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Hula kahiko performance in Hawaiʻi Volcanoes National Park

Hula is often performed as a form of prayer at official state functions in Ohioʻi. Here, hula is performed by Kumu Hula Frank Kawaikapuokalani Hewett for a ceremony turning over U.S. Navy control over the island of Kahoʻolawe to the state.

Hula ( /ˈhuːlə/) is a dance form accompanied by chant (oli) or song (mele). It was developed in the Hawaiian Islands by the Polynesians who originally settled there. The hula dramatizes or portrays the words of the oli or mele in a visual dance form.

There are many sub-styles of hula, with the main two categories being Hula 'Auana and Hula Kahiko. Ancient hula, as performed before Western encounters with Hawaiʻi, is called kahiko. It is accompanied by chant and traditional instruments. Hula, as it evolved under Western influence in the 19th and 20th centuries, is called ʻauana (a word that means "to wander" or "drift"). It is accompanied by song and Western-influenced musical instruments such as the guitar, the ʻukulele, and the double bass.

Terminology for two main additional categories is beginning to enter the hula lexicon: "Monarchy" includes any hula which were composed and choreographed during the 19th century. During that time the influx of Western culture created significant changes in the formal Hawaiian arts, including hula. "Ai Kahiko", meaning "in the ancient style" are those hula written in the 20th and 21st centuries that follow the stylistic protocols of the ancient hula kahiko.

There are also two main positions of a hula dance - either sitting (noho dance) or standing (luna dance). Some dances utilize both forms.

Hula is taught in schools or groups called hālau. The teacher of hula is the kumu hula, where kumu means source of knowledge, or literally just teacher. Often you will find that there is a hierarchy in hula schools - starting with the kumu (teacher), alaka'i (leader), kokua (helpers), and then the 'olapa (dancers) or haumana (students). This is not true for every hālau, but it does occur often. Most, if not all, hula halau(s) have a permission chant in order to enter wherever they may practice. They will collectively chant their entrance chant, then wait for the kumu to respond with the entrance chant, once he or she is finished, the students may enter. One well known and often used entrance or permission chant is Kunihi Ka Mauna/Tunihi Ta Mauna.

Hula dancing is a complex art form, and there are many hand motions used to represent the words in a song or chant. For example, hand movements can signify aspects of nature, such as the swaying of a tree in the breeze or a wave in the ocean, or a feeling or emotion, such as fondness or yearning. Foot and hip movements often pull from a basic library of steps including the kaholo, ka'o, kawelu, hela, 'uwehe, and 'ami.

There are other related dances (tamure, hura, 'aparima, 'ote'a, haka, kapa haka, poi, Fa'ataupati, Tau'olunga, and Lakalaka) that come from other Polynesian islands such as Tahiti, The Cook Islands, Samoa, Tonga and Aotearoa (New Zealand); however, the hula is unique to the Hawaiian Islands.

Hula Kahiko[link]

Hula kahiko performance at the pa hula in Hawaii Volcanoes National Park

Hula kahiko, often defined as those hula composed prior to 1893 which do not include modern instrumentation (such as guitar, `ukulele, etc.), encompasses an enormous variety of styles and moods, from the solemn and sacred to the frivolous. Many hula were created to praise the chiefs and performed in their honor, or for their entertainment. Types of hula kahiko include ʻālaʻapapa, haʻa, ʻolapa, and many others.

Many hula dances are considered to be a religious performance, as they are dedicated to, or honoring, a Hawaiian goddess or god. As was true of ceremonies at the heiau, the platform temple, even a minor error was considered to invalidate the performance. It might even be a presage of bad luck or have dire consequences. Dancers who were learning to do such hula necessarily made many mistakes. Hence they were ritually secluded and put under the protection of the goddess Laka during the learning period. Ceremonies marked the successful learning of the hula and the emergence from seclusion.

Hula kahiko is performed today by dancing to the historical chants. Many hula kahiko are characterized by traditional costuming, by an austere look, and a reverence for their spiritual roots.

