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    Janet Jackson Repeats False Claims About Kamala Harris’s Race

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    After Ms. Jackson told The Guardian that Ms. Harris is “not Black,” her representatives said a man who apologized on her behalf was not authorized to speak for her.There was a swift backlash on Saturday after the pop star Janet Jackson challenged Vice President Kamala Harris’s racial identity in an interview with The Guardian. On Sunday, a man who identified himself as her manager apologized for her statements.Then Ms. Jackson’s representatives quickly distanced her from that man and his apology, saying he was not her manager and was not authorized to speak for her.The unusual turn of events began when The Guardian published a wide-ranging interview with Ms. Jackson timed to promote the European leg of her concert tour. When the reporter, Nosheen Iqbal, said the United States “could be on the verge of voting in its first Black female president,” referring to Ms. Harris, Ms. Jackson responded by saying: “Well, you know what they supposedly said? She’s not Black. That’s what I heard. That she’s Indian.”When Ms. Iqbal replied that Ms. Harris, the Democratic nominee, is the daughter of an Indian woman and a Jamaican father who is Black, Ms. Jackson responded, “Her father’s white.”“That’s what I was told,” she added. “I mean, I haven’t watched the news in a few days. I was told that they discovered her father was white.”Across social media, people expressed bewilderment over Ms. Jackson’s comments. On “The View” on Monday, one of the hosts, Ana Navarro, said Ms. Jackson had been “very irresponsible” and had used the Guardian interview “carelessly, to spread misinformation.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Musical Tour of Tim Walz’s Minnesota

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      The state is a hotbed of corrosive underground rock, birthplace of two acclaimed icons, home to a lively hip-hop scene and a bedrock of ’80s pop and funk.Minnesota royalty: Prince.Chris Pizzello/R-PIZZELLO, via Associated PressDear listeners,On Tuesday, Vice President Kamala Harris announced that she had chosen a running mate: Tim Walz, governor of Minnesota. The news cast a spotlight not only on Walz, but on Minnesota’s culture — and in particular its rich, varied musical history.Walz is an avowed music fan himself, with a special appreciation for local record stores and artists who hail from the state. My colleague Marc Tracy delves into this side of Walz in a piece published this morning, in which he suggests that the Gen X governor’s fandom of Twin Cities indie-rock legends like the Replacements and Hüsker Dü has “signaled a changing of the generational guard.” Adds Michael Azerrad, author of the ’80s rock tome “Our Band Could Be Your Life,” “It makes sense that our post-Boomer politicians would be into indie rock.”But Minnesota, of course, is more than just a hotbed of corrosive underground rock. It’s also the birthplace of two of the greatest American musicians of the last century (Duluth’s Bob Dylan and Minneapolis’s Prince), home to a lively hip-hop scene that produced a recent superstar (the Detroit expat Lizzo), and the locus of the wildly influential “Minneapolis sound” (practiced by groups like the Time) that reverberated throughout ’80s pop and funk.Today’s playlist is a celebration of the many sounds of Minnesota, and it features all the aforementioned artists plus the heartland revivalists the Hold Steady, the grunge hell-raisers Babes in Toyland and the alt-country mainstays the Jayhawks. To quote Prince — in whose honor Walz renamed a stretch of Minnesota highway last year — “Rock ’n’ roll is alive! (And it lives in Minneapolis).”Sure as the Land of a Thousand Lakes is sometimes made of snow,LindsayListen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      15 Great Songs From 1989 (the Year, Not the Album)

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      A playlist celebrating a staggeringly great year in music: Pixies, Janet Jackson, De La Soul, Madonna, Indigo Girls and more.Pixies want you to know that 1989 was really a stunning year in popular music. Gie Knaeps/Getty ImagesDear listeners,Today’s playlist is a homage to the music of 1989. Yes, the year. Why, you ask? Does it have anything to do with … you know … a certain musician rereleasing one of her most popular albums, with a title referencing the year she was born? I have no idea what you’re talking about. I simply wanted to celebrate a staggeringly great year in music.Consider just some of the albums released during this annus mirabilis: “Like a Prayer.” “3 Feet High and Rising.” “Paul’s Boutique.” “Doolittle.” “Rhythm Nation 1814.” “Pretty Hate Machine.” “Disintegration.” “Full Moon Fever.” “The Stone Roses.” “Bleach.” I could go on, but I have a playlist to get to.For brevity’s sake, I limited myself to 15 songs. I left off some artists who have made appearances