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Summer Rewind 2013, Week 7: Best of Joy

NOTE:  The following conversation was originally posted on January 9, 2013. To read the original post and comments, please click here.

We are Forever

Joie: So Willa, I’ve been thinking a lot lately about all of the Michael Jackson songs that are still ‘in the vault,’ so to speak. You know, all those as of yet still unreleased tunes that we may or may not ever hear, or the ones that have leaked over the years and sound pretty much finished but, still have never been released on an actual album (I’m thinking specifically of “Slave to the Rhythm” and “Blue Gangsta” here but, there are others). And I wonder if we’ll ever see these songs released on a future posthumous album.

Willa: I don’t know. I sure hope so, though I can understand how the Estate might feel a little cautious after the Michael album and all the controversy that generated. It’s a complicated issue, as we talked about last spring, with knowledgeable, well-intentioned people passionately committed to very different points of view. And really, there are valid arguments pulling me different directions on this.

Joie: I know, me too. Both sides have really wonderful, valid arguments and it’s easy to see the merits of both. And thinking about all of this has made me take a closer look at the material that has been released since Michael’s passing three and a half years ago. Specifically, I’ve been looking at the Michael album and, you know, I can’t blame the Estate for being confused or wary at this point. The fans’ reaction to that album was so split down the middle and so vicious. On one side, you had the fans who really wanted this album and were so looking forward to hearing new, unreleased material in any form. But then on the other side you had the very large faction of fans who vehemently did not want any of Michael’s work to be touched or “finished” by other producers and just wanted the material released ‘as is.’

Willa: And then there are conflicted fans like me who agree with both sides. I think it’s very important that other artists be allowed to reinterpret his work – very important – but I also want to know what his vision was, and what his “unfinished” work sounded like.

Joie: It’s sort of like they’re damned if they do and damned if they don’t.

Willa: But why can’t we have both – new material released “as is,” alongside more polished versions completed by others?

Joie: I don’t know; why can’t we have both? That sounds like a wonderful compromise to me and it gives the fans – all of the fans, from both sides of this issue – exactly what they want. But we’re getting a little sidetracked here.

What I really wanted to talk about is the Michael album. Or rather, a specific song from that album – “Best of Joy.” So, as you know, Willa, this is not only my favorite of the new songs we’ve heard since Michael’s passing, it has quickly become one of my most favorite songs ever. I just love it.

Willa: I know – in fact, I’ve mentally redubbed it “Best of Joie” just because you love it so much….

Joie: It is so special to me for so many reasons. One of which is the fact that it was the last song Michael ever worked on in a studio before he died. I just find that knowledge so touching and so powerful somehow because to me, the lyrics of this song almost sound as if he’s saying goodbye.

 
I am your joy
Your best of joy
I am the moonlight
You are the spring
Our love’s a sacred thing
You know I always will love you
I am forever
 
I am your friend
Through thick and thin
We need each other
We’ll never part
Our love is from the heart
We never say I don’t need you
We are forever

All through the song, it’s as if he’s reminding us how great his love for us is, and how much we mean to him, and then, with the repeated refrain of “I am forever, we are forever,” it’s like he’s is assuring us that no matter what happens, his love for us will never die. It’s like a line from that old Dylan Thomas poem:

 
Though lovers be lost, love shall not
And death shall have no dominion

Willa: Oh, I love that connection to Dylan Thomas, Joie! And we see that idea of “death shall have no dominion” in a number of Michael Jackson’s songs and films – for example, in “Heaven Can Wait” where he sings, “If the angels came for me, I’d tell them no.”

Joie: Oh, I hadn’t thought of that before, Willa, but you’re right. I guess it is a theme he’s used before. But for some reason, for me at least, “Best of Joy” just really seems to emphasize this theme. Like in “Heaven Can Wait,” he’s telling us a story of two lovers where the man is considering what he would do if death ever tried to part them. But in “Best of Joy,” his tale is more personal somehow. It’s a message that he’s trying urgently to impart before it’s too late.

 
I am your friend
Through thick and thin
We need each other…
Our love is from the heart…
We are forever

It’s like he’s urging us, “Don’t forget! Don’t forget how much I love you, don’t forget how much we’ve meant to each other. Always remember!” Or maybe I’m just reading too much into it because I was grieving the first time the world ever heard this song. Admittedly, I have a very emotional attachment to this song. I have yet to listen to it when I don’t end up in tears.

