J.Says Online
  • Home
  • Entertainment
    • THE J. LIST
    • J.LIST BLOG
    • GENERAL HOSPITAL
  • Seriously Beyonce`, WTH?!?
  • Society/Culture
  • So This is Life?
    • J.Says Daily
    • J.Says & the "Quarter-Life Crisis"
  • Contact/ Info
  • Feedback

The Curious Case of Mariah Carey

11/13/2013

1 Comment

 
PictureE=MC2, 2008
A Career Analysis.
By @EddieJSays, Contributing writer

Mariah Carey’s newest single "The Art of Letting Go" (from a forthcoming album of the same title) is a beautiful 1960s-styled R&B ballad that (once more) tackles her favorite subject: being heartbroken and trying to get over it (AKA the themes of albums “The Emancipation of Mimi,” ““E=MC2,” Rainbow, etc.). A refreshing turn away from the "Doctor, I was too patient" idioms Carey spewed throughout the previous record, “Memoirs of an Imperfect Angel,” the lyrics are deep in some areas and vapid in others; it’s as if her “Butterfly” era is meeting that of “Memoirs.” Musically, there’s just an average approach, but I do commend her and Jermaine Dupri for using an orchestra, since live instrumentation was abandoned in Carey's catalogue for roughly 8 years now (sans the 2nd Christmas album). Overall, “Art” leaves little to be desired, but it does make one question why it was chosen as a single and the album title track, due to its lack of commercial appeal and easily forgettable chorus. Again, it seems Carey is forcing herself to write what she thinks people want to hear instead of just allowing things to organically grow and flourish. Vocally on “Art,” she’s in limbo between being great/decent and sounding strained and damaged. I hope that this single isn't the big highlight of her new album and that there will be much better vocals. I'm not deterred from the project yet, but I'm not hungry for more either. Mariah Carey can be defined as one of the most versatile and adaptable artists in history, both musically and vocally. These qualities are what has sustained her to a loyal worldwide audience for 2 decades, and on the flip-side, probably put her into a corner where she feels she can go nowhere else creatively. Progressively, changes in her artistic approach and image have landed Carey in stagnancy (and lower-selling music), and not only am I going to explain how that is, but I’m going to suggest how she can get out of this mess.

Mariah Carey started off with a golden and alluring girl-next-door image. Reserved but fairly open, Carey made herself identifiable as she discussed her past life in poverty, encountering racism as a biracial youth and her struggles as a burgeoning artist. This warm aura matched with her wide and powerful range, silky vocal texture and infectious songwriting lead listeners to instantly embrace Carey from her buzz-creating first major appearance at the 1990 NBA Finals (she performed “America The Beautiful”), which resulted in her first few albums selling over 23 million copies combined and making history as the first artist since the Jackson 5 to have her opening four singles top the Billboard Hot 100. In spite of all the success, Carey was miserable and felt creatively stunted. Married to then-Columbia Records CEO Tommy Mottola, the “never mix business with pleasure” rule applied, as Carey accounted that Mottola was overly possessive and controlling, strictly dictating that she never wear clothing showing any skin and that she remain home if she wasn’t working. On the final cut of the “Daydream” album, “Looking In,” she purportedly addressed her feelings of creative bondage, stating: “Well, here I am for all the pen to bleed, but they can't take my heart from me and they can't bring me to my knees; they'll never know the real me.” Taking control of her music and persona and divorcing Mottola, a liberated Carey would be heard on 1997’s “Butterfly;” an album exalted by fans for its distinctive shift in sound (more R&B & hip-hop), image (slinky, short & revealing) and quality. Record label executives generally discourage artists from making major changes, for fear that the artist will lose their niche of the market. The concern was valid as “Butterfly” didn’t sell as well as Carey’s previous 2 albums. However, Carey made Columbia $7 billion before the end of the decade.

By 1999, Mariah was a hot commodity and only knocking on 30, but she hadn’t taken a break since her career began, releasing 7 studio albums within 9 years. Between recording, tours and promotion, Carey’s voice (and body) was beginning to succumb to constant wear and tear. While her whistle, head voice and lower register remained well intact, her chest voice sounded more husky and brittle, making some of her older songs more blatantly difficult to perform.  In 2001, Mariah had reached her breaking point as she left Columbia and signed an $80 million, 4-album deal with Virgin Records; the soundtrack to “Glitter” (Carey’s film debut) was the first release. Prior to the album drop, Carey was hospitalized for an emotional and mental breakdown. Intensifying matters, the “Glitter” film was panned by critics and its soundtrack only sold 501,000 units; partly because it was released the same week as the 9/11 terrorist attacks in the U.S. The next year, Virgin paid Mariah $49 million to leave and her contract was dissipated. She signed with Island Def Jam soon after with “Charmbracelet.” While the album was intended to be marketed as a “comeback,” it sold just over a million units in the U.S. with no singles touching the top 40 or even top 60, which was considered a commercial failure, given Carey’s history. 


Read More
1 Comment

The Curious Case of Brandy

6/4/2013

1 Comment

 
PictureBy Derek Blanks, 2011
A Career Analysis
(contains some synopsis by E. Sims)

I have a couple of friends that are about 5-6 years younger than me and when we chat about music, it stuns me how much those few years make a difference. Our perceptions of certain artists and their effect are poles apart. One of those artists is Brandy, who came on the scene in 1994 and quickly took the music world by storm. In a span of just 5 years, Brandy had hit albums and singles, headed a popular TV series (“Moesha”) and starred in a major film (“I Know What You Did Last Summer”) and highly-rated TV movies alongside the legendary likes of Whitney Houston, Whoopi Goldberg and Diana Ross (“Cinderella,” “Double Platinum”). She even was immortalized as a doll before it was trendy. She was one of the first, if not the first, young African-Americans to tackle such feats, and that meant the world to people my age. Loved by all with brown skin and braids, when that’s not the standard of beauty? What?! A black “Cinderella” with a multiracial supporting cast? Get out of here! It was kind of a big deal. However, by the time my pals who were born in 1990 and 1991 were age 10 and old enough to vividly remember anything in pop-culture, Brandy’s light had begun to dim. I know and view her as trailblazer, but to some of the younger set, Brandy is just some girl who had a couple of hits back in the day. What happened and how can Brandy regain her footing? Let us attempt to answer that question.

