They may be known for their rugged rock classics, like “Walk This Way” and “Dream On,” but in the summer of 1998, Aerosmith showed us their soft side on “I Don’t Want to Miss a Thing.” Written by songwriting legend Diane Warren, the power ballad served as the theme song to the 1998 film Armageddon. With the help of lead singer Steven Tyler’s raspy pipes and Warren’s infallible recipe for love songs, twenty-five years into their career, the track became the band’s first and, shockingly, only number-one hit. Twenty-five years later, this meteor-sized classic still remains a surefire fan favorite.

Watch the “I Don’t Want to Miss a Thing” video, stream it, or get Aerosmith’s Greatest Hits Deluxe on vinyl, celebrating 50 years of their career!

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While the ’90s saw the emergence of popular boy bands, like the Backstreet Boys and *NSYNC, it was the decade’s girl groups who came to heat – or spice, rather – things up. The Spice Girls were not just the biggest British singing group to conquer the world since The Beatles, they soon ranked among the best-selling girl groups of all time. With their salsa-inspired hit, “Spice Up Your Life,” these five ladies gave us the absolute perfect anthem for a summertime fiesta. Feeling “sad and low” these days? Well, the Spice Girls have just the cure for that.

Watch the “Spice Up Your Life” video, stream it here, or buy the “Spiceworld 25” deluxe edition.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here.

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Thirty years into her career, Shania Twain is still looking for a good time. In fact, she’s looking to get “litty in the cup” on her song, “Giddy Up!” Taken from her latest LP “Queen of Me,” this song will have you packing up your bags for a weekend getaway with your friends before even booking it. Everyone knows that summertime is the best time for getting in the car, cranking up the volume, and taking in a new view. So this summer, do as Shania says – “giddy up” and hit the road! You won’t regret it.

Watch the music video below, stream “Giddy Up!” or order Shania Twain’s “Queen of Me” on vinyl!

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Is there anything better than a summertime romance? In 1998, country legend Shania Twain gave us the perfect theme song for such, with her pop-crossover hit “You’re Still The One.” A sultry spoken word intro sets the mood so right that it almost seems rude to have the lights on when you’re listening to it. But the song’s warm transition and tenderhearted lyrics about never falling out of love, despite the naysayers, sound so cool you can practically taste the summer air in between each line. After all this time, this song still gives us all the feels.

Watch the music video below, stream “You’re Still the One” or order Shania Twain’s “Come On Over” album

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The song, released on June 2, 2003, as the third and final single off of the superstar’s ninth studio album “Charmbracelet,” originally appeared on the British rock band’s 1981 album “High ‘n’ Dry.” Written by band members Steve Clark, Pete Willis, and Joe Elliott, “Bringin’ On The Heartbreak” only reached a peak of #61 on the Billboard Hot 100, a stark contrast from a majority of the more successful hits Carey’s chosen to cover on her other albums. Released through Island Def Jam Records and Carey’s own (now defunct) record label, MonarC Entertainment, “Heartbreak” wasn’t any more commercially successful in Carey’s hands, but was well-received by critics and even the song’s creators.

Cover Girl

Lead singer Joe Elliott recounts that he heard Carey became interested in covering the band’s song after she heard it playing during a photoshoot. “I think she did a great version of it,” he told Rolling Stone in 2019. Def Leppard’s guitarist Phil Collen described Carey’s version as “genuine,” stating, “She’s on our side and it’s an honour she’s done it.” Other reviewers were appreciative of Carey’s surprising transformation from pop to rock star. Praising its live instrumentation, Sal Cinquemani of “Slant” labeled the track as “daring.” After all, it’s not every day a diva like Carey trades in her stilettos for a guitar.

“Gypsy, sittin’ looking pretty / A broken rose and laughing eyes…” are the first lines elicited by Carey’s airy but fervent vocals as she swoons over a somber piano and soft guitar strings. While Leppard’s original version begins with an immediate clash of electric guitars and drums, Carey’s version takes you on a journey of suspense – a gentle, almost whispered start, with a ferocious ending. “The record had a crescendo, so we started out in one place and ended up in a really big epic moment,” Carey said about the song during a 2002 promo interview. Though the five-octave crooner, who’s cemented her musical legacy with innumerable pop/R&B hits, surely wouldn’t be first in mind for a rock ‘n’ roll selection, Carey’s rendition of “Heartbreak” further proves that her voice can fit seamlessly within any musical genre. And, her glass-shattering high note towards the song’s finish – the one Elliott said makes “Minnie Riperton sound like Tom Waits” – could actually be mistaken for an electric guitar squeal. The diva’s voice is indeed an instrument. Everything else around it is just background noise.

Punk-riah

Though the 2003 release of “Heartbreak” was the first rock single that the self-proclaimed “elusive chanteuse” publicly took credit for singing, it was not her first foray into the genre. Carey later revealed in her 2020 memoir, “The Meaning of Mariah Carey,” that she recorded an alternative rock album during the recording of her 1995 studio album, “Daydream.” The secret album, titled “Someone’s Ugly Daughter,” was released under the band name, Chick. Carey wrote, produced, and sang each track from the album, enlisting her friend Clarissa Dane to sing over her voice as a means of disguising it. Carey, however, has hinted about the album in the past. “I’ve written some alternative things that nobody knows about,” she revealed to Craig Seymour, in 1999, saying, “I’m a musical person.” Unfortunately, “Someone’s Ugly Daughter” is still not available on any music platforms. But honestly Ms. Carey, it’s time for the world to become reacquainted with the much more elusive, “Punk-riah.”

A music video for “Bringin’ On The Heartbreak,” directed by Sanaa Hamri, was shot in Los Angeles in early 2003. Inspired by the 1979 film, “The Rose,” the song’s video chronicles the pressures of a renowned rock star, one who is adored by the world but struggles to find her own inner peace – much like the film’s protagonist Mary Rose Foster, played by the legendary Bette Midler. Dressed like a vampy Stevie Nicks, Carey is draped in headscarves and hippie beads but stays true to character by leaving her enviable physique on full display. Shots of her being swarmed by screaming fans, backed by close-ups of a saddened starlet and clips of a risqué love scene between her and model Damon Willis in the sheets, all lead to the video’s finale, where – much like Rose – Carey is performing onstage for her doting followers, with Randy Jackson on bass and Dave Narravo shredding his guitar. Though the song’s style and video are not on brand of the familiar “Mariah Carey” archetype, they certainly coincide with the tales of this diva’s storied career.

