Old Chinese
上古漢語
Zhou dynasty bronze inscription
Spoken in	Ancient China
Era	Shang dynasty, Zhou dynasty, Warring States period
Language family	Sino-Tibetan Sinitic Old Chinese
Writing system	Oracle bone script, Bronze script, Seal script
Language codes
ISO 639-3	och
This page contains IPA phonetic symbols in Unicode. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Unicode characters.

Old Chinese (simplified Chinese: 上古汉语; traditional Chinese: 上古漢語; pinyin: shànggǔ hànyǔ), also called Archaic Chinese in older works, refers to the form of Chinese spoken from the beginning of written records (around 1200 BC) until the 3rd century BC. The earliest inscriptions are undoubtedly Chinese, but are limited in scope and not fully understood.

Within historical Chinese phonology, the term refers to the language reflected by the rhymes of the Shijing and the phonetic components of Chinese characters, corresponding to the earlier half of the 1st millennium BC. Scholars have attempted to reconstruct the sounds of this language by comparing this data with what is known of Middle Chinese. Many details are still disputed, but most recent reconstructions agree on the basic structure. It is widely agreed that unlike later forms of the language, Old Chinese allowed consonant clusters at the beginning and end of the syllable, but lacked tones. The tone distinctions of Middle Chinese are believed to reflect earlier final consonants. Simple derivational morphology has also been identified.

The latter part of the Old Chinese period saw a flowering of literature, including classical works such as the Analects of Confucius, the Mencius, and the Tao Te Ching. As a result, Old Chinese was preserved for the following two millennia in the form of Classical Chinese, a style of written Chinese that sought to emulate the grammar and vocabulary of those works.

History[link]

Shang dynasty oracle bone script on an ox scapula

The earliest known written records of the Chinese language were found at a site near modern Anyang identified as Yin, the last capital of the Shang dynasty, and date from about 1200 BC. These are the oracle bones, short inscriptions carved on tortoise plastrons and ox scapulae for divinatory purposes, as well as a few brief bronze inscriptions. The language written is undoubtedly an early form of Chinese, but is difficult to interpret due to the limited subject matter and high proportion of proper names. Only half of the 4,000 characters used have been identified with certainty. Little is known about the grammar of this language, but it seems much less reliant on grammatical particles than Classical Chinese.^[1]

From early in the Western Zhou period, around 1000 BC, the most important recovered texts are bronze inscriptions, many of considerable length. Even longer pre-Classical texts on a wide range of subjects have also been transmitted through the literary tradition. The oldest parts of the Classic of History, the Shijing (Book of Songs) and the I Ching also date from the early Zhou period, and closely resemble the bronze inscriptions in vocabulary, syntax and style. A greater proportion of this more varied vocabulary has been identified than for the oracular period.^[2]

The four centuries preceding the unification of China in 221 BC (the later Spring and Autumn period and the Warring States period) constitute the Chinese classical period in the strict sense. There are many bronze inscriptions from this period, but they are vastly outweighed by a rich literature written in ink on bamboo and wooden strips and (toward the end of the period) silk. Although these are perishable materials, and many books were destroyed in the Burning of the Books in the Qin dynasty, other texts have been transmitted as copies. Such works from this period as the Analects, the Classic of Filial Piety, the Mencius and the Commentary of Zuo have been admired as models of prose style since the Han dynasty. The Classical Chinese language of such works formed the basis of Literary Chinese, which remained the written standard until the early twentieth century.^[3]

Script[link]

Seal script on bamboo strips from the Warring States period

At the time of the oracle bones, Old Chinese words were uniformly monosyllabic. Each character of the script represented a single word. The development of these characters follows the same three stages that characterized Egyptian hieroglyphic, Mesopotamian cuneiform and Mayan hieroglyphic writing.^[4]

Some words could be represented by pictures (later stylized) such as 日 rì "sun", 人 rén "person" and 木 mù "tree", by abstract symbols such as 三 sān "three" and 上 shàng "up", or by composite symbols such as 林 lín "grove" (two trees). About 1000 of the oracle bone characters, nearly a quarter of the total, are of this type, though 300 of them have not yet been deciphered. Though the pictographic origins of these characters are apparent, they have already undergone extensive simplification and conventionalization. Evolved forms of most of these characters are still in common use today.^[5]

