'Look, don't even talk to me,' Michael said, turning away from Quincy. 'I've had it with you, Quincy. Don't ever tell me anything like that again,' he added, angrily. 'What kind of att.i.tude is that that to have?' to have?'

John Branca sat in a corner and watched the scene. A wry smile touched his mouth; he'd been around Michael enough to know how this scene would climax.

'Goodbye,' Michael announced as he stormed out of the studio.

By the next day, Michael had worked himself into a fully fledged fury. He telephoned John Branca and told him how angry he had been at Ron and Quincy for predicting that Thriller Thriller would 'only' sell two million copies. would 'only' sell two million copies.

'I know,' John recalls saying. 'Don't listen to those guys, Mike. You're the one who knows. They don't know.'

'But Quincy should know,' Michael said.

'Well, maybe not this time,' John told him. 'You're the man. Call Walter [Yetnikoff] and he'll tell you the same thing.'

'No, you call him,' Michael said. 'And tell him this. Tell him the record is cancelled, cancelled, John. It's over. I ain't even submitting it to CBS.' John. It's over. I ain't even submitting it to CBS.'

'But Mike '

'No, John. If Quincy and Ron don't have faith in it, then forget it,' Michael said. 'I'm not even going to let the alb.u.m come out. Thriller Thriller is gonna be shelved for ever,' he said. 'I'd rather it go unheard than see it not get the attention it deserves.' is gonna be shelved for ever,' he said. 'I'd rather it go unheard than see it not get the attention it deserves.'

'But, Mike '

'Let me tell you something,' Michael said, cutting him off. 'There are winners in this life, Branca, and there are losers.' Before John had a chance to respond, Michael hung up.

Ten minutes later, John telephoned Michael to tell him that he had pa.s.sed on the message to Walter Yetnikoff and no big surprise Walter wanted to talk to Michael. He wanted Michael to call him. 'What? No way,' Michael said. 'Tell him to call me.'

'But, Mike '

'Tell him to call me.' Michael hung up. Michael hung up.

Whereas most of the CBS artists were intimidated by Walter Yetnikoff, Michael was not at all cowed by him. After all, he'd dealt with Berry Gordy, one on one. Walter called, as instructed.

According to Walter's memory, when Michael told him what had occurred at the studio, he tried to calm him down. 'What the h.e.l.l do they know?' he said of Quincy and Ron. 'You're the superstar, not them. Jesus, Michael. We trust the superstar, not them. Jesus, Michael. We trust you. you. Not Quincy, all due respect to the guy. And certainly not one of your managers. You're the superstar.' Not Quincy, all due respect to the guy. And certainly not one of your managers. You're the superstar.'

'You think?' Michael asked, coyly, 'Absolutely.'

'So you agree?'

'Of course.'

'Okay,' Michael decided. 'Then it can come out.'

Michael Jackson had created a melodrama surrounding the completion of Thriller Thriller, there was little doubt of that. Would he really have cancelled the release of the alb.u.m simply because Quincy had predicted it would only sell two million copies? Perhaps. However, the more likely scenario is that Michael was just trying to, as they might have said in the Jackson family, 'get his way'. The manner in which he handled the situation couldn't exactly be described as 'artful' or 'strategic'. It was more like the dynamics of a family flare-up one party has a tantrum, just as people in big families often do with one another... then pushes and pushes and pushes until he gets his way, and until he feels validated. Such tactics would work for Michael many times in the future. Obviously, there is no road map to success. Few entertainers ever reach a goal of stardom at all, and if one finds a way to go about it, he has to be given credit. It would seem that Michael Jackson had certainly found a way that worked for him.

Thriller is a... Thriller is a... Thriller.

On 1 December 1982, Thriller Thriller was released to a market of seasonal shoppers. It seems ironic, considering the impact was released to a market of seasonal shoppers. It seems ironic, considering the impact Thriller Thriller would have on the record industry, that when CBS released the alb.u.m's first single (in October, a little over a month before the issuance of the alb.u.m) many observers thought would have on the record industry, that when CBS released the alb.u.m's first single (in October, a little over a month before the issuance of the alb.u.m) many observers thought Thriller Thriller would be a disappointment. The auspicious pairing of Michael Jackson and Paul McCartney for the mid-tempo 'The Girl is Mine' (which the singers co-wrote while watching cartoons) appeared to be of greater interest than the song itself which, while cute, was lacking in substance. Many in both the black and white music communities felt that Michael and Quincy Jones had gone too far in consciously tailoring a record for a white, pop audience. If this first single was an indication of what else would be found on would be a disappointment. The auspicious pairing of Michael Jackson and Paul McCartney for the mid-tempo 'The Girl is Mine' (which the singers co-wrote while watching cartoons) appeared to be of greater interest than the song itself which, while cute, was lacking in substance. Many in both the black and white music communities felt that Michael and Quincy Jones had gone too far in consciously tailoring a record for a white, pop audience. If this first single was an indication of what else would be found on Thriller, Thriller, Michael seemed to be in big trouble. Michael seemed to be in big trouble.

