According to Fast, Michael’s intentional “otherness” in the video (the contrasting of himself against the cast and, especially, other male cast members) may have more to do with class differences.
“Even in this setting, Jackson challenges class power through his clothing from the moment we see him: the gold metal plate across his chest is called a gorgerine, worn by the Pharoahs of Egypt as a marker of their regal status. Jackson also sports a formal starched kilt worn by noblemen and officials in ancient Egypt. The other entertainers aren’t dressed in this fancy garb…” (Fast 60).
However, as Fast goes on to note, what Jackson ultimately pulls off is a hybrid style that combines ancient Egyptian regalness with modern 90’s hipness, connecting the ancient, royal history of blacks in Egypt to himself in the present. “Leave it to Michael Jackson to reclaim a regal African past.” (Fast 60).
It made perfect sense, of course, that Michael should go to some lengths to set himself apart from the other cast members of the video. After all, he was the star of the piece, and as such, the concept was naturally to keep him as the center of attention. The choices of hairstyle, makeup, and wardrobe were all intended to emphasize a sense of his “otherness” as compared to the other male cast members, who of course are portrayed as more traditionally “masculine.” Yet the “feminism” that his character invokes is undeniably a source of appeal. The queen desires him above all others, even her own husband.
My Personal Favorite RTT Moment…Breaking Into That Impish, “Trickster” Grin As His Pursuers Overtake Him
Fast delves into yet another controversial aspect of Michael’s aesthetic (as well as part of his appeal for many) with the topic of gender ambiguity and how Michael actually used the blurring of traditional gender lines to great effect. While this is often a hotbed topic among fans, it is nevertheless a topic that bears discussion because, for starters, it goes to the very heart of what has already been acknowledged as one of the most complex issues of Michael Jackson’s sex symbol status-why critics and the media so often resisted it; why fans embraced it. According to Fast, Michael became a master of how to blend both the masculine and feminine. I have excerpted below a few of her quotes that best illuminate this discussion:
“During the Dangerous era, Jackson started wearing his hair longer and more loosely curled. The jheri curl had morphed into several strands that hung over his eyes and reached his chin. It’s during this time that he also first straightens, rather than relaxes, his hair…As he ages, from Dangerous onward, his face becomes increasingly ‘feminized,’ exaggerated through the use of heavy make-up, including heavy eyeliner, mascara, and various shades of lipstick…(Fast 55-56).
However, in quoting Meredith Jones and others, Fast goes on to state that Jackson’s modus operandi, if you will, had little to do with any “trans” tendencies which we as a society might normally associate with a male who goes the route of increasingly feminizing his appearance. Rather, she states, Jackson seemed more interested in combining feminine and masculine traits to create a kind of ambiguous middle ground between them.
“This analytical specificity begins to get at how Jackson’s intriguing performance of gender really works: the features don’t ‘add up’ to one gender or another, nor can they be be ‘reconciled.’ Markers of masculinity do not disappear. In fact, these characteristics, particularly the square jaw-line and cleft chin, became more pronounced as he aged, perhaps through procedures, perhaps through fluctuating weight, or perhaps, again, simply through the natural process of aging.” (Fast 56).
In quoting Judith Peraino, she arrives at perhaps the most apt phrase to describe it: “Coming out into the middle.” (58).
But the discussion of Jackson’s “gender ambiguity” cannot end with his face alone. It incorporates many other factors-his body, wardrobe choices, etc. And this is where the lines often became even more blurred.
“His body was slight, without developed muscles, but straight, angular, and strong-not a feminine thing about it, including the way he moved, right down to his walk…” (Fast 56).
This is followed by a discussion of some of his onstage wardrobe choices, particularly the Dangerous-era gold fencing shirt, purposely designed to draw “attention to his bulging groin.” (56-57).
