Summer Rewind, Week 1: My Baby

NOTE:  The My Baby series was originally posted last August on the 14th, 20th and 27th. You can see the original posts and comments here.

Thinking About My Baby

Willa:  As Joie mentioned last week, the idea for this blog grew out of a long series of emails we were exchanging back and forth. We were having a wonderful time sharing ideas and comparing notes about Michael Jackson’s work, and we each really enjoyed talking with someone who knew his work and cared about it as much as we did. One thing she and I discovered over the course of our emails is that we’re both fascinated by My Baby, and have been for a long time.

Joie:  You all know who she is; you have heard Michael sing about her for years. She is presumably the girl of his dreams, the woman who knows him and loves him and truly cares about him. She’s also the woman who is constantly hurt time and time again by other devious, “bad girls” who throw themselves into Michael’s orbit like in “Billie Jean,” “Dirty Diana,” and “Dangerous.”

Willa:  She’s a very important figure in Michael Jackson’s work, appearing on album after album, from Triumph and Thriller in the early 1980s to Invincible in 2001. And, as Joie says, she’s almost always hurt or threatened in some way. In fact, we often see her walking away in tears.

Joie:  What draws my attention to her, I guess, is the fact that Michael sings about her as if she is someone who has been in his life for a long time. Even though her appearance on the songs I just mentioned – and others – is usually brief, we get the feeling that she is incredibly important to him. He loves her and he clearly wants to protect her from the ‘wicked women,’ he sings about in “Heartbreak Hotel,” (a.k.a. This Place Hotel). We see him constantly fretting over the fact that she will be hurt somehow by the “bad girls” and that they will drive her away from him.

Someone’s always tryin’  
to start My Baby cryin.’  
Talking, squealing, lying,  
saying you just want to be startin’ somethin.’

It’s almost as if he’s describing a relationship that has seen its share of ups and downs. They’ve been through this sort of thing before and My Baby always ends up hurt. At least, in the early years of their relationship – in the 1980s and ’90s. But by 2001’s “Heaven Can Wait,” it’s clearly a much different relationship. Here we see that My Baby not only loves him and cares about him, but now she trusts him too; she has faith in him. Their relationship is solid and no one can come between them anymore. Together, they are a force to be reckoned with and it’s the greatest love affair either of them has ever experienced. He loves her so deeply that he doesn’t want to leave her for an instant – not even for heaven!

Oh no, can’t be without My Baby.  
Won’t go, without her I’ll go crazy.  
Oh no, guess Heaven will be waiting.

It’s really interesting to me that their union changes over time. The way he writes about her grows and matures over the years just as if it were a real relationship. We see the initial infatuation in songs like “The Way You Make Me Feel,” and “Streetwalker,” and we watch it grow and blossom in songs like “Black or White,” and “Fly Away.” And then we see the culmination of their love on the beautiful “Heaven Can Wait.”

Willa:  As Joie says, in his early albums, she’s threatened by another woman. My Baby seems to be a private person who knows and cares about the protagonist, though she avoids the limelight and seems somewhat uncomfortable with his fame. He loves her and tries to protect her, but she’s repeatedly hurt by another woman who wants to push her out and take her place. This second woman doesn’t really know him or care about him, but she’s much bolder than My Baby and is actually attracted to fame, the protagonist’s fame – in fact, she’s something of an adventurer. The protagonist recognizes all that and distrusts her. Yet at the same time, he finds himself strangely drawn to this other, bolder woman.

Joie:  And his relationship with this other woman is just as interesting as his relationship with My Baby. It’s almost like you can’t have one without the other. Like they are two halves of the same coin, so to speak.

Willa:  I agree. The recurring conflict between these women is very interesting. There’s obviously something very important going on here – something Michael Jackson explored and wrestled with for years. I think that’s one reason I started seeing My Baby as representing more than just a romantic relationship. To me, My Baby and the other woman seem to represent his shy side versus his public side, or his private life versus his public life, with the intrusions of the media and intense public interest in him threatening to destroy his private life, just as that bold other woman threatens to drive away My Baby.

