Here We Go a-Michaeling
Willa: Happy holidays, everyone! For our first Christmas here at Dancing with the Elephant, Joie and I wanted to do something special so we wrote a post about Michael Jackson and his ideas about childhood and creativity. Then the following year, we did a Christmas post about his song, “Childhood,” and the beautiful video he made for it.
We’d like to continue that tradition this year by talking with Veronica Bassil about her warm and insightful book, That Wonder in My Youth: Michael Jackson and Childhood. Veronica has a Ph.D. in English and American literature, and this is actually her third book about Michael Jackson. She’s also the author of Michael Jackson’s Love for Planet Earth and Thinking Twice about Billie Jean.
Thank you so much for joining us again, Veronica!
Joie: Welcome, Veronica. You’ve been busy!
Veronica: Yes, you’re right, Joie – I have. I feel as if I have been Michaeling pretty much nonstop since he left us in 2009. And it’s been great to share that journey with you both and your wonderful blog participants. I’ve learned so much from these discussions. I feel as if we have all been together on this “great adventure,” exploring the various dimensions of MJ’s art and in the process building a better, fuller, and more accurate understanding of who he was and what he was communicating.
So I am very happy to join you now to discuss That Wonder in My Youth, which incidentally I noticed was the title for one of your previous posts. I think it’s such a haunting and powerful line from MJ’s “Childhood” – “I’m searching for that wonder in my youth.”
Joie: It is an interesting line, isn’t it? So I’ve been wondering, what was it that made you want to write about this aspect of Michael’s life? Can you tell us a little about what drew you to focus on his childhood?
Veronica: Sure, Joie, I’d be glad to. I considered that removing the encrustations of media disinformation that had constructed a false picture of who MJ was and what his art was about was critical to revealing his true stature as an artist and a person.
For example, in terms of his music, he was to a large extent portrayed as just a lightweight pop star, and then later as a has-been lightweight pop star, when he is in reality a powerful musical innovator, poet, and philosopher (by this I mean a visionary thinker on the deepest level). He is a modern-day Socrates who questioned and challenged the status quo, the beliefs of “Normal Valley.” His challenges provoked discomfort, and like Socrates, he became a thorn in the side of those who wanted to maintain existing social norms and beliefs. Interestingly, Socrates was also accused of corrupting the young and put on trial. Found guilty, he was sentenced to death as an old man in his 80s.
MJ’s work to focus our attention on the plight of children worldwide was distorted or disregarded. Instead of investigating our real-world commitment to children, many found it easier to attack the messenger and criticize his very being.
In an effort to correct this false media persona, my first book discussed MJ’s passionate environmentalism, which I saw (as did others, Joe Vogel especially) as central to his work. Then the allegations of course were and sadly still are a huge stumbling block that keeps people from appreciating him and his art. So that was my second book, using the accusations in “Billie Jean” as an access point. In this recent book, I tackled the third major stumbling block when it comes to MJ – namely, his views on children and childhood, including his own experiences as a child.
Willa: Oh, that’s interesting, Veronica. I’ve read all three of your books and enjoyed them individually, but hadn’t put that together – that each one is addressing a “major stumbling block” to understanding and appreciating Michael Jackson and his work.
Veronica: Thanks so much, Willa, for reading my work! Yes, the three books tie together. MJ has been so profoundly misunderstood and misinterpreted, and his effort to focus the world’s attention on the need to care about children and learn from them, seeing them as teachers and guides, is at the top of the list. His philosophy grew out of his own childhood experiences, which he saw as deprived of the normal pleasures and carefree days of childhood, and this gave him insight into the sufferings and neglect of children worldwide.
By the way, I have been reading the book Michael Jackson, Inc. by Forbes writer Zack O’Malley Greenburg, and he says that in 1966 (when MJ was 7 or 8), he was doing 5 sets a night, 6 nights a week, on top of going to school and rehearsing! That is so amazing.
