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Summer Rewind Series, Week 4: Invincible (Parts 3 & 4)

NOTE: The following two conversations were originally posted last October 20 and 27, 2011. To read the original posts and comments, please click here.

Celebrating Invincible, Part 3: That Amazing Voice

Joie:  I have been a Michael Jackson fan literally for as long as I can remember. Michael has been the one constant in my life from my earliest memories at age three. He was just always there. And I can remember being absolutely mesmerized by the sound of his voice. I have very vivid memories of sitting in the basement of our house when I was about 7 or 8 years old, on the floor in front of the very large stereo speakers, album cover in hand while I listened intently as he sang to me. Every day, I would spend hours down there alone – just me and the stereo and my albums – volume as high as I could get it without my Dad shouting for me to turn it down before I blew out the speakers. There was just something about that voice that captivated me and I have remained fascinated by it my entire life.

Michael is always revered as being a musical genius; he is always touted for his electrifying live performances, his gravity-defying dance moves, his astronomical sales records. But oftentimes, his amazing voice seems to take a backseat to all of that and I’ve never really understood that because he truly is one of the most talented vocalists to ever play the game, and Invincible is the perfect album to talk about when highlighting his broad vocal range.

Michael’s long-time vocal coach, Seth Riggs, explained once that Michael had an extraordinary vocal range. Riggs described him as a high tenor, or Countertenor with a range of 3.6+ octaves. E2 to B5, or 44 notes by the middle of the 1980s. And by the ’90s, Riggs said that his range had expanded to 4 octaves, allowing him to reach a few additional lower notes while still maintaining his highest ones. And that was all before utilizing falsetto – a technique used by male singers to reach notes outside of their usual (normal) range. Add to that the fact that Michael also had the ability to sing in staccato, singing complex rhythms in perfect timing.

Now, I am no student of the voice, by any means. But, what all of that technical mumbo-jumbo says to me is that Michael had one incredibly versatile vocal range and it only got better with age. And his massive body of work – and Invincible in particular – is evidence of that. In fact, it is the thing that I love most about this wonderful, incredibly underrated album:  the fact that it allows the listener the opportunity to hear Michael’s entire vocal range, from the smooth falsetto of “Butterflies” to the surprisingly rich baritone of “2000 Watts.”

Willa:  I’m certainly no expert about this either. In fact, I know very little about the technical aspects of singing and making music, but here’s an interesting YouTube video that gives an idea of his vocal range. And apparently that incredible range was no accident. I mean, part of it was sheer, innate talent, as we can see in the songs he recorded as a child. “Ain’t No Sunshine” just knocks me out. But there are also few singers – especially pop singers – as knowledgeable and as dedicated as he was to protecting and improving his voice.

Joie:  No, it wasn’t an accident, you’re right. He worked tirelessly at maintaining and perfecting that God-given talent.

Willa:  It’s true. Back in the 1980s, he planted a story in the media that he was sleeping in a hyperbaric chamber (one of his first media hoaxes – the first of many) and someone asked his sister Janet about it. She said she hadn’t seen a hyperbaric chamber around the house anywhere, but that if he was using one, it probably had something to do with his voice. He was just fanatical about caring for his voice. And Will.i.am tells a story about working with him in the studio. They had just about finished up this one song but decided they needed to add a little five-second snippet of his voice. Will.i.am says he warmed up for over an hour so his voice would be fully “open” when he recorded that five-second piece. Will.i.am says he couldn’t believe it, but of course, while that little segment took less than a minute to record, it would be preserved forever as part of that song, and he wanted it to be just right.

And he had an amazing range not only in the pitch of his voice, but in the texture of his voice as well. There are moments where his voice sounds so beautiful to me, just indescribably beautiful. But then there’s “Privacy,” where his voice isn’t beautiful at all. In fact, it’s really rough and raspy, almost gruff. My son has been running cross-country, and that’s how his voice sounds after a really hard run – really raspy and ragged. It reminds me of that expression of being “run ragged” – he’s been running so hard his voice has become ragged. And that’s how Michael Jackson’s voice sounds in “Privacy,” like he’s just been “run ragged” by the press and paparazzi. And of course, that supports the meaning of the song. I’m always fascinated by his ideas and the many techniques he uses to convey his ideas, and in this case, he’s conveying meaning not only through the words he’s singing, but through the texture of his voice as he’s singing those words.

Joie:  That is very true, Willa. He was really great at bending his voice in order to convey a certain mood or feel. His voice really was his instrument and he was a master at it. His range was so versatile and yet, so distinctive at the same time. For example, on “Butterflies” his vocal performance was so crystal clear and beautiful, gliding effortlessly from the smooth tenor in the first verse to the sweet falsetto that we all love so much in the second verse. His vocals on that song propelled “Butterflies” to #13 on Billboard’s Hot 100 chart and to #2 on the Hot R&B Hip/Hop Singles chart. And that was all on airplay alone since Sony refused to release it as an official single. He repeats this tenor to falsetto movement on the very next song, “Speechless,” where his magical voice just soars above the building climax. But the a cappella snippet that opens the tune really sets the pure, innocent tone for the entire song – once again, using the quality of his voice to convey the mood that he’s going for.

Willa:  Absolutely, and that’s such a great example. You know, it takes a lot of courage to expose your innermost feelings and let yourself be honest and vulnerable, and Michael Jackson had that kind of courage. It’s one of the things that has drawn me to him for so many years, since I first heard “Ben” as a little girl, and we see that honesty and vulnerability in the a cappella intro to “Speechless.” Then the strings come in, and the other instruments, and the choir, and it becomes incredibly lush and beautiful. And then at the end the instruments and background vocals drop away, and he’s alone and emotionally vulnerable again. It’s like he’s dropping all the pretense and letting himself be emotionally naked. It’s almost too much for me.

Joie:  Another great example is the song “Shout.” Now, I know that this one isn’t actually on the Invincible album but, it was intended for Invincible and only missed being included by a hair when it was replaced at the last minute by “You Are My Life,” and it was released as the B-side to the “Cry” single. But I mention it here because it is another great example of how Michael frequently used the quality of his voice to convey the mood and paint a picture. Before even processing what he’s saying, you instantly get the sense that this is a song about indignation and frustration at the world’s problems – all through the quality of his voice.

But “Shout” is also a wonderful example of his ability to sing in staccato. Something he does better than most, executing complex rhythms in perfect timing. We’ve seen him do this many times in the past on songs like “Jam” and “Tabloid Junkie.” It is almost like he’s rappin’ and he’s really good at it. You know, I heard him say once in an interview that he wasn’t very confident in his rappin’ ability but, I think this song shows that he shouldn’t have been so apprehensive about it. I’m not saying that he was a natural rapper by any means but, I do think he could certainly hold his own and I think this song proves it.

But, for me, the real revelation of Invincible has got to be “2000 Watts.” There is no doubt in my mind that if this song had been released on the posthumous Michael album instead of Invincible, there would have been a vicious outcry from fans insisting that this song wasn’t him. There has been a great deal of speculation over the years that his voice was somehow digitally altered for this song but, that is not the case. The rich and surprisingly deep baritone on this track is all Michael (with an assist from Teddy Riley on the speaking parts) in his natural voice – no digital tinkering added. And it is amazing! This has got to be one of my all-time favorite songs simply because it does showcase just how versatile, adaptable and skillful Michael really was with his instrument – which is that amazing voice.

Willa:  OK, so here’s an embarrassing story. I was driving the first time I listened to Invincible – I bought the CD, unwrapped it while walking out to my van, popped it into the car stereo, and listened to it as I was driving home. So I’m driving and listening, “2000 Watts” comes on, and there’s this guy singing a fairly deep intro. I’m waiting for Michael Jackson to come in with the tenor part, but the intro is lasting a really long time. And then the song’s over. So I thought, oh, I must have been distracted by driving and missed the main part of the song, so I hit the replay button. The song starts up again, there’s the intro, more intro, more intro, I’m waiting for the tenor part to start, it’s not coming, and then the song is over again. What the heck? So I actually pulled over into a parking lot, dug out the liner notes, and read, “Lead vocals:  Michael Jackson, Background vocals:  Michael Jackson.” I was stunned. “That guy” singing the low “intro” part was him, and I hadn’t recognized him at all. I couldn’t believe it. Michael Jackson’s voice has been in my head for over 40 years, since I was 9 years old. There are times when his voice feels as familiar to me as my own hands. And I had just listened to him sing “2000 Watts” twice and hadn’t recognized him.

As you know, I love his lower voice. His high voice, when it’s soaring as it does sometimes, is so incredibly beautiful to me, and there are these lovely high trills scattered throughout Invincible that I simply love, like right after the bridge in “Don’t Walk Away.” But his low voice just does something to me. The first time I heard it was on “Don’t Stop ’til You Get Enough.” I was a teenager, and that song was a revelation. The line “I’m melting like hot candle wax” has been making me blush for more than 30 years now, and his low voice on that song definitely adds to the mood. It is so sensual.

Joie:  Willa, you blush so easily! But, I know what you mean. That low rumble in the background of “Don’t Stop,” towards the end where he sings, “Don’t stop, Baby…. Come on, Baby…. Don’t stop, Darling,” – really, really HOT!!

Willa:  Heavens, Joie! You just completely fogged up my bifocals. Oh my. So, what were we talking about? Oh that’s right, that amazing but unsettling low voice on “2000 Watts.” To me, that voice feels completely different somehow from his low voice on “Don’t Stop” – it’s conveying a different mood and expressing a different idea. As you pointed out, the voice on “2000 Watts” doesn’t even sound like him at first, and I wonder if that startling unfamiliarity is intentional.

There are several recurring themes on Invincible. One is the theme of inarticulateness we talked about last week – this repeated idea that he’s unable to speak or communicate in a meaningful way so that others understand him. Another is the theme of alienation – that he’s the same person he’s always been, but we can’t recognize him. He’s the same, yet he’s become alien to us. We see that theme suggested over and over on Invincible, in everything from the album cover art, to lyrics, to his voice on “2000 Watts.” I played that song repeatedly the first few days I had Invincible, and I literally had to train myself to recognize that low growling voice as his voice. It felt really important to me to do that because it was so unsettling to hear his voice and not recognize him.

