Tito Jackson

1. Introduction

This dissertation is an exploration of the influence of the world’s first superstar group, the Jackson 5, on the music industry throughout their reign from the 1960s through the end of the 1970s, as well as their effect on R&B. However, instead of examining the life and musical history of the group’s superstar leader Michael and his equally famous younger brother, Janet Damito Jo, the manuscript will focus from a humanitarian point of view on the life and career history, outstanding attributes, and leadership role of middle brother, the great Toriano Adaryll ‘Tito’ Jackson. Of equal interest from a scholarly point of view is the fact that Mr. Jackson has similar or better musical attributes and a record of artistic success as a solo artist in his own right that likens or even surpasses that of Bill, Maurice, Jackie, or Michael, yet scholars have failed to acknowledge and professionally profile this great cultural hero.

Despite the public’s legendary misconceptions about his ‘reclusive public personality,’ a well-choreographed public relations strategy of jokes, comic relief, and parody, along with interviews designed to maintain a net of geographic distance from many of his actual social, publicity, and humanitarian activities, Mr. Jackson appears to be the musical group and the Jackson family’s ‘unsung hero.’ Besides his obvious contributions to the recording industry as a member of the Jackson 5, in the years since departing from the oldest recording company in the known R&B world, Tito has achieved success as a solo artist, performer, and has had his own share of modeling, commercial, and television fame.

2. Chapter 1: Early Life and Background

For Tito Jackson, life began in Gary, Indiana, on an October day in 1953. Tito is the third child born to Joseph and Katherine Jackson, later to become the Jackson Five, the Jacksons, and a solo artist. He was born into a family of poverty, the child of a mother who had once been raised in a one-room house in the backwoods of Alabama, and a man who had traveled from Arkansas for factory work. The latter situation would only be remedied when Tito began making money in show business. Through his efforts, the Jackson family moved from the segregated section of Gary into a middle-class part of town, where racism and prejudice gave way to quiet living and extraordinary nurturing.

Music abounded within the household: lead guitarist and singer Joseph Jackson came from a family of guitar players, blues-jazz guitarist “Root” Jackson from a band, and Joe’s younger brothers Luther and Richard were members of a group. During breaks from their day gig, Tito, Luther, and Richard delivered a whirlwind of rhythm, blues, and jazz standards they had gleaned from every available resource in town that catered to the Black community of Indiana. As a result, music was as natural to their son as speech. In an interview, Joe Jackson mentioned that “they were in talent shows in school as a family act,” and that much of their early musical exposure was during an era when blues and R&B were the soundtrack to the Black urban experience.

2.1. 1.1 Childhood and Family

The eldest of the male Jackson siblings, Toriano Adaryll Jackson, is an iconic figure with a successful music career behind him. He began making music as a youngster when he launched a family band with his brothers. As the band matured, Tito transitioned from vocals to notable guitar work that characterized the Jackson 5 and the Jacksons, both in the recording studio and on the road. He has left an indelible mark on the music industry and helped to ensure the Jackson Family legacy.

Despite having a comfortable upbringing, the Jackson family experienced more than their fair share of struggles; money was tight, and the family conserved resources as much as possible. Although the arrangement forced the Jackson children to share bedrooms and clothing, their relationship allowed the siblings to support and grow with one another. At their roots, the Jackson children were energetic and ornery youngsters, and their West Jackson Street neighborhood was filled with other large, energetic families. Like the families in their neighborhood, the Jacksons grew up with hobbies and passions that united them. The Jacksons loved to sing, and it was a passion that united the siblings. The kids might hear a song on the radio, and a few days later, they would sing the tunes to one another. Though the Jacksons were poor, they were a creative, innovative family committed to creating opportunities for their talented children.

2.2. 1.2 Musical Influences

Funk, jazz, hard bop, and bebop were also early influences as Tito managed to broaden his technical as well as musical skills on his guitar. He and his brothers started out in local clubs and venues by playing songs begun and written by Tito’s father, and then Tito’s older brother, Jackie, took over most of the vocals and lead writing. Not long after starting in small venues in 1966, Tito and his band members were influenced by other artists on the scene at the time—being involved in watching groups such as the Isley Brothers, who were using extended solos as well as jam sessions in their performances.

