i think it's an age/taste thing with Thriller.

I think, it's the fact that when that record dropped, I was already changing the station in the car with the folks at will, buying albums, going to concerts, moving around the dial to see what was up on the rest of the radio.

Now my younger sister by eight years, BREATHED THAT ALBUM. hahahahahah

I was sincerely turned off, man. LOL.

That schitt is/was a huge spectacle with a couple of really good songs that ruined the Pop music game forever in my opinion.

almost every genre was competing to capture the Thriller formula, I made it a point to search for schitt that wasn't trying to be the penultimate gangbuster/blockbuster thing on the radio from then on, cause the schitt got SO insincere.

I mean, Whitney Fucking Houston is the first child of Thriller.
Her music is specifically made for dentist offices.

I mean look at Mike, that nigga damn near stopped singing words after that event/spectacle.

but honestly it's the sterilized sound of the production that's just so clusterfucky to me.

Those bright ass Quincy horns. The drum programming & sequencing. The synths. That distinct MJ rhythm guitar tone...ugghhh.

It was in the moment, but the schitt was TRYING to hard to be cutting edge & accessible AND lowest common denominator.

It sounded good right along side Men At Work on the radio, and changed the game.
But I don't listen to Men At Work's Business As Usual either, and don't miss it.
End of story.

But to have such reverence for exactly how Rome burned, and who struck the match?
Considering the dude was an undeniable force of nature up until that point anyways.

Thriller was Mike Jackson's crossroads. And I've maintained everyday of these 26 years that he got a raw deal.

Pop culture has to have a mania every so often to keep the business working.

M.J. got what he wanted. Right?

and hey, if you LOVE it. I understand.

Love needs no explanation

s.blak
Gotta Be Startin' Something © M.J.J.