Released on May 6, 2013, as the lead single from Carey’s fourteenth studio album, “Me. I Am Mariah… The Elusive Chanteuse,” “#Beautiful” marked a new era for the celebrated songstress. The track was her first release to garner significant traction since the 2009 hit single, “Obsessed.” The inspirational but polar opposite singles “Triumphant (Get ‘Em),” released in the summer of 2012, and “Almost Home” (the theme song to Disney’s Oz the Great and Powerful) released just 3 months prior, both failed to chart. Coming out at the tail end of Carey’s rather infamous stint as an American Idol judge, “#Beautiful” had the perfect markings (and marketing) of a summer smash.

Mariah Meets Miguel

Starting off with a sleek guitar lick, the song already paints the five-octave diva in a much different light than her previous singles. There’s a little edge, a little grit, a little rock ‘n’ roll – three ways a casual observer of Carey’s would not even think to use to describe the songbird’s twinkling index of high notes. The song’s featured guest, Miguel, holds the reins for a majority of the song’s opening, while the only offering Carey even makes in the song’s introduction is a repeated “uh, uh, you’re beautiful” and some faint, girl-group-inspired “ooh’s” and “ahh’s.”

In true diva fashion, Carey’s voice comes swinging in, full throttle, and fashionably late to her own song. She seemingly responds to Miguel’s invitation to ride atop his bike, crooning, “I like when you run red lights” at the start of the second verse. The double entendre here is an example of the pair’s playful banter throughout the song. Its surprisingly bawdy yet catchy chorus about admiring each other’s beauty echoes the juvenile feelings of a brewing romance. The chorus also reveals the song’s only defect: the hashtag in its title acts as a placeholder for the f-word. It was an attempt at embracing trends that fell flat.

Though the song served as the lead single from Carey’s then-upcoming album, it was originally conceived by Miguel. He comprised the opening guitar riff before pitching it to Carey. The two then collaborated to complete the song, and as Mariah revealed in an interview with Ryan Seacrest, “We just wanted to do something different that has a texture, that feels fresh.” The result wasn’t just fresh, it was superb. As Carrie Battan wrote in her review for Pitchfork, “#Beautiful” had “the finger-snapping R&B throwback charm that sounds primed for repeat play through the summer.”

The #Beautiful Video

A Joseph Kahn-directed music video premiered on the May 9, 2013, episode of American Idol. In it, the two singers are depicted riding into a summer’s sunset on a motorcycle, with a very James Dean-styled Miguel at the controls, as Mariah sits pretty in the back. It soon becomes nighttime, and they’ve traded in their motorcycle for a vintage, candy apple red Porsche Speedster (which actually belonged to Carey’s father) to set up shop in an old barn that just so happens to be adorned with crystal chandeliers emitting the perfect lighting for Ms. Carey’s approval. The music video really doesn’t serve anything other than some picturesque shots of Mariah twirling around and fluttering her fingers like she’s about to sprinkle some fairy dust from her hands. She’s beautiful, and there’s no denying that.

The Queen of the Remix

“#Beautiful” was further promoted through a series of television performances and remixes, including a re-sung hip-hop remix with Jeezy, a Spanglish version with Miguel, and a version with a rap from A$AP Rocky.  Though the song’s remixes really didn’t match the quality of the original, they are a welcomed addition to Carey’s canon of remixes nonetheless. Two of them even had music videos.

A second music video was filmed a month later for the song’s Spanglish version, “#Hermosa.” Now the two have left the countryside for a more scenic ambiance – Capri, Italy. This time, we catch a glimpse of the pair recording the blended version of the song in the studio, mixed with clips of Miguel cruising about the town and Carey being the bonafide diva that she is – cheers-ing with champagne, frolicking in the water (diamonds on, of course), and teetering to her yacht while being assisted by handlers so she doesn’t fumble over her heeled sandals. If anything, the two videos just give Carey an opportunity to show off her body two years after giving birth to twins.

A third music video for the Jeezy remix was also planned. However, while filming, Carey suffered a shoulder injury after a pretty serious fall. Carey later revealed that the video had been edited, and would presumably be released, but it never was. This unfortunate turn of events also derailed the recording of a planned dance remix and ultimately delayed the release of its parent album until May 2014. Instead, we got served with an array of very stylish arm slings – ranging from leather to feathers to fur – the singer donned while recovering. One word: chic.

The Summer Hit That Got Away

Debacles aside, the song became Carey’s 33^rd Top 20 hit, peaking at number 15 on the Billboard Hot 100. It found even more success on the Hot R&B/Hip-Hop Songs Chart, where it peaked at number three. It also became the superstar’s third-highest debut on the Pop Songs Chart, behind her 1993 smash-hit “Dreamlover” and her 1994 duet with Luther Vandross “Endless Love.” After being certified double platinum by the Recording Industry Association of America, it later received a platinum certification from the Australian Recording Industry Association and a gold certification from Recorded Music NZ. For an artist who was 23 years into her career at that point, its chart performance was quite impressive.

Although the song garnered critical praise and modest commercial success, “#Beautiful” deserved far more. Having been released right before the official start of the summer season, there’s no doubt that this song could have served as the soundtrack to plenty of summer memories in the making – road trips, beach dates, riding in the car during the warm golden hour, singing along to the song’s effortlessly cool spirit. But summer is right around the corner, and even 10 years later, “#Beautiful” is still just as fresh and current as it was when it first came out – except for the hashtag. TikTok, do your thing.

Listen to “#Beautiful” by Mariah Carey and Miguel

The post “#Beautiful,” Mariah Carey’s Summer Hit That Got Away appeared first on THE 97.

On June 25, 2009, news broke of Michael Jackson’s death, leaving fans and millions of mourners around the world in shock and disbelief. His sister Janet was at home in New York, ready to begin production on the sequel film, Why Did I Get Married Too? It was only days later at the BET Awards, when a grieving Janet made her first public appearance since her brother’s death to address the audience. “To you, Michael is an icon. To us, Michael is family,” she said. “And he will forever live in our hearts.” The world continued to salute and celebrate the life of Michael Jackson, paying homage to his legacy at numerous musical events following his death.

In one show-stopping tribute, Janet Jackson honored the King of Pop with a surprise performance of their 1995 hit “Scream,” at the 2009 MTV Video Music Awards. Jackson’s performance received a standing ovation from the crowd and endless praise from viewers and critics. Two months later, Jackson released her second hits compilation, Number Ones. She made a number of televised performances in support of the album, including opening the 2009 American Music Awards with a medley of her greatest hits.

Though the decade would end in perhaps the most unexpected way for Janet Jackson, she was about to prove her strength in numbers – reminding us that she was still Miss Jackson, despite the pain and unspeakable heartache.

Broken Hearts Heal

After reprising her role as Patricia Agnew in the 2010 Tyler Perry film, Why Did I Get Married Too?, Jackson recalled the film’s working process to be both nurturing and therapeutic. “Work helps focus all of that energy on something that is of value to you,” she explained during an interview with Harper’s Bazaar. Her newest single, “Nothing,” served as the theme song to the film. In it, Jackson’s professing of holding to the moments and people in our lives is strikingly applicable to, not only her character’s mourning, but her own reality – “Cherish every moment like it’s the last / Trust in me…,” she sings. Jackson then returned to movie screens only a few months later, this time as a less optimistic Agnew and a more shrewd, Anna Wintour-like H.B.I.C. The film – another Tyler Perry creation – was For Colored Girls, an adaption of the 1975 Ntozake Shange play of the same name. Jackson’s performance as Joanna Bradmore, a fashion magazine editor, earned her two Black Reel Award nominations: Outstanding Supporting Actress and Outstanding Ensemble.

Jackson marked her return to the stage in 2011, setting foot on the Number Ones: Up Close and Personal World Tour. Described as a “love affair between me and those of you who have supported me and my work for all these years” by Jackson, the tour’s approach was set to be much more organic than those of Jackson’s past. Instead of stadiums and arenas, Jackson was front and center in intimate theaters and venues, where she could literally be “up close and personal” with her beloved fans. Without missing a single beat, the pop legend performed all of her greatest hits with the same exact perfection and finesse as their debuts from years (some even decades) prior.

In February 2011, Jackson released her very own self-help book, titled True You: A Journey to Finding and Loving Yourself. Co-written with David Ritz, the book was inspired by Jackson’s own bouts with insecurities from self-esteem issues, weight struggles, and self-love. Jackson would later disclose the challenges she faced in conceptualizing the book’s material. “The whole book was difficult to write. I am a very private person. I guess I always have been, even as a child.” The book wasn’t an excuse for self-pity, but a show of support for those who identified with the same issues as Jackson’s. Like her music, Jackson’s True You became a source of comfort for her followers – helping them find solace in the process of living and loving themselves as their true selves. The book would turn Janet Jackson into a best-selling author, topping The New York Times Best Sellers List, in March 2011.

Unbreakable

After a previously aforementioned marriage to billionaire businessman Wissam Al Mana in 2012, Jackson dipped out of the spotlight, only to return with a new studio album and accompanying world tour. The album would be the first to be released under Jackson’s newly established record label, Rhythm Nation – establishing Janet Jackson as one of the first few African-American female artists to own a record label.

In June 2015, Jackson released the unknown titled album’s lead single, “No Sleeep.” After charting on the Billboard Hot 100 at No. 67 (it would later reach a peak of No. 63, thanks to the J. Cole-featured album version), it became Jackson’s longest-running number-one hit on the U.S. Adult R&B Songs Chart, after spending 12 weeks at the top.  Later that month, Jackson was honored with the Ultimate Icon: Music Dance Visual award at the BET Awards.

