# data[].attributes.headline
Rihanna's look got more striking as her popularity expanded towards the conclusion of the previous decade. With Umbrella and the album Good Girl Gone Bad, she introduced a fetish-inspired new look: leather, bra tops, bondage straps, thigh-high boots, and a unique, provocatively sexual, heavy-lidded, head-thrown-back attitude. Whips and riding crops quickly became theatre props. The ferocity of the visuals was unsettling to see in light of her assault by her boyfriend, Chris Brown, in 2009. It reached a climax in Rihanna's 2011 video for S&M, in which she donned a dress with the inscriptions "whore" and "slut" while chained to a wall with layers of clingfilm. As a result, eleven nations have banned the video. 

# data[].attributes.subject
Rihanna's look got more striking as her popularity expanded towards the conclusion of the previous decade. With Umbrella and the album Good Girl Gone Bad, she introduced a fetish-inspired new look: leather, bra tops, bondage straps, thigh-high boots, and a unique, provocatively sexual, heavy-lidded, head-thrown-back attitude. Whips and riding crops quickly became theatre props. The ferocity of the visuals was unsettling to see in light of her assault by her boyfriend, Chris Brown, in 2009. It reached a climax in Rihanna's 2011 video for S&M, in which she donned a dress with the inscriptions "whore" and "slut" while chained to a wall with layers of clingfilm. As a result, eleven nations have banned the video. 

# data[].attributes.body
Fully committing to that shift her star persona, The popstar-turned-entrepreneur debuted her highly anticipated lingerie collection 'Savage x Fenty' in 2018. The collection debuted with 90 pieces of lingerie, sleepwear, and accessories in a wide variety of sizes. "I can only hope that by portraying lingerie in a different perspective, I might boost confidence and power," she told Vogue.

# data[].attributes.body
Chapter "Star Identities form image to persona and publicity to gossip

# data[].attributes.attachment_link.readable_text
This chapter investigates how colorism has troubled the star narratives of three of the biggest global celebrities of African descent: Oscar-winning actress Lupita Amondi Nyong'o, pop icon and beauty/fashion mogul Robin Rihanna Fenty, and tennis legend Serena Jameka Williams. In examining colorism in contemporary, American celebrity visual culture, as contextualized through the stardom of these three women, insights into how colorism coronates which Black female celebrities are seen as the most authentic, the most commercial, and the most valuable in the star system can be gleaned. Furthermore, this chapter explores how colorism functions for Black people working in predominantly "white spaces" (Anderson 2015, pp. 10-21) and the specific ways colorism exacerbates the gender gap (Reece 2020). This chapter pairs with Chapter 9, both working to elucidate a lengthy and layered history (Reece 2018, pp. 3-21), with the support of literary and visual texts, into how skin color has worked to determine the success, or lack thereof, of people of African descent, especially women. Chapter 9 offers historical context for colorism through literary analysis, while this chapter examines the contemporary consequences of colorism on women of African descent with an emphasis on beauty, professional opportunities, and visibility in predominantly white spaces.

# data[].attributes.attachment_link.title
Color Me Color Struck: Colorism in Popular Culture Vis À Vis the Visual Canon of Lupita Nyong'o, Robin Rihanna Fenty, and Serena Williams

# data[].attributes.attachment_link.description
This chapter investigates how colorism has troubled the star narratives of three of the biggest global celebrities of African descent: Oscar-winning actress Lupita Amondi Nyong'o, pop icon and beauty/fashion mogul Robin Rihanna Fenty, and tennis legend Serena Jameka Williams. In examining colorism in contemporary, American celebrity visual culture, as contextualized through the stardom of these three women, insights into how colorism coronates which Black female celebrities are seen as the most authentic, the most commercial, and the most valuable in the star system can be gleaned.

# data[].attributes.attachment_link.title
Celebrity image rights versus public interest: striking the right balance under German law

# data[].attributes.attachment_link.description
This article analyses the background and latest developments in the case-law in Germany which deals with the commercial exploitation of an individual's personal

# data[].attributes.attachment_link.description
This collection studies beauty vlogging as a phenomenon operating at the intersection of celebrity culture, digital communities, and the cosmetics industry. Exploring subjects ranging from race and gender to disability and religion, the chapters examine how the genre has impacted social media landscapes and gender expression.

# data[].attributes.attachment_link.title
Rihanna and LVMH Team Up to Create a Luxury Fashion Label

# data[].attributes.attachment_link.description
The new line is expected to launch in coming months with ready-to-wear clothing, handbags and accessories.

# data[].attributes.headline
"Just a year after its launch, Fenty Beauty by Rihanna is a digital innovator and champion for diversity, using its platforms — 6.3 million Instagram followers, 490,000 YouTube subscribers and 372,000 Twitter followers — to showcase makeup on women of all complexions and sizes. The brand engages with its followers regularly, reposting user-generated content and collaborating with avid fans on videos and posts."

# data[].attributes.subject
"Just a year after its launch, Fenty Beauty by Rihanna is a digital innovator and champion for diversity, using its platforms — 6.3 million Instagram followers, 490,000 YouTube subscribers and 372,000 Twitter followers — to showcase makeup on women of all complexions and sizes. The brand engages with its followers regularly, reposting user-generated content and collaborating with avid fans on videos and posts."

# data[].attributes.headline
Rihanna learnt her lesson the hard way. She earned a reputation for her imaginative and daring attire as she piled up song hits and music accolades, thanks to partnerships with designers such as Mel Ottenberg. She would later be crowned Fashion Icon of the Year for 2014 by the Council of Fashion Designers of America.

# data[].attributes.subject
Rihanna learnt her lesson the hard way. She earned a reputation for her imaginative and daring attire as she piled up song hits and music accolades, thanks to partnerships with designers such as Mel Ottenberg. She would later be crowned Fashion Icon of the Year for 2014 by the Council of Fashion Designers of America.

# data[].attributes.headline
Rihanna has also paved the road for Black female musicians to be unashamedly carefree with their music in a level that hasn't been seen in the mainstream since Sade and Janet Jackson in the 1980s and Lil' Kim, Erykah Badu, and Aaliyah in the 1990s. Rihanna has evolved from a polished product of the music business to a woman with swaggering confidence who is equal parts brazen, sexual, and confident. Yes, this was evident in her performances; her appearance at the 2015 iHeartRadio Awards in a Lil' Kim-inspired outfit shouting out the words to "Bitch Better Have My Money" is one of her most unforgettable (and has nearly 69 million views on YouTube).

