Janet Jackson

For her self-titled album, see Janet Jackson (album).

Janet Jackson
Jackson performing on Number Ones, Up Close and Personal, 2011
Born	Janet Damita Jo Jackson (1966-05-16) May 16, 1966 Gary, Indiana, U.S.
Other names	Janet (stage name)
Occupations	Singer songwriter dancer actress record producer film producer businesswoman philanthropist author
Years active	1973–present
Spouses	James DeBarge ​ (m. 1984⁠–⁠1985)​ René Elizondo, Jr. ​ ​ (m. 1991⁠–⁠2000)​ Wissam Al Mana ​ (m. 2012)​
Musical career
Genres	Pop R&B dance
Instruments	Vocals keyboards
Labels	A&M Virgin Island
Website	janetjackson.com

Janet Damita Jo Jackson (born May 16, 1966) is an American singer, songwriter, and actress. Known for a series of sonically innovative, socially conscious and sexually provocative records, as well as elaborate stage shows, television roles, and film roles, she is a prominent figure in popular culture. The youngest of the Jackson family, she began her career in several television shows throughout the 1970s and early 1980s, including Good Times and Fame.

After signing a recording contract with A&M in 1982, she became a pop icon following the release of her third studio album, Control (1986). Her collaborations with her record producers incorporated elements of dance, rhythm and blues, funk, disco, and industrial beats, which led to appeal in popular music. In addition to recognition for the innovation in her records, choreography, music videos, and prominence on radio airplay and MTV, she was acknowledged as a role model for her socially conscious lyrics.

In 1991, she signed the first of two record-breaking, multi-million dollar contracts with Virgin Records, establishing her as one of the highest paid artists in the industry. Her album janet. (1993) saw her develop a public image as a sex symbol, as she began to explore carnality in her work. That same year, she appeared in her first starring film role in Poetic Justice, and has continued to act in feature films, such as Nutty Professor II: The Klumps and Why Did I Get Married?. Her following album, The Velvet Rope (1997), chronicled her struggle with depression. She was later named the second most successful recording artist of the decade. She returned to an upbeat, optimistic sound with All for You (2001), succeeded by Damita Jo (2004), 20 Y.O. (2006), and Discipline (2008). She has amassed an extensive catalog of hits, with singles such as "Nasty", "Rhythm Nation", "If", "That's the Way Love Goes", "Together Again" and "All for You" among her most iconic.

Having sold over 140 million records, she is one of the best-selling music artists of all time. Jackson scored 18 consecutive top ten hits, setting a record for the most consecutive top 10 hits by a female artist in history, following Elvis Presley and The Beatles. The Recording Industry Association of America (RIAA) lists her as the eleventh best-selling female artist in the United States, with 26 million certified albums. In 2008, Billboard ranked her as the seventh most successful artist on their list of the Hot 100 "All-Time Top Artists," and in 2010, ranked her the fifth most successful of the past 25 years on their R&B chart. In 2014, Fuse listed Jackson as the third most awarded musician of all-time.

Life and career

1966–85: Early life and career beginnings

Jackson (bottom row) in a 1976 CBS photo on the set of The Jacksons

Janet Jackson was born in Gary, Indiana, the youngest of ten children, to Katherine Esther (née Scruse) and Joseph Walter Jackson. The Jacksons were lower-middle class and devout Jehovah's Witnesses, although Janet would later refrain from organized religion. At a young age, her brothers began performing as The Jackson 5. In March 1969, the group signed a recording contract with Motown. The family then moved to the Encino neighborhood of Los Angeles. Jackson initially desired to become a horse racing jockey, drummer, or entertainment lawyer, with plans to support herself through acting. However, she was anticipated to pursue a career in entertainment, and became interested in singing after writing her first song and recording herself in the studio. At age seven, Jackson performed at the Las Vegas Strip at the MGM Casino. Her father, Joseph Jackson, was emotionally withdrawn, and told her to address him solely by his first name as a child. She began acting in the variety show The Jacksons in 1976. In 1977, she was selected to have a starring role as Penny Gordon Woods in the sitcom Good Times. She later starred in A New Kind of Family before joining the cast of Diff'rent Strokes, portraying Charlene Duprey for two years. Jackson also played the recurring role of Cleo Hewitt during the fourth season of Fame, but expressed indifference towards the series. Her ethnicity is of African American and Native American descent.

When Jackson was sixteen, she was arranged a contract with A&M Records. Her debut album, Janet Jackson, was released in 1982. It was produced by Angela Winbush, René Moore and Leon F. Sylvers III, and overseen by her father. It peaked at number sixty-three on Billboard, and number six on the publication's R&B albums chart, receiving little promotion. Jackson's second album, Dream Street, was recorded with Giorgio Moroder and released two years later. It reached one-hundred forty-seven on the Billboard 200, and nineteen on the R&B albums chart. Lead single "Don't Stand Another Chance" peaked at number nine on Billboard's R&B singles chart. Both albums consisted primarily of bubblegum pop music. Jackson eloped with singer James DeBarge in 1984, divorcing shortly afterwards due to his drug abuse, with the marriage annulled the following year.

1986–88: Control

After her second album, Jackson terminated business affairs with her father. Attempting a third album, she teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve mainstream pop appeal, while also creating a strong foundation within the urban market. Within six weeks, Jackson and the duo crafted her third studio album, Control, released in February 1986. It peaked at number one, and was certified fivefold platinum by the RIAA, selling over fourteen million copies worldwide.

Control was declared "remarkably nervy and mature" for a teenage act, also considered "an alternative to the sentimental balladry" which permeated radio, likening Jackson to be "unwilling to accept novelty status and taking her own steps to rise above it." It spawned five top five singles; "What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile", and the top fifteen hit "The Pleasure Principle." "When I Think of You" became her first number one hit on the Hot 100. Control received six Billboard Awards, including "Top Pop Singles Artist", and three Grammy nominations, including "Album of the Year." It also won four American Music Awards from twelve nominations, an unbroken record. Robert Hilburn commended Jackson for successfully "shaking off the experience of being a shadow Jackson child," becoming "an artist in her own right".

The album's lyrical content included several themes of empowerment, inspired by an incident of sexual harassment. Jackson recalled, "the danger hit home when a couple of guys started stalking me on the street ... Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense." Its innovative fusion of dance pop and industrial music, with undertones of hip-hop and R&B, developed the new jack swing subgenre. Her music videos became infamous on MTV, also obtaining a then-unknown Paula Abdul a recording contract for her choreography work. Billboard stated, "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix."

