andjustice4some
@andjustice4some
On the HIStory album, Michael is literally telling the listener that he isn't who he's portrayed to be. He is a dedicated fine art enthusiast, a self-taught history student; he is educated. He's not just some disconnected pop star running around Neverland with a water gun.
Casey Rain (aka S-Endz)
@CaseyRain
25 years ago today. And this is my original copy I bought in 1995. I was alive for Bad, and Dangerous, and a fan, but young. HIStory I remember living through. Buying all the singles. Watching every TV appearance. Seeing the statue float down the Thames.…
https://instagr.am/p/CBgeRnTBV5n/
The MJCast - A Michael Jackson Podcast Retweeted
8:24 in Nairobi Carousel horse
@asap__rickey
25 years later, MJ’s last major campaign still manages to relate his own life to the world around him, with a unique aura and relevance to still-pressing world issues. MJ’s goal for longevity was ever-present on History, and we the fans continue to preserve his legacy.
The aggression continues in a far more scathing form beneath the continuous double- snare of They Don’t Care About Us. Though inspired by the Rodney King incident back in 1991, the song became far more personal after Jackson’s humiliation at the hands of the Santa Barbara and Los Angeles Police departments. It wasn’t just about ridiculous and unfair media speculation anymore, it was now about first-hand experiencing a dehumanizing and pride-shattering event. The reworking for the History sessions was just what the song needed. It’s bittersweet to understand just what Jackson put into the song, yet the result is an anthem for movements such as Black Lives Matter in the 2010’s. It should have been much sooner, but the calculated criticism behind the lyrics of the song suppressed it before it was ever released.
The tried-and-true Jackson snares now seek to become the centerpiece of the song, not just a driving accompaniment. Synth is carefully placed over the Snares, as if hovering in the background, at times with choral voices. The hovering effect of the synth gives the aggression some sense of solemness, a sense of not “what have we done?” But “what have you done to me? To us?”. It hovers over the beat almost unnoticeable, but through the verses and chorus it begins to build. It’s like a musical narration of the Michael’s growing despair. It’s virtually a musical manifestation of angry shouting turning to uncontrollable voice breaks from sobbing. You can hear it in the final bridge “Don’t you wrong or right me!”. The synth/snare combo gives way to an appropriately raucous guitar solo, with overdubs backing like a spreading wildfire. The calm comes, but Jackson isn’t done, following his reference to Franklin D. Roosevelt to Martin Luther King. Into the final loop, he seems to reference the wildfire created, “We’re deep in the fire!” Some could argue that the Staccato delivery of the lyrics make it a hip-hop track, and compared with the familiar sounds of the 2010’s this wouldn’t be too far from considerable. The message resounds well with the oppressed and those who are aware of it, but the greatness of the track also rests with the delivery of the message. The simple two note melody allows the song to stick far easier, creating a crystal clear path for listeners to understand. It’s simplistic, yet complex in its many implications and hidden elements.
Jackson makes it clear that the song isn’t just about him, but about his people and all oppressed people. He makes it clear that he has felt their pain, he is speaking from it and that he stands with them. At the same time, he lets the world know exactly what riled inside him as a result of his own. With his own experience opening his eyes to the pain and injustice hurled at millions, Jackson seeks to make the rest of the world aware. Though many tried to suppress the song, and even the video, it’s that with some the message resounded and is just as relevant. In an age where social injustice, particularly towards people of color, is far more visible, attitudes towards social injustice have led to complete injustice intolerance.
Jackson’s messages in both videos are often missed by the casual viewer. Many would question why when speaking (mostly) from a Black-American perspective, his video would be set in Brazil. It was not only To bring attention to a part of the world plagued by poverty and ignored by the government, but also to a country that had drastically changed over hundreds of years due to colonization and marginalization. Jackson’s presence in the favelas of Brazil showed his deeper understanding of history. This made it far more subtle of a message, but not at all less meaningful. The prison version of the video is a much more direct message, with Jackson and his fellow inmates seemingly tormented by inhumanity of the past and present. Decades before Kendrick Lamar took the BET stage in a prison uniform atop a police car or J. Cole opened his shows in an orange unicorn escorted by armed police, Michael Jackson danced through a prison in Queens and the favelas of Brazil alongside the oppressed and singing for a far more collective “us”.
