Notoriously moody and abrasive in interviews, Blige’s reputation as an unpredictable unprofessional wild-card with the potential to combust at any given moment began to precede her, further solidifying her rugged image in industry circles. Unable to properly adjust to her newfound fame and suffering from past trauma stemming from being the victim of sexual abuse as a child and teenager, Blige began to self-medicate by using cocaine and alcohol to cope with stress. In spite of her debut being touted as one of the stronger efforts of the year and her star rising at a rapid rate, trouble brewed in Blige’s paradise and would begin to become apparent in the aftermath of the album’s release. Featuring contributions from boardsmen like DeVante Swing, Tony Dofat, Dave “Jam” Hall, Mark Morales and Cory Rooney, with Combs overseeing the proceedings, What’s the 411? signaled the last days of New Jack Swing and helped pave the way for the sound that would define the genre over the next decade: Hip-Hop Soul. as R&B’s new “it” girl while ingratiating her with the hip-hop community, who saw some of themselves in Blige’s street-wise aesthetic and were partial to the album’s percussive production. Released on July 22, 1992, What’s the 411? was a massive success, producing multiple hit singles, including “You Remind Me,” “Real Love,” “Reminisce” and “Love No Limit.” Moving over three million units and spawning a remix album the following year, What’s the 411? christened Mary J. By the time What’s the 411?, Blige’s solo debut, arrived in summer 1992, that look signaled a departure from traditional R&B tropes and hip-hop’s growing influence on the genre.
Entrusted with transforming Blige and cultivating her image as an artist, Combs, along with stylist Misa Hytlon-Brim, keyed in on her around-the-way girl tendencies and magnified them, outfitting Blige in street-approved designer wears, backward baseball caps, and baggy Girbaud jeans. Earning her first credits singing background for Uptown artist Father MC, Blige’s career as a soloist stalled before being paired with Sean “Puffy” Combs, a hot-shot A&R with a stylish flair and a pulse on what was hot in the streets and the clubs. Unbeknownst to Blige, a demo of the performance would be passed along to Jeff Redd, an artist and A&R at Uptown Records, who was taken aback by Blige’s vocal prowess.įacilitating a meeting with label president and CEO Andre Harrell, Redd’s efforts resulted In Blige inking a deal in 1989, becoming the youngest act on the roster and its first female R&B artist. The course of Blige’s future would forever be altered following a visit to the Galleria Mall, in White Plains, New York, where she sang a cover of Anita Baker’s “Caught up in the Rapture” in a recording booth on a whim. However, her roots in the rough-and-tumble Schlobohm Houses and a lack of connections within the music industry made her chance at attaining a music career an unlikely one.
Raised in Yonkers, New York, Blige discovered her talent as a singer at seven years old, honing her skills with performances for local residents, friends, and family.
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