Chapter 26 continued.
DB writes that History sales figures were 'good' for a double album that cost double the price. It went in at number 1 on the Billboard charts, and sold 391,000 (US figures?). DB quotes 3 headlines from the press to highlight ongoing concerns from TDCAU lyrics. One specifically mentions anti-Semitism, one mentions 'controversy' and the remaining headline suggests that MJ had been dishonest in the DS PrimeTime interview.
Epics standard response was that the song was 'against prejudice of any kind'. SG vehemently responded by asserting the song had been ridiculously 'misconstrued', and the full lyrics are clearly about social injustice. A Jewish scholar from Simon Wiesenthal Centre commented that MJ had visited the Museum of Tolerance and was 'visibly shaken by the experience'. The Jewish Telegraphic Agency highlighted that the Jewish people working for MJ failed to raise any concerns over the lyrics. DB then mentions an unnamed Hollywood insider as stating that MJs level of fame had made him immune to criticism from those he worked with.
DB reflects how the 'onslaught continued' with demands for album recall, which fuelled the idea that the whole controversy had been created deliberately to create a 'collectors item'. DB notes how the label 'felt compelled' to support MJ in their role as the distributers of his music. DB writes how some Jewish people at the label were 'disappointed', 'betrayed' and ' troubled by the lyrics'.
Melani Rogers was chosen to liaise with the media in an off-the-record manner about the controversy, DB was also part of this. They had a meeting with MJ to discuss a strategy, DB remembers how MJ protested with 'Everybody knows I'm not prejudiced!', and that MJ was 'bewildered' at how the song was perceived when it was speaking for the oppressed. MJ viewed the criticism as an extension of the medias continuous ongoing attacks on him, and grouped it along with their attacks on the colour of his skin, the allegations and plastic surgery. DB, along with others at the meeting explained that while they understood him, his intention no longer mattered as '
other people' had been hurt by the lyrics, and now the issue needed resolving. DB writes how Jim Morrey, who he commends as someone who could help move things forward, suggested MJ re record to bring an end to the controversy, MJ responded with a resigned 'okay'. DB writes how he felt sorry for MJ who felt as if he had been punished by the media for a crime he hadn't committed. The decision was made that there would be no recall of the albums that had been released and the new version would be used for future productions. Melani Rogers informed the media about the plans to re record the lyrics. And DB was given the task to talk with the media off the record to provide reassurance.
DB describes how he clarified that there was no plan to create a collectors item, that MJ hadn't initially understood the effect these lyrics would have but was now concerned about the impact of the lyrics and was re recording them after his Europe trip. This information sufficed for most of the journalists except Variety's Army Archerd. AA spoke with 'venom' and 'anger', comparing the lyrics to the hurt Adolf Hitler caused, and how MJ was using the controversy as a sales strategy. DB attempted to calm AA down, but AA was unconvinced that MJ would re record the lyric. The anger DB felt from AA still stands out to him today. DB writes how he thought this was the reporter who had inspired Steven Spielberg's response to the lyrics.
The album and MJ remained successful in Europe, which was largely unaffected by the problem lyrics. When MJ returned from Europe, DB couldn't get hold of him, and became concerned that MJ wouldn't re record the lyrics, and this would cause further backlash from all the journalists who were informed about the re recording of the lyrics. When DB finally got hold of MJ he was p****d, he 'called out' MJ in a calm and direct voice about MJ honouring his word and how bad it would look if he didn't even if he had changed his mind about the decision. JM, who was also on the call, suggested MJ re record the lyrics on his upcoming trip to New York, and MJ 'softly gave in' to the 'groupthink'.
DB narrates how JM and MJ arrived at the Sony Studios in New York, DB greeted MJ, but MJ did not return the greeting. They all walked to the studio room in silence, DB described MJ as 'ticked'. An engineer and a cameraman were waiting in the studio room when MJ walked into the studio to a microphone and music stand, he placed a piece of paper from his pocket on the stand. The engineer asked if MJ was ready, MJ instructed the engineer to go from the start of the song, MJ sang over the problem lyric. While he waited for the song to play onto the next problem lyrics, MJ threw the music stand against the wall, then did the same with a chair and 'baffle'. They all watched in shock as MJ trashed the studio. However, as soon as the second problem lyric came up MJ 'went from maniacal anger back to smoothly singing the new lines', and then resumed 'trashing the studio'. The cameraman was capturing it all, JM and DB started laughing and the cameraman and engineer looked at them 'like we were crazy'. DB confirms the stress of the controversy had been crazy-making and they were relieved it had come to an end, and DB reflects how MJ was in a safe environment to express his anger. When the song finished, they walked out the building in silence again. The recorded footage was edited to confirm MJ had re recorded the lyrics.
