A Persian mid-relief (mezzo-rilievo) from the Qajar era, located at Tangeh Savashi in Iran, which might also be described as two stages of low-relief.

Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb levo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane.^[1] What is actually performed when a relief is cut in from a flat surface of stone or wood is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise with little artistic effect if the lowered background is left plain, as is often the case. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting.

There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief), and shallow-relief or rilievo schiacciato,^[2] where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions.^[3] The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo,^[4] where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.

A face of the high-relief Frieze of Parnassus round the base of the Albert Memorial in London. Most of the heads and many feet are completely undercut, but the torsos are "engaged" with the surface behind.

Types[link]

Lorenzo Ghiberti's cast gilt-bronze "Gates of Paradise" at the Baptistery, Florence combine high-relief main figures with backgrounds mostly in low relief.

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).

Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".

Low-relief on Sestertius of Marcus Clodius Pupienus Maximus, 238 AD

Bas-relief or low relief[link]

A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive - Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

In later Western art, until a 20th century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums.^[5] Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.^[6]

High relief[link]

High relief metope from the Classical Greek Elgin Marbles. Some front limbs are actually detached from the background completely, while the centaur's left rear leg is in low relief.

High relief (or alto rilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief. Hellenistic and Roman sarcophagus reliefs were largely cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, which are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece.^[7] Very high relief re-emerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.

Sunk relief[link]

A sunk-relief depiction of Pharaoh Akhenaten with his wife Nefertiti and daughters. The main background has not been removed, merely that in the immediate vicinity of the sculpted form. Note how strong shadows are needed to define the image.

Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modelled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling. The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.

Counter-relief[link]

French Gothic diptych, 25 cm (9.8 in) high, with crowded scenes from the Life of Christ, c.1350-1365.

Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals — where an image is fully modelled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief.

However many engraved gems were carved in cameo or normal relief.

A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.^[8]

Small objects[link]

Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques", which may be set in furniture or framed. Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is hammered from behind, sometimes with a stamp bearing a design, automatically producing a relief. Casting has also been widely used in bronze and other metals. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.

Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be re-used, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced. These were often round mirror-cases, combs, handles and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.

Gallery[link]

• 

  Sunk relief as low relief within a sunk outline, from the Luxor Temple in Egypt, carved in very hard granite

• 

  low relief within a sunk outline, linear sunk relief in the hieroglyphs, and high relief (right), from Luxor

• 

  "Blocked-out" unfinished low relief of Ahkenaten and Nefertiti; unfinished Greek high-reliefs show the same method of beginning a work.

• 

  Bas-relief in Persepolis - a symbol of Zoroastrian Nowruz - in day of a spring equinox power of eternally fighting bull (personifying the Earth), and a lion (personifying the Sun), are equal

• PersepolistwoPersianSoldiers.jpg

  Two Persian Soldiers in Persepolis

• 

  Rock-face relief at Naqsh-e Rustam of Iranian emperor Shapur I (on horseback) capturing Roman emperor Valerian (kneeing) and Philip the Arab (standing)

• 

  Egyptian figures in "alto relievo"

• 

  Atropos cutting the thread of life. Ancient Greek low relief.

• 

  Roman funerary relief with frame at original level, but not sunk relief

• 

  The Roman Warren Cup, silver repoussé work

• 

  Yaxchilan Lintel 24, a Mayan carving depicting a blood sacrifice

• 

  A bas-relief at Banteay Srei in Cambodia depicts Ravana shaking Mount Kailasa, the Abode of Lord Siva.

• 

  Temple at Khajuraho, India

• 

  The 12th century Romanesque portal of Christ in Majesty at Moissac Abbey moves between low and high relief in a single figure.

• 

  Harbaville Triptych, Byzantine ivory

• 

  Side view of high relief: Madonna and Child, marble of c. 1500/1510 by an unknown north Italian sculptor

• 

  The elaborate stucco (plaster) reliefs decorating the Chateau de Fontainebleau were hugely influential. Low-relief decorative frieze above.

• St GuadensShaw Mem.jpg

  Robert Gould Shaw Memorial, 1897, Boston, combining free-standing elements with high and low relief.

• 

  A relatively modern high relief (depicting shipbuilding) in Bishopsgate, London. Note that some elements jut out of the frame of the image.

• Iowa City Press Citizen Bldg.jpg

  Art Deco tiled bas relief, old Press-Citizen Building, Iowa City, Iowa.

