Contemporary R&B is a music genre that combines elements of rhythm and blues, soul, hip hop and electronic music. The genre features a distinctive record production style, drum machine-backed rhythms, pitch corrected vocals, a smooth, lush style of vocal arrangement. Electronic influences are becoming an increasing trend and the use of hip hop or dance-inspired beats are typical, although the roughness and grit inherent in hip hop may be reduced and smoothed out. Contemporary R&B vocalists are known for their use of melisma, popularized by vocalists such as Michael Jackson, R. Kelly, Craig David, Stevie Wonder, Whitney Houston and Mariah Carey. Contemporary R&B originated at the end of the disco era, in the late-1970s, when Michael Jackson and Quincy Jones added more electronic elements to the sound of the time to create a smoother dancefloor-friendly sound; the first result was Off the Wall, which—according to Stephen Thomas Erlewine from AllMusic—"was a visionary album, that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus" and "was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, alluring funk".
Richard J. Ripani wrote that Janet Jackson's Control was "important to the development of R&B for a number of reasons", as she and her producers, Jimmy Jam and Terry Lewis, "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, sound effects, a rap music sensibility." Ripani wrote that "the success of Control led to the incorporation of stylistic traits of rap over the next few years, Janet Jackson was to continue to be one of the leaders in that development." That same year, Teddy Riley began. This combination of R&B style and hip hop rhythms was termed new jack swing and was applied to artists such as Michael Jackson, Bobby Brown, Keith Sweat, Al B. Sure!, Guy and Bell Biv DeVoe. In contrast to the works of Boyz II Men and similar artists, other R&B artists and groups from this same period began adding more of a hip-hop sound to their work, like the innovative group Jodeci; the synthesizer-heavy rhythm tracks of new jack swing were replaced by grittier East Coast hip hop-inspired backing tracks, resulting in a genre labeled hip hop soul by Mary J. Blige and producer Sean Combs who had mentored group Jodeci in the beginning and helped them with their unique look.
The style became less popular by the end of the 1990s, but experienced a resurgence. In 1990, Mariah Carey released Vision of Love, it was immensely popular peaking at number 1 in many worldwide charts including the Billboard Hot 100, it propelled Mariah's career. The song is said to have popularized the use of melisma and brought it in to mainstream R&B. During the mid-1990s, Whitney Houston's The Bodyguard: Original Soundtrack Album sold over 40 million copies worldwide becoming the best-selling soundtrack of all time. Janet Jackson's self-titled fifth studio album janet. which came after her historic multimillion-dollar contract with Virgin Records, sold over twenty million copies worldwide. Boyz II Men and Mariah Carey recorded several Billboard Hot 100 No. 1 hits, including "One Sweet Day", a collaboration between both acts, which became the longest-running No. 1 hit in Hot 100 history. Carey released a remix of her 1995 single "Fantasy", with Ol' Dirty Bastard as a feature, a collaboration format, unheard of at this point.
Carey, Boyz II Men and TLC released albums in 1994 and 1995 -- II and CrazySexyCool. In the late 1990s, neo soul, which added 1970s soul influences to the hip hop soul blend, led by artists such as D'Angelo, Erykah Badu, Lauryn Hill and Maxwell. Hill and Missy Elliott further blurred the line between hip hop by recording both styles. Beginning in 1995, the Grammy Awards enacted the Grammy Award for Best R&B Album, with II by Boyz II Men becoming the first recipient; the award was received by TLC for CrazySexyCool in 1996, Tony Rich for Words in 1997, Erykah Badu for Baduizm in 1998 and Lauryn Hill for The Miseducation of Lauryn Hill in 1999. At the end of 1999, Billboard magazine ranked Mariah Carey and Janet Jackson as the first and second most successful artists of the 1990s. In the second half of the 1990s, The Neptunes and Timbaland set influential precedence on contemporary R&B and hip hop music. R&B acts such as Michael Jackson, Whitney Houston, Janet Jackson, Mariah Carey and Toni Braxton are some of the best-selling music artists of all time.
