On the back of acclaimed
and lucrative runs in New York and London, the Michael Jackson musical MJ
opened in Sydney last weekend. The Broadway production has won four Tony Awards.
The London show has been hailed as the most spectacular in the West End. By the
end of the Sydney premiere, the whole audience was on its feet, electrified by
a heady succession of superbly choreographed, show-stopping reinventions of
Jackson’s greatest hits.
Produced by the Jackson
estate, MJ is a hard show for any respecter of fact to enjoy without
qualm. Visually and sonically, it’s unbelievably good. Unfortunately, it’s unbelievable
in another sense too. It has a truth problem. Spitting in the face of
historical reality, it portrays Jackson as a virtual saint: a selfless, put-upon
victim, persecuted by a world obsessed with nasty gossip.
Billed as a celebration
of Jackson’s “unparalleled artistry”, MJ also ends up celebrating the
man himself, defiantly, audaciously, unashamedly. But surely we all agree by
now that Jackson is not a man to be celebrated? It’s one thing to believe his music
can still be enjoyed despite the wealth of credible evidence that he was a serial
child molester. It’s quite another to pretend the evidence doesn’t exist.
MJ,
however, does precisely that. It dodges the issue of Jackson’s alleged
criminality by setting itself in 1992, which just happens to be the year before
the first public charge of child abuse was levied against him. MJ doesn’t
so much rewrite history as pretend that history stopped happening in 1992. It behaves
as if the alarm bells about Jackson can be unrung, and we can all return to a
prelapsarian time when the worst you could say about him was that he was a weirdo
with a pet chimp.
On the face of it, it
seems bizarre that MJ is happening at all, given the zero-tolerance attitude
that America’s cultural watchdogs have taken, in recent years, towards the moral
shortcomings of their entertainers. Celebrity misbehaviour – ranging from the monstrously
criminal to the not even illegal, and from the solidly demonstrated to the far from
proven – has been cracked down on all over the place.
So what’s going on with
the MJ musical? Nobody, at this point in history, would dare to stage an
all-singing, all-dancing tribute to the artistry of Rolf Harris or Bill Cosby.
What makes Jackson’s case
so different from theirs? Have we decided that his extreme talent is a wildcard,
which obliges us to suspend our otherwise fanatical moral vigilance? Or do we think
the case against him hasn’t yet been made?
There was a time when it
was just about possible to think it hadn’t been, if you squinted at the facts
from a lenient enough angle. The evidence of Jackson’s alleged crimes came out
piecemeal, by way of several cases spread over several decades.
In 1993, he was accused
of molesting a 13-year-old boy named Jordy Chandler. Unfortunately, Chandler’s
father muddied the waters of that case from the start, by pursuing his complaint
against Jackson in a very American way. Instead of going straight to the police,
he invited Jackson to pay him US $20 million to keep the allegation quiet.
Jackson refused to pay,
and sued Chandler for extortion. Chandler counter-sued, now seeking $30
million. Simultaneously, police launched a criminal investigation of Jackson. His
Neverland Ranch was raided. Child erotica was seized. Jackson’s genitals were
photographed for evidentiary purposes.
Then Jackson himself further
muddied the waters – or perhaps clarified them – by settling Chandler’s civil
suit for US $23 million. The criminal investigation collapsed shortly
afterwards.
Jackson and his lawyers
stressed, of course, that his payment of this gargantuan sum did not suggest,
in any way, shape or form, that he was guilty. He just wanted to spare himself the
tiresome hassle of a trial. “I wanted to go on with my life,” he explained.
Regrettably, the life he
wanted to go on with would continue to revolve around his creepy habit of inviting
young male fans around for sleepovers. One of these boys was 13-year-old Gavin
Arvizo, who was recovering from cancer when Jackson befriended him.
In 2005, Jackson was charged
with molesting Arvizo. This time the case went to trial. Several former
sleepover buddies of Jackson, including the actor Macaulay Culkin, swore on the
stand that Jackson had never touched them inappropriately. Persuaded by such
testimony, the jury found Jackson not guilty.
When Jackson died in 2009,
his personal reputation wasn’t exactly spotless. But his defenders could still claim,
correctly, that he’d never been convicted of anything in a court of law.
The fantasy of Jackson’s
innocence finally came crashing down in 2019, with the release of the documentary
Leaving Neverland. That damning four-hour film was built around excruciatingly
detailed interviews with two fresh Jackson accusers: the Australian-born
choreographer Wade Robson, who charged that Jackson had repeatedly raped and assaulted
him over an eight-year period in the 1990s, starting when Robson was 7; and the
former child-actor James Safechuck, who claimed to have been similarly abused
by Jackson between the ages of 10 and 14.
