What words come to mind when you think of Michael Jackson? Singer, dancer, and entertainer would be high on most peoples’ lists, perhaps followed by songwriter, actor, and philanthropist. But musician? Although he is sometimes referred to as such on various biographical write-ups (and even on his death certificate!) the question of whether the term “musician” in the strictest technical sense of the word could aptly be applied to Michael remains a highly debatable subject among music critics and fans alike. While no one disputes his superior abilities as a singer and dancer, the respect due him as a musician still lags far behind, mostly because he was never seen as a “musician’s musician.” He wasn’t a performer who stood in front of a microphone with a guitar strapped to him, or the type of performer who could be just as comfortable sitting onstage at a piano. And with the still recent death of Prince-a true musician if ever there was one-igniting again all of the “Who is Better” comparisons, it is a subject that has once again put an unfortunate (and, I think, completely unnecessary) spotlight on the matter. As I stated in my previous post, it is a complete myth that Michael Jackson did not or could not play instruments. That he purposely chose to not make musicianship a central part of his performing aesthetic has nothing to do with his talent or abilities when it came to playing musical instruments (and for the record, in all fairness we must remember that Prince and Michael did approach performing from two totally different aesthetics, neither of which was “better” than the other-like anything else, these issues are a matter of personal taste and preference).
A recent comment I saw on Youtube, on a countdown video of the “Top Ten Greatest Artists of All Time” in which Michael came in at #2, is sadly all too typical of the kind of ignorant, garbage comments that I see whenever the subject comes up of Michael Jackson as an artist “worthy” of the lofty status he is often given:
In this post, I will explore three important angles that must be considered before we can address the question of Michael’s “musicianship”-just how talented was Michael when it came to the ability to pick up an instrument and play; what actually constitutes the definition of a “musician” anyway; and just how fair or necessary are these kinds of comparisons for an artist of Jackson’s caliber?
In the past, when I’ve allowed myself to get dragged into these arguments (not surprisingly often with Prince fanatics or trolls/haters similar to the commentor above who have been brainwashed in the “rockism” tropes to the point that they think a skinny guy with a guitar is the only kind of artist with credibility) I have usually pointed out that Michael did play instruments-we know this, as he is credited on many of his albums on a multitude of instruments-but that in all fairness, he recognized that his abilities were mediocre at best. This would usually then evolve into a defense that anyone with his astounding vocal and dancing abilities certainly shouldn’t owe any apologies to anyone. But reading through the similar comments by fans made in “defense” of Richard Lynche’s comments only reminded me of how woefully confused and under informed even some fans are about the subject of Michael’s musicianship. And I will admit, I have counted myself among them because my own opinions on the matter have continued to evolve as I have learned more and discovered more.
First off, I am no longer so sure that Michael’s abilities as an instrumentalist were “fair to mediocre at best.” In the past few years, I have heard some pretty amazing samples of his playing, especially on piano and keyboard. As I mentioned in my previous post, my first real revelation was the release of the Bad-era “Don’t Stop Messin’ Around” track which features Michael playing a beautiful and sprightly Bossa Nova style piano hook. At the time of the track’s release, as part of the 2012 Bad 25 project, recording engineer Matt Forger gave an interview in which he stated (referring to Jackson’s choice to play piano on the track) “He could do more than he ever really let people know.”
