Alicia Keys, performing at The House of Blues in West Hollywood on August 14, 2001. 

Tickets for the show were $26 for the 1,000 capacity. 

Phil Gallo for Variety writes of the night: “[Alicia] is a charismatic performer blessed with the ability to create fully fleshed out R&B, the kind that her parents grew up on — Marvin Gaye, Al Green, Donny Hathaway — and the sort of music that should soon be dominating the pop charts. Over the course of an hour, Keys ran songs together, even starting with Beethoven’s Fur Elise and flowing into her own “Rock Wit You,” one of her most finely honed ’70s R&B odes on her J Records disc “Songs in A Minor.” Her command of a crowd — sold out for two nights, natch — was immediately evident as she slithered through the always dangerous move of playing a ballad, “Troubles,” as the second number. Again, the instrumental voicings, her inflection and, to some degree her demeanor, echo Marvin and Donny — her articulation has evolved considerably in just the few months since she was playing showcase gigs for invited guests.”

He continues: “The subject matter for this 20-year-old New Yorker is typical — love songs kindled with sexuality and, in some cases, the reverse — and on her biggest hit, the No. 1 “Fallin’,” one can even find triteness in the lines “I never loved someone/The way that I love you.” But in pop music it’s the way you say it, and Keys sends forth these simple lines with a been there, done that conviction that intoxicates the audience. Overall, her music has a far greater capacity for audience sing-along than does the latest from Janet Jackson or Destiny’s Child, and one has to figure that that quality greatly increases her chance of increased acceptance. Her sleeveless black leather jumpsuit and braided hair adds to the presentation; her often subtle piano playing turns heads as well. The show is marvelously complete, with no signs of padding or inconsequential banter.”

Alicia would open for singer-songwriter Maxwell in NY for his “Now Tour” from Friday, August 17th at Roseland Ballroom, then Sunday at the Hammerstein Ballroom, Monday at the Beacon Theater, Aug. 24 at City Center and Aug. 25 at Madison Square Garden Theater.

 

(L-R) Monica, Alicia Keys, Free Marie and Missy Elliott, photographed on set of the 102nd episode of BET’s 106 & Park at 524 West 57th Street in late 2003.

Alicia was on the show to perform and promote 'Diary. She would appear on 106 a number of times in the future.

In 2001, BET’s filming location moved from Park Avenue and East 106th Street to the CBS Broadcast Center at 524 West 57th Street, Midtown Manhattan. 

 

“The Agony & Ecstasy of Alicia Keys”

Alicia Keys, photographed for her cover story of Entertainment Weekly’s 965th issue by James White in September 2007.

Music journalist Margeaux Watson speaks to Alicia at her Vegas Palms Casino Theater dressing room about her third album As I Am and her personal journey leading up to its release. Alicia performed “No One” for the very first time at the MTV Video Music Awards at the Palms Casino Theater and finished her set with George Michael's ''Freedom 90.” ''It represents a lot of this year for me,'' she says. ''Finding myself as a woman, finding my strength and the life I want to live, and the freedom I want in myself.'' The corresponding article/interview follows:

"Ever since I was little, I always felt like if people knew about me, they'd be able to use it against me,'' Keys explains. ''I've just always been like, If you don't know about me, there's nothing you can say to destroy or hurt me. So, moving into a career where people are always prying, my instinct has always been to close up.''

Keys couldn't control gossip, but she could control her career...or so she thought. Over time, she began to feel taken advantage of by some of her advisers. For a while, she lacked the courage to do anything about it. ''I didn't realize they were taking me on a ride, that because of my ignorance and lack of experience, they knew they could guilt and persuade me into [doing] whatever they wanted,'' she explains. ''Everybody tries to make you feel like, 'This is the most important thing on the planet and if it is not done at this time, it will be the last time anything like this will ever happen.' So, of course, you do it and you listen to these people, even when you're dog-tired.'' Keys could go on venting all day, but declines to name the culprits. Rose, however, elaborates: ''Because I was able to work so closely on the management side, I saw a lot of things that were really disturbing. People she trusted for a long time weren't necessarily doing right by her.''

