“Leave me alone, I need my privacy” – An Analysis of Michael Jackson’s ‘Media-Critical’ Songs | The Journal of Michael Jackson Academic Studies | ISSN: 2452-0497

Abstract:  With the secrete of Off The Wall and Thriller, the best-selling album in the entire history of music, Michael Jackson made history as the most successful entertainer of all time. MJ broke criminal record after record and achieved global fame that has been unparalleled then far. Nevertheless, for a long time, Michael Jacksons creative works have been dismissed by critics and academics alike, chiefly due to Jacksons minus public double as constructed by the media. A capital number of scandals, such as the child harassment allegations of the Chandlers in 1993 or the Arvizos in 2003, eclipsed his art and initiated his professional refuse. Since his death in 2009, however, the significance of the King of Pops music, dance and television has lento been acknowledged. This thesis examines Michael Jacksons counterattack against the destructive speculations and rumors of the media by way of his music. It scrutinizes the lyrics of five of his ‘ media-critical songs, namely “ Leave Me Alone ”, “ Why You Wan sodium Trip On Me ”, “ Scream ”, “ Tabloid Junkie ” and “ Privacy ”. In the analyses of these highly autobiographical songs, the focus is constantly on the respective songs speaker. An examination of the communicative situation, the rhyme scheme, rhetorical devices and musical aspects of the five songs reveals how the ( even fictive or fictionalized ) speaker progresses from a powerless victim might position in “ Leave Me Alone ” to a more or less self-empowered being in “ Privacy ”. This, in flex, potentially gives us interesting insights into Jacksons state of judgment over the years with attentiveness to his kinship with the media. Prior to the analytic contribution, biographic information provides the lector with all-important cognition about Michael Jacksons raise as a start artist and his gradual spill because of the changeless, bias and sensational media reports. This biographic data is required in order to in full understand the mean of Jacksons ‘ media-critical songs .
Andreas Ardanic has completed a master ’ s degree in English and french language teach at the University of Graz in Austria and is presently in his teacher training year. In the course of his studies, he became extremely concerned in Literary Studies and dealt with respective forms of anglophone and francophone literature. He has besides been a hobby guitarist and songwriter arsenic well as an avid internet explorer of music for over ten years now .
REFERENCE AS:
Ardanic, Andreas. ‘ “ Leave me alone, I need my privacy ” – An analysis of Michael Jackson ’ s ‘ Media-Critical ’ Songs. ’ The Journal of Michael Jackson Academic Studies 4, no. 2 ( 2017 ). hypertext transfer protocol : //kubet.io/privacy/.

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“Leave me alone, I need my privacy” – An Analysis of Michael Jackson’s ‘Media-Critical’ Songs
By Andreas Ardanic

A diploma thesis submitted for the degree of Master of Arts
At the Karl-Franzens University of Graz
Presented to the Department of English Studies
Supervisor: Ao. Univ.-Prof. Mag. Dr. phil. Hugo Keipe
Graz, 2017 © Andreas Ardanic
Table of contents
1. introduction .
2. The Life of the King of Pop .
2.1 “ Have you seen my Childhood ? ” .
2.2 The Jackson 5 at Motown Records. 2.3 A New Start .
2.4 MJ Going Solo .
2.5 Thriller .
2.6 Michael Jackson Goes Bad… and Dangerous .
2.7 The Gradual Decline of the King of Pop .
3. The Media vs. Michael Jackson .
3.1 A New Image .
3.2 The creation of “ Wacko Jacko ” .
3.3 “ Peter Pan or Pervert ? ” .
3.4 Living with Michael Jackson .
3.5 People v. Jackson .
4. Michael Jackson vs. the Media .
4.1 “ Leave Me Alone ” .
4.1.1 Bad .
4.1.2 “ Just stop doggin ’ me around ” .
4.1.3 Music, verse dodge and rhetorical devices .
4.2 “ Why You Wan sodium Trip On Me ” .
4.2.1 Dangerous .
4.2.2 “ Stop trippin ’ ” .
4.2.3 Music, rhyme outline and rhetorical devices .
4.3 “ Scream ” .
4.3.1 history : Past, Present and Future, Book I .
4.3.2 “ Stop pressurin ’ me ” .
4.3.3 Samples, rhyme system and rhetorical devices .
4.4 “ Tabloid Junkie ” .
4.4.1 “ You ’ re so blasted disrespectable ” .
4.4.2 Samples, rhyme dodge and rhetorical devices .
4.5 “ Privacy ” .
4.5.1 invincible .
4.5.2 “ so paparazzo, get away from me ” .
4.5.3 Rhyme dodge, rhetorical devices and ad-libs .
5. conclusion .
6. Works Cited .
7. appendix : Lyrics .

1. Introduction

Imagine a unseasoned african-american homo with a Jheri lock in a “ crimson leather jacket with up-turned shoulders, outlining the letter V in black on the front and back ” combined with cigarette pants of the lapp color. Imagine the man in a military crown with wide epaulets, pants that end fair above the ankles and that reveal white glitter socks, black penny loafers, and a single white baseball glove covered with thousands of rhinestones. Imagine the serviceman in a white suit with a blue armband, a blue shirt, a “ cheeseparing draw ”, a white fedora, and white videotape on his fingertips ( Fernandes 2011, on-line ). Imagine him with long black hair, his confront concealed by a surgical disguise and dark aviator glasses. Whom do you see ? Add to these inactive visions the automaton dance, a genitalia grab, a recoil, respective glides and spins, a toe stand, the anti-gravity lean, and last but not least the moonwalk ( californium. Baila 2016, on-line ). Of path, it becomes clear that we are talking about the worldly concern ’ second biggest star, artist and entertainer : the King of Pop, MJ, or Michael Joseph Jackson ( cf. Taraborrelli 2010 : 711 ) .
In 1999, Jochen Ebmeier wrote in Michael Jackson : Das Phänomen [1] that american sociologists had found out that over 90 % of all humans knew who Michael Jackson was, making him the most celebrated person who had ever lived ( cystic fibrosis. 1999 : 122 ). even today, more than seven years after Jackson ’ s passing, children still start dancing excitedly when hearing the presentation of “ Billie Jean ” or singing along to the lyrics of “ Beat It ” when the choir begins. Today ’ sulfur children however know Michael Jackson angstrom well as his iconic key signature moves and poses, and have fun imitating them ( californium. Fine Brothers Entertainment 2016, on-line ). This is how dateless Michael Jackson ’ s bequest – his music, lyrics, dancing and video – is .
On the one hand, many people remember and admire Michael Jackson for his works. They remember the beginnings of The Jackson 5 at the Chitlin ’ Circuit and at Motown Records in the 70s ; the start of Michael ’ s successful solo career with the publish of Off The Wall in 1979 ; the coronation of the King of Pop with the acquittance of Thriller in 1982, the best-selling album in the history of music with 110 million estimated sold copies and a “ mass-cultural, multimedia phenomenon that hasn ’ t been matched in scope before or since ” ( Vogel 2011 : 55 ) ; the exhilaration of the releases of Bad in 1987 and Dangerous in 1991 ; the controversy of the double album history : Past, Present and Future, Book I in 1995 ; the discovery of Blood on the Dance Floor : history in the Mix, an album whose free in 1997 went about unnoticed ( cystic fibrosis. Vogel 2011 : 207 ) ; the retentive wait for Jackson ’ second ultimate album Invincible, released in 2001 ; the prediction of MJ ’ s comeback and final This Is It tour in 2009 ; the electric shock and grief about Jackson ’ s end at the old age of 50 in June 2009 .
On the other hand, numerous people have forgotten about Jackson ’ s contribution to music and merely remember his bizarre, bizarre trope perpetuated by the media. In fact, David Yuan writes in his essay titled “ The Celebrity Freak : Michael Jackson ’ s ‘ Grotesque Glory ’ ” that “ Jackson has been more celebrated for his abnormality than for his endowment as a singer, songwriter, and dancer. ” ( 1996 : 368 ) Who does not remember the discussions about Jackson ’ s formative surgeries ? The exclaim caused by his fork catch ? The controversy over the television for the song “ Black or White ” or the lyrics of “ They Don ’ t Care About Us ” ? The discussions about his positron emission tomography chimpanzee Bubbles and his pet llama Louis ? His sex ? His whitening peel ? His soft address voice rumored to be chemically altered ? His interest in the Elephant Man ? Him sleeping in a hyperbaric chamber in a bay for endless youth ? His Neverland Ranch being a eden for children ? Him dangling his baby Blanket over a balcony in Germany ? The child molestation accusations by Evan Chandler and his son Jordie Chandler in 1993 ? The several million dollar colony to settle the civil suit out of court ? The sexual misuse accusations by the Arvizo class and the following People v. Jackson trial in 2005 ? All these rumors and alleged scandals damaged MJ ’ second reputation well and overshadowed the fact that his “ contributions to american english music have been authentically important ” ( ibid ). however, the King of Pop did not barely mutely endure his name being dragged through the mud – he fought back against the tabloid press in the shape of his music .
This thesis will examine how Michael Jackson fought back against the media by taking a attend at five ‘ media-critical ’ songs, namely “ Leave Me Alone ” off the album Bad, “ Why You Wan sodium Trip On Me ” off Dangerous, “ Scream ” and “ Tabloid Junkie ” off history : Past, Present and Future, Book I and “ Privacy ” off Invincible. The first share of my thesis will give an overview of Michael Jackson ’ mho life in order to provide the proofreader with authoritative information on his personal deoxyadenosine monophosphate well as musical development. The second share will explain Jackson ’ randomness strained relationship with the media by showing how his reputation was harmed by them over the years. The third gear contribution of my dissertation will focus on Jackson ’ s counterattack against the media by analyzing the five above-mentioned songs in chronological order. This section will first put the songs into context by concisely discussing the albums on which they appeared, and then concentrate on the communicative site of the songs ’ lyrics a well as on poetic and rhetorical devices found in the lyrics. All the lyrics can be found in the appendix of this thesis. In doing thus, I will demonstrate that Jackson ’ s fictive speaker progresses from victim in “ Leave Me Alone ” to a more or less self-empowered being in the course of the songs. It needs to be added that the primary coil concenter of this thesis will be on the lyrics while works such as homo in the Music : The Creative Life and Work of Michael Jackson by Joseph Vogel, which gives a general overview of Jackson ’ mho works, or dangerous by Susan Fast, which focuses by and large on his music and television, neglect Jackson ’ s lyrics to a large extent. In fact, the beginning of Michael Jackson ’ s autobiography moonwalk reveals that his lyrics were quite authoritative to him : “ I ’ ve constantly wanted to be able to tell stories, you know, stories that come from my soul. I ’ d like to sit by the fire and tell people stories – [ … ] take them anywhere emotionally with something as deceptively simple as words. ” ( 2010 : 5 ) For this reason, Jackson ’ s lyrics deserve closer attention. This thesis will therefore complement Vogel ’ sulfur and Fast ’ s findings. however, the lyrics can and must not be scrutinized in isolation ; therefore, I will besides consider musical aspects adenine well as ocular aspects in my analysis, which often play an important character in the reception of Jackson ’ s songs ( californium. Vogel 2011 : 8 ) .

2. The Life of the King of Pop

2.1       “Have you seen my Childhood?”

Michael Joseph Jackson was born on 29 August 1958 as the seventh of nine children – after Maureen known as Rebbie, Sigmund Esco or Jackie, Tariano Adaryl nicknamed Tito, Jermaine LaJuane, LaToya Yvonne, Marlon David, and before Steven Randall or Randy, and Janet Dameta – in Gary, Indiana, a city near Chicago ( cystic fibrosis. Taraborrelli 2010 : 14 ). Joseph ‘ Joe ’ Jackson, Michael ’ s father and the husband of Katherine Jackson, had to work in the steel mills like most African-Americans in Gary in order to provide for his family. however, Joe was dissatisfied with his destiny and started dream of working in express business ( cf. Knopper 2015 : 5 ). For this cause, he formed the rhythm and blues band The Falcons, and his children frequently watched the isthmus ’ s rehearsals in awe. After The Falcons broke up and Joe stored his guitar in the water closet of his bedroom, Jackie, Jermaine, and Tito regularly sneaked into their parents ’ bedroom and practiced playing music. One day, Tito broke a string on the guitar and when Joe found out that his son had been using his guitar when he had not been at home, he whipped him. It needs to be added that Joe abused his children physically and mentally very frequently : he pushed them into walls, spanked them, tripped them, locked them in closets and scared them, which traumatized Michael well. After Tito ’ s bodied punishment, however, Joe wanted to hear his children play, and when they did, he realized that they could be the key to the success of the syndicate. As a consequence, Joe bought Tito a loss electric guitar and from that moment on, the children would practice together every day under the guidance of their church father ( californium. Taraborrelli 2010 : 15-20 ) .
Michael Jackson joined his brothers ’ band when he was merely four years honest-to-god. At the senesce of five, he already replaced Jermaine as the lead singer and choreographed the band ’ randomness shows. ultimately, The Jackson 5, as they would later be called, participated in a endowment contest at the Roosevelt High School in Gary. Their arduous work and Michael ’ s showmanship at such a young senesce earned them a foremost trophy. From diverse talent contests in Gary, they moved on to contests in Chicago, and they besides started earning money by playing at nightclubs ( cf. Taraborrelli 2010 : 20-16 ). In Moonwalk, Michael Jackson describes how The Jackson 5 were playing “ between bad comedians, cocktail organists, and strippers ”, and how he would “ go out into the audience ” in the in-between of a song, “ crawl under the tables, and pull up the ladies ’ skirts to look under ”, to which the hearing reacted by throwing money at him ( 2010 : 36f. ). Experiences such as these made Michael even more settle to make it in the picture business ( californium. ibid ). It was besides at that time that The Jackson 5 got signed to Steeltown Records, a small record label based in Gary, where The Jackson 5 gained their first studio experiences by recording their first song, “ Big Boy ” ( cf. jackson 2010 : 39-43 ). The Jacksons continued performing at talent shows and soon played the alleged Chitlin ’ Circuit, a number of “ two-thousand-seat theaters in downtown, inner-city areas like Cleveland, Ohio ; Baltimore, Maryland and Washington, D.C. ” ( Taraborrelli 2010 : 27 ) During these concerts, Michael watched the more feel artists and absorbed how they behaved on stage, far improving his performance on stagecoach. In August 1967, The Jackson 5 last played at the Apollo Theater in New York City, where they won another highly esteemed amateur contest. It was entirely a matter of time that Motown Records, which had already signed artists such as The Supremes, The Four Tops, Stevie Wonder and Marvin Gaye, got matter to in The Jackson 5 and invited them to Detroit for an hearing ( cystic fibrosis. Taraborrelli 2010 : 28-40 ) .

2.2       The Jackson 5 at Motown Records

several months after The Jackson 5 had signed to Motown Records in July 1968, Berry Gordy, the fall through of Motown wanted the Jacksons to move to Los Angeles ( californium. Taraborrelli 2010 : 45-63 ). With the Jacksons now living in L.A., Berry promised the Jacksons that they would have “ [ deoxythymidine monophosphate ] hree total one records in a row ” ( qtd. in Jackson 2010 : 67 ). Berry ’ mho songwriting team, consisting of Deke Richards, Freddie Perren and Fonce Mizell had to modify a track called “ I Want to Be unblock ”, which they had written for Gladys Knight and the Pips, and rename it to “ I Want You Back ” for The Jackson 5. As can be seen, the Jacksons, like most of the other Motown artists, had no artistic freedom, but at that prison term they did not care so far. Ten weeks after the song had been released in October 1969, the song reached number one on the Billboard charts. Although it stayed there for only one week, the unmarried sold around two million times in the United States and four million times abroad. This was quite a remarkable start for a newcomer. In February 1970, a second number-one single titled “ ABC ” was released, followed by the Jacksons ’ third number-one one “ The Love You Save ”. The songs written by Gordy ’ sulfur songwriting team proved to be a great success and the Jacksons ’ singles even replaced The Beatles ’ “ Let It Be ” and “ The Long and Winding Road ” at the number-one position of the Billboard charts. Gordy ’ s prediction of three back-to-back number-one records was actually surpassed as the Jackson ’ s foremost ballad “ I ’ ll Be There ” hit act one on the charts as well. The Jacksons ’ fortune continued as they were invited to perform on The Ed Sullivan Show, they broke a phonograph record in ticket sales at the Los Angeles Forum, and fans went crazy at their first concerts as a Motown band – Jacksonmania had begun ( cf. Taraborrelli 2010 : 56-102 ) .
even though the sales of their following singles “ Mama ’ s Pearl ” and “ Maybe Tomorrow ” seemed to decline, The Jackson 5 were more popular than ever : they got their own cartoon series, they performed numerous sold-out shows all over the United States, and their fans could not get adequate of them. “ At Madison Square Garden in August of that year [ 1971 ] ”, J. Randy Taraborrelli explains, “ the usher had to be stopped after only two minutes when the hearing stormed the stage. [ … ] [ T ] he group had to be extracted from the push and rushed away from the premises. ” ( 2010 : 87 ) Overseas the situation was similar. In Moonwalk, MJ recalls the Jacksons ’ beginning trip to England, where he observed the “ wildest throng picture ” he had ever seen before : “ [ … ] the pilot announced that he had merely been told there were ten thousand kids waiting for us at Heathrow Airport. [ … ] When we landed, we could see that the fans had literally taken over the hale airport. ” ( 2010 : 91f. )
however, the group was besides beginning to fall apart for several reasons : Tito married Delores Martes, Jermaine fell in love with Gordy ’ s daughter Hazel, whom he married in 1973, Motown saw Michael ’ s solo potential and asked him to record his first singles “ Got to Be There ”, “ Rockin ’ Robin ” and “ Ben ”, and Joe Jackson became angry with Motown because the single and album sales of The Jackson 5 hit an all-time broken with the release of Skywriter. Joe decided to take matters into his own hands and the Jacksons to Las Vegas in order to expand their audience. furthermore, he was convinced that Motown Records would ruin Michael ’ s career due to the fact that none of his four solo albums except for Ben ( 1972 ) was a achiever – his fourth album Forever Michael ( 1975 ) only reached number 101 on the charts, which was 87 places lower than his debut solo album Got to Be There ( 1972 ) and eight places lower than his one-third album, Music and Me ( 1973 ). Joe was therefore determined to leave Motown ( cf. Taraborrelli 2010 : 89-125 ). Michael, excessively, was unhappy because he wanted to write and produce his own songs, but Motown did not allow that. consequently, he arranged a personal meeting with Berry Gordy – an significant step for the young and shy Michael – and told him that The Jackson 5 would leave Motown because they wanted control of their aesthetic initiation. So The Jackson 5 parted ways with Motown in 1975 and negotiated a better, less artistically restrictive share with Epic Records, a subsidiary company of CBS Records, but not without taking some collateral price : first, Jermaine, being married to Gordy ’ mho daughter, decided to leave the band and to stay with Motown Records, and second, The Jackson 5 were not allowed to be called The Jackson 5 anymore because the name was Motown ’ second registered hallmark. As a consequence, Randy joined the isthmus and they renamed themselves the Jacksons ( Jackson 2010 : 114-126 ) .

2.3       A New Start

At Epic Records, the Jacksons ultimately got the exemption they had wanted : their first album on Epic Records, titled The Jacksons ( 1977 ), would include “ Blues Away ”, a song written by Michael, equally well as “ Style of Life ”, a song contributed by Tito. For the first fourth dimension, Michael was besides allowed to observe song creation processes in the studio apartment, learning a fortune about the social organization of songs and improving his own write. After the Jacksons ’ second Epic album, Goin ’ Places, hit the stores in 1977 – this time featuring only one Jacksons contribution, namely “ Different Kind of Lady ” – and was not the commercial achiever the Jacksons had hoped for, Michael and his beget went to meet the man who had signed the Jacksons to CBS, Ron Alexenberg, in order to tell him to give them complete restraint of their own music. CBS agreed and the Jacksons released their first album written by themselves : Destiny ( cf. jackson 2010 : 124-148 ). album sales were going up again and many music critics considered Destiny one of the Jacksons ’ best albums. however, the success did not stop Michael from growing more and more thwart by being depart of the group because he did not see any professional build up. Although he still remained part of the Jacksons during the 1979 Destiny go, the handout of Triumph in 1980, the 1981 Triumph tour, Motown 25 : yesterday, Today, Forever in 1983, the release of Victory in 1984 and the 1984 Victory enlistment, MJ started busily working on his solo career. last, on 9 December 1984, Michael announced to leave the Jacksons for estimable ( Taraborrelli 2010 : 172-324 ) .

2.4       MJ Going Solo

Michael ’ s first step towards independence was when he auditioned for the function of the Scarecrow in Motown ’ s movie The Wiz, an Afro-American-influenced adaptation of The Wizard of Oz starring Motown star Diana Ross. He got the function, and although the movie was not a commercial success, MJ learned a distribute about the movie business, which would prove to be highly utilitarian cognition for the short-change films of his songs. In accession, Michael met Quincy Jones on set, who was doing the film score for The Wiz. When Michael asked Quincy one day if he knew a producer who could help him with a solo album, Quincy replied “ Why don ’ t you let me do it ? ” ( qtd. in Jackson 2010 : 146 ) Michael accepted and they started working on Jackson ’ s first alone album, Off The Wall, released through Epic Records ( californium. jackson 2010 : 130-146 ) .
“ Don ’ t Stop ’ Til You Get enough ”, a song composed by Michael himself, was released as the first one off Off The Wall on 28 July 1979. It reached number one on the Billboard charts and act three in the UK. The entire album followed on 10 August 1979 and it was a huge success ( cf. Taraborrelli 2010 : 189f. ). According to Joseph Vogel, in 1981 “ Off The Wall was the biggest-selling album ever by a black artist ” : four singles off the album, namely the two number-one singles “ Don ’ t Stop ’ Til You Get adequate ” and “ Rock With You ” ampere well as “ Off The Wall ” and “ She ’ s Out of My Life ” reached the Top Ten on the american charts, which was unparalleled ( 2011 : 31-41 ). By 1982, an estimate total of seven million copies had been sold in the US alone. Fans and critics alike praised the album as revolutionary. Despite its commercial success, Jackson was disappointed to find out that Off The Wall received only one Grammy nomination for Best Male R & B Vocal ( californium. Vogel 2011 : 41f. ). He knew that his album had been “ one of the most popular records of the year ” and was surprised by the decision of his peers. In his autobiography, Jackson confesses his dissatisfaction : “ Off The Wall was well received by my fans and I think that ’ s why the Grammy nominations hurt. That experience lit a fire in my soul. All I could think of was the next album and what I would do with it. I wanted it to be sincerely great. ” ( 2010 : 175f. ) little did he know that he would soon create the best-selling album of all meter ( cystic fibrosis. Vogel 2011 : 55 ) .

2.5       Thriller

The work on his following album, Thriller, began immediately after finishing Off The Wall ( cf. Vogel 2011 : 61f. ). For this album, Quincy wanted Michael to be more independent and encouraged him to compose more songs by himself. Since Jackson had never received a musical education and could not transcribe melodious notes, he had developed his own approach to writing music, namely the imitation of the sounds that he heard in his head with his mouth ( californium. Knopper 2015 : 89 ). By the function of a record registrar, he then recorded himself humming, singing and beatboxing rhythm, beats, instruments and melodies, and late finished the songs in the studio. Songs such as “ Billie Jean ” or “ Beat It ” were the results of this writing march ( cf. Vogel 2011 : 62 ). When Thriller was ultimately finished in 1982, Michael, being the perfectionist that he was, was devastated by the sound of the concluding mix. consequently, the deadline set by Epic had to be postponed and every song was mix one by one all over again. After weeks of hard influence, the album was ready to be released ( californium. jackson 2010 : 198-200 ) .
“ The Girl Is Mine ”, a pas de deux with Paul McCartney, was the first single of the album released one calendar month before the album. Although the unmarried reached number two on the Billboard charts, some critics were already announcing Jackson ’ mho regression from Off The Wall. frankincense, when Thriller was ultimately unleashed on 30 November 1982, its success was calm unforeseeable. furthermore, it needs to be added that the album was released during a time of recession for the music industry, far jeopardizing the success of Thriller. however, all this would not prevent it from crossing “ every barrier conceivable : it reached young and erstwhile, black and white, middle-class and poor ; it reached fans of rock american samoa well as R & B it reached beyond America to the Soviet Union, Europe, Asia, Africa, and merely about everywhere in between. ” ( Vogel 2011 : 55 ) According to Vogel, Thriller was the “ ultimate crossing album, fusing elements of R & B, disco, rock, funk, soul, populace music, jazz, and gospel [ … ]. ” ( ibid. ), which possibly accounts for why it reached such a wide consultation. “ The Girl Is Mine ” was followed by the second single off Thriller, namely “ Billie Jean ”, which reached number one on the charts identical quickly. While “ Billie Jean ” was hush number one, Jackson released “ Beat It ”, which soared to numeral one vitamin a well, so that both songs occupied the top positions of the charts at the same time. More never-before-seen achievements followed : between 1982 and 1984, Thriller was number-one album for 37 weeks and in the Top Ten for 53 more weeks ; four more Top Ten singles were released, which means that seven of the nine singles off the album reached the Top Ten ; Thriller won a record issue of eight Grammy Awards ampere well as ten american Music Awards ; the album was acknowledged as the best-selling album of all clock by Guinness World Records ( cystic fibrosis. Vogel 2011 : 67 ). With Thriller, Michael Jackson had indeed managed to fulfill his wish of creating an album even bigger than Off The Wall ( californium. jackson 2010 : 180 ) .
not only did Michael Jackson release the most successful album with Thriller, but he besides revolutionized the metier of the music video recording. Whereas before his unretentive films for “ Billie Jean ”, “ Beat It ” and “ Thriller ” music video were only used as promotional tools in order to sell more records, “ Jackson utilized the video recording as a medium for a curtly dramatic feature built around his dancing ”, so that “ recordings became soundtracks and the video itself became the likely chief focus of a pop artist ’ s career. ” ( Swenson 1992 : 649 ) furthermore, these extremely expensive videos changed MTV, a channel created in 1981 that played only music video recording, radically. At that time, MTV avoided playing video of black artists and showed only white rock and roll artists. Taraborrelli points out that “ of the over 750 videos shown on MTV during the distribution channel ’ mho first eighteen months, fewer than two twelve featured black artists. ” ( 2010 : 252 ) therefore, when the music television for “ Billie Jean ” came out, MTV did not want to play it. however, when CBS warned MTV that they would remove all the other video recording by CBS artists if they did not show Jackson ’ s following video for “ Beat It ”, MTV complied. In 1983 then, the video for “ Billie Jean ” a well as “ Beat It ” were played on MTV for the first prison term, paving the way for the video recording of many other black artists ( cystic fibrosis. Taraborrelli 2010 : 253 ). It was thus Michael and his music which broke down hush existing racial barriers, which Vogel praises as “ one of the greatest of Jackson ’ s cultural achievements ” ( 2011 : 68 ) .
It was besides during the Thriller era that MJ had his career-defining moment, which catapulted him to superstardom. When Berry Gordy asked Michael whether he would perform together with the Jacksons at Motown ’ s twenty-fifth anniversary called Motown 25 : yesterday, Today and Forever, he declined. however, when Gordy agreed to give him a solo smudge to perform “ Billie Jean ”, he changed his thinker and accepted the propose. On 25 March 1983, the night of the tap of the performance, Mary Wells, Smokey Robinson, Marvin Gaye, Stevie Wonder and all the other Motown acts were just warming up the populace for the main consequence. After The Jackson 5 had an aroused reunion with Jermaine on phase and finished their set, Michael remained on stage while his brothers left. on the spur of the moment the spotlight illuminated Michael Jackson in his dark jacket and trousers, his white aglitter socks, his black penny loafers and his white baseball glove covered with rhinestones. He completed the outfit by putting on a black spy hat, and started the operation that would change his life. The hearing watched his every move in fear – they were mesmerized by MJ ’ s performance. During the implemental interlude of “ Billie Jean ”, he carried out a move that would become one of his most celebrated key signature dancing moves : the moonwalk. He rounded it off with a spin and stopped on his toes ( californium. Taraborrelli 2010 : 238-244 ). Although the audience had loved his performance, Jackson was disappoint because he had not managed to stand on his toes adenine hanker as planned. however, when a fiddling male child complimented him backstage and two of his idols, Fred Astaire and Gene Kelly, called and visited him in orderliness to tell him what “ a hell of a proposer ” he was, he was thus enchant that even the fact that his performance did not win an Emmy Award despite its nomination did not matter to him anymore ( jackson 2010 : 211-215 ). When detroit 25 : yesterday, Today and Forever was last broadcast about a month after its solicit, about 50 million people watched the television receiver spectacle, “ the largest audience ever to view a musical particular ” ( Vogel 2011 : 76 ). Michael Jackson ’ s performance went down in history. even to this day, alone two television receiver performances can compare to the importance of Jackson ’ s performance on Motown 25 : acid Presley in 1956 and The Beatles in 1964, both on the Ed Sullivan Show ( cf. ibid ). Michael Jackson would ultimately be crowned as the King of Pop .

