R&B/Pop collective Danity Kane stopped by TRL earlier this week to perform their hit ‘Damaged’. The brief downtime seems to have worked; this stands as the best performance of the song thus far IMO. From the vocals to the choreography to the stage presence, the girls were on-point. Good stuff.
What do you think of the performance?
Pop superstar Janet Jackson was snapped arriving in Japan early this morning. The singer is over there for 3 days to promote her current album ‘Discipline’, which debuted at # 1 in the US upon its release back in February. It’s one of the few times Janet has been seen since recovering from a serious bout of the Flu, which halted the US promotion of the record. Upon the completion of this stop, it’s expected that full blown promotion for her anticipated tour will commence.Your thoughts?
The self-proclaimed ‘Queen of The South’ Khia is still bitching about rival Trina and Pop superstar Janet Jackson – this time via her MySpace page:WHAT DA HELL IS BOBBLE HEAD DOING ON DAT BITCH TRINA PAGE. CUZ ONLY A FOOL’S ALBUM WILL DROP ON APRIL FOOLS. DA JOKE IS ON ANYBODY WHO BUYS IT!!!yESSSSSSSS!!!
DIS NUT BUCKET BITCH, DONE PROMOTED NASTI MUZIK!!! SHE DONE PUT POSTERS OUT WITH THE THUG MISSES NAME ON IT. THANK U BITCH!!! SOMEBODY DONE GAVE DIS HO COURAGE JUICE. I THOUGHT SHE LEARNED FROM THE DISS RECORD. HELL…. YALL SEEN WHAT HAPPENED AFTER DAT SHE LOST HER MAN…… FROM WHOM I HAVE EVER INTENTION ON MAKING MINE…… DATS RIGHT WEEEEEEZY!!!!!YESSSSSSSSS!!! THE QUEEN HAS CHOSEN. YALL AINT SEEN HER SHE DONE LOST WEIGHT AND FROM DA LOOKS OF THANGS. THIS IS WRONG TIME FOR HER TO EVEN THINK TO PUT OUT A ALBUM. ALL I COULD THINK OF IS HOW SHE NEEDED TO CONTINUE WITH PEDIALITE AND ENSURE. CAN SOMEONE PLEASE BREAST FEED DIS BITCH? OR SHOULD I DO IT SINCE MY TITTIES LOOK LIKE DEY SLEEP!!!! OR IS IT DAT IM DA ONLY BITCH DAT CAN PRODUCE SWEET MILK. ASK WEEEEEEEZY!!!!! I LUVVVVVVVV HIM. I WANNA BE HIS LADY!!!!!!!!
YA SEE!!! DATS THE DIFFENCE BETWEEN ME AND DA BITCH TRINA!! SHE SINGLE AGAIN AND BACK ON DA PROWL. I WANNA BE WEEZY’S LADY AND HAVE HIS BABY. DA DIFFENCE BETWEEN QUEENS AND HO’S!!!!
ALL MY FANS….. LETS ALL SAY IT TOGETHER……….. THANK U TRINA FOR ALL DA PROMOTION!!!!!!
PS. MS NIVEA…… GO BACK TO YA HUSBAND…… AND QUIT CREEPIN WIT MY MAN!!!! UR A MOTHER NOW!!!!!!!
THUG MISSES “LIVE AND OUTLOUD!!!!!!!”””
On Janet:
LET’S TALK BOUT JANET!!!!!!!!!!MS. JACKSON IF U NASTI!!! BEIN A KHIA HATA. U KNOW DERS A LOT OF DEM….. LURKIN AROUND….UNDERCOVER HATIN!!! CUZ YESSSSSSSSS!!!!! DATS WHAT SHE DID. IM SICK AND TIRED WITH THEM CONFUSING DA TRUTH WIT ME TRYNA PROMOTE MY NEW ALBUM. MY FANS KNOW I DONT NEED HER TO DO SHYT TO HELP PROMOTE NO ALBUMS!!!!!
DA QUESTION WAS…… WHY WAS I ON DAT IN TV….. LOOKING LIKE A OLD ALFRED HITCHCOCK FILM!!!!!!! IN BLACK AND WHITE!!!!! TELL ME WHATS REALLY GOING ON. WHEN I LEFT DA SET THE VIDEO DIDNT LOOK LIKE DAT!!!! FURTHERMORE….. THE FULL VIDEO WAS WORLD PREMIERE WAS FEATURED ON ACCESS GRANTED. SO WHY WAS DA QUEEN EDITED OUT!!! I KNOW IT WASNT JERMAINE….. CUZ I KNOW IT WASNT JERMAINE. HE GAVE MUCH LUV AND SHOUT OUT ON DA SHOW!!!! SO WHAT WAS THE PROBLEM JANET!!! MS. jACKSON IS A LEGEND…….. DONT MAKE ME BURN WITH DA IRON. PENNY ON GOODTIMES.
STOP IT!!!!! ULL NEVA BE MARIAH!!!!! SHE DONT HAVE TO BE INTIMIDATED BY ME. PUTTIN ME ON DAT DAMN TV!!! SHE AT HATA. DIVAS CAN BE HATAS TOO!!!
