She Dances to His Needs
Joie: So, Willa, it’s a new season for Dancing with the Elephant, and I thought we could start by talking about some of the new Michael Jackson material. And I have a confession to make that I think might shock you a little bit. I’m actually not very fond of Xscape.
Willa: Wow, Joie, you’re right – I am shocked. I prefer Michael to Xscape but I like them both and listen to them a lot. So do you actually dislike Xscape, or is it just not your favorite? I mean, it’s up against some pretty stiff competition – Thriller, Dangerous, HIStory … and I know how much you love Invincible …
Joie: Well, that’s true, I do love Invincible. But maybe I should rephrase my earlier statement. It’s not that I’m not fond of Xscape, it’s just that there wasn’t much on the album that was new to me.
Let me explain … for a long time, even before Michael passed away, I had been sort of obsessed with scouring the Internet for unreleased MJ material. So, most of what was on the Xscape album had been in my collection of unreleased material for a few years. The only ones I hadn’t heard before were “Chicago” and “Loving You.”
Willa: Oh, I see what you’re saying, and that makes sense. I was really surprised when I first heard “Love Never Felt So Good” on Xscape – I’d been listening to that demo version for so long I’d forgotten it hadn’t been released! It was like listening to a new album and suddenly hearing “The Way You Make Me Feel” come out the speakers. I was thinking, Hey, what’s that doing on here? So I know what you mean, and I know how impressive your collection is! – much better than mine. In fact, I think almost all of the unreleased songs I have came from you, along with demos of released songs.
And I have to say, I love listening to Michael Jackson’s demos. In fact, I really haven’t listened to the “contemporized” songs on Xscape that much, but I’ve listened to the demo tracks a lot. And I know I’ve said this before, but I really wish they’d release the demos for Michael. I’m so happy they did that for Xscape, and hope they’ll continue that practice with all his posthumous albums. It’s a great idea, I think – they were really smart to offer Xscape that way.
Joie: I agree, it was a smart thing to do. And I agree without a doubt – I also prefer the original versions of the songs over the “contemporized” versions. But there is one song on the album that sort of puzzles me. It’s “Slave to the Rhythm.”
I don’t really know if “puzzles” is the right word, but the thing is … the version of this song that I first came across online doesn’t sound anything like the enhanced, “produced,” “contemporized” version on the album. But I was really shocked the first time I listened to the untouched demo version because the version I have doesn’t sound anything like it either. And I have to say that I much prefer the version that I’ve been listening to for a couple of years to either of the two on the album. It’s really strange.
For the longest time I didn’t have any information at all on the version that I found online, so I had no idea who mixed it or who was behind it … or even if Michael had anything to do with it or not. But I believe it sounds truer to a finished product that Michael would have released than either of the versions on the album.
You know, the bad part is that it’s been so long now, for the longest time I honestly didn’t remember where I first came across it, and I still don’t. But thanks to the power of YouTube I was able to find it there recently:
Apparently it’s a remix made by Tricky Stewart that was leaked online in 2010, although it really seems like I’ve had this version in my collection for a lot longer than that, but maybe not.
Willa: Wow, Joie, I’ve heard the two Xscape versions and the Justin Bieber version (here’s a link to that in case someone missed it) but I’ve never heard this one before. Whether it was sanctioned by Michael Jackson or not, whoever produced it somehow had to have access to his vocal tracks, right? And they were hard to find before the demo came out on Xscape, weren’t they? I mean, even you didn’t have a copy, with your extensive collection. That’s really intriguing. I wonder where it came from …
Joie: But the mysterious version is not the only interesting thing about this song. I happen to just love the song itself for many reasons- not the least of which is the lyrics. The song opens with these lines:
She dances in the sheets at night
She dances to his needs
She dances ‘til he feels just right
Until he falls asleep
So right off the bat, he sets a very distinct tone with this one. We know from the first few lines that this is a woman who caters to her man, whether that’s what she wants to do or not. “She dances to his needs.”
