TIME: An Oral History of Michael Jackson's BAD

GreenEyes · Aug 29, 2012

Here is an excellent 6-part article from TIME on Bad. You need to click on the link below to read all the chapters because it's just way too expansive for me to copy and paste all of it. At the end of each chapter is the link to read the next chapter. I have summarized it here, but go to the link for the rest of it. It's worth the time to read. Very well done!
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An Oral History of Michael Jackson's Bad

As the 25th anniversary of the album approaches, we take a look at the creation and legacy of a record-setting release

Michael Jackson's Bad Turns 25
By Lily Rothman | @lilyrothman | August 22, 2012

Dave Hogan / Getty Images

Michael Jackson, whose album 'Bad' celebrates 25 years this August, on stage in 1987. On Aug. 31, 1987, almost exactly 25 years ago, Michael Jackson released the album Bad. It had been five years since Thriller, the album that had arguably established the well-known pop star as a visionary—and that would go on, after Jackson’s 2009 death, to set the record for the most copies sold of a single album.

The quest to match Thriller would be a hard one. But despite (or perhaps because of) that burden, Jackson was more involved than ever in Bad‘s artistic process. “When you would work with him you could just see the way his mind worked,” says Matt Forger, who engineered the record. “He knew exactly what he was looking for.” Under the shadow of Thriller, and despite the backlash against his personal eccentricities that came to light around that time, Bad set records of its own. It was the first album to ever send five singles to the top of the Billboard charts, and it held that record until 2011.

Bad’s quarter-century milestone will be marked with due pomp. Jackson’s estate and Epic/Legacy Recordings are collaborating on a three-CD release (BAD25, out Sept. 18), which includes the remastered original album, plus an album of additional tracks, including demos and remixes, and a live album. The package also includes a DVD of never-before-seen concert footage—Jackson’s own review copy of a July 16, 1988 concert at Wembley Stadium. In addition, a Spike-Lee-helmed documentary about the album, the similarly-titled Bad 25, will debut Aug. 31 at the Venice Film Festival. And starting this spring, Jackson has even found his way onto 1 billion Bad-themed Pepsi cans.

In honor of the seminal album’s anniversary, TIME spoke (in separate interviews, with the exception of Phillinganes and Forger) to people who were there and people living out the album’s legacy:

Greg Phillinganes, a musician who worked on the record and music-directed the Bad tour

Matt Forger, Michael Jackson’s engineer on Bad

Spike Lee, who directed Bad 25 as well as Jackson’s short film for the song “They Don’t Care About Us”

John Branca, Jackson’s lawyer and head of his estate

*Meeting Michael: "He knew everything that had to happen in a song."

*The Making of 'Bad': "He was the architect of the album in every sense of the word."

*The Release of 'Bad': "One hundred million. He’d write that on the mirror and look at it every day."

*The Legacy of 'Bad': "It was arguably the most transitional point in establishing his musical independence."

*BAD25': "It’s about why he felt he was put on earth, to make music."

http://entertainment.time.com/2012/08/29/michael-jackson-bad/

Annita · Aug 29, 2012

Wow what a great article. I think many havn`t seen the links to the other articles

*Meeting Michael: "He knew everything that had to happen in a song."
http://entertainment.time.com/2012/...-knew-everything-that-had-to-happen-in-a-song

*The Making of 'Bad': "He was the architect of the album in every sense of the word."
http://entertainment.time.com/2012/08/29/michael-jackson-bad/#the-making-of-bad

*The Release of 'Bad': "One hundred million. He’d write that on the mirror and look at it every day."
http://entertainment.time.com/2012/08/29/michael-jackson-bad/#the-release-of-bad

*The Legacy of 'Bad': "It was arguably the most transitional point in establishing his musical independence."
http://entertainment.time.com/2012/08/29/michael-jackson-bad/#the-legacy-of-bad

*BAD25': "It’s about why he felt he was put on earth, to make music."
http://entertainment.time.com/2012/08/29/michael-jackson-bad/#bad-25

GreenEyes · Aug 29, 2012

Annita;3698838 said:
Wow what a great article. I think many havn`t seen the links to the other articles

*Meeting Michael: "He knew everything that had to happen in a song."
http://entertainment.time.com/2012/...-knew-everything-that-had-to-happen-in-a-song