2.6       Michael Jackson Goes Bad… and Dangerous

Having established himself as business man by buying the ATV Music Publishing Company for approximately 50 million dollars, which included 251 Beatles songs, a good as a human-centered by donating all his income from the Jacksons ’ Victory enlistment and by being an integral character of the “ We Are The World ” project in 1985, Michael Jackson began working on his following album titled Bad, with which he hoped to surpass the success of Thriller ( californium. Taraborrelli 2010 : 325-358 ). In orderliness to keep his finish in sight, “ he taped a piece of newspaper that said ‘ 100 million ’ to his bathroom mirror. ” ( Taraborrelli 2010 : 358 ) however, with the unblock of Bad in August 1987, the King of Pop had to start accepting that such a feat was about impossible, since his trope was already suffering due to numerous rumors and speculations in the media ( californium. Taraborrelli 2010 : 362-376 ). Nevertheless, Bad could still be considered a success : all five singles – “ I Just Can ’ thymine Stop Loving You ”, “ Bad ”, “ The Way You Make maine Feel ”, “ Man in the Mirror ” and “ Dirty Diana ” – soared to number one vitamin a soon as they were released, and the album itself, excessively, debuted as number one on the Billboard charts ( californium. Vogel 2011 : 115 ). What is more, the King of Pop expanded his kingdom : Bad was extremely successful in the UK and early countries around the world. To far promote his music to every corner of the populace, he embarked on his beginning tour as solo artist in Tokyo in September 1987 ( cf. Taraborrelli 2010 : 379 ). In 18 months, MJ toured all over Japan, Europe, Australia, and the United States ( cf. “ Bad ( tour ) ” n.d., on-line ) .
Jackson ’ s adjacent album was intended to be a collection of his greatest hits by the name of Decade. At inaugural Michael attempted to release Decade, but when he was uncertain about which songs to include and kept creating raw material, he decided to cancel these plans and focused on releasing an album with modern substantial alternatively. For this new album, Michael decided to stop working with Quincy Jones ascribable to some previous disagreements about which songs to include on Bad ( cf. Taraborrelli 2010 : 436 ). As a replacement, MJ hired Teddy Riley, who was known as the godhead of newfangled jack swing, a music genre blend hip-hop, elements of funk, soul, R & B and sleep together. With Riley ’ sulfur help oneself, Michael hoped to create something “ fresh ” – and he succeeded once again ( cystic fibrosis. Vogel 2011 : 134f. ). According to Vogel, “ [ … ] Dangerous became Jackson ’ s fastest-selling album since Thriller [ … ]. It besides hit # 1 in about every nation in the world, including Japan, Australia, and France. ” ( 2011 : 149 ) additionally, when the first single “ Black and White ” and its video were released, closely 500 million people watched it in over 27 unlike countries – never ahead had a video been viewed so many times. Despite its success, by the time that Dangerous came out on 26 November 1991, Jackson ’ randomness image had been further devolve, and numerous critics were not able to see past the media rumors when reviewing his album, resulting in a number of negative reviews. still, everything seemed to be going well for Jackson : his dangerous World Tour began in 1992, and he performed during the halftime show of the Super Bowl in 1993, which was watched by 120 million viewers ( californium. Vogel 2011 : 144-149 ). On the second leg of his enlistment in Asia, however, his prototype suffered another, this clock irreparable, shove off. On 23 August 1993, a television station in Los Angeles reported about a patrol foray into at Neverland Valley Ranch, Michael ’ s dwelling. The news banquet like wildfire, and soon national and international media started speculating about Jackson ’ s curious kinship with children. When the patrol authorities confirmed 13-year-old Jordie Chandler ’ s sleepovers with MJ, the media did not hold back anymore and the follow child harassment allegations changed Michael ’ second life constantly ( cf. Taraborrelli 2010 : 508-512 ) .

2.7       The Gradual Decline of the King of Pop

During these unmanageable times, Michael Jackson became addicted to drugs. As a result of his miserable from insomnia and pain because of a scalp bite that had been caused during the record of a Pepsi commercial a ten before, his excessive consumption of painkillers and tranquilizers got out of control. At that time, Michael had already been supported emotionally by Lisa Marie Presley, daughter of Elvis Presley, who would help him get through rehabilitation. Over time, the two grew closer to each other, and ultimately they married on 26 May 1994 ; however, the marriage would only last until 10 December 1995. Besides several minor disputes, the main reason for their divorce was that MJ was ready to have children, whereas Lisa could not imagine getting meaning with Michael Jackson ’ second child yet. however, Michael wanted children, so he made a deal with his nanny Debbie Rowe while he was hush married to Lisa : Debbie would get artificially inseminated, carry Michael Jackson ’ sulfur child, and receive 500,000 dollars from Michael for delivering the child. naturally, when son got out, the media began with their speculations again because they had never heard of Debbie Rowe up to that point. On 13 November 1996, Michael Jackson married Debbie Rowe, and in February 1997 MJ ’ s first son Prince Michael Jackson was born. On 3 April 1998, his daughter Paris Katherine Michael Jackson and in 2002, Prince Michael II, besides known as Blanket, followed. While Michael ’ s first two children were conceived by Debbie and himself, the foster mother of Prince Michael II has never been revealed. After Michael ’ mho and Debbie ’ s agreement was fulfilled, they divorced in October 1999 ( cf. Taraborrelli 2010 : 526-610 ) .
All these events in MJ ’ s personal life dampened, at least in the United States, the impact of his next album, a double compact disk titled history : Past, Present and Future, Book I, released on 16 June 1995. Although the album became the best-selling multiple-disc album of all time with 20 million sold copies, the media and critics alike preferred to focus on Jackson ’ s personal life alternatively of his artistic initiation ( cf. Vogel 2011 : 171-189 ). far controversies over Jackson ’ s album forwarding tactics of constructing huge statues of himself in respective european cities, or over the lyrics of “ They Don ’ t Care About Us ”, for which he was accused of being anti-semitic, overshadowed his creative works ( californium. Taraborrelli 2010 : 619f. ) .
His future and final releases suffered the same, if not even a worse destiny. Two years after HIStory, the King of Pop released Blood on the Dance Floor : history in the Mix, an album featuring five new songs and eight remixes of songs from his previous album. While the album reached count one in the UK, it went virtually unnoticed everywhere else in the world. The album sold a meager numeral of four million units cosmopolitan. Invicible, Jackson ’ mho ultimate album released in October 2001, excessively, became more or less a commercial failure when one compares it to his former albums. Disagreements with his label regarding the promotion of the album resulted in a lack thereof and Invicible only sold around ten million copies ( cf. Taraborrelli 2010 : 620-624 ). As Taraborrelli puts it : “ [ … ] much of what Michael did at this time, was lost in the ongoing controversy of his global [ … ]. Without that, this stellar sour would no doubt have found an appreciative audience. ” ( 2010 : 620 )
fiscal debt was the adjacent gust Michael Jackson had to suffer. A consequence of his dwindling commercial success and his ongoing excessive life style, he had more and more fiscal difficulties ( californium. Taraborrelli 2010 : 626f. ). however, this was nothing compared to what happened at the end of 2003 and the begin of 2004, “ the worst period of meter in Michael Jackson ’ second life ”, as Taraborrelli calls it ( 2010 : 638 ). After having settled the child harassment allegations by the Chandlers in 1993 out of court, MJ did not stop spending time with children at his Neverland Valley Ranch and what is more, he silent allowed sleepovers with him. One of those children was 13-year-old Gavin Arvizo, a cancer survivor whom Michael had supported during a unmanageable period of his young life. In June 2003, however, Gavin Arvizo and his class turned against Jackson and accused him of drunkenness of minors and child molestation, resulting in the irregular patrol raid of Neverland in a ten. After a drawn-out trial though, Michael was declared not guilty on all counts in June 2005 ( cf. Taraborrelli 2010 : 638-697 ). But the damage had already been done – “ Michael Jackson was gone ” ( Taraborrelli 2010 : 698 ). He took his three children with him and fled to Bahrain, where he lived in seclusion before returning to Las Vegas in 2008 ( cystic fibrosis. Taraborrelli 2010 : 698-703 ) .
From then on, his life sentence seemed to improve : he got surprised by the success of the re-release of Thriller, which sold more than three million times ; his fans still showed him support despite his trial ; he spent more fourth dimension with his children than always before ( cystic fibrosis. Taraborrelli 2010 : 702-705 ). ultimately, in 2009, Michael Jackson felt ready to tour again. On 5 March 2009, he officially announced his final tour called This Is It, which would consist of 50 concerts in the O2 arena in London. Although Michael Jackson was worried that no one would want to experience him live anymore, the tickets for the first ten-spot shows, approximately 170,000 tickets, sold out deoxyadenosine monophosphate soon as they were made available. His rejoinder seemed to become a huge success. however, Michael Jackson besides put himself under a draw of pressure, causing his insomnia to get worse again ( cystic fibrosis. Knopper 2015 : 319-326 ). In decree to relieve Michael of his sleep problems, his doctor, Conrad Murray administered propofol to him – a hard anesthetic that “ was never intended for home function under any circumstances. ” ( Knopper 2015 : 345 ) As Murray did not have the proper equipment to monitor how the propofol affected MJ, the risk of something going wrong was extremely high. And something did go wrong on 25 June 2009 : the King of Pop died at the age of fifty dollar bill because of propofol intoxication ( californium. Knopper 2015 : 340-345 ) .
When the news program of MJ ’ s death dispersed, the world was shocked. Google and Twitter servers went down due to excessively much traffic, and sites such as Facebook, Myspace and Wikipedia had similar problems ( cf. marshall 2009, on-line ). People all over the populace mourned the loss of the King of Pop. Radio stations rediscovered his music and even played some lesser know songs ; the act of downloads of his songs on iTunes went up to about two million in only three days – by the end of 2009, his tracks had been downloaded more than eight million times ; memorials in honor of Michael were held, for case at the Apollo Theatre in New York or at the Staples Center in Los Angeles ( cystic fibrosis. Knopper 2015 : 342-347 ). In summation, Jackson ’ second reputation was ultimately being restored : Michael Jackson ’ south This Is It, a documentary show Jackson rehearsing for his final examination go, grossed 200 million dollars ; the posthumous album Xscape, released in 2014, sold about 2.5 million units global ; the King of Pop went on to sell 50 million albums after his death. unfortunately, it needed MJ ’ s death in order to start seeing the man and his creative ferment stripped of his media prototype ( cystic fibrosis. Knopper 2015 : 352-356 ) .

3. The Media vs. Michael Jackson

In the foremost separate of this thesis, we have taken a glance at Jackson ’ s 40-year-long career, which established him as the King of Pop and “ the Most successful entertainer of All Time ” ( “ Most successful entertainer of All Time-Michael Jackson sets populace record ” 2009, on-line ). This incision will now give a short overview of Jackson ’ s unmanageable relationship with the media. The aim is to provide the reader with all-important data about why and how the media constructed an persona of Jackson that would lead to his professional and, consequently, his personal precipitation .

3.1       A New Image

During the days of The Jackson 5 at Motown Records, Michael Jackson had always been the adorable little kid who mesmerized the audience not only with his voice, but besides with his prettiness ( californium. Taraborrelli 2010 : 77 ). so when Michael grew up and recorded his first solo record Off The Wall for Epic Records, he wanted to get rid of this effigy and establish a newfangled, more suppurate matchless. He did so by presenting himself with a stylish dinner jacket on the album cover. According to Taraborrelli, “ [ a ] lmost as much attention had been lavished on the album crown as on the record itself. ” ( 2010 : 189 ) While this statement is surely hyperbolic, it shows that Jackson and his management were consciously attempting to alter Jackson ’ mho image. Vogel adds that “ [ o ] neon of the basal goals of Off The Wall from a market position, then, was to take this symbolic gradation ahead and introduce the adult Michael Jackson as mature, polished, twist, and sexual. ” ( 2011 : 40 ) This fresh visualize stuck with him and when Thriller came out, he was taken badly as an adult adenine well as an artist and entertainer ( californium. Taraborrelli 2010 : 190-232 ) .
however, with his success as an artist besides came the first rumors and speculations, primarily about his sex. For example, when he was 19 years old, a floor published by the tabloid urge said that MJ was planning to have a sex-change ( cf. Taraborrelli 2010 : 158 ). several years former, tabloids speculated about whether Michael Jackson was heterosexual, homosexual or even asexual ( californium. Taraborrelli 2010 : 31, 331 ). While these stories annoyed Michael, they did not actually affect his persona ( cystic fibrosis. Taraborrelli 2010 : 158 ). How semen then that by the time Bad was released in 1987, he was already known as “ Wacko Jacko ”, a derogative name coined by the media ( cf. Vogel 2011 : 93 ) ? The answer lies in several PR misjudgments by MJ and his management .

3.2       The Creation of “Wacko Jacko”

The first publicity miscalculation happened in 1986 when Michael Jackson wanted to promote Captain EO, a three-d movie he would appear in. together with his director Frank Dileo, Michael planted a story about him sleeping in a alleged hyperbaric chamber, a machine that assisted the healing process of burn victims, in order to extend his life to the historic period of 150. The fib was accompanied by a photograph of Michael lying in such a machine, taken in 1984 when Jackson had been a patient in the Brotman Memorial Hospital because of the scalp burns he had suffered during the film of a Pepsi commercial. The story seemed harmless to Jackson ’ sulfur management. From the yellow journalism wardrobe, it promptly spread to mainstream media – about every newspaper, television and radio station covered the news program. Dileo and Jackson were surprised that their plan was such a success. Besides they were fascinated by the fact that they could manipulate the media in their favor so easily. however, at that time, they did not know however that this was the first mistreat towards changing Michael ’ south image from normal celebrity to bizarre freak out ( cf. Taraborrelli 2010 : 362-367 ) .
The following PR misfire was conceived by MJ in May 1987 : having been a longtime fan of The Elephant Man, a movie about a deform penis of a freak picture in priggish England released in 1980, Michael Jackson went to see the remains of the Elephant valet at the London Hospital Medical College. There he had the theme to put his influence over the bid to the test once again by spreading the rumor that he was concerned in buying the bones of the Elephant Man and that he had already made an offer to the hospital. To Jackson ’ second and Dileo ’ s joy, the tabloid press covered the history, but they besides verified whether Jackson had in truth made an offer. In order to amply complete the antic, Dileo called at the hospital and offered one million dollars for the bones, which resulted in a public affirmation by a spokesperson of the hospital that officially admitted Jackson ’ sulfur extend. Again the news spread like wildfire, but this time not without setting off an avalanche ( cf. Taraborrelli 2010 : 367-371 ) .
According to Taraborrelli, the floor of Michael Jackson being concern in the remains of the Elephant Man was the last straw that triggered the tabloid press to create their own stories about Jackson. In fact, the first “ Wacko Jacko ” stories had been so lucrative for the media that they would not stop inventing them. Rumors of the 30-year-old Michael propose to the 55-year-old Elizabeth Taylor, of Michael ’ s attempts to persuade Taylor of sleeping in his hyperbaric chamber, of Michael fearing the end of the world in 1988, of Michael having seen the ghost of John Lennon, and of Michael ’ s best acquaintance being a chimpanzee were making the headlines ( cystic fibrosis. 2010 : 371 ). promote fabrications by the tabloid crush followed : Jackson built a shrine to Elizabeth Taylor where he played her movies 24 hours a day ( californium. Morris 2011, on-line ) ; Jackson spoke to his pet chimpanzee Bubbles using chimpanzee linguistic process ( californium. Taraborrelli 2010 : 388 ) ; Jackson took hormones in order to stop the fracture of his articulation ( californium. Gritt 2016, on-line ). The stories were slowly but surely spinning out of control. When Dileo was asked to reduce the negative publicity in 1987, it was already excessively late ( californium. Vogel 2011 : 107 ) .
A bang-up number of speculations besides focused on MJ ’ s changing appearance. Michael had never been satisfied with his wide nose, so when he broke his nose during a dance rehearsal in 1979, he decided to get his first base nose job in club to get a smaller nose. however, Michael started having problems with his breathing due to the operation, so he undergo nose job for a second time ( californium. Taraborrelli 2010 : 209f. ). While Michael admits to entirely three credit card surgeries in his autobiography first published in 1988, Taraborrelli writes that Michael got his fourth nose job in June 1986 and that he besides added a crack to his chin ( cystic fibrosis. jackson 2010 : 229 ; cf. Taraborrelli 2010 : 353 ). By 1991, the number of scent jobs had risen to “ at least ten ” ( Taraborrelli 2010 : 441 ). But it was not lone his nose and chin that caused numerous headline stories – the changing semblance of his bark did thus deoxyadenosine monophosphate well. As he got older and older, his clamber appeared to be getting lighter. According to Taraborrelli, Jackson ’ s clamber whitening was the solution of a skin-bleaching cream by the name of Porcelana arsenic well as assorted other chemicals. together with Jackson ’ mho vitiligo, a “ long term skin condition characterized by patches of the skin losing their pigment ”, and the amount of makeup that he applied to his confront, he seemed to become white and white, which caused a batch of speculations in the media ( “ Vitiligo ” n.d., on-line ; cystic fibrosis. Taraborrelli 2010 : 357, 442 ). even after his death, a number of tabloid press internet sites published an interview with Quincy Jones, Michael Jackson ’ s manufacturer for Off The Wall, Thriller and Bad, who told them that Michael did not want to have black bark, which is why he bleached it ( californium. Henley 2013, on-line ) .
Jackson ’ s bizarre visualize was increasingly starting to overshadow his art. Because he had wanted to create a mysterious image that “ keep people guessing ( and talking ) ”, he sparked his own professional decline ( Vogel 2011 : 106 ). Taraborrelli reveals that after the dismissal of Bad, the public had already started turning on Jackson : “ Rolling Stone ’ second readers voted him the worst artist in about every category in its annually poll. ” ( 2010 : 388 ) In good a count of five years, Michael went from most-loved artist to eccentric freak out in the public eye. abruptly, the public was starting to become deafen to his music and only saw the outlandishness of his image. however, the blow that would about destroy his stallion career came with the child molestation allegations in 1993 ( cf. Taraborrelli 2010 : 510 ) .

3.3       “Peter Pan or Pervert?”

MJ had always been very fond of children. In fact, in Moonwalk he writes about his captivation with children and how they had an energizing effect on him. He considered children as his tough audience and it was his purpose to create music that children would appreciate. In accession, he wanted to inspire them and make them felicitous. For these reasons, Jackson made it his goal to brighten the day of uncountable terminally ill children by visiting them at children ’ s hospitals. He felt that it was unfair that children had to suffer and wanted to relieve them of their pain ( cystic fibrosis. Taraborrelli 2010 : 455 ; californium. jackson 2010 : 274f. ). “ If I were living for no other reason than to help and please kids ”, Jackson admits in his autobiography, “ that would be enough for me. They ’ rhenium perplex people. Amazing. ” ( 2010 : 275 )
While a majority of people regard such an attraction to children as odd nowadays, it is actually nothing fresh. In “ Making Sense of Michael Jackson ”, Bill Ott explains that Jackson “ would have felt right at home in England about 125 years ago, when the victorian fad of the child was in wide flower. ” ( 2003 : 92 ) Ott adds that a act of children ’ randomness literature writers of the nineteenth century, such as Lewis Carroll or J. M. Barrie, whom we consider as great names today, were captivated by children. Without their fondness for children works such as Alice ’ sulfur Adventures in Wonderland or Peter and Wendy would have never been created – the lapp goes for Jackson ’ south music. While it is a normal reaction to question the intention behind the preferences of Barrie, Lewis Carroll or Jackson, Ott points out that “ [ metric ton ] he cult of the child [ … ] is all about the return to innocence, to a time before the Industrial Revolution ( in the Victorians ’ font ), before stardom and parental abuse ( in Jackson ’ s case ), and before sex ( in all of their cases ). ” ( ibid. ) however, the notion of “ the cult of the child ” did not save Jackson from “ one of the biggest global-media feeding frenzies of the ten ”, accusing him of molesting 13-year-old Jordie Chandler ( Vogel 2011 : 173 ) .
Michael Jackson met Jordie Chandler for the first time when MJ ’ s car broke depressed in Beverly Hills in May 1992. An employee of Rent-A-Wreck decided to help him, picked him up and took him to a Rent-A-Wreck workshop. When the owner of Rent-A-Wreck, Dave Schwartz, was notified of the approaching Michael Jackson, he immediately called his wife June and her son Jordie, who was a big fan of Michael, and told them that he had a surprise for them. When Michael arrived, they introduced themselves and conversed with the King of Pop ; then June gave Michael Jordie ’ s earphone number and told him to call her son someday ( cystic fibrosis. Taraborrelli 2010 : 453-455 ). He did so quite frequently during his drawn-out Dangerous tour and Jordie became some kind of “ line of life to the real populace, to his home, as he performed in movement of hundreds of thousands of adoring strangers. ” ( Taraborrelli 2010 : 459 ) In February 1993, Michael then telephoned June Chandler and invited her, her son Jordie and her daughter Lily to spend the weekend with him at his Neverland Valley Ranch. naturally, they accepted and when they arrived at Michael ’ s home, they were astonished by what they saw : Neverland was a identify of gigantic dimensions that had everything a child could ever wish for – a menagerie with exotic animals, an own cinema with unlimited release sugarcoat and an own amusement ballpark with a Ferris steering wheel, deoxyadenosine monophosphate well as a carousel, bumper cars and steam trains. Everything and everybody was at their disposal. When the weekend was over, June, Jordie and Lily departed for Los Angeles again, but soon more visits would follow ( cf. Taraborrelli 2010 : 460-463 ) .
One day, Michael took June, Jordie and Lily to Las Vegas where they lodged in concert at his secret cortege in The Mirage. After an exhaust sidereal day in Las Vegas, June and Lily went to bed while Michael and Jordie watched The exorcist. Because Jordie got scared by the movie, he stayed in Michael ’ s room and the two sleep together. When June found out the future day, she confronted Jordie, but Michael convinced her that his relationship with Jordie was innocent, that he would never hurt Jordie and that he could be trusted. June apologized and despite this incident the reach by telephone, the visits at Neverland and the sleepovers with Michael continued ( cystic fibrosis. Taraborrelli 2010 : 465-469 ) .
however, equally soon as Jordie ’ sulfur father, a dentist by the name of Evan Chandler, discovered his son ’ s odd kinship with the King of Pop, the site started escalating quickly. Evan felt threatened by the bearing of a new church father figure in Jordie ’ south biography and found that Jordie and Michael sleeping in the lapp bed was inappropriate. He was beginning to believe that something sexual might be going on between his son and the popular star. For this reason, he confronted his ex-wife June and her husband Dave Schwartz and demanded that they put an end to Michael ’ s and Jordie ’ south relationship. When the confrontation did not lead to the desired consequence and facing Michael did not solve the problem either, he decided to get the help of an lawyer, Barry Rothman, and threatened to ruin Michael Jackson ’ s career. then, while treating Jordie ’ s tooth in his clinic, Evan obtained a confession about intimate activities with Michael from his son by administering the psychiatric drug Sodium Amytal, which was known to be able to create false memories. His next measure was to meet with Jackson ’ s lawyer Anthony Pellicano and to ask for a 20 million dollar settlement. naturally, Jackson viewed this as an extortion attack, so he declined Evan ’ sulfur demand. As a consequence, Evan took Jordie to a psychiatrist and after the drawn-out session was over, the psychiatrist had to report Jordie ’ s shocking confessions to the Department of Children ’ south Services, which informed the Los Angeles Police Department immediately. last, on 21 August 1993, the LAPD obtained a search sanction and raided Jackson ’ randomness Neverland Valley Ranch. entirely two days late, the news of a patrol foray in Neverland started spreading all over the world ( cf. Taraborrelli 2010 : 470-509 ) .
even before the patrol had secured any tell that could be used against Michael Jackson, speculations and rumors ran the headlines worldwide. For exemplify, The New York Post published an article “ with a atrocious photograph of Michael looking his worst, and the blaze headline : ‘ Peter Pan or Pervert ? ’ ” ( Taraborrelli 2010 : 509f. ) But the media did not leave it at that. Soon a copy of the child harassment report from the Department of Child Services, which contained every contingent of the allegations and had been obtained illegally somehow by Diane Dimond, a reporter “ who would make a career off Jackson ” like many others, outspread from the yellow journalism media to major news broadcast stations ( Vogel 2011 : 173f. ). even without any single musical composition of evidence, Jackson was stigmatized as pedophile through misleading headlines and interviews with bribe eyewitnesses. Vogel farther adds that “ [ einsteinium ] ven more-respected media outlets compromised standards for ratings, joining in on the run frenzy. ” ( 2011 : 174 ) The media went vitamin a far as ignoring “ [ o ] nebraska of the most sacred principles in the american criminal justice system ”, namely that a person is constantly “ barren until rise guilty ” – their news program stories were full of strong implications that MJ was guilty “ even if not however charged ” ( “ Presumption Of Innocence ” n.d., on-line ; Taraborrelli 2010 : 511 ). There was no constraint or objectivity left. An article published by Mary Fisher in 1995 called the behavior of the media “ a closely year-long media wiccan hunt in which article after article and show after picture offered speculation and insinuation but no supporting evidence or credible witnesses. ” ( qtd. in Vogel 2011 : 174 )
For Jackson, however, the humiliation did not stop at that. not only was every last edge of his Neverland Ranch Valley scrutinized, including the inside of his mattresses, his diaries, personal television and photograph, but in the month of December, he besides had to endure a leach search during which his genitals and buttocks were photographed in order to see whether they matched Jordie ’ mho description. however, Vogel points out that the fact that the description and the photos did not match did not make “ the lapp headlines as the initial allegations. ” ( 2011 : 174 ) Of course, the constant media sock had besides taken a toll on Jackson. The impact on Michael and his career was devastating, as was already mentioned in the first base section of the thesis : he became addicted to drugs and his career got into a downward corkscrew. When his attorneys told him that the investigation could continue for several years, that more debasing information could be made populace and that in the end he could calm be condemned, Michael decided to accept Evan Chandler ’ second demand and to settle out of court ( californium. Vogel 2011 : 175 ). On 25 January 1994, Jackson paid the union of 17 million dollars to Evan Chandler, Jordie Chandler, their lawyer Larry Feldman, vitamin a well as to June Chandler-Schwartz ( cf. Taraborrelli 2010 : 552 ). While on the one pass Jackson surely avoided a drawn-out, humiliating test with this decision, he besides put his reputation on the line : in the public eye he was guilty because he settled out of court ; or in other words, he escaped justice by buying his way out of a trial. For many, the multi-million dollar deal equaled an admission of guilt ( cf. Knopper 2015 : 224 ; cf. Ebmeier 1999 : 217 ) .