Stranger In Moscow
It’s important to understand where Stranger in Moscow emerged from to truly appreciate it. It was written on a rainy day in Moscow, and Jackson called his musical director Brad Buxer to his hotel room because inspiration had struck. It’s clear from listening to the song that, through his anguish, Jackson had tapped into some of the deepest forces of inspiration. It’s also easy to reference the music video for the song to visualize the mood of the song. Yet, at the same time it’s entirely possible to tap into the feelings of isolation and loneliness that the song stemmed from simply from the chords and lyrics. It’s not a song that can be appreciated from simply letting it play in the background, at least not fully. One must fully immerse themselves to be transported.
Stranger in Moscow is many things at once in a song. Like being in a dream, trapped in a void, existing in an entirely different plane of life. Like being invisible, with the entire world passing right by you. Like a brooding storm on the horizon; ominous clouds, heavy rain, rumbling thunder in the distance. Staring out into the rain with the weight of the isolation crushing on your shoulders. These are the images I see every time I listen to the song. The genius of Stranger in Moscow is in exactly that, the images painted with the music itself. The result is one of the most beautiful pieces of music ever created by Michael Jackson.
It constantly builds upon itself. The beat, crafted from Jackson’s beat boxing, (which is still left hidden in the final song), gives way to a somber rhythm guitar. The rhythms stack, Strings begin to slowly rise, the bass booms and suddenly Jackson’s vocals, sorrowful and haunting, come as if out of the darkness of the void. His responding harmonies are just as ominous, like narrating spirits.
The song poses a key question: “How does it feel when you’re alone and you’re cold inside?” Listening to Jackson’s voice and his choice of words, it’s easy to see and feel as he felt. Lyrics like “Swift and sudden fall from grace” and “Armageddon of the brain” are not just poetic, they describe what was manifesting in Jackson up to that point and beyond. The song constantly builds upon itself, and you can almost feel the storm constantly getting closer by the time of the bridge. Finally, the storm comes as the song reaches its peak of tension that Jackson finally releases: “We’re talking DANGER!”.
Buried amongst more controversial releases on the album, it’s a shame Stranger in Moscow was not given a fair amount of attention in its time. It is without a doubt one of Jackson’s most enduring and powerful songs. Rightfully so, it’s possibly his most haunting.
This Time Around
This Time Around took Jackson’s Aggression to a new level of personal. Defiantly, he declares “This time around, I’m taking no shit!”. It’s perhaps the most hip-hop sound on the album; dark with a sense of foreboding, thumping bass, a thick, sinister rhythm guitar leading the way and an appropriately aggressive verse from Biggie Smalls. Jackson himself delivers a snarling, growling and raspy vocal performance, with less force than but just as much aggravation as Scream. Each time he says “this time around”, his voice seems to drip with venomous disgust. He’s poised like a rattlesnake, defensive and ready to strike back at any moment “this time around”. The harmonies of the chorus evoke a daring and challenging emotion, a rebellious continuation of life. For those with knowledge about the allegations, this song is clearly directed at Evan Chandler. But it also goes a step further in Jackson’s own growth as a person. After seeing the dark side of being open and trusting, Jackson was now determined not to let people leech off of his fame for their own gain.
It’s a reminder that beyond Jackson’s childlike public persona was a powerful and calculating businessman, a proud man with dignity. It was Jackson’s own motivation to himself that he could and would not allow his career to be hijacked in such a way. Though it could be (and was) dismissed as paranoia, it’s not paranoia when you’re coming out of a situation in which forces conspired to see your downfall. It is a declaration of defiance and personal pride, a reinstatement of self-dignity all cruising alongside a grooving and driving rhythm. It doesn’t evoke as much imagery as some other songs on the album, but it is still a fitting and powerful addition to the picture Jackson paints throughout. For the urban sound that Jackson pursued beginning with Dangerous, the rage surrounding History coupled with the sound of Dallas Austin and The Notorious B.I.G was the perfect force to bring it to life.