*The Making of 'Bad': "He was the architect of the album in every sense of the word."
http://entertainment.time.com/2012/08/29/michael-jackson-bad/#the-making-of-bad

*The Release of 'Bad': "One hundred million. He’d write that on the mirror and look at it every day."
http://entertainment.time.com/2012/08/29/michael-jackson-bad/#the-release-of-bad

*The Legacy of 'Bad': "It was arguably the most transitional point in establishing his musical independence."
http://entertainment.time.com/2012/08/29/michael-jackson-bad/#the-legacy-of-bad

*BAD25': "It’s about why he felt he was put on earth, to make music."
http://entertainment.time.com/2012/08/29/michael-jackson-bad/#bad-25

I know! There is some interesting info in there from Branca, etc., and no comments on what he had to say???-_-

What a great day to post that article from Time. (Makes me miss Michael even more though.) I'm afraid that the length of it will keep people from taking 20 minutes of their time from reading it though. It's worth it.

mkgenie · Aug 30, 2012

Re: An Oral History of Michael Jackson's BAD

So these articles are only for Internet? not for the actual magazine?

qbee · Aug 30, 2012

Thank you GreenEyedOne and Annita. Im going to try to post and format the articles here. Im very appreciative of the author Lily Rothman for writing such a positive article focused on Michael's music and artistic genius

Meeting Michael: “He knew everything that had to happen in a song.”

By Lily Rothman August 28, 2012 |

Michael Ochs Archives / Getty Images The Jackson 5, c. 1970



Michael Jackson began performing at the age of 11, with the Jackson 5. His first non-Motown solo album, Off the Wall, was released in 1979.

Lee: I followed Michael Jackson since he was the young kid with the Jackson 5. I was born in ’57 and he was born in ’58, so we’re literally the same generation.

Afrojack: I turn 25 in September. My mom used to own her own dancing school and she did a lot of choreography of the Michael Jackson songs. I used to be a little bit of a dancer myself, but just for fun. That’s when I first heard of it, through my baby years.

Phillinganes: Back in ’77, I believe, a friend of mine named Bobby Colomby, who was an executive at CBS at the time, was urging me to get more involved in arranging. He said, “You’re going to do more arranging and here’s who you’re going to do it with.” Next thing I know I’m in a room with Michael and his brothers, and I ended up doing the rhythm section arrangement for [the Jackson 5's] Destiny and Triumph albums. It was obviously a great feel for me to be in the same room as guys that I idolized in junior high school.

Forger: The first time I met Michael was on a Quincy Jones session. I was working with Quincy Jones and we were doing the Donna Summer album and we had to take a break in the middle of doing the record because that was the only time Michael Jackson and Paul McCartney were able to schedule free time to be in the studio. That was for the recording of the song “The Girl is Mine,” which was the first song for the Thriller album.

Branca: Michael and I first met in January of 1980. He was looking to have his own team. I think he was 21 at the time; I became his lawyer. He had just released Off the Wall so during that period I renegotiated his recording agreement and then he started to work on Thriller. It can be difficult at times to delineate creative from business and this was certainly true during the Thriller period. I wasn’t involved in the creative process but I was there helping to make the deals that made it possible the get the Thriller video made.

Forger: At that time he was reserved, he was rather quiet, but at the same time extremely focused. He knew everything that had to happen in a song. He was very directed, very in tune with where all the parts musically needed to be. He was very professional, very well-prepared.
Phillinganes: By the time we were working on Bad, Mike’s ideas became stronger and clear.

The Making of Bad: "He was the architect of the album in every sense of the word."

Amazon Image

Bad was crafted at Westlake Studio in Los Angeles and at Michael Jackson’s personal studio, Hayvenhurst.
The formal recording process began at Westlake on Jan. 5, 1987.

Forger: After the experience of Thriller, I think that was something that really reinforced Michael’s confidence. He had written four of the songs off the Thriller album, and those songs turned into hit songs. Michael knew he was on the right track. By the time Bad came around it was just ready for him to step up and take a much larger role because it was his time. He was ready.

Branca: I remember having a conversation with him, we were in Hong Kong, and I was kind of kidding, and I said, “Michael, maybe for the next album, instead of trying to top yourself and compete with yourself, maybe you should go a little left of center and think about something a little different, like making an album of the songs that inspired you to become an artist. Songs by James Brown, Sly and the Family Stone, and others.” He looked at me like I was from Mars. He was intent on topping himself and he put a lot of pressure on himself to do that.