And then came 'Billie Jean'.

Dark and spa.r.s.e by Quincy Jones production standards, 'Billie Jean' prowled in rhythm like a predatory animal. It's a disturbing song Michael wrote about a girl accusing him of fathering her child. Joseph Jackson's extramarital affairs and his daughter, Joh'Vonnie, must have come to mind when Michael wrote the lyrics. However, there was another experience Michael had, which was the catalyst for 'Billie Jean'.

In 1981 a female fan wrote Michael a letter to inform him that he was the father of her baby. She enclosed photographs of herself- a young, attractive, black woman in her late teens whom he had never met and of the infant. Michael, who often received letters of this nature, ignored it as he does the others. This teenager, however, was more persistent than the rest. She loved Michael, she claimed, and longed to be with him. She wrote that she could not stop thinking about him, and about how happy they would be as they raised their child, together. She was obviously disturbed.

In months to come, Michael would receive dozens more letters from this woman. In one, she claimed that the baby and Michael had similar eyes and wondered how he could ignore his flesh and blood. It wasn't long before Michael began having nightmares about the situation. He fixated on her, wondering where she was, when she would show up at his front gate, and what he would do then. It seemed to some in the family that he had become as obsessed with her as she was with him.

One day, Michael received a package from her. When he opened it, he discovered another photograph: her high school graduation picture. In it, she smiled with girlish innocence. Also in the box was a gun. In a note, the fan asked that Michael kill himself on a certain day, at a certain time. She wrote that she would do the same right after she killed the baby. She had decided, she wrote, that if the three of them could not be together in this life, perhaps they could in the next. Michael was horrified. He took the photograph, had it framed, and displayed it in the dining room on a coffee table, much to Katherine's dismay. 'G.o.d, what if she shows up?' he fretted. 'What will I do? I have to remember this face. Just in case. I must never forget this face.'

She never showed up at Michael's gate. In fact, he later learned that the poor young woman ended up in an insane asylum.

After 'Billie Jean' came out, Michael said that he wrote the song with his obsessed fan in mind. Ironically, Quincy Jones did not want to include it on the Thriller Thriller alb.u.m; he did not think it was a strong enough song to be a part of the collection. Michael so believed in the song, he and Quincy had strong disagreements about its merit. When Michael came up with the t.i.tle of the song, he asked LaToya, 'You don't think people will believe I'm talking about that tennis player, do you?' He was referring to Billie Jean King; LaToya didn't think so. Quincy Jones did, however, and wanted to change the t.i.tle of the song to 'Not My Lover'. Of course, Michael vetoed that. alb.u.m; he did not think it was a strong enough song to be a part of the collection. Michael so believed in the song, he and Quincy had strong disagreements about its merit. When Michael came up with the t.i.tle of the song, he asked LaToya, 'You don't think people will believe I'm talking about that tennis player, do you?' He was referring to Billie Jean King; LaToya didn't think so. Quincy Jones did, however, and wanted to change the t.i.tle of the song to 'Not My Lover'. Of course, Michael vetoed that.

In truth, the relationship between Michael and Quincy rapidly deteriorated during the recording of Thriller, Thriller, especially when Quincy would not give Michael a co-producing credit on 'Billie Jean' and 'Beat It'. The demonstration tapes Michael had recorded of both songs before Quincy worked on them sounded almost exactly like the final product. Michael felt it was only fair that he be given co-producing credit, and additional royalties as well. Quincy disagreed, much to Michael's chagrin. especially when Quincy would not give Michael a co-producing credit on 'Billie Jean' and 'Beat It'. The demonstration tapes Michael had recorded of both songs before Quincy worked on them sounded almost exactly like the final product. Michael felt it was only fair that he be given co-producing credit, and additional royalties as well. Quincy disagreed, much to Michael's chagrin.

Closer inspection of Thriller Thriller as a whole revealed an ambitiously crafted work that moved in a number of directions. The suburban, middle-of-the-road calm of 'The Girl is Mine' was the ant.i.thesis of the rambunctious 'Beat It', another highly charged Jackson composition in which Michael augmented his crossover rhythm-and-blues style by employing a harder-edged rock-and-roll sound. Some reviewers felt 'Beat It' was a shameless quest to attract hard-rock fans; the track featured Eddie Van Halen, whose band Van Halen was a preeminent rock group, on searing guitar bridges. While the tune was more of a marketing concoction in the past, Michael had never shown any particular fondness for straight-out rock and roll 'Beat It' would still find acceptance among rock fans. as a whole revealed an ambitiously crafted work that moved in a number of directions. The suburban, middle-of-the-road calm of 'The Girl is Mine' was the ant.i.thesis of the rambunctious 'Beat It', another highly charged Jackson composition in which Michael augmented his crossover rhythm-and-blues style by employing a harder-edged rock-and-roll sound. Some reviewers felt 'Beat It' was a shameless quest to attract hard-rock fans; the track featured Eddie Van Halen, whose band Van Halen was a preeminent rock group, on searing guitar bridges. While the tune was more of a marketing concoction in the past, Michael had never shown any particular fondness for straight-out rock and roll 'Beat It' would still find acceptance among rock fans.

