Michael Jackson: BAD 25

Download Subtitles

Transcript

0:00:03 > 0:00:10THIS FILM CONTAINS SOME STRONG LANGUAGE

0:00:22 > 0:00:26I feel rejuvenated, kind of, because after working on it so long,

0:00:26 > 0:00:28it's so much work.

0:00:28 > 0:00:33A lot of people, they're used to just seeing the outcome of work.

0:00:33 > 0:00:36They never see the side of the work you go through to produce

0:00:36 > 0:00:42the outcome, and I feel, you know, rejuvenated and happy,

0:00:42 > 0:00:44it's a jubilation, is what it is.

0:00:44 > 0:00:47It's like a celebration, it's like, "We're done!"

0:01:03 > 0:01:08People were holding on to the fact that Thriller was the biggest selling record in the world.

0:01:08 > 0:01:12How are you going to follow up on something like that?

0:01:12 > 0:01:15It's almost impossible. Try telling that to Michael Jackson, though.

0:01:15 > 0:01:18Thriller is the blockbuster behemoth in the era

0:01:18 > 0:01:21of blockbuster artists. You know, that was the era

0:01:21 > 0:01:26when you had Madonna, Springsteen, Whitney Houston,

0:01:26 > 0:01:32so big stars, big albums, MTV era, music videos are in ascendance.

0:01:32 > 0:01:34And that's the signature album of that era.

0:01:34 > 0:01:38Thriller sold over 100 million copies worldwide to date.

0:01:38 > 0:01:4335 million in the US, over 70 million outside the US,

0:01:43 > 0:01:44and that's not even counting singles.

0:01:44 > 0:01:47There was a mania around Michael

0:01:47 > 0:01:51and Thriller for those three years that was very difficult to

0:01:51 > 0:01:56capture again, and you go back to Elvis, or Frank Sinatra,

0:01:56 > 0:02:00or the Beatles, even today with Justin Bieber or Lady Gaga,

0:02:00 > 0:02:04it's a space and time, the window's only opened so far,

0:02:04 > 0:02:08and Thriller captured that. It was magical.

0:02:17 > 0:02:21MUSIC: "Want to Be Startin' Somethin'" by Michael Jackson

0:02:24 > 0:02:26# Startin' somethin'

0:02:26 > 0:02:28# Startin' somethin'

0:02:28 > 0:02:32# Startin' somethin' Startin' somethin'... #

0:02:32 > 0:02:38Thriller broke every record that existed, and it sold more records

0:02:38 > 0:02:42than any other album in the history of the music industry.

0:02:42 > 0:02:44To most of us he's just Wacko Jacko,

0:02:44 > 0:02:49and if some of the press are to be believed, he bathes in

0:02:49 > 0:02:53Perrier water, eats flowers for lunch, and sleeps in an oxygen tent,

0:02:53 > 0:02:55often with a chimp, a snake,

0:02:55 > 0:02:59and an alien, in a sort of bizarre love triangle.

0:02:59 > 0:03:01All that stuff is trash,

0:03:01 > 0:03:04and it all comes from the fact that Michael Jackson doesn't do

0:03:04 > 0:03:06interviews, and they have nothing else to write about him.

0:03:06 > 0:03:09What surprises me sometimes, the people that get distracted

0:03:09 > 0:03:12and myopic about Michael's eccentricities, when they listen to

0:03:12 > 0:03:16his music and watch his performance, that's like someone saying,

0:03:16 > 0:03:19"Hey, there's a cobweb on the ceiling of the Sistine Chapel."

0:03:19 > 0:03:22This article is from Playboy magazine, January 1985.

0:03:22 > 0:03:27It's called Freaks And The American Ideal Of Manhood, by James Baldwin.

0:03:37 > 0:03:40"He will not swiftly be forgiven for having turned so many tables,

0:03:40 > 0:03:42"for he damn sure grabbed the brass ring."

0:03:54 > 0:03:58People tend to reduce the backlash to Michael Jackson to these

0:03:58 > 0:04:01eccentricities, but I think that the James Baldwin quote

0:04:01 > 0:04:04suggests that it was more than that. Michael Jackson became

0:04:04 > 0:04:07one of the most powerful figures in the entertainment industry, and

0:04:07 > 0:04:11certainly he was the most powerful African-American to that time.

0:04:11 > 0:04:14And in addition to that, 1985, along with John Branca,

0:04:14 > 0:04:16he acquires the Beatles catalogue.

0:04:16 > 0:04:20When we announced the acquisition of the Beatles' catalogue,

0:04:20 > 0:04:23it was almost a feeling that Michael didn't have the right

0:04:23 > 0:04:26also to be a savvy businessmen.

0:04:26 > 0:04:29It was a misconception that Michael went behind Paul McCartney's back

0:04:29 > 0:04:33to bid on the catalogue, but that was absolutely not the case.

0:04:33 > 0:04:36I remember when he bought the Beatles' catalogue.

0:04:36 > 0:04:40He came to me and he said they want whatever it was at that time,

0:04:40 > 0:04:4452 million, it sounds like too much money. He said, "I think you're wrong."

0:04:44 > 0:04:47A lot of those Beatles' songs are considered sacred songs by people.

0:04:47 > 0:04:49They are really just more than pop songs on the radio,

0:04:49 > 0:04:54they meant something in their lives beyond almost any songs they heard.

0:04:54 > 0:04:57I mean, Sergeant Pepper, particularly right?

0:04:57 > 0:05:01And for him to take that catalogue and use it the way he's used it,

0:05:01 > 0:05:03it's going to have some kind of backlash.

0:05:03 > 0:05:08After Thriller, you know, Michael had a few extra dollars to invest,

0:05:08 > 0:05:13and we had an investment committee, and we used to look at

0:05:13 > 0:05:15all sorts of possible deals for Michael,

0:05:15 > 0:05:18and he never had interest in buildings, tax shelters,

0:05:18 > 0:05:20the kinds of things that other people

0:05:20 > 0:05:22were interested in at the time.

0:05:22 > 0:05:23One day Michael came to me and he said,

0:05:23 > 0:05:25"I saw Paul McCartney's song catalogue.

0:05:25 > 0:05:29"He showed it to me. Do you think you can help me buy copyrights?"

0:05:29 > 0:05:31And I said, "Absolutely, Michael."

0:05:31 > 0:05:34We bought a couple Dion & The Belmont's songs,

0:05:34 > 0:05:35Runaround Sue and The Wanderer.

0:05:35 > 0:05:38Then we bought the Sly & The Family Stone catalogue,

0:05:38 > 0:05:40which was a major acquisition for Michael.

0:05:40 > 0:05:45Michael's 28 years old now. He's not a baby dumpling now.

0:05:47 > 0:05:50He's grown, he's listened, he's going up,

0:05:50 > 0:05:53and those are the kinds of things he wants to say now.

0:05:54 > 0:05:55I feel the stretches are there,

0:05:55 > 0:05:58but they don't feel like they've been conscious stretches.

0:05:58 > 0:06:01I think that things have just occurred along the way to say that

0:06:01 > 0:06:04this is the way I feel like thinking,

0:06:04 > 0:06:06and I feel like feeling at this time.

0:06:06 > 0:06:12And one thing we've really tried not to do, to sit down and worry about

0:06:12 > 0:06:14competing with Thriller,

0:06:14 > 0:06:17because that's really self-destructive, you know.

0:06:17 > 0:06:18And it's dishonest.

0:06:18 > 0:06:22He would always write with a red Sharpie

0:06:22 > 0:06:26on his mirrors in his rooms, wherever he was.

0:06:26 > 0:06:31He would write 100 million albums sold for Bad, to remind him,

0:06:31 > 0:06:34when he would stand in front of the mirror, brushing his teeth,

0:06:34 > 0:06:37brushing his hair, doing himself up, that that was his goal.

0:06:37 > 0:06:39I remember sitting on Michael's mirror,

0:06:39 > 0:06:43he wrote the big note, 100 million albums.

0:06:43 > 0:06:47And that was a goal that he set for himself, but I remember one time,

0:06:47 > 0:06:52I was in Hong Kong with Michael, and it was in between the records,

0:06:52 > 0:06:56and I said, "you know, Mike, there's a lot of pressure.

0:06:56 > 0:06:59"Maybe you should think,

0:06:59 > 0:07:02"why not do an album of cover songs that inspired you?

0:07:02 > 0:07:06"Jackie Wilson, James Brown, just going little left of centre,

0:07:06 > 0:07:10"so you don't feel like you have to compete with yourself."

0:07:10 > 0:07:13And he looked at me like I was from Mars.

0:07:13 > 0:07:15Because Michael thrived on that pressure,

0:07:15 > 0:07:19he thrived on pushing himself, and everybody else around him.

0:07:19 > 0:07:23If this record doesn't do as well as Thriller, and doesn't win

0:07:23 > 0:07:26a whole bunch of Grammy awards, he's going to be very unhappy.

0:07:26 > 0:07:28He would call during the Thriller and the Bad days.

0:07:28 > 0:07:30"My record's not number one.

0:07:30 > 0:07:33"My record's not number one, what are we going to do?"

0:07:33 > 0:07:36I said, "Michael, we're going to go to sleep, we're going to get up tomorrow,

0:07:36 > 0:07:39"and we're going to work on getting you a number one."

0:07:39 > 0:07:43Michael didn't have limits, Michael thought bigger than anyone.

0:07:43 > 0:07:46Off The Wall was a huge hit, and when he told people after

0:07:46 > 0:07:49that album, "I'm going to follow this up with an album that's going

0:07:49 > 0:07:53"to sell twice as much as Off The Wall, people didn't believe him." And he did it.

0:07:53 > 0:07:55And so with Bad, he said, "OK, I'm going to do it again."

0:07:55 > 0:07:57Bad has the special distinction.

0:07:57 > 0:08:00It's the first album in history to generate five consecutive

0:08:00 > 0:08:03number one pop singles, and that record was only recently

0:08:03 > 0:08:05tied by Katy Perry, with her Teenage Dream album.

0:08:05 > 0:08:09It started with I Just Can't Stop Loving You, in the summer of 1987.

0:08:09 > 0:08:12- Bad.- Then you had The Way You Make Me Feel.- Man In The Mirror.

0:08:12 > 0:08:14And finally, Dirty Diana.

0:08:14 > 0:08:19It's a testament to his swag, really, that he

0:08:19 > 0:08:22even made another record after Thriller.

0:08:22 > 0:08:24It did take in five years.

0:08:24 > 0:08:26I was 16 years old when the Bad album came out.

0:08:26 > 0:08:32I remember being highly obsessed with every aspect of that album.

0:08:32 > 0:08:35We were just like, "What is this going to be?"

0:08:35 > 0:08:37Because this was a humongous deal.

0:08:37 > 0:08:42I guess in some way or another, my education of the industry,

0:08:42 > 0:08:46and those inside it and outside it really starts with that record.

0:08:46 > 0:08:49The original album title was Smooth Criminal.

0:08:49 > 0:08:51That was the original name of the album,

0:08:51 > 0:08:55and again, Michael called me up, and said this is what he wants to do.

0:08:55 > 0:08:58A couple of days later I got a call

0:08:58 > 0:09:02from Quincy Jones, "Larry, I got a problem with the album title."

0:09:02 > 0:09:05I go, "Why? It's kind of cool, it's edgy, it's kind of cool."

0:09:05 > 0:09:10He says, "I understand Larry, but I will not allow this album to be called Smooth Criminal."

0:09:10 > 0:09:12He felt that the connotation was inappropriate at this time.

0:09:12 > 0:09:15So I said, "Let me call Walter, I'll get back to you."

0:09:15 > 0:09:18Because Walter Yetnikoff was very involved with this project.

0:09:18 > 0:09:21And Walter says, "I don't care what you call it, just put it out!"

0:09:21 > 0:09:25This was the most published music image of the year.

0:09:25 > 0:09:28We prepared for it for three days. We were shooting the video in the subway in New York.

0:09:28 > 0:09:31Every day after shooting, we would go, "OK, let's do it."

0:09:31 > 0:09:34"I'm tired. I got something to do." Next day. OK.

0:09:34 > 0:09:37"No, no, no, no, I'm tired." OK, last day, Frank says,

0:09:37 > 0:09:41"Mike, he's been sitting here for three days, you got to take this picture."

0:09:41 > 0:09:46"OK, Frank." Three rolls of 12 shots later he goes, "That's enough."

0:09:46 > 0:09:47And this is what we came up with.

0:09:47 > 0:09:49There was an album cover shot,

0:09:49 > 0:09:55and it was done in a very '30s style.

0:09:55 > 0:10:00It was a copy of a Vogue photograph of Gloria Swanson that had

0:10:00 > 0:10:02been shot back in the '30s.

0:10:02 > 0:10:06And they took a piece of lace, and they stuck it

0:10:06 > 0:10:09in front of the camera, and they shot through the lace,

0:10:09 > 0:10:12Michael's face, it was just a headshot, so it looked like

0:10:12 > 0:10:15Michael was wearing a veil, or a piece of lace on his face.

0:10:15 > 0:10:18He did have a veil, and I said "I'm not putting out an album cover

0:10:18 > 0:10:19"with that all over his face."

0:10:19 > 0:10:23He called me up, and he went, "That is not the album cover!"

0:10:23 > 0:10:27We wanted a tough album. We wanted a tough image, anyway.

0:10:27 > 0:10:29You know, because,

0:10:29 > 0:10:32because it's important that you keep trying to change, change up.

0:10:32 > 0:10:35And this is the one where I'd asked him to write all the tunes.

0:10:35 > 0:10:37This room was built for Michael.

0:10:37 > 0:10:39This studio D in Westlake

0:10:39 > 0:10:41was built for Michael Jackson.

0:10:41 > 0:10:43For specifically the Bad record.

0:10:43 > 0:10:47I was in this big room here, we had Phillinganes in the other room,

0:10:47 > 0:10:49E, I believe it was, doing all the synth parts.

0:10:49 > 0:10:52We had Jerry Hey and the other guys doing other arrangements

0:10:52 > 0:10:53in the other rooms.

0:10:53 > 0:10:56We had this whole building locked up. Locked out!

0:10:56 > 0:10:59Everybody's working on different tunes on the same record.

0:10:59 > 0:11:03Well, the Bad song really sets up the entire album,

0:11:03 > 0:11:06because this is a song in which Michael's addressing

0:11:06 > 0:11:09the huge backlash that had taken place since thriller.

0:11:09 > 0:11:12The whole world has to answer right now, "Who's bad?"

0:11:12 > 0:11:17Well... It is quite different from anything I've ever recorded,

0:11:17 > 0:11:19or I've ever written.

0:11:19 > 0:11:25It's a bold statement to say, but I mean it in all goodwill.

0:11:25 > 0:11:27You know, so don't take it too seriously.

0:11:27 > 0:11:32I'm saying, it's like a way of saying you're cool, you're all right,

0:11:32 > 0:11:36you're tough. I'm not saying I'm like criminally bad.

0:11:36 > 0:11:38Of course, that's how people will take it.

0:11:40 > 0:11:42It's a bold statement to make.

0:11:42 > 0:11:45Opening line is, "Your butt is mine," that's extremely...

0:11:45 > 0:11:47You know, like, let's get it on!

0:11:47 > 0:11:49So, I wanted to do a duet with Prince,

0:11:49 > 0:11:52and have the video with him coming to kick Michael's ass.

0:11:52 > 0:11:56The rivalry between the two of them, between Prince and Michael,

0:11:56 > 0:12:00for real music lovers at that time, and real music fans,

0:12:00 > 0:12:02that's a rivalry that is unmatched,

0:12:02 > 0:12:05and will go unmatched for many, many years.

0:12:05 > 0:12:08Michael impacted dances.

0:12:08 > 0:12:10Nobody can touch him dancing.

0:12:10 > 0:12:13When I try to dance, I'd try, not to mimic him,

0:12:13 > 0:12:17but I try to, you know, not let him down, in a way.

0:12:17 > 0:12:19Prince impacted musicians.

0:12:19 > 0:12:24Michael Jackson and Prince were the polarising figures of the '80s.

0:12:24 > 0:12:27Are you a Michael fan or a Prince than?

0:12:27 > 0:12:32You can't do that! You know why? Because I think that Michael

0:12:32 > 0:12:35and Prince came into our lives at a different point.

0:12:35 > 0:12:37They're synonymous to me, they're equal.

0:12:37 > 0:12:41Michael and Prince are our heroes, they're our musical heroes.

0:12:41 > 0:12:45My annual Michael Jackson versus Prince party,

0:12:45 > 0:12:48that's something I've been doing for a while,

0:12:48 > 0:12:51really just to pay homage and tribute to those two artists.

0:12:51 > 0:12:55I'm Michael Jordan, Mike Tyson, Michael Jackson.

0:12:55 > 0:13:02I met Michael once at, ironically enough, a Prince concert.

0:13:02 > 0:13:04I was performing with Prince in Vegas.

0:13:04 > 0:13:07After the show was over was when I met him backstage.

0:13:07 > 0:13:09I thought that they had nemeses all these years,

0:13:09 > 0:13:13but it turns out that Mike was a pretty big fan of Prince as well.

0:13:13 > 0:13:15So Michael said,

0:13:15 > 0:13:17"Branca, set up a meeting. I want Prince to come over."

0:13:17 > 0:13:22The meeting took place at Hayvenhurst, 4641 Hayvenhurst.

0:13:22 > 0:13:24And Bob Cavallo went over with Prince...

0:13:24 > 0:13:26So, you actually met then?

0:13:26 > 0:13:30They met in Michael's study, and I recall, I wasn't there that night,

0:13:30 > 0:13:35but I remember, I was told the next day, it was not a happy meeting.

0:13:35 > 0:13:40Apparently Prince brought over some sort of voodoo box, and Michael

0:13:40 > 0:13:44was convinced that Prince was trying to cast a spell on him.

0:13:44 > 0:13:47If Quincy has gone to Prince and said, "Write a song for you

0:13:47 > 0:13:50and Michael to do," that song would have gotten recorded.

0:13:50 > 0:13:52Not by Michael!

0:13:52 > 0:13:54But Michael wouldn't have done it!

0:13:57 > 0:14:01Now Prince wasn't doing no song with Michael Jackson. All right?

0:14:01 > 0:14:04That was a very optimistic view that he would get down...

0:14:04 > 0:14:08At that point, in the Sign O' The Times era, he's rolling.

0:14:08 > 0:14:12Oh, the cool thing about playing on the title track, Bad,

0:14:12 > 0:14:16was I shared a solo with Jimmy Smith.

0:14:16 > 0:14:20Jimmy Smith played on that, jazz organist, played on that.

0:14:20 > 0:14:21He was great.

0:14:26 > 0:14:27That was the groove, you know.

0:14:27 > 0:14:31And then Jimmy did this organ solo on top of that.

0:14:31 > 0:14:33And here he comes...

0:14:33 > 0:14:37ORGAN SOLO

0:14:41 > 0:14:44And here I come after that. Watch out!

0:14:51 > 0:14:56By '86 and '87, hip-hop is now becoming the dominant thread

0:14:56 > 0:14:59in a lot of aspects of American pop culture.

0:14:59 > 0:15:02Michael's responding to that to some degree with the Bad video,

0:15:02 > 0:15:05and imaging of Bad, but it's done in a Michael Jackson way.

0:15:05 > 0:15:09The first step that was taken was to bring in Martin Scorsese.

0:15:11 > 0:15:15Martin Scorsese to direct the first video from the album, and

0:15:15 > 0:15:18Michael never called them videos, it was the short film from the album.

0:15:18 > 0:15:20You'd never hear him say "music video".

0:15:20 > 0:15:22"I'm doing short films."

0:15:22 > 0:15:25He wanted people not just to hear the music, but see it.

0:15:25 > 0:15:28We had a meeting with Quincy and Michael in Los Angeles,

0:15:28 > 0:15:32and I found that really nobody had... They were wide open to ideas.

0:15:32 > 0:15:36Nobody had ideas what kind of story we could make up,

0:15:36 > 0:15:39what kind of issue we could deal with.

