claudiadoina
Proud Member
About a year ago, I happened to find a small, soft-cover, self-published book, by New York music and film critic, Armond White, Moving On: The Chronicles of Michael Jackson. Then, as now, it was virtually impossible to find literary material that examined Michael’s life-work, or the person he was in a fair and non-sensationalistic manner. After researching who Mr. White was, and what his book addressed, I decided this release may be something special. Mr. White began critiquing Michael’s music and short films in the mid-eighties and continued to do so through the late nineties. I find his insight and analysis of Michael’s artistry to be compelling and rich in understanding, as he delves deep into the thought processes and powerful messages that Michael incorporated in his work. Mr. White examines Black or White in depth and relays stunning interpretations of the" Panther Dance", or coda that closes the short film. He also discusses Scream, Jam, and many other important releases with regard to the music, lyrics, and visual representation. I enjoyed following Mr. White’s increasing appreciation for Michael’s courage and determination to express his creativity in the face of powerful and fierce opposition.
Armond White has graciously agreed to this interview, and I want to personally thank him for his time and expertise, as we all strive to understand the profound influence that Michael’s artistic genius has and will continue to have on future generations. As he so eloquently states, “We all live, dance, and cry in Michael Jackson’s shadow".
Lauren: Mr. White, thank you for agreeing to this interview. Could you tell us about your background?
Armond: I was born and raised in Motown (Detroit, Michigan); received my Bachelor’s degree in Journalism, and a Masters in Film History, Theory and Criticism from Columbia University; was Critic and Arts Editor at New York’s The City Sun (1984-1996); won the ASCAP-Deems Taylor Award for Music Criticism; Chief Film Critic at New York Press (1997 to present); three times Chairman of New York Film Critics Circle. Books: The Resistance: Ten Years of Pop Culture That Shook the World, Rebel for the Hell of It: The Art Life of Tupac Shakur, and Keep Moving: The Michael Jackson Chronicles.
Lauren: What attracted you to writing as a career, and how did you come to be a film critic?
Armond: Reading Pauline Kael’s review collection, Kiss Kiss Bang Bang showed me that criticism could be a literary form, and a way of understanding ones response to popular culture and what it means to society.
Lauren: Did you have particular mentors, or those you admired who prompted you to pursue your own work?
Armond: My family has always been my primary mentors, and various examples of good thinking and writing.
Lauren: What outlets do you work with for now? Do you find it enjoyable?
Armond: Working for the politically-conscious, black-owned The City Sun was an inspiration, as its motto, "Speaking Truth to Power", suggests. Writing now for New York Press is a great opportunity to speak Truth to Power. I feel fortunate to be there.
Lauren: I imagine you spend a lot of time viewing film, and doing research. Can you speak to that a little?
Armond: Everything in life contributes to how you respond to art. I see, read, and listen to a lot of movies, books, and music; one form influences another, it all helps.
Lauren: What do you find most challenging about your work?
Armond: Trying to keep up with what’s new, and discovering new and old artists. Also, bringing honesty to a
culture corrupted by greed and dishonesty, and racism.
Lauren: Could you tell us a little about the two books you published before Keep Moving: The Michael Jackson Chronicles?
Armond: The Resistance collects writing from 1984 to 1994 when pop culture underwent major changes, due to the advent of Hip-Hop and the impact of artists like MJ, Public Enemy, Morrissey, Steven Spielberg, Pedro Almodovar, and August Wilson. Rebel for the Hell of It was a chance to assess Tupac’s cultural significance -- a theme I will also pursue in an upcoming monograph on MJ titled, Souvenirs. Look for it soon.
Lauren: What prompted you to write about Michael Jackson's art? Did you listen, and appreciate it as a young person, like so many people did?
Armond: MJ was a phenomenal artist. I knew it from the moment the Jackson 5 appeared on the Hollywood Palace in 1969. Since then, his career has been one astonishment after another. He has been the foremost challenge to art and politics for more than the past quarter century. Since Thriller, he’s also been the greatest musical and music video inspiration.
