Willa: This week I am so excited to be joined by D.B. Anderson, author of two of the most popular articles in our Reading Room. “The Messenger King: Michael Jackson and the Politics of #BlackLivesMatter” is an opinion piece published by The Baltimore Sun that places Michael Jackson’s activism within the context of the #BlackLivesMatter movement. And “Sony Hack Re-ignites Questions about Michael Jackson’s Banned Song” is a self-published article that went viral, becoming the most popular independent post in all of Gawker Media for 2014 – and it wasn’t even published until mid-December. Thank you so much for joining me, D.B.!
D.B.: Thank you so much for having me, Willa! I’ve been reading Dancing with the Elephant for a long time and I always walk away with new insights, so it’s quite an honor to be here myself.
Willa: Oh, it’s an honor to talk with you. And your Baltimore piece seems especially timely right now, with the Freddie Gray protests rocking the city. As you point out, #BlackLivesMatter protesters have been drawing on Michael Jackson’s work from the beginning of the movement:
On Twitter, #TheyDontCareAboutUs is a hashtag. In Ferguson, they blasted the Michael Jackson song through car windows. In New York City and Berkeley last weekend, it was sung and performed by protesters. And in Baltimore, there was a magical moment when the Morgan State University choir answered protests with a rendition of Jackson’s “Heal The World.”
We see that trend continuing in Baltimore, with protesters singing “They Don’t Care about Us” and recent videos of one resident, Dimitri Reeves, responding to both the police and the rioters with performances of “Beat It” and “Man in the Mirror.” Here he is dancing on a truck, with sirens in the background and a police helicopter swooping overhead:
And here he is in front of police in riot gear:
He talked about the experience in a National Post article:
Reeves, who has been dancing since age five, said a particularly nerve-wracking moment came during “Man in the Mirror,” which he performed in front of a line of riot police. To his amazement, after a while the cops slowly backed away. “It was beautiful.”
D.B.: This was fantastic, and what really made me happy was the number of media outlets who covered it, even Billboard.
Willa: Yes, and NBC, Fox, USA Today, Rolling Stone, Slate, Salon, Huffington Post, and a lot more, including the newswire service United Press International.
D.B.: I’ve heard that this gentleman actually does this regularly, and it wasn’t a one-off performance. And maybe it was just filler content, but I have a tiny hope that some media featured it because they understood a political significance.
Willa: I hope so. I know some of the articles I read focused on the fact that he was trying to calm the violence while giving voice to the frustrations of the rioters. That’s a difficult assignment, and Michael Jackson is one of the few artists whose work is up to the task – who can provide an impassioned cultural critique while promoting nonviolent solutions.
So D.B., today we’re going to talk about strategies for effectively engaging with the media, something you’ve accomplished with both of your recent articles. But maybe we should begin by talking about how you came to write these articles. What’s the story behind them?
D.B.: I suppose everyone who writes about Michael does so because he deeply touches them in some way, and I am no exception. No, let me rephrase that – everyone who writes thoughtfully about Michael. You know what I mean!
Willa: Yes, I know what you mean …
D.B.: Anyway, I’ve been reading extensively about Michael for several years, and I’ve been so deeply impressed by works like Remember The Time (Whitfield) and Man in the Music (Vogel), as well as many websites and blogs like yours. And I have had great and not-so-great conversations with people all over the world, and learned so much from them.
After a while I began to feel strongly that I had something to say about and on behalf of Michael to the world, but I didn’t know what it was, if that makes any sense. I started and then stopped writing several things because I didn’t want to reinvent the wheel. Did the world need another blog about Michael? I couldn’t figure out a way to add value. So I had ideas about Michael swirling around in my brain wanting desperately to get out, but I wasn’t sure where to put them.
