She said last year that she was in "the beginning stages" of creating a new album. We haven't heard nothing since then. I'm just over it, not over her because I'll always be a fan but just over anticipating new music.
Britney Spears: A White Janet Jackson Clone Disguised as Madonna
Written by Trent | Filed under Boiling Point,Britney Spears,Janet Jackson,Madonna
Britney Spears and Janet Jackson
When Britney Spears first burst onto the music scene, she was heralded as the leading entertainer of the new generation of Pop stars primed to dominate the turn of the century. Of course, beyond her talent as a performer, what propelled her to the top of the pack was her packaging as the next Madonna…or was she really just Janet Jackson by another name?
If you paid close attention to Spears’ style during her younger years, you should have observed the blatant similarities between her and Jackson. The budding vocalist who showed off impressive pipes during her first appearance on Star Search adopted more sultry singing suited to club hits that could have easily been written for Jackson. Spears also included group choreography into her routines and a subtle sex appeal that bordered on risqué without crossing the line into hooker territory.
Spears’ career even followed a similar trajectory to that of Jackson as she matured as an artist. She gradually swapped her girl next door image for the sexy vixen at the bar who was clearly out of your league but you still asked her to dance because you couldn’t resist the dimples and tramp stamp on her lower back.
In fact, Spears was basically one step behind Jackson in 2001 as her coming of age album, Britney, seemed to be an ode to her counterpart’s All of You record of that year. She was suddenly showing more skin, her videos were laced with darker, more sexually-charged imagery and her footwork emulated Jackson’s movements, which were based on the slick turns, smaller steps and perfectly timed heel to toe switches. Clearly, I watched far too many episodes of America’s Best Dance Crew.
By the In the Zone album of 2003, Spears’ fashion choices, dancing and music was so similar to Jackson that it was baffling that they weren’t being highlighted by the media. Even her ballads were comparable to Jackson’s work. Really, the piano and string-assisted “Everytime” was just the depressed little sister of Jackson’s “Again”.
Yet, if these parallels between Spears and Jackson were so clear, why was the former presented to the world as the next Madonna? You know what I’m about to suggest; you can feel it in your bones and you’re hoping I don’t say it but I will. The answer is simple: Madonna is white.
Although Madonna has long been known as the industry’s unapologetic tramp – well, Rihanna technically stole that title a while ago – and the memory of her Sex book continues to haunt the memories of middle America citizens, the mere fact that she is a white Pop artist opens doors that black acts have to work much harder to crack. Even when her career had lost steam in the mid-1990s, and Jackson was dominating both the charts and the tour circuit, Madonna was still recognised by the media as the “undisputed” Queen of Pop.
Naturally, if Spears’ team wanted her to be great, it would make perfect sense to market her as the next Madonna instead of comparing her to Jackson, although Spears had very little in common with Madonna beyond the colour of her skin. Think about it: how many major white performers have ever been called the next [insert black artist other Michael Jackson here]? As crude as it may seem, cultural and social ideals reflected in the media would deem such parallels as unfavourable. Simply, that would be “beneath” them.
So, Spears copied Jackson’s every move prior to the Damita Jo album, targeted a younger crowd and was paraded to the world as the next Madonna. Moreover, with the formerly music-driven MTV, specifically TRL, providing the viewers audience with a steady stream of propaganda to support the delusion illusion, it was difficult for any person to change public perception.
Interestingly, a white artist has since shattered the smoke and mirrors that tricked the public into believing that Spears was the second coming of Madonna. Indeed, Lady Gaga imitates Madonna to such a startling degree that it is impossible to deny their similarities and now that Spears has become unfit to carry the mantle following her breakdown, there is space for a new heir to imaginary Pop throne.
Many of you may be wondering why I include discussions of race/colour/ethnicity while presenting my theories and analyses of various artists’ careers but I remain resolute in my position. It is impossible to develop an understand of popular culture without deconstructing the various ideologies that feed the beast. This isn’t a fantasy land; it’s the music industry, and similar to other areas of mass media, it affects and reflects reality.
The Pop Culture Impact of Janet Jackson’s ‘Velvet Rope’
Written by TriniTrent | Filed under Boiling Point,Janet Jackson
Janet Jackson’s ‘The Velvet Rope’ album cover
We have discussed Janet Jackson’s many contributions to the entertainment industry in numerous articles here on The Lava Lizard but as we celebrate the icon’s 47th birthday today, there is period of her incredible career that deserves particular attention. Yes, as you guessed from the iconic artwork, I’m referring to The Velvet Rope.
Jackson had established herself as an undeniable force on the charts as well as on the tour circuit in the early 1990s but as the decade introduced a string of young acts all eager to follow in her footsteps, artistic progression became a necessity. What resulted from months of deep introspection was a bolder, more unapologetic Jackson who transcended beyond the proverbial Pop music rat race with an album that crossed genre borders and appealed to all ages in the 16 to 45 years bracket.
Indeed, The Velvet Rope represented artistic evolution and introduced Jackson as a mature artist. With clever writing and production, Jackson disguised serious social issues, such as domestic abuse, homophobia and the devastating losses caused by HIV/AIDS, in a veil of sultry melodies and basslines on an album that was undeniably ahead of its time.
Jackson also challenged ideals governing female sexuality with her daring performances, videos and styling that further defined the cultural significance of both The Velvet Rope and 1990s era of second wave feminism. Bordering on raunchy without crossing the line into Hookerville (governed by Madonna), Jackson’s brand of sex appeal stemmed from her flirtation with the art during the janet. period of her career, which had already inspired the works of TLC, Aaliyah and even Mariah Carey.
Janet Jackson vs Rihanna: spot the similarities.
That last point of our lengthy yet crucial reflection on The Velvet Rope brings us to the bottom line of this piece: Jackson’s work has influenced performers of her time and beyond, particularly the visual artists of the current generation. Despite often being unfavourably compared to Madonna in rankings of important female Pop stars, there is no denying that Jackson has contributed to the blueprint to which many acts adhere, as exemplified by those who have emulated the branding of The Velvet Rope.
From Beyonce and Kelly Rowland to Rihanna and Ciara, there have been dozens of artists who either knowingly or unknowingly adapted aspects of The Velvet Rope to their own projects. They copy Jackson’s fashions, performances, singing style and vocal arrangements, thus proving that the work she put forward wasn’t dated or confined to any specific period of time – a problem that grossly affected the material she released during the 1980s. Remember when 1998 Jackson performance of “I Get Lonely” was ripped off by Rowland at the 2011 BET Awards?
It is quite unfortunate that the media in the post-2004 Super Bowl era of Jackson’s career have tried to diminish the significance of her impact on Pop culture, especially since Madonna has been repeatedly excused for doing far worse than just flashing a breast on television for half a second. What has resulted is a level of ignorance by music fans who are too young to remember The Velvet Rope era and praise they favourite artists for blatantly copying Jackson’s work with little credit given to the original.
Still, even if critics refuse to acknowledge the impact of The Velvet Rope, it won’t change the fact that the record stands as one of the important releases of the last 30 years of recorded music. The material is still relevant to radio and could easily be adapted to radio today. Just ask Drake because as the majority of his catalogue proves, he’s clearly a fan.
Before we go, watch Jackson’s entire The Velvet Rope Tour below and see where your favourite female artist under 35 years learned her moves:
I just got into her 
just theorizing.
Some true tea was spilled up in here 
once she comes out of her high she will be back.