In the next stage, characters of pictorial origin were borrowed to signify similar-sounding words that could not be represented pictorially, such as abstract terms and grammatical particles (the rebus strategy).^[6] An example of such a phonetic loan is 來 lái "come", written with the character for a similar-sounding word meaning "wheat".^[7] Sometimes the borrowed character would be modified slightly to distinguish it from the original, as with 毋 wú "don't", a borrowing of 母 mǔ "mother".^[8]

The final stage was disambiguation of phonetic loans by the addition of semantic indicators, yielding phono-semantic compound characters. For example, the character 其 originally representing jī "winnowing basket" was also used to write the pronoun and modal particle qí. Later the less common original word was written with the compound 箕, obtained by adding the symbol 竹 zhú "bamboo" to the character.^[9] This type was already used extensively on the oracle bones, and has been the main source of new characters since then. In the Shuowen Jiezi, a dictionary compiled in the 2nd century, 80% of the 9,000 characters are classified as phono-semantic compounds. In the light of the modern understanding of Old Chinese phonology, researchers now believe that most of the characters originally classified as semantic compounds also have a phonetic nature.^[10]

These developments were already present in the oracle bone script. The characters had been extensively simplified and linearized, implying a significant period of development prior to 1200 BC. This may have involved writing on perishable materials, as suggested by the appearance on oracle bones of the character 册 cè "records". The character is thought to depict bamboo or wooden strips tied together with leather thongs, a writing material known from later archaeological finds.^[11]

Development and simplification of the script continued during the pre-Classical and Classical periods, with characters becoming less pictorial and more linear and regular, with rounded strokes being replaced by sharp angles. The language developed compound words, so that characters came to represent morphemes, though almost all morphemes could be used as independent words. Hundreds of morphemes of two or more syllables also entered the language, and were written with one phono-semantic compound character per syllable. During the Warring States period, writing became more widespread, with further simplification and variation, particularly in the eastern states. The most conservative script prevailed in the western state of Qin, which would later impose its standard on the whole of China.^[12]

Phonology[link]

The phonology of Old Chinese has been reconstructed using a variety of evidence, including the phonetic components of Chinese characters, rhyming practice in the Classic of Poetry and descriptions of later stages of the language, especially the Qieyun, a rhyme dictionary published in 601. Although many details are still disputed, recent formulations are in substantial agreement on the core issues.^[13] For example, the Old Chinese initial consonants recognized by Li Fang-Kuei and William Baxter are given below, with Baxter's (mostly tentative) additions given in parentheses:^{[14][n 1]}

Most scholars reconstruct clusters of s- with other consonants, and possibly other clusters as well, but this area remains unsettled.^[17]

In recent reconstructions, such as the widely accepted system of Baxter, the rest of the Old Chinese syllable consists of

• an optional medial *-r-, *-j- or the combination *-rj-
• one of six vowels:

• an optional coda, which could be a glide *-j or *-w, a nasal *-m, *-n or *-ŋ, or a stop *-p, *-t, *-k or *-kʷ,
• an optional post-coda *-ʔ or *-s.

In such systems, Old Chinese has no tones; the tonal distinctions of Middle Chinese are believed to be conditioned by the Old Chinese post-codas.^[18]

Vocabulary[link]

The improved understanding of Old Chinese phonology has enabled the study of the origins of Chinese words (rather than the characters with which they are written). Most researchers trace the core vocabulary to a Sino-Tibetan ancestor language, with much early borrowing from other neighbouring languages.^[19] The traditional view is that Chinese is an isolating language, but since Henri Maspero's pioneering work scholars have been seriously studying the derivational morphology of Old Chinese.^[20]

Sino-Tibetan[link]

Middle Chinese and its southern neighbours Tai–Kadai, Miao–Yao and the Vietic branch of Austro-Asiatic have similar tone systems, syllable structure, grammatical features and lack of inflection, but these are believed to be areal features spread by diffusion rather than indicating common descent.^[21] The most widely accepted hypothesis is that Chinese belongs to the Sino-Tibetan language family, usually as a primary branch. The evidence consists of some hundreds of proposed cognate words,^[22] including such basic vocabulary as the following:^[23]

Some progress has been made on the sound correspondences between Chinese and Tibeto-Burman, though hampered by the difficulty of reconstruction on both sides.^[24] The initial systems are similar, except that Proto-Tibeto-Burman lacks an aspiration distinction on initial stops and affricates, which is believed to be a Chinese innovation arising from earlier prefixes.^[25] Proto-Sino-Tibetan is reconstructed with a six-vowel system as in recent reconstructions of Old Chinese, with Tibeto-Burman distinguished by the merger of the mid-central vowel *-ə- with *-a-.^[26] The other vowels are preserved by both, with some alternation between *-e- and *-i-, and between *-o- and *-u-.^[27]

