Michael Jackson_ The Magic, the Madness, the Whole Story, 1958-2009 Part 23

At twenty-seven years of age, Michael Jackson faced the challenge of recording an alb.u.m that would top the tremendous success of Thriller Thriller. Could he do it? Could anyone anyone? In the summer of 1986, when he began working on the follow-up alb.u.m, which would be called Bad Bad, Michael put himself under enormous pressure. Extremely compet.i.tive, even against himself and his own achievements, he felt that if he did not top Thriller's Thriller's record sales of nearly 38.5 million, he would be perceived as a failure. Moreover, he needed to have success with the single releases. Once, he discussed the phenomenon of the four hit singles from the record sales of nearly 38.5 million, he would be perceived as a failure. Moreover, he needed to have success with the single releases. Once, he discussed the phenomenon of the four hit singles from the Off the Wall Off the Wall alb.u.m, which had preceded alb.u.m, which had preceded Thriller Thriller in 1979. He told writer Gerri Hirshey, 'n.o.body broke my record yet, thank G.o.d. Hall and Oates tried, but they didn't.' Eventually he matched his own record with the in 1979. He told writer Gerri Hirshey, 'n.o.body broke my record yet, thank G.o.d. Hall and Oates tried, but they didn't.' Eventually he matched his own record with the Thriller Thriller alb.u.m, the final US tally being: 'This Girl is Mine', number two; 'Billie Jean', number one; 'Beat It', number one; 'Wanna Be Startin' Somethin'', number five; 'Human Nature', number seven; 'PYT (Pretty Young Thing)', number ten, and 'Thriller', number four. He needed to do better than that with alb.u.m, the final US tally being: 'This Girl is Mine', number two; 'Billie Jean', number one; 'Beat It', number one; 'Wanna Be Startin' Somethin'', number five; 'Human Nature', number seven; 'PYT (Pretty Young Thing)', number ten, and 'Thriller', number four. He needed to do better than that with Bad Bad.

When he began working on the alb.u.m, he taped a piece of paper that said '100 million' to his bathroom mirror. He wanted Bad to Bad to be, as he put it, 'as perfect as is humanly possible'. Before they started to record the alb.u.m in August 1986, Michael and Quincy Jones chose from sixty-two songs Michael had written. 'Fifty per cent of the battle is trying to figure out which songs to record,' Quincy said. 'It's total instinct. You have to go with the songs that touch you, that get the goose b.u.mps going.' In the end, eight of the ten songs on be, as he put it, 'as perfect as is humanly possible'. Before they started to record the alb.u.m in August 1986, Michael and Quincy Jones chose from sixty-two songs Michael had written. 'Fifty per cent of the battle is trying to figure out which songs to record,' Quincy said. 'It's total instinct. You have to go with the songs that touch you, that get the goose b.u.mps going.' In the end, eight of the ten songs on Bad Bad would be written by Michael. Interestingly, Michael cannot read music. He writes his songs in his head, sings them on to a tape, and then hires musicians to put them down on paper. He is an incredibly musical person, however. The notes he imagines, and the way he hears them composed in song, often astound the most trained of musicians. would be written by Michael. Interestingly, Michael cannot read music. He writes his songs in his head, sings them on to a tape, and then hires musicians to put them down on paper. He is an incredibly musical person, however. The notes he imagines, and the way he hears them composed in song, often astound the most trained of musicians.

One song planned for the alb.u.m was a rhythm-and-blues-tinged number intended as a duet, 'I Just Can't Stop Loving You'. Michael had wanted Barbra Streisand to record the song with him, but she turned him down. 'I can't believe she would turn me down,' he said. 'Doesn't she know that this is going to be the biggest alb.u.m in history?' Michael suggested that 'my people' get back in touch with 'her people' and 'tell her she's about to make a big mistake'. Barbra explained she wasn't interested because she was worried that the age difference between them would make the lyrics seem unbelievable, plus she didn't like the song. Frank Dileo was unfazed. 'I knew the song was a hit with or without Barbra Streisand,' he said.

'Forget her,' Michael reasoned. 'Let's get Whitney Houston.' However, Whitney wasn't interested either. 'Believe me, I didn't lose any sleep over it,' Frank Dileo said of Houston's decision. Someone suggested Diana Ross. 'No way. Bad idea,' Michael responded, straightaway.

Michael didn't explain that Diana was angry with him for a recent misunderstanding. He had made plans to go to dinner with her at a Hollywood restaurant called Le Dome. However, Elizabeth Taylor telephoned and invited him to a meal that same evening. Wanting the best of both worlds, Michael asked her if she would like to join him and Diana. Elizabeth, who must be the centre of attention, accepted his offer, as long as Diana met them at the restaurant. In other words, Elizabeth did not want to join Diana's party. She wanted a party of her own. Michael didn't understand the ego game involved in her decision; he just thought she was being friendly. Anyway, the only thing on his mind was how 'magical' it would be to have Diana Ross and Elizabeth Taylor sitting at the same table with him.

Once he and Elizabeth arrived at Le Dome, Michael telephoned Diana to ask her to join them there. Diana was not pleased. She had been under the impression that she she was supposed to be his date that evening. 'This is not the way to do things, Michael,' she scolded. She told him that the two of them would have to dine some other time, and was supposed to be his date that evening. 'This is not the way to do things, Michael,' she scolded. She told him that the two of them would have to dine some other time, and not not with Elizabeth Taylor. She was angry, and Michael knew it; she wouldn't return his calls. It wasn't the right time to ask Diana to record a duet with him. Instead, Quincy recruited singer Siedah Garrett to do the song with Michael, and it would end up the first single release from with Elizabeth Taylor. She was angry, and Michael knew it; she wouldn't return his calls. It wasn't the right time to ask Diana to record a duet with him. Instead, Quincy recruited singer Siedah Garrett to do the song with Michael, and it would end up the first single release from Bad Bad.

