July 16 through July 23, 2011
Michael, I sometimes feel so frustrated … like something is waiting to be born inside me and I want to hurry it along.
Something IS waiting to be born inside you. It’s called your awareness … your consciousness … and its birth is occurring in every new moment. You can’t hurry that; it would be like deciding that five months should be long enough for a fetus to grow enough to be born into the world. It takes as long as it takes. The normal is around nine months. I suppose you could decide to remove it at five months, but there’s not much likelihood that it would live if you do. You want what comes out to live forever and the only way for that to happen is to allow it to gestate and become fully formed. There are some things that you just can’t hurry.
It’s the biggest mistake you can make because you end up pushing against the natural flow of the universe … and deflecting it further away instead of bringing it closer. This was something I learned from Quincy … don’t write the music … let the music write itself. It’s the same thing here; don’t force it to bend to your definitions … or time constraints. You are not in charge; you are just the midwife in this process. You need to take the “I want …” out of it and become an observer in the process. You need patience.
Yeah … well … we all know about me and patience, don’t we?
[Michael laughs.] Yes, you know how to spell it … and that’s all anyone should ask of you. You may not think that’s much to go on … but, I want you to change that kind of thinking right now. Let’s start calling it a beginning. We’ll start there and build!
That reminds me of Kenny Ortega’s comment on the This Is It Special Features. He said that you had told him that the show had to open with something spectacular, something that nobody had ever seen before. Then, he laughed and said, “Okay … so that’s where we begin.” That’s our starting point. It sounds a bit ominous.
You know how I created my music. You’ve read about it before, but let me give you a little more information so that you can fully understand. I’ve said many times that I couldn’t take credit for the songs I wrote; they were a gift from above. Sometimes, they would drop fully-formed into my lap and I would hear melody and harmony and lyrics all at once. Other times, I would just get the ‘germ’ of an idea … just the faintest whisper of an inspiration … the grain of sand that somehow manages to embed itself inside the oyster’s shell … and I would just know that was the way I wanted to go. But all I had was the seed, the germ, the grain of sand. It hadn’t sprouted yet … it hadn’t sent out roots … it was just the seed. So, it was just the unshaped, unformed possibility or potential of the song. In these cases, I knew that it was going to take a little longer.
Like you described, it felt like ‘something was waiting to be born inside me.’ So, I know exactly what you mean. Those ‘germs of ideas’ and ‘whispers of inspiration’ and ‘grains of sand’ need time to mature … like good wine, they need to age. You need to mull them over … shape them … mold them … and, sometimes, you need to destroy them and start all over. As that process continues … sometimes over a very long period of time … they kind of collect other germs of ideas that stick to them like Velcro … like a snowball rolling downhill or that grain of sand forming layer and layer to form a perfect round pearl.
Earth Song took a long time and the process was painstaking in the extreme. I learned over time to be grateful for each and every stage of the creative process … from germ … to embryo … to fetus … to contractions … to Lamaze classes … to labor pains … to birth. Each stage is important and has something to teach … a gift to impart.
Joe Vogel claims that you started Earth Song in 1989 and it wasn’t released until the HIStory: Past, Present and Future album in 1995. That’s six years!
Something like that. It grew over time … and, in some cases I had to wait for the technology to catch up with what I wanted to do … or the way I wanted it to sound. It’s not always fast and easy; sometimes, it takes soul-searching, heart-breaking, gut-wrenching, physically-exhausting work. But it’s always fulfilling and worth the wait.
It’ll be fine. Do you trust me?
[Jan laughs.] Of course, I trust you! You are my Beautiful Beloved. I couldn’t trust my own soul more.
‘The nights are getting darker … (Hold my hand) … and there’s no peace inside … (Hold my hand) … so why make our lives harder … (Hold my hand) … by fighting love tonight. Cuz I’ve been there before and you’ve been there before, but together we can be all right. When it gets dark and when it gets cold, we hold each other till we see the sunlight. If you just … Hold my hand, baby I promise that I’ll do all I can. Things will get better if you just hold my hand.’
[Michael sings both parts … and s-l-o-w-s the song down … so that it becomes a ballad of unearthly beauty … {sweet, merciful heavens … who knew that song could be so intoxicating?} … and I get a visual of him standing in front of me with his left arm extended toward me and his eyebrows raised in a questioning glance … those beautiful, brown eyes boring right through me . Of course, my hand reaches out for his in response … and just as our fingertips touch, the visual fades.]