• 

  Elizabeth Wyn Wood's Bas-relief at Ryerson University in Toronto

• 

  Bas-Relief Sculptures at Unakoti,Tripura, india

Notable reliefs[link]

Notable examples of monumental reliefs include:

• Ancient Egypt: Most Egyptian temples, e.g. the Temple of Karnak
• Assyria: A famous collection is in the British Museum, Black Obelisk of Shalmaneser III
• Ancient Persia: Persepolis, and rock-face reliefs at Naqsh-e Rustam and Naqsh-e Rajab
• Ancient Greece: The Parthenon Marbles, Bassae Frieze, Great Altar of Pergamon, Ludovisi Throne
• Mesopotamia: Ishtar Gate of Babylon
• Ancient Rome: Ara Pacis, Trajan's Column, Column of Marcus Aurelius, triumphal arches, Portonaccio sarcophagus
• Medieval Europe: Many cathedrals and other churches, such as Chartres Cathedral and Bourges Cathedral
• India: Sanchi, base of the Lion Capital of Asoka, the rock-cut Elephanta Caves and Ellora Caves, Khajuraho temples, Mahabalipuram with the Descent of the Ganges, and many South Indian temples,Unakoti group of sculptures(bas relief) at Kailashahar, Unakoti District, Tripura, India
• South-East Asia: Borobodur in Java, Angkor Wat in Cambodia,
• Glyphs, Mayan stelae and other reliefs of the Maya and Aztec civilizations
• United States: Stone Mountain, Robert Gould Shaw Memorial, Boston, Mount Rushmore National Memorial,
• UK: Base panels of Nelson's Column, Frieze of Parnassus

Smaller-scale reliefs:

• Ivory: Nimrud ivories from much of the Near East, Late Antique Consular diptychs, the Byzantine Harbaville Triptych and Veroli Casket, the Anglo-Saxon Franks Casket, Cloisters Cross.
• Silver: Warren Cup, Gundestrup cauldron, Mildenhall Treasure, Berthouville Treasure, Missorium of Theodosius I, Lomellini Ewer and Basin.
• Gold: Berlin Gold Hat, Bimaran casket, Panagyurishte Treasure
• Glass: Portland Vase, Lycurgus Cup

See also[link]

• Repoussé and chasing
• Relief printing - a different concept.
• Pargetting - English exterior plaster reliefs

Notes[link]

References[link]

• Avery, Charles, in Grove Art Online, "Relief sculpture", accessed April 7, 2011

Wikimedia Commons has media related to: Reliefs

External links[link]

Wikisource has the text of the 1911 Encyclopædia Britannica article Basso-Relievo.

• Heilbrunn Timeline of Art History, "American Relief Sculpture", Metropolitan Museum of Art, New York.
• Melissa Hardiman, "Bas-Relief Pathfinder"

Chris Garneau
Background information
Birth name	Christopher Michael Garneau
Genres	Baroque pop Indie folk
Occupations	Singer-songwriter
Instruments	Vocals Piano Guitar Harmonium
Years active	2006-present
Labels	Absolutely Kosher Fargo Records
Associated acts	Xiu Xiu
Website	chrisgarneau.com

Chris Garneau is an American singer-songwriter and musician. Garneau's sound combines elements of folk, Americana, pop, baroque, and carnival music.^{[original research?]} Since releasing his debut album, Music for Tourists, Garneau has toured throughout the United States, Canada, Brazil, Europe, and Asia.

Garneau cites Jeff Buckley, Nina Simone, Nico, and Chan Marshall as influences.^[1] He lives in Brooklyn, New York. His second full-length album, titled El Radio was released July 7, 2009.

Early life[link]

Garneau, a native of Boston, lived with his family in Paris during grade school, and later New Jersey before moving to New York City. Garneau discovered a love of music at a young age while learning to play piano. After high school, Garneau briefly attended Berklee College of Music in Boston, but left after completing one term and moved to Brooklyn. There he began writing music and playing live shows at small venues in the East Village and Lower East Side of Manhattan, including CBGB's Gallery and the Living Room.

Career[link]

Garneau eventually signed with Absolutely Kosher Records, an Emeryville, California-based record label. He was brought to the label by Jamie Stewart and Caralee McElroy of Xiu Xiu. Garneau released his debut album Music for Tourists in October 2006 and on iTunes in January 2007. In March 2007 he did a Take-Away Show video session shot by Vincent Moon. His next project, an EP called "C-Sides", was released in December 2007.