On the other hand, if the funky 'Wanna Be Startin' Somethin'' sounds like a distant relative of Off the Wall Off the Wall's songs 'Don't Stop 'Til You Get Enough' and 'Working Day and Night', the similarity occurred because Michael wrote them all during the same period. In 'Startin' Somethin'', Michael pointedly revealed his feelings on gossips and unwanted babies, and all to a bulleting ba.s.s and shuffling percussion. The tune's centrepiece, a climaxing Swahili-like chant, gave the song an international flavour. It was difficult to listen to Michael as he spat out angry lyrics about hate and feeling like a vegetable and not wonder about his state of mind at the time.

There were other stand-outs: the moody and introspective 'Human Nature', written by Steve Porcarro and John Bettis, was an expansive pop ballad whose sheer musicality kept it from being mushy. The funky 'PYT' (standing for 'Pretty Young Thing'), credited to James Ingram and Quincy Jones, and the sultry ballad 'Lady in My Life', by Rod Temperton, were both efforts to beef up Thriller Thriller's R&B direction. 'Lady in My Life' was, by the same token, as close as Michael had come to crooning a s.e.xy, soulful ballad since his Motown years. Perhaps that was why it required so many takes before the lead vocal was to Quincy Jones's liking.

The t.i.tle track, 'Thriller', was its own animal. The song said much about Michael's fascination with the supernatural and the lurid. 'Thriller' is a typical Rod Temperton song melodic, with a fluid ba.s.s line and big, mind-imprinting hook. The lyrics had excitement and intrigue, and the song concluded with a stately rap by the master of the macabre, Vincent Price. 'Thriller' would have been even more compelling as the t.i.tle track of a concept alb.u.m, but Thriller, Thriller, the alb.u.m, had no actual focus. It was just a bunch of great songs. Even the alb.u.m's cover art, a photograph of a casually posed Michael uncharacteristically dressed in white jacket and pants, seemed incongruous. However, it's the picture many people refer to when discussing his plastic surgery, saying, 'If he had just stopped there, he would have been fine!' the alb.u.m, had no actual focus. It was just a bunch of great songs. Even the alb.u.m's cover art, a photograph of a casually posed Michael uncharacteristically dressed in white jacket and pants, seemed incongruous. However, it's the picture many people refer to when discussing his plastic surgery, saying, 'If he had just stopped there, he would have been fine!'

With Thriller, Thriller, Michael and Quincy had successfully engineered glossy, authentic versions of pop, soul and funk that appealed to just about everyone. However, no one in the music business expected the public to take that appeal so literally. At some point, Michael and Quincy had successfully engineered glossy, authentic versions of pop, soul and funk that appealed to just about everyone. However, no one in the music business expected the public to take that appeal so literally. At some point, Thriller Thriller stopped selling like a leisure item like a magazine, a toy, tickets to a hit movie and started selling like a household staple. At its sales peak, CBS would report that the alb.u.m was selling an astounding 500,000 copies a week. stopped selling like a leisure item like a magazine, a toy, tickets to a hit movie and started selling like a household staple. At its sales peak, CBS would report that the alb.u.m was selling an astounding 500,000 copies a week.

To the press, Quincy acted as if he knew Thriller Thriller was going to be huge. 'I knew from the first time I heard it in the studio, because the hair stood straight up on my arms,' he said. 'That's a sure sign, and it's never once been wrong. All the brilliance that had been building inside Michael for twenty-four years just erupted. I was electrified, and so was everyone else involved in the project. That energy was contagious, and we had it cranked so high one night that the speakers in the studio actually overloaded and burst into flames. First time I ever saw anything like that in forty years in the business.' What in the world was he talking about, speakers bursting into flames? Quincy is nothing if not a good showman. In truth, of course, he had predicted two million in sales, a moderate hit, for Michael, and much to Michael's dismay. was going to be huge. 'I knew from the first time I heard it in the studio, because the hair stood straight up on my arms,' he said. 'That's a sure sign, and it's never once been wrong. All the brilliance that had been building inside Michael for twenty-four years just erupted. I was electrified, and so was everyone else involved in the project. That energy was contagious, and we had it cranked so high one night that the speakers in the studio actually overloaded and burst into flames. First time I ever saw anything like that in forty years in the business.' What in the world was he talking about, speakers bursting into flames? Quincy is nothing if not a good showman. In truth, of course, he had predicted two million in sales, a moderate hit, for Michael, and much to Michael's dismay.

'What did I tell you?' Michael crowed to John Branca when it was clear that Thriller Thriller had taken off in an astronomical way. 'I had taken off in an astronomical way. 'I knew knew it. I just knew it.' John could only smile. it. I just knew it.' John could only smile.