Willa: It is very interesting that he starts this song that way, isn’t it? A lot of his songs feel really cinemagraphic to me, if that makes sense – it’s like they describe a series of visual scenes, just like a movie – and the “opening scene” of this song, if I can describe it that way, is of them in bed having sex. It doesn’t feel right to call it “making love” because expressing love doesn’t seem to have much to do with it. It should be a moment of intimacy, but it isn’t. It’s her serving his needs, which is excellent foreshadowing for what the song is about.
Joie: Exactly. And Willa, this is where the three different versions make things really interesting for me, because I feel like in the Tricky Stewart version, the music sets an almost menacing tone for this song that I don’t feel is there in the other two versions. And I think something really gets lost in translation without this menacing, ominous beat.
Willa: That’s so interesting you should say that, Joie, because I’ve been pondering that very thing – about whether this song feels menacing or not. To be honest, the first time I heard the demo version I felt really unsettled by it. I thought this woman was in an abusive situation, and it felt very threatening to me. I just wanted her to grab the kids and go. And when she decides to come back to him at the end and stay in that situation, I was really disturbed by that. Anything would be better than letting a man abuse her children and her.
But as I’ve listened to it more, I’ve changed my mind. I don’t think he is abusive, though he’s definitely not a nice guy. He’s domineering and self-centered and emotionally distant, and he takes everything she does for granted – as Michael Jackson sings so convincingly, “She works so hard … For a man who just don’t appreciate” – but I don’t think he’s physically abusive. And really, this song isn’t about him. It’s about her and the choices she makes, and why she makes the choices she does. As you say, Joie, she spends her life catering to the needs of others – mainly her husband, but also her children and her boss. Meeting their demands forms the “rhythm” of her life, and she’s a slave to that rhythm.
Joie: I like the way you put that, Willa – meeting their demands does form the rhythm of her life. In that same first verse, Michael tells us this:
She dances at the crack of dawn
And quickly cooks his food
She can’t be late, can’t take too long
The kids must get to school
Then in the second verse, she keeps right on dancing…
She dances for the man at work
Who works her overtime
She can’t be rude as she says “Sir,
I must be home tonight.”
So, you’re absolutely right … it’s not just her domineering husband that she caters to; it’s the kids and her boss as well. And we get the sense that it’s rare for her to take any time for herself. But when listening to the other two versions of this song, I just don’t get that sense of urgency or the hint of danger that I do when listening to the Tricky Stewart version.
Willa: Really? Because the demo version begins with a sort of melancholy tune and then the whistle and crack of a whip – it’s at 0:22, just as he sings a long, quavering “Ahhhhhhhh.” It’s not on the other versions – I don’t know why they removed it – and the sound of that whip makes me flinch every time. It’s very menacing, to use that word again, and it’s also important thematically, I think. Her husband and her boss are both like slave drivers – they’re constantly “cracking the whip” and never let her relax for one moment or take time for herself, as you said. And the crack of the whip at the beginning of the demo version makes that very clear, and very literal. In fact, I think that’s one reason I thought he was abusive the first time I heard it. It creates an impression of physical danger.
Joie: Yes, but even with the sound of the cracking whip at the beginning of the demo version, the tempo of the song, the beat, is still quite mellow to me. The music is softer and less threatening. Whereas the Tricky Stewart version picks up the tempo slightly and adds the driving, aggressive beat behind it. To me it feels truer to the word “menacing” than the demo version does. The demo, for me anyway, evokes a feeling of being bone tired, working a relentless nine-to-five job that you don’t enjoy, then going home and having to work a second full-time job taking care of a demanding husband and kids.
Willa: Which is one way to interpret this song …
Joie: The Tricky Stewart version, on the other hand, evokes a real feeling of danger to me. There’s a tangible threat there when the woman in the song is late getting dinner on the table.
She dances to the kitchen stove
Dinner is served by nine
He says this food’s an hour late
She must be out her mind
I actually shudder to wonder what the man might do to her as punishment for getting his dinner on the table so late. I don’t do that when I listen to the other versions of this song. I don’t feel as physically threatened, if that makes any sense.
