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The American singer Michael Jackson (1958–2009), nicknamed the “King of Pop", is regarded as one of the most significant cultural figures of the 20th century and one of the most successful and influential entertainers.

Jackson became a child star as a member of the Jackson 5, a band formed with his older brothers. In the early 1980s, Jackson became a dominant figure in popular culture and the first African American entertainer to have a strong crossover fan base on Music Television (MTV). His music videos, including those for "Beat It", "Billie Jean", and "Thriller" from his 1982 album Thriller, are credited with breaking racial barriers and transforming the medium into an art form and promotional tool. The popularity of these videos helped bring the television channel MTV to fame. Jackson’s achievements helped to desegregate popular music and introduced an era of multiculturalism and integration that future generations of artists followed.

Jackson's influenced a wide range of subjects, from celebrity studies to visual culture to gender and sexuality studies, and many more including ones not directly related to his profession. The British Council named Jackson on their list of "80 Moments that Shaped the World" with regard to international cultural relations. In 2010, two university librarians found that Jackson's influence extended to academia, with references to Jackson in reports concerning music, popular culture, chemistry and an array of other topics.

Performing arts

Music

As the lead singer and youngest member of the Jackson 5 from the late 1960s, Michael Jackson was the group's focal point for the media. They became one of the most popular family acts in pop music, with many hit records, a self-titled cartoon series and, from 1976, a self-titled variety show. He and his brothers were widely viewed as role models for contemporary society; the press celebrated them as a family founded on core religious beliefs and a strong work ethic, and in 1972 the Jackson 5 received a commendation from US Congress in recognition of the brothers' contribution to American youth culture. Amid this recognition, according to the editors of Rolling Stone's Encyclopedia of Rock & Roll, Jackson captivated the nation on a level not seen in a child star since Shirley Temple in the 1930s.

Motown founder Berry Gordy instilled in Jackson an ambition to make crossover, chart-topping, universal music during Jackson’s time at the label. His musical influences varied widely, from the R&B of his father's band to Western classical. With the combination of artistic diversity and mass appeal, Jackson’s achievements as a musician have defined a category of contemporary popular music that is characterized by fusions of different eras, styles, media and genres, but is also rooted in R&B and soul music.

The album Off the Wall was generally categorized as a disco album, yet music critic Rob Sheffield described it as one that "invented modern pop as we know it". The album has been called a turning point and a distillation of the disco era. According to musician and journalist Bob Stanley, Off the Wall presented Jackson as "a new kind of alpha male" with "an air of super-confidence" reminiscent of Elvis Presley before the latter's army service. The album's commercial success ensured that Jackson's standing surpassed that of the Jackson 5.

Jackson's 1982 album Thriller changed the direction of popular music. Jay Cocks, writing for Time magazine in 1984, said the album was "a thorough restoration of confidence, a rejuvenation its effect on listeners, especially younger ones, was nearer to a revelation". It reintroduced black music to mainstream American radio; until then the so-called "restrictive special-format programming", a genre-driven radio content philosophy which segregated music by race introduced in the mid-1970s, limited airplay of black music. Jackson, whose success was compared to that of Elvis Presley and the Beatles, appeared on the cover of Time. The album established Jackson as the world's top entertainment star and, in Stanley's recollection, "you'd expect to see a copy in the corner of any room, in any town, in any country in the world." Its unprecedented commercial success also provided the model for record companies recovering from the economic downturn of the late 1970s, whereby they focused on promoting a blockbuster album at the expense of releases by their lesser-known acts. In 2008, the Library of Congress added Thriller to the National Recording Registry for its "stratospheric national and international success".

Jackson’s music has been extensively covered by other artists of various styles, including Mariah Carey, Miles Davis, Willie Nelson, and Alien Ant Farm. Artists who often mention Jackson in their music include Kanye West, Lil Wayne, LL Cool J, Rick Ross, and Drake. According to Edmondson, writing in 2013, Jackson "redefined the term pop star" and his cultural legacy is reflected "in the very landscape of the modern, genre-crossing, multimedia pop music scene".

