Michael Jackson_ The Magic, the Madness, the Whole Story, 1958-2009 Part 11

'One thing about Michael, though,' Joseph added, 'is that ever since he was four, he wanted to be an entertainer. And he always wanted to be number one. That's why sports upset him, because his brothers can whip him and outdo him at sports and he can't be number one at it. But in music, Michael knows knows he's number one. he's number one.

'And speakin' of Michael, Marlon told me about what happened. You're not gonna write that part about Michael's nickname, are you?' he asked. 'That boy is so sensitive about his nose,' Joseph added. 'Do you see anything wrong with his nose? That's all he ever talks about, his d.a.m.n nose. He threatened to have it fixed, but what can he do with it? I told him I'd break his face if he ever had it fixed.' Joseph's green eyes twinkled. He threw back his head and roared with laughter. 'You don't fix something that isn't broken,' he added. 'He's got a great nose. It looks like mine.'

Afterwards, Michael returned to the living room for some final thoughts about his life and career. As the photographer and I watched, he crossed his left leg over his right knee and began absent-mindedly picking at his toenails. 'When I'm not onstage, I'm not the same. I'm different,' he observed. 'I'm addicted to the stage. When I can't get on to a stage for a long time, I have fits and get crazy. I start crying, and I act weird and freaked out. No kiddin', I do. I start dancin' 'round the house.'

He began to talk rapidly. 'It's like a part of me is missin' and I gotta get it back, 'cause if I don't, I won't be complete. So I gotta dance and I gotta sing, you know? I have this craving. Onstage is the only place I'm comfortable. I'm not comfortable around...' he paused, searching for the right word, 'normal people. But when I get out onstage, I open up and I have no problems.' He seemed fl.u.s.tered, unnerved. 'Whatever is happening in my life doesn't matter. I'm up there and cuttin' loose and I say to myself, 'This is it. people. But when I get out onstage, I open up and I have no problems.' He seemed fl.u.s.tered, unnerved. 'Whatever is happening in my life doesn't matter. I'm up there and cuttin' loose and I say to myself, 'This is it. This This is home. This is exactly where I'm supposed to be, where G.o.d meant for me to be.' I am is home. This is exactly where I'm supposed to be, where G.o.d meant for me to be.' I am unlimited unlimited when I'm onstage. I'm number one. But when I'm off the stage,' he shrugged his shoulders, 'I'm not really...' Again, he paused, trying to find the right word. 'Happy.' when I'm onstage. I'm number one. But when I'm off the stage,' he shrugged his shoulders, 'I'm not really...' Again, he paused, trying to find the right word. 'Happy.'

Earlier in the day, I had conducted an interview with Sidney Lumet, director of The Wiz. The Wiz. 'Michael Jackson is the most gifted entertainer to come down the pike since James Dean,' Lumet told me. 'He's a brilliant actor and dancer, probably one of the rarest entertainers I have ever worked with.' 'Michael Jackson is the most gifted entertainer to come down the pike since James Dean,' Lumet told me. 'He's a brilliant actor and dancer, probably one of the rarest entertainers I have ever worked with.'

I shared Sidney's observation with Michael. He seemed embarra.s.sed for a moment. Then, he asked, 'Who's James Dean?'

Later, he began talking about his role as the Scarecrow in The Wiz. The Wiz. 'What I like about my character,' he observed, 'is his confusion. He knows that he has problems, I guess you could call them. But he doesn't know why he has them or how he got that way. And he understands that he sees things differently from the way everyone else does, but he can't put his finger on why. He's not like other people. No one understands him. So he goes through his whole life with this, uh...' he paused, 'confusion.' 'What I like about my character,' he observed, 'is his confusion. He knows that he has problems, I guess you could call them. But he doesn't know why he has them or how he got that way. And he understands that he sees things differently from the way everyone else does, but he can't put his finger on why. He's not like other people. No one understands him. So he goes through his whole life with this, uh...' he paused, 'confusion.'

Michael looked off into the distance, now seeming lost in his thought process. 'Everybody thinks he's very special, but, really, he's very sad. He's so, so sad. Do you understand?' He fixed his thoughtful gaze on me and asked, again. 'Do you understand his sadness?'

The Wiz is a Flop is a Flop.

When The Wiz The Wiz was released in October 1978, it became a critical failure and a box-office disappointment. The finished film was an overblown spectacle, one that most people who were involved with would just as soon take off their resumes. Even the commercial release of 'Ease On Down the Road', teaming Michael with Diana Ross a coupling that seemed destined for the Top Ten, in theory didn't even crack the Top Forty. Berry Gordy, who had nothing to do with the actual production of the film and didn't believe Diana should have been cast in it, has never discussed was released in October 1978, it became a critical failure and a box-office disappointment. The finished film was an overblown spectacle, one that most people who were involved with would just as soon take off their resumes. Even the commercial release of 'Ease On Down the Road', teaming Michael with Diana Ross a coupling that seemed destined for the Top Ten, in theory didn't even crack the Top Forty. Berry Gordy, who had nothing to do with the actual production of the film and didn't believe Diana should have been cast in it, has never discussed The Wiz, The Wiz, publicly. publicly.

