All Music Entertainment
What's Your Flavor? Choose a tab
You are viewing all articles posted under: Feature Article

Teairra Mari: Product vs. Promotion

Teairra Mari’s story went from fairy tale to forgotten tale in less than 12 months. Once upon a time heralded the ‘princess of the Roc’, 2005 saw Mari making her way onto the charts with ‘Make Her Feel Good’ – the thumping summer grown woman anthem. The then 17-year-old sang the commanding lyrics with a ‘Miss Thang’ conviction that would even make Monica proud. But even with all the promise and supposed support from then-mentor Jay-Z, Mari slowly found herself fading behind the chart success of wicked label-sister Rihanna. The latter, who was capitalizing off the then declining Caribbean craze sweeping the charts (see: Sean Paul, Elephant Man, etc), saw instant out-of-the-box success – interestingly with less visible support from shared mentor Jay-Z.

As both singer’s second singles from their debut albums failed to make much noise on charts, it seemed both were headed down the road to obscurity. That is, until 2006 saw a revamped Rihanna – more sex appeal, bigger budgets, stronger support. On the other hand, those who waited for a remixed Mari…waited.

…and waited. Mari finally reappeared in the late 2000s with the single ‘Hunt 4 U’, which failed to capture much attention the charts. Since then, Mari has become the mixtape queen; releasing song after song with no real response. Even when things appeared to look up after she scored high profile rapper assistance with singles ‘Cause a Scene’ (featuring Flo-rida) and ‘Sponsor’ (featuring Soulja Boy), Mari still failed to manage anything more than a briefly bated buzz.

Regardless of taste, one has to admit that all three singles from Mari’s unreleased sophomore album were quite commercially viable. Even in a musical landscape dominated by electro-Pop, the disregard of Mari’s music is surprising given the number of releases (visuals and audio) the singer has amassed over the last 2 years. However, this week Mari may have found her prince charming in label-head, producer Rico Love after word spread about the singer’s recent record label relocation to Love’s imprint ‘Division 1’ (Universal motown). Alas, we will all have to stay tuned to find out how that story ends.

So, That Grape Juice wants you to weigh in: Teairra Mari – Product vs. Promotion?

Is her product just not commercial enough for success (given the musical climate)? Or have Mari’s musical endeavors suffered marketing mishaps? Does she actually have a chance this go round?

Your thoughts?

Read This Story

Lip Syncing: A Necessary Evil?

Some swear against it. Some swear by it and there isn’t a Music Award Show that goes by without viewers bringing it up.


‘The technical term for matching lip movements with sung or spoken vocals.’

Ever a hot topic on the lips of many a music enthusiast, we here at That Grape Juice HQ want to know….

Is Lip Synching a necessary evil?…

Read more below…


Read This Story

TMI: Is Twitter Ruining The ‘Pop Star’?

Think back.  Before Youtube allowed you to ‘broadcast yourself’ and ‘friending’ or ‘following’ were household terms.  Even before Myspace and the endless kaleidoscope of social networking and social media outlets at our fingertips (blogs, social bookmarking) became the norm, the divide between the celebrity and the commoner was almost un-crossable.  Besides the occasional sweepstakes won and chance meeting on the street, the interaction between the celebrity and commoner was often left to professional encounters (paid public appearances, concerts, and the like).

However, with the advent and subsequent popularization of social networking, websites like (what was) Myspace and Facebook have helped blur that line, making celebrities all-the-more accessible to their adoring fans.  And time has shown that no outlet has better proven the beclouding of the barrier than Twitter.  Easily the most popular social networking site amongst celebs, the site is a testament to celebrity ‘outreach’, demoting celebs from their ‘demi-god’ statuses and, to great degree, humanizing them.  Giving glimpses into what once were mysterious private lives.

On a note separate from fan interactions, Twitter’s ability to give the un- or under- promoted artist a chance to take matters into his or her own hands, separate from record labels or official websites, has also proven itself to be a benefit.

But, every good thing comes with a price and it is no exception.

Twitter has shown us the good, bad, and ugly of many of our favorite celebrities.  Ask Rihanna, 50 Cent, Keri Hilson, Trina and other Urban pop stars and they’ll tell you the power of the almighty tweet – and the backlash it can ensue when an altercation arises or a joke goes too far.  And then there’s poster-child for Tweet-misuse, Chris Brown.   Rarely have two weeks gone by this year without having a negative headline and the keywords ‘Twitter’ or ‘tweet’ somewhere near his name.  From e-altercations with fans and other celebs alike, Brown has become the reigning representative of what happens ‘when tweets go wrong’.

So it begs the question:  While the benefits of marketing and PR are endless on the social media front, does Twitter cause the demystification of the “celebrity” – thereby making them unappealing?

In simpler terms, That Grape Juice wants to know…

T.M.I.(Too much information?): is Twitter ruining the Pop star?

