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Super Bowl LII halftime show
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Super Bowl LII halftime show
Date
February 4, 2018
Location
Minneapolis, Minnesota, U.S.
Venue
U.S. Bank Stadium
Headliner
Justin Timberlake
Special guests
The Tennessee Kids, University of Minnesota Marching Band
Sponsor
Pepsi
Director
Hamish Hamilton
Producer
Ricky Kirshner
Super Bowl halftime show chronology
LI
(2017) LII
(2018) LIII
(2019)
The Super Bowl LII Halftime Show (officially known as the Pepsi Super Bowl LII Halftime Show) took place on February 4, 2018 at U.S. Bank Stadium in Minneapolis, Minnesota, as part of Super Bowl LII. Justin Timberlake was the featured performer, as confirmed by the National Football League (NFL) on October 22, 2017.[1] It was televised nationally by NBC.
Contents
[hide]
1 Synopsis
2 Background
3 Development
4 Critical response
5 Commercial reception
6 Setlist
7 See also
8 References
9 External links
Synopsis[edit]
Timberlake with dancers during the halftime performance
Timberlake during halftime show
Timberlake performing "Suit & Tie" with the University of Minnesota Marching Band
The show began with Jimmy Fallon introducing Justin Timberlake, followed by a video screen depicting Timberlake performing "Filthy" in a club setting below the field level of the stadium. He then walked up a staircase and appeared on a ramp stage extending outward into the field, descending into a series of stages surrounded by a crowd. Timberlake proceeded to move through the crowd performing "Rock Your Body" with a troupe of female backup dancers, abruptly stopping short of the end of the song and shifting to "Señorita" on a small stage with his backing dancers. Upon reaching the main stage, he performed a number of songs, including "SexyBack", "My Love", and "Cry Me a River", which featured a dance break mid-field. Upon reaching the next stage, Timberlake performed his hit song "Suit & Tie" as the University of Minnesota Marching Band, wearing black tuxedos, played backup instrumentals and marched out to meet him.[2]
The Stadium and the city of Minneapolis were shown to be lit purple during Timberlake's tribute to Prince
Dancers fill the field during Timberlake's performance of "Can't Stop the Feeling!"
Timberlake proceeded to walk up to a white grand piano while performing "Until the End of Time", then segued into "I Would Die 4 U" as a tribute to Minneapolis-native Prince. A video of Prince performing the song played in the background, projected onto on a large multi-story sheet. An aerial shot showed downtown Minneapolis covered in purple lighting that morphed into Prince's trademark Love Symbol, with the stadium at the center. He then returned to the main stage to perform "Mirrors", as hundreds of dancers and members of the marching band performed choreography with large mirrors, creating bright reflections in the broadcast and across the roof of the stadium. Timberlake closed the show with "Can't Stop the Feeling!", entering the stands at the conclusion of the song.[3][4]
For the first time since the Super Bowl XLVI halftime show in Indianapolis in 2012, no pyrotechnics were used throughout the performance. The show relied mostly on lasers and video screens for visual effects.[5]
Background[edit]
Field being set up for Timberlake's performance
In July 2017, multiple media outlets reported that Britney Spears was in talks to perform at Halftime, but Pepsi quickly denied it a few days later. During August and September 2017, several publications informed that Timberlake was the frontrunner to performer at the Super Bowl LII halftime, first along with his frequent-collaborator Jay-Z as co-headliner, and then as the solo performer.[6] A spokesperson from the NFL stated at the time, "along with Pepsi, we know that we will put on a spectacular show. When it is time to announce her name we will do it. Or his name. Or their names."[7] The NFL confirmed the announcement on October 22 with a video starring Timberlake and Jimmy Fallon.[8]
This was Timberlake's third appearance in a Super Bowl halftime show. As a member of NSYNC, Timberlake appeared in the Super Bowl XXXV (2001) halftime show, and as a guest artist in the Super Bowl XXXVIII (2004), which performance featured a controversial incident where Timberlake accidentally exposed one of Janet Jackson's breasts on national television, described as a wardrobe malfunction. The Parents Television Council penned an open letter to Timberlake asking to keep the performance "family-friendly." While the organization acknowledged that Timberlake apologized for the 2004 incident, they asked him to stay true to his word, saying "we are heartened by your response that the events of 2004 are not going to happen in 2018," as the singer stated in a prior interview that "we are not going to do that again."[9]
In an interview with Billboard, Pepsi executives expressed:
We are all big fans of Justin Timberlake. We’ve kind of felt that Justin deserves, and has for a number of years, to be the main artist for the halftime show because previously he wasn’t the main artist. It was just about the timing. To be honest, we have discussed Justin for the last number of years for coming and doing halftime, and this year just felt really right to us. He is hands down one of the greatest entertainers currently alive, it was a no-brainer. We know he’s gonna bring it.[10]
The Halftime Show included a remembrance for Indianapolis Colts linebacker Edwin Jackson, who died just hours before Super Bowl LII after being struck by a vehicle.
Development[edit]
The U.S. Bank Stadium, where Super Bowl and the halftime show was held.
During the performance, Timberlake wore an outfit designed by Stella McCartney, which consists of "alter nappa fringed jacket with a shirt, featuring a landscape artwork by British artist Martin Ridley," according to a press release. Also part of the look is a Prince of Wales-check and camouflage splatter-print suit and matching jacket. As usual for McCartney, these pieces were made from animal-free leather and organic cotton.[11][12]
Timberlake stated in a press conference that there would be no guest musicians in the halftime show and that the event would focus solely on himself and his backing band, the Tennessee Kids.[13] Regarding the Prince tribute, the performance's creative visual lead, Fireplay's Nick Whitehouse, told Rolling Stone:
Paying tribute to Prince was something JT highlighted as an important moment for this show, and we spent quite a bit of time ensuring this moment would be true to his legacy. Ultimately, Justin decided that the only person who could do Prince justice is Prince. The band held 50-hours worth of rehearsals in preparation for the show.[14]
Prince had previously stated he did not want to be included in new music after death in a 1998 interview, citing The Beatles' "Free as a Bird" as an example of a practice he considered to be "demonic." His family granted permission to use Prince's likeness on the condition that it not be used in a hologram, and they approved of the final result.[15][2] Sheila E, a former bandmate of Prince's who was involved in negotiations over the use of his likeness, stated that "a bigger company" (she declined to specify whether it was Pepsi or the NFL) had insisted on including the Prince apparition and that the notion was not originally Timberlake's idea.[16]
Despite the lack of an individual guest artist, the more than 300-member University of Minnesota Marching Band was featured in the show. The band's drumline, brass, and saxophone sections pre-recorded and performed with Timberlake during his performance of "Suit & Tie." The upper woodwind and auxiliary sections led drill formations and held large mirrors during Timberlake’s performance of his song "Mirrors", and acted as fans and dancers throughout other portions of the show, including the club scene at the show's opening. All members of the band were featured on the field in the show's finale, "Can't Stop the Feeling!". The band had previously performed in the halftime show of Super Bowl XXVI.[4]
Critical response[edit]
