Michael Jackson_ The Magic, the Madness, the Whole Story, 1958-2009 Part 24

'Well, Michael may not want her to be as big,' John McClain observed at the time, 'but it's no sin for her her to want it.' to want it.'

How 'Bad' Can It Get?

Finally, in July 1987, Michael Jackson's Bad Bad was released to the public. If every artist on the planet envied the record-breaking success of was released to the public. If every artist on the planet envied the record-breaking success of Thriller, Thriller, surely none of them wanted to be in Michael Jackson's Ba.s.s Weejuns when he tried to follow it up with a new record. surely none of them wanted to be in Michael Jackson's Ba.s.s Weejuns when he tried to follow it up with a new record. Bad Bad was a pleasing offering and probably would have been considered first-rate if it didn't have the dubious distinction of having to follow up not only was a pleasing offering and probably would have been considered first-rate if it didn't have the dubious distinction of having to follow up not only Thriller Thriller, but also the masterful Off the Wall. Off the Wall. Ironically, in trying to lead themselves out of the woods, Michael and Quincy Jones followed the Ironically, in trying to lead themselves out of the woods, Michael and Quincy Jones followed the Thriller Thriller formula too closely. Songs like 'The Way You Make Me Feel' and 'Another Part of Me' were dance-floor marvels, but the pseudo-romance of 'Liberian Girl', the alb.u.m's answer to formula too closely. Songs like 'The Way You Make Me Feel' and 'Another Part of Me' were dance-floor marvels, but the pseudo-romance of 'Liberian Girl', the alb.u.m's answer to Thriller Thriller's 'Lady in My Life', didn't work as well. Nor could 'Dirty Diana', the production's appointed rock song featuring Steve Stevens, former Billy Idol guitarist hold a candle to the more convincing 'Beat It'.

The problem with Bad, Bad, critics argued, was that unlike critics argued, was that unlike Off the Wall Off the Wall and and Thriller, Thriller, it offered few truly memorable songs. Michael wrote most of it offered few truly memorable songs. Michael wrote most of Bad Bad himself, perhaps propelled by his newfound interest in music publishing and the millions in songwriting royalties he garnered from songs he wrote for the last two alb.u.ms. Rod Temperton, whose talents helped make himself, perhaps propelled by his newfound interest in music publishing and the millions in songwriting royalties he garnered from songs he wrote for the last two alb.u.ms. Rod Temperton, whose talents helped make Off the Wall Off the Wall and and Thriller Thriller such outstanding alb.u.ms, was not represented. The alb.u.m's most intriguing moment is the reflective 'Man in the Mirror', written not by Michael but by Siedah Garrett and Glen Ballard. Having gospel stars Andrae Crouch and the Winans sing on the track seemed a weak attempt to musically endear Michael to a black audience. such outstanding alb.u.ms, was not represented. The alb.u.m's most intriguing moment is the reflective 'Man in the Mirror', written not by Michael but by Siedah Garrett and Glen Ballard. Having gospel stars Andrae Crouch and the Winans sing on the track seemed a weak attempt to musically endear Michael to a black audience.

However, it was the alb.u.m's t.i.tle track that came under the most fire from the black music community because it seemed that it should have been the easiest thing for Michael to pull off. Michael was black, his critics reasoned. He began with Motown. He's a funky dancer. Vocally, his roots are steeped, at least to some extent, in gospel. Is 'Bad' the funkiest the blackest blackest he could get? At best, noted most critics, 'Bad' was a lightweight attempt at a serious, black music. he could get? At best, noted most critics, 'Bad' was a lightweight attempt at a serious, black music.

The 'Bad' video was directed by Martin Scorsese, at Quincy Jones's suggestion. Michael was unfamiliar with Scorsese's work, having seen only one film he directed, New York, New York. New York, New York. He had wanted George Lucas or Steven Spielberg to direct the video. However, at this time, Frank Dileo was trying to toughen Michael's Peter Pan image and felt that another Spielberg-style fantasy would be counter-productive. Street music particularly the rap and hip-hop genres had begun to dictate pop music and fashion. As a result, Frank thought it would be beneficial for Michael to get back to 'basics'. He believed the image of a street-tough cat would serve his client well. He had wanted George Lucas or Steven Spielberg to direct the video. However, at this time, Frank Dileo was trying to toughen Michael's Peter Pan image and felt that another Spielberg-style fantasy would be counter-productive. Street music particularly the rap and hip-hop genres had begun to dictate pop music and fashion. As a result, Frank thought it would be beneficial for Michael to get back to 'basics'. He believed the image of a street-tough cat would serve his client well.

From the start, there were problems on the set, especially when Michael tried to tell Scorsese how to direct the video. According to a friend of Scorsese's, the filming of 'Bad' was 'a nightmare'. Scorsese has said that the cost of the production went 'two or three times over budget', reaching about two million dollars. However, Scorsese has made no negative comments about Michael and says he found him to be 'sympathetic, sweet, and open'.

