All language subtitles for Thriller.40.2023.2160p.4K.WEB

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These are the user uploaded subtitles that are being translated: Eߣ�B��B��B�B�B��matroskaB��B��S�g�TM�t�M��S��I�fS��M��S��T�kS���M��S��S�kS���-M��S��T�gS�����O�I�f@�*ױ�B@M��libebml v1.4.5 + libmatroska v1.7.1WA�mkvmerge v97.0 ('You Don't Have A Clue') 64-bitD��AT=r@Da� ��Cxs���p�淅��2�(�*�T�k箫ׁsň���4Piu������S_TEXT/UTF8"���enU����ׁsň�q�������������S_TEXT/UTF8"���enSn�SDHU��U���D8C�u@�� �����♪ dramatic, atmospheric music ♪��&�����♪ dramatic, atmospheric music ♪��&�����&�� �C�u��!�����[crowd cheering]�� �C�uA�>������♪ "Billie Jean" by Michael Jackson ♪�� a�����♪ "Billie Jean" by Michael Jackson ♪�� a����� a���������♪ Mama se, mama sa, ma-ma coo sa ♪�� ߠ�����♪ Mama se, mama sa, ma-ma coo sa ♪�� �C�u@��`p�����♪ "Beat It" by Michael Jackson ♪�� Ǡ����♪ "Beat It" by Michael Jackson ♪�� Ǡ���� �There are two things in the music business:�� �̡Ƃ �[Steven Ivory] There are two things in the music business:�� �C�u@��u!�����before Thriller and after Thriller.�� ������before Thriller and after Thriller.�� ������ �[crowd cheering]��U������� �C�u@�炞0�����♪ But you wanna be bad ♪��1�����♪ But you wanna be bad ♪��1�̡Ɓ1- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪��'�̡Ƃ1- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪��'C�u@�炳������♪ No one wants to be defeated ♪�� 䠴���♪ No one wants to be defeated ♪�� �ġ�� �♪ Showin' how funky and strong is your fight ♪����ġ�� �♪ Showin' how funky and strong is your fight ♪���C�u@��������♪ It doesn't matter... ♪��������♪ It doesn't matter... ♪���������Mark.���������[crew member] Mark.��������-The first time I heard��������-[Mary J. Blige] The first time I heard���C�uA��Ǡ����Michael Jackson's Thriller, he was pop,��Ҡ����Michael Jackson's Thriller, he was pop,��Ҡ�����he was R and B, he was gospel, he was rock.���������he was R and B, he was gospel, he was rock.���C�uA��������It was everything that I loved.��7�����It was everything that I loved.��7�����7And bring all of these elements together--��+�ġ��7[Usher] And bring all of these elements together--��+����� bdance and choreography��㠧��� bdance and choreography��㠹���Eand theatrical moments and the feeling,��U�����Eand theatrical moments and the feeling,��UC�u@��������you know, like a musical, damn near.�� �����you know, like a musical, damn near.�� ����� The magic of it-- each track was better than the next.��'����� The magic of it-- each track was better than the next.��'C�uAe�+���It was in your brain, and everybody knew it.��O�����It was in your brain, and everybody knew it.��O�����OFor the 14th consecutive week,��������O[reporter] For the 14th consecutive week,���������the best-selling album in the country��7������the best-selling album in the country��7C�uAI�A�����is Michael Jackson's Thriller.�� ������is Michael Jackson's Thriller.�� ������ �If Thriller came out today,�������� �If Thriller came out today,��������Qit would still be the greatest album ever made.�� ������Qit would still be the greatest album ever made.�� �C�uA$�[�¡��It's the ultimate blueprint to modern pop music.�� ��¡��It's the ultimate blueprint to modern pop music.�� ������ �I love the way that record is sequenced, right?�� �ҡ̂ �[Raphael Saadiq] I love the way that record is sequenced, right?�� �C�uA��r��á��"Wanna Be Startin' Somethin'." The title says it.����á��"Wanna Be Startin' Somethin'." The title says it.����̡Ɓ�He wanted to be starting some shit right now. He wanted...�� �̡Ƃ�He wanted to be starting some shit right now. He wanted...�� 𠳡���He's like, "I'm about to start some shit��ޠ�����He's like, "I'm about to start some shit���C�uA����ơ��in the industry right now. I'm about to blow everybody up."��U�ơ��in the industry right now. I'm about to blow everybody up."��U�����UThis was literally the pinnacle of everything��~�ɡÂU[Maxwell] This was literally the pinnacle of everything��~������that began with him.���������that began with him.��������c"Thriller," "Beat It"�� ������c"Thriller," "Beat It"�� �C�uAC�������and "Billie Jean."��������and "Billie Jean."���������To this day, when "Thriller" comes on, I mean,���������To this day, when "Thriller" comes on, I mean,�������� �there's not a Halloween that doesn't happen��x����� �there's not a Halloween that doesn't happen��xC�uAI�������where you don't hear that song.��[�����where you don't hear that song.��[�����[But then you have "Human Nature," "P.Y.T.,"�� �����[But then you have "Human Nature," "P.Y.T.,"�� �����iand then you have "Lady in My Life."�������iand then you have "Lady in My Life."��C�u@���������It became the biggest-selling album ever.�� �ǡ��[announcer] It became the biggest-selling album ever.�� ����� Michael Jackson. Always keep one in the cab.��W����� Michael Jackson. Always keep one in the cab.��WC�uA��_�����This is history.�������[Misty Copeland] This is history.�������I want to say it's Black culture,��[�����I want to say it's Black culture,��[����� \but it's-it's for everyone.������� \but it's-it's for everyone.��C�uA��������Thriller is the biggest-selling��[�����[Nelson George] Thriller is the biggest-selling��[�����[album of all time.��������[album of all time.�������� Thriller is a cultural phenomenon��ؠ���� Thriller is a cultural phenomenon��ؠ�����that's lasted four decades and seems determined�� ������that's lasted four decades and seems determined�� C�u��$������to continue going forward.��%�����to continue going forward.��%����� [crowd cheering]�� �C�uA�>K�����What takes your breath away is��������[Robert Hilburn] What takes your breath away is����Ρȁ�he had the ambition to become the biggest star in the world.�� ٠ΡȂ�he had the ambition to become the biggest star in the world.�� �C�uAA�R������And he did it. The fact that he had�� D�����And he did it. The fact that he had�� D����� Dthat dream, I mean, that-that goal,��̠���� Dthat dream, I mean, that-that goal,��̠����that's what's the remarkable story.�� ٠����that's what's the remarkable story.�� �C�uAh�|������♪ soft, curious music ♪�������♪ soft, curious music ♪�������Ever since we were kids,��[�����[Michael Jackson] Ever since we were kids,��[�͡ǁ �we've always wanted to dance or keep the time to the music.��͠͡ǂ �we've always wanted to dance or keep the time to the music.���C�uAA��.�����And that's part of us.��������And that's part of us.���������It's like, uh, something we have to have.��̠�����It's like, uh, something we have to have.��̠�����And it's in us, because I don't know���������And it's in us, because I don't know���C�uA���Q�á��what I would do if there was, uh... wasn't music.�� �á��what I would do if there was, uh... wasn't music.�� ����� Joe Jackson's role��[����� [reporter] Joe Jackson's role��[�ҡ́oin his children's careers would give people a lot to talk about.�� ��ҡ̂oin his children's careers would give people a lot to talk about.�� �C�uA��K�ơ��The former steelworker had somehow gotten his family�� h�ơ��The former steelworker had somehow gotten his family�� h����� hout of Indiana, groomed for stardom.��y����� hout of Indiana, groomed for stardom.��yC�u@���,�����♪ "I Want You Back" by The Jackson 5 ♪�� ������♪ "I Want You Back" by The Jackson 5 ♪�� ������ ���������[The Jackson 5's "I Want You Back" continues]�� �C�uA�y������� ������ �Now, here are five brothers�������� �[Ed Sullivan] Now, here are five brothers����ġ��dfrom Gary, Indiana, ranging in age from ten to 18:�� ��ġ��dfrom Gary, Indiana, ranging in age from ten to 18:�� �C�uA� n�����The Jackson 5.�� �����The Jackson 5.�� ����� ♪ Oh, baby, give me one more chance ♪��-����� ♪ Oh, baby, give me one more chance ♪��-�����:♪ To show you that I love you ♪��6�����:♪ To show you that I love you ♪��6C�u@��8ޠ����♪ Won't you please let me ♪��Ԡ����♪ Won't you please let me ♪��Ԡ�����♪ Back in your heart ♪���������♪ Back in your heart ♪���C�uAI�M<�����♪ Oh, darlin', I was blind to let you go ♪��V�����♪ Oh, darlin', I was blind to let you go ♪��V�����V♪ Let you go, baby ♪��������V♪ Let you go, baby ♪���������♪ But now since I see you... ♪��ؠ�����♪ But now since I see you... ♪���C�uA3�f������This poor man's life has been��U�����[Dick Clark] This poor man's life has been��U�����Udissected completely.�� �����Udissected completely.�� ����� bIs there anything anybody hasn't asked you by now?�� 𠽡�� bIs there anything anybody hasn't asked you by now?�� �C�u@��}L�����Um...��<�����Um...��<�����<♪ Enjoy yourself ♪��7�����<♪ Enjoy yourself ♪��7����� s♪ Enjoy yourself, enjoy yourself with me ♪�� >����� s♪ Enjoy yourself, enjoy yourself with me ♪�� >C�u@���������♪ Enjoy yourself, enjoy yourself ♪�� �����♪ Enjoy yourself, enjoy yourself ♪�� ����� ♪ Enjoy yourself with me ♪�� ����� ♪ Enjoy yourself with me ♪�� C�uAu��%�����♪ You better enjoy yourself... ♪��ؠ����♪ You better enjoy yourself... ♪��ؠ�����Now, tell me, what do you think is the success�� ��ΡȂ�[interviewer] Now, tell me, what do you think is the success�� ������oof the Jacksons, yourself and the Jacksons?��+�����oof the Jacksons, yourself and the Jacksons?��+C�uA��������I would say probably, um, togetherness.��Ӡ����I would say probably, um, togetherness.��Ӡġ���I can't think about Michael without thinking about�� n�͡ǂ�[Saadiq] I can't think about Michael without thinking about�� nC�u@��������The Jackson 5 and Motown and all of that,�� ������The Jackson 5 and Motown and all of that,�� ������ �so it takes me a little further back.�� ����� �so it takes me a little further back.�� C�uA���ڠ����Takes me to Off the Wall,��������Takes me to Off the Wall,���������which is one of my favorite records.���������which is one of my favorite records.����ΡȂ >[Michael Jackson's "Don't Stop 'Til You Get Enough" playing]��������Welcome to WBLS once again, Michael Jackson.��y�ɡÂ�[radio DJ] Welcome to WBLS once again, Michael Jackson.��yC�uA[� �����Thank you very much.�� �����[Michael] Thank you very much.�� ����� The name of the album is...��ݠ���� [radio DJ] The name of the album is...��ݠ���� �- Off the Wall. - Are you?��[����� �- [Michael] Off the Wall. - [radio DJ] Are you?��[�����E[both laughing]��6C�u@�� ������We'll be back with Michael right after this.�� �ɡÂ[radio DJ] We'll be back with Michael right after this.�� ����� ♪ Lovely ♪�� 9����� ♪ Lovely ♪�� 9C�u@��6ޠ����♪ Is the feeling now ♪�� ����♪ Is the feeling now ♪�� �����♪ Fever... ♪�� C������♪ Fever... ♪�� CC�uAM�R㠯���I was not the biggest Jackson 5 fan.�� ������I was not the biggest Jackson 5 fan.�� ������ �I was a serious pop music critic.��,����� �I was a serious pop music critic.��,�á���And I said, "Well, it's cute what they're doing."����á���And I said, "Well, it's cute what they're doing."���C�uAF�n������- ♪ Baby, baby ♪ - ♪ Ow, ow... ♪�� D�����- ♪ Baby, baby ♪ - ♪ Ow, ow... ♪�� D����� DYou know, James Brown,��`����� D[Hilburn] You know, James Brown,��`������Jackie Wilson, that's really nice.��������Jackie Wilson, that's really nice.��C�uAa��⠸���You know, it wasn't what I was interested in.��������You know, it wasn't what I was interested in.���������And then Off the Wall comes out,���������And then Off the Wall comes out,��������Kand I was caught up in the excitement��������Kand I was caught up in the excitement���C�uAe��)�����of learning more about Michael and his world,�� Ơ����of learning more about Michael and his world,�� Ơ���� �so I interview him separately.�������� �so I interview him separately.����á��PYou interview the brothers all together, him separately.�� �á��PYou interview the brothers all together, him separately.�� �C�uA ��^�����You know, he's nervous.��ݠ����You know, he's nervous.��ݠ�����He doesn't like to do interviews.��������He doesn't like to do interviews.������� \He's sad, he's lonely, he says.��Ҡ���� \He's sad, he's lonely, he says.���C�u@��Ό�����He starts talking about his life.�� h�����He starts talking about his life.�� h����� h♪ soft, melancholy music ♪�� C����� h♪ soft, melancholy music ♪�� CC�u@���7�����He was so hurt around 14 and 15 and 16,��������He was so hurt around 14 and 15 and 16,���������when his face changed.��������when his face changed.��C�u@���ˠ����He got bigger.�� �����He got bigger.�� ����� I mean, his face had broken out.�� ����� I mean, his face had broken out.�� �����:He was so sad.��7�����:He was so sad.��7C�uA��<�����People didn't care about him anymore.��U�����People didn't care about him anymore.��U�¡��UYou know, adults would come into a party at some house,�� �¡��UYou know, adults would come into a party at some house,�� �ʡānand they would be looking all around. "Where's Michael?"�� 3�ʡĂnand they would be looking all around. "Where's Michael?"�� 3C�uA�4ݠ����And they'd be walking right past him, you know?�� ������And they'd be walking right past him, you know?�� ��ȡ �And he got the feeling that, "We don't care about you.�� ��ȡ‚ �And he got the feeling that, "We don't care about you.�� �C�u��LS�����We want that little kid."�� �����We want that little kid."�� C�u@��b{�����He was dead set on his focus��[�����[George] He was dead set on his focus��[�����[to be, you know, Michael Jackson, solo artist.�� ������[to be, you know, Michael Jackson, solo artist.�� �C�uAQ�v������And he had to.��������[Brooke Shields] And he had to.���������He knew that it was time. He knew that...�� m������He knew that it was time. He knew that...�� m�����He was excited to have it all be on his own terms.��������He was excited to have it all be on his own terms.���C�u@���.�����You know, not with... not attached to anybody.�� ������You know, not with... not attached to anybody.�� ������ �And he knew that-that...�� I����� �And he knew that-that...�� IC�u@���,�����that he was even gonna soar from that.��������that he was even gonna soar from that.���������Well, Off the Wall was an enormous success.���������Well, Off the Wall was an enormous success.���C�u@���Ơ����It-it put Michael on the map as a solo artist.�� ������It-it put Michael on the map as a solo artist.�� �������People forget that, before Off the Wall,�� �������People forget that, before Off the Wall,�� �C�uA����Сʁthere was a period between Motown and the Destiny album��E�Сʂthere was a period between Motown and the Destiny album��E�����Ewhere people thought maybe�� �����Ewhere people thought maybe�� C�uA��N�����the career of The Jackson 5 was over,��+�����the career of The Jackson 5 was over,��+�Ρȁ+that they were yesterday's news, forgotten boy band, really.��'�ΡȂ+that they were yesterday's news, forgotten boy band, really.��'C�uA#���̡ƁSo Off the Wall reestablished Michael as someone to watch.�� ��̡ƂSo Off the Wall reestablished Michael as someone to watch.�� ������ �Off the Wall was just this incredible record,�� ����� �Off the Wall was just this incredible record,�� C�uA[�,X�����and we knew that Mike was coming back�� �����and we knew that Mike was coming back�� ����� with something special because������� with something special because���͡ǁhe didn't win everything that he wanted during the Grammys,����͡ǂhe didn't win everything that he wanted during the Grammys,���C�u@��Lp�����and he only won one award,�� s�����and he only won one award,�� s����� swhich was the R and B award at that.�� ����� swhich was the R and B award at that.�� C�uA}�_������He thought he was gonna sweep.��������He thought he was gonna sweep.���������He thought for sure, "I got a pop smash here."�� �������He thought for sure, "I got a pop smash here."�� ��ΡȁiSo, when that didn't happen, he left there with a vengeance,����ΡȂiSo, when that didn't happen, he left there with a vengeance,���C�u@���d�����just determined to do better next time.�� ޠ����just determined to do better next time.�� ޠ���� �He was determined��ؠ���� �[John Branca] He was determined���C�uA�������to change the way he was perceived.��������to change the way he was perceived.����ӡ́�Uh, there were a lot of writings he did to himself, affirmations.��t�ӡ͂�Uh, there were a lot of writings he did to himself, affirmations.��tC�uA^��#�����I look in the mirror,�� �����[Michael] I look in the mirror,�� ����� and I would say over and over to myself...������� and I would say over and over to myself...������� I'd take a deep breath, put my feet together,�� ������ I'd take a deep breath, put my feet together,�� �C�u@���Π����raise myself erect, strong like a...�� �����raise myself erect, strong like a...�� ����� a hero warrior, and I'd say,��̠���� a hero warrior, and I'd say,���C�uAa�꣠ǡ��"Biggest-selling album of all time, greatest seller,"����ǡ��"Biggest-selling album of all time, greatest seller,"���������over and over to my mind, and look in my eyes.�� ������over and over to my mind, and look in my eyes.�� 𠡡���And I'd mean it.���������And I'd mean it.���C�uA_������I'd say, "Biggest-selling album of all times."��P�����I'd say, "Biggest-selling album of all times."��P�����PAnd I wouldn't accept anything��������PAnd I wouldn't accept anything���������unless this was exactly what I wanted.�� m������unless this was exactly what I wanted.�� mC�uAG�0�����My attitude was:��頡���My attitude was:��������I want the biggest-selling album of all times,��&������I want the biggest-selling album of all times,��&����� to break records, to do phenomenal work.�� \����� to break records, to do phenomenal work.�� \C�uA�4������I came in angry.��נ����I came in angry.��נ�����Michael was writing.���������[Ivory] Michael was writing.�������� �He was writing. He was fuming.�� s����� �He was writing. He was fuming.�� sC�uA1�J������He was still upset about��y�����He was still upset about��y�����ythis idea that he would be denied,�� ������ythis idea that he would be denied,�� ������you know, major awards for Off the Wall.�� n�����you know, major awards for Off the Wall.�� nC�uA�h�����I just remember all of the, uh...��%�����I just remember all of the, uh...��%�����%the process of when they were doing it.�������%the process of when they were doing it.��������And the, uh... the excitement��~������And the, uh... the excitement��~C�uAG�9�����while they're recording, just, you know...�������while they're recording, just, you know...�������just hearing tales, you know, as they're coming�������just hearing tales, you know, as they're coming�������in and out of the studio with it.��������in and out of the studio with it.���C�uAR���¡��["Wanna Be Startin' Somethin'" playing, muffled]�� ����� �♪ I said you wanna be startin' somethin' ♪�� I����� �♪ I said you wanna be startin' somethin' ♪�� I�����9 ♪ You got to be startin' somethin' ♪����ơ��9[fading in] ♪ You got to be startin' somethin' ♪���C�uA���Ҡ����♪ I said you wanna be startin' somethin' ♪��%�����♪ I said you wanna be startin' somethin' ♪��%�����%♪ You got to be startin' somethin' ♪��������%♪ You got to be startin' somethin' ♪����ʡā�- ♪ It's too high to get over ♪ - ♪ Yeah, yeah ♪��&�ʡĂ�- ♪ It's too high to get over ♪ - ♪ Yeah, yeah ♪��&C�uA��ġ�����♪ You're too low to get under ♪��ݠ����♪ You're too low to get under ♪��ݠɡÁ�♪ Yeah, yeah ♪ - ♪ You're stuck in the middle ♪��U�ɡÂ�♪ Yeah, yeah ♪ - ♪ You're stuck in the middle ♪��U�ȡ 2- ♪ Yeah, yeah ♪ - ♪ And the pain is thunder ♪���ȡ‚ 2- ♪ Yeah, yeah ♪ - ♪ And the pain is thunder ♪��C�uAU��R�����♪ Yeah, yeah... ♪��������♪ Yeah, yeah... ♪���������Westlake was a really great studio���¡���[Matt Forger] Westlake was a really great studio������� �because y-you felt the facility had this warmth��'����� �because y-you felt the facility had this warmth��'C�uA!���Сʁand this friendliness and this casual put-you-at-ease feeling.����Сʂand this friendliness and this casual put-you-at-ease feeling.���������There was just the most incredible vibe.�� m������There was just the most incredible vibe.�� mC�u@��i�����Where you could just be creatively free to-to take...��Q�����Where you could just be creatively free to-to take...��Q�����Qtake the music wherever you wanted.�� ������Qtake the music wherever you wanted.�� �C�uA]�3A�����This is hallowed ground. I was... I was in here a lot��������This is hallowed ground. I was... I was in here a lot���������'cause Quincy made a lot of records in here.��+������'cause Quincy made a lot of records in here.��+�����'Off the Wall was made in here.�� �����'Off the Wall was made in here.�� C�uAW�L������Certainly Thriller.�������Certainly Thriller.�������Quincy worked in here a lot.��������Quincy worked in here a lot.�������� �Quincy influenced everything�������� �Quincy influenced everything��������t- we've ever done in our lives. - Yes.��������t- we've ever done in our lives. - Yes.���C�uA5�b������- Whether you can hear it or not. - Exactly.��&�����- Whether you can hear it or not. - Exactly.��&�����&Depth of understanding of music.�� C�����&Depth of understanding of music.�� C�����iThat's what makes Quincy Quincy.��ޠ����iThat's what makes Quincy Quincy.���C�u@��zǠ����He's done big band. He's done small bands.�� ������He's done big band. He's done small bands.�� ������ �He's done pop. He's done rock.�� ������ �He's done pop. He's done rock.�� �C�uAQ��������He's done everything.��������He's done everything.����á���So, just understanding all those different genres��y�á���So, just understanding all those different genres��y�����and-and how to fuse them all together�� �����and-and how to fuse them all together�� C�uAC�������is what gives you all these��������is what gives you all these����ˡŁ�wonderful applications that you get on a Michael Jackson record.�� ߠˡł�wonderful applications that you get on a Michael Jackson record.�� ߠ����iAnd that sound was ma...��������iAnd that sound was ma...���C�uAu��4�����You know, Bruce Swedien had a lot to do with�� J�����You know, Bruce Swedien had a lot to do with�� J����� Jhow that overall sound was-- the echo�������� Jhow that overall sound was-- the echo����ˡŁ�and the reverbs and the... the way he would place things.�� ��ˡł�and the reverbs and the... the way he would place things.�� �C�uA���ՠ����And they were excited.��1�����And they were excited.��1�����1As we were making the record,��1�����1As we were making the record,��1����� byou could feel the excitement in the room.��a����� byou could feel the excitement in the room.��a������Knowing that we were doing something��נ�����Knowing that we were doing something���C�u���o�����that was gonna be special.��Ҡ����that was gonna be special.��Ҡ�����[playing elegant melody]�� C�uA.� A�����Wow, I don't even know��������[Greg Phillinganes] Wow, I don't even know���������where to begin.��㠠����where to begin.��㠽��� �I just remember coming here to this studio,�� C����� �I just remember coming here to this studio,�� CC�u@�� 1�����which was like a second home,�� ������which was like a second home,�� ������ �and coming in, listening to, uh,�� ����� �and coming in, listening to, uh,�� C�u@�� E񠽡��the demos that Rod Temperton would provide.�� ������the demos that Rod Temperton would provide.�� ������ �And we would just start to carve musically�� ������ �And we would just start to carve musically�� �C�u@�� `�����and-and work our way into the details of the demos.��@�����and-and work our way into the details of the demos.��@�����@Rod Temperton.��������@[Steve Lukather] Rod Temperton.���C�uA/� z䠨���This guy was brilliant.��������This guy was brilliant.���������I mean, he was deep.���������I mean, he was deep.����¡�� \I love Rod Temperton. He wrote incredible songs,����¡�� \I love Rod Temperton. He wrote incredible songs,���C�u@�� ��ơ��and he was a part of Quincy's, you know, tight team.