Becoming the King of Pop

Welcome to the hall of imagination, and I can't believe what I'm seeing. This is the first time that I have ever seen a wax figure who is now deceased that I saw in real life.

Yes, I am Michael Jackson, and you say that you have seen me before?

Yes, I saw you with your brothers at a concert in Washington DC.

AH, Mr. Bartley, I believe that I remember that concert very well.

And Michael, if I may call you that–this is really strange–as of talking to wax figures and hearing them respond is not strange enough - but in your case I saw you during your earthly life.

Well, Mr. Bartley, Let’s have some fun… or at least, let’s start there. 

Michael, could you tell us about your very beginnings–back to the Gary Indiana days.?

Yes Mr. Bartley. If you were talking about my life, it definitely does begin in fun–think of me as a kid in a tiny house in Gary, Indiana, singing my little lungs out, dancing like someone my age, trying to be heard over brothers, siblings, and the general chaos that you might find in a big family.
But it doesn’t end in fun.

You might say, Michael, that you are a tragic warning about what happens when intense fame collide with a fragile human body and mind. Why don't you start by telling us about your early years?

Certainly Mr. Bartley. I was born August 29, 1958, in Gary, Indiana—a working-class steel town in the Midwest. I was the eighth of ten children in the Jackson family, packed into a small house where money was tight, tempers could be hot, and music was both escape and opportunity.

Transcript

Welcome to the hall of imagination, and I can't believe what I'm seeing. This is the first time that I have ever seen a wax figure who is now deceased that I saw in real life.

Yes, I am Michael Jackson, and you say that you have seen me before?

Yes, I saw you with your brothers at a concert in Washington DC.And Michael, if I may call you that–this is really strange–as of talking to wax figures and hearing them respond is not strange enough - but in your case I saw you during your earthly life.

Well, Mr. Bartley, Let’s have some fun… or at least, let’s start there. 

Michael, could you tell us about your very beginnings–back to the Gary Indiana days.?

Yes Mr. Bartley. If you were talking about my life, it definitely does begin in fun–think of me as a kid in a tiny house in Gary, Indiana, singing my little lungs out, dancing like someone my age, trying to be heard over brothers, siblings, and the general chaos that you might find in a big family.

But it doesn’t end in fun.

EnterYou might say, Michael, that you are a tragic warning about what happens when intense fame collide with a fragile human body and mind. Why don't you start by telling us about your early years?

Certainly Mr. Bartley. I was born August 29, 1958, in Gary, Indiana—a working-class steel town in the Midwest. I was the eighth of ten children in the Jackson family, packed into a small house where money was tight, tempers could be hot, and music was both escape and opportunity.

What was your parents like, Michael?

My father, Joseph—“Joe” Jackson—worked in a steel mill and played guitar in a local R&B band on the side. My mother, Katherine, loved gospel music and encouraged her kids to sing in church. Out of this stew came something unusual: a whole family act, and in the middle of it, a little boy who shone like a spotlight was glued to me.

Michael, Could you describe watching your father's band rehearse in the living room?

Mr. Bartley, when I saw my father's band rehearse, I must admit I felt this almost physical need to join in. My brothers—Jackie, Tito, Jermaine, Marlon and I—began rehearsing as a group, first informally, then obsessively. Joe Jackson realized that we had something, and he ran rehearsals like a drill sergeant: long hours, no nonsense, and a clear goal—this was going to be our ticket out of Gary, Indiana.

What were your feelings regarding your performances?

AH, Mr. Bartley, you might say there was the child Michael Jackson–a little boy who still loved cartoons, candy, and playing with my siblings.

And there was the performer: the kid who could mimic James Brown, who could hit notes that made adults turn their heads, who could move like music was driving me instead of the other way around.

Michael, it sounds like your group was becoming something very special– Could you tell us about your first performances?

Mr. Bartley, at this point we were known as the Jackson 5 and we started winning local talent shows, then going further afield—Chicago, New York, the so-called “chitlin’ circuit” of Black clubs and theaters. We were definitely kids, but they were also professionals in training, learning how to command a stage and an audience.  And eventually we audition for Motown Records.

