We took a look back at the icon’s catalog and ranked all 11 studio albums from worst to best.
We count down Janet’s 25 greatest songs, from her most iconic hits to her least heralded cult favorites.
The clip is a refreshing throwback to the simplicity of the choreography-driven videos of the late ’80s and early ’90s.
The year’s best singles found new, inventive means of correspondence between the past and the present.
In one of the album’s brightest highlights, Janet pays tribute to Michael by channeling the buoyant energy of his Off the Wall-era disco.
While the single doesn’t quite match that song’s taste-making reinvention, Janet and company get an extra E for effort.
From the first syncopated finger snap, it’s clear Aquarius is a direct descendent of ’90s-era Janet Jackson.
The most obvious Reagan-era reference here is Ken Russell’s 1984 sex thriller Crimes of Passion.
It’s awesome in distressingly fragmented ways.
Tyler Perry’s histrionic For Colored Girls is purple in more ways than one.
Only time—and, purportedly, a third film—will tell if this move is one of audacity or outright stupidity.
Just as Number Ones’s sequencing highlights Janet’s impressive early years, it also underscores her startlingly abrupt decline.
Prejudice? No! Ignorance? No! Bigotry? No! Illiteracy? A tad.
If one were to try to identify some kind of evolution in Janet’s latest bout of dirty talk, it might be sex with robots.
The singer’s fifth album famously announced her sexual maturity.
This is the “for the clubs” monster the half-written “Come on Get Up” wanted to be back in 2001 before giving up entirely.
The film proudly flaunts its maker’s right to make movies as badly as Bart Freundlich, Peyton Reed, and Woody Allen.
“The Saints Are Coming” is a dubious collaboration between U2 and Green Day.
It’s a little early to be having a mid-life crisis, isn’t it?
The album is a richly dark masterwork that illustrates that there’s is nothing sexier than emotional nakedness.