Earth Song
Earth Song is arguably the most enigmatic piece in Michael Jackson’s entire catalogue. The casual listener might point to Heal The World or Man in The Mirror, Jackson’s other anthems for tolerance, peace and understanding. However, Jackson’s message on Earth Song, though similarly powerful, is much more aggressive. Here, in Earth Song, he’s not just kindly suggesting a change, he’s calling out all of humanity for greed, for complacency. He’s speaking to God and trying to understand where did everything go wrong, (which he literally asks). But he doesn’t only point the blame, he accepts his role in it as well. Not only that, lazily comparing Earth Song to any other song ignores the complexity of the track. Virtually, it is a three-part song. It begins with a rumbling nature sound, bringing images of the entire Earth to the listeners mind. The melody kicks in as mostly piano-led, a lamentation of Earth’s (then) present state, almost in mourning as though the planet has been completely devastated. The iconic piano melody is sweet, evoking a sense of nostalgia and longing, and complimented by subtle strings and later an equally subtle and mournful rhythm guitar. It almost plays out like the aftermath of an apocalypse, mourning the world’s dying state. It echoes similarly to Stranger in Moscow, an empty world but more like into the ashes of what’s left behind than abandonment. About 2 minutes in, the beat dramatically changes and bass (guitar) kicks in. The bridge (an underrated staple in Jackson’s tracks) sees a key change and further melancholy, mourning screams added onto Jackson’s. Jackson sums up how much has changed, “I used to dream, i used to glance beyond the stars. Now I don’t know where we are, although I know we’ve drifted far” with a sense of guilt and anguish. In conclusion, he delivers two minutes of earth-shattering (and throat-shattering) vocals beyond anything he had ever done before, appropriately accompanied by the Andrae Crouch choir and now thunderous bass-led instrumentation. The music shifts to almost depicting the complete implosion of the Earth itself; somber, epic and ultimate. It is this powerful operatic delivery that brings Earth Song to a conclusion.
To sum it up, Earth Song could be best described as a rock-opera-blues-gospel extravaganza. One could write a book on the many elements and references contained in Earth Song. Jackson’s opening sorrowful verses contain the blues elements, as he seemingly looks over the ruins of the Earth. Gospel elements emerge with the use of the Andrae Crouch Choir’s call and response to Jackson’s operatic vocals over a now rocking instrumentation. Though it was shamefully dismissed by rock critics as “whiny”, that only speaks to how truly obtuse they could be to black music in general but also the critically apprehensive attitudes towards Jackson. To be fair, the music and message is a lot to take in on the first few listens. Earth Song, to a much further extent than Jackson’s other pursuit of perfection tracks, takes multiple deep listens to fully appreciate and understand. It is a powerful display of Jackson’s deep care for Planet Earth and his sensitivity to the world’s problems. But it matters that he is able to put this into his creation. He specifically laments the treatment of animals, the destruction of the environment, war, children, poverty. He begins the final sequence stating, “Heavens are falling down, I can’t even breathe”, speaking to the weight he carries from caring about these issues in real life, but the in-song real-time end of the world as we know it.
D.S
D.S continues Jackson’s hard rock inclusions in his discography. It’s the most direct act of aggression on History, a clear and thinly veiled diss track towards then- Santa Barbara county District Attorney, Tom Sneddon. To avoid potential legal action, the song was renamed D.S with “Dom Sheldon” being printed as the official lyrics. To the listener’s ear, however, Jackson seems to clearly sing “Tom Sneddon is a cold man.” Sneddon seemed to display a clear vendetta towards Jackson, going after him seemingly with personal satisfaction and clear attempts to humiliate. He presented such weak cases that at one point he attempted to falsify evidence towards the star in clear view of the jury. But beyond that, his blatant prejudice towards Jackson was felt by the artist. Here, Jackson presents his own satisfaction in putting Sneddon on blast continuously.
D.S is driven by a steady, raucous guitar riff and hints of synth carefully placed. Delivering savage vocals as barbarous as the lead guitar, Jackson comes for Sneddon as a man, all but out-right calling the attorney a corrupt, white-supremacist with no substance or true character. He even goes as far as to suggest Sneddon is a pariah in his own life, such a dastardly and heinous character that not even his mother loved him the right way. The lyrics are delivered in such a way that one could imagine Jackson adamantly and animatedly saying this to his friends or an audience. After the second chorus, Guns-N-Roses guitarist Slash delivers a passionate, strident guitar solo, so resounding it could have left the studio speakers in flames. After this we are returned to a final loop of the chorus, with guitar sounds of the background sometimes carrying the melody. Before the song ends with a gun-shot, Jackson asserts that “he’s [Sneddon] just a dog!!”. D.S is the most direct attack on the entire album, seeming to give some type of relief to the artist. Though Sneddon claimed to have not listened to the song, he was aware of the gunshot ending.