3.4       Living with Michael Jackson

apart from the agnosticism of Jackson ’ s marriage to Lisa Marie Presley, which was believed to be a PR maneuver aimed at cleansing MJ ’ second image of the child harassment allegations of 1993, and speculations about his curious placement and marriage with Debbie Rowe, the following decade was more or less calm air. Jackson focused on fixing his career and on releasing new music again ( cf. Vogel 2011 : 177 ; cf. Taraborrelli 2010 : 590-596 ). From time to time he even made the news, for model because of his lyrics for “ They Don ’ t Care About Us ”, which generated a lot of controversy over the lines “ Jew me, sue me, everybody do me / Kick me, kike me, don ’ triiodothyronine you total darkness or white me ”. The misinterpretation of Jackson ’ mho lyrics and the follow accusations of anti-semitism forced him to issue a argument explaining the meaning of those particular lines, and ultimately to change “ kike me ” to “ strike me ” and “ jew me ” to “ do me ” in rate to end further controversies ( cf. Weinraub 1995, online ; cf. Taraborrelli 2010 : 619 ). however, in 2003, Michael Jackson ’ s life would become more disruptive again .
In February 2003, Martin Bashir ’ s Living with Michael Jackson, a “ highly controversial objective [ … ], which foremost attracted fifteen million viewers in the United Kingdom and more than double in the United States ” aired on ABC ( Taraborrelli 2010 : 610 ). Bashir had followed Jackson over the menstruation of eight months and conducted several interviews with him in order to portray Michael ’ south life ( californium. Stanley 2003, on-line ). The objective was supposed to restore MJ ’ mho prototype, precisely like Bashir ’ south 1995 interview with Diana, Princess of Wales about her dissatisfaction and problems with her marriage to Prince Charles gained her the sympathy of the public, but it did more harm than good to Michael Jackson ( californium. Taraborrelli 2010 : 610-612 ) .
Bashir ’ s Living with Michael Jackson starts with a focus on Michael ’ s songwriting summons ( 5:02 ), then moves on to Jackson ’ s past as he speaks about his neglect childhood ( 16:10 ), the abuse by his church father ( 17:06 ) and the problems with his appearance during adolescence ( 35:42 ), painting a slightly sympathetic mental picture of the King of Pop ( californium. Bashir 2003, on-line ). At the same time, the documentary works against Jackson in a issue of instances by introducing more and more of his eccentricities : he calls himself “ Peter Pan by heart ” ( Bashir 2003, on-line : 10:47 ) ; he reveals that his favorite hobbies are climbing trees and water balloon fights ( cystic fibrosis. Bashir 2003, on-line : 13:01 ) ; the video shows him spending an enormous total of money in a couple of minutes on a shop spree in Las Vegas ( californium. Bashir 2003, on-line : 32:14 ) ; he tells that when his daughter was born he was “ so anxious to get her base ” that he “ snatched her and just went home with all the placenta and everything all over her ” ( Bashir 2003, on-line : 53:32 ). All this is accompanied by Bashir ’ south “ contribute questions, his presumptions, expressed captivation and bewilderment ”, encouraging Jackson to behavior and revelations that are then judged as bizarre by Bashir ’ s “ holier-than-thou voice-overs ” ( Taraborrelli 2010 : 614 ). While these parts of the documentary surely added to the image of “ Wacko Jacko ”, they were not particularly harmful. But then Bashir ’ s voice-over announces that he discovered “ that children were placid sleeping over – sometimes in his family, sometimes in his bedroom. ” ( Bashir 2003, on-line : 1:22:20 ) suddenly the setting shifts to Michael Jackson holding hands with 13-year-old Gavin Arvizo, both of them admitting that they sleep in the lapp room sometimes ( cystic fibrosis. Bashir 2003, on-line : 1:22:51 ). When Bashir confronts him with the inappropriateness of a grow man and the child of a stranger sleeping in the like bed, Michael replies : “ When you say ‘ bed ’, you ’ re thinking sexual. They make that sexual ; it ’ s not intimate. We ’ ra going to sleep – I tuck them in, we put a little music on [ … ]. It ’ mho identical charming, identical fresh. It ’ s what the whole world should do. ” ( Bashir 2003, on-line : 1:38:22 ) Of course, Jackson attempted to block the circulate of Living with Michael Jackson angstrom soon as he received an advance copy of the documentary ; however, his attorneys told him that at that point withdrawing it was impossible. soon after the documentary was aired, it incited new discussions about Jackson ’ s relationship with children. The past was catching up with Michael again : new documents regarding the 1993 child molestation allegations leaked on-line, and above all, Gavin Arvizo decided to sue Michael for child molestation, resulting in a drawn-out trial ( californium. Taraborrelli 2010 : 615-618, 638-650 ) .

3.5       People v. Jackson

Investigations began when during a session with psychologist Dr. Katz, Gavin Arvizo and his brother turned against Jackson and confessed that Jackson had intoxicated them with alcohol and sexually pervert Gavin respective times. This school term had been organized after Janet Ventura-Arvizo had called the same lawyer who had represented Jordie Chandler in 1993 : Larry Feldman. The Arvizos had thus decided to seek out the like lawyer the Chandlers had used to extort 17 million dollars of Michael Jackson in 1993. vitamin a soon as Dr. Katz filed the report card to the authorities, the LAPD raided the Neverland Valley Ranch for the second time in a ten and the King of Pop was handcuffed and led aside. The investigation and media speculations were already in wax swing by the prison term that formal arraignment of Michael Jackson took topographic point in the Santa Barbara courthouse on 16 January 2004 ( cf. Taraborrelli 2010 : 638-665 ). then, in April 2004, a thousand jury in Santa Barbara County “ handed down an indictment against the entertainer on molestation charges ”, which means that the “ members of the fantastic jury felt adequate evidence existed in the case against Jackson to bring it to trial. ” ( Taraborrelli 2010 : 673f. ) The trial would begin on 31 January 2005 and it would be settled once and for all whether Michael Jackson, represented by lawyer Thomas Mesereau, was a child molester or not ( californium. Jones 2012 : 3f. ) .
even before the test had formally begun, it was clear that the media would turn it into a spectacle. According to Jones, journalists from more than 2200 unlike television receiver networks and major journals from all over the global were waiting in front of the courthouse to report incoming news program about the Jackson trial. For exercise, “ [ t ] he NBC network and its cable television subsidiaries had set up a four hundred eighty-square foot platform to hold its giant team of reporters, producers, and cameras. ” ( 2012 : 16 ) For several months, the streets of Santa Maria would be crowded with weigh tents, journalists and MJ ’ second fans ( cf. ibid ). ultimately, on 28 February 2005, the pronounce announced the indictment against Jackson, “ which included four counts of child molestation, four counts of administering alcohol to commit a felony, one count of attempted harassment, and one count of conspiracy. ” ( Jones 2012 : 20 ) The announcement was followed by the open statements of prosecutor DA Thomas Sneddon and defensive structure lawyer Thomas Mesereau, and the adjacent day the inaugural day of testimony began ( cystic fibrosis. Jones 2012 : 20-27 ) .
It was Martin Bashir who was called to the stand as the prosecution ’ sulfur first witness. After having introduced himself to the members of the jury, Bashir played his documentary support with Michael Jackson for them in ordain to demonstrate to them the inappropriate demeanor of Michael. At beginning the television was rather effective, but when Meserau cross-examined Bashir and Bashir ’ s lawyer objected to every single doubt asked by Mesereau, so that Bashir did not have to give any answers, the jury began to doubt him. Through his highly adept doubting, Mesereau managed to show the jury that Bashir could not be trusted because he had done everything to get the disgraceful documentary he wanted – he had flattered and complimented Jackson in order to hear what he wanted to hear. Furthermore, Mesereau accomplished to expose numerous mistakes in the testimonies of the rest of the pursuance ’ second witnesses : Davellin and Star Arvizo, Gavin ’ second siblings ; Kiki Fournier, one of Jackson ’ s former housekeepers ; other early employees of Jackson ; Dr. Urquizo, a psychologist that claimed to be a child maltreatment expert ; Lauren Wallace and Cindy Bell, two flight attendants who had attended to Jackson ’ randomness needs on many flights ; Janet Arvizo, Gavin ’ s mother ; June Chandler, Jordie Chandler ’ s mother ; even the accuser, Gavin Arvizo himself, had a hard time of convincing the jury. When the final witness of the pursuance had testified, it was time for Mesereau ’ south defense case ( cf. Jones 2012 : 28-238 ) .
The defense case began in a impregnable means by first calling Wade Robson, then Brett Barnes, and ultimately Macaulay Culkin, three young men who had been friends with MJ since their childhood and who had besides slept in the pop star ’ second bedroom, to the stand. even cross-examination by the prosecution ’ randomness lawyer could not lessen their credibility when they insisted on Michael ’ s artlessness. Mesereau ’ s next step was to neutralize Bashir ’ s Living with Michael Jackson by showing the jury the outtake footage recorded by Jackson ’ s personal videographer, further demonstrating Bashir ’ s deceitful way of conducting the interview and the biased, measuredly damaging editing of Bashir ’ s documentary. More testimonies by Larry King, Jay Leno and Chris Tucker amongst many others followed, and together with Mesereau, they disassembled the Arvizos ’ statements footprint by footprint. After Chris Tucker ’ sulfur testimony, the defense rested their case and the prosecution arsenic well as the defense presented their close arguments. Two days late, the evaluator was quick to announce the verdicts ( cf. Jones 2012 : 238-291 ) .
When on 13 June 2005, Superior Court Clerk Lorna Ray read the verdicts, the media representatives present in the court were taken aback : Michael Joseph Jackson was declared not guilty on all counts ( californium. Jones 2012 : 3f. ). “ There was a shock wave that hit everyone, and the media folks who expected a guilty verdict seemed to be in a express of incredulity, with their jaws dropped. ” ( Jones 2012 : 292 ) In fact, the media representatives had been anticipating Jackson ’ south conviction since before the test had evening started. While every accusation of the pursuance made the news, Jackson ’ s adept deeds put forward by the defense were largely ignored. “ The more negative the comment, the more attention the history got. ” ( Jones 2012 : 8 ) barely like during the child harassment accusations by the Chandlers in 1993, the media knew no objectivity when reporting about Michael Jackson ’ s trial. alternatively of providing the populace with indifferent reports on the trial, reporters focused on Michael Jackson ’ s light bark, on Michael ’ s past kinship with his positron emission tomography chimpanzee Bubbles, on Michael dangling his son over a balcony in Berlin, on Michael appearing in court in his pajama, on Macaulay Culkin having shared a bed with the King of Pop ( californium. Jones 2012 : 10, 27, 65f., 250 ) .
even after the trial, after having presented the verdicts, several newsworthiness channels identical cursorily moved on to speculations about MJ leaving the United States ( californium. Jones 2012 : 293 ). apparently, the media wanted to make as much money as possible out of Jackson ’ s damaged image. In fact, Jones reveals that “ Jackson ’ s exoneration actually cost the global media billions of dollars. ” ( 2012 : 10 ) A number of media channels had already arranged “ to follow Michael ’ s casual schedule behind bars ”, so that if the King of Pop had been convicted, stories “ about Jackson ’ s base hit in jail, about Jackson ’ s liveliness behind bars, about Jackson ’ s suicide watches, about Jackson ’ s prison inmates ” would surely have followed ( ibid ). however, the verdict of the jury put an end to these plans and Jackson ’ s decision to seclude himself with his children overseas reduced media coverage of his life well over the next years. only in 2009, Michael Jackson very made the international headlines again ; namely, when people all over the earth mourned the death of the King of Pop ( californium. Taraborrelli 2010 : 698-707 ) .

4. Michael Jackson vs. the Media

The former segment of this thesis has shown how the Jackson sock by yellow journalism american samoa well as mainstream media began and how it went on to the indicate of escalation over the years. In addition, it has revealed that Michael Jackson with his eccentricities was a constant prey of bias, biased media reporting. In doing indeed, it was possible to understand the gradual decay of the universe ’ s once most successful artist and entertainer. Having said that, we have besides seen that, as Vogel puts it, “ Jackson wasn ’ t a mere victim of the media. ” ( 2011 : 106 ) It was MJ himself who took the first gear step to damaging his image irreparably by planting forge stories about him in the media. But he was besides not a mere victim in another common sense : he fought back in the form of his music .
This section of the thesis will focus on Michael Jackson ’ s counterattack against the media by taking a closer front at the lyrics of five of his songs ( and a brief look at the respective albums the songs appeared on ), namely “ Leave Me Alone ” off Bad, “ Why You Wan sodium Trip On Me ” off Dangerous, “ Scream ” and “ Tabloid Junkie ” off history : Past, Present and Future, Book I and “ Privacy ” off Invincible. Throughout the analyses, the first focus will be on the communicative site underlying the lyrics. According to Werner Faulstich, when analyzing the lyrics of a pop song, it is crucial to scrutinize the communicative situation, so that we can find out who says what to whom, that is, the assumed speaker, the subject-matter of the language and the assumed addressee : “ Der Text eines Popsongs muß als eine Redesituation aufgefaßt werden und insofern stellt sich nach eher inhaltlichen Fragen sofort district attorney Problem five hundred involvierten verbalen Person ( en ) : Wer spricht zu wem ? ” [ 2 ] ( 1978 : 81 ) The moment focus will be on the lyrics ’ poetic equally well as rhetorical devices, for example the verse schemes, metaphors, repetition and intertextuality, and their effects and meanings. Faulstich explains that the communicative site is determined by these devices to a large extent ; therefore, it would be absurd to focus on the communicative situation alone ( cystic fibrosis. 1978 : 83 ). For this cause, we will not entirely examine who says what to whom, but besides what Faulstich calls “ [ hyrax ] Wie five hundred Redeweise ” [ 3 ] – how something is said ( ibid ). In fact, how the assumed loudspeaker chooses to transmit the message will besides reveal important information about the speaker and his/her exponent position in the respective songs. An interrogation of the five songs in chronological order will then allow us to see how the fictive loudspeaker ’ s ability position changes over the class of the songs, or rather how the speaker progresses from victim in “ Leave Me Alone ” to more or less self-empowered being in “ Privacy ” .

4.1       “Leave Me Alone”

4.1.1    Bad

“ Leave Me Alone ” is a song that beginning appeared on Michael Jackson ’ s highly anticipated follow-up album to Thriller, titled Bad. In the years following the release of Thriller, Jackson and his team consist of Quincy Jones, Matt Forger, John Barnes, Bill Bottrell, Bruce Swedien, Greg Phillinganes and Jerry Hey wrote hundreds of songs for what became Jackson ’ randomness third solo album for Epic Records. however, only football team songs were selected for recording. deoxyadenosine monophosphate soon as the songs were chosen, the record process started. Because Michael wanted to avoid creating a transcript of Thriller, he encouraged his team to fabricate newfangled, advanced sounds never earlier heard by homo ears. consequently, the studio was equipped with the newest technology and the whole space of the studio was occupied by synthesizer stacks and the largest Synclavier in the world. The record process was thus detailed that it took Jackson and his team more than a year to complete Bad. In fact, in order to finish one single song for Bad, over a hundred audio tracks were recorded and merged, resulting in more than 800 multitrack tapes to create the album in its entirety. Horns, electric guitars and organs were combined with the noises of a cheer crowd, the whizz of a car engine, birdcall and the sound of a beating kernel for the sake of constructing a wide solicitation of sounds. The hard make paid off : when Bad was released on 31 August 1987, it reached phone number one on the Billboard charts immediately. To date, it has sold approximately 35 million copies worldwide ( californium. Vogel 2011 : 93, 107-115 ) .
Bad consists of eleven songs, namely “ Bad ”, “ The Way You Make maine Feel ”, “ Speed Demon ”, “ Liberian Girl ”, “ Just Good Friends ”, “ Another Part of Me ”, “ Man in the Mirror ”, “ I Just Can ’ triiodothyronine Stop Loving You ”, “ Dirty Diana ”, “ Smooth Criminal ” and ultimately “ Leave Me Alone ”. All songs except for two, namely “ Just Good Friends ” and “ Man in the Mirror ”, were written by Michael Jackson. Of these football team tracks, five were number-one singles ( “ Bad ”, “ The Way You Make maine Feel ”, “ Man in the Mirror ”, “ I Just Can ’ thyroxine Stop Loving You ” and “ Dirty Diana ” ) and three more tracks made it to the top 15 ( “ Another part of Me ”, “ Smooth Criminal ” and “ Leave Me Alone ” ). The album offers everything from love songs ( “ The Way You Make maine Feel ” and “ I Just Can ’ thyroxine Stop Loving You ” ), to a cable car chase ( “ Speed Demon ” ), a song inspiring social change ( “ Man in the Mirror ” ), a fib about a seductive groupie trying to lead the speaker into temptation ( “ Dirty Diana ” ), and the fiction of a murder ( “ Smooth Criminal ” ). last but not least, Bad besides features Michael Jackson ’ s first base artistic reaction to the damaging speculations and rumors about him circulating in the media : “ Leave Me Alone ” ( californium. Michael Jackson. Bad ; Vogel 2011 : 116-127 ) .

4.1.2    “Just stop doggin’ me around”

“ Leave Me Alone ” is a song written and composed by Michael Jackson, on which rhythm and vocal arrangements a well as solo, background vocals and the vocal synthesizer were done by Michael Jackson. Drum scheduling and synthesizers are the work of Larry Williams, the guitar was played and recorded by Paul Jackson Jr., the Synclavier arsenic well as synthesist program is attributed to Casey Young, and Greg Phillinganes is accredited with playing the synthesizer ( californium. Michael Jackson. Bad. booklet : 12f. ; californium. Vogel 2011 : 126 ). While the song appeared neither on the vinyl nor on the compendious cassette version of the album ascribable to a lack of storage capacitance, it was included on the CD adaptation of Bad ( californium. Vogel 2011 : 126 ). As a single accompanied by a video recording that managed to win a Grammy Award, it reached the top 15 on the Billboard charts ( cystic fibrosis. Vogel 2011 : 115 ) .
The first base step to examining the communicative situation in “ Leave Me Alone ” is to establish the extratextual floor of the song. The follow can be said about the extratexual grade of “ Leave Me Alone ” : on the generative side of the extratextual level, there is the real generator, namely Michael Jackson and his team involved in the creation of the song ’ second music and lyrics. Having said that, on the receptive side of the extratextual level, there is the veridical reviewer and, due to the fact that songs are plurimedial works of art, the real hearer, which includes every person who has always read the lyrics of “ Leave Me Alone ”, watched its video and/or listened to the music of the song .
As for determining the intratextual tied of the song, or rather who says what to whom, a bit-by-bit in-depth analysis of the lyrics beginning with the assumed speaker is required. The fictive speaker in “ Leave Me Alone ” appears explicitly throughout the stallion lyrics and is established through a frequent function of deictic expressions referring to the beginning person. first, the personal object pronoun “ me ” is present in the title of the sung. Because the deed “ Leave Me Alone ” besides acts as the hook of the song, the personal pronoun “ me ” gets repeated in the chorus very frequently, that is to say in every line of the chorus. In addition, “ me ” is found in the third ( “ You actually hurt, you used to take and deceive me ” ) and one-fifth line of the second verse ( “ You got a way of making me feel so regretful ” ), and in the first ( “ Just stop doggin ’ me around ” ), second ( “ ( Just stop doggin ’ me ) ” ), third base ( “ Don ’ t come beggin ’ me ” ), fifth ( “ Don ’ t semen lovin ’ me ), fifteenth ( “ Don ’ t come beggin ’ me ” ) and seventeenth line of the outro ( “ Don ’ t come lovin ’ me ” ). second, the personal submit pronoun “ I ” can besides be found in the song ’ mho lyrics very frequently, for exercise in the first two lines ( “ I don ’ t care what you talkin ’ ‘ bout baby / I don ’ t wish what you say ” ), the fourth line ( “ I don ’ thyroxine wish anyhow ” ), the one-fifth line ( “ Time after fourth dimension I gave you all of my money ” ) and the one-seventh line of Verse 1 ( “ Ain ’ t no batch that I can ’ triiodothyronine ascent baby ” ). In Verse 2, the first person pronoun “ I ” is used doubly in the beginning credit line ( “ There was a fourth dimension I used to say female child I need you ” ) and once in the sixth and seventh line ( “ I found out mighty away / Don ’ t you come walkin ’ beggin ’ I ain ’ metric ton lovin ’ you ” ). third, the assumed speaker besides uses the genitive clincher “ my ” in several lines of the song, for case “ my money ” in the fifth line of Verse 1 and “ my way ” in the final examination line of Verse 1 and Verse 2. As can be seen, the assumed speaker is therefore identical manifest throughout the entire lyrics .
The fictive addressee, excessively, is distinctly detectable in the lyrics of “ Leave Me Alone ”. In fact, the imperative climate in the title american samoa well as in every production line of the refrain already suggests that the lecture is directed towards person. More instances of the imperative climate are found in the third line of Verse 1 ( “ Don ’ t you come walkin ’ beggin ’ back mama ” ), in the penultimate and ultimate line of Verse 2 ( “ Don ’ t you come walkin ’ beggin ’ I ain ’ thymine lovin ’ you / Don ’ triiodothyronine you get in my manner ” ), and in lines one to six of the outro ( “ Just stop doggin ’ me around / ( Just stop doggin ’ me ) / Don ’ t do beggin ’ me / Don ’ t hail beggin ’ / Don ’ t come lovin ’ me / Don ’ t total beggin ’ ” ) american samoa well as lines fifteen to eighteen of the outro, which are a repeat of line three to six of the outro. furthermore, the fictive addressee is besides addressed by the use of the personal pronoun “ you ”, for model in the first three lines ( “ I don ’ triiodothyronine caution what you talkin ’ ‘ bout child / I don ’ triiodothyronine caution what you say / Don ’ t you come walkin ’ beggin ’ back mama ” ) and the fifth wrinkle of Verse 1 ( “ Time after time I gave you all of my money ” ), in the first ( “ There was a time I used to say female child I need you ” ), third ( “ You actually hurt, you used to take and deceive me ” ), fifth ( “ You got a way of making me feel thus good-for-nothing ” ), one-seventh and one-eighth line of Verse 2 ( “ Don ’ t you come walkin ’ beggin ’ I ain ’ thyroxine lovin ’ you / Don ’ metric ton you get in my way ” ), in the third line of every pre-chorus ( “ Who ’ mho laughing baby, don ’ t you know ? ” ) and in line seven and line nineteen of the outro ( “ I love you ” ). [ 4 ] The assumed addressee is further specified by the gender-neutral “ baby ” in line one ( “ I don ’ metric ton care what you talkin ’ ’ bout baby ” ) and note seven of Verse 1 ( “ Ain ’ t no mountain that I can ’ t climb baby ” ), and telephone line three ( “ Who ’ south laughing baby, don ’ thymine you know ? ” ) and line six of every pre-chorus ( “ Who ’ sulfur laughin ’ child ? ” ). Since “ baby ” is normally used as an affectionate name between lovers, the fact that the loudspeaker uses this term to refer to the addressee reveals that the addressee is or was the speaker ’ s lover. In accession, the speaker besides refers to the addressee as “ girlfriend ”, namely in the first telephone line of the first two choruses ( “ So barely leave me alone girl ” ), in the foremost occupation of the second base poetry ( “ There was a time I used to say girlfriend I need you ” ), in line three of the last pre-chorus ( “ Who ’ south laughing child, don ’ thymine you know, girl ? ” ) and in line one, four, nine and twelve in the final extended choir ( “ So just leave me alone girl / [ … ] Leave me alone girl ” ), which means that the assumed addressee is decidedly a woman. The “ ma ” in the one-third production line of the first poetry ( “ Don ’ t you come walkin ’ beggin ’ back mama ” ) further underlines the assumption that the addressee is female. As a consequence, since the assumed speaker uses an affectionate name to refer to the assumed addressee and the addressee is a woman, it might be argued that the fictive speaker is a man for the follow two reasons : first, although a homosexual kinship is a possible subject for a pop song of the 90s, a heterosexual relationship is just more probable considering the fact that homosexuality was not actually accepted in the 90s yet ; and second, it is Michael Jackson who gives a voice to the speaker by having written the lyrics and performed the birdcall, so that a male voice is suggested .
The subject-matter of the lecture is rather straightforward at first spy and does not leave much room for interpretation. Since the hook of the song and the birdcall ’ s title say “ Leave me alone ”, it is discernible that the song is about a assumed speaker who is bothered by the fictive addressee, hence why he constantly has to tell her to leave him alone. In the lines “ I don ’ thyroxine care what you talkin ’ ‘ bout baby / I don ’ t concern what you say / Don ’ t you come walkin ’ beggin ’ back mama / I don ’ t care anyhow ” of Verse 1, the speaker seems to suggest that the addressee is speaking ill of him – possibly spreading rumors – and that he does not care about what she has to say. additionally, these lines besides confirm the assumption about the speaker and the addressee being in a relationship, though they besides disclose that the relationship is already over, or at least damaged beyond all haunt at this point, seeing that he tells her not to come back and not to beg for him to take her back. The be lines, “ Time after meter I gave you all of my money / No excuses to make / Ain ’ t no mountain that I can ’ deoxythymidine monophosphate wax baby / All is going my way ” of the beginning verse give more data about their relationship. The speaker says that he provided for her and what is more, he seems to have offered her everything he had, so that there are no excuses that she left him and that she is now speaking ill of him – he therefore seems to say that he does not owe her anything. In summation, he points out that now that she is gone, he can still achieve anything he wants and that everything is going according to his wishes, implying that he does not need her in order to be felicitous. With the lines “ ( ‘ Cause there ’ s a clock time when you ’ re good / And you know you must fight ) / Who ’ sulfur laughing pamper, don ’ thymine you know ? / ( And there ’ s the choice that we make / And this choice you will take ) / Who ’ s laughin ’ baby ” of the pre-choruses, the speaker declares that there comes a time when you have to fight, say that “ adequate is adequate ” and make the veracious choice. He besides implies that he is going to have the last laugh with line three and telephone line six. however, the moment to end line of the pre-chorus besides reveals that he has not made the option to leave the addressee for thoroughly yet, due to the fact that he uses “ will ” in the sentence, suggesting that he will do so in the future .
The refrain, on the other hand, is self-explanatory : the loudspeaker repeats several times that he wants to be left alone – he wants her to go away and to stop bothering him. The lines “ Just stop doggin ’ me around / ( Just stop doggin ’ me ) ” far strengthen the speaker ’ randomness request, since according to the Merriam-Webster dictionary, the verb “ to dog ” means “ to bother or pester persistently ” ( “ dog ” n.d., on-line ). last, in the lines “ There was a time I used to say girl I need you / But who is good-for-nothing now / You truly hurt, you used to take and deceive me / immediately who is deplorable now ” of Verse 2, the loudspeaker first base focuses on the past. He felt that he needed her in the by, but since she hurt and deceived him, he does not need her anymore. At the lapp time, he implies that he expects her to regret her decision to do so in lines two and four. In the final examination lines “ You got a way of making me feel so deplorable / I found out right aside / Don ’ t you come walkin ’ beggin ’ I ain ’ thymine lovin ’ you / Don ’ thyroxine you get in my way ” of Verse 2, the loudspeaker then reveals that he found out how manipulative the addressee was identical early into their relationship and that he very does not want her to get in his means by trying to come back to him. clearly then, the entire subject-matter of the actor’s line is about a damaged relationship and the lyric character ’ s wish to be left alone by the fictive addressee. This interpretation is besides confirmed by Jackson himself in his autobiography : “ I ’ megabyte sending a dim-witted message here : ‘ Leave me alone. ’ The song is about a relationship between a guy and a girl. ” ( 2010 : 270 )
however, there is a second interpretation that is possible. In Moonwalk, Michael Jackson continues explaining the meaning of “ Leave Me Alone ” : “ But what I ’ m very saying to people who are bothering me is : ‘ Leave me alone. ’ ” ( Ibid. ) The birdcall is frankincense not entirely about a relationship between two lovers, but besides a message to the people that bothered Michael Jackson prior to the release of “ Leave Me Alone ” – for case, representatives of the yellow journalism bid and mainstream media. This becomes more obvious when one watches the music video of “ Leave Me Alone ”. A sour of art on its own, “ which took twenty-five people more than six months to realize to the singer ’ s satisfaction ”, it is in fact the music video that powerfully suggests that the song can be understood in terms of criticism of the media ( Vogel 2011 : 126 ). The video is besides the reason why Vogel calls the birdcall “ Jackson ’ s boldest response to date to his numerous of critics ” and an “ expression of exasperation at a media and public that had grown insatiate ” ( ibid ). consequently, in order to be able to analyze the lyrics beyond their surface, the television requires further examen .
The video begins with Michael Jackson being catapulted out of what looks like a tour bus and into an amusement parking lot. While Jackson is on his way to the amusement park, newspapers with absurd headlines such as “ MICHAEL ’ S SPACE-AGE DIET ”, “ BUBBLES THE CHIMP BARES ALL ABOUT MICHAEL ” and “ MICHAEL ’ S COSMETIC NOSE SURGERY ” published by “ National Intruder ” and “ Global Gossip ” are being thrown on his doorsill. As the camera cuts to the interior of the enlistment bus, more newspapers with like headlines are shown, for exemplify “ MICHAEL FROZEN FOR 50 YEARS ” and “ MICHAEL CONFIDES TO PET CHIMP ”. These newspapers feature photos of Jackson on their front pages and unlike normal photos, these photos are not static ; they seem to have come to liveliness and Michael is singing from them. The purpose of these first scenes is to illustrate how the scandalmongering media circus has turned Jackson into a commodity ; how the media exploit Jackson for newspaper sales by turning him into a addict. Story after narrative, Jackson is increasingly being dehumanized until he has been swallowed up by the pages, which is why he is shown singing from them. The fact that MJ is then besides singing from a twenty-dollar-bill further emphasizes that MJ has become a product, or preferably a money-making machine. At the same time, these scenes besides manage to discredit the media by giving the newspapers derogative names ( californium. Jackson 1989, on-line : 0:12-1:16 ). After this, the fit shifts to Michael Jackson in his amusement parking lot drive. He is lento approaching a hardened of teeth that opens and closes to the beat of the trap drum – a symbol of the menacing jaw of the media that is threatening to eat him alive. He then passes through this mouth and arrives in the future room of the ride, where he sees a spinning brain from which a globe followed by a intrude and a scalpel issue. While the ball moves out of the frame very cursorily, the nose and the scalpel persist in the frame of reference slenderly longer, possibly symbolizing that humans care more about Jackson ’ s cosmetic surgeries than about what happens in the worldly concern ( californium. Jackson 1989, on-line : 1:17-1:52 ). When Jackson ’ s amusement ride exits the entertainment ballpark, the spectator ultimately discovers that the amusement park is actually a giant, captive interpretation of Michael Jackson. This fit visualizes that Jackson has been turned into an attraction. While he lies inactive on the floor pinned depressed and constrained by the media that have turned him into arrant entertainment, the people can have fun at the expense of his exemption ( cystic fibrosis. Jackson 1989, on-line : 2:31 ). After the spectator sees another captive version of Michael Jackson with his foot in a ball and chain, dancing with the bones of the Elephant Man, which pokes fun at the report that was circulated by the media, the giant Jackson has had enough and he breaks dislodge from his constraints and rises. As he stands up, the entire amusement park starts to collapse. however, the video ends on an ambiguous note with a Jackson standing above the ruins : it is not unwrap whether he can “ wholly escape the circus that has become his reality ” ( californium. Jackson 1989, on-line : 3:30-4:38 ; Vogel 2011 : 127 ). Given that the entire music video for “ Leave Me Alone ” criticizes the media, it would possibly be excessively rash and superficial to consider the song and its lyrics to be alone about a relationship between a valet and a woman. therefore, the video recording renders a second interpretation of the lyrics possible .
If we follow the clues put forward by Jackson and his music video recording of “ Leave Me Alone ” and assume that the fictive addressee – the “ girlfriend ” – of the speech is actually a body representation of the media, the subject-matter of the speech changes wholly. The lyrics then appear to be about a speaker who has become bothered by the media and who had decided to put an end to their ‘ relationship ’. first, the first four lines of Verse 1 become an formulation of the speaker ’ s emotionlessness to what the media have to say about him, or preferably to the rumors they are spreading. additionally, the loudspeaker besides tells the media not to come back begging when they will need him again someday. The concluding four lines of Verse 1 are then about how he allowed the media to make money off him and his life. Nevertheless, despite the rumors and speculations, he believes that he is at an all-time eminent and that he can achieve anything. second, in the pre-chorus, the loudspeaker announces that it is time to fight and that he will have the last laugh ; however, by using the future tense in the penult line of the pre-chorus, he reveals that he has not ended the ‘ kinship ’ yet. third, in the refrain, he tells the media to leave him alone and to stop bothering him. last, in the second verse, the lyric persona speaks about the past : there was a clock time when he needed the media, but since they hurt and deceived him, he wants them to stay out of his room. In addition, he says that he discovered the manipulative english of the media identical soon and he implies that they will regret their wrongdoing. As can be seen, such an interpretation of the lyrics is indeed potential and, considering Michael Jackson ’ s biographic backdrop at that time, possibly tied more probable. It follows then that the lyrics of “ Leave Me Alone ” are highly autobiographical and that the fictive speaker can be considered an alter ego of Jackson .
indeed far, it has been shown that in Jackson ’ s lyrics of “ Leave Me Alone ”, the speaker seems to be rather determined to break free from the media and to leave their damaging relationship behind ; however, it can be observed in the lyrics that he fails to do so in the end due to his own weakness. Although the lyric character appears to be resolute in his attempt to separate from the addressee for the most contribution of the lyrics, the lyrics towards the end of the sung reveal the vulnerability of the speaker. In the first base six lines of the outro of “ Leave Me Alone ”, the speaker repeats that he wants to be left alone by the addressee. But if he was sincerely serious about wanting to be left entirely, why would he admit to loving the addressee in the one-seventh and nineteenth line of the birdcall ? In fact, these two lines of the outro negate the speaker ’ s seeming determination that appears to be present throughout the rest of the lyrics. It about seems as if, in a here and now of failing, the speaker can not hold back his thoughts anymore and his mouthpiece betrays him. The eighth line of the outro, “ I don ’ t want to ”, then goes on to foster emphasize his weakness – it shows that he is a slave to his feelings for the loudspeaker. In the play along lines “ I don ’ t… / I don ’ t… / I don ’ t… / I don ’ t… / I…, I…, I…, aaow ! ”, communication seems to break down. The fact that he is conflicted and his desperation become more and more apparent in these lines. then he attempts once again to convey the message that he does not want the addressee to come back, but again the words “ I love you ” slip out of his sass, disclosing that he still needs the addressee. last, the outro ends with the lines “ I don ’ thyroxine want it / I don ’ t need it ”, but by the time the speaker utters these words, it has already become obvious that he is desperately trying to convince himself of believing his own words. therefore, the outro is a confession of the speaker ’ s uncertainty with gaze to his relationship with the media – he knows that the media are harming him, but at the lapp time, he does not seem to have the ability to let go. however, the outro is not the alone aspect of the song which betrays the speaker ’ s vulnerability ; the music ampere well as the lyrics ’ verse scheme and rhetorical devices expose the speaker ’ s ability status – the fact that he is a victim of his emotions – excessively .

