In the Closet

THE STORY BEHIND ' In the Closet '

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This is the most sensual and controversial track on the Dangerous album. The story below details the failed duet with Madonna, the secret identity of the "Mystery Girl" who whispers the intro, and how a song about privacy became a global dance hit.

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"In the Closet" was originally conceived as the duet of the century. Michael Jackson wanted to collaborate with the Queen of Pop, Madonna.

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The two superstars met to discuss the project. Madonna, known for pushing boundaries, had a specific vision for the song. She reportedly wrote a set of lyrics that were sexually explicit and provocative. She also pitched a concept for the music video where Michael would dress in drag.

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Michael, while wanting to explore a more mature sound, felt Madonna’s ideas were too extreme for his image. He wanted the song to be about the mystery of intimacy, not a blatant display of it. The creative differences were too great, and the collaboration fell apart. Madonna later famously said, "I started writing words, and he started naming it 'In the Closet'... it was a provocative title." When she walked away, Michael kept the title but rewrote the song to fit his own vision of a secret, intense romance.

 

Princess Stéphanie of Monaco With Madonna out, Michael needed a female voice for the spoken-word sections, the breathless, French-accented whispers that open the track.

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On the album liner notes, the female vocalist was credited simply as "Mystery Girl." This sparked a worldwide guessing game. Was it Madonna using a fake voice? Was it Janet Jackson? Was it Paula Abdul?

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The truth was far more glamorous. The voice belonged to Princess Stéphanie of Monaco, the youngest daughter of Grace Kelly and Prince Rainier III. Michael had met the Princess and they became friends. He felt her voice had the perfect mix of elegance and secrecy. She recorded her lines, "There's something about you... something about the way you look at me", creating a royal cameo that remained a secret for nearly a year before the press uncovered the truth.

 

The phrase "in the closet" is a culturally loaded term, almost exclusively used to describe someone hiding their homosexuality. By naming the song "In the Closet," Michael was playing a dangerous game with the media.

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Critics immediately assumed the song was a confession or a "coming out" anthem. However, the lyrics subvert this expectation. The song is actually about a heterosexual relationship that must be kept secret from the prying eyes of the world. It is about a woman ("she") who wants to keep their affair "behind closed doors."

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Michael delighted in this ambiguity. He used the provocative title to grab attention, only to deliver a song that was, ironically, about the desperate need for privacy. It was a masterstroke of marketing, using the rumors about his personal life to fuel interest in his music.

 

Beat Musically, "In the Closet" is a masterpiece of minimalist funk. Produced by Teddy Riley, the track is sparse and claustrophobic.

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• The beat is driven by a sound that resembles a heavy door slamming shut. This "thud" provides the backbone of the rhythm, reinforcing the theme of being locked away.

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• The synthesizer lines are short and plunky, leaving a lot of empty space in the mix. This empty space makes the song feel intimate, as if the listener is in the room with Michael.

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• The Sound Effects: If you listen with headphones, you can hear the sound of a camera shutter clicking rhythmically in the background, a subtle nod to the paparazzi that force the lovers to hide.

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The Whisper Michael sings almost the entire song in a whisper. This was a technique he had used before (on "Don't Stop 'Til You Get Enough"), but never to this extent.

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He sings close to the microphone, capturing every breath and mouth sound. It creates an ASMR-like effect before ASMR existed. The vocal delivery is rhythmic and percussive, especially on the chorus line: "She wants to give it... ah... she wants to give it." The sexual tension in his voice is palpable, proving to critics that Michael could be a convincing romantic lead.

 

Naomi Campbell and Herb Ritts To replace Madonna visually, Michael hired supermodel Naomi Campbell for the music video. Directed by legendary fashion photographer Herb Ritts, the video is stylized, sepia-toned art.

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Filmed in the Salton Sea desert in California, the video features Michael in a simple white V-neck undershirt and black jeans, dancing with Naomi. The chemistry is electric. The choreography is intricate but grounded, featuring a lot of sharp, angular movements that match the "door slam" beat.

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The video was a deliberate attempt to change Michael’s image. Gone were the military buckles and magic tricks. This was Michael stripped down, sweating in the desert heat, engaging in a physical courtship. It remains one of his most stylish and visually sophisticated short films.

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Released on May 8, 1992, "In the Closet" reached #6 on the Billboard Hot 100. It became a massive club hit, dominating R&B and dance charts.

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The song proved that Michael could survive the "New Jack Swing" transition. He took a genre known for being loud and busy and made it quiet and mysterious. It stands as the "grown and sexy" anthem of the Dangerous album, a track that feels less like a pop song and more like a secret whispered in the dark.