Some fans have already received their Bad 25 boxsets and were gracious to share video and pics of them

This is from a fan who ordered the Deluxe Collectors Edition (the $200 one). They posted the pics of the case and its contents on MJJC:

In addition to what's listed on the website (replica tour program, ticket, backstage pass and a unique tshirt), it comes with replica of original IJCSLY 7" single (with spoken intro + Baby Be Mine) and Bad 25 headphones.

http://www.mjjcommunity.c...ase/page11

EDIT: A more in-depth look at the contents of the Collector's Deluxe Boxset:

[Edited 9/14/12 10:14am]

Toronto Review: ‘Bad 25′

Jordan Hoffman

Hello. My name is Jordan Hoffman, and I am one of twelve people on God’s green earth who holds no particular fondness for Michael Jackson. I own only one of his albums, “Off the Wall,” and, frankly, I borrowed that from an ex and never returned it. (Dear Mindy Silverstein, if you are reading this, I’m sorry.) The point is this: if a film can bring me to tears — TEARS — by a performance of “Man in the Mirror,” a song I normally roll my eyes at when I hear it at CVS, a song that reflexively fires my “change the station” maneuver on the car radio, this is an indication that something special is going on.

Spike Lee’s “Bad 25″ is, on the face of it, nothing too removed than one of those “Classic Albums” programs that used to air on VH1. Songs are discussed one by one, with tidbits about the recording and writing, and sometimes the mix is finagled so we get to focus on what the bass player is actually doing. “Bad 25,” however, is a Spike Lee film. While his off-camera voice is only heard once in a while, and to great effect, the collage of clips and talking head interviews burst with an exuberance worthy for a subject who called himself the King of Pop.

“Thriller” or the early Motown Jackson 5 era may seem like a juicier topic of focus, but “Bad” proves to be quite fertile ground. “Thriller,” a worldwide cultural phenomenon if ever there was one, left Jackson with an impossible act to follow. The record executives suggested he do an album of covers to give him some distance. Instead, Jackson and collaborator Quincy Jones dove straight into the deep end, looking to represent every musical genre, creating what ?uestlove calls the first album of stadium music by a black artist.

With incredible access to Jackson’s estate, “Bad 25″ shows just how involved he was in every aspect of the album, from writing, recording and producing, as well as the business. For Jackson, of course, an album wasn’t just the music. It was the style, choreography and “short films” that accompanied each track.

A great number of music videos were created for “Bad,” so it provides plenty of doc-ready source material. Some may be surprised to recall that the title track’s video was directed by Martin Scorsese and written by Steven Prince. Both are on hand, along with editor Thelma Schoonmaker, to provide detailed commentary. “Bad” is the first track to get analyzed in “Bad 25,” and it’s here where you’ll see what kind of film this is — “Bad 25″ celebrates the man by focusing on the work.

Jackson’s drive is made evident through phone messages to collaborators, rehearsal videos shot all through the night and copious notes to self from his diaries. The influences are as diverse as Mavis Staples, Buster Keaton, Fred Astaire and “The Third Man.” It is impossible not to feel tremendous respect for this artist.

Jackson’s life is full of sadness, too. His collaborators (some famous, some not) all describe his inability to live a normal life. His idiosyncrasies aren’t dismissed, but they are put in context. Try to dance a mile in his shoes.

Lee breaks from the standard talking head doc format in discussing Jackson’s death. Everyone — and the list of boldfaced names is as diverse as Stevie Wonder, Justin Bieber, Will Vinton and Greg Phillinganes, to just scratch the surface — gets a moment just to bear witness. It is fascinating portrait of grief, a “where were you” collection of anecdotes like those that people trade about the Kennedy assassination or 9/11.

This is followed by an analysis of “Man in the Mirror,” bringing an enormous weight to the story of that important anthem’s birth. “Bad 25″ concludes with a live, complete performance of the song from Wembley Stadium that, I swear, was one of the more emotional moments I’ve had in a theater all year.

No one needs more hagiographic documentaries about famous people. “Bad 25″ isn’t that. It is one of the most energetic and sublime investigations into the creative process put to film. Non-fans will be enthralled. Actual fans will be ecstatic.