4.1.3    Music, rhyme scheme and rhetorical devices

The music of “ Leave Me Alone ” goes well together with the progress of the lyrics and further underlines the fact that the assumed speaker is a victim of his insecurity. The birdcall is based around a minor issue of chords, namely the Em, the Bm7sus4, the Am, the G, the F # m, the F, the Am7 and the B7 chord. In the intro and the beginning verse of “ Leave Me Alone ”, a constant switch from the Em to the Bm7sus4 chord and back can be observed. As a matter of fact, every bar of the intro and the first verse consists entirely of those two chords. As the sung transitions into the first pre-chorus, the chords start to change. The chords in the pre-choruses move from Am to G to F # megabyte to F, back to the Em and Bm7sus4 blueprint for two bars, and then transition from Am to G to F # m to F again before being concluded by the Em and Bm7sus4 model. In the refrain, first the Em chord is repeated two times, then the chords move from the Am7 chord to the B7 chord, spinal column to the Em chord and ultimately to the Am7 and B7 chord again. When the first chorus is over and the moment verse of the song begins, the sung reverts back into the Em and Bm7sus4 form. This convention is then interrupted by the second base pre-chorus, the second chorus, is repeated again during the synthesist and vocal solo, is interrupted once again by the third pre-chorus and the third offer chorus and then reappears in the outro of the sung ( cf. Michael Jackson. Michael Jackson : dispatch Chord Book : Song 53 ) .
These chord progressions mirror the lyrics of the song : as the loudspeaker announces that it is prison term to fight and that he will last spring to action in the pre-chorus, the birdcall abruptly breaks out of the monotony of the ceaseless Em and Bm7sus4 chord blueprint of Verse 1. Although the form is not wholly interrupted and the Em and Bm7sus4 practice hush finds its means into the pre-chorus, the modern chords introduce an, at least temp, sense of hope for the speaker. The chorus builds on this sense of hope and as the speaker repetitively cries out “ Leave me alone ”, merely the Em chord of the practice remains, transitioning into two newly introduced chords, namely the Am7 and the B7 chord. It appears as if the dismissal from the ageless Em and Bm7sus4 practice is accomplished, but after the speaker ’ s final attempt at freeing himself from the addressee in the concluding chorus, the music of the song reverts to and ends with a fade-out of the same traffic pattern in the outro. This coincides with the loudspeaker giving away that he is still a victim of his feelings – that he still loves the addressee – in the outro. As the speaker tries to convince himself that he does not want the addressee back in the final lines of the outro and the music fades out with the Em and Bm7sus4 chords, it becomes apparent that his insecurity makes his liberation impossible .
A closer examen of the rhyme outline of the song ’ south lyrics further exposes the assumed speaker ’ south weakness. As a matter of fact, while a number of rhymes can be found in the lyrics, there is no consistent verse schema. The first gear verse has the rhyme scheme abcbdeab : the “ say ” of line two rhymes with the “ anyhow ” of course four and the “ room ” of occupation eight, and the “ baby ” of production line one is repeated in line seven. In addition, an inner rhyme can be found in line one and line three, namely “ talkin ’ ” and “ walkin ’ ”. In contrast, the second verse appears to have a more regular rhyme schema ; however, it soon becomes clear that most of the rhymes are identical rhymes ; that is, the same words are plainly repeated in the end military position of the lines. The identical rhymes of “ now ” in the irregular and in the fourthly lineage, of “ you ” in the first and seventh channel and the “ aside ” in line six and “ room ” in line eight, which besides refer back to the first verse, result in the follow rhyme scheme : mnonpbmb. It can be said then that alike to the chord progress in the music, the rhymes are very flat in the verses. possibly the speaker simply does not have the ability to create stimulate rhymes and a regular rhyme scheme. Nevertheless, the lyric character manages to break out of this tediousness, fair as the music does, namely in the pre-choruses of the song. The verse scheme of the first two pre-choruses is ffgeea and the rhyme schema of the concluding pre-chorus is ffheea. In all the pre-choruses, the speaker rhymes “ right ” with “ contend ” and “ make ” with “ take ”, resulting in respective rhyming couplets, which give the impression that the loudspeaker is rightfully ready to fight and to free himself from the victim might situation. In the chorus, on the other hand, a batch of identical rhymes are used again, leading to the rhyme system hiiiijkl. however, this prison term it is not a sign of tediousness, but rather of desperation as the loudspeaker tries to liberate himself from the addressee. therefore, it can be argued again that despite his attempts at getting into a military position of power, specially in the pre-choruses, the speaker fails to succeed in doing thus because of his despair .
ultimately, the rhetorical devices, excessively, indicate the fictive speaker ’ s powerlessness to escape his apparently hopeless situation. first, an anaphora can be found in Verse 1, namely “ I don ’ thymine worry [ … ] ” in agate line one, two and four. The fact that the assumed loudspeaker states that he does not care three times, possibly reveals that he does care more than he would like to admit. It is as if the loudspeaker is trying to convince himself of his emotionlessness. If he did not care, there would be no need to say therefore three times. The repetition of “ Who ’ s laughin ’ baby ” in the pre-choruses and “ [ … ] who is deplorable now ” in the second verse can be interpreted in a like way : if the assumed speaker is rightfully having the last laugh or if the speaker in truth feels that the addressee is going to be regretful, why does he bother to tell the addressee several times then ? The explanation is childlike : the constant recur of the same statements shows that he still cares. second, the epiphora in the final lines of the verses, namely “ my way ” contrasts the “ All is going my way ” of the first verse with the “ Don ’ thyroxine you get in my way ” of the second verse. This reveals how powerless the speaker is compared to the addressee : although he says that everything is going according to his wishes, he distillery fears that the addressee might get in his way. It follows from this that the speaker is not in restraint of his own life, but that his life is still controlled by the addressee. last, in Moonwalk, Jackson writes that he “ work very heavily on the birdcall, stacking vocals on top of each other like layers of clouds. ” ( 2010 : 270 ) This can be heard equally well as seen particularly in the choruses, in which the loudspeaker repeats the supplication “ Leave me entirely ” over and over again. once again, the constant repetition of his demand conveys the mental picture that he is extremely helpless and desperate .
All in all, it must then be said that the subject-matter of the speech, the music, the rhyme scheme and the rhetorical devices all suggest a loudspeaker that is the victim of his indecision and consequently, the victim of the addressee – the media – since he suffers at the hand of her. The loudspeaker attempts to be hard and to let go of the addressee, but he can not because he hush cares about the addressee, revealing his powerlessness. What is besides concern is Jackson ’ s decision to disguise his first ‘ media-critical ’ birdcall as a love song, which is the most popular birdcall root ( californium. Braheny 2007 : 31 ). possibly the purpose was to reach as many people as potential with a beloved theme, or possibly Jackson feared that a sung critical of the media would not matter to his listeners. Whatever his reasons, it can still be considered a reserved and fearful act. This reservation and fear is surely mirrored in the manner of speaking of the assumed loudspeaker ; it is expressed in his powerlessness .

4.2       “Why You Wanna Trip On Me”

4.2.1    Dangerous

“ Why You Wan sodium Trip On Me ” is a traverse on Michael Jackson ’ s first Epic solo album without producer Quincy Jones, titled Dangerous. For this album, Jackson longed for more independence and wanted a new good, which is why he asked the creator of newly jacklight lilt, Teddy Riley, to join his team. In summation to Riley, MJ ’ mho team consisted of people such as Bill Bottrell, Brad Buxer, Matt Forger, Bruce Swedien, Brad Sundberg, Steve Porcaro and David Paich. The results of this fruitful collaboration were more experimental and more ambitious songs with more develop sounds. good as during the recording work of Bad, Jackson did not want to recreate his work or the employment of early artists – he wanted to innovate sonically ( cf. Vogel 2011 : 131-137 ). For example, in order to create “ ‘ organic ’ percussion sounds ”, Michael and his team went away and “ reach on things like methamphetamine, alloy, or pan cans ( occasionally with baseball bats ), and Teddy Riley recorded samples from Jackson ’ s menagerie at Neverland. Jackson simply heard ‘ music ’ in everything and asked his collaborators to record it and store it for potential use. ” ( Vogel 2011 : 137 ) As a consequence, Dangerous took Jackson and his team more than three years to finish. More than 100 songs had been recorded and more than 10 million dollars spend, but when the album was released on 26 November 1991, the blood, fret and tears were rewarded : the album sold two million copies worldwide in the inaugural week and four million in the first month of its let go of ( cf. Vogel 2011 : 143-149 ). furthermore, it soon became Michael ’ s “ most successful album internationally and his second-most successful in entire cosmopolitan sales, behind lone Thriller. ” ( Vogel 2011 : 149 )
dangerous consists of 14 songs, namely “ Jam ”, “ Why You Wan sodium Trip On Me ”, “ In the Closet ”, “ She Drives Me Wild ”, “ Remember the Time ”, “ Can ’ thyroxine Let Her Get Away ”, “ Heal the World ”, “ Black or White ”, “ Who Is It ”, “ Give in To Me ”, “ Will You Be There ”, “ Keep the Faith ”, “ Gone Too Soon ” and “ Dangerous ” ( cf. Michael Jackson. Dangerous ). Of these songs, the first six ampere well as the last one are the consequence of Jackson ’ s collaboration with Teddy Riley ( cystic fibrosis. fast 2014 : 12-15 ). The first unmarried that was released off Dangerous was “ Black or White ” and it reached the number-one side on the Billboard charts immediately. While three more singles – “ Remember the Time ”, “ In the Closet ” and “ Will You Be There ” – followed “ Black or White ” into the Top Ten of the Billboard charts, the other singles were not vitamin a successful in the United States ; however, these singles – “ Jam ”, “ Heal the World ”, “ Who Is It ” and “ Dangerous ” – became very popular everywhere else in the world ( cystic fibrosis. Vogel 2011 : 144f., 149 ). The themes that Jackson covers on Dangerous are diverse ; the songs are about the state of the universe ( “ Jam ” ), about a love matter ( “ In the Closet ” ), about a hanker for the past ( “ Remember the Time ” ), about making the world a better place ( “ Heal the World ” ), about racial one ( “ Black or White ” ), about aloneness ( “ Who Is It ” ), about a seductive woman ( “ Dangerous ” ) and last but not least, about the error of the media ( “ Why You Wan sodium Trip On Me ” ) ( californium. Michael Jackson. Dangerous ; cf. Vogel 2011 : 150-168 ). furthermore, according to Susan Fast, the themes are dark and more adult than always : Jackson is “ struggling with [ … ] politics, love, crave, seduction, treachery, damnation, and possibly above all else slipstream – in ways heretofore unobserved in his music. He gives us a colored vision of the world [ … ]. ” ( 2014 : 2 ) additionally, as Fast points out, “ [ east ] ven the bright moments are surrounded by doubt, anger, treachery, or ambiguity and taken as a whole, the album leaves little doubt that pain eclipses hope ; this is not glazed, happy toss off music. ” ( Ibid. ) For this reason, she considers dangerous to be Michael ’ s “ coming of historic period album ” ( fast 2014 : 1 ) .
“ Why You Wan sodium Trip On Me ” was written and composed by Teddy Riley and Bernard Belle, produced by Teddy Riley and Michael Jackson and recorded and mixed by Bruce Swedien, Teddy Riley, Dave Way and Jean-Marie Horvat. Teddy Riley besides did the rhythm arrangements, the keyboards, the synthesizers and the guitars. The guitar presentation was done by Paul Jackson Jr. Solo and background vocals are sung by Michael Jackson and the outspoken agreement is besides the work of the King of Pop. Sequencing and program is credited to Wayne Cobham ( californium. Michael Jackson. Dangerous. Booklet : 5 ; cf. Vogel 2011 : 153 ). As can be seen, Michael Jackson did not write and compose “ Why You Wan sodium Trip On Me ” himself. however, this does not mean that the sung can not be regarded as one of Jackson ’ second counterattacks against the media. As a matter of fact, Jackson constantly worked closely together with Teddy Riley and the rest of his team, who were all familiar with his imagination of Dangerous. When something was not to Michael Jackson ’ s liking, he pushed Riley beyond his boundaries and made clear what he wanted. additionally, Michael Jackson besides acted as executive manufacturer for the first time, which means that he had full control of the creative output. As executive producer, MJ besides had a final say on which songs to put on the album. Despite many other songs being finished, which did not make the final examination cut of the album and would appear on former albums, Jackson decided to include “ Why You Wan sodium Trip On Me ” on Dangerous. It follows then that Jackson must have thought that the song sounded as he wanted it to sound and said what he wanted it to say. consequently, although Riley must be given credit for having written the music and the lyrics of the birdcall, it needs to be repeated that the song calm has to be viewed as one of Jackson ’ south counterattacks against the media. Riley was part of Michael ’ s creative team ; it was Michael who pushed Riley to create fresh grooves until he liked them ; it was Michael who wanted the song on his album ; it was Michael who gave the lyrics a voice through his whistle ( cystic fibrosis. Vogel 2011 : 131-143 ) .
In Man in the Music : The Creative Life and Work of Michael Jackson, Vogel writes that “ Why You Wan sodium Trip On Me ” is a “ more develop lyric sequel to ‘ Leave Me Alone ’ ”, in which “ Jackson is nobelium longer plainly decrying his critics for ‘ dogging [ him ] around ’ ; he is directing their gaze to more pressing issues [ … ]. ” ( 2011 : 153 ) What Vogel seems to imply here is that the assumed speaker whom Riley created for “ Why You Wan sodium Trip On Me ” on behalf of Jackson appears to be more in control than the assumed speaker in “ Leave Me Alone ” – the loudspeaker is not only telling the media to leave him alone, but he is besides telling them what to do. According to Vogel then, the fictive speaker in “ Why You Wan sodium Trip On Me ” has liberated himself from the victim office position the speaker in “ Leave Me Alone ” was in. Whether this is rightfully the shell can only be judged by looking at the communicative situation, the rhyme outline and the rhetorical devices in the lyrics .
Starting with the extratextual floor of the communicative situation in “ Why You Wan sodium Trip On Me ”, it can be said that the real authors are Teddy Riley on behalf of Michael Jackson a well as Michael Jackson and the rest of his team that contributed to the creation of the sung ’ sulfur music and lyrics. On the receptive side of the extratextual level, there is every single reader who has always read the lyrics of the sung and, since songs are plurimedial works of art, every single hearer who has ever listened to the music .
In order to establish the intratextual level of the communicative site, or who says what to whom in “ Why You Wan sodium Trip On Me ”, a closer examination of the lyrics starting with the assumed speaker is necessary. As is the character with the loudspeaker in “ Leave Me Alone ”, the loudspeaker in “ Why You Wan sodium Trip On Me ” is an overt speaker due to the fact that several deictic expressions referring to the first person can be found. For model, the personal object pronoun “ me ” appears in the title of the sung, which besides acts as the hook of the birdcall, so that the pronoun gets repeated in the choruses over and over again. other instances of “ me ” can be found in the last agate line of Verse 1 ( “ so there ’ s actually no time / To be tripping on me ” ), in the concluding line of Verse 2 ( “ So tell me ” ) and in the one-seventh line of Verse 4 ( “ Tell me ” ). The personal subject pronoun “ I ” is besides used in the lyrics, though merely once, namely in the first line of the first base poetry ( “ They say I ’ thousand different ” ). In accession to these singular pronouns, a number of plural first base person pronouns are present in the lyrics. These pronouns seem to be used in a cosmopolitan sense, so that the speaker includes himself deoxyadenosine monophosphate well as everybody hear or seeing his message. The plural first person pronoun “ we ” is used in the inaugural two lines of the third poetry ( “ We ’ ve got more problems / Than we ’ ll ever need ” ) and in the first ( “ We ’ ve got drug addiction ” ), the third base ( “ We ’ ve got therefore much corruption ” ), the one-fifth ( “ We ’ ve got streetwalkers ” ) and the eighth line of the fourthly verse ( “ What are we doing ” ) .
There are two things that can be concluded from these observations : first, the personal topic pronoun “ I ” is only use once in the entire lyrics whereas the personal object pronoun “ me ” is used numerous times in the chorus arsenic well as in most of the verses. consequently, there seems to be a tendency towards the personal object pronoun, possibly revealing that the speaker will primarily be an aim in the text. second, there besides appears to be a tendency towards the plural first person pronoun “ we ”, potentially showing the speaker ’ sulfur scheme to get closer to the addressee alternatively of telling him/her to stop bothering him as in “ Leave Me Alone ”. [ 5 ]
The fictive addressee, besides, is clearly perceptible in the lyrics of “ Why You Wan sodium Trip On Me ”. The personal pronoun “ you ”, which already appears in the title and consequently in the choruses, is used rather frequently in the verses a well. For case, it can be found in the fifth trace of the first verse ( “ You got earth hunger ” ), in the beginning ( “ You got school teachers ” ), third ( “ You got grow people ” ), fifth ( “ You got strange diseases ” ) and seventh line of the second verse ( “ You got many doctors ” ) and in the third base ( “ You got gang violence ” ) and fifth line of the third gear verse ( “ You got homeless people ” ). Furthermore, the imperative mood climate, which is used in every chorus, in the outro ( which is basically an extremely unfold chorus that fades out in the end ), in Verse 2 and in Verse 4, implies an addressee a well : the same demand of the speaker ( “ Stop trippin ’ ” ) can be found in the third line of the first chorus, the fifth line of the second chorus and the third base chorus, the fifth and one-sixth course of the fourth refrain and in lines one to eight, line ten, tune twelve, line fourteen and in lines sixteen to eighteen of the outro. A variation of the same request, namely “ Everybody just stop trippin ’ ” appears in the final production line of the second choir and the fourth chorus. last, two cases of the imperative temper can besides be found in the ninth line of Verse 2 ( “ So tell me ” ) and in the seventh argumentation of Verse 4 ( “ Tell me ” ). As can be observed, the fictive addressee is identical manifest in the lyrics. additionally, it is safe to assume that the addressee is not one single person, but preferably a group of people. The fact that the assumed speaker utters “ Everybody just stop trippin ’ ” in concert with the rest of the manner of speaking, implying that there is more than only one addressee, is evidence for this assumption. The “ you ” is frankincense to be understood as a plural second person pronoun. however, in order to find out the identity of the addressee, a closer interrogation of the subject-matter is required .
In his speech, the fictive loudspeaker attempts to direct the assumed addressee ’ sulfur focus away from him to a number of problems that exist in the world. In the first four lines of Verse 1 – “ They say I ’ thousand different / They don ’ metric ton understand / But there ’ s a bigger trouble / That ’ mho much more in demand ” – the speaker says that a group of people ( “ they ” ) talk about the speaker being different because they do not understand him, but there are other matters that demand our immediate attention. In the following lines of the like poetry, “ You got global hunger / not enough to eat / So there ’ s in truth no time / To be trippin ’ on me ”, he gives an exercise of a problem that requires our attention, namely populace hunger, and thus there should be no fourth dimension to harass the loudspeaker because of his deviation. therefore, it can be said that the foremost verse begins with a strong, coherent argument of the speaker. What remains to be determined, however, is the identity of the people who say that the loudspeaker is different equally well as the identity of the addressee. Because the lyrics do not provide us with any clues, Jackson ’ s biographic background needs to be considered. It follows then that “ they ” are the ones who speculate about the loudspeaker ’ mho dispute, probably the media, and that “ you ” refers to the people believing those speculations, or rather people who believe the media. On the early hand, it is besides possible to see it the other direction round : people who believe speculations very much gossip about them and in turn possibly create raw rumors, which are then assimilated by media representatives and turned into stories again – it becomes a barbarous encircle. For this cause, it can be argued that the pronouns “ they ” and “ you ” actually refer to the lapp people : the media and the consumers of the media. [ 6 ]
In the stay of the verses, the lyric character follows the structure of the second base half of Verse 1 and enumerates more problems that are more authoritative than him being different. For exemplify, in the lines “ You got school teachers / Who don ’ metric ton wan na teach / You got grow people / Who can ’ deoxythymidine monophosphate write or read / You got strange diseases / Ah but there ’ s no cure / You got many doctors / That aren ’ t so certain ” of Verse 2, the loudspeaker mentions incapable, possibly even faineant teachers, illiteracy, incurable diseases and bungling doctors who do not know how to treat these diseases. In Verse 3, the loudspeaker focuses on gang violence and homelessness : “ You got gang ferocity / And bloodshed on the street / You got homeless people / With no food to eat ”. last, in the lines “ We ’ ve got drug addiction / In the minds of the weak / We ’ ve got so much corruption / Police brutality / We ’ ve got streetwalkers / Walking into darkness ” of Verse 4, the speaker points out drug addiction, corruption, police wrongdoing and prostitution .
While the verses all seem to present a mighty speaker with solid arguments, it is in the choruses that the loudspeaker shows his powerlessness. In the chorus, which appears after the second verse for the foremost time and is then repeated several times after the fourth verse, the speaker seems to ask : “ Why do you have to stumble on me when there are so many other matters that need our concern ? ” furthermore, he tells the addressee – the media and the media consumers – to stop trip. But what does the loudspeaker mean by “ trippin ’ ” ? The verb “ to slip ” means to “ [ c ] atch one ’ south foundation on something and stumble or fall ” and is by and large used with the preposition “ over ” ( “ trip ” n.d., on-line ). however, a quick search using the Corpus of Contemporary American English reveals that “ to trip ” is besides used with the preposition “ on ” in talk linguistic process, though rather rarely. The prototype that is then evoked is that the speaker is sitting or lying helpless and powerless on the floor while people are stumbling over him, possibly even trampling him about to death. This interpretation would mean that the speaker, barely like the speaker in “ Leave Me Alone ”, is in an highly powerless side, or quite in a victim power position. however, “ to stumble ” together with the preposition “ on ” besides has a second mean : in cozy language “ to tripper on something ” is frequently used with drugs and means to “ [ e ] xperience hallucinations induced by taking a psychedelic drug, particularly LSD ” ( “ tripper ” n.d., on-line ). This entail evokes a completely different picture : the assumed loudspeaker metaphorically becomes a hallucinogenic drug consumed by the addressee. The speaker is thus reduced to an object and is being taken advantage of by the addressee in order to get high. While the foremost interpretation is surely possible, this second interpretation seems to make more smell : because the addressee is in a hallucinogenic express induced by the consumption of the loudspeaker, the addressee does not see the problems in the world. The speaker, on the other hand, tries to make the addressee stop consuming him by directing the addressee ’ s care to problems, such as earth hunger, homelessness and incurable diseases. Seeing that this does not work, he cries out “ Stop trippin ’ ” and “ Everybody merely stop trippin ’ ” in despair in the choruses. It follows then that exchangeable to the beginning rendition of the chorus, in the second interpretation the speaker is absolutely powerless angstrom good. [ 7 ]
The birdcall offers two more clues that the second mean of “ to trip ” is chiefly meant. first, in the first two lines of the fourth verse, the assumed loudspeaker explicitly mentions “ [ … ] drug addiction / In the minds of the weak ”. It could be argued that the loudspeaker measuredly brings up drug addiction in club to allude to the way the chorus is to be sympathize. At the same time, this would mean that these two lines are a verbal attack on the addressee : since they are constantly tripping on the speaker, they are addicted to him, which, according to the speaker, makes them unaccented. second, the way the background vocals are layered in the choruses besides strongly suggests that the speaker refers to the second meaning of “ to trip ”. In fact, there are respective layers of background vocals repetitively asking “ Why ? ” and “ Why you wan sodium trip on me ? ” while the alone vocals follow the lyrics. These background vocals sound rather psychedelic, as if they were inducing a trance : they are resonating and oscillating as if they were mirroring the acoustic perception of a drug exploiter during a hallucinogenic trip .
All things considered, it can be said that the subject-matter of the manner of speaking is the speaker ’ s plea to stop consuming him like a drug lone because he is different and to focus on problems that require our contiguous attention. furthermore, it can be argued that the speaker is in a victim world power status again. Although he starts his speech in a solid manner by enumerating argument after argument for problems that need more attention than his life, he discloses his weakness in the choruses of the birdcall. The fact that the addressee consumes him like a drug and he can not stop it – all he can do is to tell the addressee to “ Stop trippin ’ ” – makes him powerless. Over and over again, he asks the addressee “ Why you wan sodium trip on me ”, but he does not seem to get an suffice and the consumption of him does not seem to stop either. The constant questions and pleas with the addressee to stop tripping on him convey the impression that he is in truth desperate for his agony to end. however, there are more aspects which expose the speaker ’ s powerlessness : the music and the lyrics ’ rhyme dodge and rhetorical devices .

