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THIS FILM CONTAINS SOME STRONG LANGUAGE

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I feel rejuvenated, kind of, because after working on it so long,

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it's so much work.

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A lot of people, they're used to just seeing the outcome of work.

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They never see the side of the work you go through to produce

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the outcome, and I feel, you know, rejuvenated and happy,

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it's a jubilation, is what it is.

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It's like a celebration, it's like, "We're done!"

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People were holding on to the fact that Thriller was the biggest selling record in the world.

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How are you going to follow up on something like that?

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It's almost impossible. Try telling that to Michael Jackson, though.

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Thriller is the blockbuster behemoth in the era

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of blockbuster artists. You know, that was the era

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when you had Madonna, Springsteen, Whitney Houston,

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so big stars, big albums, MTV era, music videos are in ascendance.

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And that's the signature album of that era.

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Thriller sold over 100 million copies worldwide to date.

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35 million in the US, over 70 million outside the US,

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and that's not even counting singles.

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There was a mania around Michael

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and Thriller for those three years that was very difficult to

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capture again, and you go back to Elvis, or Frank Sinatra,

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or the Beatles, even today with Justin Bieber or Lady Gaga,

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it's a space and time, the window's only opened so far,

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and Thriller captured that. It was magical.

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MUSIC: "Want to Be Startin' Somethin'" by Michael Jackson

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♪ Startin' somethin'

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♪ Startin' somethin'

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♪ Startin' somethin' Startin' somethin'... ♪

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Thriller broke every record that existed, and it sold more records

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than any other album in the history of the music industry.

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To most of us he's just Wacko Jacko,

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and if some of the press are to be believed, he bathes in

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Perrier water, eats flowers for lunch, and sleeps in an oxygen tent,

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often with a chimp, a snake,

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and an alien, in a sort of bizarre love triangle.

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All that stuff is trash,

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and it all comes from the fact that Michael Jackson doesn't do

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interviews, and they have nothing else to write about him.

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What surprises me sometimes, the people that get distracted

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and myopic about Michael's eccentricities, when they listen to

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his music and watch his performance, that's like someone saying,

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"Hey, there's a cobweb on the ceiling of the Sistine Chapel."

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This article is from Playboy magazine, January 1985.

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It's called Freaks And The American Ideal Of Manhood, by James Baldwin.

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"He will not swiftly be forgiven for having turned so many tables,

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"for he damn sure grabbed the brass ring."

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People tend to reduce the backlash to Michael Jackson to these

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eccentricities, but I think that the James Baldwin quote

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suggests that it was more than that. Michael Jackson became

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one of the most powerful figures in the entertainment industry, and

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certainly he was the most powerful African-American to that time.

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And in addition to that, 1985, along with John Branca,

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he acquires the Beatles catalogue.

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When we announced the acquisition of the Beatles' catalogue,

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it was almost a feeling that Michael didn't have the right

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also to be a savvy businessmen.

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It was a misconception that Michael went behind Paul McCartney's back

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to bid on the catalogue, but that was absolutely not the case.

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I remember when he bought the Beatles' catalogue.

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He came to me and he said they want whatever it was at that time,

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52 million, it sounds like too much money. He said, "I think you're wrong."

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A lot of those Beatles' songs are considered sacred songs by people.

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They are really just more than pop songs on the radio,

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they meant something in their lives beyond almost any songs they heard.

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I mean, Sergeant Pepper, particularly right?

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And for him to take that catalogue and use it the way he's used it,

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it's going to have some kind of backlash.

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After Thriller, you know, Michael had a few extra dollars to invest,

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and we had an investment committee, and we used to look at

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all sorts of possible deals for Michael,

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and he never had interest in buildings, tax shelters,

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the kinds of things that other people

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were interested in at the time.

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One day Michael came to me and he said,

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"I saw Paul McCartney's song catalogue.

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"He showed it to me. Do you think you can help me buy copyrights?"

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And I said, "Absolutely, Michael."

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We bought a couple Dion & The Belmont's songs,

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Runaround Sue and The Wanderer.

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Then we bought the Sly & The Family Stone catalogue,

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which was a major acquisition for Michael.

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Michael's 28 years old now. He's not a baby dumpling now.

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He's grown, he's listened, he's going up,

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and those are the kinds of things he wants to say now.

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I feel the stretches are there,

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but they don't feel like they've been conscious stretches.

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I think that things have just occurred along the way to say that

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this is the way I feel like thinking,

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and I feel like feeling at this time.

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And one thing we've really tried not to do, to sit down and worry about

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competing with Thriller,

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because that's really self-destructive, you know.

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And it's dishonest.

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He would always write with a red Sharpie

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on his mirrors in his rooms, wherever he was.

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He would write 100 million albums sold for Bad, to remind him,

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when he would stand in front of the mirror, brushing his teeth,

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brushing his hair, doing himself up, that that was his goal.

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I remember sitting on Michael's mirror,

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he wrote the big note, 100 million albums.

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And that was a goal that he set for himself, but I remember one time,

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I was in Hong Kong with Michael, and it was in between the records,

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and I said, "you know, Mike, there's a lot of pressure.

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"Maybe you should think,

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"why not do an album of cover songs that inspired you?

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"Jackie Wilson, James Brown, just going little left of centre,

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"so you don't feel like you have to compete with yourself."

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And he looked at me like I was from Mars.

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Because Michael thrived on that pressure,

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he thrived on pushing himself, and everybody else around him.

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If this record doesn't do as well as Thriller, and doesn't win

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a whole bunch of Grammy awards, he's going to be very unhappy.

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He would call during the Thriller and the Bad days.

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"My record's not number one.

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"My record's not number one, what are we going to do?"

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I said, "Michael, we're going to go to sleep, we're going to get up tomorrow,

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"and we're going to work on getting you a number one."

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Michael didn't have limits, Michael thought bigger than anyone.

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Off The Wall was a huge hit, and when he told people after

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that album, "I'm going to follow this up with an album that's going

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"to sell twice as much as Off The Wall, people didn't believe him." And he did it.

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And so with Bad, he said, "OK, I'm going to do it again."

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Bad has the special distinction.

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It's the first album in history to generate five consecutive

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number one pop singles, and that record was only recently

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tied by Katy Perry, with her Teenage Dream album.

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It started with I Just Can't Stop Loving You, in the summer of 1987.

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- Bad.
- Then you had The Way You Make Me Feel.
- Man In The Mirror.

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And finally, Dirty Diana.

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It's a testament to his swag, really, that he

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even made another record after Thriller.

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It did take in five years.

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I was 16 years old when the Bad album came out.

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I remember being highly obsessed with every aspect of that album.

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We were just like, "What is this going to be?"

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Because this was a humongous deal.

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I guess in some way or another, my education of the industry,

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and those inside it and outside it really starts with that record.

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The original album title was Smooth Criminal.

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That was the original name of the album,

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and again, Michael called me up, and said this is what he wants to do.

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A couple of days later I got a call

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from Quincy Jones, "Larry, I got a problem with the album title."

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I go, "Why? It's kind of cool, it's edgy, it's kind of cool."

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He says, "I understand Larry, but I will not allow this album to be called Smooth Criminal."

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He felt that the connotation was inappropriate at this time.

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So I said, "Let me call Walter, I'll get back to you."

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Because Walter Yetnikoff was very involved with this project.

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And Walter says, "I don't care what you call it, just put it out!"

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This was the most published music image of the year.

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We prepared for it for three days. We were shooting the video in the subway in New York.

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Every day after shooting, we would go, "OK, let's do it."

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"I'm tired. I got something to do." Next day. OK.

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"No, no, no, no, I'm tired." OK, last day, Frank says,

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"Mike, he's been sitting here for three days, you got to take this picture."

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"OK, Frank." Three rolls of 12 shots later he goes, "That's enough."

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And this is what we came up with.

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There was an album cover shot,

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and it was done in a very '30s style.

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It was a copy of a Vogue photograph of Gloria Swanson that had

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been shot back in the '30s.

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And they took a piece of lace, and they stuck it

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in front of the camera, and they shot through the lace,

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Michael's face, it was just a headshot, so it looked like

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Michael was wearing a veil, or a piece of lace on his face.

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He did have a veil, and I said "I'm not putting out an album cover

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"with that all over his face."

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He called me up, and he went, "That is not the album cover!"

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We wanted a tough album. We wanted a tough image, anyway.

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You know, because,

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because it's important that you keep trying to change, change up.

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And this is the one where I'd asked him to write all the tunes.

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This room was built for Michael.

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This studio D in Westlake

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was built for Michael Jackson.

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For specifically the Bad record.

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I was in this big room here, we had Phillinganes in the other room,

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E, I believe it was, doing all the synth parts.

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We had Jerry Hey and the other guys doing other arrangements

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in the other rooms.

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We had this whole building locked up. Locked out!

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Everybody's working on different tunes on the same record.

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Well, the Bad song really sets up the entire album,

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because this is a song in which Michael's addressing

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the huge backlash that had taken place since thriller.

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The whole world has to answer right now, "Who's bad?"

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Well... It is quite different from anything I've ever recorded,

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or I've ever written.

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It's a bold statement to say, but I mean it in all goodwill.

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You know, so don't take it too seriously.

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I'm saying, it's like a way of saying you're cool, you're all right,

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you're tough. I'm not saying I'm like criminally bad.

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Of course, that's how people will take it.

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It's a bold statement to make.

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Opening line is, "Your butt is mine," that's extremely...

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You know, like, let's get it on!

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So, I wanted to do a duet with Prince,

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and have the video with him coming to kick Michael's ass.

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The rivalry between the two of them, between Prince and Michael,

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for real music lovers at that time, and real music fans,

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that's a rivalry that is unmatched,

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and will go unmatched for many, many years.

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Michael impacted dances.

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Nobody can touch him dancing.

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When I try to dance, I'd try, not to mimic him,

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but I try to, you know, not let him down, in a way.

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Prince impacted musicians.

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Michael Jackson and Prince were the polarising figures of the '80s.

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Are you a Michael fan or a Prince than?

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You can't do that! You know why? Because I think that Michael

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and Prince came into our lives at a different point.

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They're synonymous to me, they're equal.

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Michael and Prince are our heroes, they're our musical heroes.

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My annual Michael Jackson versus Prince party,

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that's something I've been doing for a while,

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really just to pay homage and tribute to those two artists.

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I'm Michael Jordan, Mike Tyson, Michael Jackson.

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I met Michael once at, ironically enough, a Prince concert.

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I was performing with Prince in Vegas.

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After the show was over was when I met him backstage.

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I thought that they had nemeses all these years,

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but it turns out that Mike was a pretty big fan of Prince as well.

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So Michael said,

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"Branca, set up a meeting. I want Prince to come over."

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The meeting took place at Hayvenhurst, 4641 Hayvenhurst.

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And Bob Cavallo went over with Prince...

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So, you actually met then?

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They met in Michael's study, and I recall, I wasn't there that night,

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but I remember, I was told the next day, it was not a happy meeting.

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Apparently Prince brought over some sort of voodoo box, and Michael

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was convinced that Prince was trying to cast a spell on him.

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If Quincy has gone to Prince and said, "Write a song for you

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and Michael to do," that song would have gotten recorded.

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Not by Michael!

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But Michael wouldn't have done it!

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Now Prince wasn't doing no song with Michael Jackson. All right?

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00:14:02,120 --> 00:14:05,880
That was a very optimistic view that he would get down...

239
00:14:05,880 --> 00:14:09,920
At that point, in the Sign O' The Times era, he's rolling.

240
00:14:09,920 --> 00:14:13,440
Oh, the cool thing about playing on the title track, Bad,

241
00:14:13,440 --> 00:14:17,640
was I shared a solo with Jimmy Smith.

242
00:14:17,640 --> 00:14:21,800
Jimmy Smith played on that, jazz organist, played on that.

243
00:14:21,800 --> 00:14:22,880
He was great.

244
00:14:27,280 --> 00:14:28,960
That was the groove, you know.

245
00:14:28,960 --> 00:14:32,560
And then Jimmy did this organ solo on top of that.

246
00:14:32,560 --> 00:14:34,600
And here he comes...

247
00:14:34,600 --> 00:14:38,920
ORGAN SOLO

248
00:14:42,240 --> 00:14:45,040
And here I come after that. Watch out!

249
00:14:52,840 --> 00:14:57,240
By '86 and '87, hip-hop is now becoming the dominant thread

250
00:14:57,240 --> 00:15:00,760
in a lot of aspects of American pop culture.

251
00:15:00,760 --> 00:15:03,640
Michael's responding to that to some degree with the Bad video,

252
00:15:03,640 --> 00:15:06,600
and imaging of Bad, but it's done in a Michael Jackson way.

253
00:15:06,600 --> 00:15:10,760
The first step that was taken was to bring in Martin Scorsese.

254
00:15:12,200 --> 00:15:16,560
Martin Scorsese to direct the first video from the album, and

255
00:15:16,560 --> 00:15:19,960
Michael never called them videos, it was the short film from the album.

256
00:15:19,960 --> 00:15:21,960
You'd never hear him say "music video".

257
00:15:21,960 --> 00:15:23,320
"I'm doing short films."

258
00:15:23,320 --> 00:15:26,200
He wanted people not just to hear the music, but see it.

259
00:15:26,200 --> 00:15:29,680
We had a meeting with Quincy and Michael in Los Angeles,

260
00:15:29,680 --> 00:15:33,640
and I found that really nobody had... They were wide open to ideas.

261
00:15:33,640 --> 00:15:37,600
Nobody had ideas what kind of story we could make up,

262
00:15:37,600 --> 00:15:40,360
what kind of issue we could deal with.

263
00:15:40,360 --> 00:15:42,600
And so I suggested that I hire Richard Price,

264
00:15:42,600 --> 00:15:45,520
who just wrote Colour of Money for me to do the script.

265
00:15:45,520 --> 00:15:51,840
I just thought, Michael Jackson and Marty Scorsese, that's way too...

266
00:15:51,840 --> 00:15:55,920
That's way too bizarre for words, absolutely I will do it.

267
00:15:55,920 --> 00:15:58,200
If it's to be anything, it should be something very,

268
00:15:58,200 --> 00:16:00,800
very different from what he's done before, and that means

269
00:16:00,800 --> 00:16:07,960
a dramatic piece, and something with a lot of style, a lot of grit to it.

270
00:16:07,960 --> 00:16:11,760
I don't remember exactly who said this, but he said Michael

271
00:16:11,760 --> 00:16:15,240
wanted to make a video to show the brothers he's down.

272
00:16:15,240 --> 00:16:18,280
So he goes to the, you know, the Italian asthmatic, who goes

273
00:16:18,280 --> 00:16:22,320
to the Jewish asthmatic, and we're going to make Michael a homie!

274
00:16:22,320 --> 00:16:23,720
We gave him these three ideas.

275
00:16:23,720 --> 00:16:26,680
Michael and I both loved the one called Pressure -

276
00:16:26,680 --> 00:16:28,360
that was the working title of this one.

277
00:16:30,160 --> 00:16:31,240
About peer pressure.

278
00:16:31,240 --> 00:16:33,840
I had just read this article that a friend of mine,

279
00:16:33,840 --> 00:16:36,480
Robert Sam Anson, had written about Edmund Perry.

280
00:16:36,480 --> 00:16:39,360
Within the hour, police revealed more information about the death

281
00:16:39,360 --> 00:16:40,640
of a young man from Harlem.

282
00:16:40,640 --> 00:16:44,000
He had graduated with honours from an exclusive New England prep school.

283
00:16:44,000 --> 00:16:47,600
Edmund Perry was killed by a police bullet on Morningside Drive.

284
00:16:47,600 --> 00:16:51,720
They had read stories like this before, too many of them.

285
00:16:51,720 --> 00:16:54,800
Black kid, 17, from Harlem, poor,

286
00:16:54,800 --> 00:16:57,680
with another black youth, tries to rob a white man,

287
00:16:57,680 --> 00:16:59,520
who turns out to be a plain-clothes cop.

288
00:16:59,520 --> 00:17:02,880
Edmund Perry was a kid from Harlem.

289
00:17:02,880 --> 00:17:06,360
He and his brother, Jonah, had both gone to prep schools,

290
00:17:06,360 --> 00:17:11,240
said they were like, not privileged, but they were exposed to privilege.

291
00:17:11,240 --> 00:17:15,240
And this was a kid that was very much kind of dealing with

292
00:17:15,240 --> 00:17:20,200
what is becoming a more common kind of internal conflict

293
00:17:20,200 --> 00:17:24,160
among black kids who were put in isolated environments...

294
00:17:24,160 --> 00:17:28,200
I want to say before you go, you know, you did a real good job this term.

295
00:17:28,200 --> 00:17:29,400
Thanks.

296
00:17:29,400 --> 00:17:31,840
..and are asked in that passage

297
00:17:31,840 --> 00:17:34,600
to let go of the culture that spawned him.

298
00:17:35,600 --> 00:17:37,400
Yo, the black is back, my man...

299
00:17:39,040 --> 00:17:42,840
So, I just ran off, and I wrote this thing, and I rate in like two days.

300
00:17:42,840 --> 00:17:46,840
You know, it's only ten pages, and Marty thought it was great.

301
00:17:46,840 --> 00:17:47,880
Oh, yeah.

302
00:17:49,880 --> 00:17:50,920
He did ask me,

303
00:17:50,920 --> 00:17:55,840
he took me aside, and said, "Do people live here?"

304
00:17:55,840 --> 00:17:58,240
I said, "Oh, yeah, this is a good one,

305
00:17:58,240 --> 00:18:01,720
"because we went to some others, and I was pretty..."

306
00:18:01,720 --> 00:18:03,680
- Was he scared?
- A little bit, I think.

307
00:18:03,680 --> 00:18:08,200
For him, I thought, it was a shock to see that.

308
00:18:09,480 --> 00:18:12,440
Folks, I think we better go through a walk, man.

309
00:18:12,440 --> 00:18:13,880
How did I get cast in this?

310
00:18:13,880 --> 00:18:17,160
Audition, you know, we all had to audition.

311
00:18:17,160 --> 00:18:19,200
Were there a lot of people?

312
00:18:19,200 --> 00:18:21,960
It was quite a few guys, I don't know exactly how many.

313
00:18:21,960 --> 00:18:28,440
Wesley came in, there was no... Yeah, there was no question.

314
00:18:28,440 --> 00:18:29,960
And the guys I went in with,

315
00:18:29,960 --> 00:18:35,960
they all approached the characters kind of B-boy-ish.

316
00:18:35,960 --> 00:18:39,560
You know, characteristic of B-boys, with the, "Yo, man, yeah."

317
00:18:39,560 --> 00:18:40,840
This type of thing.

318
00:18:40,840 --> 00:18:44,400
And that's not my particular style, so I went the opposite direction

319
00:18:44,400 --> 00:18:47,560
of what they did, and I played it very, very subtle.

320
00:18:47,560 --> 00:18:51,120
Yo, college? What's your major, man?

321
00:18:51,120 --> 00:18:53,400
This is high school, there ain't no majors.

322
00:18:54,640 --> 00:18:55,680
Then what's your minor?

323
00:18:56,880 --> 00:19:01,800
Wesley Snipes, his appearance in a video was probably one of

324
00:19:01,800 --> 00:19:04,680
the most notable acting debuts,

325
00:19:04,680 --> 00:19:07,880
(and the fact that he made his mark known in a music video,

326
00:19:07,880 --> 00:19:12,520
everyone remembered Wesley Snipes after that moment.

327
00:19:12,520 --> 00:19:13,960
Are you bad?

328
00:19:15,280 --> 00:19:18,400
Or is that what they teach you up in that little sissy school of yours?

329
00:19:18,400 --> 00:19:20,040
How to forget who your friends are.

330
00:19:20,040 --> 00:19:22,080
Let me tell you something, I don't care what

331
00:19:22,080 --> 00:19:24,920
they teach you up there, you either down, or you ain't down.

332
00:19:24,920 --> 00:19:30,680
And one of the things that I found was this piece of paper,

333
00:19:30,680 --> 00:19:33,520
which he wrote "Bad Film" on there.

334
00:19:33,520 --> 00:19:36,400
And it's titled, "Today's Motto."

335
00:19:36,400 --> 00:19:40,480
"Let nothing be a take unless I'm extremely satisfied,

336
00:19:40,480 --> 00:19:43,040
"unless I felt it in my soul."

337
00:19:43,040 --> 00:19:45,240
You want to see who's bad?

338
00:19:45,240 --> 00:19:49,400
You want to see who's bad? Well, come on, come on, let's do it.

339
00:19:49,400 --> 00:19:52,520
Let's see who's bad, man. Come on. Come on! Let's go.

340
00:19:53,840 --> 00:19:55,680
As we're putting the piece together,

341
00:19:55,680 --> 00:19:57,000
working on the choreography,

342
00:19:57,000 --> 00:20:00,000
it's towards the middle of it that they say, "We have a location,"

343
00:20:00,000 --> 00:20:04,360
so they took us to Brooklyn, to the Hoyt-Schermerhorn subway station.

344
00:20:04,360 --> 00:20:08,680
There is a place where the train is actually running under us.

345
00:20:08,680 --> 00:20:12,160
There's a midsection, that's the place we went to.

346
00:20:12,160 --> 00:20:15,840
The first time we walked in, we were with Martin Scorsese, Quincy Jones,

347
00:20:15,840 --> 00:20:18,960
myself and Michael, and we're walking through there,

348
00:20:18,960 --> 00:20:22,080
and Michael goes, "Wow, this is great.

349
00:20:22,080 --> 00:20:25,400
"Yeah, it looks real. Look, there's even some pee stains over there.

350
00:20:25,400 --> 00:20:27,760
"Wow, it's really nasty, yeah, that's great."

351
00:20:27,760 --> 00:20:31,400
Well, even if we catch them with the last two steps.

352
00:20:31,400 --> 00:20:34,960
No, that's OK. That's OK. Oh, sure, because he's hiding as well.

353
00:20:34,960 --> 00:20:36,440
It's ideal if we don't see it.

354
00:20:36,440 --> 00:20:38,520
And then we come back, and he's hiding.

355
00:20:38,520 --> 00:20:40,960
He's frozen again, that would be great if we could do that.

356
00:20:46,760 --> 00:20:49,160
FOOTSTEPS

357
00:20:58,520 --> 00:21:03,200
- That move is in Taxi Driver.
- Yeah, I like... Yeah, I like that.

358
00:21:05,960 --> 00:21:08,800
Right, let's go again, same thing. Same thing.

359
00:21:11,760 --> 00:21:15,520
Speak. 19, Kansas, take five. And action.

360
00:21:15,520 --> 00:21:20,080
Give me a quarter. Run, move, go! Run!

361
00:21:21,200 --> 00:21:23,240
Cut.

362
00:21:23,240 --> 00:21:25,280
I mean, there was a moment there with the old man,

363
00:21:25,280 --> 00:21:26,680
when he said, "Gimme a quarter."

364
00:21:26,680 --> 00:21:31,320
Give me a quarter. Run! Go! Run!

365
00:21:31,320 --> 00:21:35,000
And the guy... Something happened, sort of hurt his arm a little bit.

366
00:21:35,000 --> 00:21:37,800
- No, no, it's all right. It's all right.
- What can we do?

367
00:21:37,800 --> 00:21:40,400
We're going to take care of it. I promise you it won't happen.

368
00:21:40,400 --> 00:21:43,320
No, please, do it in the same way, I mean, it has to be done in that way.

369
00:21:43,320 --> 00:21:46,760
The only time Michael really became, I think, very,

370
00:21:46,760 --> 00:21:49,120
very concerned was at that moment, where he begged me,

371
00:21:49,120 --> 00:21:50,920
"Please don't do another take on the guy.

372
00:21:52,240 --> 00:21:54,760
"I didn't want to hurt anybody." I mean, really begged me.

373
00:21:54,760 --> 00:21:57,640
I said, "No, no, no, it's all right. Actually it's all very good."

374
00:21:57,640 --> 00:22:00,720
"Please, I beg you." It was true, we did have it, so...

375
00:22:00,720 --> 00:22:03,680
You know, I went with that.

376
00:22:03,680 --> 00:22:06,440
That's what I want to see. It's going to be like this.

377
00:22:06,440 --> 00:22:09,320
- He can't touch me though.
- No.
- He can't touch me.

378
00:22:09,320 --> 00:22:12,240
OK, so just run through the lines this way.

379
00:22:12,240 --> 00:22:15,880
That's the way it's going down. Huh? That's it?

380
00:22:15,880 --> 00:22:19,520
Well, you ain't down with us! You ain't bad, you ain't bad at all.

