Michael Jackson wasn’t exactly celebrating his 47th birthday on August 29th, 2005. Not only had he just undergone the horrific ordeal of the Arvizo trial during the first half of the year, but it also happened that August 29th, 2005, was the day that Katrina hit New Orleans and the Gulf Coast, precipitating one of the worst natural disasters in U.S. history. The death toll was in the thousands (though to this day, there remains no official, accurate count of just how many died in Louisiana alone), and no one can forget those horrific images of flooded New Orleans and those hundreds of stranded residents who couldn’t or wouldn’t flee. Many of Katrina’s victims were from the poor areas around the Ninth Ward, which not only received the worst flooding but also, where there were many residents who didn’t have transportation or money to evacuate.
I was aware that Katrina had hit on the same date as Michael’s birthday, though in past years I had never really given much thought to the connection. However, with this year being the tenth anniversary of Katrina, I had been thinking a lot more lately about this coincidence, and wondering, if anything, what Michael’s reaction had been. I also wondered if he had planned any kind of relief effort, as he had done with so many past tragedies, from the famine in Ethiopia, to 9/11, to the tsunami disaster in 2004.
I didn’t have to search very long or hard to find that answer. Even though Michael’s spirit had been crushed by a humiliating trial; even though he certainly had plenty of his own woes to think about, and even though he had by then turned very bitter against the U.S. and was living in Bahrain, his immediate reaction to the news of Katrina was how to help the people of Louisiana and the Gulf Coast. And apparently, he was giving no thought to the court of American public opinion, or even if such a relief effort could fly in the wake of his name having been so tarnished the previous spring. It isn’t hard to imagine that Michael must have spent his 47th birthday like so many of the rest of us that day, glued to those terrible reports and images coming out of New Orleans. And he responded in the only way a musician truly can. He wrote a song. And apparently, must have done so pretty quickly, because by September 7th, only a little over a week after Katrina hit, the press was announcing his intended charity relief single, “From the Bottom of My Heart.”
Here is the story that appeared on CNN:
Jackson plans Katrina victims song
Wednesday, September 7, 2005; Posted: 5:53 a.m. EDT (09:53 GMT)
Jackson has been staying in Bahrain since his acquittal in June.
LOS ANGELES, California (Reuters) — Pop star Michael Jackson, who has been in seclusion since his acquittal on sex abuse charges, has written a song that he will record to benefit victims of Hurricane Katrina, according to his publicist.
Jackson will record the single, “From the Bottom of My Heart,” within two weeks, and he plans to enlist other entertainers for the project, spokeswoman Raymone Bain said.
“It pains me to watch the human suffering taking place in the Gulf region of my country,” Jackson, 47, said in a written statement released Tuesday.
“My heart and prayers go out to every individual who has had to endure the pain and suffering caused by this tragedy.”
He added: “I will be reaching out to others within the music industry to join me in helping bring relief and hope to these resilient people who have lost everything.”
Jackson, who left his Neverland Valley Ranch in California for Bahrain after his acquittal on child molestation charges in June, will record the song on a label owned by Bahrain’s crown prince, Bain said, and donate the proceeds to hurricane victims.
Bain said Jackson was hoping to repeat the success he had with “We Are the World,” a 1985 charity single with dozens of the era’s top recording stars that raised more than $60 million for Africa. Jackson wrote the song with singer Lionel Richie.
In reading this article from 2005, there were a couple of things of interest that I noted. One was Michael’s statement about Katrina’s victims and his emphasis on the fact that this tragedy had taken place in “my country.” I’m guessing he was playing it nice in wording it thus for the media, but I’m sure he must have shared the impotent rage that many African-American citizens were feeling, not only due to the fact that many of the victims hardest hit were poor African-Americans, but as the days had passed, the mounting frustration with the government’s handling of the situation. I think it also shows something else, however. It shows that, when pinch came to shove, his great faith in humanity and that eternal optimism that he could still strive to heal the world had not been tarnished, even in the aftermath of his own greatest, personal tragedy. He apparently still had faith that he could rally celebrities to this cause, and that some good would come from it.
No One Who Lived Through It Can Forget These Horrific Images Of Ten Years Ago:
However, within two weeks, “From the Bottom of My Heart” had still not emerged, and it appeared that he was getting very little in the way of celebrity support:
Michael Jackson Working On Katrina Song — But With Whom?
No artists have yet confirmed participation in the benefit single.
In his first interview since being cleared of child-molestation charges, Michael Jackson said he’s hard at work on his Hurricane Katrina benefit song, “From the Bottom of My Heart,” and that he’s feeling well after several health scares during the trial.
Jackson told The Associated Press during the brief interview that he’s “moving full speed ahead” on the single.
But unlike “We Are the World” — the 1985 charity hit co-written by Jackson that quickly drew participation from such heavy hitters as Bruce Springsteen, Bob Dylan, Stevie Wonder, Tina Turner, Willie Nelson, Billy Joel and Paul Simon — so far, no artists have confirmed participation in the recording of the single to aid victims of the August 29 disaster.
“I’m constantly working on it,” Jackson said of the song, which he first announced on September 6. At the time, Jackson said in a statement that he had written the song and intended to contact artists within days and record it within two weeks.
While Babyface’s spokesperson confirmed that the singer is down to record with Jackson, representatives for R. Kelly, Jay-Z, Ciara, Wyclef Jean, Mariah Carey and Lauryn Hill said those artists have been contacted but have not yet agreed to participate. Missy Elliott’s rep said she and Jackson are in discussions about the song but have not yet reached any agreement. Spokespeople for Lenny Kravitz, James Brown, Yolanda Adams and the O’Jays could not be reached by press time.
Jackson’s spokesperson, Raymone Bain — who last week confirmed the participation of Brown, Jay-Z, Blige, Elliott, Kravitz, Kelly, Snoop and Ciara — could not be reached for comment.
Four years ago, Jackson announced plans for a benefit song for the victims of the September 11 terror attacks. “What More Can I Give” featured vocals by Ricky Martin, Mariah Carey, Gloria Estefan and Reba McEntire.The song was shelved and never officially saw the light of day.
Following his child-molestation trial — which he described as “the hardest thing I’ve ever done in my life,” in his recent AP interview — Jackson and his children left the United States to take up residence in the Middle Eastern country of Bahrain, where the singer is still “resting and recovering.” Jackson is there as the guest of Prince Abdullah, the son of the country’s king. “From the Bottom of My Heart” is scheduled to be released on Abdullah’s 2 Seas Records.
Jackson, who has not appeared in public since being acquitted in June (see“Michael Jackson Not Guilty On All Charges” ), said “I’m feeling good,” after looking dangerously frail and suffering from various maladies during the trial, including a bad back and the flu.
So it appears that Raymone Bain-in yet another of her nefarious blunders-had prematurely released to the media a whole host of celebrity names that hadn’t even been confirmed. Sadly, it seems Michael was trying hard, but no one at that time was jumping to partner up with him to make it happen. However, it’s very possible this wasn’t the only reason for the delay. Michael’s own touted perfectionism could have also been a contributing factor. In interview after interview, he would always assure that he was working “full speed ahead on it.” But obviously, it had not come together in two weeks as originally hoped. What we can gather is that the song was probably still in a very raw state when the first announcement was made on Sept 7; hence, the rather inferior and weak title.
And it is also quite possible that, as usual, the media was jumping to put its own negative spin on the project. Lionel Ritchie was among those whom Michael had reached out to, and Ritchie was quoted in a late 2005 interview as saying the interest was definitely there but the logistics of getting so many celebrities together had not been properly worked out. In other words, it may have simply come down to poor planning and organization.
But according to this Billboard article from February of 2006, the project had finally come together. Not only did the song now have a new and improved title-“I Have This Dream”-but was actually recorded in London on November 1, 2005!
Jackson’s Katrina Song Said To Be Ready
Eight days after Hurricane Katrina hit, Michael Jackson announced he would release an all-star charity single within two weeks.
Eight days after Hurricane Katrina hit, Michael Jackson announced he would release an all-star charity single within two weeks. Nearly six months later, after questions about exactly who would be participating, the prince who has been hosting Jackson during his self-imposed exile in Bahrain says the song will come out by the end of this month.
In a telephone interview from Dubai last week, Sheik Abdullah bin Hamad Al Khalifa, the son of Bahrain’s king, said, “The record is coming along great. We’ve been taking our time to perfect it and mix it.”
The song is currently titled “I Have This Dream,” and it includes Snoop Dogg, R. Kelly, Ciara, Keyisha Cole, James Ingram, Jackson’s brother Jermaine, Shanice, the Rev. Shirley Caesar and the O’Jays, the prince said.
Missing are James Brown, Jay-Z, Mary J. Blige, Missy Elliott and Lenny Kravitz, who Jackson spokeswoman Raymone Bain said in September had agreed to participate.
“We were wondering whether or not it was ever coming out,” O’Jays co-manager Andy Gibson said. “They recorded their part of it two or three months ago.”
The prince said the release has been delayed because additional artists wanted to contribute. But he declined to name those artists — “I’d like to keep that as a surprise” — or to name the company he claimed to have secured to sell the song via CDs and the Internet.
Prince Abdullah, 30, plans to release the song on his own 2 Seas label. “Michael did a wonderful track,” he said. “His voice was phenomenal.” He said the song, which Jackson wrote, “is a message of peace and help and caring. It’s a song of total oneness.”
Jackson has been living in Bahrain since his acquittal in a harrowing molestation trial last year, and now has a house there, the prince said. He didn’t know if Jackson plans to settle in the country permanently.
Several of the participating artists recorded their portions of the song Nov. 1, gathering at a Los Angeles studio, Bain said.
“James Ingram, Ciara, Snoop Dogg and Shirley Caesar were all there,” said O’Jays lead singer Eddie Levert. “Michael produced it on the phone from Bahrain. He talked to Shirley Caesar, he talked to James Ingram. He talked to everyone except me.”
“Overall, it came out very well,” Levert said. “It had a strong gospel feel. I think it’s really a great song. If radio plays it, it could do very well.”
Asked if the song’s release was a harbinger of a new Jackson album, Prince Abdullah laughed and said, “I will just say we’ve been very busy.”
“This is a raindrop before the thunderstorm,” he said. “He’s getting ready to come out with a lot of bells and whistles. He’s so energized. It’s explosive.”
So, from Prince Abdullah’s comments, we do get a few choice hints of what the song might have sounded like:
Michael did a wonderful track,” he said. “His voice was phenomenal.” He said the song, which Jackson wrote, “is a message of peace and help and caring. It’s a song of total oneness.”
And this from Eddie Levert: “It had a strong gospel feel. I think it’s really a great song. If radio plays it, it could do very well.”
Even though never released, the song apparently received sufficient notoriety to be placed among Wikipedia’s listing of charity songs for Katrina relief, where it is listed as having been recorded by “Michael Jackson and All Stars”:
But sadly, the fate of “From the Bottom of My Heart”/I Have This Dream” seemed to have gone the way of so many planned projects during this phase. I can only guess that Michael’s soured relations with Prince Abdullah, resulting in an eventual court settlement, was probably a major contributing factor. To this day, the Prince is said to be sitting on a goldmine of unreleased stuff, including recordings for a CD that never materialized and a reportedly (but unconfirmed) massive, 600 page manuscript that was alleged to be an autobiography in progress. That these items do exist is, at least, proof that some of the snarkier media reports of the time (which accused Michael of being lazy and completely reneging on his promises by delivering nothing) were unwarranted. Apparently, Michael was not only working and working hard, but delivering, too-at least to a point. It’s just that not much was ever finished, and what was, apparently became the property of Prince Abdullah after the settlement.
Whatever the circumstances, it is tragic indeed that not one, but two of Michael’s planned charity relief singles, both for two of the U.S.’s most tragic events in recent history-“What More Can I Give” for 9/11 victims and “From the Bottom of My Heart” for Katrina victims- ended up being sacrificed to greed and litigation red tape. Imagine how much money could have been raised for victims; how much good these songs could have accomplished!
Recording Snippet Said To Be A Demo of “From the Bottom of My Heart”-But Unfortunately, Minus The “Phenomenal” Vocal:
It could probably be safely said that August 29th, 2005 was far from Michael’s happiest birthday, as he witnessed the images of the terrible devastation being wrought in his homeland. As I was watching documentaries on Katrina’s 10th anniversary the other night, I was also struck by something they said; the fact that one reason the hurricanes of the last decade have been so especially numerous and devastating has been due to the increased ocean temperatures. I couldn’t help but think that it had been exactly ten years prior to Katrina that Michael had prophesied many of these events to come in “Earth Song.” As David Nordahl and I had once discussed, Michael was well aware that we were in the time of the Earth Changes.
But if the devastation and tragedy of Hurricane Katrina did one bit of infinitesimal good, it was the fact that it shook Michael out of the apathy that had gripped him since the trial, and ignited in him the spark to once again, as he had said, “give a damn.” It reminded him that, personal tragedies aside, there was much worse suffering in the world, and that his work to heal the world-his real life’s mission- was far from over. There was still much work to be done. One can only imagine how the failure of this project, at a time when it was so desperately needed, must have chaffed him. But in reading about his enthusiasm for it, I am reminded again of that eternal optimism he had for humanity. When times were darkest, it was where he drew his strength.
On this August 29th, as we, the fandom, celebrate Michael’s birthday, let’s also not forget the terrible tragedy of Katrina and what happened ten years ago on this date. Ten years later, there is still no healing for many. I know that Michael would agree with me 100%-from the bottom of his heart.
Sometimes trivia searches can end in some surprising revelations.
It may just be one of those strange coincidences of history, but I’m a firm believer that nothing happens purely by coincidence. Rather, I believe there are those times when all of the right elements align and things happen for reasons we can’t entirely explain.
To back up, I should probably start by explaining that all of these connections began to make sense to me recently while drafting an article on the Kent State University and Jackson State College shootings which took place in the spring of 1970. It had occurred to me that there were important historical parallels between what happened then and recent events that are happening now, in the wake of Ferguson and the rash of police killings. Although they are very different tragic events, resulting from very different ideologies, they do share a common thread-that is, the irony of young people being gunned down by the civil servants sworn by duty to “serve and to protect.” In an ideal world, we shouldn’t have reason to fear either the police or American soldiers. These are the people we, as citizens, are supposed to be able to look to for protection.
In the case of the Kent State shootings, the students had felt justified in rallying to protest Nixon’s decision to invade Cambodia, further escalating a war that many had falsely hoped was drawing to a close. They thought that their guaranteed constitutional rights to Freedom of Speech and Right to Assembly would protect them. At least four of them paid with their lives; many more would carry the wounds of that day for the rest of their lives.
I was only six years old when the Kent State shootings happened, and like so many of the events that happened during that volatile time, I had never really given it much thought other than to lump it in my mind with all the usual montage of violent images from that era-Civil Rights demonstrations, riots, assassinations, hippies, Woodstock, Manson, etc. But one day, I randomly ran across a video of Crosby, Stills, Nash and Young’s “Ohio” a song that had been written and recorded less than two weeks after the events of May 4, 1970. And although I had seen the images many times before, for some reason that day, I felt an emotional connection to them that I had never felt before. Perhaps it was because I had already been feeling depressed over all of the sadness in the world. There had been so many senseless deaths in the news that week-Sandra Bland, Sam DuBose, and so many others, all killed as a result of asserting their rights. And then, as I went back and looked at those images from forty-five years ago, seeing those dead kids on the ground and how they stood strong in the face of masked soldiers who were basically sent to terrorize them into submission, something in me snapped. I broke down and cried.
I knew this had been building inside me for weeks; this feeling that sometimes the world is just too terrible to understand. And I understood then, more than ever, exactly what Michael meant when he wrote the words in Dancing The Dream about feeling the weight of the world’s pain and injustice: “I feel them inside me.”
This ignited in me a quest to research as much as I could about the events that unfolded that spring, and to study exactly how the events that led to both the Kent State and Jackson State killings escalated. I was interested in learning if there were, indeed, parallels that could be drawn between what happened then and what is happening now. And if so, could we learn from history?
However, I know my readers here may be wanting to know more about how this all ties to Michael. Well, it does in a rather surprising way. Or maybe not too surprising, considering that in recent months, Michael’s music has become the dominant soundtrack of #BlackLivesMatter and “They Don’t Care About Us” its unofficial theme song. But beyond that, we have also seen example after example of Michael’s music being used to bring about collective healing. Songs like “Heal The World, ” “We Are The World,” and “Man in the Mirror” have also become synonymous with the times in which we live. From Ferguson to Baltimore, we have seen the impact these songs have. And we saw what happened to a rioting crowd last spring in Baltimore when a young man named Dimitri Reeves began to dance to Michael’s music:
Now let’s go back forty-five years, to the last week of April, 1970. The same week that Nixon announces his plans to send U.S. troops into Cambodia, a happy and innocuous little song by a group of brothers out of Gary, Indiana peaks at #1. It’s called “ABC.” It seems ironic now to think that the same week in which America’s growing dissent against the Vietnam War came to its boiling point, such a happy and innocent song captured the mood of the nation. Ironic, perhaps, but not unusual. Pop music, along with other forms of popular entertainment, often reflects the times as much by what it is opposed to as what it mirrors. In fact, if we look at all of the songs that were battling it out for the top positions that spring, from the Beatles’ “Let It Be” to Ray Stephens’s “Everything Is Beautiful,” the pattern becomes clear. Many of these songs seemed to represent escapist wishful thinking-wishful thinking for peace and a new, prevailing pacifism that embraced the idea of accepting ideological differences, rather than engaging in conflict to resolve them. Only the Guess Who’s “American Woman” addressed the current conflict, but even then, it was an indirect, coded reference that not all listeners would “get” (the “American Woman” being merely a metaphor for the draft, and the irony further intensified by the fact that a Canadian band was singing it). Since explicit protest songs were often banned from U.S. radio play during the Nixon administration, these kinds of “coded” protest songs became quite common during the era. (Indeed, the ban on songs openly critical of the administration is most likely what kept “Ohio” from climbing higher than #16 on the U.S. singles chart, despite being the anthem of the Kent State tragedy. Many radio stations outright refused to play it).
“ABC” didn’t particularly fit into either category. It was not indirect, coded protest, nor was it preaching any anti-political message. It was simply a catchy little bubblegum song that, nevertheless, dropped at the perfect time to coincide with the rising tide of protest and dissent. But the fact that people were buying, listening to it, dancing to it, and requesting it in sufficient quantity to send it straight to the top of the charts says something very crucial about the mood and the spirit of the times. Perhaps, seeing as how so many of the actual, explicit protest songs of the era were being censored, it may not be surprising that the perfect antidote would prove to be a group of African-American boys who provided joy and optimism even as, perhaps by the sheer fact of their commercial success, were inadvertently creating a political stir of their own.
Nixon Announced His Plans To Send U.S. Troops Into Cambodia Just As “ABC” Climbed To The Top Position On Billboard
On Thursday, April 30th, Nixon announced the plan to send U.S. troops into Cambodia. By Friday, May 1, student protests had erupted on campuses across America. This latest escalation of the war, after Nixon’s much ballyhooed promise to end the conflict, caused tensions to escalate on college campuses for good reason. Many young men in college knew the draft was looming, and that deferment would not protect them forever. They envisioned a future in which they could graduate from college and pursue their dreams-not a future in which they would be sent off to die, for a cause they didn’t believe in. Many had already lost friends in the war. Alan Canfora, who has remained for forty-five years the most vocal and politically active of the students who were wounded and survived the Kent State massacre, had just attended the funeral of his best friend-killed while serving in Vietnam-only six days before Nixon’s announcement of the Cambodian campaign.
Although the rally held on the Kent State campus that Friday was relatively peaceful, tensions escalated on Friday evening when rioting broke out downtown. During that tense weekend, the campus’s ROTC building was burned. The mayor panicked and, rather than attempting to quell the unrest at local level, instead called upon Governor Rhodes to intervene. Rhodes, after delivering a ridiculous and inflammatory speech where he likened the student protesters to the KKK, called upon Ohio National Guard troops to come into Kent, essentially turning the Kent State campus into an occupied military base. Students who returned to campus that Monday morning arrived to find a campus occupied by a military presence. Soldiers patrolled the campus with M1 assault rifles, further escalating an already tense situation. That Monday, May 4, 1970 the students carried forth with their planned protest at noon on the commons, despite the threat of armed soldiers. The protest was, after all, a legal action sanctioned by the U.S. constitution.
The students were unarmed, though of course there was lots of heckling against the military presence and rocks thrown. The students were ordered to disperse, and tear gas was thrown. Some students tossed the tear gas canisters back. The campus was engulfed in the haze. But exactly what prompted the confrontation to go from mere heckling and threats to gunfire and death remains a mystery. Witnesses say they saw the soldiers retreat to a knoll beside Taylor Hall, where they then appeared to turn and fire in unison. What remains a matter of dispute is whether an order was given to fire, and if so, who gave it? Or did the soldiers simply “lose their cool” amidst all the heckling? Did one, lone soldier lose it and cause a reflexive action among his equally tense comrades? It is likely, but not supported by what eyewitnesses actually saw, which was at least a dozen troops turning and, in unison, taking position to fire.
The troops claimed self defense, of course, and to this day that remains their official position. But what is undisputed is that troops opened fire upon the students and shot a fusillade of 67 bullets in thirteen seconds. When it was over, four students lay dead (including two who weren’t even part of the protest, but were simply walking to class and got caught in the line of fire) and nine were wounded. Among those included one student whose spinal cord injury paralyzed him for life.
Two weeks later, protests against the Kent State killings merged with racial unrest at Jackson State College (now Jackson State University) in Jackson, Mississippi, resulting in the deaths of two students. In this case, it was not National Guard troops but local police and Mississippi Highway Patrol officers who committed the killings; however, the reported actions of the police were even more severe than what occurred at Kent State. Over 140 bullets were fired (at least one officer confessed to reloading his weapon over four times) and the fusillade lasted for almost thirty seconds. They shot directly into a female dormitory (though, miraculously, none of those students were killed). As with Kent State, there were students killed who weren’t even part of the protests, but were simply innocent bystanders. One, Phillip Lafayette Gibbs, had recently become a new father. The fact that the Jackson College killings were overshadowed by the Kent State shootings has rightfully been pinpointed as racism. While the Kent State massacre made the cover of Life Magazine, the equally tragic events at Jackson College, a historically black institution, were mostly overlooked by the media, or simply looked upon as part of the tide of tragic events that spring.
Then, as now, it seems that an inundation of tragic events, so closely on the heels of one another, can create a numbing effect. However, both events were equally horrific, equally tragic, and connected by a common thread-young people asserting their right to voice dissension, and attempts on the part of the government and civil authority to suppress that right. While it is undeniable that some violence did occur in the course of the protests. the fact remains that the students in both cases were unarmed and pitted against a force they could not overcome-soldiers and police fully armed with assault weapons.
