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"Black or White" is a song by American singer Michael Jackson, released by Epic Records on November 11, 1991, as the first single from his eighth studio album, Dangerous (1991). Jackson wrote, composed, and produced it with Bill Bottrell. Epic Records described it as "a rock 'n' roll dance song about racial harmony". "Black or White" reached number one on the US Billboard Hot 100 on December 7, 1991, making it the fastest US chart topper since the Beatles' "Get Back". The song stayed at the top spot for a total of seven weeks, making Jackson the first artist to have multiple number one hits on the Billboard Hot 100 in the 1970s, 1980s and 1990s. It is certified 3× Platinum by the Recording Industry Association of America (RIAA). Around the world, "Black or White" hit number one in at least 20 countries and territories, including the UK, Australia, Belgium, Canada, Cuba, Denmark, Finland, France, Ireland, Israel, Italy, Mexico, New Zealand, Norway, Spain, Sweden, Switzerland, Turkey, Zimbabwe and the Eurochart Hot 100. It was the best selling single, worldwide, of the year 1992. The music video for "Black or White" premiered on MTV, BET, VH1, and Fox, which gave them their highest Nielsen ratings ever at the time, as well as the BBC's Top of the Pops in the UK on November 14, 1991. The video was directed by John Landis, who previously directed Thriller, and featured Macaulay Culkin and George Wendt. It was co choreographed by Jackson and Vincent Paterson. It premiered simultaneously in 27 countries, with an audience of 500 million viewers, the most ever for a music video. "Black or White" was honored with the first ever Billboard No. 1 World Single award.

"Black or White" was written and recorded over 18 months starting in early 1989. Michael Jackson hired producer Bill Bottrell to help him craft a new sound, one that would shift his style away from his earlier work with Quincy Jones. Bottrell had already worked with Jackson on Victory (1984) and Bad (1987), the latter collaboration performed at Hayvenhurst, Jackson's estate in Encino, California. Jackson invited Bottrell to join him producing and composing songs at Ocean Way Studios in Los Angeles in late 1988, but none of the material from several weeks of sessions there made it to the album. In early 1989, the project was moved to Westlake Audio in West Hollywood, and one of the first things Jackson did was to hum the main riff of "Black or White" to Bottrell, who interpreted the tune on guitar, using a Kramer American Series electric guitar plugged into a Mesa Boogie amplifier, miked with a Beyerdynamic M 160. Jackson also suggested the song's rhythm with his voice, and Bottrell programmed this rhythm into an E mu Systems drum machine. Bottrell augmented the pattern with samples from an Emulator III. His Atari computer ran a MIDI editing program by Hybrid Arts; Bottrell and Brad Buxer used the program to tweak the percussion timings to give more of a swing feel. Jackson recorded his main and backing vocals into a Neumann U47 microphone. Bottrell said that throughout the next 18 months of changes to the song, Jackson's initial scratch vocal was left in place, and it appears on the final version. After two days of work, the song had vocals, drum sounds and electric guitar. Bottrell added an acoustic guitar part using a Gibson LG 2 built in the 1940s, a robust model with a big country sound reminiscent of Gene Vincent's classic rockabilly style. Jackson became busy working on other projects, and "Black or White" languished for a few months. The song was picked up again when Bottrell's part of the album project moved to Record One in Sherman Oaks. Bottrell and Jackson felt that the song had two big gaps in the middle, and they determined to fill them. Jackson wanted a heavy metal guitar to fill one of the gaps, so he sang the part he wanted, including chord arpeggiations, to session player Tim Pierce who performed it on a Les Paul plugged into a Marshall stack. Michael Boddicker added the sound of a high speed guitar by using a Roland sequencer, assisted by Kevin Gilbert. Bottrell blended two different bass sounds, primarily Bryan Loren playing a Moog keyboard bass, augmented by Terry Jackson playing an electric bass guitar. (Terry Jackson was unrelated to Michael Jackson. Terry was discovered by Thomas Dolby, and played bass in 1988 on Aliens Ate My Buick, co produced by Bottrell.) Bottrell replaced some of the E mu default rhythm samples with live drum samples taken from an Akai machine. The song's main guitar riff, originally played by Bottrell, is often incorrectly attributed to Guns N' Roses guitarist Slash. Slash's guitar playing is actually heard in the skit that precedes the album version of the song, and he did play the main riff during several live performances of the song (plus several other songs), including at Jackson's appearance during the 1991 MTV 10th Anniversary show. The two teamed up for an energized performance of “Black or White”, after which Slash destroyed his guitar by throwing it into the dashboard of a prop car on stage, complete with explosives and fireworks.

"Black or White" was picked as the first single from the album Dangerous. An alternate version was first heard by Sony executives on a plane trip to Neverland, as the third track of the promotional CD acetate. It began to be promoted on radio stations the first week of November 1991 in New York and Los Angeles. "Black or White" was officially released one week later, on November 5, 1991. "Black or White" entered the Billboard Hot 100 at number 35. A week later it shot up to number three and in its third week, December 7, 1991, it ascended to number one, making it the fastest chart topper since the Beatles' "Get Back", which also won the Hot 100 in just three weeks in 1969. It closed the year at number one, and remained at the top of the singles chart into 1992 for a total of seven weeks, making Michael Jackson the first artist to have number one popular hits in the 1970s, 1980s and 1990s.