'It was a big dream that got away,' said producer Rob Cohen, in retrospect. 'A brilliant idea gone wrong. The knowledge that two years of my life, twenty-three million dollars of Universal's money, thousands of man hours of labour, and all of the hopes and dreams of everyone involved went into a movie that didn't stand a chance makes me sick.'

Despite its failure, the making of The Wiz The Wiz marked a personal victory for Michael Jackson. Identifying himself with the role of the Scarecrow gave him the opportunity to look within and discover a new sense of strength and self-confidence. 'Working in the movie showed me what makes kings of the world and what makes giants,' he said. 'It showed me how I can believe in myself in a way I never could before.' He also expanded his professional horizons and, in the process, won the respect of fellow workers, and even some critics who had panned the movie. marked a personal victory for Michael Jackson. Identifying himself with the role of the Scarecrow gave him the opportunity to look within and discover a new sense of strength and self-confidence. 'Working in the movie showed me what makes kings of the world and what makes giants,' he said. 'It showed me how I can believe in myself in a way I never could before.' He also expanded his professional horizons and, in the process, won the respect of fellow workers, and even some critics who had panned the movie.

Still, Michael could not ignore the fact that The Wiz The Wiz was a failure at the box office. He was shattered by it; he had never suffered such a high-profile failure. 'Did I make a mistake?' he asked Rob Cohen a few weeks after the movie was released. 'Maybe I shouldn't have done the film? Maybe I should have listened to my family. What will it mean to my career?' was a failure at the box office. He was shattered by it; he had never suffered such a high-profile failure. 'Did I make a mistake?' he asked Rob Cohen a few weeks after the movie was released. 'Maybe I shouldn't have done the film? Maybe I should have listened to my family. What will it mean to my career?'

'Look, you followed your instincts,' Rob told him. 'We all did. Don't second-guess yourself now. We have nothing to be ashamed of. We did the best job we could.'

'But '

'But nothing,' Rob said. 'Go on with your life and career. Be a star. You've only just begun.'

Joseph also supported Michael during this disappointing time. When one of the brothers said something disparaging about the movie, Joseph gave him a sharp punch on the shoulder. 'Ouch! Joseph,' said the brother. 'That hurt.'

'Ouch, my a.s.s,' Joseph countered. 'You don't criticize your brother. At least he tried. How many movies have you you made, big shot?' made, big shot?'

Transition.

At the end of 1978, Joseph Jackson severed his ties with Richard Arons. In Richard's wake, Joseph recruited Ron Weisner and Freddy DeMann as managers. Both were experienced in the entertainment field, Weisner as a business manager and DeMann as a promoter. Joseph felt that he needed the a.s.sistance of these men, both white, in order to insure that CBS would promote The Jacksons as the company did its white artists. He believed that the company considered his sons a 'black act' and was, therefore, restricting the way it promoted and marketed them. Joseph's concern is a common, and often justified, complaint of black acts signed to record companies, like CBS, which are manned predominantly by white executives. Like Joseph, many black managers maintain that white executives don't know how to market black entertainment 'across the board', meaning to white record buyers, as well as to black. Of course, Richard Arons is also white, so it was clear that Joseph felt the new managers were more experienced as well, and had more clout in the music business.

Joseph's strategy worked in America. Destiny Destiny sold over a million copies and reached number eleven on sold over a million copies and reached number eleven on Billboard's Billboard's alb.u.m chart, not bad for a group that hadn't had a major record in some time. alb.u.m chart, not bad for a group that hadn't had a major record in some time.

Destiny didn't do as well in the UK, however. It took six months for it to be released there, and the highest it hit was number thirty-three. But it was now accepted that the Jacksons had sporadic sales in the UK; there was little anyone could do about it. They simply weren't as hot in England as in the States. That was fine with Joseph; the focus at this time was on US sales anyway, not European. didn't do as well in the UK, however. It took six months for it to be released there, and the highest it hit was number thirty-three. But it was now accepted that the Jacksons had sporadic sales in the UK; there was little anyone could do about it. They simply weren't as hot in England as in the States. That was fine with Joseph; the focus at this time was on US sales anyway, not European.

However, Michael was still unhappy. Despite what his brothers tried to promote, he knew in his heart that he and they were not fully responsible for the success of Destiny. Destiny. CBS had whipped up quite a publicity frenzy about how terrific the brothers were as producers, yet it was not true. They hadn't actually produced that alb.u.m on their own; Michael hated living the lie. He was too old for such nonsense, he felt. Gone were the days when it was acceptable to promote such untruths. CBS had whipped up quite a publicity frenzy about how terrific the brothers were as producers, yet it was not true. They hadn't actually produced that alb.u.m on their own; Michael hated living the lie. He was too old for such nonsense, he felt. Gone were the days when it was acceptable to promote such untruths.