Willa: Really? I had no idea. I mean, I knew he and his brothers worked very hard to succeed – were forced to work hard to succeed – but that’s really troubling that a second grader would be working that much. I’ve read Greenburg’s book also, but somehow that went right past me – or maybe I just didn’t stop to think about what it meant. He really didn’t have time to experience childhood in a normal sense, did he?
Veronica: No, he didn’t, and I think even we, his fans, don’t fully grasp what that kind of childhood work was like and how it affected him.
Willa: Yes, and I’m afraid I’m one of those people. I try to understand, but just when I think I’m starting to get a good picture of what his life was like as a child star, growing up with that extreme level of fame and hard work and harsh discipline from his father, I hear something like that and realize, no, I still don’t get it. I still have no concept of what it was like for him.…
Veronica: MJ talked about it quite a lot – for example, in his autobiography Moonwalk – and he makes this point again in “Childhood” when he sings about “the painful youth I’ve had.” But I think it’s easy to underplay or discount it, perhaps because his experience is incomprehensible in that it is so far from our own.
In terms of MJ’s awareness of the plight of children in general, I’ve been reading Losing Our Way, an important book recently published by former New York Times columnist Bob Herbert, and he talks about how the USA was for a time number 1 in child poverty of all industrialized countries. It is now number 2 after Romania.
Willa: That’s shocking. I didn’t know that.
Veronica: Yes, it is scandalously shocking. One in 5 children (23 percent) in our nation live in poverty today.
Joie: I’m actually aware of that statistic, and it is shocking.
Veronica: Yes, Joie, I agree. Herbert also writes that since the recession of 2008, billions upon billions of dollars have been cut from our public school budgets. This means eliminating or curtailing supposedly “nonessential” programs that are actually vital, such as music, art, band, foreign languages, sports, and early childhood education programs. This lack of care and nurture of children is what MJ wanted to draw our attention to on a worldwide scale, as well as his focus on the enormous value of children, how they can show us a new way. As he says so wonderfully in his Grammy Legend Award speech of 1993:
The magic, the wonder, the mystery, and the innocence of a child’s heart are the seeds of creativity that will heal the world. I really believe that. What we need to learn from children isn’t childish. Being with them connects us to the deeper wisdom of life, which is ever present and only asks to be lived. They know the way to solutions that lie waiting to be recognized within our own hearts.
I absolutely love this speech, and his reference to “a child’s heart” is so important. Incidentally, the Immortal version of “Childhood” includes 2 passages. Here’s a link to the full speech:
Willa: I agree – what he is saying in this speech is crucially important, and I think this is one way critics really misunderstood what he was saying. When he talked about wanting to retain the childlike part of himself, critics tended to interpret that as meaning he was reluctant to grow up and be a responsible adult. But that wasn’t what he was saying at all. He felt very responsible about trying to help solve the many problems that face our world.
And this is the critically important part: he felt that connecting with the creativity and “deeper wisdom” of childhood would help us solve those problems. Susan Fast talks about this in her Dangerous book:
In the collection of short films that accompanies Dangerous, Jackson says in a preamble to “Heal the World”: “Being with [children] connects us to the deep wisdom of life, the simple goodness shines straight from their hearts.”
Many conventional ideas about childhood link it to the future through the belief that children enter the world as empty vessels, that there is, therefore, an opportunity – or obligation – to educate them, “fill” them, shape them, in order that they will hopefully produce a “better” future … that they will fulfill the dreams of their parents, and that they will carry on family lines.
But Jackson rarely talks or sings about children in this conventional way … For him, there was a utopian impulse in children not because they represent the future, the hopes and dreams of adults, the continuation of a “normal” progression of time and family, but because their honesty, simplicity and innocence center adults, bring us back to feeling, to good affect; “now, when the world is so confused and its problems so complicated,” he says in the same preamble, “we need our children more than ever.”
So as Susan emphasizes, Michael Jackson isn’t saying that we can create a better future by molding children into better people – into the people we want them to be. Just the opposite. He’s saying that when we spend time with children, it “connects us to the deep wisdom of life” and makes us better people.