# data[].attributes.subject
Rihanna has also paved the road for Black female musicians to be unashamedly carefree with their music in a level that hasn't been seen in the mainstream since Sade and Janet Jackson in the 1980s and Lil' Kim, Erykah Badu, and Aaliyah in the 1990s. Rihanna has evolved from a polished product of the music business to a woman with swaggering confidence who is equal parts brazen, sexual, and confident. Yes, this was evident in her performances; her appearance at the 2015 iHeartRadio Awards in a Lil' Kim-inspired outfit shouting out the words to "Bitch Better Have My Money" is one of her most unforgettable (and has nearly 69 million views on YouTube).

# data[].attributes.headline
Rihanna's authenticity extends beyond her casual Instagram postings and her habit of carrying wine to-go. Her authenticity is popular art that gets to the heart of the matter. Of course, she pushed genre limits, but she also required her enormous audience to reckon with the complexities of her inner life ,both when it was empowering and when it was unpleasant. The fear that this type of boldness will not be readable to your audience or that you will be misinterpreted  is common.

# data[].attributes.subject
Rihanna's authenticity extends beyond her casual Instagram postings and her habit of carrying wine to-go. Her authenticity is popular art that gets to the heart of the matter. Of course, she pushed genre limits, but she also required her enormous audience to reckon with the complexities of her inner life ,both when it was empowering and when it was unpleasant. The fear that this type of boldness will not be readable to your audience or that you will be misinterpreted  is common.

# data[].attributes.body
After being named Humanitarian of the Year by Harvard University, 2017 looked poised to be a fantastic year for the singer/actor/fashionista extraordinaire, with her tremendously popular beauty business Fenty Beauty also launching. The range was officially launched on Sephora's website on September 8th, 2017. The product was lauded for offering 40 distinct foundation colours, with many calling it the new "standard of inclusion for skin tones." Time Magazine named Fenty Beauty as one of the top ideas of 2017. Body shimmers, eye shadows, highlighters, concealers, and the popular Fenty Beauty Fairy Bomb have all been released by the company (ie a massive fluffy pink pom pom full of glitter).

# data[].attributes.body
"Love on the Brain" was the track from Anti that brought together all demographics, both inside Rihanna's Rihanna Navy and the wider public, spanning genres and ages. "Love on the Brain" is a sound contradiction, similar to one of Anti's ideas of fusing the ancient with the modern. As a classic pop-friendly ballad with current cadences, it delivers a timeless sensibility — its soft doo-wop sway and gently supporting backing vocals contrast perfectly with Rihanna's stunted, almost trap-like vocal technique and explicit lyrical expletives.

# data[].attributes.attachment_link.readable_text
Her hugely hyped single with Drake embraces the joy of repetition.

Rihanna offered her mission statement way back on T.I.'s smash "Live Your Life" in 2008, a time when her place in the pop firmament was just being cemented. "Got my mind on my money, and I'm not going awayyyyy," she sang, giving us her entire career: In the Snoop Dogg reference, her hip-hop sensibility; in the elongated final word, her tendency to use words as putty; in the promise of longevity, a prophecy now fulfilled. Most important, though, was the confession of being obsessed with dollars, which over the years has seemed like her main neurosis, her main message, and her main virtue. If pop music today is mythology, Rihanna is unmistakably the goddess of money.

The long and confusing hype cycle for her new album, Anti, has taken this cash craze to new levels. There was "Bitch Better Have My Money," about debt repayment. There was "American Oxygen," about material ambition. There was "Four Five Seconds," about the necessity for leisure to be undertaken only in the capitalistically proscribed zone between Friday afternoon and Monday morning. There was the Samsung tie-in, as unapologetic a corporate partnership as a major working musician has ever attempted. Days ago, Rihanna took a picture of herself listening to the new album in $9,000 Versailles-inspired headphones.

And now, there's her hugely anticipated single titled "Work." It's about working for a paycheck no matter what else is going on in your life. It is also, of course, designed to get her that paycheck. You might call the way it goes about attaining this goal brazen for anyone else but Rihanna: Tempting accusations of boringness, hackiness, and crimes against art, the song offers a hook that practically parodies pop's love of repetition-and then repeats it, a lot. But there's something fascinating about the tune, something that elevates it beyond ringtone status. It doesn't really go anywhere. It approximates what work feels like.

The producer Boi-1da's bright, bubbly beat creates a see-sawing sensation out of a few sounds. A keyboard ping anchors the downbeat and then climbs up, up, down, down, returning to its starting point. Electronic notes on the low end burble out a more asymmetrical pattern recalling reggae, but they too have the general shape of ascending and descending. The percussion is subtle, rendered with a skittering sound that recalls the shaking of a kettle. When Rihanna's voice comes in, so do some signifiers of '80s and '90s dance and rap: digital handclaps, distorted shouting. It all adds up to the feeling of a lot of bustling in one spot-activity, but not necessarily movement.

Rihanna's hook conjures a different kind of monotony. After a few quick notes in yet another up-and-back pattern, she gets stuck, like a needle in a groove, for "work work work work work." There's no stopping this getting in your head. "Work" becomes "dirt" becomes "love" becomes "turn," but the modulations don't matter-Rihanna has found her next great nonsense syllable, another "ooh na na" or "ella ella eh." Her singing in the verses, where she dresses down some guy who isn't meeting her expectations, is actually rather pretty. I've seen a lot of commenters say she's copying the mumbling trend that's taken hold among younger pop vocalists like Ariana Grande, but the truth is that Rihanna helped popularize the notion of liquifying words in the name of catchiness.
Rihanna has found her next great nonsense syllable, another "ooh na na" or "ella ella eh."
As for Drake's verse, it strikes me as pretty terrible-the disappointed lounge singer schtick from "Hotline Bling," but without the silken melody or sense of surprise. "If you had a twin I would still choose you" is the only real attempt at a memorable line. Whatever. Drake being as popular as he is right now will be yet another incentive for radio playlist makers to keep this song in rotation, possibly giving it the activating energy needed to become a hit.

And to be sure, it will need a good deal of exposure to reach the success levels of Rihanna's previous smashes. The song's undeniably catchy, but it also has a strangely unfinished quality. To me, though, that's its charm. The verses, choruses, and bridge mostly bleed into each other, forgoing soft-to-loud explosions or exciting rhythmic changes. Boi-1da does create some sense of escalation-another drum beat for the second chorus, flashes of flutes, autotuned harmonies, and far-off piano. But the shifts are subtle and fleeting. Unlike a lot of radio pop, "Work" is about small modulations, a singer and a producer and a rapper plugging along as we all must do. At the end, the song makes the unfashionable move of simply fading out. Rihanna put in her three and a half minutes of work; now pay her what you owe her.