Oh, baby! You do love to live dangerously, don’t you? You are such a beautiful, irresistible tease! One of these days, I am going to jump your bones! [Michael giggles.] It’s going to happen! It’s like the nervous breakdown I’ve been on the brink of for the past twenty years. [Michael’s giggles roar into unreserved laughter!] I owe it to myself and no one … and nothing … is gonna deprive me of it! So, be prepared, Beloved!
This version of Hold My Hand should be released immediately! Did you record it? Please tell me you recorded that! I so love your voice on this song. I have nothing against Akon, but your voice … I don’t know what it is … it just resonates with something deep inside me … your tonal quality or the vibration … or the energy you transmit in them … complement and harmonize with the vibration at which my soul naturally pulses … or something … it sends me into a world of pure, unequivocal, joyous surrender!
It’s like plucking a harp string; it’s the vibration of the string which produces the beautiful sound of the note … but it’s the sounding board chamber through which that vibration passes that adds the sweetness and depth and emotion. I’m not terribly good at the art of analogy, but your voice is the vibration of the plucked string … and I am the sounding board through which you pass. In your voice … I find my home … the deepest fulfillment of my purpose. Other singers have beautiful voices, but my heart doesn’t find a home there … I can visit for a while, but always long for a return to my home in your voice!
Awww! God bless you! And you are very good at the art of analogy, I think.
Michael, I know that there is a reason that this Great Spiritual Awakening is occurring among your children. Someone described it as those of us who are joined in common purpose … all the millions of notes in our Symphony in the Key of Love using your beautiful analogy from earlier conversations … have a Michael-chip implanted in our motherboards which was activated by your departure.
[Michael-chip. Kinda like micro-chip. I love that!]
We feel awakened to your love, to your beauty, to your purpose, to your goals, to your ideals, and to your music and the thoughts you expressed through it. It’s like an ‘aha’ moment, but instead of the ‘aha’ heralding a ‘let down’ or a sense of ‘anticlimax’ as is usual in these experiences … it ushers in greater and ever-greater engagement, deeper and ever-deeper spiritual involvement until we feel so saturated in your love that we are amazed that we don’t flash like neon tubing! It’s like we’ve fallen into a never-ending rabbit hole and the rate of our descent never slows or stops.
Don’t worry … I’ll catch you! I told you that all my life … and it’s still true. You are in no danger of being swallowed by the abyss. You are not alone, for I am here with you.
Have I told you today how much I love you? Nevermind … I’m sure you already know. It seems to me that I have always known you. I sense a series of smaller, lesser Awakenings, at least in my life. Would you mind if we took a little walk down memory lane … explored this concept in more depth in this dialog?
No, I don’t mind at all.
Okay, for me, the first awakening occurred when you were a young boy singing I Want You Back … and, especially, Who’s Loving You … with your brothers on the Ed Sullivan Show. Who could ignore that? You were electric … magnetic … carried an adult’s charisma … your voice was magic … your joy in the music was so contagious … and you played the audience like a master! I had to stop and watch … you captured me at that moment. As I look back from forty years in the future, the moment is freeze-framed like a cherished photograph. I remember being awed by your performance. But you were a little kid … eight years younger than me. I found it difficult to believe that any little kid could move like that or sound so incredibly professional … and even more difficult that a little kid could keep up that kind of momentum for very long. You showed me, didn’t you?
[Michael giggles.] Well, four decades isn’t really very long, is it?
I didn’t fall in love you then. I felt like it would be almost immoral to fall in love with a ten-year-old boy at eighteen … kinda like robbing the cradle. But I did notice you in a very big way. Then, in rapid-fire succession, ABC and Stop the Love You Save and I’ll Be There and Ben and Got to be There and Never Can Say Goodbye!! It was like you were all over the radio … everywhere I turned. This was going to be a recurring pattern, but I didn’t know that at the time.
I heard them all … and sang along to most of them … as I drove here and there in my car. There were some light, boogie, get-down-and-dance cuts, but so many of your songs speak to the message of Love. Of course, most songs conform to that pattern, but your songs … especially in retrospect … transfer so much more easily between the erotic, romantic definition of love … which is the one to which this world seems addicted … to Divine, Spiritual Love … and back again … without losing any of the meaning or emotion.