Mimi’s Heartbreak

The song’s parent album, “Charmbracelet,” was released during a rather unsuccessful and complicated period for the music icon. After closing out the ’90s as the best-selling artist of the decade, with at least one number-one single in each year, Carey entered the new millennium with her own personal heartbreak. Freshly divorced from the then-CEO of Sony Music, Tommy Mottola, Carey signed a record-breaking contract deal with Virgin Records ahead of the release of her 2001 motion picture debut, Glitter. Following a series of setbacks and delays brought on by Carey being hospitalized for exhaustion, the film and its accompanying soundtrack were commercial failures and panned by critics. Ultimately, the superstar was bought out of her contract by Virgin Records. It was “a complete and total stress-fest,” according to Carey. “I made a total snap decision which was based on money and I never make decisions based on money. I learned a big lesson from that.”

The following year, the songstress jetted out to Capri, Italy, where she began writing and recording fresh material for a new album before even being signed to a new label (ultimately choosing Island Def Jam). Carey not only found a new home with another record company but also launched her very own record label – MonarC Entertainment (which was abandoned in the summer of 2004). In the wake of commercial blows, critical mockery, and record label confusion, Carey’s father passed away shortly after the two had reconciled after years of not speaking to one another. She honored her late father with the song, “Sunflowers For Alfred Roy,” on “Charmbracelet.”

“Charmbracelet” (released December 3, 2002) was not the commercial comeback Carey had intended it to be, however. The album peaked at number three on the Billboard 200 Albums Chart, while all three of its subsequent singles received shockingly poorer chart success than Carey was known for. “Bringin’ On The Heartbreak” reached #25 on the U.S. Adult Contemporary Chart, but managed to peak at #5 on the Billboard U.S. Dance Club Songs, thanks to its club remixes. The song was performed on several television programs, including “The Today Show” and Mexico’s child fundraiser program “Teletón,” as well as on the album’s supporting tour, “The Charmbracelet World Tour.” Carey’s future, though, was anything but heartbreaking. The Grammy winner returned to her former glory with her 2005 comeback album, “The Emancipation of Mimi,” and eventually broke Elvis Presley’s record for having more number-one hits than any other solo artist in music history. Over the decades, she has completely transformed herself into the quintessential symbol of Christmas. Her years of heartache are certainly long gone.

Although Carey’s rendition of “Bringin’ On The Heartbreak” didn’t match the success of her most beloved covers, it certainly speaks to her musical diversity. With a song catalog that practically shimmers from catchy pop melodies and honeyed vocals, “Heartbreak” is a rock ‘n’ roll rarity. For both the likeliest and unlikeliest of song choices, a voice like Carey’s is always the perfect fit. But be warned – when Mariah Carey covers your song, it just isn’t your song anymore.

Listen to “Bringin’ on the Heartbreak”

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Released on May 6, 2013, as the lead single from Carey’s fourteenth studio album, “Me. I Am Mariah… The Elusive Chanteuse,” “#Beautiful” marked a new era for the celebrated songstress. The track was her first release to garner significant traction since the 2009 hit single, “Obsessed.” The inspirational but polar opposite singles “Triumphant (Get ‘Em),” released in the summer of 2012, and “Almost Home” (the theme song to Disney’s Oz the Great and Powerful) released just 3 months prior, both failed to chart. Coming out at the tail end of Carey’s rather infamous stint as an American Idol judge, “#Beautiful” had the perfect markings (and marketing) of a summer smash.

Mariah Meets Miguel

Starting off with a sleek guitar lick, the song already paints the five-octave diva in a much different light than her previous singles. There’s a little edge, a little grit, a little rock ‘n’ roll – three ways a casual observer of Carey’s would not even think to use to describe the songbird’s twinkling index of high notes. The song’s featured guest, Miguel, holds the reins for a majority of the song’s opening, while the only offering Carey even makes in the song’s introduction is a repeated “uh, uh, you’re beautiful” and some faint, girl-group-inspired “ooh’s” and “ahh’s.”

In true diva fashion, Carey’s voice comes swinging in, full throttle, and fashionably late to her own song. She seemingly responds to Miguel’s invitation to ride atop his bike, crooning, “I like when you run red lights” at the start of the second verse. The double entendre here is an example of the pair’s playful banter throughout the song. Its surprisingly bawdy yet catchy chorus about admiring each other’s beauty echoes the juvenile feelings of a brewing romance. The chorus also reveals the song’s only defect: the hashtag in its title acts as a placeholder for the f-word. It was an attempt at embracing trends that fell flat.

Though the song served as the lead single from Carey’s then-upcoming album, it was originally conceived by Miguel. He comprised the opening guitar riff before pitching it to Carey. The two then collaborated to complete the song, and as Mariah revealed in an interview with Ryan Seacrest, “We just wanted to do something different that has a texture, that feels fresh.” The result wasn’t just fresh, it was superb. As Carrie Battan wrote in her review for Pitchfork, “#Beautiful” had “the finger-snapping R&B throwback charm that sounds primed for repeat play through the summer.”

The #Beautiful Video

A Joseph Kahn-directed music video premiered on the May 9, 2013, episode of American Idol. In it, the two singers are depicted riding into a summer’s sunset on a motorcycle, with a very James Dean-styled Miguel at the controls, as Mariah sits pretty in the back. It soon becomes nighttime, and they’ve traded in their motorcycle for a vintage, candy apple red Porsche Speedster (which actually belonged to Carey’s father) to set up shop in an old barn that just so happens to be adorned with crystal chandeliers emitting the perfect lighting for Ms. Carey’s approval. The music video really doesn’t serve anything other than some picturesque shots of Mariah twirling around and fluttering her fingers like she’s about to sprinkle some fairy dust from her hands. She’s beautiful, and there’s no denying that.

