Misplaced Pages

Revision as of 17:15, 20 March 2020

This article contains promotional content. Please help improve it by removing promotional language and inappropriate external links, and by adding encyclopedic text written from a neutral point of view. (October 2019) (Learn how and when to remove this message)

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." 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

Motown founder Berry Gordy instilled in Jackson an ambition to make crossover, chart-topping, universal music during Jackson’s time at the label. Jackson's 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. Jackson's 1982 album Thriller changed the direction of popular music. Jay Cocks, writing for Time 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 cover portrait was by Andy Warhol. 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, Missy Elliott, Ghali, Logic, and Drake.

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 is credited for 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. Favors 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.

Jackson's influence on the artform would be recognized in 2010. That year, he was inducted into National Museum of Dance and Hall of Fame. He is the only pop star to have earned the honor.

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 also collaborated with many Hollywood directors on his short films, including John Landis, Martin Scorsese, Spike Lee and John Singleton.

The Thriller video, which features Jackson dancing with zombies, cost more than $1 million to produce. It 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, and is the only music video in the National Film Registry. 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".

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

Jackson often asked tailors to make him clothes which defied convention. In his autobiography Moonwalk Jackson said, “If fashion says it’s forbidden, I’m going to do it.” His defiance would lead to a notable style that include 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 love 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. 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.

Race politics

Jackson was a notable figure in the desegregation of American popular culture and music. Off the Wall succeeded at a time when disco was perceived as inferior to rock by critics. One of the greatest achievements of the album 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. The following videos from the album were also part of this transformation of racial politics in music television.

The success of Thriller not only broke down racial barriers in music but also in other areas of the entertainment industry. Critic Greg Tate said, “Black people cherished Thriller’s breakthrough as if it were their own battering ram apartheid.” Al Sharpton said, “Way before Tiger Woods or Barack Obama, Michael made black people go pop-culture global.”

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 1995 "They Don’t Care About Us" was released as one of the singles from HIStory. In the mid-2010s, the track 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. The lyrics became more personal after Jackson felt dehumanized by the Santa Barbara County police's behavior during the investigation of alleged child molestation in 1993.

From the outset, the lyrics for the aforementioned song was controversial because of its supposedly assumed 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 which 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. As Vogel put it: "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." Scholars have described this widely acknowledged and often polarizing perception of Jackson as a postmodern spectacle, causing the "real Michael Jackson" to remain elusive. Brian Rossiter noted, "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, on the other hand, 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 argues 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, 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." Popular music scholar Tamara Roberts said, “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 Africa's R&B artist, Loyiso Bala, of The Bala Brothers, likened Jackson's impact to Nelson Mandela. He said, "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 observed: "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 "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 the 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,” said Kuo.