The First Half Of The Dangerous Tour Concerts Emphasized The “Masculine”
What Fast is discussing in this section is a phenomenon similar to one I discussed a few years ago in analyzing the concept of Michael’s live performances. It was during the Dangerous era that Michael seemed to solidify the concept for his live performances which often began with the “masculine” (he would come on tough, as a persona who was very masculine, angular, and hard, with military-esque trappings) and, over the course of the performance, would evolve to a more feeling, flowing, ethereal “feminine” persona (a transition that, like the Dangerous album’s concept, usually transpired with the performance of “Heal the World,” “Will You Be There” and the other spiritual “message” songs). Michael’s onstage persona during the first half of his Dangerous tour performances was always somewhat distant and cold; he would often wear a perpetual sneer. The moves are often blatantly sexual (a lot of crotch grabbing, etc). By the time the metamorphosis is complete, he is smiling, interacting with children onstage;the fencing shirt replaced by a flowing white shirt that accentuates his ethereal quality. His dance moves have become fluid and graceful, rather than angular and hard.
Michael’s Onstage Transformation From The Dangerous Tour Onward Emphasized A Shift From The “Masculine” Persona At The Beginning, To A More Graceful, Flowing “Feminine” Persona
It is interesting that this metamorphosis in his live performances (which would also carry over to the HIStory tour as well) mirrored the similar transformation that takes place on the album, as the initial industrialized, new jack swing tracks (“Noise”) eventually give way to what Fast describes as the album’s “Utopia” and “Soul” sections.
These discussions may be better served in the next posts that will look at those chapters in more detail. However, it may help to illuminate some of the reasons why the purposeful blending of masculinity and femininity became so important to Michael’s aesthetic. Fans often get defensive about any insinuation of Michael as anything less than 100% masculine, but sometimes I think for the wrong reasons (often, such defensiveness is simply a kneejerk response to years of defensive conditioning that have been wrought by the media’s attempt to somehow “emasculate” Michael or to cast him into the realm of “weird otherness”). What Fast does is to go beyond the mere simplifications of either approach. For sure, there can be no honest dialog of Michael Jackson-much less an honest appreciation of his art and his place in the cultural pantheon-without acknowledging that he did challenge conventional ideas of masculinity. And we also cannot deny that, for some, at least, this made him both a source of controversy and, as someone who-whether intentionally or unintentionally-challenged those norms, perhaps a source of discomfort.
“He Didn’t Like The Line Drawn Between What’s Allowed For Men And What’s Allowed For Women”-Karen Faye, Qtd in “Dangerous” by Susan Fast
According to Karen Faye, Michael’s longtime makeup artist, Michael believed that a man should be entitled as much as a woman to be able to use his face as a canvas; to reinvent himself, and to have the same freedom to experiment with different looks and, yes, to use makeup to enhance features or play them down, just as women do, to present a more beautiful or attractive face to the world. He reportedly loved women’s perfumes, preferring them over the often harsh masculine scents packaged and commericialized for men. But the important factor that underlies these preferences is a desire for sexual equality in cosmetic preferences (which we might reasonably assume would spill over to other areas as well). So in that regard, we might say such choices had nothing to do with wanting to be a woman or to be “transgender” (as some falsely surmised) so much as simply being a liberated man who felt that being “pretty” should not be the exclusive right of women. Certainly we could argue as to whether a preference for pink lipstick makes one any less “masculine” than a woman who prefers wearing slacks to dresses makes her any less “feminine.” But I think it is naive to assume that Michael made these choices with no idea that he was going against the grain of cultural norms of masculinity. In making such purposeful aesthetic choices-which he had to have known as surely as he knew that wearing straightened hair, makeup and a gold gorgerine would set him apart from the other males in “Remember The Time”) he was clearly intending to draw attention to himself as someone who was testing cultural boundaries and limits in terms of gender norms.