NOWWWWWWW!!!!!MYT ADVICE TO JANET. MS. JACKSON IF U NASTI!!! STOP TRYNA TO COMPETE WITH THE LITTLE GIRLS. GO TO VEGAS AND DO SIDE SHOWS WITH CELINE DION AND MAKE REAL MONEY…….. WITH DOSE TRAMPESE CIRCUS ACTS!!!
WE ALL KNOW YO TEA SINCE DA VALET ROPE. LET IT GO JANET. IF U NASTY!!!!
THE THUGMISSES SAID DAT ON LOUD AND OUTLOUD!!!!!!!!!
No comment.
Any thoughts?
Within the two years that followed the release of Danity Kane’s self-titled debut, the group – consistent of Dawn, Audrea, Aubrey, Shannon and D. Woods – amassed a legion of loyal fans and experienced Platinum sales. Yet speculation about rifts between the ladies and management, as well as among themselves, threatened to dissolve the group just as quickly as they were formed. Having ironed out their issues, Danity Kane are back with their sophomore effort ‘Welcome To The Dollhouse’ (due March 18th). An eclectic Pop/Urban/Dance fusion, with ‘Dollhouse’ the ladies prove their worth and then some.
That Grape Juice recently caught up with D. Woods from Platinum selling group Danity Kane. During the course of our telephone interview, D. Woods spoke, quite openly, about the group’s success, the break-up drama, label/management opposition, her body image and much more. A long, yet interesting read. Enjoy.——————————————————-
Sam: Hey D.Woods, how are you?
D.Woods: I’m great. How are you?
Sam: I’m doing fine, thank you. I’m doing fine. It’s great to be able to speak with you.
D.Woods: Likewise.
Sam: I’m sure you’ve been very busy as of late, describe your day today.
D.Woods: Oh, today. We were in rehearsal all day today. We’re actually about to shoot the video for our new single ‘Damaged’. So we’ve just been rehearsing, dancing and sweating (laughs).
Sam: That’s great. Let me just say, I’d like to congratulate you and the group on being certified Platinum with your self-titled debut.
D.Woods: Thank you.
Sam: You’re welcome.
As has been seen previously, coming from a popular reality show doesn’t always transcend into high record sales. How, then, does it feel to have achieved such a major feat with the first album?
D. Woods: It was definitely a surprise. I mean, it’s what we all hoped for, but we knew the odds that were against us. So after all our hard work, achieving it (platinum status) was like the icing on the cake because we, basically, had our dreams turned into a reality.
Sam: Ok. Your sophomore album is interestingly titled ‘Welcome To The Dollhouse’. How did the group come up with the name for the record?
D. Woods: Well, one of the records we have on the album called ‘The Key’ has a very…the music sounds kind of like a wind-up doll. So we had a whole visual brainstorming session for the direction of the album and (came up with) the fact that we can be likened to these dolls that can be made up, positioned and dressed. Yet, at the same time, we wanted to get a little bit deeper; open the doors to how we really feel because last time we didn’t really get too emotional, touch on things that matter and our personalities didn’t really shine as we would have wanted them to. This time, it’s like, welcome everyone in; we are like these dolls, pristine and whatnot, but at the same time we have other sides to us.
Sam: The record you mentioned, you said it was called ‘The Key’, right?
D. Woods: Yeah. It was written by a writer/artist named Shanell, who is actually my sister.
Sam: Yes. Is she signed with Ne-Yo?
D. Woods: Yes she is.
Sam: (laughs) I did a bit of research on that.
D. Woods: Yeah. Myself, my sister Shanell and another partner Mika, are a writing team called the The Girls Club.
Sam: Having watched the current season of Making The Band, Diddy seems to have given you ladies more of a creative input this go round. In what ways was this so and how did it impact the final product?
D. Woods: It definitely (impacted the final product). I mean, the title ‘Welcome To The Dollhouse’ is some thing that we as a group created. We definitely went toe-to-toe with him on choosing which songs (would feature on the album) out of the ones we recorded. We had a lot to say about the direction of our upcoming video. Everything, this time, is a lot more organic and believable.
Sam: You guys did a lot more writing on the album this go round, right?
D. Woods: Yes. We worked collectively to co-write. By ourselves, we wrote about six of the tracks on the album.
Sam: How many tracks are going to be featured on the album?
D. Woods: That is still in the works right now. We’re still going back and forth, choosing songs, keeping them and taking them off. I’m not sure just yet.
Sam: The album’s lead single, The Stereotypes produced ‘Damaged’ is markedly more pop sounding compared to the radio-friendly R&B on your first album. Is this the ‘sound’ we can expect to hear more of on ‘Welcome To The Dollhouse’?
D. Woods: Definitely. We definitely wanted a dance record, something that was Pop, with international appeal. We wanted something in the vein of what some other people were doing, like Justin Timberlake and Nelly Furtado. To be honest, we wanted to have that energy because we are all dancers. I mean, we were in rehearsal today just killing it (laughs). It’s exciting for us, for me. I’ve been dancing since I was three years old and me being able to express (myself) goes hand-in-hand with the vocal part of our performance. So yeah…
Sam: Great. As well as newcomers such as The Stereotypes, who else did the group work with on the album and what collaborations etc can we expect?
