“He Doesn’t Know I’m Alive” from Control (1986)

When most people think of Jackson’s “Control” album, they probably think of sass and feminism. Well, not on this little-known album cut, “He Doesn’t Know I’m Alive.” It’s the worst song on the album, but it’s still a cute showcase of Ms. Jackson’s more vulnerable side. Her high notes are to be appreciated, too. —Vincent Anthony

“Funny How Time Flies (When You’re Having Fun)” from Control (1986)

Janet’s voice exudes a sexiness here that may seem at odds with the message of the previous track “Let’s Wait Awhile,” but if anything it reinforces that song’s message. Time running away makes her want to see her lover again, not rush into things. —Reece Davis

“Lonely” from Rhythm Nation 1814 (1989)

The echoing thunderstorm opening and the Spanish lines “Todos necesitamos / Un amigo en la soledad” set the mood immediately for this anthem about the importance of friendship to battle solitude and isolation. —Mario M.

“Living in A World (They Didn’t Make)” from Rhythm Nation 1814 (1989)

The only disappointing aspect of Janet Jackson’s Rhythm Nation 1814, is the fact that the social themes used on that album are still so painfully relevant. On this track, placed towards the end of the album, Janet mournfully lists all of the present-day issues of the world; all while pointing out that the people most impacted, and influenced by its evils, are the children. A trope we sadly still see today with all of the black and brown children felled in the era of #BlackLivesMatter. —Jordan Listenbee

“Someday Is Tonight” from Rhythm Nation 1814 (1989)

The wicked sister of “Let’s Wait Awhile” from “Control,” “Someday is Tonight” is effectively the answer to that song. Echoing the sensuality only previously shown on “Funny How Time Flies,” Ms. Janet turns it up a notch for this quiet storm serenade. It’s quite an effective transition to the “janet.” era that followed. If you listen to the albums back-to-back (skipping the outro), “Someday is Tonight” would be followed by Jackson proclaiming, “We had the kind of night where morning comes too soon.” —Vincent Anthony

Check out our full “Janet Jackson: The Deep Cuts” playlist here.

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While it is well known that Janet Jackson had very little artistic input in her first few musical outings, “Love and My Best Friend” is a small highlight on her decent, albeit unfulfilling 1982 self-titled, debut album. This song has a beautiful vocal delivery, and the lyrics and arrangement are reminiscent of her brother Michael Jackson’s 1972 single, “Ben.” It has an air of young innocence that I find endearing, to this very day, and you can’t help but see a spark of a fully realized Janet that was to come to us in just a few short years. —Jordan Listenbee

“All My Love To You” from Dream Street (1984)

This cut, penned by her brother Marlon Jackson, is almost the Jacksons’ sassiest, youngest sister’s way of saying “anything you can do, I can do better.” While it certainly sounds like it could be a reject from The Jacksons’ “Victory” album, young Janet shows that she can hang alongside her more accomplished sibling. Still, it does get rather repetitive and has that dated 80s sound. Perhaps that’s why in the comfort zone where Janet was stifled… her brother was at home. The dutiful sibling role didn’t stick with Janet. She went on to ditch her father and the family sound to take control two years later, forcing even her most famous sibling to take notice. —Vincent Anthony

Check out our full “Janet Jackson: The Deep Cuts” playlist here.

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“Damita Jo” showcased Jackson’s resilience as an artist. No matter how the landscape of pop music morphed, she was able to carve out a sonic space for herself. In 2004, R&B and Hip-Hop dominated the charts like never before. Producers like Dallas Austin, Rich Harrison, and Kanye West dominated the charts by producing hits for younger pop stars, all of whom Jackson had inspired. On “Damita Jo,” Jackson brought in a wide array of producers to work alongside the tried and true trio of herself, Jimmy Jam, and Terry Lewis. It made for an album that sounded refreshing, yet still classic Janet.