Willa: It does make sense, and this verse feels really threatening to me as well – though I feel it just as strongly on the demo version. I mean, if he gets that angry over a late meal, how does he react when there’s a real problem or conflict? It’s very threatening …
Joie: And the threat doesn’t stop there with that verse. He goes on to tell us that she actually ran for her life.
She danced the night that they fell out
She swore she’d dance no more
But dance she did, she did not quit
As she ran out the door
She danced through the night in fear of her life
She danced to a beat of her own
She let out a cry and swallowed her pride
She knew she was needed back home
So I think your earlier questions that this might be an abusive relationship are right on the mark here. I believe he is physically abusive. And I believe she goes back at the end, not for him, but for her children. She knew that she could never be truly free if she escaped that abusive situation without them. She couldn’t just leave them there. So she “let out a cry and swallowed her pride / She knew she was needed back home.”
Willa: I definitely see what you’re saying, Joie, because that’s how it struck me the first time I heard it. But gradually, as I listened to it more, I began to wonder if that was right or not. I mean, the lyrics say, “She danced the night that they fell out.” To me, that expression “fell out” implies an argument, where both sides are mad and making their case. So did he become abusive and she ran to avoid him, or did she finally stand up to him and have it out with him, and left because she was angry with him? My thinking about this has really changed over time, and while I can still see it either way, right now I’m leaning more the other way – that she finally had enough and stood up to him.
But then she spends the night wandering the city, and that feels really threatening to her – she has no place to go, so is on the streets “in fear of her life.” But it also says “She danced to a beat of her own.” That’s a really important moment, I think. Up to this point, the rhythm of her life has been determined by others: her husband, her boss, her children. So she’s finally able to dance to her own rhythm, which must feel liberating to some extent, but she’s also in danger and she knows her children need her. So it’s a very short-lived kind of freedom, and under terrible circumstances where she can’t enjoy it or fully express it.
So she “swallows her pride” and goes home. To me, that “swallows her pride” line is important. It wasn’t fear of her husband that was keeping her out on the streets – it was pride. And again, to me that suggests she finally stood up to him and asserted herself, and that’s why they “fell out.” But now she’s decided to go home, submit to his demands once again, and resume the same pattern of work and servitude that she endured before.
Joie: Well, you may be right, but I just hate to think of it that way because it means she willingly walked back into that horrible situation not because of love, but because she felt helpless. Like she had no other choice.
Willa: Well, she loves her children, as you said earlier, and she knows they need her …
Joie: But here’s the thing, Willa … I know that these same words are there in all three versions of this song. But the point I’m trying to make is that the whole feel of the song – or at least, the feeling it leaves me with, the impression it makes on me – changes dramatically depending on which version I’m listening to.
Willa: I agree – they each create a very different feeling, but I still think the demo version is more … somber. The Tricky Stewart version has kind of a techno pop sound that makes it seem like something you’d hear at a dance club. And actually, the Timbaland version sounds like a dance club song also. It begins with that same haunting melody we hear in the demo, but now with the solemn beat of a drum and the sound of someone walking in chains in time to the music, which is really effective, I think. But then that abruptly ends as a fast, electronic, techno pop rhythm comes in.
And in some ways, I like that pounding, driving beat – it ties in really well with the idea that “she’s a slave to the rhythm,” forced to dance as fast as she can, all day, every day. But at the same time, to me all that buzzing and popping and other sound effects we hear on the Tricky Stewart and Timbaland versions actually lighten the mood. They turn it into an upbeat dance song. So for me, the quieter mood of the original fits the mood of the song better.
But you know, it’s interesting that we both prefer the version we came to know first, and I wonder if that’s part of it? Maybe if I’d been listening to the Tricky Stewart version for a few years, like you have, I might have a similar reaction, and the demo would sound too bare or too soft to me also.
Joie: I actually think that has a lot to do with it. To me, the two versions on the album seem almost bare and stripped down … way too mellow for such a strong song with such a powerful theme, and I know it’s because I’ve been listening to a completely different version for several years now. So, to me the two versions on the album just seem foreign and not quite right. Strange, isn’t it?