Loanwords[link]

During the Old Chinese period, Chinese civilization expanded from a compact area around the lower Wei River and middle Yellow River eastwards across the North China Plain to Shandong and then south into the valley of the Yangtze River. There are no records of the non-Chinese languages formerly spoken in those areas and subsequently displaced by the Chinese expansion. However they are believed to have contributed to the vocabulary of Old Chinese, and may be the source of some of the many Chinese words whose origins are still unknown.^[28]

Jerry Norman and Mei Tsu-lin have identified early Austroasiatic loanwords in Old Chinese, possibly from the peoples of the lower Yangtze basin known to ancient Chinese as the Yue. For example, the early Chinese name *kroŋ (江 jiāng) for the Yangtze was later extended to a general word for "river" in south China. Norman and Mei suggest that the word is cognate with Vietnamese sông (from *krong) and Mon kruŋ "river".^[29]

Haudricourt and Strecker have proposed a number of borrowings from Miao–Yao languages. These include terms related to rice cultivation, which began in the middle Yangtze valley:

• *ʔjaŋ (秧 yāng) "rice seedling" from proto-Miao–Yao *jaŋ
• *luʔ (稻 dào) "unhulled rice" from proto-Miao–Yao *mblau^A[30]

Other words are believed to have been borrowed from languages to the south of the Chinese area, but it is not clear which was the original source, e.g.

• *zjaŋʔ (象 xiàng) "elephant" can be compared with Mon coiŋ, proto-Tai *jaŋ^C and Burmese chaŋ.^[31]
• *ke (雞 jī) "chicken" versus proto-Tai *kəi^B proto-Miao–Yao *kai and proto-Viet–Muong *r-ka.^[32]

In ancient times, the Tarim basin was occupied by speakers of Indo-European Tocharian languages, the source of *mjit (蜜 mì) "honey", from Proto-Tocharian *ḿət(ə) (where *ḿ is palatalized; cf. Tocharian B mit), cognate with English mead.^[33] The northern neighbours of Chinese contributed such words as *dok (犢 dú) "calf" – compare Mongolian tuɣul and Manchu tukšan.^[34]

Word formation[link]

Many students of Chinese have noted "word families", words with related meanings and variant pronunciations, sometimes written using the same character. A common case is "derivation by tone change", in which words in the departing tone appear to be derived from words in other tones.^[35] If Haudricourt's theory of the origin of the departing tone is accepted, these derivations can be interpreted as a suffix *-s. As Tibetan has a similar suffix, it may be inherited from Sino-Tibetan.^[36] Examples include:

• *dzjin (盡 jìn) "to exhaust" and *dzjins (燼 jìn) "exhausted, consumed"^[37]
• *kit (結 jié) "to tie" and *kits (髻 jì) "hair-knot"^[38]
• *nup (納 nà) "to bring in" and *nuts < *nups (內 nèi) "inside"^[39]
• *tjək (織 zhī) "to weave" and *tjəks (織 zhì) "silk cloth" (compare Written Tibetan 'thag "to weave" and thags "woven, cloth")^[40]

Another alternation involves transitive verbs with an unvoiced initial and passive or stative verbs with a voiced initial:^[41]

• *kens (見 jiàn) "to see" and *ɡens (現 xiàn) "to appear"^[42]
• *kraw (交 jiāo) "to mix" and *ɡraw (殽 yáo) "mixed, confused"^[43]
• *trjaŋ (張 zhāng) "to stretch" and *drjaŋ (長 cháng) "long"^[44]

Some scholars hold that the transitive verbs with voiceless initials are basic and the voiced initials reflect a de-transitivizing voiced prefix. Others suggest that the transitive verbs were derived by the addition of a causative prefix *s- to a stative verb, causing devoicing of the following voiced initial. Both postulated prefixes have parallels in Tibeto-Burman languages.^[45] Several other affixes have been proposed.^[46]

Old Chinese morphemes were originally monosyllabic, but during the Western Zhou period many new bisyllabic words entered the language. For example, over 30% of the vocabulary of the Mencius is polysyllabic, including 9% proper names, though monosyllabic words occur more frequently, accounting for 80–90% of the text.^[47] Many words, particularly expressive adjectives and adverbs, were formed by varieties of reduplication:^[48]

