiji-sunbaenim told me that I can call him ‘father’. I was grateful that he used the word ‘Seo Taiji and Sons’.” (Mydaily)

- Suga: “I call him ‘hyungnim’. He’s way younger than my father.” (Mydaily)

- [About why the start of the series is ‘seung’ (explanation) and not ‘gi’ (introduction)] Suga: “When we consider the process of falling in love as ‘gi seung jeon gyeol’, I think the stage where we are the most immersed in love would be ‘seung’, so the album started as ‘seung’. There will come a moment when you understand why ‘seung’ comes out now if you follow our album sequence in the future.” (Mydaily)

- Rap Monster: “I think a lot about where our goal should be. When we first debuted, I couldn’t even think of working together with The Chainsmokers. Performing at the Gymnastics Stadium was our goal before debut, but now all kinds of unimaginable proposals are coming from inside and outside of our company. I’m curious about how far we can go. Our abstract goal is to climb up to the top and leave a milestone in the history like how PSY-sunbaenim did.” (Mydaily, Joynews24)

- Suga: “We followed the path of the senior singers and now we too need to build that path and advance further. I hope we can build better paths with better sides of us.” (Joynews24)

- BTS: “Although figures are important, we want to show good music and good performance.” (Joynews24)

[theteenagetrickster]

The 50 Best R&B Albums of The Decade (2010s) - Rated R&B

If there’s one genre that has experienced the most sweeping changes in the 2010s, it’s R&B.

From the survival of the EDM phenomenon to the decline in music sales to more artists taking the independent route, this decade seemed to prevent more challenges for established and emerging artists.

And let’s not forget about the ongoing debates about “the state of R&B” and critics declaring R&B a “dead genre” on more than occasion.

Still, with all the harsh talk about R&B, what remained consistent throughout this decade was the generous amount of extraordinary music from the artists we always adored to the ones we grew to love. 

After many internal debates and sleepless nights, Rated R&B’s editorial team has compiled an unranked list of the 50 Best R&B Albums from the 2010s. The albums are listed in alphabetical order.

1. 4 — Beyoncé (2011)

Before the digital drop, before she got in formation, and before she renamed Coachella ‘Beychella,’ Beyoncé was laying the foundations of legendary status with 4. Riding high on the success of I Am… Sasha Fierce in the previous decade, Beyoncé took a much-needed hiatus from music to rediscover the world and herself. What came out of that year-long break, however, was the need to produce a timeless R&B record. “I really focused on songs being classics, songs that would last, songs that I could sing when I’m 40 and when I’m 60,” Beyoncé said in 2011.

With 4, Beyoncé grabbed pieces from all eras of music, from ‘80s and ‘90s R&B on tracks like “Party” and “I Care” to ‘70s funk and Afrobeat on songs like “End of Time” and “Run The World (Girls)”, to create a sound that was bolder than anything she had ever done. Released in 2011 with moderate initial success — reaching number one on the Billboard 200 chart and winning the Grammy award for Best Traditional R&B Performance at the 55th annual ceremony for “Love on Top”— 4 set the precedent for what was to come in the 2010s, while slowly being embraced as Beyoncé’s bravest, most soulful record to date. — ANDERS HARE (A.H.)

2. A Seat at the Table — Solange (2016)

To encapsulate a significant portion of what it means to be Black in America is a difficult task. Not many have been called to it, yet Solange willingly hit the nail with much accuracy on A Seat at the Table. Inviting the general public to her spread, she expressed the pain, anguish, resilience and pride one can feel on a daily basis. Solange covers as many necessary bases as possible including wanting a piece of something to call your own in a covetous space (“F.U.B.U.”) to establishing boundaries, while demanding respect (“Don’t Touch My Hair”). The glimmer of hope in the beautifully melancholy number arrives towards the end with “Junie,” inspired by Ohio Players member Junie Morrison. In a little under an hour, the multidisciplinary artist gives way to an intricate experience in a manner that is complex and poetic. — DANIELLE BRISSETT (D.B.)

3. Another Round — Jaheim (2010)

As the title suggests, Jaheim returned for Another Round of passion-fueled belts and beloved street poetry on his fifth album. Serving as the solid follow-up to The Makings of a Man, the 2011 Best R&B Album contender is essentially an album that conveys thoughtful lyrics and tender ballads and midtempos with familiar and fresh sounding instrumentals. For the pre-album single, “Finding Your Way Back,” Jaheim works hard to retrace his last steps to rekindle a favorable romance. He expresses excitement to be a first-time dad on “II Pink Lines.” On the piano-laced “Bed is Listening,” Jaheim asks his talkative lover to keep their relationship troubles and joys only between them. A deserving listen to Another Round is highly recommended. – ANTWANE FOLK (A.F.)

4. Anti — Rihanna (2016)

Barbadian-born singer Rihanna has long been described as “anti”— going against the grain in fashion, music and lifestyle choices, and doing everything an icon shouldn’t. While her first seven albums detail her narrative of a “good girl gone bad,” none of them really tell Rihanna’s true story. When in the early stages of her eighth studio album, Rihanna ensured she played a major role in its inception, serving as executive producer. She sought to create a timeless album with replay value she could perform years after its release. The final product was Anti, an album nearly four years in the making that truthfully recounted Rihanna as a human being better than any album she previously released. Sonically, the album is a soulful adventure of self-exploration and a footprint of the culmination of every sound in Rihanna’s catalog. Anti earned Rihanna five nominations at the 59th Annual Grammy Awards, however, did not win a single one. This defeat is symbolized as a body of work that is ahead of its time. Still, Anti remains one of the most progressive, personal, and touching albums of the 2010s. — A.H.

5. Anybody Wanna Buy a Heart? — K. Michelle (2014)

K. Michelle’s 2013 debut, Rebellious Soul, officially introduced her as one of the most unfiltered R&B storytellers, but her follow-up LP is the moment her undeniable talent couldn’t go unnoticed – even by her Love and Hip-Hop naysayers. That said, Anybody Wanna Buy a Heart has it all for a second album: a strengthen concept, sharper lyrics, and improved quality in production. Throughout AWBAH, K’s expressive vocals are equally as emotional as the love drama she belts. At the center of many of the complicated lyrics is acclaimed English actor Idris Elba, who she had an alleged fling with sometime before (or during) this album recording. K isn’t modest about the effect he’s had on her heart at the least on songs like “How Do You Know?” and “Maybe I Should Cry.” But, regardless of the heartache he caused K. Michelle, she mustered up enough strength to put out a body of work that doesn’t sound like anyone but herself. – A.F.

6. Art Official Age — Prince (2014)

Prince’s Art Official Age is a concept album that takes listeners on a futuristic journey. Prince is placed in a suspended animation and awakens 45 years in the future to a whole new world. British singer Lianne La Havas makes a few appearances on the album as she plays the role of a therapist who helps guides him back into consciousness and gives him an overview of what to expect. On Art Official Age, Prince showcases the highly influential funk-pop-rock-soul sound he innovated in the ‘80s. “Clouds” serves up the kind of bass-heavy, guitar-accented groove diehard Prince fans know and love. A celebration of affection and intimacy, this standout brilliantly decries the impersonal aspects of modern, technology-reliant communication and a lack of sincerity in human interaction in a world of “reality”-show posing.

“Breakfast Can Wait” is an ode to morning sex. Prince is in stellar form on “Breakdown,” a heartfelt lament of a relationship gone wrong. He puts his falsetto to great use over a stirring track that transitions multiple times between sparse, vocal-and-keyboard-only verses and a chorus with those elements effectively joined by drums and a gripping bass line. He closes the album with “Affirmation III,” where Havas helps spread encouragement with some words of wisdom. “Remember, there is really only one destination, and that place is you. All of it, everything, is you,” she says. — KEITHAN SAMUELS (K.S.)

7. Back to Love — Anthony Hamilton (2011)

It’s hard to resist the raspy-voice charm of Anthony Hamilton. On Back to Love, the veteran continues to showcase his strong admiration for old-school soul music found on most of his previous albums. This time, rather than wallow in “the sad cat” persona, Hamilton puts his emotional outbursts in check and delivers the shimmering danceable number “Sucka For You” and the reassuring duet “Never Let Go” featuring Keri Hilson. Despite the bright lights, big city production influences, Hamilton isn’t out of touch with his Southern roots. On “Pray For Me,” the hit single, he gets on bended knees to plead with the Most High for his ex-lover to return to him. And like a home-cooked meal, richly flavored tracks “Best of Me” and “I’m Ready” are like food to the soul. — A.F.

8. Back to Me — Fantasia (2010)

Fantasia’s third studio album, Back to Me, was released four years after her self-titled sophomore LP. Taking a more daring direction with the previous project, Fantasia returned to her core elements with an elevated sound. The American Idol winner’s growth was evident on this album, from the lyrical material to the vocal performance. She collaborates with accomplished songwriter/producer duo Claude Kelly and Chuck Harmony for the first time on the initial single “Bittersweet” and the opening track, “I’m Doin’ Me.” Coming out swinging, track one sets the tone for what’s to come throughout the rest of the album. While the striking piano is a key piece, it’s Fantasia’s ad-libs and backgrounds that truly elevate and amplify the song’s magic. A few retro-leaning numbers (“Trust Him”, “Collard Greens & Cornbread”) make an appearance on the tracklist but Fantasia’s soulful grit produces a piercing comfort, connecting a seasoned energy to a contemporary feel. — D.B.

9. BEYONCÉ — Beyoncé (2013)

The world stopped momentarily when Beyoncé released her fifth studio album without any warning. Two years after 4, her eponymous album was in a league of its own from the rollout to its musical landscape. Fans got an authentic peek into Beyoncé’s personal life through the music for the first time; bringing us into her high profile marriage, motherhood and her views on success. Beyoncé experimented with a variety of different musical elements, including electronic and pop. It leaned towards an alternative R&B feel, straying from the traditional R&B sound that was prevalent in her previous body of work. Even though eccentricity flowed throughout the album, “Rocket” was R&B at its core. Honoring “Untitled (How Does It Feel) by D’Angelo, the soulfully funky slow jam oozes seduction as Beyoncé slides across the yearning electric guitar and thumping bass. The self-titled project contained an assortment of flavors that were unexpectedly satisfying in a way only Beyoncé can serve. — D.B.

10. Black Messiah — D’Angelo and The Vanguard (2014)

D’Angelo is a legend among men. As one of the pioneers of neo-soul, his weighted contribution to the movement would be inadequate without him. He made his long-awaited return to music 14 years after his sophomore album Voodoo with the politically-charged Black Messiah. It was slated for a 2015 release but he was inspired to push the date up due to the verdicts of the Eric Garner and Ferguson cases. Capturing the Black American experience during a tense time, D’Angelo and The Vanguard responded with an eccentric, yet spiritual album. Musically, Messiah is a rebellion from structural norms, with nearly inaudible lyrics that are intended to be felt and not necessarily understood word for word. Intertwining funk, soul, gospel and blues, there’s a wide range from societal issues (“1000 Deaths,” “The Charade”), to romance (“Really Love,” “Another Life”) and all the imaginable feelings in between. The intricately beautiful body of work rightfully earned the award for Best R&B Album at the 58th Grammy Awards. — D.B.

11. blackSUMMERS’night — Maxwell (2016)

“It’s an album about trying to find love,” Maxwell told Mic on the overall theme of blackSUMMERS’night. “It’s sonically grittier than usual and I’d say that this album is much more poetic.” Complied with well-written songs that weren’t crafted from any rushed recording sessions, this second album of a romantic trilogy covers a lot of ground on discovering true romance like on the splashing groove “Lake By the Ocean” and captive solo “Hostage.” In a vulnerable fashion, Maxwell opens his heart and mind to a hopeful lover on the mood-setting “Listen Hear.” His distinctive voice extracts intense pain on “Lost,” the darkest and finest moment. Now while blackSUMMERS’night doesn’t entirely follow the bluesy formula of BLACKsummers’night, his commercial breakthrough, it’s most definitely an R&B collector’s item. – A.F.

12. Calling All Lovers — Tamar Braxton (2015)

There’s something to be said for not trying to reinvent the wheel. Despite a strong sophomore album and a hit single (“Love and War”), Tamar Braxton didn’t go after the charts for her third studio LP. Instead, the R&B star upped the ante on Calling All Lovers by delivering fervent vocals to yearn downhearted and joyous love tunes like the vintage-soul ditty “Simple Things” and summery throwback “Must Be Good to You.” Braxton is at her best when she sharply focuses on her vocal powers, as she does on the sorrowful “Broken Record” and the eminently romantic “Raise the Bar.” So while Calling All Lovers is written off by many as a disappointing follow-up because it didn’t receive a proper commercial rollout as its parent album, it is an incomparable gem that’s proved a hit after one fair spin. – A.F.

13. Caution — Mariah Carey (2018)

A music legend cannot release an album without high expectations from fans and critics. Throughout her career, Mariah Carey has always set and exceeded the bar of musical excellence with her impeccable vocal range and her mesmerizing lyrics. Caution, Carey’s 15th studio album, proved why she has been able to sell over 200 million records throughout her career. Whether she’s singing tender ballads like “With You” and “Portrait” or showing off her playful side on “A No No” and “GTFO,” Caution pleasantly reminds the world that there are levels to Carey’s talent. — K.S.

14. Ctrl — SZA (2017)

The first lady of Top Dawg Entertainment crafted a playbook on self-awareness, boldness and reflection on Ctrl. SZA, along with her mom and granny, narrates the ebbs of flows of self-discovery in numerous aspects. Along the interestingly insightful journey, the alt & B singer stops at sensuality (“Doves In The Wind”), insecurity (“Drew Barrymore”) and acceptance (“Normal Girl”) with an ever-changing destination in sight. She takes flight on “Pretty Little Birds” featuring label-mate Isaiah Rashad. The lucid lyrics about soaring high with her lover are stretched across palpitating production with fluttering jazz horns and synths. SZA quaintly captures the nuances of growth in a way that was widely and immensely felt upon her release. Her full-length debut is a comforting coming of age album for young women in their 20-somethings, stepping into their own. — D.B.

