Janet Domita Jo Jackson is an American singer, songwriter, dancer 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 30 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 Ondem Records 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 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 Jackson 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 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, she has continued to act in feature films. By the end of the 1990s, she was 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, and released her eleventh studio album Unbreakable the same year. Having sold over 100 million records, Jackson is one of the best-selling artists in the history of contemporary music. She has amassed an extensive catalogue, with singles such as Nasty, Rhythm Nation, That's The Way Love Goes, Together Again and All For You among her signature songs, she holds the record for the most consecutive top 10 hits on the US Billboard Hot 100 singles chart by a female artist with 18. In 2016, Billboard placed her number 7 on its list of the hot 100 all-time top artists, and in 2010 ranked her fifth among the top 50 random hip-hop artists of the past 25 years. In December 2016, the magazine named her the second most successful dance artist of all time. One of the world's most awarded artists, Jackson's 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. Life and Career 1966-1985, Early life and career beginnings Janet Jackson was born in Gary, Indiana, the youngest of 10 children, to Catherine Esther, Ney Screws, and Joseph Walter Jackson. The Jackson's were lower middle class and devout Jehovah's Witnesses, although Jackson would later refrain from organized religion. At a young age, her brothers began performing as the Jackson 5 in the Chicago-Gary area. In March 1969, the group signed a record deal with Motown, and soon had their first number 1 hit. The family then moved to the Encino neighborhood of Los Angeles.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.At age 7, Jackson performed at the Las Vegas Strip at the MGM Casino.A biography revealed 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 and later got a recurring role on Different Strokes, portraying Charlene Dupre from seasons 3 to 6.Jackson also played the role of Cleo Hewitt during the fourth season of Fame, but expressed indifference towards the series. When Jackson was 16, her father and manager Joseph Jackson, arranged a contract for her with Undeem Records.Her debut album, Janet Jackson, was released in 1982. It was produced by Angela Wynnebush, Renee Moore, Bobby Watson of Rufus and Leon F. Silver's 3, and overseen by her father Joseph.It peaked at number 63 on the Billboard 200, and number 6 on the Publications R&B Albums Chart, receiving little promotion. Jackson's second album, Dream Street, was released two years later Dream Street reached 147 on the Billboard 200, and number 19 on the R&B Albums Chart.The lead single Don't Stand Another Chance peaked at number 9 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, with the marriage annulled the following year. 1986-1988, 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. Attempting a third album, Jackson teamed with producers Jimmy Jam and Terry Lewis. They set out to achieve crossover 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. The album peaked at number one on the Billboard 200, and was certified five-fold platinum by the RIAA, selling over 10 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 Donna Summer's position of unwilling to accept novelty status and taking her own steps to rise above it. 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 a While, and a top 15 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. It also won four American Music Awards from 12 nominations, an unbroken record. At this point, Jackson was 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, 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. Its innovative fusion of dance-pop and industrial music with hip-hop and rand-bee undertones influenced the development of the new jack swing genre by bridging the gap between the latter two styles. The accompanying music videos shot for the album Singles became popular on MTV, and obtained a then unknown Paula Abdul a recording contract for her choreography work with Jackson. 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. 1989–1992, 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. 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. The album's central theme of Unity was developed in response to various crimes and tragedies reported in the media. Speaking at number one on the Billboard 200, the album was certified six-fold platinum by the RIAA and sold over 20 million copies internationally Rolling Stone observed Jackson's artistic growth shifted from personal freedom to more universal concerns in justice, illiteracy, crime, drugs without missing a beat. The album was also considered the exclamation point on her career, consisting of a diverse collection of songs flowing with the natural talent Jackson possesses, which effectively expanded Janet's range in every conceivable direction, being 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. 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. 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-bearing style, becoming her trademark. Rhythm Nation 1814 became the highest-selling album of 1990, winning a record 15 Billboard Awards. The long-form Rhythm Nation music video won a Grammy Award. 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. She established the Rhythm Nation Scholarship, donating funds from the tour to various educational programs. 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. She also received a star on the Hollywood Walk of Fame in recognition of her impact on the recording industry and philanthropic endeavors. The massive success experienced by Jackson placed her in league with Michael Jackson, Madonna and Tina Turner for her achievements and influence. 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. With her recording contract under on-dem records fulfilled in 1991, she signed a multi-million dollar deal with Virgin Records estimated between $32 to $50 million making her the highest paid recording artist at the time. The recording contract also established her reputation as the Queen of Pop. In 1992, Jackson provided guest vocals on Luther Vandross's The Best Things in Life are Free, becoming a top 10 billboard hit and reaching the top 10 internationally. 