This paper reframes Michael Jackson’s album Dangerous as a defining turn in the globalization of American Black Culture and a renaissance of Black Internationalism. It moves beyond journalistic and academic narratives on Jackson’s career, which mostly argue that Jackson’s artistic production was less anchored in black politics after the departure of Quincy Jones as producer in 1987. This presentation opens with an analysis of the music of the Dangerous album, arguing that, while relying on compositions grounded in Jazz, Blues, Gospel, and Funk, Jackson’s lyrics offer a sharp critique of the neo-liberal turn in American Black politics. The presentation will then focus on the video productions for the album in order to show the continuous tension between Black American struggles and Black International successes, the despair of the “individual” and the hopes of the “community.” Finally, the presentation will focus on the Dangerous World Tour, launched to promote the album. Although he refused to perform in the continental United States, Michael Jackson played in 50 countries around the world. The Dangerous World Tour’s benefits were entirely donated to Jackson’s foundation “Heal The World.” The paper sheds light on an unknown program of the foundation, the program “Heal The Kids,” dedicated to increase the welfare of children who lived in South Central and Inglewood.
About the presenterTristan Cabello
Tristan Dominique Cabello (Ph.D, History, Northwestern University) is Director of American Studies at American University.
Cabello’s research explores the intersection of race, sexuality, class identities and popular culture in modern American culture. His first monograph Queer Bronzeville: Race, Sexuality and Black Chicago, 1920-1980 documents the making of African American queer identities in Chicago.