381
00:22:26,880 --> 00:22:29,440
LAUGHTER

382
00:22:32,720 --> 00:22:35,440
You know, Wesley's talking to him, and Wesley's got this fierce

383
00:22:35,440 --> 00:22:38,120
kind of profile and everything like that, and it's almost like

384
00:22:38,120 --> 00:22:41,200
I felt scared from Michael, like he was going to get eaten.

385
00:22:41,200 --> 00:22:46,880
I was so happy to see Michael Jackson being tough.

386
00:22:46,880 --> 00:22:51,760
I was so happy to see him in what seemed like regular surroundings.

387
00:22:51,760 --> 00:22:55,040
I think I was a little bit caught off guard, because it was

388
00:22:55,040 --> 00:23:01,840
like Michael talking, Michael sort of being very rough, a little bit.

389
00:23:01,840 --> 00:23:04,880
I don't know if he was trying to reaffirm his connection with

390
00:23:04,880 --> 00:23:09,240
the black community, or what he was trying to do, but it was successful.

391
00:23:09,240 --> 00:23:11,440
It's one shot. Whatever is best for him.

392
00:23:11,440 --> 00:23:14,080
Whatever is good to him at this point, it's only one shot.

393
00:23:14,080 --> 00:23:16,840
The thing is also, when he drops down into it.

394
00:23:16,840 --> 00:23:18,600
And everybody starts surrounding him.

395
00:23:18,600 --> 00:23:21,160
If we drop down in front of the three guys the opposite way,

396
00:23:21,160 --> 00:23:23,760
the three guys will be in the way of the camera.

397
00:23:24,800 --> 00:23:27,080
What I didn't realise is that, you know,

398
00:23:27,080 --> 00:23:31,240
I have this like earnest social drama, and all of a sudden it's

399
00:23:31,240 --> 00:23:36,360
going to end in this choreographed big song, and it was like, "Huh?"

400
00:23:58,320 --> 00:23:59,840
Oh, I remember this, yeah.

401
00:24:03,040 --> 00:24:06,640
Now, the thing is... Oh, this is pretty much, you know...

402
00:24:06,640 --> 00:24:10,040
What are you going to do, dance us to death? I think he says...

403
00:24:10,040 --> 00:24:11,720
What, y'all going to dance us to death?

404
00:24:13,200 --> 00:24:14,560
You got to be kidding me.

405
00:24:19,800 --> 00:24:22,320
He probably was going to dance them to death.

406
00:24:24,680 --> 00:24:30,040
Because you ain't saying nothing here. Raise up.

407
00:24:30,040 --> 00:24:34,800
I think the Bad moment, outfit wise,

408
00:24:34,800 --> 00:24:38,680
was far more influential than the Thriller moment.

409
00:24:38,680 --> 00:24:42,200
Like, the Thriller moment might have been more iconic,

410
00:24:42,200 --> 00:24:43,880
but Bad was more influential.

411
00:24:43,880 --> 00:24:45,960
So, I like almost dress like that today.

412
00:24:45,960 --> 00:24:48,840
When everybody's out, they're all staring, and the pipe breaks.

413
00:24:48,840 --> 00:24:50,280
- Yeah, right.
- Everybody looks.

414
00:24:55,600 --> 00:24:56,640
So, what's up?

415
00:24:58,200 --> 00:25:00,160
We're going to hold that a while.

416
00:25:11,320 --> 00:25:14,240
Michael was very interested in incorporating body popping

417
00:25:14,240 --> 00:25:15,720
into his videos.

418
00:25:17,320 --> 00:25:21,280
So, he feels like the dancers themselves know more

419
00:25:21,280 --> 00:25:25,120
about what we're doing, so he chose to use the street dancers

420
00:25:25,120 --> 00:25:27,720
to co-choreograph the videos with him.

421
00:25:27,720 --> 00:25:31,080
♪ I'm giving you on count of three

422
00:25:31,080 --> 00:25:33,440
♪ To show your stuff or let it be... ♪

423
00:25:33,440 --> 00:25:35,400
Now hit those little things like - boom!

424
00:25:35,400 --> 00:25:38,160
Do the little moves, those little up rhythms.

425
00:25:38,160 --> 00:25:41,440
He would work with the dancers in the daytime, but me and Casper

426
00:25:41,440 --> 00:25:44,160
would go up to the Helmsley Palace hotel and work with Michael

427
00:25:44,160 --> 00:25:46,840
at night, and we'd be working to 2.30, 3 in the morning.

428
00:25:46,840 --> 00:25:49,720
And, you know, we'd take turns creating different things,

429
00:25:49,720 --> 00:25:53,160
making different things happen, and then he'd get in there,

430
00:25:53,160 --> 00:25:55,800
and he do his thing, I'd get in to do my thing,

431
00:25:55,800 --> 00:25:57,320
and we would take turns doing that.

432
00:25:57,320 --> 00:26:00,400
It wasn't like a dance-off, like competing against each other,

433
00:26:00,400 --> 00:26:03,400
but like pushing each other, inspiring each other,

434
00:26:03,400 --> 00:26:05,320
and pushing each other to the next limit.

435
00:26:05,320 --> 00:26:08,720
So at first it was myself and Casper and Michael only,

436
00:26:08,720 --> 00:26:11,360
then after I got hold of Gregg Burge,

437
00:26:11,360 --> 00:26:14,120
and Gregg Burge started coming over to the rehearsals with us

438
00:26:14,120 --> 00:26:18,800
as well. And we were just gelling, just coming up with ideas,

439
00:26:18,800 --> 00:26:20,800
so there was nothing constructive yet.

440
00:26:20,800 --> 00:26:23,960
♪ You know I'm bad, I'm bad Come on... ♪

441
00:26:23,960 --> 00:26:28,360
- I know people made a lot of, "What's a shamone?"
- Shamone.

442
00:26:28,360 --> 00:26:31,680
Shamone is basically his hat nod to Mavis Staples.

443
00:26:31,680 --> 00:26:35,640
♪ Shamone, shamone. ♪

444
00:26:35,640 --> 00:26:39,600
He could have went with James Brown, and being like, "Lookee here,"

445
00:26:39,600 --> 00:26:41,960
or Marvin Gaye and "Hoooo!"

446
00:26:41,960 --> 00:26:45,040
I love the fact that he played that homage to one of

447
00:26:45,040 --> 00:26:47,440
the under-championed soul singers of her day.

448
00:26:47,440 --> 00:26:50,560
♪ Shamone, shamone, shamone... ♪

449
00:26:50,560 --> 00:26:54,120
Michael has this scooting move, where he scooting forward.

450
00:26:55,520 --> 00:26:57,400
That's a Michael signature step.

451
00:26:57,400 --> 00:27:00,840
I said, "Michael, that has never been done in a group before.

452
00:27:00,840 --> 00:27:02,160
"Could you imagine if all of us

453
00:27:02,160 --> 00:27:04,160
"were scooting across the camera like that?"

454
00:27:04,160 --> 00:27:07,600
So now it's looking like a train, "chuka-chuka-chuka-chuka..."

455
00:27:07,600 --> 00:27:11,440
with a group of us doing it. And it worked out beautifully.

456
00:27:11,440 --> 00:27:14,600
♪ You're throwing stones to hide your hands

457
00:27:14,600 --> 00:27:16,520
♪ Well, they say the sky's the limit

458
00:27:16,520 --> 00:27:18,560
♪ And to me that's really true

459
00:27:18,560 --> 00:27:20,640
♪ And my friends you have seen nothing

460
00:27:20,640 --> 00:27:22,560
♪ Just wait till I get through

461
00:27:22,560 --> 00:27:25,680
♪ Because I'm bad, I'm bad Shamone... ♪

462
00:27:26,680 --> 00:27:30,200
Were you familiar with the Michael Jackson "grab the crotch"?

463
00:27:30,200 --> 00:27:32,560
No, I was not familiar with that at all!

464
00:27:32,560 --> 00:27:34,120
It's all through the whole piece.

465
00:27:34,120 --> 00:27:35,960
The whole thing, it's all throughout.

466
00:27:35,960 --> 00:27:38,440
Within the moves, it's right, I mean, what can I say?

467
00:27:38,440 --> 00:27:41,160
- The way he's moving.
- But it was a surprise, though, right?

468
00:27:41,160 --> 00:27:42,760
Yes, it was, yeah.

469
00:27:42,760 --> 00:27:45,440
♪ You know I'm bad, I'm bad

470
00:27:45,440 --> 00:27:47,600
♪ You know it

471
00:27:47,600 --> 00:27:49,960
♪ You know I'm bad, I'm bad

472
00:27:49,960 --> 00:27:51,960
♪ You know it, you know... ♪

473
00:27:51,960 --> 00:27:57,120
He took what was formatted as a choreography,

474
00:27:57,120 --> 00:28:00,720
and he learned it to the point where he could break out of it when

475
00:28:00,720 --> 00:28:04,040
he wanted to, and get right back into it, without skipping a beat.

476
00:28:06,280 --> 00:28:10,520
Michael would just spin and snap out of it, and grab himself, "Hooooo!"

477
00:28:12,960 --> 00:28:15,040
We never knew any of this was going to happen,

478
00:28:15,040 --> 00:28:16,800
and that goes to show you his genius.

479
00:28:16,800 --> 00:28:19,320
What makes one go out and mug a person?

480
00:28:19,320 --> 00:28:22,280
I mean, there's so much involved in a person who does that.

481
00:28:23,960 --> 00:28:28,280
Insecurities, frustration, resentment, all of these things.

482
00:28:31,240 --> 00:28:35,320
In one movement, I had him lifting the leg up, with that feeling

483
00:28:35,320 --> 00:28:38,560
of wanting to fly, like we all want to do, we want to fly, and the

484
00:28:38,560 --> 00:28:43,200
next movement, it's just anger, and the next movement, its tenderness.

485
00:28:43,200 --> 00:28:45,040
Michael's seen West Side Story.

486
00:28:45,040 --> 00:28:48,520
Michael knows Jerome Robbins' choreography, I mean, I know

487
00:28:48,520 --> 00:28:52,840
he does, because that's where that looked like it came from, to me.

488
00:28:52,840 --> 00:28:56,000
Gregg, he contributed, because he's a technical dancer, you know,

489
00:28:56,000 --> 00:28:59,000
he's into jazz, and stuff like that, so all the really

490
00:28:59,000 --> 00:29:01,720
West Side Story-looking stuff is what Gregg put into the piece.

491
00:29:01,720 --> 00:29:04,080
I tried to keep some street stuff in it.

492
00:29:04,080 --> 00:29:06,360
HE GRUNTS

493
00:29:06,360 --> 00:29:08,200
You see those type of moves in there.

494
00:29:10,960 --> 00:29:13,080
♪ You know I'm bad, I'm bad

495
00:29:13,080 --> 00:29:14,800
♪ Shamone

496
00:29:14,800 --> 00:29:16,520
♪ You know I'm bad, I'm bad... ♪

497
00:29:16,520 --> 00:29:18,080
- The crane down...
- Oh, yeah.

498
00:29:18,080 --> 00:29:20,400
Low ceiling, I mean, the ceiling was low.

499
00:29:22,400 --> 00:29:24,600
♪ You know, you know Come on

500
00:29:24,600 --> 00:29:26,640
♪ And the whole world has to answer right now

501
00:29:26,640 --> 00:29:28,160
♪ When I tell you once again... ♪

502
00:29:28,160 --> 00:29:30,040
- There it is.
- Oh, my God!

503
00:29:30,040 --> 00:29:33,600
I get that it wasn't funny, but it seemed like a good idea at the time.

504
00:29:33,600 --> 00:29:36,360
Something my daughter, when she saw this, she said,

505
00:29:36,360 --> 00:29:39,200
"Dad, you were in jail?" I said, "No, no, no, no!"

506
00:29:39,200 --> 00:29:42,520
It was my intention to make this dance move throughout this

507
00:29:42,520 --> 00:29:44,520
subway, I wanted things to move.

508
00:29:46,680 --> 00:29:50,600
The big issue of course, ultimately, was for such a master of dancing,

509
00:29:50,600 --> 00:29:52,480
the concern was to show from head to toe.

510
00:29:52,480 --> 00:29:53,800
I had to try and convince him

511
00:29:53,800 --> 00:29:57,760
that I think the camera moves could work all together.

512
00:29:57,760 --> 00:30:00,360
♪ And the whole world has to answer right now

513
00:30:00,360 --> 00:30:03,400
♪ When I tell you once again Who's bad? ♪

514
00:30:03,400 --> 00:30:07,440
It does come back at the end to a reality in which they split.

515
00:30:07,440 --> 00:30:10,600
And of course, it's all summed up, which is an interesting idea,

516
00:30:10,600 --> 00:30:14,120
that Jackson came up with, to do what he calls a breakdown.

517
00:30:14,120 --> 00:30:17,960
A breakdown which turned out to be in the tradition of a preacher,

518
00:30:17,960 --> 00:30:21,520
doing a sermon. And we did that three cameras, live.

519
00:30:23,240 --> 00:30:26,200
And Michael goes, "OK, guys, I want you to just follow me."

520
00:30:26,200 --> 00:30:28,720
I think I had to be one of the only singers in the group,

521
00:30:28,720 --> 00:30:30,920
because a lot of the guys were studying dance.

522
00:30:30,920 --> 00:30:32,600
- Who's bad? ALL:
- Who's bad?

523
00:30:32,600 --> 00:30:34,800
- Who's bad? ALL:
- Who's bad?

524
00:30:35,920 --> 00:30:39,520
Oh, my God, it was church, it was James Brown.

525
00:30:39,520 --> 00:30:42,720
If any place reaffirmed him, or if he was trying to reaffirm to

526
00:30:42,720 --> 00:30:45,320
people who he was, and where his roots were...

527
00:30:45,320 --> 00:30:47,680
HE SCREAMS FOLLOWED BY BACKING SINGERS

528
00:30:47,680 --> 00:30:50,560
And the soulfulness that he has, and frankly,

529
00:30:50,560 --> 00:30:55,240
the blackness that he was, it is those last 30 seconds...

530
00:30:55,240 --> 00:30:56,920
- # You know
- You know

531
00:30:56,920 --> 00:30:58,760
- # You know it
- You know it

532
00:30:58,760 --> 00:31:00,560
- # You know
- You know

533
00:31:00,560 --> 00:31:02,040
- # You know it
- You know it... #

534
00:31:02,040 --> 00:31:05,800
- Sometimes he lost us, you know...
- HE GARBLES SPEECH

535
00:31:05,800 --> 00:31:07,160
THEY CHANT

536
00:31:07,160 --> 00:31:08,840
"So, guys, naaa, naaa, na..."

537
00:31:08,840 --> 00:31:11,880
- # Ask your mother
- Your mother

538
00:31:11,880 --> 00:31:13,680
- # Ask your sister
- Your sister

539
00:31:13,680 --> 00:31:15,040
- # Ask me
- Ask me

540
00:31:15,040 --> 00:31:17,440
- # You've been doing wrong
- You've been doing wrong

541
00:31:17,440 --> 00:31:19,360
- # You're doing wrong
- You're doing wrong

542
00:31:19,360 --> 00:31:21,400
- # You're doing me wrong
- You're doing me wrong

543
00:31:21,400 --> 00:31:23,640
- # You're doing wrong
- You're doing wrong... #

544
00:31:33,800 --> 00:31:36,160
And this is something that he envisioned,

545
00:31:36,160 --> 00:31:39,040
and he was feeling, and it finally got to that...

546
00:31:39,040 --> 00:31:40,480
HE HISSES

547
00:31:55,240 --> 00:31:56,880
So, that's the way it goes down, hey?

548
00:32:21,000 --> 00:32:23,600
There was a lot of talk at first of doing a different thing,

549
00:32:23,600 --> 00:32:26,960
maybe everyone smiling, and being happy with it.

550
00:32:26,960 --> 00:32:28,480
18 apple, take three.

551
00:32:29,680 --> 00:32:31,160
And action.

552
00:32:34,600 --> 00:32:36,920
Yo, it's cool, all right.

553
00:32:36,920 --> 00:32:39,920
I mean, there ain't no hard feelings or nothing.

554
00:32:42,880 --> 00:32:45,880
But then I just said, "It just doesn't seem to work."

555
00:32:45,880 --> 00:32:47,880
The fellas have to more or less except him,

556
00:32:47,880 --> 00:32:50,640
and they accept them, and they go their own way, that's it.

557
00:32:51,640 --> 00:32:54,920
Last week Michael Jackson re-entered human history,

558
00:32:54,920 --> 00:32:57,680
to gladden mankind with his latest album,

559
00:32:57,680 --> 00:33:01,320
thus triggering a wave of media silliness and cross-promotion.

560
00:33:01,320 --> 00:33:05,680
CBS television let off the festival of foolishness Monday night.

561
00:33:05,680 --> 00:33:09,880
IT broadcast a half-hour special on Jackson and his new album.

562
00:33:11,400 --> 00:33:13,800
I mean, when that video comes on Monday night,

563
00:33:13,800 --> 00:33:15,960
everyone's going to be glued to their TV screen,

564
00:33:15,960 --> 00:33:17,160
with their friends saying,

565
00:33:17,160 --> 00:33:19,440
"did you see that? Did you see that? Did you see that?"

566
00:33:19,440 --> 00:33:21,800
It was before the age of the internet, I mean,

567
00:33:21,800 --> 00:33:24,840
the most that I could do was call somebody else's house

568
00:33:24,840 --> 00:33:27,880
to have three-way, who called another friend to have three-way,

569
00:33:27,880 --> 00:33:35,840
like seven of us watched this short film, one three-way, in dead silence.

570
00:33:35,840 --> 00:33:39,520
I was just transfixed in front of the TV.

571
00:33:39,520 --> 00:33:42,960
We took all the documentary footage we could find on Michael,

572
00:33:42,960 --> 00:33:46,000
from the very early stages, when he joined Motown records,

573
00:33:46,000 --> 00:33:51,680
it ended with a video clip of him in London,

574
00:33:51,680 --> 00:33:56,520
with hundreds of girls screaming and yelling, and we put this rumble

575
00:33:56,520 --> 00:33:59,800
track underneath the screaming and yelling to really enhance it.

576
00:33:59,800 --> 00:34:02,680
It was just like this with the Beatles.

577
00:34:02,680 --> 00:34:07,240
And Michael just loved this comment

578
00:34:07,240 --> 00:34:11,360
by this woman of comparing him to the Beatles.

579
00:34:11,360 --> 00:34:14,240
He lit up when he saw that, he just turned to me from the chair

580
00:34:14,240 --> 00:34:17,680
and said, "I love it, Larry. I love it."

581
00:34:17,680 --> 00:34:21,040
If you saw it, you witnessed one of the great bold-faced

582
00:34:21,040 --> 00:34:25,720
masterpieces of promotional hype in this hype-splattered decade.

583
00:34:25,720 --> 00:34:27,200
This video is sending out some

584
00:34:27,200 --> 00:34:30,600
very strange and mixed signals, social signals,

585
00:34:30,600 --> 00:34:33,280
the cry for some critical analysis in the media.

586
00:34:33,280 --> 00:34:36,840
Some people in the press got down on it because,

587
00:34:36,840 --> 00:34:41,160
firstly they were making fun of Michael Jackson in it,

588
00:34:41,160 --> 00:34:47,280
and then some people got onto the note of, "Is this racist?

589
00:34:47,280 --> 00:34:52,000
"Are you exploiting a tragedy for the sake of a music entertainment?"

590
00:34:52,000 --> 00:34:54,160
You know, Marty's in Morocco,

591
00:34:54,160 --> 00:34:56,880
Quincy Jones is on the red carpet somewhere

592
00:34:56,880 --> 00:35:00,600
and I'm the idiot in Long Island that getting all the calls.

593
00:35:00,600 --> 00:35:05,080
"No, it's not racist, what are you talking about?!" Freaking out, like a good liberal.

594
00:35:05,080 --> 00:35:07,400
There was a ballad that was released,

595
00:35:07,400 --> 00:35:11,800
the first track from Thriller, which was a duet with Paul McCartney.

596
00:35:11,800 --> 00:35:14,600
He duplicated that by doing a duet with Siedah Garrett.

597
00:35:14,600 --> 00:35:18,240
25 years ago, I sat at this very spot,

598
00:35:18,240 --> 00:35:22,280
and played this very piano to record I Just Can't Stop Loving You.

599
00:35:22,280 --> 00:35:24,680
MICHAEL: I just wanna lay next to you for a while.

600
00:35:27,280 --> 00:35:30,040
You look so beautiful tonight.

601
00:35:32,240 --> 00:35:34,920
Your eyes are so lovely.

602
00:35:34,920 --> 00:35:37,600
Your mouth is so sweet.

603
00:35:38,960 --> 00:35:41,400
A lot of people misunderstand me.

604
00:35:41,400 --> 00:35:44,640
That's because they don't know me at all.

605
00:35:46,480 --> 00:35:48,800
I just want to touch you.

606
00:35:48,800 --> 00:35:50,080
And hold you.

607
00:35:52,040 --> 00:35:54,400
I need you.

608
00:35:54,400 --> 00:35:56,160
God, I need you.

609
00:35:58,240 --> 00:36:00,760
I Just Can't Stop Loving You is an interesting song

610
00:36:00,760 --> 00:36:04,160
because it's the first single released off the album,

611
00:36:04,160 --> 00:36:06,120
and so the firing squad was ready.

612
00:36:06,120 --> 00:36:08,920
They would have ripped anything apart because they were ready,

613
00:36:08,920 --> 00:36:12,160
they were ready to attack whatever he threw out there.

614
00:36:12,160 --> 00:36:14,400
In spite of that, it goes number one.

615
00:36:14,400 --> 00:36:16,800
To me, I Can't Stop Loving You is like,

616
00:36:16,800 --> 00:36:19,720
close to his Burt Bacharach song.

617
00:36:19,720 --> 00:36:22,600
It was actually intended as a duet with Whitney Houston.

618
00:36:22,600 --> 00:36:25,520
This award honours you for your consistent artistic

619
00:36:25,520 --> 00:36:28,800
and technical excellence in all forms of video

620
00:36:28,800 --> 00:36:31,480
and for raising the standard of the art form to new horizons.

621
00:36:31,480 --> 00:36:33,760
- Thank you, Whitney.
- You're welcome.

622
00:36:33,760 --> 00:36:37,600
To all the fans around the world, thank you very much, and I love you.

623
00:36:37,600 --> 00:36:41,640
So Arista Records says, "We don't want Whitney to be over-exposed."

624
00:36:41,640 --> 00:36:43,000
Clive Davidson!

625
00:36:43,000 --> 00:36:44,760
CHUCKLING

626
00:36:44,760 --> 00:36:47,960
When I see Clive, I'm going to give him hell.

627
00:36:47,960 --> 00:36:51,000
Just kidding, just kidding, everybody calm down.

628
00:36:51,000 --> 00:36:53,880
I remember when it came out I was really disappointed

629
00:36:53,880 --> 00:36:57,240
because I was like, you're going to put out a slow song

630
00:36:57,240 --> 00:37:00,600
after this whole run of Thriller and all these songs,

631
00:37:00,600 --> 00:37:02,880
you're going to put out a slow song?

632
00:37:02,880 --> 00:37:07,120
Come on, this is the big comeback. Where's the music video?

633
00:37:07,120 --> 00:37:09,360
And who's that girl singing?

634
00:37:09,360 --> 00:37:11,840
I only later found out it was Siedah Garrett.

635
00:37:11,840 --> 00:37:14,200
And there weren't very many people in the studio.

636
00:37:14,200 --> 00:37:18,440
It was just Michael, Quincy, Bruce Swedien and me.

637
00:37:18,440 --> 00:37:21,280
And Quincy just sort of over his shoulder said,

638
00:37:21,280 --> 00:37:23,680
"Hey, Sid, you like the song?"

639
00:37:23,680 --> 00:37:27,520
And I'm going, "Yeah." Knitting. "Yeah, I like it."

640
00:37:27,520 --> 00:37:31,680
He said, "You think you can sing it?" I'm like, "Yeah."

641
00:37:31,680 --> 00:37:35,320
So I walked in this room and I see these two mic stands

642
00:37:35,320 --> 00:37:37,840
and there's music sheets on the mic stands

643
00:37:37,840 --> 00:37:41,760
and in the moment that I saw the music sheets where it said,

644
00:37:41,760 --> 00:37:45,920
"Michael, Siedah, Michael, Siedah," that was the moment I realised,

645
00:37:45,920 --> 00:37:50,680
oh, my God, I'm doing a duet with Michael Jackson!

