Dystopian Dance Party

Tag: michael jackson

  • Jheri Curl June: Terence Trent D’Arby’s “Let’s Go Forward”

    The fact that Sananda Maitreya, the artist formerly known as Terence Trent D’Arby, was not considered for Jheri Curl June until our fourth year is surprising. Of course, his music isn’t Jheri Curl proper–few artists were, by the end of the ’80s–but the influence of Michael Jackson and Prince is particularly obvious.

    © Columbia Records

    Introducing the Hardline According to Terence Trent D’Arby is a debut album with a title as cumbersome as you would expect from the man who once claimed that it’s the most important album since Sgt. Pepper’s Lonely Heart’s Club Band. I will neither support nor dispute that claim, but I will say that for a late ’80s R&B album, Hardline has certainly held up–and while we’re making comparisons, I’d much rather fuck with D’Arby’s album in the background rather than “Being for the Benefit of Mr. Kite!” I doubt even the most devoted Beatles stans can argue with that.

    Anyway, Hardline also garnered D’Arby’s several hit singles, including “Wishing Well” and “Sign Your Name.” But it was the lesser known track “Let’s Go Forward” in which D’Arby was at his most Jheri Curl. The sad robot-like atmosphere of the song sounds like a more mature version of Jesse Johnson’s “I Want My Girl.”

    We’re nearing the end of Jheri Curl June, but there are still a few posts left; meanwhile, check out the playlists below!

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  • Jheri Curl June: Daryl Hall & John Oates’ “I Can’t Go for That (No Can Do)”

    What better way to start White Boy Week here on Jheri Curl June than with the smoothest, most soulful white boy duo, Daryl Hall and John Oates? Hall and Oates began writing and recording music together in 1970, and scored their first number one hit in 1977 with “Rich Girl.” It wasn’t until the 1980s, however, that the duo reached the pinnacle of their hybrid blue-eyed soul/rock/pop/New Wave sound and hit-making potential. 1981’s “I Can’t Go for That (No Can Do)” reached number one on both the Pop and R&B charts, and was the inspiration for the bassline of jheri curl music innovator Michael Jackson‘s “Billie Jean.”

    But Daryl Hall and John Oates did not become the most successful pop duo solely from their songwriting skills, singing prowess, or crossover appeal. Oh no, the 1980s were the music video era, and the inception of MTV in 1981 also had a huge hand in Hall & Oates’ appeal–which is perplexing, since their videos are literally just a collection of weird dance moves, awkward camera angles, and a whole lot of Hall and Oates jumping in front of the camera. I mean, sure, there was definitely a learning curve for everyone with early music videos–as we saw earlier this month with Patrice Rushen–but Hall & Oates are truly better heard and not seen. Some of their videos definitely should have been career enders, much like Billy Squier’s ill fated video for “Rock Me Tonite” (“Method of Modern Love,” I’m looking at you).

    The video for “I Can’t Go for That” actually isn’t that bad, as far as Hall & Oates videos go–although the entire first minute is just a bunch of closeup shots of Daryl’s hands interspersed with clips of him wandering back and forth in front of the camera. The simple black background and lighting is a nice complement to the song’s steamy soul sound, though, with bonus points for John Oates’ and saxophonist Charles DeChant’s synchronized hand gestures toward the end.

    Jheri Curl June White Boy Week continues tomorrow with more music from artists who could never pull off an actual jheri curl. Spotify and YouTube playlists are below!

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  • Jheri Curl Cinema: Coming to America (1988)

    When we decided to expand the focus of Jheri Curl June last year to include cinema, I knew there were two films I absolutely had to write about: Purple Rain and Coming to America. As it turned out, I was only able to work the former into our schedule. This year, however, I’m making amends.

    Coming to America, directed by John Landis in 1988, has done more for the continued relevance of the jheri curl than any other cultural force save, perhaps, for Michael Jackson. Run a Google Image or YouTube search for “jheri curl”–which I have, many more times than I should probably admit, in the course of my duties for this blog–and references to Coming to America will almost certainly be among the first hits. For that matter, just bring up the movie in conversation, and chances are the scenes you remember will be jheri-curl-related: the couch stained with activator grease, Randy Watson and Sexual Chocolate (see above), fuckin’ Soul Glo. Coming to America isn’t just Jheri Curl Cinema: it’s practically cinema about jheri curls.

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  • Jheri Curl June: René & Angela’s “I’ll Be Good”

    Musical duo René Moore and Angela Winbush had released three albums before they finally reached commercial success with 1985’s A Street Called Desire, which contained the hit single “I’ll Be Good.” Sadly, René and Angela were not good to each other, and ended their nine-year musical partnership in a mess of legal battles and physical abuse less than a year after the release of A Street Called Desire. It definitely makes “I’ll Be Good” a lot less charming when you consider that Moore allegedly broke and/or bruised Winbush’s ribs in a violent backstage altercation; the song (and that tiger-print blazer) are still hot as hell, though.

    Both René and Angela would go on to have successful solo careers, with René releasing two albums as well as writing and producing for Michael Jackson. Angela would go on to produce and write for yesterday’s JCJ subject, the Isley Brothers. Ronald Isley subsequently became Angela Winbush’s manager and the pair were eventually married, but divorced in 2001–which, to be fair, is still a happier ending than the René & Angela story.

    We’ll be back next week with another week dedicated to the women of jheri curl music. Until then, catch up with our Spotify and YouTube playlists after the jump.

