Hello and welcome to this week's edition of Free Your Mind with LKJ. I am going to continue straight in on an interview on this one, which is very different than my normal interviewing techniques because I don't want to stop the flow of the conversation that I had. Last week's one was with the guest Kenneth Joseph, talking about the Jackson 5, talking about abuse, talking about stealing of copyrights, the things of when somebody puts their hand out to help, how that mental pressure affects that person in trust, how they do their clothes up, to things being disregarded and the value of stuff. God, you know, we've touched on the subject of pedophilia. These are very highly sensitive shows. So we'll say, and because the family that we're talking about, we are talking, um, on this show which is unjudgmental and unbiased. Neither reason for myself or the radio agree or disagree with Kenneth Joseph, what he's doing on this show. However, he has a story to be told, a film that he has filmed in the legacy of Gary Keith, who founded the Jackson 5. And then they went on, which was Steeltown Records, the label that, you know, that he had on it, that was taken from him. And that he learned through different tricks of his mind to trust a young boy, Kenneth Joseph, who came from you know, where his mama had to claim welfare state sometimes. In his honesty, that sometimes he stole because he wanted to wear some of the clothes, and explaining that in, you know, part of his life in there. Where he went to Jersey Hill School where he learnt about film, cinematic. He then, in his vision and love, an understanding as documentation started to come his way and evidence, evidence that Carrick Keefe kept to say what he had been saying was the truth. With that truth, he then entrusted it in the hands of Kenneth Joseph. Kenneth Joseph, you know, learning and growing up in America, in Louisiana, I think that you said you was from, wasn't it, Kenneth? Yes, absolutely. Louisiana. Louisiana, coming there, had the hindsight to think, hey man, this isn't right, you know, we need to protect this. And then went and registered. He checked that the rights and the labels, etc. Nothing had been protected, so he took it on his own back with his own money, paid and secured the label, uh, Steeltown Records, which he's now the owner of. And through this, Steeltown Records, when we're going back over 50 years, believes in his words are that Motown stole The Jackson 5 from Still Records, and because of copyrights not being put in there, this happened. We then touched on the subject where later on in life, his, um, the home of Still Records has been demolished, stuff and artifacts given away, and where housed, um, records that Michael Jackson had sung on and that hadn't been released, that had been sold for the sum of $5,000, um, where somebody then went on to sell for $5 million. Lots and lots of huge questions and stuff in here, um, that we've covered. But we started to touch on, um, the Johnny Jackson story. Johnny Jackson, who basically was adopted by Joe Jackson, um, from his from the grandfather that had to give permission of him to get on the road and do and travel and work with him, to his death where he was stabbed 17 times by his wife/partner in a severe rage of anger, but one of a highly volatile relationship for a long period of time, especially when alcohol um, was on the scene and mixed with their personalities. Personalities from one where Kenneth Joseph himself has said on here that Johnny Jackson was sexually abused by Joe Jackson. Is that correct? I would say physically abused, where Joe would hit him Uh, where Joe would take his royalty checks and tear it up in his face, hit him in the head. I would say mostly, uh, physically abused, but also there was some points where Johnny was aware of sexual actions that was going on. Yes. Do you— are you willing to say who you believe was the perpetrator of those sexual incidents on Johnny Jackson? Because you're saying it wasn't Joe Jackson, he did physical abuse. Yes, but it was also Joe because Joe had an environment. Because like in the documentary of the Jackson— of the Johnny Jackson story, you can hear in the audio Mr. Keefe is in the audio too, and Mr. Keefe is constantly like instigating that situation, you know, in front of Sandra. Sandra is a woman from Great Britain and she was in there to interview both of them. So it starts off with them just talking about the things that happened to Johnny or whatever, about his drums and things of that nature. And then slowly you see Mr. Gordon Keith's manipulation technique, you know, saying, hey Johnny, you was mentioning about pedo— you see pedophilia going on. And you know, so when you listen to it, you'll hear that there was that kind of stuff going on. Yes. Does it say anywhere in these, um, obviously in the film that you were making regarding Johnny Jackson, does it say anywhere who was the one that, um, started this pedophilia, um, circle unit, you know, which has gone in, that these children were being subject to that? Does it say on any of them who the perpetrators were that inflicted sexual abuse on Johnny Jackson, Michael Jackson, and other members of that family, as well as the perpetrators for physical and mental abuse. Yes, you hear the conversation being brought up and admitted by Johnny, and Johnny hesitating, but Mr. Keefe was the one that was mentioning the parties that was involved. He was getting Johnny to come from it, you know what I mean? And it's a little bit of, uh, other things too. That's going to be some things in there where Later on, Johnny, uh, come, um, he had certain, certain things notarized. But like when you first watch the movie, right, I hear, hear the audio, it's like again Johnny's trying to like shy away from that, but Mr. Gordon Keith tries to bring him in back into that perimeter to talk about it. And he does, right, but he still like taps and rubs above the surface. But then like later on, like there's some documentation, right, that the audience will see that'll get them to realize that eventually Johnny wind up telling them more in detail of what happened. Like a kid who, you know, who got mad, uh, you know, and told— he