Under intense pressure to investigate the killings at Kent State and Jackson State College, the Nixon administration formed the Commission for Campus Unrest. However, the result of the Commission’s findings would not shock those of us today who have come to hold out little hope for justice. Although ruling that the Ohio National Guard’s actions at Kent State were “unwarranted” and “unjustified” none of the soldiers involved in the shooting were ever charged with any crime. They continued to claim self defense, despite the fact that the closest student among the casualties, Jeffrey Miller, was over 265 feet away. In 2010, President Obama denied a request to reopen the investigation, thus guaranteeing that the debate over “what really happened” and the denial of true justice and closure for the victims’ families would continue. The only “justice” that the families of Jeffrey Miller, Allison Krause. William Schroder, and Sandra Lee Scheuer ever received was a paltry civil suit settlement that added up to approximately $15,000 per student killed, once it was split among the four surviving families. “Justice” for the families of Phillip Gibbs and James Earl Green was even more dire. According to a blog written by Desare Frazier commemorating the event:
Jackson State President John Peoples closed the college for the summer and mailed graduates their degrees. Lynch Street was closed on campus and renamed Gibbs-Green Plaza. No one was prosecuted for the shootings. But, Attorney Constance Slaughter-Harvey filed a $13.8 million civil lawsuit in 1970 against state and local officials and law enforcement officers. The case went to trial in February 1972 in Biloxi, and an all white male jury came back with a not guilty verdict. Slaughter-Harvey says the officers in the courtroom erupted in cheers. No one has been held accountable for the shootings.
Looking back on the events that unfolded that tragic spring, as Nixon’s Cambodian campaign escalated and anti-war demonstrations led to bloodshed on college campuses across the nation, it might not be surprising to learn that then, as with more recent events, the voice of Michael Jackson reigned above it all. As Nixon announced his plans to send troops into Cambodia; as National Guard troops opened fire on students at Kent State, radio stations across the country blasted the soprano voice of an eleven-year-old boy who simply shouted: “Sit down girl! I think I love you!”
In singing a message that seemed to be the perfect antithesis of the times, little Michael may have actually been providing its antidote more than he could have ever fathomed. He did it without the need for any deep, political message or anti-government rant. He simply gave the nation his contagious joy and declaration to “shake it, baby, shake it.” And America responded, by crowning him and his brothers #1 during the bloody two weeks that changed America forever. Years later, it would be a different story as Michael’s adult lyrics and politics became shaped by personal experience and world events. But what America responded to then was his innocence. He provided light, joy, and hope that somehow, a poor little black boy from the American midwest could lead us by example through the maze of violence and confusion.
Throughout the spring, The Jackson 5 and The Beatles continued to duke it out on the charts (perhaps another foreshadowing of things to come, when Michael would essentially “own” a large percentage of The Beatles’s songs). Meanwhile, Nixon declared “Operation Menu” (the Cambodian invasion) as the war’s most successful operation, despite the fact that it had plummeted his approval rating to an all-time low (of less than 50%) and the casualties continued to mount. Forty U.S. troops lost their lives during the Cambodian operation,and this number does not even begin to include the civilian casualties-both at home and abroad. For, as all Americans were acutely aware, the Kent State shootings had marked the beginning of the era when the war officially “came home” to the U.S. It also marked the beginning of America’s official unification against the war, resulting in the escalation of the government’s withdrawal efforts.
In the last week of June, 1970, after two intense and bloody months, of operation,Nixon began the official end of the Cambodian campaign by withdrawing ground troops. And perhaps it is not surprising that, the very same week that Nixon called for the withdrawal of those ground troops, Michael Jackson was again the voice at the top of the Billboard charts, singing a song about “The Love You Save.”
Just as “ABC” Had Hit #1 The Week Nixon’s Cambodian Campaign Was Launched, So “The Love You Save” Hit #1 The Week That Nixon Withdrew Ground Troops, Officially Ending That Stage Of The Operation. The Jackson 5 Had Thus Served As The Bookends Of The Entire Campaign.
The lyrics may have been a simple love song, urging a girl to “save” her love in the name of self respect, but they were lyrics with far reaching implications within the greater context of America’s role in Vietnam and the symbolic significance of the withdrawal from Cambodia.
After so much violence and bloodshed, perhaps all hope had not been lost. Love could still “save” us yet.
Thus, it seems that Michael and The Jackson 5 served as bookends for the entire Cambodian campaign, or at the very least, its bloodiest and most violent chapter on the American home front. Michael was singing the #1 song in America when the campaign was launched; he was singing the #1 song in America when it effectively ended. And later in the year, he would reach #1 again by singing a song that seemed to prophetically connect both events of the past spring and the future to come:
“Let me fill your heart with joy and laughter
Togetherness, well that’s all I’m after
Whenever you need me, I’ll be there
I’ll be there to protect you, with an unselfish love I respect you
Just call my name and I’ll be there” -The Jackson 5, “I’ll Be There”
This wouldn’t be the last time that Michael reached #1 the same week as a horrific world event. In March of 1988, “Man in the Mirror” peaked at #1 the same week as Bloody Friday, when nearly 5,000 Kurdish citizens were killed in one of the worst genocide massacres in history, the Halabja chemical attacks. I still remember the horrific TV images of those attacks, but the irony of this massacre occurring on the other side of the world the same week that Michael’s plea to “make that change” dominated the domestic charts truly drives home the poignancy of the coincidence.
And in Michael’s “Earth Song” performances during the HIStory tour, there was an eerie throwback to one of Kent State’s most poignant moments. Before the eruption of violence, when some of the students and National Guard troops had actually been fraternizing, Allison Krause had placed a flower into the barrel of one of the soldier’s guns, reportedly telling the soldier that “flowers are better than bullets.” That moment became an iconic symbol of the protest, intensified by the fact that Krause would be among those killed just minutes afterward. Her gesture was taken up by other student protesters. As these images were circulated throughout the media, the idea of placing a flower into a soldier’s gun barrel became a powerful symbol of the anti-war movement.
Michael paid homage to this symbol in “Earth Song” during the segment where the child emerges with a flower in hand to confront the soldier. The skit would conclude with the child giving the soldier the flower to replace his gun, at which point the soldier would usually break down weeping, ultimately joined by Michael and the rest of the cast. The symbolic significance of this act was the idea that the soldier, having been redeemed by love and innocence, is brought back into the human fold. I do not know if Michael consciously intended to pay homage to Allison Krause and her gesture of peace at Kent State that day, but he most certainly would have been aware of the powerful symbolic role that flowers had played in the anti-war demonstrations.
And perhaps none of it is truly coincidence, after all. Like all of us of his generation, Michael came of age during one of the most politically turbulent times in history, a time when our country was sharply severed among political, racial, and generational divides. He was shaped and defined by those times. And, perhaps precisely because the wounds of those times have never properly healed but, rather, have merely festered beneath decades’ worth of complacency, it may not be surprising that in today’s equally turbulent times, a new generation is discovering what Michael’s music meant.
He was there, and helped us get through before. He is still here, to help us find our way.
ETA: Michael expressed his own views about the Vietnam War in an early childhood drawing (thanks to Sina for the link!):
Michael Jackson can certainly be counted among pop music’s greatest songwriters. We know that many of his classic and most iconic hits were songs he penned himself, from “Don’t Stop ‘Til You Get Enough” to “Billie Jean,” “Beat It,” “Bad,” “Black or White,” “Earth Song” and, well I could go on and on. You get the idea.
But that still leaves an amazing number of songs that Michael recorded and performed that were nevertheless written by others. To make the clarification, I am not referring to songs he merely covered. If we counted all of the songs that Michael covered throughout the span of a forty-five year career, including his Jackson 5 and childhood solo career, that would be a mind boggling number indeed. No, this is about something else. This is about those songs that have become so indelibly and inextricably identified with Michael Jackson that casual fans are often shocked to discover he didn’t write them; those songs that seem so reflective of Michael’s own personal values (and for which he made us connect with them so strongly in his performances) that it seems almost inconceivable to believe he was only their interpreter, and not their writer. On the other hand, we can also include songs that were not necessarily huge hits but that. nevertheless, seemed to define in some way who Michael was.
This is not to any way impugn the credit that these songwriters deserve. When I call these the songs that Michael should have written, what I mean is that these are songs that are so iconically identified with who he was and the values he represented that it is almost impossible to disconnect the song from the performer.
The reality is that many of Michael’s most iconic songs didn’t necessarily originate with him. But all the same, we know that something must have drawn him to “connect” with these particular songs. In some cases, such as “Man in the Mirror” we at least know that those songs were written specifically for him to cover. And in at least some cases we know that he did have a major hand in shaping the eventual, finished product even if he didn’t necessarily receive a co-writing credit.
Below is my personal pick of the Top Ten songs Michael Jackson didn’t write but “should” have.
10. When We Grow Up
Michael was only fifteen when he recorded this duet with Roberta Flack in 1974. The song’s message about hanging onto the innocence and fun of childhood-about never changing even when “we grow tall”-conveys the same whimsical, Peter Pan ideals that would become a stalwart fixture of Michael’s adult ethos. It really begs the question: Is it possible that the songs Michael sang in his youth helped influence and shape his adult aesthetics? With lyrics like “we don’t have to change at all” (i.e., we don’t have to become corrupted by adulthood) this song certainly seems like a page torn straight from Michael’s adult solo career.
9. Rock With You
This isn’t the first time we’ll be visiting Rod Temperton on this list. Off the Wall, of course, was Michael’s huge breakthrough album that launched his adult solo career. and it also launched his songwriting career. He wrote two of the album’s tracks, including its monster breakout hit “Don’t Stop Til You Get Enough.” and co-wrote a third. However, this number-one of the album’s hugest hits, and easily one of Michael Jackson’s most iconic songs-was not one of them. Temperton wrote quite a number of tracks that Michael eventually recorded (as well as having previously written songs for Heatwave and many others). What makes this song so uniquely Michael, however, is the interpretation and the vocal. It is arguably, in fact, probably his strongest vocal performance (just listen to his enunciation of “I wanna ROCK with you” and try to argue that any other singer could have pulled that off!). This is the kind of song that would become most identifiable with Michael’s post-Jacksons, pre-Thriller era, an airy, romantic, mid tempo dance number with soaring, clear vocals (this was the era before Michael added all of the grit) and lots of bling. Moreover, lyrics like “And when the groove is dead and gone/You know that love survives” will prove to be influential in Michael’s own romantic songwriting down the road.
8. She’s Out of My Life
By the time Michael was twenty-one, he had already written songs about global causes (Can You Feel It) and even a pretty angry relationship song (“Working Day and Night”) but the one thing he really hadn’t penned yet was a tender love ballad. They would come in time-“Liberian Girl,” “I Just Can’t Stop Loving You,” “Speechless,”etc. But if there is one love song that most people readily identify with Michael, it’s this Off the Wall track written by Tom Bahler. There’s just something about that sensitivity Michael brings to this number that is oh so very Michael! It is also an early example (well, an early adult example, anyway) of Michael’s trademark ability to emote. No one could make us feel a song quite like Michael, and that was due to the innate ability he had to connect with a song’s emotions. There is a well known story told by Quincy Jones of how every single time Michael recorded this song, he broke down. Take after take. At some point they just gave up trying to get a sob-free track, and went with it. The result is brilliant. That little quiver at the end is so real we just knew Michael had to have lived it.
Another masterful Michael Jackson interpretation, the Charlie Chaplin penned “Smile” was covered on Michael’s 1995 album HIStory: Past, Present, and Future. Its beautiful blend of pathos and theme of finding strength in times of adversity was perfectly suited for an album that had chronicled much of Michael’s dark, turbulent years in the mid 1990’s-and a fitting closure, bringing the album’s arc to its beautiful but heartbreaking finish (the poignancy being born out of the fact that the narrator has not actually overcome his troubles; he has simply learned how to swallow the tears and fake it pretty well!). Throughout his career, Michael had maintained a deep aesthetic connection with Chaplin, and often cited “Smile” as his favorite song. So deep was his connection to this song that it was sung at his memorial service, and few songs can better sum up the pathos of Michael’s last years, when adversity after adversity must have indeed made it hard to put on that brave front to the world.
6. You Are Not Alone
The second love ballad on our list, “You Are Not Alone” is one of those love songs so closely identified with Michael Jackson that it still seems a bit jarring to realize he didn’t write it (and apparently even R. Kelly’s authorship was successfully contested, at least in the Belgian courts). However, Michael did put many of the finishing touches on the song, including the modulation and choir climax at the end; in short, shaping much of the song’s final structure. All of those little things that make the song so uniquely “Michael,” were, in fact, due to Michael’s direct input, so maybe we can feel good about saying “You Are Not Alone” was, at the very least, a Jackson collaboration. After the 1995 video featuring Michael and Lisa Marie Presley, the song became forever cemented as being synonymous with their relationship. It even inspired its own anagram, YANA girls, to describe the random girls chosen to come onstage when Michael performed it during the HIStory tour.
5. I’ll Be There
Who would’ve thought that the early Motown writing team of Hal Davis, Willie Hutch, and Bob West would have written a song when Michael was only eleven years old that would sum up the entire altruistic philosophy of Michael’s adult career? Yes, it’s supposed to be a simple love ballad, but looking back on it in hindsight, from the moment little Michael sings the words “You and I must make a pact/We must bring salvation back/Wherever there’s love/I’ll be there” it’s virtually impossible to think of this performance as apart from the same artist who, twenty-one years later, would bring us “Heal the World” and would advocate the healing power of love; who, in fact, would always tell us, “I love you more.” Years later, the song remained a staple of Michael’s adult repertoire, the only Jackson 5 song usually performed in its entirety during his concerts. Clearly, Michael never lost his connection to this song.
Could there have been any song better suited for Michael Jackson to sing than a song about a boy whose best friend is a rat? Only Michael could have possibly made such a “love” song not only believable, but downright heartbreaking. And in one of those weird twists of fate, this song seemed to actually prophesize Michael’s adult life, in which his favorite animals often filled the void of loneliness and replaced relationships with people he couldn’t trust. Somehow it doesn’t seem a stretch to believe that the same little boy who sang “Ben” would one day own a fantastical kingdom filled with exotic animals.
3. Human Nature
Speaking of all the interpretations that only Michael could bring to a song, how’s this? Only Michael Jackson could make a song about cheating and going on the prowl for one-night stands seem, well, like a positively religious experience! Perhaps that isn’t entirely coincidental, given that “Human Nature” is a phrase often used in Christian indoctrination, usually to describe the fall from Paradise and the natural human inclination to sin. A famous sermon from William Ellery Channing, delivered sometime in the 1830’s or early 1840’s, and later published in 1872, was devoted to what Channing called “The Religious Principle in Human Nature.” In its most exalted form, according to Channing, “Human Nature” is that which imbues the human spirit with the desire to seek something greater than ourselves; i.e, a “higher power” or more perfect version of ourselves. The drive for “Truth” and “Purity” are only polar opposites of the same drive that compels us to seek earthly or fleshly gratification. “Human Nature,” the song, was first composed by Steve Porcaro of Toto. Since Porcaro presented the original demo to Quincy Jones, it may be presumed that Porcaro had always intended that Michael Jackson would sing it. The song’s lyrics were actually completed by John Bettis (and by this point there was no doubt that this was going to be a possible track for the Thriller album). Even if Michael didn’t write the lyrics, he was clearly attuned with the song’s spiritual undertones. UPDATE: For more interesting background info on “Human Nature,” be sure to check out the comments!
Given Michael’s legendary love of horror films, An American Werewolf in London, “The Twilight Zone,” and sci-fi themes, it seems almost mind boggling to realize that he actually did not write “Thriller.” Good gracious, could any song have been more tailor made for Michael Jackson? Did any song ever sound more like it just had to have come from straight out of his fertile and out-of-the-box imagination? Well, for sure, Michael did have a big hand in the overall concept of the video and some of those iconic images we so associate with “Thriller.” But the song itself was actually a Rod Temperton demo first titled “Starlight.”
1. Man in the Mirror
Michael Jackson became known for his great, altruistic anthems. But ironically, perhaps the one that is most associated with him-certainly his most commercially successful anthem-was a song written by Siedah Garrett (who couldn’t even look at the “man in the mirror” since she was a “she”). However, Garrett was actually commissioned by Quincy Jones to write this ballad specifically for Michael’s Bad album, so just as with a few of the other songs on this list, it was always understood from the very beginning that this was going to be a Michael Jackson song. And for those who may be a bit disappointed to learn that Michael didn’t actually write the words that so many have since associated with him, like looking at “the man in the mirror” and “make that change”-take heart. Garrett has revealed in later interviews and talks that the song as we came to know it was very much a collaborative effort between her and Michael. Just as with “You Are Not Alone,” Michael initially liked the song but wasn’t happy with certain parts. He kept pushing Garrett to come up with a stronger bridge, and would not record the song until the bridge had been brought up to his specifications. And, as with “You Are Not Alone,” he added the modulation and choir-all those little finishing touches that, of course, made the entire difference. Lastly, his famous 1988 Grammy’s performance proved once and for all that he was, indeed, the master of interpretation.
Here is another title from the books on my summer catch-up list. Let me just say that, normally, this is the kind of book I would have probably passed over without much of a second thought. Its author is a psychic and medium who claims to have conversations with Michael (as well as, apparently, many of his deceased friends and family members!) from “The Other Side.” This is actually her second book about her conversations with Michael, although I have not read her first book Another Part of Me. Don’t get me wrong; it’s not that I’m skeptical of those who have “The Gift.” In fact, psychic and intuitive abilities run in my own family, and the very reason I was intrigued enough to read this book in the first place is because I quickly realized that the author and I have shared a very eerily similar vision of Michael’s death, which I will get to in due order. I’ll just say that the excerpt I read on Amazon was enough to give me chills. And besides, at under three bucks for the Kindle edition, what did I have to lose, anyway?
That isn’t to say I was entirely ready to put aside my skepticism. I do believe there is certainly life after death and, as stated previously, I do believe that some people are blessed with the intuitive ability to communicate with the dead. But some of the book does sound a little “out there” and requires a certain suspension of belief. The title gives much of it away. It is what it is; a personal memoir written by a psychic medium about the alleged conspiracy theory behind Michael’s death, based on her own conversations with Michael’s spirit and the visions he has allowed her to see through his eyes. Still with me? Yes, I know what you’re probably thinking right about now, and trust me, it was my initial reaction as well.
But there was one, troubling detail I could not shake off or dismiss: The author and I had had exactly the same vision, with but a few details varied. What’s more, my sister had the same dream, both of us within days of Michael’s passing. So when I read the excerpt from this book, I realized right away that even though I could dismiss it all as BS if I wanted to, there was one troubling detail I could not so easily shake off: the fact that I now had a record of at least three different people, all of whom, independently of one another, had experienced the same vision of Michael’s death within the same time frame, and all with the same eerily similar details. That knowledge alone was enough to keep me reading. I became intrigued to find out how many more details of my own (and my sister’s) vision would be corroborated by Stefanaik. I started reading this book on June 25, not exactly a cheery way to top off an already depressing day. But if there was any day appropriate to begin reading a book about Michael’s final hours, well, that would certainly be it.
I don’t wish to provide too many spoilers of Stefenaik’s book. After all, the purpose of any book review is to encourage people to read the book for themselves (or to run like hell, as the case may be) so I will try to refrain from going too much into her theories here, lest I give too much away. But even a casual reading of the book’s blurb will tell you that there are a few individuals and entities who obviously do not come out of this book smelling very good, namely Randy Phillips, AEG, Sony, Frank DiLeo, the Estate executors and most of all, “Dr.” Tohme Tohme, all figures that converged on (or reentered) Michael’s life during a relatively short window of time between December of 2008 and June of 2009. These names alone are enough to insure that this is bound to be a polarizing book, one that may not be warmly embraced by all segments of the fan community. However, as I’ve always said, it pays to keep an open mind. While I don’t believe in slandering anyone without sufficient evidence, we have to keep in mind, again, that the book is what it is: A medium merely recounting what she claims to have seen in a series of visions. So in that regard, we can’t exactly call it slander, nor can it stand as evidence of a crime committed. But for those readers willing to keep an open mind-and to keep a handy helping of salt nearby, just in case-it is certainly a disturbing and thought provoking read.
However, the book’s contents aren’t entirely made up of the author’s own visions and “conversations” with Michael. There is a lot of solid, factual evidence, as well. Using trial transcripts from the Conrad Murray trial, the Katherine Jackson vs. AEG trial, the official autopsy report findings and other records, as well as the emails exchanged between all of the parties involved (most of which became public record during the criminal and civil death trials) she is able to provide more than enough factual evidence to support many of her theories. Of course, her agenda is to “prove” that these facts corroborate her visions. Nevertheless, too many details have come to light since Michael’s death that do bear questioning. Why, for example, did Michael’s own children testify that they saw Randy Phillips in their home at odd times when they knew he was not supposed to be there? And why did both Phillips and Tohme seem to have unlimited access to Michael’s home? Why was there such a discrepancy between the actual time of death (according to paramedics who claimed Michael had obviously been dead for hours) and the calling of 911 at 12:22pm? Why was the syringe found at the bedside, containing Propofol and Lidocaine never properly tested? (Remember, this was the syringe that Murray and his attorneys fought so hard to prove as “evidence” that Michael had self administered). Why was DA Steven Cooley receiving financial contributions from AEG (certainly, at the very least, a major conflict of interest!). Why was Tohme Tohme, whom Michael had fired in March of 2009, listed as of June 22, 2009 (three days prior to Michael’s death) as a beneficiary of AEG’s “accidental death” insurance policy with Lloyds of London? Why, indeed, was this man even still in the picture, even to the extent of being present at the hospital on June 25? And what didhappen to that missing surveillance tape?
Stefenaik does attempt to answer these questions, and to her credit, relies on factual and documented evidence to support most of her claims, though it would have been helpful if the author could have provided actual PDF facsimiles of the documents in question, rather than merely copying them verbatim-skeptics can always claim the documents have been altered or faked. Fortunately, most of them are public record and can be verified easily enough with a little research, but being able to show the actual documents always helps in the credibility department.
As stated previously, however, I was most intrigued with the author’s vision because its details so nearly matched what my sister and I (in nearly identical dreams on the same night) experienced six years ago.
I have never spoken much about that dream, having only confided its details to a very few people whom I trust. Mostly, I haven’t spoken much about it because I know the general skepticism that people usually give such claims, but also because the logical and common sense side of my brain would always say, “It was just a dream. It’s not like it’s something you can ever prove; it’s not as if anyone would ever actually take this as serious ‘evidence’ of a crime.” And yet a part of me has felt guilty, also, about that silence. This, too, has crossed my mind on many occasions. What if Michael, in those first few weeks when his soul was most restless, had actually indeed reached out to a select few, receptive individuals to show them exactly what happened to him that morning? And if he chose some of us to give this information, what exactly did he want us to do with it, or take from it? That is a thought that has weighed heavily on my mind for the last six years. If Michael wanted this knowledge to be known, had I somehow failed him by sitting on it, dismissing it as “just a dream” that no one would ever take seriously? Did I somehow have a responsibility that I had failed to hold up?
I have to admit that Stefenaik’s book has again raised a lot of those questions for me. Like I said, I probably would have been a complete skeptic about this book were it not for the fact that I saw and felt-almost to a tee-exactly what she felt and describes in this book, as allegedly given to her straight from Michael.
In my case, my dream occurred just a few nights after Michael’s passing. It was long before any photos of the death scene had been leaked to the media; I had no way to even know what the interior of the Carolwood home looked like. It was also long before the autopsy results or any of the details of the death were well known; thus, it was the time when there were still many conflicting media reports and no one seemed to know what had actually happened that night or that morning.