4.2.3    Music, rhyme scheme and rhetorical devices

alike to “ Leave Me Alone ”, the music of “ Why You Wan sodium Trip On Me ” seems to follow the progression of the lyrics very closely. The unharmed birdcall is based around the follow chords : the Dm7, the Dm11, the Bbdim7, the Dm, the Bb, the C # dim7 and the A7 harmonize. As the assumed loudspeaker starts with his lecture in a potent and compose way, the music starts with the Dm7 chord. In fact, the entire beginning verse consists of entirely the Dm7 chord, which gives the stamp that the speaker is at facilitate and which has the side-effect that the music gives way to the speaker ’ s message, so that the focus is wholly on the lyrics. As the speaker moves on to the second gear verse, the music transitions into the Dm11 chord. It stays on the Dm11 chord for seven bars, again underlining the self-assured country of the loudspeaker, before it transitions into the Bbdim7 harmonize in the end bar before the chorus, building up tension and revealing a tip of discomfiture in the loudspeaker. In the choir, the chords move from the Dm to the Bb to the C # dm7 to the A7 to the Dm7 to the Bb to the C # dim7 to the A7 chord again. As can be seen, the number of chords increases in the chorus to a great extent, mirroring the speaker ’ s emotional breakdown due to his hopeless site. In the third and fourth verses, which are identical to the first and the moment verse, the speaker seems to escape his powerlessness again, but this get off is entirely impermanent : since the sung ends with respective repetitions and a fade-out of the chorus, the speaker ’ mho hopelessness and powerlessness prevail in the end ( cystic fibrosis. Michael Jackson. Michael Jackson : complete Chord Book : Song 99 ) .
The rhyme scheme of the lyrics is further attest for the loudspeaker being in a powerless position. however, in contrast to the rhyme schema in “ Leave Me Alone ”, the verse schema in “ Why You Wan sodium Trip On Me ” appears to be more consistent. For case, the first verse has the rhyme dodge abcbdefe. What becomes apparent very soon though is the fact that the rhymes are not always arrant rhymes. While “ understand ” in line two and “ requirement ” in line four make a arrant rhyme, “ eat ” in argumentation six and “ me ” in argumentation eight mannequin a vowel rhyme. The same can be observed in the second verse, in which the verse schema is geheijkje : while “ cure ” in pipeline four and “ sure ” in line eight solution in a arrant rhyme, “ teach ” in agate line two and “ read ” in line four again merely make a vowel rhyme. In addition, it is interesting that the second verse picks up two rhyme words ( vitamin e ) from the first gear verse, in a way connecting the two verses. Verse 3 picks up the same rhyme words ( einsteinium ) again, though this time the rhymes are not vowel rhymes, but arrant rhymes : “ need ” in credit line two rhymes with “ street ” in line four and they both rhyme with “ eat ” in line six and “ feet ” in line eight. The third verse frankincense has the rhyme scheme cemehene and is, adenine far as the verse system is concerned, the strongest verse of the loudspeaker – it conveys the impression that the loudspeaker is at his most knock-down in Verse 3. The fourth poetry sustains this depression with its beginning four lines of alternating rhymes at first, but then in the last four lines of Verse 4, before the sung transitions into the final choruses, the rhyme scheme breaks down again, resulting in the comply rhyme schema : oeoepqerq. While “ addiction ” in line one and “ corruption ” in pipeline three form a approach perfect rhyme, “ weak ” in lineage two, “ brutality ” in credit line four and “ me ” in line seven make vowel rhymes. additionally, a mosaic rhyme is formed by “ darkness ” in line six and “ stop this ” in credit line nine. As we have seen, all four verses are connected in a way through the e-rhymes. furthermore, the rhyme schema of the verses is more or less consistent at times, which gives the impression that the speaker in “ Why You Wan sodium Trip On Me ” is in a superscript power position vis-à-vis the speaker in “ Leave Me Alone ”. however, the writer besides often resorts to half rhymes and a mosaic verse in the conclusion, possibly revealing that the speaker is not adenine composed as he seems. however, his powerlessness lone sincerely comes forth in the choruses, which have the rhyme scheme eel or a variation thereof ( for exemplar, the moment chorus which has the rhyme outline eeeelll, or the outro, an extended choir with the rhyme scheme llllllllelelelelll ). In the choruses, the speaker repeats the same question and demand over and all over again, resulting in nothing but identical rhymes – a sign of his lack of restraint and power precisely like in the refrain of “ Leave Me Alone ”. therefore, it can be said that the despair of the chorus gloat again in the end .
last but not least, the rhetorical devices further emphasize the loudspeaker ’ randomness helplessness. first, two cases of anaphora can be found, namely ( 1 ) “ you got ” in line five of the first verse, line one, trace three, line five and production line seven of the second verse, lineage three and line five of the third base verse, and ( 2 ) “ we ’ ve got ” in channel one of the one-third verse a well as line one, trace three and line five of the one-fourth verse. A closer front at the anaphora shows how the speaker slowly progresses from “ you got ” in the beginning three verses to “ we ’ ve got ” in the last verse. In doing so, he becomes less moralizing when enumerating the problems that need attention by showing that he is part of this “ we ” and that they are in this together. furthermore, by using “ we ”, he attempts to tell the addressee that he is the like as them, implying that it is incorrectly to consume him. therefore, it can be argued that the loudspeaker pursues a strategy of triggering empathy in the addressee, so that the addressee stops abusing him. second, the “ Stop trippin ’ ” is powerfully evocative of the “ Just stop doggin ’ me around ” in “ Leave Me Alone ” – both lines are written in the imperative temper and both lines want the addressee to stop doing something to the speaker – and could be considered as an case of intertextuality. possibly the loudspeaker uses such a like statement in ordering to show that the lapp sense of desperation and powerlessness as in “ Leave Me Alone ” is prevailing in “ Why You Wan sodium Trip On Me ” arsenic well. third and last, the constant repeat of the lines “ Why you wan sodium trip on me ” and “ Stop trippin ’ ” in the choruses, which is besides evocative of the repetition of the wrinkle “ Leave me alone ” in the choruses of “ Leave Me Alone ”, far underlines the speaker ’ s despair and powerlessness. Since the lilting does not stop, he has to repeat his pleas and demands over and over again, but it seems that he does therefore to no avail. In the end, the tripping along with his plea continues .
To summarize, it can be argued that the subject-matter of the speech, the music, the verse schema and the rhetorical devices all expose a decrepit loudspeaker who is the victim of the addressee – the media and the consumers of the media. Although the speaker in “ Why You Wan sodium Trip On Me ” appears to be stronger than the speaker in “ Leave Me Alone ”, which is expressed chiefly in the regularity of the rhyme outline, the stay of the discoveries demonstrate that he is however in a victim exponent position. Furthermore, it is besides matter to how ambiguous and ill-defined the lyrics of the song actually are. only with biographic background information, it is possible to uncover the assumed loudspeaker, the fictive addressee and the subject-matter of the manner of speaking. The criticism of the media is frankincense still quite screen, which can be considered a reserved travel by Riley and Jackson. possibly this accounts for why the loudspeaker placid does not manage to liberate himself from his powerlessness, and consequently, from the addressee in the sung ’ mho lyrics .

4.3.1    HIStory: Past, Present and Future, Book I

“ Scream ” is a song that appeared on Jackson ’ s inaugural album since the child harassment allegations by the Chandlers. The result of these unmanageable times was MJ ’ s “ most personal album ”, as Vogel calls it ( 2011 : 171 ). The album contains “ all the churning emotions and struggles of the former few years : it was his daybook, his poll, his rebuttal. ” ( Ibid. ) Jackson began working on history : Past, Present and Future, Book I after sorting out his personal liveliness by settling the child misuse accusations out of court and marrying Lisa Marie Presley. He channeled all his negative experiences – his annoyance and anger – into his creativity, and together with his team consist of Jimmy Jam, Brad Buxer, Bruce Swedien, Rene Moore, Steve Porcaro, Bill Bottrell and many others, he started recording new ideas. In holy order to avoid creating a replica of Dangerous, he moved away from the new jacklight swing of his previous album and mix some new genres, such as industrial funk, orchestral pop and rap on HIStory. At first the album was intended to become a collection of MJ ’ s greatest hits with a few new songs, but when more and more material keep being created, he decided to release a double-disc album rather. By 1995, more than 40 songs had been finished in the studio apartment, but only 15 tracks made it on the album. last, the album was released on 16 June 1995 and reached phone number one on the Billboard charts immediately. however, it was pushed out of the Top Ten a few weeks former, resulting in numerous critics considering it a bankruptcy. Due to the child molestation allegations, Jackson ’ randomness popularity in the United States was fading. however, HIStory was a commercial success everywhere else in the universe : in only six weeks, approximately 16 million CDs were sold global ( californium. Vogel 2011 : 171-184 ) .
While the foremost harrow of history : Past, Present and Future, Book I is a greatest-hits collection featuring songs such “ Billie Jean ”, “ Bad ”, “ Man in the Mirror ” and “ Don ’ t Stop ’ Til You Get adequate ”, the second gear disk consists of 15 new songs, namely “ Scream ”, “ They Don ’ t Care About Us ”, “ Stranger in Moscow ”, “ This Time Around ”, “ Earth Song ”, “ D.S. ”, “ Money ”, a cover of The Beatles ’ “ Come Together ”, “ You Are not Alone ”, “ Childhood ”, “ Tabloid Junkie ”, “ 2 Bad ”, “ HIStory ”, “ Little Susie ” and “ Smile ” ( californium. Michael Jackson. history : Past, Present and Future, Book I ). Five songs were released as singles : “ Scream ” debuted at number five on the Billboard Hot 100 and made it to the number-two position ; “ You Are not Alone ” hit act one immediately after its release ; “ Stranger in Moscow ” only managed to reach count 91 ; “ They Don ’ t Care About Us ” only reached count thirty in the United States, but became a reach everywhere else in the world ; similarly, “ Earth Song ” became an enormous hit cosmopolitan except for the United States where it was not even released as a one ( cf. Vogel 2011 : 171,184-205 ; cf. “ Stranger in Moscow ” n.d., on-line ). The themes on history are rather heterogeneous ; for exemplify, “ They Don ’ t Care About Us ” is a protest birdcall against oppressive authorities ; “ Stranger in Moscow ” deals with isolation and alienation ; “ Earth Song ” laments the price which humanity has done to the earth ; “ Money ” criticizes materialism ; “ Childhood ” is a highly autobiographical song about Jackson ’ s childhood ; “ Scream ” and “ Tabloid Junkie ” are an saying of Jackson ’ sulfur outrage at media empiricism ( cf. Vogel 2011 : 190-205 ; californium. Michael Jackson. history : Past, Present and Future, Book I ) .
“ Scream ” was written and composed by Michael Jackson, his youngest sister Janet Jackson, James Harris III and Terry Lewis, and produced by Jimmy Jam, Terry Lewis and Michael Jackson. Keyboards and synthesizers are besides the oeuvre of Jimmy Jam and Terry Lewis. All lead and background vocals were done by Michael Jackson and Janet Jackson ( cf. Michael Jackson. history : Past, Present and Future, Book I. Booklet : 32 ; cystic fibrosis. Vogel 2011 : 190 ). It was the first, highly-anticipated single off history : Past, Present and Future, Book I and was released together with its seven-million-dollar video on 31 May 1995. Although the single had been leaked illegally two weeks prior to its official spill, it silent entered the Billboard charts on number five and peaked at numeral two. Despite being Jackson ’ s first lead single in his alone career that did not manage to peak at number one, it was however a successful rejoinder “ for an artist many critics claimed was professionally finished ” ( Vogel 2011 : 184 ) .
Vogel writes in Man in the Music : The Creative Life and Work of Michael Jackson that “ [ a ] fter the intense scrutiny and demoralization of the previous few years, Jackson was ready to fight back with the most knock-down weapon he possessed : his music. ” ( 2011 : 190 ) consequently, “ Scream ” was Jackson ’ s answer to the media which had been tarnishing his reputation since the child harassment allegations by the Chandlers. furthermore, Vogel continues by saying that “ no other song in Jackson ’ randomness career has the kind of roundhouse punch of ‘ Scream ’, a ferocious expression of indignation. ”, implying that “ Scream ” is one of Jackson ’ s strongest responses to his critics ( ibid ). Another, nameless critic agrees : “ This is Michael fighting back. And he ’ mho delivered what could be a smasher blow. ” ( Qtd. in ibid. ) It is thus suggested that “ Scream ” is an extremely powerful counterattack by Jackson against the media and that, as a consequence, the assumed speaker must have assumed a high might position compared to the speakers in “ Leave Me Alone ” or “ Why You Wan sodium Trip On Me ”, who are still in a victim might position. once more, whether the speaker has very managed to liberate himself from the powerlessness that was present in the former two songs can only be found out by examining the communicative position, the rhyme scheme and the rhetorical devices of the song ’ south lyrics .
To begin with, the extratextual floor of the communicative situation in “ Scream ” needs to be established. On the productive side of the extratextual degree, there are the real number authors of the song, namely Michael Jackson, Janet Jackson, James Harris III and Terry Lewis, and the rest Jackson ’ second team involved in the creation of the song ’ south music and lyrics. On the receptive side of the extratextual level, we can again find the real lector, the very hearer and the actual spectator, which includes everyone who has always read the lyrics of “ Scream ”, listened to the music or watched the music video recording .
In order to determine who says what to whom – the intratextual level – in “ Scream ”, a closer attend at the lyrics beginning with the speaker has to be taken. Since several deictic expressions referring to the first person can be found in the lyrics, the fictive speaker is decidedly an overt speaker. first, the personal subject pronoun “ I ” appears in the one-sixth line of the first verse ( “ I got to get up ” ), in the third base ( “ You tell me I ’ thousand incorrect ” ) adenine well as in the stopping point three lines of the second base verse ( “ I care about mine / I ’ ve got to get stronger / And I won ’ t give up the fight ” ), in the final three lines of the third verse ( “ While I keep playin ’ the game / I can ’ t take it much longer / I think I might go insane ” ), in the beginning three lines of the bridge ( “ Oh my God, can ’ t believe what I saw / As I turned on the television this even / I was disgusted by all the injustice ” ) and in the eighth line of every pre-chorus ( “ ‘ Cause I merely can ’ t take it ” ). second, the personal object pronoun “ me ” is used in the fifth production line of Verse 1 ( “ Kicking me down ” ), in the one-third telephone line of Verse 2 ( “ You tell me I ’ megabyte wrong ” ), in every argumentation except for the last in Chorus 1 ( “ Stop pressurin ’ me / Just stop pressurin ’ me / Stop pressurin ’ me / Make me wan na scream / [ … ] ” ) and in every note of Chorus 2 and Chorus 3. finally, the possessive pronoun “ mine ” can be found in the sixth line of the second verse ( “ I care about mine ” ). It is frankincense safe to say that the lyric character is intelligibly discernible in the lyrics .
At this point, it needs to be added that the fact that “ Scream ” is a couple with Janet Jackson slightly confuses the determination of the fictive loudspeaker. Because Michael sings the sung together with Janet, two voices – one male and one female – appear in the song. What is sung by whom is besides marked in the lyrics, so that even if one does not listen to the birdcall, it is still clear that there are two voices in the song. It could then be argued that these two voices indicate that there are two fictive speakers alternatively of only one in the textbook. What would speak for this assumption is the question in the second note of every pre-chorus, namely “ preceptor ’ deoxythymidine monophosphate it make you wan na scream ? ”. This trace could be interpreted as one speaker asking another speaker. Line five of the foremost pre-chorus and the third base pre-chorus would besides underline this premise : “ You try to cope with every lie / they scrutinize ” – possibly one loudspeaker is uttering this instruction to the early speaker. however, it besides needs to be said that in the verses, the two voices are speaking of the like subject-matter in the lapp way. other than the two different voices, there seems to be no transition from one speaker to another and therefore, there is no real hint for two unlike speakers in the lyrics. What is more, in the choruses, the two voices seem to become one and say “ Stop pressurin ’ me ” and not “ Stop pressurin ’ us ”, which makes it more probable that there is merely one lyric persona. It is therefore besides possible to argue that there is only one single assumed speaker in the lyrics. Why the two voices then ? The fact that there are two voices in “ Scream ” could be interpreted as an formula of the loudspeaker ’ south failing again : the speaker needs the corroborate of a second voice because he does not have the force to speak up entirely. possibly this second gear voice simply comes from deeper within the speaker .
A number of deictic expressions referring to the irregular person indicate that the fictive addressee is manifest in the lyrics as well. For example, the personal pronoun “ you ” is used in argumentation three, four and five of verse 2 ( “ You tell me I ’ thousand wrong / then you better prove you ’ re correct / You ’ re sellin ’ out souls but ” ), in lineage one ( “ Tired of you tellin ’ me the history your way ” ), line three and line four of Verse 3 ( “ You think it ’ mho okay / You keep changin ’ the rules ” ) and in agate line five of Pre-chorus 2 ( “ You find your pleasure / scandalizin ’ every lie down ” ). [ 8 ] Additionally, the possessive adjective “ your ” can besides be found in line one of the third verse ( “ Tired of you tellin ’ me the history your direction ” ) and in line three of every pre-chorus ( “ Your knock abusin ’ ” ). The imperative climate in the moment line of Verse 2 ( “ Come into the light ” ) and in about every line of the choruses ( “ Stop pressurin ’ me ” ) is further tell for an denotative fictive addressee .
The subject-matter of the language of “ Scream ” is more or less straightforward, but alone from the second verse forth does it become clear that it is about the assumed speaker ’ sulfur outrage at the actions of the addressee. In the first six lines of Verse 1, which are “ Tired of injustice / Tired of the schemes / The lies are disgusting / So what does it mean / Kicking me down / I got to get up ”, the speaker does not seem to restrain himself and immediately begins to show his indignation, although he does not specify so far who or what the reason for his indignation is. He has had enough of the “ injustice ”, the “ schemes ” and the “ lies ” about him ; he has grown aweary of constantly being kicked down and is determined to ultimately get up. however, despite the loudspeaker ’ s determination to change his position for the better, these lines besides imply that the loudspeaker is distillery down, and frankincense in a victim ability position, at the moment of the utterance of the speech. The last two lines of the first poetry – “ As jacked as it sounds / The whole system sucks ” – further emphasize the speaker ’ s ferocity at the way he is being treated. The lines “ Peek in the shadow / Come into the light up / You tell me I ’ thousand wrong / then you better prove you ’ re right / You ’ rhenium sellin ’ out souls but / I care about mine ” of Verse 2 address the fictive addressee for the foremost clock and as a consequence, it becomes apparent that the first base verse must refer to the addressee, besides. In the moment verse, the loudspeaker calls out the addressee who hides or possibly lurks in the darkness, which shows his/her cowardice, but at the lapp time his/her ubiquity and danger. The speaker tells the addressee to come out of the black. furthermore, the speaker besides claims that the addressee is “ sellin ’ out soul ” – that he/she has no humanness left and does not care about world – but that he does not want to lose his soul because he cares about it ; in early words, he tells the addressee to leave his soul entirely. The trace lines “ I ’ ve got to get stronger / And I won ’ triiodothyronine give up the competitiveness ” of Verse 2 are evocative of the line “ I got to get up ” of Verse 1 and underscore once again that the loudspeaker is still in a victim baron position. On the other hand, these lines besides reveal that he will not good accept his destine and that he is determined to get stronger in order to win the clamber. It looks as if the speaker has last become self-assured enough to get out of his victim ability position .
In order to see what the pre-choruses are about, a closer interrogation of them is required because they appear preferably ambiguous ascribable to their speech. The first two lines of Pre-chorus 1, namely “ With such confusions / don ’ thyroxine it make you wan na scream ? ”, are about the assumed speaker admitting that “ such confusions ” – the “ injustice ”, “ lies ” and “ schemes ” of Verse 1 – make him want to scream, by means of a rhetorical question. While the first two lines of Pre-chorus 2 are about precisely the lapp as Pre-chorus 1 – the “ confusions ” becomes “ confusion ” – in the first gear two lines of Pre-chorus 3, the speaker asks “ With such collusions / don ’ metric ton it make you wan na scream ? ”. The noun “ connivance ” stands for “ [ s ] ecret or illegal cooperation or conspiracy in order to deceive others ”, thus once again the speaker refers to the “ schemes ” against him of Verse 1 ( “ connivance ” n.d., on-line ). The following two lines are the same in every pre-chorus and it is in these lines that the language becomes slenderly ambiguous : “ Your sock abusin ’ / victimize within the scheme ”. It seems as if the speaker is using “ abusin ’ ” as a noun and that he wants to say “ your sock and abusing ”, referring to the exploitation the loudspeaker has to suffer at the hands of the addressee. This makes sense with the pursuit telephone line and together, they seem to say “ your sock and abusing bullies within the system ”, which can be interpreted as criticism of the system that permits the ceaseless sock of the speaker. The adjacent two lines of Pre-chorus 1 and Pre-chorus 3 are “ You try to cope with / every lie they scrutinize ”. While in these two lines, the loudspeaker refers to himself again and explains that he tries to live with every dwell that is spread by the addressee, in the lines of the second base pre-chorus – “ You find your pleasure / scandalizin ’ every lie ” – he refers to the addressee and points out that the addressee takes pleasure in turning every lie into a scandal. The last two lines of the pre-choruses, namely “ Somebody please have mercy / ‘ Cause I just can ’ t take it ” in Pre-chorus 1, “ Oh church father, please have mercy / ‘ Cause I barely can ’ t take it ” in Pre-chorus 2, and “ Oh brother, please have mercy / ‘ Cause I just can ’ t take it ” in Pre-chorus 3 indicate the loudspeaker in a victim power military position again : he is begging for mercy and saying that he can not take the actions of the addressee anymore ( italics my emphasis ) .
The choruses, the third verse and the bridge are preferably unambiguous again and finally reveal who the assumed addressee of the language might be. In the choruses, the loudspeaker repeats the line “ Stop pressurin ’ me / Just stop pressurin ’ me / Stop pressurin ’ me / Make me wan na scream ” over and over again. merely once, namely in the death line of the first chorus, he uses a variation of “ Make me wan na scream ” : “ Make you just wan sodium screech ”. The choruses are quite self-explanatory – the speaker demands that the addressee stop putting pressure on him and he says that all this pressure makes him want to scream, which implies that the loudspeaker considers screaming a valve in order to get rid of the press. In the sixth line of Chorus 2, the speaker even results to coarseness, possibly to show how good he is about wanting to be left entirely by the addressee. In a moment of fury, the speaker ’ south necessitate “ Stop pressurin ’ me ” about becomes a warning : “ Stop fuckin ’ with me ”. [ 9 ] In the lines “ Tired of you tellin ’ me the fib your way / It ’ second causin ’ confusion / You think it ’ second okay ” of Verse 3, the speaker picks up the “ lies ” of Verse 1 again and repeats that although they are causing confusion, the addressee thinks that his/her behavior is not incorrectly. In the subsequent lines, “ You keep changin ’ the rules / While I keep playin ’ the game / I can ’ t take it a lot longer / I think I might go harebrained ”, the speaker reveals his powerlessness again. Whereas the addressee is a plot passkey who can change the rules to his/her like, the speaker seems to be a simple player of the game who has no control of the consequence because he can not adapt to the rules that are constantly changing. In the last two lines, he discloses that he is at the indicate of break down and going insane – another model of his weakness. In the bridge of the song, the speaker last gives a hint about who the addressee might be. In the lines “ Oh my god, can ’ t believe what I saw / As I turned on the television this even / I was disgusted by all the injustice / All the injustice / All the injustice ”, the speaker mentions that he saw “ injustice ” on television receiver. It is very probable that the “ injustice ” alludes to the “ injustice ” of Verse 1 ; consequently, it can be said that the speaker is harassed by people appearing on television, or preferably representatives of the media. For the foremost time, it is possible to figure out the fictive addressee alone by following the textual clues and without resorting to Jackson ’ s biographic background. naturally, this can be considered a herculean move by the fictive speaker. however, at the same time the speaker ’ s irregular self-empowerment is immediately attenuated by what is being said by a reporter in the backdrop of the bridge : “ A man has been viciously beaten to death by police / After being wrongfully identified as a looting suspect / The man was an 18 year old black male … ”. This short-circuit news reputation conveys the impression that the loudspeaker ’ sulfur entire address has been misinterpreted ; that it is not about the speaker at all, but rather about the suffer of person else ; that the “ lies ”, “ injustice ” and “ schemes ” do not refer to the loudspeaker, but to person else. Considering the perch of the lyrics, this would not make any sense though – the fact that the speaker mentions that he is being kicked down, that he has to get up and get stronger and that he wants the press to stop, shows that the actor’s line is decidedly about him and not about a black world beaten to death by the police. After having revealed the addressee of the actor’s line in the bridge, the speaker is thus intentionally being misleading, possibly to conceal his divulgence of the addressee ’ sulfur identity again, or to provide a – fateful – doctrine of analogy to his case. [ 10 ]
To summarize, it can be said that the subject-matter of the language is the assumed speaker ’ s indignation at the addressee ’ s – the media ’ randomness – lies and injustice. While the loudspeaker seems to be more determined than ever to liberate himself from the victim baron position, as shown in the fact that the addressee is ultimately mentioned explicitly for the beginning clock and in the speaker ’ mho words in Verse 2, in which he says that he will not give up, he is however distillery powerless. The fact that there are two voices in the song ; the fact that the speaker says that he has to get up, that he has to get stronger, implying that he is even in a weak position ; the fact that the speaker beg for mercy and exclaims that he can not take it anymore ; the fact that after the revelation of the addressee, the loudspeaker immediately tries to conceal the addressee ’ second identity, is all evidence for the persisting powerlessness of the speaker. This is far underlined by the samples of Jackson ’ s glass-shattering screams and the lyrics ’ verse system and rhetorical devices. [ 11 ]

4.3.3    Samples, rhyme scheme and rhetorical devices

In Man in the Music : The Creative Life and Work of Michael Jackson, Vogel claims the following about “ Scream ” :
The track begins with Jackson ’ s screaming as if trapped in a glass box. It is a brainy aural impression that captures the entrapment and suffocation he feels as a dehumanized media subject. The croaky scream contains a smell of despair, anguish, and fad, and as he lets it out, the imprisoning glass shatters. rather of being a spectacle or victim, he is empowered. His music, once again, provides a feel of liberation. ( Vogel 2011 : 190 )
He is surely right by saying that the samples of the glass-shattering screech seem to have a release effect on the speaker. As mentioned above, the speaker sees screaming as a valve in order to get rid of the blackmail caused by the addressee. however, Vogel forgets to mention that the begin of the sung is not the only time the scream can be heard. In fact, the phone of Jackson ’ s scream appears several times throughout the sung ( 0:16, 0:26, 0:35, 0:40, 1:02, 2:19, 3:08 ) and what is more, the song ’ s music is concluded with a yell at 4:29 ( cystic fibrosis. Michael Jackson. history : Past, Present and Future, Part I ). therefore, if, as Vogel says, the loudspeaker was in truth release and empowered after the foremost scream and the first shatter of the glass, there would be no necessitate for farther screams. The fact that there are more glass-shattering scream shows that there are several layers of glass that have to be destroyed before the speaker can escape from his victim baron position. The loudspeaker tries to do thus and manages to penetrate a few layers of glass, which indicates the speaker ’ s determination to gain dominance of his life, but as the birdcall ’ south music finishes, he is even heard screaming, revealing that he is still trapped in a victim office put at the end of the song .
The rhyme scheme of the lyrics mirrors the loudspeaker ’ s conflict for dominance, besides. For example, Verse 1 has a preferably reproducible rhyme dodge with alternate rhymes : ababcdcd. The speaker rhymes “ injustice ” with “ disgusting ”, “ schemes ” with “ mean ”, “ down ” with “ sounds ” and “ up ” with “ sucks ”, which shows how the speaker resorts to slant rhymes in holy order to maintain a consistent verse scheme. Although the rhymes are not perfective, the speaker however appears compose and in control. In the second verse, the verse schema already begins to break down slightly : efgfhfif. The rhyme scheme is not ampere consistent as in the beginning poetry anymore, but more perfect rhymes can be found, for model “ light ” in pipeline two, “ right ” in line four and “ fight ” in line eight. The inaugural four lines of the first and third base pre-chorus begin systematically again, but as the pre-choruses continue, the rhyme scheme breaks down, resulting in the follow rhyme schema : jbjbkklm. In the first four lines, Jackson ’ sulfur pronunciation of “ confusions ” ( and “ collusions ” in Pre-chorus 3 ) in line one and “ abusin ’ ” in agate line three, and “ scream ” and “ outline ” leave in perfective rhymes – again a sign of the speaker ’ s battle for master. then the speaker rhymes “ lie ” with “ scrutinize ” – a vowel rhyme – and after that the rhyme dodge disintegrates once again. Over and over again, the speaker seems to gain control, but american samoa soon as he does then, he loses it again. The same observations can be made in Verse 3 and Pre-chorus 2 : poetry 3 has the rhyme scheme ojopqiq and rhymes “ way ” with “ okay ” and “ game ” with “ insane ” and Pre-chorus 2 has the rhyme scheme jbjbrklm and has tied less consistency than Pre-chorus 1 in its last four lines. It is in the choruses, however, that the miss of control and power of the speaker becomes apparent. like to “ Leave Me Alone ” and “ Why You Wan sodium Trip On Me ”, the speaker ’ s despair and powerlessness express themselves in the identical rhymes of the chorus, which are the result of the constant repeat of the same affirmation : “ Stop pressurin ’ me / Just stop pressurin ’ me ”. The consequence of this is the follow rhyme scheme : nnnbnnnb in the first two choruses and nnnb in the final chorus. Since it is the concluding chorus which concludes “ Scream ”, the powerlessness of the speaker prevails again in the end .
ultimately, a number of rhetorical devices further stress the victim power position of the speaker. first, the epanaphora “ tired of ” in line one and line two of Verse 1 and in line one of Verse 3 emphasizes that the speaker is sincerely worn out and exhausted by the injustice, schemes and stories of the media. second, Jackson ’ south pronunciation of “ pressurin ’ ” in the choruses, during which the /ɛ/ vowel sound is about entirely omitted and the /ʃ/ sound of the doubling “ s ” is strongly emphasized, turns it into an onomatopoeic word. The consequence of this is that every meter the word “ pressurin ’ ” is pronounced, the sound of a valve publish pressure is mimicked, indicating the great sum of atmospheric pressure that the speaker feels because of the addressee. third, a progression in the penult lines of the pre-choruses can be observed, namely from “ Somebody please have mercy ” to “ Oh founder, please have mercy ” to “ Oh brother, please have mercy ”. These cases of epiphora show that when the speaker is not granted clemency by “ person ”, he desperately attempts to find it somewhere else. He does not seem to care who grants him mercy ampere long as person does. The “ don ” and “ brother ” could stand for the speaker ’ s substantial family, but he could besides be using the terms in a religious sense, that is, the “ father ” stands for God and the “ brother ” for the co-members of his religion ; consequently, when no one grants him mercifulness, he turns to his family or to the members of his religion for it. Fourthly, the line “ Stop pressurin ’ me ” is rather evocative of the line “ Stop trippin ” in “ Why You Wan sodium Trip On Me ” and the line “ Just stop doggin ’ me around ” in “ Leave Me Alone ”. not only are they all written in the imperative temper, but they besides demand that the addressee stop doing something. For this reason, “ Stop pressurin ’ me ” could be considered as an case of intertextuality, which conveys that the lapp smell of powerlessness and despair as in “ Leave Me Alone ” and “ Why You Wan sodium Trip On Me ” is present in “ Scream ”. last, the constant repeat of the loudspeaker ’ sulfur need, namely “ Stop pressurin ’ me / Just stop pressurin ’ me ” shows how despairing he is for the atmospheric pressure to stop and, at the same meter how powerless he is because he can not make it stop .
All things considered, it needs to be said that the subject-matter of the speech, the samples of Jackson ’ randomness screech, the rhyme outline and the rhetorical devices suggest a assumed speaker who is still in a victim power put. however, it must besides be repeated that despite his exasperation, the loudspeaker at least attempts to change his situation for the better and to gain control of his life. In Verse 2, he reveals that he is determined not to give up and in the bridge, he last exposes the identity of the addressee for the first time. Unlike the speaker in “ Leave Me Alone ” who concealed his message with a love fib, or the speaker in “ Why You Wan sodium Trip On Me ”, who remained equivocal about the addressee throughout the entire lyrics, the speaker in “ Scream ” has had enough of the exploitation and is ready to fight. This determination to break out of his miserable situation is besides mirrored in the crimson, glass-shattering yell in the sung ’ second music and in the sometimes regular rhyme scheme of the lyrics .

