Swa said:

And onto the music....

Invincible

With a 5 year gap between HiStory and Invincible there was an air of intrigue surrounding the new album. How would it sound? Would there be surprises? Press at the time talked about how much was being spent on the albums production, and interviews suggested a lot more exploration of sounds and rhythm than eventuated on the release. We were told this was MJ going back to his Off The Wall days both in terms of melody and intent. So with Invincible’s release the expectation was high – was Michael going to be able to hold his own in a world of new pop stars, or would his releases start to be relegated to that of an “oldies” act.

Kicking the album off with Unbreakable, the groove stutters and struts along with sounds and structures that matched the current crop of hit makers. Michael’s voice is in fine form, especially in the falsetto lead in to the chorus. Here also for the first time was an exploration of digital cutting of effects on the vocals in smatterings here and there. Though at 6 minutes, the song seems to go along the same trajectory and doesn’t really offer anything new for the listener. Lyrically it feels as though Michael was trying overly hard to prove his worth – something he no longer needed to do.

Heartbreaker at least offered a bit of excitement. The manipulation of the beat has a sense of energy to it that is infectious. If you just listen to the beat, there are little surprises laid all through it, one moment MJ is beat boxing, the next snare drums are being sliced and diced, the next filters are being used to twist and turn it. Maybe a bit of a nod to the grooves Jam and Lewis would lay out for Janet, Heartbreaker really comes into it’s own with the choruses and sublime bridge where Michael’s backing vocals float and weave with ease. Hard hitting, jiggered and abrupt, this was one of the highpoints for the album in terms of the dance-oriented tracks.

Sadly Invincible comes off sounding like more of the same, and almost a brother track to Unbreakable, though with more melodic hooks. Maybe it’s the overly electronic instrumentation on the track, or the sparseness in the arrangement but it ends up being a dance song by the numbers and perhaps suffers from playing too much to the current pop playbook than pushing new territory.

Whilst the album would be criticised for having too many slo-jams on it (especially in the way it was sequenced) it’s often these songs that provide the high points on Invincible. Break of Dawn is a prime example of this. With Michael in more of a laid back mood the song floats out of the speakers and easily seduces the listener. A perfect balance of lead and backing vocals, there’s a depth here to Michael’s vocals that were lacking in the lead up tracks. The musical arrangement also feels more organic and natural. It just goes to show that when Michael wants to get his groove on and drift more into a soul territory few can come close.

Heaven Can Wait is classic r’n’b and Michael delivers like only MJ can. Lush production doesn’t swamp the song but allows Michael’s vocals to come to the fore and be carried by the track. Immediately catchy, the chorus now holds a bittersweet lyric that in today’s world features greater tragedy. One of the stand out tracks it’s no wonder Teddy Riley has plans of re-recording the track for Backstreet.

With it’s one moment comical the next annoying intro with Chris Tucker, You Rock My World see’s Michael hit with a modern MJ classic. Annoyed that Michael fell into the “darkchild” callout at the start of the song, this soon passes as the song’s groove and melody kick in. Sadly what could have been even more blissful arrangement with the use of real strings (and a nice nod back to Don’t Stop) the song relies a little too heavily on synths as its base. But there is no denying that out of all the dance tracks on here, this is the one that has you wanting to the get up the most. Although it doesn’t really offer anything new to his catalogue of hits, it does have a sense of joy in the vocals that are hard to resist.

Taking on Neo-Soul with Butterflies, Michael makes this song soar. With a groove that strolls, the musical arrangement feels more authentic, with horns and percussion punctuating the chorus. Michael’s vocals are amongst some of his best work, especially in the second verse when he goes into the falsetto that has been missing from a lot of his work. Rich and luscious backing vocals keep the choruses warm and just surround the listener. When you compare Michael’s final version with the Floetry demo you see how Michael matches note for note the little runs and adlibs to perfection yet still puts his own little stamp on it.

Sadly post Butterflies is where the album loses its focus and direction.

Speechless, with its pure a capella intro is captivating to begin with then falls into an overblown Disney-esque arrangement that seems to rob the song of the very heart it longs to convey. If it had kept just to a short a Capella song it would have been more captivating – take the first 30 seconds and last 30 seconds, and you have something truly special.

2,000 Watts ends up sounding like a generic cast off from Dangerous era recordings and too gimmicky to be taken seriously with lines such as “you may now apply your 3D glasses”. The mis-step here though is that this song replaced Shout – which was at least more inventive.

You Are My Life is ironically lifeless. With the classic hallmarks of a Babyface song it feels like it is 5 years late in it’s delivery and ends up sounding dated and redundant.

Continuing the media victim theme, Jackson presents Privacy and although edgier than songs such as Tabloid Junkie again it feels like Michael is treading old ground here.

Don’t Walk Away was one of the slow growers of the album. Reminiscent of a Janet ballad (Someday is Tonight springs to mind) Michael shows that he can still sing the heart of out a ballad and give it depth.

One of the increasing problems with Michael’s albums was there was a sense that he was trying to repeat previous success, and Cry is this album’s attempt to reimagine Man In The Mirror. Sadly it doesn’t come close and whilst not a bad song at all, it does make you think too much of MITM and therefore suffers in the comparison.

With his heart on his sleeve, and maybe still trying to sway public opinion, The Lost Children feels even more out of place here than some of the other mis-steps. Again it feels like Michael we have already heard in Heal The World and suffers from the same sappy production.

Thankfully when you are feeling less and less enthused with the album, Whatever Happens comes on. With a duet between vocals and Santana guitar, it is one of the freshest tracks on the album. Sure it's in the blueprint of “get a great guitarist on the track”, but instead of trying to repeat Beat It, Michael explores new territory with this Latin fused track and comes out the winner.

Sadly, the freshness of Whatever Happens doesn’t carry across into Threatened – Michael’s latest take on a Thriller style song. Although not the wisest choice lyrically as Michael paints himself as a threatening beast who preys on sleeping victims, the groove of Threatened is what makes it captivating, and since getting a live airing in This Is It, the song has become more appealing, but part of me wishes the groove had different lyrics, but as it is it feels like Michael is treating old ground.

As his last studio album, Invincible ends up suffering from the weight of it’s own ambition. Overly long, this mixed bag of tricks really fails to continue with the momentum that the first half of the album was building. If it was trimmed down to 9 or 10 songs, then I think the feeling the album leaves you with would be different, and maybe would have been the “come back” album many critics claimed it wasn’t. Sadly this is the last studio album Michael left us, and you can’t help but think if he knew that, this wouldn’t be the note he would have wanted to leave on.

Great album to my ears. People were expecting too much as far as I'm concerned. It wasn't fair to expect every album of his to be a game changer. He turned in a well written, eclectic and mature set of songs which weren't given the opportunity to shine due to friction with certain personnel at Sony. The only tracks I don't care much for are You Are My Life, Privacy and The Lost Children and even they have their merits.

It was You Are My Life not 2000 Watts that replaced Shout.

He should have left it on as the album was already ballad heavy without adding yet another.

scatwoman said:

Swa said:

And onto the music....