Timberlake’s performance received mixed reviews.[17] In a positive review, Bruce R. Miller of Sioux City Journal wrote "Timberlake is a masterful live performer – which made Sunday's Super Bowl performance about the only sure bet," he continued commenting the performer "did a lot of infectious dancing and managed to play with the crowd like no other." Although it did not have a moment that "stuck," he considered the Prince tribute the best moment of the show.[18] In a similarly positive review, Taylor Weatherby of Billboard said "there is no denying that Timberlake absolutely rocked his first headlining [halftime]", further adding "Timberlake's halftime show was undeniably mesmerizing. From starting in the concourse to making his way into the crowd (and making #SelfieKid an instant superstar) for the ending." She also considered it "is made for a TV experience" rather than for the public in the stadium, mainly for the sound quality difficulties, but also criticized him for including Rock Your Body in the set list.[19] From the same magazine, Nina Braca wrote "his moves were on point,"[17] and Andrew Ubterberger said two things were "relatively certain" about the performance. "most of America would love it, and most of the Internet would hate it," and added Timberlake was "in a situation that was both a can't-lose and a can't-win. It would've been virtually impossible for him to please the critics he'd alienated over the last couple years."[20] Also from Billboard, Andrew Unterberge wrote, "Timberlake's audio was somewhat lacking throughout...but the choreography, live-band energy and song selection were all pretty impeccable".[21]
Chris Willman of Variety stated that, "Timberlake turned in a more enjoyably physical performance than just about anybody else who's done the Bowl show… and if it was more a feat of athleticism than aestheticism, you can’t say that’s entirely inappropriate for the occasion."[22] Willman also wrote that the show, "wasn't one for the ages, but was impressive as a show of athleticism"[22]
Jon Caramanica of The New York Times wrote that Timberlake's performance was, "heavy on dance spectacle, light on vocal authority".[23] Daniel Fienberg of The Hollywood Reporter called the show, "energetic, but also entirely lacking in live excitement." Feinberg criticized the show for largely lacking spontaneity and live vocals. Feinberg wrote that Timberlake delivered, "one of the most over-planned, least surprising performances imaginable."[24] Darren Franich of Entertainment Weekly graded Timberlake's performance a "C", calling it, "dutiful, and empty". Franich faulted Timberlake for playing too safe with his performance.[25] Similarly, Fran Guan of Vulture.com wrote, "Technically speaking, Timberlake’s set was a testament to precision". Guan, however, criticized Timberlake's performance from lacking in personality, and regarded his performance as unmemorable.[26]
The Guardian gave Timberlake 3 out of 5 stars, calling his performance forgettable but flashy.[27] In an interview with NPR, Ann Powers said that "the entire performance was shrouded in the sense of Timberlake not being right for this moment — and the Janet Jackson controversy haunted it."[28] Daniel D’Addarrio of Time.com gave the performance a negative review, criticizing Timberlake for singing Cry Me A River in addition to Rock Your Body, calling the song’s lyrics about an evil promiscuous woman out of step with the national mood, and said that the only message from Timberlake’s performance was that he loves his back catalog[29] Deadline felt "but you could see the motions more than you felt the music."[30] Chris Richards of The Washington Post regarded Timberlake’s performance as, “unambiguously underwhelming”.[31]
USA Today and Vulture compared Timberlake's performance unfavorably to Prince's own 2007 halftime show.[32][26] Amanda Petrusich of The New Yorker wrote that Timberlake’s decision to omit the end of "Rock Your Body" (which was performed during the controversial 2004 halftime) felt, “less like an apology than yet more spineless deflection”.[33] However, Andrew Unterberge of Billboard considered Timberlake's decision to cut the song short to be wise.[21] Timberlake's Stella McCartney-designed outfit received negative reviews, with some critics regarding it as "tacky".[17][24][19][21] The LA Times also gave a very critical review, one which also stated that Timberlake had nothing to say in his performance, and said that it lacked soul and meaning.[34] The Digital Journal gave him 2/5 stars and called it lackluster.[35]
Commercial reception[edit]
The Super Bowl LII halftime show was seen by 106.6 million television viewers in the United States, 9% less than Lady Gaga's in 2017. It had higher average viewership than the game itself, and the decline for the halftime show was roughly in line with that of the game as a whole, which had lost 7% compared to the previous year.[36]
According to initial sales reports from Nielsen Music, sales of the songs Timberlake performed during the halftime show gained 534% in the United States on February 4, the day of the Super Bowl, compared to Feb. 3, while his streams on Spotify gained 214%.[37][38] Janet Jackson likewise gained 150% on Spotify.[39]
Setlist[edit]
Timberlake performing alongside a video projection of Prince
"Filthy"
"Rock Your Body"
"Señorita"
"SexyBack" (with elements of "Supplies")
"My Love"
"Cry Me a River" (with elements of "Kashmir")
"Suit & Tie" (with elements of "Pusher Love Girl") (featuring the University of Minnesota Marching Band)
"Until the End of Time"
"I Would Die 4 U" (along with a pre-recorded video of Prince, displayed on a projection screen)
"Mirrors"
"Can't Stop the Feeling!"
See also[edit]
2018 in American television
References[edit]
Jump up ^ Schad, Tom (October 22, 2017). "Justin Timberlake Headline Super Bowl LII Halftime Show". USA Today. Retrieved October 22, 2017.
^ Jump up to: a b "No hologram, but still a Prince tribute in Justin Timberlake's halftime show". Star Tribune. Retrieved February 5, 2018.
Jump up ^ NFL (February 4, 2018), Justin Timberlake’s FULL Pepsi Super Bowl LII Halftime Show! | NFL Highlights, retrieved February 5, 2018
^ Jump up to: a b "U of M Marching Band steals the halftime show". KARE. Retrieved 2018-02-06.
Jump up ^ "Justin Timberlake and everything but the football – Super Bowl half-time show as it happened". Guardian. 5 February 2018. Retrieved 6 February 2018.
Jump up ^ "Super Bowl halftime show: Here's who Justin Timberlake's guest performers might be". CBS Sports. February 4, 2018. Retrieved February 4, 2018.
Jump up ^ Boren, Cindy (September 27, 2017). "Justin Timberlake reportedly 'finalizing' deal to headline Super Bowl LII halftime show". Chicago Tribune. Retrieved February 3, 2018.
Jump up ^ "Justin Timberlake Headlines Pepsi Super Bowl LII Halfitme Show". National Football League. October 22, 2017. Retrieved October 22, 2017.
Jump up ^ Aniftos, Rania (January 30, 2018). "The Parents Television Council Pens Open Letter to Justin Timberlake Asking to Keep Super Bowl Performance Appropriate'". Billboard. Retrieved February 4, 2018.
Jump up ^ Weatherby, Taylor (February 3, 2018). "Justin Timberlake Set to Deliver 'Mesmerizing' Super Bowl Halftime Show: Pepsi Execs Reveal It's 'Justin at His Best'". Billboard. Retrieved February 3, 2018.
Jump up ^ Sebra, Matt (February 2, 2018). "Justin Timberlake Finally Gets the Super Bowl Halftime Show Outfit He Deserves". GQ. Retrieved February 2, 2018.
Jump up ^ Karmali, Sarah (February 2, 2018). "Justin Timberlake to wear Stella McCartney at the Super Bowl". Harper's Bazaar. Retrieved February 2, 2018.
Jump up ^ "Super Bowl 2018 Justin Timberlake press conference highlights". People. Retrieved February 3, 2018.
Jump up ^ Legaspi, Althea (February 5, 2018). "Super Bowl LII: Watch Justin Timberlake Honor Prince in Halftime Spectacle". Rolling Stone. Retrieved February 5, 2018.
Jump up ^ Wilstein, Matt (February 5, 2018). "Prince's Family Approves of Justin Timberlake Super Bowl Halftime Tribute". The Daily Beast. Retrieved February 5, 2018.
Jump up ^ "Sheila E. says Justin Timberlake wasn't behind Prince hologram idea". TMZ. February 10, 2018. Retrieved February 10, 2018.
^ Jump up to: a b c Braca, Nina (February 5, 2018). "From 'Cry Me a River' to 'Can't Stop the Feeling!,' Justin Timberlake's 10 Best Live Performances: Critic's Picks". www.billboard.com. Billboard. Retrieved February 6, 2018.
Jump up ^ Miller, Bruce R. (February 4, 2018). "REVIEW: Justin Timberlake does a great Super Bowl job, even without NSYNC". Sioux City Journal. Retrieved February 6, 2018.
^ Jump up to: a b Weatherby, Taylor (February 4, 2018). "Justin Timberlake's Super Bowl Halftime Show: 5 Takeaways From Seeing It In Person". Billboard. Retrieved February 6, 2018.
Jump up ^ Unterberger, Andrew (February 5, 2018). "Justin Timberlake Plays the Hits, Largely Avoids Controversy With Sigh-of-Relief Super Bowl LII Halftime Performance". Billboard. Retrieved February 5, 2018.