1993-1996, Janet, Poetic Justice, and Design of a Decade 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 sound-skin era to do so.Certified six-fold platinum by the RIAA, it sold over 14 million copies worldwide Janet spawned five singles and four promotional singles, receiving various certifications worldwide. Read single That's the Way Love Goes won the Grammy Award for Best Rand B Song 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. Because of love and you want this charted within the top 10. The album experimented with a diverse number of genres, including contemporary Rand B, Deep House, Swing Jazz, Hip Hop, Rock and Pop, with billboard describing each as being delivered with consummate skill and passion. Jackson took a larger role in songwriter 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.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. In July 1993, Jackson made her film debut in Poetic Justice. While the film was critically penned, her performance was described as beguiling and believably eccentric. Jackson's Ballad Again, which was 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 Renee Elizondo, J.R. The photograph is the original version of the cropped image used on the Janet album cover, shot by Patrick DeMarcellier. 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. The Janet World Tour launched in support of the studio album Garnard 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. 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 La Toya. She collaborated with Michael Jackson on Scream, the lead single from his album H.I Story, released 1995. The song was written by both siblings as a response to media scrutiny. It debuted at number five on the H.O.T.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. Jackson's first compilation album, Design of a Decade, 1986-1996 was released in 1995. It peaked at number three on the Billboard 200.The lead single, Run Away, became the first song by a female artist to debut within the top ten of the H.O.T.100, reaching number three. Design of a Decade 1986-1996 was certified double platinum by the RIAA and sold 10 million copies worldwide. 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? 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 the recording industry's then unparalleled $60 million contracts earned by Michael Jackson and Madonna. 1997-1999, 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. 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.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. The album debuted at number one on the Billboard 200 and was certified triple platinum, selling over 10 million worldwide. Lead single Got Till 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-apartate celebration, won the Grammy Award for Best Shortform Music Video. Together again became Jackson's eighth number one hit on the Billboard HOT100, placing her on PAR with Elton John, Diana Ross and The Rolling Stones. It spent a record 46 weeks on the HOT100 and 19 weeks on the United Kingdom Singles chart.It sold 6 million copies worldwide, becoming one of the best-selling singles of all time. I Get Lonely peaked at number three on the HOT100, and received a Grammy nomination for Best Female R&B Vocal Performance. As Jackson's 18th consecutive top ten hit, it made her the only female artist to garner that achievement, surpassed only by Elvis Presley and The Beatles. Several other singles were released, including Go Deep and Ballad Every Time, which was controversial for the nudity displayed 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 Coney, considered a peon 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. The Velvet Rope received an award for Outstanding Music Album at the 9th Annual Glod Media Awards and was 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. The tour received praise for its theatrics, choreography and Jackson's vocal performance.It was likened to the ambition and glamour of a Broadway musical, and exclaimed as only fitting that the concert program credits her as the show's creator and director. The tour's HBO special, The Velvet Rope, live in Madison Square Garden, garnered more than 15 million viewers. It surpassed the ratings of all four major networks among viewers subscribed to the channel. The concert won an Emmy Award from a total of four nominations. Jackson donated a portion of the tour's sales to America's Promise, an organization founded by Colin Powell to assist disenfranchised youth. As the tour concluded, Jackson lent guest vocals to several collaborations, including Shaggy's Love Me, Love Me, used for the film How Stella Got Her Groove Back, as well as girlfriend boyfriend with Teddy Riley's group Black Street, and What's It Gonna Be, with Bust Rhymes. The latter two music videos are both among the most expensive music videos ever produced, with What's It Gonna Be, becoming a number one 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 Id 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 I.E.D.A. At the 1999 World Music Awards, Jackson received the Legend Award for Outstanding Contribution to the Pop Industry. Billboard ranked Jackson as the second most successful artist of the decade, behind Mariah Carey. 2000-2003, Nutty Professor II, The Clumps and All For You. In July 2000, Jackson appeared in her second film, Nutty Professor II, The Clumps, as the role of Professor Denise Gaines, opposite Eddie Murphy. Director Peter Siegel stated Janet Jackson was a natural fit, and an obvious choice. The film became her second to open at number one, grossing an estimated total of nearly $170 million worldwide. 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 Renee Elizondo Jr. filed for divorce, revealing their private marriage to the public. Entertainment Weekly reported for eight of the 13 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. Elizondo filed a multi-million dollar lawsuit against her, estimated between $10.25 million, which did not reach a settlement for three years. 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 to Jackson's career and influence, including commentary from Britney Spears, Jennifer Lopez, Aliyah, and Jessica Simpson, and performances by N-Sync, Pink, Destiny's Child, Usher, Buck Sherry, and Outcast. The American Music Awards also honored Jackson 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 the Billboard 200 with 605,000 copies sold, the highest first week sales of her career, and among the highest first week sales by a female artist in history.