Invincible

With a 5 year gap between HiStory and Invincible there was an air of intrigue surrounding the new album. How would it sound? Would there be surprises? Press at the time talked about how much was being spent on the albums production, and interviews suggested a lot more exploration of sounds and rhythm than eventuated on the release. We were told this was MJ going back to his Off The Wall days both in terms of melody and intent. So with Invincible’s release the expectation was high – was Michael going to be able to hold his own in a world of new pop stars, or would his releases start to be relegated to that of an “oldies” act.

Kicking the album off with Unbreakable, the groove stutters and struts along with sounds and structures that matched the current crop of hit makers. Michael’s voice is in fine form, especially in the falsetto lead in to the chorus. Here also for the first time was an exploration of digital cutting of effects on the vocals in smatterings here and there. Though at 6 minutes, the song seems to go along the same trajectory and doesn’t really offer anything new for the listener. Lyrically it feels as though Michael was trying overly hard to prove his worth – something he no longer needed to do.

Heartbreaker at least offered a bit of excitement. The manipulation of the beat has a sense of energy to it that is infectious. If you just listen to the beat, there are little surprises laid all through it, one moment MJ is beat boxing, the next snare drums are being sliced and diced, the next filters are being used to twist and turn it. Maybe a bit of a nod to the grooves Jam and Lewis would lay out for Janet, Heartbreaker really comes into it’s own with the choruses and sublime bridge where Michael’s backing vocals float and weave with ease. Hard hitting, jiggered and abrupt, this was one of the highpoints for the album in terms of the dance-oriented tracks.

Sadly Invincible comes off sounding like more of the same, and almost a brother track to Unbreakable, though with more melodic hooks. Maybe it’s the overly electronic instrumentation on the track, or the sparseness in the arrangement but it ends up being a dance song by the numbers and perhaps suffers from playing too much to the current pop playbook than pushing new territory.

Whilst the album would be criticised for having too many slo-jams on it (especially in the way it was sequenced) it’s often these songs that provide the high points on Invincible. Break of Dawn is a prime example of this. With Michael in more of a laid back mood the song floats out of the speakers and easily seduces the listener. A perfect balance of lead and backing vocals, there’s a depth here to Michael’s vocals that were lacking in the lead up tracks. The musical arrangement also feels more organic and natural. It just goes to show that when Michael wants to get his groove on and drift more into a soul territory few can come close.

Heaven Can Wait is classic r’n’b and Michael delivers like only MJ can. Lush production doesn’t swamp the song but allows Michael’s vocals to come to the fore and be carried by the track. Immediately catchy, the chorus now holds a bittersweet lyric that in today’s world features greater tragedy. One of the stand out tracks it’s no wonder Teddy Riley has plans of re-recording the track for Backstreet.

With it’s one moment comical the next annoying intro with Chris Tucker, You Rock My World see’s Michael hit with a modern MJ classic. Annoyed that Michael fell into the “darkchild” callout at the start of the song, this soon passes as the song’s groove and melody kick in. Sadly what could have been even more blissful arrangement with the use of real strings (and a nice nod back to Don’t Stop) the song relies a little too heavily on synths as its base. But there is no denying that out of all the dance tracks on here, this is the one that has you wanting to the get up the most. Although it doesn’t really offer anything new to his catalogue of hits, it does have a sense of joy in the vocals that are hard to resist.

Taking on Neo-Soul with Butterflies, Michael makes this song soar. With a groove that strolls, the musical arrangement feels more authentic, with horns and percussion punctuating the chorus. Michael’s vocals are amongst some of his best work, especially in the second verse when he goes into the falsetto that has been missing from a lot of his work. Rich and luscious backing vocals keep the choruses warm and just surround the listener. When you compare Michael’s final version with the Floetry demo you see how Michael matches note for note the little runs and adlibs to perfection yet still puts his own little stamp on it.

Sadly post Butterflies is where the album loses its focus and direction.

Speechless, with its pure a capella intro is captivating to begin with then falls into an overblown Disney-esque arrangement that seems to rob the song of the very heart it longs to convey. If it had kept just to a short a Capella song it would have been more captivating – take the first 30 seconds and last 30 seconds, and you have something truly special.

2,000 Watts ends up sounding like a generic cast off from Dangerous era recordings and too gimmicky to be taken seriously with lines such as “you may now apply your 3D glasses”. The mis-step here though is that this song replaced Shout – which was at least more inventive.

You Are My Life is ironically lifeless. With the classic hallmarks of a Babyface song it feels like it is 5 years late in it’s delivery and ends up sounding dated and redundant.

Continuing the media victim theme, Jackson presents Privacy and although edgier than songs such as Tabloid Junkie again it feels like Michael is treading old ground here.

Don’t Walk Away was one of the slow growers of the album. Reminiscent of a Janet ballad (Someday is Tonight springs to mind) Michael shows that he can still sing the heart of out a ballad and give it depth.

One of the increasing problems with Michael’s albums was there was a sense that he was trying to repeat previous success, and Cry is this album’s attempt to reimagine Man In The Mirror. Sadly it doesn’t come close and whilst not a bad song at all, it does make you think too much of MITM and therefore suffers in the comparison.

With his heart on his sleeve, and maybe still trying to sway public opinion, The Lost Children feels even more out of place here than some of the other mis-steps. Again it feels like Michael we have already heard in Heal The World and suffers from the same sappy production.

Thankfully when you are feeling less and less enthused with the album, Whatever Happens comes on. With a duet between vocals and Santana guitar, it is one of the freshest tracks on the album. Sure it's in the blueprint of “get a great guitarist on the track”, but instead of trying to repeat Beat It, Michael explores new territory with this Latin fused track and comes out the winner.

Sadly, the freshness of Whatever Happens doesn’t carry across into Threatened – Michael’s latest take on a Thriller style song. Although not the wisest choice lyrically as Michael paints himself as a threatening beast who preys on sleeping victims, the groove of Threatened is what makes it captivating, and since getting a live airing in This Is It, the song has become more appealing, but part of me wishes the groove had different lyrics, but as it is it feels like Michael is treating old ground.

As his last studio album, Invincible ends up suffering from the weight of it’s own ambition. Overly long, this mixed bag of tricks really fails to continue with the momentum that the first half of the album was building. If it was trimmed down to 9 or 10 songs, then I think the feeling the album leaves you with would be different, and maybe would have been the “come back” album many critics claimed it wasn’t. Sadly this is the last studio album Michael left us, and you can’t help but think if he knew that, this wouldn’t be the note he would have wanted to leave on.

Great album to my ears. People were expecting too much as far as I'm concerned. It wasn't fair to expect every album of his to be a game changer. He turned in a well written, eclectic and mature set of songs which weren't given the opportunity to shine due to friction with certain personnel at Sony. The only tracks I don't care much for are You Are My Life, Privacy and The Lost Children and even they have their merits.

It was You Are My Life not 2000 Watts that replaced Shout.

He should have left it on as the album was already ballad heavy without adding yet another.