0:15:39 > 0:15:41And so I suggested that I hire Richard Price,

0:15:41 > 0:15:44who just wrote Colour of Money for me to do the script.

0:15:44 > 0:15:50I just thought, Michael Jackson and Marty Scorsese, that's way too...

0:15:50 > 0:15:54That's way too bizarre for words, absolutely I will do it.

0:15:54 > 0:15:57If it's to be anything, it should be something very,

0:15:57 > 0:15:59very different from what he's done before, and that means

0:15:59 > 0:16:06a dramatic piece, and something with a lot of style, a lot of grit to it.

0:16:06 > 0:16:10I don't remember exactly who said this, but he said Michael

0:16:10 > 0:16:14wanted to make a video to show the brothers he's down.

0:16:14 > 0:16:17So he goes to the, you know, the Italian asthmatic, who goes

0:16:17 > 0:16:21to the Jewish asthmatic, and we're going to make Michael a homie!

0:16:21 > 0:16:22We gave him these three ideas.

0:16:22 > 0:16:25Michael and I both loved the one called Pressure -

0:16:25 > 0:16:27that was the working title of this one.

0:16:29 > 0:16:30About peer pressure.

0:16:30 > 0:16:32I had just read this article that a friend of mine,

0:16:32 > 0:16:35Robert Sam Anson, had written about Edmund Perry.

0:16:35 > 0:16:38Within the hour, police revealed more information about the death

0:16:38 > 0:16:39of a young man from Harlem.

0:16:39 > 0:16:43He had graduated with honours from an exclusive New England prep school.

0:16:43 > 0:16:46Edmund Perry was killed by a police bullet on Morningside Drive.

0:16:46 > 0:16:50They had read stories like this before, too many of them.

0:16:50 > 0:16:53Black kid, 17, from Harlem, poor,

0:16:53 > 0:16:56with another black youth, tries to rob a white man,

0:16:56 > 0:16:58who turns out to be a plain-clothes cop.

0:16:58 > 0:17:01Edmund Perry was a kid from Harlem.

0:17:01 > 0:17:05He and his brother, Jonah, had both gone to prep schools,

0:17:05 > 0:17:10said they were like, not privileged, but they were exposed to privilege.

0:17:10 > 0:17:14And this was a kid that was very much kind of dealing with

0:17:14 > 0:17:19what is becoming a more common kind of internal conflict

0:17:19 > 0:17:23among black kids who were put in isolated environments...

0:17:23 > 0:17:27I want to say before you go, you know, you did a real good job this term.

0:17:27 > 0:17:28Thanks.

0:17:28 > 0:17:30..and are asked in that passage

0:17:30 > 0:17:33to let go of the culture that spawned him.

0:17:34 > 0:17:36Yo, the black is back, my man...

0:17:38 > 0:17:41So, I just ran off, and I wrote this thing, and I rate in like two days.

0:17:41 > 0:17:45You know, it's only ten pages, and Marty thought it was great.

0:17:45 > 0:17:46Oh, yeah.

0:17:48 > 0:17:49He did ask me,

0:17:49 > 0:17:54he took me aside, and said, "Do people live here?"

0:17:54 > 0:17:57I said, "Oh, yeah, this is a good one,

0:17:57 > 0:18:00"because we went to some others, and I was pretty..."

0:18:00 > 0:18:02- Was he scared?- A little bit, I think.

0:18:02 > 0:18:07For him, I thought, it was a shock to see that.

0:18:08 > 0:18:11Folks, I think we better go through a walk, man.

0:18:11 > 0:18:12How did I get cast in this?

0:18:12 > 0:18:16Audition, you know, we all had to audition.

0:18:16 > 0:18:18Were there a lot of people?

0:18:18 > 0:18:20It was quite a few guys, I don't know exactly how many.

0:18:20 > 0:18:27Wesley came in, there was no... Yeah, there was no question.

0:18:27 > 0:18:28And the guys I went in with,

0:18:28 > 0:18:34they all approached the characters kind of B-boy-ish.

0:18:34 > 0:18:38You know, characteristic of B-boys, with the, "Yo, man, yeah."

0:18:38 > 0:18:39This type of thing.

0:18:39 > 0:18:43And that's not my particular style, so I went the opposite direction

0:18:43 > 0:18:46of what they did, and I played it very, very subtle.

0:18:46 > 0:18:50Yo, college? What's your major, man?

0:18:50 > 0:18:52This is high school, there ain't no majors.

0:18:53 > 0:18:54Then what's your minor?

0:18:55 > 0:19:00Wesley Snipes, his appearance in a video was probably one of

0:19:00 > 0:19:03the most notable acting debuts,

0:19:03 > 0:19:06(and the fact that he made his mark known in a music video,

0:19:06 > 0:19:11everyone remembered Wesley Snipes after that moment.

0:19:11 > 0:19:12Are you bad?

0:19:14 > 0:19:17Or is that what they teach you up in that little sissy school of yours?

0:19:17 > 0:19:19How to forget who your friends are.

0:19:19 > 0:19:21Let me tell you something, I don't care what

0:19:21 > 0:19:23they teach you up there, you either down, or you ain't down.

0:19:23 > 0:19:29And one of the things that I found was this piece of paper,

0:19:29 > 0:19:32which he wrote "Bad Film" on there.

0:19:32 > 0:19:35And it's titled, "Today's Motto."

0:19:35 > 0:19:39"Let nothing be a take unless I'm extremely satisfied,

0:19:39 > 0:19:42"unless I felt it in my soul."

0:19:42 > 0:19:44You want to see who's bad?

0:19:44 > 0:19:48You want to see who's bad? Well, come on, come on, let's do it.

0:19:48 > 0:19:51Let's see who's bad, man. Come on. Come on! Let's go.

0:19:52 > 0:19:54As we're putting the piece together,

0:19:54 > 0:19:56working on the choreography,

0:19:56 > 0:19:59it's towards the middle of it that they say, "We have a location,"

0:19:59 > 0:20:03so they took us to Brooklyn, to the Hoyt-Schermerhorn subway station.

0:20:03 > 0:20:07There is a place where the train is actually running under us.

0:20:07 > 0:20:11There's a midsection, that's the place we went to.

0:20:11 > 0:20:14The first time we walked in, we were with Martin Scorsese, Quincy Jones,

0:20:14 > 0:20:17myself and Michael, and we're walking through there,

0:20:17 > 0:20:21and Michael goes, "Wow, this is great.

0:20:21 > 0:20:24"Yeah, it looks real. Look, there's even some pee stains over there.

0:20:24 > 0:20:26"Wow, it's really nasty, yeah, that's great."

0:20:26 > 0:20:30Well, even if we catch them with the last two steps.

0:20:30 > 0:20:33No, that's OK. That's OK. Oh, sure, because he's hiding as well.

0:20:33 > 0:20:35It's ideal if we don't see it.

0:20:35 > 0:20:37And then we come back, and he's hiding.

0:20:37 > 0:20:39He's frozen again, that would be great if we could do that.

0:20:45 > 0:20:48FOOTSTEPS

0:20:57 > 0:21:02- That move is in Taxi Driver. - Yeah, I like... Yeah, I like that.

0:21:04 > 0:21:07Right, let's go again, same thing. Same thing.

0:21:10 > 0:21:14Speak. 19, Kansas, take five. And action.

0:21:14 > 0:21:19Give me a quarter. Run, move, go! Run!

0:21:20 > 0:21:22Cut.

0:21:22 > 0:21:24I mean, there was a moment there with the old man,

0:21:24 > 0:21:25when he said, "Gimme a quarter."

0:21:25 > 0:21:30Give me a quarter. Run! Go! Run!

0:21:30 > 0:21:34And the guy... Something happened, sort of hurt his arm a little bit.

0:21:34 > 0:21:36- No, no, it's all right. It's all right.- What can we do?

0:21:36 > 0:21:39We're going to take care of it. I promise you it won't happen.

0:21:39 > 0:21:42No, please, do it in the same way, I mean, it has to be done in that way.

0:21:42 > 0:21:45The only time Michael really became, I think, very,

0:21:45 > 0:21:48very concerned was at that moment, where he begged me,

0:21:48 > 0:21:49"Please don't do another take on the guy.

0:21:51 > 0:21:53"I didn't want to hurt anybody." I mean, really begged me.

0:21:53 > 0:21:56I said, "No, no, no, it's all right. Actually it's all very good."

0:21:56 > 0:21:59"Please, I beg you." It was true, we did have it, so...

0:21:59 > 0:22:02You know, I went with that.

0:22:02 > 0:22:05That's what I want to see. It's going to be like this.

0:22:05 > 0:22:08- He can't touch me though.- No. - He can't touch me.

0:22:08 > 0:22:11OK, so just run through the lines this way.

0:22:11 > 0:22:14That's the way it's going down. Huh? That's it?

0:22:14 > 0:22:18Well, you ain't down with us! You ain't bad, you ain't bad at all.

0:22:25 > 0:22:28LAUGHTER

0:22:31 > 0:22:34You know, Wesley's talking to him, and Wesley's got this fierce

0:22:34 > 0:22:37kind of profile and everything like that, and it's almost like

0:22:37 > 0:22:40I felt scared from Michael, like he was going to get eaten.

0:22:40 > 0:22:45I was so happy to see Michael Jackson being tough.

0:22:45 > 0:22:50I was so happy to see him in what seemed like regular surroundings.

0:22:50 > 0:22:54I think I was a little bit caught off guard, because it was

0:22:54 > 0:23:00like Michael talking, Michael sort of being very rough, a little bit.

0:23:00 > 0:23:03I don't know if he was trying to reaffirm his connection with

0:23:03 > 0:23:08the black community, or what he was trying to do, but it was successful.

0:23:08 > 0:23:10It's one shot. Whatever is best for him.

0:23:10 > 0:23:13Whatever is good to him at this point, it's only one shot.

0:23:13 > 0:23:15The thing is also, when he drops down into it.

0:23:15 > 0:23:17And everybody starts surrounding him.

0:23:17 > 0:23:20If we drop down in front of the three guys the opposite way,

0:23:20 > 0:23:22the three guys will be in the way of the camera.

0:23:23 > 0:23:26What I didn't realise is that, you know,

0:23:26 > 0:23:30I have this like earnest social drama, and all of a sudden it's

0:23:30 > 0:23:35going to end in this choreographed big song, and it was like, "Huh?"

0:23:57 > 0:23:58Oh, I remember this, yeah.

0:24:02 > 0:24:05Now, the thing is... Oh, this is pretty much, you know...

0:24:05 > 0:24:09What are you going to do, dance us to death? I think he says...

0:24:09 > 0:24:10What, y'all going to dance us to death?

0:24:12 > 0:24:13You got to be kidding me.

0:24:18 > 0:24:21He probably was going to dance them to death.

0:24:23 > 0:24:29Because you ain't saying nothing here. Raise up.

0:24:29 > 0:24:33I think the Bad moment, outfit wise,

0:24:33 > 0:24:37was far more influential than the Thriller moment.

0:24:37 > 0:24:41Like, the Thriller moment might have been more iconic,

0:24:41 > 0:24:42but Bad was more influential.

0:24:42 > 0:24:44So, I like almost dress like that today.

0:24:44 > 0:24:47When everybody's out, they're all staring, and the pipe breaks.

0:24:47 > 0:24:49- Yeah, right.- Everybody looks.

0:24:54 > 0:24:55So, what's up?

0:24:57 > 0:24:59We're going to hold that a while.

0:25:10 > 0:25:13Michael was very interested in incorporating body popping

0:25:13 > 0:25:14into his videos.

0:25:16 > 0:25:20So, he feels like the dancers themselves know more

0:25:20 > 0:25:24about what we're doing, so he chose to use the street dancers

0:25:24 > 0:25:26to co-choreograph the videos with him.

0:25:26 > 0:25:30# I'm giving you on count of three

0:25:30 > 0:25:32# To show your stuff or let it be... #

0:25:32 > 0:25:34Now hit those little things like - boom!

0:25:34 > 0:25:37Do the little moves, those little up rhythms.

0:25:37 > 0:25:40He would work with the dancers in the daytime, but me and Casper

0:25:40 > 0:25:43would go up to the Helmsley Palace hotel and work with Michael

0:25:43 > 0:25:45at night, and we'd be working to 2.30, 3 in the morning.

0:25:45 > 0:25:48And, you know, we'd take turns creating different things,

0:25:48 > 0:25:52making different things happen, and then he'd get in there,

0:25:52 > 0:25:54and he do his thing, I'd get in to do my thing,

0:25:54 > 0:25:56and we would take turns doing that.

0:25:56 > 0:25:59It wasn't like a dance-off, like competing against each other,

0:25:59 > 0:26:02but like pushing each other, inspiring each other,

0:26:02 > 0:26:04and pushing each other to the next limit.

0:26:04 > 0:26:07So at first it was myself and Casper and Michael only,

0:26:07 > 0:26:10then after I got hold of Gregg Burge,

0:26:10 > 0:26:13and Gregg Burge started coming over to the rehearsals with us

0:26:13 > 0:26:17as well. And we were just gelling, just coming up with ideas,

0:26:17 > 0:26:19so there was nothing constructive yet.

0:26:19 > 0:26:22# You know I'm bad, I'm bad Come on... #

0:26:22 > 0:26:27- I know people made a lot of, "What's a shamone?"- Shamone.

0:26:27 > 0:26:30Shamone is basically his hat nod to Mavis Staples.

0:26:30 > 0:26:34# Shamone, shamone. #

0:26:34 > 0:26:38He could have went with James Brown, and being like, "Lookee here,"

0:26:38 > 0:26:40or Marvin Gaye and "Hoooo!"

0:26:40 > 0:26:44I love the fact that he played that homage to one of

0:26:44 > 0:26:46the under-championed soul singers of her day.

0:26:46 > 0:26:49# Shamone, shamone, shamone... #

0:26:49 > 0:26:53Michael has this scooting move, where he scooting forward.

0:26:54 > 0:26:56That's a Michael signature step.

0:26:56 > 0:26:59I said, "Michael, that has never been done in a group before.

0:26:59 > 0:27:01"Could you imagine if all of us

0:27:01 > 0:27:03"were scooting across the camera like that?"

0:27:03 > 0:27:06So now it's looking like a train, "chuka-chuka-chuka-chuka..."

0:27:06 > 0:27:10with a group of us doing it. And it worked out beautifully.

0:27:10 > 0:27:13# You're throwing stones to hide your hands

0:27:13 > 0:27:15# Well, they say the sky's the limit

0:27:15 > 0:27:17# And to me that's really true

0:27:17 > 0:27:19# And my friends you have seen nothing

0:27:19 > 0:27:21# Just wait till I get through

0:27:21 > 0:27:24# Because I'm bad, I'm bad Shamone... #

0:27:25 > 0:27:29Were you familiar with the Michael Jackson "grab the crotch"?

0:27:29 > 0:27:31No, I was not familiar with that at all!

0:27:31 > 0:27:33It's all through the whole piece.

0:27:33 > 0:27:34The whole thing, it's all throughout.

0:27:34 > 0:27:37Within the moves, it's right, I mean, what can I say?

0:27:37 > 0:27:40- The way he's moving. - But it was a surprise, though, right?

0:27:40 > 0:27:41Yes, it was, yeah.

0:27:41 > 0:27:44# You know I'm bad, I'm bad

0:27:44 > 0:27:46# You know it

0:27:46 > 0:27:48# You know I'm bad, I'm bad

0:27:48 > 0:27:50# You know it, you know... #

0:27:50 > 0:27:56He took what was formatted as a choreography,

0:27:56 > 0:27:59and he learned it to the point where he could break out of it when

0:27:59 > 0:28:03he wanted to, and get right back into it, without skipping a beat.

0:28:05 > 0:28:09Michael would just spin and snap out of it, and grab himself, "Hooooo!"

0:28:11 > 0:28:14We never knew any of this was going to happen,

0:28:14 > 0:28:15and that goes to show you his genius.

0:28:15 > 0:28:18What makes one go out and mug a person?

0:28:18 > 0:28:21I mean, there's so much involved in a person who does that.

0:28:22 > 0:28:27Insecurities, frustration, resentment, all of these things.

0:28:30 > 0:28:34In one movement, I had him lifting the leg up, with that feeling

0:28:34 > 0:28:37of wanting to fly, like we all want to do, we want to fly, and the

0:28:37 > 0:28:42next movement, it's just anger, and the next movement, its tenderness.

0:28:42 > 0:28:44Michael's seen West Side Story.

0:28:44 > 0:28:47Michael knows Jerome Robbins' choreography, I mean, I know

0:28:47 > 0:28:51he does, because that's where that looked like it came from, to me.

0:28:51 > 0:28:55Gregg, he contributed, because he's a technical dancer, you know,

0:28:55 > 0:28:58he's into jazz, and stuff like that, so all the really

0:28:58 > 0:29:00West Side Story-looking stuff is what Gregg put into the piece.

0:29:00 > 0:29:03I tried to keep some street stuff in it.

0:29:03 > 0:29:05HE GRUNTS

0:29:05 > 0:29:07You see those type of moves in there.

0:29:09 > 0:29:12# You know I'm bad, I'm bad

0:29:12 > 0:29:13# Shamone

0:29:13 > 0:29:15# You know I'm bad, I'm bad... #

0:29:15 > 0:29:17- The crane down...- Oh, yeah.

0:29:17 > 0:29:19Low ceiling, I mean, the ceiling was low.

0:29:21 > 0:29:23# You know, you know Come on

0:29:23 > 0:29:25# And the whole world has to answer right now

0:29:25 > 0:29:27# When I tell you once again... #

0:29:27 > 0:29:29- There it is.- Oh, my God!

0:29:29 > 0:29:32I get that it wasn't funny, but it seemed like a good idea at the time.

0:29:32 > 0:29:35Something my daughter, when she saw this, she said,

0:29:35 > 0:29:38"Dad, you were in jail?" I said, "No, no, no, no!"

0:29:38 > 0:29:41It was my intention to make this dance move throughout this

0:29:41 > 0:29:43subway, I wanted things to move.

0:29:45 > 0:29:49The big issue of course, ultimately, was for such a master of dancing,

0:29:49 > 0:29:51the concern was to show from head to toe.

0:29:51 > 0:29:52I had to try and convince him

0:29:52 > 0:29:56that I think the camera moves could work all together.

0:29:56 > 0:29:59# And the whole world has to answer right now

0:29:59 > 0:30:02# When I tell you once again Who's bad? #

0:30:02 > 0:30:06It does come back at the end to a reality in which they split.

0:30:06 > 0:30:09And of course, it's all summed up, which is an interesting idea,

0:30:09 > 0:30:13that Jackson came up with, to do what he calls a breakdown.

0:30:13 > 0:30:16A breakdown which turned out to be in the tradition of a preacher,

0:30:16 > 0:30:20doing a sermon. And we did that three cameras, live.

0:30:22 > 0:30:25And Michael goes, "OK, guys, I want you to just follow me."

0:30:25 > 0:30:27I think I had to be one of the only singers in the group,

0:30:27 > 0:30:29because a lot of the guys were studying dance.

0:30:29 > 0:30:31- Who's bad? ALL:- Who's bad?

0:30:31 > 0:30:33- Who's bad? ALL:- Who's bad?

0:30:34 > 0:30:38Oh, my God, it was church, it was James Brown.

0:30:38 > 0:30:41If any place reaffirmed him, or if he was trying to reaffirm to

0:30:41 > 0:30:44people who he was, and where his roots were...

0:30:44 > 0:30:46HE SCREAMS FOLLOWED BY BACKING SINGERS

0:30:46 > 0:30:49And the soulfulness that he has, and frankly,

0:30:49 > 0:30:54the blackness that he was, it is those last 30 seconds...

