No Wonder, He IS Like A Kid !!

Michael had an interview with J.Randy Taraborrelli on August 22, 1978, at the Jackson's estate. The comments and actions seem to show the stunted growth of Michael socially, and educationally. One would start to think that they were conversing with a fourteen-year-old rather than a twenty-year-old. He wore a Jaws t-shirt, black jeans, safari hat, and bare feet. He was very thin, and spoke with a falsetto whisper. He had to be reminded by his mother to offer his guests something to drink. She was bothered that she found it difficult to get him to eat. But she did reveal that his favorite foods were hot apple turnovers and sweet- potato pies.
Michael seemed to be uninformed about the current events at the time, which showed the isolation he had from the world. "I don't know much about politics," Michael admitted. "Nothing , I guess. Someone told me recently that Gerald Ford was president. I remember when he was vice-president. But president? That I missed." He laughed at that, but he was serious.
Taraborrelli asked, "How do you keep up with current events? Do you read newspapers? Watch T.V.?"
"I watch cartoons, I love cartoons," he said as his eyes lit up. "I love Disney so much. The Magic Kingdom. Disneyland. It's such a magical place. Walt Disney was a dreamer,like me. And he made his dreams come true, like me. I hope."
He said that he did not read newspapers. "See, I like show business. I listen to music all the time. I watch old movies. Fred Astaire movies. Gene Kelly, I love. And Sammy [Davis]. I can watch these guys all day., twenty-four hours a day. That's what I love the most. Show business, you know?"
He finds that his biggest challenge professionally is to live up to his father's expectations. But, his professional and personal challenges are the same because,"I just want to entertain."
He expressed that he really didn't have any friends to confide in. However, it was clear that he did have a crush on one person in particular. Miss. Diana Ross. "...I can tell my deepest, darkest secrets to [her] because I know she won't tell anyone, not another living soul." Whether that was true or not, anyone who has had a crush on someone knows fantasy can be a replacement for reality.
When joined by his brothers, Michael talked about the strange incidents that have occurred on the property. Girls getting cut just to get a glimpse of the superstars , fans jumping over the gate and coming into the house. One did this and sat down in the den, where the the brothers found her, and said that God had sent her.
Once an entire family got into the house and took a tour of the house. Helping themselves to looking at their private things.
But then the interview took a turn to becoming uncomfortable for Michael, when nicknames came up.
"Mike has a nickname, Jackie mentioned. "It's a real good one."
"Don't, Jackie, " Michael warned.
"We call him....Big Nose!" The brothers all laughed, uncaring that Michael was embarrassed.
"Yeah, Big Nose," Marlon repeated. "What's happenin', Big Nose?" Michael seemed to curl up inside and hardly said anything for the rest of the afternoon.
But the brothers weren't the only family members clueless about the devastating effect that name calling does to a person. Joseph was just as brutal, though he didn't , on this occasion , say it to Michael to his face.
"Marlon told me about what happened. You're not gonna write about Michael's nickname, are you?" he asked. "He doesn't like that nickname they gave him. Liver Lips."
"Liver Lips? They told me his nickname is Big Nose," Taraborreli replied. He said he didn't know how he was going to handle the situation.
"Oh, yeah," Joe said "That boy's so sensitive about his nose. Do you see anything wrong with his nose?"
"No., not at all."
"Me neither," Joe said. "But that's all he ever talks about. His damn nose. Threatened to have it fixed. What can he do with it? I told I'd break his face if he ever had it fixed." he laughed. "You don't fix something that ain't broke. He's got a great nose. It looks like mine."
Michael summed up his life later with these revealing words. He was talking about his character the Scarecrow in The Wiz.
"What I like about my character is his, I guess you can call it, his confusion. He knows he has these, uh, these problems, I guess you can call them. But he doesn't exactly know why he has them or how he got that way. And he understands that he see things differently from the way everyone else does., but he can't put his finger on why. He's not like other people. No one understands him. So he goes through his whole life with this, uh..." he paused, "confusion."
"Everybody thinks he's very special," he concluded thoughtfully. "But, really, he's very sad, He's so so sad. Do you understand? He asked urgently, "Do you understand his sadness?"