Michael had never been dismayed about his life and career as he was when he finished the 1979 Destiny tour. While on the road, he had lost his voice making it necessary for Marlon to sing his higher-register parts while Michael just moved his mouth. He found the process humiliating. Eventually, two weeks of performances had to just be cancelled because of Michael's throat problems.

Throughout the tour, Michael was tired and discouraged and couldn't seem to find the unlimited supply of energy he had always relied upon in the past. As enthusiastic as the audiences were to the show, Michael felt that something was missing from it. Barely twenty-one, he felt he'd stopped growing professionally; he was frustrated by being in a group. 'It was the same thing over and over,' he told me in an interview after the tour. 'It was all for one and one for all, but I was starting to think that maybe I should be doing some things on my own. I was getting antsy.'

To make matters worse, Michael loathed having to answer to Joseph and was getting to the point where he didn't even want to be around him.

Though many industry observers believed that, based on the success of Destiny, Destiny, Joseph Jackson had become a brilliant entertainment manager, Michael was not one of them. In Michael's view, his father used a shotgun approach to his work: 'If you shoot enough bullets, one will hit the target, eventually,' Michael explained. 'But you can also waste a lot of ammunition and maybe hit some targets you would rather not,' Michael explained. 'Look at the way Joseph alienated Berry and everyone else at Motown.' Some people, Michael argued, determine their target, stalk it as long as necessary, and then get it cleanly with one shot. 'That's the way to go,' Michael reasoned. Joseph Jackson had become a brilliant entertainment manager, Michael was not one of them. In Michael's view, his father used a shotgun approach to his work: 'If you shoot enough bullets, one will hit the target, eventually,' Michael explained. 'But you can also waste a lot of ammunition and maybe hit some targets you would rather not,' Michael explained. 'Look at the way Joseph alienated Berry and everyone else at Motown.' Some people, Michael argued, determine their target, stalk it as long as necessary, and then get it cleanly with one shot. 'That's the way to go,' Michael reasoned.

In truth, Joseph would never be able to win with Michael, no matter how many bull's-eyes he scored. Getting the group away from Motown was the best thing he'd ever done, but Michael could not see it that way. His perception of Joseph was understandably clouded by his personal views about him, and his judgement of his father as a child abuser and philanderer. There was no way Michael would be able to credit Joseph Jackson... with anything... ever.

Michael didn't feel that the group had made an impact after leaving Motown and signing with CBS, even though they had a hit with 'Shake Your Body'. It wasn't enough. He was tired of The Jackson 5 image. He knew what he wanted to do: record another solo alb.u.m, one for CBS that would fulfil his ambition, expand his artistry and ease the restlessness that had plagued him since the Destiny tour ended. Day after day, Michael stayed alone in his bedroom pondering, as Marlon would later say, 'who knows what, he's very secretive.'

His brothers soon realized that something was different about Michael, and it scared them. 'Mike was acting strangely,' t.i.to would remember. 'It was as if something had snapped in him. He stopped showing up at family meetings, and when we discussed our future plans, he had nothing to offer. Maybe he was plotting to go out on his own, I don't know. He never did say much. You never really knew what he was thinking.'

'I just didn't think it was fair that I had stopped recording solo alb.u.ms,' Michael would say years later when looking back on this time. 'Part of our contract with CBS was that I would get to record on my own. When that wasn't happening because we hadn't been able to find the time, I started getting nervous and upset.'

When Michael told his father that he wanted to record a solo alb.u.m, Joseph's reaction was predictable supportive but with qualification. 'Why not?' he remarked. 'You know how I feel about it, Michael. Do what you want as long as it doesn't interfere with group business.'

'What does that mean?' Michael wanted to know.

'You know what it means,' his father warned him. 'Family is the most important thing.'

Perhaps Joseph wasn't overly concerned about Michael doing a solo alb.u.m because, in truth, his alb.u.ms never amounted to much: his first two for Motown, Got to Be There Got to Be There and and Ben Ben (1971 and 1972 respectively), each sold a little over 350,000 copies, which wasn't bad. However, his third alb.u.m, (1971 and 1972 respectively), each sold a little over 350,000 copies, which wasn't bad. However, his third alb.u.m, Music and Me Music and Me (1973), sold only 80,286 copies, a dismal showing. His last solo alb.u.m for the company, (1973), sold only 80,286 copies, a dismal showing. His last solo alb.u.m for the company, Forever Michael Forever Michael (1975), did a little better (99,311 copies). Alb.u.ms featuring all of the Jacksons always sold better than solo alb.u.ms; let's not even get into the statistics for sales of Jackie's solo alb.u.m which, incidentally, was terrific. Joseph always felt it was in everybody's best interest to keep the act together. (1975), did a little better (99,311 copies). Alb.u.ms featuring all of the Jacksons always sold better than solo alb.u.ms; let's not even get into the statistics for sales of Jackie's solo alb.u.m which, incidentally, was terrific. Joseph always felt it was in everybody's best interest to keep the act together.

