Black and White: How Dangerous Kicked Off Michael Jackson's Race Paradox

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As the Prince of Pop’s skin got lighter his music became more politicised, and 1991’s overlooked album encapsulated this radical moment in music

For a figure as enigmatic as Michael Jackson, one of the more fascinating paradoxes about his career is this: as he became whiter, he became blacker. Or to put it another way: as his skin became whiter, his work became blacker.

To elaborate, we must rewind to a crucial turning point: the early 1990s. In hindsight, it represents the best of times and the worst of times for the artist. In November 1991, Jackson released the first single from his Dangerous album: Black or White, a bright, catchy pop-rock-rap fusion that soared to No 1 on the Billboard Hot 100 and remained at the top of the charts for six weeks. It was his most successful solo single since Beat It.

The conversation surrounding Jackson at this point, however, was not about his music. It was about his race. Sure, critics said, he might sing that it “don’t matter if you’re black or white”, but then why had he turned himself white? Was he bleaching his skin? Was he ashamed of his blackness? Was he trying to appeal to every demographic, transcend every identity category in a vainglorious effort to reach greater commercial heights than Thriller?


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To this day, many assume Jackson bleached his skin to become white – that it was a wilful cosmetic decision because he was ashamed of his race. Yet in the mid-1980s Jackson was diagnosed with vitiligo, a skin disorder that causes loss of pigmentation in patches on the body. According to those close to him, it was an excruciatingly humiliating personal challenge, one in which he went to great lengths to hide through long-sleeve shirts, hats, gloves, sunglasses and masks. When Jackson died in 2009, his autopsy definitively confirmed he had vitiligo, as did his medical history.

However, in the early 1990s, the public were sceptical to say the least. Jackson first publicly revealed he had vitiligo in a widely watched 1993 interview with Oprah Winfrey. “This is the situation,” he explained. “I have a skin disorder that destroys the pigmentation of the skin. It is something I cannot help, OK? But when people make up stories that I don’t want to be what I am it hurts me … It’s a problem for me that I can’t control.” Jackson did acknowledge having plastic surgery but said he was “horrified” that people concluded that he didn’t want to be black. “I am a black American,” he declared. “I am proud of my race. I am proud of who I am.”

For Jackson, then, there was no ambivalence about his racial identity and heritage. His skin had changed but his race had not. In fact, if anything his identification as a black artist had grown stronger. The first indication of this came in the video for Black or White. Watched by an unprecedented global audience of 500 million viewers, it was Jackson’s biggest platform ever; a platform, it should be noted, that he earned by breaking down racial barriers at MTV with his groundbreaking short films from Thriller.

The first few minutes of the Black or White video seemed relatively benign and consistent with the utopian calls of previous songs (Can You Feel It, We Are the World, Man in the Mirror). Jackson, adorned in contrasting black-and-white apparel, travels across the globe, fluidly adapting his dance moves to whatever culture or country he finds himself in. He acts as a kind of cosmopolitan shaman, performing alongside Africans, Native Americans, Thais, Indians and Russians, attempting, it seems, to instruct the recliner-bound White American Father (played by George Wendt) about the beauties of difference and diversity. The main portion of the video culminates with the groundbreaking “morphing sequence,” in which ebullient faces of various races seamlessly blend from one to another. The message seemed to be that we are all part of the human family – distinct but connected – regardless of cosmetic variations.

In the age of Trump and the resurgence of white nationalism, even that multicultural message remains vital. But that’s not all Jackson had to say. Just when the director (John Landis) yells “Cut!” we see a black panther lurking off the soundstage to a back alley. The coda that follows became Jackson’s riskiest artistic move to this point in his career – particularly given the expectations of his “family-friendly” audience. In contrast to the upbeat, mostly optimistic tone of the main portion of the video, Jackson unleashes a flurry of unbridled rage, pain and aggression. He bashes a car in with a crowbar; he grabs and rubs himself; he grunts and screams; he throws a trash can into a storefront (echoing the controversial climax of Spike Lee’s 1989 film, Do the Right Thing), before falling to his knees and tearing off his shirt. The video ends with Homer Simpson, another White American Father, taking the remote from his son, Bart, and turning off the TV. That censorious move proved prescient.

The so-called “panther dance” caused an uproar; more so, ironically, than anything put out that year by Nirvana or Guns N’ Roses. Fox, the US station that originally aired the video, was bombarded with complaints. In a front page story, Entertainment Weekly described it as “Michael Jackson’s Video Nightmare”. Eventually, relenting to pressure, Fox and MTV excised the final four minutes of the video.

Yet amid the controversy (most in the media simply dismissed it as a “publicity stunt”), very few asked the simple question: what did it mean? Couched in between the Rodney King beating and the Los Angeles riots, it seems crazy in retrospect not to interpret the short film in that context. Racial tensions in the US, in LA in particular, were hot. In this climate, Michael Jackson – the world’s most famous black entertainer – made a short film in which he escapes the confines of the Hollywood sound stage, transforms into a black panther and channels the pent-up rage and indignation of a nation and moment. Jackson himself later explained that in the coda he wanted “to do a dance number where I [could] let out my frustration about injustice and prejudice and racism and bigotry, and within the dance I became upset and let go.”