Keys had been recording and touring nonstop since 2001 without much time off. She was exhausted. By the time she hit the road to promote her second CD, Diary, her poker face became a permanent mask. ''My life became a big sound bite,'' she says. ''I can say something and it sounds profound as hell, but it doesn't really mean anything. It's almost like putting up a cover of smoke.'' Keys knew something was off while filming Smokin' Aces and The Nanny Diaries, in 2005 and 2006, respectively. She kept her feelings hidden, even from herself. ''From the time Alicia got her first deal, she was busting her ass 24/7 to fulfill her dreams,'' says Rose. ''She was always with the grace and the poise and a smile. But at the same time you knew something else was going on underneath. And I think she got tired and just cracked.''

Keys reached the breaking point in the summer of 2006, when a close family member—whom she prefers not to name — fell ill with cancer. ''It made me finally stop,'' she says. ''Nothing else was more important — no work, no costumes, no anything. I was forced to slow down, look at my life, and decide who I wanted to be. It all got very low at first because I was very depressed and I didn't understand why.'' Keys visited her dying relative every Sunday and paid for all the medical expenses.

A friend suggested that Keys visit a therapist, but ''I never quite felt comfortable enough to do that,'' she says. Instead, after her relative's death, that September Keys placed an urgent call to Rose. ''I was like, 'I need you to help me. I need to get out of here,''' she says. ''It was the most panicked, most desperate thing I've ever done, probably, in my whole life.''

''I made a promise to myself that I was going to be courageous enough to tell whoever is in my life what was going on,'' Keys continues. ''I became brutally honest. I would go straight up to people and say, 'Guess what? This is over. So what's gonna happen from now on is this: If you're feeling that, great. If not, bye.' Some people didn't like it, and they didn't like me being so clear and set on what I wanted. But I found that I took their power away. Any power anyone ever had over me is gone.''

A badass Keys was certainly evident in Las Vegas, where she told EW: ''I'm at the point now like, Fuck it. Who gives a shit? I don't really care what you think about me.'' Asked if she had any trepidation about being haunted by old insecurities as she returned to the limelight, she quickly responds, ''No.... Some people are not gonna get the nice side of me all the time, but that's just too bad 'cause I'm not gonna pretend anymore. I'm not gonna sacrifice my spirit for nobody. "

 

Alicia Keys, styled by Anda Gentile and photographed in NYC for a feature in Interview magazine by Mark Squires in 2007.

For the December 2007/January 2008 issue of Interview magazine, Alicia speaks on her new album As I Am: “You know, I always felt like I didn’t have any fears. I guess I never wanted to admit to having any. But my biggest fear was always that all of the friendships and the relationships that I had built over the years weren’t really as strong as I thought they were or that they were just one-sided on my side. For the death of this person that I love so much to become real was a big fear of mine too. When I first started creating music for As I Am before I went away, it was very strange. [laughs] Nothing made sense. It didn’t sound quite right. I knew the ideas were there, but nothing was quite coming together.”

 

Alicia Keys, styled by Anda Gentile and photographed in NYC for a feature in Interview magazine by Mark Squires in 2007.

Alicia wears a sweater by Iceberg $370.00. Flowerbomb eau de parfum by Viktor & Rolf $180.00 

For the December 2007/January 2008 issue of Interview magazine, Alicia speaks on her new album As I Am: “A ton of things inspired me for this record, but I think that my trip to Egypt is what made it all make sense. Before I went, I was feeling overwhelmed, I was dealing with a family member who was sick, and it was hard to see a person that you love flirting with death every day like that. And then there were other things I was coming face-to-face with—people who I thought I had good relationships with were becoming really unhealthy burdens in my life. I just felt like I was totally alone in this crazy sea. I had this insane thought that if I left, then everything would just fall apart, and I guess I was fearful of that. Finally, I realized things would be all right, and if they did fall apart, well, then they were meant to. So I went to Egypt and saw the temples and the pyramids and the tombs and the Nile. I went around every day with an Egyptologist, and I learned the history of it all. And I started to discover this strength in the history and the people and the idea that there’s a legacy you can leave behind. That just changed my whole perspective. It’s kind of what set me free to create any music that I wanted to, as opposed to feeling so stressed and frustrated and closed off and disconnected.”

Mark Squires has specialized in celebrity portraits, fashion, beauty and luxury market for over 20 years and is currently based in N.Y. & L.A. His goal is to create unique and beautiful images that will have a great impact on the viewer, and to collaborate closely with diverse and talented people and teams from all walks of life. “The final work is always a testament to the incredible talents and efforts of the entire team.” Squires says.