To say that Robson and
Safechuck’s stories had the ring of truth would be an understatement. In the
wake of Leaving Neverland, a stunned, nauseated, and near-universal
consensus seemed to set in. The King of Pop had been a very, very bad man.
For a while, everyone
seemed determined to do something about this. “We’ll never listen to Michael
Jackson the same way again,” declared CNN, a week after the documentary went to
air. Radio programmers in Australia, and around the world, announced they would
no longer be playing Jackson’s songs.
That righteous backlash didn’t
last long. A New Zealand radio station that stopped playing Jackson’s songs in March
2019, when the documentary came out, was already playing them again by
November, citing “positive listener survey results.” In 2023, online
consumption of Jackson’s music grew by 38%. For better or worse, the public has
spoken. Jackson’s music is just too good to throw away.
Does this mean people have
chosen to forget or ignore the weight of the evidence against him? Or have we decided,
in this case at least, that it’s possible to like a song without necessarily
endorsing the morals of its creator?
It’s hard to tell,
because a culture, like a jury, doesn’t have to explain or justify its
verdicts. It just decides things and moves on, voting with its feet and
wallets.
Maybe the best we can do,
in Jackson’s case, is try to articulate and understand our own responses. Speaking
for myself, I have no doubt that Jackson was a reprehensible person. But I feel
no attendant moral obligation to stop enjoying his music.
I have younger friends
who take a harder line. For them, Jackson’s music is now as unacceptable as the
man himself. I understand their view, but I can’t share it. How do I justify my
position, if indeed it needs to be justified?
One answer is that I
couldn’t excise Jackson’s music from my life even if I tried. If you grew up in
the 1980s, as I did, Jackson’s songs were the sonic wallpaper of your youth. They
were everywhere. When the “Thriller” video debuted on prime-time TV in 1983,
everyone you knew stayed up to watch it. We all practiced moonwalking in front
of our bedroom mirrors, even if our floors had carpet on them.
When a musician’s work saturates
an era the way Jackson’s did, it’s redundant to ask if we can separate the art from
the artist. Of course we can. Jackson’s songs became public property the moment
they were released. They became everybody’s. They embedded themselves deep in
the weave of millions of individual lives.
Moreover, Jackson’s music
was pure pop. It never pretended to offer you any access to the contents of the
man’s mind. If he’d been an earnest singer-songwriter like Leonard Cohen or
Joni Mitchell, I don’t doubt that I would now find his work repugnant. It would
all feel like a giant betrayal and lie.
But Jackson’s music never
claimed to be in the truth business in the first place. He didn’t even write
half the songs he’s famous for, and the ones he did write told you nothing
about his inner life except that he liked to dance. Nobody ever seriously
believed that he was the hardened street tough depicted in “Beat It” and “Bad”.
Those songs were exercises in sheer fantasy; they weren’t implicated in
anything Jackson got up to in real life. And I don’t think we implicate
ourselves by continuing to listen to them.
Leaving Neverland
ended with a sequence in which Wade Robson burned his Jackson records and
memorabilia. You could see why such a catharsis felt necessary for Robson. But
the film was too nuanced to demand that its viewers should immolate their own memories
of Jackson. It merely asked us to accept the facts, and reckon with the thorny paradox
Jackson presents. He was one of the most lavishly gifted entertainers of the 20th
century. He was also – as one participant in the documentary mildly put it –
“not a good guy.”
MJ the
musical tries hard to make us forget the second part of that paradox. Reportedly,
the Jackson estate is working on a biopic that will go even further, and actively
contend that the charges against him are bogus. This kind of creeping denialism
must be resisted.
In another respect, the
appearance of MJ is heartening. It suggests that cancellation, that
other form of crude denialism, has had its day. The moral authority of the
cancelling craze – if it ever had any – collapsed for good when Jackson slipped
through the cancellers’ net. Less beloved artists have been banished from the
culture on the strength of evidence far less compelling. Jackson escaped cancellation
not because the case against him lacked merit, but because he was too big to
fail.
And now MJ is
happening, in plain sight. You can either go to it or not go. The choice is
yours: it hasn’t already been made for you by an online mob.
This is surely a welcome
development. The questions that Jackson’s case confronts us with are too
important to be outsourced to strangers. They’re questions for the individual
conscience. For most of us, the question of his guilt is settled. The trickier question
is whether we gain anything by sweeping his artistic achievements into the
dustbin of history.
Those achievements were indeed
glorious, as MJ scintillatingly reminds us. But MJ himself was a far
from glorious person. I see why some people wish the facts didn’t say that, but
they do. The case of Michael Jackson offers clinching proof that the excellence
of a work of art implies nothing – nothing at all – about the moral excellence
of its creator.