Stefenaik described it as a kind of channeling experience, and this was very similar to what I felt. It was as if I was in Michael’s body, witnessing the events through his eyes as he would have experienced them. There were many details that stood out to me about the room-to the right of the bed there was a lamp that burned continuously, even into the morning hours. There was a white mantelpiece with what looked like either a gold framed mirror or some type of screen above it. Over the windows, heavy beige colored drapes were parted, and through the white sheers that covered the window it was obviously sometime around dawn, as there was just a tinge of gray in the sky. When I finally did see photos of the bedroom, it confirmed for me everything I had seen. I felt intuitively that I had been inside that room before.
I can only say that what I experienced through Michael’s body (if indeed that’s what was happening) was a horrific sensation that I hope to God to never experience again. The feeling was of being completely incapacitated and unable to breathe. He was mostly conscious of what was happening around him, but unable to move or make a sound. It was like being paralyzed and drowning, all at the same time. My breath was so shallow and labored that every intake of air hurt and burned my lungs. What I felt was very much a semi lucid state, where I seemed to be dipping in and out of consciousness, at times acutely aware of my surroundings; at other times, slipping into a non-lucid state where I believed I was drowning.
I could hear two men laughing. At the mantelpiece, two men stood with their backs turned to me. Since the bedroom photos have come out, I have seen that there were, in fact, two such mantelpieces that would have been within Michael’s range of vision, the one that would have been to his right, beneath the mirror, and one in the foyer outside his bedroom, which looks to have a framed painting above it.
I could not tell for certain which mantelpiece I saw the men standing in front of (after six years, some of the details have started to get a little blurred to me, as far as whether what I was seeing was to the left or right) but I want to say they were in front of the mantel with the mirror over it. They were going through papers; a lot of papers. They ignored me, assuming I was either dead or out of it. As they sorted and signed papers, they kept laughing like guys exchanging dirty jokes. One of the men I saw was clearly Conrad Murray. The other, however, I could not immediately identify other than that he was a very large, white, stockily built man with longish brown hair.
The next day I was talking to my sister and you can imagine my shock when she described to me having the very same dream, with the exact, same details. We had both seen Murray and the same, stockily built man with brown hair in the room. We had both heard them laughing, and had seen them sorting through and signing many papers. We both had the sensation of being unable to breathe or move. There were, however, a few things that she was able to recall more vividly than I (for the record, her abilities have always been far more advanced than mine; she never ceases to amaze me with the things she is able to “know,” long before anyone else). She said there was a black binder or brief case into which those papers were placed. Also, she recalled seeing Murray escort the brown-haired man out of the room and into what she described as a hallway to the left of the bedroom. After the Murray trial and after the photos detailing the interior of the Carolwood home were made public, I realized that what she was describing was the foyer outside the bedroom, which would have been to the left from Michael’s point of view on the bed. She saw the two men converse briefly in the foyer, then they parted ways. The brown-haired man turned to his left (from Michael’s point of view) and descended down the stairs, unescorted. Murray returned to the bedroom.
My sister believes that she was seeing the last thing that Michael was consciously aware of before his death. During the Conrad Murray trial, at least one eerie detail emerged that chillingly seemed to confirm her vision. It was said that before Michael’s body was moved, his head was tilted on the pillow to the left, with eyes open.That would mean that whatever he had last seen that morning would have been from exactly that point of view, looking towards the foyer.
It was only in the aftermath, while looking at photos of the various individuals involved in Michael’s life at that time, that I realized the brown-haired man I had seen most closely fit the description of Tohme Tohme.
Now, given all I have told you, imagine the chills I got when I read this passage from Stefenaik’s book, as “told” to her by Michael:
“A man put a needle in my arm – an IV drip in my leg. My arm was sore from pins and needles in my shoulder. I couldn’t see. A brown haired guy. They were going through my papers. I could hear them. They ransacked the house. There was a security camera. It was pointed at the gate, but that night something wasn’t right. My life was turning upside down and I didn’t know why. I was out of my body, but not dead. He gave me the last shot and I died instantly. The man with the brown hair, short sleeved shirt, wide open collar, white. I hoped he’d come back to see more, but he didn’t. He stayed away while Conrad Murray cleaned up. I just stood there watching, helpless. He wrote down the time (Conrad Murray). It was significant. He had a pad of paper with him, taking notes. He said he carried it with him where ever he went. Black with leather trim. Frank was separate from this guy. They drove in separate vehicles…”
Stefaniak, Deborah (2014-12-30). The Murder of Michael Jackson (Kindle Locations 80-84). . Kindle Edition.
Later, in the “final vision” she describes seeing exactly how the brown-haired man, whom she also identified as Tohme, delivered to Michael the fatal shot. Ironically, Michael had stated many times that he would die from “a shot.” He used to say that to Frank Cascio a lot, according to Cascio’s book, and of course Frank assumed he meant a gunshot (in other words, an assassination). Perhaps Michael had enough foresight to realize his death would be brought about by “a shot” one way or another. Certainly I think he had a premonition that his death would come early, and that it would not be a natural one. He always believed that he would be murdered.
I will just say that there are more than enough similar details between my vision, my sister’s, and Stefanaik’s to give some serious pause for consideration. Of course, there are marked differences, also. For example, I never saw anyone other than Murray and the man I presumed to be Tohme. I never saw DiLeo or Randy Phillips or any of the other individuals that Stefanaik claims to have seen (but that isn’t to say she’s wrong; only that I didn’t personally see them). I also never actually witnessed the murder act itself. Possibly I may have been experiencing the after effects of the shot (although Stefanaik claims that Michael told her he died instantly after the shot)or perhaps it was the effects of the other drugs that had been administered in order to rend him unconscious before the actual, fatal act. In her version, she says that her vision (looking through Michael’s eyes) was very blurred. She says she later learned, after reading the autopsy report, that the drugs that had been found in Michael’s system in conjunction with the Propofol-mainly the benzodiazapines, would result in blurred vision. In my own dream, I don’t particularly recall having blurred vision, but I do recall feeling in and out of consciousness and the sensation of being unable to move or breathe; all indications of heavy sedation. Also, it’s highly unlikely that three individuals would remember all the same details exactly, or that we were even all given the same details exactly. What I really look at overall are the consistency of the details, which all involved a large, brown-haired man, and the fact that we all saw at least two men in that room going through papers. Call it what you want, but that cannot be coincidence. It seems, rather, that we were all being given pieces to the puzzle; some of us with more detail than others, but all forming a very similar scenario. In my case, I can’t say I saw anything that actually points to murder or to a specific individual. What my vision did tell me, however, was that there was definitely someone else in the room that morning, and that this individual looked a lot like Tohme. Beyond that, I can’t say with certainty that this man killed Michael, but the fact that I saw him there (as did my sister) has certainly been cause enough for us to believe this was a man who, if not directly responsible, was at least complicit in some way.
But let’s just say it did happen that way. Where, then, does this leave Conrad Murray? Was he an innocent man framed, or a complicit accomplice-a “fall guy” as many suspected-willing to take the blame on himself in order to protect the real party(ies) responsible (perhaps in exchange for a major payout down the road)?
Stefenaik seems to be of the opinion that Murray, while hardly a good guy (certainly one who was putting his own interests ahead of his patient) did not commit the fatal act and, perhaps, had no knowledge of it. Her vision revealed only one person-Tohme-who administered the fatal shot. If one believes this, it could, of course, explain why Murray and his defense were so gung-ho for the “Michael self administered” defense, given that his attorneys probably theorized that it would be much easier (insofar as creating doubt in the jury’s mind and obtaining an acquittal) to blame the victim, rather than trying to argue that someone else “could” have been responsible for the crime. Such a defense would have been a long shot gamble, and all but impossible to prove with so little evidence, so shifting all the blame onto Michael would have been the next logical step as far as the defense was concerned.
Within the Michael Jackson camp there have always been people who have sworn that Conrad Murray did not actually kill Michael Jackson. There are many who still believe that Murray’s conviction was simply a smokescreen, one that allowed the real killer to slip through the cracks.
I am, however, not so quick to let Murray off the hook. I know what I saw in my own vision. Murray was on the scene, along with Tohme, and I believe, absolutely, that he either killed Michael or was complicit to the deed with Tohme-perhaps enough that he was willing to take the fall to cover Tohme’s actions. In the end, I am still one hundred per cent convinced that Murray deserved to be tried and convicted. But it is disturbing to think that Murray’s measly manslaughter conviction and two year jail sentence could have, in fact, been a mere cover for something far more sinister.
I don’t know if we will ever really know the full truth about what happened to Michael Jackson. The LAPD, for now, seems quite content to have closed that chapter with Conrad Murray’s conviction. That doesn’t mean a lot of us are willing to give up that search for answers, however. Whatever one is willing to make of the visions that Stefenaik, myself, and my sister have all shared, I’m convinced that it can’t be coincidence that we all claim to have seen this same, large- framed, brown-haired man in the room that morning. Something-or someone-wanted us to see this, and I feel, wanted this story to be told, even if, perhaps, the chances of it being believed (let alone acted upon) may be slim. Spirits who have suffered traumatic deaths, including murder victims whose deaths are covered up or whose murders are never solved, are among the most restless of spirits. They want their stories told, and usually cannot be at peace or move on until they are.
I don’t claim this as the book that has all the answers, and sometimes I did find myself reaching for that pinch of salt. However, there are indeed some things that can’t be explained away. I “saw” what this author claims to also have seen, and that is enough to convince me that there is certainly something to this thing, even if I’m at a loss to explain exactly what that “something” is. I do know enough to convince me that the final chapter of what really happened to Michael Jackson cannot be closed as long as Dr. Tohme Tohme still walks free. At the very least, his actions of that morning bear investigation, and I pray a time will come when that truth will be revealed. Until then, Michael’s homicide remains, as far as I’m concerned, an open case.
This book won’t be for everyone. Not only is its subject matter controversial, but as with many self-published books, it could have really used a good editor. The numerous typos, misspellings and punctuation errors were a little distracting at times, but if you can overlook its editorial flaws, it’s certainly a compelling read and one that will raise many disturbing questions about what really happened to Michael on the morning of June 25, 2009-and why. The advice so often given about books of this nature is, likewise, the best advice I can give here: Read it and judge for yourself.
The Murder of Michael Jackson, The Cover Up and Conspiracy by Deborah Stefenaik is available on Amazon.com:
Stevie Wonder could have chosen a lot of songs to sing at Michael Jackson’s memorial service, but I think it is no coincidence that he chose his lovely romantic ballad “Never Dreamed You’d Leave In Summer.” Stevie was onto something that has haunted me for the last few days, as June 25th has drawn nearer and nearer.
Michael was truly our child of summer. His life began on a hot summer night in August in Gary, Indiana. It ended on a blistering June morning in Los Angeles, fifty years later.
This fact alone isn’t especially unique. Lots of people die in the same season as they were born, and in most cases we can chalk it up to coincidence. But statistically, it has been said that more births and deaths occur in summer than any other season. Obviously, there are many scientific factors that can explain this. But as we know, there are some things that, every so often, simply defy scientific explanation.
I like to think that God singled Michael out to be a Child of Summer. In the Northern hemisphere, summer is the season when the sun’s rays are closest to the earth. It is the season when the gentle warmth of May and June gives way to the fierce heat of July and August. It is the season of light, when the days are longest and the black nights are shortest. It is the time of year when life is in full flower. Doesn’t every quality we associate with summer sound just like Michael and the way he lived his life? He blazed like the sun, wrapped the world in the warmth of his love, set stages on fire with his smoldering performances, and gave humanity hope that we could conquer the darkness. From his first cry in the summer of 1958 to his last breath in the summer of 2009, his was a life dedicated to the light.
Perhaps this is what made his death so especially poignant, coming as it did a mere four days after the summer solstice. I still remember that day so vividly, mostly because it was such an ordinary summer day until I heard. I had been at work all day, and back then they didn’t yet have computers in every office. With no way to really know, then, what was transpiring on the other side of the continent, I passed the afternoon making notes on the story that my evening class at 5:30 would be studying, Joyce Carol Oates’ “Where Are You Going, Where Have You Been?” That is a detail that still sticks in my mind. Perhaps it’s only coincidence that I had scheduled my class to read this story on June 25th, 2009, a story of a teenage girl who is enjoying summer fun when death comes, suddenly and unbidden, in the seductive guise of Arnold Friend (her death in the story is certainly metaphoric even if the physical is only implied). None of my students mentioned the death of Michael Jackson, though it is quite possible they still didn’t know. Word was just getting to many of us in this part of the country at about that time (I would learn later that many who had followed the story on TMZ and CNN were still thinking that he might be alive because reports had been so conflicting all afternoon!). Whatever the case may be, my students weren’t very talkative and no one seemed much interested in the story. The vibe felt strange. I dismissed class early and headed home. “Thriller” was playing on the radio. It was one of those beautiful, long summer evenings, when the sun is still as bright as mid afternoon even at 7pm. I passed fields where kids were playing soccer and baseball.
Only when the song ended did I learn the reason why the radio station-a country station, no less!-was playing “Thriller.” Michael Jackson was dead at the age of fifty. My heart sank to the bottom of my feet. I know I must have driven the rest of the way home on auto pilot because I was just in a complete and utter state of shock. It seemed surreal to think of Michael Jackson being dead, while all around me was a world alive with the sights, smells, and sounds of summer.
It’s been six years, and though the pain is duller now, it can still sharpen at a moment’s notice, in ways I often least expect. Usually it’s when I hear a song unexpectedly, like going to an aerobics class at the gym and suddenly hearing “Bad” or hearing “Man in the Mirror” in the grocery store. His music still affects people. I can’t quite explain it; only that I know it when I see it and am around it. People automatically become a little more mellow, relaxed and friendly. Happier. It’s like reconnecting to that feeling of when your parent sang you a favorite lullabye. It comforts you and wraps you in warmth. Everyone’s mood is a little brighter when a Michael Jackson song plays. There’s just something about it. You can’t hold darkness, anger, hatred, or coldness in your heart when you hear it. His voice melts all of it away. Even his darkest and angriest songs have the power to heal and bring unity, as we have witnessed so often in these recent, troubled times.
People who are born in summer often, also, have a strong affinity with the season. My mother, a summer baby who was born in July of 1945, always hated winter, a season that antagonized her depression. She loves summer-picnics in the park, being able to sit outdoors, watching the grandkids play. Give my mother a winter day of snow and ice and she’s in the equivalent of hell. She’s always told us that she hopes she dies in the summertime, so we can put her away in her happiest time of year.
I don’t know if all Summer Children feel this, but certainly Michael did. As a little boy, when asked what he liked most about coming to California and leaving Gary, Indiana, he was always quick to say that he was glad to be out of the cold. He loved being in the sun, and California must have seemed like Heaven after all of those brutally cold winters in Indiana. He loved swimming. He loved playing outdoors. He loved sunflowers and roses. He didn’t like snow and ice-the one thing about “back home” that he definitely didn’t miss.
In one of the cruelest twists of fate imaginable, this Child of Summer lost his ability to enjoy the sun. With the onset of vitiligo, he spent the last two decades of his life avoiding the sun and only going out in heavy, long-sleeved shirts, hats, and with an umbrella ever present. It wasn’t just that the sun had become a burden-it became something that could literally kill him.
But that handicap still didn’t stop him from living his life based on the principles of being a Child of Summer-or, as some say, a Child of the Sun. His life’s mission continued to be the message of love and hope and of overcoming darkness. He continued on this path despite all the media chatter that would have us believe he had sunk into an abyss of darkness. Nothing could have been further from the truth. Even when he had his dark moments, as we all do, he always worked his way back to us-and we to him. He was our wonderful, quirky, magical, mythical, whimsical, beautiful Child of Summer and we loved him. Yes, we loved him. Not just the fans. The world as a collective consciousness loved him. Look how we all reacted on June 25th, 2009! Even those of us who weren’t fans; those of us who THOUGHT we couldn’t care less; even some who had made jokes about him. Some of us cried and didn’t even know why. If I’ve heard that statement once, I’ve heard it a million times. “I don’t know what it was, but, man, when Michael Jackson died, I cried.” A billion people around the world watched the memorial. A billion. Let that number sink in. Sure, at least some of it may have been the usual spectators-at-the-circus mentality. But we can’t deny, the world genuinely grieved the death of Michael Jackson.
The light hadn’t gone out of the world. But somehow we knew, innately, that it would never again burn as brightly or intensely. And for my generation, at least, it was a cruel reminder that summer can’t last forever. Autumn waits, patiently, to claim us all.
The song “Never Dreamed You’d Leave In Summer” ends with this verse:
You said then you’d be the life in autumn Said you’d be the one to see the way I never dreamed you’d leave in summer But now I find my love has gone away
Why didn’t you stay?
While the song itself is just a simple love song about a relationship gone bad, Stevie Wonder gave it a whole new context as a song of tribute to Michael. Somehow, we had thought he would always be there, leading us through the chill of autumn and darkness of winter. But he was called home at the height of summer. A true Child of Summer must go where the light beckons. He couldn’t stay.
But is he really gone? Certainly the light he gave lives on. So does the joy and the pain (in the best possible way). We have his voice forever on record and his image forever on film. We can still hear him speak; we can still see him smile and hear that crazy, wild laugh. But it goes deeper than that. It’s the fact that millions of people all over the world can say they are better people by having been touched by him in some way; in living by his example.
He is one Summer Child whose light will never dim, and whose fire will never go out. Like Icarus, he may have flown too close to the sun at times, but in the end (if you’ll pardon my Greek analogies) he was more like Prometheus, bearing us the gift of his fire, knowing we would keep it forever lit; forever safe.
I admit, I am way, way behind on my book reviews. As always, there are more MJ-related books coming out than one person can keep apace of. Fortunately, summer is here and, along with the laid back pace comes the opportunity to catch up on my MJ reading list. So even though I may be a bit tardy on some of these titles, I figure I can’t be the only fan who’s catching up on my reading list, and it’s never too late to let fans know what books are worth their time and investment.
I was very excited for Damien Shield’s Xscape Origins:The Songs & Stories Michael Jackson Left Behind when the title was first announced back in March. If you are not familiar with Shield’s blog, he is a music writer and journalist whose blog is dedicated to the very thing that made us all love Michael-the music.
His blog is always one of the first places I go to when there is a pending Michael Jackson release, a place where I know I will always get the most honest and up to date chart information, reviews, and more.
Now that the dust and hype has settled around 2014’s release of the Xscape album, this is a good time to really step back and assess what this album-and perhaps more importantly, its songs-represents for Michael’s legacy. After all, it’s always easy to get caught up in the feverish hype and excitement of a new Michael Jackson release. But only time can really assess how well these songs hold up alongside the great classics we know and love. Regardless of whether you were one of those celebrating or protesting the release of Xscape, one thing that is for certain-and one thing we could all agree on-is that those eight original, demo tracks represented some damn great Michael Jackson work. Where it becomes a much grayer area is determining to what extent the integrity of those tracks was compromised by the modern “contemporizing” done by producers L.A. Reid, Timbaland, Jerome Harmon, Stargate, John McClain and Rodney Jerkins. But that controversy isn’t the focus of Shield’s book. Instead, he puts the focus squarely back where it belongs-on the songs themselves and the stories behind them. In the introduction, he describes a conversation with a friend that took place in June of 2014, at the time in which the album’s promotion was at its peak.
“Our conversation about Xscape was rooted in frustration. We were frustrated with the fact that the original versions of Michael’s work— the versions that Michael himself spent countless hours, days, weeks, months, and in some cases years working diligently on perfecting— were seemingly being ignored during the promotion of the album, while the newly remixed versions were given a multimillion-dollar marketing push and global platform. It felt, at least to us, like the original versions were being treated by the record label and estate merely as obligatory inclusions, rather than the brilliant must-hear masterpieces they actually were. It felt like those in charge of overseeing Michael’s legacy— the gatekeepers to his vast catalog of released and unreleased material— did not believe in his ability to appeal to mainstream audiences. It felt as though they had no faith in the quality of the work itself, and that these timeless artistic blueprints were somehow outdated and out of touch; not trendy or contemporary enough to capture the attention or imagination of today’s youth. It felt like they had absolutely no confidence in the marketability of the “Michael Jackson” brand on its own, instead relying on the names of “current” producers and artists to feature on, remix, and essentially redraw the blueprints that Michael and his team of sonic architects had worked so hard to draft.”-Damien Shields, excerpted from the Introduction to Xscape Origins: The Songs and Stories Michael Jackson Left Behind.
Shields, Damien (2015-03-24). Xscape Origins: The Songs and Stories Michael Jackson Left Behind (Kindle Locations 34-43). Modegy, LLC.. Kindle Edition.
Let’s just ask a few questions, and you can determine if this is a book for you based on how you answer. Were you one of those who found it just slightly irritating that almost all of the hype surrounding the Xscape release seemed to be more about the producers than The Master himself? And yet…did you notice that almost all of the critical praise the album generated was mostly due to the strength of the demos on the deluxe edition, rather than the newly produced versions? Did you question whether Michael really needed a fake duet with Justin Timberlake to sell his music (even if,granted, it was a strategy that worked at least in this case?). Most of all, did you find that over time, it was those original demos-those recordings that best represented Michael’s actual visions for these songs-that kept you coming back to Xscape for repeated listenings? And did you, at any point, find yourself wondering about the origins and histories of those tracks? Yes, we had the liner notes, but if you were like me, you still wanted to dig deeper. For example, how much did Michael actually contribute to those tracks (the ones he didn’t write himself) and just why did these songs ultimately end up on the recording studio equivalent of the cutting room floor? (The answers are not always the ones we expect!). And how much do we really know about Michael’s own vision for these tracks?
When Xscape was first released, we got a lot of these guys’ stories-what was it like to be tasked with producing and updating these tracks? Though their stories were interesting, it still left a huge gap unfilled:
This is where Xscape Origins comes in, and it is a must-have read in order to complete the story of what at least one critic, Buzzfeed’s Matthew Perpetua, called “The Great Michael Jackson Record He Wouldn’t Have Let Himself Make.”
As many of you may recalI, I wrote a rave review of Xscape at the time of its release, and over a year later I still stand by it.
I was not one of those who had an issue with the updated versions of the songs. I thought for the most part the production was handled with respect for Michael’s original vision (if we can make an exception for Timbaland’s quacking ducks on “Chicago; still don’t know what the hell was up with that!). In some cases, I liked a couple of the updates at least almost as much as the originals. “Xscape” is simply a kick ass song in either incarnation, which may have had something to do with the fact that Rodney Jerkins was the force behind both versions. But this is not about the modern producers or the process of “updating” Michael’s songs. That story has already been told. This is about the songs. It’s about the writers, producers, musicians and engineers who first breathed life into these tracks.
And one amazingly talented singer, performer, and writer who oversaw all of them from start to finish, the one who indelibly stamped his blood, sweat and tears into every crevice, every groove. You may have heard of him.
