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"Dangerous" Deposition
Date confirmed in “Los Angeles Times” (archived) (“Jackson took the stand Monday [February 14, 1994”])
Transcript
Clerk of the Board: Do you solemnly, sincerely and truly declare and affirm that the testimony you shall give in this matter now before the court shall be the truth the whole truth and nothing but the truth; and this you do under the pains and penalties of perjury?
Michael Jackson: Yes, I do.
Clerk: Please, be seated.
Clerk: State your name for the record? Please spell your last name.
MJ: Michael Joseph Jackson. J-A-C-K-S-O-N.
Lawyer (Daniel S. Hoffman): Mr. Jackson, would you tell us the nature of your occupation?
MJ: Performer, songwriter…
L: Would you tell us when you started composing music?
MJ: Probably since the age of seven.
L: Would you tell us, how old you were when you had your first song published?
MJ: That I wrote myself?
L: Yes, sir.
MJ: Fifteen.
L: Could you tell us approximately Mr. Jackson, how many songs you’ve written to date?
MJ: In general couple hundred
L: And approximately, how many of those songs had been released to the public?
MJ: About fifty, sixty.
L: How many songs Mr. Jackson were on the “Bad” album?
MJ: I think nine.
L: And how many songs did you write for the “Bad” album that were not published?
A: Objection, your honor. Irrelevant.
Judge: Overruled.
MJ: I wrote probably sixty or seventy songs for “Bad” album that weren’t published.
L: And how many songs are on the “Dangerous” album?
MJ: On the album itself?
L: Yes sir.
MJ: I think seventeen.
L: And how many songs did you write for the “Dangerous” album that were not released to the public?
MJ: I think seventy songs.
L: What happens to songs that you compose complete but are not released to the public?
MJ: Well, I put them away in a vault.
L: And how many songs are you usually working on at one time? One? More than one?
MJ: Oh, gee. About five, about five songs.
L: Are any of the unreleased songs you’ve completed ever used again for any purpose?
MJ: Pardon?
L: Are any of the songs that are unreleased, the songs that you composed but are not released, are any of those songs ever used again for any purpose?
MJ: Sometime I kinda resurrect them and I have an idea what I wanna use them for.
L: Did your song “Dangerous” evolved of any previous song that you had composed?
MJ: Yes. I wrote the song for the “Bad” album called “Streetwalker” and it had driving bass melody, strong driving bass lick. [cough] Sorry. That bass lick was taken by my engineer , cause I was kinda frustrated with this song in general. So he took the bass and put new chords to the bass melody, which is what inspired the song “Dangerous”.
L: You say the bass lick and would you tell all of us who don’t know what lick is, what this term means in your field?
MJ: Well, a bass lick is a melody of what the bass guitar or the bass moog, which is an instrument called a moog or synthesizer performs. And it could be the melody of the song. And that’s what that is.
L: Could you describe for us Mr. Jackson the process and sequence of events which you use in composing songs generally and then we’ll get to “Dangerous” specifically. Is there a kind of process you go through?
MJ: Well, usually when I write the songs I get I… I vocally, I orally use a melody into a tape recorder. And for instance with the song “Streetwalker” which has a driving bass lick that I just spoke about, which I’ll have a tape recorder and I’d just sing the bass part into that tape recorder. And for “Streetwalker” the bass melody went a [sings] And I’ve taped that bass lick and put the chords of the melody over the bass lick. And I… And that what inspires the melody or the other sounds that I’m hearing in my head, but that is the bass lick and I use the moog and a bass guitar to create that sound that I’m hearing in my head.
L: Mr. Jackson, by the way who is the engineer that took “Streetwalker” stripped it down to the bass, the bass lick.
MJ: Billy Bottrell.
L: What happens… You say you hear things, the song, the melody you hear in your head?
MJ: Yeah. You mean the melody, the vocal melody?
L: Yeah.
MJ: Yes.
