RIPOSTE
by RIP RENSE |
|
KING OF POOP
July 2, 2009
"He's oxygenated, his nose is deflated/ And
he thinks he looks good to you."---from Frank Zappa's tune about
Michael Jackson, "Why
Don't You Like Me?"
If I
become ill mid-way through writing this, please bear with
me. Yes, that’s correct, I’ve been lured into writing about the
late, and getting later, Michael Jackson. He has not yet risen
from the dead, but I wouldn’t argue that prospect with his fans.
Michael Jackson is not
the biggest nothing ever to inspire fall-down-and-slobber
worldwide prostration. Not the most over-hyped non-entity to
prompt people to chuck all shame, dignity, intelligence and run
around in circles on the floor like
Curly
Howard at the mere mention of his/her name. (You wonder:
Jackson must have stolen some moves from Curly.)
No, that honor would
probably go to
Madonna, who has far less talent than Jackson had, or than
any number of music/dance majors to be found at universities
around the world. Or, for that matter, far less than members of
chorus lines on Broadway. (Do they still have chorus lines on
Broadway?)
Jackson, without a doubt,
had a good deal of natural ability, when it came to singing and
what has come to pass for dancing. But as the corpse of this
psychologically and physically mutilated adult child is at least
figuratively wheeled to Neverland, let us pause for a little
perspective.
Dancing and singing are
very common talents, yet somehow, the world has come to
respond to them as if they cure beriberi and brain cancer. Don’t
misunderstand---I appreciate dancing and singing, and their
power to lift the spirits. I even dance a little, myself, when
drunk. There is a difference, though, between lifting spirits
and throttling mass psyche on a hypnotic, Pavlovian level.
Jackson, or rather,
Jackson-Product, sank its fangs into the fetlocks of what passes
for human consciousness, and never let go. The scope of this
astonishing marketing feat is unprecedented in human history,
and would have fried the brain of
Edward
Bernays, an early pioneer in public relations and
influencing of mass subconscious. If only modesty could be
purveyed as effectively. . .
Wonder if he can beat it up there? |
Yes, there was Jackson, and there was Jackson-Product---two different
things.You all know the tired fable of Jackson, of Little Michael, the
kiddie prodigy literally whipped into becoming a performer by his
Grendel of a father, denied a childhood in the process, inculcated with
all manner of trauma that would later emerge as what could gently be termed
eccentric behavior, and is better characterized as mental illness. (There
are reports he was treated for schizophrenia in his teens.) This sad fellow
is only to be pitied, yet if the current sympathy for him were marshaled
for, let’s say, the victims of genocide and starvation in Darfur, or
child-slaves in China, or the degradation of the forests, rivers, oceans,
and sky, wouldn’t that be a bit more constructive?
Fuhgeddaboudit.
Jackson is not just a so-called "world icon," as the TV gosspimannequins
recite, but a private
little imaginary friend to untold numbers of humans, never mind his
dying. Fans speak of “Michael” as if they grew up next door to him, as if
they shaved in the bathroom with him, as if they roasted weenies with him at
Scout camp. It’s much like the loons who speak of “my personal relationship
with Jesus,” as if a little invisible Christ perches on their shoulders,
whispering
sweet scripture in their ears.
And the Christ cliche is
well warranted here, as it often is for titanically popular personalities of
history, but in this case, not just in terms of scope. Devotees came to
rabidly defend Jackson as nothing less than a would-be
savior of humanity---a messianic pose that the adult Jacko
melodramatically struck, and possibly, in his dementia, believed. It must be
hard not to believe such insanity when all the world acclaims you as if you
are a god. (Note: the saccharine "We Are The World," which raised $63
million for African famine relief, was the idea of Harry Belafonte and Ken
Kragen, not Jackson.)
But Jackson-Product is
the operative reality in all this disquieting business, not Wacko Jacko.
Without Jackson-Product, there would have been no Jackson phenomenon, no
Jackson-Jesus. Remember: this “giant” didn’t write his songs alone, didn't
play instruments, didn’t produce his albums, didn’t conceive of his albums
in anything other than a sketchy sense. He had showbiz savvy, to be
sure---and his early singing skills approached the likes of Sam
Cooke’s---but he essentially became a vehicle for commercial assault on the
marketplace by the hyper-slick music industry (key word: industry) "dream
team" of producer Quincy Jones, songwriters Marilyn/Alan Bergman and Rod
Temperton.
Do I exaggerate? Consider
Jones’s account of completing the biggest-selling album of all time,
“Thriller.”
“I told Michael that we needed a
black rock 'n' roll tune -- a black ‘My Sharona’ -- and a begging tune for
the album. He came back with ‘Beat It’ and Rod came back with ‘The Lady in
My Life.’”
What more evidence
does one need? This was fill-in-the-blank, commercially designed
product. We need a begging song. We need a black “My Sharona.” Says
who? Says Quincy. These songs were not written out of inspiration, heart,
sincerity, artistic impulse. They were contrived and invented by committee,
made to order for mass appeal, as sure as Tucks and Cheetohs. I mean, did
The Beatles sit down and say, “We need a begging song?” Did Jimi Hendrix?
Jackson was not, in
short, a songwriter, not a skilled musician, not a poet, not a
lyricist---certainly not in the vein of actual
musician/poet/lyricist/songwriters such as Sly Stone, Hendrix, Richie
Havens, Joni Mitchell, James Taylor, Charlie Pride, Holland-Dozier-Holland,
Stevie Wonder, perhaps even Barry White. "Thriller" was a Quincy Jones album. One of
Jackson’s final “songs, " not incidentally, was a simple computer-generated Muzak-y demo that sounded like good background for a diaper commercial. He
sent it to Deepak Chopra for lyrics.