Ugh I forgot to do my mix. I may have Shout in my Invincible mix when I get around to making one.

Timmy84 said:

scatwoman said:

Great album to my ears. People were expecting too much as far as I'm concerned. It wasn't fair to expect every album of his to be a game changer. He turned in a well written, eclectic and mature set of songs which weren't given the opportunity to shine due to friction with certain personnel at Sony. The only tracks I don't care much for are You Are My Life, Privacy and The Lost Children and even they have their merits.

It was You Are My Life not 2000 Watts that replaced Shout.

He should have left it on as the album was already ballad heavy without adding yet another.

Ugh I forgot to do my mix. I may have Shout in my Invincible mix when I get around to making one.

Unbreakable

Heartbreaker

Invincible

Break Of Dawn

You Rock My World

Butterflies

Speechless

2000 Watts

Shout

Heaven Can Wait

Don't Walk Away

Cry

Whatever Happens

Threatened

is what's on my pod.

I'm on Okayplayer and I just re-read Scorpeze from Windimoto's response to ?uestlove saying that Beyonce was the next Michael......dude ETHERED ?uest

Good people, I want to be brief but the fact is to comprehend MJ is a huge undertaking. Though Mr. Thompson had some interesting points, his claim is poorly thought out and completely without merit.

First off, let me say that there are certain facts about Mrs. Beyonce Giselle Knowles-Carter than cannot be disputed.

A) She is talented.
B) She can sing.
C) She can dance.
D) She has star quality.
E) She is a beautiful woman.

That being said, there are definitely parallels between Mrs. Knowles and Michael Joseph Jackson:

A) They both have been entertainers since they were children
B) They are both driven to be the best in their field
C) They have reaped great success in the entertainment industry
D) They are both Virgos–thus hard workers and shy people that come alive on stage
E) They both came from groups that they inevitably outgrew
F) They both-because of growing up in the entertainment industry-have somewhat stunted social development
G) They have overbearing fathers who guided their careers.
H) They both bammas
I) They Black

…and that’s where the comparisons stop.

When Berry Gordy stood before the world at MJ’s memorial and finally said out loud what the world already knew but for numerous reasons could not bring itself to freely admit–that Michael Jackson is the greatest entertainer to ever live–NO ONE could offer an argument to the contrary…because there is no argument to the contrary.

There is a point when you are no longer great, but legendary…where you are no longer legendary, but an icon…where you are no longer an icon but the Gold Standard by which all others are measured…MJ reached that level….

MJ didnt just “change the game”, he obliterated the old game and put a new one in its place.

This may sound like hyperbole, but the facts speak for themselves.

No one has sold as many records as MJ. Period. But record sales are only a piece of this pie. Yes, Thriller had a lot of serendipity going for it, but the pieces had been put into place a long time before that…

At the age of FIVE YEARS OLD, MJ was already on a level that he relieved his older brother Jermaine of his lead singer position in the Jackson 5. Grown men refused to play on a bill with him. He was a seasoned enough entertainer that his competition in talent shows swore that he was not a child, but an adult midget (true story). A child had professional adult entertainers shook. Bear in mind, this was the 60’s, where you couldnt lipsynch, use auto-tune, or prerecorded tracks. If you didnt have the goods, you were forced to leave the stage, cute kid or not. The Jackson 5 won EVERY talent show they entered.

Another true story. At the age of THREE YEARS OLD, MJ sang Climb Ev’ry Mountain in school one day. His teacher wept.

Etta James told this story to MJ biographer J. Randy Taraborelli. She said that one night on a tour stop in the Midwest, she noticed a little boy hanging around her dressing room before showtime. She was trying to prepare for the show and the kid was distracting her. She marched up to the kid and told him to get lost. The kid scrambled away. Later, after her set, the boy appeared at her dressing room door. She asked him “What do you want, kid?” The boy replied, “Miss James, my father told me to come and apologize for bothering you earlier. I didn’t meant to, its just that you’re so good. I just want to know how you do it…” Etta had a change of heart and invited the boy in for some pointers. She remembers (in a self-congratulatory way) thinking to herself after the boy had gone, “One day, that boy is going to be the best…because he wants to learn from the best…”.

Mind you, this is going on before Motown ever knew The Jackson 5 existed. The rest, as they say, is history.

There are artists that we enjoy, and then there are artists that we FEEL. They give us pause. They make us consider things. They make us sit up and pay attention, and what they do and say stays with us long after the show is over or the record stops.

I’ve always said that you can divide entertainers into 2 categories: Artists and Acts.

Acts wants your attention and praise. They use whatever talent they may have to gain your favor. It doesnt matter to them how they do it. You pay them and clap for them and they are satisfied.

Artists also wants your attention and praise, but the difference is that an artist feels duty bound to share their gifts. They perform in service of the audience. They feel compelled to connect with their audience, to give a voice to whatever you in the audience may be thinking or feeling. At other times, an artist has something to say that they feel everyone should hear. An artist has purpose and integrity.

Michael Jackson felt duty bound to right the wrongs of the world. He wanted people to stop hurting each other and start loving each other more. It was this message of love that was the foundation of his music and performances until his last day on Earth.

Michael Jackson is an artist. At the age of 18, he pleaded with us to come together in songs like Show You The Way To Go, Living Together, Dreamer, and Strength of One Man. He continued on with a constant message.
-Man of War
-Can You Feel It
-We Are The World
-Earth Song
-They Dont Care About Us
-Beat It
-Heal The World
-Bless His Soul
-Man In The Mirror
-Keep The Faith
-On The Line (which was the theme song to the only film that I know of about the Million Man March)

if you wanna talk empowerment, he said:
“Lift your head up high and scream out to the world
I know I am someone, so let the truth unfurl
No one can hurt you now cause you know its true
Yes, I believe in me, so you believe in you
Help me sang it
Sing to the world, sing it out loud”

He wrote that when he was 21.

Lots of people write inspirational songs, mattafact there’s a whole sub-genre of music dedicated to just that, but when MJ sang people listened…people in all corners of the globe.

While it may seem that Im just retreading old shit…I remind you that we are talking about someone who is being talked about as the “next” one of this caliber, so I think its important to realize what caliber we taumbout here….

We taumbout a cat who inspired the world to stop and not only realize the plight of Africa, but help…you had kids sending in allowances, and Mr. Joe Six Pack writing a check for famine relief….These days that type of widescale philanthropy is commonplace…

We’re taumbout a cat that made grown men cry during and after his life (I’ve seen it). A person who has little children demanding that their parents buy them his music AFTER his death.

MJ changed the way Black men approached singing. How many baritones are there in R&B these days? These days a little white kid is just as likely to start singing in an R&B style than forming a rock band because of MJ.

MJ wrote songs that are part of the permanent fiber of global culture.

MJ made Fred Astaire bow down.

Even MJ’s hero, the notoriously egocentric genius and architect of modern Black music, James Brown insisted that even though MJ had learned from him that MJ was an original.

To this day, people are still trying to discover what made MJ tick.

