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Photo Album - Life is a Journey

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A personal Gift

fill it with memories

use as a coffee table book

In stock – ready to ship

Discover our Life is a Journey Coffee Table Photo Album featuring an elegant, turquoise cloth cover with white text. Inside, you'll find 30 pages of high-quality black photo paper, allowing you to attach your photos easily using our stickers or photo corners , which are bought separately.

It accommodates two  4x6 inch photographs on each page, with space for personal notes below. If you need additional pages, you can order extra photo paper (large). Please note that the album can accommodate a maximum of 40 pages. The photo paper size is 11x8 inches.

Material: Cover: 100% Cotton fabric + recycled greyboard. Pages FSC, acid free black card. Black metal binder. Height: 12,99 in Width: 10,63 in Depth: 1,97 in Weight: 2.8 lbs Pages: 30

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1-2 business days: 25,00 $ 3-4 business days: 15,00 $ 5-8 business days: 8,00 $ Note that these are only the transit times. If your order is placed after 2pm, your total shipping time adds up with 1 day extra.

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Photo Album - Life is a Journey

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Life is a Journey Coffee Table Photo Album

Their next generation of photo albums remind you more of a fancy art book than a tradtional photo album the difference being that the content hidden inside will always be closer to your heart. This is one of their extra-large photo albums covered in textile both on the inside and the outside and fits two 10 x 15 photographs on each page with enough space left to write something about each. It contains 30 pages of high quality photo paper. If you need more pages, simply add extra photo paper. The photo album accommodates a total of 40 pages. Life is a Journey is covered in turquoise blue textile with gold printed text.

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Photo Album - Life Is A Journey

media image of photo album life is a journey by printworks pw00553 1 119

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Product Overview

  • Materials: Wood, Cotton, Metal

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life is a journey photo album

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PRINTWORKS Photo Album - Life Is A Journey

Item is in stock Only 0 left in stock Item is out of stock Item is unavailable

Blue 'Life Is A Journey' Coffee Table Photo Album featuring an elegant, turquoise cloth cover with gold text. Inside, you'll find 30 pages of high-quality black photo paper, allowing you to attach your photos.

It accommodates two 4x6 inch photographs on each page, with space for personal notes below. The photo paper size is 11x8 inches.

Material: Cover: 100% Cotton fabric + recycled greyboard. Pages FSC, acid free black card. Black metal binder. Height: 12,99 in Width: 10,63 in Depth: 1,97 in Weight: 2.8 lbs Pages: 30

Our customers' satisfaction is our number one priority. We accept and offer full refunds on items returned within 14 days of delivery date per our full RETURN POLICY. Complete the CONTACT form to start a return.

All orders ship Monday through Friday, excluding holidays. See full shipping info HERE .

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Life is a Journey Photo Album

Life is a Journey Photo Album

Our next generation of photo albums remind you even more of a fancy art book then how a photo album use to look like – with the difference that the content hidden inside will always be closer to your heart. This is one of our extra-large  photo albums covered in textile both on the inside and the outside and fits two 10x15 photographs on each page with enough space left to write something. It contains 30 pages of black high quality photo paper and you easily attached your photos using our stickers or photo corners. If you need more pages, simply add extra photo papers and the photo album accommodates a total of 40 pages.

  • Photo paper size: 8.25" x 11"
  • Material Cover: 100% Cotton fabric + 100% recycled greyboard. Pages FSC certified, acid free black card. Matt black color metal binder.
  • Width: 10.5", Height: 13", Depth: 2"

Take a look at all of our Printworks photo albums. 

Shipping methods are the estimated delivery days your order will take to deliver to your delivery address AFTER it has been picked up from our retail store. Delivery dates are not guaranteed, notwithstanding additional charges, but are approximations and will vary with specific requests, such as gift box, gift wrap, and personalizations. Shipments and deliveries occur only on weekdays. Shipping charges and times may vary.

We process orders for shipping Monday - Friday, excluding weekends and holidays. All orders received on weekdays after 12pm EST, on weekends or holidays will begin processing the following business day.  All orders placed Monday - Friday before 12pm EST will begin processing the same business day.  Please allow 24-48 hours for processing pending merchandise availability and credit card authorization. We offer free shipping on orders over $200 using the code FREETOSHIP. This offer cannot be combined with other offers. 

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At Julia Moss Designs, we respect and value every customer. Because your trust is important to us, we want you to be completely happy with every purchase. If you are not satisfied, we are glad to accept returns of full-priced merchandise for a full refund or exchange within 7 days of original in-store purchase, or within 7 days after order delivery. After 7 days, we can offer store credit only. The sale is final after 30 days. Other restrictions apply. For full details on returns,  click here . 

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PhotoAlbum Life Is A Journey Large

“Live is a Journey” - A stylish, high quality photo album in textile both on the inside and the outside. Fits two 10x15 photographs on each page with extra writing space. 30 pages of black high quality photo paper. Photo paper size: 21x28 cm. In a beautiful, colourful cyan design.

A coffee table book when closed – a photo album when it is open. Our next generation of photo albums remind you even more of a fancy art book than how a photo album uses to look like – with the difference that the content hidden inside will always be closer to your heart.

This is a photo album covered in textile both on the inside and the outside and fits two 10x15 photographs on each page with enough space left to also add writing. It contains 30 pages of black high quality photo paper. You easily attach your photos using stickers or photo corners. Photo paper size: 21x28 cm.

