Q-Tip
Q-Tip in Washington D.C., 2008
Background information
Birth name	Jonathan Davis
Also known as	Abstract
Born	(1970-04-10) April 10, 1970 (age 42)
Origin	St. Albans, Queens, New York, U.S.
Genres	East Coast hip hop, alternative hip hop
Occupations	Entertainer
Instruments	Vocals, piano/keyboards, bass, drums
Years active	1986 – present
Labels	GOOD Music/Def Jam Recordings
Associated acts	A Tribe Called Quest, De La Soul, Jungle Brothers, Queen Latifah, Busta Rhymes, Mobb Deep, Beastie Boys, Mary J. Blige, Talib Kweli, Ice Cube, Cypress Hill, Consequence, Mark Ronson, Janet Jackson, Kurt Rosenwinkel, Faith Evans, Native Tongues, R.E.M.
Website	qtiponline.com

Kamaal Ibn John Fareed (born Jonathan Davis on April 10, 1970), better known by his stage name Q-Tip, is an American entertainer from St. Albans, Queens, New York, part of the critically acclaimed group A Tribe Called Quest. John Bush of Allmusic called him "the best rapper/producer in hip-hop history,"^[1] while editors of About.com placed him on their list of the Top 50 Hip-Hop Producers,^[2] as well as placing him on their list of the Top 50 MCs of Our Time (1987–2007), making him the only rapper/producer on the list.^[3]

Early and personal life[link]

Born Jonathan Davis on April 10, 1970 in Harlem, he converted to Islam in the mid-1990s, and changed his name to Kamaal Ibn John Fareed.^[4] He moved to St. Albans, Queens as a child. As referenced in the song "Check the Rhime", he mostly resided at Linden Boulevard. His father was from Montserrat, a British territory in the eastern Caribbean.^[5] His mother is an African-American from Alabama. His sister, Gwen, is eight years older than he is. He attended Murry Bergtraum High School in Manhattan, New York. According to Fareed, he was given his stage name by Afrika Baby Bam of Jungle Brothers, which he used as a replacement for his prior name, MC Love Child.^[6] He has also said that the Q in Q-Tip stands for Queens and he is often referred to as Tip, which later caused problems when a Southern rapper, now known as T.I., signed to Arista Records and attempted to use the stage name Tip, which was later shortened to T.I. to avoid confusion with his then-labelmate Q-Tip.^[7] Throughout his career, he also called himself "The Abstract".^[8] He said that one of the main people in his life that inspired him was his childhood friend, Mohammed Sead.^[8]

Q-Tip lives in Englewood Cliffs, New Jersey.^[9] He is the cousin of Consequence, who featured heavily on Beats, Rhymes, and Life by Q-Tip's group A Tribe Called Quest.

Career[link]

A Tribe Called Quest[link]

Q-Tip is the founding member of the critically acclaimed hip hop group A Tribe Called Quest. In 1985, together with his high school friends Phife Dawg, Ali Shaheed Muhammad and Jarobi White. The band signed to Jive Records and released five studio albums during its initial run. The band split up in 1998. A Tribe Called Quest reunited in 2006 and played a limited number of dates. The group was composed of its original lineup, including Q-Tip and occasional member Jarobi.

Solo career[link]

Q-Tip provided the rap element of the highly successful 1990 track "Groove Is in the Heart" performed by Deee-Lite and rapped on the album version of the 1994 Beastie Boys track "Get It Together."

After breaking up Q-Tip pursued a solo career. His first solo singles, "Vivrant Thing" and "Breathe & Stop", were far more pop-oriented than anything he had done in A Tribe Called Quest, as was his solo debut LP for Arista Records, Amplified^{[citation needed]}. His 2002 follow-up, Kamaal/The Abstract, although critically acclaimed and issued a catalog number, wasn't released at that time because the label believed that it did not have commercial appeal. Q-Tip featured on R.E.M.'s 2004 album Around the Sun during this period, with a rap on "The Outsiders".

Early 2007, Q-Tip signed a new solo deal with Motown/Universal Records.

In 2008, Q-Tip appeared on DJ/producer Statik Selektah's first album Spell My Name Right, on the tracks "Stop, Look, & Listen" with Styles P and Termanology.

His latest album The Renaissance was released on November 4, 2008, through Universal Motown and was nominated for Best Rap Album at the 2010 Grammys.^[10]

Kamaal/The Abstract was finally released on September 15, 2009, on Battery Records after being shelved for seven years.

Q-Tip is among a group of producers who were brought in by Kanye West to work on his fifth album, My Beautiful Dark Twisted Fantasy.^[11] He appeared in 2010 on Mark Ronson's album, Record Collection, on the song entitled "Bang Bang Bang" with MNDR, for which a video was released.

For Kanye West's and Jay-Z's collaborative album Watch The Throne he produced "That's My Bitch" and co-produced "Lift Off".

Q-Tip was the headliner at the 2011 Brooklyn Hip Hop Festival with a set called, 'Q-Tip and Friends'. Accompanying him on stage were Monie Love, Black Thought, Busta Rhymes, and Kanye West.

Production[link]

Q-Tip produced the first three A Tribe Called Quest albums almost entirely by himself, with the exception of contributions from Skeff Anselm ("Eight Million Stories", "Everything Is Fair") and Large Professor ("Keep It Rolling").^[6] Q-Tip did production work as part of the production company The Ummah, alongside fellow Tribe member Ali Shaheed Muhammad and the late Slum Village member J Dilla. Outside of his work with Tribe, Q-Tip produced for such artists as Nas ("One Love", from Illmatic, 1994), Mobb Deep ("Give up the Goods (Just Step)", "Temperature's Rising", and "Drink Away the Pain", from The Infamous, 1995) and R&B singers Mariah Carey ("Honey", from Butterfly, 1997) and Whitney Houston ("Fine", from Whitney: The Greatest Hits). He co-wrote and featured in Janet Jackson's song "Got 'til It's Gone" from the album The Velvet Rope in 1997. He co-produced jazz guitarist Kurt Rosenwinkel's 2003 release Heartcore. He is/has been involved with producing for Esperanza Spalding, Mary J. Blige, RZA, Wale, Asher Roth, Chiddy Bang, Melanie Fiona, Mark Ronson, Busta Rhymes, Beyoncé, Phife Dawg, D'Angelo, Questlove, Kanye West and Jay-Z.