In telling the background story of each track, Shields chose a very simple structure that works well.The book follows the chronological order of the album. He gives the full background story of every track. from inception to its most recently known incarnation prior to the making of Xscape. While a lot of the information may be well known to hardcore fans who have followed the history of his recorded works, there are still a lot of surprising facts and little known trivia, enough to make the book worthwhile even for the hardcore. This is mostly due to the fact that Shields is not an armchair writer content with second hand sources. In writing this book, he conducted exhaustive, personal interviews with those who were involved intimately in the creative process of these tracks alongside Michael. Along the way, he also clears up some of the erroneous information that was put out at the time of the album’s release. For example, “Love Never Felt So Good” did not date back to 1983 and the Thriller era, as some outlets mistakenly reported, but actually predated Thriller by two years, having been recorded at Anka’s house in 1980. The error was widely circulated without check at the time (perhaps because it was assumed to be more advantageous for sales if the public believed it to be a Thriller-era track?). Another “who woulda thunk it” moment was learning that the “warp sound” (as L.A. Reid described it in the documentary accompanying the deluxe edition) was not the sound of a thirty-year-old damaged tape at all, but part of an experiment in sound being conducted by Michael and his collaborative partner on the track, synthesist John Barnes. This was one of the sounds Michael apparently kept because he liked it.
And did you know that the version of “A Place With No Name” that we hear on the album actually dates from a final version that was recorded in 2008, and not the first version that dates from 1998?
It doesn’t end there. You may know, for example, that “Chicago” was never called “Chicago” at all but, rather, “She Was Loving Me.” “Chicago” was never even a subtitle; it was not an alternate title. The song was never anything but “She Was Loving Me” during Michael’s lifetime; its official BMI registration is listed as such,and it remains somewhat of a mystery why the title was changed, other than that someone at Epic evidently thought “Chicago” sounded more catchy. I must admit, I like “Chicago” better, too; “She Was Loving Me” isn’t exactly a title to catch the world on fire, but it does beg the bigger and more disturbing question: Just how many liberties are being taken with these works? (Funny side note: Michael was informally challenged to replace “Chicago” with the name of another city to prove that “Chicago” was the only city whose name would fit the song. He apparently had fun trying out many variations, according to songwriter Cory Rooney, singing everything from “I met her on the way to Los Angeles” to “I met her on the way to San Francisco”).
The track was also a vocal tour de force for Michael, requiring alternate days in which to record the low voice for the verses and the higher “Dirty Diana” register for the choruses. While I won’t spoil too much, I’ll just say that the background stories behind those recording sessions alone are well worth the cover price.
Although the Xscape album does contain three tracks dating to the 80’s and one-“Slave To the Rhythm”-from the early 90’s Dangerous sessions,most of the tracks that dominate the album date to the first phase of the Invincible sessions, from 1998 to approximately 2000. Part of what fascinates me about Xscape is that I can always envision when listening to it that this is the album that Invincible might have been. Don’t get me wrong, I love Invincible. But I still find it, overall, a flawed album, one that begins strong but is ultimately bogged down in the middle by several weaker tracks. So I do somewhat “get” what critics like Matthew Perpetua were saying. The tracks from Xscape comprising the Invincible era-“Chicago,””A Place With No Name,” “Blue Gangsta” and, especially, the title track, are not only strong tracks in and of themselves, but there is a cohesion to them (as well as Xscape’s other four tracks) that makes them work especially well as a unit.
According to Shields, the tracklist for Invincible as it stood in mid 2000, when the mixing process began, was slated to include “Break of Dawn,” “A Place With No Name,” “Blue Gangsta” (basically all of the Dr. Freeze collaborations), “She Was Loving Me” (“Chicago”), “Speechless,” “Cry,” “We’ve Had Enough,” “You Rock My World,” and “Xscape.” Although I love many of the tracks that came later-“Threatened,” “2000 Watts, “Unbreakable,” “Butterflies,” etc, I can’t help but envision what might have been had this earlier version materialized. The truth is that the Invincible album dropped at a time when most music critics simply could no longer look past the media caricature of Michael Jackson long enough to fairly assess his music. Invincible, an album clearly at least ten years ahead of its time, was unfairly dismissed out of hand by many. Yet the critical reception to Xscape did seem to give pause for thought. How differently might Invincible have been received at the time had this original, conceptually tighter version of the album come to fruition? We may never know, but this does bring up another important point that the book addresses. Just because these songs didn’t appear on any album during Michael’s lifetime doesn’t make them inferior. It simply meant, as so often happened out of hundreds of tracks culled, written, and recorded for every project, that Michael ultimately decided their time hadn’t come just yet. A few of these tracks in particular were “A Place With No Name,” which Michael returned to for over a decade, and “Xscape” which he specifically said would be on the next project and to which he vowedto Rodney Jerkins would “see the light of day one day.” As with “A Place With No Name” he was still working on “Xscape” as late as 2008, a year before his death. This is an apt quote from Michael, included in the book, which explains exactly why it often took him years to develop a song to his satisfaction:
“A perfectionist has to take his time,” explains Jackson. “He shapes and he molds and he sculpts that thing until it’s perfect. He can’t let it go before he’s satisfied; he can’t.”
“If it’s not right, you throw it away and you do it over. You work that thing till it’s just right. When it’s as perfect as you can make it, you put it out there. Really, you’ve got to get it to where it’s just right; that’s the secret. That’s the difference between a number thirty record and a number one record that stays at number one for weeks. It’s got to be good. If it is, it stays up there and the whole world wonders when it’s going to come down.”-Michael Jackson
Shields, Damien (2015-03-24). Xscape Origins: The Songs and Stories Michael Jackson Left Behind (Kindle Location 1240). Modegy, LLC.. Kindle Edition.
After the controversial fiasco of the “Michael” album, Xscape was a much needed healing step in the right direction, proving that a good posthumous Michael Jackson album could be a possibility. However, Xscape’s strength stands ultimately not on its modern production values but in the stark, raw power of those eight songs, their master sculptor, and the collaborative teams behind them who helped bring their magic to fruition.
This is their story. And it’s worth reading.
Xscape Origins: The Songs & Stories Michael Jackson Left Behind can be purchased on Amazon.com:
Michael Jackson Molestation Case: Wade Robson’s Lawsuit Against Singer’s Estate Dismissed-International Business Times Headline from May 28, 2015
“Lies Run Sprints, But The Truth Runs Marathons”-Michael Jackson
This blog’s previous post focused on many of the sham cases that have been brought against Michael Jackson and the many, numerous attempts to frame him that have been going on for over two decades. However, today I would like to focus on the positive. I have said it before and will say it again: No matter how much we may wish to view Michael as a martyred hero, the truth is that the American justice system has been good to Michael Jackson. Over and over, there have been people who tried to bring him down, but in almost every instance the courts have vindicated him. However, perhaps phrasing it as the American justice system being “good” to Michael is erroneous. After all, it isn’t the justice system’s responsibility to be “good” or “bad” to anyone. It is, however, the responsibility of the justice system to ensure that truth prevails, and justice is done.
So let’s think about what that means in relation to Michael, the man who once said that lies will run sprints but the truth will run marathons.
June 13, 2005 is a very special day on the timeline of Michael Jackson history, a day that fans often commemorate as a day of both celebration and somber reflection. This year has an especial relevance, however, as it marks the tenth anniversary of that event-a decade since justice prevailed. A lot can happen in ten years. Both of the trial’s principle players-who faced each other from opposing ends-are now gone. But justice does have strange ways of winning out. Ten years ago, Tom Sneddon had envisioned an end with Michael behind bars and his own reputation shooting into the stratosphere of glory. Ten years later, Michael Jackson’s reputation and legacy are all but restored, his name and brand stronger than ever, and poor Tom Sneddon is…well, dead.
The day has come to be known informally as V-Day, which is short for both Verdict Day or Vindication Day. It also parodies the nickname V-Day as in Victory Day, bestowed upon May 9 to commemorate the day in 1945 that Nazi Germany capitulated to the Soviet Union, effectively marking the beginning of the end of World War II. There are no doubt some who would think it is trivial, even insulting, to compare the ending of a world war and thousands of soldier deaths to Michael Jackson’s day in court. But for Michael and those who lived through those dark 134 days in early to mid 2005, the name V-Day is all too fitting, and with utmost respect to anyone who has endured a war fraught with great battles. By the end of that ordeal, Michael was a seasoned soldier who had fought the good fight to the end. And so, too, were his fans-soldiers who had dug in their trenches and stood firm for what they believed was right, at a time when it was certainly not the popular stance to take. And, like all battle weary soldiers, victory was not easily won. Both Michael and the fans who stood loyal in those battle trenches came out scarred.
V-Day in the Michael Jackson case produced strong emotions from all sides. For many, it was a day of rejoicing and thankfulness. However, in many circles, it was a day in which “celebrity justice”-a belief already confirmed for many by the O.J. Simpson verdict-seemed all but confirmed. I knew instantly, as the shocked backlash against the verdict began to permeate the airwaves within minutes, that Michael’s victory would be a hollow one in the court of media and public opinion. However, I can’t really blame those who, at the time, thought of this as just another case of a celebrity “getting off” yet again. In the wake of the O.J. Simpson and Robert Blake cases. the mood of the nation at the time was bound to be intolerant of what seemed like another case of “celebrity justice,” especially when the very biased media coverage of the trial had made it an almost foregone conclusion in our minds that he must be guilty.
But while some rejoiced and many lashed out in angry bitterness, Michael simply went home and collapsed in bed. Doesn’t this remind you of every soldier who ever returned home after battle? Relatives rejoice and celebrate, while elsewhere politicians and armchair analysts debate political motives and what was “right” or “wrong” with the war. The poor soldier, meanwhile, shell shocked and battle weary, just wants to shut it all out and forget. Their minds, bodies, and spirits can neither rejoice nor argue; emotions like joy, anger, or even regret have no part. All the soldier can feel is a numb thankfulness that he is home and alive-and if he is fortunate, in one piece.
Pictures speak a thousand words: Michael was a shell shocked war veteran by V-Day, visibly scarred and emotionally detached from his surroundings:
I don’t have to ask anyone if this is how Michael felt on V-Day. I know it, from the depths of my soul as one soldier to another. It doesn’t matter whether our battles are fought on the field, or in the courtroom, or in the traumatic things we endure mentally, physically, or spiritually. The results are the same.
But however shell shocked and battle weary Michael may have emerged from that ordeal, the important thing to remember is that on Monday, June 13th, 2005, justice prevailed. Michael Jackson was fully exonerated on not just one or two, but all fourteen counts for which he had been charged.
And with that in mind, this is a good day to pause and reflect on Michael’s statement that lies may run sprints, but the truth will run marathons. For every crazy and outlandish accusation brought against Michael, and for almost every wrong done against him that has been brought to court, Michael has emerged victorious time and again-not because his money “bought him off” (though having good attorneys never hurts!) but because going to trial has a peculiar way of forcing the truth to come out. Lies can indeed sprint pretty quickly; they can run all over tabloid headlines; they can run amok on TV; they can shoot quickly out of a starting gate. But they cannot hold up under the intense scrutiny of court proceedings.
The record speaks for itself. In 2005, Michael was fully acquitted. But the truth’s long distance marathon doesn’t end there. In virtually every silly case ever brought against him that went to trial (and here I am referring to the gamut of frivolous lawsuits) Michael emerged victorious time and again. In every instance in which he counter sued parties for damages, he was either awarded fully or partially in his favor. In 2011, Dr. Conrad Murray was found guilty in Michael’s criminal death trial, resulting in some measure of justice for his homicide. And, just a few weeks ago, Judge Beckloff gave Wade Robson his walking papers, at least as far as the probate case is concerned.
The only thing that puts a crinkle in this near perfect record of justice was the result of the AEG trial. I still feel firmly, to this day, that AEG should have been held accountable in that lawsuit, but I suppose as the old saying goes, you can’t win them all.
That still, however, leaves an incredible track record of prevailed justice, especially for a man who was so often put in the defense position for much of his life. It has been almost six years since his death and he is not here to defend himself against accusations that continue to plague him even in death, but perhaps he need not fear. Truth and justice still seem to fight on his side, as has been proven time and again. In closing, another of Michael’s famous phrases comes to mind: “God is for me, who can be against me?”
God fights only on the side of His children and not for the forces who work for the opposing team. And indeed if God fights on your side, then what is there to fear? I believe it has been proven time and again that God is fighting on Michael’s side.
And if God and Truth are on your side, then the forces of darkness have no power. Ten years and counting, the truth is still running strong.
I know, it sounds like the far-fetched and paranoid rantings of conspiracy theorists. But the shocking answer to the title question is that yes, there is plenty of evidence to suggest this has not only happened with shocking frequency in the past, but is continuing to happen even today, nearly six years after the man’s death.
As this May 16th Facebook posting from Michael Jackson tribute artist Carlo Riley suggests, the desperate attempts to frame Michael Jackson by creating fake evidence against him continues to be big business. And it is big business for one very simple reason: The fact that there was never any actual evidence to link him to any molestation allegation. Looking at the history of this phenomenon, it’s shocking indeed to see what cartwheels these sinister accomplices are willing to perform in order to create that elusive “smoking gun” against Michael that has simply never existed. This quote from notorious MJ hater/stalker Diane Dimond, taken from a January 1995 radio interview on KABC-AM radio, actually says it all. The full interview was concerning an alleged tape of Michael Jackson and a young boy that, as it turned out, was a complete fabrication. But note what she says here:
“You know, I remember way back when, more than a year ago, we interviewed the head of the pedo[ph]ile unit at the FBI in Quantico, Virginia and he said you know the down fall of pedo[ph]iles is that they love to keep a memento of their victims. Or, they love to take pictures or take videos. We don’t know why, but they do this. It is for their own self gratification later but it always comes back to bite them.”-Diane Dimond
Of course, Dimond is referring here to none other than Jim Clemente, whose public comments about Michael Jackson and the case have revealed much bias and ignorance. But casting aside my own personal feelings and reservations about Clements, what he says here is absolutely true. And it is exactly why so many child molestors are caught red-handed. Their urge to photograph and videotape their “conquests” or to sex chat and text their victims, leaves an unmistakable trail of evidence, the kind which is 100% guarantee of a criminal conviction once introduced into court. True pedophiles, it should be noted, seem notoriously immune to resisting this urge, even when knowing full well they are hanging themselves with their own rope. And so the fact that even after an intensive four month trial, repeated searches of Michael Jackson’s home and seizure of his belongings (including searches of every computer in his home)and over a decade of FBI surveillance, not one such explicit, smoking gun piece of evidence ever emerged remains the biggest craw in the necks of Michael’s enemies. The best that prosecutors were able to do at the time-and, to this day, the best that his detractors have been able to continue to do-is to cobble together a flimsy case for circumstantial “evidence” out of certain items that the prosecution attempted to have included at trial but were subsequently precluded due to their complete lack of relevance to the case. You can read more about those items here:
In short, we’ve heard a lot of loud flapping about male DNA found on sheets (none linked to any alleged “victim” of Michael), a pair of soiled underwear, some legal art books…and not a heck of a whole lot else, other than “he said; she said” testimony.
So if Michael Jackson really was this horrific pedophile and serial child molestor that his detractors and accusers try to paint, then WHERE ARE the photographs, the video tapes, the love letters, the sex chat logs, the text messages and all of the usual evidence that pedophiles can’t seem to resist accumulating? To get around that problematic issue, there are some who like to try to portray Michael as an incredibly slick and savvy pedophile who was smart enough to never get caught with such smoking gun evidence, but the odds of Michael being able to get away with such a ruse while being under twenty years’ worth of intense scrutiny is simply highly nil. Are we to believe that in all that time, no one would have ever taped an incriminating phone conversation? That none of those busybody Neverland employees, only too anxious to sell a story to the tabloids, would have rigged a camera to catch something suspicious? Or that, more importantly, if Michael had been an actual pedophile, that he could so successfully resist the innate urge to document his “conquests” in some tangible form?
Let’s face facts. If any such evidence had ever existed, it most certainly would have surfaced long ago. For sure, it would have been seized upon by Tom Sneddon and used in the trial, and no amount of arguing from the defense would have kept such evidence out of court. The lack of such hardcore evidence is precisely why Michael was acquitted, and why the issue of his guilt or innocence continues to be an issue that his haters and detractors have to debate, rather than being the foregone conclusion they so wish that it was.
In our tabloid-driven culture, of course, the idea of fabricated stories and even fabricated “evidence” shouldn’t entirely surprise. The lengths that tabloid publications will go to get dirt on a celebrity, sometimes offering upwards of six figures to entice friends to “dish dirt” or even fabricate stories completely, is not exactly a secret practice. But some celebrities have obviously been bigger targets than others. The Michael Jackson case presented the perfect storm for fair weather friends, disgruntled ex-employees, those sour over fallen deals, checkbook journalism, and unscrupulous journalists with their own agendas to converge in a feeding frenzy that has had few precedents in the whole, sordid world of celebrity gossip. When I spoke with Michael’s longtime friend David Nordahl in 2010, he told me that he had been offered as much as $500,000 by a tabloid publication to make up stories about Michael. He was given offers to fabricate stories about the children who had modeled for his paintings with Michael. This was absurd on many levels, number one because all of the paintings were quite innocent, and two, because no actual children were used to model in those paintings. They were all either products of Nordahl’s and Michael’s imaginations, or in some cases, childhood images of people they knew as adults, such as Nordahl’s wife who appears in Michael’s “Field of Dreams” painting as the mischievous little girl crouched behind Michael’s arm. Yet the conspiracy to fabricate false stories about these images was and remains a big business, and it is fortunate that Michael had a loyal friend in David Nordahl, someone who considered his friendship with Michael much more valuable than half a million dollars.
That has not always been the case. As we know too well, not only did Michael have acquaintances (the word “friend” just can’t apply here) willing to sell him out, but also those who were willing to make up complete fabrications if the price was right. However, we all know that the tabloid business is what it is. I’m talking of something even more sinister, which is the outright planting or fabricating of false “evidence” in order to create either cases and victims that never existed (the so called “phantom victims’) or to create substantiating “evidence” where no such evidence exists. In Michael’s lifetime, this sort of thing happened with alarming frequency, usually as an attempt to blackmail him by creating a potentially damaging scenario. In death, the practice continues, and namely for two very specific reasons-because his brand and image is still very big business, and because there is a faction determined at all costs to “prove” him a pedophile for the sake of their own glory. Some of these people are so determined and desperate, in fact, that they will stop at no means-however sinister-to achieve that end. Creating falsified documents, fake conversations, and even fake photos are not above them. In some of the more well known cases, the perpetrators had no conscience about even involving actual children as part of their schemes!
One of the earliest and most blatant cases was that of Rodney Allen aka John Templeton, a Canadian man who, in the mid 90’s, ran a prostitution ring of young, underage boys in Toronto. Although I assume most hardcore fans are familiar with the details of this case, I will summarize briefly for the benefit of the casual fans and researchers who perhaps aren’t. The story was first broken on Hard Copy in 1995 by notorious MJ hater/stalker Diane Dimond. Although Dimond tries hard to present herself as an unbiased reporter here, that is in reality not the case at all. The reality was that she had to back pedal her way out of a very potentially embarrassing situation for herself and Hard Copy. But it turns out there was also another motive for Diane Dimond to present herself as an unbiased reporter of Michael Jackson. However, I will comment more on the problems with her “investigation,” as well as her OWNrole in fabricating fake evidence against Michael, shortly. For now, we will focus simply on the facts of the Rodney Allen case as they were originally reported.
Here is the story as it was first presented on Hard Copy in 1995:
The story might leave some with a case of the warm and fuzzies. Diane Dimond investigated what “could have been Michael Jackson’s worst nightmare” and uncovered a scam to frame him. In truth, Michael Jackson’s worst nightmare had unfolded long before this, and Diane Dimond was one of its key players!
The real question here is why, after learning the truth about Rodney Allen, did Diane Dimond-this woman who gives so much lip service to truth, integrity, and of being a champion for the rights of child victims- simply walk away from this case, content to leave it to Canadian authorities to untangle? Apparently her concern for this fifteen-year-old kid (who subsequently was arrested for public mischief) ended when the story became a dead end as far as Michael Jackson’s involvement. Rodney Allen was eventually arrested and convicted to a life sentence in 2001, a full six years after this story aired. In the meantime, the fact that he was head of an ever increasing “family” of teenage boys didn’t seem to phase Diane Dimond or anyone at Hard Copy, who were all too busy chasing the next phony Michael Jackson story.
In 2010, Helena of Vindicating Michael wrote a great piece on this story and raised many disturbing questions about how and why the whole Rodney Allen story was handled in such a cavalier fashion:
I agree with most of the questions raised in this piece. For example, just who was this guy Rodney Allen, what was his stake in so determinedly creating a case against Michael Jackson, and most importantly, how did hemanage to have such detailed information of Hayvenhurst, Neverland, and of Michael’s employees? Information that he then used to coach a teenage boy so convincingly that he almost had the Canadian police fooled?
Well, as it turns out, both Rodney Allen and Diane Dimond had a long-time source in common: A man named Victor Gutierrez, who was certainly no stranger to fabricating false stories about Michael Jackson, and who had been obsessed since as far back as 1986 with the idea of “outting” Michael as a pedophile.
I have already written quite extensively about Victor Gutierrez, his NAMBLA connections, and his obsession in past posts:
By far the most detailed and well researched account I have yet read on the connection between Victor Gutierrez, Rodney Allen, and Diane Dimond can be found here.This is from an author who has done much extensive investigative reporting in an attempt to unravel the long, dirty history of Victor Gutierrez’s role in the Michael Jackson allegations. You can also find here many actual court documents that verify the long and convoluted role these individuals played in making Michael Jackson’s life a living hell:
The connection between Dimond, Gutierrez, and Allen is one that can’t be emphasized enough when it comes to the topic of creating false evidence against Michael Jackson, even though Dimond on at least one occasion was able to effectively use the Shield Law to protect her from being sued by Michael. So let’s back up and look at one of the most notorious and blatant cases of creating phony evidence against Michael, and how all three of these players were involved.
The blogpost I have linked to above is fascinating in that it both confirms the connection between Rodney Allen and Victor Gutierrez (via the author’s own correspondence with Rodney Allen) and also confirms a long suspicion I had held regarding the strategic timing of the broadcast of the Rodney Allen story by Hard Copy in April of 1995.
To briefly summarize a very dirty and convoluted story, in December of 1994 Victor Gutierrez had tried without success to sell a story to the tabloids about an alleged videotape that he claimed featured Michael engaging in lewd acts with his own nephew Jeremy. Gutierrez cited the alleged source of the tape as Jeremy’s mother Margaret Maldonado, ex wife of Jermaine Jackson. Gutierrez had claimed that he met with Maldonado at the Century Plaza hotel to view the contents of the tape. Maldonado denied this vehemently in court, claiming she had never even met Gutierrez, and the Century Plaza hotel had no record of Gutierrez ever being there.
Gutierrez had no luck selling the story to tabloids. It was late 1994, over a year since the Chandler story had been hot news, and OJ was now the big story. Secondly, no one really wanted to touch the story because Gutierrez was not able to substantiate the actual existence of the video.
He finally turned to his friend Diane Dimond, and found a more than willing ally to spread the story, even though she had never personally seen the alleged tape or its contents. Based on no more information than her “source” (Gutierrez) she went on record in January of 1995 on a radio interview show and not only reported the existence of a tape she had never seen, but also falsely reported that the investigation of Michael Jackson was being reopened. This was blatantly untrue. The LA County DA had, in fact, already dismissed the story as bogus (or at the very least, as a story that had failed to hold up under scrutiny) and had no intention at that point of re-opening the investigation.