MJ survived a scandal that would have obliterated anyone else’s career-TWICE. After 8 years of creative silence, then man announced that he was back and instantly sold out the same arena 50 times over.

This is the man we are talking about here. This is the entertainer we are talking about. This is the artist we are talking about.

And who is Questo proclaiming to be his rightful successor?

Beyonce.

Beyonce?

For all the talent, charisma, success, and work ethic that Beyonce has, let’s be really damn real.

She aint fuckin with MJ.

She may be one of the many entertainers in the mold of MJ, but the “NEXT” MJ?

How so? Because there are some similarities in their careers? That aint enough…

Let take the visual out of the equation.

let’s sit MJ’s catalogue next to Beyonce’s….that’s not even fair…

What is the criteria? Beyonce’s songwriting? Aight, let’s look at that….

on persistent suitors:
MJ – “She comes to the door/crying at my feet/Guilt shines in her eyes/as she slowly sinks in deep/You know our love couldnt last forever/persuade your way/but you aint clever/ I close the door and I say never….”

Yonce – “So what/you bought a pair a shoes/what now I guess you think I owe you/you dont have to call as much as you do/Id give em back to be through with you/so what/my mama likes you…”

on self-empowerment:
MJ – “And when you think of trust/Does it lead you home?/To a place/that you only dream of/When you’re all alone/And you can go by feel/’Stead of circumstance/But the power’s in believing/So give yourself a chance…”

Yonce – “the shoes on my feet/I bought it/the clothes I’m wearing/I bought it/the rock Im rockin/I bought it/cuz I depend on me/if I want it/the watch Im wearin/I bought it/the house I live in/I bought it/the car Im drivin/I bought it/cuz I depend on me…”

on a broken heart:
MJ – “and it doesnt seems to matter/and it doesnt seems right/cuz the will has brought no fortune/still I cry alone at night/dont you judge of my composure/cuz Im bothered everyday/and she didnt leave a letter/she just up and ran away…”

Yonce – “Now that it’s over/Stop calling me/Come pick up your clothes/Ain’t no need to front like you’re still with me/All your homies know/Even your very best friend/Tried to warn me on the low/It took me some time/But now I am strong…”

I think we can see that we’re not dealing with the same caliber of songwriter…Also let me point out, that songwriting and producing actual music is one of the things that MJ was known for (if the word “Quincy” enters your mind, go see my “In Memoriam Part 1″ blog, then rejoin us here). it is common knowledge now that if you want a track on a Yonce album you are REQUIRED to give her a writing AND production credit–whether she did any work or not. Tsk Tsk, mayne. Okay, we know that she’s written lyrics before. Schmoove. But sometimes she doesnt when the credits say otherwise. See If I Was A Boy.

But Beyonce aint twisted knob the first, or arranged a string session, or worked out chords with musicians. Mike has. Kenny Gamble told CBS in 1977 that Mike and his broze didnt need a babysitter in the studio anymore.

Vocally? *looks at the camera*. I’ve only heard B sing ONE song with any kind of believable emotion (the latter song quoted above). Yonce fans, feel free to point me in the direction of any other song by her that moves you emotionally (please say Get Me Bodied). Meanwhile, Mike made HIMSELF cry every time he sang She’s Out Of My Life. EVERY time. Its one thing to sing well, its another thing to make people feel…

Videos? Mike damn near invented the video. I challenge you to make it all the way through this:



Like I was saying…what other criteria are we judging on, Mr. Thompson?

Record sales? Popularity? The scales are not coming anywhere close to balancing with those factors on the table…MJ’s weakest selling album ran 10 million out the gate with little promotion and one video.

Dancing? Again, Fred Astaire, James Brown, and every kid that dances professionally now cites MJ as an inspiration. He created his own dance vocabulary, his moves are studied. Even K-Fed said that the greatest moment in his life was dancing for MJ. Beyonce’s choreographer left her tour to audition for This Is It. Not for a job, to audition. Yes, MJ learned from the best but in the end when you bust certain moves people know automatically who you are mimicking. Yes, Yonce had her Single Ladies moment and everyone wanted to learn the steps but the same thing happened with the Achy Breaky Heart, The Macarena, and MC Hammer’s Chinese Typewriter. Do the Single Ladies dance 10 years from now at a party if you want. People are still doing Thriller–27 years later. Let someone accurately dance like MJ and a crowd gathers…

Is Beyonce the biggest pop star in the world right now? Yes. has she been successful for a while now? Yes. But she’s hardly alone in wearing that distinction.

Lastly, let’s talk about influence. MJ has inspired millions of people to better themselves, care about others, be ecologically responsible (long before it was hip to be “green”…BTW, MJ was a vegetarian back when fast food still tasted good), be the best they can be, follow their dreams, and take pride in being different. He has personally mentored actors, athletes, emcees, choreographers, filmmakers, authors, activists, singers, musicians, entrepreneurs, doctors, etc…both young and old.

What is Yonce’s influence? Inspiring insecure women to shake their asses half naked in a room full of strangers? Who is she inspiring and what is she inspiring them to do? To wear as little clothing as possible? Throwing your man out of the house? Emotionally blackmailing him to marry you? (the less I say about Yonce’s relationship, the better) To writhe around on the floor and spread your legs? To drive around in the Pussy Wagon???

Warning: Opinion ahead.

I absolutely fucking cringe when I hear someone suggest that Yonce is a role model that young women should be emulating. In the last decade, she has gone from suggestive to risque to desperate. What would happen if she put her legs, ass, and titties away? Would we be still be having this conversation about her artistic merit? Sweet Lawd, WHEN will women learn the difference btwn taking ownership of their sexuality and exploiting themselves?

A large part of Yonce’s appeal is that she makes records out of women’s sillier fantasies.

-Kitty Kat: I’ll withhold pussy from you if you dont give me the amount of attention I want
-Irreplaceable: I’ll kick you out the crib and you wont have a word to say about it. Oh yeah, Im going to further provoke you by inviting another dude over here in the middle of a hostile situation
-Freakum Dress: Im feeling insecure about my relationship, so instead of talking to my man…Im going to the club in the sluttiest clothes I can find…that’ll teach his ass
-Single Ladies: if you dont propose to me, Im going to go out to the club make a spectacle of myself

This is some real mature shit here *sarcasm*. the list goes on…ladies, you can follow this advice if you want to and see how far it gets you…Sadly, alot of girls and grown women think that they can pull this type of shit off because they saw Beyonce do it in a video. Trust me, I’ve seen it…

What they fail to realize is that Beyonce can make up fantasies about what its like to deal with men because she’s Beyonce. She’s spent the majority of her life on stage or under the watchful eye of her dad. If there’s one parallel btwn Yonce and MJ that stands out, you can bet your ass that the lack of a social life is one of the most prevalent. Solange can get pregnant at 17, but there was no FUCKING way Matt and Tina would have let Yonce get that far out of their eyesight for that to happen…

Just for comparison, here’s some MJ fantasies: He goes around fighting evil, protecting the world, and saving people from getting hurt…oh yeah, he turned into a zombie once…

Aint no way that Yonce, in her current incarnation, should be held up as an example…You can say what you want abt MJ and his various controversies, but when have you seen him advocating acting a motherfuckin fool?