Instant success is usually to the detriment of young acts. It’s emotionally overwhelming being under high media scrutiny and analysis, not being able to enjoy “normal” teenage activities (like the prom) and having to decipher who’s a fake friend or “yes” person when you’ve barely begun to figure out who you are. Not to mention the lures of and unlimited access to drugs, sex and other hedonistic things your average horny, egotistical and impulsive teenager would run with. For Brandy, fast fame was the first thing that brought her down, both professionally and personally. The attention she garnered and the things achieved in 5 years, most artists do in 7-10. In the late 90’s, Brandy was involved in an abusive relationship, was suffering from an eating disorder and ultimately was hospitalized after having a nervous breakdown. It was at that point Brandy stepped away from the lights. Professionally, when you reach your prime so quickly, it creates a catch 22: you become overexposed and run out of gas trying to top yourself, or you take a break at the risk of returning to lost interest. Brandy experienced the latter.

After a hiatus, she released “Full Moon” in 2002; an album she said addressed her abuse. Critically, it was received fairly well; it was praised for its maturity and easy sensual allure, but Rodney Jerkins’ production was censured for being redundant. Jerkins’ part in the inability of Brandy’s career to rebound would expand; it will be revisited later in this article. First single “What About Us” charted 7th on the Billboard Hot 100, the title track charted 18th and “Full Moon” was certified platinum a month after release. I would consider that a success, but it was labeled as a failure in some media because it didn’t match the multi-platinum status her previous records did (ala` Mariah Carey’s “Glitter” soundtrack). Additionally, promotion for the album eventually slowed down as Brandy was surprised to find she was pregnant with her 1st child.

2004’s follow-up, “Afrodisiac,” could’ve kept Brandy’s return rolling, but despite high critical acclaim and a Grammy nod, management issues and shaky promotion arguably resulted in poor single and album performance. None of the singles from the album entered the Billboard top 20, and barely made the R&B top 20. Many of the singer’s fans felt the wrong tracks were chosen as singles. To top it off, plans for a major tour with her contemporary, Usher, fell through. Brandy changed her management and ended her over-a-decade long relationship with Atlantic Records. Some suggest that “Any press is good press” didn’t apply, as 1 month into “Afrodisiac’s” release, producer Robert “Big Bert” Smith (the father of Brandy’s daughter) revealed in multiple radio interviews that he & Brandy pretended to be married to avoid tainting her “clean” image with an out-of-wedlock birth. 2 years later, there was more negative press when Brandy was involved a multi-vehicle crash. Initial news stories stated that Brandy didn’t notice cars in front of her slowed, and she struck the back of a vehicle belonging to Awatef Aboudihaj. Aboudihaj’s vehicle subsequently hit another, slid to the side and smashed into a center divider, where it was hit by yet another car. Aboudihaj died the next day in the hospital. Despite later concluding reports by the California Highway Patrol that Aboudihaj collided with the vehicle in front of her and mashed on her brakes, causing Brandy to crash into her, Brandy was still viciously painted as a murder whose celebrity position “got her off.” Within 2 years, Brandy went from being identified as a singer and actress, to a liar and murderer. Any traction she gained for a return was dismantled.

PictureBy Derek Blanks, 2011
Still, Brandy made an attempt in 2008 with “Human” on Epic Records. Now, we revisit Rodney Jerkins’ hand. Brandy felt the material Jerkins provided was lackluster and the pair creatively quarreled. She was equally, if not more, discontent with the offerings from the other “hot right now” producers injected by Epic (ex. RedOne, Bruno Mars & Toby Gad). Jerkins couldn’t do any wrong from the late 1990’s to the early 2000’s, but in my opinion, he failed to evolve artistically and has hit a plateau. It’s hard for his productions to not sound dated, as time has caught up with his once innovative style. Alternatively, the other producers attached a fashion so current, that it didn’t fit Brandy at all. With such extremes, no wonder Brandy professed to despise the project. Exacerbating her frustration was the vamped up, sexier image imposed by the record label, of which the singer said she didn’t sell well because she didn’t buy it herself. Not wasting another minute, Brandy again switched up management and her contract with Epic was dissolved. 4 years and a reality series (“Family Business”) later, here we are presently with “Two Eleven” (RCA Records), a date marking her birthday and the death of close friend and former colleague, Whitney Houston. Critics and fans seemed to enjoy the album; I personally thought it was a little sleepy and could’ve been written better, but that’s just me. Like her other post-breakdown albums, “Two Eleven” would be a decent effort (it was applauded for being “progressive,” incorporating futuristic with R&B) marred by external factors. There was a moderate amount of initial promotion and it didn’t hurt that Brandy is a regular on the well-liked BET series, “The Game,” but in true RCA fashion, they released 2 singles before “Two Eleven’s” October 2012 release date and no more afterward (RCA has bad promotion habits, especially with their R&B acts).

The 2nd external factor now affecting Brandy is the state of R&B and the industry as a whole. If you didn’t already know, R&B is a strange place where it’s dull and no cares to pay a lot of attention to it. This saddens me because I love the genre. Everyone has different suppositions on how this happened, but as I have submitted before on this site, I think that once R&B married itself heavily with pop & hip-hop, it was over-powered, washed and has now taken a back seat. The problem was not that R&B was mixed with other genres (I’m all for genre blending), the problem was that it didn’t have equal footing when it was mixed. It wasn’t a 50/50 composite. What needs to take place in order for R&B and its acts, like Brandy, to thrive is to again mesh with the mainstream, but have a more dominate, inventive presence. Also, specifically for Brandy, she needs to avoid working with whoever is the hottest producer and collaborate with up-and-coming, imaginative talent. It will be difficult getting record label executives to financially take such a risk, but it will be worth the shot. Well-known and consistently working producers are the most likely to hand-off tweaked or remixed versions of their previous work, consequently making the artists they worked with sound similar or like “copy-cats.” Brandy also needs to find a way to match her musical trademark with the contemporary. My next suggestion might seem like an irrelevant stretch, but maybe it would help Brandy to have a strong theme or signature look for her next project. Symbolism helps an album stick out in the audience’s minds. For example, Taylor Swift using a red microphone every time she performed a song from her “Red” album, or Beyonce’s leotard and glove during her “I Am…Sasha Fierce” era.

Brandy Norwood has a distinctive voice, a unique look, decent enough acting chops, the tenacity to make risky, but necessary business moves and with the exception of “Human,” she doesn’t have a bad record in her discography. The tracks she treaded early on are enough to show that she has what it takes to be a force once more. Eliminate personal strife, bad press and lukewarm business partners and add a solid and creative production and marketing team, it all belongs to her.

