The Velvet Rope
The Velvet Rope | ||||
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Studio album by | ||||
Released | October 7, 1997 | |||
Recorded | January–July 1997 | |||
Studio |
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Genre | ||||
Length | 75:32 | |||
Label | Virgin | |||
Producer |
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Janet Jackson chronology | ||||
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Singles from The Velvet Rope | ||||
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The Velvet Rope is the sixth studio album by American singer Janet Jackson. It was released on October 7, 1997, through Virgin Records. Prior to its release, she renegotiated her contract with Virgin for US$80 million, marking this as the largest recording contract in history at that time.
Upon experiencing an
The record was co-written and co-produced by Jackson, alongside her then-husband René Elizondo Jr., Jimmy Jam, and Terry Lewis, with additional contributions by various songwriters. The songs on the album also includes British violinist Vanessa-Mae, Canadian singer-songwriter Joni Mitchell, and American rapper Q-Tip as featured artists on the album. Its composition fuses various genres, including pop, R&B, trip hop, folk, jazz, rock, and techno music. Considered to be Jackson's most mature recording, it is regarded as a template for pop artists transitioning to a darker or rebellious sound and as a precursor to the development of alternative R&B.[2]
The Velvet Rope became Jackson's fourth consecutive album to top the US Billboard 200. It also reached the top of charts in Denmark and the top five in major markets such as Australia, Canada, France, and Germany. The album was certified triple platinum by the Recording Industry Association of America (RIAA) and has sold an estimated eight million copies worldwide. Of the six singles released from the project, "Got 'til It's Gone" won the 1998 Grammy Award for Best Music Video, "Together Again" became an international number-one hit, and "I Get Lonely" became Jackson's 18th consecutive top-ten single on the US Billboard Hot 100, making her the only female artist in history to achieve that feat. The Velvet Rope Tour, in support of the album, drew critical acclaim for its theatricality, as well as controversy for its depictions of domestic violence and bondage.
Background
Jackson's first compilation album,
Writing and development
"I had my ways of hiding my pain. Laughing when there was nothing to laugh at. Smiling when there wasn't anything to smile about. That was just my way of getting through life. Pretending like everything was okay. I guess I did it so well that I really began to believe it. I fooled myself. Using my escapism's was my thing to not feel my pain—whatever would numb the pain."
— Janet on the
During her
In self-analysis, Jackson uncovered vital details regarding her past, saying, "Certain things may happen, and you just dismiss them instead of stopping and saying, "Why am I feeling this way? Why am I acting out in this way?"[11] She had suppressed various traumas throughout her adolescence and early adulthood, using evasion tactics to prevent thoughts from surfacing.[11] She also recalled feeling unaccepted and ostracized for her skin color.[17] She was persistently haunted by a memory of a school teacher intensely scolding her, causing her classmates to erupt in laughter.[18] "Oh, God, it sounds so stupid. But being a kid you're just so frightened... I never talked about it, so it stayed with me all those years. I felt not deserving, not good enough... that's still the way I feel about myself sometimes", she declared.[11][18] As a child, she managed discomfort by speaking to her animals, later turning to overeating as an anesthetic, causing fluctuations in weight.[18] Jackson said, "I began to realize that whenever something really painful was going on, I would eat, and that's how I would run away from it. But I would just be creating another problem in another area instead of just dealing with that pain".[11]
Jackson developed
Her self-hatred accelerated into raging cycles of
Recording
The album was produced by Jackson with
She returned to the studio in January 1997, embarking on a six-and-a-half month recording process.[25] Its production was adjusted towards Jackson's lyrics and vocal suggestions, using an altered technique from prior sessions.[26] Attempting to push pop music in an alternate direction, the record was described as "a triumph of the spirit, a declaration of joy and healing that comes from examining the past while energizing the present, [...] exploring the mysteries of sexuality even as it addresses the problems of prejudice".[27] Explaining the concept and the writing of The Velvet Rope, she stated:
Singing these songs has meant digging up pain that I buried a long time ago. It's been hard and sometimes confusing, but I've had to do it. I've been burying pain my whole life. It's like kicking dirt under the carpet. At some point there's so much dirt you start to choke. Well, I've been choking. My therapy came in writing these songs. Then I had to find the courage to sing them or else suffer the consequences — a permanent case of the blues.[28]
Music and lyrics
The Velvet Rope consists of sixteen songs and seven interludes; experimenting with various genres and darker themes.[27] The album fused pop and R&B with various genres, including jazz, folk music, and techno.[29] Jackson stated:
We've all driven by premieres or nightclubs, and seen the rope separating those who can enter and those who can't. Well, there's also a velvet rope we have inside us, keeping others from knowing our feelings. In The Velvet Rope, I'm trying to expose and explore those feelings. I'm inviting you inside my velvet rope. I have a need to feel special, and so do you. We share a burning need to belong. During my life, I've been on both sides of the rope. At times, especially during my childhood, I felt left out and alone. At times I felt misunderstood. Times when I ran into the backyard to confide in our dogs. Through them, I felt like I was talking to God. But no human heard those feelings expressed. They stay buried in my past. But the truth has to come out, and, for me, the truth the takes the form of a song.[30]
Jackson described the release as her most personal work, developed throughout her entire lifetime. She explained, "I never looked deeply at the pain from my past, never tried to understand that pain and work it through. It was a journey I had avoided. But one I now had to face."[27] Robert Hilburn added, "Jackson found a universal symbol to use in exploring issues of insecurity and self-worth. At some point, everyone is on the wrong side of the velvet rope, excluded because of race, social status, age or some other division."[31] Jackson regarded commercial success as a secondary consideration,[26] commenting, "I needed to express who I was and what I'd learned. I found out who I really was... If that can inspire people who hear this album to do the same, I'd rather have that than the biggest selling album in the world."[32]
Themes
The album gained media attention for its explicit themes and exploration of homosexuality, suggested as a "queer-studies thesis."
The album's "most startling" song was considered "What About", in which Jackson violently confronts domestic abuse.[42] Jackson stated, "I think it's important to let others know that certain things that you may have experienced in your life, and that they're not alone, and that you understand what they're going through, and that they can make it through."[43] Joel Lyans included it among "The New Soundtrack of Social Consciousness", writing, "Here, Janet does what she does best: demonstrates a coy and shy demeanor before ripping into a confident and empowered voice for those who are afraid to speak up and speak out about a situation that plagues millions of women."[44] Several media reports related its theme with President Bill Clinton's infidelity to Hillary Clinton with Monica Lewinsky.[39] Jackson clarified it to be about her own experience, saying, "President Clinton? People have said that to me. They say 'this is his song'," comparing the situation with her song "This Time" inaccurately related to O. J. Simpson and Nicole Brown Simpson due to its subject matter.[39]
Jackson's progression into advanced erotic content was criticized, though she defended her material.[45] J. D. Considine praised Jackson's focus on intercourse "as if it were simply a fact of life", noting her concern with "the emotional component of sex, rather than the act itself."[36]
Songs
In "Twisted Elegance", Jackson speaks over piano and
It transitions into the title track, progressing from rapid electronica into a mid-tempo"Free Xone" incorporates "slamming funk" with drum and bass, derived from "scratching, sampling, honey rapping, break beats and electronic accents."[55][56] Jackson described it "about homophobia and the pain it causes."[33] "Together Again" is an uptempo house and dance-pop song; considered a "modern post-disco meditation on the beauty of dance and eternal grace of romantic bonding."[57] Interlude "Online" features Jackson typing before a dial-up internet connection is heard. "Empty" is an electronic ballad incorporating trip hop, propelled by a "jittery, mellowed-out jungly beat".[55][56] Its lyrics speak of the void felt through social network relationships, empathizing with those searching for acceptance via the internet.[47] "What About" confronts Jackson's experiences with domestic violence.[43] Over flamenco guitars, she recalls a former companion proposing before violently transitioning into hard rock.[56] "Every Time" is a piano ballad documenting Jackson's fear of love, examining an apprehensive side of romance.[58]
"Tonight's the Night" alludes to sexual anticipation, suggesting a lesbian encounter and potential threesome during its finale.[20] Jackson stated, "The record company tried to talk me out of it because it's directed toward a girl. I love the song the way it is, and it's reality for a lot of people."[59] "I Get Lonely" evokes lush sensuality as Jackson speaks of abandonment over a sparse backing.[60] "Rope Burn" evokes bondage and sadomasochism, as Jackson requests to be tied down and pleasured with candle wax. It was declared "the first R&B trip-hop ballad, retro-fitted with a lazy, jazzy beat and a spare, slap bass-heavy backing track."[56] Jackson regarded it as a "soft instrument of extended pleasure", saying, "The expression of sexual fantasies can be beautiful if there's trust, love and understanding."[20][61] "Anything" is a ballad invoking "feverish dimensions" of satisfaction.[42]
In piano ballad "Special", Jackson speaks to her inner child, spreading the message that "pain is not permanent", but rather, transformed. Jackson said, "Getting back to that child, and giving the child what the child may have missed—the reassurance of a nourishing and accepting a love, a love that says you're special—is hard work. It can be scary but, like the song says, we have to deal with the past to live completely—and freely—in the present."
