All Nite (Don't Stop)

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"All Nite (Don't Stop)"
Single by Janet Jackson
from the album Damita Jo
B-side
Released May 29, 2004
Format
Recorded 2003
Genre
Length 3:26
Label Virgin
Writer(s)
Producer(s)
Janet Jackson singles chronology
"I Want You"
(2004)
"All Nite (Don't Stop)"
(2004)
"R&B Junkie"
(2004)

"All Nite (Don't Stop)" is a song recorded by American recording artist Janet Jackson for her eighth studio album, Damita Jo (2004). It was written and produced by Jackson and Swedish duo BAG & Arnthor, with additional writing from Jam and Lewis. "All Nite (Don't Stop)" fuses dance-pop with influences of electropop, funk, and house. It uses varied instrumentation, such as funk guitars, with samba, grime, and latin music. Jackson sings the song in a breathy falsetto, with lyrical metaphors comparing various actions to the addictive nature and persuasion of dancing. "All Nite (Don't Stop)" was released May 29, 2004 by Virgin Records as the third single from Damita Jo.

"All Nite (Don't Stop)" received positive reviews from music critics, who praised it as the best on the album. The song's chart performance was massively affected by the blacklisting of Jackson's singles and music videos on many radio formats and music channels worldwide, regarding conglomerates fined by the U.S. Federal Communications Commission (FCC) after her controversial Super Bowl halftime show incident. However, it peaked atop Hot Dance Club Songs and reached number eight on Hot Dance Airplay; peaked within the top twenty in the United Kingdom and charted within numerous other countries. It additionally won a BMI London Award for Best Pop Song.

Its music video, directed by Francis Lawrence, portrays Jackson and her dancers rehearsing in an abandoned hotel during a power outage. The music video received nominations for Best Dance Video at the International Dance Music Awards and Best Choreography at the MVPA Awards. Jackson performed "All Nite (Don't Stop)" during several appearances in order to promote the album, including Saturday Night Live, On Air with Ryan Seacrest and Top of the Pops, in addition to the 2004 Video Music Awards Japan and her 2008 Rock Witchu Tour.

Background[edit]

"All Nite (Don't Stop)" was written and produced by Jackson and Swedish producers BAG & Arnthor of Murlyn Music, with additional writing from Jam and Lewis. In the United States it was released as the third single from Damita Jo, following "Just a Little While" and "I Want You,". The song was among several songs Jackson recorded with the duo, in addition to "SloLove", "I'm Here", and "Put Your Hands On." It was recorded at Murlyn Studios in Stockholm, Sweden and The Village in Los Angeles, California. The duo specifically desired to work with Jackson prior to their collaboration, with Anders Bagge stating, "She's the one I would give anything to work with. The ultimate female artist," and Arnthor Birgisson adding, "let's just say we will definitely be prepared if and when that happens."[1]

The song was later included on Jackson's second hits compilation Number Ones. An edited version which omits several explicit lines appears on the clean version of Jackson's Damita Jo album. A dancehall influenced remix known as the So So Def remix features Elephant Man and was produced by L'Roc and Jermaine Dupri. It won the award for Best Pop Song at the 2005 BMI London Awards.[2]

Composition[edit]

"All Nite (Don't Stop)" is a dance-pop song with elements of funk, electropop, and jazz influences.

Problems playing this file? See media help.

"All Nite (Don't Stop)" combines dance-pop with elements of electropop, funk, and house, while incorporating flourishes of samba, grime, latin, ambient, dancehall, and jazz throughout its production.[3][4][5][6] It briefly samples Herbie Hancock's "Hang Up Your Hang Ups." Jackson's vocals are delivered in a breathy falsetto over an "impossibly lithe bassline" described as "a bitch slap" to the senses.[7][8]

Lyrically, "All Nite (Don't Stop)" discusses being addicted to dancing in a club setting, using metaphors to describe the intense feelings experienced. The song opens with Jackson announcing "Attention it's time to dance," before comparing various situations with frenetic movement, such as earthquakes, masturbation, pole dancing, a corkscrew, and computer hacking with jerking, popping, breakdancing, shaking, and twerking. Veronica Heffernan of The New York Times said the lyrics presented Jackson as "a demanding choreographer" with "drill-sergeant attitude," complimented by Jackson's "sweetheart voice."[9]