D. Woods: We did a couple of songs with the producer Danja. There’s also a song called ‘Bad Girl’ that Missy Elliott features on and we were really excited to be able to work with her. Some of the other producers include The Runners, Bryan Michael-Cox, 7even. We have writing teams like The Clutch. Our vocal producer, who basically vocally produced the entire album and we wrote songs with him, was Jim Beans. He had a really wonderful way of working with our different voices, voice textures and making us blend together. He helped us find new ways to get five voices on one track.
Sam: A lot fans wanted to know when the ‘Damaged’ video will premiere.
D. Woods: We are actually shooting it this Wednesday. So soon after.
Sam: Who will be directing the video?
D. Woods: The director is Syndrome.
Sam: I’m assuming the album has been completed; you’re just in the process of selecting tracks. Do you have any personal favourites?
D. Woods: Yeah, the recording is done, we just choosing the songs. I have to say that ‘The Key’ is my personal favourite because it comes from my camp…
Sam: (laughs)
D. Woods: There’s another one I wrote on called ‘Flashback’, it’s actually an interlude. I was one 
of the last ones that we did. Me and Dawn wrote it. It kinda almost has an alternative/rock edge to it. After recording it as an interlude, we were like ‘Dang, we should made this a full song!’ Also, there is a song called ‘Striptease’, which myself, Dawn and Jim Beans wrote together. It’s very tongue-in-cheek, sassy, and sexy, using a lot of metaphors…it’s real sexy (laughs). I’m hoping that it will end up being a single so that we can match the visual to the cleverly written lines. Danja produced that song, so the beat is crazy.
Sam: Definitely a lot to look forward to there.
We have to talk about the drama surrounding the group this past summer. There was a lot of talk among the media, as well as some of the group members themselves about a possible break-up/new line-up etc. Obviously, now things are fine, but what exactly went down then?
D. Woods: Well, there were the rumors that we were breaking up and I stress that they were rumors, as they were never confirmed. That was never a reality, so that was that. The other part of the drama, definitely, was that we had to ‘clean house’ with our business organization. Being a group that was constructed on a reality TV show, we were not in control of a lot of the things that were going on around us. I mean, as you saw with our last album, it kind of picked up and then the ball was dropped. So, we had to address those issues and take matters into our own hands; and that takes time (to restructure your business). We had to fire our management…actually, it was a mutual split, and both parties weren’t happy (laughs). We, basically, had to pick up the pieces. There wasn’t a lot of support from the label at that time, because they didn’t know what to do with us. We really just had to pull together; we live in 5 separate cities across the country…It was just a real reality, we really found out the real reality and that was what that (the drama) was all about.
Sam: There was a rather lengthy gap between the group’s first and second single, ‘Show Stopper’ and ‘Ride For You’ respectively. Was this linked to the restructuring process you mentioned?
D. Woods: Uh huh. Yeah.
Sam: Despite selling very well with the first album, the group have stated, on quite a few occasions, that you all didn’t make any money from it. Why? How did you all safeguard yourself this time around?
D. Woods: Well, being that we weren’t allowed to write anything on the first album, I say ‘allowed’ because we definitely submitted lots of songs but they weren’t…
Sam: Allowed to be placed on the record?
D. Woods: Right. It was in other people’s best interest to not have us writing on the first album (laughs). I mean, that’s the main way you will make money when releasing an album; after you recoup everything, there’s not much left over (besides what one would receive on writing credits). I think, that during the lengthy gap between ‘Show Stopper’ and ‘Ride For You’ – as you observed – that was actually the record company figuring out that we are actually a credible group. They were figuring that out at that point.
Sam: I know a lot of fans were hoping for more singles from the record. I remember hearing a lot of calls for ‘Sleep On It’ and other tracks to be given the single treatment. For obvious reason, it…
D. Woods: With the state of the industry, a lot of record companies are not gonna risk anything. They don’t want to spend a lot of money, but they want a lot of returns. I think people weren’t sure they could spend a lot of money on us and get a return on us; but we definitely proved them wrong –time and time again (laughs). So with that, we definitely fought for the right to take creative control, to be able to write on our album, to put new management in place so that business opportunities will be there that would allow us to make money outside of just the records. At this point in the industry, you make most of you money outside of the music. We didn’t have any of that set up by our last management. We were basically doing shows and paying ourselves, the people on the road with us etc. So when the shows stopped, the money stopped. That’s the part of the industry (people don’t see). Yes, it’s ‘Lights, Camera, Action’ and glamour, but it’s a job at the same time, you know. If you’re not out there making people move their feet and clap their hands, then you don’t get paid (laughs). It’s like at IBM, if you don’t press those buttons on the computer, you’re not getting a paycheque.
Sam: … (laughs) On the current season of Making The Band, much ado has been made about the fact that you ladies reached Platinum status with the first record. Do you feel any added pressure this go round? Are you fearful of the dreaded sophomore jinx?