��i�ơ��and he was a part of Quincy's, you know, tight team.��iC�uA� �/�����We did a lot of funky sounds�� J�¡��[Anthony Marinelli] We did a lot of funky sounds�� J����� Jon "Baby Be Mine."��ݠ���� Jon "Baby Be Mine."��ݠ����'[Michael Jackson's "Baby Be Mine" playing]�� �C�u�� �A������� �C�uAO� ������Quincy was just looking for...��7�����Quincy was just looking for...��7�����7He's always looking for something different.��������7He's always looking for something different.�������� �So we were brought in because it was...��Ҡ���� �So we were brought in because it was...���C�uA� �������I think Quincy knew about MTV,��y�����I think Quincy knew about MTV,��y�����yand he was looking for a cinematic thing��������yand he was looking for a cinematic thing��������!'cause Quincy came from film.��%�����!'cause Quincy came from film.��%C�uAc� �����When Michael would want... he-he knew things�� s�����When Michael would want... he-he knew things�� s����� sthat he would want for sounds.��a����� sthat he would want for sounds.��a�ʡā�And, uh, he would put it on a record player and play it.�� >�ʡĂ�And, uh, he would put it on a record player and play it.�� >C�uAq� /�ˡŁAnd then I'd say, "Well, let me go get that other synth."�� �ˡłAnd then I'd say, "Well, let me go get that other synth."�� ����� So it would be in the truck,������� So it would be in the truck,�������'parked in the parking lot of Westlake,��������'parked in the parking lot of Westlake,���C�uAG� E堯���or it would be in the hallway.��`�����or it would be in the hallway.��`�����`We had Anvil Cases lined up the hall,��[�����`We had Anvil Cases lined up the hall,��[����� �and we just basically took over the place.��O����� �and we just basically took over the place.��OC�u@�� Y���And we were creating sounds and using synthesizers�� h�����And we were creating sounds and using synthesizers�� h����� hin-in kind of a big way and replacing orchestra.��̠���� hin-in kind of a big way and replacing orchestra.���C�u�� n#�ˡł[playing Michael Jackson's "P.Y.T. (Pretty Young Thing)"]��������� �C�uAX� �k�����So, one of the things that��~�����[Paul Jackson, Jr.] So, one of the things that��~�����~I noticed about Michael's development��ޠ����~I noticed about Michael's development��ޠ���� \as a songwriter-- I-I saw him getting��ؠ���� \as a songwriter-- I-I saw him getting���C�uAc� �������more rhythmically and harmonically advanced,��������more rhythmically and harmonically advanced,���������taking steps forward and forward and forward.��%������taking steps forward and forward and forward.��%������His talent was not only developing as a singer.�� �������His talent was not only developing as a singer.�� �C�uA+� �������- Mm-hmm. - He developed as a...��������- Mm-hmm. - He developed as a...���������- as an entertainer. - Yes.��U������- as an entertainer. - Yes.��U�����It's funny you guys should have picked this room,��������It's funny you guys should have picked this room,���C�u@�� ѯ�š��'cause I'm walking through here, you know, and I-I just...��,�š��'cause I'm walking through here, you know, and I-I just...��,�����,you know, I'm just seeing. I can...�������,you know, I'm just seeing. I can...��C�u@�� �Z�����I almost, um, channel him,��������I almost, um, channel him,���������- his spirit into this room. - Yeah.��&������- his spirit into this room. - Yeah.��&������He had us prepared.��6������He had us prepared.��6C�uA6� �:�����- We were prepared. - No question.��U�����- We were prepared. - [Oren Waters] No question.��U�����UAnd he would come in ready to go.��������UAnd he would come in ready to go.�������� �He was the kind of individual that, uh,�������� �He was the kind of individual that, uh,���C�u@��  �����had a awesome work ethic.�� �����had a awesome work ethic.�� ����� The process was��O����� [Ed Eckstine] The process was��O�����oquite a, uh, adventure�������oquite a, uh, adventure��C�uA�� )�����'cause most people forget that the first single�� s�����'cause most people forget that the first single�� s����� sfrom the album was "The Girl Is Mine."������� sfrom the album was "The Girl Is Mine."���Сʁu♪ "The Girl Is Mine" by Michael Jackson & Paul McCartney ♪�� >�Сʂu♪ "The Girl Is Mine" by Michael Jackson & Paul McCartney ♪�� >C�uA]� E2�����Obviously, you had no bigger star in the world�� ������Obviously, you had no bigger star in the world�� ������ �than Paul McCartney.��6����� �than Paul McCartney.��6������And, you know, the pairing of Michael and Paul,��U������And, you know, the pairing of Michael and Paul,��UC�uA!� ]x�¡��what better flag waver to get a project started?�� 8�¡��what better flag waver to get a project started?�� 8�á�� 8♪ Every night, she walks right in my dreams ♪�� D�͡ǂ 8[Michael] ♪ Every night, she walks right in my dreams ♪�� DC�u@�� s������♪ Since I met her from the start ♪�� ������♪ Since I met her from the start ♪�� ������ �♪ I'm so proud I am the only one ♪�� ������ �♪ I'm so proud I am the only one ♪�� �C�uA3� �d�����♪ Who is special in her heart ♪�� ������♪ Who is special in her heart ♪�� ������ �♪ The girl is mine ♪�������� �♪ The girl is mine ♪���������Yeah, hit it, John. Hit it, John.�� ������[Bruce Swedien] Yeah, hit it, John. Hit it, John.�� C�u@�� ������♪ The doggone girl is mine... ♪��������♪ The doggone girl is mine... ♪���������So we get the call.��[������[Lukather] So we get the call.��[C�uAi� ������It's, like, Paul McCartney and Michael Jackson.��������It's, like, Paul McCartney and Michael Jackson.����¡���I mean, it just didn't get any bigger than that,�� I�¡���I mean, it just didn't get any bigger than that,�� I������so we were kind of like,���������so we were kind of like,���C�uA)� յ�����"Oh, holy shit. What are we gonna do?��������"Oh, holy shit. What are we gonna do?���������What's this gonna be all about?"���������What's this gonna be all about?"���������When Paul McCartney walked in the room,�� 𠲡���When Paul McCartney walked in the room,�� �C�uAe� �%�����there was a palpable change of energy of:��O�����there was a palpable change of energy of:��O�����O"Oh, my God, that's Paul McCartney."��y�����O"Oh, my God, that's Paul McCartney."��y������♪ Saying that she's yours, not mine ♪�� ��š���[Michael] ♪ Saying that she's yours, not mine ♪�� �C�uAI� ������♪ Sending roses and your silly dreams ♪�� ������♪ Sending roses and your silly dreams ♪�� ������ �♪ Really just a waste of time ♪��Ҡ���� �♪ Really just a waste of time ♪��Ҡ����c♪ Because she's mine ♪�� I�����c♪ Because she's mine ♪�� IC�uAG� (O�����- Beautiful. Whew! - Yeah.�� �����- [Quincy Jones] Beautiful. Whew! - Yeah.�� ����� ♪ The doggone girl is mine ♪��ޠ���� ♪ The doggone girl is mine ♪��ޠ�����Do that one more time, man, from the second verse.�� s������Do that one more time, man, from the second verse.�� sC�uA_� B������Uh, that was a wonderful day.��[�����[Forger] Uh, that was a wonderful day.��[�����[For me, it was a day that changed my life.��̠����[For me, it was a day that changed my life.��̠����'I was in the presence of the greatest,�� ������'I was in the presence of the greatest,�� �C�uA� ]l�����most successful people��ؠ����most successful people��ؠ�����in the music business.��7������in the music business.��7����� Paul McCartney, Michael Jackson, Quincy Jones.�� ����� Paul McCartney, Michael Jackson, Quincy Jones.�� �C�uAl� u_�����George Martin was there.��������George Martin was there.���������Because of its catchy melody,��y������[Nelson George] Because of its catchy melody,��y�Ρȁumany think "The Girl Is Mine" was written by Paul McCartney,�� >�ΡȂumany think "The Girl Is Mine" was written by Paul McCartney,�� >C�u@�� ��ġ��when, in fact, it was composed by Michael Jackson.�� ��ġ��when, in fact, it was composed by Michael Jackson.�� ������ �♪ Really just a waste of time ♪�� D����� �♪ Really just a waste of time ♪�� DC�uA7� �ᠮ���♪ Because she's mine... ♪��O�����♪ Because she's mine... ♪��O�����OOnce the music started flowing,�������OOnce the music started flowing,��������it was like here's two old friends.��O������it was like here's two old friends.��OC�u�� �������[beeping]���������- ♪�� �������- ♪ - [dialogue inaudible]�� �C�uAG� �������[beep]��B�����B♪ The girl is mine ♪��ޠ����B[McCartney] ♪ The girl is mine ♪��ޠ���� ♪ Mine, mine ♪������� [backup singers] ♪ Mine, mine ♪�������'♪ Yes, she's mine ♪����š��'[McCartney, singing deeply] ♪ Yes, she's mine ♪���C�uA9� ��š��- ♪ Mine, mine ♪ - ♪ Don't waste ♪��y�ߡق- [backup singers] ♪ Mine, mine ♪ - [laughing] ♪ Don't waste ♪��y�����y[beeping]��f����� �♪ But we both cannot have her ♪��~����� �[Michael] ♪ But we both cannot have her ♪��~C�u@�� |�����♪ So it's one or the other ♪�� 報���♪ So it's one or the other ♪�� 場��� �♪ And one day you'll discover ♪�� Ǡ���� �♪ And one day you'll discover ♪�� �C�uA� (�����♪ That she's my girl forever and ever ♪�� ߠ����♪ That she's my girl forever and ever ♪�� ߠ¡�� �♪ Don't build your hopes to be let down... ♪�� g�ΡȂ �[McCartney] ♪ Don't build your hopes to be let down... ♪�� gC�uA� /n�����Coming out of Off the Wall,�� J�����[George] Coming out of Off the Wall,�� J����� Jthe challenge was:��㠣��� Jthe challenge was:��㠰���-Is Michael Jackson really a pop star,��������-Is Michael Jackson really a pop star,���C�uA6� D�����or is he just a big R and B artist?�������or is he just a big R and B artist?�������♪ Yeah, yeah, yeah, yeah, whoo ♪��&�����♪ Yeah, yeah, yeah, yeah, whoo ♪��&�����-The way it worked was that��ؠ����-[Ivory] The way it worked was that���C�u@�� Y$�����you were a Black artist until you weren't,��%�����you were a Black artist until you weren't,��%�����%and you weren't when you got on the pop charts.�� ������%and you weren't when you got on the pop charts.�� �C�uAc� m������Michael told me�������Michael told me�������"The Girl Is Mine" was his sneak attack.�� 𠺡��"The Girl Is Mine" was his sneak attack.�� �ϡɁHe knew he wanted to cross over, and what better way to do it�� �ϡɂHe knew he wanted to cross over, and what better way to do it�� C�uAI� ������than to have Paul McCartney?��T�����than to have Paul McCartney?��T�����TI've heard it all before, Michael.�������T[McCartney] I've heard it all before, Michael.������� \She told me that I'm her forever lover, you know?��O����� \She told me that I'm her forever lover, you know?��OC�uA6� �������Don't you remember?��������Don't you remember?���������Well, after loving me,���������[Michael] Well, after loving me,�������� she said she couldn't love another.��~����� she said she couldn't love another.��~������Is that what she said?��f������Is that what she said?��fC�uA�� �������Yeah, she said it. You keep dreaming.�������Yeah, she said it. You keep dreaming.���ϡɁ- ♪ I don't believe it, no ♪ - ♪ Mine, mine ♪�� Ơߡق- ♪ I don't believe it, no ♪ - [backup singers] ♪ Mine, mine ♪�� Ơǡ��E- ♪ The girl is mine ♪ - ♪ Mine, mine, mine ♪�� ��ǡ��E- ♪ The girl is mine ♪ - ♪ Mine, mine, mine ♪�� �C�uAz� Ѵ�����- ♪ No, mine ♪ - ♪ No, mine ♪��Z�ȡ‚- ♪ No, mine ♪ - [Michael] ♪ No, mine ♪��Z�����Z♪ She's mine, mine, mine, mine, mine ♪�� s�����Z♪ She's mine, mine, mine, mine, mine ♪�� s������♪ Mine, mine, mine... ♪��,������[backup singers] ♪ Mine, mine, mine... ♪��,C�uAQ� 譠����So, that initial session�������[George] So, that initial session�������with Michael and Paul happens in April.�� �����with Michael and Paul happens in April.�� �����The actual formal sessions for Thriller�� 堹���The actual formal sessions for Thriller�� �C�u@��������didn't start for a couple months later.��������didn't start for a couple months later.����¡���Yeah, Michael, uh, did the demos at-at his home studio.��E�¡���Yeah, Michael, uh, did the demos at-at his home studio.��EC�u@��! �����Quincy invited me to go to Michael's house�� ������Quincy invited me to go to Michael's house�� ������ �to listen to some demos.��+����� �to listen to some demos.��+C�uA��5栯���What I didn't realize was that��ؠ����What I didn't realize was that��ؠ¡���we would be given our own private world premiere�� ��¡���we would be given our own private world premiere�� ��͡ǁoof "Billie Jean," "Beat It," "Wanna Be Startin' Somethin'."�� I�͡ǂoof "Billie Jean," "Beat It," "Wanna Be Startin' Somethin'."�� IC�uA(�P������♪ "Beat It" by Michael Jackson ♪�� t�����♪ "Beat It" (demo) by Michael Jackson ♪�� t����� t♪ Beat it ♪�������� t♪ Beat it ♪��������-♪ But you're driving me mad ♪��[�����-♪ But you're driving me mad ♪��[C�uA �e&�ʡā- ♪ So beat it, beat it ♪ - ♪ Beat it, beat it ♪�� ��ʡĂ- ♪ So beat it, beat it ♪ - ♪ Beat it, beat it ♪�� ������ �♪ No one wants to be defeated ♪�� ����� �♪ No one wants to be defeated ♪�� C�uA�}������♪ Showing how funky, strong is your fight ♪��������♪ Showing how funky, strong is your fight ♪���������♪ It doesn't matter who's wrong or right ♪�� ������♪ It doesn't matter who's wrong or right ♪�� C�uA��r�̡Ɓ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪��'�̡Ƃ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪��'�����'♪ No one wants to be defeated... ♪�� �����'♪ No one wants to be defeated... ♪�� C�uAP��������Well, the songwriting process��Ҡ����[Michael] Well, the songwriting process��Ҡ�����is something that's very difficult to explain�� �������is something that's very difficult to explain�� ������ibecause it's very spiritual.��1�����ibecause it's very spiritual.��1C�uA ��S�����♪ Who's wrong or right, just beat it... ♪�� Ơ����♪ Who's wrong or right, just beat it... ♪�� Ơ���� �It's, uh... it really is in the hands of God,��Ԡ���� �It's, uh... it really is in the hands of God,���C�uAq��������and it's as if it's been written already.�� m�����and it's as if it's been written already.�� m����� mThat's the real truth.��1����� mThat's the real truth.��1�Ρȁ�As if it's been written in its entirety before you were born�� b�ΡȂ�As if it's been written in its entirety before you were born�� bC�uA)��������and you're just really the source�� Ơ����and you're just really the source�� Ơ���� �through which the songs come.��Ҡ���� �through which the songs come.��Ҡ�����Really, because they're...��U������Really, because they're...��UC�uA�ڠš��they just fall right into your lap in its entirety.�� m�š��they just fall right into your lap in its entirety.�� m�á�� mYou don't have to do much, uh, thinking about it.���á�� mYou don't have to do much, uh, thinking about it.��C�u@��5]�ѡˁAnd I feel guilty having to put my name sometimes on the songs,��K�ѡ˂And I feel guilty having to put my name sometimes on the songs,��K�����Kbut I-I do write them.��~�����Kbut I-I do write them.��~C�u@��M&�á��I compose them. I write them. I-I do the scoring.�� ��á��I compose them. I write them. I-I do the scoring.�� ������ �I do the lyrics. I do the melody.��%����� �I do the lyrics. I do the melody.��%C�u@��aנ����But still it's, uh... it's the work of God.��W�����But still it's, uh... it's the work of God.��W�����W"Startin' Somethin'" was wild. You know,��6�����W"Startin' Somethin'" was wild. You know,��6C�uAb�ud�����he had all this...�������he had all this... [imitates drumbeat]���ɡÁ♪ "Wanna Be Startin' Somethin' by Michael Jackson ♪�� �ɡÂ♪ "Wanna Be Startin' Somethin' by Michael Jackson ♪�� ������"Wanna Be Startin' Somethin'"�� ������[Mark Ronson] "Wanna Be Startin' Somethin'"�� C�u@���"�����has the frenetic percussion of Off the Wall,��W�����has the frenetic percussion of Off the Wall,��W�����Wwhich is amazing because��`�����Wwhich is amazing because��`C�uA9��٠¡��it's like, you have these incredibly tight drum grooves����¡��it's like, you have these incredibly tight drum grooves���������and these programmed beats now.��Ҡ�����and these programmed beats now.��Ҡ����uI think that's why, for-for me,��������uI think that's why, for-for me,���C�uA��������"Wanna Be Startin' Somethin'" is still my favorite.�� s�����"Wanna Be Startin' Somethin'" is still my favorite.�� s�ȡ sI remember just, uh, uh, being able to go out and do the demo����ȡ‚ sI remember just, uh, uh, being able to go out and do the demo���C�uA��������- at Hayvenhurst, yeah. - Mm-hmm.��������- at Hayvenhurst, yeah. - [Maxine Waters] Mm-hmm.���������He had it before we got there,��������[Julia Waters] He had it before we got there,������� �and then h-he just, you know,�������� �and then h-he just, you know,��������?shared it with us and we worked out the parts.��������?shared it with us and we worked out the parts.���C�uA]��ˠ����And we just had to perfect it,��`�����[Maxine] And we just had to perfect it,��`�����`because it's so rhythmic and all that.�������`because it's so rhythmic and all that.������� �And so he knew the sound, he knew the...��%����� �And so he knew the sound, he knew the...��%C�u@��Ϡ����the rhythm that he wanted to hear and everything,��Ԡ����the rhythm that he wanted to hear and everything,��Ԡ�����so like I said, we were quick.���������so like I said, we were quick.���C�uA����š��- ♪ Too low to get under ♪ - ♪ Yeah, yeah ♪�� D�š��- ♪ Too low to get under ♪ - ♪ Yeah, yeah ♪�� D����� D♪ Stuck in the middle ♪������� D♪ Stuck in the middle ♪���ȡK- ♪ Yeah, yeah ♪ - ♪ And the pain is thunder ♪���ȡ‚K- ♪ Yeah, yeah ♪ - ♪ And the pain is thunder ♪��C�u@��0렻���- ♪ Yeah ♪ - ♪ Hard to get over ♪��~�����- ♪ Yeah ♪ - ♪ Hard to get over ♪��~�ǡ��~[playing "Wanna Be Startin' Somethin'" accompaniment]���C�u��G=������� �C�u@��\�ǡ��There's a certain approach, you know, you want to take to...�� b�ǡ��There's a certain approach, you know, you want to take to...�� b����� byou know, to emphasize the feeling.�������� byou know, to emphasize the feeling.���C�u@��qE�͡ǁI would say that Quincy helped glue those elements together��/�͡ǂI would say that Quincy helped glue those elements together��/C�uA ��t�����and make an arc out of the progression��+�����and make an arc out of the progression��+�ǡ��+of how the song started to... to the vamp at the end,���ǡ��+of how the song started to... to the vamp at the end,���C�uAc����¡��and made it seamless, you know, including horns,����¡��and made it seamless, you know, including horns,���������which, of course, at-at first thought,��O������which, of course, at-at first thought,��O������would be considered too jazzy,���������would be considered too jazzy,���C�uA���6�ǡ��but they blended perfectly well in the song later on.��y�ǡ��but they blended perfectly well in the song later on.��y�š��y- ♪ Yeah, yeah ♪ - ♪ Too high to get over ♪����š��y- ♪ Yeah, yeah ♪ - ♪ Too high to get over ♪����ʡā♪ Yeah, yeah ♪ - ♪ You're too low to get under ♪����ʡĂ♪ Yeah, yeah ♪ - ♪ You're too low to get under ♪���C�uA1����ɡÁ♪ Yeah, yeah ♪ - ♪ You're stuck in the middle ♪����ɡÂ♪ Yeah, yeah ♪ - ♪ You're stuck in the middle ♪����ɡÁ�♪ Yeah, yeah ♪ - ♪ And the pain is thunder... ♪�� �ɡÂ�♪ Yeah, yeah ♪ - ♪ And the pain is thunder... ♪�� �C�u@��ᆠ����But there's still that...��K�ǡ��But there's still that... [imitating percussive beat]��K�����K[percussive beat playing]�� 8C�uA�S�����And then at the end,��+�����And then at the end,��+�����+when it goes a cappella to...��������+when it goes a cappella to...�������� �♪ Mama se, mama sa, ma-ma coo sa ♪�������� �♪ Mama se, mama sa, ma-ma coo sa ♪���C�u@��ڠ����That, as a DJ... that is your best friend��y�����That, as a DJ... that is your best friend��y�����ybecause then you start to mix in your next record��E�����ybecause then you start to mix in your next record��EC�uA<�5������and blending in whatever the biggest songs you have.��������and blending in whatever the biggest songs you have.���������♪ Mama se, mama sa, ma-ma coo sa ♪���������♪ Mama se, mama sa, ma-ma coo sa ♪��������V[scatting over "Wanna Be Startin' Somethin'"]���C�uA��L䠸���♪ Mama se, mama sa, ma-ma coo sa ♪��[�����♪ Mama se, mama sa, ma-ma coo sa ♪��[�ġ��[- ♪ Hee, hee, hee ♪ - ♪ Mama se, mama sa ♪��U�ġ��[- ♪ Hee, hee, hee ♪ - ♪ Mama se, mama sa ♪��U�¡�� �- ♪ Ma-ma coo sa ♪ - ♪ Help me sing it ♪��+�¡�� �- ♪ Ma-ma coo sa ♪ - ♪ Help me sing it ♪��+C�uAu�a������♪ Mama se, mama sa, ma-ma coo sa ♪��ؠ����♪ Mama se, mama sa, ma-ma coo sa ♪��ؠ�����- ♪ Hoo, hoo ♪ - ♪ Mama se, mama sa ♪��Z������- ♪ Hoo, hoo ♪ - ♪ Mama se, mama sa ♪��Z����� 2- ♪ Ma-ma coo sa ♪ - ♪ Hee, hee ♪�������� 2- ♪ Ma-ma coo sa ♪ - ♪ Hee, hee ♪���C�uA��uv�����♪ Mama se, mama sa, ma-ma coo sa ♪��������♪ Mama se, mama sa, ma-ma coo sa ♪���������♪ Mama se, mama sa, ma-ma coo sa ♪��Z������♪ Mama se, mama sa, ma-ma coo sa ♪��Z�Ρȁ - ♪ Sing it to the world ♪ - ♪ Mama se, mama sa... ♪����ΡȂ - ♪ Sing it to the world ♪ - ♪ Mama se, mama sa... ♪���C�uAC�������As a matter of fact, I asked him��1�����[Oren] As a matter of fact, I asked him��1�����1what "mama se, mama sa, ma-ma coo sa" meant,��������1what "mama se, mama sa, ma-ma coo sa" meant,�������� �you know, while it was going down.�������� �you know, while it was going down.���C�uA���������He... "Well, it don't mean nothing.��������He... "Well, it don't mean nothing.���������Just sing it, you know," and...��7������Just sing it, you know," and...��7����� �- Yeah, and there it is,��Z����� �- [laughter] - Yeah, and there it is,��Z�����because that was difficult to do, I'm telling you.��������because that was difficult to do, I'm telling you.���C�uA)��������He said, "I like singing with you all�� �����He said, "I like singing with you all�� ����� because you sound like me."��%����� because you sound like me."��%�����EHe always thought our voices blended so well�� D�����EHe always thought our voices blended so well�� DC�uA'��*�����- with-with his. - Mm-hmm.��O�����- with-with his. - [Maxine and Oren] Mm-hmm.��O�����O"Wanna Be Startin' Somethin'"��6�����O[Usher] "Wanna Be Startin' Somethin'"��6����� �was like... it was like an opportunity��,����� �was like... it was like an opportunity��,C�u@���۠����to kind of get into his mind.�������to kind of get into his mind.�������And this idea of, like, "Billie Jean"��������And this idea of, like, "Billie Jean"���C�uA3��Ԡ����and the fact that he was living kind of in this...�� g�����and the fact that he was living kind of in this...�� g����� gthis world where�������� gthis world where��������!you didn't really know what was real or wasn't.��U�����!you didn't really know what was real or wasn't.��UC�uAJ�J�����♪ "Billie Jean" by Michael Jackson ♪��נ����♪ "Billie Jean" (demo) by Michael Jackson ♪��נ�����♪ She told me I was a lonely man ♪��y������♪ She told me I was a lonely man ♪��y�����P♪ And I felt sad ♪��������P♪ And I felt sad ♪���C�u@��*$�����♪ She called my name, then she said hello ♪�� ������♪ She called my name, then she said hello ♪�� ������ �♪ All them who died ♪�� D����� �♪ All them who died ♪�� DC�u��>������♪ And I sit in a cup in a ride ♪��Π����♪ And I sit in a cup in a ride ♪���C�u@��X������♪ It seems that you ♪��y�����♪ It seems that you ♪��y�����y[scatting melody]�� C�uA�y������My mom had just bought��ݠ����[Blige] My mom had just bought��ݠ�����a stereo system, and it had lights.�� 񠵡���a stereo system, and it had lights.�� 񠞡���The drums kicked in.���������The drums kicked in.���C�u@���-�����[imitating drumbeat]�� Ǡ�����And then... [imitates bass line]��������And then... [imitates bass line]��C�u@���ؠ����I mean... [chuckles] What?��������I mean... [chuckles] What?���������And I ran down the hallway just to hear closely�� ߠ�����And I ran down the hallway just to hear closely�� �C�u@���e�����what was... what was playing, what this record was.