Critical reception[edit]

"All Nite (Don't Stop)" received positive reviews from music critics. Mike Trias of Radio and Records said the track "should not be ignored, especially on the dance floor. Its sexy, midtempo groove is perfect for kicking a party into after hours."[10] Billboard commended it as a "beat-bangin' number" with "infectious allure," affirming "Jackson steps back into her signature groove line with this bass-driven party jam." Billboard also regarded it as among Jackson's strongest material, adding that its chorus and "relentless beat" will remain "embedded in your consciousness long after the last note has sounded."[11] Tareck Ghoneim of Contact Music considered it an "interesting" and "infectious" blend of "upbeat samba/dance rhythms and definite funk influence," with "Electro samples, latin percussion and some groans and breaths to give it a sexy ambience." Its aura "on a house tip" was considered to have "loads of crossover potential" for several airplay formats. Ghoneim added, "it certainly doesn't strike me as a typical Janet record," citing it as another evolution from "those 'Nasty' days" in "maintaining that dance-pop influence but making it slightly more cool."[3] Chuck Arnold of People described it as a "hypnotic house number," while The Baltimore Sun labeled it a "get-on-up dance cut" which "rides a looping funk guitar line."[12]

The New York Times praised its "clubby, big-room beats," analyzing its production as "strictly machine-made, with Jackson's sweetheart voice protected by layers of effects." Its "bossy" lyrics were likened to being "spoken by a demanding choreographer or a bullying boyfriend," which transitions from "1-900 confessionalism" to "drill-sergeant attitude."[13] Spence D. of IGN heralded the song as "a bitch slap" of electro funk which effectively "gets the blood pumping and the booty primed for shaking."[8] Alexis Petridis of The Guardian called it "a nervy tune," noting the song's "impossibly lithe bassline," while praising it as "not only inventive, but brilliantly constructed."[7] Slant Magazine called it a "pulsating club track" while The San Francisco Chronicle regarded it as the best song from the album, and the best dance song since "Bizarre Love Triangle".[14][15] Pitchfork's Chris Ott called it "genius" and rated it three and a half out of four stars, qualifying it as part of the "mashup craze" in which artists were "dreaming up new, ear-catching juxtapositions to dazzle radio". Otto labeled it as "a notable standout" while praising the track's "borderline dancehall/Latin club rhythms."[5] BBC UK's Top of the Pops website exclaimed the track "hits you with about three different basslines and a bonafide booty-quaker of a beat," transitioning into one of her "classic Jackson key-changes" during the chorus.[16] It was called a "stand-out track" which "has "hit" written all over it" by UKMix, in addition to "a bright spot" for the climate of pop music, using "a certain funk/jazz energy to it that works."[6] Asian entertainment outlet Fridae qualified it as "chart-friendly," "bass-line driven," and "burning from the explicit references."[17][18] Tom Moon of The Philadelphia Inquirer called it a moment "when everything clicks," adding its "primal quality" ultimately "juxtaposes Jackson's ethereal yearning against agitated synthesizers."[19]

Chart performance[edit]

The song's chart success was largely affected by the blacklist of Jackson's singles and music videos which followed her controversial Super Bowl halftime show incident.[20][21][22] It peaked at number thirty-three on Billboard's Pop Songs chart, number nineteen on Bubbling Under Hot 100 Singles, and number one on Hot Dance Club Play. It also reached number eight on Hot Dance Airplay.[23] Internationally, it was released as a Double A-side with "I Want You", reaching the top twenty in the United Kingdom and Spain, and the top thirty in Australia, Belgium, Romania, Japan, Italy, and Ireland. Following the success of "Feedback," the single re-entered the Hot 100 Singles Sales chart at number forty, giving it a new peak four years after its initial release.[citation needed]

Blacklist[edit]

