Janet Jackson

Janet Jackson
albums.[2] 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 distinguished on records chart.
She holds the record for the most consecutive top 10 hits
on the Billboard Hot 100 by a female artist with 18. In
2008, Billboard magazine released its list of the Hot 100
All-Time Top Artists, placing her at number seven, while
in 2010, ranking her fifth among the “Top 50 R&B/HipHop Artists of the Past 25 Years”. One of the world’s
most awarded artists, her longevity, records and achievements reflect her influence in shaping and redefining the
scope of popular music. She has been cited as an inspiration among numerous performers.

For her self-titled album, see Janet Jackson (album).
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 and film roles, she has been a prominent
figure in popular culture for over 25 years. The youngest
child of the Jackson family, she began her career with the
variety television series The Jacksons in 1976 and went on
to appear in other television shows throughout the 1970s
and early 1980s, including Good Times and Fame.
After signing a recording contract with A&M Records
arranged by her father and manager Joseph Jackson in
1982, she became a pop icon following the release of
her third studio album Control (1986). Her collaborations with record producers Jimmy Jam and Terry Lewis
incorporated elements of rhythm and blues, funk, disco,
rap, and industrial beats, which led to crossover success
in popular music. In addition to receiving 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.

1 Life and career
1.1 1966–85: Early life and career beginnings
Janet Jackson was born in Gary, Indiana, the youngest of
ten children, to Katherine Esther (née Scruse) and Joseph
Walter Jackson.[3] The Jacksons were lower-middle class
and devout Jehovah’s Witnesses, although Jackson would
later refrain from organized religion.[4] At a young age,
her brothers began performing as The Jackson 5. In
March 1969, the group signed a record deal with Motown,
and soon had their first number-one hit. The family then
moved to the Encino neighborhood of Los Angeles.[3]
Jackson had initially desired to become a horse racing
jockey or entertainment lawyer, with plans to support
herself through acting. Despite this, she was anticipated
to pursue a career in entertainment, and considered the
idea after recording herself in the studio.[3] At age seven,
Jackson performed at the Las Vegas Strip at the MGM
Casino.[3] A biography revealed her father, Joseph Jackson, was emotionally withdrawn, and told her to address
him solely by his first name as a child.[3] She began acting in the variety show The Jacksons in 1976.[3] In 1977,
she was selected to have a starring role as Penny Gordon
Woods in the sitcom Good Times.[3] She later starred in
A New Kind of Family and later got a recurring role on
Diff'rent Strokes, portraying Charlene Duprey from Seasons 3 to 6.[3] Jackson also played the role of Cleo Hewitt
during the fourth season of Fame, but expressed indifference towards the series.[5][6] Jackson states her ethnicity
is African American and Native American.[7]

In 1991, she signed the first of two record-breaking,
multimillion-dollar contracts with Virgin Records, establishing her as one of the highest paid artists in the industry. Her debut album under the label, Janet (1993), saw
her develop a public image as a sex symbol as she began
to explore sexuality in her work. That same year, she appeared in her first starring film role in Poetic Justice; since
then she has continued to act in feature films. By the end
of the 1990s, she was named the second most successful
recording artist of the decade. The release of her seventh
studio album All for You (2001) coincided with a celebration of her impact on popular music as the inaugural MTV
Icon. After parting ways with Virgin she released her
tenth studio album Discipline (2008), her first and only
album with Island Records. In 2015, she partnered with
BMG Rights Management to launch her own record label, Rhythm Nation Records. She received a nomination
for induction into the Rock and Roll Hall of Fame the
same year.
Having sold over 160 million records, she is ranked as one
of the best-selling artists in the history of contemporary
music.[1] The Recording Industry Association of America (RIAA) lists her as the eleventh best-selling female
artist in the United States, with 26 million certified

When Jackson was sixteen, her father and manager
1

2

1 LIFE AND CAREER
ers Jimmy Jam and Terry Lewis. They set out to achieve
crossover pop appeal, while also creating a strong foundation within the urban market.[12] Within six weeks, Jackson and the duo crafted her third studio album, Control,
released in February 1986.[13] The album peaked at number one on the Billboard 200, and was certified fivefold platinum by the RIAA, selling over fourteen million
copies worldwide.[8][14]
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 Donna Summer's position of “unwilling to accept
novelty status and taking her own steps to rise above
it.”[15][16][17] The album 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
a top fifteen hit with "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, most notably “Album of the Year”.[18] It also
won four American Music Awards from twelve nominations, an unbroken record.[19][20][21] At this point, Jackson was successfully “shaking off the experience of being
a shadow Jackson child”, becoming “an artist in her own
right”.[22]

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

The album’s lyrical content included several themes of
empowerment, inspired by an incident of sexual harassment, with Jackson recalling “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.”[23] Its innovative
fusion of dance-pop and industrial music with hip-hop
and R&B undertones influenced the development of the
new jack swing genre by bridging the gap between the
latter two styles.[24] The album’s music videos became infamous on MTV, also obtaining a then-unknown Paula
Abdul a recording contract for her choreography work
with Jackson.[25] 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.”[13]

Joseph Jackson, arranged her a contract with A&M
Records.[3] Her debut album, Janet Jackson, was released
in 1982. It was produced by Angela Winbush, René
Moore, Bobby Watson of Rufus (band) and Leon F.
Sylvers III, and overseen by her father Joseph.[3] It peaked
at number sixty-three on the Billboard 200, and number
six on the publication’s R&B albums chart, receiving little promotion.[8] Jackson’s second album, Dream Street,
was released two years later.[3] Dream Street reached onehundred forty-seven on the Billboard 200, and number
nineteen on the R&B albums chart.[8] The lead single
"Don't Stand Another Chance" peaked at number nine
on Billboard 's R&B singles chart.[9] Both albums consisted primarily of bubblegum pop music.[10] Jackson
eloped with singer James DeBarge in 1984, divorcing
shortly afterwards, with the marriage annulled the follow- 1.3
ing year.[11]

1.2

1986–88: Control

After her second album, Jackson terminated business affairs with her family, commenting “I just wanted to get
out of the house, get out from under my father, which
was one of the most difficult things that I had to do.”[6]
Attempting a third album, Jackson teamed with produc-

1989–92: Janet Jackson’s Rhythm Nation 1814

Jackson released her fourth album, Rhythm Nation 1814,
in September 1989. Although her record label desired a
direct sequel to Control, Jackson chose to include a socially conscious theme among various musical styles.[26]
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.”[27] The album’s central theme of

1.4

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

3

unity was developed in response to various crimes and tract under A&M Records fulfilled in 1991, she signed a
tragedies reported in the media.[28]
multimillion-dollar deal with Virgin Records—estimated
her
Peaking at number one on the Billboard 200, the album between thirty-two to fifty million dollars—making
[44][45]
the
highest
paid
recording
artist
at
the
time.
The
was certified sixfold platinum by the RIAA and sold over
also established her reputation as the
fourteen million copies internationally.[8][14] Rolling Stone recording contract
[46]
"Queen
of
Pop.”
In 1992, Jackson provided guest voobserved Jackson’s artistic growth shifted from “personal
cals
on
Luther
Vandross's
"The Best Things in Life Are
freedom to more universal concerns—injustice, illiterbecoming
a
top
ten
Billboard hit and reaching the
Free",
[29]
acy, crime, drugs—without missing a beat.”
The altop ten internationally.[47]
bum was also considered “the exclamation point on her
career”, consisting of a “diverse collection of songs flowing with the natural talent Jackson possesses”, which 1.4 1993–96: Janet, Poetic Justice, and Deeffectively “expanded Janet’s range in every conceivsign of a Decade
able direction”, being “more credibly feminine, more
crucially masculine, more viably adult, more believably
childlike.”[30] 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.[31] Famous for its choreography and warehouse setting, the “Rhythm Nation” video is considered one of the
most iconic and popular in history, with Jackson’s military ensemble also making her a fashion icon.[32] The
video for Love Will Never Do (Without You) is notable
for being the first instance of Jackson’s 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.[33][34][35] The long-form “Rhythm Nation” music video won a Grammy Award.[36]
Jackson’s Rhythm Nation World Tour 1990 became the
most successful debut tour in history and set a record for
the fastest sell-out of Japan’s Tokyo Dome.[37] She established the “Rhythm Nation Scholarship,” donating funds
from the tour to various educational programs.[38][39] As
Jackson began her tour, she was acknowledged for the
cultural impact of her music. Joel Selvin of the San Francisco Chronicle wrote “the 23-year-old has been making
smash hit records for four years, becoming a fixture on
MTV and a major role model to teenage girls across the
country”, and William Allen, then-executive vice president of the United Negro College Fund, told the Los
Angeles Times, “Jackson is a role model for all young
people to emulate and the message she has gotten to
the young people of this country through the lyrics of
'Rhythm Nation 1814' is having positive effects.”[40][41]
She also received a star on the Hollywood Walk of Fame
in recognition of her impact on the recording industry
and philanthropic endeavors.[42] The massive success experienced by Jackson placed her in league with Michael
Jackson, Madonna, and Tina Turner for her achievements
and influence.[43] Ebony magazine remarked: “No individual or group has impacted the world of entertainment
as have Michael and Janet Jackson,” arguing that despite many imitators, few could surpass Jackson’s “stunning style and dexterity.”[44] With her recording con-

