Part 24 (1/2)

'Well, Michael may not want her to be as big,' John McClain observed at the time, 'but it's no sin for her her to want it.' to want it.'

How 'Bad' Can It Get?

Finally, in July 1987, Michael Jackson's Bad Bad was released to the public. If every artist on the planet envied the record-breaking success of was released to the public. If every artist on the planet envied the record-breaking success of Thriller, Thriller, surely none of them wanted to be in Michael Jackson's Ba.s.s Weejuns when he tried to follow it up with a new record. surely none of them wanted to be in Michael Jackson's Ba.s.s Weejuns when he tried to follow it up with a new record. Bad Bad was a pleasing offering and probably would have been considered first-rate if it didn't have the dubious distinction of having to follow up not only was a pleasing offering and probably would have been considered first-rate if it didn't have the dubious distinction of having to follow up not only Thriller Thriller, but also the masterful Off the Wall. Off the Wall. Ironically, in trying to lead themselves out of the woods, Michael and Quincy Jones followed the Ironically, in trying to lead themselves out of the woods, Michael and Quincy Jones followed the Thriller Thriller formula too closely. Songs like 'The Way You Make Me Feel' and 'Another Part of Me' were dance-floor marvels, but the pseudo-romance of 'Liberian Girl', the alb.u.m's answer to formula too closely. Songs like 'The Way You Make Me Feel' and 'Another Part of Me' were dance-floor marvels, but the pseudo-romance of 'Liberian Girl', the alb.u.m's answer to Thriller Thriller's 'Lady in My Life', didn't work as well. Nor could 'Dirty Diana', the production's appointed rock song featuring Steve Stevens, former Billy Idol guitarist hold a candle to the more convincing 'Beat It'.

The problem with Bad, Bad, critics argued, was that unlike critics argued, was that unlike Off the Wall Off the Wall and and Thriller, Thriller, it offered few truly memorable songs. Michael wrote most of it offered few truly memorable songs. Michael wrote most of Bad Bad himself, perhaps propelled by his newfound interest in music publis.h.i.+ng and the millions in songwriting royalties he garnered from songs he wrote for the last two alb.u.ms. Rod Temperton, whose talents helped make himself, perhaps propelled by his newfound interest in music publis.h.i.+ng and the millions in songwriting royalties he garnered from songs he wrote for the last two alb.u.ms. Rod Temperton, whose talents helped make Off the Wall Off the Wall and and Thriller Thriller such outstanding alb.u.ms, was not represented. The alb.u.m's most intriguing moment is the reflective 'Man in the Mirror', written not by Michael but by Siedah Garrett and Glen Ballard. Having gospel stars Andrae Crouch and the Winans sing on the track seemed a weak attempt to musically endear Michael to a black audience. such outstanding alb.u.ms, was not represented. The alb.u.m's most intriguing moment is the reflective 'Man in the Mirror', written not by Michael but by Siedah Garrett and Glen Ballard. Having gospel stars Andrae Crouch and the Winans sing on the track seemed a weak attempt to musically endear Michael to a black audience.

However, it was the alb.u.m's t.i.tle track that came under the most fire from the black music community because it seemed that it should have been the easiest thing for Michael to pull off. Michael was black, his critics reasoned. He began with Motown. He's a funky dancer. Vocally, his roots are steeped, at least to some extent, in gospel. Is 'Bad' the funkiest the blackest blackest he could get? At best, noted most critics, 'Bad' was a lightweight attempt at a serious, black music. he could get? At best, noted most critics, 'Bad' was a lightweight attempt at a serious, black music.

The 'Bad' video was directed by Martin Scorsese, at Quincy Jones's suggestion. Michael was unfamiliar with Scorsese's work, having seen only one film he directed, New York, New York. New York, New York. He had wanted George Lucas or Steven Spielberg to direct the video. However, at this time, Frank Dileo was trying to toughen Michael's Peter Pan image and felt that another Spielberg-style fantasy would be counter-productive. Street music particularly the rap and hip-hop genres had begun to dictate pop music and fas.h.i.+on. As a result, Frank thought it would be beneficial for Michael to get back to 'basics'. He believed the image of a street-tough cat would serve his client well. He had wanted George Lucas or Steven Spielberg to direct the video. However, at this time, Frank Dileo was trying to toughen Michael's Peter Pan image and felt that another Spielberg-style fantasy would be counter-productive. Street music particularly the rap and hip-hop genres had begun to dictate pop music and fas.h.i.+on. As a result, Frank thought it would be beneficial for Michael to get back to 'basics'. He believed the image of a street-tough cat would serve his client well.