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Focus Nordic AB Bergsjödalen 48 415 68 Gothenburg Sweden VAT: SE556507498501

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12" x 12" Map & Life is a Journey Scrapbook Album by Park Lane

12" x 12" Map & Life is a Journey Scrapbook Album by Park Lane

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Description

Preserve memories from your travels in this Park Lane Scrapbook Album-Map & Life is a Journey. The scrapbook features a design of the map of the world with a coordinating caption reading 'Life is a Journey.' It's photo safe and includes 10 page protectors to keep your photos and notes safe for years to come.

  • Brand: Park Lane
  • Theme: Map & Life is a Journey
  • Includes one album with 10 page protectors
  • Dimensions: 12 x 12 inches

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Photo Album: Life is a journey

Discover our Life is a Journey Coffee Table Photo Album featuring an elegant, turquoise cloth cover with white text. Inside, you'll find 30 pages of high-quality black photo paper, allowing you to attach your photos easily.

The photo album accommodates two 4x6 inch photographs on each page, with space for personal notes below and a maximum of 40 pages in total.

Photo paper size: 11 x 8 inches

Weight: 1.3 kg

Photo Corners/stickers not included

Speak with our knowledgeable and friendly team at: +44 (0) 20 7247 2477. Alternatively Email us:  [email protected]

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Photo Album: Life is a journey

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Life is a Journey Photo Album

For those who love to travel and document their journey and experiences, the thirty pages of this beautiful luxury photo album, designed to look like a coffee table book, will be the perfect place to showcase your travel photography and precious memories.

  • H33 x W27 x D5cm.
  • Cover made from 100% cotton fabric and recycled grey board.
  • Include 30 pages of acid-free, FSC-certified 230gsm paper.
  • Photo pages: H28 x W21cm each.
  • Each page fits two 10 x 15 photographs.
  • Add up to ten more pages with the matching refill paper.
  • Designed by Printworks, Stockholm.

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Produktbild eines Coffee Table Fotoalbum von Printworks

PHOTO ALBUM - Life is a Journey

Prices incl. VAT plus shipping costs

  • Photo album to design yourself
  • with 30 black photo boxes
  • Color: blue with golden decoration
  • Space for a total of 40 photo papers
  • Size of photo paper: 21x28cm
  • Cardboard outside covered with textile

Available, delivery time approx. 2 weeks **

Delivery by DHL

30 days return policy

100% Climate neutral shipping

  • Description

life is a journey photo album

Im neuen PHOTO ALBUM - Life is a Journey von Printworks lassen sich Erinnerungen auf stilvolle Weise sammeln. Das Album zum Selbstgestalten lässt sich neben Fotos beispielsweise auch mit Gedichten, Rezepten oder anderen Kleinigkeiten füllen. In dem stylischen Album kommen sie besonders gut zur Geltung. Zudem möchte man das Album am liebsten auf dem Coffee Table oder im Regal zur Schau stellen, anstatt es im Schrank zu verstauen. So gehen die liebsten Erinnerungen nicht verloren, sondern können immer wieder bestaunt werden. 

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Printworks Market Home Photo Albums Photo Album Life Is A Journey PW00553

Photo Album Life Is A Journey

50,00 €

PRINTWORKS is a Swedish design company that acts within the area of lifestyle, gifts and accessories. Our ambition is to make functional everyday objects beautiful and available to everyone. In collaboration with some of the world´s best illustrators and photographers we design and produce accessories, coffee table games, photo albums and stationary.

  • Description

Printworks Market Photo Album Life Is A Journey is a beautiful coffee table book when closed and a photo album when opened. Printworks Market next generation of photo album remind you even more of a fancy art book then how a photo album use to look like – with the difference that the content hidden inside will always be closer to your heart. This is extra-large photo album covered in textile both on the inside and the outside. It contains 30 pages of black high quality photo paper and you can easily attach your photos using photo stickers or photo corners .

A great gift idea!

Photo paper size: 21×28 cm.

Dimensions: W27/H33/D5 cm

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Every Shakira Album, Ranked: Critic’s Picks

From Dónde Están Los Ladrones? to Las Mujeres Ya No Lloran , here's where each Shakira studio album ranks in her discography.

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Shakira

Throughout her enduring career, Shakira has dropped culturally and commercially successful albums that have cemented her as a legacy artist. Her latest, Las Mujeres Ya No Lloran , released March 22 , is a testament to the intense emotions that have powered every single one of her songs since her breakthrough in the 1990s.

Using music as a tool or resource to navigate the peaks and valleys of life, the Colombian hitmaker is intentional in her songwriting with raw lyrics, meticulous as a producer and an extraordinary performer bringing to life the songs that define not only her eras but those of women across generations. With albums like Pies Descalzos (1995), Dónde Están Los Ladrones? (1998), Laundry Service (2001) and El Dorado (2017), Shakira offered a soundtrack to women who are vulnerable, who love deeply to the point of self-destruction, who remain on a healing journey — or who have turned their tears into diamonds after a life-defining heartbreak.

The 10 studio albums we’re ranking — not including her first two Magia and Peligro , which were recorded when she was still a young teen and are not even currently available on streaming — have also documented her evolution as an artist, going from her black-haired rock era in Dónde Están Los Ladones? in the ’90s with raging guitars, to her English crossover with Laundry Service in the early 2000s, the pop-reggaeton El Dorado in 2017 and the eclectic Las Mujeres Ya No Lloran where she dabbles in sounds like norteño, Afrobeats, pop and electronic music, generally defying overall categorization.

Las Mujeres  is Shakira’s first new album in seven years. It also marks her debut release on vinyl, featuring four distinct artwork editions, each paired with an exclusive colored vinyl variant. The album debuted at No. 1 on Billboard ‘s Top Latin Albums (chart dated April 6) and at No. 13 on the Billboard 200 .

