The Gloved Wonder: The World's Greatest Entertainer

Groundins

By: Charles H.E. Campbell

Before Michael Jackson came along, Sammy Davis Jnr. was credited as the best performer of the 20th century - ultimately, Michael eclipsed him.

Born in Gary, Indiana, on August 29, 1958, Michael Joseph Jackson was the seventh child of Joseph and Katherine Jackson. His father was a steel mill worker and part-time musician playing R&B with the Falcons. Joseph saw the musical potential in his sons, who in the early 1960s had formed The Jackson Brothers. In 1964, young Michael and Marlon joined their older brothers Jackie, Tito and Jermaine, renaming the band the Jackson 5.

In 1966 they won a local talent contest which helped them to secure a record deal with Gordon Keith's local Steeltown label in 1967. Their first single, Big Boy was released in January 1968 and was a regional hit. They began doing high-profile performances including winning amateur night at the Apollo Theatre and opening for Motown's Bobby Taylor and the Vancouvers at the Regal Theatre in Chicago. This brought them to the attention of Motown head, Berry Gordy and by spring 1969, the Jackson 5 was added to the Motown roster.

Their first single, I Want You Back was released in December 1969 and reached number one in January 1970. The Jackson 5 became an instant sensation, with other 1970 releases ABC and I'll Be There shooting to the top spot on the Billboard Pop Singles and the Billboard Soul Singles (R&B) charts.

In 1971, Michael's solo career began with the top five hit Got To Be There, followed by the title track of the motion picture, Ben, which was a million-seller and his first US#1 in 1972. This would mark his domination of the pop music scene for the next two and a half decades with Off the Wall (1979), Bad (1987), Dangerous (1991) and HIStory (1995) among the world's best-selling records. Thriller (1982) won an unmatched, record-breaking eight Grammys and is the best-selling album of all time, with over 100 million units sold worldwide to date. AC/DC's Back In Black (1980) runs second with a mere 45 million units sold. As of 2008, Dangerous has sold 32 million copies worldwide; it is the most successful new jack swing album of all time. By the way, new jack swing is pop music usually performed by black musicians that combines elements of jazz, funk, rap, and rhythm and blues.

Michael broke down racial barriers. For instance, in 1982, he became the first African-American entertainer to air on MTV, helping to capture a large crossover following. Significantly, he insisted that his videos be almost simultaneously released on BET as well, making BET founder, Bob Johnson, credit him for the survival of the music network in those incipient stages. The widespread popularity of Michael's videos gave both music channels international fame. Videos such as Beat It, Billie Jean and Thriller transformed the music video concept from a promotional tool into an art form. Other innovative videos such as Black or White and Scream continued to propel Michael's career during the 1990s.

Michael popularised a number of physically complicated dance techniques, most notably the moonwalk. His distinctive musical sound and vocal style impacted multiple generations, paving the way for modern pop music in America, while influencing many hip hop and contemporary R&B artistes, including Ne-Yo, Usher, Britney Spears, Justin Timberlake, Mariah Carey and R Kelly. His musical creations have been sampled by countless others.

Throughout his career, Michael raised and donated millions to beneficial causes through his foundation, charity singles like We Are The World (1985) and Heal The World (1991) and support of 39 charities.

Michael sold a total of 750 million records worldwide and in the process, achieved 13 number one singles and won 13 Grammys. He was inducted into the Rock and Roll Hall of Fame twice - once as a member of The Jackson 5 in 1997 and then in 2001 as a solo artiste. He also received numerous other awards and honours including multiple Guinness World Records- especially one for 'Most Successful Entertainer of All Time'- World Music Awards' Best-Selling Pop Male Artiste of the Millennium and the American Music Award's Artiste of the Century. In 1984, he was inducted into the Hollywood Walk of Fame and in 2002, he was inducted into the Songwriter's Hall of Fame.

Michael was the consummate entertainer who perfected a wide range of skills including lyricist, composer, producer, dancer, choreographer and incorporated all of these to dominate the charts with his instantly identifiable voice, gravity-defying and spectacular dance moves, musical versatility and sheer star power. In the mid-1980s, Time described Jackson as "the hottest single phenomenon since Elvis Presley". By 1990, Vanity Fair cited Jackson as the most popular artist in the history of show business. It is estimated that Michael earned over $500 million from royalties on his solo recordings and music videos, revenue from concerts and endorsements.

