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Janet Jackson announces new album, tour

A look back at Blade’s 2006 interview with music icon

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Janet Jackson, gay news, Washington Blade
Janet Jackson, gay news, Washington Blade

Janet Jackson announced plans for a new album and world tour on Saturday. (Washington Blade photo by Michael Key)

In a video message posted Saturday — her 49th birthday — Janet Jackson announced plans for a new album and world tour.

“I promised you’d hear it from my lips, and now you will,” she says in the video. “This year: new music; new world tour; a new movement. I’ve been listening. Let’s keep the conversation going.”

She added the hashtag #ConversationsInACafe, which some have speculated is the title of the upcoming album.

Jackson has long been an LGBT favorite, winning GLAAD awards and other accolades for her pro-LGBT themes and extensive work in HIV/AIDS philanthropy.

Back in 2006, Jackson sat down with the Blade for an exclusive interview in which she talked about her support for marriage equality and much more. While the world awaits new material, let’s revisit that 2006 interview.

Sept. 29, 2006:

 

We’re ‘So Excited’

 

Gay icon Janet Jackson talks about new album, same-sex marriage — and Madonna

 

By KEVIN NAFF

Without Janet Jackson, no one would be one-two stepping to Ciara or celebrating Beyonce’s B’Day. And Mouseketeer Justin Timberlake — who has shamelessly appropriated the Jackson family’s moves for years — would be dancing in theme park musical productions instead of bringing sexy back.

After inspiring a league of imitators during 20 years in the music business, Jackson releases her ninth studio album this week, “20 Y.O.,” a wonderfully self-referential return to the top of her game and a nod to the 20th anniversary of her groundbreaking 1986 album “Control.”

In the midst of a whirlwind media tour to promote the album, which has included a stop on Oprah’s couch and a “Today” show appearance, Jackson granted the Blade an exclusive interview this week in which she talked about the album, the MTV boycott of her videos, her gay fans and even Madonna.

Although Jackson has always said she writes songs about what’s happening in her life, there is no mention on “20 Y.O.” of the Super Bowl controversy or her brother Michael’s acquittal on child molestation charges.

“I got all of that out of my system,” she says in explaining the decision not to reflect on those events. “That’s not what I’m feeling right now. I wrote about [those controversies] but I didn’t choose to put it out there on the album.”

In 2004, for the first time since the 1980s, a Janet Jackson album failed to hit No. 1 on the Billboard charts. The commercially disappointing “Damita Jo” opened at No. 2 and went on to sell about one million copies. Despite the lackluster response to that album, Jackson says she’s not feeling pressure to hit No. 1 with “20 Y.O.”

“It’s more important for the record company than for me,” she says. “I just want to bring happiness to people. Of course you want it to be successful, but I really just want to bring a smile to people’s faces.”

One factor that will impact sales of the new album is video exposure. Although BET and VH1 have been playing the first two singles, “Call on Me” and “So Excited,” MTV appears to be boycotting all things Janet.

MTV, which named Jackson its inaugural “Icon” award winner in 2001, produced the infamous half-time show in which Jackson’s breast was exposed. But MTV’s anger over the incident apparently doesn’t extend to Timberlake, whose new single is in heavy rotation. Jackson says she’s heard that MTV has disrespected her fans, but she brushes off the snub.

“The fans get upset and talk about boycotting [MTV],” she says. “It is what it is, but I’m not losing sleep over it. I appreciate the love and support the fans have shown me.”

To reach those fans in the absence of MTV support, Jackson and her promotions team have waged an aggressive web promotion campaign that includes a revamped official website, janet-jackson.com, and a new MySpace site that includes an exclusive video diary. She teased fans earlier this year with the online-only release of a cover of Debbie Deb’s 1980s song “Lookout Weekend.”

Janet clearly recognizes that many of those fans she’s reaching out to are gay. She clarified that she has never been involved in a gay relationship herself, but that she has many gay friends, several of whom are dancers in her upcoming tour.

She says she doesn’t understand why so many people oppose same-sex marriage, “We’re all human and we all fall in love, so why should our sexual preference matter?”

There are no wild innovations or dramatic departures on “20 Y.O.,” but the album is chock full of hits. There is no dead weight on this record, as on “Damita Jo.”

This time out, with help from longtime beau and hit maker Jermaine Dupri and producers and co-writers Jimmy Jam and Terry Lewis, Jackson delivers a string of well-crafted tunes. “There’s something to be said for not saying anything,” she says in the introduction to the album. “I want to keep it light. I want to have fun.”

And fun is what she delivers, especially for dance music fans. The album opens with a series of five sure-fire club-banging hits, starting with the current single, “So Excited.” Despite lyrics like, “I’ll open my spot for you, anytime you want me to,” Jackson has ratcheted down the vulgarity this time out. She’s still freaky, but the 40-year-old Janet sounds more mature and confident than she has in the recent past.

