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Janet Returns in Top Form Janet returns in top form
Rock Witchu Tour features non-stop hits By KEVIN NAFF, Washington Blade | Oct 16, 2:59 PM After postponing a string of shows due to illness, Janet Jackson returned in top form Wednesday night to her Rock Witchu Tour at Washington’s Verizon Center. If she was suffering any lingering effects of the migraines and vertigo that plagued her over the past two weeks, it wasn’t apparent Wednesday night, as Jackson danced her way through nearly two-and-a-half hours of hits and their accompanying energetic, complex choreography. Opening act LL Cool J was a no-show, but he was forgotten as soon as Jackson came to the stage in a blaze of pyrotechnics and smoke, a diva-worthy entrance if ever there was one. She opened with a medley of Control-era hits — “Pleasure Principal,” “What Have You Done for Me Lately” and “Control” — before segueing into the recent hit “Feedback.” And the hits kept coming, reminding the packed house of Jackson’s long record of producing memorable and lasting hit singles. She went as far back as 1982, performing three songs from her pre-“Control” albums “Janet Jackson” and “Dream Street,” including “Don’t Stand Another Chance” and “Young Love.” It’s hard to believe it’s been more than a quarter century since she burst onto the American Bandstand stage with those numbers. Taking a break from the high-energy dance tracks for which she’s best known, Jackson worked in a string of ballads, including “Never Letchu Go,” “Come Back to Me” and the crowd-favorite “Again,” which landed her an Oscar nomination 15 years ago. Her reemergence onstage in a glittering red, floor-length Versace gown atop an elevated podium high above the stage provided one of the more dramatic images of the night. Despite all the speculation about her use of recorded vocals, Jackson performed the ballads live — and powerfully. In addition to six tracks from this year’s “Discipline” CD, Jackson seemed to perform every song she’s ever recorded. “That’s the Way Love Goes?” Check. “Nasty?” Check. “Alright,” “Runaway,” “Miss You Much?” Check, check and check. The section of the show that generated the most noise from the crowd was a killer three-song medley of “Black Cat,” “If” and “Rhythm Nation,” all of which were performed in their entirety and with a rock edge that was a hallmark of the show. Previous Jackson tours — the last was in 2001 — exuded a carefree and fun innocence and featured whimsical props and costumes. Those days are over and Jackson brought a very modern, edgy and sometimes dark sensibility to the production. From punk-inspired costumes to the S&M-themed “Discipline” that involved an audience member being strapped into a sling and groped, this is an unapologetic and cutting-edge Janet. The missteps? There were two. First, there were several video interludes played during costume changes that featured images of a good and evil Janet battling it out for … something. The purpose of the clips was never made clear and the audio for those bits couldn’t be deciphered over the crowd noise. Second, Jackson should engage the crowd more. At times, she seemed preoccupied with getting through all the numbers rather than enjoying herself and the audience that worshipped her. A few more spontaneous moments with the audience would give the production more of a concert feel and less the sense that you’re watching a Broadway show that doesn’t change from night to night. But those are minor quibbles. Janet quite literally grew up on stage, performing before live audiences since she was 7. There is no one performing today — not even Madonna — who can touch her live act. She is one of those rare performers you simply can’t take your eyes off of. Whether she’s surrounded by a troupe of dancers with pyrotechnics blasting all around or simply standing alone with a microphone, Jackson’s stage presence is irresistible and undeniable. There are many top pop acts that are a mainstay of MTV and radio airplay that can’t translate that success to the stage (think Britney Spears and Jennifer Lopez to name just two). Janet is the rare modern pop star who is at her best on a stage before a live audience. If only the mainstream media would cut her a break. After the concert postponements (not cancellations, as widely reported), many media outlets, DJs and bloggers piled on, accusing Jackson of faking the illness or being pregnant or bumping shows due to LTS — low ticket sales. If only entertainment writers would take a minute to do a little research. Jackson’s Vegas show, for example, grossed more than $1 million and sold 8,065 tickets of 8,168 available. The D.C. show wasn’t a sell-out, but the only empty seats appeared to be in the rafters and this was a mid-week show. But bloggers and the mainstream media no longer let facts get in the way of a good character assassination. How sad that Americans revel so in the hardships of others — building up celebrities only to gleefully try to tear them down. Commercial radio may have turned its back on Janet after the Super Bowl fiasco, but she continues to thrive and innovate onstage. Let’s hope she doesn’t let another seven years pass before the next tour. http://washingtonblade.co...g_id=21769 Yay  | |
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I'm so happy she's back on stage.