Money
Money is another approach to Jackson’s New Jack Swing sound heavily incorporated into Dangerous, with the song built around the shuffling beat and accents of percussion as well as a subtle bass guitar. It’s slightly funkier than his other forays into new jack swing territory. It’s among the more stripped of Jackson’s catalog, but this is likely an intentional effect as the power of the song is in the lyrics. Though he speaks generally about extreme human exploits for money, Jackson relates it to his own personal troubles through his view, as many vultures gravitated around him for money. Jackson, almost like spoken word, describes a society and people possessed with a demonic obsession with and pursuit for money, even willing to hurt and betray others for personal gain, calling it “the devil’s game of greed and lust”. The chorus even goes “I’d lie for you, die for you, even sell my soul to the devil”. He goes as far as to reference historical business tycoons known for building fortunes through clandestine means, including Cornelius Vanderbilt, J.P Morgan, John D. Rockefeller, Donald Trump, Andrew Carnegie and Jean Getty.
Money is eerie and thought-provoking, but ultimately clever, meaningful and nifty. The somewhat minimalist instrumentation is meant to allow the listener to tune into what Jackson has to say. Beyond the chorus and his ending ad-libs, Jackson speaks (raps?) the entirety of the song. From his view, some greed is so strong that people would “if you know it’s a lie, then you will swear it. If you get it with guilt, then you will bare it. If it’s taking a chance, then you will dare it. You would do anything for money.” It’s not the sinister sound of This Time Around, but still creates a similar effect of a dark world. Like the album itself, the song matters because it takes Jackson’s personal experience and relates it to the state of the world. It’s even his way of making people realize the reason he was targeted in the first place; a greedy and devilish pursuit for money.
Come Together
Come Together isn’t very much to dissect, but historical connotations are buried in the song. It is a direct attack on the music industry. The appearance of the track on History is somewhat confusing, especially considering the music video recorded for Michael Jackson’s Moonwalker and it’s other release as a B-side to Remember The Time. However. It’s inclusion on the History album is the same reason it could fit on any other album with enough rock influence; The over-arching goal in Jackson’s career and in most music is to bring people together. It does also speak to Jackson’s ability to convincingly shine in almost any genre. It was hardly touched since its original recording, a rare move for the perfectionist artist. It’s a funkier rendition of the Beatles version, symbolic of the inspiration behind the track (or rather direct plagiarism) from the original rock & roll mogul Chuck Berry. Jackson was aware of and disheartened by the erasure and minimization of black artists before him. When he purchased the Beatles catalogue, one of his first moves was restoring Little Richard’s publishing to the artist. In 2002, he spoke about his feelings towards the erasure of black artists in a speech about racism in Harlem, New York. Jackson stated, “It’s very sad to see that these artists really are penniless. They created so much joy for the world, and the system, meaning the record companies, totally took advantage of them.” In the same speech, he also stated, “But if you go to the bookstore down at the corner, you won’t see one black person on the cover! You’ll see Elvis Presley. You’ll see the Rolling Stones. But where are the real pioneers who started it?
Otis Blackwell was a prolific, phenomenal writer. He wrote some of the greatest Elvis Presley songs. And this was a black man. He died penniless. And no one wrote about this man ever, they didn’t write one book about him at all.” Soaring over his own interpretation of the song, Jackson triumphantly and appropriately reclaims the song for Chuck Berry and for the culture. Thus, we find that the true intention behind the inclusion of the track is an ode to the legends before him in a lane where Jackson is taking on the darkness of the world through his music.
You Are Not Alone
Amongst the rage present throughout History, is an ever present theme of loneliness and isolation. You Are Not Alone was not written by Jackson, one of only two songs on the album not penned by the artist. However, it was chosen by Jackson as it reminded him of personal events in his life. It is a rich, blissful, and alluring love ballad, the only love song on the album. There is a gloomy feel to the song, a sense of longing and desperation, yet also a feeling of delight to come. The instrumentation revolves around and meshes with the vocals and harmonies similarly to Human Nature. The melody of the song is carried and enhanced by the radiant synth echoing over it. Throughout the verses, Jackson laments the loss of love and reminisces on what he once had. He seems lost, and by the second verse he is describing what he would do if his love returns. The chorus seems to represent a comforting force present that reassures him, perhaps the knowledge that then-wife Lisa Marie Presley is around for him. Our first hint at the comforting presence Presley provided for Jackson was his reference to her in They Don’t Care About Us, “I have a wife and two children who love me!”. The climax of the song manifests in a key change accompanied then by a choir, which was Jackson’s main contribution to the song. In the final seconds, after his incredible twelve-second hold, Jackson delivers emotionally searing, almost crying vocals reminiscent of Who Is It. The voice whispering in Jackson’s ear throughout the song seems to have made its mark, as Jackson declares in emotional relief his realization that he no longer has to feel alone. One could almost visualize tears of joy streaming down his face as he sings sorrowfully but triumphantly. It is a breakthrough for an artist who had for so long felt that few could truly understand and be there for him.