15. Doubleback: Evolution of R&B — Joe (2013)

It doesn’t get more soulful than Joe. The Grammy-nominated veteran, who debuted in 1993 with the album Everything, effortlessly proves that he’s untouchable in the romance department. By merging elements of well-rendered vocals, convincingly tender lyrics, and classic and modern R&B feels, Doubleback: Evolution of R&B is a stroke of pure genius. Never sounding too dated, Joe reaches back to give his male listeners lessons on the beauty of settling down like on “I’d Rather Have a Love,” the yearning lead single. He breaks down the pleasurable difference between “Love & Sex” with Fantasia and indulges in the sweet company of “Mary Jane.” Doubleback is another reminder to bachelors that there’s nothing wrong with turning in your player cards, once and for all. – A.F.

16. Ego Death — The Internet (2015)

The Internet’s third studio album was a wake-up call to anyone who slept on the eclectically soulful band. While their sophomore effort floated in the lo-fi realm, Ego Death took the tempo up a notch. Building on their neo-soul adjacent sound, they pulled from alternative, jazz and lounge music elements to create a body of work that is expansive, yet focused. A common thread for Ego Death is the relaxing, easygoing tone, appropriately displayed in “For The World” featuring James Fauntleroy — a track that shares a similar groove to “Butterflies” by Michael Jackson. The Internet’s melodic palate transformed from a mystic vibe to a soul knocking sound on their third album; proof they’ve grown from being the adolescent band next door to a musically inclined group who’s pushing their sound further. — D.B.

17. ELDORADO — Ro James (2016)

Ro James summons an authentic essence of soul. With a husky and smoldering timbre, his ability to bridge the musicality of his forefathers and his personal influences enhance the listening experience. James pulls from rock, soul and gospel to create a rich and fortifying sound. His trilogy EP Coke, Jack and Cadillacs was released in 2013, simmering a carefully crafted energy that steadily lured fans in.

Three years later, his debut album ELDORADO solidified a lane solely reserved for James to cruise along. His Willie Hutch-sampled track “Permission” took over urban adult contemporary radio and promptly aided his growing success. ELDORADO would be incomplete without hazy and seductive tracks like “Burn Slow” and “GA$” but “Holy Water” contributes a contrasting but necessary element. Swelled with sonorous organs, James belts about becoming better and not losing himself with choir-adjacent backgrounds for full support. For his first major-label release, James leaves an undeniably lasting impression. — D.B.

18. Feel The Real — Musiq Soulchild (2017)

When it comes to love, Musiq Soulchild has a lot to say. Released as a double album, Feel The Real is a 100-minute expedition through the different stages of a relationship. “I kinda wanted to do the whole Feel the Real thing because this love thing, this romance thing, this relationship thing, this interpersonal intimate thing we deal with it’s all about how you feel,” he told HipHollywood. “You can’t think your way through it.” The title track, which features Marsha Ambrosius, hears Soulchild shooting his shot at a woman he is interested in pursuing.

On the same token, he isn’t looking to settle too quickly. He gets very candid on “Benefits,” where he only wants to be friends with benefits. He admits his wrongdoings on the Willie Hyn-assisted “My Bad” and asks his partner to do the same on “Humble Pie.” “Let Go” is about knowing when it is time for both partners to move on from a relationship. With everything he experienced in his previous relationship, Soulchild wants to make sure he is ready to make his heart open for the next person. “Test Drive” is about testing the waters before settling down. “We could both crash and burn or we could fly high / Couldn’t hurt to take a test drive,” he sings. Soulchild expresses his gratitude on the album’s closer “Simple Things.” Although the album is a lot longer than traditional releases, Soulchild makes the experience enjoyable with his velvety vocals laced over live instrumentation. — K.S.

19. Freudian — Daniel Caesar (2017)

The early 2010s consisted of R&B artists trying to keep up with what was contemporary, with many gravitating toward pop, alternative and EDM. On the contrary, Ontario-born singer-songwriter Daniel Caesar spent much of the early 2010s being recognized as a budding voice in classic R&B stylings with the release of several scattered EPs such as 2014’s Praise Break and 2015’s Pilgrim’s Paradise. However, Caesar’s debut album Freudian became a constant revisit for casual listeners of the genre after its release in 2017. The obvious nods to gospel music on tracks such as “Hold Me Down” and “We Find Love” adds a natural anointing to Caesar’s smooth sound. However, it is songs such as “Blessed” and the H.E.R.-assisted “Best Part” that elevate Caesar to timeless status, as both became radio and wedding mainstays, respectively. While everyone else was making moody, aesthetically-pleasing sounds, Caesar created a timeless record that offered a little something for everyone.— A.H.

20. Greater Than One — Dwele (2012)

Dwele is arguably one of the most underrated neo-soul singers. The Detroit native’s fifth studio album, Greater Than One, is proof in the pudding. Drawing inspiration from ‘80s R&B, Greater Than One highlights various topics surrounding a relationship. From missing out on love (“Going Leaving”) to knowing how to keep his woman happy (“What Profit”) to avoiding temptation (“Frankly My Dear”), the subject matter is relatable for anyone who has ever experienced a relationship. A standout moment on the album is the eargasmic “Obey,” an alluring tune where Dwele takes complete control in the bedroom as he instructs his woman to submit to his orders. Looking back, Dwele stepped outside of his traditional sound for Greater Than One, all while staying true to his artistry. — K.S.

21. Gumbo — PJ Morton (2017)

There is no place like home. PJ Morton returned to his New Orleans roots for his fourth studio album, Gumbo. With just nine tracks, the introspective LP is seasoned with intense topics that are most personal to him. On “Claustrophobic” featuring Pell, Morton vents about his frustrations in the music industry, making it clear that he is not interested in chasing trends. He offers hope to the marginalized on “Everything’s Gonna Be Alright” featuring BJ the Chicago Kid and The HamilTones. “Religion” hears Morton calling out people who use religion to justify their bad behavior, singing, “But you blame your God when it’s your own fault / Where is the love that your God spoke of?” He celebrates lifelong love on “First Began,” which was nominated for Best R&B Song at the 2018 Grammy Awards. The album also received a nomination for Best R&B Album. — K.S.

22. H.E.R. — H.E.R. (2017)

Before she was the ominous, multitalented music virtuoso known as H.E.R., California native Gabi Wilson first appeared on a radio talent competition Next Big Thing in 2009, ultimately losing. However, it was not until she put on a pair of massive sunglasses to cover her face, changed her name to the acronym Having Everything Revealed, and released an eponymous debut EP that H.E.R. became a slow-burning sensation everyone wanted to know. A compilation of her first two EPs released in 2016 and 2017, respectively, H.E.R. is the diamond that emerged from the coal that came with the introduction of alternative R&B in the mid-2010s: a purely R&B album that is true to its roots, yet can easily compete with the fiercest competitors. H.E.R. received several nods from critics and contemporaries alike, including a co-sign of the album’s second single “Focus” from Rihanna.

With just one feature on the entire project, H.E.R. puts her messages of love, regret, pain, and pleasure at the forefront of the album on songs such as “Rather Be,” “2,” and “Losing.” Although not a radio-heavy project, the resonance of H.E.R. made it all the way to the Grammy stage, earning the singer-songwriter Best R&B Album, and Best R&B Performance for her duet “Best Part” with Daniel Caesar. While she still has yet to put out a proper debut LP, H.E.R. remains a staple of the 2010s as the world waits to see what she will do next. — A.H.

23. Honestly — Lalah Hathaway (2018)

Lalah Hathaway’s first studio album on her independent imprint followed her pair of Grammys won for her 2015 live album. All-around musician Tiffany Gouché is involved with each song on Honestly, pushing Hathaway into a more free-spirited and adventurous territory sonically than her previous albums. Fortunately, this bold play works to the polyphonic-voiced singer’s advantage. Everything from Honestly is a mood. “I Can’t Wait” beams with feel-good vibes to get any party started. The Lecrae-assisted anthem “Don’t Give Up” is a large dose of reassurance, while “Won’t Let Go” ducks and dodges an obsessed ex. And while her rich, warm overtones are attached to nostalgic video game noise, it doesn’t seem scattered or muddled. It’s actually a positive step in the next direction of Hathaway’s elevated artistry. – A.F.

24. In My Mind — BJ the Chicago Kid (2016)

With the many directions R&B has taken, only a few have been able to elevate the genre while staying true to its core elements. When BJ the Chicago Kid independently released his debut album Pineapple Now-Laters in 2012, he garnered attention with his soulfully robust voice, suggestive of prominent hometown soul singers like Sam Cooke and Curtis Mayfield. Six months later, he signed a deal with the famed Motown Records where he released his major-label debut, In My Mind.

By injecting the quintessence of his forefathers into his resonating sound, BJ evidently distinguished himself from his peers. He makes use of his storytelling skills on a tale of infidelity on “Wait Til the Morning” featuring Isa. On the sensual track “The Resume” featuring Big K.R.I.T., BJ channels the computerized ’90s energy by way of Jodeci. He closes the album with “Turnin’ Me Up,” a soothing and irresistible acoustic number with the impromptu spirit of a jam session. BJ presents a modern take on soul music with In My Mind, while keeping the spirit of the music form alive. — D.B.

25. Kaleidoscope Dream — Miguel (2012)

Miguel had a lot to prove with his sophomore album, Kaleidoscope Dream. His debut All I Want Is You was the spacey and rhythmic introduction to his genre-melding talents, yet it wasn’t well-received upon its release. Taking significant creative control this time, Miguel returned to the drawing board to create an imaginative fusion of psychedelic soul, rock and R&B. The album begins with “Adorn,” the feel-good throwback-adjacent single that matured into a classic over time. As the ear-bending journey continues, the title track is more than fitting of its name, navigating a chromatically rippling number that’ll take listeners to another plane. The daringly neoteric direction Miguel took resulted in him becoming a regarded voice among male R&B. — D.B.

26. Late Nights & Early Mornings — Marsha Ambrosius (2011)

As half of the neo-soul duo Floetry, Marsha Ambrosius is one of the pillars that fused rap, soul, and jazz to create the genre nearly 20 years ago. It was these elements and a sultry, operatic voice that are the driving force behind her debut solo album Late Nights & Early Mornings. However, pushing the envelope even further, Ambrosius brought her unique form of storytelling into a new era and rewrote the book of grown and sexy for a new decade. She included clever scenarios in songs like “I Hope She Cheats On You (With a Basketball Player)” and “Far Away,” a tearjerking narrative that you feel just as hard as the sensual slow jams. The album debuted at number two on the Billboard 200 chart, and “Far Away” earned two Grammy nominations at the 54th Annual Grammy Awards in 2012. Late Nights & Early Mornings became less of a single project for one moment in time, but a mood for the right time of night, anytime. Whether those listening were feeling kinky, sad or just lying awake thinking about life, Ambrosius’ pen was there to get them through it. — A.H.

27. Love Life — Tamia (2015)

It’s hard to believe Tamia recorded her very solid sixth studio album, Love Life, in just 10 days. Taking an edgier approach than her previous works, Love Life is grown and sexy at its finest. “It’s not as deep and dark as some of my past albums; it’s in a better place,” she said in a past interview. The Canadian singer worked with a diverse group of songwriters and producers including The-Dream, Tricky Stewart, Pop & Oak, Chuck Harmony, Claude Kelly, Polow Da Don and The Stereotypes. The romantic album highlights the best moments of being in love — and could even serve as a guide on how to add a little spice to a longterm relationship. Tamia describes the feeling of falling in love with the opener “Love Falls Over Me.” On the album’s lead single “Sandwich and a Soda,” she gets submissive as she sings about taking care of her man in and outside of the bedroom. Speaking of the bedroom, Tamia doesn’t hold back on songs about making love (“Chaise Lounge,” “Lipstick” and “No Lie”). The album’s standout track is definitely “Stuck With Me,” which peaked at No. 14 on Billboard’s US Adult R&B Songs chart. Love Life is another example of how an artist can be intimate while leaving something to the imagination. — K.S.

28. Love, Marriage & Divorce — Toni Braxton and Babyface (2014)

Toni Braxton and Babyface’s Grammy-winning joint album Love, Marriage & Divorce is a quite satisfying collection of gorgeous selections that profile the romantic confessions of their lives. Working closely alongside heavyweight musician Daryl Simmons and Antonio Dixon, the two R&B greats cover past, present, and future love stories and share important experiences to provide healing for one’s relationship and heart. Passionately-sung numbers like “Where Did We Go Wrong?” minister on the power of listening, while “Reunited” supports mutual reconciliation. Other standouts include the remorse hit “Hurt You,” the love-drenched makeup tune “Sweat” and “I’d Rather Be Broke,” the bittersweet solo by Braxton. Needless to say, Braxton and Edmonds are a fine duo, and it’s a serious crime when they’re apart for too long. – A.F.

Stream: Apple Music / Spotify

29. New Amerykah Part Two: Return of the Ankh — Erykah Badu (2010)

Two years after releasing New Amerykah, Pt. 1 (4th World War), Erykah Badu followed up with the album’s sequel, New Amerykah, Pt. 2 (Return of the Ankh). While part one centered around politically-charged topics, part two is more personal as Badu focused more on her love life. Sonically, the album pulls inspiration from Badu’s early works like Baduizm. “The album is more emotional and flowy and talks about feelings,” Badu explained at a listening party in 2010. The obvious standout is her liberating single “Window Seat.” The controversial video, which shows Badu walking around nude in Dealy Plaza, ultimately led to her getting charged for disorderly conduct. Other highlights on the album include the funk-infused “Turn Me Away (Get Munny),” the cautionary “Fall in Love (Your Funeral)” and the buttery “Umm Hmm.” — K.S.