The Black or White short film was no anomaly in its racial messaging. The Dangerous album, from its songs to its short films, not only highlights black talent, styles and sounds, but also acts as a kind of tribute to black culture. Perhaps the most obvious example of this is the video for Remember the Time. Featuring some of the era’s most prominent black luminaries – Magic Johnson, Eddie Murphy and Iman – the video is set in ancient Egypt. In contrast to Hollywood’s stereotypical representations of African Americans as servants, Jackson presents them here as royalty.

Promised a sizable production budget, Jackson enlisted John Singleton, a young, rising black director coming off the success of Boyz N the Hood, for which he received an Oscar nomination. Jackson and Singleton’s collaboration resulted in one of the most lavish and memorable music videos of his career, highlighted by the intricate, hieroglyphic hip-hop dance sequence (choreographed by Fatima Robinson). Again, in this video, Jackson appeared whiter than ever, but the video – directed, choreographed by and featuring black talent – was a celebration of black history, art, and beauty.

The song, in fact, was produced and co-written by another young black rising star, Teddy Riley, the architect of new jack swing. Prior to Riley, Jackson had reached out to a range of other black artists and producers, including LA Reid, Babyface, Bryan Loren and LL Cool J, searching for someone with whom he could develop a new, post-Quincy Jones sound. He found what he was looking for in Riley, whose grooves contained the punch of hip-hop, the swing of jazz and the chords of the black church. Remember the Time is perhaps their best-known collaboration, with its warm organ bedrock and tight drum machine beat. It became a huge hit on black radio, and reached No 1 on Billboard’s R&B/hip-hop chart.

The first six tracks on Dangerous are Jackson-Riley collaborations. They sounded like nothing Jackson had done before, from the glass-shattering, horn-flavoured verve of Jam to the factory-forged, industrial funk of the title track. In place of Thriller’s pristine crossover R&B and Bad’s cinematic drama are a sound and message that are more raw, urgent and attuned to the streets. On She Drives Me Wild, the artist builds an entire song around street sounds: engines; horns; slamming doors and sirens. On several other songs Jackson integrated rap, one of the first pop artists – along with Prince – to do so.

Dangerous went on to become Jackson’s best-selling album after Thriller, shifting 7m copies in the US and more than 32m copies worldwide. Yet at the time, many viewed it as Jackson’s last desperate attempt to reclaim his throne. When Nirvana’s Nevermind replaced Dangerous at the top of the charts in the second week of January 1992, white rock critics gleefully declared the King of Pop’s reign over. It’s easy to see the symbolism of that moment. Yet Dangerous has aged well. Returning to it now, without the hype or biases that accompanied its release in the early 90s, one gets a clearer sense of its significance. Like Nevermind, it surveyed the cultural scene – and the internal anguish of its creator – in compelling ways. Moreover, it could be argued that Dangerous was just as significant to the transformation of black music (R&B/new jack swing) as Nevermind was to white music (alternative/grunge). The contemporary music scene is certainly far more indebted to Dangerous ( ie Finesse, the recent new jack-inflected single from Bruno Mars and Cardi B).

Only recently, however, have critics begun to reassess the significance of Dangerous. In a 2009 Guardian article, it is referred to as Jackson’s “true career high.” In her book on the album for Bloomsbury’s 33 ⅓ series, Susan Fast describes Dangerous as the artist’s “coming of age album”. The record, she writes, “offers Jackson on a threshold, finally inhabiting adulthood – isn’t this what so many said was missing? – and doing so through an immersion in black music that would only continue to deepen in his later work.”

That immersion continued as well in his visual work, which, in addition to Black or White and Remember the Time, showcased the elegant athleticism of basketball superstar Michael Jordan in the music video for Jam and the palpable sensuality of Naomi Campbell in the sepia-coloured short film for In the Closet. A few years later, he worked with Spike Lee on the most pointed racial salvo of his career, They Don’t Care About Us, which has been resurrected as an anthem for the Black Lives Matter movement. Still, critics, comedians and the public alike continued to suggest Jackson was ashamed of his race. “Only in America,” went a common joke, “can a poor black boy grow up to be a rich white woman.”

Yet Jackson demonstrated that race is about more than mere pigmentation or physical features. While his skin became whiter, his work in the 1990s was never more infused with black pride, talent, inspiration and culture.

:fear: https://www.theguardian.com/music/2...rous-kicked-off-michael-jacksons-race-paradox
 
Re: Black and White: how Dangerous kicked off Michael Jackson's race paradox

Are "journalists" handed a memo stating that if they write about Michael Jackson to please refer to him as the "Prince of Pop"? What the F*CK! This was a great piece spoiled by a mean-spirited and petty misnomer. :rolleyes:

NOTE to "journalists": NO ONE knows Michael Jackson under that name. THE WHOLE WIDE WORLD knows Mr. Michael F*cking Jackson as the f*cking KING OF F*CKING POP

I'm f*cking exhausted...
 
