sign in sign up
<<
Home , All I Do Is Think of You, A Little Bit of You, Dancing Machine, Debbie Rowe, Ease on Down the Road, Forever Came Today

JACKSON : Remembering the King of Pop

by Valerie Mikell

During an interview at the height of his career, was asked, “What do you know for sure?” He replied, “I’m still learning…I can’t say I know anything for sure.” By that time, he’d been performing for more than three decades. He’d been crowned The King of Pop. He’d already released the world’s best selling , which also earned a record-breaking eight Grammys during one show. If someone had asked him that same question little more than a decade later, what would he have replied?

Reflecting on the dramatic twists and turns his life had taken, he may have reminded us that he knew he was talented. He knew he was flawed. And he realized that he was only human. Until his sudden passing at the young age of 50, Michael and the world may have forgotten that he was just a man.

Much like Michael Jackson, the legends or icons we revere are not born into wealth or fed from birth with a silver spoon. They come from families filled with regular folk who work at ordinary jobs in the hopes of keeping food on the table. What is it that drives the artists and performers we idolize? Is it a need to stand out and showcase their individuality? Is it the obligation to make good of the gifts that have been bestowed upon them? Is it the desire to provide a better life for their families? Many of these things may have contributed to the success of Michael Jackson, who began his musical journey alongside his and whose solo career catapulted himself to mega stardom. But there’s also something to be said for that “it factor,” and the path he carved out for himself to be become musical royalty…it was his destiny. Born to Joseph and , the path of Michael Jackson’s life seems as though it was pre-destined to be extraordinary.

HUMBLE BEGINNINGS

Joseph Walter Jackson was born in Fountain Hill, on , 1929 to Samuel Jackson, a schoolteacher, and Crystal Lee King, a housewife. He was twelve years old when his parents split and when his father moved to Oakland, California, Joseph went with him. When he turned eighteen, he moved East , Indiana, where his mother lived and began boxing in the Golden Gloves.

Kattie B. Screws was born on May 4, 1930, in Barbour County, Alabama to Albert Screws and

Martha Mattie Upshaw. Kattie had polio as a child, and it left her with a slight limp that’s still slightly visible. At age four, her family packed up and ventured north to East Chicago, where they would legally change Kattie’s name to Katherine Esther Scruse.

Joseph and Katherine first met in 1949. He was a smooth-talking, married 19-year-old. She was a reserved and impressionable 17-year-old. Their connection was strengthened by their mutual of music. When Joseph realized that Katherine was supportive of his dreams of making it to , he had his marriage annulled and they quickly tied the knot on November 5, 1949. They moved into a two-bedroom bungalow on the aptly named Jackson Street (a coincidence?) in nearby Gary, Indiana, with the hopes of eventually making it to California where Joseph could pursue his music.

Of course, Hollywood was in the cards, but it would take them many years and lots of sacrifice to get there. In the meantime, Joseph took a job at the local steel mill as a crane operator and Katherine became a dutiful housewife. When the couple began having children, they kept coming and coming, over a span of sixteen years. The eldest, Maureen Reillette “Rebbie” was born on May 29, 1950. Then came Sigmund Esco “Jackie” on May 4, 1951; Toriano Adaryl “Tito” on October 15, 1953; Jermaine

LaJuan on December 11, 1954; Latoya Yvone on May 29, 1956, Marlon David on March 12, 1957;

Michael Joseph on August 29, 1958; Steven Randall “Randy” on Oct.29, 1961, and finally Janet

Damita on May 16, 1966. In a house filled with rambunctious boys who yearned for the attention and respect of their outgoing father and girls who adored their soft-spoken mother, 2300 Jackson Street was a lively home.

Joseph had put aside his aspirations of pursuing music full-time in order to support his growing family.

But even after long days working at the steel mill, he carved out some time to play with his in a group called The Falcons. They played local clubs, hoping to get discovered and get an offer for a record deal. But when Joseph finally realized that The Falcons would not be his ticket out of

Indiana and onto the “,” he set his guitar down…and his son Tito picked it up. Joseph had “laid down the law” that no one in the family was to touch his guitar, but once he heard Tito play and the rest of the family perform, he knew raw talent when he saw it. He also saw in them his golden ticket into show business, an opportunity he thought had passed him by. He quit his job at the steel mill to focus full-time on managing a new group he formed, consisting of his three eldest sons: Tito, Jackie, and

Jermaine and two local boys. They performed in local venues for about a year, until the two local boys and the Jacksons went their separate ways. And it wasn’t until the introduction of their replacement in

1963, none other than 5-year-old Michael, that the ’s entire world began to change.

HOW LEGENDS ARE MADE— YEARS

When Michael began singing with his brothers, he didn’t start of as the lead . But soon enough he captured the spot that belonged to his older brother, Jermaine, and performed more naturally than any five-year-old should. His voice and stage presence were influenced by the sound he loved so much. He fashioned his high-energy dance moves after his idol, . When

Michael began to perform in front of audiences, the young charmer with the high-pitched croon and fancy footwork immediately captured audiences. As shy and sweet as he was, Michael was lavished with attention, both on and off the stage—he simply commanded it. Marlon soon joined his brothers, and the Jackson Brothers became the Jackson 5 (a.k.a. The Jackson Five, The Jack5on Five or The

Jackson 5ive.) Joseph began venturing outside of Gary and going on the road with his boys, leaving

Katherine at home with the remaining children.

On the road, the Jackson 5 sang cover of their favorite Motown artists. Their popularity grew as they performed locally in Indiana during the week, and on weekends they loaded up and travelled by van to play in the big cities—Chicago, , and New York. While they were touring, they also found time to record a single. “Big Boy”/“You’ve Changed,” which was released by Steeltown Records, a record company located in Gary. The A-side, “Big Boy,” achieved regional success, but never had enough steam to propel them to the national airwaves.

Joseph and Katherine did their best to keep their children’s lives regimented. Katherine, by now a devout Jehovah’s Witness, made sure the boys had a comfortable home and would often sew the costumes for their performances. As a father and a manager, Joseph was a strict disciplinarian and relentless with rehearsal schedules to ensure their performances were flawless. Their restricted lifestyle and unforgiving schedule would perhaps take its toll on the boys later in life—especially Michael, being the youngest—but all their hard work eventually paid off. In 1967, they were invited to perform in the Amateur Night Competition at the world renowned in , New York, a venue where many famous African-American musicians got their start after winning the competition.

Ella Fitzgerald, , , and & The Pips are just a few of the big- name performers who won over what has always been arguably the toughest crowd to please in the entire world. After Tito, Jackie, Jermaine, and Marlon took the stage, and little Michael belted out

“Twist and Shout” by , they had danced their way into the hearts of the Apollo audience.

Needless to say they won the competition, and became another part of the Apollo legacy that paved the way for yet another unknown act on the road to stardom. This catapulted the Jackson 5 into the era of

Motown. But the story of when and exactly whom brought them to the attention of Motown head,

Berry Gordy, Jr., has been a hotly debated detail of the Jackson 5 legacy for decades.

By some accounts, it was who told about the Jackson 5 after she watched them perform at a mayoral benefit in their hometown. In other accounts, it was Gladys Knight who saw them perform at the Apollo when she supposedly told Gordy about this hot new group. But the most widely accepted account of how the Jackson 5 became a part of the Motown family is through Bobby

Taylor. In 1968, the Jackson 5 opened for Bobby Taylor and The Vancouvers, a Motown-signed group, at Chicago’s Regal Theater. Bobby Taylor was so blown away by the performance that he contacted

Suzanne DePasse, a Motown record executive, and they scheduled the Jackson 5 for an audition for Motown Records. Berry Gordy had heard about the Jackson 5, but was reluctant to work with them since he had already had his hands full with developing another young artist—.

However, once he saw the Jackson 5 perform “I Got the Feelin’” by James Brown in the video-taped audition provided by Taylor and DePasse, he was taken aback by the group’s musical maturity, and their breathtaking stage presence. He signed them to Motown Records in March of 1969.

The Jackson 5 headed to Motown’s Hitsville USA recording studio, located in , . They recorded covers of some of the most popular hits, including “Stand!” by , and

“Who’s Lovin’ You” by . Even has since admitted how impressed he was to hear Michael belt out the mature he wrote and sang himself for “Who’s Lovin’ You,” with all the passion of a full-grown man. After recording the two tracks in Detroit, Berry Gordy moved

Joseph and the Jackson 5 to to be closer to the new Motown studio and to start recording their first album. Joseph’s dream had come to fruition and he finally made his way out to California.