The Queen of the Remix

“#Beautiful” was further promoted through a series of television performances and remixes, including a re-sung hip-hop remix with Jeezy, a Spanglish version with Miguel, and a version with a rap from A$AP Rocky.  Though the song’s remixes really didn’t match the quality of the original, they are a welcomed addition to Carey’s canon of remixes nonetheless. Two of them even had music videos.

A second music video was filmed a month later for the song’s Spanglish version, “#Hermosa.” Now the two have left the countryside for a more scenic ambiance – Capri, Italy. This time, we catch a glimpse of the pair recording the blended version of the song in the studio, mixed with clips of Miguel cruising about the town and Carey being the bonafide diva that she is – cheers-ing with champagne, frolicking in the water (diamonds on, of course), and teetering to her yacht while being assisted by handlers so she doesn’t fumble over her heeled sandals. If anything, the two videos just give Carey an opportunity to show off her body two years after giving birth to twins.

A third music video for the Jeezy remix was also planned. However, while filming, Carey suffered a shoulder injury after a pretty serious fall. Carey later revealed that the video had been edited, and would presumably be released, but it never was. This unfortunate turn of events also derailed the recording of a planned dance remix and ultimately delayed the release of its parent album until May 2014. Instead, we got served with an array of very stylish arm slings – ranging from leather to feathers to fur – the singer donned while recovering. One word: chic.

The Summer Hit That Got Away

Debacles aside, the song became Carey’s 33^rd Top 20 hit, peaking at number 15 on the Billboard Hot 100. It found even more success on the Hot R&B/Hip-Hop Songs Chart, where it peaked at number three. It also became the superstar’s third-highest debut on the Pop Songs Chart, behind her 1993 smash-hit “Dreamlover” and her 1994 duet with Luther Vandross “Endless Love.” After being certified double platinum by the Recording Industry Association of America, it later received a platinum certification from the Australian Recording Industry Association and a gold certification from Recorded Music NZ. For an artist who was 23 years into her career at that point, its chart performance was quite impressive.

Although the song garnered critical praise and modest commercial success, “#Beautiful” deserved far more. Having been released right before the official start of the summer season, there’s no doubt that this song could have served as the soundtrack to plenty of summer memories in the making – road trips, beach dates, riding in the car during the warm golden hour, singing along to the song’s effortlessly cool spirit. But summer is right around the corner, and even 10 years later, “#Beautiful” is still just as fresh and current as it was when it first came out – except for the hashtag. TikTok, do your thing.

Listen to “#Beautiful” by Mariah Carey and Miguel

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On June 25, 2009, news broke of Michael Jackson’s death, leaving fans and millions of mourners around the world in shock and disbelief. His sister Janet was at home in New York, ready to begin production on the sequel film, Why Did I Get Married Too? It was only days later at the BET Awards, when a grieving Janet made her first public appearance since her brother’s death to address the audience. “To you, Michael is an icon. To us, Michael is family,” she said. “And he will forever live in our hearts.” The world continued to salute and celebrate the life of Michael Jackson, paying homage to his legacy at numerous musical events following his death.

In one show-stopping tribute, Janet Jackson honored the King of Pop with a surprise performance of their 1995 hit “Scream,” at the 2009 MTV Video Music Awards. Jackson’s performance received a standing ovation from the crowd and endless praise from viewers and critics. Two months later, Jackson released her second hits compilation, Number Ones. She made a number of televised performances in support of the album, including opening the 2009 American Music Awards with a medley of her greatest hits.

Though the decade would end in perhaps the most unexpected way for Janet Jackson, she was about to prove her strength in numbers – reminding us that she was still Miss Jackson, despite the pain and unspeakable heartache.

Broken Hearts Heal

After reprising her role as Patricia Agnew in the 2010 Tyler Perry film, Why Did I Get Married Too?, Jackson recalled the film’s working process to be both nurturing and therapeutic. “Work helps focus all of that energy on something that is of value to you,” she explained during an interview with Harper’s Bazaar. Her newest single, “Nothing,” served as the theme song to the film. In it, Jackson’s professing of holding to the moments and people in our lives is strikingly applicable to, not only her character’s mourning, but her own reality – “Cherish every moment like it’s the last / Trust in me…,” she sings. Jackson then returned to movie screens only a few months later, this time as a less optimistic Agnew and a more shrewd, Anna Wintour-like H.B.I.C. The film – another Tyler Perry creation – was For Colored Girls, an adaption of the 1975 Ntozake Shange play of the same name. Jackson’s performance as Joanna Bradmore, a fashion magazine editor, earned her two Black Reel Award nominations: Outstanding Supporting Actress and Outstanding Ensemble.

Jackson marked her return to the stage in 2011, setting foot on the Number Ones: Up Close and Personal World Tour. Described as a “love affair between me and those of you who have supported me and my work for all these years” by Jackson, the tour’s approach was set to be much more organic than those of Jackson’s past. Instead of stadiums and arenas, Jackson was front and center in intimate theaters and venues, where she could literally be “up close and personal” with her beloved fans. Without missing a single beat, the pop legend performed all of her greatest hits with the same exact perfection and finesse as their debuts from years (some even decades) prior.

In February 2011, Jackson released her very own self-help book, titled True You: A Journey to Finding and Loving Yourself. Co-written with David Ritz, the book was inspired by Jackson’s own bouts with insecurities from self-esteem issues, weight struggles, and self-love. Jackson would later disclose the challenges she faced in conceptualizing the book’s material. “The whole book was difficult to write. I am a very private person. I guess I always have been, even as a child.” The book wasn’t an excuse for self-pity, but a show of support for those who identified with the same issues as Jackson’s. Like her music, Jackson’s True You became a source of comfort for her followers – helping them find solace in the process of living and loving themselves as their true selves. The book would turn Janet Jackson into a best-selling author, topping The New York Times Best Sellers List, in March 2011.

Unbreakable

After a previously aforementioned marriage to billionaire businessman Wissam Al Mana in 2012, Jackson dipped out of the spotlight, only to return with a new studio album and accompanying world tour. The album would be the first to be released under Jackson’s newly established record label, Rhythm Nation – establishing Janet Jackson as one of the first few African-American female artists to own a record label.

