name	29th
date	February 24, 1987
venue	Shrine Auditorium, Los Angeles, California
network	CBS
next	1988
last	1986 }}

The 29th Grammy Awards were held in 1987. They recognized accomplishments by musicians from the previous year.

Award winners

Record of the Year

*Russ Titelman (producer), Steve Winwood (producer & artist) for "Higher Love"

Album of the Year

*Paul Simon (producer & artist) for ''Graceland''

Song of the Year

*Burt Bacharach & Carole Bayer Sager (songwriters) for "That's What Friends Are For" performed by Dionne Warwick, Elton John, Gladys Knight & Stevie Wonder

Best New Artist

*Bruce Hornsby & the Range

Blues

Best Traditional Blues Recording

*Albert Collins, Johnny Copeland & Robert Cray for ''Showdown!''

Children's

Best Recording for Children

*Jim Henson, Kathryn King & Geri Van Rees (producers) for ''The Alphabet'' performed by the ''Sesame Street'' cast

Classical

Best Classical Orchestral Recording

*Michael Haas (producer), Georg Solti (conductor) & the Chicago Symphony Orchestra for ''Liszt: A Faust Symphony''

Best Classical Vocal Soloist Performance

*André Previn (conductor), Kathleen Battle & the Royal Philharmonic Orchestra for ''Kathleen Battle Sings Mozart''

Best Opera Recording

*Elizabeth Ostrow (producer), John Mauceri (conductor), James Billings, Joyce Castle, Maris Clement, David Eisler, Jack Harrold, John Lankston, Erie Mills, Scott Reeve & the New York City Opera Orchestra for ''Bernstein: Candide''

Best Choral Performance (other than opera)

*James Levine (conductor), Margaret Hillis (choir director) & the Chicago Symphony Orchestra & Chorus for ''Orff: Carmina Burana''

Best Classical Performance - Instrumental Soloist or Soloists (with or without orchestra)

*Vladimir Horowitz for ''Horowitz - The Studio Recordings, New York 1985''

Best Chamber Music Performance

*Emanuel Ax & Yo-Yo Ma for ''Beethoven: Cello Sonata No. 4; Variations''

Best Contemporary Composition

*Witold Lutosławski (composer) & Esa-Pekka Salonen (conductor) for ''Lutosławski: Symphony No. 3''

Best Classical Album

*Thomas Frost (producer) & Vladimir Horowitz for ''Horowitz - The Studio Recordings, New York 1985''

Comedy

Best Comedy Recording

*Bill Cosby for ''Those of You With or Without Children, You'll Understand''

Composing and arranging

Best Instrumental Composition

*John Barry (composer) for ''Out of Africa''

Best Arrangement on an Instrumental

*Patrick Williams (arranger) for "Suite Memories" performed by Bill Watrous & Patrick Williams

Best Instrumental Arrangement Accompanying Vocals

*David Foster (arranger) for "Somewhere" performed by Barbra Streisand

Country

Best Country Vocal Performance, Female

*Reba McEntire for "Whoever's in New England"

Best Country Vocal Performance, Male

*Ronnie Milsap for ''Lost in the Fifties Tonight''

Best Country Performance by a Duo or Group with Vocal

*The Judds for "Grandpa (Tell Me 'Bout the Good Old Days)"

Best Country Instrumental Performance (orchestra, group or soloist)

*Ricky Skaggs for "Raisin' the Dickins"

Best Country Song

*Jamie O'Hara (songwriter) for "Grandpa (Tell Me 'Bout the Good Old Days)" performed by The Judds

Folk

Best Traditional Folk Recording

*Doc Watson for ''Riding the Midnight Train''

Best Contemporary Folk Recording

*Al Bunetta, Dan Einstein & Hank Neuberger (producers) for ''Tribute to Steve Goodman'' performed by various artists

Gospel

Best Gospel Performance, Female

*Sandi Patti for ''Morning Like This''

Best Gospel Performance, Male

*Philip Bailey for ''Triumph''

Best Gospel Performance by a Duo or Group, Choir or Chorus

*Deniece Williams & Sandi Patti for "They Say"

Best Soul Gospel Performance, Female

*Deniece Williams for "I Surrender All"

Best Soul Gospel Performance, Male

*Al Green for "Going Away"

Best Soul Gospel Performance by a Duo or Group, Choir or Chorus

*The Winans for ''Let My People Go''

Historical

Best Historical Album

*Aziz Goksel & Bob Porter (producers) for ''Atlantic Rhythm and Blues 1947-1974, Vols. 1-7'' performed by various artists

Jazz

Best Jazz Vocal Performance, Female

*Diane Schuur for ''Timeless''

Best Jazz Vocal Performance, Male

*Bobby McFerrin for "Round Midnight"

Best Jazz Vocal Performance, Duo or Group

*2+2 Plus for ''Free Fall''

Best Jazz Instrumental Performance, Soloist

*Miles Davis for ''Tutu''

Best Jazz Instrumental Performance, Group

*Wynton Marsalis for ''J Mood''

Best Jazz Instrumental Performance, Big Band

*Doc Severinsen for ''The Tonight Show Band with Doc Severinsen''

Best Jazz Fusion Performance, Vocal or Instrumental

*Bob James & David Sanborn for ''Double Vision''

Latin

Best Latin Pop Performance

*José Feliciano for "Le Lo Lai"

Best Tropical Latin Performance

*Rubén Blades for ''Escenas''

Best Mexican-American Performance

*Flaco Jiménez for ''Ay Te Dejo en San Antonio''

Musical show

Best Cast Show Album

*Thomas Z. Shepard (producer) & the original 1986 cast for ''Follies in Concert''

Music video

Best Music Video, Short Form

*Dire Straits for "Dire Straits - Brothers in Arms"

Best Music Video, Long Form

*Michael Apted (video director) & Sting for ''Bring on the Night''

New Age

Best New Age Recording

*Andreas Vollenweider for ''Down to the Moon''

Packaging and notes

Best Album Package

*Eiko Ishioka (art director) for ''Tutu'' performed by Miles Davis

Best Album Notes

*Andrew Sarris, Frank Conroy, Gary Giddins, Jonathan Schwartz, Murray Kempton, Stephen Holden & Wilfrid Sheed for ''The Voice - The Columbia Years 1943-1952'' performed by Frank Sinatra

Polka

Best Polka Recording

*Eddie Blazonczyk for ''Another Polka Celebration'' performed by Eddie Blazonczyk's Versatones

*Jimmy Sturr for ''I Remember Warsaw'' performed by Jimmy Sturr & His Orchestra

Pop

Best Pop Vocal Performance, Female

*Barbra Streisand for ''The Broadway Album''

Best Pop Vocal Performance, Male

*Steve Winwood for "Higher Love"

Best Pop Performance by a Duo or Group with Vocal

*Dionne Warwick, Elton John, Gladys Knight & Stevie Wonder for "That's What Friends Are For"

Best Pop Instrumental Performance, (Orchestra, Group or Soloist)

*Harold Faltermeyer & Steve Stevens for "''Top Gun'' Anthem"

Production and engineering

Best Engineered Recording, Non-Classical

*Jason Corsaro, Mike Nicholson & Tom Lord-Alge (engineers) for ''Back in the High Life'' performed by Steve Winwood

Best Engineered Recording, Classical

*Paul Goodman (engineer) & Vladimir Horowitz for ''Horowitz - The Studio Recordings, New York 1985''

Producer of the Year (Non-Classical)

*Jimmy Jam and Terry Lewis

Classical Producer of the Year

*Thomas Frost

R&B;

Best R&B; Vocal Performance, Female

*Anita Baker for ''Rapture''

Best R&B; Vocal Performance, Male

*James Brown for "Living in America"

Best R&B; Performance by a Duo or Group with Vocal

*Prince and The Revolution for "Kiss"

Best R&B; Instrumental Performance (Orchestra, Group or Soloist)

*Yellowjackets for "And You Know That"

Best Rhythm & Blues Song

*Anita Baker, Gary Bias & Louis A. Johnson (songwriters) for "Sweet Love" performed by Anita Baker

Reggae

Best Reggae Recording

*Steel Pulse for ''Babylon the Bandit''

Rock

Best Rock Vocal Performance, Female

*Tina Turner for "Back Where You Started"

Best Rock Vocal Performance, Male

*Robert Palmer for "Addicted to Love"

Best Rock Performance by a Duo or Group with Vocal

*Eurythmics for "Missionary Man"

Best Rock Instrumental Performance (Orchestra, Group or Soloist)

*Art of Noise & Duane Eddy for "Peter Gunn"

Spoken

Best Spoken Word or Non-musical Recording

*Johnny Cash, Jerry Lee Lewis, Chips Moman, Ricky Nelson, Roy Orbison, Carl Perkins & Sam Phillips for ''Interviews From the Class of '55 Recording Sessions''

References

Category:1987 music awards 029

de:Grammy Awards 1987 el:Βραβεία Γκράμι του 1987 es:Anexo:Premios Grammy de 1987 ru:29-я церемония «Грэмми» tr:1987 Grammy Ödülleri

name	Grammy Awards
current awards	53rd Grammy Awards
description	Outstanding achievements in the music industry
presenter	National Academy of Recording Arts and Sciences
country	United States
year	1959
website	http://www.grammy.com/ }}

A Grammy Award (originally called Gramophone Award) — or Grammy — is an accolade by the National Academy of Recording Arts and Sciences of the United States to recognize outstanding achievement in the music industry. The annual awards ceremony features performances by prominent artists, and some of the awards of more popular interest are presented in a widely viewed televised ceremony. It is the music equivalent to the Emmy Awards for television, the Tony Award for stage and the Academy Awards for film.

The first Grammy Awards ceremony was held on May 4, 1959, to honor musical accomplishments by performers for the year 1958. Following the 2011 ceremony, NARAS overhauled many Grammy Award categories for 2012. The 54th Grammy Awards will be held on February 12, 2012 at the Staples Center in Los Angeles.

Gramophone trophy

The gold-plated trophies are made and assembled by hand by Billings Artworks in Ridgway, Colorado. In 1990 the original Grammy design was revamped, changing the traditional soft lead for a stronger alloy less prone to damage, and making the trophy bigger and grander. The trophies with the recipient's name engraved on them are not available till after the award announcements, so "stunt" trophies are re-used each year for the broadcast.

As of February 2009, 7,578 Grammy trophies had been awarded.

Categories

The "General Field" are four awards which are not restricted by genre.

Album of the Year is awarded to the performer and the production team of a full album.

Record of the Year is awarded to the performer and the production team of a single song.

Song of the Year is awarded to the writer(s)/composer(s) of a single song.

Best New Artist is awarded to a performer who releases, during the Eligibility Year, the first recording that establishes the public identity of that artist (which is not necessarily their first proper release).

Other awards are given for performance and production in specific genres, as well as for other contributions such as artwork and video. Special awards are given for longer-lasting contributions to the music industry.

History

The Grammy Awards had their origin in the Hollywood Walk of Fame project in the 1950s. As the recording executives chosen for the Walk of Fame committee worked at compiling a list of important recording industry people who might qualify for a Walk of Fame star, they realized there were many more people who were leaders in their business who would never earn a star on Hollywood Boulevard. The music executives decided to rectify this by creating an award given by their industry similar to the Oscars and the Emmys. This was the beginning of the National Academy of Recording Arts and Sciences. After it was decided to create such an award, there was still a question of what to call it; one working title was the Eddie, to honor the inventor of the phonograph, Thomas Edison. They finally settled on using the name of Edison's invention, the gramophone, for the awards, which were first given for the year 1958.

Nomination process

Record companies and individuals may submit recordings to be nominated. Nominations are made online and a physical copy of the work is sent to the National Academy of Recording Arts and Sciences. Once a work is entered, reviewing sessions are held, by more than 150 experts from the recording industry, to determine whether the work is eligible and entered in the correct category for official nomination.

The resulting list is circulated to all NARAS members, each of whom may vote to nominate in the general field (Record of the Year, Album of the Year, Song of the Year, and Best New Artist) and in no more than nine out of 30 other fields on their ballots. The five recordings that earn the most votes in each category become the nominees. There may be more than five nominees if there is a tie in the nomination process.

Whereas members of the Academy of Motion Picture Arts and Sciences are generally invited to screenings or are sent DVDs of movies nominated for Oscars, NARAS members do not receive nominated recordings.

After nominees have been determined, final voting ballots are sent to Recording Academy members, who may then vote in the general fields and in no more than eight of the 30 fields. NARAS members are encouraged, but not required, to vote only in their fields of expertise. Ballots are tabulated secretly by the major independent accounting firm Deloitte Touche Tohmatsu. Following the tabulation of votes the winners are announced at the Grammy Awards. The recording with the most votes in a category wins and it is possible to have a tie. Winners are presented with the Grammy Award and those who do not win are given a medal for their nomination.

In both voting rounds, Academy members are required to vote based upon quality alone, and not to be influenced by sales, chart performance, personal friendships, regional preferences or company loyalty. The acceptance of gifts is prohibited. Members are urged to vote in a manner that preserves the integrity of the academy.

The eligibility period for the 2012 Grammy Awards is September 1, 2010 to September 30, 2011.

2012 category restructuring

On April 6, 2011, The Recording Academy announced a drastic overhaul of many Grammy Award categories for 2012. The number of categories will be brought down to 78 from 109. The most important change is the elimination of the distinction between male and female soloists and between collaborations and duo/groups in various genre fields (pop, rock, R&B;, country and rap). Also, several categories for instrumental soloists will be discontinued. Recordings in these categories will now fall under the general categories for best solo performances.

In the Rock field, the separate categories for hard rock and metal albums are combined and the Best Rock Instrumental Performance category has been eliminated due to a waning number of entries.

In R&B;, the distinction between best contemporary R&B; album and other R&B; albums has been eliminated. They now feature in one, general Best R&B; Album category.

In Rap, the categories for best rap soloist and best rap duo or group will be merged into the new Best Rap Performance category.

The most eliminations occurred in the Roots category. Up to and including 2011, there were separate categories for various regional American music forms, such as Hawaiian music, Native American music and Zydeco/Cajun music. Due to the consistently low number of entries for these categories, The Recording Academy decided to combine all these music variations into the new Best Regional Roots Music Album, which will also include polka, which lost its own separate category in 2009.

In the same genre field, the traditional and contemporary blues categories and the traditional and contemporary folk categories each will be consolidated into one per genre, due to the number of entries and given the challenges in distinguishing between Contemporary Folk and Americana, and Contemporary and Traditional Blues. In the World Music genre field, the traditional and contemporary categories have also been merged.

In the Classical genre field, its main category Best Classical Album has been discontinued because most recipients in this category had also won in one of the other classical categories for the same album. Classical recordings will now be eligible for the main Album of the Year category.

There are also a few minor name changes to better reflect the nature of the separate categories. It was determined by the Recording Academy that the word "Gospel" in the Gospel genre field tends to conjure up the images and sounds of traditional soul gospel and leaves out the current Contemporary Christian Music (CCM). Therefore the genre field and some categories have been renamed as Gospel/Contemporary Christian Music.

Several genre fields will remain unchanged, such as Dance, Reggae, Traditional Pop, Spoken Word and Comedy. The Crafts field (e.g. Liner Notes, Packaging and Historical Productions) is also unchanged.

Leaders

With 31 Grammy Awards, Sir Georg Solti is the male artist with the most Grammy wins. Alison Krauss is the biggest winner among female artists with 26 awards. U2, with 22, holds the record among bands, and the Chicago Symphony Orchestra holds the record for any musical group with 62 wins.

Rank	1st	2nd	3rd
Artist	Georg Solti	Quincy Jones	Alison Krauss
Total awards	31	27	26

Criticism

Because thousands of recordings appear each year and very few voting members have heard more than a relatively small number of them, it is likely that many individual votes will be cast by voters who are unfamiliar with all the recordings nominated in that category. Additionally, because of the small number of votes cast in many of the categories, a lobbying campaign for a particular recording may need only a few dozen votes for success. Large choruses have achieved Grammy awards after persuading many of their members to join NARAS.

Certain musical artists have voiced personal issues with the nature of the Grammys.

When his band Pearl Jam won a Grammy in the category ''Best Hard Rock Performance'' in 1996, singer Eddie Vedder commented on stage: "I don't know what this means. I don't think it means anything."

Maynard James Keenan, lead singer of progressive metal band Tool, did not attend the Grammy Awards ceremony to receive one of their awards. He explained his reasons: }}

Bono, lead singer of the rock band U2 was critical of the Grammys early in his career, but later he began to appreciate their inclusiveness: }}

The Grammy Awards has also been criticized for generally awarding or nominating more commercially successful albums rather than critically successful albums.

TV broadcasts and ratings

Prior to the first live Grammys telecast in 1971 on American Broadcasting Company (ABC), a series of taped annual specials in the 1960s called ''The Best on Record'' were broadcast on National Broadcasting Company (NBC). The first Grammy Award telecast took place on the night of November 29, 1959, as an episode of the NBC anthology series ''Sunday Showcase'', which was normally devoted to plays, original TV dramas, and variety shows. Until 1971, awards ceremonies were held in both New York and Los Angeles, with winners accepting at one of the two. Pierre Cossette bought the rights to broadcast the ceremony from the National Academy of Recording Arts and Sciences and organized the first live telecast. CBS Broadcasting bought the rights in 1973 after moving the ceremony to Nashville, Tennessee; the American Music Awards were created for ABC (by Dick Clark) as a result.

The Recording Academy announced on June 21, 2011 that it had reached a new deal with CBS to keep the awards show on the network for another 10 years. CBS will also broadcast the annual nominations concert special on November 30, 2011 from Los Angeles. The Grammys are set for Feb. 12, 2012. The 2011 Grammy Award show had 26.6 million viewers.

Venue

Prior to 1971, the Grammy Award ceremonies were held in different locations on the same day. Originally New York City and Los Angeles were the host cities. Chicago joined being a host city in 1962, and then Nashville became the fourth location in 1965.

The first Grammys ceremony in 1971, held at the Hollywood Palladium in Los Angeles, was the first one to take place in one location. The ceremony was then moved to Madison Square Garden's Felt Forum in New York City, and then Nashville's Tennessee Theatre in the following two years. Then from 1974 to 2003, the Grammys were held in various venues in New York City and Los Angeles. Notable locations included New York City's Madison Square Garden and Radio City Music Hall; and Los Angeles' Shrine Auditorium, the Staples Center and the Hollywood Palladium.

In 2004, the Staples Center became the permanent home of the award ceremonies. The Grammy Museum was built across the street from Staples Center in LA Live to preserve the history of the Grammy Awards. Embedded on the sidewalks at the museum streets are bronze disks, similar to the Hollywood Walk of Fame, honoring each year's top winners, Record of the Year, Best New Artist, Album of the Year, and Song of the Year.