got mad because of how he was being treated and, you know, eventually wind up telling everything. Through a certain situation. Do you think that the Jackson 5 or anybody around who are obviously at this current time unaware of this evidence and tapes and material that you have, that you produce this film that's going to be streamed? You know, no, no, I don't think really, uh, those parties are aware. But then again, I think this. I think a couple years ago when I first was doing the, the Gordon Keith Untold Stories and they were all over YouTube and they were getting a, some kind of, uh, noise there, um, I, I'm, I know for sure that Catherine and Joe was aware of who was behind it all, you know what I mean? They knew of a Kenneth Joseph, but they even knew who was behind Kenneth Joseph, and that was Gordon Keith. And with that they knew that Mr. Keith had those things, you know what I'm saying? So yeah. So for these children, as we're touching— and just to give the audience, um, a break here at the moment when we're talking about such a powerful subject— is, you know, this is a famous family. Um, there's been, you know, years and years of, uh talk on it. So when you bring out a record, everyone's going, you know, like when Ben come out, when I look at that, which is about Michael Jackson, his friend with Ben, which was the rat, Ben, the two of us may look no more, we both found what we were looking for, you know, that was, he seemed like his best friend and trying to reach out and going in there. But as children, you know, for a child not knowing where to go because of the pain and the hurt, And with the parents, you know, like for Joe Jackson and his wife Janet, etc., all being brought up in, you know, life on the road, the pressures on them that they had. And obviously as well having their own children, you know, with Joe bringing Johnny Jackson in as a son because he had to take basically the fatherly adoptive role for him to be able to go from his grandfather. For that young boy that went on, and you said it does state who the perpetrators of the sexual abuse were, who the perpetrators were of the mental abuse and the physical abuse. Yes. Do you know, or can you answer this, and a direct question, Has any charges ever been placed against these people, or do you believe once the evidence that you have recorded all those years back from Stilton Records, everything that went on, do you believe or do you hope that there will be criminal charges introduced because of this? You kind of saw it, but when you think about those that was involved, you can't do anything to them. He's dead, Joe. Uh, Catherine, uh, you know, to a certain degree, you know, she allows certain things to happen too. Uh, but you know, from that perspective, that's like going back then, women were afraid of their husbands and they, you know, they were doing what they were told and blah blah blah blah blah blah. But you know, you know, things of that nature. Um, yeah, those Joe is gone. But don't you think it's for the right of people who are suffering at the hands of sexual abuse, yes, physical abuse, whether that person's passed on, is to write the past so the past in our historical books and our historical thing as this music is continuing to be played and when, you know, is a legacy, the music the sounds that come on, you know, that go on. Because, you know, with what's happened with the Jacksons, none of that music's being banned. It's still being played and still being played to children who pick it up. And when they try and do the Michael Jackson moves, we have stories, we have everything coming up. But isn't it right that, you know, if this is true— I know no physical stuff will be placed against them, but for the— excuse me— for the history and the rights to know where it went wrong. And that's what you're doing by bringing this Johnny Jackson show. You're showing the truth of actually what went on, that people didn't think this existed. Absolutely. You know, absolutely. When you look at the Johnny Jackson story, you want to look at it like a, a story, like as if Johnny has erected from the dead because he's restless and he wants to expose and tell the world how he was treated, what happened, what he endured, and all the things that was involved. Uh, when you think about pedophilia and all that, you can't help but to just look at the situation and be sympathetic to— Michael was brought into that as a child. You weren't never asked to be born, uh, you have no control over that, but— and you have no control over what happens to you while you are, or after you are born, but because it's mostly those that are responsible of caretaking, for the caretaking of you. They're the ones. As a child, a child is innocent. So as you grow into those things you had no control over, eventually, right, you become that in some kind of way, you know, in a way that is detectable depending on how you are, or in a way that it's not detectable, is more internal, and it ramsomly has its characteristics in and out, in and out. Of being noticed. So when you look at that, you still look at the situation, it's two different entities of Michael. Michael, like Mr. Keith used to always say, Michael, the whole world was not even aware of what God have given the world. Because the world didn't even know how to appreciate what God has given to the world, an angel. Michael was considered as an angel amongst everything else. And that is very true. When you listen to his music to this day, What About Us and all the Earth Song and all those very powerful inspirations, like The Man in the Mirror. It's powerful. Those are two different entities. Sorry to interrupt you there. It was really funny because, you know, when we're talking about this and being on a platform, when you're building energy up, interviewing each other to express the voice for the listener to hear, I thought immediately of the Earth Song. So I wonder How many viewers, as you were, you know, expressing yourself there in your thoughts of the situation with Michael, who he was, that who he was, make it a better place, build a world, you know, the Earth Song, that came into my mind. I'm wondering how many listeners of this show