Michael Jackson Billie Jean ever Moon Walk from Motown 25, 1983

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"Billie Jean" is a dance-pop R&B song by American recording artist Michael Jackson. It was written by Jackson and produced by Quincy Jones for the singer's sixth solo album, Thriller (1982). Originally disliked by Jones, the track was almost removed from the album after he and Jackson had numerous disagreements. The song's lyrics refer to a real-life experience, in which a mentally ill female fan claimed that Jackson fathered one of her twins. The song is well known for its distinctive bass line and Jackson's vocal hiccups. The song was mixed 91 times by Bruce Swedien before it was finalized.

Following the successful chart performance of "The Girl Is Mine", "Billie Jean" was released on January 2, 1983, as the album's second single. "Billie Jean" was a worldwide commercial and critical success; it became one of the best-selling singles of 1983, and topped both the US and UK charts simultaneously. Considered one of the most revolutionary songs in history,[1] "Billie Jean" was certified platinum in 1989.

Honoured numerous times—including two Grammy Awards, one American Music Award and an induction into the Music Video Producers Hall of Fame—the song and corresponding music video propelled Thriller into the best-selling album of all time. The song was promoted with a short film that broke down MTV's racial barrier as the first video by a black artist to be aired by the channel,[2] and an Emmy-nominated performance on Motown 25: Yesterday, Today, Forever, in which Jackson premiered "the moonwalk." The song was also promoted through Jackson's Pepsi commercials; during the filming of one commercial, Jackson's scalp was severely burned. Covered and sampled by modern artists, "Billie Jean" sealed Jackson's status as an international pop icon.

Background

Jackson stated in his autobiography, Moon Walk, that the song was based on the groupies he and his brothers encountered whilst part of The Jackson 5. "There never was a real Billie Jean. The girl in the song is a composite of people my brothers have been plagued with over the years. I could never understand how these girls could say they were carrying someone's child when it wasn't true."[3][4]

Jackson biographer J. Randy Taraborrelli promoted the theory that "Billie Jean" was derived from a real life experience the singer faced in 1981. The Magic & The Madness documents how a young woman wrote a letter to Jackson, informing the singer that he was the father of one of her twins.[5][6] Jackson, who regularly received letters of this kind, had never met the woman in question and ignored it. The woman sent more letters to Jackson, claiming that she loved him and wanted to be with him. She wrote of how happy they would be, bringing up the child together. She pondered how Jackson could ignore his own flesh and blood. The letters disturbed the singer to the extent that he suffered nightmares.[5]

Following the letters, Jackson received a parcel containing a photograph of the fan, as well as a letter and a gun. Jackson was horrified—the letter asked that the pop star kill himself on a certain day and at a specific time. The fan would do the same once she had killed their baby. She wrote that if they could not be together in this life, then they would be in the next. To his mother's dismay, Jackson had the photograph framed and hung above the dining room table of their family home. Afterward, the Jacksons discovered that the female fan had been sent to a psychiatric hospital

With his female fan in mind,[5] Jackson wrote "Billie Jean", and later stated that when writing the song, he knew it would be a hit. "A musician knows hit material. Everything has to feel in place. It fulfills you and it makes you feel good. That’s how I felt about 'Billie Jean'. I knew it was going to be big when I was writing it."[3][7] The singer explained that he was so absorbed by the song that, in one instance, he did not notice that his car had caught fire as he drove down a freeway with a friend until a passing motorcyclist informed him. Jackson noted, "The kid probably saved our lives."[3][7]

The pop star faced numerous disagreements with the song's producer. Quincy Jones did not want "Billie Jean" to appear on Thriller; he felt that the song was too weak to be part of the collection.[5] The producer disliked the demo and did not care for the song's bass line.[8] Jones wanted to cut Jackson's 29 second introduction, which Jackson insisted be kept. "I said, 'Michael we’ve got to cut that intro'", Jones later recalled. "He said, 'But that’s the jelly!'...'That’s what makes me want to dance'. And when Michael Jackson tells you, 'That’s what makes me want to dance', well, the rest of us just have to shut up."[7] Jones also wanted to change the track's title to "Not My Lover", believing that people would think the song referred to the tennis player Billie Jean King. Jackson refused to change the title and asked Jones to give him co-producing credits for the track; he felt that the demo tape sounded exactly like the finished product. In addition, Jackson wanted extra royalties. Jones granted neither and the two fell out for several days.[5][8]