Or these two women could represent his muse – the woman of myth who has quietly inspired artists’ creativity for centuries – and the audience and critics who kept demanding that he create another Thriller and just wanted him to sing “Billie Jean” over and over again for the rest of his life. But it’s not an either/or situation. While I see these other interpretations, I still see My Baby as a woman who knows him and cares for him, and provides for him emotionally as well.

Welcome to Heartbreak Hotel

Willa:  We first meet My Baby in “Heartbreak Hotel” (or “This Place Hotel”), which Michael Jackson wrote and recorded for The Jacksons’ 1980 Triumph album. And it seems to have been an important song for him: he performed it with his brothers on the Triumph and Victory tours, and it was the only Jacksons’ song he sang throughout his Bad tour.

“Heartbreak Hotel” begins with a reference to a traumatic loss that happened “Ten years ago on this day”:

Live in sin  
Ten years ago on this day my heart was yearning  
I promised I would never ever be returning  
Where My Baby broke my heart and left me yearning

Importantly, “ten years ago” is when Michael Jackson first became a public figure on the national stage: “I Want You Back” became the Jackson 5’s first number one hit in 1970.

The protagonist and My Baby enter Heartbreak Hotel together. It’s a public place where they encounter a crowd of “faces staring.” And while the staring people are strangers, they seem to know him: “they smiled with eyes that looked as if they knew me.” But they don’t really know him, and he doesn’t know them. It’s a pretty accurate description of the life of a celebrity. This stanza ends with Jackson singing, “This is scaring me.”

He and My Baby walk upstairs together and enter his hotel room, but two women are there already. One of them approaches him and says, “This is the place / You said to meet you right here at noon.” It’s not true, but My Baby believes her – believes this stranger is his lover – and Jackson sings, “Hope is dead.” He goes on to describe how My Baby is hurt because she doesn’t understand the situation, but ends with “Someone’s evil to hurt my soul.” So this lie not only hurts My Baby; it also hurts “my soul.” The two are so closely connected, it’s as if My Baby is his soul. The stanza ends with these lines:

This is scaring me  
Then the man next door had told  
He’s been here in tears for fifteen years  
This is scaring me

Who is this man? Could it possibly be Elvis? After all, Elvis begins his song “Heartbreak Hotel” (which was his first number one hit) with the lines:

Since My Baby left me  
I found a new  place to dwell
 It’s down at the end of Lonely Street  
At Heartbreak Hotel

So apparently Elvis lives there. Now Michael Jackson has checked into the room next door, and he’s in the same position Elvis was in for years.

This “man next door” says “He’s been here in tears for fifteen years,” so since 1965 – right when Elvis’ career began its decline, and his celebrity began to take an ugly turn. Elvis was the King in the late 1950s and early ’60s, but then the British Invasion took place from 1964 to 1966. Suddenly, the Beatles and Rolling Stones were climbing the pop charts, and Elvis was increasingly seen as outdated and irrelevant, even an object of ridicule.

So in these two very different songs with the same name, Elvis and Michael Jackson describe a situation that’s emotionally devastating to them. However, while Elvis is clearly singing about a romantic loss, Jackson’s song is much more complicated, and much more ambiguous. Is it just a shattered romance, or more than that? Jackson’s “Heartbreak Hotel” ends with these lines:

Someone’s stabbing my heart  
This is Heartbreak Hotel  
Ten years ago today  
Hurting my mind  
You break My Baby’s heart  
This is Heartbreak Hotel  
Just welcome to the scene

“Welcome to the scene” is a pretty odd ending for a song about lost love. So again, there seems to be more going on than just an ill-fated romance. And once again, he and My Baby are conflated: his heart is hurt, her heart is hurt, his mind is hurt. They share the same pain. He’s feeling what she’s feeling, as if she were a part of him.

Joie:  Wow! Not sure I would have made the obvious Elvis connection here but, I’ve got to say, it makes a crazy kind of sense.

Willa:  I know. It does sound kind of crazy, doesn’t it? I wasn’t expecting to go off on an Elvis tangent, and obviously “the man next door” could mean many different things, but suddenly that idea popped into my head and I went with it, just to see where it took me. I think any interpretation – even a crazy-sounding interpretation – is valid as long as it can be adequately supported by evidence from the text, and there’s quite a bit of evidence to support this. And it does make a lot of sense if you see this song as talking about celebrity, which was a very important theme for Michael Jackson.

