Bred on Chicago's South Side, R&B singer Jeremih taught himself how to play several instruments and didn't consider himself a vocalist until a warmly received performance at a talent show. At Chicago's Columbia College, he struck up a partnership with producer Mick Schultz, and the two closely collaborated on the material that would become Jeremih's debut album, released in June 2009 on Def Jam. "Birthday Sex," its first single, debuted on Billboard's R&B/Hip Hop Singles chart that March; by mid-May, it was already in the Top Ten, poised to become the year's breakout bedroom ballad à la J. Holiday's "Bed." Jeremih, his self-titled album, produced entirely by Schultz, was released in late June 2009. At that point, "Birthday Sex" had crossed over to the Top Ten of the Billboard Hot 100. ~ Andy Kellman, All Music Guide
Chris Dooley, Jr.[1] (born 1989) better known by his stage name Hurricane Chris, is a rapper based in Shreveport, Louisiana. After local success as an underground performer, he entered the national scene with his hit song "A Bay Bay".[2] Dooley attended Huntington High School in Shreveport. In 2007, Principal Jerry Davis declared September 25 as "Hurricane Chris Day".[3] In an interview with Samantha Morgan of the Baton Rouge, Louisiana newspaper The Advocate, he stated that he came up with "Hurricane" as part of his stage name from his ability to rap fast and twist the words, "like a hurricane had just blown through".[1]After hearing a chant of "A Bay Bay!" by local DJ Hollywood Bay Bay, Hurricane Chris modified the chant to "Bay Bay" to his hit song of the same name.
Atlanta, Georgia-based producer Mr. Collipark was fascinated by the song and later helped Chris be signed to J Records in 2004, when his major-label debut 51/50 Ratchet was released in October.[2] The sound of the album was inspired by ratchet, a type of crunk rap music locally popular in Shreveport.[4] Soon afterwards, Rap-A-Lot Records released You Hear Me?, a compilation of songs Chris recorded before 51/50 Ratchet including "You Hear Me?" and "Yep".[5] In August 2007, a mixtape of his titled Louisi-Animal had also been released. "The Hand Clap" was the next single off 51/50 Ratchet.[6]
The first single off his next album, Unleashed,[7] is "She's Fine".[8]
so much, its aged prematurely. Bands have evolved and even died as its progressive strain mutates and grows. Being a genre so bratty, angst ridden, and fucked around, punk is a recycled phenomenon. Its infectious armour heals after a continuous battering. 1989 may have offered a revival, a medication to ease niggling pains. A band offered a drug with impact more potent than domestic painkillers. This trio offered their own formula, a concoction of highly fuelled shouts, layered with their own views.
1989 was the year were a certain venue housed a band on the road to future greatness and milestones. Gilman Street reeked of punk, sweat and promise. A modest starting point for bands to elevate and nurture together. To talk about their dreams, their analysis of Rock and Roll. Fans swapped stories of their times in Gilman, bands jumped and showered themselves in their faithfulls passion. Sweet Children formed under the bright lights of Gilman, a band made up of bratty latch-key teenagers. Kids who mastered the art of rolling doobies and drinking beer. But music was a passion they all shared, a cause they could confide in. Gilman would become a lair they could showcase a musical intent, with fiery, ultra-angst songs that the crowd would relate to. Of course, Sweet Children weren’t a finished article; they were a band growing easily without sprouting beyond their years.
Lead singer/Song writer Billie Joe Armstrong was born into a family of modest workers; a home life with comfortable settings, his mother earned a living darting around Roy’s Hickory Pit, and his Father worked as driver for renowned brand ‘Safeway’. So life was fairly modest at the early age for an inspiring rock star. Billie became musical at a tender time, releasing his first record under fiat records when he was only five. His young vocal tone was a subtle reminder of his potential, but punk seemed a distant venture at that age. Vocally sweet and nostalgic, Billie became a star of epic proportion, it was just the commence. Billie didn’t suit the child star uprise, punk would stray him away from media scrutiny, it was a genre he would upgrade and innovate in years to come.