In August, the Unbreakable Tour launched. Fans not only caught a listen to some soon-to-be-released material, but noted Jackson’s stage costumes as rather reserved for the singer who became a nexus for baby-making music and sex teasing shows. In alliance with her supposed conversion to Islam and Al Mana’s reported “none of that American [stuff]” demands, Jackson’s stage performances were the kid-friendliest since her days as a fledgling recording artist. Though just as thoroughly entertaining, many praised Jackson’s newly tamed image as grown and appropriate for a 50-something-year-old pop star. Unfortunately, the same can’t be said for some of her bum-baring peers.

In October 2015, Jackson released her eleventh studio album, Unbreakable. The album was met with rave reviews and the number-one slot of the Billboard 200, making Jackson the third musical act in history to have a number-one album in each of the last four decades. The album’s tour and promotional efforts were later paused, due to Jackson’s pregnancy announced the following year.

After vowing to resume all missed concert dates, the tour was then reworked and retitled as the State of the World Tour. Beginning in September 2017, the tour’s focus shifted as a more socially awareness campaign. The tour also marked Jackson’s first since her divorce from Al Mana. In a highly acclaimed show number, Jackson’s powerful rendition of The Velvet Rope’s “What About” led many to speculate the song’s domestic violent lyrical content was representative of Jackson’s marriage to Al Mana. Jackson’s brother, Randy, claimed that his sister suffered verbal abuse at the hands of Al Mana, leading to the demise of their marriage. But if Jackson’s career had proven anything by this point, it’s that there is always light at the end of the tunnel.

The following year brought a series of flattery for the musical titan. After Justin Timberlake was announced as the year’s Super Bowl Halftime performer (making it his first return since… you know), people were quick to criticize how blatantly contradictory it was to have a man who exposed a woman’s breast on live television be welcomed back for seconds, while the woman was left to grapple with the broken pieces. This led to a social media prompting of #JanetJacksonAppreciationDay trending on Twitter every Super Bowl Sunday since.

But, let’s forget about the Super Bowl for a minute. Janet Jackson was finally, just finally, starting to earn back all the glory she was never deserving of losing in the first place. In May 2018, she was awarded the Billboard Icon Award, becoming the first African-American female artist to receive the honor. She released the summer-ready “Made For Now,” featuring reggaetón master Daddy Yankee. And, after three nominations, it was announced that she would be inducted into the 2019 class of the Rock and Roll Hall of Fame.

Joining the likes of Britney Spears, Mariah Carey and Jennifer Lopez, Jackson then announced a four-month Las Vegas concert residency, titled Metamorphosis, in February 2019. The residency would be housed at the Park Theater at Park MGM resort. The year 2019 also marked the thirtieth anniversary of Rhythm Nation, taking Jackson on a train of performances in celebration of the milestone, including headlining the U.K.’s legendary Glastonbury Festival.

Janet, Today

After a whirlwind of accolades, Janet Jackson was prepping to enter another decade of her career, with new music, new performances, and a new outlook. The freshly divorced mommy of one announced the Black Diamond World Tour in February 2020. Its provided album, Black Diamond, was slated to be released sometime within the year. However, due to the COVID-19 pandemic, both projects were canceled, and Jackson has yet to announce any future plans for Black Diamond.

But Jackson’s name still found its way into the headlines, thanks to perhaps the most gripping pop culture series to come out of our quarantine. Following the release of the Hulu documentary series, Framing Britney Spears, viewers leaped into attack mode after learning how – surprise, surprise! – Justin Timberlake used his breakup with Spears as a ploy for sympathy-turned-success. After being called out for his jibing of the pop princess, fans also demanded he apologize to Jackson. Both she and Spears are certainly more than deserving of a proper apology from the man whose career skyrocketed off of the public humiliation of two of the most popular women in music history. So, the fans asked demanded, and the fans received.

In an Instagram post, dated February 12, 2021, Timberlake issued a public apology, writing “I’ve seen the messages, tags, comments, and concerns and I want to respond.” He then went on to say, “I specifically want to apologize to Britney Spears and Janet Jackson both individually, because I care for and respect these women and I know I failed.” Was the apology only a scapegoat for any more public scrutiny of Timberlake’s sexist and misogynistic past? Probably. After all, it only took him a whole 17 years. Maybe it’s time for his own eviction, and maybe he won’t need 17 more years to speak up about it.

Thankfully, it won’t be much longer until fans get to hear Jackson’s own story in her own words. It was announced in March 2021 that Jackson’s life story will be getting airtime, with a two-night, four-hour documentary from Lifetime and A&E. The television special, titled Janet Jackson, had been in the works for three years, and promises unfiltered access inside the life of one of the world’s most private public figures. And from that access, fans and viewers will watch as Jackson will reportedly open up about the death of her famous brother Michael, the allegations that marred his career, the Super Bowl infamy, and more. The documentary will premiere this weekend.

This and news of Jackson’s own Julien’s Auctions has made the members of her rhythm nation more than happy. The exclusive Beverly Hills showcase, presented as “Iconic Treasures from the Legendary Career and Life of Janet Jackson,” took place over the star’s fifty-fifth birthday weekend (May 14-16) – where buyers were able to nab some of over 1,000 pieces of Jackson’s very own personal belongings. The items up for grabs all ranged from Jackson’s showstopping tour costumes, to record plagues, to childhood memorabilia, to music video looks (in which Kim Kardashian snagged Jackson’s “If” costume for $25K, which seems minuscule for the “Scream” look that sold for $125K), and some rather intimate items, too (whips and sex dice). Even the iconic key earring Jackson donned during the Rhythm Nation era sold for $43,750. Proceeds from the auction went to the child sponsorship program, Compassion International.

Janet, Forever

With over 100 million records sold worldwide, it’s no wonder how Janet Jackson became one of the best-selling musical artists of all time. For nearly five decades now, she’s remained a constant example of what becomes a legend. But despite her preserved place in pop music, there’s still something about Janet Jackson that is criminally overlooked. With the very, very few artists left of Jackson’s stature, one can only hope that time will acknowledge the megastar as one of the greatest living entertainers still competing with – or rather instructing – her class of hopefuls. Janet Jackson has not only proven to be an instrument of inextricable talent and strength but a continuous influence and inspiration of countless prodigies that danced in her footsteps. All these years later, Janet Jackson is the sole owner of one thing – control, and she’s still got lots of it.

The post Janet Jackson: Unbreakable, Now and Forever appeared first on THE 97.

Nipplegate

The year was 2004. Janet Jackson was selected as the headline performer for the Super Bowl XXXVIII halftime show. The world knew to expect a show like no other by a performer like no other, and that’s exactly what they got.

As Jackson cascaded onto the stage during her “All For You” opener, the show was nothing more than the Janet Jackson concert everyone had tuned in to see. After a quick costume change, Jackson reappeared from the stage in an all-black, leather-donned getup – much reminiscent of her looks during the late 80’s. Assisted by her legion of backup dancers, they broke into chorus of her 1989 anthem, “Rhythm Nation.” Like many halftime shows, surprise guests weren’t really surprising, as much as they were expected. P. Diddy, Nelly, Kid Rock and Jessica Simpson were actually all part of this halftime series, but practically forgotten about by anyone and everyone who watched. Why, you might ask? Because of Justin Timberlake and nine-sixteenths of a second.

The former *NSYNC band member joined Jackson onstage for the closing number of his solo hit, “Rock Your Body.” A poorly underdressed Timberlake bumped and gyrated with Jackson, as football fans and halftime-only devotees gazed over the two’s steamy chemistry. In what had become perhaps the most famous pop culture event to happen on live television by that point (or ever), the very, very last second of their performance would change the history of television and the future of Janet Jackson’s career.

As Timberlake recited the last lines to his song – “Bet I’ll have you naked by the end of this song” – he tore away Jackson’s bustier piece, in an attempt to reveal the red-lace bra that was nestled underneath. But instead, he revealed a sunburst-deco nipple ring and nothing but pure flesh. Janet Jackson’s breast had now been exposed to millions and millions of eyes. Everywhere… for only nine-sixteenths of a second, that is.

A firestorm ensued. Labeled as a “wardrobe malfunction,” within a matter of practical seconds after the show’s ending, the NFL announced that MTV (the halftime show’s producer) would no longer be involved in any halftime shows from thereon. MTV claimed to have had no knowledge of this assumed stunt, while the NFL practically claimed to have nothing to do with Janet Jackson in the first place (you know, after they hired her to perform at the game). All the blame, emphasis and attack was on Jackson – while Timberlake was able to swerve any liability with a slick, “Hey man, we love giving you all something to talk about.” His career went on to exceed, while hers plummeted.

The Federal Communications Commission (FCC) was flooded with complaints, and would later impose a $550,000 fine against Jackson and the CBS network for their airing of the game. Though, in 2011, the courts would later rule that the FCC’s fine was unjust. The damage, however, had already been done. Jackson had been blacklisted from all Viacom subsidiaries, resulting in her music videos being pulled from MTV and VH1, and her songs be banned from radio stations. Janet Jackson’s invitation to present at the year’s 46^th Annual Grammy Awards was retrieved, while Timberlake was not only present at the ceremony, but took home the award for Best Male Pop Vocal Performance and Best Pop Vocal Album. The incident had been referred to as “nipplegate” by the press, and Janet Jackson was the target of everyone’s aim.

