He was a racial paradox, too: an African-American whose audience was never segregated, but whose features grew more Caucasian and whose skin grew lighter through his career, to discomfiting effect. His own face had become a mask. All of Mr.
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Despite all his time onstage and on the air, Mr. Jackson stayed remote: styled, rehearsed and choreographed. There was no denying his talent.
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His established stardom helped get his African-American face onto MTV, breaking what seemed like a color line, in what was a hugely beneficial step for both. View all New York Times newsletters.
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His dance moves were angular and twitchy, hinting at digital stops and starts rather than analog fluidity — except, of course, for his famous moonwalk, the image of someone striding gracefully without ever leaving center stage. He had the sales, the Grammy Awards , the screaming audiences in every country he toured. And he would spend the rest of his career trying to repeat the experience working many of the same maneuvers into his music: another duet, another rock guitar, another ratcheting dance track. Jackson labored; his albums came four, five, six years apart.
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The hip-hop era had arrived, with its bluntly candid lyrics and quick-and-dirty productions, both contrary to Mr. Part of the pop audience — and critics, too — took pleasure in Mr. The underlying sweetness that had made Mr. All the pieces he had put together, all the paradoxes that he had been able to resolve with sheer musicality, started to fall apart. He was working on a stadium spectacle for shows in London this summer, and we will never know if all his skill and showmanship could have given him a new start.
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The salt lake on western Eyre Peninsula, about km from Adelaide, was once the site of a salt mine and is now home to one of the largest gypsum mines in the world. Algae loving the lake's high salt levels give it the startling pink colours lapping at a road christened "Watermelon Avenue" by photographer chloektodd.
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