Grade A-

http://www.film.com/movie...eview-2012

mookie said:

Toronto Review: ‘Bad 25′

Jordan Hoffman

Hello. My name is Jordan Hoffman, and I am one of twelve people on God’s green earth who holds no particular fondness for Michael Jackson. I own only one of his albums, “Off the Wall,” and, frankly, I borrowed that from an ex and never returned it. (Dear Mindy Silverstein, if you are reading this, I’m sorry.) The point is this: if a film can bring me to tears — TEARS — by a performance of “Man in the Mirror,” a song I normally roll my eyes at when I hear it at CVS, a song that reflexively fires my “change the station” maneuver on the car radio, this is an indication that something special is going on.

Spike Lee’s “Bad 25″ is, on the face of it, nothing too removed than one of those “Classic Albums” programs that used to air on VH1. Songs are discussed one by one, with tidbits about the recording and writing, and sometimes the mix is finagled so we get to focus on what the bass player is actually doing. “Bad 25,” however, is a Spike Lee film. While his off-camera voice is only heard once in a while, and to great effect, the collage of clips and talking head interviews burst with an exuberance worthy for a subject who called himself the King of Pop.

“Thriller” or the early Motown Jackson 5 era may seem like a juicier topic of focus, but “Bad” proves to be quite fertile ground. “Thriller,” a worldwide cultural phenomenon if ever there was one, left Jackson with an impossible act to follow. The record executives suggested he do an album of covers to give him some distance. Instead, Jackson and collaborator Quincy Jones dove straight into the deep end, looking to represent every musical genre, creating what ?uestlove calls the first album of stadium music by a black artist.

With incredible access to Jackson’s estate, “Bad 25″ shows just how involved he was in every aspect of the album, from writing, recording and producing, as well as the business. For Jackson, of course, an album wasn’t just the music. It was the style, choreography and “short films” that accompanied each track.

A great number of music videos were created for “Bad,” so it provides plenty of doc-ready source material. Some may be surprised to recall that the title track’s video was directed by Martin Scorsese and written by Steven Prince. Both are on hand, along with editor Thelma Schoonmaker, to provide detailed commentary. “Bad” is the first track to get analyzed in “Bad 25,” and it’s here where you’ll see what kind of film this is — “Bad 25″ celebrates the man by focusing on the work.

Jackson’s drive is made evident through phone messages to collaborators, rehearsal videos shot all through the night and copious notes to self from his diaries. The influences are as diverse as Mavis Staples, Buster Keaton, Fred Astaire and “The Third Man.” It is impossible not to feel tremendous respect for this artist.

Jackson’s life is full of sadness, too. His collaborators (some famous, some not) all describe his inability to live a normal life. His idiosyncrasies aren’t dismissed, but they are put in context. Try to dance a mile in his shoes.

Lee breaks from the standard talking head doc format in discussing Jackson’s death. Everyone — and the list of boldfaced names is as diverse as Stevie Wonder, Justin Bieber, Will Vinton and Greg Phillinganes, to just scratch the surface — gets a moment just to bear witness. It is fascinating portrait of grief, a “where were you” collection of anecdotes like those that people trade about the Kennedy assassination or 9/11.

This is followed by an analysis of “Man in the Mirror,” bringing an enormous weight to the story of that important anthem’s birth. “Bad 25″ concludes with a live, complete performance of the song from Wembley Stadium that, I swear, was one of the more emotional moments I’ve had in a theater all year.

No one needs more hagiographic documentaries about famous people. “Bad 25″ isn’t that. It is one of the most energetic and sublime investigations into the creative process put to film. Non-fans will be enthralled. Actual fans will be ecstatic.

Grade A-

http://www.film.com/movie...eview-2012

I am crying reading this. When is it going to be released? I can't wait to see it!

