I’m hesitant to contribute to the disgusting, inane circus that has been in motion since Michael Jackson died, but perhaps it’s a way into larger issues. Of interest to me is the (multi)media coverage surrounding this event and the idea of global, musical superstardom. The last time I remember witnessing this kind of coverage and global attention over a death was for Princess Diana. While at least a few hours were devoted to Michael Jackson’s death as “breaking news” on CBC’s Newsworld channel on the day he died, the first fifteen minutes of the CTV evening news broadcast the following night (in addition to at least five minutes more specifically about his autopsy and a couple minutes celebrating his career at the very end of the broadcast) was still devoted solely to Michael Jackson. My reaction to all of this coverage is still frustration and disgust; the world does not stop when a celebrity dies, and it is completely self-indulgent and useless to cover it to this extent, not to mention the hypocrisy of praising a man that was mercilessly derided and/or ignored for the last third of his life.
However, this time, Facebook, Twitter, texting, YouTube, and even Google as a whole, were also jammed with messages to crashing point. And that lengthy breaking news broadcast on CBC Newsworld was greatly bolstered by reports from not only so-called experts in the field, but also from sources like Twitter and Facebook. The mass media’s dependence on new media, especially of this nature, is pointing to a new media convergence that is both liberating and alarming. Do we need this many perspectives to contend with, and how much is verified before stated on air? Immediacy in any breaking event is always a waste of time because details will settle and change, and these social networking platforms are probably the most immediate forms of media there ever were. The crash of these technology-based social networks ostensibly shows an active rather than passive collectivity, meaning rather than experiencing a historical moment together via the exact same channels (limited to a few mass media networks), people wanted to reach out and create their own moment, their own reportage and rapport; however, this crash of systems also points to some intense displays of cultural capital, something a lot of these social networks are built upon. The reasons for this unprecedented crash are likely manifold, but it then raises the issue of the subject matter that prompted it.
The Pitchfork obituary makes some interesting, valid points about Michael’s role as a superhero and then as a cartoon. There’s something about his level of success and fame that made him completely unreal, and most people’s reactions to his death confirm it. There seems to be a lack of belief that this could possibly happen. I first heard about it while at a bookstore; a worker was running around the store telling his colleagues that Michael Jackson was dead, and everyone he told initially brushed it off with a nonchalant “You’re kidding.” And most reactions caught by the media and personal new media are ones of shock, as though Michael Jackson was always there and would always be there like some immortal. Where did this sense of superhuman come from?
Despite his earlier success in the 70s as part of The Jackson 5, there was something very essentially 1980s about the creation of Michael Jackson; he was a fixture of the cultural zeitgeist by being a brand and an overblown music video aesthetic in a nascent globalization. It’s no coincidence that his career glory years were bracketed by that money-hungry, visually loud decade. He was the living embodiment of the “American Dream” and represented all of the nation’s ideals and hopeful potential: rags-to-riches, creative innovation, celebration of the individual and his/her achievements, erasure of racial barriers. It’s when he started erasing his own race that he began reflecting a different side of America: self-destructive excess, worship of the artificial, delusions of grandeur, mob mentality and tabloid fascination with the grotesque and “different.” I firmly believe there won’t be another global musical superstar like Michael Jackson; not because no one will ever be as talented or exceed his level of talent, but that the media climate will never be so conducive to producing one ever again. Nor a shockwave like this.
The world is imploding into fractured pieces as much as people want to believe that the web of the Internet is pulling us closer together in a global village. No artist can hope to have the same impact Michael Jackson and even other, less famous, 80s pop stars had worldwide. Our sources for information and entertainment are divided into niches and people are increasingly creating their own information channels and entertainment. We are now all living in pockets that are dominated by cult artists, or we get bombarded by too many mainstream artists to care too deeply. Marketing ploys have made most of us very cynical and suspicious, making it a massive challenge to maintain brand loyalty. So many things are free and immediate that we don’t place too much value on anything or anyone. We are so easily connected and space and time have been so effectively tamed, we stopped feeling awe at sharing cultural objects and moments. Live 8 was by no means as culturally significant and as historically memorable as Live Aid.