Lemme wrap this shit up, B.

Beyonce is successful performer. Lots of people love her. MJ is a global cultural institution. A musical genius. One of the greatest vocalists of our time. One of the best dancers in history. An innovator in the field of music. A trailblazer that changed how the music industry works. A humanitarian. An inspiration. A hero. He left the world and broke the damn internet…

He is simply, the greatest entertainer ever to live. (c) Berry Gordy

Beyonce got a long way to go before she can event think about climbing that mountain.

Aint no next. There was only one.

Sorry, Ahmir.

Ethered? He killed ?uest!

Let's settle this once and for all!!!!!!!!!!!!!!!!!!!!!!!!!!!!

or

He knew better not to compare Michael and Beyonce. That big afro of his is messing with his brain cells.

Timmy84 said:

Unholyalliance said:

No matter what, that's still his house and now it belongs to his kids & whomever else has a stake in it. When they get of age they, as well as the other peole with money in it should come to a mutual decision about what should be done with it. It would be nice if it can serve as something that would both benefit the estate and the community as that would continue to serve MJ's legacy. That might take some years, so until then we're just going to subjected to court cases up the ass.

Also, as for MJ not being prepared for death...well...at that age, no one is really prepared to die. While it is true that his shit seems to be in a complete mess, I can only assume that maybe he was going through some kind of depression. Sometimes when you go through that you tend to not care about a lot of things so that could be reason as to why everything is kinda screwed up for the most part. Yet, it's just sad that by the time he was mentally ready it ended. =/

[Edited 4/14/11 9:06am]

Who knows? We all don't know what happened. We weren't there, we can only speculate, which sucks.

This sums up my feelings on this whole thing I just stop wondering what if and debating. It’s just a big mess so sad

JabarR74 said:

Let's settle this once and for all!!!!!!!!!!!!!!!!!!!!!!!!!!!!

or

Haven't we been through this once and for all?

scatwoman said:

Swa said:

And onto the music....

Invincible

With a 5 year gap between HiStory and Invincible there was an air of intrigue surrounding the new album. How would it sound? Would there be surprises? Press at the time talked about how much was being spent on the albums production, and interviews suggested a lot more exploration of sounds and rhythm than eventuated on the release. We were told this was MJ going back to his Off The Wall days both in terms of melody and intent. So with Invincible’s release the expectation was high – was Michael going to be able to hold his own in a world of new pop stars, or would his releases start to be relegated to that of an “oldies” act.

Kicking the album off with Unbreakable, the groove stutters and struts along with sounds and structures that matched the current crop of hit makers. Michael’s voice is in fine form, especially in the falsetto lead in to the chorus. Here also for the first time was an exploration of digital cutting of effects on the vocals in smatterings here and there. Though at 6 minutes, the song seems to go along the same trajectory and doesn’t really offer anything new for the listener. Lyrically it feels as though Michael was trying overly hard to prove his worth – something he no longer needed to do.

Heartbreaker at least offered a bit of excitement. The manipulation of the beat has a sense of energy to it that is infectious. If you just listen to the beat, there are little surprises laid all through it, one moment MJ is beat boxing, the next snare drums are being sliced and diced, the next filters are being used to twist and turn it. Maybe a bit of a nod to the grooves Jam and Lewis would lay out for Janet, Heartbreaker really comes into it’s own with the choruses and sublime bridge where Michael’s backing vocals float and weave with ease. Hard hitting, jiggered and abrupt, this was one of the highpoints for the album in terms of the dance-oriented tracks.

Sadly Invincible comes off sounding like more of the same, and almost a brother track to Unbreakable, though with more melodic hooks. Maybe it’s the overly electronic instrumentation on the track, or the sparseness in the arrangement but it ends up being a dance song by the numbers and perhaps suffers from playing too much to the current pop playbook than pushing new territory.

Whilst the album would be criticised for having too many slo-jams on it (especially in the way it was sequenced) it’s often these songs that provide the high points on Invincible. Break of Dawn is a prime example of this. With Michael in more of a laid back mood the song floats out of the speakers and easily seduces the listener. A perfect balance of lead and backing vocals, there’s a depth here to Michael’s vocals that were lacking in the lead up tracks. The musical arrangement also feels more organic and natural. It just goes to show that when Michael wants to get his groove on and drift more into a soul territory few can come close.

Heaven Can Wait is classic r’n’b and Michael delivers like only MJ can. Lush production doesn’t swamp the song but allows Michael’s vocals to come to the fore and be carried by the track. Immediately catchy, the chorus now holds a bittersweet lyric that in today’s world features greater tragedy. One of the stand out tracks it’s no wonder Teddy Riley has plans of re-recording the track for Backstreet.

With it’s one moment comical the next annoying intro with Chris Tucker, You Rock My World see’s Michael hit with a modern MJ classic. Annoyed that Michael fell into the “darkchild” callout at the start of the song, this soon passes as the song’s groove and melody kick in. Sadly what could have been even more blissful arrangement with the use of real strings (and a nice nod back to Don’t Stop) the song relies a little too heavily on synths as its base. But there is no denying that out of all the dance tracks on here, this is the one that has you wanting to the get up the most. Although it doesn’t really offer anything new to his catalogue of hits, it does have a sense of joy in the vocals that are hard to resist.

Taking on Neo-Soul with Butterflies, Michael makes this song soar. With a groove that strolls, the musical arrangement feels more authentic, with horns and percussion punctuating the chorus. Michael’s vocals are amongst some of his best work, especially in the second verse when he goes into the falsetto that has been missing from a lot of his work. Rich and luscious backing vocals keep the choruses warm and just surround the listener. When you compare Michael’s final version with the Floetry demo you see how Michael matches note for note the little runs and adlibs to perfection yet still puts his own little stamp on it.

Sadly post Butterflies is where the album loses its focus and direction.

Speechless, with its pure a capella intro is captivating to begin with then falls into an overblown Disney-esque arrangement that seems to rob the song of the very heart it longs to convey. If it had kept just to a short a Capella song it would have been more captivating – take the first 30 seconds and last 30 seconds, and you have something truly special.

2,000 Watts ends up sounding like a generic cast off from Dangerous era recordings and too gimmicky to be taken seriously with lines such as “you may now apply your 3D glasses”. The mis-step here though is that this song replaced Shout – which was at least more inventive.

You Are My Life is ironically lifeless. With the classic hallmarks of a Babyface song it feels like it is 5 years late in it’s delivery and ends up sounding dated and redundant.

Continuing the media victim theme, Jackson presents Privacy and although edgier than songs such as Tabloid Junkie again it feels like Michael is treading old ground here.

Don’t Walk Away was one of the slow growers of the album. Reminiscent of a Janet ballad (Someday is Tonight springs to mind) Michael shows that he can still sing the heart of out a ballad and give it depth.