Having sorted their differences, Jones had Jackson sing his vocal overdubs through a six-foot-long cardboard tube.[7] Jackson's entire lead vocal was performed in one take; he had received vocal training every morning throughout the production.[4] Jazz saxophonist Tom Scott played the lyricon, a rare wind-controlled synthesizer. Bass guitarist Louis Johnson was then brought in. Johnson played his part on every guitar he owned, Jackson finally settling for a Yamaha bass.[7] Greg Phillinganes was also drafted in; he played the keyboard. He later said of the song, "'Billie Jean' is hot on every level. It’s hot rhythmically. It’s hot sonically, because the instrumentation is so minimal, you can really hear everything. It’s hot melodically. It’s hot lyrically. It’s hot vocally. It affects you physically, emotionally, even spiritually."[7]

Recording

The song was mixed by Bruce Swedien ninety-one times—unusual for Swedien, who usually mixed a song once.[8] Jones had told Swedien to create a drum sound that no one had ever heard before. The audio engineer was also told to add a different element, "sonic personality". "What I ended up doing was building a drum platform and designing some special little things, like a bass drum cover and a flat piece of wood that goes between the snare and the hi-hat", Swedien later wrote. "The bottom line is that there aren't many pieces of music where you can hear the first three or four notes of the drums, and immediately tell what the piece of music is." He concluded, "But I think that is the case with 'Billie Jean'—and that I attribute to sonic personality."[7


Composition

"Billie Jean" is considered a dance-pop R&B song. It opens with a drum beat: kick, snare and hi-hat, containing hardly any reverberation. The pattern continues unchanged throughout the entire song. After four bars, a repetitive bass line enters. It never rests for more than an eighth note and centers on a seventh. Each time it passes through the tonic the note is doubled by a distorted synth bass, played in unison with a shaker. This accompaniment is followed by a repetitive four-note synth, played staccato with a deep reverb. The defining chord progression is then established. Jackson's quiet vocals enter, accompanied by a finger-snap, which comes and goes during the verses, as the rhythm and chord progression repeats.[4]

According to Inside the Hits, the lyrics refer to the commotion created by Billie Jean on a dance floor. She entices the crowd with a seductive come-on before luring Jackson to her bedroom, through the fragrance of her perfume. Jackson's vocal range spanned from a high baritone to a falsetto and he usually wrote melodies to show this range. However, in the verses of "Billie Jean", the singer's vocals range from a tenor to a low falsetto. A four note falsetto is showcased in the chorus and, during the last line, Jackson peaks at a full octave.[4]

Following the two sharp repeats of "do think twice", at the end of the third verse, a cello-like synth cuts the chords of the fourth verse. Upon hearing that the baby's eyes resembles Jackson's, a voice laments, "oh no". This is met with Jackson's signature falsetto "hee hee".[4] The bridge debuts the strings, holding a pedal tone tonic with the exception of two lines and a chord leading into the chorus. Violins are then played, followed by a four-note minor guitar solo. During the solo, vocal shouts, screams and laughs are added. Throughout this, the chord progression remains unaltered and is laced with Jackson's vocal hiccups. All the musical and vocal elements are brought together in the final chorus. In the fade, Jackson repeats the denial of fathering Billie Jean's child.[4]

Release and reception

On December 1, 1982, Thriller was released to critical and commercial success.[9] A month later, on January 2, 1983, "Billie Jean" was released as the album's second single, following Jackson's successful duet with Paul McCartney on "The Girl is Mine".[10][11] The song topped Billboard's Hot 100 chart, where it remained for seven weeks. Topping the R&B chart within three weeks, "Billie Jean" was Jackson's fastest rising number one single since "ABC", "The Love You Save" and "I'll Be There" in 1970. Remaining at number one for nine weeks, the single was eventually toppled by The Gap Band's "Outstanding".[10] The song peaked at number nine on the Hot Adult Contemporary Tracks chart.[11] Reaching number one in the UK Singles Chart, "Billie Jean" and Thriller topped both the singles and album charts in the same week. This occurred on both sides of the Atlantic simultaneously; a feat very few acts have ever achieved. The song was the third best selling single of 1983 in the US, and ninth in the UK.[10] The song also reached number one in Spain and Switzerland, the top ten in Austria, Italy, New Zealand, Norway and Sweden, and number 45 in France.[12]