• full reduplication, in which the syllable is repeated, as in *ʔjuj-ʔjuj (威威 wēiwēi) "tall and grand" and *ljo-ljo (俞俞 yúyú) "happy and at ease".^[48]
• rhyming semi-reduplication, in which only the final is repeated, as in *ʔiwʔ-liwʔ (窈宨 yǎotiǎo) "elegant, beautiful".^[49] The initial of the second syllable is often *l- or *r-.^[50]
• alliterative semi-reduplication, in which the initial is repeated, as in *tsʰrjum-tsʰrjaj (參差 cēncī) "irregular, uneven".^[49]
• vowel alternation, especially of *-e- and *-o-, as in *tsʰjek-tsʰjok (刺促 qìcù) "busy" and *ɡreʔ-ɡroʔ (邂逅 xièhòu) "carefree and happy".^[51]

Other bisyllabic morphemes include the famous *ɡa-lep (蝴蝶 húdié) "butterfly" from the Zhuangzi.^[52] More words, especially nouns, were formed by compounding, including:

• qualification of one noun by another (placed in front), as in *mok-kʷra (木瓜 mùguā) "quince" (literally "tree-melon"), and *trjuŋ-njit (中日 zhōngrì) "noon" (literally "middle-day").^[53]
• verb–object compounds, as in *sjə-mraʔ (司馬 sīmǎ) "master of the household" (literally "manage-horse"), and *tsak-tsʰrek (作册 zuòcè) "scribe" (literally "make-writing").^[54]

However the components of compounds were not bound morphemes: they could still be used separately.^[55]

A number of bimorphemic syllables appeared in the Classical period, resulting from the fusion of words with following unstressed particles or pronouns. Thus the negatives *pjut 弗 and *mjut 勿 are viewed as fusions of the negators *pjə 不 and *mjo 毋 respectively with a third-person pronoun *tjə 之.^[56]

Grammar[link]

Little is known of the grammar of the language of the Oracular and pre-Classical periods, as the texts are often of a ritual or formulaic nature, and much of their vocabulary has not been deciphered. In contrast, the rich literature of the Warring States period has been extensively analysed.^[57] Having no inflection, Old Chinese was heavily reliant on word order, grammatical particles and inherent word classes.^[58]

Word classes[link]

Classifying Old Chinese words is not always straightforward, as words were not marked for function, word classes overlapped, and words of one class could sometimes be used in roles normally reserved for a different class.^[59]

Old Chinese nouns and pronouns did not indicate number or gender, but some personal pronouns showed case distinctions:^[60]

In the oracle bones, the *l- pronouns were used by the king to refer to himself, and the *ŋ- forms for the Shang people as a whole. This distinction is largely absent in later texts, and the *l- forms disappeared during the classical period.^[61] In the post-Han period 我 and 其 came to be used as general first and third person pronouns respectively. The second person pronouns 汝 and 爾 continued to be used interchangeably until their replacement by the phonological variant 你 nǐ in the Tang period.^[62] There were also demonstrative and interrogative pronouns, but no indefinite pronouns.^[63] The distributive pronouns were formed with a *-k suffix:^[64]

• *wək 或 "someone" from *wjəʔ 有 "there is"
• *mak 莫 "no-one" from *mja 無 "there is no"
• *kak 各 "each" from *kjaʔ 舉 "all"

As in the modern language, localizers (compass directions, "above", "inside" and the like) could be placed after nouns to indicate relative positions. They could also precede verbs to indicate the direction of the action.^[65] Nouns denoting times were another special class (time words); they usually preceded the subject to specify the time of an action.^[66] However the classifiers so characteristic of Modern Chinese did not appear until the Southern and Northern dynasties.^[67]

Old Chinese verbs, like their modern counterparts, did not show tense or aspect; these could be indicated with adverbs or particles if required. Verbs could be transitive or intransitive. As in the modern language, adjectives were a special kind of intransitive verb, and a few transitive verbs could also function as modal auxiliaries or as prepositions.^[68] Adverbs described the scope of a statement or various temporal relationships.^[69] They included two families of negatives starting with *p- and *m-, such as *pjə 不 and *mja 無.^[70] Modern northern varieties derive the usual negative from the first family, while southern varieties preserve the second.^[71] The language had no adverbs of degree until late in the Classical period.^[72]