Love is love. There is no separation … no categorizing. That is the human tendency to break things down into chewable segments to understand them better. In the world of spirit there is only one kind of love. What the human race calls love is not really love, especially when it seeks to possess, control, limit or inhibit freedom. The Beloved must be free to soar and explore the very best and most that he or she can be. If not, that’s domination … that’s control … that’s possession … it’s not love. I’ve been a victim of … a selfish kind of love … it’s time that I realized. There are some with no home, not a nickel to loan. Could it be … really me … pretending that they’re not alone. [Michael sings.]
Love is never selfish or controlling or possessive or grasping. It is not impatient or abusive. Love seeks only to give of itself in an unending supply of joy … fulfillment … freedom. It seeks to provide only the best of itself to the Beloved at all times. It doesn’t ask, ‘what do I get in return?’ or ‘what’s in it for me?’ or ‘why can’t you be more like …?’ It doesn’t belittle, but lifts up. It doesn’t degrade, but builds higher. It doesn’t criticize, but encourages greater achievement. We don’t understand love very well. Love is the basis for all life … the longing for the bliss of union … of joining … of Oneness.
It’s what we all seek outside ourselves in our obsessive need for more ‘things’ … more ‘pleasure’ … more drugs … more ‘money’ … more anything. We can search the world over to find what our soul yearns for but the only place we are going to find the peg that fits that hole is within our own soul and its connection to its source. And the Source is Love!
Exactly! It’s that higher definition of love that I’m talking about. Forty years on when I listen to some of those old songs, I get the same emotional and spiritual comfort and uplift that I get from your more recent recordings. In Our Small Way and With a Child’s Heart and I’ll Be There and Ben. There is a remarkable symmetry of incomparable beauty between the messages in some of your earliest recordings with Motown forty years ago and your more recent material. In Ben, you ask us all to overcome our prejudices, some of them unreasonable (although I, personally, am not terribly fond of rats.) It’s the same message you broadcast in They Don’t Really Care About Us and Is It Scary. In Our Small Way is Heal the World and We Are the World and Man in the Mirror … but sung by a ten-year-old boy. In With a Child’s Heart you praise the virtues of retaining the joy and wonder and innocence we knew as children; it is the flip-side of Have You Seen My Childhood.
Now, I know you didn’t write the music back then. You just sang what they gave you, but somebody somewhere must have been inspired by something or someone Divine; because those songs are touched by the same pregnant import … and filled with the same faith and hope in the human race … as your later work; it’s astonishing how consistent the messages are in these early songs with those you recorded later in your career.
I told you earlier in these conversations, they were an announcement … a proclamation … to get your attention … to let all the notes in our Symphony in the Key of Love know that the composition is ready … that the orchestra needs to start tuning up … and all the little notes need to be ready to sing their parts. While the little boy in the pink hat and fringed vest may not have totally understood the process … shoot, that little boy didn’t understand some of the words he was singing … his soul knew what it was doing (and so does yours, so please be open to its leading). You and I must make a pact; we must bring salvation back. Where there is love, I’ll be there. Those words were not an accident … or a coincidence. They are a summary of our purpose … of the Plan. It’s what we are ALL doing here, the only reason we exist.
The next phase of your life I missed completely, Beloved, to my eternal regret … but I suspect it presented another opportunity to awaken. It was only long after your teenage years that I heard the voice that still sends shivers up and down my spine every single time my MP3 player serves up songs from this period. I like to call it your ‘virgin’ voice because you were just trying it out, finding its boundaries, stretching its limitations and discovering its capabilities. There were still moments when that beautiful ten-year-old voice could be heard playing hide and seek with the new one, but it’s okay because both of them are so beautiful.
When I heard songs from this period in your life much later, I marveled that I wasn’t paying attention and asked myself, “How could I have missed this?” I never heard One Day in Your Life or Morning Glow or You Are There or To Make My Father Proud or Push Me Away or Dreamer until the 1990’s when that train we’ve discussed before hit me and I started researching your life. When I did hear them, I was totally floored by the flexibility and versatility and beauty of that newly-adult instrument. There was a breathless quality to it that produced an equal and corresponding breathlessness in me. In the art of analogy, it would be like comparing coming home … to coming home and curling up with a well-washed cashmere shawl, mug of hot chocolate and a good book.