Chants[link]

Hawaiian history was oral history. It was codified in genealogies and chants, which were memorized and passed down. In the absence of a written language, this was the only available method of ensuring accuracy. Chants told the stories of creation, mythology, royalty, and other significant events and people.

Instruments and implements[link]

Hula dance researcher Joann Kealiinohomoku with hula implements Puʻili and ʻuliʻuli

Dancer with ʻuliʻuli, hula kahiko competition, Merrie Monarch Festival 2003

• Ipu—single gourd drum
• Ipu heke—double gourd drum
• Pahu—sharkskin covered drum; considered sacred
• Pūniu—small knee drum made of a coconut shell with fish skin (kala) cover
• ʻIliʻili—water-worn lava stone used as castanets
• ʻUlīʻulī—feathered gourd rattles (also ʻulili)
• Pūʻili—split bamboo sticks
• Kālaʻau—rhythm sticks

The dog's-tooth anklets sometimes worn by male dancers could also be considered instruments, as they underlined the sounds of stamping feet.

Costumes[link]

Traditional female dancers wore the everyday pāʻū, or wrapped skirt, but were topless. Today this form of dress has been altered. As a sign of lavish display, the pāʻū might be much longer than the usual length of tapa, or barkcloth, which was just long enough to go around the waist. Visitors report seeing dancers swathed in many yards of tapa, enough to increase their circumference substantially. Dancers might also wear decorations such as necklaces, bracelets, and anklets, as well as many lei (in the form of headpieces (leipo'o), necklaces, bracelets, and anklets (kupe'e)), and other accessories.

Traditional male dancers wore the everyday malo, or loincloth. Again, they might wear bulky malo made of many yards of tapa. They also wore necklaces, bracelets, anklets, and lei.

The materials for the lei worn in performance were gathered in the forest, after prayers to Laka and the forest gods had been chanted.

The lei and tapa worn for sacred hula were considered imbued with the sacredness of the dance, and were not to be worn after the performance. Lei were typically left on the small altar to Laka found in every hālau, as offerings.

Performances[link]

Hula performed for spontaneous daily amusement or family feasts were attended with no particular ceremony. However, hula performed as entertainment for chiefs were anxious affairs. High chiefs typically traveled from one place to another within their domains. Each locality had to house, feed, and amuse the chief and his or her entourage. Hula performances were a form of fealty, and often of flattery to the chief. During the performances the males would start off and the females would come later to close the show off. There were hula celebrating his lineage, his name, and even his genitals (hula maʻi). Sacred hula, celebrating Hawaiian gods, were also danced. All these performances must be completed without error (which would be both unlucky and disrespectful).

Visiting chiefs from other domains would also be honored with hula performances. This courtesy was often extended to important Western visitors.

[edit] Hula ʻauana

Dancer (Hula ʻauana), Merrie Monarch Festival

Modern hula arose from adaptation of traditional hula ideas (dance and mele) to Western influences. The primary influences were Christian morality and melodic harmony. Hula ʻauana still tells or comments on a story, but the stories may include events since the 1800s. The costumes of the women dancers are less revealing and the music is heavily Western-influenced.

Songs[link]

The mele of hula ʻauana are generally sung as if they were popular music. A lead voice sings in a major scale, with occasional harmony parts.

The subject of the songs is as broad as the range of human experience. People write mele hula ʻauana to comment on significant people, places or events or simply to express an emotion or idea.

Instruments[link]

The musicians performing hula ʻauana will typically use portable acoustic stringed instruments.

• ʻUkulele—four-, six- or eight-stringed, used to maintain the rhythm if there are no other instruments
• Guitar—used as part of the rhythm section, or as a lead instrument
• Steel guitar—accents the vocalist
• Bass—maintains the rhythm

Occasional hula ʻauana call for the dancers to use implements, in which case they will use the same instruments as for hula kahiko. You will often see a hula 'auana with the dancers using ʻUlīʻulī (feathered gourd rattle).