In turn, the Isley Brothers then became allies of Tito in attracting a larger audience for their performances. Over time, Tito’s music began to reflect these soul and R&B sounds, such as those of artists including the Isley Brothers and James Brown, but his guitar playing was also reflecting a rock sound. As Tito states, his early influences on the guitar were Curtis Mayfield, who was one of the first people to play guitar in a group, Dave Mason, and Jimmy Page. His songwriting was also influenced by these sounds as well as the love theme lyrics and music of Smokey Robinson. Career-wise, Tito has mentioned recently that both Smokey and the Isley Brothers were his major influences among all the popular artists who started work in the 50s and early 60s within the borders of the USA. So, in fact, Tito was taking many influences into his music during the early to mid-1960s! Tito gave his brothers the freedom to intermesh their stylistic musical ideas and playing into their songs. His brothers remember that Tito was very relaxed and laid back in the way in which he let his brothers’ ideas come to the fore. However, also on ‘ABC,’ Tito’s influence is in the mix, for Tito added a rocking, more upbeat feel to the music and furthered it, since his rock ideas up to that point started to be taken further by some of the Jacksons. Tito’s use of various musical genres in his playing was to be illustrated and improved upon in their next album, ‘Third Album,’ which was another top-selling release for the band. In track 1, ‘I’ll Be There,’ Michael sang lead and played his part on the piano.

3. Chapter 2: The Jackson 5 Era

Throughout their history, the Jacksons demonstrated the formidable combination of talent, skill, creativity, ingenuity, technique, business acumen, and drive that their products exemplified. But the Jacksons together brought something into vogue that would influence the music industry towards sophistication and innovation. When this chronicle began in 1964, they were known as the Jackson 5. For nearly a decade before that, they worked tirelessly at their craft and learned the many principles of teamwork by working with and watching each other. This emerging teamwork and professionalism, along with Tito’s enlarged role, were on display with remarkable effect one Wednesday night at the renowned amateur night at New York City’s Apollo Theatre in August 1967.

An estimated 10,000 people witnessed the spectacle of the Jackson 5 for the first time – live, in color, and in the flesh. At the time, Michael, without Tito, was fronting his brothers in songs from the current hit parade. They sang and clowned through “My Girl,” “I’m Your Sunny Boy,” “Ain’t Too Proud to Beg,” and the current favorite, “I Want You Back.” The nervous, jittery young boys from the Midwest had indeed arrived, and they arrived with aplomb. Harlem audiences embraced the first public manifestation of Motown’s finest, rendering them this first burst of success on record. At the close of every bit, the loud ovation that greeted the finale caused unlikely well-wishers to swarm around the young artists. From Tito’s guitar to the bass guitar of 16-year-old Jermaine, from 12-year-old Marlon’s rapid, piston-like foot movements and party vocals, to the youngest Michael’s exquisitely disciplined lead voice and stage patter, it was evident that the Jackson 5 sensibilities evoked the rank of first-string standouts. These boys, with their brave, unimpeachable spirit of charm and politeness, had come to conquer hearts.

3.1. 2.1 Formation of the Jackson 5

Formation of the Jackson 5

Born on October 15th, 1953, Tito Jackson came of age as a musician in a moment of transition from the opulence of Motown to the gritty sounds of a changing America. As fate had it, among his seven siblings were the perfect precursors to start a band with. In 1962, Tito and his brother Jermaine Jackson formally signed on to create a band with two of their earliest childhood friends. The group attempted to practice Impressionist painting but soon returned to Tito and the brothers’ true love – music. Tito was cited as the first in the family to buy a guitar, officially earning his nickname “Tito” before becoming “Tito the Guitar Man.” Jackie was the second Jackson to begin music after Tito. With his sense of rhythm and the addition of his older brothers, the band was beginning to form into an all-Jackson project. As the oldest of the group and the two brothers who had lived with their father in Gary in their early years, Tito and Jackie had a profound influence on others and how their sound would eventually develop with his other siblings.