I would have thought that the development of puberty would have changed your voice … or, at least, my emotional reaction to your tone and timbre … and it did! It made that resonance stronger and more all-encompassing … took that feeling of homecoming and strengthened it. But I didn’t know that until so much later. I believe that this period of your life was another opportunity to become further awakened, but the opportunity passed me by at the time … it was only much later that the potential awareness was revealed to me.
And it was perfect timing for you as it was. So, don’t regret that you weren’t paying attention. You were attending to other important matters. The proof of that statement is that that’s the way it happened. There are no imperfections in God’s Plan for you. Trust in that and you will never have to wonder “what if.”
Once again, the messages were in the music … the love you sang could be felt as romantic; and I’m sure many young girls fantasized about that voice touching them with love … shoot, there are many mature women who fantasize about it still (including me) … but it was also growing in its universality … there was a more powerful, prayerful, spiritual and emotional tone in the timbre of your voice.
One Day in Your Life speaks so clearly to me of the position your children find themselves in now. “One day in your life, you’ll remember a place, someone touching your face, you’ll come back and you’ll look around you. One day in your life when you find that you’re always searching for the love we used to share, just call my name … and I’ll be there.” [Jan sings.]
One Day in Your Life is perfection, Beloved. Your phrasing, your approach, the soulfulness you inject into each line and note … it’s perfection. There’s just no other word that describes it. Whether you were singing to a specific young lady … or an entire world full of young ladies … or to the spirits that inhabit each one of us, your children, who had become alert to your meaning … the love is the same … you have unified the two into ONE. The authors of The Official Michael Jackson Opus examine this song and arrive at the same conclusion. One Day in Your Life is so reminiscent of I’ll Be There in that the emotional impact lies in those last seven words … and the fact that they are the same seven words repeated in both the child’s voice and the newly-adult voice … with all the emotion that each was able to convey. It’s breathtaking!
The period of The Jacksons at Epic Records was a ‘coming of age,’ a ‘rite of passage’ … of testing your voice and writing ability as well as your autonomy … of learning to trust the inspirations you were receiving … and, once again, I missed it. Several songs, however, were impossible to miss and came from this period that restate your message very clearly, most notably Can You Feel It, which reiterated your message from Ben of equality and provided your first creative film outlet with The Triumph. Other songs from this period include Destiny, Show You the Way to Go, Strength of One Man, Dreamer, Man of War … and some your best dance music like Blame It on the Boogie and Shake Your Body.
I so love Let Me Show You (the Way to Go) … ‘I don’t know everything, but there’s something I do know. I’ve read and heard a lot and now I’m ready to show that we can help each other to overcome (we can do it, we can do it now) … live together underneath the sun … please, please let me show you, let me show you, let me show you the way to go … I’ll never let you down’ … [Jan sings again] … and you never did, did you?
Woohoo … you can sing! You and I are gonna dance when you get here, baby!
[Jan laughs.] We’re dancing now, Michael!
Hey! You have been listening, haven’t you? [Michael laughs.]
I love so much that you were always aware of your status as a role model for the young people in the world … and like you said much later … you were always conscious of history … that you were creating it in each moment. Usher has been quoted on the subject: “The one thing that he always said to me was, ‘Be mindful of history. Be conscious of history. Don’t get caught up in just the moment. Understand that each moment is a piece of history and you should approach it that way.’” You never considered that responsibility onerous or that obligation a burden as so many have done in the world of sports and entertainment. To you, it was a privilege, an honor and something that you devoted your life to.
This was also the beginning of your association with the peacock as a symbol for racial and international harmony. I read a quote in which you stated that the peacock combined every color of the rainbow within its plumage which was the reason you adopted it as jacket art for the Triumph album.
Then came the Off the Wall/Thriller/We Are The World blockbuster era … and this one I didn’t miss. For the second time in your still young life, your face and voice were everywhere! One had to be living under a rock on Mars to be unaware of Michael Jackson during the beginning of the 1980’s. The Girl is Mine was knocked off the charts by Beat It and Beat It and was knocked off by Billie Jean! This was another huge, worldwide, global invitation to ‘come together over you’ … and it succeeded hugely.
