Howler.Pop June 2024

.howler.pop.

the greatest female tracks of the 2010s. as voted for by you!

bringing her fizzy stylings to the main stage janet jackson: a deep dive. the first in a five-part series the horror of AI.. a scary future for film-makers?

maya blandy.

belgian royalty.

Gabanna (without the dolce).

contents.

features.

4-5. Erin Bloomer

The indie-pop songstress chats about her latest release.

6-7. Maya Blandy

Bringing her disco-soul sound to the masses.

8-9. The 30 Greatest British Female Tracks of the 2010s. You guys took to social media to have your say.

10. AI in Horror. A terrifying prospect for film-makers.

13. They Snappt. Pete and Paul discuss their love letter to pop classics.

15. Do You Wanna Funk?

A look into the life and times of disco-legend Sylvester.

editor’s note.

regulars.

12. Drag Race RuCap

We chat toBelgian superstar Gabanna.

14. Smash Hit Stories. Starting off with a monstrously big chart-topper.

18-19. Janet Jackson: Deep Dive

The first chapter into a look at a pop icon’s discography.

20. In Defence of Mariah Carey’s ‘Caution’.

page 13

Welcome to the June edition of The Howler. This edition is as always, filled to the brim with the latest in pop culture. Delving deep into the politics behind the industry and giving you the latest must-watch and must-listens in the music, movie and TV world. We have fantastic interviews with up-and-coming disco artist Maya Blandy, fiancés-turned pod-stars Pete and Paul and London-based indie band Night Tapes. There’s also features filling you in on the latest on AI problems in cinema, the first chapter in a Janet Jackson deep-dive and a reader-voted list on what the greatest female tracks of the last decade were. Did your favourite make the list?

Photo Credit: Interview articles- Credit to the artists/ creators themselves

Feature Articles- all images copyright free aside from instances on pages 8,9, 10, 14, 15, 18-19- these are licensed pictures that are not owned by Howler.Pop magazine.

021.

page 6-7: the Manchester-based disco diva Maya Blandy spoke to Howler.Pop about her beginnings and groovy tracks.

page 12 the latest in drag

page 4-5

Erin Bloomer’s summery pop sounds

For more from Howler.Pop be sure to follow our socials:

Instagram: howler.pop

X/ Twiiter: howlerpop

Blog: howlerpop.wordpress.com

Pete and Paul chat pop and all things pop

ErIn BlOoMeR

With her signature warm-pop sound, Erin Bloomer is the one to add to your playlists over the summer months. We chatted to the songstress about recent release ‘Bye Bye’. Hi Erin, so lovely to chat with you! First of all could you tell us a bit about the release of your new single ‘Bye Bye’? ‘Bye Bye’ is actually a song I wrote when I was 16. So it’s been a long time coming for it to see the world! It was a song meant to empower people after rubbish relationships- in fact it was one of my own friends I wrote it for who had been seeing someone for a whole year and as soon as it came to the summer time they called an end to the relationship which just seemed a little

convenient with the timing. It was like- so we’ve had this beautiful time together and as soon as it’s ‘single season’ that’s the end of everything. Of course as usual- they always end up coming back- so it was playing with that idea and being like- “No, I’m gonna take back the power here in this situation”.

So since you’ve had this song for 5 years now- has it gone through many variations?

I think there’s a few tweaks here and there but honestly nothing major. Even the vocal

is me singing it at 16 or 17 which is interesting because my voice has certainly matured a bit but I think in that way it stayed true to how I was feeling when it was written, how old I was and the time I was living through.

I’m just a bit of a Pinterest girly. Before I do a shoot or an EP is coming I will have a Pinterest board all meshed together of the vibe i’m going for. I wanted it to radiate bad bitch energy- that’s certainly what I was going for.

After a stalk through your Spotify account- I couldn’t help but notice your ‘Bad B’s Only’ playlist featuring the likes of Grimes and Caroline Polachek- who are some of your inspirations behind your music and can we hear any examples of them in your own music?

I think to an extent-I’d say Avril Lavigne for sure. I love her and have always loved her ever since I was little. I remember when I got a Pop Princess CD with ‘My Happy Ending’ and I was like “Oh my god this woman has changed my life”. I’d say more recently Ashnikko is a really cool artist, super care-free and authentic to herself. Also love Doja Cat recently so I’m a little bit inspired from there too. 10/10 choices!!! What’s next for you going further into 2024?

Supporting N-Dubz is a huge moment for you so far in your career- how did that come about for you and what were some of the highlights? That was a really cool experience actually. It came about through a mutual contact as the original venue they were supposed to be playing in Derby ended up getting cancelled which was a shame because I was so looking forward to doing such a big show. We ended up messaging the team just saying if you get anything else in the diary let me know which ended up with me doing two shows as opposed to just the one. They were in Brighton and Margate which was really nice because i’m from the East Sussex area which meant I could perform closer to home. It was an amazing experience- I had my own station, and a RIDERwho went and picked stuff up for me like drinks- I was like “this is not the treatment that I should be having!”. I saw all the N-Dubz crew and Wes Nelson also who was so lovely- all of them actually. Chaotic dynamic behind the scenes for sure- Fazer had an electric bike he was riding round all day trying to pop a wheelie in such a small space- I was like how is he doing this? If that’s not proof that everything happens for a reason, I don’t know that is- what was a setback became an even bigger opportunity! It also meant my family, my aunty, mum, best friend were all there for me- which made it even better to share that with them. The one live performance I’d done before that was about a hundred people and my dad was poorly so couldn’t come to see me and a year and a half later he got to see me perform in front of 15 and a half thousand. He’d wanted to see me for a while and that’s a cool one to be at!

Your last three singles have all had a similar artwork themewhat inspired you to go for that route?

There’s a lot of music coming and at a lot faster a pace sequentially than it has been previously. Everything’s a lot more organised this time round. Hopefully new music pretty soon off the bat over the year. I’m also going to be doing a headline show- which i’ve not done before- so the pressures on to sell those tickets! Which should be really good! Hopefully some festivals too which would be great. In terms of festivals- what is the dream we’re aspiring to?

I’ve been to a few before- I went to Reading around my GCSEs which is around the time I wrote ‘Bye Bye’ which is really weird to think about! Great fun just so dusty, it was not hot! The bath I had after was brown and disgusting. I also went to NASS which is almost more dance vibes which is so fun and I love doing dance music. Something like Lost Village- it’s not really pop acts it’s more DJs but something like that in terms of the venue is so cool to me.

‘Bye Bye’ by Erin Bloomer is out now!

blooming brilliant

“I wanted it to radiate bad bitch energy”

Photo credit: Erin Bloomer

that disco never dies 6.

Photo credit: Maya Blandy

21-year-old singer-songwriter born in Madeira and currently making waves in Manchester with her soulful and funky music. Moving to the city after growing up on the Portuguese island, Blandy has fused the exuberant culture of her experience growing up with the vast, on-the-go energy of Manchester to create a signature, uplifting sound.

We caught up with her to learn more about her unique sound and stylings...

Could you tell us about your journey and what led you to living in Manchester today?

discover their comfort zone and peace of mind. My dad used to be in the music scene and he had a friend called Jake Wherry who was producing. I went down to London to work on some tracks that sounded really cool- experimenting with different sounds like disco. We started to build on that and have created track after track that we’re starting to release.