Of course, none of this
matters to the millions (billions?) of hapless, gullible, worshipful
music-product consumers, who blather and weep about losing a “genius” who
“tried to save the world,” or “who brought so much joy,” and other
outbursts. And it has never mattered to the primary enablers of the pop
music hype machinery---the so-called music critics and reporters who have
worn out their Thesauruses---well, their on-line Thesauruses---in feeding
the ridiculous Jackson myth. (One venerable pop music writer just referred
to Jackson's "Motown 25 Live" rendition of "Billie Jean" in 1983 as "the
single greatest moment in popular music's history of public performances."
Huh? Perhaps he never heard of Hendrix, The Beatles, Little Richard, the
Rolling Stones, Judy Garland, Janis Joplin, Tina Turner, Bobby Darin, and on and on.)
And so Jackson the
promising kid became Jackson-Product in adulthood. You know how
it happened. After the mainstream pop success of the winning, but
bubblegum hits of the Jackson Five, fans were primed and ready to see
what their friend “Michael” would do “when he grows up.” Disco was dead,
thank goodness, and commercial pop music in the early ‘80’s was a grisly
amalgam of horrid “punk rock,” derivative, lightweight “new wave,” grotesque
“heavy metal.” Enter Edgar “Quincy Jones” Bergen and Michael “Charlie
McCarthy” Jackson.
Recipe: take handsome
former child idol with flare for soaking up and mimicking the work of great
singers/dancers from Jackie Wilson to Sammy Davis Jr., pump up his voice to
enable broader range (accomplished with lessons), tweak the keys to give him
more oomph, add veteran commercial musicians, hire mainstream
song-product hitmakers, bake minds with barebones hypertrophic beats,
lunatic asylum guitars, and synthesizer-laden production glitz. Result:
“Thriller.” Jackson-Product.
Of course, it’s probable
that Jones and Jackson could have recorded something primitive, flashy,
hollow, with words varying from nonsense to treacle, and it still would have
been a hit. Wait a second---come to think of it, that's what they did.
The rest is a tale that
out-weirds Howard Hughes and Elvis combined. Evidently, contrary to his
song, “Black or White,” it did matter to Michael whether he was black or
white, as he gradually transformed into a pallid, skeletal, spidery figure
competitive with
Max Schreck
in the silent “Nosferatu.” A red hourglass tattooed on his chest would have
been entirely fitting. Not even Lon Chaney (sr.), the "man of a thousand
faces," could have pulled off the changes Jackson accomplished. Those
required scalpels and stitches, and kookiness along the lines of that
madwoman who remade her face as a
lioness. If Jackson was in fact diagnosed with schizophrenia as a teen,
he physically manifested it as an adult, via surgery. The avaricious cutters
who indulged his whims---from Diana Ross’s nose to who-knows-whose
chin---should have long ago been stripped of their licenses.
But this is not to
rehash the kiddie fixation, the death-defying ingestion of drugs (well,
almost.), the test-tube (Caucasian) babies claimed as offspring, the
countless millions of bucks tossed around like used toilet paper, the
reclusion, the Louis XIV excess, the broken contracts and sponging off
Middle Eastern royalty, the child molestation charges, the
chimpanzee, the rest of the Wacko Jackopalooza. Living with relentless press
coverage of this nutcase all these years has been nothing but depressing,
like having a demented relative in the cellar pacing endlessly through
habit-trails. Jackson’s death would be a relief were it not for the fact
that Jackson-Product is now bigger than he ever dreamed it could be.
And that raises the
central point I’m trying to find the stomach to make here. Michael Jackson
is not the culprit in this American tragedy. Neither is the sonic assault of
his music-product, nor the genital-grabs so astoundingly acclaimed as
artistry, nor the once-artful voice perverted into shrieks, hiccups and
castrato-yodeling that suggested a live electric wire up his rectum.
The fiend in the Jackson
saga is capitalism amok, the same phenomenon that has crashed the world
economy. From his father to his record companies, from promoters to doctors
to endless sycophants, the devil in all this has been the perversion of
basic capitalistic principle into amoral, all-consuming profit-frenzy,
abetted by demographic exploitation that would have left Joseph Goebbels
drooling. Even allowing that Quincy Jones, Jackson, and the hired
songwriters involved might have (mistakenly) thought they were making great
art, they were nonetheless creating pop product---product designed
specifically for mass-marketing; dumbed-down product that traded on
celebrity, mystique, pose, machine-made beats, punishing volume, shock
value, nursery-rhyme-level lyrics. What art? What heart? The average
unsophisticated music-consumer was as helpless against this stuff as a
dolphin in a drift-net.
Yes, yes, I hear
you: it’s always been this way. People are forever suckered by artifice
and image. True, but what has changed is the degree, the worldwide
technological penetration of marketing claws, the automatic response of
pop-culture-anesthetized consumers trained to crave new excitement, new
idols. Not only do people in India, Malaysia, New Zealand, Paraguay, Zambia,
and Peoria not know that they are being manipulated, conned, rendered
cheap-stimulus addicts--- they wouldn’t care if they did. Media and pop
culture say “Bend over,” and humanity says, “Hands around ankles?”
Give the public what it
wants? This is the standard defense offered by marketing types, corporate
martinets. But no, Jackson-product was a case of giving the public what it
would respond to. King of Pop? King of Poop. Thank you, Quincy Jones.
So when I read last week
that protesters in Iran planned to wear Jackson T-shirts because, as one
proclaimed, “He represented the best of America,” I wanted to grab my crotch
and scream.
Not just because
the statement was disturbing, but because I suspect this has become the
truth.
BACK TO
PAGE ONE |