 

Alicia Keys and set dresser Shannon Hart, as photographed on set of Alicia and Cham’s music video for “Ghetto Story Chapter 2” in Jamaica in mid-2006.

The video was shot in Jamaica by Sanaa Hamri, premiering on BET's 106 & Park on August 8, 2006 and entering the countdown three weeks later to debut at number nine, staying there for four days in a row. Eventually peaking at number five.

 

Alicia Keys and Jamaican artist Cham, as photographed on set of their music video for “Ghetto Story Chapter 2” in Jamaica in mid-2006.

Recorded and released in June, the collaboration was inspired by the original sequel “Ghetto Story” by Cham, which was the lead single off his album of the same name. Peaking at No. 19 on the Billboard Hot R&B/Hip-Hop Singles Sales chart and No. 77 on the Billboard Hot 100. It also went No. 13 on the Rap Airplay chart while Cham’s Ghetto Story album rose to No. 53 on the Billboard 200 chart. Following the second part of the sequel, Cham also released the 3rd chapter with Akon and a 4th chapter with both Akon and Alicia. 

The video was shot in Jamaica by Sanaa Hamri, premiering on BET's 106 & Park on August 8, 2006 and entering the countdown three weeks later to debut at number nine, staying there for four days in a row. Eventually peaking at number five.

"Ghetto Story was written on the lake in Miami. Dave wanted me to kind of elaborate on my past and how I grew up between Sherlock Crescent, Marverly, Hughenden, Waterhouse, between Studio Mix and Jammy's Studio, and we just kind of filtered from there” explains Cham.

Cham later revealed in an interview with Two Bees TV that Alicia’s label J Records didn’t want her to fully commit to the collaboration: “You kinda hear stuff like labels weren’t pushing for her to shoot and she was the one who said nope, I’m going to do it in Jamaica. If you notice, even the Sean Paul and Beyonce. They were never in the same space together, never performed it together. You realize there’s a lot of politics in the music industry and she kinda broke down those politics with our collaboration.”

He continues: “I will never ever forget that she took the time out to really say ‘you know what? I don’t care what the label is saying, I want to do it in Jamaica. I don’t care what the label is saying, I want to come and perform the song with you live on stage … in front of a hardcore dancehall audience.”

Alicia and Cham joined forces again to perform the song for Swizz Beatz’s 43rd birthday in September 2021.

 

Alicia Keys, Missy Elliott, and Beyoncé, photographed performing during the “Verizon Ladies First Tour” by Allison Murphy in 2004.

Murphy’s photography was featured in the July issue of Vibe magazine for their ‘Live’ segment. The ladies performed at the Continental Airlines Arena in East Rutherford, N.J., on April 5th.

Missy was first, performing hits “One Minute Man,” “Hot Boyz,” “Work It,” “Pass That Dutch,” and “I’m Really Hot.” Encoring with a homage to the late Aaliyah, who passed in August 2001, with a “down-tempo drizzle” exit whilst fans swayed to “Rock the Boat.”

Following, Alicia sat at her piano to do what she does best. Performing hits “A Woman’s Worth,” “If I Ain’t Got You,” and “Fallin’.” At one point, she crawled on top of the piano, and lying there, tickled the ivories upside down. Laura Checkoway writes: “The captivated audience remains seated during “Diary,” but sprinkled throughout are women on their feet, hands in the air as if bearing witness.”

Lastly, Beyoncé enters “carried through the center aisle on a chariot while tossing rose petals at her devoted subjects.” Once she arrives at her throne ‘the stage’ she begins with “Baby Boy.” “You cannot love a man until you love yourself,” Bey instructs as she introduces “Me, Myself and I.” “Concurring girl power rings out to the rafters.” But just then, Jay-Z joins Bey for the confetti-falling finale “Crazy in Love.” “The arena erupts in a frenzy.”

Commencing at the Office Depot Center in Sunrise, FL, on March 12, the tour supported Bey’s debut studio album “Dangerously in Love” (2003), Alicia’s sophomore album “The Diary of Alicia Keys” (2003), and Missy’s fourth and fifth albums “Under Construction” (2002) and “This is Not a Test!” (2003).

