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Janet Jackson: Unbreakable (Target Deluxe)

10/16/2015

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Album Review.
Likes: The Great Forever, Shoulda' Known Better, Night, Gon' B Alright
Dislikes: Burn It Up!
Overall: Back to the strong suit of lyrical social consciousness; musically, it lost my attention
 
11 years ago, Janet Jackson endured a ridiculous backlash and blacklisting after her breast was accidentally shown during her Superbowl halftime performance. The incident nearly, if not actually, ruined her current album, Damita Jo's, chances of getting the acknowledgement it deserved. Over the next 4 years, Jackson would break from her artistic formula of working principally with Jimmy Jam and Terry Lewis and release 2 records (2006's 20 Y.O. and 2008's Discipline) her fans would find unflatteringly aberrant and insipid. She also left Virgin Records after 13 years for Island, only for the relationship to dissolve in 14 months. For the first time, Jackson was a free agent. In 2009, she suddenly lost her brother, Michael, and her long-time courtship with producer Jermaine Dupri ended. Rumblings of new material eventually quieted and 6 years went by. Some worried that this string of events either indicated or led to a vanishing of Jackson's musical interest or inspiration, and they wondered when they would hear from her again. This past spring, word of a project and tour finally came, and the Unbreakable era began. What would she say or address? What would the music sound like?
 
Jackson went *Christina Aguilera voice* back to basics, reuniting with Jam and Lewis (with some additional production by Dem Jointz and Tommy McClendon) and trading in what became an expected staple (i.e. throbbing sexuality, no pun intended) for the old one, focusing mainly on social justice and the human spirit. "The Great Forever" arguably has a double meaning, with implicative lines about her nuptials to Qatari entrepreneur Wissam Al Mana getting press and the fight for marriage equality. On "Shoulda' Known Better," she sings with disillusionment about how societal strife overwhelmingly remains, despite all the efforts to combat it and how reform now seems like an idealistic dream of her youth: "I had this great epiphany, and rhythm nation was the dream...I guess I shoulda' known better." This disheartened rumination is expressed over a pulsating, conversely uplifting cadence and a still hopeful, alternative take on her key phrase: "Awakening a better choice, it only starts if you lift your voice and say 'I shoulda known better, and so, next time I'll know better.'" This song had me in my feelings; so many times, I've been an emotional blur of frustration and sadness over the perils of the world, thinking "It's useless to care. It's useless to fight. Nothing's going to change." On "Black Eagle," Jackson challenges us to learn more about each other's respective struggles and increase our compassion, if for no other reason than we might need someone to be empathetic towards us one day. It's smooth, mellow and she's cooing softly, but we're getting lyrically chastised and sent to the principal's office. The contrast is almost funny. "Promise of You" encourages us to rise to our occasion, both as individuals and citizens.


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Janet Jackson's "Unbreakable Tour": Review

10/11/2015

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PictureOfficial tour image
​Live in Nashville: Ascend Amphitheater
Show Date: September 27, 2015
Opening Act: N/A
 
I'm sure it seems ridiculous to do a concert review for Janet Jackson, who's known for live entertainment excellence, but nevertheless, it must be done; especially when certain trademarks were absent.
 
One of my favorite things about pop shows are the dramatic openings. Three sheer screens projected a band of wild crows (or ravens?) forming a large, single one, which eventually morphed into Jackson's silhouette and naturally caused hysteria. With the help of a digital Missy Elliott, Jackson stepped out to current song, "Burn it Up!" and proceeded to perform a rather epic opus of a hits medley, which included "Nasty" and "Miss You Much." The setlist was extremely well-ordered and inclusive; it astounded me how she was able to mash a 30-year career into 2 hours without there being any shortchanges, lulls, abrupt endings, forced or odd transitions. Even the new songs fit right in; there were no awkward "What is this??" moments. I'm personally offended that my favorite song, "You Want This" was a part of the medley and not performed in its entirety though, haha. An awesome surprise was the addition of "Scream;" the only song Jackson recorded with her late brother, Michael. "Get it Michael!" she shouted over his verse. When it came time for the iconic dance break, I was prepared to pass out. She didn't do it, but went into "Rhythm Nation," which totally worked. If you're curious as to whether the 49-year-old missed a beat or an 8-count, she didn't. Vocally, Jackson met expectations, with the best showcase being the ballads section, where there was more girth than many might anticipate.
 