See also

National Academy of Recording Arts & Sciences

Latin Academy of Recording Arts & Sciences

Latin Grammy Awards

Notes and references

External links

Grammy Awards winners at Grammy.com (searchable database)

Category:Media awards Category:Awards established in 1958 Category:Annual television programs

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name	Barbra Streisand
background	solo_singer
birth name	Barbara Joan Streisand
birth date	April 24, 1942Brooklyn, New York, U.S.
genre	Broadway, traditional pop, adult contemporary
occupation	Singer-songwriter, actress, film producer, director
years active	1957–present
label	Columbia
spouse	James Brolin (1998-present)
website
children	Jason Gould }}

Barbra Joan Streisand (pronounced ; born April 24, 1942) is an American singer, actress, film producer and director. She has won two Academy Awards, eight Grammy Awards, four Emmy Awards, a Special Tony Award, an American Film Institute award, a Peabody Award, and is one of the few entertainers who have won an Oscar, Emmy, Grammy, and Tony Award.

She is one of the most commercially and critically successful entertainers in modern entertainment history, with more than 71.5 million albums shipped in the United States and 140 million albums sold worldwide. She is the best-selling female artist on the Recording Industry Association of America's (RIAA) Top Selling Artists list, the only female recording artist in the top ten, and the only artist outside of the rock and roll genre. Along with Frank Sinatra, Cher, and Shirley Jones, she shares the distinction of being awarded an acting Oscar and also recording a number-one single on the U.S. Billboard Hot 100 chart.

According to the RIAA, Streisand holds the record for the most top ten albums of any female recording artist - a total of 31 since 1963. Streisand has the widest span (46 years) between first and latest top ten albums of any female recording artist. With her 2009 album, ''Love Is the Answer'', she became one of the only artists to achieve number-one albums in five consecutive decades. According to the RIAA, she has released 51 Gold albums, 30 Platinum albums, and 13 Multi-Platinum albums in the United States.

Early life

Barbra Joan Streisand was born on April 24, 1942, in Brooklyn, New York, to a Jewish family, the daughter of Emmanuel and Diana (née Rosen) Streisand. She is the second of two children fathered by Emmanuel (the elder child is Sheldon), who was a respected high school teacher. Fifteen months after Streisand's birth, Emmanuel died of a cerebral hemorrhage and the family went into near-poverty. She attended Erasmus Hall High School in Brooklyn and joined the Freshman Chorus and Choral Club. Diana Rosen Streisand remarried Louis Kind in 1949 and gave Streisand a half-sister, the singer Roslyn Kind (Kind is 9 years younger than Barbra).

Barbra Streisand became a nightclub singer while in her teens. She wanted to be an actress and appeared in summer stock and in a number of Off-Off-Broadway productions, including ''Driftwood'' (1959), with then-unknown Joan Rivers. (In her autobiography, Rivers wrote that she played a lesbian with a crush on Streisand's character, but this was later denied by the play's author.) ''Driftwood'' ran for only six weeks. When her boyfriend, Barry Dennen, helped her create a club act—first performed at The Lion, a popular gay nightclub in Manhattan's Greenwich Village in 1960—she achieved success as a singer. While singing at The Lion for several weeks, she changed her name from Barbara to Barbra. One early appearance outside of New York City was at Enrico Banducci’s hungry i nightclub in San Francisco. In 1961, Streisand appeared at the Town and Country nightclub in Winnipeg, Manitoba, Canada, but her appearance was cut short; the club owner did not appreciate her singing style. Streisand appeared at Baker's Keyboard Lounge in Detroit in 1961.

Streisand's first television appearance was on ''The Tonight Show'', then hosted by Jack Paar, in 1961, singing Harold Arlen's "A Sleepin' Bee". Orson Bean, who substituted for Paar that night, had seen the singer perform at a gay bar and booked her for the telecast (Her older brother Sheldon paid NBC for a kinescope film so she could use it in 1961 to promote herself. Decades later the film was preserved through digitizing and is available for viewing on a website). Streisand became a semi-regular on ''PM East/PM West'', a talk/variety series hosted by Mike Wallace, in late 1961. Westinghouse Broadcasting, which aired ''PM East/PM West'' in a select few cities (Boston, New York, Baltimore, Washington, DC, Pittsburgh, Cleveland, Chicago and San Francisco), has since wiped all the videotapes because of the cost of videotape at the time. Audio segments from some episodes are part of the compilation CD ''Just for the Record'', which went platinum in 1991. The singer said on ''60 Minutes'' in 1991 that 30 years earlier Mike Wallace had been "mean" to her on ''PM East/PM West''. He countered that she had been "self-absorbed." ''60 Minutes'' included the audio of Streisand saying to him in 1961, "I like the fact that you are provoking. But don't provoke ''me''."

In 1962, after several appearances on ''PM East/PM West'', Streisand first appeared on Broadway, in the small but star-making role of Miss Marmelstein in the musical ''I Can Get It for You Wholesale''. Her first album, ''The Barbra Streisand Album'', won two Grammy Awards in 1963. Following her success in ''I Can Get It for You Wholesale'', Streisand made several appearances on ''The Tonight Show'' in 1962 and 1963. Topics covered in her interviews with host Johnny Carson included the empire-waisted dresses that she bought wholesale, to her "crazy" reputation at Erasmus Hall High School. As is the case with Mike Wallace, only audio survives from small portions of her telecast conversations with Carson. It was at about this time that Streisand entered into a long and successful professional relationship with Lee Solters and Sheldon Roskin as her publicists with the firm Solters/Roskin (later Solters/Roskin/Friedman).

Streisand returned to Broadway in 1964 with an acclaimed performance as entertainer Fanny Brice in ''Funny Girl'' at the Winter Garden Theatre. The show introduced two of her signature songs, "People" and "Don't Rain on My Parade." Because of the play's overnight success she appeared on the cover of ''Time.'' In 1966, she repeated her success with ''Funny Girl'' in London's West End at the Prince of Wales Theatre. From 1965 to 1967 she appeared in her first four solo television specials.

Career

Singing

Streisand has recorded 35 studio albums, almost all with Columbia Records. Her early works in the 1960s (her debut ''The Barbra Streisand Album'', ''The Second Barbra Streisand Album'', ''The Third Album'', ''My Name Is Barbra'', etc.) are considered classic renditions of theater and cabaret standards, including her slow version of the normally uptempo ''Happy Days Are Here Again''. She performed this in a duet with Judy Garland on ''The Judy Garland Show''. Garland referred to her on the air as one of the last great belters. They also sang ''There's No Business Like Show Business'' with Ethel Merman joining them.

Beginning with ''My Name Is Barbra'', her early albums were often medley-filled keepsakes of her television specials. Starting in 1969, she began attempting more contemporary material, but like many talented singers of the day, she found herself out of her element with rock. Her vocal talents prevailed, and she gained newfound success with the pop and ballad-oriented Richard Perry-produced album ''Stoney End'' in 1971. The title track, written by Laura Nyro, was a major hit for Streisand.

During the 1970s, she was also highly prominent on the pop charts, with Top 10 recordings such as ''The Way We Were'' (US No. 1), ''Evergreen'' (US No. 1), ''No More Tears (Enough Is Enough)'' (1979, with Donna Summer), which as of 2010 is reportedly still the most commercially successful duet,(US No. 1), ''You Don't Bring Me Flowers'' (with Neil Diamond) (US No. 1) and ''The Main Event'' (US No. 3), some of which came from soundtrack recordings of her films. As the 1970s ended, Streisand was named the most successful female singer in the U.S.—only Elvis Presley and The Beatles had sold more albums. In 1980, she released her best-selling effort to date, the Barry Gibb-produced ''Guilty''. The album contained the hits ''Woman In Love'' (which spent several weeks atop the pop charts in the Fall of 1980), ''Guilty,'' and ''What Kind of Fool.''

After years of largely ignoring Broadway and traditional pop music in favor of more contemporary material, Streisand returned to her musical-theater roots with 1985's ''The Broadway Album'', which was unexpectedly successful, holding the coveted No. 1 Billboard position for three straight weeks, and being certified quadruple platinum. The album featured tunes by Rodgers & Hammerstein, George Gershwin, Jerome Kern, and Stephen Sondheim, who was persuaded to rework some of his songs especially for this recording. ''The Broadway Album'' was met with acclaim, including a Grammy nomination for album of the year and, ultimately, handed Streisand her eighth Grammy as Best Female Vocalist. After releasing the live album ''One Voice'' in 1986, Streisand was set to take another musical journey along the Great White Way in 1988. She recorded several cuts for the album under the direction of Rupert Holmes, including ''On My Own'' (from ''Les Misérables''), a medley of ''How Are Things in Glocca Morra?'' and ''Heather on the Hill'' (from ''Finian's Rainbow'' and ''Brigadoon,'' respectively), ''All I Ask of You'' (from ''Phantom of the Opera''), ''Warm All Over'' (from ''The Most Happy Fella'') and an unusual solo version of ''Make Our Garden Grow'' (from ''Candide''). Streisand was not happy with the direction of the project and it was ultimately scrapped. Only ''Warm All Over'' and a reworked, lite FM-friendly version of ''All I Ask of You'' were ever released, the latter appearing on Streisand's 1988 effort, ''Till I Loved You.'' At the beginning of the 1990s, Streisand started focusing on her film directorial efforts and became almost inactive in the recording studio. In 1991, a four-disc box set, ''Just for the Record'', was released. A compilation spanning Streisand's entire career to date, it featured over 70 tracks of live performances, greatest hits, rarities and previously unreleased material.

The following year, Streisand's concert fundraising events helped propel former President Bill Clinton into the spotlight and into office. Streisand later introduced Clinton at his inauguration in 1993. Streisand's music career, however, was largely on hold. A 1992 appearance at an APLA benefit as well as the aforementioned inaugural performance hinted that Streisand was becoming more receptive to the idea of live performances. A tour was suggested, though Streisand would not immediately commit to it, citing her well-known stage fright as well as security concerns. During this time, Streisand finally returned to the recording studio and released ''Back to Broadway'' in June 1993. The album was not as universally lauded as its predecessor, but it did debut at No. 1 on the pop charts (a rare feat for an artist of Streisand's age, especially given that it relegated Janet Jackson's ''Janet'' to the No. 2 spot). One of the album's highlights was a medley of ''I Have A Love/One Hand, One Heart,'' a duet with Johnny Mathis, who Streisand said is one of her favorite singers.

In 1993, ''New York Times'' music critic Stephen Holden wrote that Streisand "enjoys a cultural status that only one other American entertainer, Frank Sinatra, has achieved in the last half century." In September 1993, Streisand announced her first public concert appearances in 27 years. What began as a two-night New Year's event at the MGM Grand Hotel in Las Vegas eventually led to a multi-city tour in the summer of 1994. Tickets to the tour were sold out in under one hour. Streisand also appeared on the covers of major magazines in anticipation of what ''Time magazine'' named "The Music Event of the Century." The tour was one of the biggest all-media merchandise parlays in history. Ticket prices ranged from US$50 to US$1,500 – making Streisand the highest-paid concert performer in history. ''Barbra Streisand: The Concert'' went on to be the top-grossing concert of the year and earned five Emmy Awards and the Peabody Award, while the taped broadcast on HBO is, to date, the highest-rated concert special in HBO's 30-year history. Following the tour's conclusion, Streisand once again kept a low profile musically, instead focusing her efforts on acting and directing duties as well as a burgeoning romance with actor James Brolin.

In 1997, she finally returned to the recording studio, releasing ''Higher Ground,'' a collection of songs of a loosely-inspirational nature which also featured a duet with Celine Dion. The album received generally favorable reviews and, remarkably, once again debuted at No. 1 on the pop charts. Following her marriage to Brolin in 1998, Streisand recorded an album of love songs entitled ''A Love Like Ours'' the following year. Reviews were mixed, with many critics carping about the somewhat syrupy sentiments and overly-lush arrangements; however, it did produce a modest hit for Streisand in the country-tinged ''If You Ever Leave Me,'' a duet with Vince Gill.

On New Year's Eve 1999, Streisand returned to the concert stage, with the highest-grossing single concert in Las Vegas history to date. At the end of the millennium, she was the number-one female singer in the U.S., with at least two No. 1 albums in each decade since she began performing. A two-disc live album of the concert entitled ''Timeless: Live in Concert'' was released in 2000. Streisand performed versions of the "Timeless" concert in Sydney and Melbourne, Australia, in early 2000. In advance of four concerts (two each in Los Angeles and New York) in September 2000, Streisand announced she was retiring from paying public concerts. Her performance of the song ''People'' was broadcast on the Internet via America Online.

Streisand's most-recent albums have been ''Christmas Memories'' (2001), a somewhat somber collection of holiday songs (which felt entirely—albeit unintentionally—appropriate in the early post-9/11 days), and ''The Movie Album'' (2003), featuring famous film themes and backed by a large symphony orchestra. ''Guilty Pleasures'' (called ''Guilty Too'' in the UK), a collaboration with Barry Gibb and a sequel to their ''Guilty,'' was released worldwide in 2005.

In February 2006, Streisand recorded the song ''Smile'' alongside Tony Bennett at Streisand's Malibu home. The song is included on Tony Bennett's 80th birthday album, ''Duets.'' In September 2006, the pair filmed a live performance of the song for a special directed by Rob Marshall entitled ''Tony Bennett: An American Classic.'' The special aired on NBC November 21, 2006, and was released on DVD the same day. Streisand's duet with Bennett opened the special. In 2006, Streisand announced her intent to tour again, in an effort to raise money and awareness for multiple issues. After four days of rehearsal at the Sovereign Bank Arena in Trenton, New Jersey, the tour began on October 4 at the Wachovia Center in Philadelphia, continued with a featured stop in Fort Lauderdale, Florida, (this was the concert Streisand chose to film for a TV special), and concluded at Staples Center in Los Angeles on November 20, 2006. Special guests Il Divo were interwoven throughout the show. On stage closing night, Streisand hinted that six more concerts may follow on foreign soil. The show was known as ''Streisand: The Tour.''

Streisand's 20-concert tour set box-office records. At the age of 64, well past the prime of most performers, she grossed US$92,457,062 and set house gross records in 14 of the 16 arenas played on the tour. She set the third-place record for her October 9, 2006, show at Madison Square Garden, the first- and second-place records of which are held by her two shows in September 2000. She set the second-place record at the MGM Grand Garden Arena, with her December 31, 1999, show being the house record and the highest-grossing concert of all time. This led many people to openly criticize Streisand for price gouging, as many tickets sold for upwards of US$1,000.

A collection of performances culled from different stops on this tour, ''Live in Concert 2006,'' debuted at No. 7 on the Billboard 200, making it Streisand's 29th Top 10 album. In the summer of 2007, Streisand gave concerts for the first time in continental Europe. The first concert took place in Zürich (June 18), then Vienna (June 22), Paris (June 26), Berlin (June 30), Stockholm (July 4, canceled), Manchester (July 10) and Celbridge, near Dublin (July 14), followed by three concerts in London (July 18, 22 and 25), the only European city where Streisand had performed before 2007. Tickets for the London dates cost between £100.00 and GB£1,500.00 and for the Ireland date between €118 and €500. The tour included a 58-piece orchestra.

In February 2008, ''Forbes'' listed Streisand as the No. 2 earning female musician, between June 2006 and June 2007, with earnings of about US$60 million. Although Streisand's range has changed with time and her voice has deepened over the years, her vocal prowess has remained remarkably secure for a singer whose career has endured for nearly half a century. Streisand is a contralto or possibly a mezzo-soprano who has a range consisting of well over two octaves from “low E to a high G and probably a bit more in either direction.” On November 17, 2008, Streisand returned to the studio to begin recording what would be her sixty-third album and it was announced that Diana Krall was producing the album. Streisand is one of the recipients of the 2008 Kennedy Center Honors. On December 7, 2008, she visited the White House as part of the ceremonies.

On April 25, 2009, CBS aired Streisand's latest TV special, ''Streisand: Live In Concert'', highlighting the aforementioned featured stop from her 2006 North American tour, in Fort Lauderdale, Florida. On September 26, 2009, Streisand performed a one-night-only show at the Village Vanguard in New York City's Greenwich Village. This performance was later released on DVD as ''One Night Only Barbra Streisand and Quartet at The Village Vanguard.'' On September 29, 2009, Streisand and Columbia Records released her newest studio album, ''Love is the Answer.'' produced by Diana Krall. On October 2, 2009, Streisand made her British television performance debut with an interview on Friday Night With Jonathan Ross to promote the album. This album debuted at No. 1 on the Billboard 200 and registered her biggest weekly sales since 1997, making Streisand the only artist in history to achieve No. 1 albums in five different decades.

On February 1, 2010, Streisand joined over 80 other artists in recording a new version of the 1985 charity single "We Are the World." Quincy Jones and Lionel Richie planned to release the new version to mark the 25th anniversary of its original recording. These plans changed, however, in view of the devastating earthquake that hit Haiti on January 12, 2010, and on February 12, the song, now called "We Are the World 25 for Haiti," made its debut as a charity single to support relief aid for the beleaguered island nation.

Streisand was honored as MusiCares Person of the Year on February 11, 2011, two days prior to the 53rd Annual Grammy Awards.

Streisand is one of many singers who uses teleprompters during their live performances. Streisand has defended her choice in using teleprompters to display lyrics and, sometimes, banter.

Acting

Her first film was a reprise of her Broadway hit, ''Funny Girl'' (1968), an artistic and commercial success directed by Hollywood veteran William Wyler. Streisand won the 1968 Academy Award for Best Actress for the role, sharing it with Katharine Hepburn (''The Lion in Winter''), the only time there has been a tie in this Oscar category. Her next two movies were also based on musicals, Jerry Herman's ''Hello, Dolly!'', directed by Gene Kelly (1969), and Alan Jay Lerner's and Burton Lane's ''On a Clear Day You Can See Forever'', directed by Vincente Minnelli (1970), while her fourth film was based on the Broadway play ''The Owl and the Pussycat'' (1970).

During the 1970s, Streisand starred in several screwball comedies, including ''What's Up, Doc?'' (1972) and ''The Main Event'' (1979), both co-starring Ryan O'Neal, and ''For Pete's Sake'' (1974) with Michael Sarrazin. One of her most famous roles during this period was in the drama ''The Way We Were'' (1973) with Robert Redford, for which she received an Academy Award nomination as Best Actress. She earned her second Academy Award for Best Original Song as composer (together with lyricist Paul Williams) for the song "Evergreen", from ''A Star Is Born'' in 1976.

Along with Paul Newman, Sidney Poitier and later Steve McQueen, Streisand formed First Artists Production Company in 1969, so the actors could secure properties and develop movie projects for themselves. Streisand's initial outing with First Artists was ''Up the Sandbox'' (1972).

From a period beginning in 1969 and ending in 1980, Streisand appeared in the annual motion picture exhibitors poll of Top 10 Box Office attractions a total of 10 times, often as the only woman on the list. After the commercially disappointing ''All Night Long'' in 1981, Streisand's film output decreased considerably. She has only acted in six films since.