In an attempt to ease tensions, Jackson released a public apology. “Unfortunately, the whole thing went wrong in the end,” she explained. “I am really sorry if I offended anyone, that was truly not my intention.” In a 2006 interview on The Oprah Winfrey Show, Jackson expressed her not wanting to make the video apology, being it was only an accident. But, considering her eighth studio album was set be released only a month after the Super Bowl wreckage, Jackson’s team felt it was a smart choice. Damita Jo, taken from Jackson’s middle name, was released in March 2004, to a slump in sales and a mixed response from critics who felt the album’s excessive sexual nature was only adding salt to the wound. Sure, Damita Jo might be Jackson’s most provocative work to date – as tracks like “Warmth” and “Moist” will prove – it’s surely become a fan favorite over the years among Jackson’s supporters.

Not everyone was ready to welcome Janet Jackson back with open arms. Her fans stood by her side, but the general public was ashamed by what they presumed to be a publicity stunt gone too far. It was at that moment that the legacy Janet Jackson had built for herself was completely ruined, all because of… a boob? The only logical explanation for the overdramatizing of the situation was that 2004 was still a time when censorship on television was not quite as progressed as it is today. Sex and raunch are staples of showbusiness these days, and are much more tolerated as “artistic” than taboo. The same network (CBS) that cried victim to Jackson’s breast, is the same network that allowed Cardi B and Meg Thee Stallion to dry-hump, twerk and pole dance during their performance at last year’s Grammy Awards. Thanks to the halftime show blunder, though, all live television programs must operate on a five-second delay and YouTube (yes, YouTube) was created.

Time has since passed, and more and more people have agreed on the general exaggeration of the wardrobe mishap. Of those people was former FCC Chairman, Michael Powell, who even issued an apology (of sorts) to Jackson ten years after the incident, stating “I personally thought that was really unfair. It all turned into being about her. In reality, if you slow the thing down, it’s Justin ripping off her breastplate.”

It’s also worth pointing out that Les Moonves – the former chairman and CEO of the CBS Corporation – set out to make Jackson’s life a living hell after the debacle. But, his bitterness would only get him so far. In 2018, he was forced to step down as chairman after a series of sexual allegations were pressed against him. That same year, it was announced that Janet Jackson would be inducted into the Rock and Roll Hall of Fame.

Oh, and by the way, in case anyone even cares to remember, the New England Patriots won the 2004 Super Bowl.

Love & Marriage

Janet Jackson’s career hasn’t been the only subject of chaos. Her notoriously private personal life has had its fair share of ups and downs. And controversies. At 18, fresh off of Jackson’s newly found freedom, she married R&B singer James DeBarge. Another child of musical roots, James was a member of the family singing group, DeBarge – best known for their 1985 hit, “Rhythm of the Night.” The two eloped in September 1984, but were annulled in November 1985.

In 1991, Jackson secretly married dancer and director René Elizondo, Jr. The two managed to keep their marriage a secret for almost a decade, only revealing their nuptials to the public when it was announced that were they separating in 1999. They were divorced the following year. Their split would be the cause of both grief and turmoil for Jackson, after Elizondo filed an estimated $10-25 million lawsuit against his former wife. It would take a total of three years before a settlement would be reached between the two.

In 2002, Jackson began a very public relationship with music producer Jermaine Dupri. The Atlanta-born rapper served as the founder and owner of So So Def Recordings, working with the likes of many R&B/hip-hop artists. His most popular musical contributions include Usher’s Confessions (2004) and Mariah Carey’s The Emancipation of Mimi (2005). Though rumored to have been engaged, the two never married. After an eight year-long romance, the couple called it quits in 2009.

Jackson would find love again in 2010, when she met Qatari businessman Wissam Al Mana. Their relationship blossomed shortly after, and the two were married during a private ceremony at their home, in 2012. Following their pairing, Jackson stepped away from the spotlight and seemingly divided her time between the Middle East and London, leading to a storm of speculation about Jackson’s whereabouts and questions of her music career ever returning. One concerned fan even created a mock missing-persons flyer for the absent star, which surprisingly got a response from Jackson on Twitter – “Too funny, too sweet.” In 2016, months after the start of her Unbreakable Tour comeback, Jackson announced she and Al Mana were expecting their first child together. At 50-years-old, Jackson welcomed their son, Eissa Al Mana, on January 3, 2017. Only three months after the birth of their miracle baby, it was announced that Jackson and Al Mana would be divorcing.

Reports claim their separation was in part due to Al Mana’s dominance over Jackson’s new image and lifestyle. Fans were quick to notice how conservatively dressed the star had gotten since the two began their courtship, and Al Mana’s religious beliefs were a far cry from Jackson’s Jehovah’s Witness upbringing. Like times before, though, Jackson had sought for control – not of anyone else, but for herself. This time was no different.

After the Storm

The calming of the Super Bowl fury took a while to soothe. Though Jackson continued to make new music, her being completely ostracized greatly impacted its exposure and overall success. In 2006, she released her ninth studio album, 20 Y.O. The album was set to commemorate 20 years since the release of Control, but failed to impress. Despite its lack of commercial performance, the album still managed to peak at No. 2 on the Billboard 200. And, for what it’s worth, the ear-candy single, “So Excited,” deserved better. The following year, she starred in the Tyler Perry film, Why Did I Get Married? Earning praise for her role as psychologist Patricia Agnew, the film became Jackson’s third consecutive film to open at the number-one spot at the box office.

After signing with Island Records in 2008, she released Discipline. The album became her first to top the Billboard 200 since 2001’s All For You. Though still blacklisted from radio formats, the album’s lead single, “Feedback,” managed to peak at No. 19 on the Billboard Hot 100. Jackson then launched the Rock Witchu Tour in September 2008, performing a mix of old and new favorites, and even some forgotten dust collectors from her first two studio albums. Jackson then left Island Records after then-CEO L.A. Reid’s mishandling of the album’s promotion.

The frenzy that followed Jackson’s career by that point was about to take a devastating turn, as tragedy was about to strike.

Be sure to check back in next week for the next part of our series, Janet Jackson: Then, Now & All the In-Between!

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90’s Vixen

After closing out the decade on the highest of highs, Jackson entered the 90’s as a solidified icon. Though Rhythm Nation provided Jackson with years of adulatory success, the next wave of her career would prove to be redefining and record breaking.

By this point, Jackson was on every record label’s “Most Wanted” list. However, after an attempt by A&M to renew her contract, she left them for Virgin Records for an estimated $40 million. Janet Jackson was now the world’s highest-paid recording artist. This would then change only two days later, when her brother Michael Jackson signed a deal with Sony Music Entertainment for $60 million. Siblings, am I right?

This much anticipated chapter of the Janet Jackson storybook was steering in a different lane, though. Jackson was entering her mid-twenties, and in doing so, both her image and her sound underwent some tweaking. She was still Janet, the singer and dancer extraordinaire. But she wasn’t celebrating control or fighting for injustices this time. She was talking about one thing – sex.

Her fifth studio album janet. (released May 18, 1993) – two days after the star’s twenty-seventh birthday – was compiled of more R&B sensualities than her 80’s LP’s, but was still decorated with glimmers of funk, dance and the new jack swing that had become synonymous to her sound. After receiving criticism that her success and popularity had nothing more than to do with the fact that she was a child of the Jackson empire, Janet went on to write every single song on the album, as well as co-produce each track alongside Jam and Lewis. The title, janet., is to be read as “Janet, period.” – separating herself from her familiar ties and acknowledging her own place as an artist in the business.

The album granted Jackson with two more number-one hits, “That’s The Way Love Goes” and “Again.” While the former became one of the longest-running hits of the year, “Again” served as the theme song for the 1993 John Singleton film, Poetic Justice. Starring alongside rapper Tupac Shakur, Jackson made her motion picture debut as the film’s protagonist – Justice, a deeply wounded woman who’s been both hurt and healed by love. The song also provided Jackson with a Golden Globe and an Academy Award nomination for Best Original Song.

The album’s other hits – “If” and “Any Time, Any Place” – plus many of its deep cuts, further showcased the newly unchaste Janet, but without pushing the envelope too far past the point of interest. The public was able to embrace this new side to Janet Jackson because this new side represented the natural growth of a woman in her twenties – stronger, confident and freer. To further entice and promote her tale of sexual liberation, Janet Jackson appeared topless on the cover of Rolling Stone magazine in September 1993. The photo represents Jackson wearing nothing but denim and curls, with the hands of her then-husband René Elizondo, Jr. covering her breasts. Fans were quick to notice that the cover photo was actually the same photo Jackson used for the cover of janet. – only the album cover depicted Jackson from the neck up, while the back pictured solely her waist. The photo is often regarded as one of the most iconic magazine covers of all time and has been parodied and mimicked by countless other celebrities, artists and nobodies over the years. At this point, “superstar” was just a secondary title for Janet Jackson. She was now a sex symbol.

In November 1993, Jackson embarked on the Janet World Tour, earning praise for the show’s complex choreography and theatrical stage setup. Jackson’s career had become the golden standard for performers by now. As her diva peers, Mariah Carey, Whitney Houston, and perhaps her biggest competitor Madonna, were all topping the charts and selling out arenas, Jackson still found a way to lead instead of follow. Then, in 1995, her and big brother Mike teamed up for their iconic duet, “Scream.” It was the first time the two had ever done a song together (with the exceptions of Janet providing background vocals on Michael’s “P.Y.T.” in 1982, and Michael on Janet’s “Don’t Stand Another Chance” in 1984). Janet previously had reservations about working with her legendary brother, as she was adamant about not wanting to seem like she was riding on the coattails of her famous family. But, Janet had a name all to herself by this point, and the timing never seemed more right.