D. Woods: No. I feel like this is the first album that we’re doing. We’re actually able to be ourselves. I feel it’s a better way for us to step out. Already, we’ve had great feedback on ‘Damaged’. From little listening parties here and there, people are real excited about the music, images, photoshoots, everything. The photoshoots etc we are doing now are just cohesive with the music; so it feels like now we are just starting. So it doesn’t feel like ‘Oh my God, the sophomore jinx’ (laughs); it’s more like ‘Oh, we really about to do it now. We weren’t playing the last time’ (laughs).
Sam: That’s great. Bad Boy’s track record with artists is, arguably, hit and miss. How does Danity Kane plan to sustain in the industry for the long haul?
D. Woods: We just plan to learn from the mistakes of the past (laughs), keep moving forward and not rely on anyone. I mean, all of us in Danity Kane, this isn’t our first taste of the industry – we all have our own levels of experience and know what’s going on. Like if we don’t know something, we know someone that does and will get the information. We’ll have the right attorney around us to give us the information, have a music business book etc at hand and make it happen. That’s what you really have to do; do it for yourself; you can’t rely on everybody else to do it for you.
Sam: Cool. On this season of Making The Band, you have co-star with the guys from last seasons show. How does the show’s new dynamic sit with you? Did you have any apprehensions going into it, as things have obviously changed?
D. Woods: Going back into it, I was a little nervous because I didn’t know what the direction of the show was going to be and how we were going to be portrayed. I was very protective of our image; I didn’t want it to go down as some ‘Flavor Of Love’ or ‘Real World’. This is our career and we weren’t looking to make a mockery of ourselves to get camera time. So that was my main concern, but I’m very happy; we have the comedy, the drama, the little romance that keeps it interesting. Yet, it also comes back to the music and I’m glad that it’s not all about the beat down or the ‘Oh, you couldn’t get your part right in the studio’. We are actually being portrayed as artists. People can walk away from this and they can respect our process, instead of criticizing it. If you look at how we were shown on the first couple of seasons, it wasn’t bad, but they would show a lot of the downfalls, but not much explanation behind it. So the viewers at home, who don’t know about recording in the studio for 12 hours trying to make hits, they don’t understand. That’s why we had a lot to fight against the first time coming out. Now I feel that the respect level is a lot higher.
Sam: As at writing, the episodes that have aired thus far, show you and Robert (from the guys) to have a situation of sorts going on. A potential romance, perhaps?
D. Woods: No.
Sam: (Laughs!)
D. Woods: That episode you got the gist of the relationship (laughs). We made up and, by the end of that night, we had an understanding. I think when you don’t know people, you don’t know the buttons people have…it was trying me. You know, sometimes with the male macho ego, he probably thought he could just do whatever he wanted. Me just being a jokester, along with Aubrey, we just think such things are funny. I guess some people don’t have the same sense of humor (laughs).
Sam: Are there plans for any more seasons of Making The Band?
D. Woods: At this point, I don’t really know. I think we’ll find out depending on how the ratings are and what the network (MTV) is saying. 
Sam: Moving on; with your evidently curvaceous build – something touched upon in previous seasons- and individuality (the hair etc), do see yourself as a role model to younger females. If so, why do you think it’s important?
D. Woods: What did you call it (laughs)?
Sam: Curvaceous build (laughs).
D. Woods: Awww
Well whether I see myself as a role model or not, I probably am. There are probably people that I will never meet that know about me, know what I’m doing, look at me in articles etc and it’s something that I always have to keep in mind…sorry what was the rest of the question (laughs)?
Sam: (Laughs / repeats question adding…) like, there was an episode from two seasons ago, where Diddy called you out (for being heavier than the other girls). A lot of the reaction was, obviously sympathy for you, and at the same time there was a collective ‘Oh wow, D. Woods is actually real. She’s just like a real woman’. So to some extent women see you as a role model.
D. Woods: I think above all, you just need to be true to yourself and that’s what I’ve been doing. As far as my physique, I’ve always been body conscious – not in an obsessive, compulsive way – but I’ve been a dancer all of my life, so I’ve always been into body conditioning, staying in shape and making sure that I’m able to perform and do what I do to my best capability. I try to maintain that in a way that’s neither mentally or physically damaging. Yes, it comes to a place where you accept genetics and you have to take care of your process and what you’re willing to do. Like, I’m not willing to change myself to fit into anyone’s mould. If you feel like I need to be a certain size to be in this group, then you probably should have picked somebody else.
Sam: (Laughs)
D. Woods: … because, no matter what, there’s certain things on me that aren’t going to change or get much smaller. Even with the hairstyle, I just do what I feel like doing. Like today, I decided to cut a little of it off (laughs). It’s all a part of how I express myself. (I) Express myself through song, through dance and through the way I look.
Sam: Who would you say are inspirations to you, as an individual?
D. Woods: My parents would listen to a lot of Soul music and those types of singers, so I was inspired by that. I was also inspired by Whitney Houston with her legendary, powerful voice. I was inspired by Patti Labelle, in the way she’s so individualistic. When you look at her, her track record, being in a group and then moving on to become a solo act, throughout she never compromised her style. The way she decides to sing or wear her hair etc, just exudes a lot of confidence (which inspires me). I’m very influenced by Hip-Hop, like Outkast, Jay-Z, Nas, Biggie, The Fugees, that’s the stuff I know all the lyrics to. There’s countless singers like Stevie Wonder, Brandy, Bjork, a lot of different people. I did a lot of musical theatre coming up; I majored in Theatre at college. So those are really my influences.