Dirty Southern rapper Khia (of “My Neck, My Back” infamy) guests on “So Excited,” which is followed by four more fast-paced songs: “Show Me,” “Get It Out Me,” “Do It 2 Me” and “This Body,” featuring a rollicking guitar riff that recalls “Rhythm Nation” hit “Black Cat.”

In fact, the album is full of sly samples from Jackson’s extensive back catalogue. Listen carefully, and you’ll hear snippets from “Rhythm Nation,” “I Get Lonely” and other previous Jackson hits as she looks back on 20 years in music.

After the opening barrage of infectious beats, Jackson slows things to a mid-tempo groove with songs like “With U” and “Call on Me,” a duet with Nelly that hit No. 1on Billboard’s R&B/hip-hop chart.

The interludes that Jackson is known for interspersing on her albums are spare this time, with just three short breaks plus an intro and outro. The interludes succeed in preparing the listener for what’s to come and transitioning between the faster, mid-tempo and slower ballad tracks.

Jackson’s persona has always included the over-the-top diva as well as the vulnerable and shy side, which she successfully mines on “Take Care,” a whispering, smooth ballad.

Among the standouts — and there are many — “Do It 2 Me” and “Daybreak” really shine.

“Enjoy” is classic, upbeat Janet, reminiscent of “Runaway” and “Escapade.” She coos, “Livin’ every day like it’s my last/ I refuse to be stuck in the past/People acting like machines/cause they’re scared to live their dreams, no not me.”

Jackson says her gay fans have another treat yet to come. She promises a song called “Clap Your Hands” will be a big hit with the gay club crowd. The song isn’t on the version of “20 Y.O.” released this week, but is coming on a future re-release of the album, along with a possible duet with Mariah Carey, which Jackson says is still in the works.

Asked if she would ever consider a duet with longtime chart rival and fellow gay-favorite Madonna, Jackson says she hasn’t thought about it.

“No one’s ever asked me that,” she says, adding that she and Madonna have never actually met. “Isn’t that surprising?”

She declined to speculate about how many singles to expect from the album, saying, “it’s up to the market,” but did confirm that she will launch a world tour in March.

“I’m sure we’ll stop in Washington,” she says, adding that the show will include a mixture of new and old hits. “I don’t like going to a show where all they perform is the new album.”

After the tour, Jackson says she has no idea what’s next for her professionally, but she would like to pursue film roles.

“I’d like to have a family and I’m getting older,” she says. “I don’t know what’s next, I’m as much in the dark as you are.”

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Music & Concerts

Underdog glorious: a personal remembrance of Jill Sobule

Talented singer, songwriter died in house fire on May 1

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Writer Gregg Shapiro with Jill Sobule in 2000. (Photo courtesy Shapiro)

I’ve always prided myself on being the kind of music consumer who purchased music on impulse. When I stumbled across “Things Here Are Different,” Jill Sobule’s 1990 MCA Records debut album on vinyl in a favorite Chicago record store, I bought it without knowing anything about her. This was at a time when we didn’t have our phones in our pockets to search for information about the artist on the internet. The LP stayed in my collection until, as vinyl was falling out of fashion, I replaced it with a CD a few years later.

Early in my career as an entertainment journalist, I received a promo copy of Jill’s eponymous 1995 Atlantic Records album. That year, Atlantic Records was one of the labels at the forefront of signing and heavily promoting queer artists, including Melissa Ferrick and Extra Fancy, and its roster included the self-titled album by Jill. It was a smart move, as the single “I Kissed A Girl” became a hit on radio and its accompanying video (featuring Fabio!) was in heavy rotation on MTV (when they still played videos).

Unfortunately for Jill, she was a victim of record label missteps. When 1997’s wonderful “Happy Town” failed to repeat the success, Atlantic dumped her. That was Atlantic’s loss, because her next album, the superb “Pink Pearl” contained “Heroes” and “Mexican Wrestler,” two of her most beloved songs. Sadly, Beyond Music, the label that released that album ceased to exist after just a few years. To her credit, the savvy Jill had also started independently releasing music (2004’s “The Folk Years”). That was a smart move because her next major-label release, the brilliant “Underdog Victorious” on Artemis Records, met a similar fate when that label folded.

With her 2009 album “California Years,” Jill launched her own indie label, Pinko Records, on which she would release two more outstanding full-length discs, 2014’s “Dottie’s Charms” (on which she collaborated with some of her favorite writers, including David Hadju, Rick Moody, Mary Jo Salter, and Jonathan Lethem), and 2018’s stunning “Nostalgia Kills.” Jill’s cover of the late Warren Zevon’s “Don’t Let Us Get Sick” on “Nostalgia Kills” was particularly poignant as she had toured with him as an opening act.