Streisand produced a number of her own films, setting up Barwood Films in 1972. For ''Yentl'' (1983), she was producer, director, and star, an experience she repeated for ''The Prince of Tides'' (1991) and ''The Mirror Has Two Faces'' (1996). There was controversy when ''Yentl'' received five Academy Award nominations, but none for the major categories of Best Picture, Actress, or Director. ''The Prince of Tides'' received even more Oscar nominations, including Best Picture, but the director was not nominated. Streisand also scripted "Yentl", something she is not always given credit for. According to New York Times Editorial Page Editor Andrew Rosenthal in an interview (story begins at minute 16) with Allan Wolper, "the one thing that makes Barbra Streisand crazy is when nobody gives her the credit for having written 'Yentl'."

In 2004, Streisand made a return to film acting, after an eight-year hiatus, in the comedy ''Meet the Fockers'' (a sequel to ''Meet the Parents''), playing opposite Dustin Hoffman, Ben Stiller, Blythe Danner and Robert De Niro.

In 2005, Streisand's Barwood Films, Gary Smith, and Sonny Murray purchased the rights to Simon Mawer's book ''Mendel's Dwarf''. In December 2008, she stated that she was considering directing an adaptation of Larry Kramer's play ''The Normal Heart'', a project she has worked on since the mid-1990s In 2009, Andrew Lloyd Webber stated that Streisand was one of several actresses (alongside Meryl Streep and Glenn Close) who were interested in playing the role of Norma Desmond in the film adaptation of Webber's musical version of ''Sunset Boulevard''

In December 2010, Streisand appeared in ''Little Fockers'', the third film from the ''Meet the Parents trilogy''. She reprised the role of Roz Focker alongside Dustin Hoffman.

On 4 January 2011, the ''New York Post'' reported that Streisand was in negotiations to produce, direct, and star in a new film version of ''Gypsy.'' In an interview with the ''New York Post'', Arthur Laurents said: "We've talked about it a lot, and she knows what she's doing. She has my approval." He said that he would not write the screenplay. The following day, the ''New York Times'' reported that Arthur Laurents clarified in a telephonic interview that Streisand would not direct the film "but playing Rose is enough to make her happy." Streisand's spokesperson confirmed that "there have been conversations".

On 28 January 2011, ''The Hollywood Reporter'' announced that Paramount Pictures has given the road-trip comedy, ''My Mother's Curse,'' the green light to begin shooting, with Streisand and Seth Rogen playing mother and son. Anne Fletcher is slated to direct the project with a script by Dan Fogelman. Lorne Michaels and John Goldwyn will produce it with Evan Goldberg. Executive producers include Streisand, Rogen, Fogelman, and David Ellison, whose Skydance will co-finance the pic. Shooting began in spring of 2011 and wrapped in July. In August the Internet Movie Database began listing the film with the new title ''Guilt Trip''. The film is set for a November 2012 release (originally it was slated to release in March 2012).

Personal life

Marriages and family

Streisand has been married twice. Her first husband was actor Elliott Gould, to whom she was married from 1963 until 1971. They had one child, Jason Gould, who would go on to star as her on-screen son in ''The Prince of Tides''. Her second husband is actor James Brolin, whom she married on July 1, 1998. While they have no children together, Brolin has two children from his first marriage, including Academy Award-nominated actor Josh Brolin, and one child from his second marriage. Both of her husbands starred in the 1970s conspiracy sci-fi thriller ''Capricorn One''.

Jon Peters' daughters, Caleigh Peters and Skye Peters, are her goddaughters.

Streisand shares a birthday with Shirley MacLaine, and they celebrate together every year.

Name

Streisand changed her name from Barbara to Barbra because, she said, "I hated the name, but I refused to change it." Streisand further explained, "Well, I was 18 and I wanted to be unique, but I didn't want to change my name because that was too false. You know, people were saying you could be Joanie Sands, or something like that. [My middle name is Joan.] And I said, 'No, let's see, if I take out the 'a,' it's still 'Barbara,' but it's unique." A 1967 biography with a concert program said, "the spelling of her first name is an instance of partial rebellion: she was advised to change her last name and retaliated by dropping an “a” from the first instead."

Politics

Streisand has long been an active supporter of the Democratic Party and many of their causes. Streisand said, "The Democrats have always been the party of working people and minorities. I've always identified with the minorities."

In 1971, Streisand was one of the celebrities listed on President Richard Nixon's infamous Enemies List.

Philanthropy

Streisand has personally raised $25 million for organizations through her live performances. The Streisand Foundation, established in 1986, has contributed over $16 million through nearly 1,000 grants to "national organizations working on preservation of the environment, voter education, the protection of civil liberties and civil rights, women’s issues and nuclear disarmament."

In 2006, Streisand donated $1 million to the William J. Clinton Foundation in support of former President Bill Clinton’s climate change initiative.

In 2008, Streisand gifted $5 million to endow the Barbra Streisand Women's Cardiovascular Research and Education Program at Cedars-Sinai Medical Center's Women's Heart Center. In September that year, ''Parade'' magazine included Streisand on their Giving Back Fund's second annual Giving Back 30 survey, "a ranking of the celebrities who have made the largest donations to charity in 2007 according to public records", as the third most generous celebrity. The Giving Back Fund claimed Streisand donated $11 million, which The Streisand Foundation distributed.

At Julien’s Auctions in October 2009, Streisand, a long-time collector of art and furniture, sold 526 items with all the proceeds going to her foundation. Items included a costume from ''Funny Lady'' and a vintage dental cabinet purchased by the performer at 18 years old. The sale’s most valuable lot was a painting by Kees van Dongen.

References in popular culture

On television

The most memorable parody of Streisand's iconic status has been on the sketch comedy show ''Saturday Night Live'' in the recurring skit ''Coffee Talk'' where character Linda Richman, played by Mike Myers, hosts a talk show dedicated to, among other things, the adoration of Streisand. Streisand, in turn, made an unannounced guest appearance on the show, surprising Myers and guests, Madonna and Roseanne Barr. Mike Myers also appeared as the Linda Richman character on stage with Streisand at her 1994 MGM Grand concert, as well as a few of the 1994 Streisand tour shows.

Streisand is frequently mentioned in the sitcom "The Nanny" as Fran Fine states she is her leader. Both Fran and her mother adore Streisand, and often compete in who loves her more.

Streisand is mentioned in the sitcom ''Will & Grace'', particularly by the character Jack McFarland. Songs made famous by Streisand, such as "Papa, Can You Hear Me?" from ''Yentl'' and "Can't Help Lovin' Dat Man" from ''The Broadway Album'' are reproduced by characters in the show.

The sitcom ''Friends'' refers to Streisand in at least two episodes. In "The One Where Chandler Can't Remember Which Sister", Monica names a sandwich at her 1950s-styled restaurant after Barbra Streisand. A soup is also named after Streisand's movie ''Yentl''. Meanwhile, in "The One After 'I Do'", Phoebe pretends she is pregnant with James Brolin's baby, to which Chandler responds "[A]s in Barbra Streisand's husband, James Brolin?" In the same episode, Gould appears on the show as Ross and Monica's father.

In an episode of ''Absolutely Fabulous'' ("Small Opening"), Beau visits the Monsoon household with her husband Marshall. In another one of their schemes, they have become Jewish with Beau wearing one of Streisand's wigs. She takes the wig off and begins to channel Barbra and says "Papa, Can You Hear Me?" and "People."

At least four episodes of the animated sitcom ''The Simpsons'' refer to Streisand. Outside Springfield Elementary School, announcing Lisa's jazz concert and noting tickets have been sold out, is an advertisement for a Streisand concert in the same venue for the following day, with tickets still on sale. In "Fear of Flying", after Marge undergoes therapy, she informs the therapist that whenever she hears the wind blow, she'll hear it saying "Lowenstein", Streisand's therapist character in ''The Prince of Tides'', even though Marge's therapist is named Zweig. Another reference comes in "Sleeping with the Enemy" when Bart exclaims after seeing Lisa make a snow-angel in a cake on the kitchen table, "At least she's not singing Streisand", in reference to Nelson Muntz singing "Papa Can You Hear Me?" from ''Yentl'' earlier in the episode. In "Simple Simpson", a patriotic country singer says that Streisand is unpatriotic and could be pleased by spitting on the flag and strangling a bald eagle.

thumb|180px|"Mecha Streisand" as portrayed in the animated show ''South Park''. Another enduring satirical reference is in the animated series ''South Park'', most notably in the episode "Mecha-Streisand", where Streisand is portrayed as a self-important, evil, gigantic robotic dinosaur with a terrible singing voice about to conquer the universe before being defeated by Robert Smith of The Cure. On another occasion, the Halloween episode "Spookyfish" is promoted for a week as being done in "Spooky-Vision", which involves Streisand's face seen at times during the episode in the four corners of the screen. At the end of the feature film ''South Park: Bigger, Longer & Uncut,'' her name is used as a powerful curse word, a gag repeated in the episode "Osama bin Laden Has Farty Pants". The Mecha-Streisand character made a return in the Season 14 episodes "200" and "201", as one of several celebrities the show had lampooned over the years.

In the ''Sex and the City'' episode "Ex in the City", protagonist Carrie Bradshaw likens herself and her lovelife to that of Streisand's character, Katie Morosky in ''The Way We Were'' before breaking into a rendition of the title song.

In the 2002–04 Icebox.com cartoon and animated TV series ''Queer Duck'', the title character is obsessed with Streisand. He undergoes conversion therapy at a Christian camp to be "made" straight, but Streisand's magic nose returns him to his former sexual orientation.

In the ''American Dad!'' episode "In Country...Club", Roger prepares to watch a Streisand special where the entertainer sings the collected works of Celine Dion in Las Vegas.

In Season 1 Episode 12 of ''Boston Legal'', Denny Crane boasts that he once had a threesome with Shirley Schmidt and Barbra Streisand. Schmidt corrects him by reminding him that "Barbra Streisand" was actually a female impersonator.

In the ''Family Guy'' episode "Mind Over Murder", Lois sings a cabaret act with "Don't Rain on My Parade" — originally sung by Streisand in ''Funny Girl'' — only slowed down and jazzier, as an act of defiance to Peter. In "Stewie Kills Lois", Peter receives life insurance after Lois' apparent death, and claims that he has more money than Streisand. This was followed by a cut scene showing Streisand blowing money out of her nose. In "Wasted Talent", Streisand and husband James Brolin are shown sitting together at the dinner table, with Streisand remarking "I'm glad I married a regular person and not a celebrity".

Streisand is referenced frequently on the Fox TV musical series ''Glee''. The character Rachel (Lea Michele) mentions that Streisand refused to alter her nose in order to become famous in the show's third episode "Acafellas". Also, in the mid-season finale of ''Glee'', Rachel sings the Streisand anthem "Don't Rain on My Parade". In the episode "Hell-O", she says that she will be heartbroken for life, "Like Barbra in ''The Way We Were''." In the same episode, Jesse St. James (Jonathan Groff) criticizes Rachel's performance of "Don't Rain on My Parade" by saying that she "lacked Barbra's emotional depth." In the episode "Theatricality", Rachel is spying on the opposing team's dance rehearsal when the director, Shelby Corcoran (Idina Menzel), expresses dissatisfaction at the team's routine. She demonstrates how it's done with the title song from ''Funny Girl'', and Rachel, sitting in the audience, whispers to her friend, "Exactly what I would have done — Barbra. I could do it in my sleep." On the episode Born This Way Barbara is mentioned when Rachel is debating whether or not to get a nose job, Kurt Hummel and the rest of the glee club set up a "Barbra-vention" of a flashmob to the popular hit "Barbra Streisand" by Duck Sauce. The characters of Kurt and Rachel also sang the Get Happy/Happy Days are Here Again duet originally heard during Streisand's 1963 appearance with Judy Garland on Garland's weekly TV series.

When ''Glee'' won the prize for "Best TV Series-Comedy Or Musical" at the 2010 Golden Globe Awards, creator Ryan Murphy quipped on stage, "Thank you to the Hollywood Foreign Press and Miss Barbra Streisand".

On film

In movies, Streisand is remembered as the favorite of the character Howard Brackett, played by Kevin Kline, who finally admits to being gay while standing at the altar in the 1997 romantic comedy ''In & Out''. His unfortunate bride-to-be, played by Joan Cusack, cries out in frustration to family and friends present, "Does anybody here KNOW how many times I've had to sit through ''Funny Lady''?" In an earlier scene, Howard is taunted by a friend during an argument at a bar with a jeering, "The studio thought that Barbra was too ol-l-ld to play ''Yentl''." The film also mentions the album ''Color Me Barbra''. Barbra's signature tune, "People", is played by a school orchestra in honor of teacher Howard as the story wraps at the end of the credits. This and similar references refer to her popularity among gay men.

In the 1980 musical film ''Fame'', one of the characters, Mrs. Finsecker, announces that Barbra Streisand did not have to change her name to get to the top. Also, Doris Finsecker, played by Maureen Teefy, sings "The Way We Were" for her audition to get into the drama department.

In the 1988 comedy, BIG, Tom Hanks goes home and to prove to his mother that he is her "little" boy he sings the first line of her favorite song, "Memories, like the corner of my mind..." from "The Way We Were."

In the 1993 romantic comedy ''Mrs. Doubtfire'', Robin Williams, while trying different looks to apply to the Mrs. Doubtfire character that he portrays, uses a wig "a la Streisand" and sings some lines from "Don't Rain on My Parade".

In the 1996 comedy "The Associate", Whoopi Goldberg plays a business woman, Laurel Ayers, who creates a business associate, Robert S. Cutty, who is said to have known and dated Streisand. In addition to having an autographed picture of Streisand in her office, Ayers also has a cross-dressing friend who dresses up to resemble Streisand throughout the film.

In the 1998 film adaptation of the novel ''Fear and Loathing in Las Vegas'' a teenage runaway played by Christina Ricci paints images of Streisand while being administered large amounts of LSD by Hunter Thompson's Samoan attorney.

In the 1999 film South Park: Bigger, Longer & Uncut based on the TV series, Cartman shouted out Barbra Streisand's name and shot electricity out of his hands. She is also mentioned in a relationship conversation between the characters of Satan and Saddam Hussein.

In the 2000 remake of the comedy ''Bedazzled'', the Devil (Elizabeth Hurley) tells Elliot (Brendan Fraser): "It's not easy being the Barbra Streisand of evil, you know."

The characters Carla and Connie, as aspiring song-and-dance acts in the 2004 comedy ''Connie and Carla'', include four Streisand references. They sing "Papa, Can You Hear Me?" and "Memory" at an airport lounge and "Don't Rain on My Parade" onstage in a gay bar, and talk about the plot of ''Yentl'' at the climax of the film after they ask how many in their audience have seen the movie (everyone raised their hands).

In the 2005 animated feature ''Chicken Little'', Chicken's best friend Runt's mom says, after she thinks he is lying about seeing an alien spaceship, "Don't make me take away your Streisand collection!" and Runt returns with, "Mother, you leave Barbra out of this!" Also, she is referred to many times in the series "Gilmore Girls"

In music

Sound clips of Streisand's heated exchange with a supporter of former U.S. president George W. Bush were sampled in the 2009 Lucian Piane dance song "Bale Out", making it sound as if she were arguing with actor Christian Bale (whose recorded outbursts during the filming of ''Terminator Salvation'' were the centerpiece of the song).

"Barbra Streisand" is a disco house song by American-Canadian DJ duo Duck Sauce. It was released on 10 September 2010. The song peaked at number one in Poland, Belgium, the Netherlands, Finland, Switzerland and Austria. It became a top ten hit in Australia, France, Germany, Ireland, Italy and the UK.

Her name consists both the title and the complete lyrics of Duck Sauce's 2010 disco house song "Barbra Streisand", which reached number 1 in the UK Dance charts. It also reached number 1 in several other countries.

On stage

Daniel Stern's 2003 Off-Broadway play ''Barbra's Wedding'' was set against the backdrop of Streisand's 1998 wedding to James Brolin.

The 2005 Broadway musical ''Spamalot'' carries the song "You won't succeed on Broadway" which references lines from "People" and "Papa, Can You Hear Me?".

The 2008 Broadway musical "Title of show" has a line where the character, Susan, was suggesting names for the title of the show. She threw out the name "Color Me Susan", a reference to Barbra's Color Me Barbra.

"Streisand effect"

In 2003, Streisand sued aerial photographer Kenneth Adelman for displaying a photograph of her Malibu, California home, along with other photos of the California coastline. Her suit was dismissed under the anti-SLAPP provisions of California law. Mike Masnick of Techdirt coined the term "Streisand effect" in January 2005 to describe the publicity generated by Streisand's efforts to suppress the publication of the photograph.

Awards

In 1984, Streisand was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. She also received the National Medal of Arts in 2000 and the Kennedy Center Honors in 2008. She was inducted as an officer of France's Legion of Honour in 2007.

Music awards

Streisand's works have been nominated for over 57 Grammy Awards; she won 15 of these, including two special awards. She has been inducted into the Grammy Hall of Fame three times. In 2011, she is honored as MusiCares Person of the Year by the Grammy Foundation.

