Over the last few weeks, as a result of Leaving Neverland, you’ll have seen a trend of media outlets calling for the ‘muting’ of Michael Jackson. What’s interesting is that in the very same space they are shouting about ‘giving’ a voice to one side of the discussion in that of the ‘victims’, they’re looking to take away the voice of the other side of the discussion.
As those in the media with an anti-Jackson rhetoric can no longer mute Jackson’s actual voice, as that was taken away from him on June 25th 2009, they’re launching a full scale assault against the one medium in which you can find the many answers from Jackson’s perspective. What seemingly terrifies the supporters of Leaving Neverland most with this, is it clearly identifies Jackson affirming his innocence and that just doesn’t play into the narrative they’re looking for. Instead they’d rather silence Jackson’s music as ‘disgraced’, hiding behind his classic hits, which as a blanket policy would mute his most factual and testimonial tracks.
Whilst it does affect the likes of ‘Don’t Stop ‘Til You Get Enough’, ‘Billie Jean’, ‘Thriller’ and ‘Bad’ as a result, this is not about those songs. The truth in the calls to mute Michael Jackson are to bury his right to a reply. The central point of that reply lives on Jackson’s 1995 release ‘HIStory’.
What’s most striking is that in 1995, when Jackson released his HIStory album, he changed the entire premise of his outlook and put his commercial career on the line to ensure that he took the chance to have his say. With a tracklisting of songs largely pertaining to the 1993 allegations, Jackson was forgoing the chance of having another commercially successful, global smash in favour of telling the world His Story.
And he didn’t have to do it. He could have returned to the studio and produced another record of songs about love, global harmony and the enjoyment of dance, completely avoiding the discussion of what happened. After all, he wasn’t charged of any crimes and the civil lawsuit brought by the Chandlers that was settled, agreed that this was no admission of guilt. So he was free to move on from the situation and get on with his future. But he knew that his truth was more important and needed to be heard.
In a frankly bizarre review in the New York times in 1995, reviewer Jon Pareles notes
In the first of the new songs, “Scream,” Jackson jeopardizes his commercial safety zone, the G-rated kiddie audience, by using profanity.
It’s this commercial safety zone that Jackson had become accustomed to, especially in his first three adult solo records. Where there was cause for a moment of ‘shock’ in subject matter of a song like Billie Jean, it’s infectious beat and classic dance routine almost under acknowledge its subject value, ensuring it maintained its commercial appeal. Upon often hearing Billie Jean in a club, I find humour in how many people, lost in his incredible musicianship, fail to realise the track is actually quite a scandalous tale of paternity, groupies and sycophants.
But HIStory was different, there was no comfort zone – this was his experiences, his life. The reviews tried to paint a different picture suggesting Jackson was ‘paranoid’, ‘obsessive’ and ‘angry’ – But didn’t he have ever right to be angry? The world had spoken about Jackson for the last year with everything from molestation claims, to skipping the country and buying a new identity. Jackson wasn’t shying away from what he was being accused of, he addressed it head on for exactly what it was – extortion, betrayal and a full take down by the media.
All these components were relevant in 1993, they were relevant in 2003 and they are again relevant today. That’s why the HIStory album IS Jackson’s voice to these accusations and it should not be muted. It should be heard. The only people asking for it not to be are those who want Jackson to be guilty, because it suits their agenda.
And these are not the words of an overzealous fan. The facts support this, for which I’m happy to expand:
Extortion
- After Evan Chandler asked a therapist to write a letter hypothesising that Jackson molested his son, Chandler used this along with a threat against Jackson to coerce a ‘confessional’ “Yes” from Jordie. With this information, Chandler asked Jackson for $20 million, on rejection he asked for $10 million, on further rejection he asked for a three screenplay movie deal – All before reporting the alleged abuse to any law enforcements.
- Wade Robson and James Safechuck, whilst claiming not to be seeking any financial compensation “past, present or future” according to Dan Reed, the director of Leaving Neverland, did attempt to sue Jackson’s Estate and companies for up to $1.5 billion.
Betrayal
- In 1993, over 40 children including Wade Robson and James Safechuck were interviewed by investigators and confirmed that Jackson had not sexually abused them.
- In 2003 Jackson had helped Gavin Arvizo (and his family) through his cancer treatment, providing financial support, transportation and respite at his ranch and local spas – As he had done with the Chandlers in 1993, Jackson was extremely generous and treated these families as his own.