Meanwhile, on a parallel track, I live near Washington DC, which is sort of ground zero for the media. You can’t avoid news and talk shows, and by listening to NPR and CNN all day – which I do just to have company – you become educated on how the media thinks of itself. I noticed some commentators being very critical of other media people. And there’s a giant divide between the cable news networks – they are always talking smack about each other. In particular, I started to study Chris Hayes and Rachel Maddow on MSNBC, who have developed media criticism into an art form. This became a bigger and bigger idea for me, that somehow this fit. So these two tracks started converging in my mind and I was pretty sure that “Michael and the media” would be my focus.
Willa: Oh, that’s interesting, D.B. Michael Jackson criticized the media for years, both in interviews and in songs like “Wanna Be Startin’ Somethin’,” “Leave Me Alone,” “Why You Wanna Trip on Me,” “Tabloid Junkie,” … In fact, it seems every album has at least one song taking on the media. And of course, many cable news personalities seem to take great delight in “talking smack about each other,” as you pointed out. But I hadn’t put those two threads together before, or considered that the way the media criticizes itself could provide an opening for Jackson’s supporters to join in and get their views across.
D.B.: Michael certainly did criticize them, and for good reason. And the one constant you find is utter frustration at the journalistic malpractice that was committed with no accountability, and as far I know there has never been a loud enough, satisfying, and sincere mea culpa.
So as I was listening and studying the media it dawned on me that there is a new generation of journalists out there, ones who have no reason to be invested in covering up what happened before, and who are willing to challenge each other. So the environment is ripe for revisiting Michael’s whole story.
Willa: And that’s an important point. Many of the commentators out there are surprisingly young, and do seem more open to questioning conventional wisdom and seeing Michael Jackson in new ways.
D.B.: Yes! But then there is still a subject matter knowledge problem, because how many journalists truly understand the facts? They learned about Michael through news, too. So, the other important development in my own thinking was realizing it was pointless to wait for some journalist to write what I wanted to read.
Willa: Yes, very few journalists really know the circumstances surrounding the allegations, and few seem to understand his true significance as an artist and cultural leader. I gradually came to that realization also. After he died I kept reading all these tributes, but to my mind even the positive ones seemed to miss the point about what was so special about him. It’s true he was an awe-inspiring singer and dancer, but he was so much more than that – he meant so much more than that – and none of the tributes I read seemed to get that. I kept looking for something that expressed what I felt, but it just wasn’t there. Nothing even came close. And finally I started writing about him, without really intending to, just to express what I was searching for and couldn’t find.
D.B.: I’m very glad you did. I probably owe you rent for the time spent on your pages! The pieces you’ve done on analysis and interpretation of his lyrics and imagery are the ones that stick with me the most. I’m sure that much of my understanding of “They Don’t Care about Us” was informed by your posts about the HIStory album.
In thinking about the media I came to appreciate that citizen journalism is widely practiced today – for example, most of the original reporting on the ground in Ferguson came not from reporters but from ordinary people who set up their own live streams and tweeted events.
CNN was literally days behind the activists in Ferguson. And everyone on social media knew it, and was complaining about it. The entire series of protests we’ve had over the last year – all of them – if you want to know what’s happening, you go on Twitter. Realizing this was a crucial turning point in my thinking. It was one of those ordinary citizens on the ground in Ferguson who first posted a clip of protesters blasting “They Don’t Care about Us” through open car windows. And it got passed around on social media among protesters, and then among fans, and that clip was really the first spark in what became “The Messenger King.”
The protesters continued to embrace and expand their use of “They Don’t Care about Us” throughout the fall and it was so energizing to me, that these young people found meaning in a song that was released when they were toddlers or maybe not even born yet. And I could not stop thinking how understood Michael would feel, that someone finally gets it, what this song was all about. To me, it was a vindication in many ways. You know, Michael always played a long game.
Willa: That’s true, he did. And “They Don’t Care about Us” does seem to be a perfect channel for expressing the cultural zeitgeist right now – especially among young people – at this pivotal moment in history. For example, 2Cellos just released a video of their reinterpretation of “They Don’t Care about Us,” and it blew me away. Here it is:
Even without lyrics, this video superbly captures the underlying idea that we are just pawns in a game between superpowers who “really don’t care about us.”