The soundtrack to season four of TV's Grey's Anatomy includes Garneau's music. The episode "Love/Addiction" features his song "Castle-Time," and the episode "Forever Young" features the song "Black and Blue."^{[citation needed]} The series premiere of Private Practice, "In Which We Meet Addison, a Nice Girl From Somewhere Else," features the song "Sad News."^{[citation needed]}

Garneau has also appeared on Logo's NewNowNext Music television show where he talked about Music for Tourists and his video for "Relief".

His cover of Elliott Smith's "Between the Bars" was featured in Pedro Almodovar's 2011 film The Skin I Live In.

He has been collaborating on a yet-to-be-named musical project with Caralee McElroy.^[2]

Discography[link]

• Music for Tourists (2006)
• C-Sides EP (2007)
• El Radio (2009)

References[link]

1. ^ "The Narcissist Issue: Chris Garneau; Hottie Musician With Skills". Queerty.com. 2006-09-26. Archived from the original on 2007-01-25. http://web.archive.org/web/20070125035311/http://www.queerty.com/queer/the-narcissist-issue/the-narcissist-issue-chris-garneau-20060926.php. Retrieved 2007-06-12. 
2. ^ Chris Garneau: The New Gay Interview. May 27, 2009.

External links[link]

• Official website

Sam Amidon (who also produced one album under the name "Samamidon") is an American independent folk artist born in Brattleboro, Vermont, June 3, 1981. His parents are folk artists Peter and Mary Alice Amidon.^[1] His younger brother, Stefan Amidon, is a professional drummer who performs with The Sweetback Sisters^[2] among other groups. Sam attended The Putney School in Putney, Vermont. Sam currently lives near New York City.^[3] His first album, "But this Chicken Proved False Hearted", was made with longtime collaborator Thomas Bartlett, whose band, Doveman, Amidon is also a member of. His second album, All is Well, was produced, recorded and mixed in Iceland by Valgeir Sigurðsson at Greenhouse Studios. His third album, I See the Sign -- also produced by Valgeir Sigurðsson -- was released in 2010.^[4]

Sam Amidon at Iceland Airwaves 2008

Discography[link]

Albums[link]

• Solo Fiddle (2001)
• Home Alone Inside My Head (2003)
• But this Chicken Proved False Hearted (as Samamidon) (2007)
• All Is Well (2008)
• Fiddle and Drum (2009) with Aaron Siegel
• I See The Sign (2010)

References[link]

External links[link]

• Times Online - Sam Amidon and the folk revival
• Sam Amidon on YouTube
• Sam Amidon's Official website
• Sam Amidon at Myspace
• Interview on Musicletter, February 2008
• Folk Radio UK Review of I See the Sign
• Two and a Half Questions with Sam Amidon - Interview on Headphone Commute (April, 2010)

This article about an American musician is a stub. You can help Wikipedia by expanding it. v t e

Jessie J
Jessie J at the O2 Arena in London in 2011.
Background information
Birth name	Jessica Ellen Cornish
Also known as	Jessie J
Born	(1988-03-27) 27 March 1988 (age 24) Chadwell Heath, London, England, United Kingdom
Genres	pop, hip hop, R&B, dance-pop, soul
Years active	2005–present
Labels	Lava, Universal Republic, Island, Gut
Website	jessiejofficial.com

Jessica Ellen Cornish (born 27 March 1988), better known by her stage name Jessie J, is an English singer and songwriter. Born and raised in London, she studied at the BRIT School before signing with Gut Records and striking a songwriting deal with Sony/ATV Music Publishing where she wrote for artists such as Chris Brown and Miley Cyrus.

Signed with Universal, Jessie J came to prominence following the release of her debut single "Do It Like a Dude" which peaked at number two on the UK Singles Charts. After scoring her first number one in the United Kingdom, France, Ireland and New Zealand with the song "Price Tag", she released her debut album Who You Are (2011) which charted at number two in the UK. Other releases from the album include "Nobody's Perfect", "Who's Laughing Now" and "Who You Are" which charted within the top 20 in the UK but the release of fifth single "Domino" spawned international chart success, peaking at number 6 on the Billboard Hot 100 in the US, and becoming her second UK number one. Aside from her musical career, Jessie J is currently a coach and mentor on television show The Voice UK.