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

Jackson’s fifth studio album Janet, stylized as janet. and
read “Janet, period”, was released in May 1993. The
record opened at number one on the Billboard 200, making Jackson the first female artist in the Nielsen SoundScan era to do so.[8][48] Certified sixfold platinum by the
RIAA, it sold over 20 million copies worldwide.[14][49]
Janet spawned five singles and four promotional singles,
receiving various certifications worldwide. Lead single
"That’s the Way Love Goes" won the Grammy Award for
Best R&B Song and topped the Billboard Hot 100 for
eight consecutive weeks.[50] "Again" reached number one
for three weeks, while "If" and "Any Time, Any Place"
peaked in the top four. "Because of Love" and "You Want
This" charted within the top ten.
The album experimented with a diverse number of genres, including contemporary R&B, deep house, swing
jazz, hip hop, rock, and pop, with Billboard describing each as being “delivered with consummate skill and

4
passion.”[51] Jackson took a larger role in songwriting and
production than she did on her previous albums, explaining she found it necessary “to write all the lyrics and
half of the melodies” while also speaking candidly about
incorporating her sexuality into the album’s content.[23]
Rolling Stone wrote "[a]s princess of America’s black
royal family, 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, as she does on her new album, Janet., it’s a cultural moment.”[52]
In July 1993, Jackson made her film debut in Poetic
Justice. While the film was critically panned, her performance was described as “beguiling” and “believably
eccentric.”[53][54] Jackson’s ballad “Again”, which was
written for the film, received Golden Globe and Academy
Award nominations for “Best Original Song.”[55][56] 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.[57] The Vancouver Sun reported, “Jackson, 27, remains clearly established as both role model and sex symbol; the Rolling
Stone photo of Jackson ... became one of the most recognizable, and most lampooned, magazine covers.”[58] The
Janet World Tour launched in support of the studio album garnered criticism for Jackson’s lack of vocal proficiency and spontaneity, but earned critical acclaim for
her showmanship. It was described as erasing the line
between “stadium-size pop music concerts and full-scale
theatrical extravaganzas.”[59]

Jackson performing during one of the dates of her 1993–95 Janet
World Tour

During this time, her brother Michael was immersed
in a child sex abuse scandal, of which he denied any
wrongdoing.[60] She provided moral support, defending
her brother, and denied abuse allegations regarding her
parents made by her sister La Toya.[61] She collaborated
with Michael Jackson on "Scream", the lead single from
his album HIStory, released 1995. The song was written by both siblings as a response to media scrutiny.[62]

1 LIFE AND CAREER
It debuted at number five on the Hot 100 singles chart,
becoming the first song ever to debut within the top five.
“Scream” is listed in Guinness World Records as the “Most
Expensive Music Video Ever Made”, costing $7 million.
The clip won the 1995 Grammy Award for Best Short
Form Music Video.[36]
Jackson’s first compilation album, Design of a Decade:
1986–1996, was released in 1995. It peaked at number
three on the Billboard 200.[8] The lead single, "Runaway",
became the first song by a female artist to debut within
the top ten of the Hot 100, reaching number three.[63][64]
Design of a Decade 1986/1996 was certified double
platinum by the RIAA and sold ten million copies
worldwide.[14] Jackson’s influence in pop music continued to garner acclaim, as The Boston Globe 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?"[65]
Jackson renewed her contract with Virgin Records for
a reported $80 million the following year.[66] The contract established her as the then-highest paid recording
artist in history, surpassing the recording industry’s thenunparalleled $60 million contracts earned by Michael
Jackson and Madonna.[67][68][69]

1.5 1997–99: The Velvet Rope
Jackson began suffering from severe depression and anxiety, leading her to chronicle the experience in her sixth
album, The Velvet Rope, released October 1997. Jackson returned with a dramatic change in image, boasting vibrant red hair, nasal piercings, and tattoos.[70] The
album is primarily centered on the idea that everyone
has an intrinsic need to belong. Aside from encompassing lyrics relating to social issues such as same-sex relationships, homophobia and domestic violence, it also
contains themes of sadomasochism and is considered far
more sexually explicit in nature than her previous release,
Janet.[6] The record was hailed as “her most daring, elaborate and accomplished album” by The New York Times,
while Billboard ranked it as “the best American album of
the year and the most empowering of her last five.”[71][72]
The album debuted at number one on the Billboard 200
and was certified triple platinum, selling over ten million
worldwide.[14]
Lead single "Got 'til It’s Gone" was released in August 1997, featuring guest vocals from folk singer Joni
Mitchell and rapper Q-Tip. The song’s music video, depicting a pre-Apartheid celebration, won the Grammy
Award for Best Short Form Music Video.[36] "Together
Again" became Jackson’s eighth number-one hit on the
Billboard Hot 100, placing her on par with Elton John,
Diana Ross, and The Rolling Stones.[50] It spent a record
forty-six weeks on the Hot 100 and nineteen weeks on
the United Kingdom’s singles chart.[50] It sold six million

1.6

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

copies worldwide, becoming one of the best-selling singles of all time. "I Get Lonely" peaked at number three
on the Hot 100, and received a Grammy nomination for
Best Female R&B Vocal Performance.[73] As Jackson’s
eighteenth consecutive top ten hit, it made her the only
female artist to garner that achievement, surpassed only
by Elvis Presley and The Beatles.[74] Several other singles
were released, including "Go Deep" and ballad "Every
Time", which was controversial for the nudity displayed
in its music video.[75]

5

fitting that the concert program credits her as the show’s
'creator and director'.”[79] The tour’s HBO special, The
Velvet Rope: Live in Madison Square Garden, garnered
more than fifteen million viewers. It surpassed the ratings
of all four major networks among viewers subscribed to
the channel.[80] The concert won an Emmy Award from
a total of four nominations.[81] Jackson donated a portion of the tour’s sales to America’s Promise, an organization founded by Colin Powell to assist disenfranchised
youth.[82]
As the tour concluded, Jackson lent guest vocals to several collaborations, including Shaggy’s "Luv Me, Luv
Me", used for the film How Stella Got Her Groove
Back, as well as "Girlfriend/Boyfriend" with Teddy Riley's group Blackstreet, and "What’s It Gonna Be?!"
with Busta Rhymes. The latter two music videos are
both among the most expensive music videos ever produced, with “What’s It Gonna Be?!" becoming a numberone hit on the Billboard Hip-Hop Singles and Hot Rap
Tracks charts, reaching the top three of the Hot 100.
Jackson also contributed the ballad “God’s Stepchild” to
the Down in the Delta soundtrack. Jackson 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 1999 World Music Awards, Jackson received the Legend Award for “outstanding contribution to
the pop industry”.[83] Billboard ranked Jackson as the second most successful artist of the decade, behind Mariah
Carey.[84]

1.6 2000–03: Nutty Professor II: The
Klumps and All for You
Jackson performing on August, 1998, as part of her Velvet Rope
Tour

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
an “anti-homophobia track”, were praised for their lyrical
context, in addition to Jackson’s lesbian reinterpretation
of Rod Stewart's "Tonight’s the Night".[76][77] The Velvet Rope received an award for “Outstanding Music Album” at the 9th Annual GLAAD Media Awards and was
honored by the National Black Lesbian and Gay Leadership Forum.[78] A portion of the proceeds from “Together Again” were donated to the American Foundation
for AIDS Research.[50]
Jackson embarked on The Velvet Rope World Tour,
traveling to Europe, North America, Asia, Africa,
New Zealand, and Australia. The tour received praise
for its theatrics, choreography, and Jackson’s vocal
performance.[79] It was likened to “the ambition and
glamour of a Broadway musical”, and exclaimed as “only

