Photo: Marco Piraccini\Archivio Marco Piraccini\Mondadori via Getty Images
How Rihanna's "Work" Reinvigorated Dancehall
Released in 2016, "Work" was a triumphant return to the Caribbean sound Rihanna had stepped away from upon her mainstream arrival. For the GRAMMY-nominated hit, Rihanna embraced the use of Patois as well as a sexually defiant, empowered point-of-view.
Rihanna’s single "Work" announces itself the same way steam rises. It bubbles, gulps and bellows upward until it reaches the surface; we're already hot and sweaty by the time her voice arrives. The Barbados singer’s trance-like repetition of the word "work" grinds itself against the dancehall sound that first made her famous.
Released in 2016 as the first single from her eighth studio album, ANTI, "Work" was a return to roots. The track harkened back to the Caribbean musicality and pronunciation of her debut album, which had been slowly fazed out in favor of more pop-driven albums Good Girl Gone Bad and Rated R.
With "Work," Rihanna brought dancehall culture and pathos into the mainstream, continuing the work of fellow Caribbean singers like Carroll Thompson, Ginger Williams and Donna Rhoden. By boldly using a Caribbean and Jamaican-influenced song as the lead single on ANTI, Rihanna made a political statement as much as a musical one. "Work" can be read as rejection of the whitewashing of her work and of the Americanized image created for her by Def Jam.
Rihanna was at a career high when "Work" was released, and the return to her origins pushed her to new heights. The song reached No. 1 on the Billboard Hot 100 — the first dancehall track to top the chart since"Rude Boy" in 2010 — and later earned nominations for Record Of The Year and Best Pop Duo/Group Performance at the 59th Grammy Awards.
Written by Jamaican American artist, PartyNextDoor and produced by Kingston, born Boi-1da, "Work" takes production cues from mid-90s Dancehall hits, the Beenie Man and Mr. Vegas collaboration "Badman Nuh Flee" and Sean Paul’s "Fit and Legit." Boi-1da employs hand-claps, auto-tuned harmonizing, muffled piano and flute, as Rihanna shouts into the void. When added to samples of the late-90s hit "Sail Away (Riddim)," "Work's" chorus, verse and bridge bleed into a single, pulsating orgy of sound.
The single was initially met with suspicion by American audiences, some of whom were confused by the simplicity of the song's bare-bones composition and use of Patios, a West African-influenced creole language spoken in the Jamaican diaspora. This dialect can be heard in many modern rap songs, and Rihanna incorporated Patios in singles such "Rude Boy" and "Man Down."
Her use of Patios was a step away from the manufactured, white-washed image created by the major studio machine and a return to her roots — all while continuing to embrace her sexually defiant, female point-of-view. In "Work," Rihanna's voice is steely and unbothered, yet vulnerable and present. The chorus’ monotony borders on a parody of the rinse and repeat pop "Work" inspired and elevated.
Rihanna makes clear her Caribbean intonation, delivering the lyrics to "Work" in a leisurely, laissez-faire style. What many white critics confused for simplicity or obscurification, Rihanna is simply singing for her people in the Afro diaspora. As Rihanna told Vogue of the song, "I felt like if I enunciated the words too perfectly, it would just not be the same attitude or the same sass... This song is definitely a song that represents my culture, and so I had to put a little twist on my delivery."
"Work" can be loosely translated as a Jamaican patois for sex and this insider understanding drenches the song in a steamy subtext, making Rihanna’s repeated use of "work" a personal yearning for intimacy. The word "work" melds into itself, becoming a wordless amalgamation of sex and sweat, and the more Rihanna repeats herself, the more empowered the song becomes.
Read More: The Women Essential To Reggae And Dancehall
Throughout Rihanna’s career, she has asserted herself within the praxis of power. Songs like "Bitch Better Have My Money," "S&M" and "Rude Boy" show the singer consistently in control, delivering lyrics as raunchy and robust as Jamaica's Ranking Slackness, who penned infamously double-entendre odes.
As Jamaican music scholar Frederick R. Dannaway wrote, "woman’s sexuality is a powerful force, and is slightly feared, from the days of Nanny Maroon who repelled bullets with her pum pum." Rihanna has known this since she released her first single, "Pon de Replay," a dancehall track with a title taken from Bajan Creole, the spoken language of Barbados.
In "Work," Rihanna connects to dancehall’s legacy of sexual innuendo and erotic lyricism. That PartyNextDoor claims to have written the single as a break-up song shows the level of ambiguity and complexity Rihanna brings to the vocals.
Rihanna begins the song by showing her discontent with her current lover, echoing PartyNextDoor’s break-up intentions, "Dry! Me a desert him / Nuh time to have you lurking." She feels used by her lover, who only sees her as a sexual conquest. But by the second verse, she expresses vulnerability, admitting her own mistakes in the seemingly toxic relationship, "Baby don't you leave" and "If I get another chance to / I will never, no, never neglect you / I mean who am I to hold your past against you."