Jill was a road warrior, constantly on tour, and her live shows were something to behold. My first interview with Jill took place at the Double Door in Chicago in early August of 1995, when she was the opening act for legendary punk band X. She had thrown her back out the previous day and was diagnosed with a herniated disc. To be comfortable, she was lying down on a fabulous-‘50s sofa. “I feel like I’m at my shrink’s,” she said to me, “Do you want me to talk about my mother?”

That sense of humor, which permeated and enriched her music, was one of many reasons to love Jill. I was privileged to interview her for seven of her albums. Everything you would want to know about her was right there in her honest lyrics, in which she balanced her distinctive brand of humor with serious subject matter. Drawing on her life experiences in songs such as “Bitter,” “Underachiever,” “One of These Days,” “Freshman,” “Jetpack,” “Nothing To Prove,” “Forbidden Thoughts of Youth,” “Island of Lost Things,” “Where Do I Begin,” “Almost Great,” and “Big Shoes,” made her songs as personal as they were universal, elicited genuine affection and concern from her devoted fans.

While she was a consummate songwriter, Jill also felt equally comfortable covering songs made famous by others, including “Just A Little Lovin’” (on the 2000 Dusty Springfield tribute album “Forever Dusty”) and “Stoned Soul Picnic” (from the 1997 Laura Nyro tribute album “Time and Love”). Jill also didn’t shy away from political subject matter in her music with “Resistance Song,” “Soldiers of Christ,” “Attic,” “Heroes,” “Under the Disco Ball,” and the incredible “America Back” as prime examples.

Here’s something else worth mentioning about Jill. She was known for collaboration skills. As a songwriter, she maintained a multi-year creative partnership with Robin Eaton (“I Kissed A Girl” and many others), as well as Richard Barone, the gay frontman of the renowned band The Bongos. Jill’s history with Barone includes performing together at a queer Octoberfest event in Chicago in 1996. Writer and comedian Julie Sweeney, of “SNL” and “Work in Progress” fame was another Chicago collaborator with Sobule (Sweeney lives in a Chicago suburb), where they frequently performed their delightful “The Jill and Julia Show.” John Doe, of the aforementioned band X, also collaborated with Jill in the studio (“Tomorrow Is Breaking” from “Nostalgia Kills”), as well as in live performances.

On a very personal note, in 2019, when I was in the process of arranging a reading at the fabulous NYC gay bookstore Bureau of General Services – Queer Division, I reached out to Jill and asked her if she would like to be on the bill with me. We alternated performing; I would read a couple of poems, and Jill would sing a couple of songs. She even set one of my poems to music, on the spot.

Jill had an abundance of talent, and when she turned her attention to musical theater, it paid off in a big way. Her stage musical “F*ck 7th Grade,” a theatrical piece that seemed like the next logical step in her career, had its premiere at Pittsburgh’s City Theatre in the fall of 2020, during the height of the pandemic. The unique staging (an outdoor drive-in stage at which audience members watched from their cars) was truly inspired. “F*ck 7th Grade” went on to become a New York Times Critic’s pick, as well as earning a Drama Desk nomination.

In honor of the 30th anniversary of Jill’s eponymous 1995 album, reissue label Rhino Records is re-releasing it on red vinyl. Jill and I had been emailing each other to arrange a time for an interview. We even had a date on the books for the third week of May.

When she died in a house fire in Minnesota on May 1 at age 66, Jill received mentions on network and cable news shows. She was showered with attention from major news outlets, including obits in the New York Times and Rolling Stone (but not Pitchfork, who couldn’t be bothered to review her music when she was alive). Is it wrong to think that if she’d gotten this much attention when she was alive she could have been as big as Taylor Swift? I don’t think so.

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Music & Concerts

Tom Goss returns with ‘Bear Friends Furever Tour’

Out singer/songwriter to perform at Red Bear Brewing Co.

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Singer Tom Goss is back. (Photo by Dusti Cunningham)

Singer Tom Goss will bring his “Bear Friends Furever Tour” to D.C. on Sunday, June 8 at 8 p.m. at Red Bear Brewing Co. 

Among the songs he will perform will be “Bear Soup,” the fourth installment in his beloved bear song anthology series. Following fan favorites like “Bears,” “Round in All the Right Places,” and “Nerdy Bear,” this high-energy, bass-thumping banger celebrates body positivity, joyful indulgence, and the vibrant spirit of the bear subculture.

For more details, visit Tom Goss’s website.

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Music & Concerts

Kylie brings ‘Tension’ tour to D.C.

Performance on Tuesday at Capital One Arena

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Kylie Minogue visits D.C. on Tuesday.

Aussie pop icon Kylie Minogue brings her acclaimed “Tension” world tour to D.C. next Tuesday at 7:30 p.m. at the Capital One Arena. Tickets are still available at Ticketmaster.

The show features songs spanning her long career, from 1987 debut single, “The Loco-Motion,” to “Padam, Padam” from her album, “Tension.”

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