The trio toured the States performing in over twenty cities during March and April of 2004. ‘Ladies First was the first time at least three female R&B/hip hop artists were featured as headliners, and it went on to be one of the biggest tours of that year, ranking 34th on Pollstar's "Top Tours of 2004"—grossing around $20 million.

A second tour was eventually scrapped despite the success. Verizon focused on developing their “VIP Tour” instead. The last stop was at the Arrowhead Pond of Anaheim on April 21st. The tour was lauded by critics and spectators. 

Conceived by Verizon Communications, the original line up was Beyoncé along with Ashanti, Monica, Mýa and Mary J. Blige. Scheduling conflicts prevented everyone but Bey from being available. Alicia and Missy joined Bey and it was announced by various media outlets in January. Canadian singer Tamia would open act for spots on the show additionally. 

Tabloid speculation came quickly of a three-way "rivalry" between the artists, Bey dispelled these rumors, saying that all three women were already good friends: “All of us are songwriters and producers and are very talented," "It was for me to go on tour with people who are very talented, and secure in ourselves. There will be no competition." Alicia added: “I think we all really respect each other and we really respect the work that each one does and we really have an admiration for each other and enjoy ... [the chance] to join forces in this kind of way.” 

 

“Alicia Keys: Tickling the Ivories”

Alicia Keys, as photographed for her debut Songs in A Minor by Tony Duran in 2001.

This photograph was featured in the June 2001 issue of Vibe magazine for their ‘Next’ segment, which profiled up-and-coming artists.

Larry Flick writes for Vibe. Flick grew up in the Bronx and is one of the most influential popular music journalists in the States. He has been a journalist, Senior Editor at Billboard Magazine, a feature writer for publications like Vibe and spent 18 years as Producer and Host at Sirius XM. Here he writes about Keys: “The 20-year-old, who often opens her show by playing Tchaikovsky, smoothly croons the first verse, revealing herself as more than just another ingenue,” “she exudes the impassioned depth of an old-school soul veteran.”

Alicia speaks on her inspirations: “I feel an emotional connection with artists like Marvin Gaye, Roberta Flack, and Nina Simone,” she says. “I study them. My dream is to be that good someday.”

Flick features legendary musician Roberta Flack’s comments on Alicia while attending Clive Davis’s pre-Grammy party in February: “Alicia has a remarkable gift,” says Flack. “There’s something unique and special that sets her apart.”

 

Alicia Keys and the late Isaac Hayes, as photographed in Downtown New York by Anderson Ballantyne in 1998.

“One of my favorites is ‘Rock Wit U,’” Alicia tells Tidal. “When I was first starting, I didn’t really know how to produce. I didn’t really know how to create the music that I wanted to hear. I knew what I wanted it to feel like and sound like, but I didn’t exactly know how to do it. One of the techniques that I used was, I would listen to all of my favorite records. I would listen to Babyface, Isaac Hayes, Stevie Wonder, Mary J. Blige… I would listen to all these different ways of producing music. I would be on the back of the album. I would be listening for what instruments were in it so that I could understand how to produce a record. How to put it all together. How to bring sonics in that made it feel full. Isaac Hayes was one of the most amazing arrangers and producers of all time, period. ‘Rock Wit U’ was definitely inspired by his style of creating music."

 

Alicia Keys and the late Isaac Hayes, as photographed in Downtown New York working on “Rock Wit U” by Anderson Ballantyne in 1998.

For the album's 20th anniversary, Tidal celebrated Songs in A Minor with exclusive commentary from Alicia herself as well as her collaborators. Here she opens up on working with Hayes: “Isaac Hayes was one of the most amazing arrangers and producers of all time, period. ‘Rock Wit U’ was definitely inspired by his style of creating music. You know, that real ’70s energy, that ’70s vibe. Guitar, strings, and long intros. You had very dramatic music. Once it was done. Once we had written it. We loved it. We really wanted Isaac Hayes to arrange the strings. Now, what would make Isaac Hayes want to arrange the strings for a new artist that nobody even heard of? I’m not sure. But he felt the energy, he felt the vibe. He personally came into my session. We were Downtown New York City in this big room, because he wanted at least 16 string players, if not 32. It was huge. We had to get a really huge space. He came in, and he had the whole arrangement for it. His partner was with him too, who also did some arranging for him."