We’ll be exploring the album in further detail in Issue 2 of THE 97 ZINE out this summer. We’re still ironing out the details, with the formal announcement and preorder coming in May, but you can subscribe now to receive Issue 1 starring @MariahCarey’s “Me. I Am Mariah…” album, as well as Issue 2 starring “Damita Jo” and Issue 3 starring “Destiny Fulfilled” by Destiny’s Child. If you’d like to pitch an essay for the zine, email vincent@the97.net.

THE 97 ZINE 2024 Subscription

Until then, check out my top 5 songs from “Damita Jo.” Each track I selected represents one of the five prevailing moods on the album.

Damita Jo: My Top 5

5. “Damita Jo”

The ever-innovative Ms. Jackson was ahead of time with this succinct track, clocking in at just under 3 minutes long. Some may consider the track as a sort of second intro song for the album, and thematically, it is, but it’s a fully fleshed out track … and a complete banger. With quips like “A little lady, a whole lotta class, but do me wrong and I’ll get in that ass,” how can you not get your entire life? This track represents the more playfully revealing, “behind the velvet rope” sort of vibe of several other songs on the album, like “My Baby,” “Thinkin’ Bout My Ex,” “Truly” and the poetic interludes.

4. “All Nite (Don’t Stop)”

This club-ready jam deserved to be a smash hit. Effortlessly showing us why she, and not Madonna, is Britney Spears’ true pop mother, “All Nite” proved that Ms. Jackson was still ready and able to hang with the young girls. Unfortunately, the powers that be made that impossible. “All Nite” represents the album’s more contemporary dance-pop sound, also found on “Strawberry Bounce,” “SloLove” and the elusive “Love Me” remix of “Just a Little While.”

3. “Like You Don’t Love Me”

Perhaps her most unabashed album to date when it comes to sexually-explicit lyrical content, “Like You Don’t Love Me” is my favorite of the hyper-sexual tracks on “Damita Jo.” It’s a high-energy bop that’s filled with confidence and swag. “Sexhibition” also does this well, as does “Strawberry Bounce.” There’s also the pair of bedroom (or, rather, backseat) ballads, “Moist” and “Warmth” if you need an oral instructional manual.

2. “R&B Junkie”

This battles for #1 in my book, and for a long time, it was. The throwback fun of “R&B Junkie” is irresistible and infectious, and a highlight of the album. Atop the funky Evelyn King sample, the song is impossible to skip. “Junkie,” as well as lead single “I Want You” and bonus track “Could This Be Love?” perfectly play with this soulful, R&B vibe. “R&B Junkie” is the album’s best uptempo, for sure.

1. “Spending Time With You”

If the album’s interludes are any indication, Jackson must’ve spent a lot of time in the Caribbean while recording “Damita Jo.” This groovy jam encapsulates the breezy beach vibe echoed on other tracks, like “Island Life” and bonus track “I’m Here.” While perhaps best known for her danceable uptempo tracks, Jackson’s slow jams are severely underrated. Filled with intricately layered background vocals and soulful leads, “Spending Time With You” is the perfect example of that aspect of Jackson’s artistry overall, and the sensual, slower side of “Damita Jo.”

Listen to Janet Jackson’s “Damita Jo”

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When Ms. Jackson calls, you answer. In the case of the “I Get Lonely (TNT Remix)” from her 1997’s “The Velvet Rope,” Janet Jackson tapped a handful of talented collaborators to add to an already phenomenal track that, frankly, didn’t even need it. With additional production by Teddy Riley and Timbaland, Jackson is joined by BLACKstreet to turn “Lonely” into a duet (well, quintet). In its solo form, the track is classic Janet: emotive, deep, sexy, and timeless. With BLACKstreet, it transforms into a prime piece of 90s R&B with its big vocal runs and flashy production.

Watch the “I Get Lonely (TNT Remix)” video, stream it, or grab “The Velvet Rope” on vinyl.