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  • Jheri Curl Cinema: Moonwalker (1988)

    Like most human measures of time, Jheri Curl June is intimately tied to the cycles of birth and death. The month opens with the birthdays of two of jheri curl music’s greatest architects, Prince and Jimmy Jam, and closes with the anniversary of the death of its most anointed practitioner, Michael Jackson. So, since we began this year’s festivities with a retrospective on Prince’s 1984 movie debut Purple Rain, it’s only right that we bookend it with a piece on 1988’s Moonwalker: the first full-length feature film dedicated to the music of Michael Jackson.

    First, a word of warning. If you’ve been paying attention to my Jheri Curl Cinema series, you’ll have noticed one thing that these films all have in common: judged by conventional critical standards, they’re just not very good. And Moonwalker, quite frankly, is the worst so far. To get an idea of how “not-good”–one might even say “Bad”–Moonwalker is, please note that the film’s distributor, Warner Bros., cancelled a planned Christmas 1988 theatrical release in the United States over financial concerns; just under two years later, however, they apparently had enough faith in Prince’s filmmaking nadir, Graffiti Bridge, to inflict it on cinema audiences worldwide. When your film is considered to have less commercial potential than Graffiti Bridge, you know something is amiss.

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  • Jheri Curl June Special: Michael Jackson

    It’s only fitting, as we spend the last full week of Jheri Curl June discussing the twilight years of the genre, that we pay tribute to the man whose passing five years ago today helped spark a revived interest in the music he popularized: Michael Jackson. Though Jackson didn’t play as formative a role in the invention of jheri curl music as his onetime biggest rival, Prince, he damn sure might have perfected it with his string of early-to-mid-’80s crossover hits, both with and without his brothers in the Jacksons. He certainly sported a jheri curl for longer than any of the other artists we’ve discussed so far; posthumously, in fact, if we count his holographic performance at this year’s Billboard Music Awards, making him possibly the first person in history to be outlived by his jheri curl.

    So today, let’s celebrate the life and legacy of jheri curl music’s second most important figure. Just like with Prince, we’ll take a tour through the history of Jackson’s jheri curl music and fashion, and discuss his significance to the genre. Michael may be moonwalking with the angels now, but fortunately for us, his music still lives on.

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  • Introduction to Jheri Curl June

    In the late 1970s and early 1980s, a new form of predominantly African American popular music began to take shape. Rooted in soul and funk music, but largely stripped of those genres’ grit; with elements of rock and disco, and at least one eye forever resting on potential radio play; the loosely-defined style has gone by a variety of names, including post-disco, pop/funk, and the maddeningly nondescript “urban.” But Callie and I have always preferred to call it “Jheri Curl Music.”

    Jheri Curl Music is not necessarily music made by artists sporting the once-trendy hairstyle invented by hairdresser Robert William “Jheri” Redding–though obviously there is a good amount of overlap. Instead, we see it as music that embodies the properties of the Jheri curl itself. Jheri curl, whether the hair or the music, is an intrinsically hybrid style: somewhere between Black and white, kinky and straight, silky and dry. It’s fussy and high-maintenance. And, like the Jheri curl parody “Soul Glo” in John Landis’ 1988 comedy Coming to America, it leaves a greasy residue on everything it touches. Not all R&B from the early to mid-’80s qualifies as J.C.M.; but when you hear that telltale sign–usually a particular kind of muted guitar, clean slapped bass, or synthesizer squeal–you will recognize it instantly for what it is.

    Along with its namesake hairdo, jheri curl music faded from mainstream popularity by the end of the 1980s: eclipsed largely by another hybrid R&B style, the hip-hop-influenced New Jack Swing (or maybe we should call it “hi-top fade music”). But it’s never really gone away. Tune in to the obligatory “old-school hour” on any Adult Contemporary R&B radio station worth its salt, and you’ll hear plenty of jheri curl alongside the smooth soul and quiet storm. In recent years, too, the career resurgences of jheri-curl innovators Prince and (posthumously) Michael Jackson–not to mention the coming of age of legions of ’80s kids–have driven a critical and popular reappraisal of music that would have been considered dated and kitschy twenty years ago. Indeed, the sound has been steadily creeping back into contemporary artists’ repertoires since the early 2000s or so: everyone from Snoop Dogg to Daft Punk has gone to the jheri curl well at least a few times, while artists like Dâm-Funk and Chromeo have made it a foundation of their musical styles.

    So for the month of June, we’ll be celebrating jheri curl music with a new classic jheri curl video every weekday. Why? Basically because we love J.C.M., and the month of June starts with a “J” (and “Jheri Curl July” just doesn’t sound as good as “Jheri Curl June”). We’ll also be adding to the Spotify playlist at the bottom of this and every other Jheri Curl June post, so you can have easy access to a bunch of classic Jheri curl cuts to bump in your home, car, gym, or hair salon. Today, I’m kicking things off with what might be my choice for the ultimate jheri-curl song, Carl Carlton‘s 1981 single “She’s a Bad Mama Jama (She’s Built, She’s Stacked)”:

    “Bad Mama Jama” has a lot of things to recommend it as a classic of J.C.M.: including its lascivious lyrics in the tradition of the Commodores’ “Brick House,” praising a woman who’s “got all the curves a man like” and gets Carl “so excited viewing her anatomy.” But what really makes it for me is that bass synth line, as curly and wet as Carlton’s hairdo. The song is the essence of Jheri curl: sleek, stylish, and more than a little sleazy. I can’t think of a better way to kick off Jheri Curl June.

    See you tomorrow!