In June 2015, Jackson released the unknown titled album’s lead single, “No Sleeep.” After charting on the Billboard Hot 100 at No. 67 (it would later reach a peak of No. 63, thanks to the J. Cole-featured album version), it became Jackson’s longest-running number-one hit on the U.S. Adult R&B Songs Chart, after spending 12 weeks at the top.  Later that month, Jackson was honored with the Ultimate Icon: Music Dance Visual award at the BET Awards.

In August, the Unbreakable Tour launched. Fans not only caught a listen to some soon-to-be-released material, but noted Jackson’s stage costumes as rather reserved for the singer who became a nexus for baby-making music and sex teasing shows. In alliance with her supposed conversion to Islam and Al Mana’s reported “none of that American [stuff]” demands, Jackson’s stage performances were the kid-friendliest since her days as a fledgling recording artist. Though just as thoroughly entertaining, many praised Jackson’s newly tamed image as grown and appropriate for a 50-something-year-old pop star. Unfortunately, the same can’t be said for some of her bum-baring peers.

In October 2015, Jackson released her eleventh studio album, Unbreakable. The album was met with rave reviews and the number-one slot of the Billboard 200, making Jackson the third musical act in history to have a number-one album in each of the last four decades. The album’s tour and promotional efforts were later paused, due to Jackson’s pregnancy announced the following year.

After vowing to resume all missed concert dates, the tour was then reworked and retitled as the State of the World Tour. Beginning in September 2017, the tour’s focus shifted as a more socially awareness campaign. The tour also marked Jackson’s first since her divorce from Al Mana. In a highly acclaimed show number, Jackson’s powerful rendition of The Velvet Rope’s “What About” led many to speculate the song’s domestic violent lyrical content was representative of Jackson’s marriage to Al Mana. Jackson’s brother, Randy, claimed that his sister suffered verbal abuse at the hands of Al Mana, leading to the demise of their marriage. But if Jackson’s career had proven anything by this point, it’s that there is always light at the end of the tunnel.

The following year brought a series of flattery for the musical titan. After Justin Timberlake was announced as the year’s Super Bowl Halftime performer (making it his first return since… you know), people were quick to criticize how blatantly contradictory it was to have a man who exposed a woman’s breast on live television be welcomed back for seconds, while the woman was left to grapple with the broken pieces. This led to a social media prompting of #JanetJacksonAppreciationDay trending on Twitter every Super Bowl Sunday since.

But, let’s forget about the Super Bowl for a minute. Janet Jackson was finally, just finally, starting to earn back all the glory she was never deserving of losing in the first place. In May 2018, she was awarded the Billboard Icon Award, becoming the first African-American female artist to receive the honor. She released the summer-ready “Made For Now,” featuring reggaetón master Daddy Yankee. And, after three nominations, it was announced that she would be inducted into the 2019 class of the Rock and Roll Hall of Fame.

Joining the likes of Britney Spears, Mariah Carey and Jennifer Lopez, Jackson then announced a four-month Las Vegas concert residency, titled Metamorphosis, in February 2019. The residency would be housed at the Park Theater at Park MGM resort. The year 2019 also marked the thirtieth anniversary of Rhythm Nation, taking Jackson on a train of performances in celebration of the milestone, including headlining the U.K.’s legendary Glastonbury Festival.

Janet, Today

After a whirlwind of accolades, Janet Jackson was prepping to enter another decade of her career, with new music, new performances, and a new outlook. The freshly divorced mommy of one announced the Black Diamond World Tour in February 2020. Its provided album, Black Diamond, was slated to be released sometime within the year. However, due to the COVID-19 pandemic, both projects were canceled, and Jackson has yet to announce any future plans for Black Diamond.

But Jackson’s name still found its way into the headlines, thanks to perhaps the most gripping pop culture series to come out of our quarantine. Following the release of the Hulu documentary series, Framing Britney Spears, viewers leaped into attack mode after learning how – surprise, surprise! – Justin Timberlake used his breakup with Spears as a ploy for sympathy-turned-success. After being called out for his jibing of the pop princess, fans also demanded he apologize to Jackson. Both she and Spears are certainly more than deserving of a proper apology from the man whose career skyrocketed off of the public humiliation of two of the most popular women in music history. So, the fans asked demanded, and the fans received.

In an Instagram post, dated February 12, 2021, Timberlake issued a public apology, writing “I’ve seen the messages, tags, comments, and concerns and I want to respond.” He then went on to say, “I specifically want to apologize to Britney Spears and Janet Jackson both individually, because I care for and respect these women and I know I failed.” Was the apology only a scapegoat for any more public scrutiny of Timberlake’s sexist and misogynistic past? Probably. After all, it only took him a whole 17 years. Maybe it’s time for his own eviction, and maybe he won’t need 17 more years to speak up about it.

Thankfully, it won’t be much longer until fans get to hear Jackson’s own story in her own words. It was announced in March 2021 that Jackson’s life story will be getting airtime, with a two-night, four-hour documentary from Lifetime and A&E. The television special, titled Janet Jackson, had been in the works for three years, and promises unfiltered access inside the life of one of the world’s most private public figures. And from that access, fans and viewers will watch as Jackson will reportedly open up about the death of her famous brother Michael, the allegations that marred his career, the Super Bowl infamy, and more. The documentary will premiere this weekend.

This and news of Jackson’s own Julien’s Auctions has made the members of her rhythm nation more than happy. The exclusive Beverly Hills showcase, presented as “Iconic Treasures from the Legendary Career and Life of Janet Jackson,” took place over the star’s fifty-fifth birthday weekend (May 14-16) – where buyers were able to nab some of over 1,000 pieces of Jackson’s very own personal belongings. The items up for grabs all ranged from Jackson’s showstopping tour costumes, to record plagues, to childhood memorabilia, to music video looks (in which Kim Kardashian snagged Jackson’s “If” costume for $25K, which seems minuscule for the “Scream” look that sold for $125K), and some rather intimate items, too (whips and sex dice). Even the iconic key earring Jackson donned during the Rhythm Nation era sold for $43,750. Proceeds from the auction went to the child sponsorship program, Compassion International.