Following periods of fluctuating success, urban music attained commercial dominance during the early 2000s, which featured massive crossover success on the Billboard charts by R&B and hip hop artists. In 2001, Alicia Keys released "Fallin"', it peaking at number one on the Billboard Hot 100, Mainstream Top 40 and Hot R&B/Hip-Hop Songs charts. It won three Grammy Awards in 2002, including Song of the Year, Best R&B Song, Best Female R&B Vocal Performance, it was nominated for Record of the Year. Beyoncé's solo studio debut album Dangerously in Love has sold over 5 million copies in the United States and earned five Grammy Awards. Usher's Confessions sold 1.1 million copies in its first week and over 8 million copies in 2004, since it has been certified Diamond by the Recording Industry Association of America and, as of 2016, has sold over 10 million copies in the US and over 20 million copies worldwide. Confessions had four consecutive Billboard Hot 100 number one singles—"Yeah!", "Burn", "Confessions Part II" and "My Boo".
In 2004, all 12 songs that topped Billboard Hot 100 were
Pain Is Love
Pain Is Love is the third studio album by American rapper Ja Rule. Produced by Irv Gotti, it was released on October 2001, by Murder Inc.. Records, Def Jam Recordings; the album received a mixed reception from critics. Pain Is Love debuted at number one on the Billboard 200 and was supported by four singles: "Livin' It Up", "I'm Real", "Always on Time" and "Down Ass Bitch", it was certified triple-platinum by the Recording Industry Association of America for selling over 3,000,000 copies. The sequel of the album, titled Pain Is Love 2. Pain is Love received mixed reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 59, based on 10 reviews. AllMusic's Jason Birchmeier praised the album for fine-tuning the formula set by Rule 3:36 of having R&B crossover singles and hardcore rap tracks to balance out the whole record. An editor from HipHopDX said that hardcore tracks like "Dial M for Murder" and "Worldwide Gangsta" felt like forced attempts to bring back Ja's thug persona, but praised the album for having tracks that contain ear-grabbing lines and good beats, saying that "Pain Is Love is another positive establishment that will indeed create more popularity and more fan acknowledgement for Ja Rule."
Steve'Flash' Juon of RapReviews found Ja's singing voice on some tracks intolerable but gave the album credit for containing tracks that display Irv Gotti's producing talents and Ja's adequate lyricism, concluding that, "Ja Rule will live up to the latter half of his name and dominate the charts for the latter half of 2001 with an album, undoubtedly his most solid release to date."Soren Baker of the Los Angeles Times gave credit to the singles "Livin' It Up" and "I'm Real" for being the album's strong points but criticized tracks like "The Inc" and "Worldwide Gangsta" for being bland and less effective, saying they "recycle hard-core themes without adding any clever phrasings or creative beat work to compensate for their ordinariness." Nathan Rabin of The A. V. Club criticized the album for lacking substance to go with the catchy pop hooks and Ja for making what they perceive as failed attempts to copy 2Pac on the penultimate feature track "So Much Pain" concluding that "even at less than his best, 2Pac still conveys a sense of urgency and purpose that illustrates incontestably the huge chasm separating the real deal from a canny imitation."