^ Jump up to: a b c Unterberge, Andrew (February 4, 2018). "Justin Timberlake Plays the Hits, Largely Avoids Controversy With Sigh-of-Relief Super Bowl LII Halftime Performance". www.billboard.com. Billboard. Retrieved February 8, 2018.
^ Jump up to: a b Willman, Chris (February 4, 2018). "Halftime Review: Justin Timberlake Emerges Fumble-Free After Bad Pre-Game PR". Variety. Retrieved February 4, 2018.
Jump up ^ Caramanica, Jon (February 4, 2018). "Justin Timberlake Plays It Safe, Seeking Super Bowl Redemption". www.nytimes.com. New York Times. Retrieved February 8, 2018.
^ Jump up to: a b Feinberg, Daniel (February 4, 2018). "Critic's Notebook: Justin Timberlake's Super Bowl Halftime Performance Is Light on Singing, Spontaneity". The Hollywood Reporter. Retrieved February 8, 2018. More than one of |website= and |work= specified (help)
Jump up ^ Franich, Darren (February 4, 2018). "Justin Timberlake's Super Bowl halftime show was dutiful, and empty: EW review". www.ew.com. Entertainment Weekly. Retrieved February 8, 2018.
^ Jump up to: a b Guan, Fran (February 5, 2018). "It Was His Halftime Show, But Justin Timberlake Was the Least Memorable Musician at the Super Bowl". www.vulture.com. New York Magazine. Retrieved February 8, 2018.
Jump up ^ Nevins, Jake (February 5, 2018). "Justin Timberlake's Super Bowl performance: a forgettable but flashy medley of hits". the Guardian.
Jump up ^ "As The Pop World Seeks Accountability, Justin Timberlake Seems Lost In The Woods".
Jump up ^ "Justin Timberlake Was a Man in the Weeds at His Super Bowl Halftime Show". Time.
Jump up ^ Patten, Dominic (February 5, 2018). "Justin Timberlake's Botched Super Bowl Halftime Show Return Not Princely – Review".
Jump up ^ Richards, Chris (February 4, 2018). "This is how Justin Timberlake lost the Super Bowl". www.washingtonpost.com. Washington Post. Retrieved February 5, 2018.
Jump up ^ McDermott, Maeve (February 5, 2018). "Compared with Prince's, Justin Timberlake's halftime show was a wimpy joke". www.usatoday. USA Today. Retrieved February 6, 2018.
Jump up ^ Petrusich, Amanda (February 4, 2018). "Justin Timberlake's Super Bowl Halftime Show, Reviewed". www.newyorker.com. The New Yorker. Retrieved February 6, 2018.
Jump up ^ Wood, Mikael. "Justin Timberlake had nothing to say at the Super Bowl and wouldn't stop saying it". latimes.com.
Jump up ^ "Review: Justin Timberlake lackluster at Super Bowl halftime performance (Includes first-hand account)". February 8, 2018.
Jump up ^ Patten, Dominic. "Eagles' 1st Super Bowl Win Draws 103.4M Viewers, Smallest Audience In Nine Years – Update". Deadline. Penske Business Media. Retrieved 5 February 2018.
Jump up ^ Caufield, Keith (February 5, 2018). "Justin Timberlake's Super Bowl Halftime Show Spurs 534% Sales Gain". Billboard. Retrieved February 5, 2018.
Jump up ^ Krzaczek, Katie (February 5, 2018). "Super Bowl Bump: Justin Timberlake Streams Jump 214 Percent on Spotify". Billboard. Retrieved February 5, 2018.
Jump up ^ "Janet Jackson's Spotify Streams Surge After Super Bowl LII". February 5, 2018.
External links[edit]
Media related to Super Bowl LII halftime show at Wikimedia Commons
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text:
Music of New Orleans
From Wikipedia, the free encyclopedia
Jump to: navigation, search
See also: New Orleans § Entertainment and performing arts, and Culture of New Orleans § Music
This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (July 2011) (Learn how and when to remove this template message)
A New Orleans brass band parade
The music of New Orleans assumes various styles of music which have often borrowed from earlier traditions. New Orleans, Louisiana, is especially known for its strong association with jazz music, universally considered to be the birthplace of the genre. The earliest form was dixieland, which has sometimes been called traditional jazz, 'New Orleans', and 'New Orleans jazz'. However, the tradition of jazz in New Orleans has taken on various forms that have either branched out from original dixieland or taken entirely different paths altogether. New Orleans has also been a prominent center of funk, home to some of the earliest funk bands such as The Meters.
Contents
[hide]
1 Early 19th century
2 Jazz
2.1 Cuban influence
2.2 Second line
2.3 Dixieland
3 Rhythm & blues and rock & roll
4 Hip-hop
5 Heavy metal
6 References
7 External links
Early 19th century[edit]
The African influence on New Orleans music can trace its roots at least back to Congo Square in New Orleans in 1835, when slaves would congregate there to play music and dance on Sundays. African music was played as well as local music, including that of local white composers, such as Louis Moreau Gottschalk. Along with European musical forms that were popular in the city, including the brass band traditions, the cultural mix laid the groundwork for the New Orleans musical art forms to come.
By 1838 the local paper—the daily Picayune—ran a scathing article complaining about the emergence of brass bands in the city, which it stated could be found on every corner.[1]
Jazz[edit]
Main article: Jazz
Caricature of an African-American band playing in New Orleans in 1890. New Orleans writer Al Rose has called this "The earliest known illustration of a jazz band".[2] While the instrumentation of cornet or trumpet, trombone, clarinet, and drums is suggestive of the early jazz bands of some 15 years later, how close this music was to what would be known as "jazz" is speculative.
The term "jazz" (early on often spelled "jass") did not become popular until the mid and late 1910s, when New Orleans musicians first rose to prominence in other parts of the USA and the New Orleans style needed a new name to differentiate it from the nationally popular ragtime. Before then, the New Orleans style was frequently simply called "ragtime" (Sidney Bechet continued to call his music "ragtime" throughout his life), along with such local terms as "hot music" and "ratty music".
The local New Orleans dance music style was already distinctive in the 19th century. When this style became what was later known as "jazz" remains a matter of debate and definition, although most New Orleans music historians believe what became known as New Orleans style jazz was the product of a series of developments, probably reaching its famous form no earlier than the 1890s and no later than the mid 1910s.
By the 1890s a man by the name of Poree hired a band led by cornetist Buddy Bolden, many of whose contemporaries as well as many jazz historians consider to be the first prominent jazz musician. The music was not called jazz at this time, consisting of marching band music with brass instruments and dancing. If anything, Bolden could be said to have been a blues player. The actual term "jazz" was first "jass", the etymology of which is still not entirely clear. The connotation is sexual in nature, as many of the early performers played in rough working class venues. Despite colorful stories of mid-20th century writers, the prostitution district known as Storyville was no more important in the development of the music than the city's other neighborhoods, but did play a role in exposing some out of town visitors to the style. Many instruments used were often acquired second-hand at pawn shops, including used military band instruments.
The Creole people of New Orleans also contributed greatly to the evolution of the artform, though their own music became heavily influenced by the pioneering work of Bolden. New Orleans-born musicians such as Louis Armstrong, Sidney Bechet and Jelly Roll Morton all recalled the influence Bolden had on the direction of the music of New Orleans. (Armstrong himself had no memory of Bolden, but was told about him by his mentor King Oliver), and jazz itself.[3]
Cuban influence[edit]
African American music began incorporating Afro-Cuban musical motifs in the nineteenth century, when the habanera (Cuban contradanza) gained international popularity. The habanera was the first written music to be rhythmically based on an African motif. From the perspective of African American music, the habanera rhythm (also known as congo,[4] tango-congo,[5] or tango.[6]) can be thought of as a combination of tresillo and the backbeat.[7]
Tresillo.[8][9] Play (help·info)
Louis Moreau Gottschalk
Habanera rhythm.[10] Play (help·info)
Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform and not surprisingly, the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera, "reached the U.S. 20 years before the first rag was published" (1999: 12).[11] The symphonic work "A Night in the Tropics" (1860) by New Orleans native Louis Moreau Gottschalk, was influenced by the composer's studies in Cuba.[12] Gottschalk used the tresillo variant cinquillo extensively. With Gottschalk, we see the beginning of serious treatment of Afro-Caribbean rhythmic elements in New World art music. For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the habanera was a consistent part of African American popular music.[13]
Jelly Roll Morton
Whether tresillo was directly transplanted from Cuba, or if the habanera merely reinforced tresillo-like "rhythmic tendencies" already present in New Orleans music is probably impossible to determine. It is reasonable to assume that tresillo-based rhythms were performed in Congo Square by Caribbean slaves. There are examples of tresillo-like rhythms in a few African American folk musics such as the foot stomping patterns in ring shout and the post-Civil War drum and fife music.[14] Tresillo is also heard prominently in New Orleans second line music.