 "America is a continent..." |
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Video from Fox News in DC about her show last night:
http://www.myfoxdc.com/my...cale=EN-US Also, they say she's cut out kissing the fan when she brings them onstage. Smart! When I saw her in Oakland I swear she put her tongue in his mouth.  [Edited 10/16/08 21:30pm] | |
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Maybe that's how she got ill. | |
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Thanks for posting. Good news!  | |
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good for you janet!!
..i'm reconsidering re-purchasing a ticket LOVE HARD. | |
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shesoffthewall said: Janet returns in top form
Rock Witchu Tour features non-stop hits By KEVIN NAFF, Washington Blade | Oct 16, 2:59 PM After postponing a string of shows due to illness, Janet Jackson returned in top form Wednesday night to her Rock Witchu Tour at Washington’s Verizon Center. If she was suffering any lingering effects of the migraines and vertigo that plagued her over the past two weeks, it wasn’t apparent Wednesday night, as Jackson danced her way through nearly two-and-a-half hours of hits and their accompanying energetic, complex choreography. Opening act LL Cool J was a no-show, but he was forgotten as soon as Jackson came to the stage in a blaze of pyrotechnics and smoke, a diva-worthy entrance if ever there was one. She opened with a medley of Control-era hits — “Pleasure Principal,” “What Have You Done for Me Lately” and “Control” — before segueing into the recent hit “Feedback.” And the hits kept coming, reminding the packed house of Jackson’s long record of producing memorable and lasting hit singles. She went as far back as 1982, performing three songs from her pre-“Control” albums “Janet Jackson” and “Dream Street,” including “Don’t Stand Another Chance” and “Young Love.” It’s hard to believe it’s been more than a quarter century since she burst onto the American Bandstand stage with those numbers. Taking a break from the high-energy dance tracks for which she’s best known, Jackson worked in a string of ballads, including “Never Letchu Go,” “Come Back to Me” and the crowd-favorite “Again,” which landed her an Oscar nomination 15 years ago. Her reemergence onstage in a glittering red, floor-length Versace gown atop an elevated podium high above the stage provided one of the more dramatic images of the night. Despite all the speculation about her use of recorded vocals, Jackson performed the ballads live — and powerfully. In addition to six tracks from this year’s “Discipline” CD, Jackson seemed to perform every song she’s ever recorded. “That’s the Way Love Goes?” Check. “Nasty?” Check. “Alright,” “Runaway,” “Miss You Much?” Check, check and check. The section of the show that generated the most noise from the crowd was a killer three-song medley of “Black Cat,” “If” and “Rhythm Nation,” all of which were performed in their entirety and with a rock edge that was a hallmark of the show. Previous Jackson tours — the last was in 2001 — exuded a carefree and fun innocence and featured whimsical props and costumes. Those days are over and Jackson brought a very modern, edgy and sometimes dark sensibility to the production. From punk-inspired costumes to the S&M-themed “Discipline” that involved an audience member being strapped into a sling and groped, this is an unapologetic and cutting-edge Janet. The missteps? There were two. First, there were several video interludes played during costume changes that featured images of a good and evil Janet battling it out for … something. The purpose of the clips was never made clear and the audio for those bits couldn’t be deciphered over the crowd noise. Second, Jackson should engage the crowd more. At times, she seemed preoccupied with getting through all the numbers rather than enjoying herself and the audience that worshipped her. A few more spontaneous moments with the audience would give the production more of a concert feel and less the sense that you’re watching a Broadway show that doesn’t change from night to night. But those are minor quibbles. Janet quite literally grew up on stage, performing before live audiences since she was 7. There is no one performing today — not even Madonna — who can touch her live act. She is one of those rare performers you simply can’t take your eyes off of. Whether she’s surrounded by a troupe of dancers with pyrotechnics blasting all around or simply standing alone with a microphone, Jackson’s stage presence is irresistible and undeniable. There are many top pop acts that are a mainstay of MTV and radio airplay that can’t translate that success to the stage (think Britney Spears and Jennifer Lopez to name just two). Janet is the rare modern pop star who is at her best on a stage before a live audience. If only the mainstream media would cut her a break. After the concert postponements (not cancellations, as widely reported), many media outlets, DJs and bloggers piled on, accusing Jackson of faking the illness or being pregnant or bumping shows due to LTS — low ticket sales. If only entertainment writers would take a minute to do a little research. Jackson’s Vegas show, for example, grossed more than $1 million and sold 8,065 tickets of 8,168 available. The D.C. show wasn’t a sell-out, but the only empty seats appeared to be in the rafters and this was a mid-week show. But bloggers and the mainstream media no longer let facts get in the way of a good character assassination. How sad that Americans revel so in the hardships of others — building up celebrities only to gleefully try to tear them down. Commercial radio may have turned its back on Janet after the Super Bowl fiasco, but she continues to thrive and innovate onstage. Let’s hope she doesn’t let another seven years pass before the next tour. http://washingtonblade.co...g_id=21769 Yay I'm so glad that somebody finally pointed this out | |
