Christmas, Hollywood, Music, Pop Culture, The Beatles

21 Top Grossing Songs of All Time.

Original Publish Date September 21, 2023.

https://weeklyview.net/2023/09/21/21-top-grossing-songs-of-all-time/

So, I’m down in Florida celebrating my 34th wedding anniversary with my bride, Rhonda, who is still the prettiest girl I’ve ever seen. Down here, I’m a thousand miles away from cutting the lawn, watering the flowers, and a honey-do list as long as my arm. So what better time to write about music? I wondered what a list of the top twenty-one money-making songs of all time would look like. Not best-selling albums. Not best-selling song catalogs. Not even best-selling singles. Rather, what songs have made the most money? So, here’s a list for you to ponder. There will be obvious titles, obscure titles, and some surprises, and by the end, I’ll throw some sand in the Vaseline. Only then will you understand what put the thought in my mind.

Dick Clark counting down American Bandstand hits August 5, 1957.

Many songs have made over $10 million including The Village People “YMCA,” Gene Autry’s “Rudolph the Red-Nosed Reindeer,” The Beatles “I Want to Hold Your Hand,” and, should you consult that black hole that is the Internet, names like Taylor Swift, Justin Bieber, Ed Sheehan, and a liturgy of mysterious electronic dance will muddy the issue. But for the purposes of this article, I have consulted more reputable sources for the numbers: Billboard, Music Grotto, Rolling Stone, and the Guinness Book of World Records.

Number 21: “You’re The One That I Want,” by John Travolta and Olivia Newton-John from the 1978 film Grease. Estimated earnings: $15 million. The song featuring Travolta’s greaser Danny Zuko and Olivia’s good girl temporarily gone bad, Sandy Dombrowski, propelled the film into one of the highest-grossing musical films of all time and the soundtrack became a worldwide hit. Fun fact, Richard Gere and Barry Bostwick portrayed the Travolta character on Broadway in 1972/1973.

Number 20: “(Everything I Do) I Do It For You” by Bryan Adams (1991). Estimated earnings: $15 million. The song appeared on the soundtrack for the film Robin Hood: Prince of Thieves and on the Canadian singer’s sixth studio album, Waking Up the Neighbours.

Number 19: “All I Want For Christmas Is You” by Mariah Carey (1994). Estimated earnings: $16 million. This holiday standard (or earworm depending on your point of view) is the most loved and hated song on the list by a longshot. Every holiday season it returns to the number one spot on the Billboard charts, much to the dismay of seasonal retail workers. Love it or hate it, you gotta give Mariah a tip of the cap for her skimpy Santa suit: an homage to Ronnie Spector and the Ronettes.

Number 18: “My Heart Will Go On” by Céline Dion (1997). Estimated earnings: $18 million. Better known as the theme song for the film Titanic, it has become Dion’s signature song and is the second-best-selling single by a woman in music history.

Number 17: “The Christmas Song” by Mel Torme (1944). Estimated earnings: $19 million. While the title may not ring a bell, when you hear Torme (a.k.a. “The Velvet Fog”) croon “chestnuts roasting on an open fire,” you know what time it is. The song is ironic in a couple of different ways. First Torme is Jewish. Second, Torme wrote the Christmas song “Jack Frost Nipping at Your Nose” in 45 minutes on a blistering hot California day.

Number 16: “If I Didn’t Care” by The Ink Spots (1939). Estimated earnings: $19.75 million. The Ink Spots were one of the first all-black bands to be widely accepted in both the white and black communities. The group traces its origin to Indianapolis and in 1989 they were inducted into the Rock ‘n Roll Hall of Fame.

Number 15: “Oh Pretty Woman” by Roy Orbison and Bill Dees (1964). Estimated earnings: $19.75 million. Most movies form the song but this song formed the movie. The song was released as a single in August 1964 and the movie didn’t come along until 1980. The Richard Gere and Julia Roberts movie was originally intended to be a dark cautionary tale about class and prostitution in Los Angeles but the film was re-imagined as a romantic comedy and was mostly shot at Walt Disney studios. As for Orbison’s original song? It was inspired when his wife, Claudette, interrupted a conversation to announce she was going out. When Orbison asked if she had enough cash, his co-writer Bill Dees interjected, “A pretty woman never needs any money.”