I think this statement may sum up perfectly why we didn’t have more firsthand examples of Michael Jackson’s technical musicianship prowess. In short, the evidence points not to lack of ability, but rather, to a conscious choice to focus on other aspects of his art that he felt needed his focus more. And as per Forger’s statement, it is possible that modesty (and perhaps his level of confidence) played a key role. That is to say, it is entirely possible that Michael was much more proficient in his playing of instruments than even he would give himself credit. But then again, it is also entirely possible that, confident or not, it simply didn’t interest him that much. There is ample evidence that he loved to “play around” with various instruments, and no doubt could gain proficiency quite easily with his natural rhythm and keen ear, but as for the dedication and practice it takes to truly master a certain instrument, he simply may not have had the attention span for it. Michael has always struck me as an artist who was far more interested in the raw composition of a piece and in its production than in the tedious process of plunking out its instrumentation. The stories of his amazing composition process, as a virtual one man symphony who could hear entire compositions in his head and dictate the sound of every instrument via his own vocalizations into a tape recorder, are legendary. One may realistically question that with such a rare and gifted ability to use his voice as an entire orchestra (one that I honestly do not think has been matched by any other artist that I am aware of) why would there be any need to tediously plunk out a composition on a single instrument (as most musician/composers do) to arrive at a finished product? Why would he when he could just as easily work out the entire arrangement-harmonies, chorus, lead and rhythm-with his vocal abilities alone?
But again, this is where we must be careful to separate interest and motivation from aptitude. This is something I know more than a little about, as a teacher who works with students on a daily basis. A student can have proficient aptitude and ability for a certain skill-such as creative writing, for example- but often if they are not motivated by what they perceive as a practical outcome for the skill, they aren’t going to devote much time to perfecting it. At best for this student, creative writing may become a hobby-what we might call a mustard seed talent-but not a lifetime profession.
Given the evidence I now have, I am more inclined to put Michael in this category-as a musician who, at best, viewed his own musicianship as a hobby or sideline to his more “serious” art of composing, singing, dancing, and performing. There is nothing wrong with that; it was obviously a conscious choice from an artist who knew that to be a true master, one can’t be a jack of all trades.
A good analogy might be, again, to drag out some of the Prince/MJ comparisons. Both could play instruments, but Prince obviously had a far more developed aptitude because he chose to focus on his musicianship. Both could dance, and I know that Prince had some amazing James Brown-influenced moves when he chose to cut loose, but dance was not a principle focus of his art in the same way that it was for Michael. Both were fair actors, though not great (Michael certainly had more potential for growth, as evidenced in performances like The Wiz) and Prince received terrible reviews for his directing debut with Under The Cherry Moon. My point here is that no matter how great any artist may be in his/her area of expertise, it is virtually impossible for any artist to excel in all fields of entertainment or art. The more likely reality is that they will be great at one or two, competent in a few other areas, and will totally suck at some. Another good case in point would be Queen’s Freddie Mercury, who played piano on many Queen tracks and was obviously a competent player, but according to many sources was always very self deprecating about his abilities and, over time, focused on them less and less in order to put more energy into his performing.
But it also begs the question again of why Michael Jackson, perhaps more than other artist, is often held to this rather unbalanced and unfair standard. After all, when we think of artists like Fred Astaire and Gene Kelly, who were both renowned as great dancers, I don’t hear anyone bashing them or belittling their talent because they didn’t play instruments.
If we go back to our Prince/MJ analogy, it may be fair to say that Prince was certainly a competent dancer, but I never found his style to be especially unique (and again, to be fair, he never made his dancing the centerpiece attraction of his performances). And to be equally fair, we might argue that Michael’s musicianship wasn’t especially unique even if he was quite good by most standards. But remember, for Michael, “good” didn’t cut it-he always wanted to be the best at everything he did, and therein, I think, lies the key. It wasn’t enough for Michael to be a competent musician. I think part of him knew he was good, but he may have honestly felt that he hadn’t the patience and dedication to become “great” at it-and being the perfectionist that he was, this may have been what held him back from showcasing his musicianship talents more.
However, typing the above sentence reminded me of something that his friend David Nordahl had to say during a public Q&A session that I attended in 2010. He told the amusing story of how Michael wanted to paint-in fact, the very basis of their friendship was that Michael wanted David to teach him how to paint. But although Michael had the aptitude, he didn’t have the patience. Nordahl recalled that Michael would get frustrated with the fact that he couldn’t produce something “great” within a few days; something that met with his own standard of what “great art” should be. And that frustration, naturally, led to discouragement. He simply didn’t have the focus to become a great painter because his focus, as always, was on his music.