Joie:  It’s really interesting to me that you say that because, for me, it wasn’t that I didn’t recognize his voice. Just the opposite in fact. It immediately sounded like Michael to me – just Michael singing in a decidedly lower tone of voice than we were used to hearing him. But, it works. And it works great! And, as you said, I LOVE this lower voice of his. I only wish he had used it a little more often so that the world could be aware of what the fans already know … which is the fact that he really did have such a wonderful and varied vocal range.

Well, since we began this series with the first song on the album, it’s sort of fitting that we end it with the last song on the album so, next week, we’ll be wrapping up our Invincible celebration with “Threatened.” And since it is Halloween week, the spooky nature of the song will be perfect!

Celebrating Invicible, Part 4: Threatened!!!

Willa:  This week we’re looking at “Threatened,” a very unusual horror story told from the point of view of the monster, who’s trying to figure out why everyone is so frightened of him.

“Threatened” begins with an introduction by Rod Serling, but it’s more philosophical and psychological than frightening. As Serling says, “Tonight’s story is somewhat unique and calls for a different kind of introduction.” He goes on to say, “A monster has arrived in the village,” a typical scenario in horror movies, but then tells us, “The major ingredient of any recipe for fear is the unknown.” So instead of encouraging us to feel fear, as horror movies typically do, he’s asking us to step back and analyze that fear. He concludes the intro with “Oh yes, I did forget something, didn’t I? I forgot to introduce you to the monster,” and we immediately hear Jackson’s voice singing, “You’re fearing me.” Suddenly we realize that he’s the monster. And he’s trying to get inside our heads and understand us.

Joie:  It’s very interesting you should describe the monster that way because that is not the feeling I get from this song at all. It is absolutely told from the monster’s point of view but, I don’t believe he’s clueless as to why everyone is frightened. Just the opposite, actually. He knows why they’re afraid and he likes it. Not only does the monster know exactly what he’s doing but, he enjoys doing it. He is obviously having great fun scaring all of the people.

You should be watching me, you should feel threatened.
While you sleep, while you creep, you should be threatened.  
Every time your lady speaks, she speaks to me, threatened.  
Half of me you’ll never be, so you should feel threatened by me.  

It’s as if he’s celebrating, reveling in the effect he has on those around him. He is something to behold and he knows it and he is taunting those who look down on him and mock him. They are jealous of his beauty, his talent, his power and he throws it in their faces. “You’re fearing me, ’cause you know I’m a beast,” he sings. It’s the kind of trash talking that you hear from sports fans and others about to go into battle on any given court, field, board game or boardroom.

Willa:  Well, Joie, I agree that he was certainly “something to behold!” And I agree this song has a defiant, in-your-face edge to it – “trash talking” is a good description. And it may be that in some ways he enjoyed people’s fearful response to him. But I also think he sees that fear as really dangerous, and he’s trying to understand where that fear comes from.

To me, this is another one of those songs that is directly addressing the current circumstances of his life. The media and a fairly large percentage of the population are treating him like a monster, and he’s exploring the reasons why. As the title suggests, he thinks people see him as a monster because they feel “threatened” by him, but why? What exactly is so threatening to so many people? What are they so scared of?

This to me is the crucial question at the center of “Threatened,” and the answers he suggests are fascinating. I tend to think people were threatened by the way he blurred boundaries of race, gender, and sexuality, but he points to a different source – and he has good reasons. After all, the frenzied media criticism started before he really began transgressing those boundaries. He released “Leave Me Alone,” a funny but defiant response to the media hysteria, in 1989 when his skin was still fairly dark.

Also one of his heroes, Charlie Chaplin, was demonized in the press just like he was – Charlie Chaplin was treated like a monster, a “moral leper,” for more than 30 years – yet Chaplin wasn’t challenging the same kinds of social boundaries Michael Jackson was. We see a similar demonization of Elvis, and Barry Gibb, and Barbra Streisand, and Britney Spears. In fact, we see this sort of mob mentality occurring fairly regularly throughout our history where the press and the public turn against a popular performer in really vicious ways, and I think Michael Jackson is using “Threatened” to both push back against that mob mentality as well as try to understand it.

As we see in the lyrics you cited, he suggests there are deep psychological reasons for these ugly witch hunts, including feelings of inadequacy and jealousy. After all, he’s a sex symbol – “Every time your lady speaks, she speaks to me, threatened” – and a very talented, very handsome, very successful rock star – “Half of me you’ll never be, so you should feel threatened by me.” He’s also a celebrity, and his fame has made him so much larger than life that no one else can measure up, so now there’s an impulse to knock him off his pedestal and cut him down to size.

Joie:  Willa, while I can agree that this song is addressing the usual monsters in Michael’s own experiences, I really don’t think that he’s trying to figure them out at all. That’s not what’s going on here. I don’t believe he is suggesting any kind of reasons for the fear and I don’t believe he’s even asking the question ‘why are you afraid.’ Instead, I feel he’s telling us that he already knows exactly what’s going on. He knows why they’re afraid. And not only is he telling them that he understands it, but he’s letting them know that they’re right. They have good reason to fear him. “I’ve got a spell on you,” he sings. Then he says this:

Your worst nightmare, it’s me I’m everywhere  
In one blink I’ll disappear, and then I’ll come back to haunt you  

He’s letting them know that he’s not going away. They should feel threatened because they can’t get rid of him. He’s unstoppable. They’ve tried their best – Sneddon, Dimond, the Chandlers, the tabloids – they’ve all tried their best to bring him down and they may have knocked him off his game for a minute but, he’s not done. They didn’t finish him off and now he’s back, better than ever. They can’t silence him, they can’t control him, they can’t reach him… they can’t break him. So, essentially, he is ending this album on the very same triumphant note that he began it on:  by telling all those who tried to stop him that, after all of their efforts and all that he’s been through, he’s still here. They “can’t believe it, …can’t conceive it.” But it is the very reason why they should feel threatened.

The chours of “Threatened” that I cited earlier is the same sort of defiant battle cry that we saw in the opening lines of “Unbreakable.”

Now I’m just wondering, why you think  
That you can get to me, with anything  
Seems like you’d know by now  
When and how, I get down  
And with all that I’ve been through, I’m still around  

It is the exact same message, just different words. In essence, with Invincible, he has just taken the listener on a journey that has now come full circle. This message – that he is still standing, “steady laughin’, while surfacing” – is so important to him that he felt the need to repeat it at the end of the album. Just to make sure we got it, in case we missed it the first time around:

You should be watching me, you should feel threatened  

He sounds glorious on this song, as if he is having the best time recording these vocals. As I said before, it almost sounds as if he is celebrating, and the menacing tone of his voice on this track is laced ever so slightly with pure joy. He clearly enjoys the role of the monster on this song and he’s having fun with it. And I believe he sounds joyful because he is defiantly reminding us that he is still here and his art and his ideas – his love – will forever be unbreakable. They can knock him off that pedestal and try to cut him down to size but, it will never really work. He’s not going away and they should be afraid of that. “Half of me you’ll never be, so you should feel threatened by me.”  

Willa:  Wow, Joie, this is so intriguing to me. When we first started tossing around the idea of doing a post on “Threatened” and we each said how much we loved it, I just assumed we saw it the same way and loved it for the same reasons. I can’t believe we saw this song so differently. I really do love “Threatened” – it’s one of my favorite songs on Invincible – but I would never have said it was glorious or joyful or celebratory. But I have to say, I’ve been listening to it a lot lately, and I’m starting to come around to your way of thinking. Before, I was so focused on how horrible it must be to have everyone think you’re a monster, I just couldn’t imagine anything joyful about it. But you’re right, that’s also a pretty powerful position to be in, and he does seem to be “reveling” in that power, as you said earlier. He’s definitely flexing his muscles on this song, and he’s enjoying it. Wow, you’ve really expanded the way I think about this song, and that is so interesting to me.

I still see “Threatened” as an insightful psychological study, though, which is what drew me to this song in the first place. I think he’s exploring the reasons why this ugly mob mentality erupts every so often against popular performers, and the reasons he identifies are fascinating and have to do with the nature of celebrity itself, and that weird double-vision of celebrities being both very familiar to us and yet essentially unknown. You know, the scariest horror movies aren’t about monsters from outer space; they’re about someone or something trusted and familiar becoming alien and scary. The father in The Shining goes insane and attacks his own family. The parents in The Omen are murdered by a son who isn’t really their son. The daughter in The Exorcist is possessed by demons and becomes unknowable. The mother in Rosemary’s Baby discovers her baby is devil spawn. The scariest monsters aren’t Godzilla and King Kong – they’re a favorite doll or teddy bear or the family dog or a parent or child or trusted neighbor when they turn murderous and attack the ones who love them and trust them most.

Michael Jackson was so familiar to us in so many ways. Perhaps most important was his incredible capacity for empathizing with an audience. Over and over, people talk about this deep connection they felt with him. When he sang, you felt like he knew what you were thinking and feeling, and was expressing your own thoughts and emotions back to you. As he sings in “Threatened,” “I’ve got a spell on you,” and he did have a spell on us. We were spellbound by everything he did. And he wasn’t just a celebrity; he was a celebrity who grew up in front of us. We felt like we’d known him since he was a boy. So he seemed very familiar in that sense also.

Plus, he was such a celebrity and so incredibly well known, so there was that kind of familiarity also. As he goes on to sing in “Threatened,” “it’s me, I’m everywhere.” And it’s true, he was everywhere, and he still is. His face, his music, his dance moves, his glove and fedora, his whole iconography – it’s truly amazing, his influence is everywhere. I was watching a Schoolhouse Rock video with my son the other day, the one called “Dollars and Sense,” and suddenly the cartoon character moonwalks past a music store. He’s even in Schoolhouse Rock. You can’t escape him, just like you can’t escape the zombies in a horror flick.

Joie:  Oh, Schoolhouse Rock! I used to love those things. But exactly! That’s the point I was trying to make here. We can’t escape him because he is everywhere. Just like he tells us in this song,  “Your worst nightmare, it’s me I’m everywhere / In one blink I’ll disappear, and then I’ll come back to haunt you.” He knows that his influence is inescapable; he knows that no matter what they try to do to him, they will never be able to fully escape him and so, he taunts them with his words:   “You should be watching me, you should feel threatened.”  

