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I’m Gonna Be Exactly What You Wanna See

Willa:  This week we’re celebrating Halloween with one of Michael Jackson’s “scary” songs. And I have to admit, I was pretty excited when Joie suggested we talk about “Is It Scary” because it’s one of my favorites.

Joie:  It’s one of my favorites too. So, the first time I heard “Is It Scary,” I was immediately struck by how sad it was and I actually cried. I remember hitting the repeat button several times and pouring over the liner notes, trying to make sure that I had heard Michael’s words correctly because, to me, this song is just so telling and so completely heartbreaking. All you have to do is listen to the lyrics to get a very real sense of what kind of pain he must have been in.

I’m gonna be exactly what you wanna see
It’s you who’s taunting me
Because you’re wanting me
To be the stranger in the night

Am I amusing you
Or just confusing you
Am I the beast you visualized 

And if you wanna see
Eccentric oddities
I’ll be grotesque before your eyes
Let them all materialize

It makes you wonder what kind of toll it must take on a person. Always being seen as some kind of freak or monster. Always hearing that the entire world thinks you’re strange and weird and bizarre. Constantly having a very vile label attached to your name and being seen as public enemy number one. What does that feel like? How do you cope with that? How much does that hurt? Michael Jackson knew the answers to those questions. And the first time I listened to “Is It Scary,” I got the feeling he wanted the rest of the world to know those answers too. Just for a few minutes, to put themselves in his place and feel what he must have felt.

But he didn’t just want us to put ourselves in his place for a while. He wanted us to take a look at ourselves and try to wrap our heads around the fact that he is not the oddity in this freak show – we are! We’re the ones who keep putting those ugly labels on him. We’re the ones who, for some reason, need him to play the role of the monster in our imagined horror movie. We’re the ones with the sick minds who insist that he has done very inappropriate things with inappropriate people. We – not the fans, of course but, the rest of the world – have tried and convicted him for something he never even thought about doing. All because he “seemed” weird.

Willa:  Joie, I feel the exact same way about this song. I don’t think we can begin to imagine how horrible those 1993 allegations were for him. The pain of those allegations are a constant presence in his later work. We saw that in Invincible last month. The pain of those allegations is just beneath the surface of every single song on that album. He can’t get past it, can’t escape it. It’s just a constant ache. And we see it so clearly in “Is It Scary,” which was written, recorded, and released in the years immediately after those allegations came out. His voice is so beautiful and so expressive on this song, and when he sings these lyrics, you just want to bow your head and cry:

So did you come to me
To see your fantasies
Performed before your very eyes

A haunting ghostly treat
The ghoulish trickery
And spirits dancing in the night

But if you came to see
The truth the purity
It’s here inside a lonely heart
So let the performance start

But there’s something else going on here also. He isn’t just expressing the pain he’s feeling because of those allegations. He’s also telling us how he’s going to respond to them.

As he says in the lyrics you cited, Joie, “I’m gonna be / Exactly what you wanna see.” In other words, if people are going to insist he’s a monster, then he’s going to become one – he’s going to fulfill their “fantasies” and give them what they want. As he says, “you’re wanting me / To be the stranger in the night.” The tabloid press, especially, and much of the public are “wanting” to see him as a pedophile (a “stranger in the night”) even though the evidence clearly contradicts it. The facts don’t matter, though, because this isn’t about reason or logic. It’s about mass hysteria – the same kind of mass hysteria that led us to attack Iraq, a sovereign nation, for no reason. We tend to think we’ve progressed since the days of the Salem witch trials, but I don’t think we have. We just vent our fears in different ways now. And he’s caught in the midst of this hysteria and he’s the target of all that mindless fear, and he’s trying to deal with it. He and his lawyers tried to fight those allegations by citing the evidence, and it made no difference at all. In fact, it just seemed to blow things up bigger, if possible, and make things worse. So now he’s developed an artistic response. As he tells us, “if you wanna see / Eccentric oddities / I’ll be grotesque before your eyes / Let them all materialize.” 

Joie:  I think you’re absolutely right, Willa, and I think the lyrics are so self-explanatory. All you have to do is pay attention to what it is he’s saying here and you’ll see it. He’s telling us very plainly exactly what he’s about to do next. You know, it’s almost like a defiant teenager who’s rebelling against his parents: ‘Oh, you think I’m acting out now? Well, just you wait.’ It’s a very strange tendency we have as humans to respond to personal attacks in this almost self-sabotaging way. It’s as if Michael was saying ‘So, you want to think of me as a freak show? Well, hold on tight, ’cause I’ll show you a freak show!’ It’s a point he illustrates so well in the Ghosts short film when confronted by the town Mayor.