Dance and choreography

Jackson popularized street dances such as popping, locking, the robot and his signature move the moonwalk. Professor of performance studies at NYU Tavia Nyongo said that "No dancer has done as much to popularize the art form since Fred Astaire."

Jackson first performed the moonwalk when miming to "Billie Jean" at the close of the Motown 25 TV special, which aired in May 1983. The performance was viewed by an international audience of around 50 million and, according to Rolling Stone, "energize the music scene once again and set in motion all the forces that would go on to shape the popular culture of the 1980s". Media studies academic Jaap Kooijman writes that, although the moonwalk was an additional element in his routine at Motown 25, Jackson's replication of his dancing from the already popular "Billie Jean" music video presented a new phenomenon whereby a concert performance involved re-creating a video sequence and the music, including live vocals, ceded to visual imagery such as dance.

Jackson is credited with helping to spread dance to a global audience. Nigel Lythgoe, executive producer and judge on the TV dance competition So You Think You Can Dance, said that "countless" applicants had begun dancing because of Jackson. Ronni Favors, a director at the Alvin Ailey American Dance Theater, said Jackson was "a trailblazer for his generation", setting the expectation that future pop stars, such as Britney Spears and Beyoncé, integrate dance in their performances.

Following the singer's death in 2009, Andy Gill of The Independent said that through Jackson's example, "the Eighties became the decade of dance stars like Prince and Madonna, neither of whom would have been able to establish themselves as quickly as they did had Jackson not moonwalked across the room and kicked down the door for them." Gill added that with thousands of dancers imitating his moves in the moonwalk and the zombie, Jackson became "the most significant mainstream dance icon since the mid-century heyday of Fred Astaire, Gene Kelly and Sammy Davis Jr." Jackson was posthumously inducted into the National Museum of Dance and Hall of Fame in 2010.

Music videos

Jackson's influence on music videos started with the video for "Thriller". At the time most music videos had small budgets, low production values and little narrative. Jackson's videos began a transformation, replacing low-budget montage promos with elaborate short films consisting of in-depth narratives, and sophisticated visuals. Jackson collaborated with several Hollywood directors on his short films, including John Landis, Martin Scorsese, Spike Lee and John Singleton.

The "Thriller" video—which gained a commercial release as Michael Jackson's Thriller—was unusually long (at 15 minutes) and took the form of a short film presentation. It features Jackson dancing with zombies and cost more than $1 million to produce. The film sealed MTV's position as a cultural force, helped disassemble racial barriers for black artists, revolutionized music video production, popularized the making-of documentaries, and drove rentals and sales of VHS tapes. It has been described as the most influential music video in history; according to Edmondson, the "Thriller" video "is credited with single-handedly revolutionizing the landscape of pop music". Former MTV executive Nina Blackwood said, " we saw videos get more sophisticated—more story lines, way more intricate choreography. You look at those early videos and they were shockingly bad." Music video director Brian Grant credited "Thriller" as the turning point when music videos became a "proper industry". Gill recognized the Landis-directed film as a work that "altered forever the balance of sound and vision in the entertainment industry", adding: "Prior to Jackson, music alone had been the premier conduit of cultural dissemination among young people; after Jackson, it was merely the accompaniment to a dance routine, one small element in a larger spectacle." In December 2009, the video was inducted into the National Film Registry.

With MTV's initial broadcast of the film, in December 1983, the debut of a new Jackson video became a major media event. According to The Rolling Stone Encyclopedia of Rock & Roll, the $160,000 budget for Jackson's "Beat It" video was considered an "exorbitant" amount; the video for his 1995 single "Scream" cost an estimated $4 million, making it the most expensive clip in pop music history at that time.

"Thriller" has become closely associated with Halloween. The dance is performed in major cities around the world; the largest zombie dance included 12,937 dancers, in Mexico City. A YouTube video of more than 1,500 prisoners performing the dance had attracted 14 million views as of 2010.