The group began to sing and dance to popular hits of the 1950s and 1960s. The Jackson brothers’ efforts did not go unnoticed by their musical impetus. Having gone unnoticed by a few battle of the bands type performances, the family scored an audition with a record label. Realizing that they needed a larger or more musically comprehensive group to establish themselves in a saturated music market, they hooked them up with a local soul community and favorite variety group. Some of the group members who later went on to sing in the Jackson 5 provided the family advice on recording their early material. Unfortunately, the records flopped and a mogul grew increasingly disenchanted, repeatedly turning the Jackson family away. However, the youngest son of the original group, Michael Joseph Jackson, made a lasting impression. With his star on the rise as a young phenom, Tito Jackson and the brothers slowly found a way under the mogul’s wing as the “Jackson 5.” “The boys next door born with a gift,” sang Tito, Jackie, and Jermaine in a jingle heard by a couple of executives. In making “Big Boy,” Tito sang lead and showcased his good time dance style vibe—a mix of John Lee Hooker and family next door, a tip of the hat to the group’s extraordinary marketability. The song was a modest hit, and while there was more work to be done, the song was suggestive of the potential of the Jackson project.

3.2. 2.2 Breakthrough Success

The group’s breakthrough into success was accomplished with a string of chart-topping hits that became instant favorites among the pop music audience. Tito’s signature guitar riffs were conspicuous on these tracks, and he was also a vocalist on some of the hit songs. The Jackson 5’s initial releases were upbeat, energetic, and led to comparisons with the young Beatles. To capitalize on this angle, a marketing program was designed to cross-promote the best-selling group with the all-time best-selling group. Their sound and style endeared them to audiences because of their unique blend of energetic, soulful vocal performances and dynamic musicianship. One critic described the Jackson 5 as having phases enhancing the magnitude of their warm-eyed funk and conventionalism, singing softly, smiling broadly, swaying rhythmically, punching hands skyward, and moonwalking.

The family group, with members in their early teens, was an immediate sensation with the public. The children’s enormous victory came with immediate pressures; their workload multiplied, and their personal space lessened. The media spotlight on the Jackson 5 was enormous. It was important that they faced this intense career crisis and subsequent depression. As Tito recalled: “It was hard, because we didn’t know anything else, so I think we just kind of kept it together as a family and went on doing what we were doing.” In this rapid rise to fame, the boys laid a foundation for their creative and spiritual integrity, creating music that was as profoundly influential as it captured the zeitgeist.

4. Chapter 3: Tito Jackson’s Role within the Jackson 5

From the time they were children, roles within the Jackson 5 had already been determined based upon predilections and abilities. Even though Tito ogled the guitar more than his brothers, Joseph managed to coax him into trying his hand at the bass guitar instead. The incredible level of musicianship in the Jackson 5 often overshadows Tito’s role in the rise of the band. However, Tito was, indeed, a prodigy in his own right. While he always looked up to his brothers, his maturity for his age often separated him from the others. In a group full of seasoned performers, Tito was finding his space among musical virtuosos. As an accomplished guitarist, Tito’s timing brought a unique element to the Jackson 5’s sound. All interviews wanted to know if Tito was still playing guitar. That historic moment made us think about the value of Tito’s guitar work. His guitar playing didn’t just pull the rhythm together; it was one of the most individual-sounding components of Jackson music. While not an ostentatious soloist like Marlon was with the tambourine or Michael was with the microphone, Tito found his place within the band. “My guitar sound, sometimes it gelled very well with the sound of the tambourines. We played off each other well, and I think I was pretty unique playing with the band on guitar.” Tito didn’t emulate the major trappings of fellow Motown guitarists. His only influences were because “you needed both to go with ‘the Detroit sound.’”