Therefore, if Michael felt the need to record a solo alb.u.m in order to 'get it out of his system', it was fine with Joseph as long as the Boy Wonder remembered that his first allegiance was to his family and to the group, not to himself.

Off the Wall.

When Michael Jackson set out to make his new solo alb.u.m, he didn't know what he wanted to be the final result. However, he knew what he didn't didn't want, and that was to make a record that sounded like a Jacksons' alb.u.m. From the start of his professional career, someone had decided the sound of Michael's music. First, it had been Motown's crack production staff and then the artist and repertoire executives at CBS/Epic. Though the family was given the freedom to write and 'produce' the want, and that was to make a record that sounded like a Jacksons' alb.u.m. From the start of his professional career, someone had decided the sound of Michael's music. First, it had been Motown's crack production staff and then the artist and repertoire executives at CBS/Epic. Though the family was given the freedom to write and 'produce' the Destiny Destiny alb.u.m, Epic insisted that they record a song they didn't write, 'Blame It on the Boogie'. Other concessions and compromises were made along the way with the three alb.u.ms for that label, and Michael never felt totally responsible for the results. While alb.u.m, Epic insisted that they record a song they didn't write, 'Blame It on the Boogie'. Other concessions and compromises were made along the way with the three alb.u.ms for that label, and Michael never felt totally responsible for the results. While Destiny's Destiny's. .h.i.t single, 'Shake Your Body', re-established The Jacksons in the marketplace, many observers in the music business felt as Michael did, that the brothers had left their magic at Motown. hit single, 'Shake Your Body', re-established The Jacksons in the marketplace, many observers in the music business felt as Michael did, that the brothers had left their magic at Motown.

Now, Michael wanted more creative freedom. He wanted to do his next alb.u.m totally outside the family, even though the brothers tried desperately to make his solo alb.u.m a group production as soon as they heard about it. They were hurt that Michael wanted to exclude them from the project, but he stood firm. 'I'm doing this on my own,' he said. 'They're just going to have to understand. For once.'

Uncertain as to how to proceed, Michael called Quincy Jones, who had offered a helping hand during production of The Wiz. The Wiz. The two had their first exchange one day on the set as Michael rehea.r.s.ed a scene in which, as the Scarecrow, he pulled a slip of paper from his stuffing and read a quote by Socrates. He attributed the statement to The two had their first exchange one day on the set as Michael rehea.r.s.ed a scene in which, as the Scarecrow, he pulled a slip of paper from his stuffing and read a quote by Socrates. He attributed the statement to Soh-crates, Soh-crates, as if it rhymed with 'no rates'. 'That's the way I had always a.s.sumed it was p.r.o.nounced,' Michael said later. When he heard the crew giggling, he knew he had it wrong. as if it rhymed with 'no rates'. 'That's the way I had always a.s.sumed it was p.r.o.nounced,' Michael said later. When he heard the crew giggling, he knew he had it wrong.

'Sock-ra-tease,' someone whispered in his ear. 'It's someone whispered in his ear. 'It's Sock-ra-tease? Sock-ra-tease?'

He turned and saw Quincy, the film's musical director. * *

The older man extended his hand. 'I'm Quincy Jones,' he said with a warm smile. 'Anything I can do to help...'

Michael would remember the offer. A little more than a year later, he called Quincy and asked him to suggest possible producers for his solo endeavour. Quincy suggested himself.

Quincy seemed an unlikely choice of producer for Michael. He had found success in the pop-R'B arena with his own alb.u.ms, which were virtual music workshops of musicians, writers and arrangers with Jones overseeing the entire programme. Quincy had also found mainstream success with the Brothers Johnson, a sibling duo out of Los Angeles, whose platinum alb.u.ms he produced. Still, most industry observers privately felt that Quincy was too musically rigid to make a great pop record; many of these people believed that his records with the Brothers Johnson, for instance, though successful, sounded too h.o.m.ogenized.

However, Quincy had a long and varied show-business career, starting as a fifteen-year-old trumpet player and arranger for Lionel Hampton. Over the years, he immersed himself in studio work, arranging, composing, and producing for Dinah Washington, Duke Ellington, Big Maybelle, Tommy Dorsey and Count Basie. In the early sixties, he was a vice-president of Mercury Records, the first black Executive at a major label. In 1963, he began a second career in Hollywood, where he became the first black to reach the top rank of film composers, with thirty-eight pictures to his credit, including The Wiz. The Wiz.