Janet, Forever

With over 100 million records sold worldwide, it’s no wonder how Janet Jackson became one of the best-selling musical artists of all time. For nearly five decades now, she’s remained a constant example of what becomes a legend. But despite her preserved place in pop music, there’s still something about Janet Jackson that is criminally overlooked. With the very, very few artists left of Jackson’s stature, one can only hope that time will acknowledge the megastar as one of the greatest living entertainers still competing with – or rather instructing – her class of hopefuls. Janet Jackson has not only proven to be an instrument of inextricable talent and strength but a continuous influence and inspiration of countless prodigies that danced in her footsteps. All these years later, Janet Jackson is the sole owner of one thing – control, and she’s still got lots of it.

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Nipplegate

The year was 2004. Janet Jackson was selected as the headline performer for the Super Bowl XXXVIII halftime show. The world knew to expect a show like no other by a performer like no other, and that’s exactly what they got.

As Jackson cascaded onto the stage during her “All For You” opener, the show was nothing more than the Janet Jackson concert everyone had tuned in to see. After a quick costume change, Jackson reappeared from the stage in an all-black, leather-donned getup – much reminiscent of her looks during the late 80’s. Assisted by her legion of backup dancers, they broke into chorus of her 1989 anthem, “Rhythm Nation.” Like many halftime shows, surprise guests weren’t really surprising, as much as they were expected. P. Diddy, Nelly, Kid Rock and Jessica Simpson were actually all part of this halftime series, but practically forgotten about by anyone and everyone who watched. Why, you might ask? Because of Justin Timberlake and nine-sixteenths of a second.

The former *NSYNC band member joined Jackson onstage for the closing number of his solo hit, “Rock Your Body.” A poorly underdressed Timberlake bumped and gyrated with Jackson, as football fans and halftime-only devotees gazed over the two’s steamy chemistry. In what had become perhaps the most famous pop culture event to happen on live television by that point (or ever), the very, very last second of their performance would change the history of television and the future of Janet Jackson’s career.

As Timberlake recited the last lines to his song – “Bet I’ll have you naked by the end of this song” – he tore away Jackson’s bustier piece, in an attempt to reveal the red-lace bra that was nestled underneath. But instead, he revealed a sunburst-deco nipple ring and nothing but pure flesh. Janet Jackson’s breast had now been exposed to millions and millions of eyes. Everywhere… for only nine-sixteenths of a second, that is.

A firestorm ensued. Labeled as a “wardrobe malfunction,” within a matter of practical seconds after the show’s ending, the NFL announced that MTV (the halftime show’s producer) would no longer be involved in any halftime shows from thereon. MTV claimed to have had no knowledge of this assumed stunt, while the NFL practically claimed to have nothing to do with Janet Jackson in the first place (you know, after they hired her to perform at the game). All the blame, emphasis and attack was on Jackson – while Timberlake was able to swerve any liability with a slick, “Hey man, we love giving you all something to talk about.” His career went on to exceed, while hers plummeted.

The Federal Communications Commission (FCC) was flooded with complaints, and would later impose a $550,000 fine against Jackson and the CBS network for their airing of the game. Though, in 2011, the courts would later rule that the FCC’s fine was unjust. The damage, however, had already been done. Jackson had been blacklisted from all Viacom subsidiaries, resulting in her music videos being pulled from MTV and VH1, and her songs be banned from radio stations. Janet Jackson’s invitation to present at the year’s 46^th Annual Grammy Awards was retrieved, while Timberlake was not only present at the ceremony, but took home the award for Best Male Pop Vocal Performance and Best Pop Vocal Album. The incident had been referred to as “nipplegate” by the press, and Janet Jackson was the target of everyone’s aim.

In an attempt to ease tensions, Jackson released a public apology. “Unfortunately, the whole thing went wrong in the end,” she explained. “I am really sorry if I offended anyone, that was truly not my intention.” In a 2006 interview on The Oprah Winfrey Show, Jackson expressed her not wanting to make the video apology, being it was only an accident. But, considering her eighth studio album was set be released only a month after the Super Bowl wreckage, Jackson’s team felt it was a smart choice. Damita Jo, taken from Jackson’s middle name, was released in March 2004, to a slump in sales and a mixed response from critics who felt the album’s excessive sexual nature was only adding salt to the wound. Sure, Damita Jo might be Jackson’s most provocative work to date – as tracks like “Warmth” and “Moist” will prove – it’s surely become a fan favorite over the years among Jackson’s supporters.

Not everyone was ready to welcome Janet Jackson back with open arms. Her fans stood by her side, but the general public was ashamed by what they presumed to be a publicity stunt gone too far. It was at that moment that the legacy Janet Jackson had built for herself was completely ruined, all because of… a boob? The only logical explanation for the overdramatizing of the situation was that 2004 was still a time when censorship on television was not quite as progressed as it is today. Sex and raunch are staples of showbusiness these days, and are much more tolerated as “artistic” than taboo. The same network (CBS) that cried victim to Jackson’s breast, is the same network that allowed Cardi B and Meg Thee Stallion to dry-hump, twerk and pole dance during their performance at last year’s Grammy Awards. Thanks to the halftime show blunder, though, all live television programs must operate on a five-second delay and YouTube (yes, YouTube) was created.

Time has since passed, and more and more people have agreed on the general exaggeration of the wardrobe mishap. Of those people was former FCC Chairman, Michael Powell, who even issued an apology (of sorts) to Jackson ten years after the incident, stating “I personally thought that was really unfair. It all turned into being about her. In reality, if you slow the thing down, it’s Justin ripping off her breastplate.”

It’s also worth pointing out that Les Moonves – the former chairman and CEO of the CBS Corporation – set out to make Jackson’s life a living hell after the debacle. But, his bitterness would only get him so far. In 2018, he was forced to step down as chairman after a series of sexual allegations were pressed against him. That same year, it was announced that Janet Jackson would be inducted into the Rock and Roll Hall of Fame.

Oh, and by the way, in case anyone even cares to remember, the New England Patriots won the 2004 Super Bowl.