DB writes how he found himself thinking about the glory days of the 80s, how he had witnessed MJ climb higher than anyone else, but now they 'were feeling the fall'. Despite bringing the controversy to an end with the new lyrics, DB recalls feeling 'empty' and dreaded the next controversy.
DB retrospectively writes about watching MJ leave the building, and whether MJ had been mad at him for insisting on keeping his commitment, even though the idea of re recording the lyrics had not come from him.
DB ends the chapter noting how the TDCAU controversy 'faded' but was never resolved, as MJ felt adamant about not causing any harm and the media either chose to believe him or 'remain skeptical'. The new lyrics were only used in a single release, sound effects were added to future album releases.
Chapter 26 finished
My commentary:
I read and made notes on this chapter twice as I lost my first set of notes, and both times I found this chapter annoyingly overwhelming. I felt like DB conflated, conflicted and confused so many issues and presented a very one sided view.
No one picked up on the lyrics as problematic (except DB) till the media did. The criticism was clearly media led, not public led. MJ was right about that part, yet DB depicts him as paranoid over this.
The criticism that the song was perceived as anti-Semitic- but only in the US. The holocaust took place in Europe but they remained unbothered by the TDCAU controversy. If the song was clearly anti-Semitic, then this does not explain the albums success in Europe (or even the albums success in US for that matter). DB glossed over this discrepancy over what was considered anti-Semitic over 2 continents.
The sole focus on the problem lyrics meant the rest of the song was entirely overlooked. DB does give his personal view on the song, but promotes the medias view, to the extent that he ends the chapter reflecting on how the issue was never resolved. I was confused by this, MJ did what was asked of him so what more did DB want from him.
DB does not recount any personal encounters of people being upset over the lyrics, the only exception being Variety's AA, who comes across unhinged in drawing parallels between MJ and Hitler. DB says he felt shame when recounting his experience at a dinner party, but also says his Jewish friends passed no judgement on the problem lyrics. By the end of the chapter DB complains Jewish people at the label were upset by MJs lyrics, but at the beginning of the chapter he said the same people had listened to the lyrics at the listening parties and no one had a problem with them. Aside from the suggested media rants (note how only one out of the three headlines DB quotes directly relate to the problem lyrics), DB does not recount a single experience of upset over the problem lyrics, clearly there were many who interpreted the song as MJ intended, but this interpretation is entirely glossed over and non existent in DB retelling.
I think there were two separate issues being massively conflated. MJ lyrics Vs MJs response to the criticism of the lyrics. I think the upset DB was over describing was over MJs response, not the actual lyrics, that MJ was being insensitive to those he had offended, however unintentionally. But DB has given plenty of examples of how MJ responded to market research and 'groupthink', I get the sense none such evidence was presented to MJ (maybe there wasn't any), it feels like the only evidence of upset was from the US media, in which case MJ was right to feel upset at how the US media were targeting him. Add to this that the Jewish people around MJ were supporting him.
I can also understand that the whole ordeal was a marketing nightmare, but DB clearly still feels the same about the situation 30 years on. I was very disappointed that DB in no way acknowledged how the song was used in protests and has been fully received with the intention that it was written. But DB writes like he is still stuck in a time where the outrage is just as warranted as the problem was unresolved.
The story of MJ trashing the studio was hilarious, I did almost fall off my seat laughing when I read that part. I find DB shines best when relating his observations as opposed to obscuring them with his views. But there was a sad sense of life imitating art imitating life. MJ tried to use the song to bring attention to the oppressed and was put in a position to have his own creative voice oppressed. Also nice to hear SG finally played a role in
something, and it did come across as genuine and meaningful with him being Jewish.
This chapter reaffirms my suspicion that DB seems to be writing this book as a response to all the media criticism of this time period.
Edit: reposting this link from
@etoile 37, thank you for finding it!
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. I'm glad that NB states the pose was a non issue during the shooting/editing part, this somewhat contradicts DB who makes it seem this issue was picked up in the editing room.
. So I will be posting it in chunks as I clearly need to learn that lesson again.