0:30:54 > 0:30:55- # You know - You know

0:30:55 > 0:30:57- # You know it - You know it

0:30:57 > 0:30:59- # You know - You know

0:30:59 > 0:31:01- # You know it - You know it... #

0:31:01 > 0:31:04- Sometimes he lost us, you know... - HE GARBLES SPEECH

0:31:04 > 0:31:06THEY CHANT

0:31:06 > 0:31:07"So, guys, naaa, naaa, na..."

0:31:07 > 0:31:10- # Ask your mother - Your mother

0:31:10 > 0:31:12- # Ask your sister - Your sister

0:31:12 > 0:31:14- # Ask me - Ask me

0:31:14 > 0:31:16- # You've been doing wrong - You've been doing wrong

0:31:16 > 0:31:18- # You're doing wrong - You're doing wrong

0:31:18 > 0:31:20- # You're doing me wrong - You're doing me wrong

0:31:20 > 0:31:22- # You're doing wrong - You're doing wrong... #

0:31:32 > 0:31:35And this is something that he envisioned,

0:31:35 > 0:31:38and he was feeling, and it finally got to that...

0:31:38 > 0:31:39HE HISSES

0:31:54 > 0:31:55So, that's the way it goes down, hey?

0:32:20 > 0:32:22There was a lot of talk at first of doing a different thing,

0:32:22 > 0:32:25maybe everyone smiling, and being happy with it.

0:32:25 > 0:32:2718 apple, take three.

0:32:28 > 0:32:30And action.

0:32:33 > 0:32:35Yo, it's cool, all right.

0:32:35 > 0:32:38I mean, there ain't no hard feelings or nothing.

0:32:41 > 0:32:44But then I just said, "It just doesn't seem to work."

0:32:44 > 0:32:46The fellas have to more or less except him,

0:32:46 > 0:32:49and they accept them, and they go their own way, that's it.

0:32:50 > 0:32:53Last week Michael Jackson re-entered human history,

0:32:53 > 0:32:56to gladden mankind with his latest album,

0:32:56 > 0:33:00thus triggering a wave of media silliness and cross-promotion.

0:33:00 > 0:33:04CBS television let off the festival of foolishness Monday night.

0:33:04 > 0:33:08IT broadcast a half-hour special on Jackson and his new album.

0:33:10 > 0:33:12I mean, when that video comes on Monday night,

0:33:12 > 0:33:14everyone's going to be glued to their TV screen,

0:33:14 > 0:33:16with their friends saying,

0:33:16 > 0:33:18"did you see that? Did you see that? Did you see that?"

0:33:18 > 0:33:20It was before the age of the internet, I mean,

0:33:20 > 0:33:23the most that I could do was call somebody else's house

0:33:23 > 0:33:26to have three-way, who called another friend to have three-way,

0:33:26 > 0:33:34like seven of us watched this short film, one three-way, in dead silence.

0:33:34 > 0:33:38I was just transfixed in front of the TV.

0:33:38 > 0:33:41We took all the documentary footage we could find on Michael,

0:33:41 > 0:33:45from the very early stages, when he joined Motown records,

0:33:45 > 0:33:50it ended with a video clip of him in London,

0:33:50 > 0:33:55with hundreds of girls screaming and yelling, and we put this rumble

0:33:55 > 0:33:58track underneath the screaming and yelling to really enhance it.

0:33:58 > 0:34:01It was just like this with the Beatles.

0:34:01 > 0:34:06And Michael just loved this comment

0:34:06 > 0:34:10by this woman of comparing him to the Beatles.

0:34:10 > 0:34:13He lit up when he saw that, he just turned to me from the chair

0:34:13 > 0:34:16and said, "I love it, Larry. I love it."

0:34:16 > 0:34:20If you saw it, you witnessed one of the great bold-faced

0:34:20 > 0:34:24masterpieces of promotional hype in this hype-splattered decade.

0:34:24 > 0:34:26This video is sending out some

0:34:26 > 0:34:29very strange and mixed signals, social signals,

0:34:29 > 0:34:32the cry for some critical analysis in the media.

0:34:32 > 0:34:35Some people in the press got down on it because,

0:34:35 > 0:34:40firstly they were making fun of Michael Jackson in it,

0:34:40 > 0:34:46and then some people got onto the note of, "Is this racist?

0:34:46 > 0:34:51"Are you exploiting a tragedy for the sake of a music entertainment?"

0:34:51 > 0:34:53You know, Marty's in Morocco,

0:34:53 > 0:34:55Quincy Jones is on the red carpet somewhere

0:34:55 > 0:34:59and I'm the idiot in Long Island that getting all the calls.

0:34:59 > 0:35:04"No, it's not racist, what are you talking about?!" Freaking out, like a good liberal.

0:35:04 > 0:35:06There was a ballad that was released,

0:35:06 > 0:35:10the first track from Thriller, which was a duet with Paul McCartney.

0:35:10 > 0:35:13He duplicated that by doing a duet with Siedah Garrett.

0:35:13 > 0:35:1725 years ago, I sat at this very spot,

0:35:17 > 0:35:21and played this very piano to record I Just Can't Stop Loving You.

0:35:21 > 0:35:23MICHAEL: I just wanna lay next to you for a while.

0:35:26 > 0:35:29You look so beautiful tonight.

0:35:31 > 0:35:33Your eyes are so lovely.

0:35:33 > 0:35:36Your mouth is so sweet.

0:35:37 > 0:35:40A lot of people misunderstand me.

0:35:40 > 0:35:43That's because they don't know me at all.

0:35:45 > 0:35:47I just want to touch you.

0:35:47 > 0:35:49And hold you.

0:35:51 > 0:35:53I need you.

0:35:53 > 0:35:55God, I need you.

0:35:57 > 0:35:59I Just Can't Stop Loving You is an interesting song

0:35:59 > 0:36:03because it's the first single released off the album,

0:36:03 > 0:36:05and so the firing squad was ready.

0:36:05 > 0:36:07They would have ripped anything apart because they were ready,

0:36:07 > 0:36:11they were ready to attack whatever he threw out there.

0:36:11 > 0:36:13In spite of that, it goes number one.

0:36:13 > 0:36:15To me, I Can't Stop Loving You is like,

0:36:15 > 0:36:18close to his Burt Bacharach song.

0:36:18 > 0:36:21It was actually intended as a duet with Whitney Houston.

0:36:21 > 0:36:24This award honours you for your consistent artistic

0:36:24 > 0:36:27and technical excellence in all forms of video

0:36:27 > 0:36:30and for raising the standard of the art form to new horizons.

0:36:30 > 0:36:32- Thank you, Whitney. - You're welcome.

0:36:32 > 0:36:36To all the fans around the world, thank you very much, and I love you.

0:36:36 > 0:36:40So Arista Records says, "We don't want Whitney to be over-exposed."

0:36:40 > 0:36:42Clive Davidson!

0:36:42 > 0:36:43CHUCKLING

0:36:43 > 0:36:46When I see Clive, I'm going to give him hell.

0:36:46 > 0:36:50Just kidding, just kidding, everybody calm down.

0:36:50 > 0:36:52I remember when it came out I was really disappointed

0:36:52 > 0:36:56because I was like, you're going to put out a slow song

0:36:56 > 0:36:59after this whole run of Thriller and all these songs,

0:36:59 > 0:37:01you're going to put out a slow song?

0:37:01 > 0:37:06Come on, this is the big comeback. Where's the music video?

0:37:06 > 0:37:08And who's that girl singing?

0:37:08 > 0:37:10I only later found out it was Siedah Garrett.

0:37:10 > 0:37:13And there weren't very many people in the studio.

0:37:13 > 0:37:17It was just Michael, Quincy, Bruce Swedien and me.

0:37:17 > 0:37:20And Quincy just sort of over his shoulder said,

0:37:20 > 0:37:22"Hey, Sid, you like the song?"

0:37:22 > 0:37:26And I'm going, "Yeah." Knitting. "Yeah, I like it."

0:37:26 > 0:37:30He said, "You think you can sing it?" I'm like, "Yeah."

0:37:30 > 0:37:34So I walked in this room and I see these two mic stands

0:37:34 > 0:37:36and there's music sheets on the mic stands

0:37:36 > 0:37:40and in the moment that I saw the music sheets where it said,

0:37:40 > 0:37:44"Michael, Siedah, Michael, Siedah," that was the moment I realised,

0:37:44 > 0:37:49oh, my God, I'm doing a duet with Michael Jackson!

0:37:49 > 0:37:52# I hear your voice now

0:37:52 > 0:37:55# You are my choice now

0:37:55 > 0:37:58# The love we bring

0:37:59 > 0:38:01# Heaven's in my heart

0:38:01 > 0:38:04# At your call, I hear harps

0:38:04 > 0:38:07# And angels sing. #

0:38:07 > 0:38:10I'm singing, my eyes are closed, # You know how I... #

0:38:10 > 0:38:15And Michael started tossing, I think it was popcorn.

0:38:15 > 0:38:18I'm singing, my eyes closed and I'm feeling this,

0:38:18 > 0:38:21and then Quincy, all Quincy sees is me, you know,

0:38:21 > 0:38:24he said, "Sid, this is studio time, you're wasting time, Siedah,

0:38:24 > 0:38:26"you're wasting an expensive studio."

0:38:26 > 0:38:28And Michael is cracking up.

0:38:28 > 0:38:32I Just Can't Stop Loving You started at 3am.

0:38:32 > 0:38:34That's one of those you get the phone call to wake up

0:38:34 > 0:38:37and, "We need to record right now."

0:38:37 > 0:38:40And we were done probably in an hour and a half.

0:38:40 > 0:38:44On the album version of I Just Can't Stop Loving You,

0:38:44 > 0:38:47you make some very strong sensuous remarks to a woman

0:38:47 > 0:38:49that you're lying next to.

0:38:49 > 0:38:53- I was in a bed when I was doing that.- Really?- Yeah.

0:38:53 > 0:38:56I was lying in bed, the cover and everything.

0:38:57 > 0:39:00# At night when the stars shine

0:39:00 > 0:39:03# I pray in you I'll find

0:39:03 > 0:39:07# A love so true

0:39:07 > 0:39:10# When morning awakes me

0:39:10 > 0:39:13# Will you come and take me?

0:39:13 > 0:39:14# I'll wait for you

0:39:16 > 0:39:19# You know how I feel

0:39:19 > 0:39:22# I won't stop until

0:39:22 > 0:39:24# I hear your voice saying "I do"

0:39:24 > 0:39:26# I do

0:39:26 > 0:39:29# This thing can't go wrong

0:39:29 > 0:39:31# This feeling so strong

0:39:31 > 0:39:36# My life ain't worth living if I can't be with you. #

0:39:36 > 0:39:41When I was recording my bits, I didn't need any charts,

0:39:41 > 0:39:43I would just listen to the demo,

0:39:43 > 0:39:45really, internalise the parts that way

0:39:45 > 0:39:50and in talking a little bit with Michael and getting his wishes across, musically,

0:39:50 > 0:39:52I just translate all that and play it.

0:39:54 > 0:39:57# Hee-hee-hee, won't you, girl. #

0:40:10 > 0:40:12APPLAUSE

0:40:12 > 0:40:15I was slated to be on the Bad tour.

0:40:15 > 0:40:18I was convinced by my record company and other people

0:40:18 > 0:40:21that I needed to do a record cos the duet had just come out.

0:40:21 > 0:40:23I'd rehearsed with them for a week

0:40:23 > 0:40:28when I decided I wanted to do my record so I pulled out.

0:40:28 > 0:40:30# At night when the stars shine

0:40:30 > 0:40:33# I pray that I'll find

0:40:33 > 0:40:35# A love so true. #

0:40:35 > 0:40:39The band used to bet on whether Michael was getting excited

0:40:39 > 0:40:41during the song. Now...

0:40:41 > 0:40:45- Singing to you? - Yeah. I say that's a stretch.

0:40:46 > 0:40:49# I'll wait for you

0:40:51 > 0:40:53# You know how I feel

0:40:53 > 0:40:55# I won't stop until... #

0:40:55 > 0:40:59Working with Michael and doing the duet is really, it's intense.

0:40:59 > 0:41:03Every time we do that, it's a different experience, you know.

0:41:03 > 0:41:06And he draws you in so much and just singing a song into his eyes

0:41:06 > 0:41:09and having him look at you, it's really exciting.

0:41:09 > 0:41:12# This feeling so strong

0:41:12 > 0:41:14BOTH: # My life ain't worth living

0:41:14 > 0:41:17BOTH: # If I can't be with you

0:41:17 > 0:41:21# I just can't stop loving you

0:41:21 > 0:41:25# Oh! I just can't stop loving you

0:41:26 > 0:41:32# And if I stop, tell me just what will I do?

0:41:33 > 0:41:36# I just can't stop loving you. #

0:41:36 > 0:41:42Michael Jackson has such a great instinct for the groove,

0:41:42 > 0:41:46like the groove in Michael Jackson, he was rocking at all times,

0:41:46 > 0:41:48he could hear the groove.

0:41:48 > 0:41:52So if you take that groove and you put it to orchestration,

0:41:52 > 0:41:55it makes it bigger, it makes it more powerful.

0:41:55 > 0:41:59Quincy Jones/Michael Jackson collaboration was historic.

0:41:59 > 0:42:04It was a match made in heaven because first of all,

0:42:04 > 0:42:08there was a tremendous amount of mutual respect.

0:42:08 > 0:42:13There is no-one in popular music history like Quincy,

0:42:13 > 0:42:17as an orchestrator, as a composer.

0:42:17 > 0:42:20Coming from all of his background, Count Basie,

0:42:20 > 0:42:24Frank Sinatra, Dinah Washington, playing trumpet in Lionel Hampton's band.

0:42:24 > 0:42:28The most beautiful part about the love affair, and that's what it is,

0:42:28 > 0:42:32the love affair between a producer, whatever you want to call it,

0:42:32 > 0:42:34the person that's on the other side,

0:42:34 > 0:42:37a person that loves that artist enough to never want to see him in trouble,

0:42:37 > 0:42:40and only wants to see the best for that artist,

0:42:40 > 0:42:44to come up with the best results,

0:42:44 > 0:42:48is an incredible trust, where you can say,

0:42:48 > 0:42:51"Jump, Michael, there's no parachute, there's no net,

0:42:51 > 0:42:55"there's nothing there, there's 34 stories down, jump."

0:42:55 > 0:43:01One of the great things about Quincy is that he has this ability

0:43:01 > 0:43:06of mixing all kinds of different genres

0:43:06 > 0:43:09and personalities into one beautiful blend.

0:43:09 > 0:43:13Because he only uses the best, the creme de la creme of musicians.

0:43:13 > 0:43:16Working with Quincy was like being at school.

0:43:16 > 0:43:19I learned so much about separation,

0:43:19 > 0:43:22in trying to make a record where everyone,

0:43:22 > 0:43:25he used to say, "Everybody can't come in the door at the same time."

0:43:25 > 0:43:28And he used to always say, "You can't polish doo-doo."

0:43:28 > 0:43:32You can't polish doo-doo. You know, you've got to have a great song at the beginning.

0:43:32 > 0:43:36When we look at the end of a day and I have goosebumps,

0:43:36 > 0:43:39and Michael has goosebumps and Bruce Swedien, the engineer, has goosebumps,

0:43:39 > 0:43:41then I think we've got something special.

0:43:41 > 0:43:45And Quincy just puts his little fairy dust over it

0:43:45 > 0:43:49and it's a Quincy Jones project and it's kind of, as he says,

0:43:49 > 0:43:52"Leave space for God to walk through the door and create some magic."

0:43:52 > 0:43:55Michael Jackson had been into champagne music.

0:43:55 > 0:43:57You know how in St Tropez when you order champagne

0:43:57 > 0:44:03they bring the sparklers out with the champagne? Michael saw that 20 years ago ahead and made a sound.

0:44:03 > 0:44:06Michael Jackson made the sound of fabulous. Him and Quincy.

0:44:06 > 0:44:10And Michael was one of those sources of energy where he brought so much,

0:44:10 > 0:44:14so much originality but also an amazing collaborator.

0:44:14 > 0:44:18He's so disciplined and he's got that perfect balance

0:44:18 > 0:44:23of soul and science. He knows the working parts of his craft.

0:44:23 > 0:44:27And he has total trust in an intuitive part of his craft,

0:44:27 > 0:44:31and so that's the balance. The head and heart.

0:44:31 > 0:44:33Off The Wall, Thriller, Bad.

0:44:33 > 0:44:38They created three hurricanes that basically went through the globe

0:44:38 > 0:44:41and everybody got caught up and danced.

0:44:41 > 0:44:46Well, we're here today to try to finish up a session

0:44:46 > 0:44:52with Michael Jackson singing in Spanish and in French.

0:44:52 > 0:44:54We've spoken about this for years and years,

0:44:54 > 0:44:58from when we were doing Off The Wall and we were doing Thriller,

0:44:58 > 0:45:01but we never got around to it because by the time

0:45:01 > 0:45:06we finished the album, we'd do disco versions and we'd do videos et cetera

0:45:06 > 0:45:10and I think inside we weren't really sure whether we could make it work.

0:45:10 > 0:45:12# Como la briza... #

0:45:12 > 0:45:16The one thing I didn't think was possible

0:45:16 > 0:45:19was just to do a translation of the song.

0:45:19 > 0:45:22- Word for word, you mean, right?- Yes.

0:45:22 > 0:45:26So what I said was, "Let me understand the song

0:45:26 > 0:45:31"and I'll be as close as I can to what the song was about."

0:45:31 > 0:45:33# Tu me haces sentir

0:45:33 > 0:45:36# Deseos de vivir

0:45:36 > 0:45:38# Junto a ti por siemp're

0:45:38 > 0:45:40# Tu amor es mi suerte. #

0:45:40 > 0:45:43One more. I think I need more level in the phones,

0:45:43 > 0:45:44like I'm drowning the track out.

0:45:44 > 0:45:48It was a privilege for me to watch the way he performed

0:45:48 > 0:45:51and the way he handled this.

0:45:51 > 0:45:53He felt perhaps a bit vulnerable.

0:45:56 > 0:46:00I'm sorry. You can continue. Here we go.

0:46:00 > 0:46:01When you control the whole thing,

0:46:01 > 0:46:05all of a sudden now somebody's telling you how to do something

0:46:05 > 0:46:09in a language that is not yours, and so you are vulnerable.

0:46:09 > 0:46:13And I made it my main effort to make him feel comfortable,

0:46:13 > 0:46:17not to feel that I was in any way mocking him because it's not easy.

0:46:17 > 0:46:21This is the first time he ever tried to do anything in Spanish that I know of.

0:46:21 > 0:46:25I wanted Michael to sound like, you don't know who that is.

0:46:25 > 0:46:30The pronunciation was so good,

0:46:30 > 0:46:34that...I was stunned.

0:46:34 > 0:46:36# Y cuando no estas

0:46:36 > 0:46:38# No hay felicidad. #

0:46:38 > 0:46:41Both of them: "Mi vida no es vida."

0:46:41 > 0:46:44My life is not a life. Si tu te vas, if you leave.

0:46:44 > 0:46:47# Si tu te vas. #

0:46:47 > 0:46:52Todo me amor eres tu - all my love, you are all my love.

0:46:52 > 0:46:56# Todo mi amor eres tu. #

0:46:56 > 0:47:01When people found out that Michael Jackson had sung a song in Spanish,

0:47:01 > 0:47:05they were very, very, very proud and happy.

0:47:09 > 0:47:12Well, The Hayvenhurst studio is located in a guest house here

0:47:12 > 0:47:16at the Jacksons' property, at their home,

0:47:16 > 0:47:20and the studio was used for recording demos

0:47:20 > 0:47:24and I worked with Michael recording and developing his ideas, his songs,

0:47:24 > 0:47:27his arrangements, his productions for the Bad album.

0:47:27 > 0:47:29Over a two, three year period of time,

0:47:29 > 0:47:32it was just a non-stop work in progress.

0:47:32 > 0:47:39The number of demos that we worked on for Bad was 60, maybe 65 demos.

0:47:39 > 0:47:44When I received the demos, they were in really good shape at that time.