Early New Orleans jazz bands had habaneras in their repertoire and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clave."[15] Although technically, the pattern is only half a clave, Marsalis makes the important point that the single-celled figure is the guide-pattern of New Orleans music. The New Orleans musician Jelly Roll Morton considered the tresillo/habanera (which he called the Spanish tinge) to be an essential ingredient of jazz.[16] The habanera rhythm and tresillo can be heard in his left hand on songs like "The Crave" (1910, recorded 1938).
Now in one of my earliest tunes, “New Orleans Blues,” you can notice the Spanish tinge. In fact, if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz—Morton (1938: Library of Congress Recording).[17]
Although the exact origins of jazz syncopation may never be known, there’s evidence that the habanera/tresillo rhythm was there at its conception. Buddy Bolden, the first known jazz musician, is credited with creating the big four, the first syncopated bass drum pattern to deviate from the standard on-the-beat march.[18] As the example below shows, the second half of the big four pattern is the habanera rhythm.
Buddy Bolden's "big four" pattern.[19] Play (help·info)
It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz . . . because they could be adapted more readily to European rhythmic conceptions. Some survived, others were discarded as the Europeanization progressed. It may also account for the fact that patterns such as [tresillo have] . . . remained one of the most useful and common syncopated patterns in jazz—Schuller (1968; 19).[20]
Second line[edit]
In the very early days of brass bands, in the 'nineties and even before, the music was mostly written–I mean in the kind of band my father played in. As time went on, there was more improvising.
left, Edmond Hall[21]
The use of brass marching bands came long before jazz music through their use in the military, though in New Orleans many of the best-known musicians had their start in brass marching bands performing dirges as well as celebratory and upbeat tunes for New Orleans jazz funeral processions from the 1890s onward. The tradition drove onward with musicians such as Louis Armstrong, Henry "Red" Allen and King Oliver. The presence of marching bands lives on today in The Big Easy, with musicians such as the Marsalis family doing some of their earliest work in such bands.[22]
Much of New Orleans music today owes its debt to the early marching bands, even those marching bands which predate the birth of jazz music. In the late 19th century marching bands would often march through the streets of the city in second line parades. Some of the earliest bands originated from the Tremé neighborhood, and the city gave birth to such bands as the Excelsior, Onward and Olympia brass bands. The Onward and Olympia bands each have sustained incarnations that continue performing to this day. Modern examples of the brass band tradition can be heard in the playing of groups like the Dirty Dozen Brass Band, or the Rebirth Brass Band led by trumpeter Kermit Ruffins.[23]
The history of the marching band in New Orleans is a rich one, with the various bands performing at virtually every major social event the city has to offer. They perform at funerals, picnics, carnivals and parades. The relationship between jazz bands and brass bands is one of co-influence. Jazz bands of this era began to go beyond the confines of the 6/8 time signature the marching bands utilized. Instead, New Orleans jazz bands began incorporating a style known as "ragging"; this technique implemented the influence of ragtime 2/4 meter and eventually led to improvisation. In turn, the early jazz bands of New Orleans influenced the playing of the marching bands, who in turn began to improvise themselves more often. Again, yet another indication that jazz music is symbolic of freedom.[24]
Dixieland[edit]
You must understand that there was always a bad feeling between the northern part of the country and the southern part. After the Civil War they still battle against each other, and to those boys everything was Dixie and Dixieland as far as they weres concerned. But to tell the facts, as far as we blacks were concerned it was New Orleans music — New Orleans, not Dixieland Jazz. Those boys, they made that up.
Paul Barnes referring to the Original Dixieland Band.[25]
The term dixieland was first coined by Dan Emmett in his song "Dixie's Land" in 1859. It was not a positive term for African-Americans, as its usage defined any area of the south where slaves had not yet received emancipation. Dixieland music can be defined in a number of ways, though its origin is to be found in New Orleans, present first in the music of King Oliver. It quickly spread north and became popularized along with the migration of southern blacks to areas like Chicago. Today the term is used in reference to the music, which provides a general description of any form of jazz that is derived from early New Orleans jazz.[26]
The term dixieland is generally not used very much by New Orleans-based musicians, for there is good evidence that the term was imposed on them. For instance, the first band to actually use the term in reference to the music in their name was the all-white Original Dixieland Band. This band played no small role in the coinage of the term dixieland in reference to jazz in New Orleans, though they were not the innovators of the music. The only true barrier this band broke was being the first to record New Orleans music, which happened in New York City of all places in 1917. It should be noted that despite the criticism Paul Barnes made about them, he also said that they had a "first class band".
An early student of Dixieland was the young Louis Prima, as well as his older brother Leon, both of whom lived outside the French Quarter in a working-class neighborhood populated by Italian-American and African-American musicians. Into his early 20s, Louis Prima performed on trumpet and cornet throughout New Orleans before following in the path of his idol Armstrong, and moving North for career reasons, where he appeared at the Famous Door in New York City, eventually relocating to Las Vegas where, beginning in the mid-1950s, he regularly appeared with another New Orleans musician, saxophonist Sam Butera.[25]
Rhythm & blues and rock & roll [edit]
Main article: New Orleans rhythm and blues
A new style came out of New Orleans after World War II. Prominent musicians such as Fats Domino helped shape what was first widely known as "rhythm and blues", which was an important ancestor of rock and roll, if not the first form of the music. In addition to the local talent, early rockers from elsewhere recorded many of their early hits in New Orleans using bands of New Orleans musicians.
In 1949 New Orleans jazz musician, and Fats Domino producer Dave Bartholomew brought the tresillo directly from Cuban music into early R&B.
New Orleans producer-bandleader Dave Bartholomew first employed this figure (as a saxophone-section riff) on his own 1949 disc "Country Boy" and subsequently helped make it the most over-used rhythmic pattern in 1950’s rock ‘n’ roll. On numerous recordings by Fats Domino, Little Richard and others, Bartholomew assigned this repeating three-note pattern not just to the string bass, but also to electric guitars and even baritone sax, making for a very heavy bottom. He recalls first hearing the figure – as a bass pattern on a Cuban disc—Palmer (1995).[27]
In a 1988 interview with Robert Palmer, Bartholomew revealed how he initially superimposed tresillo over swing rhythm.
I heard the bass playing that part on a 'rumba' record. On "Country Boy" I had my bass and drums playing a straight swing rhythm and wrote out that rumba bass part for the saxes to play on top of the swing rhythm. Later, especially after rock ‘n’ roll came along, I made the 'rumba' bass part heavier and heavier. I’d have the string bass, an electric guitar and a baritone all in unison— Palmer (1988).[28]
Bartholomew referred to the Cuban son by the misnomer rumba, a common practice of that time. On Bartholomew's 1949 tresillo-based "Oh Cubanas" we clearly hear an attempt to blend African American and Afro-Cuban music.
Hip-hop[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2012) (Learn how and when to remove this template message)
Pivotal in the emergence of New Orleans into the mainstream hip hop community was the establishment of No Limit Records (now New No Limit Records) and Cash Money Records. These labels produced dozens of albums by young New Orleans rappers beginning in the mid-1990s. Some seminal New Orleans artists from No Limit included Mystikal, Master P, Soulja Slim, C-Murder, and Silkk the Shocker. Cash Money likewise signed and released albums by several New Orleans artists including BG, Juvenile, Turk, Big Tymers, and Lil' Wayne. The city is also the birthplace of bounce music which is gaining popularity. More recently, Jay Electronica, signed to Jay-Z's Roc Nation record label, has projected into the hip-hop scene.