NaughtyKitty said:

Some fans have already received their Bad 25 boxsets and were gracious to share video and pics of them

This is from a fan who ordered the Deluxe Collectors Edition (the $200 one). They posted the pics of the case and its contents on MJJC:

In addition to what's listed on the website (replica tour program, ticket, backstage pass and a unique tshirt), it comes with replica of original IJCSLY 7" single (with spoken intro + Baby Be Mine) and Bad 25 headphones.

http://www.mjjcommunity.c...ase/page11

EDIT: A more in-depth look at the contents of the Collector's Deluxe Boxset:

[Edited 9/14/12 10:14am]

So glad I cancelled my order for this, what a complete rip-off!!

They even put the wrong day on the replica ticket

So glad I cancelled my order for this, what a complete rip-off!!

They even put the wrong day on the replica ticket.

I just saw a comment from a fan who said this about the ticket date:

There is a mistake on the 'replica' Bad Tour concert ticket. The replica states 'Thurs, July, 16th, 1988', when in fact the concert took place on 'Sat, July 16th, 1988'. I have the original ticket, as I attended the concert and was right near the stage. And I don't know how Sony/Estate could have missed this mistake, especially when the 'Thurs' was the opening concert which was on 'Thurs, July 14th, 1988'.

OFFICIALLY...I like al capone more than smooth criminal

I just requested to cancel my order for that Deluxe Collector's Edition. If the T-Shirt was nicer I might have changed my mind, but to be honest that also looks too big. It would just sit in the back of a wardrobe gathering dust. I'll get the regular Deluxe Edition instead.

I was going to buy the case, but I'll end up hoarding again and have to stop, this is hard cause I loooove Bad era, but will stick with the deluxe edition.

NaughtyKitty said:

seeingvoices12 said:

OFFICIALLY...I like al capone more than smooth criminal

Ha, I think I prefer "Al Capone" as well! That song is EVERYTHING.

I'm So Blue

So who all ordered the Bad25 Deluxe Collector's Edition,and who just ordered the Deluxe Edition?

seeingvoices12 said:

OFFICIALLY...I like al capone more than smooth criminal

Statement from the Estate on the Collectors Deluxe edition of Bad 25:

Statement from the Estate: Bad25 Deluxe Edition Revealed!

We know how excited and curious you are about the deluxe packaging of Bad25, which is available on Tuesday! In order to satisfy your curiosity, attached, please find complete product shots of all of the items included in this exclusive packaging.

The deluxe edition includes:

Bad25 Album (2 discs)
The July 16, 1988 Bad Concert Live from Wembley Stadium
An exclusive T-shirt
A replica VIP pass to the Bad Tour
A replica ticket to the Bad Tour
Exclusive Michael Jackson Earbuds
A Replica of the original 7” Vinyl edition of “I Just Can’t Stop Loving You” with a Bside of “Baby Be Mine”
A Replica Bad Tour Book

We are extremely proud of this package and look forward to it getting into your hands!

The Official Online Team of the Michael Jackson Estate™

More pictures of the product and the contents found here: http://www.mjjcommunity.c...ost3709135

EmeraldSkies said:

So who all ordered the Bad25 Deluxe Collector's Edition,and who just ordered the Deluxe Edition?

I ordered the Deluxe edition. I was initially planning on getting the Deluxe Collector's edition, but I'm glad I held off on ordering it now that I see it, I'm not sure if I want to get it. I wish the case they made for it was a lot cooler than what it is. I wish it looked more like the example they've had on their website for the past months:

^THAT looks cool! But this...not so much.

A main part of my reason for wanting the deluxe collectors was because of the case. The case that has been up on MichaelJackson.com for the past several months looked great imo. But this one they're releasing is like a poor mans version of it I do not like the Bad 25 logo on the front, looks very cheesy and amateurish--like someone designed it in Microsoft Publisher or something. I will say the t-shirt looks good, and its cool that they threw in the vinyl single and earbuds. But other than that, I'm not all that impressed by it.

What do people think of the collector's edition? Did anybody else here order it?