in part 2 immediately took their mind to that. Feed the world. It was like you were saying the man in the mirror. It was like he, his lyrics, his songs that he became passionate about was, you know, putting the pedophilia, etc., one side, you know, different things that were on there. Is when you go back and something that I'm going to take from this show, I'm going to go back to play the Jackson music from when it started. Because I'm going to look at each song, which song came out. Because when we are in a deep dark place, no matter when we're suffering mental pain— when I lost my mother, I, and I lost my own child, Kenneth, and then my brother was leaving. Sorry to hear that. I lost my child, you know, I went to a dark place, and I have no problem with the world knowing that. You know, your mind becomes destroyed, you try and destroy yourself. But it's when you look back, when, you know, when I wrote my novel, The Broken Girl in the Red Shoes, that when I read that now and I pick it up, how I found it easier to write a book and express it through the book, as my tears fell and wrote that song, to write it down and feel that there are signs in these records of the pain that was going through. Does that give the person the right to inflict pain on another or let that go? No, it doesn't. And had he been healed, and you know, these people being healed or doing it, if you come from domestic violence, you know, you're brought up in that as a child, you're hurting, the pain just repeats, it's a repetitive thing. It's, you know, growing up, you know, in the criminality, with that, you become so used to being encapsulated with that tribe because it's safer to be hurt and done that than step out in unknown waters that you feel uncomfortable with. That is why rehabilitation, why we have the knowledge today to work with people to say this isn't right, this has to stop, please don't do it. But let's learn lessons from things that are happening. We have to put a stop to this. This is not right. Nobody has a right to inflict pain on another human being, their mind, their body, their soul, anything. And you know, this is a very, very brave thing for you to do, even to to come on to the radio show where we do deal with mental health. People have had many issues. We have the men's radio station, and yes, this is a women's radio station, but I have men and women on this show because I like to see the men's perspective that women can hear. I think it's a very good balance on that and works very well. But when we're looking at icons, heroes, believing that's a better world, You know, when you're looking at Thriller, when Thriller came out and all these demons, I look at them demons now after, you know, different, the interview going through, when it's saying where Johnny Jackson is risen from the dead to tell this story, and where the unknown tapes and recordings when this happened for the memory of Gordon Keith, to say this is the truth. And he hid it through fear, through anything, not wanting— he wasn't— he didn't seem a man that would chase or go for that. He kept it quietly to hold it on one day. That was always his ammunition to fire, but you also need the passion and strength to fire that, to stop it, because of fear and the times and ages that you live in. Where he learned to trust somebody like yourself to give this. You know, the Jackson family are not going to like this one bit, of course, that you have this. So are you prepared for everything that comes at you? Yes, yes. And here's the reason why I'm prepared: because you can't go and do wrong and just walk the face of this earth and think that no repercussions is coming. That's why percussions and the word 'reap what you sow' comes back, because the above— and I don't mean to put the above in it, but the above has set it for that purpose. And because I'm not afraid, because I didn't do anything wrong. When you do something wrong, at least like where I was brought up, you need to be afraid of what's coming. And that's called a good old-fashioned latching or whatever, or whipping. You know that's coming, and you know why, because you did wrong. But we look at this aspect of this concept, no, and how dare you to want to come back and be mad, that's selfishness. But people are that way. And there's something really sick in the head to where you know that you're wrong, but then at the same time you want to retaliate about what you did that was wrong. But people are like that. So for those two reasons, you know, that, and I'm not worried about any of that. And it needs to be, and it's just fair to the people. It's the people that, that has grown, grown with the Jacksons for all these years, even like myself as a kid, and music inspirations and all that. We let them into our lives. We wanted to be like them. We was inspired like them, or blah blah blah blah, and all the above. So it's by fair. We know how the media has been, can be, and it still is. So it's by fair for, for loving, righteous Americans and fans of people out of the country as well to know the truth. That's owed to them. That's owed to us. The truth. So by doing this, I know obviously it's for the legacy to show for Gordon Keith what he did, where he documented this, kept the evidence, kept it quiet even against all these things that were going on, that perhaps— do you think he felt that when he passed, was it, you can do this now when I've passed? Yes, well, he was trying to push me to do it even before then, but then he also would say, I'm going to fix it to where you're going to be the modern-day Gordon Keith. So, so, yes, because now I— it's like he gave me all the ingredients and all the knowledge and information and tools to disperse it or release it. So, you know, the end We always have an entrance and an exit route, and you know, even when the film starts, the stop— when we get to the stop of this movie, is it your belief and your hope that by the hours of putting what people were saying together into this film, which is over 3 and a half hours long, that if somebody is watching it that is a pedophile, an abuser, look in that because you will be outed. You will not be able to continue this journey all through your life