Joie:  Well, I’ll go with that for a minute and say that, if this was intentional on Michael’s part, it’s actually brilliant. However, when The Jacksons made the decision to change the name of the song to “This Place Hotel,” Michael did say that he was not familiar with Elvis’ song. So, while I agree that the imagery of both songs work very well together, I’m skeptical that there is any real connection between the two.

But I love what you have to say about My Baby possibly representing his own soul. And that line towards the end where he says “Hurting my mind.” It’s like My Baby represents him: his psyche. His mind, his heart, his soul – the inner self that he keeps protected from public view. As I said last week, Michael sings about My Baby as if she is someone who is very important to him and has been in his life for a very long time, and I think this notion that she is symbolic of his own inner being carries a lot of weight. In “Wanna Be Startin’ Something” Michael says,

Someone’s always tryin’  
To start My Baby cryin’  
Talking, squealing, lying  
Saying you just want to be startin’ somethin’

If we look at this verse in these terms, it’s very easy to see how My Baby could be a euphemism for his inner self. Someone’s always trying to hurt him. He goes on to sing,

Billie Jean is always talkin’  
When nobody else is talkin’  
Telling lies and rubbing shoulders  
So they called her mouth a motor

Sticking with this theory we can argue that Billie Jean – and all of the other “bad girls” who come his way – represents his public life and all the baggage that comes with it (the lies, the media, the paparazzi, etc.).

Willa:  I agree, and I really like that quotation you cited. “Billie Jean is always talkin’” – just like the media is always talking. From a very young age, Michael Jackson faced constant commentary and speculation about his private life. And the media’s mouth isn’t just “a motor.” It’s an industry.

Joie:  An industry he would end up battling for the rest of his career. But we’ll talk more about that next time when we take a closer look at the “bad girls” in this threesome.

Willa:  Right. And this three-way conflict between My Baby, the intrusive women who hurt her, and the protagonist who finds himself caught between the two continues to evolve – just as Michael Jackson’s relationship with the media evolved. We see this scenario of My Baby being hurt by an aggressive, dishonest woman recurring again and again: for example, in “Billie Jean” and “Wanna Be Startin’ Something” on Thriller, in “Dirty Diana” from Bad, and in the title track to Dangerous. And then she disappears. My Baby isn’t mentioned once on his HIStory album, which was his first album after the 1993 molestation allegations. It’s like his public life has become so toxic she’s completely hidden from view now.

Or maybe not. Maybe she does appear, but in an unexpected way, and in an unexpected place – in the video to a song he didn’t write, “You Are Not Alone.” The song opens with a story of lost love:

Another day has gone  
I’m still all alone  
How could this be  
You’re not here with me
You never said goodbye  
Someone tell me why  
Did you have to go  
And leave my world so cold

However, the video opens with a crowd of reporters and photographers pressing in on him as he walks by with his head bowed. It’s the exact same situation he sang about repeatedly in earlier albums: these intrusive people are claiming to know him and telling lies about him, and My Baby has left him. Only this time he’s telling that story through visual cues.

He’s devastated, heartbroken, feeling so sad and alone. Then he hears a voice. We don’t know whose voice it is, but it “whispers” to him, and this is what it tells him:

You are not alone  
I am here with you  
Though you’re far away  
I am here to stay
You are not alone  
I am here with you  
Though we’re far apart  
You’re always in my heart  
But you are not alone

Whose voice is this? The lyrics don’t say, but once again there are visual cues. The scene of walking before a sea of aggressive reporters alternates with another scene, far removed from the media: it’s the setting of Maxfield Parrish’s Daybreak, a beautiful painting of serenity and rebirth. He’s happy, and sharing an intimate moment with a woman.

And it’s not just any woman. It’s his wife, Lisa Marie Presley, the daughter of Elvis Presley. When Elvis’ public life was falling apart and he was a target of criticism and even ridicule by the press, he had a little girl who stood by him and brought some joy into his life. Now Michael Jackson is in the same position Elvis was in before. And that little girl has grown up and married him, and she’s standing by him through one of the worst periods of his life and bringing some joy into his life.