Willa:  Hold on tight is right! It was a pretty wild ride after that, especially the plastic surgery scandal, or the story printed in Vanity Fair that he paid a Mali witchdoctor $150,000 to sacrifice 42 cows and put a curse on Steven Spielberg and David Geffen. That’s crazy. I can’t believe they actually printed that.

Joie:  I can’t believe they printed such a ridiculous story either. You know, sometimes I think the crazier the press got, the more it only served to make THEM look foolish, not Michael. And the fact that the public believed it just floors me. It’s no wonder he decided to “be exactly what you wanna see.” He must have felt like he couldn’t win.

Willa:  And Joie, I imagine part of that was defiance. He definitely had a strong streak of defiance in his character – I don’t think he could have survived everything he faced without it – so that could be one reason why he decided to be “what you wanna see” and become the monster the press and the public wanted him to be.

But I think there’s something else going on here too, something critically important. And to understand that, I think it helps to step back for a moment and look at his other “monster” works:  Thriller, Ghosts, “Threatened,” “Monster.” Repeatedly, we see him taking on the role of the monster, but these aren’t horror stories in the conventional sense. For one thing, they aren’t very scary. A conventional horror story plunges us into a frightening situation and encourages us to become immersed in feeling the full terror of that situation, but he doesn’t. He touches on it, then pulls back and shows us it’s an illusion, then touches on it again and pulls back again. We see this same structure in all of these works. He doesn’t really want to scare us. That’s not what these are about. As he said in a 1999 MTV interview when asked if he liked horror movies,

“Believe it or not, I’m afraid to watch scary movies. Honestly, I don’t quite like to watch them very much. I never thought I’d be involved in making that sort of thing.”

But he didn’t really make “that sort of thing,” because these aren’t really horror stories. But what are they?

To understand that, I think it helps to go back even further – in fact, more than 2,000 years – and look at Aristotle’s theories about art. In Ars Poetica, Aristotle says that one function of art – especially tragedy – is to bring about catharsis, meaning the purging of base emotions such as fear. I think that’s what Michael Jackson is doing in his “monster” works. He’s not encouraging us to feel base emotions. In fact, he’s doing just the opposite – he’s purging us of those emotions. In Thriller, he’s attempting to purge us of a specific type of racial prejudice – the fear many people felt for him as a very sexy Black man, a sex symbol even, and our first Black teen idol. And in Ghosts, “Threatened,” “Monster,” and “Is It Scary,” he’s trying to purge us of that horrible mob mentality that erupted in the hysteria of the 1993 allegations.

Joie:  Well, Willa, I have not read Aristotle since my college philosophy class so, I really can’t comment much on that. But, I do understand the idea of catharsis and purging those base emotions and cleansing and healing the psyche. So, I think this makes a lot of sense.

Willa:  You know, I’m still trying to figure this out myself, but I see something really different happening in these works, and in the “eccentric oddities” that dominated the media after the release of “Is It Scary.” I think he’s creating a new type of art – in fact, I think you could make the case that he’s creating an entirely new genre of art – and it just fascinates me. And if I haven’t mentioned it in a while, let me say once again that I think Michael Jackson was brilliant – just knock your socks off, bug your eyes out, blow your mind brilliant.

Joie:  I know what you mean; it is really unbelievable at times when you think about just how brilliant he was. Almost scary brilliant, actually, and I have never been able to understand those people who just don’t get it. Like, I know that I am a hard-core fan but, it just flabbergasts me to know that there are people out there who don’t think that Michael Jackson is the single most fascinatingly creative person ever to walk the earth. I am just so bewildered by that knowledge – like, how is that even possible? Why isn’t everyone as crazy about him as I am? I just don’t understand.

Willa:  Joie, that is so funny because I’ve asked myself some of those exact same questions. Why are they so threatened by him, and why do they condemn him so harshly? Can’t they see how amazing and important his work is? Don’t they get it? I’ve actually been thinking about this a lot lately – about why Michael Jackson’s fans see him so differently than everyone else does – and I’ve decided the answer is very simple: it’s because we love him. And if you look at someone with compassion, you simply see them differently than if you don’t.