(A few years later, in 1990, Michael did the same thing to Elizabeth Taylor that he had done to Diana Ross. He was scheduled to have dinner with Elizabeth at the Hotel Bel Air restaurant in Bel Air, California. However, he left her waiting for more than an hour. She ate Sevruga Sevruga caviar, drank Cristal champagne, waited and became increasingly infuriated. When Michael finally showed up, he explained that he had been in the parking lot in his Rolls, talking on his cellular telephone to Jackie Kennedy Ona.s.sis. According to the maitre d' who had escorted Michael to her table and was still standing beside him, Elizabeth said, 'I will not play second fiddle to any woman, not even caviar, drank Cristal champagne, waited and became increasingly infuriated. When Michael finally showed up, he explained that he had been in the parking lot in his Rolls, talking on his cellular telephone to Jackie Kennedy Ona.s.sis. According to the maitre d' who had escorted Michael to her table and was still standing beside him, Elizabeth said, 'I will not play second fiddle to any woman, not even that that woman. How dare you do this to me, Michael?' Michael protested. 'But, Elizabeth, I have a gift,' he offered in his own defence. From his vest pocket, he pulled out a pair of earrings that appeared to be two ovals of turquoise embellished with diamonds. They weren't even in a box. Without a word, Elizabeth grabbed the earrings. She then donned her fur wrap and sungla.s.ses (at night!) and flounced out of the restaurant, leaving Michael standing there with the maitre d'. He couldn't help but break out into laughter; it had been one of the best exits he'd ever seen. 'Oh my G.o.d! I can't believe she just did that,' Michael exclaimed, his face lit with delight. 'Did you see that? Wow.') woman. How dare you do this to me, Michael?' Michael protested. 'But, Elizabeth, I have a gift,' he offered in his own defence. From his vest pocket, he pulled out a pair of earrings that appeared to be two ovals of turquoise embellished with diamonds. They weren't even in a box. Without a word, Elizabeth grabbed the earrings. She then donned her fur wrap and sungla.s.ses (at night!) and flounced out of the restaurant, leaving Michael standing there with the maitre d'. He couldn't help but break out into laughter; it had been one of the best exits he'd ever seen. 'Oh my G.o.d! I can't believe she just did that,' Michael exclaimed, his face lit with delight. 'Did you see that? Wow.') *

For some reason, Michael had his heart set on recording duets for the Bad Bad alb.u.m, but the plans never seemed to work out for him. While writing the alb.u.m's t.i.tle track, he decided he wanted Prince to join him on the recording of it. alb.u.m, but the plans never seemed to work out for him. While writing the alb.u.m's t.i.tle track, he decided he wanted Prince to join him on the recording of it.

A couple of years earlier, Warner Bros, had sponsored an afternoon screening of the Prince movie Purple Rain Purple Rain for company personnel and film critics. The word in Hollywood was that the film, a drama with music, was so riveting, it would make Prince a major movie star. Michael was deeply disappointed that he had not been able to make a strong impression in films. Being so compet.i.tive, he had to see for company personnel and film critics. The word in Hollywood was that the film, a drama with music, was so riveting, it would make Prince a major movie star. Michael was deeply disappointed that he had not been able to make a strong impression in films. Being so compet.i.tive, he had to see Purple Rain Purple Rain before it was distributed to the public; he arranged to attend the Warner Bros, screening. before it was distributed to the public; he arranged to attend the Warner Bros, screening.

When the house lights dimmed, Michael slipped into the small theatre on the Warner Bros. Burbank lot, wearing a sequined jacket and sungla.s.ses. He looked as if he were about to go on stage to accept an award. He sat in the last row and watched the film, never once taking off his shades. About ten minutes before the movie was to end, he rose and walked out. Later, a member of his entourage asked Michael what he thought of the film. 'The music's okay, I guess,' Michael asked. 'But I don't like Prince. He looks mean, and I don't like the way he treats women. He reminds me of my relatives. And not only that,' Michael concluded, 'that guy can't act. He's not good.' Then, Michael let out a sigh of relief.

Though he didn't seem to appreciate Prince's talent, Michael realized that singing a duet with him could generate interest not only in the t.i.tle track, 'Bad', but in the entire alb.u.m. His concept for himself and Prince was actually ingenious.

The plan was that a month before the single release of 'Bad' was to be issued, Frank Dileo would plant stories in the tabloid press suggesting that Michael and Prince were bitter rivals. Michael's representatives would criticize Prince, and then Prince's friends, a few of whom would be let in on the hoax, would condemn Michael. To then confound the public, Frank would then tell a Rolling Stone Rolling Stone reporter that the rivalry did not exist and that his client was disgusted with the rumours since he and Prince were great friends, 'and who believes the tabloids, anyway?' reporter that the rivalry did not exist and that his client was disgusted with the rumours since he and Prince were great friends, 'and who believes the tabloids, anyway?'

In a month, rumours about him and Prince would be flying are they friends or aren't they? with the general consensus, hopefully, being that they were not. At the height of such controversy, the 'Bad' single and video would be released. In the video, as Michael planned it, he and Prince would square off against one another, taking turns vocalizing and dancing, in order to determine, once and for all, who was 'bad'.