Fashion

The Rolling Stone editors describe Jackson as "one of the most intriguing personas in popular music, at once childlike and obsessed with control" and comment on his ubiquitous presence, "spotlit in his trademark red zippered jacket and white sequinned glove". Jackson often asked tailors to make him clothes that defied convention. In his autobiography Moonwalk Jackson said, "If fashion says it’s forbidden, I’m going to do it." His defiance led to a notable style that includes sequined gloves, a fedora, red leather jackets, aviator sunglasses, black high-waisted pants, and white socks. Jackson was also interested in British royalty and military history, which resulted in his adoption of regalia and military jackets. His jackets often had a single-colored armband on one sleeve. British Vogue called Jackson "a fashion pioneer who gave new meaning to moonwalking, immortalised solitary, sparkly gloves, initiated the trophy jacket trend in the Eighties and was brave enough to couple dress with Madonna on the red carpet".

Others have been influenced by Jackson's fashion sense. In 2012 Lady Gaga named Jackson as an inspiration. In 2016 she wore a jacket that looked identical to one Jackson wore when she visited the White House in 1990 for Hillary Clinton’s final campaign rally during the 2016 U.S. presidential election. Also in 2016, Beyoncé honored Michael Jackson at Super Bowl 50 by wearing a Jackson-inspired outfit, a black and gold military jacket similar to the one Jackson wore in his Super Bowl halftime show in 1993.

Visual arts

Jackson has been depicted by a large number of contemporary artists, including Jeff Koons, Michael Craig-Martin and Grayson Perry. The silkscreen image of Jackson used on the cover of Time in 1984 was created by Andy Warhol. The final portrait Jackson commissioned before his death, by Kehinde Wiley, portrayed him as Phillip II of Spain in the manner of a painting by Pieter Paul Rubens.

In June 2018, the National Portrait Gallery in London opened an exhibition titled Michael Jackson: On the Wall, featuring art inspired by Jackson and created by many leading artists. The curators stated that Jackson was "the most depicted cultural figure in visual art". The exhibition included the Warhol and Wiley pieces, and culminated in a 2005 film by Candice Breitz in which 16 young people are shown dancing to "Thriller". Guardian art critic Adrian Searle wrote that the singer's eccentricities and the common characterizations of him as "Ariel of the ghetto", a modern-day Baudelaire and Frankenstein's monster had provided artists with a wealth of imagery to explore in their work, and that as a muse he was "an inspiration, a model, a tragedy".

Race politics

Early in his career, Jackson and his family were often portrayed in the press as having risen out of black ghetto culture. This stereotype reinforced their standing as role models for American youth but, as a fabrication by Motown's publicity department, it displeased the family. To many African-Americans, his youth and energy were a source of inspiration in the aftermath to Martin Luther King's 1968 assassination, at a time when the country's black-power and civil rights movements were in disarray. Jackson became a notable figure in the desegregation of US popular culture and music. Off the Wall succeeded at a time when disco was perceived as inferior to rock by critics. According to author and pop culture critic Joseph Vogel, one of the album's greatest achievements was to integrate a diverse collection of talents from different races, cultures, and countries, and to coalesce them seamlessly into the record.

"Billie Jean" was one of the first music videos by a black artist to be shown on MTV, which hitherto had been a channel directed to a white, rock-oriented audience. MTV initially refused to play the video because of its commitment to rock music. When CBS Records executive Walter Yetnikoff threatened to remove all of their products off MTV and expose its discriminatory policies, the network gave in. According to Edmondson, "The video is often cited as the musical phenomenon that completed the racial integration of popular music begun in the rock 'n' roll era."

The success of Thriller not only broke down racial barriers in music but also in other areas of contemporary society. Critic Greg Tate said, "Black people cherished Thriller's breakthrough as if it were their own battering ram apartheid." Civil rights activist Al Sharpton commented, "Way before Tiger Woods or Barack Obama, Michael made black people go pop-culture global." He also attributed Obama's presidential win to "a process that Michael helped America graduate to" as crossover fans and imitators grew up to become voters. To some commentators in the 1980s, however, Jackson had betrayed his African-American roots, especially in his musical collaborations with former Beatle Paul McCartney—a point of criticism that Stanley says Jackson sought to address with his 1987 album Bad.

