One More Look at One More Chance

Joie:  So, you know how sometimes you get this idea in your head about something and your mind is made up. But then you stumble upon new information and suddenly that thing you were so certain about just takes on brand new meaning? Well, that’s what happened to me and my view of Michael Jackson’s One More Chance video.

This time
Gonna do my best to make it right.
Can’t go on without you by my side.
Come and rescue me out of this storm
Get out of this cold, I need someone.
(If you see her)
Tell her this for me:
All I need is
One more chance at love….

This R. Kelly ballad is a really beautiful song sung to perfection by Michael, and when it was released on 2003’s Number Ones, I loved it instantly. And after Michael died and the Estate announced that they would be including the long-lost video for this song on the much anticipated Vision box set, I was ecstatic that we would finally get the chance to see Michael’s last short film.
But once the video collection was released and I eagerly sat down to devour it, my excitement was short lived. I have to admit, I did not love the video. I didn’t even like it. Not even a little bit. Where was Michael? The setting was gorgeous and romantic, the premise – with the audience on the stage – was unusual and intriguing, the song was beautiful and one of my favorites. But where was Michael in the video? It was all seemingly shot either totally from behind him or at really weird angles, his face – and therefore, his amazingly expressive eyes that I love – completely hidden from view. And in fact, the video even sparked some debate at MJFC as to whether it was even Michael at all. Perhaps it was merely a body double, a really good MJ impersonator! I was so disappointed. Just between you and me… I often get into my comfy sweats, fire up the DVD player and snuggle in with my Vision box set when I have a free afternoon. But honestly, the One More Chance video was one that I would frequently skip over.
And then recently I stumbled upon an article published just after the Vision box set was released in November of 2010. The article was written by journalist Charles Thomson and titled, “One More Chance: The Dream That Turned into a Nightmare.” Now I have to make a confession here:  this article actually came across my inbox shortly after it was published but, things have a way of getting very busy for me with MJFC and my everyday life (and now I’m dancing with elephants too!) so, I set it aside with the intentions of reading it later. Well, “later” turned into much later and, I’m ashamed to say, I just recently found it sitting in my “To Do” folder. So I took a few moments and read it. And boy…. did it change EVERYTHING!
In writing this article, Charles Thomson researched the video thoroughly, speaking to Michael’s publicist and his manager at the time as well as several of the crew members and extras who worked on the video, and in doing so, he gives us a peek into where Michael Jackson’s life was at the time this video was created. And it is that context, that knowledge that puts this entire video in a whole new light for me. I look at the video with new eyes now and, whereas before it really held no connection for me at all, now I have such an emotional attachment to this video and it holds so much meaning for me.

Willa:  That is so interesting, Joie. My initial response to the One More Chance video was much more positive than yours, though I know what you mean about “where’s Michael?” And my response to Thomson’s article was much less positive. I appreciate all the background information Thomson provides, and it’s definitely an article worth reading, but I thoroughly disagree with his interpretation and assessment of this video.  

Like you, I thought “One More Chance” was a beautiful love song and was eager to see the video, and like you I watched it as soon as the Vision DVDs came out. And I was surprised – it wasn’t at all what I was expecting – but I loved it. As often happens with Michael Jackson’s videos, it led me to completely rethink my ideas about this song and opened up a whole new way of interpreting it. Now I see “One More Chance” as much more than a love song. Responding to it as a beautiful love ballad is still there for me and still valid, but other interpretations have become apparent to me as well. And frankly, I think Thomson’s interpretation completely misses the boat.

In his article Thomson writes rather critically of the video’s concept:

The song was a yearning ballad about lost love in which Jackson pleaded with an ex-girlfriend for “one more chance at love.” The video would feature a unique role reversal in which an audience would stand onstage and watch Jackson as he performed the track in an empty, upscale nightclub, hopping banisters and jumping on tables. The set-up seemed to have little correlation with the song and appeared to be more of a comment on the press and public’s perpetual invasion into Jackson’s privacy – a common theme in the star’s videos – essentially showing a crowd of bystanders watching over Jackson in an intimate, off-stage moment, transfixed by his heartbreak.