Album of the Year Best Female Vocal Performance Best Female Vocal Performance Best Female Vocal Performance Best Contemporary-Pop Vocal Performance AGVA Grammy Awards Singing Star of the Year People's Choice Awards rowspan="5" Best Pop Female Vocal Performance Singing Star of the Year rowspan="7" rowspan="3" rowspan="2" Singing Star of the Year People's Choice Awards rowspan="5" Best Pop Vocal Female Performance People's Choice Awards rowspan="16"Grammy Legend Award Best Traditional Pop Vocal Performance Grammy Lifetime Achievement Award rowspan="2" rowspan="3" rowspan="2" Best Traditional Pop Vocal Album Grammy Hall of Fame Best Traditional Pop Vocal Album

Year !! Award !! Category !! Work !! Result
rowspan="3"	1963	Grammy Awards	|	''The Barbra Streisand Album''
Best Female Vocal Performance
Record of the Year	Happy Days Are Here Again#Barbra Streisand version>Happy Days Are Here Again"
rowspan="3"	1964			''People'' ||
Album of the Year
Record of the Year
rowspan="2"	1965		|	''My Name Is Barbra''
Album of the Year
rowspan="2"	1966		|	''Color Me Barbra''
Album of the Year
1968	|		Funny Girl (film)>Funny Girl'' Soundtrack
1970	AGVA Georgie Award ||	Entertainer of the Year	—
rowspan="2"	1972	|	Best Pop Female Vocal Performance	"Sweet Inspiration / Where You Lead"
AGVA Georgie Award	|	—
1975	|		Favorite Female Singer of the Year
1976	Grammy Awards ||	Best Classical Vocal Soloist Performance	''Classical Barbra''
rowspan="5"	1977		"Evergreen" (from ''A Star Is Born'') ||
Song of the Year
Record of the Year
Best Original Score – Motion Picture or Television Special
AGVA Georgie Award	|	—
1978	Grammy Awards ||	Best Pop Female Vocal Performance	You Don't Bring Me Flowers (song)	You Don't Bring Me Flowers" (with Neil Diamond) |>
rowspan="2"	1979	Record of the Year
rowspan="2"	Best Pop Vocal Performance – Duo, Group, or Chorus
rowspan="5"	1980	Guilty (Barbra Streisand album)	Guilty'' (with Barry Gibb) |>
Album of the Year
Record of the Year	"Woman in Love"
Best Pop Vocal Female Performance
AGVA Georgie Awards	|	—
1985	|		Favorite All-Around Female Entertainer
rowspan="3"	1986	Grammy Awards ||	Best Pop Vocal Female Performance	''The Broadway Album''
Album of the Year
Best Instrumental Arrangement Acompanying Vocal	"Being Alive"
rowspan="2"	1987		''One Voice'' ||
Best Music Video Performance
1988	|	Favorite All-Time Musical Performer	—
1991	Grammy Awards ||	Best Traditional Pop Vocal Performance	"Warm All Over"
1992	|	—	Special award
1993	|	''Back to Broadway''
rowspan="3"	1994	|	—	Special award
Best Traditional Pop Vocal Performance	''Barbra: The Concert''
Best Pop Vocal Female Performance	"Ordinary Miracles"
rowspan="2"	1997	Best Pop Collaboration With Vocals ||	Tell Him (Barbra Streisand and Celine Dion song)>Tell Him" (with Celine Dion)
"I Finally Found Someone" (with Bryan Adams)
2000	Best Traditional Pop Vocal Album ||	''Timeless – Live In Concert''
2002	''Christmas Memories''
2003	''The Movie Album''
2004	Grammy Hall of Fame ||	Funny Girl (musical)>Funny Girl'' (Barbra Streisand and Sydney Chaplin)	Inducted
2006	''The Barbra Streisand Album''
2007	|	''Live in Concert 2006''
2008	|	The Way We Were (song)>The Way We Were"	Inducted
2011	|	Love Is the Answer (album)>Love Is the Answer''

Film awards

Streisand has won 2 Academy Awards (Oscar) against 5 nominations, 2 for acting, 2 for song writing and 1 for Best Picture,

Best Actress ''Hello, Dolly Best Actress in a Motion Picture (Comedy or Musical) Academy Awards Henrietta World Film Favorite Best Actress in a Motion Picture (Comedy or Musical) Academy Awards rowspan="3" Henrietta World Film Favorite Best Actress in a Motion Picture (Comedy or Musical) Best Actress in Motion Picture (Drama) Academy Awards Academy Awards Best Actress in a Motion Picture (Comedy or Musical) Golden Globe Cecil B. DeMille Award for Lifetime Achievement

Year !! Award !! Category !! Work !! Result
rowspan="2"	1969	Academy Awards		''Funny Girl'' ||
rowspan="5"	Golden Globe Awards	Best Actress in a Motion Picture (Comedy or Musical)
rowspan="2"	1970		(film)	Hello, Dolly!''
Henrietta Award	Henrietta World Film Favorite	—
rowspan="2"	1971	|	The Owl and the Pussycat (film)>The Owl and the Pussycat''
Henrietta World Film Favorite	—
rowspan="2"	1974	|	Best Actress	''The Way We Were''
rowspan="3"	Golden Globe Awards	Best Actress in a Motion Picture (Drama)
1975	|	—	Special award
1976	|	''Funny Lady''
rowspan="3"	1977	|	Best Original Song	Evergreen (Love Theme from A Star Is Born)	Evergreen" (from ''A Star Is Born'') |>
rowspan="6"	Golden Globe Awards	Best Actress in a Motion Picture (Comedy or Musical)
Best Original Song
1978	|	—	Special award
rowspan="2"	1984		''Yentl'' ||
Best Director (Motion Picture)
1988	|	Nuts (film)>Nuts''
rowspan="2"	1992	|	Best Picture	''The Prince of Tides''
Golden Globe Awards	Best Director (Motion Picture)
rowspan="3"	1997	|	Best Original Song	"I Finally Found Someone" (from ''The Mirror Has Two Faces'')
rowspan="3"	Golden Globe Awards	|	''The Mirror Has Two Faces''
Best Original Song	"I Finally Found Someone" (from ''The Mirror Has Two Faces'')
2000	|	—	Special award

Appearances

Broadway performances

Year !! Title !! Notes
1961–1963	''I Can Get It for You Wholesale''	Nominated—Tony Award for Best Performance by a Featured Actress in a Musical
1964–1965	Funny Girl (musical)>Funny Girl''

West End performances

Year !! Title !! Notes
1966	Funny Girl (musical)>Funny Girl''	April 13, 1966 – July 16, 1966 at the Prince of Wales Theatre, London.

Television specials

Year !! Title !! Notes
1965	''My Name Is Barbra''	Aired April 28, 1965
1966	Color Me Barbra'' >
1967	''The Belle of 14th Street''
1968	''A Happening in Central Park''
1973	''Barbra Streisand...And Other Musical Instruments''
1975	''Funny Girl to Funny Lady''
1976	''Barbra: With One More Look at You''
1983	''A Film Is Born: The Making of 'Yentl'''
1986	''Putting it Together: The Making of The Broadway Album''
1987	One Voice (Barbra Streisand album)>One Voice''
1994	''Barbra Streisand: The Concert''
2001	''Barbra Streisand: Timeless''
2009	''Streisand: Live in Concert''
2009	''Friday Night with Jonathan Ross''

Tours and live performances

North America ''Barbra Streisand: The Concert Tour'' ''Timeless: Live in Concert Tour'' ''Streisand: The Tour''

Year !! Title !! Continents !! Box-office benefits !! Total audience
1966	''An Evening with Barbra Streisand (Tour)''	|	$480,000	60,000
1994	|	North America and Europe	$50 million	400,000
2000	|	North America and Oceania	$70 million	200,000
2006–2007	|	North America and Europe	$119.5 million	425,000

Discography

1963: ''The Barbra Streisand Album''

1963: ''The Second Barbra Streisand Album''

1964: ''The Third Album''

1964: ''Funny Girl''

1964: ''People''

1965: ''My Name Is Barbra''

1965: ''My Name Is Barbra, Two...''

1966: ''Color Me Barbra''

1966: ''Je m'appelle Barbra''

1967: ''Simply Streisand''

1967: ''A Christmas Album''

1969: ''What About Today?''

1971: ''Stoney End''

1971: ''Barbra Joan Streisand''

1972: ''Live Concert at the Forum''

1973: ''Barbra Streisand...And Other Musical Instruments''

1974: ''The Way We Were''

1974: ''ButterFly''

1975: ''Lazy Afternoon''

1976: ''Classical Barbra''

1977: ''Streisand Superman''

1978: ''Songbird''

1979: ''Wet''

1979: ''The Main Event (1979 film)''

1980: ''Guilty''

1981: ''Memories''

1983: ''Yentl - Motion picture soundtrack''

1984: ''Emotion''

1985: ''The Broadway Album''

1986: ''One Voice - Live Concert''

1988: ''Till I Loved You''

1989: ''Barbra Streisand - A Collection: Greatest Hits & More''

1993: ''Back to Broadway''

1997: ''Higher Ground''

1999: ''A Love Like Ours''

2001: ''Christmas Memories''

2003: ''The Movie Album''

2005: ''Guilty Pleasures''

2009: ''Love Is the Answer''

2011: ''What Matters Most''

Filmography

! Year	! Title	! Role	! Notes
1968		Fanny Brice	Academy Award for Best Actress Tied with Katharine Hepburn for ''The Lion in Winter''David di Donatello for Best Foreign Actress Tied with Mia Farrow for ''Rosemary's Baby''Golden Globe Award for Best Actress – Motion Picture Musical or ComedyNominated—BAFTA Award for Best Actress in a Leading Role also for ''Hello, Dolly!''
1969		Dolly Levi
		Daisy Gamble / Melinda Tentres
	Doris Wilgus/Wadsworth/Wellington/Waverly	Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
		Judy Maxwell
''Up the Sandbox''	Margaret Reynolds
1973	''The Way We Were''	Katie Morosky	David di Donatello for Best Actress
1974		Henrietta 'Henry' Robbins
1975	''[[Funny Lady''	Fanny Brice	Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
1976		Esther Hoffman Howard	Academy Award for Best Original Song Shared with Paul Williams (lyrics) for the song "Evergreen (Love Theme from A Star Is Born)"Golden Globe Award for Best Actress – Motion Picture Musical or ComedyGolden Globe Award for Best Original Song Shared with Paul Williams (lyrics) for the song "Evergreen (Love Theme from A Star Is Born)"Nominated—BAFTA Award for Best Film Music Shared with Paul Williams, Kenny Ascher, Rupert Holmes, Leon Russell, Kenny Loggins, Alan Bergman, Marilyn Bergman, Donna Weiss
1979		Hillary Kramer
1981		Cheryl Gibbons	Nominated-Razzie Award for Worst Actress
1983		Yentl/Anshel
1987		Claudia Faith Draper	Nominated—Golden Globe Award for Best Actress – Motion Picture Drama
1991	''The Prince of Tides''	Dr. Susan Lowenstein	(also director and producer)Nominated—Academy Award for Best Picture Shared with Andrew S. KarschNominated—Directors Guild of America AwardNominated—Golden Globe Award for Best Director
1996	''The Mirror Has Two Faces''	Rose Morgan	(also director and producer)Nominated—Academy Award for Best Original Song Shared with Marvin Hamlisch, Robert John Lange and Bryan Adams for the song "I Finally Found Someone"Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or ComedyNominated—Golden Globe Award for Best Original Song Shared with Marvin Hamlisch, Robert John Lange and Bryan Adams for the song "I Finally Found Someone"
2004	''Meet the Fockers''	Roz Focker
2010	''Little Fockers''	Roz Focker	Nominated-Razzie Award for Worst Supporting Actress
2012	''Guilt Trip''	Joyce Brewster

References

Further reading

External links

Barbra-Archives.com

}}

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Name	Janet Jackson
Background	solo_singer
Birth name	Janet Damita Jo Jackson
Born	May 16, 1966Gary, Indiana, United States
Genre	R&B;, pop, dance
Occupation	Singer-songwriter, dancer, record producer, actress, film producer, author
Instrument	Vocals, keyboards
Years active	1973–present
Label	A&M;, Virgin, Island
Website
Associated acts	}}

Janet Damita Jo Jackson (born May 16, 1966) is an American recording artist and actress. Known for a series of sonically innovative, socially conscious and sexually provocative records, as well as elaborate stage shows, television and film roles, she has been a prominent figure in popular culture for over 25 years. She is ranked by ''Forbes'' magazine as one of the richest women in entertainment. The youngest child of the Jackson family, she began her career with the variety television series ''The Jacksons'' in 1976 and went on to appear in other television shows throughout the 1970s and early 1980s, including ''Good Times'' and ''Fame''.

After signing a recording contract with A&M; in 1982, she became a pop icon following the release of her third studio album ''Control'' (1986). Her collaborations with record producers Jimmy Jam and Terry Lewis incorporated elements of rhythm and blues, funk, disco, rap, and industrial beats, which led to crossover appeal in popular music. In addition to receiving recognition for the innovation in her records, choreography, music videos, and prominence on radio airplay and MTV, she was acknowledged as a role model for her socially conscious lyrics.

In 1991, she signed the first of two record-breaking, multi-million dollar contracts with Virgin Records, establishing her as one of the highest paid artists in the industry. Her debut album under the label, ''Janet'' (1993), saw her develop a public image as a sex symbol as she began to explore sexuality in her work. That same year, she appeared in her first starring film role in ''Poetic Justice''; since then she has continued to act in feature films. By the end of the 1990s, she was named the second most successful recording artist of the decade. She has amassed an extensive catalog of hits, with singles such as "Nasty", "Rhythm Nation", "That's the Way Love Goes", "Together Again" and "All for You" among her most iconic.

Having sold over 100 million records, she is ranked as one of the best-selling artists in the history of contemporary music. The Recording Industry Association of America (RIAA) lists her as the eleventh best-selling female artist in the United States, with 26 million certified albums. In 2008, ''Billboard'' magazine released its list of the Hot 100 All-Time Top Artists, ranking her at number seven. In 2010, the magazine announced the "Top 50 R&B; / Hip-Hop Artists of the Past 25 Years", ranking her at number five. One of the world's most awarded artists, her longevity, records and achievements reflect her influence in shaping and redefining the scope of popular music. She has been cited as an inspiration among numerous performers.

Life and career

1966–82: Childhood and television work

Janet Jackson was born in Gary, Indiana, the youngest of ten children, to Katherine Esther (née Scruse) and Joseph Walter Jackson. The Jacksons were lower-middle class and devout Jehovah's Witnesses; Jackson stated that although she was raised as a Jehovah's Witness, she eventually stopped practicing organized religion and views her relationship with God as "one-on-one". By the time Jackson was a toddler, her older brothers—Jackie, Tito, Jermaine, Marlon and Michael—were performing music at nightclubs and theaters as The Jackson 5. In March 1969, the group signed a record deal with Motown, and by the end of the year they had recorded the first of four consecutive number one singles. The Jackson 5's success allowed the family to move to the Encino neighborhood of Los Angeles in 1971, where they settled in a gated mansion called Hayvenhurst. Although born into a family of professional musicians, Jackson, whose love of horses resulted in a desire to become a race-horse jockey, had no aspiration to become an entertainer. Despite this, her father planned for her to pursue a career in entertainment. She once commented, "No one ever asked me if I wanted to go into show business ... it was expected."

In 1973, at the age of seven, Jackson appeared on stage in Las Vegas Strip with her siblings in a routine show at the MGM Casino. Jane Cornwell documented in her biography of the singer, ''Janet Jackson'' (2002), that at age eight, her father Joseph told her not to call him "Dad" anymore since he was her manager; he told her she would henceforth address him as "Joseph". She began her career as an actress with the debut of the CBS variety show ''The Jacksons'' (1976), in which she appeared with her siblings Tito, Rebbie, Randy, Michael, Marlon, La Toya and Jackie. In 1977, she was selected by producer Norman Lear to play a recurring role as Penny Gordon Woods in the sitcom ''Good Times''. From 1979 to 1980, she starred in ''A New Kind of Family'' as Jojo Ashton, and then joined the cast of ''Diff'rent Strokes'', portraying Charlene Duprey from 1981 to 1982. She played a recurring role during the fourth season of the television series ''Fame'' as Cleo Hewitt, though she later commented that the series was not a project she enjoyed working on.

1982–85: Early recordings

Although Jackson was initially apprehensive about starting a music career, she agreed to participate in recording sessions with her family. The first of these, a duet with her brother Randy titled "Love Song for Kids", took place in 1978. When she was sixteen, her father arranged a contract for her with A&M; Records. Her debut album, ''Janet Jackson'', produced by soul singers Angela Winbush, René Moore and Leon F. Sylvers III, was released in 1982, the entire production of which was overseen by her father Joseph. It peaked at number six on the ''Billboard'' Hot R&B; albums chart.

Jackson's second album, ''Dream Street'', was released two years later. Her father recruited her brothers to help produce the album: Marlon co-wrote two of the album's tracks, while Tito, Jackie and Michael provided background vocals. ''Dream Street'' reached number nineteen on the R&B; albums chart; its sales were less than that of her debut album. The album's only hit, "Don't Stand Another Chance", peaked at number nine on ''Billboard''s R&B; singles chart. In late 1984, Jackson eloped with childhood friend and fellow R&B; singer James DeBarge. They divorced shortly afterwards, and the marriage was annulled in mid-1985. In 1985 Jackson joined her sister, La Toya, as a chorist under La Toya's number "Baby Sister" at the Yamaha Music Festival where they ended up with a silver medallion and an "Outstanding Song Award".

1986–88: ''Control''

Following the release of ''Dream Street'', Jackson decided to separate her business affairs from her family. She later commented, "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do, telling him that I didn't want to work with him again." A&M; Records executive John McClain hired producers Jimmy Jam and Terry Lewis to work with her. Within six weeks, Jackson, Jam and Lewis crafted her third studio album, ''Control''. Jackson recalled that during the recording of the album, she was threatened by a group of men outside of her hotel in Minneapolis. She stated that "[t]he danger hit home when a couple of guys started stalking me on the street ... Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."

Though Jam and Lewis were concerned with achieving cross-over appeal, their primary goal was to create a strong following for the singer within the African American community first. Jam commented, "[w]e wanted to do an album that would be in every black home in America ... we were going for ''the'' black album of all time." ''Los Angeles Times'' critic Connie Johnson wrote: "Though still a teen-ager, this singer's stance is remarkably nervy and mature. She has a snotty sort of assurance that permeates several cuts, plus the musical muscle to back it up." The ''Newsweek'' review of ''Control'' noted that the album was "an alternative to the sentimental balladry and opulent arrangements of Patti LaBelle and Whitney Houston." Rob Hoerburger of ''Rolling Stone'' asserted, "''Control'' is a better album than Diana Ross has made in five years and puts Janet in a position similar to the young Donna Summer's—unwilling to accept novelty status and taking her own steps to rise above it." Five of the album's singles—"What Have You Done for Me Lately", "Nasty", "When I Think of You", "Control", and "Let's Wait Awhile"—peaked within the top 5 of the ''Billboard'' Hot 100. "When I Think of You" became Jackson's first single to peak at number one. "The Pleasure Principle" became a top 20 hit, peaking at number fourteen. Most of the ''Control'' music videos were choreographed by a then-unknown Paula Abdul. Jonathan Cohen of ''Billboard'' magazine commented "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix."

''Control'' was certified five times platinum by the Recording Industry Association of America, and has sold over fourteen million copies worldwide. It won four American Music Awards, from twelve nominations—a record that has yet to be broken—and was nominated for Album of the Year at the 1987 Grammy Awards. Musicologist Richard J. Ripani Ph.D., author of ''The New Blue Music: Changes in Rhythm & Blues, 1950–1999'' (2006), observed that the album was one of the first successful records to influence the rise of new jack swing by creating a fusion of R&B;, rap, funk, disco and synthesized percussion. The success of ''Control'', according to Ripani, bridged the gap between R&B; and rap music.

1989–92: ''Janet Jackson's Rhythm Nation 1814''

In September 1989, Jackson released her fourth album, ''Janet Jackson's Rhythm Nation 1814''. Though executives at A&M; wanted an album similar to ''Control'', she was determined to imbue her music with a socially conscious message that complimented her songs about love and relationships. She stated, "I'm not naive—I know an album or a song can't change the world. I just want my music and my dance to catch the audience's attention, and to hold it long enough for them to listen to the lyrics and what we're saying." Producer Jimmy Jam told ''The Boston Globe'', "We would always have a TV turned on, usually to CNN ... And I think the social slant of songs like Rhythm Nation, State of the World and The Knowledge came from that." ''Rolling Stone'' magazine's Vince Aletti observed Jackson shifted from "personal freedom to more universal concerns—injustice, illiteracy, crime, drugs—without missing a beat."

