HEE-HEE! Shamone!

Michael Jackson with director John Landis on the set of “Black or White”, 1991.

In MJ’s Shadow
ARMOND WHITE remembers Michael Jackson’s pop open-mindedness
Originally published at New York Press
Armond White
June 30, 2009

Michael Jackson made the best cinema of 1991 with the music video “Black or White,” which was easily superior to any short or feature-length film released to the public that year. To find a comparable example of visual montage, you have to go back to one of Alain Resnais’ time-shifting études, the marriage scherzo in Citizen Kane or the chase-trial fugue in D.W. Griffith’s Intolerance. I combine musical and filmic values because “Black or White”’s visionary approach to egalitarianism—ending with a still-miraculous sequence of genetic morphing and counter-balanced by a solo dance of frustration and rage—was a singular feat: Its constant rhythm was accompanied by a stacking-up of thrilling, provocative ideas.

The night “Black or White” premiered on FOX was one of those memorable moments when Michael Jackson brought the world together through his art. That unification is, of course, MJ’s legacy. But not merely in a lovey-dovey sense. MJ’s command of popular attention was always unexpected and challenging. Each cultural/historical marker demonstrated his unique sensibility, mostly superb taste (pardon his penchant for horror-film tropes), his simple yet probing, agitating intellect and his seemingly boundless talents: a great singer, songwriter, dancer and, in movie terms, performer-as-auteur.

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Tom Mesereau arrives at court with Michael, 2005

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Illustration by KAWS

Michael Jackson interviews Pharrell Williams
Interview, June 2003

MICHAEL JACKSON: So, I’m interviewing you, right? And I think it’s seven questions, or something like that?

PHARRELL WILLIAMS: Sure. Whatever you like.

JACKSON: Okay. What would you say inspires you in your music? What is it that inspires you to create your music?

WILLIAMS: It’s a feeling. You treat the air as a canvas and the paint is the chords that come through your fingers, out of the keyboard. So when I’m playing, I’m sort of painting a feeling in the air. I know that might sound corny, but—

JACKSON: No. No, that’s a perfect analogy.

WILLIAMS: And when you know it’s done, you know it’s done. It’s like painting or sculpting. When you let it go it’s because you know that it’s finished. It’s completed. And vice versa—it tells you, “Hey, I’m not done.”

JACKSON: Yeah. And it refuses to let you sleep until it’s finished.

WILLIAMS: That’s right.

JACKSON: Yeah, I go through the same thing. [laughs] And what do you think of the music today—are you into the new sounds that are being created and the direction that music is going?

WILLIAMS: Well, personally, I kind of feel like I’m taking notes from people like yourself and Stevie [Wonder] and Donny [Hathaway], and just sort of doing what feels right.

JACKSON: Right.

WILLIAMS: You know, like when everyone was going one way, you went Off the Wall.

JACKSON: Right. [laughs]

WILLIAMS: And when everyone else was going another way, you went Thriller. You just did it your way. And I’m taking notes from people like yourself, like not being afraid to listen to your feelings and turn your aspirations and ambitions into material. Making it happen, making it materialize . . .

JACKSON: Who are some of the older artists—not the artists on the radio today—who inspired you when you were younger? Like the artists your father listened to, did you learn anything from those artists?

WILLIAMS: Absolutely. The Isley Brothers.

JACKSON: Yeah, me too. I love the Isley Brothers. And I love Sly and the Family Stone.

WILLIAMS: Donny, Stevie.

JACKSON: You like all the people I like. [laughs]

WILLIAMS: Those chord changes. They take you away.

JACKSON: Beautiful, beautiful. Okay, well, where are you? In New York?

WILLIAMS: I’m in Virginia Beach, Virginia, sir.

JACKSON: Virginia! Oh, beautiful. Will you give my love to Virginia?

WILLIAMS: Yes. Thank you.

JACKSON: And your mother and your parents? Because God has blessed you with special gifts.

WILLIAMS: Thank you, sir. And I just want to say something, and I don’t know if you want to hear this, but I just have to say it because it’s on my heart. But people bother you—

JACKSON: Yeah.

WILLIAMS: Because they love you. That’s the only reason why. When you do something that people don’t necessarily understand, they’re going to make it into a bigger problem than they would for anybody else because you’re one of the most amazing talents that’s ever lived. You’ve accomplished and achieved more in this century than most any other men.

JACKSON: Well, thank you very much. That’s very kind of you.