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. All For You was certified double platinum by the RIAA and sold nine million copies worldwide. The album's lead single, All For You, debuted on the hot 100 at number 14, setting a record for the highest debut by a single that was not commercially available. 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.The song broke the overall airplay debut record with a first week audience of 70 million, debuting at number nine on the radio songs chart. It topped the hot 100 for seven weeks, also reaching the top 10 in 11 countries. The song received a Grammy Award for Best Dance Recording. Someone to call my lover peaked at number three on the HOT100. Built around a sample of the iconic 1972 hit You Are So Vain by Carly Simon, Son of a Gun, I Bet you 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 12 million viewers. The tour traveled throughout the United States and Japan, although European and Asian dates were required to be cancelled following the September 11 terrorist attacks. The Los Angeles Times complimented Jackson's showmanship. Richard Harrington of The Washington Post said Jackson's performance surpassed her contemporaries, but Bob Massey of Spin thought her dancers through crisper moves and her supporting singers were mixed nearly as high, though declared Janet cast herself as the real entertainment. Jackson donated a portion of the tour's proceeds to the Boys and Girls Clubs of America. The following year, Jackson began receiving media attention for her rumored relationships with Justin Timberlake, actor Matthew McConaughey, and record producer Germaine Dugpre. Upon the release of Timberlake's debut solo album Justified, Jackson provided vocals on, and she said, Take me now per Timberlake's request, with the song initially planned as a single. Jackson collaborated with reggae artist Beanie Mann for the song Feel It Boy, produced by the Neptune's. 2004-2005, Super Bowl 38 Controversy and Domita Joe. Jackson was chosen by the National Football League and MTV to perform at the Super Bowl 38 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. 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. Timberlake also issued an apology, calling the accident a wardrobe malfunction. The incident became the most recorded and replayed moment in Tivo history, enticing an estimated 35,000 new subscribers. 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. CBS, the NFL and MTV, CBS's sister network, which produced the half-time 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. 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. The controversy halted plans for Jackson to star in the biographical film of singer and activist Lena Horn, which was to be produced by American Broadcasting Company. Although Horn was reportedly displeased by the incident, Jackson's representatives stated she withdrew from the project willingly. 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. Jackson's eighth studio album Dometa Joe, titled After Jackson's Middle Name, was released in March 2004. It debuted at number two on the Billboard 200.The 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. However, several critics' reviews focused on the Super Bowl incident, rather than critiquing the album itself. 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 public backlash and the black listing 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. The blacklist was placed into effect preceding the release of Dometa Joe 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. Prior to the incident, Dometa Joe was expected to outsell prior release all for you. Its three singles received positive reviews, but failed to achieve high-chart positions, although each were predicted to perform extremely well under different circumstances. Billboard reported that Dometa Joe was largely overshadowed by the Super Bowl fiasco, saying Teehee three singles it spawned were blacklisted by pop radio they were also the album's biggest highlights the electronic guitar stuttered just a little while, Motown influenced I Want U and the Funky, heavily dance orientated all night, don't stop. I Want U was certified platinum and received a Grammy nomination. 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 and Grace, portraying herself. 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. 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. In June 2005, she was honored with a humanitarian award by the Human Rights Campaign and AIDS Project Los Angeles as recognition for her involvement in raising money for AIDS charities. 2006-2007, 20Y.0 and Why Did I Get Married? Jackson began recording her ninth studio album, 20Y.0, 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. To promote the album, Jackson appeared in various magazines, and performed on the Today Show and Billboard Awards. Jackson's use weekly cover, revealing her slim figure after heavy media focus was placed on her fluctuations and weight, became the magazine's best-selling issue in history. 20Y.0 was released in September 2006 and debuted at number two on the Billboard 200.The album received mixed reviews, with multiple critics chastising the production and involvement of Jermaine Dupri rolling stone disagreed with the album's reference to Control, saying if we were her, we wouldn't make the comparison. Jackson's airplay and music channel Blacklist remained persistent, massively affecting her chart performance and exposure.However, lead single Call On Me, which featured rapper Nelly, peaked at number 25 on the Hot 100, number 1 on the Hot RANDP hip-hop songs chart, and number 6 in the United Kingdom.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. 20Y.0 was certified platinum by the RIAA and sold 1.2 million worldwide, also receiving a Grammy nomination for Best Contemporary R&B Album.After the album's release, Dupri was coned amend for his production and misguidance of the album, and subsequently was removed 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. Jackson was ranked the seventh richest woman in the entertainment industry by Forbes, having amassed a fortune of over $150 million. In 2007, she starred opposite Tyler Perry as a psychotherapist in the film Why Did I Get Married? It became her third consecutive film to open at number one at the box office, grossing $60 million in total. Jackson's performance was praised for its soft authority, though also described as charming, yet bland. In February 2008, Jackson won an Image Award for Outstanding Supporting Actress in a Motion Picture for the role. Jackson was also approached to record the lead single for the film Rush Hour 3. 