| Dear Eliot, Michael Jackson's Blackness routinely elicits speculation, pride, debate, apprehension and anger. Most things about Jackson prompt a visceral reaction - his music, looks, creativity, dance, wardrobe, spirit, and his 'way of being' himself in this world. He remains forever that unique extravagance that can neither be ignored nor fully grasped. Michael glittered between the atoms of creation, moving deftly outside accepted structure, and singing life in a new key. That he was born poor and Black in 1958 America set the obstacle course that Michael Jackson determined to maneuver, leap over, spin around and land dead center on his toes. Yet, that same harsh terrain he conquered as warrior also formed a kind, generous, soft-spoken prince. Such might be the stuff of fairy stories except that this singular, Black warrior prince - having subdued the dragon and brought the world new happiness -- did not live happily ever after. Instead, he was hated, hunted, betrayed, plotted against, lied about, picked apart and repeatedly wounded - by individuals and by mainstream media. Why? For his unmatched talent and pursuit of excellence? For the treasure he earned, and liberally shared with others? For tilling the soil future artists now grow in? For unbridled pride in and respect for his own Black heritage? For his long memory and frequent 'All Hail' to artists of color whose souls, hopes, and hurts lived in his body? For the unconditional love and respect he gave to and received from admirers worldwide? Yes to all. Michael Jackson's music - portal to the man and his message - often eludes professional critics or is deliberately ignored by a deaf, dumb and blind m edia focused on chasing scandal and quick profits. His films are NOT timid, sugar-coated whispers, but loud, raw, angry screams against the injustice, suppression and prejudice that chain the bodies, minds and souls of both prisoners and those who imprison -- if they but knew it. The Michael Jackson Preservation Project explored the "Sounds of Michael Jackson's Blackness" with guest Armond White, New York film critic and author of "Keep Moving: The Michael Jackson Chronicles," a celebrated book of essays published in 2009 but written over the previous 20 years. White shared substantive analyses of Michael's songs and short films, and some lively responses to critics and media in general. Listen to the entire program at: www.blogtalkradio.com/preservingmj/SoundsofBlackness HIGHLIGHTS: On the critics: Critics of Michael Jackson's later work scoffed at the idea that Michael was still Black. White: "Don't look at him. Listen to him. Michael is rooted in Black culture and you can hear it in his singing, rhythm, vocal grunts, and ingenuity of phrasing. Mainstream media tried to portray him otherwise." Why did critics focus on controversy rather than the music? White commented on critics in general and discussed the particular challenges faced by Black critics working in a predominately white profession; the pressure to conform their opinions to the mostly negative construct of the white mainstream media; and the damage done by their willingness to 'sell out' Black artists for a seat at the table. 'Wanna Be Startin' Somethin' (1982) is a powerful expression of Michael's Afro-centricity for all the world to hear - and a risky one to make within an album intended for the mass audience. On Jackson's Short Films: "Remember The Time " Set in Africa and directed by John Singleton, the young Black director of Boyz N the Hood fame. Michael speaks boldly, proudly and lovingly of Africa as the cradle of civilization.His collaborations with Singleton and others were journeys of discovery and enlightenment that produced glorious entertainment set pieces. "Black Or White" Armond White cites "Black Or White" as Jackson's most significant short film, and views it as the greatest music video ever made - for depth of message, use of cutting edge technology, and timeless relevance. On Hollywood's Closed Doors: White discusses Hollywood's historic inability or unwillingness to accept the genius and innovation of Black artists. Michael Jackson was young, gifted, audacious, and Black - and the doors were shut. Armond White's book, "Keep Moving: The Michael Jackson Chronicles," is available here: http://www.resistanceworks.blogspot.com/ In addition to Armond White, hear 'Sam' from the Michael Jackson Academia Project discuss the Project's video series examining Jackson's short films, their lyrics, imagery and significance. The video project responds to repeated efforts by media to restrict Jackson to a "pop song and dance man" status, and ignore his overarching influence as a revolutionary music pioneer and visionary messenger. HIGHLIGHTS: Sam on "Black Or White" "Boy is the girl with you? Yes, we're one and the same." Jackson draws on personal experiences. Tatum O'Neal, a friend of Jackson's in the late 1970s, was discouraged by her managers from accompanying Michael to an awards show because he was Black. "I ain't scared of no sheets" Ku Klux Klan visuals. George Washington's statue in the black panther segment. Washington owned some 300 slaves. He signed the Naturalization Act of 1790, the wording of which effectively prevented slaves from becoming citizens. This is a powerful statement by Michael Jackson about the duplicitous nature of American Power by one of its founding fathers and first President of the United States. "They Don't Care About Us" When "They Don't Care About Us" was released, Michael Jackson stood alone at the apex of global stardom - as both the biggest celebrity and the biggest Black celebrity. Based on Dr. Martin Luther King's famous 'I Have a Dream' speech, Michael Jackson draws dramatic parallels between himself and King, between Fame and its evil twin, Defamation, which plagued both men. General discussion of Jackson's music fails to explore the underpinnings of his cautiona "Am I invisible 'cuz you ignore me," refers to Ralph Ellison's book, "The Invisible Man" a first-person story of a nameless Black man who considers himself socially invisible. Jackson's Northern Songs catalog (misnamed the Beatles catalog) also contained work by many singers, including Black artists like Little Richard. Michael returned Little Richard's songs to him and gave him a seat on the Board of Directors. Jackson was working to benefit other Black artists as well. Visit the Michael Jackson Academia Project's films: www.YouTube.com/MJAcademiaProject Visit the above link to learn more about the Michael Jackson Academia Project and to explore the Project's other videos, including: "You Remind Me of a Black Panther," "Some Things In Life They Just Don't Want To See," and "As Jacked as it Sounds, the Whole System Sucks (Parts 1 and 2)." Michael Jackson created music that lightened our heavy hearts, enlightened our minds, and strengthened our spirits to heal an endangered world. Yet, the more he achieved, the more determined were forces to erase him and substitute an invented Wacko Jacko alter ego for public consumption. To the extent they succeeded, Michael Jackson suffered bitterly - but never gave up. Jackson knew that physical death is not the last word. Though the creator dies, the creation lives on, fulfilling its purpose, moving forward forever. The last laugh will rest with the good warrior-prince. Days after Jackson's death, Tavis Smiley, PBS talk show host, discussed aspects of Michael Jackson's spirituality with Dr Cornel West, Princeton University, and Dr Michael Eric Dyson, Georgetown University. Here is the link: www.pbs.org/TavisSmiley/Dyson/West Best Regards, MJTruthNow www.MJTruthNow.com | 
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