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MIAMI - FEBRUARY 01: Musician Prince performs during the Super Bowl XLI Half-Time Press Conference at the Miami Convention Center on February 1, 2007 in Miami, Florida.
A lot has been made of the rivalry between Prince and Michael Jackson, and it’s easy to understand why. They were two of the biggest pop stars of the ‘80s (along with Bruce Springsteen, Madonna and George Michael, among a few others).
For one thing, they were two of the first non-white artists to get significant airtime on MTV. Musical Youth, Herbie Hanco*ck, Eddy Grant and the Bus Boys got some play, but Prince and Michael were the first to be treated as stars, not novelties or one-hit wonders. Prince’s breakthrough to MTV was his fifth album, 1999, released in October of 1982, about a month before Michael Jackson’s Thriller. “1999” and “Little Red Corvette” got some MTV attention as well, but not on the level of Thriller’s “Billie Jean,” “Beat It” and “Thriller” – the latter had a budget of $1 million in an era where most music videos were relatively low budget affairs.
The Jackson and Prince rivalry wasn’t a media concoction; there was actual friction there. Jackson discussed it in a conversation he recorded for his 1988 autobiography, Moonwalker. The segment wasn’t used in the book, but the British tabloid The Mirror got possession of the tapes in 2016, shortly after Prince’s passing. “I don’t like to be compared to Prince at all,” he said. “I have proven myself since I was real little. It’s not fair. He feels like I’m his opponent. I hope he changes because, boy, he’s gonna get hurt… He was so rude, one of the rudest people I have ever met. Prince is very competitive. He has been very mean and nasty to my family.”
The two were almost the exact same age, but of course, as a child star, Jackson’s career started over a decade before Prince’s. Still, Prince said in a 1997 interview with Chris Rock, “[He] was never my contemporary.” Rock protested, “He’s got to be a contemporary! [Was there] any rivalry between you and Mr. Jackson?” Prince responded flatly, “Not to me. I’m a musician. I live for playing and creating songs.”
This was the original “I don’t know her.” Of course they were contemporaries. And, of course, there was a rivalry. Thriller spent over 20 non-consecutive weeks at #1 on the album charts in 1983, and the first 15 straight weeks of 1984 in the top slot. But 1984 would ultimately belong to Prince: Purple Rain was the number-one album in the country for 22 weeks in a row, from the beginning of August through the year’s end.
The rivalry didn’t end there: Prince didn’t participate in USA For Africa’s “We Are The World.” The song, of course, was co-written by Jackson and Lionel Richie. Richie discussed Prince’s absence from the song with Jimmy Kimmel in 2019. The Netflix documentary on the song goes into more detail about why Prince wasn’t involved in the recording.
Despite that, Jackson wanted to work with Prince. He invited Prince to perform on the song “Bad.” This also came up in Prince interview with Chris Rock. He took issue with the line “Your butt is mine.” “I said, ‘Who’s gonna sing that to whom? ‘Cause you sure ain’t singing that to me. And I sure ain’t singing that to you.’ So, right there we got a problem.” Apparently, Prince sent Michael and producer Quincy Jones a demo of how he thought the song would go; this wasn’t well received. Needless to say, Prince isn’t on Jackson’s “Bad.”
Not that any artists need to be compared to anyone, but a closer comparison to Prince was David Bowie. Both enjoyed being massive stars, and they both used that currency to give them the space to do less commercial projects. Prince followed up 1984’s Purple Rain with 1985’s Around The World In A Day, an album that marked a 180-degree artistic turn. Now a marquee idol, Prince wasn’t visible on the album’s cover, he did minimal press and almost seemed to want to get away from the success of Purple Rain. Bowie did a number of drastic left turns throughout his career. After his biggest album, 1983’s Let’s Dance, Bowie did a few more (less successful) albums in that vein but then formed a new band, Tin Machine, that sounded like nothing he’d ever done before.
They both veered back and forth between more popular and less accessible projects over the decades, changing their backing bands based on their artistic visions and who could best execute on that. They were able, to varying degrees, to incorporate newer genres into their music. (Prince embraced hip-hop on 1991’s Diamonds and Pearls, and Bowie incorporated drum and bass/jungle/techno on 1997’s Earthling). And they enjoyed working with younger artists who they’d influenced (Bowie worked with Trent Reznor, Prince with Gwen Stefani, Sheryl Crow and Eve).
Some of those things are true of Michael as well, and none of this is to disparage him. And, ultimately, Prince likely would not have wanted us to. As his friend, the writer Tavis Smiley revealed, when the news of Jackson’s passing circulated, Prince took it hard. He told ExtraTV, “Prince was in rehearsal at Paisley Park; Prince cancels rehearsals, sent the band home, and for days, locked himself in his bedroom, wouldn’t come out, really didn’t talk to people.”
Smiley elaborated in a later interview. He noted that those rehearsals were for the Montreaux Jazz Festival in Switzerland, which took place just weeks after Jackson’s passing. Smiley accompanied Prince to Switzerland for the festival and recalled that after the show, he and Prince hung out on the roof of the hotel: “We walked there at about two in the morning, and we sat on the rooftop of that hotel, looking at the Swiss Alps ‘til the sun came up, and all Prince talked about for hours was Michael Jackson…. I don’t know if I said ten words that night, but Prince just had to get it out of his system. It was so surreal to hear him talk for hours about his respect for Michael’s genius, for Michael’s gift, for Michael’s showmanship.”