2008-2009, Discipline and Number 1s 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. Her 10th studio album, Discipline, was released in February 2008, opening at number one.Despite radio black listing, the album's first single feedback peaked at number 19 on the HOT100 and Nine on Pop Songs, her highest charting single since Someone To Call My Lover.Jackson was awarded the Vanguard Award at the 19th Annual Glod Media Awards, honoring her contributions in promoting equal rights among the gay community.The organization's president commented, 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 fifth concert tour, The Rock Wichita Tour, began in September 2008. Jackson parted with Island Records through mutual agreement. Billboard disclosed Jackson was dissatisfied with L.A. Reid's handling of the album and its promotion, saying the label agreed to dissolve their relationship with the artist at her request.Producer Rodney Jerkins expressed I felt like 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 died at age 50. 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. In an interview, she revealed she had first learned of his death while filming Why Did I Get Married to? 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. During this time, she ended her seven-year relationship with Jermaine Debrey.Several months later, Jackson performed a tribute to Michael at the 2009 MTV Video Music Awards, performing their duet Scream. MTV stated there was no one better than Janet to anchor it and send a really powerful message. The performance was lauded by critics, with Entertainment Weekly affirming the rendition as energetic as it was heartfelt. Jackson's second hits compilation, No. 1's, retitled The Best for International Releases, 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. The album's promotional single Make Me, produced with Rodney Darkchild Jerkins, debuted in September. It became Jackson's 19th No. 1 on the Hot Dance Club Songs chart, making her the first artist to have No. 1 singles in four separate decades. 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 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. The event raised a total of $1.1 million for the non-profit organization. 2010-2014, 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 2. The film opened at No. 2, grossing $60 million in total. Jackson's performance was hailed as invigorating and oddly funny, and praised for her willingness to be seen at her most disheveled. Her performance earned an Image Award for Outstanding Actress in a Motion Picture. Jackson recorded the film's theme, Nothing, released as a promotional single. The song was performed on the ninth season finale of American Idol along with Again and Nasty. In July, Jackson modeled for the Black Lamma clothing line featuring Mink Fur. Jackson then helped design a signature line of clothing and accessories for Black Lamma, to be sold at Sacks Fifth Avenue and Blooming Dales. Universal Music released the hits compilation icon, No. 1's 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 Entezake Shange's 1975 play For Colored Girls who have considered suicide when the rainbow is enough. The Wall Street Journal stated Jackson recites verses written by Entezake Shange, the author of the play that inspired the film. But instead of offering up a mannered coffee house reading of the lines, Jackson makes the words sound like ordinary though very eloquent speech. Jackson's portrayal the film was likened to Meryl Streep as Miranda Priestly in The Devil Wears Prada. Her performance earned Black Reel Award's nominations in the categories of Outstanding Supporting Actress and Outstanding Ensemble. Jackson announced plans to embark on her largest world tour in support of her second hits collection, No. 1's. The tour, entitled No. 1's, up close and personal, held concerts in 35 global cities, selected by fans who submitted suggestions on her official website.During the tour, Jackson performed 35 No. 1 hits and dedicated a song to each city.Metal released a limited edition Barbie of Jackson titled Divinely Janet, auctioned for over $15,000, with proceeds donated to Project Angel Food. Jackson released the self-help book True You, A Journey to Finding and Loving Yourself in February 2011, co-written with David Ritz. It chronicled her struggle with weight and confidence, also publishing letters from fans. It topped The New York Times bestseller list the following month. Additionally, she signed a film production contract with Lions Gate Entertainment to select, develop and produce a feature film for the independent studio. Jackson became the first female pop singer to perform at the I. M. Pay Glass pyramid at the Lover Museum, raising contributions for the restoration of iconic artwork. Jackson was selected to endorse fashion line Black Lama for a second year, being the first celebrity in the Lions history chosen to do so. She partnered with the label to release a 15-piece collection of luxury products. In 2012, Jackson endorsed Neutra System, sponsoring their weight loss program after struggling with weight fluctuations in the past. With the program, she donated $10 million in meals to The Hungry.She was honored by AMFAR for her contributions to AIDS Research when chairing the cinema against AIDS Gala during the Khan Film Festival. She also participated in a public service announcement for UNICEF to help starving children. In February 2013, Jackson announced she was married to her third husband, Kottari businessman Wisa Malmana, during a private ceremony the previous year. 2015–present, Rhythm Nation record label, Unbreakable, and Motherhood. On May 16, 2015, Jackson announced plans to release a new album and to embark on a world concert tour. She outlined her intention to release her new album in the fall of 2015 under her own record label, Rhythm Nation, distributed by BMG Rights Management. The launch of Rhythm Nation established Jackson as one of the few African-American female musicians to own a record label. On June 15, 2015, Jackson announced the first set of dates for the North American leg of her Unbreakable world tour. On June 22, the lead single No Sleep was released from the album. Jackson's solo version of the single debuted on the Hot 100 at number 67, marking her 40th entry on the chart. The song went to number one on the Billboard and Twitter trending 140 immediately following the release. 