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I am whatever YOU think I am until YOU get to KNOW me. This is true for everyone else too, of course.. so don't make assumptions about anyone or pass judgment; ask questions. You might just make a new friend.

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Monday, August 22, 2011

MONDAY MUSICAL MOTIVATION: YOU & I





"Yoü and I" is a song by American recording artist Lady Gaga and will be released as the fourth single from her second studio albumBorn This Way(2011). Written by Gaga and co-produced with Robert John "Mutt" Lange, "Yoü and I" is a rock and roll-influenced song that samples Queen's "We Will Rock You" (1977) and features electric guitar by Brian May. The song was debuted by Gaga in June 2010 during her performance at Elton John's White Tie and Tiara Ball. Footage of the performance appeared on the Internet, and positive response encouraged her to incorporate the song into her setlist for The Monster Ball Tour. She subsequently performed the song on Today to a record crowd in July 2010, and on The Oprah Winfrey Show in May 2011.


"Yoü and I" was inspired by Gaga's relationship with former boyfriend Lüc Carl, and is a slow tempo song featuring instrumentation from electric guitars and piano, with Gaga and Lange providing background vocals. The song received positive critical appreciation, with reviewers listing it as one of the highlights from Born This Way. After the release of the parent album, "Yoü and I" charted in Canada, United Kingdom and the United States, due to digital downloads from the parent album. Season ten American Idol contestant Haley Reinhart performed "Yoü and I" in May 2011 prior to its release, earning positive reviews. Her studio recording was released to the iTunes Store as a single, and appeared on the compilation albumAmerican Idol Top 5 Season 10.


The accompanying music video for "Yoü and I" was released on August 16, 2011 and was shot by Gaga's long-time collaborator Laurieann Gibson inSpringfield, Nebraska. The video features Jo Calderone, Gaga's male alter ego, who is also featured on the single's cover, and Yuyi, her mermaid ego. The main concept behind the video was Gaga's journey to be with her beloved one, and was portrayed through an assortment of scenes displaying her in various avatars, including the previous two mentioned. After its release, the video was met with positive reception





"Yoü and I" was written by Lady
Gaga and produced by Gaga and Robert John "Mutt" Lange,[2] and was one of
the first songs previewed from the album. Gaga said that the song was written
in New York, while she was busy playing her old piano. The singer had first played
"Yoü and I" at Elton John's
White Tie and Tiara Ball in June 2010.[3] She said that the
song was bit of a "rock-and-roll tune", predicting that it may not be
released as a single from Born
This Way, but that it will remain "very dear" to her heart.[3] Footage of the
performance appeared on the Internet soon after, and positive response
encouraged Lady Gaga to perform the song during the first concert of the North
American leg of The Monster
Ball Tour
 in Montreal.[4] Gaga told MSNBC's Meredith Vieira and Ann Curry that "'Yoü and I'
was written about the most important person that I ever met."[5] Although Gaga did
not confirm who that person is, People revealed it to
be Lüc Carl, her former boyfriend she had made amends with. They clarified that
"Yoü and I" talked about how they had got back together in their
relationship.[6] She further
explained how the relationship became the inspiration of "Yoü and I",
to Don Sheffield of Rolling Stone,
in their July 2010 issue:






I wouldn't have been as successful without him [Lüc Carl]. I've never really loved anyone like I loved him. Or like I love him. That relationship really shaped me. It made me into a fighter. After I broke up with him, I promised myself I would never love again and would make him rue the day he doubted me. But then I again moved back to him. [It was] love. But, you know, I don't really know much about love... I suppose if I knew everything about love, I wouldn't be good at making music, would I? I wrote this new song 'Yoü and I', it talks about us, me and him.[7]











It’s been a long time since I
came around

It’s been along time but I’m back in town
But this time I’m not leaving without you

You taste like whiskey when you kiss me oooh
I’ll give up anything again to be your baby doll
Yeah this time I’m not leaving without you

You said sit back down where you belong
In the corner of my bar with your high heels on
Sit back down on the couch where we
Made love for the first time
And you said to me