Thoughts?

1 Comment

The Curious Case Of Christina Aguilera

4/16/2013

0 Comments

 
Picture
2006
By C. Barrera, Contributing Writer
Christina Aguilera has been in the spotlight many times due to her drastic musical and visual style changes that have surprised more than one. Aguilera has been praised for both her audacity and vocals, while being criticized for those exact same reasons (ex. being accused of having a negative attitude and over-singing). Through the criticism and changes, Aguilera has seen much success, but here lately, things seem to be in a strange spot with underperforming albums and a creative direction that seems unclear. The theme of her latest album “Lotus” is that she’s an unbreakable flower that rises even in the worst conditions, but is she really unbreakable?

In her debut "Genie in a Bottle" era, she was an ultra-clean, hit-making, pop princess machine fashioned after her predecessor and contemporary, Britney Spears. This design being the choice of her record label, RCA, Aguilera naturally didn’t want this. Taking advantage of increased creative freedom for her second album, she changed completely and said goodbye to the “genie.” Her music, look and even her fan base evolved to what I like to call a freedom anthem: “Stripped.” Controversial, sexually charged and yet, vulnerable, “Stripped” was an empowering album that spoke to the outcasted and ridiculed, and remains the favorite album of many (myself included). Another chameleon-like change came with "Back to Basics." “Xtina” (the moniker Aguilera took on during “Stripped) turned into Baby Jane; a classy, vintage diva inspired by the 20’s, 30’s and 40’s music that she loved. It was a risky project, but absolutely marvelous in content.

Christina turned the valve and let her creativity flow until “Bionic” was released. We all know the album was a commercial failure, and RCA likely had a lot to do with that. Some songs were total masterpieces, while others tried too hard to fit into the electro-pop mood of 2010. She was in need of a rebound. “Lotus" received mixed reviews, but fans seem to agree that it’s an extraordinary album that deserved better promotion. In conjunction, my opinion is that the album has a wonderful concept and includes both lyrical works of art and commercial songs that could've been chart toppers with proper marketing. However, the album does leave you wanting more. All of her previous albums had a theme that took you on a satisfying journey, but 80% of "Lotus" is dedicated to addressing haters and gives you a sense of paranoia. Aguilera claims to be unfazed and doesn’t care what people say, yet she sings to them in 8 songs? The other 20% are songs about sex and love (read the review by J.Says here). Fascinatingly, not only did there seem to be little interest in the project by RCA, but by Aguilera herself, which leads some to think she might be about to break ties with her label. Considering the arguable neglect of Aguilera’s music that started with the “Bionic” album, a separation might be a positive thing (she reportedly gave up her coveted spot on NBC’S “The Voice” to concentrate on her work).

Now, the main question is: what direction should Christina go in now? Right now, she gives the image of loving her shape (she’s constantly scrutinized about her weight), her music and being in a safe place. She’s so unpredictable that it’s almost impossible to foresee if she will follow a more commercial path, or maybe, what I would love the most, an experimental album in the style of “Stronger That Ever” or “Birds of Prey” (from “Bionic”). Guess we’ll have to wait and see.

--Could Aguilera’s change in producers be at the center of her successes and failures? Read her portion of “5 Artists Who Are Only as Good as Their Producers”
--To see other “Curious Case” articles, click Aguilera’s photo above.

0 Comments

The Curious Case of Kelly Rowland

1/29/2013

4 Comments

 
Picture
The Times Magazine, 2011
A career analysis.
A few weeks ago, Kelly Rowland released “Kisses Down Low,” the latest single to be featured on her tentatively-titled upcoming album, “Year of the Woman.” The track is about what the title implies; oral sex. Ever since the success of Rowland’s urban hit “Motivation” with Lil Wayne, sexually suggestive tracks have become a central piece of her repertoire. Comments from Twitter users seemed to be all in the same vein of “She’s too talented for this,” “It’s the same old stuff” or “We don’t need a female Trey Songz.” I found the comparison to R&B heartthrob Songz, who isn’t even Rowland’s contemporary, most telling. Songz rose to mainstream fame with sexual club-friendly ditties, but after about 3 albums full of them, audiences seemed to become fatigued and unimpressed. Dedicated fans who believed in his talent were disappointed that he all but reduced himself to a sex symbol. Likewise, Rowland seems to be receiving the same reaction. It’s been touch-and-go for the former Destiny’s Child; she just hasn’t hit her stride as a solo act. It’s all quite puzzling really. Kelly Rowland is beautiful, can actually sing without auto-tune and went through the same success boot-camp as megastar Beyonce`. If anyone would know how to follow the yellow-brick road to Beyonce`-like Oz, it should be Kelly Rowland. So what gives? Let me tell you. With Kelly’s career, for every problem that’s solved, another one arises.

Rowland was all set to be a thriving solo star; the launch from Destiny’s Child was carefully planned. In preparation for an eventual 2005 disbandment, DC briefly separated at their “Survivor” prime in 2002. Going after their interests and musical strong suites, Michelle Williams returned to her gospel roots, Beyonce` was scheduled to follow Williams’ release with an R&B record and lastly, Kelly-pop with alternative influence. The schedule got rearranged, however, when Rowland’s collaboration with Nelly, “Dilemma,” became a huge hit and ultimately garnered 2 Grammy nominations and 1 win. In trying to keep up with the single’s heat, a rush job was done on Kelly’s solo debut “Simply Deep,” resulting in mediocre tracks that would fail to chart. Quality material wasn’t the problem for 2007’s “Ms. Kelly;” sassy, personal, smooth and catchy, it was possibly one of the best R&B albums of that year, but it was very poorly promoted. Convinced the material was to blame, Columbia Records released a deluxe edition and an EP entitled “Ms. Kelly: Diva Deluxe” with several new tracks, but it didn’t help. In my opinion, scanty promotion combined with the wrong single choices killed the album’s chances. Where was “Still in Love with My Ex”? It was relatable and contained juicy gossip (the song was reportedly about Rowland’s broken engagement to football player Roy Williams)! Where was the ridiculously sexy “The Show” featuring Tank or “Every Thought is You”?!