L: We’ll get to “Dangerous” in a minute, use some other song if you would, any of the song.
MJ: Okay. For instance, when creating the song “Billie Jean” I was writing in my car, it started with bass lick again, which goes… [beatboxing] And on top of it I’ll hear the chords [sings] then the melody [sings]. And the lyrics, the strings, the chorus everything comes at that moment, like a gift that is put right into your hand. And that’s how I hear it.
L: You just start sing lyrics?
MJ: Absolutely. When I said “Billie Jean is not my lover” I didn’t think about it, it just came and I’ll dropped in my laps at once. And I loved it so I’ve, I drove fast home and I got on the microphone and put things down. Then I went to the studio, got the musicians and gave them all their parts. That’s how, I mean that’s how that was created. Same things you know, with other songs that I’ve created.
L: By the way, do you read music?
MJ: No, I don’t. I don’t think it’s necessary.
L: Who wrote the lyrics to your song “Dangerous”?
MJ: I wrote the lyrics to “Dangerous”.
L: Did anyone, anyone in the world assist you in writing the lyrics to “Dangerous”?
MJ: No.
L: Mr. Jackson, who wrote the vocal melody to “Dangerous”, your song “Dangerous”?
MJ: I did it.
L: Did anyone in the entire world including Mr. Riley, Mr. Bottrell, anyone, assist you in writing the vocal melody?
MJ: No one at all.
L: Who named the song “Dangerous”? Who gave it the title?
MJ: I did.
L: Did anyone assist you in giving the song its title?
MJ: No one at all.
L: Approximately, how many hours by the way went into creating the song “Dangerous” from the beginning to the final version?
MJ: Including the song that it used to be, the “Streetwalker”?
L: No, not including “Streetwalker”. Let’s say Bottrell gave you the tape with the bass lick…
MJ: For that one I’d say maybe three weeks. Just listening to it every once in a while and letting the melody create itself and hearing the chords and the bass lick you know. And not dictating how it should be, just letting kinda form itself.
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L: Did you ever in your life hear about person named Crystal Cartier before this lawsuit was filed?
MJ: No.
L: Did you ever hear a song written by Miss. Cartier called “Dangerous” before this lawsuit was filed?
MJ: Never in my life.
L: You’re positive?
MJ: I’m more than positive. It’s an honest true.
L: Could you demonstrate for us starting with the Bottrell cassette or tape which the bass were now stripped down, you’ve been given what that bass would sound like, and just go through and name the process of creating the song “Dangerous”. Just take it step by step, just tell us what you do as you go along.
MJ: Starting with the bass at “Streetwalker”?
L: Yes.
MJ: Okay, like I said before, I wrote the song “Streetwalker” and I wasn’t completely satisfied with it, I was frustrated that’s you know, it wasn’t exactly what it should be. I have a lot of songs like that like kinda unfinished. And I… So I gave the song to Billy and he fooled around with it, he put some drum sounds and put it through you know computers and things. And he gave the tape back to me with the bass lick, the drums and everything on it. And I’d listen to it quite often and I liked what I’ve heard but it didn’t really have a melody yet, a vocal melody. And eventually the melody just came, just hearing the music the whole composition as itself. And the first, the first part I knew I wanted to talk the verses like a rap: As she walked into the room I knew right then and there was something different about this girl. The way she moved her hair, her face, her lines, divinity in motion So that’s pretty much the verse, then it goes into the B-section, which leads up to the chorus and it goes the chorus: I never knew but I was walking the line Come go with me, I said I have no time Then it goes, it builds to from the B-section to the chorus the lyrics were we didn't talk on the phone. My baby cried and left me standing alone. She's so dangerous, the girl is dangerous And that’s pretty much how it happened, just hearing those chords that inspired the melody.
L: What part of that you’ve done if you’ve done is the vocal melody?