One reason why it is important to honestly address these matters is because we have to consider not only the fans’ perception of Michael Jackson, but also how he is still perceived culturally at large-and how the public often distorted their perceived ideas of Michael and gender. For example, I have told the story before of a male friend of mine who was convinced that Michael Jackson wore womens’ clothes. I asked him where he got such a ridiculous notion-if anything, Michael’s public style, including his vast array of military jackets, were the epitome of “masculine.” He continued to argue lamely that Michael wore women’s blouses. So I put him up for a challenge. If he could produce one photo of Michael wearing a woman’s blouse (that was authentic and not photoshopped!) I would concede he was right; if not, he would have to concede to me. After going through literally hundreds of photos on the internet, he had to reluctantly concede that I was right. His idea of Michael as a “cross dresser” had come about due to a distorted kind of cultural perception, based on both media stereotypes and misconceptions of Michael’s gender ambiguity.
There Was Nothing “Gender Ambiguous” About His Dress
This example underscores the importance of examining how Michael both challenged and defied these cultural norms and expectations-in surprising ways. Fast wisely sidesteps the temptation to draw any definitive theories or conclusions about Michael’s aesthetic choices, especially in regard to whatever “statement” he was making, intentionally or otherwise. Her theories are steeped neither in fan adulation nor the kind of critical disdain/dismissal of many earlier critics and scholars; thus, she is able to bring a refreshing honesty and candor to these discussions, successfully bridging the admiration of a fan with the objective perspective of a cultural scholar and critic.
The only thing that really bothers me in this discussion is that, while she refers many times to the controversy of Michael’s “lightened” skin color, she always seems to lump it in with his other cosmetic choices, I am not sure if this is an attempt to simply avoid the whole “did he or didn’t he have vitiligo” issue, or if, indeed, Fast even believes he had vitiligo. I am not sure of her position on this, since she never states it explicitly (indeed, the word “vitiligo” is never mentioned once in conjunction with these discussions) and I find this omission problematic, as it could leave the uninformed reader with the opinion that Michael simply controlled/manipulated his skin color change as he did so many other aspects of his appearance. The reason it is problematic and inexcusable is because the issue of whether he had the disease is, as stated in my previous post, no longer up for debate. But while the autopsy results should have definitively settled the debate, there still remains in some circles, apparently, a lingering and disturbing notion that he must have, somehow, induced his own vitiligo through some chemical means-which, again, would go back to the notion of some cosmetic desire to appear lighter-a desire that tragically, ended up with a horribly botched result. I need not enumerate that there is still a very large faction who simply can’t put the notion to rest that Michael either did not have vitiligo, or if he did, that he must have somehow brought it on himself.
While Fast never states that she believes those rumors, she never exactly denies them, either, and in so doing, leaves that door open for interpretation and speculation. Like I said, I don’t know whether Fast believes he had vitiligo. I have not yet had an opportunity to personally ask her that question, and do not know if she has addressed it elsewhere. It would be interesting to know. But I think it would be important to any honest discussion of Michael’s appearance to at least acknowledge the existence of this disease; otherwise, it is leaving a bit of a skewered perception of his appearance changes, assuming that all of them stemmed purely from personal or artistic choice.
However, that isn’t to say I do not believe that, once he realized the disease’s inevitable course, that he purposely reworked a new aesthetic for himself based on the new possibilities that this “look” now opened for him. Indeed, it’s naive to assume that Michael Jackson wasn’t acutely aware that he was within a “new skin,” so to speak-and how that would affect the world’s view of him, for better or worse. This is a subject that has also been addressed in some depth by Willa Stillwater and Susan Woodward, author of “Otherness and Power: Michael Jackson and His Media Critics.” In a recent blog post on the “Dancing With the Elephant” website, Woodward used a 1995 photo from the shoot for the “Earth Song” single sleeve, which she cites as “reminiscent of Italian Renaissance portraits,” as an example, using both the terms “ethereal” and (quoting Willa Stillwater from “M Poetica”) “luminous” to describe his mid 90’s persona.
