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Who’s Loving You?

Karim Waheed
As I watched the Jackson memorial live on CNN Tuesday night (BST), several things were running through my head. Let me start my admitting. I haven't been a die hard Jackson fan when he was alive. As an admirer of good music however, I couldn't undervalue his songs. From early hits like “1'11 be there" (my personal favourite) which he recorded with his brothers (Jackson 5) to “Black or white" (from the. album ' Dangerous it) 1 ' i. he ha’S’giv^n the world a siZeabW toire of classics. Go to Tokyo or Manila, and you'll find some karaoke bar where people are still singing his songs till passing out.
But it was not Jackson's ubiquitous presence (despite his physical death) or his personal legend that stopped me in my tracks on June 25. When the news broke out that the King of Pop' has died, I went back to my childhood. I recalled the
first non-Bangla song I heard in the early 80s: "Beat it." As my uncle hummed and swayed to the song, 1 looked in .amazement. Anyone who has grown up in the '70s, '80s and early '90s probably had similar initiations to Jackson's music.
I received text messages from friends around the world that day. Some of them articulated what I had in mind: Our childhood (everything related to it, to be more precise) is coming to an end. In that sense, Jackson's death was a big jolt. I realised he was a significant part of my childhood, growing up and taste in music.
I started rummaging through my music collection, bought some Jackson CDs and DVDs (of music videos). As I listened closely, I was shocked, enlightened, euphoric, moved and puzzled. I didn't need music exponents or media analysts telling me that "Black or white" addressed racial unity and had white, black. Latino and Asian kids all over the world dancing to it. Want to call it pop ? Think again. The song's unbelievable introduction and main riff were played by Guns N' Roses guitarist Slash and Bill Bottrell.
"We Are the World" (written by Jackson and Lionel Richie, produced and conducted by Quincy Jones and recorded by a supergroup of 45 popular musicians billed as 'USA for Africa' in 1985) raised funds to help famine-relief efforts in Ethiopia. In" Earth song" (from the album "History," 1995), Jackson sang about human civilisation in 'self-destruct' mode, long before Al Gore came up with his "InconvenientTruth."
Jackson was accused of child abuse in . 1393a- criminal investigation Jivas dosed due lack'of eviBeaqc and Jackson was not charged. This however, permanently tainted his image and career. The way he conducted himself around children was questionable, yes. But was he a paedophile? Let's consider his childhood: Jackson stated that he was physically and emotionally abused by his father from a young age, enduring incessant rehearsals, whippings and namecalling. However, he also credited his
father's strict discipline as playing a large part in his success. In one altercation --later recalled by his brother Marlon — Joseph (their father) held Michael upside down by one leg and "pummelled him over and over with his hand, hitting him on his back." In 2003, Joseph admitted to the BBC that he had whipped Jackson as a child.
Jackson first spoke openly about his shildhopd abuse'in a 1993•interview with Oprah Winfrey He* skid 'that durihg his childhood he often cried from loneliness and would sometimes start to vomit upon seeing his father. Jackson recalled that Joseph sat in a chair with a belt in his hand as he and his siblings rehearsed and that "if you didn't do it the right way, he would tear you up, really get you."
At the age of 11, Jackson was hailed as a child prodigy and became a Motown phenomenon. Since then, he never had a
moment to himself; the whole world had become his stage. Could it be possible that Jackson was just trying to relive his childhood by always hanging out with kids and behaving like them (offstage)? His obsession with cosmetic surgery and enhancements goes to validate what many claim as his relentless effort to become "Peter Pan."
Perhaps, Rev. Al Sharpton put it the jbest wgy possible at the memorial, v^h^n. he told Jackson's childrertthat their father "wasn't strange, it was strange what he had to deal with."
The memorial, more like a 'wake,' was truly fit for a king. The lucky 17,500 who had won, begged or bought tickets entered Staples Centre, where the memorial was held. Those who couldn't, watched it on big screen and TV. What Jackson wanted to achieve with the London shows (it is being speculated that
the gruelling rehearsals and anxiety to live up to the expectation of his fans killed him) did come true, on a grander scale, but after his death.
Live performances made the memorial unforgettable. Though Mariah Carey's shaky rendition of "I'll be there" sounded avoidable, the rest were incredible, moving tributes. Stevie Wonder singing. "1 never dreamed
for faps. Jennifer( Hudson s cover of "Will you be there," despite the distracting dancers, was outstanding -- marked with emotional vulnerability and inner strength at the same time. John Mayer's stylish guitar interpretation of "Human nature" gave all an opportunity to hum the song.
But it was Paris, Jackson's 11-year-old daughter, who emerged as the surprise voice of the memorial.
"Ever since I was born, daddy has been the best father you could ever imagine," she said, fighting back tears as her aunt Janet consoled her. "And I just want to say that I love him so much," she said as she burst into tears and sought refuge in the embrace of family members. That, perhaps, was the most humanising moment.
According to Motown records founder Berry Gordy, "the title of King of Pop was not enough tor /acldohy^^^VISil Jackson "simply the greatest entertainer that ever lived." No one in the world would disagree now.
As I listened to one of Jackson’s earliest hits, "Who's loving you," 1 received a text message from a friend in Los Angeles that said, '"We are the world' — from LA to London, to Dhaka,Tokyo and everywhere else." The whole world is loving Michael Jackson.