Michael Jackson 自傳 Moonwalk （1/9）
Michael Jackson 自傳 Moonwalk （2/9）
Michael Jackson 自傳 Moonwalk （3/9）
Michael Jackson 自傳 Moonwalk （4/9）
Michael Jackson 自傳 Moonwalk （5/9）
Michael Jackson 自傳 Moonwalk （6/9）
Michael Jackson 自傳 Moonwalk （7/9）
Captain Eo came about because the Disney Studios wanted me to come up with a new ride for the parks. They said they didn't care what I did, as long as it was something creative. I had this big meeting with them, and during the course of the afternoon I told them that Walt Disney was a hero of mine and that I was very interested in Disney's history and philosophy. I wanted to do something with that Mr. Disney himself would have approved. I had read a number of books about Walt Disney and his creative empire, and it was very important to me to do things as he would have. In the end, they asked me to do a movie and I agreed. I told them I would like to work with George Lucas and Steven Spielberg. It turned out Steven was busy, so George brought Francis Ford Coppola and that was the Captain Eo team. I flew up to San Francisco a couple of times to visit George at his place, Skywalker Ranch, and gradually we came up with a scenario for a short film that would incorporate every recent advance in 3-D technology. Caption Eo would look and feel like the audience was in a spaceship, along for the ride. Captain Eo is about transformation and the way music can help to change the world. George came up with the name Captain Eo. (Eo is Greek for "dawn.") The story is about a young guy who goes on a mission to this miserable planet run by an evil queen. He is entrusted with the responsibility of bringing the inhabitants light and beauty. It's a great celebration of good over evil. Working on Captain Eo reinforced all the positive feelings I've had about working in film and made me realise more than ever that movies are where my future path probably lies. I love the movies and have since I was real little. For two hours you can be transported to another place. Films can take you anywhere. That's what I like. I can sit down and say, "Okay, nothing else exists right now. Take me to a place that's wonderful and make me forget about my pressures and my worries and day-to-day schedule." I also love to be in front of a 35 mm camera. I used to hear my brothers say, "I'll be glad when this shoot is over," and I couldn't understand why they weren't enjoying it. I would be watching, trying to learn, seeing what the director was trying to get, what the light man was doing. I wanted to know where the light was coming from and why the director was doing a scene so many times. I enjoyed hearing about the changes being made in the script. It's all part of what I consider my ongoing education in films. Pioneering new ideas is so exciting to me and the movie industry seems to be suffering right now from a dearth of ideas; so many people are doing the same things. The big studios remind me of the way Motown was acting when we were having disagreements with them: They want easy answers, they want their people to do formula stuff - sure bets - only the public gets bored, of course. So many of them are doing the same old corny stuff. George Lucas and Steven Spielberg are exceptions. I'm going to try to make some changes. I'm going to try to change things around someday. Marlon Brando has become a very close and trusted friend of mine. I can't tell you how much he's taught me. We sit and talk for hours. He has told me a great deal about the movies. He is such a wonderful actor and he has worked with so many giants in the industry - from other actors to cameramen. He has a respect for the artistic value of filmmaking that leaves me in awe. He's like a father to me. So these days movies are my number one dream, but I have a lot of other dreams too. In early 1985 we cut "We Are the World" at an all-night all-star recording session that was held after the ceremony for the American Music Awards. I wrote the song with Lionel Richie after seeing the appalling news footage of starving people in Ethiopia and the Sudan. Around that time, I used to ask my sister Janet to follow me into a room with interesting acoustics, like a closet of the bathroom, and I'd sing to her, just a note, a rhythm of a note. It wouldn't be a lyric or anything; I'd just hum from the bottom of my throat. I'd say, "Janet, what do you see? What do you see when you hear this sound?" And this time she said, "Dying children in Africa." "You're right. That's what I was dictating from my soul." And she said, "You're talking about Africa. You're talking about dying children." That's where "We Are the World" came from. We'd go in a dark room and I'd sing notes to her. To my mind, that's what singers should be able to do. We should be able to perform and be effective, even if it's in a dark room. We've lost a lot because of TV. You should be able to move people without all that advanced technology, without pictures, using only sound. I've been performing for as long as I can remember. I know a lot of secrets, a lot of things like that. I think that "We Are the World" is a very spiritual song, but spiritual in a special sense. I was proud to be a part of that song and to be one of the musicians there that night. We were united by our desire to make a difference. It made the world a better place for us and it made a difference to the starving people we wanted to help. We collected some Grammy Awards and began to hear easy-listening versions of "We Are the World" in elevators along with "Billie Jean." Since first writing it, I had thought that song should be sung by children. When I finally heard children singing it on producer George Duke's version, I almost cried. It's the best version I've heard. After "We Are the World," I again decided to retreat from public view. For two and a half years I devoted most of my time to recording the follow-up to Thriller , the album that came to be titled Bad . Why did it take so long to make Bad? The answer is that Quincy and I decided that this album should be as close to perfect as humanly possible. A perfectionist has to take his time; he shapes and he moulds and he sculpts that thing until it's perfect. He can't let it go before