and get away with it. You will be caught. You don't know who's going to speak out against you because you These people have a right to say no because you don't have that right to do that. You are the perpetrator. You need dealing with because they've got issues themselves as a perpetrator because something's happened to them. Doesn't— as I say, it gives them no right to perpetrate that behavior onto another being. But do you also hope that for somebody that had who is going through this now, of an age where they can speak, they would feel, you know, I should speak out? Yes, yes, I would hope that this would be an inspiration to that. And what are your plans if people try to prevent or stop this film? Because obviously our recordings are going to go out before the film, so somebody come along in America and say, no, that's not going out, and try to withhold that release date. But you're prepared because, you know, these interviews have gone out, although in England, then you can then start live streaming whether you're doing before the movie, day before, to let them coming out or, you know, the interview to build up for people to watch this. Um, what is your plan? Uh, that's a good question. Let's go back. That's kind of like something— I'm in the stages where there's nothing that they can do. Uh, movie theaters allows you to, you know, the freedom to tell your story. That's what it seemed like. But let's go back to before I was going to actually even put it in the theaters. I was just going to just put it in, you know, different social media. If you could recall, I said earlier that I was going to have— I mean, that I had all of the Jackson 5 stories, the Gordon Keyones told stories on YouTube. Well, it was there for some good 7 years until I remember I had a call from one of Michael's— I think third or his fourth cousin, Ethel Wilbon. She was actually in one of those documentaries, so she was calling me and telling me, Ken, you need to check your YouTube page because I don't see, um, your work with us on it anymore on there. I was like, oh well, maybe you probably put in the work, you missed the wording, whatever. So when I tried it, it only had like one trailer in there, and it was something of something that I did in the past, but it was, you know, it was something good, positive, happy, nothing really, you know, exposing the Jacksons when I've had everything else that was exposing Jacksons. So when I went on there, it was gone. For 7 years, maybe like 8 episodes of Gordon Key Stories was all on YouTube. Some of them got 3,000 views, some got 20,000, 34,000 views, whatever. And all that time it was all gone. Then in my email it stated something about copyright infringement, that's why they took it away. So for all these years, 7 years, it's been there. And then not only that, you were supposed to have asked me to prove like Facebook always do, prove that you have the rights to use this material. And then if the party cannot present that, then you could go ahead on with the proceedings or instruct them to not use this or take that down or whatever. But that was never done. But that just took too much energy. This happened recently, some months ago. So, uh, that's what inspired me when they took it all down. What they wasn't— they still wasn't thinking. The options was I already had all of those recordings still in the files, and then that's when I decided, well, I'm going to put out the Johnny Jackson story, but then I'm going to put out all of those YouTube, uh, stories of the Untold Stories of the Jackson 5, um, that YouTube took down. I'm gonna release that to the theater one by one, one by one. So now you just made it even worse. Because now they're going to see it on the big screen. The question is, it's pushed you further to the— where you started this thing to tell the story, you were quite satisfied in your own mind that you had fulfilled the legacy of a father role who had entrusted this with you to tell the truth, nothing but the truth, and show his evidence that he had. And then, you know, being stopped to go on there, that how you filmed this and using the material to go in that. So can we now, can we talk this second part of the second interview about the Johnny Jackson story? Can you give us the lowdown on what we should expect from his story? Yeah, uh, definitely. Johnny Jackson's story is a very— is a— again, like I was saying, it's an untold story, and it mostly depicts about the struggles and the life of Johnny Jackson, especially when he came back home. That's what the concept is. You're going to— the audience is going to be able to go inside of his heart to a certain degree without him actually being there at some point. In the film, along with what happened with, like, with Joe Jackson, like, with, like, his lost identity. Like, people did not know that when Johnny came back home from the Jackson 5, when he was let go by Joe Jackson and went back home to Gary, Indiana, people did not know that Johnny was not recognizable. No one knew who he was. He didn't even have an ID. Mr. Gordon Keith had to take him around all the way to Indianapolis to get his identification. What the— what this movie is going to let you know also is, uh, Johnny was on welfare. Yes, the drummer of the Jackson 5 had to go on welfare. He did not want to bother his family, like his sisters or whatever, at first, so he was homeless. Yes, the drummer was homeless. So it's all of these things that people can look for, and it's mostly to put yourself in the in his shoes. So imagine, just think about where it all began in Gary, Indiana, all the struggles. And then you leave Gary, Indiana to, to travel the world. And at that time, it takes the audience back into when the Jacksons were the biggest, powerful Black family. And to be a part of that, right, traveling the world, you know, as the drummer, and then falling, being a falling star, going back home where it all began And your brothers are members of the Jackson 5, is still going on during this time. It was in the '80s we're talking about, and the Jacksons were still indulging into the Victory Tour while Johnny was at home struggling, building his identity back, uh, joining another group in