We really see this in the Heal the World video, where we see children playing in war-torn areas around the world as soldiers watch, and then the soldiers throw down their rifles. And we see it more subtly in the Jam video, where he juxtaposes images of children playing, dancing, making music against images of urban poverty. Importantly, he explicitly talks about solving the world’s problems in the lyrics of “Jam,” like in these opening lines:
Nation to nation
All the world must come together
Face the problems that we see
Then maybe somehow we can work it out
And in the chorus he goes on to say that the way to solve these problems is to “jam” – meaning to play like children, to connect creatively with one another and find innovative solutions. So he seemed to see this childlike wonder and playfulness as a powerful force for social change, and thought it was very important for adults to reconnect to the childlike parts of themselves to tap into this creative force. As he says in the passage Susan quoted, “now, when the world is so confused and its problems so complicated, we need our children more than ever.”
Veronica: Amen to that, Willa! I agree with what you just said so well and with what Susan Fast wrote. The word “center” here is very important: “their honesty, simplicity and innocence center adults, bring us back to feeling.” This is one place where we can see MJ as a philosopher. When he talks about the “playfulness of life” and the “deeper wisdom of life” in the Grammy speech, what is he really telling us? We need to look closely at this speech, which is a condensed form of insights that are reflected elsewhere – for example, in the Heal the World introduction, in Dancing the Dream, and maybe throughout his entire work.
Here I’d like to quote from a wonderful book, The Untethered Soul by Michael A. Singer. In the final chapters, he talks about the Tao of Lao-tzu and the Tao te Ching. The Tao (pronounced “dow”) is translated as “the Way,” a way of balance, or being at the center of extremes, also called The Middle Way. Singer uses the example of a pendulum that will, when pushed, swing one way to one extreme and then back again to the other extreme to the same degree. Eventually it will come to center, to a balance point, where it rests. Singer also uses the analogy of sailing, where the balance point of the energies is more complicated because it involves the wind, the sail, the rudder, and the tautness with which sailor holds the ropes.
He suggests that our entire planet lives within a balance of energies known as “The Way” and that if we humans can stop going from one extreme to the other and find the center, we can reach our full potential.
First you have to realize that since everything has its yin and yang, everything has its own balance point. It is the harmony of all these balance points, woven together, that forms the Tao. This overall balance maintains its equilibrium as it moves through time and space. Its power is phenomenal.
If you want to imagine the power of the Tao, examine how much energy is wasted swinging sideways. Suppose you want to go from point A to point B, but instead of walking there directly, you move from side to side like a sine wave. That would take you a long time, and you would waste a lot of energy…. When you spend your energy trying to maintain the extremes, nothing goes forward. You get stuck in a rut. The more extreme you are, the less forward movement there is…. In the Tao of sailing, the balance point is not static; it’s a dynamic equilibrium. You move from balance point to balance point, from center to center. You can’t have any concepts or preferences; you have to let the forces move you.
In the Way, nothing is personal. You are merely an instrument in the hands of the forces, participating in the harmony of balance. You must reach the point where your whole interest lies in the balance and not in any personal preference for how things should be.
How does this relate to MJ and his feelings about children? Children, MJ believed, were fully present to life – they were in effect living the Tao, the Way. He expressed some of these ideas regarding what might be called philosophical Taoism before, for instance, in 1983:
In this interview at Hayvenhurst, Michael describes his creative inspirations and how he “plays off of life”:
You can feel the energy, everything around you. You can feel it. The energy from the moon, or the plants, everything around you. It’s wonderful.
I mean, nature, animals, and all those things, are very inspirational to my work. I play off of those things, and children, and it stimulates ideas, creates all kind of things. I just can’t tell you. I think the majority of my success is from these sources. Some people say, “Well, go into detail.” But it’s hard. You really can’t. It’s just the whole world. You just play off of life.
I think it’s the same for what inspires painters, sculptures, and people of the arts. It’s the whole world, though. It’s magic.
Willa: That’s a wonderful description of his creative process! And it really does go hand in hand with Singer’s description of “dynamic equilibrium,” doesn’t it? – where, he encourages us to be in tune with “the energy, everything around you,” as Michael Jackson describes it.