“When it comes to music, everyone can get along”

Brazilian artists- something really soulful and intimate. I’d love to perform with Chaka Khan too!

How do you want listeners to respond to your music?

I feel like people discover artists that have a consistent sound and that’s the sound they expect all the time from them. I don’t think that’s very fair- I’m not going to be the same person always- it’s going to change and shift so I hope when people listen they fully embrace the experience in terms of the lyrics, instruments- and I hope you can relate to it. And It can remind you you’re human.

write down all my ideas. The song was originally a jazz/ scat number that my producer sent me- who I love working with. We remade the track and as soon as I heard it I was like “Can I do a version?” and I went straight into writing mode. It’s a very jazzy, sensual, raw kind of feeling- a boost of powerful energy but also risky and a bit dark. I was thinking about a distorted or dysfunctional relationship. The best reference is Harley Quinn and The Joker – I wanted it to portray a dynamic where someone’s so in love with the other person but it’s not reciprocated – so they’re going crazy.

My family is a mix from all over the place but primarily English and Australian- however I was bought up on the small Portuguese island of Madeira. I’ve always loved music and had a very musical family- my dads a DJ and my mum dances so I was always surrounded by music. Portuguese culture is very festive, they love their parties, their music, they love going out and enjoying everything and I think all of those elements fed into me growing a love for music over the years. I then studied piano and when I eventually turned eighteen decided I want to do this for life.My parents were like “You need to get out of Portugal- it’s not the place where things are happening!” So I applied and got into University of Manchester. I’d never even thought about leaving home because I loved it and it scared me to leave but eventually everyone agreed Manchester was such a vibrant city and a melting pot of different cultures that it will feed my experience. It was very hard, I had no element from home so I had to really get integrated or I’d end up sitting at home alone making myself depressed. I think it worked out the way it had to, day by day and I got to go to all these jams and concerts and see just how talented people are. All these people that I meet can have so many different opinions on things but when it comes to music- everyone can get along and everyone can

Who are some of your biggest inspirations?

It’s so all over the place. It ranges from Brazilian singers and guitarists- recognising the samba and feeling. Lady Gaga is another one- twelve year old me would carry around cans in my hair! Donna Summer, Nile Rodgers and The Jackson Five. Even David Bowie, Beyoncé- there’s a bit of everything really!

Can we hear any of these inspirations within your songs?

What are some of your favourite things about Manchester after living here for the last three years?

Initially, it was very cold, but that’s almost the beauty of it. Once you get to know it- well, there’s just so much happening. Initially, it seemed scary just coming from a small island- but there’s so much culture, the music scene is amazing every weekend. A classical concert, a jazz superstar, a string quartet all at the same time. It’s a big city- but small enough to grasp. And the food is amazing- I can always get good food! I love Fletcher Moss Park- I used to work near there- I’d sit and lie down in the sun every morning. I love how many second hand shops there are too.

Which venues are you fond of?

I love Band on the Wall- I’ve performed their once and the people were so lovely it’s such a cool place. Love Matt & Phred’s too!

Jumping into a pool of acid, I don’t care if you don’t see meI’ll be your shadow. I wanted to portray the dynamic of that in a movie-like intense way.

“A boost of powerful energy but also risky and a bit dark”

What can we expect from you throughout 2024?

Listen to Maya’s new single ‘Lemons’ on all streaming services now! M

When I write these songs I get inspired and lean on the type of music i’m listening to at the time. At the time I wrote my debut single Stardust I was listening to a band called Parcels that really layer their voices a lot. They don’t do the most in terms of technicality and ability but the layering works so nicely with the instrumental. You can hear that in the song, for sure. There’s an unreleased track that has Gorillaz inspiration- you can almost certainly tell I was listening to them at the time. At the moment i’m hugely back into my disco music- Diana Ross is one you can hear in the music. It’s eclectic and adds texture to the album.

Who are some of your dream collaborators?

I think one of my dreams would be to be produced by Nile Rodgers. To be on stage and perform with him would be so cool. There’s so many people I think about. Some

“I hope you can relate to it. And it can remind you you’re human”

You recently released ‘B.I.B’what is the story behind that track?

I tend to write quite quickly- I grab a piece of paper and

I never expected to get to this point so quickly- it feels like I just moved here. I’m releasing the album this year which I really hope people can enjoy. I love performing and working with other musicians and once the albums out I want to create cool live experiences for people to enjoy. I’m doing acoustic sets with pianos and vocals. I’m going to be doing jazz versions of my songs and doing events where people can paint whilst I sing jazz in the background!

the 30 greatest british female pop tracks of the 2010s

We asked the loyal followers of Howler.Pop magazine to vote for their favourite female tracks of the 2010s over on our social media channels and here we have it- the top thirty. Whether they be global chart-toppers or indie faves- will your favourite make the list?

30. BittersweetSophie EllisBextor

29. Best Behaviour- Louisa

28. Braveheart- Neon Jungle

27. Do You Think Of Me?Misha B

26. Don’t Call Me Up- Mabel

25. Flatline- Sugababes

24. Ghost- Ella Henderson

23. Once- Diana Vickers

22. I’m A Ruin- MARINA

21. All Fired UpThe Saturdays

20. Bad Girls- M.I.A

Opening up our top twenty is the electrifying star that fuses pop, R&B and hip-hop seamlessly- M.I.A. First getting her big break thanks to having her music featured in Oscar-winner and cultural phenomenon ‘Slumdog Millionaire’- it was ‘Bad Girls’ that captured attention back in 2012. With its experimental sound and brash vocals the song has stood the test of time, remaining a viral sound on TikTok over a decade later- despite it’s initial chart peak of number 43. The song also proved a mainstay in films as it was featured in the trailers for films such as ‘The Heat’ and ‘The Bling Ring’ thanks to it’s unapologetically bitchy and bratty style.

19. Spectrum (Say My Name)Florence & The Machine (Calvin Harris Remix)

A stormer of a piano-house banger. the Calvin Harris remix of ‘Spectrum’ came thanks to Florence lending guest vocals on one of the Scottish DJ’s hits‘Sweet Nothing’. Harris promised to return the favour and provided his skills to remix one of the fan-favourite tracks on her album ‘Ceremonials’. The explosive song was a number one hit during the summer of ‘12. Whilst we haven’t heard Flo’s vocals on a dance track since, the two hits we were graced with a decade ago have stood the test of time!

18. If You’re Never Gonna Move- Jessie Ware

Back when Jessie Ware was an indie-pop princess and any bearded hispter with a man bun’s dream woman- she released the hypnotic ‘If You’re Never Gonna Move’. Its hard to imagine the Jessie of recent years, acclaimed for her cooking podcast and disco diva persona- could at one point put out such minimalist pop

perfection. The song slinks smoothly around your ears taking its time to become truly memorable and irresistible.

17. The Mother We ShareCHVRCHES

We travel up North to Scotland next for Glaswegian band, CHVRCHES. The lead singer- Lauren Mayberry has been the voice behind alt-pop hits, carving out a niche but loyal cult following of fans throughout their career. ‘The Mother We Share’ was the track that first got fans on board thanks to it’s shimmering electro-pop sound.

16. Promise This- Cheryl

One of the defining names in British pop during the decade in question was the ubiquitous Cheryl. Racking up a total of five number-one-hits, ‘Promise This’ leads the pack as the most exciting one of the bunch. With its quirky french call-and-responses and thumping dance beat throughout, the song was a surefire smash from the get.