Now, for those missing trademarks. Unbreakable Tour goers who have seen Jackson live before or any of her concert DVD's might notice a difference in stage production. There's usually a bold, consistent theme with elaborate, expensive-looking sets and visuals, and a bevy of cool costumes. The set pieces shined like obsidian rock, but were few and pretty simple overall (2 stair cases and a scaffold block for the band were primarily used). Though the video graphics and lights were neat, they didn't connect, have concept or emphasize the message of "unbreakable." We didn't see anything much in relation to that until the end, when the bird reappeared and was unfazed by arrows shot into it. Jackson left the stage a handful of times, but never changed attire. The dance-team's wardrobe was giving me Janet. era, while the background singers were giving Velvet Rope Tour. Given the paucity of a premise, I didn't know if that was an intentional homage or just another incoherency. For Nashville attendees, the production wasn't the only thing that was retrenched. Jackson's energy was subdued in comparison (not to be mistaken, she was in no way lazy or cavalier) and majority of the audience interaction was placed at the end. In shows past, she's a mix of hyper and intense, and addresses the crowd frequently. She's notorious for being hands-on in a very literal way, bringing guys onstage to be tied up and tantalized for her rated-R cuts. Not this time, fellas. I prefer to hear from an act throughout a concert, but when Jackson took time to speak, she gave heartfelt thanks for support given to her and her family, which was memorable. There weren't many unique band arrangements, but when a crucial part of your show is nostalgia and catering to long-term fans (as one should), it makes sense not to tamper with classics. No one wants to hear a hip-hop or rock version of "Again" or a jazzy rendition of "I Get Lonely."
 
There were no preliminary performers (which was great; I just want to get to who I paid for), so be sure to be on time. Jackson had a DJ play remixes of her songs to get people pumped up instead. Typically this is annoying, but it was actually a satisfying appetizer. Hardcore fans were doing choreography in the aisles and making friends with strangers that were just as excited as they were. Many came wearing flawlessly intact old tour gear and make-shift Janet-like outfits. The atmosphere was beautiful and giddy. While I was visiting the exhibit of Janet artifacts they had available (which is incredible and must-see), I was surprised with upgraded tickets to front row!! I still can't believe that happened and it's been more than a week. I have no idea what made them choose my friend and I, but I'm not asking any questions. I've never seen anyone of Janet's status before or been front row, so for both of those things to happen at the same time was mind-blowing to say the least. Pyrotechnics, smoke and lights are amazing from a distance; seeing it front row is an out-of-body experience and brings out your inner child. It's like "Wow, Mommy! Look!!" Hands-down one of the best moments of my life. Putting that aside and being objective, there might be some bells and whistles missing, but none of the upmost important ones. "Ms. Jackson if you're nasty" is incomparable and still lives up to her performance standard.

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5 Artists Only as Good as Their Producers

3/31/2013

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Christina Aguilera with Linda Perry
By Eddie J., Contributing Writer
When we listen to music, we typically attribute our listening experience to the person on the album cover, not considering or forgetting that there are MULTIPLE people behind the scenes who made that album happen. Of the more vital figures in the recording process are producers; many of whom could walk right by us in the grocery store and we would never know that they’re the reason behind our favorite song’s existence (no, not every producer is a key-name with a solo record or shouts out their name at the beginning of every song). If you don’t already know, producers are generally responsible for the musical (and sometimes vocal) arrangement. Every so often, producers also contribute lyrics. When an artist releases subpar music, they themselves are often blamed, but the producers are really the ones who should take the bag. If they do their job, producers can make a barely talented artist average or good artist great. Many of your favorite artists might not be as successful without them. Here’s a list of some big names that only go as far as their producers. You might be surprised at who you see on the list.

#5 Trey Songz, Key Producer: Troy Taylor
Okay, I may get some flak for even putting Trey Songz in a category that has “artist” in the title, but in my defense, Songz was actually listenable and kind of unpredictable once upon a time.  Now, this isn’t one of those deluded “Oh, he sounded so much better and he didn’t just sing about sex in the early days” rants, because let’s be honest: he’s sung about sex since his first album and in abundance. However, the difference from the “Gotta Make It” album’s sex songs and those on “Chapter Five” is the music and the little fantasies he and his songwriters left to the imagination by not being overtly explicit. His first album, which is considered an R&B classic, was almost exclusively produced by Troy Taylor. Don’t know Troy? His credits include Whitney Houston’s remake of “I’m Every Woman,” Tyrese’s “Sweet Lady,” Toni Braxton’s “Just Be a Man About It,” Aaliyah’s “Miss You” and B2K’s “Why I Love You” (one of their few good songs), just to name a few. As time progressed, more people got added to the mix on Trey’s albums, making a cesspool of forgettable songs. Not to discredit the other producers who have come and gone on the Songz bandwagon, but there’s just no genuinely amazing music-to-artist chemistry by the time he gets to “Passion, Pain and Pleasure.” We saw the foolery when Taylor wasn’t featured on “Trey Day” and songs like “No Clothes On” made the cut. Even with big names like R. Kelly and Stargate, Songz came off as corny, lackluster or like a Diet R. Kelly. Yet, “Ready” filled the void for the general public and guess whose name showed up in the credits the most as a producer? Troy Taylor. “Jupiter Love” anyone?