�� b�����what was... what was playing, what this record was.�� b����� bAnd it was "Billie Jean," and it was on�������� bAnd it was "Billie Jean," and it was on���C�uA<��o�����and poppin' from there.��������and poppin' from there. [laughs]����ơ���It's actually kind of nasty, and you can hear the room mics�� ��ơ���It's actually kind of nasty, and you can hear the room mics�� ������:and it's dirtier than you think.��������:and it's dirtier than you think.���C�uA[��3�����You know, you always have that moment where��������You know, you always have that moment where���������you fall in love with an artist for the first time.��������you fall in love with an artist for the first time.������� Really truly great, legendary artists,�� 䠱��� Really truly great, legendary artists,�� �C�u@��� �á��you have that same feeling over and over and over again.�� ڠá��you have that same feeling over and over and over again.�� ڠ���� �"Billie Jean" was that moment��Z����� �"Billie Jean" was that moment��ZC�u@��T�á��where I fell in love with Michael all over again.�� �á��where I fell in love with Michael all over again.�� 堔��� ��� >C�u@��2�����When Michael sings it,��������When Michael sings it,���������he puts the funk into it the way he does all the...��i������he puts the funk into it the way he does all the...��iC�uA�J�����[imitating Michael's vocalizations]���������...and all the little stuff that he puts in.�� Ǡ�����...and all the little stuff that he puts in.�� Ǡ����iThat gives it the syncopation.��������iThat gives it the syncopation.���C�u@��b$�����And if I just go...�� C�����And if I just go... [imitates beat]�� C����� C...he's gonna go...������� C...he's gonna go... [imitating vocalizations]��C�uAW�}������♪ She was more like a beauty queen ♪�� n�����♪ She was more like a beauty queen ♪�� n����� n- ♪ From a movie scene ♪���ơ�� n- ♪ From a movie scene ♪ - [accompaniment fades]�������u♪ I said, "Don't mind ♪��ؠ����u[a cappella] ♪ I said, "Don't mind ♪���C�uA ��������♪ But what do you mean I am the one ♪�� >�����♪ But what do you mean I am the one ♪�� >�ġ�� >♪ Who will dance on the floor in the round?" ♪����ġ�� >♪ Who will dance on the floor in the round?" ♪���C�u@���Y�����♪ She said I am the one ♪�� �����♪ She said I am the one ♪�� �¡�� ♪ Who will dance on the floor in the round ♪�� ٠¡�� ♪ Who will dance on the floor in the round ♪�� �C�u@���L�����[accompaniment returns]�� Ǡ���� ♪ She told me her name was Billie Jean ♪�� ����� ♪ She told me her name was Billie Jean ♪�� C�uA���i�����♪ As she caused a scene ♪��ޠ����♪ As she caused a scene ♪��ޠ�����♪ Then every head turned ♪���������♪ Then every head turned ♪�������� h♪ With eyes that dreamed... ♪�������� h♪ With eyes that dreamed... ♪��������Everybody loves toxic R and B.�� m�����[Usher] Everybody loves toxic R and B.�� mC�uAK������"Billie Jean is not my lover. She's just a girl�� b�����"Billie Jean is not my lover. She's just a girl�� b����� bwho claims that I am the one"?��7����� bwho claims that I am the one"?��7������Yeah, that's like, was it his side chick?��T������Yeah, that's like, was it his side chick?��TC�uAs�٠����You know what I'm saying? Was it some chick who,��͠����You know what I'm saying? Was it some chick who,��͠�����you know, he had an encounter with and got pregnant?��%������you know, he had an encounter with and got pregnant?��%������Is this real, or is this some delusional fan�� s������Is this real, or is this some delusional fan�� sC�u@��7>�����who is saying that, you know,�� �����who is saying that, you know,�� ����� they had an encounter that they did or didn't?�� s����� they had an encounter that they did or didn't?�� sC�u@��Jˠ����All of those things just led you��������All of those things just led you���������to be more intrigued about an artist, right?���������to be more intrigued about an artist, right?���C�u@��^������But it was, like, urgent and R and B.�� �����But it was, like, urgent and R and B.�� ����� It was... it was crazy. It was a...�������� It was... it was crazy. It was a...���C�uAM�r������an amazing R and B record, and his lyrics--��������an amazing R and B record, and his lyrics--���������you know, "The kid is not my son," I mean...�� I������you know, "The kid is not my son," I mean...�� I�����E♪ The kid is not my son... ♪�� 報���E♪ The kid is not my son... ♪�� �C�uAV��������"The kid is not my son."�������[Blige] "The kid is not my son."���á�� That first... well, that... we-we like bad boys,�� b�ˡł[laughs] That first... well, that... we-we like bad boys,�� b�����cso that made us love him some more.��[�����cso that made us love him some more.��[C�uA9��t�����And then when I saw the video, I was losing my mind.�� g�����And then when I saw the video, I was losing my mind.�� g����� gI lost my voice, screaming.��+����� gI lost my voice, screaming.��+������You know, it was about "Billie Jean."���������You know, it was about "Billie Jean."���C�uA �ĩ�����You know, him stepping on, you know, the-the pavement,�� D�����You know, him stepping on, you know, the-the pavement,�� D����� Dit glowing and, you know, making you feel the magic.�������� Dit glowing and, you know, making you feel the magic.���C�uA �ݖ�á��I'd storyboarded that, uh, he would walk down the, uh...�� �á��I'd storyboarded that, uh, he would walk down the, uh...�� 堻��� �the street and the paving stones would light up.�������� �the street and the paving stones would light up.���C�uA#��w�����And I showed him which 11 paving stones��U�����And I showed him which 11 paving stones��U�����Uwe could afford to have light up��Z�����Uwe could afford to have light up��Z����� �and therefore which ones couldn't.�������� �and therefore which ones couldn't.���C�uA=�"�����And he looked carefully at them,��㠪���And he looked carefully at them,��㠹����and-and I said, "Well, should we rehearse it?"���������and-and I said, "Well, should we rehearse it?"�������� �And he said, "No, let-let's just do it."�������� �And he said, "No, let-let's just do it."���C�u@��������And we ran the playback, the music,�� D�����And we ran the playback, the music,�� D����� Dand the chorus kicked in for "Billie Jean,"�� ������ Dand the chorus kicked in for "Billie Jean,"�� �C�uAU�1~�����and he began his dance movement�� Ǡ����and he began his dance movement�� Ǡ���� �down that street, and I'll never forget it.��U����� �down that street, and I'll never forget it.��U�����The-the camera actually steamed up.��+�����The-the camera actually steamed up.��+C�uA�IŠơ��I could hardly even see him through the-the eyepiece�� m�ơ��I could hardly even see him through the-the eyepiece�� m����� mbecause it was�������� mbecause it was��������'so exciting to watch.��~�����'so exciting to watch.��~C�u@��`j�����Michael is doing so much moving�� J�����[Ivory] Michael is doing so much moving�� J����� Jthat Steve isn't even getting.�� ������ Jthat Steve isn't even getting.�� �C�u@��v?�����There are several shots in "Billie Jean"�������There are several shots in "Billie Jean"�������where he's just being shot from the waist up�� ������where he's just being shot from the waist up�� �C�uA'���ġ��and you can just see him doing all kinds of stuff.�� ��ġ��and you can just see him doing all kinds of stuff.�� ������ �And it's like,��<����� �And it's like,��<������"Why aren't you getting that?"��a������"Why aren't you getting that?"��aC�u@���H�����But that's just how new��������But that's just how new���������the medium was to capturing dancers.��͠�����the medium was to capturing dancers.���C�uAW�������Michael opened the door for that.�������Michael opened the door for that.�������♪ I am the one... ♪�������♪ I am the one... ♪���ȡ �And every time they just kept freezing him in those brackets,����ȡ‚ �And every time they just kept freezing him in those brackets,���C�uAQ�΍�����and every time he'd walk, they froze him.��y�����and every time he'd walk, they froze him.��y�����yAnd every time he said something,��������yAnd every time he said something,��������-I just was losing my mind 'cause I loved him so much.�� 8�����-I just was losing my mind 'cause I loved him so much.�� 8C�uAw��򠦡��But on "Billie Jean,"��6�����But on "Billie Jean,"��6�¡��6we was like, "Oh, he is super-duper-duper sexy."�� b�¡��6we was like, "Oh, he is super-duper-duper sexy."�� b�ˡŁ�♪ Not my lover ♪ - ♪ Don't call me, Billie Jean ♪�� n�ˡł�♪ Not my lover ♪ - ♪ Don't call me, Billie Jean ♪�� nC�u@��������♪ Billie Jean is not my lover... ♪��������♪ Billie Jean is not my lover... ♪���������MTV refused to play "Billie Jean."�� �������[Branca] MTV refused to play "Billie Jean."�� �C�uA1�O�����They said, "Well, our network appeals to,�� �����They said, "Well, our network appeals to,�� ����� you know, white teenagers,�������� you know, white teenagers,���������and this just really doesn't fit our format."�� �������and this just really doesn't fit our format."�� �C�uA�5������♪ hard rock guitar riff ♪��ޠ����♪ hard rock guitar riff ♪��ޠ�����This is it.��������[Mark Goodman] This is it.������� �Welcome to MTV Music Television.��͠���� �Welcome to MTV Music Television.���C�uAO�KZ�����I'm Mark Goodman.��������I'm Mark Goodman.���������- I'm Martha Quinn. - I'm Alan Hunter.���������- I'm Martha Quinn. - I'm Alan Hunter.�������� =You'll never look at music the same way again.��P�ʡĂ =[Goodman] You'll never look at music the same way again.��PC�u@��^砢���Turn it on! Leave it on!��Z�����Turn it on! Leave it on!��Z�����ZAmerica, see the music you want to see.�� ������ZAmerica, see the music you want to see.�� �C�uA+�rǠ����I want my MTV.��1�����I want my MTV.��1�����1Some prominent Black musicians are complaining�� I�����1Some prominent Black musicians are complaining�� I�����zthat they are being left out of the video market,��y�����zthat they are being left out of the video market,��yC�u@���������specifically the Music Television cable operation.�� 렽���specifically the Music Television cable operation.�� 렳��� �It-it occurred to me, having watched MTV�� ������ �It-it occurred to me, having watched MTV�� �C�uA��e�����over the last few months, um, that it's-it's got a...�� n�����over the last few months, um, that it's-it's got a...�� n�á�� nit's a solid enterprise and it's got a lot going for it.�� �á�� nit's a solid enterprise and it's got a lot going for it.�� C�u@���۠¡��I'm just floored by the fact that there's so many Bl...�� ��¡��I'm just floored by the fact that there's so many Bl...�� ������ �so few Black artists featured on it.�������� �so few Black artists featured on it.���C�uA+��h�����Why is that?��7�����Why is that?��7�š��7The fact is, quite frankly, we're a rock and roll station.�� �š��7The fact is, quite frankly, we're a rock and roll station.�� �����@MTV will deny this till the world ends,��������@MTV will deny this till the world ends,���C�u@���(�����that they had nothing against Black artists.�� �����that they had nothing against Black artists.�� ����� But they refused to, uh, play Michael.��Π���� But they refused to, uh, play Michael.���C�uA=�������In 1975, I was named�� Ǡ����[Walter Yetnikoff] In 1975, I was named�� Ǡ���� �president of the CBS Records Group�������� �president of the CBS Records Group���������and a vice president of CBS, Inc.�� g������and a vice president of CBS, Inc.�� gC�uA�'"�á��No single record changed the business and my life��'�á��No single record changed the business and my life��'�����'as powerfully as Michael Jackson's Thriller.��������'as powerfully as Michael Jackson's Thriller.���C�uAE�EF�����I screamed bloody murder��������I screamed bloody murder���������when MTV refused to air his videos.�� D������when MTV refused to air his videos.�� D������They argued that their format, white rock,�� �������They argued that their format, white rock,�� �C�uA-�a󠪡��excluded Michael's music.��U�����excluded Michael's music.��U�����UI argued they were racist assholes.��̠����UI argued they were racist assholes.��̠����!So Walter Yetnikoff said,��̠����![Branca] So Walter Yetnikoff said,���C�uA�z࠘���"Really? Okay.��������"Really? Okay.���������If you don't play Michael Jackson,���������If you don't play Michael Jackson,�������� DI'm pulling Billy Joel and everybody else that I have,�� ������ DI'm pulling Billy Joel and everybody else that I have,�� �C�uAV��Ӡ����uh, off of MTV."��䠚���uh, off of MTV."��䠮����I've never been more forceful��%������[Yetnikoff] I've never been more forceful��%����� or obnoxious.�������� or obnoxious.���������I've also never been as effective.��������I've also never been as effective.��C�uA-���ǡ��With added pressure from Quincy Jones, they caved in,�� a�ǡ��With added pressure from Quincy Jones, they caved in,�� a�ɡÁ aand in doing so, the MTV color line came crashing down.����ɡ aand in doing so, the MTV color line came crashing down.���C�uAz��ߠ����One of the most important��������[Ivory] One of the most important����ˡŁ�things about Thriller was the doors that it opened�� >�ˡł�things about Thriller was the doors that it opened�� >������for other artists to have the opportunity��������for other artists to have the opportunity��C�uA ��Π����to get on the pop charts.��������to get on the pop charts.���������Tina Turner. My God, Private Dancer.�� 堶����Tina Turner. My God, Private Dancer.�� 堜���iThat's who it was.�� �����iThat's who it was.�� C�uA/�D�����It was Tina, it was Lionel, it was Whitney,�� Ơ����It was Tina, it was Lionel, it was Whitney,�� Ơ���� �it was Michael and Prince.�� J����� �it was Michael and Prince.�� J�����Revenues could just be crazy.��Ҡ����Revenues could just be crazy.���C�uA�&�����♪ quiet, hypnotic music ♪�� s�����♪ quiet, hypnotic music ♪�� s����� sThriller changes the dynamic�� s����� s[George] Thriller changes the dynamic�� s������and the culture.��1������and the culture.��1C�uAG�6=�����Michael shows the way that this is possible.�� ꠾���Michael shows the way that this is possible.�� ꠠ��� �Yeah, I-I grew up, uh,��Ҡ���� �Yeah, I-I grew up, uh,��Ҡ�����during the time that Thriller was released,��Ԡ�����during the time that Thriller was released,���C�u@��W͠����and MTV was just becoming a really big thing.��K�����and MTV was just becoming a really big thing.��K�����KI remember almost more vividly�� �����KI remember almost more vividly�� C�uA�t&�����the amazing storytelling through the videos,��������the amazing storytelling through the videos,����ȡ�which is pretty interesting 'cause I think here we are�� Ǡȡ‚�which is pretty interesting 'cause I think here we are�� �C�uA ��꠽���40 years later, and the music and the video��V�����40 years later, and the music and the video��V�����Vis coming to life again for the next generation�� ������Vis coming to life again for the next generation�� �C�uA �����on TikTok.��������on TikTok.���������Michael Jackson's music has been available�� �������Michael Jackson's music has been available�� ������Qon TikTok since August 2020.�� ������Qon TikTok since August 2020.�� �C�uA��������I think there's a real rebirth�� ������I think there's a real rebirth�� ��ˡŁ �of the music and the video from these songs on the album.��t�ˡł �of the music and the video from these songs on the album.��tC�u@��� �ġ��And it is this new generation that's being exposed�� �ġ��And it is this new generation that's being exposed�� ����� or engaging with the music.�� 𠬡�� or engaging with the music.�� �C�u@��������There are about ten million�� ������There are about ten million�� ������ �video creations on TikTok right now�� g����� �video creations on TikTok right now�� gC�u@�� ������that include music from Thriller.�� �����that include music from Thriller.�� ����� There are 17 billion views�� ������ There are 17 billion views�� �C�uA�"͠����of those ten million videos that exist.�� 3�����of those ten million videos that exist.�� 3�ġ�� 3There are about two billion likes on those videos,����ġ�� 3There are about two billion likes on those videos,���C�uA�B������so people putting a little thumbs-up��&�����so people putting a little thumbs-up��&�Сʁ&or sharing or doing something to say, "I'm excited about this.����Сʂ&or sharing or doing something to say, "I'm excited about this.���C�uA;�Yߠ����I'm engaging with this-this music."�� �����I'm engaging with this-this music."�� ����� Pretty massive numbers.�������� Pretty massive numbers.���������They're hearing it for the first time.��נ�����They're hearing it for the first time.���C�uAy�pZ�����They're-they're like...��g�����They're-they're like...��g�����gYou know, it's-it's the same feeling�� �����gYou know, it's-it's the same feeling�� ����� twe maybe had when we watched the MTV video��O����� twe maybe had when we watched the MTV video��O������for "Thriller" or "Beat It."��̠�����for "Thriller" or "Beat It."���C�uA���ݠš��They're having that same experience 40 years later,�� �š��They're having that same experience 40 years later,�� ����� but rather than just watch, they're actually��U����� but rather than just watch, they're actually��U�¡��dthen making something to engage with that music.���¡��dthen making something to engage with that music.��C�uA��۠����I was kind of upset about��������[Michael] I was kind of upset about����ѡˁ�the news I heard about MTV and how they weren't showing Blacks,��K�ѡ˂�the news I heard about MTV and how they weren't showing Blacks,��KC�uAm��Ԡ����and that kind of hurt me.��ݠ����and that kind of hurt me.��ݠá���So I wanted to do something that was so powerful,�� ��á���So I wanted to do something that was so powerful,�� �������so strong that everybody would have to show it.��������so strong that everybody would have to show it.���C�uAi��R�����But I wanted to tell a strong story.�� D�����But I wanted to tell a strong story.�� D����� DThe story had to sell itself.��~����� DThe story had to sell itself.��~�ȡ�And what... these so-called videos weren't doing that.�� ��ȡ‚�And what... these so-called videos weren't doing that.�� �C�uAi���š��They were terrible. They were just a lot of nothing�� �š��They were terrible. They were just a lot of nothing�� ����� put together just to sell a song.�������� put together just to sell a song.���������I wanted my things to be powerful.��נ�����I wanted my things to be powerful.���C�uAi�)E�����I wanted to stand out from everything else�������I wanted to stand out from everything else�������that when you see it, you run to the set��������that when you see it, you run to the set��������{and you're glued to it, watching it.��U�����{and you're glued to it, watching it.��UC�uA\�@�����I wanted quality. I wanted excellence.�������I wanted quality. I wanted excellence.���ġ��I wanted the best. I wanted to perfect perfection.�� �ġ��I wanted the best. I wanted to perfect perfection.�� �����One thing that I can�������[Usher] One thing that I can��C�uAO�Z&�����always say about Michael��<�����always say about Michael��<�����<is that you felt like there was a sense of culture.�� 񠾡��<is that you felt like there was a sense of culture.�� 񠸡��-And the culture would span all the way��������-And the culture would span all the way���C�uAG�p��ӡ́from kind of like this Broadway, you know, more theatrical world,����ӡ͂from kind of like this Broadway, you know, more theatrical world,����ʡā�and then there was this other element that was cultural,�� �ʡĂ�and then there was this other element that was cultural,�� �C�u@���m�����that was almost like gangsters.��+�����that was almost like gangsters.��+�����+♪ "Beat It" by Michael Jackson ♪��y�����+♪ "Beat It" by Michael Jackson ♪��y�������� �C�uAu��~�����You know, when you look at "Beat It"�������You know, when you look at "Beat It"���š��and the idea that the people of that era felt like,�� ��š��and the idea that the people of that era felt like,�� ������:"Oh, he's speaking to us and with us.��������:"Oh, he's speaking to us and with us.���C�u@���Z�����He's rocking with us. He's making music for us.�� h�����He's rocking with us. He's making music for us.�� h����� hWe can dance to his music."�� I����� hWe can dance to his music."�� IC�u��� ������� �C�uA�+ՠ����It was an incredible move to decide,��x�����It was an incredible move to decide,��x�����x"We're gonna have a rock and roll record�� ������x"We're gonna have a rock and roll record�� ������on this thing."��������on this thing."���C�uAY�C������"Beat It" was straight up rock and roll.�� D�����"Beat It" was straight up rock and roll.�� D����� DMichael's idea with "Beat It"������� D[Steven Ray] Michael's idea with "Beat It"�������Kwas to distance himself from Off the Wall,�� �����Kwas to distance himself from Off the Wall,�� C�uA��]�����from the dance, disco.�������from the dance, disco.�������And Michael wanted to stretch.��������And Michael wanted to stretch.�������� �Creatively, he wanted to stretch.������� �Creatively, he wanted to stretch.��������They wanted a crossover hit across the board.�� ��ʡĂ�[Lukather] They wanted a crossover hit across the board.�� �C�u@��xg�����Rock, R and B, pop.��P�����Rock, R and B, pop.��P�����PThey called me to come in with Michael and Quincy�� ߠ����PThey called me to come in with Michael and Quincy�� �C�u@���������to do the...�� ������to do the... [imitates "Beat It" guitar riff]�� �������They want to go rock and roll, let's do it.��T������They want to go rock and roll, let's do it.��TC�uA ����ˡŁYou know, so I did it with all... you know, all-all that,�� ߠˡłYou know, so I did it with all... you know, all-all that,�� ߠ���� �doubled it and made it sound huge.�������� �doubled it and made it sound huge.���C�uAO�������And then I played the bass on it as well.��&�����And then I played the bass on it as well.��&�����&I did play bass on that record as well.��Ҡ����&I did play bass on that record as well.��Ҡ�����So I sat with them and made that swing,�� ꠲����So I sat with them and made that swing,�� �C�uA���������and when Michael was dancing in the room,��U�����and when Michael was dancing in the room,��U�����UI knew I was in the pocket.��㠥���UI knew I was in the pocket.��㠩��� 8When he wrote "Beat It,"��a����� 8[Branca] When he wrote "Beat It,"��a�¡���he said, "I want a kind of guitar player on here�� �¡���he said, "I want a kind of guitar player on here�� C�u@��猪����that will attract young, white, teenage males."��4�����that will attract young, white, teenage males."��4C�uA�ޠ����Eddie Van Halen.��������Eddie Van Halen.���������He said, "Well, what do you want me to do?"��y�á���[Ray] He said, "Well, what do you want me to do?"��y������And Quincy said, "Well,�� ������And Quincy said, "Well,�� C�uA��蠟���I want you to be you.�� �����I want you to be you.�� ����� That's you right there." And he pointed��`����� That's you right there." And he pointed��`����� mto the famous, you know, Strat that he had.�������� mto the famous, you know, Strat that he had.����ġ��And he said, "I'm not gonna tell you what to play.�� ��ġ��And he said, "I'm not gonna tell you what to play.�� �C�uA7�4������You go be you."��������You go be you."���������I mean, Eddie ripped�� ������[Branca] I mean, Eddie ripped�� ����� �these solos off one after the other.������� �these solos off one after the other.��������[rhythmic thumping]���C�u��Sݠ����[playing "Beat It" guitar solo]��%�����%�� �C�uA&�}�����I remember, like, hearing��ؠ����[Marinelli] I remember, like, hearing��ؠ�����the sound coming from Studio A,���������the sound coming from Studio A,�������� \where he was doing the-the solo.��+����� \where he was doing the-the solo.