In July 2000, Jackson appeared in her second film, Nutty
Professor II: The Klumps, as the role of Professor Denise
Gaines, opposite Eddie Murphy. Director Peter Segal
stated “Janet Jackson was a natural fit, and an obvious
choice.”[85] The film became her second to open at number one, grossing an estimated total of nearly $170 million worldwide.[86][87] Jackson’s single "Doesn't Really
Matter", used for the film’s soundtrack, became her ninth
number-one single on the Hot 100. The same year, Jackson’s husband Rene Elizondo Jr. filed for divorce, revealing their private marriage to the public. Entertainment
Weekly reported for eight of the thirteen years she and
Elizondo had been acquainted, "[they] were married—a
fact they managed to hide not only from the international
press but from Jackson’s own father.”[88] Elizondo filed
a multimillion-dollar lawsuit against her, estimated between $10–25 million, which did not reach a settlement
for three years.[88][89]
Preceding the release of her seventh album, MTV honored Jackson with the network’s inaugural "MTV Icon"
ceremony, honoring her “significant contributions to music, music video and pop culture while tremendously impacting the MTV generation.” The event paid tribute

6
to Jackson’s career and influence, including commentary from Britney Spears, Jennifer Lopez, Aaliyah, and
Jessica Simpson, and performances by 'N Sync, Pink,
Destiny’s Child, Usher, Buckcherry, and Outkast.[90]
The American Music Awards also honored Jackson
with the Award of Merit for “her finely crafted, critically acclaimed and socially conscious, multi-platinum
albums.”[91] Jackson’s seventh album, All for You, was
released in April 2001. It opened at number one on the
Billboard 200 with 605,000 copies sold, the highest firstweek sales of her career, and among the highest first-week
sales by a female artist in history.[8][92] The album was a
return to an upbeat dance style, receiving generally positive reception. Jackson received praise for indulging in
“textures as dizzying as a new infatuation”, in contrast
to other artists attempting to “match the angularity of
hip-hop” and following trends.[93] All for You was certified double platinum by the RIAA and sold nine million
copies worldwide.[14][94]
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.[95] 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.[95] The song broke the overall airplay debut record with a first week audience of seventy million,
debuting at number nine on the Radio Songs chart.[96] It
topped the Hot 100 for seven weeks, also reaching the top
ten in eleven countries.[97] The song received a Grammy
Award for Best Dance Recording.[36] "Someone to Call
My Lover" peaked at number three on the Hot 100.[98]
Built around a sample of the iconic 1972 hit "You're So
Vain" by Carly Simon, "Son of a Gun (I Betcha Think
This Song Is About You)" featured Simon herself, along
with Missy Elliott on remixes of the single.
In July 2001, Jackson embarked on the All for You Tour,
which was also broadcast on a concert special for HBO
watched by twelve million viewers.[99] The tour traveled
throughout the United States and Japan, although European and Asian dates were required to be canceled following the September 11 terrorist attacks. The Los Angeles Times complimented Jackson’s showmanship.[100]
Richard Harrington of the Washington Post said Jackson’s performance surpassed her contemporaries,[101] but
Bob Massy of Spin thought her dancers “threw crisper
moves” and her supporting singers were mixed nearly
as high, though declared “Janet cast herself as the real
entertainment.”[102] Jackson donated a portion of the
tour’s proceeds to the Boys & Girls Clubs of America.[103]

1 LIFE AND CAREER
collaborated with reggae artist Beenie Man for the song
"Feel It Boy", produced by The Neptunes.

1.7 2004–05: Super Bowl XXXVIII controversy and Damita Jo
Main article:
controversy

Super Bowl XXXVIII halftime show

Jackson was chosen by the National Football League and
MTV to perform at the Super Bowl XXXVIII halftime
show in February 2004. Jackson performed a medley
of “All for You”, “Rhythm Nation”, and an excerpt of
“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. Jackson issued
an apology after the performance, 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.[107] She commented, “I am really sorry if I offended anyone. That was truly not my
intention ... MTV, CBS, the NFL had no knowledge of
this whatsoever, and unfortunately, the whole thing went
wrong in the end.”[108] Timberlake also issued an apology, calling the accident a "wardrobe malfunction.”[107]
The incident became the most recorded and replayed moment in TiVo history, enticing an estimated 35,000 new
subscribers.[109][110] Regarded as one of the most controversial television events in history, Jackson was later
listed in Guinness World Records as the “Most Searched
in Internet History” and the “Most Searched for News
Item”.[111] CBS, the NFL, and MTV (CBS’s sister network, which produced the halftime 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.[112]
Following the incident, CBS permitted Timberlake to
appear at the 46th Grammy Awards ceremony but did
not allow Jackson to attend, forcing her to withdraw after being scheduled as a presenter.[113] The controversy
halted plans for Jackson to star in the biographical film
of singer and activist Lena Horne, which was to be produced by American Broadcasting Company. Although
Horne was reportedly displeased by the incident, Jackson’s representatives stated she withdrew from the project
willingly.[114] A Mickey Mouse statue wearing Jackson’s
iconic “Rhythm Nation” outfit was mantled at Walt Disney World theme park the previous year to honor Jackson’s legacy, but was removed following Jackson’s controversial performance.[115]

The following year, Jackson began receiving media attention for her rumored relationships with Justin Timberlake, actor Matthew McConaughey, and record producer
Jermaine Dupri.[104][105][106] Upon the release of Timberlake’s debut solo album Justified, Jackson provided vocals
on "(And She Said) Take Me Now” per Timberlake’s re- Jackson’s eighth studio album Damita Jo, titled after
quest, with the song initially planned as a single. Jackson Jackson’s middle name, was released in March 2004. It

1.8

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

7
were blacklisted by pop radio—they were also the album’s biggest highlights—the electronic guitar studded
"Just a Little While", Motown-influenced "I Want You"
and the funky, heavily dance orientated "All Nite (Don't
Stop)".[125] “I Want You” was certified platinum and received a Grammy nomination.[126]

For the album’s promotion, Jackson appeared as a host
on Saturday Night Live, performing two songs, and was
also a guest star on sitcom Will & Grace, portraying
herself.[127] Jackson received several career accolades
upon the album’s release, including the “Legend Award”
at the Radio Music Awards, “Inspiration Award” from
the Japan Video Music Awards, “Lifetime Achievement
Award” at the Soul Train Music Awards, and a Teen
Choice Awards nomination for “Favorite Female.” In
November 2004, Jackson was honored as a role model by
100 Black Men of America, Inc., presented with the organization’s Artistic Achievement Award saluting “a career that has gone from success to greater success’.”[128]
In response to criticism for honoring Jackson in light of
the Super Bowl incident, the organization responded “an
individual’s worth can't be judged by a single moment in
that person’s life.”[129][130] In June 2005, she was honored
with a Humanitarian Award by the Human Rights CamJackson and Timberlake photographed after the Super Bowl paign and AIDS Project Los Angeles as recognition for
XXXVIII halftime show incident
her involvement in raising money for AIDS charities.[131]
debuted at number two on the Billboard 200.[8][116] The 1.8
album received mixed to positive reviews, praising the
sonic innovation of selected songs and Jackson’s vocal
harmonies, while others criticized its frequent themes
of carnality.[117] However, several critics’ reviews focused on the Super Bowl incident, rather than critiquing
the album itself.[118] It was certified platinum by the
RIAA within a month, and sold over three million copies
worldwide.[14][119]
The album’s performance was largely affected by public backlash and the blacklisting from radio and music channels. Conglomerates involved in the boycott include Viacom and CBS, subsidiaries MTV, Clear Channel Communications, and Infinity Broadcasting, the latter two among the largest radio broadcasters.[120][121] The
blacklist was placed into effect preceding the release of
Damita Jo and continued throughout the course of Jackson’s following two albums. A senior executive for entertainment conglomerate Viacom, which owns MTV, VH1,
and many radio formats, commented 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.”[122]
Prior to the incident, Damita Jo was expected to outsell prior release All for You.[123] Its three singles received positive reviews, but failed to achieve high chart
positions, although each were predicted to perform extremely well under different circumstances.[124] Billboard
reported that Damita Jo “was largely overshadowed by the
Super Bowl fiasco,” saying "[t]he three singles it spawned

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

Jackson with the winners of the “Design Me” contest held for her
ninth studio album, 20 Y.O.