Lee: The greatest people, the greatest artists, whatever you want to call that category, they work at their craft for years and years and years. So often we think it comes, we don’t see the hard work that goes into all that. We see the creation, we see the beauty of the hard work but we don’t see the hard work, the blood, sweat and tears.

Phillinganes: There was the pressure mostly on Michael. We just were happy to know that we’d be in the studio all together again to have more fun. It’s not like we sat around like “We’ve got to do better!” It wasn’t that cinematic, “we’ve got to do one more for the Gipper” kind of thing. Just like with Thriller it was all predicated on getting the best songs possible.

Forger: We knew we were in the studio and we were going to have fun because that was the vibe, especially working with Michael and working with Quincy [Jones, who produced the album], too. You’ve got to realize that when you devote your life to making records you do it because you love being there. You love the experience. It’s one of those things where you get in the studio and [you think], “Oh my gosh, where did the last eight hours go?”

Phillinganes: We had family pet day, where he brought down Muscles the Boa and Bubbles the Chimp and we took pictures. There’s a group picture I have a couple shots of, it’s Studio D of Westlake and we’re all standing in a long row to accommodate Muscles. How long was he?
Forger: Well, he grew. I first met Muscles on Thriller and he was probably about 10 or 12 feet long, so he must have been at least 16 feet by the time Bad rolled around. He was a very nice snake.

Phillinganes: And during some downtime in the studio—there was a technical problem so we couldn’t go on until that was sorted out—Mike was getting restless and he asked me if I felt like going across the street to do a little shopping. What was across the street was a major, major, huge shopping mall called the Beverly Center. He puts on this wig and dark sunglasses and crooked teeth and we come out of the studio, just the two of us, no security no cops nobody, on La Cienega Boulevard and I remember thinking that time as we were crossing, “I’m crossing La Cienega with Michael Jackson and nobody knows.” We went all over the place and did a bit of shopping and he had slightly puzzled looks from cashiers. He looked like Sly Stone on crack and then he gets out the credit card and they go, “No!”

Forger: When you were with Michael you always had this sense of enjoyment, of energy and whatever it is Michael wanted to do he wanted to enjoy himself when he was doing it.

Branca: Michael was very involved creatively with Off the Wall and Thriller but he was even more involved on Bad. He did write nine of the 11 songs. Michael would create demos in his studio at Hayvenhurst. That would be the model for what was on the album. He was the architect of the album in every sense of the word.

Forger: Michael said “We’re going to start some new songs.” I never knew when we were going to do a song what the song was for, but the first song I started on with Michael was Dirty Diana. We started on Dirty Diana at Westlake Studios and then his home studio was completed, which was the Hayvenhurst studio, then we went into Al Capone, which transitioned later into Smooth Criminal and the next song after that I think was Hot Fever, which became The Way You Make Me Feel.

Phillinganes: By the time we were working on Bad, Mike’s ideas became stronger and clearer. Songs like Al Capone, titles like that, even as working titles, show that Mike had a tremendous cinematic approach to the making of his music.

Forger: Michael always wanted to be a storyteller. He wanted a beginning, a middle and an end, and he wanted it to be a story and it could be translated not only into a song but a terrific—what Michael always called “film shorts,” as opposed to “music videos.”

Afrojack: The sonic professionalism on the original Bad album was just next level. Nowadays they do it a lot but back then this was the newest of the newest, like crazy stereo effects, on a technical level of engineering and music production.

Lee: When it came to work, he was a perfectionist. He had a tremendous work ethic. He’s not going to say, “I’m tired,” he’s not going to say anything. Until it’s done, he’s like, “Let’s go, let’s get it done, let’s do the best we can, let’s not cut any corners.” Whether it’s creatively or financially, he was not cutting any corners.

Afrojack: You have a lot of music coming out and if you want to be the best everything has to be the best, including the technical production and the technical aspects of music production.

Forger: It wouldn’t be uncommon that a track would be recorded several times, either the tempo or the key or the arrangement, until you absolutely got the exact right thing. When you’re working with people of this caliber and you’re adjusting these parameters and when you get the right one it just feels like that’s it. Everyone understands right away when you’ve got the right formula.

http://entertainment.time.com/2012/08/29/michael-jackson-bad/#an-oral-history-of-bad

qbee · Aug 30, 2012

The Release of Bad: "One hundred million.
He’d write that on the mirror and look at it every day."