But Katherine would have to wait a bit longer to join him. She and the rest of the children stayed in

Gary, waiting for Joseph and the boys to settle in and he would send for them when the time was right.

THE OF MOTOWN

It was high time for the Jackson 5 to be seen and heard—everywhere. Their first televised performance was at the pageant in in 1969 and they sang a cover of the funky

Isley Brothers’ , “It’s Your Thing.” But when Motown wanted to roll out the red carpet for their newest protégés, they enlisted the help of one of Motown’s most famous, highly respected artists at that time, Diana Ross. Ross formally introduced the group at a Beverly Hills club called “The Daisy,” signaling that the Jackson 5 was blessed by the magic touch of Motown and signaled that they had finally arrived. They recorded their first album for Motown entitled Diana Ross Presents the Jackson 5.

The singles included covers of popular Motown songs including the Miracles’ “Who’s Lovin’ You”,

Stevie Wonder’s “My Cherie Amour”, and ’s “Chained.” And it also included the original single, “”, which put them at the number one spot of the Billboard Pop and Black

Singles chart, helping the album sell 5 million copies. They performed the single on the “

Show” and “” and these high profile appearances brought them the national attention they needed. “I Want You Back,” was also a milestone for 12-year-old Michael. He was officially the youngest artist ever to record a number one song.

The Jackson 5’s music was sweeping the country. Their newly gained national attention was welcomed, but also provided no room for mistakes. Michael and his brothers ate, slept and breathed their music.

Rehearsals were grueling and all-consuming and the pressure to get their performances just right was overwhelming. And adding even more stress in their lives, they were getting attention everywhere they went. They couldn’t set foot in a store without being mobbed. They couldn’t go to the movies or out to eat without being recognized. And finally, they could no longer attend school because their presence created pandemonium in the classroom. After the decision was made for them to be tutored at home, their lives had become more sheltered than they had ever imagined. Did they sign up for all the notoriety and lack of privacy? Probably not. But in hindsight, would they have given up all the spoils of fame at such young ages? It’s doubtful. They would just continue to make the sacrifices necessary to further their careers and carry the torch of the legendary stars of the Motown dynasty.

The Jackson 5 released their second Motown album, ABC in 1970. The title track broke new ground and managed to steal the number one spot from The Beatles’ “Let It Be.” The second single, from ABC,

“” also reached number one on the charts. There were many other notable songs off the album, which included Motown covers originally performed by the Funkadelics, Stevie Wonder, and . The album peaked at number four on the Billboard chart and hit number one on the

Black chart, selling more than 5 five million albums worldwide. The unique Jackson 5 sound, fondly known as “bubblegum soul” had finally gained acceptance in and they became fast-rising singing sensations.

Their next album, simply titled, , was also released in 1970. It featured the Jackson 5’s fourth consecutive number one single on the Billboard charts. “I’ll Be There,” was a syrupy sweet, melodic love song that compelled the listener to sing along. “Mama’s Pearl” reached number five and the singles, “Going Back to Indiana” and “Darling Dear” were also huge hits off the album. The Third

Album, which peaked at number four on the Billboard Charts and reached number one on the R&B charts, is arguably one of the most successful Jackson 5 albums ever recorded. And then, just like the greats, and , the Jackson 5 recorded a holiday album filled with classics. The Jackson 5 Christmas Album was also released in 1970 and went to number one on the

Billboard charts, selling more than 3 million copies. “I Saw Mommy Kissing Santa Claus” and “Santa

Claus is Coming to Town” were the biggest singles off the album and still enjoy popularity as all- time favorite holiday songs.

By this time, there were some changes happening within the Jackson family. When Berry Gordy moved the Jackson 5 to Los Angeles, Joseph and the eldest boys were living with Berry while Michael and

Marlon lived with Diana Ross. Of course, tender-hearted, pre-teen Michael couldn’t help but have a crush on the mature and glamorous Ross. It’s often been said that Diana Ross was always Michael’s first love and they would share a special bond that would last a lifetime. While the entire family was still living apart, Joseph was searching for a decent home in Los Angeles for Katherine and the rest of the family and he finally found one. Rebbie had already left the nest, having gotten married to her childhood sweetheart at eighteen. However, the rest of the Jacksons packed up and left Gary. They first moved into a two story home in Los Angeles, but desiring a larger home, they quickly purchased and moved into a lavish estate in the Hollywood Hills, known as “.”

The year 1971 was huge for the Jackson 5. Even though they were still so young, they had already recorded enough material to release a at this point. It featured their most popular songs to-date and included a new song that topped the charts, “Sugar Daddy.” Everywhere one might turn, they saw the Jackson 5—from albums and magazine covers to coloring books and stickers. The

“Jackson 5ive” Saturday morning cartoon debuted during the fall on ABC featuring the brothers performing two songs per show and skits filled with horseplay and fun adventures. Although the

Jacksons did not provide their own voices for their characters, it was a showcase for their musical talent and boosted their image as fun-loving American teenagers. They also taped and aired two primetime specials, “Going Back to Indiana” and “The Jackson 5 Show.” And aside from all the promotion they were doing, they recorded and released their fourth studio album, Maybe Tomorrow. The title song was a major hit, but the single “” is perhaps the most fondly remembered tune off of the album that sold more than three million copies.

SOLO AMBITIONS

Michael was enjoying singing with his brothers and the success of the Jackson 5, but there was clearly more in store for him. Motown saw that, at such a young age, Michael had the talent and discipline to carry a song and command the spotlight on his own. The 13-year-old released his first solo single, “Got

To Be There” (the album, named after the first single, was later released in 1972,) which reached number four on the Billboard charts. “Michael-mania” began, and his success paralleled that of Donny

Osmond, another from a large musical family who achieved solo stardom. The album, Got To

Be There, featured the ever popular “Rockin’ Robin,” and the covers of ’ “Ain’t No

Sunshine” and ’s “You’ve Got A Friend.” Michael Jackson’s solo career was off to a great start and the cover of the album didn’t hurt sales one bit. The album cover, showing a photo of Michael in his large hat, peek-a-boo , and megawatt smile, was just the perfect image to make young teenage hearts swoon.

Ben, Michael’s second solo album, was a much bigger success than . Yes, the title track,

“Ben,” was a moving tribute to a mouse. It was the theme song to the film, Ben, the sequel to the rat movie, Willard. Michael’s squeaky-clean image warranted that he had no other connection to the movie or its promotion, but he did reap the benefits of its accolades. The single, “Ben,” went to number one the charts, won a Golden Globe for Best Song in 1972, and was nominated for Best Original Song at the Academy Awards in 1973. Meanwhile Michael had to adjust to working on a project that didn’t involve his brothers, while dealing with other, more personal changes. If you take a look at the album cover for Ben, Michael was fourteen…and looking less and less like a little boy and more like a young man. He was experiencing what every teen goes through—that awkward stage where puberty wrecks havoc on the body, emotions, and self-confidence. With pimples budding, facial structure changing, and mounting insecurities, Michael’s growth into manhood was becoming harder to hide, especially while constantly in the public eye. Although he put on a brave front and had a “the show must go on” mentality, off-stage he dealt with his private pain in silence.

During this time there was also a major shift in the tight unit of the Jackson family. Joseph Jackson had been slowly losing his tight rein on his sons’ professional and private lives. The managerial duties he held since the group’s inception were dwindling under Berry Gordy and the power Motown wielded in the music industry. By this time, Gordy was a mentor to the Jackson boys, especially Michael, and had been making the crucial decisions about music selections, songwriting, performances, and promotional tours. In addition the Jacksons were branching off, doing solo projects and leaving Hayvenhurst to lead separate lives and start their own families—in essence, they were growing up. Tito married his high school sweetheart in 1972. Jermaine began his own successful solo career that same year with the album, Jermaine, and the hit “Daddy’s Home,” a cover of Shep and the Limelites’ classic ballad. The following year in December he married Berry Gordy’s daughter, Hazel, making the Jackson family connection to Berry Gordy even more intertwined. And Jackie recorded his first (and unfortunately, last) solo effort that ended up on the cutting-room floor and was never released by Motown.