D.B.: By now I’m convinced that Michael understood that “They Don’t Care about Us” was a critical piece of art. It explains why he fought so hard for it. He wanted it to live, and it is living. I suspect that Michael knew The New York Times would not have the last word, you know? He was a really long-term strategic thinker.
The protesters just organically reached for this music over and over through the months. So when “where are all the celebrities?” became a topic of conversation, and Questlove held up the Dixie Chicks as an example, I got angry, to be honest! I mean, I didn’t see any clips of Dixie Chicks songs at the rallies! Are you kidding me? No. Just no. Now Questlove had a very valid point – that it is very risky to speak out – and I totally agreed with his point. It just felt to me that he had opened the door with an excellent example, but if you want to talk about brave risk-takers, let’s get down to real. He was exactly right, and he set up my premise perfectly. But at first it made me mad, and that was the juice.
Everything finally gelled after an event on December 5, and that night I sat down and wrote “The Messenger King” in about four hours. The context was, Rolling Stone had just acknowledged that their “Rape on Campus” story had serious inaccuracies, but their statement did not accept responsibility and they said they’d been misled by their source. And then this happened:[tweet 540962876333506560 hide_media=’true’]
A media professional calling out other media for not verifying the source’s story. Publicly. In writing. With profanity for emphasis, no extra charge. When this clicked into place, I knew: The world is open to receive. This is the right moment; this is Michael’s time. Go.
And so I did. Well I didn’t write it, so much as channel it. Wrote it on Friday, spent the weekend figuring out where to submit it, submitted it on Monday, and it was published on Tuesday.
Willa: Wow, D.B., that’s amazing.
D.B.: I am as amazed as anyone else, really!
And then just days after that, the Sony hack happened and there was another opportunity on a silver platter. I would never have recognized Bernard Weinraub’s name had I not just fact-checked myself for “Messenger King” by re-reading Vogel. He is mentioned in Joe’s commentary on “They Don’t Care about Us,” so when I saw Weinraub in the early hack coverage, his name was fresh on my mind. I was blown away because here was a chance to go deeper into the meaning of “They Don’t Care about Us” and answer Weinraub and put that whole controversy into the “ridiculous” department where it belonged. I knew I had to write it while the iron was hot. It was a very frenzied December! I never got my Christmas things out of storage, at all.
Willa: And I’m so glad you seized the moment like you did. It obviously struck a nerve – just look at all the attention it received! So it seems like, for you, one key lesson from all this is timeliness. To have impact, “citizen journalists” as you put it, have to get their message out at just the right moment – when a relevant story is a hot topic, and news outlets are receptive to what they’re trying to say.
D.B.: Yes. Neither story would have had as much impact without the timing. Sony and the protests were in the news, and I didn’t want to write just for fans. I wanted to reach the protesters and the media and the music industry and regular people. There was only a short window to catch a wide audience.
But just as crucial is to be ready when the opportunity comes by being prepared – you never know when it will appear. So all the thinking and writing and reading prepared me for the moment. The opportunity was there for anyone to take, but no journalist got either story, because they were not prepared.
First, they just don’t know all the history. Second, they don’t know that they don’t know it. And third, they’re already very busy. But I got some great comments from members of the press after they read my pieces. So contrary to popular wisdom, I feel like the press now generally has open minds to Michael.
Willa: And that’s a really important insight, and an important opportunity. But you have me very curious, B.D. What were some of the comments you received? And who sent them?
D.B.: After “Messenger King” was published, I got a phone call from a popular columnist. And he asked me, “did you really just say that Michael Jackson was framed by a white prosecutor? That he was a victim of police brutality?” And I thought he was going to rip into me. But instead he told me, “You have said what everyone else has been afraid to say.”
Willa: Really? He actually said that?
D.B.: He did! Willa, I was shaking, because you don’t get calls like this every day. And you know, his remark was so profound. A lot of journalists know there is something rotten in Denmark. They know it. Oh, they know – it’s saying it out loud that’s the problem. But as I say, the younger journalists, they are not invested in the old status quo. Changes will be made.
