Summer Rewind 2013, Week 1: Speed Demon
NOTE: The following conversation was originally posted on September 19, 2012. To read the original post and comments, please click here.
Celebrating Bad: Speed Demon
Willa: So Joie, you’d think I’d have learned by now never to label any of Michael Jackson’s videos as “just entertainment.” I thought that about You Rock My World – that it was “just entertainment” – but after talking with you about it last fall I’ve come to see it as a very pointed critique of the music industry. I thought that about In the Closet, but after talking with you about it last January I’ve come to see it as a fascinating look at taboo relationships. At different times I’ve thought it about Thriller, and Smooth Criminal, and Scream, but later came to see those three as some of his most important works. And I’ve thought it about Speed Demon, but now I’m starting to wonder if I haven’t been overlooking something important in that video as well.
It seems to me there are two major themes running through the nine Bad videos. First, there’s the extremely complicated issue of violence, poverty, and criminality, especially as it presents itself in the inner city. We see this theme in the videos for Bad, The Way You Make Me Feel, Man in the Mirror, Smooth Criminal, and Speed Demon. Then there’s the complicated issue of celebrity and fame, as we see in Dirty Diana, Leave Me Alone, Liberian Girl, Another Part of Me, and Speed Demon. So Speed Demon – that cute, quirky, inoffensive little claymation video – is the place where those two major themes intersect.
Joie: Willa, I have to say, you have me intrigued now because I don’t think of Speed Demon in terms of “violence, poverty and criminality,” as you put it.
Willa: Well, he has a light touch. You wouldn’t think someone could make an enjoyable video about some of our worst and most complicated social ills, but he did – over and over again.
Joie: Well, yes. That’s true; he did. But, I’m not sure I see that going on in Speed Demon. And I also never would have thought about Liberian Girl or Another Part of Me as commentaries on celebrity and fame so, I’m interested to see where you’re going with this.
Willa: I know what you mean, Joie. I would have said the same thing just a few days ago. Speed Demon especially seems to have more in common with Wallace & Gromit than Beat It, at least on the surface.
Joie: Wallace & Gromit. That’s funny!
Willa: Well, you know what I’m saying – it’s claymation! But remember a couple weeks ago when you asked me what I saw as the major themes of Bad?
Willa: Well, I’d never thought about that before, so I started listening to the songs and watching the videos with that question in mind, and as I was doing that these two very disparate themes started to emerge, especially in the videos. I mean, think about it: is there a video anywhere with more celebrities than Liberian Girl? It’s nothing but celebrities. And suddenly there’s Michael Jackson behind the scenes laughing, which seems like such an interesting statement all in itself!
And look at the opening of Another Part of Me and how it focuses on his complicated relationship with his fame – how he both enjoys it but seeks refuge from it, and how he uses it to convey his “message” – a message he states very clearly in the chorus:
We’re sending out a major love And this is our message to you The planets are lining up We’re bringing brighter days They’re all in line waiting for you Can’t you see? You’re just another part of me
So he’s on a mission to send “major love” out into the world, and he uses his art and his celebrity to help him accomplish that. But this isn’t an easy issue – his celebrity both empowers him and isolates him. And as usual, he presents these ideas in subtle but sophisticated ways in the video.
Joie: Hmm. That is very interesting, Willa. I see your point. And what you’re saying makes a lot of sense. I guess, now that you mention it, I have been thinking of both Liberian Girl and Another Part of Me as purely entertainment. And you’re right – that is something that we should never do when it comes to Michael Jackson.
Willa: We really shouldn’t. It’s easy to fall into that because his work is so entertaining, but there are always so many layers to his work, and a lot of times there are really interesting things happening if we just look. Like it’s easy to dismiss Speed Demon as just a cartoon, but it addresses his complicated relationship with his celebrity as well. It opens with him being chased by some over-eager fans, and they’re pretty rude and obnoxious.
Joie: Oh, they are incredibly rude and obnoxious! And it makes me kind of sad to think that he may have encountered that often, you know? That fans were ever that thoughtless and unkind to him. In fact, I have a hard time thinking of them as fans; to me, they’re more like an angry mob that’s out to get him. They even seem to be quite angry at him as they chase him around the movie set and out onto the open road. And the longer they chase him, the angrier they seem to become.