The song was made in response to the media bashing regarding Michael Jackson’s 1993 child sexual abuse allegations. Though the song would go on to become a hit for both Jacksons, and its costly $7 million sci-fi inspired Mark Romanek-directed music video would result in the most expensive music video ever created, it’s a touching yet aggressive display of brother and sister standing side by side. Janet wasn’t acting as Janet Jackson, the popstar. She was acting as Janet Jackson, the sister.

That same year saw the release of the hitmaker’s first greatest hits collection, Design of a Decade. Jackson’s starpower by this point was brighter than ever. In fact, it was more of a supernova in a galaxy of twinkling counterparts. As The Boston Globe put it, “And who could dispute that Janet Jackson now has more credibility than her brother Michael?” Her contract with Virgin Records was then renewed for a whopping $80 million, earning her back the title of being the highest-paid recording artist in history. But despite insurmountable success, Jackson was struggling behind her trademark smile. Depression and anxiety resulted from an emotional breakdown by the recording artist, and the byproduct was the music.

In October 1997, Jackson’s sixth studio album was released – The Velvet Rope, an offering inside the unknown private world of one of the most famous women to exist in it. The album was applauded for its openness to topics of sadness, domestic violence and same-sex relationships. In addition to the album’s darker essence than that of Jackson’s previous projects, the singer debuted a striking new red afro, septum piercing and a kind-of-hard-to-tell-but-not-really nipple piercing. Like janet., The Velvet Rope would later take Jackson on another highly attended and critically acclaimed world tour, The Velvet Rope Tour.

The album’s signature single, “Together Again,” gave Jackson her eighth number-one hit on the Hot 100, and was inspired by the death of a friend she lost to AIDS. Songs like such, as well as “Free Xone” – a campy anti-homophobia anthem – established Janet Jackson as a gay icon. She would later be awarded the GLAAD Media Award for Outstanding Music.

But not every song on The Velvet Rope marked a celebration. The album’s closing track, “Special,” is a solemn plea to feeling needed, wanted and validated. The album’s heaviest moments, though, won’t be found here, or even on the raunchy beginner’s guide to BDSM, “Rope Burn.” Jackson’s vulnerability is on full display on tracks like “What About,” a song detailing the harrowing effects of an abusive relationship. “What about the times you hit my face? What about the times you kept on when I said, ‘No more please…’,” Jackson sings in agony, serving as a voice to those who have been beaten, battered and scarred.

Despite the album’s subject matter, Jackson was still able to find light from the pain. The Velvet Rope allowed the singer to fully immerse her life, her suffering and her anguish in her work.  “I’m still working on myself,” Jackson revealed during a 1997 press interview with MTV. “I like myself very much, and I can finally say that for the first time in my life. Now I’m trying to learn how to love myself.”

Icon

At the close of a dominating decade, Jackson’s Emmy Award winning HBO airing of The Velvet Rope: Live in Madison Square Garden became the most watched program among home subscribers, garnering over 15 million viewers. Following her winning the Legend Award at the 1999 World Music Awards, Jackson was declared Billboard’s second most successful artist of the decade, behind Mariah Carey. It was now the start of the new millennium, and nothing was stopping Janet in her tracks.

She made her second feature film appearance in 2000’s Nutty Professor II: The Klumps, playing Professor Denise Gaines, alongside comedy legend Eddie Murphy. The following year, it was announced that Jackson would be honored with the very first MTV Icon Award. The ceremony consisted of various artists, including Pink, *NSYNC, Usher, Destiny’s Child, Britney Spears and Aaliyah, commenting on Jackson’s influence and performing the songs that turned the child star into a worldly icon. Jackson would close out the show with her newest number-one, “All For You.”

The single became one of Jackson’s most favored hits. Sampling “The Glow of Love,” by 80’s disco group Change, the dance track became an instant classic, even earning Jackson the title as being the “Queen of Radio.” After hitting the airwaves, it became the first song in history to be added to every pop, rhythmic and urban radio format during its first week of release. Receiving a seven-week long run at the top of the Billboard Hot 100, “All For You” became the longest-running number-one hit of the year. It’s accompanying album, All For You, would be released in April 2001.

Upbeat and bouncy, All For You was drastically different than its less-than cheery predecessor. The album gave the diva the biggest opening first week sales of her career, after becoming her fifth consecutive album to crown the Billboard 200 Albums Chart. Through a cohesive mix of pop, R&B, dance and rock, All For You provided the perfect balance of party jams (e.g. the irresistibly catchy “Come On Get Up”) and bedroom bangers (e.g. the erotically inducing “Would You Mind”). Like before, the album was supported by a world tour that both impressed and shocked attendees with Jackson’s overtly sexual stage antics – most visible during her performance of “Would You Mind,” in which a latex-clad Jackson would select an audience member to join her onstage and receive a private dance from the bombshell and her six-pack assisted figure… all while being strapped onto a gurney. Sound familiar? Go re-watch R&B singer Normani’s performance from 2021’s MTV Video Music Awards. Janet Jackson is still influencing the rookies.

Jackson’s history of exaltation, though, was about to come to a dramatic halt.

Be sure to check back in next week for the next part of our series, Janet Jackson: Then, Now & All the In-Between!

The post Janet Jackson: Pop Music’s Leading Lady appeared first on THE 97.

In Control

Jackson’s 1986 third studio album, appropriately titled Control (released February 4, 1986), marked the reintroduction of Janet Jackson – this time as a mature woman who was entirely on her own and making all her decisions for herself. As Janet sings on the first verse of the title track, “When I was 17, I did what people told me / I did what my father said and let my mother mold me / But that was long ago, I’m in control…,” she is making her own statement, declaring her own independence and moving to her own groove. There was nothing bubblegum pop about her this time around. If anything, she was paving her own lane into the competition with assertiveness, drive and pristine dance steps.

Control wasn’t just a collection of pop and R&B melodies. It was a fusion of sharp, industrial beats, packed with layered vocals that screamed dominance, all laced with a hint of attitude. This particular style of music created by Jam and Lewis would become known as “new jack swing,” and Control brought it to the mainstream. The album also helped Jackson score her very first number-one hit on the Billboard Hot 100 with “When I Think Of You.” Its other singles – “What Have You Done For Me Lately,” “Nasty,” “Control” and “Let’s Wait Awhile” – all peaked within the top five of the Hot 100, while “The Pleasure Principle” became a top 15 hit for the singer. What set these tunes apart from those of her past was that these songs weren’t just masterfully crafted hits, these songs were her stories.

While the title track set the tone for the album’s self-assured girl power, songs like “What Have You Done For Me Lately” and “Nasty” were all about demanding respect, with the latter coming to fruition after Jackson was catcalled by a group of guys on the street – resulting in one of the most iconic lines in pop music, “No, my first name ain’t ‘baby’ / It’s Janet, Miss Jackson if you’re nasty.” The abstinence anthem “Let’s Wait Awhile” came to be after a conversation Jackson had with her friend about whether or not she was ready to have sex with her boyfriend. After Jackson advised her to wait it out, the song was born and millions of younger listeners decided to wait a little while longer before they hit the sheets.

After soaring to the top of the Billboard 200 Albums Chart, Control is still in demand to this day. Selling more than 10 million copies worldwide, the album has even been listed by the National Association of Recording Merchandisers and the Rock and Roll Hall of Fame as one of the 200 Definitive Albums of All Time. Through carefully choreographed music videos – thanks to on the rise choreographer Paula Abdul, who would soon become Jackson’s contemporary – and songs that became staples of the Janet Jackson repertoire, Control made this Jackson a household name, and she didn’t need to thank her brothers for it.

Bringing Rhythm to the Nation

After the massive success of Control, A&M Records wanted another album of similar content. Jackson, however, opted otherwise. Her direction this time was less personal and more national. As a means of bringing awareness to the societal issues of drugs, violence, racism and poverty, she turned action into song. Thus, Janet Jackson’s Rhythm Nation 1814 (released September 19, 1989) turned Janet’s mantra from insisting command to insisting change.

She enlisted Jam and Lewis for assistance (and would do so for every album, except 2008’s Discipline), and like Control, their Flyte Tyme Studios in Minneapolis, Minnesota was the dwelling place for the magic. The album’s lyrical content touched on socially conscious themes, as well as love and romance. To date, it is the only album to have seven commercial singles peak within the top five positions of the Billboard Hot 100, with “Miss You Much,” “Escapade,” “Black Cat” and “Love Will Never Do (Without You)” all reaching the summit. It also became the first album to have a number-one single in three separate calendar years (1989-1991). The album’s concept, as well as Jackson’s militaristic approach to styling and dancing, helped turn Janet Jackson into a role model for younger audiences.

Lyricism and advocacy weren’t the only factors to propel Jackson during this era; her performances and visuals were also next-level. In support of the album, Jackson embarked on her very first concert tour. The 10-month long Rhythm Nation World Tour became the most successful debut concert tour in history. At a time when Madonna laid the decade’s feminine pop template and Paula Abdul’s budding career was a top contender for a stiff rivalry, Jackson distinguished herself from her opponents with clean-cut dancing and must-see music videos.