As Woodward describes this quality in the post, it is a kind of transcendence “of the bonds of gender, time, and maybe even human flesh.” Below are a couple of other pics that are apparently from that same photo shoot. They both would appear to strengthen the theory that Michael was indeed going for an intentionally “ethereal” and “luminous” appearance that often characterized Italian Renaissance art:
Typical Italian Renaissance Portrait, “Child Crowned With Flowers,” Circa 1466-1516
To quote those who knew him best and/or those fortunate enough to have met him, his appearance post vitiligo was not really “white”-certainly not Caucasian-but rather, the appearance of someone who was translucent. This description makes sense. After all, vitiligo destroys the cells that produce melanin. leaving the victim, in effect, “colorless.” Did Michael, perhaps, come to view his new, “colorless” body as a kind of blank canvas, one on which he could now reinvent himself in ways that would never have been imaginable to him before?
Portraits Like This-A Favorite Of Mine, BTW-Often Portrayed Him During His Post Vitiligo Era As Both Ethereal and “Angelicized.” For Sure, They Heightened The Idea of “Gender Ambiguity” In Ways Not Entirely Coincidental
These are all ideas that Michael would have never been able to discuss openly in the press, without inviting undue controversy and having his words misquoted or taken out of context (as inevitably, they always were) and so, again, it is largely left up to us to interpret. It is no secret that, culturally, he still identified himself as a black American. The disease didn’t change who he was or his racial identity. It would also be naive to think that he welcomed the havoc the disease wracked on his life and personal appearance, all in the name of “art.” The disease left most of his body horribly splotched, a condition he was so self conscious of that he spent most of his remaining years wearing clothing that concealed his body. He couldn’t enjoy simple pleasures, such as a day of swimming at the beach. But it is well within the realm of possibility that, in learning to adopt, he found ways to make the idea of being, literally, a black man inside a colorless body, work for him.
By The Time Of “They Don’t Care About Us” An Even Angrier And More Defiant Michael Seemed Finally Willing To Show The World That There Was Nothing “Pretty” Or Ethereal or “Angelic” About The Disease That Had Turned Him “White.” For The First Time, He Allowed His Splotched Body To Appear In Its “Untouched” State For A Video Shoot.
Rather than dwelling on himself as a “victim” he chose another path, presenting an image of metamorphosis rather than of victimhood. PR wise, the decision may have been questionable. But it also enabled him to maintain the illusory aura that was such an important element of his appeal. Had he chosen the more outspoken path-allowing the public to see his blotched body; doing the talk show circuit on TV about being a vitiligo sufferer, etc-he might have won more public sympathy, but the price for that was in putting the spotlight squarely on HIM as a public figure with a disease, rather than as an artist. It was not a role he felt comfortable with, nor one he felt particularly obligated to perform.
But whatever conclusions can be drawn about Michael’s use of style, cosmetics, performance, etc in blurring gender lines, no such discussion would be complete without also considering the traditions that he was a part of. In many fan discussions, it has often been noted that it wasn’t an issue of whether Michael was “masculine” but that his was a masculinity out of step with the current times. There is, of course, a lot of observational truth in those statements and Michael was hardly the first or last male artist to circumvent the stringent defines of masculinity that have been in place, in Western culture, at least, since the Victorian era. Prior to the Victorian era, it was not at all unusual for men to wear long, flowing hair, makeup, and clothing that might be considered highly feminized by today’s standards (ruffled shirts and lace, etc). The fop, or the dandy, became a highly romanticized figure, and then as now, it was not at all unusual for women to be attracted to these men. It was only during the Victorian era that the rigid lines between what could or could not be properly considered as “masculine” became drawn (not coincidentally, these lines became more rigidly drawn as Western society’s homophobia increased).These Victorian ideals prevailed into much of the twentieth century, with no real challenge until the 1960’s and 70’s (though even in the 1920’s and earlier, movie idols such as Rudolph Valentino and Douglas Fairbanks, Sr, began to challenge these notions and to revive the concept of dandyism, and writer F. Scott Fitzgerald, hardly the most masculine looking of dudes, nevertheless made women swoon and was embraced for his “feminine sensibilities.” However, by the 1930’s, the macho man was back in vogue-“virile” leading men like Clark Gable, Gary Cooper, and Humphrey Bogart defined masculinity, and it would be many decades before the rock era, again, challenged these notions). But though we have seen some considerable loosening of these ideals, even in the twenty-first century any full throwbacks to those earlier eras of “dandyism” have been mostly confined to artists. In the music world, particularly, male performers caught on early that the most guaranteed way to drive women wild was to…well, employ some feminine wiles.