How did that go, Michael?

Mr. Bartley, you might say that Motown was the hit factory for Black popular music: The Supremes, The Temptations, Marvin Gaye, Stevie Wonder. It was polished, controlled, and carefully branded. And into this carefully crafted world, here comes The Jackson 5—adorable, energetic, and fronted by a little boy.

Michael, what happened then?

Motown’s Berry Gordy signed us and launched us with a series of catchy singles–

“I Want You Back”

“ABC”

“The Love You Save”

“I’ll Be There”

Michael, what was the result?

These singles weren’t just hits; they were events. The Jackson 5 became teen idols almost immediately. Posters, lunchboxes, fan clubs—the whole works.

How would you describe yourself?

I was barely in my teens, and was already a star.

I was also trapped in a schedule most adults would find exhausting:

Recording

Constant Touring

Television appearances

Rehearsal after rehearsal after rehearsal after rehearsal.

And yet musically, it was exhilarating. Some people say that my voice had that mix of innocence and intensity that made those Motown singles feel like pure sugar and pure emotion at the same time.

Michael, I certainly am familiar with the Jackson 5, but when I think of them I automatically think of you.

Yes Mr. Bartley. MoTown seemed to feel that I was the breakout star, and beginning in the early 1970s, they launched me as a solo act alongside The Jackson 5.

I recorded songs such as:

“Got to Be There”

“Rockin’ Robin”

“Ben”

But Mr. Bartley, it's soon became obvious that we Jackson's were growing up. We wanted more creative control, to write and produce our own material. Motown’s model didn’t really allow that; it relied on in-house writers and producers. Eventually, the family left Motown, moved to Epic Records, and rebranded as “The Jacksons.”

Michael, it almost seems like you were straddling two worlds.

Yes, Mr. Bartley. I was still part of the family group, touring and recording. But I was also quietly preparing to become something more than a boy band lead– Preparing to become the center of my own universe.

Was it around this time that Quincy Jones came into your life?

Yes, Mr. Bartley, in 1979 when I was in my early 20s, I met producer Quincy Jones. I believe that Quincy heard in me not just a good pop singer but someone who could blend pop, R&B, disco, and even something almost child like and vulnerable.

So Michael, did you two team up?

Certainly Mr. Bartley. We teamed up for a recording by the name of Off the Wall, with such songs as

“Don’t Stop ’Til You Get Enough”

“Rock with You”

“Off the Wall”

“She’s Out of My Life”

You might say that this was the sound of Michael Jackson stepping out of the group and saying, “This is who I am as an adult artist.”

Could you describe the music, Michael?

Mr. Bartley, I can try. The music is smooth but energetic, danceable but intricate. I would like to thank that my falsetto is elastic; and my timing was immaculate. And visually, I was no longer just the cute kid. Some have called me a slim, elegant young man in a tuxedo, with an afro and a smile that could sell an album all by itself

But, Mr. Bartley, even with all that, Off the Wall didn’t get the critical respect that I thought it deserved. The recording sold well, but it didn’t sweep the major Grammys. That stung me. And I vowed that next time, no one would be able to ignore me.

Mr. Jackson, specifically what was that next time?

Mr. Bartley, that “Next time” turned out to be my recording Thriller, released in 1982.

Mr. Jackson, how did you feel about the results?

Mr. Bartley, If Off the Wall made me a star, Thriller turned me into a global phenomenon. It’s hard to overstate how big this album was. It became, and remains, one of the best-selling albums of all time.\

The track list includes:

“Billie Jean”

“Beat It”

“Thriller”

“Wanna Be Startin’ Somethin’”

“Human Nature”

“P.Y.T. (Pretty Young Thing)”

“The Girl Is Mine”

Each one feels like it could have been the standout hit from someone else’s entire career. On Thriller, they’re just… neighbors.