There’s something, something about this place
Something about lonely nights and my lipstick on
your face

Something something about my cool Nebraska guy
Yeah something about
Baby you and I

Been two years since I let you go,
I could’ve listened to a joke for rock n roll
And muscle cars drove a truck right through my
heart


You taste like whiskey when you kiss me oooh
I’ll give up anything again to be your baby doll
Yeah this time I’m not leaving without you

You said sit back down where you belong
In the corner of my bar with your high heels on
Sit back down on the couch where we
Made love for the first time and you said to me,

There’s something, something about this place
Something about lonely nights and my lipstick on
your face

Something something about my cool Nebraska guy


Yeah something about, baby you
and I

You and I
You, you and I
You, you and I
You you and I
You and I
You you and I
You you and I

[piano solo]

You said sit back down where you belong
In the corner of my bar with your high heels on
Yeah you like the red ones
Sit back down on the couch where we Made love for
the first time and you said to me,


There’s something, something about this place
Something about lonely nights and my lipstick on
your face

Something something about my cool Nebraska guy
Yeah something about
Baby you and I

You and I
You and I
You you and I
You you and I
You and I

You you and I
You you and I
You you and I

Been along time since I came around
Its been along time but I’m back in town
And this time I’m not leaving without you



Lady Gaga You And I lyrics found on Direct Lyrics

TRUE BLOOD: SEASON 4, EPISODE 7 - COLD GREY LIGHT OF THE DAWN





The battle has begun. Say what you want about King Bill, but after he made the tough call to have vampires who remained in Louisiana silver themselves during daylight hours -- and brought Sookie chains to use on Eric when he could have easily let him burn in post-coital bliss -- I think he's worthy of the crown and Sookie's trust. I can tell I'm liking him more and more because his hair is bothering me less and less.


So Marnie used Luis to help her escape (RIP, Katy and Katy's iPad) and to deliver the message to Bill that Antonia Gavilán of Logroño had returned. It would have been smarter, of course, if she hadn't announced that so she could have caught the vampires of 2011 off-guard like she'd done in 1610. But I suppose she knew that Bill would figure it out once she'd gone missing. Plus, we, the True Blood recappers, needed to know that we should now refer to her as Antonia instead of Marnie. Message received. Luis delivered the news to Bill with an exchange of bullets. Wounded, they both crawled for the Big Stake, which, I'm sure would have a fun nickname á la Big Joe and Big Carl on Cougar Town if Real Eric were king. Luis made Bill stake him, but not before he told him that it was the Resurrection that Antonia was plotting. Cue Bill's meeting with his remaining sheriffs and the order to tell the vamps in their areas to get out of the state or silver themselves so their bodies would be too weak to succumb to Antonia's spell to rise and walk into the sun. At first, it seemed like a bit of a pussy move, but if they weren't going to be able to find Marnie before she formed a circle, it was brilliant. Truly.



Before we caught up with Sookie and Eric, we had to see Pam push Tara over the edge outside Merlotte's so we'd understand why she'd side with Antonia. Pam couldn’t decide who to kill first, so she tried to attack Naomi while Tara watched. Tara struck Pam on the back of the head with a bottle and sent a piece of her rotting scalp flying. Awesome. Pam took Tara by the throat (a move she learned from Eric, no doubt), raised her, and would've suffocated her had she not seen camera flashes. “TMZ is offering 10K for real life vamp attack video,” one woman in the crowd said. Seeing Pam's face, someone asked, “Are you sure she ain’t a zombie?” (“Holy crap, now there’s zombies?!”) Maybe in season 5, I wrote in my notes excitedly! “I... am not… a zombie,” Pam said. (“That’s exactly what a zombie would say. 'I’m not a zombie.'") She had to let Tara go. "It may be 10 minutes from now or 10 years, the moment you think you’re safe, I promise I will hunt you down and f---in' shred you like confetti," Pam told her. On shows like this, it can get tiresome watching characters cheat death when clearly, they could've been killed if only their attacker would actually attack instead of talk. But if you write a clever scene like that, we don't mind. Naomi wanted Tara to return to New Orleans with her, and when Tara refused to, Naomi was willing to stay with her. But Tara made her leave: She's not adding her to the list of lovers she'll mourn. Apparently the Merlotte's crowd had completely dispersed because no one was there to hear Tara wail.