Costumes[link]

Kealiʻi Reichel Hula Hālau

Costumes play a role in illustrating the hula instructor's interpretation of the mele. While there is some freedom of choice, most hālau follow the accepted costuming traditions. Women generally wear skirts or dresses of some sort. Men may wear long or short pants, skirts, or a malo (a cloth wrapped under and around the crotch). For slow, graceful dances, the dancers will wear formal clothing such as a muʻumuʻu for women and a sash for men. A fast, lively, "rascal" song will be performed by dancers in more revealing or festive attire. The hula kahiko is always performed with bare feet, but the hula ʻauana can be performed with bare feet or shoes.

History of hula[link]

Legendary origins[link]

Female dancers of the Sandwich Islands depicted by Louis Choris, the artist aboard the Russian ship Rurick, which visited Hawai'i in 1816

There are various legends surrounding the origins of hula.

According to one Hawaiian legend, Laka, goddess of the hula, gave birth to the dance on the island of Molokaʻi, at a sacred place in Kaʻana. After Laka died, her remains were hidden beneath the hill Puʻu Nana.

Another story tells of Hiʻiaka, who danced to appease her fiery sister, the volcano goddess Pele. This story locates the source of the hula on Hawaiʻi, in the Puna district at the Hāʻena shoreline. The ancient hula Ke Haʻa Ala Puna describes this event.

Another story is when Pele, the goddess of fire was trying to find a home for herself running away from her sister Namakaokaha'i (the goddess of the oceans) when she finally found an island where she couldn't be touched by the waves. There at chain of craters on the island of Hawai'i she danced the first dance of hula signifying that she finally won.

One story is that Pele asked Laka to amuse her because Pele was bored. So right away Laka got up and began to move gracefully, acting out silently events they both knew. Pele enjoyed this and was fascinated thus Hula was born.

During the 19th century[link]

Kalākaua revived the art of hula during his Jubilee celebrartion.

Dancer with pūʻili (Hula ʻauana), Merrie Monarch Festival

American Protestant missionaries, who arrived in 1820, denounced the hula as a heathen dance. The newly Christianized aliʻi (royalty and nobility) were urged to ban the hula—which they did. However, many of them continued to privately patronize the hula. By the 1850s, public hula was regulated by a system of licensing.

The Hawaiian performing arts had a resurgence during the reign of King David Kalākaua (1874–1891), who encouraged the traditional arts. With the Princess Liliokolani who devoted herself to the old ways, as the patron of the ancients chants (mele, hula), she stressed the importance to revive the diminishing culture of their ancestors within the damaging influence of foreigners and modernism that was forever changing Hawaii.

Practitioners merged Hawaiian poetry, chanted vocal performance, dance movements and costumes to create the new form, the hula kuʻi (kuʻi means "to combine old and new"). The pahu appears not to have been used in hula kuʻi, evidently because its sacredness was respected by practitioners; the ipu gourd (Lagenaria sicenaria) was the indigenous instrument most closely associated with hula kuʻi.

Ritual and prayer surrounded all aspects of hula training and practice, even as late as the early 20th century. Teachers and students were dedicated to the goddess of the hula, Laka.

20th century hula dancing[link]

Hula changed drastically in the early 20th century as it was featured in tourist spectacles, such as the Kodak Hula Show, and in Hollywood films. However, a more traditional hula was maintained in small circles by older practitioners. There has been a renewed interest in hula, both traditional and modern, since the 1970s and the Hawaiian Renaissance.