On March 8, 1975, Michael Jackson and the Jackson 5 headlined a concert at the National Stadium, promoted by Chester McCulloch. Interestingly, Third World and Bob Marley were the other acts for this history-making show.

Email: che.campbell@gmail.com

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Get With It! Dancehall Rules!

Groundins

By: Charles H.E. Campbell

Sunday, June 14, 2009.

If one wishes to gauge the popular culture or determine the most influential stimulus driving it, consider this fact: Dancehall. We can bleat against the genre’s influence and popularity all we want, but as time passes, Dancehall music continues its penetration into our social and cultural life, gradually permeating many other cultural and artistic manifestations, traditional rites, rituals and even our psyche.
The reality is that, by far, the majority of the live events in Jamaica today could be described as Dancehall events. Once, parties played a range of music; from Calypso and Soca, Soul, Rhythm and Blues, Reggae. Now, the popular all–inclusive parties offer largely only Dancehall music and its derivatives (Rap and Hip-Hop), very much like a regular dance. The uptown young people have adopted the Dancehall styles and trends in their dress and even the Dancehall lingua franca.

Traditionally, set-ups and nine-nights were heavily reliant on Revival songs, Negro spirituals, church hymns- many times sung from the actual song book- and traditional Afro-Jamaican dance forms like Kumina, Etu and Dinki Mini. Some were complemented by professional roving bands that had mastered the funereal repertoire and were formed mainly to provide this service at these rites. More and more, the musical form and backdrop of these rites are now sound systems playing predominantly a diet of Dancehall music and what should be the consolation of the bereaved is essentially a big bashment, serving still, a deeper, social purpose.

Like those nine-night and set-up gatherings, in the last ten years, we have seen funerals gradually transform from being sombre, pious and solemn affairs, to being more closely akin to Dancehall-influenced celebratory bling bashes. From the top line vehicles, sometimes rented just for this occasion; to the modes of dress and attire- micro miniskirts, 4” and 5” hooker heels, sequined, tattoo-enhancing, cleavage-bearing blouses, frill tuxedos, jeans and outfits from internationally acclaimed designers; to the elaborate weaves and glue-on wigs in varying and sometimes psychedelic colours; and the other bling accessories- the images presented and represented in a funeral setting are a stark departure.

Even the material and the designs used for coffins have evolved from being simple, sober and elegant to being gaudy, extravagant and trophy-like, often featuring sprayed on and printed on images of the deceased. Come to think of it, the word ‘evolve’ in this context might be inappropriate. In a sense, this practice is not new, because our ancestors in Ancient Egypt, Kush and Nubia buried their dead in elaborately designed, richly painted, human-shaped coffins known as sarcophagi. This new trend might in fact, just be a throwback. But then, how do you explain the glass carriage towed by the hearse (replete with images again), blaring Dancehall songs like Mavado’s I’m On The Rock, the one that goes “to all my friends that pass and gone, it’s not good bye, it’s good over evil” (Dem Alone) or anything from Elephant Man’s extensive catalogue of ‘religious Dancehall’ songs; the Dancehall trademark of dancing in the middle of the street; or the champagne and Guinness libations in the church and at the graveside? Surely, this is indigenous stuff.

Admittedly, however, some events are merely inspired by the Dancehall. Many roots plays dramatise real life stories and controversies of Dancehall personalities.
Those of us who have been travelling around the island recently will notice the word ‘Gaza’ spray painted on many a wall across the country, from the Kingston Metropolitan Region to Bluefields and Savannah-la-Mar. Gaza is the colloquial reference for the physical space (in Portmore) of Vybz Kartel and the Empire. The widespread graffiti symbolises his influence over whole communities in the on-going lyrical, infernal feud between himself and Mavado and his Gully (Cassava Piece) camp.

After some initial resistance from the traditionalists, the musical genre has also made significant in-roads in penetrating the hallowed halls of especially the charismatic churches. The adaptation of Dancehall music and dance styles epitomised by the relative success of Lt. Stitchie and Papa San, followed by the heavy bling mode of dress promoted by some of the younger gospel deejays like Prodigal Son and DJ Nicholas, is testament to the growing acceptance of the Dancehall culture among all sections of the population.

Surely the time has come to recognise- not just the trend, its implications and ramifications- but the potential for good, inherent in the very creativity that is at its core, along with its other redeeming qualities and features. By so doing, as a nation, we may begin to harness those essentials, in a drive to help us achieve our desired goals in education, national unity, social cohesion and the erosion of the political tribalism that has stymied the development of our country for so long.

Email: che.campbell@gmail.com