Peaking at number one on the ''Billboard'' 200, the album was later certified six times platinum and eventually sold over fourteen million copies worldwide. The release became the only album in history to produce number one hits on the ''Billboard'' Hot 100 in three separate calendar years—"Miss You Much" in 1989, "Escapade" and "Black Cat" in 1990, and "Love Will Never Do (Without You)" in 1991—and the only album in the history of the Hot 100 to have seven top 5 hit singles. The corresponding music video for "Rhythm Nation" won the 1989 Grammy Award for Best Long Form Music Video. ''Billboard'' named ''Rhythm Nation 1814'' the number-one selling album of the year in 1990, winning multiple music awards. The Rhythm Nation World Tour, Jackson's first world tour in support of a studio album, became the most successful debut tour by any recording artist. As Jackson began her tour, she was acknowledged for the cultural impact of her music. Joel Selvin of the ''San Francisco Chronicle'' wrote "the 23-year-old has been making smash hit records for four years, becoming a fixture on MTV and a major role model to teenage girls across the country", and William Allen, then-executive vice president of the United Negro College Fund, told the ''Los Angeles Times'', "Jackson is a role model for all young people to emulate and the message she has gotten to the young people of this country through the lyrics of 'Rhythm Nation 1814' is having positive effects." She established the "Rhythm Nation Scholarship" as a joint venture with the United Negro College Fund, as well as donating funds from her concert tour to other educational programs, raising over $1/2 million dollars to fund educational projects. ''Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge'' (2000) documented that Jackson's success during this time period placed her on par with several other recording artists, including her older brother Michael Jackson, Madonna and Tina Turner.

With the release of ''Rhythm Nation 1814'', Jackson fulfilled her contract with A&M; Records. In 1991, after being approached personally by Virgin Records owner Richard Branson, she signed a highly publicized multi-million dollar contract with the label. The contract value, estimated between $32–50 million, made her the highest paid recording artist in contemporary music, until her brother Michael signed a $65 million dollar contract with Sony only a few days later. ''Ebony'' reported: "No individual or group has impacted the world of entertainment as have Michael and Janet Jackson, who both signed multimillion dollar contracts in recent months ... There are many imitators, but few can match Michael and Janet's stunning style and dexterity." Her reputation as a fashion icon also garnered recognition, in that "[a]s Janet was entertaining 2 million fans during her triumphant Rhythm Nation tour, hoards of teen girls were imitating her distinctive look—black quasi-military long jackets, black tight-tight pants, and big white shirts." That same year, she secretly entered into her second marriage with long-term friend—dancer, songwriter and director René Elizondo, Jr. In early 1992, Jackson recorded a song entitled "The Best Things in Life Are Free" with Luther Vandross, featuring Bell Biv DeVoe and Ralph Tresvant, for the ''Mo' Money'' film soundtrack.

1993–96: ''Janet'', ''Poetic Justice'' and ''Design of a Decade 1986/1996''

In August 1992, after completing work on ''Poetic Justice'', Jackson set out to plan on recording her first album for Virgin Records. Recording sessions for the album began in September 1992, commencing in the first quarter of 1993. In May 1993, Jackson's fifth studio album ''Janet'', was released and debuted at number one on the ''Billboard'' 200. She commented, "[c]ertain people feel I'm just riding on my last name ... That's why I just put my first name on ''janet.'' and why I never asked my brothers to write or produce music for me." ''Billboard'' magazine's Larry Flick noted she "also broadens her musical scope on 'janet.' by layering deep house, swing jazz, hip hop, rock, and Caribbean elements on top of a radio-minded jack/funk foundation." ''Rolling Stone'' wrote: "As princess of America's black royal family, everything Janet Jackson does is important. Whether proclaiming herself in charge of her life, as she did on ''Control'' (1986), or commander in chief of a rhythm army dancing to fight society's problems (''Rhythm Nation 1814'', from 1989), she's influential. And when she announces her sexual maturity, as she does on her new album, ''Janet.'', it's a cultural moment." ''The New Rolling Stone Album Guide'' (2004) commented that the album's number one hit single "That's the Way Love Goes"—winner of the 1994 Grammy Award for Best R&B; Song—and the top 10 singles "If", "Because of Love", "You Want This", and "Any Time, Any Place", all contained "grown-up desires". ''Janet'' was certified six times platinum by the RIAA, with worldwide sales exceeding twenty million copies.

In July 1993, Jackson made her film debut in ''Poetic Justice''. ''Rolling Stone'' described her performance as "a beguiling film debut" despite her inexperience, while ''The Washington Post'' considered her "believably eccentric". Several reviews were also negative, as Owen Gleiberman of ''Entertainment Weekly'' noted she "isn't an inept actress, yet there are no more edges to her personality than there are to her plastic Kewpie-doll visage." Jackson's ballad "Again" was featured in the film, and she received her first Golden Globe and Academy Award nominations for Best Original Song. In September 1993, Jackson appeared topless on the cover of ''Rolling Stone'' magazine with the hands of her then-husband René Elizondo, Jr. covering her breasts. The photograph is the original full-length version of the cropped image used on the cover of the ''Janet'' album, shot by Patrick Demarchelier. Sonia Murray of ''The Vancouver Sun'' later reported, "Jackson, 27, remains clearly established as both role model and sex symbol; the ''Rolling Stone'' photo of Jackson ... became one of the most recognizable, and most lampooned, magazine covers of the year." David Ritz likened her transformation to Marvin Gaye, stating "[j]ust as Gaye moved from ''What's Going On'' to ''Let's Get It On'', from the austere to the ecstatic, Janet, every bit as serious-minded as Marvin, moved from ''Rhythm Nation'' to ''janet.'', her statement of sexual liberation." Her second world tour—the Janet World Tour—garnered critical acclaim as Michael Snyder of the ''San Francisco Chronicle'' described Jackson's stage performance as erasing the line between "stadium-size pop music concerts and full-scale theatrical extravaganzas."

During this time period, her brother Michael was immersed in a child sex abuse scandal, of which he denied any wrongdoing. She gave moral support to her brother, and denied allegations made by her sister La Toya in her book ''La Toya: Growing Up in the Jackson Family'' (1991) that their parents had abused her and her siblings as children. In an interview with Lynn Norment of ''Ebony'', she commented on her sister's then-estrangement from the family, stating, "her [husband Jack Gordon] has ... brainwashed her so much she keeps herself away from us." In addition, she criticized her brother Jermaine for attacking Michael in his 1991 single "Word to the Badd". In December 1994, she collaborated with her brother Michael on "Scream", the lead single from his 1995 album ''HIStory'', which was written by both siblings as a response to the media scrutiny he suffered from being accused of child sexual abuse. The song debuted at number five on the Hot 100 singles chart, becoming the first song ever to debut in the top 5. "Scream" is featured in the ''Guinness Book of Records'' as the "Most Expensive Music Video Ever Made" at a cost of $7 million, which was filmed in May 1995. Jackson and her brother won the 1995 Grammy Award for Best Short Form Music Video for "Scream".

In October 1995, Jackson's first compilation album, ''Design of a Decade 1986/1996'', was released via A&M; Records. It debuted at number four and peaked at number three on the ''Billboard'' 200. The lead single "Runaway" became the first song by a female artist to debut within the top ten of the Hot 100, which eventually peaked at number three. ''Design of a Decade 1986/1996'' was certified two times platinum by the RIAA and sold over four million copies worldwide. Jackson's influence in popular music continued to garner recognition, as Steve Morse of ''The Boston Globe'' remarked: "If you're talking about the female power elite in pop, you can't get much higher than Janet Jackson, Bonnie Raitt, Madonna and Yoko Ono. Their collective influence ... is beyond measure. And who could dispute that Janet Jackson now has more credibility than brother Michael?" In January 1996, Jackson renewed her contract with Virgin Records for a reported $80 million dollars. The contract established her as the then-highest paid recording artist in contemporary music, surpassing the recording industry's then-unparalleled $60 million dollar contracts earned by her brother, Michael Jackson, and Madonna.

1997–99: ''The Velvet Rope''

During the two year period prior to the release of her sixth studio album, ''The Velvet Rope'', Jackson reportedly suffered from depression and anxiety. Michael Saunders of ''The Boston Globe'' considered the album to be an introspective look into her bout with depression, describing it as a "critical self-examination and an audio journal of a woman's road to self-discovery." ''The Velvet Rope'' also introduced sadomasochism into Jackson's music. Eric Henderson of Slant Magazine wrote, "''The Velvet Rope'' is a richly dark masterwork that illustrates that, amid the whips and chains, there is nothing sexier than emotional nakedness." Larry Flick of ''Billboard'' called ''The Velvet Rope'' "[t]he best American album of the year and the most empowering of her last five." Released in October 1997, ''The Velvet Rope'' debuted at number one on the ''Billboard'' 200. In August, 1997 the album's lead single, "Got 'til It's Gone", was released to radio, peaking at number 12 on the ''Billboard'' Rhythmic Airplay Chart. The single sampled the Joni Mitchell song "Big Yellow Taxi", and featured a cameo appearance by rapper Q-Tip. "Got 'til It's Gone" won the 1997 Grammy Award for Best Short Form Music Video. The album's second single "Together Again", became her eighth number one hit on the ''Billboard'' Hot 100 singles chart, and placing her on par with Elton John, Diana Ross, and The Rolling Stones. The single spent a record 46 weeks on the Hot 100, as well as spending 19 weeks on the UK singles chart. "I Get Lonely" peaked at number three on the Hot 100. ''The Velvet Rope'' sold over ten million albums worldwide and was certified three times platinum by the RIAA.

Jackson donated a portion of the proceeds earned from "Together Again" to the American Foundation for AIDS Research. Neil McCormick of ''The Daily Telegraph'' observed, "[Jackson] even makes a bid for gay icon status, delivering a diva-ish performance reminiscent of Diana Ross on 'Together Again' (a post-Aids pop song), singing a paean to homosexuality on the jazzy 'Free Xone' and climaxing (if that's the right word) with a bizarre lesbian reinterpretation of Rod Stewart's 'Tonight's the Night'." ''Rolling Stone'' regarded "Free Xone" as the album's "best song", describing it as an "anti-homophobia track [which] shifts moods and tempos on a dime, segueing from a Prince-like jam to a masterful sample from Archie Bell and the Drells' 'Tighten Up'." ''The Velvet Rope'' was honored by the National Black Lesbian and Gay Leadership Forum, and received the award for Outstanding Music Album at the 9th Annual GLAAD Media Awards.

In 1998, Jackson began The Velvet Rope World Tour, an international trek that included Europe, North America, Africa, Asia, New Zealand and Australia. Robert Hilburn of ''The Los Angeles Times'' reported, "[t]here is so much of the ambition and glamour of a Broadway musical in Janet Jackson's new Velvet Rope tour that it's only fitting that the concert program credits her as the show's 'creator and director'." Her HBO special, ''The Velvet Rope: Live in Madison Square Garden'', was watched by more than fifteen million viewers. The two hour concert beat the ratings of all four major networks in homes that were subscribed to HBO. The HBO concert special was awarded four Emmy nominations including one win. Jackson donated a portion of her concert ticket sales to America's Promise, a non-profit organization designed by Colin Powell to assist disenfranchised youth.

The following month, Jackson separated from Elizondo Jr. As her world tour came to a close in 1999, Jackson lent guest vocals to a number of songs by other artists, including Shaggy's "Luv Me, Luv Me", for the soundtrack to ''How Stella Got Her Groove Back'', "God's Stepchild" from the ''Down on the Delta'' soundtrack, "Girlfriend/Boyfriend" with BLACKstreet, and "What's It Gonna Be?!" with Busta Rhymes. She also performed a duet with Elton John for the song "I Know the Truth". At the 1999 World Music Awards, Jackson received the Legend Award alongside Cher for "lifelong contribution to the music industry and outstanding contribution to the pop industry." As 1999 ended, ''Billboard'' magazine ranked Jackson as the second most successful artist of the decade, behind Mariah Carey.

2000–03: ''Nutty Professor II: The Klumps'' and ''All for You''

In July 2000, Jackson appeared in her second film, ''Nutty Professor II: The Klumps'', as Professor Denise Gaines, opposite Eddie Murphy. The film became her second to open at number one at the box office, grossing an estimated $42.7 million dollars in its opening weekend. Her contribution to the film's soundtrack, "Doesn't Really Matter", became her ninth number one ''Billboard'' Hot 100 single. In the same year, Jackson's husband filed for divorce. Jeff Gordinier of ''Entertainment Weekly'' reported that for eight of the thirteen years she and Elizondo had known one another, "[they] were married—a fact they managed to hide not only from the international press but from Jackson's own father." Elizondo filed a multi-million dollar lawsuit against her, estimated between $10–25 million; they did not reach a settlement until 2003.

Jackson was awarded the American Music Awards' Award of Merit in March 2001 for "her finely crafted, critically acclaimed and socially conscious, multi-platinum albums." She became the inaugural honoree of the "mtvICON" award, "an annual recognition of artists who have made significant contributions to music, music video and pop culture while tremendously impacting the MTV generation." Jackson's seventh album, ''All for You'', was released in April 2001, debuting at number one on the ''Billboard'' 200. Selling 605,000 copies, ''All for You'' had the highest first-week sales total of her career. Stephen Thomas Erlewine of Allmusic stated "[Jackson's] created a record that's luxurious and sensual, spreading leisurely over its 70 minutes, luring you in even when you know better", and Jon Pareles of ''The New York Times'' commented, "[a]s other rhythm and blues strips down to match the angularity of hip-hop, Ms. Jackson luxuriates in textures as dizzying as a new infatuation."

The album's title-track, "All for You", debuted on the Hot 100 at number fourteen, the highest debut ever for a single that was not commercially available. Teri VanHorn of MTV dubbed Jackson "Queen of Radio" as the single made radio airplay history, "[being] added to every pop, rhythmic and urban radio station that reports to the national trade magazine Radio & Records" in its first week. The single peaked at number one, where it topped the Hot 100 for seven weeks. It received the 2001 Grammy Award for Best Dance Recording. The second single, "Someone to Call My Lover", which contained a heavy guitar loop of America's "Ventura Highway", peaked at number three on the Hot 100. ''All for You'' was certified double platinum by the RIAA and sold more than nine million copies worldwide.

Jackson's All for You Tour began in July, 2001. ''Los Angeles Times''' pop music critic Robert Hilburn gave a negative review of the concert tour, comparing it unfavorably to Madonna's Drowned World Tour and Britney Spears' Dream Within a Dream Tour. Hilburn remarked: "At 35, Jackson is only eight years younger than Madonna, but her presentation feels more akin to Britney Spears'. Madonna knows how to dig beneath the surface; Jackson lives on it." Hilburns' review sparked backlash from those who felt Jackson gave the superior performance. David Massey commented that "Janet outdid the Material Girl by a mile ... And the gall to bring Britney Spears' name into the picture by saying Janet's show is like Britney's? Hello, it's the other way around!" Similarly, Rudy Scalese complimented Jackson's performance, stating: "Janet Jackson hasn't skipped a beat. She is still the Queen of Pop." Jackson donated a portion of the proceeds from the tour's ticket sales to the Boys & Girls Clubs of America, with President Roxanne Spillett stating, "[t]he increased awareness she will bring to our cause, along with her generous financial contribution, will help us reach an even greater number of young people in search of hope and opportunity."

In 2002, Jackson collaborated with reggae singer Beenie Man on the song "Feel It Boy". She later admitted regret over the collaboration after discovering Beenie Man's music often contained homophobic lyrics, and soon issued an apology to her gay fans in an article published in ''The Voice''. Jackson also began her relationship with record producer Jermaine Dupri that same year.

2004–05: Super Bowl XXXVIII and ''Damita Jo''

For the Super Bowl XXXVIII halftime show in February 2004, Jackson performed a medley of her singles "All for You" and "Rhythm Nation"; she then performed alongside Justin Timberlake. As Timberlake sang the lyric "gonna have you naked by the end of this song" from his single "Rock Your Body", he tore open her top, exposing her right breast. After the performance, Jackson apologized, calling it an accident, and said that Timberlake was supposed to pull away the bustier and leave the red-lace bra intact. She further commented, "I am really sorry if I offended anyone. That was truly not my intention ... MTV, CBS, the NFL had no knowledge of this whatsoever, and unfortunately, the whole thing went wrong in the end." Timberlake also issued an apology, calling the accident a "wardrobe malfunction". ''TIME'' reported that the incident became the most replayed moment in TiVo history and Monte Burke of ''Forbes'' magazine reported "[t]he fleeting moment enticed an estimated 35,000 new [TiVo] subscribers to sign up." Jackson was later listed in the 2007 edition of ''Guinness World Records'' as "Most Searched in Internet History" and the "Most Searched for News Item". CBS, the NFL, and MTV (CBS's sister network, which produced the halftime show), denied any knowledge of, and all responsibility for, the incident. Still, the Federal Communications Commission continued an investigation, ultimately losing its appeal for a $550,000 fine against CBS.

As a result of the incident, CBS would only allow Jackson and Timberlake to appear during the 46th Grammy Awards ceremony if they each made a public apology to the network, without attributing the incident to a "wardrobe malfunction". Timberlake issued an apology, but Jackson refused. Jermaine Dupri resigned from his position on the Grammy Awards committee as a result. The controversy halted plans for Jackson to star in a made-for-TV biopic on the life on singer Lena Horne for ABC-TV. Though Horne was reportedly displeased by the Super Bowl incident and insisted that ABC pull Jackson from the project, according to Jackson's representatives, she withdrew from the project willingly.

In March 2004, Jackson's eighth studio album, ''Damita Jo'' (Jackson's middle name), was released debuting at number two on the ''Billboard'' 200. Allmusic's Stephen Thomas Erlewine referred to the album as "the aural equivalent of hardcore pornography—it leaves nothing to the imagination and it's endlessly repetitive." Alternatively, a review by Ann Powers of ''Blender'' magazine asserted: "Artfully structured, unapologetically explicit, ''Damita Jo'' is erotica at its friendliest and most well-balanced. This hour-plus of Tantric flow even erases the memory of Jackson’s clunky Super Bowl breast-baring." By the end of the month it was certified platinum by the RIAA, and eventually sold over three million albums worldwide. Although the album debuted at number two, its four singles all failed to become top 40 hits. Keith Caulfield of ''Billboard'' commented, "[f]or a singles artist like Jackson, who has racked up 27 top 10 Hot 100 singles in her career, including 10 No. 1s, this could probably be considered a disappointment."