��+C�uA��������It was so loud.��㠙���It was so loud.��㠞����I could... I just...�� ������I could... I just...�� ����� �It was just so loud.������� �It was just so loud.�������Bruce Swedien and Quincy brilliantly�� ������Bruce Swedien and Quincy brilliantly�� �C�uA9��Z�����edited that solo together.��U�����edited that solo together.��U�����UI mean, I think I probably just loved it��������UI mean, I think I probably just loved it���������'cause, at that moment, it was probably everything��U������'cause, at that moment, it was probably everything��UC�uAo��������that I ever loved in one song, you know?��������that I ever loved in one song, you know?���������I've done way more time googling��y������I've done way more time googling��y�ˡŁoLukather's tone on "Beat It" than, um, Eddie Van Halen's,���ˡłoLukather's tone on "Beat It" than, um, Eddie Van Halen's,���C�uAc�������because it's the tone that drives��������because it's the tone that drives���������the whole record-- that's the riff.���������the whole record-- that's the riff.����ȡVIt's the perfect way that, like, a rock guitar could ever sit����ȡ‚VIt's the perfect way that, like, a rock guitar could ever sit���C�uA�T�����over programmed drums in a... in a...�� t�����over programmed drums in a... in a...�� t����� tlike, a funky groove.��0����� tlike, a funky groove.��0������I thought his videos were incredible.��������I thought his videos were incredible.��C�uA-������I mean, first off, the guy could dance.��U�����I mean, first off, the guy could dance.��U�����UI mean, just being in the room,��6�����UI mean, just being in the room,��6����� �watching him groove while we're playing.�� ������ �watching him groove while we're playing.�� �C�uA��/(�����That short film--��������[Rich Talauega] That short film--���������you see, this whole movie,��6������you see, this whole movie,��6����� �it's about a big fight that's about to happen, right,��͠���� �it's about a big fight that's about to happen, right,��͠�����between two rival gangs, right?���������between two rival gangs, right?���C�u@��Go�����♪ "Beat It" by Michael Jackson ♪�� m�����♪ "Beat It" by Michael Jackson ♪�� m����� m�� �C�uA4�x̠����♪ Beat it... ♪��a�����♪ Beat it... ♪��a�����aHe saw value in street culture.�� �����a[Tone Talauega] He saw value in street culture.�� ꠶���KHe wanted to try to figure out a way��+�����KHe wanted to try to figure out a way��+C�uA-��B�����on how to incorporate it, and...��������on how to incorporate it, and...���������and the beginning of it was "Beat It."�� t������and the beginning of it was "Beat It."�� t������The people that you see��Z������[Rich] The people that you see��ZC�u@�����ȡin that film are a mixture of dancers and street cats.��i�ȡ‚in that film are a mixture of dancers and street cats.��i�����iAnd not only that��������iAnd not only that���C�uA]��������is that you actually had real gangsters on set.�� �����is that you actually had real gangsters on set.�� ����� Like, real Bloods and Crips������� Like, real Bloods and Crips�������and Vatos and all that, like, for real.�� J�����and Vatos and all that, like, for real.�� JC�uA8�������There was such a magic�������[Terry Lewis] There was such a magic�������in Michael and his movement.��������in Michael and his movement.�������� �♪ No one wants to be defeated, oh, Lord ♪�� b����� �♪ No one wants to be defeated, oh, Lord ♪�� bC�uA���ġ��♪ Showin' how funky and strong is your fight ♪�� ��ġ��♪ Showin' how funky and strong is your fight ♪�� ������ �♪ It doesn't matter who's wrong or right ♪�� 8����� �♪ It doesn't matter who's wrong or right ♪�� 8C�uAe�������♪ Just beat it... ♪��������♪ Just beat it... ♪���������You had B-boying���������[Rich] You had B-boying�������� that was going on in New York.�������� that was going on in New York.���������You had popping and locking�� ������You had popping and locking�� C�uA�%U�����that was going down over here in California,��[�����that was going down over here in California,��[�����[and strutting and-and robotting, all them.�� ������[and strutting and-and robotting, all them.�� �C�uAG�9_�����So the guy that's vibrating��ޠ����So the guy that's vibrating��ޠΡȁ�in the "Beat It" short film with the... with the glasses on,�� �ΡȂ�in the "Beat It" short film with the... with the glasses on,�� 堡����his name is Robot Dane.��6������his name is Robot Dane.��6C�uAo�PX�����This is the first ever��������This is the first ever����ġ���street dance wave of the United States of America.�� ��ġ���street dance wave of the United States of America.�� ��ġ��o♪ Showin' how funky and strong is your fight ♪�� ��ġ��o♪ Showin' how funky and strong is your fight ♪�� �C�uAP�n|�����♪ It doesn't matter... ♪�� �����♪ It doesn't matter... ♪�� ����� The most relevant scene��[����� [Usher] The most relevant scene��[�ơ�� hat the time, which either was breakdancing, locking,���ơ�� hat the time, which either was breakdancing, locking,���C�uA���ʠ����popping, waving, whatever it might have been,�� 렿���popping, waving, whatever it might have been,�� 렴��� �he's pushing the envelope forward,�������� �he's pushing the envelope forward,����͡ǁ�he's teaching us some things, he's informing us as artists,�� >�͡ǂ�he's teaching us some things, he's informing us as artists,�� >C�u@���������but also, too, as performers,��������but also, too, as performers,����š���he's letting us know that, "Yo, I want to be the baddest."����š���he's letting us know that, "Yo, I want to be the baddest."���C�u@���������As a fan or a critic,��O�����As a fan or a critic,��O�����Oyou're always looking for breathtaking moments,�� ������Oyou're always looking for breathtaking moments,�� �C�uA/��Ǡ����the time when you say,��������the time when you say,���������"I've never seen anything like that.���������"I've never seen anything like that.�������� I'm probably not gonna see anything like that again."�� ����� I'm probably not gonna see anything like that again."�� C�uAQ��ꠚ���The Motown show,��[�����The Motown show,��[�����[that's what I think was the most important step�� 𠺡��[that's what I think was the most important step�� �̡ƁKin the whole Thriller process of making him the superstar.�� ̡ƂKin the whole Thriller process of making him the superstar.���C�u@��������♪ And I'll be there ♪�� ߠ����♪ And I'll be there ♪�� ߠ���� �- ♪ Whoo! ♪�� h����� �- ♪ Whoo! ♪ - [crowd cheering]�� hC�uA�.������Bob Jones was, uh,��1�����[Ivory] Bob Jones was, uh,��1�����1vice president of publicity at Motown.�� 堸���1vice president of publicity at Motown.�� 堙���He says,��������He says,���C�u@��Eb�����"We're doing a Motown show."��������"We're doing a Motown show."���������I rented a tuxedo, and, uh, I went to the show.��]������I rented a tuxedo, and, uh, I went to the show.��]C�uA,�b������People just went crazy.�� �����People just went crazy.�� ����� I was home in front of the TV.��%����� [Blige] I was home in front of the TV.��%����� 2 Waiting for him to take us there.�� ����� 2[chuckles] Waiting for him to take us there.�� C�uA8�{������First, we didn't know what he was gonna do,��1�����First, we didn't know what he was gonna do,��1�����1because he was up there with his brothers.��+�����1because he was up there with his brothers.��+����� \The Jacksons leave,��y����� \[Ivory] The Jacksons leave,��yC�u@���ˠ����the brothers leave, and Mike stays out there.�� �����the brothers leave, and Mike stays out there.�� ����� [crowd cheering]��<�����PAnd in the audience,�� �����PAnd in the audience,�� C�u@���(�����you could hear just kind of like:��͠����you could hear just kind of like:��͠�����"What's-what's getting ready to happen now?"�� a������"What's-what's getting ready to happen now?"�� aC�uA��+�����And, you know, Mike goes through the whole...�� ������And, you know, Mike goes through the whole...�� ��á�� �"Those were some great times. I love the-the old songs."�� J�á�� �"Those were some great times. I love the-the old songs."�� JC�u@���0�����You know, th-those were good songs.��1�����You know, th-those were good songs.��1�����1I-I like those songs a lot,��������1I-I like those songs a lot,�������� �but, especially, I like...��Ӡ���� �but, especially, I like...���C�uA� ܠ����- "Billie Jean"!��Ҡ����- [spectator] "Billie Jean"! - [crowd shouting]��Ҡ�����- ...the new songs.���������- ...the new songs. - [crowd cheering]���������And then here comes��y������[Ivory] And then here comes��yC�u@�� ՠ����"Billie Jean."�� �����"Billie Jean."�� ����� - ["Billie Jean" playing] - [raucous cheering]�� ߠ������� JC�uA� @r�����The tape that you can see�� 堣���The tape that you can see�� 堡��� �of "Billie Jean"�������� �of "Billie Jean"���������and the stuff you see going on in the audience,���������and the stuff you see going on in the audience,���C�u@�� d��ǡ��it does not capture what was happening in that crowd.��àǡ��it does not capture what was happening in that crowd.��à�����These people were going�� �������These people were going�� �C�u@�� ������absolutely berserk.��P�����absolutely berserk.��P�á�� D♪ Who will dance on the floor in the round? ♪�� ��á�� D♪ Who will dance on the floor in the round? ♪�� �C�u@�� �������Mike just turned it the fuck out.�� n�����Mike just turned it the fuck out.�� n�ˡŁ n♪ People always told me, "Be careful of what you do ♪����ˡł n♪ People always told me, "Be careful of what you do ♪���C�uAI� ��ǡ��♪ Don't go around breakin' young girls' hearts" ♪�� ߠǡ��♪ Don't go around breakin' young girls' hearts" ♪�� ߠ���� �♪ Hee-hee ♪�� ����� �♪ Hee-hee ♪�� ������♪ And Mother always told me... ♪�� �������♪ And Mother always told me... ♪�� �C�uA� ͊�����I mean, he just laid a bomb on that room.�� a�����I mean, he just laid a bomb on that room.�� a�ơ�� a♪ "'Cause the lie becomes the truth," hey, hey ♪�� ��ơ�� a♪ "'Cause the lie becomes the truth," hey, hey ♪�� �C�uA� 䂠����♪ Billie Jean is not my... ♪�� ������♪ Billie Jean is not my... ♪�� ������ �I was at that show�������� �[Hilburn] I was at that show��������"at the Pasadena Civic Auditorium.��������"at the Pasadena Civic Auditorium.���C�uA� �.�����And he's moving different. He's got his own moves now.�� C�����And he's moving different. He's got his own moves now.�� C�¡�� CHe's not so much doing what-what he learned growing up,�� ��¡�� CHe's not so much doing what-what he learned growing up,�� �C�uA�!������and he was excited about it.��Z�����and he was excited about it.��Z�����Z♪ Hee-hee-hee ♪�� �����Z♪ Hee-hee-hee ♪�� ����� g��=������We just was happy to see��O������[Blige] We just was happy to see��OC�u@��!(𠱡��Michael Jackson perform, period.��������Michael Jackson perform, period.���������Nobody seen the moonwalk coming.��̠�����Nobody seen the moonwalk coming.���C�u��!>Š����[cheering]�� I�����'♪ She says I am... ♪��������'♪ She says I am... ♪���C�uA2�!R|�����He does the moonwalk.��������[Hilburn] He does the moonwalk.���������That's the breathtaking moment, okay?��~������That's the breathtaking moment, okay?��~����� And after the show, I couldn't believe it.�������� And after the show, I couldn't believe it.���C�u@��!g-�����I had to go backstage and to ask somebody,��O�����I had to go backstage and to ask somebody,��O�����O"Was there a special trick floor?�� 䠬���O"Was there a special trick floor?�� �C�uA"�!{`�����How did he do that?"��U�����[laughs] How did he do that?"��U�����UYou know, this was the performance�� h�����U[Rich] You know, this was the performance�� h������that really changed space and time.�� ������that really changed space and time.�� C�uA�!�1�����A few of his dances, we call 'em timekeepers.�� D�����A few of his dances, we call 'em timekeepers.�� D����� DAnd he created a whole vocabulary of timekeepers,�� ������ DAnd he created a whole vocabulary of timekeepers,�� �C�u@��!� �����whether it's with his hip...��Z�����whether it's with his hip...��Z�����Z[snapping rhythmically]��������P...or with his... you know, his side,�������P...or with his... you know, his side,��C�u@��!�۠����- stomping with the ankle. - That's right.�� �����- stomping with the ankle. - That's right.�� �����POr he'll stomp with the foot.�� n�����POr he'll stomp with the foot.�� nC�uA_�!艠����With that, you can sing.��������With that, you can sing.���������You see what I'm saying?�� ������You see what I'm saying?�� �����And it looks like you're dancing.�� �����And it looks like you're dancing.�� �����- But you're really not. - It's an illu...�� �����- But you're really not. - It's an illu...�� C�u@��"������It's-it's a bit of a trick, right?��������It's-it's a bit of a trick, right?���������And you go... you walk over here.��y������And you go... you walk over here.��y������[scatting rhythmically]�� sC�uA5�"�����And switch the mic,��������And switch the mic,���������flip the coat, put the hand in the pocket.��̠�����flip the coat, put the hand in the pocket.��̠���� \You could do a few things here and there that only...��y����� \You could do a few things here and there that only...��yC�u@��".�����only you can do if you know your song and your music.�� h�����only you can do if you know your song and your music.�� h����� h��T������You know, when you see���������You know, when you see���C�uA�"Fa�����him glide across the floor or pop,�� ������him glide across the floor or pop,�� ������ �it's a special effect.�������� �it's a special effect.��������He saw magic in that dance.��������He saw magic in that dance.���C�uA%�"b�����Look at that-- if you pause each moment,��͠����Look at that-- if you pause each moment,��͠�����it's an iconic silhouette.��������it's an iconic silhouette.��������It's the hat, it's the arms, it's the...�� 8������It's the hat, it's the arms, it's the...�� 8C�u@��"}�����it's the tapping of the leg.��U�����it's the tapping of the leg.��U�����URight? The kick.��+�����URight? The kick.��+�������� �C�u@��"�~�����To see a Black man standing on his toes,��V�����To see a Black man standing on his toes,��V�����Vseeing that and not being conscious of it�� 3�����Vseeing that and not being conscious of it�� 3C�uA�"������has made generations of Black, brown,�� >�����has made generations of Black, brown,�� >�ơ�� >white, whatever color kids feel like anything was possible.����ơ�� >white, whatever color kids feel like anything was possible.���C�u@��"��¡��It's bigger than I think we, uh, think and acknowledge.��!�¡��It's bigger than I think we, uh, think and acknowledge.��!�����![cheering]���C�uA@�"你����After Mike finished,�������[Ivory] After Mike finished,�������the producer had to get on the microphone and say,�� 𠽡��the producer had to get on the microphone and say,�� 𠱡���"Ladies and gentlemen, please, please,�� 8������"Ladies and gentlemen, please, please,�� 8C�uA �#砱���gather yourselves and take your seats.�� >�����gather yourselves and take your seats.�� >����� >We have more show to tape.�������� >We have more show to tape.��������:There's much more show coming."��~�����:There's much more show coming."��~C�uA�#��ʡāAnd it took a minute for people to get their ties back together�� 3�ʡĂAnd it took a minute for people to get their ties back together�� 3����� 3and the women to put their wigs back on.�� ������ 3and the women to put their wigs back on.�� �C�uA.�#3o�����Okay, I have one question for you.��������[George] Okay, I have one question for you.���������Who was the unfortunate artist���������Who was the unfortunate artist���������- who had to come on--�� m������- who had to come on-- - [laughing]�� mC�u��#W�����I don't remember.�� 𠦡��I don't remember. [laughing]�� 𠞡�� �[cheering continues]�� C�uAE�#o࠹���I think that was the moment that he had��U�����[Usher] I think that was the moment that he had��U�����Uhis breakout moment from the... from the group.�� ������Uhis breakout moment from the... from the group.�� ������That song, "Billie Jean,"�� n�����That song, "Billie Jean,"�� nC�u@��#�^�����and the way he performed it on that night�� 8�����and the way he performed it on that night�� 8����� 8set the standard of what it was to be a megastar.�� Ơ���� 8set the standard of what it was to be a megastar.�� �C�uAi�#�\�š��The next day after the show, Fred Astaire called my house.�� D�š��The next day after the show, Fred Astaire called my house.�� D����� DHe said, "I saw the show last night.�������� DHe said, "I saw the show last night.���������I taped it. I watched it twice this morning."��̠�����I taped it. I watched it twice this morning."���C�uA)�#������And he said, "You were incredible.��������And he said, "You were incredible.���������You're a hell of a mover, and you really put them��̠�����You're a hell of a mover, and you really put them��̠����Von their A-S-S," he said.��Ҡ����Von their A-S-S," he said.���C�uA��#�B�����And I said, "God, thank you.��������And I said, "God, thank you.���������It's so wonderful for you to say that,���������It's so wonderful for you to say that,�������� >'cause I think you're the best."��7����� >'cause I think you're the best."��7�á��uAnd that was my r-reward, 'cause I think he's brilliant.�� �á��uAnd that was my r-reward, 'cause I think he's brilliant.�� C�u@��#�Š����♪ tense, hypnotic music ♪��&�����♪ tense, hypnotic music ♪��&�����&���������To a classical dancer,��ޠ�����[Copeland] To a classical dancer,���C�uA!�$M�����it's about your line, it's about the shapes��Ҡ����it's about your line, it's about the shapes��Ҡ�����that you're-you're making.��������that you're-you're making.������� �And Michael does that.��ؠ���� �And Michael does that.���C�uAA�$������That, to me, is very similar to a trained dancer,�� 䠼���That, to me, is very similar to a trained dancer,�� 䠨��� �even though he wasn't trained.��[����� �even though he wasn't trained.��[�����?He would've been the ideal ballet dancer.�� 2�����?He would've been the ideal ballet dancer.�� 2C�u@��$8o�����The proportions of his body.��ؠ����The proportions of his body.��ؠ�����He was lean, uh, and long, um, and just had, like,�� �����He was lean, uh, and long, um, and just had, like,���C�u@��$Q �����a natural instinct when he moved.��������a natural instinct when he moved.����ȡ�But there... but there was such precision and clarity.�� ٠ȡ‚�But there... but there was such precision and clarity.�� �C�u@��$gؠ����He was a perfectionist,�������He was a perfectionist,�������and that's what dancers are.�� ٠����and that's what dancers are.�� �C�uA-�${������Um, you know, you don't commit that type of time�� 堻���Um, you know, you don't commit that type of time�� 堢��� �and sacrifice your body,��נ���� �and sacrifice your body,��נ�����the injury, all of those things,��������the injury, all of those things,��C�u@��$�w�ˡŁif you don't have the passion for it and the love for it.�� ��ˡłif you don't have the passion for it and the love for it.�� ������ �And all of that sums up Michael�� ������ �And all of that sums up Michael�� �C�uA�$�������as a dancer, as a performer, as an artist.�� m�����as a dancer, as a performer, as an artist.�� m����� mMichael Jackson didn't invent dancing on film,�� 3�ɡ m[George] Michael Jackson didn't invent dancing on film,�� 3C�uA1�$�.�����but his particular synthesis��������but his particular synthesis���������of the Nicholas Brothers on one hand�� �������of the Nicholas Brothers on one hand�� ������zand Bob Fosse, Astaire, popping, locking,��������zand Bob Fosse, Astaire, popping, locking,���C�uA3�$埠����moonwalking-- no one had ever��O�����moonwalking-- no one had ever��O�����Oput those elements together before like that.��������Oput those elements together before like that.��������KYou can see it all the way through from��O�����KYou can see it all the way through from��OC�uAk�$�9�����"Billie Jean" and "Beat It" and "Thriller,"��U�����"Billie Jean" and "Beat It" and "Thriller,"��U�����Uall the way through to all of these other artists.��y�����Uall the way through to all of these other artists.��y������Look at MC Hammer, "U Can't Touch This."��-������Look at MC Hammer, "U Can't Touch This."��-C�uA+�%��̡ƁThen you go forward to, like, Usher and Justin Timberlake.��z�̡ƂThen you go forward to, like, Usher and Justin Timberlake.��z�á���And then you go farther forward to Justin Bieber,�� �á���And then you go farther forward to Justin Bieber,�� C�uA �%;|�����Doja Cat, Bruno Mars.�� �����Doja Cat, Bruno Mars.�� ����� Michael is emulated.��[����� [Branca] Michael is emulated.��[�����zIf you look at BTS, you can see it.�� 8�����zIf you look at BTS, you can see it.�� 8C�uAO�%W.�����[BTS's "Dynamite" playing]�� ����� I'm all in with BTS.�������� [Ivory] I'm all in with BTS.��������I love those guys.�� �����I love those guys.�� �����Every move they do is all Michael Jackson.�� ������Every move they do is all Michael Jackson.�� �C�u@��%u������Michael created that.��������Michael created that.���������The entire K-pop wave,�� s������[George] The entire K-pop wave,�� s�����othey've all studied Michael��Ҡ����othey've all studied Michael���C�u@��%�:�ʡāin terms of stage clothes, video clothes and stagecraft.����ʡĂin terms of stage clothes, video clothes and stagecraft.���C�uA5�%�𠲡��There's a great video if you watch BTS.�� �����There's a great video if you watch BTS.�� ����� There's a lot of Michael Jackson.��Ҡ���� There's a lot of Michael Jackson.��Ҡ�����You see it in their dancing.��`������You see it in their dancing.��`C�uA%�%�7�����♪ 'Cause I, I, I'm in the stars tonight ♪�� ������♪ 'Cause I, I, I'm in the stars tonight ♪�� ��͡ǁ �♪ So watch me bring the fire and set the night alight ♪��i�͡ǂ �♪ So watch me bring the fire and set the night alight ♪��iC�uA9�%�U�Ρȁ♪ Shining through the city with a little funk and soul ♪��i�ΡȂ♪ Shining through the city with a little funk and soul ♪��i�ȡi♪ So I'm-a light it up like dynamite, whoa-oh-oh ♪�� ȡ‚i♪ So I'm-a light it up like dynamite, whoa-oh-oh ♪���C�uA�%���ҡ́♪ Dyn-na-na-na, na-na-na-na-na, na-na-na, life is dynamite ♪��Πҡ̂♪ Dyn-na-na-na, na-na-na-na-na, na-na-na, life is dynamite ♪��Π�����♪ Dyn-na-na-na... ♪���������♪ Dyn-na-na-na... ♪���C�u@��&ޠ����So, the entire K-pop movement,�� I�����[George] So, the entire K-pop movement,�� I����� Ithey're students of the game.�� ������ Ithey're students of the game.�� �C�u@��&&�ʡāYou can look at a number of millennial hip-hop artists--�� ��ʡĂYou can look at a number of millennial hip-hop artists--�� ������ �Polo G being one of them--��U����� �Polo G being one of them--��UC�u@��&:ɠ����23, 24 years old, from Chicago,�� ������23, 24 years old, from Chicago,�� ������ �yet he's very much in trance with Michael Jackson�� ������ �yet he's very much in trance with Michael Jackson�� �C�uA1�&Q�����and he uses Michael Jackson music��T�����and he uses Michael Jackson music��T�����Tand imagery in some of his music.��ޠ����Tand imagery in some of his music.��ޠ���� 2♪ Ha, smooth criminal, Mike Jack ♪��%����� 2♪ Ha, smooth criminal, Mike Jack ♪��%C�uA��&fr�͡ǁ♪ And I still like to tote a four-five like Mike back ♪�� n�͡ǂ♪ And I still like to tote a four-five like Mike back ♪�� n����� nIt was just a night I was riding around,��1�á�� n[Polo G] It was just a night I was riding around,��1�¡���I was riding in my car, and I was just listening��̠¡���I was riding in my car, and I was just listening���C�uA��&ݠ����to Michael Jackson interviews.��+�����to Michael Jackson interviews.��+�����+I wasn't listening to music.��㠦���+I wasn't listening to music.��㠲��� I was just listening to his interviews.