“Escapade” took watchers on a journey to a Mardi Gras-esque extravaganza, while “Love Will Never Do,” directed by legendary photographer Herb Ritts, seemed more like a gleaming Vogue photoshoot brought to life. “Alright” was a 1950’s inspired jazz fest packed with color (and zoot suits), as Jackson and her two backup dancers tear up the streets with leg splitting and head bopping precision, all while being accompanied by guest stars Cyd Charisse, The Nicholas Brothers and Cab Calloway.

A “telemusical,” titled Rhythm Nation 1814, was produced in aid of its parent album. The 30-minute long-form music video consisted of three separate pieces: “Miss You Much,” “The Knowledge” and “Rhythm Nation.” Directed by Dominic Sena, the film chronicles two young boys whose dreams of becoming musicians are lost to drugs. For “Rhythm Nation,” Jackson and her army of backup dancers, all dressed in black military gear, are in synch like soldiers – dancing, stomping and reminding us that we are in unity, “Sharing a common vision / Pushing toward a world rid of color lines.” For “Miss You Much,” the depth of the conversation is much lighter, but Jackson’s movement is just as vigor and intense, with a staggering chair routine to close out the catchy number

Where Control left off, Rhythm Nation picked up – garnering Jackson even more praise from critics for her defying of abiding by the direction of mainstream pop music. The album earned nine Grammy nominations, making Jackson the first woman to be nominated for Producer of the Year. Jackson was later awarded the MTV Video Vanguard Award and a star on the Hollywood Walk of Fame for her musical contributions. Janet Jackson’s Rhythm Nation 1814 went on to becoming the best-selling album of 1990, and remains one of Jackson’s most recognizable works to date. In 2021, the album was selected by the Library of Congress to be preserved in the National Recording Registry for being “culturally, historically, or artistically significant.”

Be sure to check back in next week for the next part of our series, Janet Jackson: Then, Now & All the In-Between!

The post Janet Jackson: Demanding Control, Demanding Change appeared first on THE 97.

“This is a story about control, my control. Control of what I say. Control of what I do. And this time, I’m gonna do it my way.” Those were the piercing first words of the opening lines of Janet Jackson’s 1986 breakthrough album, Control. A then 19-year-old, Jackson had all the walk, talk, and savvy of the 55-year-old she is today. Hungry and determined, she was ready for superstardom. But the question is: was the world ready for her?

Born the ninth and youngest child of the renowned Jackson family, there was never really a time in Janet’s life where cameras and lights weren’t second nature for her. Her brothers became some of the leading faces of Motown music as the Jackson 5, scoring hit after hit with songs like, “I Want You Back, “ABC” and “I’ll Be There,” after landing their first record deal with Motown Records in March 1969. Janet was just two months shy of her third birthday. Over time, each member of the fab-five would shoot their attempts at a solo career. It was Michael’s, though, whose career undoubtedly outdid, outsold, and outmatched those of his brothers. After a few moderately successful and popular solo releases, Michael Jackson’s breakthrough as a solo artist came in 1979, with the release of Off The Wall. Then, in 1982, history was made.

Michael Jackson’s sixth studio album, Thriller (released November 30, 1982) was released by Epic Records, earning a then 24-year-old Jackson a string of hits, a collection of some of the most prized music videos to date, and the record for becoming the best-selling album of all time, with sales of an estimated 66 million copies sold worldwide. The John Landis-directed music video for the album’s title track has become perhaps the most legendary music video to exist. Of its most outstanding impacts resulted in the rise of MTV. After Michael Jackson’s “Billie Jean” became the first music video by a black artist to be aired on the program, “Thriller” took MTV (and music videos, for that matter) to new heights, breaking down walls and barriers for people of color to receive heavy rotation on the most cherished music network. Artists like Prince, Whitney Houston, and Jackson’s very own baby sister Janet would become fixtures of the station after then.

This is only a smidge of how significant Michael Jackson’s Thriller really was. But all in all, that singular album practically changed the landscape of popular music, helped turn music videos into an art form, and cultivated Michael Jackson into becoming the King of Pop.

While the ’80s saw the introduction of a slew of popular artists, all ranging from Madonna, to Bon Jovi, to Whitney Houston, to George Michael, none of them were able to outshine the dazzle of Michael Jackson. By this point, the Jackson’s weren’t holding the same weight as they once did collectively. All bets were on Michael, and nobody was giving him a run for his money. Nobody wanted to. Nobody dared to, until Janet.

Though every member of the Jackson clan had attempted to become superstars in their own right, none of them reached the same status as Michael and Janet’s, with an almost tiny exception for Jermaine who notched a few solo hits under his belt with songs like “Let’s Get Serious” and “Do What You Do.” But it takes a certain kind of artist to stand out above the rest. And by rest, I mean only one other person, because this one other person was the most riveting popstar on the planet. Janet Jackson’s shine, though, wasn’t an immediate blaze. It took some carving out her own path before she would establish herself as one of the most prolific entertainers in music history. She’s had her highs. She’s had her lows. But throughout it all, she’s been able to prove time and time again that she is a force to be reckoned with, cut from a cloth of musical greatness and ingenuity. She is not just Michael Jackson’s little sister, she’s Janet. Plain and simple. And this is how she became one of the most coveted pop icons of our time.

Early Beginnings

Janet Damita Jo Jackson was born on May 16, 1966, in Gary, Indiana. Her parents, Katherine and Joseph, wed in November 1949, and shortly after, purchased a two-bedroom home on 2300 Jackson Street, where they would house nine children altogether and the future of a musical dynasty.

Growing up in the forefront of Jackson-mania, little Janet was introduced to the spotlight at an early age. In 1976, she began appearing alongside her siblings on the CBS variety show, The Jacksons. In it, Janet would sing, dance, act and play throughout various skits and performances with her famous brothers, and even her two lesser-known older sisters – Rebbie and La Toya. The show was a critical smash, and even featured surprise appearances from celebrities like Sonny Bono and Betty White. But, her sharing of the spotlight was about to change.

In 1977, Janet Jackson was cast as Penny on the CBS sitcom, Good Times. From there, her career as an actress leaped upward and onward, landing the roles as Charlene Duprey on Diff’rent Strokes and Cleo Hewitt on Fame. It was clear that this Jackson wasn’t looking for a microphone, despite her family’s residency with the stage. Though her claim to fame was already a departure from that of her family’s, Janet’s run with showbiz was surprisingly not intended for the youngest member of the Royal Family of Pop. In fact, Janet thought she had a completely different destiny waiting for her in the wings. “When I was a kid, my dream wasn’t to be a singer,” she revealed during her acceptance speech at the 2019 Rock and Roll Hall of Fame Induction Ceremony. “I wanted to go to college, and I wanted to be a lawyer.”

But her father and manager, Joseph – the notorious patriarch labeled domineering and abusive by some of his children, while Janet has gone on the record to say he’s just plain ol’ “old school’ – had different plans. He felt the money was in the music. So, when Janet was 16, Joseph arranged a recording contract for her at A&M Records. Despite the critical and commercial success Jackson’s music would find in later years, her first attempts were not as welcomed.

Her debut album, Janet Jackson (released September 21, 1982) made little-to-no noise. Charting at No. 63 on the Billboard 200 Albums Chart, her highest-charting singles from the album were “Come Give Your Love To Me,” which made it to No. 58 on the Billboard Hot 100, and “Young Love,” which became a top 10 hit on the R&B charts. Was the album bad, per se? Not really. But did it really prove anything of Janet’s artistry and creativity? No. So, they tried again.

Two years later, Jackson’s sophomore album Dream Street (released October 23, 1984) hit the shelves… and pretty much stayed there. At an abysmally low peak of No. 147 on the Billboard 200, Dream Street proved to be the complete opposite of what they had hoped it would be. By this point, it looked like Janet and music just weren’t seeing eye to eye.

Instead of throwing in the towel, Janet decided her next step would be that of her own. She dropped her father as her manager, moved out, and set up shop in Minneapolis. Teaming up with production duo Jimmy Jam and Terry Lewis, Jackson’s voice was about to be heard like never before and become a mainstay in pop/R&B music. The first step, was taking control.

Be sure to check back in next week for the next part of our series, Janet Jackson: Then, Now & All the In-Between! Happy #JANETuary!

The post Janet Jackson: From Baby Sister to Woman in Control appeared first on THE 97.

Her latest release, “Easy On Me” (released October 15, 2021), marks the return of the British diva. Like most of Adele’s best works, the song is a revealing account of the personal and private love life of the adored musician. Serving as the lead single for the star’s upcoming fourth studio album, 30 – set to be released November 19, 2021 – Adele confessed in a rare Instagram live video that the new album will be about “divorce, babes, divorce.” After a short-lived marriage, she and entrepreneur Simon Konecki separated in 2019. Their divorce was finalized in March of this year. The couple have a son together, Angelo James, 9.

Now, on the heels of a quote-on-quote “sad girl autumn” dubbed by many, fans are prepping for Adele to take the world by storm all over again, with their tissues on standby. One could only imagine how reflective 30 will be, and how many more precious one-liners we’ll get to use during the throes of our next breakup. But for the time being, we’ll use what we already know. And love. In honor of the superstar’s return, here is a ranking of every commercial single released by Adele.

ADELE: ALL THE SINGLES, RANKED:

15. “Cold Shoulder” – This Mark Ronson-produced track is one of the few Adele songs that doesn’t sound like the conventional Adele piano-plushed sobfest. Gritty, yet emotionally truthful, Adele croons “You shower me with words made of knives,” all the while still admitting to having feelings for her ex. Who hasn’t?