Willa: They really do. You know, it’s presented as this fun chase sequence – and he does seem to enjoy it – but all the same, there is something threatening about it and he really doesn’t want them to catch him. And I think he did have to deal with obnoxious fans sometimes. He talked about it in a 1978 phone interview with Lisa Robinson. She asked him, “do you still like meeting your fans?” and he said,
I enjoy all that sometimes, seeing people who love me, or buy my records. I think it’s fun, and I enjoy meeting my fans and I think it’s important. But sometimes people think you owe your life to them; they have a bad attitude – like, ‘I made you who you are.’ That may be true – but not that one person. Sometimes you have to say to them, If the music wasn’t good, you wouldn’t have bought it. Because some of them think they actually own you. Someone will say, “Sit down,” “Sign this,” or “Can I have your autograph?” and I’ll say, “Yes, do you have a pen?” And they say, “No, go get one.” Honestly. I’m not exaggerating. But I just try to deal with it.
And remember, this was in 1978 – three years before Thriller came out.
Joie: Yes, I remember that interview and it is really sad when you think about it. And again, I have a difficult time thinking of those people as fans. I guess I just have a different idea of what that word means. “Fan.” You know, oftentimes that word has such a negative connotation to it. Especially with regard to Michael Jackson fans. But I’ve been in the fan community a long time and I know Michael Jackson fans to be some of the nicest, most respectful people I’ve ever met, so that’s difficult for me to reconcile. But, I’m certain from his point of view there were times when the attention probably became extremely rude or even threatening. I can’t imagine what it must be like to live with that kind of attention 24/7.
But I was really more referring to the video itself – not his real life. In the short film, the “fans” who are chasing him sort of become this angry mob that seems like they’re out to get him. And it’s not clear what they intend to do with him if they catch up to him. Do they want to hurt him or do they simply want his autograph? It’s difficult to tell by the snarls on their faces. It’s no wonder he’s trying to get away from them!
Willa: I think you’re exactly right, Joie – they are like a “mob,” meaning they’re gripped by that weird mob mentality that takes over sometimes, and I think Michael Jackson had seen how dangerous that could be and was scared of it. We see that fear of the mob in the intro to Ghosts. And he said in a number of interviews that being mobbed “hurts.” That people go crazy and start pulling your hair and twisting your arms, and it really hurts. Apparently, the first time the Jackson 5 went to England, a mob scene broke out at the airport and he could have been killed. He was wearing a scarf, and one girl grabbed one end and another grabbed the other end, and they were both pulling as hard as they could. The scarf was tightening around his neck, and he couldn’t breathe and couldn’t loosen it, and his brothers had to rescue him. What a scary story!
So you’re right – it’s hard to predict what a mob will do, and it’s not clear at all what the mob chasing him in Speed Demon will do if they catch him.
Joie: But luckily, they don’t get that chance because they all end up getting stopped for speeding and causing a pile-up of sorts. The last we see of them, they’re all being taken away in a police wagon as Michael speeds away, finally free to breathe now that the mob that was chasing him is gone. He heads out to the open road and stops for a few minutes to discard the costume he used to escape his pursuers, then finds himself in the middle of a dance-off when that costume comes to life and issues a challenge.
But I have to say, Willa, that while I agree that the complicated issues of celebrity and fame are definitely present in this short film, I’m still not really seeing the issues of ‘violence, poverty and criminality’ in Speed Demon that you mentioned at the beginning of this discussion.
Willa: Well, think about those repeated lines from the police: “Pull over, boy, and get your ticket right.” There’s so much sheer joy of flight in Speed Demon, just the exhilaration of speed and escaping all the pressures being put on him. But then near the end a trooper gives him a ticket. In fact, there are policemen throughout this video, and a lot of times they’re chasing him too. So while it’s a policeman who puts those obsessive fans in jail and kind of rescues him from the mob, as you just described, another policeman shows up and treats him like a criminal.
You know, what really started me thinking differently about Speed Demon was the MJ Academia Project videos. Unfortunately, the people who posted those videos have taken them down and they aren’t available at the moment, which is disappointing. I’d really like to watch them again and link to them right now. I hope they repost them. But anyway, in one of their videos they talk about how Michael Jackson repeatedly uses the word “boy” in a number of songs and videos as a code word for how black men have been treated by the criminal justice system in the U.S., and they specifically mention Speed Demon. I’d never thought of Speed Demon like that – as anything more than a cartoon, actually – but I started listening to it differently after that. And one thing I realized is that the video really softens the message of the song. If you can somehow block the video images out of your mind while listening to it, it feels much grittier than when your mind is full of Michael Jackson in a dancing competition with Spike, the claymation rabbit (which I love, by the way).
So, as he does so many times with so many different subjects, he shows how complicated human relationships can be. He loves his fans, but feels threatened by them when they turn into a mob. He feels protected by the police, especially when the mob is carted off to the police station, but he also knows the police can turn on him at any minute and criminalize him. And this was filmed in 1988, before he’d really experienced just how biased and abusive the police could be.