Sam: You have a lot of international fans (especially here in the UK), many of which are hoping to see/hear from the group this year. Will you be touring/releasing etc this year?
D. Woods: Most definitely. We’re definitely putting pressure on our label; we’re always telling them ‘y’all need to put together an international market’. We’re going to be all over the globe this year. So, yeah.
Sam: That’s awesome. A few quick random questions:
Have you heard Laurie-Ann’s new single ‘Addictive’?
D. Woods: I sure have (laughs)
Sam: (laughs) Are you liking the single?
D. Woods: How do you feel about it?
Sam: (laughs)…(silence)…Errr…
D. Woods: I’ve only seen the video once, I think I have to see/ hear it a few more times (laughs). I think it’s very interesting, I know it’s something she’s wanted to do for a while. I have to now get myself into looking at her as an artist and not a choreographer.
Sam: Uh huh. What songs you’ve had on constant rotation?
D. Woods: Without sounding cocky, I’m listening to my own music (laughs). I like it, what we put together and ready to get it all out of my system. I definitely like Kanye’s ‘Graduation’. I work out to ‘Stronger’, Rihanna’s ‘Don’t Stop The Muisc’ is another of my workout songs (laughs). I really love Alicia Keys’ album too. For some reason, I’m listening to a lot of throwback stuff recently. Like I just bought Madonna’s everything off iTunes (laughs). If someone was to go through my iPod, they’d probably wonder how it (the different music) all comes together, but somehow it just does.
Sam: Rounding up, the release date for the album?
D. Woods: March 18th
Sam: That’s great. Do you have a message for the fans?
D. Woods: Get ready to be excited. The album, the tour, everything. Get ready.
Sam: Thank you for your time.
D. Woods: Thank you.
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Danity Kane’s sophomore album ‘Welcome To the Dollhouse’ hits stores on March 18th. In the meanwhile, you can catch D. Woods and the rest of the ladies on MTV’s Making The Band 4 (check your local listings for air times).
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Your thoughts on the interview?
A press listening session for both Mariah Carey’s latest effort and Janet Jackson’s ‘comeback’ album ‘Discipline’ was held here in London recently. The preview below, via DiscoPop, reveals a number of things about each project, including the title of Mariah’s LP, ‘That Chick’. It’s a long, yet interesting read, which should give an indicator about what one can expect from both projects {Thanks L. Thompson}:
In London, England, Def Jam boss Antonio “L.A.” Reid was showing off the two female jewels in their crown today with playbacks of the new Janet Jackson and Mariah Carey albums.
Label boss Reid seemed very excited about both of them, although that is his job, and mentioned plans for six singles from Mariah’s That Chick, which hits the stores in April.
Janet Jackson – Discipline
First up, though, was Janet’s Discipline. If you’ve heard the single, Feedback, you’ll have a pretty good idea of what to expect from the album. It’s crisp, danceable R&B lavished with Janet’s trademark velvet harmonies.The stand-out track was probably Tonight, a bubbling club track which can only be Jackson’s response to Rihanna’s Don’t Stop The Music. Reid mentioned that some of the tracks weren’t finished – and this one sounded like it was missing a sample somewhere in the mix. Once that’s added, this could be Janet’s biggest dance success since Together Again.
Love, Love, Love and This Can’t Be Good saw the lyrical return of the sweet singer who first raised her head on Let’s Wait Awhile – all coy and bashful while falling head over heels in love.
But the sleazy siren of 20 YO is also present. Title track Discipline is a gruesome plea for fetishistic S&M sex – with Janet referring to her lover as “Daddy” while asking to be tied up and disciplined. Given that her father is a well-documented control freak who used to beat his kids, this is more than a little uncomfortable.
Speaking of family connections, there’s long been a rumour that Janet and Michael will team up again (as they did on 1996’s Scream) this year. Well, nothing I heard today confirms that rumour – but there is a track called Rock With You that appears to sample the single of the same name from Off The Wall. Could the finished version feature guest vocals by the former King of Pop? I genuinely hope not.
The remaining two tracks, Rollercoaster and Greatest Ex Ever, didn’t really set my world alight – but you never know what’ll happen on repeated listens.
The main thing seems to be that Janet is back on form, vocally and lyrically. The record is very safe and commercial, although I’m not sure where they’ll go for the third single (Tonight surely has to be the second). But as a first step towards career rehabilitation Def Jam has made a strong play for their newest diva.
Mariah Carey – That Chick
Their old diva (in terms of contract, not age, of course) is Mariah, who is riding high after the 7xPlatinum-selling Emancipation Of Mimi.We got to hear 10 tracks from the follow-up, That Chick, which I have to say sounded more polished and commercial than Janet’s effort.
One track in particular is set to make big bucks, and that’s Bye Bye – a torch song for people “who lost they grandmothers”. I guarantee that Simon Cowell will be sick of hearing badly-realised auditions of it by the end of the year.
