Aoife Doyle
At age 16, Rihanna came to the United States to pursue a recording career and began recording demo tapes under Rogers' guidance, subsequently signing a contract with Def Jam Recordings after auditioning for Jay-Z. This album was released on November 19, 2012. Rihanna's seventh album, Unapologetic, was preceded by the lead single "Diamonds", which became Rihanna's twelfth number one on the
Billboard Hot 100. The album features guest vocals from ex-boyfriend Chris Brown, Eminem, Future, and Mikky
Ekko.
Chris Brown only shows up once on Rihanna's seventh album, during the duet "Nobody's Business." But the abusive ex she took back is like a co-writer throughout. Much has been made of the couple's duet, "Nobody's Business", which is, unfortunately, one of Unapologetic's high points. They pledge their eternal fealty and let the world know that the love between them isn’t anybody’s business but theirs. Lead single "Diamonds" mixes simile, cliché, and metaphor, serving as a potent reminder that someone thought
this was the best the album had to offer. Plaintive pain ballad "Stay" is Rihanna inhabiting the post-Florence pop landscape, all natural voice. Unapologetic rubs our faces in the inconvenient, messy truth of Rihanna's life which, even if it were done well, would be hard to celebrate as a success. It's
difficult to understand why Rihanna expects her fans to hang in this dark space with her (and Chris Brown). When she sings, "I'm prepared to die in the moment," on "Love Without Tragedy/Mother Mary," a clichéd line pulses with real terror
and impossible resolve. Unapologetic makes a compelling case for Rihanna knowing what she’s doing. This most compelling of pop phenomena still has something new to offer.
I would recommend this album to adolescence and presume they would all enjoy the album as much as I do. Most pop songs are aimed at making you drink, dance or both. ‘Nobody’s Business’ makes you want to write a long, worthy think piece so you can come to terms with your own moral standing on it. In spite of Rihanna’s best efforts, Unapologetic is more depressing than offensive. Millions will listen to this LP and go through the process of assimilating or rejecting the general thrust of what they hear. My suspicion is that they will not spend very long over that decision because, above everything else, this is a very good album.
At age 16, Rihanna came to the United States to pursue a recording career and began recording demo tapes under Rogers' guidance, subsequently signing a contract with Def Jam Recordings after auditioning for Jay-Z. This album was released on November 19, 2012. Rihanna's seventh album, Unapologetic, was preceded by the lead single "Diamonds", which became Rihanna's twelfth number one on the
Billboard Hot 100. The album features guest vocals from ex-boyfriend Chris Brown, Eminem, Future, and Mikky
Ekko.
Chris Brown only shows up once on Rihanna's seventh album, during the duet "Nobody's Business." But the abusive ex she took back is like a co-writer throughout. Much has been made of the couple's duet, "Nobody's Business", which is, unfortunately, one of Unapologetic's high points. They pledge their eternal fealty and let the world know that the love between them isn’t anybody’s business but theirs. Lead single "Diamonds" mixes simile, cliché, and metaphor, serving as a potent reminder that someone thought
this was the best the album had to offer. Plaintive pain ballad "Stay" is Rihanna inhabiting the post-Florence pop landscape, all natural voice. Unapologetic rubs our faces in the inconvenient, messy truth of Rihanna's life which, even if it were done well, would be hard to celebrate as a success. It's
difficult to understand why Rihanna expects her fans to hang in this dark space with her (and Chris Brown). When she sings, "I'm prepared to die in the moment," on "Love Without Tragedy/Mother Mary," a clichéd line pulses with real terror
and impossible resolve. Unapologetic makes a compelling case for Rihanna knowing what she’s doing. This most compelling of pop phenomena still has something new to offer.
I would recommend this album to adolescence and presume they would all enjoy the album as much as I do. Most pop songs are aimed at making you drink, dance or both. ‘Nobody’s Business’ makes you want to write a long, worthy think piece so you can come to terms with your own moral standing on it. In spite of Rihanna’s best efforts, Unapologetic is more depressing than offensive. Millions will listen to this LP and go through the process of assimilating or rejecting the general thrust of what they hear. My suspicion is that they will not spend very long over that decision because, above everything else, this is a very good album.
