new book about working with MJ during HIStory

If you have been to Kingvention 2015 or read Iconic Magazine, you will know who Dan Beck is.
Dan Beck is a Music Executive, Creative Strategist, and Author from New York City.

With a career spanning over four decades in the music industry, Beck served as Senior Vice President of Marketing at Epic Records during the height of Michael Jackson’s career. He played a key role in shaping the marketing campaigns for Bad, Dangerous, and HIStory, and was instrumental in bringing Michael Jackson’s visionary concepts to life—both visually and globally. His close collaboration with Michael gave him rare insight into the artist’s creative process and the business dynamics behind some of pop culture’s most iconic moments.

Click to expand...

Dan is now releasing his memoir about working with Michael Jackson during the HIStory era. The book cover features a photo that fans may recognize—it’s a personal picture of Dan Beck and Michael on the set of the short film Scream, taken by Steven Whitsitt.

Click to expand...

“You’ve Got Michael” is the story of the high-stakes battle to save Michael Jackson’s career and market his 1995 greatest hits album, as told by the record company executive who was the closest to him. Rather than rehashing a controversial career, “You’ve Got Michael” goes behind the scenes to reveal the inner workings of the music business at its multi-platinum height.

From the frequent 2:00 a.m. phone calls to the runaway budgets of video shoots, the desperate efforts to get Michael to complete the new songs for the HIStory greatest hits collection to corporate damage control on a monumental career on the precipice of collapse, “You’ve Got Michael” offers a unique look into the workings of the record industry before the digital age and the details of working so closely with one of its biggest figures, a supreme talent hampered by naïveté and blind spots when it came to his behavior and image.

Click to expand...

Dan Beck writes, “I wish I could put Michael Jackson in some neat compartment of my brain. Some gray matter that could integrate the intrigue, the sense of responsibility, the exhaustion, the utter helplessness, the power, the joy, the dread, the embarrassment, the pride, the awe, the pity and, yes, the thrill of working with Michael Jackson.”

The book will be available on pre-sale now for a Discount paperback presale at $20 and fully available on October 15.

Click to expand...

As you might have guessed from our announcement of the release of the book You’ve Got Michael, Dan Beck will join the lineup of special guests for KV NYC: HIStory Begins, taking place in New York City on October 25, 2025.

With the recent release of his new memoir, You’ve Got Michael, Dan will share personal stories and insights from his time working with the King of Pop. Fans will also have the exclusive opportunity to purchase the book on site and have it personally signed by the author.

At KV NYC, Dan will take part in a live on-stage interview with Pez Jax, offering attendees a rare behind-the-scenes perspective on Michael Jackson’s artistry, challenges, and legacy during one of the most important chapters of his career.

KV NYC: HIStory Begins will be held in front of a live audience in New York and simultaneously live streamed worldwide, ensuring fans everywhere can be part of this unique celebration of Michael Jackson.

Click to expand...

Its Official! Kingvention is bringing an exciting special event to New York City on October 25, 2025.KV NYC: HIStory Begins will celebrate Michael's groundbreaking HIStory album in a special location with a strictly limited in-person capacity. And for the first time, this event will be available to join online via an access-only Live stream so you can hear the stories and join the discussions as they have them Stay Tuned for more details THIS WEEK.

Click to expand...

This book will be released soon, any book nerds out there interested in discussing it in depth chapter by chapter please PM me, would love to discuss it book club style on a PM thread.

I started this yesterday and I am getting through it very quickly. Good enough so far - some interesting bits so far. Im as far as the Superbowl so things are about to get messy.

I've read the first two chapters. I felt it had a bit of a slow start for me as there were a lot of names and behind the scenes info to take in. But I agree, there's some interesting bits.

Here's what stood out to me:

The description of Joe Jackson, of him sitting in a dark office being paranoid about security, and not discussing his son's when DB went to meet him about the Jackson's move to Epic records. The recount of Lisa Kramer (?) referring to seeing evil in JJ eyes. This made me think about Brook Shields feelings about JJ. Overall, JJ doesn't come across well, but I don't feel any explicit examples are given to warrant such a harsh opinion.

There isn't too much behind the scenes info on MJ, other than what we already know, that he was quiet, shy, curious, and at 17 was talking about writing and recording and wanting more creative freedom. There is a story about MJ requesting to visit an aviary and that he spent several hours just watching birds with little conversation.

There are a couple examples of the Jackson's being hounded by fans, DB recalls it with 'abject fear' but that it was the norm for the Jacksons.

DB mentions that it was a huge feat for Epic records to 'steal' the Jackson's from Motown, that they didn't think it would have been possible and puts it down to JJ business acumen in seeing the issues Motown had with large scale distribution.

Frank Dileo comes across very well so far. He crafted a mafia image for himself using the cigar and is described as a 'sensitive street guy with the warmest heart', other than that he was a big spender, I didn't feel any of the stories showed his warm heart. However, FD negotiated airplay for songs with 'The Network', who were a group of radio promo people, and no one got on the charts without them at the time. The higher a single went up the charts due to airplay, the more they charged, with fees ranging from $100,000-$150,000 for a top ten single. Apparently the front men on this 'Network' group had links to organised crime. Anyhow, FD got on well with them.

MJ understood the value of airplay and wanted to be on all different genre radio stations, and FD would introduce MJ to the people who mattered. It was FDs idea to have 2 songs on airplay at same time, and MJ loved that FD was willing to do what had never been done before. DB describes MJ and FD as an unstoppable force, and attributes the success of the release of the 7 singles from Thriller to them, which was unheard of at the time.

DB recounts when MJ asked FD to be his manager, FD was stunned as he had no experience of managing. DB comments on how it felt good to have FD as MJs manager as FD knew how to keep his client and the label happy, as he had come from the label world. Apparently before FD became manager, he met Elvis Presleys manager, Colonel Tom Parker who also limited access to EP, following this meeting FD decided that MJ shouldn't do interviews as he doesn't come across too well in them. FD was so right about this! I know MJ also wrote about not giving interviews in his manifesto, so I am curious as to whether FD was manager by that point.