By the end of 1983, Thriller Thriller would sell a staggering thirteen million copies in the United States and nearly twenty-two million worldwide. At the time, the all-time best-selling alb.u.m was the original soundtrack to would sell a staggering thirteen million copies in the United States and nearly twenty-two million worldwide. At the time, the all-time best-selling alb.u.m was the original soundtrack to Sat.u.r.day Night Fever, Sat.u.r.day Night Fever, with worldwide sales of twenty-five million since its 1977 release. It wouldn't be long before Michael toppled that record; he had already achieved one milestone: until now, no other solo alb.u.m had sold more than twelve million copies. with worldwide sales of twenty-five million since its 1977 release. It wouldn't be long before Michael toppled that record; he had already achieved one milestone: until now, no other solo alb.u.m had sold more than twelve million copies.

In addition to his personal achievements, Michael had single-handedly revived a moribund recording industry. When people flocked to the record stores to buy Thriller, Thriller, they purchased other records too. As a result, the business had its best year since 1978. As Gil Friesen, then-president of A&M Records said at the time, 'The whole industry has a stake in they purchased other records too. As a result, the business had its best year since 1978. As Gil Friesen, then-president of A&M Records said at the time, 'The whole industry has a stake in Thriller Thriller's success.' Michael's success also generated new interest in black music in general.

Ultimately, Thriller would go on to sell more than fifty million copies wordwide; it would spend thirty-seven weeks at number one on the Billboard Billboard charts, which was amazing. In the UK, it also hit number one and stayed on the charts there for an incredible 168 weeks! (The release of charts, which was amazing. In the UK, it also hit number one and stayed on the charts there for an incredible 168 weeks! (The release of Thriller Thriller marked the first time an alb.u.m was number one in the USA and the UK at the same time.) Also, prior to marked the first time an alb.u.m was number one in the USA and the UK at the same time.) Also, prior to Thriller, Thriller, no other alb.u.m had ever sp.a.w.ned seven Top Ten singles: 'Billie Jean', 'Beat It', 'The Girl is Mine', 'Human Nature', 'Wanna Be Startin' Somethin'', 'PYT' and 'Thriller'. All of the songs sold hugely, right around the world. no other alb.u.m had ever sp.a.w.ned seven Top Ten singles: 'Billie Jean', 'Beat It', 'The Girl is Mine', 'Human Nature', 'Wanna Be Startin' Somethin'', 'PYT' and 'Thriller'. All of the songs sold hugely, right around the world.

CBS made at least sixty million dollars just on Thriller. Thriller. Michael fared well too. According to, John Branca, Michael had 'the highest royalty rate in the record business'. That rate escalated along with the sales, but averaged 42 per cent in the wholesale price of each record sold, or about $2.10 for every alb.u.m sold in the United States thirty-two million dollars on Michael fared well too. According to, John Branca, Michael had 'the highest royalty rate in the record business'. That rate escalated along with the sales, but averaged 42 per cent in the wholesale price of each record sold, or about $2.10 for every alb.u.m sold in the United States thirty-two million dollars on Thriller Thriller's domestic sales alone. Roughly fifteen million dollars more was made in foreign sales. Those figures, of course, did not include the royalties for the four songs he penned on the alb.u.m.

Michael Jackson was, at twenty-five, a very wealthy young man. He had certainly come a long way from that 0.2 per cent royalty rate Motown once offered him.

The more Thriller Thriller was heard and it was possibly the most played record of all time, both privately and on the radio the better it sounded. Michael and Quincy had achieved their goal: to many listeners whites, blacks, highbrows, heavy metal fans, teeny-boppers, parents was heard and it was possibly the most played record of all time, both privately and on the radio the better it sounded. Michael and Quincy had achieved their goal: to many listeners whites, blacks, highbrows, heavy metal fans, teeny-boppers, parents Thriller Thriller was the perfect alb.u.m, every song an exercise in pop music production, every arrangement, every note in perfect place. This achievement made Michael more than a hero; the music industry promoted him to higher ground, almost sainthood. Of course, in entertainment circles these days, even the most untalented artist who sells huge amounts of product becomes a 'visionary'. However, Michael's phenomenal sales, along with his astounding talent, established a precedent of excellence with was the perfect alb.u.m, every song an exercise in pop music production, every arrangement, every note in perfect place. This achievement made Michael more than a hero; the music industry promoted him to higher ground, almost sainthood. Of course, in entertainment circles these days, even the most untalented artist who sells huge amounts of product becomes a 'visionary'. However, Michael's phenomenal sales, along with his astounding talent, established a precedent of excellence with Thriller Thriller and one that he would secretly attempt to surpa.s.s for the rest of his career. and one that he would secretly attempt to surpa.s.s for the rest of his career.

Hayvenhurst.

Joseph Jackson is known among his friends and a.s.sociates as a man given to overextending himself by investing in unsteady business ventures outside of the careers of his children. Of course, some of the investments have been profitable. For instance, a limousine company he owned did manage to turn a profit. More often, though, Joseph would lose his investment and then some. For instance, he once started his own record company, which cost him a small fortune. He had also invested a great deal of money in producing and managing singing groups, perhaps to prove that he could do for others what he had done for his sons. However, none of his acts ever amounted to much, if anything. And who in his circle would ever forget 'Joe-Cola', his own soft drink which also failed in the marketplace? One had to give him credit for trying, though. He was never afraid to take a chance, invest in what he thought might be a good idea and take it all the way to fruition. After all, that's how he got The Jackson 5 to Los Angeles, and to Motown, wasn't it?