Speaking of the historical context of the “dandy” figure and how male artists have used “feminine” sexuality to enhance their own appeal, here is an interesting clip that I ran across on Jim Morrison, lead singer of The Doors-who, of course, was as famous for his drop dead gorgeous looks and legendary sex appeal as for his music. In this documentary, chronicling Morrison’s final 24 hours, note what Steve Harris, former VP of Elektra Records, says at the 6:03 mark:
“Jim had this love for movies, and so he would emulate Greta Garbo, he had the look in his eyes of Marlene Dietrich staring you down, shaking his hair and his head like Marilyn Monroe did. He had those masculine traits with the feminine wiles, that’s what made Jim unique.”
It is interesting that when Harris mentions all of the models of sexuality that Morrison emulated for his “unique” persona, every one just happens to be a famous female performer of the past. And yet Morrison’s status as a heterosexual sex symbol and rock god who drove women wild has never been questioned.
Perhaps Morrison was, as Harris states, “unique” for the time. That as part of his self styled image (and indeed it was self styled, for The Doors early on had no PR team) he chose to emulate and combine traits of glamorous women probably had much to do with the fact that, until then, there hadn’t really been much in the way of sexual male role models-that is, without pretty much circumventing the last century (which Morrison did) and returning to models of ancient classicism. Similar to what Michael would do two decades later, Morrison was incorporating elements of feminism to create, if not exactly a morphology, at the very least a new kind of masculine ideal. As the 60’s gave way to the 70’s, we saw many rockers such as David Bowie, Marc Bolan, and others carrying this new brand of androgynous “dandyism” to even further lengths.
So why, then, did this similar brand of gender morphology become so upsetting-or perhaps more threatening-to some when it was Michael Jackson? There are many theories, but most scholars and cultural analysts are in agreement that it was, perhaps, the combination of both racism and homophobia (“homophobic” in the sense that any male who is perceived as overly sexualized in a traditionally non-masculine way is deemed threatening) that made Michael Jackson such a potent combination for many.
“To this extent it [dandyism] might also involve the appropriation of traits of femininity as a form of rebellion. This is in part what glam rockers were doing in the 1970’s; both Kobena Mercer and Michele Wallace made a comparison between their gender play and Jackson’s and noted that while it seemed alright for the likes of Bowie, it was, apparently ‘intolerable’ for a black man to experiment with gender and sexuality in this way.” (Fast 65).
However, this may be an overly simplified approach. It would fall short, for example, in explaining why Prince-the perfect 80’s embodiment of “dandyism” if ever there was one-still did not raise as much controversy as Michael, but instead, was given pretty much the same artistic pass as Bowie and others. As has been discussed here before, much of it may have had more to do with the general acceptance of avant-garde artists as opposed to “pop” or mainstream artists. We had watched Michael grow up as a beloved child star and as a member of the wholesome Jackson family act; therefore, his actions were always going to invite more scrutiny, and tongues were bound to wag when “little Michael” came out wearing lipstick and eye liner and grabbing his crotch. Most adult artists have the luxury of being able to evolve quietly, behind the scenes, for years before unleashing their persona on the world stage. Michael was never afforded that luxury. His artistic evolvement, just as with everything else in his life, had to be carried out within the metaphoric fish bowl of his existence.
Also, I don’t think we can entirely separate Michael from the context of his time. If there was ever a ripe time for “dandyism” in popular music, it was the 1980’s, the era in which Boy George became an international superstar, Duran Duran was the leading boy act of the day, and hardcore rockers like Motley Crue wore more eyeliner and lipstick than their female groupies. By the time Michael entered his metal/power ballad phase with “Dirty Diana”-replete with tumbling hair past his shoulders, open white shirt rippling in the wind machine, tight spandex pants, and more eyeliner than Apollonia-he was as much a product of his time and era as an innovator-indeed, so much so that “Dirty Diana,” in particular, is often cited as a parody of typical metal hair band videos of the day, which may be true.