In a Rolling Stone review, Christopher Connelly describes "Billie Jean" as a "lean, insistent funk number whose message couldn't be more blunt: 'She says I am the one/But the kid is not my son'". He adds that the track is a "sad, almost mournful song, but a thumping resolve underlies his [Jackson's] feelings".[13] Blender states that the song is "one of the most sonically eccentric, psychologically fraught, downright bizarre things ever to land on Top 40 radio". Adding that it was "frighteningly stark, with a pulsing, cat-on-the-prowl bass figure, whip-crack downbeat and eerie multi-tracked vocals ricocheting in the vast spaces between keyboards and strings". Overall, the magazine described the track as "a five-minute-long nervous breakdown, set to a beat".[7] Stylus Magazine said of the song, "It’s one of the best representations of film noir in pop music, ending with no resolution except a single mother and selfish, careless scumball."[14] In a review of Thriller 25, Allmusic observes that "Billie Jean" is "startling" in its "futuristic funk".[15] The track also won praise from Jackson biographers. Nelson George stated that Jerry Hey's string arrangement added danger to "Billie Jean", with J. Randy Taraborrelli adding that it was "dark and sparse" by Quincy Jones' production standards.[5][16]

"Billie Jean" has been recognized with numerous awards. At the 1984 Grammy Awards the song earned Jackson two of a record eight awards; Best R&B Song and Best R&B Male Vocal Performance. Winning the Billboard Music Award for favourite dance/disco 12" LP, their 1980's poll named "Billie Jean" as the "Black Single of the Decade". The American Music Awards recognized the track as the Favourite Pop/Rock Single. Cash Box honoured the song with the awards for Top Pop Single and Top Black Single. The track was recognised with the Top International Single award by the Canadian Black Music Awards, and rewarded with the Black Gold Award for Single of the Year. "Billie Jean" has also been awarded for its sales, winning the National Association of Recording Merchandisers Gift of Music award for best selling single in 1984. By 1989, the standard format single was certified platinum by the Recording Industry Association of America, for shipments of at least one million units.[17][18] The digital sales of "Billie Jean" were certified gold in 2005, for shipments of at least 500,000 units.[19] The total number of digital downloads in the US, as of March 2009, stands at 864,000.

Music video

Jackson landing on his toes and illuminating a tile in the music video for "Billie Jean".

The short film for Jackson's "Billie Jean" is considered the video that brought MTV, a fairly well-known up-and-coming music channel, into mainstream attention. It was the first video by a black artist to be aired by the channel, as they felt black music wasn't "rock" enough.[2] Directed by Steve Barron, the video shows a paparazzo following Jackson. The paparazzo never catches the singer, and when photographed Jackson fails to materialise on the developed picture. Dancing his way to Billie Jean's hotel room, Jackson walks along a sidewalk, each tile lighting up at his touch.[2][21] Performing a quick spin, Jackson jumps and lands, freeze framed, on his toes. Upon arriving at the hotel, Jackson climbs the staircase to Billie Jean's room. Each step lights up as he touches it and a burnt out "Hotel" sign illuminates as he passes. Arriving at the scene, the paparazzo watches as Jackson disappears under the covers of Billie Jean's bed. Trailed by the police, the paparazzo is then arrested for spying on the couple.[2] Jackson sported a new look for the video; Jheri curled hair and a surgically sculpted nose. Jackson's look, a black leather suit with a pink shirt and bow tie, was copied by children around the US. Imitation became so severe that despite pupil protests Bound Brook High School banned students from wearing a single white glove like Jackson had on Motown 25.[2]