Thomson is right to some extent:  if we see “One More Chance” simply as a love song, then the video doesn’t make much sense and the “set-up seem[s] to have little correlation with the song.” But I disagree with Thomson’s interpretation. I don’t think the point of this video is show “a crowd of bystanders . . . transfixed by his heartbreak.” Jackson doesn’t treat the on-stage audience in this video like intrusive voyeurs, that isn’t the mood he creates here – the mood is much more celebratory than that – and that isn’t what this video says to me. As you know, Joie, I’m all for multiple interpretations, and I think any interpretation is valid as long as it can be supported by evidence from the work, but I see very little evidence to support Thomson’s interpretation.

But what if we approach this video like the My Baby songs and view it more metaphorically? In his videos, Michael Jackson frequently parallels the relationship between a man and his lover with that of a performer and his audience. What if we view One More Chance that way? What if he isn’t talking to an ex-girlfriend, but to us, his audience? What if he’s telling us, his audience, that the false allegations and misunderstandings and years of bad press have been terrible for him – it “Hurts so bad sometimes it’s hard to breathe” – but he’s ready to try again, despite everything, and he wants us to give him “one more chance?”

As Thomson writes in his article, Michael Jackson made this video at an important turning point in his life. He was planning to make a fresh start in film, and saw this as a new beginning to his career. So maybe he’s telling us, his audience, that “This time / Gonna do my best to make it right.” Maybe the reason he set up the video with an audience on stage is because he’s talking directly to us, his audience, when he says “All I need is / One more chance.” If we view it that way, this video makes perfect sense. And the fact that the police raided his home the very next day is heartbreaking.

Joie:  It is heartbreaking. Thomson explains that with “One More Chance” – the single and the video – Michael was fulfilling his contractual obligations to Sony and CBS. Once they were completed, Michael was done. He was freeing himself from his contract with Sony and preparing to move on to bigger and better things. He was tired of touring and he wanted to venture into the realm of film. Ironically, something he tried to do in 1993 but couldn’t once the first allegations happened. So, in the video, that last shot of him turning his back on the audience and walking out of the frame with a smile on his face, was very symbolic of the transition he was about to make. He was walking away from the music industry and walking toward his long-harbored dreams of making movies. All he needed was “one more chance.”
And, in answer to my question of “where is Michael,” Thomson tells us that the video was purposely shot from behind Michael in order to track his movements more fluidly. The following day, they were all set to capture the frontal shots and close ups of Michael doing his thing. But that never happened because the following morning came the bad news that the police were raiding the Neverland Ranch for the second time. And I can’t help but think of the lyrics to the song itself:

‘Bout to strike and rain only on me.
Hurts so bad sometime its hard to breathe.

I imagine those lyrics mirror what Michael must have been feeling when he got the news and realized that his dreams were being snatched away for the second time.

Willa:  Those are good points, and I really do appreciate all the background information Thomson provides. It’s really deepened my understanding of this video. Maybe I’m being a little hard on Thomson simply because One More Chance has become very special to me. Just the idea of Michael Jackson in pain but ready to try again and asking us for “one more chance” is incredibly poignant. And then the conclusion of the video is so moving, and very motivating for me personally. At the end, he has left the room, but his audience is still on stage. It’s up to us now. He’s no longer here, but we are – we’re the ones left on stage – and we’re the ones who have to act to preserve his legacy and “help these mysteries unfold.”
Joie:  I think you are being hard on Thomson. I don’t think he really offered any sort of interpretation of the video at all. I think he was merely just giving us the set up, explaining the premise, if you will. But I don’t think his one-sentence assessment of the premise of the video was ever intended to be viewed as an interpretation.
But I do understand your readiness to defend something you love. As you said, this particular video has become very special to you so, wanting to explain it and possibly make others love it as much as you do is only natural. I feel the same way about a certain ballad from the Michael album that you and I violently disagree on but, we’ll save that for another discussion!