The non-collectors deluxe set (pictures):

http://www.superdeluxeedi...e-box-set/

There are so many versions of Bad 25 available:

Bad 25th Anniversary Edition Single CD

http://www.amazon.com/Bad...el+Jackson

Bad 25th Anniversary Deluxe Edition (3 CD/ 1 DVD)

http://www.amazon.com/Bad...el+Jackson

Bad 25th Anniversary Deluxe Collectors Edition (3 CD/ 1 DVD) Housed in Bad themes Case with Extras

http://www.michaeljackson...rs-edition

Bad 25th Anniversary (Target Edition) (1 CD/1 DVD)

http://www.target.com/p/m...detaillink

Bad 25th Anniversary (Walmart Edition) (2 CD/ T-Shirt)

http://www.walmart.com/ip...gMethod=rr

[Edited 9/14/12 23:47pm]

*puts on cartman voice*

guess what guys, you all are invited to our wedding

ForgottenPassword said:

So true. This was my biggest criticism of Invincible - verse-chorus-verse-chrous-bridge-chrous... with little variation. Just too formulaic.

Are there songs that MJ wrote in his life on an album that stray from the most common pop music song format? I'm just curious.

WetDream said:

Ah, now i remember why i stayed away from this thread for a long time....The forbidding of the critical opinion of MJs songs.

This statement is full of bullshit, because there have been times I have posted very critical opinions of Prince's music (outside of the Prince & More forums) and received an unbelievable amount of flack from it here. Guess what though? I criticized Prince's work on a PRINCE FAN FORUM. Guess that would make sense then if you received flack from such opinions of MJ's work in a MJ centric thread? That's not to say that MJ fans in this thread don't have their own critical opinions about his music, which many of them do. Yet I think it's idiotic to make yourself seem like the poor victim here when you aren't in the least.

That being said, I think the Al Cappone sounds straight up 80s r&b. Like, straight up. While I do like the snippet, I must say that I really, really appreciate Smooth Criminal being released in its place.Though I do find it interesting that it was abandoned or reworked to give it a much more 'pop flair' to it I guess? Like Smooth Criminal is more accessible than Al Cappone. The same with The Girl Is Mine. The demo sounds more 'r&b' as opposed to what was eventually released. So part of me wonders if that's a decision that both him and Quincy made or if Quincy convinced him to do that. If it was Quincy it's interesting to see that influence Mike's other albums and to see that influence not so strong on Invincible which seems to mainly be a r&b album.

Unholyalliance said:

ForgottenPassword said:

So true. This was my biggest criticism of Invincible - verse-chorus-verse-chrous-bridge-chrous... with little variation. Just too formulaic.

Are there songs that MJ wrote in his life on an album that stray from the most common pop music song format? I'm just curious.

WetDream said:

Ah, now i remember why i stayed away from this thread for a long time....The forbidding of the critical opinion of MJs songs.

This statement is full of bullshit, because there have been times I have posted very critical opinions of Prince's music (outside of the Prince & More forums) and received an unbelievable amount of flack from it here. Guess what though? I criticized Prince's work on a PRINCE FAN FORUM. Guess that would make sense then if you received flack from such opinions of MJ's work in a MJ centric thread? That's not to say that MJ fans in this thread don't have their own critical opinions about his music, which many of them do. Yet I think it's idiotic to make yourself seem like the poor victim here when you aren't in the least.

That being said, I think the Al Cappone sounds straight up 80s r&b. Like, straight up. While I do like the snippet, I must say that I really, really appreciate Smooth Criminal being released in its place.Though I do find it interesting that it was abandoned or reworked to give it a much more 'pop flair' to it I guess? Like Smooth Criminal is more accessible than Al Cappone. The same with The Girl Is Mine. The demo sounds more 'r&b' as opposed to what was eventually released. So part of me wonders if that's a decision that both him and Quincy made or if Quincy convinced him to do that. If it was Quincy it's interesting to see that influence Mike's other albums and to see that influence not so strong on Invincible which seems to mainly be a r&b album.

I wouldn't say Mike did 100 % pop songs, we still gotta remember he's deeply rooted in soul/r&b music.