From the start, there were problems on the set, especially when Michael tried to tell Scorsese how to direct the video. According to a friend of Scorsese's, the filming of 'Bad' was 'a nightmare'. Scorsese has said that the cost of the production went 'two or three times over budget', reaching about two million dollars. However, Scorsese has made no negative comments about Michael and says he found him to be 'sympathetic, sweet, and open'.

The 'Bad' script, written by novelist Richard Price, was inspired by the story of Edmund Perry, a Harlem youth who was educated at a prep school and was shot to death by a New York plain-clothes policeman who claimed he had tried to mug him. What began as a good idea an attempt to recapture the rebellious spirit of 'Beat It', probably Jackson's most important video ended up an ill-conceived, albeit entertaining, parody.

'Michael loves West Side Story, West Side Story,' said dancer Casper, who danced in the 'Bad' video. 'He had us watch the film one night. He sat on the bed and we dancers me, Jeffrey, Daniel, Greg Burge and some others were sprawled all about in a hotel room. He'd have us watch some scenes, and when he saw something he liked, he'd let out a yelp. ”Oooh, did you see that? Did you feel that?” he'd say. That was the att.i.tude he said he wanted in the video, did you see that? Did you feel that?” he'd say. That was the att.i.tude he said he wanted in the video, West Side Story. West Side Story.'

The video's storyline is about a lonely, sheltered school kid, constantly badgered by peer pressure and neighbourhood street toughs. The youngster transforms himself into a bold, avenging h.e.l.l-raiser. It all goes awry for the viewer, however, because of Michael's ridiculous-looking outfit. Clad in black boots with silver heels and buckles; a leather jacket with zippers, zippers and more zippers; a metal-studded wristband and a wide belt with silver studs and chains Michael was slightly overdressed for the ghetto.

The video's debut produced a cynical reaction. Radio stations and newspapers held contests to see who could correctly guess how many buckles were on the costume. The Los Angeles Times The Los Angeles Times, for instance, was deluged with responses from readers: 'There's one buckle no one will ever detect, and it's located at the back of his head, to pull the flesh snugly over his ever-increasing new features.'

'The buckles are part of the continuing treatment he is undergoing to alter his appearance to that of Liz Taylor as she looked in National Velvet. National Velvet.'

'Sixty-six buckles left over from his oxygen gizmo...'

More than the buckles, Michael's concept of what really is is bad as in 'tough' and 'streetwise' seemed distorted and caricatured. He shouted; he stamped his feet; he flicked his fingers and shook his groin. He tugged at his crotch repeatedly. Is bad as in 'tough' and 'streetwise' seemed distorted and caricatured. He shouted; he stamped his feet; he flicked his fingers and shook his groin. He tugged at his crotch repeatedly. Is this this what Michael sees from the tinted window of his limousine? what Michael sees from the tinted window of his limousine?

Michael may have been a little overdressed for an urban subway rider, but the surrounding players and dancers certainly looked the part. However, it was difficult to imagine their being so quick to follow anyone black or white who looked as effeminate as Michael did in this video. There was something disconcerting about Michael wearing more pancake makeup than Joan Crawford ever did and flaunting Kirk Douglas's chin cleft shrieking at a group of tough, black gang members, 'You ain't nothing nothing'.' The viewer couldn't help but think, This boy is going to get hurt. This boy is going to get hurt. As one observer noted, 'In Michael Jackson's loathsome conception of the black experience, you're either a criminal stereotype or one of the Beautiful People.' As one observer noted, 'In Michael Jackson's loathsome conception of the black experience, you're either a criminal stereotype or one of the Beautiful People.'

The original photograph intended for the cover of the Bad Bad alb.u.m was a close-up of Michael's heavily made-up face superimposed with black floral lace. Walter Yetnikoff, president of CBS Records, purportedly phoned Frank Dileo and said of the feminine-looking picture, 'Look, this cover sucks.' The photo eventually used Michael in a tough-guy-with-fists-clenched-at-his-side pose, wearing his leather outfit from the 'Bad' video was taken as an afterthought during a fifteen-minute break while shooting the video. alb.u.m was a close-up of Michael's heavily made-up face superimposed with black floral lace. Walter Yetnikoff, president of CBS Records, purportedly phoned Frank Dileo and said of the feminine-looking picture, 'Look, this cover sucks.' The photo eventually used Michael in a tough-guy-with-fists-clenched-at-his-side pose, wearing his leather outfit from the 'Bad' video was taken as an afterthought during a fifteen-minute break while shooting the video.