646
00:37:50,680 --> 00:37:53,520
♪ I hear your voice now

647
00:37:53,520 --> 00:37:56,040
♪ You are my choice now

648
00:37:56,040 --> 00:37:59,320
♪ The love we bring

649
00:38:00,640 --> 00:38:02,800
♪ Heaven's in my heart

650
00:38:02,800 --> 00:38:05,680
♪ At your call, I hear harps

651
00:38:05,680 --> 00:38:08,160
♪ And angels sing. ♪

652
00:38:08,160 --> 00:38:11,520
I'm singing, my eyes are closed, # You know how I... #

653
00:38:11,520 --> 00:38:16,920
And Michael started tossing, I think it was popcorn.

654
00:38:16,920 --> 00:38:19,680
I'm singing, my eyes closed and I'm feeling this,

655
00:38:19,680 --> 00:38:22,560
and then Quincy, all Quincy sees is me, you know,

656
00:38:22,560 --> 00:38:25,800
he said, "Sid, this is studio time, you're wasting time, Siedah,

657
00:38:25,800 --> 00:38:27,760
"you're wasting an expensive studio."

658
00:38:27,760 --> 00:38:29,800
And Michael is cracking up.

659
00:38:29,800 --> 00:38:33,200
I Just Can't Stop Loving You started at 3am.

660
00:38:33,200 --> 00:38:35,720
That's one of those you get the phone call to wake up

661
00:38:35,720 --> 00:38:38,240
and, "We need to record right now."

662
00:38:38,240 --> 00:38:41,160
And we were done probably in an hour and a half.

663
00:38:41,160 --> 00:38:45,000
On the album version of I Just Can't Stop Loving You,

664
00:38:45,000 --> 00:38:48,960
you make some very strong sensuous remarks to a woman

665
00:38:48,960 --> 00:38:50,920
that you're lying next to.

666
00:38:50,920 --> 00:38:54,040
- I was in a bed when I was doing that.
- Really?
- Yeah.

667
00:38:54,040 --> 00:38:57,240
I was lying in bed, the cover and everything.

668
00:38:58,960 --> 00:39:01,600
♪ At night when the stars shine

669
00:39:01,600 --> 00:39:04,800
♪ I pray in you I'll find

670
00:39:04,800 --> 00:39:08,480
♪ A love so true

671
00:39:08,480 --> 00:39:11,560
♪ When morning awakes me

672
00:39:11,560 --> 00:39:14,120
♪ Will you come and take me?

673
00:39:14,120 --> 00:39:15,920
♪ I'll wait for you

674
00:39:17,480 --> 00:39:20,600
♪ You know how I feel

675
00:39:20,600 --> 00:39:23,280
♪ I won't stop until

676
00:39:23,280 --> 00:39:25,480
♪ I hear your voice saying "I do"

677
00:39:25,480 --> 00:39:27,520
♪ I do

678
00:39:27,520 --> 00:39:30,360
♪ This thing can't go wrong

679
00:39:30,360 --> 00:39:32,720
♪ This feeling so strong

680
00:39:32,720 --> 00:39:37,440
♪ My life ain't worth living if I can't be with you. ♪

681
00:39:37,440 --> 00:39:42,360
When I was recording my bits, I didn't need any charts,

682
00:39:42,360 --> 00:39:44,160
I would just listen to the demo,

683
00:39:44,160 --> 00:39:46,440
really, internalise the parts that way

684
00:39:46,440 --> 00:39:51,000
and in talking a little bit with Michael and getting his wishes across, musically,

685
00:39:51,000 --> 00:39:53,200
I just translate all that and play it.

686
00:39:55,680 --> 00:39:58,800
♪ Hee-hee-hee, won't you, girl. ♪

687
00:40:11,840 --> 00:40:13,920
APPLAUSE

688
00:40:13,920 --> 00:40:16,320
I was slated to be on the Bad tour.

689
00:40:16,320 --> 00:40:19,280
I was convinced by my record company and other people

690
00:40:19,280 --> 00:40:22,720
that I needed to do a record cos the duet had just come out.

691
00:40:22,720 --> 00:40:24,960
I'd rehearsed with them for a week

692
00:40:24,960 --> 00:40:29,480
when I decided I wanted to do my record so I pulled out.

693
00:40:29,480 --> 00:40:31,720
♪ At night when the stars shine

694
00:40:31,720 --> 00:40:34,480
♪ I pray that I'll find

695
00:40:34,480 --> 00:40:36,480
♪ A love so true. ♪

696
00:40:36,480 --> 00:40:40,040
The band used to bet on whether Michael was getting excited

697
00:40:40,040 --> 00:40:42,400
during the song. Now...

698
00:40:42,400 --> 00:40:46,280
- Singing to you?
- Yeah. I say that's a stretch.

699
00:40:47,840 --> 00:40:50,960
♪ I'll wait for you

700
00:40:52,040 --> 00:40:54,520
♪ You know how I feel

701
00:40:54,520 --> 00:40:56,600
♪ I won't stop until... ♪

702
00:40:56,600 --> 00:41:00,800
Working with Michael and doing the duet is really, it's intense.

703
00:41:00,800 --> 00:41:04,000
Every time we do that, it's a different experience, you know.

704
00:41:04,000 --> 00:41:07,200
And he draws you in so much and just singing a song into his eyes

705
00:41:07,200 --> 00:41:10,920
and having him look at you, it's really exciting.

706
00:41:10,920 --> 00:41:13,000
♪ This feeling so strong

707
00:41:13,000 --> 00:41:15,560
BOTH: # My life ain't worth living

708
00:41:15,560 --> 00:41:18,000
BOTH: # If I can't be with you

709
00:41:18,000 --> 00:41:22,200
♪ I just can't stop loving you

710
00:41:22,200 --> 00:41:26,080
♪ Oh! I just can't stop loving you

711
00:41:27,560 --> 00:41:33,400
♪ And if I stop, tell me just what will I do?

712
00:41:34,560 --> 00:41:37,920
♪ I just can't stop loving you. ♪

713
00:41:37,920 --> 00:41:43,000
Michael Jackson has such a great instinct for the groove,

714
00:41:43,000 --> 00:41:47,280
like the groove in Michael Jackson, he was rocking at all times,

715
00:41:47,280 --> 00:41:49,440
he could hear the groove.

716
00:41:49,440 --> 00:41:53,320
So if you take that groove and you put it to orchestration,

717
00:41:53,320 --> 00:41:56,000
it makes it bigger, it makes it more powerful.

718
00:41:56,000 --> 00:42:00,520
Quincy Jones/Michael Jackson collaboration was historic.

719
00:42:00,520 --> 00:42:05,600
It was a match made in heaven because first of all,

720
00:42:05,600 --> 00:42:09,720
there was a tremendous amount of mutual respect.

721
00:42:09,720 --> 00:42:14,760
There is no-one in popular music history like Quincy,

722
00:42:14,760 --> 00:42:18,200
as an orchestrator, as a composer.

723
00:42:18,200 --> 00:42:21,640
Coming from all of his background, Count Basie,

724
00:42:21,640 --> 00:42:25,960
Frank Sinatra, Dinah Washington, playing trumpet in Lionel Hampton's band.

725
00:42:25,960 --> 00:42:29,800
The most beautiful part about the love affair, and that's what it is,

726
00:42:29,800 --> 00:42:33,080
the love affair between a producer, whatever you want to call it,

727
00:42:33,080 --> 00:42:35,200
the person that's on the other side,

728
00:42:35,200 --> 00:42:38,760
a person that loves that artist enough to never want to see him in trouble,

729
00:42:38,760 --> 00:42:41,520
and only wants to see the best for that artist,

730
00:42:41,520 --> 00:42:45,040
to come up with the best results,

731
00:42:45,040 --> 00:42:49,120
is an incredible trust, where you can say,

732
00:42:49,120 --> 00:42:52,920
"Jump, Michael, there's no parachute, there's no net,

733
00:42:52,920 --> 00:42:56,560
"there's nothing there, there's 34 stories down, jump."

734
00:42:56,560 --> 00:43:02,280
One of the great things about Quincy is that he has this ability

735
00:43:02,280 --> 00:43:07,440
of mixing all kinds of different genres

736
00:43:07,440 --> 00:43:10,520
and personalities into one beautiful blend.

737
00:43:10,520 --> 00:43:14,080
Because he only uses the best, the creme de la creme of musicians.

738
00:43:14,080 --> 00:43:17,200
Working with Quincy was like being at school.

739
00:43:17,200 --> 00:43:20,800
I learned so much about separation,

740
00:43:20,800 --> 00:43:23,680
in trying to make a record where everyone,

741
00:43:23,680 --> 00:43:26,720
he used to say, "Everybody can't come in the door at the same time."

742
00:43:26,720 --> 00:43:29,160
And he used to always say, "You can't polish doo-doo."

743
00:43:29,160 --> 00:43:33,480
You can't polish doo-doo. You know, you've got to have a great song at the beginning.

744
00:43:33,480 --> 00:43:37,320
When we look at the end of a day and I have goosebumps,

745
00:43:37,320 --> 00:43:40,680
and Michael has goosebumps and Bruce Swedien, the engineer, has goosebumps,

746
00:43:40,680 --> 00:43:42,920
then I think we've got something special.

747
00:43:42,920 --> 00:43:46,240
And Quincy just puts his little fairy dust over it

748
00:43:46,240 --> 00:43:50,760
and it's a Quincy Jones project and it's kind of, as he says,

749
00:43:50,760 --> 00:43:53,840
"Leave space for God to walk through the door and create some magic."

750
00:43:53,840 --> 00:43:56,200
Michael Jackson had been into champagne music.

751
00:43:56,200 --> 00:43:58,560
You know how in St Tropez when you order champagne

752
00:43:58,560 --> 00:44:04,240
they bring the sparklers out with the champagne? Michael saw that 20 years ago ahead and made a sound.

753
00:44:04,240 --> 00:44:07,720
Michael Jackson made the sound of fabulous. Him and Quincy.

754
00:44:07,720 --> 00:44:11,680
And Michael was one of those sources of energy where he brought so much,

755
00:44:11,680 --> 00:44:15,240
so much originality but also an amazing collaborator.

756
00:44:15,240 --> 00:44:19,120
He's so disciplined and he's got that perfect balance

757
00:44:19,120 --> 00:44:24,920
of soul and science. He knows the working parts of his craft.

758
00:44:24,920 --> 00:44:28,160
And he has total trust in an intuitive part of his craft,

759
00:44:28,160 --> 00:44:32,000
and so that's the balance. The head and heart.

760
00:44:32,000 --> 00:44:34,760
Off The Wall, Thriller, Bad.

761
00:44:34,760 --> 00:44:39,560
They created three hurricanes that basically went through the globe

762
00:44:39,560 --> 00:44:42,560
and everybody got caught up and danced.

763
00:44:42,560 --> 00:44:47,720
Well, we're here today to try to finish up a session

764
00:44:47,720 --> 00:44:53,520
with Michael Jackson singing in Spanish and in French.

765
00:44:53,520 --> 00:44:55,800
We've spoken about this for years and years,

766
00:44:55,800 --> 00:44:59,280
from when we were doing Off The Wall and we were doing Thriller,

767
00:44:59,280 --> 00:45:02,320
but we never got around to it because by the time

768
00:45:02,320 --> 00:45:07,040
we finished the album, we'd do disco versions and we'd do videos et cetera

769
00:45:07,040 --> 00:45:11,920
and I think inside we weren't really sure whether we could make it work.

770
00:45:11,920 --> 00:45:13,480
♪ Como la briza... ♪

771
00:45:13,480 --> 00:45:17,480
The one thing I didn't think was possible

772
00:45:17,480 --> 00:45:20,880
was just to do a translation of the song.

773
00:45:20,880 --> 00:45:23,800
- Word for word, you mean, right?
- Yes.

774
00:45:23,800 --> 00:45:27,000
So what I said was, "Let me understand the song

775
00:45:27,000 --> 00:45:32,400
"and I'll be as close as I can to what the song was about."

776
00:45:32,400 --> 00:45:34,800
♪ Tu me haces sentir

777
00:45:34,800 --> 00:45:37,560
♪ Deseos de vivir

778
00:45:37,560 --> 00:45:39,400
♪ Junto a ti por siemp're

779
00:45:39,400 --> 00:45:41,520
♪ Tu amor es mi suerte. ♪

780
00:45:41,520 --> 00:45:44,080
One more. I think I need more level in the phones,

781
00:45:44,080 --> 00:45:45,840
like I'm drowning the track out.

782
00:45:45,840 --> 00:45:49,920
It was a privilege for me to watch the way he performed

783
00:45:49,920 --> 00:45:52,640
and the way he handled this.

784
00:45:52,640 --> 00:45:54,920
He felt perhaps a bit vulnerable.

785
00:45:57,200 --> 00:46:01,200
I'm sorry. You can continue. Here we go.

786
00:46:01,200 --> 00:46:02,920
When you control the whole thing,

787
00:46:02,920 --> 00:46:06,800
all of a sudden now somebody's telling you how to do something

788
00:46:06,800 --> 00:46:10,480
in a language that is not yours, and so you are vulnerable.

789
00:46:10,480 --> 00:46:14,280
And I made it my main effort to make him feel comfortable,

790
00:46:14,280 --> 00:46:18,560
not to feel that I was in any way mocking him because it's not easy.

791
00:46:18,560 --> 00:46:22,720
This is the first time he ever tried to do anything in Spanish that I know of.

792
00:46:22,720 --> 00:46:26,760
I wanted Michael to sound like, you don't know who that is.

793
00:46:26,760 --> 00:46:31,640
The pronunciation was so good,

794
00:46:31,640 --> 00:46:35,240
that...I was stunned.

795
00:46:35,240 --> 00:46:37,240
♪ Y cuando no estas

796
00:46:37,240 --> 00:46:39,840
♪ No hay felicidad. ♪

797
00:46:39,840 --> 00:46:42,280
Both of them: "Mi vida no es vida."

798
00:46:42,280 --> 00:46:45,400
My life is not a life. Si tu te vas, if you leave.

799
00:46:45,400 --> 00:46:48,280
♪ Si tu te vas. ♪

800
00:46:48,280 --> 00:46:53,000
Todo me amor eres tu - all my love, you are all my love.

801
00:46:53,000 --> 00:46:57,040
♪ Todo mi amor eres tu. ♪

802
00:46:57,040 --> 00:47:02,920
When people found out that Michael Jackson had sung a song in Spanish,

803
00:47:02,920 --> 00:47:06,600
they were very, very, very proud and happy.

804
00:47:10,200 --> 00:47:13,680
Well, The Hayvenhurst studio is located in a guest house here

805
00:47:13,680 --> 00:47:17,280
at the Jacksons' property, at their home,

806
00:47:17,280 --> 00:47:21,680
and the studio was used for recording demos

807
00:47:21,680 --> 00:47:25,760
and I worked with Michael recording and developing his ideas, his songs,

808
00:47:25,760 --> 00:47:28,680
his arrangements, his productions for the Bad album.

809
00:47:28,680 --> 00:47:30,680
Over a two, three year period of time,

810
00:47:30,680 --> 00:47:33,360
it was just a non-stop work in progress.

811
00:47:33,360 --> 00:47:40,640
The number of demos that we worked on for Bad was 60, maybe 65 demos.

812
00:47:40,640 --> 00:47:45,960
When I received the demos, they were in really good shape at that time.

813
00:47:45,960 --> 00:47:49,200
I guess I didn't realise at the time but what we were doing

814
00:47:49,200 --> 00:47:50,960
was we were forming the B team.

815
00:47:50,960 --> 00:47:54,440
Quincy always called his team the A-Team. His engineer, Bruce Swedien...

816
00:47:54,440 --> 00:47:56,440
John Robinson on drums...

817
00:47:56,440 --> 00:48:00,640
- ..arranger Jerry Hayes...
- ..Nathan East on bass...

818
00:48:00,640 --> 00:48:03,680
Keyboards would have been Greg Phillinganes.

819
00:48:03,680 --> 00:48:06,120
I started with Michael here at Hayvenhurst.

820
00:48:06,120 --> 00:48:09,400
We were the kind of initial team which was John Barnes,

821
00:48:09,400 --> 00:48:12,280
myself, Michael, Bill Bottrell, Chris Currell.

822
00:48:12,280 --> 00:48:15,520
And then at times other musicians would come in,

823
00:48:15,520 --> 00:48:18,960
most prominent would be David Williams, who is no longer with us.

824
00:48:18,960 --> 00:48:22,760
And in some ways I think Michael kind of liked that vibe.

825
00:48:22,760 --> 00:48:26,920
He kind of liked the vibe of, you know, having a little competition

826
00:48:26,920 --> 00:48:29,720
to see who could come up with the best thing.

827
00:48:29,720 --> 00:48:33,000
I think this is one of the things that he learned from his Motown days,

828
00:48:33,000 --> 00:48:34,920
something he learned from Berry Gordy.

829
00:48:34,920 --> 00:48:37,800
We weren't making demos, we were making records.

830
00:48:37,800 --> 00:48:41,200
Anybody else would be perfectly happy

831
00:48:41,200 --> 00:48:44,760
to accept a Michael demo as a finished record,

832
00:48:44,760 --> 00:48:46,440
let me put it that way.

833
00:48:46,440 --> 00:48:51,440
We would work every single day on creating individual sounds for songs

834
00:48:51,440 --> 00:48:55,000
that were going to ultimately be on the record.

835
00:48:55,000 --> 00:48:59,800
We'd record them, re-record them, different keys,

836
00:48:59,800 --> 00:49:02,400
different speeds, different instrumentation,

837
00:49:02,400 --> 00:49:06,720
and so that became kind of an experiment in how far can we push.

838
00:49:06,720 --> 00:49:12,080
Michael would say, "You know, it starts in this very room."

839
00:49:12,080 --> 00:49:17,840
And from this room it goes out and it spreads over the entire world.

840
00:49:17,840 --> 00:49:22,600
It's...quite an experience to be back here,

841
00:49:22,600 --> 00:49:24,560
at Hayvenhurst studio,

842
00:49:24,560 --> 00:49:29,080
just as it was when I last left it, almost 25 years ago.

843
00:49:29,080 --> 00:49:31,400
DOG BARKS

844
00:49:31,400 --> 00:49:34,440
We never knew what we were going to do when we showed up.

845
00:49:34,440 --> 00:49:37,600
If Michael was inspired, we followed it.

846
00:49:37,600 --> 00:49:41,160
So this is Michael singing multiple harmony parts.

847
00:49:41,160 --> 00:49:46,240
This is Michael double-tracking, the mid, the low, the high parts.

848
00:49:46,240 --> 00:49:51,560
There is actually ten tracks of Michael singing his own backgrounds on this song.

849
00:49:51,560 --> 00:49:53,560
♪ The way you make me feel

850
00:49:55,720 --> 00:49:57,920
♪ You really turn me on

851
00:50:00,080 --> 00:50:01,920
♪ You knock me off my feet. ♪

852
00:50:01,920 --> 00:50:05,760
You can hear the difference in sound quality from being out here

853
00:50:05,760 --> 00:50:08,680
in the music room, to walking into the bathroom.

854
00:50:08,680 --> 00:50:10,880
Now this room was one of Michael's favourite places

855
00:50:10,880 --> 00:50:13,880
because of the nature of the surfaces in this room.

856
00:50:13,880 --> 00:50:19,640
One of the things that we would do is we would record with the door to the shower open,

857
00:50:19,640 --> 00:50:23,760
much more reflective, a lot of what we call early reflection,

858
00:50:23,760 --> 00:50:27,400
a lot of brightness, a lot of reinforcement to how things sound.

859
00:50:36,000 --> 00:50:40,760
HUMMING AND SCATTING AN APPROXIMATION OF THE LYRICS

860
00:50:48,760 --> 00:50:52,680
♪ I like the style of your walk your talk, your dress

861
00:50:52,680 --> 00:50:55,920
♪ I feel your fever from miles around

862
00:50:57,160 --> 00:50:58,320
♪ I'll pick you up...

863
00:50:59,880 --> 00:51:01,560
♪ ..paint the town

864
00:51:01,560 --> 00:51:04,080
♪ Just kiss me baby and tell me twice

865
00:51:04,080 --> 00:51:07,720
♪ That you're... ♪ I know this part!

866
00:51:07,720 --> 00:51:10,160
♪ The way you make me feel. ♪

867
00:51:10,160 --> 00:51:11,800
Ha, I know that!

868
00:51:11,800 --> 00:51:15,160
♪ It really turns me o-o-on

869
00:51:16,240 --> 00:51:20,440
♪ Knocking me off of my feet now, baby

870
00:51:20,440 --> 00:51:23,480
♪ Lonely days are gone. ♪

871
00:51:26,640 --> 00:51:30,960
I met with Quincy, Quincy Jones and Frank,

872
00:51:30,960 --> 00:51:34,960
to find out what they were looking for in the video.

873
00:51:34,960 --> 00:51:37,920
And they said, basically, we want to take Michael to another level,

874
00:51:37,920 --> 00:51:40,160
especially with his relationships with women.

875
00:51:40,160 --> 00:51:44,400
And then I talked to Michael and I said, "Where do you want it to happen?" He said, "Skid Row."

876
00:51:44,400 --> 00:51:46,600
We wrote a long prequel, just like they did in Bad.

877
00:51:46,600 --> 00:51:49,960
- I contacted August Wilson.
- Yeah?!
- Yeah.

878
00:51:49,960 --> 00:51:51,880
Cos I'm from Pittsburgh and so was he.

879
00:51:51,880 --> 00:51:54,840
- What did August say?
- No. He said no.

880
00:51:54,840 --> 00:51:58,120
I did this little documentary about the guys on the street,

881
00:51:58,120 --> 00:52:03,640
real, real stuff, and showed it to Michael.

882
00:52:03,640 --> 00:52:05,720
He looked at it and actually said,

883
00:52:05,720 --> 00:52:09,400
"Can we make the video look like this?" Because it was all handheld and jerky.

884
00:52:09,400 --> 00:52:12,800
And I said, "If that's what you want. You're sure you want that?" He said, "yeah."

885
00:52:12,800 --> 00:52:14,400
Get out of here, man!

886
00:52:14,400 --> 00:52:17,200
Check out that rear end! Whoo!

887
00:52:17,200 --> 00:52:20,160
Don't touch my head! No!

888
00:52:20,160 --> 00:52:21,720
You're acting like a little tramp!

889
00:52:21,720 --> 00:52:25,320
And we actually used real gang members in the video.

890
00:52:25,320 --> 00:52:28,920
We had the V13s down here on this corner

891
00:52:28,920 --> 00:52:33,080
and the Crips on this corner, and some of the guys were smoking

892
00:52:33,080 --> 00:52:37,200
and Michael came and he said, "Jo, the guys are smoking down there.

893
00:52:37,200 --> 00:52:41,200
"It's kind of bothersome." And I just turned and said,

894
00:52:41,200 --> 00:52:44,680
"Will you fucking guys quit fucking smocking?!"

895
00:52:44,680 --> 00:52:47,560
And Michael, he almost panicked, he almost hid behind me

896
00:52:47,560 --> 00:52:49,280
because this is all these gang members,

897
00:52:49,280 --> 00:52:51,560
we had cops everywhere, though. It wasn't a problem.

898
00:52:51,560 --> 00:52:52,600
Hey!

899
00:53:05,360 --> 00:53:08,200
When he sees the girl, he did a thing with his fingers going...

900
00:53:08,200 --> 00:53:09,360
FINGERS CLICKING

901
00:53:11,440 --> 00:53:15,720
It happened once, my brother was operating the camera and caught it. I said, "Oh, my God, thank God."

902
00:53:15,720 --> 00:53:18,720
Michael had the best-sounding fingers, didn't he?

903
00:53:18,720 --> 00:53:20,640
I don't remember which song it is,

904
00:53:20,640 --> 00:53:23,400
but on Bad he has a credit for finger snaps.

905
00:53:24,760 --> 00:53:30,240
One of the most amazing moments that I remember was Michael walking,

906
00:53:30,240 --> 00:53:35,520
walking, walking, and catches up to Tatyana,

907
00:53:35,520 --> 00:53:38,440
and sings for the first time...

908
00:53:38,440 --> 00:53:43,360
♪ You knock me off of my feet now, baby, hoo!

909
00:53:43,360 --> 00:53:48,440
Everything stopped. We had to stop shooting because people just froze.

910
00:53:48,440 --> 00:53:51,360
They actually froze.

911
00:53:51,360 --> 00:53:53,080
♪ Hoo! ♪

912
00:53:56,760 --> 00:54:03,480
To play a shuffle like that for 12 minutes is not easy.

913
00:54:03,480 --> 00:54:06,800
Michael's mother, she has this song in mind.

914
00:54:06,800 --> 00:54:09,840
She says, "Michael, you've got to come up with a song

915
00:54:09,840 --> 00:54:12,520
"that has this real shuffling kind of rhythm."