Following her Super Bowl halftime show incident, Jackson's songs and music videos were blacklisted worldwide by many major radio formats and music channels owned by conglomerates such as Viacom and CBS, including MTV, Clear Channel Communications, and Infinity Broadcasting, after they were heavily fined by the FCC. In January 2014, Rolling Stone disclosed "CBS and MTV's parent company Viacom, angered that an unannounced addition to the Super Bowl performance has now cost them all future halftime shows, hits back at Janet by essentially blacklisting her, keeping her music videos off their properties MTV, VH1, and radio stations under their umbrella. The blacklist spreads to include non-Viacom media entities as well", adding "Thanks to the radio and music television blacklist, the LP underperforms compared to Janet's previous releases."[20] Glenn Gamboa of Newsweek commented "Jackson has been put in the pop culture penalty box. The result is that despite some initial backing for "Just a Little While," radio and TV support for her music has withered, as the conglomerates worry about angering the FCC and Congress," by supporting Jackson.[24] Langston Wertz Jr. of Charlotte Observer stated Jackson became one of the "most villified female artists of all time" in the media, adding due to the blacklist, "radio wouldn't play it and MTV wouldn't play her videos for "I Want You" and "All Nite," two songs that would've been out-of-the-park hits at any other point in Jackson's career."[21] Billboard explained the album's three singles "were blacklisted by pop radio—they were also the albums biggest highlights," notably the "funky, heavily dance orientated "All Nite (Don't Stop)."[25]

The song was released shortly prior to the dawn of YouTube, when music videos from major stars required heavy rotation on music outlets, specifically MTV, to receive promotion. A senior executive for Viacom, which owns MTV, VH1, and many radio formats, said the company was "absolutely bailing on the record. The pressure is so great, they can't align with anything related to Janet. The high-ups are still pissed at her, and this is a punitive measure."[26] Roger Friedman of Fox News stated "One thing is certain, however: Janet is being scapegoated for her Super Bowl "wardrobe malfunction." [...] Imagine that MTV, where illiteracy and lewdness thrive most of the day, would banish Janet's new video because of her "reputation." Who are they trying to kid? Of course, MTV is a corporate cousin of CBS, where the original snafu happened. But that's just a coincidence!"[27] Virgin Record's marketing director Elizabeth Nordy stated MTV's lack of support was "a major catalyst" in the album and single's performance.[22]

Music video[edit]

Jackson dances in an abandoned hotel during a blackout in the music video, with power restored during the finale (pictured).

The music video for "All Nite (Don't Stop)" was directed by Francis Lawrence, who previously directed "Someone to Call My Lover" and several of Jackson's other videos, and edited by Dustin Robertson. It was filmed from April 16–17 and premiered online on May 13, 2004.[28] The video was filmed at the abandoned El Dorado Hotel in the Skid Row neighborhood of Los Angeles, California. Choreographed by Gil Duldulao, it took a minimal approach in comparison to Jackson's prior clips, focusing heavily on intricate choreographed routines as well as pro-gay themes amongst several of Jackson's dancers.[13] The setting of the music clip is inside a "derelict" building during a power outage.[13] The video begins with Jackson's dancers sprawled on bordello furniture in a "cavernous" ballroom inside the building where the air is "cloudy with sawdust or dance chalk." Then one of the dancers winds a copper wire from a stereo system around a car battery to generate power in the abandoned building. Jackson is then shown, her face covered with a hat and long bangs.[13] As the video progresses, Jackson switches between solo and group dancing, schowcasing snapping, jerking, jazz, hip-hop, and yoga-influenced moves, including scenes where Jackson simulates masturbation as her dancers perform similar suggestive moves. The video closes with the illumination of a neon Damita Jo logo, used to "turn the makeshift studio into a real stage set."[13] After Jackson's Super Bowl halftime show incident, MTV and many other music channels owned by companies involved in producing the event blacklisted her videos from rotation.[20] However, a slightly edited version was shown on channels such as MuchMusic and BET.

