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Showing content with the highest reputation on 11/21/2017 in all areas

  1. 5 points
    Finally coming down ... Philly show was mindblowing, floor seat 10 rows away from the stage. #BROOKLYN was outright speechless row 6. The way Janet murdered that staged, played with the crowd. I would love to hear new music as a reflection of her current space.. Phil and NY, I was shot by her offical camera man. Joey is funny and gil was a cunt but oh well lol . NEWARK, the crowd was lack luster but the dancers showed out and little John is so nice .. take a look at this Custom Made Jacket i rocked https://www.instagram.com/p/BblD25QnZ49/
  2. 2 points
    From www.clevescene.com James Samuel “Jimmy Jam” Harris III and Terry Steven Lewis, the American R&B production team that worked behind-the-scenes to turn Janet Jackson albums such as Control and Rhythm Nation 1814 into monster hits and reunited with Jackson for 2015’s Unbreakable, first met in the early ‘70s at a summer program at the University of Minnesota called Upward Bound. “We were studying to be peer teachers,” says Harris during a phone interview to promote Jackson’s tour that comes to Quicken Loans Arena at 7:30 p.m. on Sunday, Dec. 3. “The concept was that if you learned math you would teach the grade below you math, and it would be easier for the kids to understand. I was always a good student, but I was horrible at math, and I had no clue why they chose me for the program. I was happy that they did. It gave me a better understanding of math. Even better, I met Terry." The two stayed in the dorms, and Harris says when he walked into Lewis’s room, he saw his bass guitar and immediately thought they would become friends.“I think I was 13, and he was 15, and he was that cool kid that everybody wanted to know,” says Harris. “We definitely talked music. I was really into pop music big-time. I was waiting for the Chicago VI album to come out. I said something about it to him. He said, ‘What about the new Earth Wind & Fire album?’ He introduced me to them. I remember the first records. It was Earth, Wind & Fire, Tower of Power and a group called New Birth. He totally turned me onto that. That was our conversation. We went back and forth about music.” A few weeks later, the two launched the Time, a terrific R&B/funk band that drew from many of their inspirations. Jackson came to one of their shows in Long Beach and initiated what would become a long and creatively fruitful relationship. “[Jackson] was in the front row [at the Long Beach show] with her mom and couple of other people,” says Harris. “I remember our show as a little bit risqué, but she was jamming and loving every minute of it. Afterwards, we got a chance to meet her. She was super sweet. She was a huge Time fan and that was very cool to us. That was the first time we met her and then we met her again in the summer of 1982.”Harris and Lewis would come on board to produce 1986’s Control, an album that fused rap, funk, disco and rock. It would become a huge breakthrough for the singer.“We did [the record] in Minneapolis, which was great because it was away from the craziness of L.A. and the whole recording scene,” says Harris. “Nobody really cared. It was made in a vacuum. When we asked her to come to Minneapolis, there was no hoopla. The record company wasn’t paying attention, other than John McClain, who did A&R. It was a great way to make a record and a great way to get to know her. And it was a blueprint we’ve subscribed to with any artist. As producers, our best thing is to make the artist sound good and stay out of the way rather than try to dominate with a certain sound and all that. That’s never been our thing. We want to make the artist sound great and give everyone their own sound.”The duo would also produce 1989’s Rhythm Nation 1814, another huge hit for the singer. When Jackson reunited with Harris and Lewis for last year’s Unbreakable, the producers insisted that they work together like they had in the past without any interference from the record label. Jackson agreed. “We all wanted that,” says Harris. “A lot of time had passed between us working with her. I don’t by any means disown any Janet record that we were involved with, even the ones we weren’t involved with. They all have their place and their influence. I feel like the Janet records that were done in the way we would prefer to do records with her stopped at All for You, which was 2001. We were talking 14 or 15 years. In that sense, hindsight being 20/20, it was easy to have conversations and look back at the past potholes, speed bumps and detours and see that we needed to be on a different smooth road. Once it was agreed upon, it was a no-brainer.”Unbreakable tracks such as the shimmering “Burnitup!” find Jackson embracing a funk and hip-hop-inspired sound. There are still plenty of slow jams (“The Great Forever” and “After You Fall”), but Jackson sounds re-energized on the album. The highly personal songs refer to various experiences over the course of her life, including aspects of her childhood and the death of her brother Michael. “She’s lived a lot of life,” says Harris. “She’s in a place where ‘wise’ is the word I would use. There’s a point in your life when you think you know everything and you’ve learned everything you can learn. We all go through that. It’s not true. She’s been through that enough times where her viewpoint on things is that she’s still learning and growing and hasn’t figured it out. There’s no shame in that. I am wise about knowing what I know and don’t know. I think that’s the viewpoint that the album takes. With that as the overall theme, it’s easy to craft songs in that way."Harris doesn’t tour with Jackson, but he says he’s come out to “tweak a few things.” He says the singer has put together one of her best shows. “She has a killer band and amazing singers and dancers,” he says. “When she opened in Vancouver, I went there for a few days to work through a few things. Because I played everything I can walk up to the keyboard player and go, ‘This is the lick.’ It’s actually kind of fun. I think it’s the best ensemble creatively that she’s ever had. They’re amazing."