As a DJ[link]

Fareed regularly acts as a DJ, most notably at Santos Party House where he hosted a weekly residency called OPEN.^[12] At Paper magazine's 2008 Nightlife Awards, OPEN was named "Best DJ Night".^[13]

Discography[link]

• 1999: Amplified
• 2008: The Renaissance
• 2009: Kamaal/The Abstract
• 2013: The Last Zulu

Filmography[link]

• 1993: Poetic Justice
• 1999: Love Goggles
• 2000: Disappearing Acts
• 2001: Prison Song
• 2002: Brown Sugar
• 2004: She Hate Me
• 2008: Cadillac Records
• 2010: Holy Rollers

Awards/Nominations[link]

• Grammy Awards
  • 2010, Best Rap Album: (The Renaissance), Nominee
  • 2006, Best Dance Recording: "Galvanize," Winner (shared with The Chemical Brothers)
  • 2000, Best Rap Solo Performance: "Vivrant Thing", Nominee
  • 1999, Best R&B Song: "Honey", Nominee

• MTV Video Music Awards
  • 2000, Best Hip-Hop Video: "Vivrant Thing", Nominee

References[link]

External links[link]

• Official website
• Q-Tip discography at Discogs
• Q-Tip at the Internet Movie Database

Many cotton swabs in a round container

The most common uses for cotton swabs include aural hygiene and cosmetics application.

A pack of 54 Q-tips cotton swabs

Cotton swabs (American English) or cotton buds (British English) or ear buds (Australian and South-African English) consist of a small wad of cotton wrapped around one or both ends of a short rod, usually made of either wood, rolled paper, or plastic. They are commonly used in a variety of applications including first aid, cosmetics application, cleaning, and arts and crafts. The cotton swab was invented in the 1920s by Leo Gerstenzang^[1] after he attached wads of cotton to toothpicks.^[2] His product, which he named "Baby Gays", went on to become the most widely sold brand name, "Q-tips", with the Q standing for "quality". The term "Q-tips" is often used as a genericized trademark for cotton swabs in the USA. Although doctors have said for years that usage of the cotton swab for ear cleaning is not safe, that use remains the most common.^[3][4]

Construction[link]

The traditional cotton swab has a single tip on a wooden handle, and these are still often used, especially in medical settings. They are usually relatively long, about six inches (15 cm). These often are packaged sterile, one or two to a paper or plastic sleeve. The advantage of the paper sleeve and the wooden handle is that the package can be autoclaved to be sterilized (plastic sleeves or handles would melt in the autoclave).

Cotton swabs manufactured for home use are usually shorter, about three inches (7.6 cm) long, and usually double-tipped. The handles were first made of wood, then made of rolled paper, which is still most common (although tubular is also used). They are often sold in large quantities, possibly 111 or more to a container.

Swab stems exist in a wide variety of colors, such as blue, pink or green. However, the cotton itself is traditionally white.

Usage[link]

The most common use for cotton swabs is to clean or scratch the ear canal and/or to remove earwax but this is not medically recommended method for removing earwax. Cotton swabs are also commonly used for applying and removing makeup, as well as for household uses such as cleaning and arts and crafts.

Medical-type swabs are often used to take microbiological cultures. They are swabbed onto or into the infected area, then wiped across the culture medium, such as an agar plate, where bacteria from the swab may grow. They are also used to take DNA samples, most commonly by scraping cells from the inner cheek in the case of humans. They can be used to apply medicines to a targeted area, to selectively remove substances from a targeted area, or to apply cleaning substances like Betadine. They are also used as an applicator for various cosmetics, ointments, and other substances.

One recent innovation is to use a special type of double-tipped cotton swab for over-the-counter drug application. These swabs have hollow tubular plastic handles, which are filled with the medicine. Breaking one marked end of the swab breaks an air seal, allowing the medicine to saturate the cotton at the other end so that it can be directly applied with the swab.

Cotton swabs can be used in the dyne test for measuring surface energy. This use is problematic, as manufacturers differ in the binders they use to fix the cotton to the stem, affecting the outcome of the test.^[5]

Cotton swabs are also used for cleaning the laser of an optical drive in conjunction with rubbing alcohol.

Cotton swabs were also used widely to clean video game cartridges. Cotton swabs are also used to clean computer parts such as hard drives, optical drives, video game cards, and fans.

The American brand name "Q-Tip" is now owned by the British-Dutch conglomerate Unilever.

Notes[link]

External links[link]

Wikimedia Commons has media related to: Cotton swab

• Cotton Swabs and Ear Perforations

A Tribe Called Quest
A Tribe Called Quest
Background information
Origin	St. Albans, Queens, New York, USA
Genres	Alternative hip hop, jazz rap
Years active	1985–1998 2006–present
Labels	Jive
Associated acts	Native Tongues, De La Soul, Jungle Brothers, Black Sheep, J Dilla, Beastie Boys, Leaders of the New School, Busta Rhymes,Pharcyde
Website	atribecalledquest.com
Members
Q-Tip (1988–1998, 2006–present) Phife Dawg (1988–1998, 2006–present) Ali Shaheed Muhammad (1988–1998, 2006–present) Jarobi White (1988–1990, 2006–present)

A Tribe Called Quest is an American hip hop group, formed in 1985, ^[1] and is composed of MC/producer Q-Tip, MC Phife Dawg aka Phife Diggy (Malik Taylor), and DJ/producer Ali Shaheed Muhammad. A fourth member, rapper Jarobi White, left the group after their first album but rejoined in 1991. Along with De La Soul, the group was a central part of the Native Tongues Posse, and enjoyed the most commercial success out of all the groups to emerge from that collective. Their innovative fusing of hip hop and jazz has had a lasting impact on hip hop music, helping to expand the art of hip hop production. Many of their songs, such as "Bonita Applebum", "Can I Kick It?", "I Left My Wallet in El Segundo", "Scenario", "Check the Rhime", "Jazz (We've Got)", "Award Tour" and "Electric Relaxation" are regarded as classics by the hip hop community.

They released five albums between 1990 and 1998. The first three LPs were highly acclaimed, but the group disbanded in 1998. In 2006, the group reunited and toured the U.S., and planned to release an album after some works in the studio. The group is regarded as iconic pioneers of alternative hip hop music, having helped to pave the way for innovative hip hop artists.^[2] John Bush of Allmusic called them "the most intelligent, artistic rap group during the 1990s,"^[3] while the editors of About.com ranked them #4 on their list of the "25 Best Rap Groups of All Time."^[4] In 2005, A Tribe Called Quest received a Special Achievement Award at the Billboard R&B Hip-Hop Awards in Atlanta.^[5] In 2007, the group was formally honored at the 4th VH1 Hip Hop Honors.