Although no one had even seen the alleged tape other than, supposedly, Gutierrez, this didn’t stop Hard Copy from running with the story a few days after Dimond had first let the cat out of the bag during the radio interview on January 5. On January 9, 1995, Hard Copy reported the story in a segment featuring Gutierrez, and several British tabloids followed suit.
Still, one very big problem remained…where was this alleged videotape, why had no one seen it, and why couldn’t the “source” simply turn it over if indeed it existed? The fact was that it didn’t exist, and never had.
Michael filed a lawsuit against all parties involved in spreading the slanderous story-including Gutierrez, Dimond, and Hard Copy-for $100 million on January 12, 1995. However, Dimond got her good friend Tom Sneddon to write a long-winded declaration in her defense, citing The Shield Law and that as a journalist who was simply reporting, without malice, what had been told to her by her “source” she should not be a party to the suit.
The courts were apparently convinced by Sneddon’s passionate plea for his friend’s case, and Dimond eventually had to be dropped as a party in the suit. The upshot was that Victor Guiterrez was ordered to pay Michael Jackson $2.7 million in damages, but skipped the country and returned to his native Chile in a cowardly act that enabled him to circumvent ever having to pay the money. In a signed declaration, Gutierrez stated that he had returned to Santia to “get a good job” but hadn’t gotten a job and therefore “I do not have money to buy a plane ticket to return.” (Despite the fact that he later bragged about living in a 21-bedroom mansion!).
But here’s where the whole thing gets interesting. Apparently, Victor Gutierrez and Rodney Allen were more than well acquainted in 1995, when this story broke (the author of the above blog mentions Allen stating that he stayed with Gutierrez in LA and attended a book convention with him in the summer of 1995). And Diane Dimond, who was not only utilizing Gutierrez as her main “go to” source but considered him a personal friend as well, would almost surely had to have been aware of this fact! If this is all indeed true, then there was never any “great mystery” about the real identity of Mr. John Templeton, and Diane Dimond would have already been well aware that a pedophile in Toronto, Canada named Rodney Allen and her “source” Victor Gutierrez were working and hanging out together!
Secondly, it is interesting that Diane Dimond chose to run the Rodney Allen story on Hard Copy in April of 1995, at the exact time when she was still involved with the litigation of Michael Jackson’s lawsuit against her. I agree 100% with the blog’s author that the timing made it all seem like a well planned strategy to show that Dimond and Hard Copy were being objective and fair in their reporting on Michael Jackson, at a time when it served their best interests to prove this. It also occurred during a period when Michael was undergoing intense pressure to drop the case against Diane Dimond and Victor Gutierrez. Gutierrez, in particular, through his attorney Robert Goldman, engaged in many threatening tactics, particularly the threat that Gutierrez would promote his fictional fantasy book Michael Jackson Was My Lover at every opportunity if the case went to trial.
I can’t say beyond a shadow of doubt that Diane Dimond was complicit in knowingly fabricating the story of the phantom video tape, but for sure, she willingly aided and abetted the perpetrator of the hoax and reported false information when she stated that the case was being re-opened (Sneddon, it should be noted, was very careful in his declaration of defense for her to make his wording on this ambiguous, stating that the investigation was “inactive but not closed” in order to mitigate the lie and to make it seem understandable how she might have reached that conclusion). She also knowingly and willfully provided details about the video tape for which she had no first hand knowledge as she had never seen it, and thus had no verification that what she was reporting was even true.
But even more disturbing is how she could have possibly been so blindsided by Rodney Allen. And even worse, if she was already aware of his identity and what he was up to in Canada, why was she still wasting time chasing after false leads on Michael Jackson instead of investigating this guy?
Knowing the connection that both Rodney Allen and Diane Dimond have to Victor Gutierrez suddenly makes all of the puzzle pieces fit together. This would have explained, for instance, how Allen acquired much of his seeming first-hand knowledge of Hayvenhurst and Neverland (information he was then able to pass on to the boys in his circle). It doesn’t answer the question of who the “other” Jackson family member might have been who allegedly molested Allen, but given the ability of both Allen and Gutierrez to completely fabricate stories, there is no real reason to believe (without solid proof) that Allen was ever molested by anyone in the Jackson family.
Could the whole story have been part of an elaborate scam cooked up by the three parties involved-Diane Dimond, Victor Gutierrez, and Rodney Allen? I can’t say for certain, but based on the facts, I certainly wouldn’t rule it out as a possibility.
The whole situation reeks to high heaven. The best we can say, if we’re generous about Diane Dimond’s involvement, is that she used her connections with Gutierrez and Rodney Allen to create a fake story that would help to make her look good as litigation moved forward in Michael Jackson’s lawsuit against her. But the worst case scenario-that she may have actually been an accomplice with these two in a scam to fabricate a case against Michael (a case that subsequently unraveled under scrutiny) is even more damning.
Unfortunately, attempts to frame Michael Jackson with phony evidence doesn’t end there.
In 2012, I broke the story of Alexander Montagu, a distant relation to Princess Diana who capitalized on this tenuous connection and Michael’s known affection for the late princess to concoct an unsavory plan. He invited Michael to attend a Los Angeles memorial service for Diana in September of 1997. However, the invitation as it turned out was merely a front to gain Michael’s trust. He even went so far as telling Michael that he knew, personally, that Michael was not invited to the London memorial and that his only option to honor his friend was by attending the Los Angeles event. However, Montagu’s real plan was that after the service, he would invite Michael back to his hotel to meet his young son Alex, Jr. Montagu had picqued Michael’s interest by talking about his airplane business, and it seems Michael had considered purchasing a plane from Montagu. During the two hour visit, Montagu filmed Michael playing hide and seek with Alex, and in fact, seemed to be going suspiciously above and beyond in filming every interaction between Michael and his son. Although Michael later invited the family to Neverland on at least one occasion, whatever friendly relations he may have had with Alexander Montagu apparently soured when the deal to buy the plane fell through. However, it was later revealed by Montagu’s wife Wendy that the entire plan had been a setup from the very beginning, with the intention of framing Michael by claiming that Michael had molested Alex, Jr! Thankfully, I had a wonderful source during the writing of this article, Melinda-Pillsbury Foster, a personal friend of Wendy Montagu’s who had been privy to the whole, sordid scam! You can read my entire, original post on Alexander Montagu and his scheme here:
Years later, during the Arvizo trial, Montagu had contacted Tom Sneddon and was subpoenaed to appear as a witness for the prosecution. Although he had never been successful in creating a convincingly compromising situation between Michael and his son, he still figured the very innocent footage he had filmed of Michael playing with Alex, Jr. could be put to good use. He figured he would use it to help strengthen the prosecution’s case by claiming the film as evidence of how Michael “groomed” his potential victims. This was all part of an elaborate plan from the the prosecution to “expose” Michael’s previous lifestyle, which included the notorious Neverland Five, a group of five disgruntled ex-employees who re-surfaced in 2005 ten years after they had sued their boss and had been successfully counter sued, and were likewise never able to produce any hardcore evidence of Michael abusing children. Mostly they had succeeded only with selling stories intended to embarrass and humiliate their former boss to the tabloids. However, stories of uncontrollable diarrhea and such nonsense (even if true, which they probably weren’t) did not construe evidence of a crime, and such feeble attempts as introducing Montagu’s staged footage as “evidence” of a grooming process in place, while utterly absurd, was apparently the best they could do. It is heartbreaking in these clips to see Michael so innocently playing with this kid, thinking he is among friends, when the reality was that he was being set up.
In the defense’s motion to have Montagu’s false testimony thrown out, it was explicitly stated:
“There is something disturbing about how badly Mr. Manchester wants to testify about an incident in which his own son denies that any wrongful attacks occurred.”
The plans to testify fell through when Wendy Montagu refused to cooperate and threatened to expose the scam. Even worse for him, his son Alex, Jr. refused to accuse Michael of wrongdoing. The boy had only fond memories of his brief time spent with Michael, and chose to stand by his mother’s version of events. Montagu weasled out of testifying by claiming that he was being threatened by Jackson’s camp to stay away from the trial, but the reality was that he knew his story would not hold up if not substantiated by Wendy, and he couldn’t risk the fact that she might make true on her threat and talk.
Alas, there is a direct link of Alexander Montagu to yet another notorious fabricator of stories about Michael Jackson-none other than Scott Thorson!
And, to add further to the topic of those attempting to plant false evidence against Michael, there is a fascinating discussion here regarding Marc Shaffel’s alleged attempt to plant child porn on Michael:
The post is mostly a scan from a chapter of Andrew Brietbart’s book Hollywood Interrupted which is well worth the read. Brietbart’s source for this info was Paul Baressi, who apparently ended up feeling quite bitter when his exposure of Schaffel’s intended scam was not repaid by Michael’s attorneys. Brietbart is hardly a Michael Jackson fan, but all the more reason why he would have little motivation to lie about something like this. Schaffel’s plan, in a nutshell, was to plant one of his own gay porno films featuring two underaged boys on Michael, in the hopes of receiving a $25 milion dollar payout. And he claimed, according to Baressi’s source David Aldorf, an associate of Shaffel’s, that if he didn’t get his $25 million the next step would be the tabloids.
And, speaking of famous set-ups, let’s not forget that one of the most notorious was when Martin Bashir (whom it is now known was using Victor Gutierrez as a consultant during the filming of Living With Michael Jackson) coerced the scene of Gavin Arvizo lying his head on Michael’s shoulder!
I am certain that every incident I’ve touched on here is still only the tip of the iceberg. As I stated before, the practice of bringing false allegations against Michael, and/or of planting fabricated evidence and/or creating phantom victims has been going on at least as far back as the Chandler case, and perhaps even earlier (in fact, it stands to reason that the Chandler case may have simply been the first and only such fabricated case that actually succeeded according to plan, no doubt setting the stage for many other attempts to follow). In that case, also, no explicit or “smoking gun” evidence was ever produced, but the pressure and embarrassment garnered by negative publicity was enough to set the wheels in motion for a payout. Thus, the motivation for blackmail from unscrupulous parties was ever present. Although as Victor Gutierrez and others had to learn the heard way, even the tabloids have their limits. However, many such unscrupulous gumshoe “journalists,” ex business partners, and others with axes to grind all learned how to play the system, and how to navigate the balance between the tabloids on the one hand, and the police on the other-and how to play both. The wisdom, of course, is that if one potential avenue doesn’t pan out, the other will (usually with the idea being that police involvement will force the tabloids’ hand). Either way, many consider it a win-win, thinking that either the threat of negative publicity will force a settlement or that the income generated from the tabloids alone will be sufficient. In the best case scenario, they are usually hoping for both-that is, that a deluge of embarrasing headlines will ultimately force a settlement offer.
However, in the particular case of Michael Jackson, the motive and the stakes for creating fake evidence against him has an even more sinister agenda for some than mere money or greed. For some, it is a life’s ambition to “prove” what has remained frustratingly and elusively “non provable” for them.
This brings us back to Carlo Riley’s recent post. Apparently, according to what I have been able to gather from Riley himself, this is not the first time. Over the last few years, he has been offered money to fake supposedly incriminating photos with children. He has been asked to pose in casket photos (the latter, perhaps, not as serious as the child photos, but still, a duplicitious scheme nonetheless) and it seems to be a practice that has targeted at least a few of the more well known tribute artists. I suppose it’s an idea that may make sense in theory to some. Let’s get a Michael Jackson tribute artist-someone who bears enough of a passing resemblance to MJ to pull it off-and pay him enough money to pose in a photo or video tape (that, of course, is made to look incriminating). The problem is that most MJ tribute artists-at least the ones I know-are people who love, respect, and admire the man they emulate. He is their hero, and they would never do anything so lowdown as this. However, not all tribute artists are scrupulous (there was even one who made some embarrassing headlines a few years back after he molested a child) and I am sure there are some who, just like anybody else, would do “anything for money.” There are some who imitate Michael Jackson simply because it is a way to make money and gain some notoriety. I sincerely hope they are a minority, and I believe that they are. Of course, it is highly doubtful that such a ruse could hold up for long, under intense scrutiny. Michael Jackson fans know what Michael looks like, and a phony can be sniffed out pretty quickly. Also, there are still enough reputable journalists out there whom I believe would see through such a scam pretty quickly. Photographs can be authenticated easily enough. But in today’s world of instantaneous, cut and paste journalism (where facts are seldom checked and a phony story can spread like wildfire within hours) all it would take is one tabloid outlet willing to pick up the story for the damage to be done.
While I have not been able to verify among the MJ tribute artists I know personally just how prevalent this practice is, it stands to reason that the more well known ones like Riley would be targeted. Riley has been featured on TMZ and is a routine presence at many Michael Jackson functions across the country. If someone was going to plot to hire an impersonator to pose for an incriminating photo with kids, it makes sense that they would start by first going after the more well known ones who would be easy to track down.
Could it be coincidence that Carlo Riley broke his silence just a few days prior to the probate case dismissal of Wade Robson’s claim? Could this have been a last minute, desperate effort on the part of Robson and his attorneys to drum up some kind of evidence, any evidence, to support his case? There is no way to know for sure and, unfortunately, I can only chalk up any such speculations to just that. Speculation. Riley has said that the persons behind this were not forthright in either identifying themselves or their motives, and if he does know more, he apparently is not at liberty to say. However, what is not coincidence is just how prevalent these types of stories become whenever Michael’s name is in the news. Whether it is positive or negative, press coverage always has a way of drawing the roaches out of the woodwork.
To return to the original question, the answer to just how prevalent is this practice is very.The scary part is that this practice apparently remains such big business even six years after Michael’s death. It apparently remains big business because a trial, an acquittal and at least twenty-two years’ worth of ample opportunity for that elusive “smoking gun” to surface, without luck, have not been enough to satisfy those who so desperately want the world to believe that Michael committed these crimes. Whether the motive is profit or just to “prove a point” there are some who will stop at no ends to do whatever it takes.
Even if that means stooping to create evidence that never existed, and never will.
ETA: I wanted to add to the main post some additional links that were provided by Suzy which are definitely worth checking out.
Here is the story of the Newts, another family that tried to set up a false claim against Michael during the height of the Arvizo trial publicity storm:
As promised, here is the final installment of student essays for this semester.
Sorrow for Human Responsibility by Paul Reising
Michael Jackson, perhaps one of the most widely known artists of all time, wrote and produced many pop hits and famous videos. He was most famous, however, for his controversies and meanings behind his works. Many such works pale in comparison to “Earth Song.” This work is most famous for being his last performance, and also for showing his true stance on how we as a race, treat and respect our planet, Earth. Michael Jackson was famous for his socially conscious music, but “Earth Song,” his big, bold environmental call-to-arms, is often overlooked (Pasternack). While the vast majority of his songs and videos were focused on relationships and pure entertainment, this particular song took a dark, somber, and more serious tone. The fun aspect was replaced by stark, graphic, and overall disturbing depictions of the effects of human irresponsibility, recklessness, and exploitation. “Earth Song” portrays Michael Jackson’s true convictions toward mankind’s misbehavior toward the planet they walk upon, the creatures they step on, and themselves through the imagery, symbolism, and lyrics.
The song portrayed a lone man walking through what looked like a deforested wasteland. The man, who was Michael, preached his sadness for what had become the state of the planet. Imagery such as: a forest being systematically cut down, a mutilated elephant, a dried up lake without living animals near, a war-torn town, a seal being slaughtered, a trapped dolphin, a graphic display of industrial pollution, sorrowful natives for their loss of lively-hood, and tank heading straight for the camera. Deforestation was, and is, a menace to the well-being of the balance of nature. Michael shows to be weeping for the falling trees and hurts when they hit the ground. A dried up lake in the video goes back in time to its perfect original state of harmony, showing lifelessness and human calamity. A gruesome sight next to the dried up bed of water was a dead elephant with its tusks removed by poachers, also, with a dead calf next to it. This depicts the ongoing illegal exploitation of nature and its resources for a profit, as does the seal being killed and the dolphins being trapped. The destroyed village depicts a distraught, displaced family about to search their crumbling home in search for their child, only to find a wrecked bike. A quick yet impact heavy scene depicts an industrial complex spewing and flooding the atmosphere with toxins and unknown gasses, which gives an ominous feel and we know to be devastating to ozone level. Natives of several places, including Africa and South America are shown to be weeping over their destroyed land and lively-hood. And finally, a tank rolling towards the camera gives a graphic reminder of the ongoing presence of unwelcome warfare. These scenes and images provide a myriad of painted pictures, showing how Michael felt about the wrongs of mankind.
Michael uses the images, however, for a deeper, more meaningful purpose of showing his true, underlying feelings in the symbolism. Michael’s full black outfit throughout the video represents his emotions while singing. It shows his sorrow and dissatisfaction with the current state of how mankind is treating its home. The wasteland surrounding him show what effect humanity had on that particular area and how far it is willing to go in exploiting nature. The hand being repelled by the oncoming chainsaw on the tree symbolizes innocence and good intentions being overthrown by greed and lust. The home of the war-torn family was shown to have a kid, but all that was known from the destroyed house was that a destroyed bike was all that was left. The bike is a symbol for innocence and it being destroyed represents how it was lost to the horror of war.
A selection of cultures from around the world were shown weeping and bowing submissively, scooping up dirt and pleading for salvation. This shows the extent of desperation for a positive change. A tank was shown heading straight for the viewer in one scene, and this symbolizes the part of humanity that is unstoppable and unrecoverable, just like the image of that tank. This aspect would be greed. Finally, the large gusts of wind blowing across the surface of the earth represents the much wanted cleansing and renewal of Earth and all its resources. These symbols reveal and punctuate Michael’s true opinion on how Earth is being treated by its inhabitants.
Although symbols and images reveal a lot, the lyrics come straight from Michael’s heart. There were three main lines that made the most impact. In “Earth Song,” “What about the peace you pledged your only son?” questions god as to why he allows suffering or it could mean he is questioning mankind as to why we have not been able to end and resolve means to warfare. “I don’t know where we are,” shows Michael’s belief that humans have altered Earth to a state where it could no longer be recognized. The repeated use of “What about us?” indicates his concern about our uncertain future. His lyrics come straight from the heart and show his love of Earth.
“Earth Song” as a whole portrays someone who loves the Earth dearly and hates the changes to it based on humanities’ shortcomings and mistakes. It uses imagery to paint the picture of sorrow. It makes use of symbolism to show a deep understanding of his feeling for Earth. Finally, the lyrics emphasize his feelings about humanity, Earth, and its future. Michael Jackson was a person who deeply loved Planet Earth.
Themes and Symbolism in Michael Jackson’s “Earth Song” by Jacob Slaughter
Like a great many of pop singer Michael Jackson’s works, “Earth Song” and the music video released with it is packed with symbols and deeper meaning. The third single from his 1995 album HIStory: Past, Present and Future, Book I, “Earth Song” was all about humanity destroying the beautiful planet on which we live on. The video opens in an apocalyptic wasteland, with scorched earth as far as the eye can see. The video sheds light on the cruelty of humanity.
While “Earth Song” eventually became the highest selling single of all time in the U.K. and garnered much acclaim throughout many European countries, it never got near as much praise in the United States. Its unusual blend of blues, gospel, and hard rock was perhaps something that American audiences weren’t used to hearing. Hits like “Thriller,” “Billie Jean,” and “Man In The Mirror” garnered much more acclaim in Jackson’s home country because of our tendency to lean more towards more pop-oriented music.
One of the many sad parts of the video includes an African family looking on at the remains of an elephant and her baby, killed by poachers. The environment changes from having dead grass and dead elephants to being full of life, with a crystal clear lake and a whole herd of elephants gallivanting around and having a great time. This is perhaps Michael saying that he thinks whatever damage we have done to the Earth isn’t entirely unfixable.
In Joseph Vogel’s Excerpts From Earth Song: Inside Michael Jackson’s Magnum Opus, Vogel sums up the overall tone and message of the song perfectly:
“The six and a half minute piece that materialized over the next seven years was unlike anything heard before in popular music. Social anthems and protest songs had long been part of the heritage of rock-but not like this. ‘Earth Song’ was something more epic, dramatic, and primal. Its roots were deeper; its vision more panoramic. It was a modern-day “sorrow song” haunted by voices of the past; a lamentation torn from the pages of the Old Testament; an apocalyptic prophecy in the tradition of Blake, Yeats, and Eliot.” (4)
While I wouldn’t exactly call it an apocalyptic “prophecy,” I think Vogel’s description of the message that the song is trying to convey is perfect. Songs like Twisted Sister’s “We’re Not Gonna Take It” and NWA’s “F*** Tha Police” are counterculture anthems that challenge listeners to stand up for their rights against authority; songs like these have always been common in mainstream rock music. “Earth Song” is similar in that it is trying to convey a message to its listeners, but it is something a lot deeper. “Earth Song” doesn’t challenge social issues of a particular race or region but rather contains a meaning that everybody can relate to: the gradual destruction of Planet Earth by its inhabitants.
About halfway through the music video of “Earth Song,” a storm begins to ravage the landscape, tearing up houses and creating dust storms. This is perhaps symbolic of God or Mother Nature’s wrath against humanity. In the Biblical book of Genesis, God was more than a little displeased with the way His people were behaving and the way they were treating the beautiful planet that He had created, so he flooded the Earth, killing everything there was and starting anew. The storm in the video is perhaps a second “purging” of humanity by God.
Another symbol found in the video is the people scooping up dirt with their hands. While I’m no expert on symbolism, I look at this as humanity admitting its wrongdoing and asking for Mother Earth’s forgiveness. In the second verse, Michael asks “What have we done to the world? What have we done?” Michael sees that we have treated the Earth with utter negligence and change needs to happen soon.
“Earth Song” is a beautiful anthem that carries a very crucial message: if humanity does not get its act together, it just might be doomed. However, while it is a rather dark song, it does provide a sense of hope and redemption (at least in the video). While we humans may be a rather stubborn species, we can all pull together and do our best to prevent any more devastation than we have already caused.
What makes a great musical artist? There are many ways to measure what makes one great, such as the duration of his or her career, number of hit songs, critical reception, impact on culture or album and ticket sales. One artist that possessed all of these things and more was Michael Jackson. Often referred to as the “King of Pop,” Michael Jackson was a driving force behind modern pop music. Throughout his career, Jackson won 23 American Music Awards, the most of any artist, as well as 13 Grammy awards (CNN Library). Michael was also a very active philanthropist and advocate for change in the world. He wrote and performed several songs to draw attention to causes he felt were important. In 1995, Jackson released his single “Earth Song” which was accompanied by a dramatic music video. Jackson wrote “Earth Song” to try and convey his interpretation of how the Earth was suffering, and that the suffering was caused by the actions of mankind. The video is an allegory, and as such it is brimming with symbolism and different thematic elements.
The video to “Earth Song” opens to a lush forest teaming with wildlife. There is a drastic change to the setting however, as the viewer next sees a bulldozer moving steadily through the trees. Then, the viewer sees Jackson wearing tattered clothing and walking haltingly through a devastated forest that has been razed and left aflame. This opening scene sets the tone for the remainder of the video which is very somber and despondent. The ruined forest which Jackson is walking through is also very symbolic. The large trees are all cut down to nearly the same height, and flames can be seen across the entirety of the horizon. The destruction of this forest was obviously caused by man, and not by a natural event which is evidenced by the cut marks left in the stumps of the trees. Through this scene, Jackson may have been trying to convey this eventuality of our world should we not change our ways and stop our incessant destruction in the name of progress.
