Summer Rewind 2013, Week 6: Childhood

NOTE:  The following conversation was originally posted on December 12, 2012. To read the original post and comments, please click here.

Searching for that Wonder in My Youth

Willa: So Joie, last year at the holidays we did a special post about Michael Jackson’s close connection with childhood and its links to creativity. Now it’s getting to be holiday season again, and I was thinking it would be fun to talk about childhood again.

Joie: It would be fun to talk about childhood again, Willa. And you know, that’s one song/video that we have never really talked about before. I almost don’t know where to begin. I’m kind of excited!

Willa: Oh, “Childhood”? You’re right, we’ve quoted lyrics from it several times, but we haven’t really talked about it in depth. It’s funny – it’s another Michael Jackson song that makes people really uncomfortable, and I’m not exactly sure why. It isn’t angry, like the You Rock My World video. It doesn’t force us to confront “the dark thoughts in your head” like “Threatened” or “Money.” It doesn’t challenge us with difficult social problems like “The Lost Children,” or painful stories like “Little Susie.” It’s just a beautiful song with a beautiful video, but it really bothers some people. I think some non-fans are bothered because they think he isn’t sincere, but I think some fans are bothered because it’s too sincere.

Joie: That’s interesting, Willa, and I can see your point. This song does make some people uncomfortable. And it’s not angry or scary or dark, as you say. But it is sort of ‘in your face,’ in much the same way as those other songs you mentioned. But in a very different, very personal way.

You know, I have been with non-fans when this song has come on and the feeling I get is that it really tends to stop them in their tracks and make them think. They listen to his words and they really think about what it is that he’s asking them to do:

Before you judge me
Try hard to love me
Look within your heart, then ask …
Have you seen my childhood?

And his delivery of this song is so simple and heartfelt, that I think one can’t help but be affected by it – at least for a few fleeting moments – whether you’re a fan or not.

Willa: I think that’s true, Joie, but I also think it’s so heartfelt it’s disconcerting for some listeners. You know, when Dr. Susan Fast joined us a few weeks ago, she mentioned Michael Jackson’s lack of irony, and Eleanor wrote a very interesting response about that:

I have thought about this so much. Michael is not “cool,” he is too hot, he is sincere, he is earnest, he feels deeply the words that he sings. The impact of his work is not cerebral, but visceral. We hear his heartbeat, we feel his heartbeat – he makes us aware of the rhythm of the tide in our own bodies. He is the best at expressing and evoking powerful emotion – and that is what sets him apart – and that is the difference between a great artist and a clever artist. He is not above his topic, commenting on it, he is in it, he is part of it – he is part of “us” in “they don’t care about us.”

It is only after getting a little distance from the emotional impact that one can begin to appreciate the incredible artistry and genius that went into his work. Cerebral artists are so often directing the attention to themselves – “oh, what a clever boy/girl am I” – they are cool observers, outside of and above the fray – but Michael directs the attention to the issue itself – in earth song, in they don’t care about us, etc.

He is not cynical, he wants to heal the world – and, in spite of all, he believes that the world can be healed. He believes in love – not sentimentality. He believes in a deep connection between human beings and he is tapping into that sense of connection. Cerebral artists are often saying “I am not part of this scene, and, if you appreciate my work, you can pat yourself on the shoulder because it means that you, too, are somehow superior.” This is not Michael’s message.

That’s a long quote, but it beautifully expresses some really important ideas, I think. As Eleanor makes clear, irony gives us emotional distance from a topic – a little breathing room – and Michael Jackson doesn’t do that. He does use subtle humor in videos like Beat It, Thriller, Black or White, and Ghosts to lighten the mood, but he doesn’t give us the emotional distance that irony provides. The closest he comes to irony is Leave Me Alone, I think, but that’s unusual for him. In general, he doesn’t let us look at issues dispassionately, from a safe distance. And in works like “Childhood,” especially, I think a lot of listeners would be more comfortable if he did.

But I think Eleanor is expressing something true and important when she says, “He is the best at expressing and evoking powerful emotion – and that is what sets him apart – and that is the difference between a great artist and a clever artist.”