Willa:  I agree. But then he grew up and changed, and some people began to wonder if we really knew him as well as we thought. There began to be that deep, unspeakable fear of the familiar becoming alien and “threatening.” Then a man accused him of molesting his son, and that fear exploded. And as he tells us in “Threatened,” we can’t escape that fear because it’s not coming from him, it’s coming from us – it’s within us, within our own minds. It’s “the dark thoughts” inside our own heads:

You’re fearing me, ’cause you know I’m a beast  
Watching you when you sleep  
When you’re in bed, I’m underneath  
You’re trapped in halls, and my face is the walls  
I’m the floor when you fall  
And when you scream it’s ’cause of me  
I’m the living dead, the dark thoughts in your head  
I heard just what you said  
That’s why you’ve got to be threatened by me  

This song just takes my breath away. It seems so brilliant to me on so many levels, with deep psychological insights, especially in the way it captures that complicated mix of fear and familiarity people felt for him.

But before we started talking, Joie, I’d never thought about that fear as a potentially powerful force for him – something he could use to move us in deep psychological ways – and that complicates this all still further. I’ve come to agree with you, it does sound like he’s reveling in that power, and for me that just opens up a whole new way of seeing this song. Wow.

Joie:  Well, Willa, you’ve made some great points about the familiar becoming scary and threatening and I find that all very fascinating. But for me, “Threatened” has always been one of my favorite songs on the Invincible album and from the very first time I heard it, I have always felt that this was a song of triumph and victory. A song of revelry or rejoicing. It’s an exhibition of sorts. ‘Look at me, I am here and I am magnificent!’ That’s the message I get from this song. That is what I hear every time I listen to it. And again, to me, it is a reaffirmation of the very same message we hear on the first song on the album. And to some that may seem like a bit of an ego trip or a bold statement for someone to make but, we’re talking about Michael Jackson here. The very same artist who floated a 32-ft. statue of himself down the Thames River to promote an album. That stunt certainly got people talking, and I imagine that “Threatened” was probably intended to do the same thing.

In his much-anticipated book, Man in the Music: The Creative Life and Work of Michael Jackson, Joe Vogel tells us that Michael had intended on making a horror-themed short film for this song complete with cutting edge special effects but, of course that was scrapped when Sony pulled promotion. So, we’ll never know what he had in store for us with this one but, I’m sure like the song itself, it would have been something glorious.

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Summer Rewind Series, Week 3: Invincible (Parts 1 & 2)

NOTE:  The following two conversations were originally posted on October 6 and 13, 2011. To read the original posts and comments, please click here.

Celebrating Invincible Month, Part 1: Unbreakable

Willa:  This week Joie and I are kicking off a month-long series on the Invincible album with a close look at “Unbreakable,” a defiant battle cry we both love with some really fascinating lyrics.

Joie:  I love “Unbreakable.” It is a fascinating song with lyrics that just jump right out at you simply because they are like a window into what life must have been like for him.

Now I’m just wondering, why you think  
That you can get to me, with anything  
Seems like you’d know by now  
When and how, I get down  
And with all that I’ve been through, I’m still around  

It’s as if he’s addressing all of the Sneddons, the Dimonds, the Chandlers – all the tabloids of the world – and saying, “You tried your best but, I’m still here and there’s nothing you can do about it!”

Willa:  I agree, and I love the way you put that. In fact, a lot of songs on Invincible seem like “a window into what life was like for him,” and I really see that in “Unbreakable.” It’s such a defiant response to everything he’s been going through, and I’m especially struck by this line:  “You can’t touch me ’cause I’m untouchable.”

In the caste system in India, Pakistan, and other parts of the world, Untouchables were (and in some places, still are) the people at the very bottom, the lowest of the low. They were perceived as impure – so impure that if they touched you, even brushed up against you accidentally, you would become impure also. That’s why they were “untouchable” – because you must never touch them, or let them touch you.

When I was in sixth grade, I became friends with an elderly woman who lived near us who became a doctor back when very few women were doctors. She spent nearly 30 years working in Pakistan and India, and was just an incredible person. I loved to visit her and listen to her stories, and hearing about the Untouchables made a big impression on me. I used to wonder what it would be like to have everyone you loved or everything you cared about be corrupted by your touch – kind of like King Midas, but worse. Your touch turns everything impure rather than to metal.

That was Michael Jackson’s life after the 1993 allegations. His public image became so toxic, so impure, that anyone who supported him, any place that gave him sanctuary, any project he worked on was tainted as well. His friends and family, even his fans, were ridiculed in the press, and Lisa Marie Presley was treated horribly – nearly as badly as he was. “What More Can I Give,” a song to benefit victims of the September 11th terrorist attack, was portrayed as a cynical ploy to improve his image by exploiting a national tragedy. And his efforts to help children in need were criticized as, at best, inappropriate and, at worst, additional evidence of his brazen moral corruption. In other words, by the time Invincible came out, he had become an Untouchable. No one in the press believed his motives were genuine or pure, and everything he touched was symbolically contaminated merely by association with him.

In the chorus of “Unbreakable,” he seems to acknowledge this (“You can’t touch me ’cause I’m untouchable”) but then he does something remarkable that he did throughout his career:  he takes that cultural narrative and flips it inside-out, completely rewriting it. “You can’t touch me ’cause I’m untouchable” doesn’t feel like a concession. It feels like a declaration of strength. He’s “untouchable” because he’s too powerful to be touched, too invincible to be hurt. He conveys this redefinition both through the sheer power of his voice when singing this line and through a parallel line that echoes the first, emphasizing this bold new meaning:

You can’t touch me ’cause I’m untouchable . . .  
You’ll never break me ’cause I’m unbreakable  

He sings these lines six times over the course of “Unbreakable,” including three times in succession at the end of the track. These words are important, and in some ways capture in miniature what Jackson did over and over throughout his work. He’s positioning himself with the dispossessed and giving them a voice – in this case, those (including himself) classed as impure, outcast, “untouchable” – while fundamentally changing the narrative that disempowers them. In this context, his cry that “I’m untouchable” becomes a defiant challenge to those who try to twist his motives and impose their worst interpretations onto him.

Joie:  Wow. Ok, Willa. Now you have officially blown me away with that one!! I have never thought of “Unbreakable” in terms of caste. I have read about the caste systems in various parts of the world and you’re right, it is both fascinating and sad to think about. But I had never viewed this song in those terms.

I have to make a confession here. I absolutely adore the Invincible album. I am in love with it actually and most of the time, it runs a very close race with Dangerous as they vie for the title of my favorite Michael Jackson album. I have multiple copies of both of them. They are the only two Michael CDs that I must have at least 3 copies of at all times (one for my car, one for my husband’s truck, one for the CD player in my kitchen so that I can have music while I cook dinner). And that doesn’t even count the ones that I have given away over the years to friends and family members or the digital copies on my computer and my iPod.

So, needless to say, I have listened to this album about a million times and when listening to “Unbreakable,” that line about being untouchable never struck me that way before. I am really intrigued by this idea that he was identifying with the lowliest people on earth through that line and now that you’ve pointed it out, it just makes so much sense to me. Really profound observation! And you’re completely correct when saying that anyone who supported him was tainted as well. And I think, as fans, we can all attest that we still feel that way, to some degree. That stigma never really let up. Not for us and certainly not for him or his family.

Willa:  That’s interesting, because that line has always struck me that way, maybe because of those stories my friend told me way back in sixth grade, and because of the strong parallels to his life at that time. That’s one reason I think it’s so valuable to share interpretations of his work – because we all bring different ways of seeing and we can learn so much by sharing those different views. I’ve learned so much through my conversations with you. And this line from “Unbreakable” has always evoked a very powerful image for me – of Michael Jackson being made to feel ashamed and “untouchable” for something he didn’t do, and then rewriting that as a declaration of strength.

But you’re right, that stigma never let up, and the consequences were horrible – personally, professionally, and artistically. We see references to the pain of that stigma throughout Invincible. It’s like he can never escape it, and I really don’t know how he endured it for so long. It also ham-strung his efforts to help others, which had to be incredibly frustrating for him. He was passionately committed to social change and improving the lives of those classified as outsiders – a commitment we see throughout his career from “Ben,” his first solo hit when he was 13 years old, to the “Earth Song” number he was working on the day before he died. Yet he was severely hampered after 1993 because everything he did was seen through this lens of corruption and impurity. By 2001 he had matured into a truly amazing artist and should have been at his peak creatively, but he was shackled by those allegations. Not only was he reviled in the press, but other artists became reluctant to work with him – even his own record company was hesitant to support him.

Joie:  You’re absolutely right and I feel like in many ways, he never totally rebounded from the ’93 allegations. In fact, I often find myself wondering how his career would have been different if it had never happened. I mean, he was such an extraordinary talent with so much passion and imagination so, I wonder what amazing things he could have accomplished in his career – and in his life –  had the allegations in ’93 never happened. How would his career have unfolded if he had never been falsely accused of the most horrible of crimes? But I know those thoughts are pointless because, the allegations did happen and here we are. But as for Invincible, I also wonder what heights this truly incredible album could have seen if Sony had gotten behind him and promoted it properly.

This month there is a whole movement by Michael fans around the world to get the Invincible album to number one on the charts during October. It’s called the Invincible Campaign and its mission is two-fold. The first order of business is to get the album to number one in celebration of its 10th Anniversary (it was released in October, 2001). The second purpose of the campaign is to let the music from the album serve as a sort of backdrop or a peaceful banner for Michael during the trial of Conrad Murray in order to remind the world that Michael’s art was “Unbreakable” and “Invincible.”

Willa:  It also encourages fans, as well as the public at large, to take a second look at an album that never received the attention it deserved when it was first released. There’s a long tangled history here, but the result was that Sony didn’t promote it well, as you say. Much worse, to my mind, is that Sony prevented him from producing the videos he had planned for this album. I believe his visual art was as important as his music – that, in fact, he was able to express his ideas more fully through film than music – so cutting off that avenue of artistic expression from him is tragic, for him and us. Can you imagine the Thriller album without the videos for “Billie Jean,” “Beat It,” or “Thriller?” He made ten videos for the Bad album and nine for Dangerous, but Sony cut him off after two for Invincible, refusing to let him create the video he had planned for “Unbreakable,” or any others – a decision that infuriated him. (It was after this decision that he launched the protests in Harlem.)