We Had Never Seen A Display Of Male Auto Eroticism Quite Like This
If so, this may also go far in explaining at least “some” of Michael’s overly sexualized antics during the Panther Dance segment of the “Black or White” video. Fast also spends a considerable length of time analyzing this segment, for no discussion of Michael and sex (or his sexual persona, at least) can be complete without it. Unlike the eroticism of “In the Closet” or even “Remember The Time,” where he is at least interacting with a partner in a traditionally erotic sense, this segment is pure auto eroticism-and not only that, but pure auto eroticism that seems to come from totally out of left field (given that the song’s content has nothing to do with sex!). Looking back in hindsight, long before we had two decades’ worth of critical analysis of the “Black or White” video-including all of the various theories regarding the symbolism of the emasculated black male, etc-it’s easy to see why so many viewers at the time were genuinely confused (that is, when they weren’t brushing it off as Michael “simply being Michael” and, as usual, doing whatever it took to generate controversy). Michael said in his press statement, released within the hour of the controversial broadcast, that he was only attempting to “interpret the animalistic instincts of the black panther into a dance.” Clearly, the panther’s mating ritual must have been part of that interpretation!
However, the whole idea of “gender morphology” becomes interesting when looking at the controversy this segment aroused. In essence, Michael was not doing anything that was any more auto erotic in nature than what many female “video vixens” had already been doing in music videos for years at that point. Indeed, Tawny Kitean’s famous romp on the hood of a Jaguar XJ was every bit as sexual, but as always, women have had far more leeway-certainly far more freedom-in the realm of sexual self expression. For a woman to caress her body in a sensual manner was considered sexy. For a man to do it was just…well, for many at the time, awkward and weird.
80’s Video Vixens Like Tawny Kitean Made Auto Eroticism The Norm…But Not For Guys. Michael’s “Panther Dance” Broke Down That Barrier.
To Michael’s credit, he was at least able to pull it off far more successfully than poor Billy Squirer, whose disastrous romp in pink sheets in the “Rock Me Tonight” video cost him a legion of male fans and proved such a career setback that he never fully recovered! Perhaps the major difference was that Squirer, who had built a solid reputation as a typical, macho rocker in an already sexist genre, had never tapped into the traits of femininity that would enable him to get away with such a display. Although there are a lot of misguided theories about the intent of the “Rock Me Tonight” video, I have always believed that the concept was simply a misguided PR attempt to make Squirer appeal to female fans. They, perhaps, forgot one major factor: To successfully pull off male auto eroticism in a video, a male performer HAS to be able to embrace a certain amount of femininity, and to be able to do so naturally and comfortably. It can’t be something that is faked.
Hence, Billy Squirer failed miserably; Michael Jackson succeeded spectacularly, controversy notwithstanding.
In analyzing this segment, Fast hits on something that explains both why the segment worked, and why it invited so much controversy:
“In the ‘panther dance’ the crotch grab becomes a rub-sometimes he only uses his middle finger, and he rubs his hand down his chest into his groin too. All this rubbing, if we have to bring things down to their conventional binaries, is much more associated with female masturbation, less with jerking off…” (Fast 57-58).
Precisely why I love this book is for these moments when Fast nails concepts that I have often found myself struggling with for years, trying to pinpoint exactly why something I had seen Michael do a hundred times either unsettled, disturbed, tantalized, or aroused me-sometimes all in one fell swoop. I was not alone in that department, for across the globe, millions of women (and I would imagine many male fans as well) were reacting to those gestures the same way. The excessive “body rubbing” was something I had noticed, but had never thought to articulate it in the way that Fast does here, although I had long noted that what Michael does in the “Black or White” video certainly goes well beyond his (by then) usual crotch grab. This was something else, less stylized, more “in your face” and certainly more explicitly erotic than anything he had done thus far. But I think Fast hits on exactly what I found so simultaneously unsettling and arousing about this segment-it’s not just that these are explicitly auto erotic sexual gestures, but explicitly feminized sexual gestures. In the final segments of the sequence, just before morphing into a panther again, there is more of the kind of sensual, feminized auto eroticism that Fast refers to-he rubs both hands from chest to groin while throwing back his head in sensual ecstasy, a pose long associated with images of female orgasm.