Quincy arranged for Michael to meet him, feeling that the two were creative geniuses and should know one another, whether they ever sang together or not. According to writer Quincy Troupe, 'It was a strange summit. They're so compet.i.tive with each other that neither would give anything up. They kind of sat there, checking each other out, but saying very little. It was a fascinating stalemate between two very powerful dudes.'

However, when Michael telephoned Prince and told him about his idea, Prince was not enthusiastic. He said he wanted to hear a tape of the song. Michael sent him one. After hearing it, Prince decided that he didn't like the tune and wanted nothing to do with the hoax. That was the end of it. When word got back from Prince's representatives that he was not going to cooperate, Michael was disappointed, but not really angry. 'What do you think about this guy turning you down?' Frank Dileo asked him.

'Figures,' was all Michael would say, shaking his head in disgust.

The Hyperbaric Chamber.

In September 1986, Michael Jackson's Captain EO Captain EO was set to premiere both at Epcot Center in Orlando, Florida, and at Disneyland in Anaheim, California. It was probably the most expensive and most ballyhooed short subject (seventeen minutes) in film history, and it took over a year to complete it. was set to premiere both at Epcot Center in Orlando, Florida, and at Disneyland in Anaheim, California. It was probably the most expensive and most ballyhooed short subject (seventeen minutes) in film history, and it took over a year to complete it. Captain EO Captain EO was directed by Francis Coppola. The executive producer was George Lucas. Estimates of the 3-D film's budget ran as high as twenty million dollars. Both parks had to build special theatres for the film with floors that tilted to coincide with the s.p.a.ce-age action on the screen. It was also a light-and-sound show, with smoke emanating from the screen. Michael played a s.p.a.ce commander with a crew of robots and fuzzy creatures battling a hideous queen (Anjelica Houston). Through song and dance, a planet's inhabitants are transformed into peace-loving creatures. Michael performed two songs, 'We Are Here to Change the World' and 'Another Part of Me'. was directed by Francis Coppola. The executive producer was George Lucas. Estimates of the 3-D film's budget ran as high as twenty million dollars. Both parks had to build special theatres for the film with floors that tilted to coincide with the s.p.a.ce-age action on the screen. It was also a light-and-sound show, with smoke emanating from the screen. Michael played a s.p.a.ce commander with a crew of robots and fuzzy creatures battling a hideous queen (Anjelica Houston). Through song and dance, a planet's inhabitants are transformed into peace-loving creatures. Michael performed two songs, 'We Are Here to Change the World' and 'Another Part of Me'.

Michael felt that he needed some kind of dazzling gimmick to promote the film. The publicity designed to create a buzz about Michael and his Captain EO Captain EO is an excellent example of how he could manipulate the press to do his bidding. is an excellent example of how he could manipulate the press to do his bidding.

Earlier, in 1984, when Michael was burned while filming the Pepsi commercial, he saw an oxygen chamber at Brotman Memorial Hospital called a hyperbaric chamber, used to help heal burn victims. The machine is about the size and shape of a casket with a clear, plastic top. It encloses the patient in an atmosphere of one hundred per cent oxygen under increased barometric pressure up to several times the pressure at sea level, thereby flooding body tissue with oxygen. When administered by trained medical personnel, hyperbaric therapy is safe. However, in the hands of the untrained user, risks include oxygen toxicity, seizures and danger of an oxygen-fed fire. When Steven Hoefflin told him that he had a theory that sleeping in this machine could prolong life, Michael became fascinated by it and, immediately, wanted one for himself. The cost was about $200,000.

Though Michael could well afford it, Frank Dileo talked him out of wasting his money on such a contraption. 'Well, I'd at least like to have my picture taken in it,' Michael decided. When Frank arranged for Michael to be photographed in the chamber, at the hospital, word began to spread that he was interested in the chamber and, eventually, the story found its way to the tabloid, National Enquirer National Enquirer. ' I had a phone-in from a source in Los Angeles who said that Michael was seen going to a hospital and taking pictures in this chamber,' said reporter Charles Montgomery who worked for the Enquirer Enquirer at the time. 'It sounded like a sensational story. I wanted to be the one to break it.' at the time. 'It sounded like a sensational story. I wanted to be the one to break it.'

Charles met with Frank Dileo and asked for details. 'He didn't want to discuss it, told me to get lost,' Charles said. 'I got some information on the phone from Steven Hoefflin, but not much. Without cooperation, the story had to be put on hold.'

Not for long, though...

When Michael heard that the Enquirer Enquirer was asking questions about him, his wheels started turning. Earlier in the year he had given Frank Dileo and John Branca a copy of a book about P. T. Barnum, his theories and philosophies. 'This is going to be my Bible and I want it to be yours,' he told them. 'I want my whole career to be the greatest show on earth.' was asking questions about him, his wheels started turning. Earlier in the year he had given Frank Dileo and John Branca a copy of a book about P. T. Barnum, his theories and philosophies. 'This is going to be my Bible and I want it to be yours,' he told them. 'I want my whole career to be the greatest show on earth.'

Michael's idea was to promote the story that he was sleeping in the hyperbaric chamber in order to prolong his life to the age of 150. He would add that he planned to take the machine on the road with him on his next tour. He wasn't certain that the public would believe such a fantastic story at this time, such wacky stories were not as a.s.sociated to Michael as they are today but he was eager to see how much of a buzz he could start. John Branca thought the idea was odd, but it seemed harmless enough as far as publicity stunts go.

It fell upon Frank Dileo to find a way to disseminate the fabricated story. He called Charles Montgomery and gave him the information he had sought earlier and, to make the story even more irresistible, he promised a photograph of Michael actually in the chamber as long as Charles could guarantee the weekly's cover. He also made Charles promise not to reveal his source for the information.