15. Mirrors- Natalia Kills

Natalia Kills is an interesting one in the pop world. As soon as it looked like she could become the next pop starlet, she became public-enemy-number-one thanks to a controversial comment made whilst judging ‘The X Factor New Zealand’. Whilst she never managed to

conquer the world stage, Kills had one of the most exciting pop tracks of the decade with the dark-disco belter ‘Mirrors’.

14. Only Love Can Hurt Like This- Paloma Faith

Another song that has since received a revival thanks to huge numbers using the sound on

TikTok- ‘Only Love Can Hurt

Like This’ is a swooning ballad taking inspiration from classic Motown sounds. Faith’s soaring vocals make the song such a heart-breaking listen, time-after-time making this one of few modern-day power ballads that will stand the test of time.

13. I Will Never Let You Down- Rita Ora

Produced by DJ-extraordinaire and at-the-time boyfriend Calvin Harris, ‘I Will Never Let You

Down’ became Rita’s fourth UK number one thanks to it’s catchy hooks and energetic production.

Bizarrely, Harris said his inspiration for the song was Whitney Houston. Whilst it’s tricky to hear the late, great singer’s signature sound in this track there’s no doubt it will become one played at throwback themed parties for years to come.

12. About Work The Dancefloor- Georgia

Georgia has been the indie-dance darling behind countless gems over the last decade but none moreso than 2019’s ‘About Work The Dancefloor’ A captivating and atmospheric slice of synth perfection, the non-sensical song is one that creates a glorious atmosphere of escaping to a world of dance and freedom and Georgia’s sickly sweet vocals only make this song more of a treat. The song went on to win the prestigious ‘£20 Popjustice Music

Prize’ which gives British artists a twenty pound note in honour of their services to pop music each year.

11. Black Heart- Stooshe

Short-lived girl group Stooshe had a hit with ‘Black Heart’ in 2012. The soul-inspired ballad took inspiration from groups such as ‘The Supremes’ and ‘The Shangri-Las’ and nowhere is that more evident than in the pastel pink music video. The song itself is a mid-tempo track lamenting on heartbreak and

Cheryl, 2012

Natalia Kills, 2011

Georgia, 2019

infidelity and is one told perfectly by the three girls in their lyrics. The song has a musical theatre feel to it throughout as well- with the girls performing the crushing lyrics for their lives.

10. Body Talk- Foxes

One of the most underappreciated voices of the decade was the wickedly-talented Foxes. With a knack for creating quirky pop hooks jam-packed with personality and sing-along choruses the Southampton-born singer-songwriter would go on to win a Grammy thanks to her vocal prowess being featured on EDM-smash ‘Clarity’ with DJ Zedd. It’s the synth-drenched

shiny, summer anthem ‘Body Talk’ that was her most sticky and sweet. The song would only go on to peak at number 25 in the UK but has become a cult-classic to pop lovers up and down the country.

9. Cherry- Rina Sawayama

Rina Sawayama has proved herself to be one of the most exciting artists in the UK since her 2017 EP, ‘RINA’. ‘Cherry’ was the crowning jewel of her pre-2020 output, with it’s soaring choruses and interesting production choices at every turn, it is what Sawayama does best. Blending her signature unusual song-writing with polished yet unorthodox pop sounds, she has cemented her place as one of the premiere voices in the UK alt-pop scene.

8. Crying For No ReasonKaty B

Another popstar of the ‘10s that simply did not get her deserved flowers is the fantastic Katy B. Although she would eventually get her long-awaited number-one-hit with KDA and Tinie Tempah collaboration

‘Turn The Music Louder (Rumble)’, the true gem of her back catalogue is the haunting clash of balladry and EDM in

2014’s ‘Crying For No Reason’. The song strikes a similar chord that Robyn did with the pop-masterpiece ‘Dancing On

My Own’ in 2010, perfectly encapsulating the blend of sadness but persererance with Katy belting out broken vocals over a highly-produced electronic instrumenation that only highlights the darkness further as it takes us into a dizzying blend.

7. Love Me Like You Do- Ellie Goulding

Recorded for the infamous ‘Fifty Shades of Grey’ film series, it was at one point almost impossible to escape the behemoth that was ‘Love Me Like You Do’. The song spent four weeks atop the charts thanks to it’s undeniable charm and heart. Building to one of the most irresistible climaxes in recent memory, the song is a warm hug that felt instantly familiar upon release allowing it to become a firm favourite and wedding-classic for years to come.

6. Heaven- Emeli Sande

Very rarely does an artist have such an impressive debut era straight out the gate. Emeli Sande was an exception to this. The Scottish singer ruled both the radio and television in 2012, performing at both the opening and closing ceremonies of the Olympic Games and racking up hit after hit from her record ‘Our Version of Events’. ‘Heaven’ was the first solo single to be released by Sande and incorporated her signature angellic vocals over a drum-and-bass instrumentation provided by Naughty Boyundeniably, the biggest producer at the time. ‘Heaven’ has aged magnificently thanks to it’s timeless strings and Emeli’s effortless voice.

5. Move- Little Mix

It’s crazy to think about the fact that at the time of release, Little Mix’s ‘Move’ was considered a disappointing lead single. It has since become the undeniable fan-favourite to Mixers (fans of the group) thanks to it’s bizarre production choices and

ridiculous harmonies. The cow-bell however is the star of the show here, signalling anyone nearby to immediately make their way to the dancefloor for a romp of a good time. Released in support of their second record ‘Salute’, the song at first seemed like a polarizing choice for a group that had a young fan-base that expected pure-pop sounds but in the long run has displayed just how visionary the Little Mix girls were in creating all-time-classics in the pop field.

4. Gone- Charli XCX feat.

Christine & The Queens

Charli XCX has had countless pop-defining moments since the beginning of her career. ‘Vroom Vroom’ was a huge moment for her that also could’ve made this countdown. 2019’s ‘Gone’

featuring the eclectic Christine & The Queens is a glitchy and experimental ode to anxiety including poetic lyrics like ‘Why do we keep when the water runs’ and the almost Shakespearean- “I feel so unstable, fucking hate these people”. The song transcends into robotic madness in it’s final minute with highly process vocals coming from the pair and Christine speaking in his native-tongue of French. Overall, the song is one that upon each listen new nuances are revealed and remains just as forward-thinking as the day it was released.

3. Immaterial- SOPHIE

If one act can have all the impact and influence without the commercial success it was the late great SOPHIE. Scottish-born trans hyper-popstar who heralded the way for those to come such as Kim Petras, Charli XCX and eventually even Beyonce. ‘Immaterial’ is the crowning jewel on SOPHIE’s album ‘OIL OF EVERY PEARL’S UN-INSIDES’ and is a brash and

noisy dance-track that perfectly encapsulates the freedom that SOPHIE had been longing for almost her entire life.

2. Be The One- Dua Lipa

The artist that would go on to become the UK’s pop powerhouse of the next decade, all started with the stormer that is ‘Be The One’. The track is an indie-pop song that is dreamy and ethereal and captures Dua’s husky vocals beautifully the song was produced by Digital Farm Animals (of semi-hit ‘Millionaire’ fame) and ended up becoming Lipa’s first solo top ten-hit. The song documents the beginnings of an artist that would become a force to be reckoned with, going on to score global smashes and multiple Grammy awards over the following years.

