Abstract: This month, MJ Studies Today columnist Kerry Hennigan provides a personal view of the recently upgraded version of Michael Jackson’s short film for the song “Give In To Me.” Jackson’s 1991 album Dangerous provided a wealth of material ranging from the understated anthem “Heal the World” to undeniably sensual songs like “In the Closet” and “Give In To Me.” In the short film for the latter, Kerry argues, Jackson reasserts his command of the stage and his ability to turn on a sizzling performance that “pushes all the right buttons” in his audience.
Column by Kerry Hennigan, editor of the free monthly newsletter A Candle for Michael, administrator of the fan group “Michael Jackson’s Short Film Ghosts” on Facebook, and an MJ blogger on WordPress. Kerry holds Certificates in the Archaeology of the Ancient World and the Archaeology of Ancient Britain from Cambridge University’s Professional and Continuing Education and is passionate about Viking longships and global maritime routes from the Bronze Age to the Early Medieval Period.
REFERENCE AS:
Hennigan, Kerry. “MJ Studies Today CXXI: All the right buttons: on revisiting Michael Jackson’s short film for the song ‘Give In To Me.’” (14-01-2026). The Journal of Michael Jackson Academic Studies Vol 12, No. 3 (2026). https://michaeljacksonstudies.org/mj-studies-today-cxxi/
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All the right buttons: on revisiting Michael Jackson’s short film for the song “Give In To Me.” By Kerry Hennigan
Photo collage © Kerry Hennigan
Some of Michael Jackson’s short films (a.k.a. music videos) are entertaining, inspiring, innovative and exciting in terms of their cinematic elements. Some have memorable choreography that became staples in Jackson’s live performances, inspiring many artists and aspirants who have followed in Michael’s shadow. A precious few of these musical shorts have an important social and/or environmental message. But there are also a few that go in another direction: Come Together, In The Closet, and Give In To Me, for example, seem calculated to push up the pulse rates of adoring fans. I willingly admit to being one of them.
Recently Michael Jackson’s Dangerous era short film for the song “Give In To Me,” written by Michael with Bill Bottrell and produced by them, was given an official AI upgrade on YouTube.[1] Irrespective of the relative merits or otherwise of using this technique to “improve” the quality of Jackson’s aging collection of short films, watching Give In To Me with fresh eyes and a tablet screen at close proximity, was a reminder not only of the creative power Michael was able to muster in support of his art, but also how beautiful he was to behold. In this simulation of a live performance (directed by Andrew Morahan and filmed in Munich during the Dangerous world tour), high speed fans blow and twist Michael’s shirt around his body, and whip his long black locks into glorious disarray; the smoke whirls around him and guest guitarist Slash as both are caught up in the power of this monster rock ballad. The performance is nothing less than mesmerising, and pushes all the right buttons to solicit a particular type of response from its audience.
In the 90s, Michael was everywhere in the world; he was unmissable and unmistakeable. He looked, sounded and moved like no one else at the time, combining the lessons learned from observing his own idols of stage and screen, and adding new ones in collaboration with choreographers like Michael Peters and Vincent Paterson et al. He delighted in shocking, or, at least, startling us by breaking new barriers. It was not without risks (to his “family friendly” reputation and to record sales) that he repeatedly grabbed his crotch (in the Bad short film) and zipped up his black Levis (in Black or White). But, as one writer explained the former signature move, “MJ was feeling the rhythm of the song throughout his entire body. He was living in the moment.”[2][3]
By comparison to that famous (some might say “infamous”) panther dance sequence from Black or White, the Give In To Me short film is mild and decidedly non-political. But it is incredibly sensuous. There are no social messages indicated here, unlike Black or White’s codicil of explosive outrage. Instead there is a throbbing sexuality exuded by the singer, the song and the setting, with the key element being that first one. Have another artist perform this track in Michael’s place, and the reaction – mine anyway – would be completely different, if I noticed it at all.
Viewing the “upgraded” version of Give In To Me was far from the first time that I had felt such emotions while watching Michael manipulate his audience into loving/lusting after him. While others focus on the music, the dance, the full performance package, for me the essential ingredient that makes the short film and music so compelling is Michael himself. I think Susan Fast explains it best in her 331/3 volume on Dangerous when she describes Michael positively wringing feeling out of his performances, “both his voice and body dripped with passion, pulling us into a world of sensuality so vibrant, so intense, impossible for most of the rest of us to express, or maybe even feel.” She continues, “He modelled it for us and to show us that it was possible to burn this brightly.”[4]
As many of his collaborators have said of him – off stage Michael Jackson was a quiet, shy individual, while on stage he just exploded, commanding our attention, holding us in thrall to his very presence. On the stage, he demonstrates no desire for anonymity, or wanting to be left alone. Those sentiments were for the private man, not the performer who explosively (as in his entrance on stage at the start of the Dangerous tour) commands our attention – and holds it, milking the moment when the eyes of the world are on him. The Give In To Me film is another example of Michael Jackson’s art demanding that we look at him, see him in all aspects of his humanity, including his sexuality, get excited with him and for him, and most of all, accept him in all his complexity.
Whether he is performing as a lover or peacemaker, Michael Jackson’s art reminds us that all individuals are multi-faceted. While he could be a generous benefactor for children’s charities, and encourage us to heal the world, he could also experience love, passion, pain and, in Give In To Me the desire to possess another. If it wasn’t already obvious, by 1991 when the Dangerous album was released, Michael had come a long way from the days of being the diminutive lead singer of the Jackson 5. While I’ve met some individuals who have lamented the maturation of “cute little Michael;” I’m not one of them. As Give In To Me reminds us, not only had Michael matured as a recording artist (stepping away from the production influence of Quincy Jones), but his unique persona as a performing artist was now fully formed. It was this persona that, particularly in the 1990s, he unleashed on those in his audience willing and receptive to following along wherever the music took him.
Love is a feeling
I don’t wanna hear it
Quench my desire
Takin’ me higher
Tell it to the preacher
Satisfy the feeling
Give in to me
Give in to me… [5]
Kerry Hennigan
14 January 2026
Sources:
[1] YouTube. Michael Jackson – Give In To Me (Official Video – Upscaled). Directed by Andrew Morahan. Released Feb 1, 1993 (United States). https://youtu.be/LJ7qXHjxj_0
[2] Devoted to Vinyl. “Why Do Singers Grab Their Crotch? – 3 Big Reasons.” May 30, 2024. https://www.devotedtovinyl.com/why-do-singers-grab-their-crotch/
[3] Maza, Devra. “Michael Jackson’s Other Big Move: The Crotch-Grab.” Huffpost, Feb 2, 2010, updated Dec 6, 2017. https://www.huffpost.com/entry/michael-jacksons-other-bi_b_226017
[4] Fast, Susan. Dangerous. 100th volume in the 33-1/3 series. Bloomsbury, 2014 p. 45.
[5] Jackson, Michael and William A. Bottrell. “Give In To Me.” © 1991 and 1997 Mijac Music and Ignorant Music, USA. Warner/Chapel Music Ltd, London W1Y 3FA. As published in The Complete Michael Jackson, Faber Music 1997.
Illustration: “give in to me…” compiled by Kerry Hennigan using a screen shot from the Give In To Me short film directed by Andrew Morahan. The image has been digitally augmented using PhotoScape X Pro software. No infringement of original photographic copyright is intended in this not for profit, educational exercise.