And yet, when we look at the many sketches and paintings Michael left behind, the initial reaction of many is a stunned disbelief that he possessed such a talent. His best sketches, many completed at a very young age, show a natural ability that still, to this day, astounds many art critics.
Obviously, art would become a kind of secondary talent for Michael that took a backseat to singing and dancing, but who’s to say what he might have been able to do with this talent had he chosen to put the same amount of focus and discipline into it that he applied to his singing and dancing?
So what we know of Michael’s art skills may shed an important light, as well, on his musicianship skills and how he viewed his abilities. Just as with his drawings and paintings, there was an obvious natural talent that was never really developed to its full potential due to the fact that he didn’t have the disciplined focus for it that he had for his music, I think we might safely say the same for his musicianship skills.
But even if we sum it up to such a pat explanation, it still doesn’t answer the big question about Michael’s abilities as a musician: Was he simply an all-too-modest genius who never really gave himself permission to shine, or merely a modest talent who recognized his own limitations?
For that answer, we can only look to the evidence we have-those rare instances when Michael did play an instrument publicly, or informal, private moments that were captured on tape or video, as well as first hand testimonies from those who were privileged to hear him play.
One of the earliest examples that I am aware of is this 1992 Pepsi commercial which featured Michael playing a stripped down, piano version of “I’ll Be There.”
Although detractors might argue that this simple, melodic riff is not an especially challenging number to play, there can be little doubt that his sparse playing perfectly emotes the mood of the song as surely as his beautifully understated vocal. Of course, being that this was a filmed commercial, the playing is not live; it is quite obviously a synched performance to a pre-recorded backing track, so again, perhaps not the best “evidence” per se to convince detractors. Many of the comments on this video point out that we still don’t actually see his hands on the piano. But since this was only a mimed performance to begin with, what difference would it make? What is important is that Michael did do his own playing on that pre-recorded track, just as he did his own vocals, so whether this can count as a “live” performance is really a moot point. The track itself still stands as a testament to his ability to play the instrument. And the fact that this commercial aired on national TV should certainly stand as even more compelling evidence that the public did see this side of Michael, albeit that it was an all too rare glimpse.
Although Michael was said to be quite apt on drums and guitar, it was the piano (and conversely other keyboard instruments such as organs and synthesizers) that he seemed most drawn to. Every home in which he lived always had at least one piano-often more-and these were by no means idle decorations, as there are numerous videos that showcase him playing in informal settings, usually for friends or his children.
In this rare video showcasing Michael’s son Prince, Michael can be heard (and is briefly glimpsed) in the background playing Herbie Hancock’s “Cantaloupe Island.” As with so many of these examples, it is an all too brief snippet that still doesn’t really provide us enough to reach a foregone conclusion as to our question’s answer, but it’s enough to let us know that at the very least, he was definitely quite good on the piano-which alone should be sufficient to quash the silly notions that he couldn’t play anything at all, or was capable only of very basic chords.
An even more telling glimpse is revealed when looking at the liner notes of his albums where the musicians are credited. An excellent case in point would be the HIStory album, for which it is known that he did receive credit for playing on many of the tracks. Here is an online version that I found of the HIStory liner notes. For the sake of brevity, I will only include here the section that is relevant to the current discussion-the musicians’ credits. These are, strictly speaking, the credits for anyone who had a hands-on role in contributing musically to the album’s tracks. I have boldfaced where Michael’s musician credits appear:
Piano Performances by David Foster, Brad Buxer, BIG “Jim” Wright, and Jonathan Mackey.
Keyboards and Synthesizers: Michael Jackson, Jimmy Jam & Terry Lewis, David Foster, Steve “Yada” Porcaro, David Paich, Bill Bottrell, Dallas Austin, R. Kelly, Rene, Brad Buxer, Simon Franglen, Greg Phillinganes, Lafayette Carthon, Michael Boddicker, Chuck Wild, Rob Arbitter, Gary Adante, John Barnes, and Randy Waldman.
