... infantile that it is virtually forbidden—as an unpatriotic act—that the American boy evolve into the complexity of manhood.” The chapter situates Baldwin’s essay in its historical moment, considering the rise and backlash to androgynous black “crossover” artists such as Michael Jackson and Prince...

... all-white format of “Album-Oriented Rock” (“AOR”). Michael Jackson’s breakthrough album Thriller is discussed for its ability to transcend what were widely viewed as impermeable boundaries. In spite of Thriller, however, a recording such as George Clinton’s “Atomic...

... of the Scottish herring fishery, the anthropology of the senses, and Lucy Suchman’s and Michael Jackson’s anthropology of human-machine relations. It also draws on anthropologies of labour-action, enskilment and task-orientation by Michael Jackson, Gísli Pálsson, and Tim Ingold. fishing boat human−environment...

...Chapter 3 takes as its starting point the social identity of the deceased and argues that tabloid bodies (in this case Princess Diana and Michael Jackson) must be invisible in order to maintain the deceased as a source of textual and revenue production. corpse s Diana Princess of Wales Jackson...

...This chapter begins by reviewing the importance of Michael Jackson’s early forays in music video, paying particular attention to the short film, “Michael Jackson’s Thriller” from 1983. Jackson’s monstrosity and Ola Ray’s victimization in this film are addressed. This chapter then turns to recent...

... of Sunjata has spread beyond Manding culture. Other examples of the spread and evolution of the Sunjata narrative beyond Manding culture are referenced to including those recorded by Michael Jackson among the Kuranko, a Mande-speaking people of Sierra Leone. Gambia The birth order dispute motif brother...

...Figure 2.1 Michael Jackson smiling as he sings “I Want You Back” on the Ed Sullivan Show in 1969. Figure 2.2 Michael Jackson smiling on the music video for “Rock With You” (1979). Figure 2.3 Maddie Ziegler showcasing her winning smile on Dance Moms. Figure 2.4 Vivi-Anne...

...Figure 4.4 B-boy Dosu (Luis Carrera) battles at Techsgiving (2021). Photograph by Albert Shin. Used with permission. The first part of the FROWN chapter analyzes three Michael Jackson music videos in which he plays screen characters framed as streetwise and dangerous. It employs Gates’s concept...

...Figure 6.1 Michael Jackson shatters the glass of his sleep capsule in “Scream” (1995). Figure 6.2 Michael Jackson emits a scream prior to his dance duet with Janet Jackson in “Scream” (1995). The SCREAM chapter examines Michael Jackson’s 1995 music video “Scream,” which staged a rageful...

... how these videos evolved from recordings of live performances to creative works that have stood the test of time and allowed artists such as Michael Jackson and Madonna to achieve even greater popularity. Finally, it covers the role that synchronization rights play for music videos. minimum viable...

...The media had a far-ranging influence on the play of both white and African American South Louisiana children during the period 1967 to 2011. The movies, television, music videos, break dancing, radio, and specific performers like Prince and Michael Jackson electrified school children and gave them...

...The introduction establishes Michael Jackson and the city of Detroit as exemplary figures of US deindustrialization: distinct cases demonstrating the racialization of structural economic change. It uses “the deindustrial” to designate the transitional period from the mid-1980s to the present, when...

... as they were to the so-called Reagan Democrats. Yet Trumpist nostalgia for industrial labor ignores or misremembers these jobs’ debilitating dimensions, as stated in the 1972 federal report “Work in America.” The coda notes that Michael Jackson’s legacy as an exemplary entrepreneur has been successfully...

... Academy. This chapter works through a number of cases featuring well-known musicians and painters—Michael Jackson, Miles Davis, Gord Downie, Richard Wagner, Paul Gauguin, Graham Ovenden, and Jackson Pollock—to try to answer the question about when and how artists’ moral character ought to bear upon...

... a pronounced rhythmic character that appeals to our bodies by providing opportunities to move creatively with the emphases sounded by the different layers of the music. The account is illustrated with the example of Michael Jackson’s “Billie Jean.” Paddison Max popular music Adorno Theodor W Gilbert Jeremy...

...?’ meme Thriller Jackson Ray O desisting Lacan J Meta mirror stage Lacan social media delurk digital literacy lurker lurking popcorn Henry Mahew Michael Jackson Nonnecke reflexive entertainment The cover of James V. Smith’s horror novel The Lurker contains the tagline...

... Dance Moms; and the agitated frowning, biting and snarling actions that characterize the music video performances of Michael Jackson at the height of his career.2 Yet despite this acknowledgment that the face offers an important contribution to dance performance, the dancing face has not been fully...

... to prominence. Takeoffs and remixes by contemporary artists display a range of responses to the work. Reinterpretations by Stanley Kubrick, Michael Jackson, BTS, and contemporary hip hop performers like Dreya Mac among others suggest that the film is becoming a referential resource for reinventions...

...Figure 33.1 Pop singer Michael Jackson of the R&B quintet “Jackson 5” performs onstage c.1970. Photo by Michael Ochs Archives/Getty Images. This chapter examines the early performance style of Michael Jackson and argues that his work as a child prodigy is crucial to understanding his...