Lauren: Your review of Michael's short film, Black or White, written in 1991, The Gloved One is Not a Chump, won the ASCAP-Deems Taylor Award for Movie Criticism in 1992. Your discussion, particularly regarding the final coda dance, is very educational, thought-provoking, and revealing. Would you speak about how important this film was, and continues to be?
Armond: I hope the essay itself does justice to Black or White, and lays out its importance as an artistic watershed and a great political proposition. It’s full of history, anger, beauty, and faith in humanity’s potential
.
Lauren: Would you comment on the courage it took for Michael to express himself in the way he did, and how he managed to have the world watching and experience it collectively?
Armond: Black or White is a great example of what a principled artist can accomplish. MJ had the world’s attention, and used the moment to its fullest. But then, he did that again and again -- with "Bad", "Scream", and This Is It.
Lauren: Do you think he was aware of the potential backlash, especially to the coda, but did it anyway to get his message to as great an audience as possible?
Armond: An artist is moved to express himself, and can’t be concerned about backlash. Black or White was MJ’s brilliant and fearless message to the world. He always recoiled from backlash, but then would comeback stronger every time. "Scream" carries forward the courage and anger and vision of Black or White’s coda.
Lauren: You write in depth about “Jam,” and “They Don't Really Care About Us.” The firestorm started by certain writers after TDRCAU was released, was profound. As time passes, and fair, non-skewed studies are published and released on this work, do you think more people will understand the genius and powerful social statements involved?
Armond: Of course! But, since MJ was also concerned to speak Truth to Power, his vision will always need to be protected by his admirers, from the assault and denial perpetrated by powerful media folk who want to maintain the status quo.
Lauren: You write about the media's superficial reviews of Michael's work, seen through the prism of racism, judgment of his person, lifestyle, personal choices, etc..Why do you think Michael was singled out for the treatment he received?
Armond: Again, MJ spoke Truth to Power in a voice that could not, would not be ignored, and the media fought back -- viciously.
Lauren: Do you have an opinion on why the media continues to marginalize Michael's work, even after death? Why the efforts to "...stop the beat, as well as celebrations of Jackson"?
Armond: The simple and profound answer is racism. There are few folks in the mainstream today who will admit it, but James Brown, James Baldwin, Dr. King, Malcolm X, Miles Davis, Sammy Davis, Jr., Marlon Brando, Elizabeth Taylor, and Ralph Ellison knew it. MJ is in that lineage. We’re dealing with an artist, but we’re also talking about politics. A black artist in America always faces an uphill battle from a still-prejudiced power structure that operates from deeply instilled biases. This goes unspoken, and is often disguised as “morality” and “taste”, but in the end it’s simply white supremacy.
Lauren: In the history of modern music and film, where would you place Michael Jackson in importance and cultural influence?
Armond: MJ’s musical and cinematic (music video) achievements place him in the rare company of artists who have mastered various media. He should be ranked with the greatest multi-taskers: Charles Chaplin, Jean Cocteau, Laurence Olivier, Orson Welles, and Marlon Brando.
Lauren: What are your thoughts about Michael as social activist?
Armond: The political content -- the messages -- of MJ’s work remain to be discovered and appreciated, but it’s a crucial aspect of his artistic project. I hope Keep Moving will help to illustrate the development of his political voice and vision.
Lauren: What do you think will be his lasting impact, his legacy?
Armond: MJ created music that many, many people lived their lives to. He made some of the most unifying songs ever. That impact can’t be stopped, no matter how many so-called experts wish to deny it.
Lauren: Do you personally have a particular favorite song or short film and why?
Armond: No single personal favorite. MJ’s music and videos enrich so many different moods. “The Love You Save”, “Ben”, “Billie Jean”, “Bad”, “Jam”, “You Are Not Alone”, the Tony Moran mix of History.” It depends on what you feel at any moment -- although I feel that the Black or White film is a towering achievement.