'I honestly didn't know if the story was true or not,' Charles Montgomery said. 'But Michael Jackson said it was true, his manager said it was true, and his doctor verified it. How many more sources do you need? Then, there was a picture. It turned out to be a great shot, the guy laying there in the chamber. We knew what they were after in giving it to us, though. They said they wanted us to use words like 'wacky' and 'bizarre'. We knew the Captain EO Captain EO thing was coming up, and figured he was probably trying to promote some kind of sci-fi image. Still, it was a good story.' thing was coming up, and figured he was probably trying to promote some kind of sci-fi image. Still, it was a good story.'

With the Enquirer Enquirer in place, Frank wanted to strategize a way to distribute the story to the mainstream press, but without anyone knowing he was involved with it. Planting it in the in place, Frank wanted to strategize a way to distribute the story to the mainstream press, but without anyone knowing he was involved with it. Planting it in the Enquirer Enquirer did not risk his credibility since he could easily deny having had anything to do with it. Certainly, no one would take a did not risk his credibility since he could easily deny having had anything to do with it. Certainly, no one would take a National Enquirer National Enquirer reporter's word over Frank Dileo's. However, other more legitimate press might be tougher to crack. Since the media knew that veteran publicist Norman Winter worked for Michael Jackson, Norman could not be the one to promote the bizarre story to the press. Frank would have to hire an outside publicist for the job. reporter's word over Frank Dileo's. However, other more legitimate press might be tougher to crack. Since the media knew that veteran publicist Norman Winter worked for Michael Jackson, Norman could not be the one to promote the bizarre story to the press. Frank would have to hire an outside publicist for the job.

As it happened, Frank's Sunset Strip office was next door to that of leading show-business publicist Michael Levine. Frank invited Michael to his home in Encino and told him about his idea, but with a few embellishments. Frank took Michael's idea a step further. He wanted the press to believe not only that Michael was sleeping in the chamber, but also that he and Michael were locked in a strong disagreement about its safety, and that Frank did not want him to take the machine on the road with him during his next tour. Michael Levine was told that if he wanted to represent the story to the media, he would have to do so without having any contact with Michael Jackson and without informing the media that he (Levine) was involved in any way. In other words, Michael Levine's task was to publicize one of the most ridiculous stories ever concocted without anyone knowing he was doing it.

The next day an envelope was delivered to Michael Levine's office. The messenger had strict instructions that only Levine be privy to its contents. He opened the envelope to find a single colour transparency of Michael Jackson lying in the hyperbaric chamber in his street clothes, but without shoes. There was no covering letter or return address.

It was time for Michael Levine to go to work. He brought a well-known Hollywood photographer to Brotman to take pictures of the empty hyperbaric chamber for any publication that might need additional photos.

One reporter recalled, 'Levine telephoned me and said, "Look, I don't represent Michael Jackson. I don't even know Michael Jackson. But I was up at Frank Dileo's house, and I overheard that there's this wild feud going on.' Then he told me this story about Michael sleeping in an oxygen chamber and the fact that he and Dileo were feuding about it. In about three days, I was hearing this d.a.m.n story all over town.'

About a week later, the pieces of the puzzle came together. The picture of Michael lying in the chamber made the front page of the National Enquirer National Enquirer on 16 September 1986, as planned. Most people had never heard of a hyperbaric chamber, so it was difficult to know if the picture was a set-up. In truth, patients and medical personnel who enter such a chamber must wear fire-r.e.t.a.r.dant clothes due to the high concentration of oxygen, not street clothes as Michael had on in the photograph. And why take off his shoes? on 16 September 1986, as planned. Most people had never heard of a hyperbaric chamber, so it was difficult to know if the picture was a set-up. In truth, patients and medical personnel who enter such a chamber must wear fire-r.e.t.a.r.dant clothes due to the high concentration of oxygen, not street clothes as Michael had on in the photograph. And why take off his shoes?

With Michael Levine's a.s.sistance, word of Michael Jackson's exploit quickly spread around the globe, a perfectly orchestrated public relations coup. If his goal was to appear 'wacky'... he certainly achieved it. The hyperbaric chamber story was carried by the a.s.sociated Press and the United Press International. It appeared in Time, Newsweek Time, Newsweek and practically every major newspaper in the country. Television and radio news covered it. Suddenly, the words 'hyperbaric chamber' were on the lips of many people as they gossiped about crazy Michael's plan to live to 150 and how he and his manager were fighting about it. and practically every major newspaper in the country. Television and radio news covered it. Suddenly, the words 'hyperbaric chamber' were on the lips of many people as they gossiped about crazy Michael's plan to live to 150 and how he and his manager were fighting about it.

When contacted by the a.s.sociated Press, Frank Dileo confirmed the report. 'I told Michael, "That d.a.m.n machine is too dangerous. What if something goes wrong with the oxygen?" But Michael won't listen. He and I are in disagreement about this. He really believes this chamber purifies his body and that it will help him accomplish his goal of living to be a hundred and fifty.'

And to Rolling Stone Rolling Stone: ' Michael knows if I tell him something, it's the truth. I don't have to agree with things if I don't want to. In other words, because I know this is eventually going to come up in this interview anyway, the hyperbaric chamber. I'm one hundred per cent against that. I don't want it around. I've spoken about it publicly. Some managers couldn't have that conversation with their artist. They'd be too afraid. He respects my opinion. He doesn't always listen.'

He added to Time Time, ' I can't figure him out sometimes.'