�������� I was just listening to his interviews.���������And I just came up with this idea, like,��ؠ�����And I just came up with this idea, like,���C�u@��&�M�����maybe I should do, uh, this song and this instrumental��Ƞ����maybe I should do, uh, this song and this instrumental��Ƞ�����and just really mess everybody head up���������and just really mess everybody head up���C�uA[�&� �����'cause I know they wouldn't��㠥���'cause I know they wouldn't��㠱����be expecting that from a young artist.��[������be expecting that from a young artist.��[�ϡɁ >♪ Tell me, Annie, are you okay? Screaming out, "No way" ♪�� �ϡɂ >♪ Tell me, Annie, are you okay? Screaming out, "No way" ♪�� C�uA �&�i�����♪ Tell me, Annie, are you okay? ♪��������♪ Tell me, Annie, are you okay? ♪����ɡÁ�'Cause I remember my grandma had this same exact album.����ɡÂ�'Cause I remember my grandma had this same exact album.���C�uA!�&݋�����My auntie, who was her daughter,��������My auntie, who was her daughter,���������she was a big Michael Jackson fan,��ؠ�����she was a big Michael Jackson fan,��ؠ���� bso she always had us listening to him.������� bso she always had us listening to him.��C�uAS�&�l�����So I remember her having this one exactly.�� ꠵���So I remember her having this one exactly.�� ꠢ��� �It's pretty wild.�������� �[George] It's pretty wild.����š��tIt says how powerful the imagery that Michael created was.����š��tIt says how powerful the imagery that Michael created was.���C�u@��'������♪ soft, atmospheric music ♪�� ������♪ soft, atmospheric music ♪�� ������ ���������!On Thriller,��1�����![Ray] On Thriller,��1C�u@��''֠����his life was evolving, you know,��Ҡ����his life was evolving, you know,��Ҡ�����and his vocal approach was different.�� ٠�����and his vocal approach was different.�� �C�u@��'=������There's vocalists, and there's stylists.�� 񠳡��There's vocalists, and there's stylists.�� 񠕡�� �Style wins.��נ���� �[chuckles] Style wins.��נ�����When you can hear a person sing��͠�����When you can hear a person sing���C�uA+�'W�����and recognize them fr-from the first couple bars,�� ꠼���and recognize them fr-from the first couple bars,�� ꠮��� �you know you got something special.��U����� �you know you got something special.��U�����?They have a special tone,��������?They have a special tone,���C�uA�'n�����a special voice, a special delivery.��������a special voice, a special delivery.���������Now, Michael had all of that.�� ������Now, Michael had all of that.�� ����� In just the way he loved to dance�� Ǡ���� In just the way he loved to dance�� �C�u@��'�ޠ����and-and he loved to perform,��ݠ����and-and he loved to perform,��ݠ�����he turned all of that melody that he was so great with��K������he turned all of that melody that he was so great with��KC�uA�'������into percussive melody.��������into percussive melody.���������Well, that's what he did. He would sing drum parts.��͠�����Well, that's what he did. He would sing drum parts.��͠����QHe would sing bass lines.��������QHe would sing bass lines.���C�uAU�'������He would, uh... all with his rhythmic inflections.�� 𠽡��He would, uh... all with his rhythmic inflections.�� 𠬡�� �We call it "drums in your mouth."������� �We call it "drums in your mouth."��������He would beatbox. He was an amazing beatboxer.��O������He would beatbox. He was an amazing beatboxer.��OC�uA)�'�K�����But beatbox with melody and sing, you know,�� m�����But beatbox with melody and sing, you know,�� m����� mnot just beatboxing.��䠞��� mnot just beatboxing.��䠸���QHe would, you know, integrate melody with it.�� �����QHe would, you know, integrate melody with it.�� C�uAE�'Ỡ����And you can hear it on "Beat It," you know,��U�����And you can hear it on "Beat It," you know,��U�����Ujust the way he would attack each syllable.�� �����Ujust the way he would attack each syllable.�� �����i♪ Just beat it, beat it ♪�� 9�����i♪ Just beat it, beat it ♪�� 9C�uA-�(]�����♪ No one wants to be defeated ♪��%�����♪ No one wants to be defeated ♪��%�����%[accompaniment fades]���¡��, ♪ Showin' how funky, strong is your fight ♪�� 3�ΡȂ,[a cappella] ♪ Showin' how funky, strong is your fight ♪�� 3C�u@��(������♪ It doesn't matter who's wrong or right ♪��������♪ It doesn't matter who's wrong or right ♪���������♪ Just beat it ♪�� �������♪ Just beat it ♪�� �C�uA!�(4Ӡ����♪ Beat it... ♪�� �����♪ Beat it... ♪�� ����� I think of all of his melodies and his songs,�� ����� I think of all of his melodies and his songs,�� �����,and they're completely percussive.��������,and they're completely percussive.���C�uA �(I������I mean, they're incredibly rhythmically hooky,�� �����I mean, they're incredibly rhythmically hooky,�� �ơ�� and, you know, all those songs, and the songs that he wrote�� ��ơ�� and, you know, all those songs, and the songs that he wrote�� �C�uA �(^5�����have these very aggressive staccato rhythms.�� I�����have these very aggressive staccato rhythms.�� I�ǡ�� II feel like "Billie Jean" and "Wanna Be Startin' Somethin',"�� ߠǡ�� II feel like "Billie Jean" and "Wanna Be Startin' Somethin',"�� �C�uAS�(t]�����they're really short and stabby.��������they're really short and stabby.���������They're always, like... there's a tiny bit of, like,���������They're always, like... there's a tiny bit of, like,��������Vanger and, like, contempt in the... in the...�� ������Vanger and, like, contempt in the... in the...�� �C�uAG�(�P�����in the way that he's singing and writing.��������in the way that he's singing and writing.���������♪ I know I am someone ♪��̠á���[Michael, a cappella] ♪ I know I am someone ♪��̠����z♪ And let the truth unfurl ♪��O�����z♪ And let the truth unfurl ♪��OC�uA5�(������♪ No one can hurt you now ♪��Ҡ����♪ No one can hurt you now ♪��Ҡ�����♪ Because you know what's true ♪���������♪ Because you know what's true ♪��������{♪ Yes, I believe in me ♪��U�����{♪ Yes, I believe in me ♪��UC�u@��(�頮���♪ So you believe in you ♪��������♪ So you believe in you ♪���������♪ Help me sing it ♪��������♪ Help me sing it ♪�������z♪ Hoo-hoo! ♪��`�����z♪ Hoo-hoo! ♪��`C�uA�(�àơ��The greatest soul singers are not afraid to feel the music,��Q�ơ��The greatest soul singers are not afraid to feel the music,��Q�����Qyou know, just do what the music tells them to do.��̠����Qyou know, just do what the music tells them to do.���C�u@��(�࠸���For all the new cats, all the new-school cats�������For all the new cats, all the new-school cats�������that are going on record and ad-libbing,�� 𠳡��that are going on record and ad-libbing,�� �C�u@��(�Ӡ����and they say, like...��7�����and they say, like...��7�����7[aggressive staccato scatting]�� �������I'm sorry, Michael did that first.�� 8������I'm sorry, Michael did that first.�� 8C�u@��)������I'll prove it to you.��U�����I'll prove it to you.��U�����U♪ So beat it, just beat it ♪����ȡ‚U[Michael, a cappella] ♪ So beat it, just beat it ♪���C�u@��)3������[brief staccato scatting]���������♪ Beat it ♪���������♪ Beat it ♪�������� �[Michael yawning over beatboxing]��������9♪ Beat it ♪��������9♪ Beat it ♪���C�uA�)K頲���Why was he yawning on a record, though?�� ������Why was he yawning on a record, though?�� ������ �It shows the freedom�� ����� �It shows the freedom�� ������and how comfortable he felt in the studio��̠�����and how comfortable he felt in the studio���C�uAC�)d������without worrying about people's judgment��������without worrying about people's judgment���������or, like, "Yo, what's that?"��7������or, like, "Yo, what's that?"��7����� �Because you know he was bringing the freaking skills.��x����� �Because you know he was bringing the freaking skills.��xC�u@��)x�����You knew he was bringing ultra talent and imagination,��W�����You knew he was bringing ultra talent and imagination,��W�����Wfor him to be like, "You know what?��+�����Wfor him to be like, "You know what?��+C�u@��)�b�����I feel like yawning right here."�� �����I feel like yawning right here."�� ����� [Michael yawning over beatboxing]�� �������♪ Beat it ♪��~������♪ Beat it ♪��~C�uA�)�������[Michael grunts dramatically]��ޠ�����I-I don't know what that one is. I don't know what...��O������I-I don't know what that one is. I don't know what...��O�����-I don't... but I love it.��������-[laughing] I don't... but I love it.���C�u@��)�������And I'm listening to his ad-libs.��̠����And I'm listening to his ad-libs.��̠�����He's doing all that...���������He's doing all that...���������[beatboxing]���C�u@��)�)�����He's doing all this rhythmic stuff.�� �����He's doing all this rhythmic stuff.�� ����� ♪ "Human Nature" by Michael Jackson ♪�� C����� ♪ "Human Nature" by Michael Jackson ♪�� CC�u��)憠¡��[Michael beatboxing as instrumental track fades]��QC�uAR�*������Michael had such a clear vision��,�����[Ray] Michael had such a clear vision��,�����,of what he wanted, and Quincy,��������,of what he wanted, and Quincy,��������'he knows who wanted to work with each other.�� Ǡ����'he knows who wanted to work with each other.�� �C�uA;�*1������There's a number of things going on.�� �����There's a number of things going on.�� ����� We have "Beat It," drums being done��y����� We have "Beat It," drums being done��y����� �by Jeff Porcaro at Sunset Sound;��x����� �by Jeff Porcaro at Sunset Sound;��xC�u@��*G������Steve Lukather in Studio B at Westlake;�� �����Steve Lukather in Studio B at Westlake;�� ����� Studio A, Quincy and Bruce.�� ����� Studio A, Quincy and Bruce.�� C�uAI�*^à����Quincy's going back and forth between A and B,�� Ơ����Quincy's going back and forth between A and B,�� Ơ���� �across the hallway.�� ����� �across the hallway.�� ������Then you add the E.T. storybook album,�� ������Then you add the E.T. storybook album,�� C�u@��*x������and-and then... then it's just a lot going on.�� a�����and-and then... then it's just a lot going on.�� a����� aQuincy had become friends with Steven Spielberg.��P����� aQuincy had become friends with Steven Spielberg.��PC�uA�*�\�ġ��And I remember one day he... Steven invited Quincy����ġ��And I remember one day he... Steven invited Quincy���������down to the set when he was working on E.T.�� �������down to the set when he was working on E.T.�� �C�uAs�*�������And, uh, E.T. was there,��������And, uh, E.T. was there,����̡Ɓ�and the guys who were operating it at the time were there.�� �̡Ƃ�and the guys who were operating it at the time were there.�� ������And I think somewhere in the course of it,��ޠ�����And I think somewhere in the course of it,���C�uA7�*�+�����Steven had said to Quincy, said, "You know,��ؠ����Steven had said to Quincy, said, "You know,��ؠ�����"I want to do a rec... we should do��%������"I want to do a rec... we should do��%������a record of some sort."���������a record of some sort."���C�uAS�*ء�����So Quincy, I think,��1�����[Branca] So Quincy, I think,��1�����1came to Michael and-and said,��1�����1came to Michael and-and said,��1�ʡā b"Steven wants us to do the E.T. storybook album,"����ʡĂ b"Steven wants us to do the E.T. storybook album,"���C�uA �*󬠿���where Michael would narrate the story of E.T.��������where Michael would narrate the story of E.T.���������and Michael would write and sing a song for the album.�� �������and Michael would write and sing a song for the album.�� �C�uAk�+ L�����And Michael was a big fan, too,��ؠ����[Eckstine] And Michael was a big fan, too,��ؠ�����so, "Quincy, let's do this."��`������so, "Quincy, let's do this."��`�ʡā 8So they started doing it in the midst of doing Thriller.�� ��ʡĂ 8So they started doing it in the midst of doing Thriller.�� �C�u@��+% �����I've always loved film, and, uh,��������I've always loved film, and, uh,���������we're talking, in the stage of doing, uh,��̠�����we're talking, in the stage of doing, uh,���C�u@��+=z�����Quincy Jones and myself and Steven Spielberg,��������Quincy Jones and myself and Steven Spielberg,���������uh, working on a project.���������uh, working on a project.���C�uA5�+S������The problem is nobody bothered��̠����[Branca] The problem is nobody bothered��̠�����to call Walter Yetnikoff��������to call Walter Yetnikoff��������and clear the rights because the album was�� I������and clear the rights because the album was�� IC�u@��+m �����going out on Universal MCA's label.�� ������going out on Universal MCA's label.�� ��ơ�� �I'll never forget, uh, one day, I was at a-a meeting�� ߠơ�� �I'll never forget, uh, one day, I was at a-a meeting�� �C�uA �+�ˠ����and I get a call, so I get on the phone�� �����and I get a call, so I get on the phone�� �ǡ�� and Walter says, "Tell Michael to stop kissing the monster."�� \�ǡ�� and Walter says, "Tell Michael to stop kissing the monster."�� \C�uA7�+�A�����"Walter, what are you talking about?"��������"Walter, what are you talking about?"���������"Stop kissing the monster!"��`������"Stop kissing the monster!"��`�����So, if you look at the E.T. storybook album,�� ������So, if you look at the E.T. storybook album,�� �C�uAe�+�ʠ����Michael's got his arm around E.T.��������Michael's got his arm around E.T.����Ρȁ�They're like pals, and that's what Walter was talking about.�� s�ΡȂ�They're like pals, and that's what Walter was talking about.�� s������It wasn't just an album.��㠩����It wasn't just an album.���C�u@��+Τ�����It was a whole box set with posters��������It was a whole box set with posters���������and a picture of Michael with E.T.�� 렴����and a picture of Michael with E.T.�� �C�u@��+�Ǡ����So Walter filed an injunction against,�� ߠ����So Walter filed an injunction against,�� ߠ���� �uh, MCA and Universal��U����� �uh, MCA and Universal��UC�u@��+�������and made them take the album out of the stores.�� m�����and made them take the album out of the stores.�� m����� mIt was already shipped. It was already a huge hit.�� ������ mIt was already shipped. It was already a huge hit.�� �C�uA_�,������They had to pull the album back.��1�����They had to pull the album back.��1�����1Epic wasn't happy, and they felt it was sort of�� ������1Epic wasn't happy, and they felt it was sort of�� ��á���holding up their record, the-the Thriller record.�� ��á���holding up their record, the-the Thriller record.�� �C�uA9�,+������Yeah, they sued, you know.�� �����Yeah, they sued, you know.�� ����� "No, you can't have our artist, da-da-da-da-da."��ؠ���� "No, you can't have our artist, da-da-da-da-da."��ؠ���� �You know, and Walter was litigious anyway,�� C����� �You know, and Walter was litigious anyway,�� CC�uA�,A������and so he-he went... he went in hard.�� �����and so he-he went... he went in hard.�� ����� And MCA responded hard,������� And MCA responded hard,�������"and it was, you know, all hell broke loose.��0�����"and it was, you know, all hell broke loose.��0C�uA�,W������And he said, "John, is he mad at me?"�� >�����[Branca] And he said, "John, is he mad at me?"�� >����� >I said, "What do you think, Walter?" [laughs]�� ������ >I said, "What do you think, Walter?" [laughs]�� �C�u@��,m������"You-you just sued him and Steven Spielberg�� ������"You-you just sued him and Steven Spielberg�� ������ �and Quincy Jones, and you wonder...��̠���� �and Quincy Jones, and you wonder...���C�u@��,�������you're wondering if he's mad at you?"��y�����you're wondering if he's mad at you?"��y�����yUh, and he goes, "What can I do to make it up?"��z�����yUh, and he goes, "What can I do to make it up?"��zC�uAQ�,�u�����And I said, "You give him the owner...��������And I said, "You give him the owner...���������ownership of his master recordings:��Z������ownership of his master recordings:��Z�����Off the Wall, Thriller and everything to come."��y�����Off the Wall, Thriller and everything to come."��yC�uA/�,�񠞡��And he said, "Done."��������And he said, "Done."���������To get your masters back in the middle of a contract,�� 2������To get your masters back in the middle of a contract,�� 2������I don't think had ever, ever happened.�� 렱����I don't think had ever, ever happened.�� �C�uA&�,�Ƞ����♪ "Carousel" by Michael Jackson ♪�� �����♪ "Carousel" by Michael Jackson ♪�� ����� Rod came with his songs.��[����� [Ray] Rod came with his songs.��[�����zMichael had his songs.��������zMichael had his songs.���C�uA1�,�������And if those worked, they worked.��ޠ����And if those worked, they worked.��ޠ�����If they didn't, they-they went looking elsewhere.�� I������If they didn't, they-they went looking elsewhere.�� I�����'♪ I lost my heart ♪�� �����'♪ I lost my heart ♪�� C�u@��,�B�����♪ On the carousel ♪�� �����♪ On the carousel ♪�� ����� ♪ To a circus girl ♪�� C����� ♪ To a circus girl ♪�� CC�u@��-������♪ Who left my heart in pieces... ♪��'�����♪ Who left my heart in pieces... ♪��'�����'"Carousel" was a great song,�� ������'[Jones] "Carousel" was a great song,�� �C�uA�-*R�����and fortunately or unfortunately, you know,�� I�����and fortunately or unfortunately, you know,�� I����� Ithere was only room on the album��ޠ���� Ithere was only room on the album��ޠɡÁ'for one mood like, uh, "Carousel" or-or "Human Nature,"�� ɡÂ'for one mood like, uh, "Carousel" or-or "Human Nature,"���C�u@��-K;�͡ǁand "Human Nature" was the choice we had to make, you know.��'�͡ǂand "Human Nature" was the choice we had to make, you know.��'�����'Toto was big at that time.�������'Toto was big at that time.��C�u@��-`i�����Toto, who I just adored,�� I�����[Jones] Toto, who I just adored,�� I�á�� Iwe worked together a lot, and, um, they sent over�� ��á�� Iwe worked together a lot, and, um, they sent over�� �C�u@��-ts�ɡÁtwo demos that they thought would be right for Michael,���ɡÂtwo demos that they thought would be right for Michael,�������and all of a sudden, there's...�������and all of a sudden, there's...��C�uA%�-�x�����at the end, there was all this silence.��O�����at the end, there was all this silence.��O�����OAnd then it said... it said...�������OAnd then it said... it said...�������V♪ Why, why? ♪��ؠ����V♪ Why, why? ♪���C�uAL�-�������[scatting "Human Nature" melody]���������♪ Why? ♪��㠝����♪ Why? ♪��㠭��� �And-and I tell you, I get...��a����� �And-and I tell you, I get...��a������I get goose bumps just talking about it.��נ�����I get goose bumps just talking about it.���C�uAc�-�i�����And I said, "What the hell is that?" You know?�� �����And I said, "What the hell is that?" You know?�� 렱��� �That's what took "Carousel" out.�������� �That's what took "Carousel" out.��������oI said, "This is where we want to go,"�������oI said, "This is where we want to go,"��C�uA4�-�ߠ����'cause it's got such a... a-a wonderful flavor.�� ������'cause it's got such a... a-a wonderful flavor.�� ������ �- I'll tell you what.��O����� �- [crowd cheering] - [Michael] I'll tell you what.��O�����Tonight, I want to do...�� �����Tonight, I want to do...�� C�u@��-�j�����...one of my favorite songs.�� =�����...one of my favorite songs.�� =����� =♪ I touched her shoulder ♪�� J����� =♪ I touched her shoulder ♪�� JC�u@��.񠲡��♪ She likes the way I stare ♪��������♪ She likes the way I stare ♪���������♪ And they say, "Why?" ♪�� Ơ�����♪ And they say, "Why?" ♪�� �C�uA+�.a�����Everybody sing!��������Everybody sing!���������♪ Tell them that it's human nature ♪�� ������♪ Tell them that it's human nature ♪�� ������♪ Why, why does he do me that way? ♪��-������♪ Why, why does he do me that way? ♪��-C�u@��.;a�����The song that always haunts me is "Human Nature."�� ߠ����The song that always haunts me is "Human Nature."�� ߠ���� �- [chuckles] - [exhales sharply]��UC�uA^�.O������- Um... Yeah. - What a beautiful record.��������- Um... Yeah. - What a beautiful record.���������That's-that's one of those records that you just say,���������That's-that's one of those records that you just say,�������� b"I wish I would've did that record."�� I����� b"I wish I would've did that record." [laughs]�� IC�uA=�.e@�����And that always, for me, is the...�� �����And that always, for me, is the...�� ����� the test of if I love it or not.�� s����� the test of if I love it or not.�� s������I remember one experience in the studio,��Ƞġ���[Michael] I remember one experience in the studio,���C�uA�.�������Rod Temperton, one of the writers on the album,�� �����Rod Temperton, one of the writers on the album,�� �á�� and he said, "Michael, if you only had three hits�� ��á�� and he said, "Michael, if you only had three hits�� �C�uA=�.�R�����off this album, would you not be happy?"�� ꠺���off this album, would you not be happy?"�� ꠭��� �I said, "I'd be very angry."�������� �I said, "I'd be very angry."��������nAnd they all started laughing.�������nAnd they all started laughing.��C�u@��.� ����I said, "I expect eight hits off of this album.��Ӡ����I said, "I expect eight hits off of this album.��Ӡ�����Nine, all of 'em."���������Nine, all of 'em."���C�uA+�.�I�����[Michael Jackson's "Human Nature" playing]�� D����� DThat is how I am. I'm sorry.��`����� DThat is how I am. I'm sorry.��`�á���And my attitude was always reaching out for more.�� >�á���And my attitude was always reaching out for more.�� >C�u@��.�+�����Never being satisfied.�������Never being satisfied.���̡ƁAnd right at this very moment, I'm on my fifth hit record.��E�̡ƂAnd right at this very moment, I'm on my fifth hit record.��EC�uA�.�f�����Five. "Human Nature" is number ten.�� s�����Five. "Human Nature" is number ten.�� s�̡Ɓ sAnd I've broken a record that has never been done before--����̡Ƃ sAnd I've broken a record that has never been done before--���C�u@��/֠����five hit songs for one album.��������five hit songs for one album.����ȡ�Always reaching out for more, striving for excellence.���ȡ‚�Always reaching out for more, striving for excellence.���C�u@��/;������It's so engaging��������[Ray] It's so engaging���������because the idea���������because the idea���������was to have something for everyone.��������was to have something for everyone.��C�uA]�/R��ġ��There was a song that I didn't really know too much about�� D�ġ��There was a song that I didn't really know too much about�� D����� Dthat was called "Starlight,"��㠦��� Dthat was called "Starlight,"��㠼���'and it was a disco song that Rod Temperton wrote.�� Ǡ����'and it was a disco song that Rod Temperton wrote.�� �C�u@��/k������You know, so it really evolved from��������You know, so it really evolved from���������this click here at 1:18.��������this click here at 1:18.��C�uA�/�5�����And so, okay, we lay the click down, and the idea was:�� h�����And so, okay, we lay the click down, and the idea was:�� h����� h"Let's put it... let's put a new version down.�������� h"Let's put it... let's put a new version down.��������dLet's put some tracks down and see where it goes."�� I�����dLet's put some tracks down and see where it goes."�� IC�u@��/�⠯���So we-we started with this drumbeat.��������So we-we started with this drumbeat.���������[synthesized drumbeat playing]�� ����� �Four on the floor, kind of dance song.�� \����� �Four on the floor, kind of dance song.�� \C�u��/¹�����And then... backbeat.�� g�����And then... backbeat.�� g����� g[drumbeat continues]�� �C�u��/ٱ�����Claps on the four.�������Claps on the four.�������[synthesized handclaps add to the beat]�� \C�u@��/������And then the hi-hat part was like this.�� ������And then the hi-hat part was like this.�� �������Five, six, seven, eight.���������Five, six, seven, eight.���C�u��0������[drumbeat continues]�� ������And then open hat.�� �������And then open hat.�� �C�u��0%Ǡ����There we go.��������There we go.���������And then the cowbell.�� �������And then the cowbell.�� �C�uAM�0V�����Here we go.