Below, our ranking of every Shakira studio album.

Shakira (2014)

Shakira, Shakira.

Although commercially successful — peaking at No. 2 on the Billboard 200, her highest ranking on the chart to date — Shakira’s self-titled set isn’t her most hits-packed project, or her most memorable one. It’s also not particularly cohesive by her standards: For an artist who’s always been intentional with every album, every song, every lyric, this one didn’t reflect that perfectionism that has defined her work. The few bangers that save this album are “Empire,” “Dare (La La La)” (because who doesn’t love a Shakira World Cup song), and the Rihanna-assisted “Can’t Remember to Forget You.”

She Wolf (2009)

Shakira, She Wolf

Four years after Fijáción Oral Vol. 1 and Oral Fixation Vol. 2 , both released in 2005, Shakira delivered She Wolf , placing all bets on a more electronic — clubby sound, a sharp contrast to her previously-released music. The result is not her best album — though it peaked at No. 15 on the Billboard 200 — but it is still home to her anthem “Loba” and its English version “She Wolf,” which peaked at No. 11 on the Hot 100. The single, powered by punchy lyrics and an earworm of a chorus, became one of Shakira’s most celebrated songs to date.

Sale El Sol (2010)

Shakira, Sale El Sol

With Sale El Sol , an album primarily in Spanish, Shakira returned to her experimental roots without focusing too much on whether the set would have mainstream appeal or not. Unlike its predecessor, She Wolf — which was produced mostly by Shakira and The Neptunes, presenting a more “Americanized” version of Shakira — Sale El Sol was exactly the opposite.

The 16-tack set was packed with hip-swiveling reggaetón beats, merengue and Colombian cumbia, and also featured explosive collaborations with El Cata (“Loca”), Pitbull (“Rabiosa”) and Residente (“Gordita”), where the Puerto Rican hitmaker rapped about liking Shakira better when she was chubbier, had dark hair and was a rockera . Coming off a massive run with “Waka Waka” for the World Cup in Africa, this fun and eclectic album further fueled her momentum, including English and Spanish versions of the global hit.

Oral Fixation, Vol. 2 (2005)

Shakira, Oral Fixation, Vol. 2

With  Oral Fixation, Vol. 2 , Shakira ventured into mainstream pop and rock, marking a departure from her straight-through Latin pop and Middle Eastern-influenced sound. The album, however, presented a mixed bag. While “Don’t Bother” showcased Shakira’s ability to embrace guitar-driven rock, it lacked the distinctive flair of her previous works. The iconic “Hips Don’t Lie,” featuring Wyclef Jean, was a standout, blending salsa with reggaetón against an invigorating Jerry Rivera sample — a hit that does not lie.

However, the Carlos Santana collaboration on “Illegal” felt underwhelming, failing to deliver the expected synergy. Likewise, “The Day and the Time” with Gustavo Cerati, while demonstrating Shakira’s genre versatility, didn’t hit the mark entirely — which was a bit shocking considering the participation of these two legendary artists. Despite its uneven moments,  Vol. 2  still signaled Shakira’s ambitious foray into new musical territories and peaked at No. 5 on the Billboard 200.

El Dorado (2017)

Shakira, El Dorado

Named after the mythical City of Gold envisioned by the Muisca indigenous people of Colombia,  El Dorado  traces Shakira’s journey through a rich musical treasure trove. In the reggaetón-pop hit “Chantaje” featuring Maluma and the infectious “La Bicicleta” with Carlos Vives, Shakira blends vallenato and música urbana while infusing them with cool confidence and nostalgia. Intro track “Me Enamoré” offers a glimpse into Shakira’s former romance with Gerard Piqué, providing a stark contrast to today’s narrative surrounding the unabashedly unfaithful soccer star. “Toneladas” highlights her emotive prowess, while “Deja Vu” with Prince Royce delivers a sensual bachata fusion.

However, not all tracks hit the mark. “When a Woman” feels out of place, with its screeching vocals and starkly contrasting message to the empowering  Las Mujeres Ya No Lloran  (“When a woman loves a man/ Manipulate and cause you pain/ But lift you up when you’re hurting,” she wails). Despite its missteps,  El Dorado  still shines with resounding versatility and cultural pride. The album reached No. 15 on the Billboard 200.

Fijación Oral, Vol. 1 (2005)

Shakira, Fijación Oral, Vol. 1

Fijación Oral, Vol. 1 , Shakira’s sixth studio album, arrived on June 3, 2005 — when she was on top of the world, following a decade of success in Latin America, and a victorious debut in the English market. Getting back to her native language, Shakira presented a mostly pop set, co-produced by artists such as Gustavo Cerati, Lester Méndez, Luis Fernando Ochoa and José “Gocho” Torres.

With singles like “No”, “Días de Enero”, “Las de la Intuición” and “La Tortura” with Alejandro Sanz — without a doubt the biggest hit of the set, and the only one that entered the Billboard Hot 100 — the album debuted at No. 4 on the Billboard 200 and spent 17 weeks at No. 1 on Top Latin Albums, the most for the Colombian star at the top of the ranking.

Las Mujeres Ya No Lloran (2024)

shakira LAS MUJERES YA NO LLORAN

In a stunning transformation, where tears transform into diamonds and vulnerability into strength, Shakira turns pain into pop gold, affirming her alchemical prowess and resilience. Born out of an emotionally tumultuous breakup, this album serves as a pivotal chapter in her career, marking her resurgence like a phoenix rising from the ashes.