0:47:44 > 0:47:48I guess I didn't realise at the time but what we were doing

0:47:48 > 0:47:49was we were forming the B team.

0:47:49 > 0:47:53Quincy always called his team the A-Team. His engineer, Bruce Swedien...

0:47:53 > 0:47:55John Robinson on drums...

0:47:55 > 0:47:59- ..arranger Jerry Hayes... - ..Nathan East on bass...

0:47:59 > 0:48:02Keyboards would have been Greg Phillinganes.

0:48:02 > 0:48:05I started with Michael here at Hayvenhurst.

0:48:05 > 0:48:08We were the kind of initial team which was John Barnes,

0:48:08 > 0:48:11myself, Michael, Bill Bottrell, Chris Currell.

0:48:11 > 0:48:14And then at times other musicians would come in,

0:48:14 > 0:48:17most prominent would be David Williams, who is no longer with us.

0:48:17 > 0:48:21And in some ways I think Michael kind of liked that vibe.

0:48:21 > 0:48:25He kind of liked the vibe of, you know, having a little competition

0:48:25 > 0:48:28to see who could come up with the best thing.

0:48:28 > 0:48:32I think this is one of the things that he learned from his Motown days,

0:48:32 > 0:48:33something he learned from Berry Gordy.

0:48:33 > 0:48:36We weren't making demos, we were making records.

0:48:36 > 0:48:40Anybody else would be perfectly happy

0:48:40 > 0:48:43to accept a Michael demo as a finished record,

0:48:43 > 0:48:45let me put it that way.

0:48:45 > 0:48:50We would work every single day on creating individual sounds for songs

0:48:50 > 0:48:54that were going to ultimately be on the record.

0:48:54 > 0:48:58We'd record them, re-record them, different keys,

0:48:58 > 0:49:01different speeds, different instrumentation,

0:49:01 > 0:49:05and so that became kind of an experiment in how far can we push.

0:49:05 > 0:49:11Michael would say, "You know, it starts in this very room."

0:49:11 > 0:49:16And from this room it goes out and it spreads over the entire world.

0:49:16 > 0:49:21It's...quite an experience to be back here,

0:49:21 > 0:49:23at Hayvenhurst studio,

0:49:23 > 0:49:28just as it was when I last left it, almost 25 years ago.

0:49:28 > 0:49:30DOG BARKS

0:49:30 > 0:49:33We never knew what we were going to do when we showed up.

0:49:33 > 0:49:36If Michael was inspired, we followed it.

0:49:36 > 0:49:40So this is Michael singing multiple harmony parts.

0:49:40 > 0:49:45This is Michael double-tracking, the mid, the low, the high parts.

0:49:45 > 0:49:50There is actually ten tracks of Michael singing his own backgrounds on this song.

0:49:50 > 0:49:52# The way you make me feel

0:49:54 > 0:49:56# You really turn me on

0:49:59 > 0:50:00# You knock me off my feet. #

0:50:00 > 0:50:04You can hear the difference in sound quality from being out here

0:50:04 > 0:50:07in the music room, to walking into the bathroom.

0:50:07 > 0:50:09Now this room was one of Michael's favourite places

0:50:09 > 0:50:12because of the nature of the surfaces in this room.

0:50:12 > 0:50:18One of the things that we would do is we would record with the door to the shower open,

0:50:18 > 0:50:22much more reflective, a lot of what we call early reflection,

0:50:22 > 0:50:26a lot of brightness, a lot of reinforcement to how things sound.

0:50:35 > 0:50:39HUMMING AND SCATTING AN APPROXIMATION OF THE LYRICS

0:50:47 > 0:50:51# I like the style of your walk your talk, your dress

0:50:51 > 0:50:54# I feel your fever from miles around

0:50:56 > 0:50:57# I'll pick you up...

0:50:58 > 0:51:00# ..paint the town

0:51:00 > 0:51:03# Just kiss me baby and tell me twice

0:51:03 > 0:51:06# That you're... # I know this part!

0:51:06 > 0:51:09# The way you make me feel. #

0:51:09 > 0:51:10Ha, I know that!

0:51:10 > 0:51:14# It really turns me o-o-on

0:51:15 > 0:51:19# Knocking me off of my feet now, baby

0:51:19 > 0:51:22# Lonely days are gone. #

0:51:25 > 0:51:29I met with Quincy, Quincy Jones and Frank,

0:51:29 > 0:51:33to find out what they were looking for in the video.

0:51:33 > 0:51:36And they said, basically, we want to take Michael to another level,

0:51:36 > 0:51:39especially with his relationships with women.

0:51:39 > 0:51:43And then I talked to Michael and I said, "Where do you want it to happen?" He said, "Skid Row."

0:51:43 > 0:51:45We wrote a long prequel, just like they did in Bad.

0:51:45 > 0:51:48- I contacted August Wilson. - Yeah?!- Yeah.

0:51:48 > 0:51:50Cos I'm from Pittsburgh and so was he.

0:51:50 > 0:51:53- What did August say?- No. He said no.

0:51:53 > 0:51:57I did this little documentary about the guys on the street,

0:51:57 > 0:52:02real, real stuff, and showed it to Michael.

0:52:02 > 0:52:04He looked at it and actually said,

0:52:04 > 0:52:08"Can we make the video look like this?" Because it was all handheld and jerky.

0:52:08 > 0:52:11And I said, "If that's what you want. You're sure you want that?" He said, "yeah."

0:52:11 > 0:52:13Get out of here, man!

0:52:13 > 0:52:16Check out that rear end! Whoo!

0:52:16 > 0:52:19Don't touch my head! No!

0:52:19 > 0:52:20You're acting like a little tramp!

0:52:20 > 0:52:24And we actually used real gang members in the video.

0:52:24 > 0:52:27We had the V13s down here on this corner

0:52:27 > 0:52:32and the Crips on this corner, and some of the guys were smoking

0:52:32 > 0:52:36and Michael came and he said, "Jo, the guys are smoking down there.

0:52:36 > 0:52:40"It's kind of bothersome." And I just turned and said,

0:52:40 > 0:52:43"Will you fucking guys quit fucking smocking?!"

0:52:43 > 0:52:46And Michael, he almost panicked, he almost hid behind me

0:52:46 > 0:52:48because this is all these gang members,

0:52:48 > 0:52:50we had cops everywhere, though. It wasn't a problem.

0:52:50 > 0:52:51Hey!

0:53:04 > 0:53:07When he sees the girl, he did a thing with his fingers going...

0:53:07 > 0:53:08FINGERS CLICKING

0:53:10 > 0:53:14It happened once, my brother was operating the camera and caught it. I said, "Oh, my God, thank God."

0:53:14 > 0:53:17Michael had the best-sounding fingers, didn't he?

0:53:17 > 0:53:19I don't remember which song it is,

0:53:19 > 0:53:22but on Bad he has a credit for finger snaps.

0:53:23 > 0:53:29One of the most amazing moments that I remember was Michael walking,

0:53:29 > 0:53:34walking, walking, and catches up to Tatyana,

0:53:34 > 0:53:37and sings for the first time...

0:53:37 > 0:53:42# You knock me off of my feet now, baby, hoo!

0:53:42 > 0:53:47Everything stopped. We had to stop shooting because people just froze.

0:53:47 > 0:53:50They actually froze.

0:53:50 > 0:53:52# Hoo! #

0:53:55 > 0:54:02To play a shuffle like that for 12 minutes is not easy.

0:54:02 > 0:54:05Michael's mother, she has this song in mind.

0:54:05 > 0:54:08She says, "Michael, you've got to come up with a song

0:54:08 > 0:54:11"that has this real shuffling kind of rhythm."

0:54:11 > 0:54:15And Michael says, "OK, I'll see what I can come up with."

0:54:15 > 0:54:20Shuffles have a unique rhythm. Most songs you hear are kind of linear.

0:54:20 > 0:54:25Shuffles have an extra rhythmic element going on.

0:54:25 > 0:54:29You can have a cowbell underneath the backbeat to reinforce the sound.

0:54:29 > 0:54:33None of the backbeat that you hear on that album

0:54:33 > 0:54:36is going to have just a basic, typical snare drum sound.

0:54:36 > 0:54:40I recorded the drums on a wooden platform.

0:54:40 > 0:54:43It minimises what is called secondary pick-up,

0:54:43 > 0:54:46which is where the other mics in the room

0:54:46 > 0:54:49pick up from those sound sources.

0:54:49 > 0:54:51And then we got the idea,

0:54:51 > 0:54:54why doesn't Michael stand on that when he sings?

0:54:54 > 0:54:57And he did, and it sounds glorious.

0:54:57 > 0:55:00# Hey, pretty baby with the high heels on

0:55:02 > 0:55:06# You give me fever like I've never ever known... #

0:55:06 > 0:55:09This was my first album ever as a little girl.

0:55:09 > 0:55:15I cried and cried to my mom, begged her to please buy this for me.

0:55:15 > 0:55:20I would play this like crazy, and dance with it.

0:55:20 > 0:55:25I mean, this was a dream come true. This was something I had fantasised

0:55:25 > 0:55:27and dreamed about since I was five or six years old.

0:55:27 > 0:55:29# You're the one for me

0:55:29 > 0:55:32# The way you make me feel... #

0:55:32 > 0:55:37The girl that we finally chose, Tatiana, wasn't in my first five.

0:55:37 > 0:55:39I didn't like her.

0:55:39 > 0:55:43And I showed Frank DiLeo, his manager, the casting tape

0:55:43 > 0:55:46and he said, "That girl's running around with Prince.

0:55:46 > 0:55:48"If Michael finds out, he'll be upset.

0:55:48 > 0:55:50"And that girl's running around with so-and-so,

0:55:50 > 0:55:52"I'm not going to name names."

0:55:52 > 0:55:54He said, "I can't say." Cos it was Quincy Jones.

0:55:54 > 0:55:57I think. As I remember.

0:55:57 > 0:56:01She seemed physically to be the female version of Michael Jackson.

0:56:01 > 0:56:05There may have been, in his head, an interesting idea about,

0:56:05 > 0:56:08"Wow! This is almost kind of my perfect complement."

0:56:08 > 0:56:11# I like the feelin' you're givin' me

0:56:11 > 0:56:15# Just hold me, baby and I'm in ecstasy

0:56:15 > 0:56:19# Oh, I'll be workin' from 9 to 5... #

0:56:19 > 0:56:22She was the finest thing around at that time. I wanted to be Michael.

0:56:22 > 0:56:25I wanted to be Michael, walking right beside her,

0:56:25 > 0:56:28standing on cars and being... I wanted to be Michael that day.

0:56:28 > 0:56:32# Promise, baby, you'll love me for ever more

0:56:32 > 0:56:36# I swear I'm keepin' you satisfied

0:56:36 > 0:56:39# Cos you're the one for me

0:56:39 > 0:56:42- # The way you make me feel - The way you make me feel

0:56:42 > 0:56:47- # You really turn me on - You really turn me on

0:56:47 > 0:56:49# You knock me off of my feet now... #

0:56:49 > 0:56:53I first got hooked up with Quincy through a band I was playing in,

0:56:53 > 0:56:55in Los Angeles, called Seawind.

0:56:55 > 0:56:57We were playing at a club.

0:56:57 > 0:57:00Quincy, always being at the forefront of finding new talent,

0:57:00 > 0:57:04heard about us as a horn section, called up one night.

0:57:04 > 0:57:06"Jerry, this is Quincy Jones." "What?"

0:57:06 > 0:57:09"Yeah, you want to play on a record?" "Of course."

0:57:09 > 0:57:12"You want to do an arrangement?" "Oh...OK."

0:57:12 > 0:57:15He said, "And how about tomorrow?"

0:57:15 > 0:57:17And that was kind of the beginning

0:57:17 > 0:57:21of this 30-plus year relationship with Quincy.

0:57:21 > 0:57:25Our horn players are two saxophone players,

0:57:25 > 0:57:29Kim Hutchcroft and Larry Williams. The trumpet player, Gary Grant.

0:57:29 > 0:57:32The trombone player, Bill Reichenbach.

0:57:32 > 0:57:34Vamp out.

0:57:34 > 0:57:38MUSIC: "The Way You Make Me Feel"

0:57:38 > 0:57:41Again, two trumpets, two saxes.

0:57:41 > 0:57:45The day of the audition, I wore a dance skin,

0:57:45 > 0:57:48a black dress with boots and bracelets, bangles,

0:57:48 > 0:57:51which was kind of like my signature thing at the time.

0:57:51 > 0:57:54And I heard that Michael liked my look.

0:57:54 > 0:57:59He liked the whole style of what I had done, so he kept that.

0:57:59 > 0:58:00We created a complete look for her.

0:58:00 > 0:58:03Hair extensions, we changed her make up completely.

0:58:03 > 0:58:07I had two dresses at that time. One was pink, one was black.

0:58:07 > 0:58:12And the black one was kind of reminiscent of a Tatiana dress.

0:58:12 > 0:58:13That's the way I was living.

0:58:13 > 0:58:15# Go on, girl

0:58:15 > 0:58:17# Go on

0:58:18 > 0:58:20# Ow!

0:58:21 > 0:58:23# Go on, girl

0:58:23 > 0:58:25# Oooh!

0:58:25 > 0:58:27# Ooh! #

0:58:27 > 0:58:30The Way You Make Me Feel video, um, you know, when he's chasing

0:58:30 > 0:58:33the girl around, that was kind of how I pictured my Baby video.

0:58:33 > 0:58:34We kind of based it off of that.

0:58:34 > 0:58:37In my video, you can see I'm in a bowling alley

0:58:37 > 0:58:39but it's kind of like a modern version.

0:58:39 > 0:58:42I'm chasing her around, trying to get her to like me.

0:58:42 > 0:58:45# The way you make me feel

0:58:45 > 0:58:47# The way you make me feel

0:58:47 > 0:58:49# You really turn me good... #

0:58:49 > 0:58:51Mike called me and said, "I told Joe Pytka,

0:58:51 > 0:58:53"who's directing it, that I wasn't doing any dancing.

0:58:53 > 0:58:56"But the more I listen to it, I think I want to put some dancing in there.

0:58:56 > 0:58:58"Could you go to a studio and work on some stuff,

0:58:58 > 0:59:00"then I'll come in and join you."

0:59:00 > 0:59:02Joe came in to see, heard this music going on

0:59:02 > 0:59:05and was like, "What the heck's going on in here?"

0:59:05 > 0:59:07I see this beautiful piece being choreographed,

0:59:07 > 0:59:10but the idea that I'd had for the video didn't have a place for that.

0:59:10 > 0:59:14We had to very quickly improvise where to put that.

0:59:14 > 0:59:17That's where the fire hydrant idea came from.

0:59:43 > 0:59:45HE SCREAMS

0:59:50 > 0:59:52# The way you make me feel

0:59:55 > 0:59:57# You really turn me on

0:59:59 > 1:00:02# You knock me off my feet...#

1:00:04 > 1:00:06Fans were always bombarding me with the question,

1:00:06 > 1:00:11"Why does he chase you throughout the video only for a hug and not a kiss?"

1:00:11 > 1:00:15Joe Pytka, the director, he whispered in my ear right before the

1:00:15 > 1:00:20very last scene where we hug, and he told me, he said, "Don't kiss him."

1:00:22 > 1:00:25I thought the kiss was too corny.

1:00:25 > 1:00:27I'm not even sure I wanted him to get that close.

1:00:27 > 1:00:29I wanted him to maybe stop like here.

1:00:29 > 1:00:31But it worked out with the caress and the hug.

1:00:31 > 1:00:34He says, "Because you were originally supposed to kiss,

1:00:34 > 1:00:37"but Michael is too shy for that so don't kiss him."

1:00:37 > 1:00:41When Michael did finally come out and we got close and we hugged,

1:00:41 > 1:00:48I could smell like a minty, minty fresh scent from his breath.

1:00:48 > 1:00:49< That was a signal!

1:00:49 > 1:00:52I kind of think he came prepared but...

1:00:52 > 1:00:57Being told not to kiss him, and that he couldn't handle it,

1:00:57 > 1:01:00he was too shy, I didn't want to take advantage like that.

1:01:00 > 1:01:05Oh, listen, Tatiana was not shy. She was not a shy girl.

1:01:05 > 1:01:09And in fact, going on with this story is little bit,

1:01:09 > 1:01:13she was told, "Definitely don't kiss Michael onstage."

1:01:13 > 1:01:17He was complaining she'd become too aggressive on stage and everything.

1:01:17 > 1:01:20I made a joke, "Is this going to be X-rated, this thing?"

1:01:20 > 1:01:23I said, "Michael, why don't you just go fuck her? Fuck her one night.

1:01:23 > 1:01:25"Get it over with."

1:01:25 > 1:01:30He started laughing and Frank said, "What the hell are you doing?

1:01:30 > 1:01:32"I've got enough Goddamn trouble without you trying to get him

1:01:32 > 1:01:34"involved with this girl."

1:01:34 > 1:01:37But for me, it became policy because I said,

1:01:37 > 1:01:40"OK, if Michael doesn't kiss in the video,

1:01:40 > 1:01:43"I don't think anybody should kiss in the video."

1:01:43 > 1:01:47So since that day, I always edit out kisses in videos

1:01:47 > 1:01:51and one in particular, Justin Bieber made a video.

1:01:51 > 1:01:54He was going to kiss the girl and I went crazy.

1:01:54 > 1:01:57And I went crazy, A - because he wanted to kiss the girl,

1:01:57 > 1:01:58and B - she was a black girl.

1:01:58 > 1:02:02And I was like, "OK, you're about to mess up your whole thing, man."

1:02:02 > 1:02:04HE LAUGHS

1:02:09 > 1:02:12Oh, oh, look, Granny. It-it's...

1:02:12 > 1:02:18Ah...it's-it's... Mmm...mmm...ah! M-M-M...

1:02:18 > 1:02:19Mantovani?

1:02:19 > 1:02:23No. Michael Jackson!

1:02:23 > 1:02:24ALL: Michael Jackson!

1:02:24 > 1:02:29Speed Demon is a song that maybe people aren't as familiar with

1:02:29 > 1:02:34on the album, but actually serves as a metaphor for the entire album.

1:02:34 > 1:02:38Because what Michael is trying to do with this album is escape,

1:02:38 > 1:02:41escape from all the things that are confining him,

1:02:41 > 1:02:43all the things that are suffocating him.

1:02:43 > 1:02:46There he is! Hey, buddy, how about an autograph?

1:02:46 > 1:02:48THEY LAUGH

1:02:48 > 1:02:50Would you autograph my tummy? THEY LAUGH

1:02:50 > 1:02:52Speed Demon was my song.

1:02:52 > 1:02:59I'm a percussionist and that song was 100% syncopated adrenaline.

1:02:59 > 1:03:03In the James Brown mode of rhythm arrangement where you use

1:03:03 > 1:03:04instruments as percussion.

1:03:04 > 1:03:06# Speed Demon

1:03:09 > 1:03:11# Speed Demon... #

1:03:13 > 1:03:15It was pretty much clay-mation, you know,

1:03:15 > 1:03:19matted into live action settings. It was a real mix.

1:03:19 > 1:03:23The whole idea of that music video, that short,

1:03:23 > 1:03:27was really to merge live action and clay-mation together.

1:03:27 > 1:03:31There was one place in the story where, you know,

1:03:31 > 1:03:34he turns into our character Spike Rabbit,

1:03:34 > 1:03:37you know, as a way to sort of get away from the paparazzi and so forth.

1:03:37 > 1:03:41Our Spike character wanders through in this incredible chase,

1:03:41 > 1:03:45but when they come back and they separate, they separate like this and

1:03:45 > 1:03:50so Spike's still there and Michael's right there and they do a duet.

1:03:50 > 1:03:52A little dance thing.

1:03:52 > 1:03:59So we had to make Spike Rabbit dance right alongside Michael.

1:03:59 > 1:04:03That was really, really fun because, for one thing,

1:04:03 > 1:04:07we had to work out the choreography between what he was going to do

1:04:07 > 1:04:10and how we were going to do it, and figure out exactly how the

1:04:10 > 1:04:13moves were going to work, and work it right to the music and so on.