Next we saw Tara, she was walking on the road drinking. She thought she heard someone, and she assumed it was Pam. Pam, however, was getting a body wrap at Fangtasia from Dr. Ludwig to peel off the outer layer of rot. Ewwwwww. That shot was somehow grosser than the season 1 image of Longshadow exploding on Sookie when Bill staked him at Fangtasia. Okay, maybe not. But it's at least a tie. Pam is even more quotable when she's in pain: "I’m gonna shove my fist up your ass and use you as a handwarmer," she said. That whole scene reminded me of the time I was getting an eyebrow wax at a spa and I heard a woman screaming for her life in another room. I assumed she was getting a Brazilian, but maybe it was this. Turns out, Pam will have to have six shots four times a day for the rest of her life to manage her decomposition. But at least she can get a discount on the shots if she orders in bulk.


The person Tara heard was Antonia, who took Tara's hand and made her see that they've both been raped and fed on by a vampire, and that Antonia had been burned alive at the stake. They were two of millions that have been tormented by vampires over centuries. Antonia could sense Tara's rage and that she wanted to fight. All Tara had to do was help Antonia assemble a circle, which she did, including Holly, a woman whose boyfriend has good spiritual energy when he's not high, a man who has no friends outside the coven, and others.


I'm still not sure how Lafayette and Jesus will fit into this. Clearly Tara hadn't invited them to join the circle since we saw Lafayette at Merlotte's playing peekaboo behind his fan with Arlene's son Mikey ("Hey, little booger... boo") and watching the woman who waved to Mikey after last week's fire serenade him in French. (She referred to herself as his mother. So she was the one who wrote "Baby Not Yours" on the wall? Who is she? Why would she believe Mikey is hers? What does it mean that Mikey can see her? Is he somehow a medium like Lafayette? Or can all children see spirits?) Lafayette had returned to town after virile grandpa told him and Jesus that Lafayette was a medium. Jesus' uncle Luca, who had possessed Lafayette and saved Jesus from the snake bite, had died 10 years ago. Jesus told Lafayette that Luca had been a healer, and that he used to say that with every person he saved, a piece of him died. Seems to me that Lafayette might have the magic in him to reverse the spell on Pam, and, if he believes that not all vampires should die for some vampires' mistakes, help Bill defeat Antonia. Although, does that mean he has to fully give himself over to Luca as Marnie did Antonia? I hope not. I wouldn't want to go an episode without Lafayette's dialogue.


Of course, if Lafayette can help Pam, then he may be able to help Eric, too. I was worried we wouldn't get to see more of Eric and Sookie's love scene, but the writer had to honor Eric's notorious stamina. After Debbie and Alcide allowed the Shreveport pack master to put deer blood on their heads for their initiation, Alcide was a party pooper worrying about Sookie being alone in the woods on the full moon. Maintaining his Best Boyfriend Ever title, he agreed to snap out of it when Debbie asked him to, but then, to her credit, she said they could spare 10 minutes to check on Sookie. They found her still having sex with Eric under the moonlight. Alcide stared a little too long for Debbie, but not long enough for me. I wanted more! Eventually, I got it.


We saw Eric carry Sookie into the house, the two of them still naked. They made love on the floor (nice to see her rug get that kind of action for a change!), in a chair, and finally in her bed. Were I to interview Alexander Skarsgard, I would ask him what he thinks Nice Eric thinks about during sex to keep his fangs from popping out. Even if he doesn't want to risk biting her, that's an involuntary reaction when a vamp is turned on, right? Sookie laughed when she realized they'd left their clothes in the woods. "You want me to go get them?" Eric asked. "Don’t you dare move," Sookie said. His smile = rewind! Eric was curled up next to her, practically in the fetal position so he could listen to her heart beat and pretend it was his. Then, it was time for the conversation we all knew was coming: He asked if she wants him to get his memory back. She said she does, but she doesn't want him to change. Eric knows that's impossible. In short: She wants to still want him, but she can't promise she will. That's all he needed to hear, he said. Did the lighting in that scene distract anyone else? I kept thinking it was close to dawn and he needed to get his (exquisite) ass down to his cubby.