The biggest compliment I got was the estate posted a link to “Messenger King” on Michael’s official website. That will always be special to me. But for purposes of this discussion, their doing so has a message: “We endorse and agree with the position. This is who Michael was.” I think they’re telling us how we can help them.
Willa: That’s interesting. So you took the initiative and wrote that first article and got it published, and at just the right time when it would garner a lot of attention. But then once it started gaining momentum, the Estate helped push things along?
D.B.: I’m not sure how it occurred exactly. I just know that after, maybe 4 days or so, someone contacted me and said, go look at Michael’s Facebook page. The estate had seen the article – whether they are always scanning the media or whether someone sent it to them, I don’t know – they had seen it and posted about it on his website and then promoted it through his social media. And I was just stunned because I haven’t ever seen them do this before.
Since then, the estate has taken the social justice theme and run with it several times. They posted about Michael’s work during Charlie Hebdo attacks, when people were singing “Heal The World,” things like that. And, Willa, since we began this conversation yesterday, the estate has just done a post on the Baltimore dancer we spoke of! So it’s clear to me, this is where they most want the global conversation to go, in terms of his image, and well it should, because it’s absolute truth about him as a person.
Willa: And as an artist. It’s moments like these when the power of his art really shines through.
D.B.: Oh yes. This is why he did what he did. Exactly for this.
Willa: So what about your second article? Did you receive feedback from the press about it as well?
D.B.: On the piece about The New York Times, I’ll let them speak for themselves. Here’s S.I. Rosenbaum, Senior Editor at Boston Magazine:
Then there’s Wesley Lowery, national reporter covering law enforcement and justice for The Washington Post:[tweet 545945720403263488 hide_media=’true’]
And Bomani Jones, sports journalist at ESPN:
Willa: Wow, D.B. Reading these just does me a world of good! It’s like a tonic. And it’s really motivating.
And I see what you’re saying … it does seem like some people in the media are open to taking a closer look at the controversies surrounding Michael Jackson, and at the media’s complicity in perpetuating them – and even creating them, as in the Weinraub case.
D.B.: It was a very eye-opening and encouraging experience. You know, how many times have people said, “when are journalists going to write the truth about Michael?” And there has been a perception that the media is united in its intent to give MJ a bad rap. But this really taught me this isn’t the case nowadays. My articles were news to them!
The journalists who read the pieces – and there were more of them than I have named here – are now, I hope, more likely to consider Michael thoughtfully in the future. Over time, I think if Michael’s advocates continue to take ownership on getting the history out, the press will delve deeper and do the parts that only they can. So I really hope that more of your readers will step out into citizen journalism too, speaking to an audience beyond the fan base, because they have the power to effect change. We can be the “live streamers” and point the way.
Willa: I agree, and this idea of citizen journalism is really exciting. Did you have any worries or concerns?
D.B.: I did have some real trepidation about doing the Weinraub/“They Don’t Care about Us” story. I was concerned that people would think I was attacking Sony – it wasn’t my goal. It’s about Weinraub, and what he was possibly up to with David Geffen, and lack of professionalism in journalism, and the very self-centered, dare I say racist, view that Weinraub took. Sony was not my target but I rode the wave. I felt slightly uncomfortable about that, but I knew that’s how the headline game is played. I was a little nervous too about taking on The New York Times, and I obsessed over making the story as bullet-proof as I could.
Willa: So have you heard from anyone at the Times?
D.B.: Not a word! I never expected the story to take off the way it did. It was helped greatly when Max Read, the editor at Gawker, included it in the Sony Hack pop-up blog, which was an enormous source of new readers. It had gotten, I think, a couple thousand page views already, so I emailed Max cold, and he said (I’m paraphrasing) “Fantastic; stories like this are exactly why we are publishing the emails. I am adding your story and apologize in advance for the trolls you will get.” And this is not to be believed, but I swear it is true – I got virtually none of the usual MJ haters. Interacting with readers in the comment section at Kinja was my favorite part.