Packaging and title
The Velvet Rope was titled as a metaphor for the emotional barricade preventing others from revealing their innermost thoughts; in comparison to the velvet rope used at film premieres and award shows, prohibiting access from spectators.[30] It also served as a metaphor for the barriers separating different classes of society.[64] It was based on various events throughout her adolescence and early adulthood, resurfacing after attempted escapism.[17]
The album's artwork was photographed by Ellen von Unwerth, with additional photos by Mario Testino.[19] The cover depicts Jackson lowering her head amidst a crimson backdrop, symbolizing remorse.[65] "Janet" is faintly embossed in a pixelated block formation. Jackson stated, "The shot we used on the cover shows me just looking down, and that's what the album was about, looking inward".[19] MTV News regarded the artwork as iconic and an influence on various artists.[66] Its internal artwork depicts Jackson's piercings and tattoos, also displaying her hands tied in bondage and latex attire, exhibiting fetishism.[67] A particular photo of Jackson wearing a latex ensemble with her nipple piercing peering through an opening gained notoriety for its explicit nature.[16] The photo also shows Jackson pricking her body with an ice pick.[16][67]
Upon its release, Jackson unveiled an edgier image, flaunting hennaed red hair and tattoos on her neck, wrist, foot, back, and lower thigh; also acquiring nipple, septum, and labia piercings.[68] The transition was considered to risk alienation, though she was commended as "a master at surprising and shocking her public".[68] Jackson used a variation of the Akan Sankofa symbol throughout its artwork and imagery; representing the motif "You cannot move into the future until you learn from your past".[69] She tattooed the symbol onto her wrist. Jackson's tattoo artist later stated, "I have a lot of people who fly in from all over the world to get something that has to do with Janet’s sacred tattoos... She's an inspiration to a lot of people, and when they see something on Janet that helps her be strong, they want that strength as well".[70]
Release and promotion
Prior to the album's release, Billboard reported that a large-scale marketing campaign had been organized to promote the album. Nancy Berry, then-executive vice president of Virgin Music Group Worldwide, stated that promotion for The Velvet Rope's release were the company's largest until then, and although the record company had planned to bring Jackson's new album to the highest number of consumers, they did not want the campaign to be too intrusive.[71] To handle the publishing rights to the music of Janet Jackson, company Black Doll was founded.[71] The music industry scene had changed since Jackson's last release, with hip-hop-flavored R&B taking over mainstream music. However, Virgin executives were still confident that lead single "Got 'til It's Gone" would be successful. The recording company opted for a more urban promotion, using billboards and spaces in subways, as well as TV commercials.[71]
The music video for "Got 'til It's Gone" premiered during the opening of the
One of the new ways to promote the album was the use of the Internet. In a collaboration with
On October 7, 2022, exactly 25 years after the release of the album, a deluxe version was released digitally, adding the songs "Accept Me" (B-side of "You" and "Every Time" singles) and "God's Stepchild" (Japanese bonus track), as well as finally having the song "Can't Be Stopped" as its own stand-alone track instead of being hidden. It also comes with a second "component" including 13 remixes.[89]
Tour
"Janet's concerts are the pop equivalent of a summer blockbuster movie, with all the explosions, special effects, ersatz sentimentality, gratuitous cleavage and emphasis on spectacle over coherence that the term implies."
