Michael Jackson is a musical genius. Those words are fact and will never be disputed. And of all the wonders that his genius unleashed upon the universe, none, to this author, may be more beautiful than his last major impactful sonic treatise, “Butterflies,” from 2001′s Invincible. At the time of Invincible‘s release, it must be duly noted that Michael Jackson was anything but. For the last eight years, his good name had been besmirched, and the artist went from beloved legend to punchline for jokes by hack comics worldwide. Invincible went to #1 on the Billboard charts in the US as an album in spite of all of this, of course, as Jackson is universally beloved by just as many, or in some cases, the same people that lampoon him, but certainly the album’s status was more a tribute to the man instead of any thought by the average music listener that the artist was attempting to further his musical career.

As mentioned, trapped on this album is the songmaster’s final cause celebre, “Butterflies.” Written by former Floetry member Marsha Ambrosious four years earlier in 1997 as a tale of unrequited teenage infatuation, Michael Jackson wraps a sinuous falsetto around these lyrics in such a way that they don’t just tug at heartstrings, they pull them, and loose and open the heart to the message, creating melodies that evoke the passion, yearning and meaning within. Ambrosious, at that time, was easily one of the top five songwriters in ALL of music at that point, Floetry’s debut album with “Say Yes” and “Floetic” as two epic cuts of that era, accentuated with strings and sweetening, are just true standouts. But “Butterflies,” well, that’s just once in a lifetime brilliance.

Jackson takes a song that when recorded by Floetry is simply amazing, but, with his graduated knowledge of vocal inflection and emphasis, creates emotions hard to qualify in recorded sound. At the first chorus, you hear the sound of the very moment as a lovestruck teen when you cross from hoping to like, to hoping to love, to knowing the situation is futile to having a broken heart, but holding on to hope because knowing the other, the unrequited love, is pain too great to want to feel. As anyone who has felt it knows, it’s all one feeling, just like that, and Jackson, in “Butterflies,” creates that hopeless tumult with note perfect perfection.

It takes the same child that ironically belts out the grown man blues tale “Who’s Lovin’ You” to do this. It takes the dreamer that sang “Ben” to do this. It takes the same man that argues love with Paul McCartney in “The Girl is Mine” to do this. It takes the man that charms his way through “Lady in My Life” and “You Are Not Alone” to do this. It takes the man that contemplates the ties that bind and assuages the heart that breaks in “She’s Out of My Life.” It takes the man that sings both “Billie Jean” and “Dirty Diana” to do this. “Butterflies” completes the love saga that Michael Jackson laid out in his magical career. For a man who lived his life in many ways as a tale of unrequited love, as a living definition of hope in the face of heartache and heartbreak, hear “Butterflies,” feel “Butterflies,” know “Butterflies.” Above all his other hits, Michael, to me, is a maestro of love, and this is the master’s final and greatest stroke of genius.

In death, find life. Long live the King.

Download: DJ Ayres’ The Rub Michael Jackson Tribute Mix

Senari: For those who may not know who you are, tell me a little about yourself. Where are you from? What do you do?

DJ Ayres: I’m Ayres Haxton, I grew up in rural Mississippi and I’ve been DJing in New York for 11 years. I do a party called “The Rub”, which is the first Saturday every month at Southpaw in Park Slope Brooklyn… this summer we are celebrating our 7 year anniversary. Cosmo Baker and DJ Eleven are my partners in that and we’ve also traveled a lot as The Rub. I have a record label with Tittsworth called T&A Records, dedicated to putting out club music on vinyl, and I do a dance music party called “Flashing Lights” with Nick Catchdubs from Fool’s Gold, and Jess Jubilee.

Senari: Coming from the south… what kind of music did you grow up on down there?

DJ Ayres: My parents are from the Mississippi Delta, and they were really into Delta Blues more than anything. So when I was a little kid, the music playing in our house was Muddy Waters, Howlin Wolf, BB King and so on. My grandfather was a classical composer and went to NYC every year to pick out clothes for his clothing store… he would bring back lots of classical records. So when we were kids, we heard Peter and the Wolf and the Nutcracker a lot. And we also listened to some records my mom got for us: Thriller, Cats, Annie and so forth. As a teenager I liked punk stuff, some electronic stuff, and I got into rap really early. When I was 8 years old, I remember having a dubbed tape of The Fat Boys, and I liked LL Cool J and the Beastie Boys, and all the music from the Breakin’ movies. Then when I was 13 my uncle gave me a copy of It Takes a Nation of Millions to Hold Us Back and after that I got deeper into it.