Willa: That’s wonderful! Perhaps I’m being naive, but I really hope that we’ve moved past that intense stage of the hysteria, with all the mindless name-calling and saying terrible things without any sort of substantive evidence. It does seem that, in talking about Michael Jackson now, the conversation tends to be a little more restrained, and a little more nuanced and open-minded. But I’m very worried that the Robson-Safechuck allegations could set off a whole new round of hysteria. I worry about that a lot, actually.
D.B.: Willa, my experience shows that the majority of people believe he is innocent, or want to believe it. There is an awakening. What people still need in order to seal the deal in their minds, are facts. And when they are reading a reasonable story, they respond in a reasonable way. Michael’s story becomes a much less complicated one when you see the obvious – that he was a rebel and a social justice fighter in the style of Gandhi, and that he was persecuted by racist law enforcement. No voodoo in sight. It’s an easier thing to believe.
I think a good strategy is to completely ignore Robson/Safechuck. Don’t feed that beast. Instead, I would like to see advocates creating their own content, really good content that calls attention to the true issues: his philanthropy, or the use of his music in times of trouble, like in Paris – or interview ten children who were assisted with their medical issues by Michael. Write about how MJ put on the 9/11 concert but no one knew it. Write about AIDS. Write about South Central LA and school shootings. Lots and lots of possibilities. But with Robson, it’s different. In my opinion the current tabloid stories need to be starved of oxygen. No clicks, no commenting, no yelling at the author, just … radio silence. That is the kiss of death for a story and a reporter.
Willa: I see what you’re saying, but it also feels risky to let false claims go unanswered. Some pretty wild rumors have been circulated about him, and sometimes they get a lot of attention – even when there is concrete information contradicting them – because that information doesn’t get out. But I understand your point that giving those stories attention helps perpetuate them. It’s complicated.
D.B.: Robson’s lawyers are intentionally leaking stuff to the tabloids, as a strategy to get the estate to settle.
Willa: It does seem that way, especially with the timing of how they’ve announced the allegations. The Robson accusations were made public during the AEG trial, and the Safechuck allegations came out the day before the release of Xscape. And then there are all the really lurid leaks to the tabloids. It seems to me that Robson and Safechuck’s law firm – and they have the same law firm working for them – is engaged in a pretty sophisticated media campaign to embarrass and harass the Estate and force them to settle, as you say.
D.B.: Exactly. I’m not buying. No one believes Wade Robson. And I have more faith in journalism than I did before.
But never underestimate tabloids. So if it does get to the state where hysteria goes around, that is the moment when one of us needs to pounce on it with a story, which I hope someone is already working on right now, about Robson not getting the job at Cirque du Soleil which apparently caused his “remembering.”
And I would go for it right out of the gate with an opening sentence like “It’s widely believed that Michael Jackson was the victim of malicious prosecution by a zealous and bigoted district attorney in 2005. Now another has tried …” That story should be ready and waiting to be published at the critical media time, with last minute edits where needed, no matter which way the case ends up. In other words, I’d love to see a citizen journalist with a story on why Wade lost. But either way, a citizen journalist story can give the rest of the press some factual nutrition. Otherwise they’re just looking at a giant void filled with tabloid trash. Citizens are the anti-tabloid. We give the press choices.
Yes, now that you mention it, it would be very strategic to do a victory lap story, one that drives the final stake into the heart of this nonsense forever.
Willa: Sounds like you’ve already started writing it, D.B.! … at least in your head. And I hope you do.
D.B.: I enjoy thinking about strategy but don’t think the Robson story is in my wheelhouse. I am certain there are others more qualified to do a Robson story. Maybe we will get some volunteers in the comments section!
Willa: Maybe so – you’ve certainly motivated me to think about new ways to work within the media. And I hope you’ll join me again to talk more about citizen journalism. This has been so enlightening as well as inspiring. I feel like you’re helping to chart a course for how we really can change the world. Thank you for joining me and sharing your insights!
D.B.: Thank you very much for having me, Willa. I enjoyed talking with you.