She continues: "I got to sit there. My little 17-year-old self. I got to bear witness to the genius of Isaac Hayes, as he arranged the most beautiful arrangement of strings I’ve ever heard in my life, for my song, on my first album Songs in A Minor. I was in awe. I sat there at the piano with him, he was showing me chords, he was talking me through things. He was quite playful, we were having a good time. I felt so blessed to be in that space. I was like ‘If I never do anything else, and if I never meet anybody else, I was able to meet such a hero.’ And I was able to meet him before he passed away, too, which is big. When you listen to those strings on ‘Rock Wit U’ on Songs in A Minor, that is the maestro, the one and only Isaac Hayes. I’m never, never, never going to forget that.”

Noted Jason Kpana, Tidal’s SVP of artist relations, of the streaming service’s “deep-dive” into the album’s creation: “Alicia Keys is one of the greatest performers and songwriters of our time. It’s only fitting that Tidal commemorates her musical accomplishments as we arrive upon the 20th anniversary of Songs in A Minor, her debut album that took the world by storm.”

“Rock Wit U” featured on the soundtrack for the John Singleton directed Shaft 2000 sequel, along with Hayes’ 1971 theme, starring Samuel L. Jackson in the title role.

 

Unpublished shots of Alicia Keys, as photographed at New Era Studios in SoHo, New York, by Anderson Ballantyne around 1998.

One of the singer’s first promotional shoots, it was conducted sometime in 1998 with her contract with Columbia Records.

 

Alicia Keys, as photographed at New Era Studios in SoHo, New York, by Anderson Ballantyne around 1998.

One of the singer’s first promotional shoots, it was conducted sometime in 1998 with her contract with Columbia Records.

 

Alicia Keys, as photographed at New Era Studios in SoHo, New York, by Anderson Ballantyne around 1998.

One of the singer’s first promotional shoots, it was conducted sometime in 1998 with her contract with Columbia Records.

 “Simply one of best experiences working with a recording artist” Ballantyne recounts to social media. 

Soon after Ballantyne’s promotional work with Alicia, she called the photographer into the studio to capture her and the late Isaac Hayes’ collaboration on “Rock Wit U,” a song that would be released with her debut in 2001. 

 

"A Diamond in the Rough"

Alicia Keys, photographed for her first magazine cover for the Fall 2001 issue of Yellow Rat Bastard (YRB) magazine by the late Seth Kushner on July 24, 2001.

Courtney Korder-Carreras interviews and names 20-year-old Alicia ‘A Diamond in the Rough’ for her very first magazine cover feature. Fresh from the release of her studio debut on June 5th, Songs in A Minor.

Alicia speaks on her mother Terri's involvement in her career, Carreras: “Is your mom active in your career?” Alicia: “She is definitely there for me. More so to help me, you know on the sides that other people don’t give a fuck. Pardon my French, I don’t know if I can speak like that during this magazine interview, but I will. And I figure by the title it’s ok. She helps me to make my life just a little bit more easy. She’s always been like that.” 

Yellow Rat Bastard started as a retail clothing store in SoHo, NYC, owned by Henry Ishay in 1996. Specializing in hip hop and alternative-style clothing and shoes. The print magazine followed in 1999, focussing on lifestyle, fashion, music and art. The word YRB was originally developed by legendary designer Marc Ecko, who was also a former store manager and space designer for the New York City store. 

 

Alicia Keys, photographed for her feature in the Spring 2001 issue of Fader magazine by Philippe Bialobos.

For her first pre-debut interview, then Fader senior editor Eric Ducker covered Alicia as being one of the first artists signed to Clive Davis’ J Records. Discussing the buzz around her and her soon-to-be stardom. Alicia spoke on her concerns for how she would be marketed, almost referencing her previous dissatisfaction with being signed to Columbia Records: "It's scary, because when you put yourself out there, you can only hope that you can make the person understand you in that hour or two you have with them. Are they really going to understand who am I in two hours? Can they capture it?"

Continuing on about the future, "I can be satisfied with not selling 12 million records and not going on tour with N'Sync. That's okay with me. But say my album is released and I do sell 12 million records? It's almost like, what can you do after that? Can you sell another 12 million records? That's creating an even bigger hype that you then must surpass."

Born in Paris, contemporary photographer Philippe Bialobos came to New York in the early 1990s, when he was 27, to expand his photography opportunities. Bialobos is hired these days not only for fashion shoots but for portraits and videos as well.