The 'Bad' script, written by novelist Richard Price, was inspired by the story of Edmund Perry, a Harlem youth who was educated at a prep school and was shot to death by a New York plain-clothes policeman who claimed he had tried to mug him. What began as a good idea an attempt to recapture the rebellious spirit of 'Beat It', probably Jackson's most important video ended up an ill-conceived, albeit entertaining, parody.

'Michael loves West Side Story, West Side Story,' said dancer Casper, who danced in the 'Bad' video. 'He had us watch the film one night. He sat on the bed and we dancers me, Jeffrey, Daniel, Greg Burge and some others were sprawled all about in a hotel room. He'd have us watch some scenes, and when he saw something he liked, he'd let out a yelp. "Oooh, did you see that? Did you feel that?" he'd say. That was the att.i.tude he said he wanted in the video, did you see that? Did you feel that?" he'd say. That was the att.i.tude he said he wanted in the video, West Side Story. West Side Story.'

The video's storyline is about a lonely, sheltered school kid, constantly badgered by peer pressure and neighbourhood street toughs. The youngster transforms himself into a bold, avenging h.e.l.l-raiser. It all goes awry for the viewer, however, because of Michael's ridiculous-looking outfit. Clad in black boots with silver heels and buckles; a leather jacket with zippers, zippers and more zippers; a metal-studded wristband and a wide belt with silver studs and chains Michael was slightly overdressed for the ghetto.

The video's debut produced a cynical reaction. Radio stations and newspapers held contests to see who could correctly guess how many buckles were on the costume. The Los Angeles Times The Los Angeles Times, for instance, was deluged with responses from readers: 'There's one buckle no one will ever detect, and it's located at the back of his head, to pull the flesh snugly over his ever-increasing new features.'

'The buckles are part of the continuing treatment he is undergoing to alter his appearance to that of Liz Taylor as she looked in National Velvet. National Velvet.'

'Sixty-six buckles left over from his oxygen gizmo...'

More than the buckles, Michael's concept of what really is is bad as in 'tough' and 'streetwise' seemed distorted and caricatured. He shouted; he stamped his feet; he flicked his fingers and shook his groin. He tugged at his crotch repeatedly. Is bad as in 'tough' and 'streetwise' seemed distorted and caricatured. He shouted; he stamped his feet; he flicked his fingers and shook his groin. He tugged at his crotch repeatedly. Is this this what Michael sees from the tinted window of his limousine? what Michael sees from the tinted window of his limousine?

Michael may have been a little overdressed for an urban subway rider, but the surrounding players and dancers certainly looked the part. However, it was difficult to imagine their being so quick to follow anyone black or white who looked as effeminate as Michael did in this video. There was something disconcerting about Michael wearing more pancake makeup than Joan Crawford ever did and flaunting Kirk Douglas's chin cleft shrieking at a group of tough, black gang members, 'You ain't nothing nothing'.' The viewer couldn't help but think, This boy is going to get hurt. This boy is going to get hurt. As one observer noted, 'In Michael Jackson's loathsome conception of the black experience, you're either a criminal stereotype or one of the Beautiful People.' As one observer noted, 'In Michael Jackson's loathsome conception of the black experience, you're either a criminal stereotype or one of the Beautiful People.'

The original photograph intended for the cover of the Bad Bad alb.u.m was a close-up of Michael's heavily made-up face superimposed with black floral lace. Walter Yetnikoff, president of CBS Records, purportedly phoned Frank Dileo and said of the feminine-looking picture, 'Look, this cover sucks.' The photo eventually used Michael in a tough-guy-with-fists-clenched-at-his-side pose, wearing his leather outfit from the 'Bad' video was taken as an afterthought during a fifteen-minute break while shooting the video. alb.u.m was a close-up of Michael's heavily made-up face superimposed with black floral lace. Walter Yetnikoff, president of CBS Records, purportedly phoned Frank Dileo and said of the feminine-looking picture, 'Look, this cover sucks.' The photo eventually used Michael in a tough-guy-with-fists-clenched-at-his-side pose, wearing his leather outfit from the 'Bad' video was taken as an afterthought during a fifteen-minute break while shooting the video.

Michael's first single from Bad Bad, 'I Just Can't Stop Loving You', was released worldwide on 27 July 1987, and went straight to number one in America, and to the same position in the UK after just two weeks.

Then, Michael's Bad Bad alb.u.m debuted at number one on the alb.u.m debuted at number one on the Billboard Billboard charts, an amazing feat proving that even when Michael does wrong, he can do no wrong. The alb.u.m received generally lukewarm reviews, but that didn't matter either. 'We win,' Frank Dileo said. 'We're into winning.' charts, an amazing feat proving that even when Michael does wrong, he can do no wrong. The alb.u.m received generally lukewarm reviews, but that didn't matter either. 'We win,' Frank Dileo said. 'We're into winning.'

The second single, 'Bad', also went to number one in America, Britain and countries around the world. (In the UK the alb.u.m was even number one for five weeks, and remained on the charts for an amazing 109 weeks. It sold 350,000 copies in five days, the first time that had ever happened in Britain for any artist.) Michael had a hit on his hands with the Bad Bad alb.u.m, but certainly nothing as big as alb.u.m, but certainly nothing as big as Thriller, Thriller, However, could it ever have attained However, could it ever have attained Thriller Thriller status? Isn't it enough that Michael managed such a feat once in his amazing lifetime? status? Isn't it enough that Michael managed such a feat once in his amazing lifetime?