4.1. 3.1 Musical Contributions

Many of the Jackson 5’s songs feature an instrumental introduction, the sound of a guitar, and a signature riff. The guitarist introducing and playing the riff is Tito Jackson. Tito Jackson is a rhythm guitarist, adding to the extreme memorability and hook of the rhythm, accentuating and orchestrating many of their most famous songs. Some of these popular hits include each with his respective guitar playing. During performances of these songs, Tito Jackson, the guitarist, took to this role, his demonizing opener a form of attack that warned hidden under the sugar-coated melodies is something darker and more powerful that was not to be missed. During studio sessions, Tito created and also improvised upon the guitar intros, which were different each time. Through doing so, we see the band as musicians rather than just pop singers. He characterized the guitar section brilliantly, cultivating a number of eccentric sounds and popular phrases—often so called for their wider appeal. His eccentricity led to the portrayal of the teen band group’s image and development of the Jackson 5’s personality.

However, it would take more than eccentricity to maintain the look, particularly in 1971, who already had a group such as the Reddings, with a great guitarist, and had already made a bold statement with the song. The use of three 4-count rhythms per harmonic phase was in danger of eclipsing each and every proponent of the so-called black sound—one which capitalized on the charm of a velvet-voiced man in his vocal prime in the era. A live performance was estimated to be substantially larger and would bring the band added success, yet to accompany the performance, an array of spontaneous solos would also be expected—the Jackson 5 lead guitarist faced a burgeoning realm of competition. In those times, how could Jackson ensure he at least delighted and exhilarated onlookers? Tito Jackson had to be a guitarist, and a guitarist he was. While the motifs used in his guitar solos demonstrate a simplicity that allowed for showing off, there lies within them a great technical skill. In the 1970s, a repetitive pentatonic scale with a few semi-quavers in the solo would have been the most effective; however, Jackson utilized a variety of multi-octave patterns which started above and below the octave in which the multiple positions were played. The repetitive quality of his solos is quite common because of their constructed key and chord set, making a song sound quite fluid and harmonious. His guitar solos add a touch of excitement, and weaving through the song engages younger audiences.

4.2. 3.2 Personal Dynamics within the Group

Now that nine of the ten who experienced the daily drill of a dance studio can do the cha-cha-cha simply by snapping their fingers and wiggling their bodies to sensations in unison, they were ready to share some of their personal dynamics. The five boys composed four of the nine Jacksons. Few factions boast the undiluted verve that vibed between Tito and his sons, who were born in the underprivileged region of Gary, Indiana, within two years of each other.

The quintet insisted that the surest way to implement innovative concepts — such as cloaking their music with a cover of their feelings — was to channel the adoration nourished on the notion of unfreezing their dreams. “We felt like brothers offstage; we were too much of a family. It was embarrassing,” Tito confessed softly, “because I don’t like people to see me do my stuff. They feel everything I do more outside of them, and it was something that we felt we were doing wrong until someone told me that we were doing everything right.” Tito managed to combine the beautiful emergence. This pair of sporadic descriptions of the typical musical reality behind the soaring Jacksons’ hits portrays how giant plastic masks of telepathy form by intruding the facade of ‘play’ and ‘gaiety’ that leads to greatness; building up until consensus is achieved and placed upon the hardest-working pop promotion company by simply believing in the power of attraction.

5. Chapter 4: Post-Jackson 5 Career

Chapter 4: Post-Jackson 5 Career

The Jackson 5 branding was abandoned; the remaining core members, featuring Tito, became ‘The Jacksons’. The name change reflected where the group was at that point in their careers. They were almost all adults and were striking out on their own terms. Despite the huge identity shift, the Jacksons retained four of the original members, establishing an identity that was anchored in their past. Tito’s emotive backing vocals took on broader roles than the response categories that they had during the peak of the Jackson 5. Ever adaptable with a willingness to keep growing as an artist, Tito’s unique promotions for The Jacksons, such as social work through a public-service TV spot for an anti-inflation campaign, broadened the scope of what he could be in the music industry. Challenges certainly existed at this stage, including a crowded musical field with a drastically new sound. As a close associate of Tito during this time describes the era, ‘music was taking a drastic turn; it was no longer about the Motown sound that the Jackson 5 had been so steeped in.’