- In 1993 when questioned by Anthony Pellicano, Jordie Chandler had affirmed that he had not been abused by Jackson and his father was simply “wanting money”.
- In 2005, Wade Robson took the stand as the defense’s first witness and confirmed he understood what sexual abuse was and that Jackson had never sexual abused him or touched him inappropriately. He also affirmed that he would allow his own child to stay in Jackson’s bed.
- In 2009, Wade Robson was in communication with Jackson’s nephew Taj Jackson and through text messages revealed by Taj, Robson requested to be able to still see the children of the man he referred to as ‘the reason he believed in the kindness of humanity’.
A take down by the media
- In 1993 headlines against Jackson included: “Hush Money – Did this cheque lead to Michael Jackson’s Escape?”, “I saw Jacko do it!”, “I’m no sex beast” “Cops snatch secret Jacko Videos” “Peter Pan or Pervert” “Drug treatment star faces life on the run” “Michael’s Dangerous Deal”,
- In 2003-2005 headlines against Jackson included: “Sicko – Report Jacko molested Cancer kid” “Did he do it?” “No way can Jackson buy kids silence”, ‘Jackson on the brink of bankruptcy’ “Kids drank and slept with Jackson”, “If Convicted, Michael Jackson Can Wear Makeup In Prison” “I caught Jackson groping child actor”
- 2019 headlines include: “Jackson used notorious paedo tactics to isolate victims”, Jackson wore condoms every night to stop him wetting the bed”, “Jackson used do not disturb signs to let him abuse kids” “Jacko’s physically abused chimp bubbles tried to kill himself”, “Michael Jackson was chemically castrated by his dad”
You’ll notice that today’s headlines are even more absurd, lurid and scandalous because there is no law to protect the dead from defamation. Meaning the media are free to say what they like and not be held accountable.
In truth, after the situation in 1993 almost destroyed Jackson’s life and reputation, he had absolutely no need to return to music at all. He was the most successful artist on the planet with the biggest selling album and his assets meant that if he’d have chosen, he could have sold up and disappeared to enjoy his wealth in privacy and seclusion without ever uttering a word about 1993, the allegations or anything at all. He owed the world nothing.
But that wasn’t Michael Jackson. He was not going to let the last words about him be a suggestion of guilt and he delivered some of his most important lyrical works.
The album’s opening words “Tired of injustice, tired of the schemes, these liars are disgusting, so what does it mean, damn it!” sets the tone for what’s to come. Jackson clearly outlines that over the last year what he went through. It’s an autobiography in the best way Jackson knew how – through music.
Scream
“Tired of tellin’ the story your way, You’re causin’ confusion, You think it’s okay”
It was the problem then and it’s the problem now – Accusers telling the story their way. The same stories that have been proven false. There’s an insistence to have Jackson in the centre with all the accusations orbiting around him, but nobody willing to stop and listen to his side of the story. The media fire out stories about Jackson at such a rapid pace that they contradict themselves on almost a daily basis, causing confusion and leading the public down the rabbit hole of misinformation.
They Don’t Care About Us
“I am the victim of police brutality, now, I’m tired of being the victim of hate, You’re raping me of my pride oh, for God’s sake”
Jackson acknowledged that the accusations made people despise him and in his belief, the loss of his pride at being accused, being strip searched and photographed naked. “Somethings in life they just don’t wanna see” echoes loud and true today. The facts are there, but Jackson’s detractors do not want to see them. They’re driving forward to the air date like a stolen vehicle on the highway, knocking out anything and everything in its path.
Stranger In Moscow
“Swift and sudden fall from grace, Sunny days seem far away”
Speaking openly and vulnerably about the effects of be labelled for such a heinous crime, Jackson acknowledges how the allegations have impacted his career and how he was tortured mentally as a result “take my name and just let me be.” a desperate plea from a broken soul and not the words of a guilty man trying to cover his tracks.
This Time Around
“Somebody’s out to get me, They really wanna fix me, hit me” “Somebody’s out to use me, They really want to use me, And then falsely accuse me.”
Again, true then, true in 2005 and true now. Jackson was a target due to his celebrity, his wealth and his vulnerability. Each in turn, they used him and then falsely accused him. Up until 2011, Wade Robson used Jackson for work, for credit, for notoriety and for career progression and when that dried up, he falsely accused.