1989–92: Janet Jackson's Rhythm Nation 1814

Jackson released her fourth album, Rhythm Nation 1814, in September 1989. Although her label desired a direct sequel to Control, Jackson chose to include a socially conscious theme among various musical styles. She stated, "I know an album or a song can't change the world. I just want my music and my dance to catch the audience's attention, and to hold it long enough for them to listen to the lyrics." Its central theme of unity was developed in response to various crimes and tragedies in the media.

Peaking at number one on the Billboard 200, the album was certified sixfold platinum by the RIAA, and has sold nearly twenty million copies worldwide. Rolling Stone observed Jackson's artistic growth to have shifted, progressing from "personal freedom to more universal concerns—injustice, illiteracy, crime, drugs—without missing a beat." Eric Henderson considered it a "diverse collection of songs flowing with the natural talent Jackson possesses," becoming "more credibly feminine, more crucially masculine, more viably adult, more believably childlike." With singles "Miss You Much", "Rhythm Nation", "Escapade", "Alright", "Come Back to Me", "Black Cat" and "Love Will Never Do (Without You)", it became the only album in history to produce number one hits in three separate calendar years, as well as the only album to achieve seven top five singles on the Hot 100. Jackson's "Rhythm Nation" video is considered among the most iconic and popular in history, with her military ensemble asserting her as a fashion icon. The video for "Love Will Never Do (Without You)" was the first instance of her transition into sexual imagery and midriff-baring style, becoming her trademark. Rhythm Nation 1814 became the highest selling album of 1990, winning a record fifteen Billboard Awards.

Jackson's Rhythm Nation Tour became the most successful debut tour in history, and set a record for the fastest sell-out of Japan's Tokyo Dome. She established the "Rhythm Nation Scholarship," donating funds to various educational programs. Jackson became increasingly acknowledged for her cultural impact, called "a fixture on MTV and a major role model to teenage girls," as well as a social leader, praised for the album's "positive effects" among youth. Her success placed her in league with contemporaries Michael Jackson and Madonna, and Tina Turner, for her achievements and influence. A publication reported, "No individual or group has impacted the world of entertainment as have Michael and Janet Jackson," saying despite many imitators, few could surpass her "stunning style and dexterity." Jackson also provided vocals on Luther Vandross's "The Best Things in Life Are Free", becoming a top ten Billboard hit while also reaching the
top ten internationally.

1993–96: Janet, Poetic Justice, and Design of a Decade

File:Janetrollingstonecover.jpg

Janet featured on an iconic cover of Rolling Stone, with the hands of her then-unknown husband René Elizondo, Jr. cupping her breasts.

Jackson signed a multi-million dollar contract with Virgin Records, estimated between thirty-two to fifty million dollars, making her the world's highest paid recording artist. The contract also established her reputation as the "Queen of Pop." Jackson's fifth studio album Janet, stylized as janet. and read "Janet, period", was released in May 1993. It opened at number one on the Billboard 200, becoming the first female artist of the Nielsen SoundScan era to do so. Certified sixfold platinum by the RIAA, it sold over 20 million copies worldwide. janet. spawned five top ten singles and four promotional singles. "That's the Way Love Goes" won a Grammy Award and topped the Billboard Hot 100 for eight consecutive weeks. "Again" reached number one for three weeks, while "If" and "Any Time, Any Place" peaked in the top four. The album was ranked the "Best-Selling Recording of the Year" by the National Association of Recording Merchandisers and "Biggest-Selling Dance Album" of the decade in Guinness World Records.

The album experimented with a diverse number of genres, including deep house, rock, swing jazz, hip-hop, opera, and contemporary R&B, blended with pop music, which Billboard described to be "delivered with consummate skill and passion." Jackson took a larger role in songwriting and production, writing "all the lyrics and half of the melodies," and spoke candidly about incorporating her sexuality into the album's content. Rolling Stone observed, "everything Janet Jackson does is important. Whether proclaiming herself in charge of her life, as she did on Control (1986), or commander in chief of a rhythm army dancing to fight society's problems (Rhythm Nation 1814, from 1989), she's influential. And when she announces her sexual maturity... it's a cultural moment."

Jackson made her film debut in Poetic Justice. While the film received mixed reviews, her performance was commended as "beguiling" and "believably eccentric." Jackson's ballad "Again", written for the film, received Golden Globe and Academy Award nominations for "Best Original Song." In September 1993, Jackson appeared topless on the cover of Rolling Stone, with her breasts covered by former husband René Elizondo, Jr. The photograph is the original version of the cropped image used on the janet. album cover, shot by Patrick Demarchelier. It became the most popular issue in the publication's history, and has been recreated by numerous entertainers. The Vancouver Sun reported, Jackson "remains clearly established as both role model and sex symbol," declaring the image "one of the most recognizable, and most lampooned, magazine covers." The Janet World Tour, launched in support of the album, earned critical acclaim for Jackson's showmanship, though garnered criticism for her lack of vocal proficiency and spontaneity. It was described to erase the line between "stadium-size pop music concerts and full-scale theatrical extravaganzas."

During this time, her brother Michael was immersed in a child sex abuse scandal, of which he denied any wrongdoing. She provided moral support, defending her brother, and denied abuse allegations regarding her parents made by her sister. She collaborated with Michael Jackson on "Scream," the lead single from his album, HIStory. The song was written by both siblings as a response to media scrutiny. It debuted at number five on the Hot 100 singles chart, becoming the first song ever to debut within the top five. It is listed in Guinness World Records as the "Most Expensive Music Video Ever Made," costing $7 million, and won a Grammy Award for Best Short Form Music Video.

Jackson's first compilation album, Design of a Decade 1986/1996, was released in 1995. It peaked at number three on the Billboard 200. Its lead single, "Runaway", became the first song by a female artist to debut within the top ten of the Hot 100, reaching number three. The album was certified double platinum by the RIAA and sold ten million copies worldwide. Jackson's influence continued to garner acclaim, as Steve Morse remarked, "If you're talking about the female power elite in pop, you can't get much higher than Janet Jackson, Bonnie Raitt, Madonna and Yoko Ono. Their collective influence... is beyond measure. And who could dispute that Janet Jackson now has more credibility than brother Michael?" Jackson renewed her contract with Virgin Records for a reported $80 million the following year. The contract established her as the then-highest paid recording artist in history, surpassing unparalleled $60 million contracts earned by Michael Jackson and Madonna.

1997–99: The Velvet Rope

During her Janet World Tour, Jackson began suffering from severe depression and anxiety, leading her to chronicle the experience in her sixth album, The Velvet Rope. She returned with a dramatic change in image, boasting vibrant red hair, various body piercings, and tattoos. She had also dropped her surname, changing her stage name to "Janet." The album encompassed lyrics relating to social issues, such as same-sex relationships, homophobia and domestic violence, in addition to themes of sadomasochism, and is considered far more sexually explicit than her previous release. Its theme conceptualizes Jackson's belief of the inherent need to belong. The album was hailed as "her most daring, elaborate and accomplished album" by The New York Times, while Billboard ranked it "the best American album of the year and the most empowering of her last five." It debuted at number one on the Billboard 200 and was certified triple platinum, selling over ten million copies worldwide.