Walter Yetnikoff, the president of Jackson's record label, CBS, approached MTV to play the "Billie Jean" video. Yetnikoff became enraged when MTV refused to play the video, and threatened to go public with MTV's stance on black musicians. "I said to MTV, ‘I’m pulling everything we have off the air, all our product. I’m not going to give you any more videos. And I’m going to go public and fucking tell them about the fact you don’t want to play music by a black guy.’"[7] MTV relented and played the "Billie Jean" video in heavy rotation.[7] With the airing of the video, Thriller went on to sell an additional 10 million copies.[22] The short film earned Jackson the Billboard Video Award for Best Overall Video and he was inducted into the Music Video Producers Hall of Fame in 1992.[17] In a 2005 poll, the music video was ranked as the fifth greatest music video ever. The poll was of 31 pop stars, video directors, agents and journalists, including Natasha Bedingfield, Björk, Fatboy Slim, Avril Lavigne and Amy Winehouse. Thriller ranked at number two, behind Johnny Cash's "Hurt".[23] The video was also ranked as the 35th greatest music video in a list compiled by MTV and TV Guide at the millennium.


Motown 25

On March 25, 1983, Jackson performed "Billie Jean" to critical and popular acclaim. Staged at the Pasadena Civic Auditorium, Motown 25: Yesterday, Today, Forever was a celebration of Motown Records' twenty-fifth anniversary. Organised by Suzanne De Passe, the event was to feature all the previous Motown acts. The Motown stars were to reunite for one evening, paying tribute to Berry Gordy and acknowledging his effect on their lives. Jackson initially refused the invitation, stating that he did not want to perform live, or perform with his brothers again. Jackson reconsidered after a personal visit from Gordy, whom the singer had a great respect for. Jackson would perform on the condition that he have a solo spot. Gordy agreed and it was decided that the singer would perform "Billie Jean".[25]
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Jackson debuting the moonwalk during his acclaimed performance of "Billie Jean" on Motown 25.

Following performances by Marvin Gaye, Smokey Robinson and Mary Wells, the Jacksons took to the stage for the first Jackson brothers performance in eight years. The Jacksons sang a medley of their old hits, finishing with "I'll Be There" and left Michael alone on stage. After addressing the audience, Jackson went into his routine. Wearing black pants, leather penny loafers and a single white rhinestone glove, Jackson snapped a fedora to his head and struck a pose—his right hand on his hat and his left leg bent. Throwing the hat aside, Jackson lip synced to "Billie Jean".[25] Then, during a musical interlude, the singer executed a move which many claim to have sealed his status as a pop icon.[26][27] Gliding backwards, Jackson performed the moonwalk, before spinning on his heels and landing en pointe.[25] It was the first time Jackson had performed the moonwalk in public, having practiced it in his kitchen prior to the show.[28]

The program was watched by 50 million people and earned Jackson an Emmy nomination.[29][30] With the performance Jackson reached a new audience and increased the sales of Thriller, which eventually became the biggest selling album in the world.[28] The day after the show aired, Jackson was called by his childhood idol Fred Astaire who commended the singer. Another childhood idol, Sammy Davis Jr., later received Jackson's black sequined jacket, having admired it during the performance.[28]

Jackson stated that he was disappointed in his performance; he'd wanted to remain on his toes longer than he had.[25] Jackson subsequently said that "Billie Jean" was one of his favourite songs to perform live, but only when he didn't have to do it that way. "The audience wants a certain thing - I have to do the moonwalk in that spot", he later said. "I'd like to do a different version."[17]

In a Top 100 list, compiled by VH1 and Entertainment Weekly in 2000, Jackson's performance was ranked as the sixth greatest rock 'n' roll TV moment.[31] Five years later, Entertainment Weekly named Jackson's Motown 25 performance as one the most important pop culture moments in history. "It was a moment that crossed over in a way that no live musical performance ever had. There was a messianic quality to it", Entertainment Weekly editor Steve Daly commented

Pepsi commercials

In 1984, Pepsi sponsored The Jacksons' Victory Tour. In return, Michael and his brothers were to star in two commercials for the company.[33] Jackson had reworked "Billie Jean" for the commercial and entitled it "Pepsi Generation". The song was used as the official jingle for the commercials and released as a 7" promo single. The launch of "The Choice of a New Generation" campaign in February 1984 was attended by 1,600 people who were issued with a programme and a 7" single.[34] During the filming of the second commercial a firework exploded and Jackson's hair caught fire, leaving the singer needing reconstructive surgery.[35][36][37] The commercials were premiered at the Grammy Awards, with Jackson wearing a hairpiece to cover his burns as he collected a record eight awards

