{"id":216007,"date":"2025-10-16T00:09:09","date_gmt":"2025-10-16T00:09:09","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/216007\/"},"modified":"2025-10-16T00:09:09","modified_gmt":"2025-10-16T00:09:09","slug":"fans-missed-the-point-of-dangelos-infamously-steamy-video","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/216007\/","title":{"rendered":"Fans ‘missed the point’ of D\u2019Angelo\u2019s infamously steamy video"},"content":{"rendered":"

As MTV takes its last gasp<\/a>, shuttering its final music channels in the UK, it feels strangely nostalgic to look back to the days when multiple television channels streamed music videos for hours each day, but it gave rise to the pop-as-product 2000s and the influencer era we find ourselves in now<\/a>. Artists are meant to be seen, while they are being heard. Not every artist leaned into attractiveness back then. Some made their videos work with quirkiness or humour, like Busta Rhymes or Missy Elliott’s wacky clips, which had them dressed like cartoon characters. Saucy, sensual R&B groups wouldn\u2019t be nearly naked, but cloaked in an open leather jacket, pants and combat boots in the hot desert sun, for some reason. When Untitled dropped and a topless D’Angelo spun slowly as the camera moved in and out and up and down his torso with the speed of dripping molasses, everyone took notice.<\/p>\n

\"AlamyAlamyD’Angelo’s Grammy-winning album Voodoo revealed an artistry and romanticism fans may miss if they stop at the Untitled video (Credit: Alamy)<\/p>\n

“In college, I lived in a house with two other Black women with very different tastes in men,” recalls Fredara Hadley<\/a>, an author and ethnomusicology professor at Juilliard. “But from the first chord, all three of us would crash land onto the couch to watch that Untitled video as if we had not just watched it several hours before.”<\/p>\n

Hadley notes that the video was released during a time of female objectification in music videos across genres. Britney Spears’ Oops!… I Did It Again came out the same year, but so did Destiny’s Child’s Independent Women. And while video vixens had been spinning their careers into empowerment, men weren\u2019t being presented solely and obviously for the female gaze. D’Angelo\u2019s video stood out, winning him a Grammy Award for Best Male R&B Vocal Performance in 2001. Voodoo took home R&B album of the year, with love-drunk lyrics that reveal a more romantic throughline. On Lady, D’Angelo sang about loving his girlfriend and wanting to tell everyone about it. The Root is about him being so in love with a woman that he asks a doctor for help.\u00a0<\/p>\n

“It was kinda therapeutic for me to do [The Root]\u2026 because I’m so pathetic in the song,” D’Angelo says<\/a> in a 1999 documentary filmed about the making of Voodoo. “That’s what The Root is, she got it on me and I\u2019m just fucked up.”<\/p>\n

Untitled, then, was the departure. Journalist Tour\u00e9, who interviewed D\u2019Angelo for Rolling Stone<\/a> in 2000, recalled<\/a> in a recent Instagram clip that the video was the brainchild of D\u2019Angelo\u2019s manager, Dominique Trenier. He talked him into doing it, but when he arrived at the shoot, the singer wouldn\u2019t leave his car. After being convinced to participate, Morgan recalls a female friend who was on set that fateful day describing the event as “uncomfortable” because the “exploitation” was evident. That presence continued with Thompson describing D\u2019Angelo doing push-ups before gigs to make sure his body was in line with the Untitled image.<\/p>\n

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