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Celebrating Bad: Presenting the Music Visually

Joie:  So Willa, everyone knows that Thriller is the biggest-selling album of all time. But did you know that for a short while, Bad was actually the second biggest-selling album of all time?

Willa:  Really?  No, I didn’t know that.

Joie:  To this day, in fact, it is still regarded as one of the best-selling albums ever made – I think it’s like number six on the worldwide list – and until Katy Perry tied the record with her album Teenage Dream, it was the first and only album to spawn five number one singles.

Willa:  I did know that, and it’s amazing – especially for an album many saw as under-performing in terms of record sales. It shows just how high the bar was set for the follow-up album to Thriller.

Joie:  That record stood unmatched for 23 years! And what I love most about this album is that Michael penned over 80% of it himself – nine out of the 11 tracks on the album were written by him.

So, I guess what I’m getting at here is that, even though for many people, Thriller is often seen as the pinnacle of Michael Jackson’s success (and commercially, that is certainly true), it is actually the follow-up album, Bad, where we begin to see the artist really stretch his wings and grow artistically, emotionally, creatively, and politically.

Willa:  That’s really interesting, Joie, and something Quincy Jones has suggested also. As he says in the first additional track on the Bad, Special Edition album, “I could just see him growing as an artist and understanding production and all that stuff.” So here’s a question I want to ask Quincy Jones every time I hear that, but I’m going to put you on the spot and ask you instead: what do you see as the major signs of growth between Thriller and Bad?

Joie:  Well, first of all, what I just pointed out. The fact that he wrote the majority of the songs on it. With his first two adult solo efforts, Off the Wall and Thriller, that wasn’t the case. He only wrote three of the songs on Off the Wall and four on Thriller. So I think that shows major growth and maturity, both artistically and creatively.

Willa:  That’s true, and we can see that in the number of videos he made also. He made three each for Off the Wall and Thriller, but he made eight for Bad – nine if you count “Leave Me Alone” – and nine for Dangerous, so Bad seems to have been an important turning point for him that way too.

Joie:  Also, the things he’s writing about. The subject matter of the songs on Bad show a lot of maturity and growth as well.

Willa:  I suppose, though “Billie Jean” is so emotionally complex, and there’s a lot of depth in “Beat It,” and “Heartbreak Hotel” and “Workin’ Day and Night” as well. So it’s not like his previous songs were simplistic.

Joie:  Well, that’s very true. Simplistic is not a word I would use to describe his writing. But, I don’t know. The Bad album just seems a little more “grown up” to me than his previous two adult efforts.

Willa:  And more uniquely “him” because he did write so many of the songs himself, as you mentioned earlier. You know, the story you always hear about Bad is that he put tremendous pressure on himself to top Thriller, and I’m sure those kinds of pressures were there to some degree. Creating a follow-up to Thriller would be intimidating, I’m sure.

Joie:  Oh, no doubt about it. I can’t imagine what that kind of pressure must be like.

Willa:  Oh, I know!  But listening to this album, it doesn’t feel like it’s coming from a place of anxiety and insecurity. He sounds very sure of himself, with a message he feels compelled to share and the confidence to share it. I wonder if that’s part of what you’re feeling, Joie, when you say that, for you, this is the album where he really comes into his own.

Joie:  You could be onto something there, Willa. He does seem to have a certain level of self-confidence and even cockiness on this album so, maybe that is what I’m reacting to. And, you know, when I think about this album, it’s really difficult for me to choose the one stand-out track that sets this CD apart or makes it great because really, every song is a masterpiece all by itself.

Willa:  I know what you mean, and I wonder if that’s because of all the videos. You know, in Moonwalk he talks about the videos he made for the Thriller album and emphasizes that they weren’t just tacked on after the fact as a marketing tool. They were part of his vision from the beginning. As he says,

The three videos that came out of Thriller – “Billie Jean,” “Beat It,” and “Thriller” – were all part of my original concept for the album. I was determined to present this music as visually as possible.

And Bad is where he really achieves that goal of presenting his songs “as visually as possible.” Except for the two duets, he made a video for every song on the album, and I think that contributes to that feeling you’re talking about, Joie, that “every song is a masterpiece.” Because each song has its own video, each one feels like a fully realized, multi-sensory work of art.

You know, even when I’m not watching the videos themselves, like when I’m listening to Bad on the car stereo, I’m still visualizing those images. They’re just an integral part of each song for me now.

Joie:  I agree with you, Willa; they do feel like an “integral part of each song” and it is almost impossible not to visualize the short film when listening to the songs themselves. And I’m sure that was probably very intentional on his part, as that quote you cited from Moonwalk points out. And, as you said earlier, he also made nine videos for his following album, Dangerous and eight for the HIStory album so, I believe presenting the music “as visually as possible” was something that was very important to him and something that he was committed to doing.

Willa:  I agree. It really feels to me like he achieved the fullest expression of his art through his videos. That’s where it all comes together: the music, the dance, that incredible voice, the visual cues, the backstory and narrative – or as he described the structure of his videos, the beginning and the middle and the ending of what he’s trying to convey.

Joie:  I agree. And it really makes you think about his great love of films. Sometimes I believe his videos are so amazing because of his love for film. How many times did he talk about the power of film and being able to take an audience anywhere you wanted them to go, all through film. And many times, that’s what his videos do – they transport you momentarily to a different place. A place of his choosing. It’s no wonder he wanted them referred to as ‘short films’ instead of videos.

And just thinking about that fact makes me really angry that he was hindered from doing the same with Invincible. I love that album so much, and I would have loved to have seen what videos he could have come up with for it. But you’re right, Bad is the first album where he achieves this goal of presenting the music as visually as possible and because of that, his name really became sort of synonymous with music videos.

It’s an interesting concept that no one else was really doing at the time. You know, most artists were just using the music video as a sort of promotional tool and the resulting videos had very little to do with the song itself. But Michael changed all that; he ‘flipped the script’ as the saying goes. Suddenly music videos weren’t just some abstract add on but, they were a way to actually bring the song to life.

Willa:  And not always in ways you expect – like who would ever listen to “Liberian Girl” and imagine the video he created for it? Or “The Way You Make Me Feel”? Or “Speed Demon”? Or “Bad” or “Smooth Criminal” or “Dirty Diana”? Actually, the Dirty Diana video probably enacts the lyrics more closely than the others:  as he sings about a performer being approached by a groupie, we discover that he really is a performer being approached by a groupie.

But even it heightens and complicates the lyrics in interesting ways. In fact, there are some very interesting details in Dirty Diana. For example, he’s singing about this love triangle between himself, My Baby, and Diana. Diana just wants him, or her idea of him as a famous rock star, and she doesn’t really care if she hurts him or My Baby. At one point he sings that he’s talking on the phone with My Baby, and Diana says into the phone, “He’s not coming back because he’s sleeping with me.” That is such a moment of betrayal – just imagine how painful that moment must be for him and My Baby – yet the concert crowd roars when he sings that. The audience goes nuts. And it’s interesting – the roar of the crowd at that moment isn’t on the album; it’s only in the video.

What the crowd’s reaction says pretty clearly is that they aren’t listening to this song from My Baby’s point of view, or even his point of view, but from Diana’s – and really, that makes perfect sense because they are like Diana. They want him too, just like Diana does. We see that in the video when he rips his shirt open. The crowd really goes wild then. He’s an object of desire, and they fantasize about fulfilling that desire, regardless of the consequences for him or his private life.

And actually, that seems to be the position he wants the audience to be in – he wants us to desire him when he’s on stage, and he wants us to align ourselves with Diana. We see that in the lyrics, where he encourages us to sympathize with her and see things from her point of view. So the audience is positioned with her, which makes sense. But then at the end of the video he does that classic Michael Jackson move we see in so many of his videos where he suddenly shifts the perspective. We follow him as he comes offstage, he opens the door of his car, and there’s a very unsettling power chord as he sees there’s a woman waiting for him inside.

Joie:  That’s a very sharp observation, Willa. I never made that connection between the roar of the crowd and the audience’s point of view in this video before. Interesting.

Willa:  Oh, it’s so interesting – what he does with point of view is just fascinating to me, and he plays with it constantly, in such complicated ways. Like when the perspective shifts in Dirty Diana, suddenly everything takes on a very different character. This isn’t the typical rock star/groupie fantasy we see played out in so many music videos. This is the fantasy giving way to realism, and suddenly our perspective shifts and we’re forced to consider the situation more from his point of view – and his point of view is really complicated. It’s always complicated. He never lets us off with a simple answer.

So there’s a beautiful young woman sitting in his car wanting to have sex with him, and on the one hand, that’s a nice problem to have. I mean, really, things could be worse. But on the other hand, he doesn’t know her, doesn’t know anything about her – doesn’t know if she’s kind or cruel or nutty as a fruitcake – and he’s just described in the lyrics how a woman like this has the potential to hurt him and My Baby. So it’s complicated.

Joie:  It is complicated. And, as we talked about last summer during the My Baby series, Dirty Diana perfectly highlights that complicated, often strange issue of celebrity and fame. And it’s also a perfect example of presenting the music “as visually as possible.” As you stated earlier, many of the short films tell a much different story than we would expect when simply listening to the song itself; but that’s not the case with Dirty Diana. Here the short film mirrors the song very closely – so the song itself really does come alive before our very eyes. If that’s not presenting the music visually, I don’t know what is!

Summer Rewind, Week 1: My Baby

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

Thinking About My Baby

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

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

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

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

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

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

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

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

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

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

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

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

Welcome to Heartbreak Hotel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A Touch, a Kiss, a Whisper of Love

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

One More Look at One More Chance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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