Number 14: “I Will Always Love You” by Dolly Parton (1972). Estimated earnings: $20.5 million. Dolly wrote the song to honor her early mentor, Porter Wagoner. The song helped Dolly win CMA’s Female Vocalist of the Year in 1975 but had its biggest impact in 1992 when Whitney Houston covered it for her 1992 movie, The Bodyguard. Houston’s version is the best-selling single by a woman in music history. The song has earned Dolly over $10 million which she famously donated to charities serving black communities. 

Number 13: “We Are The World” by USA For Africa (1985). Estimated earnings: $20.5 million. This charity single was written by Michael Jackson and Lionel Richie. The song featured some of the biggest musicians of the time, including Stevie Wonder, Billy Joel, Paul Simon, Kenny Rogers, Tina Turner, Diana Ross, Willie Nelson, Bruce Springsteen, Kenny Loggins, Steve Perry, Daryl Hall, Huey Lewis, Cyndi Lauper, Ray Charles, and Bob Dylan (who, when chastised by Producer Quincy Jones for singing “off-key”, responded, “That’s my style, man.”) .The chorus was equally notable: Dan Aykroyd, Harry Belafonte, Lindsey Buckingham, Sheila E., Waylon Jennings, Bette Midler, Smokey Robinson, the Pointer Sisters, and the other 4 members of the Jackson Five. The album raised a whopping $63 million in relief funds.

Number 12: “Every Breath You Take” by Sting (1983). Estimated earnings: $20.5 million. Although officially a song by The Police, it has become Sting’s signature song and was, for many years, a popular wedding song until it was revealed to be about a stalker with an unhealthy obsession. In 2010, Sting’s former business manager claimed that the song “is responsible for more than 1/4 of all the singer’s lifetime publishing income and today still produces $2,000 a day ($730,000 per year) in royalties income for Sting.” The songwriting for “Every Breath You Take” is credited 100% to Sting (AKA Gordon Sumner).

Number 11: “It’s Now Or Never” by Elvis Presley (1960). Estimated earnings: $22 million. I know, I know, why THIS Elvis song in particular? Elvis had so many great ones. When Presley wrote the song, he was serving in the military, stationed in Germany. When he returned to the States after his stint, “Now or Never” became one of his first releases, so fans raided the record stores by the millions in search of it.

Number 10: “Rock Around The Clock” by Bill Haley & His Comets (1954). Estimated earnings: $25 million. Most of us remember it as the theme song for the Happy Days TV show, “Rock Around the Clock” was one of the earliest successful mainstream records of the rock ‘n roll era. It was the first rock and roll record to hit number one on the U.S. pop charts. Here’s a mind-bender for you: “Rock Around The Clock” was written to the tune of Hank Williams’ “Move It On Over.”

Number 9: “Santa Claus Is Coming To Town” by Haven Gillespie And Fred J. Coots (1934).  Estimated earnings: $27 million. Another head-scratcher, but as they say, timing is everything. Although the original artist who recorded it is long forgotten (Harry Reser and His Band), in November 1934 when it was covered by Eddie Cantor on his radio show, within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold and it just kept selling. The song has been recorded by over 200 artists including Bing Crosby, Neil Diamond, Fred Astaire, Bruce Springsteen, Mariah Carey, Frank Sinatra, the Temptations, the Carpenters, and the Jackson 5.

Number 8: “Stand By Me” by Ben E. King, Jerry Leiber, and Mike Stoller (1961).  Estimated earnings: $27 million. According to King, the title was inspired by a spiritual written by Sam Cooke and J. W. Alexander called “Stand by Me Father.” “Stand By Me” was successful on its own, but it shot to prominence when it was used in the Stephen King blockbuster movie of the same name twenty years later and found itself at the top of the charts in 1986. In March of 1974, John Lennon recorded two takes of the song with former Beatles bandmate Paul McCartney on the drums and Lennon on guitar. The unreleased recordings would eventually be included in a bootleg album A Toot and a Snore in ‘74.

Number 7: “Unchained Melody” by Alex North And Hy Zaret (1955). Estimated earnings: $27.5 million. The song was written for a movie, Unchained, which was not a success and is remembered ONLY for starring football Hall of Famer Elroy “Crazylegs” Hirsch, Perry Mason’s Barabara Hale and Dick Van Dyke’s dentist neighbor Jerry Paris. However, the song would go on to be one of the most covered songs in recorded history; more than 650 artists at last count. The 1965 version by the Righteous Brothers is the most famous version, but the song re-emerged after it was used in the 1990 Oscar-winning movie Ghost starring Demi Moore and Patrick Swayze.