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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The sizzling classic “What’s It Gonna Be?!” sees the pairing of Rap titan Busta Rhymes and Empress of Pop Janet Jackson in an eclectic blend of Hip-Hop, Funk, and R&B. Lyrically, the track’s focus is driven by raw sexuality, a topic that Jackson’s pioneering influence helped normalize for women in pop music. Rhymes blends superbly well with Jackson’s sex kitten vocals, due to his frenetic energy and overall reputation as a stellar, intricate MC. The track, along with its world record-setting visual, became one of the most successful rap-sung collaborations in the latter half of the 1990s.

Watch the legendary “What’s It Gonna Be?!” video, stream it, or grab some Busta Rhymes or Janet Jackson vinyl.

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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If there was ever a golden age of the remix, it was the 1990s. There were house, hip-hop, and R&B mixes galore — and they were all on point! When Janet Jackson enlisted Timbaland and Missy Elliott to remix the fourth single from “The Velvet Rope,” she flipped it from funky bop to hip-hop groove. While Missy’s take on the hook lacks the catchiness of the poppier original, it definitely makes the song slap with a sly, sexy edge atop the Timbaland beat. Whichever variation you choose, Janet’s “Go Deep” will have you partying late into the night.

Watch the “Go Deep” video, stream the remix, or get “The Velvet Rope” on vinyl.

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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Ms. Jackson opened her “Together Again” tour by reintroducing us to the side that she doesn’t “hide but might never show” via a performance of the title track to her 2004 album, “Damita Jo”. Throughout the night, Jackson proved she is indeed “shy but down for a good time.” Shedding her shyness along with the cape (perhaps symbolic of no longer having to “tone down” her sexuality out of respect for her former husband’s Muslim faith) pop music’s most celebrated sex symbol strutted about the stage in a skin-tight jumpsuit, glittering in gold, waist snatched by a purple bow – the only (unfortunate) remnant of the cape.

Divided into four acts, Jackson dances her way through a 40-song set spanning the majority of her 40-year career. Performing everything from fan-favorite album tracks to her biggest chart-toppers, Jackson sneaks in at least two songs from each of her adult albums. It is in this balance of setlist staples and adored deep cuts that Jackson’s “Together Again” tour manages to delight attendees, whether they’re casual fans or a part of her devoted #JanFam.

The biggest delight of the evening is by far Jackson herself, though. It is her first time hitting the stage since 2019, and the dynamic diva who is famous for shouting “GIMME A BEAT!” doesn’t miss a step – or a beat. Of course, it is to be expected that, at 56, her choreography is not as intricate as it was when she was younger – but it doesn’t really matter. She still delivers her signature confidence, strength, and electrifying stage presence.

Perhaps one bonus of less-demanding choreography is the fact that Jackson’s microphone is actually on more often than not throughout the show. In the 80s and 90s, Janet essentially wrote the book on dancing and lip-syncing, from which everyone since has taken a page. From donning a hand-free mic (Britney) to pre-recording a convincing backing track (Beyoncé), Jackson was the pioneer. This tour, though, serves as a reminder that her voice, just like her dance moves, is still up to par.

That’s not the only reminder the show provides. While she was married, Jackson pared things down a bit when it came to her sexuality. Though nowhere near as risqué as she was pre-motherhood, Jackson doesn’t shy away from her sexiest hits like “If,” “Any Time, Any Place,” and “I Get Lonely.” For the latter, she does a teasing sort of lap dance, where she caresses the bare chest of one of her male dancers before grabbing his crotch. A far cry from when she would bring male audience members onstage, tie them up and discipline them, but a subtle reminder, nonetheless.

Subtlety seems to be the theme here. Gone are the flashy productions of Jackson’s prime, when she had elaborate stages, opulent costumes, and a literal army of dancers in her “Rhythm Nation.” This could be seen by some as a disappointment, sure. Instead, though, it feels more like a legend who has proven herself and is well aware of her worth. A consummate veteran, Jackson has stripped down her production. Flanked by four dancers and a few rotating screens, the simplicity allows the focus to be on her talent as a singer and performer, and most of all, her catalog of hits most can only dream of.