Lauren: How have your many years of reviewing Michael's work affected you personally?
Armond: It’s been inspiring to go back over those songs and videos I had at first taken for granted; to feel revived by them.
Lauren: And lastly, what do you see as the primary messages that ordinary people can learn and take away from his body of work?
Armond: What Jesus Christ commanded, “Love One Another'. Plus, “You Are Not Alone'.
http://mjtpmagazine.presspublisher....f-keep-moving-the-michael-jackson-chronicle-s
Armond White has graciously agreed to this interview, and I want to personally thank him for his time and expertise, as we all strive to understand the profound influence that Michael’s artistic genius has and will continue to have on future generations. As he so eloquently states, “We all live, dance, and cry in Michael Jackson’s shadow".
Lauren: Mr. White, thank you for agreeing to this interview. Could you tell us about your background?
Armond: I was born and raised in Motown (Detroit, Michigan); received my Bachelor’s degree in Journalism, and a Masters in Film History, Theory and Criticism from Columbia University; was Critic and Arts Editor at New York’s The City Sun (1984-1996); won the ASCAP-Deems Taylor Award for Music Criticism; Chief Film Critic at New York Press (1997 to present); three times Chairman of New York Film Critics Circle. Books: The Resistance: Ten Years of Pop Culture That Shook the World, Rebel for the Hell of It: The Art Life of Tupac Shakur, and Keep Moving: The Michael Jackson Chronicles.
Lauren: What attracted you to writing as a career, and how did you come to be a film critic?
Armond: Reading Pauline Kael’s review collection, Kiss Kiss Bang Bang showed me that criticism could be a literary form, and a way of understanding ones response to popular culture and what it means to society.
Lauren: Did you have particular mentors, or those you admired who prompted you to pursue your own work?
Armond: My family has always been my primary mentors, and various examples of good thinking and writing.
Lauren: What outlets do you work with for now? Do you find it enjoyable?
Armond: Working for the politically-conscious, black-owned The City Sun was an inspiration, as its motto, "Speaking Truth to Power", suggests. Writing now for New York Press is a great opportunity to speak Truth to Power. I feel fortunate to be there.
Lauren: I imagine you spend a lot of time viewing film, and doing research. Can you speak to that a little?
Armond: Everything in life contributes to how you respond to art. I see, read, and listen to a lot of movies, books, and music; one form influences another, it all helps.
Lauren: What do you find most challenging about your work?
Armond: Trying to keep up with what’s new, and discovering new and old artists. Also, bringing honesty to a
culture corrupted by greed and dishonesty, and racism.
Lauren: Could you tell us a little about the two books you published before Keep Moving: The Michael Jackson Chronicles?
Armond: The Resistance collects writing from 1984 to 1994 when pop culture underwent major changes, due to the advent of Hip-Hop and the impact of artists like MJ, Public Enemy, Morrissey, Steven Spielberg, Pedro Almodovar, and August Wilson. Rebel for the Hell of It was a chance to assess Tupac’s cultural significance -- a theme I will also pursue in an upcoming monograph on MJ titled, Souvenirs. Look for it soon.
Lauren: What prompted you to write about Michael Jackson's art? Did you listen, and appreciate it as a young person, like so many people did?
Armond: MJ was a phenomenal artist. I knew it from the moment the Jackson 5 appeared on the Hollywood Palace in 1969. Since then, his career has been one astonishment after another. He has been the foremost challenge to art and politics for more than the past quarter century. Since Thriller, he’s also been the greatest musical and music video inspiration.
Lauren: Your review of Michael's short film, Black or White, written in 1991, The Gloved One is Not a Chump, won the ASCAP-Deems Taylor Award for Movie Criticism in 1992. Your discussion, particularly regarding the final coda dance, is very educational, thought-provoking, and revealing. Would you speak about how important this film was, and continues to be?
Armond: I hope the essay itself does justice to Black or White, and lays out its importance as an artistic watershed and a great political proposition. It’s full of history, anger, beauty, and faith in humanity’s potential
.
