"The King of Pop"
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The Mirror In The Man: An Article On What Michael Jackson Means To You
by Syl Mortilla
Following the Brits ‘96 performance of Earth Song, fellow humanitarian Sir Bob Geldof introduced Michael Jackson to the stage, so that he could receive the “one-off: like the man himself” award, Artist of a Generation (“…what generation? At least three have been listening to him already”). He used these words:
“…the most famous person on the planet, God help him… When Michael Jackson sings it is with the voice of angels. And when his feet move, you can see God dancing…”
The ubiquity and intensity of the embarrassingly obvious efforts of the Estate of Michael Jackson to metamorphose him into a throwaway caricature, was recently again on display in the form of the homogenised digital puppet programmed to perform at this year’s Billboard Awards. To create this, they once more utilised a painfully subpar impersonator (someone rather inappropriately named Earnest Valentino). Thus, they flagrantly continue to evidence an audacious arrogance in possessing not one remote qualm about employing the services of an imposter in an attempt to replicate the God-bestowed talent of a bona fide legend. All – naturally – as part of a cynical and superficial quest to achieve optimal financial gain. Sam Phillips – owner of Elvis’ first record label, Sun Records – famously said, “…if I could find a white boy who could sing like a black man I’d make a million dollars.” This appears to be the prevailing mantra of the Estate of Michael Jackson, who are intending to take the hologram – the ‘face’ of which is remarkably reminiscent of the one used in the Immortal artwork – on tour. Screw truth, ethics, morality and principle.
In 2006, Access Hollywood conducted Michael’s last televised interview. It was undertaken in Ireland during the nomadic period enforced as a result of the 2005 trial and the destruction of his home, Neverland. During this interview, Michael demonstrates his typical humility, but also remarks on his fastidious attention to detail regarding his music: how he puts each sound under “the microscope.” There is a YouTube montage which demonstrates Michael’s remarkable capacity for beatboxing: how he could effortlessly synthesise breath and pulse into a sublime musical experience. Michael was a genius. He was not a puppet.There is also a point further on in the Access Hollywood segment, in which the interviewer infers that Justin Timberlake is the contemporaneous popular musical artist most responsible for continuing his legacy. Michael quickly retorts that we shouldn’t forget to include the black artist, Usher, on the list. Michael was an activist. He was not a puppet.
The turbulence and brutality of the world and its media empires that were prejudiced against him, meant Neverland was the place where Michael sought refuge. Though this is not to say that Michael shied away from conflict – he certainly possessed the courage to confront (there is even a version of the song Money in which Michael calls out press emperor Rupert Murdoch). So much so, that due to his being perceived as a threat, they crucified him: something Michael alludes to in the song, Tabloid Junkie. Michael’s dream was to “turn swords into ploughshares” – a concept as old as time, yet perpetually dismissed by greedy and fearful governments across the globe.
In response to the attempt to have his freedom taken from him, Michael chose the recently Communist countries of Eastern Europe as a prominent theme for the HIStory campaign. He opted to promote freedom through the portrayal of his stark individualism – in countries entrenched in the active homogenisation of its people by their governments. With the inherent irony being Michael’s unique physical appearance as an homogenisation of so many cultural differences. Michael implored us to “harmonise all around the world”. His philosophy for a successful society appeared to be one that is celebratory of each person’s individuality, with the goal of each individual being the potentiation of their fellow human being: the acceptance of the unbridled freedom of each individual as a bedrock for the knitting of a society: that, in the mirror of each individual, society finds its reflection. Michael was a revolutionary. He was not a puppet.
What do we want Michael’s fame to become? What is our responsibility as fans? As human beings? Is it to mindlessly promote the current Estate’s trend of him as a money-making vacuity? Or is it to enrich his reputation and memory through the promulgation of him as a politically-conscious, peace-loving leader? One whose mission was prematurely terminated by the very same nefarious ideals motivating the people now making millions off his name? Do we want to see him immortalised as a caricature of twentieth century pop culture and capitalism? Or as a talisman for peace, hope and mutual acceptance? In short: do we want him cartoonified or beatified?
The actions of the Estate of Michael Jackson force the hands of those of us that care for the true legacy of our hero. We must counterbalance with equal might. As much as they cartoonify Michael, our reaction must be to further exalt him: that with their every insistence on insulting, they are merely fortifying his martyrdom. Michael was a totem; a conduit for the divine. He understood sacrifice as aspirational. He willingly sacrificed himself. Not only did he tour the planet a sick man, rescuing his reputation from slanderous smears whilst simultaneously promoting his message of peace; not only did he later die attempting to do the same thing; but throughout his adult life he used the abyss of self left by a pillaged childhood to construct a mirror for humanity.He gave us the opportunity to reflect upon him: he was the mirror in the man.
Now.Who do you see? I see God dancing.
http://sylmortilla.com/2014/06/04/the-mirror-in-the-man/
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