With a gap of seven years since her last studio album  El Dorado  — due to Piqué  “dragging”  her down, in her words — Shak navigates a spectrum of moods and genres, from infectious Afrobeats (“Nassau”) to soul-stirring bachata (“Monotonía”), Tex-Mex rhythms (“(Entre Paréntesis)”), and a stellar revival of her rock roots (“Cómo Dónde y Cuándo”).

Her solo tracks like “Tiempo Sin Verte” and “Última” sparkle, while collaborations with Cardi B, Grupo Frontera, Rauw Alejandro and Bizarrap add intrigue. With her 12th studio album, the self-proclaimed She Wolf restates the premise of her wildly unapologetic kiss-off “Shakira: Bzrp Music Sessions, Vol. 53,” all while continuing to craft melodies and lyrics that evoke pain, passion and allure. Meanwhile, she also invites listeners to revel, weep, wreak havoc and thrive with her all at once.

Laundry Service (2001)

Shakira, Laundry Service

Shakira’s first set in English was monumental, as it marked the crossover of the Colombian star, who began her formal conquest of the English-speaking market with the first single “Whenever, Wherever” — and a newly dyed blonde hair. The pop rock song with strong influences from Andean music gave the singer-songwriter her biggest hit at the time, debuting at No. 6 on the Billboard Hot 100. Without a doubt, the track was the standout of the set, and its music video revealed that Shakira was not only a great performer but also mesmerizing dancer, flaunting her signature iconic hip-swiveling dance moves.

Released on Nov. 13, 2001 by Epic Records,  Laundry Service  is primarily a pop-rock album, but also experiments with dance-pop (“Ready for the Good Times”), Middle Eastern rhythms (“Eyes Like Yours”), and tango (“Objection (Tango)“). With titles also including “Underneath Your Clothes” and Spanish versions for some of the tracks, it debuted at No. 3 on the Billboard 200 dated Dec. 1, 2001, and spent a total of 62 weeks on the chart.

Pies Descalzos (1995)

Shakira, Pies Descalzos

Shakira’s third studio album,  Pies Descalzos , put her on the map internationally with an assertive pop-rock sound, serving as a canvas for her direct lyrics and personal aesthetic, mixed with elements of dancehall, bossa nova, bachata and more. Released on Oct. 6, 1995 under Sony Music Colombia, it is home to anthems such as “Estoy Aquí,” “Antología,” “Dónde Estás Corazón,” “Pies Descalzos, “Sueños Blancos,” and “Se Quiere Se Mata”, which consolidated the 18-year-old singer-songwriter as a rising star in Latin America and beyond.

On the  Billboard  charts, it peaked at No. 5 on Top Latin Albums and spent a total of 102 weeks on the ranking, and it reached No. 3 on Latin Pop Albums, spending 97 weeks on the chart. The first single, “Estoy Aquí,” reached No. 2 on Hot Latin Songs, and all the songs mentioned above (except for “Pies Descalzos, Sueños Blancos”) entered the top 20.

Dónde Están Los Ladrones? (1998)

Dónde Están Los Ladrones, Shakira

From the moment the intro track “Ciega, Sordomuda” kicks in on  Dónde Están Los Ladrones ?, Shakira unleashes a maelstrom of infectious energy, blending mariachi-infused pop with Latin rock coolness and her trademark self-deprecating charm. At just 21, Shakira’s groundbreaking album not only showcased her bohemian rockera persona but also a voice unlike any other – a deep vibrato that left listeners spellbound.

Seamlessly navigating between sweet pop-rock relatability and effortless cool, her songwriting shines throughout. In “Moscas en la Casa,” she turns the mundane into a poignant exploration of everyday life. “Inevitable” induces goosebumps with its powerful balladry and explosive Latin rock crescendo, with lyrics like “ Siempre supe que es mejor/ Cuando hay que hablar de dos/ Empezar por uno mismo ” demonstrating her wisdom beyond her years. Songs like “Tú” and “Octavo Día” show Shakira’s lyrical depth with incisive social commentary; on the latter song God becomes unemployed and wanders the streets amid a chaotic moment in time.

The album’s closer, “Ojos Así,” weaves Middle Eastern melodies, underscoring her boundary-pushing musical fusion. With  Dónde Están Los Ladrones ?, the Colombian rising star not only questions where the thieves are (specifically, the thieves who stole her suitcase that had lyrics to her second album that never came to be), she also steals the spotlight, leaving hearts captivated every step of the way.

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The Temptations' Debut Turns 60: Otis Williams on Journey from 'No Hit Wonder' to Motown Legend (Exclusive)

Six decades after the group's debut LP, the surviving founding member spoke with PEOPLE about early hits, words of support from The Beatles, and keeping a legacy alive

life is a journey photo album

Hulton Archive/Getty; Michael Tullberg/Getty

Believing in your art takes patience. And in 1964, Otis Williams had plenty of that.

While at this point in his storied career, the Motown legend and sole surviving founding member of The Temptations has since earned his place in history books at 82 years old, he can still remember those early years — between 1960 and 1964 — before the beloved vocal group ever scored a hit on the Billboard charts. 

“ The Supremes and the Temps, they were calling us the ‘No Hit Wonders’ because we had so many releases that none of them really jumped off,” Williams tells PEOPLE, now 60 years after the release of the Temptations’ April 1964 debut album, Meet the Temptations . 

“See, most companies would just record you, and if you didn't do it on the first single, they'll drop you,” he adds. “If they loved you to any extent, they'll let you do two. But if you do not happen with the second single, they drop you like a bad habit.”

Unlike other label bosses, however, Berry Gordy would tell the Temptations — and other struggling groups — that it wasn’t the "fault" of the musicians. "'We've got to do better as a company, as a producer, as writers,'" Williams recalls of Gordy’s words. “And he stuck to that and he believed in us. And I love him because, like I said, most companies, they'll drop you, cast you away.”