on previous playlists; I adore “Disintegration,” for example, but I also did an entire Cure playlist a few months ago. Some 1989 hits, too, are so ubiquitous — “Love Shack,” “Free Fallin’,” “Like a Prayer” — that I don’t need to put them on the playlist: You will probably hear them in the next few days as a result of simply going about your life. And some omissions are just personal. As a small child, I was so terrified of Jack Nicholson’s “Joker” in the Tim Burton-directed “Batman” that Prince’s No. 1 hit “Batdance” still kind of creeps me out.That still left plenty of great songs to choose from, though. On this playlist, 1989 reveals itself to be a year when inventive, imaginative sampling had reached the mainstream in the music of Beastie Boys, De La Soul and Public Enemy; a generation of female pop stars like Madonna and Janet Jackson were coming into their power; and the alt-rock wave was beginning to form underground thanks to artists like Pixies and Nirvana.This one will leave you with a new appreciation for a year in which so many great songs were released. Reach out, touch faith, and enjoy the enduring bounty of music from 1989.Listen along on Spotify as you read.1. Janet Jackson: “Miss You Much”Let’s kick things off with the first single from Janet Jackson’s pop opus “Rhythm Nation 1814,” released in September 1989. Jimmy Jam and Terry Lewis’s unparalleled production really makes this one sound gigantic. (Listen on YouTube)2. De La Soul: “Me Myself and I”Built around a sample of Funkadelic’s “(Not Just) Knee Deep” (among a few other songs), De La Soul’s crossover hit is a playful ode to self-acceptance. (As the group’s Posdnuos put it, “The press was referring to us as the hippies of hip-hop. This song became a way to express that this wasn’t a gimmick, and that we were being ourselves.”) “3 Feet High and Rising,” the debut album featuring this single, ranked No. 1 on the Pazz & Jop Poll, the Village Voice’s (former) annual barometer of critical consensus. (Listen on YouTube)3. The Stone Roses: “She Bangs the Drums”In May 1989, the Manchester pop-rockers the Stone Roses released their beloved, ambitious, and impossible-to-top self-titled debut album. Dreamy, singalong hooks abound, as on this exuberant single. (Listen on YouTube)4. R.E.M.: “Pop Song 89”Though R.E.M.’s sixth album, “Green,” came out in late 1988, I couldn’t resist including this cheekily titled leadoff track, which was — true to its prophecy — released as a single in 1989. (Listen on YouTube)5. Depeche Mode: “Personal Jesus”In a 1990 Spin interview, Martin Gore of Depeche Mode said that the band’s hit from the year before was inspired by Priscilla Presley’s memoir, “Elvis & Me”: “It’s about how Elvis was her man and her mentor and how often that happens in love relationships; how everybody’s heart is like a god in some way,” he said. “We play these godlike parts for people but no one is perfect, and that’s not a very balanced view of someone, is it?” Something tells me he’ll be interested in Sofia Coppola’s upcoming movie “Priscilla,” based on the same source material. (Listen on YouTube)6. Beastie Boys: “Egg Man”Many people still consider “Paul’s Boutique,” Beastie Boys’ ambitious 1989 celebration of the art of sampling, to be the group’s masterpiece. “Egg Man” may be one of the sillier songs on the album — it is, quite literally, about how the mischievous Boys liked to egg people — but the craft that went into its construction is still clear. (Listen on YouTube)7. Love and Rockets: “So Alive”Goth rock was steadily seeping into the mainstream by 1989, as evidenced by the success of the Cure’s ”Disintegration” and this darkly glittering surprise hit from the British alt-rockers Love and Rockets, which hit No. 3 on the Billboard Hot 100. (Listen on YouTube)8. Madonna: “Cherish”I do not need to remind you that “Like a Prayer” is a great song, so how about this slightly-less-overplayed hit from Madonna’s triumphant fourth album? If there were a Drug Store Music Hall of Fame (and there should be), I would nominate this song. (Listen on YouTube)9. Pixies: “Debaser”Not to get all “High Fidelity,” but “Debaser” — that ecstatically bizarre welcome into the wonderful world of “Doolittle” — has got to be one of the greatest Side 1, Track 1’s ever. (Listen on YouTube)10. Elvis Costello: “Veronica”“Is it all in that pretty little head of yours?” Elvis Costello sings on this bittersweet midcareer hit, inspired by his grandmother’s struggle with Alzheimer’s. “What goes on in that place in the dark?” Co-written with Paul McCartney (which makes sense, given the faint echoes of “Eleanor Rigby”), “Veronica,” which peaked at No. 19 on the Hot 100, became Costello’s highest-charting single in the States. (Listen on YouTube)11. Public Enemy: “Fight the Power”“1989, the number of another summer,” Chuck D begins on this incendiary call to consciousness, written for “Do the Right Thing,” Spike Lee’s film of the same year. “Fight the Power” was a lightning rod upon release, and 