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shesoffthewall said: . The D.C. show wasn’t a sell-out, but the only empty seats appeared to be in the rafters and this was a mid-week show. But bloggers and the mainstream media no longer let facts get in the way of a good character assassination. How sad that Americans revel so in the hardships of others — building up celebrities only to gleefully try to tear them down.
Commercial radio may have turned its back on Janet after the Super Bowl fiasco, but she continues to thrive and innovate onstage. Let’s hope she doesn’t let another seven years pass before the next tour. http://washingtonblade.co...g_id=21769 Yay OKAY!!?? Its so so sad how people really talk her down while she is in the hospital. Its pity and sad! Straight Jacket Funk Affair
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paisleypark4 said: shesoffthewall said: . The D.C. show wasn’t a sell-out, but the only empty seats appeared to be in the rafters and this was a mid-week show. But bloggers and the mainstream media no longer let facts get in the way of a good character assassination. How sad that Americans revel so in the hardships of others — building up celebrities only to gleefully try to tear them down.
Commercial radio may have turned its back on Janet after the Super Bowl fiasco, but she continues to thrive and innovate onstage. Let’s hope she doesn’t let another seven years pass before the next tour. http://washingtonblade.co...g_id=21769 Yay OKAY!!?? Its so so sad how people really talk her down while she is in the hospital. Its pity and sad! She was only in the hospital for two hours. Let's not act like she was seriously ill. She wasn't. Her boyfriend was out partying that night too. Given those facts as well as her track record of dishonesty, it's only natural there will be scepticism. Her brother has also been known to fake illnesses as a ploy to get out of difficult situations. I'm not saying that's what Janet did, but I can certainly see why people would think that. “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
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midnightmover said: paisleypark4 said: OKAY!!?? Its so so sad how people really talk her down while she is in the hospital. Its pity and sad! She was only in the hospital for two hours. Let's not act like she was seriously ill. She wasn't. Her boyfriend was out partying that night too. Given those facts as well as her track record of dishonesty, it's only natural there will be scepticism. Her brother has also been known to fake illnesses as a ploy to get out of difficult situations. I'm not saying that's what Janet did, but I can certainly see why people would think that. Yeah but still, its really petty. Straight Jacket Funk Affair
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its sad how everybody is sooo damn judgmental like its 4 u 2 do y dont u judge the fact yahoo didnt report opening nite or anything postive about janet tour at 1st they talked about how bad the costumes were and only headline she got from them is when they tried 2 say she is fakin being sick sounds 2 me like janet is being ousted by the media over superbowl y dont u give it a got damn rest already we already know majority of america is racist and hate 2 c blacks do well | |
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kaptainkrunk said: its sad how everybody is sooo damn judgmental like its 4 u 2 do y dont u judge the fact yahoo didnt report opening nite or anything postive about janet tour at 1st they talked about how bad the costumes were and only headline she got from them is when they tried 2 say she is fakin being sick sounds 2 me like janet is being ousted by the media over superbowl y dont u give it a got damn rest already we already know majority of america is racist and hate 2 c blacks do well
 Errr, yeah. Racism, that's it.  “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
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kaptainkrunk said: its sad how everybody is sooo damn judgmental like its 4 u 2 do y dont u judge the fact yahoo didnt report opening nite or anything postive about janet tour at 1st they talked about how bad the costumes were and only headline she got from them is when they tried 2 say she is fakin being sick sounds 2 me like janet is being ousted by the media over superbowl y dont u give it a got damn rest already we already know majority of america is racist and hate 2 c blacks do well
I was shocked myself. I was trying to find other articles by some of the major sites that have been reporting all of the negative things so far, but couldn't find anything about her being back and how she did on her tour in DC. I could only find that article posted above. | |
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No it ain't a black thing, it's a Jackson thing. 