By the beginning of 1981, however, Joseph was having financial problems serious enough to warrant his wanting to sell the Encino estate. It's a tribute to him that he never attempted to siphon money from his children's income to solve his own financial problems. 'I'd say we were among a fortunate few artists who walked away from a childhood in the business with anything substantial money, real estate, other investments,' Michael would say. 'My father set all these up for us. To this day I'm thankful he didn't try to take all our money for himself, the way so many parents of child stars have. Imagine stealing from your own children. My father never did anything like that.'

Joseph may have been a lot of things, but he wasn't was a thief. He took care of his children's investments, and if they lost money and all of them did, except for Michael and Janet it may be because they have inherited Joseph's penchant for bad investments. It wasn't because they didn't receive money that was owed to them.

Joseph found the perfect buyer for his Encino estate: his own son, Michael.

One might wonder if Joseph first examined the ramifications of his offer to Michael before he made it. No doubt, once he changed roles from owner to tenant, his relationship with Michael would change as well. Barring unusual circ.u.mstances, in most familial situations, the heads of the family provides the lodgings; when the children become adults, they move on to their own homes. Changing roles in a basic way can often contribute to family dysfunction. Joseph had always held fast to the theory that a father should be able to control his children no matter what their ages, their desires, their expertise. Being so determined to be in charge, it's surprising that Joseph never realized how threatened he would eventually feel by having to live in his son's house especially when it had once been his own. Of course, Joseph was dealing with Michael, and he knew and understood Michael's gentleness towards Katherine, if not towards him. He knew that Michael wouldn't kick them out of the house. In the end, Michael paid about $500,000 for his equity in the estate. Katherine and Joseph owned the other half. Eventually, Joseph would sell his quarter to Michael, leaving 25 per cent to Katherine. One might also wonder if he had considered that the next time Katherine wanted to evict him, it might be a lot more likely that he would have to leave since she and Michael owned the estate, not him.

Once he took over part-ownership, Michael decided to completely demolish and rebuilt the house. The address may have remained the same, but the new estate Michael's estate, which took two years to finish became palatial in scope. What sweet and poetic justice it was that Michael was able to destroy the house in which he had so many bad memories and, from its ashes, raise a new one, perhaps fresh with possibilities for the future. While on tour in England a few years earlier, he had become enchanted by the Tudor-style mansions he saw in the countryside. When finished, the estate was and still is, today indeed, special.

The brick-laid drive opened to an ornate three-tiered white fountain in front of a Tudor-style home. All of the windows of the house were made of leaded stained gla.s.s with bevelled panes. When Michael was in residence, the Rolls-Royce that Tatum O'Neal helped him select sat parked in front of the four-car Tudor-style garage opposite the home. (Michael was still uneasy about driving; he would much rather take an hour-long detour than have to drive on the freeway in Los Angeles. 'I can't get on them,' he complained, 'and I can't get off them, either.') A large 'Welcome' sign appeared above the garage doors. In the centre of the garage structure stood an oversized clock with Roman numerals. Upstairs, on the second floor of the garage, a visitor entered a three-room picture gallery with hundreds of photographs of the Jackson family on the walls and even the ceilings.

Outside, graceful black and white swans could be found languishing in backyard ponds. A pair of peac.o.c.ks; two llamas; two deer, a giraffe and a ram were also in residence. The animals, kept in stables at night, were allowed to roam freely during the day. Muscles, the eight-foot boa constrictor, was, he told me, 'trained to eat interviewers'. Once, Katherine was straightening out the living room when she discovered Muscles under one of the couch cushions. She let out a scream that might have been heard all over Encino.

Next to the garage, Michael constructed a mini-version of Disneyland's Main Street U.S.A., including the candy store. There was a replica of a robotic Abraham Lincoln, which spoke, just as the Lincoln attraction did at Disneyland. Whenever Michael went to Disneyland, his 'favourite place on earth', there would be total chaos because of his fame. Therefore, he preferred the Disney employees to lead him through the back doors and tunnels of the attractions. In Encino, he built his own little world of Disney, a precursor to the expansive amus.e.m.e.nt park he would one day build at Neverland. Other puppet characters were added to the private amus.e.m.e.nt park. 'These are just like real people,' Michael explained to the writer who looked at them askance. 'Except they don't grab at you or ask you for favours. I feel comfortable with these figures. They are my personal friends.'

Winding brick paths decorated with exotic flowers and neatly cut shrubs led to secluded corners of the large estate where Michael would often wander alone to meditate. The swimming pool was huge and inviting. Water spouted from four fountainheads carved like bearded Neptunes on a retaining wall. A waterfall spilt in front of two lovebirds, the ceramic fashioned in elaborate, colourful tile work. Cool-looking water cascaded down into the main pool, and then flowed into a bubbling Jacuzzi.