At that point, theories swirled. Maybe Kelly wasn’t talented enough. Maybe it was the record label. Maybe it was her manager, Mathew Knowles; maybe he doesn’t know how to manage anyone else’s career well but his daughter, Beyonce’s. By the end of 2009, 2 out of 3 of those theories were taken care of; she was no longer on Columbia Records and sought out new management. Kelly was finally going to have her moment in the sun, or so many had hoped. Rowland’s new home, Universal Motown, began releasing “tester singles” in 2010. Interviews early in the recording process suggested that the new album would feature dance music and Rowland was taken with the genre and wanted blend it with R&B cuts. Like other up-tempo tracks released by the singer, “When Love Takes Over” & “Commander” performed well in Europe and with techno boiling over in the U.S., this seemed like a promising direction. Then “Motivation” happened. The sheet-warmer single shot to #1 on the Billboard R&B chart and #17 on the Hot 100. The upcoming “Here I Am” was about to change from a dance record to an mostly urban sexapalooza and Rowland was going to sell the image for dear life- topless magazine covers, sultry interview details and all. Despite the hard sell, it didn’t seem like many bought it. The sudden image and material change came off like an obvious ploy to move units; only it didn’t. Subsequent singles from “Here I Am,” albeit somewhat under-promoted, didn’t perform well and the album flat-lined. Now, here we are preparing for her 4th album and it appears the record label wants to learn the hard way. Rowland tried to create “Motivation” magic again with Lil Wayne for “Ice,” but like Nelly’s attempt to make “Dilemma” happen again with “Gone,” the songs sounded too similar and it didn’t work. “Kisses Down Low” isn’t working. When are they going to get it through their thick skulls that Kelly, the sex toy, isn’t working?!

Above all else, the central issue in Kelly’s career is that label executives don’t know what to do with her and have failed to acknowledge their missteps in shaping her career. Additionally, they don’t believe in her. From my perspective, they don’t respect her presence, nor do they realize her level of talent or potential and the proof is in the pudding. Executives could put the same effort and energy into Kelly that they do chart-toppers with less talent, but they don’t because I think, inherently, they believe she isn’t marketable. They view her as just an unneeded cast-off from a group. Rowland could better stay ahead of these pitfalls if she was also a writer and/or producer, but she doesn’t have those gifts. She needs a team and a record label that’s going to help build a sound and image that’s more organic to who she is internally. Bring in top-notch songwriters and musicians. Give us heartfelt ballads (I wish she would’ve gotten Rihanna’s “Unfaithful”) and inspiring, energizing pop or dance music. Dance music fits Kelly’s voice like a glove. Her voice just soars on tracks like “Forever & a Day” & “When Love Takes Over.” I saw a clip of her performing Whitney Houston’s “I Wanna Dance with Somebody” (Kelly could benefit from doing songs like the ones Houston did early in her career) and Mariah Carey’s “Fantasy” for tributes; those songs fit her voice extremely well. As it stands now, I think Kelly’s brand is being cheapened and it’s disenchanting.
To see other "Curious Case" profiles, click Kelly Rowland's photo above.

4 Comments

The Curious Case of Nicki Minaj

8/11/2011

2 Comments

 
Picture
Cover photo for V Magazine
What the star’s next move should be if she wants to conquer the world.

So, I’m watching Nicki Minaj’s performance on Good Morning America (Aug.5), and I noticed she did part of a song that I hadn’t heard before. The song was “Where Them Girls At?” by David Guetta, which features Minaj and rapper Flo-Rida. Similar to her current hit single, “Super Bass,” the track was radio-friendly, commercial pop-rap. I was immediately concerned. When something is commercially successful, record execs see nothing but green and expect you to forever duplicate the sound that got you on the pop chart. I fear that in the future, Nicki will continue to record pop-rap and that will be at the center of her repertoire. Nicki Minaj doing nothing but pop-rap is a bad thing because it’s likely that she won’t be viewed as a legitimate artist and the longevity of her career will be shortened, as it will be dependent on commercial singles. Considering the fact that her ability level is already questioned in the hip-hop community, it’s especially important for her to prove herself, demonstrate her strengths and make impactful music.

Why do I care about the longevity of Nicki Minaj’s career? Because I think she has a bigger plan and a feminist agenda that I like. From what I know of her start in the industry (which is moderate), she went from a “rough around the edges” sexually charged rapper, to a more polished-looking artist with mild sexual energy. Comparing her pre-record deal image, music and interviews versus now, I drew the conclusion that she was playing by the unwritten rules set by the “Boys Club” of hip-hop to establish herself, and planned to switch gears once she “made it.” Due to misogyny, sexism and double standards, aspiring female rappers have a difficult time succeeding in the male-dominated genre without be being disregarded, disrespected, unreasonably challenged or expected to compromise or exploit themselves. I could be wrong, but I wouldn’t be surprised if part of Minaj’s former image was the result of this unfairness. Between the shift in her presence and the multiple declarations she’s made about improving the conditions for future female emcees and expanding her brand, I say Minaj is trying to change the game for the better. She’s trying to be the first female Jay-z: a “Jane of all trades,” multi-talented entrepreneurial mogul that changes the definition of what it means to be a female rapper and contributes to making hip-hop a widely embraced culture. There’s always been some sort of a “glass ceiling” for female rappers; a limit to what they can accomplish and Nicki seems to be trying to take a hammer to it. That’s why it’s so pertinent that she succeeds, because if she does, it will open a pathway for a future generation (for example, she’s the first female rapper to be featured on the “Forbes” -a finance magazine-top hip-hop earners list. Now we know it’s not impossible for a female to make the list).

The first step to achieving this goal is musical and artistic solidarity. Minaj needs to strive for a happy medium on her next record: a splash of pop-rap (ex. “Super Bass”) with a strong chunk of clever, unforgettable rhymes (ex. her feature on “Monster” or “Roman’s Revenge”). The more artistry she exhibits and the more respect she garners, the longer her career will last and she’ll have more power to access what she desires.

Just a thought. What do you think?

To see more "Curious Case" articles, click Minaj's picture above.

2 Comments

The Curious Case of Beyonce: How to Become the "Queen of Pop"

8/18/2010

1 Comment

 
Picture
A career analysis.