I loved Billie Jean the first time I heard it … that bass line just vibrated up and down my spine … and I had to rush out and get the vinyl version of the album. When I got home, I played Billie Jean and Lady in My Life over and over and over … almost wore out the grooves on that record. I, like much of the world, was paying attention. After the Motown 25 television special, there wasn’t a part of the planet that was unaware of Michael Jackson.
It’s my theory that these two albums were intended to get the whole world’s attention … and they succeeded admirably. With these two albums, you were gaining confidence as a performer, a singer, a song writer and a film-maker … honing your craft to rapier sharpness … and it showed. While Beat It may have been the only overt message on the Thriller album, your songwriting was maturing … your voice was hypnotic … your dance had achieved other-worldly status … and your forays into film-making were rewriting history in both music and the visual arts. You virtually created the musical short film genre. I still hadn’t fallen ass over appetite in love with you, although I came pretty darn close when listening to Lady in My Life. We are the World carried your message forward during this period in a big and dramatic way.
And then came BAD. Many people mark the beginning of the Michael Jackson Era from the release of Off the Wall or Thriller, but I mark it from the release of BAD! I know that statement is kind of odd … especially when you consider that this was another era that totally passed me by. I wasn’t listening to music during this period; I was rebuilding an old farm house and having children and playing supermom, which didn’t leave a whole lot of time for recreational activity.
After 1992, when that speeding locomotive knocked me into the ‘spiritual zone’ … and I started researching you and discovering what I had missed, BAD was the first album I bought in my search for Will You Be There. And while I didn’t find it on that album, what I did find was remarkable.
You had penned nine of the songs on the album and every single one of them carried some kind of message. This collection was a mature, powerful, thunderous proclamation that you had arrived; and a thinly disguised invitation to the entire world to join you in remaking the planet into one of peace and compassion. Another Part of Me and BAD and I Just Can’t Stop Loving You and Man in the Mirror … even Liberian Girl and Speed Demon carried your special message of love … I was stunned that one little disc could carry so much Michael Jackson within its grooves. Moonwalker illustrated each of the songs’ meanings … gave visual dimension and depth … in a fun-loving, innovative and imaginative way! You had grown into that remarkable voice that had been birthed so long ago in the 1970’s and had begun singing a lot of your own background vocals.
BAD has always kinda taken a back seat to Thriller, but both are perfection from beginning to end.
The Dangerous era … ah, Beloved … this was the invitation I couldn’t ignore, discount or rationalize away. Within the span of an eight minute song, the performance of which on a beautiful October evening in 1992 just blew me out of the water; you changed my entire life.
But, that’s where you’re wrong! I didn’t change your life at all … all I did was invite you to change your life. I was in Bucharest, Romania and you were ‘on the dark side of the moon.’ How could I have changed your life? No one can change anyone else’s life. The most anyone can do is invite you to explore your own inner world … call you to look in the mirror and ‘make that change’ … encourage you to discover your gift and use it to impact your world. It was in following that calling that you changed your own life!
Your spirit recognized in me and my performance a summons to a higher purpose … a purpose that had always been present and known by your soul, but had lain dormant until you were ready to re-member it … and accept that invitation. You recognized that my devotion to ‘100% perfect execution’ was my way of expressing my love for you … my joy in the music and dance … my encouragement for you to become all that you have the potential to be … and my gratitude to God for the gifts I had been blessed with. It was my way of praising God.
As a result of that invitation, you felt compelled to find out more about who had touched you in such a personal, secret, intimate way … at the level of spirit … which is not a common occurrence in your experience. You began to investigate and immerse yourself in my music and my performances … to find out how that could have happened. You began to read … my books, spiritual writings, self-help authors. And you began to answer a lot of your own questions. You began to listen with the ears of the soul instead of just the ears of the body; you began to see with the eyes of the soul instead of just the eyes of the body. You began to imagine … and create … a world of spiritual bliss with this person who had so aroused your curiosity. You began to allow your spirit … your imagination … to inform your writings. And each step along the path led you further and deeper into your own spiritual awakening.
You attributed it to me, but it was you all along. Just like all of you are attributing the Spiritual Awakening that you are experiencing now to me, but it is really you … all of you … whose spirits are remembering their purpose.
When the pupil is ready, the teacher will appear. I am so grateful for the gifts God gave me so that I could play the role of teacher for so many of you! It is a great blessing.
Jan – July 22, 2011
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