1. Rolling In The DeepAdele

And finally, in first place it is no doubt the defining British voice of the 2010s, Adele. ‘Rolling In The Deep’ is a sixties-inspired home-run of a pop-ballad and displays just why Adele has become such an icon in such a short amount of time. Taken from her sophomore record ‘21’, ‘Rolling In The Deep’ was a Billboard Hot 100 chart-topper and remains the biggest-selling digital song by a female artist of all-time. With it’s impressive runs and fiery lyricism there is no doubt that the song will go down in history as one of the

quintessential songs in the Great British songbook.

Did your favourite make the list? Sound off on our social media platformsInstagramhowler.pop X/ TwitterHowlerPop

And stream the songs by visiting this linkhttps://open.spotify.com/ playlist/4L0ubm03wmGv0RMoFVRdGX?si=-

Foxes, 2014

Charli and Christine, 2019

Adele, 2016

the HORROR of AI

Writers, animators and actors took part in a global strike last year that worked to put elements in place for better treatment and pay but another aspect of this was to campaign against the increasing usage of AI whether that be to write scripts, create art or in a host of other roles in film-making. The recent arthouse film ‘Late Night With The Devil’ was one that many horror-fans were thrilled to see come to cinemas after critics lauded it’s unique storytelling and heralded the acting performances as being some of the most exciting of recent times. The film was produced by independent horror streaming service ‘Shudder’- famed for bringing low-budget films back to audiences thanks to its reliance on niche film-makers. That was until it was revealed that the film had used AI to create artistic title cards used in the television studio setting of the story. This sent audiences on a spree to boycott the film, due to the creators refusal to pay human

artists to create these visuals themselves- meaning a film that was already at a loss thanks to it’s independent status, would become even more lost in the shuffle thanks to people refusing to endorse it’s use of artificial intelligence. The lead in the film David Dastmalchian commented on the film saying- “It’s an

important conversation. We’ve got to have it”. Whilst the directors spoke about the usage of AI only being in three still images that only appeared on screen for brief interludes. This opens the question however, where do we draw the line at AI being acceptable, if a few seconds of usage is deemed reasonable, when does it become a bigger problem?

Upcoming A24 film ‘I Saw The TV Glow’ has also been critcised after it was pointed out that posters published on social media to advertise the film had used AI in their artistic process. Similarly to Shudder, A24 is a production house that many fans of cinema have come to respect thanks to

their integrity of boosting up-and-coming actors, artists and directors and so to see them employ this use of technology. A24’s official social media accounts were flooded with comments opposing the use of this with one user saying- ‘I hope they will pay an artist and not use AI to do it cheaper’ with another saying ‘I’m glad people are still roasting A24 for these A.I. posters’.

Many have argued back, debating it not being a pressing issue in the grand scheme of things which has been called out as problematic by many artists that have studied for years to perfect their craft and now face a future where their job may no longer be necessary should production houses continue to use cheaper

alternatives.

Faye Taylor is a former employee of Disney, working as an animator and said the following to us when asked about this concerning rise, “The bottom line is that it is so new that we can’t be sure how it’s going to impact the industry but I’d hope that people would use it wisely instead of corporations abusing it to cut costs and in turn put people out of work”.

An extremely concerning case in this saga is Netflix’s recent usage of AI-generated images in a true-crime documentary titled ‘WHAT JENNIFER DID’. In the show, pictures of Jennifer, who would be eventually convicted of murder, were altered to depict the girl as happy and confident despite the original pictures showing this not to be the case. The use of AI tools was not disclosed in the credits and this lack of enclosing information to viewers is damaging in particular due to the case of this being a

The recent release of ‘Late Night With The Devil’ was one that divided fans when audiences discovered the films use of AI to create art pieces used in the 70s-based show that the movie centres around.

turn-around of films. This in turn does however suggest future releases could seem rushed and not end up being of the high quality that film-makers would previously take months or years spending time on.

Taylor added“Animation is a career that is often temporary, not providing long-term oppurtunities, instead usually one project at a time, and AI makes this situation even more unpredictable”.

Some of the most exciting films have been produced in the last few years, namely 2022’s ‘Everything, Everywhere, All At Once’ which became the most awarded film of all time and was produced by A24 and was a labour of love for the cast and team. In sequences that featured mili-second clips spliced together that featured elaborate effects such as drag make-up, intricate lighting and custom pieces made by artists and designers, it showed in the

WHAT JENNIFER DID

factual show. One image in particular was reported by ‘PetaPixel’ as being manipulated as displayed by the murderers mishapen fingers and both arms being ‘blatantly manipulated’. Forbes recently published an article detailing the rise of AI in cinema. Discussing the multiple sectors it has crossed into- the article takes a more positive look into the benefits of the technology and highlights the ability for aritificial intelligence to increase the speed and

reception that these phenomenal workers had made an impact on audiences across the globe.

The future for cinema remains uncertain and has many question marks surrounding it but the next era will be one that changes cinema forever- for the worst or better is yet to be decided.

Late Night With The Devil

I Saw The TV Glow

that. Could it be down to the franchise now being a global entity?

Drag Race RuCap Gabanna

RuPaul’s Drag Race is well and truly a cultural phenomenon with franchises across the globe airing throughout the year. Already in 2024, we’ve seen four queens be crowned in their respective seasons- the USA’s Nymphia Wind, the UK’s Tia Kofi, Spain’s ‘Drag Sethlas’ and Belgium’s ‘Alvilda’. Here is Howler.Pop’s latest T on the goings on in the drag world.

Social media discrepancies

‘RuPaul’s Drag Race: Werq the World’ tour swept the nation last year however the show has not been confirmed for its usual summer slot in 2024. Whilst the show is one of the most theatrical, show-stopping and sparkly tours going it poses the question- has the landmark reality show finally lost its power.

Recent stars of the 14th and 15th seasons of the show received a noticeably timid reaction from the audience during

the shows 2023 leg, compared to their more seasoned counterparts. This has also been reflected in the queen’s social media followings with many contestants once easily racking up millions of followers, now barely scraping half of

The single UK-based queen on the cast was the powerhouse Bimini Bon Boulash who received a roaring reaction from the crowd after their fifteen-minute set. It could be that now the show is the global phenomenon it is- fans have grown fatigued of the sometimes four episodes a week and have chosen to focus solely on their home nation. With a whopping sixteen countries covered and countless additional spin-offs it’s no wonder that viewing figures and social media statistics are down across the board. So, whilst UK drag has been given the ideal springboard into the mainstream- the stars that were once made from the US franchise are struggling to pull in the numbers they once did, only a few years ago.

All Stars 9

The cast for the ninth season of ‘RuPaul’s Drag Race: All Stars’ was recently announced with a new twist seeing the eight contestants taking part to win prizes of their own but also for charities they have chosen to represent.

The cast features heavy-hitters from the shows 16 US seasons:

-Shannel (Season 1/ All Stars 1)

-Roxxxy Andrews (Season 5/ All Stars 2)

-Vanessa Vanjie Mateo (Season 10/11)

-Nina West (Season 11)

-Plastique Tiara (Season 11)

-Gottmik (Season 13)

-Angeria Paris Vanmichaels (Season 14)

-Jorgeous (Season 14)

After the poor reception of the last season, the series hopes to build off of the roaring success of 2022’s ‘All Winners’ edition by including a non-elimination format allowing for all the queens to share their looks, talents and quips across all twelve episodes of the season.