Citing various influences, Jessie J is recognized for an unconventional musical and performance style^[1][2] that mixes her soul voice with contemporary R&B, pop, and hip-hop influences. Jessie J has garnered various awards and nominations for her contributions to the music industry, including the 2011 Critics' Choice BRIT Award and the BBC's Sound of 2011. As of April 2012, Jessie has sold over 11 million singles and 2.5 million records worldwide.^[3][4]

Early life[link]

Jessie J was born Jessica Ellen Cornish in Chadwell Heath, London,^[5] daughter of Stephen Cornish and Rose Cornish (née Archer). She was educated at Mayfield High School in the London Borough of Redbridge. She attended Colin's Performing Arts School and as an 11-year old-was cast in Andrew Lloyd Webber's West End production of Whistle Down the Wind.^[6][7][8] Jessie has two sisters, who are five and seven years older than her, who were both head girls at school. Unlike her academic sisters, Cornish has stated she was "never really that good at anything". She said, "At school they were like 'oh, you're a Cornish girl' and they kind of expected me to be the same as my sisters. Give me something to draw or an outfit to pick for someone, or hair, make-up, acting, write a song, I'm fine with it, but anything to do with sums – it was never my thing." She also said she never based her intelligence on her exam results.^[9] She also said she was always good at singing and it was her "thing". At the age of 16 she began studying at the BRIT School and at 17 she joined a girl group named Soul Deep.^[10] She graduated in the class of 2006 along with singers Adele and Leona Lewis.^[11] At 18 she suffered a stroke.^[12]

Music career[link]

2006–2010: Career beginnings[link]

Jessie J was signed to Gut Records, recording an album for the label, but the company went bankrupt before any material was released.^[8][10] She then found success as a songwriter, gaining a Sony ATV publishing contract.^[13] She was also the support act for Cyndi Lauper during Lauper's UK dates of her 2008 Bring Ya To The Brink tour (Lauper invited J to join her on stage for the performances of "Girls Just Want To Have Fun"). Jessie has also written lyrics for artists such as Chris Brown and Miley Cyrus, including "Party in the U.S.A.".^[14][15] Jessie J was also part of a girl band, called Soul Deep, for two years, however she left due to thoughts that "it wasn't going anywhere". Despite people thinking that her first notoriety was through YouTube, Jessie was signed for four years before her first video was posted. Jessie first came to the attention of Lava Records when her publisher at Sony/ATV, Rich Christina, sent Lava president Jason Flom a link to her MySpace page, which the record executive loved.^[16] After seeing an impressive U.S. showcase, Lava was, along with several other labels, keen to sign the artist but progress was hampered by her management's insistence on, what Flom called, a "crazy deal", and their refusal to let Jessie speak to any labels directly.^[16] Despite this, Senior Director of A&R at Lava, Harinder Rana, made surreptitious efforts to meet Jessie on her own in winter of 2008. Later in the year a change in management to Sarah Stennett and Nadia Khan of Crown Music allowed record deal negotiations to take place. Jessie eventually signed with Lava as part of a joint venture with Universal Republic.^[16]

[edit] 2010–2012: Who You Are

Jessie J performing at a concert in New York City in 2011.

Jessie J began recording her debut studio album in 2006 and it was completed on 19 January 2011.^[17][18] She revealed that "Big White Room" would be on the album and was written from an experience she had when she was 11 years old, although she wrote the song at age 17, in hospital, where a ward mate, a little boy, died.^[19] Jessie J says the album's title track, "Who You Are", is one of her proudest creations, she said the song is a "positive role model for young people" and "I always say that I'm half-artist, half-therapist".^[19] In late 2010 Jessie J released her first single, "Do It Like a Dude" which was co-written with George Astasio, Tj Normandin, Jason Pebworth, Jon Shave, Kyle Abrahams and Peter Ighile. Originally, she wrote the song with Rihanna in mind because "Rude Boy" was released at the time, partly inspiring the song. She then sent the song to her label, Island Records, before sending it to Rihanna's management. Island insisted the song become Jessie J's first single.^[20] She wishes to perform the song with Rihanna at one point.^[21] The single gained positive reception from critics.^[22] The single charted at number two on the UK Singles Charts. Her follow-up single "Price Tag" was released in late January 2011. This was written by Jessie J, Lukasz Gottwald, Claude Kelly, and Bobby Ray Simmons, Jr. and charted at number one in the top of the charts. "Price Tag" was released in the United States on 1 February 2011 and peaked at 23 on the Billboard Hot 100.^[23] "Price Tag" also charted at number-one in New Zealand and Ireland and is the most successful online video J has released. As of October 2011, the video has generated over 148 million views on Youtube and Vevo, making it the 22nd most viewed music video of all time.^[24][25] Her first American television appearance was as the musical guest on the 12 March 2011 episode of NBC's Saturday Night Live.^[26]

