https://tidal.com/magazine/article/boyismine-25/1-91111
https://twitter.com/fullmoonaftert1/status/1654450128810577921
You had to be there :plzstop:
Picture it:
Brandy was Moesha and Cinderella—the girl was a household name already
The media was putting her against this young new powerhouse and upcoming Legend Monica—she was coming off of the heels of Records like For You I Will
Rumors of beef were swirling
And then BAM
:gorlonfire:
https://youtu.be/qSIOp_K5GMw
The girls of today just ain't able 🤧
These teen legends served a legendary slay at such a young age :stressed:
To be cemented in history so young
Ugh
You had to be there
https://twitter.com/fullmoonaftert1/status/1520453540405301252
oh wow, 25 years
what a moment in music history
GHan was so gracious for extending that opportunity #sharingiscaring
❤️❤️
Truly a moment!
:gorlonfire:
I feel old
Can't believe it's been that long.
Two beautiful sistas than can sing, toppin the charts with a great song. A pop culture moment.
We don't kno how good we had it
Quote from: Ｂｏｏｍｚ on May 05, 2023, 10:07:55 AMI feel old
Can't believe it's been that long.
Two beautiful sistas than can sing, toppin the charts with a great song. A pop culture moment.
We don't kno how good we had it
We didn't know :stressed:
A true PEAK time in music
New Tidal Article
https://tidal.com/magazine/article/boyismine-25/1-91111
Quote from: Young on May 05, 2023, 10:11:20 AMNew Tidal Article
https://tidal.com/magazine/article/boyismine-25/1-91111
https://twitter.com/fullmoonaftert1/status/1654492674617909249
Quote from: Young on May 05, 2023, 09:54:52 AMThis young new powerhouse and upcoming Legend Monica
n
ACK! Congrats to this iconic ass song!
:gorlonfire:
Quote from: Young on May 05, 2023, 09:56:12 AMThe girls of today just ain't able 🤧
These teen legends served a legendary slay at such a young age :stressed:
To be cemented in history so young
Ugh
You had to be there
https://twitter.com/fullmoonaftert1/status/1520453540405301252
Such a cute photo of them
the beats, hair, and wardrobe in the video remain flawless
The intro to this classic alone, still sends shivers down my spine!
Quote from: ivorian oph on May 05, 2023, 11:18:47 AMthe beats, hair, and wardrobe in the video remain flawless
A timeless slay
https://www.instagram.com/p/Cr4Kg0euL29/?igshid=YmMyMTA2M2Y=
Neither of them acknowledged this huh?
This song and moment is fucking legend.
Did Bran or Mo even cared?! This would've been a cute post for the both of them
Monica posted in her story
GHan is booked busy n unbothered
And she probably wanted syrai to fully have her moment . She was promoting her single on her Insta
Quote from: matte black truck on May 06, 2023, 10:28:04 AMGHan is booked busy n unbothered
And she probably wanted syrai to fully have her moment . She was promoting her single on her Insta
That's what I'm thinking too tbh
Just checked her Insta
She shared a story of syrai a couple hours ago
Yeah I think kwee wants princess to have her moment and just celebrate it with her
Maybe she'll post about TBIM later
y'all know Brandy probably just do not know, she'll more than likely post about it when she catches wind of it.
https://tidal.com/magazine/article/boyismine-25/1-91111
Brandy and Monica's single ruled the summer of '98 and — thanks to Rodney Jerkins' ingenious production — redefined the possibilities for pop-R&B.
In August of 1998, the producer Rodney Jerkins took out an ad in Billboard that threw down a gauntlet in the hotly contested fight for the future of R&B. "On the edge of tomorrow today," it read, "with the new millennium Darkchild sound." Jerkins, who had reached drinking age just days prior, had reason to believe his would be the sound of the 2000s: "The Boy Is Mine," his first No. 1 song on the Hot 100, was in the midst of its historic 13 week run atop that chart.
His hit was, in some ways, unlikely. It starred two women duetting with one another — in this case, mononymous teen sensations Brandy and Monica, both of whom already had plenty of experience in Billboard's upper echelons. The recorded feud was inspired in part as a sort of answer song to Paul McCartney and Michael Jackson's 1982 single "The Girl Is Mine," as well as by Brandy's Jerry Springer fandom. ("It's entertaining," she said of Jerry Springer in 1999. "Maybe it doesn't send out a positive message, but it entertains me. I laugh so hard.") The single ruled the summer, and yet nothing about the simmering on-record confrontation sounded sunny or beachy. "Summer songs that make it to the Top 10 tend to be upbeat," Billboard's director of charts said at the time, calling "Boy" "atypical."
"This isn't the obviously poppy or immediately infectious single one might have expected," Billboard noted in its review. "But after a second spin, you won't be able to shake the subtle hook from your brain."