��㠕���Here we go.��㠵����So, another thing about Michael and Quincy�� s������So, another thing about Michael and Quincy�� s�����Vis they like kind of like��������Vis they like kind of like��������a little bit of a feel to the music.��͠����a little bit of a feel to the music.���C�uAG�0p㠤���So, this is straight time.��������So, this is straight time.���������And then we add a little bit of shuffle to it�� 堸����And then we add a little bit of shuffle to it�� 堿���iso it just kind of pushes it a little bit like that.��������iso it just kind of pushes it a little bit like that.���C�u@��0�C�����So it's in.��=�����So it's in.��=�¡��=And then the bass line ended up being kind of like a...��i�¡��=And then the bass line ended up being kind of like a...��iC�uA�0�頱���something I never would have expected,��U�����something I never would have expected,��U�����Ulike a little bit of a Latin rhythm, like...�� ������Ulike a little bit of a Latin rhythm, like...�� �������[imitating drum and bass beat]�� �C�u@��0ɮ�����Which sounded like a conga line to me, but...�� ������Which sounded like a conga line to me, but...�� ������ �[playing synthesized bass line]�� bC�u@��0ৠ����And there was the-the opening.��O�����And there was the-the opening.��O�����O[playing "Thriller" synthesizer melody]���C�u@��0�ɠ����♪ "Thriller" by Michael Jackson ♪�� ������♪ "Thriller" by Michael Jackson ♪�� ������ ��� �C�uA?�1�����[wolf howling]��0�����0Just layering all the parts to "Thriller"��U�ʡĂ0[Phillinganes] Just layering all the parts to "Thriller"��U�ơ�� �was one of the most fun sessions I've ever done in my life.��Q�ơ�� �was one of the most fun sessions I've ever done in my life.��QC�u@��1. �����At 24, Michael had become more��Ҡ����[Yetnikoff] At 24, Michael had become more��Ҡ�����than a master singer, dancer, songwriter.�� �������than a master singer, dancer, songwriter.�� �C�uA�1A������He was a super salesman of his own mystique.�� h�����He was a super salesman of his own mystique.�� h�ġ�� hMichael's passion for world conquest was singular.�� ��ġ�� hMichael's passion for world conquest was singular.�� �C�u@��1Y������He lived, breathed, slept, dreamt and spoke��!�����He lived, breathed, slept, dreamt and spoke��!�����!of nothing but number one successes.�� b�����!of nothing but number one successes.�� bC�uA�1zs�����Thriller stayed number one for months.��ؠ����Thriller stayed number one for months.��ؠˡŁ�In the long period of its unprecedented success, however,��z�ˡł�In the long period of its unprecedented success, however,��zC�u@��1�ŠΡȁwhen it occasionally fell to second place for a week or two,���ΡȂwhen it occasionally fell to second place for a week or two,�������Michael panicked.��+�����Michael panicked.��+C�uA7�1�󠫡��Hysterical, he'd berate me��[�����Hysterical, he'd berate me��[�����[for failing to pump up the promotion.�� 𠷡��[for failing to pump up the promotion.�� 𠱡��K"I'm pumping, Michael," I'd say.�������K"I'm pumping, Michael," I'd say.��C�uA�1�@�����"I promise you I'm pumping."�������"I promise you I'm pumping."�������And I was.��ޠ����And I was.��ޠ�����After Thriller had sold��������[Ivory] After Thriller had sold��C�uAK�1�>�����about three or four million copies,�� ������about three or four million copies,�� ������ �I got a call about 12 noon.��ؠ���� �I got a call about 12 noon.��ؠ����uOn the phone was the record company saying,�� ������uOn the phone was the record company saying,�� �C�uAg�1�P�����"Hey, listen, if you're not busy,��1�����"Hey, listen, if you're not busy,��1�����1we need you to get over here right now."�� ꠺���1we need you to get over here right now."�� ꠾���Michael was going to be presented a-a plaque��������Michael was going to be presented a-a plaque���C�u@��2 렴���for the-the Thriller record.��y�����for the-the Thriller record.��y�����yAnd we were wondering, why were we waiting?�� ߠ����yAnd we were wondering, why were we waiting?�� �C�u@��2$a�����In came Jane Fonda.�� s�����In came Jane Fonda.�� s����� sJane?������� sJane?�������z[applause]�� �C�uA3�2E �����I love Michael, and I admire him.��������I love Michael, and I admire him.���������He's the only person I know that writes music�� s������He's the only person I know that writes music�� s�����othat you can dream to and dance to��������othat you can dream to and dance to���C�u@��2^������and love to and work out to.��[�����and love to and work out to.��[�����[And I do all of 'em to it.��`�����[And I do all of 'em to it.��`����� �- Come here, Michael.��̠���� �- Come here, Michael. - [applause]���C�uA,�2s�����In retrospect, I know��1�����[Ivory] In retrospect, I know��1�����1exactly what he was doing.�� 𠫡��1exactly what he was doing.�� 𠸡��iHe understood the importance of having��U�����iHe understood the importance of having��UC�uA�2�Р����a big white star giving him this plaque.��������a big white star giving him this plaque.���������Uh, Michael has a number one single on the pop charts,�� 2������Uh, Michael has a number one single on the pop charts,�� 2C�u@��2�������number one album on the pop charts,��������number one album on the pop charts,���������number one single on the R and B charts,�� 3������number one single on the R and B charts,�� 3C�uA�2�Ϡ����number one album on the R and B charts.�� s�����number one album on the R and B charts.�� s����� sAnd I think that starts...��[����� sAnd I think that starts...��[������that's sort of an historic record.��Ҡ�����that's sort of an historic record.���C�uA$�2�o�����But I don't think we understood��~�����[Maxwell] But I don't think we understood��~�����~where it was gonna go until�������~where it was gonna go until������� �the "Thriller" video came out.�� ����� �the "Thriller" video came out.�� C�u@��2������♪ suspenseful orchestral music ♪��������♪ suspenseful orchestral music ♪�����������������KAs far as the record company��������K[Branca] As far as the record company���C�uA�3頺���was concerned, the album cycle was done.�� �����was concerned, the album cycle was done.�� ����� They were thrilled with whatever it sold,��+����� They were thrilled with whatever it sold,��+�¡��Kand Michael said, "No, no, we're gonna... we got more."�� \�¡��Kand Michael said, "No, no, we're gonna... we got more."�� \C�u@��3!������"Thriller," of all the songs on the album,��������"Thriller," of all the songs on the album,���������uh, seems like you can do much more video-wise--��u������uh, seems like you can do much more video-wise--��uC�u@��3:������no, movie-wise-- than any of the songs�� ꠱���no, movie-wise-- than any of the songs�� ꠲��� �'cause of the story and all the visuals�������� �'cause of the story and all the visuals���C�uA �3N4�����and monsters and stuff.�� I�����and monsters and stuff.�� I����� IAnd so I came up with an idea��[����� IAnd so I came up with an idea��[������of thinking that I really want to change,�� �������of thinking that I really want to change,�� �C�u@��3h������metamorphosis into some other creature.�� ٠����metamorphosis into some other creature.�� ٠���� �I... and I-I saw American Werewolf In London.�� ����� �I... and I-I saw American Werewolf In London.�� C�uAS�3�{�����I really liked it.��������I really liked it.����¡���And-and I said, "Who's the director who did it?"�� n�¡���And-and I said, "Who's the director who did it?"�� n�����iAnd they said, "John Landis, John Landis."��1�����iAnd they said, "John Landis, John Landis."��1C�uAH�3������I said, "Great. That's who we got to get."��Ҡ����I said, "Great. That's who we got to get."��Ҡ�����So I said, "Get in touch with him."���������So I said, "Get in touch with him."���������So I get this call, and he says,���������[John Landis] So I get this call, and he says,���C�u@��3�P�����"Michael Jackson," and I really thought...�� 𠼡��"Michael Jackson," and I really thought...�� 𠵡�� �"Little Michael Jackson of The Jackson 5?"��&����� �"Little Michael Jackson of The Jackson 5?"��&C�uAW�3�Z�����I mean, I thought, "He's a kid," you know?��������I mean, I thought, "He's a kid," you know?���������And he told me he had a song, "Thriller,"��̠�����And he told me he had a song, "Thriller,"��̠����tand he wanted me to make a video.��Ҡ����tand he wanted me to make a video.���C�uA;�3⠠����And I said, "Why?"��������And I said, "Why?"���������His brother showed him on the bus��%������His brother showed him on the bus��%�ơ�� �the tape of American Werewolf, I think to scare him,�� ��ơ�� �the tape of American Werewolf, I think to scare him,�� �C�uA�3�:�����but he loved American Werewolf in London.��U�����but he loved American Werewolf in London.��U�¡��UAnd he was obviously fascinated with Rick Baker's work.���¡��UAnd he was obviously fascinated with Rick Baker's work.���C�u��4������[roaring]�� Ơ���� bAnd so he called me and said,�������� bAnd so he called me and said,���C�uA]�4'��¡��"I want to turn into a monster. Will you do it?"��Ҡ¡��"I want to turn into a monster. Will you do it?"��Ҡ�����And the record label wouldn't pay for it.�� 𠴡���And the record label wouldn't pay for it.�� 𠰡���And, uh... and we talked, and I said,���������And, uh... and we talked, and I said,���C�uAA�4AI�����"Michael, you know, you shouldn't pay for this.��������"Michael, you know, you shouldn't pay for this.���������You shouldn't pay for it yourself."�� n������You shouldn't pay for it yourself."�� n�����iAnd he said, "Branca, figure it out."��Ҡ����iAnd he said, "Branca, figure it out."���C�uA9�4[������Nobody wanted him to do this.��Ҡ����Nobody wanted him to do this.��Ҡ�����This was entirely his own thing.�� ������This was entirely his own thing.�� �á���And everybody else-- his people and the record company--��'�á���And everybody else-- his people and the record company--��'C�uA�4{��ǡ��said, "Next album. Let's... We've already... Michael, hello.��{�ǡ��said, "Next album. Let's... We've already... Michael, hello.��{�¡��{It's the most successful album of all time. We want..."�� ٠¡��{It's the most successful album of all time. We want..."�� �C�u@��4�𠵡��So they thought "Thriller" was outrageous.�� 8�����So they thought "Thriller" was outrageous.�� 8����� 8Its budget was $1.2 million dollars.�� s����� 8[George] Its budget was $1.2 million dollars.�� sC�uA�4���ơ��That's at a time when the average music video budget�� �ơ��That's at a time when the average music video budget�� ����� was only $50,000 dollars.������� was only $50,000 dollars.���ǡ��!So I went... I went back to the office and thought about it.�� ߠǡ��!So I went... I went back to the office and thought about it.�� �C�uA[�4˛�����And I thought up this idea of a making-of.�� �����And I thought up this idea of a making-of.�� ����� Went to MTV and Showtime,�������� Went to MTV and Showtime,����ơ���and-and Michael was the biggest thing on the planet.�� Ǡơ���and-and Michael was the biggest thing on the planet.�� �C�uAi�4�*�����And I said, "We'll give you��������And I said, "We'll give you���������a making of Michael's next video.��������a making of Michael's next video.������� �We need a million two."��7����� �We need a million two."��7������And they came back, and they said yes.�� g������And they came back, and they said yes.�� gC�uAF�5Y�����We're trying to bring back��7�����[Michael] We're trying to bring back��7�����7the motion picture shorts,��������7the motion picture shorts,�������� �which we will do with, uh... with "Thriller."�� 8����� �which we will do with, uh... with "Thriller."�� 8C�uA��5R�ơ��A lot of the videos-- I hate to use the word "video"��Ҡơ��A lot of the videos-- I hate to use the word "video"��Ҡǡ���'cause I like to think of it as a film, which it is--�� D�ǡ���'cause I like to think of it as a film, which it is--�� D�ʡāwe're doing a short film-- a lot of 'em are so terrible.����ʡĂwe're doing a short film-- a lot of 'em are so terrible.���C�uA�5; �¡��And I wanted "Thriller" and "Beat It" to be a stimulant�� C�¡��And I wanted "Thriller" and "Beat It" to be a stimulant�� C����� Cfor people to make better videos or short films.�� ������ Cfor people to make better videos or short films.�� �C�u@��5R������I really did, 'cause, I mean, I love MTV, watching it.�� ����I really did, 'cause, I mean, I love MTV, watching it.�� �����You know, I think it's great,���������You know, I think it's great,���C�uA;�5jK�����but a lot of stuff I see, I'm not so crazy about.�� >�����but a lot of stuff I see, I'm not so crazy about.�� >����� >He wanted to turn into a...��Ҡ���� >[Landis] He wanted to turn into a...��Ҡ����at first, a-a wolf man,��������at first, a-a wolf man,���C�u@��5������like the werewolf in American Werewolf.�������like the werewolf in American Werewolf.�������[growling]�� C�u@��5�7�����His desire was to turn into a monster��������His desire was to turn into a monster���������on camera.���������on camera.���C�u@��5�������We had the character turn into�� �����We had the character turn into�� ����� a four-legged hound from hell, a...�� \����� a four-legged hound from hell, a...�� \C�uA?�5� �����you know, a beast.��������you know, a beast.���������And Michael wanted to do that, and I told him,�� �������And Michael wanted to do that, and I told him,�� ������"Michael, it would be so difficult��y�����"Michael, it would be so difficult��yC�uAI�5�������for you to dance with four legs,��a�����for you to dance with four legs,��a�����ayou know, and for the puppeteers.�� 𠳡��ayou know, and for the puppeteers.�� 𠎡��QNo."��Š����QNo."��Š����So then it was gonna be��������So then it was gonna be���C�uA�5�W�����more of a traditional wolf man character.�� 𠻡��more of a traditional wolf man character.�� �ǡ�� �And Rick Baker did the first design, and it was great���ǡ�� �And Rick Baker did the first design, and it was great��C�u@��6c�����but truly terrifying.�� ������but truly terrifying.�� ������ �And I said, "Aah! Whatever we have him��x����� �And I said, "Aah! Whatever we have him��xC�u@��6(������turn into, he's got to be attractive."�� �����turn into, he's got to be attractive."�� ����� Scary but...�� D����� Scary but...�� DC�u@��6<������kind of cool and elegant, you know?�� ������kind of cool and elegant, you know?�� ��ġ�� �So his second design, he made him that "were-cat,"���ġ�� �So his second design, he made him that "were-cat,"��C�u@��6X������and it's a much more graceful design.�� b�����and it's a much more graceful design.�� b����� bAre you all right?��[����� bAre you all right?��[������- Go away!�� ������- Go away! - [screams]�� C�u@��6u}�����[roaring]��1�����1♪ "Thriller" by Michael Jackson ♪�� ������1♪ "Thriller" by Michael Jackson ♪�� ���������C�uA�6�L�����Michael Jackson was��%�����[Deborah Nadoolman Landis] Michael Jackson was��%�����%a very slight person.��������%a very slight person.�������� �99 pounds soaking wet.�� ������ �99 pounds soaking wet.�� �C�u@��6�������So, how do you develop a presence on screen?��������So, how do you develop a presence on screen?���������For "Thriller,"���������For "Thriller,"���C�uA;�6������you know, it was supposed to be��ؠ����you know, it was supposed to be��ؠ�����a satire of a teenage horror film,�� ������a satire of a teenage horror film,�� ������so he's in a letterman's jacket.���������so he's in a letterman's jacket.���C�uA �6А�����And then, with his red jacket for that theater,��z�����And then, with his red jacket for that theater,��z�����zI was trying to create a silhouette that was��Ӡ����zI was trying to create a silhouette that was���C�u@��6�ݠ����sexy, masculine, impressive,��@�����sexy, masculine, impressive,��@�����@and... and gave him weight on screen.��������@and... and gave him weight on screen.���C�uA�7������So, with Michael's fascination�� ꠾���[John Landis] So, with Michael's fascination�� �ˡŁ �with monsters, I said, "Well, you'll become two monsters.����ˡł �with monsters, I said, "Well, you'll become two monsters.���C�u@��75?�����You'll become a werewolf,"��������You'll become a werewolf,"����ȡ�and then when we decided on dancing zombies, a zombie.��u�ȡ‚�and then when we decided on dancing zombies, a zombie.��uC�uA5�7Kh�����Doesn't make sense, but who cares?��������Doesn't make sense, but who cares?���������You know, it's a fantasy.��y������You know, it's a fantasy.��y�¡��And he really enjoyed the process of the makeup,�� b�¡��And he really enjoyed the process of the makeup,�� bC�u@��7iߠ����and he really enjoyed wearing the makeup.�� ������and he really enjoyed wearing the makeup.�� ������ �Most actors hate it, and he loved it.�� h����� �Most actors hate it, and he loved it.�� hC�uA;�7������He's so dynamic, Mike,��Ҡ����He's so dynamic, Mike,��Ҡ�����and he has such power and such charm.��y������and he has such power and such charm.��y�����KAs I had seen it, just looking at, you know,��Ӡ����KAs I had seen it, just looking at, you know,���C�u@��7� �����"Can You Feel It" and everything I saw,�� ������"Can You Feel It" and everything I saw,�� ������ �it's like, "Why isn't he being sexual?"��Π���� �it's like, "Why isn't he being sexual?"���C�u@��7�������I mean, he's a rock star.�� �����I mean, he's a rock star.�� ����� So one of the first things for me was�� ������ So one of the first things for me was�� �C�u@��7�T�����I wanted a girl to make him sexy��Ƞ����I wanted a girl to make him sexy��Ƞ�����and to also...��U������and to also...��UC�u@��7�q�����to be gaga in love with him.��Π����to be gaga in love with him.��Π�����The big eyes, you know.�� �������The big eyes, you know.�� �C�u@��8۠����And I saw over a hundred actresses��������And I saw over a hundred actresses���������and dancers and all kinds of people.���������and dancers and all kinds of people.���C�uAG�8Ԡ����And when Ola came in,��1�����And when Ola came in,��1�����1one, she was desperate, desperate�� >�����1one, she was desperate, desperate�� >�á��oto be with Michael Jackson, and she was adorable.�� ��á��oto be with Michael Jackson, and she was adorable.�� �C�u@��88ɠ����Michael Jackson isn't Michael Jackson�� >�����[Ola Ray] Michael Jackson isn't Michael Jackson�� >����� >as a werewolf.��U����� >as a werewolf.��U������Michael Jackson is�� ������Michael Jackson is�� C�u@��8Uu�����another person totally with the mask.�� ������another person totally with the mask.�� ������ �And I like, you know, when he's so shy.�� h����� �And I like, you know, when he's so shy.�� hC�uA^�8l������I have something I want to tell you.�������I have something I want to tell you.�������The only time I really�������[John Landis] The only time I really���ɡÁ�explained something to him, I said, "You know, Michael,�� ��ɡÂ�explained something to him, I said, "You know, Michael,�� �C�u@��8���СʁI want you to know when you say, 'I'm not like other guys'..."��K�СʂI want you to know when you say, 'I'm not like other guys'..."��K�����KI'm not like other guys.��O�����KI'm not like other guys.��OC�u@��8�O�����"...it will get a laugh."��������"...it will get a laugh."����͡ǁ �And he was clueless. He said, "Why would this get a laugh?"�� ��͡ǂ �And he was clueless. He said, "Why would this get a laugh?"�� �C�uA�8�֠����I said, "Because you're not like other guys."��������I said, "Because you're not like other guys."����á���But at least he was prepared, 'cause it got a huge laugh�� ��á���But at least he was prepared, 'cause it got a huge laugh�� �C�uA�8� �����and, uh... and so he was in on it.�� ߠ����and, uh... and so he was in on it.�� ߠСʁ �You know, I think he would have been terribly upset otherwise.�� ��Сʂ �You know, I think he would have been terribly upset otherwise.�� �C�uA5�8�t�����From the beginning of the film,��������[Rich] From the beginning of the film,���������going to the theater,�� Ǡ�����going to the theater,�� Ǡ�����then you're walking out, and then Michael has��%������then you're walking out, and then Michael has��%C�uAi�8�V�����that cat-and-mouse sort of, uh,��������that cat-and-mouse sort of, uh,���������walk that he's doing with Ola Ray.��U������walk that he's doing with Ola Ray.��U�ȡ That's like an ode back to, uh, classic, uh, musicals, right?���ȡ‚ That's like an ode back to, uh, classic, uh, musicals, right?���C�uA��9V�����The cat-and-mouse chase.�� �����The cat-and-mouse chase.�� ����� Right? Th-Then, you know, the-the man��U����� Right? Th-Then, you know, the-the man��U����� bplaying up to the woman and all that.������� bplaying up to the woman and all that.�������dAnd it's a dolly shot.�������d[John Landis] And it's a dolly shot.��C�u@��90������And I said, "Mike, here's what we're gonna do.��P�����And I said, "Mike, here's what we're gonna do.��P�����PAs long as Ola could keep the beat,�� 9�����PAs long as Ola could keep the beat,�� 9C�uAc�9LJ�����you do those lyrics,��������you do those lyrics,����ˡŁ�you can never be more than this many feet away from her."�� ��ˡł�you can never be more than this many feet away from her."�� ������9The big difference between�� �ǡ��9[Deborah Nadoolman Landis] The big difference between�� C�u@��9h������a costume designer and a fashion designer is,�� ������a costume designer and a fashion designer is,�� ������ �for us, it's all about dramatic context.�� ������ �for us, it's all about dramatic context.�� �C�uAC�9�䠭���So, where are they gonna be?��������So, where are they gonna be?����á���They're gonna be in an alley and a movie theater.�� 8�á���They're gonna be in an alley and a movie theater.�� 8������And what are they doing?�� ������And what are they doing?�� C�u@��9�������They're on a date, and Michael is gonna�� 령���They're on a date, and Michael is gonna�� 렭��� �be playful and be seductive.�� ����� �be playful and be seductive.�� C�u@��9�������She's dressed in blue.�������She's dressed in blue.�������She's cool.��䠜���She's cool.��䠯��� �She's relaxed. She's in jeans.�� ������ �She's relaxed. She's in jeans.�� �C�u@��9������They did have a leopard print on them,�� h�����They did have a leopard print on them,�� h����� hbut, you know, tight jeans, little jacket.�� 8����� hbut, you know, tight jeans, little jacket.�� 8C�uA)�9߼�����She couldn't have been cuter.��������She couldn't have been cuter.���������I think, to the audience,��������I think, to the audience,�������with what she's wearing and her attitude,�� ꠻���with what she's wearing and her attitude,�� �C�u@��9�������she's sending off every good vibe.�� D�����she's sending off every good vibe.�� D����� DAnd I'll say, "Okay, well, that was fine.�� ������ DAnd I'll say, "Okay, well, that was fine.�� �C�u@��: ������I don't want fine.��נ����I don't want fine.��נ�����You're Michael Jackson,�� t������You're Michael Jackson,�� t�����Kso it has to be great.�� ������Kso it has to be great.�� �C�uA�:)`�����Because if you can't be great,��U�����Because if you can't be great,��U�����Uwhy the fuck do I have Michael Jackson here?"��y�����Uwhy the fuck do I have Michael Jackson here?"��y������So he goes, "Okay, John."�� �������So he goes, "Okay, John."�� �C�uA0�:CŠ����And he did the next take.��`�����And he did the next take.��`�����`He was great! You know?��O�����`He was great! [laughs] You know?��O�ơ�� �♪ For you and I to cuddle close together, yeah ♪���ơ�� �♪ For you and I to cuddle close together, yeah ♪��C�u@��:fx�����♪ All through the night ♪��������♪ All through the night ♪����š���♪ I'll save you from the terror on the screen ♪�� �š���♪ I'll save you from the terror on the screen ♪�� C�uA?