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 Rand B Songs chart. 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 Sierra, Jason DeRulo, and Teen Ash. It was announced she would launch a luxury jewelry line called the Janet Jackson Unbreakable Diamonds Collection, a joint venture between herself and Paul Rapp's New York. On August 20, she released a preview of a new song The Great Forever, while also confirming the title of her 11th studio album as Unbreakable. 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 catalogue. 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. 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. Bernatoupe, featuring Missy Elliott debuted on BBC Radio 1 on September 24, 2015. Unbreakable was released on October 2, 2015. It received largely positive reviews, including those by The Wall Street Journal, The New York Times, USA Today, Los Angeles Times, and The Guardian. The following week, Jackson received a nomination to be inducted into the Rock and Roll Hall of Fame. Her album debuted at number one on the Billboard 200, becoming her seventh album to top the chart in the United States. On April 6, 2016, Jackson announced that she was planning her family with husband Weesam Almana, resulting in her postponing her tour. In October that same year, Jackson confirmed she was expecting her first child with Almana. Their son was born on January 3, 2017. Artistry Music and Voice Jackson has a mezzo-soprano vocal range. 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. In comparing her vocal technique to Houston and Aretha Franklin, vocal coach Roger Love states that W. Henjannet 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. 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. 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 a While. Classical composer Louis Anderson has praised Jackson for her rubato, sense of rhythm, sensitivity, and the childlike quality of her strangely erotic voice. 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. Wendy Robinson of Pop Matters 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. Matthew Perpetus of Flux Blog 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 soulfully moaning 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 formed human being with contradictions and complexities. Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers or ex-members of the time. Sal Chinquamani wrote that in addition to defining top 40 radio, she gave Prince's Minneapolis sound a distinctly feminine end, with songs like What Have You Done For Me Lately, Nasty, Control, and Let's Wait a While, a distinctly feminist spin. 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. Author Ricky Vincent stated that she has often been credited for redefining the standard of popular music with the industrial strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rizgar 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. Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the 90s. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. 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. Critic Carla Peterson remarked that she is a sharp dancer, an appealing performer, and as that's the way love goes proves an ace-pop songwriter. Selected material from the following decade has been viewed less favorably, as Sal Chinquimani comments except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns. Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African-American studies, and gender studies. 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. 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. 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. During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology.Jillian G. Gar, author of She's a Rebel, The History of Women in Rock and Roll, 2002, described control as an autobiographical tale about her life with her parents, her first marriage, and breaking free. Encyclopedia of African American Popular Culture, 2010, author Jesse 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 ingenue to a grow-up, multi-talented celebrity. Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scherer, author 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.  Shane Lee, author of Erotic Revolutionaries, Black Women, Sexuality and Popular Culture, 2010, wrote that her music over the following decade branded her as one of the most sexually stimulating vocalists of the 1990s. In UVE Come a Long Way, Baby, Women, Politics and Popular Culture, 1996, Lily Jake Orrin 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. 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. The song Free Kony from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shane 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. During promotion for Janet, she stated I love feeling deeply sexual and don't mind letting the world know.  Upon the release of Domito Joe, Jack Un 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. Stephen Thomas Earlwine 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. 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. Throughout her career, she has worked with and brought numerous professional choreographers to prominence, such as Tina Landon, Paula Abdul and Michael Kidd. 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 but choreography and sets remarkably like those she has used. 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. 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. Codrie Eiamin remarked that many pop artists pattern their performances after Janet's proven dance diva persona. Beretta E. Smith-Chammade, 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. Parallel lines, media representations of dance, 1993, documents that her videos have often been reminiscent of live concerts or elaborate musical theater. However, in her 30-minute Rhythm Nation 1814 film, Jackson utilizes street dancing techniques in contrast to traditional choreography.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.  