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On May 16, 1983, I performed "Billie Jean" on a network telecast in honourof Motown's twenty-fifth anniversary. Almost fifty million people saw that show. After that, many things changed.
The Motown 25 show had actually been taped a month earlier, in April. Thewhole title was Motown 25: Yesterday, Today, and Forever , and I'm forced toadmit I had to be talked into doing it. I'm glad I did because the showeventually produced some of the happiest and proudest moments of my life.
As I mentioned earlier, I said no to the idea at first. I had been asked toappear as a member of the Jacksons and then do a dance number on my own. Butnone of us were Motown artists any longer. There were lengthy debates between me and my managers, Weisner and DeMann. I thought about how much
Berry Gordy had done for me and the group, but I told my managers and Motown that I didn't want to go on TV. My whole attitude toward TV is fairly negative. Eventually Berry came to see me to discuss it. I was editing "Beat It" at the Motown studio, and someone must have told him I was in the building. He came down to the studio and talked to me about it at length. I said, "Okay, but if I do it, I want to do ¦Billie Jean.'" It would have been the only non-Motown song in the whole show. He told me that's what he wanted me to do anyway. So we agreed to do a Jacksons' medley, which would include Jermaine. We were all thrilled.
So I gathered my brothers and rehearsed them for this show. I really worked them, and it felt nice, a bit like the old days of the Jackson 5. I choreographed them and rehearsed them for days at our house in Encino, videotaping every rehearsal so we could watch it later. Jermaine and Marlon also made their contributions. Next we went to Motown in Pasadena for rehearsals. We did our act and, even though we reserved our energy and never went all out at rehearsal, all the people there were clapping and coming
around and watching us. Then I did my "Billie Jean" rehearsal. I just walked through it because as yet I had nothing planned. I hadn't had time because I was so busy rehearsing the group.
The next day I called my management office and said, "Please order me a spy's hat, like a cool fedora - something that a secret agent would wear." I wanted something sinister and special, a real slouchy kind of hat. I still didn't have a very good idea of what I was going to do with "Billie Jean."
During the Thriller sessions, I had found a black jacket, and I said, "You know, someday I'm going to wear this to perform. It was so perfect and so show business that I wore it on Motown 25.
But the night before the taping, I still had no idea what I was going to do with my solo number. So I went down to the kitchen of our house and played "Billie Jean." Loud. I was in there by myself, the night before the show, and I pretty much stood there and let the song tell me what to do. I kind of let the dance create itself. I really let it talk to me; I heard the beat come in, and I took this spy's hat and started to pose and step, letting the "Billie Jean" rhythm create the movements. I felt almost compelled to let it
create itself. I couldn't help it. And that - being able to "step back" and let the dance come through - was a lot of fun.
I had also been practising certain steps and movements, although most of the performance was actually spontaneous. I had been practising the Moonwalk for some time, and it dawned on me in our kitchen that I would finally do the Moonwalk in public on Motown 25.
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