'I didn't even want to do The Wiz' The Wiz' Quincy has said. 'I thought, There's no way the public is going to accept a black version of Quincy has said. 'I thought, There's no way the public is going to accept a black version of The Wizard of The Wizard of Oz. I kept telling Sidney Lumet I didn't want to do it, but because he's a great director and because he hired me to do my first movie soundtrack [ Oz. I kept telling Sidney Lumet I didn't want to do it, but because he's a great director and because he hired me to do my first movie soundtrack [The p.a.w.nbroker, 1965], I did it. Out of that mess came my a.s.sociation with Michael Jackson.' 1965], I did it. Out of that mess came my a.s.sociation with Michael Jackson.'

When Quincy and Michael came together in a recording studio in Los Angeles to start laying rhythm tracks together in 1979, the artist and producer turned out to be a perfect match. Quincy's in-studio work method was to surround the artist with superior songs and fine musicians and then let that artist have free reign. Michael had been so accustomed to being on a short creative leash, he was ecstatic when Quincy began taking his ideas seriously. Quincy recalled that, at first, he found Michael 'very, very introverted, shy, and non-a.s.sertive. He wasn't at all sure that he could make a name for himself on his own. Neither was I.'

Quincy, on the other hand, hadn't worked with unharnessed brilliance like Michael's since his days with some of the jazz greats. In Michael, he'd finally found what he'd been looking for in a talent. As he would tell me, 'Michael is the essence of what a performer and an artist are all about. He's got all you need emotionally, and he backs it up with discipline and pacing. He'll never burn himself out. Now I'm a pretty strong drill sergeant when it comes to steering a project, but in Michael's case it's hardly necessary.'

Quincy was also amazed at Michael's versatility. 'He can come to a session and put down two lead vocals and three background parts in one day,' he said at the time. 'He does his homework, rehea.r.s.es and works hard at home. Most singers want to do everything in the studio write words and music, figure out harmonies, try different approaches to a song. That makes me crazy. All I can see is dollar signs going up. Studio time is expensive, and that's why someone like Michael is a producer's dream artist. He walks in, prepared. We accomplish so much in a single session, it stuns me. In my opinion, Michael Jackson is going to be the the star of the eighties and nineties.' star of the eighties and nineties.'

The two developed a close rapport outside the studio as well, and over the years, Michael would think of Quincy as a hip father figure. Michael would confide in Quincy and take direction from him in a way that reminded many observers of the kind of relationship the public thought thought Michael had with Joseph. However, Quincy was the ant.i.thesis of the natural father who used to hit Michael to get him to perform up to expectations. Michael had with Joseph. However, Quincy was the ant.i.thesis of the natural father who used to hit Michael to get him to perform up to expectations.

'When I'm in the studio, I don't believe in creating an atmosphere of tension or hostility,' Quincy once told Oprah Winfrey in an interview. 'That serves no purpose. I believe in creating an atmosphere of love.'

Finally, after listening to hundreds of songs, Michael and Quincy decided on a batch to record. Among them were three Michael Jackson compositions: the funky 'Don't Stop 'Til You Get Enough', the dance-floor scorcher 'Working Day and Night', and the prowling, urgent 'Get on the Floor' (co-written with Louis Johnson, ba.s.sist of the Brothers Johnson).

Quincy sought to balance the mixture of songs with melodic pop ballads like the emotional and symphonic 'She's Out of My Life', contributed by songwriter-arranger Tom Bahler; the bright, melancholy 'It's the Falling in Love', written by David Foster and Carole Bayer Sager; the cute, sugary Paul McCartney song 'Girlfriend' and most significantly, the romantic, mid-tempoed 'Rock with You', the driving 'Burn This Disco Out', and the mighty 'Off the Wall', (which would end up as the t.i.tle of the alb.u.m), all written by Rod Temper-ton, chief songwriter and keyboardist for the Britain-based pop-R'B band, Heatwave.

With the songs selected, Quincy Jones then summoned a handful of crack session players keyboardists Greg Phillinganes, George Duke and Michael Bodd.i.c.ker; guitarists David Williams and Larry Carlton; ba.s.sist Louis Johnson; percussionist Paulinho DaCosta; and the Seawind Horns, led by Jerry Hey and they all went to work.

During 'Don't Stop 'Til You Get Enough' (which would become Off the Wall's Off the Wall's first single), Michael unveiled a playful, s.e.xy falsetto no one had ever heard from him before. All of the right elements were in place on this song: an unstoppable beat, a meticulous, well-balanced delivery of lyrics and melody and a driving energy. Michael explained that he couldn't shake the song's melody when it came to him one day. He walked throughout the house humming and singing it to himself. Finally, he went into the family's twenty-four-track studio and had Randy put the melody down on the piano (Michael can't play). When he played it for Quincy, it was a done deal: it had to be on the alb.u.m. first single), Michael unveiled a playful, s.e.xy falsetto no one had ever heard from him before. All of the right elements were in place on this song: an unstoppable beat, a meticulous, well-balanced delivery of lyrics and melody and a driving energy. Michael explained that he couldn't shake the song's melody when it came to him one day. He walked throughout the house humming and singing it to himself. Finally, he went into the family's twenty-four-track studio and had Randy put the melody down on the piano (Michael can't play). When he played it for Quincy, it was a done deal: it had to be on the alb.u.m.