On the ground floor of the main house was a thirty-two-seat theatre with plush red velvet seats and equipped with 16-millimetre and 35-millimetre projectors. The walls and the curtain in front of the screen were teal blue. Michael spent countless hours in the theatre; there were always Fred Astaire movies ready to be screened, as well as Three Stooges films. 'I put all this stuff in here,' he observed, 'so I will never have to go out there, there,' he said, indicating to the outside world.

There was also a wood-panelled trophy room where many of Michael's trophies were displayed in mahogany cases. All of the Jacksons' gold and platinum alb.u.ms cover the walls. The family joked that if LaToya ever managed to get a gold alb.u.m, there will be no place to hang it. (So far, that has not been a problem.) Amid the magazine covers and other memorabilia, there was a six-foot-long diorama of Snow White and the Seven Dwarfs. 'One day I got a call from Mike,' recalled Steve Howell, who was employed by Michael as a video historian. '"Come by with the video equipment, you'll never guess who's comin' over." "Who?" I asked. "Snow White and the Seven Dwarfs!" He'd hired Disney's costumed actors. I said, "Oh, okay, cool." Nothing was unusual when you worked for Michael.'

Steve's video of that day shows a childlike Michael, twenty-six years old at the time, playing with the dwarfs in the trophy room and being serenaded by Snow White. From the expression on his face, one might think it was one of the happiest days of his life.

A circular white marble staircase with a green carpeted runner led to the upstairs quarters: a gym, and four bedroom suites, each with its own bathroom. Michael's bedroom was large and cluttered. 'I just want room to dance and have my books,' he said. He had no bed; he slept next to the fireplace on the floor, which was covered with a plush green rug. Some of the walls were covered with fabric. Pictures of Peter Pan hung on others. There were wooden shutters over the windows, which he usually kept closed. The room was always a mess, not s...o...b..sh, just messy books and records were everywhere, videotapes and music tapes piled high. Fan mail was stacked in the corners.

Also in the bedroom were five female mannequins of different ethnic groups Caucasian, Oriental, Indian and two blacks. They were posed, looking with blank eyes at visitors. Well dressed and life-sized, they looked like high-fashion models, wearing expensive clothing. Michael said that he originally planned to have one room in the house specifically for the mannequins, but he changed his mind and decided to keep his plastic friends in his room. Katherine must have been relieved.

'I guess I want to bring them to life,' Michael explained. 'I like to imagine talking to them. You know what I think it is? Yeah, I think I'll say it. I think I'm accompanying myself with friends I never had. I probably have two friends. And I just got them. Being an entertainer, you just can't tell who is your friend. So, I surround myself with people I want to be my friends. And I can do that with mannequins. I'll talk to them.'

Dr Paul Gabriel, a professor of clinical psychiatry at New York University Medical Center, has a theory about Michael's penchant for mannequins which he still has today, as seen on Martin Bashir's 2003 doc.u.mentary about him: 'That's a special eccentricity, in the category of narcissism. We like to think we're beautiful. We make images of ourselves. Children are very narcissistic. They see themselves in their dolls, and that's what this is about for Michael Jackson. After age five or six, they begin to give some of that up, but he apparently never did that.'

Later, there would be a crib in the corner of the bedroom, which was where Michael's chimpanzee, Bubbles who became a celebrity himself slept.

Michael's bathroom was impressive, all black marble and gold. The sinks had bra.s.s swans for faucets.

A winding stairway led from the bedroom up to a private balcony on which Michael had an outdoor Jacuzzi for his own use.

LaToya's bedroom was down the hall from Michael's. 'He makes so much noise,' she once complained. 'You hear music in his room when he's trying to create. Or you hear the Three Stooges on TV, and he's up all night, laughing. The light is always on; Michael is forever reading books. You can't get in his room for the books and junk. I feel sorry for the housekeeper.' Ever the practical jokester, Michael enjoyed hiding bugs and spiders under LaToya's sheets so that she would scream upon finding them. Also, said LaToya, Michael wouldn't think twice about going into anybody's bedroom, opening drawers, and looking inside. He would frequently exasperate his family members by poking his nose into their personal businesses, but he would become extremely upset if anyone ever did such a thing to him.

Hayvenhurst unofficially named after the Encino street on which it was located was the perfect retreat for Michael Jackson. It was certainly a far cry from the modest home in which he had been raised as a small child, and even from the traditional home that had previously been on the property. From the roof of the house, Michael would watch the sunset and the glow of the twinkly white lights that decorated all of the property's trees and outlined the framework of the house.

Michael Meets with Berry, Again.