Particles were function words serving a range of purposes. As in the modern language, there were sentence-final particles marking imperatives and yes/no questions. Other sentence-final particles expressed a range of connotations, the most important being *ljaj 也, expressing static factuality, and *ɦjəʔ 矣, implying a change. Other particles included the subordination marker *tjə 之 and the nominalizing particles *tjaʔ 者 (agent) and *srjaʔ 所 (object).^[73] Conjunctions could join nouns or clauses.^[74]

Sentence structure[link]

As with English and modern Chinese, Old Chinese sentences can be analysed as a subject (a noun phrase, sometimes understood) followed by a predicate, which could be of either nominal or verbal type.^[75]

Before the Classical period, nominal predicates consisted of a copular particle *wjij 惟 followed by a noun phrase:^[76]

予	惟	小	子
*ljaʔ	*wjij	*sjewʔ	*tsjəʔ
I	be	small	child

"I am a young person." (Book of History 27, 9)^[77]

The negated copula *pjə-wjij 不惟 is attested in oracle bone inscriptions, and later fused as *pjəj 非. In the Classical period, nominal predicates were constructed with the sentence-final particle *ljaj 也 instead of the copula 惟, but 非 was retained as the negative form, with which 也 was optional:^[78]

其	至	爾	力	也	其	中	非	爾	力	也
*ɡjə	*tjits	*njəjʔ	*C-rjək	*ljajʔ	*ɡjə	*k-ljuŋ	*pjəj	*njəjʔ	*C-rjək	*ljajʔ
its	arrive	you	strength	P	its	centre	not	you	strength	P

(of shooting at a mark a hundred paces distant) "That you reach it is owing to your strength, but that you hit the mark is not owing to your strength." (Mencius 10.1/51/13)^[79]

The copular verb 是 (shì) of Literary and Modern Chinese dates from the Han period. In Old Chinese the word was a near demonstrative ("this").^[80]

As in Modern Chinese, but unlike most Tibeto-Burman languages, the basic word order in a verbal sentence was subject–verb–object:^[81]

孟	子	見	梁	惠	王
*mraŋs	*tsəjʔ	*kens	*C-rjaŋ	*wets	*wjaŋ
Mencius		see	Liang	Hui	king

"Mencius saw King Hui of Liang." (Mencius 1.1/1/3)^[82]

Besides inversions for emphasis, there were two exceptions to this rule: a pronoun object of a negated sentence or an interrogative pronoun object would be placed before the verb:^[83]

歲	不	我	與
*swjats	*pjə	*ŋajʔ	*ljaʔ
year	not	me	wait

"The years do not wait for us." (Analects 17.1/47/23)

An additional noun phrase could be placed before the subject to serve as the topic.^[84] As in the modern language, yes/no questions were formed by adding a sentence-final particle, and requests for information by substituting an interrogative pronoun for the requested element.^[85]

In general, Old Chinese modifiers preceded the words they modified. Thus relative clauses were placed before the noun, usually marked by the particle *tjə 之 (in a role similar to Modern Chinese 的 de):^[86]

不	忍	人	之	心
*pjə	*njənʔ	*njin	*tjə	*sjəm
not	endure	person	P	heart

"... the heart that cannot bear the afflictions of others." (Mencius 3.6/18/4)^[87]

A common instance of this construction was adjectival modification, since the Old Chinese adjective was a type of verb (as on the modern language), but 之 was usually omitted after monosyllabic adjectives.^[87]

Similarly, adverbial modifiers, including various forms of negation, usually occurred before the verb.^[88] As in the modern language, time adjuncts occurred either at the start of the sentence or before the verb, depending on their scope, while duration adjuncts were placed after the verb.^[89] Instrumental and place adjuncts were usually placed after the verb phrase. These later moved to a position before the verb, as in the modern language.^[90]

Notes[link]

References[link]

Footnotes

Works cited

Further reading[link]

External links[link]

	China portal
	Languages portal

• "Book Review: The Roots of Old Chinese", review of Sagart (1999) by Axel Schuessler.
• "Laurent Sagart : The Roots of Old Chinese", review of Sagart (1999) by Marc Miyake.
• "Review of Axel Schuessler's ABC Etymological Dictionary of Old Chinese", review of Schuessler (2007) by Georgiy Starostin.