Love & Marriage

Janet Jackson’s career hasn’t been the only subject of chaos. Her notoriously private personal life has had its fair share of ups and downs. And controversies. At 18, fresh off of Jackson’s newly found freedom, she married R&B singer James DeBarge. Another child of musical roots, James was a member of the family singing group, DeBarge – best known for their 1985 hit, “Rhythm of the Night.” The two eloped in September 1984, but were annulled in November 1985.

In 1991, Jackson secretly married dancer and director René Elizondo, Jr. The two managed to keep their marriage a secret for almost a decade, only revealing their nuptials to the public when it was announced that were they separating in 1999. They were divorced the following year. Their split would be the cause of both grief and turmoil for Jackson, after Elizondo filed an estimated $10-25 million lawsuit against his former wife. It would take a total of three years before a settlement would be reached between the two.

In 2002, Jackson began a very public relationship with music producer Jermaine Dupri. The Atlanta-born rapper served as the founder and owner of So So Def Recordings, working with the likes of many R&B/hip-hop artists. His most popular musical contributions include Usher’s Confessions (2004) and Mariah Carey’s The Emancipation of Mimi (2005). Though rumored to have been engaged, the two never married. After an eight year-long romance, the couple called it quits in 2009.

Jackson would find love again in 2010, when she met Qatari businessman Wissam Al Mana. Their relationship blossomed shortly after, and the two were married during a private ceremony at their home, in 2012. Following their pairing, Jackson stepped away from the spotlight and seemingly divided her time between the Middle East and London, leading to a storm of speculation about Jackson’s whereabouts and questions of her music career ever returning. One concerned fan even created a mock missing-persons flyer for the absent star, which surprisingly got a response from Jackson on Twitter – “Too funny, too sweet.” In 2016, months after the start of her Unbreakable Tour comeback, Jackson announced she and Al Mana were expecting their first child together. At 50-years-old, Jackson welcomed their son, Eissa Al Mana, on January 3, 2017. Only three months after the birth of their miracle baby, it was announced that Jackson and Al Mana would be divorcing.

Reports claim their separation was in part due to Al Mana’s dominance over Jackson’s new image and lifestyle. Fans were quick to notice how conservatively dressed the star had gotten since the two began their courtship, and Al Mana’s religious beliefs were a far cry from Jackson’s Jehovah’s Witness upbringing. Like times before, though, Jackson had sought for control – not of anyone else, but for herself. This time was no different.

After the Storm

The calming of the Super Bowl fury took a while to soothe. Though Jackson continued to make new music, her being completely ostracized greatly impacted its exposure and overall success. In 2006, she released her ninth studio album, 20 Y.O. The album was set to commemorate 20 years since the release of Control, but failed to impress. Despite its lack of commercial performance, the album still managed to peak at No. 2 on the Billboard 200. And, for what it’s worth, the ear-candy single, “So Excited,” deserved better. The following year, she starred in the Tyler Perry film, Why Did I Get Married? Earning praise for her role as psychologist Patricia Agnew, the film became Jackson’s third consecutive film to open at the number-one spot at the box office.

After signing with Island Records in 2008, she released Discipline. The album became her first to top the Billboard 200 since 2001’s All For You. Though still blacklisted from radio formats, the album’s lead single, “Feedback,” managed to peak at No. 19 on the Billboard Hot 100. Jackson then launched the Rock Witchu Tour in September 2008, performing a mix of old and new favorites, and even some forgotten dust collectors from her first two studio albums. Jackson then left Island Records after then-CEO L.A. Reid’s mishandling of the album’s promotion.

The frenzy that followed Jackson’s career by that point was about to take a devastating turn, as tragedy was about to strike.

Be sure to check back in next week for the next part of our series, Janet Jackson: Then, Now & All the In-Between!

The post Janet Jackson: The Naked Truth appeared first on THE 97.

90’s Vixen

After closing out the decade on the highest of highs, Jackson entered the 90’s as a solidified icon. Though Rhythm Nation provided Jackson with years of adulatory success, the next wave of her career would prove to be redefining and record breaking.

By this point, Jackson was on every record label’s “Most Wanted” list. However, after an attempt by A&M to renew her contract, she left them for Virgin Records for an estimated $40 million. Janet Jackson was now the world’s highest-paid recording artist. This would then change only two days later, when her brother Michael Jackson signed a deal with Sony Music Entertainment for $60 million. Siblings, am I right?

This much anticipated chapter of the Janet Jackson storybook was steering in a different lane, though. Jackson was entering her mid-twenties, and in doing so, both her image and her sound underwent some tweaking. She was still Janet, the singer and dancer extraordinaire. But she wasn’t celebrating control or fighting for injustices this time. She was talking about one thing – sex.

Her fifth studio album janet. (released May 18, 1993) – two days after the star’s twenty-seventh birthday – was compiled of more R&B sensualities than her 80’s LP’s, but was still decorated with glimmers of funk, dance and the new jack swing that had become synonymous to her sound. After receiving criticism that her success and popularity had nothing more than to do with the fact that she was a child of the Jackson empire, Janet went on to write every single song on the album, as well as co-produce each track alongside Jam and Lewis. The title, janet., is to be read as “Janet, period.” – separating herself from her familiar ties and acknowledging her own place as an artist in the business.

The album granted Jackson with two more number-one hits, “That’s The Way Love Goes” and “Again.” While the former became one of the longest-running hits of the year, “Again” served as the theme song for the 1993 John Singleton film, Poetic Justice. Starring alongside rapper Tupac Shakur, Jackson made her motion picture debut as the film’s protagonist – Justice, a deeply wounded woman who’s been both hurt and healed by love. The song also provided Jackson with a Golden Globe and an Academy Award nomination for Best Original Song.

The album’s other hits – “If” and “Any Time, Any Place” – plus many of its deep cuts, further showcased the newly unchaste Janet, but without pushing the envelope too far past the point of interest. The public was able to embrace this new side to Janet Jackson because this new side represented the natural growth of a woman in her twenties – stronger, confident and freer. To further entice and promote her tale of sexual liberation, Janet Jackson appeared topless on the cover of Rolling Stone magazine in September 1993. The photo represents Jackson wearing nothing but denim and curls, with the hands of her then-husband René Elizondo, Jr. covering her breasts. Fans were quick to notice that the cover photo was actually the same photo Jackson used for the cover of janet. – only the album cover depicted Jackson from the neck up, while the back pictured solely her waist. The photo is often regarded as one of the most iconic magazine covers of all time and has been parodied and mimicked by countless other celebrities, artists and nobodies over the years. At this point, “superstar” was just a secondary title for Janet Jackson. She was now a sex symbol.