Reviews of the song were generally favorable. In an retrospective review, Chris Lacy from Albumism stated that it "merges classic rock with soulful crooning in a call for racial unity." Stephen Thomas Erlewine of AllMusic highlighted the song. Upon the release, Larry Flick from Billboard described it as a "surprisingly sparse, but instantly gratifying pop/rocker that reveals his grittiest and most affecting performance in years." He noted further that the guitar appearance by Slash and rap cameo by Bill Bottrell is "purely incidental". Clark and DeVaney from Cashbox stated, "The unmistakeable voice and style are street hip and slick, with a catchy melody and some untraditional acoustic guitar work. There is just a hint of both George Michael and Prince in the production." David Browne from Entertainment Weekly praised the song, adding, "He still knows how to fashion a hook that will take up permanent residence in your brain (away from its video, Black or White is spare and effortless)." Alan Jones from Music Week named it Pick of the Week, commenting, "A bit of patchwork quilt, and something of a disappointment on first hearing, but ultimately it reveals itself as a killer, adding up to far more than sum of its parts. This will go all the way." A reviewer from People magazine stated that "the simple, spry rock riffs" that power the song is "surprisingly effective". Rolling Stones Alan Light in his Dangerous review, compared the song unfavourably to "Beat It": "Neither this slow burn solo nor the Stones derived riff on 'Black or White' offers the catharsis of Eddie Van Halen's blazing break on 'Beat It'". Ted Shaw from The Windsor Star felt the song "is quite remarkable, a nearly perfect pop confection", adding, "It is the best thing Jackson has produced since Thriller. The Pazz & Jop critics' poll ranked "Black or White" at number 19. In 1992, Larry Flick commented on the remixes of the song, "Thanks to deft postproduction by David Cole and Robert Clivillés, the cut kicks a potent groove that nicely complements the original tune's kinetic pop/rock nature."

The Clivillés & Cole remixes for "Black or White", released as a promotional single in 1992, also charted on many European countries. In the UK, it reached number 14, and in Ireland, number 11. The promotional single also surprisingly peaked at number 18 in Australia. Despite the favourable European response to this remix, it was never included on a Michael Jackson album or compilation, except on the third disc of the French & UK versions of Jackson's greatest hits album King of Pop.

The accompanying music video for "Black or White" was directed by John Landis, who previously directed the "Thriller" music video (1983). It was filmed from late September to early October 1991. It was choreographed by Jackson and Vincent Paterson. It contains a Dolby Surround sound mix. Along with Jackson, the video features Macaulay Culkin, Tess Harper, and George Wendt pictured as a family unit in the opening scene, which the Los Angeles Times criticized as "almost exactly a replay" of the 1984 Twisted Sister video for "We're Not Gonna Take It". The dance scene with the Native Americans shown in the video was filmed at Vasquez Rocks Natural Area Park in Agua Dulce, California. The Native American dancers used their own traditional wardrobe and became the first Native Americans in a non Native American music video. The scene where Michael Jackson and a dancer appear on the freeway was filmed at 11779 Sheldon Street in Sun Valley, Los Angeles. The visual effects used to morph faces into one another had previously been used only in films such as Willow and Terminator 2: Judgment Day. The morphing visual effects were created by Pacific Data Images. It premiered on MTV, BET, VH1, and Fox (giving them their highest Nielsen ratings ever at the time) as well as the BBC's Top of the Pops in the UK on November 14, 1991. and Hopak dancers. Jackson walks defiantly through visual collages of fire (declaring "I ain't scared of no sheets; I ain't scared of nobody"), referring to KKK torch ceremonies. Culkin and other children (including Michael's niece Brandi; Wade Robson; and Mark Pugh and David Shelton of Another Bad Creation) perform the rap sequence. At the end of the video, people of different ethnicities and nationalities dance and morph into one another. In the extended version of the music video, after the song, a black panther walks out of the studio into an urban street and transforms into Jackson, who dances furiously, similar to the 1990 LA Gear commercial. He destroys a glass beer bottle, a building window, and a parked car. He tears off his shirt and screams with grand drama as the hotel neon sign falls. After his damage and rampage, he re emerges as a panther. Finally, Bart Simpson from The Simpsons jams to the song while watching it on the TV. Homer yells at him to "Turn off that noise!" Bart replies, "Chill out, Homeboy." Then, Homer angrily turns the TV off. The static then cuts to a close up of Jackson with the tagline "prejudice is ignorance".

Controversy was generated concerning the last four minutes of the original music video. A black panther walks out of the studio and then morphs into Jackson.

In 1991, "Weird Al" Yankovic recorded a parody of "Black or White" titled "Snack All Night", which was never released. Although Jackson was a long time supporter of Yankovic's work and had approved past parodies, he told Yankovic that he was reluctant to approve a parody of "Black or White" because of the message of the song. Yankovic believes that Jackson's rejection of the parody was ultimately for the best, because he was unsatisfied with the quality of the song and its scrapping left room on his next album for "Smells Like Nirvana", one of his biggest hits. The music video, particularly the panther segment, have been referenced or parodied by television shows and artists, notably by Saturday Night Live and In Living Color. Comedian Chris Rock joked that he was angry because Jackson had smashed his car. In 2012, the television show Glee covered the song in the episode "Michael", it features primary voices from Kevin McHale, Lea Michele, Chris Colfer, Amber Riley and Naya Rivera, and backing vocals from the rest of the cast. Jenna Ushkowitz and Darren Criss are not featured in the song or the performance. This cover debuted and peaked at number 64 on the Billboard Hot 100, number 42 at Billboard Digital Songs, and number 69 at Billboard Canadian Hot 100 chart at the week of February 18, 2012.