Jackson appeared as a host of ''Saturday Night Live'' on April 10, 2004 and also appeared as a guest star on the television sitcom ''Will & Grace'' portraying herself. In November 2004, Jackson was honored as an African-American role model by 100 Black Men of America, Inc., who presented her with the "organization's Artistic Achievement Award saluting 'a career that has gone from success to greater success'." Though the ''New York Amsterdam News'' reported "[t]here were a number of attendees who expressed dismay over presenting an award to the 38-year-old performer" because of the Super Bowl incident, the organization's President Paul Williams responded, "[a]n individual's worth can't be judged by a single moment in that person's life." In June 2005, she was honored with a Humanitarian Award by the Human Rights Campaign and AIDS Project Los Angeles, in recognition of her work and involvement in raising money for AIDS charities.

2006–07: ''20 Y.O.'' and ''Why Did I Get Married?''

To promote her ninth studio album, ''20 Y.O.'', Jackson appeared on the cover of ''Us Weekly'' in June 2006, which became one of the magazine's best-selling issues. Virgin Records released ''20 Y.O.'' in September 2006, which debuted at number two on the ''Billboard'' 200. Janine Coveney of ''Billboard'' reported the album title, ''20 Years Old'', represents "a celebration of the joyful liberation and history-making musical style of her 1986 breakthrough album, ''Control''." ''Rolling Stone'' magazine's Evan Serpick remarked "[t]he title of Janet Jackson's latest album refers to the two decades since she released her breakthrough, ''Control'', with hits like 'Nasty' and 'What Have You Done for Me Lately.' If we were her, we wouldn't make the comparison." However, Glenn Gamboa of ''Newsday'' gave the album a positive rating, stating that "[o]n '20 Y.O.' she skips all that drama of breaking free and asserting herself. She also keeps most of the tie-me-up, tie-me-down sexual raunch of her recent albums in the closet. This album is all about dancing and returning to her R&B; roots."

The album's lead single "Call on Me", a duet with rapper Nelly, peaked at number twenty-five on the Hot 100. ''20 Y.O.'' was certified platinum by the RIAA and sold 679,000 copies in the U.S. and 1.2 million worldwide. ''Billboard'' magazine reported the release of ''20 Y.O.'' satisfied Jackson's contract with Virgin Records; Jermaine Dupri, who co-produced ''20 Y.O.'', left his position as head of urban music at Virgin following the "disappointing performance" of Jackson's album.

In January 2007, Jackson was ranked the seventh richest woman in the entertainment business by ''Forbes'' magazine, having amassed a fortune of over $150 million. Later that year, she starred opposite Tyler Perry as a psychotherapist named Patrica in the feature film ''Why Did I Get Married?''. It became her third consecutive film to open at number one at the box office, grossing $21.4 million in its first week. ''Variety'' magazine's Ronnie Scheib described Jackson's performance as charming, yet bland, while Wesley Morris of ''The Boston Globe'' commented that Jackson portrayed her character with "soft authority". In February 2008, Jackson won the NAACP Image Award for Outstanding Supporting Actress in a Motion Picture for her role.

2008–09: ''Discipline'', death of Michael Jackson and ''Number Ones''

In July 2007, Jackson changed labels and signed a record contract with Island Records. Her tenth studio album, ''Discipline'', was released in February 2008, debuting on the ''Billboard'' 200 at number one. Margeaux Watson of ''Entertainment Weekly'' remarked, "her boy-crazy lyrics—which often sound like the cheesy text messages of a lovesick adolescent—certainly lack the flavor needed to put this once-celebrated pop star back on top of critics' lists." Andy Kellman of Allmusic expressed: "Janet probably won't hit that late-'80s peak again, but that is no excuse to write her off." Her single, "Feedback", peaked at number nineteen on the Hot 100. In April 2008, Jackson received the Vanguard Award at the 19th Annual GLAAD Media Awards, honoring her contributions in promoting equal rights for LGBT people. GLAAD President Neil G. Giuliano commented, "Ms. Jackson has a tremendous following inside the LGBT community and out, and having her stand with us against the defamation that LGBT people still face in our country is extremely significant." Jackson's fifth concert tour—the Rock Witchu Tour—began in September 2008. That same month, she and her record label parted ways through mutual agreement. Rodney 'Darkchild' Jerkins, who produced the album expressed, "I felt like it wasn't pushed correctly ... She just didn't get her just-do as an artist of that magnitude." In the fourteen months she was associated with Island, her record had sold 449,000 copies and did not receive RIAA certification. ''Billboard'' reported that because of Jackson's dissatisfaction with her album's promotion, "the label agreed to dissolve their relationship with the artist at her request."

In June 2009, Jackson's brother Michael died at age 50. At the 2009 BET Awards, she spoke publicly for the first time concerning his death, stating "I'd just like to say, to you, Michael is an icon, to us, Michael is family. And he will forever live in all of our hearts. On behalf of my family and myself, thank you for all of your love, thank you for all of your support. We miss him so much." In an exclusive interview with ''Harper's Bazaar'', she revealed she had first learned of her brother's death while filming on location in Atlanta for ''Why Did I Get Married Too?''. Amidst the public and private mourning with her family, she focused on work to deal with the grief, avoiding any news coverage of her sibling's death; she stated "[i]t's still important to face reality, and not that I'm running, but sometimes you just need to get away for a second." During this time, she also ended her seven year relationship with Jermaine Dupri. In September 2009, she performed "Scream" at the 2009 MTV Video Music Awards as part of a tribute to Michael. MTV General Manager Stephen Friedman stated: "We felt there was no one better than Janet to anchor it and send a really powerful message." She worked with several world renowned choreographers, with her personal creative director, Gil Duldulao, coordinating the performance. It was lauded by several critics and Michael Slezak of ''Entertainment Weekly'' commented, "[s]he worked that stage harder than an underpaid assistant doin’ overtime, and as tributes go, this was as energetic as it was heartfelt."

Her single, "Make Me", was released following the VMA performance initially as an audio stream on her official web site, and was later made available for digital download. Soon after its release, the single became Jackson's 19th number one Hot Dance Club Songs chart. Later that month, Jackson chaired the inaugural benefit of amfAR, The Foundation for AIDS Research, held in Milan in conjunction with fashion week. CEO Kevin Robert Frost commented, "[w]e are profoundly grateful to Janet Jackson for joining amfAR as a chair of its first event in Milan ... She brings incomparable grace and a history of dedication to the fight against AIDS." One of the signature pieces sold for the auction was a pair of crystal-studded boots her brother Michael had intended to wear for the This Is It concert tour, which sold for $14,650. The event raised a total of $1.1 million for the nonprofit organization. She stated, "I'd just like to thank everyone here in the global fashion community who've done so much to help amfAR and to support HIV/AIDS research." Her second greatest hits compilation, ''Number Ones''—titled ''The Best'' outside of the United States—was released in November, 2009 as a joint venture between Universal Music Enterprises (UMe) and EMI Music. It debuted at number twenty-two on the ''Billboard'' 200, selling 37,000 copies in its first week of release. She performed as the opening act for the 37th annual American Music Awards and as one of the performing acts of the Capital FM December 2009 Jingle Bell Ball at the London O2 arena.

2010–present: ''Why Did I Get Married Too?'', ''For Colored Girls'', ''True You'' and Number Ones: Up Close and Personal

In April, 2010, Jackson reprised her role in Tyler Perry's ''Why Did I Get Married?'' sequel, ''Why Did I Get Married Too?'' The film earned $30.1 million at the box office its opening weekend, debuting at number two. Wesley Morris of ''The Boston Globe'' expressed the overall experience of the film to be "120 minutes of emotional Stairmaster" and added that "watching a hysterical—and hysterically coiffed—Janet Jackson redecorate a house with a golf club burns 500 calories. Mike Hale of ''The New York Times'' referred to her performance as "invigorating and oddly funny" while Jackie K. Cooper of ''The Huffington Post'' comments "[s]he is very impressive at times and less so at others. She does show a willingness to be seen at her most disheveled." Her performance earned a nomination for the 2011 NAACP Image Award for Outstanding Actress in a Motion Picture. She recorded the lead single for the film's soundtrack entitled, "Nothing", which was released prior to the film's debut. In May 2010, she appeared on the season finale of ''American Idol'', where she performed "Again", "Nothing", and "Nasty".

Jackson headlined the 2010 Essence Music Festival alongside Alicia Keys and Mary J. Blige. According to the Associated Press, "Janet Jackson enthralled the Essence Music Festival audience Friday, kept them on their feet for more than two hours and reminded fans why seeing her in concert was worth waiting two years." In July 2010, Jackson became a spokeswoman for fur label American Legend Cooperative's Blackglama "What Becomes a Legend Most?" campaign, previously endorsed by celebrities such as Lena Horne, Elizabeth Taylor, Lauren Bacall and Diana Ross. According to the company's press release, she was selected as the campaign's latest "Legend" because she "is an icon in the world of music and entertainment, a true legend. She represents everything that this storied campaign embodies. Janet is to entertainment what Blackglama is to luxury." Her endorsement sparked outrage from animal rights group People for the Ethical Treatment of Animals (PETA) as well as activist Pamela Anderson. Anderson and PETA senior vice president, Dan Mathews, found Jackson's decision hypocritical, as she has declined to endorse the wearing of fur in the past. In August, 2010, UMe released her third greatest hits collection, ''Icon: Number Ones'', as part of the debut of the ''Icon'' album series; according to the press release, the series features "the greatest hits, signature tunes and fan favorites of the most popular artists in music history."

In November, 2010, she starred as Joanna in the drama ''For Colored Girls'', Tyler Perry's film adaptation of Ntozake Shange's play ''For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf'' (1975). Christopher John Farley of ''The Wall Street Journal'' complimented her performance, stating that "[she] recites verses written by Ntozake Shange, the author of the play that inspired the film ... But instead of offering up a mannered coffeehouse reading of the lines, Jackson makes the words sound like ordinary—though very eloquent—speech." Matt Zoller Seitz of Salon.com said she "outdoes herself here—especially in the scene where she confronts her husband over his secret life ... It's not just Jackson's short haircut and traumatized eyes that might remind viewers of Jane Wyman or Joan Crawford; Perry gets at the mix of masculine hyper-competitiveness and feminine vulnerability that has always defined Jackson, and links it to the wily, lonely coldness often captured in Wyman and Crawford performances, a directorial gambit of tremendous perceptiveness." Manohla Dargis of ''The New York Times'' commented: "Ms. Jackson is, to put it gently, an actress of limited expression. But her quiet presence has force, partly because of her eerie resemblance to her brother Michael, though also because her character’s brittle hauteur, self-involved privilege and artificiality has—like the martyrs in ermine played by the likes of Lana Turner—its own weird truth." A number of critics have compared her portrayal of Jo to Meryl Streep's Miranda Priestly in ''The Devil Wears Prada''. Her performance earned her nominations for the 2011 Black Reel Awards in the categories for Outstanding Supporting Actress and Outstanding Ensemble.

On November 18, in an exclusive interview with AOL Music's '"The Boombox", Jackson announced plans to go on her "largest ever world tour" in 2011, supporting her second greatest hits collection, ''Number Ones''. The tour, entitled Number Ones: Up Close and Personal, will hold concerts in 35 global cities. The cities will be picked by fans who can submit suggestions on her official website. During the tour, she will perform her 35 number one hits and dedicate a song to each city. Jackson partnered with Mattel to release a limited-edition Barbie bearing her resemblance. Titled "Divinely Janet", the doll was auctioned for $15,000 with proceeds being donated to Project Angel Food. A new self-help book penned by Jackson, ''True You: A Journey to Finding and Loving Yourself'', was released on February 15, 2011, topping ''The New York Times'' Best Seller list the following month. In March 2011, she signed a film production contract with Lionsgate "to select, develop and produce a feature film for the independent studio." Lionsgate president of motion picture production and development Mike Paseornek stated: "She is a powerful on-screen presence, with a vast audience, and we believe she will be an equally powerful presence behind the scenes ... We are honored to be able to provide a home for her ideas, passion and immense talent.” Jackson became the first female pop star to perform at the I. M. Pei glass pyramid at the Louvre Museum. To raise contributions for the restoration of iconic works of art, she performed "in conjunction with the museum's biannual fundraising event, 'Liaisons au Louvre,' on Tuesday, June 14." Louvre President-Director Henri Loyrette stated: "Janet Jackson is one of the world’s greatest artistic treasures ... Accordingly, we are profoundly honored, and believe it most fitting, that her performance in the Louvre Museum will be yet another masterpiece captured under our glorious glass pyramid." In August, 2011, she was announced as the first celebrity to be featured in the Blackglama "What Makes A Legend Most?" campaign for two consecutive years. Blackglama CEO Joe Morelli stated: "It became clear in our discussions of who the Legend should be this year, that continuing the momentum with Janet made complete sense ... She embodies glamour, luxury, and sophistication, everything that Blackglama stands for."

Musical style and performance

Jackson has a mezzo-soprano 3 octave vocal range. Many critics have observed she has never been considered a strong vocalist, noting her voice is often enveloped by the production of her music. Biographer David Ritz commented, "[h]er wispy voice was a pale echo of Michael's, but on Janet's albums—and in her videos and live performances, which revealed a crisp, athletic dance technique not unlike her brother's—singing wasn't the point", commenting that importance was instead placed on "[h]er slamming beats, infectious hooks, and impeccable production values." Her voice has also been praised on occasion. Eric Henderson of Slant magazine claimed critics who judged Jackson harshly for her thin voice "somehow missed the explosive 'gimme a beat' vocal pyrotechnics she unleashes all over 'Nasty' ... Or that they completely dismissed how perfect her tremulous hesitance fits into the abstinence anthem 'Let's Wait Awhile'." Classical composer Louis Andriessen has also praised Jackson for her "rubato, sense of rhythm, sensitivity, and the childlike quality of her strangely erotic voice."

Jackson's music has encompassed a broad range of genres, including R&B;, soul, disco, hip hop, rap, pop, rock, and dance music. Qadree EI-Amin, Jackson's former personal manager, commented, "[s]he's bigger than Barbra Streisand because Streisand can't appeal to the street crowd, as Janet does. But Streisand's rich, elite crowd loves Janet Jackson." Her records from the 1980s have been described as being heavily influenced by Prince, as her producers are ex-members of The Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin." Richard J. Ripani documented that when record producers Jimmy Jam and Terry Lewis collaborated with Jackson on her 1986 album ''Control'', the trio "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Rickey Vincent stated in his book ''Funk: The Music, The People, and The Rhythm of The One'' (1996) that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. Richard Rischar in "A Vision of Love: An Etiquette of Vocal Ornamentation in African-American Popular Ballads of the Early 1990s" notes that "[t]he black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram." She continued her musical development by blending contemporary urban sound with hip hop in the 1990s. This included a softer representation of R&B;, articulated by lush soulful ballads and up-tempo dance beats. She has been described as "an artist who has reshaped the sound and image of rhythm and blues" within the first decade of her career. Critic Karla Peterson remarked that "[s]he is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves—an ace pop-song writer." Her material from the 2000s decade has been viewed less favorably, as Sal Cinquemani comments that "[e]xcept for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns."

Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compares Jackson's musical style to that of Marvin Gaye, stating, "[l]ike Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain." Ritz has also stated: "The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear." Gillian G. Gaar, author of ''She's a Rebel: The History of Women in Rock & Roll'' (2002), described ''Control'' as "an autobiographical tale about her life with her parents, her first marriage, and breaking free."

On ''Janet'', Jackson began to deal primarily with sexual themes. Shayne Lee, author of ''Erotic Revolutionaries: Black Women, Sexuality, and Popular Culture'' (2010), wrote that her music over the following decade "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s." In ''You've Come A Long Way, Baby: Women, Politics, and Popular Culture'' (1996), Lilly J. Goren observed that "Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue." Joshua Klein wrote in ''The Washington Post'' that Jackson's public image over the course of her career had shifted "from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds—figuratively and literally—of love and lust." The song "Free Xone" from ''The Velvet Rope'', which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." Jackson explained the recurring themes on her later albums by saying, "I love love and I love sex." She stated during promotion for ''Janet'', "I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process." The sexual explicit content of her latter albums have drawn mixed reactions—ranging from acclaim to abhorrence—often in juxtaposition to Madonna, who is seen as her counterpart. Stephen Thomas Erlewine comments "[w]hile sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music—as with anything, it all depends on the artist.

Influences

Jackson has credited her older brothers Michael and Jermaine as her primary musical influences. She describes actress/singer Lena Horne as a profound inspiration, not only in her own career, but for black entertainers across multiple generations. Upon Horne's death in 2010, she stated "[Horne] brought much joy into everyone's lives—even the younger generations, younger than myself. She was such a great talent. She opened up such doors for artists like myself." Similarly, she considers Dorothy Dandridge to be one of her idols. Describing herself as "a very big Joni Mitchell fan", she explained: "As a kid I was drawn to Joni Mitchell records ... Along with Marvin Gaye and Stevie Wonder, Joni's songs spoke to me in an intimate, personal way." She holds reverence for Tina Turner, stating: "Tina has become a heroic figure for many people, especially women, because of her tremendous strength. Personally, Tina doesn't seem to have a beginning or an end in my life. I felt her music was always there, and I feel like it always will be." She has also named other socially conscious acts, such as Tracy Chapman, Sly and the Family Stone and U2 as sources of inspiration. Other artists attributed as influences on Jackson's music according to ''Rolling Stone'' are The Ronettes, Dionne Warwick, Tammi Terrell and Diana Ross.

Music videos and choreography

Jackson drew her inspiration for her music videos and performances from the musicals she watched in her youth, and was heavily influenced by the choreography of Fred Astaire and Michael Kidd, among others. Throughout her career, she has worked with numerous professional choreographers such as Paula Abdul, Michael Kidd, and Tina Landon. Landon also took part in the choreography for Michael and Janet Jackson's 1995 music video ''Scream''. Janine Coveney of ''Billboard'' observed that "Jackson's musical declaration of independence [''Control''] launched a string of hits, an indelible production sound, and an enduring image cemented by groundbreaking video choreography and imagery that pop vocalists still emulate."

Beretta E. Smith-Shomade, author of ''Shaded Lives: African-American Women and Television'' (2002) wrote that "Jackson's impact on the music video sphere came largely through music sales successes, which afforded her more visual liberties and control. This assuming of control directly impacted the look and content of her music videos, giving Jackson an agency not assumed by many other artists—male or female, Black or White." ''Parallel Lines: Media Representations of Dance'' (1993) documents that her videos have been often been reminiscent of live concerts or elaborate musical theater. Many of her video from ''Control'', Including "Nasty" and "When I Think of You", were choreographed using influences from Broadway theatre. Multiculturalism has also been a cornerstone of the imagery represented in Jackson's music videos. The militant iconography of her 1989 video for "Rhythm Nation" signifies a need for both racial and gender equality; she and her dancers perform in identical uniforms while Jackson herself "is performing asexually and almost anonymously in front of, but as one of the members of the group." In the 1990s, her videos such as 1993's "If"—which "[exudes a] 'Last Emperor' lust and mystery"—and 1995's "Runaway" drew cultural influences from the orient. Others, such as 1997's "Got 'til It's Gone" and "Together Again" explore African roots and the serengeti. Jackson's music videos have also found rapport within the gay community, as the dramatic imagery in "Rhythm Nation" led to reenactments of the video in gay clubs and her 1990 video for "Love Will Never Do (Without You)" is said to explore the aesthetic of the male body from both the heterosexual female and gay male perspective. She received the MTV Video Vanguard Award in 1990 for her contributions to the art form, and in 2001 became the first recipient of the mtvICON award, celebrating her impact on the music industry as a whole.