Senari: What’s the best record of all time? The most perfect record…

DJ Ayres: Perfect record…. Notorious BIG – Ready To Die is a perfect record.

Senari: What’s the first record you bought on your own? How old were you?

DJ Ayres: I’m not sure. One of the first things I bought with my own money on cassette tape was LL Cool J’s Walking With A Panther. I remember buying Information Society on 7″… that may have been my first vinyl record I bought for myself.

Senari: When was that? Late 80s?

DJ Ayres: Early 90s… so there must have been stuff before that but I don’t remember anything specific.

Senari: My first purchase, that I remember, was Jagged Little Pill.

DJ Ayres: Is that Alanis Morisette?

Senari: Don’t act like you don’t know!

DJ Ayres: I missed out on a ton of white people music because of where I grew up. But I definitely had some dubious tapes. That band LIVE, for example. NOFX… and the first Green Day album.

Senari: You know, I grew up in small town outside of Baltimore – we had a raging hardcore/punk scene. I feel like it was that way all over.

DJ Ayres: We didn’t get a lot of tours. The first tour I saw was Public Enemy. I did see Fugazi when I was like 16 though.

Senari: That counts. So, tell me how you started DJing. What was your first gig?

DJ Ayres: Mark Ronson lived on my hall when I was a freshman at Vassar. And a guy named Jamie Hodge, who had records on Plus 8, which was Richie Hawtin’s label. So I saw them DJing, and I started buying records because I was really into the Stretch Armstrong show, and some of the stuff that he played, you could only buy it on vinyl at Bobbito’s Footworks and Fat Beats. I started DJing by playing records on WVKR in Poughkeepsie, and I had a big pair of speakers so I started doing parties. Paul Nice lived in Poughkeepsie and would DJ at Vassar sometimes, and Mr Vince, and Darshan Jesrani, from Metro Area.

Senari: House parties?

DJ Ayres: Yes, but there was also a campus bar called “The Mug” where the good DJs played, and I started doing that weekly when I was 19. It’s so crazy to think back on Ronson spinning for $50 and having to bring his own turntables and mixer and 5 crates of records.

Senari: Haha, that is nuts! When did you move to BK?

DJ Ayres: I moved to Brooklyn in 1998. My girlfriend at the time, who is now my wife, is from Queens. A lot of my friends grew up in NYC, so it was the fun, easy thing to do at the time.

Senari: Tell me how the Rub got started. How did you meet Cosmo [Baker] & [DJ] Eleven?

DJ Ayres: Okay, so in 1999 I was DJing in bars and house parties and stuff mostly in the East Village and Fort Greene. I did a loft party for my friends, and their roommate was friends with Eleven, so he played with me there. Then when he was at Rawkus [Records], I would go get promo records from him and spin with him sometimes. By the time The Rub started, we were working together a fair amount.

Cosmo… he and I had met through ESPO and Max Glazer at On the Go magazine back when I interned there in 1997-1998. So we would bump into each other… back when he still lived in Philly and would come up here a lot. I booked him at The Rub the second time we did the party and kept bringing him back every few months until he moved here. Then it was sort of solidified that Eleven and Cosmo were the residents.

Senari: As part of The Rub, and individually, you’ve DJed, collaborated, toured with so many people… from Hollertronix to Ghostface… who was your favorite to work with?

DJ Ayres: It’s hard to pick a favorite because I’ve done so many things. Bun B was incredible to tour with… but then opening for Chemical Brothers was really nuts and really different. I will say that in terms of my career, Dave 1 from Chromeo helped me out a ton. He sort of discovered me through the Hip-House CD I did with Cosmo, before we were touring much. He had me open for Chromeo in NYC a few times and put me on with his brother A-Trak at their first CD release party. Then A-Trak played The Rub and didn’t hit us in the head for money, and in 2005, Cosmo and I went on a 6 week North American tour with A-Trak. That helped us tremendously to get exposure in 30 other cities. And Chromeo is great live.

Senari: The Sunglasses Are a Must tour?

DJ Ayres: Yes… I just looked it up, that was 2006.

Senari: The people want to know – How did a dude who grew up on a farm in Mississippi and then attended a liberal arts college in upstate New York get so into rave music?

DJ Ayres: Well there were raves in New Orleans. Also, in the South there was a small scene for Chicago house… like, I remember “The Percolator” got a lot of night time play on the R&B stations. I remember buying Smart E’s “Sesame’s Treat” on cassette single… and The Orb and Orbital and Prodigy and all that stuff. I was talking to Nick [Catchdubs] and Fashen yesterday and remembered that I saw Information Society live in like 10th grade. Then, when I got to Vassar, I got into a lot of nerdy stuff like Aphex Twin, Squarepusher, Photek, Autechre. And when I was DJing, I played Hot Music, Daft Punk, Dee Lite… all that stuff. When Drum & Bass peaked in the US I was playing a lot of that too, around 98.