1:04:13 > 1:04:17Instead of easing into it, maybe just really hit it. Full load.

1:04:17 > 1:04:21I wish I could. I feel so limited. This stuff is so tight on me.

1:04:21 > 1:04:28Upon finishing with Speed Demon, he called up one day,

1:04:28 > 1:04:32he got around to saying how much he loved the California Raisin

1:04:32 > 1:04:34commercials, so I realised where he was going.

1:04:34 > 1:04:38And I said, "Michael, you should be a raisin."

1:04:38 > 1:04:39"Yeah!"

1:04:40 > 1:04:45'Will, I really need you to call me pertaining to the backup guys,

1:04:45 > 1:04:48'the character's got to be much stronger.

1:04:48 > 1:04:51'It doesn't hit it right on.

1:04:51 > 1:04:55'This is very important. Thank you. Bye.'

1:04:55 > 1:04:59The rap raisins materialising behind me,

1:04:59 > 1:05:02I want to define their character.

1:05:02 > 1:05:07And from his expression, which is 99% of it.

1:05:07 > 1:05:14The one guy has the glasses, and he has the type of attitude that

1:05:14 > 1:05:18he's so cool that I'm fortunate that he's here.

1:05:18 > 1:05:20And he's much too cool for, like, one of these.

1:05:36 > 1:05:39And the other one is like a sarc...sarcasm.

1:05:39 > 1:05:40It's like, "What you looking at?"

1:05:40 > 1:05:44The other raisin would be this style. No glasses.

1:05:44 > 1:05:48So his eyes are most of the expression. Like...

1:05:59 > 1:06:00Like that.

1:06:14 > 1:06:17# I heard it through the grapevine

1:06:17 > 1:06:22# Raised in the California sunshine

1:06:22 > 1:06:25# Heard it through the grapevine, baby

1:06:25 > 1:06:26Michael!

1:06:26 > 1:06:27# Oooh

1:06:27 > 1:06:29# And I think I'm about to lose my mind

1:06:29 > 1:06:31# Oooh!

1:06:31 > 1:06:32HE GASPS

1:06:32 > 1:06:35Wow! Must have been something I ate.

1:06:40 > 1:06:45Right now on the decks I have the 12-inch single to Liberian Girl

1:06:45 > 1:06:49and Run DMC's beats to Sucka MCs.

1:06:49 > 1:06:51It sounds something like this.

1:06:51 > 1:06:54INTRO TO LIBERIAN GIRL

1:06:54 > 1:07:00Quincy wanted some kind of African little intro thing here.

1:07:00 > 1:07:04So this was Michael Boddicker on synth

1:07:04 > 1:07:06and all these effects

1:07:06 > 1:07:13are kind of giving an African sunrise sort of thing.

1:07:13 > 1:07:16# Naku penda piya-naku taka piya-mpenziwe.

1:07:16 > 1:07:19HE MIXES TRACKS

1:07:25 > 1:07:28I mean, people underestimated how radical that was.

1:07:28 > 1:07:33Nobody else was writing songs about African women

1:07:33 > 1:07:37as beautiful in 1987-1988.

1:07:37 > 1:07:40- It's so nice to see you again. - Nice to see you too.

1:07:43 > 1:07:46I've had the time of my life here. I'd had so much fun.

1:07:46 > 1:07:47I hate to leave.

1:07:47 > 1:07:49Here's the biggest pop star in the world,

1:07:49 > 1:07:53who quote-unquote is making himself look white, and yet he's very

1:07:53 > 1:07:56engaged with beauty and the idea of Africa as a site of beauty.

1:07:56 > 1:07:59It's just speaks to the fact that Michael had a very strong

1:07:59 > 1:08:01African consciousness. He went to Africa a lot.

1:08:01 > 1:08:03He was very engaged with the continent.

1:08:03 > 1:08:06Is there a Liberian girl in your life?

1:08:06 > 1:08:10No. I wrote that at my house, in the game room.

1:08:10 > 1:08:13I guess I was playing some pinball or something.

1:08:13 > 1:08:16And the song just popped into my head.

1:08:16 > 1:08:23I think I ran upstairs, put it on tape and it became Liberian Girl.

1:08:23 > 1:08:28When it was created, it just happened like lightning.

1:08:28 > 1:08:29It was just an instant thing.

1:08:29 > 1:08:33Normally, it took a lot of time to put things together.

1:08:33 > 1:08:36That one happened in three or four hours.

1:08:36 > 1:08:40I'm a great believer in sonic fantasy.

1:08:40 > 1:08:43Not sonic reality.

1:08:43 > 1:08:49Sonic fantasy means creating a soundscape that exists

1:08:49 > 1:08:53only in your imagination. That only you can see.

1:08:53 > 1:08:58So I could see these incredible soundscapes, and I thought...

1:08:58 > 1:09:00Liberian Girl?

1:09:00 > 1:09:03- Liberian girl is...- My man!

1:09:03 > 1:09:05..Is a perfect example.

1:09:05 > 1:09:07I did a little synth work on that.

1:09:07 > 1:09:09That part right there.

1:09:11 > 1:09:15And it's got a little bird thing happening there on the end of it.

1:09:15 > 1:09:18Quincy said, "Give me some of that bird stuff, Boddicker."

1:09:18 > 1:09:22That's got a little bit of it. The next time is even more so.

1:09:22 > 1:09:27So...there's this part that I wrote.

1:09:27 > 1:09:30I played drums Speed Demon, Liberian Girl.

1:09:30 > 1:09:33That was good, Liberian Girl was a fun song to do

1:09:33 > 1:09:35because everyone would always ask me,

1:09:35 > 1:09:39"Why did Michael write a song about a lady working in a library?"

1:09:39 > 1:09:42Yeah, there's a little sexy lady behind the counter with

1:09:42 > 1:09:44the glasses and the pencil in her hair.

1:09:44 > 1:09:46Then she drops her hair and does that thing.

1:09:46 > 1:09:48I thought that's what he was talking about.

1:09:48 > 1:09:50HE LAUGHS

1:09:50 > 1:09:51No, that's not...

1:09:51 > 1:09:55That was just...he thought that was the funniest thing he's ever heard.

1:09:55 > 1:09:58The video for Liberian Girl is probably the point where

1:09:58 > 1:10:01they may have run over budget.

1:10:01 > 1:10:03It just has a bunch of celebrities

1:10:03 > 1:10:06that are waiting for Michael to show up.

1:10:06 > 1:10:08# With two lovers in a scene

1:10:08 > 1:10:10# And she says, "Do you love me?"

1:10:10 > 1:10:12# And he says so endlessly

1:10:12 > 1:10:16# "I love you, Liberian girl"... #

1:10:16 > 1:10:18Michael was not in Liberian Girl

1:10:18 > 1:10:20because I think he got tired of making videos.

1:10:20 > 1:10:23I was talking to Walter Yetnikoff about it and he said,

1:10:23 > 1:10:25"You've got to get him in the video."

1:10:25 > 1:10:26So I called up Michael and said,

1:10:26 > 1:10:29"You've got to be in this video someplace."

1:10:29 > 1:10:31And he goes, "OK, I have an idea."

1:10:31 > 1:10:35And he goes, "You got one take. You got 15 minutes."

1:10:35 > 1:10:39One sec. Just let me tell you when I'm ready. One sec.

1:10:39 > 1:10:42- Ready?- Almost.

1:10:42 > 1:10:46And he got in the chair, they raised it up in the air, and said, "Action!"

1:10:46 > 1:10:47Action!

1:10:50 > 1:10:52HE GIGGLES

1:10:56 > 1:10:58OK, everybody. That's a wrap.

1:11:00 > 1:11:01Cut!

1:11:01 > 1:11:03They didn't even shut the engine off.

1:11:03 > 1:11:06They got out of the car, no make up, got in the chair.

1:11:06 > 1:11:09It was one take. In, out, and Michael left.

1:11:09 > 1:11:12HE MAKES NOISES

1:11:12 > 1:11:15I'm going to mock myself.

1:11:15 > 1:11:18# I watch you on the floor

1:11:18 > 1:11:20# Cheek to cheek

1:11:21 > 1:11:24# She's getting to you

1:11:24 > 1:11:28# You didn't see her eyes on me, no... #

1:11:28 > 1:11:30More time, please.

1:11:30 > 1:11:34How did Just Good Friends make that album? Well...

1:11:34 > 1:11:37Michael or Stevie could've written a better song.

1:11:37 > 1:11:39- Exactly.- Taken something from their back catalogue.

1:11:39 > 1:11:42An album should be built with peaks and valleys.

1:11:42 > 1:11:48Michael Jackson with Bad actually tried to achieve 11 peaks.

1:11:48 > 1:11:52I believe that in Michael's head everything had to hit you

1:11:52 > 1:11:56out the box, and absolutely become a monstrous single.

1:11:56 > 1:11:59And because they were attempting to go for the single,

1:11:59 > 1:12:03and the summit meeting between two former child prodigies

1:12:03 > 1:12:08from the Motown school, that you expected fireworks.

1:12:08 > 1:12:12You know, Just Good Friends just wound up being a little

1:12:12 > 1:12:18coffee break in between Liberian Girl and Another Part Of Me.

1:12:18 > 1:12:22I think there was a lot that did exist at that point that

1:12:22 > 1:12:26would have been...as strong or stronger.

1:12:26 > 1:12:30I mean, his vault has got to be staggering.

1:12:30 > 1:12:34- My man Stevie wonder. - I mean, unbelievable talent.

1:12:34 > 1:12:36And he's another worker like that.

1:12:36 > 1:12:39He'd be working and recording every day.

1:12:39 > 1:12:46I had on my album that I wanted him to do...my character's album,

1:12:46 > 1:12:49which was Get It.

1:12:49 > 1:12:53So we sort of both did each other a favour, favour, favour.

1:12:53 > 1:12:56But I made sure the song he did of mine I wrote.

1:12:56 > 1:12:58HE LAUGHS

1:12:58 > 1:12:59Yeah.

1:13:01 > 1:13:03# My baby love me

1:13:03 > 1:13:07- # I'm her doggone lover - You don't know... #

1:13:07 > 1:13:09That one, we couldn't get the right song.

1:13:09 > 1:13:11I know I didn't have the right song so...

1:13:11 > 1:13:14If somebody says that didn't work, I know it didn't work.

1:13:14 > 1:13:16- # Hoo-hooo!- Doot-Do-Do-Doo

1:13:16 > 1:13:20- # Hoo-hooo!- Doot-Do-Do-Doo... #

1:13:20 > 1:13:23- It's starting to get stinky now. - I can just punch that part in.

1:13:23 > 1:13:25Excuse me? Great.

1:13:25 > 1:13:28Can we go home?

1:13:28 > 1:13:32- Is that it? - I just ran off, didn't I?

1:13:32 > 1:13:36Another Part Of Me. My favourite cut on the Bad album.

1:13:36 > 1:13:38All the instruments incorporated in that song,

1:13:38 > 1:13:42as well as just his vocals, nobody can kind of, you know, teach that.

1:13:42 > 1:13:43I think that's just natural.

1:13:43 > 1:13:46So whatever he was on at that time, when he was just like,

1:13:46 > 1:13:49"Yo, I'm in this. I feel this. I need to do this."

1:13:49 > 1:13:51Like, I just think that's his blessing.

1:13:51 > 1:13:55The song itself actually wasn't going to make it onto the album

1:13:55 > 1:13:56because he'd recorded it earlier.

1:13:56 > 1:13:59And he actually preferred a song called Streetwalker.

1:13:59 > 1:14:03# Pretty baby I got kisses for you, lover

1:14:03 > 1:14:06# I really get it when you're next to me... #

1:14:06 > 1:14:09The litmus test is always, what song gets Michael dancing?

1:14:09 > 1:14:12So when Quincy saw Michael dancing all round the studio to

1:14:12 > 1:14:15Another Part Of Me said, "That's what makes this song go on the album."

1:14:15 > 1:14:19Michael Jackson's Bad is black music,

1:14:19 > 1:14:22dare I say, pop music's first stadium album.

1:14:22 > 1:14:27Every song, I can hear it being thought of in his head as,

1:14:27 > 1:14:30"This is what I want it to be

1:14:30 > 1:14:33"when I perform it in front of 60,000 to 80,000 people."

1:14:33 > 1:14:35Hey! Hey! Hey!

1:14:44 > 1:14:46SHE SCREAMS

1:14:51 > 1:14:53# We're taking over

1:14:53 > 1:14:56# We have the truth

1:14:56 > 1:14:58# This is a mission

1:14:58 > 1:15:00# To see it through

1:15:00 > 1:15:02# Don't point your finger

1:15:02 > 1:15:04# Not dangerous

1:15:04 > 1:15:06# This is my planet

1:15:06 > 1:15:09# You're one of us

1:15:09 > 1:15:11# We're sending out

1:15:11 > 1:15:13# A major love

1:15:13 > 1:15:15# And this is our

1:15:15 > 1:15:17- # Message to you - Message to you

1:15:17 > 1:15:19# The planets are lining up

1:15:19 > 1:15:21# We're bringing brighter days

1:15:21 > 1:15:23# They're all in line

1:15:23 > 1:15:26# Waiting for you

1:15:26 > 1:15:30# You're just another part of me

1:15:30 > 1:15:33# Heee-heee

1:15:33 > 1:15:34# Ow!

1:15:36 > 1:15:38# Over the nation

1:15:38 > 1:15:40# Fulfil the truth

1:15:40 > 1:15:42# The final message

1:15:42 > 1:15:44# We're bringing to you

1:15:44 > 1:15:46# There is no danger

1:15:46 > 1:15:48# Fulfil the truth

1:15:48 > 1:15:51# So come together

1:15:51 > 1:15:53# We mean you

1:15:53 > 1:15:56# I'm sending out

1:15:56 > 1:15:58# A major love

1:15:58 > 1:16:00# And this is our

1:16:00 > 1:16:02- # Message to you - Message to you

1:16:02 > 1:16:04# The planets are lining up

1:16:04 > 1:16:06# We're bringing brighter days

1:16:06 > 1:16:08# They're all in line

1:16:08 > 1:16:09# Waiting for you

1:16:11 > 1:16:14# They're just another part of me

1:16:15 > 1:16:17# Heee-heee

1:16:17 > 1:16:18# Ow!

1:16:21 > 1:16:23# Do-do-do-do

1:16:36 > 1:16:37# Ow!

1:16:44 > 1:16:46# Hee-hee-hee!

1:16:46 > 1:16:48# Hee-hee-hee!

1:16:53 > 1:16:55# I'm sending out

1:16:55 > 1:16:57# A major love

1:16:57 > 1:16:59# And this is my

1:16:59 > 1:17:01- # Message to you - Message to you

1:17:01 > 1:17:03# The planets are lining up

1:17:03 > 1:17:05# We're bringing brighter days

1:17:05 > 1:17:07# They're all in line

1:17:07 > 1:17:09# Waiting for you

1:17:11 > 1:17:14# They're just another part of me

1:17:14 > 1:17:16# Hee-hee!

1:17:16 > 1:17:17# Ow!

1:17:19 > 1:17:21# Another part of me

1:17:27 > 1:17:30# We're taking over

1:17:37 > 1:17:39# This is my plan, baby

1:17:39 > 1:17:41# Hee-hee!

1:17:41 > 1:17:42# Ow!

1:18:10 > 1:18:12# Another part of me. #

2:00:00 > 2:00:02People forget that Michael Jackson's a soul singer.

2:00:02 > 2:00:04Michael Jackson grew up watching Jackie Wilson,

2:00:04 > 2:00:06James Brown and the whole circuit,

2:00:06 > 2:00:10so his default move is always to go raw.

2:00:10 > 2:00:14- I love Dirty Diana. That's probably one of my favourites.- Why?

2:00:14 > 2:00:18Because it's a life story of a groupie,

2:00:18 > 2:00:21I hate to say the word groupie but that's what it is,

2:00:21 > 2:00:24and it's something that I've experienced

2:00:24 > 2:00:26and a lot of people who grew up on the road.

2:00:26 > 2:00:28Dirty Diana.

2:00:28 > 2:00:31Who knew that one day I would live that song in real life

2:00:31 > 2:00:33so many times over.

2:00:33 > 2:00:39I like Dirty Diana. I've met her. I've met Dirty Diana many times.

2:00:39 > 2:00:41Thank you.

2:00:41 > 2:00:44Thank you, Michael, for making that small piece of the soundtrack

2:00:44 > 2:00:45to my life on tour.

2:00:45 > 2:00:48When we were kids, we thought, "Was he talking about Diana Ross?

2:00:48 > 2:00:50"Did he have an affair with Diana Ross?"

2:00:50 > 2:00:52No, that wasn't the case at all.

2:00:52 > 2:00:54But as kids we didn't know what was going on. Who was Diana?

2:00:54 > 2:00:55What she did dirty!

2:00:55 > 2:00:59I got a phone call out of the clear blue from Quincy

2:00:59 > 2:01:01and I thought somebody was fucking with me.

2:01:01 > 2:01:05So he goes, "Um...it's Quincy Jones.

2:01:05 > 2:01:09"We're working on Michael's follow-up to Thriller. We've got a rock track."

2:01:09 > 2:01:11I'm not a session guitar player, man.

2:01:11 > 2:01:15I don't, you know, I'm not that world.

2:01:15 > 2:01:18So I said to Quincy, "The only thing I ask is that Michael

2:01:18 > 2:01:20"be in the studio and we work together."

2:01:20 > 2:01:24He said, "Of course he'll be in the studio. It's his fucking record, man.

2:01:24 > 2:01:25"He's going to be in the studio."

2:01:25 > 2:01:30I opened up the studio door in Westlake and three guys,

2:01:30 > 2:01:33Bruce Swedien, the engineer, Quincy Jones and Michael Jackson,

2:01:33 > 2:01:37and the first thing I noticed was Michael had penny loafers on

2:01:37 > 2:01:41and they were like pristine and I was like,

2:01:41 > 2:01:43"I'll be all right. He's wearing penny loafers."

2:01:43 > 2:01:46This is the actual guitar that I recorded Dirty Diana with.

2:01:46 > 2:01:49By and large, I'd say it's probably been in the case.

2:01:49 > 2:01:51Maybe it's only been opened one time,

2:01:51 > 2:01:54I don't really play this kind of guitar that much.

2:01:54 > 2:01:57The backing track was about eight minutes long

2:01:57 > 2:01:58and as the track is playing down,

2:01:58 > 2:02:00Michael is like right here and he's going...

2:02:00 > 2:02:03HE SINGS TUNE OF DIRTY DIANA

2:02:06 > 2:02:09And he was really adamant there's that little space

2:02:09 > 2:02:11on the third phrase, it's a subtle thing

2:02:11 > 2:02:13and I didn't catch it right away.

2:02:16 > 2:02:17That little thing was

2:02:17 > 2:02:21so important to Michael, to catch that little space there.

2:02:21 > 2:02:25I was like, "Why is he making such a big thing about it not playing?"

2:02:25 > 2:02:27It's brilliant though.

2:02:27 > 2:02:30It's as important what you don't play as what you do play.

2:02:30 > 2:02:33# Dirty Diana, nah

2:02:33 > 2:02:36# Dirty Diana, nah

2:02:36 > 2:02:40# Dirty Diana, no

2:02:40 > 2:02:43# Dirty Diana... #

2:02:43 > 2:02:44It's still good.

2:02:44 > 2:02:51# ..Dirty Diana, nah Dirty Diana, no... #

2:02:51 > 2:02:53We wanted to do Dirty Diana

2:02:53 > 2:02:56and so both videos were to kind of change

2:02:56 > 2:02:58the public's perception of who he was.

2:02:58 > 2:03:01First one was to get him a girl and the second was to make him

2:03:01 > 2:03:02a heavy metal kind of guy.

2:03:02 > 2:03:06# ...Diana!