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.Jackson 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 Till It's Gone among the 100 greatest music videos of all time, ranked at number 87 and number 10, respectively. In 2011, Rhythm Nation was voted the 10th best music video of the 1980s by Billboard. The independent writer Nicholas Barber stated Janet's concerts are the pop equivalent of a summer blockbuster movie, with all the explosions, special effects, airsats sentimentality, gratuitous cleavage, and emphasis on spectacle over coherence that the term implies. Jet magazine reported Janet's innovative stage performances during her world tours have won her a reputation as a world-class performer. Chris Willman of Los Angeles Times stated the enthralling choreography of Jackson's Rhythm Nation 18014 tour represents the pinnacle of what can be done in the popping and locking style a rapid-fire mixture of rigidly jerky and gracefully fluid movements. 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. 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 Cott 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. Thor Christensen of the Dallas Morning News reported Jackson often lip-syncs in concert, he wrote, Janet Jackson one of pop's most notorious on-stage lip-sinkers 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. Michael Mack Cambridge of the Austin American Statesmen, 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. Mack Cambridge 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. 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 downstairs and whipping limbs in unnatural directions at impeccable, breakneck speed. Critics observed that in the smaller scale of her number ones, up close and personal tour, she forewent lip-syncing. Chris Richards of the Washington Post stated even at its breathiest, that delicate voice hasn't lost the laser-like precision. 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 as a kid I was drawn to Joni Mitchell records, Joni's songs spoke to me in an intimate, personal way. She holds reverence 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. She has also named other socially conscious acts, such as Tracey 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 and MTV, other artists attributed as influences are the Ronnets, Dionne Warwick, Tammy Terrell, Diana Ross, Chaka Khan, Stevie Wonder, Tina Marie, Michael Jackson, Prince, and Tina Turner. Legacy The youngest sister of the precious Jackson clan, 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 as 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, docudromatized and hard copied as the Kennedys. Philip 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. 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. Steve Huey of All Music 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. By forging her own unique identity through her artistry and her business ventures, she has been esteemed as the queen of pop. Klein argued that Stardom was not too hard to predict, but few could have foreseen that Janet missed Jackson, if your nasty would one day replace Michael as true heir to the Jackson family legacy. Jackson has also been recognized for playing a pivotal role in crossing racial boundaries in the recording industry, where black artists were once considered to be substandard. 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. Raoul Ledge 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.She, alongside her contemporaries offered viable creative, intellectual and business paths for establishing and maintaining agency, lyrical potency, marketing and ownership. 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. A model of reinvention, author Jesse 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. Musicologist Richard J. Ripani identified Jackson as a leader in the development of contemporary Rand B, as her music created a unique blend of genre and sound effects which ushered in the use of rapped vocals into mainstream Rand B. He also argues her signature song Nasty influenced the new jack swing genre developed by Teddy Riley.Leon McDermott of The Sunday Herald wrote, Her million-selling albums in the 1980s helped invent contemporary Rand B through Jimmy Jam and Terry Lewis's Muscular. Lean production, the sinuous grooves threaded through 1980's IXS Control and 1989's Rhythm Nation 18014 are the foundation upon which today's hot shot producers and singers rely. 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 as a reinvention of the dance-pop genre, introducing a new sonic palette. Dent 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. In July 1999, she placed at number 77 on VH1's 100 Greatest Women of Rock and Roll. She also placed at number 134 on their list of the 200 Greatest Pop Culture Icons of All Time, number 7 on the 100 Greatest Women in Music, and at number 2 on the 50 Greatest Women of the Video Era, behind Madonna. In March 2008, Business Wire reported Janet Jackson is one of the top 10 selling artists in the history of contemporary music, ranked by Billboard Magazine as the 9th most successful act in rock and roll history, and the second most successful female artist in pop music history. She is the only female artist in the history of the Hot 100 to have 18 consecutive top 10 hit singles, from Miss You Much, 1989, To I Get Lonely, 1998. The magazine ranked her at number 7 on their Hot 150th anniversary All Time Top Artists, making her the third most successful female artist in the history of the chart, following Madonna and Mariah Carey. In November 2010, Billboard released its top 50 Rand B. Hip Hop Artists of the past 25 years list and ranked her at number 5. She ranks as the top artist on the chart with 15 number 1s in the past 25 years, garnering 27 top 10 hits between 1985 and 2001, and 33 consecutive top 40 hits from 1985 through 2004.Recipient of 10 Billboard Music Awards, 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. In November 2014, Jackson was voted Queen of Pop by a poll conducted online by VH1.com. In October, 2015, she received her first nomination for induction into the Rock and Roll Hall of Fame. 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.� 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, Alia and Destiny's Child.