Number 6: “In The Summertime” by Mungo Jerry (1970). Estimated earnings: $30 million. I guess we should think of this as the seasonal song for summer. Just like Christmas, summer comes around every year. Impressive when you consider it was Mungo Jerry’s debut single and that lead singer Ray Dorset said it only took him 10 minutes to write. Dorset later recalled writing it “on a second-hand Fender Stratocaster while I was on break from my day job, working in a lab for Timex.” Initially, the song was only two minutes long; to make it longer, the sound of a motorcycle was added in the middle. But they didn’t have a motorcycle, so “the engineer had a Triumph sports car, which he drove past the studio microphone. So he got the stereo effects from left to right or right to left, whatever. And that was it.” That scene is made even more comical when you watch the music video for the song (one of the earliest such videos you’re likely to find) and see one of the musicians pretend to create the sound by blowing into a water jug.

Number 5: “Yesterday” by John Lennon and Paul McCartney (1965). Estimated earnings: $30 million. Although Paul McCartney was 100% responsible for the writing and singing of the song, the songwriting credit goes to both men. From the start the duo agreed to share equal credit for their songs, no matter how much either of them contributed to the song. “Yesterday” would become the second-most-played song in the history of radio. It has been covered by more than 2200 different artists. Yoko Ono, John Lennon’s sole heir, has received millions in royalties from the song. BMI asserts that it was performed over seven million times in the 20th century.

Number 4: “You’ve Lost That Feeling” by Barry Mann, Cynthia Weil, and Phil Spector (1964). Estimated earnings: $32 million. Notable as the ONLY song to crack the top 21 that was written by a convicted murderer: Phil Spector. Ironically, Spector’s sole contribution to the songwriting was the line, “and he is gone, gone, gone, Whoa, whoa, whoa.” This Spector-produced song is cited by music critics as the ultimate example of his Wall of Sound recording technique. The song became a massive hit after it was recorded by The Righteous Brothers but resurfaced in a big way in 1986 after it was included in the soundtrack for Top Gun, starring Tom Cruise. The song has been covered by over 2200 different artists and went on to become one of the most-played songs in radio history.

Number 3: “Candle In The Wind” by Elton John and Bernie Taupin (1973). Estimated earnings: $32 million. The song was originally written about the death of Marilyn Monroe, but, in 1997, Elton did a rewrite as a memorial for his close friend Princess Diana. The rewritten version had greater success than the original version. During a concert on April 7, 1990, at Farm Aid IV, Elton dedicated the song to Cicero, Indiana AIDS patient Ryan White, who died of AIDS complications the next day.

Number 2: “White Christmas” by Irving Berlin (1940). Estimated earnings: $36 million. Ironically, this standard of all Christmas songs was written by a Jewish immigrant from Russia: Irving Berlin. Though the song has been covered by countless artists, the most famous version will always be Bing Crosby’s version which sold over 100 million copies worldwide. According to Crosby’s nephew, Howard Crosby, “I once asked Uncle Bing about the most difficult thing he ever had to do during his entertainment career…He said in December 1944, he was in an outdoor USO show in northern France… he had to stand there and sing ‘White Christmas’ with 100,000 G.I.s in tears without breaking down himself. Of course, a lot of those boys were killed in the Battle of the Bulge a few days later.” Think of that the next time you hear this song.

Mildred (left) and Patty (right) Hill.

Number 1: “Happy Birthday” by The Hill Sisters (1893). Estimated earnings: $50 million. The ONLY song on the list that has been sung by every generation of your family you ever knew. You know the song, but do you know the story? Mildred Jane Hill was a musicologist from Louisville, Kentucky. Born two years before the start of the Civil War in 1859, Mildred studied music, teaching, composing, and performing, specializing in the study of Negro spirituals. Hill and her sister Patty were honored at the 1893 Chicago World’s Fair for their work in the progressive education program at the experimental Louisville Experimental Kindergarten School. Her progressive 1892 article, “Negro Music,” suggested that the existing body of black music would be the basis of a distinctive American musical style in the years to come. In 1893, the Hill sisters found themselves in need of a song for their kindergarten class to sing on birthdays. 130 years later, we are still singing the Hill sisters song. Today, “Happy Birthday” brings in a reported $5,000 a day, and $2 million a year in royalties. The cost of using the song in a movie or on TV is $25,000. It is actually against the law to sing “Happy Birthday” in a large group of unrelated people, but good luck trying to enforce that one.