I was at the grocery store a few months ago and there was an elderly woman several people ahead of me in line. She was pretty slow and disorganized and was answering the check-out person’s questions in kind of an abrupt, almost rude way, and you could tell the check-out person was getting pretty annoyed with her, and so were the other people in line. But I’d worked with that woman and her husband on a community project, and while I didn’t know her well, I did know that her son had just died the week before after a long battle with cancer. When I was leaving the grocery store, I noticed she was standing at the entrance looking kind of lost and fumbling for her keys so I went over and said hi, and Joie, you could tell that she was just barely holding it together. That trip to the grocery store was about the limit of what she could do right then. And just knowing a little something about her history and what she was going through and seeing her with compassion led me to interpret her words and actions in a really different way than the other people behind her in line.

I think the same thing is true of Michael Jackson and how various people saw him. Those of us who knew his music and his ideas – knew how committed he was to social change, and how important children were for him, both personally and in terms of social change – had a much better understanding of what he must have been going through after the 1993 allegations came out, and that led us to see him with sympathy and interpret him in a much more compassionate way. And when you look at him and the situation he was in from that perspective, it all looks very different from the harsh, condemning criticism you read in the papers.

Joie:  It’s really very sad when you think about it that way, you know? To realize that so many of our day-to-day conflicts could be resolved, or even totally eliminated, if we would all just have a little bit more compassion with one another and look at each other with a little bit of love first instead of always immediately reacting with annoyance. And the really sad part is, that’s a lesson Michael had been trying to teach us for so many years. Wow. That just blew my mind a little bit. Thanks for sharing that story, Willa.

But, getting back to “Is It Scary,” what makes this song especially heartbreaking for me, are these lyrics at the very end:

I’m tired of being abused
You know you’re scaring me too
I think the evil is you
Is that scary for you, baby

These last few lines just make me want to cry. You can hear all of his emotions at the end of this song – frustration, rage, anger, sadness. Especially when coupled with his mournful cries of  “Don’t wanna talk about it / I don’t wanna talk about it” that immediately precede this last verse. It’s almost difficult to listen to and I feel like, if every person on the planet would really listen to this song and take it in and really digest it, then maybe the world would finally understand him a little bit better and realize all they had put him through.

I know. It’s a pipe dream. But, a girl can hope.

Willa:  I agree. This song just seems to be a pure expression of all the emotions he was going through after the 1993 allegations came out. And it amazes me that in the midst of the pain of those allegations, at a time when I personally would want nothing more than to hide under the covers and cry, he was able to distance himself a bit, think through what was happening at a cultural level, and create an artistic response. That just astonishes me, on many different levels, and creates this whole mix of emotions – everything from admiration for what he accomplished to a deep sorrow for everything he had to go through, and for everything we’ve lost.

Joie:  I know. It is truly amazing to think about. How anyone could have the courage to hold their head up day after day in his situation… it is just amazing to me and I think he was one of the bravest people ever. Can you imagine being in his shoes and going through the public humiliation that he did, every single day? And in the midst of it all, to still be able to work and write and create truly compelling art and keep presenting it to a world that had turned on you. He’s just incredible to me.

Willa: Well, we can both certainly agree on that.

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? Here’s a wild thought – 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 – lives at Heartbreak Hotel. 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.

We’ll conclude this series on My Baby next week when we look more closely at what some of those threats are.

Joie:  And don’t forget to weigh in on our discussion and let us know what you think about My Baby. You can comment here or on our Facebook page.

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.

Joie:  My Baby is fascinating on so many levels and when Willa and I discovered that we were both very interested in her – and her nemesis – we were really surprised. I think it was then that we really started to talk in earnest about doing a blog together because we were curious as to whether or not we were the only two people out there who had ever wondered about this particular topic. So, we intend to look at My Baby more closely in the coming weeks. Our plan is to look in depth at different songs in which she is featured and talk about what/who she is and what Michael was trying to tell us through her.

Willa:  And again, our goal with this blog is to create a place where a community of people can come together and share their interpretations of Michael Jackson’s work and what it has meant to them at different times – because interpretations do evolve over time. And it’s ok if we disagree – even passionately disagree – as long as we’re respectful about it. To be honest, I disagree with myself sometimes!  Sometimes I see My Baby as a person, sometimes I see her as symbolic, and lots of times I see her as both. And I love that ambiguity. To me, that’s one of the things that makes Michael Jackson’s work so rich – that it can mean so many different things at different times to different people. So let us know what you think, and what My Baby means to you. We’d love to hear from you, either here or on our Facebook page.