Michael Jackson

Madonna Louise Ciconne has had one of the more eventful American lives of the past half-century, and it is little wonder that she might wish to depict it on screen in a big-budget film. After all, as the recent success of the Queen and Michael Jackson biopics have shown, it doesn’t matter how good the pictures are, as long as they include the best-known songs that made the artists household names and a smattering of the drama that led to their current eminence. Even if, as in Michael, it was the decision to omit most of the really interesting events that led to cries of whitewashing. Yet there’s been no Madonna biopic, and this is not because she has refused to cooperate. Far from it.

The death of Quincy Jones, at the considerable age of ninety-one, represents not just the passing of a great American musical icon, but the departure of a truly remarkable man from the stage. The winner of an astounding twenty-eight Grammy awards, he excelled in so many different areas of music — from record production and film soundtrack composition to big band jazz and multi-instrumental playing — that it would not have been particularly surprising to discover that he had written operas or symphonies on his days off.

If you wish to know how to become a master negotiator, a formidable body of books will now offer to train you in that art, but I’m not entirely sure it can be taught. The greatest natural asset, I suppose, is the ability to enjoy the game: the performative mulling, tough-talking, buttering-up, pitching of curve balls and – when absolutely necessary – flamboyant execution of a real or bluff exit. Yet even for those of us who are clumsy and reluctant hagglers, the mechanics of striking a deal can be fascinating. This is the stuff of the Dealcraft podcast, hosted by Jim Sebenius, a professor of the Harvard Business School, and himself a high-flying negotiator.

If you’ve heard good reports about MJ the Musical, believe them all and multiply everything by a hundred. As a music-and-dance spectacular, the show is as exhilarating as any Jackson produced while he was alive. The sets, the costumes, the choreography and the live band deliver an amazing collective punch. When he removes his black trilby he looks like Rishi Sunak at a karaoke bar The script, by Lynn Nottage, takes us into Jackson’s twisted personal history. He was one of ten children raised in a four-room shack in Gary, Indiana, by weirdo parents. His mother was a Jehovah’s Witness who refused to celebrate birthdays or Christmas.

‘I feel bad for the children. I feel bad for him,’ said Barbra Streisand to the Times of London about Michael Jackson, who was by his own admission ‘really bad’ and, according to Wade Robson and James Safechuck, much, much worse in private. Streisand’s interview was a wide-ranging reflection on her legend and upcoming tour. The kind of men who agree with her defense of Jackson won’t buy tickets. Most of them are already locked up. ‘His sexual needs were his sexual needs, coming from whatever childhood he has,’ said Babs, referring to the Jackson Five’s Greatest Hits and Freud’s theory of early childhood sexual development.

‘The innocence of America is one of its oldest traditions,’ said Oscar Wilde who, like Michael Jackson, was accused of seducing underage boys. Wilde was convicted, and cast into a disgrace that everyone now agrees was a crime against art and morality. Jackson was able to wriggle out of court, more than once. He had money and he had lawyers but, most of all, he had the entertainment business on his side, moralizing to us that he was a great artist. The pagan cult of show business is the real American religion, and the innocence of children is one of its most lucrative assets. The innocence of Michael Jackson, child star turned child abuser, was an article of faith because Jackson could fill a stadium.