"Got 'til It's Gone" featured guest vocals from folk singer Joni Mitchell and rapper Q-Tip. Its music video, depicting a pre-Apartheid celebration, won a Grammy Award. "Together Again" became Jackson's eighth number-one hit, placing her success on par with Elton John, Diana Ross, and The Rolling Stones. It spent a record forty-six weeks on the Hot 100, and nineteen weeks on the United Kingdom's singles chart. It sold over six million copies worldwide, becoming among the best-selling singles of all time. "I Get Lonely" peaked at number three, and received a Grammy nomination. It made Jackson the only female artist to achieve eighteen consecutive top ten hits, surpassed only by Elvis Presley and The Beatles. Other singles included "Go Deep" and the ballad "Every Time", garnering controversy for the nudity in its music video.

The album fully established Jackson as a gay icon for its themes regarding homosexuality and protesting homophobia. "Together Again", a "post-Aids pop song," and "Free Xone", considered "a paean to homosexuality" and "anti-homophobia track," were praised for their lyrical context, in addition to Jackson's lesbian reinterpretation of Rod Stewart's "Tonight's the Night." The Velvet Rope received an award for "Outstanding Music Album" at the GLAAD Media Awards, and was also honored by the National Black Lesbian and Gay Leadership Forum. A portion of the proceeds from "Together Again" were donated to the American Foundation for AIDS Research.

Jackson embarked on The Velvet Rope World Tour, traveling to Europe, North America, Asia, Africa, New Zealand, and Australia. It was likened to "the ambition and glamour of a Broadway musical," and credited Jackson as the show's creator and director. The tour received praise for its theatrics, choreography, and vocal performance. Its HBO special, The Velvet Rope: Live in Madison Square Garden, garnered more than fifteen million viewers, surpassing the ratings of all four major networks among viewers subscribed to the channel. The concert received an Emmy Award. A portion of the tour's sales were donated to America's Promise, an organization founded to assist disenfranchised youth.

As the tour concluded, Jackson lent vocals to several collaborations, including Shaggy's "Luv Me, Luv Me", as well as "Girlfriend/Boyfriend" with Blackstreet and "What's It Gonna Be?!" with Busta Rhymes. The latter two are among the most expensive music videos ever produced. She also recorded a duet with Elton John titled "I Know the Truth," included on the soundtrack to Elton John and Tim Rice's Aida. At the World Music Awards, Jackson received the Legend Award for "Outstanding Contribution to Pop Music." Billboard ranked her as the second most successful artist of the decade.

2000–03: Nutty Professor II: The Klumps and All for You

Jackson appeared in her second film, The Nutty Professor II: The Klumps, in the role of Professor Denise Gaines. Director Peter Segal stated, "Janet Jackson was a natural fit, and an obvious choice." It became her second film to open at number one, grossing $175 million worldwide. "Doesn't Really Matter", used as the film's theme, became her ninth number-one single on the Hot 100 and the top selling song of the year in Japan. The same year, Jackson's husband René Elizondo, Jr. filed for divorce, revealing their secret marriage to the public, which Entertainment Weekly reported to be "a fact they managed to hide not only from the international press but from Jackson's own father." Elizondo filed a multi-million dollar lawsuit against her, estimated between $10–25 million, which did not reach a settlement for three years.

The following year, MTV honored Jackson with their inaugural MTV Icon ceremony, commending her "significant contributions to music, music video and pop culture while tremendously impacting the MTV generation." The event included commentary from Britney Spears, Jennifer Lopez, Beyoncé, Jessica Simpson, and Justin Timberlake, and performances by 'N Sync, Pink, Destiny's Child, Usher, Buckcherry, and Outkast. The TMF Awards and American Music Awards also honored her, the latter with the Award of Merit for her "finely crafted, critically acclaimed and socially conscious, multi-platinum albums." Jackson's seventh album, All for You, was released in April 2001. It opened at number one on Billboard with 605,000 copies sold, the highest first-week sales of her career, and second highest opening sales by a female artist in history at the time. It returned to an upbeat dance-pop style, receiving generally positive acclaim. It was certified double platinum and sold nine million copies worldwide.

The album's lead single, "All for You", debuted on the Hot 100 at number fourteen, setting a record for the highest debut by a single that was not commercially available in the United States and France. Jackson was titled "Queen of Radio" by MTV as the single made airplay history, being "added to every pop, rhythmic and urban radio station" within its first week of release. It also broke the overall airplay debut record with a first week audience of seventy million, debuting at number nine on the Radio Songs chart. It topped the Hot 100 for seven weeks, also reaching the top ten in numerous countries. The song received a Grammy Award for Best Dance Recording. The soft rock-influenced "Someone to Call My Lover" peaked at number three on the Hot 100, and became Jackson's twentieth number one hit on Japan's Tokio Hot 100, setting a new chart record. "Son of a Gun (I Betcha Think This Song Is About You)" featured Carly Simon, along with Missy Elliott on its remixes.

Jackson embarked on the All for You Tour, which was broadcast on a concert special for HBO watched by twelve million viewers. It traveled throughout the United States and Japan, although European and Asian dates were required to be canceled following the September 11 terrorist attacks. The tour received generally favorable reviews, complimenting Jackson's showmanship. Jackson donated a portion of its proceeds to the Boys & Girls Clubs of America. The following year, Jackson received media attention for her relationships with Justin Timberlake, actor Matthew McConaughey, and record producer Jermaine Dupri. Upon the release of Timberlake's album Justified, Jackson provided vocals on "(And She Said) Take Me Now" per his request. She also collaborated with Beenie Man for the song "Feel It Boy", produced by The Neptunes.

2004–05: Super Bowl XXXVIII controversy and Damita Jo

Main article: Super Bowl XXXVIII halftime show controversy

Jackson was chosen by the National Football League and MTV to perform at the Super Bowl XXXVIII halftime show in February 2004. She performed a medley of "All for You," "Rhythm Nation," and "The Knowledge" before performing "Rock Your Body" alongside surprise guest, Justin Timberlake. As Timberlake sang the lyric "I'm gonna have you naked by the end of this song", he tore open her costume, exposing her right breast to 140 million viewers for half a second. Jackson issued an apology, saying the incident was accidental and unintended, explaining that Timberlake was only meant to pull away a bustier and leave the red-lace bra intact. Timberlake also issued an apology, calling the accident a "wardrobe malfunction." It became the most recorded and replayed moment on TiVo, enticing an estimated 35,000 new subscribers. Among the most controversial televised events in history, Jackson was later listed in Guinness World Records as the "Most Searched in Internet History" and "Most Searched for News Item." CBS, the NFL, and MTV, which produced the show, denied any knowledge of, and all responsibility for, the incident. The Federal Communications Commission heavily fined all companies involved, and continued an investigation for eight years, ultimately losing its appeal for a $550,000 fine against CBS.