On 12 March 1983, the co-management contract Michael Jackson and his brothers had with their father, Joseph Jackson, and with the team of Ron Weisner and Freddy DeMann expired. It was expected that Michael would renegotiate and sign a new deal. However, he was not eager to do it. 'Let's just wait and see what happens,' he kept saying when the subject was broached. Michael, now twenty-four years old, had experienced great solo success with Thriller Thriller and, as a result, was more confident in his decision-making processes. He had just been presented with a double-platinum award for and, as a result, was more confident in his decision-making processes. He had just been presented with a double-platinum award for Thriller Thriller at a press conference held at CBS's West Coast offices; he knew how powerful he had become in the record industry. He no longer felt compelled to follow the lead of his brothers, who had said they wanted to continue with Joseph. From this point on, Ron Weisner, Freddy and Joseph would work without a contract while Michael made up his mind how to handle them. at a press conference held at CBS's West Coast offices; he knew how powerful he had become in the record industry. He no longer felt compelled to follow the lead of his brothers, who had said they wanted to continue with Joseph. From this point on, Ron Weisner, Freddy and Joseph would work without a contract while Michael made up his mind how to handle them.

Certainly, if Joseph wanted to continue managing Michael's career, he was not scoring any points by mistreating Katherine. Michael had witnessed a great deal of domestic heartbreak in recent years and found it impossible to separate the man he held responsible for it from the one who managed him. He was beginning to contemplate his options. 'Why does Joseph have to be in the picture at all?' he wondered. 'Is it because he's my father? Well, that's not good enough.'

Michael was also still troubled by a letter Joseph had written to Ron and Freddy back in 1980. In it, he a.s.sailed the managers for spending too much time on Michael's career and not enough on that of his other sons. Joseph probably did not expect the letter to get into Michael's hands. If it was up to Joseph, Michael wouldn't even have a successful solo career. Of course, Michael's success with Thriller Thriller could actually bode well for the brothers, in terms of work opportunities as long as Michael remained a part of the group, which was beginning to seem an unlikely proposition, especially after his next television appearance. could actually bode well for the brothers, in terms of work opportunities as long as Michael remained a part of the group, which was beginning to seem an unlikely proposition, especially after his next television appearance.

In March the same month Michael had a number-one hit with 'Billie Jean' Suzanne dePa.s.se was in the final stages of mounting an NBC special 25 called Motown 25: Yesterday, Today and Forever Motown 25: Yesterday, Today and Forever to celebrate Motown's twenty-fifth anniversary. Suzanne, president of Motown Productions at this time and Berry Gordy's respected right-hand woman, expected all of the former Motown stars, some of whom had left the company acrimoniously, to reunite for this one evening to pay tribute to fifty-four-year-old Berry, and acknowledge his impact on their lives and careers. to celebrate Motown's twenty-fifth anniversary. Suzanne, president of Motown Productions at this time and Berry Gordy's respected right-hand woman, expected all of the former Motown stars, some of whom had left the company acrimoniously, to reunite for this one evening to pay tribute to fifty-four-year-old Berry, and acknowledge his impact on their lives and careers.

Suzanne did not find it easy obtaining commitments from the artists. For instance, it had been her idea to reunite Diana Ross and The Supremes, thirteen years after that group disbanded. But Diana, now an RCA recording artist, hadn't seen Berry since she left Motown, wasn't sure how she felt about him, and decided not to cooperate. Her decision put a proposed Supremes reunion segment in jeopardy. It was decided that there would, instead, be a reunion of Michael Jackson and The Jackson 5, including brother Jermaine, who had not performed with the group since 1975. All of the brothers agreed that it would be an excellent idea to have a reunion for Motown 25 Motown 25 all, that is, except for Michael. all, that is, except for Michael.

First of all, Michael did not want to appear on a television programme. The reason he so enjoyed making music videos was because, in that format, he could have complete control over the final product. Every aspect of his performance could be perfected either by multiple takes or by careful editing. Performing 'live' for a studio audience on a programme that would be taped for later television broadcast was a risky proposition. He would not have as much control as he felt he needed in order to duplicate the quality of his video work. No matter how he did it on television, there was no way it would be as... magical. magical.

Also playing a large part in Michael's lack of interest in Motown 25 Motown 25 was that working with his brothers again, even if for a national, prime-time audience, wasn't as appealing to him as it was to the rest of the family. For years he had depended on the Jacksons for love, support and even professional status. However, recently he had begun to break away first, emotionally by distancing himself from them and then, professionally, by out-scaling their success with his own. He never actually made an announcement that he was leaving the group, but Michael definitely no longer wanted to be perceived as one of The Jacksons. was that working with his brothers again, even if for a national, prime-time audience, wasn't as appealing to him as it was to the rest of the family. For years he had depended on the Jacksons for love, support and even professional status. However, recently he had begun to break away first, emotionally by distancing himself from them and then, professionally, by out-scaling their success with his own. He never actually made an announcement that he was leaving the group, but Michael definitely no longer wanted to be perceived as one of The Jacksons.

Beyond that, Michael had ambivalent feelings about Berry. He hadn't forgotten the meeting they had had in 1975. Berry had promised that he would do nothing to hurt the Jackson family. However, he then seemed to encourage Michael's favourite brother, Jermaine, to leave the group. It was a bit more complicated, but that's the way Michael chose to remember it. He also felt that Motown had, as he put it, played 'hard ball' by preventing him and his brothers from using the name 'Jackson 5' at CBS. In a sense, Michael had unfinished business with Berry and, like Diana Ross, was unsure about partic.i.p.ating in a tribute to him.