Jackson’s encore marks the night’s third performance of the dance-pop smash “Together Again” (she performs its DJ Premiere and Deeper remixes earlier in the show). She’s still wearing the “Rhythm Nation” t-shirt from the previous performance as she sings, “‘When I feel that I don’t belong, draw my strength from the words when you said, ‘hey it’s about you baby, look deeper inside you baby,'” and it’s as if she’s reaffirming it for herself, but also for us too. Before our eyes, all the facets of Janet Jackson have been put back together again: Ms. Jackson (if you’re nasty), Damita Jo, and simply, Janet. And, frankly, it makes me wanna dance.

The “Together Again” Tour has over 20 more stops to go, ending on June 21 in Seattle. You can view the full setlist here, and tour dates here.

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Janet Jackson: The Deep Cuts

Each staff writer (and Janet Jackson fan) selected a handful of deep cuts to be included in our playlist. For each cut, they explain why you should check the song out. From there, our editor Vincent Anthony compiled the songs into a playlist and worked out the most optimal sequencing for you to experience these must-hear Janet tracks.

John’s Picks

• “Enjoy” from 20 Y.O. (2006) – This feel good track about appreciating the simple things in life is like that big, warm hug you need when you’re looking for just the right pick-me-up. And, who can’t use a good pick-me-up these days?
• “Feels So Right” from All For You (2001) – As Janet’s lighthearted vocals glide over a frothy beat, it’s almost impossible to not beam from ear to ear when listening to the superstar revel in the joys of her love.
• “Broken Hearts Heal” from Unbreakable (2015) – Inspired by the death of her brother Michael, this Unbreakable number will have you dancing along to her most sacred memories instead of crying over them.
• “Love Scene (Ooh Baby)” from All For You (2001) – Only Janet Jackson can make a sex song sound so zen that it could be played at your local spa. No doubt, “Love Scene” remains one of her most serene yet erotically inviting baby-making anthems.
• “Thinkin’ Bout My Ex” from Damita Jo (2004) – We’ve all been there, and Janet is no exception. That’s what makes her vulnerability and honesty for having feelings for someone you probably shouldn’t, but more than likely have at one point or another, all the more relatable.
• “Take Care” from 20 Y.O. (2006) – Another bedroom banger that further proves Janet Jackson is the ultimate sex songstress, only now she’s crooning about pleasuring her own self until her partner comes home to assist.
• “Truth” from All For You (2001) – Presumably inspired by the divorce from her second husband, “Truth” is a confessional track about realizing one’s own self-worth. Janet Jackson didn’t earn her legacy from anybody’s work but her own – and that is the truth.

Reece’s Picks

• “When We Ooo” from All For You (2001) – The first of many sensual sounds on All For You, “When We Ooo” is as sexy as the title implies. It sets the tone for the second quarter of the album as the tempo starts to slow, creating a sonic journey that is hot to follow.
• “Empty” from The Velvet Rope (1997) – The way that the beat builds as this song progresses is beautiful. That matched with Janet’s stacked harmonies perfectly encapsulate how exciting, and then ultimately frustrating, it can be maintaining a relationship using technology
• “Come On Get Up” from All For You (2001) – The song “All For You” is such an upbeat bop, but “Come On Get Up” somehow manages to up the ante. The drums make the song a perfect party anthem, and the chorus is amazing in how simple yet fun it is.
• “Funny How Time Flies (When You’re Having Fun)” from Control (1986) – Janet’s voice exudes a sexiness here that may seem at odds with the message of previous track Let’s Wait Awhile, but I think if anything it reinforces that songs message. Time running away makes her want to see her lover again, not rush into things.
• “LUV” from Discipline (2008) – Darkchild’s signature sound is here and Janet glides and jumps through the beat in a way that makes Luv sound as fun as its shorthand title implies. The electropop sound isn’t forced and Janet isn’t trend-hopping in the way many of her peers were doing around the time of this songs release.
• “Rope Burn” from The Velvet Rope (1997) – From the opening “Mm..my lips hurts” you know exactly what you’re in for with Rope Burn. Sequenced very late on The Velvet Rope, Rope Burn isn’t Janet’s first foray into kink on her records, but its enough to make you want to explore what she’s singing out.