On 25 February 2011 her debut album, Who You Are, was released.^[27] The album first entered the charts on 6 March 2011 where it charted on the UK Album Charts at number two. The album charted into the top ten in a number of countries and number 11 in the United States.^[28] After the release she went on to release a third single from the album, "Nobody's Perfect".^[29] MTV reported that the single is, so far, only confirmed for release in the United Kingdom.^[30] The album's fourth single was "Who's Laughing Now". "Domino" was her second US single.^[31] The Dr. Luke-produced track was sent to mainstream radio on 6 September 2011.^[32] With the success of Who You Are in North America, Jessie was chosen to tour as the opening act for American pop artist Katy Perry's California Dreams Tour in 2011 but after she was unable to fully recover from her injuries during rehearsals she was forced to pull out under the doctor's orders.^[33] Jessie J served as the house artist at the 2011 MTV Video Music Awards, performing several of her original songs along with covers around commercial breaks.^[34]

James Morrison's third studio album, The Awakening features a collaboration with Jessie J called "Up", the song was released as a single on 4 December 2011. Jessie J re-released "Who You Are" on 9 November 2011, featuring the regular tracks plus "Domino" and two new songs. "Domino" became her first top 10 hit in the U.S., following the success of "Price Tag". The song also peaked at number 1 in January 2012 in the UK, before it was even officially released there.

[edit] 2012–present: Second studio album and The Voice

On 4 October 2011, Jessie announced that she will be one of four coaches for new BBC program, The Voice UK.^[35] The show was announced after the success of the US version, The Voice. It premiered in March 2012 on BBC One. It will be presented by Holly Willoughby and Reggie Yates, with will.i.am (of The Black Eyed Peas), Tom Jones and Danny O'Donoghue (of The Script) joining Jessie on the coaching panel.^[36] The first stage of the competition, The Blind auditions, began in London on 18 January 2012 at the BBC Television Centre and finished filming on 22 January 2012. The winner will receive £100,000 and a record deal with Universal Republic. It was also reported that the 4 coaches recorded a cover of the Black Eyed Peas song, "I Gotta Feeling", and will release an accompanying music video to help promote the show.^[37]

On 31 January 2012, Jessie announced that she had begun recording for her second studio album.^[38] She also stated that she hopes to collaborate with many artists this year, possibly including some of her fellow coaches on The Voice.^[39] It was revealed that she has worked in the studio with Cee-Lo Green after he tweeted her on twitter. Jessie has also revealed on twitter that she has worked with Diane Warren as well as reuniting in the studio with her 'Price Tag' co-writer Claude Kelly.

Jessie will embark on her first arena tour in March 2013. Via microblogging website, Twitter, Jessie J confirmed the tour will be called Nice to Meet You Tour.^[40]

Personal life[link]

Jessie J performing at the 2011 The Big Chill, sitting on the "gilded throne" she used for performances while her foot was broken.

In early 2011 she suffered a panic attack on stage after she was forced to perform in the dark. "I did a gig recently and had a panic attack on stage," she told NOW. "The night was called 'Black Out' and I had to perform in the dark. I asked them to turn on the lights and they didn't. I was onstage in pitch black and, because I couldn't see anything, I started to panic. It was awful."^[41]

Jessie J is bisexual and stated in an interview on the "In Demand" radio show on 3 March 2011, "I've never denied it. Whoopie doo guys, yes, I've dated girls and I've dated boys – get over it."^[42][43] However, in April 2012 The Sun outed her as homosexual which she denied via Twitter, calling it a "yet another boring untrue story".^[44] According to The Guardian, Jessie J's sexuality is valuable to young teens, especially for young girls unsure of themselves because of their sexuality and identity, to feel "that this does happen and this is normal."^[45]