Jackson and Timberlake photographed after the Super Bowl XXXVIII halftime show incident.

Following the incident, CBS permitted Timberlake to appear at the Grammy Awards but did not allow Jackson to attend, forcing her to withdraw after being scheduled as a presenter. People Magazine revealed, Jackson "had been slated to speak before the accolade but was being pressured to bow out gracefully – or face being uninvited." The controversy also halted plans for Jackson to star in the biographical film of Lena Horne, which was to be produced by the American Broadcasting Company. A Mickey Mouse statue dressed in Jackson's "Rhythm Nation" outfit, mantled at Walt Disney World to honor her legacy, was removed following the mishap. Timberlake later expressed regret for abandoning Jackson during its aftermath. It later inspired the creation of YouTube.

Jackson's eighth studio album Damita Jo, titled after her middle name, was released in March 2004. It debuted at number two on the Billboard 200. Jackson collaborated with a variety of producers, including Dallas Austin, Télépopmusik, Cathy Dennis, Arnthor Birgisson, and Kanye West. The album received mixed to positive reviews, praised for its sonic innovation and vocal harmonies, while also criticized for its themes of carnality. However, several critics observed many reviews to focus on the aftermath of the Super Bowl incident, rather than critiquing the album itself. Blender declared it "artfully structured" and "unapologetically explicit," in addition to "erotica at its friendliest and most well-balanced." The New York Times added, "the album is even sleeker and sexier than its predecessor, All for You, and in saner times, that would be enough to ensure its success." It was certified platinum by the RIAA within a month, and sold over three million
copies worldwide.

The album's performance was largely affected by blacklisting from radio and music channels, from conglomerates involved with the broadcast who were fined after the incident, including Viacom and CBS, and subsidiaries MTV, Clear Channel Communications, and Infinity Broadcasting; the latter two among the largest radio broadcasters. The blacklist continued throughout the course of Jackson's following two albums. A senior executive for Viacom revealed they were "absolutely bailing on the record. The pressure is so great, they can't align with anything related to Janet. The high-ups are still pissed at her, and this is a punitive measure." Prior to the incident, Damita Jo was expected to outsell her prior release, All for You. Its singles received positive reviews, but failed to achieve high chart positions, although each were predicted to perform exceptionally under different circumstances. Its lead single, the rock-influenced "Just a Little While", became the most-added song on radio upon its release, increasing nearly five-hundred percent in airplay and garnering "sizeable" downloads. However, it was quickly removed from airplay upon the blacklisting. "I Want You" was certified platinum and received a Grammy nomination. "All Nite (Don't Stop)" melded electropop, funk, and samba, and was declared "one of the biggest records this year in several different scenes" due to its popularity in nightclubs.

For promotion, Jackson appeared as a host on Saturday Night Live, performing two songs, and was also a guest star on Will & Grace, portraying herself. Jackson received several career accolades, including the Radio Music Awards' "Legend Award," Japan Video Music Awards' "Inspiration Award," MOBO Awards' "Icon Award," Soul Train Awards' "Lifetime Achievement Award," and Teen Choice Award nomination for "Favorite Female." Jackson was honored as a role model by 100 Black Men of America, Inc., presented with the Artistic Achievement Award, saluting "a career that has gone from success to greater success'." In response to criticism in light of the incident, the organization responded, "an individual's worth can't be judged by a single moment in that person's life." In June 2005, she was honored with a Humanitarian Award by the Human Rights Campaign and AIDS Project for her involvement in charities. Jackson was later ranked the "Top Searched Item of the Year" by Google.

2006–07: 20 Y.O. and Why Did I Get Married?

Jackson with the winners of the album's "Design Me" contest at an album signing.

The prior year, Jackson began recording her ninth studio album, 20 Y.O.. She initially worked with a variety of collaborators, including Pharrell Williams, John Mayer, and Kwamé Holland, but its concept shifted when her then-fiancé, Jermaine Dupri, was selected to manage the project after becoming a division president at Virgin Records. Jackson then recorded with Dupri for several months the following year. The album's title references rejuvenation, and also celebrates the two decades since the release of her breakthrough album, Control. For promotion, Jackson performed on the Today Show, Oprah Winfrey Show, and Billboard Awards. Her Us Weekly cover, revealing her slim figure after media focus was placed on her fluctuations in weight, became its best-selling issue in history. 20 Y.O. was released in September 2006, and debuted at number two on the Billboard 200. It received mixed reviews, with multiple critics chastising Dupri's production and vision. Kwamé Holland, involved in its initial conception, lambasted Dupri's involvement and control of the project from its original concept.

Jackson's radio and music channel blacklist remained persistent, affecting her chart performance and media exposure. However, "Call on Me", a duet with Nelly, reached number twenty-five on the Hot 100, number one on Hot R&B/Hip-Hop Songs, and number six in the United Kingdom. The video for "So Excited" featured Jackson's clothes disappearing through a complex dance routine. The album was certified platinum by the RIAA, having moderate success worldwide, and received a Grammy nomination. Following its release, Dupri was condemened for his misguidance of the album, and terminated from his position at Virgin Records. Slant Magazine stated, "After promising a return to Janet's dance-pop origins, [Dupri] opted to aim for urban audiences, a colossal mistake that cost Dupri his job and, probably, Janet her deal with Virgin." The album fulfilled Jackson's second recording contract with Virgin Records.

Jackson was ranked the seventh wealthiest woman in entertainment by Forbes, having amassed a sizable fortune. In 2007, she starred as a psychologist in her third film, Why Did I Get Married?. It became her third consecutive film to open at number one, grossing $60 million. Her performance was prasied for its "soft authority," but also described as "charming, yet bland." Jackson won an Image Award for "Outstanding Supporting Actress" for her portrayal. She was also approached to record the theme for Rush Hour 3.

2008–09: Discipline and Number Ones

Jackson signed with Island Records to record her tenth studio album. She collaborated with Rodney Jerkins, Tricky Stewart, and Stargate, and was also scheduled to record with Maroon 5 and Mariah Carey. The album, titled Discipline, opened at number one. Despite radio blacklisting, "Feedback" reached number nine on Billboard's Pop Songs chart and two on Hot Single Sales, becoming her highest charting single in seven years. "Rock With U" peaked at number four in the United Kingdom. Jackson was presented with the Vanguard Award by Ellen DeGeneres at the GLAAD Media Awards, honoring her contributions in promoting equal rights. Neil Giuliano stated, "Ms. Jackson has a tremendous following inside the LGBT community and out, and having her stand with us against the defamation that LGBT people still face in our country is extremely significant."