Lauren: Would you comment on the courage it took for Michael to express himself in the way he did, and how he managed to have the world watching and experience it collectively?
Armond: Black or White is a great example of what a principled artist can accomplish. MJ had the world’s attention, and used the moment to its fullest. But then, he did that again and again -- with "Bad", "Scream", and This Is It.
Lauren: Do you think he was aware of the potential backlash, especially to the coda, but did it anyway to get his message to as great an audience as possible?
Armond: An artist is moved to express himself, and can’t be concerned about backlash. Black or White was MJ’s brilliant and fearless message to the world. He always recoiled from backlash, but then would comeback stronger every time. "Scream" carries forward the courage and anger and vision of Black or White’s coda.
Lauren: You write in depth about “Jam,” and “They Don't Really Care About Us.” The firestorm started by certain writers after TDRCAU was released, was profound. As time passes, and fair, non-skewed studies are published and released on this work, do you think more people will understand the genius and powerful social statements involved?
Armond: Of course! But, since MJ was also concerned to speak Truth to Power, his vision will always need to be protected by his admirers, from the assault and denial perpetrated by powerful media folk who want to maintain the status quo.
Lauren: You write about the media's superficial reviews of Michael's work, seen through the prism of racism, judgment of his person, lifestyle, personal choices, etc..Why do you think Michael was singled out for the treatment he received?
Armond: Again, MJ spoke Truth to Power in a voice that could not, would not be ignored, and the media fought back -- viciously.
Lauren: Do you have an opinion on why the media continues to marginalize Michael's work, even after death? Why the efforts to "...stop the beat, as well as celebrations of Jackson"?
Armond: The simple and profound answer is racism. There are few folks in the mainstream today who will admit it, but James Brown, James Baldwin, Dr. King, Malcolm X, Miles Davis, Sammy Davis, Jr., Marlon Brando, Elizabeth Taylor, and Ralph Ellison knew it. MJ is in that lineage. We’re dealing with an artist, but we’re also talking about politics. A black artist in America always faces an uphill battle from a still-prejudiced power structure that operates from deeply instilled biases. This goes unspoken, and is often disguised as “morality” and “taste”, but in the end it’s simply white supremacy.
Lauren: In the history of modern music and film, where would you place Michael Jackson in importance and cultural influence?
Armond: MJ’s musical and cinematic (music video) achievements place him in the rare company of artists who have mastered various media. He should be ranked with the greatest multi-taskers: Charles Chaplin, Jean Cocteau, Laurence Olivier, Orson Welles, and Marlon Brando.
Lauren: What are your thoughts about Michael as social activist?
Armond: The political content -- the messages -- of MJ’s work remain to be discovered and appreciated, but it’s a crucial aspect of his artistic project. I hope Keep Moving will help to illustrate the development of his political voice and vision.
Lauren: What do you think will be his lasting impact, his legacy?
Armond: MJ created music that many, many people lived their lives to. He made some of the most unifying songs ever. That impact can’t be stopped, no matter how many so-called experts wish to deny it.
Lauren: Do you personally have a particular favorite song or short film and why?
Armond: No single personal favorite. MJ’s music and videos enrich so many different moods. “The Love You Save”, “Ben”, “Billie Jean”, “Bad”, “Jam”, “You Are Not Alone”, the Tony Moran mix of History.” It depends on what you feel at any moment -- although I feel that the Black or White film is a towering achievement.
Lauren: How have your many years of reviewing Michael's work affected you personally?
Armond: It’s been inspiring to go back over those songs and videos I had at first taken for granted; to feel revived by them.
Lauren: And lastly, what do you see as the primary messages that ordinary people can learn and take away from his body of work?
Armond: What Jesus Christ commanded, “Love One Another'. Plus, “You Are Not Alone'.
http://mjtpmagazine.presspublisher....f-keep-moving-the-michael-jackson-chronicle-s