— Nicholas Barber of The Independent[90]
Jackson embarked on
Jackson's showmanship was commended by critics, who also praised the show's theatrics and
Singles
"
"
Critical reception
The Velvet Rope has received acclaim amongst some criticism since its release. In a contemporary review for The New York Times, critic Jon Pareles declared it "her most daring, elaborate and accomplished album", observing songs to "transform themselves as they go, leaping from sharply etched cross-rhythms to lush choruses."[42] Greg Kot from Chicago Tribune regarded it a "soundtrack to a therapy session", while the Los Angeles Times commended its content; addressing "the social, emotional and sexual politics of relationships, peppering the wistful, spirited pop melodies and sinuous R&B rhythms with compelling jazz, folk and techno nuances."[23][29] Elysa Gardner added, "provocative gestures ultimately blend in with the album's larger agenda, which is to encourage more open-minded, free-spirited relationships of all kinds... with hooks this strong and grooves this delicious, Jackson's authority should be of question to no one."[55] MTV News declared it an "interesting step in a new direction" and "long, sometimes strange trip into Jackson's sensual world".[56] Slant Magazine called it "a richly dark masterwork", illustrating "there is nothing sexier than emotional nakedness".[120] Robert Christgau noted Jackson's vocal cadence, retaining "her magical ability to feign delight".[123] Keith Harris stated it "plumbed introspective depths with intriguing results".[124]
In his review for The Village Voice, Vince Aletti praised its "unusu-ally busy, electronica- spiked soundscape", revealing "the process of psychic reconstruction".[125] Aletti added, "she combines a pure pop sensibility with ambition, vulnerability, freakishness, and extraordinary savvy. She's--in her inadequate word--special". However, Jackson's "isolating control" was regarded as its "more bracing" material.[125] Entertainment Weekly observed its subject matter of "computer liaisons to bondage and bisexuality", finding the most pervasive theme to be love.[36] Roger Catlin of The Courant noted its aura "washes away her sometimes strident political messages or her attempt to shock with sexuality", adding, "the album shimmers with sensuality, openness and thirst for new adventures, musically and otherwise."[126][127] Len Righi of The Morning Call called it "compelling, as she tackled almost every imaginable social ill and personal problem while still leaving room for freakiness and fun."[128] Jane Dark of City Pages stated it "eludes genre-fication", leaving Jackson "in a genre of her own". Alluded to "an eroticon of cybersex, queer positivity, and mild bondage", Dark regarded its production "a sexy motherfucker... abstractly electro tones come and go with sharp attack and sharper decay, appearing out of--and vanishing into--aggressively blank spaces". Jackson's "flawed sweetness" was also acclaimed; concluding, "She's the principle that organizes the noise, and the particle around which songs become pearlescent".[129] USA Today praised her usage of "edgier beats and rawer emotions".[121]
The length of The Velvet Rope drew criticism from certain music critics. In a less enthusiastic mixed review, AllMusic observed a "hardened, sexually experimental Janet"; however, its writer claimed that "the best moments sink into the murk", and that "there are good moments on The Velvet Rope, but at its running time [...] it's hard to work up the patience to find them".[113] In a retrospective review, BBC Music stated that "[i]t's far too long. It does feel like you've given over a considerable chunk of your life to it by its end, an unfortunate by-product of the CD era with its overriding desire to fill up every last second of each disc". However, a positive review of the record was given on the whole, with its author calling it "[m]ature and experimental... Possibly the great lost 90s trip hop album".[130]
In October 2022, Pitchfork reviewed the deluxe edition of the album with a rating of 9.4 out of 10 [131]
Accolades
Jackson was awarded at the
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Commercial performance
The Velvet Rope debuted at number one on the
Internationally, the album charted within the top five of numerous countries, including Australia,[174] France,[174] Norway,[174] Sweden,[174] and at number six in the UK.[175] In Germany the album debuted at number five and charted for 46 weeks.[176] In Japan, it debuted within the top ten, selling 34,910 copies in its first week.[177] In Australia, the album was certified double platinum by the Australian Recording Industry Association (ARIA).[178] It was certified triple platinum in Canada and platinum in Japan, Europe, France, Netherlands, New Zealand, Norway, Switzerland and the United Kingdom; also receiving a gold certification in Belgium, Germany, Denmark, Sweden, and Taiwan.[179] The Velvet Rope has sold an estimated eight million copies worldwide.[180]
Legacy
"Janet's ability to effortlessly present necessary, meaningful messages via classic dance music is legendary. She proved that artists don't have to scream to get a message across. There is a middle ground. Here, she had perfected her mix of provocative, personal, and pertinent."