14. “Hometown Glory” – In this ode to the star’s hometown of West Norwood, Adele revels in the kind of nostalgia that can only be brought on by homesick blues. As a matter of fact, Adele is said to have written this song in about 10 minutes, after an argument she had with her mother over her mother’s suggestion of the future songstress to leave her hometown to go to school in Liverpool. “Hometown Glory” would be the first song Adele would ever write and serve as the closing track on her debut album, 19. Adele reminds us here that, after all, there’s no place like home.

13. “Water Under The Bridge” – The last single taken from Adele’s 25 studio album shows the singer in a much different light than usual. Here, she’s still probing over one thing – love. Only this time, tissues aren’t required. “Water Under The Bridge” is able to lyrically induce our heartstrings, while also pumping extra life into the veins, thanks to its catchy production and chanting echoing choir serving as the perfect background noise.

12. “Skyfall” – In 2012, Adele recorded this single as the theme song for the newly released James Bond film, Skyfall. In keeping with the tradition of other Bond numbers, the song followed all the ingredients of classic 007 style – sulky and seared in suspense. The atmospheric orchestration, mixed with the dexterity of Adele’s near-perfect vocals, makes “Skyfall” one of the most memorable songs of the James Bond franchise. Aside from becoming one of the best-selling digital singles of all time, the song also granted the star with a bundle of awards, including the Academy Award for Best Original Song, a Golden Globe Award for Best Original Song and a Brit Award for British Single of the Year.

11. “Turning Tables” – Although this song failed to make the same chart impression as 21’s other singles did, “Turning Tables” still stands as one of the more harrowing and perhaps underrated songs of Adele’s repertoire. Written about a physical dispute between her and her beau, Adele’s anguish is painted all over this track from start to finish. “I won’t let you close enough to hurt me / No, I won’t rescue you to just desert me,” she sings. If you haven’t cried from any of the songs mentioned on this list yet, you will now.

10. “Rumour Has It” – If you were to ever tell someone that Adele was a lounge singer from way back in the day after just one spin of this bluesy number, they would probably believe you. Adele’s voice is one of those voices that can belt, swing, and coo. Be it a piano-driven centerpiece or a stomping rock ‘n’ roll setting, Adele can do it all justice. And, “Rumour Has It” proves just that. Taken from the singer’s career-defining album 21, “Rumour Has It” didn’t seek inspiration from Adele’s ex-boyfriend like the rest of the album did, but rather… well, rumors about her breakup started by the media. Unlike the heartbreak anthems in the rest of Adele’s catalog, “Rumour Has It” is a giant middle finger to a lost love that won’t leave you crying, but laughing at even the thought of reconciling.

9. “Make You Feel My Love” – This Bob Dylan cover serves as the only song from the singer’s debut album to not have been written by her. This simple, modest declaration of one’s affection might be sonically different from Dylan’s folksy original, but if anything, Adele proves just what to do if ever covering a song – make it even better than the original. And that’s exactly what she did.

8. “Send My Love (To Your New Lover)” – Perhaps the snappiest song in Adele’s canon, “Send My Love” is the perfect balance of survival and forgiveness. “I’m giving you up / I’ve forgiven it all / You set me free,” she declares. If there’s any kiss-off track that can give a big F.U. to an ex but also gleefully bring a smile to your face, it’s this one.

7. “When We Were Young” – Much like “Hometown Glory,” this track is rooted in reminiscence. “When We Were Young” basks in all the glory of a past life, giving you the sense that you’re at a class reunion 20 or 30 so years later, remembering the good, the bad, and the ugly. It’s poignant, yet satisfying, and Adele’s sublime vocal runs only make you wish you could listen on and relive those memories for hours longer. In a recent installment of Vogue’s 73 Questions YouTube series, the singer revealed that “When We Were Young” is one of her personal favorites. “I really love that song. I love singing it. It means a lot to me,” she said.

6. “Chasing Pavements” – In “Chasing Pavements,” we find Adele questioning her relationship, deciding whether or not she’s better suited for the empty streets ahead of her or with the once-upon-a-time love of her life. The song became the singer’s first breakthrough hit in the U.S., peaking at #21 on the Billboard Hot 100. Adele’s smoky vocals and earnest lyrics laced over the soulfully pop production of “Chasing Pavements” marked the perfect introduction of what was in store for the U.K. songstress and the emotional baggage she was about to lay heavy on the rest of us.

5. “Set Fire To The Rain” – Released as the third single from 21, “Set Fire To The Rain” continued Adele’s streak of Billboard Hot 100 number-ones, and rightfully so. With a foreboding production and a roaring vocal prowess, she sings, “I set fire to the rain / And I threw us into the flames,” getting rid of the slightest hope or chance of a resolution. Buuuurn, quite literally. The song was even voted by Billboard readers as being their favorite number-one hit of 2012, and its catchy hook and radio-friendly charm might just be the reason why.

4. “Easy On Me” – The most recent release from the superstar shows the singer at her most vulnerable. Here, she’s tackling a different kind of breakup – divorce. “Go easy on me, baby / I was still a child / Didn’t get the chance to / Feel the world around me,” she admits. By now, Adele has become synonymous with breakup records, but “Easy On Me” somehow depicts a more mature side of the singer, seemingly showcasing the growth of a woman who’s been hurt by love again and again, and still trying to dull the pain. Although the chorus may not be as bombastically hitting as some of the star’s other anthems – “Someone Like You,” “Hello” – the song’s stirring honesty makes it among her best works, and a telling indication as to what fans can expect to hear when 30 drops next month.

3. “Rolling In The Deep” – If nobody knew who Adele was before this song dropped, they were about to find out. The critically acclaimed “Rolling In The Deep” propelled Adele’s career to newer, greater heights. A direct sendoff to an unfaithful lover, the first single off of the star’s sophomore release had people of all ages singing their hearts out to either real-life or make pretend partners. A 60’s-inspired soul smackdown, “Rolling In The Deep” features a booming, hands-clapping gospel accompaniment, with Adele is right at its core, front and center. After becoming her first number-one hit on the Billboard Hot 100 and turning Adele into a household name, the single became perhaps one of the biggest crossover hits on the charts in years. As of 2019, it remains the best-selling digital single of all time, with sales of over 20 million copies worldwide. From then on, Adele proved to many that there’s power in abandonment. Her soft side would become a staple in her songs, but here her abrasiveness is just as defiant.

2. “Hello” – At 21, Adele turned her breakup into a blockbuster album. At 25, Adele was still reeling, but this time more sentimentally than scorned. “Hello” is a pick-up from where her past left off. In it, she sings more conversationally than on her previous efforts – “Hello, how are you? It’s so typical of me to talk about myself, I’m sorry.” When describing the record, Adele labeled 25 as a “make-up record,” with its lead single not being about any one thing or person in particular. Rather, “Hello” is a reflection of past relationships and circumstances, as well as her own relationship with herself. A gentle nod to growth and change, “Hello” reminds us of the fact that nothing truly ever stays the same, serving as a salute to one’s yesteryear. Its subdued introduction is awoken by a thrashing chorus and an Earth-rattling climax. An immediate success, the song reached number-one in a record-breaking 36 countries. As if it wasn’t already made clear, “Hello” proved Adele’s talent alone outshines any record she touches – be it big production-wise or piano balladry.

1. “Someone Like You” – “I heard that you’re settled down / That you found a girl and you’re married now,” are the opening lines of this heartfelt goodbye. “Someone Like You” is quite literally the quintessential Adele song – a simplistic arrangement, top-tier vocals, and lyrics that rip your heart right out of your chest. The same breakup that inspired Adele to write this song inspired most (if not all) of the other material on Adele’s 21. While most broken hearts end up stagnant in bitterness, though still hurt, Adele is still giving her blessing to her past love, teaching us all a lesson in the art of letting go. “Someone Like You” became the singer’s first number-one hit in her homeland, as well as the recipient of countless awards and recognitions. To this day, it remains one of her signature pieces and can still strum up the waterworks as easily as it did 10 years ago. It’s safe to say that this one song has healed many, many, many lonely hearts. And, for that, we all owe Adele a collective thank you.

The post ADELE: All Her Singles, Ranked From Great to Greatest appeared first on THE 97.

Born Stefani Joanne Angelina Germanotta, Lady Gaga was once upon a time just a New York-based aspiring singer-songwriter. That is, until she landed a deal with Interscope Records after working on demos with producer Rob Fusari for a couple of years, following a failed deal with Def Jam, who dropped her.

By the summer of 2008, very few people outside of the music industry knew who Lady Gaga was when her record label launched her debut album on August 19, 2008 in Canada without knowing that it would soon go on to become a Pop phenomenon.

Looking back at Lady Gaga’s “The Fame,” her weird fashions and costumes may immediately come to mind, but a lot of what made Lady Gaga who she is today also comes down to the music. She introduced herself on the music scene with one of the strongest Pop albums in a while and she had the whole package: the hits, the mysterious aura, the fascinating personality, and the talent that distinguished all of the great ones that came before her.

The music

Lady Gaga’s “The Fame” is a meticulously crafted record. It’s jam-packed with catchy hooks and strong melodies, even if they are often disguised under layers of electronic production and synths. The lyrics are sleek and clever with just that touch of ambiguity that will make you listen twice just to grasp what she’s actually saying.

The album slowly began to be released around the world as the first single “Just Dance” picked up steam on radio and in the clubs.  Produced by Akon, it is a Dance track about being lost in the music and dancing wasted in the club. What made it click with people was its catchiness, the fact that it’s a fun and light song, but also it being released at the cusp of the Electro-Pop era, of which Gaga became the epitome.