In September 1987, the month his Bad tour kicked off in Tokyo, People People published a cover story on Michael with the headline, 'Michael Jackson: He's Black. He's published a cover story on Michael with the headline, 'Michael Jackson: He's Black. He's Bad. Bad. Is This Guy Weird, Or What?' Is This Guy Weird, Or What?'

Apparently, such coverage was what the Elephant Man had wrought...

Cutler Durkee, the writer of the feature, explained that the public's perception of Michael Jackson had shifted from 'Here's a really interesting guy' to 'Here's a guy I don't understand any more'. Durkee hastened to add, however, that that's precisely why people continued writing about him.

Of course, Michael had good reason to be unhappy with the story. 'They made me sound like a freak,' he said. 'None of that stuff is true.'

Because of such adverse publicity, Michael's tour had a shaky start. Michael thought the act still needed work, but he had no choice but to begin the schedule. The dates were set. Therefore, in September 1987, he reluctantly began what would end up being an exhausting, eighteen-month-long world tour. 'Whatever we play,' Michael and his crew members would yell while clapping their hands and stomping their feet just before hitting the stage, 'it's got to be funky!'

After a successful kick-off in j.a.pan, where he was dubbed 'Typhoon Michael' (and grossed twenty million dollars), Michael had problems in Australia. Ticket sales proved low. Foreign newspapers had latched on to that 'Wacko-Jacko' moniker and the Aussies thought he was a head case. 'He's giving the world a gift, his talent,' complained his former sister-in-law Enid Jackson, 'and, in return, the world tries to crucify him.'

While Michael was on tour, he wrote a letter to People People and asked that it be published. He wanted to make known his feelings about the adverse publicity he'd received of late. In an odd writing style no margins, no indentation, and childlike penmanship Michael wrote: and asked that it be published. He wanted to make known his feelings about the adverse publicity he'd received of late. In an odd writing style no margins, no indentation, and childlike penmanship Michael wrote: 'Like the old Indian proverb says, do not judge a man until you've walked 2 moons in his moccosins [sic]. [sic]. Most people don't know me, that is why they write such things in wich Most people don't know me, that is why they write such things in wich [sic] [sic] most is not true. I cry very often because it hurts and I worry about the children. All my children all over the world, I live for them. If a man could say nothing against a character but what he can prove, his story could not be written. Animals strike not from malice, but because they want to live, it is the same with those who criticize, they desire our blood, not our pain. But still I must achieve. I must seek truth in all things. I must endure for the power I was sent forth, for the world, for the children. But have mercy for I've been bleeding a long time now. MJ.' most is not true. I cry very often because it hurts and I worry about the children. All my children all over the world, I live for them. If a man could say nothing against a character but what he can prove, his story could not be written. Animals strike not from malice, but because they want to live, it is the same with those who criticize, they desire our blood, not our pain. But still I must achieve. I must seek truth in all things. I must endure for the power I was sent forth, for the world, for the children. But have mercy for I've been bleeding a long time now. MJ.'

'I'm not sure I even understand this letter,' Frank Dileo said to an a.s.sociate after it was published in the magazine as a cover story. 'If you read it carefully, it doesn't make sense. "They desire our blood, not our pain." What the f.u.c.k does that mean?'

The a.s.sociate studied the letter again. 'You know, it's not really about the letter,' he told Frank. 'It's what it says about Michael. He's losing it... the man is losing it. Can't you see that?'

Frank began to shake his head in despair. 'Jesus Christ,' he exclaimed. 'What have we done? What's going on with this kid? What the f.u.c.k is going on with this kid? What the f.u.c.k is going on with this kid?'

The White Man Won't Let Him...

In January 1988, Michael was well on his way to his thirtieth birthday. Despite his best-selling records, his celebrity and his great fortune, he had recently begun to lament that he felt undervalued not only by the music industry, but by the public, as well. 'They call Elvis the king,' he complained to Frank Dileo. 'Why don't they call me me that?' that?'

One would think that, given all he had achieved, Michael would have been satisfied. He wasn't. Indeed, ever since he was a child, he had been taught that being number one was the most important thing he could do with his life. Because it was a goal he had worked toward for years, reaching it before his thirtieth birthday seemed anti-climactic. After all, what was left for a recording artist to do after selling more records than any person ever in the history of popular music?

Michael never strategized his career in terms of artistic development. He couldn't imagine recording an alb.u.m for any purpose other than for it to be the biggest and best, ever. He needed to have his work acknowledged in a huge way, or he simply was not going to be satisfied. Perhaps such determination can be traced back to his days as a youngster when The Jackson 5 competed on talent shows, when the only goal was to be the winner. That forum was Michael's original training ground.