Not everyone is up to the task of Rihanna’s table-setting skills. Drake fails to deliver as the song’s guest rapper, who tries to appear nonchalant with his slow, "rolled-out-of-bed" delivery. Rihanna could have easily made this a solo single, but her year's worth of Drake dalliances make the rapper the perfect foil for her lyrics' intended target. When his verse arrives, Rihanna has gone from disgruntled damsel to passion’s inevitability.
That "Work" is both infectious and unknowable, simple yet complex, is indicative of the identities attached to Millennials and continued by Gen Z. With "Work," Rihanna created her definitive masterpiece of a long and storied oeuvre. That her greatest hit is a Caribbean riddim, only adds to Rihanna’s rich legacy as her generation's ambassador and innovator in Caribbean music.
Ladies Antebellum And Gaga, Jeff Beck, David Frost, John Legend Win Three GRAMMYs Each
Arcade Fire wins Album Of The Year; Esperanza Spalding wins Best New Artist
(To view a list of 53rd Annual GRAMMY Awards winners, click here.)
The evening began with a tribute to the Queen of Soul, Aretha Franklin, but by the time the last of the 53rd Annual GRAMMY Awards was handed out on Feb. 13, several other singers and bands looked something like royalty. Foremost among them was Lady Antebellum, who walked away with three trophies while the group members earned two more each for songwriting categories.
Lady Antebellum at the GRAMMYs
During a show memorable for its range of fully fueled performances, the country superstars sang a pitch-perfect medley of tunes that ended with a quiet rendition of the song that launched them, "Need You Now," and shortly afterward collected the Song Of The Year GRAMMY for it (along with co-writer Josh Kear, with whom they also took Best Country Song). But there was plenty more to come for the trio. They also took home the GRAMMY for Best Country Album for Need You Now. Accepting that award, lead singer Charles Kelley said, "This song has completely flipped our world upside down." By the time Lady Antebellum stood up to collect a trophy for Record Of The Year for "Need You Now," they were in disbelief, and possibly discombobulated: "Oh my gosh, we're so stunned we started walking the wrong direction," said singer Hillary Scott breathlessly.
Also racking up awards was Lady Gaga, who claimed three: Best Pop Vocal Album for The Fame Monster, and Best Female Pop Vocal Performance and Best Short Form Music Video for "Bad Romance." Never one to miss the chance to make an entrance, she hatched herself onstage from a giant opaque egg. That was a riff on her new single, "Born This Way," and perhaps her bared shoulders, which sprouted a pair of pointy elbows, were too. Her dancers and outfit gave off a Cleopatra vibe, but Gaga can't be stopped from seeming ultra-modern, and her performance of "Born This Way" reflected that; it was a warp-speed whirlwind.
Lady Gaga at the GRAMMYs
In keeping with that same modernist — or maybe futurist — spirit, she accepted her award for Best Pop Vocal Album in black body armor. But Gaga also proved she can be an old-fashioned girl with a soft side. In an emotional acceptance speech for that award, she surprised the audience by thanking Whitney Houston: "I imagined she was singing…because I wasn't secure enough in myself to imagine I was a superstar. Whitney, I imagined you."
Leading the nominees with 10 nods revolving around Recovery, an album that detailed his struggles with addiction but also reestablished him as a rap force to be reckoned with, Eminem took home trophies for Best Rap Album — a triumph over rivals including Jay-Z, Drake and B.o.B — and Best Rap Solo Performance for "Not Afraid." Onstage, his swagger proved undiminished.
A flame-haired Rihanna opened Eminem's performance with a searching rendition of their duet "Love The Way You Lie," but it was Slim Shady who came out blazing, spitting the lyrics to that song before raging into "I Need A Doctor" with Dr. Dre and singer Skylar Grey; Adam Levine from Maroon 5 handled piano duty.
Closing the show and likely lifting the Sunday-night spirits of indie kids everywhere was the Canadian collective Arcade Fire, who won the Album Of The Year GRAMMY for The Suburbs and, before the night's final performance, turned in a frothy and fierce rendition of the rocking "Month Of May."
Arcade Fire at the GRAMMYs
Other multiple winners for the evening included classical music producer David Frost, legendary rock guitarist Jeff Beck and R&B artist John Legend, who each earned three awards. Among those who won two each were alternative rock band the Black Keys, jazz giant Herbie Hancock, Jay-Z, Alicia Keys, urban/alternative group the Roots, Keith Urban, and gospel singer BeBe Winans.
And in a bit of surprise, jazz bassist Esperanza Spalding won Best New Artist over teen phenom Justin Bieber, as well Canadian rapper Drake, and adventurist rock outfits Florence & The Machine and Mumford & Sons.