I’m pretty uncomfortable talking about all this because these are real people, and I try very hard to stay out of an artist’s private life as much as possible. But these real people also symbolize certain things, and the symbolism of that image with Lisa Marie Presley is so powerful to me.

Joie:  Well, I absolutely agree with you that the still small voice in “You Are Not Alone” is definitely that of My Baby. But I can’t agree that it has anything to do with Lisa Marie Presley in the literal sense. In the abstract as a visual cue, yes definitely. The recreation of Daybreak for this video was an inspired choice in my opinion as it expertly captures the intimate, private place that Michael is trying to take us to here, and the use of his wife as the visual portrayal of My Baby makes perfect sense to me. After all, if My Baby were a real person, she would certainly be the person who was closest to him and knew him intimately – as a wife does.

However, he repeatedly says that “something whispers in his ear.” Not someone, something. That still small voice. His very soul. His inner self. That part of him that he has nurtured and tried so hard to protect over the years and keep pure. Away from all of the “bad girls” and the bad media that have threatened My Baby for so long. And what does that voice say to him? “You are not alone.” Even though he may feel like the loneliest person on the face of the earth – which is the feeling all those shots of him standing alone in front of the beautiful nature scenes and onstage in the deserted theater are meant to evoke – he is not alone. He still has his soul and it’s intact and strong. It may be a little bruised and banged up but, it is still there. And he can still feel it, calling to him, telling him that what he has just been through was a nightmare but, he got through it and he came out the other side and there is still hope for a bright future.

Even though Michael didn’t write this particular song, I believe that the lyrics must have spoken to him on some level and perhaps they expressed something – some emotion or idea – that he could relate to and identify with. And I think that something was My Baby.

Willa:  Joie, that’s beautiful. I was groping forward, trying to get at what that recurring scene symbolized and why it was so moving for me, and just not getting there. And you beautifully captured in words that feeling I have when I watch this video. I do think it’s significant that the woman in this scene is Lisa Marie Presley. It wouldn’t have the same depth of meaning if it were just any actress from a casting call who didn’t have her history. But I love the way you brought our discussion back to the idea of My Baby as representing a part of himself – as something that will always be there for him, whether it’s his soul or his heart or his muse. As you describe so well, this video is an affirmation that there is something inside that will sustain him, regardless of what threatens him in the outside world.

A Touch, a Kiss, a Whisper of Love

You’ll never make me stay  
So take your weight off of me  
I know your every move  
So won’t you just let me be
I’ve been here times before  
But I was too blind to see  
That you seduce every man  
This time you won’t seduce me

Joie:  With these words begin the game of seduction that is “Dirty Diana.” And it’s apparently one they’ve been playing for some time. He knows her “every move,” he’s “been here times before.” But this time it’s different. This time he’s finally opened his eyes and he sees her now for what she really is, and he doesn’t want to go through it again.

She’s saying that’s ok  
Hey baby do what you please  
I have the stuff that you want  
I am the thing that you need
She looked me deep in the eyes  
She’s touchin’ me so to start  
She says there’s no turnin’ back  
She trapped me in her heart

She wants him and she’s not willing to take no for an answer. So she taunts him, telling him that she knows exactly what he wants and what he needs. Then she touches him suggestively and says, “there’s no turnin’ back.” He’s been trapped by this beautiful, ruthless seductress and he’s torn. On one side there’s My Baby, the woman he loves and has waiting for him at home. But standing right in front of him is this wicked temptress, telling him that she’s ready and willing. He wants to be faithful. But he’s also strangely drawn to this other woman. She’s wild and exciting and unpredictable and he likes that. But he also likes the fact that My Baby is in his life, someone who knows him and loves him and cares about him. He feels this same dilemma in “Dangerous”:

She came at me in sections  
With the eyes of desire  
I fell trapped into her web of sin
A touch, a kiss  
A whisper of love
I was at the point of no return

Once again, he feels trapped. But this time, it’s a little darker. The first time, he sings, “She trapped me in her heart.” The second time, he is “trapped into her web of sin.” The Bad album was released in 1988 when Michael was still a relatively young, inexperienced man but Dangerous is released a few years later in 1991, and few years can make a whole lot of difference. So in 1988, he was a little bit naive and then caught completely by surprise when Diana grabs the phone out of his hand and tells My Baby that he’s not coming home “because he’s sleeping with me.” But in 1991, he’s not so naive anymore and he knows exactly what he’s getting into.