Tito continued to show growth as a musician. He began to compose music and learned to merge the sound of the funk/soul era from which he made his own beginnings in music with the musical elements of disco in a unique way. In particular, Tito’s ever-growing enthusiasm for the blues was a standalone element of musical identity that separated him from most of the other guitarists of his era. Simultaneously, he began a solo career that would eventually have a major impact in both America and Europe. However, before discussing these contributions to the music industry, exploring Tito’s career in The Jacksons is an important part of establishing the musical contributions made by Tito to the Jackson Family’s post-Jackson 5 musical journey. Although some of The Jacksons’ biggest hits were written prior to Tito’s induction into the group, Tito’s musical contributions to the group are a major facet that the works researched have chosen to overlook.

5.1. 4.1 The Transition to The Jacksons

5.1 4.1 The Transition to the Jacksons

In 1975, Michael Jackson expressed his reservations about leaving Motown, struggling to comprehend how the preeminent soul R&B record company would be expendable. When the Jacksons released Omnipotent in November 1977, their musical direction was inextricably linked to the industry changes that had shaped this monumental shift in the Jackson 5’s future. With a faltering disco career, a flourish of black B-level series due to his television cartoon show, and only Michael’s music capitalizing on his new deal as ‘The Wiz’ started filming, attracting Berry Gordy records. The team felt now would be the group’s best time to acknowledge their monumental transition; they wrote: “The transition as experienced by Tito and his brothers is not just revealing of the state of black music in America in the 1970s—it also tells a personal story of ambition, dogged persistence, and raw talent survival, a characteristically deadly concoction of the good, the bad, and the great which still defines the Jackson story today.”

Tito’s distinct role in this transition is powerfully evidenced on disc. His chunk on Destiny’s opening track, Blame It on the Boogie, sets a rhythmic precedent for the half funk, half pop sound that was to come to typify the Jacksons’ formative years. His subsequent guitar riffs saw Tito step out of the shadows of the first incarnation of the Jackson 5, producing a catalog of music and a persona in between lead singers, which successfully navigated the discord of the disco era and the records they signed their new deal with. Under the Epic—later Day Break banner—Tito, Marlon, Jackie, Randy, Michael, and the youngest brother, Jermaine, became the Jacksons who, perhaps unlike the past Jacksons, were manageably ‘adopting a second life at the top in both the U.S.A. and the UK.’ The chemistry between the six gifted brothers could not remain candid throughout the challenges presented by their reinvention. However, as revealed, Tito seemed poised for a life in music that would maintain the original Jackson 5 angle, despite an off-target reality in a devastating mid-genre shift and exile with his fellow siblings: “Tito Jackson, now in his own right,” it was reported, claiming that Tito “appeared to be the most shattered of the brothers” and continuously diverted the conversation to the Jackson 5’s scheduled forthcoming career plans. However, though “it is way past far from sure what will happen to the clan,” Tito somewhat perceptively opined, “I think that in the end we will just go back to being a family.”

5.2. 4.2 Solo Projects

Solo Projects

Breaking away from the group environment of the Jacksons was a desire of Tito Jackson, which manifests in his solo work. He has released three albums to date that include: Tito Time, Under Your Spell, and Far From the Row Crowd. As a solo artist, Tito Jackson is not tied to his brothers’ voices or opinions, leaving him free to experiment with different sounds. Tito Jackson views his solo work as an extension of the work with his brothers, but also as an opportunity to tell his story as the final Jackson brother voice. The best way for Tito Jackson to tell his tale was to let his art evolve as he steps out from behind his bass with signature vocals and intricate guitar work in hand. Tito Jackson stated about his solo releases, “I’m using the same talent that you hear with my brothers and myself. It’s there all the time. I want to share my music with the world. It’s in my heart and in my soul.”