# data[].attributes.attachment_link.description
Her hugely hyped single with Drake embraces the joy of repetition. Rihanna offered her mission statement way back on T.I.'s smash "Live Your Life" in 2008, a time when her place in the pop firmament was just being cemented.

# data[].attributes.attachment_link.description
Download Rihanna's ANTI album here on TIDAL: http://smarturl.it/downloadANTIPosted by Jay

# data[].attributes.attachment_link.title
A Review of Rihanna’s Fenty x Puma Show, As Told by Rihanna GIFs

# data[].attributes.attachment_link.description
Everyone’s favorite bad gal put on one hell of a show for her first runway outing for Puma.

# data[].attributes.body
After three years of waiting, fans were not disappointed with Rihanna's surprise release of 'Anti' - her eighth studio album. Shooting to number 1 just two weeks after its initial debut, going on to spend 159 weeks on the Billboard Hot 200. 'Anti' graced us with hits such as 'Work', 'Kiss It Better' and 'Love on the Brain'.

# data[].attributes.body
It is important that Rihanna seems real, that her sense of self remains unaffected by stardom, and that she feels approachable to her admirers. However, this is hardly an effortless character. Rihanna has spent her whole career embodying what it means to be in the middle of things – not above them, not outside looking in, nor past them. That requires emotional and intellectual effort, especially when you consider  "'What's My Name?':  that the public-private dividing line Rihanna had spent many years fostering was shattered in 2009, when Rihanna's then-boyfriend Chris Brown physically abused her just prior to the Grammys, and the photo evidence circulating on the internet.

# data[].attributes.headline
The scholar Esther L. Jones has argued that as Rihanna established more and more narrative authority over her public image, she began to author a woman "simultaneously ordinary and exceptional, intimate and distant, known and inaccessible." Her social media feeds exemplify this: She promotes her wildly successful global fashion brands, but she also loves to post memes. For MTV News, Doreen St. Felix wrote that "a cultivation of lifestyle — her trips back home to Barbados, her tattoos, her laughter, her love of family, her social media presence — in the moment that every other person of her caliber is trying out reclusivity, and the secondary group is trying out diva-hood, makes Rihanna the last rock star."

# data[].attributes.subject
The scholar Esther L. Jones has argued that as Rihanna established more and more narrative authority over her public image, she began to author a woman "simultaneously ordinary and exceptional, intimate and distant, known and inaccessible." Her social media feeds exemplify this: She promotes her wildly successful global fashion brands, but she also loves to post memes. For MTV News, Doreen St. Felix wrote that "a cultivation of lifestyle — her trips back home to Barbados, her tattoos, her laughter, her love of family, her social media presence — in the moment that every other person of her caliber is trying out reclusivity, and the secondary group is trying out diva-hood, makes Rihanna the last rock star."

# data[].attributes.headline
In a 2012 profile for GQ, Jay Bulger says Rihanna comes across as more authentic than her peers: "She sometimes gets grouped with theatrical pop stars like Katy Perry, Lady Gaga, and Nicki Minaj. But those are one-woman masquerade balls, their real selves hidden behind the next costume change. Rihanna, on the other hand, comes off as wild, weird, unfiltered, a little unhinged, which just makes everyone else go all unhinged."

# data[].attributes.subject
In a 2012 profile for GQ, Jay Bulger says Rihanna comes across as more authentic than her peers: "She sometimes gets grouped with theatrical pop stars like Katy Perry, Lady Gaga, and Nicki Minaj. But those are one-woman masquerade balls, their real selves hidden behind the next costume change. Rihanna, on the other hand, comes off as wild, weird, unfiltered, a little unhinged, which just makes everyone else go all unhinged."

# data[].attributes.headline
Rihanna, in fact, established the trend of female vocalists collaborating with house DJ Calvin Harris. The 2011 track "We Found Love" from Rihanna's album Talk That Talk was the DJ's first Billboard number one smash, catapulting him into a household name in America and generating a flurry of additional popular radio singles using female vocals. Harris remarked that the combination seemed "strange" at the time, but it worked.

# data[].attributes.subject
Rihanna, in fact, established the trend of female vocalists collaborating with house DJ Calvin Harris. The 2011 track "We Found Love" from Rihanna's album Talk That Talk was the DJ's first Billboard number one smash, catapulting him into a household name in America and generating a flurry of additional popular radio singles using female vocals. Harris remarked that the combination seemed "strange" at the time, but it worked.

# data[].attributes.body
Puma appointed the superstar as creative director and brand ambassador in 2014. These responsibilities led to her developing the 'Fenty x Puma' collection, which was responsible for fashion fads including fur sliders and suede creepers.

# data[].attributes.headline
Establishing her place in the music industry 

# data[].attributes.subject
Establishing her place in the music industry 

# data[].attributes.body
Rihanna won numerous awards in 2013 and 2014, including the GRAMMY Award for 'Best Music Video,' the Billboard Music Award for 'Top R&B Artist,' 'Top R&B Song,' AND 'Top R&B Album,' the NRJ Music Award for 'International Female Artist of the Year,' the BET Award for 'Best Female R&B/Pop Artist,' and the GRAMMY Award for 'Best Urban Contemporary Album.'

# data[].attributes.body
After had receiving several critics about her voice since establishing her presence in the music industry, Rihanna's seventh studio album, 'Unapologetic,' won her first No. 1 album the same year (2017), earning her the GRAMMY for 'Best Urban Contemporary Album' in January 2014. Hit songs on the album include 'Diamonds' and 'What Now.' The amazing 'Stay,' which was released as a single from the album, reached number one in Bulgaria, Canada, the Czech Republic, and Denmark, as well as peaking in the Top 5 in the UK, Australia, France, Germany, New Zealand, Norway, and Switzerland.

# data[].attributes.attachment_caption
Rihanna in the Valerian and the City of a Thousand Planets 

# data[].attributes.body
Rihanna went on to secure what many consider to be her most high-profile film role, the all-female Ocean's 8. "Rihanna does what she does best in Ocean's 8, which is essentially giving folks withering glances while being effortlessly superb at her job," said GQ of her eight film performances. She portrays Nineball, the team's hacker who smokes spliffs while infiltrating the Met's security system."

# data[].attributes.headline
Battleship may not be highly remembered, but it demonstrated Rihanna's screen presence, and producers believed she could do well if given stronger roles. She appeared in another action film, Valerian and the City of a Thousand Planets, in 2017, and she was perhaps the greatest part of that film, portraying a shape-shifter with numerous clothes. In fact, there was another example of a film that fared better worldwide than it did at home.