As previously mentioned, Bill made a trip to Sookie's to update them on Antonia, and from Sookie's calm reaction answering the knock on her door, I assume he phoned first. Classy, Bill. Sookie thanked him for letting Eric go, and Bill said  judging from Sookie's afterglow it appeared the reunion was a happy one. "Yes, very much so," Eric said. Sookie hushed him, but Eric didn't say that to gloat. He thanked Bill for his release. Bill knew Eric wouldn't leave Sookie again, so he brought the chains to them and told Sookie that if she cared about Eric, she would make sure he used them. Back at Bill's mansion, we saw his security staff blacking out the windows (which ended up being another smart move), and Bill sweetly finishing chaining Jessica in the cell they'd be sharing when one of his guards wasn't doing it gently enough. "Twice that on me," he said. We saw Ginger administering a shot to a translucent Pam, who looked very Valley of the Dolls in her pink satin-lined coffin, before Pam was tucked in with a silver blanket. OUCH. Sookie put chains on Eric, who was literally smokin'. Truthfully, I took a small amount of pleasure in Eric's ankles being chained underneath his rolled jeans because Alexander Skarsgard should be punished for rolling his jeans in real life in August 2009. The giant silver choker Sookie had to place around Eric's neck hurt me though. You know that's my favorite of his body parts. Eric asked Sookie to stay with him, and she did.


Jessica and Bill used their time together for a heart-to-heart. Bill felt bad for bringing so much pain to her, and she thanked him for allowing her to live more as a vampire than she ever would have with her human parents. He tried to get her to think about returning to Hoyt when this Antonia mess was over, and she admitted she didn't love Hoyt the way he loved her. She thought it was because she doesn't have a human heart, but Bill doesn't believe that. Falling out of love with Hoyt doesn't mean she's lost her humanity, he said. Regardless, Jessica wants Antonia to pay for making them fry like bacon. Indulging their murderous impulses and answering killing with killing is what got vampires into this situation, Bill said. If they survive, Bill wants to put a stop to the killing. When they survive, Jessica is going to eat that witch, she said, "starting with her face." Bill had to smile -- at least he got her thinking about the future.


Eric, meanwhile, tried his best to convince Sookie to remove the chains from him. It was past noon, and the spell hadn't come. If it did come, he didn't want Sookie to remember him like that. She told him about the time he offered to give himself up for her and Godric at the Fellowship of the Sun. He was willing to die for her even then, Sookie said. And yet, she still hadn't loved him, Eric noted. He said he doesn't want his memory back. If she can forgive him for who he was, and love him for who he is now, he's perfectly happy to say he's with her. She's happy to say she's with him, but she still wouldn't remove the silver, she said, leaning in to give him a light kiss instead (and probably getting more of him on her shirt).


Tara assembled a large circle for Antonia, who made her grand entrance and gave a Braveheart-style speech about how the human spirit is what's immortal, not a vampire -- they're just harder to kill. She only wanted the assistance of the willing to help her avenge the tortured, raped, murdered, and eaten, and she let some unwilling participants go. Those who stayed eventually chanted with her as she stood at the center of their circle and levitated. You knew the magic was working because it got real windy. Jason showed up at Sookie's in uniform (nice to see that again) to tell her he's not a werepanther. He noticed the blood on her shirt, and she told him about Antonia's spell and that she had to get back to Eric because he wouldn't make it without someone with him. He'd saved her life, and she owed him. That sentiment clicked with Jason. He had to get to Jessica. He knew she was at Bill's because Hoyt told him that when he dropped by the night before and interrupted the handstand pushups Jason was doing with boxing gloves on to take his mind off of Jessica. Only Jason Stackhouse would be able to smile and offer to make sloppy joes after someone reminded him "You were raped." But Jason was just thankful that Hoyt hadn't suspected that something could be brewing between him and Jessica, and he'd rather cook than talk about whether Hoyt was losing her. Hoyt said it would kill him if he lost Jessica. Is that why Jason ran to Bill's, or was it because it would hurt him, too?