Even Michael's plastic surgeon, Steven Hoefflin, got in on the act and said he tried to talk Michael out of 'this wacky idea'. However, Michael ignored everyone's fears and made room for the chamber in his bedroom.

When Joseph Jackson heard the story on the TV news, he ran up to Michael's bedroom to see if Michael had a hyperbaric chamber in there. 'But I didn't find anything,' he recalled. 'So I figured, well, either the story is untrue... or the chamber is on its way.'

'I don't think I allowed Michael to have that thing in the house,' Katherine added.

Michael's family was obviously not let in on the joke. 'Joseph always stood behind Michael when it came to these kinds of rumours,' said his friend of twenty-five years, Jack Richardson. 'He'd say, "Michael's not sleeping in no chamber. Don't believe what you hear about my son."'

'I never asked him about that chamber thing,' Janet said. 'I have no idea what that was about. It's not in the house, or I would know it. But knowing Michael, if he is doing something like that, it probably has to do with his voice.'

'I realized then that Michael Jackson liked to see himself portrayed in an absurd, bizarre way,' Charles Montgomery said. 'In the years to come, I would do the biggest number of stories on Michael in the Enquirer Enquirer. Before I ran anything, I would always check its accuracy with people close to Michael. I almost always had full cooperation from his camp. Michael is one of the smartest entertainers in the business. He knows how to get his name out there. He knows about PR. He knows how to control his career. I think he's brilliant.'

Michael was astonished by the way his fiction made headlines. Many untrue stories had been written about him in the past, and he had been angry about them. Now, he was exacting his revenge against the media. 'I can't believe that people bought it,' he said of the hyperbaric chamber idea. 'It's like I can tell the press anything about me and they'll buy it,' he added, as if recognizing the full potential of his communications power. 'We can actually control control the press,' he concluded. 'I think this is an important breakthrough for us.' the press,' he concluded. 'I think this is an important breakthrough for us.'

Once, Frank Dileo was asked about the wisdom of doing whatever he could do to make Michael seem as incredible as possible or, as he put it, 'to keep him as popular and in demand as anyone can be.' 'Might all this hoopla damage the singer's already fragile psyche?' asked reporters Michael Goldberg and David Handleman for Rolling Stone Rolling Stone.

'It's too late anyway,' Dileo responded. 'He won't have a normal life even if I stop.'

The Elephant Man's Bones.

Another publicity gimmick sprang forth from Michael Jackson's imagination in May 1987, one that was just as fantastic and as it would happen as damaging to his image as the hyperbaric chamber scam.

For years, Michael had been fascinated by the 1980 film about John Merrick, The Elephant Man, The Elephant Man, starring John Hurt. When he screened it in his private theatre, he sobbed his way through the entire film, he was that moved by it. John Merrick, the hideously deformed, Victorian sideshow-freak, was an outsider in a seemingly endless search for love and acceptance just like, in his own view, Michael. In researching Merrick's life, Michael heard that his remains were kept in a gla.s.s case at the London Hospital Medical College. He wanted to see the ninety-seven-year-old skeleton, of course, and during a trip to England he obtained special permission to inspect the exhibit. (Because it attracted droves of tourists to the hospital, it had been removed from public view after the movie was released.) Michael was awe-struck by the exhibit and, as he examined the skeleton, said to Frank Dileo, 'I sure would like to have these bones at Hayvenhurst house. Wouldn't it be cool to own them?' starring John Hurt. When he screened it in his private theatre, he sobbed his way through the entire film, he was that moved by it. John Merrick, the hideously deformed, Victorian sideshow-freak, was an outsider in a seemingly endless search for love and acceptance just like, in his own view, Michael. In researching Merrick's life, Michael heard that his remains were kept in a gla.s.s case at the London Hospital Medical College. He wanted to see the ninety-seven-year-old skeleton, of course, and during a trip to England he obtained special permission to inspect the exhibit. (Because it attracted droves of tourists to the hospital, it had been removed from public view after the movie was released.) Michael was awe-struck by the exhibit and, as he examined the skeleton, said to Frank Dileo, 'I sure would like to have these bones at Hayvenhurst house. Wouldn't it be cool to own them?'

'Yeah, well forget it,' Frank said.

'But... hmmmm.' Michael looked as if he had an idea.

'Uh-oh,' Frank said.

Remembering the hyperbaric chamber hoax, Michael came up with the idea that he should make an offer to the hospital to buy the John Merrick exhibit just to see what kind of press it would generate. 'Man, that is crazy,' Frank told him.

'I know,' Michael said, excited. 'That's why we have to do it.'

In truth, Frank was all for it; he liked a good show as much as anyone else, and certainly as much as Michael. Therefore, claiming that Michael's absorbing interest in the remains of John Merrick was based on his awareness of 'the ethical, medical and historical significance of the Elephant Man', Frank told members of the press that he had offered a half-million dollars to the hospital for the bones. The offer was not publicized in the complex, cloak-and-dagger manner by which the hyperbaric chamber hoax made news. Rather, Frank called a couple of writers himself and gave them the scoop; the rules for such madness had, it seemed, become somewhat more flexible.

'What's he gonna do with the skeleton, Frank?' a reporter wanted to know.

'I don't know,' Dileo said, 'except that he'll probably put it in the room while I'm trying to have a meeting with him.'