Synthesizer Programming: Jimmy Jam & Terry Lewis, Simon Franglen, Steve Porcaro, Brad Buxer, Peter Mokran, Michael Boddicker, Chuck Wild, Andrew Scheps, Rick Sheppard, Rob Hoffman, Bobby Brooks, Jeff Bova, Chris Palmero, Jason Miles, Arnie Schulze, and Gregg Mangiafico.
Drum Programming: Jimmy Jam & Terry Lewis, Peter Mokran, and Andrew Scheps.
Synclavier Programming: Andrew Scheps and Simon Franglen.
Guitars: Slash, Nile Rodgers, Trevor Rabin, Paul Jackson Jr., Steve Lukather, Bill Bottrell, Jeff Mirinov, Michael Jackson, Rob Hoffman, Michael Thompson, Jen Leigh.
Drums and Percussion: Michael Jackson, Jimmy Jam & Terry Lewis, Bill Bottrell, Buddy Williams, Bruce Swedien, Simon Franglen, Rene, Chuck Wild, Bobby Brooks, Bryan Loren, Omar Hakim, and Steve Ferrone.
Bass: David Paich, Colin Wolfe, Louis Johnson, Wayne Pedzwater, Keith Rouster, Doug Grigsby, and Guy Pratt.
Synth Bass: Jimmy Jam & Terry Lewis, and Greg Phillinganes.
Horns: Larry Williams, Jerry Hey, Gary Grant, Bill Reichenbach, and Kim Hutchcroft.
Organ: BIG “Jim” Wright.
Violin Solo: Paul Peabody.
Interestingly, musician credits are generally ordered according to the amount they actually contributed to the track, and here we see Michael’s name listed first in at least two categories, keyboards and drums. This would mean that his role on those two instruments was quite prevalent throughout the recording process. And although his guitar contributions are significantly less, he is still credited as one of the album’s featured guitarists. That track was most likely the opening track “Scream,” for which Michael was credited as having played most of the major instruments-“keyboard, guitar, drums and percussion” according to the allmichaeljackson.com website.
Wait a minute-most of the major instruments on that track? “Scream” is definitely one of the most musically complex tracks of the entire album, with its mixture of industrial beats and funk. Keeping in mind this fresh perspective, let’s take another listen to this classic track. I’m going to post here a more simplified version featuring only the track and lyrics, so that we won’t be distracted by the visual element of its landmark video. The purpose for now is to focus on its instrumentation.
In listening to this track solely for its instrumentation, there are at least three really interesting segments. One is the poppy, Beatles-esque guitar bridge that occurs about 2:23, right after the line “I think I might go insane.” In Michael’s 1993 Mexican deposition he gave one of the most articulate and intelligent definitions of a song’s bridge that I have ever heard, describing it as the moment in the song when everything changes in order to take the listener to a new place, so that when they return to the main verse and chorus, everything is fresh again and yet elevated somehow.
In this section of the song, the mini guitar bridge serves that purpose. It both elevates the track and yet brings it refreshingly to earth after all of the synth-infused grindings and whooshings of the verse and chorus. It is a wonderfully underplayed riff that invokes the same “spacey” vibe that would later become the video’s theme, like someone playing just slightly against the pull of gravity. Unlike most guitar solos, it doesn’t release the song’s tension, however, which is interesting; if anything, the riff merely pulls the song tighter here. It only lasts a few seconds, but manages to stand out as a classic pop guitar riff. This is intensified in the song’s main bridge, in which the guitar finally releases the song’s tension via an understated but nevertheless impressive heavy metal breakdown that is just as abruptly reeled back in at 3:26 with a series of soaring lead chords that again invoke the weightless feel of floating in space. It’s quite interesting, also, to see how many Youtube videos have been posted of heavy metal guitarists covering this track, many of them putting their own spin on it. (It is equally amusing to see how many comments will usually pop up asking who played guitar on the original track!). The fact that this track is one so frequently covered by metal guitarists says something in itself; that, obviously, Michael created a sound in ‘Scream” that other musicians have been trying to imitate or better for twenty-one years. Here is another example in which a website dedicated to serious musicianship has a post from someone wanting to emulate the sounds accomplished in “Scream.”