Biography[link]

History[link]

Q-Tip and Phife Dawg were childhood friends that grew up together in Queens, New York. Initially, Q-Tip performed as a solo artist (MC Love Child), occasionally teaming up with Muhammad as a rapper/DJ duo. While the duo frequently made demos with Phife (as Crush Connection), the sports enthusiast^[who?] was still courting professional basketball ambitions and remained somewhat reluctant to become a full member of the group. He only later relented after Jarobi also joined, thus making the group a quartet. The group's final name was coined in 1988 by the Jungle Brothers, who attended the same high school as Q-Tip and Muhammad.^[3] Q-Tip made two separate appearances on the Jungle Brothers' classic debut album, Straight Out the Jungle; the songs "Black Is Black" and "In Time", respectively. Afrika Baby Bam of the group introduced Q-Tip to De La Soul when he took the aspiring artist along to a studio session for the recording of the remix for the group's song "Buddy". Produced by Prince Paul, the remix of "Buddy" was to be an all-round Native Tongue affair, and the eccentric producer encouraged Q-Tip to contribute to the now-classic record.

In early 1989 they signed a demo deal with Geffen Records and produced a five song demo which included later album tracks including "Description Of A Fool", "I Left My Wallet in El Segundo" and "Can I Kick It?". Geffen however, decided against offering the group a full-fledged recording contract and the group was granted permission to shop for a deal elsewhere while retaining the Geffen financed songs.

After receiving lucrative offers for multi-album deals from a variety of labels both big and small, the group showed early savvy in opting for a modest deal offered by Jive Records. Jive Records was then known as an independent rap label that specialized in, and owed its success to, building careers of artists like Boogie Down Productions and Too Short, as well as an emphasis on longevity and attention to grass-roots fan bases.^{[citation needed]}

[edit] People's Instinctive Travels and the Paths of Rhythm

In less than a year, and under the management of DJ Red Alert, the group released their first single, "Description of a Fool", to a lukewarm reception, and without a music video in advance of their debut album People's Instinctive Travels and the Paths of Rhythm. Similar to De La Soul's 3 Feet High and Rising, People's Instinctive Travels was marked by a playful lyrical approach (as on the call-and-response inspired "Can I Kick It?"), light-hearted content (safe sex, vegetarianism, youthful experiences), and to a lesser extent, an idiosyncratic sense of humor, free from much of the posturing of both hardcore hip hop, and the more left-wing aspects of conscious hip hop. Also of note, was the album's sample material, largely based around jazzy loops and snippets from artists such as Cannonball Adderley, Roy Ayers, Lou Reed, Rotary Connection, and Les McCann. Through these samples, the group employs the use of horns, Rhodes, bass guitar and vibes.

Although now critically acclaimed, at the time of its inception People's Instinctive Travels was met with mixed enthusiasm. Greg Tate of The Village Voice called the album "upliftingly dope" and "so sweet and lyrical, so user-friendly. You could play it in the background when you're reading Proust." The Source also gave it a positive reception, even awarding it a five-mic rating - the magazine's highest possible rating. It was only the third album ever to receive this rating.^{[citation needed]} However, Chuck Eddy of Rolling Stone wrote that the album "is one of the least danceable rap albums ever" and he went on to say "it's impossible to imagine how people will put this music to use."^[6]

The album largely offended the record buying public, and for the time being the group remained in the shadows of their Native Tongue brethren, Jungle Brothers, and De La Soul. It would gain some momentum only after the release of the singles "Bonita Applebum", "Can I Kick It?", and the group's later commercial success, eventually going gold six years after its release. After the release of the album, Jarobi left the lineup for personal reasons.The group soon changed its management from DJ Red Alert to Chris Lighty.

[edit] The Low End Theory

Following People's Instinctive Travels, the group continued to gather a loyal fan base through touring and guest appearances such as on De La Soul's "A Roller Skating Jam Named "Saturdays"". "Check the Rhyme" was the lead single from the group's landmark second album, The Low End Theory, released on September 24, 1991. Based around a sample from Average White Band's "Love Your Life", the song largely established the now familiar tag-team interplay between Q-Tip and Phife, as until then, most of the group's songs had only featured vocals by Q-Tip.

The two MCs, known for their engaging, and free-wheeling lyrical styles, began to focus on a range of social issues, from date rape ("The Infamous Date Rape") to consumerism ("Skypager"). The songs were noticeably shorter, more abrupt, and bass-heavy. Guests on the album included Leaders of the New School (which included Busta Rhymes), Brand Nubian, and Vinia Mojica. By now, the group had mastered their pursuits of rare records from which to sample or gain ideas and inspiration. Their innovative sampling, layering, and structuring of jazz records led many critics to label their style as jazz rap - a term which Q-Tip disapproved of, as although he felt it described groups such as Stetsasonic quite well, it misinterpreted Tribe themselves, who (aside from the song "Jazz (We've Got)") did not base most of their songs around the topic of jazz.

Helping to gain exposure was a performance of the single "Scenario" with Leaders of the New School on The Arsenio Hall Show at the time, at the height of its popularity. The performance was particularly memorable for the expressive energy of Busta Rhymes, and his famous "raow! raow! Like a dungeon dragon!" line^{[citation needed]}. Around this time, the group also began to make experimental and visually stylish music videos, one of the most memorable of which is the black-and-white promo clip for "Jazz (We've Got)", a duration of which is delegated to the song "Buggin' Out". This part of the video changes from black and white to color, and features the group members wearing prosthetics that make their eyeballs appear to be bulging out, relating to the song's theme about undergoing stressful situations.

Production wise, the album was a more confident effort than their debut, featuring less of a reliance on drum loops, and contributions from jazz great Ron Carter on upright bass. The album was produced by A Tribe Called Quest along with production from Skeff Anselm (co-production by A Tribe Called Quest), on two tracks. Producer Pete Rock also created the original rough draft version for "Jazz (We've Got)", and A Tribe Called Quest then recreated it. In contrast to most of the hip hop albums released in the early 90s, which featured rough beats that run at relatively fast tempos, such as the Bomb Squad-produced Amerikkka's Most Wanted, or the slow menacing funk beats of Dr. Dre's The Chronic, The Low End Theory featured low-key, bass-heavy, and plodding beats which emphasized the pensive nature of the record. The recording sessions and mixing for the album was handled by renown record engineer Bob Power at Greene Street Studios, and Soundtrack Studios, in New York City.