— Saint Heron on the album's legacy.[46]
Billboard commended it as "her most personal and intimate work to date", confronting "domestic abuse, AIDS, and homophobia with her most sexually explicit songs ever."[24] Jackson stated, "That was a crossroads for me: sharing what I'd been going through personally and how I felt about what was happening in the world."[181] Kyra Phillips of CNN declared it "difficult and very intimate", exploring "Jackson's darker side, her emotional break down and the secret that shocked the world."[182] Regarding its content, Jackson said, "I’m sure it did alienate a lot of people, but that’s what I was feeling, and I wanted to write about it, so" I did."[13] Jackson later stated:
Velvet Rope is both the highest and lowest point. On a personal level, it was a low point, because I was going through a depression. That was a difficult time for me. At the same time it was my highest point, because I overcame the depression by talking about the crossroads I was at. There were so many things resurfacing that I'd suppressed: stuff from my childhood, stuff from all over the place. I was crazed trying to figure out where it was all coming from and how to deal with it. I could have made a wrong turn and tried to drink and drug it away. But drinking and drugs never appealed to me. I wanted it to stop. Talking it out and creating such an introspective work as Velvet Rope helped me do that.[181]
Ryam Dombal of
Eve Barlow of NME included it among seven albums considered "Perfect from Start to Finish", stating: "Jackson had already begun pushing the boundaries of sexually explicit pop but it’s The Velvet Rope that cemented her as a free, liberal voice for experimentation." Its blend of "new electro" and trip-hop was thought to "meld seamlessly"; its lyrical content also thought to push society's "judgment calls", breaking free from "the American sweetheart of past LPs."[185] Shayne Lee, author of Erotic Revolutionaries: Black Women, Sexuality, and Popular Culture (2010), wrote that the album and its predecessor "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s."[186] Jessica Skolnik of Vice stated, "I am of the Madonna generation, the Janet generation... The Velvet Rope was an absolute milestone and, in my mid-thirties, is increasingly meaningful to me."[187] Telegram & Gazette stated, "Jackson shows once again that she can compete against any of the lightweight, mega-selling pop divas and hang them out to dry."[188] According to the Los Angeles Times, the album became "more eagerly anticipated" than Michael Jackson's output; taking her "once and for all out of the shadow."[189][190] Sal Cinquemani declared it "Janet's richest work to date", while Brannon Smith heralded it to reveal "her battle with depression, and saw her continue to empower through her pain."[88][191]
Influence
Drew Millard of
It also paved the way for mainstream artists to incorporate darker themes into their music while tapping their personal lives as inspiration — with
Psychologist Alan Downs' book The Velvet Rage was titled after the album and its homosexual content; demonstrating "how to heal the trauma of being a gay man in an uncompromisingly straight world."
