The “Unbreakable” Staying Power Of Janet Jackson

When you think about it - Janet Jackson was the ultimate underdog. The youngest of 9 children, Janet was born the same year that her older brother, Michael (8 years her senior and musical prodigy), began singing with his brothers in the Jackson 5. By the time Janet appeared on stage at age 7, her brothers were stars, and the family had already uprooted from Gary, Indiana to Encino, California.

You might argue that she was no underdog, but if the performance of her eponymous debut is any indication, I have a strong retort. The record, while good, was usurped by her older brother. I don’t think anyone could have accurately predicted the impact “Thriller” would have on music, but it certainly did nothing to save his sister’s record from the bargain bin. Her second record, “Dream Street,” fared even worse. It barely charted, and has never earned any RIAA designation. By 1985 the assumption was that Janet would just be an actress.

Then “Control” happened, followed by “Rhythm Nation 1814,” followed by “Janet,” followed by “The Velvet Rope.” “TVR” has been widely touted as Jackson’s masterwork. High production value, introspective lyrics and powerful imagery all converged to make an impressive impact. It was almost for naught though. Not only was “TVR” hard to make, it was hard to sell too. The record was saved through Jackson’s tenacity and a successful tour.

In the years following “TVR,” Jackson remained notable, but she wasn’t making generally interesting music. Interesting note, prior to this time, it was easy for the press and public to pass off Jackson’s success as a combination of family name, svengali producers and a songwriter husband. It was only after this that we got to see the importance of Jackson in her recording process. By the time “All For You” (2001) surfaced, it’s been reported that Jackson wasn’t as involved in the process as before. By the time “20 Y.O.” (2006) arrived, we were looking for any glimpses of the Janet we once knew and loved. “Discipline” (2008) was a bit of a bright spot, but it still wasn’t quite her.

I will admit, I didn’t expect a Janet Jackson record in 2015. Unpacking the surprise of “Unbreakable” isn’t easy for me. It’s a pop record with R & B sensibilities. It’s a modern record with a classic feel. It’s an introspective record. This really surprised me, because it appeared that Janet did the thing that most aging pop stars do - keep trying to do the things they’re known for doing in a young and “hip” way, even though they’re no longer young, and their fans may be slightly past the point of “hip.” When the promotion began we were treated to a covered up Janet (no more sexy midriff) and a more adult contemporary first single that was slinky, but not overtly sexual.

The gamble appears to be paying off. While not a masterwork, “Unbreakable” is a fitting entry into the Janet Jackson catalog. It’s contemporary without being trendy. It sounds more like a follow up to “The Velvet Rope” than the works in between. The record sounds like a love letter to her brother, Michael, and a thank you to her family and fans. (The timbre of Janet’s voice is eerie at some points on this album. It’s almost as if Michael is guest appearing.)

Janet Jackson has done the thing that her brother couldn’t seem to do. With “Unbreakable,” Janet has effectively taken her sound and lyricism that she’s known for and placed it in a modern setting without sounding dated. Janet is both present and accounted for here. She’s proven that Rolling Stone Magazine cover story title was no fluke. She’s once again triumphant.

Red Candy Memories - Three Songs About HIV

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Today, May 11, 2015 is the first day of the trial of Michael Johnson in St. Charles, Missouri. Mr. Johnson is alleged to have been knowingly living with HIV and having condomless sex with partners who were unaware of his HIV status either willfully or through omission.  The case has sparked an intense debate about punitive HIV criminalization laws in the US, and how these laws contribute to the continuing stigma surrounding HIV. (Update: Michael Johnson was released from prison in 2019.)

September 25, 2015 also marks 25 years since the release of “Red Hot + Blue” - one of the most significant compilation albums of new music from pop stars of the era specifically to raise awareness and money for HIV/AIDS education and prevention for the Red Hot Organization.

In honor of that release let’s revisit three songs about HIV.

“That’s What Friends Are For” – Dionne Warwick & Friends (1985)

This song wasn’t written with HIV or AIDS in mind, but this most famous version, was released as a charity single for the American Foundation on AIDS Research. This feel-good slow tempo tune included Dionne Warwick, Gladys Knight, Stevie Wonder and Elton John. With that level of star power it’s no wonder it didn’t spend more weeks at #1.

“I’ve Got You Under My Skin” – Neneh Cherry (1990)

Long before Staticc was conceived Neneh Cherry served as one of our muses. This 1990 gem was the first single released from “Red Hot + Blue,” and it tackled head on the stigma surrounding persons living with HIV/AIDS at the time. The stunning video was directed by Jean-Baptiste Mondino. The original song was written by Cole Porter and was one of Frank Sinatra’s top tunes. Cherry’s version incorporated her early rap/sing style, punctuated by poignant lyricism.

“No knowledge of the facts, kept in the dark / Scolds my soul and it hurts my heart / The young and elderly just running blind / Hurts so bad they deny their own kind…”

“Jesus To A Child” – George Michael (1996)

Hauntingly beautiful and heartfelt, “Jesus To A Child” was Michael’s tribute to his partner, Anselmo Feleppa, who died of HIV related causes. At the time of its release the backstory of the song wasn’t news only rumor. Michael’s sexual identity wasn’t yet public knowledge. The song eventually hit #1 in the UK, and still shuffles up regularly on my playlist.

Of course songs about HIV & AIDS didn’t stop completely after 1996, but they did appear far less than in the decade or so covered above. Despite that, HIV & AIDS have been mainstays in the world health community for 34 years. In fact, alarmingly so for black and brown communities.

Where are today’s songs about HIV?

Does music care anymore?

Where are the red ribbons at awards shows?

If Michael Johnson going to trial proves anything, it’s that discussing HIV is just as important in 2015 as it was in 1985; maybe more so.