Jackson's Rock Witchu Tour began in September 2008. She parted with Island Records through mutual agreement. Billboard disclosed Jackson was dissatisfied with LA Reid's promotion of the album, stating, "the label agreed to dissolve their relationship with the artist at her request." Rodney Jerkins expressed, "it wasn't pushed correctly.... She just didn't get her just-do as an artist of that magnitude."

In June 2009, Jackson's brother Michael had died at age fifty. She first spoke publicly concerning his death at the 2009 BET Awards. Amidst mourning, she focused on work to cope with her grief, avoiding news coverage. During this time, she ended her seven-year relationship with Jermaine Dupri. Jackson appeared at the MTV Video Music Awards to tribute Michael, performing their duet "Scream." The rendition was lauded by critics, with Entertainment Weekly affirming it "as energetic as it was heartfelt."

Jackson's second hits compilation, Number Ones, was released in November 2009. She performed at the American Music Awards, Jingle Bell Ball at London's O2 Arena, and X-Factor UK. Its promotional single, "Make Me", debuted in September. It became Jackson's nineteenth number one on Hot Dance Club Songs, making her the first artist to achieve number one singles in four separate decades. Jackson also chaired the inaugural benefit of amfAR, held in Milan in conjunction with fashion week. Kevin Robert Frost stated, "She brings incomparable grace and a history of dedication to the fight against AIDS." Jackson initially began recording her eleventh studio album with Rodney Jerkins, attempting a Latin dance sound. "Heart, Beat, Love", a collaboration with Pitbull, was leaked the following year.

2010–12: Film projects, concert tour, and philanthropy

Jackson performing on Number Ones, Up Close and Personal.

Jackson reprised her role as Patricia in the sequel to Why Did I Get Married?, titled Why Did I Get Married Too?. The film opened at number two, grossing sixty million in total. Her performance was hailed as "invigorating and oddly funny," while her scenes of marital rage were commended for her "willingness to be seen at her most disheveled." The film's theme, "Nothing", was performed on the season finale of American Idol. In July, Jackson modeled for Blackglama. Universal Music also released Icon: Number Ones, as the debut of their Icon compilation series. In November, Jackson starred in the drama For Colored Girls, a film adaptation of Ntozake Shange's stage play. She received a Reel Award nomination for Best Supporting Actress.

Jackson announced plans to tour in support of her second hits album, Number Ones. The tour, titled Number Ones, Up Close and Personal, held concerts in thirty-five global cities, selected by fans on her official website. It focused on smaller, intimate venues rather than stadiums, grossing $60 million. Jackson then released the self-help book True You: A Journey to Finding and Loving Yourself, chronicling her struggle with weight and confidence and responding to letters from fans. It topped The New York Times' Best Seller list. Mattel auctioned a limited edition Barbie of Jackson, with proceeds donated to Project Angel Food. She also signed a production deal with Lions Gate Entertainment to select and produce several feature films.

Jackson became the first female artist to perform at the I. M. Pei glass pyramid at the Louvre Museum in France, raising contributions for the restoration of iconic artwork. In selecting Jackson, Henri Loyrette declared her among "the world's greatest artistic treasures." Jackson was also selected to endorse Blackglama for a second year, the first artist in the line's history to do so. She also endorsed Nutrisystem, sponsoring their weight-loss program after having struggled with her own weight in the past. With the program, she donated ten million dollars in meals to the hungry. She then attended the amFAR Cinema Against AIDS ball in Cannes, revealing her toned figure. Jackson was honored for her contributions to AIDS research while chairing the amfAR gala during the Cannes Film Festival the following year.

2013–present: Eleventh studio album

During her hiatus, Jackson has received numerous covers and interpolations of her work, also becoming a fixture in remix culture. In February 2013, Jackson announced she was married to her third husband, Qatari billionaire Wissam Al Mana, during a private ceremony the previous year. In May 2013, during the 20th anniversary of her janet. album, she confirmed recording a new album, saying she was "creating the concept and initial thoughts on the music." She has collaborated with Rodney "Darkchild" Jerkins, Jean Baptiste, Jam & Lewis, and Bangladesh for the project.

In July 2014, vocal producer and engineer Ian Cross announced that Jackson had been recording. However, Jackson later tweeted, "If there is a new project, you'll hear it from my lips", neither confirming or denying the reports. On April 22, 2015, she tweeted, "Letting go doesn't mean you stop," after a fan created a mock Missing Persons poster of Jackson which had begun circulating the internet and had been shared by Jimmy Jam prompting Jackson to retweet it herself, adding to further speculation of a new album. On May 15, 2015, Jackson announced plans to release a new album and to embark on a concert tour.

Artistry

Vocal style and timbre

Jackson has a mezzo-soprano vocal range. She has received critical praise for her vocal technique, which Rolling Stone commended for its "breathy believability" and "seductive relishing." Rashod D. Ollison considered her voice "feathery, layered and almost hypnotic," while The Philippine Star noted, "Her vocals may not soar but they do scintillate and the brilliance is difficult to resist." The Tech commended "the versatility of Jackson’s voice, proving that she can sound perfect without a herd of backup singers and overpowering background music." Her vocal style has received recognition from classical composer Louis Andriessen, who praised its rubato and sensitivity as "strangely erotic," in addition to Justin Timberlake, Class Actress, declaring it a "beautiful little chirp over these nasty, nasty beats," Yukimi Nagano of Little Dragon, calling it "sensual, sexy" and "an awesome way to sing," Christina Aguilera, who considered Jackson to have "the sexiest voice," and Will Sheff, who imitated her while recording. Various critics observed her vocal style to have been emulated by Ariana Grande, Alexis Kraus of Sleigh Bells, Nelly Furtado, Aaliyah, Jessica Simpson, FKA Twigs, The-Dream, Jennifer Lopez, and the breathier, restrained vocal style of Mariah Carey. Layered vocal harmonies have also been considered "ubiquitous ever since Janet Jackson rode it to success in the '80s"; applied by artists such as Gwen Stefani and Drake.