Lyrics were never Carey’s strong point, mind you, so her paean to loss is summed up with not-very-insightful Hallmark platitudes like “I’d give the world to see your face” and “Life goes on”. Profound, eh?
Still, at least it’s better than when she desperately attempts to prove how bang up to date she is. In Touch My Body, she purrs to her lover: “If there’s a camera up in here then I best not catch this flick on youtube (youtube)”. Not exactly the sexiest boudoir come-on you’ve ever heard, is it?
But there are plenty of good tunes to counter the awesomely bad lyrics. Migrate, about a night out with Mariah while she wears jeans (“yeah, they fit”, she informs us) is sure to be a candidate for heavy MTV rotation, although I hope to God they excise T-Pain’s hopelessly strained vocals. Lovin’ You Long Time, meanwhile, is a strutting uptempo number very much in the style of It’s Like That.
So, what have we learnt from this listening “event”? Well, I wasn’t overwhelmed by the music – despite (or perhaps because of) the fact it was played so ear-splittingly loud that it felt like I was being punched repeatedly in the ears by a cyberman. Both artists have turned in a tuneful, competent set of R&B songs, but I’m not sure that any of them have the charisma or vitality to compete with the Rihannas and Beyonces of this world.
Both albums: 6/10 (scores may go up or down after further listens at levels tolerable to the human ear).
After reading this preview and seeing that ‘she cannot-be-serious’ album title, I’m real anxious to see what Mariah’s album will serve up. Although I’m not looking for her to simply re-create ‘The Emancipation’, that album should stand as an indicator of what people want from her. This kinda has me thinking the album will largely be a collection of ‘Shake It Off’/’Get Your Number’ type tracks – which, IMO, were not the strongest on the last album. Only time will tell, I guess.
I must say that Janet’s album is looking more appealing to me at the moment. The project just seems a lot more focussed sounding. Saying this, considering Janet, herself, confirmed the album to be mainly ‘uptempo’, the previewer sure did note quite a few syruppy ballads (not neccessarily a bad thing). Again, I’ll reserve (as is logical) full judgement until I’ve heard the album(s) for myself.
Whilst looking for something on my laptop, I dug up this review I wrote on the 2006 World Music Awards, which I attended here in London. Written, initially, for placement on a Michael Jackson site, I thought to share it with you guys. Enjoy.
I’m gonna cut straight to the chase…
Linsay Lohan sucked as a host…badly. She did no skits or entrance and essentially read off the auto-cue. Terrible.
Beyonce opened the show. She tore that motherf**ker down. She is a natural…it was effortless. She did the dance break from Ring The Alarm first (which I did not expect) and then went straight into Deja Vu. She performed again, didn’t see much of it though…I’ll get to why in a minute…
Even if I tried, I can’t remember a lot of the ‘world’ acts that performed. So I’ll jump straight to Nelly Furtado, who sang her new single ‘Why Do All Good Things Come to an End’. She did really good and was generally received well.
After (and sometimes during) every segment the whole arena would chant ‘Michael Michael Michael’, sing his songs etc. I’m talking from the rafters to the standing section where I was. Say what you want about him, but the man has loyal fans and could pack out most arenas across the world.
Anyway…
Paris Hilton got booed so hard, I felt sorry for her. Once she realised how bad it was, she just played up to the role of ‘spoilt show-off’.
Now the standing area was packed and I was fortunate enough to be roughly third row(ish) back there. Inevitably pushing started, I was having none of it and had words with a few people. Nonetheless I was no longer comfortable and was squashed. With no water being passed out until later, I was starting to feel the heat, yet was still anxious to see Michael etc. At the very moment I said to myself ‘imagine paying all that money to come here and faint’, I started to get woozy headed…everything turned into a blur and then it went black…all I could hear was ‘is he ok?’, ‘he’s fainted’ etc. So with that, the people I came with had to escort me from my 3rd row view to the very back of standing where I passed out on the floor…damn.
The announcer then said ‘please welcome back Beyonce’. One of the girls I went with grabbed the camera and ran. So much for looking after me (lol, I would have done the same thing…not missing **** for nobody lol). ‘To the left, to the left’ rang out and Beyonce performed again, while I was now recovering on the floor. I shook myself out of it though, drunk two Red Bull’s and woke the hell up. I was not missing Michael Jackson.
I eventually ‘excuse-me-ed’ my way close to where I was standing before. Beyonce came out AGAIN (talk about recycling the same stars) and introduced Michael Jackson as the recipient of the Diamond Award (over 100 million Thriller albums sold). I have NEVER, EVER, seen a crowd go wild like that… EVER. People were randomly bursting out in tears…genuinely in awe of him. Can’t no one say that the ‘Michael Jackson effect’ of the 80s doesn’t exist no more. It was in full effect last night. Most of you know the deal with MJ acceptance speeches…he begins to talk…gets drowned out by the crowd appreciation…says ‘I love you too’…etc lol.