34 years later it remains a potent indictment of racism and a richly textured tribute to Black art. (Listen on YouTube)12. Nirvana: “About a Girl”In the summer of 1989, a little-known rock band from Seattle released its debut album, “Bleach,” on the indie label Sub Pop. It would have been hard to predict then that Nirvana’s next studio album would have a seismic effect on the music industry, but the craft of “Bleach” tracks like “About a Girl” certainly displays the nascent songwriting talent of the band’s leader, Kurt Cobain. (Listen on YouTube)13. Galaxie 500: “Strange”Elsewhere beneath the mainstream, the indie trio Galaxie 500 released its great second album, “On Fire,” in October 1989. Though sometimes associated with shoegaze and dream-pop, there’s a sky-scraping boldness and a stirring emotion animating the LP’s fourth track, “Strange.” (Listen on YouTube)14. Kate Bush: “This Woman’s Work”One of the more wrenching songs ever written about childbirth, Kate Bush initially composed “This Woman’s Work” for the 1988 John Hughes movie “She’s Having a Baby.” The following year, she released this slightly different version as the closing track on her album “The Sensual World.” (Don’t sleep on Maxwell’s cover, either.) (Listen on YouTube)15. Indigo Girls: “Closer to Fine”And finally, it’s Barbie’s favorite track on the Indigo Girls’ 1989 self-titled album. Thanks to its inclusion in this summer’s hot-pink blockbuster, “Closer to Fine” is experiencing a well-deserved resurgence, but plenty of soul-searchers have been belting along to it in their cars since ’89. (Listen on YouTube)Don’t know about you, but I am un chien Andalusia,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“15 Great Songs from 1989 (The Year, Not the Album)” track listTrack 1: Janet Jackson, “Miss You Much”Track 2: De La Soul, “Me Myself and I”Track 3: The Stone Roses, “She Bangs the Drums”Track 4: R.E.M., “Pop Song 89”Track 5: Depeche Mode, “Personal Jesus”Track 6: Beastie Boys, “Egg Man”Track 7: Love and Rockets, “So Alive”Track 8: Madonna, “Cherish”Track 9: Pixies, “Debaser”Track 10: Elvis Costello, “Veronica”Track 11: Public Enemy, “Fight the Power”Track 12: Nirvana, “About a Girl”Track 13: Galaxie 500, “Strange”Track 14: Kate Bush, “This Woman’s Work”Track 15: Indigo Girls, “Closer to Fine”Bonus TracksIf you’re looking to read something about that other 1989 thing, well … I wrote about its most provocatively titled “From the Vault” track.I also — busy week — published a profile of the independent-minded Gen Z pop star PinkPantheress, who graciously did not make fun of me for not going on as many roller coasters as she did while I was reporting this story. Bless her for that.Plus, if you’re looking for some new music as an alternative to that big release that shall not be named, let Jon Pareles and Giovanni Russonello provide you with some recommendations, from artists like Mr Eazi, Kevin Sun, Silvana Estrada and more. More

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      13 (Great) Songs With Parenthetical Titles

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      How Radiohead, Whitney Houston, Meat Loaf and others made a point with punctuation.Radiohead’s Thom Yorke: (Nice pic.)Mario Ruiz/EPA, via ShutterstockDear listeners,Today’s playlist is devoted to one of my absolute favorite musical conventions: the parenthetical song title.Why use parenthesis when naming a song? There are so many reasons. Sometimes it’s a rather brazen way to remind a listener of the song’s hook, in case the title itself was too obscure: “Single Ladies (Put a Ring on It),” “Doo Wop (That Thing),” “I’m Gonna Be (500 Miles).”But sometimes (and these are my favorite times) the motives are a bit more inscrutable. Does “Dude (Looks Like a Lady)” really need that parenthesis? Would we not know what the Quad City DJs are singing about without the clarification “C’Mon ’N Ride It (The Train)”? Are the Kinks making fun of this whole convention with “(A) Face in the Crowd”?Plus, when we’re saying these song titles aloud, are we supposed to pause between title and subtitle, or just say the whole thing like a run-on sentence? Will you know which song I’m talking about when I say “Movin’ Out” or must I specify, “(Anthony’s Song)”? The mind boggles.This playlist is here to help you through all that confusion, and to celebrate some of the best and most inventive uses of the parenthetical song title. It features some of the obvious ones, from the likes of Otis Redding, Aretha Franklin and Talking Heads, alongside a few of my lesser-known personal favorites from Charli XCX, Sonic Youth and more. I hope it provides at least one opportunity for you to (shake, shake, shake) shake your booty.Listen along on Spotify as you read.1. Whitney Houston: “I Wanna Dance with Somebody (Who Loves Me)”In the chorus of one of the most jubilant pop songs ever, Whitney Houston qualifies her initial demand — hey, I didn’t mean just anybody — and lays her heart on the line. Good on her for having high