WILLIAMS: What you do is so amazing. When you are 100 years old, and they’re still making up things about what you’ve done to this and what you’ve done to that on your body—please believe me, if you decided you wanted to dip your whole body in chrome, you are so amazing that the world, no matter what they say, is going to be right there to see it. And that is because of what you have achieved in the music world, and in changing people’s lives. People are having children to your songs. You’ve affected the world.

JACKSON: Thank you very much. It’s like the bigger the star, the bigger the target. You know when you’re—and I’m not being a braggadocio or anything like that—but you know you’re on top when they start throwing arrows at you. Even Jesus was crucified. People who bring light to the world, from Mahatma Gandhi to Martin Luther King to Jesus Christ, even myself. And my motto has been Heal the World, We are the World, Earth Song, Save Our Children, Help Our Planet. And people want to persecute me for it, but it never hurts, because the fan base becomes stronger. Andthe more you hit something hard, the more hardened it becomes—the stronger it becomes. And that’s what’s happened: I’m resilient. I have rhinoceros skin. Nothing can hurt me. Nothing.

WILLIAMS: That’s precisely my point. I just want to let you know you’re amazing, man. What you do to music, what you’ve done to music, from “Billie Jean” to “That’s What You Get (For Being Polite)”—[sings]“That’s what you get for being polite.”

JACKSON: Oh, you know that one? [laughs]

WILLIAMS: [sings] “Jack still sits all alone.”

JACKSON: Boy, you know all those ones . . . [hums a guitar riff]

WILLIAMS: If I never work with you, just know that you are unstoppable. That’s why I said, when you’re 100 years old and you decide to dip your entire body in chrome, as much as they say things—and I don’t care what they say about you, sir—they’re going to be right there to see it.

JACKSON: There’s a lot of jealousy there. I love all races, I love all people, but sometimes there’s a devil in people, and they get jealous. Every time there’s a luminary that goes beyond the heights of his field of endeavor, people tend to get jealous and try to bring him down. But they can’t with me because I’m very, very, very strong. [laughs] They don’t know that, though.

WILLIAMS: They know! Please believe me, they know!

JACKSON: Anybody else would’ve cracked by now; they can’t crack me. I’m very strong.

WILLIAMS: Of course. They couldn’t crack you when you were 10, because you were destroying grown men doing what you did with your voice and your talent. And when you were 20, you were outdoing people that had been doing it for 20 or 30 years. And nowadays they’re still waiting to see where you’re at. They want to see your kids, they want to see your world. You’re amazing, and I just wanted to tell you that, man. And I hope that this all gets printed because it’s very important to me. I hope that I can be half as dope as you one day.

JACKSON: Oh, God bless you. You’re wonderful, too . . . Have a lovely day.

WILLIAMS: You too, sir.

JACKSON: Thank you. Bye.

WILLIAMS: Bye.

Following the 1993 molestation accusations against Michael Jackson (no criminal charges were ever brought by the police or the grand juries), writer Mary A. Fischer published an incredibly well-researched article about the case in GQ magazine. Regardless of what you think you already know about the case, I urge you to read Fischer’s article. Had more people been aware of the facts surrounding the accusations made sixteen years ago, Jackson’s public image in the years following would have been very different.

Was Michael Jackson Framed? The Untold Story
By Mary A. Fisher
GQ, October 1994

Did Michael Do It?
The untold story of the events that brought down a superstar

Before O.J. Simpson, there was Michael Jackson—another beloved black celebrity seemingly brought down by allegations of scandal in his personal life. Those allegations—that Jackson had molested a 13-year-old boy—instigated a multimillion-dollar lawsuit, two grand-jury investigations and a shameless media circus. Jackson, in turn, filed charges of extortion against some of his accusers. Ultimately, the suit was settled out of court for a sum that has been estimated at $20 million; no criminal charges were brought against Jackson by the police or the grand juries. This past August, Jackson was in the news again, when Lisa Marie Presley, Elvis’s daughter, announced that she and the singer had married.

As the dust settles on one of the nation’s worst episodes of media excess, one thing is clear: The American public has never heard a defense of Michael Jackson. Until now.

It is, of course, impossible to prove a negative—that is, prove that something didn’t happen. But it is possible to take an in-depth look at the people who made the allegations against Jackson and thus gain insight into their character and motives. What emerges from such an examination, based on court documents, business records and scores of interviews, is a persuasive argument that Jackson molested no one and that he himself may have been the victim of a well-conceived plan to extract money from him.

More than that, the story that arises from this previously unexplored territory is radically different from the tale that has been promoted by tabloid and even mainstream journalists. It is a story of greed, ambition, misconceptions on the part of police and prosecutors, a lazy and sensation-seeking media and the use of a powerful, hypnotic drug. It may also be a story about how a case was simply invented.