Joie:  Actually, Michael only really created one video for the Invincible album as he was so upset with Sony at the time that he refused to participate in the video for “Cry.” But you’re right, it was really such a shame that they chose not to support him.

Willa:  To me, that decision borders on criminal. What potential works of art did the world lose because of Sony’s short-sighted decision?  I’m sorry, but if Michelangelo has an idea for a sculpture and wants a 20-foot block of marble, you give him a 20-foot block of marble. You don’t tell him that marble is too expensive. You do everything in your power to provide him with whatever he needs to fulfill his artistic vision. And if Michael Jackson wants to create a video, then you do everything in your power to facilitate that. Can you imagine if the world had been deprived of Michelangelo’s David or the Pieta because he was denied the materials he needed to create them?

That’s how I feel about Sony’s decision. I’m just stunned that they would act this way – especially since you can make the argument that there wouldn’t even be a Sony music division as we know it without Michael Jackson – and I really wonder what he had planned for “Unbreakable.” It’s fascinating to think about, especially since this is such an intriguing song. For example, what about these lyrics: “You can’t believe it / You can’t conceive it.” What does that mean? What is he thinking? And would he have provided clues in the video he had planned – a video his own record company prevented him from making?

Joie:  I absolutely agree with you. What a HUGE mistake for Sony to virtually bail on their biggest artist, and it’s easy to understand why Michael felt that the company was plotting against him. I mean, even the album’s name frustrated him. The title track was, of course, supposed to be “Unbreakable” but, Sony “mistakenly” had the cover printed up with the wrong title song and by then it was too late to fix it.

But, I do want to point out that Sony was a very different place back then. Tommy Mattola, who was the head of Sony at the time and the one giving Michael such a hard time, is no longer there and hasn’t been since 2003. In fact, Sony has gone through three other chairmen/CEO’s since Matolla left so, it really is a different environment now than it was back then.

The whole fight between Michael and Sony became such a public mess with cries of conspiracy over the Sony/ATV catalog and I am certain that Michael had very good reason to feel the way he did. But the unfortunate outcome of it was that a truly wonderful work of art that Michael Jackson spent a great deal of time on, pouring his heart and soul into for months and months, got overlooked and pushed to the wayside in all of the confusion. The Invincible album is practically unknown outside of the fan world and it’s just such a shame that the rest of the world missed it because there are some real musical gems on this record. That’s why Willa and I wanted to do our part this October and help celebrate the 10th Anniversary of Invincible by doing a month-long series on the album.

And I have to admit that I did participate in the campaign’s buy event yesterday; I went out and purchased another copy of the CD. But, of course, I do that periodically anyway … it’s like a sickness! I am obsessed with this album.

Willa:  Well, as you know, I’m not the most technologically advanced person in the world, but I have this iPod I’m gradually bonding with – at least, I’m comfortable checking email and searching the web with it now. But my son keeps laughing at me because I’m so cautious about using it. As he pointed out the other day, I let it “mellow” in its box for four months before I even opened it. Apparently he’d been monitoring the situation to see how long it would take, but finally decided I was going to let the warranty expire before I ever tried it so finally just opened it for me and got it going. (He has one too.) And then practically the first thing I did with it was somehow take a picture of my own eyeball. He thinks this is all very funny – just the whole situation of his 50-year-old mother trying to figure out an iPod. It cracks him up.

Anyway, I’ve had this thing for 10 months now and still don’t have any music on it, so I was thinking I might download Invincible – my first music download! – and support the campaign at the same time. Wish me luck! And then next week we’ll continue our discussion of this remarkable yet frequently overlooked album.

Celebrating Invincible, Part 2

Willa:  A few weeks ago, Pamela visited our blog and posted this comment:

“I think whenever Michael wrote a song about a woman, the woman was us, the fans. I think he understood the love affair we had for each other (the fans and Michael)…. I felt he looked at us, the fans, as a single relationship and that was his inspiration. If you follow his songs, according to the major events in his life, you can see the feelings he writes about are how he thinks the fans are feeling about him during that time.”  

I thought this beautifully expressed an idea Joie and I have felt also:  that Michael Jackson’s love songs can be interpreted as a romance with a woman, or more metaphorically as describing that ongoing “love affair” between him and his audience.   Seen in this way, it seems significant that Invincible has so many songs of unrequited or fading love. From “Heartbreaker” and “Invincible” in the thundering opening trilogy with their stories of cold-hearted women who don’t care about him or won’t give him a chance, to the lyrical “Don’t Walk Away” and “Whatever Happens” and their poignant depictions of a love affair in trouble and in decline, Invincible is filled with songs of unfulfilled love.

Joie:  Willa, you know before reading M Poetica, I never really spent much time thinking about the love songs in terms of Michael’s relationship with his audience. I mean, it was always just sort of there, beneath the surface. But I never really thought about it in depth before you and I began discussing his work in a serious way. And now that I have been focusing on it more, it is amazing to me how it just jumps out at you.

For instance, listening to “Don’t Walk Away,” these lyrics in particular really strike me as so meaningful when viewing this song through that lens of Michael and his audience:

Don’t walk away  
See I just can’t find the right thing to say  
I tried but all my pain gets in the way  
Tell me what I have to do so you’ll stay  
Should I get down on my knees and pray
  
How  can I stop losing you  
And how  can I begin to stay  
When there’s nothing left to do but walk away
  
I close my eyes  
Just to try and see you smile one more time  
But it’s been so long now all I do is cry  
Can’t we find some love to take this away  
‘Cause the pain gets stronger every day  

It’s as if he is begging us – the audience – to tell him how to fix it. He’s not asking us what went wrong; he’s well aware of the problems this relationship has faced over the years. But he doesn’t want to let it die. This relationship is very important to him and he’s willing to work at it:  “Can’t you see, I don’t want to walk away,” he sings. He just needs to know how. He can’t figure it out so, he’s asking us. “How can I stop losing you?”  

Willa:  Oh heavens, Joie, those lines are so heart-wrenching for me, especially that last line, “Cause the pain gets stronger every day.” And for me it’s not an either-or decision of ‘is he talking about a romance’ or ‘is he talking about his audience’ – it’s both, simultaneously. It works as the story of a fading love affair with a woman, and as the troubled “love affair” Pamela described that he had with us, his audience.   And when he goes on to sing, “How am I to understand . . . why all my dreams been broken?” I can’t help but think of the aftermath of the 1993 allegations and how devastating that was, both for him personally and in terms of his relationship with his audience. I imagine there were many times when he felt that things had become so bad, there really was “nothing left to do but walk away.” But he didn’t. He kept trying to make it work.

Joie:  It is just heartbreaking! And what makes it so painful in my mind are these lines:  “I close my eyes / Just to try and see you smile one more time / But it’s been so long now all I do is cry.” That just tears me apart. How many times did we hear him say that he just wanted to make people happy? That he loved to be able to put a smile on someone’s face with his music? That’s what it was about for him – making us happy. But somewhere along the way he lost us; and he’s acknowledging that and he wants to fix it. But he just doesn’t know how. It’s like he doesn’t understand what it is we want from him. What does he have to do to make the audience love him again?

Heartbreaking. Particularly because the audience he’s singing to – or at least, the ones who are still paying attention – are already firmly on his side. We never left him; we never stopped loving him. But this song isn’t really directed toward us – the fans. Its intended audience is made up of the others – those who fell away when things got uncomfortable (they know who they are), those who eagerly took part in all the MJ-bashing that went on (the media), and those who jumped on the bandwagon because it got them a laugh or two (late-night comedians, talk show hosts, et.al.). Those are the people he’s really singing to in this song. And, as always with the general public, his pleas fell on deaf ears. No one heard his cries but us – the fans.

Willa:  It is heartbreaking, and Joie, I think what you just said is so important. In fact, I think you put your finger on a crucial theme of this album. I was listening to all the songs of lost love on Invincible this afternoon and was really struck by this recurring theme that he’s inarticulate – either unable to speak at all, or speak in a way that will make a difference. In each of these songs, there’s a misunderstanding or some other barrier that is driving the couple apart or preventing them from connecting. He desperately wants to “tear down these walls” so she will see the truth and they will be united, but either he can’t speak or he can’t find the right words so she will listen to him. The title song, “Invincible,” begins with these lines:

If I could tear down these walls that keep you and I apart  
I know I could claim your heart and our perfect love will start  

But either he isn’t expressing himself in a way she understands, or she simply isn’t listening:

Now many times I’ve told you of all the things I would do  
But I can’t seem to get through, no matter how I try to  

As he tells us repeatedly in the chorus, “Even when I beg and plead, she’s invincible” – which perfectly parallels what you just said: “as always with the general public, his pleas fell on deaf ears.”

We see a similar situation in “Butterflies.” He’s trying to woo a woman, but he can’t speak, and she’s not listening anyway. It begins with these lines:

All you gotta do is walk away and pass me by  
Don’t acknowledge my smile when I try to say hello to you  
And all you gotta do is not answer my calls
When I’m trying to get through  
Keep me wondering why, when all I can do is sigh  

So again, he can’t communicate his thoughts and feelings to her – “all I can do is sigh.” As you quoted earlier, “Don’t Walk Away” begins with these lines:

Don’t walk away  
See I just can’t find the right thing to say  
I tried but all my pain gets in the way  
Tell me what I have to do so you’ll stay  
Should I get down on my knees and pray  

This time he can speak, but not in a way that she understands – “I just can’t find the right thing to say” – so he silently prays instead.

He repeats this idea in “Whatever Happens,” a truly beautiful song I just love. (I played this song over and over while writing M Poetica. Writing that book took me to some pretty dark and uncomfortable places, and this song helped me get through it. I just kept playing that wonderful chorus – “Whatever happens, don’t let go of my hand” – and he sings it so beautifully). “Whatever happens” tells the story of a couple being torn apart by difficult circumstances in their lives, and once again his spoken words are ineffectual. All he can do is pray – in other words, speak to a higher power since he can’t seem to speak to her – and hope she somehow receives his message that way.