Her mouth was  
Smoother than oil  
But her inner spirit  
Is as sharp as  
A two-edged sword  
But I loved it
‘Cause it’s dangerous

He knows it’s wrong. He knows he shouldn’t. But he can’t help himself; he’s inexplicably drawn to her. But who is she really? And if we continue to see My Baby as representing a part of his psyche or his inner self, then who exactly are these other women who constantly threaten her and try to come between them? Could these women possibly represent another side of his own psyche? Perhaps the part of him that courted fame, the side of him that was drawn to entertaining and creating and being on stage. That part of him that loved being in front of a camera or onstage performing in front of 80,000 people. Is it possible that these “dangerous” women represent fame itself and that Michael Jackson often felt seduced by it? Compelled to go off with her instead of going home to My Baby. Compelled to pursue his career instead of nurturing that secret part of himself that he tried to keep safely hidden away from the limelight.

Fame is the dream of many,  the hope of millions. But it always comes at a price and often, those who find it end up wishing that it was different. Fame is wild and exciting and unpredictable – just like the temptress in both “Dirty Diana” and “Dangerous.” But fame can also be brutal and unkind and hurtful to those who get in its way. Just ask My Baby.

Willa:  Wow, Joie. You’ve officially blown me away. I had never considered the possibility that these seductive, threatening women were fame itself, or that part of himself that was drawn to fame. But now that you say that, it makes perfect sense. It never made sense to me that he would be attracted to a cruel person, to someone whose “inner spirit is as sharp as a two-edged sword.” But fame is cruel, and he knows it, but still he’s drawn to it. That makes perfect sense. It also explains why he can’t escape it – why these seductive women reappear again and again, album after album, threatening My Baby. He can’t escape it because it’s also a part of him, just as My Baby is – the part of himself that’s drawn to fame.

It also explains why this complicated love triangle that has entangled him for years suddenly disappears after the false accusations came out in 1993, and he discovered just how cruel fame could be. That was such a searing experience for him that fame no longer attracts him. The spell has been broken, and now he sees fame for what it truly is. He still recognizes and respects its power – maybe more so than before – but he’s no longer naively drawn to it, and he doesn’t let it threaten My Baby.

Joie:  No, he doesn’t let it threaten My Baby anymore. It’s like from that point (1993) on, he goes to much greater efforts to keep the two apart, and he makes a conscious decision to focus on My Baby – or his private life. He gets married and tries to start a family. It doesn’t work the first time but, he keeps trying. He becomes a father. He takes active steps to build a happy private life, to nurture My Baby a little bit.

And I never thought about it before either! For years, I always thought that the threatening women were referring to the media, the tabloids, the paparazzi, etc. It wasn’t until writing this blog and focusing on “Dirty Diana” and “Dangerous” that it hit me like a lightning bolt. Fame is the bold, threatening presence in this threesome. I think it all makes so much sense now.

Willa:  I agree, and I’m so intrigued by this idea. I really want to go back and listen to those earlier songs again with this interpretation in mind, and see if it sheds new light on that ongoing conflict between the protagonist, My Baby, and the women who threaten her. But this conflict abruptly disappears after 1993. After the horror of that experience, he no longer lets the allure of fame threaten My Baby. She’s still somewhat fragile and in need of protection, but the threats are different now.

We’re introduced to one of those threats in “Ghosts,” the first song to reference My Baby after the 1993 scandal erupted. As the video makes clear, he’s addressing a threatening figure – a figure many critics saw as representing District Attorney Tom Sneddon, the man who led the investigation against Jackson. The protagonist is standing up to this figure and demanding answers, repeatedly asking him,

And who gave you the right to shake my family?  
And who gave you the right to shake My Baby?  
She needs me  
And who gave you the right to shake my family tree?