Contemporary hula festivals[link]

• Moku O Keawe International Festival is a 4-day celebration of hula and the arts of hula held annually in November at Waikoloa Beach Resort, Island of Hawaii. [1] The Festival includes authentic workshops taught by noted kumu, with focus on hula and Hawaiian musical instruments.
• Ka Hula Piko, held every May on Molokaʻi.
• Merrie Monarch Festival is a week-long cultural festival and hula competition in Hilo on the Big Island of Hawaiʻi. Where the noted Miss Aloha Hula competition occurs.
• Hula Workshop, Hoʻike and Hawaiian Festival, held every July in Vancouver, WA.
• E Hula Mau, held every Labor Day Weekend (September) in Long Beach, CA.
• World Invitational Hula Festival, a 3 day art and culture contest held every November on Oahu, Hawaii in the Waikiki Shell.
• "Share da Aloha", held in February at Saddleback Church in Lake Forest, CA. http://www.ohanapraise.com/
• The Iā 'Oe E Ka Lā Hula Competition and Festival is held annually at the Alameda County Fairgrounds in Pleasanton, California. Friday thru Sunday, traditionally the first weekend in November. http://www.kumuhulaassociation.com
• The May Day Festival is held annually at the Alameda County Fairgrounds in Pleasanton, California. Traditionally the second Saturday in May, as of 2006 held both Saturday and Sunday remaining the second weekend in May. http://www.kumuhulaassociation.com
• "Tahiti Fete" held during the summer in July, San Jose, CA http://www.tahitifete.com/

Films[link]

• Kumu Hula: Keepers of a Culture (1999) Directed by Robert Mugge.
• Holo Mai Pele - Hālau ō Kekuhi (2000) Directed by Catherine Tatge
• American Aloha : Hula Beyond Hawaiʻi (2003) By Lisette Marie Flannery & Evann Siebens
• Hula Girls (2006)

Books[link]

• Nathaniel Emerson, 'The Myth of Pele and Hi'iaka'. This book includes the original Hawaiian of the Pele and Hi'iaka myth and as such provides an invaluable resource for language students and others.

• Nathaniel Emerson, 'The Unwritten Literature of Hawaii'. Many of the original Hawaiian hula chants, together with Mr. Emerson's descriptions of how they were danced in the nineteenth century.

• Amy Stillman, "Hula `Ala`apapa". An analysis of the `Ala`apapa style of sacred hula.

• Ishmael W. Stagner: Kumu hula : roots and branches. Honolulu : Island Heritage Pub., 2011. ISBN 978-1-59700-621-7

References[link]

http://www.huladancehq.com/

External links[link]

Wikimedia Commons has media related to: Hula

• Everything Related To Hula Dancing, Hula History & Hula Theory
• Hawaiian Music and Hula Archives
• Hula Preservation Society
• European Hula Festival
• Ka`ahele Hawai`i
• "Where Tradition Holds Sway" Article about "Ka Hula Piko" on Molokai, by Jill Engledow. Maui No Ka 'Oi Magazine Vol. 11 No.2 (March 2007).

Kelly Clarkson
Kelly Clarkson at the 2009 Women's World Awards in Austria
Background information
Birth name	Kelly Brianne Clarkson
Born	(1982-04-24) April 24, 1982 (age 30) Fort Worth, Texas, U.S.
Origin	Burleson, Texas
Genres	Pop rock, pop
Occupations	Singer, songwriter, record producer, actress
Instruments	Vocals
Years active	2001–present[1]
Labels	RCA, 19
Associated acts	Reba McEntire
Website	kellyclarkson.com

Kelly Brianne Clarkson (born April 24, 1982) is an American singer, songwriter and occasional actress. Clarkson came into prominence after becoming the winner of the inaugural season of the television series American Idol in 2002 and later was the runner-up in the television special World Idol in 2003.

