From Janet to Damita Jo: The Videos
|From janet. to Damita Jo: The Videos|
|Video by Janet Jackson|
|Released||September 6, 2004|
|Janet Jackson chronology|
From janet. to Damita Jo: The Videos is the third music video release by American singer-songwriter Janet Jackson. It was released on September 6, 2004 by Virgin Records, following the debut of Jackson's eighth studio album, Damita Jo. The anthology contains music videos from her first four studio albums released on Virgin Records. It also includes several live performances, the filming of "All Nite (Don't Stop)," an exclusive album interview, and photo gallery.
The compilation received positive reviews from critics, who commended Jackson's visual evolution throughout her career. It was also thought to depict the huge influence she has become on younger artists, observed to emulate the "controversial pop superstar". Jackson's choreography and sexual allure were also subjects of recognition. Following her Super Bowl Halftime Show incident, inclusions from Jackson's Damita Jo album were blacklisted on music channels and radio stations owned by Viacom, CBS and Clear Channel Communications due to receiving fines from the FCC.
From janet. to Damita Jo: The Videos is Jackson's third video compilation, following Design of a Decade and the special edition of All for You. It includes her music videos released via the Virgin label, spanning from her fifth studio album janet. to her eighth album, Damita Jo. Following FCC fines from Jackson's Super Bowl performance incident, the singles from the latter album were blacklisted by music channels and radio stations owned by Viacom, Clear Channel Communications and CBS, including MTV and VH1. Several performances filmed at MuchMoreMusic and On Air with Ryan Seacrest are also included, along with the filming of "All Nite (Don't Stop)" and Damita Jo album interview. Its artwork was taken by British photographer Max Vadukul.
The videos on the release have collectively won numerous accolades, including MTV Video Music Awards, Grammy Awards for "Best Short Form Music Video" and MVPA Awards. The compilation omits videos released via alternate labels, including "Doesn't Really Matter," directed by Joseph Kahn. "Just a Little While", Jackson's first video released following her controversial Super Bowl Halftime Show incident, was replaced with a live performance filmed at London's Channel 4. The remix video of "Someone to Call My Lover" is included in place of the original. HMV Japan initially revealed its track listing to include an unreleased music video for "R&B Junkie", although it was removed for unknown reasons.
"Janet Jackson has had a wild ride in the quest toward diva-dom. Starting out with the dubious distinction of being Michael Jackson's kid sister; she startled the music scene with a precocious start with CONTROL. Her happy, snappy, pop songs were apparently the right equation for an audience hungering for the ultimate in catchy songs. With each album, she advanced several notches in her journey to rule the pop and R&B scene, and eventually surpassed the gloved one's influence. This collection of music videos from four Virgin albums, JANET, THE VELVET ROPE, ALL FOR YOU, and DAMITA JO, represents Ms. Jackson as a mature women in her prime. The smiley girl from next door is long gone, replaced by a remarkably sexy and impossibly cool player who knows she rules the universe and is ready for a sexual challenge. From the mellow, almost jazzy romance in "That's The Way Love Goes," to giddy love song "Together Again," and the hypnotic funk fest in "Go Deep," Jackson's dual mission in life seems to be to party and create passion of the most outrageous kind. As usual, the other great strength of these videos are how they showcase Jackson's other main talent in dance... she has always excelled in extremely complicated dance moves that are executed with a particularly severe, don't-mess-with-me expression. There is also some wonderful imagery from the world's best video directors, underscoring Jackson's ability to market and package her dance music in a way that is sure to be immortalized in music history."
The compilation received favorable reviews amongst critics, who applauded its display of Jackson's progression throughout her music videos and career. Her intense choreography and sexuality were also subjects of recognition. Rob Theakston of AllMusic praised Jackson's videography and appeal, saying, "Janet Jackson remains a marvel to observe as a hallmark of beauty within the pop world." In contrast to her contemporaries, Theakston added, "Janet somehow emotes a near flawless sexuality and does so almost effortlessly." The compilation was considered "a further reinforcement" of her consistent allure, noting "the visuals compliment the music well." While the theme of several videos were likened to "late-night cable adult movie[s]," the release was recommended for both "die-hard fans" and "testosterone-fueled adolescent teens." Ben Hogwood of MusicOMH praised the compilation as "worth a look," commending Jackson's artistry and choreography to "more than punch their weight." Jackson's physical appearance and "seemingly ageless features" were also called "astounding," as Hogwood remarked, "When you think some ten years separate the first video from the last, if anything she looks younger now than she did then." However, Jackson's portrayal of sexuality within several videos was observed to be "curiously detached" from her visual persona, "even if we do get some fairly gratuitous shots of the fearsome flat stomach, not to mention some generous cleavage
shots for Super Bowl fans."