Neither Michael Jackson nor his current defense attorneys agreed to be interviewed for this article. Had they decided to fight the civil charges and go to trial, what follows might have served as the core of Jackson’s defense—as well as the basis to further the extortion charges against his own accusers, which could well have exonerated the singer.

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Michael Jackson: Life in the Magical Kingdom
Gerri Hirshey
Rolling Stone; February 17, 1983

It’s noon, and somewhere in the San Fernando Valley, the front shades of a row of condos are lowered against a hazy glare. Through the metal gate, the courtyard is silent, except for the distant splat of a fountain against its plastic basin. Then comes the chilling whine of a real-life Valley girl. “Grandmuther. I am not gonna walk a whole block. It’s bumid. My hair will be brillo.”

And the soothing counterpoint of maternal encouragement: “Be good pup, Jolie. Make for mama.”

All along the courtyard’s trimmed inner paths, poodles waddle about trailing poodle-cut ladies on pink leashes.

“Not what you expected, huh?” From behind a mask of bony fingers, Michael Jackson giggles. Having settled his visitor on the middle floor of his own three-level condo, Michael explains that the residence is temporary, while his Encino, California, home is razed and rebuilt. He concedes that this is an unlikely spot for a young prince of pop.

It is also surprising to see that Michael has decided to face this interview alone. He says he has not done anything like this for over two years. And even when he did, it was always with a cordon of managers, other Jackson brothers and, in one case, his younger sister Janet parroting a reporter’s questions before Michael would answer them. The small body of existing literature paints him as excruciatingly shy. He ducks, he hides, he talks to his shoe tops. Or he just doesn’t show up. He is known to conduct his private life with almost obsessive caution, “just like a hemophiliac who can’t afford to be scratched in any way.” The analogy is his.

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Michael Jackson
By Bob Colacello and Andy Warhol
Interview, October 1982

In August of 1982, Interview’s executive editor, Bob Colacello, interviewed Michael Jackson, then 23, at the condominium in the San Fernando Valley that the singer was renting with his family while their house nearby was being redecorated. (Andy Warhol called from New York midway through their conversation.) Jackson, of course, was already famous for his work with his brothers in the Jackson Five, but his first adult solo album, Off the Wall (1979), released three years earlier, had made him a star in his own right. When this interview took place, he was at work on a storybook companion record for the Steven Spielberg film E.T.: The Extra-Terrestrial (1982)—hence the E.T. references—and was fielding an array of film-role offers. He was also finishing up recording Thriller (1982), which would go on to become the best-selling album of all time. The following is an excerpt from their interview as it originally appeared as the cover story of the October 1982 issue.

BOB COLACELLO: Did you like performing as a child? Did you always love it?

MICHAEL JACKSON: Always did. I always enjoyed the feeling of being onstage—the magic that comes. When I hit the stage it’s like all of a sudden a magic from somewhere just comes and the spirit just hits you and you just lose control of yourself. I came onstage at Quincy’s [Jones] concert at the Rose Bowl and I did not want to go onstage. I was ducking and hiding and hoping he wouldn’t see me hiding behind people when he called me on. Then I went up there and I just went crazy. I started climbing up the scaffold, the speakers, the light gear. The audience started getting into it and I started dancing and singing and that’s what happens.

COLACELLO: How do you compare acting to performing on the stage?

JACKSON: I love both. Acting is the cream of the crop. I love performing. It’s a phenomenal getaway. If you want to really let out everything you feel, that’s the time to do it. With acting, it’s like becoming another person. I think that’s neat, especially when you totally forget. If you totally forget, which I love to do, that’s when it’s magic. I love to create magic—to put something together that’s so unusual, so unexpected that it blows people’s heads off. Something ahead of the times. Five steps ahead of what people are thinking. So people see it and say, “Whoa I wasn’t expecting that.” I love surprising people with a present or a gift or a stage performance or anything. I love John Travolta, who came off that Kotter show. Nobody knew he could dance or do all those things. He is like—boom. Before he knew it, he was the next big Brando or something.

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Michael Tells: ‘I’m A Girl Watcher!’
Tiger Beat; September 1972

Have you ever had that weird feeling that someone was staring at you—watching your every move? If you have, you might discover that the someone is none other than Michael Jackson!

He was leaning against the tree, whistling a nameless little tune. The sky—so blue that it hurt the eyes to stare up too long. But that was all right because he wasn’t looking at the sky. His eyes were busy elsewhere!

Michael grinned to himself. There was nothing that could top what he was doing right now! Standing here so casually, with his thumbs stuck through his belt loops, no one could guess that he was practicing an art.

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