Reception[edit]

Virginia Heffernan of The New York Times praised the video as being "clever," "brave," and "sexually restless" with "adventures in exhibitionism [that] often seem to involve relatively small patches of skin, coupled with raunchy gyrations." She compared the video's theme of "orgiastic dancing by candlelight" to the Northeast blackout of 2003, using the "civics lesson" of a dancer winding a copper wire from a stereo system around a car battery to generate power in an abandoned building. Hefferanan concluded that the "lo-fi" choreography of the clip is in opposition to making "a gaudy show of her rapport with her dancers."[9] Kiki Von Glinow of PopEater said "Janet rocks 'All Nite' in this video, doing what she does best—showing off her rock hard abs and breaking it down in the dark."[29] The New York Blade considered it "certainly provocative," as "Jackson and her dancers get hot and heavy with one another to the song's thumping, infectious beat,"[30] while the King Magazine described it as "lots of writhing."[31]

Censorship[edit]

An edited version which removes all sexual content was occasionally aired by remaining video outlets which managed to avoid Jackson's video blacklist, such as MuchMusic and BET. The outlets faced criticism for removing a kiss between two female dancers. Speaking to The New York Blade, GLAAD's entertainment director Stephen Macias commented "I think it's always a concern when the gay and lesbian community is not allowed to be depicted in the same way that the straight community is, and especially when that revolves around the way our relationships and romantic situations are depicted." Macias added Jackson supports gay causes and has been persistently active in portraying equality among the gay community and would not approve the edit. The excerpt concluded, "A number of networks and broadcasters have gone to a heightened state of self-censorship since the uproar over Jackson's Super Bowl performance, for fear of being fined."[30]

Live performances[edit]

Jackson performed "All Nite (Don't Stop)" on Saturday Night Live, On Air with Ryan Seacrest, Good Morning America, The Tonight Show, CTV's Canada AM, Much Music, MSN, and the annual Wango Tango and New York Gay Pride March events. Internationally, it was performed on Top of the Pops, Italy's Festivalbar, TV total,[35] 20H10 Pétantes, and the 2004 Video Music Awards Japan, where she was the recipient of the "Inspiration Award." It was performed on each of Jackson's subsequent tours, including the Rock Witchu Tour and several dates of Number Ones, Up Close and Personal. On Saturday Night Live, Jackson performed the song along with "Strawberry Bounce", with a pole dance routine.[36] It was also performed at the BET Awards in a medley with "R&B Junkie".[37]

Good Morning America and On Air with Ryan Seacrest aired Jackson's performances with a time delay per the FCC's guidelines due to her controversial Super Bowl incident.[38] Her hosting appearance and performances on Saturday Night Live garnered its highest ratings in over two years.[39] Radio and Records suggested the song was not performed during her appearance on Late Night with David Letterman due to its racy lyrics, in a likely attempt to avoid further controversy.[10]

Influence and usage in media[edit]

British DJ and producer Switch sampled the song for "This is Sick" under the stage moniker Solid Groove.[40] Natalli Reznik, a finalist on the first season of So You Think You Can Dance Canada, was inspired by the video to pursue a dancing career in the entertainment industry, saying "When I saw that, I was so inspired and it stayed with me".[41] Dance troupe Fanny Pak performed the song on an episode of America's Best Dance Crew titled "Janet Jackson Challenge", which paid tribute to her iconic choreography and videos.[42] It was also performed by contestants on Oxygen's Dance Your Ass Off.[43] The song is included in the eighteenth edition of the Guinness book British Hit Singles & Albums and is mentioned in Nicole Austin's novel The Boy Next Door.[44][45]

Track listings[edit]

"All Nite (Don't Stop)" was released as a double A-side with "I Want You" in several countries.

Official remixes[edit]

House remixes by Sander Kleinenberg, Low End Specialists, and Chris Cox were released along with urban remixes by Jermaine Dupri and Kwamé.

Charts[edit]

Chart procession and succession[edit]

Preceded by
"Back N Da Day" by Frankie Knuckles featuring Jamie Principle
U.S. Billboard Hot Dance Club Play number-one single
July 24, 2004
Succeeded by
"Let the Sun Shine" by Milk & Sugar featuring Lizzy Pattinson

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External links[edit]