I feel you on giving artists critique being hard, when many fans view it as something personal. One of my first threads was on Prince and wanting to discuss his work more profoundly, but not many people seemed interested. I think it's not just about Mike & Prince, but it seems as if certain fans generally don't like discussing the music more profoundly. I've only heard a snippet of Al Cappone, so I cant say yet what I think about the song. It's interesting you mention the original The Girl is Mine opposed to the one that made the Thriller album because I personally like it better. The same with P.Y.T that Michael did with Greg Philliganes, it feels more raw and not as commerically made as Quincys & James Ingram version. I think Invincible was MJ showing the artists at the time how to do a real r&b album because it's basically going back to his 70s/jacksons - Off The wall days.

Unholyalliance said:

That being said, I think the Al Cappone sounds straight up 80s r&b. Like, straight up. While I do like the snippet, I must say that I really, really appreciate Smooth Criminal being released in its place.Though I do find it interesting that it was abandoned or reworked to give it a much more 'pop flair' to it I guess? Like Smooth Criminal is more accessible than Al Cappone. The same with The Girl Is Mine. The demo sounds more 'r&b' as opposed to what was eventually released. So part of me wonders if that's a decision that both him and Quincy made or if Quincy convinced him to do that. If it was Quincy it's interesting to see that influence Mike's other albums and to see that influence not so strong on Invincible which seems to mainly be a r&b album.

Now we are getting somewhere....

I was hoping this question would be brought up....

this was the charter the greatest collaboration in music history took...

for OFF THE WALL, Quincy Jones served as the lead producer while Michael as co-producer

for THRILLER, they both stood equal on the production aspect

but for BAD, it was Michael himself who served as lead producer, and at this point, because of his stature, I'm sure he made the final decision as to what songs were going to be featured on the album....

maaaaybe with the exception of ANOTHER PART OF ME (a sterling Quincy Jones production)....that had Quincy's sound written all over it

Why was it that many of his demos sounded more R&B than the actual track itself?

This sheds light on Michael's approach to shaping his career after reaching the pinnacle.....

Michael Jackson constructed those demos through r&b structure as the foundation for how he was going to use those elements in order to craft full scale pop oriented music

that's why I never identify POP as being an actual musical form.....POP is a distinction, it's not a form of music......Pop relies on the inclusion of certifiable musical genres in order to thrive

REAL R&B music is the backbone for just about every distinguishable musical genre of the past 25 years as the genuine presentation of the cultural expression was being phased out on grand scales...even gospel artists such as KIRK FRANKLIN has made his entire career sampling real r&b into his own brand and did so from day one.....

his song STOMP is George Clinton's ONE NATION UNDER THE GROOVE revisited

w/out AL CAPONE, it never would have been a SMOOTH CRIMINAL

Michael relied on authenticity to craft the full scale pop concept, he knew what sounds to extract that would have been viewed unequivocal r&b otherwise...so he was scaling back

He did so with BAD, with DANGEROUS, and with HISTORY

this is why, even during the years of OFF THE WALL, which was quintessential soul/r&b, musical critics would begin to say that Michael possessed great "pop sensability".....this is what they were talking about, the ability to scale down genuine r&b presentation to craft the ideal pop record

the foundation was the key in order for him to accomplish that vision

why does R&B of the 80s sounds so dated one may ask?....it depends on who asks the question

the reason that it may sound dated is because we haven't been presented w/genuine r&b in over 20 years as the Pop Ascension movement practically eliminated, so when we hear it, it sounds so foreign from what we have been accustomed to

so our ears are playing tricks on us because we've been robbed

[Edited 9/15/12 11:51am]

Scorp said:

Unholyalliance said:

That being said, I think the Al Cappone sounds straight up 80s r&b. Like, straight up. While I do like the snippet, I must say that I really, really appreciate Smooth Criminal being released in its place.Though I do find it interesting that it was abandoned or reworked to give it a much more 'pop flair' to it I guess? Like Smooth Criminal is more accessible than Al Cappone. The same with The Girl Is Mine. The demo sounds more 'r&b' as opposed to what was eventually released. So part of me wonders if that's a decision that both him and Quincy made or if Quincy convinced him to do that. If it was Quincy it's interesting to see that influence Mike's other albums and to see that influence not so strong on Invincible which seems to mainly be a r&b album.

Now we are getting somewhere....