Jackson began recording her ninth studio album, 20
Y.O., in 2005. She recorded with producers Dupri,
Jam and Lewis for several months during the following year. The album’s title was a reference to the two
decades since the release of her breakthrough album Control, representing the album’s “celebration of the joyful liberation and history-making musical style.”[132] To
promote the album, Jackson appeared in various magazines, and performed on the Today Show and Billboard
Awards. Jackson’s Us Weekly cover, revealing her slim
figure after heavy media focus was placed on her fluctu-

8

1 LIFE AND CAREER

ations in weight, became the magazine’s best-selling issue in history.[133] 20 Y.O. was released in September
2006 and debuted at number two on the Billboard 200.[8]
The album received mixed reviews, with multiple critics
chastising the production and involvement of Jermaine
Dupri.[134] Rolling Stone disagreed with the album’s reference to Control, saying “If we were her, we wouldn't
make the comparison.”[134]
Jackson’s airplay and music channel blacklist remained
persistent, massively affecting her chart performance
and exposure.[120][135] However, lead single "Call on
Me", which featured rapper Nelly, peaked at number
twenty-five on the Hot 100, number one on the Hot
R&B/Hip-Hop Songs chart, and number six in the United
Kingdom.[73] The video for the album’s second single,
"So Excited", was directed by Joseph Kahn and portrayed Jackson’s clothes disappearing through a complex dance routine. 20 Y.O. was certified platinum by
the RIAA and sold 1.2 million worldwide, also receiving a Grammy nomination for Best Contemporary R&B
Album.[14][136][137] After the album’s release, Dupri was
condemened for his production and misguidance of the
album, and subsequently was removed from his position at Virgin Records.[138] Slant Magazine stated, “After
promising a return to Janet’s dance-pop origins, [Dupri] Jackson performing during the Rock Witchu Tour
opted to aim for urban audiences, a colossal mistake that
cost Dupri his job and, probably, Janet her deal with
Virgin.”[139]
the gay community.[78] The organization’s president comJackson was ranked the seventh richest woman in the en- mented, “Ms. Jackson has a tremendous following inside
tertainment industry by Forbes, having amassed a fortune the LGBT community and out, and having her stand with
of over $150 million.[140] In 2007, she starred opposite us against the defamation that LGBT people still face in
[78]
Tyler Perry as a psychotherapist in the film Why Did I our country is extremely significant.”
Get Married?. It became her third consecutive film to Jackson’s fifth concert tour, the Rock Witchu Tour, beopen at number one at the box office, grossing $60 mil- gan in September 2008.[148] Jackson parted with Islion in total.[141] Jackson’s performance was praised for its land Records through mutual agreement. Billboard dis“soft authority”, though also described as “charming, yet closed Jackson was dissatisfied with LA Reid's hanbland”.[142][143] In February 2008, Jackson won an Image dling of the album and its promotion, saying “the label
Award for “Outstanding Supporting Actress in a Motion agreed to dissolve their relationship with the artist at her
Picture” for the role.[144] Jackson was also approached to request.”[149][150] Producer Rodney Jerkins expressed “I
record the lead single for the film Rush Hour 3.[145]
felt like it wasn't pushed correctly.... She just didn't get
her just-do as an artist of that magnitude.”[151]

1.9

2008–09: Discipline and Number Ones

Jackson signed with Island Records after her contract
with Virgin was fulfilled. She interrupted plans for
touring and began recording with various producers, including Rodney “Darkchild” Jerkins, Tricky Stewart,
and Stargate.[146] Her tenth studio album, Discipline,
was released in February 2008, opening at number
one.[8] Despite radio blacklisting, the album’s first single "Feedback" peaked at number nineteen on the Hot
100 and nine on Pop Songs, her highest charting single
since "Someone to Call My Lover".[73][147] The second
single, "Rock With U", peaked at number four in the
United Kingdom. Jackson was awarded the Vanguard
Award at the 19th annual GLAAD Media Awards, honoring her contributions in promoting equal rights among

In June 2009, Jackson’s brother Michael died at age fifty.
She spoke publicly concerning his death at the 2009 BET
Awards, stating “I'd just like to say, to you, Michael is
an icon, to us, Michael is family. And he will forever
live in all of our hearts. On behalf of my family and myself, thank you for all of your love, thank you for all of
your support. We miss him so much.”[152] In an interview, she revealed she had first learned of his death while
filming Why Did I Get Married Too?. Amidst mourning
with her family, she focused on work to deal with the
grief, avoiding any news coverage of her sibling’s death.
She commented, “it’s still important to face reality, and
not that I'm running, but sometimes you just need to get
away for a second.”[153] During this time, she ended her
seven-year relationship with Jermaine Dupri.[153] Several
months later, Jackson performed a tribute to Michael at

1.10

2010–14: Film projects, True You, concert tour, and philanthropy

9

the 2009 MTV Video Music Awards, performing their performance earned Black Reel Awards nominations in
duet “Scream”.[154] MTV stated “there was no one bet- the categories of Outstanding Supporting Actress and
ter than Janet to anchor it and send a really powerful Outstanding Ensemble.[173]
message.”[155] The performance was lauded by critics,
with Entertainment Weekly affirming the rendition “as energetic as it was heartfelt”.[156]
Jackson’s second hits compilation, Number Ones, was
released in November 2009. For promotion, she performed a medley of hits at the American Music Awards,
Capital FM's Jingle Bell Ball at London’s O2 arena, and
The X-Factor.[157][158] The album’s promotional single
"Make Me", produced with Rodney “Darkchild” Jerkins,
debuted in September.[159] It became Jackson’s nineteenth number one on the Hot Dance Club Songs chart,
making her the first artist to have number-one singles
in four separate decades.[160] Later that month, Jackson
chaired the inaugural benefit of amfAR, The Foundation
for AIDS Research, held in Milan in conjunction with
fashion week. The foundation’s CEO stated “We are profoundly grateful to Janet Jackson for joining amfAR as a
chair of its first event in Milan.... She brings incomparable grace and a history of dedication to the fight against
AIDS.”[161] The event raised a total of $1.1 million for
the nonprofit organization.

1.10 2010–14: Film projects, True You,
concert tour, and philanthropy
In April 2010, Jackson reprised her role 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.[162] Jackson’s performance was hailed as “invigorating and oddly funny”, and praised for her “willingness to be seen at her most disheveled”.[163][164] Her performance earned an Image Award for “Outstanding Actress in a Motion Picture”.[165] Jackson recorded the film’s
theme, "Nothing", released as a promotional single.[166]
The song was performed on the ninth season finale of
American Idol along with “Again” and “Nasty”.[167] In
July, Jackson modeled for the Blackglama clothing line
featuring mink fur.[168] Jackson then helped design a signature line of clothing and accessories for Blackglama,
to be sold at Saks Fifth Avenue and Bloomingdales.[169]
Universal Music released the hits compilation Icon: Number Ones as the debut of the Icon compilation series.
In November 2010, Jackson starred as Joanna in the
drama For Colored Girls, the film adaptation of Ntozake
Shange's 1975 play For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf. The Wall Street
Journal stated Jackson “recites verses written by Ntozake
Shange, the author of the play that inspired the film
... But instead of offering up a mannered coffeehouse
reading of the lines, Jackson makes the words sound
like ordinary—though very eloquent—speech.”[170] Jackson’s portrayal the film was likened to Meryl Streep as
Miranda Priestly in The Devil Wears Prada.[171][172] Her

Jackson performing during the Number Ones, Up Close and Personal tour

Jackson announced plans to embark on her largest world
tour in support of her second hits collection, Number
Ones.[174] The tour, entitled Number Ones, Up Close
and Personal, held concerts in thirty-five global cities,
selected by fans who submitted suggestions on her official website.[174][174] During the tour, Jackson performed
thirty-five number one hits and dedicated a song to each
city.[174] Mattel released a limited-edition Barbie of Jackson titled “Divinely Janet”, auctioned for over $15,000,
with proceeds donated to Project Angel Food.[175] Jackson released the self-help book True You: A Journey
to Finding and Loving Yourself in February 2011, cowritten with David Ritz. It chronicled her struggle with
weight and confidence, also publishing letters from fans.
It topped The New York Times ' Best Seller list the following month.[176] Additionally, she signed a film production contract with Lions Gate Entertainment to “select,
develop and produce a feature film for the independent
studio.”[177]
Jackson became the first female pop singer to perform at the I. M. Pei glass pyramid at the Louvre Museum, raising contributions for the restoration of iconic
artwork.[178][179] Jackson was selected to endorse fashion line Blackglama for a second year, being the first
celebrity in the line’s history chosen to do so.[180] She
partnered with the label to release a fifteen-piece collection of luxury products.[181] In 2012, Jackson endorsed
Nutrisystem, sponsoring their weight-loss program after
struggling with weight fluctuations in the past.[182] With
the program, she donated ten million dollars in meals to
the hungry.[182] She was honored by amfAR for her contributions to AIDS research when chairing the Cinema
Against AIDS gala during the Cannes Film Festival.[183]
She also participated in a public service announcement
for UNICEF to help starving children.[184] In February
2013, Jackson announced she was married to her third
husband, Qatari billionaire Wissam Al Mana, during a