30. No Boys Allowed — Keri Hilson (2011)

Some fans and critics had to learn not to judge an album by its title when Keri Hilson announced her sophomore effort, No Boys Allowed. She explained the meaning behind the album in a press release, “It’s not about excluding men. It’s more about women understanding that there comes a time in your life when you want a man. A real man. A grown up. Not a boy. And that’s not a bad thing.” While Hilson’s debut album In A Perfect World was more on the safe side, No Boys Allowed saw the singer-songwriter more confident and open. Kicking off the album with her J.Cole-assisted banger “Buyou,” Hilson made is clear that she wasn’t about the shits. “You want a ride or die chick, baby / But you ain’t got a whip, baby / It ain’t gon’ happen / You don’t got shit, you need a walk or die chick, baby,” she sings in the second verse. After setting the record straight, she showed love to the ladies with her empowering anthem “Pretty Girl Rock,” which was co-penned by Ne-Yo.

Some of the best moments on the album are Hilson’s most vulnerable tracks. “Breaking Point” is about being fed up with a lover’s shenanigans. The bittersweet “Beautiful Mistake” is about regretting a past relationship. The John Legend-penned “All the Boys” hears Hilson reminiscing about relationships from her teenage years. At the time, she thought she was in love but later realized what true love is. “After all the boys that I thought I loved before I didn’t know what love was / Til you knocked on my door,” she sings. Hilson balances the emotional feels with flirty numbers like “The Way You Love Me” featuring Rick Ross, “Gimmie What I Want,” and the reggae-tinged “Bahm Bahm.” No Boys Allowed is a nearly flawless genre-blending album that can be played from start to finish without skipping a track. The hidden interludes make the listening experience even more enjoyable — even during some of the darkest moments on the album. — K.S.

31. Now or Never — Tank (2010)

Three years after releasing his Grammy-nominated album Sex, Love & Pain, Tank returned with more bedroom vibes on Now or Never. It was his first album to release under Atlantic Records, following his departure from Blackground Records where he released his first three albums. Now or Never is a coherent body of work that is filled with tender R&B tunes. With enticing titles like “Sex Music,” “Scream” and the Chris Brown-assisted “Foreplay,” the R&B General was on a mission to please his listeners in every way. Sonically, Now or Never is a lot lighter than its predecessor, which was done intentionally. “It’s a happier album, I’m appreciating more, I’m celebrating more,” he told The Boombox. Speaking of “Celebration,” his Drake-assisted track is among the standout tunes on the LP. “Emergency” is probably the most recognized song on the album. Borrowing the same melody as Pleasure P’s “Under,” which he also co-wrote and co-produced, “Emergency” sees Tank coming to the rescue to satisfy a woman’s needs in the bedroom. “When I got there, put her on the floor / She leakin’ but she still breathin’,” he sings. While Tank ended up releasing six albums this decade, Now or Never remains a staple in his discography. — K.S.

32. Passion, Pain & Pleasure — Trey Songz (2010)

By the end of the 2000s, Virginia native Trey Songz was a full-fledged R&B sex symbol. On his fourth studio album, Passion, Pain, & Pleasure, Songz builds on the slow jam catalog he’s become notorious for. Moreover, he expands his seductive pallet to include more than just sex, but more mature emotions like lust on songs like “Can’t Be Friends,” a rarity in the genre at the time. Also, the album spawned hits such as the Nicki Minaj-assisted “Bottoms Up,” which is certified four times platinum in the United States and reached number six on the Billboard Hot 100, becoming his highest-charting song to date. Outside of being a great album, Passion, Pain, & Pleasure was one of the only albums that remain consistently R&B through and through. While his contemporaries were switching it up to keep up with the times, Songz carried the genre into the next decade by starting off strong. Not only that, he inspired several future baby-making hitmakers in the genre. Passion, Pain, & Pleasure earned Songz several nods, including Favorite Soul/R&B Male Artist at the 39th Annual American Music Awards, and will forever be remembered as the album that paved the way for R&B in the 2010s. — A.H.

33. Perfectly Imperfect — Elle Varner (2012)

As the daughter of two published songwriters, it is no surprise why Elle Varner has a knack for storytelling. Her debut album Perfectly Imperfect via RCA Records is a compilation of relatable stories centered around love and self-acceptance. Varner worked closely with production duo Pop&Oak and her father Jimmy to craft one of the most noteworthy debut R&B albums this decade. Although her Grammy-nominated single “Refill” gets all the attention, there are quite a few gems on the album. With a sample from Kool & The Gang’s “Little Children,” “I Don’t Care” finds Varner going “into the deep end” with a guy and having no regrets about it. Over a funky bass, she tells her lover what she can bring to the table on “Leaf.” The closing track, “So Fly,” is probably one of the most important songs on the album. The uplifting tune is about accepting yourself — flaws and all. “So, I decided I’m the definition of fly / And if you want to know why / I know what money can’t buy,” she sings. — K.S.

34. Pieces of Me — Ledisi (2011)

First and foremost – Ledisi is one of the best R&B/soul vocalists of the last 20 years. The New Orleans native has made a name for herself as an artist who renders lovely, traditional R&B-styled compositions with thrilling jazz crescendos. For her third major-label outing and fifth overall, Ledisi doesn’t miss a chance to continue enticing R&B fans with more sensational vocal takes. Pieces of Me satisfies those deeply in love on joyous tunes like the tender “I Gotta Get to You” and everlasting ode “Stay Together” featuring Jaheim. Like the winning titular track, this remarkable set gives Ledisi a platform to be delightfully inspirational on empowering jams like the bluesy “BGTY” and the self-advocating anthem “Raise Up.” – A.F.

35. Raymond v. Raymond — Usher (2010)

Usher was undoubtedly a bonafide superstar in the 2000s. However, all of that changed with his marriage to Tameka Foster in 2007, and the Atlanta-native began to focus on themes of love and marriage. This caused a dip in sales for 2008’s Here I Stand, an album almost entirely inspired by his marriage to Foster. When the two unexpectedly divorced in 2009, it inspired Usher to create an album based on the situation as well as where he expected to go from there. Thus, Raymond v. Raymond was born. Seen as sort of a return to the sensual, yet pain-stricken Confessions of 2004, Raymond v. Raymond features some of Usher’s finest uptempo hits of the decade, including “OMG,” “Hey Daddy (Daddy’s Home)” and “Lil Freak.”

However, Usher’s sixth album saw him utilize the emerging sound of EDM for songs such as “DJ Got Us Falling In Love” and “Somebody to Love.” This new-found sound extended into Usher’s hit love song “There Goes By Baby,” a wedding song for the ages. Raymond v. Raymond won Usher two Grammy Awards in 2011, including Best Contemporary R&B Album and Best Male R&B Vocal Performance. An album with features from Nicki Minaj, JAY-Z, will.i.am, and more, Raymond v. Raymond is Usher’s return to form for a new generation of R&B fans to discover. — A.H.

36. Reality Show — Jazmine Sullivan (2015)

When Jazmine Sullivan cleaned out her music industry cubicle in early 2011 to discover her true purpose in life, she left the world in complete shock. But, after nearly five years, the Philadelphia native had music admirers tuned into Reality Show, her third album. Ordering 12 songs, featuring studio input from the likes of SaLaAM ReMi, Key Wane, and Chuck Harmony, this phenomenal LP plays out overtly personal situations associated that are often a common narrative of many young Black women.

As a songsmith, with a knack for vivid imagery, Sullivan loads Reality Show with originals that seamlessly exalt her contemporary spirit like the trapsoul “Brand New” and down-chick anthem “#Hoodlove.” Some cuts sound like old favorites like the After 7-inspired hit “Let It Burn” and “Forever Don’t Last.” Other attention-holders stand in a league of their own like the introspective art “Masterpiece (Mona Lisa).” At the end of the day, Reality Show finds Sullivan singing with new conviction and versatility that makes her triumphant return to music more notable than other R&B comebacks. – A.F.

37. Souled Out — Jhené Aiko (2014)

Being off-brand isn’t Jhené Aiko’s motive. Resurfacing on the scene with her 2011 mixtape Sailing Soul(s), she introduced her newly-crafted sound that was more authentic to her artistry than her earlier work. Garnering recognition with her Sail Out EP in 2013, the debut album Souled Out concluded her motif. Aiko has remained steady on her music journey, refusing to let the industry steer her off course. Against an ambiently rhythmic background, her soothing voice lulls the sting of her realer-than-life lyrics. Aiko pulls from personal experiences and sets them in her songs, mirroring her reality with yours. With “Lyin King,” Aiko floats across the aquatic-like synths with a conviction that her lover will never know when a good thing is in his face. Souled Out is littered with philosophical gems, while providing a guide through the commensurating stages of heartbreak and enlightenment. — D.B.

38. Still Standing — Monica (2010)

The title says it all. Monica was Still Standing after a 15-year career of ups and downs. In the seasoned vocalist’s first album in four years, Monica capitalizes on the strength of her sincere duet with Keyshia Cole (“Trust”) and makes a triumphant return with age-appropriate uptempo and downtempo R&B tunes. The iron-solid hit “Everything to Me,” which marks her first-ever solo Grammy nod, takes its cue from Deniece Williams’ soulful single “Silly.” Monica keeps on the nostalgic path on “If You Were My Man,” while she lays her head on the chest of “Superman,” a soulful ode to her the man in the red cap. Other solid selections include the in-need banger “Here I Am” and the sappy ballad “Love All Over Me.” While Monica reflects mostly on love, she masterfully fuses songs about perseverance and self-importance on cuts like “Mirror,” “Believing in Me” and the survival title track. – A.F.

39. SweetSexySavage — Kehlani (2017)

There is a captivating nature about Kehlani. It could be her transparency, her charm or her confidence but all those aspects and more attribute to her debut LP SweetSexySavage. The Bay Area native signed a partnership with Atlantic Records, following the success of her 2015 mixtape, You Should Be Here. Her follow-up presented a refined body of work that remained honest to Kehlani’s discography. Tracks like “Too Much” and “Personal” lift melodies and song structures from the ‘90s and early 2000s without relying on obvious samples. She beams on “Piece of Mind”; her flawless harmonies perfectly compliment the consonantly layered production, reaching peak vocals by the 2:42 mark. Kehlani exhibits a vibrant synergy of her inspirations with her artistry on her debut, successfully providing songs for the sweet, sexy and savage sides in all of us. — D.B.

40. The Electric Lady — Janelle Monáe (2013)

Janelle Monae’s imagination is aptly cinematic. From her debut EP Metropolis: The Chase Suite, Monae showcased her well-rounded vision by introducing the story of her alter-ego, android Cindi Mayweather. As the prequel to The ArchAndroid, the afro-futuristic dystopian tale of The Electric Lady directs with a livelier soundtrack. Pulling inspiration from the early eras of soul music on tracks like “Dance Apocalyptic,” Monae shows she is a true student of those who came before her. She creates a sonic time chamber of sorts and lingers in the ‘70s on “It’s Code” and “Can’t Live Without You,” which takes a page out of Stevie Wonder’s book. Skillfully bridging the past, present and future of R&B, Monae brings Prince, Solange and Erykah Badu along as co-pilots for the electrifying ride to the world of Metropolis. — D.B.

41. The Lady Killer — CeeLo Green (2010)

CeeLo Green had the world shouting “Fuck You” at the start of the decade. The tell-off anthem was the lead single to his third solo album, The Lady Killer, and earned Green a Grammy for Best Urban/Alternative Performance in 2012. Sure, we can talk about how a song about a failed relationship with a gold digger was one of the biggest records at the time, but there is much more to be said about The Lady Killer. Best known as a member of the hip hop group Goodie Mob, Green steered clear from rapping this time around on his soul-infused project. “I thought The Lady Killer sounded edgy and elegant at the same time. So I wanted something like James Bond, but like Barry White would do it,” he told Billboard in an interview. Green introduces his “Lady Killer” persona on the opening track, before living his best life on the catchy “Bright Lights Bigger City,” which has a looping bassline similar to Michael Jackson’s “Billie Jean.” Green keeps his listeners engaged with his dynamic vocal performance throughout the rest of the album. Some of his best vocal moments can be heard on “Love Gun” featuring Lauren Bennett, “Fool for You” featuring Earth Wind & Fire’s Philip Bailey and the classic Motown-tinged “Old Fashion.” — K.S.

42. The Light of the Sun — Jill Scott (2011)

After laying down the bricks of neo-soul with her epic The Real Thing: Words and Sounds trilogy in the 2000s, Philadelphia native Jill Scott ventured into acting, making her cinematic debut in the films Hounddog and Tyler Perry’s Why Did I Get Married? in 2007. Scott released The Light of the Sun, a dramatic sonic change from her previous work. As Scott’s first three albums dealt with self-discovery and maturation through mellow grooves and heavy jazz influence, The Light of the Sun had a brighter sound than anything Scott had ever released. Having given birth to her son Jett in 2009, the album reflected Scott’s happiness at the time as she celebrated life and love on songs such as “Blessed” and “So In Love” featuring Anthony Hamilton as well as her proudful womanhood on tracks such as “Womanmanifesto.” The Light of the Sun debuted atop the Billboard 200 and Top Hip-Hop/R&B Albums charts and earned Scott two Soul Train awards for Best Female Artist and Best R&B/Soul Album. Scott’s fourth album represents her transition from a young woman trying to find her way to a grown woman who knows exactly what she needs. — A.H.

43. The London Sessions — Mary J. Blige (2014)

As the only accomplished force in mainstream music to take home Grammys in four different genres, Mary J. Blige has earned the right to experiment with new sounds and depart from the musical style she’s responsible for pioneering. For her 12th studio effort, The London Sessions, the Queen of Hip-Hop Soul left the states and jetted across the pond to draw recording inspiration from the UK’s brightest stars, including Sam Smith, Disclosure, and Emeli Sandé. The deep house tracks “Nobody But You” and “My Loving” thrive on blissful lyrical material. Meanwhile, The London Sessions features acoustic, therapeutic ballads (“Not Loving You,” “Therapy”) that speak for themselves. Overall, this noteworthy disc sends an important wake-up call to the music industry: Mary J. Blige isn’t afraid of change if it means she doesn’t have to be boxed in. – A.F.

