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Janet Jackson is a big deal these days, the Queen of Pop, though we can still call h! er by her first name. So little is she trading off the fame of her brother, so completely has she become her own thing, she has all but abandoned the family name. Tour posters, tickets and recent album – all say, quite simply “Janet”, and leave it at that. Smith, Giles (1996-04-21), “Slow riffs, fast riffs, midriffs”, The Independent : 26, ISSN 09519467

Over the next few years, a significant proportion of music industry revenues were generated by a handful of superstar artists; in addition to Michael Jackson, there were Lionel Richie, Madonna, Prince, Bruce Springsteen , Whitney Houston, Tina Turner, Wham! , Phil Collins , Steve Winwood , Huey Lewis and the News , the Pointer Sisters , Janet Jackson, Anita Baker , and a handful of others. A surprising number of the new superstars were black. This was perhaps the first hint that the greater cosmopolitanism of a world market might produce some changes in the complexion of popular music. Gar! ofalo, Reebee (1999), “From Music Publishing to MP3: Music and In! dustry in the Twentieth Century”, American Music17(3): 343

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While her vocal skills are at least as decent as Britney Spears and the other Janet-come-latelys, it’s Jackson’s skills as an entertainer and commanding stage presence that make her so deserving of the spotlight. Gemma Tarlach (2001-10-17), “Janet Jackson takes her place as Queen of Pop”, Milwaukee Journal Sentinel : 12.B

Most disappointing was crunk princess Ciara. The Janet-come-lately and her octet of dance-floor acrobat! s moved with ferocious elegance to tracks like ‘Goodies,’ but the singer had glaring microphone problems when she spoke tediously, about the ‘importance’ of her upcoming sophomore album. Sarah Rodman (2006-10-31), “MonsterJam Lacks Star Power”, Boston Globe: E.7, ISSN 07431791

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