Where Stranger in Moscow seemed to be an unrelenting void of isolation, You Are Not Alone seems to contain an answer to that loneliness. What in his life was that answer? The best guess would be Lisa-Marie, Jackson’s wife at the time whom he began dating early in 1993 and whom supported him throughout the tribulations of that year. The journey through Jackson’s outrage would not be complete without the sorrow he inevitably also felt. You Are Not Alone is the perfect manifestation of the two part chronology created between it and Stranger in Moscow. It is fitting that such a meaningful ballad was Jackson’s last (and quickest) ascension to the peak of the Billboard 100. With a new love in his life pushing him forward, Jackson is rejuvenated and ready to continue with his head held high.
Childhood
With his personal loneliness now solved, Jackson turns to his audience and asks them for understanding in Childhood. It is one of the most vulnerable and honest tracks Jackson ever created, another step away from his more commercially-motivated songs of albums prior. Recorded with a live orchestra, it contains far more classical elements than R&B or pop influence. The strings create a somber but wistful atmosphere, with hints of Disney influence. It evokes more sense of longing, but this time for understanding. It is dreamy, magical, and misty like a child’s lullaby, with heavy classical atmosphere. It’s befitting of the mood that Jackson chose to record the song with live orchestra. The song is literally Jackson’s upbringing and life to that point in song, and throughout he laments the negative side of his public perception.
Jackson begins the song with a phrase repeated throughout; “Have you seen my childhood?”, singing with a sense of sincerity and humbleness. Anyone who knows Michael Jackson attributes his childlike demeanor to the sacrifice of his childhood for being a star. As Jackson himself put it at the 1993 Grammy’s, “My childhood was completely taken away from me. There was no Christmas, there were no birthdays, it was not a normal childhood, nor the normal pleasures of childhood — those were exchanged for hard work, struggle and pain and eventually material and professional success. But as an awful price, I cannot re-create that part of my life, nor would I change any part of my life.” As he sings, it is clear that Jackson has since and forever longed for that part of his life to be returned to him. To an extent, he did so in Neverland and his urgent mission to provide as much normalcy and love to children across the world. Each of his solo tour stops involved him visiting underprivileged children, whether to give away gifts or simply spend time with children few others checked for or even thought about. Jackson also stated his belief that stolen childhoods were a major problem in the world, leaving humanity devoid of compassion and understanding, leading to problems such as prejudice and greed. Through his own personal plea for patience and understanding, Jackson hopes that listeners can understand what makes him different and also care more for neglected children across the world.
Tabloid Junkie
Tabloid Junkie is the first in the final three collaborations between Jackson and duo-producers Jimmy Jam and Terry Lewis. The entire album shifts from mid and slow tempo to upbeat rhythm tracks. Jackson returns his attention to the media with more aggression. It’s similar to Scream in content, but here Jackson specifically outlines the danger of the media’s constant misrepresentation of himself. His focus, though, seems speaks more to those who believe the media. As a song, it plays with the seriousness of a rapid-pulsing heart. The song opens with a circus of media headlines eventually combining with animal sounds, symbolic of the endless, often exaggerated headlines about Jackson. Then, the beat kicks in with a hustling, weighted tenacity. It’s slightly stripped, with focus again put more on the snare-emphasized, rapid beat built from Jackson’s inhuman beatboxing (which is left in the final song). Jackson’s verses are delivered as a speedily urgent mumble rap, while the chorus is belted with an equally urgent but more pleading delivery. “Speculate to break the one you hate, circulate the lie you confiscate, assassinate and multilate is the hounding media in hysteria” is the opening line to what sounds like the beginning of a conspiracy theory. The true purpose of such piercing lyrics is to paint a picture of a blood-thirsty and malicious media intent on destroying Jackson’s image.