The season premieres on May 17th with a double helping of episodes on WowPresentsPlus

We caught up with Drag Race Belgique Season 2’s finalist Gabanna to get her take on drag taking over the world.

How did you start out in dragwhat was the 1st time like?

The 1st time I started drag it was three years ago at Halloween. It was a new experience that my friends and the owners of the bar could afford me to do. They asked me to do it twenty million but because I was drunk, and it was Halloween, I said yes! They paid me, and it was really good pay, so I thought, maybe there’s something here.

When was your earliest memory of Drag Race?

The first time I heard about Drag Race was from my ex-boyfriend’s sister and we were watching Season 5 at home. They were both so into the show, and I was not interested at all! It was after a couple of episodes I really got into the show. I’d watched all the seasons within two weeks and then when Kameron Michaels appeared that really inspired me to be like “this is my chance”.

Who are some of your favourite queens from the franchise?

I love Kameron Michaels obviously. Bianca Del Rio- we have the same big mouth! I love the aesthetic of April Carrion and Carmen Carrera too- very

Latina and sexy vibes! What was your reaction when you received the call?

When I received the call, I was very surprised because I’d had a few meetings with the producers who had text me about whether I was interested. Throughout the process I had no doubt about it- I was like “you’re gonna cast me!”. If not season one I knew it was going to be season 2. When I received the call I was like “yeah, I know, can we start now?”.

What would you say is unique about your drag?

My drag is a bit of everything. I think that’s what makes me special. I’m a very good host, I can sing, I can dance, I can model, I can do comedy, I can read the shit out of you. I can do a lot of things, and also I’m pretty- which is good!

Would you come back to the competition if given the chance?

I would like to do a different franchise, I could do Spanish or English but I definitely would want to wait a couple of years so I can come back stronger than ever and also because I spent a lot of money on Drag Race.

Are you excited for Mustii’s song in the upcoming Eurovision Song Contest?

I’m very excited for Eurovision to see Mustii. I really like the song, it’s good vibes. Eurovision’s a bit shit, so I’m fairly sure we’re not going to win but after the boycotts have been called for the show I do hope he can just have fun. I wish him the best and I hope he doesn’t have bad memories about it because he’s wanted to do it for years.

In this political climate, why do you think drag is so important right now?

To do any kind of queer creativity is so important. We have rights now, it’s fucking important to still show we’re still a strong community and show that this is our job!

Gabanna in her entrance look

Kahanna Montrese

they snappt!

Snappt! Pod is the creation of Paul and Petetwo self-confessed gays with lots of opinions! The show is a deep dive into some of the greatest pop eras of all time. Now about to head into its third season, the podcast dissects the quirks, facts and oddities of the music world. Tearing apart legendary eras week by week to confirm whether or not they truly Snappt! The pair battle it out over which tracks were Sleppt! On or Choppt! Off, host the weekly Snappies! Awards and share pop culture

What were your first inspirations to create this podcast? Were there others out there that helped form the basis of it?

On our first date, we spent most of the time chatting about music and found that we both had so many mutual interests and immediately went home and made each other a playlist of music to check out - so we have always kind of been bonded by music. Pete has the idea to start the podcast about a month into us dating though. We really loved the episodes of Legends Only podcast where they deep dived into specific albums as opposed to their usual weekly releases, so that got the wheels turning. We found that most of the podcasts would be about new releases, but where was the acclaim for The Saturdays and MARINA? We wanted to make it all about the eras that shaped our past as well as our present.

The name Snappt- how long did that take you to come up with and were there ever any other name suggestions?

We had a couple of basic ideas (like BopsHub and They Are The Moment) but then we really wanted something snappy… hence, Snappt! We wanted good SEO that would be easy and clean to find and also something that just rolled off the tongue. Within seconds, Paul was already drafting up some logos on Photoshop (some of which also were right-

tidbits and references through their blend of discussion and review with a healthy blend of housewife and drag queen sound-clips thrown in for good measure! We caught up with the duo to discuss the ins and outs of the series, including the inception, creation and even a strange ex-Disney stars performance at a gymnastics tournament?

fully binned!)

What has been some of your favourite episodes to record and why?

It has without a doubt got to be our Guilty Pleasure episode from Season One. We both stan that album so much (it really is one of the all time greats) and Ashley Tisdale does not get enough credit for her music but digging into some of the unhinged performances from that era left us

shaking. Her singing Hot Mess at the Progressive Skating & Gymnastics Spectacular while a couple ice skate and do rhythmic gymnastics around her is so camp and we just could not stop laughing while recording.

How has the podcast been received?

Genuinely better than we could have imagined. We totally thought friends and family would give it a pity listen (our poor mums having to listen to Drag Race and Housewivees sound clips inter-spliced with us cackling about an outfit a pop girlie wore in the 2010s)

but we have had so many people that have messaged just off the back of listening that do not even follow our personal socials at all. It has been amazing to connect with people all around the world, even from other continents! In terms of the aspect such as theme music, graphics and segments- who works on what sections of the podcast?

Pete is totally our sound technician - he does all the editing, funny sound bites and uploads the episodes on time (when he doesn’t get AM and PM mixed up!) Paul is the graphic designer with an Adobe license and a dream - curating our Instagram, logo, trailers etc. We both do the research separately and then hold exclusive tidbits to gag each other live on the podcast, which makes it feel like a conversation between best friends rather than a forced conversation.

On the opposite side of the coin to Snappt- will we ever get a one-off episode/ season recounting albums that Floppt? You have clearly been sneaking a peek into our drafts! We have been debating whether to do a concept like that as its own season or mini bonus episodes (Patreon when?), however, we are steadfast in wanting to celebrate eras/ albums that we personally love despite having Floppt! commercially. There is a podcast called Flopstars that focuses on flops but that focuses on criticising the era and why they flopped, but we find more enjoyment in laughing together about albums that we truly care about. So stay tuned. And finally, what can we expect from an upcoming season of the pod? New segments, fan favourite Queens of Pop and more gay, Irish nonsense. Our aim for the next season is to incorporate more listener interaction, we have cool merch plans in the pipeline and would ultimately love to start building bonus content and host on a site that lets us give exclusive content back to our listeners as this is truly a labour of love for both of us Basically, when you’re looking back on Season Three, we want you to think...wow, they Snappt!

listen to Snappt! Pod on Apple Music and Spotify now.

SMASH HIT STORIES

In Howler.Pop’s latest series we take a deep dive into some of the most culturally-defining pop records in history to find out what made them so important to the wider culture and how they came to be in the first place.

We start with one of the most prominent voices of the first decade of the 21st century. Nelly Furtado has revolutionized multiple genres of pop, despite not often being one of the first stars the public would come to think of as a defining voice of an era. ‘Loose’- her 2006 record- was produced by the go-to hit maker of the time- Timbaland and has a signature sound that feels so unique to the project but yet perfectly encapsulates the era and the zeitgeist of the time. The album traverses styles incorporating Latin influences, punchy R&B hooks and enormous sing-along, roll-down-the-window choruses.