Over the course of her career, she has also received criticism for the limits of her vocal capabilities. Roger Love stated, "she allows a tremendous amount of air to come through. She's obviously aiming for a sexy, sultry effect, and on one level that works nicely. But actually, it's fairly limited." However, recording engineer Larry Hammel considered her voice an essential quality, in which the listener "need[s] to hear every gorgeous breath and nuance." David Ritz commented, "in her videos and live performances, which revealed a crisp, athletic dance technique [...] singing wasn't the point," placing emphasis on "her slamming beats, infectious hooks, and impeccable production values." In contrast, Eric Henderson considered critics to have "somehow missed the explosive 'gimme a beat' vocal pyrotechnics she unleashes all over 'Nasty'... Or that they completely dismissed how perfect her tremulous hesitance fits into the abstinence anthem 'Let's Wait Awhile'." J. D. Considine remarked, "Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production." The Telegraph argued this was a display of her artistry, saying, "Jackson's ability to stamp her personality and marshmallow-textured vocal style on a diverse range of material and production styles is a source of enduring wonder."

Musical themes and genres

Jackson's music has encompassed a broad range of genres with contemporary pop, including dance, R&B, rock, funk, hip-hop, house, electronic, and industrial music. The diversity of her discography has influenced subsequent stylistic albums in popular music, and made her the only artist to receive Grammy Award nominations spanning five genres. Ken Barry of Virgin Music Group declared her the "embodiment of a global superstar," whose appeal transcended "geographic, cultural, and generational boundaries." Her records have been described to change the sound of popular music, having "drafted a new blueprint for dance pop." Sal Cinquemani noted Control to define Top 40 radio, with songs such as "What Have You Done for Me Lately?" and "Nasty" being "distinctly feminine," with a feminist context. Richard J. Ripani documented Jackson's collaborations with her record producers to have "crafted a new sound," via the fusion of funk and disco with percussion, synthesizers, and various sound effects. Rickey Vincent noted Jackson to redefine popular music, through the usage of industrial music. She is considered a trendsetter in pop balladry, which Richard Rischar stated was "dominated by the vocal and production style that was smooth and polished" and led by artists such as Jackson. Jackson continued her musical development, blending contemporary pop with elements of varied genres. This included a softer representation, articulated by lush, sensual ballads, in addition to uptempo dance beats. janet. was praised by Sal Cinquemani as "the mother of eclectic, genre-hopping albums." Subsequent recordings have also been regarded as trendsetting; notably the dark, rebellious nature of The Velvet Rope, sonic template of All for You, theme of Damita Jo, and "hybrid electronic" sound of Discipline. She has been described to provide a template for modern dance-pop and "nearly all worthwhile 21st century pop," having also "reshaped the sound and image of rhythm and blues" within the first decade of her career.

Jackson is a notable figure in music history, pictured here as a student's subject of research.

Jackson has changed her lyrical stance over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. Much of her success has been attributed to "a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge." David Ritz observed Jackson's music to derive solely from autobiography, noting her artistry to have "floated over a reservoir of secret pain." Her early lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar, author of She's a Rebel: The History of Women in Rock & Roll (2002), described Control as "an autobiographical tale about her life with her parents, her first marriage, and breaking free." Jessie Carney Smith of Encyclopedia of African American Popular Culture (2010) wrote: "she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ingénue to a grown-up, multi-talented celebrity."

Following "Someday is Tonight" and "Making Love in the Rain," Jackson began focusing on sexual and introspective themes. Shayne Lee observed her music throughout the following decade to place her among entertainment's "most sexually stimulating vocalists." Jackson stated, "Sex can, and, should be something very precious, pure and beautiful. The problem comes when you either seek to hide it or vulgarize it. I am being open, but not separating the sexual from the emotional or the romantic." Joshua Klein described Jackson to evolve "from innocence to experience, inspiring such carnal albums [...] which explored the bonds—figuratively and literally—of love and lust." "Free Xone" from The Velvet Rope portrayed same-sex relationships in a positive light, described by Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." Jackson commented, "I feel most people's sexuality is enormously complicated. That's what it means to be human." In later works, Jackson maintained carnality as a central theme, causing several albums to be banned in stores internationally. Clay Cane considered the content of subsequent albums to defy ageism and sexism, while Stephen Thomas Erlewine found her consistent inclusion of sex to lack ingenuity. In response, Jackson stated, "exploring—and liberating—my sexuality has been an ongoing discovery and theme... As an artist, that's not only my passion, it's my obligation."

Music videos and stage

Without formal training, Jackson began dancing in her youth, mimicking the choreography of musicals as she watched her reflection, and later became interested in street dancing. Janine Coveney of Billboard observed, "Jackson's musical declaration of independence launched a string of hits, an indelible production sound, and an enduring image cemented by groundbreaking video choreography and imagery that pop vocalists still emulate." In establishing her "sultry and aggressive choreography," Ria Nevada noted artists including Justin Timberlake, Britney Spears, and Usher to idolize Jackson's "style and originality," also influencing the dance styles of Shakira and Beyoncé. Qadree EI-Amin also observed artists to "pattern their performances after Janet's proven dance-diva persona." Jackson has brought numerous choreographers to prominence, such as Tina Landon, Travis Payne, Paula Abdul, and Marty Kudelka. She is a primary influence among professional dancers, with Blake McGrath considering her "the ultimate," and Jenna Dewan-Tatum saying, "every dancer's kind of goal or epitome, is to
dance with Janet."

Flash mob tributes "Rhythm Nation" in militant unisex attire.

Colin Jacobson observed Jackson's music videos to range from "big production pieces that feature Janet and a slew of dancers," to "quieter, more erotic content." Through her videos, Beretta E. Smith-Shomade observed Jackson to establish "an agency not assumed by many other artists—male or female, Black or White." Multiculturalism and sexuality have been a cornerstone of her videography. "Rhythm Nation" signifies racial and gender equality, as she and her dancers perform in identical uniforms while Jackson appears "asexually and almost anonymously in front of, but as one of the members of the group." Videos such as "If," exuding "lust and mystery," and "Runaway" draw cultural influence from the orient. Others, such as "Got 'til It's Gone" and "Together Again", explore African roots and the serengeti. Her videos have found rapport within the gay community; the dramatic imagery in "Rhythm Nation" leading to reenactments in gay clubs, while "Love Will Never Do (Without You)" explored the aesthetic of the male body from both the heterosexual female and gay male perspective. Additional themes include advanced technology ("If", "Doesn't Really Matter"), voyeurism ("Any Time, Any Place"), the supernatural ("Son of a Gun"), and science fiction ("Feedback"). She has received the MTV Video Vanguard Award and MTV Japan's Inspiration Award for her contributions to the art form, and became the first recipient of the MTV Icon tribute.