Michael's first single from Bad Bad, 'I Just Can't Stop Loving You', was released worldwide on 27 July 1987, and went straight to number one in America, and to the same position in the UK after just two weeks.

Then, Michael's Bad Bad alb.u.m debuted at number one on the alb.u.m debuted at number one on the Billboard Billboard charts, an amazing feat proving that even when Michael does wrong, he can do no wrong. The alb.u.m received generally lukewarm reviews, but that didn't matter either. 'We win,' Frank Dileo said. 'We're into winning.' charts, an amazing feat proving that even when Michael does wrong, he can do no wrong. The alb.u.m received generally lukewarm reviews, but that didn't matter either. 'We win,' Frank Dileo said. 'We're into winning.'

The second single, 'Bad', also went to number one in America, Britain and countries around the world. (In the UK the alb.u.m was even number one for five weeks, and remained on the charts for an amazing 109 weeks. It sold 350,000 copies in five days, the first time that had ever happened in Britain for any artist.) Michael had a hit on his hands with the Bad Bad alb.u.m, but certainly nothing as big as alb.u.m, but certainly nothing as big as Thriller, Thriller, However, could it ever have attained However, could it ever have attained Thriller Thriller status? Isn't it enough that Michael managed such a feat once in his amazing lifetime? status? Isn't it enough that Michael managed such a feat once in his amazing lifetime?

In September 1987, the month his Bad tour kicked off in Tokyo, People People published a cover story on Michael with the headline, 'Michael Jackson: He's Black. He's published a cover story on Michael with the headline, 'Michael Jackson: He's Black. He's Bad. Bad. Is This Guy Weird, Or What?' Is This Guy Weird, Or What?'

Apparently, such coverage was what the Elephant Man had wrought...

Cutler Durkee, the writer of the feature, explained that the public's perception of Michael Jackson had s.h.i.+fted from 'Here's a really interesting guy' to 'Here's a guy I don't understand any more'. Durkee hastened to add, however, that that's precisely why people continued writing about him.

Of course, Michael had good reason to be unhappy with the story. 'They made me sound like a freak,' he said. 'None of that stuff is true.'

Because of such adverse publicity, Michael's tour had a shaky start. Michael thought the act still needed work, but he had no choice but to begin the schedule. The dates were set. Therefore, in September 1987, he reluctantly began what would end up being an exhausting, eighteen-month-long world tour. 'Whatever we play,' Michael and his crew members would yell while clapping their hands and stomping their feet just before hitting the stage, 'it's got to be funky!'

After a successful kick-off in j.a.pan, where he was dubbed 'Typhoon Michael' (and grossed twenty million dollars), Michael had problems in Australia. Ticket sales proved low. Foreign newspapers had latched on to that 'Wacko-Jacko' moniker and the Aussies thought he was a head case. 'He's giving the world a gift, his talent,' complained his former sister-in-law Enid Jackson, 'and, in return, the world tries to crucify him.'

While Michael was on tour, he wrote a letter to People People and asked that it be published. He wanted to make known his feelings about the adverse publicity he'd received of late. In an odd writing style no margins, no indentation, and childlike penmans.h.i.+p Michael wrote: and asked that it be published. He wanted to make known his feelings about the adverse publicity he'd received of late. In an odd writing style no margins, no indentation, and childlike penmans.h.i.+p Michael wrote: 'Like the old Indian proverb says, do not judge a man until you've walked 2 moons in his moccosins [sic]. [sic]. Most people don't know me, that is why they write such things in wich Most people don't know me, that is why they write such things in wich [sic] [sic] most is not true. I cry very often because it hurts and I worry about the children. All my children all over the world, I live for them. If a man could say nothing against a character but what he can prove, his story could not be written. Animals strike not from malice, but because they want to live, it is the same with those who criticize, they desire our blood, not our pain. But still I must achieve. I must seek truth in all things. I must endure for the power I was sent forth, for the world, for the children. But have mercy for I've been bleeding a long time now. MJ.' most is not true. I cry very often because it hurts and I worry about the children. All my children all over the world, I live for them. If a man could say nothing against a character but what he can prove, his story could not be written. Animals strike not from malice, but because they want to live, it is the same with those who criticize, they desire our blood, not our pain. But still I must achieve. I must seek truth in all things. I must endure for the power I was sent forth, for the world, for the children. But have mercy for I've been bleeding a long time now. MJ.'