MJ: That was the B-section leading into the chorus. When I say “Dangerous” that is the chorus, you hear the high strings, you hear the climax of the composition, you know. And that builds the chorus. Cause the verse is pretty much here, the B-sections it’s the stair steps when you get to the chorus it’s like the climax, like explosion.
L: And again, which part is the vocal melody, just sing just that part.
MJ: I never knew… I forgot the rest of the lyrics [giggles]
L: Mr. Jackson do you remember the time you first sang the lyrics in the recording studio at presence of other people.
MJ: No, I don’t really…
L: Not the date, the event itself.
MJ: Yes, I do.
L: Who was there?
MJ: Billy Bottrell was there. I think Brad Sundberg who is the assistant engineer was there and it was kinda funny day, not really funny but I usually sing in the dark cause I like to just feel everything and so on I don’t like people looking at me unless I’m on stage and so… All the lights were off and right before I started singing this huge I think it was seven feet tall this huge wall fell on my head and it made a lauds, bangs and it hurt, but I didn’t realize how it hurt until the next day, I was kinda dizzy. But it’s pretty much on tape, if you play the demo of us working on “Dangerous” it was even recorded cause you know, it’s there.
L: You don’t remember the date itself?
MJ: No, not the date. No, I don’t remember the dates, I am so busy.
L: Your Honor, may we play the exhibit A15 which has been admitted into the evidence.
J: Yes.
Clerk: Which tape is that?
L: That’s the tape… I don’t really get the date in… The court knows.
J: Preceded.
L: Mr. XXX can you play the tape A15, exhibit A15.
And would you listen to this Mr. Jackson and then I’ll ask you questions about that.
MJ: All right.
[Playing the demo of “Dangerous”]
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***
[That’s what I call terrible body language into the jury when you feel the body language if you mean the witness be on there
What I observed is…
***
L: Mr. Jackson is the falling of the partition on you in that song you just heard the exhibit A15 you hear the partition falling?
MJ: Yes.
L: At what portion of what we just heard that occurred?
MJ: Before the song starts.
L: Was that the final version as it appears on the album itself?
MJ: No.
L: Did the chorus lyrics ever changed from the night you sang that song of exhibit A15 until the album was released?
MJ: I don’t think so, I think lyrically it’s the same.
L: Did the vocal melody ever changed?
MJ: No.
L: Never changed before the album came out and after that night?
MJ: No.
L: Who were the co-composers of the song?
MJ: Well… Billy Bottrell and Teddy Riley.
L: Can you tell me what Mr. Bottrell contribution was, tell the jury what his contribution was to the song?
MJ: Well like I said before, the bass lick was there ready from the previous song that I had written, Billy Bottrell had taken the bass sound and he put chords from a keyboard, chords on top of that and drum sounds. And that what inspired the melody, what he did is what inspired me to write the melody, cause out of that whenever I hear the chords you need to have that [port] progression, I hear a million melodies in my head and hearing that that’s what inspired me to write that, what Billy did.
L: What was Mr. Riley, Teddy Riley’s contribution?
MJ: Teddy’s contribution, cause even after recording the one you’ve just heard I still wasn’t satisfied with it, to me it wasn’t contemporary enough, so I had Teddy going and kinda update the sounds and give them more of the hate using the word hip-hop, but it had a hip-hop kind of modern feel, where you could do all of new dances to, cause I love to dance. And when I played the song at home and danced to it the one you heard, it didn’t move me enough, so I wanted to do it more fire, more action and more depth and that’s what he contributed to the song. Changing the sound of things, the sound of the bass, the quality of the bass, the sound of the drums and he gave us the driving [** beat], that has more anger and the snare, more feeling and emotion, which I was looking for originally. So we kinda shaped and modeled and sculpted till I got what is on the “Dangerous” album.
L: Did Mr. Riley change the vocal melody?
MJ: No.
L: Did he change to vocal chorus?
MJ: Pardon?
L: Did he change to chorus?
MJ: No.