916
00:54:12,520 --> 00:54:16,040
And Michael says, "OK, I'll see what I can come up with."

917
00:54:16,040 --> 00:54:21,640
Shuffles have a unique rhythm. Most songs you hear are kind of linear.

918
00:54:21,640 --> 00:54:26,600
Shuffles have an extra rhythmic element going on.

919
00:54:26,600 --> 00:54:30,720
You can have a cowbell underneath the backbeat to reinforce the sound.

920
00:54:30,720 --> 00:54:34,040
None of the backbeat that you hear on that album

921
00:54:34,040 --> 00:54:37,800
is going to have just a basic, typical snare drum sound.

922
00:54:37,800 --> 00:54:41,120
I recorded the drums on a wooden platform.

923
00:54:41,120 --> 00:54:44,200
It minimises what is called secondary pick-up,

924
00:54:44,200 --> 00:54:47,680
which is where the other mics in the room

925
00:54:47,680 --> 00:54:50,280
pick up from those sound sources.

926
00:54:50,280 --> 00:54:52,120
And then we got the idea,

927
00:54:52,120 --> 00:54:55,800
why doesn't Michael stand on that when he sings?

928
00:54:55,800 --> 00:54:58,640
And he did, and it sounds glorious.

929
00:54:58,640 --> 00:55:01,720
♪ Hey, pretty baby with the high heels on

930
00:55:03,000 --> 00:55:07,160
♪ You give me fever like I've never ever known... ♪

931
00:55:07,160 --> 00:55:10,880
This was my first album ever as a little girl.

932
00:55:10,880 --> 00:55:16,840
I cried and cried to my mom, begged her to please buy this for me.

933
00:55:16,840 --> 00:55:21,840
I would play this like crazy, and dance with it.

934
00:55:21,840 --> 00:55:26,240
I mean, this was a dream come true. This was something I had fantasised

935
00:55:26,240 --> 00:55:28,800
and dreamed about since I was five or six years old.

936
00:55:28,800 --> 00:55:30,800
♪ You're the one for me

937
00:55:30,800 --> 00:55:33,280
♪ The way you make me feel... ♪

938
00:55:33,280 --> 00:55:38,760
The girl that we finally chose, Tatiana, wasn't in my first five.

939
00:55:38,760 --> 00:55:40,440
I didn't like her.

940
00:55:40,440 --> 00:55:44,640
And I showed Frank DiLeo, his manager, the casting tape

941
00:55:44,640 --> 00:55:47,240
and he said, "That girl's running around with Prince.

942
00:55:47,240 --> 00:55:49,840
"If Michael finds out, he'll be upset.

943
00:55:49,840 --> 00:55:51,960
"And that girl's running around with so-and-so,

944
00:55:51,960 --> 00:55:53,480
"I'm not going to name names."

945
00:55:53,480 --> 00:55:55,880
He said, "I can't say." Cos it was Quincy Jones.

946
00:55:55,880 --> 00:55:58,440
I think. As I remember.

947
00:55:58,440 --> 00:56:02,960
She seemed physically to be the female version of Michael Jackson.

948
00:56:02,960 --> 00:56:06,000
There may have been, in his head, an interesting idea about,

949
00:56:06,000 --> 00:56:09,040
"Wow! This is almost kind of my perfect complement."

950
00:56:09,040 --> 00:56:12,040
♪ I like the feelin' you're givin' me

951
00:56:12,040 --> 00:56:16,840
♪ Just hold me, baby and I'm in ecstasy

952
00:56:16,840 --> 00:56:20,680
♪ Oh, I'll be workin' from 9 to 5... ♪

953
00:56:20,680 --> 00:56:23,680
She was the finest thing around at that time. I wanted to be Michael.

954
00:56:23,680 --> 00:56:26,080
I wanted to be Michael, walking right beside her,

955
00:56:26,080 --> 00:56:29,320
standing on cars and being... I wanted to be Michael that day.

956
00:56:29,320 --> 00:56:33,400
♪ Promise, baby, you'll love me for ever more

957
00:56:33,400 --> 00:56:37,960
♪ I swear I'm keepin' you satisfied

958
00:56:37,960 --> 00:56:40,200
♪ Cos you're the one for me

959
00:56:40,200 --> 00:56:43,960
- # The way you make me feel
- The way you make me feel

960
00:56:43,960 --> 00:56:48,320
- # You really turn me on
- You really turn me on

961
00:56:48,320 --> 00:56:50,520
♪ You knock me off of my feet now... ♪

962
00:56:50,520 --> 00:56:54,320
I first got hooked up with Quincy through a band I was playing in,

963
00:56:54,320 --> 00:56:56,160
in Los Angeles, called Seawind.

964
00:56:56,160 --> 00:56:58,800
We were playing at a club.

965
00:56:58,800 --> 00:57:01,800
Quincy, always being at the forefront of finding new talent,

966
00:57:01,800 --> 00:57:05,200
heard about us as a horn section, called up one night.

967
00:57:05,200 --> 00:57:07,520
"Jerry, this is Quincy Jones." "What?"

968
00:57:07,520 --> 00:57:10,360
"Yeah, you want to play on a record?" "Of course."

969
00:57:10,360 --> 00:57:13,840
"You want to do an arrangement?" "Oh...OK."

970
00:57:13,840 --> 00:57:16,720
He said, "And how about tomorrow?"

971
00:57:16,720 --> 00:57:18,800
And that was kind of the beginning

972
00:57:18,800 --> 00:57:22,560
of this 30-plus year relationship with Quincy.

973
00:57:22,560 --> 00:57:26,040
Our horn players are two saxophone players,

974
00:57:26,040 --> 00:57:30,120
Kim Hutchcroft and Larry Williams. The trumpet player, Gary Grant.

975
00:57:30,120 --> 00:57:33,600
The trombone player, Bill Reichenbach.

976
00:57:33,600 --> 00:57:35,680
Vamp out.

977
00:57:35,680 --> 00:57:39,680
MUSIC: "The Way You Make Me Feel"

978
00:57:39,680 --> 00:57:42,520
Again, two trumpets, two saxes.

979
00:57:42,520 --> 00:57:46,120
The day of the audition, I wore a dance skin,

980
00:57:46,120 --> 00:57:49,360
a black dress with boots and bracelets, bangles,

981
00:57:49,360 --> 00:57:52,120
which was kind of like my signature thing at the time.

982
00:57:52,120 --> 00:57:55,200
And I heard that Michael liked my look.

983
00:57:55,200 --> 00:58:00,000
He liked the whole style of what I had done, so he kept that.

984
00:58:00,000 --> 00:58:01,840
We created a complete look for her.

985
00:58:01,840 --> 00:58:04,680
Hair extensions, we changed her make up completely.

986
00:58:04,680 --> 00:58:08,240
I had two dresses at that time. One was pink, one was black.

987
00:58:08,240 --> 00:58:13,000
And the black one was kind of reminiscent of a Tatiana dress.

988
00:58:13,000 --> 00:58:14,680
That's the way I was living.

989
00:58:14,680 --> 00:58:16,400
♪ Go on, girl

990
00:58:16,400 --> 00:58:18,040
♪ Go on

991
00:58:19,520 --> 00:58:21,120
♪ Ow!

992
00:58:22,320 --> 00:58:24,640
♪ Go on, girl

993
00:58:24,640 --> 00:58:26,720
♪ Oooh!

994
00:58:26,720 --> 00:58:28,280
♪ Ooh! ♪

995
00:58:28,280 --> 00:58:31,360
The Way You Make Me Feel video, um, you know, when he's chasing

996
00:58:31,360 --> 00:58:34,080
the girl around, that was kind of how I pictured my Baby video.

997
00:58:34,080 --> 00:58:35,920
We kind of based it off of that.

998
00:58:35,920 --> 00:58:38,520
In my video, you can see I'm in a bowling alley

999
00:58:38,520 --> 00:58:40,720
but it's kind of like a modern version.

1000
00:58:40,720 --> 00:58:43,600
I'm chasing her around, trying to get her to like me.

1001
00:58:43,600 --> 00:58:46,520
♪ The way you make me feel

1002
00:58:46,520 --> 00:58:48,120
♪ The way you make me feel

1003
00:58:48,120 --> 00:58:50,400
♪ You really turn me good... ♪

1004
00:58:50,400 --> 00:58:52,360
Mike called me and said, "I told Joe Pytka,

1005
00:58:52,360 --> 00:58:54,680
"who's directing it, that I wasn't doing any dancing.

1006
00:58:54,680 --> 00:58:57,640
"But the more I listen to it, I think I want to put some dancing in there.

1007
00:58:57,640 --> 00:58:59,800
"Could you go to a studio and work on some stuff,

1008
00:58:59,800 --> 00:59:01,560
"then I'll come in and join you."

1009
00:59:01,560 --> 00:59:03,920
Joe came in to see, heard this music going on

1010
00:59:03,920 --> 00:59:06,280
and was like, "What the heck's going on in here?"

1011
00:59:06,280 --> 00:59:08,680
I see this beautiful piece being choreographed,

1012
00:59:08,680 --> 00:59:11,800
but the idea that I'd had for the video didn't have a place for that.

1013
00:59:11,800 --> 00:59:15,920
We had to very quickly improvise where to put that.

1014
00:59:15,920 --> 00:59:18,520
That's where the fire hydrant idea came from.

1015
00:59:44,800 --> 00:59:46,880
HE SCREAMS

1016
00:59:51,480 --> 00:59:53,920
♪ The way you make me feel

1017
00:59:56,320 --> 00:59:58,600
♪ You really turn me on

1018
01:00:00,920 --> 01:00:03,080
♪ You knock me off my feet...♪

1019
01:00:05,040 --> 01:00:07,920
Fans were always bombarding me with the question,

1020
01:00:07,920 --> 01:00:12,560
"Why does he chase you throughout the video only for a hug and not a kiss?"

1021
01:00:12,560 --> 01:00:16,920
Joe Pytka, the director, he whispered in my ear right before the

1022
01:00:16,920 --> 01:00:21,840
very last scene where we hug, and he told me, he said, "Don't kiss him."

1023
01:00:23,760 --> 01:00:26,040
I thought the kiss was too corny.

1024
01:00:26,040 --> 01:00:28,360
I'm not even sure I wanted him to get that close.

1025
01:00:28,360 --> 01:00:30,160
I wanted him to maybe stop like here.

1026
01:00:30,160 --> 01:00:32,400
But it worked out with the caress and the hug.

1027
01:00:32,400 --> 01:00:35,520
He says, "Because you were originally supposed to kiss,

1028
01:00:35,520 --> 01:00:38,680
"but Michael is too shy for that so don't kiss him."

1029
01:00:38,680 --> 01:00:42,360
When Michael did finally come out and we got close and we hugged,

1030
01:00:42,360 --> 01:00:49,160
I could smell like a minty, minty fresh scent from his breath.

1031
01:00:49,160 --> 01:00:50,520
< That was a signal!

1032
01:00:50,520 --> 01:00:53,680
I kind of think he came prepared but...

1033
01:00:53,680 --> 01:00:58,360
Being told not to kiss him, and that he couldn't handle it,

1034
01:00:58,360 --> 01:01:01,600
he was too shy, I didn't want to take advantage like that.

1035
01:01:01,600 --> 01:01:06,720
Oh, listen, Tatiana was not shy. She was not a shy girl.

1036
01:01:06,720 --> 01:01:10,440
And in fact, going on with this story is little bit,

1037
01:01:10,440 --> 01:01:14,880
she was told, "Definitely don't kiss Michael onstage."

1038
01:01:14,880 --> 01:01:18,960
He was complaining she'd become too aggressive on stage and everything.

1039
01:01:18,960 --> 01:01:21,920
I made a joke, "Is this going to be X-rated, this thing?"

1040
01:01:21,920 --> 01:01:24,840
I said, "Michael, why don't you just go fuck her? Fuck her one night.

1041
01:01:24,840 --> 01:01:26,600
"Get it over with."

1042
01:01:26,600 --> 01:01:31,120
He started laughing and Frank said, "What the hell are you doing?

1043
01:01:31,120 --> 01:01:33,880
"I've got enough Goddamn trouble without you trying to get him

1044
01:01:33,880 --> 01:01:35,440
"involved with this girl."

1045
01:01:35,440 --> 01:01:38,720
But for me, it became policy because I said,

1046
01:01:38,720 --> 01:01:41,440
"OK, if Michael doesn't kiss in the video,

1047
01:01:41,440 --> 01:01:44,080
"I don't think anybody should kiss in the video."

1048
01:01:44,080 --> 01:01:48,800
So since that day, I always edit out kisses in videos

1049
01:01:48,800 --> 01:01:52,200
and one in particular, Justin Bieber made a video.

1050
01:01:52,200 --> 01:01:55,360
He was going to kiss the girl and I went crazy.

1051
01:01:55,360 --> 01:01:58,240
And I went crazy, A - because he wanted to kiss the girl,

1052
01:01:58,240 --> 01:01:59,800
and B - she was a black girl.

1053
01:01:59,800 --> 01:02:03,560
And I was like, "OK, you're about to mess up your whole thing, man."

1054
01:02:03,560 --> 01:02:05,400
HE LAUGHS

1055
01:02:10,800 --> 01:02:13,640
Oh, oh, look, Granny. It-it's...

1056
01:02:13,640 --> 01:02:19,320
Ah...it's-it's... Mmm...mmm...ah! M-M-M...

1057
01:02:19,320 --> 01:02:20,920
Mantovani?

1058
01:02:20,920 --> 01:02:24,040
No. Michael Jackson!

1059
01:02:24,040 --> 01:02:25,680
ALL: Michael Jackson!

1060
01:02:25,680 --> 01:02:30,720
Speed Demon is a song that maybe people aren't as familiar with

1061
01:02:30,720 --> 01:02:35,080
on the album, but actually serves as a metaphor for the entire album.

1062
01:02:35,080 --> 01:02:39,400
Because what Michael is trying to do with this album is escape,

1063
01:02:39,400 --> 01:02:42,160
escape from all the things that are confining him,

1064
01:02:42,160 --> 01:02:44,000
all the things that are suffocating him.

1065
01:02:44,000 --> 01:02:47,640
There he is! Hey, buddy, how about an autograph?

1066
01:02:47,640 --> 01:02:49,200
THEY LAUGH

1067
01:02:49,200 --> 01:02:51,640
Would you autograph my tummy? THEY LAUGH

1068
01:02:51,640 --> 01:02:53,760
Speed Demon was my song.

1069
01:02:53,760 --> 01:03:00,120
I'm a percussionist and that song was 100% syncopated adrenaline.

1070
01:03:00,120 --> 01:03:04,240
In the James Brown mode of rhythm arrangement where you use

1071
01:03:04,240 --> 01:03:05,680
instruments as percussion.

1072
01:03:05,680 --> 01:03:07,920
♪ Speed Demon

1073
01:03:10,000 --> 01:03:12,360
♪ Speed Demon... ♪

1074
01:03:14,280 --> 01:03:16,960
It was pretty much clay-mation, you know,

1075
01:03:16,960 --> 01:03:20,880
matted into live action settings. It was a real mix.

1076
01:03:20,880 --> 01:03:24,040
The whole idea of that music video, that short,

1077
01:03:24,040 --> 01:03:28,880
was really to merge live action and clay-mation together.

1078
01:03:28,880 --> 01:03:32,080
There was one place in the story where, you know,

1079
01:03:32,080 --> 01:03:35,120
he turns into our character Spike Rabbit,

1080
01:03:35,120 --> 01:03:38,560
you know, as a way to sort of get away from the paparazzi and so forth.

1081
01:03:38,560 --> 01:03:42,600
Our Spike character wanders through in this incredible chase,

1082
01:03:42,600 --> 01:03:46,320
but when they come back and they separate, they separate like this and

1083
01:03:46,320 --> 01:03:51,680
so Spike's still there and Michael's right there and they do a duet.

1084
01:03:51,680 --> 01:03:53,840
A little dance thing.

1085
01:03:53,840 --> 01:04:00,080
So we had to make Spike Rabbit dance right alongside Michael.

1086
01:04:00,080 --> 01:04:04,360
That was really, really fun because, for one thing,

1087
01:04:04,360 --> 01:04:08,880
we had to work out the choreography between what he was going to do

1088
01:04:08,880 --> 01:04:11,560
and how we were going to do it, and figure out exactly how the

1089
01:04:11,560 --> 01:04:14,320
moves were going to work, and work it right to the music and so on.

1090
01:04:14,320 --> 01:04:18,680
Instead of easing into it, maybe just really hit it. Full load.

1091
01:04:18,680 --> 01:04:22,880
I wish I could. I feel so limited. This stuff is so tight on me.

1092
01:04:22,880 --> 01:04:29,320
Upon finishing with Speed Demon, he called up one day,

1093
01:04:29,320 --> 01:04:33,160
he got around to saying how much he loved the California Raisin

1094
01:04:33,160 --> 01:04:35,960
commercials, so I realised where he was going.

1095
01:04:35,960 --> 01:04:39,040
And I said, "Michael, you should be a raisin."

1096
01:04:39,040 --> 01:04:40,360
"Yeah!"

1097
01:04:41,560 --> 01:04:46,880
'Will, I really need you to call me pertaining to the backup guys,

1098
01:04:46,880 --> 01:04:49,760
'the character's got to be much stronger.

1099
01:04:49,760 --> 01:04:52,480
'It doesn't hit it right on.

1100
01:04:52,480 --> 01:04:56,440
'This is very important. Thank you. Bye.'

1101
01:04:56,440 --> 01:05:00,680
The rap raisins materialising behind me,

1102
01:05:00,680 --> 01:05:03,400
I want to define their character.

1103
01:05:03,400 --> 01:05:08,560
And from his expression, which is 99% of it.

1104
01:05:08,560 --> 01:05:15,440
The one guy has the glasses, and he has the type of attitude that

1105
01:05:15,440 --> 01:05:19,440
he's so cool that I'm fortunate that he's here.

1106
01:05:19,440 --> 01:05:21,920
And he's much too cool for, like, one of these.

1107
01:05:37,280 --> 01:05:40,160
And the other one is like a sarc...sarcasm.

1108
01:05:40,160 --> 01:05:41,840
It's like, "What you looking at?"

1109
01:05:41,840 --> 01:05:45,000
The other raisin would be this style. No glasses.

1110
01:05:45,000 --> 01:05:49,000
So his eyes are most of the expression. Like...

1111
01:06:00,200 --> 01:06:01,800
Like that.

1112
01:06:15,080 --> 01:06:18,320
♪ I heard it through the grapevine

1113
01:06:18,320 --> 01:06:23,640
♪ Raised in the California sunshine

1114
01:06:23,640 --> 01:06:26,320
♪ Heard it through the grapevine, baby

1115
01:06:26,320 --> 01:06:27,520
Michael!

1116
01:06:27,520 --> 01:06:28,720
♪ Oooh

1117
01:06:28,720 --> 01:06:30,560
♪ And I think I'm about to lose my mind

1118
01:06:30,560 --> 01:06:32,120
♪ Oooh!

1119
01:06:32,120 --> 01:06:33,840
HE GASPS

1120
01:06:33,840 --> 01:06:36,640
Wow! Must have been something I ate.

1121
01:06:41,200 --> 01:06:46,920
Right now on the decks I have the 12-inch single to Liberian Girl

1122
01:06:46,920 --> 01:06:50,920
and Run DMC's beats to Sucka MCs.

1123
01:06:50,920 --> 01:06:52,840
It sounds something like this.

1124
01:06:52,840 --> 01:06:55,840
INTRO TO LIBERIAN GIRL

1125
01:06:55,840 --> 01:07:01,920
Quincy wanted some kind of African little intro thing here.

1126
01:07:01,920 --> 01:07:05,200
So this was Michael Boddicker on synth

1127
01:07:05,200 --> 01:07:07,920
and all these effects

1128
01:07:07,920 --> 01:07:14,120
are kind of giving an African sunrise sort of thing.

1129
01:07:14,120 --> 01:07:17,640
♪ Naku penda piya-naku taka piya-mpenziwe.

1130
01:07:17,640 --> 01:07:20,400
HE MIXES TRACKS

1131
01:07:26,720 --> 01:07:29,480
I mean, people underestimated how radical that was.

1132
01:07:29,480 --> 01:07:34,680
Nobody else was writing songs about African women

1133
01:07:34,680 --> 01:07:38,000
as beautiful in 1987-1988.

1134
01:07:38,000 --> 01:07:41,520
- It's so nice to see you again.
- Nice to see you too.

1135
01:07:44,800 --> 01:07:47,520
I've had the time of my life here. I'd had so much fun.

1136
01:07:47,520 --> 01:07:48,800
I hate to leave.

1137
01:07:48,800 --> 01:07:50,560
Here's the biggest pop star in the world,

1138
01:07:50,560 --> 01:07:54,200
who quote-unquote is making himself look white, and yet he's very

1139
01:07:54,200 --> 01:07:57,720
engaged with beauty and the idea of Africa as a site of beauty.

1140
01:07:57,720 --> 01:08:00,520
It's just speaks to the fact that Michael had a very strong

1141
01:08:00,520 --> 01:08:02,720
African consciousness. He went to Africa a lot.

1142
01:08:02,720 --> 01:08:04,880
He was very engaged with the continent.

1143
01:08:04,880 --> 01:08:07,160
Is there a Liberian girl in your life?

1144
01:08:07,160 --> 01:08:11,720
No. I wrote that at my house, in the game room.

1145
01:08:11,720 --> 01:08:14,440
I guess I was playing some pinball or something.

1146
01:08:14,440 --> 01:08:17,400
And the song just popped into my head.

1147
01:08:17,400 --> 01:08:24,480
I think I ran upstairs, put it on tape and it became Liberian Girl.

1148
01:08:24,480 --> 01:08:29,120
When it was created, it just happened like lightning.

1149
01:08:29,120 --> 01:08:30,800
It was just an instant thing.

1150
01:08:30,800 --> 01:08:34,400
Normally, it took a lot of time to put things together.

1151
01:08:34,400 --> 01:08:37,240
That one happened in three or four hours.

1152
01:08:37,240 --> 01:08:41,560
I'm a great believer in sonic fantasy.

1153
01:08:41,560 --> 01:08:44,160
Not sonic reality.

1154
01:08:44,160 --> 01:08:50,320
Sonic fantasy means creating a soundscape that exists

1155
01:08:50,320 --> 01:08:54,560
only in your imagination. That only you can see.

1156
01:08:54,560 --> 01:08:59,600
So I could see these incredible soundscapes, and I thought...

1157
01:08:59,600 --> 01:09:01,640
Liberian Girl?

1158
01:09:01,640 --> 01:09:04,360
- Liberian girl is...
- My man!

1159
01:09:04,360 --> 01:09:06,080
..Is a perfect example.

1160
01:09:06,080 --> 01:09:08,240
I did a little synth work on that.

1161
01:09:08,240 --> 01:09:10,680
That part right there.

1162
01:09:12,520 --> 01:09:16,080
And it's got a little bird thing happening there on the end of it.

1163
01:09:16,080 --> 01:09:19,600
Quincy said, "Give me some of that bird stuff, Boddicker."

1164
01:09:19,600 --> 01:09:23,240
That's got a little bit of it. The next time is even more so.

1165
01:09:23,240 --> 01:09:28,840
So...there's this part that I wrote.

1166
01:09:28,840 --> 01:09:31,920
I played drums Speed Demon, Liberian Girl.

1167
01:09:31,920 --> 01:09:34,400
That was good, Liberian Girl was a fun song to do

1168
01:09:34,400 --> 01:09:36,480
because everyone would always ask me,

1169
01:09:36,480 --> 01:09:40,960
"Why did Michael write a song about a lady working in a library?"

1170
01:09:40,960 --> 01:09:43,360
Yeah, there's a little sexy lady behind the counter with

1171
01:09:43,360 --> 01:09:45,040
the glasses and the pencil in her hair.

1172
01:09:45,040 --> 01:09:47,280
Then she drops her hair and does that thing.

1173
01:09:47,280 --> 01:09:49,440
I thought that's what he was talking about.

1174
01:09:49,440 --> 01:09:51,040
HE LAUGHS

1175
01:09:51,040 --> 01:09:52,680
No, that's not...

1176
01:09:52,680 --> 01:09:56,240
That was just...he thought that was the funniest thing he's ever heard.

1177
01:09:56,240 --> 01:09:59,840
The video for Liberian Girl is probably the point where

1178
01:09:59,840 --> 01:10:02,320
they may have run over budget.

1179
01:10:02,320 --> 01:10:04,400
It just has a bunch of celebrities

1180
01:10:04,400 --> 01:10:07,040
that are waiting for Michael to show up.