Senari: Speaking of… you run a record label with Tittsworth. He used to be a big Drum & Bass head in DC – our readers know all about him. Do you guys have anything you’re working on? Is there a dubstep record in your future? Haha…

DJ Ayres: Oh my god, the next T&A EP is Dave Nada and it is so fucking crazy.

Senari: When’s that coming out?

DJ Ayres: When this producer finishes the dubstep remix for one of Dave’s tunes. I’m not joking at all.

Senari: Which producer?

DJ Ayres: It’s a secret. I can tell you there is a Nadastrom remix on it though, it’s minimal and it’s so good.

Senari: Is there anything else you’re working on that we should know about?

DJ Ayres: There is a lot stuff I’m working on. I did a lot of remixing work in the last few years and I was starting to get frustrated that I was limited by not knowing enough about music theory. So for the last 5 months I put a lot of the production stuff on hold and I’ve been taking lessons on the keyboard, in music theory and production. I have a ton of unfinished stuff which I am going to wrap up soon… original music, and hip-hop beats, and some techno stuff.

Senari: That’s great! I’m looking forward to hearing it. Ok, so lastly, we’re dedicating this week to MJ on Couch Sessions. What are your top five MJ songs and why?

DJ Ayres: Gosh that’s hard.. okay…

The Jackson 5, “It’s Great To Be Here”. It’s such a fun, uplifting song, and the drums are so fucking tough.

Michael Jackson, “Wanna Be Startin’ Something”. The way this builds up with the drums, the bassline, then rhythm guitar and the little horn stabs come in… it’s all just a perfect storm. And his vocals are amazing, he pushes the energy up so high.

Michael Jackson, “I Can’t Help It”. This is such a sweet song. So pretty and the sentiment is wonderful… it really captures the feeling of falling in love.

The Jacksons, “Can You Feel It”. This is a cheesy pick and it hasn’t always been one of my favorites but as a DJ. I love the beat… like you could throw on just a loop of the intro and there is no way you could resist dancing. It’s funky as hell.

Michael Jackson, “Dirty Diana”. This song is CRUNK. It’s a pretty raw topic for MJ and he really goes in, he’s singing real hard on it. Crazily, someone pointed out that this was #1 on the iTunes store the day after he died. Today “Man in the Mirror” is #2, behind some Black Eyed Peas song.

I really hope people don’t push Michael’s music to the side because of all the weird shit in his personal life. Michael Jackson is so primary to me… like from being a little kid and jumping on the bed in pajamas to “Thriller” to rediscovering all his disco stuff as a DJ. Just talking about it and thinking about it again makes me really sad.

Find more info and music by DJ Ayres on his website, myspace and twitter! You can also catch him DJing every first Saturday at The Rub in Brooklyn and locally (in Baltimore) on July 17th at My Crew Be Unruly!

The Dangerous album was such a beautiful space in which Michael Jackson existed. He traveled the line of race & sexuality as America welcomed the ’90s: cross-colors & grunge, The Clintons & The Fresh Prince, gangsta rap & New Jack Swing, & the death of the cassette tape.

In February of 1992, Michael Jackson, with the help of New Jack Swing super-producer Teddy Riley, premiered his song & video “Remember the Time.” It was released after his love-thy-neighbor-as-thyself anthem “Black or White” and before his Naomi Campbell-laden “In the Closet.” Now, Jackson always had panache*, but with this single he cleverly reclaimed the story of Cleopatra, the Queen of Egypt. He subtley challenged Elizabeth Taylor’s starring role as the queen by replacing her with the beautiful & exotic Iman. Jackson’s use of an all black cast of performers that included Eddie Murphy & Magic Johnson, & powerhouse director John Singleton (Boys in the Hood) made a bold and lasting statement that rested in irony & in the black community’s frustation with Jackson’s appearance. Jackson suffered from vitiligo, a rare skin disease that caused discoloration on the skin leaving it white or pigmentless. The change in the color of his skin & the various facial transformations are evident, & many assumed this was caused by self-hate, mainly in regards to his race. However, assuming he hated his people may have temporarily been laid to rest when “Remember the Time” aired in the Spring of 1992. With choreography by newcomer & future dance phenom Fatima Robinson, this 9-minute video production incorporated pop & African tribal dancing that celebrated the intersection Michael Jackson represented: the American dream.