Thank you, J.Randy Taraborrelli - "Michael Jackson -The Magic and the Madness" pages 215-222.

On This One, Joe Was Right

The CBS Records Group seemed to be attractive to Joe Jackson because of the black artists in its Epic label. Their distribution and promotion reputation was also highly regarded as top-notch. Ron Alexenberg, president of Epic, was interested in the Jackson 5 since he worked under Motown's Ewart Abner. He felt that Berry Gordy had not utilized the full potential of what the Jackson 5 had to offer. He and Joe began to negotiate for the Jackson's toward signing on to Epic and Alexenberg went to Walter Yetnikoff, president of CBS Records. Yetnikoff felt that the group was not hot property, but Alexenberg assured him, "Trust me. This group isn't finished. It hasn't even begun yet."
The deal was struck. The group receive a "signing bonus" of $750,000, plus an additional $500,000 "recording fund," used to produced the group's albums. They were to be paid $350,000 per album. The advance money from CBS was to be paid from royalties, but the royalty rate was 27 percent of the wholesale price for records in the United States. At Motown, they were paid only 2.7 percent, and the group's expenses and studio time was deducted from that, leaving them with almost nothing. To show what a significant deal this was, in 1975, an album retailed for $6.98 , $3.50 wholesale. The Jacksons at Epic would make 94.5 cents per album sold in the United States. At Motown, the group made 11 cents worldwide! Do the math! After each of the group's albums sold over $500,000, the royalty rate increased to 30 percent, or $1.05 a record.
Of course, there was a catch. Yetnikoff would not allow the brothers to write, produce, or choose their material. After much debate, the agreement was that the brothers could choose three songs per album, and an unwritten clause that if the group submitted three good songs, they could be up for consideration.
Michael was amazed that the group was worth so much, that this is the kind of contract that other well known acts were used to. He admired his father's courage and strength to come up with what was best for their careers and future. "I have to admit it. This is one incredible record deal. My father has done an amazing job for us."

"Mr. Gordy, I Think You and I Need To Talk. Alone."

Michael was concerned about the business side of their relationship with Motown Records, particularly with Berry Gordy. None of the other brothers seem to have the backbone to confront Gordy with the plain truth about their value to the company. Michael called Gordy to have a meeting at Gordy's mansion on May 14,1975. "It was one of the most difficult things I've ever done," Michael would say later.

" We're all unhappy, Mr. Gordy. Do you really want is to leave Motown , or what?" Michael asked courageously. Berry's response was the kind of response many artists from Motown would have gotten from Gordy when confronted like this. "Someone as smart like you should know that without Motown, The Jackson 5 would still be in Gary, Indiana, today."

"That does not exactly answer my question, Mr. Gordy," Michael responded. Michael laid the facts on the table. Motown never let the brothers write or produced their own music, or have publishing rights. Their royalty rate was only 2.7 percent. If Gordy had only allowed them one song an album, it would restore their faith in the company. But this is something that Gordy heard before from other artists in the past. He mentioned Stevie Wonder and Diana Ross as examples of him working out some sort of agreement. "I don't want you fellows to leave Motown. How can you do that? After all we've done for you. If you feel you can get a better deal somewhere else, then you have to go somewhere else."

Michael recalls Berry asking him, "Let me ask you a question. What makes you think you can write and produce your own hit?"

"I just know it, " Michael answered. Berry replied, "I don't think that that is good enough."

"What made you think you could build Motown into a giant company?" Michael asked. After receiving no response, Michael said, "You just knew it, right?"

"He just nodded at me as if to say,' You're going places, kid, '" Michael would remember.

Thank you, J. Randy Taraborrelli "Michael Jackson - The Magic and the Madness" pages147-149.