On 12 June 2011 at the Capital Radio Summertime Ball, Jessie ruptured several tendons in her foot during rehearsals, and performed her set the following day while sitting on a gilded throne.^[46] For her appearance at Glastonbury Festival 2011 on 25 June 2011, she performed on the throne again, claiming her physician had told her not to perform with her broken foot which would take six weeks to heal.^[47] Jessie J was scheduled to play at several festivals throughout the summer, however it was reported on 1 July 2011 that she would not be able to attend T in the Park, T4 On The Beach, Wembley:Orange, iTunes Festival, Lovebox and Oxegen due to the injuries to her foot. Jessie J personally tweeted before surgery; "Keep making nervous jokes with the doctor and he keeps looking at me blankly. Which is making me laugh even more. It's getting serious. I just took my nose stud out." Tweeting after the surgery, she wrote: "Can't keep tweeting. Still very dizzy and being sick. But I'm OK, I got through it." Her record label released an official statement on 30 June 2011 that under strict orders from her doctor, she will not be able to perform for a number of weeks so she can heal and recuperate properly.^[48] She returned to the concert circuit in late August, including sets at the V Festival^[49] and The Big Chill. For the 2011 VMA's she was still in a cast and using the throne to keep off it.

Jessie J confirmed on 2 August 2011 that she would be shaving her hair off for charity in 2012. Speaking via her official Twitter account she said: "It’s hair, It will grow back. Even if it takes 2 years, if it saves lives it’s worth it. Even if its 1 life that’s something."^[50]

‎Artistry and voice[link]

Jessie J performing at the Bournemouth International Centre in 2011.

Although she was first identified as a soul singer, she primarily records songs of contemporary R&B and pop music with hip-hop influences.

Music critic Matthew Perpetua of Pitchfork Media compared Jessie J to her peers Adele and Amy Winehouse, but suggested she was missing something: "Whereas Adele and Winehouse also have powerhouse voices, they fit into clear aesthetic niches and invest their songs with depth and humanity. Jessie J doesn't have even a fraction of their restraint." Perpetua added: "Her idea of showcasing her gift is to shoot for a blaring melisma on "Mamma Knows Best" that makes Christina Aguilera seem as subtle as Joni Mitchell by comparison."^[51]

Ailbhe Malone of the music magazine NME also recognized Cornish's "undeniably potent voice". However, she pointed out the possible "identity crisis" that might have been caused by Jessie's songwriter past: "This is an album of singles for other artists. There’s Rihanna Jessie (‘Do It...’), Perry Jessie (‘Abracadabra’), Pixie Jessie (‘Mamma Knows Best’), Ellie Jessie ('Big White Room')."^[52]

Caroline Sullivan of The Guardian shared her positive opinion about the singer, saying that "if any singer has the potential to be the British Katy Perry or Pink, with the accompanying millions of sales, it's her". Sullivan also complimented Cornish's attitude: "[Her songs] are delivered with a confidence that money can't buy."^[53]

Entertainment Weekly's music critic Adam Markovitz said of Jessie: "The 23-year-old Brit has all the tools, from a monster voice to an ear for hooks — she co-wrote Miley Cyrus' 'Party in the U.S.A.' — and a manic persona that's equal parts Katy Perry, Kristin Chenoweth, and Alice Cooper."^[54]

Discography[link]

• Who You Are (2011)

Concert tours[link]

Headlining

• Stand Up Tour (2011)
• Heartbeat Tour (2011-12)
• Nice To Meet You Tour (2013)

Filmography[link]

Awards and nominations[link]

References[link]

Wikimedia Commons has media related to: Jessie J

External links[link]

• Official website
• Jessie J discography at Discogs
• Jessie J's channel on YouTube
• Jessie J's BBC Sound of 2011 page at BBC Online

Miranda Lambert
Background information
Birth name	Miranda Leigh Lambert[1]
Born	(1983-11-10) November 10, 1983 (age 28) Longview, Texas, U.S.
Origin	Lindale, Texas, U.S.
Genres	Country
Occupations	Singer-songwriter
Instruments	Vocals, guitar
Years active	2001–present
Labels	Epic Columbia Nashville RCA Records Nashville
Associated acts	Blake Shelton Pistol Annies Loretta Lynn Sheryl Crow Frank Liddell
Website	MirandaLambert.com

Miranda Leigh Shelton (née Lambert) ^[1] (born November 10, 1983) is an American country music artist who gained fame as a finalist on the 2003 season of Nashville Star, where she finished in third place and later signed to Epic Records. Lambert made her debut with the release of "Me and Charlie Talking", the first single from her 2005 debut album Kerosene. This album, which was certified Platinum in the United States, also produced the singles "Bring Me Down", "Kerosene", and "New Strings". All four singles were Top 40 hits on the Billboard Hot Country Songs charts.