Veronica: Singer writes about moving in sync with the forces of the Way. He compares the Tao to the eye of a hurricane, a balance point of forces that swirl around it. The forces of movement outside and the balance inside are part of this centering. MJ spoke about the need to “keep moving” – to keep growing, evolving, and creating – and he repeatedly advised musicians to let the music create itself. He said if I try and write a hit song, nothing will happen – I have to let it “drop into my lap.”
When I create my music, I feel like an instrument of nature. I wonder what delight nature must feel when we open our hearts and express our God-given talents. The sound of approval rose across the universe and the whole world abounds in magic. Wonder fills our hearts for what we have glimpsed for an instant: the playfulness of life….
MJ calls himself “an instrument of nature” – echoing the idea he expressed before about “playing off of life.” In both passages, he appears to be speaking about the Way, the balance, the harmony of life that children are more in tune with, when he speaks about “the deeper wisdom of life” and the “playfulness of life.”
Here we come back to that key word “wonder,” one that appears so significantly in the line in “Childhood.” Wonder, mystery, magic, creativity, a child’s heart, nature – all these seem connected to something MJ called “the playfulness of life” and that he saw as a gift that children had to offer our “wounded world.”
Willa: Yes, that phrase “the playfulness of life” is interesting, isn’t it? And the fact that he attaches such importance to it – to this spirit of play. We don’t usually think of play as important, but repeatedly we see him linking this spirit of playfulness with creativity and a sense of personal well-being – and with global well-being as well.
Veronica: The importance of play in our lives, from children to adults, is undervalued. In my research I came across the work of Dr. Stuart Brown, co-founder of the National Institute for Play, who affirms that play is as biologically essential as sleep or dreams, and equally necessary for adults and children. Play is a universal language of higher intelligence species and is important for neurological and social development. Play promotes memory, stress management, and resiliency, and is one of the Rights of the Child adopted by the U.N.
In the USA, maybe because of the strong influence of the Puritan work ethic, we are just way too serious! We need to play more, and MJ promoted this in his own life – for example, in the creation of Neverland and in the way he brought children and children’s issues to the forefront, perhaps more than any other performer has ever done. Dr. Brown also says that we must incorporate play into our lives fully, and realize that the opposite of play is not work but depression.
Willa: Wow, that’s really interesting. I never looked at it that way. Maybe instead of prescribing anti-depressants, doctors should encourage their patients to play more!
Veronica: Sounds good to me! In so many ways, our lives are impoverished by a lack of play.
But seeing the problem, as MJ sings in the lines from “Jam” you quoted, Willa, is what we tend to avoid, because it’s sometimes painful to see “what’s going on” (to quote Marvin Gaye), and the corporate mass media is an all-too-willing vehicle to distract us (via consumerism, celebrity gossip, scandals, and so on). MJ, however, was not afraid to “speak truth to power.” In the Grammy speech he goes on to connect worldwide problems, such as wars, terrorism, and incarceration, with the fact that “children have had their childhood stolen from them.”
Willa: Yes, and this is another critically important point, I think. Michael Jackson not only tells us that reconnecting with childhood can help solve the world’s problems but, on the flip side, that many of those problems directly result from a loss of childhood, as you say.
Veronica: Yes, absolutely. MJ had made the same point earlier in “On Children of the World” from Dancing the Dream:
We have to heal our wounded world. The chaos, despair, and senseless destruction we see today are a result of the alienation that people feel from each other and their environment. Often this alienation has its roots in an emotionally deprived childhood. Children have had their childhood stolen from them. A child’s mind needs the nourishment of mystery, magic, wonder, and excitement. I want my work to help people rediscover the child that’s hiding in them.
Willa: I’m so glad you shared this quote, Veronica, because this is the crux of the issue, isn’t it? We live in a “wounded world” because “of the alienation people feel from each other and their environment.” I think that’s exactly it.