a band, trying to build his recognition. And every now and then getting what they got, what they call a care package, where they send you in a bag of goodies and different kinds of money, whatever was in that care package. And it was people like Jermaine, sometimes Joe and Janet supposedly was sending Johnny, in speculations of time, care packages. Okay, so it's going to, you know, take you right into Johnny's mind, you know what I mean, at that time and what he went through and You know, it would make you want to drink too and make you feel, you know, depressed too. Because then even to be, even to have written a letter to your attorneys who were not only your attorneys, then they were the Jackson 5 attorneys, to seek to prove, for them to give you proof so you can go back where you need to go and show people who you was. And those attorneys wrote you back telling you that you never was a member of the Jackson Five. Can you imagine that? So that's what this film will offer the public. Can I just cut in just there one minute, just so I can clear and get some clarity, um, so there's no brain fogging for anybody on this? So Johnny was sacked by Joe Jackson sent home and you're saying that he— nobody recognized him. So what happened to his face? Uh, as far as that part, not as far as like, like beating him up to where they didn't recognize him. It's just the way it was set up because, you know, it's to show you that during that time the Jacksons were in power and they were so much in power that even back at home, right, it was detrimental for anyone, even someone like me. Of course, back then, right, I'm pretty sure someone like me would be gone now because at that time they were in power. So it's not about as far as his physical face unrecognized, as far as most far as just the image, image and the name of who he was. So when he was sacked by Joe Jackson, his adopted father, obviously Joe Jackson had gone to his father to give permission for him to be, you know, take on this role, um, in this group. What had Johnny done for him to be sacked? Oh, you're talking about what did Johnny do from the return back home? Yeah, why did Joe Jackson sack him? That's a good, that's a good question. It was multiple speculations. Some was like when the media found out about it, the Jacksons were saying, oh no, Um, my dad, our dad sent us, or even Joe said, I sent him back because he was a bad, uh, influence on one of my boys. Him and Tito were going out doing things or breaking into things and doing things, so I sent him back because of that reason. When you, when technically, uh, Motown at the time, uh, like during like the '70s towards their ending career, Barry Gordy didn't need them any longer. He didn't need them for their voices to come into the studio anymore. He only— he, he had what he needed. So that meant that the Jacksons wasn't working anymore. And then along with Joe wanting to get his boys the hell away from Barry Gordy because they were— Joe had became familiar with how Barry was doing things. So you had all of those speculations in there. But just with, according to Gordon Keith and Johnny, just saying it Joe sent him home. And it was another thing that it was said because he was performing, they were performing. This was one of the main things, quote unquote, that, that Joe was saying, that when they were going to Great Britain, Johnny made a statement in front of or around affiliates of the Queen of England when they was performing for her. Johnny said something about, I'm not gonna, I'm not gonna perform for this white, white bee anymore, or this bee anymore, or whatever. In other words, he was not going along with, you know, how you're supposed to go with the music, uh, persona, the power, as you're told kind of thing. And I think, to my knowledge, that was the thing that really put the thought that Johnny was going— was known to be like rebellious. Because, you know, at some point Johnny felt like, you know what, you could beat your boys and intimidate them, but hell damn it, you're not really my damn dad and I'm not gonna take your shit. And we're gonna fight now. So that's where it got to that segment you just spoke about. So when the Jackson 5 came to England and they were going to perform for the Queen— yes, yes. And Johnny Jackson, um, obviously had find— you know, was rebellious. He'd obviously found alcohol and Uh, did he use drugs? You're asking if he used drugs? Yes. To my knowledge, to my understanding, no. It looks like Johnny, especially with— but, but, uh, uh, Smoothie Jackson, he couldn't really say that, but he could only speak for his cousin from knowing his cousin and, and afterwards, that Johnny didn't have a drug problem. He was an alcoholic. And even Tony Acuff, one of his childhood friends, said the same thing, that it wasn't a drug problem, or it was mostly an alcoholic problem. So, and I'm saying during that, you know, because we were talking— sorry to interrupt you again, it's quite a poignant question— is the Jackson 5 were going to perform in front of the Queen. It was a huge honor, you know, to be asked, and obviously, uh, Johnny being being rebellious, said he didn't want to perform in there because she was white. That white being, you said. Am I correct in that? Something of that speculation is that, you know, to me, the way I look at it is those are all like media hypes that they threw in there. Sometimes when, when you're involved with celebrities or whatever, they throw things in there. There's no recording of that actual— no, right? No, because you don't— no, Johnny don't talk about that in the audio. He doesn't talk about it. No, not in the audio, no. Right, okay. It's just so we have clarity, you know, for that part where people, you know, say, can we listen to that audio? Have you got that, you know, to go on there? So that was the speculation around it. But what we're talking about is the Johnny Jackson, uh, story here. Um, obviously, you know, it's been mental, physical, and as you said, he had some suffered sexual abuse. He was rebellious and was fired from the Jackson 5 by Joe because he wasn't needed anymore, to be sent home to go on to welfare while the Jackson, um, 5 continued in their