2:03:06 > 2:03:09# Diana...! #

2:03:09 > 2:03:11The original idea was to have...

2:03:11 > 2:03:14The thing finished in a monsoon or a rainstorm.

2:03:14 > 2:03:18The second day, we were going to have the whole stage blow away

2:03:18 > 2:03:21and have him finish in the rain totally...

2:03:21 > 2:03:23The wind and rain and stuff,

2:03:23 > 2:03:26and I think we were going to sweep away the audience and everything.

2:03:26 > 2:03:30But the first day he was doing these knee slides and didn't put pads on.

2:03:30 > 2:03:34He came to me the second day when we were ready for all this rain stuff

2:03:34 > 2:03:35and said, "I can't dance any more."

2:03:35 > 2:03:38So we couldn't resolve it that way, but it didn't matter.

2:03:38 > 2:03:40You see the wind and stuff on the first day,

2:03:40 > 2:03:43it starts, and I guess there was going to be a deluge after that.

2:03:43 > 2:03:45They didn't even tell me that

2:03:45 > 2:03:50the photo taken on the set would be the single sleeve, that cover.

2:03:50 > 2:03:53It showed up one day and I went, "I can't... Are you kidding?"

2:03:53 > 2:03:57Michael always was able to think outside the box of what

2:03:57 > 2:04:01black artists were supposed to do and create his own space.

2:04:01 > 2:04:05There was this internal mechanism that Michael had when he felt

2:04:05 > 2:04:09the music. When the rhythms were right and when the beats were

2:04:09 > 2:04:15happening, when the correct emphasis was happening and the syncopation,

2:04:15 > 2:04:19he'd have to move, he'd have to dance and when he'd start to dance,

2:04:19 > 2:04:24we would know that the balance was correct, the elements had

2:04:24 > 2:04:27the right character, the syncopation was hitting in the right fashion.

2:04:27 > 2:04:30Michael gave me the music and he said, "Listen,

2:04:30 > 2:04:35"don't impose your opinion, or your feelings, or your choreography,

2:04:35 > 2:04:37"or your thoughts on the music.

2:04:37 > 2:04:39"Let the music talk to you and tell you what it wants to be."

2:04:39 > 2:04:44First time we discussed it, he had got these

2:04:44 > 2:04:46visions in his mind of what he wanted to do.

2:04:46 > 2:04:51The robot, the car, the kids, the drugs.

2:04:51 > 2:04:54Every kid in this whole world can take drugs because of me.

2:04:54 > 2:04:57And how do we bring it all together into a story that had

2:04:57 > 2:05:00a piece in the middle, which was the song and dance.

2:05:00 > 2:05:03So we started working on some stuff, it was called Chicago Nights,

2:05:03 > 2:05:05which was really Smooth Criminal.

2:05:05 > 2:05:10He was a huge fan of Fred Astaire and wanted to make sure

2:05:10 > 2:05:15that he paid homage to Fred Astaire in the movie.

2:05:15 > 2:05:18"For Criminal Dance, look at all the great dances on tape.

2:05:18 > 2:05:22"Study the great and become greater.

2:05:22 > 2:05:25"Get all Bob Fosse movie, dances.

2:05:25 > 2:05:30"Study these inside out, knowing every cut, move, music etc.

2:05:30 > 2:05:34"Flashdance, All That Jazz, Band Wagon, girl hunt..."

2:05:34 > 2:05:36JAZZ MUSIC PLAYS

2:06:23 > 2:06:27This is a drawing titled "Criminal Jacket,"

2:06:27 > 2:06:31and you can see that he has created the basic outline for the jacket

2:06:31 > 2:06:36that he wound up wearing in that short film, including the armband.

2:06:38 > 2:06:41And he also made a note to himself that he needed to

2:06:41 > 2:06:44get his Kenny shoes now so that he could break them in.

2:06:44 > 2:06:49But when it came to style, I showed Michael an all-time favourite

2:06:49 > 2:06:52of mine which was The Third Man, because it's sort of gangster-ish.

2:06:52 > 2:06:55"We should shoot it in that kind of style,"

2:06:55 > 2:06:57and he just loved that style.

2:06:57 > 2:06:59And making use of the shadows that they had with that

2:06:59 > 2:07:01sort of film noir look.

2:07:22 > 2:07:25# As he came into the window It was the sound of a crescendo

2:07:25 > 2:07:27# He came into her apartment

2:07:27 > 2:07:30# He left the bloodstains on the carpet

2:07:30 > 2:07:34# She ran underneath the table He could see she was unable

2:07:34 > 2:07:36# So she ran into the bedroom

2:07:36 > 2:07:38# She was struck down It was her doom... #

2:07:38 > 2:07:42There's a story actually that Quincy told me years ago

2:07:42 > 2:07:45and what he said was that Michael had the ability to come in, he could

2:07:45 > 2:07:50lay down the lead vocal of a track and then he could sit there, listen,

2:07:50 > 2:07:54just put the time in and figure out where all the harmonies should go

2:07:54 > 2:08:00and then do that, not leave until he had the harmonies right.

2:08:00 > 2:08:04When I think of Smooth Criminal, I will just impress again the vocal.

2:08:04 > 2:08:07He could sing bass, baritone and tenor,

2:08:07 > 2:08:09but he chose to sing mostly tenor.

2:08:09 > 2:08:12# Oh, oh, oh, oh, oh, oh, oh, oh. #

2:08:12 > 2:08:17He goes straight down to bass low C, that is low, that is a bust out

2:08:17 > 2:08:21pitch and Michael would go right on down there with vibrato

2:08:21 > 2:08:24and clear up to a G above high C.

2:08:24 > 2:08:28I mean, that's enormous, that's more than three and a half octaves.

2:08:28 > 2:08:32He really didn't want to grow up. He wanted a child's voice

2:08:32 > 2:08:36and I always tried to encourage him to use his beautiful speaking voice.

2:08:36 > 2:08:39I was in Europe one time and the phone rang and he said,

2:08:39 > 2:08:43"Hello," in a perfectly male voice, baritone and I said,

2:08:43 > 2:08:46"Michael, why don't you use that."

2:08:46 > 2:08:49He said, "I don't like it down there. I like it up there."

2:08:49 > 2:08:51# Ah, ah, ah, ah, ah.... #

2:08:53 > 2:08:55How long you want to stick with this?

2:08:55 > 2:08:57I want to be all the way open.

2:08:57 > 2:08:59With some of the songs that he was singing,

2:08:59 > 2:09:02he needed a much wider vocal range and with the exercises that

2:09:02 > 2:09:07Seth Riggs provides for him, it enabled

2:09:07 > 2:09:12him to open up his range so he can sing much higher and much lower.

2:09:12 > 2:09:14# Mah, mah, mah, mah, mah... #

2:09:14 > 2:09:17I had to make sure he and his voice

2:09:17 > 2:09:19was even from bottom to top.

2:09:19 > 2:09:21I have some very strange exercises

2:09:21 > 2:09:24that are different from most people's,

2:09:24 > 2:09:26they're called speech-level singing,

2:09:26 > 2:09:29so we started doing these crazy things.

2:09:29 > 2:09:30# Brrr-brrr-brrr... #

2:09:30 > 2:09:33# Brrr-brrr-brrr... #

2:09:33 > 2:09:35# Rrr-rrr-rrr... #

2:09:35 > 2:09:38# Rrr-rrr-rrr... #

2:09:38 > 2:09:41# Gee, gee, gee, gee, gee, gee... #

2:09:41 > 2:09:45# Oh, oh, oh, oh, oh, oh... #

2:09:45 > 2:09:46Sometimes there is...

2:09:46 > 2:09:48# Ahhhhh... #

2:09:52 > 2:09:54I sampled P.Y.T for Good Life.

2:09:54 > 2:09:57I actually met him at Leo's house.

2:09:57 > 2:09:58He said he liked my voice and then

2:09:58 > 2:10:00I think I took that too seriously

2:10:00 > 2:10:02and I did a whole singing album. HE LAUGHS

2:10:02 > 2:10:09This is the mic that are used on Michael at about this distance

2:10:09 > 2:10:12through for all the recordings.

2:10:12 > 2:10:14Except one, Earth Song.

2:10:14 > 2:10:17- # What about yesterday? - What about us?

2:10:17 > 2:10:21- # What about the seas? - What about us?- #

2:10:21 > 2:10:25This is actually a mic that is designed for narration recording,

2:10:25 > 2:10:30however, I knew that the sound of this mic would work

2:10:30 > 2:10:32well with Michael's voice.

2:10:32 > 2:10:34# Annie, are you OK?

2:10:34 > 2:10:36# Annie, are you OK? Are you OK, Annie?

2:10:36 > 2:10:39# Annie, are you OK? Annie, are you OK?

2:10:39 > 2:10:41# Are you OK, Annie? #

2:10:41 > 2:10:45I've never quite understood who Annie was and why did it matter

2:10:45 > 2:10:47if she was OK or not.

2:10:47 > 2:10:50Who is Annie? I never knew that as a kid. Let me know who Annie is.

2:10:50 > 2:10:55Over in this corner there was a green fibreglass case

2:10:55 > 2:10:59and there was a CPR dummy in the case.

2:10:59 > 2:11:01Michael had been given CPR lessons.

2:11:01 > 2:11:05The first thing that you do when you're going to administer CPR

2:11:05 > 2:11:09is you make a determination of the condition of the victim.

2:11:09 > 2:11:13He's about to do CPR on someone, he's like, "Are you OK? Are you OK?"

2:11:13 > 2:11:17Wow! Whose life did he think he was going to have to save?

2:11:17 > 2:11:19HE LAUGHS

2:11:19 > 2:11:21CPR dummies are all named Annie.

2:11:21 > 2:11:24He just kept asking was Annie OK?

2:11:24 > 2:11:27How many different ways can you say, "Annie, are you OK?"

2:11:27 > 2:11:30And he found like 15 different ways to say, "Annie, are you OK?"

2:11:30 > 2:11:35It's like, "Are you OK? Are you OK? Are you OK? Are you OK, Annie?

2:11:35 > 2:11:40"Annie, are you OK? Are you OK? Are you OK, Annie? Annie, are you OK?"

2:11:40 > 2:11:42It's like, OK, I don't think she's OK.

2:11:42 > 2:11:46I've got to be honest, I was never a big fan of that song.

2:11:46 > 2:11:49You know, Michael loved it to pieces.

2:11:49 > 2:11:53I remember we went to do the video on that, I never heard...

2:11:53 > 2:11:57It must have then 135 decibels. Loud! Man, ears were falling off.

2:12:03 > 2:12:06We started with maybe like 10 or 12 dancers and he then

2:12:06 > 2:12:09introduced me to Jeffrey and he said, "I'd like Jeffrey to be

2:12:09 > 2:12:13"part of this and maybe there's some street stuff, because I've been

2:12:13 > 2:12:16"working with Jeffrey privately and he is teaching me some staff."

2:12:16 > 2:12:18The thing about it is Michael can go out to clubs and hang out

2:12:18 > 2:12:20because he's Michael Jackson.

2:12:20 > 2:12:24So through me he was picking up what was happening in the hood

2:12:24 > 2:12:27and I'm taking it to his gallery over at the Jackson house in Hayvenhurst.

2:12:27 > 2:12:29My name is Phyllis Brooks

2:12:29 > 2:12:31and I want to direct my question to all you guys.

2:12:31 > 2:12:34Who taught you guys your dance steps?

2:12:34 > 2:12:40# She's gonna really blow your mind... #

2:12:55 > 2:12:59This one guy I saw on the show, Don Campbell, he changed my life.

2:12:59 > 2:13:01He did not dance like everybody else,

2:13:01 > 2:13:03he didn't move like everybody else, he was

2:13:03 > 2:13:07just walking to the beat, walking. Walking. Walking.

2:13:07 > 2:13:11Jump up, stop, stick out his own hand, give him some five,

2:13:11 > 2:13:13hunch his shoulders, point it, pop.

2:13:16 > 2:13:17And that was locking.

2:13:17 > 2:13:20You could see Michael doing like...

2:13:23 > 2:13:24You could see him doing those...

2:13:24 > 2:13:27He's putting this locking in his...

2:13:27 > 2:13:30He was just incorporating little things into his...

2:13:30 > 2:13:32Stepping like that, you know.

2:13:32 > 2:13:35Funky chicken, that's the funky chicken,

2:13:35 > 2:13:38so these dances came from Soul Train too.

2:13:38 > 2:13:39Michael Jackson, he loves it,

2:13:39 > 2:13:42he loves the locking, he loves the popping.

2:13:42 > 2:13:47When you see him on stage and he is ticking,

2:13:47 > 2:13:51Michael is deep into the urban contemporary dance because I don't

2:13:51 > 2:13:54call it street dance no more. It left the streets years ago.

2:13:59 > 2:14:03I'd created movement for Michael from his passage in to his passage out.

2:14:26 > 2:14:29There were a couple of places where I said, "OK, you know, Jeffrey,

2:14:29 > 2:14:32"why don't you do this? When he comes around the pool table,

2:14:32 > 2:14:35"I'd love you to do something here and make this work over here."

2:14:43 > 2:14:45I'd got this from a Bugs Bunny cartoon.

2:14:45 > 2:14:47These gangsters with these gangster hats

2:14:47 > 2:14:49and they are all bouncing like this, coming.

2:14:49 > 2:14:53I was just trying to capture that kind of animated thing.

2:14:53 > 2:14:56OK, here we go, same thing. Boom, boom.

2:14:56 > 2:15:01And again right after the hat, I think it's the hand. Boom, boom.

2:15:01 > 2:15:03Bang!

2:15:03 > 2:15:05Ba, ba, ba, ba, ba!

2:15:05 > 2:15:06Bang, bang, boom!

2:15:06 > 2:15:07Some of the moves they did...

2:15:07 > 2:15:11Maybe you'll find out. I still don't know how they did that thing.

2:15:16 > 2:15:20The whole thing with the lean - I had done the lean

2:15:20 > 2:15:23in a Paul McCartney movie called Give My Regards To Broad Street.

2:15:30 > 2:15:33When I'm on the plane, when we take private jets,

2:15:33 > 2:15:34we always, when it's taking off,

2:15:34 > 2:15:37we lean forward to try to do the same move as Michael,

2:15:37 > 2:15:39so it kind of looks the same!

2:15:39 > 2:15:43So what, you want to know how it was done?

2:15:43 > 2:15:44Even to this day,

2:15:44 > 2:15:48I will reference the Smooth Criminal lean...

2:15:50 > 2:15:52..and people instantly know what I'm talking about.

2:15:52 > 2:15:55There was a break in Smooth Criminal that was never supposed to be there.

2:15:55 > 2:15:57The music breaks down.

2:15:57 > 2:16:00Everything gets cool.

2:16:00 > 2:16:03They show a cat walking across the piano, the lights go blue.

2:16:03 > 2:16:05We did not know about this.

2:16:05 > 2:16:07Ssh!

2:16:19 > 2:16:24- Oh! O-o-oh!- O-o-o-oh!

2:16:25 > 2:16:27For that break in the middle,

2:16:27 > 2:16:30he just wanted to let the dancers feel the set.

2:16:30 > 2:16:33I mean, we'd been shooting for quite a while by then,

2:16:33 > 2:16:36and he just said, you know, "I don't want anything to disturb us,"

2:16:36 > 2:16:39and I said, I was shooting five cameras at the time,

2:16:39 > 2:16:41plus Jerry had five cameras,

2:16:41 > 2:16:43so it was ten cameras shooting

2:16:43 > 2:16:46and you know, we didn't know how long it was going to go on for.

2:16:48 > 2:16:51- THEY WHISPER:- Annie, are OK? Are you OK, Annie?

2:16:51 > 2:16:54Annie, are you OK? So Annie, are you OK? Are you OK, Annie?

2:16:54 > 2:16:58- BUILDING:- Annie, are you OK? So Annie, are you OK?

2:16:58 > 2:16:59Are you OK, Annie?

2:16:59 > 2:17:03Annie, are you OK? So Annie, are you OK? Are you OK, Annie?

2:17:03 > 2:17:04Annie, are you OK? So, Annie...

2:17:17 > 2:17:19A lot of the songs he writes about being observed,

2:17:19 > 2:17:22either from the point of view of, he's the object

2:17:22 > 2:17:26or that he becomes the person looking at someone like him,

2:17:26 > 2:17:28or the objective person.

2:17:28 > 2:17:30# Are you OK? Are you OK, Annie?

2:17:30 > 2:17:33# Annie, are you OK? So Annie, are you OK?

2:17:33 > 2:17:34# Are you OK, Annie?

2:17:34 > 2:17:37# Annie, are you OK? So Annie, are you OK?

2:17:37 > 2:17:40# Are you OK, Annie? You've been hit by... #

2:17:40 > 2:17:42For someone who grew up in the spotlight,

2:17:42 > 2:17:45being watched is a very big part of how you see the world.

2:17:45 > 2:17:47This is a guy who

2:17:47 > 2:17:49was never not in the newspapers

2:17:49 > 2:17:51every single day

2:17:51 > 2:17:53being ridiculed, "Wacko Jacko,"

2:17:53 > 2:17:55I mean, he's a kid - on the inside, he's a kid.

2:17:55 > 2:17:59How that stuff doesn't penetrate you and hurt you, hurt your spirit.

2:17:59 > 2:18:02"Michael Jackson's got a shrine to Elizabeth Taylor.

2:18:02 > 2:18:05"He's got an amusement park. He's had a lot of facial surgery,"

2:18:05 > 2:18:08so I said, "Michael, when you're in the school yard

2:18:08 > 2:18:11"and you are the smallest and you get teased a lot,

2:18:11 > 2:18:13"it's really only fun to tease you if it bothers you.

2:18:13 > 2:18:16"If it doesn't bother you, they move on,

2:18:16 > 2:18:21"so why don't we just take all this crap being said about you

2:18:21 > 2:18:24"and why don't we say at? Why don't we put it to visuals?"

2:18:24 > 2:18:28Leave Me Alone - it was a lot of fun to play that. It had that intro.

2:18:36 > 2:18:37But there was also a string part

2:18:37 > 2:18:40that kind of played the same thing but was just accenting that...

2:18:40 > 2:18:43And he was just kind of saying, "Dig in," you know.

2:18:45 > 2:18:48I remember him standing right next to me, going...

2:18:52 > 2:18:54See, a lot of people that misunderstand me,

2:18:54 > 2:18:57it's because they don't know me.

2:18:57 > 2:18:59I guess that's true.

2:18:59 > 2:19:02People probably have a lot of crazy stories they read.

2:19:02 > 2:19:05You ever want to lash out in any type of way

2:19:05 > 2:19:07and say, "Hey, that's not true"?

2:19:07 > 2:19:08Yeah, a lot of times.

2:19:08 > 2:19:11# I don't care what you talking about, baby,

2:19:11 > 2:19:14# I don't care what you think... #

2:19:14 > 2:19:16You can see, you know,

2:19:16 > 2:19:19how he's starting to feel like he's a spectacle.

2:19:19 > 2:19:22In the video, he's tied down.

2:19:22 > 2:19:24It's inspired by Gulliver's Travels

2:19:24 > 2:19:27and he's tied under a roller coaster

2:19:27 > 2:19:29and you see these dogs with corporate suits,

2:19:29 > 2:19:32banging the pegs, trying to tie him down

2:19:32 > 2:19:35in this big kind of amusement park setting.

2:19:36 > 2:19:39I only got a glimpse of what his life must have been like

2:19:39 > 2:19:41when I would be in Europe

2:19:41 > 2:19:44and our limousines would be attacked by mobs,

2:19:44 > 2:19:47with them thinking that Michael was in our limousine

2:19:47 > 2:19:51and if that's your initial introduction to the universe,

2:19:51 > 2:19:53when you're a five-year-old,

2:19:53 > 2:19:58then that has got to inform what you feel like the world is like.

2:19:58 > 2:20:00I'm waiting for Michael, and a guy comes up

2:20:00 > 2:20:03and I don't see Michael. He goes, "Hi, Jeffrey, how you doing?"