And as he says, “Often this alienation has its roots in an emotionally deprived childhood.” Or this alienation can appear in adults who may have had happy childhoods but have lost the “deeper knowledge” they had as children. In fact, often we find ourselves encouraged to cast aside that “deeper knowledge” as childish, and focus on adult concerns like earning money, building a career, being respectable.
Veronica: This is so true, Willa. In terms of Singer’s analysis, we go to an extreme and lose the balance point. This “senseless destruction” and alienation cause great pain. Too many of us have some form of Post-Traumatic Stress Disorder from not being nurtured or encouraged enough as children or from feeling pressured by social norms to abandon our childlike values, like spontaneity, creativity, magic, open-heartedness, as we grow up. Michael wanted to recast our social and personal tendency to disregard children into a deep respect and appreciation for what they have to offer.
It’s interesting that an artist so extraordinarily gifted himself would be disregarded in the same way children are often disregarded. There is an irony in that, while asking us to see children and their gifts more clearly, he himself was misperceived precisely for his very playfulness in his personal life and in his art.
Willa: I agree.
Veronica: To get back to the song “Childhood,” it is so poignant to me when MJ sings,
No one understands me
They view it as such strange eccentricities…
‘Cause I keep kidding around
Like a child, but pardon me …
He was actually modelling for us the values he wanted to see. It’s interesting too that in “Childhood,” he gets really animated and excited when singing about play:
Have you seen my childhood?
I’m searching for that wonder in my youth
Like pirates in adventurous dreams,
Of conquest and kings on the throne …
Have you seen my childhood?
I’m searching for that wonder in my youth
Like fantastical stories to share
The dreams I would dare, watch me fly …
The fact that we, as adults, often no longer experience play, adventurous dreams, and wonder was something MJ spoke about a lot, particularly in conversations with Schmuley Boteach. (He refers to a book on childlike values that he was working on with Boteach in his Oxford Union Speech of 2001. Boteach published these conversations in Honoring Child Spirit, a book I might not have read but someone I respect recommended it, so I took a look and discovered a lot of valuable discussion there.)
MJ reveals to Boteach how much he thinks adults have shut down and lost the natural playfulness and creativity that they once had as children. He even persuaded Boteach to climb a tree with him and sit in its branches to recapture those lost feelings!
MJ: The world is gift-wrapped for them [children] and everything is a new experience and they know it is all out there waiting for them and all these different categories of fun, a wonderful fantastical mission to take. Why do they [adults] lose it? Why does it go away? You felt that way, you remember feeling that way. Can you go back to that place?
SB: The only time I felt like that again is when I was with you watching Toy Story on Thanksgiving, and at Neverland, when we went to the tree that morning. We climbed up and spent a full hour there, just hanging out. And I have to say, it was pretty liberating. Two grown men, hanging out in a tree house. It was memorable.
MJ: Isn’t that wonderful? Everybody should have that experience and never feel that I am too old to climb a tree.
Willa: And he invited Martin Bashir to have that same experience. Near the beginning of Living with Michael Jackson, he climbs his “Giving Tree” and encourages Bashir to climb with him. Here’s a clip:
It’s interesting that in talking to Bashir, he explicitly links the childlike joy of climbing the tree with his creativity. As he tells Bashir, “I’ve written so many of my songs in this tree. I wrote ‘Heal the World’ in this tree, ‘Will You Be There,’ ‘Black or White,’ ‘Childhood.’”
As he climbs he calls down to Bashir, “Aren’t you coming?” but Bashir says, “No way.” He’s intrigued, though, and does end up climbing a short way, but then stops – either because he’s worried about falling, or worried he’ll look ridiculous on camera. Later, when they’re both back on the ground, Bashir quizzes him about it in a somewhat mocking way, and then in voiceover asks, “So how had this singing and dancing genius arrived in this surreal place that is his life today?”
So Bashir doesn’t understand what Michael Jackson is saying – and more importantly, he doesn’t seem to want to understand. He wants to look down at him from the privileged position of a respectable adult and criticize him.