Again, I think what we can take from this sequence is that Michael may not have been so much about pushing gender lines as simply a liberator for the rights of a man to be able to express himself as a sexual being, apart from the repressions of conventional male sexuality. When we look at how women responded intuitively to Michael’s sexually suggestive onstage moves (the caressing of his chest; the suggestive finger wag, the hip thrusts, etc) it was because his female fans genuinely believed he was conveying how “he liked it done” and would do, in turn, to them. The simulations sparked fertile imaginations; yes, it was at least part showmanship but, like the best performers, Michael was literally making love to all of us in those moments-and leaving precious little to our imaginations. Just as actors can cry on cue, we nevertheless know that in order to cry on cue, they must be able to connect with something that triggers that emotion. Sometimes it’s a memory; sometimes they are simply so involved in the role and the storyline that the situation has become real for them. Tears can’t be faked. Thus, even though an actor may be crying “on cue” the performance stems from a very real human emotion-a trigger. In much the same way, Michael’s onstage sexual “performances” had to have at least been some extension of his ability to tap into his own sexual feelings, whether invoked by the music or the crowd’s energy. We responded because we knew he was tapping into those triggers, and it couldn’t be faked. It’s difficult to imagine why a generation of critics found this such a difficult concept to comprehend. Like Morrison (who, in quoting Willie Dixon, aptly summed up the whole phenomenon: “The men don’t know, but the little girls understand”) and the entire legacy of hyper sexualized male performers who had learned to emulate/incorporate female eroticism to maximum effect, Michael had learned intuitively what women respond to, which for us (if we are honest with ourselves) often has more to do with an inherent, genetic attraction to our sensual, seductive, feminine selves than to the “brute strength” of traditional masculinity. Even the most casual internet search will justify this claim, for if you type in “why women love effeminate men” the hits are mind boggling, as article after article will attempt to explain, in some way, or to arrive at some answer, of why this strong mirror attraction for the feminine exists-even in women who are, by all definition, “straight.”
Fast does an excellent job of exploring how Michael Jackson both fit into the long tradition of “dandyism” and, also, in many ways, defied it. The history of black dandyism, in particular, is illuminated quite well, with Fast discussing how Michael in many ways fit the historical prototype of the “Pinkster king,” an African American man who would be elected to a prestigious position and allowed to emulate the dress (and all other pomp and circumstance) of a white elected official. The discussion of Michael’s “syncretic” style of dress and its historical context is, alone, one of the most fascinating passages in the chapter. My male friend whom I referred to earlier in this post would have done well by reading the following passage:
“Hard fabrics were used. The jackets were always short to the waist to meet his form-fitting pants…the broad chest tapering to the waist in a classic V shape is characteristic of a classically normative male form and signifies male strength; his ‘effiminacy,’ with very few exceptions, did not extend to his dress.” (Fast 67).
The “Desire” chapter focuses on many aspects of Michael, sex, and gender. In exploring all of these controversial issues, she offers no hardcore theories or “answers” but manages to successfully examine Michael’s sexual persona both within its historical context and in looking at why these have become such hot button topics, both in the past and present. Their relevance, of course, is due to the fact that the first six tracks of Dangerous (as well as their accompanying videos) solidified the adult image of Michael Jackson as both “soul man” and as a newly liberated, libidinous performer who was exploring his adult sexuality in ways he had never dared to before.
But the temptations of the flesh, as it turned out, was only one facet of Dangerous‘s many moods. In the next installment, I will look at “Utopia” and, finally, rounding the series out, I will explore what Fast has to say about Dangerous and “Soul.”