Poor Rihanna…she came on straight after MJ (we were all expecting him to go straight into performance), but, no, it was her. When they announced her name…a lot of people booed. Not because they hated her, but they wanted Michael. Anyway, she sang Unfaithful. I won’t lie; the girl can, indeed, sing and has definitely developed a stage presence. Still, her voice is a little too whiney and nasal for my liking. Anyway she got a big applause after, yet seemed pissed (bitch, please) and went straight off stage…didn’t wave or acknowledge the audience at all.
The opening of Thriller started…people were expecting it to be Michael. Yet Chris Brown appeared and did a really good tribute…full red ensamble and everything. Like Rihanna his voice was a bit too whiney and pre-pubescent, however he nailed the Thriller choreography. Chris did a very respectable job. Good stuff. This, though, left the audience in a state of confusion; what was Michael to perform, if CB did Thriller?
A choir of teens filed onto the stage. They sang (mimed) 3/4 of We Are The World to the backing track and then MJ arrived. Here’s where people were a little PO’ed (after the show, might I add). He basically walked up and down the stage collecting posters, flowers etc and mumbled a few words of the song – and then left. I was told by a relative who watched the news that MJ said that he wasn’t performing and was there to collect the award. That explains why the whole We Are The World performance looked so hastily arranged. As you all know, this was built up to be his ‘comeback’ performance…in fairness to him there was never any ‘official official’ word on him performing. Rather rumors and hearsay snowballed and hyped everyone up for a Thriller-esque performance that was never going to happen. MJ and/or his people have to take slight blame for this…people bought tickets expecting him to perform…this could have been cleared up with a press release or something beforehand. It kind of leaves me a bit worried about the people MJ still has around him; surely clarifying his role at the awards beforehand would have left people in no doubt of what they were paying to see. However sitting back and letting people think it will be this show-stopping ‘comeback’ performance and then it not happening is like MJ shooting himself in the foot. Now the media over here are having field day.
I was interviewed by GMTV. I did it to, primarily, counter-act much of the negative interviews disgruntled fans were giving (and to get on TV). It wasn’t shown. The one’s aired showed fans heated and angry and nothing really positive. No surprises there.
Personally, I had a great time, mainly due to seeing Michael Jackson in the flesh for the first time as well as the spectacle that was Beyonce. The award’s itself was very badly organised, though. Long queue waiting hours, huge gaps in the show, among other things, left a very salty taste in my mouth.
With how yesterday went down, it is IMPERATIVE that Michael shows everyone why he is the superstar he is. He will forever be the King of Pop, but it seems the mainstream media as well as the general public need to be reminded. Remind them then Michael.
Jagged Edge: We’re doing good, just sitting here chilling in the studio.
S: First of all, let me just say that it really is an honour speaking with you guys.
JE: Thank you very much, thank you very much.
S: It’s been a short while since the fans have heard anything from you; how have you been spending your time away from the limelight?
Wingo: Man, away from the limelight is work. Work never stops. We’re in the studio doing what we love. Recording, with our families, eating hanging out…enjoying life. One thing my father said ‘there’s nothing like having a job you enjoy going to everyday’. We go to sleep music, we wake up music. You, know what I’m saying. It is what it is.
S: Since hitting the scene almost a decade ago, you’ve maintained a great working relationship with Jermaine Dupri – recently (re)signing with his So So Def imprint over at Island/Def Jam. How did that come about?
Wingo: Actually, JD and Jagged Edge are brothers, man. He changed our life by giving us a record deal about 8 or 9 years ago. We’re still here and are just very thankful for it. He taught us a lot and we taught him a lot. We’re like a family – you can’t break a good family apart; It’s very hard to. Different obstacles may come in your way but you just knock them down and keeping it moving. There was some contractual stuff that we were dealing with back at Columbia and with Sony that wouldn’t allow us to be with him. So once we were able to leave, we did.
S: Your new album is aptly titled ‘Baby Making Music’ – a collection of ballads. Aside from being renown for your great slow jams, what inspired the concept?
Did you have doubts going into this project, after all the group’s up-tempos such as ‘Where The Party At’ have proved equally as popular?
Brian: That’s what we do (ballads). Our fans know us as balladeers. That’s where our heart and soul is. As far as the up-tempos – we do it all, all across the board. Saying that, we have a lot of fans come up to us saying ‘we made our first child to your music’ etc so we wanted to give them what they like us for. A child is a great thing. It’s all about pro-creation its how we keep the world moving. At the end of the day, that’s what we’re doing – keeping the world moving (laughs).
S: The first single from the album, ‘Put A Little Umph’ In It’ featuring Ashanti has been received really well, how did the collabo come about?
Wingo: The twins (Brian and Brandon) did Ashanti’s first demo tape back here in Atlanta and once the idea came up to have her on this record, we were with it. Her work ethic is good. We called her up and asked to be on the record and she sounded good on the record. So it was like ‘Hey, it’s on’.
S: What was it like working with her in the studio?
Wingo: Actually, we didn’t really get a chance to work with her in the studio. They sent the record to her. She did the record and had it sent back.
Brian: She was really easy to work with.
Wingo: She’s good people and done what she was supposed to do.
S: What other guest features and producers are featured on the album?