'Don't Stop' was released on 28 July 1979. In less than three months, it was top of the charts, Michael's first solo number-one record in seven years. It soared to number three in the UK, a huge hit for him. It was also the subject of his first solo video. When compared to the kind of musical videos Michael would do in just a few years, 'Don't Stop 'Til You Get Enough' comes across as primitive. In the only attempt at innovation, Michael appears briefly dancing in triplicate. Still, it's fun and memorable because, after all, it's the first one.

The alb.u.m that resulted from all of Michael's work with Quincy, Off the Wall, Off the Wall, was released in August 1979. Almost as much attention had been lavished on the alb.u.m jacket as on the record itself. The cover photograph showed Michael smiling broadly and wearing a natty tuxedo and glittering white socks. 'The tuxedo was the overall game plan for the was released in August 1979. Almost as much attention had been lavished on the alb.u.m jacket as on the record itself. The cover photograph showed Michael smiling broadly and wearing a natty tuxedo and glittering white socks. 'The tuxedo was the overall game plan for the Off the Wall Off the Wall alb.u.m and package,' said Michael's manager at the time, Ron Weisner. 'Michael had an image before that as a young kid, and all of a sudden, here was a hot alb.u.m and somebody very clean-looking. The tuxedo was our idea as managers,' Ron concluded. 'The socks were Michael's.' alb.u.m and package,' said Michael's manager at the time, Ron Weisner. 'Michael had an image before that as a young kid, and all of a sudden, here was a hot alb.u.m and somebody very clean-looking. The tuxedo was our idea as managers,' Ron concluded. 'The socks were Michael's.'

Fans and industry peers alike were left with their mouths agape when Off the Wall Off the Wall was issued to the public. Engineer Bruce Swedien had made sure Quincy Jones's tracks and Michael Jackson's voice showed to their best advantage. Michael's fans proclaimed that they hadn't heard him sing with such joy and abandon since the early Jackson 5 days. The alb.u.m showcased an adult Michael Jackson, for the first time a real artist, not just someone's vocal stylist. was issued to the public. Engineer Bruce Swedien had made sure Quincy Jones's tracks and Michael Jackson's voice showed to their best advantage. Michael's fans proclaimed that they hadn't heard him sing with such joy and abandon since the early Jackson 5 days. The alb.u.m showcased an adult Michael Jackson, for the first time a real artist, not just someone's vocal stylist.

Michael Jackson had officially arrived. The performances revealed sides of him never before heard by record buyers. For instance, no one knew Michael could be as smooth and sophisticated as he was on the alb.u.m's outstanding track, Stevie Wonder's 'I Can't Help It'. The song was important to the project because its luscious chord changes were the closest Michael had ever come to singing jazz on record.

Even more revealing was an emotional Michael crying real tears on the tail end of 'She's Out of My Life'. (Jones would later comment that Michael cried every time they cut the vocals. After several attempts with the same results, the decision was made to leave the tears on the track.) The understated arrangement of this song, also a crowd-pleaser with its spa.r.s.e keyboard accompaniment, allowed Michael to soulfully plead his regret of lost love in a touching, sometimes searing, delivery.

When 'Rock with You' also made number one, and then 'Off the Wall' and 'She's Out of My Life' both went to number ten, Michael became the first solo artist to have four Top Ten singles from one alb.u.m in America. In Britain, Off the Wall Off the Wall also made recording history with five hits released from a single alb.u.m. Although it would sell six million copies worldwide, it never went beyond number three in the US and number five in the UK. Michael was excited but cautious. 'It's a start,' he said. also made recording history with five hits released from a single alb.u.m. Although it would sell six million copies worldwide, it never went beyond number three in the US and number five in the UK. Michael was excited but cautious. 'It's a start,' he said.

Joseph was a bit concerned. 'This thing with Michael, it's good,' he said to one of the family's attorneys. 'I'm proud of the kid, but I'm worried.'

'About what?' asked the lawyer.

'Too much independence,' Joseph said. 'It's not good.'

'You know, throughout history, stars have left groups,' said the attorney. 'Sammy Davis left his family. Diana left The Supremes. Smokey left The Miracles. It happens. You can't keep a good star down.'

Joseph shook his head. 'Not in this family, it doesn't happen,' he said. 'Michael knows. He knows, knows,'

When Off the Wall Off the Wall won only one Grammy (in an R'B category), Michael was crushed. 'It bothered me,' he said. 'I cried a lot. My family thought I was going crazy, because I was weeping so much about it.' won only one Grammy (in an R'B category), Michael was crushed. 'It bothered me,' he said. 'I cried a lot. My family thought I was going crazy, because I was weeping so much about it.'

'He was so disappointed,' Janet concurred. 'I felt bad for him. But he finally said, "You watch. The next alb.u.m I do, you just... I'll show them."'