Jackson’s disheveled attire in the opening scene is also symbolic, and clearly done with purpose. He is wearing a jacket and pants, both of which are in poor condition. He wears a dark shirt underneath the jacket, it too is in poor condition with apparent tears and holes in the fabric. While the devastated forest is meant to show the destruction caused by mankind, Jackson’s clothing appears to show that the condition of man is attuned to that of the Earth and that mankind cannot survive without the Earth.
Later in the video, there comes a scene with Jackson falling to his knees and grasping handfuls of dirt. This is followed by groups of people from various cultures across the planet, with each group falling to knees and grasping at the earth as Jackson did. After each group of people is shown to the viewer, it is quickly followed by an example of destruction caused by mankind. These images may represent the actions of those specific cultures that precede them. This scene serves to show that all of mankind serves as steward for the planet, and every person and culture is responsible for protecting the Earth.
Another example of symbolism in this scene is the commonality of every culture descending to their knees. The action of dropping to one’s knees is common in many religions around the world. Resting on the knees is also often associated with the act of prayer. The scene could be intended to represent the people of the Earth all repenting for their destructive ways and seeking forgiveness.
Religious themes are not foreign to Jackson, and “Earth Song” has clear Gospel music influences. The religious overtones are further confirmed in Joseph Vogel’s book Earth Song: Inside Michael Jackson’s Magnum Opus where the author writes, “Raised a Jehovah’s Witness, he was taught to believe in a God that was rigid and demanding (including the commandment not to celebrate holidays or birthdays). The main purpose of life was to prepare oneself for Armageddon, which Witnesses believed was imminent and futile to try to delay or prevent. The goal, rather, was to become one of the elite righteous members (the 144,000) that would survive and preside over the earth once it was cleansed of wickedness” (25). If Jackson truly believed as Vogel claims, then Jackson’s motivation behind the next scene of the video becomes more clear. In the scene following the groups of people grasping the Earth, a powerful earthquake begins to assail what appears to be the entirety of humanity. The earthquake is followed by a great storm which seems to reach every corner of the world. This terrible storm is reminiscent of the story of Noah’s Ark in the Bible, and the story could be the inspiration for Jackson’s storm. The storm represents the cleansing of the Earth, and a return to its natural state. The final scene of the video shows a single man standing in a forest, which could also represent a fresh start similar to Noah.
Michael Jackson’s “Earth Song” is a desperate cry for change. The song is a lamentation for what has beset the Earth, as well as recrimination for man’s fault in destroying both the planet as well as atrocities committed against mankind. Many musicians have had their ambitions sated by monetary earnings or fame, but Jackson was not satisfied with simply playing music to the masses. He desired for his music to have greater meaning and have a positive impact on the world. Nowhere is this desire for impacting the world more evident than in “Earth Song,” and if we heed Michael Jackson’s words, perhaps the world will be the better for it.
Earth Song is a cry out not only to God, but to humanity in general. Struggling with his leaving the religion he grew up in, Jehovah’s Witness, Michael Jackson is trying to understand why God is allowing our planet to be destroyed and why mankind is destroying it. Released November 27, 1995 the song about the destruction and rebirth of Earth was accompanied by a video that was filmed in four geographical regions of the world, the Amazon Rainforest, a war zone in Croatia, Tanzania and New York. (contributors)
The song “Earth Song”, brings a lot of truths about the destruction, that is happening all over the world, to planet earth and the destruction that was yet to come if things did not change. As with many songs, it takes people watching the video to get the full effect of the song. In “Earth Song”, the lyrics are hard to understand through much of the song. Reading the lyrics while listening to the song helps to understand what Michael is trying to get across in his song, while watching the video makes one not only understand the song, but to actually “get it”. The video to” Earth Song”, could get the point across even without the words being said.
In the Old Testament of the Bible, Jeremiah is a voice in the wilderness, known as the weeping prophet, that “cries out to the people to change their apostasy and return to God”.-Excerpt from Michael Jackson’s Love of Planet Earth, pg.41 (Veronica Bassill) Michael Jackson seems to be portraying Jeremiah in the video of ”Earth Song”. He is seen pleading with God throughout the whole video. The video begins in what could be the Garden of Eden from Genesis, but the first scene that Michael appears, seems to be a scene from the end of the world as told about in Revelations. He is crying out with is arms raised towards the heavens seemingly looking to God for answers. At a complete loss, he along with many other people from different nations hit their knees pounding the ground, running the soil through their fingers and praying for earth, praying for change.
Throughout “Earth Song”, Michael Jackson asks thirty-eight questions beginning with “what about sunrise?” The sunrise symbolizes the beginning of a new day, which is what he is wanting for planet earth, a day that the earth is not being destroyed by trees being cut down, flowering fields being destroyed, forest trails being burnt, animals being trapped, tortured and killed, and children dying from starvation, or war. Ironically, the next to the last question in the song is “What about Death?” It begins with a fresh start and ends with death, just as any living thing does. The song covers so many questions that every human should be asking. Twice in the song, he asks “Did you ever stop to notice?” Most people do not stop to notice. As long as they have a roof over their head and food to eat, they do not think about what is going on around them. Millions of people are homeless, hungry, or sick, but as long as it is a stranger, and not someone they know, people do not notice. This planet is home to billions of people and it is slowly being destroyed a little more each day. The final question in the song, is the strongest and most important of all. “Do we give a damn?” Do people care and are they willing to do what it takes to make changes for the future of planet Earth?
Michael Jackson did give a damn and that is obvious in this song and video. Jackson said, “I remember writing ‘Earth Song’ when I was in Austria in a hotel, and I was feeling so much pain and so much suffering of the plight of the planet earth. And for me, this is Earth’s song, because I think nature is trying so hard to compensate for man’s mismanagement of the Earth.” (Paternack). The song and video have made a difference in how many people view the treatment of Earth, but obviously it was not enough because destruction is still happening every day. Unfortunately the Earth cannot repair itself as it does in the video and one man cannot make the whole world a better place, but Michael Jackson tried. This song was special to him and it is ironic that this was the last song that he ever sang before his death on June 25, 2009.
Michael Jacksons Earth Song is a cleverly composed ballad of our reality and influence on the world and people around us. The lyrics are well composed and clear however, they are not the only message in the song. The use of visual symbols gives one a focusing point that reinforces the spoken words. It gives means for the viewer to relate beyond the sound they are hearing. Earth Song contains symbolic imagery hidden in plain sight if one just looks deeper into the meaning which itself is a hidden meaning that is also a warning.
The opening of the video shows us common images of the world we see around us today, the sun is shining and the trees are green, monkeys are hanging out in trees and, nothing is abnormal here right? Suddenly a drift of smoke is seen and a brush clearer comes slowly ripping through the forest and the scene cuts to a devastated cut up forest across a vast land scape. This is reality, the real world in a clever twist Michael has gained our attention. He himself appears wearing tattered clothes a reflection of the environment surrounding him. This segment is highly focused our destruction of the nature aspect around us. Michael’s accusations are clear. Through deforest station and toxic air we destroy the very environment that supports us. Eleanor Bowman said in a Dancing with the Elephants segment. “To me, Earth Song is both a lament and an accusation. Michael Jackson’s lament is not only for what we are inflicting on nature, but for what we are doing to each other and what those in power are doing to the less empowered” (Stillwater and Bowman). This is not some possible future this is now today. Next images of dead elephants are shown, their ivory tusks cut out and the rest left rot having no value. This speaks of the impact that greed and desire for rare possessions and the lengths at which people will go to get them. It also reflects the impact we have on wild life. A quick flash is seen where the world turns back and we see the elephants in a herd alive and surrounded by life showing us perhaps what once was.
Meanwhile while the events are going on we see various people of different lifestyles looking on sadly affirming that our actions not only affect the world around us but also ourselves and our fellow man. The forest that is being cleared out may have been the home of the Amazonians looking on as trees are cut down. The elephant may have held a tribal or spiritual meaning to the Africans who stand before its mangled body. More images are shown of animals running freely without human intervention and then a small section of a tribesman walking beside a herd of elephants though he is not hunting or hurting them he appears to live peaceably beside them. This shows us that we can co-exist with the creatures that live besides us and everything is more peaceful. Flashing over a family is walking through a small destroyed town with soldiers all around them. It appears there has been some conflict that has affected the lives of this family. Michael is saying that we destroy each other’s lives as well as our animals and environment. Soon we at the rise of the song we see everyone fall to their knees symbolic of admitting defeat or recognizing the outcome of their actions. They scoop dirt up into their hands like an affirmation of the inevitable. Covered in the “blood” of the earth it seems as though they are crying from rage for justice, but a storm is coming.
The storm is a very interesting aspect of the video. With the storm comes a reversal of everything that has happened. One could see two potential aspects from this, one is the storm brings new life. Rain brings water to end the drought and regrow the trees. The storm is an energy that is unleashed upon the world to inflict a positive change upon the world in a natural event in nature. Another aspect of the storm is its relation to how people should go about making the changes to help the environment and things around them. They should be tenacious and powerful about healing the world and their voices thunder upon the ears of all. With the reversal of all the damage Michael is saying it’s not too late we can prevent this future now. He is saying act now not later. The wind has a very heavy effect in the video as well as it seems to be the driving force of the turning back. This perhaps symbolizes the winds of change. Regardless Michael is saying we need to get together and start making some changes before we end up hurting ourselves and our home the earth.
Michael’s song goes beyond the spoken lyrics it is a call to action. The Dedication he put into the song shows us his passion for his beliefs. A powerful song that send a clear message earth song is full of imagery that conveys to us the dire situation we are in and the repercussions of what will happen if we do not change our ways. Michael used his status as a music icon to get his message across to his listeners. Earth Song contains symbolic imagery hidden in plain sight if one just looks deeper into the meaning which itself is a hidden meaning that is also a warning to stop our destructive nature and heal the world and its peoples, that we need to take care of each other and our planet Earth.
When Michael Jackson wrote “Earth Song” he was changing spiritually and emotionally to the world around him and what it had become. He sees all the harm we are putting the earth through and he wants to find a way to make everyone aware of it. He creates this powerful piece of music that pulls us forward realizing what harm we have caused the earth. He even creates this music video where it shows us what might happen. like he is predicting the future of our earth and people did not really like that.
“At the time, climate change was still a relative seedling of an ecological crisis to many (and the science of greenhouse gases doesn’t lend itself easily to the pop form). Still, heard by millions, “Earth Song” was pop music’s biggest environmental song, and probably the first ecological eye-opener for millions of young fans.”(Pasternack) During what seemed like the millennial ages people where bustling around everyone was getting cell phones, computers were starting to become the norm and even MTV getting bigger by the minute most of us did not stop to think about what was happening to the earth we lived on. Jackson brought us to that reality and no one seemed to care for it but once the music video was released it was a number one hit. People started to look at the world in a different way. As Michael would perform the song on stage he would create this whole theatric motion to symbolize how he felt. “Jackson performed “Earth Song” at the 1996 World Music Awards in France, backed up by a choir of young children and cheered on by a crowd of crying fans.” (Pasternack)
Jackson’s music video to “Earth Song” was a looking to “…scenes of environmental destruction and war…Jackson wandering across a landscape of drought and fire, before he does his yell-through-the-wind thing, undoing all of our ecological damage…” (Pasternack) I think his wind in the video was the symbol of how God is going to cleanse the earth and rid us of all the bad things we have created. Not only is he talking about the environment but he is also talking about wars we have going on and how they are affecting people. He is taking about the racism that is still flooding the earth and how the wind will come in and make everything right again. The wind in itself could be the people of the earth and how we need to make the change for the better so that we can have somewhere to live. Slowly that wind has come because now as a whole nation and as a world united we are seeing the global warming effects and we want to make a change for the better. It might be a long journey but we are slowly getting there. Now I don’t think that the earth will be getting anywhere make to the point of just trees and jungle everywhere but I think that we will be in a much greener earth that will be more aware of are global footprint. Now in Jackson’s video I think he is portraying more of a God like figure coming down on the earth and reversing everything that has happened over the years. He is even bringing back people who have died in the war and even animals who have been killed because their environment was ruined.
There are even mythological meanings behind “Earth Song.” “In the legends of ancient Greece there are tales of punishment for those who reject being earth’s loving children and instead become earth’s destroyers. In one tale, a wealthy man cuts down the trees in a grove sacred to Demeter, the Earth Mother, in order to build a hall for his feasting. His name is Erysichthon, which means “one who tears up the earth.” Demeter punishes him by giving him an insatiable appetite. He even eats the food intended for his children, and so they starve. In our desire to have a “feast hall” for ourselves, we too are literally starving our children, stripping the nourishing capacity of the planet for profit, destroying ecosystems and species, and hoarding the wealth of the planet for a select few. As Jackson knew so well, thousands of children die of starvation every day. In fact, 25,000 people, including 16,000 children, die of starvation-related illnesses every single day.” (Bassil) This story even shows us that back in B.C people believed that there was a God or Gods sent down to punish the people for what they had done and even to this day we are still paying for it in different ways. Jackson’s wind is the symbol of hope to people that the change is coming and will come soon in order to save us.
Even though Jackson’s performances are a little theatrical he gets his point across to the audience and makes them see what our world is. He used symbols and children to call upon the things that are wrong in the world and how it is affect are future children. Wind is ever changing so even though it might have been blowing in the wrong direction when Jackson’s “Earth Song” came out we are starting to see a change in that direction of wind. We heard the message and we started to act on it. Not all of it has been settled or gotten better but we are more aware of how things are in the world and what we need to do in order to save it. Jackson wanted us to know that the change starts with us and we have to be the ones who make it or no one else will.
Michael Jackson was known not only for his musical talent but also the messages that are placed in his songs. He liked to throw messages that related to the world he grew up in and that he was living in now. For instance the song “Black or White” talks about how it doesn’t matter what color or ethnicity you are we can all live together in peace. One of Michaels crowning achievements is the song “Earth Song”. He wrote this song while going through the biggest transition of his life. He was stepping away from the faith that he had grown up with and followed for most of his adult life. He undoubtedly had a lot of emotions moving inside of him and he didn’t know how to deal with them. One of these emotions was a sadness for the state of the earth that we all live on. It seemed to him like no one cared what we were doing to our planet. Even though it is not in the lyrics one of the biggest symbols in this song is when the tank and soldier crash on stage during his live performances. The soldier gets out and points his gun at everybody then lowers his weapon and begins to weep. I think that this is about how the soldier doesn’t do what he necessarily wants to do but what he has to do because that is what he is told to do.
The soldier blasts onto the stage after Michael has finished singing all of his lyrics. After a pause he emerges from the tank looking very frightened pointing his gun all over the stage. He goes to the people standing on either side of the stage. After they cower in fear it he realizes they are no threat and points his gun at Michael. They hold this stance for a while until Michael, who is visibly in a lot of emotional pain, lowers the gun by it’s barrel. Michael bends over and faces the ground while the soldier removes his helmet and goggles and begins to cry. At this point I believe the soldier is meant to have seen all the destruction that the war he has been fighting has caused. He is truly moved and sorry for what he has done to these people. Next the little girl comes over and gives the soldier a flower. She realizes that what happened is not his fault, that there is a higher power that decides what the soldier must do. The piece ends with the soldier standing next to Michael who is spreading both arms to the crowd. This gesture can be interpreted for the soldier saying, “Look, here are people who understand and don’t hold what you’ve done against you.” There were a lot of people who were greatly offended by this whole scene that Michael created. They saw it as an insult to the military. Being a supporter of the military I can see why they thought this. The main theme of this part is that war is destructive. I one hundred percent agree with this statement. It is the most destructive thing that we have ever done to this planet. Personally I think that sometimes it is necessary for certain situations but destructive none the less. The other part of this piece is pointing a finger, not at the soldier but at the one leading the soldier.
It is no wonder that Michael was on the FBI watch list. This is just one of his many not so subtle messages about the government. Mostly he was on the list because the government had no idea what he might do, how far he might be willing to go. But this shows great courage for someone who is in the spotlight to take a stand that may not have been to poplar and that would give a lot of negative feedback from people in authority and for that I applaud him.
Michael Jackson’s “Earth Song” is one of the most influential and successful songs of the century: an anthem dedicated to the preciousness of our environment and the harmonic balance in our ecology. His love for Mother Earth shines through this song with emanating light. The song’s message is so powerful; it has sold over ten million copies in over fifteen countries. In Jackson’s music video for “Earth Song”, we see images of destruction with fire and drought and a barren land. “What about sunrise? What about rain?” These questions in the song, and many more, are asked in desperation as to why Mother Earth has had to come to this point through human irresponsibility and carelessness. Jackson is addressing the important issues of what we have done to the Earth and also, that we need to make a change and nurture a sacred place that also nurtures us. He is trying to bring awareness to the population of the world, for we are the only ones who can change it. Climate change, war, drought, over-fishing, pollution, and deforestation are the themes that are very clear in this song. Instead of caring for the Earth, as it does us, we have been destroying it. Once we start making a change, the Earth will mirror our actions. In the music video and the music itself we see symbolism including the pain and suffering brought onto the Earth and its inhabitants, the realization of the way the Earth is responding to the way it is being treated, and also the reversal of the affects of human’s destructive power.
Jackson’s powerful song is sung with the crying and the weeping of the people and it’s Earth. “Ahhhh” “Ohhhhh….” This is not for the dramatic effect of making a good or catchy song, but is used to make the Earth and its’ people voices heard all around the world. All of the pain and suffering is loud and clear and tugs at the heart strings of the people who realize what is happening at this very moment. The song is full of sorrow and is a cry for help. Towards the end of the song the tempo quickly picks up and the Jackson makes the “ahhs” and “ohhs” much more intense. “What about us?” also is symbolizing not the people as a whole, but the Earth and all the innocents that have been caught up in the destruction of it’s inhabitants. Humans are naturally selfish people and only think of themselves, when the real issue is the fact that we need to start thinking about others and and the things that are most important to us and the affects we have on them. For example: the planet in which we reside should be very important to us, and we should be very concerned of the status of its well being. We have to think of the Earth and us as a whole, as one, finding the problems within ourselves which would help us with the problems we face outside, and gear us towards finding a solution.
Another form of symbolism is shown in the music video regarding to the indigenous peoples, and Michael Jackson included, scooping the dry dirt of the Earth into their hands and trying to hold on to and grasp it. There is no more moisture and no more life within the dirt and it slips right through their fingers. They have begun to realize the affect of our actions and are now grieving over the lifelessness of Earth. I believe he uses the indigenous peoples as an example of how we used to treat the world including the animals. They treat it with love and compassion for nature, and not industrialism and destruction. They cannot grasp the dirt because everything nutritious about it has been taken away. It has no water, no plants, and no life. It also symbolizes the future of Earth if we continue to destroy it and take advantage of it the way we are doing today. We need to become aware of the actions that we take as a whole that shape the condition of the place we live. When dirt is dry with no moisture it cannot contain the essence of life, for it needs nurturing and watering. That is the way the Earth works. We need to keep it fulfilled with what it needs instead of stripping it away of the very resources we need to survive. It is impossible for us to live without it. Like the characters in the video, we literally need to try and hold on to or grasp what is left of the loving Mother Earth we have so irresponsibly been looking out for.
Lastly, another form of symbolism in the “Earth Song” music video is the storm or strong winds that sweep through at the very end, reversing everything that has happened to the Earth. All of the destruction, war, climate change, drought, over-fishing, deforestation, and pollution have been taken away and restored. This part of the video symbolizes the affects our actions would have on Earth if we were to change the way we take care of it. If we become more aware of the present issues, more people would realize what is actually happening throughout the world. Only we can stop the destruction since we are the ones creating it. The Earth is crying out in desperation and the measures we take could save all of humanity. Michael Jackson is promoting and causing awareness throughout the world with this song and I believe through that, a mighty storm of conservation and ideas would sweep through all of humanity and change the way we do things forever. Our destructive power does not have to succeed over our progressive power. We can make a change, and Jackson’s storm symbolism in this song is one way of helping ourselves believe we can.
Michael Jackson’s “Earth Song” has changed the people who have heard it and viewed the video by giving them more awareness of the prevailing actions of people today. War,destruction, drought, pollution, and many others are a main outcome of the way we have been treating our Mother Earth. Jackson has helped with our consciousness of our environment and ecology by symbolism shown within the song and video. He shows us the outcries of the people and the Earth, the recognition of the destructive power we have over it, and also the reversal of such destructive power and how we can change the Earth and also ourselves.
As Joseph Vogelstates in his book “Earth Song: Inside Michael Jackson’s Magnum Opus,” “’Earth Song’ was something more epic, dramatic, and primal. Its roots were deeper; its vision more panoramic. It was a modern-day “sorrow-song” haunted by voices of the past…” We as a whole need to takeresponsibility for the destruction we have caused and use our awareness to our advantage and change the world forever.
Jackson’s Trials and Tribulations Portrayed Through “Earth Song” by Amanda Harris
In Michael Jackson’s song “Earth Song” a lot of his own insecurities are laid out on the line and depicted metaphorically. “Earth Song” was first broadcast in 1996 in many other countries but not in the United States. Even though it wasn’t first released as a single on Michael’s album it became one of the most popular and moving songs he will have ever written. During the time of “Earth Song’s” release Michael was going through his own crisis in his life; growing up a black man, questioning his religions, and not knowing who he really is was enough fuel not only for disaster but also for greatness.
Jackson was born in Gary, Indiana in August of 1958. He was born into a black working class family who had the dreams of being stars. Michael and his four brothers were signed to a record label by the time Michael was 10 years old surpassing any dreams these families ever wished for. For Michael this was just the beginning to a lifelong career that would change his life forever. In 1973 Michael started his solo career while also being a part of the Jackson 5. In the early eighties Michael was beginning to become a completely solo artist.” Jackson went on to become one of the most internationally famous award-winning solo pop sensations to date” (Bio) In 1996 when “Earth Song” first came to be known this was around the era Michael was facing turmoil. He was accused of molestation in 1993 and then faced the divorce of his first wife in 1996 and would then go on to remarry within that same year. Michael was losing his persona, and he needed to regain who he was. Some could say that around this time he was suffering a midlife crisis.
“What about the holy land (What about it) Torn apart by creed (What about us) What about the common man (What about us) Can’t we set him free (What about us)” (Jackson). These few words out of the entire songs draw me in and make me feel what Jackson is going through in a way. Jackson was a man of religion but seems to be confused over which path to follow. Also in a way it seems to me that he doesn’t differentiate between race he just sees a man and wants to know if he can be set free. But what man isn’t free that lives in our country. Yes we are bound by laws and yes he was raised in a time of segregation but this was 1996. Is he talking about himself? Can he as an individual be set free? Is he hostage in his own mind of being able to make the right decisions or make any decision at all?
Jackson went on to be one of the most successful music artist of all time only to end up dying at such a young age. He had such a wide array of a fan base and was supported by so many, but in reality Michael seemed lost. In 2009 Michael made the announcement that he would be doing a series of concerts known as his “Final Curtain Call” that would kick off in the summer in London. He would be able to see his shows sell out before he ended up passing due to an overdose that his doctor would serve a four year sentence because of. Jackson’s life was very well lived even through all the ups and downs that he faced he ended up pushing through and even coined the name “The King of Pop”.