Her videos have contributed to a higher degree of sexual freedom among women. Jean M. Twenge noted 75% of women aged 18–24 to have experienced cunnilingus by the mid-1990s, in a notable increase from prior years. This was largely credited to videos such as Jackson's "If," in which she heavily implies oral sex, "pushing down on a man's head until he's in exactly the right position." Similarly, Paula Kamen in Her Way: Young Women Remake the Sexual Revolution (2000) stated, "in the early to mid-1990s, oral sex even reached mainstream music as politically charged demand of truly liberated women," citing Jackson as a notable artist simulating cunnilingus. She has been considered an icon of female liberation, with Elysa Gardner commending Jackson's "power and freedom in feminine sexuality–to reinforce the fact that we could be adorable and flirtatious and strong and assertive." However, accusations of cosmetic surgery, skin lightening, and hypersexual imagery have also led to her being viewed as conforming to a male-dominated view of sexuality. Adversely, she is considered an iconic figure to men, due to her provocative nature which "exudes femininity."

Drag performers reenacting Jackson's videos and various ensembles.

Through her concert tours, Jackson has been cited to expand entertainment standards, using elaborate theatrics, costumes, and athletic dance routines. Nicholas Barber stated, "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." Jet also reported, "Janet's innovative stage performances during her world tours have won her a reputation as a world-class performer." In reviewing her Rhythm Nation Tour, Nate Kelly wrote, "Jackson thrilled throngs with flawless dance routines, illusionist stunts, fireworks and rockets." Of her janet. World Tour, Robert Christgau stated, "I've never seen an arena spectacle to match it." Robert Hilburn considered the All for You Tour "tightly scripted and executed with the precision of a Broadway show," while Jackson's Rock Witchu Tour was titled a "pop spectacular." Her Number Ones: Up Close and Personal Tour deviated from full-scale theatrics, in favor of intimate, scaled-down settings. Critics noted this to often enhance her showmanship, providing "a warmth and a passion that wasn't always evident in stadium."

Of lip synching allegations, Thor Christensen reported, "she uses 'some' taped vocals to augment her live vocals. But she refused to say what percentage of her concert 'voice' is taped and how much is live." However, Michael MacCambridge commented, "Jackson was frequently singing along with her own pre-recorded vocals, to achieve a sound closer to radio versions of singles." David Massey noted this to occur in conjunction with her athletic style of dance, saying, "Janet is a dance artist, and to expect something different at a Janet show is outright insane." Chris Willman stated, "even a classically trained vocalist would be hard-pressed to maintain any sort of level of volume—or, more appropriately, 'Control'—while bounding up and down stairs and whipping limbs in unnatural directions at impeccable, breakneck speed." Of her Number Ones, Up Close and Personal Tour, Gerrick D. Kennedy remarked, "she placed the focus of her set squarely on showcasing her voice—it should be noted that she sang live for the nearly two-hour show, a rarity in today's pop music—and the legendary complex footwork that marked her [..] as pop royalty."."

Influences

Jackson describes Lena Horne as a profound inspiration, for entertainers of several generations as well as herself. Upon Horne's death, she stated, "[Horne] brought much joy into everyone's lives—even the younger generations, younger than myself. She was such a great talent. She opened up such doors for artists like myself." Similarly, she considers Dorothy Dandridge to be one of her idols. Jackson has declared herself "a very big Joni Mitchell fan", explaining, "Joni's songs spoke to me in an intimate, personal way." She holds reference for Tina Turner, stating, "Tina has become a heroic figure for many people, especially women, because of her tremendous strength." She has also named other socially conscious acts, such as Tracy Chapman, Sly and the Family Stone, U2, and Bob Dylan as sources of inspiration. In her early career, Jackson credited her brothers Michael and Jermaine as musical influences. According to Rolling Stone, other artists attributed as influences are The Ronettes, Dionne Warwick, Tammi Terrell, and Diana Ross.

Legacy

See also: List of awards and nominations received by Janet Jackson, Janet Jackson as gay icon, and List of artists influenced by Janet Jackson

Jackson performing on Number Ones, Up Close and Personal.

Jackson is among the top ten selling artists in contemporary music, ranked as the ninth most successful artist by Business Wire, and second most successful female artist. In her early career, she had striven to distance her career from that of her brother, Michael Jackson, while also overcoming her former image as a child star. Becoming "a bigger, and far hipper, star" in her prime; Joshua Klein argued, "few could have foreseen that Janet—Miss Jackson, if you're nasty—would one day replace Michael as true heir to the Jackson family legacy." Steve Huey observed Jackson to rival contemporaries Madonna and Michael Jackson, while publicly transitioning "from a strong, independent young woman to a sexy, mature adult." By forging her identity through her artistry and business ventures, she signed record breaking contracts estimated at $40 and $90 million, becoming the world's highest-paid musician twice in her career.

She had also played an essential role in crossing racial boundaries in entertainment, where black artists were once considered substandard. Maureen Mahon declared Jackson among the most notable artists "promoted from racialized black music to universal pop music in an economically driven process of racial transcendence." Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge (2000) documented Jackson to achieve financial breakthroughs in popular music, reaching "superstar status" in the process. She has been considered a primary female artist offering "viable creative, intellectual, and business paths for establishing and maintaining agency, lyrical potency, marketing and ownership." Her business savvy has been described to gain a level of autonomy, enabling "creative latitude and access to financial resources and mass-market distribution." As a model of reinvention, author Jessie Carney Smith stated, "Janet has continued to test the limits of her transformative power," receiving numerous accolades in music, touring, and film throughout her career.

Jackson's body of work has established templates for modern contemporary pop. In Bring the Noise: 20 Years of Writing About Hip Rock and Hip Hop (2011), Simon Reynolds described Jackson's collaborations with her record producers to reinvent the dance-pop genre, introducing a new sonic palate. She has also been identified as a leader in the development of contemporary R&B. In 2014, Time declared her the fifth most-obsessed over person on the internet, placing third in females and musicians. Fuse ranked her the third most-awarded artist in history. She has also received accolades for her philanthropy and activism; ranked second on LGBTeen.org's "10 Artists who have helped the LGBT movement." Jackson placed second on VH1's "50 Greatest Women of the Video Era," ranked seventh on "100 Greatest Women In Music" and tenth on "100 Sexiest Artists." She is the most awarded artist of the Billboard Music Awards, with 33 wins. Jackson is the only female artist in history to have 18 consecutive top ten singles on the Billboard Hot 100. The publication ranked her seventh on their 50th Anniversary's "All-Time Top Artists," being the third most successful female in the chart's history. In 2010, Billboard also ranked her the fifth most successful artist of the past 25 years on their R&B chart. She is the top overall artist, with 15 number ones, 27 top ten hits, and 33 consecutive top forty hits from 1985 to 2004. She ranks fourth on Hot Dance Club Songs, previously ranking second. In 2003, Jackson ranked as the sixth most successful female artist in the Guinness Book of British Hit Singles. She also has the most number one hits on Japan's Tokio Hot 100, with a record of twenty. She is among an elite group of musical acts, with Madonna, Aerosmith, Garth Brooks, and Eric Clapton, whom Billboard credits for "redefining the landscape of popular music." In 2014, Jackson was voted the "Queen of Pop" in a poll conducted by VH1.com.