Joie: Well, I agree with you, the video does really soften the message of the song. And I wonder if he did that intentionally, seeing as how this video was part of the movie, Moonwalker – which is really sort of a kid’s movie with a feel-good theme to it. But, as we talked about last week, this is one of those short films where the visual he presents us with is much different than what we conjure up in our minds when merely listening to the song itself.
Willa: That’s true, though we need to be careful about viewing Moonwalker as just entertainment also. It does have a fun, “feel-good” mood through most of it, but there’s a lot of very interesting things going on in that movie. We should talk about that sometime. I can’t believe we’ve been chatting about Michael Jackson’s work for a year now and still haven’t talked about Moonwalker.
But getting back to Speed Demon, we really see that structure of a fun entertaining film overlying a serious message here too. In some ways, he seems to be exploring the role of artists in society, and how artists and police are kind of at cross purposes. The police tend to want everyone to follow the rules and behave in conventional ways, even if that has nothing to do with legality, and artists are constantly challenging those conventions. We see that conflict between the police and the artist with the “sheriff” from the western movie early in the video. He starts chasing Michael Jackson and calls out to him in this really patronizing way, “Hey, Songbird.” And then at the end the trooper gives him the ticket, saying, “I need your autograph right here.” Importantly, the ticket isn’t for speeding. It’s for dancing.
Joie: Well, in the trooper’s defense, Willa, it was a clearly marked No Dancing zone!
Willa: That’s true! And you notice he’s a very law-abiding citizen. He doesn’t dance after the trooper points to that funny sign telling him he’s not supposed to, though you know he disagrees with it.
But you know, while this is all handled in a very light, entertaining way, it’s addressing some really complex ideas as well. The policeman is trying to rein him in and prevent him from dancing, from expressing his art, and even treats him as a criminal, or at least a law-breaker, because of his dancing. And this ties back to what we talked about a couple weeks ago with the Bad short film. As we said then, artists and criminals actually have something in common: they both challenge social norms. They do it in very different ways – one legally to improve our cultural awareness, and one illegally and often destructively – but sometimes that distinction becomes blurred and artists are treated as criminals. And Michael Jackson was very aware of that, as he shows us in Speed Demon and Bad, and perhaps most explicitly in Ghosts. Remember, the “crime” he’s accused of in Ghosts is being an artist, a teller of ghost stories, and too outrageously different.
And I think this criminalization of artists played out in very real ways in how the police (and the press and the public) interpreted the allegations against him in 1993 and 2003. It’s like there was this idea that he was willing to transgress social norms – by singing and dancing, by challenging gender and racial boundaries, by representing the Other, as Joe Vogel described a few weeks ago – so some people seemed to think that maybe he was willing to transgress legal and moral boundaries as well and do illegal, immoral things.
Joie: I think that’s a very interesting point, Willa. And maybe a very simplistic way of describing that is the old saying ‘judging a book by its cover.’ Because he looked “strange” or “freaky” to some, then perhaps he was more likely to be a criminal than someone who looked sweet and innocent. Actress Winona Ryder comes to mind. Who would have ever imagined she would behave like a common criminal? After all, she looked so “normal.”
Willa: I don’t really know much about the Winona Ryder case, except that it got a lot of attention in the press – far more than shoplifting charges usually get. But this criminalization of artists has a long history. Think about the McCarthy trials, and how many artists’ careers were destroyed by them. And William Tyndale, who may have been the greatest English poet of all time. Most of the King James Bible was written by Tyndale, and you can make the case that Shakespeare wouldn’t have been Shakespeare without him – even the cadence of his language reflects Tyndale. And Tyndale was burned at the stake.
And I always wonder how many of the women, and men too, condemned as witches during the Salem witch trials had an artist’s sensibility. They were definitely people who didn’t fit in, and were seen as “strange” or “freaky,” as you just said. Many were independent women who didn’t marry and lived unconventional lives. And this is interesting: one of the first people accused during the trials was a slave named Tituba who liked to tell children stories, just like the Maestro in Ghosts.
Joie: That’s a really interesting point, Willa. And you’re probably right about that, many of them probably were artists in some form, or at the very least, free thinkers – also like the Maestro in Ghosts. But I think what you’re trying to get at is that, even though on the surface it’s a cute little claymation video, Speed Demon is anything but childish or simplistic.
Willa: Exactly. Or maybe what I’m trying to say is that it works on both levels. It’s a fun, cartoon-like film that kids enjoy, but there are some complicated ideas for adults to grapple with as well.
Posted on June 19, 2013, in Michael Jackson and tagged Another Part of Me, Bad, Ghosts, Liberian Girl, Michael Jackson, MJ Academia Project, Moonwalker, Salem Witch Trials, Speed Demon, Tituba. Bookmark the permalink. 4 Comments.