Willa:  Joie! That is just wicked. You really aren’t going to let me forget about that are you? Oh well, I guess I deserve it. (Heavy sigh). You really are just too funny sometimes. . .
Joie:  Sorry, I couldn’t resist. But this video is as special to you as that song is to me so, I understand how you feel about it.
Willa:  So here’s some exciting news. Joie is flying to Montreal this morning to see a sneak preview of Cirque du Soleil’s tribute to Michael Jackson – The Immortal World Tour and next week she’ll tell us all about it!

About Dancing with the Elephant contributors

Joie Collins is a founding member of the Michael Jackson Fan Club (MJFC). She has written extensively for MJFC, helping to create the original website back in 1999 and overseeing both the News and History sections of the website. Over the years she conducted numerous interviews on behalf of MJFC and also directed correspondence for the club. She also had the great fortune to be a guest at Neverland. She has been a Michael Jackson fan since she was three years old. Lisha McDuff is a classically trained professional musician who for 30 years made her living as a flutist, performing in orchestras and for major theatrical touring productions. Her passion for popular musicology led her to temporarily leave the orchestra pit and in June 2013 she received a Master’s degree in Popular Music Studies from the University of Liverpool. She’s continuing her studies at McMaster University, where she is working on a major research project about Michael Jackson, with Susan Fast as her director. Willa Stillwater is the author of M Poetica: Michael Jackson's Art of Connection and Defiance and "Rereading Michael Jackson," an article that summarizes some of the central ideas of M Poetica. She has a Ph.D. in English literature, and her doctoral research focused on the ways in which cultural narratives (such as racism) are made real for us by being "written" on our bodies. She sees this concept as an important element of Michael Jackson's work, part of what he called social conditioning. She has been a Michael Jackson fan since she was nine years old.

Posted on September 15, 2011, in Michael Jackson and tagged , , , , , , . Bookmark the permalink. 21 Comments.

  1. i m glad that u mentioned Thomson’s article coz i actually think of it when reading the chapter of “Act 2” in the book! i think MJ would not intentionally craft his life as a 3-act play, at least not before the 1st charge in 1993. But I m going into details about my thought on this now in order not to divert too much from your discussion above (and I shall look forward to a time when u discuss the 3-act play to share my thought). In short what I want to say is that, should the idea of “3-act play” ever exist in MJ’s mind, based on Thomson’s acticle, MJ would had wanted to end “Act 2” in 2002-2003 instead of during TII. MJ’s love for movie was well-known. It seems not surprised that he would want to start a new page in life by devoting himself in the film making industry.

    In regard to the song, i always feel sad listening to it even before reading Thomson’s article. It always make sense to me that when he sing “one more chance”, he’s looking for another chance be accepted in the public who so misunderstood about him. Sometimes he voice even feels like a beg, to beg the public to give themselves a chance to open their eyes and to understand what he really was, then they could be in love again. For the MV, i agree that it’s the story behind it based on Thomson’s article which gives it special meaning to fans. if only based on it’s content, it’s really not that attractive but of course it’s only a semi-finished product that we can’t expect too much.

    • Hi Mej. You bring up some really good points. It does seem that Michael Jackson was trying to start a new chapter in his life – an Act Three, maybe – when the One More Chance video was made. But life kept getting in the way: the Bashir documentary, the allegations, the trial. So he wasn’t able to make the new start that he’d planned.

  2. I agree with Willa, the video gives the song a whole new meaning. It’s suddenly much more than a love story – now it’s about Michael and the audience, about his constant need to please, to be loved. In this context, his words “This time I’m gonna do my best to make it right” are a little bit heartbreaking…

    There’s also another possible interpretation for the video: despite the exchange of places, Michael is still the one performing for the audience. A true entertainer doesn’t really need a stage. He will always do what he was born to do, no matter what the settings are.