he's satisfied; he can't. If it's not right, you throw it away and do it over. You work that thing till it's just right. When it's as perfect as you can make it, you put it out there. Really, you've got to get it to where it's just right; that's the secret. That's the difference between a number thirty record and a number one record that stays number one for weeks. It's got to be good. If it is, it stays up there and the whole world wonders when it's going to come down. I have a hard time explaining how Quincy Jones and I work together on making an album. What I do is, I write the songs and do the music and then Quincy brings out the best in me. That's the only way I can explain it. Quincy will listen and make changes. He'll say, "Michael, you should put a change in there," and I'll write a change. And he'll guide me on and help me create and help me invent and work on new sounds, new kinds of music. And we fight. During the Bad sessions we disagreed on some things. If we struggle at all, it's about new stuff, the latest technology. I'll say, "Quincy, you know, music changes all the time." I want the latest drum sounds that people are doing. I want to go beyond the latest thing. And then we go ahead and make the best record that we can. We don't ever try to pander to the fans. We just try to play on the quality of the song. People will not buy junk. They'll only buy what they like. If you take all the trouble to get in your car, go to the record store, and put your money on the counter, you've got to really like what you're going to buy. You don't say, "I'll put a country song on here for the country market, a rock song for that market," and so on. I feel close to all different styles of music. I love some rock songs and some country songs and some pop and all the old rock 180;n' roll records. We did go after a rock type of song with "Beat It." We got Eddie Van Halen to play guitar because we knew he'd do the best job. Albums should be for all races, all tastes in music. In the end, many songs kind of create themselves. You just say, "This is it. This is how it's going to be." Of course, not every song is going to have a great dance tempo. It's like "Rock with You" isn't a great dance tempo. It was meant for the old dance the Rock. But it's not a "Don't Stop" or "Working Day and Night" rhythm or a "Startin' Something" type of thing - something you can play with on the dance floor and get sweaty, working out to. We worked on Bad for a long time. Years. In the end, it was worth it because we were satisfied with what we had achieved, but it was difficult too. There was a lot of tension because we felt we were competing with ourselves. It's very hard to create something when you feel like you're in competition with yourself because no matter how you look at it, people are always going to compare Bad to Thriller . You can always say, "Aw, forget Thriller ," but no one ever will. I think I have a slight advantage in all of this because I always do my best work under pressure. "Bad" is a song about the street. It's about this kid from a bad neighbourhood who gets to go away to a private school. He comes back to the old neighbourhood when he's on a break from school and the kids from the neighbourhood start giving him trouble. He sings, "I'm bad, you're bad, who's bad, who's the best?" He's saying when you're strong and good, then you're bad. "Man in the Mirror" is a great message. I love that song. If John Lennon was alive, he could really relate to that song because it says that if you want to make the world a better place, you have to work on yourself and change first. It's the same thing Kennedy was talking about when he said, "Ask not what your country can do for you; ask what you can do for your country." If you want to make the world a better place, take a look at yourself and make a change. Start with the man in the mirror. Start with yourself. Don't be looking at all the other things. Start with you. That's the truth. That's what Martin Luther King meant and Gandhi too. That's what I believe. Man In The Mirror Several people have asked me if I had anybody in mind when I wrote "Can't Stop Loving You." And I say that I didn't, really. I was thinking of somebody while I was singing it, but not while I was writing it. I wrote all the songs on Bad except for two, "Man in the Mirror," which Siedah Garrett wrote with George Ballard, and "Just Good Friends," which is by these two writers who wrote "What's Love Got to Do with It" for Tina Turner. We needed a duet for me and Stevie Wonder to sing and they had this song; I don't even think they intended for it to be a duet. They wrote it for me, but I knew it would be perfect for me and Stevie to sing together. "Another Part of Me" was one of the earliest songs written for Bad and made its public debut at the end of Captain Eo when the captain says good-bye. "Speed Demon" is a machine song. "The Way You Make Me Feel" and "Smooth Criminal" are simply the grooves I was in at the time. That's how I would put it. "Leave Me Alone" is a track that appears only on the compact disc of Bad . I worked hard on the song, stacking vocals on top of each other like layers of clouds. I'm sending a simple message here: "Leave me alone." The song is about a relationship between a guy and a girl. But what I'm really saying to people who are bothering me is: "Leave me alone ." The pressure of success does funny things to people. A lot of people become successful very quickly and it's an instant occurrence in their lives. Some of these people, whose success might be a one-shot thing, don't know how to handle what happens to them. I look at fame from a different perspective, since I've been in this business for so long now. I've learned that the way to survive as your own person is to shun personal publicity and keep a low profile as much as possible. I guess it's good in some ways and bad in others. The hardest part is having no privacy. I remember when we were filming "Thriller," Jackie Onassis and Shaye Areheart came to California to discuss this book. There were photographers in the trees, everywhere. It was not possible for us to do anything without it being noticed and reported. The price