Veronica: Thanks for this comparison, Willa. What a contrast between MJ and Bashir here! Bashir had closed down to childlike value to a huge degree and had become a stultifying, judgmental adult. That was what was truly “surreal.” MJ looks so peaceful and happy sitting up high in his “Giving Tree.”
Willa: Though he also seems a little self-conscious to me, like he knows Bashir is judging him.
Joie: You know the truly interesting part in all of this? At least, to me anyway … is the fact that he understood that no one was taking him seriously, and that no one was going to take him seriously in this endeavor. He even addressed it in “Childhood” when he sang the simple words,
Before you judge me
Try hard to love me
He knew that people were going to listen to that song and roll their eyes in a sort of, “Oh, he’s at it again” attitude.
Veronica: Yes, that’s a good point – he sure did perceive and anticipate that judgmental criticism. But the next line of the song is an instruction (these lines are in the imperative, or command, form) to “Look within your heart, then ask / Have you seen my childhood?” I think MJ took a heart-centered approach and tried to speak to people on that level and ask them to respond on that level. And look at the fans and how much they responded to that. When he says in This Is It, “Love is important,” he knew that love was the way to reach people on the deepest levels.
Here is another snippet from Honoring Child Spirit:
SB: You are very successful, so you can afford to forgive people and remain childlike. “But me?” someone can say, “I live in a trailer park. How can I forgive people? Life is bitter for me. G-d has let me down. I have no time for my children. I am a single mother with two jobs to support my kids.” What would you say to someone who says, “Come on, Michael. This is not realistic. You want to be like Peter Pan? You want to take me to this fantasy land called Neverland. Get real. I can’t go to fantasy land. I have children to support. My husband beats me.” What would you say to someone like that?
MJ: I would think they should try to find the truth about the power of love, and the way that I think it should be done, without sounding selfish, the way I have discovered what real bliss is. I think if they even gave it a chance they would feel it.
Willa: That is so interesting! I haven’t read this book but I looked up this passage in Google Books, and here he’s specifically talking about “a childlike way of being,” right? So he seems to be saying that maintaining those childlike qualities within ourselves not only can help solve problems on a global scale, but on a personal level as well. As he tells Rabbi Boteach, it can lead to “real bliss.”
Veronica: Yes, it’s in the chapter called “Love and Guidance,” where MJ and Boteach discuss loving children and guiding them, and learning from them too. MJ says, “They are my teachers. I watch them and I learn. It’s important for us to try and be like them and imitate them. They are golden.” In another place he says, “They are the sunshine of the world.”
Joie: Here’s a question that I’m fond of asking during these types of discussions. Do you think, ladies, that the public at large will ever “get it”? Will they ever open themselves up and receive the message that he tried so hard to impart? Because I have to be honest and say that, sadly, I don’t think they will. I always wonder if the tide will ever turn where Michael is concerned. If he will ever be seen as the truly remarkable artist, thinker, and visionary that he was, or if his image and his legacy are tarnished forever. And I’m actually an optimist in my everyday life, but about this, I’m just not sure anymore.
Veronica: Well, I think the general public, and by that I mean people who are not MJ fans and advocates, are lacking a true picture of who MJ was. They are lacking information. They have been fed lies from the tabloids for decades. Remember how MJ called it junk food? They have been eating all that junk food and don’t have the real nourishment that would come from eating healthy food – meaning true information.
Recently, I gave a talk at a gallery about my book. I was a bit worried that some media-indoctrinated people would show up and harass me, but luckily, it was my friends who came. But few of my friends have read my books, and they don’t know much about MJ either. During the talk, one person commented that Michael had “mutilated” his face. I recognized that this came from the relentless tabloid-type stories (for instance, see Susan Woodward’s reference to the Daily Mirror article that MJ sued them over), but I stayed calm and just said, “Well, plenty of women love ‘mature Mike’ and if you go on YouTube you can find videos about that.” I also referred to This Is It, which some people had seen. And I kept going. This same person just sent me an email, which I quote, unedited:
Thanks for sending this beautiful video [a link to the Childhood video]. Veronica, I have a new perception of who Michael was and an understanding of what happened to him that, perhaps, explains his actions. His is a very sad story …
Thanks again. Your presentation was far more enjoyable than what I expected. At first I wanted to come because I was interested but, primarily, because I wanted to be there for you. After hearing your talk, I was very glad I attended because I learned so much!