However, before we get too carried away with giving Michael all of the credit here, keep in mind that Jimmy Jam and Terry Lewis are also credited on the track, and there seems to be some contradiction among sources as to who actually played what. Michael has been credited as playing instruments on a number of other tracks, as well, including “Morphine,” “Break of Dawn,” and “Threatened.” But as some have been quick to argue, an album credit doesn’t tell us a lot because credits can be divvied up in numerous ways-for example, if Michael simply beat boxed the rhythm to a guitarist or the beat to a drummer, that in itself could have been merit for a credit. Unfortunately, we don’t have video footage of these recording sessions that would definitively “confirm” the question once and for all, and even the first hand accounts of engineers, producers, and other musicians who were there have been often frustratingly contradictory, with some claiming that they saw or heard Michael play “beautifully” while others will insist they never knew him to play an instrument at all.
Another unfortunate factor is that, since Michael never played publicly enough for listeners to distinguish a specific style or technique to associate with him, it becomes even more difficult to ascertain when we are actually hearing Michael play an instrument, as opposed to someone else.
However, we still have “Don’t Be Messin’ Around”-a track on which Michael’s piano contribution has been fully confirmed-on which to stake our case. And it stands to reason that if Michael could play this well on a 1980’s era track, he would have only gotten better as time went on.
In a way, it makes more sense than not to think of Michael as a musician. Let’s not forget that Michael came from an entire family of musicians. His father was an accomplished guitarist; he grew up surrounded by brothers and cousins who played instruments; instruments were always a part of the Jackson household. It’s naive to think that Michael could have grown up in such an atmosphere without at least having the curiosity to pick up an instrument from time to time.
It is also quite easy to believe that with his genetics, he was bound to have some degree of natural music talent beyond just singing and dancing. But because he was so good at what he did as The Jackson 5 “front man” there was not a lot of encouragement to develop any latent musicianship skills he may have had. After all, Jackie, Jermaine, and Tito held down the musicianship end of the group. All the same, it’s hard to imagine anyone coming from such a musical background, with Michael’s known curiosity and with so many instruments always within easy reach, having no aptitude or even inclination to play an instrument.
So, to sum up the answer to our question, we know at least one thing for sure. Michael could play instruments, and by the late 1980’s and 1990’s, had become quite adept. What remains more dubious is whether he was truly a Modest Mouse who kept a genius level ability hidden away in the closet, or simply a competent talent who knew his limitations. Until better evidence surfaces, I am still more inclined toward the latter, although I think the few examples we have are certainly intriguing and enough to make one wonder if there was indeed more to Michael’s talent than we’ll ever know.
So what is the true definition of a musician? Merriam Webster defines a musician as someone who “writes, sings or plays music.” By that definition alone, Michael certainly qualifies as a musician-he did all three! Furthermore, I think there is often a tendency to under estimate just how complex his composing abilities actually were. I often see comments where people will brush off his abilities by saying, “Oh, he just told other people what to play.” No thought is given to just how complex that process could be, or how completely intact his ideas came to him. Michael could always “hear” the sounds he wanted for the piece, but communicating those ideas could be challenging since he didn’t read music nor did he have formal training, so of course there are those rather humorous stories of Michael trying to communicate to a musician that it needs to sound “like moonlight” or “like a summer breeze on the beach.”