of fame can be a heavy one. Is the price you pay worth it? Consider that you really have no privacy. You can't really do anything unless special arrangements are made. The media prints whatever you say. They report whatever you do. They know what you buy, which movies you see, you name it. If I go to a public library, they print the titles of the books I check out. In Florida once, they printed my whole schedule in the paper; everything I did from ten in the morning until six at night. "After he did this, he did that, and after he did that, he went there, then he went door to door, and then he . . ." I remember thinking to myself, "What if I were trying to do something that I didn't happen to want reported in the paper?" All of this is the price of fame. I think my image gets distorted in the public's mind. They don't get a clear or full picture of what I'm like, despite the press coverage I mentioned early. Mistruths are printed as fact, in some cases, and frequently only half of a story will be told. The part that doesn't get printed is often the part that would make the printed part less sensational by shedding light on the facts. As a result, I think some people don't think I'm a person who determines what's happening with his career. Nothing could be further from the truth. I've been accused of being obsessed with my privacy and it's true that I am. People stare at you when you're famous. They're observing you and that's understandable, but it's not always easy. If you were to ask me why I wear sunglasses in public as often as I do, I'd tell you it's because I simply don't like to have to constantly look everyone in the eye. It's a way of concealing just a bit of myself. After I had my wisdom teeth pulled, the dentist gave me a surgical mask to wear home to keep out germs. I loved that mask. It was great - much better than sunglasses - and I had fun wearing it around for a while. There's so little privacy in my life that concealing a little bit of me is a way to give myself a break from all that. It may be considered strange, I know, but I like my privacy. I can't answer whether or not I like being famous, but I do love achieving goals. I love not only reaching a mark I've set for myself but exceeding it. Doing more than I thought I could, that's a great feeling. There's nothing like it. I think it's so important to set goals for yourself. It gives you an idea of where you want to go and how you want to get there. If you don't aim for something, you'll never know whether you could have hit the mark. I've always joked that I didn't ask to sing and dance, but it's true. When I open my mouth, music comes out. I'm honoured that I have this ability. I thank God for it every day. I try to cultivate what He gave me. I feel I'm compelled to do what I do. There are so many things all around us to be thankful for. Wasn't it Robert Frost who wrote about the world a person can see in a leaf? I think that's true. That's what I love about being with kids. They notice everything. They aren't jaded. They get excited by things we've forgotten to get excited about any more. They are so natural too, so unself-conscious. I love being around them. There always seems to be a bunch of kids over at the house and they're always welcome. They energise me - just being around them. They look at everything with such fresh eyes, such open minds. That's part of what makes kids so creative. They don't worry about the rules. The picture doesn't have to be in the centre of the piece of paper. The sky doesn't have to be blue. They are accepting people too. The only demand they make is to be treated fairly - and to be loved. I think that's what we all want. I would like to think that I'm an inspiration for the children I meet. I want kids to like my music. Their approval means more to me than anyone else's. It's always the kids who know which song is going to be a hit. You see kids who can't even talk yet, but they've got a little rhythm going. It's funny. But they're a tough audience. In fact, they're the toughest audience. There have been so many parents who have come to me and told me that their baby knows "Beat It" or loves "Thriller." George Lucas told me his daughter's first words were "Michael Jackson." I felt on top of the world when he told me that. I spend a lot of free time - in California and when I'm travelling - visiting children's hospitals. It makes me so happy to be able to brighten those kids' day by just showing up and talking with them, listening to what they have to say and making them feel better. It's so sad for children to have to get sick. More than anyone else, kids don't deserve that. They often can't even understand what's wrong with them. It makes my heart twist. When I'm with them, I just want to hug them and make it all better for them. Sometimes sick children will visit me at home or in my hotel rooms on the road. A parent will get in touch with me and ask if their child can visit with me for a few minutes. Sometimes when I'm with them I feel like I understand better what my mother must have gone through with her polio. Life is too precious and too short not to reach out and touch the people we can. You know, when I was going through that bad period with my skin and my adolescent growth spurts, it was kids who never let me down. They were the only ones who accepted the fact that I was no longer little Michael and that I was really the same person inside, even if you didn't recognise me. I've never forgotten that. Kids are great. If I were living for no other reason than to help and please kids, that would be enough for me. They're amazing people. Amazing. I am a person who is very much in control of his life. I have a team of exceptional people working for me and they do an excellent job of presenting me with the facts that keep me up-to-date on everything that's going on at MJJ Productions so that I can know the options and make the decisions. As far as my creativity is concerned, that's my domain and I enjoy that aspect of my life as much or more than any other. I think I have a goody-goody image in the press and I hate that, but it's hard to fight because I don't normally talk about myself. I am a shy person. It's