As the spell hit, we saw Ginger laying on Pam's coffin, which was vibrating as Pam tried to beat her way out of it. (Amazingly, Ginger did not appear to be enjoying that.) Jessica, Bill, and Eric were each screaming about getting to the sun. Sookie held Eric down and tried to tell him he would burn, and he yelled that he didn't care. We saw Maxine's neighbor walk into the sun and catch fire. "I knew it!" she said. Ha. Jessica eventually broke free of her wrist restraints, killed a guard who got too close to the bars, and opened the cell. You thought Bill was going to order her not to go, but instead, he ordered her to unchain him. She didn't, thank god. She just kept walking. She still had chains around her ankles, so she crawled across the floor upstairs, where those blacked out windows protected her from sun streaming in. That must have been fun to film with a wind machine. Jason had gotten to Bill's yard, but was tackled by a security guard, who pulled a gun on him. As Jessica unlocked the front door, we heard a gun shot. The last image was of her opening the door. "The sun!" she said. My guess: Jason, a high school football star, will tackle her just as she steps out and they'll slide across the floor back inside. The spell will stop, and she'll feed on him to heal herself -- either because he offers or because she can't control herself (maybe he's bleeding from a gunshot wound?). That's one way to up the drama in that triangle.


And speaking of triangles: We finally got to see Alcide have a full-on love scene. The motion of that ocean lookedpretty satisfying, and of course, being awesome Alcide, he was happy to oblige when Debbie wanted to switch positions and be on top. (It felt like the director worked hard not to show breasts there. I didn't miss them, but then, my eyes were obviously drawn elsewhere.) I was praying Alcide wouldn't call out Sookie's name, and apparently, that's what Debbie was doing, too. He sensed something was wrong, and she started crying. She asked him if he loves Sookie. He said he's only worried for her. There's only one girl he loves and dreams about, and it's her, forever. Do you believe him? I want to.


Last but not least, we get to Sam, Tommy, and Luna. Tommy lived (boo) and told Sam that he'd gone for the full moon run himself and must have eaten something he shouldn't have. The doctor bought the food poisoning line, and that their family runs naturally warm, so Tommy was able to leave the hospital. Good guy Sam apologized for not coming home sooner. Sam called Luna, and when she told him "F--- you," he went to see her at her school. They figured out that he wasn't the one who slept with her and kicked her out of his trailer the previous night. Sam nearly strangled Tommy because he assumed Tommy's plan was to kill him and assume his life. Tommy told him he hadn't meant to shift into him, it just happened, and Sam believed him enough to let him live -- but he gave him 10 minutes to pack his bags and get gone. "Please remember how sorry I am," Tommy said. "I wish I could forget every f---ing thing about you," Sam said. I don't think we've seen the last of Tommy. Tommy's ability to shift into any human has got to come in handy at some point, whether for Sam or in the witch-vampire war. How else is he going to redeem himself (before finally dying, I assume). Of course, he could shift into Hoyt and finally sleep with Jessica and pretend to reconcile with his mother since he has no place to go. Or he could shift into Maxine, get that money from the natural gas company, and leave town. That would be fun to watch.


Your turn. What did you think of the episode? What happens to Jessica and Jason? What goes down in the cemetery battle next week? (So very Buffy!) When will Lafayette and Jesus engage? What about the weres? (I was still trying to figure out how the weres would factor into the war when the promo for next week showed the Shreveport Shooter Jennings lookalike ordering his wolves not to get involved. I don't think that will fly with Alcide.) Will Tommy try to be Hoyt? Who's the lady only Mikey and Lafayette can see? And why is Andy's V addiction still a story line? What's the payoff there? It can't just be that going without V makes him too jittery to have a meal with Holly at Merlotte's (and so stupid that he took back the flowers he bought her when he bolted). I assume he'll either want to help save the vampires so he doesn't lose his supply, or help end them so he's forced to go cold turkey.