As hard as it may be to believe, for a period of time in the early '60s, The Temptations simply could not gain traction on the charts. It wasn’t their tight stage performances, which Williams says they “prided ourselves in.” It wasn’t their singing, either. After all, this was a group consisting of (eventually) that classic lineup of vocal powerhouses David Ruffin, Melvin Franklin, Eddie Kendricks, and Paul Williams — along with Otis. 

What it was, however, was timing. And after putting the work in with Motown’s artist development department, and landing on magic with the Smokey Robinson -penned “The Way You Do the Things You Do,” the Temps found their first hit song. That meant releasing their first album, just three months later, on April 13, 1964. 

“First album, you never forget that. You’re set to really want to become a star and a recording artist. And so when the album came in, boy, you would've thought it was five Secretariats riding, ‘Da da dun, da, da, dun,’ running up there to get the album,” Williams says of himself and his fellow group members, all of whom he says were over 6-feet-tall in the mid-'60s. “And I got it, and I looked at it and I read every little credit nuance on the album.”

Six decades after The Temptations finally became a household name with “The Way You Do the Things You Do” and their debut LP, Meet the Temptations — and eventually hits like “My Girl,” “Just My Imagination (Running Away with Me),” “Ain’t Too Proud to Beg” and “Papa Was a Rollin’ Stone” in the months and years to follow — Williams is now reflecting on the moments that made that period in his life so special. 

Speaking exclusively with PEOPLE about the album that launched his legendary career, Williams looks back on early encounters with the Jackson 5 , the making of “My Girl,” and the moment he and bandmate David Ruffin cried when they found out they scored a hit song for the first time.

Highlights from the conversation, edited for length and clarity, follow below. 

Michael Ochs Archives/Getty

What do you think of when you hear those words, 'Meet the Temptations?'

We came out about the same time the Beatles were hot. And their first album was Meet the Beatles . And they had John, Paul, George and Ringo. And so when we had a hit with “The Way You Do the Things You Do,” I said, let's do Meet The Temptations . And they had us all sitting up there with the introduction of Paul, Eddie, Melvin and myself. So it was taken from the same thinking of the Beatles. 

I understand a few months later when “My Girl” hit No. 1, The Beatles actually wrote you a telegram?

I have it at my house. It says, "Congratulations for ‘My Girl’ being No. 1." We were at the Apollo Theater, see we recorded "My Girl" the summer of '64. Motown released it near the end of December of '64, and it started running up the charts. So by February we were at the Apollo in '65 and I got a telegram from The Beatles, Berry Gordy, The Supremes, and Jules Podell, the guy that ran the Copacabana. And I have those four telegrams still hanging up in my home today.

And what did it mean for you, specifically knowing that the first album title emulated The Beatles?

It was a thrill that we had yet to overcome because we had been recording quite a [bit]... So to start having hits in the year of '64 all the way until now, I can't even find the right words to say, to put it in a real perspective because we had tried for so long to become successful. So when we got that first album, I must have sat and looked at that, boy I said, "Now I've got my own album," The Temps, because we were very noted in Detroit, but that first hit… here we are talking about 60 years later.

By the time you released this album, like you said, The Temps had been around for four years. You had several singles before that. The album largely consisted of those singles. Did it feel like it best represented the journey that you guys had been on up until that point?

Recording as many singles that we did and when we got “The Way You Do the Things You Do,” at first… I've always told the story that when Smokey called for us to come into the studio that cold January night and he passed out the lyrics to Paul, Eddie, Melvin, David, and myself. So as I'm reading the lyrics, "You've got to smile so bright, you could have been a candle, holding you so tight," I said, "What kind of crap is this? This is some hokey stuff here." So OK, we went down in the studio and we did the recording.

And after I sat and listened to it and how it all came together with David, Paul, Melvin, and myself and Smokey was in the control room. So I came in and I said, "Smokey you a bad man because you can take stuff that made no sense and it turns out making sense."

Do you remember when it was finally considered a hit?

Everybody was waiting for us to get that first big hit, that recognizable song that would really place us out there. We were a working group even back in those early stages. And so David had joined the group and we were up in Michigan, we worked all the inner places of Michigan. So we would be gone for two or three weeks at a time.So when we came back into Detroit, David and I, we came up to Motown. And one of the executives said, "Well man, where have you guys been?” So we said, "Well, we work until we get us a hit." He said, "Well, you got a hit." 

So when we got the Billboard and we read that “The Way You Do the Things You Do,” we had jumped in about 76 or 77. Motown had a lounge in the lobby. And David and I sat down and we cried, because he had tried a number of years as a solo artist to get with us on our first hit. And The Temps, before David joined us, we had recorded a whole list of songs and that was the one. And that was the catalyst for us to be still being loved and accepted 60 years later. 

And what did it feel like to share that moment with David when you found out about the success of the song?

Oh, it was a wonderful feeling because David was a noted soloist before he came with The Temps. But to see David in person as a solo artist, he was dynamic. And I was really amazed when he said, "Man, I want to sing with your group." I said, "Really?" We had built a name in Detroit. And David used to do record hops with us. And then he came out to some of the shows and watched us, and eventually he joined the group. And from '64 to '68, we were hot as a box of cayenne pepper.

Hulton Archive/Getty

Could you feel a significant change in the size of the crowds?

Oh yeah. Well, we have always prided ourselves in being tight, choreographically, harmony wise and presentation for us, looking like a group should look. And so we were accepted from that. And once we started having hit after hit, we were able to get flashier uniforms and we would rehearse with notable choreographers and voice coaches to really spit shine.