One of the increasing problems with Michael’s albums was there was a sense that he was trying to repeat previous success, and Cry is this album’s attempt to reimagine Man In The Mirror. Sadly it doesn’t come close and whilst not a bad song at all, it does make you think too much of MITM and therefore suffers in the comparison.

With his heart on his sleeve, and maybe still trying to sway public opinion, The Lost Children feels even more out of place here than some of the other mis-steps. Again it feels like Michael we have already heard in Heal The World and suffers from the same sappy production.

Thankfully when you are feeling less and less enthused with the album, Whatever Happens comes on. With a duet between vocals and Santana guitar, it is one of the freshest tracks on the album. Sure it's in the blueprint of “get a great guitarist on the track”, but instead of trying to repeat Beat It, Michael explores new territory with this Latin fused track and comes out the winner.

Sadly, the freshness of Whatever Happens doesn’t carry across into Threatened – Michael’s latest take on a Thriller style song. Although not the wisest choice lyrically as Michael paints himself as a threatening beast who preys on sleeping victims, the groove of Threatened is what makes it captivating, and since getting a live airing in This Is It, the song has become more appealing, but part of me wishes the groove had different lyrics, but as it is it feels like Michael is treating old ground.

As his last studio album, Invincible ends up suffering from the weight of it’s own ambition. Overly long, this mixed bag of tricks really fails to continue with the momentum that the first half of the album was building. If it was trimmed down to 9 or 10 songs, then I think the feeling the album leaves you with would be different, and maybe would have been the “come back” album many critics claimed it wasn’t. Sadly this is the last studio album Michael left us, and you can’t help but think if he knew that, this wouldn’t be the note he would have wanted to leave on.

Great album to my ears. People were expecting too much as far as I'm concerned. It wasn't fair to expect every album of his to be a game changer. He turned in a well written, eclectic and mature set of songs which weren't given the opportunity to shine due to friction with certain personnel at Sony. The only tracks I don't care much for are You Are My Life, Privacy and The Lost Children and even they have their merits.

It was You Are My Life not 2000 Watts that replaced Shout.

He should have left it on as the album was already ballad heavy without adding yet another.

i am a huge fan of when michael does ballads, so i could hear a whole album of it... i don't necessarily like when he has a lot of dance tracks on an album. i love when he does sap.

but yes, i think invincible is great as well.

I don't know why people compare Bey to MJ. ONLY person that lurks in the shadow of MJ would be JANET...Simple as that

Moving on...Any word on any new MJ releases? (I aint tryna hear shit about no damn tour DVDs)

bboy87 said:

I'm on Okayplayer and I just re-read Scorpeze from Windimoto's response to ?uestlove saying that Beyonce was the next Michael......dude ETHERED ?uest

Good people, I want to be brief but the fact is to comprehend MJ is a huge undertaking. Though Mr. Thompson had some interesting points, his claim is poorly thought out and completely without merit.

First off, let me say that there are certain facts about Mrs. Beyonce Giselle Knowles-Carter than cannot be disputed.

A) She is talented.
B) She can sing.
C) She can dance.
D) She has star quality.
E) She is a beautiful woman.

That being said, there are definitely parallels between Mrs. Knowles and Michael Joseph Jackson:

A) They both have been entertainers since they were children
B) They are both driven to be the best in their field
C) They have reaped great success in the entertainment industry
D) They are both Virgos–thus hard workers and shy people that come alive on stage
E) They both came from groups that they inevitably outgrew
F) They both-because of growing up in the entertainment industry-have somewhat stunted social development
G) They have overbearing fathers who guided their careers.
H) They both bammas
I) They Black

…and that’s where the comparisons stop.

When Berry Gordy stood before the world at MJ’s memorial and finally said out loud what the world already knew but for numerous reasons could not bring itself to freely admit–that Michael Jackson is the greatest entertainer to ever live–NO ONE could offer an argument to the contrary…because there is no argument to the contrary.

There is a point when you are no longer great, but legendary…where you are no longer legendary, but an icon…where you are no longer an icon but the Gold Standard by which all others are measured…MJ reached that level….

MJ didnt just “change the game”, he obliterated the old game and put a new one in its place.

This may sound like hyperbole, but the facts speak for themselves.

No one has sold as many records as MJ. Period. But record sales are only a piece of this pie. Yes, Thriller had a lot of serendipity going for it, but the pieces had been put into place a long time before that…

At the age of FIVE YEARS OLD, MJ was already on a level that he relieved his older brother Jermaine of his lead singer position in the Jackson 5. Grown men refused to play on a bill with him. He was a seasoned enough entertainer that his competition in talent shows swore that he was not a child, but an adult midget (true story). A child had professional adult entertainers shook. Bear in mind, this was the 60’s, where you couldnt lipsynch, use auto-tune, or prerecorded tracks. If you didnt have the goods, you were forced to leave the stage, cute kid or not. The Jackson 5 won EVERY talent show they entered.

Another true story. At the age of THREE YEARS OLD, MJ sang Climb Ev’ry Mountain in school one day. His teacher wept.

Etta James told this story to MJ biographer J. Randy Taraborelli. She said that one night on a tour stop in the Midwest, she noticed a little boy hanging around her dressing room before showtime. She was trying to prepare for the show and the kid was distracting her. She marched up to the kid and told him to get lost. The kid scrambled away. Later, after her set, the boy appeared at her dressing room door. She asked him “What do you want, kid?” The boy replied, “Miss James, my father told me to come and apologize for bothering you earlier. I didn’t meant to, its just that you’re so good. I just want to know how you do it…” Etta had a change of heart and invited the boy in for some pointers. She remembers (in a self-congratulatory way) thinking to herself after the boy had gone, “One day, that boy is going to be the best…because he wants to learn from the best…”.

Mind you, this is going on before Motown ever knew The Jackson 5 existed. The rest, as they say, is history.

There are artists that we enjoy, and then there are artists that we FEEL. They give us pause. They make us consider things. They make us sit up and pay attention, and what they do and say stays with us long after the show is over or the record stops.

I’ve always said that you can divide entertainers into 2 categories: Artists and Acts.

Acts wants your attention and praise. They use whatever talent they may have to gain your favor. It doesnt matter to them how they do it. You pay them and clap for them and they are satisfied.

Artists also wants your attention and praise, but the difference is that an artist feels duty bound to share their gifts. They perform in service of the audience. They feel compelled to connect with their audience, to give a voice to whatever you in the audience may be thinking or feeling. At other times, an artist has something to say that they feel everyone should hear. An artist has purpose and integrity.

Michael Jackson felt duty bound to right the wrongs of the world. He wanted people to stop hurting each other and start loving each other more. It was this message of love that was the foundation of his music and performances until his last day on Earth.