# data[].attributes.subject
Battleship may not be highly remembered, but it demonstrated Rihanna's screen presence, and producers believed she could do well if given stronger roles. She appeared in another action film, Valerian and the City of a Thousand Planets, in 2017, and she was perhaps the greatest part of that film, portraying a shape-shifter with numerous clothes. In fact, there was another example of a film that fared better worldwide than it did at home.

# data[].attributes.body
Rihanna makes her big screen debut as Petty Officer Cora Raikes in the summer blockbuster 'Battleship' in 2012. As a result, she won the Teen Choice Award for 'Choice Movie Breakout Star - Female.'

# data[].attributes.body
The world received one of Rihanna's most popular songs, 'We Found Love,' with wide arms in 2011. The diva collaborated with Scottish DJ Calvin Harris to create this masterpiece, which appears on her sixth studio album 'Talk That Talk.' Aside from being an adolescent disco and/or house-party fixture, the song went on to earn the singer honours for 'Best R&B/Urban Dance Track,' 'Best Commercial/Pop Dance Track,' 'Video Of The Year,' and 'Best Short Form Music Video.'

# data[].attributes.attachment_link.title
Rihanna - We Found Love ft. Calvin Harris

# data[].attributes.headline
Musically, the Barbados-born singer is frequently chastised, accused of not being a skilled vocalist due to her unique voice, which is not quite a powerhouse, but rather ambient, rumbling, and breathy at the same time. Rihanna's voice may not be the most classically stunning, but it is one of our generation's most varied. She can contribute her voice to a bass-pumping club song, a muttered Caribbean dancehall mix, or a tear-filled, weeping ballad best served with a side of whiskey, and it'll almost certainly chart. Her recognisable voice, diverse and adaptable enough to slide as smoothly through that tropical debut album as it does through her subsequent albums, has contributed to her durability since the publication of Music Of The Sun is due to his distinct voice, which is diverse and adaptive enough to float as smoothly across that tropical debut album as it does over the guitar chords of Rated R. Chris Martin reportedly likened her voice to a "beautifully squeezed tube of toothpaste...this huge, rich thing, solid as a tree trunk." If you listen attentively to the radio, you can detect influences of Rihanna's vocal approach in everyone from Sia to Lorde to any bass-pumping club-house smash starring a lesser-known female vocalist.

# data[].attributes.subject
Musically, the Barbados-born singer is frequently chastised, accused of not being a skilled vocalist due to her unique voice, which is not quite a powerhouse, but rather ambient, rumbling, and breathy at the same time. Rihanna's voice may not be the most classically stunning, but it is one of our generation's most varied. She can contribute her voice to a bass-pumping club song, a muttered Caribbean dancehall mix, or a tear-filled, weeping ballad best served with a side of whiskey, and it'll almost certainly chart. Her recognisable voice, diverse and adaptable enough to slide as smoothly through that tropical debut album as it does through her subsequent albums, has contributed to her durability since the publication of Music Of The Sun is due to his distinct voice, which is diverse and adaptive enough to float as smoothly across that tropical debut album as it does over the guitar chords of Rated R. Chris Martin reportedly likened her voice to a "beautifully squeezed tube of toothpaste...this huge, rich thing, solid as a tree trunk." If you listen attentively to the radio, you can detect influences of Rihanna's vocal approach in everyone from Sia to Lorde to any bass-pumping club-house smash starring a lesser-known female vocalist.

# data[].attributes.attachment_link.title
Rihanna - Whats My Name Ft. Drake (Music Video)

# data[].attributes.attachment_link.title
Eminem ft. Rihanna - Love The Way You Lie

# data[].attributes.attachment_link.description
Music video by Eminem performing Love The Way You Lie. © 2010 Aftermath Records

# data[].attributes.attachment_link.readable_text
he raunch culture is corrosive and damaging to women," asserted dorothyherself beneath last week's piece by Charlotte Richardson Andrews about Rihanna's S&M video, and the pernicious effects of oversexualisation. "It presents women as objects to be fucked, which is also how most porn presents women. Sex, on the other hand, is lovely."

Dorothy was objecting to those who argued that the pop industry presents men in just as overtly sexualised a way as women. Like Mendoza, who wrote: "Fiddy got snapped by Rolling Stone in his vest. I wonder what the focal point was there? So trying to claim that it's mainly women who get objectified is obv plain daft when you consider the absolute mountain of good-looking, bod-baring boybands out there." Or elfojo84, who said: "I think complete denial of sexuality of any sort is damaging to kids, just as oversexualisation is damaging. Yes, I think in this specific context the balance is too far towards too much sex, but not to the 'Oh my God, think of the children, broken Britain' extent the author seems to imply."

Bringing it back home was Smith14, expressing what must be many parents' fear: "I have a young son who I don't really want growing up seeing girls being portrayed like this. Rihanna puts across this aggressive sexuality, singing chiefly about all the things she wants to do in the sack. This is perfectly acceptable, and I would never argue for anyone's desires to be repressed. However, you'd be forgiven for thinking that that was the sum total of her life's ambition."

We don't often get film-makers contributing their thoughts after publication - well, apart from the time Francis Ford Coppola emailed about an inaccuracy in a piece mentioning Apocalypse Now (he wanted to point out that no buffaloes were slaughtered for the film) - but that happened after Barney Ronay's sports documentaries cover story last week. James Erskine, director of the cricket film From the Ashes, had suggested in the piece that TT3D, about the Isle of Man motorcycle race, wasn't really a documentary, because it's not "about the choices we make". Galactus was outraged: "Surely TT3D is all about the choices we make? About the determination to keep pushing, despite the possibility of death waiting quite literally around the next ill-judged corner? Far more about the choices we make than in a football match or even within my beloved cricket."

Enter Erskine. "Nothing in my observation on TT3D was intended to denigrate the film or its makers, and it certainly wasn't intended to come out this way. If I think the film will hit with a teen audience, well, great - then that is a fantastic thing. I'm all for films finding success. I was commenting on the marketing/promos of the film, which I admittedly haven't seen in its entirety (so there's a lesson for me you would have thought I'd have learned by now), as opposed to Senna and other films that perhaps take a wider canvas or look at sport on a national or indeed international scale."

Even Donovan, a man still living by hippy ideals, managed to provoke conflict on the threads. "He tends to overstate his influence on the world, and is an inveterate name dropper with an unreliable Donovancentric memory. All this added to his occasionally suffocating tweeness can make his lack of modesty hard to take," naezlig said. Oh no, countered PeterNW1: "Donovan has every right to namedrop or stress his own contribution to 1960s music. He was right there in the middle of it." Ollygee just split the difference: "I was around in the 60s and Donovan was a great self-publicist then, too. I remember him being interviewed and he said his mate Gypsy Dave Mills had told him he had seen a guy called Dylan on the TV who was wearing the same cap and denims as Donovan had pioneered!"