D.S
Originally titled T.S, but later changed to avoid litigation, the song is directed squarely at the Santa Barbara District Attorney Tom Sneddon. It’s lyrics point to how Sneddon pursued Jackson
“You know he really tried to take me down, by surprise.” “He out shock in every single way”
These lyrics ran true for the following 10 years as Sneddon pursued with Jackson with an almost obsessive demeanor. His nickname ‘mad dog’ was clearly not by coincidence and his desperate intent during the 2005 case led him to tamper with evidence, falsely assert fingerprints and almost cause a mistrial.
Money
Money forms perhaps one of Jackson’s most basic compositions that follows a pulsing beat. Stripped of all the Jackson quirks, the song’s delivery is purposeful so you can clearly hear the lyrics
“I’ll never betray or deceive you my friend, but…” “If you tell me to cry then I will fake it”
Jackson speaks openly about the 1993 allegations and how the Chandler family did what was needed to extort Money from Jackson. Those same lines, again answers to today’s circumstances – skills Robson and Safechuck seem to have mastered the art of – in the presence of the media of course.
“Insurance, where do your loyalties lie?”
In 2005 it became clear through trial transcripts that Jackson’s insurance company settled the civil lawsuit the Chandlers filed against Jackson’s own wishes. It was this settlement of the civil suit that went on to plague Jackson with claims that he ‘paid people off’
If you know it’s a lie Then you will swear it If you give it with guilt Then you will bear it If it’s taking a chance Then you will dare it”
We follow the same pattern in 1993, 2003 and today of Jackson’s accusers stating clearly and factually that they were not abused, some under oath, only to then recant and change their story. It happened with Jordie, it happened with Gavin, it’s happening with Wade and James. Each time, the prospect of Money loomed.
Childhood
Many seem to think Jackson was out of touch with reality, living in a reclusive void, detached from the public’s perception of him. In Childhood, he acknowledges that he is fully aware of the public opinion of him and his actions and asks for understanding over judgement when presented with the reality. Isn’t that what we’d all like?!
“People say I’m not okay ‘Cause I love such elementary things.” “They view it as such strange eccentricities…’Cause I keep kidding around”
Tabloid Junkie
“If he dies, sympathize, Such false witnesses, Damn self righteousness”
How truthful this line from Tabloid Junkie rings today. The same journalists who would basque in Jackson’s greatest immediately after his death, who sold glowing references from friends and family and pages of unreleased images and celebratory stories, are the same journalists now publicly crucifying Jackson, giving column inches to the many (many) discredited and debunked stories that are once again being recycled. Convicted thief and ex-Neverland maid Adrian McManus secures her pay day each and every time a new accusation comes to the forefront; as she wheels herself out of the dark and dingy hovel that mirrors the condition of her conscience to claim yet another cheque for the same proven false stories. Again, for those that lack the basic judgement of seeing through Adrian McManus’s frankly transparent demeanour, should at least acknowledge that to believe her ‘stories’ is also to believe she is the type of person who would watch a child be molested, and do nothing.
2Bad
”You’re aiming just for me, You are disgustin’ me Just want your cut from me But too bad, too bad”
The lyrics from 1993 become relevant once again in Jackson’s rebuttal. Whilst claiming Leaving Neverland, isn’t about Jackson, it’s only Jackson who Reed and his merry band of film stars are aiming to take down. Robson wanted his cut from Jackson’s Estate first in the form of a job and then in the form of a payout – a huge financial one at that!
“Look who’s standing if you please Though you tried to bring me to my knees” “I’m right back where I wanna be, I’m standin’ though you’re kickin’ me.”
A testament to Jackson’s resilience and determination to return, to not abandon his career or his reputation, but to come back with a soundscape that answers his critics and does so with clarity, truth and emotion.
If Jackson were alive today, it’s clear this would not be happening. Robson and Safechuck would still wax lyrical about Jackson, affirming his innocence and using his celebrity to secure their next gigs. If, in some bizarre circumstances they were to accuse him, then he would no doubt stand trial (again). At this trial, he’d be given the right to present his case.