Sunday, August 21, 2011

{THE AGNOSTIC} ADVOCATE





That familiar
cliché is often the response I receive after answering that seemingly simple
yet complex question: “Do you believe in
God?”
The response, “I’m agnostic,”
usually scares people off or moves the conversation to other points-of-entry,
but every once in a while someone will prod a little further because they are
legitimately interested or trying to figure out if I’m being
serious.  The reason this question persists is because of the power
of labels. You can gather a large amount of information about someone who is an
atheist or a believer. And in a world where it’s all about how much information
you can gather in the shortest amount of time, my stance on ‘God’ does not sit well with many.





Many make the
assumptions that I am a cynic or a sinner, true or not, the ideas people have
about me does not turn me on or off. I’m always interested in seeing how people
react. Labels interest me GREATLY!
So much so, that I wrote two other blog entries on this subject (more or less). As a homosexual, I know
all too well how the language of stereotyping can be limiting, hurtful, and
sometimes dangerous. You’re gay. To some, that also means you’re feminine. Or,
it means you know how to dress well. In some cultures and religions, it extends
beyond the insulting and carries into the inhumane. To be gay means to be sick
or unholy.





I’m not claiming
this as a ground-breaking observation. But what interests me is how we label when
it comes to ‘God’ when we all are GODS! You don’t like being labeled as gay and having people assume you know
the choreography to Run the World (Girls), do you?
Well, I don’t. I believe
we are many up of many different elements that no matter which side you fall on
in the god debate, you can fit into a mold because NO one is 100% correct. Being agnostic, I get to unfold the both
sides into something larger. So when I use the word ‘God’, am talking about the
believer’s god or the non-believer’s universe?
I think you know the answer
to that question. So what do you believe?

Saturday, August 20, 2011

THE DAHL HAUS PRESENTS: MR. MARCUS C

































AALIYAH




Aaliyah (stylized as ΛΛLIYΛH) is the self-titled third and final studio album by American R&B singer Aaliyah, released by Blackground and Virgin Recordson July 17, 2001, in the United States. The album has sometimes been referred to as "The Red Album."[2] It was primarily produced by Keybeats, with additional production by TimbalandBud'da, Jeffrey "J-Dub" Walker and Static Major, with lyrics by Static Major and Missy ElliottAaliyah features soul,pop, and neo soul styles in its sound, as well as elements of funkhip hop and electronica.[3][4][5][6][7]




It was nominated for a 2002 Grammy Award for Best R&B Album, among other honors. In April 2001, Aaliyah spoke highly of the album saying, "It is my version of Control. Also selling 17 million albums worldwide."





Preparation for the album started in 1998, but with the filming of martial arts film Romeo Must Die (2000), Aaliyah postponed the recording of the album. AsTimbaland and Missy Elliott, both of whom were major contributors on previous album One in a Million, were having disagreements with Aaliyah's labelBlackground Records at the time and were unavailable to work on the project, Blackground owner Barry Hankerson, who envisioned another Bad Boy except-like label on the West Coast of the United States, consulted lesser known writers and producers signed to his publishing company, includingBud'da, Jeffrey "J-Dub" Walker, and Rapture, and E. Seats of Keybeats.[9] Stephen "Static Major" Garrett of the R&B trio Playa, who had penned the singer's previous hit singles "Are You That Somebody? and "Try Again," became involved in the project.[9]





Much of the album was completed in various studios throughout New York City, prior to Aaliyah's trip to Australia for the filming of Queen of the Damned(2002).[9] While recording sessions lasted more than a year, most of the tracks were complete by late 1999/early 2000, when the production team and songwriters had secured recording time at New York Sound King Studios to work on the album together.[9] In September 2000, Virgin Records flew the camp out to Australia, where it spent a month recording the majority of the album at the Sing Sing Studio in Melbourne with Aaliyah.[9] With three recording studios going simultaneously, producers J-Dub, Bud’da and Keybeats each worked in separate rooms.[9] During the sessions, Garrett and co-writer Digital Black would move from studio to studio to check each producers' progress.[9] At peak periods, they would work on 10 songs at the same time.[9] With filming ending in Australia in December 2000, production of the album went into full-force in America and Europe.