The changes occurring in Michael’s personal and professional life did not detour his pursuit of a solo career. He released his third solo album in 1973 entitled Music and . Michael’s voice was going through an awkward period that could definitely be heard on this album. Gone were the squeaky, childlike vocals…his voice was growing deeper and deeper in range, and it was becoming harder to hit the high notes his audience was accustomed to. The album was not a top-ten release like his other solo releases had been. “The single “With A Child’s Heart” made it to number 14 on the R&B charts, and the songs “,” “Happy,” and the title track were released overseas with lackluster results.

Perhaps it was Michael’s voice in transition, or the lack of promotion the album received as he was busy on a world tour with the Jackson 5, but the album did not live up its expectations. This trend would reverse itself, as Michael was destined to be a star.

It must have been something in the air. The Jackson 5’s fifth release, Looking Through the Windows sold more than 3 million copies and the title track and single, “,” were huge hits.

Although the album was a commercial success, behind the scenes, the Jackson 5 were going through an internal struggle with the Motown label. The Looking Through the Windows album cover had a different feel than their other covers. The Jackson 5 weren’t bright and smiling, or goofing around like they had been on earlier album covers. This cover photo showed them as pensive and distant, a reflection of the turmoil they were probably experiencing in their respective careers. Sure, they were a successful music group, but they were saddened by their lack of creative control and contribution to their projects. They wanted to do more than simply supply the vocals. They wanted credits and to play their own instruments. And they wanted to leave behind the “bubblegum soul” that they had made popular and give their audience—who was maturing with them—lyrics and a sound that they could relate to. Motown was reluctant to disturb the Jackson 5 formula that had worked for so many years, fearing that the group would lose their popularity in changing their sound. But despite all the contention between the group and Motown, and G.I.T.: Get It Together were released in 1973 as their sixth and seventh studio albums.

The albums attained measurable success, selling almost 3 million and 2 million copies respectively.

Skywriter produced just one hit, a remake of “Touch,” the title song off of the Supreme’s fourteenth album. The sensual ballad signaled a change was coming for the Jackson 5. The song’s sexually- charged lyrics combined with lead-singer Michael’s deepening voice was quite a shock for their long- time fans. And one look at the album cover, and anyone could see, the young and wholesome Jackson 5 were men…who learned or were learning about the nature of the lyrics they were singing. It was undeniable—Motown could no longer market the Jackson 5 as the boys of “bubblegum soul.”

G.I.T.: Get It Together was a revolutionary album for the group, despite its lack of commercial success.

The album cover simply displayed the album title in large, abstract lettering accompanied by the “J5” logo—there was no customary Jackson 5 photo. The songs were funkier, and unlike previous albums, each member of the group had the chance to sing lead vocals. The title track enjoyed moderate success, along with a high-spirited, lengthy version of ’ “.” But the last track on the album, “” topped the charts at number two, and helped to in the era. And it provided the perfect background music for the popular dance that still manages to make its way on the dance floor today, “the .”

The Jackson 5 rode the wave of their new music, making “Dancing Machine” the title—and the title track—of their next album, released in 1974. “Dancing Machine” was definitely the most successful single, but the catchy tracks, “Whatever You Got, I Want” and “I Am Love” made their way up the charts as well. But as the group was releasing albums at a rip-roaring pace, their enthusiasm for

Motown and the company’s creative direction, or lack thereof, was still waning. These feelings culminated in their ninth and final album under the Motown label, entitled Moving Violation, released in 1975. The album was a disappointment by Jackson 5 standards, selling just over 1.5 million albums worldwide. Moving Violation continued the disco-influenced sound from their previous album and produced the hits “,” a remake of the Diana Ross and the Supreme’s song , and

“”, a soulful ballad that would itself be remade more than 20 years later by the popular R&B group, Troop. Later that year, then 17-year-old Michael released Forever, Michael, his fourth and final solo album on Motown Records. The album sold 4 million copies and the singles, “Just

A Little Bit of You” and “We’re Almost There” reached the top ten on the R&B charts and top 40 on the pop charts. Forever, Michael was a very apt title for this album, and it carried a great deal of symbolism for the Jackson 5 and their musical journey. They would soon bid Motown Records farewell and venture on to the next phase of their respective careers.

EVOLUTION: FROM THE JACKSON 5 TO SIMPLY—THE JACKSONS

Even after the popularity of “All I Do Is Think of You,” and Forever, Michael, the Jackson brothers were still musically unfulfilled. They had yet to get a chance to take the reigns and gain control of their careers. They were constantly writing and producing new songs behind the scenes that they hoped

Motown would consider for release. But Motown Records wasn’t giving them that chance. So, when

Joseph, still their manager, didn’t get the sense that Motown was giving enough weight to their concerns, he did what any good businessman would. He went looking for a better record deal…and would settle for nothing less than a contract that would provide his boys more creative control of their music and image. He found the Jackson 5 a new home at CBS Records.

When they severed their ties with Motown, the group left behind more than their contract, their music mentor, Berry Gordy, and the Motown family. They had to surrender their Jackson 5 name and leave

Jermaine behind, who chose to remain at . Why did Jermaine decide to stay? Perhaps he felt an allegiance to his new father-in-law, Berry Gordy. Or he may have finally found the opportunity to concentrate solely on his own career using the hit-making know-how of Motown Records. Whatever the reason, losing Jermaine was a significant blow to the group. And giving Motown ownership of the

Jackson 5 name was the second blow. Owning the Jackson 5 name would enable the record company to re-release their music for years to come. Nevertheless, the group cut their losses and accepted the circumstances they were dealt as a result of the new deal. They replaced Jermaine with their youngest brother, 14-year-old Randy. And they went to CBS with a new name that was simple and still recognizable…The Jacksons.

Not only were the Jacksons looking to expand their musical direction, but they were also looking to grow the family dynasty. In 1976, they signed on for a new half-hour that aired

Wednesday nights on CBS—terrific exposure for the group. The Jacksons starred all of the Jackson brothers (except Jermaine), and introduced their sisters Rebbie, LaToya, and Janet, who were also multi-talented in their own right and finally getting some of the Jackson spotlight. The family performed numerous skits and musical numbers and many popular celebrities made guest appearances, such as , Sonny , and . The youngest in the family, Janet, made her grand entrance into show biz with her sassy and unforgettable Mae West impression, a clip that will always be a favorite of her loyal fans. By the time the show was cancelled in the spring of 1977, the

Jacksons were riding high on the success of their first album released under the Philadelphia

International label (a division of CBS), titled The Jacksons.

“Enjoy Yourself” was a bonafide top ten hit, an up-tempo track that made it impossible for club-goers not to hit the dance floor. And for the first time, the brothers were allowed to contribute their own songs to the album. The Jacksons collaborated on writing the single, “Style of Life,” and Michael earned sole author credit for “Blues Away.” The Jacksons was groundbreaking for the group in other ways too, as it was their first album to go gold, and the single, “,” was the first of their singles to ever reach number one on the UK charts. Their next album, Goin’ Places, was the last album under the Philadelphia International label before they moved to another CBS division, .

Goin’ Places, reached number one on the Billboard R&B charts, but failed to reach the Top 40 Pop chart. Even though it sold just over half a million copies, each of the Jacksons had an opportunity to be the lead singer on the album and one song they wrote, “A Different Kind of Lady,” was a runaway hit.

In 1978, disco music was approaching the height of its popularity. And The Jacksons knew that this genre provided them with the freedom to further cement their new image and sound. They finally had the green light to write and produce an album, an opportunity they had been yearning for many years.

The album Destiny was released, and while it skyrocketed to the top of the charts, the Jacksons embarked on a worldwide promotional tour. “Shake Your Body Down to the Ground,” and, “,” both secured spots at the top of the Pop and R&B charts. While it didn’t rival the sales for many of their Motown releases, Destiny sold an impressive 1.8 million copies. It was the first

Jackson album to “officially” go platinum—the number of albums sold for their previous releases were never submitted by Motown to the RIAA (Recording Industry Association of America).

At the ripe age of seventeen, Michael was now a platinum artist and seasoned performer,. His days of being known as the adorable lead singer of the Jacksons were over, thanks to his burgeoning solo career. It was time to move beyond the tight rein his family and his older brothers with whom he had been so closely linked. It was time for him to begin exploring his own identity and asserting his independence. What better way for a wealthy, good-looking, red-blooded American teenage boy to venture out on his own than through dating. After all, Michael was showing a growing interest in girls and began his quest for female companionship innocently enough by spending time with twelve-year- old actress Tatum O’Neal, daughter of famed actor Ryan O’Neal. They were very public with their relationship and were often photographed together at exclusive Hollywood parties. The pair was thought of as being wholesome and inexperienced, and their “young love” lasted for only a year.