Michael Jackson is an artist. At the age of 18, he pleaded with us to come together in songs like Show You The Way To Go, Living Together, Dreamer, and Strength of One Man. He continued on with a constant message.
-Man of War
-Can You Feel It
-We Are The World
-Earth Song
-They Dont Care About Us
-Beat It
-Heal The World
-Bless His Soul
-Man In The Mirror
-Keep The Faith
-On The Line (which was the theme song to the only film that I know of about the Million Man March)

if you wanna talk empowerment, he said:
“Lift your head up high and scream out to the world
I know I am someone, so let the truth unfurl
No one can hurt you now cause you know its true
Yes, I believe in me, so you believe in you
Help me sang it
Sing to the world, sing it out loud”

He wrote that when he was 21.

Lots of people write inspirational songs, mattafact there’s a whole sub-genre of music dedicated to just that, but when MJ sang people listened…people in all corners of the globe.

While it may seem that Im just retreading old shit…I remind you that we are talking about someone who is being talked about as the “next” one of this caliber, so I think its important to realize what caliber we taumbout here….

We taumbout a cat who inspired the world to stop and not only realize the plight of Africa, but help…you had kids sending in allowances, and Mr. Joe Six Pack writing a check for famine relief….These days that type of widescale philanthropy is commonplace…

We’re taumbout a cat that made grown men cry during and after his life (I’ve seen it). A person who has little children demanding that their parents buy them his music AFTER his death.

MJ changed the way Black men approached singing. How many baritones are there in R&B these days? These days a little white kid is just as likely to start singing in an R&B style than forming a rock band because of MJ.

MJ wrote songs that are part of the permanent fiber of global culture.

MJ made Fred Astaire bow down.

Even MJ’s hero, the notoriously egocentric genius and architect of modern Black music, James Brown insisted that even though MJ had learned from him that MJ was an original.

To this day, people are still trying to discover what made MJ tick.

MJ survived a scandal that would have obliterated anyone else’s career-TWICE. After 8 years of creative silence, then man announced that he was back and instantly sold out the same arena 50 times over.

This is the man we are talking about here. This is the entertainer we are talking about. This is the artist we are talking about.

And who is Questo proclaiming to be his rightful successor?

Beyonce.

Beyonce?

For all the talent, charisma, success, and work ethic that Beyonce has, let’s be really damn real.

She aint fuckin with MJ.

She may be one of the many entertainers in the mold of MJ, but the “NEXT” MJ?

How so? Because there are some similarities in their careers? That aint enough…

Let take the visual out of the equation.

let’s sit MJ’s catalogue next to Beyonce’s….that’s not even fair…

What is the criteria? Beyonce’s songwriting? Aight, let’s look at that….

on persistent suitors:
MJ – “She comes to the door/crying at my feet/Guilt shines in her eyes/as she slowly sinks in deep/You know our love couldnt last forever/persuade your way/but you aint clever/ I close the door and I say never….”

Yonce – “So what/you bought a pair a shoes/what now I guess you think I owe you/you dont have to call as much as you do/Id give em back to be through with you/so what/my mama likes you…”

on self-empowerment:
MJ – “And when you think of trust/Does it lead you home?/To a place/that you only dream of/When you’re all alone/And you can go by feel/’Stead of circumstance/But the power’s in believing/So give yourself a chance…”

Yonce – “the shoes on my feet/I bought it/the clothes I’m wearing/I bought it/the rock Im rockin/I bought it/cuz I depend on me/if I want it/the watch Im wearin/I bought it/the house I live in/I bought it/the car Im drivin/I bought it/cuz I depend on me…”

on a broken heart:
MJ – “and it doesnt seems to matter/and it doesnt seems right/cuz the will has brought no fortune/still I cry alone at night/dont you judge of my composure/cuz Im bothered everyday/and she didnt leave a letter/she just up and ran away…”

Yonce – “Now that it’s over/Stop calling me/Come pick up your clothes/Ain’t no need to front like you’re still with me/All your homies know/Even your very best friend/Tried to warn me on the low/It took me some time/But now I am strong…”

I think we can see that we’re not dealing with the same caliber of songwriter…Also let me point out, that songwriting and producing actual music is one of the things that MJ was known for (if the word “Quincy” enters your mind, go see my “In Memoriam Part 1″ blog, then rejoin us here). it is common knowledge now that if you want a track on a Yonce album you are REQUIRED to give her a writing AND production credit–whether she did any work or not. Tsk Tsk, mayne. Okay, we know that she’s written lyrics before. Schmoove. But sometimes she doesnt when the credits say otherwise. See If I Was A Boy.

But Beyonce aint twisted knob the first, or arranged a string session, or worked out chords with musicians. Mike has. Kenny Gamble told CBS in 1977 that Mike and his broze didnt need a babysitter in the studio anymore.

Vocally? *looks at the camera*. I’ve only heard B sing ONE song with any kind of believable emotion (the latter song quoted above). Yonce fans, feel free to point me in the direction of any other song by her that moves you emotionally (please say Get Me Bodied). Meanwhile, Mike made HIMSELF cry every time he sang She’s Out Of My Life. EVERY time. Its one thing to sing well, its another thing to make people feel…

Videos? Mike damn near invented the video. I challenge you to make it all the way through this:



Like I was saying…what other criteria are we judging on, Mr. Thompson?

Record sales? Popularity? The scales are not coming anywhere close to balancing with those factors on the table…MJ’s weakest selling album ran 10 million out the gate with little promotion and one video.

Dancing? Again, Fred Astaire, James Brown, and every kid that dances professionally now cites MJ as an inspiration. He created his own dance vocabulary, his moves are studied. Even K-Fed said that the greatest moment in his life was dancing for MJ. Beyonce’s choreographer left her tour to audition for This Is It. Not for a job, to audition. Yes, MJ learned from the best but in the end when you bust certain moves people know automatically who you are mimicking. Yes, Yonce had her Single Ladies moment and everyone wanted to learn the steps but the same thing happened with the Achy Breaky Heart, The Macarena, and MC Hammer’s Chinese Typewriter. Do the Single Ladies dance 10 years from now at a party if you want. People are still doing Thriller–27 years later. Let someone accurately dance like MJ and a crowd gathers…

Is Beyonce the biggest pop star in the world right now? Yes. has she been successful for a while now? Yes. But she’s hardly alone in wearing that distinction.

Lastly, let’s talk about influence. MJ has inspired millions of people to better themselves, care about others, be ecologically responsible (long before it was hip to be “green”…BTW, MJ was a vegetarian back when fast food still tasted good), be the best they can be, follow their dreams, and take pride in being different. He has personally mentored actors, athletes, emcees, choreographers, filmmakers, authors, activists, singers, musicians, entrepreneurs, doctors, etc…both young and old.

What is Yonce’s influence? Inspiring insecure women to shake their asses half naked in a room full of strangers? Who is she inspiring and what is she inspiring them to do? To wear as little clothing as possible? Throwing your man out of the house? Emotionally blackmailing him to marry you? (the less I say about Yonce’s relationship, the better) To writhe around on the floor and spread your legs? To drive around in the Pussy Wagon???

Warning: Opinion ahead.