Andrew’s Picks

• “Daybreak” from 20 Y.O. (2006) – Janet’s “sneaking out to play tonight” on this Janet-Jimmy-Terry record on the JD-heavy 20 Y.O. With an irresistible hook and ambiance from the bells, it’s memorable.
• “Damita Jo” from Damita Jo (2004) – The beat hits heavy in contrast to Janet’s soft-coos as she tells a prospective suitor about herself on the album’s opening, and title track.
• “Spending Time With You” from Damita Jo (2004) – The epitome of laid-back and chill.
• “China Love” from All For You (2001) – I avoided this record for years, only to find that it’s a sonic playground that the verses have some melodic similarities to Mary J. Blige’s own Jam & Lewis produced record, 1997’s “Everything.”
• “Night” from Unbreakable (2015) – It grooves, it thumps, it evokes 90’s dance in the keyboards. While some records on Unbreakable were contemporary, this one was steeped in vintage elements
• “So Much Betta” from Discipline (2008) – This is one of the more sonically adventurous things Janet has done, featuring heavy percussion heavy and a half-reversed hook. The magic strikes at the bridge as the beat drops out aside from a modest clap track and when a chorus of Janets (giving some serious Michael vibes in their collective tone), harmonize.
• “Every Time (Jam & Lewis Disco Remix)” from The Velvet Rope: Deluxe Edition (1998) – Only added to Spotify in the last few years, Jam & Lewis funk up their beautiful ballad with muddy bass, beats that marry disco and 90’s dance. Their reworks leave Janet’s delicate vocal room to shine and resonate properly, but make it club ready.

Mario’s Picks

• “Lonely” from Rhythm Nation 1814 (1989) – the echoing thunderstorm opening and the Spanish lines “Todos necesitamos / Un amigo en la soledad” set the mood immediately for this anthem about the importance of friendship to battle solitude and isolation.
• “Slo Love” from Damita Jo (2004) – Damita Jo was a great mix of different genres. “Slo Love” explores the fun and carefree side of Janet’s output with a Dance beat and a banging attitude. A cosmic bop!
• “Island Life” from Damita Jo (2004) – Sexy without being overtly sexual “Island Life” is an explosion of tropical vibes. From the thumping beat, to the sleek synths to Janet’s rich vocals on the chorus, it’s a total mood.
• “Do It 2 Me” from 20 Y.O. (2006) – The Brenda Russell sample from “If Only for One Night” works very well with Jermaine Dupri’s hard hitting beat. This has always been one of the catchiest tracks on 20 Y.O. and definitely a stand out.
• “What About” from The Velvet Rope (1997) – Narrating a story of domestic abuse isn’t an easy task, but Janet chose to tackle this subject in a way that’s poignant, detailed and extremely emotional. Sadness, vulnerability, anger and frustration are real and tangible in this track.
• “Take Me Away” from Unbreakable (2015) – The Electro-Rock arrangement of “Take Me Away” recalls in part the sound of the All for You album. Here Janet looks for an escape in love with a soaring chorus that captures you instantly.

Vincent’s Picks

• “The Great Forever” from Unbreakable (2015) – Likely written about her then-marriage to Wissam Al Mana, “The Great Forever” is a powerful and inspiring anthem for anyone who might need to tell someone, “leave us the fuck alone” – particularly, Janet’s LGBTQ+ fans.
• “This Time” from janet. (1993) – Featuring opera singer Kathleen Battle, “This Time” is a 7 minute long journey that is unique and unlike any other in Janet’s catalog.
• “Together Again (Jimmy Jam Deeper Radio Edit)” from The Velvet Rope era (1997) – While the album version is one of Janet’s most successful singles, this remix is a gorgeous reimagining that not everyone knows about, but should.
• “Better Days” from All For You (2001) – A personal favorite of mine from All For You, “Better Days” is an emotional rollercoaster, but one that ends on a positive note. It’s quite representative of Janet’s music overall in that way.
• “R&B Junkie” from Damita Jo (2004) – This throwback track was an instant fan-favorite from Janet’s underrated Damita Jo album, it’s just so damn fun.
• “Shoulda Known Better” from Unbreakable (2015) – I love the introspection Janet does on this track, its anthemic, yet personal, and a standout on Unbreakable.
• “All My Love to You” from Dream Street (1984) – This cut, penned by her brother Marlon Jackson, is almost the Jacksons’ sassiest, youngest sister’s way of saying, “Anything you can do, I can do better.” .