#4 Christina Aguilera, Key Producers: Too many to list
So Aguilera is great for this list because she makes two points: 1) some artists are only great with a select few producers and 2) NEVER burn bridges that’ll keep you from getting to your hometown. 
The interesting thing about Christina is that she doesn’t really work with anyone more than twice album wise; the only common denominator is Linda Perry who frequently appeared on “Stripped” and “Back to Basics.” I won’t make this into an argument for which albums have been successful or not, because that doesn’t really qualify the greatness of the music. Let’s just say that “Bionic” and “Lotus” haven’t musically put Ms. Aguilera in the best light. Her self-titled debut was an amazing mix between bubble-gum pop and R&B tracks to show off her vocal versatility, and gave her a solid foundation to attract audiences to both catchy songs and her amazing voice, without her even having to touch a pen. By “Stripped,” Aguilera began to take full control and write songs about social and personal issues, which is probably why most of her fans hold the album to such a high standard. The producer behind the bulk of this feat? None other than Scott Storch, who gave the project grungy, raw undertones that made it such a classic to most listeners. Other significant ingredients included Linda Perry’s musical softness and vulnerability in the ballads and the catchy, yet soulful touch of Matt Morris, who co-wrote over half of it (Morris is responsible for Kelly Clarkson’s “Miss Independent,” which was originally written for “Stripped”).


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Dissing the Divas

5/31/2010

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Ok, that’s it. I’m sick of this.
So, I’m listening to Mariah Carey’s MTV Unplugged album from 1992 and every time I hear that record, I’m so moved and I’m in awe of the beauty and power of her voice. When I was 7 and my mother had this album on repeat, I remember wanting to be just like her and wanting to sing. As I recalled all of this, I thought “People talk so much crap about Mariah Carey, but the fact still remains that she was simply amazing and till this day most people cannot match the vocals she had.”

What I’m absolutely sick of is how people horribly disrespect artists like Mariah Carey because they aren’t vocally what they used to be.  Yes, it’s true that Mariah hasn’t performed well vocally since around 2005-2006. I’m not saying pretend that there’s nothing wrong and say a performance (or album) was great if it wasn’t. I don’t have an issue with the criticisms; it’s the NATURE of the criticisms.
To me, there is a difference between “I’m not buying that album because I don’t care for it” or “I’m not attending the tour because her voice is not up to par” and “Mariah ain’t shit” or “ She doesn’t sound like she used to, so whatever”. Some people have completely disregarded her and acted like her previous accomplishments don’t mean anything because of the last few years of her career; throwing her away like trash. And Mariah’s not the only one: Janet Jackson has also been spit on and people have been even worse to Whitney Houston.

Again, I’m not saying reward bad behavior, but there’s a line between constructive/fair criticisms and down-right cruel comments. People have been mean, rude and disrespectful and it’s just unfair and unnecessary. It’s HUGELY unfair because these artists have worked so hard for so long and have sacrificed so much for 20 or more years, providing great music and memories, and they’re being defined and limited to their present which is 2% of their career. Furthermore, the disrespect irritates me because artists like them have, in some shape or form, influenced or inspired many of the current artists that people praise today. Current artists, who will one day be forty-something and may be in the same position (hopefully not). Give credit and criticism where its due.

 
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The State of Music Today and The 2009 BET Awards