On its release, the album was met with a bevy of praises. Rolling Stone said of the album: "Each time Q-Tip rhymes over Carter's bass lines, the groove just gets deeper."^[7] The publication also named it #154 among the Best 500 Albums of All Time, and also as one of the Essential Recordings of the 90's.^[8] Further praises were given by Spin who listed it among the 90 Greatest Albums of the '90s.^[9] The praises continue to the present day with Allmusic calling it "one of the best hip-hop albums in history", and "a record that sounds better with each listen."^[10] Pop Matters music editor Dave Heaton has this to say about the album:

Anything really worth writing about is nearly indescribable; that's the conundrum of writing about music. Any 30-second snippet of The Low End Theory will go further to convince of the album's greatness than anything I can write. I could easily write an entire book on this one album and still feel like I've hardly said anything. Still, I could do worse things with my time than try to capture even an iota of the enthusiasm I feel each time I play this album. The Low End Theory is a remarkable experience, as aesthetically and emotionally rewarding as any work of music I can think of.

^[11]

Among the accolades awarded to the album were:

• 5 Mic Album award from The Source (1990)
• #2 in Ego Trip's Hip Hop's 25 Greatest Albums by Year 1980-98 (1999)
• #53 in Blender's 100 Greatest American Albums of All time (2002)
• #56 in Pitchfork Media's Top 100 Favorite Records of the 1990s (2003)
• #154 in Rolling Stone's Best 500 Albums of All Time (2003)
• Spin Magazine
  • #32 in Top 90 Albums of the 90s (1999)
  • #38 in Top 100 Albums of the Last 20 Years (2005)
  • #87 in 100 Alternative Albums (1995)

Propelled by "Scenario", and positive word of mouth, The Low End Theory performed very well on the charts, being RIAA-certified gold on February 19, 1992 (it reached platinum status by 1995). It exceeded all expectations, most of all for an album that offered little to no concessions towards the mainstream. In the aftermath of their unqualified success, the group once again hit the road and contributed the song "Hot Sex" to the soundtrack for the Eddie Murphy vehicle Boomerang, in 1992.

Interrupting the proceedings was an encounter with new jack swing group Wreckx-N-Effect (W-N-E), who had taken an exception to some lines in the song "Jazz (We've Got)". Viewed as a premier new jack swing group, W-N-E had misinterpreted the following couplets by Phife as a sideway diss:

I'm all into my music cuz it's how I make papes

Tryin' to make hits, like Kid Capri mix tapes

Me sweat another? I do my own thing

Strictly hardcore tracks, not a new jack swing

The misunderstanding resulted in a melee in which Q-Tip sustained an injury to one of his eyes. Thus, during the shooting of the promo clip for "Hot Sex", he wore a ski mask to cover up the abrasion. Soon after, Q-Tip was chosen to play the part of Markell, Janet Jackson's ill-fated partner, in the John Singleton-directed drama Poetic Justice, which also starred Tupac Shakur. The minor part would nevertheless showcase Q-Tip's natural flair for acting and he would later receive offers for more diverse supporting roles. This film also allowed for a friendship to blossom between Q-Tip and Jackson, and the pair would go on to collaborate on her song "Got 'Til It's Gone", from her album The Velvet Rope, in 1997.

During the ascendancy of ATCQ, other Native Tongue members were experiencing career-lows. The Jungle Brothers, once the trailblazers of the collective, were now becoming disaffected with their label due to the under-promotion of their previous effort. In addition, they distanced themselves from the collective, and their music began to lean towards the emerging, European-influenced trip hop sub-genre. However, ATCQ appeared to be maintaining an ongoing relationship with De La Soul.

[edit] Midnight Marauders

Trugoy of De La Soul appeared on the refrain of "Award Tour", the group's lead single from their third album Midnight Marauders, released on November 9, 1993. Coming on the heels of The Low End Theory, the album was highly anticipated and many were anxious to see if the group could maintain their artistic integrity in light of their commercial success. Boosted by their raised profile, "Award Tour" became the group's highest charting single to date, and helped to land the album within the US Top Ten. The critics proved to be as enthusiastic about the new set as the fans were. Entertainment Weekly said the album "sounds as fresh as their first... rappers Phife and Q-Tip manage to hold attention without resorting to gun references or expletives..."^[12] NME called it their "most complete work to date"^[12] Likewise, Melody Maker said "A Tribe Called Quest have expanded their vision with a lyrical gravitas and a musical lightness of touch that has hitherto eluded them across a whole album".^[12] The album was voted #21 by The Village Voice in that year's Pazz & Jop Critics Poll.^[12]

Musically, Midnight Marauders built upon many of the ideas that were present on The Low End Theory, although the results were noticeably different, and the music was more immediate. Whereas Theory had been an exercise in subdued minimalism, and simplicity, the grooves found on Marauders are mostly up tempo, and full of charging drums, suave basslines, melodious riffs, complementary horns, and catchy hooks, all delivered in an efficient 50 minute time frame. The intermittent voice of a tour guide (the titular 'midnight marauder') also serves to add further cohesion to the album.

The group was now famous for their unique choices of sample material on their albums and Midnight Marauders was no exception. Lead single "Award Tour" contained an infectiously sunny loop taken from Weldon Irvine's "We Gettin' Down". Irvine, a little known but well-respected jazz virtuoso was enthused to have been sought by the group and lent his assistance towards the sampling of the song. Another outside musician to contribute to the record was Raphael Saadiq (credited as Raphael Wiggins) of Tony! Toni! Toné!, on the song "Midnight". Aside from the aforementioned, producers Large Professor, and Skeff Anselm handled two tracks - "Keep It Rollin'" and "8 Million Stories" respectively, the former also rapping over his production.

Lyrically, the album benefited from an even more confident duo in Phife Dawg and Q-Tip, whose nimble verbal interplay is utilized to its fullest on songs like "Electric Relaxation" and "Oh My God". Opening song "Steve Biko (Stir It Up)" - which includes the lines "You know that I'm the rebel, throwin' out the wicked like God did the Devil" - is named after the slain South African human rights activist and political revolutionary Steve Biko. Some of the other topics on the album are police harassment and nocturnal activity ("Midnight"), religious faith ("God Lives Through"), and hip hop itself, as on the song "We Can Get Down" where Phife asks:

How can a reverend preach, when a rev can't define

The music of our youth from 1979

We rap about what we see, meaning reality

From people bustin' caps and like Mandela being free

Not every MC be with the negativity

We have a slew of rappers pushin' positivity

Another song, the sometimes controversial "Sucka Nigga", deals with the candid use of the word "nigga". In the song, Q-Tip notes the negative purpose of the word but subsequently emphasizes its subjective nature when he says:

It means that we will never grow, you know the word dummy

Other niggas in the community think its crummy

But I don't, neither does the youth cause we

Em-brace adversity it goes right with the race

And being that we use it as a term of endearment

Niggas start to bug to the dome as where the fear went

The three singles for the album received memorable music videos, such as the one for second single "Electric Relaxation" which was shot in black and white, and takes place mostly in a diner. The song was the cause of an amusing mystery, as few people were certain of what is said during the hook, which is more or less mumbled out by Q-Tip (although there is now a consensus that the words are "relax yourself girl, please settle down"). The third single to be released was "Oh My God", the video for which showed the group in a neighborhood setting and surrounded by young fans. It also included a cameo by a typically manic Busta Rhymes. The group performed as one of a handful of rap acts at the 1994 Lollapalooza Festival, among acts such as The Smashing Pumpkins, Stereolab and The Verve.