In 2003, Clarkson released her debut album, Thankful, which was a commercial success and established herself in the pop music industry. The release of its first single, "A Moment Like This" (2002), broke The Beatles' record for the biggest leap to number one, from 52, in the history of the Billboard Hot 100 chart. After parting ways with her management, Clarkson developed a more rock-oriented music with the release of her critically acclaimed sophomore album, Breakaway (2004), which sold more than 12 million copies worldwide^[2] and which garnered Clarkson more worldwide success as a pop rock artist. The album's single, "Because of You" (2005), became the best-selling single by an Idol contestant worldwide. In 2007, Clarkson took full creative control for her third album My December, which had a more rock-inspired sound and was met with controversy and moderate success. Clarkson later returned to a more pop-oriented sound with All I Ever Wanted (2009), which became a commercial and critical success. The album's lead single, "My Life Would Suck Without You" (2009), surpassed "A Moment Like This"'s record for the biggest leap to number one on a single week in the history of the Billboard Hot 100 Chart, a milestone it still holds today. Furthermore, it also became her first number one single in the United Kingdom. Clarkson's fifth studio album, Stronger, was released in 2011, containing elements from synthpop, R&B and country music. The album's single, "Stronger (What Doesn't Kill You)" (2012), became her longest number one single and eventually became her best-selling single in the United States.

In a career spanning a decade, Clarkson has become the most successful Idol contestant around the world, with album sales of over 23 million worldwide and singles sales of over 36 million,^[3] according to Billboard^[4] and Nielsen SoundScan.^[5][6][7] Clarkson's work also gained her numerous accolades, including two Grammy Awards, three MTV Video Music Awards, 12 Billboard Music Awards, four American Music Awards and a Women's World Award. Billboard also ranked Clarkson as the 14th best-selling artist of the 2000s, as well as also being ranked on the top 200 album sellers of the Nielsen SoundScan era at number 187.^[8][9] She is currently a mentor on ABC's singing competition show Duets.

Early life and career beginnings[link]

Clarkson was born in Fort Worth, Texas, and grew up in the small town of Burleson, a suburb of Fort Worth. She is the third and youngest child of Jeanne Rose, a first grade English teacher of Greek descent and Stephen Michael Clarkson, a former engineer of English descent.^{[citation needed]}

Clarkson's siblings include her older brother and sister, Jason and Alyssa. When Clarkson was six years old, her parents divorced after seventeen years of marriage. The family settled in Burleson, where Clarkson's mother married her second husband, Jimmy Taylor.^[10]

Clarkson's family struggled financially, and after her parents divorced, music became her refuge. Clarkson attended Pauline G Hughes Middle School and Burleson High School. She wanted to become a marine biologist but changed her mind after seeing the movie Jaws.^[11] In seventh grade, a teacher (Mrs. Cynthia Glenn) overheard her singing in a hallway and asked her to audition for the school choir; Clarkson told the teacher that she had never received professional vocal training.

In high school, Clarkson performed in musicals such as Annie Get Your Gun, Seven Brides for Seven Brothers and Brigadoon. She sang at her high school talent show, after which an audience member shared some inspiring words with her: "God has given you this gift. You've got to sing. You're destined to sing." Clarkson continued singing and soon started classical training, hoping that music would be her ticket to a college scholarship.^[12]

Upon high school graduation, Clarkson was offered full scholarships to The University of Texas at Austin, University of North Texas, and Berklee, but decided against college because she had "already written so much music and wanted to try it on her own," and she figured "you're never too old to go to college."^[12] Clarkson later turned down two recording contracts from Jive Records and Interscope Records in the late 1990s, stating "They would have completely pigeonholed me as a bubblegum act. I was confident enough that something better would come along."^[13] She went to Los Angeles in late 2001 to pursue a career in music, but worked as a waitress and appeared as an extra in such shows as Sabrina, the Teenage Witch and Dharma & Greg to support herself.^[14] She worked with songwriters such as Gerry Goffin and recorded five tracks between January and March 2002 to try to get a record deal, but returned to Texas after four months in Los Angeles.^[1]

Music career[link]

[edit] 2002–03: American Idol and World Idol

Clarkson auditioned for the first season of American Idol (under the full title American Idol: The Search for a Superstar) in May 2002. She subsequently won the competition on September 4, 2002, earning 58% of the vote against runner-up Justin Guarini.^[15] Clarkson performed the ballad "A Moment Like This", the song written for the winner of American Idol, which subsequently appeared on her debut album, Thankful. When released as a single in October 2002, it set a record on the U.S. Billboard Hot 100 chart when it rose from number 52 to number one.^[16] The CD single sold 236,000 copies in its first week of sales in the U.S.^[17] and spent five weeks at number one in Canada.

