What’s in a Title?
“Self-proclaimed” is the tainted qualifier often used for his King of Pop title, which is—technically—untrue. It was indeed his friend Elizabeth Taylor who, at the 1989 Soul Train Music Awards, after a rousing speech about his sublime character and a video montage of his triumphant first solo tour, announced “the true King of Pop, Rock and Soul, Mr. Michael Jackson.” A PR principle so basic it has a pH of 14: Let others say good things about you.
But wasn’t it the fans? “All the stadiums that we played at they’d bring banners saying, ‘King of Pop’ and jackets that say ‘King of Pop’ and T-shirts that say ‘King of Pop’ and they chanted outside my hotel, so it just became something that just happened all over the world,” he listed a triplet of merch items during his 1993 interview with Oprah. “Before the show, numerous young people were suddenly given placards reading, ‘I Love You, King of Pop’,” a New York Times reporter observed during a 1994 Jackson family event in Las Vegas.
A “November 11th, 1991, memo typed on MTV Networks letterhead that was circulated a week before Black or White was first shown […] directed all on-air personnel to refer to Jackson as ‘the King of Pop’ at least twice a week over the next two weeks. It also thanked staff members for their cooperation, adding that ‘Fox and BET are already doing this’,” said Rolling Stone.
Though his title was gaining momentum, his trophy bags would get lighter in the nineties. But time was on his side. As the decade and then the century ended, the music industry took some time to reflect. It was inevitable that Michael Jackson would be honored for his contributions as Artist of the Decade (by U.S. President George H.W. Bush) as well as Artist of the Century (American Music Awards). Some even felt a hundred years didn’t do justice to his influence and gave him the titles of Best Selling Male Artist of the Millennium (World Music Awards) or Pop Artist of the Millennium (German Bambi Awards), which makes sense, since pop music as a genre was already fifty years old at the time.
Other institutions thought, why limit ourselves to round numbers when we can create arbitrary containers of time? And so, Prince Albert of Monaco’s World Music Awards presented Michael Jackson with a golden clef statue for World’s Best Selling Artist of the Era; in 1993.
Similarly, Band Aid founder Bob Geldof gave him the Artist of a Generation award at the 1996 BRIT Awards. Although it’s been almost thirty years since, there have either been no other generations or there has been no generation-defining artist. At least according to the BRITs, who never followed up on the distinction. But the eulogist, Bob Geldof, is quick to offer a philosophical commentary on this naming dilemma: “Michael Jackson has been making music literally since he was a baby. So, what generation? At least three have been listening to him already. And who will they give it to next year? Or is the award itself a one-off like the man himself? Because childhood prodigy, to add genius, when Michael Jackson sings, it is with the voice of angels. When his feet move, you can see God dancing.” Judging by the red eyes, his words were not the only thing lofty about Bob Geldof that night.
The Monaco Royal Family’s appreciation for Michael began with the inception of their ceremony in 1989. Via videotape, Whitney Houston delivered two awards to the singer’s home. “Michael, by popular vote throughout the entire world, your video has been chosen Pepsi’s number one. This includes countries as diverse as Russia, Japan, the USA, Australia, Spain, France, and Italy. These countries may disagree on many issues, but it’s great to know they all agree on at least one: that Michael Jackson is their favorite video artist in the world, a megastar, and the undisputed King of Pop, Rock and Soul.” If this trilogy of royal realms sounds familiar, Elizabeth Taylor’s announcement at the Soul Train Awards aired just the day before. For the sake of resource conservation, I’m glad it didn’t catch on in its entirety. Imagine how much more paper, ink, and glitter it would have consumed for fan posters.
The second trophy that night, the Philips Hall of Fame award, was justified for his “enormous contribution to the state of the art of video”. If Michael ever needed a location other than Neverland to retreat from screaming crowds and stalking paparazzi, I hope he remembered his place in the Philips Hall of Fame. The Philips Hall of Fame would offer him privacy, tranquility, and wall-to-wall personal space. Perhaps a Room of Fame would have been cozier, though, as the high ceiling and empty grandeur of the memberless facility make every step reverberate.
Many award categories had to be invented to capture the magnitude of Michael Jackson’s magic. At least some, like the 1989 Achievement Award or the 1993 International Artist Award of Excellence (both from the American Music Awards), were continued. Commenting on the latter, Eddie Murphy adds via video message: “In addition, the American Music Awards are proud to announce that when the award is given in the future, it will be known as the Michael Jackson International Artist Award. So, congratulations, Michael! I know you should be smiling from ear to ear. I know you better smile even bigger than that. I wanna see gums, that’s how big I wanna see you smile.” Due to later allegations, 1993 wasn’t the best year to plan a Michael Jackson award franchise.