I absolutely fucking cringe when I hear someone suggest that Yonce is a role model that young women should be emulating. In the last decade, she has gone from suggestive to risque to desperate. What would happen if she put her legs, ass, and titties away? Would we be still be having this conversation about her artistic merit? Sweet Lawd, WHEN will women learn the difference btwn taking ownership of their sexuality and exploiting themselves?

A large part of Yonce’s appeal is that she makes records out of women’s sillier fantasies.

-Kitty Kat: I’ll withhold pussy from you if you dont give me the amount of attention I want
-Irreplaceable: I’ll kick you out the crib and you wont have a word to say about it. Oh yeah, Im going to further provoke you by inviting another dude over here in the middle of a hostile situation
-Freakum Dress: Im feeling insecure about my relationship, so instead of talking to my man…Im going to the club in the sluttiest clothes I can find…that’ll teach his ass
-Single Ladies: if you dont propose to me, Im going to go out to the club make a spectacle of myself

This is some real mature shit here *sarcasm*. the list goes on…ladies, you can follow this advice if you want to and see how far it gets you…Sadly, alot of girls and grown women think that they can pull this type of shit off because they saw Beyonce do it in a video. Trust me, I’ve seen it…

What they fail to realize is that Beyonce can make up fantasies about what its like to deal with men because she’s Beyonce. She’s spent the majority of her life on stage or under the watchful eye of her dad. If there’s one parallel btwn Yonce and MJ that stands out, you can bet your ass that the lack of a social life is one of the most prevalent. Solange can get pregnant at 17, but there was no FUCKING way Matt and Tina would have let Yonce get that far out of their eyesight for that to happen…

Just for comparison, here’s some MJ fantasies: He goes around fighting evil, protecting the world, and saving people from getting hurt…oh yeah, he turned into a zombie once…

Aint no way that Yonce, in her current incarnation, should be held up as an example…You can say what you want abt MJ and his various controversies, but when have you seen him advocating acting a motherfuckin fool?

Lemme wrap this shit up, B.

Beyonce is successful performer. Lots of people love her. MJ is a global cultural institution. A musical genius. One of the greatest vocalists of our time. One of the best dancers in history. An innovator in the field of music. A trailblazer that changed how the music industry works. A humanitarian. An inspiration. A hero. He left the world and broke the damn internet…

He is simply, the greatest entertainer ever to live. (c) Berry Gordy

Beyonce got a long way to go before she can event think about climbing that mountain.

Aint no next. There was only one.

Sorry, Ahmir.

i just have to say... hands down this is the GREATEST ESSAY i have seen, defending michael's teachings, when people wanna compare him to someone else. this is EXACTLY why i consider him to be the greatest teacher to walk the face of this earth (at least in my lifetime).

scorpeze, whoever you are, you are AWESOME.

it's interesting, considering that brother ?uestion is quite knowledgable in music (and coming from a musical family too), that he would compare michael (who is a consummate professional and never ran his mouth) to beyounce (who chooses to be seen everywhere).

one critical thing michael did say about the younger generation of artists is that they were not aware of the art of mystery. interestingly, he was open in saying he didn't like a lot of modern music, save a few artists.

you go around shaking your ass, exposing yourself all the time, you lose a sense of vulnerability and empathy. the other interesting thing though, was that he DID support la toya when she did the playboy thing... perhaps it's because he supported her in terms of her gaining any sort of freedom from their father? who knows.

but this essay is absolutely the best. i have to screensave it, for when i need to smile. it just makes me so happy that finally someone is discussing the teachings.

ViintageJunkiie said:

I don't know why people compare Bey to MJ. ONLY person that lurks in the shadow of MJ would be JANET...Simple as that

Moving on...Any word on any new MJ releases? (I aint tryna hear shit about no damn tour DVDs)

Snippets of more Cascio songs leaked

I was nearly in tears reading that essay, especially during the parts about when he was still a kid and how it would lead to such an impact and his motivation Thanks for sharing, I can never stop loving him

You Are My Life is a brilliant track. There's a maturity and sincerity to Michael's delivery which is very touching.

Definately one of my favourite MJ ballads.

bboy87 said:

ViintageJunkiie said:

I don't know why people compare Bey to MJ. ONLY person that lurks in the shadow of MJ would be JANET...Simple as that

Moving on...Any word on any new MJ releases? (I aint tryna hear shit about no damn tour DVDs)

Snippets of more Cascio songs leaked

MattyJam said:

You Are My Life is a brilliant track. There's a maturity and sincerity to Michael's delivery which is very touching.

Definately one of my favourite MJ ballads.

I don't know about brilliant, but it is soothing and I appreciated it more after knowing it's about his kids.

alphastreet said:

MattyJam said:

You Are My Life is a brilliant track. There's a maturity and sincerity to Michael's delivery which is very touching.

Definately one of my favourite MJ ballads.

I don't know about brilliant, but it is soothing and I appreciated it more after knowing it's about his kids.

I didn't like it at first, but then something about the passion he puts into it later in the song really got me. Before I found out it was about his kids....it just was like omg...it really moved me. ;__;

alphastreet said:

MattyJam said:

You Are My Life is a brilliant track. There's a maturity and sincerity to Michael's delivery which is very touching.

Definately one of my favourite MJ ballads.

I don't know about brilliant, but it is soothing and I appreciated it more after knowing it's about his kids.

I added it to my version of Michael along with One More Chance and We've Had Enough in place of the three Cascio atrocities.

Holy shit at that essay. That was a great read.

[Edited 4/15/11 9:11am]

Timmy84 said:

bboy87 said:

Snippets of more Cascio songs leaked

FUCK them.

ViintageJunkiie said:

Timmy84 said:

FUCK them.

mookie said:

Holy shit at that essay. That was a great read.

[Edited 4/15/11 9:11am]

JabarR74 said:

Let's settle this once and for all!!!!!!!!!!!!!!!!!!!!!!!!!!!!

or

Settle? Not now. Not ever.

mjforever said:

I remember seeing this a couple of years ago...Shawn Johnson and Mark Ballas from "Dancing With The Stars", dancing cha-cha to Michael's "PYT: Pretty Young Thing". She won the finale with it.

They looked amazing.

JabarR74 said:

Let's settle this once and for all!!!!!!!!!!!!!!!!!!!!!!!!!!!!

or

[img:$uid]http://www.imbaha.com/images/mj1971-got-to-be-there.jpg[/img:$uid]

settled

[Edited 4/17/11 3:49am]

ThruTheEyesOfWonder said:

I remember seeing this a couple of years ago...Shawn Johnson and Mark Ballas from "Dancing With The Stars", dancing cha-cha to Michael's "PYT: Pretty Young Thing". She won the finale with it.

They looked amazing.

I loved it too <3 Dancing with the stars' Michael tribute was awesome.And for thriller 25th anniversary, they did a tribute BEFORE he died with Omarion and it was great!

I was soooo mad when Nigel said there's gonna be no tribute 2 MJ on So U Think U Can Dance because either MJJ estate or the family didn't allow them to use MJ music on the show =( AWWW!! I felt bad for Nigel too he always has talked about Michael in a good way through out the years...