In November 1993, Jackson embarked on the Janet World Tour, earning praise for the show’s complex choreography and theatrical stage setup. Jackson’s career had become the golden standard for performers by now. As her diva peers, Mariah Carey, Whitney Houston, and perhaps her biggest competitor Madonna, were all topping the charts and selling out arenas, Jackson still found a way to lead instead of follow. Then, in 1995, her and big brother Mike teamed up for their iconic duet, “Scream.” It was the first time the two had ever done a song together (with the exceptions of Janet providing background vocals on Michael’s “P.Y.T.” in 1982, and Michael on Janet’s “Don’t Stand Another Chance” in 1984). Janet previously had reservations about working with her legendary brother, as she was adamant about not wanting to seem like she was riding on the coattails of her famous family. But, Janet had a name all to herself by this point, and the timing never seemed more right.

The song was made in response to the media bashing regarding Michael Jackson’s 1993 child sexual abuse allegations. Though the song would go on to become a hit for both Jacksons, and its costly $7 million sci-fi inspired Mark Romanek-directed music video would result in the most expensive music video ever created, it’s a touching yet aggressive display of brother and sister standing side by side. Janet wasn’t acting as Janet Jackson, the popstar. She was acting as Janet Jackson, the sister.

That same year saw the release of the hitmaker’s first greatest hits collection, Design of a Decade. Jackson’s starpower by this point was brighter than ever. In fact, it was more of a supernova in a galaxy of twinkling counterparts. As The Boston Globe put it, “And who could dispute that Janet Jackson now has more credibility than her brother Michael?” Her contract with Virgin Records was then renewed for a whopping $80 million, earning her back the title of being the highest-paid recording artist in history. But despite insurmountable success, Jackson was struggling behind her trademark smile. Depression and anxiety resulted from an emotional breakdown by the recording artist, and the byproduct was the music.

In October 1997, Jackson’s sixth studio album was released – The Velvet Rope, an offering inside the unknown private world of one of the most famous women to exist in it. The album was applauded for its openness to topics of sadness, domestic violence and same-sex relationships. In addition to the album’s darker essence than that of Jackson’s previous projects, the singer debuted a striking new red afro, septum piercing and a kind-of-hard-to-tell-but-not-really nipple piercing. Like janet., The Velvet Rope would later take Jackson on another highly attended and critically acclaimed world tour, The Velvet Rope Tour.

The album’s signature single, “Together Again,” gave Jackson her eighth number-one hit on the Hot 100, and was inspired by the death of a friend she lost to AIDS. Songs like such, as well as “Free Xone” – a campy anti-homophobia anthem – established Janet Jackson as a gay icon. She would later be awarded the GLAAD Media Award for Outstanding Music.

But not every song on The Velvet Rope marked a celebration. The album’s closing track, “Special,” is a solemn plea to feeling needed, wanted and validated. The album’s heaviest moments, though, won’t be found here, or even on the raunchy beginner’s guide to BDSM, “Rope Burn.” Jackson’s vulnerability is on full display on tracks like “What About,” a song detailing the harrowing effects of an abusive relationship. “What about the times you hit my face? What about the times you kept on when I said, ‘No more please…’,” Jackson sings in agony, serving as a voice to those who have been beaten, battered and scarred.

Despite the album’s subject matter, Jackson was still able to find light from the pain. The Velvet Rope allowed the singer to fully immerse her life, her suffering and her anguish in her work.  “I’m still working on myself,” Jackson revealed during a 1997 press interview with MTV. “I like myself very much, and I can finally say that for the first time in my life. Now I’m trying to learn how to love myself.”

Icon

At the close of a dominating decade, Jackson’s Emmy Award winning HBO airing of The Velvet Rope: Live in Madison Square Garden became the most watched program among home subscribers, garnering over 15 million viewers. Following her winning the Legend Award at the 1999 World Music Awards, Jackson was declared Billboard’s second most successful artist of the decade, behind Mariah Carey. It was now the start of the new millennium, and nothing was stopping Janet in her tracks.

She made her second feature film appearance in 2000’s Nutty Professor II: The Klumps, playing Professor Denise Gaines, alongside comedy legend Eddie Murphy. The following year, it was announced that Jackson would be honored with the very first MTV Icon Award. The ceremony consisted of various artists, including Pink, *NSYNC, Usher, Destiny’s Child, Britney Spears and Aaliyah, commenting on Jackson’s influence and performing the songs that turned the child star into a worldly icon. Jackson would close out the show with her newest number-one, “All For You.”

The single became one of Jackson’s most favored hits. Sampling “The Glow of Love,” by 80’s disco group Change, the dance track became an instant classic, even earning Jackson the title as being the “Queen of Radio.” After hitting the airwaves, it became the first song in history to be added to every pop, rhythmic and urban radio format during its first week of release. Receiving a seven-week long run at the top of the Billboard Hot 100, “All For You” became the longest-running number-one hit of the year. It’s accompanying album, All For You, would be released in April 2001.

Upbeat and bouncy, All For You was drastically different than its less-than cheery predecessor. The album gave the diva the biggest opening first week sales of her career, after becoming her fifth consecutive album to crown the Billboard 200 Albums Chart. Through a cohesive mix of pop, R&B, dance and rock, All For You provided the perfect balance of party jams (e.g. the irresistibly catchy “Come On Get Up”) and bedroom bangers (e.g. the erotically inducing “Would You Mind”). Like before, the album was supported by a world tour that both impressed and shocked attendees with Jackson’s overtly sexual stage antics – most visible during her performance of “Would You Mind,” in which a latex-clad Jackson would select an audience member to join her onstage and receive a private dance from the bombshell and her six-pack assisted figure… all while being strapped onto a gurney. Sound familiar? Go re-watch R&B singer Normani’s performance from 2021’s MTV Video Music Awards. Janet Jackson is still influencing the rookies.