Influence

Dancers imitating Jackson's choreography and fashion.

Jackson's artistry has inspired numerous performers. Several critics have considered her the "Queen of Pop." Tris McCall bestowed her "the direct forerunner of most current female pop stars." Rolling Out regarded her as "the measuring stick for virtually any singer-dancer that emerges," while NME also noted "pneumatic mini-Janets" to surface. She is a primary inspiration to Beyoncé, influencing the reinvention of her musical style and image; Britney Spears, inspired by "everything that she does," and Lady Gaga, who declared her "an unbelievable legend." She had also inspired Justin Timberlake and Jennifer Lopez to become entertainers. Other artists also include Rihanna, among her main influences and the first artist she felt relation to; Mariah Carey, stating, "anyone with that amount of talent and determination demands respect," Christina Aguilera, praising her as "an artist that will always be regarded as one of the best," and Pink, regarding her as a primary touring influence, in addition to Ariana Grande and Miley Cyrus, who had created dance routines to Jackson's music.

She has influenced European artists such as Robyn, who called her records a primary influence in Sweden, Cheryl Cole, and MNEK, in addition to Asian artists Girls' Generation, Wonder Girls, Utada Hikaru, Lee Hyori, Namie Amuro, and BoA. Brazilian and Venezuelan singers Kelly Key and Marger Sealey and Russian singer Nyusha have also expressed desire to emulate her. Jackson has garnered a following within rock music, influencing Panic! At the Disco, Deerhoof, Anti-Flag, Sleigh Bells, and The Black Keys, in addition to electronic artists Little Dragon, Grimes, and Armin van Buuren. Observing her to receive "huge attention in today's music community," Shea Kopp noted "countless reinterpretations of her work." Fabian Brathwaite remarked, "Anytime you see a choreographed dance troupe, a toned bare midriff, an elaborate music video, a blockbuster stage show, a film role between albums, or an ear microphone — Janet’s fingerprints are all over it."

Discography

Main article: Janet Jackson discography

• Janet Jackson (1982)
• Dream Street (1984)
• Control (1986)
• Janet Jackson's Rhythm Nation 1814 (1989)
• janet. (1993)
• The Velvet Rope (1997)
• All for You (2001)
• Damita Jo (2004)
• 20 Y.O. (2006)
• Discipline (2008)

Filmography

See also: Janet Jackson filmography and videography

• Poetic Justice (1993)
• Nutty Professor II: The Klumps (2000)
• Why Did I Get Married? (2007)
• Why Did I Get Married Too? (2010)
• For Colored Girls (2010)

Tours

• Rhythm Nation World Tour (1990)
• Janet World Tour (1993–95)
• The Velvet Rope Tour (1998–99)
• All for You Tour (2001–02)
• Rock Witchu Tour (2008)
• Number Ones, Up Close and Personal (2011)

Books

• True You: A Journey to Finding and Loving Yourself (2011)

See also

• Honorific nicknames in popular music
• List of best-selling music artists
• List of best-selling music artists in the United States
• List of artists who reached number one in the United States

References

Sources

• Brackett, Nathan. Hoard, Christian David. The New Rolling Stone Album Guide. Simon & Schuster, 2004. ISBN 0-7432-0169-8
• Cornwell, Jane. Janet Jackson. Carlton Books, 2002. ISBN 1-84222-464-6
• Cullen, Jim. Popular Culture in American History. Blackwell Publishing, 2001. ISBN 0-631-21958-7
• Cutcher, Jenai. Feel the Beat: Dancing in Music Videos. The Rosen Publishing Group, 2003. ISBN 0-8239-4558-8
• Dean, Maury. Rock-N-Roll Gold Rush. Algora Publishing, 2003. ISBN 0-87586-207-1
• DeCurtis, Anthony. Present tense: rock & roll and culture. Duke University Press, 1992. ISBN 978-0-8223-1265-9
• Gaar, Gillian G. She's a rebel: the history of women in rock & roll. Seal Press, 2002. ISBN 1-58005-078-6
• Gates, Henry Louis. Appiah, Anthony. Africana: The Encyclopedia of the African and African American. Basic Civitas Books, 1999. ISBN 0-465-00071-1
• Goren, Lilly. You've Come A Long Way, Baby: Women, Politics, and Popular Culture. University Press of Kentucky, 2009. ISBN 978-0-8131-2544-2
• Halstead, Craig. Cadman, Chris. Jacksons Number Ones. Authors On Line, 2003. ISBN 0-7552-0098-5
• Jaynes, Gerald David. Encyclopedia of African American Society. Sage Publications, 2005. ISBN 0-7619-2764-6
• Kramarae, Cheris. Spender, Dale. Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge. Routledge, 2000. ISBN 0-415-92091-4
• Mitoma, Judy. Mitoma, Judith. Zimmer, Elizabeth. Stieber, Dale Ann. Heinonen, Nelli. Shaw, Norah Zuniga. Envisioning dance on film and video. Routledge, 2002. ISBN 0-415-94171-7
• Reynolds, Simon. Press, Joy. The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll. Harvard University Press, 1996. ISBN 978-0-674-80273-5
• Ripani, Richard J. The New Blue Music: Changes in Rhythm & Blues, 1950–1999 University Press of Mississippi, 2006. ISBN 1-57806-862-2
• Smith, Jessie Carney. Notable Black American Women, Volume 2. Gale, 1996. ISBN 978-0-8103-9177-2
• Starr, Larry. Waterman, Christopher Alan. American Popular Music: The Rock Years. Oxford University Press, 2006. ISBN 978-0-19-530052-9
• Strong, Martin Charles. The Great Rock Discography: Complete Discographies Listing Every Track Recorded by More Than 1200 Artists. Canongate U.S., 2004. ISBN 1-84195-615-5
• Vincent, Rickey. Clinton, George. Funk: The Music, The People, and The Rhythm of The One. Macmillan, 1996. ISBN 0-312-13499-1

Further reading

• Bronson, Fred. The Billboard Book of Number One Hits. Billboard Books, 2003. ISBN 0-8230-7677-6
• Hyatt, Wesley. The Billboard Book of Number One Adult Contemporary Hits. Billboard Books, 1999. ISBN 0-8230-7693-8
• Warner, Jay. On this Day in Black Music History. Hal Leonard, 2006. ISBN 0-634-09926-4

External links

• Official website
• Janet Jackson at IMDb
• Janet Jackson at AllMusic