Jimmy Buffett.

There you have it. Those numbers will change in the years to come. No doubt, by scanning the list, you have deduced that all it takes for a song to make (or jump up on) the list is for a movie or TV show to pick it up as a theme song. But, as I told you earlier, I am in Florida as I write this, and for that reason, I would like to submit a song that is not on anyone’s list. Governor DeSantis of Florida has ordered that flags be lowered to half-staff from Thursday, Sept. 7, to Friday, Sept. 8th to commemorate the ‘life and legacy’ of Jimmy Buffett, the “Margaritaville” singer who died on Sept. 1st.

Buffet’s 1977 “Margaritaville” song was on his album Changes in Latitudes, Changes in Attitudes. Buffet claimed that the lyrics were taken directly from a bad day at the beach and that he really lost a flip-flop, stepped on a pop top, and cut his heel on the way back home. And, oh yes, he lost his salt shaker that day too. The song has a “lost verse” which he sometimes added when performing in concert but was cut from the original song. “Old men in tank tops, Cruisin’ the gift shops, Checkin’ out chiquitas, down by the shore. They dream about weight loss, Wish they could be their own boss, Those three-day vacations can become such a bore.” Although Buffet’s Margaritaville earned him millions, by itself, it never could have cracked the top 21.

However, Buffet’s song about life in this euphoric place has morphed into a global brand that has earned more than $4.8 billion and sees $1.5 billion in annual sales. Buffet’s Margaritaville Holdings company began in 1985 with the opening of a string of Margaritaville-themed stores and restaurants, the first of which was a store in Key West, Florida, that was followed in 1987 with the first Margaritaville Café nearby. Over the course of the next two decades, several more of each opened throughout Florida, New Orleans, and California.  In 2002, Buffet partnered with Outback Steakhouse to develop the first Cheeseburger in Paradise Restaurant in Southport, Indiana. Margaritaville resorts by Wyndham have sprouted up all over the place and most recently, a plan to develop Latitude Margaritaville: new active adult communities for those “55 and better.” At the time of his death, Buffet had amassed a personal fortune of $1 billion. That’s BILLION with a “B”, a figure that cannot be surpassed, even if you added all of the top 21 together. Apparently, Margaritaville was a pretty good place to be.

Music, Pop Culture

James Brown’s Hair.