Michael then met and began dating thirteen-year-old model and actress . Much like

Michael’s connection with O’Neal, this relationship resembled more of a good friendship. Michael would count on Shields to be a good friend and a lovely date on his arm for his numerous public appearances for many years to come.

By now, Michael was a solo sensation in his own right, putting out albums while enjoying the dual success of performing with his brothers. Motown had given him the opportunity to branch out on his own, and even though he was now signed to Epic, he worked on yet another Motown project. , an adaptation of L. Frank Baum’s classic novel, The Wizard of Oz, was a critically acclaimed stage play running on Broadway in 1975. The play was set in the urban landscape of Harlem, New York and featured an entirely African-American cast. Motown Productions set its sights on bringing The Wiz to the big screen and filmed on the gritty streets of New York for pure authenticity. Many accomplished

African-American actors were cast in the film, including , , , and Mabel King.

When Michael was cast as the simple-minded but good-hearted character of the , he moved to New York for the role and brought his sister, LaToya, along to keep him company. The role opened many doors for him and helped to build upon relationships that he would value for his entire life. He was also reunited with his longtime friend, Diana Ross, who starred in the lead role of Dorothy. The two sang a for the film’s theme song, “,” which was a funky interpretation of The Wizard of Oz’s, “Follow the .” Although the movie was a critical and commercial failure, Michael’s performance garnered heaps of praise. His solo hit from the movie, “You

Can’t Win,” was a highlight in his role as Scarecrow and it was released as a single for Epic Records.

Michael also formed a professional partnership with , who served as the film’s musical producer, and to whom Michael would turn to for direction, collaboration and advice and play a huge role in his solo career.

EPIC INNOVATIONS

Was it Quincy Jones who asked Michael if he could produce his next solo album, or did Michael ask

Jones? Regardless of who made the first move, the end result of this collaboration was monumental for

Michael’s solo career—and for music history. The album, Off , was released in 1979 and it won a Grammy for Best R& B Vocal Performance the following year. Michael also dominated the

American Music Awards, winning for Best Soul/R&B Album, Favorite Soul/R&B Male Artist, and,

“Don’t Stop Till You Get Enough,” won Favorite Soul/R&B Single. The album sold more than 20 million copies worldwide, and four of the singles on the album made it to the top ten. The album was a culmination of musical influences from disco to rock to jazz, and the project showcased Michael’s vocal range and helped craft his sound—the hiccupy sounds and the “ooh’s,” “hee-hee’s,” and

“woow’s.” The title track, “,” “Don’t Stop Till You Get Enough,” and “,” are arguably the most danceable singles ever made and they immediately reached the top ten on the Billboard charts. In the promotional video released for, “Don’t Stop Till You Get Enough,” Michael was dapper in a tuxedo, with smooth moves and a Colgate smile to match. Dressed in silver sequins from head-to-toe, Michael revealed his burgeoning love for shimmer and flash in the video for, “Rock

With You.” The slow and beautiful, “She’s Out Of My Life,” captured the depths of a man’s pain over the loss of the woman he loves, and it also reached the top ten. You can actually hear Michael being overcome with real emotion and moved to tears during the recording. Two other songs on the album,

“,” and “I Can’t Help It,” didn’t make it onto the charts, but due to their popularity, these songs deserve honorable mention.

While Michael’s solo album was burning up the charts, The Jacksons released their second album under the Epic label. Triumph made its debut in 1980 and went platinum after it sold more than a million copies worldwide. “Can You Feel It,” and “,” both hyper-rhythmic dance songs, and the jazz-influenced, “,” (formerly known as “”) were the album’s biggest hits. The video for, “Can You Feel It,” was fun, futuristic, and served as the inspiration for the album’s promotional tour. The was—and still is—highly regarded as one of the most memorable tours in music history. The album and tour were so successful that they released The

Jacksons Live! in 1981. The album was a compilation of some of the Jackson 5’s greatest hits—as well as some of Michael’s solo singles—the group had performed while on tour. “I’ll Be There,” “Off The

Wall,” and a medley of their earliest Motown singles are just a sampling of the songs on the album.

When Motown realized how successful The Jacksons had become the label rode their wave of popularity and re-released, “One Day in Your Life,” a song from the Forever, Michael album, as a single. It performed well domestically, but it really climbed to the top of the charts internationally.

After the Triumph tour, Michael refocused his efforts on his solo career. As a huge fan of all genres of music, Michael idolized the Beatles. When he had the opportunity to collaborate with former Beatle,

Paul McCartney, he didn’t hesitate. The two teamed up on the duet, “,” which was released in 1982. The song featured Michael’s sweet and McCartney’s lullaby alto in a tug-of- war over a woman’s heart. Although it didn’t reach the top of the charts, “The Girl Is Mine,” bridged the gap between rock and R&B and performed well enough to be included on Michael’s next album release. His next solo album would be his biggest undertaking to-date and would be the defining moment in his career.

THRILLER: MOVES, MAGIC, AND MONEY

There’s no other way to describe it. It was no less than a piece of musical genius. Young and old knew who was responsible for this phenomenon and of its impact. There is no other album more significant to Michael Jackson’s career than Thriller, released in 1982. Michael wrote four of the album’s nine songs and Quincy Jones produced it. The first single, “,” was a silky R&B tune about a man involved in a nasty paternity suit. In the 80s, a song’s video was emerging as an integral part of its promotion and the fashionable video for “Billie Jean” certainly delivered. Michael’s debonair look and effortless moves left his loyal fans in awe and attracted scores of new ones. The next single, the inspired, “,” featured a solo by band rock legend and guitarist Eddie Van

Halen. The song’s anti-violence theme translated clearly in the video. Rival gangs meet on the gritty, steam-filled streets and just when you think someone is about to get hurt, they mix it up—not with brutal beat-downs, but with gyrating, hip-swinging, and finger-snapping dance moves. Leave it to

Michael to encourage hard-core gangbangers to put down their weapons and instead challenge each other to a “dance-off.” Michael received a Presidential Humanitarian Award from for

“Beat It” being used in anti-drunk driving advertisements.

“Thriller,” the title track off of the album, paid homage to the old-school movies of the past.

Vincent Price’s chilling voice opened and closed the song, adding just the perfect touch of terror. The video for “Thriller” was an unprecedented 14 minutes long, featuring costumes, makeup, dance numbers, and a graveyard set that were easily the most elaborate of any video previously made.

Michael also got the chance to poke fun at his own celebrity image by turning into a blood-thirsty werewolf and scaring the wits out of his beautiful date. Aside from taking the expectations of a video to a whole new level, the album also broke musical and racial barriers. Before Thriller, MTV did not play videos by R&B artists, catering exclusively to its rock-loving fan base. But Thriller was such a menagerie of rock, R&B, and that the music channel could not justify holding out on its audience any longer. When the video for “Billie Jean” premiered on MTV, Michael Jackson became the first African-American artist ever to appear on the popular music channel, and the demand for his videos was so strong that they played around the clock for months on end. Michael had undoubtedly paved the way for R&B, hip-hop, and music from artists of color to get regular airplay on a major music channel.

Thriller produced seven top ten hits and earned eight . Along with, “Thriller,” and

“Billie Jean,” the chart-toppers included the previously released duet by Michael and Paul McCartney,

“The Girl Is Mine,” “Beat It,” “Wanna Be Startin Somethin’,” “Human Nature,” and “P.Y.T. (Pretty

Young Thing).” “Wanna Be Startin Somethin’,” was a tribal-tinged, R&B hit. The rhythmic chants of

“yeah, yeah” and the undecipherable language that Michael sprinkled throughout made for an uplifting experience. The stirring ballad, “Human Nature,” was soulful perfection. The light jazz vibe could’ve qualified as elevator background music, but it was Michael’s breathy falsetto and sweet cries that distinguished it from the rest. Hands down, “P.Y.T. (Pretty Young Thing)” became the anthem for every girls’ night out. When it came on in the clubs or house parties, every woman felt like she was the sexiest specimen on the floor.