Intermission and The Ummah[link]

Midnight Marauders remains A Tribe Called Quest's fastest-selling album; it was certified platinum on January 11, 1995, less than two years after its release (it had taken The Low End Theory about twice the amount of time to get such a certification). The album's success allowed the group a greater financial freedom and the members took a short break before the recording of their next album began. Q-Tip produced several tracks for other artists including "One Love" for Nas, "Illusions (Remix)" for Cypress Hill, and three tracks on the Mobb Deep album The Infamous. He also went through a religious awakening and converted to Islam. Tragedy would strike when an improperly disposed cigarette at a house party escalated into a full-blown fire, burning down his home, a vast record collection, and many works in progress. Friends and producers like Pete Rock and Large Professor helped him building up a record collection by donating records to him.

Phife, who rapped on "Oh My God" that he owned "more condoms than TLC", made cameo appearances on that group's hugely successful album, Crazy Sexy Cool, in 1994. He would also marry his fiancee and relocate to Atlanta, Georgia.

Ali Shaheed Muhammad worked on outside projects with artists such as D'Angelo (Brown Sugar), Shaquille O'Neal ("Where Ya At?"), and Gil Scott-Heron ("Don't Give Up"). The group contributed to The Show soundtrack in 1995, before returning the following year with their fourth album.

While on tour, Q-Tip's friend Amp Fiddler would introduce him to a young producer from Detroit named Jay Dee. The pair clicked immediately and Q-Tip took the talented newcomer under his wing, and introduced him to the rest of Tribe, who agreed to the idea of forming a production unit and having Jay Dee as member, albeit under the guise of "The Ummah" (Arabic for "the [worldwide] Muslim community"). The Ummah would now handle all the production on the rest of the group's albums, although they would credit the production crew whether a song was a team effort by the three or a solo work from one of the producers. This was also the case for remixes and outside production the three members worked on during the few years The Ummah was active.

[edit] Beats, Rhymes and Life

Beats, Rhymes and Life, the group's fourth album, was recorded during the turbulent East Coast-West Coast hip hop rivalry, which engulfed many rappers from both coasts and even some from in between. The group saw it fit to address these issues, a decision based partly on principle, but also probably based on the fact that, despite being from the East, they were well respected on both coasts. Cuts like "Get A Hold", and "Keep It Moving" contain references to the state of affairs, and are some of the most sober songs the group has ever recorded.

In addition to the heavier subject matter, The Ummah's production style was now a smoother (but darker) hybrid of the group's previous incarnations, where the snare possessed a much sharper crack on most tracks. Jay Dee, a big fan of the Tribe, appeared to have had a hand in re-shaping the sound, charting new rhythmic territory with songs like "Keep It Moving", or "Wordplay". While these new beats fit the album's direction, another ingredient left many puzzled. Consequence, Q-Tip's cousin, and an aspiring rapper, was present on no less than six songs, including the second single "Stressed Out", which caused only Consequence to think he had been officially added to the lineup. This factor only magnified Phife's slightly reduced participation. After their breakup, Phife Dawg would reveal how he had begun to lose interest in recording as a part of the group by the fourth album:

I really felt like with Midnight Marauders I came into my own. By the time when Beats, Rhymes and Life came out I started feelin' like I didn't fit in any more. Q-Tip and Ali had converted to Islam and I didn't. Music felt like a job; like I was just doin' it to pay bills. I never want my music to feel like just a job. They would schedule studio time at the last minute. I'd catch a plane from Atlanta to be in New York and when I got to the studio, no one would be there. They would have canceled the session without telling me. Seemed like the management was concerned with other folks not me. But I never lost my confidence.

^[13]

The album shot straight to #1 in the charts and went gold by the end of the year; it would go platinum by 1998. It was nominated for a Grammy Award for Best Rap Album, as was the lead single, "1nce Again", which received a nomination for Best Rap Performance by a Duo or Group. Critical reactions were largely divided but mostly positive. While some welcomed the new material, others found it to be a step below their past work. Rolling Stone called it "near-flawless", going on to say that "few hip-hop acts have so sharply captured the surreal quality that defines what it means to be African-American, a quality in which poker-faced humor and giddy tragedy play tag team with reality."^[14] The Source awarded it 4 out of 5 mics and called The Ummah "the most proficient in the rap game at using samples as instruments in themselves".^[14] Despite his apparent lack of motivation Spin thought Phife sounded "tougher and more playful than ever", while Melody Maker saw the album as "providing both their best and worst thus far", and "magnetic yet frustrating".^[14] In a 1998 farewell article in The Source, Questlove, drummer for The Roots, summarized the album's partially frosty reception:

1996 was full of memories whose soundtracks were more "gonna make you dance", whereas Tribe wanted "to make you think". Funny how if this was any other group there would be accolades galore. But by this time most attitudes were, "if Tribe ain't moving the world with each release, then we won't stand for nothing less."

Following Beats, Rhymes and Life, the group appeared on the Men in Black soundtrack with the song "Same Ol' Thing", and released, The Jam, a 4-track EP which included the aforementioned song, "Mardi Gras At Midnight" (with Rah Digga) and two songs from Beats, Rhymes and Life, "Get A Hold" and "Jam". 1997 also saw the first coming together of the three main Native Tongue groups since 1989, when the Jungle Brothers invited both Tribe and De La Soul to guest on "How Ya Want It We Got It", a cut from their album Raw Deluxe. The Ummah continued producing for a diverse range of artists such as Janet Jackson, Keith Murray, Faith Evans, and Whitney Houston.