In “Earth Song” Jackson says, “I used to dream I used to glance beyond the stars Now I don’t know where we are Although I know we’ve drifted far” (Jackson). Jackson state of mind is best related to these lines. He knows that he has come a long way from where he was but he doesn’t know who he is anymore or where he is headed. ”Earth Song in my opinion can be best described as “a modern-day “sorrow song” haunted by voices of the past” (Vogel). He was dealing with living and at times that can be the hardest thing anyone can ever do is just push through their own life.
Jackson had to deal with racial issues, struggles with religion, though he never lost his faith, and an identity crisis that I don’t believe he would ever regain. Jackson was a superstar and regardless of all the accusations that he dealt with those are not the things he is remembered for. He is remembered for his stardom, for being that ten year old little boy who stole our hearts and for being the man who wrote and sang “Earth Song” which “ was something more epic, dramatic, and primal” (Vogel). Jackson poured his heart and soul into his music and each and everyone of us got to see a glimpse into the life of Michael Jackson who is no longer with us but who will never be forgotten.
Earth song is a song written to express to everyone on how the world is not what it used to be. This song shows tough times in many different cultures to show everyone that people are not so different. Michael expresses in this song that everyone has lives and the simplest things can take that innocent life away from that person. He wants the people to stop hating one another and instead he wants everyone to start loving one another. By loving all kinds of people and stop discriminating, the faith in this world may finally be restored. The symbolic act when all the people scoop the dirt into there is the sign that their faith in this world along with themselves was beginning to restore and the world as we know it was beginning to change.
Jackson used this song as basically a way of showing everyone that by hating him and hating certain people, this world would be run to the ground. Jackson wanted every last human being to realize what they were doing with the life God had granted them. He wanted them to ask themselves why they were being the way they had been acting towards certain types of people. God wants all of his children to love one another and that is what Jackson was trying to fulfill as if it was his soul duty to fulfill God’s wishes. This question could play a substantial role in bringing the act of being civil towards one another back to the world. This in Michael’s eyes could symbolize a civil act being started and everyone pitching in to love one another for once. This was Jackson’s entire goal for writing this song. His hope that people will stop to hear and listen to what he is really trying to say throughout this song will hopefully change the world to becoming a much better place. This perfect place that Michael wanted to build was a place of peace where everyone loved each other and no one could ever hate another person. This was also God’s wishes to have all of his children to be together and to love each other more than anything.
In his video, it shows many people destroying the world and Michael’s “job,” was to restore and rebuild the once cruel world to basically a utopia. The turning point in the song was when Michael threw his hands into the ground and scooped the dirt into his hands. In Michael Jackson’s Love for Planet Earth by Veronica Bassil, it uses a phrase “Jeremiah, a voice in the wilderness, known as “the Weeping Prophet,” cries out the people to change their apostasy and return to God.” What this could be interpreted as is Michael is the prophet and he is crying out to the world to change hence he threw his hands into the ground and scooped the dirt into his hands. This resulted in all the people scooping the dirt into their hands and reestablishing faith in this world and faith in humanity.
Michael through this song had a substantial effect on the lives of so many. This song had such great power and depth, I believe that people were starting to change their ways because of how this song took to them. Granted he was not able to change the entire world, however, he did manage to reestablish the long lost faith in this world and eased up so much hate in people’s lives. This was one of his many goals that he tried so hard to accomplish. He did not want any more selfishness from people. He wanted everyone to stop and think that because of their greed that this world would begin to fall until there was no longer a world to live in. Michael would never want this world to fall apart, and because of this he wrote this song to try and stop the hate and start to love people. He tried to use this song as a civil acts movement so that he could move the people and bring their mindsets to an understanding.
Earth Song was not just his last song. This was his last chance to get people to change and love rather than hate. He tried so hard through his career fighting through all the prejudicial people and hatred until he managed to cry out to this world. Thus, Earth Song was his way to cry out to this world in an act to rebuild the world we live in to something truly great. Jackson left us after his last performance of this song hoping that the people had heard and believed him that it could be done. Earth Song had done its job in its great emotional moment.
“Earth Song” is a song written and performed by Michael Jackson. It took Jackson seven years before he was ready to present this song to the world, and even after that it continued to change through a variety of performance choices. (Vogel 4) “Earth Song” is an emotionally raw cry to God. It is a cry of grief, indignation, and hurt which is born out of Jackson’s own experiences of the world being filled with hate, destruction, and manipulation. This song asks of God, why? Why is such evil and pain allowed to continue if there is a good God in heaven? Jackson also uses this anthem as a call to restoration. But one can not get a full image of Jackson’s intentions for this song without seeing the music video for it. The themes of “Earth Song” including the themes shown in the music video, are the question of whether or not God cares about the plight of the earth, the belief that it is up to people and not God to change the world, and that the world will eventually be restored either by itself or by the hand of God. This paper will discuss the song and its music video as a lament for the planet, a theodicy, and a Biblical Jeremiad.
This song is a lament for the earth which starts out directed toward God, but as the song unfolds it becomes clear that the song is also meant to call out the people of the world. The first verse of the song is completely focused on God “What about all the things that you said we were to gain.” Jackson asks the question “Did you ever stop to notice?” He points his finger at God for all the pain and suffering he sees. The second verse is still directed at God, but he starts it by giving the blame to the people of the world. The chorus of the song is a cry of sorrow that is universally recognizable around the world. (Vogel 5) The third short verse turns from God to a more introspective direction. Jackson laments the dreams and wonder he once had to only be replaced by confusion and a feeling of being lost. The music up to this point has been in the tone of an epic blues or rock piece, but after the third chorus and a key change, the tone becomes more like that of a soulful gospel song. Jackson then goes into a long line of questions about the plights of the earth with back up singers repeating over and over the question “What about us?” What started out as a sorrowful song turns into a passionate cry to be seen. In this final long section Jackson laments everything from war to poaching to man’s own apathy. The music video gives the visible change that can be caused by mankind’s conquests. A forest changed to a desolate wasteland, a city being reduced to rubble, and a herd of elephants being poached to nonexistence are a few of the visuals given in the video.
This song is loaded with Jackson’s emotions and his own struggles to know who God is and why He allows such evil to take place on earth. This song should be considered a theodicy because of where Jackson focuses his anger and pain. Jackson questions God’s legitimacy and worthiness based on the problems of the world. He sees so much death and so much destruction of the earth’s ecosystems that he needs someone to blame. But the song and its music video show that Jackson knows that it is the people of the world who have let all this evil happen. The final section of the song comes across as a call to action. Both a petition to God to bring change and a calling for all the people of the world to stand up and do something. The back up line of “What about us?” can be taken as an indictment toward God or as a statement that it is people’s responsibility to make a positive difference in the world. In the video all the people fall to their knees and begin clawing at the dirt which shows their desperation and brokenness; they seem to be praying ‘God, are You even there?’
A Jeremiad is different than a lament in that it calls for a change in action and it foretells of the consequences of not changing. “Earth Song” should be considered a Jeremiad because it calls people out for letting the world get as bad as it has, and he makes the impression that it can not go on like this forever. Something has to change. In the music video Jackson is dressed in tattered clothes walking through the wilderness. He seems to take on this persona of a prophet crying out for the earth to see a change. He laments the damage to the earth and its inhabitants, and then claws at the ground with the rest of the people praying for God to see their plight. Then a storm comes bringing restoration to the earth. During the storm, Jackson’s soulful gospel tone comes across as victorious and not broken which reinforces his image as a prophet seeing the change he has been looking for. This storm symbolizes a change either supernatural and complete or man made and temporary.
Jackson’s “Earth Song” should be considered a lament for the planet, a theodicy, and a Biblical Jeremiad. This song is an anthem for change, but is it even possible for humankind to effect its own change? Or is it only by the hand of God that global change can occur? After all it was mankind that caused all this harm to the planet in the first place. Jackson brings an indictment before God, and then he seems to believe people are the ones will have to make the world a different place. What if it is both? What if God’s plan is to change the world through people like Jackson, who will speak up for what they believe?
“Michael Jackson was a gem of the universe…we took for granted what he had to say in his message, and it will hit us hard when the time comes”-Cameron Fulgenzi
As I mentioned in the previous post, this semester brought an avalanche of particularly thoughtful essays on “Earth Song.” There were so many, in fact, that I will have to split this section of the post over two parts to include them all. I hope everyone enjoys these as much as I enjoyed initially reading, grading, and commenting on them.
“What Comes to Mind When You Hear ‘Michael Jackson’?” by Jon Greene
What comes to mind when you hear “Michael Jackson”? Is it the iconic dance moves that inspired so many pop artists of this current age to incorporate dancing into their live shows? Is it his spontaneous and audacious behavior that always had people of all ages at the edge of their seat in anticipation for breaking news about him? Maybe when you hear his name you just think of another fast lived celebrity that kicked the bucked too soon. I think back to when I was a child with little opinion on anything relevant to society. No opinion on music or how it can affect peoples’ lives. No opinion of how a life should be spent or what it even meant to truly live. I think back to all the times I would see him on T.V., with each week came a new story about Michael. I grew up to know Michael as more of a leader or pioneer of a movement than a talented pop star. Michael Jackson used his fame and status that he gained through music as a pedestal to lead a movement of change. In his moving music video, “The Earth Song”, Michael exposes the social and environmental problems of his generation.
Michael Jackson understood very well that he could have an impact on other peoples’ lives through his music. A multi millionaire celebrity, Michael used his popularity as leverage to get things done that were being overlooked. His music was the megaphone that was used to get peoples attention in an unproductive society. When his songs weren’t enough to get the attention of listeners all around the world Michael used his music videos. Music videos such as “The Earth Song” were the explicit blueprint to his outreach for society. “Earth Song would become the most successful environmental anthem ever recorded (Vogel, 5)”. They were the graphic doctrine being displayed for what he believed in, for what he was passionate about. Michael is the archetypal hero, using his talents and gifts for the benefit of others. He used his obligatory publicity and directing all the attention to greater issues. It seemed that Michael had it all figured out. Be famous enough to make a difference.
His music was the middleman between his aspirations for change and the reality of them coming true. Michael gained nothing except more publicity from using his music videos to raise awareness for social and environmental issues. Publicity that he could easily get from making music that didn’t raise such great emotion. This is proof that he used his talent solely to benefit others. He seemed to always realize the importance of the society and the direction it was headed in, but never forgot the important role of the individual within the society.
Michael uses open-ended provocative questions in “The Earth Song” to address overlooked environmental issues. This was Michael’s style. He was never clear about what he wanted the reader to get out of his artwork. He would use dances that seemed meaningless to the naked eye. However if each individual dance move was broken down into context and style there is a very strong message behind it. In the case of “The Earth Song”, Michael addresses issues through his questions. Questions are ambiguous and allow the listener to project their own feelings and emotions into the song. They require the listener to search for more within themselves in order to understand what Michael is talking about. Throughout the first verse of the song Michael is asking what happened to the beauty of creation. He is implying that creation as a whole has lost its innocence because man has turned it into something it was never supposed to be. If he had simply stated that the earth was not in good shape the listener would not have the privilege of being introspective. In the second verse there is even some hint of anger at God. Michael asks what happened to the peace that was promised through the death and resurrection of Jesus Christ. There is reason to believe that the second verse is Michael calling out God for letting the earth get to its corrupting state. In the third verse Michael goes back to talking about how far the earth is from where it is supposed to be. He implies that it is our own negligence towards the earth that has led to the state it is in now. Michael uses “The Earth Song” to voice a dire need for change in the world.
Michael lived passionately. Towards the end of his career he began to use his music as a mirror that reflected the state of his society and environment. All of his aspirations for change within his society were made possible through his popularity within the music industry. He used his stature as a gateway to reach a bigger audience of people. In “The Earth Song” he voices his cry for environmental change by using the ambiguity of a question in order to direct the listeners to issues they have been over-looking. Society had over-looked the fact that the earth is far from what it was created to be. It was no longer a plentiful and natural creation but a breeding ground for all sorts of manmade wealth. Michael addresses these issues in in his song. He created awareness for the state of the world simply by addressing its issues through great music.
One of the impression felt while listening to and or read what other critics have to say is that “Earth Song” has a very broad spectrum of ideas on how to decipher what Michael Jackson wanted to convey in this song. Feelings of doubt were prevalent upon listening to the song while following the lyrics. What could I possible propose that would convey and help other reads come across to their own understanding, whether complete or semi-partial, of the intentions this song has on changing the world itself? The German Enigma came to mind, how difficulty it was to break the code, how much of an advantage we had, and the undeniable effects it had on winning the war for freedom. Hopefully the reader will come out understanding a little more about “Earth Song” upon terminating this article.
Due to the connect felt between Earth and Western Deity there is a strong apparent connection with the way that most westerns view the importance of protecting the Earth and how it can relate to this song. Jackson had somewhat of a spiritual relationship to this song and was evident with the following statement, “It starts with us, it’s us. Or it will never be done,” “Earth Song” is rooted in the fervent jeremiads and apocalyptic passion of the Bible… Jackson wasn’t content to simply wait for God to fix the world…,” (Vogel 26). As someone who enjoys the outdoors and prefers spending days out hiking rather than a weekend wasted sitting on the couch, I have always felt a strong spiritual connection as I have gazed upon the wonders of the Earth and pondered the diversity of creation, and the idea of lucrative gain at the expense of what someone holds onto for life and prosperity is unjust to the utmost degree.
Jackson true catches lamentation not only in the lyrics but in the portrayal in the music video shows just how strongly and simultaneously devastated the people were of the region in which that occupied. The collective group coming together in the video though separated by region and digging into the Earth and to feel it as it falls through their hands as if they are expressing their own hopeless to have change. As part of the Jewish culture, someone who shows great lament as an outward sign of pain takes dirt or ash and sprinkles it on the head. This has some reference to what was portrayed in the video, although the earth was not placed upon their heads that same feeling of anguish can be seen. Along with the blatant visual aspects show for lamentation, the lyrics pose their own weight in showing strong feeling, “This crying Earth, those weeping shore,” and then it continues further with sounds of lament and strife “Aaaaaaah, Ooooooh,” to convey to the listener feelings that propose what the Earth might be feeling. At the time of the death of Christ according to the Bible, the Earth suffered spiritually as well, the graves yielded up their dead, mountains fell into the sea, cities were engulfed by water, and the period of darkness.
One of the greatest follies of the human race is the tendency we have to forget; sometimes it can be blamed of the direct result of selfish pursuit of achievements or endeavors, or just the nature habit that we have to forget small things that once had or continually has an impact on the way we view things. The lyrics that repeat “Do you ever stop to notice,” are repeated four times and are implied in other parts of the song. Jackson places the call out to notice what is going on the in world. The day after Michael Jackson had passed away the Waxman-Markey bill was being prepared to be taken to the U.S. House for a ratifying vote. The start of legislation that would become a historic turn for climate control (Pasternack).
Michael Jackson undoubtedly had an undying passion for what he viewed as right and was never afraid to express those feelings at the expense of his own personal reputation. Watching other video that he has produced and the lyrics he has written are a testament to a man who truly was his best self always. There is a special connection felt while watching any of his videos and is most likely the strongest attribute to his vast fan base whom to this day continue to listen and are changed by the words he sang.
Earth Song is more than a song or a performance, it is a simple message, an educationally song that depicts what the world may come to without change. Dirt is a pure form of Earth, hands are the character of Earth. Humans have lost their identity and their inheritance. The song describes that the world is near ending and human actions have caused much destruction. Michael moved many people through his music, but this song was different, it was a powerful movement and an understanding that if something does not change, the world may self-destruct.
I believe that Michael meant for this song to be a great moving message to the world. He wanted people to know that, his success and his power was not above presenting the world as it should be. Michael has great intentions and carried most of them out in a wonderful way but the media did not want people to fully understand Michael they portrayed him as a monster. Michael had a boundless love for the world and he knew that world was precious and a true gift. Michael wanted people to understand the Earth as one of them.
The dirt is a pure form of mother Earth, one single gain of dirt has a unique identity that symbolizes the untainted soil. We has humans have destroy millions of acres of rich soil to pollute, to profit and to seize power. What Michael meant is that the world can only handle so much destruction in one cycle. The dirt passing through the crack in the hands mean the Earth is falling before our eyes and there is no stopping it. The Earth is so enormous that humans cannot fully comprehend the size or the importance of every gain of dirt. In our eyes if a small amount is still bountiful then the world can live but that’s not the case.
Humans have made countless amounts of brilliant achievements, form the great pyramids to the empire state building. With all this success comes devastating consequences to the environment. Such as over planting, smog for industrial purposes, slash and burn techniques and destruction of magnificent mountains. All for the glory of human beings. Yes, we can be great in all ways but incite of our dreams we destroy beautiful mother Earth. Michael did an outstanding job describing the abuse we as humans have put on the world. The hand in Earth Song depict the hard work humans have put into the Earth, but still come up short every day. Hard work is all measured in completeness, the video shows the people’s hands can only hold so much. That leads us to believe that Michael was portraying the idea of how big the world really is.
The human race has become too involved within the world, is what Michael was symbolizing. The Earth needs its space away from human madness. Just as people need alone time, the Earth does as well. If humans do not let the Earth vent, many religions and voodoo people believe that the Earth will untimely self-medicate itself through violent storms, just as the video portrayed.
The individuals that held the dirt, were the ones looking in from the outside, like a higher power of some sort. It was as if a power message to the world, the human hand has caused so much stressed and devastation to the world. At one point it has to start fighting back, the natural way the Earth fights back is destroying the hand that caused the damage. Just as anything that ever happens, what goes around comes back around and Michael hit the nail on the head with this song.
Michael Jackson’s Spiritual Crisis Portrayed in “Earth Song” by Sidney McDavid
“Earth Song” is one of the most politically and representatively sincere songs produced by Michael Jackson, and still today is a true sentiment to the religious conviction he was facing when writing it. As much as he went through with racism, and all of the unrelated allegations everyone made against him, it was only a matter of time before he stopped fighting back and became emotional. His change from leaving the Jehovah’s Witness was the tipping stone for him and he had to find a way to express it in a way that maybe people would not just understand, but appreciate and recognize the genuineness of Jackson and his attempts to make the world a better place. When he wrote “Earth Song” he really proved that this world, and people can only take so much destructive criticism before it all comes crashing down. Society has long seen piteous songs as well as ones about dissent but this song was much more meaningful and symbolic than originally understood. (Vogel)
In the very beginning of “Earth Song” Jackson sings some soft verses asking questions about the simple beauties that we take for granted. As the video progresses there is a native American family that watches a tree fall because of the weather or logging efforts, and a family of color that stands in despair at a deceased elephant and it’s child. One of the children looking at the elephants starts to veer into his imagination and he envisions a tribe of elephants roaming through the little valley, this is such a heartbreaking scene to see someone so young go through the pain of seeing life deteriorate in front of their eyes. Jackson really sets the tone for the rest of the song here because he cuts straight to the hearts of the listeners by using himself and the painful expressions on the children’s faces as well as his own. He really presses through the despair he is in, he feels so lost and betrayed by not only the people around him and society but he also feels like he aided to the destruction as well and he’s questioning some higher being, or maybe addressing the human kind, as to why things are turning out the opposite from what he was told before.
One of the lines in “Earth Song” is “What have we’ve done to the world, look what we’ve done”, this is very symbolic in the way that Jackson isn’t just blaming everyone else for what they have done to break him down, but also what he did to provoke it, or let them do it. He’s not just blaming the rest of the world for his problems, he’s taking responsibility for what he has contributed to that has harmed himself as well as the Earth itself. Another line that sticks out to me is when he sings “I used to dream, I used to glance beyond the stars, now I don’t know where we are, although I know we’ve drifted far”. In that line he’s showing weakness and the guilt he feels for betraying his mother and the Jehovah’s Witness religion. He knows that it isn’t what he wants to participate in anymore, but he also doesn’t know where he is, or where he is going to go. He just feels weak, lost, and afraid. I think by this point he knows that he is too far gone to go back, not that he wanted to, and that he cannot seem to find peace in anything or anyone, he’s just morose and sorrowful.
Jackson’s emotional outpouring in this song comes not only with the feeling of failure for himself, but with the feeling that he could have done something about it if there were others on board with him, and there were not promised the moon and stars from childhood. A lot of the beginning of the song is asking what about this, and what about that, as if he is just now figuring out that life isn’t as grand and splendid as it seemed in the younger days. Today most people find that life is tough at an early age, but why did it take so long for Jackson to give up on the dream of such a wonderful society and environment? Or is “Earth Song” more than just a cry of help and maybe the Earth and its inhabitants really are coming to a crashing halt and Jackson was the first to see it, and voice it?
When Jackson wrote this song he was going through so many trials and tribulations that he felt the need to create something bigger than his problems. In one of his live performances, he directed emotional illustrations at so many social stereotypes and in one part, that hits really close to home for a lot of American widows and veterans, he triggers a matter that is very controversial and sensitive. There is a soldier, ready for battle and holding his gun (pointed at Jackson), and after an exchange of looks between the two the soldier slowly bends down, puts his gun down and breaks into tears. At this instant Jackson is depicting that for his whole life he has been defending himself from those attacking him and their malicious tactics are much stronger and powerful than his defense strategies, he is confessing his visions of an earth where everyone finally erases hatred from their lives and moves to a more forgiving and peaceful society. (Murphey)
Towards the end of the official music video for “Earth Song” everyone has hit their knees wherever they are and they’re digging their hands into the dirt, sand, soil, or whatever is beneath them and just kind of giving off the physical motive that they have nothing left to fight. This symbolic moment illustrates hitting rock bottom so to speak. Whether it be Jackson himself or mankind as a whole just completely letting go and just giving up. As they’re all scooping their hands through the soil a storm starts to abrupt and it kind of brings relief to the people’s faces, you can see it in their eyes and smiles, they just look thankful to see something change. As the storm continues the trees reroot, the animals come back to life and humankind is so calmed and gratified by what is happening in front of them. After the storm the sun shines and everything just looks normal and peaceful. Jackson here is really putting himself into the illustration being that his last few years in his own personal life seemed like he had been giving everything and trying so hard to make himself happy as well as his fans and family, he had battled with societies vicious attacks, both physical and emotional, and his religious debacle. When the storm calms and the Earth is once again a beautiful place is left open for interpretation. Maybe Heaven, or maybe the coming of a new era in which everyone is free and peace is abundant. Life for Jackson was surely to improve with the toll that this song would take on people, that’s what was portrayed at least, and fittingly “Earth Song” was the last song he performed. Michael Jackson was a true inspiration through this song and it really laid out a foundation for people to build upon so that they may see him in a different light, and respect him with the gratitude he deserved.
One of the major themes in Michael Jackson’s music video “Earth Song” is that the human race is harming the environment. The extent to which the Earth is being harmed is very extreme and Michael Jackson wanted it to be apparent to all listeners and viewers. Michael was very much an environmentalist and he deeply cared for nature so he wanted to get his message across to all listeners and viewers. “The message was clear: we are the world indeed, and we need to take care of it accordingly” (Pasternack). This song and music video has many underlying themes and symbols but the human race destroying the earth is the most important.