The best part for me so far was reading about DBs own experience of watching the Billie Jean short film. They were all huddled around to watch it, it was the most expensive short film made at the time and they were very skeptical about whether the cost would be worth it. DB describes it as a 'moment in musical history', that they were all stunned, that the production value was far higher than any music video before, and the whole MJ aesthetic was mesmerising. They replayed it again and again and called others to see it. And DB described how MJ astounded everyone at the time, even those working at the label. How in the concerts MJs 'brothers seemed diminished amid his spectacular glow'. He described how at the label they were all like giddy fans when they watched the Motown performance. DB did a really good job of capturing the excitement MJ caused.

DB ends chapter 2 describing a party for Thriller held by the label, and how that party felt divisive as MJ was separated with all the celebs and important people, and DB describes the rest of them being left behind in the coach section, and says he didn't get to congratulate MJ or take any pics. He describes feeling like a bystander so the chapter ends on a sad note.

Its quite refreshing to read a book about MJ where the criticism is not personal, but sheerly about choices MJ made. I appreciate Dan's honesty throughout (so far). Currently at the release of Scream. It's also quite interesting in that it's almost exclusively about MJ's business/artistic decisions, and the author isn't making out that he was friends with him, nor does he go into any major detail about the music. it's really told from the view of someone who was there, had a job to do and telling what he saw. I've a few issues so far but nothing colossal.

It really pulls back the curtains on the lead up to HIStory, for better or worse.

So I read the next chapter. This was a harder read, as I was surprised to learn that MJs image issues were a real concern post Thriller.

DB mentions how MJ learned collaboration and hard work from his Motown years.

He charts MJs unprecedented achievements post Thriller, including how the Making of Thriller home video was an immense success in a non existent market. And how WATW helped bring the powerful element of social responsibility to MJs music.

Then the image issues start. One of the issues was concern over his soft voice, DB claims (as others have) that MJ did not naturally speak in a falsetto voice. This was a concern as it was considered too gentle for older youth and rock radio stations, although it was popular with younger fans. FD was particularly concerned about MJ staying relevant to teens and the male audience. Hence the image of Bad was created. I knew that Bad was an attempt to stay relevant with competition such as Prince/Madonna, but I didn't realise it came from a concern from how he sounded. Add to this, that MJ himself talked about how he used a higher speaking tone than was natural for him during the Thriller period in an attempt to hang onto his youth.


As MJ was already famous before Thriller, I can imagine that the attempt to toughen up his image might have come across as too disingenuous. Even so, the radio promoters were also concerned about MJs soft image, so the Bad image was formulated to appease quite a few groups to ensure automatic radio airplay.

Interestingly, Bad was going to be called SC, but QJ did not want his black artist to have such negative connotations in the album title.

Leading upto the release of Bad, the negative tabloid coverage also began. The rumours about the elephant man bones and the hyperbaric chamber helped to culminate an image of MJ as strange and wierd, and this was the angle gossip columns and late night comedians took. DB confirms that they were suspicious that it came from FD and MJ, but doesn't confirm this to be the truth.

The other issue was MJs changing appearance, in particular his nose. DB reveals that MJ would request for the 'wings' on his nose to be airbrushed on pictures post Thriller as he was reminded of his father when he looked in the mirror. DB says the people working at the label also viewed MJ as strange and weird. I had no idea that all these views were floating about this early in his career.

The last issue was MJs sexuality. This is the part that left me feeling uncomfortable. DB recounts the experience of Larry Stessel (?) who talks about when he discussed women with MJ, and how MJ had a dismissive attitude towards Brooke Shields, Tatum O Neil, Jane Fonda (???), and TWYMMF girl. He also says that MJ was not religious, and that he was a JW to please his mother. Then he went on to say he didn't want to believe MJ was gay. Neither his anecdote or DB commentary resolves that sentence, I felt it insinuates that MJ was gay and as it's not resolved then that becomes the remaining conclusion. I felt very confused reading Larry Stessel comments.

Another recount from Larry Stessel concerns how MJ could laugh at himself. Apparently for the cancelled Decade album, LS suggested the 4 album CDs have artwork showing four different MJ noses, MJ apparently laughed hard at this. I didn't get a deeper understanding of MJ from this chapter either, but I did sense how much pressure MJ was under simply for his persona, essentially for being him, everyone had a problem with it. To have every aspect of yourself dissected like that must have been difficult for someone as excruciatingly private and shy as MJ.

DB then directly goes on to recount a party at Encino after a Bad listening party. He mentions how lovely Katherine Jackson was and looks back fondly on the experience.

DB ends the chapter recalling Bad sales figures, it sold 5 million copies in the US, and this was seen as a failure. I think most of MJ fans can agree that the Bad album was great, so it's surprising that it didn't do better. DB comments that a return to normal sales figures was an unfair way to perceive Bad figures as a failure.

Overall, I was really surprised that all the negative coverage of MJs appearance, eccentricities, and sexuality had started even before Bad. And sadly, those very issues still plague the perception of him today.

So the next chapter also felt like an uncomfortable read.

DB describes how the label were treating MJ as someone who needed career damage control after Bad, and they were keen for him to release the next album before more bad news coverage started. And MJ was no longer viewed by the label as the biggest selling artist in the world. I was surprised to read this, as even if Bad did not do too well in the US, it still had a global reach.

DB says MJ did not show any insecurities about any of this but did go on to change managers to Sandy Gallin, he describes Gallin as a suave business man. He mentions how MJ chose him for his connections to the film world as MJ wanted to make movies.