Maybe one of the reasons Michael was not respected by the public and music industry is because the ma.s.ses sensed in him the lack of two essential qualities possessed by artists such as Bruce Springsteen, Bob Dylan, John Lennon, Elvis Presley: humour and humanity. It had become increasingly difficult in recent years to relate to Michael as he stood onstage in his military outfit, accepting his many awards, whispering his thanks in an odd, highly pitched tone, and then taking off his sungla.s.ses for a quick moment because his friend Katharine Hepburn told him to do so. It was as if he was from some other planet, not earth.

While there was still something about Michael's humility that was engaging, especially considering his many gifts, there was still a nagging problem with his image. Certainly, his fans admired his prowess as a vocalist and his stylized genius as a dancer: he was arguably, still is the quintessential entertainer. While the public could identify with many other rock stars whose humanity and accessibility supersede their stardom, it was unable to identify with Michael. After all, who knows anyone anyone like Michael Jackson? like Michael Jackson?

After, Thriller, Thriller, Michael saw himself as bigger than The Beatles and more important than Elvis. 'They call Bruce [Springsteen] the boss and he's really overrated,' Michael complained. 'He can't sing and he can't dance. And if Elvis is supposed to be the king, what about me?' Michael saw himself as bigger than The Beatles and more important than Elvis. 'They call Bruce [Springsteen] the boss and he's really overrated,' Michael complained. 'He can't sing and he can't dance. And if Elvis is supposed to be the king, what about me?'

The fact that Michael is black complicated matters. Promoter Don King had preyed on his insecurities in 1984 during the Victory tour by telling him, 'You're the biggest star ever, but the white man will never let you be bigger than Elvis. Never. So, you can forget that.' Michael was stung by Don's observation, so much so that he telephoned his attorney, John Branca, in the middle of the night and, without explanation, blurted out, 'They'll never let me be bigger than Elvis.'

When John asked what he was talking about, Michael answered, 'The white man because I'm black.'

John reminded Michael that he had already outsold Elvis in record sales. He said that he believed Don had filled Michael's head with racist notions.

However, for the next couple of days, Michael continued to complain about being victimized by his race until, finally, John became so upset he refused to speak to him. When Michael began leaving desperate messages on John's answering machine, begging him to return his call, John finally wrote him a letter. In it, he expressed how much he loved and admired him, and why he felt Michael should rise above the kind of racist thinking Don King propagated with his harebrained theory about Elvis and the white man. If Michael didn't get over Don's remarks, John wrote, he wasn't certain he would be able to continue representing him, that's how much such thinking hurt him. When Michael read the letter, he was moved. Though he promised to try to forget Don King's words, he never really did that. (Wisely, he also never mentioned the subject to John Branca, again.) By 1988, Michael seemed to have found a variation on the theme: he began complaining about feeling undervalued by white America, griping that he had an 'image problem'. By this time, though, no one in Michael's camp had a clue how to solve such a problem; it was a little late now to start worrying about his nutty image. Even if Norman Winter or Michael Levine, the two publicists who'd worked with Michael to help create the 'problem', could fathom a way to promote him as an accessible human human artist with goals that were artistic instead of just commercial, it would never work. No one would believe it; Michael simply wasn't that way and didn't even know how to act that way. artist with goals that were artistic instead of just commercial, it would never work. No one would believe it; Michael simply wasn't that way and didn't even know how to act that way.

Michael has always been myopic in his thinking about the music business: how many records are being bought by his fans? How long does it take to get to number one? How many tickets are sold? For Michael, commercialism is key, and he doesn't understand any artist who doesn't understand that. that. After all, Joseph dedicated himself to getting his kids out of Gary so that they could have a better life, not so they could make important contributions to the music industry. In his mind, Michael was still there with Joseph, trying to out-do the other acts at the Apollo. Any artist he perceived as being a threat to his dominance on the pop charts, was viewed with scepticism. After all, Joseph dedicated himself to getting his kids out of Gary so that they could have a better life, not so they could make important contributions to the music industry. In his mind, Michael was still there with Joseph, trying to out-do the other acts at the Apollo. Any artist he perceived as being a threat to his dominance on the pop charts, was viewed with scepticism.

For instance, Michael has never been a fan of Madonna, a woman who has managed to combine commerciality with artistic vision because, from the start, she has had something she wants to communicate with her music and, usually, a clear-eyed vision as to how to go about it. She gives interviews; she has a point of view. Other than lamenting about his lost childhood and his victimization at the hands of the media, Michael has never had much of a public viewpoint about anything. He's not what one would call articulate, not by any stretch of the imagination. He's a genius on stage, but in the public eye he's stilted. He is constrained by his insecurity, his bashfulness and his deep fear that he will be revealed as being less than what he would like to be for his public. It's understandable, considering his life, considering the way he was raised by Joseph to think so little of himself.

'She just isn't that good,' Michael told one a.s.sociate of Madonna. 'Let's face it. She can't sing. She's just an okay dancer. What does she do best? She knows how to market herself. That's about it.'