Track listing
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Interlude – Twisted Elegance" | 0:41 | |
2. | "Velvet Rope" (featuring Vanessa-Mae) | 4:55 | |
3. | "You" |
| 4:42 |
4. | "Got 'til It's Gone" (featuring Q-Tip and Joni Mitchell) |
| 4:01 |
5. | "Interlude – Speaker Phone" | 0:54 | |
6. | "My Need" |
| 3:44 |
7. | "Interlude – Fasten Your Seatbelts" | 0:19 | |
8. | "Go Deep" |
| 4:42 |
9. | "Free Xone" |
| 4:57 |
10. | "Interlude – Memory" | 0:04 | |
11. | "Together Again" |
| 5:01 |
12. | "Interlude – Online" | 0:19 | |
13. | "Empty" |
| 4:32 |
14. | "Interlude – Full" | 0:12 | |
15. | "What About" |
| 4:24 |
16. | "Every Time" |
| 4:17 |
17. | "Tonight's the Night" | 5:07 | |
18. | "I Get Lonely" |
| 5:17 |
19. | "Rope Burn" |
| 4:15 |
20. | "Anything" |
| 4:54 |
21. | "Interlude – Sad" | 0:10 | |
22. | "Special" (includes hidden track[note 1]) |
| 7:55 |
Total length: | 75:11 |
No. | Title | Writer(s) | Length |
---|---|---|---|
22. | "Special" |
| 3:21 |
23. | "God's Stepchild" (includes hidden track[note 2]) |
| 7:55 |
No. | Title | Writer(s) | Length |
---|---|---|---|
22. | "Special" |
| 3:21 |
23. | "Can't Be Stopped" |
| 4:13 |
24. | "Accept Me" |
| 4:07 |
25. | "God's Stepchild" |
| 3:30 |
4:10 |
No. | Title | Remixer(s) | Length |
---|---|---|---|
1. | "I Get Lonely" (TNT Remix Edit (featuring Blackstreet)) | Teddy Riley | 4:18 |
2. | "Got Til It's Gone" (Ummah Jay Dee's Revenge Mix) (featuring Q-Tip and Joni Mitchell) | The Ummah | 3:46 |
3. | "Go Deep" (Timbaland/Missy Mix) (featuring Missy Elliott) | Timbaland | 5:34 |
4. | "Together Again" (Jimmy Jam Deeper Mix) | Jimmy Jam | 4:52 |
5. | "Every Time" (Jam & Lewis Disco Remix) | Jimmy Jam & Terry Lewis | 4:10 |
6. | "I Get Lonely" (Jam & Lewis Feel My Bass Mix) | Jimmy Jam & Terry Lewis | 5:19 |
7. | "Got Til' It's Gone" (Def Club Mix) | David Morales and Frankie Knuckles | 10:56 |
8. | "Together Again" (Tony Moran 12-inch Club Mix) | Tony Moran | 11:03 |
9. | "Go Deep" (Masters at Work Thunder Mix) | Masters at Work | 9:06 |
10. | "Together Again" (Tony Humphries Club Mix Edit) | Tony Humphries | 10:00 |
11. | "I Get Lonely" (Janet vs Jason – The Club Remix) | Jason Nevins | 8:10 |
12. | "Go Deep" (Masters at Work Vocal Deep Disco Dub) | Masters at Work | 8:12 |
13. | "Got Til' It's Gone" (Armand Van Helden Bonus Beats) | Armand Van Helden | 5:08 |
Sample credits
- "Velvet Rope" samples "Hobo Scratch" by The World Famous Supreme Team and "Tubular Bells" by Mike Oldfield.
- "You" samples "War.
- "Got 'til It's Gone" samples "Big Yellow Taxi" by Joni Mitchell.
- "My Need" samples "Love Hangover" by Diana Ross and "You're All I Need to Get By" by Marvin Gaye and Tammi Terrell.
- "Free Xone" samples "Think (About It)" by Lyn Collins, "Tighten Up" by Archie Bell & the Drells, and "Joyous" by Pleasure.
- Notes
- ^ "Special" includes a hidden track "Can't Be Stopped" starting at 3:42.
- ^ "God's Stepchild" includes a hidden track "Can't Be Stopped" starting at 3:42.
Personnel
Credits adapted from AllMusic.[236]
Musicians
|
|
Production
|
|
Charts
Weekly charts
|
Year-end charts
|
Certifications and sales
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA)[292] | 2× Platinum | 140,000^ |
Belgium (BEA)[293] | Gold | 25,000* |
Canada (Music Canada)[294] | 3× Platinum | 300,000^ |
France ( SNEP)[295]
|
Platinum | 300,000* |
Germany (BVMI)[296] | Gold | 250,000^ |
Italy | — | 150,000[297] |
Japan (RIAJ)[299] | Platinum | 400,000[298] |
Netherlands (NVPI)[300] | Platinum | 100,000^ |
New Zealand (RMNZ)[301] | Platinum | 15,000^ |
Norway (IFPI Norway)[302] | Platinum | 50,000* |
Spain (PROMUSICAE)[303] | Platinum | 100,000^ |
Sweden (GLF)[304] | Gold | 40,000^ |
Switzerland (IFPI Switzerland)[305] | Platinum | 50,000^ |
United Kingdom (BPI)[307] | Platinum | 367,000[306] |
United States (RIAA)[310] | 3× Platinum | 3,649,000[308][309] |
Summaries | ||
Europe (IFPI)[311] | Platinum | 1,000,000* |
Worldwide | — | 8,000,000[180] |
* Sales figures based on certification alone. |
See also
Notes
References
- ^ "エブリタイム | Janet (ジャネット・ジャクソン)" [Everytime | Janet (Janet Jackson)] (in Japanese). Oricon. Retrieved August 31, 2023.