To be fair, tabloid articles were in fact incredibly dehumanizing towards the artist. On the best days, Jackson was depicted as a weirdo, and on the worst a monster. While describing the media, Jackson also turns his attention to those who intake the headlines. “You don’t have to read it, and you don’t have to eat it. To buy it is to feed it!”, he pleads with the audience. “Just because you read it in a magazine or see it on the TV screen don’t make it factual”, is the running harmonized refrain and the overarching message of the song. The message is delivered through dense and luxuriant harmony, far easier to intake than the verses. This puts extra emphasis on the true point of the song, beyond the conspiracy Jackson (justifiably) believed took place against him on a daily basis. Just as the verses are hard(er) to hear, laced with aggravation and disgust, the chorus seems to represent the relief of releasing such negative intake for the listener, almost like poison in a lifeline. He refers to journalists as “parasites in black and white”, in fact leeching off Jackson’s fame and weaponizing their words though they “say it’s not a sword”. The malice in the sword seems to be boundless, as Jackson speculates these “parasites” would “crucify the Lord”.
But Jackson seems to go deeper to and hint at the root of such blatant prejudice towards him and his success. The second verse he declares from “in the hood”, “shoot to kill, blame him if you will, if he dies sympathize, such false witnesses”. In 2020, these bars read like an eerie premonition as black men are frequently murdered in cold blood, and blamed for their own deaths. But I digress. Even as it pertains to Jackson, negative press dogged him to his death and beyond, with little genuine sympathy offered in his wake by those who persecuted him in life with false accusations and character assassination. Tabloid Junkie plays like a grim painting of his life, and like an eerie premonition 25 years after its initial release, as the assassinations continue and false witnesses continue to manipulate the truth of our present-state.
2 Bad
2 Bad, though aggressive, is more a defiant mockery of his detractors than a complaint. It’s one of the more experimental tracks on the album, like all of the collaborations between Jackson, Jam and Lewis. Opening with a sample from Run DMC, and an increasingly heavy, brooding electrical guitar riff, Jackson declares himself “The King of Pop” and that “there is none higher”. One of the goals of the album was to rebuild Jackson’s aura, and by this point in the album he has stated most of his grievances and risen above them. With that and another innovative, fighter-jet speed beat at the mantle, horns to accentuate and a ferocious chorus, Jackson roars through the track. Shaquille O’Neal delivers a relatively solid rhyme as well, reaffirming Jackson’s status. The message of the song is that the forces after Jackson are evil, filled with “bloodlust”, “dead and stuffy in the face”, but ultimately failed to take him down. Through the song, Jackson states, “Looks who’s standing if you please, though you tried to bring me to my knees”, and his final verse line is “I’m right back where I want to be, I’m standing though you’re kicking me.”
Though Jackson consistently delivers with a bite similar to Scream and This Time Around, the venom has dried and is replaced with a vicious but liberated mockery. “Too bad, too bad about it, why don’t you scream and shout it?”. He shouts it, though forcefully, with a certain relief and playfulness. The aggravation remains, but his words indicate that’s not completely his mood. He hits but doesn’t run. He again challenges the unnamed forces after him, making it clear that he’s not backing down. He also makes it clear that he felt their best shot, but rose again stronger and more determined than before. The journey has now reached the rehabilitation stage, as Jackson is now looking past his enemies’ malice and now ridicules their attempts. A worthy spiritual successor to Bad in 1987, Jackson again asserts “Who’s Bad? I’m bad and there’s nothing you can do about it. Too bad, so sad” in spite of the heinous provocations against him.
History
The title track is grand, regal and ambitious, rooted in both struggle, determination and victory. Jackson looks inwardly at his rise back to the top of the mountain and now wants to use that to live his biggest dream: to inspire. This is all contained in the music itself slightly more than the lyrics. Like Earth Song, History is broken down into three parts: the struggle of the verses, the triumph of the chorus and the total decisive victory depicted in the climax. It is a story of hard work and sweat paying off to seeing ones dreams come true, with dozens of historical references and quotes being the example. It is meant to be uplifting and inspirational, also to promote unity and compassion amongst other people; a wake-up call.