Everything will be all right, he assures her  
But she doesn’t hear a word that he says  
Preoccupied, she’s afraid . . .  
He doesn’t know what to say, so he prays  
Whatever happens, don’t let go of my hand  

Over and over in these songs, we see this same situation of the protagonist unable to connect with the woman he loves because he can’t speak, and she can’t hear him – which is exactly how you described his relationship with the public at that time. He “can’t find the right thing to say,” and “she doesn’t hear a word that he says.” It’s pretty ironic because he’s an amazing songwriter and isn’t inarticulate at all. In fact, he’s very eloquent in describing his inarticulateness. However, it doesn’t matter how eloquent he is if his audience won’t listen to him, or misinterprets everything he says.

And then, in the midst of these songs of mute suffering, there’s “Speechless,” a beautiful expression of love and joy. The entire song is about his inability to speak – as the title says, he’s “speechless” – but it’s completely different this time. He’s speechless with joy. And even though he can’t speak, she understands and loves him anyway.

Joie:  Willa, I am floored! Until this very conversation I never paid attention to the fact there are so many songs on this amazing album that fit into this formula of parallel stories – a man and his lover / Michael and his audience. Or that have this recurring theme of not being able to communicate with the person he loves (or connect with his intended audience). Now I have to go back and listen to it all over again with new ears!

But, I love what you said about “Speechless” and I think the reason his inability to communicate feels different here is because, once again, his target audience is different. First of all, I firmly believe that this song is not about a romance but about the most precious thing in Michael’s life – his children. So, that’s the first story here. But the parallel, metaphorical story is that he’s singing to a very specific audience. That special group of people who have stood by him through thick and through thin; the millions of people whose love and support of him never wavered even when things got ugly. He’s talking to his fans here and he is so moved by the depth of their love that he can’t speak. That’s the reason she understands him anyway – because she (the fans) truly loves him unconditionally, and always has. She understands what he’s feeling even though he can’t put it into words.

Willa:  You know, when you said you felt “Speechless” was about his children, that reminded me of something Randy Taraborrelli wrote in his biography. He was doing a phone interview, I believe, and Michael Jackson told him that “Speechless” came to him while playing with a group of children. And of course, children are much more accepting than adults are. They don’t need to have everything explained to them in words – a hug works just as well. So thematically that fits also.

Joie:  Well, I am loving this whole month-long Invincible celebration and I hope everyone else is too. Next week we’ll be talking about Michael Jackson’s vocal range and the fact that he’s often not given the credit he deserves for being a truly talented vocalist – something that the Invincible album highlights perfectly!

Man in the Music: Joe Vogel’s Masterpiece

Joie:  Earlier this month, something truly wonderful happened. An event that I had been waiting anxiously for, for several months. Author Joe Vogel’s long-awaited book, Man in the Music: The Creative Life and Work of Michael Jackson was being released on November 1st and I had gotten the great pleasure of interviewing Joe for MJFC back in May. But even long before our interview, I was so excited about this book and I really pushed for an interview with him because I knew it was going to be something special.

I had been a casual fan of Joe’s for some time and I had read many of his articles about Michael Jackson on the Huffington Post. What I liked about Joe’s writing was that I always came away from one of his articles with the sense that he was a lot like me – just a student of pop culture who happened to be a Michael Jackson fan. His insights were really fresh and inspired and I found his writing style sort of ‘down-to-earth’ and real, and reading one of his articles was always a treat for me. So, when I first heard about this book, I was crazy excited about it for two reasons:  first, like I said, I was a fan. And second, it had never been done before. This is a book whose time had not only come, but was LONG overdue! And I knew that if anyone could do this book justice, it would be Joe Vogel; so I was extremely excited. In fact, after Joe granted me the interview for MJFC, I think I may have become sort of a mini-stalker, repeatedly asking him if there was anything I or MJFC could do to help promote the book. He may actually be a little bit afraid of me right now; I’m like a Man in the Music groupie.

Willa:  I don’t know, Joie. Joe seems pretty steady to me. I think it might take more than a Man in the Music groupie to rattle him…. But seriously, I know what you mean – I love Joe’s book as well, especially the level of detail he provides about how every song of every album was meticulously created.

But the part I love most was entirely unexpected and, for me, a wonderful reaffirmation of the strength of Michael Jackson’s creative spirit:  it was the very different look it provides of his creative life in his later years, particularly after the 2005 trial. Joe’s book completely contradicts the prevailing view of this period of his life. The narrative that has been repeated over and over depicts a man so hounded and harassed he was unable to stay in one place for more than a few weeks, unable to trust anyone, unable to work – just simply too hassled and distracted to create.

But Joe’s book paints an entirely different portrait of this later period of his life. What we see in Joe’s book is an extremely gifted, creative, and dedicated artist deeply engaged with a network of artists around the world, working collaboratively to produce exceptional work. In fact, Joe suggests that this later period was arguably the most productive of his life, even though very little of this work was released to the public.

Joie, I don’t know if this makes sense or not, but reading that part of Joe’s book made me so happy – it’s like I felt this load of grief lifting off me as I read it that I hadn’t even realized was there. I guess we all deal with grief in different ways, and for some fans, Dr. Murray’s conviction was able to bring about some sort of resolution, but that didn’t help me at all. I think in some ways I started writing M Poetica out of a need to try to deal with it. I think Michael Jackson’s work is so incredible, but nothing I was reading in the mainstream media even remotely corresponded with how I felt about him and his music and his visual art and what they meant to me, and that lack of appreciation added another layer of tragedy to the situation. So I started writing about how I saw things, and it did help me work through the sorrow of it all. But nothing has helped me as much as “The Final Years” section of Joe’s book.

To me, Michael Jackson’s creativity was the guiding principle of his life. People betrayed him over and over again, but that creative spirit never did. It was always there for him, nurturing and sustaining him. He said in numerous interviews that he was most happy when he was creating and performing, and that he was most comfortable in a studio or on stage, expressing that creative energy and letting it flow through him. That’s why all those reports of a person too harassed and distraught to create were so troubling to me. But Joe’s book gave me the reassurance I needed that, even after the 2005 trial and all the other horrors of those later years, that creative spirit was still there for him and stronger than ever.

Joie:  I agree with you, Willa. It was a pleasant surprise to learn that he was still very much engaged in the act of creating beautiful music even then. And you’re right, we do all grieve in different ways so, it makes perfect sense to me that this section of Joe’s book would be sort of cathartic for you. I found it reassuring as well. Joe tells us that, not only was Michael in good spirits during that time but, he was also determined and excited about the work he was producing. I only wish that we could hear some of the music he was working on during that time, especially the classical album!

Willa:  I agree. You know, I had heard rumors that he was trying his hand at composing classical music, but I had no idea he was so involved with that, or had a work so near completion. According to Joe’s book, all the parts for all the different instruments are pretty much worked out – it just needs to be recorded. Composer David Michael Frank, who was collaborating on the project, talked to Joe about it:

“I hope one day his family will decide to record this music as a tribute,” Frank concluded, “and show the world the depth of his artistry…. I told Michael I was going to use one of Leonard Bernstein’s batons I had bought at auction when we did the recording. I knew he would have gotten a big kick out of that.”

I hope they do too. I would love to hear it. And can you imagine if David Michael Frank conducted the orchestra holding one of Leonard Bernstein’s batons with a white sequined glove? What a wonderful metaphor that would be, and a great image as well.

Joie:  I agree. I’m a fan of classical music myself and I think I would give just about anything to hear the classical music Michael composed; I would love that so much!

But getting back to what you were saying about his creative spirit, Michael himself often said that he never stopped working; no matter what was going on in his life, he never stopped creating. And I just love this quote from recording engineer Matt Forger from Man in the Music. He said,

“With Michael, he never stopped creating. He wasn’t an artist who said, ‘Oh I’ve got an album coming up, I better start writing songs.’ The songs were constantly flowing from him, and if it wasn’t a song it was a poem, it was an idea for a story or a short film… It was a constant creative process.”

So it was as if life itself was a constant creative process for him and I find that fascinating!

Willa:  Absolutely, and Joe really emphasizes that in his book, like with this example:

“According to Quincy Jones, Jackson was ‘writing music like a machine’ during this period. He had begun composing songs as soon as Off the Wall was finished. In fact, Thriller‘s first track, ‘Wanna Be Startin’ Somethin’,’ had been written and recorded during the Off the Wall sessions.”

Joe italicizes “during,” as if he can’t quite believe it. It’s like the songs are coming in such a torrent he’s starting work on Thriller while still recording Off the Wall.

Joie:  I wonder if all great artists exist this way, where the art – whether its music or painting or poetry or whatever – just seems to pour out of them. I’m fascinated by that thought.

But, for me, what makes Joe’s book so special is the fact that it goes into such delicious detail for every single song of each album. Even giving info on many songs that were left off the albums. It’s almost like he’s giving you the chance to go into the studio and sit quietly by, watching as the entire album takes shape, as if you’re right there watching Michael work! That’s the feeling I get every time I open it up and begin to read. There has never been another book out there like it. It’s not merely a critique of Michael’s work; it’s more like a novel, a reference guide, a history text and a critical assessment all rolled into one. There is SO much information here, just a wealth of musical knowledge and insight into the creative mind and character of the greatest entertainer that ever lived. This book is incredible! And I love the fact that it never once strays into that uncomfortable territory of sensationalism and tabloid fodder that most other authors can never seem to resist when talking about Michael Jackson. But Joe never goes there; he remains completely professional and true to the subject – which is examining Michael’s craft.

Willa:  I know what you mean about feeling like you’re peeking inside the studio as he’s working, and discovering what that environment was like. I’ve never been in a recording studio so that was entirely new territory for me, and it was so interesting. For one thing, I never realized just how many people are involved in making an album. It may be one person’s vision – and Joe makes clear that every track of every album was a reflection of Michael Jackson’s own artistic vision  – but it really is a huge collaborative effort. And for me, that explodes another myth, which is that Michael Jackson was isolated and alone for most of his life, disconnected from the world around him. Obviously his fame had a huge impact on his life, but all that seems to drop away in the studio. He had many warm, strong, enduring relationships with people he worked with on song after song for years, even decades.