  3. 2 points
  4. 2 points
    there's really no benefit in doing interviews these days, artists can just post whatever they want fans to know on their own social media, and they get to control the narrative. I really like janet's touring crew and how they are out here getting their shine, they always rep janet in a positive way. far as janet is concerned i believe that Q&A with those Gary, Indiana kids is the closest we gonna get to her speaking until the documentary.
  5. 2 points
  6. 1 point
    Exhausted Audience doesn't work since Thor which just opened 2 weeks ago as the third in the series has made more than both the previous versions and still going. Justice League has suffered from people seeing already the shitty Suicide Squad and Batman vs Superman. They made money despite actually being good. And getting rightfully torn apart in reviews. So those big opening day box office numbers for shitty movies were more reserved this time because people wanted to wait and see this time. JL is also massively expensive estimates are it will have to make 700-750 million to even turn a slight profit. It should happen but its crazy they cant do a lot better with 3 of the most iconic fictional characters in existence
  7. 1 point
    If somebody would have told me back in 2016 that a scary sadistic clown would make more money at the box office than five beloved comic book characters I would not have believed. Smh. #youllFloattoo
  8. 1 point
    November 20, 2017 update That’s The Way Love Goes - 27,380,695 Together Again (album version) - 18,163,521 Got Til Its Gone (album version) - 17,180,123 All For You (album version) - 16,925,716 Scream (album version) - 13,300,737 Any Time, Any Place (album version) - 10,453,924 No Sleeep (w/ J Cole) - 9,383,610 I Get Lonely (album version) - 9,211,218 BURNITUP! - 8,362,941 Nasty - 6,577,781 No Sleep (solo) - 6,501,089 Escapade - 6,156,532 Again - 5,865,583 If - 5,713,545 When I Think Of You - 4,856,341 Rhythm Nation (album version) - 3,889,710 Miss You Much - 3,888,926 Call On Me - 3,806,826 Let’s Wait Awhile (album version) - 3,706,048 Alright (remix version) - 3,194,515 Feedback (greatest hits version) - 3,096,115 Go Deep - 3,043,094 Dammn Baby - 3,016,942 Someone To Call My Lover (album version) - 2,933,147 All For You (greatest hits version) - 2,842,929 Together Again (greatest hits version) - 2,818,346 Unbreakable - 2,759,490 All Nite (Don’t Stop) - 2,693,478 The Pleasure Principle (album version) - 2,487,556 Come Back To Me - 2,377,023 Doesn’t Really Matter (album version) - 2,321,970 Love Will Never Do (Without You) (album version) - 2,304,399 What Have You Done For Me Lately (greatest hits version) - 2,222,572 Control - 2,204,613 Feedback (album version) - 2,167,980 Funny How Time Flies - 2,156,479 What Have You Done For Me Lately (album version) - 2,106,159 Doesn’t Really Matter (greatest hits version) - 1,979,296 Every Time - 1,943,783 Runaway - 1,841,071 Black Cat - 1,736,485 So Excited - 1,710,905 The Great Forever - 1,440,981 You Want This - 1,430,674 Got Til Its Gone (greatest hits version) - 1,406,736 Son Of A Gun - 1,380,889 My Baby - 1,334,808 Rock With U - 1,319,389 Velvet Rope - 1,293,263 Love Will Never Do (Without You) (greatest hits version) - 1,218,029 Because Of Love - 1,158,049 Where Are You Now - 1,083,196 Someday Is Tonight - 1,072,578 Shoulda Known Better - 1,064,711 Would You Mind - 1,063,082 Rope Burn - 1,009,655 Alright (album version) - 985,584 Night - 974,463 Trust A Try - 906,158 Throb - 869,144 Someone To Call My Lover (greatest hits version) - 849,551 Whoops Now - 845,350 2 B Loved - 809,210 Broken Hearts Heal - 797,964 Make Me - 760,670 No Sleep (Afsheen Remix) - 757,930 I Want You - 754,404 You - 738,843 Dream Maker/Euphoria - 727,565 After You Fall - 731,102 Any Time Any Place (R Kelly Remix) - 730,117 Let’s Wait Awhile (greatest hits version) - 730,635 Scream (greatest hits version) - 724,142 Anything - 711,460 Take Me Away - 688,753 Promise - 682,090 I Get Lonely (greatest hits version) - 678,225 When We Oooo - 661,630 What About - 637,354 Rhythm Nation (greatest hits version) - 631,443 My Need - 621,618 R&B Junkie - 620,594 Lesson Learned - 605,978 Black Eagle - 586,423 LUV - 585,521 Feels So Right - 585,051 Tonight’s The Night - 571,602 Empty - 567,334 This Time - 565,302 Come On Get Up - 536,224 So Much Betta - 513,644 Well Traveled - 507,679
  9. 1 point
  10. 1 point
    No. The late-80’s and 90’s dancers matter. They were able to execute some of the most difficult choreography that can be given to a dancer. These new dancers lack so much of their technical and expressive skills.
  11. -1 points
    This didn’t deserve its own thread
  12. -1 points
    This isn’t new people. Get over it
  13. -1 points
    Fixed again. It’s 2017... 20-30 years removed from those dancers and they are irrelevant to this year & therefore they do not currently matter. I’m also not stuck in the 80s & 90s Im not petty enough to diss Janet’s current kids. They are blessed and if Janet loves them then I’m not bitching about em.

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