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

References

Footnotes

1. Segal, David (2009-06-27). "After Michael Jackson, Fame May Never Be the Same". The New York Times. ISSN 0362-4331. Retrieved 2019-10-02.
2. "Michael Jackson: Icon". The New York Public Library.
3. Rodriguez, Cecilia. "New Blockbuster Paris Exhibition Celebrates Michael Jackson". Forbes.
4. Warwick, p. 249.
5. Yardley, Jonathan (August 30, 1993). "Nothing More Than ... Feelings". The Washington Post. Archived from the original on November 2, 2012. Retrieved March 10, 2009.
6. Day, Elizabeth (March 8, 2009). "Off the wall but still invincible". The Guardian. London. Retrieved March 10, 2009.
7. https://www.cbc.ca/amp/1.833673
8. Brackett, David. "Jackson, Michael." Grove Music Online. Accessed 1 Oct. 2019.
9. Roberts, "Kingdom", p. 36.
10. Roberts, "Popular Culture", p. 1.
11. Rosen, Jill (June 28, 2009). "7 Ways Michael Jackson Changed The World". The Baltimore Sun. Retrieved April 24, 2016.
12. "80 Moments that Shaped the World" (PDF). British Council. 2014.{{cite web}}: CS1 maint: url-status (link)
13. Chandler, Cory (May 20, 2010). "Librarians Prove Michael Jackson Was a Rock Star in Academic Literature". Texas Tech University. Retrieved May 31, 2015.
14. Hidalgo & Weiner 2010, pp. 14–28.
15. Hidalgo & Weiner 2010, p. 25.
16. Vogel, (Kindle locations) 244-294.
17. Vogel, (Kindle location) 373.
18. Vogel, (Kindle location) 748.
19. Vogel, (Kindle location) 1438.
20. "Why Michael Jackson's Biggest Success Was a Surprise". Time. Retrieved 2019-09-30.
21. ""Thriller" in the Library of Congress: 2007 National Recording Registry Announced". Library of Congress. May 14, 2008.{{cite web}}: CS1 maint: url-status (link)
22. "The 10 Best Covers of Michael Jackson's Songs". Rolling Stone. 2014-06-27. Retrieved 2019-10-01.
23. ^ Smith, Olivia. "Michael Jackson the dancer moved us beyond measure; among other gifts, Jackson was dance genius, too". nydailynews.com. Retrieved 2019-10-01.
24. https://www.rttnews.com/1395755/michael-jackson-inducted-into-dance-hall-of-fame.aspx
25. Vogel, Joseph (August 27, 2019). "Man in the Music". Knopf Doubleday Publishing Group – via Google Books.
26. ^ Vogel, (Kindle location) 391.
27. ^ "Michael Jackson's videos set a new standard". Reuters. 2009-07-03. Retrieved 2019-09-30.
28. Hebblethwaite, Phil (November 21, 2013). "How Michael Jackson's Thriller changed music videos for ever" – via www.theguardian.com.
29. ^ Hebblethwaite, Phil (November 21, 2013). "How Michael Jackson's Thriller changed music videos for ever". the Guardian. Retrieved October 29, 2018.
30. "'Thriller' Lands in National Film Registry". The Hollywood Reporter. Retrieved 2019-09-30.
31. "How Michael Jackson's "Thriller" changed music business". July 6, 2009 – via www.reuters.com.
32. Clifford, Edward. "Michael Jackson's 'Thriller' remains a Halloween hit". Massachusetts Daily Collegian. Retrieved 2019-09-30.
33. Romano, Aja (2018-10-31). "Michael Jackson's "Thriller" is the eternal Halloween bop — and so much more". Vox. Retrieved 2019-10-04.
34. ^ Griffin, Nancy (January 24, 2010). "The "Thriller" Diaries". Vanity Fair. Retrieved 9 October 2019.
35. ^ "60 Years Of Michael Jackson, The Fashion Icon". British Vogue. Retrieved 2019-09-30.
36. Jackson, (Kindle location) 1782.
37. Vogel, (Kindle location) 1988.
38. Vena, Jocelyn. "Michael Jackson's Style Legacy, From Military Jackets To One Glove". MTV News. Retrieved 2019-09-30.
39. "Michael Jackson - A Tribute". British Vogue. Retrieved 2019-09-30.
40. "Lady Gaga Wore Michael Jackson's Jacket to Hillary Clinton's Final Rally". Billboard. Retrieved 2019-10-01.
41. https://www.independent.co.uk/arts-entertainment/music/news/super-bowl-50-beyonc-paid-tribute-to-michael-jackson-in-halftime-show-a6860501.html
42. "Michael Jackson: On the Wall - Exhibition". www.npg.org.uk. Retrieved 2019-11-29.
43. http://edition.cnn.com/2009/SHOWBIZ/Music/06/28/michael.jackson.black.community/
44. Roberts, "Kingdom", p. 36.
45. "Michael Jackson: Off the Wall". Pitchfork.
46. "From 'Billie Jean' to 'Beat It': Michael Jackson's Top 5 Hits Of All Time - The Enigma". The Economic Times.
47. Vogel, (Kindle location) 1003.
48. Vogel, (Kindle location) 2018.
49. Vogel, (Kindle location) 568.
50. Touré; Touré (2014-06-26). "Michael Jackson: Black Superhero". Rolling Stone. Retrieved 2019-09-29.
51. Childs, p. 44.
52. Vogel, (Kindle location) 5472.
53. Vogel, (Kindle location) 5511.
