MICHAEL JACKSON-ARTA SI MESAJ

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In "Black or White," Michael Jackson similarly offers more than a simple message of "colorblindness" and racial harmony. Both the song and its accompanying music video brilliantly juxtapose idealism with indignation at the status quo. People often forget that Jackson follows the famous chorus ("It don't matter if you're black or white") with the knowing follow-up: "Don't tell me you agree with me/ When I saw you kickin' dirt in my eye." Similarly, in the controversial short film, Jackson follows images of global integration with a fearless coda, in which he embodies the pent-up rage, aggression and pain of discrimination in the form of a black panther. With his lyrics and use of visual contrasts he also suggests that race is not simply "black or white." We are not simply born one way; nor can we be easily placed in monolithic categories (black, gay, Muslim, etc.). In "Black or White" Jackson clearly identifies as black (note how he blasts the archetypal white American father to Africa to begin his re-education, and later transforms into a black panther). Yet he also makes clear he won't be reduced to a static, one-word box ("I'm not gonna spend my life being a color"). Identity is more than one label and more than skin deep. It is about shared spaces and histories, about experiences and opportunities as much as DNA. The message, then, is not simply to celebrate the ideal of diversity and racial tolerance, but to explore the complexities of how individuals become who they are and the still-pervasive social and emotional impact of discrimination. Like Lennon, then, Jackson doesn't just make us feel good about ourselves; he challenges us to see the world as it is, and as it could be (and as we are, and could be). The best art has never been mere propaganda or pandering. It is about expressing real emotions, tensions, challenges, and paradoxes. Joseph Vogel

JOE: I feel like Michael really hasn't been given the respect he deserves among critics and journalists. When you read through assessments of his work there is so much condescension and bias. I want to begin a major critical re-appraisal of his work, particularly his post-1980s work, which is incredible, and deserves far more attention. In addition, I want the average book-buyer to be able to walk into their local bookstores and have an alternative to the the tell-alls and tabloid sensationalism.