‘Maneater’ is the crown jewel of the album, a dark and hypnotic yet ridiculously catchy earworm that tells the stories of a cannibalistic woman that may or may not be Furtado herself. The whole song is sung in third person and this only invites further questions- are we as a listener supposed to picture Nelly in the role of the ‘Maneater’- as the music video would lead us to believe, or is the figure a more elusive and shadowy figure. The Timbaland co-write could also be something to do with it- male, heterosexual writers and performers have famously been shy of singing or writing using any pronoun that might cause confusion. In an even more bizarre twist than the concept of fragile masculinity, the studio in which the song was recorded saw a speaker catch fire during production as well as when Furtado was putting

the final touches on the songshe spoke about how the team thought the song had captured the attention of the devil and that they were “afraid of the beat”.

When discussing Nelly’s discography, it’s almost as if there was a glitch between the first and third studio albums. Whilst ‘Whoa, Nelly!’- her debut, hardly set the album charts alight, it did manage to score two US Billboard top ten hits in ‘Turn Off The Light’ and ‘I’m Like a Bird’. Both are twee, folk-pop numbers that felt less unique than what was to come. At a time where there were many female artists releasing guitar-backed pop-tracks designed to be the soundtrack of the rise of the internet and reality TV such as Natasha Bedingfield’s ‘Unwritten’ or Corinne Bailey Rae’s ‘Put Your Records On’- Furtado’s efforts were strong but failed to establish her as one to watch. Her sophomore album- ‘Folklore’- went on to peak at number thirty-eight on the US album charts and failed to score a single entry on the sinlges chart- unfortunately Furtado’s risky move of attempting to mesh world music genres with her plucky writing style hadn’t captured the attention of the general public. It has to be said however, that by no means was the record a bad one- it has some undeniable gems such as the stirring mid-tempo ‘Try’ that easily could’ve scored a healthy chart peak with a decent push.

The production of ‘Maneater’ and the rest of ‘Loose’ was a welcome development from the style Furtado had previously inhabited. The new sound was dark and sharp, ultra-slick but yet with quirks and charms in its haunting melodies and song structures. ‘Say It Right’- which was released as the albums third single finishes with an extended instrumental outro with nothing but ‘hey’s and ‘oh’s echoing throughout the final thirty seconds with not even a final hurrah of a chorus to lead us to the end. ‘Maneater’ is similar

with the final part of the song being a drawn-out ascension into chaos with dirty production and a mysterious sensuality lurking around corners being made aware through only Timbaland’s production. If anything was going to secure the tracks place as a staple not only on dancefloors at the time but for the following decades it was this can’t-quiteput-your-finger-on-it creepiness to the song that at the same time feels effortlessly chic and exactly what modern day pop should sound like. In an interview with MTV News, Nelly compared the track to “eating too much cheesecake” talking of its upfront and self-assured qualities and loudness. She also mentioned its likening to tracks by fellow Ca-

nadian musician ‘Peaches’ thanks to its spooky and sneering vocal delivery.

The occult and supernatural has been a relentless phenomenon in the pop world since the beginning of the industry. Most famously, Michael Jackon’s ‘Thriller’ would go on to inspire musicians for decades to come, becoming the standard for creating visual

worlds for records to live in to fantastic effect. Katy Perry’s intergalactic ‘ET’, Shakira’s coffeemachine-in-offices-referencing ‘She Wolf’ and Beyonce’s extravagant but haunting ‘Sweet Dreams’ would all follow shortly after the release of ‘Maneater’ with artists like Lady Gaga and Rihanna in particular focusing most of their album rollouts for ‘The Fame/ The Fame Monster’ and ‘Rated R’ on a darker, more sinister-tinged imagery and lyricism. Even in modern day pop- smashes like Sam Smith and Kim Petras’ ‘Unholy’, Doja Cat’s ‘Paint The Town Red’ and Lil Nas X’ ‘Montero’ have incorporated dark, reimaginings of religious lore into their visuals and song-writing to huge commercial success (and rightwing backlash).

The bratty, nasally singing used throughout creates the illusion of the character of the ‘maneater’ being a distant figure that relies on the male body and being able to chew it up, using it for its money and anything she may desire, only to spit it back out. ‘Jennifer’s Body’ the cult-classic, horror film from 2009 portrays this character to a tee with Megan Fox’s bitchy, bratty but ridiculously routable portrayal as the titular Jennifer. The film could honestly be seen as what an extended version of the music video could’ve looked like with its sexual, LGBTQ-affirming undertones and campy line deliveries combining the publics love for horror with a more niche and unusual sense of dark, twisted comedy that sees us route for the evil force. Whilst the film makes no specific reference to Furtado’s work, they seem far too similar, to the point, the song *must* have been on at least one mood-board during the production of the film.

Stay tuned for next month’s indepth dive into Carly Rae Jepsen’s ‘Cut To The Feeling’.

do you wanna

Sylvester is an icon of the disco era that is sadly forgotten about when it comes to modern-day discussions of the period. Howler.Pop took it upon ourselves to learn more about the queer icon.

One of the pioneers of disco, whether that be through the music, fashion or movement as a whole Sylvester was an undeniable legend in the scene. Originally developing a love for singing through attending a gospel choir in his youth, it wasn’t until he was dispelled by this same community that he would find himself travelling across America meeting people that would go on to inspire the sound he became known for. On this travels he became friends with groups of black cross-dressers and transgender women that called themselves ‘The Disquotays’. Eventually, he would go on to join the drag group ‘The Coquettes’ where Sylvester took a role in producing jazz-inspired numbers that paid homage to legends like Billie Holiday and Josephine Baker.

After a short-lived career as a front-man in a rock band, Sylvester would go on to be signed by Fantasy Records and gain back-up singers such as the legendary Martha Wash and Izora Rhodes (who would go on to record the monster-hit ‘It’s Raining Men’ as ‘The Weather Girls’). Throughout his music career he would go on to record hits that skyrocketed up the dance charts such as ‘Do You Wanna Funk?’ and ‘Dance (Disco Heat)’ but none would reach the iconicity of his signature track.

‘You Make Me Feel (Mighty Real)’ has gone to become one of the defining songs of an entire generation and represents the freedom and energy that this era represented. Music critic Robert Christgau described the song as “one of those surges of sustained,

FUNK?

stylized energy that is disco’s great gift to pop music”. The track was even selected by the Library of Congress in the USA to be preserved thanks to its contributions to culture. ‘Mighty Real’ would alongside Donna Summer’s ‘I Feel Love’ go on to revolutionize dance music thanks to its signature and unique use of intergalactic instrumentation and instantly recognisable falsetto vocals. The sound was ahead of its time and would go on to be a top ten hit in the UK and a top forty hit in the US- the song did more however for the name and conversation around disco and Sylvester as an individual as he became credited as a noted disco performer across the globe. Bizarrely, the song was originally recorded as a mid-tempo, piano-backed gospel song before producer Patrick Crowley stepped in offering to remix the song and give it the driving production it needed to become such an adored dance-floor staple.

Countless publications have commented on ‘You Make Me Feel’s legacy and influence- Daily Mirror called it one of the ‘happiest songs of all time’, Time Out ranked it eighth in ‘The 50 Best Gay Songs to Celebrate Pride All Year Long’ and Billboard included the track in its prestigious list of the ‘Best Pop Songs of all Time’ in late 2023. It has since gone on to be covered by LGBTQ+ icons such as Adam Lambert and Jimmy Soverville and was even used

to soundtrack a fierce lipsync battle between Bob The Drag Queen and Derrick Barry on the eighth season of hit TV series RuPaul’s Drag Race.