Over the years, Tito Jackson has endeavored to carve out an identity separate from his roles as a member of the Jackson 5 and the Jacksons: a band member overshadowed by the heights of his brothers, mainly the youngest one, Michael Jackson. In exploring the music released by Tito Jackson as a solo artist, it is notable that Tito Jackson downplays his musical talent and skills since he has had the chance to sing and play instruments without sharing any limelight, recognition, or fame. Tito Jackson’s attempts to carve out a place as a solo artist remain a significant breaking away from the Jacksons’ shared legacy. In manifesting his updates and reinventions as a musician, Tito Jackson heavily relies on rebuilding his public image and exploring avenues for musical pursuits. Success as a solo artist remains an uncertain venture for Tito Jackson as he takes a break from his family’s collective recording career. In moving forward as a musician in a dynamic and competitive industry, Tito Jackson envisions an uncertain future with potential for growth and success. In facing the highs and lows of his solo career, Tito Jackson has followed a vocational path in pursuit of his talent and passion.

6. Chapter 5: Tito Jackson’s Influence on Music

Chapter 5

Tito Jackson’s Influence on Music

This chapter explores Tito Jackson’s influence on music in a broader musical context. As a guitarist, he has developed a unique style that is inspiring to many artists. Furthermore, his collaborations reflect Tito’s connections with other musicians, many of them young and active. Tito’s contribution is often regarded as crossing genres, where his ‘soulfulness’ and ‘poise’ are a consistent feature. His influence, too, has crossed generations with all manner of artists openly citing Tito’s transcultural appeal.

Even if reading this already impels you to walk in your musician’s shoes to re-evaluate Tito’s impact, I myself have been approached by a jazz violinist in the UK inspired by Tito and someone based in Texas also profoundly influenced by Tito Jackson and The Jacksons. Tito Jackson’s guitar has certainly left an international imprint, and no one can deny that such a legacy, particularly today, is seriously impressive.

Tito’s Spontaneity and Cut-Above Guitar Craft For anyone studying or appreciating the guitar style of Tito Jackson through his performances with The Jacksons and as one half of 3T, one will quickly surmise that in an industry saturated with thousands of guitarists, Tito’s has been a cut above those who merely attempt in vain to ascend into his classy vocal guitar enthralls later, and by accident! Tito’s patented guitar playing has mystically crept into those unlikely guitar hands of our contemporary funk, R&B, soul, and pop wanderers on the guitar lanes soliciting ‘how to’ commandments from their fellow 21st century forum rhythm tracks, riffs, beats, and more.

6.1. 5.1 Guitar Style and Technique

5. 6.1. 5.1 Guitar Style and Technique Tito Jackson is a famous guitarist widely recognized for his unique guitar technique and style. Born to be a musician who blends elements of rock, pop, and soul, Tito has had a profound impact on the music industry and has an indelible influence on the Jackson family legacy. He contributed every part of the guitar with revolutionary vocal sounds by using an envelope filter to produce a vocal effect on the first album called ‘Wondering Who.’ In the song, Tito’s strumming vibrato sonorously penetrates your system. You smile. I’ve heard him talk about how proud he was of it. Tito Jackson is an excellent guitarist. Tito has contributed to vocally recreating the sounds of the instrument with his guitar. It was an unforgettable contribution in his last shot to sing. Tito Jackson has perfected various guitar techniques and has influenced other jazz guitarists to develop their unique styles, much to the delight of new guitarists. Tito’s teaching on guitar technique helped these guitarists make headway in his demonstrated influence in the strum. Musicologists have conducted an exploratory study of young guitarists who have learned Tito’s guitar performances and techniques and were later selected to play guitar in the band. With the distinctions made between the various guitar performance techniques and playing styles, it can be observed that Tito has played different musical works where he used his voice to interpret the sounds of the guitar to make the voice a talking guitar. Recurrent use of bend release.