We broke every existing record at the Copacabana. Now I'm speaking of a place, Frank Sinatra , Sammy Davis Jr., Tony Bennett , Perry Como, heavyweight artists have been there and performed, and yet here come these five southern brothers from and we would turn the place out. And we were just doing our song.

How important was it for you to step out like you did at these TV and public appearances, dancing like you did?

Well, first of all, you must remember we were still young. We were 22, 23. So we had a lot of vigor to do that. And our presentation, we were very conscientious about how we liked to be received. Once we got on stage, we always would talk about that at rehearsal, the right kind of presentation and hear ourselves like consummate professionals.

… Aside from us being able to sing anything, all of us was six footers, which is kind of unheard of because you have groups that one guy's tall, one guy's medium, one guy's in between, one is fat — not to make any joke about other acts, but we saw that. The disc jockey said, "Man, you guys are tall, talented Temptations." Next thing you know, the disc jockey is across through the country stars, "Here come the five tall, talented Temptations." All of us are the same height and slim. And I guess the girls found us to look pretty decent as well.

You mentioned Smokey. What did that era mean for your creative relationship?

We always had that wonderful relationship with Smokey because he's Smokey. I once said, "Smokey, I have never seen you mad except for one time at the Howard Theater." "Oak, whatever," because he called me Oak. I said, Smokey was in the men's room, and I guess he wasn't coming out quick enough. And Bobby Rogers had to go. So Bobby kicked the door and Smokey was in there. And when Smokey came out, “Man, you almost kicked me in my head.” So that's the only time I saw Smokey really be mad. And that was '65, '66 there about. But he's been a sweetheart ever since.

Just months after that first LP release, you released “My Girl.” What was it like to perform it early on?

I tell the story about when Paul was in the group, he was the one that would line up the show. So after "My Girl" went up high [on the charts] and laid up there for a few weeks, and then it came down, Paul said, “Well, ‘My Girl’ has done all it's going to do. We can take it out now because that's it." We went out on the stage and we performed. We did not do “My Girl.” The audience almost called us every name except “the child of God.” So that is one song that can never ever come out of the [setlist].

You’ve previously talked about how you knew it was going to be a hit record when those strings and those horns were first put in. To you, how would you describe the feeling of knowing that you landed on something special?

Smokey came to see The Temps at a popular club in Detroit called The 20 Grand. It was packed. The show was packed and Smokey came backstage to see David and Eddie, Paul, Melvin, and myself. And Smokey was ranting and raving about how great the show was. And then during the course of him running that down, he stopped and he looked at David, he said, "I've got a song for you." So us being young and cocky men, "Bring it on. We can sing anything."

We then had to go to the Apollo and worked the Apollo with Smokey and Miracles and a few other acts. Smokey was the headliner. We were co-staring. In my home I have a picture of where Smokey was rehearsing with us backstage in the dressing room. And when he played [“My Girl”] for us, we weren't going to turn down Smokey. So we went to Detroit and recorded “My Girl” and said, "OK, sounds good." But that song took on a whole 'nother daylight when Paul Riser added the strings and the horns on it. I'm sitting there in the studio and I'm listening, and I said, "Oh, this song has taken on a whole 'nother fervor."

I walked into the studio control room where Smokey was, and I said, "Smoke. I don't know how big a record this is going to become, but this is going to be a record." Motown released 'My Girl' the end of December '64, and like I said, February of '65, we were at the Apollo. And when I said earlier about a "congratulations" telegram, and I never would've imagined it would be that big of a hit, but everywhere we would go, even today, people love that song.

Beyond just Smokey, how would you describe the collaborative environment of Motown in the '60s looking back at it?

When I look back, that was a special time. That was God's definitive touching because the music that came out of Motown is priceless. It is something that they'll never ever be a recording company like Motown… So I'm just glad that we are part of something that's so histrionic in the sense of it'll be loved and appreciated. Here it's 60 years later and people still love Motown music, so it'll continue on.

Paul W. Bailey/NBCU Photo Bank/Getty

When you look back at memories and conversations with the Jackson 5 in particular in the late ‘60s, do you have a favorite?

Well, one of the things I always remember is, one night, I'm riding around in Detroit and I said, "Let me drive by Motown." So when I drove by Motown, there were a lot of cars sitting out front. I said, "OK, let me go in and see what's happening." So I got out of my car and walked in and went into the control room. There was the Jackson 5. 

So when I walked in, they looked at me like, "That's one of the Temptations." I'm looking at them. "Wow, that's the Jackson 5." That kind of love back and forth because I was in awe of them as they were in awe of The Temps, and I was just the only one out there at that point in time. And to watch them become the noted artists that they are known for, and Michael, that's something special. And so I'm just glad that we had the moment and the time to share at Motown. That's also what made Motown so uniquely different because it just had a whole 'nother kind of fervor of artists and all the wonderful artists that came out of Motown that are still loved today. 

The Temps are still going so strong today and continuing to build this legacy. You live it every day. What do you hope your legacy is 60 years from now, 64 years from now?

I hope that it'll still be loved as it is 60 years at this present time. And I think it will be because like I said, Motown had that division called artist development, and we had to go to school… Berry had a whole-nother approach and I can't help but love him, man, they still believed in you. Most companies, they’d say, "No, I'm not going to spend any more money on them." They were going to drop them. Berry didn't do that. He believed in his artists to the max.

life is a journey photo album

Musician reflects on his journey with HIV

A pr. 14—New England multi-reedist and composer Charlie Kohlhase and his Explorers Club will release a new album, "A Second Life," in early June via Mandorla Music.