Beyonce` Knowles is in a unique position and at an interesting turning point in her career. If she plays her cards right, she very well could be the next singer to be crowned the “Queen of Pop.” Over the last decade, she has increasingly become one of the most visible and internationally-known (not to mention financially successful; according to “Forbes” she made 87 million last year) singers of our time and barely has ANY major competition from her contemporaries, especially those in R&B. Britney Spears appeared to be a major contender for the title, but recent years have left some questioning her position in the pop kingdom. Some may mention Lady Gaga in this mix, but she is honestly too new to be considered in this discussion. Talk of Beyonce’s potential to become the “Queen of Pop” began after Michael Jackson’s death, as music media analyzed Jackson’s legacy and influence on the current generation of artists. Based on her deep love for Jackson (Most artists respect Jackson, but Knowles is actually an involved hardcore fan of his), her intense work ethic and dominance in pop music and pop culture, she was deemed the closest thing to Jackson out right now. Some music magazines referenced her as “the female Michael Jackson.” As if the “female Michael Jackson” title wasn’t enough, she has been endorsed by some of the greats in the industry including Prince (she performed a Prince medley with him at the 2004 Grammys), Tina Turner (performed with her at the 2008 Grammys), Barbara Streisand, Bette Midler, Etta James and Reba McEntyre, just to name a few. And let’s not forget being hand-picked by 1st Lady Michelle Obama to sing at her husband’s inauguration. The lane is wide open and the crown is Beyonce’s to wear. All she has to do is keep driving in the right direction. Considering the careers of those who came before her, I’ve created a list of things that I think will ensure Beyonce’s coronation.

Lesson 1: Avoid “Nipple gates” and Scandals.
 Granted, Janet Jackson didn’t plan for her bare breast to be exposed on national television during her 2004 Superbowl halftime show, but her intentions didn’t matter to the media or the Federal Communications Commission (FCC). After the incident that came to be known as “nipple gate,” Jackson was heavily scorned and ridiculed by the media, and the singles from her album, “Damita Jo” (released a month after the Superbowl), failed to make the top 40 on the billboard chart (ref. Wikipedia). According to the RIAA, “Damita Jo” sold only a million copies; a major decrease in sales in comparison to her previous albums. The sales decrease and her loss of the lead role in a Lena Horne biopic are suspected to be a result of the Superbowl controversy. Furthermore, some have tried to define Jackson by that moment. After years of great music and performances, that’s all some people STILL focus on. They’ve tried to reduce her to an exposed nipple and act like she’s no one. It’s not fair or just, but in this industry, that’s what happens. One scandal or unflattering moment, and everything you’ve worked for is threatened. You’re given a “scarlet letter” label that may never be removed. Many artists still hold their respective honorary titles (titles like the “Queen of Pop” or “The King of Rock N’ Roll) despite controversies, but it’s not worth the risk if you can avoid it. Beyonce` needs to consciously do what she can to avoid scandal and controversy to gain her title and keep it in tact. Seemingly already ahead of that game, Beyonce` has a great P.R. (public relations) image and has avoided any drama. Let’s hope it stays that way. Some might argue that “pushing the envelope” helps. In that case, it’s smarter to “push the envelope” musically by discussing a controversial societal issue (not sex, because that’s what EVERYONE does) versus doing something controversial personally.

Lesson 2:  Always Self-Preserve and Stay Healthy.
Part of what becomes a scandal or controversy for some artists is their lack of care for themselves. Any type of substance abuse or addiction can be a threat to you and your career. Many artists have attested that, due to a number of factors, being in the entertainment industry can be physically, emotionally and/or mentally wearing and can lead to a breakdown or seeking self-destructive “escapes” (like drugs and alcohol). Beyonce` should never exceed her own personal limits at the expense of her health. No matter what, she needs to self-preserve; even if it means retiring from music. I love hearing a new Beyonce` record like the next fan, but not if it results in a breakdown.

Lesson 3: Know what your source of power and strength is; aka your “formula.”
Most artists have a particular creative formula or aspect that they can rely on to stay ahead or keep their music solid. For some, it’s working with a specific writer. For others, it may be having a certain image or stance. Sometimes, it’s recording in a certain setting. Taking a risk and deterring from your “magic formula” can work out well, but it has the potential to cost you. Janet Jackson’s collaboration with producers (and writers) Jimmy Jam and Terry Lewis has been nothing but magic. She’s primarily collaborated with them her entire career, and her long-held success has been attributed to their chemistry together. Her last three albums have had reduced sales due to a number of different factors, but I don’t think it’s a coincidence that the last three albums have also had different mix of writers and producers. On her latest record, “Discipline”, Jam/Lewis were nowhere to be found and Jackson didn’t write a thing. “Discipline” is her lowest selling record since “Control” in 1986. If it’s not broken, don’t fix it. The Jackson/Jam/Lewis chemistry is her magic formula, and deterring from it didn’t work out.

Beyonce’s has 3 parts to her “magic formula.” Musically, her strength is her cross-over appeal. Image-wise, it’s being viewed as feministic and clean-cut. If you listen thoroughly to all of the Destiny’s Child records and Beyonce’s solo work, each album has a different sound or incorporates a different genre. When you incorporate a different genre into your music, the material can appeal to a new audience, expanding your fan base. With each project (and business/branding deal), Beyonce` has been expanding her fan base and visibility. Becoming the “Queen of Pop” involves being internationally known and a household name. The worldwide obsession with the “Single Ladies (Put a Ring on it)” video and the success of her Spanish-language songs and South American tour dates (two dates in Rio were sold out and 60,000 people attended her Sao Paulo concert) show that Beyonce` isn’t wasting time diversifying.

In terms of her image, being viewed as feministic and clean-cut has served her well. Social communities that are mistreated or discriminated against (ex. women & racial minorities) often support those who represent or defend them or give them someone to relate to. Beyonce’s fan base is mostly female and they’ve made it clear that her feministic material is something they appreciate. Her biggest selling and most popular solo singles are those with female-supportive themes, like “Irreplaceable,” “Single Ladies”, “If I Were a Boy” and “Me, Myself and I.” One female Bee fan said to me “Beyonce`…we NEED her. We need her music.” When Knowles covered “Allure” magazine in February 2010, the headline was “Beyonce`: The Voice of Strong Women Everywhere.” ABC did a news piece on her entitled “Beyonce`: The Symbol of Female Empowerment. Obviously, a feministic image/or theme is something she should stick with as a part of her formula. As mentioned earlier, Beyonce` currently has a sparkling public image. I think this is a contributing factor to her diverse fan base. When you appear to be “clean-cut”, you’re more socially acceptable and porous. People (especially parents), are more comfortable admiring you or looking to you as a role model. She hasn’t had a “fall from grace” or has been “obscene or offensive” to make her socially debatable or worth rejecting. All a part of a great formula that Beyonce` should stay conscious of and keep.