Joie: That is a very interesting quote from Eleanor, Willa, and she’s right. He is the best at expressing and evoking powerful emotion. No one does it better; and I think that’s because he always felt things so deeply himself. In fact, our friend Joe Vogel, writes about this in his book, Earth Song: Inside Michael Jackson’s Magnum Opus:

Most people read or watch the news casually, passively. They become numb to the horrifying images and stories projected on the screen. Yet such stories frequently moved Jackson to tears. He internalized them and felt physical pain. When people told him to simply enjoy his own good fortune, he got angry. He believed completely in John Donne’s philosophy that “no man is an island.”

“[For the average person],” he explained, “he sees problems ‘out there’ to be solved … But I don’t feel that way – those problems aren’t ‘out there,’ really. I feel them inside me. A child crying in Ethiopia, a seagull struggling pathetically in an oil spill … a teenage soldier trembling with terror when he hears the planes fly over: Aren’t these happening in me when I see and hear about them?”

Willa: What a great quote, Joie! And when he says, “those problems aren’t ‘out there,’ really. I feel them inside me,” you know it’s true because, through his art, he shares those feelings and we feel them inside ourselves as well. When we listen to songs like “Earth Song” or “They Don’t Care about Us” or “Speechless” or “Childhood,” we feel the pain and anger and joy, the sense of injustice or sense of wonder he’s feeling. That’s what totally captured me when I first heard “Ben” 40 years ago, and it still captivates and moves me.

Joie: Exactly! But I like what you just said about Michael not allowing us to look at issues dispassionately. That is a very true statement. He was never one to beat around the bush in his work, and opted instead for a much more ‘in your face’ approach. And you’re right when you say that with this song in particular – because it is so very personal – that approach probably made most people very uncomfortable. We don’t usually expect our entertainers to open up a vein right in front of us, but that’s exactly what “Childhood” does. Especially in these lyrics:

No one understands me
They view it as such strange eccentricities
‘Cause I keep kidding around
Like a child, but pardon me
People say I’m not okay
‘Cause I love such elementary things
It’s been my fate to compensate,
For the Childhood I’ve never known

Willa: Wow, that’s a vivid way to describe that, Joie, but I think you’re right – we don’t expect artists to “open up a vein right in front of us,” as you said so well, and it does feel that way. It’s like he’s in deep mourning for “the Childhood / I’ve never known.”

It also feels like he’s trying to answer those who criticize him for “compensating” for his lost childhood, as he put it, and encourage them to try to understand how he feels. And really, what a painful situation that must be, when your deepest hurt is bandied about and criticized in the press.

But, you know, what strikes me when watching the video is that, while the song’s lyrics are intensely personal, the video isn’t. This is another one of those cases where the video expands and complicates the ideas expressed in the song. Listening to this song, we would expect the video to contain footage from 2300 Jackson Street and long hours in the studio at Motown, and maybe scenes from the Jackson 5 on The Ed Sullivan Show. But the video isn’t about his childhood – at least not directly – or even a fictional character’s childhood. It’s more subtle and more complicated than that: it’s about imagination, and about childhood as a time of heightened imagination.

Joie: You know, I was thinking the exact same thing. The video isn’t at all what one would think it would be. And it’s like he purposely went in the opposite direction here, instead of showing us little glimpses into his own imperfect childhood, which is what we would expect. And I think he probably did this simply because the song itself is so personal.

Willa: Oh, that’s interesting, Joie. I hadn’t thought about it that way, and that makes a lot of sense. But I also think he’s trying to express a complex idea that’s very important to him.

In the video we see Michael Jackson sitting alone in a forest, while a flotilla of sailboats full of children sails through the sky overhead. He can see them, but he can’t join them. He remains on the ground. A boy walks up and stands near him, and he sees the children in the sailboats also. One of the children in the boats – an older boy – reaches out his hand, inviting him to join them, and the boy on the ground floats up and climbs on board. But Michael Jackson stays on the ground. He wants to join them – you can sense how desperately he wants to join them – but he can’t, either because he hasn’t been invited, or because he’s outgrown that phase, or because he’s been scarred by the hardships of his life. We don’t know why.