So once again My Baby is at risk, but this time it isn’t a seductress who hurts her. It’s the police. And this time the protagonist isn’t torn by conflicting impulses. He knows whose side he’s on, and he’s doing everything he can to defend and protect her. He’s clearly addressing an authority figure in this scene, and importantly, he’s challenging the very basis of his authority. As he repeatedly asks this man, “who gave you the right . . . ?” Why do you have this authority, this power to “shake” another person’s life? Where does this authority come from? What gives you the right to treat other people this way?

This line of questioning is repeated three times over the course of “Ghosts,” but the third time it’s extended and a new question is subtly added in the midst of the other questions:

And who gave you the right to shake my family?  
And who gave you the right to shake My Baby?  
She needs me  
And who gave you the right to shake my family tree?
And who gave you the right to take intrusion,  
To see me?  
And who gave you the right to shake my family?  
And who gave you the right to shake My Baby?  
She needs me  
And who gave you the right to shake my family tree?

This new question is “Who gave you the right to take intrusion / To see me?” I think this is clearly a reference to the strip search that was conducted on December 20, 1993 – a procedure ordered by Tom Sneddon – where the most intimate parts of Michael Jackson’s body were photographed and videotaped by the police.

My sense is that he experienced that strip search as a rape – a police-authorized rape – and I don’t use that word lightly. For example, in “They Don’t Care about Us,” he says, “I am the victim of police brutality. . . . You’re raping me of my pride.” And in “Privacy” he references “that cold winter night” when “my pride was snatched away.” The immediate context suggests he’s talking about the death of Princess Diana while being chased by paparazzi, but she died in August. The strip search occurred in December. And if we look at the wider context of those lyrics, we see that he repeatedly juxtaposes his experiences and hers.

I’m not sure it’s possible to overstate how deeply the events of 1993 impacted Michael Jackson. His world view shifts in profound ways after that time, and one of those shifts is in the way he viewed institutions of power, such as the police or the press. He was always very concerned about injustice and discrimination, but before 1993 his focus was on occasional injustices that occurred within those institutions. After 1993, his focus is on the institutions themselves, and what gives them the right to invade the most intimate aspects of a person’s life – the place where My Baby dwells.

Joie:  Willa, I completely agree with you that he experienced the strip search as a rape and was deeply affected by it. It’s like after the events of 1993 and that whole battle, he is a different person in terms of his relationship with his fame. And I think you were right when you said that My Baby is still fragile and in need of protection but that the threats to her are different now. In fact, the threats to her seem to have turned a little bit sinister after the allegations. Just listening to the lyrics of “Ghosts” makes that clear. And the lyrics of “Heaven Can Wait” are somewhat sinister as well, and also slightly sad.

You’re beautiful  
Each moment spent with you is simply wonderful  
This love I have for you girl, it’s incredible  
I don’t know what I’d do, if I can’t be with you  
The world could not go on so every night I pray
If the Lord should come for me before I wake  
I wouldn’t wanna go if I can’t see your face  
Can’t hold you close  
What good would Heaven be  
If the angels came for me I’d tell them no

On the surface, it’s a beautiful song about how he loves this woman – My Baby – so much that he doesn’t want to leave her for anything. Not even for Heaven. But if My Baby represents his private life that he has worked so hard to build and maintain – a life that now includes his precious children who he adores – then this song suddenly takes on new meaning. And if we continue our theory that the threat to My Baby is fame itself, then these lyrics are like a foreshadowing. Almost as if he has resigned himself to the fact that, ultimately, his fame will be the reason for his demise and he feels powerless to overcome that. At the end of the song he begs, “Just leave us alone. Please leave us alone.” It’s a futile attempt and he knows it, but he has to try anyway. His babies – My Baby – are at stake now.