L: Lyrics to the chorus?
MJ: No.
L: Mr. Jackson, do you ever repeat in the new songs any themes from the old songs?
MJ: I’m… You said the word “theme”?
L: Or do you do anything similar in the new songs to something you have done previously?
MJ: Yeah, I guess I kinda do it subconsciously, I don’t do it on purpose.
L: Is there any part or portion of “Dangerous” in which there’s any relationship to any similar song you’ve done.
MJ: Yes.
L: Just tell me what the other song was first, just tell me the song.
MJ: The other song is called “Another Part Of Me” from the “Bad” album.
L: And what year was the “Bad” album done, recorded, processed?
MJ: Eighty… seven. 1987.
L: And “Another Part Of Me” is that on the “Bad” album? Was it released?
MJ: Yes. Yes.
L: Can you… don’t sing both songs, just sing for the jury if you would the portions of “Another Part Of Me” which you believe are similar to your “Dangerous”.
MJ: It goes… It’s the title You’re just another part of me.
L: And in “Dangerous”?
MJ: But you’re no damn lover friend of mine. Da-da-da-da-da-da. Same. Mostly the same.
[tape cuts]
L: … „Dangerous“ – a theme of love is dangerous or a woman is dangerous or specific woman is dangerous?
MJ: Using that word?
L: Not the word necessarily, but the theme
MJ: Yes, I used it several times. Song I wrote called “Dirty Diana”, which is about you know girls hanging around backstage and things. Then another song I wrote called “Billie Jean”.
L: Let me take one of the time. Approximately when did you write “Dirty Diana”?
MJ: I wrote “Dirty Diana” I think it was 86, 85, 86 and I released it on the “Bad” album.
L: And “Billie Jean”? When did you write “Billie Jean” and on what album?
MJ: “Billie Jean” was on the “Thriller” album and I had written that one in 1982 I think. Yeah, 82.
L: Have you ever used gun shots or police sirens on any work you’ve done in the past?
MJ: Yes.
L: What songs did you use police sirens and gun shots on?
MJ: On a song I wrote called “Smooth Criminal” and I used sirens, you know, machinegun sounds, it’s about Chicago in 1940, so it was appropriate.
L: Approximately when did you write the song “Smooth Criminal”?
MJ: I wrote “Smooth Criminal” around the same year I wrote “Dirty Diana”.
L: Which was approximately?
MJ: I think it was 85, 86, somewhere around there.
L: For what album?
MJ: For the “Bad” album.
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L: Mr. Jackson do you have any policy on regards the unsolicited tapes?
MJ: Yes.
L: And would you tell the jury what that policy is and how long you’ve had that policy.
MJ: Well, I don’t take any unsolicited tapes cause I know the danger involved. I mean, what happens when you do something like that is this situation.
L: Hold on, just answer my question: what is the policy?
MJ: A policy I-do-not-take-unsolicited-tapes. No way.
L: Is that a personal for you or people or your company…?
MJ: Everyone knows that, that’s the number one rule. I don’t have to take unsolicited tapes.
L: How do you get other songs, that you don’t compose, how do you get the songs from someone else, that you don’t compose?
MJ: Well…
L: Give us some examples.
MJ: There are songs that I’ve done that were very successful that I didn’t write. Like the song “Thriller” or the song “Man In The Mirror”.
L: Let’s take it one at the time. What is “Thriller”
MJ: Okay. “Thriller” this is a very theme song from the “Thriller” album and its composer was very popular, people know him, he’s in the industry, he’s a songwriter, he writes for other people, so he’s known, he’s professional.
L: Who was it?
MJ: His name is Rod Temperton.
L: Okay. And who recommended him, if anyone…?
MJ: Quincy Jones.
L: Quincy Jones did what?
MJ: Quincy Jones would recommended him.
L: Okay. What about personal friend of yours?
MJ: Like?
L: Have you ever done any Stevie Wonder song?