In this new work, Kohlhase dedicates a wide-ranging set to victims of the AIDS epidemic, and reflects on his own journey living with HIV.

Kohlhase says that he became infected with HIV in 2015.

"I feel like I am living a 'second life' now," he writes in the liner notes of the new album, "and am grateful for the excellent medical treatment that I've received here in the Commonwealth of Massachusetts. This album is dedicated to the 40 million people who have died of AIDS without the benefit of modern treatment, which in some parts of the world continues today, and particularly to those closest to me: Brian Combs, Lionel Cuffie, Barry Savage and Calvan Vail."

Kohlhase's Explorers Club has appeared in a number of configurations over the years, on releases for Creative Nation (Impermanence) and Boxholder (Adventures), as well as a bimonthly live series at the Lilypad in Cambridge.

On "A Second Life," the lineup expands to an octet, with an arresting instrumentation of reeds (Kohlhase, tenorist Seth Meicht), brass (trombonist Jeb Bishop, trumpeter Dan Rosenthal, tubist Josiah Reibstein), guitar (Eric Hofbauer), bass (Tony Leva) and drums (Curt Newton).

"A Second Life" is the work of an artist brimming with spirit and the will to live and keep creating.

"After I gathered up the courage to come out to my fellow musicians," Kohlhase writes, "my jazz community has been very open and accepting to me. Aside from a small circle of friends, I have not been that active a member of my gay community. ... However, after revealing my status to a young, queer jazz musician, he said, 'I need to talk to you, because so many of your generation died.' I realized that younger queer folk might need to hear my story, and I've made it my business of late to be more available to that community. Maybe I can bring more of my community to jazz music, which I feel, in many ways, saved my life."

Kohlhase moved to Boston from his native New Hampshire in 1980, following private studies with Stan Strickland and Roswell Rudd. In 1989, he formed the Charlie Kohlhase Quintet, which worked around Boston and toured nationally for a dozen years. He currently leads The Explorers Club as well as the Saxophone Support Group, a woodwind octet that plays saxophone-oriented compositions by Kohlhase, Julius Hemphill, Steve Lacy and John Tchicai.

Kohlhase co-led groups with Tchicai for New England tours in 1993, 1997, 1998, 2003 and 2006. Additional performances and recording credits include Leroy Jenkins, Anthony Braxton's Sonic Genome Project, Cab Calloway, Oliver Lake, Craig Harris, Roswell Rudd and Charles Tolliver.

Kohlhase was a member of Boston's Either/ Orchestra from 1987 to 2001, playing throughout North America, Europe and Russia. He rejoined the group in 2008, collaborating with Ethiopian jazz greats Mahmoud Ahmed, Mulatu Astatke, Alemayhu Eschete and Teshome Mitiku in venues ranging from Chicago to London, Toronto to Germany and Holland to Ethiopia.

He currently directs the No Boundaries Big Band and the JCM Art Ensemble at the Longy School of Music of Bard College in Cambridge, and has long been active in jazz radio, most recently hosting "Research & Development" Monday afternoons on WMBR-FM in Cambridge.

(c)2024 Times-Standard, Eureka, Calif. Distributed by Tribune Content Agency, LLC.

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Meet the Model on PartyNextDoor's Provocative 'P4' Album Cover

MaamiNextDoor tells the story behind the photo on PartyNextDoor's new album cover and responds to criticism.

By any measure, the cover art for PartyNextDoor’s new album, PartyNextDoor 4, is a lot. 

The artwork, which features an image of a bare-naked woman in doggystyle position, managed to shock a generation that’s already accustomed to sexually provocative images on their social media timelines. As racy as it is indelible, the cover earned PND exactly the type of exposure that PR teams dream of when he posted it on Instagram last week (you can see it here if you haven't yet). The model, Lanazia Greene (aka MaamiNextDoor), received a mix of praise, condemnation, and bewildered amusement. 

Within minutes of the cover reveal, people across the internet made memes and moral platforms out of the image. The reactions don’t phase Maami. “There were a lot of weirdos and a lot of different things. I don't have any shame,” she tells Complex. “I love the album cover. I think the experience is dope. I'm proud of how it came out.”

Maami’s comments come with all the self-assurance of someone living out their dream. While her Instagram handle, MaamiNextDoor, could scan as a cute marketing ploy, there’s no strategy here; just a 24-year-old fan and a golden opportunity. She was working a shift at European Wax Center when her United Casting Agency representative, Hadi, told her that she would be appearing on the PND 4 cover. After multiple shoots, she became a big part of the rest of the rollout too. “It's so crazy that the collab and all this is happening,” she says. “It was real manifestation.”

Speaking with Complex, Maami talks about the PND 4 cover, her PND fandom, photoshoot misconceptions, backlash, and more. The interview, lightly edited for clarity, is below.

View this photo on Instagram

Your Instagram name is MaamiNextDoor. Did you come up with that name before you shot this cover? Yeah, my name was like that before the PND cover. I've always been a PartyNextDoor fan. When I was in high school and I first got my Twitter, So his thing, he said in his song [“Wus Good/Curious”] “Party Gets Me Wetter,” so on Twitter, I changed my name to MaamiGetsMeWetter. From there, I was [tired of] my Instagram name, so I'm like, “I can't make my name MaamiGetsMeWetter, so I'll be MaamiNextDoor.” So I made my name MaamiNextDoor when I was 16.

