MUSICALLY speaking, the last time a 'king' passed away was on August 16, 1977.
Elvis Aaron Presley, also known as "The King", was arguably one of the most successful artists of his time, and remains a cultural icon to this day.
While the circumstances of his passing are still debated, the downhill trajectory of his personal life and his music career - a tale of over-eating, drug abuse and depression - are well-documented.
"The King" died at the tender age of 42; Michael Jackson, "The King of Pop", was 50.
That both their lives turned sour following bouts of international recognition is testimony to the perils of super-stardom and the often poignantly-observed tragedy of genius; a condition whose victims include Kurt Cobain, Vincent van Gogh, Ernest Hemingway and the like.
MJ certainly had his eccentricities: The reclusive life he led on his Neverland Ranch, his odd relationships with children, his notorious prima donna antics when it came to 'live' performances. In a strange twist of fate, he even had a brief marriage to the other king's daughter, Lisa Marie Presley.
Despite these quirks, I can't help but think of how his life had its fair share of pain too. Growing up with a slave-driving father who quite literally whipped the Jackson 5 into shape, one wonders if his behaviour later in life was shaped by such abuse. It disturbs me sometimes when I listen to that tender, pip-squeak, voice - on tracks like I Want You Back, ABC, and I'll Be There - to think that there's a lurking, threatening, figure in the background (perhaps even in the studio), making sure that everything goes perfect.
Some critics have suggested that the adult MJ was a child trapped in a grown-up's body and I do think there's some truth to that idea - minus its negative implications. To me, the earnest, inspiring sentiments on tracks like Heal The World and Man In The Mirror (my personal favourite) are revealing of a man who truly thought he could affect change through his art and influence.
PHOTO SOURCE: REUTERS
In this regard, a peer of his that comes to mind is Bob Dylan, whose own music has repeatedly - if in a slightly more cynical fashion - tried to have a social impact.
(On a side note, does anyone else think that MJ's Black Or White would have made a great theme song to US President Barack Obama's inauguration?)
Personal life aside, the craftsmanship of MJ's songs remains flawless. Even today, nearly a decade since his last hit, who wouldn't start bobbing their head to the first few bars of Beat It or Smooth Criminal? The mark of every MJ song, to me, has been their ability to jump straight into the hook; they get you from the first seconds in and hold you tight as the rest unfolds.
Sometimes its a simple, catchy, groove that's maintained throughout (eg. Beat It); at other times the song builds up with raw energy, like in the case of Dirty Diana. Either way, each and every one of MJ's hits reflects his talent in knowing what will get a listener's attention and hold them there for an engaging three or four minutes, without tiresome repetitions or cheap gimmicks.
That the audience never grew tired of his trademark MJ-isms - whether its his "WOO!" in the midst of tracks or his crotch-grabbing, moon-walking, dance moves - says a lot about how skillfully he walked that fine line of immense popularity without becoming his own cliche. These things, among many others, were purely MJ and will likely stay that way for all time.
The first album I ever bought, on cassette no less, was MJ's 'Dangerous' and I loved every track. This was after I was spellbound at a younger age by the lighted tiles of the Billy Jean music video and mildly freaked out by the zombies in 'Thriller'.
I also recall playing the Sega console "Moonwalker" video game and quite relishing the fact that the use of the "super" button would have all the characters on-screen, enemies included, dancing to Smooth Criminal.
I've read online that there are plans for a new MJ video game due by the end of this year. One can only guess if such things will help build on MJ's legacy or cheapen it.
What I do know, or at least am quite sure of, is that his death marks the end of an era for the music super star. With 750 million records sold, I seriously doubt there will every be another artist that can top that; not in the age of digital downloads, online piracy and a flailing record industry that will probably never put that kind of marketing dollar behind any one artist again.
Remember the days when there would be TV specials just to announce the launch of a new MJ album or even music video? Those times might be long gone with subtle viral/niche marketing, YouTube, and a global music scene that is much more diversified - and accessible - than ever.
With so much music going on around the world today, most of which can be found easily online, audiences are spoilt in choice and may have their attentions split between dozens of acts - offering none of them "super-star" status in their book.
With his passing, I do hope people's memories of him, in the times to come, will be good ones. Despite the wrongs he may have done to various parties - his tantrums, his "Wacko Jacko"-ness, the alleged sexual offenses and so on - I believe all debts to the public eye are cleared with his death.
PHOTO SOURCE: AFP
The man has left us with a bounty of wonderful songs to be enjoyed for years, if not decades and more, to come. As an artist he owes us no more, no less.