When the name Michael Jackson is mentioned, images of a soft-spoken, charitable, and supremely talented artist often come to mind. He was, and remains, the undisputed King of Pop, a figure whose artistry transcended boundaries and touched millions. However, beneath the veneer of his public persona lay a remarkably shrewd and, at times, cutthroat individual, especially when it came to his business dealings and his interactions with fellow artists. This lesser-known aspect of Michael Jackson reveals a man who was not afraid to engage in serious back-and-forths, earning him a reputation among some as “cold as ice.”

This deep dive explores some of Michael Jackson’s most significant “beefs” – from his surprising rivalry with Eminem to his complex relationship with Paul McCartney, and the long-standing, often subliminal, tension with Prince, all the way to a deeply personal feud with his own brother, Jermaine. These stories paint a more complete, nuanced picture of a musical icon who was as formidable in the boardroom and behind the scenes as he was on stage.

The Unexpected Tussle: Michael Jackson and Eminem

The rivalry between Michael Jackson and Eminem was, for many, quite astonishing. Two colossal figures in different genres, their clashes were characterized by peculiar methods of taking shots at one another. The first noticeable bump in their relationship occurred in 2003. Eminem, during a show in Glasgow, was seen dangling and tossing a baby doll from his hotel window. This seemingly random act was a direct and rather provocative mockery of Michael Jackson, who, months prior, had controversially dangled his eight-month-old son from a hotel window in Berlin during an awards ceremony. Michael faced significant backlash for this incident, later issuing an apology, stating he “got caught up in the excitement of the moment” and would “never intentionally endanger the lives of my children.” Eminem’s public jest was a clear jab at this widely criticized moment, creating an initial rift between the two artists who were not even acquaintances before this.

Eminem escalated the situation further in 2004 with the release of “Just Lose It,” the lead single from his album Encore. The accompanying music video contained multiple scenes explicitly mocking Michael Jackson, but the jabs extended beyond visual gags. The lyrics were riddled with “wild subliminals.” Early in the song’s intro, Eminem’s line, “Alright, stop, pajama time,” was not merely an MC Hammer pun but a direct reference to the 2003 documentary Living with Michael Jackson, where MJ discussed letting children sleep in his bed. Throughout the song, Eminem continued to take digs, including lines like, “Guess who’s back with a brand new rap and I don’t mean rap as in a new case of child accusations I don’t touched on everything but Little Boys and that’s not a stab at Michael that’s just a metaphor I’m just a psycho.” The Michael Jackson allegations were a huge topic at the time, and despite his eventual acquittal, Eminem’s mockery undoubtedly caused pain.

Michael reportedly attempted to have the song banned, but failing to do so, he publicly expressed his hurt. “I’ve never met Mr. Eminem and to have him do something like that was pretty painful as an artist to another artist,” he stated. “It’s sad because I think what Stevie Wonder said is true… he should be ashamed of himself what he’s doing. I’ve never attacked another fellow artist. Great artists don’t do that.” Eminem, surprisingly, found Michael’s frustration to be an honor, explaining that his intent was not personal judgment but merely satirical.

The “beef” then went silent until 2007, when things subtly reignited. Michael’s Sony/ATV publishing partnership acquired Viacom’s famous music catalog for $370 million. This acquisition included a significant portion of Eminem’s back catalog, featuring hits like “Without Me” and “The Real Slim Shady,” now under Michael’s ownership. While this wasn’t an exclusive purchase of Eminem’s music, some fans theorized it was a deliberate “getback” for “Just Lose It.” Regardless of intent, it was a remarkable turn of events that saw Michael Jackson indirectly control a substantial part of an artist who had publicly ridiculed him. This trend of buying the music of those he had disputes with would reappear, most notably with Paul McCartney.