He’s not in a bad place – he’s in a lush, beautiful forest, which is important because he also linked trees to imagination. I’m thinking about his imagination tree at Neverland, where he says he wrote many of his songs. So he’s in a place of imagination and creativity – adult creativity – but its different from the experience the children are having in the sailboats above him. He longs to be in the sailboats but he can’t get there. Unlike the boy who floated up so effortlessly, he’s earthbound.

Joie: That’s a beautiful summation of the video, Willa. And I think you’re right. He obviously wants to join the children desperately but, he isn’t able to. And, like you said, we can interpret that in many ways – he wasn’t invited, he’s outgrown that phase, he’s been scarred by life’s hardships. But it could also be that he isn’t able to join them, not because of any of those factors, but because of “us.” Or maybe more accurately, “them.” I’m not talking about the children, but the people who have criticized him over the years for that compensating that he’s been doing. Perhaps he can’t float up to join the children in the sailboats because he’s weighted down by all the negativity and speculation about the way he lived his life and his closeness to children and his desire and many efforts to hang on to that childlike wonder that was so special and important to him.

Willa: Wow, Joie, I hadn’t thought about that either, but you’re right – he had to be much more careful about interacting with children after the allegations came out, and he also became more self-aware and maybe more self-conscious about his “strange eccentricities,” as he sings in the lyrics you quoted earlier: “People say I’m not okay / ‘Cause I love such elementary things.” So maybe that “negativity” did play a part, as you say.

Joie: And as you said, it’s obvious that he desperately wants to join them, but he’s sad and sort of heartbroken that he isn’t able to.

Willa: Which is odd, because he was so incredibly creative and had such a vivid imagination, even as an adult. If the boats represent being carried away by your imagination, then it seems obvious he should be on board – after all, they’re sailing to the moon, and he’s the Moonwalker! But that isn’t where he positions himself. He places himself on the ground, looking up with longing as they sail by, and I wonder what it is exactly that he thinks he’s missing?

Maybe it isn’t just how imaginative children are, but how fully they enter into the world of imagination. I can remember getting completely lost in books as a kid. I’d get so absorbed in a story that I’d completely tune out everything around me, and when I did “come to,” sometimes I’d discover that the rest of the class was halfway through a spelling test or something like that, and I’d have to scramble to try to catch up. I was completely out of it when I was deep in a book – it really did feel like I was in another world – and it was always disorienting to come back to consciousness in this world. It was just a jolt to suddenly find myself in a world of spelling tests and math quizzes, when I’d been engaging in all sorts of adventures with the characters of a book.

Joie: That is so true, Willa. Children do tend to immerse themselves fully when they play. I can remember being on the playground during recess with my best friend. We must have been in the third or fourth grade at the time, I think. And we were so absorbed in the imaginary world we had created that we didn’t hear the bell ring. And suddenly we look up and our class is nowhere to be seen. They had all gone back inside about twenty minutes before!

Willa: Oh no! Something like that happened to me too and it was really embarrassing, so I know exactly what you mean, Joie. But it’s funny, that doesn’t seem to happen to me so much anymore. I still go off in daydreams sometimes – like I was driving down the highway a couple years ago, and suddenly “woke up” and realized I’d been driving with my head in the clouds and was about 10 miles past my turnoff. So it still happens occasionally, but not so much. Like I love books, but I don’t get so completely absorbed anymore, and I don’t tune out the real world like I once did. Even while reading a great book, I stay aware that I need to pick up my son from swim team practice in 20 minutes, or start supper or fold laundry or whatever, and I don’t get “carried away” in my imagination as fully as I did when I was younger.

So maybe that’s what he’s talking about? Because he had such a fertile imagination even as an adult, and was still intensely creative – far more creative than the average person – and he had to know that.

Joie: Yep, I agree. And as adults, we just have so many responsibilities and other priorities, you know? I mean, as children, our only priority is to figure out the world and we actively search for ways to make that learning process fun. It’s just the nature of a child. But as adults, we don’t always have that luxury because there are so many other things weighing us down, pulling on our time. So maybe that’s why he stays firmly on the ground as all the children float away above him to the moon in the sailboats. Like most adults, he just doesn’t have the time to float away on his imagination anymore.