Billie Jean 2008

Jackson's original version of "Billie Jean" was remixed by hip-hop rap artist and producer Kanye West for Thriller 25, a 25th anniversary reissue of Jackson's Thriller. Entitled "Billie Jean 2008", the remix garnered a mixed reception, most critics feeling that it was impossible to improve upon the original. Bill Lamb, of About.com, described the remix as "lifeless", adding that it sounded like West had "entered the studio fully intimidated by the genius of the original".[39] Pitchfork Media's Tom Ewing explained that a guest verse "might have added dynamics to the mix's clumsy claustrophobia".[40] Mike Joseph, reviewing Thriller 25 for PopMatters, described the track listing of the reissue as "pleasant" - West's "lazy" remix the only exception. He adds, "You’ve been given the opportunity to remix the most iconic single from one of the most iconic albums of all time, and all you can do is stick a drum machine on top of the song’s original arrangement?".[41] Rob Sheffield, of Rolling Stone, disliked the removal of the original bass line, comparing it to "putting Bobby Orr on the ice without a hockey stick".[42] IGN's Todd Gilchrist praised West's reworking, stating that it was a "pretty great track". He added, "it almost overplays the track's originally understated drama, his additions enhance the song and demonstrate that in a contemporary context.

Legacy

Michael Jackson's "Billie Jean" is considered one of the most revolutionary songs in the history of pop music.[1] Accompanying a single with a high-production music video was groundbreaking. Referenced by performers such as Justin Timberlake, Chris Brown and Usher, "Billie Jean" aided Thriller in becoming the biggest selling album of all time.[1][54] The Guardian reflected that "more thought went into the production of this single than would go into the entire recording careers of Axl Rose, Coldplay, Shania Twain or Gwen Stefani".[1] The performances of the song overshadowed the track; many preferred watching Jackson perform the song rather than simply listening to it. The song and accompanying performances would solidify Jackson's status as a pop icon.[1]

Frequently listed in greatest song polling lists, "Billie Jean" was named the greatest dance record of all time by BBC Radio 2 listeners. Revealing the winner, presenter Zoe Ball said, "I'm delighted that Billie Jean has been voted the greatest dance record ever made. This is Jackson at his best. This track is way up there for me - Jacko's rendition of it at the Motown 25th anniversary show has got to be one of the great live performances of all time. The bass line is awesome, the production is killer. It's just perfect."[55] In a list compiled by Rolling Stone and MTV in 2000, the song was listed as the sixth greatest pop song since 1963. "I Want You Back" and "Beat It" were placed at numbers nine and 22 respectively. The Beatles' "Yesterday", which Jackson owns the rights to, was placed at number one.[56]

In a 2005 poll conducted by Sony Ericsson, "Billie Jean" was ranked as the world's third favorite song. Over 700,000 people in 60 different countries cast their votes. Voters from the UK placed "Billie Jean" at number one, ahead of "Thriller", with a further five of the top ten being solo recordings by Jackson. The song was also placed at number seven in MTV Europe's All-Time Top Ten R&B Songs. In a survey of over 600,000 people, Channel 4 and HMV revealed "Billie Jean" as the 16th best song in the Music of the Millenium poll.[24]

In an interview, R&B artist Pharrell Williams stated that "Billie Jean" was one of his favorite songs. "It is hard to say if there is a greater song than "Billie Jean". I think there will never be a song like this one again, with this bass line, with this kind of effect, this eternalness, this perfection."[57] The song has featured in the film Charlie's Angels and the 2002 video game Grand Theft Auto: Vice City. When re-released, as part of the Visionary campaign in 2006, "Billie Jean" charted at number 11 in the UK. Remaining in the top 200 for over 40 weeks, it was the most successful reissue by some distance.[24] To this day, "Billie Jean" is still in heavy rotation; it is played on over 90% of the world's radios and receives more than 250,000 spins per week in clubs around the world.[57]


The song ranked 58 on Rolling Stone's 500 Greatest Songs of All Time[58] and appears on the The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list