Then DB gives another recount from Larry Stessel about the King of Pop title. Apparently MJ chose the title after Elizabeth Taylor used it, and he discussed the title with LS, who said he would think about it and felt MJ couldn't give himself a title, that a title had to be given by others. In the meantime time the title appeared on the newspapers, and it's insinuated MJ was the cause of that. The head of the label was upset at this and they all laughed at the title, but eventually it stuck. I've never really understood the fuss over this title, Muhammed Ali went around calling himself great all the time and the world found it endearing, but god forbid that MJ should acknowledge his immense and unparalleled fame and success.

According to DB, Sandy Gallin then decided to use the title in every promo opportunity, and insisted that radio and video people use the title. The label fought hard against this as they felt MJ had enough image issues and the title would be received badly by promo people. They also argued that 'pop' had insignificant meaning compared to 'rock'/'soul'. DB suggests SG was onboard with their criticism and concludes they felt MJ was driving all this while also saying he never heard MJ use that title. Additionally he says he does not recall this issue being addressed with MJ directly.

DB comments how he felt there was resentment building from label and promo people that MJ was making their jobs harder by using this title. He concludes the chapter by confirming that all their fears regarding the title turned out to be valid but based around the pressures at the time, and that in the long run MJ was the King of Pop.

DB is leaning quite heavily on stories from this LS character. And the fact that they all felt the title was laughable made me feel uneasy. I appreciate that DB does now recognise MJ as the King of Pop, but if the label had their way MJ would have had no title, and their criticisms felt dismissive rather than constructive. MJ comes across as very ego driven in this chapter.

Chapter 5 was about where DB was in his career by 1991.

He charts his career working for Epic Marketing and lists his famous clients. However, by this point in his career he felt dissatisfied and that he'd reached a plateau in his career after being passed over for promotions, and he expresses his hurt over this.

DB was then assigned to a Christian/Gospel label that Epic were promoting, and although he found this work much more satisfying, he felt even more marginalized professionally.

Against this backdrop a colleague steps into the doorway of his office and informs DB 'you've got Michael' and then leaves.

I was surprised that the label had chosen someone they were marginalising to take responsibility for MJ, but maybe this was indicative of their attitude towards MJs career.

Chapter 6 is about DB entering the fringes of MJs world, and again I was left feeling uncomfortable by the end of it.

DB expresses his confusion at being connected to MJ, and explains that Larry Stessel who was responsible for MJ had been transferred to the international company. He refers to the word 'politics' but gives no explanation for this with regards to LS. Interestingly, he also states that he 'knew better than to seek Larry's advice' when it came to working with MJ. Again, no further explanations are provided to clarify any of this, and one is left to conclude that LS may be an untrustworthy or at least a shady character. I don't like how DB leaves things open ended like this, he leaves a vacuum for assumptions.

DB describes the daunting enormity of being responsible for MJ feeling akin to looking at mount Everest from the base. He describes how most superstars had small teams that were easy to access and engage with. In comparison, MJ had a maze of teams built around him making access to the right person difficult. In listing off the teams, he mentions that as MJ was his own CEO, he had a 'disregard for cost that was legendary'.

DB mentions his admiration for MJ, for working hard and building on his talent in every direction possible. He also recognised that MJ had blind spots, but at that time DB says he felt he could overcome them by bringing the focus on MJs enormous talent.

He goes on to recount his first experience trying to penetrate MJs maze of teams. LS had done most of the set up for the Dangerous album before he left, and DB needed a photo for the cover of RTT single. He called Sandy Gallins office, and didn't receive a call back. He expresses his disappointment at being disregarded by SG. He rang the office again and was informed by the secretary to call MJs Assistant. He called MJs Assistant and was told to contact this Assistants own Assistant. This last Assistant told DB about a Pepsi promo shoot MJ was doing with Sam Emerson, MJs photographer. DB knew SE and was relieved to have a familiar face on the MJ team to work with.

Then DB describes walking into a small studio for this promo shoot, the studio was set up as a living room with a grand piano. He says he saw MJ dressed stylishly in black, and that he seemed tall and glided as he appeared to be directing the set in a coach like manner, and seemed to be enjoying himself. At the piano was a child wearing an afro wig and the song IBT was the backdrop. He witnessed a couple of celebs drop by. DB met with SE and got the photos/info he needed, but as SE was busy and there was no one to connect DB to MJ, DB left without meeting MJ.

SG then arranges to meet DB at his office, during the meeting SG gets a manicure. SG asks about the promo shoot and whether MJ arrived on time. DB gives positive feedback but then adds something. He informs SG that he found it strange that the child actor with the afro playing a young MJ is a white child. SG apparently 'silently' laughs (oxymoron?) at this for 3 straight mins ( DB was timing someone's laugh??). SG then calls someone on the phone, relates this and laughs some more with the person on the phone. DB ends the chapter stating in brackets that he never saw a completed version of that Pepsi promo shoot.

This last part made me very uncomfortable. In his story telling, DB leaves stones unturned. The reader is given no information as to why there was a white child playing a young MJ, as he suggested MJ appeared to be directing it then the reader is left to conclude that MJ may have had some decision in this. Also as SG was oblivious of it, it eliminates his involvement. And by ending the chapter by claiming he never personally saw the product of the promo he criticises, he absolves himself of clearing up this narrative. Additionally, I find it hard to believe DB who was responsible for MJ at this point chose to remain oblivious about what MJ was putting out at this time. And if DB didn't see it at the time, a simple YouTube search would have brought it up now. I felt it was very sloppy of DB to allude that MJ was happy/didn't have a problem a white kid was playing him when we all know the outcome of that promo was different.

And this is the second time there are people laughing at MJ. In the vacuum DB creates in his story telling, MJ doesn't come across well as the reader isn't given enough information to gather alternative conclusions.

Should I continue relaying the chapters?
I'm aware I am hogging the thread.

jasmine.uddin said:

Should I continue relaying the chapters?

Click to expand...