They raved about Tina Turner's first show. | |
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shesoffthewall said: There is no one performing today — not even Madonna — who can touch her live act.
 Is this person serious? | |
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The janet versus madge feud is really pathetic. They can co-exist. A people can be fans of both.
 [Edited 10/17/08 13:40pm] | |
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Here's a review from the Washington Post:
Janet, Back Witchu Again "It feels good to be back after being down a little," the recuperated Janet Jackson told a passionate but under-capacity Verizon Center crowd. Having risen up like Lazarus in gold lamé, Janet Jackson was so happy to be back onstage Wednesday night at Verizon Center that she looked as if she could've cried. Of course, the 42-year-old pop singer is nearly -- and, sometimes, actually -- moved to tears at the same point in every one of her tightly scripted concerts, that point coming at about the midway mark, immediately following her 1997 hit "Together Again." But this was different, right? Wednesday's performance was Jackson's first since a Sept. 28 show in Toronto, after which she was stricken with a mysterious illness that forced her to postpone seven consecutive dates on her Rock Witchu Tour. (Her reps finally explained this week that the singer had been suffering from migraines that created the sensation of vertigo.) So here she was, reunited with her adoring public, performing "Together Again," the gloriously tuneful disco-pop anthem that was written as a celebration of friends who had died of AIDS but was taking on new meaning in the context of the comeback. As the song concluded and the crowd roared, Jackson wrapped herself in her own embrace. The video camera zoomed in for a close-up; Jackson's eyes were welling up. "I love you so much, D.C.," she squeaked, sounding downright verklempt as the not-exactly-capacity crowd cheered ever louder. If Jackson was still suffering symptoms of her vestibular migraine, then mainlining all that approbation seemed to cure her: After appearing listless and lethargic during parts of the show's first half, she was more energized down the stretch of the nearly 2 1/2 -hour pop spectacular, which featured eight costume changes, nine dancers doing tightly choreographed routines, and plenty of pyrotechnics. "It feels good to be back after being down a little," said the singer, whose cascading mohawk made it appear as though she'd plopped a black Pomeranian atop her head. Visually, the show was a bizarrely conceived mess, with an inconsistent, incongruous array of costumes (Jackson's lithe dancers were dressed one minute as sailors, another as extras from "The Mummy") and a stupefying mishmash of themes -- "Star Wars" and S&M among them. Indeed, there were head-scratching video interludes featuring two different versions of Jackson's disembodied head (Good Janet and Evil Janet, presumably), the latter coming across like some sort of Sith Lord. Call her Darth Damita. And when Jackson emerged in a dominatrix outfit to perform the cooing "Any Time, Any Place" and the new "Discipline" -- and, also, to bring one supplicant fan onstage for an interminable sadomasochistic skit -- her dancers, in their leather collars and facial harnesses, appeared to be heading to San Francisco's infamous Folsom Street Fair for an after-party. From a musical standpoint, though, the show was generous -- so long as one overlooked the fact that the "band" consisted of just a drummer, a keyboardist and a guy who alternated among bass, keyboards and what looked like a laptop. Where were those guitars, horns, rhythmic fills and background vocals coming from? During a fiery version of "Black Cat," rock guitarist Dave Navarro provided the obvious answer, contributing pealing licks via a recorded video. As always, Jackson also did plenty of apparent lip-syncing, as her mouth movements didn't exactly match all the vocals. (What, you expect her to sing and dance? Remember: She's Michael's sister, not Prince's.) The set included at least parts of 37 songs from Jackson's catalogue, dating all the way back to her self-titled 1982 debut, from which she performed the innocuous "Young Love" and "Say You Do" as part of a medley. She was big on medleys, even opening the concert with one made up of songs from her breakthrough album, "Control." Jackson covered just about all her hits, the best of which (the spry "That's the Way Love Goes," the swaggering "Nasty," the breathy ballad "Again") featured memorable melodies that made her newer, more tuneless material ("So Excited," "So Much Betta") seem all the less appealing. Remember when it was okay for artists to hold