growth, um, with the hidden aspects of what was actually going on behind the scenes. Absolutely. Which is coming through. That many people then decided, like Gordon Keith, to record this as evidence, because obviously they weren't happy with what they were seeing. And obviously was keeping these tapes, and you know, which you have for evidence, which now a film is going to come out that you have created and made to show the mental, physical abuse, how it affects you from a child into adulthood, what goes wrong, and his volatile relationship to him being stabbed 17 times. I say, going back on to welfare and going on, but for him, I think it's, you know, when you're saying about the attorneys are saying in a letter— do you have a copy of that letter? Of course I do. Yes, yeah, BBC News. Yeah, when BBC News had interviewed us, uh, about, about, about like 2 or 3 years ago, they wanted to get the copy of that letter, but I didn't want them to because, you know, anything you give to the property then belongs to them. So I was trying to protect anything that Mr. Keith gave me, and they didn't want to— they didn't want to acknowledge that. So I was like, no, then I'm not going to give you the letter. But yeah, it's a copy. I have a copy of the letter. Yeah, and, and when you see the letter, the letter will let you know that he was— he asked, and I'm gonna ask, can I have copy, but I don't own any rights to it. And I've said it live on TV, the copyrights all belong to Kenneth Joseph. It's only just a show. Yeah, if we could, you know, uh, you know, I, I'm saying live on radio, I own no copyright, but you know, obviously BBC asked for it 2 or 3 years ago. Um, it would be nice to have that. It's not my property, it's just for visual for people to see that goes along, that I can put, you know, on LinkedIn about this story, that you have evidential fact to go along with this interview that you're doing with Free Your Mind, Let's Talk About It, LKJ, um, for women's radio station, because it is a station and men's that we deal, um, with mental health issues and a story to be told, and a very powerful story, one that could have, uh, permission, but it'd be quite handy to have, um, so that I could just place when I'm doing your, um, interview, to which will go out, um, that they, you know, can show on LinkedIn. But my word is I don't own any rights to it, anything. The only thing I have is for to promote it against with your sole permission and where it goes. Yeah, so yeah, so what I'll do is do like a brief thing in my email saying you know, putting that in there and you agree and blah blah blah. But yeah, like for instance, if the BBC said, can I have that, can I share? No, you get— that is, uh, the property of Kenneth Joseph that has loaned it to me to support the end of my radio show. Yeah, Stilltown Records, the property. Still, it's the property of you. Be like, you know, for us when we photograph or do any news, somebody takes a picture and say 'Oh, could I use that picture?' But the credit's given to you, but I don't own that because I haven't bought the copyright. I've only asked permission to show it in your name, right? Exactly. Work on that. And it, you know, it'd be interesting we have that to show, because how can you have attorneys of law break United States law to say when this gentleman worked for such a powerful family, you know, that was producing this music and the money rolling into the bank, you know, all the gold coins coming in because they were massive. And yet, you know, hard-working American people who were paying their taxes were doing that, that somebody— and again, that these people wrote a letter stating that he'd never been part of the Jackson family when all this had to be done in those times for him to even be released to go on tour, that he would have been seen visibly. And did they have any videos at that time that you were talking about when he was playing the drums? Was he videoed so there was video evidence of him? Physically playing the drums. Do you have any of that? That, that part right there is going to be in the documentary movie and all that, along with that. It goes another thing too, another powerful— let— so that's why I encourage people to watch this thing here and pay attention to it, because some of these things are going to be very creeping on the screen, and you got to be able to like, you know, notice it. But when you— when they notice it, trust me, this is going to be a very effective, uh, you know piece. But as far as the footage of him playing the drums, the challenge with that was, you know, back in the days, uh, you know, if you wasn't like in-house or like one of the photographers with Motown or the videographers from Motown or the news stations, or if you didn't have any— somebody, one of those calibers of people had that. But if you didn't have that on the outside, and because Johnny was never really— the emphasis was not on him, it was on mostly the 5 brothers, you, you, uh what you're asking for, or the visual thoughts of that, is very rare. But it does not mean it don't exist, because when upon promoting this Johnny Jackson story on my Facebook ad, I was able to draw some attention by some musicians and drummers that was Johnny's age that performed with Johnny during that time. And then wind up asking them if they had footages of Johnny, and they had it of clarity. But it's no video. But I mean, I say clarity, man, it'll blow your mind. You're talking about these things were taken in 1975, '73, '75, and that sucker looked just like it was digitally enhanced. I mean, it looked of high quality. So I was very fortunate to find that. But the actual video, yeah, that's in the documentary. But a lot of that had to do with my— there's a lot of skeletons in these cupboards. Believe you me, it is. Yeah, and I don't want to— that's my English thing, not my American thing. You know, we would have the, you know, they'd be down in our cellars, however, you know, in, in the, uh, in America, you know, in a hut underneath. Um, but in England, you know, in our closet, skeletons in our closets, things that we ram in and shut the door to and hope that nobody opens that door. But, you know, when