Jackson's body of work reveals his attempt at fighting prejudice and injustice. The video for "Black or White" (1991) showed Jackson dancing with dancers of various ethnic groups and traditions, and the lyrics plead for racial tolerance and understanding. In early 1993, he launched a $1.25 million program to assist children affected by the 1992 Los Angeles riots and, in a TV interview conducted by Oprah Winfrey, discussed issues related to his African-American heritage and the abuse he suffered under his father. The viewer ratings for the show were among the highest in the history of US television.

In 1995 "They Don't Care About Us" was released as one of the singles from HIStory. In the mid-2010s, the track was used as an anthem for the Black Lives Matter movement. The song, originally recorded as part of the Dangerous sessions, was inspired by the Rodney King beating, which had led to the 1992 LA riots. The lyrics became more personal after Jackson felt dehumanized by the Santa Barbara County police's behavior during the investigation into the child sexual abuse accusations brought against him in 1993.

"They Don't Care About Us" attracted controversy over its supposedly antisemitic lyrics. Bernard Weinraub of The New York Times cited the lines "Jew me, sue me / Everybody do me / Kick me, kike me / Don’t you black or white me" as "pointedly critical of Jews". Rabbi Abraham Cooper of the Simon Wiesenthal Center described the lyrics as "deeply disturbing" and potentially harmful to young people. Jackson issued statements saying that his lyrics were about "the pain of prejudice and hate" and that the song was "a way to draw attention to social and political problems". He described himself as "the voice of the accused and the attacked". The lyrics were eventually edited out with muffles.

Tabloid media

The Michael Jackson cacophony is fascinating in that it is not about Jackson at all. I hope he has the good sense to know it and the good fortune to snatch his life out of the jaws of a carnivorous success. He will not swiftly be forgiven for having turned so many tables, for he damn sure grabbed the brass ring, and the man who broke the bank at Monte Carlo has nothing on Michael. All that noise is about America, as the dishonest custodian of black life and wealth; the blacks, especially males, in America; and the burning, buried American guilt; and sex and sexual roles and sexual panic; money, success, and despair—to all of which may now be added the bitter need to find a head on which to place the crown of Miss America.

— James Baldwin, "Freaks and the American Ideal of Manhood" (1985)

At the height of his fame, during the 1980s, Jackson began to embrace and perpetuate the public perception of his strangeness. Jackson (and his publicity team) and the media worked in tandem to cultivate this image. Early tabloid stories of his being obsessed with the Elephant Man's bones and sleeping in an "oxygen chamber" were possibly publicity stunts. Around this time, the British tabloid The Sun began calling Jackson "Wacko Jacko", a name he came to despise. Other tabloids and media outlets soon followed. The nickname stayed with Jackson for the rest of his career. Stories about him gradually turned negative. In Vogel's description: "Critics maligned him for buying the Beatles catalog , mocked his changing appearance, called him a sissy, questioned whether he actually wrote his songs, reduced his art to commercial ephemera." His marriage to Lisa Marie Presley and rumours of him undergoing skin-whitening and other cosmetic surgery furthered the controversy surrounding Jackson's image and made him the subject of sensationalist biographies.

Writing in British Vogue in 1987, Barney Hoskyns said that Jackson occupied a "superstar stratosphere of his own" and part of the public's misunderstanding of the star was "because we so want to know him – as we want to know anyone that famous". Hoskyns described the tabloid image of Jackson as "despicable ... distortions", but nevertheless opined: "Michael Jackson represents a terrible, pitiful corruption of what a twenty-nine-year-old human being really should be ... His neurotic obsession with perfecting his physical appearance apparently knows no bounds. And his inability to enjoy meaningful relations with anyone except animals, small children and cartoon characters has become ridiculous. This is, in short, a singularly maladjusted young man." The Rolling Stone editors also attribute the media speculation partly to the singer's elusiveness and obsession with privacy, and add: "the massive public soul-searching the allegations against Jackson inspired were but one indication of the almost inestimable role he has played in shaping not only pop music but pop culture."