Eastside New Orleans Rapper Currensy resides in New Orleans. Rappers Corner Boy P, Young Roddy, Trademark Da Skydiver, and Fiend are from New Orleans. Most of the Jet Life collective is from New Orleans or surrounding areas.
Heavy metal[edit]
New Orleans has an active metal scene which began to take real form in the late 1980s.[29][30][31] Bands such as Eyehategod,[30] Down,[32] Exhorder,[31] Crowbar,[33] Acid Bath, Soilent Green,[34] Goatwhore,[35] Kingdom of Sorrow,[36] Graveyard Rodeo and Superjoint Ritual[37] are either based in the city, or have a majority of their members hailing from the area. Artists such as Mike Williams, Jimmy Bower, Brian Patton,[30] Phil Anselmo, Kirk Windstein, Pepper Keenan,[32] Pat Bruders, Stanton Moore and Kyle Thomas are New Orleans residents.[38]
The city is known for the "Louisiana sound", which was pioneered by Exhorder, who was the first band to combine doom metal and up-tempo thrash metal.[31] As a result, New Orleans is often recognized as the place where sludge metal was born.[39] Several of these metal groups share a style which draws inspiration from Black Sabbath, Melvins, hardcore punk as well as Southern rock.[30][32][33][34] There is still variance within the sounds of the scene, however. Eyehategod features very harsh vocals and guitar distortion;[40][41] Down has a style closer to classic rock;[32] Crowbar's music has mostly slow tempos and a downtuned guitar sound;[33] and Soilent Green has a sound which is closer to grindcore.[34]
It's quite usual for a member of one of these bands to be part of another band from New Orleans or Louisiana. Collaborations by members of a band on another are also fairly common. In addition to being one of the founding members of Eyehategod,[30] Jimmy Bower is also a member of Down,[32] a former member of Superjoint Ritual[37] and has worked several times with Crowbar.[33] Pepper Keenan, member of Corrosion of Conformity, is a member of Down[32] and also worked on Eyehategod's album Dopesick.[42] Kirk Windstein is a founding member of Crowbar[33] and a member of Kingdom of Sorrow[36] and was a member of Down. Phil Anselmo is a member of Down,[32] a former member of Superjoint Ritual as well as various metal acts based in New Orleans;[37] he also has a hardcore punk side project along with Mike Williams of Eyehategod and Hank Williams III[30] named Arson Anthem.[43] Brian Patton is a member of Eyehategod[30] and Soilent Green.[34] L. Ben Falgoust II is the singer of Goatwhore[35] and Soilent Green.[34]
References[edit]
Jump up ^ Abel, E. Lawrence (1999). Singing the New Nation: How Music Shaped the Confederacy, 1861-1865. Stackpole Books. p. 133. ISBN 0-8117-0228-6.
Jump up ^ "Storyville, New Orleans" by Al Rose, University of Alabama Press, 1974
Jump up ^ Lichtenstein, Grace; Laura Danker (2001). Musical Gumbo: The Music of New Orleans. W.W. Norton & Co. pp. 25–28. ISBN 0-393-03468-2.
Jump up ^ Manuel, Peter (2009: 69). Creolizing Contradance in the Caribbean. Philadelphia: Temple University Press.
Jump up ^ Acosta, Leonardo (2003: 5). Cubano Be Cubano Bop; One Hundred Years of Jazz in Cuba. Washington D.C.: Smithsonian Books.
Jump up ^ Mauleón (1999: 4) Salsa Guidebook for Piano and Ensemble. Petaluma, California: Sher Music. ISBN 0-9614701-9-4.
Jump up ^ Peñalosa, David (2010: 42). The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins. Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
Jump up ^ Garrett, Charles Hiroshi (2008). Struggling to Define a Nation: American Music and the Twentieth Century, p.54. ISBN 9780520254862. Shown in common time and then in cut time with tied sixteenth & eighth note rather than rest.
Jump up ^ Sublette, Ned (2007). Cuba and Its Music, p.134. ISBN 978-1-55652-632-9. Shown with tied sixteenth & eighth note rather than rest.
Jump up ^ Orovio, Helio. 1981. Diccionario de la Música Cubana, p.237. La Habana, Editorial Letras Cubanas. ISBN 959-10-0048-0.
Jump up ^ Roberts, John Storm (1999: 12) Latin Jazz. New York: Schirmer Books.
Jump up ^ Sublette, Ned (2008:125). Cuba and its Music; From the First Drums to the Mambo. Chicago: Chicago Review Press.
Jump up ^ Roberts, John Storm (1999: 16) Latin Jazz. New York: Schirmer Books.
Jump up ^ Kubik, Gerhard (1999: 52). Africa and the Blues. Jackson, MI: University Press of Mississippi.
Jump up ^ "Wynton Marsalis part 2." 60 Minutes. CBS News (26 Jun 2011).
Jump up ^ Roberts, John Storm 1979. The Latin tinge: the impact of Latin American music on the United States. Oxford.
Jump up ^ Morton, “Jelly Roll” (1938: Library of Congress Recording) The Complete Recordings By Alan Lomax.
Jump up ^ Marsalis, Wynton (2000: DVD n.1). Jazz. PBS
Jump up ^ "Jazz and Math: Rhythmic Innovations", PBS.org. The Wikipedia example shown in half time compared to the source.
Jump up ^ Schuller, Gunther (1968: 19) Early Jazz; Its Roots and Musical Development. New York: Oxford Press.
Jump up ^ Shapiro, Nat; Nat Hentoff (2001). Hear Me Talkin' to Ya: The Story of Jazz by the Men who Made it. Courier Dover Publications. p. 22. ISBN 0-486-21726-4.
Jump up ^ "Ibid"; Jazz: The Rough Guide, p. 738
Jump up ^ Edge, John T.; Tom Downs (2003). New Orleans. Lonely Planet. pp. 30–31. ISBN 1-74059-193-3.
Jump up ^ Martin, Henry R.; Keith Waters (2005). Jazz: The First 100 Years. Thomson Wadsworth. p. 43. ISBN 0-534-62804-4.
^ Jump up to: a b Jones, Max (2000). Jazz Talking: Profiles, Interviews, and Other Riffs on Jazz Musicians. Da Capo Press. p. 2. ISBN 0-306-80948-6.
Jump up ^ Carr, Ian; Digby Fairweather; Brian Priestley (1995). Jazz: The Rough Guide. The Rough Guides. pp. 729–730. ISBN 1-85828-137-7.
Jump up ^ Palmer, Robert (1995: 60). An Unruly History of Rock & Roll. New York: Oxford University Press.
Jump up ^ Dave Bartholomew quoted by Palmer, Robert (1988: 27) “The Cuban Connection” Spin Magazine Nov.
Jump up ^ Fensterstock, Alison. "Axe to Grind: Heavy Metal in New Orleans". BestofNewOrleans.com. Retrieved 2010-05-19.
^ Jump up to: a b c d e f g Huey, Steve. "Eyehategod biography". Allmusic. Retrieved 2009-06-28.
^ Jump up to: a b c Torreano, Bradley. "Exhorder". Allmusic. Retrieved 2009-06-28.
^ Jump up to: a b c d e f g Prato, Greg. "Down biography". Allmusic. Retrieved 2009-06-28.
^ Jump up to: a b c d e Huey, Steve. "Crowbar biography". Allmusic. Retrieved 2009-06-28.
^ Jump up to: a b c d e York, William. "Soilent Green biography". Allmusic. Retrieved 2009-06-28.
^ Jump up to: a b Ankeny, Jason. "Goatwhore". Allmusic. Retrieved 2008-03-31.
^ Jump up to: a b True, Chris. "Kingdom of Sorrow". Allmusic. Retrieved 2008-03-31.
^ Jump up to: a b c Prato, Greg. "Superjoint Ritual biography". Allmusic. Retrieved 2009-06-28.
Jump up ^ Larmore, Dave. "Kyle Thomas of Alabama Thunderpussy". Midwest Metal. Retrieved 2008-03-31.