  3. Some of us were discussing this video on a forum. There is so much symbolism in the details, and I’m surprised you didn’t mention it.
    At the very beginning, we see shooting stars, which Michael used in other videos. They often represent transformation, and could indicate his desire to transform himself into something other than a live entertainer and recording artist. Then we see a table top from above…a round table. Circles are symbols of wholeness, completeness, eternity etc. Such an interpretation would be congruent with his completing his obligations to Sony/CBS. But it could also represent the “completeness” of his career as a live entertainer.
    At first, he dances carefully on the tables, “dancing around” the candles (other entertainers). He then straddles the barrier (look at all the cultural barriers he straddled!), and then goes up to the stage to touch the hands of the fans. From this, he gets energy and he then dances on the lower level table tops, now kicking the center lights out of the way and replacing them. Notice how the energy has now picked up. I think the way this dance is constructed, the first part represents his early career, when he did his own thing but in concert with others. Once he “crossed over” into an independent performer, he “kicked all the other lights” out of the way.
    Finally, at the end, he does indeed (as you pointed out) leave the fans on the stage, turn and stretches out his arms briefly, and blow a kiss to the fans. He did not bow, as he usually did…I think an indication that things are going to change now, and he is going to do things differently. He blows a kiss to the fans (a gesture of gratitude) and walks “out of the picture” (literally).

    Thank you both for your wonderful discussion here. I look forward to reading much more.

    • Wow, thanks for sharing these ideas. You highlighted a number of things I hadn’t thought about before. I’ve also been thinking about the overall movement of the video. It begins with Michael Jackson at a distance. He gradually approaches the audience but encounters a barrier, as you point out, that he dances on and around. Gradually he moves even closer until he and the audience are touching hands during the refrain (“One more chance at love”). Then he abruptly leaves. We don’t see him at all – he’s completely off camera. Gradually he approaches the audience again, visually representing a second chance perhaps? a return to performing? And then he leaves a second time, but this time it’s a joyful exit. I don’t really know how to interpret all this. Any ideas? Just something I’ve been thinking about.

  4. I think whenever Michael wrote a song about a woman, the woman was us, the fans. I think he understood the love affair we had for each other (the fans and Michael). He wrote so that everyone who loved him would feel like he was writing about them. I felt he looked at us, the fans, as a single relationship and that was his inspiration. If you follow his songs, according to the major events in his life, you can see the feelings he writes about are how he thinks the fans are feeling about him during that time. (just a thought)

  5. I love what Midnite Boomer had to say, more than the Blog itself! Can we hear more from Midnite Boomer? That person seems to have some real insight!

  6. A friend of mine posted on one of the many videos on YouTube featuring Who Is It, and said something along the lines of, “This is really about what the press was saying to/about him.” Something clicked into place for me, though I didn’t quite yet know what. Deciding that my curiosity would all but kill me if I didn’t do some research, aka, listening to the song repeatedly-a very easy task-, I started trying to decipher the lyrics. I was shocked at what I had been missing on one of my favorite songs of all time.

    I’m just going to dissect this piece by piece. “I gave her money,/ I gave her time. I gave her everything/ one heart could ever find./ I gave her passion/, my very soul./ I gave her promises/ and secrets so untold.” Clearly here, at least in my opinion, he’s talking about fame and music. He gave his fame money and lots and lots of time, considering how much time he poured into getting every last detail right for a concert or song. He also gave passion, and at many times, his soul, no matter how obscure, Michael poured his soul into his songs. Promises and secrets would possibly be little glimpses into his home life and his heart, whether through his Home Videos, or his mesmerizing eyes that have captured the attention of every fan, especially those of the female persuasion. 🙂