[edit] American Idol season 1 performances and results

[edit] World Idol performance and results

Clarkson performed at the Lincoln Memorial in Washington, D.C., on September 11, 2002, following her win on American Idol.

In December 2003, a competition titled World Idol was held at the Pop Idol stage in London, gathering the winners of the first seasons of Idol series around the world. Clarkson was contractually obligated to participate, and placed second behind Norwegian Idol Kurt Nilsen. She performed Aretha Franklin's "(You Make Me Feel Like) A Natural Woman". She left immediately after the competition, later explaining to fans that she was not feeling well.^[18]

[edit] 2003–04: Thankful

Shortly after the completion of the first season of American Idol, Clarkson was signed to RCA Records by Clive Davis and Simon Fuller. In 2003, Clarkson was later accused of working with a record company prior to winning American Idol. American Idol's rules stated that a contestant was not allowed to compete on the program if they had been linked to a record company. However, she was cleared of all allegations, as she only had a contract in order to conduct demonstration work.^[19]

Following the release of "A Moment Like This", Clarkson's full-length debut album Thankful was released in North America by RCA Records on April 15, 2003 with several singers and songwriters including Christina Aguilera, Diane Warren and Babyface contributing on the tracks.^[20] It debuted at number one on the U.S. Billboard 200. To promote the album, Clarkson appeared on various episodes of American Idol in 2003. In October that year she performed in Australia at the 2003 NRL grand final.^[21] "A Moment Like This" was certified double platinum by the RIAA for sales of two million copies on December 8, 2003^[22] and platinum by the CRIA for sales of 100,000 copies on February 10, 2004.^[23] Thankful peaked at number 41 on the UK albums chart and at number 33 on the Australian albums chart.

Reviews for the album were generally favorable. However, several critics noted that her early achievement was established due to her performances on American Idol. Allmusic critic Stephen Thomas Erlewine praised the album for its vocal ability: "throughout this record, [Clarkson] makes it seem effortless and charming. She can croon, she can belt out a song, she can be sexy and sassy while still being graceful and as wholesome as the girl next door".^[24] Rachel Kipp of JS Online criticized Clarkson for not having the same personality on Thankful that she had on American Idol, and wrote: "on American Idol, Clarkson showcased a great voice and an endearing, 'aw-shucks' personality. That personality is missing on Thankful, and there lies the album's greatest fault". Kipp blamed the producers behind the album for not allowing Clarkson to be herself.^[25] Clarkson covered Danielle Brisebois' "Just Missed the Train" on the album.

"Miss Independent" was released as the second single from Thankful. It reached the top ten of the U.S. and Canadian singles charts, and earned Clarkson a 2004 Grammy Award nomination for "Best Female Pop Vocal Performance".^[26] When the single was released in the United Kingdom and Australia, it reached the top ten of the charts. "Low", the third single from Thankful, reached number two in Canada, but it was unable to make the top 40 of the US chart. The final single, "The Trouble with Love Is", was released as a promotional single for the British romantic film Love Actually and failed to chart in the United States, she then promoted the song on Pop Idol in 2003.

Soon after the first season of American Idol ended, Clarkson starred with Idol runner-up Justin Guarini in the movie From Justin to Kelly (2003). The film was poorly received by critics^[27] and grossed only $5 million at the North American box office, less than half its reported budget.^[28] Clarkson has mentioned in interviews that she is shocked when people send her scripts after From Justin to Kelly, often citing contractual obligation as her sole reason for involvement in the film.^[29] Clarkson was quoted telling People, "I knew when I read the script it was going to be real, real bad, but when I won, I signed that piece of paper and I could not get out of it."^[30] The script was written by Kim Fuller, Simon Fuller's brother.^[31]

She played Brenda Lee in the television drama American Dreams and appeared in the sitcom Reba. She also participated in sketch comedy on MADtv (2002) and Saturday Night Live (2005).^[32]

[edit] 2004–06: Breakaway

	"Because of You" (2005) noicon At the age of 16, Clarkson wrote the lyrics and melody to this song to cope with her emotions. The later composition resulted in the use of the piano and a full orchestral arrangement.
Problems listening to this file? See media help.