Wikibooks has a book on the topic of Character List for Karlgren's GSR

Michael Jackson
Jackson at the White House in 1984
Background information
Birth name	Michael Joseph Jackson[1]
Also known as	King of Pop, MJ
Born	(1958-08-29)August 29, 1958 Gary, Indiana, U.S.
Died	June 25, 2009(2009-06-25) (aged 50) Los Angeles, California, U.S.
Genres	R&B, pop, rock, soul, dance, funk, disco, new jack swing
Occupations	Singer-songwriter, musician, composer, dancer, choreographer, record producer, actor, businessman, philanthropist
Instruments	Vocals
Years active	1964–2009
Labels	Motown, Epic, Legacy, MJJ Productions
Associated acts	The Jackson 5 Michael Jackson's Signature
Website	www.michaeljackson.com

Michael Joseph Jackson^[1] (August 29, 1958 – June 25, 2009) was an American recording artist, entertainer, and businessman. Often referred to as the King of Pop, or by his initials MJ,^[2] Jackson is recognized as the most successful entertainer of all time by Guinness World Records. His contribution to music, dance, and fashion, along with a much-publicized personal life, made him a global figure in popular culture for over four decades. The seventh child of the Jackson family, he debuted on the professional music scene along with his brothers as a member of The Jackson 5 in 1964, and began his solo career in 1971.

In the early 1980s, Jackson became a dominant figure in popular music. The music videos for his songs, including those of "Beat It", "Billie Jean", and "Thriller", were credited with transforming the medium into an art form and a promotional tool, and the popularity of these videos helped to bring the relatively new television channel MTV to fame. Videos such as "Black or White" and "Scream" made him a staple on MTV in the 1990s. Through stage performances and music videos, Jackson popularized a number of complicated dance techniques, such as the robot and the moonwalk, to which he gave the name. His distinctive musical sound and vocal style influenced numerous hip hop, post-disco, contemporary R&B, pop and rock artists.

Jackson's 1982 album Thriller is the best-selling album of all time. His other records, including Off the Wall (1979), Bad (1987), Dangerous (1991), and HIStory (1995), also rank among the world's best-selling. Jackson is one of the few artists to have been inducted into the Rock and Roll Hall of Fame twice. He was also inducted into the Dance Hall of Fame as the first (and currently only) dancer from the world of pop and rock 'n' roll. Some of his other achievements include multiple Guinness World Records; 13 Grammy Awards (as well as the Grammy Legend Award and the Grammy Lifetime Achievement Award); 26 American Music Awards (more than any other artist, including the "Artist of the Century"); 13 number-one singles in the United States in his solo career (more than any other male artist in the Hot 100 era); and the estimated sale of over 750 million records worldwide. Jackson won hundreds of awards, which made him the most-awarded recording artist in the history of popular music.^[3] He was also one of the world's most prominent humanitarians and philanthropists; personally, and through his Heal the World Foundation, he donated more than $300 million in charity, and held the Guinness World Record for having supported the most charities out of any pop star.^[4][5]

Aspects of Jackson's personal life, including his changing appearance, personal relationships, and behavior, generated controversy. In 1993, he was accused of child sexual abuse, but the case was settled out of court and no formal charges were brought. In 2005, he was tried and acquitted of further child sexual abuse allegations and several other charges after the jury found him not guilty on all counts. While preparing for his concert series titled This Is It, Jackson died of acute propofol and benzodiazepine intoxication on June 25, 2009, after suffering from cardiac arrest. The Los Angeles County Coroner ruled his death a homicide, and his personal physician was convicted of involuntary manslaughter. Jackson's death triggered a global outpouring of grief, and as many as one billion people around the world reportedly watched his public memorial service on live television. In March 2010, Sony Music Entertainment signed a $250 million deal with Jackson's estate to retain distribution rights to his recordings until 2017, and to release seven posthumous albums over the decade following his death.^[6]

Life and career[link]

Early life and The Jackson 5 (1958–1975)[link]

Jackson's childhood home in Gary, Indiana, showing floral tributes after his death

Jackson (center) as a member of The Jackson 5 in 1972

Michael Jackson was born on August 29, 1958, the eighth of ten children in an African American working-class family who lived in a small 3-room house in Gary, Indiana,^[7] an industrial city near Chicago. His mother, Katherine Esther Scruse, was a devout Jehovah's Witness, and his father, Joseph Walter "Joe" Jackson, was a steel mill worker who performed with an R&B band called The Falcons. Jackson had three sisters: Rebbie, La Toya, and Janet, and five brothers: Jackie, Tito, Jermaine, Marlon, and Randy.^[8] A sixth brother, Brandon, died shortly after birth.^[9]