For his part, though, Joseph wasn't so disappointed. 'I think it's good to keep things in perspective,' he said, privately. 'The boy doesn't need more success, he needs to get into the studio with his brothers. That's That's what he needs.' what he needs.'

Michael Turns Twenty-one...

and Gets His Own Lawyer.

On 29 August 1979, Michael Jackson turned twenty-one. Even though he, as a Jehovah's Witness, did not celebrate his birthdays, we in the media did, especially the important ones. I had interviewed Michael for magazine articles to mark important age milestones 'Michael Turns 16', 'Michael Turns 18' and even 'Michael Turns 20' so I was happy to meet with him once again for, yes, 'Michael Turns 21'. It was a turning point in his life, and he felt it in a keen way. He had come of age, was about to take his life and career into his own hands. 'I really feel that being a man is doing exactly what you want to do in this life and to do it successfully and to conquer a goal,' he told me. 'Age is just a number, I know. I'm no more a man now than I was yesterday. But, still, it means something to me to be twenty-one. I've seen a lot, done a lot. However, now I think things will be different for me, better.

'To me, Walt Disney is a real man,' he observed. 'Charlie Chaplin, a real man. Fred Astaire, a real man. Bill Robinson, a real man. Not only did they achieve goals, but look at how much joy they gave other people. People looked up to them. I want people to look up to me, too. They made paths. I want to make one, too. That's what being a man means to me.'

Just days after I interviewed Michael, he and Joseph had an argument, one more bitter than any in recent memory. Michael decided that the time had come to make it clear to his father that he wanted more control over his career. Joseph didn't like being criticized by Michael, but he asked for it. When he inquired as to the problems Michael had with the way things had gone in the past, Michael gave him a list of grievances. In part, he didn't like the way the situation with Jermaine had been handled, wasn't satisfied with the way the group had left Motown, and was also unhappy with the recent CBS product, with the exception of Off the Wall. Off the Wall. Wisely, Michael kept it all about business; he left out personal complaints and certainly didn't address the subject of Joseph's blatant unfaithfulness to Katherine. Wisely, Michael kept it all about business; he left out personal complaints and certainly didn't address the subject of Joseph's blatant unfaithfulness to Katherine.

'I let you make that movie, didn't I?' Joseph shot back at him. 'This is how you repay me?'

'You didn't let let me make that movie,' Michael answered, his eyes blazing. 'I'm a grown-up now, Joseph. I'm me make that movie,' Michael answered, his eyes blazing. 'I'm a grown-up now, Joseph. I'm Michael Jackson. Michael Jackson. I make my own decisions.' I make my own decisions.'

'Why, you little...' Joseph lifted his hand and was about to smack his son, just like old times. However, he changed his mind. Michael gave him a defiant look and walked away.

Joseph was as hurt as he was angry. He thought Michael was being far too critical of him as a manager, and couldn't imagine how he had ended up with a son who was such an ingrate. When Michael said he was going to meet with an attorney to investigate his 'options', Joseph was crushed. Prior to this time, Michael and his siblings only used Joseph's attorneys and accountants. Now that Michael wanted his own representation, Joseph felt as if his son didn't trust him. Of course, Of course, Michael didn't trust him. Michael had more than a million dollars in his own bank account now, as a result of Michael didn't trust him. Michael had more than a million dollars in his own bank account now, as a result of Off the Wall, Off the Wall, and he wanted to hang on to it. He realized that money was power, and if he wished to break away from the family it was his bank account that would best support that effort not Joseph, and not his brothers. All of this information was a rude awakening for Joseph. 'All right, fine. If that's what you want,' he said, defeated. Wisely, he didn't want to further antagonize his son. He hoped that Michael would not follow through with the idea, that this particular storm would blow over. He was wrong. and he wanted to hang on to it. He realized that money was power, and if he wished to break away from the family it was his bank account that would best support that effort not Joseph, and not his brothers. All of this information was a rude awakening for Joseph. 'All right, fine. If that's what you want,' he said, defeated. Wisely, he didn't want to further antagonize his son. He hoped that Michael would not follow through with the idea, that this particular storm would blow over. He was wrong.

Michael's accountant, Michael Mesnick who also represented the Beach Boys arranged for Michael to meet with three entertainment lawyers and choose the one he liked best. First on the list was John Branca, a thirty-one-year-old native New Yorker with a background in corporate tax law and music industry negotiations for performers such as the Beach Boys, Neil Diamond and Bob Dylan. Bright, young, aggressive and determined, John was eager to make a name for himself in the entertainment industry.

Because he was more a rock and roll fan, John was only vaguely familiar with Michael's music and career. However, when he checked with his colleagues he was told that Michael was perceived by the music industry as someone with the potential to be a superstar. John was intrigued. He thought that Michael might be an artist he could take to the next level. At the same time, he felt that an a.s.sociation with Michael could establish his own career as an attorney.