Read This Story

Resurrecting R&B (Part 2)

R&B is on a respirator.  Once a celebrated genre that has given the music industry some of its most praised acts (see Luther, Whitney, Aretha, Marvin), the musical styling is unquestionably losing its identity to Hip-Hop and now Electro-Pop.

The question at hand: is R&B on its last breath or is revival in its future?  In a three part series, That Grape Juice will analyze three sectors of the fallen genre:  ladies (songstresses), males (crooners), and groups (both male and female) to determine if resurrection is in its future or if it will find permanent rest in the history books.

Next up, gentlemen…

One quick peruse of today’s Pop charts and Marvin Gaye might have a new reason to ask ‘What’s Going On’?  2011’s Billboard charts stand almost tenantless of R&B testosterone, with acts like Trey Songz acting as sole representative of the dying breed.  Such turn of events beg the question; Where did the male R&B singer go?

Rewinding to the beginnings of R&B sees acts such as Smokey Robinson, Stevie Wonder, and Gaye winning over multi-racial audiences, breaking down barriers while ‘breaking it down’ on global stages.  These are the men who effortlessly denoted what the generations that succeeded them would call ‘swag’.  And, though Gaye himself is touted as one of the greatest R&B vocalists of all-time, his contemporaries yielded no shortage of competition.

Fast forward from the Motown heyday of the 60s to the 80s and early 90s and you’ll see R&B replace disco moves in place of slow grooves, and balladeers take the forefront. And, while the Prince’s and Michael Jackson’s were migrating from their native genre to Pop crossover territories, Peabo Bryson, Gerald Levert, Babyface, Tevin Campbell, and the era’s king crooner, Luther Vandross, were busy enacting an R&B renaissance. Although not dominating the Pop charts like their R&B female counterparts (see Whitney Houston, Mariah Carey), there was certainly no dearth of R&B divo, crafting unforgettable hits and designing the soundtrack to our generation’s ‘old school’.

And then there was R.Kelly. With highly sexualized lyrics and suggestive stage shows to match, Kelly single-handedly ushered in a new era of R&B – discarding the debonair of Romance&B in exchange for Risque&B.  Crowned the genre’s new king, the singer undeniably stands as the bridge between the balladeers of yesteryear and today’s R&B.  And, while the Brian McKnight’s, Jon B.’s, Maxwell’s, Ginuwine‘s, and co. crooned to varying, altogether commendable chart success, the 90s saw no other R&B male take the industry by the reins like Kelly until Usher.

With Kelly’s packaging, albeit diluted, Mr. Raymond saw his rise to fame come on the wave of teen idolatry.  Even with the record buying public partial to Popi’er counterparts (Backstreet Boys, N’sync, etc.), Usher still never abandoned his R&B roots, wielding such career defining hits as ‘Nice and Slow’, and later ‘You Got It Bad’ and ‘Confessions’.

Fast forward to today.  After a decade of Hip-Hop influence, even neo-soul and traditional R&B singers (Mario, Jaheim, Musiq Soulchild) have tried trading in their signature mid-tempos to conform to the genre’s stylings (bass heavy and oft misogynistic lyrics) – to mixed success.  And with Hip-Hop’s hand itself slowly losing grip on the industry, failures in both Hip-Hop and R&B have encouraged the Usher’s (see:  ‘Here I Stand’) and co. alike to conform  (to varying degrees) to the industry’s new tyrant – Electro Pop.

So, where does the R&B male fit in?

While a new class lay waiting for chart recognition (Lloyd, Miguel, and the like), this generation’s leaders are undoubtedly Ne-Yo, Chris Brown, and Trey Songz.  Interestingly, though all three are billed as R&B artists, none have remained as loyal to the genre as Songz (noted:  the first to debut, but the least successful of the three).  Could such be due, in part, to his allegiance to R&B?

That Grape Juice wants to know…

Do you think that there will be a resurgence of mainstream R&B males?

Read This Story

Pop Quiz: The Quest for Queendom

All of the monarchs of the music industry are resting securely on cemented thrones.  We have an undisputed Queen of Soul, King of Rock n’ Roll, King of R&B, and of course, a King of Pop.  Even though such title was initially self-proclaimed, there was no denying its delegation.  Interestingly, there is a vacancy on that list…the queen’s chair sits ostensibly empty.  And though many may vie and eye the throne, no woman has boldly professed herself as such (unlike her male counterpart).  So, it begs the question:  Who is the Queen of Pop?   While there are candidates many-a-fan would crown as such, there has been no definitively, unquestioned female pop potentate. And then…

In an age where the merit of ‘pop royalty’ is defined by fly-by-night radio hits and digital downloads, famed music magazine Rolling Stone developed an index of criteria to best crown the genre’s new queen.  For anyone who has been alive for the last three years (inhabitants of the animal kingdom included), it was a no brainer that Lady Gaga would be enthroned the genre’s reigning female monarch.  However, the list, which only included Pop’s active acts, was greeted with so much backlash it was later revised.