After Epic's Nashville division closed, Lambert was transferred to Columbia Records Nashville for her second album, Crazy Ex-Girlfriend, which was released in early 2007. Although the title track failed to make top 40, the next three singles ("Famous in a Small Town", "Gunpowder & Lead", and "More Like Her") were all Top 20 hits, with "Gunpowder & Lead" becoming her first Top 10 country hit in July 2008. Lambert's third album, Revolution, was released in September 2009. Five singles have been released from the album, including Lambert's two Number One hits "The House That Built Me," which spent four weeks at the top of the chart, and "Heart Like Mine". Lambert has also been honored by the Grammy Awards, the Academy of Country Music Awards, and the Country Music Association Awards.

In 2011, Lambert married fellow country singer Blake Shelton. She also released her fourth album, Four the Record, which includes the singles "Baggage Claim" and "Over You". Lambert also collaborated with Ashley Monroe and Angaleena Presley in the side project Pistol Annies.

Early life[link]

Miranda Leigh Shelton (née Lambert) was born November 10, 1983 in Longview, Texas and raised in Lindale, Texas. Her father, Richard Lee "Rick" Lambert, is a retired police officer who in later life became a private investigator in partnership with her mother, Beverly June Lambert (née Hughes). Miranda was taught about guns by her father at an early age and later became an avid deer hunter. Her parents took her to a Garth Brooks concert when she was nine and this started her interest in country music. Her father wrote and performed country music and she soon began singing in talent contests under his tutelage. She started her career playing in local restaurants.

At age sixteen, Lambert began appearing on the Johnny High Country Music Review in Arlington, Texas, the same show that helped launch the career of LeAnn Rimes. Lambert quickly landed a recording session in Nashville, but left the studio after she became frustrated with the "pop" sound of music. She then went back to Texas and asked her dad to teach her how to play guitar so she could write her own songs.^[2][3]

While still in high school, Lambert made her professional singing debut. She fronted the house band at the Reo Palm Isle Ballroom^[4] in Longview, Texas, a long-running venue that has showcased Elvis Presley, Willie Nelson, and is where Brooks & Dunn started out as a bar room band.

Music career[link]

Lambert in 2006

This section requires expansion with: Critical reception, musical stylings, any other relevant info.

[edit] 2003–2006: Kerosene

In 2003, Lambert auditioned for the talent competition Nashville Star, eventually becoming a third-place finisher on the show. She performed in many places such as The Tap in College Station, Texas when she was 18. On September 15, 2003, she signed with Epic Records.^[5] Her debut single, "Me and Charlie Talking" (co-written by her father and Heather Little), was released in summer of 2004 as the lead-off single to her debut album. Titled Kerosene, Lambert's first album comprised twelve songs, eleven of which she co-wrote. The album debuted at number one on the Billboard Top Country Albums charts,^[6] and eventually gained a Platinum certification by the RIAA for shipments of over one million copies,^[7] selling more than 930,000 copies up to July 2008.^[8] Overall, the album produced four Top 40 singles on the Billboard country charts, including the title track which was a Top 20 hit. Lambert also toured with Keith Urban^[9] and George Strait^[10] in early 2006. In 2007, she toured with Dierks Bentley and Toby Keith.^[11]

[edit] 2007–2008: Crazy Ex-Girlfriend

Lambert in 2007

Lambert's second album, Crazy Ex-Girlfriend was released on May 9, 2007. She wrote eight of the album's eleven tracks,^[12] including its four singles. Much of the track "Gunpowder & Lead," the album's third single and her highest-charting single, was written while she was taking a concealed handgun class in her home town.^[13]

In 2005, at the 40th Annual Academy of Country Music Awards in Las Vegas, Lambert won the Cover Girl Fresh Face of Country Music Award. She was also nominated for the Country Music Association's Horizon Award in 2005; in 2007, Lambert also received a Grammy Award nomination for Best Female Country Vocal Performance for her single "Kerosene". She also won the Top New Female Vocalist award at the 2007 ACM (Academy of Country Music) Awards. At the 2008 ACM (Academy of Country Music) Awards, Crazy Ex-Girlfriend won Album of the Year.