1181
01:10:07,040 --> 01:10:09,080
♪ With two lovers in a scene

1182
01:10:09,080 --> 01:10:11,360
♪ And she says, "Do you love me?"

1183
01:10:11,360 --> 01:10:13,880
♪ And he says so endlessly

1184
01:10:13,880 --> 01:10:17,560
♪ "I love you, Liberian girl"... ♪

1185
01:10:17,560 --> 01:10:19,080
Michael was not in Liberian Girl

1186
01:10:19,080 --> 01:10:21,960
because I think he got tired of making videos.

1187
01:10:21,960 --> 01:10:24,360
I was talking to Walter Yetnikoff about it and he said,

1188
01:10:24,360 --> 01:10:26,160
"You've got to get him in the video."

1189
01:10:26,160 --> 01:10:27,720
So I called up Michael and said,

1190
01:10:27,720 --> 01:10:30,240
"You've got to be in this video someplace."

1191
01:10:30,240 --> 01:10:32,640
And he goes, "OK, I have an idea."

1192
01:10:32,640 --> 01:10:36,760
And he goes, "You got one take. You got 15 minutes."

1193
01:10:36,760 --> 01:10:40,600
One sec. Just let me tell you when I'm ready. One sec.

1194
01:10:40,600 --> 01:10:43,160
- Ready?
- Almost.

1195
01:10:43,160 --> 01:10:47,280
And he got in the chair, they raised it up in the air, and said, "Action!"

1196
01:10:47,280 --> 01:10:48,880
Action!

1197
01:10:51,400 --> 01:10:53,960
HE GIGGLES

1198
01:10:57,400 --> 01:10:59,520
OK, everybody. That's a wrap.

1199
01:11:01,000 --> 01:11:02,480
Cut!

1200
01:11:02,480 --> 01:11:04,160
They didn't even shut the engine off.

1201
01:11:04,160 --> 01:11:07,360
They got out of the car, no make up, got in the chair.

1202
01:11:07,360 --> 01:11:10,520
It was one take. In, out, and Michael left.

1203
01:11:10,520 --> 01:11:13,960
HE MAKES NOISES

1204
01:11:13,960 --> 01:11:16,440
I'm going to mock myself.

1205
01:11:16,440 --> 01:11:19,040
♪ I watch you on the floor

1206
01:11:19,040 --> 01:11:21,040
♪ Cheek to cheek

1207
01:11:22,400 --> 01:11:25,400
♪ She's getting to you

1208
01:11:25,400 --> 01:11:29,640
♪ You didn't see her eyes on me, no... ♪

1209
01:11:29,640 --> 01:11:31,280
More time, please.

1210
01:11:31,280 --> 01:11:35,080
How did Just Good Friends make that album? Well...

1211
01:11:35,080 --> 01:11:38,120
Michael or Stevie could've written a better song.

1212
01:11:38,120 --> 01:11:40,440
- Exactly.
- Taken something from their back catalogue.

1213
01:11:40,440 --> 01:11:43,240
An album should be built with peaks and valleys.

1214
01:11:43,240 --> 01:11:49,480
Michael Jackson with Bad actually tried to achieve 11 peaks.

1215
01:11:49,480 --> 01:11:53,280
I believe that in Michael's head everything had to hit you

1216
01:11:53,280 --> 01:11:57,720
out the box, and absolutely become a monstrous single.

1217
01:11:57,720 --> 01:12:00,480
And because they were attempting to go for the single,

1218
01:12:00,480 --> 01:12:04,280
and the summit meeting between two former child prodigies

1219
01:12:04,280 --> 01:12:09,320
from the Motown school, that you expected fireworks.

1220
01:12:09,320 --> 01:12:13,680
You know, Just Good Friends just wound up being a little

1221
01:12:13,680 --> 01:12:19,080
coffee break in between Liberian Girl and Another Part Of Me.

1222
01:12:19,080 --> 01:12:23,480
I think there was a lot that did exist at that point that

1223
01:12:23,480 --> 01:12:27,000
would have been...as strong or stronger.

1224
01:12:27,000 --> 01:12:31,160
I mean, his vault has got to be staggering.

1225
01:12:31,160 --> 01:12:35,200
- My man Stevie wonder.
- I mean, unbelievable talent.

1226
01:12:35,200 --> 01:12:37,880
And he's another worker like that.

1227
01:12:37,880 --> 01:12:40,680
He'd be working and recording every day.

1228
01:12:40,680 --> 01:12:47,840
I had on my album that I wanted him to do...my character's album,

1229
01:12:47,840 --> 01:12:50,160
which was Get It.

1230
01:12:50,160 --> 01:12:54,960
So we sort of both did each other a favour, favour, favour.

1231
01:12:54,960 --> 01:12:57,680
But I made sure the song he did of mine I wrote.

1232
01:12:57,680 --> 01:12:59,160
HE LAUGHS

1233
01:12:59,160 --> 01:13:00,560
Yeah.

1234
01:13:02,240 --> 01:13:04,320
♪ My baby love me

1235
01:13:04,320 --> 01:13:08,680
- # I'm her doggone lover
- You don't know... #

1236
01:13:08,680 --> 01:13:10,720
That one, we couldn't get the right song.

1237
01:13:10,720 --> 01:13:12,840
I know I didn't have the right song so...

1238
01:13:12,840 --> 01:13:15,640
If somebody says that didn't work, I know it didn't work.

1239
01:13:15,640 --> 01:13:17,320
- # Hoo-hooo!
- Doot-Do-Do-Doo

1240
01:13:17,320 --> 01:13:21,840
- # Hoo-hooo!
- Doot-Do-Do-Doo... #

1241
01:13:21,840 --> 01:13:24,960
- It's starting to get stinky now.
- I can just punch that part in.

1242
01:13:24,960 --> 01:13:26,840
Excuse me? Great.

1243
01:13:26,840 --> 01:13:29,440
Can we go home?

1244
01:13:29,440 --> 01:13:33,480
- Is that it?
- I just ran off, didn't I?

1245
01:13:33,480 --> 01:13:37,240
Another Part Of Me. My favourite cut on the Bad album.

1246
01:13:37,240 --> 01:13:39,280
All the instruments incorporated in that song,

1247
01:13:39,280 --> 01:13:43,520
as well as just his vocals, nobody can kind of, you know, teach that.

1248
01:13:43,520 --> 01:13:44,840
I think that's just natural.

1249
01:13:44,840 --> 01:13:47,720
So whatever he was on at that time, when he was just like,

1250
01:13:47,720 --> 01:13:50,360
"Yo, I'm in this. I feel this. I need to do this."

1251
01:13:50,360 --> 01:13:52,520
Like, I just think that's his blessing.

1252
01:13:52,520 --> 01:13:56,040
The song itself actually wasn't going to make it onto the album

1253
01:13:56,040 --> 01:13:57,880
because he'd recorded it earlier.

1254
01:13:57,880 --> 01:14:00,360
And he actually preferred a song called Streetwalker.

1255
01:14:00,360 --> 01:14:04,320
♪ Pretty baby I got kisses for you, lover

1256
01:14:04,320 --> 01:14:07,440
♪ I really get it when you're next to me... ♪

1257
01:14:07,440 --> 01:14:10,640
The litmus test is always, what song gets Michael dancing?

1258
01:14:10,640 --> 01:14:13,640
So when Quincy saw Michael dancing all round the studio to

1259
01:14:13,640 --> 01:14:16,920
Another Part Of Me said, "That's what makes this song go on the album."

1260
01:14:16,920 --> 01:14:20,800
Michael Jackson's Bad is black music,

1261
01:14:20,800 --> 01:14:23,760
dare I say, pop music's first stadium album.

1262
01:14:23,760 --> 01:14:28,880
Every song, I can hear it being thought of in his head as,

1263
01:14:28,880 --> 01:14:31,400
"This is what I want it to be

1264
01:14:31,400 --> 01:14:34,640
"when I perform it in front of 60,000 to 80,000 people."

1265
01:14:34,640 --> 01:14:36,840
Hey! Hey! Hey!

1266
01:14:45,320 --> 01:14:47,800
SHE SCREAMS

1267
01:14:52,200 --> 01:14:54,840
♪ We're taking over

1268
01:14:54,840 --> 01:14:57,280
♪ We have the truth

1269
01:14:57,280 --> 01:14:59,680
♪ This is a mission

1270
01:14:59,680 --> 01:15:01,840
♪ To see it through

1271
01:15:01,840 --> 01:15:03,800
♪ Don't point your finger

1272
01:15:03,800 --> 01:15:05,720
♪ Not dangerous

1273
01:15:05,720 --> 01:15:07,800
♪ This is my planet

1274
01:15:07,800 --> 01:15:10,320
♪ You're one of us

1275
01:15:10,320 --> 01:15:12,560
♪ We're sending out

1276
01:15:12,560 --> 01:15:14,440
♪ A major love

1277
01:15:14,440 --> 01:15:16,720
♪ And this is our

1278
01:15:16,720 --> 01:15:18,320
- # Message to you
- Message to you

1279
01:15:18,320 --> 01:15:20,720
♪ The planets are lining up

1280
01:15:20,720 --> 01:15:22,480
♪ We're bringing brighter days

1281
01:15:22,480 --> 01:15:24,600
♪ They're all in line

1282
01:15:24,600 --> 01:15:27,160
♪ Waiting for you

1283
01:15:27,160 --> 01:15:31,480
♪ You're just another part of me

1284
01:15:31,480 --> 01:15:34,000
♪ Heee-heee

1285
01:15:34,000 --> 01:15:35,680
♪ Ow!

1286
01:15:37,120 --> 01:15:39,280
♪ Over the nation

1287
01:15:39,280 --> 01:15:41,720
♪ Fulfil the truth

1288
01:15:41,720 --> 01:15:43,760
♪ The final message

1289
01:15:43,760 --> 01:15:45,920
♪ We're bringing to you

1290
01:15:45,920 --> 01:15:47,880
♪ There is no danger

1291
01:15:47,880 --> 01:15:49,760
♪ Fulfil the truth

1292
01:15:49,760 --> 01:15:52,520
♪ So come together

1293
01:15:52,520 --> 01:15:54,600
♪ We mean you

1294
01:15:54,600 --> 01:15:57,080
♪ I'm sending out

1295
01:15:57,080 --> 01:15:59,120
♪ A major love

1296
01:15:59,120 --> 01:16:01,040
♪ And this is our

1297
01:16:01,040 --> 01:16:03,640
- # Message to you
- Message to you

1298
01:16:03,640 --> 01:16:05,440
♪ The planets are lining up

1299
01:16:05,440 --> 01:16:07,760
♪ We're bringing brighter days

1300
01:16:07,760 --> 01:16:09,400
♪ They're all in line

1301
01:16:09,400 --> 01:16:10,760
♪ Waiting for you

1302
01:16:12,960 --> 01:16:15,720
♪ They're just another part of me

1303
01:16:16,920 --> 01:16:18,600
♪ Heee-heee

1304
01:16:18,600 --> 01:16:19,800
♪ Ow!

1305
01:16:22,440 --> 01:16:24,400
♪ Do-do-do-do

1306
01:16:37,200 --> 01:16:38,800
♪ Ow!

1307
01:16:45,240 --> 01:16:47,560
♪ Hee-hee-hee!

1308
01:16:47,560 --> 01:16:49,040
♪ Hee-hee-hee!

1309
01:16:54,440 --> 01:16:56,200
♪ I'm sending out

1310
01:16:56,200 --> 01:16:58,400
♪ A major love

1311
01:16:58,400 --> 01:17:00,320
♪ And this is my

1312
01:17:00,320 --> 01:17:02,640
- # Message to you
- Message to you

1313
01:17:02,640 --> 01:17:04,720
♪ The planets are lining up

1314
01:17:04,720 --> 01:17:06,880
♪ We're bringing brighter days

1315
01:17:06,880 --> 01:17:08,600
♪ They're all in line

1316
01:17:08,600 --> 01:17:10,160
♪ Waiting for you

1317
01:17:12,000 --> 01:17:15,400
♪ They're just another part of me

1318
01:17:15,400 --> 01:17:17,440
♪ Hee-hee!

1319
01:17:17,440 --> 01:17:18,880
♪ Ow!

1320
01:17:20,920 --> 01:17:22,960
♪ Another part of me

1321
01:17:28,680 --> 01:17:31,360
♪ We're taking over

1322
01:17:38,160 --> 01:17:40,360
♪ This is my plan, baby

1323
01:17:40,360 --> 01:17:42,320
♪ Hee-hee!

1324
01:17:42,320 --> 01:17:43,760
♪ Ow!

1325
01:18:11,360 --> 01:18:13,040
♪ Another part of me. ♪

1326
01:18:18,500 --> 01:18:21,020
People forget that Michael Jackson's a soul singer.

1327
01:18:21,020 --> 01:18:23,100
Michael Jackson grew up watching Jackie Wilson,

1328
01:18:23,100 --> 01:18:25,220
James Brown and the whole circuit,

1329
01:18:25,220 --> 01:18:29,140
so his default move is always to go raw.

1330
01:18:29,140 --> 01:18:33,140
- I love Dirty Diana. That's probably one of my favourites.
- Why?

1331
01:18:33,140 --> 01:18:37,180
Because it's a life story of a groupie,

1332
01:18:37,180 --> 01:18:40,180
I hate to say the word groupie but that's what it is,

1333
01:18:40,180 --> 01:18:42,660
and it's something that I've experienced

1334
01:18:42,660 --> 01:18:45,100
and a lot of people who grew up on the road.

1335
01:18:45,100 --> 01:18:47,220
Dirty Diana.

1336
01:18:47,220 --> 01:18:50,140
Who knew that one day I would live that song in real life

1337
01:18:50,140 --> 01:18:52,180
so many times over.

1338
01:18:52,180 --> 01:18:57,860
I like Dirty Diana. I've met her. I've met Dirty Diana many times.

1339
01:18:57,860 --> 01:18:59,620
Thank you.

1340
01:18:59,620 --> 01:19:02,620
Thank you, Michael, for making that small piece of the soundtrack

1341
01:19:02,620 --> 01:19:04,380
to my life on tour.

1342
01:19:04,380 --> 01:19:07,180
When we were kids, we thought, "Was he talking about Diana Ross?

1343
01:19:07,180 --> 01:19:08,940
"Did he have an affair with Diana Ross?"

1344
01:19:08,940 --> 01:19:10,500
No, that wasn't the case at all.

1345
01:19:10,500 --> 01:19:13,220
But as kids we didn't know what was going on. Who was Diana?

1346
01:19:13,220 --> 01:19:14,420
What she did dirty!

1347
01:19:14,420 --> 01:19:17,980
I got a phone call out of the clear blue from Quincy

1348
01:19:17,980 --> 01:19:20,340
and I thought somebody was fucking with me.

1349
01:19:20,340 --> 01:19:23,940
So he goes, "Um...it's Quincy Jones.

1350
01:19:23,940 --> 01:19:28,260
"We're working on Michael's follow-up to Thriller. We've got a rock track."

1351
01:19:28,260 --> 01:19:29,980
I'm not a session guitar player, man.

1352
01:19:29,980 --> 01:19:33,540
I don't, you know, I'm not that world.

1353
01:19:33,540 --> 01:19:36,980
So I said to Quincy, "The only thing I ask is that Michael

1354
01:19:36,980 --> 01:19:38,740
"be in the studio and we work together."

1355
01:19:38,740 --> 01:19:42,860
He said, "Of course he'll be in the studio. It's his fucking record, man.

1356
01:19:42,860 --> 01:19:44,380
"He's going to be in the studio."

1357
01:19:44,380 --> 01:19:48,900
I opened up the studio door in Westlake and three guys,

1358
01:19:48,900 --> 01:19:52,260
Bruce Swedien, the engineer, Quincy Jones and Michael Jackson,

1359
01:19:52,260 --> 01:19:55,700
and the first thing I noticed was Michael had penny loafers on

1360
01:19:55,700 --> 01:19:59,660
and they were like pristine and I was like,

1361
01:19:59,660 --> 01:20:02,220
"I'll be all right. He's wearing penny loafers."

1362
01:20:02,220 --> 01:20:05,380
This is the actual guitar that I recorded Dirty Diana with.

1363
01:20:05,380 --> 01:20:08,260
By and large, I'd say it's probably been in the case.

1364
01:20:08,260 --> 01:20:09,940
Maybe it's only been opened one time,

1365
01:20:09,940 --> 01:20:12,740
I don't really play this kind of guitar that much.

1366
01:20:12,740 --> 01:20:15,740
The backing track was about eight minutes long

1367
01:20:15,740 --> 01:20:17,180
and as the track is playing down,

1368
01:20:17,180 --> 01:20:19,100
Michael is like right here and he's going...

1369
01:20:19,100 --> 01:20:21,620
HE SINGS TUNE OF DIRTY DIANA

1370
01:20:24,820 --> 01:20:27,940
And he was really adamant there's that little space

1371
01:20:27,940 --> 01:20:30,300
on the third phrase, it's a subtle thing

1372
01:20:30,300 --> 01:20:32,300
and I didn't catch it right away.

1373
01:20:34,500 --> 01:20:35,700
That little thing was

1374
01:20:35,700 --> 01:20:39,660
so important to Michael, to catch that little space there.

1375
01:20:39,660 --> 01:20:44,180
I was like, "Why is he making such a big thing about it not playing?"

1376
01:20:44,180 --> 01:20:45,540
It's brilliant though.

1377
01:20:45,540 --> 01:20:48,780
It's as important what you don't play as what you do play.

1378
01:20:48,780 --> 01:20:52,020
♪ Dirty Diana, nah

1379
01:20:52,020 --> 01:20:55,140
♪ Dirty Diana, nah

1380
01:20:55,140 --> 01:20:59,060
♪ Dirty Diana, no

1381
01:20:59,060 --> 01:21:01,940
♪ Dirty Diana... ♪

1382
01:21:01,940 --> 01:21:03,300
It's still good.

1383
01:21:03,300 --> 01:21:09,580
♪ ..Dirty Diana, nah Dirty Diana, no... ♪

1384
01:21:09,580 --> 01:21:12,140
We wanted to do Dirty Diana

1385
01:21:12,140 --> 01:21:14,620
and so both videos were to kind of change

1386
01:21:14,620 --> 01:21:17,100
the public's perception of who he was.

1387
01:21:17,100 --> 01:21:19,820
First one was to get him a girl and the second was to make him

1388
01:21:19,820 --> 01:21:21,260
a heavy metal kind of guy.

1389
01:21:21,260 --> 01:21:24,780
♪ ...Diana!

1390
01:21:24,780 --> 01:21:27,540
♪ Diana...! ♪

1391
01:21:27,540 --> 01:21:29,820
The original idea was to have...

1392
01:21:29,820 --> 01:21:33,100
The thing finished in a monsoon or a rainstorm.

1393
01:21:33,100 --> 01:21:36,500
The second day, we were going to have the whole stage blow away

1394
01:21:36,500 --> 01:21:40,260
and have him finish in the rain totally...

1395
01:21:40,260 --> 01:21:41,820
The wind and rain and stuff,

1396
01:21:41,820 --> 01:21:44,740
and I think we were going to sweep away the audience and everything.

1397
01:21:44,740 --> 01:21:49,300
But the first day he was doing these knee slides and didn't put pads on.

1398
01:21:49,300 --> 01:21:52,740
He came to me the second day when we were ready for all this rain stuff

1399
01:21:52,740 --> 01:21:54,420
and said, "I can't dance any more."

1400
01:21:54,420 --> 01:21:56,900
So we couldn't resolve it that way, but it didn't matter.

1401
01:21:56,900 --> 01:21:58,740
You see the wind and stuff on the first day,

1402
01:21:58,740 --> 01:22:02,020
it starts, and I guess there was going to be a deluge after that.

1403
01:22:02,020 --> 01:22:04,020
They didn't even tell me that

1405
01:22:08,620 --> 01:22:12,300
It showed up one day and I went, "I can't... Are you kidding?"

1406
01:22:12,300 --> 01:22:15,820
Michael always was able to think outside the box of what

1407
01:22:15,820 --> 01:22:19,620
black artists were supposed to do and create his own space.

1408
01:22:19,620 --> 01:22:24,260
There was this internal mechanism that Michael had when he felt

1409
01:22:24,260 --> 01:22:28,260
the music. When the rhythms were right and when the beats were

1410
01:22:28,260 --> 01:22:33,940
happening, when the correct emphasis was happening and the syncopation,

1411
01:22:33,940 --> 01:22:38,420
he'd have to move, he'd have to dance and when he'd start to dance,

1412
01:22:38,420 --> 01:22:42,540
we would know that the balance was correct, the elements had

1413
01:22:42,540 --> 01:22:45,940
the right character, the syncopation was hitting in the right fashion.

1414
01:22:45,940 --> 01:22:48,540
Michael gave me the music and he said, "Listen,

1415
01:22:48,540 --> 01:22:53,820
"don't impose your opinion, or your feelings, or your choreography,

1416
01:22:53,820 --> 01:22:55,660
"or your thoughts on the music.

1417
01:22:55,660 --> 01:22:58,420
"Let the music talk to you and tell you what it wants to be."

1418
01:22:58,420 --> 01:23:02,900
First time we discussed it, he had got these

1419
01:23:02,900 --> 01:23:05,420
visions in his mind of what he wanted to do.

1420
01:23:05,420 --> 01:23:09,860
The robot, the car, the kids, the drugs.

1421
01:23:09,860 --> 01:23:12,740
Every kid in this whole world can take drugs because of me.

1422
01:23:12,740 --> 01:23:16,460
And how do we bring it all together into a story that had

1423
01:23:16,460 --> 01:23:18,740
a piece in the middle, which was the song and dance.

1424
01:23:18,740 --> 01:23:22,260
So we started working on some stuff, it was called Chicago Nights,

1425
01:23:22,260 --> 01:23:24,140
which was really Smooth Criminal.

1426
01:23:24,140 --> 01:23:28,980
He was a huge fan of Fred Astaire and wanted to make sure

1427
01:23:28,980 --> 01:23:33,780
that he paid homage to Fred Astaire in the movie.

1428
01:23:33,780 --> 01:23:37,460
"For Criminal Dance, look at all the great dances on tape.

1429
01:23:37,460 --> 01:23:40,700
"Study the great and become greater.

1430
01:23:40,700 --> 01:23:43,660
"Get all Bob Fosse movie, dances.

1431
01:23:43,660 --> 01:23:48,580
"Study these inside out, knowing every cut, move, music etc.

1432
01:23:48,580 --> 01:23:53,380
"Flashdance, All That Jazz, Band Wagon, girl hunt..."

1433
01:23:53,380 --> 01:23:55,100
JAZZ MUSIC PLAYS

1434
01:24:42,140 --> 01:24:46,180
This is a drawing titled "Criminal Jacket,"

1435
01:24:46,180 --> 01:24:49,700
and you can see that he has created the basic outline for the jacket

1436
01:24:49,700 --> 01:24:54,740
that he wound up wearing in that short film, including the armband.

1437
01:24:57,100 --> 01:24:59,860
And he also made a note to himself that he needed to

1438
01:24:59,860 --> 01:25:03,460
get his Kenny shoes now so that he could break them in.

1439
01:25:03,460 --> 01:25:07,860
But when it came to style, I showed Michael an all-time favourite

1440
01:25:07,860 --> 01:25:11,260
of mine which was The Third Man, because it's sort of gangster-ish.

1441
01:25:11,260 --> 01:25:13,860
"We should shoot it in that kind of style,"

1442
01:25:13,860 --> 01:25:15,700
and he just loved that style.

1443
01:25:15,700 --> 01:25:18,220
And making use of the shadows that they had with that

1444
01:25:18,220 --> 01:25:19,900
sort of film noir look.

1445
01:25:40,940 --> 01:25:44,260
♪ As he came into the window It was the sound of a crescendo

1446
01:25:44,260 --> 01:25:46,140
♪ He came into her apartment

1447
01:25:46,140 --> 01:25:48,740
♪ He left the bloodstains on the carpet

1448
01:25:48,740 --> 01:25:52,740
♪ She ran underneath the table He could see she was unable

1449
01:25:52,740 --> 01:25:54,580
♪ So she ran into the bedroom

1450
01:25:54,580 --> 01:25:57,060
♪ She was struck down It was her doom... ♪

1451
01:25:57,060 --> 01:26:00,700
There's a story actually that Quincy told me years ago

1452
01:26:00,700 --> 01:26:04,300
and what he said was that Michael had the ability to come in, he could

1453
01:26:04,300 --> 01:26:08,740
lay down the lead vocal of a track and then he could sit there, listen,

1454
01:26:08,740 --> 01:26:13,060
just put the time in and figure out where all the harmonies should go

1455
01:26:13,060 --> 01:26:18,980
and then do that, not leave until he had the harmonies right.