Bass Guitarist Mike Pritchard and drummer Al Kiffmeyer (Al Sobrante) would aid Armstrong on his Punk/Rock assault. Mike’s attributes as a guitar maestro offered a density to the band, diverse spark s of rawness and sound the act needed for progress. Al sobrante contributed flair and appeal on a scale the female species craved, he was a drummer on a mission to get laid, as so were the rest of the trio. Sweet Children were formed, and Gilman Street opened its palms to them. Sweet Children would later become Green Day, a name inspired by the bands relationship with weed. A substance so meaningful to them, it deserved an inclusion. Drug relation may have inspired the bands later gems.
But times change, minds alternate and band members split from the charge, and al Sobrante did just that. The drummer ventured into a college education when Green Day were still raw and under development, but will always be held in high esteem as the drummer who witnessed the commence of something special. The act hired a drummer with a fun infused aura they needed, humour goes far in Punk Music. Frank Edwin Wright 11 Aka (Tre Cool) filled the missing void, a stupendous drumming powerhouse who bolstered the bands quality factor, Green Day was fully fledged and ready to rise against the world.
By 1989, Green Day became a force. A respected pact in Gilman and in the fume of Berkeley. The crowd lapped up the rawness; inhaling the wisdom they were being served. Gilman was a cotton wool overcoat for Green Day, a stage that paid homage to them. Branching out of Gilman was on the cards, as the band released their first EP, 1039 Smooth in 1989 under Lookout records. Lookout records was an independent label founded by Musician Lawrence Livermore who spotted the band in its glory and later captured their signature.
1039 smooth later morphed into a fully classified track list. 1039 Smoothed Out Slappy Hours was a characteristic voyage for the outfit, a direction that was needed. A modest account of teenage life, a plot fuelled by angst, sexual neglection and suburban alienation. That was a viewpoint the band had on their home life, a viewpoint they and thousands of other teenagers tried to address. Music was the only suppressant, a pleasure button they could press without being disregarded. Green Day first outing was a success. 1039 was an instant slab of punk, simply coordinated and brash, but punk/rock isn’t supposed be clean and groomed. Lookout found a hidden gem, and that started to shine brighter.
Smoothed sounded mature, lyrically sound and exuberant. From the first pace of ‘At the Library’ to the rage and disapprovement ‘Of Why Do You Want Him’ Billie Joe’s vocals were raw, cranky, and radical, with a right tone of Punk. From the starting point Green Day ignited Rock, stating a new revolution and bratty music bloomed and once again became lively. With music so angst ridden it became the norm. Featuring their own account, their own Punk formula, and a musical trio served justice.
Green Day ventured again into the recording studio in 1991.,to develop their second lookout release. Kerplunk was on the radar, a album lying on the same lines as Smoothed. An album yet again reviewed their teenage growing pains, with songs overblown with young angst. Kerplunk soled thousands of copies making lookout a prime fortune as well building the labels reputation. ‘Christie Road, ‘Welcome to Paradise’ were all placed among Kerplunk’s armoury. Songs that showed songwriters emphasise of his own self awareness.
Green Day eventually outgrew Gilman, they had and unmatched lead in Punk/Rock by the early 90’s. The venue that housed the band on their crusade had quickly became out of favour. The band played their last show in front of a crowd that were there from the very beginning, witnessing the band nurture and evolve into a true fixture. 1993 reared its head quickly; and Green Day ended their stay with Lookout Records to venture into Major league status. Lookout was a great nurturing sector for the trio who were destined to hit scales other Lookout recruits could only dream of. By 1993 Green Day signed a lavish deal with Reprise. A Record label build by Warner Bros, the company who were true leaders in film. Green Day would agree to undertake the task of releasing 5 studio albums under the Major label. And the band wasted no time in contributing.
Green Day latched onto a genre like leeches prowling for blood. The Berkeley Trio’s innovation under the splitting lights of punk rock was prominent in why the 90s was such a wholesome decade, with music so angst ridden it became the norm. Featuring their own account, their own Punk formula, and the Berkeley trio served justice when 94 arrived. The band set the punk/Rock fuse alight with an array of fast-paced, in your face gems. Dookie would land in 1994, taking the act to distant angles in Rock. Bolstering their reputation of being the next darlings of Punk.
Dookie still harboured the same raw emotion and intent as prior records. It was just more homogenised, with more defined and professional input. Yet again the album’s content previewed the acts analysis of sexual disarray. Featuring an in depth look at Humdrum life, the desire to get laid as well a weed influence, would you expect any less? Dookie was an awesome leap forward in terms of maturity and wealth. The songs were 2.minute lashings of punk in all its glory. From the outset to the conclusion, fans were left over-awed and musically junkiified.