As soon as “Just Dance” reached #1 on the Hot 100, Interscope was ready to hit with the centerpiece of the album, “Poker Face.” This time Gaga showcased her quirky lyrics, built around metaphors and innuendos, but also her vocals and musical skills by opting to perform the song in a stripped, piano-only arrangement that shed light on her as a songwriter and not just an image-driven label puppet.

“Poker Face” was also accompanied by an impactful music video, another aspect that would characterise her future releases and her career as a whole. Lady Gaga basically grew as an artist as more people became aware of her and her “crazy” image and speculation arose around her persona. Her label knew this, she knew this and they took advantage of it, creating one of the most iconic eras ever.

With two #1 hits on the Hot 100, the album quickly started increasing in sales over the course of winter and then spring of 2009, capturing the attention of chart followers for such organic growth at a time when first-week numbers were crucial. The following two singles released, “LoveGame” and “Paparazzi,” solidified the success of the album, reaching #1 at Top 40 radio and respectively #5 and #6 on the Hot 100. The former is another catchy Electro-Pop number about the club scene, while the latter is a rather sultry mid-tempo track about a woman stalking a man to obtain fame and success.

A number of songs on the album deal with the theme of fame as suggested by the title: “Beautiful, Dirty, Rich” is a synthy Pop/Rock song depicting Gaga’s life as a struggling aspiring artist in the Lower East Side; “The Fame” and “Money Honey” are about the correlation between celebrity and materialism and the promiscuity that comes out of fame.

The two “ballads” of the album “Eh Eh (Nothing Else I Can Say)” and “Brown Eyes” draw inspiration from Gwen Stefani‘s brand of synthy 80s-influenced Pop/Rock and they interrupt the flow of Dance uptempos on the tracklist with a nice change of pace.

Visual artist

Starting with the “Paparazzi” music video, Lady Gaga also introduced a new side to her artistry. Directed by Jonas Åkerlund, the video is a short film centered on a murder plot and features numerous movie references and some of Gaga’s trademark costumes, making it the first of a series of elaborate productions that constitute in a way her legacy as a visual artist and reviver of the music video as a form of marketing and music promotion. The iconic performance of “Paparazzi” at the 2009 MTV Video Music Awards, along with the nominations and awards she received, truly felt like the culmination of Lady Gaga’s journey to fame and superstardom.

That was the moment everybody knew this girl was here to stay. In retrospect, it is amazing to see how much hard work must have been put into the creation of what became a phenomenon. In the years since her debut, none of the new girls in the Pop scene has come close to having such an immediate impact on pop culture. And even if Lady Gaga were to be remembered for her costumes and antics, they will always be attached to her biggest and most iconic songs to date. She’s gained her rightful spot in culture, no matter what the detractors may think.

Listen to Lady Gaga’s “The Fame,” or purchase the vinyl

The post How Lady Gaga’s “The Fame” became a landmark for Pop music appeared first on THE 97.

October marks the 10th anniversary of Britney Spears’ sixth studio album, Blackout. Before getting into the crux of things, it’s important to set the scene.

2004

It’s 2004 and In The Zone is still a recent release. The album hit No.1 and produced worldwide hits ‘Me Against The Music’, ‘Toxic’ and ‘Everytime’, Spears is midway through her most ambitious and provocative tour to date: The Onyx Hotel Tour. A true spectacle, Onyx featured celebrity cameos, acrobatics, and a host of hit singles in its setlist. However Spears sought creative freedom. Whilst on tour she penned the hauntingly premonitory track ‘Mona Lisa’:

“Ladies and gentlemen, I’ve got a little story to tell

About Mona Lisa, and how she suddenly fell…

…Now, see, everyone’s watching as she starts to fall

Now don’t have a breakdown, you will hit the freaking wall”

And this is where we’re meant to believe that the breakdown started. First, Britney suffered a knee injury during the music video shoot for ‘Outrageous’. As a result, the Onyx Hotel Tour was cancelled. Future promotion for In The Zone was also concluded. Damage control came in the form of Britney’s first greatest hits collection, and a reality TV show (or should I say docuseries?).

Original Doll?

‘Mona Lisa’ premiered at the end of 2004 on radio station KIIS FM as the lead single from Spears’ upcoming album. Prospectively titled Original Doll, it was said to be halfway completed.

However, promotional efforts continued for the greatest hits collection – in the form of the music video for ‘Do Somethin’’. Spears’ label Jive Records said there were no plans for an album release. It appeared ‘Mona Lisa’ was going to be left in the dust. It did eventually have an official appearance, remixed and rerecorded for Britney’s docuseries EP.

‘Mona Lisa”s official release was overshadowed by the whirlwind of personal changes the star was going through. A second marriage and a child on the way prompted what many believed to be Spears’ break from music. Spears reiterated that the break was from ‘being told what to do’ and not music, but with Original Doll seemingly shelved, ‘Do Somethin’’ stood as the only remnant of the pop princess’s attempt to take creative control.

Blackout

The year and the half between the release of the EP and Britney’s next studio album are a messy and well documented period (see: head shaving, attacking a car with an umbrella, divorce) so I won’t get into it here. But somehow, through all of this, Spears was still making music. Work on Spears’ next full studio effort begun in early 2006. Leaks gave fans a mix of sombre ballads and club bangers, with Sean Garrett and Pharrell Williams noticeably present, but no one knew what exactly to expect from the singer’s next studio album.

The final product was Blackout: a dark, brooding pop experience which mildly hinted at Spear’s personal life. Gone were the radio-friendly bops that filled Zone; replaced by a more hard-hitting and club-ready sound. Our first official introduction to this was the now infamous VMA performance of lead single ‘Gimme More’.

You Need More?

From the blue contacts to the awkward side stepping across the stage, the whole performance was a mess. It rightly went down in infamy. The official music video didn’t do much to instil anymore faith in the general public about Britney’s return to the pop scene. It was a far cry from the Onyx Hotel Tour three years prior.  Considering what happened in between those three years, it’s important to remember that Blackout is now considered as some of Spears’ best work.

First, we have aforementioned album opener ‘Gimme More’. The songs iconic opening line ‘it’s Britney bitch’ demanded attention and served as a reintroduction to the new darker Britney (dubbed by fans as Darkney). What started off as a joke between Spears and producer Danja became an emblem of confidence. The line rightfully went down in pop culture history, with a will.i.am feature cashing in on its relevance five years later.

Even now, those three words are enough to fill a dance floor or make an arena erupt in cheers. When Danja’s floor-filling beat kicks in, it’s clear from the get-go that Britney is not playing games. The beat hits hard yet Britney’s vocal delivery is sweet as ever. This juxtaposition creates a contrast that many a pop starlet still try to imitate. Talkney is also in full effect, with every song on the album having Britney’s trademark spoken ad-libs.

Of the deluxe album’s 16 tracks, 4 were produced by Bloodshy & Avant who had previously collaborated with Spears on her EP and In The Zone, and 8 were produced by Danja, who was relatively unknown in the mainstream at the time. It was the producer’s first big project without his mentor, Timbaland – needless to say the stakes were high for both he and Spears.  Danja’s production create the moody backbone of the album but the other producers don’t give you a let up; ‘Heaven on Earth’ and the Neptunes produced ‘Why Should I Be Sad’ are the closest the album comes to balladry and even they are a far cry from Zone single ‘Everytime’.

Piece Of Me

If ‘Mona Lisa’ was Spears’ premonition of her own downfall then ‘Piece of Me’ acts as the perfect sequel. ‘Piece’ sees Britney truly take her crown as ‘the legend of the fall’, biting back at haters, paparazzi and naysayers in the best way possible: with a hot pop bop:

I’m Mrs. Lifestyles of the rich and famous (You want a piece of me?)

I’m Mrs. Oh my God that Britney’s shameless! (You want a piece of me?)

I’m Mrs. Extra! Extra! This just in (You want a piece of me?)

I’m Mrs. she’s too big now she’s too thin (You want a piece of me?)

On an album that was blacking out negativity (which subsequently led to an essentially promo-less era) ‘Piece of Me’ acted as the perfect reasoning why: Britney had become more of a staple in the tabloids for her personal life than her music. As a song and a single, ‘Piece of Me’ was a middle finger to those who thought they knew Spears ‘oh so well’. ‘Piece’’s warped guitar intro almost act as a warning to listeners that ‘Gimme More’ was not a fluke, Britney was coming for everyone that was out to get her.

The vocal production was also stellar. The use of vocal pitch-shifting in ‘Piece”s chorus and middle 8 put the production front-and-center whilst simultaneously also keeping a focus on Britney’s vocals. This technique would also noticeably feature on dub-step infused album cut ‘Freakshow’. It’s hard to imagine that such a sound would be absurd and different in 2007, due to its prevalent use in pop music today. It’s fair to say that ‘Piece’ brought the effect to that mainstream.

Similarly to ‘More’’s VMA performance, ‘Piece’’s lyrics, although not penned by Spears’ herself, became a pop culture hot topic. It perfectly encapsulated what made Britney so interesting: her ability to bring herself to the table as a talking point as a popstar should. The song almost acts as a game of cat and mouse between Spears and the media, basically saying ‘if you’re going to talk about me, then I’m going to talk about you talking about me’. She would again address the media with Circus album cut ‘Kill The Lights‘ (produced by Blackout frontman Danja).