1456
01:26:18,980 --> 01:26:22,580
When I think of Smooth Criminal, I will just impress again the vocal.

1457
01:26:22,580 --> 01:26:25,500
He could sing bass, baritone and tenor,

1458
01:26:25,500 --> 01:26:27,540
but he chose to sing mostly tenor.

1459
01:26:27,540 --> 01:26:31,380
♪ Oh, oh, oh, oh, oh, oh, oh, oh. ♪

1460
01:26:31,380 --> 01:26:35,740
He goes straight down to bass low C, that is low, that is a bust out

1461
01:26:35,740 --> 01:26:40,180
pitch and Michael would go right on down there with vibrato

1462
01:26:40,180 --> 01:26:43,140
and clear up to a G above high C.

1463
01:26:43,140 --> 01:26:46,780
I mean, that's enormous, that's more than three and a half octaves.

1464
01:26:46,780 --> 01:26:50,740
He really didn't want to grow up. He wanted a child's voice

1465
01:26:50,740 --> 01:26:54,740
and I always tried to encourage him to use his beautiful speaking voice.

1466
01:26:54,740 --> 01:26:57,780
I was in Europe one time and the phone rang and he said,

1467
01:26:57,780 --> 01:27:02,020
"Hello," in a perfectly male voice, baritone and I said,

1468
01:27:02,020 --> 01:27:04,660
"Michael, why don't you use that."

1469
01:27:04,660 --> 01:27:08,300
He said, "I don't like it down there. I like it up there."

1470
01:27:08,300 --> 01:27:10,420
♪ Ah, ah, ah, ah, ah.... ♪

1471
01:27:11,780 --> 01:27:13,900
How long you want to stick with this?

1472
01:27:13,900 --> 01:27:15,980
I want to be all the way open.

1473
01:27:15,980 --> 01:27:17,940
With some of the songs that he was singing,

1474
01:27:17,940 --> 01:27:21,420
he needed a much wider vocal range and with the exercises that

1475
01:27:21,420 --> 01:27:26,060
Seth Riggs provides for him, it enabled

1476
01:27:26,060 --> 01:27:30,500
him to open up his range so he can sing much higher and much lower.

1477
01:27:30,500 --> 01:27:33,260
♪ Mah, mah, mah, mah, mah... ♪

1478
01:27:33,260 --> 01:27:35,860
I had to make sure he and his voice

1479
01:27:35,860 --> 01:27:38,100
was even from bottom to top.

1480
01:27:38,100 --> 01:27:40,340
I have some very strange exercises

1481
01:27:40,340 --> 01:27:42,900
that are different from most people's,

1482
01:27:42,900 --> 01:27:45,420
they're called speech-level singing,

1483
01:27:45,420 --> 01:27:47,700
so we started doing these crazy things.

1484
01:27:47,700 --> 01:27:48,980
♪ Brrr-brrr-brrr... ♪

1485
01:27:48,980 --> 01:27:52,460
♪ Brrr-brrr-brrr... ♪

1486
01:27:52,460 --> 01:27:54,060
♪ Rrr-rrr-rrr... ♪

1487
01:27:54,060 --> 01:27:57,380
♪ Rrr-rrr-rrr... ♪

1488
01:27:57,380 --> 01:27:59,740
♪ Gee, gee, gee, gee, gee, gee... ♪

1489
01:27:59,740 --> 01:28:03,580
♪ Oh, oh, oh, oh, oh, oh... ♪

1490
01:28:03,580 --> 01:28:04,740
Sometimes there is...

1491
01:28:04,740 --> 01:28:07,300
♪ Ahhhhh... ♪

1492
01:28:10,580 --> 01:28:13,460
I sampled P.Y.T for Good Life.

1493
01:28:13,460 --> 01:28:15,540
I actually met him at Leo's house.

1494
01:28:15,540 --> 01:28:17,100
He said he liked my voice and then

1495
01:28:17,100 --> 01:28:18,660
I think I took that too seriously

1496
01:28:18,660 --> 01:28:21,460
and I did a whole singing album. HE LAUGHS

1497
01:28:21,460 --> 01:28:27,540
This is the mic that are used on Michael at about this distance

1498
01:28:27,540 --> 01:28:30,700
through for all the recordings.

1499
01:28:30,700 --> 01:28:33,300
Except one, Earth Song.

1500
01:28:33,300 --> 01:28:36,460
- # What about yesterday?
- What about us?

1501
01:28:36,460 --> 01:28:40,100
- # What about the seas?
- What about us?
- #

1502
01:28:40,100 --> 01:28:43,820
This is actually a mic that is designed for narration recording,

1503
01:28:43,820 --> 01:28:49,100
however, I knew that the sound of this mic would work

1504
01:28:49,100 --> 01:28:51,100
well with Michael's voice.

1505
01:28:51,100 --> 01:28:52,620
♪ Annie, are you OK?

1506
01:28:52,620 --> 01:28:55,420
♪ Annie, are you OK? Are you OK, Annie?

1507
01:28:55,420 --> 01:28:58,300
♪ Annie, are you OK? Annie, are you OK?

1508
01:28:58,300 --> 01:28:59,780
♪ Are you OK, Annie? ♪

1509
01:28:59,780 --> 01:29:04,340
I've never quite understood who Annie was and why did it matter

1510
01:29:04,340 --> 01:29:05,540
if she was OK or not.

1511
01:29:05,540 --> 01:29:09,020
Who is Annie? I never knew that as a kid. Let me know who Annie is.

1512
01:29:09,020 --> 01:29:14,140
Over in this corner there was a green fibreglass case

1513
01:29:14,140 --> 01:29:17,660
and there was a CPR dummy in the case.

1514
01:29:17,660 --> 01:29:20,300
Michael had been given CPR lessons.

1515
01:29:20,300 --> 01:29:24,180
The first thing that you do when you're going to administer CPR

1516
01:29:24,180 --> 01:29:27,860
is you make a determination of the condition of the victim.

1517
01:29:27,860 --> 01:29:31,780
He's about to do CPR on someone, he's like, "Are you OK? Are you OK?"

1518
01:29:31,780 --> 01:29:36,300
Wow! Whose life did he think he was going to have to save?

1519
01:29:36,300 --> 01:29:37,820
HE LAUGHS

1520
01:29:37,820 --> 01:29:40,260
CPR dummies are all named Annie.

1521
01:29:40,260 --> 01:29:42,700
He just kept asking was Annie OK?

1522
01:29:42,700 --> 01:29:45,580
How many different ways can you say, "Annie, are you OK?"

1523
01:29:45,580 --> 01:29:48,540
And he found like 15 different ways to say, "Annie, are you OK?"

1524
01:29:48,540 --> 01:29:53,620
It's like, "Are you OK? Are you OK? Are you OK? Are you OK, Annie?

1525
01:29:53,620 --> 01:29:58,980
"Annie, are you OK? Are you OK? Are you OK, Annie? Annie, are you OK?"

1526
01:29:58,980 --> 01:30:01,420
It's like, OK, I don't think she's OK.

1527
01:30:01,420 --> 01:30:04,820
I've got to be honest, I was never a big fan of that song.

1528
01:30:04,820 --> 01:30:07,500
You know, Michael loved it to pieces.

1529
01:30:07,500 --> 01:30:11,620
I remember we went to do the video on that, I never heard...

1530
01:30:11,620 --> 01:30:16,380
It must have then 135 decibels. Loud! Man, ears were falling off.

1531
01:30:22,260 --> 01:30:25,100
We started with maybe like 10 or 12 dancers and he then

1532
01:30:25,100 --> 01:30:28,380
introduced me to Jeffrey and he said, "I'd like Jeffrey to be

1533
01:30:28,380 --> 01:30:31,700
"part of this and maybe there's some street stuff, because I've been

1534
01:30:31,700 --> 01:30:34,980
"working with Jeffrey privately and he is teaching me some staff."

1535
01:30:34,980 --> 01:30:37,460
The thing about it is Michael can go out to clubs and hang out

1536
01:30:37,460 --> 01:30:39,220
because he's Michael Jackson.

1537
01:30:39,220 --> 01:30:43,100
So through me he was picking up what was happening in the hood

1538
01:30:43,100 --> 01:30:46,380
and I'm taking it to his gallery over at the Jackson house in Hayvenhurst.

1539
01:30:46,380 --> 01:30:47,540
My name is Phyllis Brooks

1540
01:30:47,540 --> 01:30:50,380
and I want to direct my question to all you guys.

1541
01:30:50,380 --> 01:30:52,620
Who taught you guys your dance steps?

1542
01:30:52,620 --> 01:30:58,780
♪ She's gonna really blow your mind... ♪

1543
01:31:13,740 --> 01:31:18,060
This one guy I saw on the show, Don Campbell, he changed my life.

1544
01:31:18,060 --> 01:31:19,740
He did not dance like everybody else,

1545
01:31:19,740 --> 01:31:21,660
he didn't move like everybody else, he was

1546
01:31:21,660 --> 01:31:26,140
just walking to the beat, walking. Walking. Walking.

1547
01:31:26,140 --> 01:31:30,020
Jump up, stop, stick out his own hand, give him some five,

1548
01:31:30,020 --> 01:31:32,100
hunch his shoulders, point it, pop.

1549
01:31:34,940 --> 01:31:36,180
And that was locking.

1550
01:31:36,180 --> 01:31:39,020
You could see Michael doing like...

1551
01:31:41,500 --> 01:31:43,180
You could see him doing those...

1552
01:31:43,180 --> 01:31:46,140
He's putting this locking in his...

1553
01:31:46,140 --> 01:31:49,420
He was just incorporating little things into his...

1554
01:31:49,420 --> 01:31:51,340
Stepping like that, you know.

1555
01:31:51,340 --> 01:31:54,260
Funky chicken, that's the funky chicken,

1556
01:31:54,260 --> 01:31:56,700
so these dances came from Soul Train too.

1557
01:31:56,700 --> 01:31:58,260
Michael Jackson, he loves it,

1558
01:31:58,260 --> 01:32:00,500
he loves the locking, he loves the popping.

1559
01:32:00,500 --> 01:32:05,900
When you see him on stage and he is ticking,

1560
01:32:05,900 --> 01:32:10,100
Michael is deep into the urban contemporary dance because I don't

1561
01:32:10,100 --> 01:32:13,140
call it street dance no more. It left the streets years ago.

1562
01:32:17,940 --> 01:32:22,020
I'd created movement for Michael from his passage in to his passage out.

1563
01:32:45,220 --> 01:32:47,940
There were a couple of places where I said, "OK, you know, Jeffrey,

1564
01:32:47,940 --> 01:32:50,620
"why don't you do this? When he comes around the pool table,

1565
01:32:50,620 --> 01:32:53,620
"I'd love you to do something here and make this work over here."

1566
01:33:01,580 --> 01:33:03,740
I'd got this from a Bugs Bunny cartoon.

1567
01:33:03,740 --> 01:33:05,580
These gangsters with these gangster hats

1568
01:33:05,580 --> 01:33:08,300
and they are all bouncing like this, coming.

1569
01:33:08,300 --> 01:33:11,540
I was just trying to capture that kind of animated thing.

1570
01:33:11,540 --> 01:33:15,340
OK, here we go, same thing. Boom, boom.

1571
01:33:15,340 --> 01:33:20,100
And again right after the hat, I think it's the hand. Boom, boom.

1572
01:33:20,100 --> 01:33:21,700
Bang!

1573
01:33:21,700 --> 01:33:23,620
Ba, ba, ba, ba, ba!

1574
01:33:23,620 --> 01:33:24,900
Bang, bang, boom!

1575
01:33:24,900 --> 01:33:26,420
Some of the moves they did...

1576
01:33:26,420 --> 01:33:29,740
Maybe you'll find out. I still don't know how they did that thing.

1577
01:33:35,020 --> 01:33:38,660
The whole thing with the lean - I had done the lean

1578
01:33:38,660 --> 01:33:41,540
in a Paul McCartney movie called Give My Regards To Broad Street.

1579
01:33:49,060 --> 01:33:51,620
When I'm on the plane, when we take private jets,

1580
01:33:51,620 --> 01:33:53,340
we always, when it's taking off,

1581
01:33:53,340 --> 01:33:56,140
we lean forward to try to do the same move as Michael,

1582
01:33:56,140 --> 01:33:58,020
so it kind of looks the same!

1583
01:33:58,020 --> 01:34:01,620
So what, you want to know how it was done?

1584
01:34:01,620 --> 01:34:03,380
Even to this day,

1585
01:34:03,380 --> 01:34:07,020
I will reference the Smooth Criminal lean...

1586
01:34:08,500 --> 01:34:10,940
..and people instantly know what I'm talking about.

1587
01:34:10,940 --> 01:34:14,300
There was a break in Smooth Criminal that was never supposed to be there.

1588
01:34:14,300 --> 01:34:15,940
The music breaks down.

1589
01:34:15,940 --> 01:34:18,620
Everything gets cool.

1590
01:34:18,620 --> 01:34:22,460
They show a cat walking across the piano, the lights go blue.

1591
01:34:22,460 --> 01:34:23,980
We did not know about this.

1592
01:34:23,980 --> 01:34:25,580
Ssh!

1593
01:34:38,380 --> 01:34:42,820
- Oh! O-o-oh!
- O-o-o-oh!

1594
01:34:44,100 --> 01:34:45,900
For that break in the middle,

1595
01:34:45,900 --> 01:34:48,780
he just wanted to let the dancers feel the set.

1596
01:34:48,780 --> 01:34:51,700
I mean, we'd been shooting for quite a while by then,

1597
01:34:51,700 --> 01:34:54,860
and he just said, you know, "I don't want anything to disturb us,"

1598
01:34:54,860 --> 01:34:58,460
and I said, I was shooting five cameras at the time,

1599
01:34:58,460 --> 01:35:00,300
plus Jerry had five cameras,

1600
01:35:00,300 --> 01:35:02,020
so it was ten cameras shooting

1601
01:35:02,020 --> 01:35:05,340
and you know, we didn't know how long it was going to go on for.

1602
01:35:06,620 --> 01:35:09,500
- THEY WHISPER:
- Annie, are OK? Are you OK, Annie?

1603
01:35:09,500 --> 01:35:13,220
Annie, are you OK? So Annie, are you OK? Are you OK, Annie?

1604
01:35:13,220 --> 01:35:16,780
- BUILDING:
- Annie, are you OK? So Annie, are you OK?

1605
01:35:16,780 --> 01:35:17,940
Are you OK, Annie?

1606
01:35:17,940 --> 01:35:21,580
Annie, are you OK? So Annie, are you OK? Are you OK, Annie?

1607
01:35:21,580 --> 01:35:23,260
Annie, are you OK? So, Annie...

1608
01:35:35,820 --> 01:35:38,260
A lot of the songs he writes about being observed,

1609
01:35:38,260 --> 01:35:40,820
either from the point of view of, he's the object

1610
01:35:40,820 --> 01:35:45,340
or that he becomes the person looking at someone like him,

1611
01:35:45,340 --> 01:35:46,900
or the objective person.

1612
01:35:46,900 --> 01:35:49,100
♪ Are you OK? Are you OK, Annie?

1613
01:35:49,100 --> 01:35:51,700
♪ Annie, are you OK? So Annie, are you OK?

1614
01:35:51,700 --> 01:35:53,020
♪ Are you OK, Annie?

1615
01:35:53,020 --> 01:35:55,660
♪ Annie, are you OK? So Annie, are you OK?

1616
01:35:55,660 --> 01:35:58,780
♪ Are you OK, Annie? You've been hit by... ♪

1617
01:35:58,780 --> 01:36:00,900
For someone who grew up in the spotlight,

1618
01:36:00,900 --> 01:36:03,780
being watched is a very big part of how you see the world.

1619
01:36:03,780 --> 01:36:05,740
This is a guy who

1620
01:36:05,740 --> 01:36:08,260
was never not in the newspapers

1621
01:36:08,260 --> 01:36:09,740
every single day

1622
01:36:09,740 --> 01:36:11,620
being ridiculed, "Wacko Jacko,"

1623
01:36:11,620 --> 01:36:13,940
I mean, he's a kid - on the inside, he's a kid.

1624
01:36:13,940 --> 01:36:17,660
How that stuff doesn't penetrate you and hurt you, hurt your spirit.

1625
01:36:17,660 --> 01:36:20,500
"Michael Jackson's got a shrine to Elizabeth Taylor.

1626
01:36:20,500 --> 01:36:23,940
"He's got an amusement park. He's had a lot of facial surgery,"

1627
01:36:23,940 --> 01:36:27,220
so I said, "Michael, when you're in the school yard

1628
01:36:27,220 --> 01:36:29,620
"and you are the smallest and you get teased a lot,

1629
01:36:29,620 --> 01:36:32,380
"it's really only fun to tease you if it bothers you.

1630
01:36:32,380 --> 01:36:35,460
"If it doesn't bother you, they move on,

1631
01:36:35,460 --> 01:36:39,700
"so why don't we just take all this crap being said about you

1632
01:36:39,700 --> 01:36:43,100
"and why don't we say at? Why don't we put it to visuals?"

1633
01:36:43,100 --> 01:36:47,460
Leave Me Alone - it was a lot of fun to play that. It had that intro.

1634
01:36:54,660 --> 01:36:56,140
But there was also a string part

1635
01:36:56,140 --> 01:36:59,380
that kind of played the same thing but was just accenting that...

1636
01:36:59,380 --> 01:37:02,100
And he was just kind of saying, "Dig in," you know.

1637
01:37:03,540 --> 01:37:06,580
I remember him standing right next to me, going...

1638
01:37:10,740 --> 01:37:13,300
See, a lot of people that misunderstand me,

1639
01:37:13,300 --> 01:37:16,060
it's because they don't know me.

1640
01:37:16,060 --> 01:37:18,140
I guess that's true.

1641
01:37:18,140 --> 01:37:21,420
People probably have a lot of crazy stories they read.

1642
01:37:21,420 --> 01:37:23,500
You ever want to lash out in any type of way

1643
01:37:23,500 --> 01:37:25,860
and say, "Hey, that's not true"?

1644
01:37:25,860 --> 01:37:27,420
Yeah, a lot of times.

1645
01:37:27,420 --> 01:37:30,060
♪ I don't care what you talking about, baby,

1646
01:37:30,060 --> 01:37:33,180
♪ I don't care what you think... ♪

1647
01:37:33,180 --> 01:37:34,900
You can see, you know,

1648
01:37:34,900 --> 01:37:38,140
how he's starting to feel like he's a spectacle.

1649
01:37:38,140 --> 01:37:40,540
In the video, he's tied down.

1650
01:37:40,540 --> 01:37:43,180
It's inspired by Gulliver's Travels

1651
01:37:43,180 --> 01:37:45,780
and he's tied under a roller coaster

1652
01:37:45,780 --> 01:37:48,100
and you see these dogs with corporate suits,

1653
01:37:48,100 --> 01:37:51,180
banging the pegs, trying to tie him down

1654
01:37:51,180 --> 01:37:53,780
in this big kind of amusement park setting.

1655
01:37:55,260 --> 01:37:58,180
I only got a glimpse of what his life must have been like

1656
01:37:58,180 --> 01:38:00,060
when I would be in Europe

1657
01:38:00,060 --> 01:38:02,540
and our limousines would be attacked by mobs,

1658
01:38:02,540 --> 01:38:05,500
with them thinking that Michael was in our limousine

1659
01:38:05,500 --> 01:38:10,180
and if that's your initial introduction to the universe,

1660
01:38:10,180 --> 01:38:12,420
when you're a five-year-old,

1661
01:38:12,420 --> 01:38:17,140
then that has got to inform what you feel like the world is like.

1662
01:38:17,140 --> 01:38:19,060
I'm waiting for Michael, and a guy comes up

1663
01:38:19,060 --> 01:38:21,940
and I don't see Michael. He goes, "Hi, Jeffrey, how you doing?"

1664
01:38:21,940 --> 01:38:24,220
"All right." He says, "Are you ready to start?"

1665
01:38:24,220 --> 01:38:26,180
I go, "Yeah," but I'm not looking at Michael.

1666
01:38:26,180 --> 01:38:27,980
I'm looking at these bushy eyebrows,

1667
01:38:27,980 --> 01:38:32,020
a short Afro wig and these sideburns and this make-up on.

1668
01:38:32,020 --> 01:38:34,340
Michael had been out going door-to-door

1669
01:38:34,340 --> 01:38:36,700
for his Jehovah's Witnesses. He put on a disguise,

1670
01:38:36,700 --> 01:38:39,820
so people wouldn't know Michael Jackson was knocking on their door.

1671
01:38:39,820 --> 01:38:42,340
I'm sure some people were slamming the door in his face,

1672
01:38:42,340 --> 01:38:44,420
like, "Jehovah's Witness, get out of here!"

1673
01:38:44,420 --> 01:38:46,900
Sometimes I want to sneak into places

1674
01:38:46,900 --> 01:38:50,660
and not have any hoopla or, you know...

1675
01:38:50,660 --> 01:38:53,580
and it doesn't work all the time.

1676
01:38:53,580 --> 01:38:55,180
I went to the shrine auditorium

1677
01:38:55,180 --> 01:38:57,660
and a guy tapped me on the back

1678
01:38:57,660 --> 01:39:01,340
and I turned around and it was an old man.

1679
01:39:01,340 --> 01:39:04,260
I said, "What is this?" He said, "It's Michael!"

1680
01:39:04,260 --> 01:39:07,500
I said, "Man, you scared the mess out of me!"

1681
01:39:07,500 --> 01:39:09,380
I have incredible disguises.

1682
01:39:09,380 --> 01:39:12,100
I can fool my own mother

1683
01:39:12,100 --> 01:39:14,700
and I enjoy doing it

1684
01:39:14,700 --> 01:39:17,900
because I get to see life the way it really is sometimes.

1685
01:39:17,900 --> 01:39:20,700
One day, he said, "You know, my brothers are in town

1686
01:39:20,700 --> 01:39:24,420
"so I'm going to see them tonight." I said, "That's cool, all right."

1687
01:39:24,420 --> 01:39:26,300
So the next day I came onto the set

1688
01:39:26,300 --> 01:39:29,380
and Michael goes, "Yeah, I waited for my brothers all night.

1689
01:39:29,380 --> 01:39:32,620
"I fixed my hair and everything but they didn't show up."

1690
01:39:34,060 --> 01:39:37,140
Sorry this bothers me,

1691
01:39:37,140 --> 01:39:40,980
but he said, "I would give anything just to be able to go to a party

1692
01:39:40,980 --> 01:39:43,220
"and stand in a corner somewhere,

1693
01:39:43,220 --> 01:39:46,580
"stand behind a curtain and put my head out and be able to see

1694
01:39:46,580 --> 01:39:49,740
"what it's like for real people to just be real people."

1695
01:39:49,740 --> 01:39:53,180
♪ The choice that we make and the choice you will take

1696
01:39:53,180 --> 01:39:55,980
♪ Who's laughing, baby?

1697
01:39:55,980 --> 01:39:58,380
♪ Just leave me alone

1698
01:39:58,380 --> 01:40:00,460
♪ Leave me alone! Leave me alone... ♪

1699
01:40:00,460 --> 01:40:02,220
When you see that film,

1700
01:40:02,220 --> 01:40:03,580
with all of those images,

1701
01:40:03,580 --> 01:40:05,660
every image that you see of Michael

1702
01:40:05,660 --> 01:40:07,980
started out as 35mm movie film,

1703
01:40:07,980 --> 01:40:11,980
which then turned into a stack of photo prints this tall,

1704
01:40:11,980 --> 01:40:16,500
which people sat around for two weeks, cutting out.

1705
01:40:16,500 --> 01:40:20,180
There was one guy whose job was just cutting out Michael's hair.

1706
01:40:20,180 --> 01:40:25,380
The Charlie Chaplin ball and chain idea was Michael's.

1707
01:40:25,380 --> 01:40:26,860
We knew we had a sequence where

1708
01:40:26,860 --> 01:40:29,900
we wanted to have a dance sequence with the Elephant Man's bones,

1709
01:40:29,900 --> 01:40:33,460
and so Michael showed up the day of the shoot with that piece.

1710
01:40:35,540 --> 01:40:40,540
Leave Me Alone was extremely ahead of its time.

1711
01:40:41,700 --> 01:40:45,220
Leave Me Alone was my favourite video and song off that album.

1712
01:40:45,220 --> 01:40:47,660
Just, even the amusement park setup

1713
01:40:47,660 --> 01:40:50,220
and the way they chop the graphics up.