MJ: Oh, I see. Definitely. These are the kind of people if I do a song of someone else that a, you know, they have a whole track of record, a whole history of success to show that they’re a real songwriters.
L: Have you ever listen to the song, either on radio whatever, that you never heard before written by a composer you’ve never heard of before and then in any way used that song?
MJ: No.
L: Never?
MJ: Never.
L: No further questions, Your Honor.
Cross-examination
J: Miss Eberhardt.
GAE: Thank you, You Honor.
GAE: Good morning, Mr. Jackson.
MJ: Good morning.
GAE: Has your album titled “Dangerous” which includes the song “Dangerous” been sold throughout the United States to your knowledge?
MJ: Yes.
GAE: In fact, Mr. Jackson, it’s been sold throughout the world?
MJ: Yes.
GAE: Ok. Mr. Jackson, who owns MJJ Productions?
MJ: I do.
GAE: Ok. And who do you work for, Mr. Jackson?
MJ: Who do I work for?
GAE: Yes.
MJ: Well I work for myself.
GAE: Are you under contract with any company?
MJ: Yes.
GAE: And what’s the name of that company?
MJ: The company that I’m under contract with [records?] is a Sony Music.
GAE: Okay. Now, Mr. Jackson, can you read sheet music as a song is written down in sheet music form, can you read sheet music?
MJ: No, I don’t. Neither did Lennon or McCartney. It’s not necessary.
GAE: Mr. Jackson, can you write sheet music, can you write out the notes in the form of, in the form of sheet music?
MJ: No, I do not do that. It’s not necessary.
GAE: Okay. Did you record all of the vocals during the “Dangerous” in one recording during the “Dangerous” session?
Let me restate that, when you were recording “Dangerous” did you record the vocals always once?
MJ: The “Dangerous” that we’ve just heard or the one of the “Dangerous” album?
GAE: During “Dangerous” session for the “Dangerous” album did you record the vocal only once?
MJ: Just once that I can remember out of the demo.
GAE: So you recorded the vocals only once?
MJ: Yes.
GAE: Could you please refer to the defendant exhibit A19?
Mr. Jackson, just to let you know this is the Oceanway recording track sheet that your council has entered into evidence, if you turn to page…
J: And anyway, Miss. Eberhardt, it’s inappropriate for you to be telling witness what it is. If you want it you can ask him what it is, don’t tell witnesses what it may be.
GAE: Thank you, Your Honor.
GAE: Do you have it in front of you, Mr. Jackson?
MJ: Yes.
GAE: Do you know what this document purports to be?
MJ: Yes.
GAE: What is it, Mr. Jackson?
MJ: It’s the track sheet.
GAE: From?
MJ: For the song…
GAE: I’m sorry, Mr. Jackson, where’s the track sheet from?
MJ: Oceanway Recording Studios.
GAE: What’s the track sheet for?
MJ: Well, it’s for the song “Dangerous”.
GAE: Okay. If you turn to page 2 of the exhibit, what is indicated in tracks 1 through 6?
MJ: What’s indicated…?
GAE: In tracks 1 to 6, is any writing in those track boxes?
MJ: No.
GAE: Are you on page 2?
MJ: Well, how are they numbered here? I see 20.
GAE: The second page of the exhibit?
MJ: Okay, two. Yes.
GAE: If you could see the boxes that have track one listed at the track
MJ: Yes…
GAE: Track two…
MJ: Yes…
GAE: What’s located in those six tracks?
MJ: Well, I’m not a technical engineer, but those tracks are like they’re open for something that could be used, it happens all the time in the studio.
GAE: Okay. I’m sorry, we’re not on the same page. My second page of exhibit number two has a…
MJ: What is it?
GAE:… something written in tracks one through six.
MJ: Number two? How are they numbered?
J: What’s at the bottom of your page?
GAE: At the bottom of the page 21 is written.
MJ: Okay. 21.