Yes please!

jasmine.uddin said:

[...] Should I continue relaying the chapters? I'm aware I am hogging the thread.

Click to expand...

Please do

I'm still waiting for this thing to turn up in UK bookshops so this is very helpful. I would take issue with DB claiming that the negative press began in the run-up to the release of Bad. It was already happening in the Thriller era (some would argue even earlier than that) but it definitely became much more intense in the pre-Bad era.

So far it's a depressing but revealing insight into the workings of the music industry.

This book isnt leaving me uncomfortable tbh, its interesting to read from someones point of view who was "there" but not in the immediate circle. He makes some claims that I outright don't believe, but that's the same with every MJ book I've ever read. Dan especially makes 1 bold claim later in the book.

You need to remember that Dan is telling from the perspective of the normal Joe Soap, which is what I appreciate. It's not an entirely flattering book for Michael (business wise, Dan has yet to indicate that he thought MJ was guilty of improper conduct) but in the lead up to HIStory especially I was not expecting one.

There are definitely people on this forum that will have issues with this book and want Dan executed on the spot.

I'm really enjoying your summary!

jasmine.uddin said:

The head of the label was upset at this and they all laughed at the title, but eventually it stuck. I've never really understood the fuss over this title, Muhammed Ali went around calling himself great all the time and the world found it endearing

Click to expand...

Really, the whole title thing was one of the worst decisions of MJ's career. It definitely makes him look very ego driven. It makes me cringe whenever I hear it, and I can't take anybody seriously who uses it.

As for Ali - the situation is very different. Boxing is literally a competitive sport with winners and losers, whereas music is not. There is no such thing as "the greatest musician" or "the best song ever", so it's silly to claim so.

Not only that, but Ali was using it in a psychological way, to intimidate opponents (Tyson did the same). It's just fight talk to promote an event. Ali admitted later in life that it was all nonsense.

jasmine.uddin said:

Should I continue relaying the chapters?

Click to expand...

Yes please. You're doing a great job at providing insight.

Thanks for sharing @innuendo141, it's always interesting to hear different perspectives. It would be lovely to hear from others who get round to reading the book.

I just want to clarify that I am not a MJ fan that has any issues criticising MJ where I feel there are valid reasons, but so far I feel really sorry for him. The ending of chapter 7 made me feel sad for him.

Chapter 7 is about the release of the Dangerous short films.

DB recalls how everyone at the label was excited about the release of BOW, he describes it as MJ doing what he does best, and the ending part as MJ overdoing it. LS comes up again and is quoted as saying the video is just MJ taking a sledgehammer to a car. Some at the label rolled eyes at the ending and others shrugged. Again, it is insinuated that the ending part of BOW was MJ driven and included to appease him. And there were concerns about the complaints regarding the portrayal of sex (crotch grab) and violence.

BOW appealed to mainstream audiences and RTT was set to appeal to black audiences, with it's all black cast. DB takes a moment to recognise that MJ had added pressure to break ground as a black artist as well as recognise and appease black media. DB writes how mainstream networks were where the big and easy money was, but there was always pressure from black networks/mags/radio stations for access to exclusives. DB points out that it was the latter that were more loyal to MJ in the end. To make this point he includes two mag covers, one positive one from Jet mag about MJ and Brooke Shields friendship, and one negative one from People mag which stated 'is this guy weird or what?'. It does make for a noticeable stark contrast, but one is from Thriller era and one is from Bad era.

DB explains that there were never enough exclusive MJ pictures to satisfy that high demand, therefore video shoots such as RTT provided opportunities for exclusives for media people. He also states that the issue was not that MJ wouldn't take enough photo's, and that he generally was more than willing.

The label staff held a viewing party for RTT short film and everyone was happy till they saw the kiss at the end. Apparently the criticism was that MJ looked stiff, scared, awkward and the kiss was effeminate. The label people wanted it reshot and the film company people made some edits but didn't see any real issues with the kiss. The complaints were all from the promo people at the label, and MJ was never consulted on the matter.

When RTT was released the kiss wasn't the issue the label had made it to be. DB states SG had Imaan comment on MJs kiss as a preventative measure in an interview and then accuses SG of overreacting. Then he accused them all of overreacting to every slight MJ made including himself, he used the term 'helicopter parenting'. He ends the chapter with some foreboding, that they all knew the MJ story would not end well, and they were trying to control the chaos while they could.

I'm seeing a pattern in each chapter, they begin with some interesting details from the time period and then there's always a twist at the end that leaves a bitter aftertaste.

This chapter broke my heart for MJ. I appreciate that DB had the self awareness to realise they were all micro managing MJ to death, he wasn't allowed to make a mistake or step a toe out of line. They were quick to turn every molehill into a mountain. I feel that because of his super human talent, he was upheld to super human standards. This was in such stark contrast to how other musicians behaved. He couldn't even kiss right for their standards. This also reminded me how MJs kiss with LMP received negative comments. I think there was nothing wrong with either kisses, and I think theres a disproportionate interest in mocking them. According to these promo people MJ talked wrong, he looked wrong, he didn't look heterosexual enough for them and now he kisses wrong too. All I see is a group of people intent on stripping a man of his manhood to appease their own overt paranoia.

I was also skeptical when DB referred to the sense of doom around MJ. I highly doubt anyone could have predicted what was to come, I don't see how there were any concerns about doom for MJ in 1991. I could be wrong though. DB does do a good job of giving MJ credit where credit is due.

That's all folks, I'll post some more tomorrow.

jasmine.uddin said:

Thanks for sharing @innuendo141, it's always interesting to hear different perspectives. It would be lovely to hear from others who get round to reading the book.

I just want to clarify that I am not a MJ fan that has any issues criticising MJ where I feel there are valid reasons, but so far I feel really sorry for him. The ending of chapter 7 made me feel sad for him.

Chapter 7 is about the release of the Dangerous short films.