true. I don't like giving interviews or appearing on talk shows. When Doubleday approached me about doing this book, I was interested in being able to talk about how I feel in a book that would be mine - my words and my voice. I hope it will clear up some misconceptions. Everybody has many facets to them and I'm no different. When I'm in public, I often feel shy and reserved. Obviously, I feel differently away from the glare of cameras and staring people. My friends, my close associates, know there's another Michael that I find it difficult to present in the outlandish "public" situations I often find myself in. It's different when I'm onstage, however. When I perform, I lose myself. I'm in total control of that stage. I don't think about anything. I know what I want to do from the moment I step out there and I love every minute of it. I'm actually relaxed onstage. Totally relaxed. It's nice. I feel relaxed in the studio too. I know whether something feels right. If it doesn't, I know how to fix it. Everything has to be in place and if it is you feel good, you feel fulfilled. People used to underestimate my ability as a songwriter. They didn't think of me as a songwriter, so when I started coming up with songs, they'd look at me like: "Who really wrote that?" I don't know what they must have thought - that I had someone back in the garage who was writing them for me? But time cleared up those misconceptions. You always have to prove yourself to people and so many of them don't want to believe. I've heard tales of Walt Disney going from studio to studio when he first started out, trying to sell his work unsuccessfully and being turned down. When he was finally given a chance, everyone thought he was the greatest thing that ever happened. Sometimes when you're treated unfairly it makes you stronger and more determined. Slavery was a terrible thing, but when black people in America finally got out from under that crushing system, they were stronger . They knew what it was to have your spirit crippled by people who are controlling your life. They were never going to let that happen again. I admire that kind of strength. People who have it take a stand and put their blood and soul into what they believe. People often ask me what I'm like. I hope this book will answer some of those questions, but these things might help too. My favourite music is an eclectic mix. For example, I love classical music. I'm crazy about Debussy. Prelude to the Afternoon of a Faun and Clair de Lune . And Prokofiev. I could listen to Peter and the Wolf over and over and over again. Copland is one of my all-time favourite composers. You can recognise his distinctive brass sounds right away. Billy the Kid is fabulous. I listen to a lot of Tchaikovsky. The Nutcracker Suite is a favourite. I have a large collection of show tunes also - Irving Berlin, Johnny Mercer, Lerner and Loewe, Harold Arlen, Rodgers and Hammerstein, and the great Holland-Dozier-Holland. I really admire those guys. I like Mexican food very much. I'm a vegetarian, so fortunately fresh fruits and vegetables are a favourite of mine. I love toys and gadgets. I like to see the latest things manufacturers have come out with. If there's something really wonderful, I'll buy one. I'm crazy about monkeys, especially chimps. My chimp Bubbles is a constant delight. I really enjoy taking him with me on trips or excursions. He's a wonderful distraction and a great pet. I love Elizabeth Taylor. I'm inspired by her bravery. She has been through so much and she is a survivor. That lady has been through a lot and she's walked out of it on two feet. I identify with her very strongly because of our experiences as child stars. When we first started talking on the phone, she told me she felt as if she had known me for years. I felt the same way. Katharine Hepburn is a dear friend too. I was afraid to meet her at first. We talked for a while when I first arrived for a stay on the set of On Golden Pond , where I was Jane Fonda's guest. She invited me to have dinner with her the next night. I felt very fortunate. Since then, we have visited one another and remained close. Remember, it was Katharine Hepburn who got me to remove my sunglasses at the Grammy Awards. She's a big influence on me. She's another strong person and a private person. I believe performers should try to be strong as an example to their audiences. It's staggering what a person can do if they only try. If you're under pressure, play off that pressure and use it to advantage and make whatever you're doing better. Performers owe it to people to be strong and fair. Often in the past performers have been tragic figures. A lot of the truly great people have suffered or died because of pressure and drugs, especially liquor. It's so sad. You feel cheated as a fan that you didn't get to watch them evolve as they grew older. One can't help wondering what performances Marilyn Monroe would have put in or what Jimi Hendrix might have done in the 1980s. A lot of celebrities say they don't want their children to go into show business. I can understand their feelings, but I don't agree with them. If I had a son or daughter, I'd say, "By all means, be my guest. Step right in there. If you want to do it, do it." To me, nothing is more important than making people happy, giving them a release from their problems and worries, helping to lighten their load. I want them to walk away from a performance I've done, saying, "That was great. I want to go back again. I had a great time." To me, that's what it's all about. That's wonderful. That's why I don't understand when some celebrities say they don't want their kids in the business. I think they say that because they've been hurt themselves. I can understand that. I've been there too. -Michael Jackson- Encino, California 1988 What one wishes is to be touched by truth and to be able to interpret that truth so that one may use what one is feeling and experiencing, be it despair or joy, in a way that will add meaning to one's life and will hopefully touch others as well. This is art in its highest form. Those moments of enlightenment are what I continue to live for. -Michael Jackson
Michael Jackson 自傳 Moonwalk （2/9）