By Lily Rothman | @lilyrothman | August 22, 2012 |

Hulton Archive / Getty Images_ Michael Jackson stands in a graffiti-filled subway car during
the filming of the long-form music video for his song 'Bad,' directed by Martin Scorsese,
New York, New York, November 1986.


Bad was released Aug. 31, 1987, by Epic/CBS Records.

Branca: I think Michael was really pleased with that album. It was a real coming-out, artistically.

Phillinganes: He evolved as a person, as we all do. What Mike had learned in the studio from the previous two albums, he guarded that knowledge to support the new creativity that he was experiencing with Bad. It was all a natural, organic progression.

Branca: We always knew it was going to be a huge album.

Phillinganes: You hear it on the radio all the time and you obviously feel good about the final product, but it’s not like you go, “Right, this is going to [sell] 50 million right now.” The sales dictate that but it’s all after the fact. You don’t go in predicting that kind of success, even though Mike would write a certain number of sales on his mirror every day as motivation. One hundred million. He’d write that on the mirror and look at it every day.

Lee: Great artists or whatever you want to call them perform great under pressure. He wanted Bad to exceed the sales of Thriller. He wanted Bad to sell a hundred million and told everybody about it, the president of Sony records and everybody. He would put up pieces of paper in his house, in hotels: “100 million.” He wanted to sell 100 million for Bad. Several people in the documentary talk about that.

Lee: During that period, Michael had become so popular that it just seemed there was a natural backlash toward him and this album, which is unfortunate, because the album still stands today as a great piece of work.

Branca: In addition to it being the biggest selling record in history, culturally Michael had a huge impact. I helped him buy the Beatles catalog at that time and there was a backlash against his success. There was nowhere in the world you could go where Michael wasn’t known and wasn’t famous.

Lee: Oh yeah. Wacko Jacko. Cover of the New York Post. I don’t have the same mentality as the New York Post.

Branca: The album was great. And you have Martin Scorsese directing the first video! At that time, 1987, other than the fact that we had gotten John Landis to direct Thriller, the notion that you would have an all-time hall-of-fame movie director… That alone told all of us this was going to be a huge album.

Lee: I really remember watching the video, directed by Martin Scorsese. It was a special on CBS… Wesley Snipes was going to kill Michael Jackson.

Afrojack: On the Bad album, the best track is “Bad.” Now everyone’s talking about being gangster or being mafia or whatever but back then it was just really simple. Michael Jackson was bad. That’s it.

Forger: The funny thing about listening to an album when it’s completed is lots of times you work on a project and you work really intensely and you are absolutely pushing yourself to the limit, physically, mentally, and you’re trying to do the best that you can. You’re all so close to a seeing-the-forests-for-the-trees type of situation because you’re listening very technically, and music is an emotional experience.

Phillinganes: By then we’re dealing with CDs and there’s only a certain amount of space a CD can accommodate for the highest quality recording and it boils down to how much time per song for the total amount of time on the CD, all kinds of things.

Forger: What I do is that the day it’s released I’m running to the record store. I can remember running out to buy the album and listening to it and just hearing how wonderfully all the songs had worked together. You don’t have the feel for what the big overall thing is until you step away from it.

Branca: I can’t speak for him, but the Bad album was the only album in history until recently to have five No. 1 singles. It had nine Top 10 singles. Forty-five million albums. It broke new ground in terms of videos—and Michael never called them videos; he called them short films—and what he did with Martin Scorsese on Bad and Colin Chilvers on Smooth Criminal helped advance the art form of making music videos. So I think by every measure Bad was an enormously and historically successful album. By Michael’s own standards? That’s another question. I can’t answer that.

http://entertainment.time.com/2012/08/29/michael-jackson-bad/#an-oral-history-of-bad

qbee · Aug 30, 2012

The Legacy of Bad:
"It was arguably the most transitional point in establishing his musical independence."

By Lily Rothman | @lilyrothman | August 22, 2012 |

Dave Hogan / Getty Images_ Michael Jackson performs on stage during his "BAD" concert
tour held at Wembley Stadium, London on July 15, 1988.


