{"id":13324,"date":"2024-10-25T19:45:21","date_gmt":"2024-10-25T19:45:21","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2024-10-25-blackout-turns-17-a-retrospective\/"},"modified":"2024-10-25T19:45:21","modified_gmt":"2024-10-25T19:45:21","slug":"2024-10-25-blackout-turns-17-a-retrospective","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2024-10-25-blackout-turns-17-a-retrospective\/","title":{"rendered":"“Blackout” Turns 17: A Retrospective"},"content":{"rendered":"
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Graphic by Adelaide Russell<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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by bennett himmel<\/h1>\n<\/div>\n
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It\u2019s February 21, 2007 in LA, and the American Dream has gone AWOL. Britney Spears, the reigning princess of pop, more concept than human, stands like a deer in headlights in front of a paparazzo\u2019s car, head freshly shaven, golf umbrella in hand. \u201cPlease guys\u2026don\u2019t do this,\u201d her assistant whimpers, just out of frame. BANG! <\/em>The umbrella hits the passenger side window of the paparazzo’s van. \u201cFUCK YOU!\u201d Spears yowls like a cornered prey with its claws out. \u201cFUCK YOURSELF!!!\u201d She runs back to her car. The door slams, and she drives into the night. In that moment, Britney Spears went from sweaty, shimmering, serpentine schoolgirl sex symbol to a histrionic town crier, the laughingstock of the city of angels. Her entire team was scared of her. She couldn\u2019t see her kids. It was rock bottom.<\/p>\n

\u201cMy body feels like an inferno,\u201d <\/em>Britney groans on track 11 of her fifth studio album Blackout, <\/em>released less than a year after the incident, <\/em>and how could it not? Spears was coming off the tail end of one of the hardest years that any pop star has had to go through. She went to rehab, got divorced, subsequently lost custody of her two children, and to make matters worse, the whole thing was being broadcast live <\/em>to the world through TMZ and every supermarket tabloid. And on top of that, she had an album to make. I doubt anyone on Spears\u2019 team was expecting anything good to come out of these sessions as she was clearly unfit to work. If this were all happening now, there\u2019s no way a label would even consider <\/em>putting money behind an album for someone in such dire straits. But Britney was the label\u2019s resident cash cow, and CDs needed to be ready by Christmas time, so into the studio Britney went.<\/p>\n

It\u2019s a shock, then, that Blackout <\/em>still stands as Britney\u2019s magnum opus, a mutant, whirring, mechanical core text of electropop and pop music as a whole. Britney\u2019s whole thing <\/em>up until this point was a certain kind of detached relatability, that she was the prettiest, coolest, smartest, nicest girl in your high school class. Of course you weren\u2019t just like her, but you desperately wanted to be, and you could <\/em>be if you tried hard enough. Blackout, <\/em>then, is the first Britney Spears album about how it feels to be Britney Spears, how it feels to have everything and feel nothing. Most of the songs on the record appear to be about the normal pop topics: sex, love, getting schwasted at the clerb, sex again, but, they treat these topics like they\u2019re instinctual, animal behaviors: the club as the church, the mattress as the altar.<\/p>\n

The lead single, \u201cGimme More,\u201d is a fine example of this. It\u2019s a song about sex, but also a song about feeling watched, and a song about fucking loving every second of it. <\/em>\u201cThey want more?\u201d <\/em>Spears purrs over cold, robotic, dark synths. \u201c<\/em>Well, I\u2019ll give <\/em>them more!\u201d It helps that the song is an absolute banger<\/em> too. It has some of the strangest production I\u2019ve ever heard on a mainstream radio pop song with producer Danja\u2019s deep, devilish ad-libs bouncing from channel to channel. Britney\u2019s biggest hits were all somewhat dreamy, but \u201cGimme More\u201d is straight up nightmarish, a hedonistic anthem and an absolute classic.<\/p>\n

It\u2019s impossible to talk about Blackout <\/em>without talking about \u201cPiece Of Me,\u201d the one song on the album that\u2019s explicitly about Spears\u2019 personal struggles and relationship with the media and fame at large. It stands as one of the greatest works about fame, loneliness, and anger in the 21st century. \u201cI\u2019m Miss American Dream since I was seventeen,\u201d she sighs, opening the song in media res, not sounding angry, sad, or horny, but just deeply, deeply bored. <\/em>She rattles off a laundry list of problems the media has with her, so clearly aware of how she\u2019s being perceived: \u201cI\u2019m Mrs. Most-Likely-To-Get-On-The-TV-For-Stripping-On-The-Streets-While-Getting-The-Groceries, no, for real, are you kidding me?<\/em>\u201d Production-wise, her voice is autotuned to oblivion, but it\u2019s used as an instrument. It robotically smears and stretches and swoops across the song\u2019s canvas of buzzing, bleep-bloop synths. It is manic and dizzying; it is brilliant.<\/p>\n

The album\u2019s deep cuts are no less fascinating. \u201cGet Naked (I Got A Plan)\u201d is a song that turns sex into a satanic ritual. The beat is terrifying, even more so than \u201cGimme More,\u201d and the song is even more fascinating since it\u2019s either entirely constructed of hooks, or doesn\u2019t have one at all\u2026I still can\u2019t tell. It\u2019s easily the most experimental thing Britney has ever been a part of. It sounds beamed in from the hottest, sweatiest, dankest, darkest club in LA, with synths that shimmer like diamonds and bass that could definitely break a pair of headphones. \u201cHeaven On Earth,\u201d thematically, is the rest of the album\u2019s antithesis: a spiraling, dreamy ode to love in its purest form, and also the album\u2019s best song. You can hear so much of the future <\/em>of pop in this track; the heart-on-sleeve lovestruck attitude of early Charli XCX, the progressive, pop-agnostic song structure of Magdalena Bay. Words can not describe how gutsy it was in the year 2007 for a pop song to have a minute long fade out in which Spears repeats \u201cfall off the edge of my mind\u201d like a mantra.<\/p>\n

It is worth mentioning that this album may perhaps be more about <\/em>Britney Spears than by <\/em>Britney Spears. Spears is only listed as a co-writer on one song\u2013the fun if slightly innocuous \u201cOoh Ooh Baby.\u201d Most of the album\u2019s writing is handled by either Danja or the production duo Bloodshy and Avant with the former on the darker, weirder songs, and the latter on the synthier, poppier side of things. Spears is listed as \u201cexecutive producer,\u201d and it\u2019s the only album on which that has happened, but that could honestly mean anything. Even if she wasn\u2019t that heavily involved in the making of the songs, it feels like an album that could only <\/em>be a Britney Spears album. The point feels moot. In her memoir, Britney called the album \u201cthe thing I\u2019m most proud of in my whole career.\u201d I\u2019ll let you be the judge of how involved she was, and if that even matters.<\/p>\n

It\u2019s been seventeen years since the release of Blackout, <\/em>and it feels even more relevant now than ever. Charli XCX\u2019s culturally domineering BRAT <\/em>feels like the album\u2019s true spiritual successor, loud synths and depressive lyrics and all. Rising pop star Chappell Roan has been experiencing a similar hounding by the new media world. Just swap out TMZ with Pop Crave, and you\u2019ve got a somewhat similar story. But what about Britney? It\u2019s been eight years and an entire anti-conservatorship movement since her last studio album, and she\u2019s said time and time again that she\u2019s retired from the industry. But I still see the Britney from Blackout <\/em>in the Britney of today, as she spins around her mansion on Instagram, her eyes blank, gorgeous, powerful, vengeful, manic, sexy, and free.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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