Towards the end of the 1970s, Sylvester became heralded as the ‘Queen of Disco’ and was even awarded the key to the city of San Francisco due to his contributions to popular and underground culture. The Dance Music Hall of Fame also posthumously inducted him into their legions in 2005. Sadly, the star passed away in 1988 due to complications with HIV. Sylvester died during the process of recording a new album which would go on to be uncompleted. A champion of pride to the last moments- he attended the 1988 Gay Freedom Parade in a wheelchair where huge numbers of fans gathered to celebrate the icons legacy. A red kimono was the choice of attire for his funeral, with his friend Yvette Flunder being left in charge of doing his makeup, the funeral was attended by many and was regarded as a celebration of a pioneer for music and fashion.

Sylvester became an artist that would influence future disco records. Whilst it might have initially seemed that the ‘Disco Sucks’ movement has ensured

a swift movement from the sounds of the dancefloor, the genre would continue to evolve. Drag superstar RuPaul said in 2021- “disco never died, it just changed its name and address”and this couldn’t be more true. As the decades went on the music and pop-culture world would continue to be inspired by the beats of disco, the fashions, the sex-positive aura and the diverse acceptance it promoted.

During the late 1990s and early 2000s DJs would bring back disco sounds incorporating them with new, improved technology to make earworms that defined the generation. Tracks like Modjo’s

‘Lady (Hear Me Tonight), The Supermen Lovers’ ‘Starlight’ and Spiller and Sophie Ellis-Bextor’s ‘Groovejet (If This Ain’t Love)’ amongst others reached peaks on worldwide charts. R&B sensations Mariah Carey and Janet Jackson went on to become the first global names to incorporate disco elements in their singles, paving the way for disco to reach a new audience.

introducing:

Night Tapes

Dream pop group Night Tapes originally started making music for fun until they decided to make the jump to releasing their tracks on streaming platforms.

Band member Max Doohan recalls: “The band really formed out of serendipity and it was the same for getting our music out there. A friend of mine who lived in the apartment downstairs had just started an electronic music label called Breaker Breaker and when I played him our EP he wanted to put it out. “We always wanted to have our music on a physical format and having a label working with us meant we could make cassette tapes and later, vinyl.” The band have all been making music since they were young, with Iiris Vesik creating songs of her own even from being a child. Sam Richards adds: “When I was little, my mum used to have me and my brother lie on the ground, turn out the lights and play ambient music. She’d then make up different stories depending on which artist was playing. Sometimes that was Pink Floyd or Brian Eno, other times ‘Ray of Light’ era Madonna or Cafe Del Mar. It goes without saying she pretty effectively hard wired her favourite music into my head!”

Iiris continues: “One of my earliest memories was being six or something and bumping

Enya so loud from my dad’s Mazda 323 in the yard”.

Both Iiris and Max met at university, with Richie eventually moving into their house after both had completed their degrees. “We all had our own projects before we moved into a house together and started collaborating,” Max explains. “It was very natural when we started playing on each other’s songs and then became a new project”.

Iiris adds: “We were all doing our own separate projects and we could hear each other working on music. We’d come home at night after work, record the vibe and make soft sounding music”. Their latest release, Drifting, arrived at the end of 2023, with Sam sharing of the song: “Drifting was one of those tracks that came about quickly – pretty much the entire instrumental happened in a couple of hours. I had just moved into a place where the only room to record was this tiny alcove squeezed in next to the stairs and with just enough room for a laptop and two speakers. I remember playing the synth parts with the keyboard balanced on my lap, singing/shouting enthusiastically at my girlfriend whilst she was trying to cook dinner. I’m pretty sure she likes the song now at least. The lyrics came out from an unconscious place and first I

didn’t understand them myself initially. But I think I’ve come to the understanding that they are about the usefulness of ideas – whether about living or love. Extremes are unuseful and the romantic ideas of love from the 18th century are outmoded.”

Alongside the track, its video is a trippy feast for the eyes, and the process was a labour of love for the group. “Like the song, the video was made very quickly and intuitively in one evening,” says Max. “We shot most of it at home with a projector and then strapped 6 cameras to my motorcycle for the night time driving shots. It was an exciting experience working with the director/ visual wizard Owain [Emyr Morgan] who shares our obsession with layering different textures. Drifting is track one in a visual series that will be expanded on across the next EP”.

When it comes to choosing singles for release, it’s a group effort for the trio. “We’re pretty lucky in the sense that we’re almost always on the same page when it comes to singles,” Sam elaborates. “We tend to oscillate between writing songs that are quite immediate and ones which are more textural, so it’s normally quite an obvious decision. “Mostly, what we discuss tends towards working out the best way to weave between

these two sounds in a way that builds continuity and tells a story. That part is almost the hardest stage of the process.” He says that sense of collaboration runs through the entire creative process. “The three of us all produced our own music prior to Night Tapes in various different styles. A little bit of that still shines through as generally we write each initial demo individually, before we all work together developing the idea.

“It’s pretty common for us to share instruments – even across one song. I like the idea that if people listen to everything we’ve made, they may be able to work out who is playing which part based on how it sounds.”

Looking to the future, the band is keen to “create a world around [their] music”, with physical releases and touring in the future. They have their sights set on iconic venues – O2 Academy Brixton, Alexandra Palace and, of course, Glastonbury – and while they’d love to extend their reach to Europe and the US, right now Night Tapes are gearing up to drop their next EP, ‘Assisted Memories’, due April 26, with its latest single, Loner, out now.

“We are in the process of releasing our new EP and cooking up as many visuals as we can,” beams Iiris. “And then – gigs!”

Photo credits from Night Tapes

In a five part series we delve into the iconic run of albums from 1986’s ‘Control’ to 2001’s ‘All For You’ from the quintessen tial dancing diva of popJanet Jackson.

A 19-year old Janet Jackson had released two studio albums before the release of her first hit single. Both “Janet Jackson” (1982), and “Dream Street” (1984) had failed to set the charts alight peaking at numbers 63 and 147 respectively on the Billboard 200- so what was it that took Jackson from releasing this duo of commercial-failures, to releasing an album that would go on to sell over ten million copies worldwide and hit the top spot on both sides of the atlantic.

The album that would take her to these new heights of success is of course, ‘Control’- a pioneering, new-jack-swing-inspired album released in 1986. The album would spawn five top-five hit records on the Billboard Hot 100 and break her own brothers record for longest continuous run on the charts with singles from one album- racking up an impressive 65 weeks. The album was led by the sparse and chic effort ‘What Have You Done For Me Lately’. The song had a distinct sound compared to its chart competitors- namely Madonna’s ‘True Blue’ album and Whitney Houston’s self-titled debut- focusing on the industrial production and heavy percussion and Janet’s smooth, airy vocals slinking over them.

The song, released less than a month before the album, opens with the now iconic conversation where Janet’s friend questions the

any successful romantic feats of late. The exaggerated “what has he done for you lately?” sets off the crashing drums and Janet starts off one of the most successful careers in music history, gliding over the chorus with riffs and runs of plenty and spoken-word sections continuing the conversational tone throughout immaculately. AllMusic magazine described Jackson as an “aggressive, independent woman” on the song and the track was also hailed by one critic as the predecessor of TLC’s mega-hit ‘No Scrubs’.