Joie:  You’re right, it is a real collaborative effort, and what was astonishing for me to learn is how technical it all is. I’ve never been in a recording studio either and I was surprised to learn how involved Michael really was with the whole process. You know, he didn’t just go into the studio and sing the lyrics and then let everyone else do the rest. He was totally hands on throughout the entire process from start to finish, and he really knew exactly what he wanted from each person working with him, and what he wanted the final product to sound like. Here’s another quote from Man in the Music, this time from long-time collaborator, Bill Bottrell. He said,

“He has precise musical instincts. He has an entire record in his head and he tries to make people deliver it to him. Sometimes those people surprise him and augment what he hears, but really his job is to extract from musicians and producers and engineers what he hears when he wakes up in the morning.”

Willa:  And sometimes he takes matters into his own hands. I remember hearing an interview with him one time where he said he worked on the bass line of “Billie Jean” for a solid week. He said that distinctive bass line is so important to the mood of that song – it’s like the foundation everything else is built on – so he worked and worked on it to get it just right.

Joie:  I also think it’s really interesting that Michael always had this great love of sounds. He said many times that he just loved discovering new sounds and taking random sounds and putting them under the microscope and manipulating them and dissecting them. He obviously had a great ear for sound and in Man in the Music, Joe tells us that he even created an entire song out of sounds. Before reading this book I never knew that “She Drives Me Wild” was made up entirely from random street sounds! Joe tells us,

“‘She Drives Me Wild’ further extends this interest [in using everyday sounds to create compelling music]…. In place of traditional instruments, Jackson develops an entire rhythm track from car horns, engines, sirens, slamming doors, and other ‘noises’ from the street. ‘Even the bass is a  car horn,’ says Teddy Riley.”

Willa:  Isn’t that amazing?  I had to go back and listen to “She Drives Me Wild” after reading that. I was really struck by this ongoing focus on found sounds too, especially since Ultravioletrae had posted comments about that very topic recently, especially the use of animal sounds and industrial sounds. As she wrote about “Unbreakable,”

Many MJ songs feature the sound of air, wind, breath as percussion or sound scape or expressive vocalization. At the bridge in “Unbreakable” we hear the artificial sound of gasping for air through an oxygen mask as if on life support. Chilling. And in the very opening intro sound scape, we hear the purr of an engine moving around in sonic space but layered on top is the sound of a cat purr, cat being another common symbol throughout his work…. This happens all throughout the work. What is the sonic message?

I’m really intrigued by this now and think it would be really fun to look at it in more depth sometime – at how he used different found sounds over the years, and the different soundscapes he created with them, and the ideas and emotions he was conveying with those sounds.

And this wasn’t a passing interest for him. On album after album, he says he wants to create “sounds the ear has never heard” before. I think Joe has that idea quoted three different times from three different sources working on three different albums. It was like a career-long mantra for Michael Jackson – to push the envelope and create entirely new sounds and new ways of engaging with music.

Joie:  You know, Willa, I just finished reading another new book that was released recently by Michael’s long-time friend, Frank Cascio, and he actually talks a little about Michael’s obsession with finding new sounds too. Cascio says that when Michael was working on Invincible, he urged producer Rodney Jerkins to “Hit on random rocks or toys. Put a bunch of glass in a bag, add a mic to it, and throw it around.” He goes on to say,

“I had seen Michael play around with this kind of sound creation himself…. Once, we put a mic in a bag with rocks, toys and some small pieces of metal, taped it to the outside of a DAT machine cushioned in bubble wrap, and threw the whole contraption down the stairs. Michael then proceeded to take all the sounds from inside that bag, put them across a keyboard, mix them, and tune them. On Invincible, you can hear those one-of-a-kind sounds on “Invincible,” “Heartbreaker,” “Unbreakable,” and “Threatened.”

This is something that Man in the Music hits on as well, as Joe tells us that the “wildly ricocheting beats and sounds” on the song “Heartbreaker” feels like “a mad scientist” has gotten loose in the studio. Then he goes on to quote Michael, who said,

“A lot of the sounds on the album aren’t sounds from keyboards…. We go out and make our own sounds. We hit on things, we beat on things, so nobody can duplicate what we do. We make them with our own hands, we find things and we create things. And that’s the most important thing, to be a pioneer. To be an innovator.”

So, it was not a passing fancy for him; it was more like a life-long obsession. In fact, I believe that in his own book, Dancing the Dream, Michael talks about how he hears music in everything, in every part of nature. He writes,

“People ask me how I make music. I tell them I just step into it. It’s like stepping into a river and joining the flow. Every moment in the river has its song. So I stay in the moment and listen…. As long as I can listen to the moment, I’ll always have music.”

To me, this says that Michael had the ability to hear music in absolutely everything – a car horn, the crunch of leaves in the fall, the sound of the wind rustling through the trees, even a baby’s cry or his children’s laughter. I bet, if we could ask him right now, he would tell us that this was true.

Willa:  I think you’re right, Joie, and I think he tried hard to share that with us so that we could begin hearing the music of the world around us as well – both the natural world, as Joe describes so well in the “lush production” of “Break of Dawn”  (“It is as natural and beautiful as the birdsong that unobtrusively appears throughout the track”) and the man-made world, as we hear in that pounding opening trilogy of Invincible.

Joe’s book also shows that sometimes he incorporated these found sounds as is, and sometimes he experimented with them in the studio to push the envelope even further. As Michael Jackson himself says,

“I like to take sounds and put them under the microscope and just talk about how we can manipulate the character of it.”

And he didn’t just innovate in the studio. He was also constantly thinking about how to use new technology to share his music and ideas with his audience. In the 1980s, this new technology was MTV and the music video. In the 2000s, it was the Internet and music streaming and, according to Joe, he had a plan worked out for how to harness that technology to promote his next album, especially since he couldn’t count on Sony to promote it for him:

“He also had a unique plan in store for the new music’s release…. [H]is vision was to finish many of the tracks while his concerts were going in London and release them one-by-one as singles, not as a full album. It was a brilliant idea. Jackson, as always, was keenly attuned to the music industry and felt this was the ideal way to disseminate his music in the age of digital downloading. He also realized that with the publicity generated by his ongoing stay at the biggest venue in the world, the anticipation for each new song would be huge. Rather than give critics a chance to immediately dismiss his new album as a flop, he’d outsmart them by having hit single after hit single.”

Joie:  Yeah, I read that and was amazed. What an incredibly brilliant idea that was! Especially since he was sort of a “free agent” at that time, the biggest artist in the world without a record deal.

Willa, this book of Joe’s is really the greatest comprehensive work on Michael Jackson’s solo career that we have ever seen. Honestly, I can’t think of any other book out there that rivals it. The only one that even comes close is Adrian Grant’s Michael Jackson: The Visual Documentary, which many fans refer to as ‘the Bible’ because it’s so all-encompassing. But that book, though incredible, is completely different from Man in the Music because it doesn’t solely focus on Michael’s art or even attempt to look at it in any real or meaningful way; it’s merely a reference guide. There is also Cadman and Halstead’s Michael Jackson: For the Record, which is a wonderful book with lots of great information on chart placings and such for each song – beginning in the early Motown days – but again, it doesn’t really go into the extreme detail that Joe does. It’s also strictly a reference guide, whereas Man in the Music is so much more than that. So, actually, in terms of providing an in-depth look at Michael’s adult solo work – the creation of each song on each album and the possible meanings behind them – Joe’s book really has no equal. It’s just amazing. You know, I am so devoted to this book that I intend to ‘Pay Michael Forward’ for Christmas this year. Everyone on my list is getting a copy!

Celebrating Invincible, Part 4: Threatened!!!

Willa:  This week we’re looking at “Threatened,” a very unusual horror story told from the point of view of the monster, who’s trying to figure out why everyone is so frightened of him.

“Threatened” begins with an introduction by Rod Serling, but it’s more philosophical and psychological than frightening. As Serling says, “Tonight’s story is somewhat unique and calls for a different kind of introduction.” He goes on to say, “A monster has arrived in the village,” a typical scenario in horror movies, but then tells us, “The major ingredient of any recipe for fear is the unknown.” So instead of encouraging us to feel fear, as horror movies typically do, he’s asking us to step back and analyze that fear. He concludes the intro with “Oh yes, I did forget something, didn’t I? I forgot to introduce you to the monster,” and we immediately hear Jackson’s voice singing, “You’re fearing me.” Suddenly we realize that he’s the monster. And he’s trying to get inside our heads and understand us.

Joie:  It’s very interesting you should describe the monster that way because that is not the feeling I get from this song at all. It is absolutely told from the monster’s point of view but, I don’t believe he’s clueless as to why everyone is frightened. Just the opposite, actually. He knows why they’re afraid and he likes it. Not only does the monster know exactly what he’s doing but, he enjoys doing it. He is obviously having great fun scaring all of the people.

You should be watching me, you should feel threatened.
While you sleep, while you creep, you should be threatened.
Every time your lady speaks, she speaks to me, threatened.
Half of me you’ll never be, so you should feel threatened by me.

It’s as if he’s celebrating, reveling in the effect he has on those around him. He is something to behold and he knows it and he is taunting those who look down on him and mock him. They are jealous of his beauty, his talent, his power and he throws it in their faces. “You’re fearing me, ’cause you know I’m a beast,” he sings. It’s the kind of trash talking that you hear from sports fans and others about to go into battle on any given court, field, board game or boardroom.

Willa:  Well, Joie, I agree that he was certainly “something to behold!” And I agree this song has a defiant, in-your-face edge to it – “trash talking” is a good description. And it may be that in some ways he enjoyed people’s fearful response to him. But I also think he sees that fear as really dangerous, and he’s trying to understand where that fear comes from.

To me, this is another one of those songs that is directly addressing the current circumstances of his life. The media and a fairly large percentage of the population are treating him like a monster, and he’s exploring the reasons why. As the title suggests, he thinks people see him as a monster because they feel “threatened” by him, but why? What exactly is so threatening to so many people? What are they so scared of?

This to me is the crucial question at the center of “Threatened,” and the answers he suggests are fascinating. I tend to think people were threatened by the way he blurred boundaries of race, gender, and sexuality, but he points to a different source – and he has good reasons. After all, the frenzied media criticism started before he really began transgressing those boundaries. He released “Leave Me Alone,” a funny but defiant response to the media hysteria, in 1989 when his skin was still fairly dark.