GAE: Are you on the same page as I’m now?
MJ: Yes.
J: That’s the third page of the exhibit.
MJ: Yes, that’s it.
GAE: Those tracks one through six, what is written in those boxes?
MJ: This is vocal… those are vocal parts.
GAE: Are there dates at the bottom?
MJ: I’m not sure. Looks like it…
GAE: What’s written at the bottom?
MJ: Looks like it to me.
GAE: Okay. What’s written at the bottom?
MJ: In the first track it says 2191,
GAE: Okay.
MJ: Continue?
GAE: Yes, please Mr. Jackson.
MJ: Second track: 2191, third track 2191, and looks like I can’t make this one out, looks like an Xerox problem. What is it? I can’t make it out.
GAE: Does that appear to be 21, Mr. Jackson in the fourth track?
MJ: Yeah, but what’s the year? It looks like to me.
GAE: Okay. And it fifth track is it also 21?
MJ: Looks like that.
GAE: And in sixth track, is it also 21?
MJ: Yes.
GAE: So vocals… So Mr. Jackson, did anyone else perform any vocals that appear on your “Dangerous” at song on your album “Dangerous”?
MJ: No.
GAE: You’re the only one who recorded vocals, is that correct?
MJ: Yes.
GAE: Thank you, Mr. Jackson. Did you write the lyrics to “Dangerous” or did anyone assist in that process?
MJ: I wrote all the lyrics.
GAE: Okay. If you please refer to plaintiff’s exhibit 97?
(…)
GAE: Do you recognize this document, Mr. Jackson?
MJ: It’s copyright registration, I haven’t seen it, I don’t think that…
GAE: Could you’ve seen it during your deposition, Mr. Jackson?
MJ: I could have, I don’t remember.
GAE: What is this copyright registration for?
MJ: Well, for the song “Dangerous”.
GAE: Okay. And if you’d move down to section 2 where it says the name of the author, who’s listed first?
MJ: Michael Jackson.
GAE: And what is the nature of the authorship listed?
J: If you excuse me, the exhibit speaks for itself. If the question’s about something beyond the exhibit, then..
GAE: It is, Your Honor.
J: Well, so far they aren’t, as the matter of fact. If you’d like to ask the question beyond the exhibit you may precede to do so.
GAE: Mr. Bottrell… Well, who’s listed as the second author?
MJ: Bill Bottrell.
GAE: Is he credited with the nature of authorship for words and music?
MJ: Looks like it.
GAE: Did he write any of the words to “Dangerous”?
MJ: No, he did not.
GAE: He did not write any of the lyrics?
MJ: No.
GAE: As the third author of “Dangerous”, who is listed?
MJ: Teddy Riley.
GAE: And he’s also credited with the words and music?
MJ: Yes.
GAE: Did he write any of the lyrics?
MJ: No.
GAE: So he did not write any of the words?
MJ: No.
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GAE: Okay. Now Mr. Jackson, I believe you stated that it was Bill Bottrell who took that earlier song and what was the name of that song?
MJ: “Streetwalker”
GAE: Did you say that during your deposition?
MJ: I think I did. I’m not sure.
GAE: Mr. Jackson, did you state during your deposition…
L: Does he have the deposition?
GAE: Yes.
J: That’s not the rule Mr. Hoffmann (…) But if she wants him to have his deposition she’s welcome. How do you want to go about it, Miss Eberhardt?
GAE: Not at this time, Your Honor.
J: That’s permissible.
GAE: Question, okay?
J: Now you go a short [council], the rule is you have to tell him, the council, where you’re referring and give him the page and line now.
GAE: Deposition page 19, line number 7. Question: Okay. So what was the name of the song that you wrote? Answer: I do not remember. Now Mr. Jackson, did you remember the name of the song during the deposition?
MJ: Which song?
GAE: The song that Mr. Bottrell stripped down to just in your testimony, stripped down just to the bass line?