The song opens with a sample of the Great Gates of Kiev, establishing a mood of grand accomplishment, honor and valor. Then, as if being played through a tape recorder, it suddenly shifts to history-depicting score. The grand sound erupts into a steady, hard-hitting pulse, complimenting Jackson’s breathily exerted vocals. Jackson’s delivery seems to channel the work songs of enslaved Africans. This transitions into the valiant score of the chorus, sounding valiant and courageous. This music and Jackson’s lyrics are a bold contradiction, (much like history itself), as Jackson solemnly asks “how many victims must there be slaughtered in vain across the land?…. Before we choose to live the prophet’s plan.” It is here that Jackson seeks again to inspire and push the audience towards tolerance and understanding while creating their own life story. “Every day create your history, every path you take you’re leaving your legacy.” Ultimately, through the pain of struggle and dedication, a person can rise above to achieve their ambitions, he seems to say. With victory seemingly achieved, the music again changes to what reminds the listener of a military parade.
Suddenly, it shifts right back to that harsh pulsing and Jackson’s motivation comes back just as hard. “Don’t let no one get you down, keep moving in higher ground. Keep fighting until you are the king of the hill. No force of nature can break your will to self-motivate.” We find ourselves back into a dramatic but costly victory, with the sleek harmonization of Boys II Men added with a hint of sadness. After “all nations sing, lets harmonize all around the world” we hear the voice of Martin Luther King Jr during his I Have a Dream speech, a powerful force to inspire the listener. That protagonist in the song, or the listener, is reminded that their story will go down in history through arguably the most famous speech in history. We then return to our victory march, as Jackson remembers more of those who have fallen in victory’s wake. There is a moment of pause as Jackson asks, “how many children must we see before we learn to live as brothers and be one family?” A moment of remembrance is offered as a jubilant and ceremonious piano solo transitions us into the epic conclusion. Finally, we are transported to the top of the mountain; we have arrived at salvation. The Andrae Crouch Choir returns representing all of those voices united again in a complete and total conquest. Here, a tinge of gospel has been dropped in, as the choir joyfully sings with accompaniment and extra punching emphasis on certain words/phrases such as “everyday,” “legacy” “chivalry” and “together in harmony”. The climax peaks at Jackson’s call-and-response with a young girl, his ascension to a higher-plane through ad-libs and a soaring orchestra of horns to propel him (and the song) higher into the heavens of celebration. As the song fades out, the historical quotes and dates hovering in the background come forth together in a frenzy. We hear the voice of John F. Kennedy and the voiceover from the moon-landing, as Jackson allows the icons of past leave inspiration to the listener.
Little Susie
I’ll be honest. Out of every song Michael Jackson has ever done, Little Susie took me the longest to understand. But it goes back to the understated but vast musical vocabulary Michael Jackson possessed, and that overarching “King of Pop” theme surrounding the overall approach to the album. This was an artist seeking to push his artistic limits. Believe it or not, Jackson originally wrote Little Susie in 1979, but it never had a place on any of his other albums. As much of a pariah that Little Susie is, it is still a fitting Michael Jackson song. After all; his music had been dark since at least Triumph. Billie Jean is his biggest song, but it’s certainly not the “happy-go-Lucky” pop that people sometimes attach to Jackson. This Place Hotel, Thriller, Smooth Criminal, Dirty Diana, Blood on the Dance Floor, and others certainly don’t fit that category either. With that being said, Little Susie is probably the darkest foray into the Gothic ever taken by Jackson, and by extension asks for the most suspension of belief of them all.
Jackson was a huge fan of horror, from the sinister writings of Edgar Allen Poe to the Phantom of The Opera. Little Susie was directly inspired by the poem “Bridge of Sighs” by Thomas Hood, even containing a sample of the poem. It was also inspired by a photo, “Lichtkind”, which Jackson was so inspired by that he included it in the booklet for History. This and his sensitivity towards neglected children are likely what inspired him to write such a piece. The result is the combination of music, poetry, horror and theater. Where Earth Song was a blues-gospel-operatic-rock song, Little Susie is a classical horror-opera ballad. Little Susie is best thought of as a musical play, with a dramatic and sad tale playing out on stage. It plays out as either a poetic song, or a theatrical song (or somewhat of both) depending on your imagination. It opens with the enchanting Pie Jesu and somber strings, already creating an ominous mood, but also transporting the listener back to a centuries old opera-house. Then we hear a little girl’s singing along to a music, an allusion to the beginning of a ghost story. The narrative is a mystery death of a little girl, and it remains unclear whether it was an accident or murder. However, the narration seems to be more about the tragedy of her lonely life (and death) as well as the regret and shock of those who found her body. The instrumentation could remind you of the masquerade balls of old; maroon and gold balconies and drapes, grand chandeliers, the syncopated dancing and eerie masks. It could even take your mind to simply attending the opera. There’s something eerie, mysterious, and unexplainably beautiful about the opera, just like Little Susie. Remember, this is a song that requires a strong suspension of disbelief to understand and thereby appreciate. Ultimately, there is beauty in that understanding.