� Music critic Jean 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. Nsync and Usher have credited her for teaching them how to develop stage show into theatrical performance. Kisha, Beyoncé, Tony Braxton, Alia, Britney Spears, Christina Aguilera, Crystal Kay, Kelly Rowland, Rihanna, and Brazilian singer Kelly Key have all named her an inspiration, while others such as Rizonda Chilly-Thomas of TLC, Cassie, Nicki Minaj, Kerry Hilson and DJ singer Havana Brown, have all expressed desire to emulate her. Alyssa 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.� Adrienne Trier-Biniac stated scholars trace the origins of pleasure as a black feminist commitment within popular culture to Janet Jackson who inspired the feminist perspective found in many pop stars� careers. Those who are considered to have followed in her footsteps have been referred to as Janet Come Lately�s. Other artists who have drawn comparison to her include Maya, Brandy, Tatiana Allie, Christina Milian, Lady Gaga, Namie Amuro, and Boa. Sociologist Shane Lee commented that �As Janet enters the twilight of her reign as erotic queen of pop, Beyonce Knowles emerges as her likely successor.� Joan Morgan of Essence magazine remarked, �Jackson�s control, Rhythm Nation 1814 and Janet�established the singer-dancer-imprimator standard in pop culture we now take for granted.� �So when you�re thinking of asking Ms. Jackson, what have you done for me lately, remember that Brittany, Sierra, and Beyonce live in the house that Janet built.�


The Road Builders, by Volterine DeClair, read for LibriVox.org by Alan Mayers. June 30th, Silver Spring, Maryland. Who built the beautiful roads? queried a friend of the present order, as we walked one day along the mechatomized driveway of Fairmount Park. I saw them toiling in the blistering sun, their dull dark faces leaning toward the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in their chest, the sweat drops dripping in great painful beads. I saw one fall, his forehead on the rock, the helpless hand still clutching at the spade, the slack mouth full of earth. And he was dead.  The blood yet ran upon the jagged stone, but it was ended.  He was no hero, he, a poor black man, taking the will of God and asking naught. Think of him thus when next your horse's feet strike out the flint-spark from the gleaming road. Think that for this, this common thing, the road, a human creature died, it is a blood gift to an ore-reaching world that does not thank.  End of poem. This recording is in the Public Domain. The Road Builders by Volter and De Clare Read for LibriVox.org by DailyBab Who built the beautiful roads? queried a friend of the present order, as we walked one day along the macadamized driveway of Fairmont Park. I saw them toiling in the blistering sun, their dull dark faces leaning toward the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in their chest, the sweat drops dripping in great painful beads. I saw one fall, his forehead on the rock, the helpless hand still clutching at the spade, the slack mouth full of earth. And he was dead.  But it was ended. He was quite, quite dead. Driven to death beneath the burning sun, driven to death upon the road he built. He was no hero, he a poor black man, taking the will of God and asking not. Think of him thus, when next your horse's feet strike out the flint-spark from the gleaming road. Think that for this, this common thing, the road, a human creature died, it is a blood gift, to an overreaching world that does not thank. Ignorant, mean and soulless, was he?  End of poem, this recording is in the public domain. I saw them toiling in the blistering sun, their dull dark faces leaning toward the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in their chest, the sweat drops dripping in great painful beads. I saw one fall, his forehead on the rock, the helpless hand still clutching at the spade, the slack mouth full of earth. And he was dead, his comrades gently turned his face until the fierce sun glittered hard upon his eyes, wide open, staring at the cruel sky. The blood yet ran upon the jagged stone, but it was ended, he was quite, quite dead. Driven to death beneath the burning sun, driven to death upon the road he built, he was no hero, he, a poor black man, taking the will of God and asking not. Think of him thus when next to your horse's feet strike out the flint spark from the gleaming road. Think that for this, this common thing, the road, a human creature died, it is a blood gift, to an o'erreaching world that does not thank.  This recording is in the public domain. Amsterdam, the Netherlands. Quote, Who built beautiful roads queried a friend of the present order, as we walked one day along the macadamized driveway of Fairmount Park. I saw them toiling in a blistering sun, their dull dark faces leaning toward the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in their chest. The sweat dropped stripping in great painful beans. I saw one fall, his forehead on the rock, the helpless hands still clutching at the spade, the slack mouth full of earth. And he was dead.  The blood yet ran upon the jagged stone, but it was ended.  He was no hero, he, a poor black man taking the will of God and asking naught. Think of him thus when next your horse's feet strike out a flint spark from the gleaming road. Think that for this, this common thing, the road, a human creature died. It is a blood gift to an oil-reaching world that does not thank.  End of poem. This recording is in the public domain. The Road Builders by Volterine de Clair, read for LibreVox.org by Iswa in Belgium in June 2008. Who built the beautiful roads? We read a friend of the present order as we walked one day along the macadamized driveway of Fairmount Park. I saw them toiling in the blistering sun. Their dull, dark faces leaning toward the stone. Their knotted fingers grasping the root tools. Their rounded shoulders narrowing in their chest. The sweat drops dripping in great painful beads. I saw one fall, his forehead on the rock. The helpless hand still clutching at the spade.  And he was dead.  