    “And she promised me forever/ any day we’d live as one./ We made our vows,/ we’d live a life anew./ And she promised me in secret/ that she’d love me for all time./A promise so untrue,/ tell me what will I do?” The world was good to Michael for a number of years. We loved him (a lot of us still very much do), and the media, for the most part was fairly kind to him. But around the time that he wrote this song, around the time of the allegations, the media had already begun to turn on him, and it seemed that a lot of people did not love him any more. Shocked by this uncalled for turn of events, he, for awhile, didn’t quite know what to do. It burned him right to the core that people would hate him for things he had no control over (vitiligo) or things he wouldn’t ever even CONSIDER doing.

    “And it doesn’t seem to matter/ and it doesn’t seem right. Cause the will has brought/ no fortune/ still I cry alone at night. Don’t you judge of my composure/ cause I’m lying to myself./ And the reason why she left me/ did she find in someone else?” It doesn’t seem to matter to the rest of the world how much pain and suffering he was in. No one really cared enough to help him, and those who do were in no position to do so. I’m sure Michael cried a lot at night, I would if I was hounded by the paparazzi and tabloids every day to the point of not being able to poke my nose out my own front door and not having a single day go by without some kind of wild story being thought up. “Don’t judge me” is the message you hear loud and clear throughout the song. Did fame see someone else she’d rather invest her time in?

    I’m actually going to skip the “Who is it” lines, since I can’t find any way to correlate it with his life, other than “Somebody hurt my soul, now.” I think he speaks of the betrayal he had felt from the media. “I can’t take this stuff no more!” There’s only so much rotten garbage one can put up with, and I think Michael was full up to the brim at that point.

    “I am the damned/ I am the dead./ I am the agony inside/ the dying head./ This is injustice/ woe unto thee./ I pray this punishment/ would have mercy on me.” Imagine what must have been going through his head at that point, all the pain, confusion, and sadness. It would be enough to drive anyone bonkers. I imagine it to be something like a perpetual headache. It doesn’t go away, it just gets stronger with passing time. What happened to him was pure injustice, there’s no three ways about it. The punishment of having the world turn on you must just be terribly hard to bear.

    Other than that, the song pretty much repeats itself. The last line that comes to mind for me would be, “I can’t take it cause I’m lonely.” In Michael’s life, goodness knows he experienced a lot of loneliness, perhaps more so than ever when it seemed as though the whole world had turned it’s back on him in his darkest hour, in his deepest despair. We tried, but many people were not there when they could have been.

    • Hi Emily. That is so interesting! I’ve actually been thinking about this song quite a bit lately – especially the “Who is it?” refrain – and the video too. The video focuses on a woman who is constantly changing her appearance so we’re never quite sure who she is or what she really looks like, and the song reinforces that in the refrain. I see what you’re saying about not seeing a direct correlation between the refrain and his life, but what if we reverse roles? In other words, what if we flip it around so he’s the one who is constantly changing his look, and we (his audience) are never quite sure who he is? To be honest, I’m not quite sure what to make of all this – I’m just tossing it out there. What do you think?

      Thanks for writing, and sharing your thoughts.

  7. When i first saw the video I was so saddened, feeling he didn’t want to be seen, that he didn’t want to face anyone. I was so relieved to read later that they did not get the chance to do the shots of him from the front. So many points made in this blog are great, but that to me was the most important.

    • Michelle, reading that really meant a lot to me as well because I felt like you did when I first saw that video. I see it so differently now.

  8. I agree with Michelle. I will watch the video now with a whole new attitude.

  9. Thank you Joie and Willa for this really interesting and thought provoking post about one of Michael’s most gorgeous ballads. There is no one else in my opinion who can sing a song with such emotion and feeling that it makes me literally stop what I am doing so I can feel every note to it’s fullest! I will never tire of hearing his amazing voice.
    I have to say that my first impression of the Video to “One More Chance” was just complete joy at seeing Michael dancing again in something I had never seen. I had the thought when I first watched it that he put the audience, his fans, on the stage to show them how much he appreciated them. He was giving them the spotlight. Obviously Michael does not need a stage to perform!