James BrownOriginal publish date:  December 18, 2016

James Brown is remembered as the “Godfather of Soul” for his many contributions to music made during a six-decades-long career. Brown’s influence is a little more complicated than that. Truth is, not only was Brown a music legend, he was a civil rights pioneer. For a time in the 1960s, Brown was among the most important voices in the black empowerment movement. Not only did he change the culture in terms of music but also in terms of civil rights. Everything we now know about funk and hip-hop we learned from James Brown.
During the sixties, Brown’s music served as message of black empowerment and helped keep the peace during that tumultuous decade. Brown embraced the civil rights movement with the same energy and dynamism he devoted to his performances. In 1966, the song “Don’t Be a Drop-Out” urged black children not to neglect their education. In the same year, he flew down to Mississippi to visit wounded civil rights activist James Meredith, shot during his “March Against Fear.”
During that period Brown often provided nighttime performances to ease tensions when the Civil Rights Movement leadership was fracturing and threatening to break apart. As the civil rights leaders were embroiled in internal conflict, Martin Luther King, Jr. famously said, ‘You guys can stay here and argue if you want to, I’m going to go watch James Brown.” Brown recorded hits like “Say it Loud (I’m Black and I’m Proud)” and “I Don’t Want Nobody to Give Me Nothing (Open Up the Door and I’ll Get it Myself)” that embodied the positive spirit of the Civil Rights Movement in a way speeches, protests and marches never could. Brown later attested those songs “cost me a lot of my crossover audience,” but they shined the light on African-American nationalism and became unifying anthems of the age.
b5d335b4a5f928746bcc79c74bdba26a--soul-funk-james-brownBy 1968, James Brown was much more than an important musician; he was an African-American icon. He often spoke publicly about the pointlessness of rioting. In February 1968, Soul Brother No. 1 informed Black Panther leader H. Rap Brown, “I’m not going to tell anybody to pick up a gun.” Brown often canceled his shows to perform benefit concerts for black political organizations like the Southern Christian Leadership Conference (SCLC). In 1968, he initiated “Operation Black Pride,” and, dressing as Santa Claus, presented 3,000 certificates for free Christmas dinners in New York City’s poorest black neighborhoods. He also started buying radio stations.
On April 5, 1968, African Americans rioted in 110 cities following Dr. King’s assassination the day before. Like Robert F. Kennedy’s speech in Indianapolis the night of the assassination, James Brown hosted a free citywide concert at Boston Gardens aimed at avoiding another racially-charged riot. In the midst of that famous beantown concert, with Boston on the verge of going up in flames, Brown said, ‘I used to shine shoes outside a radio station. Now I own that radio station. That’s black power.’” Many Bostonians credit James Brown for keeping the peace in their city by the sheer force of his music and personal charisma.
However, there was a moment during the show when tensions could have boiled over. As a handful of young black male fans tried to climb on stage, white Boston policemen began forcefully pushing them back. Sensing the volatility of the moment, Brown urged the cops to back away from the stage, then addressed the crowd. “Wait a minute, wait a minute now WAIT!” Brown said. “Step down now, be a gentleman. Now I asked the police to step back, because I think I can get some respect from my own people.” Brown successfully restored order and continued the successful peacekeeping concert in honor of the slain Dr. King.
In 1969, Look Magazine called Brown “the most important black man in America.” In May 1968, President Lyndon Johnson invited Brown to the White House. The following month, the government sponsored him to perform for the troops in Vietnam. James Brown’s life and activism significantly influenced blacks in general, but some of his songs reflect the need for change that was so much a part of the Movement. James Brown used concerts as platforms to spread the philosophy of nonviolence and to bring attention to civil rights organizations. Brown’s music helped promote black consciousness and peace. It also inspired a generation of musicians. Indiana’s own John Mellencamp is probably the best example. Mellencamp has repeatedly acknowledged the influence of James Brown and it shows in his music.
James Brown had three noteworthy phases in his career: from 1962–66 he was ‘Mr. Dynamite”, from 1967–70 he was “Soul Brother No. 1” and from 1970 and beyond he was the “Godfather of Soul”. Sadly, casual fans remember James Brown for three things: his 1985 Rocky IV anthem “Living in America”, his brushes with the law and his hair. The Rocky song is a classic and his cameo in the film allowed viewers a glimpse of the legend that was James Brown. His brushes with the law always seemed a bit overblown to me. After all, he WAS James Brown. His hair, well that’s another story altogether.
There are countless stories about entertainer contract riders. The Beatles demanded a black and white television set and a few Coca-Colas, Elvis demanded 10 soft drinks and 4 cups of water, Van Halen’s rider included requests for “one large tube K-Y Jelly” and “M&Ms- BUT ABSOLUTELY NO BROWN ONES”, Eminem demands 2 cases of Mountain Dew and an assortment of Taco Bell food and Iggy Pop demanded that seven dwarfs greet him in his dressing room (Iggy Pop fans are not surprised).