Willa: That’s a really good point, Joie, and maybe that’s another reason why he felt he didn’t really have a childhood – because he carried the responsibilities of an adult even as a child. His family pretty much became financially dependent on him when he was 10 years old. Just think about that. And there were people at Motown whose jobs were devoted to him, and dependent on him. If he failed to please an audience, they lost their jobs, and he knew that. That’s a lot of pressure to put on a child.

Also if he fell while playing and hurt himself and couldn’t dance, it had big consequences, and he knew that too. So he had to be very careful, even while playing. And his day was so scheduled he wasn’t really free to play or “float away on his imagination,” as you said, even then.

So maybe that’s part of how he compensated as an adult – by giving himself permission to climb trees (how risky!) and have water balloon fights and play with abandon, in a way he couldn’t as a child. And by giving himself time to just float and daydream.

Joie: And maybe that’s the message of this short film, Willa. You know how I like to believe that there is a hidden message or a lesson in every Michael Jackson video?

Willa: Yeah?

Joie: Well, maybe that lesson here is that we – adults – need to try and remember what it’s like to get carried away by our imaginations every once in a while. To remember that childlike wonder that’s still there inside each and every one of us, just waiting for the chance to get lost in a book … floating away in a sailboat to the moon.

Willa: Oh, I really like that interpretation, Joie! It feels very true to his vision, I think, and it reminds me of this wonderful final shot of the sailboats:


I love this image – it’s so beautiful, I think – and there’s so much to see in it. The final boat is piloted by a young black boy who keeps his hand very seriously on the tiller, and he really catches my attention for some reason. For one thing, the first time we see him (about 2 minutes into the video) he has a very worried look on his face. None of the other kids seems anxious at all, but he does. Also, he’s alone in his boat while most of the children are in groups of two or three.

But actually, he isn’t alone. He has two cats with him, and he pets them for reassurance. And while that may just be coincidental – after all, one of the other kids has a dog – cats tend to represent something very specific in Michael Jackson’s videos: when he feels the need to escape, he disappears and a cat appears. For example, when a reporter closes in on Michael Jackson’s character in Billie Jean, he disappears and a tiger appears. When the king’s guards have him surrounded in Remember the Time, he turns into a swirling pile of sand and blows away, and then a cat comes and stands where that transformation took place. When he is feeling oppressed by racism in Black or White, he transforms into a black panther. Because that is such a common motif in his videos, it seems significant to me that this fearful young boy has two cats accompanying him, giving him comfort. So maybe Michael Jackson himself can’t join him in the sailboat, but his totem animal can?

Joie: Wow! That’s an interesting observation, Willa. I’ve never noticed that before but, I think you may be on to something there.

Willa: It does seem significant, doesn’t it? Maybe it isn’t, but it feels significant to me. And then the children are all sailing to the moon, which is metaphorically linked to Michael Jackson as well – in titles like Moonwalk and Moonwalker, obviously, but also more subtly in key scenes in Moonwalker, and in Dancing the Dream as well. In “Dance of Life,” the moon comforts him, like a mother, but also inspires him and encourages him to dance, like a muse.

So while we don’t see Michael Jackson in embodied form in this beautiful final shot of the sailboats floating to the moon, we hear his music and sense his spirit and influence throughout.

Joie: You’re right, Willa, we do ‘sense his spirit thoughout.’ Both in the short film and in the song itself. And, in fact, we ‘sense his spirit’ a lot … in everything he did. It’s in every song and video, every dance routine and live performance. You can feel it in every poem and reflection between the pages of Dancing the Dream. His spirit can be felt in every project he ever presented to the world.

So, Willa and I want to take a moment and say thank you for all of your continuing support, and we want to wish each and every one of you a very Merry Christmas, Happy Hanukka, Happy Kwansa and our best wishes for a wonderful New Year. Happy Holidays to one and all!

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 July 24, 2013, in Michael Jackson and tagged , , , , , , . Bookmark the permalink. Leave a comment.

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