The Friend Turned Foe: Michael Jackson and Paul McCartney

Unlike his relationship with Eminem, Michael Jackson and Paul McCartney began as friends and collaborators in the early 1980s. Paul somewhat took Michael under his wing, and their bond deepened through shared creative endeavors. They recorded multiple platinum-selling songs together, including “Say Say Say” and “The Girl Is Mine.” Michael even stayed with Paul and his wife while recording in London. During one such stay, a pivotal conversation about publishing and song ownership took place. Paul, showing Michael a notebook listing the songs he owned, advised him to invest in music publishing, calling it a “very good business” for a musician. Michael took this advice to heart, even playfully (or perhaps prophetically) insisting that he would buy Paul’s music one day. This seemingly innocent remark would foreshadow one of the most significant financial moves of Michael’s career and a deep rift in their friendship.

Paul McCartney had learned the hard way about the importance of owning publishing rights, having been forced to sell the rights to The Beatles’ music in the 1960s due to tax problems. This led to the formation of Northern Songs Ltd, which later went public. The decision, initially smart, turned sour in 1969 when The Beatles’ publishers sold their shares to Britain’s Associated Television (ATV) without the band’s knowledge. Despite counter-bids, The Beatles lost control of their company and the publishing rights to their own music. This became a cautionary tale in the industry, one Michael Jackson learned well.

Throughout the following years, Michael began acquiring music catalogs, initially focusing on music he genuinely loved. As his career soared and his wealth grew, he delved deeper into the publishing game. In 1985, his team informed him that the massive ATV catalog was for sale. This wasn’t just about copyrights; the package included studios, equipment, and even life insurance policies for major artists, one of which was for Paul McCartney. Paul had made previous, unenthusiastic attempts to bid for ATV, primarily wanting his music back without the thousands of other assets attached. ATV, however, was unwilling to sell the Beatles’ tracks separately, as they constituted a significant portion of the catalog’s value. Ultimately, Michael Jackson acquired ATV Publishing for $47.5 million, thereby gaining ownership of thousands of songs, including 251 Beatles compositions.

When Paul learned of this, he was, understandably, furious. “I think it’s dodgy to do something like that, to be someone’s friend and then buy the rug they’re standing on,” he reportedly said. Michael attempted to call Paul numerous times to explain, but a frustrated Paul hung up on every call. In the subsequent years, Michael leveraged the Beatles’ songs in various projects, profiting significantly from the publishing rights. Paul tried to prevent this, arguing that using the music in commercials “cheapened” it, but Michael maintained it would “only make the music bigger and more people will hear it and give you more exposure.”

A meeting finally occurred in 1990 to address their issues. Paul expressed his feelings of betrayal, emphasizing that he felt tricked into selling his copyrights when he was young and now his old friend was profiting from that mistake. Michael claimed he meant no harm and was confused by Paul’s anger. An agreement was supposedly reached to increase Paul’s royalties, but Michael later denied this, leading Paul’s team to threaten legal action. Behind the scenes, Michael believed Paul had ample opportunities to repurchase his music but passed due to being “too cheap,” and therefore, Michael felt no obligation to rectify the situation. In 2001, Paul reflected on their estranged relationship, stating, “So we haven’t talked and we don’t have that great a relationship. The trouble is I wrote those songs for nothing and buying them back at these phenomenal sums I just can’t do it.” To this, Michael famously responded, “Oh, Paul, that’s just business.”

The resentment lingered for years, until Michael’s tragic passing. Sony/ATV then purchased the final shares from Michael’s family for $750 million. After Michael’s death, Paul expressed that his anger had subsided, acknowledging that while his initial response was valid, there was no longer a point in pursuing it. In a remarkable turn of events in 2018, Paul was able to start reclaiming his music from Sony/ATV through legal loopholes, a lawsuit, and a private settlement, finally regaining publishing rights that had been lost for half a century.

The Silent Rivalry: Michael Jackson and Prince

While Michael Jackson dominated pop music for decades, the 1980s cannot be discussed without acknowledging the monumental impact of Prince. Both artists were titans of the genre, rising in parallel, often releasing projects around the same time. Despite these similarities in their ascendancy and shared midwestern roots (both born in the same year, months apart), their personalities and musical styles were markedly contrasted. Prince was known for pushing boundaries and a more “risque” approach, even indirectly contributing to the implementation of parental advisory labels on music. Michael, having started as a child star with the Jackson 5, had, in essence, two distinct careers – one as a child and one as an adult – and was often considered the greater entertainer.