Pain is Love spawned two number one hit singles, debuted at number one on the US Billboard 200 chart with sales of 361,000 copies in the first week and was certified multi-platinum in the United States. It received a Grammy nomination for Best Rap Album in 2002 but lost to OutKast's Stankonia. Sample credits"Dial M for Murder" "Castle Walls" performed by Styx"Down Ass Bitch" "Sweet Sticky Thing" performed by Ohio Players"Livin' It Up" "Do I Do" performed by Stevie Wonder"Pain Is Love" "Mind Playing Tricks on Me" performed by Geto Boys"Pain Is Love" "King of Sorrow" performed by Sade"So Much Pain" "Pain" performed by 2Pac featuring Stretch List of Billboard 200 number-one albums of 2001 List of Billboard number-one R&B albums of 2001 List of number-one albums from the 2000s
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
"Mesmerize" is a song by American rapper Ja Rule. It was released in December 2002 as the second single from his fourth album The Last Temptation; the song features R&B artist Ashanti. The song peaked at number 2 on the Billboard Hot 100 on January 2003, behind Jennifer Lopez and LL Cool J.'s "All I Have", making it Ashanti's and Ja Rule's fourth top ten hit as a duet. The song contains a sample from the 1974 song "Stop, Listen" performed by Diana Ross and Marvin Gaye; the music video was inspired by the musical number "You're the One that I Want" from the 1978 musical film Grease. The video begins with a group of men dressed in black discussing their plan for a revolution in a strategy room. Ja Rule enters dressed in a preppy sweater, much to the surprise of the other men, he explains. Meanwhile, some of Ashanti's friends are having a slumber party and playing scrabble when Ashanti emerges dressed in flashy black leather attire, she explains. The song begins and we see the two meeting up at an amusement fair.
As they sing, they partake in various carnival attractions, such as game booths and bumper cars. The song ends abruptly with Ja Rule's friends emerging from a black van and asking him if he's riding with them. After he hesitates and turns to Ashanti, she says, they enter the van and after a few quick cuts they emerge and Ja Rule begins rapping "Destiny", the closing track from the album. The video ends with a crowd of men marching the streets and holding up various signs, including tributes to late rappers Tupac Shakur and DJ Jam-Master Jay from Run-D. M. C.. The street scene was filmed outside Cathedral High School on Bishops Road, an up-hill climb towards Dodger Stadium; the carnival scenes were filmed in Los Angeles at Cathedral High School's graveyard field. The entire campus was the site of Northeast of downtown Los Angeles. Lyrics of this song at MetroLyrics
Can I Get A...
"Can I Get A..." is a song recorded by American rapper Jay-Z, featuring Amil and Ja Rule. It was released on Def Jam's Rush Hour Soundtrack in promotion of the film Rush Hour, but appears on Jay-Z's third album Vol. 2... Hard Knock Life as its first single; the song is produced by Lil' Rob. The song is notable for popularizing a young Amil and Ja Rule, as well as becoming one of Jay-Z's most commercially successful singles at the time, peaking at #19 on the Billboard Hot 100; the chorus of the original song starts with "Can I Get A'Fuck You'?", but it was censored to "Can I Get A'What What'?" and ".. Whoop whoop" for radio airplay; the song deals with the question of whether Jay-Z's girlfriend would stick with him if he wasn't wealthy. The vinyl "Can I Get A..." single was released in 1998 with two tracks that do not feature Jay-Z: Ja Rule's "Bitch Betta Have My Money" and Wu-Tang Clan's "And You Don't Stop". The CD single was released in 1999 with two different tracks that do not feature Jay-Z: Case and Joe's "Faded Pictures" as well as Dru Hill and Redman's "How Deep Is Your Love".