Nine months and two weeks after the album’s release, five songs from Bad—”I Just Can’t Stop Loving You” (with Siedah Garrett), “Bad,” “The Way You Make Me Feel,” Man in the Mirror” and “Dirty Diana”— had reached the top of the Billboard Hot 100, for a collective seven weeks at the top, setting a new world record.

Lee: The legacy of the album is you have two legacies. It has something that Thriller doesn’t have: five No. 1 consecutive singles. But, number two is that it was the album that followed up Thriller, the biggest-selling album of all time.

Branca: Bad was an enormously influential album. It had an enormous impact on many of today’s biggest artists, stars, who point to that album and those videos as being influential in their careers.

Afrojack: All music has always been inspired by the next level of producing. This is a long time later. It’s fun to see how it’s still inspiring.

Branca: Like I said, I remember that conversation with Michael where I tried to take the pressure off of him and he said no, he put the pressure right back on his shoulders. I just remember how driven he was. I think he had a great time on the Bad tour. When you see that footage you can see that he’s having a really good time. He stepped out on his own; he was completely in control. I think it was a great time in Michael’s life.

Phillinganes: It was a wild ride. I do remember [the concerts at] Wembley. Princess Di showed up and Michael, that lucky dog, got to be in the receiving line. We could see her pretty well in her bright yellow dress, sitting in her box. Tons of people showed up. Naomi Campbell. Buddies of mine that I had toured with showed up. Eric Clapton. Phil Collins. Barry Gibb. They were all there. We did three at Wembley, and it’s Wembley Stadium, not arena, so that’s like at least 70,000 people. You can never imagine the feeling of watching 70,000 people light torches during “Man in the Mirror.”

Branca: [The concert footage on the BAD25 DVD is] one concert start to finish. There are no edits and piecing together of different concerts. It’s one concert, Michael Jackson at Wembley Stadium in the presence of Prince Charles and Lady Diana. He actually refers to them at the beginning and at the end of the show. We had high-quality footage of other concerts, but the audio wasn’t very good. For Wembley we had great audio but all we had visually was Michael’s VHS copy of the monitor feed.

Phillinganes: I wasn’t with him when he [watched the VHS tapes of his shows], but it was always to improve. He was very meticulous about every aspect of the show, particularly choreography, lighting. He just always strived to maintain that basis that he set for himself.

Forger: For me, it really was that point in time when Michael took the reins of his solo career and you could understand Michael’s personality musically. It’s not that you couldn’t before that, it’s just that in his solo career now he had taken all the encouragement that Quincy [Jones] had given him, and it was just that extension. This was it happening.

Phillinganes: It was arguably the most transitional point in establishing his musical independence. And the songs speak for themselves. It was just a well-rounded collection of great songs.

Forger: To me what I come away with from the Bad album is, ironically, one of the songs that Michael did not write, and that’s Man in the Mirror. Man in the Mirror to me totally represents that place that Michael started directing his energy to. You start to really see where Michael’s heart is, where his soul is, what his intent was for what he would like to accomplish with his music, and that’s a thing that in much later material is clearly evident, and this is the time when you see that coming to the forefront I think, so strongly.

Branca: Clearly Michael is an artist whose popularity will live on for generations. It’s funny, I was talking to Spike Lee about this, some artists are great singers but they don’t write their songs, and some artists are great songwriters but they’re not excellent vocalists or they can’t dance. You look at Michael, and he could write the songs, he could produce them, he could sing them, he could get out and perform and dance them, and then his sense of style sort of changed fashion trends. He’s a unique artist in that respect.

Lee: To be honest, over the years, Bad has grown in stature… Sometimes you don’t get s–t when it comes out right away. We cannot overemphasize: Bad was a follow-up to the greatest single selling album in the history of human civilization. You cannot overemphasize that.

BAD25: "It’s about why he felt he was put on earth, to make music."

Time & Life Pictures / Getty Images


The BAD25 anniversary package is available Sept. 18—and, although Jackson’s team is still focused on BAD, John Branca says there may be even more unreleased Jackson material to keep fans sated in the future, since an additional album’s-worth of vocal and performance material exists.

Branca: Michael himself did Thriller 25 and that was important to him, so BAD25 was an obvious and a logical choice. Several things are exciting about the package in addition to calling attention to the album and the incredible documentary that Spike Lee has done. We’re including some previously unreleased music. This is music that Michael worked on for the album and it’s quite, quite good. In fact, Michael had debated for a long time about including a song called Streetwalker on the album and at the very last minute he chose Another Part of Me instead. So we have Streetwalker included on the rarities disc. That’s exciting, to be able to share this music with the fans.

