In 1983, Michael Jackson brought the world to its feet by spinning into the moonwalk while performing “Billie Jean” on live television during the Motown 25 special. In this article, I chart how the analog synthesizers in “Billie Jean” both helped facilitate Jackson's movement towards black futurity and connected him back to black rhythmic histories encapsulated in disco and funk. By unpacking how he moves with and against these synthesizers in the music video and subsequent live performance, I consider the ways in which this relatively new musical technology allowed Jackson to transmit a black queer phenomenology to his audiences.

中文翻译：

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开始：迈克尔·杰克逊《比利·琼》中的合成器和节奏重新定位

1983 年，迈克尔·杰克逊 (Michael Jackson) 在 Motown 25 特别节目期间在电视直播中表演“Billie Jean”时旋转进入月球漫步，让世界站起来。在这篇文章中，我描绘了“Billie Jean”中的模拟合成器如何帮助推动杰克逊走向黑色未来，并将他与迪斯科和放克中的黑色节奏历史联系起来。通过解开他在音乐视频和随后的现场表演中如何与这些合成器移动和对抗，我考虑了这种相对较新的音乐技术让杰克逊向他的观众传播黑人酷儿现象学的方式。