Scholars have described the widely acknowledged and often polarizing perception of Jackson as a postmodern spectacle, causing the "real Michael Jackson" to remain elusive. In an article for Popular Music & Society, Brian Rossiter commented: "The media, aware of the marketable potential of Jackson's ambiguities, consistently used them to manufacture the notion of an authentic or private self behind his public persona. Audiences were always given liberty to select which Michael Jackson they deemed to be the real or authentic one ."

Susan Fast, writing for the same publication, gives a more sympathetic view of Jackson: "While some of difference was demonstrated through what was viewed in the mass media as 'eccentric' behavior it was really his more substantive(sic), underlying differences that were most troubling—racial, gendered, able-bodied/disabled, child/teenager/adult, adult man who loved children, father/mother." She writes that Jackson's persona was "so unsettling to the hegemonic order that it had to be contained through ridicule, misinterpretation, sensationalism, and finally criminal indictment". It is generally regarded as unusual for a man to want to be a single parent, Fast continues, to adore children like a mother; the thought of a man obsessed with cosmetics and appearance agitated the public to disbelieve the idea of him being an object of heterosexual desire. Fast argues that such perceptions, which stemmed from anxieties of masculinity, despite the fact that he created highly heterosexual art like "Black or White" and "In the Closet"; and that this idea extended to the public perception of Jackson's alleged child molestation.

Global impact

Ben Beaumont-Thomas, music editor for The Guardian, said Jackson "ushered in a global culture" and was a "subject of global adulation in areas previously untouched by Western pop culture". In the 1980s, Jackson declared himself to be the "King of Pop", a moniker that was widely accepted as accurate. According to popular music scholar Tamara Roberts, "Using the grandiose title ‘King of Pop’ to describe Michael Jackson’s impact on the past forty years of popular culture is quite possibly an understatement."

In Africa

Jackson visited several countries in Africa, which inspired his song "Liberian Girl". Fans from Liberia found this uplifting.

In 1992, Jackson was reportedly crowned king of the Agni people in the Kingdom of Sanwi.

South African R&B artist Loyiso Bala, of the Bala Brothers, likened Jackson's impact to Nelson Mandela. He recalled, "The whole family would drop what they were doing and watch, mesmerized whenever Michael or (Mandela) came on." He also revealed that as a young black kid growing up in the township, you either wanted to be Michael Jackson or a freedom fighter.

In 2016 John Dramani Mahama, then President of Ghana, alluded to Jackson’s charity song "Heal the World" in a speech at the U.N. General Assembly to encourage globalization, acceptance of refugees, and to denounce xenophobia.

In Brazil

In 1996 Jackson visited Dona Marta, a favela in Rio de Janeiro, to film one of the videos for "They Don't Care About Us". Initially, Rio's local government was concerned that Jackson would show the world an unflattering picture of poverty, which might affect tourism, and accused Jackson of exploiting the poor. Others supported Jackson's wish to highlight the problems of the region, arguing that the government was embarrassed by its own failings. A judge banned all filming but this ruling was overturned by an injunction.

Speaking of the music video in The New Brazilian Cinema, Lúcia Nagib commented: "When Michael Jackson decided to shoot his new music video in a favela of Rio de Janeiro he used the favela people as extras in a visual super-spectacle . The interesting aspect of Michael Jackson's strategy is the efficiency with which it gives visibility to poverty and social problems in countries like Brazil without resorting to traditional political discourse. The problematic aspect is that it does not entail a real intervention in that poverty." In 2009, Billboard described the area as "now a model for social development" and claimed that Jackson's influence was partially responsible for this improvement.

In China

In 1979, the same year that "Off the Wall" was released, China's state-controlled radio featured little Western popular music. Jackson's music would soon and change that. Kaiser Kuo, a Beijing-based artist, said that the only time he felt threatened was as a result of Jackson's popularity. On June 3, 1989, his band was billed as Jackson's backup band. The audience soon realized this was a scam and burnt down the ticket booth. "Jackson was just that popular", Kuo said.

In Japan

Jackson's Bad tour is credited for reshaping J-pop's choreography.

In India

Bollywood appropriated Jackson's dance moves.