'I'm not sure I even understand this letter,' Frank Dileo said to an a.s.sociate after it was published in the magazine as a cover story. 'If you read it carefully, it doesn't make sense. ”They desire our blood, not our pain.” What the f.u.c.k does that mean?'

The a.s.sociate studied the letter again. 'You know, it's not really about the letter,' he told Frank. 'It's what it says about Michael. He's losing it... the man is losing it. Can't you see that?'

Frank began to shake his head in despair. 'Jesus Christ,' he exclaimed. 'What have we done? What's going on with this kid? What the f.u.c.k is going on with this kid? What the f.u.c.k is going on with this kid?'

The White Man Won't Let Him...

In January 1988, Michael was well on his way to his thirtieth birthday. Despite his best-selling records, his celebrity and his great fortune, he had recently begun to lament that he felt undervalued not only by the music industry, but by the public, as well. 'They call Elvis the king,' he complained to Frank Dileo. 'Why don't they call me me that?' that?'

One would think that, given all he had achieved, Michael would have been satisfied. He wasn't. Indeed, ever since he was a child, he had been taught that being number one was the most important thing he could do with his life. Because it was a goal he had worked toward for years, reaching it before his thirtieth birthday seemed anti-climactic. After all, what was left for a recording artist to do after selling more records than any person ever in the history of popular music?

Michael never strategized his career in terms of artistic development. He couldn't imagine recording an alb.u.m for any purpose other than for it to be the biggest and best, ever. He needed to have his work acknowledged in a huge way, or he simply was not going to be satisfied. Perhaps such determination can be traced back to his days as a youngster when The Jackson 5 competed on talent shows, when the only goal was to be the winner. That forum was Michael's original training ground.

Maybe one of the reasons Michael was not respected by the public and music industry is because the ma.s.ses sensed in him the lack of two essential qualities possessed by artists such as Bruce Springsteen, Bob Dylan, John Lennon, Elvis Presley: humour and humanity. It had become increasingly difficult in recent years to relate to Michael as he stood onstage in his military outfit, accepting his many awards, whispering his thanks in an odd, highly pitched tone, and then taking off his sungla.s.ses for a quick moment because his friend Katharine Hepburn told him to do so. It was as if he was from some other planet, not earth.

While there was still something about Michael's humility that was engaging, especially considering his many gifts, there was still a nagging problem with his image. Certainly, his fans admired his prowess as a vocalist and his stylized genius as a dancer: he was arguably, still is the quintessential entertainer. While the public could identify with many other rock stars whose humanity and accessibility supersede their stardom, it was unable to identify with Michael. After all, who knows anyone anyone like Michael Jackson? like Michael Jackson?

After, Thriller, Thriller, Michael saw himself as bigger than The Beatles and more important than Elvis. 'They call Bruce [Springsteen] the boss and he's really overrated,' Michael complained. 'He can't sing and he can't dance. And if Elvis is supposed to be the king, what about me?' Michael saw himself as bigger than The Beatles and more important than Elvis. 'They call Bruce [Springsteen] the boss and he's really overrated,' Michael complained. 'He can't sing and he can't dance. And if Elvis is supposed to be the king, what about me?'

The fact that Michael is black complicated matters. Promoter Don King had preyed on his insecurities in 1984 during the Victory tour by telling him, 'You're the biggest star ever, but the white man will never let you be bigger than Elvis. Never. So, you can forget that.' Michael was stung by Don's observation, so much so that he telephoned his attorney, John Branca, in the middle of the night and, without explanation, blurted out, 'They'll never let me be bigger than Elvis.'

When John asked what he was talking about, Michael answered, 'The white man because I'm black.'

John reminded Michael that he had already outsold Elvis in record sales. He said that he believed Don had filled Michael's head with racist notions.