Dookie’s decisive inclusion elevated the band to a broader future. The tracks were of higher quality, with a silky vocal overlay. From the drum infused intro of ‘Burnout’ to the calming, soothing aftermath of ‘FOD’ of course still flew into loud-mouthed belter. ‘Welcome to Paradise’ was given a new sheen as it was to good to be shelved. ‘Basket Case’ would become an instant hit, a flamboyant analysis of insanity. Overall, Dookie was a milestone, and it was only Green Day’s third full length album, that showed class. Dookie was conceived as the next great album after Nirvana’s masterpiece never mind. It took the band to sufficient places, making the act 10 million sellers. Dookie would later be praised gold, and be acclaimed by artists and critics alike.
1995 would be the year insomnia reeked havoc. Green Day took a spell out of the fast-paced train ride of punk, by becoming family men. Billie Joe was granted father-ship, so his rock star charge was put on a back-burner. The band needed a record to match or even overtake Dookie’s groundbreaking stance as their elevator to true punk/rock prominence, and an album influenced by sleepless nights would become the challenger. With a dark overtone, insomniac was released in late 95. An overbearing urge to get noticed again was put in remission; insomniac may have been a dampener as couldn’t quite aim high enough. Not as fundamental or glittering as Dookie, but Musician’s mature.
Dookie spoke of teenage growing pains, masturbation, weed, and humdrum suburbia. Insomniac spoke of family values, as the band entered new places. All though insomniac wasn’t a consistent inspiration as the masterpiece that cemented Green Day, the album had its fair share of jewels. Opening with slickness, ‘Armatage Shanks’ starts a healthy track list. Billie Joe writes about a mindset engulfed with dread and self-disregard. The singer enters a darker world, maturing heavily when bellowing out insomniac’s profound content. The catchy ‘Stuck with me’ has a Dookie influence, not sticking to insomniac’s deep tone. ‘Geek Stink Breath’ quirky intro settles into a belter that beds into the mind, insomniacs has a knack of achieving such things. A song discussing the consequences of Crystal Meth, a substance that’s ridden in America’s drug underworld. Insomniac’s growth misses a few inches. As follow up albums go, it’s half-measured, and half-inspiring as Dookie. But still packed enough classics to keep the fans craving another slice.
Insomniac sells where heavily inferior to that of Dookie’s. The band only shifted 5 million copies, still a hefty margin, but disappointing considering prior achievements. If it was only a basic poster boy band that earned sales of that magnitude, then the World would sit and take notice, but Green Day is a special band, and special bands should top statistics and learn from media scrutiny. Fans argued and shared their thoughts on Insomniac; some even stated that it outclassed Dookie, some called for its execution, that’s how stern Music followers can be. Green Day then took a break from the overhaul of Music’s stronghold as two years passed without a sound. In 1997, Green Day burrowed out of hibernation with 4th instalment Nimrod. A layered album breaching the darkness, and fierce undertone of Insomniac. Green Day was entering modern times, music angled towards pop/punk. Music was changing, alternating under the noses of a band that kick-started revolutions when music really mattered.
Nimrod was a contrasting barrier, free-flowing with centrepiece classics. Deeply melodic, Green Day showed a softer approach to punk. Battling off manufactured bands that tried to overtake and steal the Berkeley Trio’s crown, Green Day fought and won with no blood shed. Nimrod elegance was a factor of the bands maturity. They weren’t teenage outcasts anymore; they were adults, a band growing old gracefully. Nimrod was that of grace, in sound and in motive. Dookie had no influence in Nimrod’s charge for glory. From the outset melody becomes apparent; the cranky, strewn sound is replaced by a more defined, earthy feel. Not to say that nimrod is cowardly or a watered down anti-punk cause, it is punk, just with a prettier face.