standards on the dance floor. (Listen on YouTube)2. R.E.M.: “It’s the End of the World As We Know It (And I Feel Fine)”Michael Stipe learns to stop worrying and love (or at least feel fine about) the bomb in this cheerily apocalyptic hit from R.E.M.’s 1987 album “Document.” There are already so many words in this song, the parentheses seem to shrug, what’s a few more in the title? (Listen on YouTube)3. My Chemical Romance: “I’m Not OK (I Promise)”Gerard Way is (really, really, really) not OK in this 2004 emo-pop anthem, which asks listeners to imagine a sonic alternate universe in which Freddie Mercury fronted the Misfits. Though the parenthetical promise doesn’t appear in the song’s lyrics, it appropriately kicks up the overall feeling of excess and garrulous melodrama. (Listen on YouTube)4. Charli XCX: “You (Ha Ha Ha)”This title is poetry to me. From “True Romance,” the 2013 album by one of my favorite “middle class” pop stars, “You (Ha Ha Ha)” is a beautifully scathing kiss-off — as if the very mention of this person’s existence were an inside joke not even worth explaining. Savage. (Listen on YouTube)5. Bob Dylan: “I Don’t Believe You (She Acts Like We Have Never Met)”When it comes to parenthetical titles — as with just about every other element of songwriting — Bob Dylan is an expert. “It’s Alright, Ma (I’m Only Bleeding)” is an all-timer; “One of Us Must Know (Sooner or Later)” is a classic; “Do Right to Me Baby (Do Unto Others)” is a clever co-mingling of the sacred and profane. But this one, from his 1964 album “Another Side of Bob Dylan,” is probably my favorite. I love the way the title switches from second to third person inside the parenthesis, as if he’s turning to the audience in the middle of a conversation and mouthing, “Can you believe her?!” It mimics a similar perspective shift in the song itself, when, in the penultimate verse, Dylan goes from singing about this woman to suddenly singing to her: “If you want me to, I can be just like you,” he sings, “and pretend that we never have touched.” (Listen on YouTube)6. Otis Redding: “(Sittin’ on) The Dock of the Bay”Recorded days before his untimely death, the parenthetical prefix of Otis Redding’s enduring swan song not only specifies what he’s doing on the dock of the bay, but it gives that titular setting a human character — eyes through which this languid bayside scene is witnessed. (Listen on YouTube)7. Talking Heads: “This Must Be the Place (Naïve Melody)”When the members of the recently (sort of?) reconciled Talking Heads recorded the instrumental tracks for their 1983 album “Speaking in Tongues,” they gave the demos unofficial titles. But even after David Byrne wrote lyrics to what would become the luminous “This Must Be the Place,” they wanted to honor the track’s original nickname, which expressed both its compositional simplicity and its childlike innocence. (Listen on YouTube)8. Janet Jackson: “Love Will Never Do (Without You)”I’m a big fan of parenthetical song titles that complete an internal rhyme — see also: Sylvester’s “You Make Me Feel (Mighty Real)” — and an even bigger fan of this ecstatic tune from Ms. Jackson’s 1989 opus “Rhythm Nation 1814.” That key change gets me every time! (Listen on YouTube)9. Radiohead: “(Nice Dream)”The members of Radiohead are such fans of parentheses that every single track on their 2003 album “Hail to the Thief” has a subtitle — which is honestly a bit much to keep track of. I prefer this early song from “The Bends,” which has its title entirely encased in parentheses, adding to the song’s liminal, somnambulant feel. (Listen on YouTube)10. Sonic Youth: “Brave Men Run (in My Family)”Off “Bad Moon Rising,” a strange and eerie early Sonic Youth album of which I am quite partial, this ferocious squall of a song finds Kim Gordon meditating on masculinity, turning it inside out with her sly wordplay, and bellowing each lyric with a warrior’s intensity. (Listen on YouTube)11. The Rolling Stones: “It’s Only Rock’n’Roll (But I Like It)”Perhaps the spiritual inverse of Tom Petty and the Heartbreakers’ later “Fooled Again (I Don’t Like It)”, this 1974 hit contains a truly shocking admission: The Rolling Stones … like rock ’n’ roll? I have to say, I didn’t see that one coming! (Listen on YouTube)12. Aretha Franklin: “(You Make Me Feel Like) a Natural Woman”Oh, I could have written an entire women’s studies paper on this one in college. The proper title “A Natural Woman” proposes that there’s such a thing as authentic and essential femininity, but the parenthetical totally upends that notion — the singer doesn’t need to be a natural woman to feel like one. No wonder it’s a drag classic! (Listen on YouTube)13. Meat Loaf: “I Would Do Anything for Love (But I Won’t Do That)”It’s the Alpha (and Omega) of parenthetical song titles. Thesis and antithesis. It prompts certainly the most profound mystery in all of rock opera, and perhaps in pop music writ large: What. Is. That? Meat Loaf claimed that the answer was hidden in the song itself, and in