So many misperceptions about MJ can’t be changed in a short talk, but we can open up fissures in the biases that people have absorbed from the media. As MJ advocates spread their knowledge outside the fan community more and more, it slowly ripples out.
I remember when, in the early 90’s, Bill Moyers asked Oren Lyons, the Onondaga Faith-Keeper of the Iroquois nation, if the Native American tradition was basically finished in the modern world, and Oren replied (I am paraphrasing here), “As long as there is one person to talk and one person to listen, the stories will continue.” That is so hopeful – and true.
In my opinion, it is on this fundamental level of person to person, heart to heart, where deep change occurs. Yes, there is a lot of doubt and skepticism out there, but with true information, people can learn. And the other hopeful thing is of course MJ’s music: “If you want to know me, listen to my music. The love is stored there and will not die.”
Willa: That’s beautiful! I hadn’t heard that before: “The love is stored there and will not die.” So he must have believed that his image would be redeemed someday, and that his ideas might spark significant change in the future.
Veronica: In my talk, I emphasized the reasonableness of MJ’s thinking – namely, that if we want a better world, we have to take better care of our children. We have to love and value them, nurture them, and learn from them. We have to honor them and listen to them. I read some passages from the beautiful conclusion to MJ’s Oxford Union speech – here is a link to that speech:
Someone commented afterwards how impressed she was with his “intelligence and articulateness.” Well, this is no surprise to us, but it is for people who have been told lies for decades. I remember being shocked after MJ’s passing when Larry King asked someone, “Was Michael Jackson intelligent?” I mean, it blew my mind that he even had to ask that question! We have our work cut out for us, but I think people are becoming more receptive to MJ’s messages, particularly on subjects like children and the environment. He was so advanced in his thinking, light-years ahead, and we are starting to catch up at last.
Willa: Yes, I think so too, and I strongly believe that someday he will be seen as the most important artist of our time. And that day may not be too far away. I mean, perceptions of him seem to have changed dramatically since he died, and they’re continuing to evolve as people like your friends, Veronica, learn more about him. Thank you for sharing that story. We just need to keep “Michaeling,” as you say, until everyone “gets it,” as you put it, Joie.
Joie: Well, that’s all for this post, and we want to thank Veronica for joining us. Willa and I also want to thank you for your continued support over the last three years.
As some of you may remember, when we began this blog it was a weekly feature, and we were so overwhelmed with all the love you guys heaped on us. We were truly surprised at the reception we received, and we quickly came to recognize what an awesome platform we had built for exploring new and thought-provoking ideas about the way Michael Jackson’s art is perceived. But after that first year, we also realized that in order to do it justice we couldn’t keep up the weekly schedule and still bring you the quality posts we wanted to. So we switched to posting on a bi-weekly schedule, and that worked well for us for a time. However, as the circumstances of our lives change, we need to acknowledge that this blog needs to adapt to fit our changing lives.
So we have decided to take a more laid-back approach and post when the inspiration strikes. We have some fun and interesting topics lined up for the coming year, and we still hope to post fairly frequently – we will just have a less structured posting schedule. We hope you understand, and we look forward to your continued support in the new year. Thanks again!
Willa: Yes, and thank you, Veronica, for joining us for this special holiday post. We really appreciate it, and hope you have a warm and wonderful Christmas today, and a very happy new year.
Veronica: It was my honor and pleasure to be with you, and I look forward to more great discussions ahead. Happy holidays to you!
Posted on December 25, 2014, in Michael Jackson and tagged Childhood, Heal the World, Jam, Martin Bashir, Michael A. Singer, On Children of the World, Oren Lyons, Schmuley Boteach, Susan Fast, That Wonder in My Youth, Veronica Bassil, Zack O’Malley Greenburg. Bookmark the permalink. 41 Comments.