‘Piece’’s video went even further to approach the media’s treatment of Spears, with Britney addressing the invasive nature of the paparazzi, and how manipulative and sleazy they can be. The video is self-parody tongue-in-cheek genius, from the literal ‘Britney army’ to the end scene of Britney watching herself visit the club televised as ‘news’. Although there’s no choreo per se, that club bathroom dance sequence is sure to be repeated. The video rightfully went on to win big at the 2008 VMA’s, including ‘Video of the Year’ solidifying Britney’s triumphant return as the princess of pop.

Number… Two?

Blackout became Britney’s first album to miss the No. 1 spot due to an midweek decision allowing albums sold exclusively at one retailer the opportunity to chart. From the internet leaks to the VMA performance, it would seem that Blackout had so much going against it. However this made Blackout the album of the underdogs, with a rebellious pop princess at its forefront. The album is rightfully considered as one of pop’s best, being featured at No.7 and No.5 respectively on Rolling Stone and Times album of the decade lists, as well as being inducted into the Roll & Roll Hall of Fame.

Many pop artists attempted to imitate the urban influenced sound that Blackout captured, but they fall flat. Blackout stands out the way it does because of its authenticity. Blackout was not an album littered with rap verses in order to make Britney appear more urban and edgy, nor was it a shift so far out of the realm of pop that it made Britney unrecognizable.

Bloodshy & Avant’s production was new yet familiar, allowing Blackout to fell like a natural progression from Spears’ earlier work. This progressive yet mainstream sound made Blackout cohesive & unique. So much so that it’s a sound that fans still clamor for with each new Britney release. Blackout stands as the only album executive produced by Spears. Fans believe it was this hands on approach which helped make Blackout the revered pop gem it is today.

To Be Continued?

The era ends with a ‘to be continued…’ at the end of music video for final single Break the Ice. Fans are still waiting for Blackout’s sequel. Circus could be described as Blackout’s popier companion, it’s production more slick & polished than brooding. Subsequent albums Femme Fatale and Britney Jean slip further into a more EDM, sometimes unrecognizable sound.

Celebrating it’s 10 year anniversary, Blackout still stands as one of pops most interesting and captivating releases. It has stood the test of time and feels as fresh and exciting today as it did on initial release. Spears’ most recent album Glory was on the right track to show that Britney can still deliver a great pop album. Fans still want Danja and Britney to reunite. One has to wonder if we will ever get the Blackout 2.0 that’s teased during the run-up to every Britney release since 2007.

Thank ya’ll for the #blackout love. I wish I could explain to you what it means to me that you love that album as much as you do ???

— DANJA (@only1DANJA) October 25, 2017

Listen to Britney Spears’ Blackout:

The post ‘It’s Britney Bitch’: 10 Years of Blackout appeared first on THE 97.

We simply referred to her, as Whitney.

For no one before her, or after her, has even come remotely close to her unspeakable ability. To only refer to Whitney Elizabeth Houston as a merely talented singer, would diminish the enormity of what she truly was. Talent is for the common mortal, and she simply more. Whitney was gifted, and gifted artists come few and far between. Her voice was an instrument infused with the spirit of jazz, the grit of the blues, the emotion of an aria, and was bound together by her love of the Lord. Listen to her recordings, and watch her live performances, and see how she literally sang as if God himself embodied her being; entering and exiting her body through each and every note.

Her family affectionately called her, Nippy.

Like the mischievous cartoon character from which her nickname was derived, Nippy always seemed to tip-toe on the edge of danger. Beneath her sweet-natured and angelic exterior, lay a tough and fiesty homegirl from the projects of Newark, New Jersey. In the beginning, she was often accused of not being “black enough”; for allowing Clive Davis’ influence to infiltrate her cultural upbringing. An upbringing that was saturated by the likes of Aretha Franklin, Dionne Warwick, Chaka Khan, Diana Ross, her mother Cissy Houston, and so many great black female artists that came before her. However, make no mistake, even in those early years, Nippy could sang. She could really, really SANG, and made classics. She was exquisite, always sounding leaps and bounds better live than she did on wax, and far beyond her years. No amount of record label imposed grooming could ever mask the depths of that woman’s soul. And as she lived more, that soul grew. Throughout her life and career, the images of two women deftly emerged: Whitney, the prim and proper Pop princess who blossomed into the foreground of music throughout the latter part of the 20th century, and Nippy, the wild-child diva who bristled under restraint. Each woman was equally important. Neither was necessarily wrong, but one suffered far more than the other.

“…I knew the song was incredible. I knew I had sung the shit out of it. But I had no idea that that record would sell so much, so fast.”

– Whitney, talking about the success of “I Will Always Love You”, Rolling Stone, 1993.

She did it first…and often better.

When thinking about Whitney, we’ve become very selective of the memories that we choose to have. We choose to forget how devastatingly successful she was. She was statistically, the most awarded female artist in music history, a dynamic film producer, businesswoman, philanthropist, and accomplished film actress. She paved the way for most of the women that fill today’s musical landscape, and for a long while, did it with ease. Every child had a Whitney Houston poster on their walls, there wasn’t a nightclub that didn’t play “I Wanna Dance With Somebody”, or a drag queen that couldn’t lip-sync the entirety of “The Greatest Love of All”. Everyone on the face of the planet knows “I Will Always Love You”, no matter if you love it, or not. The accompanying soundtrack to her film debut,  The Bodyguard, was not only the first documented album to sell 1 million copies within the first week of release, but went on to be one of the greatest selling albums of all time. Far before the recent and large influx of diversity in television and film, Whitney strove to introduce stories reflective of the changing landscape of America, with films such as Waiting to Exhale, and Cinderella. Yes, for a time, Whitney was (for lack of a better word) unfuckwitable. Outside of her professional life, Whitney was a wife, a mother, and daughter, and in many ways, held much similarity to most of us. Her deep love of family and God was apparent, and held steadfast even through the worst phases of her life and career.

The public loved to watch her fail.

The many scandals that plagued her life later on has become probably the largest part of the narrative. The public has always had a voyeuristic fascination with watching someone’s downfall. When the subject of said tragedy is a black woman, our gaze toward their descent is all the more punishing. The world watched while she faltered, gawked as she clearly was in pain, and laughed at what tragically became more and more apparent. Many have tried to diagnose her, and while I would never profess to be a medical professional in any way, I would hazard to guess that the circumstances that brought her life to an abrupt end were simple. Nippy was indeed every woman, flawed and vulnerable in spite of her strength; she was a human creature of duality, and was judged harshly for it. I only wish she could have been saved from herself, and more so, from us.

We didn’t love her like we should have…or like we claimed to.

The ballad of Whitney Houston always leaves me to ponder why the public was so hard on her. We don’t view Whitney in the same way we do Prince, Michael, Elvis or Kurt Cobain. Though they all suffered from varying degrees of substance abuse issues, there’s something about Whitney that the public found unforgivable. Was she too real? Too raw? Too unapologetic? Too defiant? I suspect that as she revealed more of who Nippy was, and allowed less of Whitney to shine through, that she became too much for people. As the great writer Alice Walker once quipped, “Folks don’t like nobody being too proud, or too free.”  

Even in death, we haven’t forgiven her love of excess, of Bobby Brown, or possibly of other women. We as a society have the fool-hearted notion that any of what I mentioned above are things that should be absolved; as if we all live our lives cleanly, without any blots on our own stories, or as if one’s sexual preferences are worthy of judgement. I don’t want to go any further without saying that I would never endeavor to normalize or legitimize substance abuse, and it’s far reaching impact of one’s loved ones. At the end of the day, Whitney was the main cause and effect of the troubles in which she endured. However, that seems to be true for a lot of her male counterparts, and yet we remember them much more fondly. Was it her womanhood? Was it because she was black? We claim to love women in our society, but we don’t love them enough to allow them to be imperfect. Lord knows public love for black people is subjective at best, and advantageous at worst. However, I can say that in the end, we never loved Whitney enough to really let her live, nor have we loved her enough to really let her rest in peace. We’re too caught up in the momentary spectacle of scandal.

“Listen, I always move on,” she says. “Nothing can stop me from movin’. What didn’t kill me made me stronger, sweetie. [Laughs] People still don’t believe me. I did another interview today and after an hour and a half of talking to him, [the reporter] said, ‘I still don’t know you.’ I think he was looking for something he didn’t find, trying to understand if I was a jeans girl or a gowns girl. Is she R&B, or is she pop? I am me.”

– Whitney, on the public’s fascination with her personal life, Out Magazine, 2000.

Remember love.

And so today, five years after she went home, on a Saturday much like this one, I urge you the reader, to look at the bigger picture. While the negative aspects of the storied life and death of Whitney Houston are very much imperative to the narrative, they should be just that; aspects. They don’t encapsulate the full story of this brash, fiery, God fearing, beautiful, and deeply flawed human being. I implore you to seek to remember the positives that also fit into the puzzle of this juxtaposition of a woman. Remember her family, who still reel from her loss, more so than fans like myself do. Remember her daughter, who tragically left us far too soon like she did.

I implore you to remember her, ALL of her, with love and kindness.

May you truly rest in power, peace, and love, Nippy.

“I know from whence my help cometh. I do know that. And I know that it’s strong within me. If ever I get low, I get weak, I know where I can turn to. I love the spirit of God so much that I’m not willing to trade that for anything. I’m not trading that for nothing. For nothing. Because I feel joy that I can’t even speak about. And peace that passes all understanding.”

– Whitney, The Oprah Winfrey Show, 2009.

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