44. The Love and War MasterPeace — Raheem DeVaughn (2010)

There comes a time when an artist wants to create a body of music to help heal the world. For Raheem DeVaughn, the time came for his third studio album, The Love and War MasterPeace. “I named the album The Love and War MasterPeace because I feel that where I am as a person and where we are as a people, we are all trying to master that internal peace and happiness in a very strange time,” DeVaughn said in a past press statement.

Pulling inspiration from fellow Washington, D.C. native Marvin Gaye’s critically-acclaimed album What’s Going On, The Love and War MasterPeace tackles issues affecting our society. Gaye’s influence can clearly be heard on the album’s lead single “Bulletproof” featuring Ludacris, which is a call to action for everyone to open their eyes on what’s really happening in the world around them. “You betta’ pray to the most high or whoever you praise / ‘Cause politicians can’t help you, they puppets to slaves,” warns DeVaughn. He empowers women on songs like “The Greatness” featuring Wale and reminds them of their worth on “Black & Blue,” which brings awareness to domestic violence. It wouldn’t be a Raheem DeVaughn album without his babymaking music. He brings the seductive vibes on velvety tunes like “Fragile” featuring Malik Yusef, “B.O.B,” “Microphone” and “Garden of Love.” — K.S.

45. The MF Life — Melanie Fiona (2012)

Melanie Fiona cemented herself as a retro-soul singer with her debut album, The Bridge. The sound of her Grammy-nominated single “It Kills Me” would serve as the blueprint for her next album, The MF Life. Released on Universal Records, The MF Life explored the highs and lows of love. With an emphasis on low moments, the 14-track offering is filled with punch-you-in-the-gut emotion and vivid storytelling. “I wanted it to be a collection of music and songs that make people think about the things that we actually go through and feel,” Fiona told NPR. Heartbreak and sorrow are reoccurring themes on The MF Life. “Wrong Side of a Love Song” is Fiona’s desperate attempt to get her man back after he broke up with her. “This is what it feels to be the one that’s standing left behind,” she sings.

Fiona also deals with loss on the album. “Gone (La Dada Di)” featuring Snoop Dogg is probably the most depressing song on the set. The Soundz-produced cut finds Fiona trying to process the death of her lover and regretting the argument they had. “Guess I’m thinking bout the last conversation we had / And the mean things that we’ve said / Wishing I could take the whole thing back / As I’m standing at his doorway, covered in red,” she sings. Fiona’s raspy vocals shine on records like “Bones” and “Running.” There are some lighter moments on the album such as the uplifting tunes “Change the Record” featuring B.o.B and “Watch Me Work.” The MF Life is a testament that our lives are not perfect and we will all go through some painful and traumatic experiences at some point. And when we do, we can always revisit Fiona’s stellar body of work. — K.S.

46. Three Kings — TGT (2013)

At a time where male singing groups were scarce, Tyrese, Ginuwine and Tank filled a necessary void. Following in the steps of their predecessors LSG (Gerald Levert, Keith Sweat and Johnny Gill), the solo R&B singers who are actual friends formed their supergroup TGT and released their only album Three Kings in 2013. They include all of the quintessential R&B album checkpoints: a song with a rap feature (“No Fun”), a few ballads and slow jams (“I Need,” “Lessons In Love”) with a few interludes in between. Among the tracks, “Burn Out” is the standout sleeper from their debut. Each gentleman performs ostentatiously on the intricate production that consists of multiple sonic and vocal peaks. The finished product creates an aural rush that’ll drive listeners into melodic bliss. Their distinct voices combined created harmonies that offered a unique texture and technique that has been absent from current R&B music. The trio’s undeniable formula lead them to a Grammy nomination for Best R&B Album in 2014. — D.B.

47. Two Eleven — Brandy (2012)

Four years in the making, Brandy’s sixth album is her blood, sweat and tears. Drawing ultrasonic magic from familiar names like Sean “The Pen” Garrett, Bangladesh, Frank Ocean, Rico Love, and Mike WiLL Made-It, Two Eleven is an almost hour-long masterpiece that is home to singular vocal runs, adventurous, high-quality production, and broad songwriting. Though Two Eleven lacked a true conceptual vision, at least it had strong songs with potential hit value. “Put It Down” featuring Chris Brown is rhythmic radio gold. Advanced-sounding tracks “So Sick” and “Slower” had what it took to be embraced by urban as prized singles. Elsewhere, Brandy flawlessly adds in gem-worthy solos like “Wish Your Love Away” and “Without You.” In a few words, Two Eleven is just that album – period. – A.F.

48. VII — Teyana Taylor (2014)

Before Teyana Taylor became a household name from her iconic performance in Kanye West’s “Fade” video, she released an album that many people slept on. Taylor has always been open about her musical influences. On VII, her debut album, the Harlem native takes a few pages from the ‘90s R&B playbook to create a timeless masterpiece. She draws inspiration from some of her idols like Aaliyah, Brandy, Janet Jackson and Lauryn Hill. Co-writing every track on the album, Taylor enlisted help from hitmakers like James Fauntleroy, Eric Bellinger, Harmony Samuels, Boi-1da and Stacy Barthe to create songs that will be played from decades to come. “I want that album you can clean up to, the album you can make love to, the album you can just relax to,” she told Fuse TV.

Taylor opens VII with “Outta My League,” which sounds like an outtake from The Miseducation of Lauryn Hill. The calming production helps set the mood for the rest of the album. Most of the album sounds like it was made for the bedroom, especially on “Request,” “Do Not Disturb” featuring Chris Brown and the booming lead single “Maybe” featuring Pusha T and Yo Gotti. She looks for a no-strings-attached affair on the Fabolous-assisted “Broken Hearted Girl” (don’t let the title fool you.) The album isn’t completely sex-driven, though. She reflects on a failed relationship on the piano-driven ballad “Sorry,” before finally dismissing her no-good man on “In the Air.” With VII, Taylor successfully positioned herself as an R&B singer who cared more about making meaningful music than keeping up with trends. — K.S.

49. Woman to Woman — Keyshia Cole (2012)

Put some respect on Keyshia Cole’s name. For the most part, this Oakland native has a solid catalog, even though there was a disconnect with fans and critics on her fourth LP Calling All Hearts. Taking serious note, the R&B vocalist regained her early career glory on Woman to Woman. This essential comeback album perfectly mixes Cole’s trademark soul-baring touch to tuneful radio melodies and forward-minded arrangements. Album highlights include the whimsical duet “Wonderland” featuring Elijah Blake; the beans-spilling title track with Ashanti; the grand ballads “I Choose You” and “Trust and Believe;” and everything else in between. Woman to Woman is indeed a strong return for a promising R&B legend with more fire in her belly. – A.F.

50. X — Chris Brown (2014)

Like many artists in the early 2010s, Chris Brown merged his sound with that of contemporary genres such as Dubstep and EDM on 2012’s Fortune, and with innovation came criticism from critics and fans alike. However, in 2014, the Grammy-winning artist proved he was still all in for R&B with his sixth album, X. Combining old and new sounds, X is anchored by radio-ready singles Brown fans were accustomed to such as “Love More,” “New Flame,” and the massive summer hit “Loyal.” The latter went on to peak at number nine of the on the Billboard Hot 100 chart and is now certified four times platinum in the United States. With this project, Brown also became one of the few artists to reconnect with the late songstress Aaliyah on “Don’t Think They Know.” An LP for the ages, X is stacked with features from some of the biggest stars of the time such as Nicki Minaj, Lil Wayne, Kendrick Lamar, Trey Songz, Usher, Rick Ross, Brandy and more. Plus, it features production from some of the brightest talents including Diplo, DJ Mustard, and Jean Baptiste. X was nominated for Best Urban Contemporary Album at the 57th Annual Grammy Awards, and ultimately is a representation of Brown’s hit-making ability in R&B and beyond. — A.H.

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The Handmaid’s Tale: How Will Margaret Atwood’s Book Sequel Affect the TV Show?

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Margaret Atwood’s Testaments, out this September, is a sequel to The Handmaid’s Tale. What is its relationship to the TV series?

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This article comes from Den of Geek UK.

As Game Of Thrones proved, when a TV adaptation overtakes its source material, problems can follow. Invention and expansion is required, but, even with the blessing of the original creator, on-screen continuation of a story is often treated by fans as unwelcome and non-canonical.

When Hulu’s The Handmaid’s Tale arrived in 2017, its first season covered the expanse of material from the very start to the very end of Margaret Atwood’s 1985 novel (epilogue aside, it closed on the same final image). For seasons two and three, the show expanded the dystopian world of Gilead, a fundamentalist patriarchal regime that, among other delights, forces fertile women into sexual servitude as 'Handmaids' to the ruling classes, and kept the story going beyond the reach of the book.

Now, with The Handmaid’s Tale renewed for a fourth season, and a sequel to the original novel arriving mid-way between seasons three and four, where does everything stand? 

What do we know about Testaments?

Publication date: Sept. 10, 2019

Published by: Penguin

Announced in November 2018, Testaments is Margaret Atwood's sequel to her 1985 modern classic The Handmaid’s Tale. It joins the story 15 years after the events of that novel. (A framing narrative for the original in the form of a fictional academic paper presented on the historical period of Gilead extends 200 years after those events, so technically, the sequel is filling in a gap instead of branching entirely out anew.)

Testaments' cover art (see above) was designed by artist Noma Bar, whose simplified designs contain hidden images, such as the ponytailed girl forming the collar of the cover star Handmaid. The back cover reverses the two images, with the Handmaid concealed among the ponytailed girl's clothing.

read more - The Handmaid's Tale: The Baby Nichole Crisis's Real-World Parallel

The new novel will have three different female narrators, Atwood has confirmed, though their identities remain under wraps. The sequel was inspired by everything readers have ever asked the author “about Gilead and its inner workings,” and by “the world we’ve been living in,” according to the Penguin press announcement. It will be unconnected to events in seasons two and three of Hulu’s The Handmaid’s Tale (which makes sense as they take place in the time directly after the end of the original, and Testaments is set a decade and a half later on). 

When asked by the LA Times why she was writing a sequel, Atwood explained that she’d been asked questions about Gilead by readers for 35 years. “It’s time to address some of the requests.” 

The Trump administration too, was part of her explanation. Atwood described herself “like all Canadians” watching US politics and thinking “What kind of shenanigans will they be up to next? What’s gonna happen next? I’ve never seen anything like it, and neither has anybody else. On one hand, it’s just riveting, and on the other hand, it’s quite appalling.” True and true.

Testaments isn’t Margaret Atwood’s first addition to her original novel

In 2017, an “enhanced edition” of The Handmaid’s Tale audiobook - as read by Claire Danes in 2012 - was released. This version by Audible not only added snippets of music in between chapters (to represent the cassette compilation tapes over which Offred recorded her story in the original novel), but also extended the epilogue. 

read more: The Handmaid's Tale Season 3 Depicts a Seismic Shift in Gilead

Originally, The Handmaid’s Tale novel ends with the ‘transcription’ of a fictional conference paper presented by an academic researcher in Gileadean studies, 200 years after the events of the story. It’s a sly, satirical piece of writing that concluded with the line “Are there any questions?” In the 2017 edition, questions are asked. Audience members – one voiced by Margaret Atwood – ask speaker Professor James Darcy Pieixoto a series of points about his paper and the workings of Gilead. During the Q&A, there’s even mention of the historical discovery of Aunt Lydia’s logbook from the era, which turned out to be a hoax. The session ends with a tease for the sequel, as the Professor tells his audience “I hope to be able to present the results of our further Gileadian investigations to you at some future date.”

On September the 10th this year, that’s exactly what's going to happen.

What is Atwood’s relationship to The Handmaid’s Tale TV show?

Atwood is a Consulting Producer on Hulu’s TV adaptation of her novel, which doesn’t mean, as she told Toronto Life back in April 2017, that she has the final say in story or otherwise, but that she’s part of the conversation: “It means that the only person who knows what the characters had for breakfast is me. I’m the historical consultant.”

Showrunner Bruce Miller told The Hollywood Reporter in January 2018 that Atwood “plays a huge role” in the series as “the mother of us all.” 

“She was in the writers' room very early in the season,” said Miller about the second season. “We've been talking throughout, and she's been reading everything. She's very involved. She's our guiding star, and always has been.” 

The team’s goal, he explained, is to “make sure the "Atwoodness" of the show stays front and centre. Even though we're going beyond the story that's covered in the book, in some ways, we're still very much in the world of Margaret Atwood's The Handmaid's Tale.”

In the season one premiere, Atwood had a dialogue-free cameo as an authoritarian Aunt who strikes Elisabeth Moss’ June during her training at the RED centre, where Handmaids are prepared for their postings:

%u201CI even did a cameo%u2014I got to whack Elisabeth Moss over the head%u201D: @MargaretAtwood on The Handmaid%u2019s Tale https://t.co/l9tmnT3Oke pic.twitter.com/YvMuugvNRv

— Toronto Life (@torontolife) April 26, 2017

Speaking to The Independent in June 2019, Miller confirmed that he is is regular contact with Atwood. “She reads all the scripts. She sees episodes, and so she feels the same way, I think – that it’s a good extrapolation of her world.”

So the expanded Gilead of seasons two and three, which travelled to the Colonies and the Econovillage, locations only mentioned in passing in the original novel, will not influence Testaments.