History was made on March 25, 1983. It was a historic evening at the Motown 25: Yesterday, Today and Forever event, held to celebrate the label’s anniversary and its contributions to . The night was filled with legendary performances by Marvin Gaye as well as the long-awaited reunion of the groups, The Supremes and The Miracles. Michael at first refused his invitation and had to be convinced to participate in the night’s festivities, and it’s to his benefit that he did. He and his brothers performed a few of their songs and then he returned to the stage alone. During his “Billie Jean” performance, it wasn’t the song that took your breath away, but a dance move that he did. It looked as though he was gliding across the stage backwards and his feet were barely touching the ground in his sequined jacket and signature sparkling glove. The whole scene was so overwhelming that the entire audience screamed with abandon and left those watching at home spellbound. The move, called “the ,” had made its official appearance. “The moonwalk” had been performed before in front of a national audience by dancer and member Jeffrey Daniels on the urban music show, Soul

Train. But Michael coined it and made perhaps one the most imitated dance moves in history.

But after the hype of the Motown event died down, tragedy struck Michael that very next year. He signed on to a 5 million dollar endorsement deal (the largest endorsement deal ever made at that time) with . The deal included a commercial shoot with his brothers at the in Los

Angeles. The format was concert-like, with a stage, a live audience, and all the flash and glamour the

Jacksons were known for. But during the filming, some of the pyrotechnics that were used caught

Michael’s hair on fire, causing second-degree to his scalp. It was a frightening experience, but in true Michael Jackson fashion—always thinking of his loyal fans—he gave a “thumbs-up” to the cameras as he was being wheeled into the ambulance. The gesture showed the strength of Michael’s character and his devotion to his fans. Unfortunately things were not going to go well for him. The burns to his scalp were extensive and life-altering. His hair probably never grew back the same as it had been, and it was often speculated that he wore wigs or hairpieces for the rest of his life.

After all of this, Michael joined his brothers for the final Jacksons album, Victory, which was also released in 1984. With the return of Jermaine, the Jacksons now consisted of six members. All the songs off of the album were written by at least one member of the Jacksons, and it included various styles of music. Although the album debuted in the top five of the Billboard charts, most of the songs on Victory didn’t fare as well. “Torture” enjoyed regular airplay and it was one of the two songs that had a with lots of airtime. It was a sexy song, and the video premise featured a beautiful, ravenous female spider who wanted to trap the Jacksons in her sensual web. Decked out in spandex, the brothers (sans Michael and Jermaine, who either couldn’t—or wouldn’t—make it to the video shoot) were surrounded by numerous special effects and it made for a visually arresting video. “Body” was the other song that had an accompanying music video, and it was the answer to every man’s dreams. A myriad of beautiful women, stretched and exercised in order to be chosen as a dancer for the Jacksons’ fictional video tryouts. Of course, the ending consisted of a funky dance routine with the Jacksons surrounded by a bevy of beauties. The song that wound up being the most popular off the album was

Michael’s duet with Rolling Stones lead singer, . “State of Shock” was a rock song, with a hint of R&B, and that’s why it wasn’t surprising that it did well on both urban and rock stations. As they begged their women to, “bring them to their knees,” Michael’s high pitched croon and Jagger’s deep, throaty wail were accompanied by a heavy guitar. With “State of Shock,” the gap was bridged between rock and soul music once again. All in all, the promotional Victory Tour that followed was successful, taking in about 175 million dollars. Although the Jacksons didn’t perform any of the songs from the Victory album, the fans were treated to some of the brothers’ best music, including Michael and Jermaine’s solo songs and many old Jackson 5 favorites. His next project would become a worldwide sensation, and a collaboration on a level unseen in the music world up until this point.

In 1985, the famine in Africa had gained worldwide attention. “” was conceived by actor, musician, and activist , and was consequently the only song off the album of the same name to be released as a single. Michael and were unanimously chosen as the , Quincy Jones and were the producers, and a group to be called, “USA for Africa” made up the singers. USA for Africa consisted of a veritable who’s who in the music industry—from rock and roll superstars like and , to country greats Kenny

Rogers and , to soul legends such as Stevie Wonder and the late . The cause brought together a rainbow of top tier artists from different backgrounds and the ensuing music video was an example of how Michael wished the world could be—people coming together in the spirit of love to help one another. The massive collaboration was a groundbreaking idea and the song reached number one on the US and international charts. Throughout the next year, the song and video was honored with numerous awards at the Grammys, the MTV Music Awards and the American Music

Awards. Aside from the accolades, sales of the single, and other promotional items, such as t-shirts, buttons, and the We Are The World: The Video Event video cassette tape, contributed millions of dollars in aid to the battle against hunger, both in Africa and in the US.

Later that same year, Michael came across an opportunity he couldn’t ignore, but also lost a friend in the process. Music publishing company ATV Music, was looking to sell the rights to the Beatles’ song catalog. Already a huge Beatles fan and having worked with Paul McCartney a few times—not to mention being one of the few people in the music industry that could actually afford to acquire the rights to such sacred music—Michael expressed interest in buying the rights. So did Paul McCartney. A bidding war ensued and Michael was victorious, at great cost. McCartney was not too happy to have lost out on the very pricey rights to his own group’s music. The competition created between the two severed their professional and personal relationship forever.

One relationship Michael was smart to keep, was his continued flourishing friendship with hit maker

Quincy Jones. For his next album, , Michael wrote numerous songs that he gave to Jones, who had the unenviable task of having to whittle them down. Before recording began, Michael hyped up Bad by publicly advertising that he would enlist some of the biggest stars in the business—Prince and Whitney

Houston, among others—for . The move did increase his fans’ anticipation of the album, but served as a letdown when Bad was released and included none of the collaborations he promised. Sure, it was impossible for the album to live up to hype he had placed upon it himself. But the lack of featured big named artists didn’t hurt him as much as it would have some other artist…Michael was able carry Bad all by himself.

While he was working on Bad, Captain EO was released exclusively at Disney theme parks. The 3-D, special effects–laden short film was directed by and produced by .

The science fiction-themed “good wins in the end” flick starred Michael as the fortuitous Captain EO and Angelica as his foe, and was perfect for the young Disney crowd. Michael contributed two songs to the film, “We Are Here To ,” and “.” The latter was released as a single and later appeared on the Bad project. Captain EO did well and ran for many years, and was even brought back to ’s theater in February 2010, due to overwhelming demand for it after Michael’s death.

IT WAS SO GOOD BEING BAD

As the perfect promotional vehicle to coincide with Bad’s release, CBS aired an evening special,

Michael Jackson: The Magic Returns in August of 1987. Included in the special was a very lengthy preview of the video for the album’s title song, directed by . The set-up for the mini- movie is as follows: Michael returns home to New York City from the suburban prep school he attends.

During the long train ride home, his upper-crust classmates disappear and he is thrust back into the icy- glares and emotional wall of the inner city. When he reunites with his old neighborhood buddies,

(featuring the first on screen appearance of actor , who co-stars as the devious ringleader) he realizes that he can no longer identify with them and participate in their petty theft crimes. In the deserted bowels of the New York City subway, when Michael is told, “he ain’t bad,” scores of stylishly-dressed dancers suddenly appear and Michael has the strength to tell his friends,

“your butt is mine.” This lengthy storyline was cut from the regular airings of the video which featured just the dance sequences and a frequently “crotch-grabbing” Michael dressed head-to-toe in black and metal.

Five songs released from the Bad album resulted in top ten hits. “” was an upbeat, carefree celebration of the wonderful feeling of being in love. “” was a rock-fueled raunchy retelling of a man’s weakness for a beautiful seductress. “” showcased

Michael’s introspective side and implored his fans to contribute to the betterment of their communities, no matter where they were around the world. “Just Can’t Stop Loving You” was a touching duet with singer . And “” was a splashy tribute to the image of the gangster, through both the lyrics and in the video. One of highlights from the video was one dance move in particular. In slick “zoot suits,” Michael and his dancers leaned forward at such an odd angle that it seemed humanly impossible. And it was…Michael created a special contraption to accommodate the dance move. This was a great example of his ingenuity and determination to make his performances unpredictable and memorable. Even though fans were glad to see his return to the music scene, Michael had some harsh realities to face. He had to acknowledge that Bad was not on par with Thriller’s popularity. It must have been a bitter pill for Michael to swallow that Thriller was a once in a lifetime phenomenon that could never be replicated. But the Bad tour was still a hit—it grossed over $100 million and, at the time, was the most profitable concert tour in history.