Lambert was ranked #90 on the 100 Greatest Women (of Country Music) by Country Universe in 2008.^[14]

[edit] 2009–2011: Revolution

Lambert in April 2010

In February 2009, Miranda Lambert entered the studio to record her third album, Revolution, which was to be released on September 29, 2009. Lambert co-wrote all but four of the album's 15 tracks; the album also includes co-writes from Blake Shelton, Dave Haywood and Charles Kelley of Lady Antebellum.^[15] Ahead of the album's release, an EP, titled Dead Flowers, was issued on September 8, 2009.^[16] The EP, available exclusively at Best Buy, featured the Revolution album track "Dead Flowers" and three bonus tracks previously included on limited editions of Crazy Ex-Girlfriend.

During this time, Lambert (along with two other singers), became the new face of Cotton Inc.’s revived “The Touch, The Feel of Cotton” campaign.^[17] She has appeared in ads to promote cotton, and the website features a free download of the full version of her song, "Fabric of My Life."^[18]

Lambert debuted her new single, "Dead Flowers", at the 44th annual Academy of Country Music Awards on April 5, 2009.^[19] It was released to country radio on May 4, 2009, and was a minor Top 40 hit on the charts.

On September 24, 2009, Lambert and her band performed all the tracks on Revolution in sequence at the Ryman Auditorium, five days before its scheduled release date.^[15]

Upon the release of Revolution, Lambert's work was met with significant critical praise.^[20] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 85, based on 11 reviews, which indicates "universal acclaim".^[20]

Rolling Stone magazine praised the album saying, "Lambert remains country's most refreshing act, and not just because she makes firearms seem like a matter-of-fact female accessory." Entertainment Weekly magazine said, "She's found stylistic shades of songwriters twice her age..." and that the album is "...a portrait of an artist in full possession of her powers, and the best mainstream-country album so far this year." Boston Globe commented that “Revolution’’ is the sound of Miranda Lambert coming into her own." Slant magazine also had high praises reserved for the album saying, "Miranda Lambert expands on her fascinating, fully realized artistic persona on Revolution."

The album's second single, "White Liar", was released on August 17, 2009,^[21] and debuted at #50 on the U.S. Billboard Hot Country Songs chart. In February 2010, "White Liar" became Lambert's first Top Five hit, reaching a peak of #2 on the U.S. Billboard Hot Country Songs chart.

In promotion of Revolution, Miranda Lambert launched a headlining tour; Roadside Bars & Pink Guitars kicked off in March 2010 and included stops in over 22 cities, as well as a performance at the Bonnaroo Music Festival.^[22]

"The House That Built Me," the album's third single, was released on March 8, 2010 and became a #1 on the U.S. Billboard Hot Country Songs chart. It retained this position for four weeks and it received a platinum certification from the RIAA on July 8, 2010.^[23] On February 13, 2011, Lambert won a Grammy Award in the Best Female Country Vocal Performance category for "The House That Built Me."^[24]

"Only Prettier" followed as the album's fourth single in July 2010 and its accompanying music video became somewhat viral. The music video for "Only Prettier" was directed by Trey Fanjoy and filmed in Joelton, Tennessee in June 2010,^[25] and premiered on VEVO on August 3, 2010.^[26] It features a 1950s theme and cameo appearances by fellow country artists Kellie Pickler, Laura Bell Bundy, and Hillary Scott of Lady Antebellum. In the video, Lambert and her friends portray two rival cliques attending a high school sock hop.^[27] The alter-egos are shown doing things such as spiking the punch, stuffing their bras and smoking. Ultimately, the alter-egos have a bad time at the party, while Lambert, Pickler, Bundy and Scott enjoy themselves the entire night. Additionally, Lambert is also shown performing with her band on stage at the event.

On September 1, 2010, it was announced Miranda led nominations with an impressive 9 CMA awards, setting a record for the female with the most nominations in a single year by the organization. Miranda performed at the 44th Annual Country Music Association Awards on November 10, 2010.^[28] That same night she won the CMA Award for Female Vocalist of the Year and Revolution won Album of the Year.^[29] Lambert and Sheryl Crow performed "Coal Miner's Daughter" as a tribute to country legend Loretta Lynn, who also entered the stage to join them and finished the song with Crow and Lambert as backup. Later that night, Lynn presented the Female Vocalist of the Year CMA award to Lambert.