Michael Jackson 自傳 Moonwalk （3/9）
Michael Jackson 自傳 Moonwalk （4/9）
Michael Jackson 自傳 Moonwalk （5/9）
Michael Jackson 自傳 Moonwalk （6/9）
Michael Jackson 自傳 Moonwalk （7/9）
Captain Eo came about because the Disney Studios wanted me to come up with a new ride for the parks. They said they didn't care what I did, as long as it was something creative. I had this big meeting with them, and during the course of the afternoon I told them that Walt Disney was a hero of mine and that I was very interested in Disney's history and philosophy. I wanted to do something with that Mr. Disney himself would have approved. I had read a number of books about Walt Disney and his creative empire, and it was very important to me to do things as he would have. In the end, they asked me to do a movie and I agreed. I told them I would like to work with George Lucas and Steven Spielberg. It turned out Steven was busy, so George brought Francis Ford Coppola and that was the Captain Eo team. I flew up to San Francisco a couple of times to visit George at his place, Skywalker Ranch, and gradually we came up with a scenario for a short film that would incorporate every recent advance in 3-D technology. Caption Eo would look and feel like the audience was in a spaceship, along for the ride. Captain Eo is about transformation and the way music can help to change the world. George came up with the name Captain Eo. (Eo is Greek for "dawn.") The story is about a young guy who goes on a mission to this miserable planet run by an evil queen. He is entrusted with the responsibility of bringing the inhabitants light and beauty. It's a great celebration of good over evil. Working on Captain Eo reinforced all the positive feelings I've had about working in film and made me realise more than ever that movies are where my future path probably lies. I love the movies and have since I was real little. For two hours you can be transported to another place. Films can take you anywhere. That's what I like. I can sit down and say, "Okay, nothing else exists right now. Take me to a place that's wonderful and make me forget about my pressures and my worries and day-to-day schedule." I also love to be in front of a 35 mm camera. I used to hear my brothers say, "I'll be glad when this shoot is over," and I couldn't understand why they weren't enjoying it. I would be watching, trying to learn, seeing what the director was trying to get, what the light man was doing. I wanted to know where the light was coming from and why the director was doing a scene so many times. I enjoyed hearing about the changes being made in the script. It's all part of what I consider my ongoing education in films. Pioneering new ideas is so exciting to me and the movie industry seems to be suffering right now from a dearth of ideas; so many people are doing the same things. The big studios remind me of the way Motown was acting when we were having disagreements with them: They want easy answers, they want their people to do formula stuff - sure bets - only the public gets bored, of course. So many of them are doing the same old corny stuff. George Lucas and Steven Spielberg are exceptions. I'm going to try to make some changes. I'm going to try to change things around someday. Marlon Brando has become a very close and trusted friend of mine. I can't tell you how much he's taught me. We sit and talk for hours. He has told me a great deal about the movies. He is such a wonderful actor and he has worked with so many giants in the industry - from other actors to cameramen. He has a respect for the artistic value of filmmaking that leaves me in awe. He's like a father to me. So these days movies are my number one dream, but I have a lot of other dreams too. In early 1985 we cut "We Are the World" at an all-night all-star recording session that was held after the ceremony for the American Music Awards. I wrote the song with Lionel Richie after seeing the appalling news footage of starving people in Ethiopia and the Sudan. Around that time, I used to ask my sister Janet to follow me into a room with interesting acoustics, like a closet of the bathroom, and I'd sing to her, just a note, a rhythm of a note. It wouldn't be a lyric or anything; I'd just hum from the bottom of my throat. I'd say, "Janet, what do you see? What do you see when you hear this sound?" And this time she said, "Dying children in Africa." "You're right. That's what I was dictating from my soul." And she said, "You're talking about Africa. You're talking about dying children." That's where "We Are the World" came from. We'd go in a dark room and I'd sing notes to her. To my mind, that's what singers should be able to do. We should be able to perform and be effective, even if it's in a dark room. We've lost a lot because of TV. You should be able to move people without all that advanced technology, without pictures, using only sound. I've been performing for as long as I can remember. I know a lot of secrets, a lot of things like that. I think that "We Are the World" is a very spiritual song, but spiritual in a special sense. I was proud to be a part of that song and to be one of the musicians there that night. We were united by our desire to make a difference. It made the world a better place for us and it made a difference to the starving people we wanted to help. We collected some Grammy Awards and began to hear easy-listening versions of "We Are the World" in elevators along with "Billie Jean." Since first writing it, I had thought that song should be sung by children. When I finally heard children singing it on producer George Duke's version, I almost cried. It's the best version I've heard. After "We Are the World," I again decided to retreat from public view. For two and a half years I devoted most of my time to recording the follow-up to Thriller , the album that came to be titled Bad . Why did it take so long to make Bad? The answer is that Quincy and I decided that this album should be as close to perfect as humanly possible. A perfectionist has to take his time; he shapes and he moulds and he sculpts that thing until it's perfect. He can't let it go before he's satisfied; he can't. If it's not right, you