Hills, California. Since its formation in 1996, the band has sold more than 50 million albums[2] and won two Grammy Awards.[3][4] It achieved mainstream success with its debut album, Hybrid Theory, which was certified Diamond by the RIAA in 2005.[5] Its following studio album, Meteora, continued the band's success, topping the Billboard 200’s album charts in 2003, and was followed by extensive touring and charity work around the world.[6] In 2003, MTV2 named Linkin Park the sixth greatest band of the music video era and the third best of the new millennium behind Oasis and Coldplay.[7]
Having adapted the nu metal and rapcore genres to a radio-friendly yet densely-layered style in Hybrid Theory and Meteora,[8][9][10] the band explored other genres in their next studio album, Minutes to Midnight.[11][12] The album topped the Billboard charts and had the third best debut week of any album that year.[13][14] They have also collaborated with several other artists, most notably with rapper Jay-Z in their mashup album Collision Course, and many others on Reanimation.[9] Early years (1996–1999)
Originally consisting of three high school friends, Linkin Park’s foundation was anchored by Mike Shinoda, Brad Delson, and Rob Bourdon.[1] After graduating from high school, the California natives began to take their musical interests more seriously, recruiting Joe Hahn, Dave "Phoenix" Farrell, and Mark Wakefield to perform in their band, Xero. Though limited in resources, the band began recording and producing songs within Shinoda’s make-shift bedroom studio in 1996.[1][15] Tensions and frustration within the band grew after they failed to land a record deal.[1] The lack of success and stalemate in progress prompted Wakefield, at that time the band's vocalist, to leave the band in search for other projects.[1][15] Farrell also left to tour with Tasty Snax and other bands.[16][17]
After spending a considerable time searching for Wakefield's replacement, Xero recruited Arizona vocalist Chester Bennington. Jeff Blue, the vice president of Zomba Music, had referred him to the band in March 1999.[18] Bennington, formerly of Grey Daze, became a standout among applicants because of his unique singing style. The band changed its name from Xero to Hybrid Theory.[16] The newborn vocal chemistry between Shinoda and Bennington helped revive the band, inciting them to work on new material.[1] The band’s renaissance culminated with a change in name; from Hybrid Theory, the band changed its name to Linkin Park, a play on and homage to Santa Monica’s Lincoln Park.[1] However, despite these changes, the band still struggled to sign a record deal. After facing numerous rejections from several major record labels, Linkin Park turned to Jeff Blue for additional help. After failing to catch Warner Bros. Records on three previous reviews, Jeff Blue, now the vice president of Warner Bros. Records, helped the band sign a deal with the company in 1999. The band released its breakthrough album, Hybrid Theory, the following year.[18]
Hybrid Theory (2000–2002)
Linkin Park released Hybrid Theory on October 24, 2000.[19][20] The album, which represented half a decade’s worth of the band’s work, was edited by music producer Don Gilmore.[1] Hybrid Theory was well received by music fans; the band sold more than 4.8 million records during its debut year, earning it the status of best-selling album of 2001, while singles such as "Crawling" and "One Step Closer" established themselves as staples among alternative rock radio play lists during the year.[16] Additionally, other singles from the album were featured in movies such as Dracula 2000, Little Nicky, and Valentine.[16] Hybrid Theory was also nominated for three Grammy Awards, including best new artist, best rock album, and best hard rock performance (for "Crawling").[21] MTV awarded the band their Best Rock Video and Best Direction awards for "In the End".[1] Through the winning of the Grammy for best hard rock performance, Hybrid Theory’s overall success had catapulted the band into the mainstream's attention.