a 1998 episode of “VH1 Storytellers,” he pulled out a chalkboard and gave a grammar lesson proposing as much. (But I choose to believe the mystery … or maybe the explanation his character gave in “Spice World.”) (Listen on YouTube)Feelin’ pretty psyched,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“13 (Great) Songs With Parenthetical Titles” track listTrack 1: Whitney Houston, “I Wanna Dance with Somebody (Who Loves Me)”Track 2: R.E.M., “It’s the End of the World as We Know It (And I Feel Fine)”Track 3: My Chemical Romance, “I’m Not OK (I Promise)”Track 4: Charli XCX, “You (Ha Ha Ha)”Track 5: Bob Dylan, “I Don’t Believe You (She Acts Like We Have Never Met)”Track 6: Otis Redding, “(Sittin’ on) The Dock of the Bay”Track 7: Talking Heads, “This Must Be the Place (Naïve Melody)”Track 8: Janet Jackson, “Love Will Never Do (Without You)”Track 9: Radiohead, “(Nice Dream)”Track 10: Sonic Youth, “Brave Men Run (in My Family)”Track 11: The Rolling Stones, “It’s Only Rock’n’Roll (But I Like It)”Track 12: Aretha Franklin, “(You Make Me Feel Like) A Natural Woman”Track 13: Meat Loaf, “I’d Do Anything for Love (But I Won’t Do That)”Bonus tracksOn Saturday night — one of the loveliest and most temperate New York evenings all summer — I witnessed something utterly enchanting in Prospect Park, as a part of the BRIC Celebrate Brooklyn! summer concert series: a free show headlined by the one and only John Cale. (Earlier this year, you may recall, I devoted an entire newsletter to Cale’s vast discography.) I’ve been trying ever since to recapture the magic of that night by listening to some of the songs he played: The serene “Hanky Panky Nohow,” the rollicking “Barracuda,” and, most haunting of all, his slow, mournful deconstruction of “Heartbreak Hotel.” More

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      In a New Documentary, Janet Jackson Is Hiding in Plain Sight

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      A four-hour film on Lifetime and A&E touches on the highs and lows of a long career, but doesn’t dig deep into one of pop’s great risk-takers.Throughout her two-decade-plus heyday, Janet Jackson was an astonishingly modern pop superstar — a risk-taker with a distinctive voice, a vivid sense of self-presentation and an innate understanding of the scale of the labor required to make world-shaking music. She was the embodiment of authority and command, practically unrivaled in her day and studiously copied by later generations.But throughout “Janet Jackson,” a four-hour documentary that premiered over two nights on Lifetime and A&E, the highs and lows of Jackson’s career are often presented as a kind of collateral asset or damage. Her brothers were famous first; Jackson was the spunky younger sister who came after. When her brother Michael, then the most famous pop star on the planet, faced his first allegations of sexual impropriety, Jackson lost her opportunity for a lucrative sponsorship with Coca-Cola. When a wardrobe malfunction derailed Jackson’s performance at the 2004 Super Bowl halftime show, it is her career that’s tanked, and not that of her collaborator, the rising star Justin Timberlake.It’s a curious choice for the first official documentary about one of the most influential musicians of the last few decades. But what makes it even more curious is that Jackson herself is the executive producer (along with her brother, and manager, Randy). It is a bait and switch, using the lure of access and intimacy — cameras followed her for five years, we’re told — as a tool of deflection.“Janet Jackson” is a sanctioned documentary with the feel of a YouTube news clip aggregation. Jackson is interviewed extensively, but largely provides play-by-play, rarely color commentary. In some parts, especially when she’s shown in conversation with Randy, she’s the one asking questions, especially when the pair return to the family’s Gary, Ind., home. At almost every emotional crossroads, the film drops a whooshing thwack sound effect, an unconscious echo of the “Law & Order” cha-chunk, and cuts to commercial. That choice renders fraught moments melodramatic, and melodramatic moments comic.In between elisions, “Janet Jackson” is bolstered by some phenomenal archival footage, mainly shot by Jackson’s ex-husband René Elizondo Jr., who toted a camera throughout their time together — as romantic and professional partners — with an eye toward some future omnibus archive. We see Jackson in the studio with Jimmy Jam and Terry Lewis, in a tug of war of wills while working out the sound of “Janet Jackson’s Rhythm Nation 1814,” her second album with them and the follow-up to the career-making “Control.” During the recording for the 1995 single “Scream,” we see Jackson and Michael talking about lyrics, and Michael asking for her to tap into the voice from her rock hit “Black Cat.” There’s sleepy but telling footage of a meeting with Coca-Cola as Jackson is being offered that sponsorship, and also scenes from the table read of the 1993 