throw it away and do it over. You work that thing till it's just right. When it's as perfect as you can make it, you put it out there. Really, you've got to get it to where it's just right; that's the secret. That's the difference between a number thirty record and a number one record that stays number one for weeks. It's got to be good. If it is, it stays up there and the whole world wonders when it's going to come down. I have a hard time explaining how Quincy Jones and I work together on making an album. What I do is, I write the songs and do the music and then Quincy brings out the best in me. That's the only way I can explain it. Quincy will listen and make changes. He'll say, "Michael, you should put a change in there," and I'll write a change. And he'll guide me on and help me create and help me invent and work on new sounds, new kinds of music. And we fight. During the Bad sessions we disagreed on some things. If we struggle at all, it's about new stuff, the latest technology. I'll say, "Quincy, you know, music changes all the time." I want the latest drum sounds that people are doing. I want to go beyond the latest thing. And then we go ahead and make the best record that we can. We don't ever try to pander to the fans. We just try to play on the quality of the song. People will not buy junk. They'll only buy what they like. If you take all the trouble to get in your car, go to the record store, and put your money on the counter, you've got to really like what you're going to buy. You don't say, "I'll put a country song on here for the country market, a rock song for that market," and so on. I feel close to all different styles of music. I love some rock songs and some country songs and some pop and all the old rock 180;n' roll records. We did go after a rock type of song with "Beat It." We got Eddie Van Halen to play guitar because we knew he'd do the best job. Albums should be for all races, all tastes in music. In the end, many songs kind of create themselves. You just say, "This is it. This is how it's going to be." Of course, not every song is going to have a great dance tempo. It's like "Rock with You" isn't a great dance tempo. It was meant for the old dance the Rock. But it's not a "Don't Stop" or "Working Day and Night" rhythm or a "Startin' Something" type of thing - something you can play with on the dance floor and get sweaty, working out to. We worked on Bad for a long time. Years. In the end, it was worth it because we were satisfied with what we had achieved, but it was difficult too. There was a lot of tension because we felt we were competing with ourselves. It's very hard to create something when you feel like you're in competition with yourself because no matter how you look at it, people are always going to compare Bad to Thriller . You can always say, "Aw, forget Thriller ," but no one ever will. I think I have a slight advantage in all of this because I always do my best work under pressure. "Bad" is a song about the street. It's about this kid from a bad neighbourhood who gets to go away to a private school. He comes back to the old neighbourhood when he's on a break from school and the kids from the neighbourhood start giving him trouble. He sings, "I'm bad, you're bad, who's bad, who's the best?" He's saying when you're strong and good, then you're bad. "Man in the Mirror" is a great message. I love that song. If John Lennon was alive, he could really relate to that song because it says that if you want to make the world a better place, you have to work on yourself and change first. It's the same thing Kennedy was talking about when he said, "Ask not what your country can do for you; ask what you can do for your country." If you want to make the world a better place, take a look at yourself and make a change. Start with the man in the mirror. Start with yourself. Don't be looking at all the other things. Start with you. That's the truth. That's what Martin Luther King meant and Gandhi too. That's what I believe. Man In The Mirror Several people have asked me if I had anybody in mind when I wrote "Can't Stop Loving You." And I say that I didn't, really. I was thinking of somebody while I was singing it, but not while I was writing it. I wrote all the songs on Bad except for two, "Man in the Mirror," which Siedah Garrett wrote with George Ballard, and "Just Good Friends," which is by these two writers who wrote "What's Love Got to Do with It" for Tina Turner. We needed a duet for me and Stevie Wonder to sing and they had this song; I don't even think they intended for it to be a duet. They wrote it for me, but I knew it would be perfect for me and Stevie to sing together. "Another Part of Me" was one of the earliest songs written for Bad and made its public debut at the end of Captain Eo when the captain says good-bye. "Speed Demon" is a machine song. "The Way You Make Me Feel" and "Smooth Criminal" are simply the grooves I was in at the time. That's how I would put it. "Leave Me Alone" is a track that appears only on the compact disc of Bad . I worked hard on the song, stacking vocals on top of each other like layers of clouds. I'm sending a simple message here: "Leave me alone." The song is about a relationship between a guy and a girl. But what I'm really saying to people who are bothering me is: "Leave me alone ." The pressure of success does funny things to people. A lot of people become successful very quickly and it's an instant occurrence in their lives. Some of these people, whose success might be a one-shot thing, don't know how to handle what happens to them. I look at fame from a different perspective, since I've been in this business for so long now. I've learned that the way to survive as your own person is to shun personal publicity and keep a low profile as much as possible. I guess it's good in some ways and bad in others. The hardest part is having no privacy. I remember when we were filming "Thriller," Jackie Onassis and Shaye Areheart came to California to discuss this book. There were photographers in the trees, everywhere. It was not possible for us to do anything without it being noticed and reported. The price of fame can be a heavy one. Is the price you pay