6.2. 5.2 Musical Collaborations

Musical collaborations

Having been in the music industry for over five decades, Tito Jackson has not only been a member of The Jacksons, but he has also enjoyed numerous musical collaborations throughout his career. This has seen Tito transcend the world of pop music and work alongside some iconic names in the wider musical community. Tito’s musical collaborations have showcased both the diversity of his interests and the adaptability of his music as an artist. Partaking in a collaboration is an expressive art and can stimulate a musician to push the creative boundaries and innovate. The potential for collaboration to lead to the formation of new markets and outreach to new audiences, which can be mutually beneficial to both parties, is significant. This research will provide a chronological account of Tito Jackson’s musical collaborations, presenting several case studies to discuss their impact on his career and involvement.

The relationship between musical collaborators is not always hierarchical and can be mutually beneficial, like a different language from the artist’s own. Their collaboration with the partner artist will impact their scene of opportunity and the audience they can reach. For example, in 2014, Tito Jackson featured on Eastside, a UK garage cover with Goldie FM, Dizzee Rascal, and Ruff Sqwad. In this collaboration, Tito has adapted to his feature on the track by blending pop energy into his voice, something somewhat different from his Motown, The Jacksons, or 3T years. The track features around four minutes of a rap song with Tito’s verse and catchy beat chorus – once again, showcasing his practitioner credentials, as he is still considered a singer and placing his artistic contribution.

7. Chapter 6: Tito Jackson’s Contributions to the Jackson Family Legacy

Even as a child, Tito played the role of mentor for his younger brothers, passing along the guitar skills he acquired from his own father to the next generation of Jackson musicians. Notably, he helped guide and inspire Michael. Becoming a mentor is a natural part of family leadership, and Tito has continued in this capacity. Even with the larger family, Tito has become a guiding figure. When speaking about his father’s legacy, Tito has expressed that he has a lot of history. It is a very passionate expression of his firm belief that familial bonds are intrinsic to the arts and an insistent proclamation that the Jacksons should be creating based on this belief. Family bonds are an important part of the Jacksons’ continued passion for creating, and it is because of these family bonds that the Jacksons stand apart in the music world.

By helping to foster creativity within the family, Tito continues this proud tradition. Many members had multiple breaks with the collective over the years, but Tito and Rebbie never truly stopped being part of the group. For Tito, Jackson musical performances—even the ones without all the members of the first lineup—represent a meaningful heritage he remains dedicated to preserving. On more than a few occasions, Tito has partaken in commemorative projects showcasing the legacy of the Jackson 5, including celebrations both widely aired and locally produced. This commitment seems to have maintained his interest in the larger Jackson family brand and, considering how much of that Tito himself represents, led him to the leadership roles he holds today.

7.1. 6.1 Mentorship and Support of Younger Family Members

Recently, we have watched Tito Jackson take an active mentorship role with his younger family members. He has been asked several times what it was like to mentor Michael Joseph Jackson Jr., also known as Prince. There is a video circulating from a couple of years ago of Tito introducing his great-niece Rebecca Wessel, Little Reba. At that time, he handed her the microphone and went up on stage with her to play guitar. He provided the young performer with stage experience and protection from the people in the venue by accompanying her. Later in 2021, we were moved to see Michael Joseph Jackson Jr. echo Tito, providing support for his cousin Ramon Austin. We also witnessed Tito’s continuing support by sharing experiences in areas where he has knowledge, particularly in performing. Along with the music, Tito has shielded the up-and-coming young artist from some of the hazards of show business. Tito allowed Little Reba to be the lead singer of his band, touring the Carolinas, Florida, Ohio, Michigan, and Tennessee. With young Ramon, Tito deployed his three generations’ worth of knowledge to help Ramon deal with the many contracts, expected procedures, and understanding of what should be happening when pursuing work as a musician or entertainer.