DB recalls how everyone at the label was excited about the release of BOW, he describes it as MJ doing what he does best, and the ending part as MJ overdoing it. LS comes up again and is quoted as saying the video is just MJ taking a sledgehammer to a car. Some at the label rolled eyes at the ending and others shrugged. Again, it is insinuated that the ending part of BOW was MJ driven and included to appease him. And there were concerns about the complaints regarding the portrayal of sex (crotch grab) and violence.

BOW appealed to mainstream audiences and RTT was set to appeal to black audiences, with it's all black cast. DB takes a moment to recognise that MJ had added pressure to break ground as a black artist as well as recognise and appease black media. DB writes how mainstream networks were where the big and easy money was, but there was always pressure from black networks/mags/radio stations for access to exclusives. DB points out that it was the latter that were more loyal to MJ in the end. To make this point he includes two mag covers, one positive one from Jet mag about MJ and Brooke Shields friendship, and one negative one from People mag which stated 'is this guy weird or what?'. It does make for a noticeable stark contrast, but one is from Thriller era and one is from Bad era.

DB explains that there were never enough exclusive MJ pictures to satisfy that high demand, therefore video shoots such as RTT provided opportunities for exclusives for media people. He also states that the issue was not that MJ wouldn't take enough photo's, and that he generally was more than willing.

The label staff held a viewing party for RTT short film and everyone was happy till they saw the kiss at the end. Apparently the criticism was that MJ looked stiff, scared, awkward and the kiss was effeminate. The label people wanted it reshot and the film company people made some edits but didn't see any real issues with the kiss. The complaints were all from the promo people at the label, and MJ was never consulted on the matter.

When RTT was released the kiss wasn't the issue the label had made it to be. DB states SG had Imaan comment on MJs kiss as a preventative measure in an interview and then accuses SG of overreacting. Then he accused them all of overreacting to every slight MJ made including himself, he used the term 'helicopter parenting'. He ends the chapter with some foreboding, that they all knew the MJ story would not end well, and they were trying to control the chaos while they could.

I'm seeing a pattern in each chapter, they begin with some interesting details from the time period and then there's always a twist at the end that leaves a bitter aftertaste.

This chapter broke my heart for MJ. I appreciate that DB had the self awareness to realise they were all micro managing MJ to death, he wasn't allowed to make a mistake or step a toe out of line. They were quick to turn every molehill into a mountain. I feel that because of his super human talent, he was upheld to super human standards. This was in such stark contrast to how other musicians behaved. He couldn't even kiss right for their standards. This also reminded me how MJs kiss with LMP received negative comments. I think there was nothing wrong with either kisses, and I think theres a disproportionate interest in mocking them. According to these promo people MJ talked wrong, he looked wrong, he didn't look heterosexual enough for them and now he kisses wrong too. All I see is a group of people intent on stripping a man of his manhood to appease their own overt paranoia.

I was also skeptical when DB referred to the sense of doom around MJ. I highly doubt anyone could have predicted what was to come, I don't see how there were any concerns about doom for MJ in 1991. I could be wrong though. DB does do a good job of giving MJ credit where credit is due.

That's all folks, I'll post some more tomorrow.

Click to expand...

I was glad to read that the video was delayed because MJ continuously wanted more content - so this goes against any argument that he did not have input in X releases - well, this one at least.

Edit - Finished. As Jasmine is actively posting, I will leave the spoilers to her.

I will say that a lot of it was interesting. Dan is a pure marketing person, you can tell if you have ever worked with them. He does not put MJ on a pedestal here, nor does he throw him for the gallows. While he does acknowledge that he may not have remembered everything correctly or may have forgotten things, there are a few things I'd find very surprising that he'd forget if he was around at the time of X.

It really does confirm some things I had considered about the behind of the scenes of the Dangerous/HIStory years, both positive and negative. At worst, he makes MJ comes across as very difficult at times which we all know was true from many other people over the years.

Enjoyable, but nothing earth shattering. You could tell Dan wasn't there for the music - and that wasn't his job. But, it's cool to hear from someone who's interests and expectations of MJ were purely to do with work and getting a job done. Dan at no point comes across as bitter or nasty to MJ. He writes impartially about whatever may have happened with regards to his personal life, but he holds MJ and his time working for/with him in high regard, albeit highly stressful and taxing.

Thank you guys for your efforts

Chapter 8 was all about how market research influenced the upcoming single releases, and covers the ITC release and goes in depth about the Jam release.

DB details the infancy of market research for that time period, and how it was not within the budget allocations for most artists. The intel was limited and there was a lets roll out the album/single and wait and see approach. DB also comments that MJ had a much bigger budget for market research, and that he also had more advanced market research from Pepsi that had been gathered from the Bad tour, but that this information was not always relayed to the label.

Along came Soundata, which was able to gather more effective market research. With the budget for MJs marketing the label were able to find out information from focus groups. This information revealed that MJ had a die hard pre teen audience since Thriller, and a good market with older teen girls and older women. But there was a gaping hole in the young male audience. The feedback was that MJ had changed and was no longer recognisable to the MJ they had initially invested in, and this market had moved onto engage with the grunge and hip hop movements. Added to this was that the radio programmers were all young and male and did not want to play ballads from MJ, they wanted uptempo songs. In an effort to engage this male audience, ITC was chosen as the next single. DB does reflect on whether the labels decisions was more to appease the radio promo peoples own preferences than respond to the actual data available. ITC was chosen out of the fear that they may lose interest in the album without upbeat songs.

However, MJ favoured softer songs and ballads. By 1992, DB finally had some direct access to MJ. He says this came about as MJs team of people did not always respond with the information that DB needed, and 'god forbid' he made a decision to dissatisfy MJ or his image. He was now having one on one meetings with MJ concerning market research. MJ asked DB if they could release HTW instead of ITC, DB spewed out all the market research babble. He comments how MJ responded well to the feedback, and would support the label consensus with a sad smile as long as everyone agreed upon it. He adds that if MJ sensed any cracks in the consensus from the label then he would take a different position and could be very stubborn about this. He also notes how MJ was a great listener and was 'eager' when new ideas were presented to him.