It was no surprise that Joseph thought the idea of a reunion was a good one. For him, it wasn't that he cared to pay tribute to Berry Gordy (not likely!) but that he saw an opportunity to present the family singing group in the way he always believed they should be presented: as a united front, brothers till the end. Joseph also saw an opportunity to parlay the group's reunion into a major, money-making tour. The idea was sure to make Michael shudder, however Joseph was considering it, just the same. 'He'll do what I tell him to do,' Joseph said, confidentially. As usual, though, he had underestimated his son. Disregarding Joseph's wishes, Michael discussed the matter with his other managers, Ron Weisner and Freddy DeMann and, also, his attorney, John Branca. He then decided that he wasn't going to appear on the programme.

Berry was fairly blase about the reluctance of some former Motown stars to pay homage to him. Even Marvin Gaye, his former brother-in-law, had said he would not appear. 'It's gonna be a great special anyway,' Berry said. 'Oh yeah?' Suzanne dePa.s.se argued. 'Without Diana Ross and Michael Jackson, what kind of special do we have? We got DeBarge. We got High Inergy. [Both were minor Motown acts.] You have got to talk to these people.'

Berry telephoned Diana; after their discussion, she agreed that she would appear on the programme. Marvin Gaye eventually made the same commitment. However, Michael was still a hold-out.

One night, while Michael was editing a special mix of 'Billie Jean' in a Motown recording studio (which he had leased for the session), Berry decided to show up at the session, unannounced. At first, Michael was flabbergasted to see Berry, but he quickly regained his composure. Berry meant a lot to Michael, despite whatever had happened in the past. At one point, he actually wished that Berry was his father instead of Joseph. The truth is, business complications aside, Berry was always personally kind to Michael, which couldn't always be said about Joseph. Berry also had great respect for Michael, which, again, couldn't always be said about Joseph. Seeing Berry once again felt good to Michael, his smiling face a reminder of some good times at the beginning, at Motown.

Sitting next to him at the control board, Berry asked Michael why he would not appear on the Motown 25 Motown 25 broadcast. Michael explained why he disliked performing on television, but he did not offer his reservations regarding his brothers, or even Motown. Finally, the two began discussing old times at the company, and it was clear that Michael still felt a kinship to his past there. Still, he really didn't want to perform unless he could get something out of it for himself. Why not? Everyone else was getting something out of it: Berry was getting a tribute; the brothers, a reunion; Joseph, his way; the network, big ratings... why not something for Michael? 'Listen, if I do this thing, I want to have a solo spot,' Michael told Berry. broadcast. Michael explained why he disliked performing on television, but he did not offer his reservations regarding his brothers, or even Motown. Finally, the two began discussing old times at the company, and it was clear that Michael still felt a kinship to his past there. Still, he really didn't want to perform unless he could get something out of it for himself. Why not? Everyone else was getting something out of it: Berry was getting a tribute; the brothers, a reunion; Joseph, his way; the network, big ratings... why not something for Michael? 'Listen, if I do this thing, I want to have a solo spot,' Michael told Berry.

'Hey, man, that's cool,' Berry said eagerly. 'I want want you to have that, too.' you to have that, too.'

Berry a.s.sumed that Michael was talking about singing one of his Motown solo recordings, such as 'Got to be There' or 'Ben'. Berry began rattling off a list of the solo songs. He even mentioned 'Never Can Say Goodbye', which, of course, was not a solo recording. However, to Berry, who was never much for the details of Motown history, they were all the same: hits.

Michael shook his head. 'No, Berry,' he said, firmly, 'I want to do "Billie Jean".'

Berry started chewing on his tongue, as he always does when he's deep in thought. He explained that the special was a celebration of Motown and since 'Billie Jean' had been recorded for CBS, it made no sense to have him perform it on the programme.

Michael told Berry that if he couldn't do 'Billie Jean', he would simply not appear on the show. He wanted to prove that, as good as the cla.s.sic Motown hits were, he had been able to come up with a song that was, arguably, even better. Though he'd never been sure it was a good career move for the Jacksons to leave the company that had made them world-famous, it turned out that it was the best thing that could have happened to him and to his brothers. Now, he wanted the public to see his growth. He also wanted to promote 'Billie Jean', which was in the Top Ten and didn't really need it, but why not? Of course, he also wanted 'his way'.

'I don't know about "Billie Jean",' Berry said, stalling. 'It doesn't seem right to me.'

'Well, then, Berry, I'm sorry...'

There was a moment of silence.

'Okay,' Berry agreed with a grin. 'It's "Billie Jean". Hey, what the h.e.l.l, I love that song.'

'Oh, and I want to have final edit on the videotape of the song before it's broadcast,' Michael added.

No other artist had made this particular request; most would not have bothered since it was so highly unusual; Berry wasn't sure what to think about it. Motown always liked to have control over final product; it's just the way it had always been. However, things had to change if he wanted Michael aboard.