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clothing line, which she followed with the less expensive Harajuku Lovers brand a year later.
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The same year it came out, she launched her L.A.M.B. Baby.," earned several Grammy nominations including album of the year.
DEAD BLONDE FEMALE MUSICIAN PLUS
After the release of albums with her band like 1995's "Tragic Kingdom," 2000's "Return of Saturn" and 2001's "Rock Steady," Gwen - who won two Grammys with No Doubt plus a third collaborating with rapper Eve - launched a solo career. Since finding success with No Doubt, Gwen Stefani has gone on to craft a mega-successful career. In May 2022, Alanis took the stage with Olivia Rodrigo during the young pop star's Los Angeles "SOUR" tour concerts to jointly perform "You Oughta Know." Alanis, who's occasionally acted over the years, has also steadily continued to make music - she's released six more albums since her '90s breakthrough including 2020's "Such Pretty Forks in the Road." In 2019, her '90s success was brought to life on Broadway in the rock musical "Jagged Little Pill," which featured her tunes with a book by Diablo Cody. Her 2008 album, "Flavors of Entanglement," was the result of her grief following their split. The Canadian singer previously romanced "Full House" star Dave Coulier - Uncle Joey is reportedly the inspiration for "You Oughta Know" - and Ryan Reynolds, to whom she was engaged from 2004 to 2007. They've since welcomed two more children - daughter Onyx in 2016 and son Winter in 2019. The healthy list of 518 subscribers indicates that youthful female death was marketable as a topos occasioning the pleasures of melancholy.On Christmas Day 2010, Alanis Morissette welcomed her first child, son Ever, with husband Mario "Souleye" Treadway, whom she wed in May 2010. Minna's reported profligacy during her final illness may have stimulated the posthumous publication of her music, which was possibly a form of fund raising for her multiply bereaved father, a corrective to his emotional and financial loss. The idealizing tropes of the memorials are also challenged by Johann Christian's later memoirs in which his daughter's turn to composition is situated in what he described as her multiple breaches of deferential daughterly conduct. Her collected works suggest she was working toward a published collection of strophic German songs and toward the composition of operatic music for her own performance. However, such representations of Minna were misleading. Both Minna's father and her teacher were at pains to stress that she sought neither fame nor fortune from her compositions. These discursive contexts contained Minna's activities as a composer within a framework of bourgeois femininity. Death turned Minna from composer into a passive, aestheticized object of male authorship. Minna's memorialization shared with the novels of Goethe a topos of the beautiful female dead in which the female corpse (or its representation) was exhibited as a beautiful artifact. The principal discourse was of death itself. These memorials situated her authorship in the contexts of pedagogy and education, the composition of occasional works for the home, and the solace offered by music amidst bereavement and illness. With Minna's death in 1788 at the age of twenty-three, her father, the playwright Johann Christian Brandes, and her close friend and teacher Johann Friedrich H�nicke prepared two memorials to her memory, a biography and a collection of her music, the latter titled Musikalische Nachlass von Minna Brandes (Hamburg, 1788). This article explores the cultural meanings of female musical authorship in the late German Enlightenment through a case study of Charlotte ("Minna") Brandes, a composer, keyboardist, and opera singer.