film “Poetic Justice,” in which Jackson starred alongside Tupac Shakur.As for drama — there is no drama, this film insists. Everything is fine. Joe Jackson, the family patriarch, is presented as a beacon of hard work and discipline, not abuse, without whom the children’s success would have been impossible. Jackson’s exes — James DeBarge, Elizondo, Jermaine Dupri — are largely forgiven for their improprieties. Her third husband, Wissam Al Mana (they split up in 2017), is never named, but the son they share, Eissa, is mentioned and briefly shown. As for the Super Bowl performance that derailed her career, well, Jackson and Timberlake are great friends, she says.Or maybe something else is going on. “She continually suffers privately, and doesn’t involve any of you,” says Wayne Scot Lucas, her longtime stylist.That seems to include Benjamin Hirsch, the film’s director and the one peppering Jackson with questions. In several segments, Hirsch uses the audio of his query in order to provide a more complete picture of the incomplete answer he receives. His asks are gentle but direct, with only a shadow of the awkwardness that comes with pushing a famous and famously private person in an uncomfortable direction. Often when he’s probing, Jackson is in the back seat of an S.U.V., being chauffeured to a location designed to trigger a memory; the most vulnerable aspect of these scenes is the physical proximity, a space-sharing closeness that’s a proxy for actual feeling-sharing closeness.When the spotlight is ceded to others, especially Jackson’s behind-the-scenes collaborators like Lucas and the dancer Tina Landon, little flickers of clarity emerge. And a fuller appreciation of Jackson’s artistry comes from Jam and Lewis (who also serve as music supervisors on the documentary), and her former choreographer Paula Abdul. Plenty of other superstars are corralled — Whoopi Goldberg, Mariah Carey, Samuel L. Jackson, Barry Bonds (!), Missy Elliott — simply to shower Jackson with platitudes, a colossal missed opportunity.It’s churlish to linger over what’s not covered here, but given that official documentaries can tend toward the hagiographic, there’s perilously little analysis or appreciation of Jackson’s music or videos, just assertions of their greatness. The one exception is Questlove, who discusses advocating for her election to the Rock & Roll Hall of Fame. Jackson’s life has spanned many traumas, but this film mostly recalls them gauzily, and doesn’t argue strongly enough for her triumphs. What’s more, the editing is choppy, and the lighting is often garish — a tabloid-style production for an artist who merits vanity treatment.But the pall is coming from inside the house. Even at her pop peak, Jackson was often reluctant, and years of public scandal that tarred her even from a distance have not seemingly inclined her to do much beyond shrug and retreat.By that measure, the film is a success. And sometimes the reticence is rendered literal. When Jackson’s mother is asked about Michael’s death, she falters a bit, and someone off camera, seemingly Jackson, asks her if the questioning is too much for her. She indicates that it is, and they move on. And when Jackson is discussing her father’s death — “I got the opportunity to thank him, thank God” — it’s the rare moment where emotion gets the best of her. After just the faintest shudder, though, she erects a wall: “OK, Ben, that’s enough.” And yet. More

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      What’s on TV This Week: ‘Promised Land’ and a Janet Jackson Special

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      ABC debuts a new drama about a wine-country power struggle. And a four-part documentary about Janet Jackson debuts on Lifetime and A&E.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Jan. 24-30. Details and times are subject to change.MondayMARCH 8 p.m. on CW. This new, eight-part docuseries takes a close look at the prestigious marching band at Prairie View A&M University, a historically Black university in Texas. Some of the more than 300 band members share the sacrifices they make to be a part of the group — which, in 2021, was ranked eighth among all H.B.C.U. Division I bands by the ESPN publication The Undefeated — while balancing a busy college life.PROMISED LAND 10 p.m. on ABC. A wildly successful, family-run wine business is at the center of this new drama series, which is set in California’s Sonoma Valley region. Here, familiar power-struggle themes are paired with an exploration of immigrant experiences. The family that controls the vineyard is led by a self-made patriarch (played by John Ortiz) who has achieved an archetypal American dream. The show also follows a group of new immigrants who, in Monday night’s episode, cross into the United States from Mexico in search of their own version of that dream.TuesdayWAIT UNTIL DARK (1967) 6 p.m. on TCM. Looking for a suspenseful heart racer that might make you gasp or shriek? Audrey Hepburn earned her fifth and