10
private ceremony the previous year.[185]

1.11 2015: Rhythm Nation Records and
Unbreakable
On May 16, 2015, Jackson announced plans to release a new album and to embark on a world concert
tour.[186][187] She outlined her intention to release her
new album in the fall of 2015 under her own record label, Rhythm Nation Records, distributed by BMG Rights
Management.[188] The launch of Rhythm Nation established Jackson as one of the few African-American female musicians to own a record label.[189] On June 15,
2015, Jackson announced the first set of dates for the
North American leg of her Unbreakable World Tour.[190]
On June 22, the lead single "No Sleeep" was released
from the album.[191] Jackson’s solo version of the single
debuted on the Hot 100 at number 67, marking her 40th
entry on the chart.[192] The song went to number 1 on the
Billboard + Twitter Trending 140 immediately following
the release.[193] The album version featuring J. Cole enabled it to re-enter the Hot 100 with a new peak position
at number 63, while also topping the Adult R&B Songs
chart.[194][195]
BET presented Jackson with their inaugural Ultimate
Icon: Music Dance Visual award at the BET Awards
2015, which also featured a dance tribute to her performed by Ciara, Jason Derulo and Tinashe.[196] It was
announced she would launch a luxury jewelery line called
the “Janet Jackson Unbreakable Diamonds collection,”
a joint venture between herself and Paul Raps New
York.[197] On August 20, she released a preview of a new
song “The Great Forever,” while also confirming the title of her eleventh studio album as Unbreakable.[198][199]
Jimmy Jam and Terry Lewis stated that Jackson’s concept for the album was developed simultaneously with
the accompanying tour’s production and that its composition will differ from the majority of her catalog. They
also stated that the album’s theme reflects “being able to
be vulnerable and to be able to withstand what comes to
you,” drawing on Jackson’s experiences over the past several years.[200] The album’s title track "Unbreakable" was
released on September 3, 2015, debuting on Apple Music's Beats 1 radio station, hosted by Ebro Darden. The
album was also made available for pre-order on iTunes
the same day.[201] "Burnitup!" featuring Missy Elliot debuted on BBC Radio 1 on September 24, 2015.[202]

2 ARTISTRY

2 Artistry
2.1 Music and voice
Jackson has a mezzo-soprano vocal range.[210] Over the
course of her career, she has received frequent criticism for the limits of her vocal capabilities, especially
in comparison to contemporary artists such as Whitney
Houston and Mariah Carey.[211] In comparing her vocal
technique to Houston and Aretha Franklin, vocal coach
Roger Love states that "[w]hen Janet sings, 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.” He
adds that while her voice is suitable for studio recording,
it doesn't translate well to stage because despite having
“great songs, incredible dancing, and her star like presence, the live show is still magnificent. But the voice
is not the star.”[212] Biographer David Ritz commented,
“on Janet’s albums—and in her videos and live performances, which revealed a crisp, athletic dance technique
[...] singing wasn't the point,” saying emphasis was placed
on “her slamming beats, infectious hooks, and impeccable production values.”[47] Eric Henderson of Slant magazine claimed critics opposing her small voice “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'.”[213]
Classical composer Louis Andriessen has praised Jackson for her "rubato, sense of rhythm, sensitivity, and the
childlike quality of her strangely erotic voice.”[214] Several critics also consider her voice to often be enveloped
within her music’s production. Music critic J. D. Considine noted “on albums, Jackson’s sound isn't defined
by her voice so much as by the way her voice is framed
by the lush, propulsive production of Jimmy Jam and
Terry Lewis.”[215] Wendy Robinson of PopMatters said
“the power of Janet Jackson’s voice does not lie in her
pipes. She doesn't blow, she whispers ... Jackson’s confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so
she’s never unpleasant to listen to.”[216] Matthew Perpetus of Fluxblog suggested Jackson’s vocal techniques as
a study for indie rock music, considering it to possess “a
somewhat subliminal effect on the listener, guiding and
emphasizing dynamic shifts without distracting attention
from its primal hooks.” Perpetus added: “Her voice effortlessly transitions from a rhythmic toughness to soulful
emoting to a flirty softness without overselling any aspect
of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to
the expression of a fully-formed human being with contradictions and complexities.”[217]

Unbreakable was released on October 2, 2015. It
received largely positive reviews, including those by
The Wall Street Journal,[203] The New York Times,[204]
USA Today,[205] Los Angeles Times,[206] and The
Guardian.[207] The following week, Jackson received a
nomination to be inducted into the Rock and Roll Hall
of Fame.[208] Her album debuted at number one on the Jackson’s music has encompassed a broad range of genBillboard 200, becoming her seventh album to top the res. Her records from the 1980s have been described
chart in the United States.[209]
as being influenced by Prince, as her producers are

2.2

Videos and stage

ex-members of The Time.[218] Sal Cinquemani wrote
that in addition to defining Top 40 radio, she “gave
Prince’s Minneapolis sound a distinctly feminine—and,
with songs like 'What Have You Done for Me Lately?,'
'Nasty,' 'Control,' and 'Let’s Wait Awhile,' a distinctly
feminist—spin.”[219] On Control, Richard J. Ripani documented that she, Jam and Lewis had “crafted a new sound
that fuses the rhythmic elements of funk and disco, along
with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility.”[24] Author Rickey Vincent stated that she has often been credited for redefining
the standard of popular music with the industrial-strength
beats of the album.[220] She is considered a trendsetter in
pop balladry, with Richard Rischar stating “the black pop
ballad of the mid-1980s had been dominated by the vocal
and production style that was smooth and polished, led by
singers Whitney Houston, Janet Jackson, and James Ingram.”[221] Jackson continued her musical development
by blending pop and urban music with elements of hiphop in the nineties. This included a softer representation,
articulated by lush, soulful ballads and up-tempo dance
beats.[222] She has been described as “an artist who has reshaped the sound and image of rhythm and blues” within
the first decade of her career.[223] Critic Karla Peterson
remarked that “she is a sharp dancer, an appealing performer, and as 'That’s the Way Love Goes’ proves—an
ace pop-song writer.”[224] Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments “except for maybe R.E.M., no other
former superstar act has been as prolific with such diminishing commercial and creative returns.”[219]
Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African
American studies, and gender studies.[225][226] David Ritz
compared Jackson’s musical style to Marvin Gaye’s, stating, “like Marvin, autobiography seemed the sole source
of her music. Her art, also like Marvin’s, floated over
a reservoir of secret pain.”[227] 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.”[228] Ritz also stated,
“The mystery is the low flame that burns around the
perimeters of Janet Jackson’s soul. The flame feeds off
the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark
fear.”[227] During the 1980s, her lyrics embodied selfactualization, feminist principles, and politically driven
ideology.[226][229] 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.”[12] Encyclopedia of African American Popular Culture (2010)
author Jessie Carney Smith wrote “with that album, she
asserted her independence, individuality, and personal
power. She challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multitalented celebrity.”[230] Referring to Rhythm Nation 1814
as an embodiment of hope, Timothy E. Scheurer, author