�:{}�����♪ I'll make you see... ♪�������♪ I'll make you see... ♪�������Michael Peters and Michael Jackson�� m�¡��[John Landis] Michael Peters and Michael Jackson�� m�����tcame up with the choreography,��,�����tcame up with the choreography,��,C�uA-�:������and it's fascinating choreography��������and it's fascinating choreography���������because the dancers were allowed�� �������because the dancers were allowed�� ������9more rehearsal than usual.�� ������9more rehearsal than usual.�� �C�u@��:�砧���At that point already,��ؠ����At that point already,��ؠ�����Michael had established certain moves,�� ������Michael had established certain moves,�� C�u@��:�Ƞǡ��so my first instruction to Michael Peters was spooky,��o�ǡ��so my first instruction to Michael Peters was spooky,��o�����oand the second one was:�� �����oand the second one was:�� C�u@��:�V�����"I don't want any Michael move."��͠����"I don't want any Michael move."��͠�����♪ suspenseful orchestral music ♪�� ������♪ suspenseful orchestral music ♪�� C�u@��:�1�����♪ "Thriller" by Michael Jackson ♪�� s�����♪ "Thriller" by Michael Jackson ♪�� s����� s�� �C�uA?�;-㠦���And they go into this��������[Rich] And they go into this���������popping routine, right?��6������popping routine, right?��6�š�� �This goes back to the whole thing of where Michael Jackson�� �š�� �This goes back to the whole thing of where Michael Jackson�� �C�u@��;F������crosses the technique and the street world, right?�� �����crosses the technique and the street world, right?�� ����� �� �C�u@��;\R�ġ��And he was so inspired by popping and waving and all that��o�ġ��And he was so inspired by popping and waving and all that��o�����oso that he had to put them in the film.�� ������oso that he had to put them in the film.�� �C�uA�;yR�����How would a zombie dance?��&�����How would a zombie dance?��&�����&And then looking at it, and it was...��������&And then looking at it, and it was...��������it just made a lot of sense to me�������it just made a lot of sense to me��C�u@��;�o�ơ��that they weren't just locking or they just weren't popping����ơ��that they weren't just locking or they just weren't popping���������or they just weren't doing jazz dance.�� �������or they just weren't doing jazz dance.�� �C�u@��;�������The angles, the lines were all...��!�����The angles, the lines were all...��!�����!demented and crooked, and it...�� Ǡ����!demented and crooked, and it...�� �C�u@��;Œ�����I'd just never seen anything like that before.�� m�����I'd just never seen anything like that before.�� m����� m♪ 'Cause this is thriller ♪�� ����� m♪ 'Cause this is thriller ♪�� C�uA5�;������♪ Thriller night... ♪�������♪ Thriller night... ♪�������On those zombies,��~�����[Deborah Nadoolman Landis] On those zombies,��~����� �those costumes were just made of rags.��ؠ���� �those costumes were just made of rags.���C�u��;�q�����We call it aging, distressing and dying.��࠺���We call it aging, distressing and dying.���C�u@��<Q�����Then, of course, Rick Baker's work�� s�����Then, of course, Rick Baker's work�� s����� swas just masterful on everybody.�� ]����� swas just masterful on everybody.�� ]C�uAA�<!�����♪ Thriller night ♪��������♪ Thriller night ♪���������♪ 'Cause I can thrill you more ♪���������♪ 'Cause I can thrill you more ♪�������� \♪ Than any ghoul would ever dare try ♪��Ӡ���� \♪ Than any ghoul would ever dare try ♪���C�u@��He entertained us.��`������He entertained us.��`����� �He gave us R and B, he gave us horror,��Ҡ���� �He gave us R and B, he gave us horror,���C�uAV�<|��ǡ��he gave us sci-fi, but he gave it all to us in music.�� ߠǡ��he gave us sci-fi, but he gave it all to us in music.�� ߠ���� �He-he was just a-amazing.������� �He-he was just a-amazing.��������After the video came out,��Ҡ�����[John Landis] After the video came out,���C�u@��<�j�����it tripled its sales.��+�����it tripled its sales.��+�����+They sold six million of these.��U�����+They sold six million of these.��U������This made MTV a powerhouse��y������This made MTV a powerhouse��yC�uAC�<�c�����and then created this whole rock video business.�� ������and then created this whole rock video business.�� ������ �It was extraordinary.�������� �It was extraordinary.��������:And it's that moment when��U�ơ��:[Deborah Nadoolman Landis] And it's that moment when��UC�u@��<�򠳡��the audience falls madly in love,��������the audience falls madly in love,���������that the audience creates the icons.�� >������that the audience creates the icons.�� >C�uAi�<�Ҡ����He could write the songs.��ؠ����[Branca] He could write the songs.��ؠ�����He could produce them.��`������He could produce them.��`����� 8He could sing them.��ޠ���� 8He could sing them.��ޠ����He could perform like no other.��`�����He could perform like no other.��`C�uA/�<�H�����And he also was a fashion icon.��Ҡ����And he also was a fashion icon.��Ҡ�����I've seen little tiny kids in red jackets.�� Ơ�����I've seen little tiny kids in red jackets.�� Ơ�����I've seen old grandpas in red jackets.�� t������I've seen old grandpas in red jackets.�� tC�uA �=T�����I've seen girls in red jackets.��Z�����I've seen girls in red jackets.��Z�����ZI've seen everybody wearing that jacket.�� ������ZI've seen everybody wearing that jacket.�� �������It was huge worldwide.��������It was huge worldwide.��C�uA��='G�ơ��They were buying the leather jackets that Michael...�� m�ơ��They were buying the leather jackets that Michael...�� m����� mThey were buying everything.�������� mThey were buying everything.����ơ���They were buying Michael Jackson posters, calendars.�� �ơ���They were buying Michael Jackson posters, calendars.�� C�uA+�=AX�š��♪ Looks so much like Michael from head to toe ♪�� ��š��♪ Looks so much like Michael from head to toe ♪�� ��ʡā �♪ Put the mic in his hand and he'll steal the show ♪�� ƠʡĂ �♪ Put the mic in his hand and he'll steal the show ♪�� �C�uA�=Uߠ����I love you, Michael Jackson.�������[all] I love you, Michael Jackson.�������Michael Jackson!��ؠ����[crowd chanting] Michael Jackson!��ؠ����WAnything with Michael Jackson on it��x�����W[woman] Anything with Michael Jackson on it��xC�uAG�=l������does continue to sell.��a�����does continue to sell.��a�����aI work in a record store, and it still�������a[man] I work in a record store, and it still������� bjust flies out of the store every week.��Ҡ���� bjust flies out of the store every week.���C�uAa�=�⠱���And we're talking about a record��������And we're talking about a record���������that's a year and a half, almost two years old,�� n������that's a year and a half, almost two years old,�� n������and people are still freaking out about it.��O������and people are still freaking out about it.��OC�uAd�=�)�����There have always been fan clubs,�������[reporter] There have always been fan clubs,�������Michael's fans more passionate than most.��[�����Michael's fans more passionate than most.��[����� \This club calls itself the P.Y.T.'s.�� ������ \This club calls itself the P.Y.T.'s.�� �C�u@��=�:�����We love you! We love you, Michael!�� �����We love you! We love you, Michael!�� ����� And if nothing else, "Thriller" was always��%����� And if nothing else, "Thriller" was always��%C�uA��=�n�����gonna be played in the month of October.��������gonna be played in the month of October.���������Like, there's this big thing in Mexico that happens�� 𠾡���Like, there's this big thing in Mexico that happens�� �ʡā�where, I'll tell you, the-the... every... people fly in for it.�� ��ʡĂ�where, I'll tell you, the-the... every... people fly in for it.�� �C�u@��=挠����They're all in their costumes, and they do�� ������They're all in their costumes, and they do�� ������ �the "Thriller" dance, thousands of people.�� ������ �the "Thriller" dance, thousands of people.�� �C�uA-�=�������And people are still, you-you know,��������And people are still, you-you know,���������dancing to this song like it's...��+������dancing to this song like it's...��+�����'like it was just done, like the...�������'like it was just done, like the...��C�uA�>㠷���like the short film just came out yesterday.��������like the short film just came out yesterday.���������"Thriller," a long time coming.�� �������"Thriller," a long time coming.�� �������Michael Jackson's "Thriller."��������Michael Jackson's "Thriller."��C�uA%�>*������Probably the single biggest video�� J�����[George] Probably the single biggest video�� J����� Jfor MTV ever.�������� Jfor MTV ever.���������After their initial reluctance,���������[Ivory] After their initial reluctance,���C�u@��>Av�����MTV became a huge supporter of Michael Jackson,�������MTV became a huge supporter of Michael Jackson,�������especially the "Thriller" short film.�� �����especially the "Thriller" short film.�� C�u@��>_������They heavily promoted the premiere.�� 𠵡��They heavily promoted the premiere.�� 𠼡�� �At some point, it felt like the "M" in MTV�������� �At some point, it felt like the "M" in MTV���C�u@��>x������stood for "Michael."�� D�����stood for "Michael."�� D�ɡÁ'And everybody was talking about how they were gonna cut school�� �ɡÂ'And everybody was talking about how they were gonna cut school�� �C�u@��>�������to go home to watch the "Thriller" video��%�����to go home to watch the "Thriller" video��%�����%because it was a twelve o'clock world premiere on MTV.�������%because it was a twelve o'clock world premiere on MTV.���C�uAO�>�������And he was acting, he was eating popcorn,�� I�����And he was acting, he was eating popcorn,�� I����� Iand then he turned into a monster.�������� Iand then he turned into a monster.���������There's something about music, I think, that has...�� J������There's something about music, I think, that has...�� JC�u@��>�堾���that triggers so many different emotions in people,�� 2�����that triggers so many different emotions in people,�� 2����� 2so you're tapping into all of that�� D����� 2so you're tapping into all of that�� DC�u@��>�[�����to a larger and larger and larger audience,�� 䠶���to a larger and larger and larger audience,�� 䠩��� �and it just exponentially grew.�� ����� �and it just exponentially grew.�� C�uA?�>�U�����So, the spring of '84,�� m�����[George] So, the spring of '84,�� m����� mthe record's already out,�������� mthe record's already out,��������!it's already selling because Michael's now gone�� ������!it's already selling because Michael's now gone�� �C�uAq�? �����from being a pop star to a phenomenon.��������from being a pop star to a phenomenon.����¡���The Guinness Book of World Records is giving him��y�¡���The Guinness Book of World Records is giving him��y�����oan award as the biggest-selling album of all time.��y�����oan award as the biggest-selling album of all time.��yC�uAW�?0������It's a thriller of a party tonight��������It's a thriller of a party tonight���������for Michael Jackson at the Museum of Natural History.��������for Michael Jackson at the Museum of Natural History.�������That's where Jackson's being honored��������That's where Jackson's being honored���C�uA��?F󠾡��for his album that's broken all the records.��������for his album that's broken all the records.���������This was the payoff for the fans tonight,����ȡ‚�[reporter 2] This was the payoff for the fans tonight,����š���that momentary glimpse of superstar Michael Jackson�� �š���that momentary glimpse of superstar Michael Jackson�� �C�uA �?cʠ����with his date for the evening, Brooke Shields.�� ������with his date for the evening, Brooke Shields.�� ������ �Thriller, with 25 million copies sold,�� ��ġ�� �[Yetnikoff] Thriller, with 25 million copies sold,�� �C�u@��?z�����was the best-selling album ever.��~�����was the best-selling album ever.��~�š�� sToday, we surpassed 25 million copies for Thriller.���š�� sToday, we surpassed 25 million copies for Thriller.��C�u@��?�������Michael Jackson, the number one artist in the world!��������Michael Jackson, the number one artist in the world!���������- Thriller eclipsed them all.��%�¡���- [crowd cheering] - Thriller eclipsed them all.��%C�uAP�?�n�����At one point, the damn thing was selling��������At one point, the damn thing was selling���������a million copies a week.��<������a million copies a week.��<����� 2Michael had become a global obsession.�� 3����� 2[George] Michael had become a global obsession.�� 3C�uA�?�Ӡ����And just think, you all came to see me.�� C�����And just think, you all came to see me.�� C����� C[sparse laughter]���������No, I know why you're here, and with good reason.��{������No, I know why you're here, and with good reason.��{C�u@��?������To see one of the most talented, most popular��̠����To see one of the most talented, most popular��̠�����and most exciting superstars in the music world today,���������and most exciting superstars in the music world today,���C�uA�?�������Michael Jackson.��%�����Michael Jackson.��%�����%Michael, welcome to the White House.��������%Michael, welcome to the White House.��������!But being with Michael�������![John Landis] But being with Michael��C�u@��@������at that moment in time,��7�����at that moment in time,��7�����7this is... "Thriller" is now out on television.��K�����7this is... "Thriller" is now out on television.��KC�uA�@+5�����And there was Michael mania, you know.�� ߠ����And there was Michael mania, you know.�� ߠ���� �He called me, and he said,��`����� �He called me, and he said,��`�����?"Have you ever been to Disney World?"��1�����?"Have you ever been to Disney World?"��1C�u@��@C��ơ��So the park was open, and there were people walking around.�� �ơ��So the park was open, and there were people walking around.�� ꠰��� �Here's Michael, here's Mickey and me.�� ������ �Here's Michael, here's Mickey and me.�� �C�u@��@Y'�����Suddenly, we look around,�� ����Suddenly, we look around,�� �����and there are people�� ꠞ����and there are people�� �C�u@��@uӠ����as far as you can see in every direction--��栵���as far as you can see in every direction--��栱����behind us, in front of us, around us--��W������behind us, in front of us, around us--��WC�u@��@������and they're getting more and more hysterical.�� b�����and they're getting more and more hysterical.�� b����� b"Michael! Michael!"��%����� b"Michael! Michael!"��%C�u@��@�������And you see Mickey Mouse is going like...��������And you see Mickey Mouse is going like...���������"Holy shit!��g������"Holy shit!��gC�u@��@�������We're never getting out of this alive!" You know?�� =�����We're never getting out of this alive!" You know?�� =C�uA��@�p�����You know, Thriller was��ޠ����[Branca] You know, Thriller was��ޠϡɁ�the biggest album in the world, Michael was the biggest star,�� �ϡɂ�the biggest album in the world, Michael was the biggest star,�� 𠼡���and he wanted to go out and tour Thriller.�� 8������and he wanted to go out and tour Thriller.�� 8C�u@��@�v�����But Joseph-- you know, uh, Mr. Jackson--�� \�����But Joseph-- you know, uh, Mr. Jackson--�� \����� \had other ideas.��O����� \had other ideas.��OC�uAW�A ��¡��He wanted to bring all the family back together.�� b�¡��He wanted to bring all the family back together.�� b����� bHe brought in Don King��6����� bHe brought in Don King��6������as the recommended promoter of the tour.��1������as the recommended promoter of the tour.��1C�u@��A"\�ơ��And he got the brothers and Mrs. Jackson, Katherine.�� �ơ��And he got the brothers and Mrs. Jackson, Katherine.�� ����� Everybody was all for it.�� m����� Everybody was all for it.�� mC�uA�AMichael was hesitant, to be honest.�� ������Michael was hesitant, to be honest.�� ��ơ�� �He felt like he had done Thriller on his own,�� ��ơ�� �He felt like he had done Thriller on his own,�� �C�u@��ARl�����and he wanted to tour as a solo artist.�� ������and he wanted to tour as a solo artist.�� ������ �But he was persuaded to go along with it.�� 䠴��� �But he was persuaded to go along with it.�� �C�u@��Aqޠ����This tour is a bonanza of marketing,��'�����[Ivory] This tour is a bonanza of marketing,��'�����'so everybody wants to get in on this.�� �����'so everybody wants to get in on this.�� C�uA �A�%�¡��And Quaker Oats, you know, they had made a deal.����¡��And Quaker Oats, you know, they had made a deal.���������They had a tentative deal with the Jacksons�� Ơ�����They had a tentative deal with the Jacksons�� �C�u@��A�蠳���to be the sponsors of this thing.�� J�����to be the sponsors of this thing.�� J�š�� JAnd then Don King says, "Listen, I've already made a deal.��t�š�� JAnd then Don King says, "Listen, I've already made a deal.��tC�u@��A�������I made it with Pepsi."��������I made it with Pepsi."���������♪ "Billie Jean" by Michael Jackson ♪�� ٠ʡĂ�♪ "Billie Jean" (Pepsi Version) by Michael Jackson ♪�� ٠����c�� bC�uA~�A裠����Michael was not into the sponsorship��&�����[Branca] Michael was not into the sponsorship��&�����&'cause he-he said, "This isn't my thing.��~�����&'cause he-he said, "This isn't my thing.��~�¡���I don't drink Pepsi. This is all for my family."����¡���I don't drink Pepsi. This is all for my family."���C�uAW�B령���And Michael did not want to do the Pepsi deal.��͠����And Michael did not want to do the Pepsi deal.��͠�����♪ You're a whole new generation ♪�� Ơ�����♪ You're a whole new generation ♪�� Ơ�����♪ You're loving what they do ♪��ؠ�����♪ You're loving what they do ♪���C�uAk�B!V�����♪ Put a Pepsi into motion ♪��̠����♪ Put a Pepsi into motion ♪��̠š���♪ And that choice is up to you, hey, hey, hey ♪��y�š���♪ And that choice is up to you, hey, hey, hey ♪��y�����E♪ You're the Pepsi Generation... ♪��y�����E♪ You're the Pepsi Generation... ♪��yC�uA�B;�ġ��'Cause he said to me, "Okay, Branca, listen to me.�� 8�͡ǂ[Branca] 'Cause he said to me, "Okay, Branca, listen to me.�� 8����� 8I got to do this 'cause my family wants it,�� ������ 8I got to do this 'cause my family wants it,�� �C�uAe�BP�á��but you have to write two things in the contract.����á��but you have to write two things in the contract.���������Number one: I'm never holding a Pepsi can.�� ������Number one: I'm never holding a Pepsi can.�� ������And number two: I can't be��a������And number two: I can't be��aC�uAq�Bi�����on the screen for more than three seconds."��x�����on the screen for more than three seconds."��x�����xSo it's in the Pepsi contract,��U�����xSo it's in the Pepsi contract,��U�ġ���no more than three seconds and never holding a Pepsi can.�� 8�ġ���no more than three seconds and never holding a Pepsi can.�� 8C�uA��B� �����So if you ever watch that commercial again,��������So if you ever watch that commercial again,���������you'll-you'll see.���������you'll-you'll see.�������� \It's interesting because�������� \[Ivory] It's interesting because��������if Don King had not made the deal with Pepsi,��Ԡ����if Don King had not made the deal with Pepsi,���C�uAK�B����Michael's hair wouldn't have gotten burned.�������Michael's hair wouldn't have gotten burned.�������I was actually at the Pepsi commercial,�� �����I was actually at the Pepsi commercial,�� �����and I had an all-access pass.�� ������and I had an all-access pass.�� �C�uA�B�Šá��When I arrived at the Shrine Auditorium Downtown,�� 8�á��When I arrived at the Shrine Auditorium Downtown,�� 8����� 8Michael and the Jacksons were onstage�� ����� 8Michael and the Jacksons were onstage�� C�u@��B������performing "Billie Jean."�� ������performing "Billie Jean."�� ������ �[cheering]��������KThe audience had been invited,�� �����KThe audience had been invited,�� C�uA�B�u�����you know, and they were told to scream��̠����you know, and they were told to scream��̠�����and the whole thing.��頞����and the whole thing.��頸��� �They didn't have to be instructed to do that.��%����� �They didn't have to be instructed to do that.��%C�uAa�CO�����They were crazy about, you know,��1�����They were crazy about, you know,��1�����1seeing the Jacksons and Michael there and...�� �����1seeing the Jacksons and Michael there and...�� �ǡ��QThey did a run-through, and after they came offstage,���ǡ��QThey did a run-through, and after they came offstage,���C�uAK�C&������Michael was just in a great mood��U�����Michael was just in a great mood��U�����Uand he was having fun, fooling around.�� ������Uand he was having fun, fooling around.�� �������And then they called them back out��������And then they called them back out��C�u@��C@h�����and said, "We're gonna do this again."�� �����and said, "We're gonna do this again."�� ����� And it went horribly wrong.�� m����� And it went horribly wrong.�� mC�u@��CT�á��Filming the Pepsi commercial, there was a big explosion.�� 3�á��Filming the Pepsi commercial, there was a big explosion.�� 3����� 3♪ You're the Pepsi Generation ♪��E����� 3♪ You're the Pepsi Generation ♪��EC�uA�Csg�����♪ Guzzle down... ♪��ݠ����♪ Guzzle down... ♪��ݠ�����And it burned Michael's scalp���������[Branca] And it burned Michael's scalp�������� �very severely.��+����� �very severely.��+C�u@��C�k�����The audience didn't know what was going on.�� >�š��[Ivory] The audience didn't know what was going on.�� >����� >And when they took Michael offstage,��y����� >And when they took Michael offstage,��yC�uA�C�"�����I went backstage,��������I went backstage,���������and it was just absolute chaos.�� 䠩����and it was just absolute chaos.�� 䠮����They put him in a stretcher--�� �������They put him in a stretcher--�� �C�u@��C�Q�����you know, an ambulance stretcher--��ؠ����you know, an ambulance stretcher--��ؠ¡���and they took him offstage to a paramedic truck.����¡���and they took him offstage to a paramedic truck.���C�u@��CӰ�����And Michael Jackson was smart enough...��젹���And Michael Jackson was smart enough...��젧����- ...to be covered up,�� 령����- [camera snaps] - ...to be covered up,�� �C�u@��C�������but he had his glove out.��x�����but he had his glove out.��x�ġ��xThat was the photograph that went around the world�� ڠġ��xThat was the photograph that went around the world�� �C�u@��D٠����of him with the glitter glove.�� ������of him with the glitter glove.�� ������ �People were crying, you know, in the audience.�� ڠ���� �People were crying, you know, in the audience.�� �C�uA�D"8�����And people were running with the ambulance��������And people were running with the ambulance���������as it was taking him away.���������as it was taking him away.��������VIt was just an incredible thing.�� s�����VIt was just an incredible thing.�� sC�uA��D:�����When I got home, it was all over the news.��&�����When I got home, it was all over the news.��&�����&Jackson was rushed to a hospital last night��%�ȡ‚&[reporter] Jackson was rushed to a hospital last night��%�����Kafter suffering second- and third-degree burns.��%�����Kafter suffering second- and third-degree burns.��%C�uA)�DRq�����But his doctor said��[�����[reporter 2] But his doctor said��[�����[the famous patient was doing well.��������[the famous patient was doing well.�������� He slept several hours last night.�������� He slept several hours last night.���C�uA�Df{�����He was up watching TV at approximately one o'clock.�� ������He was up watching TV at approximately one o'clock.�� ��á�� �He's comfortable this morning, although he is continuing�� J�á�� �He's comfortable this morning, although he is continuing�� JC�uAS�D{������to have discomfort in the scalp area.��~�����to have discomfort in the scalp area.��~�����~People don't realize��ޠ����~[Branca] People don't realize��ޠǡ�� \he had to go to emergency treatment in a burn center,�� ��ǡ�� \he had to go to emergency treatment in a burn center,�� �C�uAk�D�������and he was troubled by the pain from that burn�� Ǡ����and he was troubled by the pain from that burn�� Ǡ���� �for the rest of his life,�������� �for the rest of his life,����á��zwhich led to pain pills and whatnot to-to ease the pain.