The pose on the cover is pretty raunchy. What did you think about it when you first heard the idea? I thought that it was dope. I'm a very “comfortable in my body” type of person, so I didn't think twice about it. I was just like, “Alright, I'm shooting for PartyNextDoor right now. Let's get into my mode. If this is what I'm doing, this is what I'm doing.” I didn't think anything of it. I was mostly worried about the positions that I was in because my legs were burning. I had on some tall heels, and I had to stay in those positions. We had to shoot back and forth and we were shooting all day, until 11 at night. I didn't even have too much time to really think about the position, other than [the fact] that I had to stay in [the position] for so long.

What was it like meeting PND? How did he explain this shoot to you? First off, he’s a very sweet person. He's a lot more outgoing than I feel like he seems. He is very metaphorical. When I saw the “Real Woman” video finally come out, I'm like, "This shit is crazy." It really is a movie.

How was the atmosphere for the cover shoot? The vibe was actually nice. Everyone was so sweet. Everyone was so accommodating. There wasn't really anyone around. So for certain parts of the shoot, they made sure that I was comfortable. There weren't eyes on me. It was very personal and accommodating. Everyone was so nice. I loved it. My favorite part was getting my hair and makeup done. It was a great experience.

{ "id": 136604062 } "One thing that I'm grateful for is the fact that I've always been comfortable in my skin, so the hate that I'm getting doesn't bother me."

It’s a pretty intimate shoot, so it’s good to know they kept your comfort in mind.  I appreciate the fact that everyone knew that it was risky. Everyone knew that I was going to be naked and everyone was still so accommodating. The men on the scene weren't even present for certain shots. It was honestly a great scene. I had a great time.

People have had a lot of things to say about the cover. What did you think of the reaction? I'm sitting on my couch and I'm like, my phone's kind of going up. I wasn't even paying attention to it. Then I go on Instagram, and I follow Party obviously, and it's just there. I'm like, “Oh, shit.” Then I finally see the comments, and I feel like there's love. Then there was hate, but way more love than there was hate. But a lot of people really are trying to come for me. I think that the reaction was insane. I didn't think that it would at all go crazy the way that it did. People are going to my Instagram like, “Oh, you should be ashamed. You're a mom.” My daughter watched the “Resentment” video, and she was so excited about it. She literally was like, “That's my mom.” So shoutout to my baby.

life is a journey photo album

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What do you think it will take for people to stop being so judgmental about photos like this one? I think women in general need to be comfortable being ourselves. One thing that I'm grateful for is the fact that I've always been comfortable in my skin, so the hate that I'm getting doesn't bother me. But it really is sad to see so many women with kids—and a lot of them with no kids—commenting. I feel like you should be able to be comfortable being yourself. If you want to pose with your back out, your ass out, you should be able to do that. It's 2024. So many things are acceptable. So I hate that the world is so accustomed to a certain thing. 

What’s the biggest misconception you’ve heard about this cover? It's not a sex shot. It's not me having sex in the moment. A lot of people think that, and a lot of people are commenting. There were a lot of weirdos and a lot of different things. I don't have any shame. I don't have any shame in the video. I love the album cover. I think the experience is dope. I'm proud of how it came out. I'm proud of everything that's happening for it. I'm very proud of Party. I can't wait to hear the album. I can’t wait for the world to hear it.

What was the funniest reaction you remember seeing? The funniest one was… There was this boy and he had the pillows on the bed,flik and he was [pretending to be] PartyNextDoor shooting his album cover or something. It was hilarious. But I've seen so many funny ones. Everybody's humor is actually funny. That's why I said there’s love and hate. The hate doesn't matter to me. It's so much love and so much positivity as far as how it's going. And people are actually genuinely hilarious to me.

What are some things you’re up to outside of this whole PND rollout? I've been trying to work on my brand. I have a cosmetic line coming out called M12. I'm from Cali, so we love lip gloss, lip liners—that's our thing. I’m coming out with a brand for the girls, all natural, something that's going to last and really give a different vibe from everyone else. I really want to appeal to all different aesthetics of women, just things of that nature. So I do have that coming. Hopefully by the end of summer.

This cover will be remembered for a long time. How does it feel to be part of the moment? It's been so surprising and just having me in awe. It's been so crazy. It makes me feel like, “Damn, this is really happening.” It's really manifestation. I'm so grateful for the team, United Casting. I'm grateful for Party. Originally I just thought it was the album cover. So to be [in] the entire rollout and be still included in so many things, I just feel like it's a blessing.

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Photo Album - Life is a Journey

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Discover our Life is a Journey Coffee Table Photo Album featuring an elegant, turquoise cloth cover with white text. Inside, you'll find 30 pages of high-quality black photo paper, allowing you to attach your photos easily using our stickers or photo corners , which are bought separately.

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‘Don’t Forget Me’

Nora and Nathan review the latest release from Maggie Rogers and discuss how her sound has evolved since ‘Heard It in a Past Life’

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Nora and Nathan are here to break down the third album from Maggie Rogers, Don’t Forget Me . They talk about how the fact that the album was written over the course of five days impacted its sound (1:00), how she’s moved away from the electronic sounds of Heard It in a Past Life and toward the sounds of Linda Rondstadt and Sheryl Crow (32:05), and how her friendships play a major role on this record (48:01).

Hosts: Nora Princiotti and Nathan Hubbard Producer: Kaya McMullen

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  22. Shakira Albums Ranked From Worst to Best

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    "First album, you never forget that. You're set to really want to become a star and a recording artist. And so when the album came in, boy, you would've thought it was five Secretariats riding ...

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    A journey that took her from the craziness and color of '90s Camden High Street to global adoration, and back again, Back to Black. crashes through the looking glass of celebrity to watch this ...

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  27. Meet the Model on PartyNextDoor's Provocative 'P4' Album Cover

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  29. 'Don't Forget Me'

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