DB writes how ITC was the first video he was responsible for overseeing. MJ requested Herb Ritts, and DB puts it down to Janet Jacksons work with HR. There were concerns by the label about the media mocking the homosexual reference of the ITC title even though the song itself was about a secret relationship between a man and a woman. DB comments how they were concerned MJ would be mocked for his own sexual orientation and adds 'whatever it was'. (This is the second time DB has cast doubt over MJs sexuality). However, the ITC video turned out to be such a success with NC, reminiscent of TWYMMF with TT, that this allayed everyone's fears.

The label had spent $200,000 on remixes for RTT which proved to be a huge success. MJ personally thought the remixes were 'ridiculous' but went along with them. The decision was made to take a similar approach with ITC, and this proved to be another successful strategy.

After ITC, MJ requested for the release of HTW, but market research ( or radio programmers) won again and Jam was chosen. However, there were concerns that Jam wasn't a strong enough track for radio play longevity. To combat this along with the young male audience issue the idea of a short film with Michael Jordan came about, as he was extremely popular with this particular audience. DB writes how being part of the MJverse meant that such fantastical ideas were always feasible. Michael Jordans people were very happy about this collaboration. The label had mixed feelings about the pairing, the main concern being that MJ would look 'wimpy' against Michael Jordan. However, DB comments how MJ was always able to hold his own when around other celebs (ITC and RTT videos) and was not concerned about this. He decided on the concept of MJac teaching MJor his craft and vice versa.

DB then goes into great detail over all the planning and logistical issues over the Jam video. It's clear that this is the first shoot that DB had the most involvement with, and provides great detail into what goes into making a MJ video. He notes how MJ preferred a direct relationship with the Director and how MJ handled issues in a predictable manner. If MJ had issues he never overtly expressed them and was always respectful when listening to ideas. The usual sign that MJ was unhappy was when he would ask a question, if he was happy with the response all was well, but if he wasn't then he would 'harden' his view.

DB goes into great detail about the lead upto to the Jam shoot, which also coincided with the birth of his daughter, so it was a very intense time for him. There remained one issue with the Jam shoot, and that was a scheduling conflict if MJor team lost their game and had to work during the period scheduled for shooting. DB again goes into great detail about his nail biting angst as he watched that game desperately hoping for no scheduling conflicts. MJor team ended up winning and DB describes it as an example of the madness of taking a ride in the MJ world, but this is accompanied with a tone of deep satisfaction. DB was very happy with his work on the Jam video and it was another success, DB attributes the success to watching these masters fail at each others craft.

My commentary:
This was a much better chapter and there was no bitter aftertaste. I think this could be down to the fact that DB was no longer on the fridges of the MJ world and well within it with direct access to MJ. DB captures the pressures of working in the MJ world well. My only gripe was that comment about MJs sexuality, I didn't feel it was at all necessary for him to add that after he detailed the potential issues with ITC song title. It stood out to me after he quoted LS also casting this doubt in a previous chapter.
I felt we finally get some insight into MJ in this chapter, again owing to DB personal interactions. It was interesting to read how MJ preferred softer songs and ballads (maybe this explains Invincible?), and sweet how he kept asking for HTW to be released like a pleading child. It was also very interesting to read how MJ handled criticism from market research, considering how personal they were he was always open to them. Also, I found how MJ handles conflict really revealing too. He was very non confrontational, mostly went along with group consensus, but was not afraid to follow his own direction and had a formulaic approach when conflicts arose.
I was also intrigued when DB dramatically comments 'god forbid' anyone made MJ or his image unhappy. This was another example of a stone being left unturned, the reader is left to fill in the missing information from their own assumptions as DB does not expand on what would happen if this occurred.
Overall, a very good chapter.

Chapter 9 was about the labels concerted efforts to capture MJs charitable works.

DB documents the events occurring the week before Thanksgiving 1992. The label were happy with the progress of MJs album and other successful projects from other artists. DB received a call about MJ heading to JFK airport to oversee the cargo jet he had hired to send to the children of Yugoslavia containing blankets, clothes, medical supplies and toys. DB immediately sees this as a promo opportunity, as he was always looking for things to document for future projects.

DB describes a cold Tuesday at JFK airport, when MJ was dropped off alone by a limo. DB takes MJ to a tiny cold office in the hangar to stay warm as MJ turned up wearing a thin jacket. DB explains his intent to MJ and MJ responds with a nod. DB takes time to note how he realised over several occasions that MJ did charitable works irrespective of cameras, and while not opposed to having charitable work documented, he never requested it.

DB takes this opportunity to discuss a promo project for the upcoming Superbowl appearance. A Superbowl radio contest was arranged and the idea came about that MJ should do the promo shots for each radio station in an effort to appease radio stations with exclusives to increase MJs radio play. Lisa Kramer was organising this and DB relates that according to her MJ was only open to doing this with US radio stations. However, she convinced MJ to do this with radio stations all over the world referencing how it would be the 'biggest' , 'best' and the 'first' of it's kind, and such words/phrases were his Achilles heel. DB writes how getting MJ to agree to this was like winning a 'promotional lotto' and that it was the 'most extensive radio contest' by an artist at the time.

DB takes time to note how MJ had the 'competitive edge and enthusiasm' of an athlete even though he wasn't one in the traditional sense. He even calls it MJs 'greatest passions', that he 'loved to compete' and test how far he could go.