# data[].attributes.attachment_link.title
Readers' reviews: Rihanna's S&M video, TT3D and Donovan

# data[].attributes.attachment_link.description
he raunch culture is corrosive and damaging to women," asserted dorothyherself beneath last week's piece by Charlotte Richardson Andrews about Rihanna's S&M video, and the pernicious effects of oversexualisation. "It presents women as objects to be fucked, which is also how most porn presents women. Sex, on the other hand, is lovely."

# data[].attributes.body
Now, 2010 was a big year for this starlet; she ditched her typical black hair for a bold red do. She also released her fifth studio album, 'Loud,' which earned her her first ever GRAMMY nomination for 'Album of the Year,' and featured a first-ever collaboration between her and Drizzy Drake. The album included the iconic collaboration 'What's My Name,' as well as 'S&M,' 'Only Girl (In The World),' and 'Love The Way You Lie (Part II).' Rihanna and Drake have collaborated on several additional songs since then, including 'Take Care.'

# data[].attributes.headline
Rihanna stopped being a milquetoast pop robot at that specific point and began to build her own image.

# data[].attributes.subject
Rihanna stopped being a milquetoast pop robot at that specific point and began to build her own image.

# data[].attributes.attachment_link.readable_text
Rihanna switches up her hairstyles as often as she does her outfits. Throughout her career, the singer, actress, and fashion designer has tried everything from pixie cuts to luxurious long waves. Not shy to embrace color, the always rebellious Rihanna is always trying out new shades, as well. Most recently, Rihanna debuted her new turquoise blue mermaid beachy waves at the Crop Over Festival in Barbados-proving that there's no look the singer can't pull off. Here, a look back at Rihanna's most famous and daring beauty looks.

# data[].attributes.attachment_link.title
Rihanna's Most Daring Hairstyles of All Time, From an Angular Bob to Long Blue Waves

# data[].attributes.attachment_link.description
Rihanna switches up her hairstyles as often as she does her outfits. Throughout her career, the singer, actress, and fashion designer has tried everything from pixie cuts to luxurious long waves. Not shy to embrace color, the always rebellious Rihanna is always trying out new shades, as well.

# data[].attributes.headline
The Russian Roulette video and Rated R, an album that arrives crammed with songs that link relationships with violence and criminality: weapons are licked, lives flash before eyes, crime scenes are picked over, heads bang into vehicle windscreens. It's worth noticing that several of the songs feature Rihanna as a daring revenger on an abusive male.

# data[].attributes.subject
The Russian Roulette video and Rated R, an album that arrives crammed with songs that link relationships with violence and criminality: weapons are licked, lives flash before eyes, crime scenes are picked over, heads bang into vehicle windscreens. It's worth noticing that several of the songs feature Rihanna as a daring revenger on an abusive male.

# data[].attributes.attachment_link.readable_text
Credit: Getty Images

August, 2017: The level of detail disgraced rapper Chris Brown has recently gone into regarding the night he assaulted Rihanna in 2009 will actually make you feel unwell. As we wake up to news of another terror attack, this time in Barcelona Spain, celebrity news post such a tragic event usually falls to the wayside to make way for what is truly important. While Brown's admission is ill-timed, domestic violence is always an essential story to tell and this narrative shows it doesn't discriminate even to those who seem untouchable (read: celebrities).

To recap: Eight years ago, Brown assaulted his then-girlfriend Rihanna in a Lamborghini the night prior to the Grammys. The picture of the latter - a busted lip, a black eye and bruising on her face - spread like cyber wildfire around the world. Now, in a new documentary, the 28-year-old With You singer has given context to the picture.

Brown had admitted to being unfaithful with a work friend and Rihanna found out and "starts going off". "She throws the phone, 'I hate you!', whatever, whatever, she starts hitting me, we're in a little Lamborghini, you know she's fighting me," Brown says.

"Like I remember she tried to kick me, just like her beating sh*t, but then I really hit her. With a closed fist, like I punched her, and it busted her lip, and when I saw it I was in shock, I was 'fu*k, why did I hit her like that? So from there she's...spitting blood in my face, it raised me even more. It's a real fight in the car, and we driving in the street."

The rapper then says Rihanna grabbed his crotch while she was trying to get his phone off him. In retaliation he bit her "because I was trying to drive". He then attempts to redeem his state of mind. "I'm just trying to resolve the situation, I'm not trying to fight any further, like I love her, I don't want to hurt my girlfriend."

According to Brown, Rihanna got out of the car and started to scream "Help, he's trying to kill me!". "I was like, 'Stop, we gonna get in trouble'," says Brown.

He was sentenced to five years probation, one year of domestic violence counselling and six months of community service.

The most disturbing part for me in Brown's re-telling is he recounts his violent responses as a result of Rihanna's actions; every recount begins with "Rihanna did this". It's just not OK on so many levels.

If you're interested, you can actually read the police report here. Be warned, it may be triggering to some.

The video for Brown's new documentary has been deleted from his Facebook account but you can view it here.
If you or someone you know feels affected by this story, head to lifeline.org.au or free counselling is available through the National Sexual Assault, Domestic Family Violence Counselling Service 1800 737 732.

# data[].attributes.attachment_link.title
Inside the night Chris Brown assaulted Rihanna

# data[].attributes.attachment_link.description
Credit: Getty Images August, 2017: The level of detail disgraced rapper Chris Brown has recently gone into regarding the night he assaulted Rihanna in 2009 will actually make you feel unwell. As we wake up to news of another terror attack, this time in Barcelona Spain, celebrity news post such a tragic event usually falls to the wayside to make way for what is truly important.

# data[].attributes.headline
Rihanna was forced to miss the Grammy awards because her then-boyfriend, singer Chris Brown, attacked her

# data[].attributes.subject
Rihanna was forced to miss the Grammy awards because her then-boyfriend, singer Chris Brown, attacked her

# data[].attributes.body
Following the incident, Brown was arrested and sentenced to community service, domestic violence counselling, and a restraining order. The night before the Grammys, Brown attacked his then-girlfriend Rihanna in a Lamborghini. The image of the latter, which showed a cracked lip, a black eye, and bruises on her face, spread like wildfire over the internet.