worth it? Consider that you really have no privacy. You can't really do anything unless special arrangements are made. The media prints whatever you say. They report whatever you do. They know what you buy, which movies you see, you name it. If I go to a public library, they print the titles of the books I check out. In Florida once, they printed my whole schedule in the paper; everything I did from ten in the morning until six at night. "After he did this, he did that, and after he did that, he went there, then he went door to door, and then he . . ." I remember thinking to myself, "What if I were trying to do something that I didn't happen to want reported in the paper?" All of this is the price of fame. I think my image gets distorted in the public's mind. They don't get a clear or full picture of what I'm like, despite the press coverage I mentioned early. Mistruths are printed as fact, in some cases, and frequently only half of a story will be told. The part that doesn't get printed is often the part that would make the printed part less sensational by shedding light on the facts. As a result, I think some people don't think I'm a person who determines what's happening with his career. Nothing could be further from the truth. I've been accused of being obsessed with my privacy and it's true that I am. People stare at you when you're famous. They're observing you and that's understandable, but it's not always easy. If you were to ask me why I wear sunglasses in public as often as I do, I'd tell you it's because I simply don't like to have to constantly look everyone in the eye. It's a way of concealing just a bit of myself. After I had my wisdom teeth pulled, the dentist gave me a surgical mask to wear home to keep out germs. I loved that mask. It was great - much better than sunglasses - and I had fun wearing it around for a while. There's so little privacy in my life that concealing a little bit of me is a way to give myself a break from all that. It may be considered strange, I know, but I like my privacy. I can't answer whether or not I like being famous, but I do love achieving goals. I love not only reaching a mark I've set for myself but exceeding it. Doing more than I thought I could, that's a great feeling. There's nothing like it. I think it's so important to set goals for yourself. It gives you an idea of where you want to go and how you want to get there. If you don't aim for something, you'll never know whether you could have hit the mark. I've always joked that I didn't ask to sing and dance, but it's true. When I open my mouth, music comes out. I'm honoured that I have this ability. I thank God for it every day. I try to cultivate what He gave me. I feel I'm compelled to do what I do. There are so many things all around us to be thankful for. Wasn't it Robert Frost who wrote about the world a person can see in a leaf? I think that's true. That's what I love about being with kids. They notice everything. They aren't jaded. They get excited by things we've forgotten to get excited about any more. They are so natural too, so unself-conscious. I love being around them. There always seems to be a bunch of kids over at the house and they're always welcome. They energise me - just being around them. They look at everything with such fresh eyes, such open minds. That's part of what makes kids so creative. They don't worry about the rules. The picture doesn't have to be in the centre of the piece of paper. The sky doesn't have to be blue. They are accepting people too. The only demand they make is to be treated fairly - and to be loved. I think that's what we all want. I would like to think that I'm an inspiration for the children I meet. I want kids to like my music. Their approval means more to me than anyone else's. It's always the kids who know which song is going to be a hit. You see kids who can't even talk yet, but they've got a little rhythm going. It's funny. But they're a tough audience. In fact, they're the toughest audience. There have been so many parents who have come to me and told me that their baby knows "Beat It" or loves "Thriller." George Lucas told me his daughter's first words were "Michael Jackson." I felt on top of the world when he told me that. I spend a lot of free time - in California and when I'm travelling - visiting children's hospitals. It makes me so happy to be able to brighten those kids' day by just showing up and talking with them, listening to what they have to say and making them feel better. It's so sad for children to have to get sick. More than anyone else, kids don't deserve that. They often can't even understand what's wrong with them. It makes my heart twist. When I'm with them, I just want to hug them and make it all better for them. Sometimes sick children will visit me at home or in my hotel rooms on the road. A parent will get in touch with me and ask if their child can visit with me for a few minutes. Sometimes when I'm with them I feel like I understand better what my mother must have gone through with her polio. Life is too precious and too short not to reach out and touch the people we can. You know, when I was going through that bad period with my skin and my adolescent growth spurts, it was kids who never let me down. They were the only ones who accepted the fact that I was no longer little Michael and that I was really the same person inside, even if you didn't recognise me. I've never forgotten that. Kids are great. If I were living for no other reason than to help and please kids, that would be enough for me. They're amazing people. Amazing. I am a person who is very much in control of his life. I have a team of exceptional people working for me and they do an excellent job of presenting me with the facts that keep me up-to-date on everything that's going on at MJJ Productions so that I can know the options and make the decisions. As far as my creativity is concerned, that's my domain and I enjoy that aspect of my life as much or more than any other. I think I have a goody-goody image in the press and I hate that, but it's hard to fight because I don't normally talk about myself. I am a shy person. It's true. I don't like giving interviews or appearing