In 1989, Madonna was named 'Artist of the Decade' by many newspaper and magazine polls. Warner Bros., her record label, even paid for an advertis.e.m.e.nt in one of the industry trade publications p.r.o.nouncing Madonna 'Artist of the Decade'. It was the kind of empty compliment record labels often give their artists in paid promotions, but Michael was incensed by it just the same. He telephoned John Branca and Frank Dileo and complained that Madonna didn't deserve such an award. 'It makes me look bad. I'm I'm the artist of the decade. Aren't I? Did she outsell the artist of the decade. Aren't I? Did she outsell Thriller? Thriller?' Michael asked, his vast insecurity coming forth. 'No, she did not,' he said.

John who, lately, was in the business of problem-solving for Michael, suggested that he could approach MTV with the idea of a fictional award. Off the top of his head, John came up with something he called 'The Video Vanguard Artist of the Decade' award. That t.i.tle sure sounded impressive to Michael; he was happy, again. 'That'll teach the heifer,' he said, speaking of Madonna.

And so it came to pa.s.s that at the MTV Awards in 1989, Michael was presented with the 'Video Vanguard Artist of the Decade' trophy. Peter Gabriel handed over the honour, certainly not the most meaningless award ever offered at such a festivity, but sad in that it was given to a fellow who really wanted people to know he deserved it. (To this day, the Michael Jackson Video Vanguard award is presented to artists who excel in that medium, a testament not so much to Michael's amazing videos, but to John Branca's amazing ability to placate his client.) It's ironic, considering Michael's obsession with Elvis Presley, that John Branca represented the Presley estate. John once mentioned to Frank Dileo that Elvis used to give his trusted employees Cadillacs. He suggested to Frank that it was time for Michael to start taking care of his trusted a.s.sociates in that same fashion, especially considering all of the bullets John had dodged on Michael's behalf over the years. John was only half-joking. Who wouldn't want a new car?

'Hey, Johnny, that's a d.a.m.n good idea,' Frank said, seriously.

Later, Frank had a talk with Michael. 'Hey, Mike, listen up. You think you're as good as Elvis?'

'Yeah, I do. Of course I do,' Michael answered.

'Well, you know what? Elvis used to give his people Cadillacs,' Frank said. 'You're a little cheap sometimes, Mike,' Frank added with a grin. He nudged him, good-naturedly.

'What do you mean cheap?' Michael asked, defensively.

'Well, hey, Mike, you got sort of a reputation. No big deal. Let's change the subject.'

Frank had planted the seed.

A few months later, when Michael and John Branca were in London negotiating the ATV acquisition, Michael said to him, 'Branca, if you get me The Beatles catalogue, I'll buy you any car you want, just like Elvis would have done.'

'Including a Rolls-Royce?'

'You got it,' Michael said.

Of course, John Branca later brilliantly closed the deal... and Michael bought him that Rolls. The only problem was that he didn't buy one for Frank Dileo. Frank was on the phone to John as soon as Michael told him he had bought him a car.

'He got you a f.u.c.king Rolls-Royce?' Dileo asked, bewildered. 'I can't believe this. It was my my f.u.c.king idea, and you ended up with the Rolls!' The two had a good laugh. Finally, Frank got a Rolls from Michael as well. Both guys had played Michael, no doubt about that. John deserved a vehicle, that much was clear, if only for clearing the way for f.u.c.king idea, and you ended up with the Rolls!' The two had a good laugh. Finally, Frank got a Rolls from Michael as well. Both guys had played Michael, no doubt about that. John deserved a vehicle, that much was clear, if only for clearing the way for Thriller to Thriller to be released, both the alb.u.m and the video. One has to wonder about Frank Dileo though, considering the undeniable damage he had done to Michael's image. However, in truth, he was doing exactly what Michael had asked him to do... so, yes... he probably deserved a Rolls-Royce, too. be released, both the alb.u.m and the video. One has to wonder about Frank Dileo though, considering the undeniable damage he had done to Michael's image. However, in truth, he was doing exactly what Michael had asked him to do... so, yes... he probably deserved a Rolls-Royce, too.

On 23 February 1988, Michael Jackson brought the Bad tour to the United States for the first time at the Kemper Arena in Kansas City, Missouri. By this time, the three single releases from Bad Bad 'I Just Can't Stop Loving You', 'Bad' and 'The Way You Make Me Feel' had all gone to number one. Michael was in good spirits, especially since Frank Dileo predicted that there would probably be two more number-one hits. 'I Just Can't Stop Loving You', 'Bad' and 'The Way You Make Me Feel' had all gone to number one. Michael was in good spirits, especially since Frank Dileo predicted that there would probably be two more number-one hits.

Before the show, the Jackson crew unloaded eight truckloads of equipment, including seven hundred lights, one hundred speakers, a ma.s.sive stage, two huge video screens, and eighty-five costumes. On the night of the concert, banks of floodlights rose from the stage bathing the audience in blinding white light before he he appeared, frozen still onstage in a line of dancers. Dressed in a black toreador's outfit with buckles down the trouser seams, Michael exploded as a supernova of energy in motion to the strains of the opening number. 'Wanna Be Startin' Somethin''. appeared, frozen still onstage in a line of dancers. Dressed in a black toreador's outfit with buckles down the trouser seams, Michael exploded as a supernova of energy in motion to the strains of the opening number. 'Wanna Be Startin' Somethin''.