Distancing herself from her American Idol image, Clarkson parted ways with 19 Entertainment and took more creative control with her second studio album Breakaway, to develop a more rock-oriented image.^[33] Clarkson co-wrote six of the songs with songwriters such as former Evanescence band members Ben Moody, David Hodges and producer Max Martin; the title track was co-written by punk-pop singer Avril Lavigne.

Breakaway was released by RCA Records on November 30, 2004.^[34] The album debuted within the U.S. top five and Canadian top ten, but sales were initially low in comparison to Thankful.^[35] The singles from Breakaway were very successful, and the album became only the fourth album in history to stay in the Billboard 200 top 20 for a consecutive year, as well as being certified six times platinum in the U.S. in late 2007^[36] and five times platinum in Canada in May 2006.^[37] With worldwide sales of over 12 million copies, Breakaway is the most successful album by an Idol.

Breakaway received different responses from critics; Rolling Stone commented that "on Kelly Clarkson's second album, ... she embraces her rock side rather than the pop pageantry that put her on top of the American Idol heap".^[38] TeenInk noted the strength of her vocals on Breakaway, and praised the change from pop music to contemporary rock: "[Clarkson] retains the incredible power and beauty of her voice while switching to rock".^[39] Stylus magazine also enjoyed Clarkson's foray into rock music, however, she was called out because of her American Idol image, which reviewer Charles Merwin believed she had yet to lose. He praised the non-singles and wrote that they "maintain a quality high".^[40] Allmusic called the album "a nice, low-key relief".^[41]

Clarkson performing her Hazel Eyes concert tour on November 10, 2005, Geelong, Australia

"Breakaway" served as the original song for The Princess Diaries 2: Royal Engagement (2004) and achieved considerable success across the world; it became Clarkson's third top-ten single in the U.S. and fourth top-ten single in Canada. It reached number ten in Australia, and number 22 in the UK. The second single, "Since U Been Gone", which was produced by Max Martin, became the most successful release from the album. It reached number two in the U.S. and the top five across the world. It also earned Clarkson her first Grammy Award for "Best Female Pop Vocal Performance"; she won a second award for "Best Pop Vocal Album".^[42]

The third and fourth single releases, "Behind These Hazel Eyes" and "Because of You", also followed with chart success. The video for "Because of You" won the 2006 MTV Video Music Award for Best Female Video, her second consecutive win in that category (following "Since U Been Gone"). Clarkson was the most-played artist of 2006 on American radio, despite releasing only one single in the entire year, "Walk Away" (the fifth single from Breakaway).^[43] She was also the most radio-broadcasted artist of 2006 in Australia and "Because of You" was the third most broadcast song of the same year, despite being released in 2005.^[44]

Clarkson at the Naval Air Station Fort Worth, Texas, Joint Reserve Base in 2006

In 2005, Clarkson made a performance during the 2005 NBA All-Star Weekend as part of the festivities leading up to the All-Star Game.^[45] Later that year, she performed "The Star-Spangled Banner" at Game 2 of the NBA Finals between the San Antonio Spurs and Detroit Pistons She also performed that spring as part of the 2005 NCAA Final Four festivities in St. Louis, Missouri.^[46]

Clarkson performed during the festivities of the 2006 Winter Olympics in Torino, Italy.^[47] In mid 2006, Clarkson lent Ford Motor Co. a song titled "Go", written by Clarkson and Rhett Lawrence ("Miss Independent"). The song was used in the company's advertising campaign in 2006, "Bold Moves" and the song, along with its music video, was made available free at Ford's AddictedtoKelly.com website (now defunct).^[48]