Willa:  Joie, I agree with you for the most part, except that I see him feeling much more empowered than you do. He’s been severely tested now. Really, he’s been to hell and back. And he survived, with his soul, his psyche, his inner being intact. It was horrible – no one should have to go through the years of misery he endured – but he survived. He knows nothing can separate him from My Baby without his permission. And now he’s challenging Death itself to divide him from that innermost part of himself. As he sings in the final stanza, he refuses to go without her:

Oh no, can’t be without My Baby
Won’t go, without her I’ll go crazy
Oh no, guess Heaven will be waiting

He knows his own strength now. He may lose everything else – he can’t control fate – but he won’t lose My Baby: his soul, his psyche, his self-knowledge, his creativity.

Joie:  No, don’t misunderstand me. What I’m saying is that his plea, “Just leave us alone,” is futile. He knows that, no matter how much he begs, fame (or death, or the media, or Sneddon) is never going to leave him alone. All of those threats to My Baby are never truly going away. But I agree with you that he is empowered. As I said, he is a much different person after the events of 1993, and in many ways he is much stronger and much wiser than he ever was before. And he’s also much more at peace. It’s like My Baby is his anchor and he finally realizes that and respects it and he’ll do anything to protect 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 June 28, 2012, in Michael Jackson and tagged , , , , , , , , . Bookmark the permalink. 12 Comments.

  1. Incredible analysis. You gals write the most interesting stuff. There’s no question that his songs hold very revealing secrets and insight into his life. Well done!

  2. I will never understand the permission given to Sneddon on that strip search and I agree wholeheartedly this event changed Michael’s lyrics for the remainder of his days. How could that event have even occurred? What “judge” would authorize such a privacy invasion? What prominent person, let alone one of the most famous men in the world, has before or since been subjected to such an outrage? All questions with no rational answers, but a few pieces fell into place for me upon reading your analysis here. Thank you so much!

    • @juney07 – as much as I agree with your outrage over the situation, this kind of thing happens everyday. In my city there is currently an investigation into the police strip searching several different people as they were pulled over on the road for driving violations. After several men went to the press about it, more have started coming forward. These young black and latino men were strip searched in the middle of the street, some even in daylight.

  3. Thanks for doing th re-cap. There are many post I missed in the begining.

    Also, I love the interesting take on what the critics called Michael’s “paranoia” – This Palce Hotel, Billie Jean, Dirty Diana (I think they stop counting by the time of Dangerous). Their very simplistic view was that Michael had issues with women. But with Michael nothing is as simple as it seems. Willa, your take on This Place Hotel is wonderful. I always thought of an Elvis connection (even though Michael said there wasn’t one – I actually didn’t believe him), but I could never really put my foot on it. You could be on to something becaue there are a lot of self fulfilling prophecies in Michael’s work and he seems to have found the many commons between him and Elvis that have nothing to do with music.

    • “I always thought of an Elvis connection (even though Michael said there wasn’t one – I actually didn’t believe him)”

      I don’t either, Destiny, and the art critic, Sister Wendy, tells us we shouldn’t in these situations. She says we shouldn’t pay any attention to what artists say about their work – we should focus on what they say in their work. Artists will sometimes go to great lengths to avoid having to interpret their work for us. After a while Warhol claimed he had no involvement with creating his prints – that his mother made them. Or one time he said he didn’t know who was making them – maybe the cleaning lady! And Michael Jackson claimed his only involvement in creating the video for Billie Jean was asking that a dance sequence be added – and I don’t believe him. His fingerprints are all over that video – especially little details like flipping the quarter to a wino (a scene he recreates in Stranger in Moscow, with a different director) or having the reporter pick up a piece of tiger-print fabric (a scene straight from The Band Wagon, one of his favorite movies that he references in his work over and over again).

  4. @Destiny, I suppose I could have been more clear in my rhetorical question about the stripsearch as it had such a profound effect on Michael’s future lyrics. Perhaps I should have said which of his highly paid attorneys agreed to allow this to happen? I’ve seen reports that Michael very reluctantly agreed to the SS, knowing there would be no match to the boy’s claims, and still the photographs were kept and the case moved forward. While I am aware such heinous intrusions happen mostly to minorities unrepresented by counsel on a regular basis, just how could a lawyer representing Michael Jackson have acquiesced under any circumstances without a fight? I still find it unbelievable that it occurred and do believe Michael and his music were changed for the rest of his life by this one humiliating event.

