Michael Jackson by Daryl Easlea

Author:Daryl Easlea
Language: eng
Format: epub
Publisher: Quarto Publishing Group USA
Published: 2016-01-15T00:00:00+00:00

Jackson’s performance of “Billie Jean” at Motown 25 is one of the greatest moments in popular music of all time.

Jackson was finishing some edits on “Beat It” at Motown’s studios in Los Angeles, when he encountered his old boss, Berry Gordy, who asked him to take part in the celebration. Gordy wanted him to reunite with his brothers, with Jermaine back in the fold. Jackson understandably wanted nothing to do with it. “I said no because of the Thriller thing,” Jackson told Ebony magazine in 2007. “I was building and creating something.” Gordy persevered, leading Jackson to give him an ultimatum. “I said, ‘I will do it, but the only way I’ll do it is if you let me do one song that’s not a Motown song.’ He said, ‘What is it?’ I said, ‘ “Billie Jean.” ’ He said, ‘Okay, fine.’… So I rehearsed and choreographed and dressed my brothers, and picked the songs, and picked the medley. And not only that, you have to work out all the camera angles.”8

Gordy was shrewd. Never one to miss an opportunity, he knew that Jackson’s appearance would propel his spectacular to huge viewing figures and gain additional revenue through the sell-through video business. He would have the hottest artist in the known universe performing the biggest hit of the year. And what a performance it was.

In their spangled finery—with Michael sporting the single white glove that he had taken to wearing at the start of the ’80s, having decided that wearing two “seemed so ordinary”—the original Jackson 5 reunite first for the two-song medley of “I Want You Back” and “The Love You Save,” with Randy joining them at the end. Then, with all six onstage, the brothers run through “Never Can Say Goodbye” and an impassioned “I’ll Be There.” They are clearly enjoying the moment, and Michael seems genuinely touched to be back in his old role—and to see Jermaine, returned to stage left, behind his bass. When Jermaine sings his verse in “I’ll Be There,” Michael holds the microphone for him; they hold hands before embracing. Although a little awkward, it is a rather touching moment, and the emotion remains when all the brothers huddle closer for the final verse. All the training that Joe had put them through in that room in Gary still rings true.

Then, the brothers take their bow and depart from the stage, leaving Jackson alone. “I like those songs a lot,” he says, “but especially… I like the new songs.”

Ndugu Chancler’s beat to “Billie Jean” kicks in, Jackson grabs a fedora (snuck out to him by assistant Nelson Hayes), and it is like the entire auditorium has been plugged in. And then, halfway through, he moonwalks—two two-second bursts of the movement that would cause an absolute sensation. Exactly who taught Jackson to moonwalk—or “glide,” as it was known—is, like many Jackson landmarks, open to interpretation. It is commonly thought that Derek (Cooley) Jackson and Geron (Caszper) Canidate, who were dancers on Soul Train, taught

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