Question: At what age does it become unacceptable to still have crushes on pop stars?
I mean, perfectly harmless crushes, of course. Not the sort that develop into going through their bins, appearances in Court and restraining orders being issued.
I ask this because a pop singer’s name came up in conversation with Kay at work (I’m not sure how, I suspect that, as with so many conversations we have, she misheard something I said and asked me why I’d just mentioned this particular pop singer) and on the bus on the way home, the stomping ground of many an obsessed pervert over the years, I realised I’d had quite a thing about this popstress back in the day.
The first time I heard her, back in 1989, just like Vienna she meant nothing to me, for she was what I assumed to be “just” a session singer on a record by an R&B act with a terrible pun for a name. This record, in fact:
D Mob knew something we didn’t at that point, of course. Did you spot it? That’s right: not D Mob featuring Cathy Dennis, but D Mob Introducing Cathy Dennis. “Ladies and Gentlemen, please allow D Mob to introduce you to Miss Cathy Dennis.”
Those crazy D Mob boys knew what they were unleashing on the world alrighty.
My ignoramus belief that she was nothing more than a session vocalist (who, I realise now, are generally incredible singers) seemed to be vindicated when the first three singles she released in her own right stalled at numbers 93, 48 (so close!!!!) and 95 respectively.
And then, in 1991, two years after that inauspicious debut, came the biggest hit of her recording career:
I was 21 years old when that came out in 1991, and yet I still recall looking up over the pages of the NME when it came on The Chart Show one Saturday lunchtime, and feeling my little heart beat so hard that I hoped my girlfriend didn’t wander into the room or else I’d have to explain the copious amount of drool on my chin.
Remember I mentioned those three flop singles? Well, actually it was just two, for the one that reached #93 and #95 was actually the same record released twice. Still, third time’s a charm, and so it was that in July 1991 it got released again, and this time: bingo! #13:
Two hits into a career and we all know what record labels want an artist to do next to
cash in on them cement their reputation: release a ballad…
…and then follow that up with one last single from her “available in all good record stores now” album:
And then, suddenly it was all over. Yes, there were a couple more minor hits, and a brief flirtation with the UK Top 20 again in 1997 with a cover of The Kinks’ “Waterloo Sunset” which I’m not going to trouble you with here, and there was the time when she quit Club MTV’s first tour amid claims that she had been sexually harassed by one of Milli Vanilli, who presumably wasn’t lip-syncing on that occasion.
But it seemed to me that just as quickly as she had breezed into my life, so she was gone again.
Or so I thought.
For unbeknownst to me, Dennis had merely gone off to reinvent herself, and boy oh boy did she ever did that, writing or co-writing three of the biggest selling and – let’s be honest – best pop records of the 21st Century, namely this…
(I think that’s the third time I’ve found an excuse to post that record here)
(Kylie’s Harry Houdini tribute act needed some work)
I watched Katy Perry’s Glastonbury performance a few weeks ago, and as I sat there watching it I found myself thinking: No really, at what age does it become unacceptable to still have crushes on pop stars?