Jackson had a troubled relationship with his father, Joe.^[10][11][12] Joseph acknowledged in 2003 that he regularly whipped Jackson as a boy.^[12] Jackson stated that he was physically and emotionally abused during incessant rehearsals, though he also credited his father's strict discipline with playing a large role in his success.^[10] Jackson first spoke openly about his childhood abuse in an interview with Oprah Winfrey, broadcast in February 1993. He admitted that he had often cried from loneliness and he would vomit on the sight of his father. Jackson's father was also said to have verbally abused Jackson, saying that he had a fat nose on numerous occasions.^[13] In fact, Michael Jackson's deep dissatisfaction with his appearance, his nightmares and chronic sleep problems, his tendency to remain hyper-compliant especially with his father, and to remain child-like throughout his adult life are in many ways consistent with the effects of this chronic maltreatment he endured as a young child.^[14]

In an interview with Martin Bashir, later included in the 2003 broadcast of Living with Michael Jackson, Jackson acknowledged that his father hurt him when he was a child, but was nonetheless a "genius", as he admitted his father's strict discipline played a huge role in his success. When Bashir dismissed the positive remark and continued asking about beatings, Jackson put his hand over his face and objected to the questions. He recalled that Joseph sat in a chair with a belt in his hand as he and his siblings rehearsed, and that "if you didn't do it the right way, he would tear you up, really get you".^[15][16]

In 1964, Michael and Marlon joined the Jackson Brothers—a band formed by brothers Jackie, Tito, and Jermaine—as backup musicians playing congas and tambourine. Jackson later began performing backup vocals and dancing. When he was eight, Jackson began sharing the lead vocals with his older brother Jermaine, and the group's name was changed to The Jackson 5.^[8] The band toured the Midwest extensively from 1966 to 1968, frequently performing at a string of black clubs known as the "chitlin' circuit", where they often opened stripteases and other adult acts. In 1966, they won a major local talent show with renditions of Motown hits and James Brown's "I Got You (I Feel Good)", led by Michael.^[17]

The Jackson 5 recorded several songs, including "Big Boy", for the local record label Steeltown in 1967, before signing with Motown Records in 1968.^[8] Rolling Stone magazine later described the young Michael as "a prodigy" with "overwhelming musical gifts," writing that he "quickly emerged as the main draw and lead singer."^[18] The group set a chart record when its first four singles ("I Want You Back", "ABC", "The Love You Save", and "I'll Be There") peaked at number one on the Billboard Hot 100.^[8] Between 1972 and 1975, Michael released four solo studio albums with Motown, among them Got to Be There and Ben, released as part of the Jackson 5 franchise, and producing successful singles such as "Got to Be There", "Ben", and a remake of Bobby Day's "Rockin' Robin".

The Jackson 5 "became a cutting-edge example of black crossover artists... five working-class black boys with afros and bell bottoms, and they really didn't have to trade any of that stuff in order to become mainstream stars."^[19]

The group's sales began declining in 1973, and the band members chafed under Motown's strict refusal to allow them creative control or input. Although they scored several top 40 hits, including the top 5 disco single "Dancing Machine" and the top 20 hit "I Am Love", the Jackson 5 left Motown in 1975.^[20]

[edit] Move to Epic and Off the Wall (1975–81)

In June 1975, the Jackson 5 signed with Epic Records, a subsidiary of CBS Records^[20] and renamed themselves the Jacksons. Younger brother Randy formally joined the band around this time, while Jermaine left to pursue a solo career.^[21] They continued to tour internationally, releasing six more albums between 1976 and 1984, during which Michael was the lead songwriter, writing hits such as "Shake Your Body (Down to the Ground)", "This Place Hotel", and "Can You Feel It".^[17] In 1978, he starred as the scarecrow in the musical, The Wiz, a box-office disaster. It was here that he teamed up with Quincy Jones, who was arranging the film's musical score. Jones agreed to produce Jackson's next solo album, Off the Wall.^[22] In 1979, Jackson broke his nose during a complex dance routine. His subsequent rhinoplasty was not a complete success; he complained of breathing difficulties that would affect his career. He was referred to Dr. Steven Hoefflin, who performed Jackson's second rhinoplasty and subsequent operations.^[23]