    I can certainly understand and agree with many of the ideas that have been discussed in this post and also the comments. The symbolism that is described by so many is fascinating but also subjective. Maybe Michael did this on purpose to challenge us to look a little deeper at ourselves. I think many of Michael’s videos often left much of the interpretation to the individual viewer.

    I had also read the backstory to this video in Charles Thomson’s article which makes watching it even more poignant to me. How very sad that Michael’s actual “Chance” to start a new direction in his life was thwarted by such cruel and greedy individuals. I don’t think I will ever be able to get past the anger that I feel towards those that so willfully sought to destroy such a kind, gentle, amazing man.

    Did you know that the “Jackson 5” also did a song titled “One More Chance” written by The Corporation. The first line caught my attention the first time I heard it… “Everybody loves a star when he’s on the top but no one ever comes around when he starts to drop…” It just seemed sadly prophetic to me.

    Thanks again for this interesting discussion.

  10. I’ve noticed again and again that Michael can take a simple song, then add another element like a story line, a dance, a gesture, an arrangement, a clever production technique, etc. and suddenly the composition has a whole new meaning and a whole new life. It blurs the line between composing and performing, arranging, producing, directing, choreographing, sound engineering, film making. For example the melody, chords and lyrics to Thriller are by Temperton, but the finished work and video contain so many compositional elements above and beyond that, to my mind it’s hard to exclude Michael as a creator of the work. This same principle applies here. I believe that if you casually heard this song on the car radio without listening carefully, you might be forgiven for mistaking it as a simple love song by R Kelly. But the video expands this concept into another realm entirely. When Michael flips the roles of performer and listener and sings to his entire audience from their perspective, I believe he sings to all humanity. He sees another chance at love, and maybe not just of him and his audience, but capital L.O.V.E. in most expansive sense of the word, for all humanity to live in this state of love for one another. In all of MIchael’s mature work, the personal always expands into the impersonal or transpersonal realm. A great example is TII, when he sings IJCSLY with Judith Hill, he sets it up with very intimate gestures and body language with her, then at the end, ….”I just can’t stop lovin'”…..boom, a sudden turn…YOU (the audience) and we get to see him direct Hill to turn and gesture towards the audience with him, making his meaning unmistakable. Brilliant. He just expanded the whole song from personal to transpersonal, the love of all. My friend said that at that moment she even felt at MJ was speaking even beyond human beings, including animals and nature and the earth itself. I thought that sounded right on. His expansive nature is always looking for a way to express itself.

    I am fascinated with the way that Michael loves to explore the musical value of the sound of glass shattering. I love this, and this video uses this again. Anyone have any ideas about this? I’m still thinking this through, would love to know if anyone else has any ideas about it.

    • I’ve noticed again and again that Michael can take a simple song, then add another element like a story line, a dance, a gesture, an arrangement, a clever production technique, etc. and suddenly the composition has a whole new meaning and a whole new life. It blurs the line between composing and performing, arranging, producing, directing, choreographing, sound engineering, film making. For example the melody, chords and lyrics to Thriller are by Temperton, but the finished work and video contain so many compositional elements above and beyond that, to my mind it’s hard to exclude Michael as a creator of the work.

      Absolutely! I know exactly what you mean. “The Way You Make Me Feel” is a cute little love song, but the video turns it into a whole new animal. Suddenly, we’re dealing with misogyny and gang violence and how power relationships between men and women plays into all that. We see that again and again in his work, where he layers up meaning – melody, lyrics, instrumentation, dance, narrative, cinematography – and each layer alters and expands how we perceive and interpret all the other layers as well as the piece as a whole. It’s just amazing to me. And it’s one of the things that makes his work so rich, with so much to explore and discover and think about.

