Janet, we’re begging — dazzle us again
Janet Jackson was on her way to becoming a true pop icon. She still is in some ways.
There’s no denying the impact and power of her records “Control” and “Rhythm Nation” in the late ’80s and early ’90s. A decade later, her majestic “Velvet Rope” blended genres and ideas in a way that’s still being emulated today by the likes of Beyoncé and Rihanna.
But Jackson’s shimmer has dulled considerably over the past several years. So what happened? Her last four albums, that’s what.
I lived — lived! — for Jackson for so, so long. I bought every album, every remix and several imports. I memorized lyrics and pored over artwork. I knew the “Miss You Much” and “Rhythm Nation” choreography by heart (and probably still do). A poster of a bare-breasted Jackson, featuring the strategically placed hands of then-husband Rene Elizondo, hung on my wall.
But it’s been 16 years — nearly two decades! — since Jackson has released an album that’s connected in a substantial way with a wide swath of listeners. She hasn’t had a top 10 pop hit since 2001’s “Someone To Call My Lover.” And yet, Jackson is still in demand, hence her Saturday night date with thousands in the Toyota Center. It’s the second stop on her rescheduled State of the World Tour.
But this is about more than numbers.
Jackson’s last several musical efforts have lacked urgency and diversity. Instead, they’ve been mired in cliched sex talk and pointless interludes. What was once daring now just seems tired.
It started with “Damita Jo,” which came after her 2004 Super Bowl XXXVIII halftime fiasco in Houston. The fallout from her “wardrobe malfunction”
affected the album’s commercial impact as many radio stations enforced a ban on Jackson’s music. But contentwise, “Damita Jo” was a limp retread of far superior albums — “janet” (1993) and “All for You” (2001).
If it had been one mistake, we might be able to overlook it. But there’s more.
The “20 Y.O.” album followed in 2006 and was supposed to be a 20th anniversary homage to Jackson’s breakthrough album “Control.” But it was mostly a missed opportunity, mired in more breathy whispers.
“There’s something to be said for not saying anything,’’ Jackson says at the start of the album. “I’ve talked about racism, spousal abuse, empowering women, children. ... I want to keep it light. I don’t want to be serious. I want to have fun.’’
That’s fine, Janet. You deserve it. We hear you. Yes, we love when you rally the troops and demand equality and get us all in formation. But we also know you can turn fun into great music: “Love Will Never Do (Without You),” “Escapade,” “Runaway,” “Got ’til It’s Gone.” So fun. So good. So enduring.
Sadly, “20 Y.O.” had nothing like that.
At that point, it was worth were getting worried about Janet’s quality control.
“Discipline” arrived in 2008 and completely lost me. What was this? Why was this happening? Who was this woman peering at us from the cover in latex?
It’s telling that Jackson has only one songwriting co-credit on “Discipline.” She felt lost amid the sounds. The album’s first single, “Feedback,” was a top 20 hit. But it felt like something intended for another singer and solely designed for radio play. I hated the sci-fi pools of milk in the music video.
It’s all the more disappointing in light of Jackson’s sterling history as a performer who helped segue music into the video age.
I still get chills when I watch “The Pleasure Principle” video. It’s a powerful piece of art that felt special and transitional. I loved the aggression and the androgyny as Jackson danced, alone, in black jeans and a denim jacket, pummeling her way through an empty warehouse, singing about her independence. The lack of fashion made it so stylish. It’s a moment that defines the word iconic.
Janet, where are you? What happened?
I had high hopes for 2015’s “Unbreakable” after it earned a few warm reviews from critics and fans. But it felt like they were building it up to be more than it really was, longing for the superstar who was once so powerful. Nothing on that album registered in a lasting way.
Onstage, at least, Jackson remains a force. She was fantastic during her last local appearance at the 2011 RodeoHouston. And I expect her anthemic hits will make Saturday’s show — the second on her tour — a triumphant return.
But I want more than nostalgia because I know Jackson has it in her. Come back to us, Janet.
We’re still waiting.