July 2, 2009
Michael Jackson: Manufactured Grief for a
Manufactured Man
There is little that is worthwhile to say
about Michael Jackson, and there hasn’t been
for many, many years. His immense musical
talent offset by utter incapacity in
virtually every aspect of his mad, miserable
life, Jackson did precisely what crazed
savants have almost always done: Peak early,
decline dramatically and kick their own
buckets prematurely.
Since his debut as the horsewhipped child
star at the center of the Jackson 5 in the
late 1960s, there has been nothing about his
machine-made career or dismal and
unwholesome personal life that has not been
wholly predictable. Anyone who didn’t think
him doomed to die prior to a mythic,
prescripted “comeback” engagement at
London’s 02 Arena simply wasn’t paying
attention.
What is worthwhile to note is America’s
response to Jackson’s readymade implosion.
Within milliseconds of the moment his
diseased heart stopped beating, the web and
the airwaves were awash in expressions of
plasticene shock, sorrow and dismay. Sensing
the arrival of their allotted 15 minutes of
fame, a succession of distant Jackson
associates lined up for interviews, offering
their vapid individual perspectives on
Jacko’s crash to Earth while interviewers
and anchors solemnly nodded, a Greek chorus
of readymade mourners certifying his death
as a bona fide Event Of Great Importance.
As ratings-friendly spectacles go, we hadn’t
seen its like since Princess Diana’s
Mercedes kissed a concrete pillar at 100
miles per hour. Like Jackson, Diana of
Spencer had long since been eclipsed as a
human being by the mammoth media-generated
CipherDiana that surrounded and engulfed her
– a waving blonde tabula rasa upon which the
world’s proles could project their
affections, aspirations, hopes and ideals.
When the “People’s Princess” met her grisly
end, transatlantic convulsions of horror and
grief oozed from every television screen and
collected like filtered toxins in countless
millions of individual consciousnesses. All
the world, it seemed, mourned a woman it had
never known and never met as her
larger-than-life public personage collapsed
like a captive balloon in a Macy’s parade.
And thus it is with Jackson. Forgotten is
the malignant voyeuristic drooling that
accompanied his child sex scandals, the
mockery that met his disastrous plastic
surgeries and erratic public behavior. With
his demise, we have come to meet a new,
improved media-generated SuperMichael, the
misunderstood and tragic Tormented Genius of
Neverland, somehow scrubbed clean of his
psychoses and malfeasances, magically
transformed into the same sort of sainted
blank slate that the tens of millions who’d
long since ceased buying his records could
suddenly use as the focus for their pent up
frustration, sorrow and pain.
When Michael Jackson evolved from
universally-popular King of Pop into
carnival freak in the early ‘90s, it was as
if he had betrayed the entirety of
MTV-worshipping planet: We didn’t mind
quirkiness, eccentricity or arrogance in our
music stars, but deranged vulnerability was
beyond the pale. Thriller posters and
single white gloves were discarded en masse,
to be replaced by eagerly-thumbed copies of
supermarket tabloids documenting various
facets of the Jackson malaise – financial
failure, alleged pederasty, sham marriages,
physical deformity. Jackson remained a
product. He was simply sold to the public in
a different package with a distinctly ugly
aftertaste.
His inevitable rendezvous with the grave has
transformed him yet again – the sainted
phantom of Neverland, the eternally lost
little boy-man devoured by his own success.
This, too, is a media-made myth, a cipher
wrapped around a cipher wrapped around a
cipher surrounding an empty core and
enfolded in that most becoming celebrity
shroud – death. Death is Michael Jackson’s
biggest hit of all, a top-of-the-charts
classic that resonates across class,
language and culture, uniting legions in the
universal language of manufactured grief for
a manufactured man. Humanity looked at this
“Man In The Mirror” in the ‘80s and saw
acrylic-coated cool. Seeing its reflection
now, only oblivion stares back.
©
2009 North Star Writers Group. May not
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