The. Boy. Is. Mine. If you were sentient during that summer, that hook is likely still etched in your brain 25 years later — whether or not you were familiar with the much-ballyhooed competition between its singers and the song's significance as a coming-of-age declaration for both of them. If Jerkins' beat wasn't singular in its future-perfect aesthetic — Timbaland, Dallas Austin (a co-producer on "Boy") and Jerkins' fellow Teddy Riley acolyte Pharrell were among those reimagining R&B at the time — its edge was uniquely successful: The song claimed not just that genre but pop music as a whole for a new generation of hungry, hip-hop-informed producers.
He made the core of the "Boy" beat in his parents' New Jersey basement, on an Akai MPC60 that his father bought for the aspiring producer when he was still in middle school. (In an act of saintly parental devotion, dad borrowed against his life insurance policy to afford it.) Jerkins had been a savant, fixated on making beats and writing songs to the point that he dropped out of high school at 16 to work. By 17 he had a publishing deal with EMI and a distinctive style that he summed up with his Darkchild moniker: "I was looking for a name to reflect my music, which had a lot of minor chords — a dark sound," he told BMI. "And because people called me a kid, I thought of combining the two."
His youth translated to a kind of effortless invention. "He knows what people want to listen to right now," Danyel Smith, then editor-in-chief of VIBE, said in 1999. "He doesn't have to keep in touch: He is the average listener. He knows what kids like because he is a kid."
"I Can Love You," by Mary J. Blige and Lil' Kim, was Jerkins' biggest pre-"Boy" break, combining a New York-ready hip-hop beat with lush, romantic strings and an addictive chorus. It was likely one of the songs that Atlantic A&R Paris Davis played for Brandy in 1997 when trying to convince her to work with Jerkins instead of the producer she really wanted, Missy Elliott. Elliott and Timbaland were staunchly on the Aaliyah side of the teen-R&B-queen wars, while Dallas Austin was tied to Monica — each singer, it seems, had to choose her producer-fighter. Brandy picked Jerkins to work with on her sophomore album, which had been long delayed partly because of her successful sitcom Moesha.
In partnering with Brandy, Jerkins was tasked not only with the obvious — making hits — but also with creating the backdrop for the singer to become an adult. Brandy, whose first single had reached the Top 10 of the Hot 100 when she was just 15, would turn 19 just before "Boy" was sent to radio. "I looked at all my old songs like 'Baby' and 'I Wanna Be Down,' and I was like, 'Oh, my God, I was so corny,'" she said in 1998. "Not that it was a bad thing, but now I want to talk about more than that, and go to another level."
The young producer recruited his personal stable of go-to assistants — his older brother Fred, singer-songwriter Japhe Tejeda and the late LaShawn Daniels — to help him craft one moody, adult R&B song with Brandy, and then another, and another. The album's overall conceit was rooted in a book of clichés they found in the studio, which they used as inspiration for a number of song titles (including, of course, the title track). Ultimately, he was behind 10 of Never Say Never's 16 songs, enough to earn him an executive-producer credit on the release and to shape one of the era's classic albums in his own eclectic image.
Brandy originally recorded her part of the track alone, but then had the idea that the song would work better as a duet. At that point, she recruited Monica to serve as her foil. The fellow R&B prodigy had yet to chart outside of the Hot 100's Top 10 and boasted a meatier, gospel-trained sound. Because they were so similar in age, aesthetic and success, the pair were often pitted against each other — creating a rivalry that they repeatedly insisted was an invention of the media in spite of a fair amount of evidence to the contrary. Their initial attempt to cut the song together was deemed a failure: "I had toned it down a notch because I have a really strong voice," as Monica put it in the Billboard Book of Number 1 Hits. "Brandy and I agreed, 'Do it your way and I'll do it my way and we'll blend them.'" So the singers recorded their "The Boy Is Mine" tracks across the country from one another, each with her respective producer (Monica with Austin, Brandy with Jerkins), which didn't do much to quell the rumors.
After endless rounds of tweaks befitting one of the biggest singles of the decade, the track started Jerkins' hot streak off with an auspicious bang. He would follow it with five more top-five songs on the Hot 100 as well as a Grammy win and eight additional nominations over the next three years, living his "On the edge of tomorrow today" promise. "When you have a record like that that's so big, you might wanna go take a trip somewhere, you might wanna go splurge, whatever it is," he explained in 2020. "And my mindset was like, 'Nah, we here now. They know who we are, now we gotta put our foot down and change radio. And change the sound of radio.' And that was the mission."
I still watch this video at least once a week dcffvfdfffggvvv iconic
Quote from: Saint on May 08, 2023, 05:07:10 PMI still watch this video at least once a week dcffvfdfffggvvv iconic
:gorlonfire: