Willa: Hi Lisha! Welcome back! Did you have a good summer?
Lisha: Excellent! Busy as always. How about you, Willa?
Willa: It was a lot of fun, but bittersweet. I just dropped my son off at college – in fact, his first day of class was Michael Jackson’s birthday. And while I’m really happy and excited for him, I’m going to miss him a lot! He’s great fun to be with and talk with, and I just can’t imagine not having him here.
But as we were walking into the registration building, I heard a song playing on the sound system, so quietly you could barely hear it. In fact, I wondered at first if I was imagining it. But it was definitely there, quietly playing behind all the bustle: “Don’t Stop ’til You Get Enough.” And it just gave me a little reassuring nudge that my son was right where he needed to be.
Lisha: That’s amazing! I love it when Michael Jackson shows up at just the right time. And how serendipitous that your son’s first day of college was on Michael Jackson’s birthday! No doubt you are really going to miss him this year, Willa. That will be a huge adjustment – so prepare yourself for the empty nest syndrome!
Willa: Oh, I know! In fact, a friend whose daughter just graduated suggested we start an Empty Nest Club. I think that’s a great idea.
Anyway, in a funny way, all of this has me thinking about “The Lost Children,” one of those neglected songs from the Invincible album that never seemed to get much attention. On the surface, it’s a song about children who’ve run away from home or been abducted – the “missing children” you see on posters sometimes. We took a ferry this summer from Washington state over to Vancouver Island, and as we entered into Canada the wall of the Customs office was covered with posters of missing children. It was heartbreaking – all those parents looking for their lost children.
Lisha: Can you even imagine living through such a nightmare?
Willa: No, I can’t. I really can’t.
Lisha: Michael Jackson empathized so strongly with these families. It’s inspiring to know that he offered a song, reminding us to keep them in our thoughts and prayers at the very least. The thought of a missing child is so overwhelming, it’s easy to block that out and not let yourself go there. Maybe that’s why it strikes me as such an unusual subject for a song.
Willa: I agree. It’s rare to hear a song about something as tragic as a missing child, and maybe that’s because it’s just too frightening and painful to think about, as you say. I can really understand that. But Michael Jackson frequently – and courageously, I think – broached difficult topics like this.
But he also tended to create multi-layered works that could be interpreted many different ways, and I see that with “The Lost Children” also. While the main focus of this song is definitely on children who have been abducted or for some other reason are “missing” from their homes, it also makes me think about children like the “lost boys” in Peter Pan who never really had a home: kids like my father who grew up in an orphanage, or kids who’ve had to grow up on the streets or bouncing from one place to another. These kids never had the kind of family life Michael Jackson sings about in “The Lost Children”:
Home with their fathers
Snug close and warm
Loving their mothers
Some children never had that, and simply don’t have a home to go back to.
Lisha: You’re so right. Of course there are children who live in beautiful homes with their parents, but they still lack the safety and emotional security depicted in this verse.
Willa: That’s a good point, Lisha. They may have a family and a physical house, but if there is physical or emotional abuse or simply coldness, it may not feel like much of a home. In fact, a lot of kids who run away do so to escape abuse, as Michael Jackson sang about in “Do You Know Where Your Children Are.”
Lisha: An excellent point. I am also thinking about children lost in early adult responsibility – like children working in show business – an issue Michael Jackson flagged throughout his entire adult life.
Willa: That’s true. He talked about that often, and sang about it in “Childhood.”
Lisha: Another good point!
Willa: But you know, there are other ways to interpret this song as well. While I think raising awareness about missing children was Michael Jackson’s primary motivation in writing this song, there are some interesting details that point toward other, less obvious interpretations as well.
Lisha: It’s always in the details, isn’t it?
Willa: It really is – especially with Michael Jackson. And one of those details is that throughout “The Lost Children” he repeatedly samples a Twilight Zone episode called “Kick the Can.” It’s most noticeable near the end, beginning around the 3:25 mark, but you can also hear it at 0:55, 1:45, 2:45, and 3:00. And thinking about this song in relation to “Kick the Can” leads to a very different interpretation of the song as a whole.
Lisha: Whoa, are you kidding me? I have to confess I am one of the ones guilty of neglecting this song! I totally missed the Twilight Zone credit on this track. I knew Michael Jackson’s oldest son, Prince, gets a credit for some of the dialogue. So I guess I assumed all the children’s voices were recorded specifically for the track. Now that I see The Twilight Zone credit, it opens up up a whole new world when approaching this song, doesn’t it?
Willa: It really does.
Lisha: Hey Willa, do you remember reading Darlene Craviotto’s book, An Agoraphobic’s Guide to Hollywood: How Michael Jackson Got Me Out of the House?
Willa: Yes! In fact, I read it because you suggested it, Lisha. You said there were parts of it that were pretty troubling, but it had some really interesting insights too. After you said that I just had to read it and, boy, you were right on both counts.…
Lisha: It’s true that some of the author’s conclusions are rather disturbing and not well thought out, in my opinion. But at the same time, some of her stories are totally captivating. For example, she recalls several conversations she had with Michael Jackson about “Kick the Can,” which was in relation to a film project they were working on together.
In 1990, Craviotto was hired by Steven Spielberg to write the screenplay for a new musical version of Peter Pan, starring Michael Jackson. Unfortunately, the film was never made. Instead, Spielberg went on to release Hook with Robin Williams, a film that never lived up to its hype critically or at the box office.
However, Craviotto’s first-hand account of working with Michael Jackson is really magical at times, especially when she describes their one-on-one meetings. Because their discussions were typically recorded for study purposes, she seems to relate exactly what was said.
Michael Jackson was deeply involved in the creative process for Peter Pan. And he insisted that Craviotto watch “Kick the Can” to better understand his vision for the film. Here are some excerpts from the book:
“There’s a good movie you gotta see!” Michael says, excitedly. “It was on ‘The Twilight Zone.’ It has so much heart! And it reminds me of Peter. Called ‘Kick the Can.’ Gotta see it! Next time we meet, I’m showing you.” He laughs at the thought of it, brimming over with enthusiasm. “It has heart about it! That should be Peter!” …
“You’re gonna like it!” He beams. “It’s got heart!” he shouts. “You gotta see it!” He lowers his voice and says slowly, “It’s wonderful!” Snapping his fingers for effect, “It has in it what Peter should have.” …
“When I saw it, I loved it! And I thought, ‘This is me! This is me! This is me!’”
Michael Jackson was just so enthusiastic about this episode of The Twilight Zone! I got the feeling he strongly identified with the main character and felt his role was essential for understanding Peter Pan as well.
Willa: That’s interesting, Lisha. I agree he loved “Kick the Can,” but I actually interpreted this a little differently. To me, he was saying he really liked the feeling of “Kick the Can” and thought it was a good example of the kind of emotional response he wanted to create with Peter Pan. And he wanted Craviotto to see it so she could try to create a similar feeling in her screenplay. At least, that’s how I read it.
Lisha: Well, maybe that’s right. I could be reading way more into this than is actually there. But hearing how insistent he was that Craviotto watch The Twilight Zone before starting work on Peter Pan, I really got the idea there was a connection between the two.
Willa: Well, that’s a good point, Lisha. And it’s interesting that in those conversations Craviotto quoted, he kept saying that “Kick the Can” has “heart.” As I remember, she also included several conversations where he worried about Spielberg’s “heart” – specifically, whether he had the “heart” to make the kind of Peter Pan movie Michael Jackson wanted to make.
Lisha: Craviotto says that even though Michael Jackson was a huge fan of Steven Spielberg, he had serious reservations about whether or not Spielberg was the right director for Peter Pan. Spielberg had remade “Kick the Can” for the 1983 film Twilight Zone: The Movie, which left a big question in Michael Jackson’s mind. He felt there was something essential missing from that film that would be crucial to their retelling of Peter Pan. He even brought Craviotto up to Neverland Ranch so they could watch both versions of “Kick the Can” and discuss them.
Willa: Yes, I remember that! So maybe you’re right, Lisha – maybe he was suggesting a connection between Peter Pan and “Kick the Can.” You’re starting to convince me …
Anyway, back when I read Craviotto’s book, I was really intrigued about why he was so smitten with “Kick the Can.” So I went to the local library and found a copy of the original TV version and watched it, and I see what he means. There’s something very tender about it – a feeling that’s lost in Spielberg’s remake, which is kind of manic and has a harshness to it that isn’t in the original.
Lisha: I agree. The original develops the main character in the story so beautifully. You get a glimpse into his psychological makeup and genuinely care about his perspective. The Spielberg version, however, doesn’t really get into this kind of character development and uses a more controversial story device instead. It doesn’t work nearly as well, to my way of thinking. At any rate, it’s a wonderful exercise to compare the two versions, just as Michael Jackson suggested.
Willa: Yes, it is. And when you do that, you notice the remake has other problems as well. But the main problem, as Michael Jackson said, is that it lacks the “heart” of the original.
Lisha: I agree.
Willa: So as I was watching the original version, I was struck by these repeated scenes where children are playing the game Kick the Can (which I loved when I was a kid, by the way, especially at twilight – it’s just a perfect kid’s game). Each of those scenes begins with a boy counting off, like this: “…, 85, 90, 95, 100. Ready or not, here I come! … Last one into the forest is a rotten apple!” That sounded so familiar to me, and then I realized it was in “The Lost Children.” In fact, Michael Jackson repeatedly samples these scenes from “Kick the Can” so they become a recurring motif in the background soundscape of “The Lost Children.”
Lisha: Now that I’m aware of The Twilight Zone samples in “The Lost Children,” they feel like such a prominent part of the song. I think I dismissed them before as a background layer that simply added a nice touch. You know, a song about lost children that includes a sonic memory of happy children playing without a care in the world. But now, I hear this a little differently and I’m starting to think “Kick the Can” should be required viewing before listening to this song!
Willa: It really adds a whole other dimension to the experience of listening to it, doesn’t it?
Lisha: Unbelievably so.
Willa: Especially when you know the plot of the story. The main character is an elderly man named Charles Whitley, who is living at Sunnyvale Rest Home for the Aged, along with his childhood friend, Ben, and many other elderly residents. Charles doesn’t want to be there, and he becomes convinced they all feel old because they’re acting old. After watching the children play, he tells Ben, “It’s almost as though playing Kick the Can keeps them young.” And later he says, “Maybe the fountain of youth isn’t a fountain at all. Maybe it’s a way of looking at things – a way of thinking.”
He becomes convinced that playing will help them all feel young again, so one night he encourages them to go outside and play Kick the Can, like they did when they were children. He describes that liberating feeling of play in such a wonderful way that many of them become caught up in the moment and go outside and play with him, but Ben refuses.
Lisha: Ben just doesn’t get it, does he? He warns Charles that these crazy ideas put him in danger of being diagnosed senile, which would greatly restrict his personal freedoms in the home.
Willa: Yes. In fact, he’d been threatened with that.
Lisha: True, but even so, Charles still tries to convince the others that play is the magical force that holds “the secret of youth.” He begs them to play Kick the Can and suggests they hold the empty can in their hands while contemplating the value of childhood play:
“Look! Think! Feel! Here, hold it! Doesn’t that wake some sleeping part of you?”
Willa: That’s such a wonderful scene! And it’s so Michael Jackson. I can see why he loved it.
Lisha: To my way of thinking, that entire episode has Michael Jackson written all over it!
Willa: It really does. Later on, Ben hears a group of children outside playing Kick the Can, even though it’s late at night. He goes outside with the facility supervisor, who chases the children away, but Ben recognizes one of the children as Charles – he’s become a boy again. Ben suddenly realizes that all the residents who went outside to play have reverted back to childhood, and he begs Charles to let him join them, but it’s too late. Charles runs away and Ben is left sitting on the porch alone, holding the can.
Lisha: The magic worked! At least in that spooky Twilight Zone kind of way, which might actually suggest that Mr. Whitley made his final transition. But this is also where I feel like there is a connection between lost childhood in “Kick the Can” and the “lost boys” in Peter Pan. Both stories depict a magical, idyllic realm where carefree youth is honored, valued and preserved. It is more of a metaphorical, magical place than an actual geographical location, as you suggested earlier. When we think of “The Lost Children” this way, it starts to get pretty interesting. We could even add “Childhood” to the mix here as well.
Willa: Yes, I agree. Looking at “The Lost Children” through the lens of “Kick the Can” expands the idea of “lost children” to include “lost childhood” – to adults who’ve lost the connection to that magical time when they were a child. And of course, that’s a central idea in Peter Pan as well, and his band of “lost boys,” though they’re “lost” in a different way.
But there’s an important difference between “The Lost Children” and “Childhood.” “The Lost Children” really focuses on the importance of the family as a whole, of the family being together, and it considers the parents of lost children as well as the children themselves.
Lisha: Wow, you’re right. I had never thought about that before.
Willa: It’s interesting, isn’t it? In that sense, it’s kind of like “Do You Know Where Your Children Are,” which begins with a mother reading a note from her missing daughter, and then shifts to the daughter’s story. For example, Michael Jackson begins “The Lost Children” with these lines:
We pray for our fathers
Pray for our mothers
Wishing our families well
And then in the bridge he sings those words I quoted earlier, but there’s more to it than that. Here’s the full bridge:
Home with their fathers
Snug close and warm
Loving their mothers
I see the door simply wide open
But no one can find thee
In these final two lines, Michael Jackson creates an image of a door standing open, waiting for a child to return home, which is a very important image, I think.
Lisha: The door is like the symbolic threshold that divides the “real” world from the magical, mythic realm. Just like the retirement home door in “Kick the Can.”
Willa: Oh, that’s interesting, Lisha! It also reminds me of Peter Pan. In the third chapter of the book, Peter teaches Wendy, John, and Michael how to fly, and they go soaring out of the nursery window just moments before their parents and Nana rush in to stop them. And while we spend most of our time following their adventures with Peter and the lost boys, J.M. Barrie also reminds us of how much Mr. and Mrs. Darling miss their children. They sleep in the nursery in hopes they will return someday, and as their mother says, “The window must always be left open for them, always, always.”
Lisha: Yes, that window is also a symbolic threshold, like the doors we were just discussing, and it is central to the entire story.
Willa: It really is. In Chapter 11, when Wendy and her brothers are feeling a little homesick, she describes the warm reunion they’ll have if they return home, and she emphasizes the open window waiting for them: “‘See, dear brothers,’ says Wendy, pointing upwards, ‘there is the window still standing open.’” She finishes by saying, “So up they flew to their mummy and daddy; and pen cannot describe the happy scene.”
This “sublime faith in a mother’s love” comforts her brothers and all the lost boys, but not Peter:
But there was one there who knew better; and when Wendy finished he uttered a hollow groan.
“What is it, Peter?” she cried, running to him. …
“Long ago,” he said, “I thought like you that my mother would always keep the window open for me; so I stayed away for moons and moons and moons, and then flew back; but the window was barred, for mother had forgotten all about me, and there was another little boy sleeping in my bed.”
Barrie then says, “I’m not sure that this was true, but Peter thought it was true; and it scared them.”
Lisha: Wow. That is scary. And really dark. It’s about a deep longing to return home. But home is a place that has been lost somehow, and there’s no guarantee the way back will ever appear again.
Willa: I think so too. You know, Michael Jackson loved Peter Pan, but he didn’t see it as a lighthearted kid’s story. It was tragic for him. Jane Fonda says he cried when he talked about it. And a lot of it has to do not only with a lost childhood, but also a lost sense of home – of a sheltered place to return after playtime where you are loved and safe and cared for, and free to be a child.
Lisha: That is so sad. These stories are really, really dark. And they completely change how I hear “The Lost Children.” I’m reminded of something else Michael Jackson said to Darlene Craviotto about Peter Pan:
“We’re playing into that part of everyone … The child,” he tells me. “The same thing that ‘E.T.’ did. And the ‘Wizard of Oz.’ That’s what I want to continue to have, that reality. It’s fantasy, but still … fantasy is reality. It becomes real … Even though it’s fantasy, it’s real! It’s inside of everyone!”
So what are the main ideas in E.T. and Wizard of Oz? “Phone home.” “There’s no place like home.”
Willa: You’re right! I never thought about that before!
Lisha: And Peter tries to fly home. Charles Whitley longs to go home with his son and is psychologically shattered when he learns he can’t. And what about Prince Jackson’s voice at the end of “The Lost Children”?
“It’s getting dark. I think we’d better go home now.”
So what is meant by the mythic return home? What is the place inside of everyone where fantasy and reality meet?
Willa: Those are all really good questions, Lisha. Children need to be free to play and explore – both literally in real forests, and in the “forest” of their imagination – but they also need to be able to come home. It’s like “home” is this mythic place, and we need to know there’s a door there, open for us, waiting for us, “always, always,” as Mrs. Darling said. Even as we begin to explore and go out into the world, we need to know that door is still open to welcome us back home if we need it. Maybe that’s why I’ve been thinking about this song as my son goes off to college. …
Lisha: Yes, there’s a deep-seated need to know the way back to the safety and security of home, even when off on an exciting adventure. And that seems true for everyone, except Peter!
Willa, I really hope your son has a wonderful and adventurous first year of college. Here’s to wishing him well, and wishing him home.
Willa: Thanks, Lisha! He sounds quiet but happy, so I think he’s transitioning well, and he’ll be coming home at Thanksgiving. So I just need to be patient until then and keep the door “wide open.”
So here are a couple of quick notes before we go. The Smithsonian’s newest facility – the National Museum of African American History and Culture – is opening soon, on September 24th. And they just announced on Monday, Michael Jackson’s birthday, that one of the inaugural exhibits will be a collection of costumes he wore during the Victory tour. Here’s a link to an article about it.
Also, Raven Woods published two in-depth posts this summer in The Huffington Post about media coverage of Michael Jackson, and we wanted make sure you all knew about them. The first provides a reality check on the media hysteria earlier this summer about alleged child pornography at Neverland. The second discusses recent media coverage of Conrad Murray and his new book about Michael Jackson.
Lisha: In Part 1 of our tour through Neverland Valley Ranch, Brad Sundberg gave us a detailed look at the first third of Michael Jackson’s incredible home, including the guard gate, the magical “ornate gate,” the train stations, the pastures, the water features, the guest villas, and the main house. Neverland guests would usually drive a mile or so onto the property to reach the ornate gate. From there, they could park their cars and walk through that gate, boarding a train that transported them to the next section of the property. This meant most guests would bypass the main residence altogether. Is that right, Brad?
Brad: Yes, most people wouldn’t go into the main house. That was really Michael’s private home. But VIP guests would certainly stay there, and if he wanted to bring his friends in there, that was for him to do whatever he wanted.
But then you keep going to that second third, the middle section, and that was the amusement park. And that’s what people have seen all the aerial photos of. I’ve had guests at my seminars who went there on special days. They got to go to the park. So if you were going to go to Neverland as a guest, that’s probably what you were going to see.
That’s where the theater was – that big beautiful theater on the left side of the valley.
And it really was a valley. Going back to my surfboard analogy, it would be like laying a surfboard down and having hills on either side of it. You just didn’t go up into those hills that much, unless you had a motorcycle or a horse or something. Most of the activity was down in the valley.
The bulk of our work was building all the music and all the systems for the park. We had a small stage there, where you could have a barbershop quartet or something. We had the Zipper and the bumper cars and the Ferris wheel and the carousel, and it just seemed like it was never going to stop. He would add one ride, and a month later he’d call me and say he’d bought another ride, and could I start coming up with some ideas for it.
Lisha: So he would call and talk to you in terms of what you were going to do with the rides musically, right?
Brad: Yeah, or I would go up there and we would have a meeting in his library, or he loved to have meetings in the castle. And he’d roll some plans out and start talking about what’s coming next. He was very specific.
It was kind of a cool relationship where he would – and it certainly was not just with me, I think Tony would say something very similar, or different people who worked up there – he would kind of tell us what he wanted to do, but then he wanted our ideas. You know, could we do this? Or what do you think of this? It wasn’t a dictatorship, by any means. Like I say, if you’re going to work with Michael, you’ve got to bring something to the table. You can’t just kind of sit there and wait for orders. You’ve got to contribute some ideas.
Willa: So he wanted your ideas about what kinds of sounds to provide? Or how to provide them? Or … ?
Brad: Well, I’ll give you a goofy example. Michael wanted music everywhere. Everywhere, everywhere, everywhere. He did not want a place on that ranch where it would just be quiet. So he came to me one day and said “I bought a Ferris wheel.” I said, “Of course you did. Why wouldn’t you?” And he said, “I want music on the Ferris wheel.”
Well, I’m a guy. I understand geometry and electronics and physics, and all these things make perfect sense to me. So I’m thinking about a Ferris wheel, and you’re picturing a wheel that’s turning. And then on that wheel there are 16 little wheels that are all turning. But you can’t get wire anywhere, because after two rotations the wire is twisted up and it’s going to break.
Willa: Oh! I didn’t think about that.
Brad: So, I don’t want to bore you with too much stuff. But with lights and things like that, you can have big pieces of copper and brushes that get the power across to the next set of wheels. But music is a whole different animal. It gets really tricky trying to have stereo speakers and wires.
So we came up with this whole complicated scheme of having a battery pack in each car, and a radio receiver and an amplifier and speakers, and then we would transmit music up to each car. And I designed the whole thing for him, and I said I can do this. But I said, good grief, Michael, the cost of this, and having to charge batteries and all the headache involved. I said, just let people take a breath! Let them just get to the top of the wheel and they can see the park, they can hear everything, they can hear kids laughing. We don’t have to flood them with more music.
And luckily, he agreed, because I didn’t want to build that. I was just like, this is the craziest thing I’ve ever designed. And it would have worked! I had a pretty good design. But, the point being, that he would listen. It was really nice when I could edit once in a while and say, just because we can doesn’t mean we should. So he was good about that. He gave me a tremendous amount of freedom.
And I’m actually going to elaborate on one point. I was a kid! I mean, I’m five years younger than Michael, and we build Neverland when I was in my 20s and into my 30s for the bulk of that work. So I’m working with him and Bruce in the studio, you know, for weeks and weeks and months and months. And then, once a project is done, he’s yanking me up there, and we’re building stuff up there. And this is Michael Jackson! He could have hired the best audio company in L.A. He could have flown people in from Berlin if he wanted. And the fact that he let me do it, and he trusted me, to this day it really humbles me, and it means so much to me.
I didn’t get rich. I was too dumb! I was charging a fair price but I was learning. He let me learn at Neverland, and that’s something I’ll never forget. He gave me a tremendous amount of freedom, and in return I gave blood, sweat, and tears. There’s not a single project that I did at Neverland that I wasn’t proud of. We really, really gave everything we had at that ranch. And I wasn’t the only one. But I’ve always been really proud of the fact that he trusted me that much. So, I’ll get off my soapbox but…
Lisha: I can definitely see why he valued you so much.
Brad: It’s something that I value to this day.
So, all through the ranch – and we’ll get to the zoo in a few minutes – but everything I’ve been describing to you, there’s always music. And Michael would hand-pick, well, he hand-picked probably 80 percent of the music. He had a playlist, and he would call me and say ok, I want you to make a CD, and I want this song and this song and this song.
And then he would repeat himself. He loved the song “Carol Anne’s Theme” from Poltergeist. It’s kind of haunting and beautiful. So he wanted “Carol Anne’s Theme” to play twice – not twice in a row, but he’d do “Carol Anne’s Theme,” and like then “My Favorite Things” from The Sound of Music, and then some Debussy, and then he’d want “Carol Anne’s Theme” again. And I’d say, Michael, we just did that. We just played that song 9 minutes ago. And he’d say, No, but it’s so beautiful I want it again. And you couldn’t argue with him! It made no sense, but it worked!
And you’d hear music everywhere. You’d get on the trains, and there he gave me a little more freedom. I could kind of play what I wanted, but it was always classical. We never had Michael music. That was absolutely forbidden.
Lisha: Here’s the playlist Brad shared with us at his seminar and on Facebook:
Brad: Now in the later years, I’m told that people would go there after 2004, 2003, 2005, and they’ve told me it was Michael music everywhere, which is a little disappointing because that’s never what he wanted. He was so clear about the fact that he did not want his music played anywhere on the ranch.
So you’d just have this wash of music, and you didn’t know where it was coming from. It was just everywhere.
Willa: So was it the same playlist playing everywhere you went? Or would like different rides at the amusement park have different music?
Brad: Yeah, the rides were different. So as you’re walking or on a train or something, it’s the same lush beautiful music. But then on every ride we had very specific music just for that ride. And he would pick almost all of that music. So we would have to build these enormous sound systems. And I’m a carnival junkie. I love carnivals. I love Disneyland. We had annual passes to Disneyland before it was cool. So I love that kind of stuff. So yeah, the carousel, for example – on that one he would want Janet. That was when Rhythm Nation was huge. So we had a couple of Janet songs that we played on the carousel.
On the Zipper, which was his favorite ride … Do you know what the Zipper is?
Lisha: Yeah, do you, Willa?
Willa: Isn’t it kind of like a double Ferris wheel, but it flips you upside down?
Brad: Yeah, it’s just the craziest, most awesome ride. That was his favorite ride, the Zipper, and for whatever reason he loved the song, “Owner of a Lonely Heart” by Yes. And good grief, everybody who would ride that ride would have to hear that song over and over and over again. It didn’t really make sense, but it was Michael! And you just had to accept it. This is what he likes.
I think in a certain way, he was very … um, what word am I looking for? Not predictable, but he liked routine. I haven’t really thought about this before, but I think there was something about, I’m on the Zipper so I’m going to hear “Owner of a Lonely Heart.” And that’s just what it was. You didn’t change it. You didn’t adjust it. It’s what he wanted.
Willa: Earlier you said something that was so fascinating. You said that going through the security gate and driving up past the sagebrush and going through the ornate gate – you said it was like the introduction to a song. And now it almost seems like, with the amusement park, you’re kind of getting some of the verses, the different verses of the song.
Brad: Yeah. I don’t want to try to get too poetic on it or anything. But Neverland really did have kind of a beginning, middle, and end, like a song. In the beginning you had the ornate gate, this “where am I?” moment, this beautiful entrance.
And then you’d get to the theme park, and that was just craziness: the superslide and the bumper cars and the Sea Dragon and music pounding from everywhere. And the theater was right there, and it was big and dramatic and bold.
And then maybe later in the day you’d go up to the zoo. And the zoo was much more soothing. So yeah in a sense, it was almost like an intro, verse, chorus, bridge, chorus, fade-out.
Willa: Oh, that’s fascinating! That’s really fascinating.
Brad: Michael loved drama. You could experience Neverland in a full day, and at the end of the day you’re up petting a giraffe and feeding a duck or something, and it’s calm again. It’s very, very soothing.
So yeah. Whether it’s was by design or by accident – I kind of lean toward design – it really worked out to be a unique experience for a lot of people.
Lisha: That is fascinating, and how it would unfold in a certain way, a kind of calculated way.
Brad: Yes. Now having said that, we had plenty of screw-ups! We would try anything. He wanted to do these goofy, you know, like at Disneyworld, the little autopia cars? Little go-karts basically. Well, we had this elaborate go-kart track that ran up the side of the mountain over by the superslide. And it was beautiful! I mean it was paved, and I have no idea the amount of time and money that was put into building this go-kart track. This was not some little figure 8. This was legit – up the side of a mountain and under the trees. It was beautiful!
And the stupid cars weren’t strong enough to take people up the side of the hill, especially the adults, and people would be out pushing the cars! I’m not sure why we didn’t get bigger engines, but I think at that point they’d spent so much money that they had to cut their losses. So they moved the go-karts down to a flat track behind the theater. It wasn’t nearly as cool, but at least they didn’t have to have people out of their cars pushing them.
Willa: As a mom, I think having kids driving cars with big engines might be a safety issue!
Brad: Yeah, there were a lot of things that you just kind of had to bite your bottom lip and go “I hope nobody dies on this thing!” But, uh…
Willa: Oh no!
Brad: I’m kind of kidding! But you’ve probably seen pictures of the superslide. The slide was hysterical. It’s one of those big, yellow… I think it had four lanes or something like that.
Well, for Michael, nothing can ever be normal. It has to be, just crank it up to level eleven. So they found some Teflon spray or something. I don’t know if they got the stuff from NASA or where it came from. But you’d sit in a gunny sack, and they’d spray the sack with this spray … and it was terrifying! I mean I love any of this stuff, but you would go so fast you’d go airborne over those bumps and think you were going to break your back and be paralyzed! And Michael would just laugh until he’d almost pee his pants. Especially for someone like me who, you know, I’m not a small guy. And I would go down that thing, it seemed like 90 miles an hour, just bouncing from hill to hill.
Willa: I’m sorry, I didn’t mean to laugh!
Brad: It’s like, you’re going to kill somebody! Or another one was the bumper cars. I loved the bumper cars. And we’ve been pretty fortunate. We travel quite a bit, and so we’ve been in Europe several times. And I’m sorry, I’m a weirdo. I still, if there’s a theme park within 40 miles, I’m going to go to it. That’s just how I am. I could care less about a museum, but get me to a theme park.
And so we were at Tivoli, which was one of Michael’s favorite parks, in Copenhagen. This was just a couple of years ago, after Michael had passed. They had bumper cars there and it was the weirdest thing, because I was like thrown back to Neverland.
In Europe, and I’m not trying to stereotype, but there are just very different standards than in the US. I mean, it’s full speed ahead, smashing into people and thinking you’re about to knock your teeth out, where in the US everything is safety related and OSHA [Occupational Safety and Health Administration] regulated and everybody has to be safe.
Well, Michael didn’t really have a whole lot of OSHA going on up there. So his bumper cars were outrageously fast. They would just go. You’d think you were going to kill yourself! Then we’d fill that tent with smoke and black lights and strobe lights, and then a huge sound system. We had Joe Santriani – that was usually the sound track in there – and then these bumper cars would just go full speed ahead. And the same thing: Michael would just die laughing! It was, I hate to say it, but it was borderline dangerous. But it was so much fun you just didn’t care.
So I can’t talk about every single ride, but the other thing that I thought was really cool in the theme park was the castle. I don’t know if people have seen pictures of it. If you go way back, I’ve got some really cool pictures of the park when it was being built, and it used to be a tree house. Michael used to go up and watch people from the tree house, and it was cool but it wasn’t that big a deal.
Well, we had so much equipment coming in that we had to have a place for all of our power and our racks and amps and everything. So we decided to build a room on the bottom of the treehouse. Well, once again this is Michael Jackson, and you can’t do anything normal. So somehow that quickly escalated into the castle.
And so nobody ever got to go into the bottom of the castle because it was just an equipment room, and that’s where we kept all of our gear. But there was a big deck up on the side of the castle. And then above that, to one side was an office. And it was a really cool room that Michael could have meetings in. We’d sit up there and talk about rides that were going to come in. Or if he had to make a phone call or something, he could run up there. There’s no cell service at Neverland, and back then cell phones were pretty crude anyway. So it was just kind of a place where he could stay connected. You know, if he had some VIPs and they just wanted to get away, they could have lunch in the castle or something. It was just so unique and so different – a really, really beautiful little piece of architecture.
Then all through the park were the Disney animated butterflies, and the elephant that at night would kind of spray water in the air, but it wasn’t water. It was just lights.
And that’s another thing. During the day, the park was fun. It was an amusement park like nobody’s backyard anywhere. But at night, we would light that place up with, I don’t know if it would be millions, but tens of thousands of little twinkling lights in the trees.
In fact, I swear this is true. I shouldn’t swear, but I believe this is true. There’s these gigantic oak trees all through Neverland. All through the park I should say.
Willa: They’re the trees you see in the Say, Say, Say video, right? It was filmed there.
Brad: Was it?
Willa: Yes. So those big oak trees you see in the Say, Say, Say video, that’s at Neverland.
Brad: Ok. Well, those were covered, and I mean covered, with little twinkling lights – you know, the little tiny lights. And each tree had what’s called a 200-amp service. And now your music people just went to sleep when I say that, but that’s the equivalent of a normal size house in America. A normal size house gets 200 amps of electricity. That’s how much power those goofy trees needed for all the lights in them.
Lisha: That’s per tree?
Brad: That’s what I’m told. You know, I don’t want to take a lie detector test. But it was just enormous power that was feeding that ranch.
But that’s where all the lights came from. We didn’t have any street lights. It was all either lights in trees or lights from the amusement park, and that was it. And at night … I’ve been to some beautiful places, but Neverland at night ranks up so high. When it was in its prime and the rides were going, and the music was going, and it was lit up, I would pretty much put it right up with being in the middle of Disneyland, or Paris. It was really, really, really a magical place.
Willa: It sounds beautiful.
Lisha: A lot of the things that we’re talking about, such as the train system, and the park, and the flowers, and the clocks, and things like that, remind me so much of Walt Disney. And we know that Michael Jackson was a huge admirer of Walt Disney, who continually blurred the line between reality and fantasy with art and animation, until he finally built Disneyland. And the idea of Disneyland was that you were going to step into these fantasy worlds that he had previously created through art.
Brad: Stories, yes.
Lisha: It sounds like to me that Michael Jackson’s Neverland is so similar, and I’m just wondering about your take on that. You know Disneyland very well and you’ve also actually been on the ranch and know that very well too. But was there some kind of fundamental difference between those places?
Brad: Well let’s see. At Disneyland you’ve got 70,000 people on a crowded day, and at Neverland there were a couple hundred – that would be one difference! I mean, they were different experiences, obviously. Neverland was breathtakingly remarkable for somebody’s backyard. Yeah, it wasn’t Disneyland, but for being able to step out in your pajamas and go out to that park was just – and I’m not saying I did that – but that experience was unlike anything else.
Michael knew that I loved Disneyland and I’ve been a Disney fan my whole life. Brace yourself for something really syrupy, but I even proposed to my wife on the steamboat to Disneyland.
Willa: Oh, really!
Brad: Yeah, actually that was the same year that I met Michael. So we kind of had our little Disney connection. We never went to Disneyland together. We always talked about it, but for him to go was such an ordeal. So he would always ask me about it, and what was new, and what he should go see.
So yeah. Neverland – there were certainly, I guess you’d call them nods or tributes to Disney all over the place. And vice versa. I mean the Imagineers did more work than I really knew about at Neverland, like the animated figurines. When you went inside the theater, there were the two dioramas. One of them was Pinocchio, and the other one was Cinderella. And you’d push a button and these things would come to life – there were lights and music and motion and everything. And I believe those came from the Imagineers. I think Michael commissioned those to be built. So yeah, there was no shortage of nods to Disney.
Willa: I just found this video clip of the Pinocchio diorama, filmed when it was scheduled to go up for auction. I’m afraid the video quality isn’t very high, but it gives an idea of what happened when you pushed the button:
Lisha: That’s so interesting! I found a photo of the Cinderella diorama, which depicts the moment the Fairy Godmother turns Cinderella’s rags into a beautiful ballgown.
So both of these displays are focused on transformation: the moment when Pinocchio is magically transformed from a puppet into a real boy, and when Cinderella is transformed from a household servant into a princess.
Willa: That’s a fascinating observation, Lisha! – especially since transformations were such a recurring theme in Michael Jackson’s work. For example, I noticed there’s a small scene from the Smooth Criminal segment of Moonwalker tucked into a corner of the Pinocchio diorama, which I imagine the Imagineers added as a little surprise. It seems a little out of place here, but at the same time it’s kind of appropriate since Moonwalker is full of transformations. For example, the main character, Michael, transforms into a sports car, and a robot, and a space ship, and there are psychological transformations as well. (By the way, there are also a lot of tarantulas in Moonwalker, which reminds me of what you were saying earlier, Brad, about the tarantulas on Figueroa Mountain Road.)
Lisha: Brad, do you remember how Michael Jackson felt about his own image being added to the Pinocchio diorama?
Brad: My recollection is that Michael did not like the Smooth Criminal in the diorama, as he had very few images of himself in the public areas of Neverland.
Another thing you said that I kind of thought about for a second, about how at Disneyland you would step into the stories or the movies. You know, Michael could have done kind of a Michael Jacksonland where the bumper cars would – you know, I’m just talking completely silly – but we could have themed things, like the Thriller bumper cars or something, and had “Thriller” playing and a bunch of zombies.
He would never in a million years have done something like that. Nor would I have suggested it. That’s not what he wanted. He wanted something that kids would love and appreciate, as well as adults. If anything, there was almost a noticeable absence of anything Michael Jackson at Neverland, except Michael. Does that make sense?
Willa: It seems like he was really trying to create this fantasy experience, and the fantasies he drew on are all kind of nostalgic kid stories, like the teepee village, and cowboys – you said the people at the zoo dressed like cowboys – and the steam engine. They’re all evoking nostalgic kid’s stories and imagination games that boys, especially, used to play in the past.
Brad: Well, if there was one theme all through Neverland, it was Peter Pan. Obviously it’s called Neverland, so there is clue number one. It’s funny – I wrote a post on Facebook about this several months ago. You know, people send me pictures, and I’ve got a pretty amazing collection of pictures now from Neverland that people have shared with me. And I was going through a bunch of them one day, and there was a picture that just stopped me in my tracks.
Out behind the house there was kind of an office. And in that office, kind of looking out at the barbecue area on the back side of the house, was this Peter Pan figure. It was probably 24 inches tall, maybe 30 inches tall – something like that. And whenever I walked by it, I would always notice it. It didn’t move. There was nothing special about it. It was just this cool figurine of Peter with his hands on his hips and his little goofy hat and everything, just kind of proudly looking out at the backyard and the barbecue area.
And it always was just like, you know what? That is the coolest thing. And even though Michael’s got Rolls Royces and a steam train and everything you can imagine, there was something about that Peter Pan that just struck me. That may have been my favorite little part of the ranch. Because it was him. I mean Michael saw himself as Peter Pan. We didn’t talk about it. I mean, I don’t want to make it sound nutty. But you know Michael just had that Peter Pan connection.
When somebody sent me that picture, it just put a little bit of a lump in my throat because it was just a really cool memory from Neverland.
Willa: The teepee village is another Peter Pan reference. I mean, there’s a teepee village in Peter Pan – that’s part of the story.
Brad: Oh yeah. And in the big train station, up in the ceiling of the station, was this kind of a flying, it wasn’t full motion, but it was Peter Pan and a couple of the other characters. They were kind of suspended up there on string or rods or something. So they were flying above you when you walked into the train station.
Willa: Oh cool! I was just looking at an interesting post that had images of Peter Pan and Tinkerbell battling Captain Hook at Neverland. Were these up in the rafters of the train station?
Brad: Yes, great photos! There was something I was going to mention about the big train station a few minutes ago. Michael would have huge groups of guests, especially if his whole family came up. The ranch house itself was pretty funny because I think it only had four bedrooms, maybe five. There weren’t that many rooms. And there were only like five guest houses. Well, his family is huge, and then he’s going to have friends and different people. So [Brad] Buxer told me that they would actually have people sleep in the train station.
Brad: Oh, they’d sleep everywhere! They’d sleep in the theater – they’d be all over the place. But the train station was really just supposed to be a train station. There was never any forethought of needing beds in there. So I don’t know if they’d sleep on air mattresses or something. But there was no bathroom! And so Buxer talks about … I don’t know if it was the brothers, Tito or whoever – you know, if you wake up in the middle of the night you’d have to walk all the way down to the house to use the bathroom. Nobody ever thought about, gee, you might want to put a bathroom in here because people might sleep here. It was just supposed to be, come in, get some candy, and get on the train.
But Michael lived there, man, and that was his house. It was not a little stopover!
Willa: And the train station – that’s something he added, right? It wasn’t part of Sycamore Valley Ranch when he bought it?
Brad: Correct. The first time I went – I always get, you know, little giggles from some of my guests in the seminars when I talk about this – but my very first job at Neverland was putting music in the bedroom, in his room. So I put big speakers on either side of his bed, and I was pulling cables and built this cool little system in the bedroom.
And there was really not a whole lot else there. I mean there was the main house, and then there were the pastures way in the back. I don’t know when the theater was built, but I think he built that soon after he bought the place. I didn’t build the theater. Lee Tucker from Warner Studios built that. But then I wound up doing just about all the other projects.
So to kind of get to the third section – when you’re finally done with the park, usually guests could jump on the train, either the big train or the little train, and then go up to the zoo. Or you could walk up there. In fact, as the park kept growing, it kept getting closer and closer to the zoo. So if you go back to my surfboard analogy, the top of that middle circle started creeping up towards the far one, which was the zoo.
So then you get up to the zoo. The petting zoo was really cool. Everything was beautiful. I mean, it was manicured like nobody’s business. People were sweeping and cleaning. The petting zoo was one of the later additions. We didn’t have that for the first few years. In the early years, I think it was just… The elephants were pretty early. Kimba the lion was pretty early. Most guests didn’t get to see Kimba. Kimba was kind of kept up the hill a little bit because he was so mad at life!
Willa: Oh no!
Brad: He was just not a friendly animal. But if you went to the ranch early in the morning or right around sunset, that’s when Kimba was going to get fed. And that animal would roar, and it would scare you to death! I mean, you could hear that roar two miles away. It was just this beautiful, angry, cool roar.
I don’t want to make it sound like like he was mistreated in any way because he wasn’t, but he was just not soft and cuddly, “come play with me.” I mean, he was just a … He was tough. So we kind of kept him a little further away from the kids, because you didn’t want to terrify them.
But we had the horse barn. We had the snake barn. That was another just complete work of art, in a weird way.
Lisha: The snake barn?
Brad: Yeah, the reptile barn they called it. It was right across the street. Now you’re way up in the zoo. And this is where the fire department is. Neverland always had, I believe, two full-time firefighters in the fire station. That was required by the county, if I’m not mistaken. Right across the road from them was the horse barn, and then the snake barn.
You’d go into the snake barn, and the first room was all of these cages. It’s funny how I think about this stuff, because the first room was kind of not that impressive. You’d go in and it was full of terrariums – almost like going to a science fair or something. And it’s kind of cool – it’s like, ok, there’s a lizard and there’s a snake and there’s hissing cockroaches. It was kind of like, yeah ok, I’m good. Let’s get out of here.
But then you go through a second set of doors – I never really thought about this before – and all the sudden you’re in a different place.
Willa: You know, it kind of reminds me of what you were saying earlier about going through the first gates and it’s not that impressive. But then you go through the ornate gates and, Wow! Now you’re in a different world.
Brad: Yeah! I swear, I’m not making this up! But I’ve never really thought about it before. I always kind of thought the first room was kind of like, yawn, whatever. But that was where you were welcomed. And we had these little – we called them spiels – which is like a little 30-second recording, you know, just like at Disneyland: keep your hands and arms inside the car at all times, permanecer sentado, por favor!
In this room, you’d walk in, and I recorded one of the the animal trainers. His name was Brock, not to be confused with Brick [Price], but Brock. We had Brick and Brock! And Brock just had this beautiful deep bass voice, you know, “Welcome to…” I can’t even do it – I don’t have a voice that deep. But it would be something like, “Welcome to the reptile barn. In this room we hope to teach you about unique creatures from all over the world. Please don’t tap on the cages.”
Willa: Here’s an audio clip of that spiel that I found in a post on your Facebook page.
Brad: Yeah, and then you’d go through a second set of doors, and there was this dark, really cool hallway. It was just a long hallway all the way to the end of the barn. And then on either side of the hallway were these beautiful glass terrariums, and that’s not even the right word. These were enclosures. I mean, they were probably six feet wide, something like that, and I don’t know, three or four feet deep by five feet tall. I mean, they were big. And for some of the big snakes, they were even bigger than that. That’s where we had the rattlesnakes and the cobras and the reticulated python and Madonna, the albino python. And they were beautiful!
Lisha: Here’s a picture of “Madonna”:
Brad: I think they had one full-time snake handler, and at least one or two assistants. Now we’re not at the science fair anymore. Now we’re in a full blown, almost like a Sea World type environment. Those enclosures were beautiful – hand-painted, with water. They were really, really something to see. And then each enclosure would have its own little narrative telling a little 30-second story about that snake and where it came from.
But then Michael wanted to … Actually, I think this was my idea. I said, “Can I have a little bit of fun in here?” And he’s like, “Yeah, whatever you want to do.” So I put these hidden speakers all through the length of the hallway, down by people’s feet. It was kind of dark in there, and we had crickets sounds, and it was kind of … not creepy, but it was very authentic. And I did some recording in my front yard, of all places. I had ivy in my front yard instead of grass, so I pulled a cooler – like an Igloo cooler with a rope on it – I pulled it across the ivy and recorded that sound. Then I put that onto a play-back chip.
And about every nine or ten minutes people would be in the snake barn, and they’d be looking at snakes and kind of looking around. Then they’d hear this rustling at the far end of the hallway, and it would just go whizzing by them, down the hall of speakers. And they would jump and think some stupid snake had escaped from a pen! Michael would just die laughing! He thought it was the funniest thing.
So you know, it was all those little details that … there’s just no way the guests could take all that in one day. We put so many surprises and cool little treats up there that you really could explore it for a long, long time.
Next to that was the alligators. And then you’d go a little bit further, and it was the chimps – huge, huge chimp enclosure. And then the elephants. I tell people in my seminars that the only time I got yelled at at Neverland was when I put my hand in the elephant cage.
Brad: You know, it’s common sense. But they’re big, beautiful animals and I wanted to pet it. And man, this trainer came and she tore my head off! She said never, ever, ever, put your hand between a steel fence and an elephant! Because they don’t know. I mean, they’re just going to lean 4,000 pounds against your hand, and now you’ve got a waffle for a hand! So I learned, don’t ever do that.
Another thing that I thought was a really nice touch was Michael had those beautiful giraffes. I’ve never really been around giraffes. Who has? It’s just not something that we encounter very often in L.A.! But he put in this deck. You’d go up like two flights of stairs, and then they had these big buckets of feed up there. And so now you’re literally eye to eye with these beautiful animals, and you’re feeding them. Any chance I got – you know, if I was going to be working up there for a day – almost without fail I’d make a buzz up to see the giraffes before I went home. They’re such beautiful, gentle giants. And to actually have them kind of push their big heads against your chest while you’re feeding them … Really, really cool stuff.
Brad: So I mean, it goes on and on and on. But, you know …
Now let’s say that I missed my ride, and I got left at the giraffe pen and had to get myself back to the ornate gate. If I had to guess, I’d say you’re going to be walking for the better part of 45 minutes. If you just, you know, put your head down and started walking. It was huge. You just didn’t really walk around Neverland. You’d walk around the area that you were in. But that’s why they had the trains and the golf carts, and I’ve seen pictures where they had trams. Because it was too big to walk it. I don’t think people understand how big it was.
Lisha: And we’re just talking about the part of the property that was developed, right? I mean, the majority of the property was not developed, is that correct?
Brad: Yeah. I found some pictures – you know, like aerial photos – that show how big it was because, yeah, it went way up the sides of the mountains on either side.
Lisha: Here are the aerial photos from Sotheby’s Sycamore Valley Ranch website:
Brad: At the very, very far end of the ranch – past the giraffes and everything – was the train barn. And I don’t think anybody really went there. There was nothing to see. But that’s where the little train would go at night for repairs and things like that. And that was about as far back as the ranch was developed.
And then after that you’d need a motorcycle or a horse or an ATV or something to keep going, exploring Michael’s land. So a big, big piece of property.
Lisha: How much of the property would you say was developed?
Brad: You know, I just don’t know how far it went. But I suppose if I had to guess, maybe it would be a quarter to a third, something like that. But a lot of it would just be, I mean, Michael had little gazebos, I want to say he had two or three gazebos up on the hills. And he was a goofball! I mean he would take his golf cart or his … What do you call those three-wheeled things that are so ridiculously dangerous? Maybe he rode a quad. I think he rode a quad.
Brad: Yeah, he would take those things up to his gazebos. He loved to be up there with a pair of binoculars, and he’d be watching people build stuff and workmen and the gardeners. And even there – it was the weirdest thing – there was a gazebo that was way above the park, and I don’t know how they even got power up there but they got electricity up there. And sure enough, man, he wanted music up there! And I’m like, Michael, no one’s ever going to come up here. “No, but I have to have music. I have to have my music!” So there we’d be, hauling speakers up the side of a mountain. I mean there were paths. And almost anywhere that you’d go – I mean, not on the horse trails – but any place that he would go or guests might go, there would almost have to be music playing.
There was kind of a joke whenever he would leave the ranch. You know, almost everyone at the ranch had a radio, and when Michael was on the ranch he was always referred to as “the owner.” They didn’t say, you know, Michael Jackson’s on property. There would just be an announcement, “The owner will be here in five minutes.” And it kind of means, you know, everybody be on your best behavior. When Michael would leave the ranch, security at the last gate would announce, “The owner has left the ranch.” And then there would be this yelling from the gardeners, “Shut the music off! Please, shut the music off!” You can only listen to Debussy and The Sound of Music so many times, and you just can’t take it anymore!
Willa: That’s funny!
Brad: So when he was gone, they would shut the music off. But man, when he was there, it had to be on!
Brad: So that’s my little virtual tour of Neverland.
Lisha: Wow, that’s fascinating. Thank you so much, Brad! That’s really incredible.
Willa: It really is! And I’m so intrigued with this idea that visiting Neverland was like moving through a song. I’m really going to have to think about that some more.
Lisha: I agree. You’ve given us so much to explore and think about.
Brad: So any final thoughts or questions?
Willa: Well, we would love to include some pictures to illustrate some of the things you’ve been talking about. I know you have some pictures on your website, and there are a lot of pictures of Neverland online. Are there any specific things you’d recommend we include pictures of?
Brad: Well, everyone has seen pictures of the park. But I would say the carousel was kind of Michael’s crown jewel. Each one of those horses and animals was, I believe, hand carved. Those were really, really beautiful pieces of art. And then David Nordahl was one of Michael’s artists, and I believe David hand painted almost all of those animals.
Willa: Oh really? I didn’t know that.
Brad: So the carousel is definitely something that people should see. You know, there’s pictures of the superslide and the old go-kart track. I’ve never found a picture of the reptile barn. Man, if one of your readers happens to have a picture of that, that would be a real treat. I have searched and searched trying to find one, and just can’t.
Willa: OK, we’ll be sure to pass that along. And thank you again for joining us!
Lisha: Yes, thank you once again, Brad, for being so generous with your time and knowledge.
Brad: Thank you both. Have an awesome evening!
Willa: So following up on Brad’s suggestion, here’s a YouTube video of the carousel at Neverland that focuses on the artwork on the horses and other animals:
During our chat with Brad, he mentioned the incredible attention to detail throughout Neverland, and you can really see that in the artwork on the carousel animals.
Lisha: Yes. I’m reminded of some of my favorite photos on the Terrastories website, from the article “Inside Neverland Ranch“:
Another great resource is Rob Swinson’s book, Maker of Dreams: Creating Michael Jackson’s Neverland Valley Park, which has many detailed photographs of the carousel at Neverland, as well as a lot of information about how the park was created. Here’s a teaser photo from the 25th Anniversary of Neverland Valley Amusement Park Facebook page.
According to Swinson, this is “a photo of the ‘Butterfly Cherub Horse’ with flowers woven into the mane that Robert Nolan Hall, Chance Rides Inc., personally custom sculptured, decorated and painted for Michael as his very own special gift. It was totally unknown to Michael at the time of delivery that it existed on his new 50′ Grand Carousel as one of the 60 different menagerie animals and horses.”
Swinson’s book also acknowledges Oliver “Brick” Price, of WonderWorks in Canoga Park, California, as an important member of the “Dream Team” who helped make Neverland a reality. Brick Price will be one of the special guests speaking at Brad’s MJU seminar next month. I hear this is something not to be missed!