Seasons two, three and four of the TV show continue to draw from the book

Though The Handmaid’s Tale TV show outran the novel by the end of season one in terms of timeline, elements from the book are still being used up by  the television series. In season two, the first “Prayvaganza” was staged, a Gilead ceremony from the novel in which girls as young as fourteen are married off to men in a mass ceremony. 

In season three, viewers first witnessed the act of “particicution” by hanging as described in the novel, in which multiple Handmaids pull on ropes joined to one set of gallows, as a form of “salvaging.” Also in season three, June discovers and records a message on a compilation cassette in the basement of her latest posting, as a reference to the tapes on which Offred’s original testimony was discovered in the novel.   

Speaking to The Independent in June 2019, showrunner Bruce Miller described how June’s season three inner monologue line about her mother always wanting a "women's culture" and Gilead has created one, but not the one she envisaged, was taken straight from the book. “We spent kind of three years teasing that quote apart,” said Miller. “We have quotes from the book up all over the place."

So even though the timeline has strictly run out, we can expect details from the novel to emerge for exploration in future seasons of the TV show, and presumably the same will apply for Testaments.

Testaments will make the TV show harder to write

Speaking to The Independent about the relationship between the original novel and the TV adaptation, showrunner Bruce Miller brought up Testaments. “But now Margaret’s writing a sequel,” he said, agreeing that would make it “interesting”. 

“The degree of difficulty was 10 and now it becomes 10 plus,” said Miller. Navigating the expanded world of Gilead he and his team have created while remaining truthful to the vision Atwood lays out in Testaments will be some balancing act.

How many seasons will the TV show go on for?

Season four of The Handmaid’s Tale is expected to arrive in 2020. According to a very early plan by showrunner Bruce Miller, there would then be a further six seasons still to go after that. Miller told The Hollywood Reporter in 2017 that he had originally “roughed it out to around 10 seasons”, but has since confirmed to Mashable that there is no exact target in terms of the number of seasons, more a narrative point he wants to reach.  

“The ideal for the show's longevity is that when it's done there's something kind of nice and perfect that you can put on the shelf next to the book as a companion piece, said Miller. “There is no number, and considering that seasons can get longer and shorter has made that even more meaningless.”

Miller told Mashable he wants to take the story all the way to Gilead’s own version of the Nuremberg Trials after the fall of the regime, when Serena and Commander Waterford are forced to answer for their crimes. “We can go on for a very long time,” he promised.  

Keep up with all our The Handmaid's Tale season 3 news and reviews right here.

Read and download the Den of Geek SDCC 2019 Special Edition Magazine right here!

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Feature

Books

Louisa Mellor

Jul 31, 2019

The Handmaid's Tale

hulu

Margaret Atwood

from Books https://ift.tt/310hK26

[jonathanbogart]

Electroshock: Anarchic Mediterranean Pop and New Wave

Part three. Twenty-one songs, 1981-1987, from Italy and Greece. Here's the YouTube playlist. Tracklisting below, “liner notes” below the cut.

Jo Squillo Electrix, “Africa”

Diaframma, “Tre volte lacrime”

Diana Est, “Tenax”

Litis + Trik, “Fáka”

Matia Bazar, “Elettrochoc”

Alberto Camerini, “Bip Bip Rock”

Roberta D’Angelo, “Noce di cocco”

Lena Platanos, “Ti Néa Psipsína?”

Denovo, “Niente insetti su Wilma”

Nada, “Amore disperato”

Tullio De Piscopo, “Stop Bajon”

Dreamer and the Full Moon, “Sandrina”

Marcella Bella, “Nell’aria”

Garbo, “Quanti anni hai?”

Ivan Cattaneo, “Quando tramonta il sol”

Aphrodite Manou, “Nykteriní Ekpompí”

Litfiba, “Elettrica danza”

Skiantos, “Ti spalmo la crema”

Giuni Russo, “Alghero”

Metro Decay, “Mavros Kyknos”

Melodrama, “Kyrie Eleison”

Electroshock: anarchic mediterranean pop and new wave

If I thought mainstream French pop was relatively unaffected by the radical shifts in Anglophone rock and pop fashion, Italian pop is even more so: many of the popular Italian ballads of the 1980s were virtually indistinguishable (save for details of production) from what lyrical Italian composers were turning out a hundred years previously. As (arguably) the birthplace of the post-medieval Western European music culture, Italy generally takes an if-it-ain’t-broke-don’t-fix-it attitude toward its cultural heritage, an attitude wholly at odds with American notions of generational revolt or ripping it up and starting again: operatic singing remains a populist form, and mainstream Italian rockers tend to sing in a theatrical Billy Joel vein rather than with a fuck-yr-conventions sneer.

But this mix isn’t just Italian: there’s a thread of Greek running throughout. Although combining the two Iberian nations makes geographic and linguistic sense, and expanding Francophonie beyond France is obvious, throwing Italy and Greece together is extremely unintuitive, unless you’re a dyed-in-the-wool classicist. Inheritors of the two oldest unbroken (though hardly unchanged) cultures on the European continent, the descendants of the ancient Roman and Hellenic empires had, by the penultimate decade of the twentieth century, been through a lot. Specifically, they had both slid precipitously from their midcentury postwar peaks of economic expansion and cultural export: Italy thanks to the Anni di piombo, or years of lead, in which both far-left and far-right terrorism, assassination, and thuggery cratered popular support for politics of any kind (enabling the rise of Berlusconi’s entertainment-empire kleptocracy), and Greece thanks to a far-right military junta that overthrew a center-right government and gave fascism a home on the otherwise Communist Balkan Peninsula. By the early 80s, both the Anni di piombo and the junta were spent and democracy was returning, but everything was still disorderly, even anarchic, politically and culturally.

Which is where this music comes in. The avant-garde in both Italy and Greece identified deeply with the European project, which means that much of their most modern music was sung in English, both in imitation of UK and US innovations, and because everyone else in Western Europe (save for France and Spain, where ancient conflicts with the British Isles led to a sort of linguistic protectionism) was doing the same. Between the endless fountains of italo-disco aimed at the general Euro dancefloor market and the austere post-punk acts on tiny labels reissued by “minimal wave” enthusiasts today, it can sometimes feel that almost nobody was singing in Italian in the 80s except for sensitive singer-songwriters, leftover prog burnouts, and cracked-voice divas with massive power ballads. The same was true in Greece, except more so: the midcentury art-folk forms éntekhno and laïkó were still so dominant that almost anyone who wanted to engage with modern international sounds did so in an international language.

But beyond the glossy outer wall of Italian pop, as celebrated by such events as the annual Sanremo Song Festival, there were multiple anarchic rock and pop scenes competing for attention, gigs, and recording time. The Italian rock scene was hugely fragmented: although Milan remained the center of the culture industry, as it has been for centuries, each city had its thriving underground scene, with Florence, Naples, Sicily, Bologna, and even Rome represented below. Below a certain level of hitmaking status, the differences between shiny italo-disco and weirdo pop melted away: although some synth experimentalists encountered a hardline anti-synth stance among post-punk scenesters, just as many punks ended up making goofy hairspray records as ever remained true to the imagined spirit of ’77. Italy was perhaps the place where the distinction between disco and punk was collapsed most often: both let unlikely performers queer their image and ignore the mainstream, and both were animated by throwing whatever was at hand against the wall to see what stuck.

Enough generalizing, though. Here are twenty-one songs, fourteen in standard Italian, one in the Neapolitan dialect, one in Church Latin and Greek, four in modern Greek, and, sigh, one in English because the hell with it, my mix my rules.

1. Jo Squillo Eletrix Africa 20th Secret | Milan, 1982

One of the few female voices to emerge from the original punk boom in late-70s Italy, Giovanna Coletti had fronted the all-girl band Kandeggina Gang before recording an essential post-punk record, Girl Senza Paura, in 1981 as the leader of a band named after her punk moniker Jo Squillo. “Africa” was the follow-up single: identifying and foregrounding the latent colonialism in acts like Bow Wow Wow and the Slits, it was apparently dedicated to Nelson Mandela, but Squillo’s cartoonish yelps and the “tribal” rhythms are still patently offensive as representations of Africanness. The lyric, however, is as righteous a left-wing post-colonial solidarity message as anything Europe produced in the 80s, which made it even weirder when Squillo went solo, dove into synthpop, and the “Africa” single was repurposed as a B-side called “Voo-Doo.” Colonialism always wins.

2. Diaframma Tre volte lacrime IRA | Florence, 1986

This song, with its brightly strummed guitars, is about as upbeat as the long-running Diaframma, who brought Joy Division levels of somber bleakness to the Florentine post-punk scene, ever got: and its title translates as “Three Times the Tears.” Singer Miro Sassolini’s stentorian croon defined this gothic era of the band; when guitarist Federico Fiumani, the band’s songwriter, took over in 1989, they became a more traditionally punk act, and are still active today.

3. Diana Est Tenax Ricordi | Milan, 1982

Although she sometimes turns up in italo-disco compilations these days, Diana Est was neither an anonymous vocalist nor a dance-pop starlet. Her small, rather unsteady voice, her androgynous, semiclassical fashion, and punk-turned-balladeer Enrico Ruggeri’s overtly intellectual lyrics — the chorus to “Tenax” is in Latin, a paraphrase of Terence — made her slender discography (three singles in as many years before she quit the music business in disgust) a cult favorite among Italian pop fans. She is now a professional antiquarian, and by all accounts much happier.

4. Litis & Trik Listeía Columbia | Athens, 1982

The mononymic Litis had been kicking around the Greek rock underground since the late 60s, hopping from folky ballads to vaguely progressive bands and back again. When he hooked up with muso combo Trik in the early 80s, the result was a loopy, weird art-punk record that is both compulsively listenable and one of the high points of the Athens new wave. “Ληστεία” (Robbery), a bop-along jam about petty crime and the hypocrisy of the petite bourgeoisie who demand it be prosecuted, was their biggest hit, if the handful of local television appearances that have been uploaded YouTube qualify.

5. Matia Bazar Elettrochoc Ariston | Milan, 1983

Both the most forward-thinking band in Italy in the early 80s and one of the all-time European pop acts, Matia Bazar started in the mid-70s as a Eurovision-friendly soft-rock group in the ABBA mold, with Antonella Ruggiero there to look pretty and sing sweet choruses. But after keyboardist Mauro Sabbione joined in 1980, they gave themselves a new-wave makeover, experimenting with rhythm and texture, and Ruggiero’s elastic, four-octave voice commanded center stage. There were a solid half-dozen Matia Bazar songs recorded between 1981 and 1985 that I considered for this mix: “Elettrochoc,” with rhythmic patterning not a million miles from what drum ’n’ bass would be doing with the “Amen” break a decade later, and Ruggiero using her whistle register as casually as Mariah Carey, is only the most futuristic of their songs by a small margin. After Sabbione left in 1985 to pursue more experimental work, they dumbed it down slightly and had the biggest hit of their career. Ruggiero would quit the band in 1989, going on to explore classical and world music forms, but Matia Bazar has continued their pop chancery, not unsuccessfully, with a revolving door of singers; the drummer is the only original member left.

6. Alberto Camerini Bip Bip Rock CBS | Milan, 1981

Born in Brazil to Italian parents, Camerini’s first musical efforts were pop-Brazilian melodies for the Italian market. But during the new-wave craze of the early 80s, when anything with a broad enough hook seemed like it might have a chance, he had his biggest success with novelty singles like “Rock & Roll Robot” and “Tanz Bambolina.” Very much in that vein, the unabashedly silly “Bip Bip Rock” is a love song between a harlequin and a computer set to a Buddy Holly shuffle: its gender-playing parent album, Rudy e Rita, is a minor masterpiece of bubblegum pop kitsch.

7. Roberta D’Angelo Noce di cocco Suono | Rome, 1983

When she burst onto the scene in the mid-70s with caustic, unconventionally melodic story-songs about prostitution and feminism, the 20-year-old conservatory-trained D’Angelo seemed poised to be an Italian Joni Mitchell, or maybe even Kate Bush. But label shenanigans, her restless, exploratory bent, and lack of commercial success meant that this, in 1983, would be her last single: a B-52s-y song about a coconut co-written and performed with skittery Roman art-funk collective Bu Bu Sex. When she performed it on television, she also proudly plugged the serialist piece for piano and clarinet she had composed for the B-side: perhaps it’s no wonder that for the last thirty years her nerdy enthusiasm and musical rigor has been expressed in music teaching, where she is beloved (and active in YouTube comments).

8. Lena Platonos Ti Néa Psipsína? Lyra | Athens, 1985

Kate Bush is also a predictable comparison for Greek composer Lena Platonos, the daughter of a concert pianist who studied composition, then started to make her own art music, got sidetracked by synthesizers, and ended up closer to Laurie Anderson (only more popular), murmuring her fractured, elusive poetry over her own experimental synth programming. “Τι νέα ψιψίνα,” from her 1985 album Galop, is about as close to pop as she ever got: the title literally translates “What’s New, Pussycat?” but it’s no Tom Jones cover: abstract, political, metaphysical, and Greek to the bones, it’s a gorgeous highbrow punctuation to the sillier elements of this mix.

9. Denovo Niente insette su Wilma Suono | Catania, 1984

Speaking of which: Sicilian band Denovo, with their XTC-inspired hydraulic sock-hop rhythms, sliding pitches, and “way-hey”s, have one of the goofiest sounds in this mix. The title song from their debut EP, this song is a comic piece of macabre: the title translates to “No Flies on Wilma,” and it turns out to be, of course, about Wilma’s funeral. However, the saxophone-led middle eight adds a McCartneyesque lyricism to the herky-jerk, foreshadowing the more varied melodic career Denovo would go on to have.

10. Nada Amore disperato EMI | Milan, 1983

The capacious mainstream Italian music industry loves few things more than a comeback, and when singer Nada Malanima, who had had her first success as a teenager in 1969 but had not been in the public eye for years, had a smash hit with the subtly pulsating “Amore disperato” (Desperate Love) in 1983, it was a song the whole country could get behind, even new-wave sourpusses. Nada’s low, assured voice, with its calm ah-has and careful reaches for high notes, is an undemonstrative rarity in Italian pop, and her portrait of kids falling for each other in a nightclub then losing each other is all the more effective for never sounding desperate itself.