Jackson’s history of exaltation, though, was about to come to a dramatic halt.

Be sure to check back in next week for the next part of our series, Janet Jackson: Then, Now & All the In-Between!

The post Janet Jackson: Pop Music’s Leading Lady appeared first on THE 97.

In Control

Jackson’s 1986 third studio album, appropriately titled Control (released February 4, 1986), marked the reintroduction of Janet Jackson – this time as a mature woman who was entirely on her own and making all her decisions for herself. As Janet sings on the first verse of the title track, “When I was 17, I did what people told me / I did what my father said and let my mother mold me / But that was long ago, I’m in control…,” she is making her own statement, declaring her own independence and moving to her own groove. There was nothing bubblegum pop about her this time around. If anything, she was paving her own lane into the competition with assertiveness, drive and pristine dance steps.

Control wasn’t just a collection of pop and R&B melodies. It was a fusion of sharp, industrial beats, packed with layered vocals that screamed dominance, all laced with a hint of attitude. This particular style of music created by Jam and Lewis would become known as “new jack swing,” and Control brought it to the mainstream. The album also helped Jackson score her very first number-one hit on the Billboard Hot 100 with “When I Think Of You.” Its other singles – “What Have You Done For Me Lately,” “Nasty,” “Control” and “Let’s Wait Awhile” – all peaked within the top five of the Hot 100, while “The Pleasure Principle” became a top 15 hit for the singer. What set these tunes apart from those of her past was that these songs weren’t just masterfully crafted hits, these songs were her stories.

While the title track set the tone for the album’s self-assured girl power, songs like “What Have You Done For Me Lately” and “Nasty” were all about demanding respect, with the latter coming to fruition after Jackson was catcalled by a group of guys on the street – resulting in one of the most iconic lines in pop music, “No, my first name ain’t ‘baby’ / It’s Janet, Miss Jackson if you’re nasty.” The abstinence anthem “Let’s Wait Awhile” came to be after a conversation Jackson had with her friend about whether or not she was ready to have sex with her boyfriend. After Jackson advised her to wait it out, the song was born and millions of younger listeners decided to wait a little while longer before they hit the sheets.

After soaring to the top of the Billboard 200 Albums Chart, Control is still in demand to this day. Selling more than 10 million copies worldwide, the album has even been listed by the National Association of Recording Merchandisers and the Rock and Roll Hall of Fame as one of the 200 Definitive Albums of All Time. Through carefully choreographed music videos – thanks to on the rise choreographer Paula Abdul, who would soon become Jackson’s contemporary – and songs that became staples of the Janet Jackson repertoire, Control made this Jackson a household name, and she didn’t need to thank her brothers for it.

Bringing Rhythm to the Nation

After the massive success of Control, A&M Records wanted another album of similar content. Jackson, however, opted otherwise. Her direction this time was less personal and more national. As a means of bringing awareness to the societal issues of drugs, violence, racism and poverty, she turned action into song. Thus, Janet Jackson’s Rhythm Nation 1814 (released September 19, 1989) turned Janet’s mantra from insisting command to insisting change.

She enlisted Jam and Lewis for assistance (and would do so for every album, except 2008’s Discipline), and like Control, their Flyte Tyme Studios in Minneapolis, Minnesota was the dwelling place for the magic. The album’s lyrical content touched on socially conscious themes, as well as love and romance. To date, it is the only album to have seven commercial singles peak within the top five positions of the Billboard Hot 100, with “Miss You Much,” “Escapade,” “Black Cat” and “Love Will Never Do (Without You)” all reaching the summit. It also became the first album to have a number-one single in three separate calendar years (1989-1991). The album’s concept, as well as Jackson’s militaristic approach to styling and dancing, helped turn Janet Jackson into a role model for younger audiences.

Lyricism and advocacy weren’t the only factors to propel Jackson during this era; her performances and visuals were also next-level. In support of the album, Jackson embarked on her very first concert tour. The 10-month long Rhythm Nation World Tour became the most successful debut concert tour in history. At a time when Madonna laid the decade’s feminine pop template and Paula Abdul’s budding career was a top contender for a stiff rivalry, Jackson distinguished herself from her opponents with clean-cut dancing and must-see music videos.

“Escapade” took watchers on a journey to a Mardi Gras-esque extravaganza, while “Love Will Never Do,” directed by legendary photographer Herb Ritts, seemed more like a gleaming Vogue photoshoot brought to life. “Alright” was a 1950’s inspired jazz fest packed with color (and zoot suits), as Jackson and her two backup dancers tear up the streets with leg splitting and head bopping precision, all while being accompanied by guest stars Cyd Charisse, The Nicholas Brothers and Cab Calloway.

A “telemusical,” titled Rhythm Nation 1814, was produced in aid of its parent album. The 30-minute long-form music video consisted of three separate pieces: “Miss You Much,” “The Knowledge” and “Rhythm Nation.” Directed by Dominic Sena, the film chronicles two young boys whose dreams of becoming musicians are lost to drugs. For “Rhythm Nation,” Jackson and her army of backup dancers, all dressed in black military gear, are in synch like soldiers – dancing, stomping and reminding us that we are in unity, “Sharing a common vision / Pushing toward a world rid of color lines.” For “Miss You Much,” the depth of the conversation is much lighter, but Jackson’s movement is just as vigor and intense, with a staggering chair routine to close out the catchy number

Where Control left off, Rhythm Nation picked up – garnering Jackson even more praise from critics for her defying of abiding by the direction of mainstream pop music. The album earned nine Grammy nominations, making Jackson the first woman to be nominated for Producer of the Year. Jackson was later awarded the MTV Video Vanguard Award and a star on the Hollywood Walk of Fame for her musical contributions. Janet Jackson’s Rhythm Nation 1814 went on to becoming the best-selling album of 1990, and remains one of Jackson’s most recognizable works to date. In 2021, the album was selected by the Library of Congress to be preserved in the National Recording Registry for being “culturally, historically, or artistically significant.”

Be sure to check back in next week for the next part of our series, Janet Jackson: Then, Now & All the In-Between!

The post Janet Jackson: Demanding Control, Demanding Change appeared first on THE 97.