final best-actress Oscar nomination for her performance in this edge-of-your-seat classic, in which she plays a woman who, after being blinded in a car accident, takes possession of a doll that’s stuffed with heroin. A group of clever gangsters (played by Alan Arkin, Richard Crenna and Jack Weston) go through horrifying lengths to get it. “The tension is terrific and the melodramatic action is wild,” Bosley Crowther wrote in his 1967 review for The New York Times.WednesdayI CAN SEE YOUR VOICE 8 p.m. on Fox. Can you tell if someone can sing without ever hearing a single note? This music guessing game puts that deceptively complex question to the test. One contestant must tell the difference between good and bad singers using a lip-sync challenge, a series of questions and other unorthodox methods. Whichever singer the contestant picks reveals their vocal abilities in a duet performance with the episode’s special musical guest, which could result in either an epic collaboration or a laughable catastrophe. The comedian Ken Jeong hosts, and the actress Cheryl Hines and the TV personality Adrienne Bailon-Houghton serve as the show’s permanent “celebrity detectives.”ThursdayAna de Armas and Daniel Craig in “Knives Out.”Claire Folger/LionsgateKNIVES OUT (2019) 7 p.m. on Syfy. After directing “Star Wars: The Last Jedi,” the filmmaker Rian Johnson wrote and directed this thrilling, star-studded whodunit. The mysterious death of an acclaimed novelist, Harlan Thrombey (Christopher Plummer) at a sprawling estate leads a master detective (Daniel Craig) to investigate the members of the novelist’s flawed family. “‘Knives Out’ is essentially an energetic, showy take on a dusty Agatha Christie-style murder mystery with interrogations, possible motives and dubious alibis,” Manohla Dargis wrote in her review for The Times. In addition to Craig, the ensemble cast includes Ana de Armas, Chris Evans and Jamie Lee Curtis.GROWN-ISH 10 p.m. on Freeform. In this coming-of-age comedy spinoff of the ABC hit “black-ish,” Zoey Johnson (Yara Shahidi) and her friends come back to their fictional California university as upperclassmen. Expect a fresh take on the hardships that come with entering adulthood — student loans, work-life balance, bad breakups and the rest — during the current fourth season. This show was created by Kenya Barris (who created “black-ish”) and the comedian Larry Wilmore.FridayJanet Jackson in the new documentary “Janet Jackson.”LifetimeJANET JACKSON: PART 1 & PART 2 8 p.m. on Lifetime and A&E.The life and legacy of the powerhouse performer Janet Jackson is the subject of this new two-night, four-hour documentary special. Expect an intimate look at Jackson’s more than 40-year career, told through newly surfaced footage, home videos and interviews with Jackson’s friends and collaborators, among them Mariah Carey, Paula Abdul and Missy Elliott. The documentary’s creative team presumably had plenty of access: Jackson herself is one of its producers, alongside her brother Randy Jackson, who was a member of the Jacksons. “This is my story told by me,” Janet Jackson says in a trailer, “not through someone else’s eyes.” The first two parts will air simultaneously on both networks on Friday night; the second half will follow on Saturday night.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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      The Moment That Janet Jackson’s Career Stalled and Justin Timberlake’s Soared

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      Jackson was vilified after her 2004 Super Bowl halftime show, while Timberlake’s popularity seemed to take off. Our new documentary examines how the superstars were treated after their unforgettable wardrobe malfunction.Reuters//Gary Hershorn (United States Entertainment)‘Malfunction: The Dressing Down of Janet Jackson’Producer/Director Jodi GomesReporter/Senior Producer Rachel AbramsReporter Alan LightWatch our new documentary on Friday, Nov. 19, at 10 p.m. on FX and streaming on Hulu.The term “wardrobe malfunction” has been part of our vocabulary ever since Janet Jackson’s right breast made a surprise appearance at the end of the 2004 Super Bowl halftime show.When Justin Timberlake tore off part of Jackson’s bustier in front of 70,000 people in Houston’s Reliant Stadium, over 140 million people watching on TV gasped — if they noticed.It happened so quickly (the moment lasted nine-sixteenths of one second) that even some of the halftime show’s producers missed it until their phones, and phones all over America, started ringing.“Did you see what just happened?” Jim Steeg, the National Football League’s director of special events, asked Salli Frattini, the MTV executive in charge of the halftime show. She had to rewind the tape to be sure.