As expected, the media was interested in the story. The pop star who sleeps in a hyperbaric chamber wanted to buy the Elephant Man's bones. How could that not not cause a stir? The wire services a.s.sociated Press and United Press International both picked up the story. By June, much of the public interested in such things was talking about Michael's latest eccentricity. The British media began referring to him as Wacko-Jacko. cause a stir? The wire services a.s.sociated Press and United Press International both picked up the story. By June, much of the public interested in such things was talking about Michael's latest eccentricity. The British media began referring to him as Wacko-Jacko.

Michael and Frank failed to realize, however, that the media might check with the London Hospital Medical College to verify that an offer had been received by them. In fact, when contacted by the press, officials at the College said they had received no such offer, that they had only heard about Michael's interest in Merrick's remains by reading about it in one of the British tabloids. Even if they did get an offer, the spokesman said, 'We would not sell the Elephant Man. It's as simple as that.'

'Oh, man, why didn't we think to cover our bases,' Michael said to Frank. 'Now we gotta make a real offer. And, anyway,' he added, 'of course they'll sell it if the money is right. Every man has his price.'

'You serious now,' Dileo asked. 'You really want them, now?'

'Yeah, I do,' Michael said. 'Let's get 'em.'

Now, Michael actually wanted the skeleton, but not because of any devotion to John Merrick but rather because he was told he couldn't have them.

Frank telephoned the hospital and made an offer of a million million dollars for the Elephant Man's bones. The hospital officials said they were insulted. A spokeswoman told the press, 'Indeed, he offered to buy it, but it would be for publicity and I find it very unlikely that the medical college would be willing to sell it for cheap publicity reasons.' dollars for the Elephant Man's bones. The hospital officials said they were insulted. A spokeswoman told the press, 'Indeed, he offered to buy it, but it would be for publicity and I find it very unlikely that the medical college would be willing to sell it for cheap publicity reasons.'

Back in America, Katherine Jackson figured out that the story was bogus. However, she thought it had been Frank's idea; she never dreamed that it was Michael's. She called Frank and said that she was upset; 'you're making Michael look like an idiot.' Frank told her that all he was doing was trying to make Michael appear to be more interesting. Katherine didn't like his explanation, though, and made her feelings clear. However, when Frank asked Michael what he thought about his mother's concern, Michael said, 'Kate doesn't understand show business. So, don't worry about it.'

At this same time, the Jehovah's Witnesses' elders in Woodland Hills, California, began pressuring Michael again. They felt strongly that the recent publicity was doing him great damage, and that it reflected poorly on the Witnesses, because Michael was so representative of the faith. Michael was becoming disenchanted with the church's elders by this time, mostly because he didn't want to be told what to do. What's more he couldn't reconcile his lifestyle and career to the religion's strict tenets. In truth, it's almost impossible to be a Jehovah's Witness and be an entertainer. Therefore, in the spring of 1987, Michael withdrew from the Jehovah's Witnesses. A letter from the Jehovah's Witnesses headquarters in Brooklyn, New York, sent out as a press release, stated that the organization 'no longer considers Michael Jackson to be one of Jehovah's Witnesses.' Gary Botting, coauthor of The Orwellian World of Jehovah's Witnesses The Orwellian World of Jehovah's Witnesses and a Witness himself, said that leaving the religion 'is worse than being disfellow-shipped, or kicked out.' He observed, 'If you wilfully reject G.o.d's only organization on earth, that's the unforgivable sin... the sin against the Holy Spirit.' and a Witness himself, said that leaving the religion 'is worse than being disfellow-shipped, or kicked out.' He observed, 'If you wilfully reject G.o.d's only organization on earth, that's the unforgivable sin... the sin against the Holy Spirit.'

Michael's decision to leave the church puzzled his mother, Katherine, and caused her great despair. Katherine wasn't sure she knew her own son any longer. However, there was no discussing the spiritual matter with him literally. As it is strictly prohibited for a Witness to discuss matters of faith with ex-members, even if they are family, Katherine says that she has never asked Michael what happened, and she says that she never intends to ask such questions. 'I was not required to "shun" my son,' she claimed, referring to rumours of that nature. 'But we can't talk about matters of faith any longer, which is a shame.'

Katherine maintained that her relationship with Michael continued to be warm. 'Michael still asks my advice,' she said. 'And he helps me choose my clothes. He tells me to put on lipstick when company's coming. He has encouraged me to lose weight. He said, "Elizabeth [Taylor] lost all that weight. If she has, you can. And if you don't like it, you can always have plastic surgery." But I wouldn't do that,' Katherine hastened to add.

Michael soon lost interest in the Elephant Man's bones. As expected. It had certainly generated a great deal of press for Michael, though none of it favourable. Playboy Playboy magazine facetiously reported, 'Rumour has it that the descendants of the Elephant Man have offered $10,000 for the remains of Michael Jackson's nose.' In time, the controversy blew over. Gone, but not forgotten. Ever. magazine facetiously reported, 'Rumour has it that the descendants of the Elephant Man have offered $10,000 for the remains of Michael Jackson's nose.' In time, the controversy blew over. Gone, but not forgotten. Ever.

Michael's phony quest for John Merrick's bones created a domino effect in the tabloids, one from which his image would never truly recover. After the Elephant Man's Bones story, unscrupulous journalists began creating their own fictions about Michael, and they did so with a vengeance. After all, if Michael wanted the kind of publicity he had been diligently courting, why not accommodate him? Crazy-Michael stories sold millions of magazines.