Their paths first directly crossed at the 1983 New Year’s Eve James Brown concert, an event where both young stars were in awe of the legendary performer. The media had already been heavily pitting them against each other. During the show, James Brown invited Michael on stage. Michael, in turn, whispered to Brown, daring him to invite Prince to perform. Prince accepted, adding his unique flair to the stage. This concert marked the first and last time Michael and Prince ever shared a stage. While Prince’s performance captivated the crowd, there were underlying issues: his guitar malfunctioned, and when he attempted to swing on a prop light pole, it fell into the audience. Though seemingly minor, for an artist performing in front of his idol at a major event, it was undoubtedly embarrassing. To exacerbate matters, Michael, who had invited him, relentlessly mocked Prince for this performance. According to Quincy Jones, Prince’s frustration reached such a peak that he even attempted to run Michael over with his car after the show – a testament to the intense rivalry brewing beneath the surface.

Their “beef” intensified when Prince declined an invitation to appear on the “We Are the World” charity single. The following year, Quincy Jones tried to mend the feud by arranging a collaboration between them on the song “Bad.” Again, Prince declined. He later explained to Chris Rock his reasoning, famously stating that the line “Your butt is mine” from “Bad” was problematic. “Who going to sing that to who? ‘Cause you sure ain’t singing it to me, and I sure ain’t singing it to you.”

Michael’s frustration was evident in a later-released audio recording for his 1988 Moonwalk memoir: “I don’t like to be compared to Prince at all. I have proven myself since I was real little. He feels like he’s my opponent. I hope he changes because boy, he’s going to get hurt. He’s the type that might commit suicide or something.” Michael further added, “He was so rude, one of the rudest people I’ve ever met. Prince is very competitive. He’s been very mean and nasty to me and my family.” These were some of the few direct confrontations in their largely subliminal rivalry.

Over the years, their run-ins continued, with Michael attempting to bury the hatchet and Prince consistently declining. It wasn’t until Michael’s death that Prince appeared to have a change of heart. Upon hearing of Michael’s passing, Prince reportedly canceled rehearsal, locked himself in his room for days, and later spoke of his sadness, “It’s always sad to lose someone you loved. I don’t want to talk about it. I’m too close to it.” He even began performing a cover of Michael’s “Don’t Stop ‘Til You Get Enough” in tribute. When Prince himself tragically died young in 2016, close friends expressed sorrow that the two stars never fully realized how much they had in common before it was too late.

Brotherhood Betrayed: Michael and Jermaine Jackson

Perhaps the most poignant and surprising “beef” Michael Jackson had was with his own brother, Jermaine. Michael’s musical journey began with the Jackson 5, a band comprised of his brothers Jackie, Tito, Jermaine, and Marlon, managed by their father Joe Jackson. While externally the group was a success, internal rivalries and power dynamics, fueled by sibling jealousy, simmered. This eventually escalated to a brother-on-brother diss track.

Jermaine was initially the lead singer of the Jackson 5, but their mother recognized Michael’s extraordinary talent, leading to his promotion to lead vocalist. While this shift was a catalyst, Michael and Jermaine remained incredibly close, their unique voices complementing each other and attracting a massive following. Record labels, however, began to exploit this dynamic, pushing both brothers to pursue solo projects, thereby subtly pitting them against each other. Even with Motown Records’ marketing efforts to highlight each brother’s personality, Michael consistently received the most attention. Reporters, at press events, would often playfully ask if one brother considered himself better than the other, and more directly, question when Michael would go solo and leave the Jackson 5. Despite these provocations, their rivalry largely remained lighthearted. Michael even expressed his admiration for Jermaine, stating, “Growing up, it was Jermaine I focused on. He’d walk me to school, I’d get his hand-me-down clothes, it was his voice I first imitated. I loved his sound. He showed me the way.”