MJ: According to what you’re saying I don’t think I did.
GAE: But you do today?
MJ: Yes.
GAE: And where did he get a copy of the alleged song “Streetwalker”?
MJ: Yes, because he had worked on “Streetwalker” with me also on the “Bad” album. And it ended up not being on album. And we both liked “Streetwalker” very much so we’ve…
GAE: So where did he actually get the copy of recording of “Streetwalker”, Mr. Jackson?
MJ: Out of the vault.
GAE: Out of your vault?
MJ: I think so. It could have been out of the studio although.
GAE: Mr. Jackson, Bill Bottrell said he (ever recording of that tape) is it that you’re positive he got it out of your vault?
MJ: Yes, he could have had recording on it. Probably he had a copy like a…
GEA: Did you said a number of times during your deposition Mr. Jackson that he received the copy out of the vault?
MJ: Well, I’m not sure exactly where did he get it. What I do, I come to the studio, I work on my songs and then I leave. I don’t know where they put them. I heard there’s a vault. It could be in the studio a room where we keep all of our tapes in the air conditioned air, he could have taken a two track copy home just to study it, which I don’t mind.
GAE: Who has control over this vault, Mr. Jackson?
MJ: Who has control over the vault?
GAE: Yes.
MJ: My office, the engineers such as Billy Bottrell and Bruce Swedien, they can go in the vault. Or my secretaries.
GAE: Does Norma Staikos control over this vault?
MJ: What do you mean by control?
GAE: Does she have a… does she allowed certain people to access to vault?
MJ: Well, if they need a tape and she knows they’re working on something for me, sure.
GAE: Did she give access to Bill Bottrell?
MJ: No idea.
GAE: Did you state that in your deposition, Mr. Jackson?
MJ: I could have, but I don’t remember.
GAE: Referring to Mr. Jackson’s deposition page 94 line 15-18. Question, But who has access to the vault? Answer Norma Question, Norma, and her last name is? Answer Staikos.
Now does Norma Staikos give permission for people to come and go out of the vault Mr. Jackson?
MJ: Sometimes. But it depends on what you’re calling the vault. I mean, for instance, all the songs I did on “Dangerous” some could be at the vault, some still could be at the studio, cause even though you put them on the album they now could be there for a year. And now there are dance mixes done, club mixes done, I mean mixing the instruments differently, so the engineers have to have access to them all the time so they may have copies out of the studio.
J: Mr. Jackson, just answer the question.
MJ: I’m just trying to tell her the situation.
J: Just answer the question.
MJ: I’m answering the question.
J: You’re not.
MJ: I’m trying.
J: You’re failing. Go.
GAE: Thank you, Your Honor.
Mr. Jackson, where was the recording done on the “Dangerous” album?
MJ: Recording for “Dangerous” was done… I’m not sure, it could have been a Record-One-Studio.
GAE: So it was now on Record-One-Studio? Did you say that during your deposition?
MJ: I said it could have been. I’m not sure, I record at a lot of studios.
GAE: Did you say that it could have been done at Record One?
MJ: I’m not sure.
GAE: Referring to Mr. Jackson’s deposition page number 61, line 18. Question Okay. Possibly you might know was any of the recording done at Record One? Answer I do not know. Do you know, if any of the recording was done at Record One?
MJ: It could have been.
J: What’s the purpose of that question, is this impeachment?
GAE: Yes, Your Honor.
J: Well, impeachment is something different of what he said in the court room, isn’t it?
GAE: Here he specifically stated he did not know, Your Honor, during his deposition. Here he stated that it was possibly done at Record One. Those two terms to me are inconsistent.
J: All right, move on.
GAE: Thank you, Your Honor. Did Bill Bottrell do any of the mixing on the song “Dangerous”?
MJ: Which version?
GAE: Any of the mixing during the recording process of the song “Dangerous” that’s on your album?
MJ: No. No he did not.