Jump up ^ "Doom metal". Allmusic. Retrieved 2008-07-22.
Jump up ^ York, William. "Eyehategod - In the Name of Suffering". Allmusic. Retrieved 2009-06-28.
Jump up ^ York, William. "Eyehategod - Take as Needed for Pain". Allmusic. Retrieved 2009-06-28.
Jump up ^ Williams, Mike. Dopesick. Recording notes on the 2007 European reedition. Century Media Records.
Jump up ^ True, Chris. "Arson Anthem". Allmusic. Retrieved 2008-03-31.
External links[edit]
Wikimedia Commons has media related to Music of New Orleans.
A History of New Orleans Music in 100 Tracks, edited by Ted Gioia (jazz.com)
Clarence's Greater New Orleans Area Cajun and Zydeco Schedule
New Orleans composer Edmund Dédé
New Orleans composer Basile Barés
Biographical sketches of New Orleans African American composers B. Barés, E. Dédé, L. Lambert, S. Lambert, J. W. Nickerson, A. J. Piron, and F. V. Seymour, and notes regarding their downloadable music. Site also has notes on 22 downloadable Creole melodies.
NOLA Underground
No Questions, No Answers New Orleans Punk Compilation 1980
The WTUL New Wave Hour - 1978
List of past and present New Orleans musical artists
Tullos, Allen (February 26, 2004). "Music of the Louisiana Gulf Coast". Southern Spaces.
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Someone to Call My Lover
From Wikipedia, the free encyclopedia
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"Someone to Call My Lover"
Single by Janet Jackson
from the album All for You
Released
June 26, 2001 (2001-06-26)
Format
CD single
12"
7"
Recorded
2000; Flyte Tyme Studios
(Edina, Minnesota)
Genre
Folk-pop
dance-pop
Length
4:32 (album version)
4:15 (single edit)
Label
Virgin
Songwriter(s)
Janet Jackson
James Harris III • Terry Lewis
Dewey Bunnell
Producer(s)
Janet Jackson
Jimmy Jam and Terry Lewis
Janet Jackson singles chronology
"All for You"
(2001) "Someone to Call My Lover"
(2001) "Son of a Gun (I Betcha Think This Song Is About You)"
(2001)
"All for You"
(2001) "Someone to Call My Lover"
(2001) "Son of a Gun (I Betcha Think This Song Is About You)"
(2001)
"Someone to Call My Lover" is a song by American singer-songwriter Janet Jackson from her seventh studio album, All for You (2001). Written and produced by Jackson and Jimmy Jam and Terry Lewis, the song was released as the album's second single on June 26, 2001 by Virgin Records. Using a guitar riff from America's "Ventura Highway", and the melody from Erik Satie's "Gymnopedié No. 1", "Someone to Call My Lover" talks about being determined to find a perfect match.
"Someone to Call My Lover" received positive reviews from critics, with most praising its innocence and sweet aura, picking the song as a standout track on the album. The song was a success on the charts, reaching number three on the Billboard Hot 100 chart, while reaching the top-ten in Canada and the top-twenty in Australia and the United Kingdom. A music video was directed by Francis Lawrence and centers on a jukebox. Another video for the "So So Def" remix was also released. Jackson has performed the song on two of her tours, most recently on her 2017 State of the World Tour.
Contents
[hide]
1 Background and writing
2 Composition and music
3 Critical reception
4 Chart performance
4.1 Remixes and accolades
5 Music video
6 Live performances
7 Track listings
8 Official remixes
9 Charts
9.1 Weekly charts
9.2 Certifications
9.3 Year-end charts
10 See also
11 References
12 External links
Background and writing[edit]
"Someone to Call My Lover" was written and produced by Janet Jackson, James Harris III and Terry Lewis.[1] The song's looped guitar riff is sampled from America's 1972 hit "Ventura Highway", with Dewey Bunnell receiving writing credits. The loop played throughout the chorus is an interpolation of "Gymnopédie No. 1" by French classical composer Erik Satie, played in 4/4 time instead of the original 3/4. Jackson had searched for years for the catchy Satie track.
When I was a little girl and I used to come home from school, there was something called "The 3:30 Movie", and they used to play the MGM Musicals. There was a commercial. I remember watching Singin' in the Rain and there was a commercial with the lady all in white, and I don't know if it was for Dove or something like that, but they would play this, 'Da, da, da.' It was the Erik Satie. I never knew who the composer was, and this song never left me.[2]
Jackson said she came across the tune again about seven years later: "I was at Ralph Lauren and I said, 'Oh, my God! Is this the radio or is this a CD?' I said, 'Please tell me it's a CD.' They said, 'It's a CD—well, actually it's a Ralph Lauren CD and we don't have it anymore. I was like, 'Oh God...no,' and they gave me the CD."[2] Jackson said, "I took it straight to Jimmy [Jam] and said, 'Jimmy, I've just got to share this with you,' and he saw my passion and my love for it. He didn't take the actual song, but he kind of put his own flavor to it in 'Someone To Call My Lover,' which takes me back to my childhood."[2] In an interview, Jimmy said, "And for 'Someone to Call My Lover,' she hadn't heard the 'Ventura Highway' sample before. She hadn't heard those songs. So it's kind of fun to come up with stuff like that and play it for her. And she hasn't heard of it, but she still really likes it. So you have something that's going to appeal to people that haven't heard it before, it's going to catch them, but it's also going to catch the people who are nostalgic about it."[3]
Composition and music[edit]
At the time of recording, Jackson had just divorced her husband, René Elizondo, Jr., after nearly ten years of marriage. "Someone to Call My Lover", and several of the other songs on All for You, use Jackson's divorce and re-emergence into single life as central themes. "Someone to Call My Lover" talks about being determined to find a perfect match.[4] The sample of America's "Ventura Highway" opens the single, accompanied by finger snaps and bass. In the beginning, Jackson has begun touring again and there isn't anyone to talk to and she wishes she had companionship, "Back on the road again/Feeling kinda lonely/And looking for the right guy/To be mine," she sings.[4]
In the pre-chorus, she fantasizes where her dream guy might be, "Maybe we'll meet at a bar / He'll drive a funky car / Maybe we'll meet at a club / And fall so deeply in love," she sings. In the chorus, she's eager to find a guy to love, "Alright, maybe gonna find him today / I gotta get someone to call my lover / Yeah, baby, come on," she chants.[4]
"Someone to Call My Lover" is written in the key of D major with a moderately fast tempo of 128 beats per minute. The song follows a chord progression of Dmaj7–G6–Dmaj7–G6, and Jackson's vocals span from the low note A3 to the high note B4.[5]
Critical reception[edit]
"Someone to Call My Lover" received generally favorable reviews from music critics. Stephen Thomas Erlewine from AllMusic picked the song as "one of the record's best cuts".[1] Timothy Park of NME enjoyed the lyrics, writing that "while most of us dream of being Janet, it's reassuring to know she dreams of being us. And providing she does it with the ever-enduring Jam & Lewis produced fluffy pop of 'Someone To Call My Lover' then who are we to complain?."[6] In another NME review, Piers Martin wrote that the song "recalls Aaliyah's 'Try Again' in its squelchy simplicity."[7] Gene Stout of Seattle Post-Intelligencer praised the track, calling it "sweetly innocent", praising the "Ventura Highway guitar," writing that it "adds a wistful, nostalgic feel to the song's deep yearnings for love and togethernesss."[8]