there is a story to be told on, um, this person. Who do you think Johnny, um, even though there was speculation what he said, why, um, he wouldn't perform in front of the Queen because of her race, did he take that performance or did he not? That part of my understanding, I don't know. I have no knowledge that he did. But see, but the thing that I do know is, again, when stars do be involved with certain things or certain things happen to them, so people won't know the real truth, they throw all kinds of things that, that media stuff that could be very convincing, that sounds believable, but it was no record, you know, no record of it being, you know, documented or whatever, or present. Like that, my thing was they used that in there purposely just to not know that Joe was— that, that Joe did this damn thing on purpose, just to send him home because they didn't need him anymore. Along with some things that we don't really too much know of, but they did mention those things, you know, that's in the documentary. They did mention how Joe treated Johnny, you know. But as far as that part right there, that, that can be convincing, uh, in a way, if you're not doing as you're told. But, uh, you gotta look at the time that that was said. That's, you know, it doesn't match. Uh, the Jacksons was about to— I think they had a couple more years left anyway because they died out in 1977, '78, '77, '78. They left Motown around that time. They got there '69. They left home in August 1969. Did Johnny Jackson have any— after he was sacked from— by Joe— from the Jackson 5, which people believe he had his reasons, and obviously if by his speculation what you were saying that he didn't want to perform in front of the Queen, that he had become too much of a handful with his rebellious ways, drinking, obviously doing stuff with the deep-rooted trauma which was started off as acute, had become very complex trauma now. And obviously with the power and going out on the road, you know, adoption issues. Did he know that Joe wasn't his real father? Yes, he knew. Of course he knew. So, yeah, complex trauma, when we're looking at that, you know, all the issues, there was quite a lot there that he was facing. So after he was sacked, he went home, and we're going to have a copy of that letter which is on loan from yourself and your commission, which I will show, that he received a letter because he needed a letter to sign on to welfare and prove who he was to get stuff because he was homeless. He was of a major, major huge band called the Jackson 5. Exactly. You know, his behavior even in that was saying— in speculation of just, you know, doing an overview here— refused for the Queen, his behavior becoming erratic. Obviously the deep trauma that he was coming with rearing and having triggers— we call them triggers— that might have set him off on something to going on, that found himself homeless, found himself with no ID, having to formally go and recognize by his visual, by his eye, you said, wasn't it? So they could see that was him. Yeah, yeah. Well, that wasn't the point as far as his physicalness. Like, they couldn't tell them it was him. It was more of them not knowing, identifying identically it was him. And that ought to let anyone know who was behind it. That was, that was again, that was Joe Jackson behind that. You mean to tell me that the same attorneys Michael had and that nature, uh, you write a letter to them because you're seeking help for back home and they conclude that they— you were never— and these are your attorneys? That ought to let you know it was, it was a powers that be that was behind that and why they were doing it. It was a blatant lie. It was a blatant lie to the President of the United States, to the taxpayers of there, to inform somebody. Like, if we here had somebody who was employed because you were paid and your taxes would have to be paid, and you had somebody that was fired, they can't go to the welfare state to claim, and their taxes paid, be told you never worked for this band, then that's a blatant lie to write a letter saying you wasn't, when there are people that worked along, and people, you know, in these venues, although it's 50 years back, he did, but that was to cause him as much hardship as possible. Exactly. That was to break him down, you see. So just imagine if that was me, because I, I can still relate even before I know the story. Let's say, for instance, when you're young, when you're 18, 19, 20, right, uh, something happens in your life. You go get attention. In your mind, you, you're like, oh, I'm gonna go kill myself. Oh, well, no, I'm stronger than that. Well, I'm gonna go, I'm gonna go drink my ass off. And then in the back of the line, excuse my French, you hear someone saying, you know what, that is not the solution you must find. But you still, even though you hear that, you still want to reach to grab. Here goes another solution, then pray to God. Dear God, can you release me? And some people like, I'll deal with God whenever I'm ready, but right now I need instant gratification of this pain. What is it? Drinking. And then even though it may bring you down, it may tell you, but you just need it for that moment. To calm down, to have a peace of mind. So from— yeah, because I used to— I could relate. I used to want to get— when I'd be discouraged, I would drink. But then the solution was— guess what? Guess what the solution was? After it was all said and done, after it was all sober, guess what? That problem was right there in your face. It never went anywhere. You did, because you was on the imagination with the liquor thing. But after that wore down The problem was still there. So that's the same way for me, and that's the same way for anybody else, and the same way for Johnny Jackson. And that's exactly what happened to him. He drunk even more to cover the pain. So obviously we had that where we've now seen, um, a guy that's received a letter that would affect him more mentally to say you was never part of this family, you, it wasn't your adoptive father, you, you don't know where you're from. You have no being when you know you was part of something, whether or not, you know, your behaviour is getting