James Brown’s contract called for a steam iron, ironing board, deli tray with assorted meats and cheeses, coffee, tea, soft drinks (Coke products), Gatorade, champagne (Cristal or Dom), 1 electric golf cart and a hooded hair dryer. Yes, one of those table-model hair dryers like our moms and grandmothers used at the local hair salon. The ones that fit completely over the head like a space helmet. That glorious hair didn’t make itself people. It took hours of painstaking hair engineering to create that unnatural helmet of hair. Plenty of chemicals, hair straightening techniques and, most importantly, a professional-grade rigid hooded hair dryer.
20120829_142758Except for a brief period during the mid-1960s when Brown wore his hair in a traditional afro as a temporary form of protest, for most of his career, James Brown had his hair “marceled” aka straightened or conked. The conk (derived from congolene, a hair straightener gel made from lye) was a hairstyle popular among African-American men. This hairstyle transformed naturally “kinky” hair by chemically straightening it with a relaxer (sometimes the pure corrosive chemical lye), so that the newly straightened hair could be styled in specific ways.
Often, the relaxer was made at home, by mixing lye, eggs, and potatoes, the applier having to wear gloves and the receiver’s head having to be rinsed thoroughly after application to avoid chemical burns. Conks were most often styled as large pompadours although others chose to simply slick their hair back to lie flat on their heads. Conks took a lot of work to maintain: a man often had to wear a do-rag of some sort at home, to prevent sweat or other agents from causing his hair to revert to its natural state prematurely. Also, the style required repeated application of relaxers; as new hair grew in, it too had to be chemically straightened.
In the African American Community of the early 20th century, the conk hairstyle served as a rite of passage from adolescence into adulthood for males. Because of the pain involved in the process, and the possibility of chemical burns and permanent scarring, the conk represented masculinity and virility.
Chuck Berry, Louis Jordan, Little Richard, James Brown, and The Temptations, were well known for sporting the conk hairstyle. The style fell out of popularity when the Black Power movement took hold, and the Afro became the symbol of African pride. Malcolm X, although a conk enthusiast in his youth, condemned the hairstyle as black self-degradation in his autobiography. He decried the conk’s implications about the superiority of a more “white” appearance. The conk is all but extinct as a hairstyle among African-American men today, although more mildly relaxed hairstyles such as the Jheri curl and the S-curl were popular during the 1980s and 1990s.
On December 23, 2006, Brown arrived at his dentist’s office in Atlanta, Georgia for dental implant work. Brown’s dentist observed that he looked “very bad … weak and dazed.” Instead of performing the work, the dentist advised Brown to see a doctor right away about his medical condition. Brown went to the hospital the next day and was admitted for observation and treatment. Brown had been struggling with a noisy cough since returning from a November trip to Europe. The singer had a history of never complaining about being sick and often performed while ill. Brown had to cancel upcoming concerts in Waterbury, Connecticut and Englewood, New Jersey but was confident he would recover in time for scheduled New Year’s Eve shows at the Count Basie Theatre in New Jersey, the B. B. King Blues Club in New York and performing a song live on CNN for the Anderson Cooper New Year’s Eve special. Brown wasn’t called the hardest working man in show business for nothing.
Brown remained hospitalized and his condition worsened throughout the day. On Christmas Day, 2006, Brown died at approximately 1:45 am at age 73. The official cause was congestive heart failure, resulting from complications of pneumonia. Brown’s last words were, “I’m going away tonight,” before taking taking three long, quiet breaths before dying.
James Brown wore his hair in a conk pompadour until the day he died. After Brown’s death, a public memorial service was held at the Apollo Theater in New York City and another at the James Brown Arena in Augusta, Georgia. Brown’s memorial ceremonies were elaborate, complete with costume changes for the deceased and videos featuring him in concert. His body, placed in a Promethean casket—bronze polished to a golden shine—was driven through the streets of New York to the Apollo Theater in a white, glass-encased horse-drawn carriage.
While plans were being made for the funeral, Brown’s family was contacted by Michael Jackson, a lifetime fan and friend. Michael had flown in from Bahrain, where he was living following his 2005 child molestation trial, and he asked to see the Godfather of Soul one last time. Reverend Al Sharpton, who officiated at Brown’s funeral, recalled, “I got a call from the mortician and he asked me if it was alright if Michael Jackson could come by the funeral home and see James Brown’s body. I said, ‘But Michael’s in Bahrain’. And he said, ‘No, he’s here’. A couple of hours later, I called and the mortician said, ‘He just left. He was here (for) about an hour and he was re-combing Mr. Brown’s hair. He felt that I had combed the hair wrong. People didn’t realize he was really into James and he actually styled his hair the way it was buried.”
Sharpton was insistent on making sure Michael stayed in town long enough to rightfully pay respects to the music legend, legal questions notwithstanding. Sharpton added, “I think his plan was to come in the middle of the night, see the body – because James Brown was his idol – and he was going to leave. No one had really seen him since the trial… but we convinced him to stay for the funeral. I told him, ‘Michael, you gotta stay. You’ve gotta re-emerge one day in public.” So in short, the King of Pop was the last person to attend to the Godfather of Soul. Michael would follow his idol to the grave less than three years later.