Michael Famously Demonstrates His Composing Process To Diane Sawyer, Who Called Him A “Hard Wired, 48-Track Digitally Mastered Human”
However, listening to his demos-which he often recorded in his home studio, and for which he usually provided all leads, harmonies and rhythm through vocalizations and crude instrumentation (sometimes out of bottles or whatever else was handy)-are perhaps the best key to understanding his true creative process. In these demos, for example, you can hear just how “complete” these famous tracks came to him, and how he already had much of their musical backbone structure intact before even going into the studio.
“Don’t Stop Til You Get Enough” Home Demo (1978)
Finished Studio Version (1979)
“Wanna Be Startin’ Something” Home Demo (1981)
Finished Studio Version (1982)
“Beat It” Home Demo (1981)
Finished Studio Version (1982)
I think the real question we have to ask is why such an extraordinarily gifted composer, singer and dancer is held to this unfair standard that he is somehow a “lesser” talent because we didn’t see him play an instrument onstage? Much of it has to do with what has been a cultural shift in entertainment priorities, with roots that stretch back to the counter-cultural and “folkie” era when the singer/songwriter became the symbol of “cool.” There still persists, especially among the rock culture, a myth of two polarizing extremes of performance-the authentic musician, or the entertainer, with the belief that the latter is somehow less authentic, less pure, and therefore the lesser talent. And yet history has provided us many examples of great singers and great performers who never played instruments onstage-Frank Sinatra, James Brown, Ella Fitzgerald, Billie Holiday, Diana Ross, just to name a few. Even Elvis Presley was more of a poser, since his guitar was usually just for show (he could strum a few simple chords, so I have read, but not much more-but he was also an underrated choreographer who came up with many of his best dance sequences, including “Jailhouse Rock!”).
Maybe the moral of the story is that we need to stop judging performers by these unfair double standards, and appreciate them for who they are-and what they do best. Who’s to say that one aesthetic of performing is somehow better than another’s? Personal tastes aside, we have to realize that the term “musician” has many standards by which it can be measured-as does the term “genius.”
However, I have mentioned on this blog before that I do think it would have been interesting, at the very least, to see Michael perform in a much more low key and intimate style, such as what Prince was doing with his “Piano & A Microphone” tour, or even to just take a moment out of his usual high octane performances to sit with a guitar and sing a ballad, as Madonna has done on her Rebel Heart tour. It would have been a really nice change of pace that would have gone a long way toward proving his versatility. Who knows, maybe if he had lived he would have gone that route. It’s not as if he could have kept dancing like a twenty-year-old forever. But it was Michael’s father Joseph who had instilled in him at an early age that he had to be “in constant motion” on the stage at all times, a belief that had been further ingrained by his Motown training and further cemented by the enormous success of his famous dance routines. Even his ballads were usually performed in a state of perpetual motion.
For Michael, Even Ballads Like “Human Nature” Were Always Performed In A State Of Perpetual Motion
Given this enormous pressure, is it any wonder Michael wasn’t going to be the sort of performer who would ever sit quietly onstage at a piano or on a stool playing a guitar? It is sad in a way, because his “This Is It’ concerts needn’t have been a grueling marathon test where a fifty-year-old performer of his caliber had to “prove” that he could still do what he did thirty years ago. Personally, I would have loved the opportunity to see Michael Jackson age gracefully into a singer/songwriter of the stage. I’m sure his performances would have still been electrifying-could you imagine him sitting at a piano and singing “Man In The Mirror” with a full backup choir behind him? I can, and I know it would have been absolutely astounding.
But one thing the evidence clearly shows-it wasn’t that he couldn’t. It was because it was a conscious choice he made-the choice of a true musician who felt he had nothing to prove (but perhaps sadly and ironically, everything to prove). We may not always agree with those choices-sometimes we may wish he would have done more of this, or less of that; that he might have shown even more of what he was capable of, but as admirers of his music and art, we must in the end respect the choices he made, as well as respecting him for the artist that he was-not the one we may have sometimes wanted him to be, but for who he was.
A true musician deserves no less.