During this time, Linkin Park received many invitations to perform on many high-profile tours and concerts including Ozzfest, Family Values Tour and KROQ Almost Acoustic Christmas.[16][22] The band also formed its own tour, Projekt Revolution, which featured other notable artists such as, Cypress Hill, Adema, and Snoop Dogg.[18] Within a year’s stretch, Linkin Park had performed at over 320 concerts.[1] The experiences and performances of the precocious band were documented in its first DVD, Frat Party at the Pankake Festival, which debuted in November 2001. Now reunited with former bassist Dave Farrell, the band began work on a remix album, dubbed Reanimation, which would include works from Hybrid Theory and Hybrid Theory EP.[16] Reanimation debuted on July 30, 2002, featuring the likes of Black Thought, Jonathan Davis, Aaron Lewis, and many others.[23] Reanimation claimed the second spot on the Billboard 200, and sold nearly 270,000 copies during its debut week.[24]
Meteora (2002–2004)
Following the success of Hybrid Theory and Reanimation, Linkin Park spent a significant amount of time touring around the United States. The band members began to work on new material amidst its saturated schedule, spending a sliver of their free time in their tour bus' studio.[25] The band officially announced the production of a new studio album in December 2002, revealing its new work was inspired by the rocky region of Meteora in Greece, where numerous monasteries have been built on top of the rocks.[26] Meteora featured a mixture of the band's previous nu metal and rapcore styles with newer innovative effects, including the induction of a shakuhachi (a Japanese flute made of bamboo) and other instruments.[1] Linkin Park's second album debuted on March 25, 2003 and instantly earned worldwide recognition,[1] going to #1 in the US and UK, and #2 in Australia.[15]
Meteora sold more than 800,000 copies during its first week, and it ranked as the best selling album on the Billboard charts at the time.[27] Music videos for some of the album's singles, including "Somewhere I Belong", "Breaking the Habit", "Faint", and "Numb", received significant radio attention.[28] By October 2003, Meteora sold nearly three million copies.[29] The album's success allowed Linkin Park to form another Projekt Revolution, which featured other bands and artists including, Mudvayne, Blindside, and Xzibit.[1] Additionally, Metallica invited Linkin Park to play at the Summer Sanitarium Tour 2003, which included well-known acts such as Limp Bizkit, Mudvayne and Deftones.[30] The band released an album and DVD, entitled Live in Texas, which consisted of audio and video tracks of some of the band's performances in Texas during the tour.[1] In early 2004, Linkin Park started a world tour titled the Meteora World Tour, supporting bands on the tour include Hoobastank, P.O.D. and Story of the Year.
Meteora earned the band multiple awards and honors. The band won MTV's awards for Best Rock Video ("Somewhere I Belong") and the Viewer's Choice Award ("Breaking the Habit").[31] Linkin Park also received significant recognition during the 2004 Radio Music Awards, winning the Artist of the Year and Song of the Year ("Numb") awards.[31] Although Meteora was not nearly as successful as Hybrid Theory, it was the third best selling album in America during 2003.[16] The band spent the first few months of 2004 touring around the world, first with the third Projekt Revolution tour, and later several European concerts.[16]
Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American recording artist, entertainer and businessman. The seventh child of the Jackson family, he made his debut as an entertainer in 1968 as a member of The Jackson 5. He then began a solo career in 1971 while still a member of the group, and that successful career led to him being dubbed the "King of Pop"[1] in subsequent years. Jackson's 1982 album Thriller remains the world's best-selling album of all time,[2] and four of his other solo studio albums are among the world's best-selling records: Off the Wall (1979), Bad (1987), Dangerous (1991) and HIStory (1997)
In the early 1980s, he became a dominant figure in American popular music and culture. He was the first African American entertainer to amass a strong crossover following on MTV. The popularity of his music videos airing on MTV, such as "Beat It", "Billie Jean" and "Thriller"—widely credited with transforming the music video from a promotional tool into an art form—helped bring the relatively new channel to fame. Videos such as "Black or White" and "Scream" made Jackson an enduring staple on MTV in the 1990s. With stage performances and music videos, Jackson popularized a number of physically complicated dance techniques, such as the robot and the moonwalk. His distinctive musical sound and vocal style influenced many hip hop, pop music and contemporary R&B artists across several generations.
Jackson donated and raised millions of dollars for beneficial causes through his Heal the World Foundation, charity singles, and support of 39 charities. Other aspects of his personal life, including his often changing appearances and eccentric behavior, generated significant controversy that damaged his public image. Though he was accused of child sexual abuse in 1993, the criminal investigation was closed due to lack of evidence and Jackson was not charged. The singer had experienced health concerns since the early 1990s along with conflicting reports regarding the state of his finances since the late 1990s. Jackson married twice and fathered three children, actions which caused further controversy. In 2005, during People v. Jackson, Jackson was tried and acquitted of different sexual abuse allegations and several other charges.
One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, his other achievements include multiple Guinness World Records—including one for "Most Successful Entertainer of All Time"—thirteen Grammy Awards, thirteen number one singles in his solo career, and the sale of 750 million records worldwide.[3] At the time of his death, Jackson was preparing for This Is It, a series of 50 concerts that would have been held at The O2 arena in London, beginning July 13, 2009.[4]