1714
01:40:50,220 --> 01:40:53,940
There is nothing that compares to that, even to this day,

1715
01:40:53,940 --> 01:40:55,540
as far as visuals go.

1716
01:40:56,700 --> 01:40:59,260
Michael's quest for creative independence,

1717
01:40:59,260 --> 01:41:01,820
which started when he and his brothers left Motown,

1718
01:41:01,820 --> 01:41:04,860
continued through Off The Wall and Thriller,

1719
01:41:04,860 --> 01:40:08,380
reached a high point with the Bad album and the Bad tour.

1720
01:41:08,380 --> 01:41:09,740
He didn't tour with Thriller,

1721
01:41:09,740 --> 01:41:12,060
and then with Bad, he finally had an opportunity

1722
01:41:12,060 --> 01:41:14,060
to create the kind of show he wanted to create,

1723
01:41:14,060 --> 01:41:16,460
the kind of show that represented him as a solo artist.

1724
01:41:16,460 --> 01:41:18,540
It was Michael's first solo tour

1725
01:41:18,540 --> 01:41:22,620
and in fact, it was the only tour in the US that Michael ever conducted.

1726
01:41:22,620 --> 01:41:24,740
What a night! What a crowd,

1727
01:41:24,740 --> 01:41:26,260
what a gig, what a venue.

1728
01:41:26,260 --> 01:41:28,420
Who'd have thought Wembley Stadium,

1729
01:41:28,420 --> 01:41:31,380
the home of Live Aid, the home of Nelson Mandela

1730
01:41:31,380 --> 01:41:34,420
and now, the home of the king of it all!

1731
01:41:36,180 --> 01:41:37,540
It's a gruelling tour.

1732
01:41:37,540 --> 01:41:41,780
It starts in September 1987 and goes until January 1989.

1733
01:41:41,780 --> 01:41:44,660
He did 15 different countries,

1734
01:41:44,660 --> 01:41:46,700
123 different shows,

1735
01:41:46,700 --> 01:41:50,140
and it proved to be one of the most successful concert tours in history.

1736
01:41:50,140 --> 01:41:53,820
The Bad world tour set three Guinness Book of World Records.

1737
01:41:53,820 --> 01:41:56,660
One was the highest grossing tour of all time,

1738
01:41:56,660 --> 01:41:59,420
the most attended tour in history

1739
01:41:59,420 --> 01:42:02,100
and then, the shows that he did at Wembley in London

1740
01:42:02,100 --> 01:42:06,020
were the most consecutive shows an artist had ever sold out in history.

1741
01:42:06,020 --> 01:42:07,940
The tour generated a lot of income

1742
01:42:07,940 --> 01:42:10,500
and Michael Jackson donated a lot of that income

1743
01:42:10,500 --> 01:42:12,100
to charities of his choice.

1744
01:42:12,100 --> 01:42:14,980
We're making a very, very large contribution

1745
01:42:14,980 --> 01:42:16,300
to the Prince's Trust fund

1746
01:42:16,300 --> 01:42:18,900
and it will go to the Ormond Street Hospital.

1747
01:42:18,900 --> 01:42:21,100
Camp Goodtimes, Ronald McDonald House...

1748
01:42:21,100 --> 01:42:22,740
The United Negro College Fund

1749
01:42:22,740 --> 01:42:25,740
and the Burns Center, the Michael Jackson Burns Center.

1750
01:42:25,740 --> 01:42:27,100
I love you!

1751
01:42:27,100 --> 01:42:29,740
CHEERING

1752
01:42:37,940 --> 01:42:41,380
This is hard, um...

1753
01:42:41,380 --> 01:42:45,540
My brother, the legendary King Of Pop, Michael Jackson,

1754
01:42:45,540 --> 01:42:48,460
passed away on Thursday, June 25,

1755
01:42:48,460 --> 01:42:52,300
2009 at 2.26pm.

1756
01:42:52,300 --> 01:42:53,940
I...

1757
01:42:53,940 --> 01:42:59,180
had performed about a year or so before then in Australia,

1758
01:42:59,180 --> 01:43:01,620
and I remember having this dream

1759
01:43:01,620 --> 01:43:04,980
that I was listening to the radio and...

1760
01:43:06,020 --> 01:43:08,820
..on the radio came that Michael Jackson had died.

1761
01:43:08,820 --> 01:43:11,820
Then I woke up, you know, sweating and nervous

1762
01:43:11,820 --> 01:43:13,140
and just really going crazy.

1763
01:43:13,140 --> 01:43:15,740
Where were you when you heard Michael died?

1764
01:43:15,740 --> 01:43:18,140
Um, I was in Montreal.

1765
01:43:18,140 --> 01:43:21,140
I was directing a project for Cirque du Soleil.

1766
01:43:21,140 --> 01:43:25,020
I was sitting here in this chair in this room.

1767
01:43:25,020 --> 01:43:26,700
I was in Savannah, Georgia.

1768
01:43:26,700 --> 01:43:28,500
I was at my own studio.

1769
01:43:28,500 --> 01:43:30,620
When he died, I was supposed to go meet him.

1770
01:43:30,620 --> 01:43:32,700
I was supposed to see him at the Staples Centre.

1771
01:43:32,700 --> 01:43:34,660
I think I was in a car.

1772
01:43:34,660 --> 01:43:36,540
I was actually driving in the car.

1773
01:43:36,540 --> 01:43:38,300
I know I was home that day.

1774
01:43:38,300 --> 01:43:39,780
So I turned on the radio.

1775
01:43:41,020 --> 01:43:42,300
Then I hear...

1776
01:43:42,300 --> 01:43:45,380
I was on a radio promo tour and I was just in the car,

1777
01:43:45,380 --> 01:43:47,220
going to my next radio station.

1778
01:43:47,220 --> 01:43:48,420
I was on the set.

1779
01:43:48,420 --> 01:43:52,980
I was shooting...um, Boardwalk Empire.

1780
01:43:52,980 --> 01:43:56,300
At my job, Late Night With Jimmy Fallon.

1781
01:43:56,300 --> 01:44:00,180
I was in London, going to get some bottled water from the store.

1782
01:44:00,180 --> 01:44:01,500
I was at my house in LA.

1783
01:44:01,500 --> 01:44:05,820
Los Angeles. No, no, no. I was in Panama.

1784
01:44:05,820 --> 01:44:07,780
I was actually working.

1785
01:44:07,780 --> 01:44:12,900
I had a Blackberry I picked up in Moscow and the person said,

1786
01:44:12,900 --> 01:44:14,300
"He's gone."

1787
01:44:14,300 --> 01:44:22,100
Wow. I was in Sony when I heard Michael Jackson passed.

1788
01:44:22,100 --> 01:44:26,580
I was in my office, having an audition with some artists.

1789
01:44:26,580 --> 01:44:28,820
My doorman said to me,

1790
01:44:28,820 --> 01:44:31,060
"Mrs Robinson, Michael Jackson died".

1791
01:44:31,060 --> 01:44:34,860
Actually, my security guard at that time came in and told me that

1792
01:44:34,860 --> 01:44:36,940
and he's just wrong all the time.

1793
01:44:36,940 --> 01:44:39,260
I just didn't buy into it for one second.

1794
01:44:39,260 --> 01:44:42,260
I couldn't believe it and there was nothing on the news up there,

1795
01:44:42,260 --> 01:44:43,820
telling me that this was true.

1796
01:44:43,820 --> 01:44:46,300
I said, "What? Come on... Don't listen to that."

1797
01:44:46,300 --> 01:44:47,420
I didn't believe it.

1798
01:44:47,420 --> 01:44:48,580
It just didn't seem real.

1799
01:44:48,580 --> 01:44:50,900
I thought it was...a lie.

1800
01:44:50,900 --> 01:44:51,940
I couldn't believe it.

1801
01:44:51,940 --> 01:44:54,060
People must've called, I must've gotten 50 calls.

1802
01:44:54,060 --> 01:44:57,660
Don't call me and tell me that!

1803
01:44:57,660 --> 01:44:59,340
Because it's not true!

1804
01:44:59,340 --> 01:45:00,940
I think I started crying on the spot.

1805
01:45:00,940 --> 01:45:03,020
I couldn't even breathe, man.

1806
01:45:03,020 --> 01:45:05,900
I couldn't even breathe, I just collapsed right there on the ground.

1807
01:45:05,900 --> 01:45:07,940
We all kind of stayed in a daze.

1808
01:45:07,940 --> 01:45:09,820
Everything just became a blur.

1809
01:45:12,380 --> 01:45:16,420
I immediately called my friend Bruce Swedien...

1810
01:45:16,420 --> 01:45:18,340
and he was in shock as well.

1811
01:45:18,340 --> 01:45:21,060
Everything stopped. Couldn't do anything.

1812
01:45:39,980 --> 01:45:41,020
(Sorry.)

1813
01:45:45,100 --> 01:45:46,940
It was like...

1814
01:45:48,860 --> 01:45:50,140
Sorry.

1815
01:45:52,900 --> 01:45:55,060
Sorry, man. I...

1816
01:45:55,060 --> 01:45:57,340
I really loved the guy.

1817
01:46:18,140 --> 01:46:20,060
I miss his hugs.

1818
01:46:20,060 --> 01:46:23,380
Just his friendship.

1819
01:46:23,380 --> 01:46:25,740
Um...

1820
01:46:25,740 --> 01:46:28,100
Just being around him.

1821
01:46:28,100 --> 01:46:29,780
Uh...

1822
01:46:29,780 --> 01:46:31,900
Just to know he's around.

1823
01:46:31,900 --> 01:46:34,940
And I had just seen Berry Gordy several days earlier

1824
01:46:34,940 --> 01:46:40,060
and we sat at the Mandarin Oriental hotel and we were just talking

1825
01:46:40,060 --> 01:46:44,740
and I said, "Think Michael's going to do those shows in London?"

1826
01:46:44,740 --> 01:46:46,300
And he went, "I don't know."

1827
01:46:46,300 --> 01:46:50,540
I, er, was at the funeral, and I sang...

1828
01:46:50,540 --> 01:46:53,380
I've never sung at a funeral before, ever.

1829
01:46:53,380 --> 01:46:56,900
So, this is Michael Jackson's funeral, and they come in

1830
01:46:56,900 --> 01:46:58,900
and go, "Mariah, you're on first."

1831
01:46:58,900 --> 01:47:01,700
I Never Dreamed You'd Leave In Summer was a song that myself

1832
01:47:01,700 --> 01:47:03,500
and Syreeta Wright -

1833
01:47:03,500 --> 01:47:08,300
well, she was my first wife, Syreeta - wrote together.

1834
01:47:08,300 --> 01:47:14,380
When I sang it, at Michael's...homecoming service,

1835
01:47:14,380 --> 01:47:19,820
I never, ever imagined that I would be outliving Michael Jackson.

1836
01:47:19,820 --> 01:47:20,940
Um...

1837
01:47:20,940 --> 01:47:22,220
It's very, very painful.

1838
01:47:22,220 --> 01:47:25,660
It's still unbelievable to me that he's actually dead

1839
01:47:25,660 --> 01:47:30,140
and we should all be ashamed. Each of us to a one.

1840
01:47:30,140 --> 01:47:32,780
And I don't know who to look at.

1841
01:47:32,780 --> 01:47:35,060
Michael said, I guess, look at the man in the mirror.

1842
01:47:35,060 --> 01:47:39,300
Just like when John Lennon died, people turned to Imagine,

1843
01:47:39,300 --> 01:47:42,100
when Michael Jackson died, people turned to Man In The Mirror.

1844
01:47:55,700 --> 01:47:58,860
It really doesn't have that inspirational pop anthem on it,

1845
01:47:58,860 --> 01:48:02,100
like Greatest Love of All, Whitney Houston, Saving All My Love For You,

1846
01:48:02,100 --> 01:48:05,740
that kind of thing, and it's interesting that Bad does.

1847
01:48:05,740 --> 01:48:08,540
We kept talking about how nice it would be to get an anthem

1848
01:48:08,540 --> 01:48:11,020
that had a good feel to it, you know, just like

1849
01:48:11,020 --> 01:48:12,460
some sunshine on the world.

1850
01:48:12,460 --> 01:48:15,340
So he called a meeting with his West Coast songwriters,

1851
01:48:15,340 --> 01:48:16,780
I think there were like, six of us.

1852
01:48:16,780 --> 01:48:18,780
He said he wanted something upbeat,

1853
01:48:18,780 --> 01:48:21,540
he said he wanted something that felt good...

1854
01:48:21,540 --> 01:48:25,300
Whitney Houston's second solo album was storming the charts

1855
01:48:25,300 --> 01:48:27,540
and I think she provided a little bit of heat,

1856
01:48:27,540 --> 01:48:31,300
and I think that the label was concerned about how to kind of

1857
01:48:31,300 --> 01:48:35,220
appeal to this audience that had gravitated to Whitney Houston.

1858
01:48:35,220 --> 01:48:38,620
Went to Glen Ballard's house, who was my writing partner at the time,

1859
01:48:38,620 --> 01:48:39,980
I said, "This is what Quincy wants".

1860
01:48:39,980 --> 01:48:42,140
He said, "Well, let's just see what we come up with".

1861
01:48:42,140 --> 01:48:44,020
He stands up, goes over to the keyboard,

1862
01:48:44,020 --> 01:48:45,700
turns on the keyboard

1863
01:48:45,700 --> 01:48:47,980
and starts playing...

1864
01:48:47,980 --> 01:48:49,460
HE PLAYS INTRO

1865
01:48:49,460 --> 01:48:52,180
So I'm flipping through my lyric book...

1866
01:48:52,180 --> 01:48:53,780
While he's playing these...

1867
01:48:53,780 --> 01:48:55,500
Just getting sounds on the keyboard.

1868
01:48:55,500 --> 01:48:58,820
Cut to two years before this meeting.

1869
01:48:58,820 --> 01:49:01,100
I'm writing with John Beasley, jazz pianist.

1870
01:49:01,100 --> 01:49:02,460
His phone rings,

1871
01:49:02,460 --> 01:49:06,180
and he picked the phone up instead of letting the machine pick it up.

1872
01:49:06,180 --> 01:49:09,180
"Yeah, what's happening? I'm not doing nothing.

1873
01:49:09,180 --> 01:49:11,900
And I'm thinking, "He's doing something!"

1874
01:49:11,900 --> 01:49:13,580
And I'm flipping through my book,

1875
01:49:13,580 --> 01:49:16,180
no, he didn't say he's not doing nothing. No, he didn't.

1876
01:49:16,180 --> 01:49:20,220
So I'm flipping through this book and I hear him say, "The man?"

1877
01:49:20,220 --> 01:49:23,780
"What man? Oh, the man in the mirror."

1878
01:49:23,780 --> 01:49:27,460
I wrote, "man in the mirror".

1879
01:49:27,460 --> 01:49:30,100
So two years later, I'm at Glen's house and the phrase

1880
01:49:30,100 --> 01:49:33,220
"man in the mirror" just popped out at me

1881
01:49:33,220 --> 01:49:36,060
and I started writing these lyrics

1882
01:49:36,060 --> 01:49:38,500
that I couldn't write them fast enough,

1883
01:49:38,500 --> 01:49:42,420
I couldn't get it all out fast enough and in like, 15 minutes,

1884
01:49:42,420 --> 01:49:46,140
we had the first verse and the chorus for Man In The Mirror.

1885
01:49:46,140 --> 01:49:48,780
"I'm certain there will be a change

1886
01:49:48,780 --> 01:49:50,900
"and starting with that man in the mirror..."

1887
01:49:50,900 --> 01:49:53,220
The lyrics evolved into what they are,

1888
01:49:53,220 --> 01:49:55,980
but these are the humble beginnings.

1889
01:49:55,980 --> 01:49:59,180
Glen said, "You go finish the lyrics,

1890
01:49:59,180 --> 01:50:02,180
"and I'll finish the track and we'll demo the song on Friday".

1891
01:50:02,180 --> 01:50:05,940
Friday night we finished it after the Quest publishing was closed.

1892
01:50:05,940 --> 01:50:09,860
♪ I'm starting with the man in the mirror

1893
01:50:09,780 --> 01:50:14,980
♪ I'm asking him to change his ways... ♪

1894
01:50:14,980 --> 01:50:17,340
So I called Quincy at home.

1895
01:50:17,340 --> 01:50:19,980
He said, "I'm having a meeting, I can't...

1896
01:50:19,980 --> 01:50:22,900
"You can't drop it off. Just take it to the office on Monday."

1897
01:50:22,900 --> 01:50:24,700
I said, "I...

1898
01:50:27,300 --> 01:50:29,140
"I can't wait till Monday.

1899
01:50:29,140 --> 01:50:32,260
"Let me just, let me just drop it... "Sied..." "Quincy, let me just..."

1900
01:50:32,260 --> 01:50:34,460
"All right, shit."

1901
01:50:34,460 --> 01:50:35,980
And I go to his house...

1902
01:50:35,980 --> 01:50:40,220
I give Quincy this really quickly, this cassette, I say just,

1903
01:50:40,220 --> 01:50:44,340
"All I ask is you just call me as soon as..."

1904
01:50:44,340 --> 01:50:45,740
He said, "All right, shit".

1905
01:50:45,740 --> 01:50:48,460
Two, three hours later, I get a call and Quincy goes,

1906
01:50:48,460 --> 01:50:53,220
"Sied, this is the best song that I've heard

1907
01:50:53,220 --> 01:50:55,100
"in ten years".

1908
01:50:55,100 --> 01:50:57,580
- And I'm like...
- MOUTHS

1909
01:50:57,580 --> 01:50:59,420
The key...

1910
01:50:59,420 --> 01:51:02,740
was one step too high for Michael,

1911
01:51:02,740 --> 01:51:07,780
so Quincy wanted me to re-sing the demo in the new key.

1912
01:51:07,780 --> 01:51:10,980
So I come here and I'm singing the demo in the new key

1913
01:51:10,980 --> 01:51:14,460
and Michael...is filming me.

1914
01:51:14,460 --> 01:51:16,580
Whenever you're ready, Miss Siedah.

1915
01:51:16,580 --> 01:51:18,260
FINGERS CLICK IN TIME

1916
01:51:18,260 --> 01:51:20,900
♪ Gonna make a change

1917
01:51:20,900 --> 01:51:24,340
♪ For once in my life

1918
01:51:26,740 --> 01:51:29,180
♪ Gonna feel real good

1919
01:51:29,180 --> 01:51:34,460
♪ Gonna make a difference gonna make it right

1920
01:51:36,540 --> 01:51:39,860
♪ As I turn up the collar on

1921
01:51:39,860 --> 01:51:42,500
♪ My favourite winter coat

1922
01:51:42,500 --> 01:51:45,460
♪ This wind is blowing my mind

1923
01:51:46,420 --> 01:51:48,900
♪ I see the kids in the street

1924
01:51:48,900 --> 01:51:51,100
♪ Not enough to eat

1925
01:51:51,100 --> 01:51:53,300
♪ Who am I to be blind?

1926
01:51:53,300 --> 01:51:56,620
♪ Pretending not to see their need... ♪

1927
01:51:57,860 --> 01:51:59,900
♪ A willow deeply scarred... ♪

1928
01:51:59,900 --> 01:52:01,340
I got that image

1929
01:52:01,340 --> 01:52:04,540
cos I was walking down the street in New York, walking past

1930
01:52:04,540 --> 01:52:07,580
this brownstone that had been torn down and it was fenced.

1931
01:52:07,580 --> 01:52:10,500
Just a lot with broken glass

1932
01:52:10,500 --> 01:52:12,060
and this tree...

1933
01:52:12,060 --> 01:52:15,340
that someone had carved their initials into this tree...

1934
01:52:17,980 --> 01:52:20,300
♪ ..Somebody's broken heart

1935
01:52:20,300 --> 01:52:24,060
♪ And one man's soul

1936
01:52:24,060 --> 01:52:29,180
♪ They follow each other on the wind you know

1937
01:52:29,180 --> 01:52:32,420
♪ Cos they got no place to go

1938
01:52:32,420 --> 01:52:34,940
♪ That's why I want you to know. ♪

1939
01:52:34,940 --> 01:52:37,860
It was really a great song from inception,

1940
01:52:37,860 --> 01:52:40,260
but I think what Michael did is he took that song

1941
01:52:40,260 --> 01:52:41,580
and he made it his own.

1942
01:52:41,580 --> 01:52:44,700
In popular music, there's often this idea that you are either

1943
01:52:44,700 --> 01:52:47,580
the songwriter of your own material

1944
01:52:47,580 --> 01:52:49,220
or you are the interpreter.

1945
01:52:49,220 --> 01:52:52,060
The interesting thing about Michael Jackson is that he was both.

1946
01:52:52,060 --> 01:52:53,940
You may not even know what he's talking about,

1947
01:52:53,940 --> 01:52:57,620
a broken bottle top, all kinds of images are floating,

1948
01:52:57,620 --> 01:53:01,100
but it's the conviction and the fervour with which

1949
01:53:01,100 --> 01:53:04,020
he brings to the song that is really spectacular.

1950
01:53:04,020 --> 01:53:06,340
He said, "Andrae, I got a song.

1951
01:53:06,340 --> 01:53:11,780
"If you were listening to this and wondered where a choir should be..."

1952
01:53:11,780 --> 01:53:16,100
He said, "I would love to have a choir and I've heard your music."

1953
01:53:16,100 --> 01:53:18,620
♪ If you wanna make the world a better place

1954
01:53:18,620 --> 01:53:20,940
♪ Take a look at yourself and then make that... ♪

1955
01:53:20,940 --> 01:53:24,100
"Change," I said, "Right there, you're exactly right".

1956
01:53:24,100 --> 01:53:25,540
And the choir sang...

1957
01:53:25,540 --> 01:53:27,100
♪ Man in the mirror

1958
01:53:27,100 --> 01:53:30,820
♪ Oooh oh-ooh-oh

1959
01:53:30,820 --> 01:53:32,340
- # Ow!
- Yeah!

1960
01:53:32,340 --> 01:53:33,660
Oooh oh-ooh-oh

1961
01:53:33,660 --> 01:53:34,700
Make that change... #

1962
01:53:34,700 --> 01:53:37,820
Andrae Crouch's choir seriously threw it on the end

1963
01:53:37,820 --> 01:53:41,580
and it featured all kinds of singers, including, I didn't realise the Winans were on there!

1964
01:53:41,580 --> 01:53:43,900
My brother Marvin asked him,

1965
01:53:43,900 --> 01:53:46,340
"Exactly what do, how do you want us to do it?"

1966
01:53:46,340 --> 01:53:50,020
He was whispering into Quincy Jones' ear

1967
01:53:50,020 --> 01:53:52,860
and Quincy would actually...

1968
01:53:54,580 --> 01:53:56,540
..relay the message to us

1969
01:53:56,540 --> 01:54:00,740
and my brother Marvin said, "Well, Michael, can you talk?"

1970
01:54:00,740 --> 01:54:04,820
Mike broke out of the shell, sat down on the piano,

1971
01:54:04,820 --> 01:54:08,500
started playing the part... I didn't even know Michael PLAYED piano.

1972
01:54:08,500 --> 01:54:11,140
OK, here's my favourite link, right here.

1973
01:54:13,780 --> 01:54:15,380
Whoo!

1974
01:54:16,500 --> 01:54:18,780
That's when I was hot, back in the day!

1975
01:54:19,900 --> 01:54:24,100
Man In The Mirror, Quincy said give me the masterclass.

1976
01:54:24,100 --> 01:54:26,020
Those handclaps, that's what you hear.

1977
01:54:26,020 --> 01:54:29,860
The three of us would surround the mic, we'd nail it in real-time.

1978
01:54:31,420 --> 01:54:32,620
Then, what we would do,

1979
01:54:32,620 --> 01:54:35,620
we would speed this machine up maybe 15%,

1980
01:54:35,620 --> 01:54:37,620
so the track's going by really fast

1981
01:54:37,620 --> 01:54:41,300
and we're still clapping the same thing, then when you play back at a regular speed,

1982
01:54:41,300 --> 01:54:45,300
it's fat, so we have two sets of claps - in real-time

1983
01:54:45,300 --> 01:54:48,180
and the fat claps underneath which are exactly in the same time.

1984
01:54:48,180 --> 01:54:50,660
That's why if you listen to all those records we've done -

1985
01:54:50,660 --> 01:54:53,060
some of the best clap sounds you'll ever hear.

1986
01:54:53,060 --> 01:54:57,980
Once we cut the track, Andrae Crouch and his wonderful singers

1987
01:54:57,980 --> 01:55:02,420
came in here and Bruce Swedien had them all up on this stage.