ETA: As an addendum to this piece, I wanted to add that there are at least two other public occasions where Michael was witnessed playing an instrument (piano). In J. Randy Taraborelli’s biography, it is stated that Michael played piano at his wedding ceremony to Debbie Rowe.
On the insistence of Michael’s mother, Katherine, a devout Jehovah’s Witness, he and Debbie married after his divorce from Lisa. Six months’ pregnant and wearing black, she walked towards him at his suite in a Sydney hotel while he sat at the piano playing ‘Here comes the bride’.
Photos from Michael’s wedding to Debbie Rowe. The piano on which he played “The Wedding March” can clearly be seen behind them.
And here was a personal story recounted on the mjjfancommunity website (unfortunately, the link provided to the story’s original source no longer works):
From the time I was five years old I have been singing in studios all over NYC for commercials, demos and even music albums. My sister, brother and I have sung on albums for Gloria Estefan, Liza Minelli, Maureen McGovern and even soloed on the Canadian Brass Christmas album. One day, my mother got a call from our contractor booking us for a recording at the Hit Factory. We weren’t allowed to know for whom we were singing and we were only allowed one parent per child. Our interest was peaked. We spent the next few days trying to figure out who this mystery recording could be for. We decided to bring three CD covers with us- Frank Sinatra (he was still alive at the time), Madonna and Michael Jackson.
We went to the studio and some guy told us we were going to be singing one word… “Childhood”. He sang it for us once or twice then began recording. All we heard in the cans (headphones) were tracks with no lead vocal. We still couldn’t figure out what or whom this was for. After singing the one word a few times, I saw a man behind the glass in the recording studio step forward out of the darkness with a black hat, a red shirt and a black curl in front of his face. On the talkback we heard, “Can you sing it a little more like this… Childhood” As soon as I heard the voice I grabbed my sister’s hand and spoke without moving my lips “It’s MICHAEL JACKSON!!!!”
I cooly sang “Childhood” about a dozen more times and the engineer thanked us and said we were done. We went back to the green room where our parents were waiting and I grabbed the Bad album cover from my mom and brought it to Michael’s assistant. I asked her if she could please bring it to Michael and have him sign it. The other kids who sang with us began ripping little pieces of paper for him to sign. They were no where near as prepared as my family!!
The assistant said “Let me see what I can do”, and she disappeared for about five minutes. She came back and said, “Can I have all of the kids follow me?” We followed her to a door in the Hit Factory that had a star on it and said “Jackson”. We went into the room and there he was, greeting us at the door with a hand shake and a smile and telling us that it was a pleasure to meet us. Can you imagine? A pleasure to meet us?? His room was filled with some pretty strange things: life-size cut-outs of the Power Rangers, a train set, and a giant globe that rotated. He had pictures of children that he had helped attached to the country they were from.
Michael had many questions for us like if any of us went to camp for the summer. He said that he always asked his parents if he could go to summer camp because it looked like so much fun and of course they told him no!! This was right around the time when the media was questioning whether or not he had married Lisa Marie Presley. I noticed a ring on his hand and I said, “so does that ring mean you are married to Lisa Marie?” He nodded his head yes and said “shhhhhh”. We chatted for a while, he signed our album cover and we went home having what I thought was the greatest day of my life.
A week or two later my mother got another call from our contractor. This time she said Michael wanted to have us back to the studio to record a Christmas song. It was July but when we got to the studio, it was decorated for the holidays. There was snow all over the ground, a tree, Santa who gave us all presents (we each got a Gameboy… tells you how long ago this was!!) and reindeer. Michael came walking right into the studio this time and didn’t hide behind the glass. I guess he felt more comfortable with us this time. He taught us the song himself and stayed with us in the sound booth as we were singing it. After we recorded the song he invited our parents into the studio and had the whole thing catered. We sat around the piano as he played the piano and we all sang Christmas songs. It’s just like Christmas Eve at the Elefante’s (my in-laws)!!!
So on June 25th, when the whole world was in shock of Michael Jackson’s death, these were the memories that all came flooding back for me.