In Russia

In Ekaterinburg, 2011 Michael Jackson's statue was released.

See also

Template:Misplaced Pages books

• Michael Jackson-related games

Notes

1. Music academic Jacqueline Edmondson nevertheless states that "The family has left an indelible mark on American popular music and culture through their music, acting, and influence on fashion and pop culture."
2. In her 2016 novel Swing Time, Zadie Smith refers to Jackson as part of a seamless dance tradition, writing: "A great dancer has no time, no generation, he moves eternally through the world, so that any dancer in any age may recognise him. Picasso would be incomprehensible to Rembrandt, but Nijinsky would understand Michael Jackson."
3. Michael Jackson: On the Wall was later displayed in Paris, Bonn and Espoo.
4. The broadcast followed Jackson's halftime concert performance at Super Bowl XXVII, in January, which Rolling Stone describes as "the most widely viewed entertainment event in TV history" up to that time.

References

Footnotes

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Bibliography

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• Broertjes, Andrew. “‘He’s Sending His People Messages out of His Pain’: Michael Jackson and the Black Community.” Popular Music & Society 36, no. 5 (December 2013): 677–98. doi:10.1080/03007766.2012.745336.
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• Childs, Peter. "Pop Video: Michael Jackson’s ‘Thriller’ and ‘Race’: Approach: ‘Race’ Studies." In Texts: Contemporary Cultural Texts and Critical Approaches. Edinburgh: Edinburgh University Press, 2006.
• Edmondson, Jacqueline (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. Santa Barbara, CA: ABC-CLIO. ISBN 978-0-313-39348-8. {{cite book}}: Invalid |ref=harv (help)
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• Kooijman, Jaap (2006). "Michael Jackson: Motown 25, Pasadena Civic Auditorium; March 25, 1983". In Inglis, Ian (ed.). Performance and Popular Music: History, Place and Time. Aldershot, UK: Ashgate. ISBN 0-7546-4057-4. {{cite book}}: Invalid |ref=harv (help)
• Longhurst, Brian. Popular Music and Society. Polity Press, 2007. ISBN 978-0745631639
• Oliete, Elena. "Michael, Are You OK? You've Been Hit by a Smooth Criminal: Racism, Controversy, and Parody in the Videos 'Smooth Criminal' and 'You Rock My World'." Studies in Popular Culture 29, no. 1 (2006).
• Roberts, Tamara. “Michael Jackson’s Kingdom: Music, Race, and the Sound of the Mainstream.” Journal of Popular Music Studies (Wiley-Blackwell) 23, no. 1 (March 2011): 19–39.
• Roberts, Tamara, and Brandi Wilkins Catanese. “Michael Jackson in/as U.S. Popular Culture.” Journal of Popular Music Studies (Wiley-Blackwell) 23, no. 1 (March 2011): 1–2. doi:10.1111/j.1533-1598.2010.01260.x.
• Romanowski, Patricia; George-Warren, Holly, eds. (1995). The New Rolling Stone Encyclopedia of Rock & Roll. New York, NY: Fireside/Rolling Stone Press. ISBN 0-684-81044-1. {{cite book}}: Invalid |ref=harv (help)
• Rossiter, Brian. “‘They Don’t Care About Us’: Michael Jackson’s Black Nationalism.” Popular Music & Society 35, no. 2 (May 2012): 203–22. doi:10.1080/03007766.2011.618050.
• Stanley, Bob (2014). Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé. New York, NY: W.W. Norton. ISBN 978-0-393-24269-0. {{cite book}}: Invalid |ref=harv (help)
• Vogel, Joseph. Man in the Music: The Creative Life and Work of Michael Jackson. Vintage, 2019. ISBN 9780525566588
• Warwick, Jacqueline. “‘You Can’t Win, Child, but You Can’t Get Out of the Game’: Michael Jackson’s Transition from Child Star to Superstar.” Popular Music & Society 35, no. 2 (May 2012): 241–59. doi:10.1080/03007766.2011.618052.

External links

• Michael Jackson
• Cultural depictions of Michael Jackson
• Cultural impact