[edit] The Love Movement and split

Prior to the unveiling of The Love Movement, the group announced that it would be their last album together. Fans were surprised, as the breakdown had been kept discreet. In an interview with The Source, the group cited their frustration with Jive Zomba as a significant factor in the breakup. Phife:

I felt like I was happy to be on, of course. It took me a minute to latch on to the business side of things, 'cause it was just a happy-go-lucky time. And then eventually, as time went on, it started to slap me in my face. But as far as record labels, or whoever, they're not gonna do us right... As far as our label, I really have no comment, duke.

The Love Movement was preceded by the fun-spirited "Find a Way"; a song memorable for its swirly otherworldly production and catchy staccato hook. It also received a stylish Paul Hunter-directed music video (the last video the group ever made). Musically, the somewhat somber tone of the previous album was largely absent and replaced by a familiar carefree optimism. Tracks like "Give Me", with Noreaga exemplify the group's approach for much of the album. Driven by a pulsing beat, the opening song "Start It Up" was perhaps even more minimal than anything found on The Low End Theory. Likewise, "Against The World" relies on little more than crisply mixed down drums and a two note bassline. The theme of the album was firmly focused around the topic of love; love for oneself, love for another, love for mankind, love in the face of hate.

Critical reception for The Love Movement was fairly positive, although some factions viewed the album as too subtle to be thoroughly effective. Rolling Stone, for example, remarked that "the mature, accomplished niceness of The Love Movement proves that the Tribe still have the skills – they're just short on thrills."^[15] The album was nominated for a Grammy Award for Best Rap Album, in 1999.

Solo ventures[link]

Q-Tip[link]

Under the management of Violator, Q-Tip launched a successful solo career, which saw two sizable hits ("Vivrant Thing", and "Breathe and Stop"), and the Gold-certified album Amplified, released in 1999. Some saw Q-Tip's arguably radio-friendly material as pandering to the mainstream; something his former group was highly respected for avoiding during their run. The album was produced by Q-Tip and Jay Dee (as The Ummah), and DJ Scratch.

After Amplified, Q-Tip changed directions and recorded 2002's Kamaal the Abstract, an album which saw him in the role of singer and bandleader. Unlike his work with Tribe, or even his own solo work, Kamaal was constructed around live music, and "abstract" song concepts, all orchestrated by Q-Tip himself. Unfortunately, Arista Records refused to release the album, fearing it would be unmarketable coming from a rapper. Undeterred, Q-Tip recorded 2005's Open, a slightly more accessible album, featuring contributions from André 3000, Common, and D'Angelo. Once again, the record was rejected by Arista, after which Q-Tip left the label. He subsequently signed to Motown/Universal and released the largely self-produced The Renaissance in late 2008.^[16]

Phife Dawg[link]

Ironically, the most notable of Q-Tip's critics was Phife, who took his former partner to task on his solo album Ventilation: Da LP, released in 2000. The Hi-Tek-produced lead single, "Flawless", contained the lines "Go 'head, play yourself with them ho-like hooks / sing ballads if it's all about the Maxwell look" (Maxwell was one of the founding fathers of neosoul). Ventilation also included production by Jay Dee and Pete Rock. Q-Tip and Phife soon patched up their differences. Since then, Phife, who is diabetic, has maintained a relatively low-profile whilst recording his long delayed follow-up album, Songs In The Key Of Phife: Volume 1 (Cheryl's Big Son).

Ali Shaheed Muhammad[link]

Teaming up with two other artists from former groups, Raphael Saadiq of Tony! Toni! Toné!, and Dawn Robinson of En Vogue, Ali Shaheed's next project was the "supergroup" Lucy Pearl. The group scored a huge hit single with "Dance Tonight", and a warm hit with "Don't Mess With My Man", and their one and only self-titled album was certified Gold a few months after its release in 2000. Following a dispute between Saadiq and Robinson, the latter left the group and was replaced by Joi, however this new incarnation would only last for the remainder of touring. Ali Shaheed then focused on developing a stable of artists, most of whom were showcased on his debut solo album Shaheedullah and Stereotypes, released independently in 2004.

Reunion[link]

The group first reunited on November 13, 2004, headlining the Rock the Bells concert held in the Angels Stadium parking lot in Anaheim, California. This was the night that Ol' Dirty Bastard died, and as such the group opened up with a 10-minute tribute set to the Wu-Tang Clan and continued a 2-hour highly energetic show.

In 2006, the group reunited and performed several sold-out concerts in the U.S., Canada and Mexico. A Tribe Called Quest was a co-headliner at the 2006 Bumbershoot festival in Seattle, but have not announced any plans to release a new album. The group is also appearing in 2K Sports' Bounce Tour promoting the NBA 2K7 game and a remix of their song, "Lyrics to Go", which is included in the game. According to Phife, ATCQ plans to release an album since they owe Jive Records one more in their six album contract. The date of its release is still unconfirmed, and Phife has urged fans to hold on as the group does not wish to release an LP which might damage their reputation. Speaking about the possibility of a new album showing up soon, Phife said:

Man, we was only 18-19 when we first got started. [When] We broke up we were still like 28. Now we are 35-36. It'd be real different being in the studio. It would be real interesting to see where Q-Tip is. It would all be on a much higher level. But we are all into such different stuff from way back then. We’d need at least a solid month to work on something. Trying to get all of us together for that much time… I don’t see that happening.

^[13]

ATCQ was the headlining act in 2008 at the Rock the Bells series of concerts,^[17] and were also co-headliners on the 2010 Rock the Bells festival series, alongside Snoop Dogg and Wu-Tang Clan.

Film[link]

The group was the subject of a 2011 documentary entitled Beats, Rhymes & Life: The Travels of a Tribe Called Quest, directed by Michael Rapaport.

Discography[link]

Albums[link]

• 1990: People's Instinctive Travels and the Paths of Rhythm
• 1991: The Low End Theory
• 1993: Midnight Marauders
• 1996: Beats, Rhymes and Life
• 1998: The Love Movement

Compilations[link]

• 1992: Revised Quest for the Seasoned Traveller
• 1999: The Anthology
• 2003: Hits, Rarities & Remixes
• 2006: The Lost Tribes

References[link]

External links[link]

Wikimedia Commons has media related to: A Tribe Called Quest

• A Tribe Called Quest - Official site
• A Tribe Called Quest at Jive Records
• A Tribe Called Quest at Discogs

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (September 2010)

Raphael Saadiq
Saadiq at the 2012 Time 100
Background information
Birth name	Charles Ray Wiggins
Born	(1966-05-14) May 14, 1966 (age 46)
Origin	Oakland, California, United States
Genres	R&B, soul, neo soul
Occupations	Singer-songwriter, producer
Instruments	Vocals, bass guitar, guitar, keyboards
Years active	1983–present
Labels	Pookie Entertainment, Columbia, Sony
Associated acts	Tony! Toni! Toné!, Lucy Pearl, Eve 6, Joi, Joss Stone, Q-Tip

Raphael Saadiq (born Charles Ray Wiggins, May 14, 1966) is an American singer, songwriter, musician, guitarist, and record producer. Saadiq has been a standard bearer for "old school" R&B since his early days as a member of the multiplatinum group Tony! Toni! Toné! He also produced songs of such artists as TLC, Joss Stone, D'Angelo, Mary J. Blige, and John Legend.