  11. re Willa’s question: I went in and watched again. The “coming and going” I can’t figure out. Perhaps he is saying, I originally came in as one character, now I’m coming in as something new (with the films etc he had planned). But I did note that he enters from what would be “stage left” and exits “stage right.” (No idea what that’s about).
    I’m never sure what these gestures mean, but I noticed that the first time he sings the chorus, he’s alone on a table away from the fans; the second time the chorus is sung is when he is touching the fans’ hands; the third time he is on a table closest to the fans.
    I think I read somewhere that he thought he could reach more people through film, so the final part of the dance on the table closest to the fans might symbolize that idea.
    Also, as he sings “I’ve been walking ’round the world to find her,” he turns to the camera and points upward. That gesture, accompanying these particular words, really has me puzzled and I am eager to read others’ interpretations of any of this.

    @Ultravioletrae: re broken glass: (just my thoughts)
    There are many interpretations, but knowing Michael’s philosophy, I think broken glass, in this short film, represents the permanence of his decision…a broken glass cannot be reconstructed. He was also apparently very sensitive to the “brokenness” of the world, and I think it may also be a reminder to us as well, to pay attention and maybe try and do something.

    Who knows for sure? But it’s fun to throw ideas around!

    • I noticed that the first time he sings the chorus, he’s alone on a table away from the fans; the second time the chorus is sung is when he is touching the fans’ hands; the third time he is on a table closest to the fans.

      It is fun to toss ideas around. Like you, I’m not sure what all the “coming and going” means – sometimes he’s close to the audience, sometimes he’s further away – but it intrigues me, especially since he had such a complicated relationship with his audience. For most entertainers, the goal is to please your audience, always. But Michael Jackson didn’t always please us. Sometimes he willfully provoked us. Sometimes he upset us or made us mad. Sometimes he made us look at ugly realities we didn’t want to see. Sometimes he disappeared for months, or appeared uncomfortably different to us, or shocked us. He wasn’t just an entertainer – he was an artist – and sometimes his art challenged us more than it pleased us. But his work was always meaningful, even when it led us to see things in an uncomfortable new way.

      Anyway, I’m just pondering out loud, but all the “coming and going” in this video does intrigue me.

  12. I could read and talk about Michael all day

  13. I totally agree with your thoughts Willa about the One More Chance video MJ’s words and actions in the video was asking his fans and music that he needs a new chance needs new to renew his art telling us I’m coming back again more powerful. In 2000 when MJ received an award in Monaco his last word confessed telling the fans ” you ain’t see nothing yet ” he was confidant and assuring us of his upcoming new move. In this video he was ready, but again as you said the 2003 allegations changed the whole idea.

    • Hi Black Shark. That comment during his acceptance speech in Monaco made a big impression on me also. It really seemed that he was excited about the future and his plans for the future. I wonder what exactly he had in mind.

  14. Hi, just found this discussion that I had not read before. Thanks, Emily, for great work with the lyrics to ‘Who Is It?”–(I think the chorus has a lot of meaning too btw). One More Chance is intriguing–he looked so good in this film and it is sad to compare his physical state here with how he looked in the This Is It rehearsals. I did read in the Charles Thomson piece that Michael was disappointed in the concept for One More Chance and felt it was too much an echo of Smooth Criminal set–the tables in a club. It was also clearly a low budget film–the fact that it was to be shot in 2 days, etc. However, there is a big plus that a fan pointed out in regarding the fact that we only have the back shots–as this person said, ‘We get to look at his butt.” Sorry–this is not very high-minded–I confess!! But I think he looked wonderful in that film and the lyrics were sung with such feeling–so true, what Joyce and Pamela wrote. Yes, he is asking everyone for a second chance–so sad. We should have been the ones begging for a second chance to show him our love and to ask him for forgiveness. Thanks for all the great comments–love you more, Michael.

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