John recalled that his meeting with Michael was a bit unusual. Michael took his sungla.s.ses off only once, at the beginning when he eyed John and asked if the two had previously met. When they established that they hadn't, Michael smiled and put his sungla.s.ses back on. Michael Mesnick asked John a list of questions, and Michael listened to the answers. At first, he seemed shy and uncomfortable. Finally, when he began to relax, he told John that the reason he needed representation was that he wanted independence from his family, 'once and for all,' and especially from his father. At that time, The Jacksons had a group contract with Epic; Michael said he wanted one for himself as a solo artist, as well as a member of The Jacksons. Also, he wanted all of his business affairs reviewed, including his publishing deal and his record sales.

John was enthusiastic, full of valuable information and eager to a.s.sist in any way possible. He was also, as far as Michael was concerned, the right man for the job. After the meeting, Michael cancelled the other two interviews, and hired John Branca. John was impressed with Michael's total belief in himself, he said, later. It was infectious; John could not wait to get started working for him.

Early in their relationship Michael confided in John his two princ.i.p.al goals: first of all, he said, he wanted to be 'the biggest star in show business'. Secondly, he wanted to be 'the wealthiest'. He told John that he was angry that Off the Wall Off the Wall had only garnered one Grammy nomination. 'I sold five million in the US, six million foreign. That's a big record,' he told him. 'It was totally unfair that it didn't get Record of the Year, and it can never happen again.' had only garnered one Grammy nomination. 'I sold five million in the US, six million foreign. That's a big record,' he told him. 'It was totally unfair that it didn't get Record of the Year, and it can never happen again.'

Michael was frustrated by what he saw as a lack of respect from the entertainment industry. For instance, he felt he deserved to be on the cover of Rolling Stone Rolling Stone and asked his publicist, Norman Winter, to try to arrange it. 'We would very much like to do a major piece on Michael Jackson but feel it is not a cover story,' was publisher Jann Wenner's response in a letter to Winter (dated 27 November 1979). and asked his publicist, Norman Winter, to try to arrange it. 'We would very much like to do a major piece on Michael Jackson but feel it is not a cover story,' was publisher Jann Wenner's response in a letter to Winter (dated 27 November 1979).

When Michael saw that letter, he became exasperated. 'I've been told over and over again that black people on the covers of magazines don't sell copies,' he complained. 'Just wait. Someday those magazines are going to be begging begging me for an interview. Maybe I'll give them one. And maybe I won't.' me for an interview. Maybe I'll give them one. And maybe I won't.'

For the next twenty-odd years, John Branca would, unarguably, be the single most important figure in Michael Jackson's career. He would negotiate every business deal for him, become a trusted friend and adviser, and see to it that this talented kid from Gary realized both of his goals.

John's first course of action was to renegotiate Michael's CBS contract with the company's president, Walter Yetnikoff. John managed to secure for Michael the highest royalty rate in the business at that time: thirty-seven per cent of a hundred per cent of wholesale, which was the same rate given to Neil Diamond and Bob Dylan. He also made a deal with Walter and with The Jacksons' legal representation, John Mason, that Michael could leave The Jacksons at any time in the future. John Branca worked it out that if Michael did leave the group, CBS would still be obligated to record The Jacksons without him. It was a nice gesture and one that placated Joseph. He fully believed that without Michael the group could continue because, as he had been putting it for years, 'It's not all about Michael.' Of course, Joseph must have known better, but his focus was always on family.

From this point on, legally and thanks to John Branca, Michael Jackson would never have to record another song with his brothers, unless he truly wanted to do it. Obviously, the Jackson brothers weren't happy with Michael's new independence, but the full ramifications of the deal would not hit them for a while. They were accustomed to Michael doing solo alb.u.ms, and still felt secure that he would remain with the group. (Of course, in structuring Michael's freedom, he and John Branca had not considered the 'Katherine factor', soon to come into play: if the brothers would want Michael to do something he didn't want to do, they would learn to ask their mother to intervene.) Michael's new deal was impressive, so much so that his brother, Randy, who suddenly had solo aspirations, decided that he wanted to hire John Branca. During a lunch meeting with him, John asked Michael what he thought of the idea. 'I think it stinks,' Michael told him, according to the attorney's memory. 'I can't believe it. I do this one thing for myself, hiring you, and now they're all gonna try to weasel in on it. You wait, first Randy. Next, you'll be hearing from Jackie. Probably t.i.to wants to do a record, too.'

'Are you saying you don't want me to represent Randy?' John asked with a smile. He couldn't help but be bemused by Michael's adamant reaction (not to mention the notion of t.i.to Jackson making a record).

'What I'm saying,' Michael told him, his voice crisp and cool, 'is that I don't want you representing Randy, Jackie, t.i.to or anyone else with the last name Jackson, ever. If you do, then we'll be finished, you and I.'

'You got it,' John agreed.

'Oh, and another thing,' Michael added. 'I don't want Randy to know that this is my decision,' Michael added. 'I want you to make it look like it's yours.'