6/29/2009

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The 2009 BET Awards dedicated their entire show to the memory of the King of Pop, Michael Jackson, with tribute performances, special segments and a closing statement by Michael’s youngest sister, Janet. The next morning, many in media and forum were criticizing the show, saying that the tribute was lackluster and insufficient, among other things. I thought that any criticism of their tribute was unwarranted and ridiculous, considering they had to REFORMAT an ENTIRE show in 3 days. Some stations might have cancelled their award show, or just “sprinkled” mentions of Michael in. Brava, BET for of course caring enough to try your hardest and working with what you had to try to do him justice. Not to mention that they showed more tribute programming than MTV did in these last several days following Michael’s untimely death.
Surprisingly enough, the show was not somber. Channeling New Orleans memorial tradition, the mood was upbeat and a tender celebration of the memories Michael left us with. Host Jamie Foxx did an AMAZING job of showing respect to the legacy of Michael, having enough comedic twist that was not satirical of Jackson, but kept people laughing. The mood swiftly changed, however, when Janet Jackson appeared. Seemingly holding back tears, taking breath by breath, Janet gave a brief statement: “My entire family wanted to be here tonight…but it was just too painful, so they elected me to speak with all of you and I’m going to keep it very short. I’d just like to say that to you, Michael is an icon. To us, Michael is family, and he will forever live in all of our hearts. On behalf of my family and myself, thank you for all of your love. Thank you for all of your support. We miss him so much. Thank you so much.” With her father in the audience and a childhood photo of herself and Michael in the background, Janet bravely addressed the audience and the fans watching across the country. When I heard that Michael was gone, one of the 1st things that I thought was “God help this family. Everyone else is in their own grief right now, but nothing we feel compares to what this family is feeling. We lost our star, but there are children without a father, siblings without a brother, and a mother without her baby right now. Who cares what I feel…” I was glad to see Janet somewhat echo that sentiment and reminds us all that Michael, amidst all the magic, was indeed human, with a human family who was really grieving and we all just needed to take a step back for a second and acknowledge that. Following Janet’s speech, and thus closing the show was a piano performance of “I’ll Be There” by Jamie Foxx and Ne-Yo.
There were performances by…..let me see if I can remember…. Ciara, Jay-z, Ne-Yo, Keri Hilson, Maxwell, Beyonce`….Jamie Foxx (of course) …and……..yeah, I’m going to have to check out the performers list to remember the rest, which is telling. I watched this award show with several of my friends and family, and the talent, or lack thereof, started a really interesting conversation about the state of the music industry today. I was making the argument that in current mainstream pop and R&B there are TOO MANY MEDIOCRE artists. Artists that are “just ok”, lack versatility, lack substance, and are talented in only one or two areas instead of many. One of the women in the room said that today’s artists are not “masters of their craft” and you don’t get a sense from them that they are “striving for excellence or growth.” One of the people my age responded to that by saying “well, this person isn’t supposed to be a “singer”, they’re just a dancer.” They’re not supposed to be a GREAT performer.”  I sat back in awe of that comment. When in the heck did we just start ACCEPTING this ish?
Throughout the night, they defended poor live performances with statements like “His song DOES lack substance, but it’s not supposed to be deep. I mean, sure, it would be nice if her voice was stronger and his song had a real meaning. I would definitely like it better if we had more strong performers in music, but that’s just how it is right now.”
WHAT’S WRONG WITH YOU?? This is the music of OUR generation- the music they will DEFINE US by when we’re older. This is the stuff that will go on compilation albums in future decades. If you don’t really like it, and you know it could be better (hence the “better if we had more strong performers”) why are you buying it? The music industry is oversaturated with mediocrity because YOU (the consumer) keep supporting and buying it. Yes, the industry bigwigs and execs are the ones puttin’ the music out, but they’re only putting b.s. music out because people keep buying it.
With statements like “that’s just how it is”, my friends left me with the impression that they feel the market is something they have no influence over. We have more control as consumers than we think. With the recording industry, the power is split down the middle between the consumers and the bigwigs. If we stop buying this B.S. they’ll stop selling it. If we buy only from the Robin Thicke’s, the Alicia Keys’ , the Common’s, The Pink’s, the Paramore’s, the John Mayer’s, or whoever you like, the b.s. will reduce. B.S. will ALWAYS exist, but the key is to REDUCE it. It’s okay to have a Britney Spears type artist here and there, but there are way too many in the room right now. During our parents’ generation, EVERY OTHER artist was a consummate performer. It kinda went something like this: Beatles, then mediocre artist, The Jackson 5, then mediocre artist, Rolling Stones, mediocre artist, Tina Turner, mediocre artist, so forth and so on. Now, it’s like Alicia Keys, 7 mediocre artists, Coldplay, 7 mediocre artists, etc. NOT ACCEPTABLE. I’m encouraging and challenging you guys to care about the art of music (which you claim to care about) long enough to stop supporting the ringtone rap, the fruitless pop, and the soul-less R&B, so we can take back OUR music. I want something to pass on to my children, like my parents passed on Sam Cooke to me.
I’m tired of the b.s.
And don’t tell me to dig up neo-soul, Christian contemporary, or some other alternative genre. I’ve had people suggest that and say “well, you must not want to hear “real” music bad enough then, if you don’t want to get in to neo-soul.” BULL CRAP! Why should I have to change genres? I don’t like neo-soul (at least not all of it). I like pop and R&B (I’m pretty eclectic, but those are the genres I listen to the most) and I want good pop and R&B to listen to! I am determined to have the big wigs listen to me because after all, they don’t have an industry without money and they don’t have money without me (the consumer). It’s time you start catering to me, Clive Davis. TAKE BACK YOUR MUSIC CONSUMERS!
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