11
of Born in the USA: The Myth of America in Popular Music from Colonial Times to the Present (2007) wrote “It
may remind some of Sly Stone prior to There’s a Riot Going On and other African-American artists of the 1970s in
its tacit assumption that the world imagined by Dr. King
is still possible, that the American Dream is a dream for
all people.”[231]
On Janet, Jackson began focusing on sexual themes.
Shayne Lee, author of Erotic Revolutionaries: Black
Women, Sexuality, and Popular Culture (2010), wrote
that her music over the following decade “brand[ed] her
as one of the most sexually stimulating vocalists of the
1990s.”[232] In You've Come A Long Way, Baby: Women,
Politics, and Popular Culture (1996), Lilly J. Goren observed “Jackson’s evolution from politically aware musician to sexy diva marked the direction that society and the
music industry were encouraging the dance-rock divas
to pursue.”[229] The Washington Post declared Jackson’s
public image over the course of her career had shifted
“from innocence to experience, inspiring such carnal albums as 1993’s 'Janet' and 1997’s 'The Velvet Rope',
the latter of which explored the bonds—figuratively and
literally—of love and lust.”[233] The song “Free Xone”
from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist
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.”[232] During promotion for
Janet, she stated “I love feeling deeply sexual—and don't
mind letting the world know. For me, sex has become
a celebration, a joyful part of the creative process.”[23]
Upon the release of Damita Jo, Jackon stated “Beginning with the earlier albums, exploring—and liberating—
my sexuality has been an ongoing discovery and theme,”
adding “As an artist, that’s not only my passion, it’s
my obligation.”[234] Stephen Thomas Erlewine has found
Jackson’s consistent inclusion of sex in her music lacking
ingenuity, especially in comparisons to other artists such
as Prince, stating “while sex indisputably fuels much great
pop music, it isn't an inherently fascinating topic for pop
music—as with anything, it all depends on the artist.”[235]

2.2 Videos and stage
Jackson drew inspiration for her music videos and performances from musicals she watched in her youth, and
was heavily influenced by the choreography of Fred Astaire and Michael Kidd, among others.[236] Throughout
her career, she has worked with and brought numerous
professional choreographers to prominence, such as Tina
Landon, Paula Abdul, and Michael Kidd.[237] Veronica
Chambers declared, “Her impact on pop music is undeniable and far-reaching,” adding, “A quick glance at
the Billboard chart reveals any number of artists cast in
the Janet Jackson mold.” Chambers observed numerous
videos which “features not only Ms. Jackson’s dancers

12
but choreography and sets remarkably like those she has
used.”[238] Janine Coveney of Billboard observed that
“Jackson’s musical declaration of independence [Control] 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.”[132] Ben Hogwood of MusicOMH applauded the “huge influence she has become on younger
pretenders to her throne,” most notably Britney Spears,
Jennifer Lopez and Christina Aguilera.[239] Qadree EIAmin remarked that many pop artists “pattern their performances after Janet’s proven dance-diva persona.”[240]
Beretta E. Smith-Shomade, author of Shaded Lives:
African-American Women and Television (2002), wrote
that “Jackson’s impact on the music video sphere came
largely through music sales successes, which afforded her
more visual liberties and control. This assuming of control directly impacted the look and content of her music
videos, giving Jackson an agency not assumed by many
other artists—male or female, Black or White.”[241] Parallel Lines: Media Representations of Dance (1993) documents that her videos have often been reminiscent of
live concerts or elaborate musical theater.[242] However,
in her 30-minute Rhythm Nation 1814 film, Jackson utilizes street dancing techniques in contrast to traditional
choreography.[242] The group dynamic visually embodies a gender neutral equality, with Jackson “performing
asexually and anonymously in front of, but as one of the
members of the group.”[243] Her music videos have also
contributed to a higher degree of sexual freedom among
young women, as Jean M. Twenge, author of Generation
Me: Why Today’s Young Americans are More Confident,
Assertive, Entitled—and More Miserable Than Ever Before (2007), wrote "[m]usic videos by female artists have
contributed to the trend” of young women enganging in
oral sex with Jackson “heavily implying male-on-female
oral sex in music videos by pushing down on a man’s head
until he’s in exactly the right position.”[244] However, accusations of cosmetic surgery, skin lightening, and increasingly hypersexual imagery have led to her being
viewed as conforming to a white, male-dominated view
of sexuality, rather than liberating herself or others.[241]
Jakcson received the MTV Video Vanguard Award for
her contributions to the art form, and became the first recipient of the MTV Icon tribute, celebrating her impact
on the music industry as a whole. In 2003, Slant Magazine named “Rhythm Nation” and “Got 'til It’s Gone”
among the 100 Greatest Music Videos of all time, ranked
at number 87 and number 10, respectively.[245] In 2011,
“Rhythm Nation” was voted the tenth best music video of
the 1980s by Billboard.[246]
The Independent writer 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.”[247] Jet magazine reported “Janet’s innovative stage performances
during her world tours have won her a reputation as a

2 ARTISTRY
world-class performer.”[248] Chris Willman of Los Angeles Times stated the “enthralling” choreography of Jackson’s Rhythm Nation 1814 Tour “represents the pinnacle
of what can be done in the popping 'n' locking style—
a rapid-fire mixture of rigidly jerky and gracefully fluid
movements.”[249] When Jackson was asked “do you understand it when people talk about [The Velvet Rope
Tour] in terms of Broadway?", she responded, “I'm crazy
about Broadway ... That’s what I grew up on.”[79] Her
“Number Ones: Up Close and Personal” tour deviated
from the full-scale theatrics found in her previous concert
arena settings in favor of smaller venues. Critics noted
being scaled down did not affect the impact of her showmanship, and in some cases, enhanced it. Greg Kot of
the Chicago Tribune wrote, “In past tours, Jackson’s thin
voice was often swallowed up by the sheer size of her
production ... In the more scaled-down setting, Jackson
brought a warmth and a passion that wasn't always evident in stadiums ... the best Janet Jackson performance
I've covered in 20-plus years.”[250]
Thor Christensen of The Dallas Morning News reported Jackson often lip syncs in concert; he wrote:
“Janet Jackson—one of pop’s most notorious onstage
lip-syncers—conceded ... 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.”[251] Michael MacCambridge of the Austin
American-Statesman, who reviewed Jackson’s Rhythm
Nation World Tour, described lip-syncing as a “moot
point”, stating “Jackson was frequently singing along with
her own pre-recorded vocals, to achieve a sound closer
to radio versions of singles.”[252] MacCambridge also observed “it seemed unlikely that anyone—even a prized
member of the First Family of Soul Music—could dance
like she did for 90 minutes and still provide the sort of
powerful vocals that the '90s super concerts are expected
to achieve.”[252] Similarly, Chris Willman commented,
“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.”[249] Critics observed that in the
smaller scale of her “Number Ones: Up Close and Personal” tour, she forewent lip-syncing.[253] Chris Richards
of The Washington Post stated “even at its breathiest, that
delicate voice hasn't lost the laserlike precision.”[254]

2.3 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.”[255] Similarly, she considers Dorothy Dandridge to be one of her
idols.[256] Jackson has declared herself “a very big Joni

13
Mitchell fan”, explaining “As a kid I was drawn to Joni
Mitchell records [...] Joni’s songs spoke to me in an intimate, personal way.”[257][258] She holds reference for
Tina Turner, stating “Tina has become a heroic figure for
many people, especially women, because of her tremendous strength. Personally, Tina doesn't seem to have a
beginning or an end in my life. I felt her music was always there, and I feel like it always will be.”[259] 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.[12][260] In her early career,
Jackson credited her brothers Michael and Jermaine as
musical influences.[227] According to Rolling Stone, other
artists attributed as influences are The Ronettes, Dionne
Warwick, Tammi Terrell, and Diana Ross.[261]
Jackson performing on Number Ones, Up Close and Personal
tour