However, for the next couple of days, Michael continued to complain about being victimized by his race until, finally, John became so upset he refused to speak to him. When Michael began leaving desperate messages on John's answering machine, begging him to return his call, John finally wrote him a letter. In it, he expressed how much he loved and admired him, and why he felt Michael should rise above the kind of racist thinking Don King propagated with his harebrained theory about Elvis and the white man. If Michael didn't get over Don's remarks, John wrote, he wasn't certain he would be able to continue representing him, that's how much such thinking hurt him. When Michael read the letter, he was moved. Though he promised to try to forget Don King's words, he never really did that. (Wisely, he also never mentioned the subject to John Branca, again.) By 1988, Michael seemed to have found a variation on the theme: he began complaining about feeling undervalued by white America, griping that he had an 'image problem'. By this time, though, no one in Michael's camp had a clue how to solve such a problem; it was a little late now to start worrying about his nutty image. Even if Norman Winter or Michael Levine, the two publicists who'd worked with Michael to help create the 'problem', could fathom a way to promote him as an accessible human human artist with goals that were artistic instead of just commercial, it would never work. No one would believe it; Michael simply wasn't that way and didn't even know how to act that way. artist with goals that were artistic instead of just commercial, it would never work. No one would believe it; Michael simply wasn't that way and didn't even know how to act that way.

Michael has always been myopic in his thinking about the music business: how many records are being bought by his fans? How long does it take to get to number one? How many tickets are sold? For Michael, commercialism is key, and he doesn't understand any artist who doesn't understand that. that. After all, Joseph dedicated himself to getting his kids out of Gary so that they could have a better life, not so they could make important contributions to the music industry. In his mind, Michael was still there with Joseph, trying to out-do the other acts at the Apollo. Any artist he perceived as being a threat to his dominance on the pop charts, was viewed with scepticism. After all, Joseph dedicated himself to getting his kids out of Gary so that they could have a better life, not so they could make important contributions to the music industry. In his mind, Michael was still there with Joseph, trying to out-do the other acts at the Apollo. Any artist he perceived as being a threat to his dominance on the pop charts, was viewed with scepticism.

For instance, Michael has never been a fan of Madonna, a woman who has managed to combine commerciality with artistic vision because, from the start, she has had something she wants to communicate with her music and, usually, a clear-eyed vision as to how to go about it. She gives interviews; she has a point of view. Other than lamenting about his lost childhood and his victimization at the hands of the media, Michael has never had much of a public viewpoint about anything. He's not what one would call articulate, not by any stretch of the imagination. He's a genius on stage, but in the public eye he's stilted. He is constrained by his insecurity, his bashfulness and his deep fear that he will be revealed as being less than what he would like to be for his public. It's understandable, considering his life, considering the way he was raised by Joseph to think so little of himself.

'She just isn't that good,' Michael told one a.s.sociate of Madonna. 'Let's face it. She can't sing. She's just an okay dancer. What does she do best? She knows how to market herself. That's about it.'

In 1989, Madonna was named 'Artist of the Decade' by many newspaper and magazine polls. Warner Bros., her record label, even paid for an advertis.e.m.e.nt in one of the industry trade publications p.r.o.nouncing Madonna 'Artist of the Decade'. It was the kind of empty compliment record labels often give their artists in paid promotions, but Michael was incensed by it just the same. He telephoned John Branca and Frank Dileo and complained that Madonna didn't deserve such an award. 'It makes me look bad. I'm I'm the artist of the decade. Aren't I? Did she outsell the artist of the decade. Aren't I? Did she outsell Thriller? Thriller?' Michael asked, his vast insecurity coming forth. 'No, she did not,' he said.

John who, lately, was in the business of problem-solving for Michael, suggested that he could approach MTV with the idea of a fictional award. Off the top of his head, John came up with something he called 'The Video Vanguard Artist of the Decade' award. That t.i.tle sure sounded impressive to Michael; he was happy, again. 'That'll teach the heifer,' he said, speaking of Madonna.

And so it came to pa.s.s that at the MTV Awards in 1989, Michael was presented with the 'Video Vanguard Artist of the Decade' trophy. Peter Gabriel handed over the honour, certainly not the most meaningless award ever offered at such a festivity, but sad in that it was given to a fellow who really wanted people to know he deserved it. (To this day, the Michael Jackson Video Vanguard award is presented to artists who excel in that medium, a testament not so much to Michael's amazing videos, but to John Branca's amazing ability to placate his client.) It's ironic, considering Michael's obsession with Elvis Presley, that John Branca represented the Presley estate. John once mentioned to Frank Dileo that Elvis used to give his trusted employees Cadillacs. He suggested to Frank that it was time for Michael to start taking care of his trusted a.s.sociates in that same fas.h.i.+on, especially considering all of the bullets John had dodged on Michael's behalf over the years. John was only half-joking. Who wouldn't want a new car?

'Hey, Johnny, that's a d.a.m.n good idea,' Frank said, seriously.

Later, Frank had a talk with Michael. 'Hey, Mike, listen up. You think you're as good as Elvis?'