    • @juney07 – I understand you better now.

      from everything I’ve read, Michael left Mexico City with Elizabeth for rehab in England with one set of attorneys, and came back (without finishing rehab) to a whole new set of attorneys picked by ‘his people’. Were they just that incompetent or were there ulterior motives as some suggestion with the Johnnie Cochran/Larry Feldman connection? I guess we will never really know.

  5. aldebaranredstar

    From what I have read there was a conflict among the attorneys Michael hired–Bert Fields was the main atty and he wanted to fight; Johnny Cochran was added later and he wanted to settle. Bert Fields ended up resigning and they went into settle mode. There was also a report that one of the 3 judges that handled the settlement was an old friend of J. Cochran. Also I read that Michael’s attys were not given the grounds for the search warrant, even though they requested it. A judge issued the search warrant (Melville?). Michael was told if he did not submit to the search warrant, he would be arrested. Also if the search warrant led to a match, he would be arrested. So he was basically forced to comply or be arrested. He was also told if he refused it would be held against him.

    The whole case shows major flaws in the US justice system–the fact that a civil case and a criminal case on the same charge was being investigated at the same time and that the civil trial would come before the criminal trial–all was a denial of constitutional protections against double jeopardy and for due process. Geraldine Hughes explains a great deal about the 1993 case in her book Redemption. She was the only legal secretary for the first atty that Evan Chandler went to–Barry Rothman, before Larry Feldman took over.

    The whole thing was a travesty–has anyone read the Declaration that Jordan Chandler supposedly wrote and signed and that was leaked to the press in 03 at the same time the Bashir interview was aired in USA? It is so vague–Michael molested me on many occasions–no where or when. That is so they don’t have to prove anything. When Sneddon charged Michael with molesting Garvin or a certain date, it turned out Michael was not even in California on that date, so they changed the dates!

  6. A really interesting analysis. I pretty much had always thought that “my baby” referred to his ideal, but your post provides new insights… as usual.

    But I was wondering how the “baby” of “Is It Scary?” fits into this scheme of things.
    Michael is singing directly to “baby” — don’t know if that is the same as “my baby.”

    I think “Is It Scary?” is one of the most heartrending of all his songs. Baby is now scared of him — she has been influenced by the media and he is now a monster — even to her — she no longer sees him for who he really is — she is participating in his lynching. And it breaks his heart. There is no one he can count on to “see the truth, the purity.” Baby has turned on him and become a stranger to him. There is such a feeling of desperation.

    But if you came to see
    The truth the purity
    It’s here inside
    A lonely heart

    So let the performance start

    Is that scary for you baby
    Am I scary for you oh
    Am I scary for you baby
    Am I scary for you
    So tell me is it scary for you baby
    So tell me is it crazy for you baby
    Am I scary for you

    You know the stranger is you

    • Wow, Eleanor, I never looked at “Is It Scary” that way. I love “Is It Scary” – I think it’s one of his most powerful songs, as well as “one of the most heartrending,” as you say – but I never thought he was speaking to My Baby. That would be such an expression of betrayal – and I’m sure he did feel very betrayed by everyone then. Wow, I’m really going to have to think about that….

  7. Poem:

    My BAY-bee(p)!

    The dried up grass exhales at dusk
    disguised as “….what you get”??!

    (Yet), sweet,

    like the dewy iridescence in the crook of an arm, or
    the kiss of a peach;

    musky and sultry as the gold hills it covers,
    I mean, hovers over — the fragrance, like a spirit,
    is more substantial than the husk it leaves behind.

    I MEAN get down close to the ground
    and sacrifice your knees.

    Floating 2 inches off the ground, the smell
    is Love,
    and twilight fringed, for those who need an extra prod toward joy.

    The twilight: a wink and an ushering of
    the ripening intensity, (neither carnal nor syrupy);
    building ….
    like euphoria and justice,
    like the insistence of a fenced dog’s speech,
    the throaty pant of cinder eyed cats,

    my baby’s blameless(!) sense of entitlement.

    — Sandra Mojas, copyright 2011

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