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Showing content with the highest reputation on 09/13/2018 in all areas

  1. 2 points
    Airs on the 17th Janet Jackson talks life, music and motherhood with MistaJam https://www.bbc.co.uk/programmes/m0000djc
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    Janet Jackson joins Chris in the studio to talk about her first new single in three years https://www.bbc.co.uk/programmes/m0000bn9
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    Multi-award winning R&B legend JANET JACKSON joins Ace for 'Everything R&B' https://www.bbc.co.uk/programmes/m0000bqm
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    Pitchfork: The 200 Best Albums of the 1980s 30. Fourth album was a political statement—for herself and the world at large. Following 1986’s Control, which catapulted the singer to meteoric fame, Jackson wanted to add a more pronounced message to her music, to make art that stimulated the body and the mind. Rhythm Nation 1814 brought the news to the dance floor; as it played, one could almost see Jackson scanning CNN, her ire increasing with each headline. On “State of the World,” she tells the story of a young and struggling mother, urging people around the globe to tackle civic plight together. Elsewhere, she addresses the crack epidemic, the AIDS crisis, and black men being sent to prison at alarming rates. Producers Jimmy Jam and Terry Lewis spun Jackson a dark, almost metallic blend of intense funk on which the singer forced her listeners to “give a damn.” In turn, Rhythm Nation felt urgent, an album that aligned with the reality-based rap of Public Enemy and Boogie Down Productions while also asserting Jackson’s stature as a pop star with meaning. –Marcus J. Moore 8. By 19, Janet Jackson had already appeared in several television shows, been married and divorced, and released two bubblegum pop albums. But it wasn’t until Control, a record as genre-defining as it was career-defining, that she was empowered enough to reclaim her body, her art, and her story. Within the album’s nine tracks, Jackson oscillates between warm, feminine sexuality and stony strength. The explosive title track doubles as a mission statement, while screeds like “Nasty” and the kiss-off “What Have You Done for Me Lately” demand respect and raise the standards for who could have the pleasure of her company. Elsewhere, the flirty “When I Think of You” and the sentimental ballad “Let’s Wait Awhile” offset her take-no-prisoners attitude with girlish crushing—the kind of vulnerability that is reflective of a soft heart but isn’t a full surrender. She separated herself from the overbearing men in her life and those who sought to write her narrative, and found more natural collaborators in producers Jimmy Jam and Terry Lewis. She did what she needed to do for herself, which remains one of the most revolutionary things a black woman can do. In finding her voice on Control, Janet Jackson cut a path by which future women pop stars could chart their own trajectory. –Briana Younger https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-1980s
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