Chart performance[edit]
The song was released as the second single from All for You, following the huge success of its title track. It is the last of Jackson's singles to have reached the top ten on the Billboard Hot 100 chart to date. On the Billboard Hot 100 chart, "Someone to Call My Lover" reached the top-forty in June, while it reached the top-ten in July. It eventually peaked at number 3, stuck behind Alicia Keys' "Fallin'" and Jennifer Lopez' "I'm Real (Murder Remix)", becoming her 28th top-10 hit.[9] It also debuted at number-one on the Hot 100 Singles Sales chart,[9] where it remained for 3 weeks.[10] It also topped the R&B/Hip-Hop Singles Sales chart for 2 weeks.[10] The song reached number 9 on the Canadian Hot 100 chart.[11] "Someone to Call My Lover" reached the top-twenty in many places. In the UK, the song reached number 11, on the UK Singles Chart[12] In Australia, the song debuted and peaked at number 15 on the ARIA Chart week of August 5, 2001, spending 9 weeks on the chart,[13] while on the New Zealand Singles Chart, the song started at number 30, peaking at number 18 in its fourth week, spending a total of 15 weeks on the chart.[14]
Remixes and accolades[edit]
For the single, a So So Def Remix was produced and became Jackson's first collaboration with Jermaine Dupri.[15] The song earned Jackson a Grammy Award nomination for Best Female Pop Vocal Performance in 2002, losing out to Nelly Furtado's "I'm Like a Bird".[10]
Music video[edit]
The music video was directed by Francis Lawrence, and centres on a jukebox. Jackson is depicted driving and walking into a bar, where she sings, dances and eventually hitches a ride from a red car. A video for the So So Def Remix was also released, and contains similar footage to the original but contains shots of Dupri in alternate scenes as well as his vocals.[16] The original video made the limited bonus-DVD edition of All for You while the So So Def Remix video appears on the 2004 video compilation From Janet to Damita Jo: The Videos.[17]
Live performances[edit]
Jackson has performed "Someone to Call My Lover" on two of her tours. The song was added to the setlist of her All for You Tour, as one of the last songs on the show. During the performance, the singer wore a white T-shirt and jeans, while using a garland of flowers, called Lei in Hawaii. The February 16, 2002 final date of the tour at the Aloha Stadium in Hawaii, was broadcast by HBO. This rendition was also added to the setlist at its DVD release, Janet: Live in Hawaii, in 2002.[18] "Someone To Call My Lover" was also the video dedication song to Singapore for the 2011 Number Ones, Up Close and Personal tour.[19] It was also performed on her 2017 State of the World Tour in place of "Island Life" at several shows, including in Cleveland on December 3,[20] and Memphis on December 6, 2017.[21]
Track listings[edit]
European 12" promo single (VSTDJ 1813)[22]
Side A:
"Someone to Call My Lover" (So So Def Remix) – 4:40
"Someone to Call My Lover" – 4:32
Side B:
"Someone to Call My Lover" (Velvet Mix-Jam & Lewis) – 4:46
"Someone to Call My Lover" (80's Remix-Jam & Lewis) – 5:08
European CD single (VSCDE 1813)[23]
"Someone to Call My Lover" (Single Edit) – 4:14
"Someone to Call My Lover" (So So Def Remix) – 4:40
European CD maxi single (7243 8 97773 2 1)[24]
"Someone to Call My Lover" (Single Edit) – 4:14
"Someone to Call My Lover" (Hex Hector/Mac Quayle Radio Edit) – 3:49
"Someone to Call My Lover" (So So Def Remix) – 4:40
"Someone to Call My Lover" (Velvet Mix) – 4:46
"Someone to Call My Lover" (Hex Hector/Mac Quayle Club Mix) – 7:48
UK 12" promo single (VSTDJX 1813)[25]
"Someone to Call My Lover" (Hex Hector/Mac Quayle Club Mix) – 7:48
"Someone to Call My Lover" (Hex Hector/Mac Quayle Dub Mix) – 6:02
UK 12" single (VST 1813)[26]
Side A:
"Someone to Call My Lover" (Hex Hector/Mac Quayle Club Mix) – 7:48
Side B:
"Someone to Call My Lover" (So So Def Remix) – 4:40
"Someone to Call My Lover" (The Velvet Mix) – 4:46
U.S. 12" promo single (SPRO-16408)[27]
Side A:
"Someone to Call My Lover" (So So Def Remix) – 4:40
"Someone to Call My Lover" (Album Version) – 4:32
Side B:
"Someone to Call My Lover" (So So Def Instrumental) – 4:40
"Someone to Call My Lover" (Album Instrumental) – 4:32
U.S. double 12" promo single (SPRO-16404)[28]
Vinyl one – side A:
"Someone to Call My Lover" (Album Version) – 4:32
"Someone to Call My Lover" (Album Instrumental) – 4:32
Vinyl one – side B:
"Someone to Call My Lover" (So So Def Remix) – 4:40
"Someone to Call My Lover" (So So Def Instrumental) – 4:40
Vinyl two – side A:
"Someone to Call My Lover" (Hex Hector/Mac Quayle Club Vocal Mix) – 7:48
"Someone to Call My Lover" (Hex Hector/Mac Quayle Radio Vocal Mix) – 3:49
Vinyl two – side B:
"Someone to Call My Lover" (Hex Hector/Mac Quayle Dub Mix) – 6:02
"Someone to Call My Lover" (Hex Hector/Mac Quayle Radio Acappella) – 3:49
U.S. CD single (7243 8 97773 0 7)[29]
UK CD single (VSCDT 1813)[30]
"Someone to Call My Lover" (Single Edit) – 4:14
"Someone to Call My Lover" (Hex Hector/Mac Quayle Club Mix) – 7:48
"Someone to Call My Lover" (So So Def Remix) – 4:40
"Someone to Call My Lover" (Video)
Japanese promo CD single (VJCP-12141)[31]
Australian CD single (8977732)[32]
"Someone to Call My Lover" (Single Edit) – 4:14
"Someone to Call My Lover" (Hex Hector/Mac Quayle Radio Mix) – 3:49
"Someone to Call My Lover" (So So Def Remix) – 4:40
"Someone to Call My Lover" (The Velvet Mix) – 4:46
"Someone to Call My Lover" (Hex Hector/Mac Quayle Club Mix) – 7:48
French promo CD single (VUSCDJ1813)[33]
"Someone to Call My Lover" (Single Edit) – 4:14
Official remixes[edit]
Album Version – 4:32
Album Instrumental – 4:32
Single Edit – 4:14
Hex Hector/Mac Quayle Club Mix – 7:38 (= Hex Hector/Mac Quayle Vocal Mix or Hex Hector/Mac Quayle Club Vocal Mix)
Hex Hector/Mac Quayle Radio Mix – 3:49
Hex Hector/Mac Quayle Radio A Cappella – 3:49
Hex Hector/Mac Quayle Dub Mix – 6:02
Velvet Mix – 4:46
Jam & Lewis Total 80's Remix – 5:08
So So Def Remix featuring Jermaine Dupri – 4:40
So So Def Instrumental – 4:40
So So Def Remix Acapella - 4:40
Charts[edit]
Weekly charts[edit]
Chart (2001)
Peak
position
Australia (ARIA)[13] 15
Belgium (Ultratop 50 Flanders)[34] 32
Belgium (Ultratop 50 Wallonia)[35] 38
Brazilian Singles Chart (ABPD)[36] 50
Canada (Canadian Hot 100)[11] 9
France (SNEP)[37] 58
Germany (Official German Charts)[38] 65
Ireland (IRMA)[39] 21
Italy (FIMI)[40] 31
Japan (Japan Hot 100)[41] 11
Netherlands (Dutch Top 40)[42] 28
New Zealand (Recorded Music NZ)[14] 18
Scotland (Official Charts Company)[43] 17
Sweden (Sverigetopplistan)[44] 49
Switzerland (Schweizer Hitparade)[45] 42
UK Singles (Official Charts Company)[12] 11
UK R&B (Official Charts Company)[46] 4
US Adult Contemporary (Billboard)[47] 29
US Billboard Hot 100[48] 3
US Mainstream Top 40 (Billboard)[49] 3
US Hot R&B/Hip-Hop Songs (Billboard)[50] 11
US Dance Club Songs (Billboard)[51] 1
Certifications[edit]
Region
Certification
Certified units/Sales
United Kingdom (BPI)[52]
Silver 200,000^
United States (RIAA)[53]
Platinum 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
Year-end charts[edit]
Chart (2001)
Position
US Billboard Hot 100[54] 38
Japan (Japan Hot 100)[41] 98
|}
See also[edit]
List of number-one dance singles of 2001 (U.S.)
