![]() Merge was founded, in 1989, by Mac McCaughan and Laura Ballance, two members of the beloved indie-pop band Superchunk. For “Second Line,” an electronic album, Richard signed with Merge Records, a storied independent label based in Durham, North Carolina. Richard’s solo career began in 2005, shortly before she joined Danity Kane, but it didn’t take off until 2013, when she was freed from her commitment to Diddy and started releasing idiosyncratic, genre-thwarting music. This month, Richard, who is thirty-seven, will release “Second Line,” her sixth and best solo album. Today, Danity Kane, as we once knew her, seems gone for good. Various configurations of the band have popped up since: O’Day, Bex, and Richard O’Day and Richard. In 2013, Danity Kane briefly got back together, but the reunion didn’t last. Richard, with the singer Kalenna Harper, formed Dirty Money, a duo that frequently provided backing vocals for Diddy. But the band was plagued by internal conflict, and after a second album was released, in 2008, O’Day and Woods left the group, and were soon followed by Bex and Fimbres. They seemed primed for global success, hitting the road as an opening act for Christina Aguilera. “We in the car / We drive slow / We doin’ things that the girls don’t do,” the women coo. The song is a dated artifact, but it is a supremely shiny and pleasurable one. The first single, “Show Stopper,” reached No. (Richard has also worked as an animator and, in 2020, became the first Black artist to serve as a creative consultant for Adult Swim, a popular nighttime programming block on Cartoon Network.)ĭanity Kane released its self-titled début LP in 2006. Danity Kane got its name from a superhero character that Richard had invented and illustrated. She was the group’s least peacocking member, bringing a measured elegance to the proceedings. Richard, a singer, songwriter, and dancer from New Orleans, was an early favorite on the show. girl group featuring Dawn Richard, Aubrey O’Day, Aundrea Fimbres, Shannon Bex, and D. Ultimately, Diddy begrudgingly created Danity Kane, a five-piece R. Diddy sometimes arrived for judgment day in a helicopter with a team of scurrying porters wearing red jumpsuits, who hurriedly collected his Louis Vuitton luggage. “A star is someone who is humbled by the opportunity,” she told a singer who’d expressed too much confidence (and was later booted for it). Gibson often seemed offended by the results, and reminded the contestants that they were nothing special: “No time to play! There’s a batch full of new kittens ready to lick that milk!” She demanded expertise, self-sacrifice, and modesty. Each week, Gibson would bark “Boom-kat boom-boom-kat!” as the women gyrated in a mirrored dance studio, attempting to master new choreography. The women were evaluated on their ability to sing, to dance, and to look enticing while doing both. “Puff didn’t really like anybody.” The drama of the show was based on the (flimsy) notion that harsh criticism is a more effective motivator than praise. “A lot of you guys are here by the skin of your teeth,” Wright announced. In the first episode, the music manager Johnny Wright, the choreographer Laurieann Gibson, and the vocal coach Doc Holliday welcomed the contestants. Diddy, eternally unsatisfied, dissolved Da Band in 2004.įor “Making the Band 3,” he set out to create what he called an “international female supergroup,” selecting nineteen promising young women to live with one another in a sprawling apartment in New York City. The group released one successful album, “Too Hot for TV,” in 2003. Between rehearsals, Diddy, usually wearing a tracksuit and sunglasses, assigned the group members character-building tasks, one of which involved walking from Manhattan to Brooklyn to get him a wedge of cheesecake from Junior’s. (In 2008, Pearlman was imprisoned for overseeing one of the longest-running Ponzi schemes in American history, and died in federal custody in 2016.) Diddy took over for “Making the Band 2,” relentlessly testing the mettle of Da Band, a hip-hop group he’d put together through an arduous audition process. The first season was hosted by Lou Pearlman, the talent impresario behind the Backstreet Boys and ’NSync. The show was predicated on the idea that it was possible to manufacture a musical group from parts, much as a person might, with time and focus, successfully assemble a sideboard from IKEA. In 2003, the rapper and entrepreneur Sean Combs-then operating under the nom de plume Diddy-launched the third iteration of “Making the Band,” a reality-competition series that had débuted in 2000.
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