11. Tullio De Piscopo Stop Bajon Bagaria | Naples, 1984

A jazz drummer and session man who had played with everyone from Perez Prado and Astor Piazzolla to Gerry Mulligan and Richie Havens, Tullio de Piscopo was perhaps the only middle-aged Italian hip enough to pull off a rap-inflected single in 1984. That the groove is such a monster doesn’t hurt — acid jazz as a concept more or less starts with this record, and it was massively influential in the Chicago house scene as well — and the half-rapped, half-scatted lyrics in his native Neapolitan celebrating the arrival of spring gave it a timeless, otherworldly quality that a more dominant literary language like Italian might have missed entirely. I would be surprised if I was introducing this record to many people for the first time, but it startled me with its beauty, all seven minutes of it, and I knew I had to include it.

12. Dreamer and the Full Moon Sandrina EMI | Athens, 1984

My general rule with these European mixes has been not to include music in English, partly because the sensual qualities of the different languages are much of the point for me, and partly because I’m intentionally stepping off the familiar Anglophone paths: I began these mixes cross about Spanish and Portuguese pop being neglected, and I’ve continued it cross about all local languages being neglected. That said, the minute I heard “Sandrina” I was charmed to within an inch of my life: Dreamer and the Full Moon were probably the most successful new-wave band in Greece, and their entire catalog was conducted in English: this, their biggest hit, takes traditional Greek rhythms and instrumentation and makes a lovely lovelorn rock song out of them.

13. Marcella Bella Nell’aria CBS | Milan, 1983

Like Nada, Marcella Bella had been a regular performer on summer festival stages since the 1960s: unlike her, she had never really spent time in the wilderness. The product of a musical Sicilian family (her older brother Gianni was also a pop singer and producer, and co-wrote “Nell’aria”), she had been a solidly popular singer for a decade when the billowing, helium-light “Nell’aria” (In the Air) became not just one of the big hits of the year, but perhaps the Italian hit of the 1980s. It had legs: I remember hearing it in Guatemala in the early 90s, where it sounded perfectly contemporary alongside blissed-out records from Madonna, Cathy Dennis, and P.M. Dawn. Bella’s featherweight voice, replicated endlessly, and the throbbing heartbeat rhythm make it eternal.

14. Garbo Quanti anni hai? EMI | Milan, 1983

Easily the most successful “new wave” artist in Italy, in the sense of being frankly imitative of British sources, the singer born Renato Abate took the same approach to the Bowie of the Berlin Trilogy as Gary Numan did (i.e. making it the foundation of an entire career in music), but where Numan absorbed Bowie’s cold remove and sci-fi premises, Garbo absorbed the political concerns and cabaret longueurs. His first single, “A Berlino… va bene” (In Berlin… It’s Okay), was a sensation, but my fondness for this later hit (tr. How Old Are You?) cannot just be attributed to the fact that Antonella Ruggiero sings unmistakable backup: it’s a small masterpiece of mood, as Garbo’s prematurely mature voice (he was twenty-five!) wrings every drop of reserved pathos out of a lyric about aging out of sexual desire.

15. Ivan Cattaneo Quando tramonta il sol CGD | Milan, 1984

I’m not sure any one- or two-sentence biographical sketch can do justice to Ivan Cattaneo, one of the most essential Italian musical performers of the late 70s and early 80s. He embraced the schlockier elements of both disco and punk early on, creating a flamboyant, polymorphous persona who sang about Batman, homosexual love, and zebras with outrageous zeal. Starting in 1982 he embraced ’50s and ’60s pop, recording cover albums of classic hits with modern pop sheen, but when the market didn’t respond, he quit pop music to explore painting, multimedia projects, and digital art. This (tr. When the Sun Sets) was his last single for a long time, a hiccuping electro-Beach Boys gem that still makes time for carnality.

16. Aphrodite Manou Nykteriní Ekpompí Lyra | Athens, 1984

One of the most popular exponents of éntekhno, or Greek poetry set to traditional music, Aphrodite Manou (born Aglaia Dimitriadis; her sister Maria was even more popular) had been singing others’ compositions for over a decade when she released a 1984 album of her own songwriting. “Νυχτερινή εκπομπή,” the title track, which Google wants to translate “nocturnal emission” but means “Nighttime Broadcast,” is a lovely fusion of modern soft-rock reverie and classic Greek music, as the violin swirls around her modern lyric about driving around in a Volkswagen listening to rock music, and falling in love with someone in the next car over who drives away forever. Perhaps the Greek equivalent of a country singer using contemporary production techniques, her melodies are timeless but stick in the head.

17. Litfiba Elettrica danza Contempo | Florence, 1984

The other great Florentine rock band of the era (along with Diaframma), Litfiba has gone from strict post-punk dourness in the early 80s to stadium-filling political anthems (rather like U2; and indeed charismatic frontman Piero Pelù is rather reminiscent of Bono). “Elettrica danza,” a retelling of Bertolucci’s Last Tango in Paris in violin-scraping funk-rock form (replacing the tango with the cha-cha), originally appeared on an EP named for their cover of David Bowie’s “Yassassin,” in case their art-rock cred was in any doubt.

18. Skiantos Ti spalmo la crema CGD | Bologna, 1984

One of the most controversial Italian acts of the late 70s, Skiantos were as much anarchic comedy troupe as ska-punk band, with singer “Freak” Antoni’s unnecessarily aggressive vocals, dadaist lyrics, and live performances that sometimes included no music at all. By the mid-80s they had mellowed considerably, and “Ti spalmo la crema” (I Rub the Cream on You, a double entendre about applying sunscreen at the beach) is almost a Madness song — except hornier, as befits Italian stereotypes.

19. Giuni Russo Alghero Bubble | Milan, 1986

Sicilian singer Giuni Russo was never an entirely comfortable fit with the summery, beachy songs she kept having hits with throughout the 80s: her untrained but powerful voice sometimes overwhelmed lightweight pop songs like “Un’estate al mare” or “Mediterranea,” and it wasn’t until she changed labels in 1986 and took more control over the sound of her music that she found the perfect combination with “Alghero.” Still a summery, beachy song — it’s about a vacation romance on the Sardinian coast, don’t tell mama — the inventive throwback production finally catches up with her voice. She would get artier and more experimental in the late 80s and 90s, but I love her summertime blues.

20. Metro Decay Mavros Kýknos Creep | Athens, 1984

Probably the most high-profile Athenian new wave band to stick to Greek in their lyrics, Metro Decay was still very much a cult act: one single and one LP in an austere early-Cure mold, and that was it. But they’ve had a long afterlife, as every generation of Greek rock fans rediscovers them. The opener from their LP, “Μαύρος κύκνος” (Black Swan) is a typically melodic dirge, as Antonis Maniatis croons about trauma, entropy, and poetry.

21. Melodrama Kyrie Eleison D.E.A. | Florence, 1987

After leaving Matia Bazar, synth wizard Mauro Sabbione formed the more industrial Melodrama with avant-garde contralto and choreographer Cinzia Bauci, with whom he has worked on and off under various names for the last thirty years. Melodrama only produced a handful of records as a  coherent act in the late 80s, as Sabbione found himself in demand as a session musician and Bauci’s theater career took precedence, but this forgotten twelve-inch ZTT-ish setting of traditional liturgical prayers. punctuated ominously by assorted ecclesiastical vocabulary, precedes similar experiments by the likes of Enigma by years.

I swear I have not been trying to make these mixes happen once a week; it’s just that they really have been coming together that quickly. (And sure, I’ve been spending a lot of my free time since April swimming around in the raw materials for them.) Anyway, the next one, whenever it happens, will be heading in a more northerly direction, and finally leave the Romance languages (and my linguistic comfort zone) behind for good.

[expertbacklink-blog]

7 Smart Ways to Fund Your Small Business Online Without the Bank Loan Burden

Are you trying to arrange seed capital for a start-up business? Then by now you must have realized it is quite an arduous task. Over past few years, the economic crisis worldwide has forced startup promoters and investors to tighten their purse strings. Therefore it has now become very important  that you think out-of-the-box to get your project financed. Most likely, a single source of finance might not be sufficient to fund your small business online. Rather  it is always advisable that you try to source investments from varied channels. Compiled below are seven alternative ways that will set your business in motion, without you having to worry about the burden of a bank loan.

Raise Money from Close Ones

If you are running with a low budget, then the best way to fund your small business online would be knocking your close friends and family members. Though this is one of the most common means to finance a start-up, make you sure avoid the one grave mistake of approaching their family and friends without a proper business plan. This is a fatal error for sure! You might be very close with your loved ones, but you shouldn’t expect them to take the risk of funding a new business without knowing the future of their money. In order to make them feel comfortable, you should always approach near ones with a solid blueprint of your business idea. A fact-based estimation of expected financial returns can be useful too. Provide an upfront clarification about the perks and risks of funding a start-up. In all likelihood, this will reduce the chances of unpleasant experiences in the future.

You Can Try to Rope in a Sleeping Partner or an Investor

Whether or not someone would accede to the proposal of pumping money into your start-up business, will totally depend on the business model, its future prospects, and how well you sell your idea. A sleeping partner would provide the required funding, but being a partner, he/she will be entitled to business profits. An investor, on the other hand, would essentially look for a Return on Investment (ROI), while you remain as the single owner of the organization. You can consider a sleeping partner or an investor in the initial stages, as you can use their existing network to propel your business. No matter whatever the case is, you will have to be positive and stay focused on the growth and success of your new venture.

Fund Your Small Business Online Through Crowdfunding

Though crowdfunding is not a long-term funding mechanism, it can still be an effective way to fund your project. If you are associated with one-off creative projects, such as documentary films, music albums, or a book release, then try crowdfunding  to source business fund without much hassle. There are a host of sites that offer project creators an opportunity to raise money at a relatively low cost. People from around the world use crowdfunding sites to pledge their support for a range of creative projects, in return for a complimentary gift like a book, t-shirt, or an album copy. You can look at crowdfunding as a donation to promote innovative ideas, rather than a traditional business investment. However, if you are in a business that involves creativity, you can get your project funded in a matter of days, or even minutes.

Look For Venture Capital

Venture Capitalists, commonly known as VCs, are always looking for highly scalable businesses, which have the potential to grow into large corporations of tomorrow. If you have a unique idea that stands out, then you can approach a venture capital firm to fund your small business online. This band of investors, provide debt-free money to emerging start-ups, in exchange for a share in the business. VCs can ask for anything between 10 per cent to 30 per cent equity in the company, depending on the viability of the business and the risks involved. Venture capital firms are also answerable to their financiers. Therefore, they demand an active role in the company’s management as well. A controlling power in the management of the business, helps them secure the interests of their lenders. This, in most cases, is non-negotiable. You will need a DPR (Detailed Project Report), highlighting the financial projections of the business, in order to pitch your idea to a venture capital firm.

Give Thought to ‘Factoring’ to Fund Your Small Business Online

Factoring is a financial arrangement, whereby an enterprise sells its bills to a finance company, which facilitates an upfront payment of the bills before its due date. The finance institution normally charges a fee of 1.5 per cent to 2 per cent for reimbursing an enterprise’s receivable invoice 30-days in advance.  If your company is suffering a cash crunch due to high order volumes  then  bill discounting can prove to be highly beneficial. Bill discounting is a seamless method to fund working capital requirements. However, the system is working out to be an expensive proposition for most companies in the era of an economic slowdown. The good news is, a variety of alternative options are rapidly evolving in the financial ecosystem, which promise to make the Factoring landscape more competitive. One such discounting method is The Receivables Exchange. You can try this new process to offer receivable invoices to a number of financial intermediaries at the same time, e.g., banks, hedge funds, and other non-banking finance companies. The finance institutions then bid on the bills that you have offered,  and thereafter, the discounting contract is awarded to the most competent bidder.

Get in Touch With Angel Investors

An angel or a seed investor can come in different avatars, may be a friend, a family member, or a complete stranger. Angel investors are basically rich, well-to-do individuals who fund start-ups in exchange for an ownership in the business. Even though the pattern looks similar, this route slightly differs from venture capital. In case of raising money through venture capital, start-ups have to approach a VC firm.  In the case of angel investment, businesses are often approached by angel investors. Another difference is, you can negotiate with an angel investor to leverage a better contract. But with venture capitalists, there is practically no scope of negotiation. Angel investment is primarily a trust-based funding mode. Therefore, your goodwill has a critical role to play. Besides futuristic business plans and projections,  a clean repayment track record can open the door of your business to a host of angel investors. Angel investment, over the years, has remained the backbone of top-notch start-up enterprises. You too can use the financial support to your advantage to fund your small business online.

Try to Apply For Grants and Subsidies

If you have an idea that benefits the public, then your small business might be eligible for special grants. There are several government bodies and non-governmental organizations that offer grants to businesses if they meet certain qualifications and eligibility requirements. For instance, if your emerging businesses is related to waste management, renewable energy, or artificial intelligence, then you can apply for grants from both government and non-governmental organizations. Since grants are not required to be paid back, you should be prepared to face stringent guidelines and monitoring measures. These are to make sure that the recipient of the grant is using the funds for the purpose it was offered for. While applying for a grant you need to go through  a tiresome process. It is, nevertheless, an excellent way to fund your small business online.   Here’s a summary of all 7 ideas to fund your small business online – Raise Money from Close Ones Try to Rope in a Sleeping Partner or an Investor Fund Your Small Business Online Through Crowdfunding Venture Capital Consider ‘Factoring’ to Fund Your Small Business Online Angel Investors Grants and Subsidies Irrespective of which route you take to fund your small business online, your attention should be entirely focused on the business, its growth, and profitability. Let us know what’s your top pick to fund a small online business? If you are interested in any sort of business collaboration with OnliSmallbiZ then simply fill up the contact form to connect with us immediately!   Read the full article

[taekwonduh]

Jimin as a dancer? Heh.