Esperanza Spalding at the GRAMMYs
The show also featured a few firsts, including a first-time ever GRAMMY performance by Rolling Stone frontman Mick Jagger, who helped pay tribute to fallen R&B singer Solomon Burke.
But if there was also a constant, it was the annual, high-profile celebration of music that the GRAMMYs represent, and the 53rd GRAMMYs fit the bill once again, with performances, pairings and awards presentations that were full of pleasant musical surprises.
Pop Shines With 55th GRAMMY Nominations
This year's GRAMMY nominations are an eclectic, all-inclusive ensemble of nominees perfectly reflecting the wide variety of musical genres, tastes and trends that The Recording Academy celebrates.
Pop made a strong impact in the coveted General Field categories with nominations for Kelly Clarkson (Record Of The Year for "Stronger (What Doesn't Kill You"), Taylor Swift (Record Of The Year for her pop-tinged "We Are Never Ever Getting Back Together") and Carly Rea Jepsen (Song Of The Year for "Call Me Maybe").
The nominations also marked a milestone for Fun., who received six nominations, including Record and Song Of The Year and Best Pop Duo/Group Performance for "We Are Young" featuring Janelle Monáe, and Album Of The Year and Best Pop Vocal Album for Some Nights. The Brooklyn, N.Y., trio also received a Best New Artist nomination.
"It feels good, very good," lead singer Nate Ruess said backstage at "The GRAMMY Nominations Concert Live!!" in Nashville on Dec. 5.
"American Idol" alum Clarkson is among the top female nominees with three nominations, including Best Pop Vocal Album for Stronger. Pink received a deserving nod in the Best Pop Vocal Album category for The Truth About Love, which hopefully opens the door to a performance during February's GRAMMY Awards telecast. (Side note: Pink's album features "Just Give Me A Reason," a duet with Ruess.)
It was a big night for British superstar Ed Sheeran, who grabbed a Song Of The Year nomination for "The A Team." Sheeran was overjoyed with the honor, tweeting, "I can't describe how happy I am."
GRAMMY winners Maroon 5 had a strong night with nominations for Overexposed, the group's self-proclaimed "most diverse and poppiest album yet," in the Best Pop Duo/Group Performance and Best Pop Vocal Album categories.
RedFoo and Sky Blu of LMFAO scooped up a Best Pop Duo/Group Performance nomination for their dance-pop confection "Sexy And I Know It," a deserving nomination for the world's most colorful party rockers.
Following a successful year for her GRAMMY-winning album 21, Adele's momentum is still going strong. The proud new mom picked up a nomination for her live performance of "Set Fire To The Rain" in the Best Pop Solo Performance category. Adele was nominated alongside Clarkson, Rihanna ("Where Have You Been"), Katy Perry ("Wide Awake"), and Jepsen, the latter of whom was quick to tweet that she was "over the moon excited" with the honor.
With exciting pop newcomers and veteran pop artists nominated in the General and Pop Fields, the GRAMMY Awards telecast on Feb. 10 will without a doubt be Music's Biggest Night and a terrific night for pop.
MusiCares MAP Fund Charity Auction Launched
GRAMMY Charity Online Auctions offers exclusive memorabilia from seventh annual MusiCares MAP Fund benefit
Following the seventh annual MusiCares MAP Fund benefit honoring Depeche Mode's Dave Gahan and Vans Warped Tour founder Kevin Lyman on May 6, GRAMMY Charity Online Auctions has launched the MusiCares MAP Fund Charity Auction. Presented in partnership with Kompolt, the auction is open through May 19 and features a variety of autographed music memorabilia, including items signed backstage at the MusiCares MAP Fund benefit concert by Linkin Park's Chester Bennington, Gahan and Paramore.
Additional auction items include a framed issue of Rolling Stone signed by the Rolling Stones' Mick Jagger; vintage memorabilia signed by Tony Bennett, Jackson Browne, Annie Lennox, Rod Stewart, and Barbra Streisand; guitars autographed by Kings Of Leon, Korn, Tom Petty, Kenny Rogers, and Keith Urban; unique memorabilia signed by Jeff Beck, Justin Bieber, Eminem, Lady Gaga, Bruno Mars, Muse, Katy Perry, and Rihanna; and a 54th Annual GRAMMY Awards VIP Experience for two including rehearsal passes and hotel accommodations.
To place your bid on items featured in the auction, visit www.ebay.com/grammy. All proceeds will benefit MusiCares and the GRAMMY Foundation.
The Week In Music: Who Is The Fairest Of Them All?