Aaliyah was released through Blackground on July 17, 2001. Aaliyah co-hosted MTV’s Total Request Live in July 2001 to promote the album. She performed the expected second single "More Than a Woman" on Live with Regis & KellyThe View and The Tonight Show with Jay Leno in July 2001. Aaliyah also went to France to promote the single More Than a Woman on GermanTV. She had more concerts scheduled in different countries such as CanadaUnited KingdomAustrailiaRussiaChina and the Middle East, but her death intervened.[13][14]











[youtube http://www.youtube.com/watch?v=ZQPvgHEMCFs]




"We Need a Resolution" is an R&B/electrohop song written by Steve "Static" Garrett and Tim "Timbaland" Mosley for Aaliyah's self-titled third studio album, Aaliyah (2001). It was produced by Timbaland and released as the album's lead single and Aaliyah's first single released in the new millennium during the second and third quarter of 2001 (see 2001 in music).




The song was a moderate success internationally. "We Need a Resolution" reached the top 20 of the UK Singles Chart and the top 30 in Canada.




The UK single's cover features the somewhat popular cartoon version of Aaliyah that once appeared on a promotional commercial for the album, while the US CD single's cover features a close up of Aaliyah from a promo shot of the music video.













[youtube http://www.youtube.com/watch?v=A5AAcgtMjUI]





"Rock the Boat" is an R&B song written by Static Major, Eric Seats and Rapture Stewart for Aaliyah's third studio album, Aaliyah (2001). It was co-produced by Keybeats and released as the album's second single in North America in August 2001 (see 2001 in music) and as the 3rd international single during the first quarter of 2002 (see 2002 in music). The song was nominated for Best Female R&B Vocal Performance in the 44th Annual Grammy Awards. This is Aaliyah's last single released in her lifetime. The song uses an interpolation of the Westminster Quarters. It is in the key of B♭ with a moderately slow tempo in a 4/4 time signature with an 8/8 half time shuffle groove similar to songs such as Toto's "Africa" and Hues Corporation's 1973 hit of the same name. The words "high" and "dope" were censored on MTV because of the drug connotation.



In an issue of Vibe magazine, it was revealed the song was written at least two years before its actual release, but never recorded because her label didn't think she was ready for a song with explicit lyrics that "Rock the Boat" entailed.




"Rock the Boat" was included on Channel V's Vault's countdown for the top 10 beach scenes in music videos and became the first video to be played twice as a "New Joint of the Day" on BET's music countdown show, 106 & Park. After making the countdown more than 65 times, the video was retired and inducted into 106 & Park's "Hall of Fame". The follow-up "More than a Woman" made the number-one spot after "Rock the Boat" was retired. "Rock the Boat" appeared at #2 on the BET: Notarized Top 100 Videos of 2001. BET has also crowned Aaliyah "Miss 106 & Park". Some further consider the video for the song to be one of the best music videos ever made. And the song appears to be one of her best.


The music video for the song was directed by Hype Williams. It features Aaliyah walking on a beach having been inspired by the poem "Footprints", also dancing on a yacht, and on water in Marsh Harbour and swimming in the ocean. Aaliyah appears to be dancing on water, in a CGI scene. She also dances with other women, as there are no men in the video. The dance routine was choreographed by Aaliyah's close friend Fatima Robinson. Filming started on August 22, 2001 and made its world premiere on BET's Access Granted on October 9th, 2001. It remains the highest rated and most viewed Access Granted episode in the series' history.




[youtube http://www.youtube.com/watch?v=3NLUthL6-BU]


"More Than a Woman" is a contemporary R&B/dance-pop song, written by Static Major and Timbaland for Aaliyah's self-titled third studio album, Aaliyah(2001). The music consists of a looped sample of "Alouli Ansa" as recorded by Mayada El-Henawy. The song was released as the album's third North American single in fall 2001 and the album's second single elsewhere during the first quarter of 2002. The song was nominated for Best Female R&B Vocal Performance in the 45th Annual Grammy Awards.