Michael Jackson was the manifestation of America as it rested on the talent, poise, & greatness of a black man who transcended race, as well as other barriers. Also, in a decade that embraced open sexual expression, Jackson’s sexuality took center stage. Although, “Remember the Time” is one of few video’s in which he is kissed, black sexuality is at the forefront of this production. Beautiful & well-built men & women performing before the iconic & smoldering Iman introduced the story of Cleopatra to a new generation. As always, this too, was a chance for Jackson to teach the world about the African-American experience while still allowing pop music—the people’s music—to remain the focal point.

I remember, as a child, practicing the breakdown in the video & performining it for a dance recital. I remember my father taking the time to not change the channel because he, too, knew that this production was unlike anything we’d seen before. He knew like we all knew that this was another classic moment that Michael Joseph Jackson extended his hand & offered all the world a chance to see what we were, what we could be, & what a blessing imagination & hard work are. I’m sure that my eyes refused to blink for nine minutes each time I watched “Remember the Time.” It was like dreaming awake. I was in a trance. I still am.

When you wish upon a falling star, you know that eventually that star finds its end & touches the earth to fall no more. You know, too, that somewhere someone else may wish upon that same star, both of you ignorant of the other’s heart longings. Mr. Jackson,though you have fallen, you have touched all the earth with a remarkable body of work & philanthropy. I may never know what someone else wished for you, but I wish your legacy to infuse our world to create & imagine life beyond the realm of conformity in spite of recession & politics. I wish that we’d hear your words of healing & togetherness & work to transcend hate. I wish your soul rest.

In love,
Michael aka envy

*I refuse to say Michael Jackson had swag. Souljah Boy & his henchmen have shamed the word. Plus, I find it ridiculous to think Mr. Jackson jumped up out the bed & turned his light on, let alone his swag.

It would take a book of sizable portion to truly document the impact of Michael Jackson’s legacy.  To quote a very astute and eloquent colleague, “Michael Jackson was not supposed to happen.”

You see, Michael Jackson was a deity.  I do not offer that label without thought…in all honesty, people from all walks of life, all races, all nations, all ages, all religious affiliations and all genders worshiped Michael Jackson.  They adored his image.  They adored his message.  They adored his style and grace.  They adored his voice.  Despite the worst of accusations and the most merciless scrutiny of the international media, he was able to sell out 50 shows at the UK’s O2 Arena, which would equate to about 1 million people from around the world who had made plans to witness the legend for themselves.  I question if Michael really wanted this.  I ponder whether or not there was a point in his life where he felt things beginning to grow so beyond his human control – a point where a choice had to be made to hold on or let go. Being an individual that believes in an Almighty God, it frightens me to think of the spiritual ramifications of such a decision.

It’s probable that no one knew Michael’s true thoughts or emotions except the man himself.  But, occasionally, he allowed his listeners to peek through the window and see the agony of his life and his desire to “trade it all in” for peace.  For quiet.  For normalcy.

“Stranger in Moscow”, a single released in 1996 from the album HIStory, is such a window.

It took me a moment to get past the pleasant listening experience of the song – it’s downtempo electronica groove, it’s beautiful call and response harmonies, the catchy hook.  But it’s Michael’s words and the intensity of his plea that help us to appreciate his supreme artistry.

The song was written, arranged and produced by Michael Jackson.  The first thing we notice is the title.  There are few places a Black American would feel lost and out of place more so than in the heart of Russia.  Well, maybe Bensonhurst, Brooklyn…but that doesn’t have the same universal ring to it.  Note to songwriters: choose a good title that sparks a mental image, which will, in turn, affect the emotions of your audience.

The word pictures Michael paints with the verses are so vivid – narrating a life of pain against mental images and feelings of cold war Russia: “Here abandoned in my fame/ Armageddon of the brain/KGB was doggin’ me/Take my name and just let me be”.  That last line harmonizes with biographies that state Michael’s loneliness had reached such a point that he would roam the streets to hold conversations with strangers – only to return home unfulfilled.  With all of his fame and greatness, he was alone, cold and misunderstood.

In the next few weeks of media coverage we must understand that beneath the internationally deified superstardom, beyond the allegedly ‘strange’ physical transformations and on past our memories of moonwalks and screams – there was a fragile human being.  A human being who, when all was said and done, simply longed to be loved.

Remember above all else, love is the greatest gift we could ever receive.  And love is the greatest gift we could ever give.

We wish peace and respect be with the Jackson family at this time.