Analyzing its chronology, "That's the Way Love Goes" was defined as "a sultry start with Janet up against a pillar," while the split-screen effect utilized in "Because of Love" was called "extremely effective." The "suggestive" theme of "Any Time, Any Place" notably displayed Jackson's "more salacious side," while "Got 'til It's Gone" was regarded to "stand out" amongst her videography, declared a "very dark canvas" with "a powerful impact" for its depiction of Apartheid. In contrast, "All for You" was observed as "much more on a girlie tip," with the premise of "spotting a guy she fancies on the metro and performing another elaborate dance routine with her "friends"." Its choreography was declared "superbly done, tight as anything, with Jackson totally comfortable and in control." The video for "You," consisting of footage from Jackson's Velvet Rope Tour, was examined as "too severe," noting her "disembodied voice and some bondage-type gear." However, the darker approach of "Son of a Gun" was considered "a treat." The inclusions from Jackson's Damita Jo album were acknowledged to continue her fashion of "good videos." A bonus feature of Jackson reunited with a childhood friend was also called "sweet." MSN Entertainment praised the release from the "controversial pop superstar," tracing "the latest phase of her music career."
Jackson's body of work presented in the compilation has been regarded as largely influential within popular music. Upon its release, several critics observed Jackson's work to not receive proper credit for its leverage, despite significance within pop culture and entertainment. Ben Hogwood of MusicOMH stated, "What is clear from this compilation is what a huge influence she has become on younger pretenders to her throne, most notably Britney Spears, Jennifer Lopez and Christina Aguilera." Hogwood added, "It goes without saying that it helps to be a fan of the music, but Jackson's influence can be clearly seen throughout — the one female singers still look up to." Ernest Hardy of LA Weekly regarded Jackson to surpass the influence of rival Madonna, calling her "the unheralded mother-architect, for better or worse, of the current pop world... While it’s a conditioned reflex for mainstream critics to heap praise upon Madonna as the mold from which MTV’s pop brigade is stamped, the truth is a bit more complicated."
PopMatters called her a "consummate product of popular culture". adding, "Janet Jackson’s music videos don’t confine or define her so much as they stretch possibilities, making the medium itself seem more flexible and optimistic than rigid." Vibe ranked Jackson among the music industry's "most valuable players," describing the release to span "Janet's amazing career." Amazon.com proclaimed her "the most visual artist of our time." Varying between "musical triumphs" and "deeper personal insights," the release was applauded for representing Jackson's visual evolution and artistry, which "not only represents the themes of each Virgin [Records] album, but also poignantly defines each stage of Janet’s life at the time of it’s release." Jackson later stated, "I have seen different elements from all of these videos in lots of artists work and it’s a great feeling to know that you have inspired them in such a way."
|1.||"That's the Way Love Goes"||René Elizondo, Jr.|
|3.||"Again"||René Elizondo, Jr.|
|4.||"Because of Love"||Beth McCarthy|
|5.||"Any Time, Any Place"||Keir McFarlane|
|6.||"You Want This" (featuring MC Lyte)|
|7.||"Got 'til It's Gone" (featuring Joni Mitchell and Q-Tip)||Mark Romanek|
|8.||"Together Again"||Seb Janiak|
|9.||"I Get Lonely"||Paul Hunter|
|10.||"Go Deep"||Jonathan Dayton and Valerie Faris|
|12.||"Every Time"||Matthew Rolston|
|13.||"Together Again" (Deeper Remix)||René Elizondo, Jr.|
|14.||"All for You"||Dave Meyers|
|15.||"Someone to Call My Lover" (So So Def Remix)
(featuring Jermaine Dupri)
|16.||"Son of a Gun (I Betcha Think This Song Is About You)" (featuring Carly Simon and Missy Elliott)|
|17.||"I Want You"||Dave Meyers|
|18.||"All Nite (Don't Stop)"||Francis Lawrence|
|19.||"Just a Little While" (Live Version at Channel 4)||—|
- Damita Jo Interview
- Behind the Scenes of "All Nite (Don't Stop)"
- Photo Slideshow
- MuchMoreMusic Live
- "All Nite (Don't Stop)"
- "I Want You"
- On Air with Ryan Seacrest
- "All Nite (Don't Stop)"
- "I Want You"
|Europe||September 6, 2004||Virgin|
|United States||September 7, 2004|
|Japan||September 29, 2004||EMI|
|Australia||October 18, 2004||Virgin|
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