2:20:03 > 2:20:05"All right." He says, "Are you ready to start?"

2:20:05 > 2:20:07I go, "Yeah," but I'm not looking at Michael.

2:20:07 > 2:20:09I'm looking at these bushy eyebrows,

2:20:09 > 2:20:13a short Afro wig and these sideburns and this make-up on.

2:20:13 > 2:20:15Michael had been out going door-to-door

2:20:15 > 2:20:18for his Jehovah's Witnesses. He put on a disguise,

2:20:18 > 2:20:21so people wouldn't know Michael Jackson was knocking on their door.

2:20:21 > 2:20:23I'm sure some people were slamming the door in his face,

2:20:23 > 2:20:25like, "Jehovah's Witness, get out of here!"

2:20:25 > 2:20:28Sometimes I want to sneak into places

2:20:28 > 2:20:32and not have any hoopla or, you know...

2:20:32 > 2:20:35and it doesn't work all the time.

2:20:35 > 2:20:36I went to the shrine auditorium

2:20:36 > 2:20:39and a guy tapped me on the back

2:20:39 > 2:20:42and I turned around and it was an old man.

2:20:42 > 2:20:45I said, "What is this?" He said, "It's Michael!"

2:20:45 > 2:20:49I said, "Man, you scared the mess out of me!"

2:20:49 > 2:20:50I have incredible disguises.

2:20:50 > 2:20:53I can fool my own mother

2:20:53 > 2:20:56and I enjoy doing it

2:20:56 > 2:20:59because I get to see life the way it really is sometimes.

2:20:59 > 2:21:02One day, he said, "You know, my brothers are in town

2:21:02 > 2:21:05"so I'm going to see them tonight." I said, "That's cool, all right."

2:21:05 > 2:21:07So the next day I came onto the set

2:21:07 > 2:21:10and Michael goes, "Yeah, I waited for my brothers all night.

2:21:10 > 2:21:14"I fixed my hair and everything but they didn't show up."

2:21:15 > 2:21:18Sorry this bothers me,

2:21:18 > 2:21:22but he said, "I would give anything just to be able to go to a party

2:21:22 > 2:21:24"and stand in a corner somewhere,

2:21:24 > 2:21:28"stand behind a curtain and put my head out and be able to see

2:21:28 > 2:21:31"what it's like for real people to just be real people."

2:21:31 > 2:21:34# The choice that we make and the choice you will take

2:21:34 > 2:21:37# Who's laughing, baby?

2:21:37 > 2:21:39# Just leave me alone

2:21:39 > 2:21:41# Leave me alone! Leave me alone... #

2:21:41 > 2:21:43When you see that film,

2:21:43 > 2:21:45with all of those images,

2:21:45 > 2:21:47every image that you see of Michael

2:21:47 > 2:21:49started out as 35mm movie film,

2:21:49 > 2:21:53which then turned into a stack of photo prints this tall,

2:21:53 > 2:21:58which people sat around for two weeks, cutting out.

2:21:58 > 2:22:01There was one guy whose job was just cutting out Michael's hair.

2:22:01 > 2:22:06The Charlie Chaplin ball and chain idea was Michael's.

2:22:06 > 2:22:08We knew we had a sequence where

2:22:08 > 2:22:11we wanted to have a dance sequence with the Elephant Man's bones,

2:22:11 > 2:22:14and so Michael showed up the day of the shoot with that piece.

2:22:17 > 2:22:22Leave Me Alone was extremely ahead of its time.

2:22:23 > 2:22:26Leave Me Alone was my favourite video and song off that album.

2:22:26 > 2:22:29Just, even the amusement park setup

2:22:29 > 2:22:31and the way they chop the graphics up.

2:22:31 > 2:22:35There is nothing that compares to that, even to this day,

2:22:35 > 2:22:37as far as visuals go.

2:22:38 > 2:22:40Michael's quest for creative independence,

2:22:40 > 2:22:43which started when he and his brothers left Motown,

2:22:43 > 2:22:46continued through Off The Wall and Thriller,

2:22:46 > 2:22:49reached a high point with the Bad album and the Bad tour.

2:22:49 > 2:22:51He didn't tour with Thriller,

2:22:51 > 2:22:53and then with Bad, he finally had an opportunity

2:22:53 > 2:22:55to create the kind of show he wanted to create,

2:22:55 > 2:22:57the kind of show that represented him as a solo artist.

2:22:57 > 2:23:00It was Michael's first solo tour

2:23:00 > 2:23:04and in fact, it was the only tour in the US that Michael ever conducted.

2:23:04 > 2:23:06What a night! What a crowd,

2:23:06 > 2:23:07what a gig, what a venue.

2:23:07 > 2:23:09Who'd have thought Wembley Stadium,

2:23:09 > 2:23:12the home of Live Aid, the home of Nelson Mandela

2:23:12 > 2:23:15and now, the home of the king of it all!

2:23:17 > 2:23:19It's a gruelling tour.

2:23:19 > 2:23:23It starts in September 1987 and goes until January 1989.

2:23:23 > 2:23:26He did 15 different countries,

2:23:26 > 2:23:28123 different shows,

2:23:28 > 2:23:31and it proved to be one of the most successful concert tours in history.

2:23:31 > 2:23:35The Bad world tour set three Guinness Book of World Records.

2:23:35 > 2:23:38One was the highest grossing tour of all time,

2:23:38 > 2:23:40the most attended tour in history

2:23:40 > 2:23:43and then, the shows that he did at Wembley in London

2:23:43 > 2:23:47were the most consecutive shows an artist had ever sold out in history.

2:23:47 > 2:23:49The tour generated a lot of income

2:23:49 > 2:23:52and Michael Jackson donated a lot of that income

2:23:52 > 2:23:53to charities of his choice.

2:23:53 > 2:23:56We're making a very, very large contribution

2:23:56 > 2:23:57to the Prince's Trust fund

2:23:57 > 2:24:00and it will go to the Ormond Street Hospital.

2:24:00 > 2:24:02Camp Goodtimes, Ronald McDonald House...

2:24:02 > 2:24:04The United Negro College Fund

2:24:04 > 2:24:07and the Burns Center, the Michael Jackson Burns Center.

2:24:07 > 2:24:08I love you!

2:24:08 > 2:24:11CHEERING

2:24:19 > 2:24:22This is hard, um...

2:24:22 > 2:24:27My brother, the legendary King Of Pop, Michael Jackson,

2:24:27 > 2:24:29passed away on Thursday, June 25,

2:24:29 > 2:24:332009 at 2.26pm.

2:24:33 > 2:24:35I...

2:24:35 > 2:24:40had performed about a year or so before then in Australia,

2:24:40 > 2:24:43and I remember having this dream

2:24:43 > 2:24:46that I was listening to the radio and...

2:24:47 > 2:24:50..on the radio came that Michael Jackson had died.

2:24:50 > 2:24:53Then I woke up, you know, sweating and nervous

2:24:53 > 2:24:54and just really going crazy.

2:24:54 > 2:24:57Where were you when you heard Michael died?

2:24:57 > 2:24:59Um, I was in Montreal.

2:24:59 > 2:25:02I was directing a project for Cirque du Soleil.

2:25:02 > 2:25:06I was sitting here in this chair in this room.

2:25:06 > 2:25:08I was in Savannah, Georgia.

2:25:08 > 2:25:10I was at my own studio.

2:25:10 > 2:25:12When he died, I was supposed to go meet him.

2:25:12 > 2:25:14I was supposed to see him at the Staples Centre.

2:25:14 > 2:25:16I think I was in a car.

2:25:16 > 2:25:18I was actually driving in the car.

2:25:18 > 2:25:19I know I was home that day.

2:25:19 > 2:25:21So I turned on the radio.

2:25:22 > 2:25:23Then I hear...

2:25:23 > 2:25:26I was on a radio promo tour and I was just in the car,

2:25:26 > 2:25:28going to my next radio station.

2:25:28 > 2:25:29I was on the set.

2:25:29 > 2:25:34I was shooting...um, Boardwalk Empire.

2:25:34 > 2:25:37At my job, Late Night With Jimmy Fallon.

2:25:37 > 2:25:41I was in London, going to get some bottled water from the store.

2:25:41 > 2:25:43I was at my house in LA.

2:25:43 > 2:25:47Los Angeles. No, no, no. I was in Panama.

2:25:47 > 2:25:49I was actually working.

2:25:49 > 2:25:54I had a Blackberry I picked up in Moscow and the person said,

2:25:54 > 2:25:55"He's gone."

2:25:55 > 2:26:03Wow. I was in Sony when I heard Michael Jackson passed.

2:26:03 > 2:26:08I was in my office, having an audition with some artists.

2:26:08 > 2:26:10My doorman said to me,

2:26:10 > 2:26:12"Mrs Robinson, Michael Jackson died".

2:26:12 > 2:26:16Actually, my security guard at that time came in and told me that

2:26:16 > 2:26:18and he's just wrong all the time.

2:26:18 > 2:26:20I just didn't buy into it for one second.

2:26:20 > 2:26:23I couldn't believe it and there was nothing on the news up there,

2:26:23 > 2:26:25telling me that this was true.

2:26:25 > 2:26:27I said, "What? Come on... Don't listen to that."

2:26:27 > 2:26:28I didn't believe it.

2:26:28 > 2:26:30It just didn't seem real.

2:26:30 > 2:26:32I thought it was...a lie.

2:26:32 > 2:26:33I couldn't believe it.

2:26:33 > 2:26:35People must've called, I must've gotten 50 calls.

2:26:35 > 2:26:39Don't call me and tell me that!

2:26:39 > 2:26:40Because it's not true!

2:26:40 > 2:26:42I think I started crying on the spot.

2:26:42 > 2:26:44I couldn't even breathe, man.

2:26:44 > 2:26:47I couldn't even breathe, I just collapsed right there on the ground.

2:26:47 > 2:26:49We all kind of stayed in a daze.

2:26:49 > 2:26:51Everything just became a blur.

2:26:53 > 2:26:57I immediately called my friend Bruce Swedien...

2:26:57 > 2:26:59and he was in shock as well.

2:26:59 > 2:27:02Everything stopped. Couldn't do anything.

2:27:21 > 2:27:22(Sorry.)

2:27:26 > 2:27:28It was like...

2:27:30 > 2:27:31Sorry.

2:27:34 > 2:27:36Sorry, man. I...

2:27:36 > 2:27:38I really loved the guy.

2:27:59 > 2:28:01I miss his hugs.

2:28:01 > 2:28:04Just his friendship.

2:28:04 > 2:28:07Um...

2:28:07 > 2:28:09Just being around him.

2:28:09 > 2:28:11Uh...

2:28:11 > 2:28:13Just to know he's around.

2:28:13 > 2:28:16And I had just seen Berry Gordy several days earlier

2:28:16 > 2:28:21and we sat at the Mandarin Oriental hotel and we were just talking

2:28:21 > 2:28:26and I said, "Think Michael's going to do those shows in London?"

2:28:26 > 2:28:27And he went, "I don't know."

2:28:27 > 2:28:32I, er, was at the funeral, and I sang...

2:28:32 > 2:28:34I've never sung at a funeral before, ever.

2:28:34 > 2:28:38So, this is Michael Jackson's funeral, and they come in

2:28:38 > 2:28:40and go, "Mariah, you're on first."

2:28:40 > 2:28:43I Never Dreamed You'd Leave In Summer was a song that myself

2:28:43 > 2:28:45and Syreeta Wright -

2:28:45 > 2:28:49well, she was my first wife, Syreeta - wrote together.

2:28:49 > 2:28:55When I sang it, at Michael's...homecoming service,

2:28:55 > 2:29:01I never, ever imagined that I would be outliving Michael Jackson.

2:29:01 > 2:29:02Um...

2:29:02 > 2:29:03It's very, very painful.

2:29:03 > 2:29:07It's still unbelievable to me that he's actually dead

2:29:07 > 2:29:11and we should all be ashamed. Each of us to a one.

2:29:11 > 2:29:14And I don't know who to look at.

2:29:14 > 2:29:16Michael said, I guess, look at the man in the mirror.

2:29:16 > 2:29:20Just like when John Lennon died, people turned to Imagine,

2:29:20 > 2:29:23when Michael Jackson died, people turned to Man In The Mirror.

2:29:37 > 2:29:40It really doesn't have that inspirational pop anthem on it,

2:29:40 > 2:29:43like Greatest Love of All, Whitney Houston, Saving All My Love For You,

2:29:43 > 2:29:47that kind of thing, and it's interesting that Bad does.

2:29:47 > 2:29:50We kept talking about how nice it would be to get an anthem

2:29:50 > 2:29:52that had a good feel to it, you know, just like

2:29:52 > 2:29:53some sunshine on the world.

2:29:53 > 2:29:56So he called a meeting with his West Coast songwriters,

2:29:56 > 2:29:58I think there were like, six of us.

2:29:58 > 2:30:00He said he wanted something upbeat,

2:30:00 > 2:30:03he said he wanted something that felt good...

2:30:03 > 2:30:06Whitney Houston's second solo album was storming the charts

2:30:06 > 2:30:09and I think she provided a little bit of heat,

2:30:09 > 2:30:12and I think that the label was concerned about how to kind of

2:30:12 > 2:30:16appeal to this audience that had gravitated to Whitney Houston.

2:30:16 > 2:30:20Went to Glen Ballard's house, who was my writing partner at the time,

2:30:20 > 2:30:21I said, "This is what Quincy wants".

2:30:21 > 2:30:23He said, "Well, let's just see what we come up with".

2:30:23 > 2:30:25He stands up, goes over to the keyboard,

2:30:25 > 2:30:27turns on the keyboard

2:30:27 > 2:30:29and starts playing...

2:30:29 > 2:30:30HE PLAYS INTRO

2:30:30 > 2:30:33So I'm flipping through my lyric book...

2:30:33 > 2:30:35While he's playing these...

2:30:35 > 2:30:37Just getting sounds on the keyboard.

2:30:37 > 2:30:40Cut to two years before this meeting.

2:30:40 > 2:30:42I'm writing with John Beasley, jazz pianist.

2:30:42 > 2:30:43His phone rings,

2:30:43 > 2:30:47and he picked the phone up instead of letting the machine pick it up.

2:30:47 > 2:30:50"Yeah, what's happening? I'm not doing nothing.

2:30:50 > 2:30:53And I'm thinking, "He's doing something!"

2:30:53 > 2:30:55And I'm flipping through my book,

2:30:55 > 2:30:57no, he didn't say he's not doing nothing. No, he didn't.

2:30:57 > 2:31:01So I'm flipping through this book and I hear him say, "The man?"

2:31:01 > 2:31:05"What man? Oh, the man in the mirror."

2:31:05 > 2:31:08I wrote, "man in the mirror".

2:31:08 > 2:31:11So two years later, I'm at Glen's house and the phrase

2:31:11 > 2:31:14"man in the mirror" just popped out at me

2:31:14 > 2:31:17and I started writing these lyrics

2:31:17 > 2:31:20that I couldn't write them fast enough,

2:31:20 > 2:31:23I couldn't get it all out fast enough and in like, 15 minutes,

2:31:23 > 2:31:27we had the first verse and the chorus for Man In The Mirror.

2:31:27 > 2:31:30"I'm certain there will be a change

2:31:30 > 2:31:32"and starting with that man in the mirror..."

2:31:32 > 2:31:34The lyrics evolved into what they are,

2:31:34 > 2:31:37but these are the humble beginnings.

2:31:37 > 2:31:40Glen said, "You go finish the lyrics,

2:31:40 > 2:31:43"and I'll finish the track and we'll demo the song on Friday".

2:31:43 > 2:31:47Friday night we finished it after the Quest publishing was closed.

2:31:47 > 2:31:51# I'm starting with the man in the mirror

2:31:52 > 2:31:56# I'm asking him to change his ways... #

2:31:56 > 2:31:58So I called Quincy at home.

2:31:58 > 2:32:01He said, "I'm having a meeting, I can't...

2:32:01 > 2:32:04"You can't drop it off. Just take it to the office on Monday."

2:32:04 > 2:32:06I said, "I...

2:32:08 > 2:32:10"I can't wait till Monday.

2:32:10 > 2:32:13"Let me just, let me just drop it... "Sied..." "Quincy, let me just..."

2:32:13 > 2:32:15"All right, shit."

2:32:15 > 2:32:17And I go to his house...

2:32:17 > 2:32:21I give Quincy this really quickly, this cassette, I say just,

2:32:21 > 2:32:25"All I ask is you just call me as soon as..."

2:32:25 > 2:32:27He said, "All right, shit".

2:32:27 > 2:32:29Two, three hours later, I get a call and Quincy goes,

2:32:29 > 2:32:34"Sied, this is the best song that I've heard

2:32:34 > 2:32:36"in ten years".

2:32:36 > 2:32:39- And I'm like... - MOUTHS

2:32:39 > 2:32:40The key...

2:32:40 > 2:32:44was one step too high for Michael,

2:32:44 > 2:32:49so Quincy wanted me to re-sing the demo in the new key.

2:32:49 > 2:32:52So I come here and I'm singing the demo in the new key

2:32:52 > 2:32:55and Michael...is filming me.

2:32:55 > 2:32:58Whenever you're ready, Miss Siedah.

2:32:58 > 2:32:59FINGERS CLICK IN TIME

2:32:59 > 2:33:02# Gonna make a change

2:33:02 > 2:33:05# For once in my life

2:33:08 > 2:33:10# Gonna feel real good

2:33:10 > 2:33:15# Gonna make a difference gonna make it right

2:33:18 > 2:33:21# As I turn up the collar on

2:33:21 > 2:33:24# My favourite winter coat

2:33:24 > 2:33:26# This wind is blowing my mind

2:33:27 > 2:33:30# I see the kids in the street

2:33:30 > 2:33:32# Not enough to eat

2:33:32 > 2:33:34# Who am I to be blind?

2:33:34 > 2:33:38# Pretending not to see their need... #

2:33:39 > 2:33:41# A willow deeply scarred... #

2:33:41 > 2:33:42I got that image

2:33:42 > 2:33:46cos I was walking down the street in New York, walking past

2:33:46 > 2:33:49this brownstone that had been torn down and it was fenced.

2:33:49 > 2:33:52Just a lot with broken glass

2:33:52 > 2:33:53and this tree...

2:33:53 > 2:33:56that someone had carved their initials into this tree...

2:33:59 > 2:34:01# ..Somebody's broken heart

2:34:01 > 2:34:05# And one man's soul

2:34:05 > 2:34:10# They follow each other on the wind you know

2:34:10 > 2:34:13# Cos they got no place to go

2:34:13 > 2:34:16# That's why I want you to know. #

2:34:16 > 2:34:19It was really a great song from inception,

2:34:19 > 2:34:21but I think what Michael did is he took that song

2:34:21 > 2:34:23and he made it his own.

2:34:23 > 2:34:26In popular music, there's often this idea that you are either

2:34:26 > 2:34:29the songwriter of your own material

2:34:29 > 2:34:30or you are the interpreter.

2:34:30 > 2:34:33The interesting thing about Michael Jackson is that he was both.

2:34:33 > 2:34:35You may not even know what he's talking about,

2:34:35 > 2:34:39a broken bottle top, all kinds of images are floating,

2:34:39 > 2:34:42but it's the conviction and the fervour with which

2:34:42 > 2:34:45he brings to the song that is really spectacular.

2:34:45 > 2:34:47He said, "Andrae, I got a song.

2:34:47 > 2:34:53"If you were listening to this and wondered where a choir should be..."

2:34:53 > 2:34:57He said, "I would love to have a choir and I've heard your music."

2:34:57 > 2:35:00# If you wanna make the world a better place

2:35:00 > 2:35:02# Take a look at yourself and then make that... #

2:35:02 > 2:35:05"Change," I said, "Right there, you're exactly right".

2:35:05 > 2:35:07And the choir sang...

2:35:07 > 2:35:08# Man in the mirror

2:35:08 > 2:35:12# Oooh oh-ooh-oh

2:35:12 > 2:35:16- # Ow!- Yeah!