“We looked at the close-up shot. We looked at the wide shot, and we all stood there in shock,” Frattini recalled in a new documentary by The New York Times.Was it an accident? Was it planned? Was it a stunt?The ensuing uproar — from the N.F.L., from the Federal Communications Commission, from politicians and their allies — was the peak of a national debate at the time over what’s acceptable on America’s airwaves, and who gets to decide.In our documentary, premiering Friday at 10 p.m. Eastern time on FX and Hulu, we hear from the former commissioner of the N.F.L., Paul Tagliabue, and the MTV executives who were in charge of producing the halftime show. And we talk to some of the politicians who seized on the moment to try to rein in content that they deemed inappropriate.We also look back at Jackson’s long career, which never seemed to recover, while Timberlake’s soared. And we consider how issues of race and sexism mixed to consume one superstar’s legacy and propel another’s career to the next level.Supervising Producer Liz DayProducers Fred Charleston, Jr., Anthony McLemore, Timothy MoranCo-Producer Melanie BencosmeDirector of Photography Asad FaruqiVideo Editor Geoff O’Brien“The New York Times Presents” is a series of documentaries representing the unparalleled journalism and insight of The New York Times, bringing viewers close to the essential stories of our time. More

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      Justin Timberlake Apologizes to Britney Spears and Janet Jackson

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      #masthead-section-label, #masthead-bar-one { display: none }Britney Spears’s Legal BattleControl of Spears’s Estate‘We’re Sorry, Britney’Justin Timberlake ApologizesWatch ‘Framing Britney Spears’ in the U.S.AdvertisementContinue reading the main storySupported byContinue reading the main storyJustin Timberlake Apologizes to Britney Spears and Janet Jackson“I understand that I fell short,” he said on Instagram, adding that he “benefited from a system that condones misogyny and racism.”A week after the release of a Britney Spears documentary, Justin Timberlake said he was “deeply sorry for the times in my life where my actions contributed to the problem, where I spoke out of turn, or did not speak up for what was right.”Credit…Jordan Strauss/Invision, via Associated PressFeb. 12, 2021, 1:10 p.m. ETThe singer and actor Justin Timberlake apologized to Britney Spears and Janet Jackson on Friday in a vague but earnest Instagram post, a week after a New York Times documentary on Spears set off a wave of criticism of Timberlake for how he treated the pop star after their breakup.The apology to Jackson seemed to stem from the infamous Super Bowl halftime performance in 2004, when a closing duet between Timberlake and Jackson ended with Timberlake singing “Bet I’ll have you naked by the end of this song” as he tore away more of her costume than had been planned, to reveal — live and televised worldwide — her uncovered breast. In the aftermath, Jackson was the subject of most of the backlash, and Timberlake later conceded that he should have defended her more.Without specifying what exactly he was apologizing for, Timberlake wrote that he had seen all the messages, tags and comments on social media in recent days and that he was “deeply sorry for the times in my life where my actions contributed to the problem, where I spoke out of turn, or did not speak up for what was right.”“I understand that I fell short in these moments and in many others and benefited from a system that condones misogyny and racism,” he said in the post.The documentary, “Framing Britney Spears,” which premiered on Hulu and FX on Feb. 5, included a re-examination of the world’s reaction to Timberlake and Spears’s breakup, which was framed in the media as being Spears’s fault — partly because a music video by Timberlake implied that Spears had cheated on him. It included a clip from a radio interview with Timberlake in which he was asked whether he had sex with Spears and he replied, “OK, yeah, I did it,” evoking cheers.The documentary prompted calls on social media for direct apologies from many people who made jokes at Spears’s expense or interviewed her in ways now viewed as insensitive, sexist or simply unfair. But one of the most prominent apologies sought by fans was from Timberlake; others piped up to ask, “What about Janet Jackson?”The mea culpa eventually landed.“I specifically want to apologize to Britney Spears and Janet Jackson both individually, because I care for and respect these women and I know I failed,” the post from Timberlake said. “Because of my ignorance, I didn’t recognize it for all that it was while it was happening in my own life but I do not want to ever benefit from others being pulled down again.”In the aftermath of the Super Bowl halftime show, Timberlake apologized to the program’s audience as well as “anyone offended.” At the Grammy Awards, which that year followed the Super Bowl, he won two awards, while apologizing for the “unintentional” incident. Years later, he said in an interview with MTV, “There could have been ways that I could have gone about it, handled it better.”AdvertisementContinue reading the main story More