54. Vogel, (Kindle location) 5479.
55. Vogel, (Kindle location) 5489.
56. Vogel, (Kindle locations) 5482-5484.
57. https://www.washingtonpost.com/archive/lifestyle/1995/06/23/michael-jackson-changes-his-tune-on-lyrics/bd138b88-c73c-4e4d-9bd2-5c1d3bf82952/
58. Baldwin, James. "Here Be Dragons" (PDF).{{cite web}}: CS1 maint: url-status (link)
59. Baldwin, James. "Freaks and the American Ideal of Manhood". Collected Essays. 828. 1998.
60. Vogel, (Kindle location) 2679.
61. Vogel, (Kindle location) 2729.
62. Vogel, Joseph (September 10, 2012). "How Michael Jackson Made 'Bad'". The Atlantic.
63. "The Michael Vicks of Yore" – via www.washingtonpost.com.
64. Rossiter, p. 205.
65. Fast, p. 261.
66. Fast, p. 264.
67. Fast, p. 265.
68. "Michael Jackson: Five years after his death, how his influence lives on | Music | The Guardian". theguardian.com. Retrieved July 11, 2017.
69. Roberts, p. 19.
70. "Michael Jackson In Africa". OkayAfrica. 2013-08-29. Retrieved 2019-10-03.
71. http://www.washingtontimes.com, The Washington Times. "Memory of Michael Jackson uplifts Liberia". The Washington Times. Retrieved 2019-10-03. {{cite web}}: External link in |last= (help)
72. "When King of Pop Michael Jackson Was Officially Crowned King of a Small African Nation". mentalfloss.com. 2018-06-25. Retrieved 2019-10-03.
73. Correspondent, Mike Pflanz, West African (August 3, 2009). "Royal Ivory Coast funeral for tribe 'prince' Michael Jackson" – via www.telegraph.co.uk. {{cite web}}: |last= has generic name (help)CS1 maint: multiple names: authors list (link)
74. "Video of Michael Jackson being crowned king of a former Ghanaian tribe surfaces online". www.msn.com.
75. https://www.reuters.com/article/us-jackson-global-sb/michael-jacksons-music-had-impact-around-the-globe-idUSTRE5624OT20090704
76. "Ghana leader tells U.N. to dance to tune of Michael Jackson". Reuters. 2016-09-21. Retrieved 2019-10-03.
77. Nagib, Lúcia (2003). The New Brazilian Cinema. I.B.Tauris. p. 123. ISBN 1-86064-928-9.
78. "Michael Jackson Remains A Global Phenomenon". Billboard. July 2, 2009. Retrieved June 10, 2010.
79. https://www.reuters.com/article/us-jackson-global-sb/michael-jacksons-music-had-impact-around-the-globe-idUSTRE5624OT20090704
80. https://www.reuters.com/article/us-jackson-global-sb/michael-jacksons-music-had-impact-around-the-globe-idUSTRE5624OT20090704
81. https://books.google.co.in/books?id=T0sB47TxoCwC&pg=PT18&lpg=PT18&dq=michael+Jackson%27s+Bad+tour+is+credited+for+reshaping+J-pop%27s+choreography.&source=bl&ots=SfXD-SQqrT&sig=ACfU3U1bmAYjP4-UVtas9y1cQXxZ2bB8tQ&hl=en&sa=X&ved=2ahUKEwiSouejvu_mAhXizDgGHYq9AS4Q6AEwCnoECAcQAQ#v=onepage&q=michael%20Jackson's%20Bad%20tour%20is%20credited%20for%20reshaping%20J-pop's%20choreography.&f=false
82. https://books.google.co.in/books?id=T0sB47TxoCwC&pg=PT18&lpg=PT18&dq=michael+Jackson%27s+Bad+tour+is+credited+for+reshaping+J-pop%27s+choreography.&source=bl&ots=SfXD-SQqrT&sig=ACfU3U1bmAYjP4-UVtas9y1cQXxZ2bB8tQ&hl=en&sa=X&ved=2ahUKEwiSouejvu_mAhXizDgGHYq9AS4Q6AEwCnoECAcQAQ#v=onepage&q=michael%20Jackson's%20Bad%20tour%20is%20credited%20for%20reshaping%20J-pop's%20choreography.&f=false
83. https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/photo-features/michael-jacksons-bollywood-connection/photostory/37180389.cms
84. "Michael Jackson in Yekaterinburg". AskUral.com. Retrieved 2020-01-24.

Bibliography

• Brackett, David. “Black or White? Michael Jackson and the Idea of Crossover.” Popular Music & Society 35, no. 2 (May 2012): 169–85. doi:10.1080/03007766.2011.616301.
• 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.
• 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.
• Fast, Susan. “Difference That Exceeded Understanding: Remembering Michael Jackson (1958-2009).” Popular Music & Society 33, no. 2 (May 2010): 259–66. doi:10.1080/03007761003640574.
• Flory, Andrew. I Hear a Symphony: Motown and Crossover R&B. Ann Arbor: University of Michigan Press, 2017. ISBN 978-0472036868
• Harper, Phillip Brian. "Synesthesia, "Crossover," and Blacks in Popular Music." Social Text, no. 23 (1989). doi:10.2307/466423.
• Hidalgo, Susan, and Robert G. Weiner. "Wanna Be Startin' Somethin': MJ in the Scholarly Literature: A Selected Bibliographic Guide". The Journal of Pan African Studies, 3, no. 7. (March 2010): 14-28.
• 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.
• 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.
• 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