2:35:13 > 2:35:16Oooh oh-ooh-oh

2:35:15 > 2:35:16Make that change... #

2:35:16 > 2:35:19Andrae Crouch's choir seriously threw it on the end

2:35:19 > 2:35:23and it featured all kinds of singers, including, I didn't realise the Winans were on there!

2:35:23 > 2:35:25My brother Marvin asked him,

2:35:25 > 2:35:27"Exactly what do, how do you want us to do it?"

2:35:27 > 2:35:31He was whispering into Quincy Jones' ear

2:35:31 > 2:35:34and Quincy would actually...

2:35:36 > 2:35:38..relay the message to us

2:35:38 > 2:35:42and my brother Marvin said, "Well, Michael, can you talk?"

2:35:42 > 2:35:46Mike broke out of the shell, sat down on the piano,

2:35:46 > 2:35:50started playing the part... I didn't even know Michael PLAYED piano.

2:35:50 > 2:35:52OK, here's my favourite link, right here.

2:35:55 > 2:35:56Whoo!

2:35:58 > 2:36:00That's when I was hot, back in the day!

2:36:01 > 2:36:05Man In The Mirror, Quincy said give me the masterclass.

2:36:05 > 2:36:07Those handclaps, that's what you hear.

2:36:07 > 2:36:11The three of us would surround the mic, we'd nail it in real-time.

2:36:12 > 2:36:14Then, what we would do,

2:36:14 > 2:36:17we would speed this machine up maybe 15%,

2:36:17 > 2:36:19so the track's going by really fast

2:36:19 > 2:36:22and we're still clapping the same thing, then when you play back at a regular speed,

2:36:22 > 2:36:26it's fat, so we have two sets of claps - in real-time

2:36:26 > 2:36:29and the fat claps underneath which are exactly in the same time.

2:36:29 > 2:36:32That's why if you listen to all those records we've done -

2:36:32 > 2:36:34some of the best clap sounds you'll ever hear.

2:36:34 > 2:36:39Once we cut the track, Andrae Crouch and his wonderful singers

2:36:39 > 2:36:43came in here and Bruce Swedien had them all up on this stage.

2:36:43 > 2:36:46Bruce is such a genius - he would have them

2:36:46 > 2:36:49actually stand along this side, then stand along the side,

2:36:49 > 2:36:53then they'd stand in the middle, cos he wanted to get all this really incredible imaging.

2:36:53 > 2:36:55That's why it sounded like 57,000 people!

2:36:55 > 2:36:57# Man in the mirror

2:36:57 > 2:36:59# You got to move, chamon... #

2:36:59 > 2:37:04OK, now bring the choir in, gently there...

2:37:04 > 2:37:06Yeah, baby!

2:37:06 > 2:37:11When the session was over, everybody was going back to their cars

2:37:11 > 2:37:13and I was listening to it with Quincy.

2:37:13 > 2:37:18I said, "Quincy, you know what? We should have put "change" at the end.

2:37:18 > 2:37:21He said... "Yeah".

2:37:21 > 2:37:26They were getting into their cars in the parking lot and I whistled,

2:37:26 > 2:37:28I said, "Come here, we've got to do something else."

2:37:28 > 2:37:32And they came in. I said, just say...

2:37:32 > 2:37:34# Change... #

2:37:34 > 2:37:36And then Michael said, "Make that change!"

2:37:36 > 2:37:39- "Make that change."- Ah!

2:37:40 > 2:37:47Somewhere between Michael Jackson, Quincy Jones, Bruce Swedien,

2:37:47 > 2:37:50the musicians - Greg Phillinganes, and all these guys -

2:37:50 > 2:37:53something took place in those sessions that...

2:37:54 > 2:38:00..technically sounds better than any record ever made to this day.

2:38:00 > 2:38:04Michael Jackson meant that the unachievable was achievable,

2:38:04 > 2:38:06that you could be respected,

2:38:06 > 2:38:11you could be successful on a global level as a person of colour.

2:38:11 > 2:38:13There's no-one that will take his place.

2:38:13 > 2:38:15The discipline imposed upon him

2:38:15 > 2:38:19for good or for bad, from the time he was a baby,

2:38:19 > 2:38:23it's not even legal to replicate that in today's world.

2:38:23 > 2:38:28Michael is the most professional performer I've ever worked with in my life.

2:38:28 > 2:38:31He made it all look so simple.

2:38:31 > 2:38:33He made it all look so natural.

2:38:33 > 2:38:35And he really worked so hard to do that.

2:38:36 > 2:38:38I remember watching...

2:38:39 > 2:38:44..him on stage, perform and how he would...

2:38:44 > 2:38:46..just glide and...

2:38:47 > 2:38:49..make it seem like...

2:38:50 > 2:38:54..the music was just going through him. I mean, he would close

2:38:54 > 2:38:57his eyes and walk across the stage

2:38:57 > 2:38:59and I'd sometimes wonder to myself,

2:38:59 > 2:39:03he could fall, he could trip, he doesn't know where he's going.

2:39:03 > 2:39:04But he never did.

2:39:04 > 2:39:08Whether it's Beyonce or Lady Gaga or Chris Brown or Usher

2:39:08 > 2:39:11or will.i.am or Justin Bieber or Justin Timberlake,

2:39:11 > 2:39:13there isn't a musician

2:39:13 > 2:39:16that doesn't quote Michael Jackson as being their idol.

2:39:16 > 2:39:19I don't think there's anybody who comes close to having

2:39:19 > 2:39:20that type of work ethic.

2:39:20 > 2:39:24They say that Willie Mays was one of the only five-tool players

2:39:24 > 2:39:25in the history of baseball.

2:39:25 > 2:39:31A player that could run, field, hit, hit for power and throw.

2:39:31 > 2:39:33And in the music business,

2:39:33 > 2:39:37I'm not sure there was ever a five-tool player

2:39:37 > 2:39:39other than Michael Jackson.

2:39:39 > 2:39:42Michael could write the songs, he could produce them,

2:39:42 > 2:39:45he could sing them, he could certainly perform

2:39:45 > 2:39:50and dance them and he set fashion trends with his sense of style.

2:39:50 > 2:39:52That's six tools you just named.

2:39:52 > 2:39:55Well, I consider performing and dancing one and the same.

2:39:55 > 2:39:58Hey, I'm with you all the way, six tools, I'm wit' you!

2:39:58 > 2:40:01- Willie Mays and Michael Jackson, that's great.- There it is.

2:40:01 > 2:40:04He did everything. He wrote, he performed, he danced,

2:40:04 > 2:40:08he did the business part of it, he counted his royalties!

2:40:08 > 2:40:10Sometimes, it's hard to believe he's even gone.

2:40:10 > 2:40:13Just the amount of music that I hear,

2:40:13 > 2:40:16the number of times that I hear people telling me

2:40:16 > 2:40:21about children that are discovering Michael for the first time,

2:40:21 > 2:40:25all these things, it's like this energy that just does not go away.

2:40:25 > 2:40:29The divinity that that guy was so tapped into.

2:40:29 > 2:40:31There was a reason that he was unique

2:40:31 > 2:40:35and he was different than any other artist that we've ever seen

2:40:35 > 2:40:38and he had something that was not definable to me.

2:40:38 > 2:40:40Whenever he stepped out and sang, whenever he made that connection

2:40:40 > 2:40:45with people, the molecules changed in the room.

2:40:45 > 2:40:47You know, that was what he could do.

2:40:47 > 2:40:49There are people that can go out

2:40:49 > 2:40:51and you can be wowed by their technique,

2:40:51 > 2:40:53but he changed the molecules.

2:40:53 > 2:40:56No-one can quite say what the creative process is,

2:40:56 > 2:40:59because I have nothing to do with it, almost,

2:40:59 > 2:41:02because it's created in space, it's God's work, not mine.

2:41:02 > 2:41:06# Gonna make a change

2:41:06 > 2:41:08# For once in my life

2:41:11 > 2:41:14# It's gonna feel real good

2:41:14 > 2:41:15# Gonna make a difference

2:41:15 > 2:41:19# Gonna make it right

2:41:21 > 2:41:24# As I turn up the collar on

2:41:24 > 2:41:27# My favourite winter coat

2:41:27 > 2:41:30# This wind is blowing my mind

2:41:30 > 2:41:33# I see the kids in the street

2:41:33 > 2:41:35# With not enough to eat

2:41:35 > 2:41:37# Who am I to be blind

2:41:37 > 2:41:41# Pretending not to see their need?

2:41:41 > 2:41:44# A summer's disregard

2:41:44 > 2:41:49# A broken bottle top and one man's soul

2:41:50 > 2:41:54# They follow each other on the wind, you know

2:41:54 > 2:41:58# Cos they got nowhere to go

2:41:58 > 2:42:01# That's why I want you to know

2:42:01 > 2:42:04# I'm starting with the man in the mirror

2:42:06 > 2:42:10# I'm asking him to change his ways

2:42:10 > 2:42:14# And no message could have been any clearer

2:42:14 > 2:42:17# If you wanna make the world a better place

2:42:17 > 2:42:20# Take a look at yourself and then make the change

2:42:22 > 2:42:23# Nah nah nah

2:42:23 > 2:42:26# Nah nah nah, nah-nah, nah-nah

2:42:26 > 2:42:28# Oh-ho

2:42:29 > 2:42:32# I've been a victim of

2:42:32 > 2:42:34# A selfish kind of love

2:42:34 > 2:42:38# It's time that I realised

2:42:38 > 2:42:41# There are some with no home

2:42:41 > 2:42:43# Not a nickel to loan

2:42:43 > 2:42:45# Could it be really mean

2:42:45 > 2:42:49# Pretending that they're not alone?

2:42:49 > 2:42:51# A willow deeply scarred

2:42:51 > 2:42:54# Somebody's broken heart

2:42:54 > 2:42:58# And a washed-out dream

2:42:58 > 2:43:03# They follow the pattern of the wind, you see

2:43:03 > 2:43:06# Cos they got no place to be

2:43:06 > 2:43:09# That's why I'm starting with me

2:43:09 > 2:43:13# I'm starting with the man in the mirror

2:43:12 > 2:43:13Ooh!

2:43:13 > 2:43:18# I'm asking him to change his ways

2:43:17 > 2:43:18Ooh!

2:43:18 > 2:43:22# And no message could have been any clearer

2:43:22 > 2:43:25# If you wanna make the world a better place

2:43:25 > 2:43:28# Take a look at yourself and then make the change

2:43:28 > 2:43:33# I'm starting with the man in the mirror

2:43:32 > 2:43:33Ooh

2:43:33 > 2:43:37# I'm asking him to change his ways

2:43:36 > 2:43:37Ooh

2:43:37 > 2:43:41# And no message could have been any clearer

2:43:41 > 2:43:44# If you wanna make the world a better place

2:43:44 > 2:43:47# Take a look at yourself and then make that

2:43:46 > 2:43:47Change!

2:43:47 > 2:43:52# I'm starting with the man in the mirror

2:43:50 > 2:43:52Oh, yeah

2:43:52 > 2:43:56# I'm asking him to change his ways

2:43:56 > 2:44:01# You better change

2:43:57 > 2:44:01No message could've been any clearer

2:43:58 > 2:44:01Whoo-hoo

2:44:01 > 2:44:03# If you wanna make the world a better place

2:44:03 > 2:44:06# Take a look at yourself and then make the change

2:44:06 > 2:44:08# You gotta get it right while you got the time

2:44:08 > 2:44:11# Cos if you close your heart then you close your, your mind

2:44:11 > 2:44:16# That man

2:44:13 > 2:44:16That man in the mirror, oh yeah

2:44:16 > 2:44:20# I'm asking him to change his ways

2:44:20 > 2:44:21# You better change

2:44:21 > 2:44:25# No message could have been any clearer

2:44:25 > 2:44:27# If you wanna make the world

2:44:27 > 2:44:29# A better place take a look at yourself

2:44:29 > 2:44:31# And then make that change

2:44:31 > 2:44:33# Whoo! Whoo!

2:44:33 > 2:44:37# Nah-nah-nah Nah-nah-nah, na-na, na-na

2:44:37 > 2:44:39# Whoo! Whoo!

2:44:39 > 2:44:42# Oh, yeah

2:44:40 > 2:44:42Yeah, yeah, yeah, yeah

2:44:42 > 2:44:44# Nah-nah-nah, nah-nah-nah

2:44:44 > 2:44:47# Na-na, na-na

2:44:50 > 2:44:53# Gonna make that change

2:44:53 > 2:44:57# Gonna feel real good, come on

2:44:57 > 2:44:59# Change

2:44:59 > 2:45:02# Just lift yourself, you know it

2:45:02 > 2:45:06# You got to stop it yourself, yeah

2:45:06 > 2:45:08- # Whoo!- Make that change

2:45:08 > 2:45:13# Gotta make that change today

2:45:11 > 2:45:13Man in the mirror

2:45:13 > 2:45:16# You got to move, you know it

2:45:16 > 2:45:19# You know it, ow!

2:45:19 > 2:45:21# Yeah!

2:45:21 > 2:45:23# Make that change

2:45:23 > 2:45:26# You know all about it.

2:45:26 > 2:45:28# Man in the mirror

2:45:28 > 2:45:30# You know it, you know it

2:45:30 > 2:45:31# You, you

2:45:34 > 2:45:36# Yeah!

2:45:36 > 2:45:38# Make that change

2:45:41 > 2:45:43# Man in the mirror

2:45:43 > 2:45:45# You know it, you know it

2:45:45 > 2:45:47# You do, you, you

2:45:48 > 2:45:50# Yeah!

2:45:50 > 2:45:52# Make that change

2:45:52 > 2:45:55# Gonna make that change today, yeah

2:45:55 > 2:45:57# Man in the mirror

2:45:57 > 2:46:00# Na-na-na, mm, yeah, yeah

2:46:01 > 2:46:03# Yeah, you gotta

2:46:03 > 2:46:07# Yeah, make that change

2:46:09 > 2:46:12# Man in the mirror

2:46:12 > 2:46:16# You know it, you know it You, you

2:46:16 > 2:46:21# Whoo!

2:46:17 > 2:46:21Yeah, make that change

2:46:24 > 2:46:26# Man in the mirror

2:46:31 > 2:46:35# Stand up

2:46:32 > 2:46:35Yeah, make that change

2:46:35 > 2:46:38# Stand up for each other

2:46:38 > 2:46:40# Man in the mirror

2:46:40 > 2:46:43# You know it, you know it

2:46:43 > 2:46:46# You know it, you know

2:46:47 > 2:46:53# Change... #

2:46:56 > 2:46:58Make that change.

2:46:58 > 2:47:02WILD CHEERING AND APPLAUSE

2:47:29 > 2:47:33WILD APPLAUSE CONTINUES

2:47:34 > 2:47:36I love you!

2:47:36 > 2:47:38MUSIC: Intro to "Bad"

2:47:53 > 2:47:54# Hee-hee-heee

2:47:54 > 2:47:56# Chamon! #

2:47:56 > 2:47:58MUSIC: "Don't Be Messin' Around"

2:48:28 > 2:48:31# Are you ready for a real good time, my love?

2:48:31 > 2:48:35# Are you ready for a good treat?

2:48:35 > 2:48:38# There'll be so much as it singing

2:48:38 > 2:48:39# Uh, uh, uh

2:48:39 > 2:48:43# You, yeah, what you mean to me

2:48:43 > 2:48:45# So don't be messin' round

2:48:45 > 2:48:48# Don't be messin' round with me

2:48:48 > 2:48:49# Don't be messin' with

2:48:49 > 2:48:51# With me, hey hey

2:48:51 > 2:48:53# So don't be messin' round

2:48:53 > 2:48:55# Don't be messin' round

2:48:55 > 2:48:58# Don't be messin' with With me

2:48:58 > 2:48:59# Hey hey

2:48:59 > 2:49:02# Don't be startin' nothin' then if

2:49:02 > 2:49:06# If you say this really ain't your crowd

2:49:06 > 2:49:09# I'll be so proud if you let me

2:49:09 > 2:49:15# Only girl let me love you for a little while

2:49:15 > 2:49:17# But don't be messin' with

2:49:17 > 2:49:19# Don't be messin' with

2:49:19 > 2:49:23# Don't be messin' round with me Hey hey hey

2:49:23 > 2:49:25# So don't be messin' with

2:49:25 > 2:49:27# Don't be messin' with

2:49:27 > 2:49:31# Don't be messin' round with me Hey

2:49:31 > 2:49:32# Aha, yeah

2:49:32 > 2:49:34# Oh-ho yeah

2:49:34 > 2:49:36# Aha, yeah

2:49:36 > 2:49:38# Oh-ho yeah

2:49:38 > 2:49:41# Ooh ooh

2:49:46 > 2:49:50# Now she's started finger-poppin' to the beat

2:49:50 > 2:49:54# So I said, "Let's do that on the floor"

2:49:54 > 2:49:57# She said to keep your mind on dancin'

2:49:57 > 2:49:59# Won't be no romancing

2:49:59 > 2:50:02# Lord no, don't mess around with me

2:50:02 > 2:50:03# I ain't playing

2:50:03 > 2:50:04# Don't be messin' with

2:50:04 > 2:50:07# Don't be messin' with me

2:50:07 > 2:50:09# Don't be messin' round with me

2:50:09 > 2:50:12# Hey hey So don't be messin' with

2:50:12 > 2:50:15# Don't be messin' with

2:50:15 > 2:50:18# Don't be messin' round with me Hey hey

2:50:18 > 2:50:20# Bridge

2:50:20 > 2:50:23# Doo-doo doo-doo doo-doo doo-doo

2:50:23 > 2:50:27# Doo-doo doo-doo doo-doo doo-doo

2:50:27 > 2:50:31# Doo-doo doo-doo doo-doo doo-doo

2:50:31 > 2:50:34# Doo-doo doo-doo

2:50:34 > 2:50:36# Pu pu pa-rup pa-rup

2:50:36 > 2:50:38# Pu pa-rup pa-rup

2:50:38 > 2:50:40# Pu pa-rup pa-rup

2:50:40 > 2:50:44# Pa pu pa pa pu pu pa-rup pa-rup

2:50:44 > 2:50:46# Pu pa-rup pa-rup

2:50:46 > 2:50:48# Pa pa-rup pu pa-rup

2:50:48 > 2:50:52# Ba-ba ba buh

2:50:55 > 2:50:58# Chi pah chi pah chi pah chi pah

2:50:59 > 2:51:03# Chi pah chi pah chi pah chi pah

2:51:03 > 2:51:06# Chi pah chi pah chi pah chi pah

2:51:06 > 2:51:07# Ooh... #

2:51:07 > 2:51:13VOCAL IMPROVISATION AND INSTRUMENTAL CONTINUES

2:51:22 > 2:51:24# ..So don't be messin' with

2:51:24 > 2:51:26# Don't be messin' with

2:51:26 > 2:51:30# Don't be messin' with me Hey hey hey

2:51:30 > 2:51:32# So don't be messin' with

2:51:32 > 2:51:34# Don't be messin' with me

2:51:34 > 2:51:38# Don't be messin' with, with me Hey hey

2:51:38 > 2:51:40# So don't be messin' round

2:51:40 > 2:51:42# Don't be messin' with me

2:51:42 > 2:51:46# Don't be messin' with, with me Hey hey

2:51:46 > 2:51:48# So don't be messin' with

2:51:48 > 2:51:50# Don't be messin' with me

2:51:50 > 2:51:53# Don't be messin' with me Hey hey... #

2:51:53 > 2:51:55This is the thing.

2:51:55 > 2:51:58VOCAL IMPROVISATION

2:52:03 > 2:52:06Subtitles by Red Bee Media Ltd

2:52:33 > 2:52:38CROWD CHEERS

2:52:38 > 2:52:40CHIMES TINKLE

2:52:43 > 2:52:46MICHAEL CHUCKLES

2:52:46 > 2:52:47Whoo!