The unbreakable bond, however, eventually fractured. Jermaine married the daughter of Motown Records founder Berry Gordy. Around this time, the Jackson 5 decided to leave Motown due to an unfair deal that left them with shockingly low royalties, moving to Epic Records for a better arrangement. Jermaine, however, chose to remain with Motown, effectively splitting from his brothers. His place in the group, now known as The Jacksons (as Motown legally owned the name “Jackson 5”), was filled by his younger brother Randy. Jermaine later reflected on the profound sense of detachment and loneliness he felt. Michael echoed this sentiment, remembering the pain of their first show without Jermaine, stating, “I depended on being next to Jermaine.”

Brotherhood eventually prevailed, and Jermaine rejoined The Jacksons. However, both brothers increasingly leaned into their solo careers. While Jermaine achieved a strong degree of popularity, Michael’s ascent was on an entirely different level, culminating in his undeniable reign as the King of Pop by the late 1980s. Jermaine, on the other hand, signed with Clive Davis but never reached the stratospheric heights of his younger brother. Looking back, a bitter truth emerged: Michael reportedly believed he was smarter, worked harder, and was more talented, while Jermaine felt Michael’s timing was the true architect of his success. Jermaine expressed, “Looking back, that was supposed to be me… Once Michael beat me to it, he made sure it would only be him.”

This unspoken resentment festered until 1991 when things turned overtly ugly. Jermaine was working on an album with Babyface and L.A. Reid. Coincidentally, Michael called Babyface and L.A. Reid, requesting a meeting and even sending a helicopter to fly them to Neverland Ranch. Jermaine, suspecting sabotage, requested to be released from his label, believing Michael was trying to derail his career. When Babyface and L.A. Reid arrived at Neverland, Michael, surprisingly, claimed he didn’t know who they were, confusing them with Jimmy Jam and Terry Lewis. Despite this odd start, Michael kept them occupied for about a week, dangling the prospect of a musical collaboration that was never truly going to materialize. When Babyface and L.A. Reid raised Jermaine’s frustrations with Michael, he reportedly responded indifferently, saying, “He’ll get over it.” When informed that Jermaine wanted off the label, Michael’s response was cold: “Did he sign a contract? Yes… then he’ll have to live with it, because those are the rules.”

While there is no concrete proof that Michael’s intention was to delay his brother’s work, many close to the situation, including Jermaine, believed it to be the case. Upon their return to Atlanta, Jermaine, fueled by this perceived betrayal, decided to record a diss track aimed at his own brother. Titled “Word to the Bad,” the vicious track denounced Michael as shallow and selfish, even criticizing his alleged skin color changes and plastic surgery. Jermaine also revealed that Michael had not returned his calls for months. “It’s not that he didn’t want to see me, he could have picked up the phone and seen me anytime he wanted. No, Michael don’t call.” He believed Michael had “completely lost touch with reality.”

Michael, predictably, disliked the song and reportedly snuck into his parents’ house to confront Jermaine, who had been avoiding him. Jermaine allegedly leaked the song but defended its message, stating it came “from the bottom of my heart” to “help my little brother get a grip on reality.” He denied jealousy, claiming he never meant to discredit Michael and that the song was never intended for public release, but now that it was out, he stood by it.

Despite the intensity of the diss track, it surprisingly seemed to be the turning point that ended their feud. In subsequent conversations, Michael and Jermaine appeared to have resolved their issues. While the Jackson family had its share of other dramas, including rumors of Michael suppressing his siblings’ careers, in the case of Jermaine and Michael, they ultimately ended on good terms.

These various “beefs” and rivalries highlight a more complex, multifaceted understanding of Michael Jackson – not just the benevolent King of Pop, but also a formidable and astute individual who navigated the cutthroat music industry with a shrewdness that often surprised those around him. These untold stories offer a deeper appreciation for the man behind the music, a legend whose personal and professional life was as intricate as his unparalleled artistry.