Precisely, Mr. Bartley. I feel that is an excellent assessment

Mr. Jackson, you have to admit that it wasn’t just the songs. It was what you Did with the songs.

Yes Mr. Bartley, thank you very much. One must understand that at the time, music videos were often simple performance clips—artists miming to their tracks. On the other hand, I turned them into mini-movies.

“Billie Jean” with its glowing sidewalk squares and mysterious narrative.

“Beat It,” with choreographed gang warfare and a message against violence.

And of course, the 14-minute “Thriller” film, complete with zombies and Vincent Price’s spoken-word section. And, Mr. Bartley, I must emphasize that these videos weren’t just fun; they helped break the color barrier at MTV. Before I came on the scene, Black artists struggled to get regular rotation on the channel. After “Billie Jean” and “Beat It,” MTV HAD to change. 

Michael, I think you can make a strong argument that you didn’t just dominate MTV—you reshaped it.

AH, Mr. Bartley, I greatly appreciate your observation.

Michael, I think I am just pointing out the obvious.

Yes, Mr. Bartley. But do not forget the dancing. Do not forget the moonwalk.

If I remember correctly, Michael, the moonwalk was unveiled to a mass audience in 1983 during the TV special Motown 25: Yesterday, Today, Forever. I will never forget the site of you gliding backward while appearing to walk forward, fedora tilted, single glove flashing—this was not just a dance move; it was a kind of visual spell.  As I hope you realize, I was quite a fan!

Mr. Bartley, thank you very very much.  Now att he height of Thriller, I wasn’t just famous. I was something closer to a force of nature. There were dolls, Pepsi commercials, world tours, and crowds screaming at a pitch where you couldn’t tell if it was joy, hysteria, or both. But to be honest, even at that peak you could see the first shadows forming.

Michael, after Thriller the question is what next? How do you follow something like Thriller?

AH, Mr. Bartley–I'm sure you remember the next album, called Bad, released in 1987. It didn't sell as many copies as Thriller, but it was still a huge hit with such singles as:

“Bad”

“The Way You Make Me Feel”

“Smooth Criminal”

“Man in the Mirror”

Mr. Jackson, I even liked the album Bad as much as Thriller, and that's saying a lot.

Thank you, Mr. Bartley, I would like to think that with Bad, I believe that I sharpened my public persona. The videos and photos emphasize a tougher, more street-hardened look: leather jackets, buckles, zippers, a grittier edge. The “Bad” video, directed by Martin Scorsese, even staged me as a kind of conflicted tough kid in a subway.

Mr. Jackson, I personally thought the most important song on that album was “Man in the Mirror.” Here you have this gospel-infused ballad about personal responsibility: if you want to make the world a better place, start with yourself. I would like to think that it would become one of your signature songs and also hinted at your growing interest in humanitarian causes.

Thank you, Mr. Bartley. But don't forget the release of Dangerous in 1991 with

“Black or White”

“Remember the Time”

“Heal the World” and

“Jam”

Yes, Mr. Jackson–I remember your recording of Dangerous very well. It was a more aggressive, modern sound: new jack swing beats, tighter production, and more explicit global and social themes. 

Yes, Mr. Bartley. The “Black or White” video literally ends with me dancing around the world, morphing faces of people from different ethnic backgrounds—a visual metaphor for unity.

But unfortunately, Mr. Jackson, it seems that your public image was growing…how should I say it…more complicated.

Yes, Mr. Bartley–my fans began to see Tabloid stories about facial surgeries and changing skin color.

Rumors circulated regarding odd habits and an isolated lifestyle at my Neverland Valley Ranch. And that I was a performer who could still electrify on stage—but who seemed more and more removed from ordinary life off stage.

Yes, Mr. Jackson, you had definitely become “The King of Pop”—

And it was a title that I embraced and repeated. 

But, Mr. Bartley, what does such a title do to a person?

Join us for the second and final part of this series on Michael Jackson–the King of Pop.

My name is George Barley and this has been the Hall of Imagination.