Afrojack: My manager got approached by the representative of the Michael Jackson estate and they said that Mike was always looking for new, creative ways and he loved remixes. I’m only 24 years old, and I’ve been making music for a long time but I didn’t really see myself on the level of getting to remix Michael Jackson so I was like, “Wow. Remixing the King of Pop, and there’s only one King of Pop.”

Branca: [My co-executor, John McClain and I,] we always approach things based on the kind of decisions we think Michael would make, what he would be looking for. Having said that, of course the world changes. It’s only been three years since Michael passed away so the world hasn’t changed that much but as new opportunities come up we use Michael’s voice as our guide.

Afrojack: They didn’t want to give out the real parts. We had to find a day that I could be in the studio with one of the representatives of the estate. It was also the same studio where they produced the original Bad album. The vocal booth I was standing in front of was the same vocal booth that Michael Jackson did all his vocals for the album. It was pretty impressive for me. It’s really bad if something happens and his original a capella would leak out, so all of the world can do with his a capella whatever they want. So they’re really careful about it, and that’s really smart. I hope I get treated the same way when I pass away. I felt humbled that they asked me to do it… There’s nothing greater than to work with the best of the best tools. I had the original parts Michael Jackson had. That’s a nice toolshed right there.

Lee: By getting access to the Michael Jackson archives, I saw stuff I never knew even existed.

Branca: We’ve been in the process of digitizing all of Michael’s archives of audiovisual and written material. We monitor the fans and we’re in dialogue and communication with them, and one of the Wembley stadium concerts is the one that the fans really wanted, so we were searching for that concert and fortunately we found this… We found some interesting notes that Michael had for some of the short films on the album, for example for Smooth Criminal, we found a sketch that Michael did for the outfits that are worn by Michael and the dancers in the short film. Michael designed those with the armband and everything. And we found his notes from when he was conceiving the idea for the Smooth Criminal short film, where he was studying the works of Fred Astaire and Gene Kelly.

Forger: I mixed “Don’t be Messin’ Round” and “Free” and the one which is called “Song Groove (A/K/A Abortion Papers).” These were tracks where all of the material had already been recorded. Nothing was added, nothing was recorded, it was just going through and taking the tapes that hadn’t had an appropriate mix and just doing a representative final mix of the way Michael would have wanted the songs to sound.

Branca: In the shadow of Thriller, which is the biggest-selling album in the history of the record business, Bad is perhaps under-appreciated. I don’t think people realize how many hit singles came from that album. This will be really a statement that will remind everybody how important, how influential that album was.

Forger: The bonus tracks that are included on this album I think show a terrific insight into more of that thing that Michael was experiencing at that point in time, the musical ideas he was developing, the direction he was taking, and in some cases some of the tracks are a little bit more raw, which to me is exciting because when you get to hear it a little bit more raw, less completely polished, you get a little bit more of the personality and the emotion that goes into the process.

Lee: For me, this is going to be an insight into Michael’s work ethic and his creative process and the effect it had on the world.

Forger: When I look back and I think about what I took away from that experience and that time, to me it was an opportunity to learn, and for me to understand more not only about music but to learn so many things from Michael. It’s a fantastic high because you’re just enjoying yourself on a tremendous level, and now when you look and back and have an opportunity to reflect on it, you realize it was a rare time. It was a rare time in pop culture, in the world, in the history of music, and also in Michael’s career.

Lee: I think Michael would love this. You might say, “How could I say that?”—but I’m telling you I think Michael would love what we did with this. I really do… We told the truth and we featured his work. It’s not anything but his work, anything but his music and how this album was made. This is about the creative project. It’s about why he felt he was put on earth, to make music. That’s what this is about. Nothing else.

http://entertainment.time.com/2012/08/29/michael-jackson-bad/#an-oral-history-of-bad

MjsLovelyOne88 · Aug 30, 2012

Re: An Oral History of Michael Jackson's BAD

Very nice read, thank you both for posting these

Hess · Aug 30, 2012

Thanks qbee for putting it here.

Great read!

Can't wait for the BAD25!! - New songs, Wembley and the Lee doc!!!

GREAT TIME AHEAD!!

TIME: An Oral History of Michael Jackson's BAD

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