# data[].attributes.attachment_link.title
Chris Brown discusses abuse of Rihanna: 'I felt like a monster'

# data[].attributes.attachment_link.description
In a new documentary, Brown goes into detail about the 2009 fight where he seriously bruised Rihanna and was later arrested

# data[].attributes.attachment_link.readable_text
ven by the standards of the R&B video - never the most opaque or subtle of the visual arts - the promo for Rihanna's single Russian Roulette is striking. It features the singer being gassed, shot, run over, drowned, and tearfully pleading with her captors in a torture chamber: "I'm terrified." This is interspersed with scenes of her curled up in a padded cell: at one juncture in the latter, she appears to be - and, given the provocative nature of the video, let us not be unduly coy here - masturbating.

You could say that making a video that explicitly links sexual desire with abusive violence is a deeply weird thing for the victim of the most high-profile case of domestic abuse in recent memory to do. Nine months ago Rihanna was forced to miss the Grammy awards because her then-boyfriend, singer Chris Brown, attacked her in a rented car, leaving her with a split lip, a black eye and bite marks on her arm. Then again, since the attack, both Rihanna and Brown have persisted in doing some deeply weird things, as if they're engaged in a kind of bizarre competition to see who can come up with the weirdest response. First, she got a gun tattooed on her side, which seemed odd, but trifling compared to what happened next. Brown released a video to YouTube in which he expressed contrition for the incident, while wearing a pendant that read "Oops", presumably intended as shorthand for the entirely fitting and contrite response that is: "Oops! I attacked my girlfriend, leaving her with a split lip, a black eye and bite marks on her arm! Blimey, what am I like, eh?"

Now, raising the bar substantially higher, there's the Russian Roulette video and Rated R, an album that arrives packed with songs in which relationships are linked with violence and criminality: guns are licked, lives flash before eyes, crime scenes are picked over, heads smack against car windscreens. It's worth noting that a lot of the time, the songs cast Rihanna as a ballsy revenger on an abusive male. But they don't always, and it's hard to get through Fire Bomb - "we were criminal," she sings, "as we were burning, the world called the police department," which is certainly one way of putting it - without feeling your jaw head involuntarily southwards, not least at the thought of what Chris Brown might do to top this.

It's difficult to look past the lyrics and focus on the music. Indeed, it's not always clear that Rated R even wants you to do that: a song as musically slight as the ballad Stupid In Love seems to exist primarily to excite the listener's prurience. But when you do, Rated R is revealed as the kind of disparate album people tend to make in the wake of a single like Umbrella, a career-defining global smash hit that can leave artist and producers alike unsure of where to go next. In the absence of a song as undeniable, they try a number of approaches, with varying success. At one extreme, the resemblance of Umbrella's chorus to that of a stadium rock ballad seems to have encouraged Rihanna to cut out the middle-man and just start making stadium rock: cue the awful widdly-woo guitars of Rockstar 101 and Fire Bomb. At the other, however, the desire to escape the single's vast shadow has clearly led some of her collaborators to indulge in feats of impressively risky invention: the hypnotic, dirgey electronic grind of Wait Your Turn, Gangsta 4 Life's druggy, intoxicating mix of backwards drums, minor-key verses and spectral backing vocals.

The album's two highlights may be Hard and Rude Boy, both of which exploit Rihanna's most appealing vocal style, a sulky, icy, monotone - uniquely among the pantheon of showboating R&B divas, Rihanna often sounds as if she's about to roll her eyes and tut. It undercuts the standard braggathon of Hard - "fan mail from 27 million," she offers, in a tone that suggests she's disappointed most of them didn't even bother to include a stamped addressed envelope - and turns Rude Boy's pillow talk on its head: "Come on rude boy, can you get it up?" seems less like a come-on than the impatience of a woman who - tsk! - is going to miss America's Next Top Model if rude boy doesn't hurry up. Rather cheeringly, neither song appears to reference the events of February at all. You can see why Rihanna has chosen to litter her album with apparent allusions to the assault: as people are going to read references into the album regardless, you may as well throw them a bone. But there's more to her than the public's prurient interest in her private life. That you can't tell that more often from Rated R is the album's big flaw.

# data[].attributes.attachment_link.description
ven by the standards of the R&B video - never the most opaque or subtle of the visual arts - the promo for Rihanna's single Russian Roulette is striking. It features the singer being gassed, shot, run over, drowned, and tearfully pleading with her captors in a torture chamber: "I'm terrified."

# data[].attributes.headline
The R&B star has described the Rated R sessions as "theraputic," and the vitriolic, rough, raw end product is about as brutal as you'd expect.

# data[].attributes.subject
The R&B star has described the Rated R sessions as "theraputic," and the vitriolic, rough, raw end product is about as brutal as you'd expect.

# data[].attributes.body
2009 saw the release of the hard-hitting album 'Rated R,' which featured singles such as 'Rude Boy,' 'Te Amo,' and 'Russian Roulette.' The mature album touched on the star's previous tribulations and was dubbed "her most deep and emotional attempt" by reviewers.

# data[].attributes.headline
Fashion and popular music are intrinsically intertwined. Rihanna, like one of her heroes, Madonna, has always recognised the power of clothes to impact perception. "I think Madonna was a big inspiration for me, especially on my early work," Rihanna once told Love Pop. If I had to examine her evolution through time, I think she successfully reinvented her clothing style and music every time."

# data[].attributes.subject
Fashion and popular music are intrinsically intertwined. Rihanna, like one of her heroes, Madonna, has always recognised the power of clothes to impact perception. "I think Madonna was a big inspiration for me, especially on my early work," Rihanna once told Love Pop. If I had to examine her evolution through time, I think she successfully reinvented her clothing style and music every time."

# data[].attributes.body
Rihanna has become one of the most streamed singers of all time in the 19 years since signing her initial recording contract with Def Jam Records. Her tracks have been at the top of the Billboard charts 14 times. She has received several honours. And she's done something as, if not more, impressive: she's rewritten the standards for the fashion and beauty sectors.

# data[].attributes.attachment_link.description
Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer.

# data[].attributes.headline
"This thick skin has been developing since my first day at school. It didn't happen after fame; I couldn't survive fame if I didn't already have it. So sometimes the toughest thing in life is to be vulnerable."

# data[].attributes.subject
"This thick skin has been developing since my first day at school. It didn't happen after fame; I couldn't survive fame if I didn't already have it. So sometimes the toughest thing in life is to be vulnerable."

# data[].attributes.body
After getting four nominations at the 2008 GRAMMYs, including 'Best R&B Performance by a Duo or Group with Vocals,' 'Record of the Year,' and 'Best Dance Recording,' Rihanna walked away with the 'Best Rap/Sung Performance' trophy - her first ever GRAMMY crown!