In addition to his representation of America and the multiple channels through which he was sold and promoted, Michael Jackson’s global superstardom was a product of the fact he was non-threatening, a characteristic that often defines the genre of music he was purported king of. In spite of some of the bizarre, hard-edged, or spooky performances he gave in his music videos, there was always something of a child playing at adult roles about him; he wasn’t really going to fight in the streets, he was playing dress-up to be “bad,” and when he attacks you as a zombie it’s all in the name of make-believe. His Peter Pan syndrome, which ultimately became an exercise in entrapment and self-harm, spoke to a deep-seated, sometimes unhealthy, need for the rest of us to remain youthful and responsibility-free just like the myriad advertisements told us to be. And like mean-spirited children, the media and large parts of the public took part in the incessant bullying and gleeful picking and poking at Michael Jackson. By disintegrating and rotting with excess and mental illness, he showed us our face in the mirror more than any trite song ever could. And we didn’t like it. We only like to see the positive side of the zeitgeist. It was all fun and games until we lost an idol.
I probably shouldn’t be surprised that the most blogged about artists on The Hype Machine for the last few days have been Michael Jackson and The Jackson 5; however, after having read through many posts about him, I am a bit surprised how overwhelmingly positive and sympathetic they are. It’s as though people are desperate to forget the fact he hasn’t been top-of-mind for so long and hasn’t been at the top of his game for so much longer. And considering I’ve rarely seen Michael Jackson tracks posted on the blogs that are part of The Hype Machine, it somehow feels a little bit like too little too late. He had become so beyond comprehension, and we were all so desensitized to outrageous behaviour, that the media couldn’t even be bothered with him anymore – for all intents and purposes he had disappeared off the radar, even after announcing the continuing excesses of the 50-date O2 engagement. He had figuratively died a slow death for the past twenty years.
True to Morrissey’s Paint a Vulgar Picture, the response of unprecedented spiking sales for Michael Jackson music, downloads and otherwise, just seems more cynical than celebratory to me. There’s something tawdry about this financial tribute, and as with the amount of people coming forward with texts, tweets, and posts, I begin to wonder how much is genuine and how much of it is just not wanting to be left out. It’s yet another part of why I was reluctant to write this post at all.
In the global reaction to his death, it seems people are most sad because of nostalgia and ties to their own youth. I was born in the same year of Thriller’s release, but I obviously still grew up being very aware of Michael Jackson. My awareness of his music was probably first through the Dangerous album, which some of my friends and/or family members had, and the song Black or White, which always seemed to be playing at the roller rink when I was a child. I also have vague memories of seeing the Thriller video at a young age (maybe at Halloween), and back when music television still showed music videos, I would watch 80s weekends, which were dominated by Madonna, Duran Duran, and of course, Michael Jackson. Videos like Billie Jean, Beat It and Thriller became iconic to me at a later date, but they did still form part of that cultural touchstone in a way that I can’t imagine any music video becoming now. There’s no doubt that I love the music videos that my favourite artists are producing, but the likelihood that I could mention them to anyone else in the world and have them understand and know what I’m talking about is remote. They will never become global reference points, nor will they create moments of waiting for a music video world premiere like the one above this post. I’m by no means some huge Michael Jackson fan, and I wouldn’t consider him among my musical heroes, but I definitely acknowledge that Thriller is and was an important album, and Billie Jean is still genuinely one of my favourite songs.
As a society, we project a lot onto celebrities, but you can’t be a global superstar if the globe ceases to have any meaningful weight as a concept. The very networks that heralded his death to crashing point are the very same technology that is heralding the death of global superstardom. After all, Michael Jackson didn’t change the world, he merely reflected it. He was the King of Pop, but when all the world is a popularity contest, it’s impossible to crown another one. The world’s stage is groaning under the surplus of “stars.” There will never be another Michael Jackson because the world is a different place.
CONDEMNED TO ROCK 'N ROLL 