By this time Michael had gained more attention, not for his music, but for his odd behaviors and ever- changing physical appearance. Gone was the chocolate skin coloring of his youth. It seemed like his skin was gradually lightening with each album cover and public appearance and it became more and more difficult to ignore. His full nose became thinner, a cleft in his chin suddenly appeared and his cheekbones became more pronounced. Then there were the photos: of Michael and the chimp on his hip, dressed like twins; Michael and Louie the Llama; and Michael lying in a hyperbaric chamber. Michael perpetuated this odd behavior because he found great amusement in it…that is, until he couldn’t control how it was perceived. His attempts at being different backfired on him and the term

“Wacko Jacko” soon became his moniker. He could never erase the negative perceptions that stemmed from these publicity stunts or shake the moniker because it haunted him on the covers of newspapers and tabloids for the rest of his life.

His autobiography, Moonwalk, was most-likely written to put an end to the speculation and set his fans straight about who the real Michael Jackson was. Released in 1988 and a New York Times bestseller,

Moonwalk offered an in-depth look into Michael’s childhood, his love of music, and his most fulfilling friendships. He shared his joys and sorrows of growing up as one of the Jackson 5, and he addresses the plastic surgery rumors, his love life, and much more. With intimate family photos and personal stories, it came as close to being with Michael as many of his fans would ever get. The video also sold well, featuring some of his favorite concert footage and music videos.

When Michael finally decided to leave Hayvenhurst, he bought a large piece of property in Santa Ynez

County, California, that he named Ranch. He lived in the main house and turned the rest of it into a sprawling amusement park, complete with rides, animals, and a movie theater. But his dreams for the property (appropriately named after the island in the classic novel, Peter Pan) were not complete until he opened its door to his favorite companions…children. Michael felt such a deep connection to children and felt most comfortable surrounded by them. He allowed tours filled with them on to the property, able to enjoy all the wonderful trappings of childhood that he never had a chance to enjoy. He lived vicariously through them, but years later, their companionship would cause him a great deal of pain.

As good friend presented him with the “Artist of the Decade Award” at the

Heritage Awards, she christened him with a new name. In her introduction, Taylor proclaimed her friend “the true king of pop, rock and soul,” and it was shortened to “The King of Pop,” a more preferable label than “Wacko Jacko.” The new “King of Pop” was looking for fresh input and young talent to work on his next album. He found it in producer , member of the R&B group,

Guy, and the originator of a new sound of urban music called “.” Jackson picked the right person to work with, along with Quincy Jones to help reenergize his sound after his short break.

Riley was also honored to take part in the project with two of his musical influences. Dangerous was released in November 1991, and it skyrocketed to number one on the Billboard charts in the US and also became an international sensation. This album brought Michael even more of an R&B audience, with the singles perfectly ripe for urban radio.

“” was the first release off the album and the song was as much social commentary as it was an eclectic fusion of rock and soul. The video was amazing in its special effects—ending with a rolling collage of multicultural faces transforming into one another. It included cameos by model, Tyra

Banks, and Home Alone star, , with whom Michael began a lifelong friendship. The epitome of new jack swing, “,” took the airwaves by storm. It was an undeniably funky track and the video featured , , and in a lavish Egyptian- themed soap opera, filled with power, influence, and lust. “” praised the merits of keeping intimate exchanges a secret and the sepia-toned video showed believable sexual tension between

Michael and model, . One of the first of Michael’s songs to feature a real rap verse, supplied by , “Jam” was a track that was perfect to hype up a sports crowd. And it did, specifically the Chicago Bulls fans as they cheered on , who played an integral role in the song’s video. The video’s elaborate special effects managed to prove one hilarious point…it would be best if the two Michaels stuck to their very different talents. Michael Jackson couldn’t play ball very well, and Michael Jordan couldn’t dance very well, either.

“Who Is It?” was purely haunting. Michael wrenches out the emotional testimony of a man who has given everything he can to a woman who’s cheating on him, and he simply wants to find out who she’s with. The single “,” was internationally successful but it was a significant song because it was the name of Michael’s charity, The Heal The World Foundation. The foundation donated millions of dollars to causes that help children in need around the world and did so through the proceeds of the

Dangerous Tour.

THE ERA OF ECCENTRICITIES

Riding high on the success of Dangerous, Michael performed at the request of President Bill Clinton at his inauguration ceremony in 1993. Then he took center stage at the XXVII during a breathtaking halftime performance that broke the mold and pressured the NFL to constantly secure premium artists for future halftime shows. Shortly after, Michael agreed to an interview with the

“Queen of Talk,” . Michael welcomed Winfrey and her cameras inside the mysterious home of Neverland. The interview lasted about 90 minutes and there was absolutely no topic that seemed off-limits. Michael was surprisingly candid with his answers about his childhood, his musical aspirations, his lifestyle, and his legacy. He didn’t shy away from the hard-hitting questions about being a member of the Jackson 5 and admitting that he used to be very afraid of Joseph (the Jackson children have openly admitted that they referred to their father by first name only) and would get physically ill at the sight of him. It was a result of being on the receiving end of his father’s constant emotional and physical abuse. He was under such tremendous strain as a child to be perfect and would often cry from the loneliness he suffered despite all the money, the fans, and the adoration.

Michael’s appearance during the interview was startling. His complete lack of color was so much more pronounced, especially when compared to the clips of old footage that were shown as part of the special. The transformation was so obvious that Oprah couldn’t help but inquire about it. Michael became a bit defensive but he denied all the rumors that he purposefully lightened his skin and had facial reconstructive surgery. He openly admitted to a couple of surgeries that were required after he once broke his nose. And he spoke out for the first time about his color changing and attributed it to vitiligo, a progressive skin disease that lightens the skin which cannot be controlled. It was a very revealing interview that showed Michael’s various personas: animated, pensive and quiet, detached, and shy and humble. There were no animals, no oxygen chambers, or anything featured that anyone would deem “weird” or unsettling. Michael hoped the interview would invalidate the “Wacko Jacko” reference and allow his contributions to music and charity to speak for themselves. But things started to get progressively worse for him, both personally and professionally, and he could never recover from the constant setbacks.

During the final leg of the Dangerous Tour, Michael had to cancel the remaining dates and enter a rehab facility, citing an addiction to pain medicine. This battle which had begun against prescription drugs was perhaps one that he never won. But he had yet another battle to fight. Jordan Chandler, a 13- year-old frequent visitor to the , accused Michael of sexually molesting him. In the official investigation, law enforcement searched the Neverland Ranch and Michael also agreed to a thorough—and humiliating—strip search. This was another severe blow to Michael’s image. He needed to tell his side of the story and clear his name and videotaped a public statement refuting the accusations made against him.

Then there was his next odd decision. Maybe it was damage control. Or maybe it was real love. It was completely unexpected when Michael married Elvis’ daughter, , in 1994. Perhaps

Michael hoped a “family man” image would the public’s perception of him as a distant, eccentric loner. But even his biggest fans thought the union had no genuine spark, no validity, and was simply a smokescreen…and a bad one, at that. Eventually Michael settled out of court with Jordan Chandler and his family for more than $20 million. He thought of it, not as an admission of guilt, but as the fastest way to make the whole ordeal disappear. He had to shift his focus onto his next big music project.

Although not nearly as successful as Dangerous, Grammy-nominated HIStory: Past, Present and

Future, Book 1, was released in 1995. The two-disc set featured some of his greatest hits, such as

“Billie Jean,” “The Girl Is Mine,” and “Rock With You,” along with three new songs that either topped the charts or generated buzz. Fans were hungry for new music and “” was exactly what they were waiting for. Produced by Jimmy Jam and Terry Lewis, it was a hard-edged rock duet with his sister, Janet, who had already achieved chart-topping success with the production duo of her Rhythm

Nation 1814 and Control albums. “Scream” oozed aggression and the chant “Stop pressuring me!” was symbolic of Michael’s contentious relationship with the media. But it was the video that kept tongues wagging and garnered it three MTV Music Awards that year. Shot in stark black and white, with special effects and some of the most agile, explosive dance moves, it made longtime fans nostalgic and reminded everyone how talented the Jackson family was. Visiting even deeper spaces in his persona,

Michael released “Childhood,” an ode to the little boy who was never allowed to play. The video’s beauty and innocence made viewers think of 37-year-old Michael as always being that lonely boy who spent his young life living out of a suitcase. The song “” was very personal to Michael as well. It offered comfort and camaraderie to all his fans consumed by loneliness, much like he was. The video was soothing, but it was what it inferred that grabbed people’s attention. Topless and scantily clad, Michael’s wife, Lisa

Marie, looked ethereal. But it wasn’t her appearance that made people uncomfortable. It was their suggestions of intimacy…their soft caresses, or a gentle whisper in the ear…that raised eyebrows. And that’s not the only occasion that the pair attempted to prove their union was real. At the MTV Video

Music Awards, Michael uttered, “And they said it wouldn’t last,” and then planted a kiss on his bride.