Willa: It is very powerful, and it’s interesting to me that you see it not just as a love song, but also as a song to his audience. I hadn’t thought about it that way.

Joie: Really? See that’s another reason it stands out to me. Because I really have never thought of it as a love song in the traditional sense at all. Not in a “romantic” kind of way, I mean.

Willa: Oh, I agree. I mean, I can see this song as a romantic tale from one lover to another, but it has always struck me as much more than a romance as well. As we’ve talked about before, Michael Jackson likes to shift the point-of-view so much in his songs, so I always like to ask, Who is the “you” in this song – who exactly is being addressed? And who is the “I” in this song? Who is speaking? Sometimes it seems to be Michael Jackson himself, but sometimes it’s a persona, or another character, or someone very different from Michael Jackson himself. We talked about that with “Money” in a post last fall. We see multiple perspectives frequently in his work, where he adopts the point of view of other characters and speaks with their voice.

I see that in “Best of Joy” also, but with a twist. To me, Michael Jackson is in this song, but he isn’t the “I” – he’s the “you.” In other words, this isn’t a song from him but to him – this is a song of reassurance and caring to him. And the voice singing to him is Music itself. Music was his “friend / through thick and thin.” Music was there for him when everyone else abandoned him, and Music revived him when “nothing would cheer” him. Music was his “Best of Joy”:

 
I am the one who said that you are free
When living seemed so hard to be
And nothing would cheer you
I am forever
Wasn’t it I who carried you around
When all the walls came tumbling down?
When things would hurt you?
I am forever (I am forever)
We are forever (we are forever)
 

Music is forever, music was always there for him, and music is what “carried” him “when all the walls came tumbling down.”

That one line in particular is interesting because it recalls the battle of Jericho. You probably know a lot more about this than I do, Joie, but the story of Jericho is about a “battle” that was won without any fighting. Instead, it was music that made “the walls come tumbling down” – except for one apartment. That part of the wall, that one apartment, was spared. So music won the battle of Jericho without a battle being fought, and music preserved the family in that one apartment “when all the walls came tumbling down.”

I’m not exactly sure why, but I’ve always seen “Best of Joy” as a song from Music to him, a song of reassurance that music will always be there for him. I think maybe it’s because this song reminds me of “Music and Me,” that beautiful song he sang as a 15-year-old boy. It’s another song where he’s singing about a forever friendship, but that friendship isn’t with another person. It’s with Music:

 
We’re as close as two friends can be
There have been others
But never two lovers
Like music, music and me

Joie: Oh, my God, Willa … I love that interpretation! And it’s funny to me that you’ve centered in on Michael being the “you” in this song because, I’ve often felt that as well. And since becoming friends with you and reading M Poetica, I have learned that there are always many ways to interpret a song. Any song, as long as that interpretation can be supported by the lyrics, it’s valid. So, this song, to me, has many different interpretations, and while I primarily see it as a song from Michael to his audience, I also see it as a song to him, as you just suggested. Only I’ve never thought about Music being the “I” here, until you just said it, and it makes perfect sense. But for me, the “I” in this song was always God.

As we all know, Michael was always a very spiritual, very religious person and he had a long and close relationship with God. And when I think about the song that way, it also makes a lot of sense to me. Those very same lines that you pointed out earlier, have just as much meaning when viewing the song in this context as well:

 
I am the one who said that you are free
When living seemed so hard to be
And nothing would cheer you
I am forever
Wasn’t it I who carried you around
When all the walls came tumbling down?
When things would hurt you?
I am forever (I am forever)
We are forever (we are forever)
 

And you know, I really believe that this interpretation is what resonates so deeply with me and is a big part of the reason that I end up in tears whenever I listen to it. Yes, this song feels like a goodbye to me. As if Michael is saying he has to leave now but for me to remember that he will always love me. But it also makes me think about God, and about my relationship with Him and how good He’s always been to me. It’s a very emotional song for me for both of those reasons.

Willa: Wow, Joie, that’s a really powerful interpretation, and it really opens things up, doesn’t it? Michael Jackson was a very spiritual person, as you say, so that interpretation seems very true to who he was and to his worldview. But putting those two interpretations side by side – that the “I” is God and the “I” is Music – reminds me of something else we’ve talked about a couple of times: that for him, there seemed to be a deep connection between his spiritual life and his creative life. He saw his talents and his creativity as sacred gifts, which he was both thankful for and obligated to. It’s like he felt a sacred trust to use the gifts he had been given to the best of his abilities.

He also frequently talked about how he didn’t really write his songs – that’s not what his creative process felt like to him. Instead, his songs were like gifts from above that fell in his lap, and his role as a songwriter was to be receptive to them. Actually, Gennie sent us an email about this idea just last week: it was a link to a TED talk by Elizabeth Gilbert, the author of Eat, Love, Pray, where she discusses the creative process. Gilbert’s main point is that the way we tend to conceptualize creativity in the modern world as the work of a solitary genius can be psychologically damaging to artists. So she researched how other cultures have viewed creativity, and she thinks the Greeks and Romans had a much healthier model. As she says,

“Ancient Greece and ancient Rome – people did not happen to believe that creativity came from human beings back then. People believed that creativity was this divine attendant spirit that came to human beings from some distant and unknowable source for distant and unknowable reasons.”

This seems very close to Michael Jackson’s idea that his creativity was something that flowed through him, and his role as an artist wasn’t to create works so much as to be receptive to that flow and allow it to express itself through him. Here’s the link Gennie sent us:

Joie: I just love that talk by Ms. Gilbert; it’s very inspiring I think. Something every artist or writer should hear and think about, in my opinion, and ‘thank you’ to Gennie for sending it to us.

But I also agree with you completely here, Willa. That does seem to be extremely close to what we know of Michael Jackson’s creative process and how he felt about it. How many times did we hear him say that he felt as if he couldn’t really take the credit for his songs because he was simply the vessel through which they came?

Willa: Exactly, and apparently that’s a feeling shared by other important modern artists, like John Lennon. In Earth Song: Inside Michael Jackson’s Magnum Opus, Joe Vogel says Michael Jackson posted a quotation from John Lennon where he could see it as a reminder to himself while working on “Earth Song”:

“When the real music comes to me,” it read, “the music of the spheres, the music that surpasseth understanding – that has nothing to do with me, ’cause I’m just the channel. The only joy for me is for it to be given to me, and to transcribe it like a medium…. Those moments are what I live for.”

That sounds very similar to Elizabeth Gilbert’s thoughts about creativity as a “divine attendant spirit that came to human beings from some distant and unknowable source,” and it also reminds me of Dancing the Dream. In fact, I think this idea is one of the central themes of Dancing the Dream. As Michael Jackson writes in the preface:

Consciousness expresses itself through creation. This world we live in is the dance of the creator. Dancers come and go in the twinkling of an eye but the dance lives on. On many an occasion when I’m dancing, I’ve felt touched by something sacred. In those moments, I’ve felt my spirit soar and become one with everything that exists. I become the stars and the moon. I become the lover and the beloved. I become the victor and the vanquished. I become the master and the slave. I become the singer and the song. I become the knower and the known. I keep on dancing and then, it is the eternal dance of creation. The creator and creation merge into one wholeness of joy.

I see this idea expressed throughout “Best of Joy” as well, like in the intro lines you quoted earlier:

 
I am your joy
Your best of joy
I am the moonlight
You are the spring
Our love’s a sacred thing
You know I always will love you
I am forever

When creativity is flowing through him, he becomes “the stars and the moon … the lover and the beloved … the singer and the song,” as he joins “the eternal dance of creation” and “merges into one wholeness of joy” – his “Best of Joy.”

Joie: Oh, that’s a nice interpretation, Willa. I never would have made that connection between “Best of Joy” and the dance before. Very interesting. And you know, I am really sort of anxious to find out what our readers think about “Best of Joy,” and hearing some of their interpretations of this one. It’s a very special little song, in my opinion.

Willa: It really is. To me, the lyrics are like poetry.

I also wanted to let everyone know that the second edition of M Poetica is now available, and you can download it for free today through Monday (January 10 – 14). Amazon gave me the option of letting it be free for up to five days, and I wanted to take advantage of that. I know a lot of our readers already have the first edition, and it didn’t seem fair that they should have to buy it again.

Also, I think a lot of fans have become kind of wary of books claiming to look at Michael Jackson in a positive way, simply because so many of those books have turned out not to be very positive. Frankly, after reading the Boteach book and the Halperin book, I can understand that. So I wanted to give those fans a chance to read it and decide for themselves.

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:

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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!