4.4.1    “You’re so damn disrespectable”

“ Tabloid Junkie ” is the eleventh track and the second ‘ media-critical ’ song on history : Past, Present and Future, Book I. [ 12 ] The birdcall was written, composed and produced by Michael Jackson, Jimmy Jam and Terry Lewis. Keyboard and synthesizers are the work of Jimmy Jam and Terry Lewis, and lead and background vocals were done by Michael Jackson ( cf. Michael Jackson. history : Past, Present and Future, Book I. Booklet : 39 ; californium. Vogel 2011 : 201 ). While many critics dismissed “ Tabloid Junkie ” as an example “ of Jackson ’ mho persecution complex and self-pity ” when the album came away and thus neglected it, Rolling Stone critic James Hunter praised it for its sound ( Vogel 2011 : 201 ; californium. Hunter 1995, on-line ). Vogel, on the early hand, praises the song as an accomplished counterattack against the media and calls it “ a full-fledged indictment of the news program media and its increasing preference for empiricism, exploitation, and misinformation. ” ( 2011 : 201 ) He thus seems to suggest that the assumed speaker successfully attacks the media and that, consequently, the fictive loudspeaker has assumed a position of power compared to the previous fictive speakers. Whether this is truly the encase will once again be discovered by examining the communicative situation, the verse outline and the rhetorical devices of the lyrics .
again, the extratexual level of “ Tabloid Junkie ” looks as follows : on the productive english of the extratextual charge, there are Michael Jackson, Jimmy Jam and Terry Lewis – the veridical authors – whereas on the receptive side of the extratextual tied, there is the real proofreader and the real hearer, that is, everyone who has ever read the song ’ sulfur lyrics or listened to the music .
In order to establish the intratextual level of the song, or who says what to whom, first base the fictive speaker needs to be scrutinized. due to the fact that there are barely any deictic expressions referring to the first person, it can be argued that in line to “ Leave Me Alone ”, “ Why You Wan sodium Trip On Me ” and “ Scream ”, the assumed speaker in “ Tabloid Junkie ” is covert. In the entire lyrics, there is neither a personal subject pronoun “ I ” nor a genitive pronoun or possessive adjective referring to the first person. The only deictic expression indicating a assumed loudspeaker is the personal object pronoun “ me ” in the ninth line of the moment verse ( “ Stab me in the back ” ) and the plural first person pronoun “ we ”, for case in the final line of the first gear pre-chorus ( “ So why do we keep foolin ’ ourselves ? ” ), the final line of the moment and the one-third pre-chorus ( “ then why do we keep foolin ’ ourselves ? ” ) and the eighth cable of the one-third pre-chorus ( “ Why do we keep foolin ’ ourselves ? ” ). This already shows that the focus of the lyrics will decidedly not be on the fictive speaker and his feelings as was the case in the previous songs .
Compared to the fictive speaker, the fictive addressee appears to be a lot more manifest in the lyrics of “ Tabloid Junkie ”. For example, the personal pronoun “ you ” is used in trace two ( “ The one you hate ” ), argumentation four ( “ You confiscate ” ) and line nine of Verse 1 ( “ For you to resurrect ” ), in lines two to line six of Pre-chorus 1 ( “ You say it ’ s not a sword / But with your pen you torture men / You ’ vitamin d crucify the Lord / And you don ’ t have to read it / And you don ’ t have to eat it ” ), in line one and wrinkle five of chorus 1, Chorus 2, Chorus 3 and Chorus 4, and line one, four and seven of Chorus 5 ( “ Just because you read it in a magazine ” ), in line two ( “ Frame him if you could ” ) and credit line four of Verse 2 ( “ To blame him if you will ” ), in line two ( “ With the words you use ” ), telephone line three ( “ You ’ re a parasite in black and white ” ) and lineage five of Pre-chorus 2 ( “ And you don ’ triiodothyronine go and buy it ” ), in the same lines a well as in the tenth and eleventh line of Pre-chorus 3 ( “ You say it ’ s not a sin / But with your pen you torture men ” ) and in the final line of Chorus 5 ( “ You ’ re sol blasted disrespectable ” ). Furthermore, the possessive adjective “ your ” can be found in line fourteen of Verse 1 ( “ In all your glory ” ), in argumentation three of Pre-chorus 1 and line football team of Pre-chorus 3 ( “ But with your pen you torture men ” ) and in line fourteen of Verse 2 ( “ Of all your glory ” ). ultimately, the imperative mood temper, which implies a assumed addressee, is besides used in the first line ( “ Speculate to break ” ), the one-third line ( “ Circulate the lie ” ) and the fifth line of Verse 1 ( “ Assassinate and mutilate ” ) and in the second ( “ Frame him if you could ” ), third ( “ Shoot to kill ” ), fifth ( “ If he dies sympathize ” ) and ninth line of Verse 2 ( “ Stab me in the back ” ). As can be seen, the speaker is frankincense intelligibly perceptible in the lyrics. furthermore, these lines already reveal a bang-up deal about the addressee ’ mho identity .
When further scrutinizing the lines that refer to the addressee, it becomes clear that there is not merely one, but rather two addressees. first, there are numerous lines which refer to the media, such as “ It ’ s defame / You say it ’ s not a sword / But with your write you torture men / You ’ five hundred crucify the Lord / And you don ’ t have to read it / And you don ’ t have to eat it ” in Pre-chorus 1, “ It ’ s slander / With the words you use / You ’ re a parasite in black and white / Do anything for news ” in Pre-chorus 2, and “ Speculate to break / The one you hate / Circulate the lie / You confiscate / Assassinate and mutilate / The hounding media/ In hysteria ” in Verse 1. The content of these lines makes it discernible that the first fictive addressee is the media. The loudspeaker evening mentions the “ hounding media ” in the sixth line of the first gear verse, so that it becomes even more apparent that one assumed addressee is the media. second, a number of lines besides refer to the consumers of media. For example, “ Just because you read it in a cartridge holder / Or see it on a television receiver filmdom ” in the choruses, and “ If you don ’ metric ton become and buy it / then they won ’ thyroxine transfigure it / To read it sanctifies it ” in Pre-chorus 2, are decidedly not addressed to the media, but quite to the people consuming what is produced by the media. furthermore, the entitle “ Tabloid Junkie ”, besides, refers to person who is addicted to tabloids, that is, a consumer of tabloids. It needs to be said then that in no early ‘ media-critical ’ song thus army for the liberation of rwanda, the assumed addressee was vitamin a exposed as the fictive addressees in “ Tabloid Junkie ”. This might already indicate that the assumed speaker has ultimately found the forte to liberate himself from his victim ability place .
The subject-matter of the speech is preferably unambiguous as well. The loudspeaker begins his actor’s line by criticizing the media. In the foremost seven lines of the beginning poetry, the speaker seems to convey the message “ you keep spreading rumors to destroy the one you hate ” – “ the one you hate ” probably referring to himself. This shows that although the speculation is like mutilation or character assassination to the loudspeaker, he is strong enough to endure it and what is more, he even manages to call out the campaign for his suffering : “ the hound media ”. The following lines “ Who ’ s the adjacent / For you to resurrect / JFK exposed the CIA / Truth be told / The grassy knoll / The blackmail fib / In all your aura ” go on to mock the media. These lines seem to comment on the conspiracy theories surrounding the assassination of the former president of the United States : John F. Kennedy. The loudspeaker ridicules the fact that many people calm believe that John F. Kennedy was killed by CIA agents from a “ grassy knoll ” on Elm Street where Kennedy ’ s vehicle was passing when he was shot ( californium. “ Who killed JFK ? A guide to the Kennedy conspiracy theories ” 2017, on-line ). “ The blackmail narrative ” could be an allusion to J. Edgar Hoover ’ s alleged blackmail attempts and sabotage of Kennedy ’ s presidential campaign ( cf. livingstone 2004 : 48f. ). As a matter of fact, Hoover, the early director of the FBI, is besides believed by many conspiracy theorists to have killed Kennedy in order to save his own career ( Schmidt 2013, on-line ). The fact that people are still believing in those stories and speculating about Kennedy so many years after his death makes the speaker wonder : “ Who ’ s the adjacent / For you to resurrect ? ”. In the first six lines of the first gear pre-chorus, the loudspeaker then exclaims that the media ’ south constant speculations are aspersion and compares them to torture. In addition, he claims that the reporters do not “ have to read it ” – they do not have to bear the consequences of their speculations. This is repeated by the speaker in the second and third pre-chorus, in which the loudspeaker compares the media to parasites and scoffs at them for their willingness to do anything for news .
In the second poetry, the speaker continues to discredit the media by alluding to their hypocritical methods of covering newsworthiness about african Americans. This can be deduced from the fact that the loudspeaker talks about the “ hood ”, which is an informal american news for “ [ a ] vicinity, particularly one in an urban area ” where high concentrations of african-american populations are often found ( “ hood ” n.d., on-line ; cystic fibrosis. United States Census Bureau 2011, on-line ). The speaker claims that first african Americans are framed and blamed, and when they are dead, the media sympathize with them. He calls the media “ false witnesses ” or, in other words liars, and condemns them for their “ self-righteousness ”. He then proceeds to imply that they are cowards because they hide in the dark and stab the speaker in the back in the follow lines : “ In the black / Stab me in the back / In the face / To lie and shame the race ”. These lines are to be understand metaphorically : the media stab him in the back by spreading rumors about him. not only do they stab him in the back, but they besides stab him in the face in order to shame his raceway – an allusion to the hurtful speculations about Jackson ’ s lightening skin. [ 13 ] In the concluding three lines of the second poetry, which are “ Heroine and Marilyn / The headline stories / Of all your glory ”, the loudspeaker probably alludes to Marilyn Monroe, whose love animation has been the subject of endless media speculations and whose death has besides been surrounded by several conspiracy theories ( cf. Thornton 2012, online ; cf. History.com Staff 2009, on-line ). In doing so, he mocks the media again by saying that all their glory consists of headline stories that are either lies, or rumors and scandals. In the final course of Chorus 3, the loudspeaker seems to allude to Marilyn Monroe once again : “ She ’ south blond and she ’ randomness bisexual ”. This channel credibly refers to Monroe ’ s alleged affairs with women, which have caused numerous headlines over the years ( californium. Thornton 2012, on-line ) .
In the penultimate line of the first pre-chorus, the assumed speaker starts to focus on the consumers of the media : “ To buy it is to feed it ”. He explains that the consumers are as accountable for his suffer as the media because they support the media, for model by buying their magazines. He repeats the same message in the fifth, sixth and one-seventh line of the second and the third pre-chorus and specifies that the buying of these stories facilitates the creation of more and more speculations : “ And you don ’ thyroxine run and buy it / then they won ’ thyroxine glorify it / To read it sanctifies it ” – if the people did not consume these news program, they would not be accepted and consequently, the media would stop producing them. therefore, the media consumers are to be held creditworthy for the creation of these stories, besides. In the choruses, the speaker then attempts to persuade the media consumers over and over again that reading something in a magazine or seeing something on television receiver does not make it a fact, so that they should constantly question what they see on the news. ultimately, after repeatedly stating the chorus ’ mho message, he concludes the lyrics with the brawny pipeline “ You ’ re indeed curse disrespectable ”, referring to the consumers of the media vitamin a well as the media at once .
All in all, it can be argued that the subject-matter of the speech is the speaker ’ s criticism of the media american samoa well as the media consumers who are both creditworthy for the changeless circulation of false speculations about the speaker. The assumed loudspeaker appears to be stronger than ever – he is determined to regain dominance of his life sentence and he seems to be quite successful. For the first clock, the loudspeaker foregrounds the addressee by pushing himself and his feelings into the background. He is more direct than always and makes clear to whom his speech is addressed right from the startle. He does not hide behind a love song like the loudspeaker in “ Leave Me Alone ” ; he does not plead with the addressee to stop consuming him like the loudspeaker in “ Why You Wan sodium Trip On Me ” ; he does not need the support of a second voice, which helps him convey his demand to stop pressuring him, like the speaker in “ Scream ”. As a consequence, the speaker seems to have begun liberating himself from the victim ability military position. He does not seem as weak and powerless as the speakers in the previous songs, and this is mirrored in the sung ’ s samples arsenic well as the lyrics ’ rhyme schema and rhetorical devices .

4.4.2    Samples, rhyme scheme and rhetorical devices

“ Tabloid Junkie ” begins with the sample of a reporter announcing the trace : “ In the news today, from the strange and wyrd fact file : singer Michael Jackson sleeps in an oxygen chamber. The singer says that the hyperbaric chamber has the benefits of reversing the aging process. ” ( Michael Jackson : history : Past, Present and Future, Book I : 00:00-00:12 ) While the reporter is still in the process of presenting the news, another reporter starts to speak : “ From the news program desk : singer Michael Jackson has a enshrine to Elizabeth Taylor. ” ( 00:07-00:13 ) The voices of more and more reporters join the initial two reporters and everything becomes intermingled, indistinct and incomprehensible. The only discernible words are “ Michael Jackson ” ( 00:09-00:17 ). This shows that the stories about Jackson are spread indeed fast that it is not even possible to focus on the details anymore – the media do not care about the details anymore, but about mindless entertainment and ratings ( cystic fibrosis. Vogel 2011 : 201 ). vitamin a soon as the percussive intro of the music enters, voices of other reporters speaking about Michael Jackson in diverse languages, showing how the speculations spread even beyond the borders, a well as the sounds of animals, such as elephants and birds, can be heard ( 00:17-00:27 ). According to Vogel, these animal sounds represent “ alleged journalists ” – their sensualism is thus compared to the behavior of fantastic animals ( 2011 : 201 ). As a matter of fact, this interpretation is confirmed by the fact that Jackson originally wanted to call the sung “ Tabloid Jungle ” alternatively of “ Tabloid Junkie ” ( cystic fibrosis. ibid ). A count of trap hits stop the voices and the animal sounds, the perplex of song ultimately sets in and Jackson on behalf of the assumed speaker begins to sing the inaugural verse. As can be seen, Jackson ’ s music manages to silence the voices ( 00:28 ). As the first chorus ends, two transitional bars lead the song into the second verse. One of these two bars is instrumental ; the early bar is wide of incomprehensible voices of reporters that try to interrupt the song, but Jackson holds his own – he does not allow the break and continues to sing the moment verse ( 01:39-01:43 ). During an instrumental transitional passing, the voices of the reporters start getting loud again and in decree to prevent them from gaining operate, Jackson starts improvise ( 02:53-03:22 ). [ 14 ] As the song transitions into the third base pre-chorus, the voices of the reporters continue pushing ahead, but Jackson manages to stand his land and does not let the voices overwhelm the song – he continues to deliver the lyrics of Pre-chorus 3 while the sample of a voice of a reporter speaking about Michael Jackson is heard in the background. concisely before the fourth chorus begins, Jackson gains the amphetamine hand again : the voices are gone and Jackson can continue to spread the message of his chorus ( 03:23-03:47 ). however, during the last chorus, the voices of a few reporters find their way into the music again ( 04:06-04:23 ). As Jackson repeats the lines “ precisely because you read it in a magazine / Or see it on a television screen door / Don ’ t make it actual, actual ” one stopping point time, the voices of the reporters get louder and louder and about threaten to overwhelm him, but Jackson stays in see and has the final say : “ You ’ re so blasted disrespectable ” ( 04:29-04:32 ). As can be observed, there is a constant clamber between Jackson on behalf of the loudspeaker and the samples of the voices of the reporters in the song. Nevertheless, Jackson manages to gain control – he does not let the voices overwhelm him and succeeds in silencing them in the end. In doing so, the beginning step of the self-empowerment of the speaker is demonstrated .
The rhyme schema of “ Tabloid Junkie ” suggests a brawny loudspeaker who is in restraint, besides. Vogel states that the King of Pop uses “ the vehicle of hip-hop to deliver a political message ” expressed in “ short, biting rhymes ” ( 2011 : 201 ). This can immediately be observed in the first verse, which has the rather coherent rhyme system aabaaccddeffgg. The speaker uses six rhyming couplets in order to get his message across – “ break ” in line one rhyme with “ hate ” in line two, “ impound ” in line four and “ mutilate ” in line five ; “ media ” rhymes with “ hysteria ” ; “ next ” rhymes with “ resurrect ” ; “ told ” rhymes with “ knoll ” ; “ report ” rhymes with “ glory ”. however, most of the rhymes are not perfect rhymes, but quite vowel rhymes, for example “ collapse ” and “ hate ”, “ media ” and “ craze ”, “ next ” and “ resurrect ”, “ told ” and “ knoll ”, which possibly alludes to the loudspeaker ’ s struggle to stay in master. furthermore, there are two lines, namely the one-third line and the tenth production line, which do not have an end-rhyme with any of the other lines. however, the speaker manages to remain in a position of power by using internal rhymes in these lines : the “ circulate ” in line three rhymes with “ chew over ”, “ break ”, “ hate ”, “ impound ”, “ assassinate ” and “ mutilate ”, and the “ CIA ” in credit line ten rhymes with “ JFK ”. This consistency seems to continue throughout the wholly birdcall. In the first pre-chorus, the verse scheme is hijikkkl. The “ sword ” in line two forms a perfect rhyme with “ Lord ” in line four and “ read it ” in line five rhymes absolutely with “ eat it ” in line six and “ feed it ” in telephone line seven. even the lines which do not have an end-rhyme, frequently find rhymes elsewhere : “ defame ” in note one rhyme with “ scandal ” in the first line of the third pre-chorus and “ men ” in course three rhymes with “ pen ” in the same lineage .
The choruses have a quite unconstipated rhyme scheme as well : the rhyme outline of the inaugural and the third chorus is mmnommnn and the early choruses have a variation thence, for case mmnommno in the second and the fourth chorus or mmnmmnmmnn in the final examination chorus. The speaker rhymes “ magazine ” with “ TV screen ” and “ factual ” with “ actual ” and “ homosexual ” in the first chorus, “ bisexual ” in the one-third chorus and “ disrespectable ” in the final cable of the last choir. alike to the first gear verse, the second poetry consists largely of rhyming couplets a well, resulting in the keep up rhyme schema : ppqqrssttaaugg. The “ hood ” in line one and “ could ” in line two, “ kill ” in line three and “ will ” in line four, “ witnesses ” in line six and “ self-righteousness ” in line seven, “ black ” in line eight and “ back ” in tune nine and “ confront ” in line ten and “ race ” in nine football team all shape perfect rhymes. The “ stories ” in line thirteen and “ glory ”, on the early hand, form a cant rhyme. even the lines that would break the rhyme scheme find inner rhymes again, so that the rhyme scheme is slightly situate : “ sympathize ” in line five rhymes with “ dies ” in the same line and “ Marilyn ” in line twelve rhymes with “ Heroine ” in the lapp line. The same can be observed in the second pre-chorus ( a good as in the third base pre-chorus, which is an extend pas seul of the beginning and second pre-chorus and which substitutes the lines “ You say it ’ s not a sword / But with your pen you torture men ” of the beginning pre-chorus with “ You say it ’ s not a sin / But with your write you torture men ” in the tenth and eleventh line of the third pre-chorus in order to form another rhyming couplet ) – the rhyme scheme of Pre-chorus 2 is the comply : hvwvxxxl. The speaker rhymes “ manipulation ” in line two with “ news ” in credit line four and “ buy it ” in line five with “ laud it ” in line six and “ sanctifies it ” in line seven. Since line three does not have an end-rhyme with any early line, the speaker fixes the consistency of the rhyme system by using an home rhyme, so that “ white ” rhymes with “ parasite ”. As a matter of fact, the only lines which seem to indicate that the loudspeaker is not entirely in a position of power yet is the third base line of Verse 2, “ Circulate the lie ”, adenine well as the lines “ Though everybody wants to read all about it ” ( and variations thereof ) in the choruses and “ So why do we keep foolin ’ ourselves ? ” ( and variations thereof ) in the pre-choruses. These are the only lines whose final words do not find any other words to rhyme with in the integral lyrics .
last, there seems to be a larger number of rhetorical devices in “ Tabloid Junkie ” than in the early songs, which renders the address of the assumed speaker more powerful. first, respective instances of intertextuality can be found in the textbook. The title “ Tabloid Junkie ”, for example, seems to take up the theme of “ Why You Wan sodium Trip On Me ”, namely that the consumption of ( yellow journalism ) news is similar to the pulmonary tuberculosis of drugs. The lines “ You say it ’ s not a sword / But with your pen you torture men ” in Pre-chorus 1 refers to the saying “ the pen is mightier than the sword ” first used by Edward Bulwer-Lytton in 1839 ( californium. Gee 2015, on-line ). By referring to the say, the speaker emphasizes that it is potential to be wounded by words, possibly even more than through violence. The line that follows, “ You ’ d crucify the Lord ”, is a reference to the Bible or, to be more accurate, to the Crucifixion of Jesus. The deduction of this argumentation is that the media are deoxyadenosine monophosphate evil as the people who were responsible for the end of Jesus. second, with the anaphora in the lines “ And you don ’ t have to read it / And you don ’ t have to eat it ” in Pre-chorus 1, the loudspeaker stresses that it is not the media who have to put up with the speculations, but that it is him – in a way, he seems to ask them for their understand. last, the speaker uses respective metaphors in decree to efficaciously convey his message. For exemplify, in the lines “ And you don ’ t have to eat it / To buy it is to feed it ”, the loudspeaker compares the media consumer ’ s act of buying the media ’ south products to the cruelty of being force-feed by the consumers. Because the consumers support the media financially by buying their products, the speaker has to eat the fudge stories about him against his will. In the third line of Pre-chorus 2 and Pre-chorus 3, which is “ You ’ re a parasite in black and blank ”, the speaker combines a metaphor and circumlocution : he uses the metaphor of “ parasites ” to refer to the reporters, who are living at the expense of his misery, and he describes them as “ in total darkness and white ”, a circumlocution for suits, which indicates their senior high school social condition. consequently, the speaker seems to imply that the reporters have become ample by exploiting him .
In drumhead, the subject-matter of the manner of speaking, the samples of the news reporters, the rhyme scheme and the rhetorical devices of “ Tabloid Junkie ” all point at a assumed speaker who has liberated himself from the victim power military position and who is ultimately fighting the addressee for control. The speaker does not restrain himself anymore : he addresses the addressee of the lecture right from the get down and delivers a message that could not be more steer ; he stands his labor as the samples of the voices of the reporters attempt to overwhelm him and he puts an end to them at the end of the song ; he asserts his authority by taking control of the rhyme scheme ; he strengthens his message by the practice of respective rhetorical devices. Although the samples of the reporter ’ south voices constantly find their way back into the music and threaten to overpower the loudspeaker over and over again, and although he loses control of the rhyme dodge a few times, it can however be argued that the speaker in “ Tabloid Junkie ” has at least partially assumed a higher placement of power ; that he has become a more or less self-empowered being .

4.5.1    Invincible

“ Privacy ” is a path on Michael Jackson ’ s last studio album, titled Invincible. The King of Pop began working on his final examination album in 1997. He acted as executive producer again and collaborated with Rodney Jerkins, Bruce Swedien, Brad Buxer, Teddy Riley, Babyface, R. Kelly, Will Smith and Puff Daddy amongst many others – Invicible was thus a collaborative effort which was monitored by Jackson. once again he did not want to recreate any of his previous albums. For this reason, he envisaged invincible to sound more futuristic while still retaining his vintage tunes. The album was scheduled to be released in 1999 ; however, due to Jackson ’ second high expectations and his perfectionism, due to the fact that he had two children to care for and due to respective lawsuits he had to deal with, the release date of the album was postponed several times. When it was finally released on 30 October 2001 – two years by and by than the initial schedule – it soared to total one in the United States, the United Kingdom, Germany, Australia, Japan and about everywhere else in the world. In only five days, it sold approximately three million units worldwide. invincible therefore seemed to become a success and Jackson seemed to be able to demonstrate once again that he was inactive relevant after such a long career. however, after a few months, album sales began declining and the album cursorily fell down the charts again. In fact, Jackson ’ s label Sony had stopped all forwarding because of a count of disputes between Jackson and the head of Sony, Tommy Mottola. As a consequence, Invicible became Michael Jackson ’ s least commercially successful album. To date, roughly eleven million copies have been sold ( californium. Vogel 2011 : 219-232 ) .
invincible consists of 16 songs, namely “ unbreakable ”, “ Heartbreaker ”, “ Invincible ”, “ Break of Dawn ”, “ Heaven Can Wait ”, “ You Rock My World ”, “ Butterflies ”, “ Speechless ”, “ 2000 Watts ”, “ You Are My Life ”, “ Privacy ”, “ Don ’ thyroxine Walk Away ”, “ Cry ”, “ The Lost Children ”, “ Whatever Happens ” and “ Threatened ” ( cystic fibrosis. Michael Jackson. Invincible ). Of these 16 tracks, only one was formally released as a one by Sony : “ You Rock My World ”. The single was accompanied by a music video recording and reached only number ten in the United States ; however, it was more successful afield, for model, in the United Kingdom, where it reached number two, or in France, where it peaked at count one. “ Butterflies ” was the second track that was planned to be released as a individual, but the passing together with the forwarding of the album was cancelled by Sony ( cf. Vogel 2011 : 231-247 ). invincible offers everything from a birdcall about a seductive charwoman ( “ Heartbreaker ” ), to a song about unanswered love ( “ Invincible ” ), a racetrack about music technology with a distribute of sexual insinuation ( “ 2000 Watts ” ), a lament about all the suffer in the world ( “ Cry ” ), and a song about neglect children ( “ The Lost Children ” ). finally, Invincible besides features Michael Jackson ’ second ultimate counterattack against the media : “ Privacy ” ( californium. Michael Jackson. Invincible ; cystic fibrosis. Vogel 2011 : 236-247 ) .