Two Sony men enter the tiny cold office and congratulate MJ on the charity cargo. One mentions his recent visit to Neverland and comments how it's time to share footage of the 'Make A Wish' charitable work at Neverland in order 'show leadership by example and inspire others'. MJ responds with a 'shy' smile but expresses hesitation at filming at Neverland as he didn't want to commercialise it, the Sony person responds that it is for the right reasons and finds out from MJ when the next MAW group visit is and asks DB to arrange a camera crew for the following Monday. DB expresses to the reader his own reservations about the logistics of arranging the film crew at such short notice to Neverland, and the issue of sensitivity when filming terminally ill children.

DB arranges MJ to record the radio promo shots at MJs hotel suite. MJ needs some coaching to convey the excitement of the contest and also needs some help with pronunciation when it came to worldwide places MJ hadn't visited. DB was impressed how MJ completed all the recordings within a 3 hour period without once tiring of repeating the same phrase with only minor edits. He also adds that MJ didn't use any falsetto during the recordings. DB conveys how Lisa Kramer was surprised to learn MJ had completed all of them.

During this recording DB mentions to MJ about interviewing him on the MAW shoot in an effort to humanise him as he was in his home setting. MJ was 'gun-shy' about this. And DB ends the chapter casting doubt on whether this MAW shoot would even happen. DB attempts to arrange a visit on Sunday to Neverland to scope out the place but was told a private event was taking place, and hints that he knew the Clinton's were nearby.

My commentary:
Another really well done chapter. I felt the reader is given more insight into MJ. I found the way DB described MJs competitiveness enlightening. How his charitable work was just a part of his personality at this point and how he had reservations about filming it. Reading about the cargo jet was heartwarming. I found it sad to see how the label turned everything MJ did into profits, even what he did in his own home at his own free time was up for grabs. Although the Sony men come across as very respectful of MJ and his philanthropy, and it was interesting to hear recounts of such conversations, it was hard not to miss how it was all an exploitation tactic.

I picked up a repeated issue about MJ completing projects. Lisa Kramer is surprised to learn MJ completed all the radio promo spots and DB is doubting whether the MAW shoot will happen based on MJs reaction about a possible interview. Once again DB leaves it unclear whether this was due to MJs work ethics, work habits or other things. As a reader, I do find these deliberate gaps in information somewhat annoying.

I did appreciate that despite all the exploitation tactics, DB at least had the decency to think about the sensitive issue of filming dying children with their parents. DB reflects on his own experience as a parent, and it feels like for a brief moment in this mad MJ world, real issues are viewed outside of monetary gain by the label.

jasmine.uddin said:

The label had spent $200,000 on remixes for RTT which proved to be a huge success. MJ personally thought the remixes were 'ridiculous' but went along with them. The decision was made to take a similar approach with ITC, and this proved to be another successful strategy.

Click to expand...

Thanks for the info. I always wondered how this worked.

jasmine.uddin said:

After ITC, MJ requested for the release of HTW, but market research ( or radio programmers) won again and Jam was chosen.

Click to expand...

I always figured that HTW had been pre-determined as a Christmas release.

Loving your recaps @jasmine.uddin Thanks for posting

Chapter 10 was all about capturing the Make A Wish group visit at Neverland.

DB earlier surmised that the most effective way to counter the 'media-fuelled perceptions' was by focusing on MJs work, and felt that with the success of all the videos, they were on track for this. With Xmas approaching, the label were finally open to releasing a softer song and agreed to release HTW, MJ was happy about this and asked for the royalties to go to the HTW foundation. The HTW video was montage footage of war torn regions and included the HTW foundation artwork.

DB takes time to write about the HTW charity. He concludes that it was the product of MJs idealism but he struggled to establish the proper framework for it. Although it lasted a decade and contributed millions, it appeared to lack the necessary structure of a charity organisation, with no one from MJs team particularly responsible for it. DB sensed it was the 'operation of one'.

DB moves onto the logistical issues for the filming of the MAW event at Neverland for the following Monday. He details all the issues around finding a last minute director and a camera crew, and the travel arrangements to get everyone to Los Olivos. Once there, the director calls up DB to bail as he was shooting a Sony exec 50th birthday instead. DB goes into panic mode, but the director assures him the camera team he assembled are competent enough to carry out the job.

There were teams of 3 serving each of the 4 cameramen. DB arranged a lunch meeting with them on Sunday. DB realised he would have to be the unofficial Director and Producer, and he felt the weight of the pressure to get this right, especially as this was the first time MJ was allowing cameras in his house, albeit very reluctantly. He tells them the importance of approaching the day with respect and sensitivity for the terminally ill children and their families. As the team were used to filming the showbiz world, he had doubts about their approach to a very different subject matter. He also made it clear that MJ was very uncomfortable about having cameras there, and they needed to be sensitive about this too. He added that once inside Neverland, they were in no way permitted to make jokes about MJ, DB was paranoid about staff overhearing such comments and 'half joked' about the trees at Neverland being bugged. DB was mortified at the prospect of being thrown out of Neverland if any of the team were caught making fun of MJ. DB felt reassured of the teams competence after meeting them.

Monday 30 November 1992 arrived, and it was perfect weather wise. This was DBs first visit to Neverland, he noticed the Disney influences straightaway and described Neverland as 'beautiful and spotless and perfectly manicured', he felt a 'sense of peace and hope' and concludes his description by stating the 'whole place was Michael'. When DB settles, a member of staff asks him for the questions for the interview. DB is surprised at this, and thought an interview opportunity would only be granted at the end of the day. Looking back, DB acknowledges that MJ wanted the interview out the way so the day was all about the children when they arrived. In a rush, DB scribbles some questions and hands them over, within minutes of this DB and his crew are summoned to the dance studio.

MJ arrives and DB writes how relaxed and different MJ seemed. He mentions how MJ, while always warm and professional, appeared to be processing several thoughts at any given time when engaged in discussions. DB comments how on this day, this 'edge was gone'. MJ was a 'relaxed host' and displayed 'pride and comfort' as he showed the crew around the dance studio and the theatre.