Brandon: Jagged Edge and Jermaine Dupri – that’s it. That’s another reason why we got back with Jermaine, because he respects our creativeness and we respect his. At the end of the day, we did half the album, he did half the album. We let him know what we wanted going into the project and he respected that. He loves our work just as much as we love his.
S: What have you been doing in-between recording the album and after?
Brian: We’ve been out on the road, doing a little promo, getting our relationship back established with radio, TV and with you guys – it’s going down. We’re here, we ain’t going nowhere.
S: Have any personal favourites emerged from ‘Baby Making Project’?
Wingo: My favourite the first single ‘Put a Little Umph In It’ because it’s straight to the point. You know when you get with that one you love; she ain’t going to be expecting no slacking. You gotta be a man (laughs)..put your back into it.
S: Ten years deep, you’re one of the only active R&B groups still around; what do you think has been the reason for your staying power?
Wingo: Our love for music, our love for what we do. As I said, Jagged Edge, we go to bed music, we wake up to music. That’s it. Everyday of our lives it’s music. When you love what you do, you’re not going to let anything deter you from it. You might get upset about a few situations and stuff like that. But the overall picture is music, we’re here to do music. Our fans love us for our music.
S: Despite achieving a high level of prominence, you’ve seemingly managed to stay out of the tabloids etc; how has this been so?
Brandon: We do not try to invite negative energy. We see them stories etc and we try to separate ourselves from it. We do ourselves: Jagged Edge.
Wingo: We don’t try and be with the ‘in’ crowd. We are the ‘in’ crowd.
S: Speaking of rumors/gossip, Brian – for the record – what was the situation with you and LeToya?
-Brian dodges the question, Wingo chips in with: –
Wingo: That was old. That was an old flame. They hung out for a while and that was that.
S: Nothing more?
Wingo: Nothing more, nothing less.
S: Who have been your musical influences?
JE: Everybody from the Tempations, to The Four Tops, Commondores, Lionel Richie, Marvin Gaye, Donnie Hathaway, New Edition, KC & Jo Jo, Jodeci, Gerald Levert. Everybody. We love music. If it’s done right and put together well, we like it.
S: With Nas proclaiming that ‘Hip Hop Is Dead’, what are your thought’s on the current state of R&B?
Brian: Current state of R&B? I think R&B is doing alright, straight up. I mean Usher came out with an album a year or two ago and sold 1.2 million or so in a week. You still have R&B artists selling half a million albums in a week. Mary J just came back and did over 700,000 and some change. We’re R&B. So R&B hasn’t died out too much – that’s my opinion.
S: Do you feel the Internet has made a positive or negative impact on the music industry?
Brandon: Both.
Brian: it makes more accessible, but no one’s paying for it.
Wingo: It’s now become a easier to get it for free. We’re in the business to sell records.
S: Do you think it was a boast to help your careers now, compared to the earlier stages?
Brandon: I think when you use it the right way, like Myspace and different websites, it can help to profile all the way. But when you have people who just use the internet to rip your music, that isn’t no help no way.
S: A few quick random questions:
– Current artists you’re feeling?
Wingo: T. Pain
Brian: J. Holiday, I like Omarion, I like a couple of Omarion’s records
JE: Ne-Yo, he’s great.
– Can Michael Jackson make a big comeback?
JE: YES!!!!
Wingo: all he has to do is get a song from Ne-Yo (all laugh). One song from Ne-Yo and he’s back!
– Beyonce or Kelly Rowland?
JE: Both of them. We have relationships with them, we used to tour and travel together. That’s our people.
S: When the dust has settled, how do you want Jagged Edge to be remembered?
Brandon: Man, put us up there with all the great groups, that’s how we want to be remembered. Like a star on the walk of fame, rock hall of fame. All that stuff. I think for some people, when you first get into the game all those things seem like they’re so far away. But in 10 years, we gotta be close. We closer than ever (laughs)..closer than a lot of others.
S: Do you guys have any message for the fans?
JE: We love our fans. We gonna be here. We’re not going anywhere. Continue supporting us.
S: Thanks for taking time out to answer our questions; it’s very much appreciated. Good luck with the project.
Pop icon Janet Jackson has finally spoken out on why she never toured with her last album ’20 Y.O’ despite saying otherwise at the start of the project. Speaking on the Tom Joyner radio show last Friday, she had the following to say:
“I was supposed to go on tour with the last album and what had happened, which most fans don’t know, is that I got with the new label and they asked me if I would be willing to consider not going on tour and going back in the studio and doing a new album and then revisiting going on tour. So I said, ‘OK,’ and stopped doing the rehearsals, which is what I was doing while I was filming ‘Why Did I Get Married?”
R&B superstar Beyonce stopped by MTV’s TRL earlier this week. Amongst other things, the singer addressed her well publicized fall, her love for ‘Umbrella’ and her tour ‘The Beyonce Experience’. Granted Beyonce is a major star, it’s still funny to see grown men cry like little….{insert expletive} over her. I like her as much as the next person but by no means would I place her on the level of, say, Michael Jackson – whose fans still cry and feignt over him to this day. I immediately thought they were actors planted in the audience (I’m not hating). If genuine, I guess it’s a testament to her ever-rising level of popularity.
What do you think of the interview?
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