We Are Forever

Joie:  So Willa, I’ve been thinking a lot lately about all of the Michael Jackson songs that are still ‘in the vault,’ so to speak. You know, all those as of yet still unreleased tunes that we may or may not ever hear, or the ones that have leaked over the years and sound pretty much finished but, still have never been released on an actual album (I’m thinking specifically of “Slave to the Rhythm” and “Blue Gangsta” here but, there are others). And I wonder if we’ll ever see these songs released on a future posthumous album.

Willa:  I don’t know. I sure hope so, though I can understand how the Estate might feel a little cautious after the Michael album and all the controversy that generated. It’s a complicated issue, as we talked about last spring, with knowledgeable, well-intentioned people passionately committed to very different points of view. And really, there are valid arguments pulling me different directions on this.

Joie:  I know, me too. Both sides have really wonderful, valid arguments and it’s easy to see the merits of both. And thinking about all of this has made me take a closer look at the material that has been released since Michael’s passing three and a half years ago. Specifically, I’ve been looking at the Michael album and, you know, I can’t blame the Estate for being confused or wary at this point. The fans’ reaction to that album was so split down the middle and so vicious. On one side, you had the fans who really wanted this album and were so looking forward to hearing new, unreleased material in any form. But then on the other side you had the very large faction of fans who vehemently did not want any of Michael’s work to be touched or “finished” by other producers and just wanted the material released ‘as is.’

Willa:  And then there are conflicted fans like me who agree with both sides. I think it’s very important that other artists be allowed to reinterpret his work – very important – but I also want to know what his vision was, and what his “unfinished” work sounded like.

Joie:  It’s sort of like they’re damned if they do and damned if they don’t.

Willa:  But why can’t we have both – new material released “as is,” alongside more polished versions completed by others?

Joie:  I don’t know; why can’t we have both? That sounds like a wonderful compromise to me and it gives the fans – all of the fans, from both sides of this issue – exactly what they want. But we’re getting a little sidetracked here.

What I really wanted to talk about is the Michael album. Or rather, a specific song from  that album – “Best of Joy.” So, as you know, Willa, this is not only my favorite of the new songs we’ve heard since Michael’s passing, it has quickly become one of my most favorite songs ever. I just love it.

Willa:  I know – in fact, I’ve mentally redubbed it “Best of Joie” just because you love it so much….

Joie:  It is so special to me for so many reasons. One of which is the fact that it was the last song Michael ever worked on in a studio before he died. I just find that knowledge so touching and so powerful somehow because to me, the lyrics of this song almost sound as if he’s saying goodbye.

 
I am your joy
Your best of joy
I am the moonlight
You are the spring
Our love’s a sacred thing
You know I always will love you
I am forever
  
I am your friend
Through thick and thin
We need each other
We’ll never part
Our love is from the heart
We never say I don’t need you
We are forever

All through the song, it’s as if he’s reminding us how great his love for us is, and how much we mean to him, and then, with the repeated refrain of “I am forever, we are forever,” it’s like he’s is assuring us that no matter what happens, his love for us will never die. It’s like a line from that old Dylan Thomas poem:

 
Though lovers be lost, love shall not
And death shall have no dominion

Willa:  Oh, I love that connection to Dylan Thomas, Joie!  And we see that idea of “death shall have no dominion” in a number of Michael Jackson’s songs and films – for example, in “Heaven Can Wait” where he sings, “If the angels came for me, I’d tell them no.”

Joie:  Oh, I hadn’t thought of that before, Willa, but you’re right. I guess it is a theme he’s used before. But for some reason, for me at least, “Best of Joy” just really seems to emphasize this theme. Like in “Heaven Can Wait,” he’s telling us a story of two lovers where the man is considering what he would do if death ever tried to part them. But in “Best of Joy,” his tale is more personal somehow. It’s a message that he’s trying urgently to impart before it’s too late.

 
I am your friend
Through thick and thin
We need each other…
Our love is from the heart…
We are forever

It’s like he’s urging us, “Don’t forget! Don’t forget how much I love you, don’t forget how much we’ve meant to each other. Always remember!” Or maybe I’m just reading too much into it because I was grieving the first time the world ever heard this song. Admittedly, I have a very emotional attachment to this song. I have yet to listen to it when I don’t end up in tears.

Willa:  It is very powerful, and it’s interesting to me that you see it not just as a love song, but also as a song to his audience. I hadn’t thought about it that way.

Joie:  Really? See that’s another reason it stands out to me. Because I really have never thought of it as a love song in the traditional sense at all. Not in a “romantic” kind of way, I mean.