I wanna start off by making clear that I’m not a dancer, I’m not a Jimin “stan” in the sense that I pay a lot of attention to him, and this also isn’t an analysis or anything that leads you to think it’s meant to be a “deep” post. This also isn’t one of those annoying PSAs about member appreciation that some people on here like to do. (Tbh I’ll dig myself a ditch and die in it before I become one of them.)

My point: Contemp is not Jimin’s thing. These days when it comes to him as a dancer, the thing he’s got going on is that he’s “that contemp guy”, and I personally find that super disappointing and boring.

He’s said before (weekly idol, I think) that he only did contemp for like two years in high school because that was the department he enrolled into (and was a top student, blah blah y'all know how it goes), but then I look at all these videos of him battling, be it cyphering in his dance academy or underground comps/events and it’s just so sad to see that contemp is the first, and sometimes only, thing people bring up about him as a dancer.

Why do I think he’s not meant to be known for his contemp? 1) His contemp game is nowhere near as good as his popping/street. Truth be told he’s got nothin on legit contemp dancers. Nothing to do with talent, rather, just the sheer number of years put into polishing the skill in which he lacks, obviously because he’s been pursuing a different genre all this time.

2) Just look at him in ASC (Boy in Luv era), that BTS dance break practice video, and just “pre-debut jimin” (<<< a video compilation of his badass dancer days) and compare those with that, what, one(?) video of him dancing contemp. I mean, I get it, not many male idols— popular male idols— dance that genre, and maybe it’s good that he’s got a unique factor about him that sets him apart from dancers like Hoseok. The members also seem to be helping him push this selling point.

But I dunno man, if it were me I’d have gotten over the initial novelty of it and start to feel kind of annoyed that I have all these crystals in my pot but people only choose to polish that one diamond sitting at the top. Just imagine— you have this bombass detective au, amazing plot twists, God-like characterization, and all people talk about is that one smut scene you had in like chapter 3, and another in chapter 15.

What I know of contemp is that it’s lines, POINT, lines, angles, POINT, lines, POINT. And I can definitely see how his history with it has helped him deliver the pristinely clean and sharp lines in choreos that you always see me raving about in the tags. I’m sure you guys notice, but he has a COMPLETELY different style from Hoseok and heck, even Jungkook (i mention him unwillingly because I think of him as a singer who has a knack for dance), owed to his background in contemp that none of the other dudes have. It’s much cleaner. Much more graceful. And it’s a style I seriously enjoy watching. It’s so satisfying. :’-)

I don’t doubt his enjoyment of it, though, since I do see him gravitating towards that smoother, softer, “contemp” style like in his 2015 gayo Butterfly performance, his Own It cover and most recently, Lie choreo, in perhaps an attempt to milk out this image? But I really hope that’s not all there is to his solo performances. Otherwise I might lose an interest in him as a dancer :-/

Its good he knows the glory having done contemp brings him, but damn would I kill to see him coming back with the popping he used to do back in the day. Good times, good times.

(Also, totally going on a tangent here, but I wholeheartedly agree with Yoongi that Yoongi doesn’t deserve to be grouped with Namjoon and Seokjin in terms of dance skillz. The guy could totally keep himself afloat on a solo dance stage, except that’s never going to happen.)

[dustedmagazine]

King Crimson — Radical Action to Unseat the Hold of Monkey Mind (DGM)

The scale is so familiar, implying a harmony as it grooves by in percussive dance, now stammering rather than gliding; layers are added. To say that the pulse becomes ambiguous would be to deny the authoritative polyrhythmic intrigue of a band of virtuosi. Like the Ellington aggregates, King Crimson’s players are versed in multiple musical truths, assimilating but never succumbing to them or to the technologies spawning them. The guitars enter, slowly infiltrating the rhythmic brew, those anticipated snares enter, and then, the bone-crushing slam of syncopated dissonant power chords that anticipated and fostered everything from prog to metal, which disappear as abruptly as they began.

So opens “Larks’ Tongues in Aspic” and this compendium documenting the band’s most recent activity. It is encouraging to see the venerable King Crimson still active 47 years after its inception. This time though, there is a twist, as articulated in the liner notes to this three-CD/Blu-ray set. The current lineup is being billed as “King Crimson Reimagined,” and the success with which this is achieved mirrors and complements the group’s circuitous but constant adherence to development toward a trademark sound. Even this set of sonic hallmarks, instantly recognizable to hard-core listeners, is not always easy to articulate. Crimson has always been an amalgam. From its heavy cross-pollinated beginnings, redolent of Bartok, Holst and Hendrix against a backdrop of jazz-inflected improv, folk and spatialized Baroque harmonies, there was simply no pinning the band down, even in light of those other versions that followed, delving deeply but narrowly into one facet or other of the mighty Crim’s Protean art. As the 1970s and 1980s passed, the various elements expected in a Crimson lineup changed prominence and position; song structures wafted in and out of focus, and timbres flirted with electricity and transparency as technology changed. Always, there was a lot of repeated riffage and brief but edgy motivic ideas, some in the service of mechanical rhythmic inexorability and some painted in softer hews, floating over ravishing guitar harmonies or just drifting in the space created by improvised dialogue. It was only in the 1990s, with the long-awaited Thrak, that the Crimson sound began to take on an element of retrospection. The hard-edged tritons and rhythmic complexities of the 1970s band were mixed with the intricate guitar interplay of the 1980s Crimson and 1990s technology, a blending made even clearer on the 2015 Thrak remix, where each half of the double trio occupies half of the stereo spectrum. It wasn’t until 2014, when this most recent lineup solidified, that looking back became a conscious and verbally articulated MO.

There are two versions of the set, one a limited edition with added DVDs, which is not the set under review. The regularly available set contains three CDs, all recorded live on the 2015 tour, and a Blu-ray DVD, which contains the same material presented in concert form and with applause. The CDs dispense both with ovation and running concert order, remixed and presented in three album-length compilations: Mainly Metal, Easy Money Shots and Crimson Classics. The lineup includes Robert Fripp—guitarist and sole constant Crimson member—bassist Tony Levin, winds and reeds man Mel Collins, guitarist, lead vocalist and new Crimson lyricist Jakko Jakszyk, as well as drummers Pat Mastelotto, Bill Rieflin and Gavin Harrison. Only Rieflin is new to Crimson, all the others having performed in various Crim iterations and related projects since the early 1970s, when Collins was aboard.

The band presents what amounts to a Crimson songbook, compiling and reinterpreting past material amidst several new offerings. The only lineup not represented is the 1980s quartet, an inexplicable but understandable omission. To come to terms with such a chronologically diverse but unified set, it might be better to approach the subject in microcosm; let’s take a track from the second disc, the ever-popular and relatively accessible “Easy Money,” from the 1973-74  debut, Larks‘ Tongues in Aspic. This version deviates not at all from the form established during those explorational days when the Bill Bruford, Jamie Muir and John Wetton rhythm section rocked that fabled quartet lineup. There’s still the slowly climbing interlude, rife with humor and with Fripp’s stunning guitar work leading it along its snarky path, leading up to the restatement of the first verse, but, as might be expected, the sound here is bigger, not just from member additions but from some vastly different and updated production. The 40th anniversary version of Larks’ Tongues, expertly remixed and in some cases reconstructed by Stephen Wilson, will give some idea of the layers inherent in this whimsical and cynical stab at financial profitability and those seeking it. In this new take, the various layers of percussion, rock-solid bass, guitar swipes and jabs atop sinewy and growly vocals are all altered, or at least augmented. The three percussionists ride the pulse hard while somehow simultaneously offsetting it, an easy feat of listening if not necessarily of performing or description. They syncopate, ruff and twiddle their ways around it while holding it steady, so that Jakszyk and Levin can do their vocal thing over top. The vocal harmonies are quite nice, and it’s worth mentioning here, again, that these are live recordings with studio manipulation. As with the 1970s album and live versions, the mellotron is in full effect, but here, as that long A sets the stage for verse one, it flitters deliciously around the stereo spectrum. If the added sibilance has been stripped from the line “You could never tell a winner from a snake,” the breaking sound on “heart would break” has made the 40-plus year transfer. Collins’s baritone barks and pink-panthers its way around the dissonance Jakszyk, Levin and Fripp shoot forth second to second, and that first two-word titular refrain is as powerful as it ever was. It is the instrumental parts, especially the aforementioned interlude, that morph from merely layered and virtuosic into something orchestral. The percussion takes on the mosquito-y buzz and electro-thrum of ConstruKction of Light- and Projekcts-era improvisations. Are those gongs and timpani or merely samples? How does a seven-piece group get such a huge sound, and while the reverberant layer of distance certainly helps, it only goes a small part of the way toward elucidating the gradually crescendoing symphony of sound issuing from my headphones. Over the multiple rattles, squeaks, lush strings and calmly but later forcefully grooving bass-and-drums interplay, as if all that weren’t enough, Fripp plays one of the most heart-wrenchingly sweet solos I’ve encountered, from him or from anybody else.

Perhaps a word about Fripp’s playing would not be out of place here. He stripped most of the blues from what he lays down long ago. That isn’t to imply any sterility, as there is none. Instead of clichéd licks, Fripp is a player of innovative moments; he doesn’t so much solo as step or slide boldly from note to note, each one an entity not necessarily leading to the next but each somehow inevitable, as if placed there by a force of nature. Even that is not the whole story. It’s what happens with each note that matters; it can sustain as I’ve heard no other guitarist besides Hendrix match, it can swell, fade, feed back on itself, vibrate with enough feeling to induce tears, or it can snarl, changing timbre all the while. This solo is a miniature encyclopedia of what Fripp plays, and it paves the way for the band’s powerful re-ascent toward the final verse.

To say that the rest of the album merely follows suit would be to sell its various forms of individuation short. From the aforementioned stutteringly modern electro-bath percussion opening of “Larks’ Tongues in Aspic,” we are in the presence of a Crimson whose electronically engineered and percussion heavy lineup comes across as some kind of historical inevitability. Given that, the “Radical” compositions, new catalog entries gracing the first disc, fit right in, as does this rip-roaring version of 2003’s “Level Five.”  A striking contrast involves the ritualistic, glittery and jazzy percussion piece “The Hellhounds of Crim,” which runs the gamut of what this tight-redefining percussion section can do when running on all the proverbial cylinders.

Maybe it is just this, the mixture of electronic and acoustic elements, present since those initial 1969 distorted guitar pummelings and vocals, courtesy of the now sadly departed Greg Lake that goes a long way toward defining the unity behind Crimson’s long-term objectives. It’s all encapsulated on the third disc’s final track, and a more intense version of the anthemic and never more appropriate “21st Century Schizoid Man” is difficult to imagine. Every leg of the King Crimson journey appears telescoped, whether it be the 1971-1972 jazzy freedoms of Mel Collins’ scorching solo or that early 1990s electronic percussion sound that Bill Bruford brought to the table in tandem with sibilant raspings of technologies then far beyond comprehension. I will admit to being lukewarm toward Jakszyk’s vocals, but he tackles the distortion-grinding barbarisms with pertinent venom.

Robert Fripp has become expert in keeping group interest fresh through various means of research and development. If this version of the band continues, I can imagine them producing more excellent work, whether in part or as a whole. If not, Radical Action to Unseat the Hold of Monkey Mind is a fitting legacy whose title is a fitting monument to a diverse history. Unlike that fabled Buddhist construct, progressive and radical engagement with order is the stuff of hindsight, clear and present in this set as Crimson’s movement from stage to stage becomes a single present of singular vision made sound.

Marc Medwin

[snb914]

Legendary closer Mariano Rivera headlines the first-ballot nominees for the 2019 MLB Hall of Fame ballot. BBWAA members with votes have until mid-December to submit their votes, while the winners will be announced on January 22.

Late November and early December in the baseball calendar means that the offseason is now in full swing. The GM meetings have happened and some free agent signings, such as Josh Donaldson inking with the Braves today, have already occurred.

December each year brings two important events on the baseball calendar. The first of which are the annual Winter Meetings that will be in Las Vegas from December 9-13. The other big event centers around the National Baseball Hall of Fame balloting. The ballots themselves will be due in December and the Hall of Fame class will be revealed on January 22.

After the BBWAA did not nominate any new members to the Hall of Fame in 2013, 16 new members have been added through the BBWAA voting since 2014. It’s the largest wave of Hall of Fame inductions in a long time and the rate it’s going, it may not slow down just yet.

What could the 2019 Hall of Fame class consist of? Are there are a lot of first-ballot nominees that are shoe-ins? Will any ballot veterans finally get their long awaited enshrinement or will the Veterans Committee be needed for the final push? Let’s analyze the most notable first-year players first and then Part 2 of this will feature the ballot holdovers.

Part 1: The Newcomers

Mariano Rivera (652 SV, 2.21 ERA, 8.2 K/9)

If anyone is a genuine shoe-in on the 2019 ballot, it’s the greatest closer of all-time. And unlike other positions in baseball history, there is no debate here. From the regular season to the playoffs and World Series, no closer has a resume like Mariano Rivera’s. Rivera is the all-time leader in saves, games finished and ERA+, which measures a pitcher’s ERA in relation to the ballparks he has pitched in. He won five World Series championships with the Yankees, whom he spent his entire career with. 

Even in his 40s, Rivera was still as dominant as ever thanks to a pitch he helped introduce to baseball. That pitch was his signature cutter, a pitch similar to a slider that breaks away from the plate at the last minute. Rivera would make right-handed hitters look fooled chasing away outside pitches, while left-handed swings would look more tied up than shoe laces as the cutter would break in toward them. Some switch-hitters such as former Mets shortstop Jose Reyes would on-purposely bat right-handed against Rivera because of how powerful the cutter was, which speaks volumes of Rivera’s skill and craftiness. Rivera’s cutter also developed a reputation for breaking bats that only helped Rivera’s legendary status increase that much more.