The song would peak at a respectable number four on the Billboard Hot 100 and three on the UK Official Charts and would lead the way for the follow-up: the infinitely-referenced- ‘Nasty’. The song would go on to do one better than the former peaking at three in the US- her first

‘Rhythm Nation 1814,’ to be released in the following years. The single also made history in making Janet and brother Michael the first ever siblings with number one Billboard records. The title track would follow, a defiant and anthemic track that Janet sings in a bid to take back

gles!). The track is most notable thanks to an iconic and era-defining music video that features heavy choreography that show what has become Janet’s signature staccato dance style. Artists like Tinashe, Ciara and Jennifer Lopez have referenced the visuals during their career with Britney Spears paying homage to the dance moves in her video for 2000’s ‘Stronger’.

with the future superstar due to his lack of being able to pull off

what would be a hit-filled career. Nasty interpolated one of James Brown’s biggest hits- “Get Up (I Feel Like Being A Sex Machine)” and go on to be covered by the likes of Britney Spears and see an increase of 250% in sales 30 years later in 2016, after Donald Trump called Hillary Clinton “such a nasty woman”. Jackson got her iconic catchphrase “my first name ain’t baby, it’s Janet, Miss Jackson if you’re nasty” from this song that would go on to be one of her most memorable and quoted moments and one that lives on in black and gay culture history. It was the next single- the sickly sweet “When I Think Of You” that would be the first of many number ones for Jackson and used the classic teenage love themes that had been so successful in pop music for the last previous decades but this time against a new industrial-pop sound that gave it the cutting edge to send it all the way and give Janet that recognisable sound she’d continue to use over this album as well as the follow-up:

the reins of her life and forge her own sound and identity. At the time of the tracks promotion as a single, Jackson was in the process of firing her dad as a manager which ensured the song was an active talking point across the world- bringing to light the darker side of one of the worlds most successful families in showbiz. ‘Control’ is also one of few tracks to be inducted into the ‘Rock and Roll Hall of Fame’ which celebrates songs that have changed the music industry and left behind a successful legacy. Next up was the slinky and smooth ‘Let’s Wait Awhile’- a song modern day fans of the show ‘Pose’ may recognise as one that soundtracks a particularly heartbreaking scene. The song’s underlying context of abstinence became one that was praised upon released, especially in the wake of the AIDs crisis- with many seeing the song as being a deliberate message from Janet to her fans to practice safe sex. Jack son has famously been a strong ally to the LGBTQ+ community throughout her career, in a later album in particular she would go on to dedicate one of her hits to a friend of hers she had lost to HIV during this time period.

Finally was ‘Funny How Time Flies (When You’re Having Fun)’ which probably unsurprisingly did not set the charts alight upon release due to the fact it was the album’s seventh single. The ethereal ballad would peak at number 59 in the UK but failed to make a dent elsewhere.

The album has gone on to be one that has shaped culture and become a cornerstone for other artists- particularly black and queer artists to build on and draw inspiration from thanks to its messages of self-actualization and unique style, whether that be through the visuals, clothing, choreography or sound.

‘The ‘Pleasure Principle’ was the next track to get the single treatment (yes, back in the 1980s, albums had more than two sin-

‘Control’ has become a bible not only for pop-lovers but for feminism- whilst Janet would go on to be far more empowered, particularly in a sexual sense of the word, this record was a young artists bold move to claim a dominance in a male-oriented industry and shine through as one of the most exciting artists of all time that was packed with new ideas.

But what was yet to come was an era that would eclipse even the stratospheric success of ‘Control’one that is sure to be studied and revered in years to come and for good reason. An album that would that would elevate and build on the world of ‘Control’ but with a firm political message at its heart- ‘Rhythm Nation 1814’.

in defence of: Mariah Carey’s ‘Caution’

Mariah Carey’s autobiography ‘The Meaning of Mariah Carey’ is a must-read thanks to its personal and candid telling of Carey’s tragic and turbulent ride to the top. The book details just how hard the journey to 2018’s ‘Caution’ was and highlights the lack of justice the record got with the general public. We take a look into this gem in an icon’s discography. For many music fans, Mariah Carey’s alleged diva-attitude seems a put-off whilst for many others, the exact same aspect is part of her charm and all expected in the chanteuse’s larger than life character. This paired with the timely issue of ageism within chart music- in particular towards women- ensured Carey’s 2018 release of ‘Caution’ to go severely under-looked and unappreciated despite being one of her strongest records of her 15-album career.

Launched with the playful yet effortlessly smooth kiss-off anthem -‘GTFO’- the album brings Mariah back to the cheek and fun of her previous hits such as 2005’s ‘It’s Like That’ and 2008’s number-one-smash- ‘Touch My Body’. She remains in total control of her breathy, sharp vocals whilst being able to find the goofiness in the admittedly very camp nature of the song. Overall, the album is a short-one with only ten-songs chosen for the final track-listing but with each one proving why it deserved one of these coveted spots. Tracks like the wistful, down-tempo R&B-ballad ‘With

You’ and the velvety and gorgeous album closer ‘Portrait’ displays Mariah for what she is known for best- her colourful range and her textured lyricism.

‘A No No’ is one of the most bouncy and instant R&B tracks of recent times, relentlessly energetic, bar-spitting and sassy to no end- the track is a blast from start to finish. Ending with Carey telling listeners in multiple languages that she absolutely, categorically, means “no”. Harkening back to groups like TLC and Destiny’s Child with a sing-along fuck-off anthem to those that have scorned her ensures Mariah comes across as fresh and contemporary as ever. ‘The Distance’ is further proof to this- sounding modern, whilst still taking advantage of expert song-writing and a cheerleading-inspired voice-over.

Debuting at a respectful number five on the Billboard Hot 100, ‘Caution’ deserved to be up there with the break-out star of 2018Ella Mai- if the British songstress could have hits with her tracks ‘Boo’d Up’ and ‘Trip’ there is no reason Mariah couldn’t have

been right up there with her. The record feels like such a celebration of an icon in the charts (the most number ones for a solo artist of all time), the R&B world and what made her such a star from the jump. Earning fantastic reviews from critics- it’s a shame this love couldn’t translate to a deserved 20th-number-one-single for the star- but with some of her tracks such as ‘It’s A Wrap’ and ‘Obsessed’ getting recent TikTok renaissances- who knows whether Mariah could see another genuine smash or not.

The record actually became Mariah’s most critically acclaimed album of her career, 28 years in, proving that the singer-songwriter still had it in terms of keeping fans hooked and creating memorable melodies and timeless lyrics. Tracks like the aforementioned ‘8th Grade’ hark back to the stylishly stripped-back R&B she would release in the late nineties.

‘Caution’ is a dreamy, phenomenally written and well-structured album of love and heartbreak whether that be in terms of relationships or haters of Mariah being unapologetically- Mariah.

in next months Howler.Pop

out May 30. Issue 022.

We count down your favourite British female tracks of the 2000s.

We chat to up-and-coming dance star Rose Gray.

New chapters in our Janet Jackson: Deep Dive, Smash Hit Stories and In Defence of series.

For the latest updates, stories and exclusive content, be sure to follow our socials InstagramHowler.Pop Twitter/ XHowlerPop Bloghowlerpop.wordpress.com