3

Legacy

See also: List of awards and nominations received by
Janet Jackson and Janet Jackson as gay icon
The youngest sister of the “precious Jackson clan”,[262]
Janet Jackson has striven to distance her professional
career from that of her older brother Michael and the
rest of the Jackson family. Steve Dollar of Newsday
wrote that "[s]he projects that home girl-next-door quality that belies her place as the youngest sibling in a family whose inner and outer lives have been as poked at,
gossiped about, docudramatized and hard-copied as the
Kennedys.”[263] Phillip McCarthy of The Sydney Morning
Herald noted that throughout her recording career, one
of her common conditions for interviewers has been that
there would be no mention of Michael.[264] Joshua Klein
wrote, "[f]or the first half of her recording career, Janet
Jackson sounded like an artist with something to prove.
Emerging in 1982 just as big brother Michael was casting his longest shadow, Jackson filled her albums not so
much with songs as with declarations, from 'The Pleasure
Principle' to the radical-sounding 'Rhythm Nation' to the
telling statement of purpose, 'Control'.”[233] Steve Huey
of Allmusic asserted that despite being born into a family of entertainers, Janet Jackson has managed to emerge
a "superstar" in her own right, rivaling not only several
female recording artists including Madonna and Whitney
Houston, but also her brother, while “successfully [shifting] her image from a strong, independent young woman
to a sexy, mature adult.”[265] By forging her own unique
identity through her artistry and her business ventures, she
has been esteemed as the “Queen of Pop”.[46][266] Klein
argued that “stardom was not too hard to predict, but 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.”.[233]

substandard.[267] In Right to Rock: The Black Rock Coalition and the Cultural Politics of Race (2004), author
Maureen Mahon states: “In the 1980s, Whitney Houston, Michael Jackson, Janet Jackson, and Prince were
among the African American artists who crossed over
... When black artists cross over into pop success they
cease to be black in the industry sense of the word. They
get promoted from racialized black music to universal
pop music in an economically driven process of racial
transcendence.”[268] Routledge International Encyclopedia of Women: Global Women’s Issues and Knowledge
(2000) documented that Jackson, along with other prominent African-American women, had achieved financial
breakthroughs in mainstream popular music, receiving
“superstar status” in the process.[43] She, alongside her
contemporaries “offered viable creative, intellectual, and
business paths for establishing and maintaining agency,
lyrical potency, marketing and ownership.”[269] Her business savvy has been compared to that of Madonna, gaining a level of autonomy which enables “creative latitude and access to financial resources and mass-market
distribution.”[270][271] A model of reinvention, author
Jessie Carney Smith wrote that “Janet has continued to
test the limits of her transformative power”, receiving accolades in music, film and concert tours throughout the
course of her career.[230]

Musicologist Richard J. Ripani identified Jackson as a
leader in the development of contemporary R&B, as her
music created a unique blend of genre and sound effects
which ushered in the use of rap vocals into mainstream
R&B.[24] He also argues her signature song “Nasty” influenced the new jack swing genre developed by Teddy
Riley.[24] Leon McDermott of the Sunday Herald wrote:
“Her million-selling albums in the 1980s helped invent contemporary R&B through Jimmy Jam and Terry
Lewis’s muscular, lean production; the sinuous grooves
threaded through 1986’s Control and 1989’s Rhythm NaShe has also been recognized for playing a pivotal role tion 1814 are the foundation upon which today’s hot shot
in crossing racial boundaries in the recording indus- producers and singers rely.”[272] In Bring the Noise: 20
try, where black artists were once considered to be Years of Writing About Hip Rock and Hip Hop (2011),

14
Simon Reynolds described Jackson’s collaborations with
her record producers as a reinvention of the dance-pop
genre, introducing a new sonic palate.[273] Den Berry,
Virgin Records CEO and Chairman stated: “Janet is
the very embodiment of a global superstar. Her artistic
brilliance and personal appeal transcend geographic, cultural and generational boundaries.”[274] In July 1999, she
placed at number 77 on VH1's “100 Greatest Women of
Rock and Roll”.[275] She also placed at number 134 on
their list of the “200 Greatest Pop Culture Icons of All
Time”,[276] number seven on the “100 Greatest Women
In Music”,[277] and at number two on the “50 Greatest Women of the Video Era”, behind Madonna.[278]
In March 2008, Business Wire reported “Janet Jackson is one of the top ten selling artists in the history
of contemporary music; ranked by Billboard magazine
as the ninth most successful act in rock and roll history, and the second most successful female artist in pop
music history.”[279] She is the only female artist in the
history of the Hot 100 to have 18 consecutive top ten
hit singles, from “Miss You Much” (1989) to “I Get
Lonely” (1998).[280] The magazine ranked her at number seven on their Hot 100 50th Anniversary “All-Time
Top Artists”, making her the third most successful female artist in the history of the chart, following Madonna
and Mariah Carey.[281] In November 2010, Billboard released its “Top 50 R&B / Hip-Hop Artists of the Past 25
Years” list and ranked her at number five.[282] She ranks
as the top artist on the chart with 15 number ones in the
past twenty-five years, garnering 27 top ten hits between
1985 and 2001, and 33 consecutive top 40 hits from 1985
through 2004.[282] The most awarded artist in the history
of the Billboard Music Awards with 33 wins, she is one an
elite group of musical acts, such as Madonna, Aerosmith,
Garth Brooks and Eric Clapton, whom Billboard credits
for “redefining the landscape of popular music.”[280][283]
In November 2014, Jackson was voted 'Queen of Pop'
by a poll conducted online by VH1.com.[284] In October,
2015, she received a nomination to be inducted into the
Rock and Roll Hall of Fame.[208]
Jackson’s music and choreography have inspired numerous performers. Virgin Records executive Lee Trink expressed: “Janet is an icon and historic figure in our culture. She’s one of those gifted artists that people look
up to, that people emulate, that people want to believe in
... there’s not that many superstars that stand the test of
time.”[132] Sarah Rodman of the Boston Herald remarked:
“For every hand-fluttering, overwrought, melisma addict out there aping Mariah’s dog calls, there’s an equal
number trying to match Jackson’s bubbling grooves and
fancy footwork, including Britney, Aaliyah and Destiny’s
Child.”[285] Music critic Gene Stout commented she “has
so broadly influenced a younger generation of performers,
from Jennifer Lopez ... to Britney Spears, who has copied
so many of Jackson’s dance moves.”[286] 'N Sync and
Usher have credited her for teaching them how to develop
stage show into theatrical performance.[287][288] Beyoncé
Knowles,[289] Toni Braxton,[290] Aaliyah,[291] Britney

4 DISCOGRAPHY
Spears,[292] Christina Aguilera,[293] Crystal Kay,[294]
Kelly Rowland,[295] Rihanna,[296] and Brazilian singer
Kelly Key[297] have all named her as one of their biggest
inspirations, while others such as Rozonda “Chilli”
Thomas of TLC,[298] Cassie,[299] Nicki Minaj,[300] Keri
Hilson,[301] and DJ/singer Havana Brown,[302] have all expressed desire to emulate her. Elysa Gardner of USA Today wrote: “Jackson claims not to be bothered by the
brigade of barely post-adolescent baby divas who have
been inspired by—and, in some cases, have flagrantly
aped—the sharp, animated choreography and girlish but
decidedly post-feminist feistiness that have long been
hallmarks of her performance style.”[303] Those who are
considered to have followed in her footsteps have been
referred to as “Janet-come-lately’s.”[304][305] Other artists
who have drawn comparison to her include Mýa,[306]
Brandy,[307] Tatyana Ali,[308] Christina Milian,[309] Lady
Gaga,[310] Namie Amuro,[311] and BoA.[312] Sociologist
Shayne Lee commented that "[a]s Janet enters the twilight of her reign as erotic Queen of Pop, Beyoncé
Knowles emerges as her likely successor.”[232] Joan Morgan of Essence magazine remarked: “Jackson’s Control,
Rhythm Nation 1814 and janet. established the singerdancer imprimatur standard in pop culture we now take
for granted. So when you're thinking of asking Miss Jackson, 'What have you done for me lately?' remember that
Britney, Ciara and Beyoncé live in the house that Janet
built.”[313]

4 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)
• Unbreakable (2015)

15

5

Filmography

See also: Janet Jackson videography

• Good Times (1977–79)
• Diff'rent Strokes (1980–84)
• Fame (1985)
• 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)

9 References
9.1 Footnotes
[1] August Brown (June 3, 2015). “Janet Jackson will release
new album via her new record label”. Los Angeles Times.
Retrieved June 3, 2015.
[2] Top Selling Artists, Recording Industry Association of
America, retrieved September 3, 2008
[3] Cornwell, Jane (2002), Janet Jackson, Carlton Books, pp.
2, 10, 24, ISBN 1-84222-464-6
[4] Norment, Lynn (November 2001), “Janet: On her sexuality, spirituality, failed marriages, and lessons learned”, Jet
57 (1): 104, ISSN 0012-9011
[5] Fox, Norman, Indian Summer, tv.com, retrieved September 3, 2008
[6] Saunders, Michael (October 3, 1996), “The 3 Divas Janet
Jackson turns her focus inward”, The Boston Globe: D13
[7] Janet Jackson, retrieved July 7, 2010

6

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 World Tour
(2011)
• Unbreakable World Tour (2015–16)

7

Books
• True You (2011)