Willa:  Oh, I agree.  I mean, I can see this song as a romantic tale from one lover to another, but it has always struck me as much more than a romance as well. As we’ve talked about before, Michael Jackson likes to shift the point-of-view so much in his songs, so I always like to ask, Who is the “you” in this song – who exactly is being addressed?  And who is the “I” in this song? Who is speaking? Sometimes it seems to be Michael Jackson himself, but sometimes it’s a persona, or another character, or someone very different from Michael Jackson himself. We talked about that with “Money” in a post last fall. We see multiple perspectives frequently in his work, where he adopts the point of view of other characters and speaks with their voice.

I see that in “Best of Joy” also, but with a twist. To me, Michael Jackson is in this song, but he isn’t the “I” – he’s the “you.” In other words, this isn’t a song from him but to him – this is a song of reassurance and caring to him. And the voice singing to him is Music itself. Music was his “friend / through thick and thin.” Music was there for him when everyone else abandoned him, and Music revived him when “nothing would cheer” him. Music was his “Best of Joy”:

 
I am the one who said that you are free  
When living seemed so hard to be
And nothing would cheer you
I am forever
Wasn’t it I who carried you around
When all the walls came tumbling down?
When things would hurt you?
I am forever (I am forever)
We are forever (we are forever)
 

Music is forever, music was always there for him, and music is what “carried” him “when all the walls came tumbling down.”

That one line in particular is interesting because it recalls the battle of Jericho. You probably know a lot more about this than I do, Joie, but the story of Jericho is about a “battle” that was won without any fighting. Instead, it was music that made “the walls come tumbling down” – except for one apartment. That part of the wall, that one apartment, was spared. So music won the battle of Jericho without a battle being fought, and music preserved the family in that one apartment “when all the walls came tumbling down.”

I’m not exactly sure why, but I’ve always seen “Best of Joy” as a song from Music to him, a song of reassurance that music will always be there for him. I think maybe it’s because this song reminds me of “Music and Me,” that beautiful song he sang as a 15-year-old boy. It’s another song where he’s singing about a forever friendship, but that friendship isn’t with another person. It’s with Music:

 
We’re as close as two friends can be
There have been others
But never two lovers
Like music, music and me 

Joie:  Oh, my God, Willa … I love that interpretation! And it’s funny to me that you’ve centered in on Michael being the “you” in this song because, I’ve often felt that as well. And since becoming friends with you and reading M Poetica, I have learned that there are always many ways to interpret a song. Any song, as long as that interpretation can be supported by the lyrics, it’s valid. So, this song, to me, has many different interpretations, and while I primarily see it as a song from Michael to his audience, I also see it as a song to him, as you just suggested. Only I’ve never thought about Music being the “I” here, until you just said it, and it makes perfect sense. But for me, the “I” in this song was always God.

As we all know, Michael was always a very spiritual, very religious person and he had a long and close relationship with God. And when I think about the song that way, it also makes a lot of sense to me. Those very same lines that you pointed out earlier, have just as much meaning when viewing the song in this context as well:

 
I am the one who said that you are free
When living seemed so hard to be 
And nothing would cheer you
I am forever
Wasn’t it I who carried you around
When all the walls came tumbling down?
When things would hurt you?
I am forever (I am forever)
We are forever (we are forever)
 

And you know, I really believe that this interpretation is what resonates so deeply with me and is a big part of the reason that I end up in tears whenever I listen to it. Yes, this song feels like a goodbye to me. As if Michael is saying he has to leave now but for me to remember that he will always love me. But it also makes me think about God, and about my relationship with Him and how good He’s always been to me. It’s a very emotional song for me for both of those reasons.

Willa:  Wow, Joie, that’s a really powerful interpretation, and it really opens things up, doesn’t it? Michael Jackson was a very spiritual person, as you say, so that interpretation seems very true to who he was and to his worldview. But putting those two interpretations side by side – that the “I” is God and the “I” is Music – reminds me of something else we’ve talked about a couple of times: that for him, there seemed to be a deep connection between his spiritual life and his creative life. He saw his talents and his creativity as sacred gifts, which he was both thankful for and obligated to. It’s like he felt a sacred trust to use the gifts he had been given to the best of his abilities.