Re: Black and White: how Dangerous kicked off Michael Jackson's race paradox

I stopped at "Prince Of Pop". Clearly this person is not in tune with pop culture and doesn't know that Michael was,is and always will be the KING of pop.
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The article is quite interesting if we decide to not pay attention to the title “Prince of Pop”.

Michael is known as the KING of Pop, an accurate and well-deserved title.
 
Re: Black and White: how Dangerous kicked off Michael Jackson's race paradox

This is a really good article. Its very insightful, don't narrow your sights simply because of a phrase you don't like
 
Re: Black and White: how Dangerous kicked off Michael Jackson's race paradox

Yep, great read. Thanks for sharing.
 
Re: Black and White: how Dangerous kicked off Michael Jackson's race paradox

The aformentioned corrections were made. The article is by none other than Joe Vogel, author of "Man in the Music." I think it was just an accidental oversight as he has always been one of the best writers on Michael's legacy in recent years.
 
Re: Black and White: how Dangerous kicked off Michael Jackson's race paradox

Are "journalists" handed a memo stating that if they write about Michael Jackson to please refer to him as the "Prince of Pop"? What the F*CK! This was a great piece spoiled by a mean-spirited and petty misnomer. :rolleyes:

NOTE to "journalists": NO ONE knows Michael Jackson under that name.

Joe Vogel is a scholar and a writer, not just a journalist. He was not being petty or mean-spirited in this article, or in any other article or book he has written about Michael's music.

The aformentioned corrections were made. The article is by none other than Joe Vogel, author of "Man in the Music." I think it was just an accidental oversight as he has always been one of the best writers on Michael's legacy in recent years.

Exactly.
 
Re: Black and White: how Dangerous kicked off Michael Jackson's race paradox

The aformentioned corrections were made. The article is by none other than Joe Vogel, author of "Man in the Music." I think it was just an accidental oversight as he has always been one of the best writers on Michael's legacy in recent years.

He's on Estate payroll. Should do better.
 
Great read.

Where on earth did Prince of Pop come from I wonder... Never heard that before?

Was he the Prince of Pop before Dangerous was released and after Dangerous he became King of Pop - or how should it me understood??

To mee he became King of Pop with either Thriller og BAD...
 
Didn't even pay attention to who wrote it when I first read the piece. Joe Vogel is it? That's even worse... On the other hand, might very well have been an editor at the "venerable" Guardian who put "Prince of Pop" there. Hmm, anyway. This was NOT a mistake and imo we as fans should always put people on the spot who try to tarnish the legacy of the King of Pop. It's really just beyond ridiculous and inexcusable.
 
I like the article.

However, did anyone else notice that when an African American (artist) becomes more politically outspoken he is becoming, according to folks like Vogel and really in general - seen this many times, more black?

W h a t d o e s t h a t m e a n?!!

When a white artist is political they are political - not more white.
 
I believe that ‘Dangerous’ did not deserve to be replaced by ‘Nevermind’ (at the top of the charts at that time).

I still consider ‘Nevermind’ an overrated album which strictly belongs to a very specific music genre (unlike ‘Dangerous’ which musically offers more things to the listener).

But even lyrically, the ‘Nevermind’ album has serious issues. For example, its musically really good song ‘Smells Like Teen Spirit’ suffers from nonsensical lyrics. It strikes me as odd that despite the fact that Kurt Cobain himself revealed that he intentionally wrote those nonsensical lyrics for that song, yet it later became a song that defined a whole era (90s).

About the ‘Black Or White’ video, when it firstly aired I liked the idea of eliminating the racial & gendered borders (by means of those visual/morphing transitions that take place towards the end).

Moreover, it is an open secret that MJ loved creating controversies during his career. So, I firmly believe that MJ (for the sake of increased publicity/sales) deliberately wanted to create also that sort of uproar & controversy with those last four minutes of violence & sexual connotations of the ‘Black Or White’ video.

I am quite sure that those front page stories right after the release of the ‘Black Or White’ video (like Entertainment Weekly’s “Michael Jackson’s Video Nightmare”) did not upset him at all, but on the contrary they must have made him happy because they showed that he eventually achieved his goal.
 
Wouldnt be suprised if the editor changed it to pop. Like 99.9% of the media the guardian have written some god awful trash about mj over the years
 
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Great article! I agree with many, if not all, the points made and that is precisely why I consider Dangerous to be his most seminal and strongest body of work
 
People were talking about his skin changing years before dangerous.

It more or less got the start in 1985 and 86..

But that time people started to go from "hes wearing so much makeup" to "something is going on"..

Showing up to award shows by that time with lightened skinned he was dealing with a lot of heat for his skin..

By dangerous he simply had to come out and address it.. it was more a coming out with moment over a paradox of the skin issue.

Ps.. "prince of pop" :/
 
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