In a short time, according to the tabloid press, Michael had asked Elizabeth Taylor to marry him and said, 'I could be more special than Mike Todd. I could be more attentive and generous than Richard Burton, but she turned me down.' He also apparently tried to convince Elizabeth to sleep in his hyperbaric chamber; was convinced that the world would end in 1998; refused to bathe in anything but Evian water; and had seen John Lennon's ghost (who convinced him to use The Beatles song 'Revolution' in a Nike ad). And the stories about Bubbles the Chimp seemed to never end. None of the stories was true, though, and Michael went on to complain bitterly about them, never admitting (and maybe not even understanding) that he was the one who had thrown the first punch. Since Michael refused to do any interviews in an effort to maintain his inscrutability, the stories just spread without contradiction or explanation.

CBS Records executive Bobby Colomby recalled, 'Michael kept asking why so many bad things were being said about him. He didn't understand it. He said it really hurt to read all that stuff. I tried to tell him that the problem was his. I explained to him that he'd never seen Bruce Springsteen on the cover of the National Enquirer National Enquirer in a hyperbaric chamber. Even if that picture came in, they wouldn't believe. I said, "But you, Michael, spend so much time working on your mystique, on being reclusive and unusual, that people will buy anything with your name on it." He said he understood... kind of.' in a hyperbaric chamber. Even if that picture came in, they wouldn't believe. I said, "But you, Michael, spend so much time working on your mystique, on being reclusive and unusual, that people will buy anything with your name on it." He said he understood... kind of.'

To this day, the stories continue. Some true, some false, all mad.

Since the time of the hyperbaric chamber and Elephant Man's bones, Michael has never stopped complaining about the press, and has even written songs about his victimization at the hands of the media; for instance, 'Leave Me Alone'. In 1993, Oprah Winfrey asked him about the hyperbaric chamber during her televised interview with him. 'I cannot find an oxygen chamber anywhere in this house,' she said in mock exasperation. 'That story is so crazy,' Michael remarked, annoyed. 'I mean, it's one of those tabloid things. It's completely made up.' He explained that what happened was that he saw the chamber at the The Brotman Burn Center and decided to 'just go inside it and hammer around, and somebody takes the picture. When they process the picture, the person who processes the picture says, "Oh, Michael Jackson!" He made a copy and these pictures just went all over the world with this lie attached to it. It's a complete lie. Why do people buy these papers?'

In May 2003, when he was about to release the tamed Michael Jackson's Private Home Movies Michael Jackson's Private Home Movies doc.u.mentary to combat the sensational one by Martin Bashir, he told doc.u.mentary to combat the sensational one by Martin Bashir, he told People, ' People, ' I want people to see the real me. I don't have s.e.x with little kids. I don't sleep in hyperbaric chambers, and don't have elephant bones in my body. So many things are said about me, and I have no idea where they came from.' I want people to see the real me. I don't have s.e.x with little kids. I don't sleep in hyperbaric chambers, and don't have elephant bones in my body. So many things are said about me, and I have no idea where they came from.'

In the end, the hard truth probably hurts more than any wacky fiction: Michael Jackson is responsible for his own image. He's given the media plenty to work with over the years and, in turn, the media has a.s.sisted him in achieving what he once stated was his ultimate goal, that of making his life 'the greatest show on earth'.

Jackie, Jermaine and Janet.

By August 1987, after many years of acrimonious litigation, Jackie Jackson's marriage had officially ended, mostly due to his unfaithfulness to Enid. Two months later, Jermaine's marriage ended after almost fourteen years. Again, his relationships with other women was key to the marriage breakdown. He even had a child with another woman, a baby Hazel had considered adopting rather than end her marriage over it. Then, she became pregnant at the same time. It was an emotional rollercoaster for everyone involved. To some family members, the scenario eerily resembled that of Joseph, Katherine and Joh'Vonnie.

One had to wonder who could be blamed for such emotional bankruptcy. Had Joseph's influence been so damaging to his sons that they just didn't know how to conduct themselves in a relationship? Had Katherine's acceptance of Joseph's philandering warped their view of fidelity? Or was show-business excess responsible for their behaviour? Were, they so accustomed to ent.i.tlement brought about by fame, they knew no boundaries? Today, the brothers look back on the 1980s and regret many of their personal decisions. 'It's not easy growing up,' Jermaine has said. 'We made mistakes. We all make mistakes.'

While Hazel and Jermaine litigated their divorce, Hazel continued living at the couple's Benedict Canyon home in Beverly Hills with their children. Meanwhile, Jermaine, his girlfriend Margaret and their new baby moved in with... Joseph and Katherine!

Katherine was opposed to having her son, his new romantic interest and their baby Jiving at Hayvenhurst since he was not yet divorced from his wife. To her, the living arrangements did not seem, as she put it, 'moral'. However, when Joseph insisted that Jermaine and his new family moved into the estate (which Michael owned), the debate was over.

For Michael's part, he didn't approve of anything that had occurred in the marriages of Jackie and Jermaine. Even t.i.to was having trouble with Dee Dee. However, he seemed to sense that the brothers were doing the best they could, under the circ.u.mstances of the way they were raised. 'We have had to learn a lot of stuff on our own about how to treat people,' he told LaToya. 'That's what's so hard, isn't it? I mean, no one taught us anything.'

'Except for Mother,' LaToya added.

'Except for Mother,' Michael agreed. Then, after a beat. 'Still, look at how hard she has had it. What are we supposed to learn from that?'