Lesson 4: Stay ahead of record label politics and stay in creative control.
B.S. handed down by record label execs can really jack up your career either temporarily or permanently in a number of ways. From Prince, to Fiona Apple, to Kelly Clarkson, the list of artists who have had public wars with their record labels or management over artistic creativity, finances, promotion and etc. goes on and on. It can be difficult to stay ahead of and dodge label politics, but Bee’s gotta watch her back nonetheless, and take chances (like Prince) to preserve her artistic and business integrity. Sometimes label issues can result in leaving a recording label, which is often a murky, transitional process. Mariah Carey has treaded those murky waters a couple of times. She left Columbia Records at the top of the millennium after what she described as a negative “political situation” from “corporate people,” only to move to Virgin Records for a “stress-fest.” Virgin offered her an $80 mill. contract, but paid her $28 million to close it after mediocre album sales. Carey is now with Island Def Jam. Carey said of her decision to sign with Virgin: “I made a total snap decision which was based on money, and I never make decisions based on money. I learned a big lesson from that." What Bee can learn from this particular example is to never chase money and always sign with a label that respects her as an artist and has her best interests at heart. When it comes to creative and business control, Bee already has a leg up. Since the Destiny’s Child days, she has had her own publishing (helps with royalties), and gets credit for writing and producing on her albums. Unfortunately, even with that much creative input, label execs can still force their hand; but some input is better than no input. She should keep this up and increase her creative control with time if she can.

Lesson 5: Have multi-tasking music and don’t back track.
A strength that prior pop icons have had was multi-dimensional music. Pop may be viewed as the designated genre for dance fluff, but many who have reached iconic status had music that not only made you dance, but made you reflect or….procreate (wink, wink lol) at the same time. Covering political or societal issues from time to time or having personal lyrics will be help Beyonce` have longevity and creative sustenance. As far as back-tracking, your music should continuously evolve and never conform (see “Professionals Sounding Like Newbies” 6-7-10) to current gimmicks or the current sound in attempt to stay popular; it never works. Being you works. Consistently growing and progressing, not moving backward, works. Keep this in mind, Beyonce`. If she follows or conforms to what is current or popular, she will be in the race with everyone else and will be at risk to get lost in the shuffle.

Lesson 6: Pace Yourself. Know when to sit down and stand up.
As far as I know, Beyonce` is currently on hiatus and is not in the studio or working on a movie. This is the longest time (it’s been about 5 months) that Beyonce` hasn’t been working on or promoting a major project since 1997. In my opinion, she’s taking a much needed break. Part of preserving your health AND art is taking well-timed breaks. There IS such a thing as overexposure, and Beyonce` might have been riding that line, especially after “Single Ladies.” Over-exposure can lead to the audience growing weary or underwhelmed by you (or taking you for granted). No one wants that. The opposite of this problem is taking too long of a break. You don’t want to be gone for so long that people lose interest or that you become irrelevant. Going on a break is a delicate process. You gotta know when to sit down and stand up. So the rules of “breaking” are: Take breaks, break when you’re on top (you wanna leave because you chose to, not because people didn’t want you anymore), and don’t be gone for too long.

Lesson 7: Use your instincts.
A gut feeling is a gut feeling. No one knows you better than yourself; she should always follow her instincts.
Lesson 8: Watch your inner circle.
It may be difficult to keep genuine people around you when you’re an international pop-star, but it must be done. Like many who started a recording career as a teen, Beyonce’s inner business circle consists of family. Fortunately enough, her family has proved to be trustworthy. Her father is her manager, her mother still acts as her clothing stylist (she used to be her hair stylist as well) and her cousin is her personal assistant. Nearly everyone else, from her choreographer to her tour creative director has been around since the first Destiny’s Child record. There are very few outsiders. This tight-knit circle approach has served her well so far. Anyone in the industry needs to make wise decisions about who they let into their atmosphere.

At the very ripe and young age of 28 (she’ll be 29 in September), Beyonce` has accomplished quite a bit. Particularly as a minority artist, it’s quite the marvel.  Records have been broken, history has been made and a standard has been set. It will be fascinating to see what direction she takes with her career; of course I wish her the best of luck. It’s a shark tank.

1 Comment

The Curious Case of Britney Spears

12/3/2009

0 Comments

 
PictureFans refer to Spears as "Godney"
A career analysis.

As I watch the video to “3” in my university cafeteria, I shake my head in disbelief. Most would not be shocked, but I figured Britney Spears would be passed the point of overtly sexual gimmicks in her career. I mean, after all, she’s done it all when it comes to sexual gimmicks: she’s appeared topless on magazine covers (nipples conveniently covered of course), she’s given the illusion of nudity on stage (i.e. MTV Video Music Awards 2000), simulated sex (both heterosexual/homosexual) on tour, kissed another woman on stage, and made songs about masturbation, one-night stands, drunken sex, bi-sexual sex, and now threesomes. Hell, her first cover with “Rolling Stone” in 1999 featured her at just 18 in her underwear with a “Lolita” theme (according to “Rolling Stone,” that was her first major magazine cover). Call me crazy for expecting more out of Britney Spears artistically after 11 years in the industry and an ENTIRE EXISTENCE characterized by hell, high water and life-changing events like childbirth.

Nonetheless, Britney remains successful. Her latest album, Circus, has gone platinum and many of her tour dates have sold out. “3," despite being controversial, is selling well too. I sit back in awe and intrigue and wonder “How on earth did she pull this off? How on earth does the formula still work?” This is “The Curious Case of Britney Spears.”
You gotta admit, when you think about it, her career is fascinating. She herself probably wonders how she’s pulled it off this far. Think about it. Britney was not supposed to last THIS long. She was DESIGNED and MADE to be a trend; a flash in the pan. The phenomenon known as Britney Spears came during the “pop wave of 1999,” when little pop-tart divas and boy bands were coming out left and right. Sound familiar? Yeah, this happened in the 1980’s with Debbie Gibson, New Kids on the Block and crew. Some survive the “wave” and go on to really impact music; Britney Spears was never expected to be one of those people. Out of all the pop-tarts, Britney relied the MOST on gimmicks and had the most limited vocal ability. She had the weakest lyrics. She lacked substance. If it wasn’t bubblegum, it was straight sex. Yet, somehow, she outshined all of her contemporaries (regardless of the fact that some of them were more talented) and her star kept on rising. So much to point that she was being deemed “the next Madonna” by media. And it didn’t hurt that Madonna adopted her for a second; introducing her to Kabala, sucking face with her at the MTV Video Music Awards and appearing in Spears' music videos. 