Her music videos have contributed to a higher degree of sexual freedom among young women, as Jean M. Twenge, author of ''Generation Me: Why Today's Young Americans are More Confident, Assertive, Entitled—and More Miserable Than Ever Before'' (2007) wrote: "In Alfred Kinsey's studies in the 1950s, only 3% of the young women had received oral sex from a man. By the mid-1990s, however, 75% of women aged 18-24 had experienced cunnilingus. Music videos by female artists have contributed to the trend, with both Mary J. Blige and Janet Jackson heavily implying male-on-female oral sex in music videos by pushing down on a man's head until he's in exactly the right position." Similarly, Paula Kamen in ''Her Way: Young Women Remake the Sexual Revolution'' (2000) states that "[i]n the early to mid-1990s, oral sex even reached mainstream music as politically charged demand of truly liberated women," citing TLC, Mary J. Blige and Janet Jackson as examples of females artist simulating cunnilingus in their videos. However, accusations of cosmetic surgery, skin lightening and increasingly hypersexual imagery have led to her being viewed as conforming to a white, male-dominated view of sexuality, rather than liberating herself or others.

''Jet'' magazine reported "Janet's innovative stage performances during her world tours have won her a reputation as a world-class performer." Chris Willman of ''Los Angeles Times'' stated the "enthralling" choreography of Jackson's Rhythm Nation 1814 Tour "represents the pinnacle of what can be done in the popping 'n' locking style—a rapid-fire mixture of rigidly jerky and gracefully fluid movements." ''The Independent'' writer Nicholas Barber commented in his review for The Velvet Rope Tour that "Janet's concerts are the pop equivalent of a summer blockbuster movie, with all the explosions, special effects, ersatz sentimentality, gratuitous cleavage and emphasis on spectacle over coherence that the term implies." When ''Los Angeles Times'' reporter Robert Hilburn asked Jackson "[d]o you understand it when people talk about [The Velvet Rope Tour] in terms of Broadway?", she responded, "I'm crazy about Broadway ... That's what I grew up on." Her Number Ones: Up Close and Personal tour deviated from the full-scale theatricality found in her previous concert arena settings in favor of smaller venues. Critics noted being scaled down did not effect the impact of her showmanship, and in some cases, enhanced it. Greg Kot of the ''Chicago Tribune'' wrote: "In past tours, Jackson's thin voice was often swallowed up by the sheer size of her production ... In the more scaled-down setting, Jackson brought a warmth and a passion that wasn't always evident in stadiums ... the best Janet Jackson performance I've covered in 20-plus years."

Thor Christensen of ''The Dallas Morning News'' reported that Jackson lip syncs in concert; he wrote, "Janet Jackson—one of pop's most notorious onstage lip-syncers—conceded ... she uses 'some' taped vocals to augment her live vocals. But she refused to say what percentage of her concert 'voice' is taped and how much is live." Richard Harrington of ''The Washington Post'' observed, "[s]ince the advent of MTV and the proliferation of dance-oriented singers like Milli Vanilli, Madonna, Paula Abdul, Janet Jackson, George Michael, MC Hammer, Michael Jackson and the New Kids on the Block, audience expectations have been drastically redefined" noting that few entertainers are capable of recreating the spectacle of elaborately choreographed music videos while delivering studio precision vocals. Michael MacCambridge of the ''Austin American-Statesman'', who reviewed Jackson's Rhythm Nation 1814 Tour, described lip-syncing as a "moot point", stating, "Jackson was frequently singing along with her own pre-recorded vocals, to achieve a sound closer to radio versions of singles." MacCambridge also observed "[i]t seemed unlikely that anyone—even a prized member of the First Family of Soul Music—could dance like she did for 90 minutes and still provide the sort of powerful vocals that the '90s super concerts are expected to achieve." Similarly, Chris Willman commented, "[e]ven a classically trained vocalist would be hard-pressed to maintain any sort of level of volume—or, more appropriately, 'Control'—while bounding up and down stairs and whipping limbs in unnatural directions at impeccable, breakneck speed." Critics observed that in the smaller scale of her Number Ones: Up Close and Personal tour, she forewent lip-syncing. Chris Richards of ''The Washington Post'' stated "even at its breathiest, that delicate voice hasn’t lost the laserlike precision that seems to be a part of the Jackson family DNA." He complemented her physically strenuous performance, stating "[g]o on, Janet. Let ’em see you sweat. Because in a 21st-century popscape where concerts are driven by spectacle, we need to know that beneath all of the sci-fi costumes, strobe lights and Auto-Tune, we’re still witnessing a performance by the living, breathing, profusely sweating human being whose name is stamped on the tickets we just emptied our wallets for."

Legacy

The baby sister of the "precious Jackson clan", Janet Jackson has strived to distance her professional career from that of her older brother Michael and the rest of the Jackson family. Steve Dollar of ''Newsday'' wrote that "[s]he projects that home girl-next-door quality that belies her place as the youngest sibling in a family whose inner and outer lives have been as poked at, gossiped about, docudramatized and hard-copied as the Kennedys." Phillip McCarthy of ''The Sydney Morning Herald'' noted that throughout her recording career, one of her common conditions for interviewers has been that there would be no mention of Michael. Joshua Klein wrote, "[f]or the first half of her recording career, Janet Jackson sounded like an artist with something to prove. Emerging in 1982 just as big brother Michael was casting his longest shadow, Jackson filled her albums not so much with songs as with declarations, from 'The Pleasure Principle' to the radical-sounding 'Rhythm Nation' to the telling statement of purpose, 'Control'." Steve Huey of Allmusic asserted that despite being born into a family of entertainers, Janet Jackson has managed to emerge a "superstar" in her own right, rivaling not only several female recording artists including Madonna and Whitney Houston, but also her brother, while "successfully [shifting] her image from a strong, independent young woman to a sexy, mature adult." By forging her own unique identity through her artistry and her business ventures, she has been esteemed as the "Queen of Pop". Klein argued that "stardom was not too hard to predict, but few could have foreseen that Janet—Miss Jackson, if you're nasty—would one day replace Michael as true heir to the Jackson family legacy."

She has also been recognized for playing a pivotal role in crossing racial boundaries in the recording industry, where black artists were once considered to be substandard. In ''Right to Rock: The Black Rock Coalition and the Cultural Politics of Race'' (2004), author Maureen Mahon states: "In the 1980s, Whitney Houston, Michael Jackson, Janet Jackson, and Prince were among the African American artists who crossed over ... When black artists cross over into pop success they cease to be black in the industry sense of the word. They get promoted from racialized black music to universal pop music in an economically driven process of racial transcendence." ''Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge'' (2000) documented that Jackson, along with other prominent African-American women, had achieved financial breakthroughs in mainstream popular music, receiving "superstar status" in the process. She, alongside her contemporaries "offered viable creative, intellectual, and business paths for establishing and maintaining agency, lyrical potency, marketing and ownership." Her business savvy has been compared to that of Madonna, gaining a level of autonomy which enables "creative latitude and access to financial resources and mass-market distribution."

Musicologist Richard J. Ripani identified Jackson as a leader in the development of contemporary R&B;, as her 1986 album ''Control'' and its successor ''Janet Jackson's Rhythm Nation 1814'' created a unique blend of genre and sound effects, that ushered in the use of rap vocals into mainstream R&B.; Ripani also argues that the popularity of Jackson's signature song "Nasty" influenced the new jack swing genre developed by Teddy Riley. Leon McDermott of the ''Sunday Herald'' wrote: "Her million-selling albums in the 1980s helped invent contemporary R&B; through Jimmy Jam and Terry Lewis's muscular, lean production; the sinuous grooves threaded through 1986's Control and 1989's Rhythm Nation 1814 are the foundation upon which today's hot shot producers and singers rely." Jim Cullen observed in ''Popular Culture in American History'' (2001) that although it was Michael Jackson's ''Thriller'' that originally synchronized music video with album sales, Janet Jackson was also among the first generation of artists that saw the visualization of their music elevate them to the status of a pop culture icon. In July, 1999, she placed at number 77 on VH1's "100 Greatest Women of Rock and Roll". She also placed at number 134 on their list of the "200 Greatest Pop Culture Icons of All Time" and at number two on "50 Greatest Women of the Video Era", behind Madonna. In March 2008, Business Wire reported "Janet Jackson is one of the top ten selling artists in the history of contemporary music; ranked by ''Billboard'' magazine as the ninth most successful act in rock and roll history, and the second most successful female artist in pop music history." She is the only female artist in the history of the Hot 100 to have 18 consecutive top ten hit singles, from "Miss You Much" (1989) to "I Get Lonely" (1998). The magazine ranked her at number seven on their Hot 100 50th Anniversary "Hot 100 All-Time Top Artists", making her the third most successful female artist in the history of the chart, following Madonna and Mariah Carey. In November 2010, ''Billboard'' released its "Top 50 R&B; / Hip-Hop Artists of the Past 25 Years" list and ranked her at number five. She ranks as the top artist on the chart with 15 number ones in the past twenty-five years, garnering 27 top ten hits between 1985 and 2001, and 33 consecutive top 40 hits from 1985 through 2004. The most awarded artist in the history of the ''Billboard'' Music Awards with 33 wins, she is one an elite group of musical acts, such as Madonna, Aerosmith, Garth Brooks and Eric Clapton, whom ''Billboard'' credits for "redefining the landscape of popular music."

Den Berry, Virgin Records CEO and Chairman stated: "Janet is the very embodiment of a global superstar. Her artistic brilliance and personal appeal transcend geographic, cultural and generational boundaries." Similarly, Virgin Records executive Lee Trink expressed: "Janet is an icon and historic figure in our culture. She's one of those gifted artists that people look up to, that people emulate, that people want to believe in ... there's not that many superstars that stand the test of time." Pop music critic Gene Stout commented she "has so broadly influenced a younger generation of performers, from Jennifer Lopez ... to Britney Spears, who has copied so many of Jackson's dance moves." Elysa Gardner of ''USA Today'' wrote: "Jackson claims not to be bothered by the brigade of barely post-adolescent baby divas who have been inspired by—and, in some cases, have flagrantly aped—the sharp, animated choreography and girlish but decidedly post-feminist feistiness that have long been hallmarks of her performance style." Artists who are considered to have followed in her footsteps have been referred to as "Janet-come-lately's."

Sociologist Shayne Lee commented that, "[a]s Janet enters the twilight of her reign as erotic Queen of Pop, Beyoncé Knowles emerges as her likely successor." Knowles has expressed her fondness of Jackson, stating: "I love Janet Jackson! ... I have nothing but positive things to say about her." Toni Braxton stated that she was inspired by Janet Jackson "because when she released her ''Control'' album, she made it easy for P.K.'s [Preachers' kids] who were supposed to be sweet and docile to get comfortable with feeling sexy." Aaliyah commented, "I admire her a great deal. She's a total performer ... I'd love to do a duet with Janet Jackson." Jennifer Lopez lauded Jackson's videography, stating her music videos "had such an impact on me as a fan but also as an artist." 'N Sync and Usher, who performed as two of the opening acts for The Velvet Rope World Tour, credit her for teaching them how to develop stage show into theatrical performance. Usher stated: "I learned a lot about how to make an artist look like a star. On the personal side, I got a chance to hug her." Rozonda "Chilli" Thomas of TLC recalled that when the group was first forming, she declared "I'm ready to be the next Janet Jackson!" Britney Spears commented, "I've always been majorly inspired by Janet in everything she does." Christina Aguilera recalled: "I remember watching MTV as a little girl. To me, Janet had it all; amazing videos, hot songs and the sexiest voice." Cassie has referred to herself as a "die-hard Janet Jackson fan" and elaborated, "I'd love to emulate Janet's career—totally ... She's incredible, from her moves to her voice." Jay Bobbin of the ''Chicago Tribune'' remarked, "Cassie isn't the first artist to be measured against Janet Jackson, and odds are she won't be the last." Ciara has acknowledged Jackson as one of her primary influences, stating: "It seems like just yesterday I was watching Janet Jackson on TV; now, some people compare me to her." Kelly Rowland named her the biggest inspiration of her career because "she works extremely hard." Rihanna has commented that "[s]he was one of the first female pop icons that I could relate to ... She was so vibrant, she had so much energy. She still has power. I’ve seen her on stage, and she can stand there for 20 minutes and have the whole arena scream at her. You have to love Janet." Keri Hilson stated that she admired Jackson for "just being herself. A great performer." Japanese singer Crystal Kay commented: "I've always listened to American music and the artists I admire most are American, like Janet Jackson." Australian DJ and singer Havana Brown claimed Jackson as her biggest influence, stating "she's my idol" and "I want to be Janet Jackson! But the DJ-slash-Janet Jackson—I want to be able to put on big shows, I want dancers, I want fireworks, I want it all." Other artists who have drawn comparison to Jackson include Brandy, Tatyana Ali, Christina Milian, Mýa, Lady Gaga, Namie Amuro, and BoA. Joan Morgan of ''Essence'' magazine remarked: "Jackson's ''Control'', ''Rhythm Nation 1814'' and ''janet.'' established the singer-dancer imprimatur standard in pop culture we now take for granted. So when you're thinking of asking Miss Jackson, 'What have you done for me lately?' remember that Britney, Ciara and Beyoncé live in the house that Janet built."

Discography

''Janet Jackson'' (1982)

''Dream Street'' (1984)

''Control'' (1986)

''Janet Jackson's Rhythm Nation 1814'' (1989)

''janet.'' (1993)

''The Velvet Rope'' (1997)

''All for You'' (2001)

''Damita Jo'' (2004)

''20 Y.O.'' (2006)

''Discipline'' (2008)

Other works

;Television

''The Jacksons'' (1976–77)

''Good Times'' (1977–79)

''A New Kind of Family'' (1979–80)

''Diff'rent Strokes'' (1980–84)

''Fame'' (1984–85)

;Film

''Poetic Justice'' (1993)

''Nutty Professor II: The Klumps'' (2000)

''Why Did I Get Married?'' (2007)

''Why Did I Get Married Too?'' (2010)

''For Colored Girls'' (2010)

;Tours

Rhythm Nation World Tour (1990)

Janet World Tour (1993–95)

The Velvet Rope World Tour (1998–99)

All for You Tour (2001–02)

Rock Witchu Tour (2008)

Number Ones: Up Close and Personal (2011)

;Books

''True You: A Journey to Finding and Loving Yourself'' (2011)

See also

Honorific nicknames in popular music

List of best-selling music artists

List of best-selling music artists in the United States

List of artists who reached number one in the United States

Footnotes

References

Brackett, Nathan. Hoard, Christian David. ''The New Rolling Stone Album Guide''. Simon and Schuster, 2004. ISBN 0-7432-0169-8

Cornwell, Jane. ''Janet Jackson''. Carlton Books, 2002. ISBN 1-84222-464-6

Cullen, Jim. ''Popular Culture in American History''. Blackwell Publishing, 2001. ISBN 0-631-21958-7

Cutcher, Jenai. ''Feel the Beat: Dancing in Music Videos''. The Rosen Publishing Group, 2003. ISBN 0-8239-4558-8

Dean, Maury. ''Rock-N-Roll Gold Rush''. Algora Publishing, 2003. ISBN 0-87586-207-1

DeCurtis, Anthony. ''Present tense: rock & roll and culture''. Duke University Press, 1992. ISBN 978-0-8223-1265-9

Gaar, Gillian G. ''She's a rebel: the history of women in rock & roll''. Seal Press, 2002. ISBN 1-58005-078-6

Gates, Henry Louis. Appiah, Anthony. ''Africana: The Encyclopedia of the African and African American''. Basic Civitas Books, 1999. ISBN 0-465-00071-1

Goren, Lilly. ''You've Come A Long Way, Baby: Women, Politics, and Popular Culture''. University Press of Kentucky, 2009. ISBN 978-0-8131-2544-2

Halstead, Craig. Cadman, Chris. ''Jacksons Number Ones''. Authors On Line, 2003. ISBN 0-7552-0098-5

Jaynes, Gerald David. ''Encyclopedia of African American Society''. Sage Publications, 2005. ISBN 0-7619-2764-6

Jordan, Emma. Harris, Angela. ''When Markets Fail: Race And Economics : Cases And Materials''. Foundation Press, 2006. ISBN 978-1-58778-955-7

Kramarae, Cheris. Spender, Dale. ''Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge''. Routledge, 2000. ISBN 0-415-92091-4

Mitoma, Judy. Mitoma, Judith. Zimmer, Elizabeth. Stieber, Dale Ann. Heinonen, Nelli. Shaw, Norah Zuňiga. ''Envisioning dance on film and video''. Routledge, 2002. ISBN 0-415-94171-7

Reynolds, Simon. Press, Joy. ''The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll''. Harvard University Press, 1996. ISBN 978-0-674-80273-5

Ripani, Richard J. ''The New Blue Music: Changes in Rhythm & Blues, 1950–1999'' University Press of Mississippi, 2006. ISBN 1-57806-862-2

Smith, Jessie Carney. ''Notable Black American Women, Volume 2''. Gale, 1996. ISBN 978-0-8103-9177-2

Starr, Larry. Waterman, Christopher Alan. ''American Popular Music : The Rock Years''. Oxford University Press, 2006. ISBN 978-0-19-530052-9

Strong, Martin Charles. ''The Great Rock Discography: Complete Discographies Listing Every Track Recorded by More Than 1200 Artists''. Canongate U.S., 2004. ISBN 1-84195-615-5

Vincent, Rickey. Clinton, George. ''Funk: The Music, The People, and The Rhythm of The One''. Macmillan, 1996. ISBN 0-312-13499-1

Further reading

Bronson, Fred. ''The Billboard Book of Number One Hits''. Billboard Books, 2003. ISBN 0-8230-7677-6

Hyatt, Wesley. ''The Billboard Book of Number One Adult Contemporary Hits''. Billboard Books, 1999. ISBN 0-8230-7693-8

Warner, Jay. ''On this Day in Black Music History''. Hal Leonard, 2006. ISBN 0-634-09926-4

External links

Category:Living people Category:1966 births Category:A&M; Records artists Category:Actors from California Category:Actors from Indiana Category:American songwriters Category:American record producers Category:African American songwriters Category:African American female singers Category:African American record producers Category:African American singer-songwriters Category:African American television actors Category:American child actors Category:American child singers Category:American film actors Category:American rhythm and blues singers Category:American dance musicians Category:American dancers Category:American female singers Category:American mezzo-sopranos Category:American pop singers Category:American rhythm and blues singer-songwriters Category:American soul singers Category:American television actors Category:Emmy Award winners Category:English-language singers Category:Female rock singers Category:Former Jehovah's Witnesses Category:Grammy Award winners Category:Jackson musical family Category:American keyboardists Category:LGBT rights activists from the United States Category:Musicians from California Category:Musicians from Indiana Category:People from Gary, Indiana Category:People from Los Angeles, California Category:Virgin Records artists Category:Universal Music Group artists Category:GLAAD Media Awards winners

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name	Steve Earle
landscape	yes
background	solo_singer
birth name	Stephen Fain Earle
born	January 17, 1955Hampton, VirginiaU.S.
origin	San Antonio, Texas, U.S.
instrument	Vocals, guitar, mandolin, harmonica, banjo, bouzouki, bass
genre	Americana, alt.country, folk, country rock, roots rock, heartland rock
occupation	Musician, Singer-songwriter, Author, Playwright
label	MCA Nashville, New West, E² Records, Warner Bros.
associated acts	Allison Moorer, Justin Townes Earle, Guy Clark, Townes Van Zandt, Buddy Miller, Joan Baez, Del McCoury Band, Lucinda Williams, Stacey Earle
website	SteveEarle.com
notable instruments	}}

Stephen Fain "Steve" Earle (; born January 17, 1955) is an American singer-songwriter known for his rock and Texas Country as well as his political views. He is also a producer, author, a political activist, and an actor, and has written and directed a play.

