I was by Michael Jackson’s side for 20 years — here’s why I’m confident he was innocent after decades of abuse claims

HE’S responsible for teaching Michael Jackson the famous moonwalk and choreographed some of the pop superstar’s biggest hits.

Now Shalamar icon Jeffrey Daniel, 71, has spoken in defence of Jackson’s box office smashing biopic, Michael, which has come under fire for omitting controversial elements of the singer’s life – including multiple allegations of child abuse.

Giving his view on the film, which has grossed over $700m worldwide, he says: “At the end of the day, they’re a family and it’s about their family and it’s up to them to do. The public likes to hear controversy. The public likes dirt.

“They want to delve into that negativity. But when you look at Michael’s life and when you look back at it, the negativity was something that was fabricated. There are things that were just engineered to stand against him.”

Speaking from a friend’s home in LA ahead of Shalamar’s 50th anniversary UK tour, he continues: “There’s no way in the world you’re going to be totally vindicated on all charges and acquitted and still looked at as if you’re guilty? Then what was the point of even going to court?

“What was the point of even standing in front of a jury to come to a conclusion that you’re absolutely, unequivocally not guilty if the public is still going to keep running with the narrative of what you were supposed to have done? That doesn’t make sense to me.”

The film’s critics have called it a glorified promo for MJ’s glittering career, void of the challenging and concerning allegations he faced over the course of his life.

However, Colman Domingo, who plays Michael’s dad Joe Jackson, told the Today Show that it was the film’s timeline that dictated the events. It focuses on Michael’s life from the 60s through to 1988, some five years before the first allegations were made.

With the film teasing a part two, the darker side of Jackson’s life could still be revisited.

Filmmakers were also reportedly forced to do expensive re-shoots, having originally intended to include Jordan Chandler’s 1993 accusations when he was 13 years old.

They were unaware that part of Chandler’s $23m settlement in 1994 forbade anyone from dramatising the account.

Further accusations came much later, with Gavin Arzio’s allegations that he had been molested by Jackson as a child leading to seven charges brought against the star. However, in 2005 he was found not guilty on all counts.

In 2019, 10 years after Jackson’s death, the documnentary Leaving Neverland raised more uncomfortable questions.

The two alleged victims who were the focus of it, Wade Robson and James Safechuck, have joined forces to seek $400m (£298m) in damages from the Jackson estate in a civil trial set to take place later this year.

But Jeffrey has a different outlook and cites an online conspiracy theory that claims Jackson used his Neverland Ranch to shield child victims of paedophile financier Jeffrey Epstein as evidence of his innocence and insists MJ was trying to save “youngsters”.

Despite all of the allegations, Jeffrey maintains his late friend is still a great role model.

He continues: “You know what’s really inspiring? I’m seeing kids five years old, six and 10 years old imitating Michael.

“They weren’t alive even when he passed away. And they still love him. His legacy is living on.

“He’s the most successful post-mortem artist in history. He’s making more money in his grave than a lot of artists that are out there working their butts off right now. That is a testament to a miracle.

“I mean, because I work with him and I know him, I’m not trying to be biased.”

The biopic is very much a family affair, endorsed by the Jackson estate and with the King of Pop’s nephew Jaafar, 29, cast in the titular role.

However, MJ’s siblings Rebbie, Randy, and Janet don’t feature in the project and none has addressed their absence publicly, though La Toya Jackson said her sister “kindly declined” to be involved.

Jeffrey says the portrayal of the young Michael is so uncanny that it’s like seeing him revived from the dead.

“My God, you have to tip your hat to Jaafar,” says Jeffrey.

“That boy played the hell out of Michael. I couldn’t imagine anyone else. It’s like that guy who played Freddie Mercury [Rami Malek]. It’s like he was born to play that role. And deservingly enough, he won an Oscar for it.

“I see a lot of Michael Jackson impersonators, and they’re pretty good. But they either do too much or they only encapsulate just one dimension of Michael’s performance. Jaafar captured it in its totality.

“He was subtle when it was time to be subtle. He was dynamic when it was time to be dynamic. His mannerisms, the way he spoke, I got emotional.

“I mean, there’s about three times during the film I almost went to tears because I just got emotional because of the scenes that I had something to do with. And I was there when that happened. And I was a part of that when it was happening.

“And then it reminded me of being with Michael and the person he was. It was like seeing a relative come back to life or something. Because I was very close with him.”

Jeffrey’s working relationship with Michael began in 1980, two years prior to the Shalamar founder’s legendary performance on Top of the Pops.

Unknown to the public at the time, Jeffrey had taught the groundbreaking move to MJ after the Thriller star was mesmerised by it while watching an episode of American music show, Soul Train in 1979.

Jackson spent three years practising what was then referred to as a backslide before debuting his version in 1983 during a Motown 25 TV special.

Meanwhile, Shalamar had been scheduled to perform I Can Make You Feel Good on ToTP in 1982 but it was canned at the last minute when the song dropped down the singles chart.

Undeterred, they returned weeks later with a point to prove after Night to Remember became a hit.

Jeffrey’s backslide caused such a stir, bosses scrambled to get the group back for another performance.

Not long after, MJ took the backslide to new heights and remains synonymous with the move.

“I worked with him for over 20 years,” says Jeffrey. “And so, to see this come to life like that again, it was just amazing. I can imagine how his family must have felt.

“Jackie Jackson and Jermaine and Marlon were saying how they were feeling watching this come to life in front of them on screen. And by their own relatives as well, so it’s amazing.”

Jackson’s not the only megastar Jeffrey worked closely with.

He also found a fan in Sir Paul McCartney too, with the Beatle actively seeking him out on a visit to London in the 80s.

Their fortuitous meeting came when McCartney’s crew, who were filming musical drama Give My Regards to Broad Street, spotted Jeffrey taking a walk by the canal in Maida Vale and told him Macca was keen to work with him. The two music men had a brief introduction and Daniel would later return to the UK to work with him on the project properly.

On their second meeting, McCartney hopped out of a car after filming a scene with actress Tracey Ullman and proceeded to lead Jeffrey around the set by the hand, before they sat down for lunch with his late wife Linda.

He said: “I mean, oh my God. Come on, this is legendary greatness. You know, it was an amazing experience.”

Fast forward to the present day and Shalamar are gearing up to bring their energetic set to the UK next month.

Slick and well-honed after five decades, the group know what the audience wants and are more than happy to give it to them.

“The good thing about it is that we have so many hits to choose from and that’s a good thing,” says Jeffrey. “But we’re always trying to adjust it to make sure that we keep the shows interesting and that they appeal to the audience that’s there.”

The live music market is more competitive than ever. Already this year a string of big acts have been forced to cancel tours due to sluggish ticket sales.

When it comes to putting bums on seats, many of whom weren’t alive when Shalamar burst into the charts, Jeffrey says: “We have a catalogue of evergreen, feel-good music. And I think because when times get hard and we go through things, people need a respite.

“I think Shalamar’s music is kind of the antidote to that because it can help you get away when they’re in the audience. They’re up on their feet dancing. They’re singing along.

“I think we’re the last of the high performance bands in the 80s where the choreography, the costume, the interaction, it’s all there, you know.

“Not to toot our own horn, but I think we put on a good show together, you know. And it’s very entertaining. And the people love what we’re doing. And we love the people.”