Oliver Keens at Time Out London states in his recent piece on the subject of Jackson as a result of Leaving Neverland, a rather affirmative statement that listening to Jackson’s music is no longer option. He’s wrong. It is an option for millions of people around the world who believe that facts outweigh opinions, (Time Out later tried to pass Keen’s article off as ‘an opinion’ in the wake of being thrust into a debate about why the fundamental facts are being ignored) that a 4 hour television film based entirely on a one sided narrative is not fair documenting and shouldn’t be classed as such when it defies the very definition or that two people who were rejected their $1.5 billion request and gave Jackson a glowing reference for over 20 years are now back-peddling.
It’s entirely Keen’s right to stop listening to Jackson – But this isn’t a dictatorship. He is not the deciding factor, Leaving Neverland is not the deciding factor, nor are any of Jackson’s other detractors who all seem to forget that Jackson’s fans read not just your one piece, but all the pieces and when ‘your’ words sound the same as every other article pushing the same narrative (“See the film” / “Watch the film” / “Compelling” /“disturbing”), it obviously begs the question as to ‘who’ these words actually belong to and how you’re all coming to use exactly the same set in the same fashion. His point that
“letting his songs stay ingrained in the fabric of our society says that our society is morally dead.”
suggests that society wasn’t declared ‘morally dead’ when two men, defended Jackson under oath and then spat on a dead man’s tomb whilst chasing $1.5 billion down the drain due to their own financial distress – “Anything for money” – A line from a song Keen and Co are attempting to mute. Equally, speaking of society’s morality, Keen seems so supporting of Robson and so steadfast in the belief of Jackson’s guilt based on the film that he fails to acknowledge that if Jackson had have been guilty of such hideous crimes as he believes, then Robson helped him walk free.
Additionally, society is morally dead when we are far more concerned with what music londoners play in light of a film with false claims than the fact that knife crime is a serious problem in this city. (N.B. The headline of the time out article was “London, it’s time to stop listening to Michael Jackson.) Similarly, society should have been considered morally dead after the parent company of The Sun newspaper, who is also calling for an end to Jackson’s music, was embroiled in a legal dispute of allegedly hacking the phone of a dead teenager…yet it’s still one of the most popularly purchased newspapers in the country.
Keen also states
“If you love his music, you can’t run away from the film’s claims about paedophilia. Honestly, what’s more important: music or serious allegations of child abuse?”
demonstrating that he has limited knowledge of Jackson’s actual back catalogue, further supported by name dropping ‘Rock With You’ and ‘P.Y.T’. It’s because of the film’s claims about paedophilia that you absolutely SHOULD listen to ‘Money’ and ‘This Time Around’ and ‘Do You Know Where Your Children Are’ and ‘Hollywood Tonight’. Jackson talks about sexual abuse, extortion and the false accusations against him. On Scream and Stranger in Moscow he talks about the impact being called a paedophile had on his mental and emotional state. As I previously stated, he didn’t shy away from speaking about it.
Despite what some will have you believe, and I’ve said this before, many times…Jackson fans are not going to excuse child abuse because they ‘love the music’. That’s just disturbed and that’s the picture that’s being painted of his fans, who, in light of all of this, have barely spoken of the music and only presented the facts about the cases. Facts that journalists and commentators continue to ignore, only engaging with anyone who ‘agrees’ with their anti-Jackson, boycott the music, factless nonsense. A love of a good tune does not preclude an individual from acknowledging child abuse and holding the person to account.
As we enter the final days before Leaving Neverland airs to the world, the journalists are readying their pens for another bout of ‘shocked’ and ‘disgusted’ articles, they’ll be more calls to stop playing Jackson’s music and Adrian McManus will be willing to say whatever they need her to for a couple of hundred dollars and nobody outside of the Jackson fan community with take two minutes to read Robson’s 2005 sworn testimony.
Robson and Safechuck are being given ‘a voice’ by all and sundry. Michael Jackson deserves his voice to be heard to, in whatever form that comes in.
Jackson’s music is everywhere – from the likes of MJ One in Las Vegas and Thriller Live in London to streaming sites and youtube. In 2005 after he was found not guilty, his music survived…and it will again because there are enough people out there who will forever be willing to believe truth over fiction and a legacy that’s been unjustly attacked time and time again, yet always prevails because the facts simply do not lie.
Any criticism of the facts in this article may not be heard over the deafening sounds of Michael Jackson’s music, blasting full volume from my speakers.