He also frequently talked about how he didn’t really write his songs – that’s not what his creative process felt like to him. Instead, his songs were like gifts from above that fell in his lap, and his role as a songwriter was to be receptive to them. Actually, Gennie sent us an email about this idea just last week:  it was a link to a TED talk by Elizabeth Gilbert, the author of Eat, Love, Pray, where she discusses the creative process. Gilbert’s main point is that the way we tend to conceptualize creativity in the modern world as the work of a solitary genius can be psychologically damaging to artists. So she researched how other cultures have viewed creativity, and she thinks the Greeks and Romans had a much healthier model. As she says,

“Ancient Greece and ancient Rome – people did not happen to believe that creativity came from human beings back then. People believed that creativity was this divine attendant spirit that came to human beings from some distant and unknowable source for distant and unknowable reasons.”

This seems very close to Michael Jackson’s idea that his creativity was something that flowed through him, and his role as an artist wasn’t to create works so much as to be receptive to that flow and allow it to express itself through him. Here’s the link Gennie sent us:

Joie:  I just love that talk by Ms. Gilbert; it’s very inspiring I think. Something every artist or writer should hear and think about, in my opinion, and ‘thank you’ to Gennie for sending it to us.

But I also agree with you completely here, Willa. That does seem to be extremely close to what we know of Michael Jackson’s creative process and how he felt about it. How many times did we hear him say that he felt as if he couldn’t really take the credit for his songs because he was simply the vessel through which they came?

Willa:  Exactly, and apparently that’s a feeling shared by other important modern artists, like John Lennon. In Earth Song: Inside Michael Jackson’s Magnum Opus, Joe Vogel says Michael Jackson posted a quotation from John Lennon where he could see it as a reminder to himself while working on “Earth Song”:

“When the real music comes to me,” it read, “the music of the spheres, the music that surpasseth understanding – that has nothing to do with me, ’cause I’m just the channel. The only joy for me is for it to be given to me, and to transcribe it like a medium…. Those moments are what I live for.” 

That sounds very similar to Elizabeth Gilbert’s thoughts about creativity as a “divine attendant spirit that came to human beings from some distant and unknowable source,” and it also reminds me of Dancing the Dream. In fact, I think this idea is one of the central themes of Dancing the Dream. As Michael Jackson writes in the preface:

Consciousness expresses itself through creation. This world we live in is the dance of the creator. Dancers come and go in the twinkling of an eye but the dance lives on. On many an occasion when I’m dancing, I’ve felt touched by something sacred. In those moments, I’ve felt my spirit soar and become one with everything that exists. I become the stars and the moon. I become the lover and the beloved. I become the victor and the vanquished. I become the master and the slave. I become the singer and the song. I become the knower and the known. I keep on dancing and then, it is the eternal dance of creation. The creator and creation merge into one wholeness of joy.

I see this idea expressed throughout “Best of Joy” as well, like in the intro lines you quoted earlier:

 
I am your joy
Your best of joy
I am the moonlight
You are the spring
Our love’s a sacred thing
You know I always will love you
I am forever

When creativity is flowing through him, he becomes “the stars and the moon … the lover and the beloved … the singer and the song,” as he joins “the eternal dance of creation” and “merges into one wholeness of joy” – his “Best of Joy.”

Joie:  Oh, that’s a nice interpretation, Willa. I never would have made that connection between “Best of Joy” and the dance before. Very interesting. And you know, I am really sort of anxious to find out what our readers think about “Best of Joy,” and hearing some of their interpretations of this one. It’s a very special little song, in my opinion.

Willa:  It really is. To me, the lyrics are like poetry.

I also wanted to let everyone know that the second edition of M Poetica is now available, and you can download it for free today through Monday (January 10 – 14). Amazon gave me the option of letting it be free for up to five days, and I wanted to take advantage of that. I know a lot of our readers already have the first edition, and it didn’t seem fair that they should have to buy it again.

Also, I think a lot of fans have become kind of wary of books claiming to look at Michael Jackson in a positive way, simply because so many of those books have turned out not to be very positive. Frankly, after reading the Boteach book and the Halperin book, I can understand that. So I wanted to give those fans a chance to read it and decide for themselves.

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:

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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!

Willa:  I would also like to ask a big favor. I’m hoping to publish a second edition of M Poetica with bibliographic notes and web links, and some images and information that weren’t available when it was first published in 2011. I’d also like to fix as many errors and typos as possible, so if you’ve read M Poetica and noticed mistakes, I’d love to hear from you. Just send your corrections to dancing.with.the.elephant@gmail.com. Thank you!