out of hand, intolerable, you know, you've got to be there, we need structure. Even though there was no structure, actually, when we've seen in past stuff that exactly what went on behind the doors of Michael Jackson and the Jackson 5 and his family, you know, there's been much documentaries, etc., on this. But what we're seeing is for the story of the Unforgotten Jackson, is how we're talking about him, who's risen from the dead with all this documentation that's been given and through Gordon Keith who's kept it and is now going to come out from the grave as they've died and you know, you can't sue the dead as they say. Um, but for this story to be told, so we're talking about not Michael Jackson's story, but we're talking about the Johnny Jackson story that is coming out. So this is a guy that found himself homeless, letters from attorneys working for the Jacksons, working to say, 'You never worked here,' to cause and inflict more pain. So the drinking went on. And then what did Johnny do with the rest of that time? You know, just, it's only an overview because obviously we want people to see the film. So we see Johnny, you know, does he go back to play music? Yes, he goes back to play music. And also when you watch the movie, right, you'll see the second letter. What that first letter was a discouragement to eventually make him come out with the second letter, and that'll let people know, shit, well, he was mad. That's why he came out with that second letter because he was being treated wrong and he got tired of it, so he bam, you know what I mean? Which, which, which one will show the audience why Mr. Keith was instigating in the first place, pushing him earlier to tell it when he was so calm not to tell it, you know what I'm saying? But after that, yes, he pursued, uh, he pursued, uh, his career in music And it goes another sad thing. Johnny was about— him and his group that he developed back home in Gary was about to be signed to a major record label before he died. And a friend was going to save the best for last. He was going to tell Johnny that at the gig of the show. But the next morning, like he said, he regret the fact that he had to go and see his friend the next day, because next day he was sipping coffee And he saw on the news his friend was murdered. And the young lady that murdered his Johnny was named— I want to set that record too— was Yolanda Davis, Yolanda R. Davis. And when they were looking for her, she was going to get a lot of time. You'd be talking about maybe like 40 to 50 years. But because when they look at the history, police being called out there, when they did catch up with her a week later, they only— she only did like, I think, a year. Or two or something like that. So it's a very powerful story, I'm telling you, it's very, very, very powerful. It's been a very powerful 2 hours that we've covered on telling this story, so you can appreciate to all the listeners that have tuned in and listened to the courage, the strength, the passion The love, honor, integrity of Kenneth Joseph, who has chosen to piece all this together in a love and honor for the late Gordon Keith, to know his road is going to be explosive in the way that people didn't know that these files, documents existed. As Kenneth has said live on air, that, you know, I will get a copy. But please, for anybody listening, I do not have any rights to it, or the BBC, or anyone. I'm honored by Kenneth as he freed his own mind to talk to LKJ on our wonderful radio station, which is unbiased, unjudgmental. To hear these words that are coming from beyond the grave in a hope that Kenneth Joseph believes when he's saying to the family of Gordon Keith, "Just wait, be patient, don't stop me, wait till you see this." This 3.5-hour movie which, you know, still feeds our fascination and our exploration continuously of a band called the Jackson 5. But let the Jackson 5 be known that Johnny Jackson was part of that family. Whether attorneys that wrote these letters to cause more, inflict more pain, so he became homeless, he could not claim any benefits, welfares, that the taxpayer that, you know, was getting money in from the Jackson family, that they had a brother, a stepbrother, that had nothing that had been taken, the American people had to pay to fund this homeless person, because the rich and greediness that was being shown by the accountants and showing in a way which we can only presume, I'm not saying it is correct or not, it is assumed that why would anybody illegal things, say that somebody didn't work for somebody, and to prevent harm. This harm, this pain has to stop. Pedophilia has to stop. Domestic abuse has to stop. We have to stop the anger and the rage and the murder inside. God taught us a lesson, and I am a Catholic. That, you know, he sent the Ark in. You know, there was a movie on that to try and remind us, like when people do films to remind us of what we're doing when we're inflicting pain, that basically, you know, we're killing our planet, we are killing each other. We need to bring more humanitarian into it. We have to learn from lessons. We have to learn War doesn't cure the argument who's right, who's wrong. What we have to do is belief, honesty, and the truth. And it has been an absolute pleasure and a very brave thing that Kenneth Joseph has done. And I look forward to watching this 3.5-hour show. I hope everybody who has listened to this show understands an overview of what this explosive magnetic film that takes us inside the mind of Johnny Jackson and also the evidence that has been hidden for so long that people didn't think existed. They may tear down still town records, they may may have sold off, um, Michael Jackson's unheard songs, his works, his originals sold off, um, and for a bare minimum to try and eliminate this. What we do have is evidence and proof from Gordon Keith that his son that he believed in his son of music and son of passion, Kenneth Joseph, will bring to our screens. And on that note, I'm afraid you're going to have to wait for the third one just before it comes through for the real electricity to get you to turn on that telly. But thank you, and that's goodbye from me at Free Your Mind with LKJ.