References[edit]
^ Jump up to: a b "All For You - Janet Jackson | Allmusic". Allmusic. Retrieved August 18, 2013.
^ Jump up to: a b c Janet Jackson On The Creation Of 'Someone To Call My Lover'
Jump up ^ "Jimmy Jam? Songwriter Interviews". Songfacts. Retrieved August 18, 2013.
^ Jump up to: a b c "Music Review: Janet Jackson "Someone To Call My Lover"". The Bland Is Out There. October 29, 2005. Retrieved August 18, 2013.
Jump up ^ Terry, Lewis,. "Janet Jackson "Someone To Call My Lover" Sheet Music - Download & Print". www.musicnotes.com. Retrieved 2015-08-09.
Jump up ^ Park, Timothy (July 31, 2001). "NME Track Reviews: Janet Jackson: Someone To Call My Lover - NME.COM". NME. Retrieved August 18, 2013.
Jump up ^ "- Janet : All For You - Album Reviews - NME.COM". NME. Retrieved 2010-07-15.
Jump up ^ Stout, Gene (2001-07-05). "Janet Jackson's steamy album leaves room for romance". Seattle Post-Intelligencer. Retrieved 2010-07-15.
^ Jump up to: a b "Chart Beat Bonus | Billboard". Billboard Magazine. Retrieved August 18, 2013.
^ Jump up to: a b c "Rock on the Net: Janet Jackson". Rock on the Net. Retrieved August 18, 2013.
^ Jump up to: a b "Janet Jackson Chart History (Canadian Hot 100)". Billboard. Retrieved 2011-05-20.
^ Jump up to: a b "Janet Jackson: Artist Chart History". Official Charts Company. Retrieved 2012-07-20.
^ Jump up to: a b "Australian-charts.com – Janet Jackson – Someone to Call My Lover". ARIA Top 50 Singles. Retrieved 2011-05-20.
^ Jump up to: a b "Charts.org.nz – Janet Jackson – Someone to Call My Lover". Top 40 Singles. Retrieved 2011-05-20.
Jump up ^ "Someone to Call My Lover - Jermaine Dupri | Janet Jackson: AllMusic". Allmusic. Retrieved August 18, 2013.
Jump up ^ Wiederhorn, Jon (May 22, 2001). "Janet Jackson Two-Times Her 'Lover'". MTV. Retrieved February 23, 2014.
Jump up ^ From janet. to Damita Jo: The Videos (DVD liner notes). Janet Jackson. Virgin Records. 7243 5 99508 9 1.
Jump up ^ Janet: Live in Hawaii (VHS, DVD). Janet Jackson. Eagle Rock Entertainment. 2002.
Jump up ^ Rasul, Juliana June (January 24, 2011). "Janet Jackson coming to Singapore despite earlier ban on songs". The New Paper: 17–18. Retrieved November 12, 2011.
Jump up ^ Wallace, Emanuel (December 4, 2017). "Janet Jackson Delivers a Message of Love at Quicken Loans Arena Concert". Scene. Retrieved December 26, 2017.
Jump up ^ Mehr, Bob (December 7, 2017). "Review: Janet Jackson offers spectacle and intimacy at FedExForum concert". Commercial Appeal. Retrieved December 26, 2017.
Jump up ^ Janet* - Someone To Call My Lover
Jump up ^ Janet Jackson - Someone To Call My Lover
Jump up ^ Janet Jackson - Someone To Call My Lover
Jump up ^ Janet* - Someone To Call My Lover
Jump up ^ Janet Jackson - Someone To Call My Lover
Jump up ^ Janet Jackson - Someone To Call My Lover
Jump up ^ Janet Jackson - Someone To Call My Lover
Jump up ^ Janet Jackson - Someone To Call My Lover
Jump up ^ Janet Jackson - Someone To Call My Lover
Jump up ^ Janet Jackson Someone To Call My Lover Japan 5" CD SINGLE (182867)
Jump up ^ Janet Jackson Someone To Call My Lover Australia 5" CD SINGLE (188582)
Jump up ^ Janet Jackson Someone To Call My Lover - in sales presenter France Promo 5" CD SINGLE (199682)
Jump up ^ "Ultratop.be – Janet Jackson – Someone to Call My Lover" (in Dutch). Ultratop 50. Retrieved 2011-05-20.
Jump up ^ "Ultratop.be – Janet Jackson – Someone to Call My Lover" (in French). Ultratop 50. Retrieved 2011-05-20.
Jump up ^ "Brazil" (PDF). ABPD. October 6, 2001. Retrieved April 1, 2014.
Jump up ^ "Lescharts.com – Janet Jackson – Someone to Call My Lover" (in French). Les classement single. Retrieved 2011-05-20.
Jump up ^ "Musicline.de – Janet Jackson Single-Chartverfolgung" (in German). Media Control Charts. PhonoNet GmbH. Retrieved 2011-05-20.
Jump up ^ "Chart Track: Week 32, 2001". Irish Singles Chart. Retrieved 2011-05-20.
Jump up ^ "Italiancharts.com – Janet Jackson – Someone to Call My Lover". Top Digital Download. Retrieved 2011-05-20.
^ Jump up to: a b "DOCOMO OSAKAN HOT 100｜CHART［YEARLY CHART］". Retrieved 31 August 2016.
Jump up ^ "Nederlandse Top 40 – Janet Jackson" (in Dutch). Dutch Top 40. Retrieved 2011-05-20.
Jump up ^ "Official Scottish Singles Sales Chart Top 100". Official Charts Company.
Jump up ^ "Swedishcharts.com – Janet Jackson – Someone to Call My Lover". Singles Top 100. Retrieved 2011-05-20.
Jump up ^ "Swisscharts.com – Janet Jackson – Someone to Call My Lover". Swiss Singles Chart. Retrieved 2011-05-20.
Jump up ^ "Official R&B Singles Chart Top 40". Official Charts Company.
Jump up ^ "Janet Jackson Chart History (Adult Contemporary)". Billboard. Retrieved 2011-05-05.
Jump up ^ "Janet Jackson Chart History (Hot 100)". Billboard. Retrieved 2011-05-05.
Jump up ^ "Janet Jackson Chart History (Pop Songs)". Billboard.
Jump up ^ "Janet Jackson Chart History (Hot R&B/Hip-Hop Songs)". Billboard. Retrieved 2011-05-05.
Jump up ^ "Janet Jackson Chart History (Dance Club Songs)". Billboard. Retrieved 2011-05-05.
Jump up ^ "British single certifications – Janet Jackson – Someone to call my lover". British Phonographic Industry. Retrieved January 10, 2015. Enter Someone to call my lover in the search field and then press Enter.
Jump up ^ "American single certifications – Janet Jackson – Someone to call my lover". Recording Industry Association of America. Retrieved January 10, 2015. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
Jump up ^ "Archived copy". Archived from the original on 2010-07-26. Retrieved 2013-02-07.
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"Planets of the Universe" by Stevie Nicks U.S. Billboard Hot Dance Club Play number-one single
August 18, 2001 Succeeded by
"You Set Me Free" by Abigail
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European Journal of Work and Organizational Psychology
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European Journal of Work and Organizational Psychology
ISO 4 abbreviation
Find out here
Discipline
Industrial and organizational psychology
Language
English
Publication details
Publisher
European Association of Work and Organizational Psychology (Belgium)
Publication history
1991-present
Frequency
Quarterly
Indexing
ISSN
1359-432X
Links
Journal homepage
The European Journal of Work and Organizational Psychology was established in 1991 and is a peer-reviewed academic journal published quarterly by the European Association of Work and Organizational Psychology. Content includes papers on organizational change, organizational climate, teamwork, motivation, innovation, leadership, bullying, stress in the workplace, burnout, job satisfaction, job design, selection and training.[1]
See also[edit]
Industrial and organizational psychology
Occupational health psychology
References[edit]
Jump up ^ European Journal of Work and Organizational Psychology Homepage

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Retrieved from "https://en.wikipedia.org/w/index.php?title=European_Journal_of_Work_and_Organizational_Psychology&oldid=820715942"
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