GAE: He testified that he mixed down the tracks. Are you…
J: You know, that’s not appropriate question. I’ve told you that before.
GAE: Yes Your Honor. I’d move on.
J: If you wanna ask him, ask him. Don’t tell him what’s the testimony has been.
GAE: Yes Your Honor. Mr. Jackson, have you heard of recording Miss. Cartier’s song “Dangerous”?
MJ: Yes.
GAE: And comparing the first four bars of both songs “Dangerous”, do you hear any similar
L: Your Honor, I’m gonna object to testimony (…)
J: Well, he has listened to the song and he’s a musician and I think he’s qualified to say if he sees anything similar, non similar or what. Objection is overruled. You may answer the question, sir.
MJ: Could you ask your question once again please?
GAE: Sure.
MJ: Thank you.
GAE: Mr. Jackson, first four bars of both songs in your song “Dangerous” and Miss. Cartier’s song “Dangerous” – do you remember those first four bars?
MJ: Of her song?
GAE: Yes. And your song.
MJ: I remember mine.
GAE: Your Honor, may we play that tape that demonstrate us just the first four bars of both his song “Dangerous” and her song “Dangerous”, so he can answer this question?
J: He said he didn’t remember hers, so where are we going with this?
GAE: I’d like to be able to let him hear her song so he can answer my question.
J: All right, go.
GAE: This tape is of first four bars of the choruses played right together, Mr. Jackson.
J: Wait, are they’re together or there are one post another?
GAE: I’m sorry, your honor. One by another.
J: All right.
[tape plays]
GAE: Okay. Now, Mr. Jackson, do you hear anything similar in those two in those four bars played together?
MJ: Yes.
GAE: And what is that?
MJ: Well, we’re both saying “Dangerous”, that’s what is sounds like to me.
GAE: Do you hear any notes in common?
MJ: Not that I can think of.
GAE: Does it sound to you Mr. Jackson like you’re singing in harmony together?
MJ: Not to me, no.
GAE: Okay. Thank you, Your Honor. That’s all.
J: That’s all? Are you done with cross examination
GAE: Yes.
J: The witness may be excused. Don’t let anybody out of the courtroom.
[tape cuts]
Pop superstar Michael Jackson sang part of one of his biggest hits to a packed courtroom in a bid to prove that he wrote it.
He gave a rendition of Dangerous as he gave evidence on the fifth day of the action brought by songwriter Crystal Cartier, who claims he stole the song from her. Fans queued up for 90 minutes to see the bizarre performance.
"I write the lyrics for Dangerous", said Jackson,
Cartier, 38, who claims Jackson had access to a tape recording of her song of the same name before he recorded Dangerous in September 1990, is seeking at least £16m in damages.
Cartier says he left a tape recording of her song at Epic Records, the label Jackson records for in Los Angeles.
Jackson told the Denver court that no one helped him write the lyrics or melody of Dangerous and that he had never heard Cartier's version before he recorded his. "Never in my life", he said.
"I'm more than positive. It's the honest truth."
The superstar wore a black uniform-style shirt and had his hair in a ponytail.
Looking relaxed, he smiled and occasionally laughed during 50 minutes in the witness box.
He also sang a few bars from another song to illustrate how he creates songs.
And he also revealed that he liked to record in the dark.
Jackson said he remembered the first time he recorded the song because a studio partition fell on him.
The studio was unlit and he could not see its precarious position.
"I like to sing in the dark.
"I don't like people looking at me unless I'm on stage", he said.
At one point, Jackson had an exchange with Judge Edward Nottingham after the judge told him not to volunteer information.
"Mr. Jackson, just answer the question", the judge said.
"I'm answering the question", Jackson replied.
"You're not", the judge said.
"I'm trying", Jackson responded.
"You're failing", the judge concluded.
The pop superstar rolled up at the court in a gray van with tinted windows.
He avoided the waiting posse of reporters.