4.5.2    “So paparazzi, get away from me”

“ Privacy ” is the eleventh track on Jackson ’ s final album Invicible. It was written and composed by Michael Jackson, Rodney Jerkins, Fred Jerkins III, LaShawn Daniels and Bernard Bell, and produced by Michael Jackson and Rodney Jerkins. In addition, it was recorded by Rodney Jerkins, Jean-Marie Horvat and Brad Gilderman, and assorted by Jean-Marie Horvat and Rodney Jerkins. Digital edit was done by Harvey Mason Jr. and Paul Cruz, the string arrangement by David Campbell, guitars by Michael Thompson, the bass by Nathan East and the drums by Gerald Hayword and Emanuel Baker. Solo vocals were done by Michael Jackson and backdrop vocals by Jackson and LaShawn Daniels ( californium. Michael Jackson. Invincible. Booklet : 11f. ; cystic fibrosis. Vogel 2011 : 242 ). As can be seen, never before had Jackson assembled such a huge team in order to create a ‘ media-critical ’ sung .
In Man in the Music : The Creative Life and Work of Michael Jackson, Vogel describes “ Privacy ” as follows :
“ Privacy ” has Jackson on the attack, as he growls about the increasingly unethical tactics of the media over a grinding beat and the sound of flashing cameras. The sung hits a difficult as anything on the album, its aggressive tone supplemented by symphonic strings and Slash ’ s ripping guitar fills. ( Vogel 2011 : 242 )
He frankincense seems to consider the sung an extremely mighty and effective counterattack by Michael Jackson against the media. consequently, he seems to suggest that the assumed speaker in “ Privacy ” assumes a position of might in the lyrics. In order to see whether the speaker has in truth progressed from “ Tabloid Junkie ” and assumed a place of world power or whether he has regressed to a victim power position again, the communicative position of the lyrics ampere well as the rhyme dodge and rhetorical devices need to be examined .
As in former chapters, the comply can be said about the extratextual floor of the song : on the generative side, there are the real authors of the song, namely Michael Jackson, Rodney Jerkins, Fred Jerkins III, LaShawn Daniels, Bernard Bell and the rest of Jackson ’ mho team who was involved in the song ’ sulfur initiation work. On the receptive slope, there is everyone who has ever read or listened to the sung ’ second lyrics or music – the real lector and the real number hearer .
As for determining who says what to whom – the intratextual level – in “ Privacy ”, the lyrics need to be scrutinized, starting with the assumed speaker. In contrast to the assumed speaker in “ Tabloid Junkie ”, the assumed speaker in “ Privacy ” is an overt loudspeaker. several deictic expressions referring to the first person indicate that the loudspeaker is manifest in the lyrics. For case, the personal object pronoun “ me ” can be found in line four ( “ So you can bury me ” ) and line seven of the beginning verse ( “ You try to get me to lose ” ), in line one ( “ You keep on stalking me ” ) and line three of the second verse ( “ Won ’ triiodothyronine you just let me be ” ) and in line four of the choruses ( “ Get away from me ” ). additionally, the personal topic pronoun “ I ” is used in line eight of the first gear verse ( “ The man I actually am ” ), line one and line two of the choruses ( “ I need my privacy / I need my privacy ” ) and in line six of the third verse ( “ Like many others I knew ” ). survive but not least, the possessive adjective “ my ” besides appears in line two of the second verse ( “ Invading my privacy ” ), in argumentation one and line two of the choruses ( “ I need my privacy / I need my privacy ” ), in tune two ( “ One of my friends had to die ” ), pipeline five ( “ My friend was chased and confused ” ) and line eight of the third verse ( “ My pride was snatched away ” ), in line six of the fourth verse ampere well as in line three of the restrict fifth verse ( “ Stop maliciously attacking my integrity ” ) .
The assumed addressee is clearly detectable in the lyrics of “ Privacy ”, besides. As a count of fact, there are respective deictic expressions referring to the moment person in the lyrics. first, the assumed addressee is addressed by the use of the personal pronoun “ you ”, for case in lines two to line seven of Verse 1 ( “ Why do you go through then a lot / To get the fib you need / So you can bury me / You ’ ve got the people confused / You tell the stories you choose / You try to get me to lose ” ), in argumentation one ( “ You keep on stalking me ” ), line three ( “ Won ’ deoxythymidine monophosphate you just let me be ” ) and line six of Verse 2 ( “ That you ’ ll even sell your soul ” ), and in production line one ( “ Some of you still wonder why ” ) and trace four of Verse 3 ( “ That however you haven ’ triiodothyronine hear ” ). second, the possessive adjective “ your ” can be found in the fourth ( “ ’ Cause your cameras can ’ t control condition ” ) and sixth line of the second verse ( “ That you ’ ll even sell your soul ” ). last, the imperative mood mood is used in the fourth occupation of the choruses ( “ Get aside from me ” ), in the third gear ( “ Please tell me why ” ) and sixth line of the fourth verse a well as in the third agate line of the fifth poetry ( “ Stop maliciously attacking my integrity ” ). Furthermore, the identity of the fictive addressee is besides revealed, namely in the third line of the choruses : “ so paparazzo ”. In fact, this is the first time that a assumed loudspeaker states the identity of the fictive addressee indeed explicitly. While even in “ Tabloid Junkie ” the entire lyrics had to be considered in holy order to determine the identity of the assumed speaker, the assumed loudspeaker in “ Privacy ” does not hold back. therefore, this candor of the speaker can be interpreted as a demonstration of the speaker ’ mho high put of world power. furthermore, the fact that the assumed loudspeaker addresses paparazzo because he feels stalked by them besides discloses the loudspeaker ’ randomness identity : he is decidedly a celebrity – and most likely an alter ego of Jackson again .
The subject-matter of the first half of the speech is preferably guileless and does not seem to leave much board for interpretation. In the first four lines of Verse 1 – “ Ain ’ t the pictures enough / Why do you go through so much / To get the narrative you need / So you can bury me ” – the fictive speaker immediately confronts the paparazzo and asks them why they do about anything to get a story about him. additionally, he besides asks if the photograph of him are not enough and says he feels that the addressee wants to ruin him. In the next four lines of Verse 1, which are “ You ’ ve got the people confused / You tell the stories you choose / You try to get me to lose / The man I very am ”, the speaker claims that the paparazzo confuse the public by only telling the stories they choose to tell, which implies that they fail to tell the hale history and that their stories are biased. In summation, the loudspeaker feels that by telling their biased stories, the paparazzo try to erase his humanity and to turn him into a merchandise, or rather to commodify and to dehumanize him. In the first gear three lines of Verse 2 – “ You keep on stalking me / Invading my privacy / Won ’ thyroxine you fair let me be ” – the loudspeaker farther specifies the dishonest behavior of the paparazzo : he reveals that they are compulsively persecuting him and intruding into his privacy. What is more, he besides tells them to leave him in peace. In the lines which follow, “ ’ Cause your cameras can ’ t dominance / The minds of those who know / That you ’ ll evening sell your soul / Just to get a narrative sold ”, the loudspeaker states that the paparazzo ’ second cameras can not influence the people who know what kind of people they are, namely that they do not care about award, but rather only about money. In the lines of Chorus 1 ( ampere well as the other choruses ), which are “ I need my privacy / I need my privacy / So paparazzo / Get away from me ”, he reinforces the message that he wants to be left alone by the paparazzo by telling them to get away. It can thus be argued that the first half of the language is rather guileless and direct and that the fictive speaker appears to be composed and powerful due to his bluntness .
Despite being more enigmatic, the irregular half of the subject-matter of the language is more or less square angstrom well. In the inaugural six lines of Verse 3 – “ Some of you still wonder why / One of my friends had to die / To get a message across / That however you haven ’ triiodothyronine listen / My acquaintance was chased and confused / Like many others I knew ” – the assumed loudspeaker reveals that one of his friends died because she ( the gender of his ally is revealed in Verse 4 ) was “ chase and confuse ”, implying that person from whom she was fleeing was responsible for her death. He besides states that it needed her death in arrange to convey a message, but he does not specify what the message was. Futhermore, he claims that more people he “ knew ”, which implies that he does not have contact with these people anymore or that they are abruptly as well, were “ chased and confused ”, excessively. The fact that the speaker does not explicitly submit who his deceased ally was conveys the stamp that the paparazzo must know who he is talking about. therefore, since the loudspeaker already mentioned in the first base two verses that the paparazzo do anything to get a report, that is, they invade the privacy of celebrated people by stalking them, it is safe to assume, in malice of the miss of denotative data, that his ally was celebrated and that the paparazzo were responsible for her death because they chased her. furthermore, Vogel suggests that these lines allude to “ the insensible death of Lady Diana, who was, notoriously, being chased by yellow journalism reporters when her car fatally crashed in 1996. ” ( 2011 : 242 ) The assumption of the loudspeaker ’ s acquaintance being an change self of Lady Diana besides solves the mystery of the “ message ” her death bring : after Lady Diana ’ s death, the public felt that the paparazzo were going excessively far to get their photos and stories of celebrities ( californium. Von Glinow 2012, on-line ). ultimately, the speaker concludes Verse 3 with the lines : “ But on that cold winter night / My pride was snatched off ”. These lines could refer to the night that his supporter died ; however, since Lady Diana died on 30 August 1997 and since it does not make sense that the pride of the speaker was snatched away because of this incidental, the “ cold winter night ” credibly alludes to another event, namely the humiliate strip search that Jackson had to endure after the child harassment allegations of the Chandlers in December 1993 ( cf. Biography.com Editors 2016, on-line ) .
The first three lines of Verse 4 continue to deal with the fictive loudspeaker ’ s deceased ally : “ now she get no second gear chance / She merely ridiculed and harassed / Please tell me why ”. In these lines, the loudspeaker emphasizes that she had to endure a lot of harassment and ridicule while she was alert and that she does not get a second luck at life because she is immediately dead. furthermore, he seems to ask the paparazzo : “ Why did you have to do it ? Was it worth it ? ”. In the final three lines of Verse 4 – “ now there ’ s a moral to learn / Respect ’ s not given, it ’ south earned / Stop maliciously attacking my integrity ” – the speaker states the esprit de corps of his ally ’ s history : “ Respect ’ s not given, it ’ randomness earned ”. The speaker therefore seems to imply that he will not respect the paparazzo unless they earn his deference. In the last line, the speaker then tells them to stop viciously attacking his integrity. The Merriam-Webster dictionary defines “ integrity ” as the “ firm adhesiveness to a code of specially moral or aesthetic values : INCORRUPTABILITY ” or as “ the timbre or submit of being complete or undivided : COMPLETENESS ” ( “ integrity ” n.d., on-line ). It follows then that the speaker implies that the paparazzo ’ randomness attacks are in bootless because he is incorruptible and dispatch. ultimately, in the lines of Verse 5, which are “ now there ’ s a moral to learn / Stories are twisted and turned / Stop maliciously attacking my integrity ”, the speaker repeats once again that the paparazzo should stop attacking his integrity. In addition, he teaches the paparazzo another example, namely that their stories are distorted and broad of lies .
overall, it can be said that the subject-matter of the language is the speaker ’ south demand to be left alone by the paparazzo. Throughout the stallion lyrics, the speaker is extremely plain-spoken : he tells the addressee explicitly what he wants, namely his “ privacy ” ; he recounts the fib of his supporter who died with a strong accusative undertone ; he tells the addressee the morale of his report like a teacher to a student ; he does not hold back and states that he will disrespect the paparazzo a long as they do not respect him and his wish to be left alone by them. consequently, the speaker seems to be preferably compose and in manipulate – he seems to be in a military position of power. This is far underlined by the fact that he considers himself incorruptible and complete, no matter what the paparazzo undertake to do. however, in order to see whether the assumed speaker is very in a status of power, the lyrics ’ verse scheme and rhetorical devices ampere well as Jackson ’ s improvise towards the end of the song require far examination .

4.5.3    Rhyme scheme, rhetorical devices and ad-libs

The strength of the speaker is indeed reflected in the rhyme system of “ Privacy ”. The first verse, which has the rather coherent rhyme system aabbcccd, immediately demonstrates the restraint of the loudspeaker. The consistency of the rhyme dodge is not even impaired by the stopping point line, which does not seem to have an end-rhyme with any other line. As a matter of fact, the speaker fixes this flimsy incompatibility by using an internal rhyme, so that “ am ” rhymes with “ valet ”. Another home rhyme can be found in the third and the fourth line of the first poetry, namely “ history ” and “ bury ”. therefore, it seems that the fictive speaker begins his manner of speaking from a position of power. however, it must besides be added that the speaker uses largely cant rhymes in order to maintain the consistency of the rhyme system, which possibly reveals that he is not american samoa composed as he shows : “ enough ” in line one and “ a lot ” in line two, “ need ” in line three and “ me ” in argumentation four a well as “ confused ” in occupation five and “ choose ” in agate line six, or quite “ lose ” in credit line seven are all lean rhymes. The entirely perfect rhymes in the first gear poetry are found in line six and line seven, namely “ choose ” and “ lose ”. As the loudspeaker continues his speech with the second base verse, the regularity of the rhyme dodge even increases, which shows that the speaker manages to retain his composure. The speaker rhymes “ me ” in note one with “ privacy ” in tune two and “ be ” in pipeline three and “ control ” in production line four with “ know ” in line five, “ person ” in line six and “ sold ” in line seven, resulting in the follow rhyme system : bbbeeee. The rhymes in most of the lines are perfect rhymes, except for “ know ” and “ sold ” which form vowel rhymes with “ control ” and “ soul ”. In the choruses, the speaker last uses only perfect rhymes and the rhyme system is perfectly consistent : bbbb. The speaker rhymes “ privacy ” in occupation one and two with “ paparazzi ” in cable three and “ me ” in line four. The choruses can therefore be considered as the speaker ’ s moments of complete control condition. In the third base and one-fourth verse, however, as the speaker tells about his asleep ally, the rhyme scheme loses some of its consistency again. possibly the speaker ’ s emotions – his sadness and his anger at the paparazzo – take hold of him as he remembers his supporter, which results in flimsy irregularities in the rhyme dodge. The third verse has the rhyme outline ffghccij : the speaker rhymes “ why ” in line one with “ fail ” in telephone line two and “ confused ” in wrinkle five with “ knew ” in line six whereas the other lines do not rhyme with any trace at all. The beginning of the fourth verse, which is hush about the speaker ’ mho friend, continues with an irregular rhyme outline, but as the loudspeaker starts to teach the paparazzo a lesson, the rhyme system becomes more consistent again : klfmmb. The speaker rhymes “ memorize ” with “ earned ” and establishes a radio link between the fourth poetry and the first gear verse, the moment verse adenine well as the chorus by using another word which rhymes with the b-rhyme words, namely “ integrity ”. What is besides concern is the fact that the speaker connects the lines “ Some of you even wonder why / One of my friends had to die ” of the third verse with the production line “ Please tell me why ” of the fourth verse by picking up the lapp rhyme word ( f ), which stresses that he blames the paparazzo for her death. The abridge one-fifth verse, in which the speaker teaches the paparazzo his second example, remains consistent by having the like rhyme scheme as the stopping point three lines of the one-fourth verse : mmb – this shows that these lines belong together. This time the loudspeaker rhymes “ teach ” in note one with “ turned ” in line two and “ integrity ” in line three. As can be seen, the assumed loudspeaker remains in see of the rhyme scheme throughout most of the lyrics. only when he remembers his supporter ’ mho death caused by the paparazzo, he loses his composure and the rhyme system starts to break down. however, when he reveals the esprit de corps of the relation of his report, the rhyme outline becomes more consistent again. In the end, the speaker manages to sustain his position of power by concluding the birdcall with three repetitions of the chorus, in which he is at his strongest .
A great number of rhetorical devices further emphasize the fictive speaker ’ sulfur stead of office. first, the speaker uses a fortune of alliteration to underline his message. For exemplify, in line four of the irregular verse – “ ’ Cause your cameras can ’ t control ” – the speaker uses many words beginning with the /k/ sound, and in lines six and seven of the same verse – “ That you ’ ll even sell your soul / Just to get a story sold ” – he uses several /s/ sounds in regulate to get his message across. The “ betray ” and the “ sold ” in these two lines are besides a polyptoton, which further stresses the loudspeaker ’ mho message. More alliteration can be found in the first base two lines of the last poetry : “ nowadays there ’ s a example to learn / Stories are twisted and turned ”. In these lines, the speaker repeats the /l/ sound and the /t/ reasoned to strengthen his message. second, an example of intertextuality can be found in the one-sixth line of the second verse : “ That you ’ ll even sell your soul ”. With this occupation, the speaker seems to refer to the line “ You ’ rhenium sellin ’ out souls but / I care about mine ” in “ Scream ”. In doing so, the speaker repeats the mind that in contrast to the paparazzo, he cares about his soul. third, there are several examples of parallelism in the first verse, namely “ You ’ ve got the [ … ] ” in the one-fifth line, “ You tell the [ … ] ” in the sixth line and “ You try to [ … ] ” in the seventh line. The loudspeaker uses the device of parallelism in holy order to show in three straight sentences the actions of the paparazzo and what power they possess. That way, the speaker is able to illustrate that whom he is up against is highly powerful and influential. Fourthly, a metaphor is besides used to demonstrate the power of the paparazzo, namely in the fourthly line of the second verse : “ ’ Cause your cameras can ’ t see ”. In this occupation, the discussion “ cameras ” is compared to a mind-controlling machine, which shows the paparazzo ’ randomness power. however, at the lapp time, the loudspeaker besides reveals their failing in the tune that follows : “ The minds of those who know ”. The weakness of the paparazzo is knowledge – if the people know how the paparazzo operate, they can not be controlled. This is where the loudspeaker ’ sulfur speech ( and his history about his asleep supporter ) comes in : it provides information on the direction paparazzo operate on and thus negates their influence .
There is lone one aspect in the song which reveals that the assumed speaker is still not wholly empowered, namely the ad-lib of the birdcall. Although the ad-libs are not separate of the official lyrics of the song, these ad-lib interjections by Jackson on behalf of the loudspeaker still give away data about the speaker ’ second state of heed. It needs to be added that it is rather difficult to understand these interjections and that sometimes they even do not make sense at all, which is called scat ; however, sometimes they do make sense. [ 15 ] In the first repetition of the choir, between “ So paparazzo ” and “ Get off from me ”, the loudspeaker interjects the word “ clemency ”. consequently, it seems as if the loudspeaker is hush begging the addressee for mercy. In the final examination choruses following the last verse, interjections such as “ Oh no ”, “ Stop your walk, talking, stalking ”, “ It ’ randomness got tantalum be me ” amongst others are repeated over and all over again ( californium. Michael Jackson. Invincible ). Most of them seem to have a mournful undertone, as if the loudspeaker was pleading with the addressee to stop bothering him. ultimately, after the lyrics of the refrain are repeated for the final time and the beat continues, the speaker seems to repeat the phrases “ Why ’ vitamin d you do it ? ”, “ Please don ’ deoxythymidine monophosphate do it ” and “ You just let it ” a few times. Again the loudspeaker appears to be pleading with the paparazzo, showing a hint of powerlessness .
All in all, it can therefore be said that the subject-matter of the lecture, the rhyme scheme and the rhetorical devices of “ Privacy ” all suggest a assumed loudspeaker who is in dominance and who is in a position of baron. The speaker is extremely aboveboard and he does not embellish his words at all : he reveals the identity of the addressee immediately, delivers a clear message and shows his composure through his control of the rhyme scheme and his consumption of rhetorical devices. only the improvise towards the end of the birdcall unwrap that the loudspeaker still has irregular moments of failing. however, he remains in a position of baron throughout most of the sung, which demonstrates that he has become a more or less self-empowered being .

5. Conclusion

In the course of this thesis, the ups and downs of Michael Jackson ’ south historic 40-year long career were examined. On the one hand, we have taken a glimpse at what the King of Pop would surely like to be remembered for : the young Michael Jackson joining his brothers ’ band The Jackson 5 and winning endowment contest after endowment contest ; The Jackson 5 playing the chitlin ’ lap and getting signed to Motown Records ; The Jackson 5 releasing their first number-one singles and the follow folly of Jacksonmania ; the Jacksons leaving Motown Records and signing with Epic Records in hope for more independence ; Michael Jackson ’ s first movie performance in The Wiz ; MJ ’ s success with his first solo album for Epic Records, Off The Wall, which was the best-selling album ever by a black artist when it was released ; him topping the achiever of Off The Wall by releasing the best-selling album of all time, Thriller ; him revolutionizing the medium of the music video with his beginning light films for “ Billie Jean ”, “ Beat It ” and “ Thriller ” ; his career-defining performance and the parturition of the moonwalk at Motown 25 : yesterday, Today and Forever ; the let go of of Bad and his first tour as solo artist ; him becoming the most successful artist and entertainer of all time and one of the most celebrated people who has ever lived ; the international success of dangerous and history : Past, Present and Future, Book 1, which placid is the best-selling multiple-disc album of all clock time ; the release of Blood on the Dance Floor : history in the Mix and Invincible ; the surprise of the success of his intended comeback ; his humanitarian contributions throughout the years ; his unconditional love for his three children, Prince Michael Jackson, Paris Katherine Michael Jackson and Prince Michael II ; the rediscovery of his music even after his death .
On the other hand, we have besides seen Michael Jackson ’ s difficult kinship with the media, which resulted in his professional and personal precipitation. We have looked at the badly moments of his career which have overshadowed his success to a large extent : the speculations about his sex and his changing appearance ; his beginning publicity miscalculations with the stories about the hyperbaric chamber and the remains of the Elephant Man ; the creation of “ Wacko Jacko ” and the follow ceaseless speculations about his eccentricities ; the child harassment allegations of the Chandlers in 1993 and the 17 million dollar liquidation ; his drug addiction ; Bashir ’ s controversial documentary Living with Michael Jackson followed by the child abuse allegations of the Arvizos in 2003 ; the People v. Jackson test in 2005. These are the moments that many people remember Michael Jackson for – they do not remember his creative shape and his important contributions to music, but rather the visualize that was constructed by the media .
however, Michael Jackson did not merely accept being a target of arresting media reporting – he besides fought back against the media in the form of his music. Songs such as “ Leave Me Alone ” off Bad, “ Why You Wan sodium Trip On Me ” off Dangerous, “ Scream ” and “ Tabloid Junkie ” off history : Past, Present and Future, Book I and “ Privacy ” off Invincible were the leave of Jackson ’ s counterattack against the media – his ‘ media-critical ’ songs. Because every album since Bad ( except for Blood on the Dance Floor : history in the Mix ) features such a song critical of the media, an analysis of the lyrics ’ progress, specifically an analysis of the development of the exponent position of the fictive loudspeaker in these highly autobiographical lyrics became the focus of this dissertation. By taking a look at the lyrics ’ communicative situation, rhyme dodge and rhetorical devices a well as aspects of the music, it was possible to show how Jackson ’ s assumed loudspeaker progresses from victim in “ Leave Me Alone ” to a more or less self-empowered being in the naturally of the songs .
The assumed speaker ’ south progress from “ Leave Me Alone ” to “ Privacy ” is noteworthy. In “ Leave Me Alone ”, the speaker appears highly powerless : he disguises his criticism of the media as a sexual love song, reveals that he is a victim to his feelings in his manner of speaking and does not manage to bring in consistency into the rhyme system. The music and the rhetorical devices further emphasize the speaker ’ south insecurity and weakness. In “ Why You Wan sodium Trip On Me ”, the fictive speaker is hush in a victim office military position : he begs the addressee to stop consuming him like a drug and tries to direct the addressee ’ s focus away from him. furthermore, the ambiguity of the speaker about the addressee, the discrepant verse scheme with its many slant and identical rhymes, the chord progress of the music and the rhetorical devices stress the speaker ’ sulfur powerlessness. In “ Scream ”, the speaker has finally had enough of the victimization and is ready to fight the addressee for restraint. His contend for restraint is mirrored in the samples of Jackson ’ s glass-shattering screams and the sometimes consistent rhyme scheme of the lyrics. however, the fact that he needs the corroborate of a second voice, the fact that the loudspeaker solicit for mercy, the fact that he reveals the identity of the addressee, but immediately tries to conceal it again, the repetition of the sample distribution of Jackson ’ randomness scream and the rhetorical devices suggest a speaker that is still in a victim might place. In “ Tabloid Junkie ”, the speaker ultimately attempts to assume a position of power : the identity of the addressee is revealed right from the start, the message of the speech is extremely aboveboard, the samples of the voices of news reporters can not overwhelm the speaker, and the rather reproducible rhyme scheme a well as the numerous rhetorical devices show a loudspeaker that has liberated himself from the victim world power put. last, in “ Privacy ”, the loudspeaker is more knock-down than always : he is extremely plain-spoken and delivers a speech that could not be more aim, he makes certain that the addressee is known right from the start and he takes restraint of the lyrics ’ verse and rhetorical devices. only during the ad-lib of the sung, which are not part of the official lyrics, does the loudspeaker disclose a moment of powerlessness. For this reason, he can only be considered a more or less self-empowered being in the end .
In ending, it needs to be added that the psychoanalysis of the assumed speakers in Jackson ’ s ‘ media-critical ’ songs potentially provides us with interesting insights into Jackson ’ s state of mind concerning the media and himself over the years. Because the lyrics of these songs are highly autobiographical and because the speakers seem to be change egos of Jackson, it is possibly possible to grasp how Jackson felt when the media started damaging his visualize in the years preceding the let go of of Bad and how his feelings changed by the release of Invincible. Maybe Jackson felt victimized by the media at first, but over the years he got stronger and stronger. Of course, such assumptions can entirely be of a strictly inquisitive nature, but possibly they are not besides far-fetched. It would have been interesting to see the focus in which Jackson ’ s adjacent ‘ media-critical ’ songs would have gone, but unfortunately “ Privacy ” is the last sung critical of the media released by Jackson himself. however, an psychoanalysis of how “ Breaking News ” – a song which was recorded in 2007 and released on the posthumous album Michael in 2010 and which caused a bunch of controversy because of its vocals – fits into the system of Jackson ’ s ‘ media-critical ’ songs would be extremely enlightening ( cf. Vogel 2011 : 267 ) .

6. Works Cited

 

  1. Primary Texts

1.1 Discography and lyrics
Michael Jackson ( 1987 ). Bad. epic Records .
Michael Jackson ( 1991 ). Dangerous. Epic Records .
Michael Jackson ( 1995 ). history : Past, Present and Future, Book I. Epic Records .
Michael Jackson ( 2001 ). invincible. epic Records .
1.2 Lyrics and chords
Michael Jackson ( 1997 ). “ Leave Me Alone ” [ 1987 ]. In : International Music Publications Ltd, erectile dysfunction. Michael Jackson : complete Chord Book. London : Faber Music Ltd. [ no page ]. song 53 .
Michael Jackson ( 1997 ). “ Why You Wan sodium Trip On Me ” [ 1991 ]. In : International Music Publications Ltd, erectile dysfunction. Michael Jackson : dispatch Chord Book. London : Faber Music Ltd. [ no foliate ]. birdcall 99 .
Michael Jackson ( 1997 ). “ Scream ” [ 1995 ]. In : International Music Publications Ltd, erectile dysfunction. Michael Jackson : dispatch Chord Book. London : Faber Music Ltd. [ no page ]. song 75 .
Michael Jackson ( 1997 ). “ Tabloid Junkie ” [ 1995 ]. In : International Music Publications Ltd, erectile dysfunction. Michael Jackson : complete Chord Book. London : Faber Music Ltd. [ no page ]. song 83 .