There are many elements in the music video “Earth Song” that exemplify the theme of humans destroying the Earth. The first one is the deforestation in the beginning of the video and the fires that run rampant after the forests are cleared. The people who are native to the land are forced to watch in horror as the people in the bulldozers take their home away from them with no remorse.
The aftermath of the war in the music video “Earth Song” also relates to the theme in the same way as the deforestation. Many people have lost their homes and all their belongings because of mankind. Humans are killing each other and destroying entire cities leaving nothing to stand causing great sorrow to those affected.
The third element in Michael Jackson’s music video “Earth Song” that exemplifies the theme is the animal cruelty. Poachers kill elephants and leave there dead bodies lying on the ground with their tusks removed. They are driven by greed because ivory is very valuable and they know they can make a quick profit. Dolphins are shown being trapped in fishnets which leads viewers to feel Michael Jacksons pain about the subject of animal cruelty. The most violent scene in the music video that displays animal cruelty is when the hunter is swinging a giant axe at a helpless seal.
Pollution is the final element seen in the music video “Earth Song” that shows how destructive mankind can be. Giant smoke stacks are shown releasing poisonous gases into the atmosphere. These gases are the cause of global warming during the time this video was released scientist were just reaching the tip of the iceberg on the causes and effects of global warming.
At the end of the music video “Earth Song” the wind begins to blow rapidly and it begins to storm across the whole entire world. This storm is a symbol for mother earth trying to cleanse itself from all the harm mankind has done. Time goes in reverse and animals come back to life and the forest is whole again and the fires are gone. This is Michael’s way of showing that we can reverse what is happening to earth but we have to make a difference. The human race as whole has to take a stand and stop doing the destructive things that are slowly destroying earth.
‘The Earth Song’ by Michael Jackson Pamela Rodriguez-Pina
The world as we know it has always been based on war. We can go back thousands of years, and war will be the main thing that we have going on. It is not a matter of why we are in war, or when will it end, but it is a matter of opening each other’s eyes on this subject. Michael Jackson sings about problems in today’s world that have been problems for ages in his song ‘The Earth Song’. He varies from the most crucial devastations us humans have been making, from deforestation, war, and global economical problems. War is not about who is winning what, but how much hatred humans have, greed, and lack of knowledge around the subject.
Everyone knows how much Michael loved to love, and he was not shy about expressing it through the public eye. War will always be a problem and soldiers feel the need to express it by defending their country; however, if we show our politicians that we do not need to hate our neighboring countries due to oil, money, or the need to be the most powerful country in the world then we would not be in war. Of course, ideally, the world without war would be too perfect and we can only dream of such a place. In one of Michael Jackson’s live performances of ‘The Earth Song’, he ends his song by a military tank coming out on stage and the soldier pointing the gun at Michael. Michael then gently pushes the gun down. The soldier than weeps and a little girl shows affection towards him. What Michael wanted people to realize is that we cannot get anywhere with war, and we must teach each other how to love.
In Michael Jacksons, ‘The Earth Song’, he says ‘it is us’ who must make the change. (Vogel 27) We have dug our Earth into ruins. God cannot save us we must save ourselves. We have to realize what we have done to our lovely Earth, and repair it. In the music video, Michael shows soldiers in another country walking around a ruined town. We can see that the people who live there are terrified and live in ruins and fear. War is not just based on hate but also on greed. Greed to become the richest and have the most of everything. Our politicians have become so engraved of wanting the most of everything because when you have everything then you do are the most powerful country. Greed is a sin. It does not get you anywhere except with everything you want or with absolutely nothing. Money has always been the root of all evil. Happiness does not come from war or money; it comes with generosity and kindness. Michael truly believed that love could conquer all and he showed it in his performance of the soldier on stage.
We can go back to the 19th century and war was a problem. Absolutely nothing has changed because no one cares to open this to the public eye. Everyone listens to the radio, and society makes people cheer on for whatever is playing behind the radio. Michael did an excellent job on doing so. Joseph Vogel explicitly says, “Earth Song would become the most successful environmental anthem ever recorded, topping the charts in over fifteen countries and eventually selling over ten million copies.” in his book ‘Earth Song: Inside Michael Jackson’s Magnum Opus’. (5) Michael truly reached out to his fans to inform them on this crucial problem that has been going on for centuries. Nowadays, we have so many artist that waste their talent and sing about sex, drugs, and money. Michael shared his beliefs on economical issues, war, world hunger, and many more causes that need to be exploited to the world.
Michael Jackson was one of the most influential people in our world. In his music video of ‘Earth Song’ he speaks and visibly shows us that we still have problems in our world. War has always been a crucial part of American history; however, killing towns and scaring innocent people can do nothing but harm. We must show our people that we can put the guns down and teach each other how to love just like Michael showed the soldier that it was okay to put the gun down and love everyone around him. We can support each other like the town people and the little girl supported the soldier on stage. War is all about greed, the want to become the most powerful country in the world, and hatred against others; we can change each factor about what war is all about through love, support, and acceptance.
Songs can send a very strong message. Many artists turn towards music to send their messages to reach all ages. Many issues that cannot easily be said out loud, can easily be put in lyrics of a song. Music has always been a very popular way to express issues or ideas. Michael Jackson, like many other artists used music to raise awareness. His song “Earth Song” was a very moving music video and song. The music video holds theme and symbolism in every scene. Michael Jackson also used the music video to bring awareness to many environmental issues as well as moral issues.
In the music video Michael Jackson has meaning for everything. Whether it be the setting he has chosen or the lyrics he has created. Jackson seems to focus on the environment. The video begins with the beautiful sun shining through a forest, earth’s most natural setting. Then a bulldozer is shown destroying the forest, then fire and destruction set the scene. A forest is not man made it was here before civilization, the most natural place. This scene of destruction shows our human destructive power. Showing forests and fields destroyed and brought down is also a site of war. War where humans kill animals and ruin land and nature to gain personal wealth, to expand to take from what is not ours. This destruction is our own. We take the forests and fields to build our cities and expand our neighborhoods, but what we do not realize is that we are taking the homes of animals as well. We take native peoples homes, the people who have lived there for their whole lives and we just take their land. People complain about how other cultures need to blend with ours and how animals are coming out in the open and roaming our neighborhoods, but we have taken their homes from them. Jackson used his gift and music to reach out to his fans, to bring light on the destruction of nature. As stated by Alex Pasternack of Living Culture, “This song was pop music’s biggest environmental song and probably the first ecological eye-opener for millions of young fans.” We are the earth’s destruction.
In the music video with all the destruction and death, there are still people left who considered that their home. They are left to look around at all the destruction and death of the animals that used to roam the land. Jackson points out that even when we have come through with our machines and bulldozers, that there is still life left. Showing the natives who have lived there much longer, shows that we have taken a land that is not ours to take. Brings to more modern times when it shows a family walking through their town to find their home destroyed. Their home and town destroyed by war that humans create. As shown in the video many of the people whose homes were destroyed reminisce on what it was. Many of the characters across the globe are shown, scooping their home land dirt in their hands while on their knees in a pleading motion. This scene is a very symbolic part of the music video, as if pleading why; also as asking forgiveness from the land. Praying to the land and environment as if saying, sorry for what has happened to you, sorry for what us humans have done. Also, they might be praying for a new beginning or another chance.
Once the destruction is done to the land and everything is gone a storm comes. After all their pleading and praying it is as if God grants them a storm, to put back and bring back all the life and beauty. It shows the forest that was being cut down all the trees being restored and brought back to life. The African animals brought back to roam the land as they did before, the life of an elephant when humans came to take its tusks for wealth and personal gain. It shows the Amazon peoples’ environment being restored as well, as if God is giving the Earth another chance. In the more modern issue, the storm with its wind pushes the army men out of the town that was destroyed. As if God has given nature a voice and a chance to restore, taken back, and pushed out the destruction. The storm symbolizes a new beginning.
Michael Jackson was an incredible artist and his work lives on today. He brought light to issues many were afraid of even talking about. He used his music to reach people and send a message that would impact every age whether it be elderly, young, teen, or adult. His song “Earth Song” was one of the first ever songs and music videos to focus on preserving our world and Earth’s resources.
“Earth Song”: A Cry for Help by Michelle Heatherly
Michael Jackson is the spokesperson for the whole world and for all the inhabitants of the earth in the music video “Earth Song.” He personifies Earth by saying “This crying Earth these weeping shores?” The earth is in bad health and something needs to be done. Jackson addresses environmental and moral issues and raises self-awareness.
In the beginning of “Earth Song” the music is very tranquil and meditative. This is thoughtfully done so that people would stop and reflect upon themselves and the things they do. Jackson addresses both God and mankind about the condition of Earth. Bassill states that “Jackson confronts us in Earth Song with the great damage the Erysichthons of the world have done.” (38-39).
Bassill clarifies the background of Erysicthon by stating:
In the legends of ancient Greece there are tales of punishment for those who reject being earth’s loving children and instead become earth’s destroyers. In one tale, a wealthy man cuts down the trees in a grove sacred to Demeter, the Earth Mother, in order to build a hall for his feasting. His name is Erysichthon, which means “one who tears up the earth.” Demeter punishes him by giving him an insatiable appetite. He even eats the food intended for his children, and so they starve. In our desire to have a “feast hall” for ourselves, we too are literally starving our children, stripping the nourishing capacity of the planet for profit, destroying ecosystems and species, and hoarding the wealth of the planet for a select few. As Jackson knew so well, thousands of children die of starvation every day. In fact, 25,000 people, including 16,000 children, die of starvation-related illnesses every single day. (38-39)
The sceneries in the “Earth Song” video display the cause and effect of the gluttony and greed that is evident in mankind throughout history. The “killing fields” that leave lands barren and decimated is not limited to a battle field. Mother Nature is also affected; defenseless to the attack on trees by excessive logging and the brutal slaying of animals that never seem to meet human satisfaction. The lyrics are in the form of a question which move the listener by causing self-reflection and thus raising awareness. Jackson feels the pain that has been wrought on mankind and asks why? He asks God specifically when he questions the promises that were made. He feels that God’s son was crucified in vain because peace is definitely not present with all the turmoil that is going on. He is also addressing the population as well when he asks “What have we done to the world?” Jackson is wanting answers not only from God but from the people. Jackson wants to know what is in the human nature that causes people to conquer and destroy the earth instead of treating everything as equal members of the planet. Do humans regard themselves as superior and godlike? There is a strong conflation between God and man
One of the key elements that Jackson uses in the video to draw compassion from listeners is innocence. The pictures of the animals being slaughtered such as the elephant lying in the desert without its tusks. Jackson also reminds people of children who have died because of war. In one scene there is an image of a small broken bicycle, and a father’s memory of when his daughter ran to the bike, but before she gets reaches it, a bright, blinding white light flashes and she isn’t seen again. The man is alive but is reminded of his loss when seeing the broken bicycle. The innocent, helpless animals and children are the affected bystanders. All these questions and problems that Jackson asks about is met by his refrain which isn’t any word but a cry. There are no words to express this pain because it is so deep. Jackson is crying for the world at war within itself.
The most important part of the song is “Do we give a damn?” This is the question that really matters. All the issues that have been brought to light, but does anyone care enough to do something about it? The entire song just builds like a storm and Jackson’s voice is so powerful that if one doesn’t feel moved when listening then that person does not have a soul. It truly shakes the individual to the core and it awakens the spirit. The people falling down grabbing the soil shows regret as they try to hold on to earth. The music builds up and the winds of time start to change during a call and response part of the song. The winds blow back the devastation and soon all is repaired down to the tree connecting to its stump. This is the answer to when Jackson asks “Is there a time?” The time where peace and tranquility exist is shown. The overall video, music, and lyrics work together to create such a masterpiece that is literally mind blowing
Michael Jackson’s “Earth Song” by Devonte Fletcher
Michael Jackson’s music video “Earth Song” is more like a visual aide to show the people on this planet what we are doing to the Earth. Not even 30 seconds in and the tone of the whole video changes. There is an immediate shift from a peaceful forest filled with life and animals, to a tractor coming in and plowing down trees. Michael Jackson was always well known for the environmentalist that he was, but with this song, that was taken to a whole new level. “Earth Song” contains a major theme within it that anyone can see, which is the way Jackson incorporates the many environmental changes the Earth endures.
Every year, people are becoming less and less considerate of the planet. Deforestation, war, and pollution are all major problems that have affected earth over time. The video alternates between flashback-like scenes showing what the world was like before people’s harmful ways changed it. Visual evidence is incorporated to give everyone a real feel of what is happening to our world. The chopping down of trees with chainsaws showing deforestation, tanks and huge piles of rubble showing the negatives of war, and all throughout the video black smoke carries through the skies from pollutants. Jackson made this song along with the video to pose as an environmental message. “With the ecological unbalance going on, and a lot of the problems in the environment, I think earth feels the pain, and she has wounds, and it’s about some of the joys of the planet as well. But this is my chance to pretty much let people hear the voice of the planet” (Jackson).
“Earth Song” features a lot of destruction in the video that is present all over the world. Jackson realizes that enough is enough, and that it is time for change. “In the epic music video, scenes of environmental destruction and war are cut with Jackson wandering across a landscape of drought and fire, before he does his yell-through-the-wind thing, undoing all of our ecological damage like magic” (World’s Biggest Environmentalist?). The cry/shriek he releases at the end of the song is resembling of the cry he feels the world is trying to let the world hear. Through his lyrics and this video, he wants to promote ecological change. The heavy machinery, animals, and the colossal storm that comes through and cleans up the Earth are all parts of the major theme, the environment, that Jackson is portraying with this work. “’Earth Song’ is indisputably the most popular green-themed tune ever. It remains Jackson’s best-selling song in the U.K. (yes, bigger than “Thriller” or “Billie Jean”), and beat out the Beatles’ first single in 25 years for the top spot on the British charts. But the song, and its lavish globe-trotting video, barely registered in the U.S. Record executives at Epic apparently didn’t think it had much life stateside. Perhaps the themes of ecological destruction weren’t suited to pop radio in the U.S. market, or the song’s musical approach — gospel, blues and opera — was considered too offbeat for American audiences” (Pasternack) .
Michael Jackson is attempting to show everyone the negative affects our bad habits are having on our planet with this video. Deforestation, war, and pollution have all taken a toll on the Earth. The Earth was crying out and Jackson decided it was time to let that cry be heard by everyone around the world. After “Earth Song” went viral and became wildly successful, especial in the UK, Jackson started to become regarded as the world’s biggest environmentalist. Whether that may be true or not, he did an exceptional job of using visual aides of the environment as a theme for this piece.
Michael Jackson was a gem of the universe. Not only did he allow others to relate to his lyrics, being one of the most talented artists in history, Jackson created music that told a story. These stories were in effort to make a movement. He was caring and at the same time, able to visualize the falling apart of the universe. One of Jackson’s most overlooked songs in the United States would have to be “Earth Song”. His compassion for the living and his love for the entire world allowed humans to react and become fans that would, unknowingly, help participate in his worldwide masterpiece. “Earth Song” has very powerful lyrics that follow an extremely well produced music video showing the result of humanity and our devastation to the world.
Michael Jackson remained consistent with his helpful ways and showed the world that color and looks had nothing to do with the inside soul. Living in our world, we are dragged into repetition of believing we each individually have to be the best at everything and see money as our prime living source. To Jackson, although he made millions, he dedicated all of his time outside of show business to helping third world countries that have been devastated by war and starvation. He started the Heal The World Foundation, which lead to thousands of children being helped and put in new shoes to start a new life. Jackson was well known worldwide and when he traveled to these countries, he wasn’t going to perform, he was going to help make a difference.
Michael was raised a Jehovah Witness all of his life. Being a Jehovah, you are taught to believe in a demanding God. One of the commandments was listed to not allow celebration of holidays or birthdays. In the book Earth Song: Inside Michael Jackson’s Magnum Opus, Joseph Vogel describes Jackson as a Jehovah Witness. He also describes the purpose of being a witness as such:
“The main purpose of life was to prepare oneself for Armageddon, which Witnesses believed was imminent and futile to try to delay or prevent. The goal, rather, was to become one of the elite righteous members (the 144,000) that would survive and preside over the earth once it was cleansed of wickedness” (Vogel 25).
Because of this life he lived, Jackson never celebrated Christmas until he was an older adult. He was secluded from these celebrations all of his life. When he finally decided to separate himself from being a Witness, we started to really see a new side of Michael. He started to see the world more of our existing paradise instead of looking at the world as being a place that would eventually be paradise. He wanted change! Jackson wasn’t going to simply wait for God to fix the world. “It starts with us,” he insisted. ‘It’s us. Or it will never be done” (Vogel 27). Instead of waiting, he was now ready to take action. With this huge change of feeling during his career, Jackson started with a bang. It was his first Christmas and his newfound holiness that allowed Michael to create the inspiring “Earth Song” which opened his eyes to a new beginning.
The video in general shows epic devastation from deforestation, over fishing, war, pollution, drought, and even hopes of a clean coal industry. The theme of the song has a notable religious significance. The video actually demonstrates themes from the bible. These themes include everything from the creation, prayer, prophecy, and resurrection. Jackson appears as a prophet in the video and even a Christ-like figure in other eyes. We witness man made devastation and then the video begins to take us into a renewal or re-creation of the world. The video does a wonderful job of showing the viewer true footage of actual demolition and the scenes of burning oil fields and falling trees really makes you cringe. I believe the symbolism of the characters that are seen scooping the dirt into their hands in repetition as being a cry for help to the world. They are praying to God to give us back our land or better yet just simply allow us to keep it. Another way of looking at it would be the people grabbing the dirt and feeling the pain and suffering being caused by humans by allowing the dirt to pass through their fingertips. What is our world turning into? This seems to be the main question when watching this video.
Revelations in the bible describes the day when God will recreate the world and flood the land in order to allow a new beginning for his followers. In Jackson’s video, critics describe it as being very similar to Revelations. The dramatic wind, rain, and firestorm behind Michael and the others show the beginning of the devastation, which starts with the end of the world. The clean up is what I refer to it as but also you might think of it as the rebirth.
The lyrics chosen for this song were written by Jackson on purpose to deliver a powerful message to the viewer. He throws questions into the choir asking God, what about this, what about that, and what about us? He also questions humanity; asking what have we done to the world, look what we’ve done (Jackson). If only this song could have been looked at in more seriousness at the time of 1995, I think the world could of been better off in some way if the general population could of at least listened and gave it a try. This was truly Jackson’s song for the Earth! We now struggle tremendously with pollution and global warming that our world is becoming scared to think of what is to come.
Michael Jackson was an entertainer and an environmentalist. He made the difference that no one saw until after his passing. We took for granted what he had to say in his message and it will hit us hard when the time comes. Nothing further as technically been done since then but other people, like Bill Clinton or Al Gore, have attempted to help start the movement. I will say that I have seen a lot more recycling trucks in the past ten years and it will simply be the small changes that will start it all off. We have to work together and learn to listen to others regardless of the color and looks. Jackson was an innovator and somewhat looked at as a prophet. He did what he did best while he could and that was making people smile one day at a time. Unfortunately, the death of Michael Jackson put our world into a sad and devastated state of mind. On the contrary, I do believe his death was a wake up call to our society and without him; we would be in much worse shape today.
Michael Jackson, hours before his untimely death, performed an iconic and eye-opening song. This song was called “Earth Song”. The contrast between the beautiful images of nature, and destructive power of man-kind shows us what we have done. The references to God and the coming of the storm are very symbolic of a “cleansing” of the earth. Jackson had a very powerful message in his lyrics, some say it was strictly about his confusion with his own beliefs, others think that it was a message to the world. A message of pleading for peaceful days, and less death worldwide over man made issues. Joe Vogel summed it up perfectly in my opinion in his book about Jackson, “‘Earth Song would become the most successful environmental anthem ever recorded, topping the charts in over fifteen countries and eventually selling over ten million copies. Yet critics never quite knew what to make of it. Its unusual fusion of opera, rock, gospel, and blues sounded like nothing on the radio. It defied almost every expectation of a traditional anthem. In place of nationalism, it envisioned a world without division or hierarchy. In place of religious dogma or humanism, it yearned for a broader vision of ecological balance and harmony. In place of simplistic propaganda for a cause, it was a genuine artistic expression. In place of a jingly chorus that could be plastered on a T-shirt or billboard, it offered a wordless, universal cry.” (pg. 5 Vogel)
In Jackson’s video for “Earth Song”, in the beginning a lot of beautiful images are shown of nature. But as the video progresses, it shows us that the destructive power of man-kind has destroyed this for us. The world takes on a colder, more industrialized agenda and no longer cares for what sustains us as human beings. The stanza “What about killing fields?” is referring to an act that is completely man made. It could relate to a battlefield filled with death, a deforestation project killing millions of trees and animal habitats, or a poverty filled country with no resources for decent survival.
Another aspect of “Earth Song” was the connection to God. Jackson seemed to point all of his questions to God. He is pleading with God to know why so many bad things happen to this world, and why we possess such a destructive nature if he is supposed to give us peace and love for one another. A true theodicy and really a lament as well. The lyrics are a cry of sorrow for this world and what is happening in it. I believe that Jackson couldn’t even fathom why all this was happening. The wars, the killing of our environment, the killing of innocent people in the name of war or religion. Jackson was going through some type of spiritual change, he really did not know if what he had believed his whole life (being a Jehovah’s Witness) was how it was supposed to be. So I think that Earth song was a somewhat “cleansing” of himself as well. In his live performance, he brings out a soldier with a gun, but then a young child comes to give this soldier a sense of forgiveness. This is what I think his “cleansing” has led to. That no matter what you believe in, there will always be forgiveness there for you if you are willing to accept it.
The biggest aspect in this song is the coming of the storm, and the many people with their hands in the dirt. The act of praying is brought to mind when I saw all of these people rubbing their hands in the dirt. They are desperately praying for the world they had. The growing trees, the clean water, the peace between man-kind. All of this was what Jackson wanted to share with the world. He wanted to show them that what we were doing, was not going to have a good outcome. Going back to the focus on God, I think it also had a self-centered approach as well. Jackson was trying to tell us as well, that everything we were doing was wrong. That it was killing the world we lived in. This is where the coming of the storm comes in. This storm that comes through is not just another summer shower, it is the world cleansing itself. It is sweeping away all of the bad, destructive, and debilitating aspects of our earth and bringing back the beauty in it. It is bringing back what we need to survive, and thrive on.
Jackson asks the question of if we have time. If we have time to change the things that we have done. He brings up the possibility that we didn’t even a time of complete peace, that this destructive nature was just simply in our nature. A line that I specifically favor is “Do we give a damn.” This is the overall question. Even if we are aware of the issues around us, do we care? Are we doing anything to prevent them? I think that was the whole point of releasing this song. He wanted to show the world what we were doing to the land that we were sustained by. This world is what is keeping us alive, so to destroy it the way we are, it’s terrible.
All in all, “Earth Song’ is very eye-opening. The video encompasses a lot of real world problems we have now, even more so now than back then. It is a plea for change, to know why all of these bad things are happening. Some people think it was strictly to God that he was asking those questions to, some believe it was straight to the people of the world. Honestly, I believe that it was both. Jackson had his own belief system, and he tried to follow that, wholeheartedly. But, because of all these terrible things happening throughout the world, it gave him his doubt. I think that for this to be Jackson’s last performance, it fits pretty well.