But Britney managed to fail to be the “next Madonna.”  Shortly after being orally christened by the “Queen of Pop,” the “Circus” began. In between “In the Zone” and “Circus” (“Blackout” was between those) was five years of gradual, mysterious drama that left people wanting to be a “fly on the wall”. Still, despite not rising to the occasion of Madonna artistically, and being scrutinized, criticized, chewed up and spit out, Britney still did well. Her greatest hits album and DVD released during that period, “My Prerogative,” went platinum and all of the singles from “Blackout” were certified either gold or platinum by the RIAA. 

“Circus” arrived in 2008, with hardly any mention of her personal struggles or changes. It was classic Britney: sexed up, substance-less pop slush. And yet, it and its concert tour sold like hot cakes. After being deemed YEARS AGO musically as a factory sealed, assembly line, flash in the pan, talentless lip-syncher and industry puppet who brought nothing to the art of music. Long after being dubbed in the media over the years a “bag girl”, a bad influence and “too sexual.”  Circus showed that Britney hadn’t grown an OUNCE artistically. Everything was as it was in 1999. And people LOVED it. In pop music, this doesn’t happen. Even without all of the media drama, her fans were supposed to outgrow her and move on; at least that’s what usually happens. WITH media drama, fans are REALLY expected to move on: the parents confiscate the records and your sales go down. Furthermore, Britney was labeled all sorts of horrible things by the media. She was ejected and exiled; thrown away. And yet, her star rose. 
Come to think of it, she doesn’t even need her original fan base. That’s right: Britney has a NEW fan base. The teenagers now LOVE her. That REALLY doesn’t happen in pop music. The next generation is not supposed to be your main fan base. Maybe, a PART of it- which is a HUGE MAYBE-but not the main. When Britney presented at the Teen Choice Awards in 2006 pregnant with her second child, in the middle of media hoopla, she got a standing ovation and lots of “we love you Britney!!” from teens who were in grade school when “Baby One More Time” came out. Fast forward 3 years later, regardless of even more overt sexuality, Britney is loved by teen Disney darlings like Selena Gomez and Miley Cyrus. Selena listed “Circus” as one of her favorite albums in an interview, and Miley expressed finding solace in hearing Britney on the radio in her song “Party in the USA.” Whoa. 

Britney having the support of the next generation of teens is intriguing, perplexing and unique for several reasons. #1, as mentioned before, this is not typical in the industry, particularly when you’re built with a “pop-tart” prototype. #2 Typically, music execs change your sound as an artist to appeal to the next generation. Britney’s “sound” has not changed at all. #3 The new generation of teens are not familiar with Britney pre-In The Zone. The main version of Britney they’re familiar with is the 2003-2008 drama version. And yet, they may have more loyalty than the fans that knew her during her “glory days”. #4 again, usually talking about “seeking Amy” and having threesomes would keep you from reaching the youth market. Yet, Britney has penetrated and conquered. Britney has come a long way and kicked a lot of butt. Nothing says “kiss my butt” than still selling records. Britney broke all the rules. She was designed to blow up and blow out all before 2002; maybe even earlier than that. Make a lot of money for the execs and then disappear. But she didn’t and she hasn’t. Her star is still rising and far from burning. And she’s not even trying that hard. How did she do it?

Perhaps the answer lies within the formula. Britney’s formula artistically (although not very artistic) has worked well for her. Remember when I mentioned how execs change your artist sound to “update” it and appeal to the younger crowd? Well, that plan is SUPPOSED TO work, but as we see with many examples, it often doesn’t. Look at Whitney Houston, Mariah Carey, Madonna and Janet Jackson. In one way or another, an “updated” or changed sound has not benefited them in the same ways their original sound did and many fans end up saying “I still like them, but I prefer their older stuff.” Britney, for better or worse has remained consistent. All the way to the bank. And possibly a lasting impact.
To see other "Curious Case" articles, click Britney's photo above.

0 Comments
    Picture

    Entertainment

    Rants and raves about all things entertainment industry. Includes my own movie, music and concert reviews. You can find topics under "Tags and Categories" below.

    Note: Occasionally, articles will be posted by other writers and they will be marked as such. Want to be a contributor for this part of the site? Click the "Contact/info" tab and fill out the form to apply.

    Picture

    Archives

    July 2020
    June 2020
    April 2020
    March 2020
    January 2020
    October 2019
    September 2019
    July 2019
    December 2018
    September 2018
    July 2018
    April 2018
    March 2018
    February 2018
    December 2017
    November 2017
    October 2017
    September 2017
    August 2017
    July 2017
    June 2017
    April 2017
    December 2016
    November 2016
    September 2016
    August 2016
    June 2016
    May 2016
    April 2016
    February 2016
    January 2016
    December 2015
    November 2015
    October 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    December 2013
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013
    March 2013
    February 2013
    January 2013
    December 2012
    November 2012
    October 2012
    September 2012
    August 2012
    July 2012
    June 2012
    May 2012
    April 2012
    March 2012
    February 2012
    January 2012
    December 2011
    November 2011
    October 2011
    September 2011
    August 2011
    July 2011
    June 2011
    May 2011
    April 2011
    March 2011
    February 2011
    January 2011
    December 2010
    November 2010
    September 2010
    August 2010
    July 2010
    June 2010
    May 2010
    April 2010
    March 2010
    January 2010
    December 2009
    November 2009
    October 2009
    September 2009
    August 2009
    June 2009
    January 2009
    November 2008