Also one of his heroes, Charlie Chaplin, was demonized in the press just like he was – Charlie Chaplin was treated like a monster, a “moral leper,” for more than 30 years – yet Chaplin wasn’t challenging the same kinds of social boundaries Michael Jackson was. We see a similar demonization of Elvis, and Barry Gibb, and Barbra Streisand, and Britney Spears. In fact, we see this sort of mob mentality occurring fairly regularly throughout our history where the press and the public turn against a popular performer in really vicious ways, and I think Michael Jackson is using “Threatened” to both push back against that mob mentality as well as try to understand it.

As we see in the lyrics you cited, he suggests there are deep psychological reasons for these ugly witch hunts, including feelings of inadequacy and jealousy. After all, he’s a sex symbol – “Every time your lady speaks, she speaks to me, threatened” – and a very talented, very handsome, very successful rock star – “Half of me you’ll never be, so you should feel threatened by me.” He’s also a celebrity, and his fame has made him so much larger than life that no one else can measure up, so now there’s an impulse to knock him off his pedestal and cut him down to size.

Joie:  Willa, while I can agree that this song is addressing the usual monsters in Michael’s own experiences, I really don’t think that he’s trying to figure them out at all. That’s not what’s going on here. I don’t believe he is suggesting any kind of reasons for the fear and I don’t believe he’s even asking the question ‘why are you afraid.’ Instead, I feel he’s telling us that he already knows exactly what’s going on. He knows why they’re afraid. And not only is he telling them that he understands it, but he’s letting them know that they’re right. They have good reason to fear him. “I’ve got a spell on you,” he sings. Then he says this:

Your worst nightmare, it’s me I’m everywhere
In one blink I’ll disappear, and then I’ll come back to haunt you

He’s letting them know that he’s not going away. They should feel threatened because they can’t get rid of him. He’s unstoppable. They’ve tried their best – Sneddon, Dimond, the Chandlers, the tabloids – they’ve all tried their best to bring him down and they may have knocked him off his game for a minute but, he’s not done. They didn’t finish him off and now he’s back, better than ever. They can’t silence him, they can’t control him, they can’t reach him… they can’t break him. So, essentially, he is ending this album on the very same triumphant note that he began it on:  by telling all those who tried to stop him that, after all of their efforts and all that he’s been through, he’s still here. They “can’t believe it, …can’t conceive it.” But it is the very reason why they should feel threatened.

The chours of “Threatened” that I cited earlier is the same sort of defiant battle cry that we saw in the opening lines of “Unbreakable.”

Now I’m just wondering, why you think
That you can get to me, with anything
Seems like you’d know by now
When and how, I get down
and with all that I’ve been through, I’m still around

It is the exact same message, just different words. In essence, with Invincible, he has just taken the listener on a journey that has now come full circle. This message – that he is still standing, “steady laughin’, while surfacing” – is so important to him that he felt the need to repeat it at the end of the album. Just to make sure we got it, in case we missed it the first time around:

You should be watching me, you should feel threatened

He sounds glorious on this song, as if he is having the best time recording these vocals. As I said before, it almost sounds as if he is celebrating, and the menacing tone of his voice on this track is laced ever so slightly with pure joy. He clearly enjoys the role of the monster on this song and he’s having fun with it. And I believe he sounds joyful because he is defiantly reminding us that he is still here and his art and his ideas – his love – will forever be unbreakable. They can knock him off that pedestal and try to cut him down to size but, it will never really work. He’s not going away and they should be afraid of that. “Half of me you’ll never be, so you should feel threatened by me.”

Willa:  Wow, Joie, this is so intriguing to me. When we first started tossing around the idea of doing a post on “Threatened” and we each said how much we loved it, I just assumed we saw it the same way and loved it for the same reasons. I can’t believe we saw this song so differently. I really do love “Threatened” – it’s one of my favorite songs on Invincible – but I would never have said it was glorious or joyful or celebratory. But I have to say, I’ve been listening to it a lot lately, and I’m starting to come around to your way of thinking. Before, I was so focused on how horrible it must be to have everyone think you’re a monster, I just couldn’t imagine anything joyful about it. But you’re right, that’s also a pretty powerful position to be in, and he does seem to be “reveling” in that power, as you said earlier. He’s definitely flexing his muscles on this song, and he’s enjoying it. Wow, you’ve really expanded the way I think about this song, and that is so interesting to me.

I still see “Threatened” as an insightful psychological study, though, which is what drew me to this song in the first place. I think he’s exploring the reasons why this ugly mob mentality erupts every so often against popular performers, and the reasons he identifies are fascinating and have to do with the nature of celebrity itself, and that weird double-vision of celebrities being both very familiar to us and yet essentially unknown. You know, the scariest horror movies aren’t about monsters from outer space; they’re about someone or something trusted and familiar becoming alien and scary. The father in The Shining goes insane and attacks his own family. The parents in The Omen are murdered by a son who isn’t really their son. The daughter in The Exorcist is possessed by demons and becomes unknowable. The mother in Rosemary’s Baby discovers her baby is devil spawn. The scariest monsters aren’t Godzilla and King Kong – they’re a favorite doll or teddy bear or the family dog or a parent or child or trusted neighbor when they turn murderous and attack the ones who love them and trust them most.

Michael Jackson was so familiar to us in so many ways. Perhaps most important was his incredible capacity for empathizing with an audience. Over and over, people talk about this deep connection they felt with him. When he sang, you felt like he knew what you were thinking and feeling, and was expressing your own thoughts and emotions back to you. As he sings in “Threatened,” “I’ve got a spell on you,” and he did have a spell on us. We were spellbound by everything he did. And he wasn’t just a celebrity; he was a celebrity who grew up in front of us. We felt like we’d known him since he was a boy. So he seemed very familiar in that sense also.

Plus, he was such a celebrity and so incredibly well known, so there was that kind of familiarity also. As he goes on to sing in “Threatened,” “it’s me, I’m everywhere.” And it’s true, he was everywhere, and he still is. His face, his music, his dance moves, his glove and fedora, his whole iconography – it’s truly amazing, his influence is everywhere. I was watching a Schoolhouse Rock video with my son the other day, the one called “Dollars and Sense,” and suddenly the cartoon character moonwalks past a music store. He’s even in Schoolhouse Rock. You can’t escape him, just like you can’t escape the zombies in a horror flick.

Joie:  Oh, Schoolhouse Rock! I used to love those things. But exactly! That’s the point I was trying to make here. We can’t escape him because he is everywhere. Just like he tells us in this song,  “Your worst nightmare, it’s me I’m everywhere / In one blink I’ll disappear, and then I’ll come back to haunt you.” He knows that his influence is inescapable; he knows that no matter what they try to do to him, they will never be able to fully escape him and so, he taunts them with his words:   “You should be watching me, you should feel threatened.”

Willa:  I agree. But then he grew up and changed, and some people began to wonder if we really knew him as well as we thought. There began to be that deep, unspeakable fear of the familiar becoming alien and “threatening.” Then a man accused him of molesting his son, and that fear exploded. And as he tells us in “Threatened,” we can’t escape that fear because it’s not coming from him, it’s coming from us – it’s within us, within our own minds. It’s “the dark thoughts” inside our own heads:

You’re fearing me, ’cause you know I’m a beast
Watching you when you sleep
When you’re in bed, I’m underneath
You’re trapped in halls, and my face is the walls
I’m the floor when you fall
And when you scream it’s ’cause of me
I’m the living dead, the dark thoughts in your head
I heard just what you said
That’s why you’ve got to be threatened by me

This song just takes my breath away. It seems so brilliant to me on so many levels, with deep psychological insights, especially in the way it captures that complicated mix of fear and familiarity people felt for him.

But before we started talking, Joie, I’d never thought about that fear as a potentially powerful force for him – something he could use to move us in deep psychological ways – and that complicates this all still further. I’ve come to agree with you, it does sound like he’s reveling in that power, and for me that just opens up a whole new way of seeing this song. Wow.

Joie:  Well, Willa, you’ve made some great points about the familiar becoming scary and threatening and I find that all very fascinating. But for me, “Threatened” has always been one of my favorite songs on the Invincible album and from the very first time I heard it, I have always felt that this was a song of triumph and victory. A song of revelry or rejoicing. It’s an exhibition of sorts. ‘Look at me, I am here and I am magnificent!’ That’s the message I get from this song. That is what I hear every time I listen to it. And again, to me, it is a reaffirmation of the very same message we hear on the first song on the album. And to some that may seem like a bit of an ego trip or a bold statement for someone to make but, we’re talking about Michael Jackson here. The very same artist who floated a 32-ft. statue of himself down the Thames River to promote an album. That stunt certainly got people talking, and I imagine that “Threatened” was probably intended to do the same thing.

In his much-anticipated book, Man in the Music: The Creative Life and Work of Michael Jackson, Joe Vogel tells us that Michael had intended on making a horror-themed short film for this song complete with cutting edge special effects but, of course that was scrapped when Sony pulled promotion. So, we’ll never know what he had in store for us with this one but, I’m sure like the song itself, it would have been something glorious.

Celebrating Invincible Month, Part 1: Unbreakable

Willa:  This week Joie and I are kicking off a month-long series on the Invincible album with a close look at “Unbreakable,” a defiant battle cry we both love with some really fascinating lyrics.

Joie:  I love “Unbreakable.” It is a fascinating song with lyrics that just jump right out at you simply because they are like a window into what life must have been like for him.

Now I’m just wondering, why you think
That you can get to me, with anything
Seems like you’d know by now
When and how, I get down
and with all that I’ve been through, I’m still around

It’s as if he’s addressing all of the Sneddons, the Dimonds, the Chandlers – all the tabloids of the world – and saying, “You tried your best but, I’m still here and there’s nothing you can do about it!”

Willa:  I agree, and I love the way you put that. In fact, a lot of songs on Invincible seem like “a window into what life was like for him,” and I really see that in “Unbreakable.” It’s such a defiant response to everything he’s been going through, and I’m especially struck by this line:  “You can’t touch me ’cause I’m untouchable.”