There were startling and grandiose effects: bullet-like, multi-coloured laser beams, smoke bombs and explosions, all of which were effective and loud. loud. There was also plenty of shtick: Michael disappearing from one side of the stage and reappearing on the other in a puff of smoke; Michael swinging out over the audience on a boom crane during 'Beat It'. In terms of pure stagecraft and showmanship, it was impossible to fault Michael and his huge supporting cast, including four male dancers who took the place of Michael's brothers. There was also plenty of shtick: Michael disappearing from one side of the stage and reappearing on the other in a puff of smoke; Michael swinging out over the audience on a boom crane during 'Beat It'. In terms of pure stagecraft and showmanship, it was impossible to fault Michael and his huge supporting cast, including four male dancers who took the place of Michael's brothers.

In this show, Michael also became much more s.e.xually suggestive. He grabbed his crotch at least five times during the opening number. His ungloved hand hovered around his groin during most of 'Heartbreak Hotel', 'Bad' and 'Beat It'. It was an odd gesture coming from someone like Michael, but the seventeen thousand mostly middle-cla.s.s white fans seemed to love it; the audience was on its feet for the entire slick, demanding, two-hour performance. Every time Michael moonwalked across the stage the audience would cheer and Michael's face would light up. It was clear that he still enjoyed performing.

'The word "superstar" became meaningless compared with the power and grace pouring from the stage,' wrote Gregory Sandow, who reviewed the concert for the Los Angeles Herald Examiner. Los Angeles Herald Examiner.

Vocally, Michael was in terrific shape; his voice teacher, Seth Riggs, travelled with him for much of the tour. 'He's a high tenor with a three-and-a-half octave range,' Riggs said. 'He goes from ba.s.so low E up to G and A-flat above high C. A lot of people think it's a falsetto, but it's not. It's all connected, which is remarkable. During his vocal exercises he would put his arms up in the air and start spinning while holding a note. I asked him why he was doing that, and he said, "I may have to do it onstage, so I want to make sure it's possible." I'd never seen anything like that before. I thought maybe I should stop him so he can concentrate on his voice now, and dance later. But I figured if he can do it, let him do it.'

A good third of the show consisted of material Michael and his brothers had used in Kansas City four years earlier when the Victory tour opened, right down to some of the dialogue. This time, though, Michael performed 'Thriller' in his act complete with werewolf mask and the kind of high school jacket he wore in the video now that he no longer considered himself a Jehovah's Witness.

When Katherine and Joseph saw the show, they were disturbed by it. 'He should have his brothers with him,' Joseph said, not letting go of that idea. 'What the h.e.l.l's the point in not having them? I don't get it. He's got a good show, but with his brothers it's a better show.'

Katherine told Frank she thought Michael was better when he performed with his brothers. Frank laughed in her face. 'You are crazy,' he told her. Imagine, telling Michael's mother that she was crazy! Of course, she was offended. 'I am not crazy,' she shot back. 'The show would have been better with the brothers, and that's that.'

'Yeah, well...' Frank said before walking off.

Just prior to going onstage in Kansas City, Michael was handed a copy of the Star, Star, a tabloid, with the cover headline, 'Michael Jackson Goes Ape. Now He's Talking with His Pet Chimp In Monkey Language'. The story claimed that Michael was now obsessed with learning how to communicate with his pet monkey by making chimp sounds. 'Did Frank plant this?' Michael wanted to know. 'Where'd they get these pictures of me and Bubbles?' a tabloid, with the cover headline, 'Michael Jackson Goes Ape. Now He's Talking with His Pet Chimp In Monkey Language'. The story claimed that Michael was now obsessed with learning how to communicate with his pet monkey by making chimp sounds. 'Did Frank plant this?' Michael wanted to know. 'Where'd they get these pictures of me and Bubbles?'

Michael's aide shrugged his shoulders.

'Well, I don't like it,' Michael said. 'I don't want to see this. Don't show me this kind of stuff before I go onstage. What the h.e.l.l's the matter with you?'

Like many stories published about Michael, the tale of his fixation with Bubbles a three-and-a-half-year-old chimp who had been released to Michael from a cancer lab in 1985 was false. Michael enjoyed his ape, the way he enjoys all of his animals, but even though master and ape sometimes ate together at the dinner table good enough material for a story in and of itself, one would think he wasn't speaking chimp language to his pet, not that anyone knew, anyway. (Incidentally, contrary to some reports, there has only been one Bubbles not a series of monkeys named Bubbles. Just the one.) Katherine had been after Frank for months to stop promoting her son as 'Wacko-Jacko'. She later said, 'I spoke to him about it on numerous occasions. I knew it was not a good idea, it was backfiring. But, there was nothing I could do about it.'

Partly as a result of the bizarre image Michael had cultivated, it seemed that some of his public had begun turning against him. Rolling Stone's Rolling Stone's readers voted him the worst artist in nearly every category in its yearly poll. Still, he hoped for some redemption at the Grammy Awards on 2 March. readers voted him the worst artist in nearly every category in its yearly poll. Still, he hoped for some redemption at the Grammy Awards on 2 March.

