Did Michael Jackson buy Eminem’s music catalog as payback? ( Photo Credit – Facebook )
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The claim? After Eminem mocked Jackson in Just Lose It during his 2005 child abuse trial, the King of Pop silently snatched his rival’s royalties. But like a remix of fact and fiction, the truth hits different.
Eminem’s Just Lose It (from 2004’s Encore) did ruffle feathers. Lyrics like “I done touched on everything but little boys, and that’s not a stab at Michael” paired with a video parodying Jackson’s Pepsi fire incident and plastic surgery rumors. Jackson, mid-trial, wasn’t amused. “It’s outrageous and disrespectful,” he told a LA radio station in 2004, threatening legal action. “I’ve admired Eminem as an artist, and was shocked by this.”
Fast-forward to 2007: Sony/ATV—a company Jackson co-owned—bought Famous Music LLC, acquiring rights to Eminem’s back catalogue. Social media spun this as a revenge plot: “Michael got paid every time Eminem performed.” Not quite. Jackson’s 50% stake in Sony/ATV meant he indirectly profited, but the $370 million deal also covered Shakira, Christina Aguilera, and film soundtracks. No evidence linked the purchase to the diss.
Jackson’s catalog moves were legendary. In 1985, he bought ATV (including Beatles songs), later merging it with Sony. But the Eminem deal? A business play, not a vendetta. After Jackson’s 2009 death, Sony bought his stake for $750 million in 2016, severing ties to Eminem’s work.
The rumor’s bite came from timing. Just Lose It dropped as Jackson faced global scrutiny during his molestation trial (he was acquitted). Fans speculated Jackson weaponized his empire—but insiders called it coincidence. “It’s a metaphor, I’m just psycho,” Eminem rapped. Turns out, so was the narrative.
Decades later, the saga remains a lesson in myth-making. Jackson’s catalog chess moves fueled legends (see: Beatles rumors), but the Eminem tale? Half-truths with a beat. As for revenge? The King of Pop’s silence spoke louder—until his estate cashed out.
In the end, Just Lose It became more than a diss track. It’s a footnote in music’s messy, moneyed wars—where even ghosts collect royalties.