on talk shows. When Doubleday approached me about doing this book, I was interested in being able to talk about how I feel in a book that would be mine - my words and my voice. I hope it will clear up some misconceptions. Everybody has many facets to them and I'm no different. When I'm in public, I often feel shy and reserved. Obviously, I feel differently away from the glare of cameras and staring people. My friends, my close associates, know there's another Michael that I find it difficult to present in the outlandish "public" situations I often find myself in. It's different when I'm onstage, however. When I perform, I lose myself. I'm in total control of that stage. I don't think about anything. I know what I want to do from the moment I step out there and I love every minute of it. I'm actually relaxed onstage. Totally relaxed. It's nice. I feel relaxed in the studio too. I know whether something feels right. If it doesn't, I know how to fix it. Everything has to be in place and if it is you feel good, you feel fulfilled. People used to underestimate my ability as a songwriter. They didn't think of me as a songwriter, so when I started coming up with songs, they'd look at me like: "Who really wrote that?" I don't know what they must have thought - that I had someone back in the garage who was writing them for me? But time cleared up those misconceptions. You always have to prove yourself to people and so many of them don't want to believe. I've heard tales of Walt Disney going from studio to studio when he first started out, trying to sell his work unsuccessfully and being turned down. When he was finally given a chance, everyone thought he was the greatest thing that ever happened. Sometimes when you're treated unfairly it makes you stronger and more determined. Slavery was a terrible thing, but when black people in America finally got out from under that crushing system, they were stronger . They knew what it was to have your spirit crippled by people who are controlling your life. They were never going to let that happen again. I admire that kind of strength. People who have it take a stand and put their blood and soul into what they believe. People often ask me what I'm like. I hope this book will answer some of those questions, but these things might help too. My favourite music is an eclectic mix. For example, I love classical music. I'm crazy about Debussy. Prelude to the Afternoon of a Faun and Clair de Lune . And Prokofiev. I could listen to Peter and the Wolf over and over and over again. Copland is one of my all-time favourite composers. You can recognise his distinctive brass sounds right away. Billy the Kid is fabulous. I listen to a lot of Tchaikovsky. The Nutcracker Suite is a favourite. I have a large collection of show tunes also - Irving Berlin, Johnny Mercer, Lerner and Loewe, Harold Arlen, Rodgers and Hammerstein, and the great Holland-Dozier-Holland. I really admire those guys. I like Mexican food very much. I'm a vegetarian, so fortunately fresh fruits and vegetables are a favourite of mine. I love toys and gadgets. I like to see the latest things manufacturers have come out with. If there's something really wonderful, I'll buy one. I'm crazy about monkeys, especially chimps. My chimp Bubbles is a constant delight. I really enjoy taking him with me on trips or excursions. He's a wonderful distraction and a great pet. I love Elizabeth Taylor. I'm inspired by her bravery. She has been through so much and she is a survivor. That lady has been through a lot and she's walked out of it on two feet. I identify with her very strongly because of our experiences as child stars. When we first started talking on the phone, she told me she felt as if she had known me for years. I felt the same way. Katharine Hepburn is a dear friend too. I was afraid to meet her at first. We talked for a while when I first arrived for a stay on the set of On Golden Pond , where I was Jane Fonda's guest. She invited me to have dinner with her the next night. I felt very fortunate. Since then, we have visited one another and remained close. Remember, it was Katharine Hepburn who got me to remove my sunglasses at the Grammy Awards. She's a big influence on me. She's another strong person and a private person. I believe performers should try to be strong as an example to their audiences. It's staggering what a person can do if they only try. If you're under pressure, play off that pressure and use it to advantage and make whatever you're doing better. Performers owe it to people to be strong and fair. Often in the past performers have been tragic figures. A lot of the truly great people have suffered or died because of pressure and drugs, especially liquor. It's so sad. You feel cheated as a fan that you didn't get to watch them evolve as they grew older. One can't help wondering what performances Marilyn Monroe would have put in or what Jimi Hendrix might have done in the 1980s. A lot of celebrities say they don't want their children to go into show business. I can understand their feelings, but I don't agree with them. If I had a son or daughter, I'd say, "By all means, be my guest. Step right in there. If you want to do it, do it." To me, nothing is more important than making people happy, giving them a release from their problems and worries, helping to lighten their load. I want them to walk away from a performance I've done, saying, "That was great. I want to go back again. I had a great time." To me, that's what it's all about. That's wonderful. That's why I don't understand when some celebrities say they don't want their kids in the business. I think they say that because they've been hurt themselves. I can understand that. I've been there too. -Michael Jackson- Encino, California 1988 What one wishes is to be touched by truth and to be able to interpret that truth so that one may use what one is feeling and experiencing, be it despair or joy, in a way that will add meaning to one's life and will hopefully touch others as well. This is art in its highest form. Those moments of enlightenment are what I continue to live for. -Michael Jackson
選擇“Disable on www.wenxuecity.com”
選擇“don't run on pages on this domain”