He decided to perform on the telecast, the first time in five years he had entertained on television. 'Michael wanted to erase all the negative publicity that had been trailing him and replace it with a positive image of him doing what he does best,' said Bob Jones, vice president of communications for MJJ Productions. He wanted to prove to the world that he is serious about entertaining, that the very essence of him is a performer, not an eccentric. He did it, too. Anyone who saw his riveting performance that night would have to agree. He is an intensely compet.i.tive person; he wanted to leave an unforgettable impression of himself with the academy and with his audience.

However, after truly inspiring, absorbing performances of 'The Way You Make Me Feel' and 'Man in the Mirror', Michael then had to sit in the first row of Radio City Music Hall, in full televised view of millions, and suffer one humiliating defeat after another. Out of four nominations Alb.u.m of the Year, Best Male Pop Vocal, Best Male R&B Vocal Performance and Producer of the Year he had no wins. The last time Michael appeared at the Grammys, with Thriller, Thriller, he had received more awards (eight of them) than anyone else in the history of the event. This time, he got nothing. Most of all, he had craved the Grammy for Best Alb.u.m for he had received more awards (eight of them) than anyone else in the history of the event. This time, he got nothing. Most of all, he had craved the Grammy for Best Alb.u.m for Bad. Bad. However, much to his dismay, U2 won it for However, much to his dismay, U2 won it for The Joshua Tree. The Joshua Tree.

'He couldn't have looked any more heartbroken if someone had walked away with his pet chimp,' wrote Robert Hilburn, the Los Angeles Times Los Angeles Times pop music critic. pop music critic.

'He went back to the Helmsley Palace, where he was staying, and cried,' one friend said. 'He and Frank had made a vow that they would at least win Alb.u.m of the Year and, of course, they didn't. He thought the whole thing was unfair. It wasn't about the music. It was about the image. Would the Academy give Record of the Year to a guy who sleeps in an oxygen chamber? Not likely.'

There was little time for Michael to feel sorry for himself, though. The next day he was due to give a conceit at Madison Square Garden. After the show, he and a representative from the Pepsi-Cola Company (which had sponsored the Bad tour) presented a $600,000 cheque, the proceeds from the concert, to the United Negro College Fund. Four years earlier, Michael had endowed a scholarship programme at the UNCF with a portion of his earnings from the ill-fated Victory tour. By 1988, seventy students at UNCF member schools had received Michael Jackson scholarships. (At some of the country's smaller black colleges, that could be an entire graduating cla.s.s.) Michael maintained a low profile when it came to such donations. Perhaps if his generosity were better known, he would not have been so roundly criticized by many African-Americans for not having a so-called 'black consciousness'. In truth, he has given many millions of dollars to black charities over the years.

Most people who accompanied Michael on his Bad tour also recall how generous he was to children who wanted to see him perform. At every concert stop on his Bad tour, he set aside a portion of tickets for underprivileged youngsters who otherwise would have been unable to attend his shows. All of the royalties from his number-one single 'Man in the Mirror' were donated to Camp Good Times, a charity for terminally ill patients in Los Angeles.

Though his good deeds were going unnoticed, his eccentricities were still getting the once-over by the media. While on stage at Madison Square Garden, Michael shared a kiss with model Tatiana Thumbtzen, who appeared in his video 'The Way You Make Me Feel'. A week later, the photo showed up in the National Enquirer National Enquirer with the headline, 'Michael Jackson and Model Fall Head-Over-Heels in Love'. The story said that Michael and Tatiana were having an affair (which was not true) now that Michael's romance with makeup artist Karen Faye was over (the two were never romantically involved). with the headline, 'Michael Jackson and Model Fall Head-Over-Heels in Love'. The story said that Michael and Tatiana were having an affair (which was not true) now that Michael's romance with makeup artist Karen Faye was over (the two were never romantically involved).

Later, the National Enquirer National Enquirer would run with the story that Michael saw Jesus Christ materialize from a cloud of smoke while he performed onstage. That same week, would run with the story that Michael saw Jesus Christ materialize from a cloud of smoke while he performed onstage. That same week, Star Star would print that Michael had fallen in love with Princess Diana and wanted her to star in his next video. When Michael demanded to know where these stories came from, all fingers pointed at Frank Dileo. By this time, though, Frank wasn't doing anything to promote such stories. The media was acting on its own, providing Michael with the image it felt he wanted. would print that Michael had fallen in love with Princess Diana and wanted her to star in his next video. When Michael demanded to know where these stories came from, all fingers pointed at Frank Dileo. By this time, though, Frank wasn't doing anything to promote such stories. The media was acting on its own, providing Michael with the image it felt he wanted.

A favourite story among those in Michael's inner circle also appeared in the Enquirer. Enquirer. It claimed that Prince had used ESP to drive Bubbles the chimp crazy. 'Prince has gone too far this time,' a furious Michael was quoted as saying in the article. 'What kind of sicko would mess with a monkey? This is the final straw. Poor, poor Bubbles.' It claimed that Prince had used ESP to drive Bubbles the chimp crazy. 'Prince has gone too far this time,' a furious Michael was quoted as saying in the article. 'What kind of sicko would mess with a monkey? This is the final straw. Poor, poor Bubbles.'