Personal life

Earle was born on January 17, 1955, at Fort Monroe in Hampton, Virginia. He is the eldest son of Jack Earle, an air traffic controller, and Barbara Earle. Although he was born in Virginia where his father was stationed in the military, the family returned to Texas before Earle's second birthday. His ancestry is Irish Catholic on his mother's side and Scotch-Irish on his father's side. They moved often during his childhood, primarily within Texas, but spending several of his formative years in and around San Antonio, Texas including East Terrell Hills, Converse, and Schertz. He dropped out of school in the 9th grade to move to Houston and learn more about the music business. Earle released his first album, ''Guitar Town'', in 1986. His sister, Stacey Earle, is also a musician, having toured with Steve in the 1990s and sung on the song "When I Fall" on Steve's 2000 album ''Transcendental Blues''.

Earle has been married seven times, including twice to the same woman. His wives were Sandra "Sandy" Henderson, Cynthia Dunn, Carol-Ann Hunter (with whom he had his first child, Justin), Lou-Anne Gill (with whom he had a second son, Ian and a stepdaughter, Amy), Maria Teresa Ensenat, Lou-Anne Gill a second time, and finally, in 2005, singer-songwriter Allison Moorer. His first son, Justin Townes Earle, is also a musician, and is named for Townes Van Zandt. Earle and Moorer had their first child together, John Henry Earle, on April 5, 2010.

Career

Musical career

In 1975, Earle moved to Nashville, Tennessee, where he met Guy Clark and his wife Susanna. He appears in the 1975 film ''Heartworn Highways'', which documents the songwriting scene in Nashville around Clark, including fellow Texas musicians Townes van Zandt and Rodney Crowell. Earle had already met Van Zandt in Texas, and refers to Clark and Van Zandt as his mentors and teachers. Clark was instrumental in Earle being hired as a songwriter by the Sunbury Dunbar publishing division of RCA. There he wrote songs for the likes of Carl Perkins, Johnny Lee, Vince Gill and Steve Wariner. His song "Mustang Wine" was due to be recorded by Elvis Presley in 1975, but Presley did not turn up for the recording session. The song was released as a single by Carl Perkins. He also wrote the Patty Loveless hit "A Little Bit in Love." Earle did backing vocals on "Desperados Waiting for a Train" (together with Emmylou Harris) on Clark's first album ''Old No. 1'' and toured in Clark's band. In 1981 Earle achieved a top-ten cut with "When You Fall in Love," which was recorded by Johnny Lee. In 1985 one of his compositions "A Far Cry from You" was recorded by Connie Smith, who made the song a minor hit that year.

Earle's early work as a recorded performer was in the rockabilly style, and can be heard on the ''Early Tracks'' album. ''Early Tracks'' was recorded for Epic Records, but the company dropped Earle, only releasing the album in 1987 after he found success with MCA Nashville. Earle had to wait until 1986 before his first album, ''Guitar Town'', was released by MCA. It was a critical success and was eventually certified gold by the Recording Industry Association of America. The follow-up albums ''Exit 0'' in 1987 and the certified-gold ''Copperhead Road,'' 1988, built on this success. With ''Copperhead Road'', Earle moved to MCA Los Angeles and drew increasingly on rock influences.

Earle had been a substance abuser since an early age and was addicted to heroin for many years. By the time of his 1990 album ''The Hard Way'', it started to become clear that the drugs were seriously affecting him. By 1992, his drug problems resulted in his effectively stopping performing and recording for two years, a period he refers to as his "vacation in the ghetto." He eventually ended up in jail on drug and firearms charges. Kicking the drug habit while in jail, Earle came out a new man and released two albums within 18 months of his release in late 1994. His comeback album, ''Train A Comin' '', was nominated for the Best Contemporary Folk Album Grammy Award in 1996. ''Train A Comin''' was a return to the country blues-influenced folk of Earle's early career and drew on his older catalogue of unrecorded material.

Earle's post-jail musical career has been more diverse than his early work. He set up his own record label with producer and engineer Ray Kennedy, allowing him increasing artistic control. This has led to experimentation with a range of styles from country and bluegrass music to folk and hard rock music. He has maintained a strict work ethic. Several albums have been released since. Earle also tours often, playing over 200 shows per year. His concerts tend to be either solo acoustic shows or ensemble affairs with one of his two backing bands, the Dukes or the Bluegrass Dukes.

Earle is the subject of the documentary film ''Just an American Boy'', directed by Amos Poe, which explores his political views as well as his music. The film was shot while Earle was touring in support of his 2002 release ''Jerusalem''. In 2005, he caused consternation among his fans by allowing the song The Revolution Starts Now to be used by General Motors in a TV advertisement for pick-up trucks. In 2006, Earle contributed a cover of Randy Newman's song "Rednecks" to the tribute album ''Sail Away: The Songs of Randy Newman''. Earle is also the subject of two biographies, ''Steve Earle: Fearless Heart, Outlaw Poet'', by the noted New York-based music writer David McGee and ''Hardcore Troubadour: The Life and Near Death of Steve Earle'' by Lauren St. John.

In September 2007, Earle released his twelfth studio album, ''Washington Square Serenade'', on New West Records. Earle recorded the album after relocating to New York City, and it was his first attempt at using digital audio workstation ProTools, as opposed to traditional analog recording techniques. The disc features wife Allison Moorer on "Days Aren't Long Enough" and "Down Here Below." The album includes Earle's version of Tom Waits' song "Way Down in the Hole" which is featured as the theme song for the fifth season of ''The Wire'' in which Earle himself appears as Walon. In 2008, Earle produced Joan Baez's album ''Day After Tomorrow''. (Prior to their collaboration on ''Day After Tomorrow'', Baez had covered two Earle songs, "Christmas in Washington" and "Jerusalem," on previous albums.) In the winter, he toured Europe and North America in support of ''Washington Square Serenade'', performing half the set solo and the other half with a DJ. On May 12, 2009, Earle released a tribute album, ''Townes'', on New West Records. The album contains 15 songs written by his late friend and musical mentor Townes Van Zandt. Guest artists appearing on the album include Tom Morello of Rage Against the Machine, Earle's wife Allison Moorer, and his son Justin Townes Earle. Both ''Washington Square Serenade'' and ''Townes'' also earned Grammy awards in the contemporary folk category.

Earle released his first novel and fourteenth studio album, both entitled ''I'll Never Get Out of This World Alive'' after a Hank Williams song, in the spring of 2011. The album was released on April 26, 2011 and was produced by T-Bone Burnett. Earle describes it as dealing with questions of mortality and having a "more country" sound than his recent work. He plans a full band tour in support of the album in the summer of 2011.

Since his emergence as a performer, his songs have been covered by various well-known artists, including Joan Baez, The Pretenders, The Proclaimers, Eddi Reader, The Highwaymen, Waylon Jennings, Levon Helm, Emmylou Harris, Percy Sledge and Johnny Cash. Travis Tritt had a #7 country hit in 1995 with Earle's "Sometimes She Forgets."

Writing career

In addition to music, Earle has written a collection of short stories called ''Doghouse Roses,'' several of which draw on his personal experiences as a musician and addict. The book was published by Houghton Mifflin Harcourt in June 2001. Earle has also written poetry and wrote and produced a play about the death penalty entitled ''Karla''. The play was produced off-Broadway and focuses on the death of Karla Faye Tucker, who was the first woman excuted by the state of Texas since the death penalty was reinstated.

Earle's first novel, entitled ''I'll Never Get Out of This World Alive'' after a Hank Williams song, was published the spring of 2011. The novel is set in San Antonio in 1963, and tells the story of a defrocked doctor and morphine addict. The doctor makes a living by performing illegal abortions and is haunted by the ghost of Hank Williams, with whom he was traveling when Williams died of an overdose. The novel is published by Houghton Mifflin Harcourt1.

Acting career

Earle portrayed a recovering drug addict named Walon in several episodes of the HBO television series ''The Wire'', created by David Simon. He appears first in season one where he addresses a 12-step-type meeting with an account of how he lost everything to addiction: "I pawned my bike, my pickup truck, a National steel guitar, a stamp collection that my grandpa left me; lost a good wife, a bad girlfriend, and the respect of anyone who ever lent me money." His story affects Bubbles and appears to spur him towards recovery. After season one, Walon does not return until Bubbles hits rock-bottom hard in the season four finale. Picking up the thread, he then appears throughout season five as sponsor, as Bubbles attempts to overcome his heroin addiction and its consequences. Earle's song "I Feel Alright" is used in a montage to close out season two. He also performs the opening theme of the fifth season, performing "Way Down in the Hole," a song written by Tom Waits.

Earle also played a supporting role as a drug dealer in Tim Blake Nelson's 2009 movie ''Leaves of Grass'', starring Edward Norton. His most recent role was that of a street musician in the HBO series ''Treme'', set in post-Katrina New Orleans. Earle's song "This City" can be heard over the closing credits of the first season finale. He was also one of several musicians who sang a mock charity appeal in the final episode of Season 3 of ''30 Rock''.

Radio shows

Earle's radio show on Air America began in August 2004 and last aired on June 10, 2007, and that was a rebroadcast of a past episode. Shortly thereafter, he started DJing on a show on Sirius Satellite Radio called Hardcore Troubadour on their Outlaw Country channel.

Political views

Since early in his career, Earle has been involved in a number of political causes. In his first public performances, Earle was unable to play in bars due to his age and took to playing in coffeehouses alongside anti-Vietnam War campaigners. These experiences had a strong effect on him, most recently evidenced by his opposition to the Iraq War. He is also a regular participant in the "Concerts for a Landmine Free World," benefiting the Vietnam Veterans of America Foundation.

Earle's mother took part in anti-death penalty vigils, a cause that has been taken up by Earle. He has worked to abolish the death penalty and has recorded several songs about this cause, including "Billy Austin," "Over Yonder (Jonathan's Song)" and "Ellis Unit One" for the 1995 film ''Dead Man Walking''. Ellis Unit, located in Huntsville, Texas, previously housed the Texas male death row convicts, until it was moved to Polunsky Unit near Livingston, Texas. He exchanged letters with a prisoner on death row named Jonathan Wayne Nobles, the subject of "Over Yonder", and, at the request of Nobles, attended his execution in 1998. In 2010 Earle was awarded the National Coalition to Abolish the Death Penalty's Shining Star of Abolition award.

In the early 2000s Earle's music was more explicitly political. His 2002 album, ''Jerusalem'', was largely inspired by the US-led War on Terrorism. This album featured "John Walker's Blues," which was about the captured American Taliban fighter John Walker Lindh. Many accused Earle of sympathizing with terrorists as the song was written from Lindh's perspective. Earle responded that he was simply empathizing with Lindh and attempting to understand his motivation through song rather than glorifying or forgiving terrorism. He said that, as a parent, he was moved by pictures of Lindh bound to a stretcher. "For some reason when I saw him on TV, I related it to my son. That skinny and that age, exactly. I thought, he's got parents somewhere, and they must be sick."

His 2004 album, ''The Revolution Starts Now'', which features several songs relating to the Iraq War, was deliberately released to coincide with the run-up to the 2004 US presidential election, with the aim of encouraging votes for John Kerry. The song "The Revolution Starts Now" was used in the promotion of Michael Moore's anti-war documentary film ''Fahrenheit 9/11'' and appears on the album ''Songs and Artists That Inspired Fahrenheit 9/11'', the songs for which were selected by Moore. The song also opened Earle's weekly Sunday-night show on Air America Radio. He appears in the 2008 political documentary ''Slacker Uprising''.

Discography

Use in media

Steve Earle's songs have appeared in many major motion pictures and television as writer and performer.

As performer and writer

''The Beverly Hillbillies'' (1993) ("Honey Don't")

''Dead Man Walking'' (1995) ("Ellis Unit One")

''The Horse Whisperer'' (1998) ("Me and the Eagle")

''Pay It Forward'' (2000) ("Open Your Window")

''You Can Count on Me'' (2000) ("I'm Still In Love With You", "Harlan Man", "Texas Eagle", "The Mountain", "Pilgrim")

''The Pledge'' (2001) ("The Other Side of Town")

''Last Party 2000'' (also known as ''The Party's Over'' (2001) ("Over Yonder (Jonathan's Song)")

''Big Bad Love'' (2001) ("Goodbye")

''The Rookie'' (2002) ("Some Dreams")

''Stevie'' (2002) ("I Ain't Ever Satisfied")

''The Wire'' (2004) ("I Feel Alright"), ("Down in the Hole" as performer only, written by Tom Waits)

''Silver City'' (2004) ("Amerika v. 6.0")

''Brokeback Mountain'' (2005) ("Devil's Right Hand")

''Talladega Nights'' (2006) ("Valentine's Day", "Hard-Core Troubadour", "I Feel Alright")

''The Guardian'' (2006) ("Home To Houston")

''Bridge to Terabithia'' (2007) ("Someday")

''Leaves of Grass'' (2009) ("Lonely Are the Free")

''Treme'' (2010) ("This City")

As writer

''Sgt. Bilko'' (1996) ("Sometimes She Forgets")

''G.I. Jane'' (1997) ("Goodbye")

''P.S. I Love You'' (2007) ("The Galway Girl")

Awards

Steve Earle has received a total of fourteen nominations for Grammy Awards.

He was named Country Artist of the Year for 1986 by ''Rolling Stone'' magazine.

In 2004, he was given a Lifetime Achievement Award for songwriting by the UK's BBC Radio 2.

In February 2005, he received a Grammy Award for Best Contemporary Folk Album for ''The Revolution Starts Now''.

In February 2008, he received a Grammy Award for Best Contemporary Folk/Americana Album (Vocal or Instrumental) for ''Washington Square Serenade''.

In January 2010, he received a Grammy Award for Best Contemporary Folk/Americana Album for ''Townes''.

In July 2010, Earle was nominated for an Emmy Award in the Music and Lyrics category, for the song "This City," which was written for the television series ''Tremé.''

On May 13, 2011, Earle was granted an honorary degree from the City University of New York (CUNY) School of Law.

Collaborations

Recorded and performed "Johnny Come Lately" with The Pogues.

Performed a duet with Iris DeMent on "I'm Still In Love With You".

Co-wrote the Jason & the Scorchers song "A Bible & A Gun".

Sang on Jason Ringenberg's re-recording of "A Bible & A Gun" in 2002.

Worked with the Supersuckers, recording their song "Creepy Jackalope Eye" and his song "NYC" (1996)

With the Rolling Stones, "Before They Make Me Run"

Sang backup vocals and played the harmonica on the Indigo Girls song "Shame on You", on their 1997 album ''Shaming of the Sun''.

Recorded "The Galway Girl" and "Dominick Street" with Sharon Shannon and The Woodchoppers.

Recorded covers of Alejandro Escovedo's "Paradise" and Warren Zevon's "Reconsider Me" with Reckless Kelly, for Escovedo and Zevon tribute albums.

Collaborated with the Del McCoury Band on 1999's ''The Mountain''.

Performed a duet with Lucinda Williams on "You're Still Standin' There".

Performed a duet with Chris Hillman on "High Fashion Queen" for the Gram Parsons tribute album ''Return of the Grievous Angel: A Tribute to Gram Parsons''.

Performed a duet with Siobhan Maher Kennedy on "Poison Lovers".

Performed a duet with Emmylou Harris on "Comin' Around", "Goodbye", and "I Remember You".

Performed a duet with Stacey Earle on "When I Fall".

Played guitar and sang backup on Emmylou Harris's version of "Goodbye" (from her ''Wrecking Ball'' album.)

Co-wrote "Go Amanda" with Sheryl Crow (on ''Jerusalem'').

Sang with Sheryl Crow on his cover of "Time Has Come Today" on ''Sidetracks''.

Covers the Son Volt classic "Windfall"

Played banjo on Patti Smith's cover of Nirvana's "Smells Like Teen Spirit".

Produces and collaborates on Joan Baez's album ''Day After Tomorrow''.

Performed a duet with Jill Sobule on her song "Love is Never Equal"

Covered NRBQs "A Girl Like That" on the NRBQ tribute album The Q People

Performed with Allison Moorer on the song "After The Fire Is Gone" from Coal Miner's Daughter: A Tribute To Loretta Lynn (2010).

Sources

McGee, David. ''Steve Earle: Fearless Heart, Outlaw Poet,'' Backbeat, 2005.

Schone, Mark. (1998). "Steve Earle." In The Encyclopedia of Country Music. Paul Kingsbury, Ed. New York: Oxford University Press. pp. 160–1.

St John, Lauren. ''Hardcore Troubadour: The Life and Near Death of Steve Earle'', Fourth Estate, 2002 ISBN 1-84115-611-6

References

External links

Steve Earle Official website

"Death in Texas" Article By Earle On Witnessing The Execution Of A Friend

Just an American Boy

Interview with Steve Earle

Features, CD and concert reviews with Steve Earle at Country Standard Time

GM commercial featuring ''The Revolution Starts Now''

Steve Earle to Release Townes Van Zandt Tribute Album

Freeing a Mentor From His Mythology

Steve Earle Lays it Down

Category:1955 births Category:Living people Category:People from Hampton, Virginia Category:American country singers Category:American country guitarists Category:American folk guitarists Category:American rock guitarists Category:American male singers Category:American singer-songwriters Category:Kerrville New Folk Competition finalists Category:American mandolinists Category:Grammy Award winners Category:American anti-war activists Category:American anti–death penalty activists Category:Musicians from Virginia Category:New West Records artists

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