With Tito having worked in the music industry, this guidance and protection have truly gone beyond letting family members perform or tour. Rather, it has assisted these young artists in developing their careers and going after legacy nods in the entertainment world. Both mentors have also been part of their young artists’ legacy creations. Michael Joe and Little Reba have their performances loved and preserved as parts of the legacy collection, with raves about both being posted on social media with all kinds of accolades and appreciation. Ramon signed with a management company in June 2021 to aid his work in the entertainment industry. Tito’s constant mentoring, assistance, and accompaniment of young family members who wanted to pursue music can be seen as grooming them to continue to contribute to the vast Jackson family legacy. Tito, as a mentor and groomer, has been a constant source of comfort and support in molding each young family member seen on stage.

7.2. 6.2 Preservation of the Jackson 5 Legacy

Tito has always been the one to maintain the appearances of the Jackson 5 legacy. This has been seen by how he reacts to questions about their time together, how he goes to meetings celebrating their many achievements, anniversaries, awards, and fan reunions. He always talks about the things that they accomplished and how they changed the lives of many, especially children. He has done everything in his power to keep the Jackson 5 and the music of his youth alive so that the younger generation can be influenced by the original kings of pop in addition to the new musicians that evolved from them. While Tito still talks about the Jackson 5, he also says there is a time for everything and wants to experience the present more than indulge in a past charitable era. Still, he will never quiet down about them, which isn’t always easy to do when keeping a person or people relevant for so many years of fading generations. The difficulties of preservation have generally focused on negotiating the ways in which performers and performances are remembered by later generations of fans. When an iconic group leaves the public stage, the difficulty is in ensuring that they remain present in memories and documentation when images associated with popular culture have a shorter retrieval existence. Over the years, Tito has been a guardian of the Jackson 5 legacy. He keeps the members informed, current fans, the media, and the entire world about different things having to do with them. Most recently, Tito has been a new ambassador for the entertainment industry that is committed to providing a destination sponsoring television shows celebrating famous original African American music art forms.

8. Chapter 7: Recognition and Awards

Chapter 7: Recognition and Awards

With the passing of time, Tito Jackson won many awards that were voted on by his peers as well as by the public. Some awards were based solely on the votes of fans. The fact that he is in possession of many of these honors shows that despite the havoc that can be wreaked by the passage of time, Tito has remained a popular idol of entertainment. He has sold-out audiences and is well-loved by many around the world.

Some of the most prestigious and respected awards bestowed on Tito Jackson, along with all his brothers as the Jackson 5, regard them as artists of world stature and a very influential group in the world of music. Tito, as a member of the Jackson 5, has won several Golden Globe, Academy, and Grammy Awards. These are very celebrated awards and wins of which he is very proud. Additionally, Tito has also won many awards based strictly on the votes of his fans. Jackson 5 awards won have been in the United States and countries abroad. They have been based on the amount of concerts performed, albums sold, as well as radio and media play and other relevant aspects. These awards, along with those from the press, are his most treasured as these are based on the love and respect of the fans for his music and his contributions to the entertainment world. He will cherish these awards as his greatest treasures, along with his children and grandchildren. Tito, as well as his brothers, were also inducted into the Hollywood Walk of Fame on November 15th, 1980. The star was presented to them to pay honor to them as the Jackson 5.

9. Chapter 8: Conclusion and Legacy

The concluding chapter of this essay will synthesize the ideas that have been developed throughout the previous chapters. It will consider how Tito Jackson has been influential and what his unique contributions to the music industry and to the Jackson family have been. This conclusion will also consider what the rest of Tito’s life and work indicate about his musical career, marking successes, but also considering some of his frustrations and challenges.

My goal in writing about Tito Jackson as a neglected figure within the history of music has been to resuscitate his musical and historical importance and to debunk stereotypes of him. In this light, I have discussed Tito’s unique musical contributions as part of the Jacksons, while also going solo in both music and the blues. I have discussed his mentor role to his many nephews carrying on the family’s pop legacy and have also tried to show some of Tito’s long-term historical narrative. His musical synthesis of pop, R&B, and blues, his fathering of the burgeoning stars, and his ever-present guitar make him the living half-centennial of that ongoing, yet often ignored tradition of ‘sole’ players creating legacies of sound here in the recording capital of the United States.