But Rivera’s right arm and dominant cutter are not even the full story. Rivera has been as much of a humanitarian as anyone in baseball history. The Panama native has a long history of giving back to the community, both in America and back home. In Panama, Rivera helped build an elementary school and his Mariano Rivera Foundation has been helping provide education to children that are underprivileged. To see a famous baseball player not get caught up with money and living the most lavish of lifestyles in order to devote more time towards helping improve the communities near and dear to his heart is a breath of fresh air in the materialistic world we live in.

But all in all, Rivera will be at Cooperstown this July. The only question is whether his selection will be unanimous or not. No player has been unanimously voted in, with some writers opting to distribute their 10 votes towards other candidates they think may need more help with gaining traction for induction. Former Mariners center fielder Ken Griffey Jr. set the percentage record in 2016, with 99.32% of votes. There are also some voters that historically have not shown much love to closers or relief pitchers on principle, which will hopefully change soon with the direction the sport is going on.

Roy Halladay

The late Roy Halladay unfortunately is in a unique situation compared to all the other first-time nominees in that he is no longer alive. Halladay tragically passed away on November 7, 2017 after dying in a plane crash at the age of 40. Halladay’s 16-year career was mostly spent with the Toronto Blue Jays, with the last four seasons having been with the Philadelphia Phillies.

Halladay’s death will clearly have some sentimental value for voters, but his career resume was already quite deserving of at least an eventual induction. Halladay won two Cy Young Awards in 2003 and 2010, when he led the league in wins both years. The second Cy Young Award came with the Phillies, which makes Halladay one of just six pitchers to win a Cy Young Award in both leagues. The others are Roger Clemens, Randy Johnson, Pedro Martinez, Gaylord Perry and Max Scherzer. That’s some pretty elite company.

Halladay’s 2010 season was also special because it included a perfect game in May and a postseason no-hitter against the Reds. The only other postseason no-hitter in baseball history was Don Larsen’s famous 1956 World Series Game 5 perfect game, which shows just how difficult it is to be perfect on the postseason stage. 

The 8-time All-Star also has had his #32 retired by the Blue Jays. He may take a couple, or even a few years to gain inducted, but besides Rivera, Halladay should be the next strongest candidate to gain a Hall of Fame induction. I can only imagine how emotional of an experience an induction would be for his surviving wife and children.

Andy Pettitte

Another long-time Yankee pitcher on the ballot for the first time will be southpaw Andy Pettitte. The 18-year veteran spent all but three seasons with the Yankees, and like Rivera, has five championship rings of his own. The numerous postseason starts he was fortunate to make helped him become the all-time leader in career postseason wins with 19. Pettitte and Rivera, along with shortstop Derek Jeter and catcher Jorge Posada formed the “Core Four” of Yankee legends that were instrumental in all five of the Yankees’ most recent championships.

Statistically, Pettitte is a borderline Hall of Fame player at best. He had 256 career wins, but also had a 3.85 ERA that was good, but not exactly spectacular. Granted, pitching at Yankee Stadium during the steroid era certainly had an effect, but Pettitte never really separated himself from a solid #2 or 3 starter into an ace. The Yankees always seemed to have someone even better leading the way, whether it was David Cone, Roger Clemens, Mike Mussina or someone else.

Speaking of Clemens, it’s well documented that the two pitchers were friends. And when the Mitchell Report came out in 2007 to show all the evidence gathered about players using steroids, both pitchers were included in the report. Pettitte eventually admitted to using HGH in 2002 to help recover from an injury, but was adamant about using it for recovery and not to enhance his performance in any way. So while Pettitte does not have a ton of PED speculation surrounding him, the fact that there is a small amount of evidence may not end up helping him.

The large number of deserving candidates on the past few and upcoming ballots may play a role as to whether Pettitte gets eventually enshrined or not. It’s not going to happen right away, but in the next 5-10 years, Pettitte may end up getting the push he needs. Between the Core Four members, Pettitte arguably has the third strongest Hall of Fame resume behind Rivera and Jeter, who are both shoe-ins.

Todd Helton

Pitching may be the top headline for the newcomers on the 2019 Hall of Fame ballot, but Todd Helton has his own Hall of Fame case to make.

Helton, the longtime Rockies first baseman spent his entire career in Colorado and became the first Rockies player to get his number retired by the team. Along the way, Helton compiled a .316 career batting average, which is very impressive. His career .953 OPS is also very hard to ignore. He won the 2000 NL batting title at a .372 clip and made 5 consecutive trips to the All-Star Game from 2000-2004. Helton helped lead the Rockies to their first NL pennant in 2007.

So despite all these great numbers, why is Helton not a shoe-in for the Hall of Fame? The answer has more to do with Helton’s home stadium than any other factor and his former teammate Larry Walker has already had his own voting troubles because of his home stadium. Coors Field, located in Denver has a unique environment from all other teams and their stadiums. Because of the Colorado altitude, baseballs tend to travel further in the thinner air. The Rockies since 2002 have used humidors to keep baseballs at a certain temperature. But even despite that, many voters will view hitters that spent a lot of time at Coors Field having skewed stats of varying degrees. Some voters may believe that Helton (and Walker for that matter) may not have produced the same numbers outside of Coors Field.

Todd Helton has meant as much as anyone to the Rockies and I personally think he should get enshrined at some point. The Coors Field criticism almost certainly will hurt him for a while, but unlike Walker, Helton was durable throughout his career and since his rookie season in 1998, he only missed significant time in two of his 17 seasons. It will take some time, but Helton in 5-10 years from now could become the first Hall of Fame member donning a Rockies cap.

Lance Berkman

Another perennial NL All-Star through much of the 2000s was Astros great Lance Berkman. Splitting time between first base and the outfield, Berkman became a perfect fit within the “Killer B’s” that the Astros’ lineup was built around, led by Hall of Fame hitters Jeff Bagwell and Craig Biggio.

Berkman, also known as the “Big Puma” made five trips (six total in his career) to the All-Star Game with the Astros and finished within the top five for NL MVP voting four times. His career totals include a .293 average, 422 doubles, 366 home runs and a .943 OPS. Berkman was one of the rare left-handed throwers that was also a switch-hitter, but even though he’s a natural lefty and was a better hitter from that side, his career .260 average from the right side of the plate showed that he was no slouch against southpaw pitching.

Berkman helped lead the Astros to their first and only NL pennant in 2005 before they lost to the White Sox in the World Series. It would take Berkman until his 2011 season with the Cardinals to get back to the Fall Classic, which ended up being a more successful trip for Berkman. He bounced back from a mediocre 2010 season with a .301 average and 31 homers in 2011 and became an important piece of the Cardinals’ championship run that year. He retired after the 2013 season.

Berkman’s resume is very good for a hitter from his era and he may not get the same treatment Helton will likely get over home ballparks. Nonetheless, Berkman will not get inducted right away and will probably need a few years to gain real traction. His home run total just is not flashy enough for an induction to be happening immediately. Bagwell and Biggio both needed a few years at least to get their own inductions, so Berkman will probably wait as long or a bit longer than his former teammates.

Those are arguably the five biggest names from the 2019 Hall of Fame ballot newcomers. Here is how I see the rest of the first-time candidates doing:

Players That Will Stick Around on the Ballot for 1-3 Years:

Derek Lowe

Roy Oswalt

Juan Pierre

Placido Polanco

Miguel Tejada

One & Done

Rick Ankiel

Jason Bay

Freddy Garcia

Jon Garland

Travis Hafner

Ted Lilly

Darren Oliver

Vernon Wells

Kevin Youkilis

Michael Young

[expertbacklink-blog]

7 Smart Ways to Fund Your Small Business Online Without the Bank Loan Burden

Are you trying to arrange seed capital for a start-up business? Then by now you must have realized it is quite an arduous task. Over past few years, the economic crisis worldwide has forced startup promoters and investors to tighten their purse strings. Therefore it has now become very important  that you think out-of-the-box to get your project financed. Most likely, a single source of finance might not be sufficient to fund your small business online. Rather  it is always advisable that you try to source investments from varied channels. Compiled below are seven alternative ways that will set your business in motion, without you having to worry about the burden of a bank loan.

Raise Money from Close Ones

If you are running with a low budget, then the best way to fund your small business online would be knocking your close friends and family members. Though this is one of the most common means to finance a start-up, make you sure avoid the one grave mistake of approaching their family and friends without a proper business plan. This is a fatal error for sure! You might be very close with your loved ones, but you shouldn’t expect them to take the risk of funding a new business without knowing the future of their money. In order to make them feel comfortable, you should always approach near ones with a solid blueprint of your business idea. A fact-based estimation of expected financial returns can be useful too. Provide an upfront clarification about the perks and risks of funding a start-up. In all likelihood, this will reduce the chances of unpleasant experiences in the future.

You Can Try to Rope in a Sleeping Partner or an Investor

Whether or not someone would accede to the proposal of pumping money into your start-up business, will totally depend on the business model, its future prospects, and how well you sell your idea. A sleeping partner would provide the required funding, but being a partner, he/she will be entitled to business profits. An investor, on the other hand, would essentially look for a Return on Investment (ROI), while you remain as the single owner of the organization. You can consider a sleeping partner or an investor in the initial stages, as you can use their existing network to propel your business. No matter whatever the case is, you will have to be positive and stay focused on the growth and success of your new venture.

Fund Your Small Business Online Through Crowdfunding

Though crowdfunding is not a long-term funding mechanism, it can still be an effective way to fund your project. If you are associated with one-off creative projects, such as documentary films, music albums, or a book release, then try crowdfunding  to source business fund without much hassle. There are a host of sites that offer project creators an opportunity to raise money at a relatively low cost. People from around the world use crowdfunding sites to pledge their support for a range of creative projects, in return for a complimentary gift like a book, t-shirt, or an album copy. You can look at crowdfunding as a donation to promote innovative ideas, rather than a traditional business investment. However, if you are in a business that involves creativity, you can get your project funded in a matter of days, or even minutes.

Look For Venture Capital

Venture Capitalists, commonly known as VCs, are always looking for highly scalable businesses, which have the potential to grow into large corporations of tomorrow. If you have a unique idea that stands out, then you can approach a venture capital firm to fund your small business online. This band of investors, provide debt-free money to emerging start-ups, in exchange for a share in the business. VCs can ask for anything between 10 per cent to 30 per cent equity in the company, depending on the viability of the business and the risks involved. Venture capital firms are also answerable to their financiers. Therefore, they demand an active role in the company’s management as well. A controlling power in the management of the business, helps them secure the interests of their lenders. This, in most cases, is non-negotiable. You will need a DPR (Detailed Project Report), highlighting the financial projections of the business, in order to pitch your idea to a venture capital firm.

Give Thought to ‘Factoring’ to Fund Your Small Business Online

Factoring is a financial arrangement, whereby an enterprise sells its bills to a finance company, which facilitates an upfront payment of the bills before its due date. The finance institution normally charges a fee of 1.5 per cent to 2 per cent for reimbursing an enterprise’s receivable invoice 30-days in advance.  If your company is suffering a cash crunch due to high order volumes  then  bill discounting can prove to be highly beneficial. Bill discounting is a seamless method to fund working capital requirements. However, the system is working out to be an expensive proposition for most companies in the era of an economic slowdown. The good news is, a variety of alternative options are rapidly evolving in the financial ecosystem, which promise to make the Factoring landscape more competitive. One such discounting method is The Receivables Exchange. You can try this new process to offer receivable invoices to a number of financial intermediaries at the same time, e.g., banks, hedge funds, and other non-banking finance companies. The finance institutions then bid on the bills that you have offered,  and thereafter, the discounting contract is awarded to the most competent bidder.

Get in Touch With Angel Investors

An angel or a seed investor can come in different avatars, may be a friend, a family member, or a complete stranger. Angel investors are basically rich, well-to-do individuals who fund start-ups in exchange for an ownership in the business. Even though the pattern looks similar, this route slightly differs from venture capital. In case of raising money through venture capital, start-ups have to approach a VC firm.  In the case of angel investment, businesses are often approached by angel investors. Another difference is, you can negotiate with an angel investor to leverage a better contract. But with venture capitalists, there is practically no scope of negotiation. Angel investment is primarily a trust-based funding mode. Therefore, your goodwill has a critical role to play. Besides futuristic business plans and projections,  a clean repayment track record can open the door of your business to a host of angel investors. Angel investment, over the years, has remained the backbone of top-notch start-up enterprises. You too can use the financial support to your advantage to fund your small business online.

Try to Apply For Grants and Subsidies

If you have an idea that benefits the public, then your small business might be eligible for special grants. There are several government bodies and non-governmental organizations that offer grants to businesses if they meet certain qualifications and eligibility requirements. For instance, if your emerging businesses is related to waste management, renewable energy, or artificial intelligence, then you can apply for grants from both government and non-governmental organizations. Since grants are not required to be paid back, you should be prepared to face stringent guidelines and monitoring measures. These are to make sure that the recipient of the grant is using the funds for the purpose it was offered for. While applying for a grant you need to go through  a tiresome process. It is, nevertheless, an excellent way to fund your small business online.   Here’s a summary of all 7 ideas to fund your small business online – Raise Money from Close Ones Try to Rope in a Sleeping Partner or an Investor Fund Your Small Business Online Through Crowdfunding Venture Capital Consider ‘Factoring’ to Fund Your Small Business Online Angel Investors Grants and Subsidies Irrespective of which route you take to fund your small business online, your attention should be entirely focused on the business, its growth, and profitability. Let us know what’s your top pick to fund a small online business? If you are interested in any sort of business collaboration with OnliSmallbiZ then simply fill up the contact form to connect with us immediately!   Read the full article