Jackson’s vocal performance alone is hauntingly beautiful, an ode to the ghostly delivery of Stranger in Moscow. He sings with his usual emotional texture, but with a narrative focus, almost more like a poem than a song. The addition of Pie Jesu represents the range of Jackson’s musical vocabulary. His sample of Beethoven on Will You Be There gave an already moving gospel song a suiting feeling of grandness. This time, Jackson uses classical music to create a far more disturbing narrative. To be fair, the result is quite polarizing. Without any accompanying visual, it’s too much to ask of some to be taken in enough to create their own. However, it is a worthy deep dive into now and long before uncharted territory; a song few other than Jackson would be bold enough or visionary enough to create.
Smile
Smile is famously known in modern times as Michael Jackson’s favorite song, though not many have taken the time to listen to and understand his rendition. The song itself is brilliant on its own, though perhaps not the most conventional Michael Jackson song. The idea came after Jackson invited David Foster to work on History. Foster ultimately helped with songs near completion and convinced Jackson to fulfill his dream of covering Smile. Having long been a fan of and identifying with Charlie Chaplin, it was just the push Jackson needed. Jackson ultimately recorded Smile the same day as Childhood, both with live orchestra performed by the New York Philharmonic Orchestra.
The highlight of the song is easily Jackson’s clear and joyous vocal performance. His vocals seem to imitate the lyrics. Jackson sounds sad and emotional, yet he almost “sounds” as though he’s smiling as he lays the vocals. It’s hard not to feel hints of reflection and sorrow within the song, yet the message and it’s delivery remain encouraging. Divine and heavenly orchestration accompany him through the key changes, and he decides to finish the song, (and album), with a touch of old Hollywood; carefree vocables, a few laughs and finally whistling. Smile and it’s placement is another symbolic addition to the History album, a peek into the superstar’s humanity. Even for Michael Jackson, his cover of Smile is truly an enigmatic classic for his timeless catalogue. After the release of rage and frustrations throughout the album, Jackson finds his peace and comfort again in simply choosing to smile; thus completing the retelling of his life to that point.
Smile is also symbolic for Michael Jackson not just for its ingenious placement in the album, but it also serves as a tribute to his idol, Charlie Chaplin, and Jackson’s identification with him. The rags to riches story and struggles with fame and exile were experiences Jackson had lived through himself. The expression of emotion through song and dance was something Jackson built his career on. It was the perfect tribute for Jackson and the perfect link to place between Michael Jackson and his own idol. But more than that, it was one of deepest glimpses into the man himself.
There’s so much under-appreciated beauty in Michael Jackson’s rendition of Smile. It was, on the surface, an ending moment of solace after the released fury of History overall. However, there is a deeper significance in not only the meaning of the song and Jackson’s choice to place it there. It could be seen as showing the beauty of life. There’s always something out there that will not only give us relief but also give us the motivation or courage to move forward. For Jackson, it’s simply his favorite song and his decision to live by it. By now, Jackson has painted such a grim picture of his life throughout the album that the listener might wonder “wow… how did he get through all that?”. Jackson seemed to consider this, as his cover of Smile could not have been more fitting anywhere else in his career.
History completes a journey through Michael Jackson’s life in song. We see the rage, disgust and loneliness gradually turn to determination and rebellion, ultimately culminating into liberty and personal growth. Themes of isolation, horror, paranoia, racism, greed, love and inspiration explored using the sound of R&B, Hip-Hop, Gospel, Blues, Rock, Opera and Classical all blend into this album believably. With an outward, maximalist focus on experimentation and expression, Jackson’s artistry had never been more far-reaching and ambitious. Many of Jackson’s more passionate fans consider History to be artistic apex. Jackson’s perfectionist pursuits for greatness to always keep his records ahead of the pack pay off in a record that still hits the ears well at age twenty-five, joining the pantheon of his classic albums before. No matter how you feel after the challenging but rewarding journey of History, it’s clear that the passion and honesty buried in the music are the closest we got to seeing (truly seeing) the man behind the artist.
