Michael Jackson & Paul McCartney Hated Each Other… But Here’s Why!

In the vibrant world of music, few stories are as compelling as the relationship between Paul McCartney and Michael Jackson. Their journey began in the late 1970s, blossomed into a fruitful collaboration, and ultimately devolved into a bitter rivalry that would leave a lasting mark on the music industry. This tale is not just about two of the most iconic figures in pop music; it is a reflection of ambition, friendship, betrayal, and the complexities of the music business.

The story of McCartney and Jackson began in the late 1970s, a time when both artists were at pivotal points in their careers. Paul McCartney, a former member of The Beatles, was already a household name, while Michael Jackson was emerging as a solo artist, seeking to carve out his own identity in the music world. Their paths crossed when Jackson recorded McCartney’s song “Girlfriend.” McCartney had initially envisioned the song for Jackson, believing it would resonate with him. However, before Jackson could release it, McCartney recorded it himself with his band, Wings, and it was included in the 1978 album *London Town*.

This initial collaboration laid the groundwork for a friendship that would flourish in the early 1980s. The two artists recorded several duets, including the chart-topping hits “Say Say Say” and “The Girl Is Mine.” The latter song, featured on Jackson’s groundbreaking album *Thriller*, showcased a playful rivalry between the two pop stars, as they sang about vying for the affections of a girl. Their chemistry in the studio and on stage was palpable, and it seemed as though they were destined to be lifelong friends.

However, the harmony between McCartney and Jackson was short-lived. In 1985, the music industry would witness a dramatic turn of events that would forever alter their relationship. Michael Jackson made a bold move by purchasing the ATV catalog, which included the publishing rights to nearly all of The Beatles’ songs. This acquisition was not just a business decision; it was a personal betrayal for McCartney, who had once considered Jackson a protégé.

The purchase of the ATV catalog marked a significant turning point in their relationship. McCartney had been vocal about the importance of music publishing, having learned the hard way about the consequences of losing control over his own songs. In the 1960s, he and John Lennon had lost their copyrights to The Beatles’ music due to tax issues, leading to a painful realization that they had relinquished control over their own legacy. McCartney had spent years building his own music publishing empire, and now, Jackson, his friend, had become the gatekeeper of his musical legacy.

As news of Jackson’s acquisition spread, McCartney was blindsided. He received a phone call from a friend who informed him that Jackson had bought the rights to his songs. McCartney’s reaction was one of disbelief and anger. He felt that it was “dodgy” for a friend to take such a significant step without consulting him first. Jackson attempted to reach out to McCartney to discuss the matter, but each time he called, McCartney hung up on him. The friendship that had once flourished was now marred by resentment and betrayal.

The fallout from the acquisition was immediate and public. McCartney and Jackson began to feud over the use of The Beatles’ music. Jackson licensed songs like “Revolution” to companies like Nike without McCartney’s consent, which infuriated the former Beatle. McCartney felt that Jackson was cheapening the music he had worked so hard to create. He expressed his frustration, stating, “I don’t like the idea that Michael Jackson is the only guy in the world who gets to sit in judgment as to which Beatles songs can be used in commercials.”

The tension escalated further when Jackson licensed “All You Need Is Love” to Panasonic for a substantial sum. McCartney was outraged, believing that such iconic songs should remain untarnished by commercialism. He argued that these songs were anthems of the 1960s and should not be reduced to jingles for products. The rift between the two artists deepened, and their once-cordial relationship had transformed into a bitter rivalry.

At the heart of the conflict between McCartney and Jackson was a fundamental disagreement about the music business. McCartney had learned the importance of music publishing the hard way, and he believed that artists should retain control over their own work. In contrast, Jackson saw the acquisition of publishing rights as a means to secure his financial future and expand his artistic reach. He believed that by licensing Beatles songs for commercials, he was introducing the music to a new generation of fans.

In a meeting in 1990, McCartney attempted to address the issue with Jackson. He expressed his concerns about the lack of recognition for his contributions as a songwriter and the need for a higher royalty rate for his songs. However, Jackson’s response was dismissive, and he refused to budge on the matter. The conversation ended with McCartney feeling frustrated and unheard, while Jackson remained steadfast in his business approach.

The conflict reached a boiling point when McCartney’s attorney threatened legal action against Jackson. Jackson, unfazed, responded with indifference, stating, “Let them sue.” This attitude exemplified the growing divide between the two artists, as their friendship had been replaced by a fierce competition for control over their shared musical legacy.

As the years passed, the rivalry between McCartney and Jackson continued to evolve. McCartney often expressed his resentment over Jackson’s acquisition of The Beatles’ catalog, feeling that he was unfairly profiting from the songs they had created together. He lamented the fact that he had to pay royalties every time he performed his own songs, a situation that seemed unjust to him.

In the wake of Jackson’s untimely death in 2009, speculation arose regarding the fate of the Beatles catalog. Rumors circulated that Jackson had intended to leave his share of the songs to McCartney in his will. However, McCartney later clarified that there was no such arrangement, and he had never believed the reports to be true. By the time of his death, Jackson had sold most of his stake in the catalog, leaving McCartney with little hope of reclaiming the rights to his own songs.

Despite the bitterness that characterized their relationship, McCartney’s feelings toward Jackson softened over time. He acknowledged that their rivalry had consumed him for years, but he ultimately chose to focus on the positive aspects of their friendship. In interviews, he referred to Jackson as a “massively talented boy man with a gentle soul” and expressed gratitude for the time they had spent together.

The story of Paul McCartney and Michael Jackson is a complex tale of friendship, ambition, and rivalry. Their initial collaboration brought joy to millions of fans, but the subsequent fallout serves as a cautionary tale about the music business and the importance of trust and communication. While their relationship may have ended in bitterness, it also highlights the challenges that artists face in navigating the complexities of fame, fortune, and creative control.

In the end, McCartney and Jackson’s legacy is not solely defined by their rivalry but also by the music they created together. Their duets remain timeless classics, reminding us of a time when two of the greatest artists in history came together to create something beautiful. As we reflect on their journey, we are left with a profound understanding of the delicate balance between friendship and business in the world of music—a lesson that continues to resonate with artists today.