dual citizenship in both the Rhythm Nation and the Melody Nation? Ah, those were the days. Perhaps that's why Jackson's star has been fading. Or maybe it's just that sustained relevancy is simply an impossibility in the pop space. Whatever the reason, Jackson's last two albums -- "20 Y.O.," released in 2006, and "Discipline," which came out in February -- have sold barely 1 million copies combined, according to Nielsen SoundScan. Those are paltry numbers for an artist who once released multimillion sellers with regularity. But those who remain in Jackson's corner seem to love her unconditionally -- so much so that I saw several of them crying during the concert. Pretty sure that wasn't scripted. http://www.washingtonpost...04165.html | |
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Don't like the second review too much. Objectivity okay, but I don't like their tone throughout. | |
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MikeMatronik said: The janet versus madge feud is really pathetic. They can co-exist. A people can be fans of both.
It's not even about that. The idea that no one can touch Janets live act is like "Have you ever been to another live show ever?" By someone with actual musical talent. And his comparison of quality is Madonna?? Truly baffling. | |
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mynameisnotsusan said: MikeMatronik said: The janet versus madge feud is really pathetic. They can co-exist. A people can be fans of both.
It's not even about that. The idea that no one can touch Janets live act is like "Have you ever been to another live show ever?" By someone with actual musical talent. And his comparison of quality is Madonna?? Truly baffling. It's a matter of taste. One has to respect that. I hate emo music, but I respect them for example. | |
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shesoffthewall said: Here's a review from the Washington Post:
Janet, Back Witchu Again "It feels good to be back after being down a little," the recuperated Janet Jackson told a passionate but under-capacity Verizon Center crowd. Having risen up like Lazarus in gold lamé, Janet Jackson was so happy to be back onstage Wednesday night at Verizon Center that she looked as if she could've cried. Of course, the 42-year-old pop singer is nearly -- and, sometimes, actually -- moved to tears at the same point in every one of her tightly scripted concerts, that point coming at about the midway mark, immediately following her 1997 hit "Together Again." But this was different, right? Wednesday's performance was Jackson's first since a Sept. 28 show in Toronto, after which she was stricken with a mysterious illness that forced her to postpone seven consecutive dates on her Rock Witchu Tour. (Her reps finally explained this week that the singer had been suffering from migraines that created the sensation of vertigo.) So here she was, reunited with her adoring public, performing "Together Again," the gloriously tuneful disco-pop anthem that was written as a celebration of friends who had died of AIDS but was taking on new meaning in the context of the comeback. As the song concluded and the crowd roared, Jackson wrapped herself in her own embrace. The video camera zoomed in for a close-up; Jackson's eyes were welling up. "I love you so much, D.C.," she squeaked, sounding downright verklempt as the not-exactly-capacity crowd cheered ever louder. If Jackson was still suffering symptoms of her vestibular migraine, then mainlining all that approbation seemed to cure her: After appearing listless and lethargic during parts of the show's first half, she was more energized down the stretch of the nearly 2 1/2 -hour pop spectacular, which featured eight costume changes, nine dancers doing tightly choreographed routines, and plenty of pyrotechnics. "It feels good to be back after being down a little," said the singer, whose cascading mohawk made it appear as though she'd plopped a black Pomeranian atop her head. Visually, the show was a bizarrely conceived mess, with an inconsistent, incongruous array of costumes (Jackson's lithe dancers were dressed one minute as sailors, another as extras from "The Mummy") and a stupefying mishmash of themes -- "Star Wars" and S&M among them. Indeed, there were head-scratching video interludes featuring two different versions of Jackson's disembodied head (Good Janet and Evil Janet, presumably), the latter coming across like some sort of Sith Lord. Call her Darth Damita. And when Jackson emerged in a dominatrix outfit to perform the cooing "Any Time, Any Place" and the new "Discipline" -- and, also, to bring one supplicant fan onstage for an interminable sadomasochistic skit -- her dancers, in their leather collars and