Jordan’s Picks

• “Anything” from The Velvet Rope (1997) — In an album chock-full of overt sexual expression, it’s this deep cut’s more sensual, and laid back approach that make it a stand out. Woven with meticulously placed vocals, and the backdrop of immaculate production by Jam and Lewis, this is a track I’d absolutely LOVE to see live. It’s a subtle track, that shines based off of the production value alone. Come through, Strawberry!
• “Love and My Best Friend” from Janet Jackson (1982) — While it is well known that Janet had very little artistic input in her first couple of musical outings, this track is a small highlight in a decent, albeit unfulfilling album. This song has a beautiful vocal delivery, and the lyrics and arrangement are very reminiscent of Michael’s 1972 single, “Ben”. It has an air of young innocence that I find endearing, to this very day, and you can’t help but see a spark of a fully realized Janet, that was to come to us in just a few short years.
• “Where Are You Now?” from Janet. (1993) — I’ve always thought of this song as a musical precursor to 1997’s “Got Til It’s Gone”. The lyrics, which paint the portrait of a woman who longs for her lost love; a subject that Janet has visited often. However, this particular song stands out for the stellar production, and overall quality of the song. I literally almost passed out when she opted to add this track to the first leg of her 2017 State of The World Tour.
• “Living in A World (They Didn’t Make)” from Rhythm Nation 1814 (1989) — The only disappointing aspect of Janet Jackson’s Rhythm Nation 1814, is the fact that the social themes used on that album are still so painfully relevant. On this track, placed towards the end of the album, Janet mournfully lists all of the present day issues of the world; all while pointing out that the people most impacted, and influenced from it’s evils, are the children. A trope we sadly still see today with all of the black and brown children felled in the era of #BlackLivesMatter.
• “The Body That Loves You” from Janet. (1993)— Janet’s love of Brazilian music has come up in interviews throughout the course of career. This track, which borrows the conventions of the Bossa Nova genre of Brazilian Music, is more of a transitional song, that introduces us to the peak of sensuality of the “janet.” album. While it may not have the same impact as later songs like “Anytime, Anyplace”, it serves as a nice musical departure for Janet, with a nice ode to her own innate influences, and I hope that people get a better glimpse of her artistry on this one. Elevator music, but make it sexy!
• “2Nite” from Discipline (2008)— While this album isn’t admittedly my favorite, I absolutely ADORE this song. It could have very well fit into Damita Jo’s more eclectic track listing, and is the epitome of, “classic Janet, with a modern twist.” A song truly before it’s time. P.S.: This song could have very easily been the opening for 2008’s RockWitchu Tour. I’m still bitter that it wasn’t.
• “Special/Can’t Be Stopped” from The Velvet Rope (1997)— There is nothing like having the world’s biggest Pop star being transparent with her own mental health, then reminding the girls that we were born with the blood of Kings and Queens. Strength and resilience are Black folks’ birthrights, and Janet made sure we knew it. Nuff Said.
• “Lessons Learned” from Unbreakable (2015) — There was always something about this song that I connected to, especially upon it’s 2015 release. This song visits themes featuring physical and emotional abuse, (none which had been tapped into since 1997’s “What About”) and after viewing Janet’s new documentary, I can’t help but wonder if the calls were coming from inside of the house on this one. Bless this woman. And protect her at all costs.

Listen to Janet: The Deep Cuts

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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!

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