Film

When the Event is Everything: Michael Jackson's 'This Is It'


This Is It

Director: Kenny Ortega
Cast: Michael Jackson, Orianthi Panagaris, Tommy Organ, Kenny Ortega, Dorian Holley, Jonathan Moffett, Judith Hill
Rated: PG
Studio: Sony Pictures
Year: 2009
US date: 2009-10-28 (General release)
UK date: 2009-10-28 (General release)
Website
Trailer

We will never see the final version of Michael Jackson's This Is It concert. We will never experience the full blown macabre mastery of the epic "Thriller" number, complete with 3D zombies and a stunning recreation of perhaps the most well-known dance in all of pop music. We will never get to see how a 50 year old Jackson would truly sell his pre-teen Motown legacy, the perfunctory run through as part of Kenny Ortega's inspired film doing little to inspire confidence. We'll also never know how audiences would react to the moment in "Earth Song" when a giant bulldozer crashes through the stage backing and threatens the fading King of Pop. In fact, we will never know if the actual event would have lived up to its creator's varied vision and posthumous hype. One thing is certain, however, Jackson was game to try.

Offering little of the money-grubbing graverobbing that the project's announcement inferred, This Is It is like a DVD bonus feature without an actual movie to support. One could easily see this hodgepodge of rehearsal takes, expertly edited together by a team that deserves some kind of award for consistency and continuity, as a guide or animatic. Indeed, it is very much like the computer created cartoons that action filmmakers used to pre-visualize their stunt sequences, except this time, we have our own human special effect at the center. Jackson, acting half his notorious age, dances, prances, demonstrates, and illustrates as he puts his band and back-up "flare" through their paces. While the opening of the film gives us a glimpse at the devoted artists who come whenever Mr. Jackson calls, any additional personal insight is decidedly absent. In its place are several sensational musical numbers, followed by a few flashes of what this famed 50 show stand in London would have looked like.

As with many of Jackson's shows, this is a greatest hits package carefully choreographed for maximum impact and guaranteed audience appreciation. The King is not breaking out new material, or mining his albums for unusual cuts to spice up the set-list. We move from dance hit to power ballad, "Wanna Be Starting Something" reminding us of how fresh early Michael sounded, while "Human Nature" highlights the singer's sensational voice. Sadly, there is no take on "Rock with You" (Off the Wall is almost always forgotten by Jackson live) and the equally effective title track to Bad is missing as well. Other major hits not making the cut include "Remember the Time", "In the Closet" and "You Are Not Alone", while you can forget about seeing anything from Invincible. Indeed, what director Kenny Ortega (who also handled the same duties for the concert "experience") understands is, as an elegy to a man taken too soon from his fanbase, familiarity eases the lingering pain.

Still, it's hard to sync up the man on stage with the media maelstrom of the last five months. There are no signs of drug abuse or use, no obvious physical symptomology of the addiction that would supposedly kill him. In his element, Jackson is strong, if scarily bone thin, and while a bit out there in his ability to interact, he is still in command of his craft and how it is presented. He comments frequently on preserving his voice, admits to slacking off in some of the dance numbers to guarantee that the staging is just right. He is present for all the film work forged to amplify the overall live show experience, and even adds his two cents to sequences he feels need to "sizzle" or "simmer" more. As his muscular back-ups bob and weave around him, Jackson's ever-present magnetism never lets him down. Even when he's merely going through the practice motions, he's as dynamic as he ever was.

All of which begs the question - what happened? How could someone this confident and carefree onstage (he is so light on his feet and lithe that it's the very definition of "effortless") become a press room pariah, unable to live a leisurely life in the public eye. It's a weird dichotomy, one that This Is It has no desire to delve into. Even with all the tabloid tattling and clever character assassination surrounding the icon, his musical ability belies all the gossip and grotesqueries that have come to define him - even in bereavement. As a matter of fact, one of the best things that This Is It does is rewrite the legacy that Jackson left at the time of his death. TMZ nation would have us believe he was half off his nut, doped to the gills with human aesthetic on top of an already near-lethal cocktail of various narcotics. But reality - or careful editing - argues otherwise.

And then there is the notion of Jackson repeating this immense spectacle day in and day out for 50 grueling shows once he headed over to England. It's sad to think that some promoter saw an opportunity to exploit the entertainer's recent financial distress and decided to bludgeon his coy cash cow for as much milk money as possible. One truly believes the singer when he smiles and says "this is really it" during the promotional press conferences that announced the "tour". No matter what he did after the concerts, he could never top the ideas he was trying to showcase here. That this rehearsal material provides actual glimpses of what could have been stands as a testament to what Jackson conceived, as well as how nimble Ortega is at cobbling together what was clearly meant as nothing more than random reference footage.

So instead of spending almost two months making sure that fans from around the world got one last shot of seeing their idol in person, This Is It will be the event that facilitates the final chapter in the myth of Michael Jackson - and then that's truly "it". Even if another album of amazing material is lifted from the vaults (and the original tune presented here as the movie's theme is no great shakes) and the artist who once owned the pop charts scales them once again, there will never be more than "this". No more videos. No more news cycles. No more music. As titles go, Jackson's own self-penned label lingers with hints of what could have been and what never will be. Still, for anyone still looking for a little bit of his magic, This Is It contains more than enough.

7

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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