He and D'Angelo were occasional members of The Ummah, a music production collective, composed of members Q-Tip and Ali Shaheed Muhammad of A Tribe Called Quest, and J Dilla of the Detroit-based group Slum Village.

Saadiq's critically acclaimed album, The Way I See It, released on September 16, 2008, featuring artists Stevie Wonder, Joss Stone, and Jay-Z, received three Grammy Award Nominations and was voted Best Album on iTunes of 2008. His fourth studio album, Stone Rollin', was released on March 25, 2011.^[1] For the album, Saadiq worked with steel guitarist Robert Randolph; former Earth, Wind & Fire keyboardist Larry Dunn; Swedish/Japanese indie rock songstress Yukimi Nagano (of Little Dragon fame); Funk legend Larry Graham (on the bonus cut Perfect Storm)^[2] plus soul newcomer Taura 'Aura Jackson' Stinson. ^[3][4]

Music critic Robert Christgau has called Saadiq the "preeminent R&B artist of the '90s".^[5]

Early life[link]

Saadiq was born in Oakland, California, the second-youngest of 14 siblings and half-siblings.^[3] His early life was marked by tragedy; he experienced the deaths of several of his siblings as a young child. When Saadiq was seven years old, his brother was murdered. One of his brothers overdosed on heroin and another committed suicide because he was unable to deal with his addiction to the drug. His sister died as a result of a car crash during a police chase in a residential neighborhood. Saadiq states that he does not want his music to be reflective of the tragedies he experienced, saying that "And through all of that I was makin' records, but it wasn't comin' out in the music. I did it to kinda show people you can have some real tough things happen in your life, but you don't have to wear it on your sleeve."^[3]

He has been playing the bass guitar since the age of six,^[2] and first began singing at age nine in a local gospel group.^[6][7] At the age of 12, he joined a group called "The Gospel Humminbirds". In 1984, shortly before his 18th birthday, Saadiq heard about tryouts in San Francisco for Sheila E.'s backing band on Prince's Parade Tour. At the audition, he chose the name "Raphael", and had difficulty remembering to respond to the name when he heard that he got the part to play bass in the band.^[3] He says of the experience, "Next thing I was in Tokyo, in a stadium, singin' Erotic City. We were in huge venues with the biggest sound systems in the world; all these roadies throwin' me basses, and a bunch of models hangin' round Prince to party. For almost two years. That was my university."^[3]

Career[link]

1987–99: Tony! Toni! Toné! and The Ummah[link]

After returning to Oakland from touring with Prince, Saadiq began his professional career as the lead vocalist and bassist in the rhythm and blues and dance trio Tony! Toni! Toné! He used the name Raphael Wiggins while in Tony! Toni! Toné!, where he was joined by his brother Dwayne Wiggins, and his cousin Timothy Christian. In the mid-1990s, he adopted the last name Saadiq, which means "man of his word" in Arabic.^[3] His change of surname led many to speculate that he had converted to Islam at that point; in reality, Saadiq is not a Muslim, but rather just liked the way "Saadiq" sounded and changed his last name simply to distinguish himself from and avoid potential confusion with his brother, Dwayne Wiggins.^[9] As he confirmed by telling noted R&B writer Pete Lewis of the award-winning 'Blues & Soul' in May 2009, "I just wanted to have my own identity!"^[10]

In 1995, Saadiq had his biggest solo hit to date, when "Ask of You", featured on the Higher Learning Soundtrack peaked at #19 on the Billboard Hot 100 and #2 on the R&B chart. In 1995, Saadiq produced and performed on Otis & Shug's debut album, We Can Do Whatever.

Tony! Toni! Toné! would become major R&B superstars throughout the late-1980s and 1990s. However, after the 1996 album entitled House of Musicfailed to duplicate the group's previous success, Tony! Toni! Toné! went their separate ways in 1997.

In 1997, Saadiq hooked up with EPMD for the tune "Da Joint".

1999–2004: Lucy Pearl and first string of solo albums[link]

In 1999, Saadiq's next big project became the R&B supergroup Lucy Pearl. He recorded the self-titled album with Dawn Robinson (En Vogue) and Ali Shaheed Muhammad (A Tribe Called Quest). The group only lasted for one album.

In 1999, he also collaborated with rapper Q-Tip on the single "Get Involved", from the animated television series The PJs. It samples The Intruders' 1973 song "I'll Always Love My Mama" and charted at number 21 on the US Hot R&B/Hip-Hop Singles & Tracks.^[11]

His 2000 song collaboration "Untitled (How Does It Feel)" won D'Angelo a Grammy Award for Best Male R&B Vocal Performance; it was also nominated for Grammy Award for Best R&B Song.^[12] The song was ranked #4 on Rolling Stone's "End of Year Critics & Readers Poll" of the top singles of 2000.^[13] D'Angelo's album Voodoo won a Grammy Award for Best R&B Album at the 2001 Grammy Awards.

In 2002, Saadiq founded his own record label, Pookie Entertainment. Among the artists on the label are Joi and Truth Hurts. In 2002, he released his first solo album Instant Vintage, which earned him five Grammy Award nominations. He released a two-disc live album All the Hits at the House of Blues in 2003, and his second studio album Ray Ray in 2004, both on Pookie Entertainment.