    Tags/Categories

    All
    1a. Album Reviews
    1b.Concert Reviews
    1c.Stuck In My Head
    1d.The State Of The Music
    1e.The Curious Case Of...
    1g.You Should Hear This
    1h. Song/Video Reviews
    1I. Rock&Rant
    1j. Artist Spotlight
    1k. Contributing Writers
    1 Music
    2a.movie Reviews
    2 Television/movies
    3 Books
    4:44
    50 Shades Of Grey
    98 Degrees
    Aaliyah
    Adele
    Aj Dugger
    Aladdin
    Alexis Jordan
    Alicia Keys
    Allen Stone
    Alt-pop
    American Idol
    Amy Winehouse
    Angela Bassett
    Anhayla
    Annie
    Ariana Grande
    Art
    Ashanti
    Ashford & Simpson
    Ashlee Simpson
    Ashley Tisdale
    Aston
    Aubrey O
    Babyface
    Banks
    Beauty And The Beast
    Being Mary Jane
    Bellamy Young
    Ben Savage
    Best Man Holiday
    Bet
    Bette Midler
    Beyonce`
    Biopic
    Black Community
    Black-ish
    Black Media
    Blink 182
    Blogging
    Blonde
    Bluebird Of Happiness
    B.O.B.
    Bobby Brown
    Bow Wow
    Boy Meets World
    Brandy
    Britney Spears
    Calling All Lovers
    Capra
    Carly Rae Jepsen
    Carrie Underwood
    Catfish
    Caution
    Celeb Journalism
    Changes
    Charity Music
    Charles Esten
    Chike Evans
    Chris Brown
    Chrisette Michele
    Christina Aguilera
    Ciara
    City & Colour
    Clarence Clemons
    Cletus
    Clipped
    Clive Davis
    Coldplay
    Connie Britton
    Conrad Murray
    Cookie Lyon
    Daley
    D'Angelo
    Danity Kane
    Daughter
    Dawn Richard
    Deacon Claybourne
    Dee Pimpin
    Deliver Us From Eva
    Delta Goodrem
    Demi Lovato
    Derek Yates
    Descendants
    Descendants 2
    Destinys Child
    Diddy Dirty Money
    Disney
    Disney Channel
    Divas
    Django Unchained
    Dove Cameron
    Drake
    Dreamgirls
    Eddie J.
    Empire
    Esperanza Spalding
    Eternally In Awe
    Etta James
    Evanescence
    Fantasia
    Feeling Myself
    Feminism
    Feminism In Music
    Fifth Harmony
    Fiona Apple
    Formation
    Franco
    Frankmusik
    Frank Ocean
    Fuller House
    Full House
    Gabrielle Union
    General Hospital
    Gil Scott-Heron
    Girl Meets World
    Girls Generation
    Gladiators
    Glory
    Gone But Not Forgotten
    Good To Know
    Grammys
    Grease
    Halloween
    Hayden Panettiere
    Hayley Reinhart
    Hip Hop & Rap
    Hocus Pocus
    Hugh Jackman
    Illegal Downloading
    Independent Artists
    Interviews
    It's Dio
    Jamaal D. Pittman
    James Lewis
    James Morrison
    Jamie Foxx
    Janelle Monae`
    Janet Jackson
    Jason Derulo
    Jay Z
    J.Cole
    Jennifer Hudson
    Jennifer Lopez
    Jessica Sanchez
    Jessie J
    Joe Jonas
    John Legend
    John Mayer
    JoJo
    Jonas Brothers
    Jordin Sparks
    Joss Stone
    Julianne Hough
    Juliette Barnes
    Jungle Book
    Junior Martinez
    Jurassic World
    Justin Bieber
    Justin Timberlake
    Kanye West
    Karmin
    Kate Winslet
    Katharine Mcphee
    Katy Perry
    Kelly Clarkson
    Kelly Rowland
    Kendrick Lamar
    Kenny Ortega
    Keri Hilson
    Kerry Washington
    Kevin Costner
    Keyshia Cole
    Kickstarter
    Kimbra
    Kings Of Leon
    K-pop
    Kris Allen
    Lady Antebellum
    Lady Gaga
    Lana Del Rey
    Lauren Alaina
    Lauryn Hill
    Leah Labelle
    Lea Michele
    Lee Crain
    Lemonade
    Lennon Stella
    Leonardo Dicaprio
    Lianne La Havas
    Liberation
    Lifetime
    Lip Synching
    Little Mix
    Luke James
    Madetobenow
    Madonna
    Man Of The Woods
    Mariah Carey
    Marie` Digby
    Maroon 5
    Match.com
    Mathew Knowles
    Meaning Of Life
    Media
    Megan Thee Stallion
    Meghan Trainor
    Mgmt
    Michael Jackson
    Michelle Williams
    Mick Jagger
    Miguel
    Miley Cyrus
    Misogyny
    Mj Johnson
    Morris Chestnut
    Mtv
    Musicals
    Music Business
    Music Consumers
    Music Nerd
    Music On Facebook
    Music Quotes
    Music Videos
    Nashville
    Nashville CMT
    Nelly Furtado
    N.E.R.D.
    Netflix
    Network Tv
    Nev Schulman
    Ne-Yo
    Nick Ashford
    Nicki Minaj
    Nick Jonas
    Nick Lachey
    Nikki & Rich
    No Doubt
    Now You See Me
    Octavia Spencer
    One Direction
    One Life To Live
    Pharrell
    Phylicia Rashad
    Pink
    Playlists
    Power Rangers
    Prince
    Princess Jasmine
    Producers
    Proud Mary
    Queen Of Pop
    Quvenzhane Wallis
    Rare
    Raven's Home
    Raven Symone
    Rayna James
    R&B
    Reality Tv
    Reputation
    Rihanna
    Robin Thicke
    Robin Williams
    Roger Howarth
    Rolling Stone
    Ronald Matters
    Ron Carlivati
    Rowan Blanchard
    Roxie Bardo
    Ryan Tedder
    Sales
    Sam Smith
    Sam Sparro
    Sanaa Lathan
    Scandal
    Selena Gomez
    Seth Macfarlane
    Sex
    Sex And Cigarettes
    Shannon Bex
    Shannon Sanders
    Shonda Rhimes
    Simon Cowell
    Sister Act 2
    SNSD
    Soap Operas
    Social Media
    Solange
    Song Writing
    Sorry Not Sorry
    Spotify
    Streaming
    Suga
    Superheavy
    Sweetener
    Sza
    Tamar Braxton
    Taraji P. Henson
    Taye Diggs
    Taylor Swift
    Tell Me You Love Me
    The Band Perry
    The Cosby Show
    The Day That Music Dies
    The Dealers
    The Dream
    The Exciters
    The Greatest Showman
    The Lion King
    The PinkPrint
    The Roots
    The Script
    The Seatbelts
    The Voice
    Three. Two. One.
    T.I.
    TIDAL
    Titanic
    Tlc
    Tlc Movie
    Tlc Story
    Toni Braxton
    Tori Kelly
    Trey Songz
    Tribute
    Tricky Stewart
    Tyler Perry
    Unbreakable
    Unbreakable Tour
    Unbreak My Heart
    Usher
    Vanessa Carlton
    Vanessa Hudgens
    Videoblogs
    Video Uploads
    Vontae`
    Wale
    Whitney
    Whitney Houston
    Whoopi Goldberg
    Will.i.am
    Women In Music
    Xfactor
    You Cant Win
    Younger Now
    Youtube Talent
    Zac Efron
    Zayn Malik
    Zendaya

    RSS Feed

Powered by Create your own unique website with customizable templates.