Michael’s genius and gift were about doing things at the highest and biggest levels: he wasn’t about weird, against-the-grain projects. He was the grain! Everything had to be number one for him. And there was an excitement to that. Off The Wall, Thriller, Bad and Dangerous were all huge moments in pop culture. But what Prince and Bowie had in common was that they’d have huge mainstream successes and then do something that wasn’t nearly as accessible, with the confidence that they could always have another hit when they wanted to.
Brian has been working in pop culture and media for about three decades: he’s worked at MTV, VH1, SiriusXM, CBS and Loudwire. Besides working as a writer and an editor-in-chief, he’s also appeared on air as a pundit, guested on radio shows and hosted podcasts. Over the years, he’s interviewed the surviving members of Led Zeppelin, the members of U2, Beyonce, Pink, Usher, Stevie Nicks, Lorde… and is grateful to have had the chance to interview Joe Strummer of the Clash and Tom Petty.
'Purple Rain' and 6 Other Soundtracks That Were No. 1 Albums
'Purple Rain'
What Saturday Night Fever was to the 1970s, that’s what Purple Rain was to the 1980s. Simply put: It’s 43:55 of perfection. Oddly enough, much like Saturday Night Fever, Purple Rainalso topped the Billboard album charts for 24 weeks. As if that weren’t enough, the album has sold over 25 million copies worldwide.
'Saturday Night Fever'
There will be some anti-disco people who likely groaned upon seeingSaturday Night Fever on this list. Guess what? Get over yourself, because this soundtrack is incredible! Obviously, this album is dominated by the Bee Gees — from “Stayin’ Alive” to “Jive Talkin’ to “Night Fever” — but the non-Bee Gees tracks are gems, too. Yvonne Elliman’s “If I Can’t Have You” is perfection, and it also was written by the Brothers Gibb! Saturday Night Fever not only topped the Billboard album charts for 24 weeks, it also won the Grammy for Album of the Year.
'Mary Poppins'
An undeniable classic that has entertained families for generations, the soundtrack to Disney’s Mary Poppins topped the Billboard album charts for 14 weeks in 1965. Great songwriting can do that. However, the magical voice of the incomparable Julie Andrews didn’t hurt things either. She didn’t win the Academy Award for Best Actress for nothing!
'Guardians of the Galaxy:Awesome Mix Vol. 1'(2014)
What makes this soundtrack’s success so interesting is that it’s the only soundtrack to top the Billboard 200 album chart that is comprised entirely of previously released songs. It’s worth mentioning that each track is a classic rock/classic hits mainstay, which only helps prove the staying power of these songs. There isn’t a weak track in the bunch, and there’s something for everyone. Any mix that features David Bowie, The Runaways and The Jackson 5 truly is “Awesome.”
See Also'Indian 2' trailer: Five promises made by Kamal Haasan and Shankar's filmAuditory brainstem implants (ABIs) | Hearing implants for deaf childrenDownload - Brett's Old Time Radio Show Episode 594, Dad's Army, Brain Versus BrawnFrom Kolkata to Cannes: How Anasuya Sengupta became the first Indian to win 'best actor' at the film festival'Wayne's World'
What a delightfully strange mix theWayne’s Worldsoundtrack is! Mega-babe Tia Carrere has two covers on the album: “Why You Wanna Break My Heart” and “Ballroom Blitz.” There’s also Alice Cooper’s “Feed My Frankenstein” and Gary Wright’s “Dream Weaver.” However, as we all know, the star of theWayne’s Worldsoundtrack is Queen’s “Bohemian Rhapsody.” Thanks to the iconic car scene, “Bohemian Rhapsody” re-entered theBillboardHot 100 chart and peaked at No. 2. Believe it or not, it ranked higher in 1992 than it did when it was first released in 1975, when it peaked at No. 9.
'Miami Vice'
Sure, theMiami Vicesoundtrack might be a surprise No. 1 album, but one listen to that bitchin’ theme from Jan Hammer, and its success makes a lot of sense. Of course, the album also had some killer songs from some of music’s biggest stars. Glenn Frey had two tracks on the album: “Smuggler’s Blues” and “You Belong to the City.” Also on the album were Chaka Khan’s “Own the Night” and Tina Turner’s “Better Be Good to Me.” Of course, there was also “In the Air Tonight” by Phil Collins, which remains undeniable today.
'Top Gun'
In the summer and fall of 1986, theTop Gunsoundtrack was the No. 1 album in the United States for five consecutive weeks. “Top Gun Anthem”? An iconic instrumental! Berlin’s “Take My Breath Away”? Not only was it a No. 1 hit single, it also won the Academy Award for Best Original Song. Add in Cheap Trick’s “Mighty Wings” and two classics from Kenny Loggins, and this is ’80s soundtrack perfection! (Yes, “Playing with the Boys” is a classic. Want to fight about it?!)
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David Bowie,Michael Jackson,Prince
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