Sadly, the union didn’t last because the two divorced a couple of years later.

Michael tapped into his love of animals and nature and helped raised awareness for environmental causes with “.” The song is Michael’s biggest record in the UK to date, and even though it was never released as a single in the US, it received a Grammy nomination. Finally, the military drum beats of “They Don’t Really Care About Us,” were popular on the airwaves, partly because of the song’s musical merits, but it also because it provoked curiosity. The song was a subject of controversy because of Michael’s use of an anti-Semitic term in the lyrics. Many in the media found it offensive and Michael apologized, even though he insisted his intent was to raise social awareness and promote unity. Even though he was “The King of Pop,” and he was known to promote love and tolerance, he was not allowed to take such liberties with derogatory language by the media who were quick to judge him.

During the run of the very successful HIStory Tour, Michael married dermatology nurse , who was already pregnant with his first child. Prince Michael Joseph Jackson, Jr. was born on February

13, 1997. His second child, Paris Michael Katherine Jackson was born April 3, 1998. This marriage was also short-lived and the couple divorced just one year after Paris’ birth. Rowe relinquished her parental rights to the children and agreed to give full custody to Michael.

The year 1997 would have Michael revisiting his past. He was inducted into the Rock and Roll Hall of

Fame, along with his brothers, for their contributions to music as the Jackson 5. And then he released Blood on the Dancefloor: HIStory in the Mix, which consisted of remixes from the HIStory album, as well as a few new songs. Michael continued to let his audience into the dark corners of his world with the funky “Blood on the Dancefloor,” about a ruthless, obsessed woman. “Morphine” was a song about the pain killer Demerol, which he allegedly knew quite well on a personal level. “Ghost” was also very emotional and he admitted that the accusations made against him continued to haunt him. The didn’t do as well in the US as it did internationally.

In 2001, Michael was inducted into the Rock and Roll Hall of Fame for the second time for his solo body of work. He joined the ranks of an exclusive club of performers who’ve been honored in this way more than once. Some of these artists include for the Byrds and for his work as part of

Crosby, Stills and Nash, for Simon and Garfunkel and again for his solo career, for Buffalo Spirngfield and his solo career, and for his work with and for his solo career. In a somewhat ironic twist, some of the famed members of the Beatles, specifically

George Harrison, and yes, Paul McCartney, are also two –time Hall of Famers for their work with the group and their respective solo careers.

But the Rock and Roll Hall of Fame wasn’t the only coveted honor that Micahel attained more than one. He was also one of the selected few—and actually the very first—entertainer to ever receive two stars on the . He received his first star in 1980 in the Recording category as a member of the Jacksons. The second star for Recording put his solo career on the map, and he earned it in 1984, at the height of his Thriller fame. The few other performers who also have two stars on the

Walk of Fame are Motown legends Smokey Robinson, for his career with the Miracles and his solo work, and Diana Ross for her work with the Supremes and her solo projects. And once again, Michael is in the company of the Beatles, this time, John Lennon, and who each earned a star for their group and gain for their individual careers.

Unlike many artists, who earn their awards and accolades much later in life or even posthumously,

Michael was able to enjoy having his achievements acknowledged throughout his life. He had enjoyed a “full-bodied” career which he hoped would get better with age, and he was in the mood to celebrate.

He’d achieved a milestone in his illustrious career decided to throw a celebration to mark his 30 years as a solo artist. In the heart of New York City, Michael performed at New York’s Madison Square

Garden, just a couple of days before the tragic events of September 11th.It was the first time Michael shared the stage with his brothers in nearly two decades. He was getting his fans prepared for his next big album release, which sadly, would be his last studio album…Invincible.

Released in October, Invincible revisited Michael’s deep roots in R&B. He tapped young, talented producers from R. Kelly, Kenny “” Edmonds, , and Teddy Riley for the album.

Invincible set urban radio airwaves on fire with the earthy, “,” and the video was just as much fun. In it, Michael vies for the attention of a gangster’s beautiful girlfriend in a seedy after-hours joint, while actor-comedian provides comic relief, imitating Michael’s signature “shum-on.” The smooth, floaty “Butterflies” was the last of Michael’s singles to reach top ten and was remade by R&B group , one of whose members was credited as one of the songwriters.

The gospel-tinged “Cry” was a call for love and understanding to compel fans to “change the world.”

The album was successful; it debuted at number one. But many of the singles didn’t reach the top of the charts like Michael had anticipated they would. For this, Michael blamed music producer Tommy

Mottola—publicly berating him as “devilish” and a racist—for failing to provide him and other African

American artists with the promotional budgets they deserved to market their work. Sony stopped promoting Invincible completely and this was a horrible end to Michael’s recording career. He never recorded another studio album.

DOWNWARD SPIRAL

Michael had his third child, Prince Michael Jackson II, soon to be known as “Blanket,” in 2002, with a woman who may forever remain a mystery. Later that year, in his exuberant joy over Blanket’s birth,

Michael dangled his infant son from a 5th floor window of a hotel in Berlin, Germany. When photos and videos surfaced of the incident, Michael didn’t anticipate what an uproar he’d caused. The media loosely identified what he did as borderline child endangerment. Michael apologized, admitting he got caught up in the moment of wanting to share his happiness with his biggest fans, but it seemed his apologies were never enough.

He continued to make public appearances and receive awards. In April, he returned to New York’s

Apollo Theater to perform for the “Every Vote Counts” program for the Democratic National

Committee’s fundraiser. In June, he was inducted into the Songwriter’s Hall of Fame, but he never attended the ceremony to accept his award. There was one awards show appearance he made that those who loved him would soon like to forget. At the MTV Video Music Awards, a disoriented Michael came to the stage and gave a speech accepting a non-existent “artist of the millennium” award that he thought was being presented to him by . In earnest, she had brought him out to the stage to acknowledge his birthday, and referred to him as her personal “artist of the millennium.” It was a complete misunderstanding, and it was highly uncomfortable to watch.

If only Michael had the foresight to know the repercussions of making the project he’d been working on from May, 2002 until January, 2003. He was filming, Living With Michael Jackson, a documentary hosted by journalist, . When the Living with Michael Jackson documentary aired, Michael was extremely upset by his depiction, with good reason. He intended to make to demonstrate how “normal” his life was and what a well-adjusted person he was. But the end result only managed to sadden viewers and further propagate his eccentric image.

Bashir had exclusive access and wanted to show Michael “in the raw” and under no false pretense. He asked the tough, probing questions but also gave Michael the freedom to lead the conversation and volunteer as much information as he felt comfortable with. It was this freedom that got Michael into trouble. During a trip to Vegas to one of his favorite home furnishing stores, Michael revealed to Bashir his frivolous nature when it came to money. Despite the burgeoning reports of his financial problems,

Michael proceeded to point out all of the millions of dollars worth of items he had already purchased, and began purchasing more extravagant items. During a sit-down interview, it was hard to concentrate on Michael’s words as he violently rocked Blanket on his knee, while bottle-feeding him and covering his face at the same time. When asked about his physical appearance, Michael again denied that he had ever had extensive plastic surgery. But the most damaging part of the documentary was his confession that he found it was very natural and loving to invite young children to share his bed. It was a startling admission, considering the past accusations of inappropriate behavior with children that he once managed to quell. For his detractors and the media, this tidbit of informationwas a gold mine. For his fans, it was a source of anguish—seeing the King of Pop go down in flames. In Michael’s efforts to share himself with his fans, it just gave the media more ammunition to use against him.

And the blows just kept coming. After the documentary aired, Michael had to go up against brand new charges of child molestation. A young cancer patient who was featured in the documentary, Gavin

Arvizo, accused Michael of molesting him after being fed an alcoholic beverage, what he claimed

Michael referred to as “Jesus juice.” Michael was subsequently arrested and charged with numerous offenses against a minor and Neverland was searched again for evidence. When the trial began in 2005, it was a media circus and was yet another strike against his eroding image. When the trial began his character witnesses included his longtime friend Macaulay Culkin, who testified as to the innocence of

Michael’s relationships with children. And although they were hardly seen together in many years, many of the Jackson clan also attended the trial daily to offer their support.