Actually, Michael liked that one. John Branca and Frank Dileo had never seen him laugh so much.

Buying Neverland.

In March 1988, while he was still on the road, Michael Jackson finalized the purchase of his new home, a twenty-seven-hundred-acre estate in the Santa Ynez Valley then called Sycamore Ranch. He had become enchanted by the ranch when he stayed there during the time he and Paul McCartney filmed the 'Say, Say, Say' video in Santa Ynez; Paul had leased the home for the duration of his and his wife Linda's stay.

At Sycamore Ranch, there would be plenty of room for Michael's menagerie, an important consideration, and the location was far enough from Encino to guarantee s.p.a.ce between Michael and his pesky family members. The property was owned by developer William Bone, who had spent many years and a fortune building it to his specifications; the main house is thirteen thousand square feet. The asking price was $35 million furnished, or $32.5 million unfurnished. Michael toured the estate by horse-drawn carriage provided by Bone.

John Branca had advised Michael that, from a business standpoint, the ranch was not a good investment. Michael intended offering 50% of the asking price, but even so the re-sale opportunities would be limited: there are not many buyers for a twenty-seven- hundred-acre ranch that costs seventeen million dollars. John wrote Michael a letter and told him that if he really wanted to buy the ranch, he shouldn't do so with any 'future profit motive'. He felt it would be a more sensible idea to purchase the property that was once used as the estate on The Beverly Hillbillies The Beverly Hillbillies television show. He also suggested that Michael buy the surrounding property, demolish the houses that were there, and then he could have five acres of property to do with what he pleased. television show. He also suggested that Michael buy the surrounding property, demolish the houses that were there, and then he could have five acres of property to do with what he pleased.

Michael couldn't understand why he should settle for only five acres when he could have almost three thousand. When he used to visit Paul McCartney, he was always impressed with Paul's sumptuous acres and acres of verdant property. 'My guests expect something grand,' Michael told John. 'It's gotta look like I've made it big, because I have.'

A difficult and lengthy negotiation with William Bone ensued because John was determined to secure the best possible deal possible for Michael. However, Michael was impatient; he called John three times a day, prodding him on. Finally, Michael decided that John really did not want him to have the property, that his stalling could lose the deal altogether. He became angry. He wanted that estate, and that's all he wanted. He went right off the deep end over it, and reportedly asked another of the attorneys at John's law firm to break into John's office and steal the file on Sycamore Ranch... and then get to work on closing the deal. Of course, the lawyer didn't do it and, in fact, informed John, who was astonished. He telephoned Michael and asked how he could think to do something so terrible.

'Because I think you don't want me to spend too much money,' Michael said in his own defence. 'You don't want me to have the ranch.'

John told him he was right, he didn't think Michael should make the purchase. However, he intended to follow Michael's wishes, anyway. He hoped that Michael would never again pull a stunt like that one. John was genuinely hurt by it, but it also showed him how irrational Michael can be at times not that he needed further proof of this fact.

At the last minute, William Bone began having second thoughts about selling the ranch to Michael. He said that he didn't want to lose his emotional connection to the property; he treasured it that much. More than likely, he realized that he was losing a lot of money and was getting 'cold feet' about it. John submitted an offer of fifteen million dollars, which was not accepted. After a series of counteroffers, Michael's final offer of seventeen million dollars was accepted, certainly a let-down for Bone, considering his thirty-five-million-dollar asking price. Why William Bone took such a loss is still an open question, except that he may have just wanted out of Sycamore Ranch. Michael also got all of the furnishings and eighteenth- and nineteenth-century antiques as part of the purchase. A fully stocked wine cellar went along with the deal. Because Bone started causing a fuss and John knew that if he lost this deal, Michael would become a real liability in his life he came up with a clause in the sales agreement that allowed Bone to spend one week out of every year at the ranch for the next three years, subject to Michael's schedule. Therefore, Bone wouldn't feel that he was losing the property entirely. The sale was concluded, successfully. The press reported that Michael paid twenty-eight million dollars for the estate, which was fine with Michael, for obvious reasons.

The first thing Michael did was change the name of the ranch to 'Neverland Valley', though it is usually called, simply, Neverland. When Michael had to conduct business in Los Angeles, he would stay in a condominium he leased in Westwood, which he called his 'hide-out'. Otherwise, he would stay at Neverland, and never again at Hayvenhurst.

Leaving his parents' home was obviously a big deal for Michael. He was sad to leave his mother, but eager to view Joseph as someone to whom he no longer had any responsibility. Still, he couldn't actually face them with the news. In fact, he didn't tell them anything about his negotiation for Neverland Valley, nor did he tell them when it was purchased. Katherine and Joseph found out that Michael was leaving Hayvenhurst while watching the American television programme Entertainment Tonight. Entertainment Tonight. Panicked, Katherine telephoned Marlon to ask him if he knew anything about it. Marlon then called Michael. Michael said it wasn't true. Panicked, Katherine telephoned Marlon to ask him if he knew anything about it. Marlon then called Michael. Michael said it wasn't true.