All songs were included in the Rush Hour soundtrack. Janet Jackson's 2004 song "Strawberry Bounce", from her album Damita Jo, samples "Can I Get A...". VH1 ranked "Can I Get A..." at No. 57 in the network's 100 Greatest Songs of the 90s. Chris Penn appears in the video as a bartender. Jermaine Dupri makes a cameo. "Can I Get A..." – 5:13 "Faded Pictures" – 3:48 "How Deep Is Your Love" – 3:58 "Can I Get A..." "Bitch Betta Have My Money" "And You Don't Stop" "Can I Get A..." "Bitch Betta Have My Money" "And You Don't Stop" List of songs recorded by Jay-Z
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in
Roberto L. Flores, best known by his stage name Lil Rob, is a Mexican-American rapper and actor. Flores was born in San Diego, raised in La Colonia de Eden Gardens, a Mexican-founded neighborhood in Solana Beach, California. In the early 1990s, he began performing under the name Lil Rob & the Brown Crowd, recorded a single titled "Oh, What a Night in the 619". Though it did not chart, it was featured on his 1997 debut album Crazy Life, with the title shortened to "Oh, What a Night". In 1994, his chin was shattered when he was shot in the eye later. During his career, Lil Rob has collaborated with fellow Chicano rappers Mr. Shadow, Mr. Sancho, OG Spanish Fly, mainstream artists such as Paul Wall, The Game, E-40 and Pitbull. Lil Rob and Mr. Shadow were in a group called The Mayhem Click; the numbers twelve and eighteen, which are tattooed on his forearms, represent the numeric value of the letters L and R, the initials of his stage name. The number was used during his days as a graffiti tagger. In 2002, Lil Rob signed to Upstairs Records.
He found commercial success with the 2005 release Twelve Eighteen in which the single "Summer Nights" received national airplay, a first in his career. "Summer Nights" peaked at # 36 on # 13 on the Hot Rap Tracks chart. The follow-up single, "Bring Out the Freak in You", peaked at #85 on the Hot 100 Charts, at #20 on the Hot Rap Tracks; the exposure led to small roles in the 2005 Cuba Gooding, Jr. film Dirty and the 2007 Rob Schneider vehicle Big Stan, both of which were released straight to DVD in the U. S. On June 29, 2007, Lil Rob made his first appearance overseas in Okinawa, Japan. 1218 was featured the single "Let Me Come Back" featuring Fingazz. In 2009, Love & Hate, was released, in 2013, he released a new song called "Don't Want to Fall in Love". In 2014, his ninth album, R. I. P. was released. Lil Rob was in conflict with Mr. Shadow, Royal T, Mister D. Mr. Shadow would malign Lil Rob on hit singles, "Shadow of Your Death", "Excited" and "Excited 2"; these songs were from the album Till I Die.
One of the reasons why Mr. Shadow had problems with Lil Rob was because Mr. Shadow claimed that Lil Rob was not from San Diego. Mr. Shadow claimed. Mr. Shadow felt that Lil Rob was lying to everyone about being raised in San Diego, CA. In 2005, on the Twelve Eighteen album, Lil Rob would speak ill towards Mr. Shadow, on the song "I Who Have Nothing". Lil Rob feuded with Royal T, left his label, on account of marketing issues. Royal T, the executive producer of Low Profile Records, had created a scam that involved Lil Rob's albums to have the same bar code as Royal T's CDs, which resulted in Royal T automatically receiving the profits. According to Lil Rob's manager, Lil Rob sold over $1 million worth of his own CDs and didn't receive a dime; as soon as Lil Rob left Low Profile, Lil Rob recorded a diss aimed towards Low Profile, entitled "The Last Laff" on The Last Laff EP. Low Profile Records responded with a track entitled "Riders", featuring Royal T, Lil' Bandit & Mr. Sancho. Lil Rob recorded another diss track entitled "Call the Cops", directed at Royal T on 2002's The Album.
Lil Rob recorded diss tracks "Bluffin'", dissing directly at Royal T and "Boo Hoo Hoo" dissing both Royal T and Mr. Shadow off of 2004's Neighborhood Music. Lil Rob has collaborated with musicians such as Mr. Shadow, Lil Cuete, Royal T, Mr. Lil One, Mr. Sancho, OG Spanish Fly, Fingazz, Kid Frost, Frankie J, J. Cole, Pitbull, N. O. R. E, Chingo Bling, Bizzy Bone, Far East Movement, Baby Bash, The Game, Eric Bellinger, Ice Cube, WC, Dyablo, NB Ridaz, SPM, Fat Joe, Paul Wall, Flo Rida, Voltio and C-Kan. List of Chicano rappers Lil Rob on IMDb Official website