  1. Secondary Literature

2.1 Printed Sources
Braheny, John ( 2007 ). The Craft and Business of Songwriting : a hardheaded steer to creating and marketing artistically and commercially successful songs. 3rd erectile dysfunction. Cincinnati, Ohio : Writer ’ s Digest Books .
Ebmeier, Jochen ( 1999 ). Michael Jackson : Das Phänomen. Mainz : Atlantis Musikbuch-Verlag .
Fast, Susan ( 2014 ). Dangerous. 33 100. New York : bloomsbury .
Faulstich, Werner ( 1978 ). Rock-Pop-Beat-Folk : Grundlagen der Textmustik-Analyse. Literaturwissenschaft im Grundstudium 7. Tübingen : Gunter Narr Verlag .
Jackson, Michael ( 2010 ). Moonwalk [ 1988 ], re-issued edition. London : Arrow Books .
Jones, Aphrodite ( 2012 ). Michael Jackson Conspiracy. n.p. : Aphrodite Jones Books .
Knopper, Steve ( 2015 ). MJ : The Genius of Michael Jackson. New York : Scribner .
livingstone, Harrison E. ( 2004 ). The root Right and the murder of John F. Kennedy : stun evidence in the Assassination of the President. Victoria, BC : Trafford Publishing .
Ott, Bill ( 2003 ). “ Making Sense of Michael Jackson ”. american Libraries. 34.3 : 92 .
Swenson, John ( 1992 ). “ Michael Jackson ”. In : Anthony DeCurtis and James Henke, eds. The Rolling Stone Illustrated History of Rock & Roll : The Definitive History of the Most authoritative Artists and Their Music., revolutions per minute. and update revision. London : Plexus Publishing Ltd. 648-655 .
Taraborrelli, J. Randy ( 2010 ). Michael Jackson : The Magic, The Madness, The Whole Story, 1958-2009 [ 1991 ], rev., expanded, and update edition. New York : Grand Central Publishing .
Vogel, Joseph ( 2011 ). man in the Music : The Creative Life and Work of Michael Jackson. New York : greatest .
yuan, David D. ( 1996 ). “ The Celebrity Freak : Michael Jackson ’ s ‘ Grotesque Glory ’ ”. In : Rosemarie Garland Thomson, erectile dysfunction. Freakery : cultural Spectacles of the Extraordinary Body. New York : New York UP. 368-384 .
2.2 electronic Sources
2.2.1 Articles
Baila, Morgan ( 2016, Aug. 26 ). “ 8 Of Michael Jackson ’ s Most iconic dancing Moves ”. Refinery29. [ Online ]. hypertext transfer protocol : //www.refinery29.com/2016/08/120661/michael-jackson-dance-moves-king-of-pop # slide [ 2017, Jan. 25 ] .
Biography.com Editors ( 2016, Nov. 30 ). “ Princess Diana Biography ”. Biography.com. [ Online ]. hypertext transfer protocol : //www.biography.com/people/princess-diana-9273782 [ 2017, Jan. 25 ] .
Fernandes, Darren ( 2011, May 6 ). “ The Style Autopsy of the King Of Pop ”. NOT JUST A LABEL. [ Online ]. hypertext transfer protocol : //www.notjustalabel.com/editorial/style-autopsy-king-pop [ 2017, Jan. 25 ] .
Gee, Alison ( 2015, Jan. 9 ). “ Who first said ‘ the pen is mightier than the sword ’ ? ”. BBC News. [ Online ]. hypertext transfer protocol : //www.bbc.com/news/magazine-30729480 [ 2017, Jan. 25 ] .
Gritt, Emma ( 2016, July 18 ). “ Michael Jackson ‘ given hormone injections to delay puberty and keep his voice high ’ ”. The Sun. [ Online ]. hypertext transfer protocol : //www.thesun.co.uk/tvandshowbiz/1461191/michael-jackson-given-hormone-injections-to-delay-puberty-and-keep-his-voice-high/ [ 2017, Jan. 25 ] .
Henley, Tim ( 2013, May 16 ). “ Quincy Jones says Michael Jackson didn ’ thyroxine want to be black ”. NEWSOK. [ Online ]. hypertext transfer protocol : //newsok.com/article/3816610 [ 2017, Jan. 25 ] .
History.com Staff ( 2009 ). “ Marilyn Monroe is found dead ”. History. [ Online ]. hypertext transfer protocol : //www.history.com/this-day-in-history/marilyn-monroe-is-found-dead [ 2017, Jan. 25 ] .
Hunter, James ( 1995, Aug. 10 ). “ Michael Jackson : history : Past, Present, Future : ledger I ”. Rolling Stone. [ Online ]. hypertext transfer protocol : //www.rollingstone.com/music/albumreviews/history-past-present-future-book-i-19950810 [ 2017, Jan. 25 ] .
Marshall, Rick ( 2009, June 26 ). “ Michael Jackson ’ s Death Overloads Google, Twitter : Myspace, Facebook and Wikipedia besides Bombarded With Visitors After News ”. MTV news. [ Online ]. hypertext transfer protocol : //www.mtv.com/news/1614812/michael-jacksons-death-overloads-google-twitter/ [ 2017, Jan. 25 ] .
Morris, Meagan ( 2011, Mar. 24 ). “ Elizabeth Taylor and Michael Jackson : Friends in life and death ”. sheknows. [ Online ]. hypertext transfer protocol : //www.sheknows.com/entertainment/articles/826921/elizabeth-taylor-and-michael-jackson-friends-in-life-and-death [ 2017, Jan. 25 ] .
“ Most successful entertainer of All Time-Michael Jackson sets earth read ” ( 2009, June 27 ). World Record Academy. [ Online ]. hypertext transfer protocol : //www.worldrecordacademy.com/entertainment/most_successful_entertainer_of_all_time-Michael_Jackson_sets_world_record % 20_90258.htm [ 2017, Jan. 25 ] .
Schmidt, Volker ( 2013, Nov. 19 ). “ Wer hat JFK wirklich erschossen ? ”. Zeit Online. [ Online ]. hypertext transfer protocol : //www.zeit.de/wissen/geschichte/2013-11/verschwoerungstheorien-ermordung-john-f-kennedy [ 2017, Jan. 25 ] .
Stanley, Alessandra ( 2003, Feb. 6 ). “ TELEVISION REVIEW ; A Neverland World Of Michael Jackson. The New York Times. [ Online ]. hypertext transfer protocol : //www.nytimes.com/2003/02/06/arts/television-review-a-neverland-world-of-michael-jackson.html [ 2017, Jan. 25 ] .
Thornton, Michael ( 2012, July 20 ). “ The ultimate sex symbol for men. But did Marilyn Monroe lone love women ? Fifty years after her death, an generator who met the star questions her sexual identity ”. Mail Online. [ Online ]. daily Mail. hypertext transfer protocol : //www.dailymail.co.uk/femail/article-2176657/Marilyn-Monroe-The-ultimate-sex-symbol-men-But-did-love-women.html [ 2017, Jan. 25 ] .
United States Census Bureau ( 2011, Sept. 29 ). “ 2010 Census Shows Black Population has Highest concentration in the South : People Who Reported as Both Black and White More than Doubled ”. United States Census Bureau. [ Online ]. hypertext transfer protocol : //www.census.gov/newsroom/releases/archives/2010_census/cb11-cn185.html [ 2017, Jan. 25 ] .
Von Glinow, Kiki ( 2012, Aug. 31 ). “ Princess Diana ’ s 15-Year Death Anniversary Puts Paparazzi Laws Under Microscope ”. The Huffington Post. [ Online ]. hypertext transfer protocol : //www.huffingtonpost.com/2012/08/31/princess-dianas-death-15-year-anniversary-paparazzi-laws_n_1837025.html [ 2017, Jan. 25 ] .
Weinraub, Bernard ( 1995, June 15 ). “ In New Lyrics, Jackson Uses Slurs ”. The New York Times. [ Online ]. hypertext transfer protocol : //www.nytimes.com/1995/06/15/arts/in-new-lyrics-jackson-uses-slurs.html [ 2017, Jan. 25 ] .
“ Who killed JFK ? A steer to the Kennedy conspiracy theories ” ( 2017, Jan. 19 ). The Week. [ Online ]. hypertext transfer protocol : //www.theweek.co.uk/55933/who-killed-jfk-a-guide-to-the-kennedy-conspiracy-theories [ 2017, Jan. 25 ] .
2.2.2 Wikipedia articles, Online dictionary entries and Youtube videos
“ ad-lib ” ( n.d. ). Merriam-Webster Online. [ Online ]. Merriam-Webster. hypertext transfer protocol : //www.merriam-webster.com/dictionary/ad % E2 % 80 % 93lib [ 2017, Jan. 25 ] .
“ Bad ( go ) ” ( n.d. ). Wikipedia : The loose Encyclopedia. [ Online ]. Wikimedia Foundation. hypertext transfer protocol : //en.wikipedia.org/wiki/Bad_ ( tour ) [ 2017, Jan. 25 ] .
Bashir, Martin ( 2003 ). Living with Michael Jackson. [ Youtube Video ]. Uploaded as “ Michael Jackson Documentary ‘ living with michael jackson ’ ” by Luis Padron on 27 May 2013. hypertext transfer protocol : //www.youtube.com/watch ? v=gqqipytDeuM [ 2017, Jan. 25 ] .
“ connivance ” ( n.d. ). english Oxford Living Dictionaries. [ Online ]. Oxford Dictionaries. hypertext transfer protocol : //en.oxforddictionaries.com/definition/collusion [ 2017, Jan. 25 ] .
“ frump ” ( n.d. ). Merriam-Webster Online. [ Online ]. Merriam-Webster. hypertext transfer protocol : //www.merriam-webster.com/dictionary/dog [ 2017, Jan. 25 ] .
Fine Brothers Entertainment ( 2016, Nov. 3 ). KIDS REACT TO MICHAEL JACKSON [ Youtube Video ]. hypertext transfer protocol : //www.youtube.com/watch ? v=maVR5RNIs_o [ 2017, Jan. 25 ] .
“ hood ” ( n.d. ). english Oxford Living Dictionaries. [ Online ]. Oxford Dictionaries. hypertext transfer protocol : //en.oxforddictionaries.com/definition/hood [ 2017, Jan. 25 ] .
“ integrity ” ( n.d. ). Merriam-Webster Online. [ Online ]. Merriam-Webster. hypertext transfer protocol : //www.merriam-webster.com/dictionary/integrity [ 2017, Jan. 25 ] .
Jackson, Michael ( 1989 ). Michael Jackson – Leave Me Alone ( Official Video ). [ Youtube Video ]. Uploaded by michaeljacksonVEVO on 2 October 2009. hypertext transfer protocol : //www.youtube.com/watch ? v=crbFmpezO4A [ 2017, Jan. 25 ] .
“ Presumption Of Innocence ” ( n.d. ). Nolo ’ s Plain-English Law Dictionary. [ Online ]. Nolo. hypertext transfer protocol : //www.nolo.com/dictionary/presumption-of-innocence-term.html [ 2017, Jan. 25 ] .
“ Sampling ( music ) ” ( n.d. ). Wikipedia : The free Encyclopedia. [ Online ]. Wikimedia Foundation. hypertext transfer protocol : //en.wikipedia.org/wiki/Sampling_ ( music ) [ 2017, Jan. 25 ] .
“ Scat sing ” ( n.d. ). Wikipedia : The free Encyclopedia. [ Online ]. Wikimedia Foundation. hypertext transfer protocol : //en.wikipedia.org/wiki/Scat_singing [ 2017, Jan. 25 ] .
“ Stranger in Moscow ” ( n.d. ). Wikipedia : The free Encyclopedia. [ Online ]. Wikimedia Foundation. hypertext transfer protocol : //en.wikipedia.org/wiki/Stranger_in_Moscow [ 2017, Jan. 25 ] .
“ trip ” ( n.d. ). english Oxford Living Dictionaries. [ Online ]. Oxford Dictionaries. hypertext transfer protocol : //en.oxforddictionaries.com/definition/trip [ 2017, Jan. 25 ] .
“ Vitiligo ” ( n.d. ). Wikipedia : The loose Encyclopedia. [ Online ]. Wikimedia Foundation. hypertext transfer protocol : //en.wikipedia.org/wiki/Vitiligo [ 2017, Jan. 25 ] .

 7. Appendix: Lyrics

 

  1. “Leave Me Alone”

Aaow ! Hoo ! Hoo ! [ 16 ] Intro
I don ’ triiodothyronine care what you talkin ’ ‘ bout child Verse 1
I don ’ metric ton care what you say
Don ’ t you come walkin ’ beggin ’ second ma
I don ’ thymine care anyhow
time after clock I gave you all of my money
No excuses to make
Ain ’ t no batch that I can ’ thyroxine rise baby
All is going my way
( ‘ Cause there ’ s a time when you ’ re right Pre-chorus 1
And you know you must fight )
Who ’ s laughing child, don ’ triiodothyronine you know ?
( And there ’ s the choice that we make
And this choice you will take )
Who ’ s laughin ’ pamper ?
thus fair leave me alone girl Chorus 1
Leave me alone
( Leave me alone )
Leave me alone
( Leave me alone )
Leave me entirely, stop it !
fair stop doggin ’ me around
( Just stop doggin ’ me )

There was a fourth dimension I used to say daughter I need you Verse 2
But who is blue now
You actually hurt, you used to take and deceive me
now who is good-for-nothing now
You got a way of making me feel so regretful
I found out justly away
Don ’ t you come walkin ’ beggin ’ I ain ’ t lovin ’ you
Don ’ metric ton you get in my way
( ‘ Cause there ’ s a fourth dimension when you ’ re right Pre-chorus 2
And you know you must fight )
Who ’ randomness laughing baby, don ’ t you know ?
( And there ’ s the choice that we make
And this choice you must take )
Who ’ s laughin ’ baby ?
thus just leave me alone girl Chorus 2
Leave me alone
( Leave me alone )
Leave me alone
( Leave me alone )
Leave me alone, stop it !
just stop doggin ’ me around
( Just stop doggin ’ me ) [ 17 ]
( ‘ Cause there ’ s a time when you ’ re right Pre-chorus 3
And you know must fight )
Who ’ randomness laughing baby, don ’ thymine you know, girl ?
( It ’ s the choice that we make
And this choice you will take )
Who ’ s laughin ’ baby ?
thus just leave me alone girl Chorus 3
Leave me entirely
( Leave me alone )
Leave me alone girl
Leave me alone
( Leave me alone )
Stop it !
Just stop doggin ’ me around
Leave me alone girl
Leave me alone
( Leave me alone )
Leave me alone girl
( Leave me entirely )
Leave me alone–stop it !
fair stop doggin ’ me around Outro
( Just stop doggin ’ me )
Don ’ t hail beggin ’ me
Don ’ t occur beggin ’
Don ’ t come lovin ’ me
Don ’ t occur beggin ’
I love you
I don ’ deoxythymidine monophosphate want to
I don ’ t…
I don ’ t…
I don ’ t…
I don ’ t…
I…, I…, I…, aaow !
Hee hee !
Don ’ t come beggin ’ me
Don ’ t fall beggin ’
Don ’ t come lovin ’ me
Don ’ t come beggin ’
I love you
I don ’ t want it
I don ’ t need it

  1. “Why You Wanna Trip On Me”[18]

 
They say I ’ megabyte different Verse 1
They don ’ thyroxine understand
But there ’ s a bigger problem
That ’ mho much more in demand
You got universe starve
not enough to eat

so there ’ s in truth no time
To be trippin ’ on me
You got school teachers Verse 2
Who don ’ metric ton wide area network na teach
You got develop people
Who can ’ deoxythymidine monophosphate publish or read
You got strange diseases
Ah but there ’ s no cure
You got many doctors
That aren ’ t so certain
thus tell me
Why you wan sodium trip on me Chorus 1
Why you wan sodium trip on me
Stop trippin ’
We ’ ve got more problems Verse 3
Than we ’ ll ever need
You got gang violence
And bloodshed on the street
You got dispossessed people
With no food to eat
With no clothes on their back
And no shoes for their feet
We ’ ve got drug addiction Verse 4
In the minds of the weak
We ’ ve got so much corruption
Police ferociousness
We ’ ve got streetwalkers
Walkin ’ into dark
Tell me
What are we doing
To try to stop this
Why you wan sodium trip on me Chorus 2
Why you wan sodium trip on me
Why you wan sodium trip on me
Why you wan sodium trip on me
Stop trippin ’
Yeah stop trippin ’
Everybody just stop trippin ’
Why you wan sodium trip on me Chorus 3
Why you wan sodium trip on me
Why you wan sodium trip on me
Why you wan sodium trip on me
Stop trippin ’
Why you wan sodium trip on me Chorus 4
Why you wan sodium travel on me
Why you wan sodium slip on me
Why you wan sodium trip on me
Ooh blockage trippin ’
Yeah stop trippin ’
Everybody merely stop trippin ’
Stop trippin ’ Outro
Stop trippin ’
Stop trippin ’
Stop trippin ’
Stop trippin ’
Stop trippin ’
Stop trippin ’
Stop trippin ’
Why you wan sodium trip on me
Stop trippin ’
Why you wan sodium trip on me
Stop trippin ’
Why you wan sodium trip on me
Stop trippin ’
Why you wan sodium travel on me
Stop trippin ’
Stop trippin ’
Stop trippin ’
 
Michael                                                                                                      Verse 1
Tired of injustice
Tired of the schemes
The lies are disgusting
sol what does it mean
Kicking me down
I got to get up
vitamin a jacked as it sounds
The whole system sucks
Janet                                                                                                           Verse 2
peek in the shadow
Come into the light
You tell me I ’ m improper
then you better prove you ’ re right
You ’ re sellin ’ out souls but
I care about mine
I ’ ve got to get stronger
And I won ’ thyroxine give up the contend
Michael                                                                                                      Pre-chorus 1
With such confusions
don ’ t it make you wan na scream ?
Your bash abusin ’
victimize within the scheme
Janet
You try to cope with
every lie they scrutinize
Both
person please have mercy
‘ Cause I merely can ’ t take it
Stop pressurin ’ me Chorus 1
fair stop pressurin ’ me
Stop pressurin ’ me
Make me wan na scream
Stop pressurin ’ me
equitable stop pressurin ’ me
Stop pressurin ’ me
Make you good wan na scream
 
Michael                                                                                                      Verse 3         
Tired of you tellin ’ me the narrative your means
It ’ sulfur causin ’ confusion
You think it ’ s approve
Janet
You keep changin ’ the rules
While I keep playin ’ the game
I can ’ t take it much longer
I think I might go insane
Michael                                                                                                      Pre-chorus 2
With such confusion
wear ’ t it make you wan na scream ?
Your sock abusin ’
victimize within the scheme
Janet
You find your pleasure
Scandalizin ’ every lie
Both
Oh forefather, please have mercy
‘ Cause I just can ’ t it
Stop pressurin ’ me Chorus 2
just stop pressurin ’ me
Stop pressurin ’ me
Make me wan na scream
Stop pressurin ’ me
precisely stop pressurin ’ me
Stop fuckin ’ with me
Make me wan na scream
 
Janet                                                                                                           Bridge
Oh my god, can ’ t believe what I saw
As I turned on the television this even
I was disgusted by all the injustice
Michael
All the injustice
News Man
A man has been viciously beaten to death by police
After being wrongfully identified as a robbery suspect
The man was an 18 year honest-to-god bootleg male. . .
Michael                                                                                                      Pre-chorus 3
With such collusions
preceptor ’ t it make you wan na scream ?
Your knock abusin ’
victimize within the dodge
Janet
You try to cope with
every lie they scrutinize
Both
Oh buddy, please have mercy
‘ Cause I good can ’ t take it
Stop pressurin ’ me Chorus 3
just stop pressurin ’ me
Stop pressurin ’ me
Make me wan na scream Rep. to fade
 
Intro
Speculate to break / Verse 1
The one you hate
Circulate the dwell /
You confiscate
Assassinate and mutilate
The hounding media /
In craze
Who ’ s the adjacent /
For you to resurrect
JFK exposed the CIA
truth be told /
The grassy knoll
The blackmail story /
In all your glory
It ’ randomness slander Pre-chorus 1
You say it ’ s not a sword
But with your pen you torture men
You ’ five hundred crucify the Lord
And you don ’ t have to read it
And you don ’ t have to eat it
To buy it is to feed it
so why do we keep foolin ’ ourselves ?
fair because you read it in a magazine Chorus 1
Or see it on a television receiver screen
Don ’ t make it actual
Though everybody wants to read all about it
just because you read it in a cartridge holder
Or see it on a television screen
Don ’ triiodothyronine make it actual, actual
They say he ’ south homosexual
In the hood Verse 2
Frame him if you could
shot to kill
To blame him if you will
If he dies sympathize
such faithlessly witnesses
Damn self-righteousness
In the black
Stab me in the rear
In the front
To lie and shame the rush
Heroine and Marilyn
The headline stories /
Of all your glory
It ’ mho slander Pre-chorus 2
With the words you use
You ’ re a parasite in black and white
Do anything for newsworthiness
And you don ’ metric ton run and buy it
And they won ’ deoxythymidine monophosphate transfigure it
To read it sanctifies it
then why do we keep foolin ’ ourselves ?
barely because you read it in a cartridge holder Chorus 2
Or see it on a television receiver screen
Don ’ triiodothyronine make it actual
Though everybody wants to read all about it
just because you read it in a cartridge holder
Or see it on a television receiver screen
Don ’ thymine make it actual
See, but everybody wants to believe all about it
barely because you read it in a magazine Chorus 3
Or see it on the television receiver screen
Don ’ triiodothyronine make it factual
See, but everybody wants to believe all about it
just because you read it in a magazine
Or see it on the television receiver shield
Don ’ t make it factual, actual
She ’ sulfur blond and she ’ s bisexual
Bridge
Scandal Pre-chorus 3
With the words you use
You ’ re a parasite in black and ashen
Do anything for news
And you don ’ thyroxine go and buy it
then they won ’ deoxythymidine monophosphate glorify it
To read it sanctifies it
Why do we keep foolin ’ ourselves ?
slander
You say it ’ s not a sin
But with your pen you torture men
then why do we keep foolin ’ ourselves ?
just because you read it in a magazine Chorus 4
Or see it on a television receiver screen
Don ’ metric ton make it factual
Though everybody wants to read all about it
good because you read it in a magazine
Or see it on a television receiver screen
Don ’ t make it factual
See, but everybody wants to read all about it
good because you read it in a magazine Chorus 5
Or see it on television receiver screen
Don ’ triiodothyronine make it actual
barely because you read it in a magazine
Or see it on a television receiver screen
Don ’ thymine make it factual
merely because you read it in a magazine
Or see it on a television receiver filmdom
Don ’ metric ton make it actual, actual
You ’ re then damn disrespectable
 
Ain ’ t the pictures enough / Verse 1
Why do you go through so much
To get the narrative you need, /
So you can bury me
You ’ ve got the people confused, /
You tell the stories you choose
You try to get me to lose /
The homo I very am
You keep on stalking me / Verse 2
Invading my privacy
Won ’ triiodothyronine you merely let me be
‘ Cause your cameras can ’ t command /
The minds of those who know
That you ’ ll even sell your soul /
good to get a report sold
CHORUS Chorus 1
I need my privacy /
I need my privacy
so paparazzo, /
Get off from me
Some of you silent wonder why / Verse 3
One of my friends had to die
To get a message across /
That yet you haven ’ t listen
My friend was chased and confused /
Like many others I knew
But on that cold winter night /
My pride was snatched away
immediately she get no moment casual / Verse 4
She precisely ridiculed and harassed
Please tell me why
now there ’ s a example to learn /
Respect ’ s not given, it ’ s earned
Stop maliciously attacking my integrity
CHORUS Chorus 2
now there ’ s a moral to learn / Verse 5
Stories are twisted and turned
Stop maliciously attacking my integrity
CHORUS x 3 Chorus 3
                                                                                                                     Fade-Out
[ 1 ] Michael Jackson : the phenomenon ( my translation )
[ 2 ] “ The text of a pop song needs to be regarded as a communicative position. In this deference, after considering the contented, we are confronted with the trouble of identifying the verbal person or people involved : Who speaks to whom ? ” ( my translation )
[ 3 ] “ [ the ] how of the speech ” ( my translation )
[ 4 ] More examples of “ you ” can be found in the beginning, moment and one-fifth agate line of every pre-chorus ; however, considering the entail of the rest of the lyrics, these do not seem to refer to the addressee. Rather they seem to be used in a universal sense, as if saying “ There is a time when one is right and one must fight ”, or to refer to the speaker himself in the smell of “ The time has come that I am right and I immediately know that I must fight ”, which possibly accounts for the stylistic option of the lyrics being in brackets and in italics in order to not confuse the proofreader .
[ 5 ] The lyrics of “ Why You Wan sodium Trip On Me ” do not offer a bang-up cover of information about the fictive loudspeaker. It is therefore indecipherable whether the speaker is male or female. While a female speaker would surely be possible, we will assume that the loudspeaker is male. Despite the lack of information about the speaker, it is still Michael Jackson who performed the song, giving the loudspeaker a male voice. Besides, since the lyrics are besides highly autobiographical, a male persona is just more likely. Whenever the gender of the speaker seems ill-defined in the play along analyses of the rest of the songs, the like approach will be taken .
[ 6 ] It needs to be stressed again that Jackson ’ s songs critical of the media are highly autobiographical. This makes it potential to consult Jackson ’ second biographies in orderliness to understand aspects of his lyrics. As a count of fact, equitable as the fictive speaker in “ Leave Me Alone ”, the lyric character in “ Why You Wan sodium Trip On Me ” is an alter ego of Jackson once again .
[ 7 ] In the liner notes of the booklet of history : Past, Present and Future, Book I, Steven Spielberg ’ s tribute to Michael Jackson indirectly confirms this interpretation : “ It must be hard for Michael to know how much the earth wants to know him, to be like him, to consume him. ” ( Qtd. in Michael Jackson. history : Past, Present and Future, Book I. Booklet : 5 ; my emphasis ) Assuming that the assumed speaker is an interpolate ego of Jackson, this argument can be applied to the loudspeaker of the birdcall a well .
[ 8 ] As has already been mentioned above, more instances of “ you ” are used in the second line of every pre-chorus ( “ don ’ t it make you wan na scream ? ” ), in line five of Pre-chorus 1 and Pre-chorus 3 ( “ You try to cope with every lie / they scrutinize ” ) adenine well as in argumentation eight of Chorus 1 ( “ Make you just wan sodium shout ” ) ; however, in the context of the entire lyrics, these do not seem to refer to the assumed addressee, but quite to the fictive speaker himself – assuming that there is entirely one loudspeaker .
[ 9 ] According to Vogel, Jackson was averse to using the F-word in “ Scream ” because he was not used to swearing ; however, the fact that he did use it, although he sang it in a quite percussive way, shows how serious he was about getting the message of his song across ( cystic fibrosis. 2011 : 190 ) .
[ 10 ] Vogel gives another possible interpretation of the newsworthiness reputation during the bridge : “ As with most songs on the album, Jackson attaches his personal struggles to larger social concerns. The injustice he has experienced is only a small separate of a larger arrangement of deception and putrescence. [ … ] This subtle allusion to another victim of the system—in this case, of racial profile, police brutality, and media exploitation—is a testament to Jackson ’ s sharply cultural awareness. ” ( 2011 : 191 ) .
[ 11 ] According to Wikipedia, “ [ … ] sampling is the act of taking a helping, or sample distribution, of one strait commemorate and reusing it as an instrument or a healthy read in a different song or piece. ” There are several types of samples : loops, musical instruments, spoken words and unconventional sounds, such as “ [ … ] sirens and klaxons, locomotive whistles, natural sounds [ … ], cooing babies [ … ] ” and screams ( “ Sampling ( music ) ” n.d., on-line ) .
[ 12 ] For information about the album history : Past, Present and Future, Book I, see 4.3.1 of this thesis .
[ 13 ] There is, in fact, another allusion to media speculations about Jackson, namely in the final line of Chorus 1 : “ They say he ’ randomness homosexual ”. This trace alludes to the speculations about Jackson ’ s sex and shows once again that the lyrics of the sung are highly autobiographical .
[ 14 ] The verb “ to ad-lib ” is a term much used in music and means “ to deliver spontaneously ” or “ to improvise particularly lines or a speech ” ( “ ad-lib ” n.d., on-line ) .
[ 15 ] Scatting is a singe technique that originated in jazz music. It is “ outspoken extemporization with mute vocables, folderal syllables or without words at all. ” ( “ Scat singing ” n.d., on-line ) .
[ 16 ] Due to a typographic erroneousness and a rather impractical layout of the lyrics in the booklet of Bad, the first part of the lyrics has been taken from Michael Jackson : complete Chord Book .
[ 17 ] Because the lyrics in Michael Jackson : complete Chord Book end at this point, the rest of the lyrics has been taken from the booklet of Bad and adapted to the layout of the lyrics in Michael Jackson : complete Chord Book .
[ 18 ] See the official album booklet of Dangerous for the lyrics of “ Why You Wan sodium Trip On Me ”.

[ 19 ] Because the official album booklet of history : Past, Present and Future, Book I does not include the lyrics, the lyrics have been taken from Michael Jackson : complete Chord Book. The layout of the lyrics has been slightly reorganized due to the fact that in Michael Jackson : dispatch Chord Book they are structured according to who is doing which vocal separate and not according to verses and choruses .
[ 20 ] For the lyrics of “ Tabloid Junkie ”, see Michael Jackson : complete Chord Book. The layout of the beginning and second poetry has been slightly adapted, so that the agate line breaks make more sense for a lyrical analysis. These changes are indicated by the use of a solidus ( / ). Furthermore, the break between the first two and the watch lines of the inaugural chorus has been deleted because the separation of these lines suggests that they do not belong together, which does not make sense .
[ 21 ] For the lyrics of “ Privacy ”, see the official CD booklet of Invincible. Since the lyrics of ( toss off ) songs are frequently condensed for the sake of economizing space in the candle booklets, this compact affects the layout of the lyrics. In holy order to make more sense for a lyrical analysis, several line breaks have been added to the lyrics and the capitalization of the first gear words has been adapted accordingly. These changes are again indicated by the use of a slash ( / ) .

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