# data[].attributes.body
Rihanna went from young popstar to legendary icon in 2007. With the release of her chart-topping track 'Umbrella,' She  revealed her new, sleek appearance, which critics have called as a pivotal point in her career. The celebrity discarded her innocent youthful image in favour of an edgier, bad girl feel.

# data[].attributes.attachment_link.readable_text
Phil Tan, one of the leading mix engineers specialising in urban music, dissects his mixes for two worldwide hit singles from Rihanna: 'SOS' and 'Unfaithful'.

He may look almost unbecomingly young, but 37-year old Phil Tan is one of the most experienced and successful mixers in the American music scene. Talking from Jermaine Dupri's Southside studios in Atlanta, the Grammy award winner reveals details of his mixes of two tracks featuring Barbadian singer Rihanna, 'SOS' and 'Unfaithful', both UK No. 2 chart singles.

Malaysian-born Philip Tan graduated in 1990 from Florida's Full Sail Real World Education facility in the subject of Recording Arts. Moving to Atlanta, he embarked on a career as a recording engineer, first working at Soundscape Studios, and then at Babyface and Antonio 'LA' Reid's LaFace facility. His big break came in 1992 when he met 19-year old rapper/producer Jermaine Dupri, who'd just broken through with a huge hit for teenage rap duo Kris Kross.

Dupri invited Tan to work for him at his private facility, which was called Krosswire at the time (Southside Studios was built in 1999). "Between '93 and '98 I recorded and mixed everything Jermaine did," recalls Tan. "I was still independent, but I literally had no time to do anything, so I worked exclusively for Jermaine. I got a bit burnt out with the recording part of it, so in '98 I switched to mixing only. I still work for him and at Southside, but I do my other mixes mainly at a room I have at Soapbox Studios in Atlanta, with my own Pro Tools system and favourite Yamaha NS10 monitors."

Phil Tan's work has appeared on albums and singles that have sold in excess of a staggering 150 million in the US alone. He specialises in R&B and hip-hop, and his credits include Usher, Snoop Dogg, the Neptunes, Fergie, Ne-Yo, Nelly, Ludacris, Destiny's Child, Gwen Stefani, Mariah Carey, Alicia Keys, Janet Jackson, Busta Rhymes, Aretha Franklin, Elton John, Cee-Lo, Toni Braxton, Run DMC and many, many more. In November 2006, when this interview took place, 16 songs mixed by him featured in the US Billboard Hot 100 & Hot R&B/Hip-Hop Songs chart, and 23 albums containing his mixes were in the Billboard 200 album chart

Writers: Jonathan 'JR' Rotem, Evan Bogart, Ed Cobb
Producer: 'JR' Rotem

Phil Tan: "This song uses a stereo two-bar loop from Soft Cell's song 'Tainted Love' as its basis. JR played the additional parts with a combination of soft and hardware synths. There were probably 30 to 40 tracks in total. JR tends to give you [ Pro Tools] Sessions that have a clear direction: there's not much guesswork. I didn't change or add much, just a bass drum and taking out the loop a couple of times for additional breaks. There was never any doubt that it was going to be a clubby song, so it had to be very immediate and hard-hitting. The song was sent to me by an A&R executive who knew of my work, I turned it in, and the next thing I knew it was on the radio.

"The screen shots show just a few of the plug-ins that are used. There are loads of them across the entire Session, I just selected some that I thought would be helpful in some way. I think a lot of times what mixers do is seen as a little bit of a mystery, but it really is not that complicated. We use the same stuff as everybody else, the only difference is that we're a little luckier in having our stuff show up in the charts."

'Zap!' sound & others: Digirack EQII high-pass filter

"This is just a simple high-pass filter which I use all the time on almost everything because, apart from the kick drum and the bass, there's generally not much going on below 120-150Hz. I have always found that filtering below this cleans up unnecessary muddy low-level things, like microphone rumblings and so on. The Digirack EQII is a very simple and helpful plug-in. It's seen working here [ above] on a sound called 'Zap', which is a space raygun kind of synth sound that had a bottom end that got in the way a little bit. Incidentally, the 'Tainted Love' loop had a kick drum, and JR added another one for additional bottom end, and I added one to that to give his kick drum some more definition. Mine was not a big, thumpy kick drum, it had more of a point to it, and it was probably above 120Hz."

Backing vocals: McDSP Filterbank E2

"I compressed the background vocals using the Waves Renaissance Compressor, and sometimes you lose a little bit of top end in the process. This filter [ right] was just a shelf to bring it back a little bit and give it some sheen. Because this is a high-energy track, you want the vocals to match that energy. Basically I boost 3.5dB from 5k upwards. I have loads of different EQs, and this one is a two-band that's very easy to operate. It worked, so I stayed with it. I may choose other EQs because of different capacities but also because they'll sound different. Some are fairly clean and some impose a bit more personality."

Backing vocals: Digirack Pitch-shifter

"This is working on the background vocals, to fatten them up and apply a bit of a chorus effect. As you can see [ top right], they're flattened slightly on the left and made sharp on the right, with varying degrees of delay. Like with most effects I use, it is sent to an auxiliary and blended in later, which is why the mix is set to 100 percent."

Lead vocal: Waves Renaissance Compressor

"'SOS' is a pounding type of song, and the lyrics are a cry for help, so the vocals need to be 'in your face', almost aggressive. I therefore wanted to make sure that the vocal is fairly constant. There's plenty of level automation with the vocals going on, riding the faders with the mouse - this song was done in-the-box at Silent Sound Studios, also in Atlanta. Ideally it would be nice if you didn't hear compression, but in some cases you do want to hear it. The compression ratio isn't that much, and I pressed the Opto button, which emulates the feel of older analogue compressors."

Lead vocal: Waves Renaissance Reverb

"There's not a lot of reverb in the song, because it's up-tempo and quite packed, so there's not a lot of space. The reverb here is a room with a short length, 1.68S - a longer time would have gotten in the way. Sometimes you have to carve out a space for a reverb with EQ and by shaping the reverb characteristics - attack, release time, length, and so on - so that it does not interfere with the other frequencies in the song. I don't normally pay a lot of attention to exact reverb time, it's only with delays or reverb pre-delays that you want them exactly in time. Finding the right reverb is a bit of an unconscious process for me. It's an ongoing process of trying things out throughout the mix, until I find the right combination of ingredients."