As the stress of the trial began to take its toll, Michael’s weird behavior intensified. On one occasion, he was late to court and showed up in pajama pants looking feeble and dazed. On another occasion, as he was leaving the courthouse, he climbed on top of a car and began dancing as a signal to his fans that

“everything was ok.” Many questioned if he truly understood the gravity of the situation. The trial warranted minute-by-minute media coverage for the entire the five months it lasted. Michael couldn’t even fully enjoy the successes of his greatest hits albums. Released in November 2003, Michael

Jackson: , was comprised of all of his songs that had reached number one, either in the US or internationally. The tracks included oldie-but-goodies, “Rock With You,” and “The Wall,”

Thriller hits “Beat It,” and “Billie Jean,” and the more recent, “You Are Not Alone,” and “You Rock

My World.” One year later, the all-encompassing Michael Jackson: The Ultimate Collection was released. The four-disc with DVD set included all of his biggest hits from The Jackson 5 albums to

Invincible. And in 2005, The Essential Michael Jackson was released. All of these greatest hits projects were successful during their initial release, but demand for them increased by fans old and new, after his death.

THIS IS IT

After five months of scrutiny and relentless media coverage, Michael was acquitted of all counts of child molestation in June of 2005. Although the jury had reached a “not guilty” verdict, his exoneration did not sit well with many. Michael couldn’t cope with the public scorn, so he fled with his children to

Bahrain, an island in the Persian Gulf. Sheik Abdullah, the prince of , welcomed him and accommodated Michael in one of the royal family’s lavish palaces. While Michael took a much needed rest, he and Abdullah became great friends. During his stay, he agreed to help Abdullah start a record company and signed on to record an album for Two Seas Records, in part to reenergize his career and also in gratitude to the prince for his hospitality. As much money as Michael had made over the years, he could still use the money from the sales of the project as his years of extravagant living had caught up with him. He did garner some success with the Thriller 25 release. The 25th anniversary special edition sold a few million copies and included updated remixed versions featuring members will.i.am and Fergie, and rappers and .

But Michael’s financial situation continued to decline and reports of his debts were mounting at home.

Neverland was closed by the state of California and Michael was fined for failure to pay its employees.

Michael had to pay $60,000 in legal fees for ex-wife Debbie Rowe, who sought to change the terms of their custody agreement and re-establish her parental rights. His legal team filed suit against sued him for not following through on his financial obligations to them. Then, Sheik Abdullah, who had hosted

Michael in his country for years, sued him for 7 million dollars for reneging on his contractual agreements with Two Seas Records. Michael eventually settled with Abdullah for an undisclosed amount. By the time he had returned to the US from Bahrain, he had nowhere to go—his dire financial straits forced him to sell Neverland. He and his three children settled in .

For the next few years, Michael would spread rumors that he was releasing a new album. Fans and the media waited patiently for a new project, but it never materialized. So when he came out of hiding in the summer of 2009 to announce he was returning to the stage, the official countdown to a comeback began. During a highly publicized press conference, he announced that he was going to perform 50 dates at London’s O2 Arena, beginning July 13th. He intended the concert series, aptly titled, “This Is

It,” to be his last. He looked a bit nervous when he stepped to the podium to address his frenzied fans, and he had good reason to be. What began as 10 dates had now increased to 50. And the tickets for all

50 shows sold out within four hours. Could the 50-year-old King of Pop withstand the months of rehearsal and performances?

He had enlisted a personal ; a trainer, and a doctor to ensure his body could stand up to the task.

But no matter how much preparation Michael did in his waking hours of rehearsal, his difficulty sleeping would not allow him to function at full capacity. In the early morning hours of June 25th, he enlisted the aid of Dr. to help him get a night of restful sleep. Michael drifted into a medically-induced slumber from which he would not wake.

That afternoon, the news broke that he was rushed to UCLA Medical Center in cardiac arrest.

Continuous coverage interrupted regularly scheduled programming. For many the internet kept crashing because of severe overload as desperate web surfers sought out verification that the story wasn’t a hoax. Fans and the media camped outside of his rented Hollywood Hills home at 100 North

Carolwood Drive, and in front of the family home in Hayvenhurst. A large mob gathered in front of

UCLA Medical Center awaiting word of his condition, while Jackson family members poured in one- by-one. But despite the prayers and all the efforts to resuscitate him, Michael Joseph Jackson was pronounced dead at 2:26 p.m.

When word of his death spread, Michael Jackson fans took to the streets all over the country: especially in Detroit, Los Angeles, and New York. And pandemonium ensued all over the world. Music channels immediately scrapped their all their scheduled programming and aired endless video tributes and clips of his interviews. Radio stations played Michael-marathons while listeners called in to share their love and fondest memories. Amazon’s music store sold out within minutes. Facebook, , and MySpace were flooded with messages of disbelief and mourning for the King of Pop. DJs in dance clubs across the world spun a Michael tribute where partygoers could sing along—to release their sadness and celebrate him with unabashed love. In one stroke of irony, many fans thought they were placing flowers and devotions on Michael’s star on the Hollywood Walk of Fame. But in reality they placed it on the wrong star, that of L.A. radio talk-show host, Michael Jackson. People familiar with Michael’s sense of humor thought he would have been tickled at the mix-up.

We were constantly reminded what an influential figure was. On the morning of June 26, Members of

Congress held a small recognition service and had a moment of silence in honor of his death. President

Obama himself penned a personal letter of condolence to the Jackson family. The world’s most influential people would describe what Michael’s life and legacy meant to them. And they would turn out in droves to pay tribute to him. On July 7th, after a private family service at Forest Lawn Memorial

Park, a public memorial service was held the Los Angeles . It was televised on every major cable news network and music channel. , Smokey Robinson, , John

Mayer, , and Berry Gordy are just a few of a long list of the attendees and participants in the event. Former girlfriend Brooke Shields offered touching stories about the fun times she and

Michael shared. Queen Latifah read an original poem written by Maya Angelou. sang a moving rendition of his brother’s favorite song, ’s “Smile.” Al Sharpton offered rousing words in defense of his friend’s life and legacy. But the most moving moment of the memorial belonged to Michael’s daughter, 11-year-old Paris. At the very end, with her family surrounding her, she stepped up to the microphone and said, "Ever since I was born, Daddy has been the best father you could ever imagine...I just wanted to say I love him so much." It was , heartwrenching portion of the memorial that emphasized how much he meant to the world and how much he would be missed.

Luckily we still had a few more moments to share with Michael. His rehearsals in preparation for the

“This Is It” performances had been recorded. On October 28, 2009, the documentary, This Is It premiered, showing unseen footage of Michael’s final days. The full-on concert scenes reminded us what a gifted showman we lost. The rehearsals showed a consummate professional—knowing how to manipulate his voice, perfectly timing when and how long his audience will clap, and showing how humbled he was by all the hard work of those surrounding him. The This Is It two-disc compilation was released as well and features a new title track as well as Michael’s greatest hits and unreleased demo versions.

And the tributes will continue. Lionel Richie and Quincy Jones recorded the song and video remake of

“We Are The World” to raise funds for the earthquake that ravaged Haiti in January 2010. The video snippet, We Are The World: 25 For Haiti aired during the opening ceremony of the 2010 Winter

Olympics. A fresh new crop of stars, from hip-hop to pop, turned out to contribute to the worthy cause.

And the new project uses Michael’s voice and is anointed by his spirit to celebrate the anniversary of the song he and Lionel Richie wrote 25 years ago.

In the end, Michael Jackson was right when he said he was still learning. He was learning how to deal with the type of life he was dealt: glorious, hopelessly tragic, and enigmatic. And now we are left with some things to learn. We’re learning how to appreciate every choreographed step…every devilish smile….every soft-spoken word. We’re learning how to sit through our favorite song, peppered with his sweet voice, and simply allow the grief wash over us—pure and untainted. We’re learning to recognize and appreciate the strength in his legacy—his music, his showmanship, and his influence. And we’re slowly trying to learn how to cope with the death of the man, without unraveling the mystery that surrounded him.

But as unsure as he was about the world, there is one thing we all know for sure. There will never be another Michael Jackson in this lifetime…or the next.