In the caste system in India, Pakistan, and other parts of the world, Untouchables were (and in some places, still are) the people at the very bottom, the lowest of the low. They were perceived as impure – so impure that if they touched you, even brushed up against you accidentally, you would become impure also. That’s why they were “untouchable” – because you must never touch them, or let them touch you.

When I was in sixth grade, I became friends with an elderly woman who lived near us who became a doctor back when very few women were doctors. She spent nearly 30 years working in Pakistan and India, and was just an incredible person. I loved to visit her and listen to her stories, and hearing about the Untouchables made a big impression on me. I used to wonder what it would be like to have everyone you loved or everything you cared about be corrupted by your touch – kind of like King Midas, but worse. Your touch turns everything impure rather than to metal.

That was Michael Jackson’s life after the 1993 allegations. His public image became so toxic, so impure, that anyone who supported him, any place that gave him sanctuary, any project he worked on was tainted as well. His friends and family, even his fans, were ridiculed in the press, and Lisa Marie Presley was treated horribly – nearly as badly as he was. “What More Can I Give,” a song to benefit victims of the September 11th terrorist attack, was portrayed as a cynical ploy to improve his image by exploiting a national tragedy. And his efforts to help children in need were criticized as, at best, inappropriate and, at worst, additional evidence of his brazen moral corruption. In other words, by the time Invincible came out, he had become an Untouchable. No one in the press believed his motives were genuine or pure, and everything he touched was symbolically contaminated merely by association with him.

In the chorus of “Unbreakable,” he seems to acknowledge this (“You can’t touch me ’cause I’m untouchable”) but then he does something remarkable that he did throughout his career:  he takes that cultural narrative and flips it inside-out, completely rewriting it. “You can’t touch me ’cause I’m untouchable” doesn’t feel like a concession. It feels like a declaration of strength. He’s “untouchable” because he’s too powerful to be touched, too invincible to be hurt. He conveys this redefinition both through the sheer power of his voice when singing this line and through a parallel line that echoes the first, emphasizing this bold new meaning:

You can’t touch me ’cause I’m untouchable . . .
You’ll never break me ’cause I’m unbreakable

He sings these lines six times over the course of “Unbreakable,” including three times in succession at the end of the track. These words are important, and in some ways capture in miniature what Jackson did over and over throughout his work. He’s positioning himself with the dispossessed and giving them a voice – in this case, those (including himself) classed as impure, outcast, “untouchable” – while fundamentally changing the narrative that disempowers them. In this context, his cry that “I’m untouchable” becomes a defiant challenge to those who try to twist his motives and impose their worst interpretations onto him.

Joie:  Wow. Ok, Willa. Now you have officially blown me away with that one!! I have never thought of “Unbreakable” in terms of caste. I have read about the caste systems in various parts of the world and you’re right, it is both fascinating and sad to think about. But I had never viewed this song in those terms.

I have to make a confession here. I absolutely adore the Invincible album. I am in love with it actually and most of the time, it runs a very close race with Dangerous as they vie for the title of my favorite Michael Jackson album. I have multiple copies of both of them. They are the only two Michael CDs that I must have at least 3 copies of at all times (one for my car, one for my husband’s truck, one for the CD player in my kitchen so that I can have music while I cook dinner). And that doesn’t even count the ones that I have given away over the years to friends and family members or the digital copies on my computer and my iPod.

So, needless to say, I have listened to this album about a million times and when listening to “Unbreakable,” that line about being untouchable never struck me that way before. I am really intrigued by this idea that he was identifying with the lowliest people on earth through that line and now that you’ve pointed it out, it just makes so much sense to me. Really profound observation! And you’re completely correct when saying that anyone who supported him was tainted as well. And I think, as fans, we can all attest that we still feel that way, to some degree. That stigma never really let up. Not for us and certainly not for him or his family.

Willa:  That’s interesting, because that line has always struck me that way, maybe because of those stories my friend told me way back in sixth grade, and because of the strong parallels to his life at that time. That’s one reason I think it’s so valuable to share interpretations of his work – because we all bring different ways of seeing and we can learn so much by sharing those different views. I’ve learned so much through my conversations with you. And this line from “Unbreakable” has always evoked a very powerful image for me – of Michael Jackson being made to feel ashamed and “untouchable” for something he didn’t do, and then rewriting that as a declaration of strength.

But you’re right, that stigma never let up, and the consequences were horrible – personally, professionally, and artistically. We see references to the pain of that stigma throughout Invincible. It’s like he can never escape it, and I really don’t know how he endured it for so long. It also ham-strung his efforts to help others, which had to be incredibly frustrating for him. He was passionately committed to social change and improving the lives of those classified as outsiders – a commitment we see throughout his career from “Ben,” his first solo hit when he was 13 years old, to the “Earth Song” number he was working on the day before he died. Yet he was severely hampered after 1993 because everything he did was seen through this lens of corruption and impurity. By 2001 he had matured into a truly amazing artist and should have been at his peak creatively, but he was shackled by those allegations. Not only was he reviled in the press, but other artists became reluctant to work with him – even his own record company was hesitant to support him.

Joie:  You’re absolutely right and I feel like in many ways, he never totally rebounded from the ’93 allegations. In fact, I often find myself wondering how his career would have been different if it had never happened. I mean, he was such an extraordinary talent with so much passion and imagination so, I wonder what amazing things he could have accomplished in his career – and in his life –  had the allegations in ’93 never happened. How would his career have unfolded if he had never been falsely accused of the most horrible of crimes? But I know those thoughts are pointless because, the allegations did happen and here we are. But as for Invincible, I also wonder what heights this truly incredible album could have seen if Sony had gotten behind him and promoted it properly.

This month there is a whole movement by Michael fans around the world to get the Invincible album to number one on the charts during October. It’s called the Invincible Campaign and its mission is two-fold. The first order of business is to get the album to number one in celebration of its 10th Anniversary (it was released in October, 2001). The second purpose of the campaign is to let the music from the album serve as a sort of backdrop or a peaceful banner for Michael during the trial of Conrad Murray in order to remind the world that Michael’s art was “Unbreakable” and “Invincible.”

Willa:  It also encourages fans, as well as the public at large, to take a second look at an album that never received the attention it deserved when it was first released. There’s a long tangled history here, but the result was that Sony didn’t promote it well, as you say. Much worse, to my mind, is that Sony prevented him from producing the videos he had planned for this album. I believe his visual art was as important as his music – that, in fact, he was able to express his ideas more fully through film than music – so cutting off that avenue of artistic expression from him is tragic, for him and us. Can you imagine the Thriller album without the videos for “Billie Jean,” “Beat It,” or “Thriller?” He made ten videos for the Bad album and nine for Dangerous, but Sony cut him off after two for Invincible, refusing to let him create the video he had planned for “Unbreakable,” or any others – a decision that infuriated him. (It was after this decision that he launched the protests in Harlem.)

Joie:  Actually, Michael only really created one video for the Invincible album as he was so upset with Sony at the time that he refused to participate in the video for “Cry.” But you’re right, it was really such a shame that they chose not to support him.

Willa:  To me, that decision borders on criminal. What potential works of art did the world lose because of Sony’s short-sighted decision?  I’m sorry, but if Michelangelo has an idea for a sculpture and wants a 20-foot block of marble, you give him a 20-foot block of marble. You don’t tell him that marble is too expensive. You do everything in your power to provide him with whatever he needs to fulfill his artistic vision. And if Michael Jackson wants to create a video, then you do everything in your power to facilitate that. Can you imagine if the world had been deprived of Michelangelo’s David or the Pieta because he was denied the materials he needed to create them?

That’s how I feel about Sony’s decision. I’m just stunned that they would act this way – especially since you can make the argument that there wouldn’t even be a Sony music division as we know it without Michael Jackson – and I really wonder what he had planned for “Unbreakable.” It’s fascinating to think about, especially since this is such an intriguing song. For example, what about these lyrics: “You can’t believe it / You can’t conceive it.” What does that mean? What is he thinking? And would he have provided clues in the video he had planned – a video his own record company prevented him from making?

Joie:  I absolutely agree with you. What a HUGE mistake for Sony to virtually bail on their biggest artist, and it’s easy to understand why Michael felt that the company was plotting against him. I mean, even the album’s name frustrated him. The title track was, of course, supposed to be “Unbreakable” but, Sony “mistakenly” had the cover printed up with the wrong title song and by then it was too late to fix it.

But, I do want to point out that Sony was a very different place back then. Tommy Mattola, who was the head of Sony at the time and the one giving Michael such a hard time, is no longer there and hasn’t been since 2003. In fact, Sony has gone through three other chairmen/CEO’s since Matolla left so, it really is a different environment now than it was back then.

The whole fight between Michael and Sony became such a public mess with cries of conspiracy over the Sony/ATV catalog and I am certain that Michael had very good reason to feel the way he did. But the unfortunate outcome of it was that a truly wonderful work of art that Michael Jackson spent a great deal of time on, pouring his heart and soul into for months and months, got overlooked and pushed to the wayside in all of the confusion. The Invincible album is practically unknown outside of the fan world and it’s just such a shame that the rest of the world missed it because there are some real musical gems on this record. That’s why Willa and I wanted to do our part this October and help celebrate the 10th Anniversary of Invincible by doing a month-long series on the album.

And I have to admit that I did participate in the campaign’s buy event yesterday; I went out and purchased another copy of the CD. But, of course, I do that periodically anyway…. it’s like a sickness! I am obsessed with this album.

Willa:  Well, as you know, I’m not the most technologically advanced person in the world, but I have this iPod I’m gradually bonding with – at least, I’m comfortable checking email and searching the web with it now. But my son keeps laughing at me because I’m so cautious about using it. As he pointed out the other day, I let it “mellow” in its box for four months before I even opened it. Apparently he’d been monitoring the situation to see how long it would take, but finally decided I was going to let the warranty expire before I ever tried it so finally just opened it for me and got it going. (He has one too.) And then practically the first thing I did with it was somehow take a picture of my own eyeball. He thinks this is all very funny – just the whole situation of his 50-year-old mother trying to figure out an iPod. It cracks him up.

Anyway, I’ve had this thing for 10 months now and still don’t have any music on it, so I was thinking I might download Invincible – my first music download! – and support the campaign at the same time. Wish me luck! And then next week we’ll continue our discussion of this remarkable yet frequently overlooked album.