facial harnesses, appeared to be heading to San Francisco's infamous Folsom Street Fair for an after-party. From a musical standpoint, though, the show was generous -- so long as one overlooked the fact that the "band" consisted of just a drummer, a keyboardist and a guy who alternated among bass, keyboards and what looked like a laptop. Where were those guitars, horns, rhythmic fills and background vocals coming from? During a fiery version of "Black Cat," rock guitarist Dave Navarro provided the obvious answer, contributing pealing licks via a recorded video. As always, Jackson also did plenty of apparent lip-syncing, as her mouth movements didn't exactly match all the vocals. (What, you expect her to sing and dance? Remember: She's Michael's sister, not Prince's.) The set included at least parts of 37 songs from Jackson's catalogue, dating all the way back to her self-titled 1982 debut, from which she performed the innocuous "Young Love" and "Say You Do" as part of a medley. She was big on medleys, even opening the concert with one made up of songs from her breakthrough album, "Control." Jackson covered just about all her hits, the best of which (the spry "That's the Way Love Goes," the swaggering "Nasty," the breathy ballad "Again") featured memorable melodies that made her newer, more tuneless material ("So Excited," "So Much Betta") seem all the less appealing. Remember when it was okay for artists to hold dual citizenship in both the Rhythm Nation and the Melody Nation? Ah, those were the days. Perhaps that's why Jackson's star has been fading. Or maybe it's just that sustained relevancy is simply an impossibility in the pop space. Whatever the reason, Jackson's last two albums -- "20 Y.O.," released in 2006, and "Discipline," which came out in February -- have sold barely 1 million copies combined, according to Nielsen SoundScan. Those are paltry numbers for an artist who once released multimillion sellers with regularity. But those who remain in Jackson's corner seem to love her unconditionally -- so much so that I saw several of them crying during the concert. Pretty sure that wasn't scripted. http://www.washingtonpost...04165.html Fantastic review. So good to hear a realist with a sense of perspective breaking it down. I loathe sycophantic reviews that make a few token criticisms in the middle before quickly reverting back into ass kissing mode (the review at the top of this page is a prime example). They are written by dishonest people. For instance any review that fails to mention that her show is lip synched is a dishonest review. Any review that doesn't mention how she gets teary in exactly the same point in her show every night is also not trustworthy. Those are just two examples. This review didn't overlook the obvious truths. But mostly I loved this point ..... "Remember when it was okay for artists to hold dual citizenship in both the Rhythm Nation and the Melody Nation? Ah, those were the days"... Thank you! This is a message that should be sent to every A&R man and producer in the country. Melody and rhythm are not mutually exclusive! “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
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I was there at the DC show. It was amazing. She even sung the ballads LIVE. Her voice sounded smooth like butter. She is a world class entertainer. |
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Is she going to Europe on this tour? She never performed here in Portugal!  | |
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MikeMatronik said: mynameisnotsusan said: It's not even about that. The idea that no one can touch Janets live act is like "Have you ever been to another live show ever?" By someone with actual musical talent. And his comparison of quality is Madonna?? Truly baffling. It's a matter of taste. One has to respect that. I hate emo music, but I respect them for example. Well, taste is one thing and I respect both Janet and Madonna for the amazing careers they've had, but the least credible aspects of both their careers has been their live performances. | |
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I was at this show! 
I enjoyed every minute, but it would have been nice if LL had shown up. Janet made up for that, though. I hope they put this show on DVD! | |
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PrettyMan72 said: I was there at the DC show. It was amazing. She even sung the ballads LIVE. Her voice sounded smooth like butter. She is a world class entertainer.
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PrettyMan72 said: I was there at the DC show. It was amazing. She even sung the ballads LIVE. Her voice sounded smooth like butter. She is a world class entertainer.