����á��zwhich led to pain pills and whatnot to-to ease the pain.���C�u@��D�࠯���Because he needed painkillers,��P�����[Ivory] Because he needed painkillers,��P�����Phe was in pain, life couldn't stop.�� �����Phe was in pain, life couldn't stop.�� C�uA�D�>�����He had a book full of things that he had to do.�� ������He had a book full of things that he had to do.�� ������ �You know, a schedule that just could not stop.�������� �You know, a schedule that just could not stop.���C�u@��D�J�����The opening of the Victory Tour��f�����The opening of the Victory Tour��f�����fin Kansas City was a massive event.��1�����fin Kansas City was a massive event.��1����� �[dramatic, atmospheric music playing]�� �C�u��D�ˠ������ ꠚ��� �[crowd cheering]�� C�u@��E=�����It's at Arrowhead Stadium.��㠫���It's at Arrowhead Stadium.��㠨����It's a giant football stadium.��̠�����It's a giant football stadium.��̠����aucous cheering]�� �C�uA3�EX�����- I love you, Michael. - I love you, Michael.�������- I love you, Michael. - I love you, Michael.�������I love you so much.��������I love you so much.�������� This is gonna be the best concert of the century.�� ����� This is gonna be the best concert of the century.�� C�uAW�Eo<�����- Don't you think? - Definitely.��������- Don't you think? - Definitely.���������I have to ask Michael Jackson to marry me today.�� Ơ�����I have to ask Michael Jackson to marry me today.�� Ơ����PWe would do about anything to see Michael Jackson.�� ������PWe would do about anything to see Michael Jackson.�� �C�u��E�#�����[dramatic music continues]�� ����� ��~C�u��E�������[cheering continues]�� �C�uA��E�e�����You're looking at a sneak preview�������[reporter] You're looking at a sneak preview�������of what is perhaps the most controversial��%�����of what is perhaps the most controversial��%�ˡŁ�rock concert tour in history, the Jacksons' Victory Tour,����ˡł�rock concert tour in history, the Jacksons' Victory Tour,���C�u@��E碠����opening tonight in Kansas City.��y�����opening tonight in Kansas City.��y�ˡły[Michael Jackson's "Wanna Be Startin' Somethin'" playing]��VC�u��E�q������� �C�uA��Fe?�����♪ I said you wanna be startin' somethin' ♪��O�����♪ I said you wanna be startin' somethin' ♪��O�����O♪ You got to be startin' somethin' ♪�� �����O♪ You got to be startin' somethin' ♪�� �����o♪ I said you wanna be startin' somethin' ♪��+�����o♪ I said you wanna be startin' somethin' ♪��+C�uAi�F}٠����♪ You got to be startin' somethin' ♪�������♪ You got to be startin' somethin' ♪���š��- ♪ Too high to get over ♪ - ♪ Yeah, yeah ♪��+�š��- ♪ Too high to get over ♪ - ♪ Yeah, yeah ♪��+�����-♪ Too low to get under ♪��ݠ����-♪ Too low to get under ♪���C�uA��F��ɡÁ♪ Yeah, yeah ♪ - ♪ You're stuck in the middle ♪��U�ɡÂ♪ Yeah, yeah ♪ - ♪ You're stuck in the middle ♪��U�ȡU- ♪ Yeah, yeah ♪ - ♪ And the pain is thunder ♪��Ҡȡ‚U- ♪ Yeah, yeah ♪ - ♪ And the pain is thunder ♪��Ҡš��'- ♪ Too high to get over ♪ - ♪ Yeah, yeah ♪�� s�š��'- ♪ Too high to get over ♪ - ♪ Yeah, yeah ♪�� sC�uA��F�}�����♪ Too low to get under ♪��ޠ����♪ Too low to get under ♪��ޠɡÁ�♪ Yeah, yeah ♪ - ♪ You're stuck in the middle ♪��U�ɡÂ�♪ Yeah, yeah ♪ - ♪ You're stuck in the middle ♪��U�ȡ 3- ♪ Yeah, yeah ♪ - ♪ And the pain is thunder ♪��x�ȡ‚ 3- ♪ Yeah, yeah ♪ - ♪ And the pain is thunder ♪��xC�uAe�F�(�����♪ I took my baby to the doctor ♪��1�����♪ I took my baby to the doctor ♪��1�����1♪ With a fever, but nothin' he found ♪��������1♪ With a fever, but nothin' he found ♪���������♪ By the time this hit the street ♪��~������♪ By the time this hit the street ♪��~C�uA?�F�z�����♪ They said she had a breakdown ♪��,�����♪ They said she had a breakdown ♪��,�����,♪ Someone's always tryin' ♪��������,♪ Someone's always tryin' ♪���������♪ To start my baby cryin' ♪��1������♪ To start my baby cryin' ♪��1C�uA��F������♪ Talkin', squealin', lyin' ♪��U�����♪ Talkin', squealin', lyin' ♪��U�ǡ��U♪ Sayin' you just want to be startin' somethin' ♪����ǡ��U♪ Sayin' you just want to be startin' somethin' ♪��������P♪ I said you wanna be startin' somethin' ♪��������P♪ I said you wanna be startin' somethin' ♪���C�uA��Gr�����♪ You got to be startin' somethin' ♪��+�����♪ You got to be startin' somethin' ♪��+�����+ ♪ I said you wanna be startin' somethin' ♪��U�ɡÂ+[fading] ♪ I said you wanna be startin' somethin' ♪��U�ơ���♪ tense synthesizer tones fading into drumbeat ♪�� h�ơ���♪ tense synthesizer tones fading into drumbeat ♪�� hC�uA��GZ�ʡā♪ "P.Y.T. (Pretty Young Thing)" by Michael Jackson ♪�� ��ʡĂ♪ "P.Y.T. (Pretty Young Thing)" by Michael Jackson ♪�� ������ �♪ Where did you come from, lady? ♪�������� �♪ Where did you come from, lady? ♪��������cThe Victory Tour sold out in Kansas City.��%�ơ��c[reporter] The Victory Tour sold out in Kansas City.��%C�u@��G8⠸���Then it was on to Dallas, Jacksonville,�� 렸���Then it was on to Dallas, Jacksonville,�� 렵��� �New Jersey, New York and Knoxville.�� ������ �New Jersey, New York and Knoxville.�� �C�uAW�GO������It's currently scheduled in some 13 cities��������It's currently scheduled in some 13 cities���������with more sites yet to be announced.��~������with more sites yet to be announced.��~�����tPreparations are well underway tonight��������tPreparations are well underway tonight���C�uAb�Gg������for the Jacksons' Victory Tour concert.��T�����for the Jacksons' Victory Tour concert.��T�����TThe Jacksons' massive stage was beginning����ȡ‚T[reporter 2] The Jacksons' massive stage was beginning��������Pto take shape as early as Thursday.��Ҡ����Pto take shape as early as Thursday.���C�uAy�G~Ǡ����There's not too many places�������[reporter 1] There's not too many places�������that you can stick a monstrous stage like this.��U�����that you can stick a monstrous stage like this.��U����� \Most of the performances, more than 50 in all,�� s����� \Most of the performances, more than 50 in all,�� sC�uAW�G�������will be in stadiums like the Silverdome.�� ������will be in stadiums like the Silverdome.�� ������ �♪ Pretty young thing ♪�������� �♪ Pretty young thing ♪��������i- ♪ You need some loving ♪ - ♪ TLC ♪�� ������i- ♪ You need some loving ♪ - ♪ TLC ♪�� �C�u@��G�������♪ Tender lovin' care ♪��ؠ����♪ Tender lovin' care ♪��ؠ�����♪ And I'll take you there, girl ♪�� ߠ�����♪ And I'll take you there, girl ♪�� �C�uAO�G�M�����♪ Ooh-ooh, I want to love you... ♪�� 렸���♪ Ooh-ooh, I want to love you... ♪�� 렮��� �The shows of the Victory Tour��+����� �[George] The shows of the Victory Tour��+�����were much more mainstream America,��Z�����were much more mainstream America,��ZC�uA �G޽�ȡand that was a testament to how big Michael had become��Q�ȡ‚and that was a testament to how big Michael had become��Q�����Qand to the penetration of the album.�� ������Qand to the penetration of the album.�� �C�u@��G�������♪ Ow! ♪��������♪ Ow! ♪���������[Michael Jackson's "Beat It" playing]�������� �The irony of Thriller is that��1����� �[George] The irony of Thriller is that��1C�uA7�Hz�����there was never a tour solely dedicated��`�����there was never a tour solely dedicated��`�����`to the biggest LP of all time.��&�����`to the biggest LP of all time.��&����� �The Victory Tour was a mix�������� �The Victory Tour was a mix���C�uA��H"��ɡÁof vintage Jackson family music and hits from Thriller.�� ��ɡÂof vintage Jackson family music and hits from Thriller.�� ������ �But it was the Thriller material�������� �But it was the Thriller material��������cthat turned the crowd out every night.�� 𠸡��cthat turned the crowd out every night.�� �C�u@��H?נ����[crowd cheering]��,�����,[Michael Jackson's "Billie Jean" playing]���������♪ Hee! Hoo! ♪���������♪ Hee! Hoo! ♪���C�u��HW�������� �C�u@��H{������♪ She says I am the one ♪�� �����♪ She says I am the one ♪�� ����� ♪ But the kid is not my son ♪�� 堲��� ♪ But the kid is not my son ♪�� �C�u@��H�������♪ No, no, no ♪�� ߠ����♪ No, no, no ♪�� ߠ�����♪ Billie Jean is not my lover ♪�� b������♪ Billie Jean is not my lover ♪�� bC�uA�H�ܠȡ♪ She's just a girl who claims that I am the one ♪��?�ȡ‚♪ She's just a girl who claims that I am the one ♪��?�����?♪ But the kid is not my son ♪��-�����?♪ But the kid is not my son ♪��-C�u��HѨ�����♪ She says I am the one ♪��&�����♪ She says I am the one ♪��&�����&�� �C�uA{�I ������♪ Whoo! ♪��<�����♪ Whoo! ♪��<�����<♪ You know you ain't ♪��������<♪ You know you ain't ♪�������� 8♪ Not my lover ♪��Z����� 8♪ Not my lover ♪��Z�š���- ♪ You know you can't ♪ - ♪ Not my lover ♪���š���- ♪ You know you can't ♪ - ♪ Not my lover ♪��C�uA�I,>�����♪ Because you are ♪�������♪ Because you are ♪�������♪ Not my lover ♪��1�����♪ Not my lover ♪��1����� �♪ 'Cause you're a silly girl ♪��̠���� �♪ 'Cause you're a silly girl ♪���C�u@��IB������♪ Not my lover ♪��������♪ Not my lover ♪���������♪ Billie Jean is not my lover ♪��������♪ Billie Jean is not my lover ♪��C�u@��IWA�����♪ Billie Jean is not my lover ♪�� \�����♪ Billie Jean is not my lover ♪�� \����� \♪ Billie Jean is not my lover ♪�� ڠ���� \♪ Billie Jean is not my lover ♪�� �C�u@��Irw�����♪ Billie Jean is not my lover ♪��������♪ Billie Jean is not my lover ♪���������[steady drumbeat playing]��{C�u��I�������[crowd cheering]�� C�u@��I�Ԡ����♪ Billie Jean is not my lover ♪�� ߠ����♪ Billie Jean is not my lover ♪�� ߠ����o♪ Billie Jean is not my lover ♪�������o♪ Billie Jean is not my lover ♪��C�u@��I�F�����Michael has been nominated for 12...�� 8�����Michael has been nominated for 12...�� 8����� 8- 12 1983 Grammy Awards.��'����� 8- 12 1983 Grammy Awards. - [applause]��'C�u@��I�������The highest number in history.�������The highest number in history.���͡ǁ♪ "Don't Stop 'Til You Get Enough" by Michael Jackson ♪�� ��͡ǂ♪ "Don't Stop 'Til You Get Enough" by Michael Jackson ♪�� �C�u@��J,�����So we went to the 1984 Grammys�� 3�����[Shields] So we went to the 1984 Grammys�� 3����� 3at the Shrine Auditorium.�� g����� 3at the Shrine Auditorium.�� gC�uA�J(Ơ����I didn't get the feeling he was nervous.��&�����I didn't get the feeling he was nervous.��&�����&I actually got the feeling that��������&I actually got the feeling that�������� �he was excited.��,����� �he was excited.��,C�u@��JA������And I don't think I had any idea�� 2�����And I don't think I had any idea�� 2����� 2even the magnitude of it.�������� 2even the magnitude of it.���C�uAw�JUj�����♪ Keep on with the force, don't stop ♪�� s�����♪ Keep on with the force, don't stop ♪�� s�ġ�� s♪ Don't stop till you get enough, keep on... ♪�� Ǡġ�� s♪ Don't stop till you get enough, keep on... ♪�� Ǡ����:Michael Jackson was nominated��%�����:[George] Michael Jackson was nominated��%C�u@��Jpɠ����for 12 Grammys overall,��[�����for 12 Grammys overall,��[�š��[including Album of the Year and Record of the Year.����š��[including Album of the Year and Record of the Year.���C�u@��J�Π����♪ And I feel on fire ♪�� \�����♪ And I feel on fire ♪�� \�����n♪ Ain't nothin'... ♪�� �����n♪ Ain't nothin'... ♪�� C�uA8�J�Q�����The Record of the Year is...�� s�á��[Melissa Manchester] The Record of the Year is...�� s����� s"Beat It," Michael Jackson.�� ����� s"Beat It," Michael Jackson.�� ������For Album of the Year...���������[Mike Love] For Album of the Year...���C�u@��J������The winner is...��������[Brian Wilson] The winner is...���������- Thriller!��y������- [laughing, exclaiming] - Thriller!��y�����,[cheering and applause]�� C�uA�J�������♪ Sensation ♪��������♪ Sensation ♪���������♪ Oh, sensation ♪��������♪ Oh, sensation ♪�������♪ Lovely where we're at... ♪��1�����♪ Lovely where we're at... ♪��1C�u@��J�*�����Best Pop Vocal Performance, Michael Jackson.��������Best Pop Vocal Performance, Male: Michael Jackson.���������[cheering and applause]�� 9C�uA5�KZ�����I made a deal with myself, if I win more...�������I made a deal with myself, if I win more...�������one more award, which is this award,��Ҡ����one more award, which is this award,��Ҡ�����which is seven, which is a record,��Ҡ�����which is seven, which is a record,���C�u@��K������I would take off my glasses.�� ������I would take off my glasses.�� ������ �[cheering]��������?♪ Ooh, keep on with the force, don't stop ♪�� h�����?♪ Ooh, keep on with the force, don't stop ♪�� hC�uAi�K:������♪ Don't stop till you get enough ♪�� s�����♪ Don't stop till you get enough ♪�� s����� s♪ Keep on with the force, don't stop ♪�� s����� s♪ Keep on with the force, don't stop ♪�� s������♪ Don't stop till you get enough ♪���������♪ Don't stop till you get enough ♪���C�uA,�KT:�����♪ Keep on with the force, don't stop... ♪��&�����♪ Keep on with the force, don't stop... ♪��&�����&He deserved it.��Z�����&[Shields] He deserved it.��Z������You know, it was... it was due.�� D������You know, it was... it was due.�� DC�u@��Kl������♪ Don't stop till you get enough ♪�� ������♪ Don't stop till you get enough ♪�� ������ ��� =C�uA�K������In February 1984,��������[Yetnikoff] In February 1984,����ҡ́�between Michael and Quincy, Thriller won a dozen Grammys.��-�ҡ̂�between Michael and Quincy, Thriller won a dozen Grammys.��-C�uA�K�`�����Well, as we know, Thriller is��ؠ����[Michael] Well, as we know, Thriller is��ؠ�����a huge, huge success-- the album--���������a huge, huge success-- the album--���������but, uh...���������but, uh...���C�uA5�K�֠����the joy of doing something phenomenal��ؠ����the joy of doing something phenomenal��ؠ�����'cause everybody waiting to see the next big,�� ꠸����'cause everybody waiting to see the next big,�� ꠪����you know, Michael Jackson short.��������you know, Michael Jackson short.��C�uAM�K������And I thought "Thriller" was the perfect vehicle.��O�����And I thought "Thriller" was the perfect vehicle.��O�����O- We're gonna come out. - No.��6�����O- We're gonna come out. - No.��6����� �- No one's gonna like it. - No, no, no, no, no.��,����� �- No one's gonna like it. - No, no, no, no, no.��,C�u@��K�Ƞ����But 40 years from now, Michael--�������But 40 years from now, Michael--�������My part will be.��f�����My part will be.��f����� gI don't know about you.��O����� g[laughing] I don't know about you.��OC�u@��L ~�����All right, and stop.��[�����All right, and stop.��[�����[- Cut.�������[- [crew member] Cut. - [beep]������� \Who's your biggest inspiration?�������� \Who's your biggest inspiration?���C�u@��L!������Who inspired you the most?��������Who inspired you the most?���������Michael Jackson.��f������Michael Jackson.��f����� aMichael saw that he could��P����� a[Ronson] Michael saw that he could��PC�uAS�L64�����touch greatness with Off the Wall,��������touch greatness with Off the Wall,���������knew he was still going against racist radio�� �������knew he was still going against racist radio�� ������and people that wanted to put him in a box.�� >�����and people that wanted to put him in a box.�� >C�uA#�LS������But you have to be so in the rarefied air,��������But you have to be so in the rarefied air,����ϡɁ�...0001%, to even be able to, like, project yourself to that.��d�ϡɂ�...0001%, to even be able to, like, project yourself to that.��dC�u@��Lu蠣���That idea that I can take�� g�����That idea that I can take�� g����� gdance music and visuals�� >����� gdance music and visuals�� >C�u@��L�������and turn the world on its ear,��ؠ����and turn the world on its ear,��ؠСʁ�that idea that he crystallized in "Thriller"-- not going away,���Сʂ�that idea that he crystallized in "Thriller"-- not going away,���C�uAF�L�V�����and I don't think it's ever gonna go away.�� D�����and I don't think it's ever gonna go away.�� D����� 9So, whether it was��`����� 9[Usher] So, whether it was��`������"Human Nature" and his amazing voice,�� m������"Human Nature" and his amazing voice,�� mC�uAU�L�\�����you know, "Beat It" and looking at��Ҡ����you know, "Beat It" and looking at��Ҡ�����the references that were there, because every time�� D������the references that were there, because every time�� D�����you saw a video, you got a new idea of, like,�� ������you saw a video, you got a new idea of, like,�� �C�uA �L�-�����who he was as an artist and what he was selling.��%�����who he was as an artist and what he was selling.��%�ġ��%Right? There was his hair and his clothing, his wardrobe.�� �ġ��%Right? There was his hair and his clothing, his wardrobe.�� C�u@��L�[�����All of those things were informing the culture.�� �����All of those things were informing the culture.�� ����� He was establishing the standard.�� ����� He was establishing the standard.�� C�u@��M������Thriller.��������Thriller.���������Man, there has never been anything like that.�� �����Man, there has never been anything like that.���C�u@��M������Michael Jackson's Thriller.��������Michael Jackson's Thriller.���������♪ suspenseful orchestral music ♪��Ҡ�����♪ suspenseful orchestral music ♪��Ҡ����u[screams]��+C�u@��M7������What's the problem?��Ҡ����What's the problem?��Ҡ���� Come on, I'll take you home.�� ����� Come on, I'll take you home.�� C�u��M`������[evil laughter]�� �C�u��Mz蠵���♪ "Beat It" by Michael Jackson ♪�� n�����♪ "Beat It" by Michael Jackson ♪�� nC�uA3�M��ɡÁ♪ They told him, "Don't you ever come around here ♪�� ��ɡÂ♪ They told him, "Don't you ever come around here ♪�� ��ʡā �♪ Don't wanna see your face, you better disappear" ♪�� ��ʡĂ �♪ Don't wanna see your face, you better disappear" ♪�� �C�uA�M�)�ӡ́♪ The fire's in their eyes and their words are really clear ♪�� ��ӡ͂♪ The fire's in their eyes and their words are really clear ♪�� ������ �♪ So beat it, just beat it ♪��'����� �♪ So beat it, just beat it ♪��'C�uA%�M��ġ��♪ You better run, you better do what you can ♪�� ��ġ��♪ You better run, you better do what you can ♪�� ��ȡ �♪ Don't wanna see no blood, don't be a macho man ♪���ȡ‚ �♪ Don't wanna see no blood, don't be a macho man ♪��C�u@��N��ġ��♪ You wanna be tough, better do what you can ♪���ġ��♪ You wanna be tough, better do what you can ♪�������♪ So beat it ♪�������♪ So beat it ♪��C�u@��NȠ����♪ But you wanna be bad ♪�������♪ But you wanna be bad ♪���̡Ɓ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪����̡Ƃ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪���C�u@��N.s�����♪ No one wants to be defeated ♪�� >�����♪ No one wants to be defeated ♪�� >�ġ�� >♪ Showin' how funky and strong is your fight ♪�� ��ġ�� >♪ Showin' how funky and strong is your fight ♪�� �C�uA/�NG`�����♪ It doesn't matter who's wrong or right ♪�� \�����♪ It doesn't matter who's wrong or right ♪�� \�ѡˁ \- ♪ Just beat it, just beat it ♪ - ♪ Beat it, beat it ♪�� ڠѡ˂ \- ♪ Just beat it, just beat it ♪ - ♪ Beat it, beat it ♪�� �C�uA��Nb������♪ Just beat it ♪��������♪ Just beat it ♪����ȡ�- ♪ Beat it, beat it, uh! ♪ - ♪ Just beat it ♪�� �ȡ‚�- ♪ Beat it, beat it, uh! ♪ - ♪ Just beat it ♪�� �̡Ɓz♪ They're out to get you, better leave while you can ♪�� b�̡Ƃz♪ They're out to get you, better leave while you can ♪�� bC�uA�N~r�¡��♪ Don't wanna be a boy, you wanna be a man ♪��V�¡��♪ Don't wanna be a boy, you wanna be a man ♪��V�ơ��V♪ You wanna stay alive, better do what you can ♪�� ��ơ��V♪ You wanna stay alive, better do what you can ♪�� �C�uA �N�Y�����♪ So beat it, just beat it ♪��������♪ So beat it, just beat it ♪����͡ǁ�♪ You have to show them that you're really not scared ♪�� ��͡ǂ�♪ You have to show them that you're really not scared ♪�� �C�uA7�N���ԡ΁♪ You're playin' with your life, this ain't no truth or dare ♪�� �ԡ΂♪ You're playin' with your life, this ain't no truth or dare ♪�� ����� �♪ They'll kick you, then they'll beat you ♪��Ҡ���� �♪ They'll kick you, then they'll beat you ♪���C�u@��N�@�š��♪ Then they'll tell you it's fair, so beat it ♪��,�š��♪ Then they'll tell you it's fair, so beat it ♪��,�����,♪ But you wanna be bad ♪��������,♪ But you wanna be bad ♪���C�uA �N��̡Ɓ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪����̡Ƃ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪���������♪ No one wants to be defeated ♪�� 䠴����♪ No one wants to be defeated ♪�� �C�uA�N�U�ġ��♪ Showin' how funky and strong is your fight ♪�� ߠġ��♪ Showin' how funky and strong is your fight ♪�� ߠ���� �♪ It doesn't matter who's wrong or right ♪�� ������ �♪ It doesn't matter who's wrong or right ♪�� �C�uA �OŠ̡Ɓ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪��à̡Ƃ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪��à�����♪ No one wants to be defeated ♪�� ������♪ No one wants to be defeated ♪�� C�uA�O-��ġ��♪ Showin' how funky and strong is your fight ♪�� \�ġ��♪ Showin' how funky and strong is your fight ♪�� \����� \♪ It doesn't matter who's wrong or right ♪�� 8����� \♪ It doesn't matter who's wrong or right ♪�� 8C�u@��OG*�����♪ Just beat it, beat it, beat it, beat it ♪�� 8�����♪ Just beat it, beat it, beat it, beat it ♪�� 8����� 8♪ Beat it, beat it, beat it ♪�� Ǡ���� 8♪ Beat it, beat it, beat it ♪�� �C�u@��On렲���♪ Beat it, beat it, beat it ♪�� ������♪ Beat it, beat it, beat it ♪�� ������ �♪ Beat it, beat it, beat it ♪��y����� �♪ Beat it, beat it, beat it ♪��yC�u@��O�I������� Ơ����E♪ Beat it, beat it, beat it ♪�� ꠲���E♪ Beat it, beat it, beat it ♪�� �C�u��O�Ӡ����[rhythmic thumping]��~����� �[electric guitar solo playing]�� �C�u��P�������� �C�uA�P!{�ǡ��- ♪ Beat it, beat it ♪ - ♪ Beat it, beat it ♪��W�ǡ��- ♪ Beat it, beat it ♪ - ♪ Beat it, beat it ♪��W�����W♪ No one wants to be defeated ♪�� ������W♪ No one wants to be defeated ♪�� �C�uA�P;c�ġ��♪ Showin' how funky and strong is your fight ♪�� \�ġ��♪ Showin' how funky and strong is your fight ♪�� \����� \♪ It doesn't matter who's wrong or right ♪�� 8����� \♪ It doesn't matter who's wrong or right ♪�� 8C�uA#�PT��̡Ɓ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪����̡Ƃ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪���������♪ No one wants to be defeated, oh, Lord ♪�� ������♪ No one wants to be defeated, oh, Lord ♪�� C�uA�Pp��ġ��♪ Showin' how funky and strong is your fight ♪��V�ġ��♪ Showin' how funky and strong is your fight ♪��V�����V♪ It doesn't matter who's wrong or right ♪�� ߠ����V♪ It doesn't matter who's wrong or right ♪�� �C�uA�P���̡Ɓ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪����̡Ƃ- ♪ Just beat it, beat it ♪ - ♪ Beat it, beat it ♪���������♪ No one wants to be defeated, oh, no ♪�� �������♪ No one wants to be defeated, oh, no ♪�� �C�u@��P��ġ��♪ Showin' how funky and strong is your fight ♪����ġ��♪ Showin' how funky and strong is your fight ♪���������♪ It doesn't matter ♪�� Ǡ�����[fading] ♪ It doesn't matter ♪�� �C�u��P�ؠ����[crowd cheering]�� 𠙡��[soft jingling]���C�u��P������[Michael chuckles]�� J����� J[Michael whoops]��yS�k!t����� �����8����&���� �����8��:��&����7�����8��p�� ƻ���!���������� ƻ���>����������� a����>���������@�� a����K��������|�������Q������������ ߻���Q���������̲� ߻���`p���������� ǻ���`p��������;�� ǻ���j7��������r�� 껔��j7����������� 껔��u!��������� �����u!�������B�� �����ⷎ��������U�����7���������� 𻔳��0����������1�����0��������3��1�����a��������b��'�����a�����������'���������������� 仔������������:�� 仔���l��������p��������l�����������������������������������������3��������ķ�������b��������ķ�������s��������C�����������������C�����������������Ƿ���������һ����Ƿ�������F��һ���ꙷ���������������ꙷ�������Dz�����������������7�������������/��7�����P��������Z��+�����P�����������+����{��������޲�㻖��{����������㻖�� ^��������0��U���� ^��������k��U����������s���� ����������s��6�� 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