MJ decided on shooting the interview in his dance studio. The angle of the interview was to discuss the creative process and how growing up interferes/dilutes that creative process. DB notes how they were effectively interviewing Peter Pan in Neverland. MJ expands on how the motivations from children/animals/nature come with no agenda. DB recalls that MJ was comfortable during the interview and it lasted around 30-40 minutes. Once the interview was over MJ 'zoomed' off in his golf cart to the house, and pointed out the Snake barn and recommended they visit it. DB and the crew visited said snake barn but were not fond of such creatures and were put off by all the reptiles.

When the MAW busses pull up after 11am ish, MJ leaves the house with a young niece and nephew, the latter two run up to meet the MAW guests and MJ gave a 'delighted laugh' as he watched them go. MJ shared that he was happy with the presence of DB and his team. DB felt humbled that MJ trusted him to capture the day and remarks how it's a wonderful thing that he opens up his house. MJ replies in a 'breezy' manner that the Neverland staff arrange these days often, irrespective of whether he is there or not. DB noticed an 'unnatural whiteness' on MJs right wrist and recognised it as vitiligo and noticed a brown freckle/mole in the same area. This leads to a discussion about vitiligo, MJ dismisses it as something he 'can deal with', but is pained that others are afflicted by it. DB mentions that MJ demonstrated pride in being a black man despite all the negative commentary about MJ wanting to be white routinely spread by the media, and these thoughts were also shared by his own colleagues at the label.

DB then diverts the narrative to discuss MJs changing appearance. He surmises that MJs attempts to even out his skin tone and have plastic surgery were motivated by the same perfection seeking standards he demonstrated in all aspects of his professional career, but that his level of attention to detail in these particular areas 'spiralled out of control'.

DB returns the narrative to the MAW group who all surround MJ, excitedly calling his name trying to greet him, while MJ asks for their names and attempts to greet them all. MJ waits for the motorised wheelchairs to be unloaded before he leads the way to the game room.

As this is all unfolding DB reflects on how the terminally ill children had suffered greatly in their short lives, and how the parents had been given the news that no parent could bear, a future without their child. He reflects how this one magical day in Neverland was going to uplift their spirits in a way no medicine could at that point. He briefly mentions two young brothers from England who had both been diagnosed with leukaemia. All in all there were 13 terminally ill children and 100 of their family and friends.

As everyone made their way, MJ took the time to talk with everyone, and appeared to 'get a kick out of their joy'. The children in the wheelchairs were most emotional about meeting MJ, DB wonders whether this was because they were the ones who could not run/yell their excitement about seeing MJ like the rest of the children could. MJ spent time with each of these children and DB describes the atmosphere as 'palpable'.

A lunch of hamburgers, hot dogs and potato salad was served, after which they made their way to the amusement park. DB recalls how MJ was acting as an 'activities director' ensuring everyone was included and encouraged the shy ones to participate, while taking time for parents too. He recounts how MJ had finished talking with a family when he noticed a girl viewing a swing rope who was reluctant to use it, MJ went over to her and demonstrated how to use it to encourage her. Some animals were bought out for the children to cuddle and take pics with.

By 5pm everyone boarded the train back with MJ driving the train. MJ gave everyone goodbye hugs and DB notes how it was the adults who took longer hugs with MJ. DB reflects on how MJ had made a meaningful difference in their lives at a time when they had bleak days ahead.

The 4 cameramen had captured everything, totalling 32 hours of footage. They reflected on their day, even though this crew were accustomed to the glitz and glam of the showbiz world, they described the day as 'unbelievable' and confessed to crying 'a couple of times'. DB admits he shed tears that day too, and they all had a 'newfound admiration' for MJ.

The footage was sent to the original director, who made a two minute video, and also interviewed some parents who were there. DB concludes that as MJs life blew up, all that footage got shelved gathering dust, untill some of that 2 minute footage appeared on YouTube.

My commentary:
This was a long one and the best chapter so far! We have all seen MJ in his element on stage, but I felt DB and all the camera crew were able to see MJ in his element at his home, and I don't think this is something we as fans have truly witnessed. The fact that there are 32 hours of footage gathering dust somewhere is both hope/fury inducing. Even though DB coverage was all promo driven, the event felt like a reprieve from the crazed money/image obsessed MJ factory, with DB handling the topic with the respect it deserved.

Of course after reading this I went straight to YouTube and think I have dug out the clip DB references. I will warn those who have not seen it before, that the boy David Sonnet will break your heart. (Also, cute MJ smile alert!).










DB did a good job of portraying what MJ was trying to do with Neverland, and to think the place was defiled by child abuse allegations is really heartbreaking to ponder. I felt Martin Bashir experienced this too because there is that behind the scenes footage of him gushing to MJ about it. Obviously, MB chose not to portray this. But DB gives a real sense of the specialness of the whole experience. Imagine what Neverland could have represented if the first allegations never happened.

Listening to MJ talk about the pure motivations of children was also a hard read, knowing what we know now.

I picked up on how DB repeatedly informed his team about the no MJ jokes policy. This was sad, as it suggests that MJ jokes were common place among teams working for MJ, to the extent that they had to be repeatedly reminded not to disrespect MJ in his own home. There's something tragic about that. The silver lining was that they all had nothing but respect for MJ by the end of the day. Maybe if the world had seen such footage, they too would have appreciated MJ through a different lens.

The comment of HTW charity being an 'operation of one' was another unturned stone that bugged me. Who was the one, MJ? Someone else?

The reference of MJ getting a kick out of peoples joy was reminiscent of an interview Riley Keough (LMPs daughter) gave, she said something along the lines of MJ getting a kick out of making others happy.

That's all folks! Will post some more tomorrow.
I'm aiming to get 2/3 chapters done a day, as there are 33 chapters it will take me a while to catch up with @innuendo141!