GRAMMY ladies go head-to-head in the battle of the pretty
What are the attributes that make the perfect woman? Is it a camera-ready glow? Fashion sense? Intelligence? Sense of humor? Talent? An uncanny argumentative ability? Chances are the ladies making AskMen.com's Top 99 Women of 2012 list have all of the above, and much more. With actress/television personality Sofia Vergara topping a list containing the usual abundance of actresses, models and paparazzi favorites, current Best New Artist GRAMMY nominee Nicki Minaj led all female musicians at No. 5. Other GRAMMY nominees putting the "s" in scintillating in the top 20 include Rihanna (No. 9), Zooey Deschanel (No. 12), Katy Perry (No. 16), and Lady Gaga (No. 18). Other notables making the grade include Selena Gomez (No. 14), Beyoncé (No. 39) and even hot newcomer Lana Del Rey (No. 95). Of course, lists of this nature are always subjective. But if you're a female looking to get in on the competition, we invite you to sample some tips from our GRAMMY Glam Squad.
While Music's Biggest Night is just a week away, Indianapolis will take center stage on Feb. 5 when the New England Patriots and New York Giants battle it out in Super Bowl XLVI. While the staff at ESPN is busy crunching statistics for their exhaustive game coverage, musicians are chiming in with their official predictions. Not surprisingly, JoJo, who grew up in Foxboro, Mass., will be pulling for Tom Brady and the Patriots. "I just feel like we [will] win by default, because we have heart," said the songstress. Putting on his analyst cap, Nelly thinks the Giants defense will be too hot for the Patriots. "I think the Giants play a little bit better defense, and I just think defense wins championships in the end," he said. Theory Of A Deadman's Tyler Connolly is leaning toward the Giants, but don't quote him on it. "I guess I'll go with the Giants," said Connolly, a San Francisco 49ers fan. When it comes to the halftime entertainment, Connolly did not mince words, however. "In reality you need to think about who's actually watching the Super Bowl — it's big dudes eating nachos and drinking beer," said Connolly. "And they want to watch the commercials with the Doritos girls. … Madonna? They're not going to watch Madonna." While there are few things better than Doritos girls, we here at TWIM we'd definitely rather watch Madonna, while enjoying a side of nachos.
Speaking of the Super Bowl, following Elton John and Madonna's Golden Globes feud last month, the Rocket Man is reportedly turning over a new leaf in offering the Material Girl some advice for her upcoming halftime performance on Feb. 5. "Make sure you lip-sync good," John advised Madonna on "Good Morning America." "I've never seen a decent one. Never ever." While Super Bowl halftime shows have arguably become more about the spectacle instead of the performance, it's hard to tell if John's advice is sincere. In 2004 the tiny dancer's response to Madonna winning the Best Live Act honor at England's Q Awards was: "Madonna, best fing live act? F off. Since when has lip-syncing been live?" While much of the Super Bowl action will happen on the field this Sunday, there's no doubt there will be lots more to see between Madonna's halftime spectacular featuring LMFAO and Nicki Minaj, and John's Pepsi commercial, set to air during the big game.
While Dave Grohl has long been known for his quirky sense of humor, evidenced by videos for Foo Fighters songs such as "Big Me" (Mentos, anyone?), "Everlong," "Learn To Fly," and, most recently, the GRAMMY-nominated "Walk," the Foos frontman is taking funny to a whole new, hopefully hysterical, level. According to a report, Grohl is teaming with comedian Dana Gould to executive produce a 30-minute sitcom for FX Networks. The show will reportedly center on a rock band that is in the midst of their big break, and a breakup. The band seeks help from a therapist, who ends up being broken herself. Did we say sitcom? This sounds like the makings of a perfectly good drama to us. But whatever the show turns out to be, we're sure it'll be a hit, given Grohl's vast voiceover experience in films such as The Muppets and television series including "Daria."
Republican presidential hopeful Newt Gingrich lost the Florida primary Tuesday to Mitt Romney by a wide margin, but that may not be the worst news he got this week. Gingrich also joined the long list of politicians who have been sued for misappropriating a pop song for a campaign without the artist's permission. On Monday, Rude Music Inc., controlled by the song's co-writer Frank Sullivan, filed suit against Gingrich for his use of Survivor's GRAMMY-winning "Eye Of The Tiger" from Rocky III. Gingrich was clearly gunning for some Rocky Balboa magic now that he appears to be the underdog again, and the anthem's other co-writer, Jim Peterik, who hasn't joined the suit, says that's okay with him. "If it motivates people to get out to the polls and create some excitement, that's what it's for," he told the Washington Post. And while Chicago-native Peterik is loyal to his native son, President Barack Obama, he concedes, "I like [Gingrich's] taste in music." Still, as Rocky himself might ask, "Yo, don't I got some rights?"
Adele's "Set Fire To The Rain" is No. 1 on the Billboard Hot 100 and Kelly Clarkson's "Stronger (What Doesn't Kill You)" is tops on the iTunes singles chart.
Any news we've missed? Comment below.
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