The blood yet ran upon the jagged stone. But it was ended. He was quite, quite dead. Driven to death beneath the burning sun. Driven to death upon the road he built. He was no hero, he, a poor black man, taking the will of God and asking not. Think of him thus, when next your horse's feet strike out the flint-spark from the gleaming road. Think that for this. This common thing, the road, a human creature died. It is a blood gift to an over-eaching world that does not thank. Ignorant, mean, and soulless was he? Well, still human, a new drive upon his corpse. End of poem. This recording is in the public domain. I saw them toiling in the blistering sun, their dull dark faces leaning toward the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in their chest, the sweat drops dripping in great painful beads. I saw one fall, his forehead on the rock, the helpless hands still clutching at the spade, the slack mouth full of earth. And he was dead. As comrades gently turned his face until the fierce sun glittered hard upon his eyes, wide open, staring at the cruel sky. The blood yet ran upon the jagged stone, but it was ended. He was quite, quite dead. Driven to death beneath the burning sun, driven to death upon the road he built. He was no hero. He, a poor black man, taking the will of God and asking not. Think of him thus, when next your horse's feet strike out the flint-spark from the gleaming road. Think that for this, this common thing, the road, a human creature died, to the blood gift, to an ore-reaching world that does not thank. Ignorant, mean, and soulless was he.  End of poem. The Road Builders by Voltairene DeClaire Read for LibriVox.org by Leanne Howlett Who built the beautiful roads, queried a friend of the present order, as we walked one day along the macadamized driveway of Fairmount Park. I saw them toiling in the blistering sun, their dull dark faces leaning toward the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in their chest, the sweat drops dripping in great painful beads. I saw one fall, his forehead on the rock, the helpless hands still clutching at the spade, the slack mouth full of earth. And he was dead.  The blood yet ran upon the jagged stone, but it was ended. He was quite, quite dead. Driven to death beneath the burning sun, driven to death upon the road he built. He was no hero, he, a poor black man, taking the will of God and asking not. Think of him thus, when next your horse's feet strike out the flint spark from the gleaming road. Think that for this, this common thing, the road, a human creature died. It is a blood gift to an or-reaching world that does not thank. Ignorant, mean, and soulless, was he? Well, still human.  End of poem. This recording is in the public domain. The Road Builders by Volterine DeClaire Read for Librebox.org by Lauren Lazarus Who built the beautiful roads queried a friend of the present order as we walked one day along the macadamized driveway of Fairmount Ark. I saw them toiling in the blistering sun, their dull dark faces leaning toward the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in their chest, the sweat drops dripping in great painful beads. I saw one fall, his forehead on the rock, the helpless hands still clutching at the spade, the slack mouth full of earth. And he was dead.  The blood yet ran upon the jagged stone, but it was ended.  He was no hero, he, a poor black man taking the will of God and asking not. Think of him thus when next your horse's feet strike out the flint-spark from the gleaming road.  End of poem. This recording is in the public domain. I saw one fall, his forehead on the rock, the helpless hand still clutching at the spade, the slack mouth full of earth. And he was dead.  The blood yet ran upon the jagged stone, but it was ended. He was quite, quite dead, driven to death upon the road he built. He was no hero. He, a poor black man taking the will of God and asking not. Think of him thus when next your horse's feet strike out the flint-spark from the gleaming road.  End of poem. This recording is in the public domain. I saw them toiling in the blistering sun, their dull dark faces leaning toward the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in their chest, the sweat drops dripping in great, painful beads. I saw one fall, his forehead on the rock, a helpless hand still clutching at the spade, the slack mouth full of earth, and he was dead.  The blood yet ran upon the jagged stone, but it was ended. He was quite, quite dead, driven to death beneath the burning sun. Driven to death upon the road he built. He was no hero, he, a poor black man, taking the will of God and asking naught. Think of him thus when next your horses feet strike out the flint spark from the gleaming road. Think that for this, this common thing, the road, a human creature died. It is a blood gift to an awe-reaching world that does not thank ignorant, mean and soulless, was he?  End of poem. This recording is in the public domain. I saw them tolling in the blistering sun, their dull, dark faces leaning towards the stone, their knotted fingers grasping the rude tools, their rounded shoulders narrowing in the chest, the sweat drops dripping in painful beads. I saw one fall, his forehead on the rock, the helpless hand still clutching at the spade, the slack mouth full of earth, and he was dead.  The blood yet ran upon the jagged stone, but it was ended.  He was no hero, he, a poor black man, taking the will of God and asking naught. Think of him thus, where next your horses feet strike out the flint-spark from the gleaming road. Think that for this, this common thing, the road, a human creature died. It is a blood gift to an ear-reaching world that does not thank. Ignorant, mean and soulless, was he?  End of poem. This recording is in the public domain. The Road Builders by Volterine de Clair Read for LibriVox.org by Sergio Baldelli Rome, July 2008 Who built the beautiful roads? Queer the friend of the present order as we walk to one day along the macadamized drive-away of a fair mount park. I saw them toiling in the blistering sun. Their dull dark faces leaning toward the stone. Their knotted fingers grasping the rude tools. Their rounded shoulders narrowing in their chest. Their sweat drops dripping in great painful beads. I saw one fall, his forehead on the rock, the helpless hand still clutching at the spade, the slack mouth full of earth. And he was dead.  Blood yet ran upon the jagged stone. But it was ended. He was quite, quite dead. Driven to death beneath the burning sun. Driven to death upon the road he built. He was no hero he, a poor black man taking the will of God and asking naught. Think of him thus, when next your horse's feet strike out the flint spark from the gleaming road. Think that for this, this common thing, the road a human creature died. It is a blood gift to an over-reaching world that does not thank. Ignorant? Mean and soulless was he? Well, still human.  End of a poem. This recording is in the...