- ^ Behan, Conor (June 1, 2015). "9 Ways Janet Jackson Changed The Music Industry". PopCrush. Retrieved August 19, 2023.
- ^ "Design of a Decade: 1986–1996 – Janet Jackson". Billboard. Archived from the original on November 21, 2021. Retrieved July 1, 2010.
- ^ Fred, Bronson (September 16, 1995), "Janet Jackson Has Done It Again", Billboard, p. 96, retrieved April 17, 2010
- ^ Design of a Decade 1986/1996 > Charts & Awards > Billboard Singles, Allmusic, 2006, archived from the original on October 2, 2022, retrieved July 20, 2008
- ^ Lathwell, David. "Janet Jackson at her best – Queer Sighted". queersighted.com. Archived from the original on February 11, 2010. Retrieved July 7, 2010.
- ^ Phillips, Chuck (January 12, 1996). "Janet Jackson Spins a New Record: $80-Million Deal". Los Angeles Times. Archived from the original on January 5, 2014. Retrieved January 4, 2014.
- ^ Farley, Christopher John; Thigpen, David E.; Ressner, Jeffrey (January 29, 1996), "Business: Are they worth all that cash? Janet Jackson's record-breaking $80 million contract could set off a new wave of pop-music megadeals", Time, p. 54
- ^ They don't call it jackpot for nothing. After much speculation, Janet Jackson, 29, clinched a reported four-album, $80 million deal with Virgin Records, making her the music industry's highest-paid performer (over brother Michael and Madonna, who each got $60 million deals in the early '90s) Davidson, Casey (January 26, 1996), "News & Notes", Entertainment Weekly, p. 15
- Warner Bros. Recordsin August 1996; sources compared the group's record deal with Jackson's contract, but quoted her earning $70 million "R.E.M. Signs $80M Deal", Newsday, August 26, 1996
- ^ ISSN 0012-9011.
- ^ ISSN 1529-7497.
- ^ a b c "07 – May – 2001 – EW Mobile". Entertainment Weekly. May 7, 2001. Archived from the original on July 25, 2014. Retrieved April 20, 2014.
- ^ "Janet Discusses Depression With "Newsweek"". MTV News. November 11, 1997. Archived from the original on July 25, 2014. Retrieved April 20, 2014.
- ^ from the original on November 22, 2021. Retrieved April 20, 2014.
- ^ a b c Colón, Suzan (October 1998). "Welcome to Planet Janet". Jane (10): 88.
- ^ ISSN 1039-1010.
- ^ a b c d "Rhythm And The Blues". Newsweek. November 16, 1997. Archived from the original on July 26, 2014. Retrieved April 20, 2014.
- ^ from the original on November 22, 2021. Retrieved April 20, 2014.
- ^ Daily News. New York. Archivedfrom the original on July 25, 2014. Retrieved April 20, 2014.
- ^ "GossipBites – Janet Jackson 'used to bang head against wall because she felt ugly'". Today Show. Entertainment.ie. February 8, 2011. Archived from the original on July 25, 2014. Retrieved April 20, 2014.
- ISSN 0263-1210.
- ^ a b Kot, Greg (April 26, 2001). "A Happier Janet Jackson". Los Angeles Times. Archived from the original on May 6, 2014. Retrieved April 20, 2014.
- ^ a b Huey, Steve. "Janet Jackson – Biography". Billboard. Archived from the original on April 7, 2016. Retrieved April 20, 2014.
- ^ a b Norris, John. "Janet Jackson Discusses The Meaning Of "The Velvet Rope," Pt. I". MTV. Archived from the original on January 5, 2014. Retrieved January 4, 2013.
- ^ a b Richard, Harrington (July 9, 1998). "Crushed Velvet". The Washington Post. Archived from the original on September 3, 2013. Retrieved January 18, 2014.
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External links
- The Velvet Rope Infopage at Janet Official Fanclub
- The Velvet Rope Archive at Janet-Jackson.com