2004–present: Expanded output and second string of albums[link]

Saadiq in 2009

In 2004, Saadiq produced a remix of the song "Crooked Nigga Too" by Tupac Shakur which is featured on the album Loyal To The Game. Other artists he has collaborated with include Whitney Houston, Mary J. Blige, The Isley Brothers, A Tribe Called Quest, Teedra Moses, The Roots, Erykah Badu, Jill Scott, Macy Gray, Angie Stone, Snoop Dogg, Devin the Dude, DJ Quik, Kelis, Q-Tip, Lil' Skeeter, Ludacris, The Bee Gees, Musiq Soulchild, Jaguar Wright, Chanté Moore, Lionel Richie, Marcus Miller, Noel Gourdin, Nappy Roots, Calvin Richardson, T-Boz from TLC, Floetry, Leela James, Amp Fiddler, John Legend, Joss Stone, Young Bellz, Anthony Hamilton, Babyface, Ledisi, Goapele, Ghostface Killah, Ginuwine, Stevie Wonder, Earth, Wind & Fire, Bilal, Chali 2na, Larry Graham,^[2] Luniz as well as many others. In 2007, Saadiq produced Introducing Joss Stone, the third album of British soul singer Joss Stone.

Saadiq's third solo album, The Way I See It, released on Columbia Records on September 16, 2008, available in a collector's edition box set of 7" 45 rpm singles as well as on traditional CD, was critically well-received, made several critics' 2008 best albums lists, and garnered three Grammy nominations including Best R&B Performance By A Duo Or Group With Vocals (for "Never Give You Up", featuring Stevie Wonder & CJ Hilton); Best Traditional R&B Vocal Performance (for "Love That Girl") and Best R&B Album for The Way I See It. Music from The Way I See It was featured in the following motion pictures: Madea Goes To Jail, Bride Wars, Cadillac Records, Secret Life of Bees, In Fighting (Rogue), and It's Complicated.

Saadiq performing at the 2009 Stockholm Jazz Festival, promoting The Way I See It.

Touring with a nine piece band, Saadiq hit the 2009 summer music festival circuit with performances at Bonnaroo, Hollywood Bowl, Outside Lands, Pori Jazz Festival, Stockholm Jazz Festival, North Sea Jazz, Essence Music Festival, Summer Spirit Festival, and Nice Jazz Festival, Bumbershoot Music Festival and Austin City Limits. Saadiq has been touring Europe extensively, and held a five-night residency at the House of Blues in Tokyo, Japan in June 2009. In 2008, Saadiq formed a new label called Velma Records, a place where Raphael promises "people can express themselves like I did with The Way I See It... where they can dream something up and just go with it".^[14]

He produced songs for LeToya Luckett's forthcoming second album Lady Love, released August 2009. In 2009, Saadiq produced "Please Stay" and "Love Never Changes" for Ledisi's August 2009 release "Turn Me Loose". Saadiq also was the executive producer for an emerging group called Tha Boogie. Tha Boogie's first EP was released on iTunes and is titled Love Tha Boogie, Vol. 1 (Steal This Sh*t).

In 2009, Saadiq announced his video game development company called IllFonic. The first video game in development by IllFonic is titled Ghetto Golf, with an expected release late in 2010. In 2009, Saadiq teamed up Bentley Kyle Evans, Jeff Franklin, Martin Lawrence, and Trenten Gumbs to create a new sitcom called Love That Girl! starring Tatyana Ali. Raphael is an executive producer and composer for Love That Girl!. The show is currently in development. In 2010, Saadiq sang as part of the chorus in the 2010 remake of "We Are the World" for Haiti.

Saadiq performing at South by Southwest in 2011, promoting Stone Rollin'.

In 2011, Saadiq was the guitarist/bandleader for the group backing Mick Jagger for Jagger's tribute performance of the Solomon Burke R&B classic, "Everybody Needs Somebody to Love" at the 53rd Grammy Awards in Los Angeles and on CBS. The band that accompanied the performance was Saadiq's touring band called Stone Rollin.^[15] In 2011 he and his band performed as the ESPY's house band for the night, where he performed his latest compositions.

Saadiq's 2011 album Stone Rollin' was released to great critical acclaim.^[16][17] "He’s always had a boyish enthusiasm for performing, and a flexible, naturally joyous voice that suggests a young Stevie Wonder," wrote Greg Kot of the Chicago Tribune, "but with his latest album, Saadiq finds a new gear. The album and his current tour demonstrate that there’s a big difference between retro and classic, and the artist consistently finds himself on the right side of that divide."^[18] Kot ranked the album number seven in his year-end list, in which he dubbed it Saadiq's "finest achievement" and stated, "He’s always written songs steeped in soul and R&B, but now he gives them a progressive edge with roaming bass lines and haunted keyboard textures. He’s no longer a retro stylist – he’s writing new classics."^[19] Critic Jim Derogatis called it "a stone cold gas of a party disc."^[20]

In fall 2011, he performed on the fourth results show of Dancing with the Stars season 13. In December, 2011, he performed a cover compilation of several Neil Diamond songs at the Kennedy Center Honors award ceremony.

Discography[link]

• Instant Vintage (2002)
• All Hits at the House of Blues (2003)
• Ray Ray (2004)
• The Way I See It (2008)
• Stone Rollin' (2011)^[21] (UK chart peak: #84)

Singles[link]

Awards[link]

• BET Awards
  • 2009, BET Centric Award (nominated)

• Grammy Awards
  • 2011, Best Traditional R&B Performance "Good Man" (nominated)
  • 2009, Best R&B Performance by a Duo or Group "Never Give You Up" (nominated)
  • 2009, Best R&B Album The Way I See It (nominated)
  • 2009, Best Traditional R&B Vocal Performance "Love That Girl" (nominated)
  • 2007, Best Traditional R&B Vocal Performance "I Found My Everything" (nominated)
  • 2005, Best R&B Performance by a Duo or Group "Show Me the Way" (nominated)
  • 2003, Best Urban/Alternative Performance "Be Here" (nominated)
  • 2003, Best R&B Song "Love of My Life (Ode to Hip-Hop)" (winner)
  • 2003, Best R&B Song "Be Here" (nominated)
  • 2003, Best R&B Album Instant Vintage (nominated)
  • 2003, Best Song Written for a Motion Picture of Television Special "Love of My Life (Ode to Hip-Hop)" (nominated)
  • 1995, Best R&B Song "Anniversary" (nominated)

• Soul Train Awards
  • 2011, Centric Award (winner)
  • 2009, Best Male R&B/Soul Artist (nominated)

References[link]

External links[link]

Wikimedia Commons has media related to: Raphael Saadiq

• Official website
• Raphael Saadiq on Myspace
• Raphael Saadiq at the Internet Movie Database
• The Stone Rollin' Sessions Interview With Raphael Saadiq, co-producer Chuck Brungardt, Taura Stinson & Ron Fonksa Bacon on Soul Jones (July 2011)
• Raphael Saadiq on SoulRnB.com (FR)
• Interview of Raphael Saadiq on SoulRnB.com (June 2011)

(FR)