Writers: Ne-Yo, Tor Erik Hermansen, Mikkel S Eriksen
Producers: Stargate

Phil Tan: "This is a ballad centred around vocals, piano and strings. It was co-written and produced by the Norwegian Stargate production duo. It had about 60 tracks, including a lot of strings. I treated those as one instrument. Lyrics will give you the direction of the song, and this song is very much about a vocal performance. So I started by working on the vocals, then the piano, and then fitted everything else in. Conversely, with 'SOS' I probably started with the drums and built up from there. When I first listen to a track I look at the Session, and at the individual tracks to see what they are doing. That first impression is important, and is usually the right one."

"DUY are from Spain and they make great stuff. All the Redspider does here is create space on the cymbal, which was mono. I wanted the cymbal to feel wider and more washed out."

Bass: Metric Halo Channel Strip

"This has dynamics and an EQ section. In the early days when plug-ins weren't so DSP efficient, it was handy to have all-in-one plug-ins. The Metric Halo was modelled after the SSL, and before the Waves SSL bundle came out I used it to imitate the sound of an SSL. Here it gives the bass more roundness; the EQ is the main part I used. I added a bit of 2.2kHz, 315Hz and 80Hz."

Backing vocals: Waves SSL E-Channel

"With backing vocals, once you have them blended, a lot of times you have to remove stuff you don't want and accentuate stuff you do want. Particularly with stacked backing vocals, clarity and definition are important, which is what I tried to achieve here. There's a decent amount of compression, with the ratio at 8, and I added some high end. I guess I'm drawn to the SSL sound, since I've worked on them for so many years, and the SSL bundle is essentially three different plug-ins: EQ, compressor and channel strip. There's an analogue switch that adds harmonic distortion to give it a certain SSL character."

Vocals & others: TC Mega Reverb

"This was the general reverb used on most of the song. The TC plug-ins are very good-sounding, and I use them quite a bit. I find the graphic representation of the reverbs very helpful; it allows me to sculpt things better. It's an older plug-in, so for its time it was great, but since then reverbs have improved: particularly the convolution reverbs are great. I used the TC reverb in this case because it sounds clean and I like its simplicity. I don't have the patience to figure out things that are complicated. 'Unfaithful' is not an intimate ballad; it's more a show tune kind of thing and that's why it needed a larger space."

Stereo mix: McDSP Analog Channel

"This went over the whole mix. The setting is supposed to emulate a Neve console. I used it for a little warmth and harmonic distortion. I have several plug-ins that emulate analogue gear, like DUY Valve, Cranesong Phoenix and McDSP Analog Channel. They all sound different. Which one I use depends on the song and the kind of sound I'm looking for. Basically a mix is the result of a decision-making process throughout a day. It's the way I felt about a particular song on a particular day. If you were to give me the same song on a different day, it would probably come out differently. There's no such thing as perfection, and I think music is more fun when things are a little bit inexact."

"Settings don't mean anything," insists Phil Tan. "A lot of the time, if you try to use the same setting on the same singer, or the same drums, but in a different song, it won't work. Of course, I have settings that over the years have worked fairly reliably, and I often reach for them, but in the end settings are simply whatever I felt was appropriate on a particular day on a particular song. Whatever works is whatever stays. I don't analyse what I do too much, it really is just what I felt at a particular time. A mix is therefore like a time capsule of sorts, and in all honesty, in the 16 or 17 years I've been doing this, I've never been able to listen to my own mixes after I finished them, because I hear all the stuff I could have done differently."

"For years I mixed on an SSL, until I went 'in-the-box' around the time Pro Tools went HD - 2001/2," says Phil Tan. "I work in Pro Tools because that's what everybody gives to me these days - no-one wants tape any more - and what really made the difference was when they included the built-in plug-in delay compensation.

"Mixing in the box has become a necessity because of the way the business works these days. I do about 200 mixes a year, and take on average one and a half days per mix. Very few artists and producers now attend the mix session, so on the first day I get things very close, and then I send a stereo audio file, often MP3, off for feedback. I have little or no control over when people get back to me, so it would be very costly for me to have to wait for that, or to set the whole mix up again on a mixing desk at a later stage. Instead, I can save everything in Pro Tools, including the plug-ins, which are the majority of my effects. I'll record any analogue effects I've used, like my favorite GML 8200 EQ or Tube Tech compressors, as audio on separate tracks. When I receive the feedback, I can simply load the Pro Tools file and put the finishing touch on the mix.

"I don't mind mixing in the box, but recently have had problems with carpal tunnel syndrome because of over-using the mouse, so at Southside we now have a Digidesign Icon control surface, which is much easier to use than having to type in numbers and click and drag with a mouse. I have no control surface at Soapbox. I used to have a Pro Control, but it wasn't precise enough so I was still typing in numbers and using the mouse, and I got rid of it. I'm now looking into getting something else, maybe the Jazz Mutant Lemur."

# data[].attributes.attachment_link.title
Inside Track: Rihanna 'SOS' & 'Unfaithful'

# data[].attributes.attachment_link.description
Phil Tan, one of the leading mix engineers specialising in urban music, dissects his mixes for two worldwide hit singles from Rihanna: 'SOS' and 'Unfaithful'. He may look almost unbecomingly young, but 37-year old Phil Tan is one of the most experienced and successful mixers in the American music scene.

# data[].attributes.body
Rihanna's second studio album, 'A Girl Including Me,' was released in 2006, and included hits like 'Unfaithful' and 'We Ride.' The album also included 'SOS,' her first number one hit.

# data[].attributes.attachment_link.title
pon de replay | full Official Chart History | Official Charts Company

# data[].attributes.attachment_link.description
The very latest chart stats about pon de replay - peak chart position, weeks on chart, week-by-week chart run, catalogue number

# data[].attributes.attachment_link.title
Rihanna - Pon De Replay Official Music Video HQ

# data[].attributes.body
It wasn't long until Rihanna's debut album, 'Music of the Sun,' sold over two million copies worldwide. The world was subsequently gifted with the song 'Pon de Replay' in May 2005, which means 'play it again' in Bajan Creole, one of the official languages of Rihanna's native nation Barbados. The song was on her first demo, which got her the record deal. The song sold over two million copies and reached the top ten in the UK, US, and throughout the world.

# data[].attributes.body
Robyn Rihanna Fenty, born on the 20th of February 1988 started her path to superstardom at the age of merely 16. Teenage pop sensation Rihanna was originally seen by American record producer Evan Rogers while he was in her homeland, Barbados. Rogers assisted her in recording a demo after hearing her sing. Her demo was pushed ahead to Def Jam Recordings, where it was heard by Jay-Z, the company's new CEO. Rihanna was asked to audition by Jay-Z. She then travelled to New York to try out for Jay-Z. "She was fierce, like Kobe Bryant," he said, "and I knew she was a star." She walked away from the audition with a six-album record label.