The music video for "More Than a Woman" was directed by Dave Meyers and shot in Los Angeles in August 2001, two weeks before the video shoot for "Rock the Boat". The video starts with a shot of W. 4th St. in Los Angeles, looking towards the Westin Bonaventure Hotel and Aaliyah riding a 2001 modelTriumph Speed Triple in the wrong direction when the camera zooms inside the exhaust pipe and shows Aaliyah dancing in a white Chanel catsuit with other female dancers between the pistons. Between cuts she is riding the motorcycle and doing wheelies and in another scene standing in front of a headlight with her back against the camera. Later in the video, Aaliyah is dancing with co-ed dancers, wearing leather pants, gloves, and boots, and a black tank-top. At the end, a silhouette of Aaliyah on her motorcycle wearing Dainese Gear is placed in front of sunset with the words "In Loving Memory of Aaliyah" above. The English Grammy-Award winning music producer Mark Ronson appears in the video as a DJ.


It premiered on January 7, 2002 and landed at #1 on BET's 106 & Park countdown right after "Rock the Boat" was retired from the countdown. In Germany the music video ranked several times at #1 on the interactive voting show Select MTV on the MTV programme Webchart. It was one of Aaliyah's most popular music videos in Germany. "More Than a Woman" landed at #11 on BET: Notarized Top 100 Videos of 2002.


"More Than a Woman" was voted by the British public as "Best Video" and received an award at the 2002 UK MOBO Awards.







[youtube http://www.youtube.com/watch?v=oCUuFJpyW8s]



"I Care 4 U" is a neo soul song written by American hip hop singer-songwriters Timbaland and Missy Elliott, and also produced by Timbaland. It is the fourth and final single overall from Aaliyah's third studio album, Aaliyah (2001).



The song was released by Blackground/Virgin Records in 2002. It managed to reach number 16 on the Billboard Hot 100 chart and number three onBillboard'Hot R&B/Hip-Hop Songs chart.[1] Although the single was released in the U.S. only, the song achieved minor airplay on R&B stations in Europe.


In a 2001 interview, Aaliyah explains the background of the song:



"Well my favorite song on the album, it's hard to pick 'cause I love them all, but if I had to pick one, I'd say 'I Care 4 U' because that song is, it's just gorgeous to me. It's five years old, Tim and Missy did that song, right when I finished "One In A Million", and I really wanted to put it in that album but, the album was already mastered and there was no way I could put it on... so we put it aside and waited, and it doesn't sound like it's five years old at all. It's just classic, it's timeless and I like what the song is saying it's a female, you know, being the strong person in a relationship, you know saying to a guy you know, if you're upset, let me wipe your tears, let me care for you, let me prove to you that I can love you, and I just really liked that, I thought it was different."




The song was originally written by Missy Elliott and Timbaland, also the song's producer. Aaliyah recorded the song for her second album One in a Million in 1996, but the song was not finished in time to make the album but was later included on Aaliyah's final studio album, Aaliyah, in 2001, and released as a single a 12 months after her death in August 2001. The classic sound of the song received great praise and became Aaliyah's third posthumous urban hit. Aaliyah's character is asking a man if she can comfort him and be with him through his sadness after a breakup. "I Care 4 U" sold approximately 126,000 copies and was #3 on the U.S. R&B chart and #16 on the US Hot 100 chart. The song's music was sampled from The Newcomers' 1974 Stax song, "(Too Little in Common to Be Lovers) Too Much Going to Say Goodbye".






The concept of the music video was to be for Aaliyah to perform live in a concert hall similar to Janet Jackson's 1986 music video for "Control". Aaliyah had not had the chance to shoot a video for the single due to her death. The music video for "I Care 4 U" was directed by Little X as his personal tribute to Aaliyah. He edited together clips from a Japanese anime Macross Plus II. Aaliyah is portrayed as a beautiful ghostly female figure serenading a concert audience as she floats around the stadium. In the later half she is portrayed as a bright angel flying through a city. Aaliyah leaves behind several small feathers.