His timing was more fortunate when it came to MTV’s Video Vanguard Award. For four years, he had to watch as the accolade went first to The Beatles, David Bowie, Madonna & Co. before anyone at MTV would consider his contribution to the art form of the music video. After he finally got the gold-plated Moonman in 1988, his name would be forever associated with it, at least on and off, from 1991 when it was coined the Michael Jackson Video Vanguard Award.
Besides being a pioneer, an innovator of music videos, what should never be forgotten is Michael Jackson’s most legendary accomplishment: birthing the best-selling album of all time. Loyal institutions would send regular reminders. In 1992, in a pre-recorded videotape, Phil Collins hands him a Billboard Award for the No. 1 World Album for Dangerous and No. 1 World Single for Black or White. Michael turns towards the camera and recites his memorized acceptance speech: “I’m honored to be recognized by Billboard, which is considered to be the bible of the industry.”
Collins holds his arm out of the frame and conjures up another award. “But wait, don’t go anywhere, that’s not all. There’s more.”
“More?” Michael asks a little too quickly, his eyes fixed on the second crystal statue.
“Yes, there’s more. Wait!” Aware of their failed attempt to act surprised, they grin. “To commemorate the tenth anniversary of the all-time best-seller Thriller and to recognize that in the past ten years you basically outsold us all as the number one best-selling artist in the world, we’re very happy to present you this special and unique Billboard Award.” Too prepared, Michael looks directly back into the camera as he continues his humble appreciation: “I’m further touched by you saluting my efforts and more importantly that Thriller is remembered after a decade.”
Another decade later, Billboard would again honor Michael and Thriller for “still remaining the biggest-selling album in the history of the world”. Similarly, the Prince and Princess of Monaco, with their penchant for eccentric anniversaries, gave Jackson the World Music Awards for Best Selling Record of All Time in the random year of 1996.
Music video pioneer and best-selling artist: two pillars of Michael Jackson’s professional reputation manifested in gold, silver, acrylic or glass. Tragically, a third layer of his eminence fell victim to its own nobility. Because giving back is a duty and any recognition of it would leave one only but humbled, there is no such thing as The American Humanitarian Awards, no categories for Best Humanitarian Newcomer, Best Male or Female Humanitarian, or Best Humanitarian Collaboration.
Fortunately, Michael Jackson’s efforts to heal the world have not been lost in obscurity. Let me throw out both the thesaurus and the prose and lean into the concept of repetition with a simple, probably incomplete, chronological list:
Presidential Humanitarian Award from Ronald Reagan in 1984
Leonard Carter Humanitarian Award at the NAACP Image Award (introduced in 1988, discontinued after 1988)
Humanitarian Award at the Black Radio Exclusive Awards in 1989, alongside a second award called Triple Crown Award for his Achievements in Pop, Rock and Soul (despite the rule of threes completed within four months, this title didn’t travel)
The Best of Washington Humanitarian Award from The Capital Children’s Museum in 1990
Good Scout Humanitarian Award from the Boy Scouts of America in 1990
Our Children, Our Hope of Tomorrow Award from the one-off Jack the Rapper Awards in 1993
Humanitarian Award at the Soul Train Music Awards (introduced in 1993, discontinued after 1993)
Caring for Kids Award at the Children Choice Awards in 1994 (not to be confused with the Kids’ Choice Awards, this recognition was based on a survey of 100,000 children and teenagers ages eight to sixteen in New York, New Jersey and Connecticut, by an anti-drug, pro-fitness non-profit called Body Sculpt, a tiny event, but Michael attended)
Humanitarian Award at the VH1 Honors in 1995
The Harry Chapin Memorial Humanitarian Award from the National Association of Recording Merchandisers in 1995
Humanitarian Award at the Bollywood Movie Awards (introduced in 1999, discontinued after 1999)
Angel Of Hope Award at the G&P Foundation Angel Ball in 2000
Power of Oneness Award at the Oneness Awards in 2003
Humanitarian Award at the Radio Music Awards (introduced in 2003, discontinued after 2003)
The Heal the World Foundation, Michael’s most famous humanitarian outlet, was founded in 1992. According to Richard Fowler, its director from 1995 to 1997, it “doled out about $4 million in its first five years”. At the end of 2002, after a period of lack of “inspirational force”, it had net assets of $3,542 and was suspended. (source)
Michael Jackson’s second foundation, Heal the Kids, was founded in 2001 and filed for dissolution in 2003. Its last financial report showed that it “raised $558,664 in 2001, and spent about a fifth of the funds, $117,455, to host two lectures and another event to urge parents to spend more time with their kids. The rest of the money went for expenses. The group spent $297,259 on salaries, benefits and ‘consulting’; $50,264 on a now-defunct Web site; and $103,583 on ‘promotional’ costs among other overhead costs.” (source) That leaves a deficit of $9,897 they owe for actual healing.