But, even the revision still featured Lady Gaga (a relative newcomer) above legends Mariah Carey and Celine Dion (with no mention of Janet Jackson or Whitney Houston).  While the magazine’s attempt to fill the void is applaudable, it is also laughable.  With music’s other matronly monarchs having a spate of success under their individual belts, is it really fair to say the Lady named queen would only have two albums under hers and less than 5 years in the game?

Thusly, That Grape wants to know:  what should be the criteria for determining queenship? Sales? Influence?  Awards?  If so, with so many candidates, who is the Queen[Q1] ?

That Grape Juice has chosen six leading ladies who would probably be the real contenders for the throne.  Each of the succeeding songstresses have, at minimum, 20 years experience,100 million records sold, and immeasurable influence over the industry (especially over those who decorated Rolling Stones’ list).  Did your fave make the cut?


Read This Story

Resurrecting R&B (Part 1)

R&B is on a respirator.  Once a celebrated genre that has given the music industry some of its most praised acts (see: Luther, Whitney, Aretha, Marvin), the musical styling has unquestionably lost its identity to Hip-Hop and now Electro-Pop.

The question at hand: is R&B (as a commercially viable force) on its last breath or is revival in its future?  In a three part series, That Grape Juice will analyze three sectors of the fallen genre:  ladies (songstresses), males (crooners), and groups (both male and female) to determine if resurrection is in its future or if it will find permanent rest in the history books.

As always, ladies first…

Turning the dial (or Youtube search engine) back 20 years to see the plethora of female R&B acts dominating the radios and Pop charts is a stinging reminder of a time when the industry thrived on variety.  From crossover acts such as Mariah Carey, Whitney Houston, and Janet Jackson, to up-and-comers Mary J. Blige and Toni Braxton (just to name a few), there was no shortage of R&B estrogen on the airwaves or charts.  Not to mention such classic, yet then-active artists like Anita Baker, Aretha Franklin, and Gladys Knight.

However, as Hip-Hop/R&B fusions became more of a constant (which some attribute to artists like Carey and Mary J. Blige), the junior generation of R&B diva emerged in the form of the Aaliyah’s, Brandy’s, Monica’s, and eventually Ashanti’s.  Then, of course, you had that brand of 90s R&B diva (Faith Evans, Tamia, Deborah Cox and Kelly Price) who lacked crossover appeal, yet were still relevant – even if just appealing to a small niche.

But, as the 2000s rolled on and Hip-Hop was becoming the driving force of the music industry, ballads and slow jams were losing steam on the charts, and Hip-Hop was surely killing the R&B star. And while many of the time period marked Alicia Keys as a ‘savior of R&B’, she was one of very few pure R&B females who was granted relevancy in an increasingly convoluted music world.  Interestingly, though Mary J. Blige and Mariah Carey (who by 2005 were considered veterans) were seeing some of the best numbers of their careers, the genre’s overall shortcomings were inescapable.

Then, as the Beyonce’s and the Rihanna’s of the music world began to dominate charts by willingly trading in their R&B humbling’s for Pop’ier hits, the 90s divas of yester-year who refused to succumb to the change found themselves succumbing to irrelevancy. Even those who once showed promise in the early 2000s (Amerie, Tweet, and co) were finding themselves lost in the fray.  Suffice it to say, the industry at large began to suffer (see: illegal downloading, cd leaks), yet R&B’s former leading ladies seemed to fall victim most (Brandy, Monica, Mya, and eventually Ashanti).

Fast forward to 2011. Where is  R&B female? Even with hints of recent reigniting of public interest (i.e. Fantasia’s ‘Back To Me’, Monica’s ‘Still Standing’), they alone are not enough to indicate a resurgence.  And, even with notable record sales (given the current musical climate), those sales are marginal at best comparatively.

Record sales aside, the presence of R&B females on the Hot 100 chart recently is rarely without rapper accompaniment. There is a new class of R&B divas, however.  While not reporting record-breaking numbers, the Keri Hilson’s, Kelly  Rowland’s, Jennifer Hudson’s, and co. are definitely making noise.  But, is it enough to resurrect the fallen genre? Or will R&B eventually rest in peace?

Do you think that there will be a resurgence of mainstream R&B females?

Read This Story

Usher: Innovator Or Follower?

Usher has long been heralded as one of music’s most celebrated artists. Ranked as the 2nd most successful act of the last decade on the Billboard charts, he managed to give R&B music a voice amidst the expanding sea of Hip-Hop and Pop artists who began to dominate radio stations in recent years.

Nonetheless,  it seems that the tide of change has finally gotten too powerful for even Usher to resist as he prepares to reinvent his sound with the launch of a new genre he calls “Revolutionary Pop”. This decision has left many of his loyal fans baffled as they wonder if he is truly being innovative or simply joining the Pop music bandwagon in an effort to remain relevant.


Read This Story
eXTReMe Tracker