By June 1987, Michael Jackson still did not want the Bad Bad alb.u.m to be released. He didn't think it was ready for commercial consumption and was nervous about the public's reaction to it. He was also understandably concerned about comparisons to alb.u.m to be released. He didn't think it was ready for commercial consumption and was nervous about the public's reaction to it. He was also understandably concerned about comparisons to Thriller. Thriller. ' He's afraid to finish the record,' said Frank Dileo. 'The closer he gets to completing it, the more terrified he becomes of that confrontation with the public' ' He's afraid to finish the record,' said Frank Dileo. 'The closer he gets to completing it, the more terrified he becomes of that confrontation with the public'

While Michael was sweating out Bad, Bad, his sister Janet was finally having her first major recording success with the A&M alb.u.m his sister Janet was finally having her first major recording success with the A&M alb.u.m Control. Control. At this time, Janet was in the thick of a power struggle with her father over just that control: of her music career and of her life. At this time, Janet was in the thick of a power struggle with her father over just that control: of her music career and of her life.

Janet had recently aligned herself with thirty-one-year-old A&M Records executive John McClain. It had actually been Joseph's idea that John a brilliant songwriter and session guitarist turned manager take Janet under his wing. John had been a friend of the family's for years; t.i.to taught him to play his first licks.

After Janet had two commercially unsuccessful A&M alb.u.ms, Joseph insisted that if she stayed with him and worked hard, she'd be 'as big as Michael'. However, Janet had her doubts. 'She's no dummy,' Joyce McCrae said. 'She knew there was a reason why Michael and her brothers left Joseph, and she didn't trust her father's management. She started listening to outsiders.'

Joseph hoped that John McClain would work with Janet to polish her image and enhance her career. To that end, John encouraged Janet to diet and exercise, and sent her to Canyon Ranch in Arizona for ten days to get her in physical shape. More importantly, he teamed her up with the writing-producing team of Jimmy Jam and Terry Lewis for what would go on to become the Control Control alb.u.m. He sent her to a vocal coach, teamed her with ch.o.r.eographer Paula Abdul for her videos, and, in short, made her a major star, almost overnight. In doing so, of course, he also made an enemy out of Joseph; Janet now trusted John, not her father. He had lost the boys, and now he was losing his daughter, too. All he would have left was LaToya... and, bless her soul, no matter what she did she wasn't going to be 'as big as Michael'. alb.u.m. He sent her to a vocal coach, teamed her with ch.o.r.eographer Paula Abdul for her videos, and, in short, made her a major star, almost overnight. In doing so, of course, he also made an enemy out of Joseph; Janet now trusted John, not her father. He had lost the boys, and now he was losing his daughter, too. All he would have left was LaToya... and, bless her soul, no matter what she did she wasn't going to be 'as big as Michael'.

'We're the dog with the bone that all the other dogs are trying to get,' Joseph said at the time. 'And the pressure is always on you to hold on to what you've got. As for Janet, I was putting her on stage in Vegas back when she was still a little girl. The wheels had already been set in motion for Janet Jackson 'and anyone who jumps on now will be getting a free ride. I don't intend to let that happen.'

Joseph didn't want Janet to work with Jam and Lewis; when he first heard the Control Control alb.u.m, he didn't like it especially the t.i.tle track and 'What Have You Done for Me Lately?' (which went on to become a huge hit). It was little wonder that Joseph didn't appreciate the concept. The alb.u.m represented a personal declaration of Janet's freedom from her father and her family; in the t.i.tle track, she claims that she will now have control over all her own affairs. She sings as if still stung by her family's meddling in her marriage to James DeBarge. alb.u.m, he didn't like it especially the t.i.tle track and 'What Have You Done for Me Lately?' (which went on to become a huge hit). It was little wonder that Joseph didn't appreciate the concept. The alb.u.m represented a personal declaration of Janet's freedom from her father and her family; in the t.i.tle track, she claims that she will now have control over all her own affairs. She sings as if still stung by her family's meddling in her marriage to James DeBarge.

Control was one of the ten best-selling alb.u.ms of 1986, so Janet had reason to question Joseph's judgement. John McClain said that he would have been 'scared' if Joseph had championed the record because, as he put it, 'I wasn't trying to get a fifty-year-old audience. I was trying to get these kids out here. And because I'm a lot younger than Joseph, I have a clear vibe on how to do it.' was one of the ten best-selling alb.u.ms of 1986, so Janet had reason to question Joseph's judgement. John McClain said that he would have been 'scared' if Joseph had championed the record because, as he put it, 'I wasn't trying to get a fifty-year-old audience. I was trying to get these kids out here. And because I'm a lot younger than Joseph, I have a clear vibe on how to do it.'

When Janet's alb.u.m sold six million copies worldwide, Michael was ambivalent about its success. One of the reasons he had such difficulty conceptualizing the follow-up to Thriller Thriller was that he was so rattled by Janet's was that he was so rattled by Janet's Control Control and the public's overwhelming reaction to it. 'Michael is used to being the star of that family,' a family friend said. 'He was not used to seeing anyone get as much attention as Janet got. It got to the point where he didn't want to dance around her because he was afraid she'd steal his steps. That's how bad it got. Janet is also compet.i.tive but has always been afraid to admit it. She didn't want to admit to herself that what she really wanted out of her life was to be as big, as famous, as Michael Jackson.' and the public's overwhelming reaction to it. 'Michael is used to being the star of that family,' a family friend said. 'He was not used to seeing anyone get as much attention as Janet got. It got to the point where he didn't want to dance around her because he was afraid she'd steal his steps. That's how bad it got. Janet is also compet.i.tive but has always been afraid to admit it. She didn't want to admit to herself that what she really wanted out of her life was to be as big, as famous, as Michael Jackson.'

'G.o.d, you make me sick,' Janet Jackson told her brother Michael one day. 'I wish Thriller Thriller was was my my alb.u.m.' They laughed, but Janet wasn't kidding. alb.u.m.' They laughed, but Janet wasn't kidding.