1988
01:55:02,420 --> 01:55:04,780
Bruce is such a genius - he would have them

1989
01:55:04,780 --> 01:55:07,820
actually stand along this side, then stand along the side,

1990
01:55:07,820 --> 01:55:11,780
then they'd stand in the middle, cos he wanted to get all this really incredible imaging.

1991
01:55:11,780 --> 01:55:14,260
That's why it sounded like 57,000 people!

1992
01:55:14,260 --> 01:55:15,900
♪ Man in the mirror

1993
01:55:15,900 --> 01:55:18,460
♪ You got to move, chamon... ♪

1994
01:55:18,460 --> 01:55:22,820
OK, now bring the choir in, gently there...

1995
01:55:22,820 --> 01:55:25,060
Yeah, baby!

1996
01:55:25,060 --> 01:55:29,540
When the session was over, everybody was going back to their cars

1997
01:55:29,540 --> 01:55:32,100
and I was listening to it with Quincy.

1998
01:55:32,100 --> 01:55:37,140
I said, "Quincy, you know what? We should have put "change" at the end.

1999
01:55:37,140 --> 01:55:40,340
He said... "Yeah".

2000
01:55:40,340 --> 01:55:44,660
They were getting into their cars in the parking lot and I whistled,

2001
01:55:44,660 --> 01:55:47,260
I said, "Come here, we've got to do something else."

2002
01:55:47,260 --> 01:55:50,700
And they came in. I said, just say...

2003
01:55:50,700 --> 01:55:52,620
♪ Change... ♪

2004
01:55:52,620 --> 01:55:55,340
And then Michael said, "Make that change!"

2005
01:55:55,340 --> 01:55:57,740
- "Make that change."
- Ah!

2006
01:55:58,860 --> 01:56:05,540
Somewhere between Michael Jackson, Quincy Jones, Bruce Swedien,

2007
01:56:05,540 --> 01:56:08,740
the musicians - Greg Phillinganes, and all these guys -

2008
01:56:08,740 --> 01:56:11,900
something took place in those sessions that...

2009
01:56:13,420 --> 01:56:18,620
..technically sounds better than any record ever made to this day.

2010
01:56:18,620 --> 01:56:23,260
Michael Jackson meant that the unachievable was achievable,

2011
01:56:23,260 --> 01:56:25,420
that you could be respected,

2012
01:56:25,420 --> 01:56:29,820
you could be successful on a global level as a person of colour.

2013
01:56:29,820 --> 01:56:31,580
There's no-one that will take his place.

2014
01:56:31,580 --> 01:56:33,900
The discipline imposed upon him

2015
01:56:33,900 --> 01:56:38,140
for good or for bad, from the time he was a baby,

2016
01:56:38,140 --> 01:56:41,620
it's not even legal to replicate that in today's world.

2017
01:56:41,620 --> 01:56:47,300
Michael is the most professional performer I've ever worked with in my life.

2018
01:56:47,300 --> 01:56:49,620
He made it all look so simple.

2019
01:56:49,620 --> 01:56:52,140
He made it all look so natural.

2020
01:56:52,140 --> 01:56:54,460
And he really worked so hard to do that.

2021
01:56:55,460 --> 01:56:57,100
I remember watching...

2022
01:56:58,100 --> 01:57:02,780
..him on stage, perform and how he would...

2023
01:57:02,780 --> 01:57:04,940
..just glide and...

2024
01:57:06,300 --> 01:57:07,700
..make it seem like...

2025
01:57:09,340 --> 01:57:12,980
..the music was just going through him. I mean, he would close

2026
01:57:12,980 --> 01:57:15,540
his eyes and walk across the stage

2027
01:57:15,540 --> 01:57:18,340
and I'd sometimes wonder to myself,

2028
01:57:18,340 --> 01:57:21,740
he could fall, he could trip, he doesn't know where he's going.

2029
01:57:21,740 --> 01:57:23,180
But he never did.

2030
01:57:23,180 --> 01:57:27,300
Whether it's Beyonce or Lady Gaga or Chris Brown or Usher

2031
01:57:27,300 --> 01:57:29,980
or will.i.am or Justin Bieber or Justin Timberlake,

2032
01:57:29,980 --> 01:57:31,540
there isn't a musician

2033
01:57:31,540 --> 01:57:34,580
that doesn't quote Michael Jackson as being their idol.

2034
01:57:34,580 --> 01:57:37,780
I don't think there's anybody who comes close to having

2035
01:57:37,780 --> 01:57:39,180
that type of work ethic.

2036
01:57:39,180 --> 01:57:42,620
They say that Willie Mays was one of the only five-tool players

2037
01:57:42,620 --> 01:57:44,380
in the history of baseball.

2038
01:57:44,380 --> 01:57:50,220
A player that could run, field, hit, hit for power and throw.

2039
01:57:50,220 --> 01:57:52,260
And in the music business,

2040
01:57:52,260 --> 01:57:55,580
I'm not sure there was ever a five-tool player

2041
01:57:55,580 --> 01:57:57,740
other than Michael Jackson.

2042
01:57:57,740 --> 01:58:00,900
Michael could write the songs, he could produce them,

2043
01:58:00,900 --> 01:58:03,940
he could sing them, he could certainly perform

2044
01:58:03,940 --> 01:58:08,580
and dance them and he set fashion trends with his sense of style.

2045
01:58:08,580 --> 01:58:10,660
That's six tools you just named.

2046
01:58:10,660 --> 01:58:13,580
Well, I consider performing and dancing one and the same.

2047
01:58:13,580 --> 01:58:16,780
Hey, I'm with you all the way, six tools, I'm wit' you!

2048
01:58:16,780 --> 01:58:19,580
- Willie Mays and Michael Jackson, that's great.
- There it is.

2049
01:58:19,580 --> 01:58:22,940
He did everything. He wrote, he performed, he danced,

2050
01:58:22,940 --> 01:58:26,500
he did the business part of it, he counted his royalties!

2051
01:58:26,500 --> 01:58:26,820
Sometimes, it's hard to believe he's even gone.

2052
01:58:28,820 --> 01:58:32,100
Just the amount of music that I hear,

2053
01:58:32,100 --> 01:58:35,220
the number of times that I hear people telling me

2054
01:58:35,220 --> 01:58:39,700
about children that are discovering Michael for the first time,

2055
01:58:39,700 --> 01:58:44,340
all these things, it's like this energy that just does not go away.

2056
01:58:44,340 --> 01:58:48,420
The divinity that that guy was so tapped into.

2057
01:58:48,420 --> 01:58:50,380
There was a reason that he was unique

2058
01:58:50,380 --> 01:58:54,100
and he was different than any other artist that we've ever seen

2059
01:58:54,100 --> 01:58:56,580
and he had something that was not definable to me.

2060
01:58:56,580 --> 01:58:59,380
Whenever he stepped out and sang, whenever he made that connection

2061
01:58:59,380 --> 01:59:03,620
with people, the molecules changed in the room.

2062
01:59:03,620 --> 01:59:06,140
You know, that was what he could do.

2063
01:59:06,140 --> 01:59:07,900
There are people that can go out

2064
01:59:07,900 --> 01:59:10,020
and you can be wowed by their technique,

2065
01:59:10,020 --> 01:59:11,500
but he changed the molecules.

2066
01:59:11,500 --> 01:59:14,500
No-one can quite say what the creative process is,

2067
01:59:14,500 --> 01:59:17,780
because I have nothing to do with it, almost,

2068
01:59:17,780 --> 01:59:21,340
because it's created in space, it's God's work, not mine.

2069
01:59:21,340 --> 01:59:24,540
♪ Gonna make a change

2070
01:59:24,540 --> 01:59:27,380
♪ For once in my life

2071
01:59:30,180 --> 01:59:32,620
♪ It's gonna feel real good

2072
01:59:32,620 --> 01:59:34,100
♪ Gonna make a difference

2073
01:59:34,100 --> 01:59:38,180
♪ Gonna make it right

2074
01:59:39,820 --> 01:59:42,900
♪ As I turn up the collar on

2075
01:59:42,900 --> 01:59:45,500
♪ My favourite winter coat

2076
01:59:45,500 --> 01:59:49,460
♪ This wind is blowing my mind

2077
01:59:49,460 --> 01:59:52,140
♪ I see the kids in the street

2078
01:59:52,140 --> 01:59:53,980
♪ With not enough to eat

2079
01:59:53,980 --> 01:59:55,940
♪ Who am I to be blind

2080
01:59:55,940 --> 02:00:00,260
♪ Pretending not to see their need?

2081
02:00:00,260 --> 02:00:02,620
♪ A summer's disregard

2082
02:00:02,620 --> 02:00:08,260
♪ A broken bottle top and one man's soul

2083
02:00:09,340 --> 02:00:13,380
♪ They follow each other on the wind, you know

2084
02:00:13,380 --> 02:00:16,820
♪ Cos they got nowhere to go

2085
02:00:16,820 --> 02:00:19,820
♪ That's why I want you to know

2086
02:00:19,820 --> 02:00:23,260
♪ I'm starting with the man in the mirror

2087
02:00:24,620 --> 02:00:29,140
♪ I'm asking him to change his ways

2088
02:00:29,140 --> 02:00:33,140
♪ And no message could have been any clearer

2089
02:00:33,140 --> 02:00:35,700
♪ If you wanna make the world a better place

2090
02:00:35,700 --> 02:00:38,660
♪ Take a look at yourself and then make the change

2091
02:00:41,100 --> 02:00:42,260
♪ Nah nah nah

2092
02:00:42,260 --> 02:00:45,220
♪ Nah nah nah, nah-nah, nah-nah

2093
02:00:45,220 --> 02:00:47,140
♪ Oh-ho

2094
02:00:48,420 --> 02:00:50,820
♪ I've been a victim of

2095
02:00:50,820 --> 02:00:53,140
♪ A selfish kind of love

2096
02:00:53,140 --> 02:00:57,260
♪ It's time that I realised

2097
02:00:57,260 --> 02:00:59,700
♪ There are some with no home

2098
02:00:59,700 --> 02:01:01,540
♪ Not a nickel to loan

2099
02:01:01,540 --> 02:01:03,860
♪ Could it be really mean

2100
02:01:03,860 --> 02:01:07,940
♪ Pretending that they're not alone?

2101
02:01:07,940 --> 02:01:10,420
♪ A willow deeply scarred

2102
02:01:10,420 --> 02:01:12,940
♪ Somebody's broken heart

2103
02:01:12,940 --> 02:01:17,140
♪ And a washed-out dream

2104
02:01:17,140 --> 02:01:21,500
♪ They follow the pattern of the wind, you see

2105
02:01:21,500 --> 02:01:24,580
♪ Cos they got no place to be

2106
02:01:24,580 --> 02:01:27,580
♪ That's why I'm starting with me

2107
02:01:27,580 --> 02:01:31,220
♪ I'm starting with the man in the mirror

2108
02:01:31,220 --> 02:01:32,380
Ooh!

2109
02:01:32,380 --> 02:01:35,660
♪ I'm asking him to change his ways

2110
02:01:35,660 --> 02:01:36,740
Ooh!

2111
02:01:36,740 --> 02:01:41,060
♪ And no message could have been any clearer

2112
02:01:41,060 --> 02:01:43,700
♪ If you wanna make the world a better place

2113
02:01:43,700 --> 02:01:46,940
♪ Take a look at yourself and then make the change

2114
02:01:46,940 --> 02:01:50,620
♪ I'm starting with the man in the mirror

2115
02:01:50,620 --> 02:01:51,820
Ooh

2116
02:01:51,820 --> 02:01:55,300
♪ I'm asking him to change his ways

2117
02:01:55,300 --> 02:01:56,340
Ooh

2118
02:01:56,340 --> 02:02:00,460
♪ And no message could have been any clearer

2119
02:02:00,460 --> 02:02:03,100
♪ If you wanna make the world a better place

2120
02:02:03,100 --> 02:02:05,180
♪ Take a look at yourself and then make that

2121
02:02:05,180 --> 02:02:06,340
Change!

2122
02:02:06,340 --> 02:02:09,380
♪ I'm starting with the man in the mirror

2123
02:02:09,380 --> 02:02:10,940
Oh, yeah

2124
02:02:10,940 --> 02:02:14,500
♪ I'm asking him to change his ways

2125
02:02:14,500 --> 02:02:15,700
♪ You better change

2126
02:02:15,700 --> 02:02:17,420
No message could've been any clearer

2127
02:02:17,420 --> 02:02:19,660
Whoo-hoo

2128
02:02:19,660 --> 02:02:22,100
♪ If you wanna make the world a better place

2129
02:02:22,100 --> 02:02:24,540
♪ Take a look at yourself and then make the change

2130
02:02:24,540 --> 02:02:26,980
♪ You gotta get it right while you got the time

2131
02:02:26,980 --> 02:02:30,060
♪ Cos if you close your heart then you close your, your mind

2132
02:02:30,060 --> 02:02:32,020
♪ That man

2133
02:02:32,020 --> 02:02:35,300
That man in the mirror, oh yeah

2134
02:02:35,300 --> 02:02:38,820
♪ I'm asking him to change his ways

2135
02:02:38,820 --> 02:02:40,300
♪ You better change

2136
02:02:40,300 --> 02:02:43,900
♪ No message could have been any clearer

2137
02:02:43,900 --> 02:02:45,540
♪ If you wanna make the world

2138
02:02:45,540 --> 02:02:47,740
♪ A better place take a look at yourself

2139
02:02:47,740 --> 02:02:49,820
♪ And then make that change

2140
02:02:49,820 --> 02:02:51,900
♪ Whoo! Whoo!

2141
02:02:51,900 --> 02:02:55,820
♪ Nah-nah-nah Nah-nah-nah, na-na, na-na

2142
02:02:55,820 --> 02:02:57,700
♪ Whoo! Whoo!

2143
02:02:57,700 --> 02:02:59,300
♪ Oh, yeah

2144
02:02:59,300 --> 02:03:01,420
Yeah, yeah, yeah, yeah

2145
02:03:01,420 --> 02:03:03,220
♪ Nah-nah-nah, nah-nah-nah

2146
02:03:03,220 --> 02:03:05,660
♪ Na-na, na-na

2147
02:03:09,140 --> 02:03:12,420
♪ Gonna make that change

2148
02:03:12,420 --> 02:03:15,620
♪ Gonna feel real good, come on

2149
02:03:15,620 --> 02:03:17,660
♪ Change

2150
02:03:17,660 --> 02:03:20,740
♪ Just lift yourself, you know it

2151
02:03:20,740 --> 02:03:24,860
♪ You got to stop it yourself, yeah

2152
02:03:24,860 --> 02:03:27,140
- # Whoo!
- Make that change

2153
02:03:27,140 --> 02:03:30,340
♪ Gotta make that change today

2154
02:03:30,340 --> 02:03:31,580
Man in the mirror

2155
02:03:31,580 --> 02:03:35,020
♪ You got to move, you know it

2156
02:03:35,020 --> 02:03:38,300
♪ You know it, ow!

2157
02:03:38,300 --> 02:03:40,060
♪ Yeah!

2158
02:03:40,060 --> 02:03:41,980
♪ Make that change

2159
02:03:41,980 --> 02:03:44,900
♪ You know all about it.

2160
02:03:44,900 --> 02:03:47,100
♪ Man in the mirror

2161
02:03:47,100 --> 02:03:49,300
♪ You know it, you know it

2162
02:03:49,300 --> 02:03:50,460
♪ You, you

2163
02:03:52,820 --> 02:03:54,580
♪ Yeah!

2164
02:03:54,580 --> 02:03:57,340
♪ Make that change

2165
02:03:59,500 --> 02:04:01,540
♪ Man in the mirror

2166
02:04:01,540 --> 02:04:04,180
♪ You know it, you know it

2167
02:04:04,180 --> 02:04:05,620
♪ You do, you, you

2168
02:04:07,260 --> 02:04:08,980
♪ Yeah!

2169
02:04:08,980 --> 02:04:10,620
♪ Make that change

2170
02:04:10,620 --> 02:04:13,860
♪ Gonna make that change today, yeah

2171
02:04:13,860 --> 02:04:16,180
♪ Man in the mirror

2172
02:04:16,180 --> 02:04:19,100
♪ Na-na-na, mm, yeah, yeah

2173
02:04:20,100 --> 02:04:21,820
♪ Yeah, you gotta

2174
02:04:21,820 --> 02:04:25,500
♪ Yeah, make that change

2175
02:04:28,420 --> 02:04:30,580
♪ Man in the mirror

2176
02:04:30,580 --> 02:04:35,300
♪ You know it, you know it You, you

2177
02:04:35,300 --> 02:04:36,380
♪ Whoo!

2178
02:04:36,380 --> 02:04:39,940
Yeah, make that change

2179
02:04:42,940 --> 02:04:44,580
♪ Man in the mirror

2180
02:04:50,180 --> 02:04:50,940
♪ Stand up

2181
02:04:50,940 --> 02:04:54,380
Yeah, make that change

2182
02:04:54,380 --> 02:04:57,060
♪ Stand up for each other

2183
02:04:57,060 --> 02:04:59,380
♪ Man in the mirror

2184
02:04:59,380 --> 02:05:01,820
♪ You know it, you know it

2185
02:05:01,820 --> 02:05:04,780
♪ You know it, you know

2186
02:05:06,140 --> 02:05:11,540
♪ Change... ♪

2187
02:05:14,620 --> 02:05:17,020
Make that change.

2188
02:05:17,020 --> 02:05:20,820
WILD CHEERING AND APPLAUSE

2189
02:05:48,140 --> 02:05:51,700
WILD APPLAUSE CONTINUES

2190
02:05:52,900 --> 02:05:54,580
I love you!

2191
02:05:54,580 --> 02:05:57,140
MUSIC: Intro to "Bad"

2192
02:06:11,540 --> 02:06:13,060
♪ Hee-hee-heee

2193
02:06:13,060 --> 02:06:14,500
♪ Chamon! ♪

2194
02:06:14,500 --> 02:06:17,460
MUSIC: "Don't Be Messin' Around"

2195
02:06:46,660 --> 02:06:49,900
♪ Are you ready for a real good time, my love?

2196
02:06:49,900 --> 02:06:54,300
♪ Are you ready for a good treat?

2197
02:06:54,300 --> 02:06:56,740
♪ There'll be so much as it singing

2198
02:06:56,740 --> 02:06:58,340
♪ Uh, uh, uh

2199
02:06:58,340 --> 02:07:02,060
♪ You, yeah, what you mean to me

2200
02:07:02,060 --> 02:07:03,980
♪ So don't be messin' round

2201
02:07:03,980 --> 02:07:06,700
♪ Don't be messin' round with me

2202
02:07:06,700 --> 02:07:08,180
♪ Don't be messin' with

2203
02:07:08,180 --> 02:07:09,940
♪ With me, hey hey

2204
02:07:09,940 --> 02:07:11,780
♪ So don't be messin' round

2205
02:07:11,780 --> 02:07:14,180
♪ Don't be messin' round

2206
02:07:14,180 --> 02:07:17,180
♪ Don't be messin' with With me

2207
02:07:17,180 --> 02:07:18,300
♪ Hey hey

2208
02:07:18,300 --> 02:07:20,780
♪ Don't be startin' nothin' then if

2209
02:07:20,780 --> 02:07:25,460
♪ If you say this really ain't your crowd

2210
02:07:25,460 --> 02:07:28,420
♪ I'll be so proud if you let me

2211
02:07:28,420 --> 02:07:33,660
♪ Only girl let me love you for a little while

2212
02:07:33,660 --> 02:07:35,980
♪ But don't be messin' with

2213
02:07:35,980 --> 02:07:37,780
♪ Don't be messin' with

2214
02:07:37,780 --> 02:07:41,980
♪ Don't be messin' round with me Hey hey hey

2215
02:07:41,980 --> 02:07:43,700
♪ So don't be messin' with

2216
02:07:43,700 --> 02:07:45,820
♪ Don't be messin' with

2217
02:07:45,820 --> 02:07:49,740
♪ Don't be messin' round with me Hey

2218
02:07:49,740 --> 02:07:51,460
♪ Aha, yeah

2219
02:07:51,460 --> 02:07:53,260
♪ Oh-ho yeah

2220
02:07:53,260 --> 02:07:55,180
♪ Aha, yeah

2221
02:07:55,180 --> 02:07:57,180
♪ Oh-ho yeah

2222
02:07:57,180 --> 02:07:59,620
♪ Ooh ooh

2223
02:08:05,260 --> 02:08:09,420
♪ Now she's started finger-poppin' to the beat

2224
02:08:09,420 --> 02:08:13,100
♪ So I said, "Let's do that on the floor"

2225
02:08:13,100 --> 02:08:16,020
♪ She said to keep your mind on dancin'

2226
02:08:16,020 --> 02:08:17,980
♪ Won't be no romancing

2227
02:08:17,980 --> 02:08:20,700
♪ Lord no, don't mess around with me

2228
02:08:20,700 --> 02:08:21,940
♪ I ain't playing

2229
02:08:21,940 --> 02:08:23,460
♪ Don't be messin' with

2230
02:08:23,460 --> 02:08:25,660
♪ Don't be messin' with me

2231
02:08:25,660 --> 02:08:28,380
♪ Don't be messin' round with me

2232
02:08:28,380 --> 02:08:31,100
♪ Hey hey So don't be messin' with

2233
02:08:31,100 --> 02:08:33,740
♪ Don't be messin' with

2234
02:08:33,740 --> 02:08:37,300
♪ Don't be messin' round with me Hey hey

2235
02:08:37,300 --> 02:08:38,980
♪ Bridge

2236
02:08:38,980 --> 02:08:41,700
♪ Doo-doo doo-doo doo-doo doo-doo

2237
02:08:41,700 --> 02:08:45,660
♪ Doo-doo doo-doo doo-doo doo-doo

2238
02:08:45,660 --> 02:08:49,940
♪ Doo-doo doo-doo doo-doo doo-doo

2239
02:08:49,940 --> 02:08:52,580
♪ Doo-doo doo-doo

2240
02:08:52,580 --> 02:08:54,860
♪ Pu pu pa-rup pa-rup

2241
02:08:54,860 --> 02:08:56,620
♪ Pu pa-rup pa-rup

2242
02:08:56,620 --> 02:08:58,740
♪ Pu pa-rup pa-rup

2243
02:08:58,740 --> 02:09:02,780
♪ Pa pu pa pa pu pu pa-rup pa-rup

2244
02:09:02,780 --> 02:09:04,660
♪ Pu pa-rup pa-rup

2245
02:09:04,660 --> 02:09:07,180
♪ Pa pa-rup pu pa-rup

2246
02:09:07,180 --> 02:09:10,540
♪ Ba-ba ba buh

2247
02:09:14,340 --> 02:09:17,140
♪ Chi pah chi pah chi pah chi pah

2248
02:09:18,300 --> 02:09:21,540
♪ Chi pah chi pah chi pah chi pah

2249
02:09:21,540 --> 02:09:24,700
♪ Chi pah chi pah chi pah chi pah

2250
02:09:24,700 --> 02:09:25,900
♪ Ooh... ♪

2251
02:09:25,900 --> 02:09:31,700
VOCAL IMPROVISATION AND INSTRUMENTAL CONTINUES

2252
02:09:41,180 --> 02:09:43,300
♪ ..So don't be messin' with

2253
02:09:43,300 --> 02:09:44,900
♪ Don't be messin' with

2254
02:09:44,900 --> 02:09:48,700
♪ Don't be messin' with me Hey hey hey

2255
02:09:48,700 --> 02:09:50,620
♪ So don't be messin' with

2256
02:09:50,620 --> 02:09:52,940
♪ Don't be messin' with me

2257
02:09:52,940 --> 02:09:56,780
♪ Don't be messin' with, with me Hey hey

2258
02:09:56,780 --> 02:09:59,180
♪ So don't be messin' round

2259
02:09:59,180 --> 02:10:01,340
♪ Don't be messin' with me

2260
02:10:01,340 --> 02:10:04,540
♪ Don't be messin' with, with me Hey hey

2261
02:10:04,540 --> 02:10:06,940
♪ So don't be messin' with

2262
02:10:06,940 --> 02:10:08,980
♪ Don't be messin' with me

2263
02:10:08,980 --> 02:10:12,420
♪ Don't be messin' with me Hey hey... ♪

2264
02:10:12,420 --> 02:10:13,980
This is the thing.

2265
02:10:13,980 --> 02:10:17,420
VOCAL IMPROVISATION

2266
02:10:21,660 --> 02:10:25,420


2267
02:10:52,180 --> 02:10:56,500
CROWD CHEERS

2268
02:10:56,500 --> 02:10:59,300
CHIMES TINKLE

2269
02:11:01,700 --> 02:11:04,820
MICHAEL CHUCKLES

2270
02:11:04,820 --> 02:11:06,380
Whoo!