She did the same in Oakland.  | |
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mynameisnotsusan said: MikeMatronik said: It's a matter of taste. One has to respect that. I hate emo music, but I respect them for example. Well, taste is one thing and I respect both Janet and Madonna for the amazing careers they've had, but the least credible aspects of both their careers has been their live performances. well the person who wrote that review feel that janet is the better performer and so do i,just because somebody has a different opinion dont mean they not credible.i happen to find madonna boring but i wont knock the people who think her shows are some kinda amazing groundbreaking experience | |
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midnightmover said: shesoffthewall said: Here's a review from the Washington Post:
Janet, Back Witchu Again "It feels good to be back after being down a little," the recuperated Janet Jackson told a passionate but under-capacity Verizon Center crowd. Having risen up like Lazarus in gold lamé, Janet Jackson was so happy to be back onstage Wednesday night at Verizon Center that she looked as if she could've cried. Of course, the 42-year-old pop singer is nearly -- and, sometimes, actually -- moved to tears at the same point in every one of her tightly scripted concerts, that point coming at about the midway mark, immediately following her 1997 hit "Together Again." But this was different, right? Wednesday's performance was Jackson's first since a Sept. 28 show in Toronto, after which she was stricken with a mysterious illness that forced her to postpone seven consecutive dates on her Rock Witchu Tour. (Her reps finally explained this week that the singer had been suffering from migraines that created the sensation of vertigo.) So here she was, reunited with her adoring public, performing "Together Again," the gloriously tuneful disco-pop anthem that was written as a celebration of friends who had died of AIDS but was taking on new meaning in the context of the comeback. As the song concluded and the crowd roared, Jackson wrapped herself in her own embrace. The video camera zoomed in for a close-up; Jackson's eyes were welling up. "I love you so much, D.C.," she squeaked, sounding downright verklempt as the not-exactly-capacity crowd cheered ever louder. If Jackson was still suffering symptoms of her vestibular migraine, then mainlining all that approbation seemed to cure her: After appearing listless and lethargic during parts of the show's first half, she was more energized down the stretch of the nearly 2 1/2 -hour pop spectacular, which featured eight costume changes, nine dancers doing tightly choreographed routines, and plenty of pyrotechnics. "It feels good to be back after being down a little," said the singer, whose cascading mohawk made it appear as though she'd plopped a black Pomeranian atop her head. Visually, the show was a bizarrely conceived mess, with an inconsistent, incongruous array of costumes (Jackson's lithe dancers were dressed one minute as sailors, another as extras from "The Mummy") and a stupefying mishmash of themes -- "Star Wars" and S&M among them. Indeed, there were head-scratching video interludes featuring two different versions of Jackson's disembodied head (Good Janet and Evil Janet, presumably), the latter coming across like some sort of Sith Lord. Call her Darth Damita. And when Jackson emerged in a dominatrix outfit to perform the cooing "Any Time, Any Place" and the new "Discipline" -- and, also, to bring one supplicant fan onstage for an interminable sadomasochistic skit -- her dancers, in their leather collars and facial harnesses, appeared to be heading to San Francisco's infamous Folsom Street Fair for an after-party. From a musical standpoint, though, the show was generous -- so long as one overlooked the fact that the "band" consisted of just a drummer, a keyboardist and a guy who alternated among bass, keyboards and what looked like a laptop. Where were those guitars, horns, rhythmic fills and background vocals coming from? During a fiery version of "Black Cat," rock guitarist Dave Navarro provided the obvious answer, contributing pealing licks via a recorded video. As always, Jackson also did plenty of apparent lip-syncing, as her mouth movements didn't exactly match all the vocals. (What, you expect her to sing and dance? Remember: She's Michael's sister, not Prince's.) The set included at least parts of 37 songs from Jackson's catalogue, dating all the way back to her self-titled 1982 debut, from which she performed the innocuous "Young Love" and "Say You Do" as part of a medley. She was big on medleys, even opening the concert with one made up of songs from her breakthrough album, "Control." Jackson covered just about all her hits, the best of which (the spry "That's the Way Love Goes," the swaggering "Nasty," the breathy ballad "Again") featured memorable melodies that made her newer, more tuneless material ("So Excited," "So Much Betta") seem all the less appealing. Remember when it was okay for artists to hold dual citizenship in both the