8

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

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[60] Corliss, Richard; Sachs, Andrea (September 6, 1993),
“Society: Who’s Bad? An age of innocence may be at
an end as Michael Jackson, the Peter Pan of pop, confronts accusations that he sexually abused one of his young
friends”, TIME: 54
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the music industry’s highest-paid performer (over brother
Michael and Madonna, who each got $60 million deals
in the early '90s) Davidson, Casey (January 26, 1996),
“News & Notes”, Entertainment Weekly: 15
[68] Farley, Christopher John; Thigpen, David E.; Ressner,
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[69] Rock band R.E.M. later signed an $80 million recording contract with Warner Bros. Records in August 1996;
sources compared the group’s record deal with Jackson’s
contract, but quoted her earning $70 million “R.E.M.
Signs $80M Deal”, Newsday, August 26, 1996
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[71] Pareles, Jon (October 7, 1997).
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17

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19

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• Goren, Lilly. You've Come A Long Way, Baby:
Women, Politics, and Popular Culture. University
Press of Kentucky, 2009. ISBN 978-0-8131-25442
• Halstead, Craig. Cadman, Chris. Jacksons Number
Ones. Authors On Line, 2003. ISBN 0-7552-00985
• 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 0415-92091-4
• 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 978-0-81039177-2
• 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

10 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

25

11

External links

• Official website
• Janet Jackson at the Internet Movie Database
• Janet Jackson at AllMusic

26

12

12
12.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses
Text

• Janet Jackson Source: https://en.wikipedia.org/wiki/Janet_Jackson?oldid=686934140 Contributors: AxelBoldt, Magnus Manske, Mav,
MarkAtwood, Deb, William Avery, Stevertigo, Frecklefoot, Patrick, JohnOwens, Michael Hardy, Kalki, Zanimum, Sannse, Karada,
Alfio, Goatasaur, Tregoweth, Haakon, Docu, Theresa knott, TUF-KAT, Notheruser, Den fjättrade ankan~enwiki, Emperor, Kingturtle, DropDeadGorgias, Andres, Tristanb, Ghewgill, Heidimo, Agtx, Feedmecereal, Popsracer, Timc, DJ Clayworth, Tpbradbury, Kaare,
Nv8200pa, Tempshill, Thue, Topbanana, Secretlondon, Carbuncle, Jeffq, Lumos3, MK~enwiki, Robbot, Dale Arnett, Moriori, Chris 73,
RedWolf, Moncrief, Psychonaut, Academic Challenger, Timrollpickering, UtherSRG, Kd4ttc, Neferuaten, Lupo, Pengo, Dina, Centrx,
DocWatson42, Rossrs, Andrewphelps, Philwelch, AmishThrasher, Tom harrison, Bradeos Graphon, Peruvianllama, Everyking, Curps,
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Terrence235, ZRRamba, Belovedfreak, Superdanny303, DadaNeem, Jessespry, Cubfan789, ThinkBlue, Shoessss, PorcupineMezel, Trn17,

12.2

Images

27

Brian Honne, Grandmagrouper, Slave4Britney318, Dwonderful, Jarryl, Redrocket, Reidlos, Laurawillow, Johnmikeevans, I c u trippin,
The Real One Returns, Varnent, Jack Irish, ThePointblank, Funandtrvl, Spellcast, YuRiPa, Joeinwap, Shoeluv76, Taileir, ACSE, Malik
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Hjulio, Downdown723, Alex ferguson, JJonathan, Bentley4, Snowbot, Cremepuff222, Ilyushka88, Wikiisawesome, StarIV, Uannis~enwiki,
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Heythere1234, Unicamilagro, Ryoga Godai, Ccacsmss, Crokis~enwiki, JGKlein, Bits2news, Lashaugn123, Idecipher, Tassedethe, Zorrobot, Luckas-bot, Yobot, Berkay0652, Legolas2186, Dustyfog, Harrisju, Sopergrover, Guy1890, Babblingqu, Manecchino, Reenem,
Santryl, Teman13, VG Editor, Dindo94, Darkness avails, Lj tazer, AnomieBOT, OriginalCyn3000, Jesusjordans, SkylerSlywchuk, DemocraticLuntz, Rubinbot, Alicia 2, MariAna Mimi, Jim1138, Pyrrhus16, Bokiluis, AndreaCarax, Csigabi, Citation bot, Anarchy 97, Geregen2, ArthurBot, B. Fairbairn, AndreesSC7, Jagamijs, Jockinmystyles, Jimarey, The Banner, ‫נתן קלמן‬, Addihockey10, Miracleworker5263,
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Sofffie7, DASHBotAV, Velatrix0, E. Fokker, Petrb, Mhiji, ClueBot NG, Smtchahal, Crakkerjakk, CactusBot, Imjayyy, 11JORN, ShayGirl1, Sammie162, This lousy T-shirt, Jackson56, SamanthaPerez, Baseball Watcher, Vacation9, Mjgirl4eva, Informationadvocate, Itsthegoldenratio, SunCountryGuy01, Mosley 972, Jab jing jing, Dshun, Janae415, Cntras, Bouche.La, Dakotalamothe, Widr, Mj4evrtheking,
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HullIntegrity, 001Jrm, Samee, Develiere, Stevenloud, Epicgenius, ComputerGeek3000, EricEgo2012, ChocoLantern88, GlittO'Rourke,
User5482, EddieHugh, Magnolia677, Melonkelon, Qbovodp, Jodosma, Matthew Crittenson, Theido1995, EvergreenFir, Chartbot, Oz
Steps, Lindenhurst Liberty, Monarchyanarchy, ElHef, Origamite, ArmbrustBot, Miss.Dina Rae, Cdfrazier3, Your love will be the death
of me, Synthwave.94, Gumercindogracindo, John.james250, MrLinkinPark333, Acalycine, SNUGGUMS, H.Mandem, Mjfan123456789,
Joshyj96, Thicknick 5, Stamptrader, Muneeramro90, Poekneegurl, Lakun.patra, SamanthaPuckettIndo, IPadPerson, 7Sidz, Nyashinski,
Monkbot, Felipeedit, Filedelinkerbot, Lord Laitinen, Virgoversityle, Mayconpolicarpo, AngelMusic22, Amortias, TerryAlex, Basilken66,
Musicfan2014, Dilldilldj, Jogaboo, Beezyweezy09, Shikhar490, HelpingYouOut123, Devryice, Anonymous1215, Trelljj, Pishcal, Kethrus,
Ross Lynch Lovers, Jamarijones95, Mstique, Shaney Smith-Wilson, Flightoffears, DonNewton, GeneralizationsAreBad, Rodneygunn,
Qatar1123, Wikiedits8876, DoDung2001, KasparBot, Chrishm21, Harrypotter 9011, Hhplactube, JDJ19861814, Rmcrae2015, Mr. fancypantsman, JJ4ever, WallPinkPaper, A1814, JoshPaulm, Kennedychaney, Bugleprince, Carlyfree21, Basilken1966, Teddivan, 196585v,
Mentiny, Gcelis81, Munsonmeredith and Anonymous: 1711

12.2

Images

• File:BlackCatsample.ogg Source: https://upload.wikimedia.org/wikipedia/en/3/34/BlackCatsample.ogg License: Fair use Contributors:

28

12

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Janet Jackson’s Rhythm Nation 1814
Original artist: ?
• File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original
artist: ?
• File:Folder_Hexagonal_Icon.svg Source: https://upload.wikimedia.org/wikipedia/en/4/48/Folder_Hexagonal_Icon.svg License: Cc-bysa-3.0 Contributors: ? Original artist: ?
• File:Gnome-mime-sound-openclipart.svg
Source:
https://upload.wikimedia.org/wikipedia/commons/8/87/
Gnome-mime-sound-openclipart.svg License: Public domain Contributors: Own work. Based on File:Gnome-mime-audio-openclipart.
svg, which is public domain. Original artist: User:Eubulides
• File:Jacksonstvshow.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/be/Jacksonstvshow.jpg License: Public domain
Contributors: eBay item Original artist: CBS Television
• File:Janet_Jackson.jpg Source: https://upload.wikimedia.org/wikipedia/commons/9/96/Janet_Jackson.jpg License: CC BY 2.0 Contributors: Flickr Original artist: Dan Ingram from Chicago, U.S.A
• File:Janet_Jackson_&_Justin_Timberlake’{}s_wardrobe_malfunction.jpg Source: https://upload.wikimedia.org/wikipedia/en/8/
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