Rhythm Nation and the Melody Nation? Ah, those were the days. Perhaps that's why Jackson's star has been fading. Or maybe it's just that sustained relevancy is simply an impossibility in the pop space. Whatever the reason, Jackson's last two albums -- "20 Y.O.," released in 2006, and "Discipline," which came out in February -- have sold barely 1 million copies combined, according to Nielsen SoundScan. Those are paltry numbers for an artist who once released multimillion sellers with regularity. But those who remain in Jackson's corner seem to love her unconditionally -- so much so that I saw several of them crying during the concert. Pretty sure that wasn't scripted. http://www.washingtonpost...04165.html Fantastic review. So good to hear a realist with a sense of perspective breaking it down. I loathe sycophantic reviews that make a few token criticisms in the middle before quickly reverting back into ass kissing mode (the review at the top of this page is a prime example). They are written by dishonest people. For instance any review that fails to mention that her show is lip synched is a dishonest review. Any review that doesn't mention how she gets teary in exactly the same point in her show every night is also not trustworthy. Those are just two examples. This review didn't overlook the obvious truths. But mostly I loved this point ..... "Remember when it was okay for artists to hold dual citizenship in both the Rhythm Nation and the Melody Nation? Ah, those were the days"... Thank you! This is a message that should be sent to every A&R man and producer in the country. Melody and rhythm are not mutually exclusive! of course you enjoyed that review, i mean it was for the most part negative right. so when somebody give her a good review they are ass kissing and dishonest but a review that emphasised more than once that the crowd was 'less than capacity' is fair and unbiased? personally i dont read reviews good or bad,if its an artist that i like i'd rather go see for myself, if i dont like them then i dont need to read about their show. | |
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lowkey said: midnightmover said: Fantastic review. So good to hear a realist with a sense of perspective breaking it down. I loathe sycophantic reviews that make a few token criticisms in the middle before quickly reverting back into ass kissing mode (the review at the top of this page is a prime example). They are written by dishonest people. For instance any review that fails to mention that her show is lip synched is a dishonest review. Any review that doesn't mention how she gets teary in exactly the same point in her show every night is also not trustworthy. Those are just two examples. This review didn't overlook the obvious truths. But mostly I loved this point ..... "Remember when it was okay for artists to hold dual citizenship in both the Rhythm Nation and the Melody Nation? Ah, those were the days"... Thank you! This is a message that should be sent to every A&R man and producer in the country. Melody and rhythm are not mutually exclusive! of course you enjoyed that review, i mean it was for the most part negative right. so when somebody give her a good review they are ass kissing and dishonest but a review that emphasised more than once that the crowd was 'less than capacity' is fair and unbiased? personally i dont read reviews good or bad,if its an artist that i like i'd rather go see for myself, if i dont like them then i dont need to read about their show. I don't deny that the reviewer probably wasn't a fan to begin with, but his points were true and impossible to argue with. Lip synching? True. Fake band? True. Fake tears? True. He also made an excellent point about how much more tuneful her earlier material was. These are points that most other reviewers would ignore. As for the review at the start, it's dishonesty is apparent when you see in the middle of all the sycophancy, this surprisingly perceptive criticism in the middle.... "Jackson should engage the crowd more. At times, she seemed preoccupied with getting through all the numbers rather than enjoying herself and the audience that worshipped her. A few more spontaneous moments with the audience would give the production more of a concert feel and less the sense that you’re watching a Broadway show that doesn’t change from night to night". This shows that the reviewer is well aware of one of the fundamental flaws in Janet's whole act. That is, just how calculated and rehearsed it all is. But, keen not to undermine his heroine, he sticks this in the middle of a sea of ass licking, hoping that no one will notice what a huge criticism that really is. He even downplays it as just a "minor flaw". Most tellingly, he makes NO MENTION WHATSOEVER about the fact that the show is so obviously mimed. That's a pretty important thing to ignore, wouldn't you agree? He ends by talking about how she is still "innovating" on stage. Errr, "innovating" what exactly? [Edited 10/17/08 20:20pm] “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
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