I was hoping this question would be brought up....

this was the charter the greatest collaboration in music history took...

for OFF THE WALL, Quincy Jones served as the lead producer while Michael as co-producer

for THRILLER, they both stood equal on the production aspect

but for BAD, it was Michael himself who served as lead producer, and at this point, because of his stature, I'm sure he made the final decision as to what songs were going to be featured on the album....

maaaaybe with the exception of ANOTHER PART OF ME (a sterling Quincy Jones production)....that had Quincy's sound written all over it

Why was it that many of his demos sounded more R&B than the actual track itself?

This sheds light on Michael's approach to shaping his career after reaching the pinnacle.....

Michael Jackson constructed those demos through r&b structure as the foundation for how he was going to use those elements in order to craft full scale pop oriented music

that's why I never identify POP as being an actual musical form.....POP is a distinction, it's not a form of music......Pop relies on the inclusion of certifiable musical genres in order to thrive

REAL R&B music is the backbone for just about every distinguishable musical genre of the past 25 years as the genuine presentation of the cultural expression was being phased out on grand scales...even gospel artists such as KIRK FRANKLIN has made his entire career sampling real r&b into his own brand and did so from day one.....

his song STOMP is George Clinton's ONE NATION UNDER THE GROOVE revisited

w/out AL CAPONE, it never would have been a SMOOTH CRIMINAL

Michael relied on authenticity to craft the full scale pop concept, he knew what sounds to extract that would have been viewed unequivocal r&b otherwise...so he was scaling back

He did so with BAD, with DANGEROUS, and with HISTORY

this is why, even during the years of OFF THE WALL, which was quintessential soul/r&b, musical critics would begin to say that Michael possessed great "pop sensability".....this is what they were talking about, the ability to scale down genuine r&b presentation to craft the ideal pop record

the foundation was the key in order for him to accomplish that vision

why does R&B of the 80s sounds so dated one may ask?....it depends on who asks the question

the reason that it may sound dated is because we haven't been presented w/genuine r&b in over 20 years as the Pop Ascension movement practically eliminated, so when we hear it, it sounds so foreign from what we have been accustomed to

so our ears are playing tricks on us because we've been robbed

[Edited 9/15/12 11:51am]

I think people have a hard time responding to you scorp, i don't know why. I liked everything you said in this here post. I've been a fan of the Jacksons since i was a kid 6 yrs old in '76 and honestly i don't have a problem with much you say at all. I think you're pretty level headed and see where you're coming from.

I suppose you've got to have lived it to understand.

Marrk said:

Scorp said:

Now we are getting somewhere....

I was hoping this question would be brought up....

this was the charter the greatest collaboration in music history took...

for OFF THE WALL, Quincy Jones served as the lead producer while Michael as co-producer

for THRILLER, they both stood equal on the production aspect

but for BAD, it was Michael himself who served as lead producer, and at this point, because of his stature, I'm sure he made the final decision as to what songs were going to be featured on the album....

maaaaybe with the exception of ANOTHER PART OF ME (a sterling Quincy Jones production)....that had Quincy's sound written all over it

Why was it that many of his demos sounded more R&B than the actual track itself?

This sheds light on Michael's approach to shaping his career after reaching the pinnacle.....

Michael Jackson constructed those demos through r&b structure as the foundation for how he was going to use those elements in order to craft full scale pop oriented music

that's why I never identify POP as being an actual musical form.....POP is a distinction, it's not a form of music......Pop relies on the inclusion of certifiable musical genres in order to thrive

REAL R&B music is the backbone for just about every distinguishable musical genre of the past 25 years as the genuine presentation of the cultural expression was being phased out on grand scales...even gospel artists such as KIRK FRANKLIN has made his entire career sampling real r&b into his own brand and did so from day one.....

his song STOMP is George Clinton's ONE NATION UNDER THE GROOVE revisited

w/out AL CAPONE, it never would have been a SMOOTH CRIMINAL

Michael relied on authenticity to craft the full scale pop concept, he knew what sounds to extract that would have been viewed unequivocal r&b otherwise...so he was scaling back

He did so with BAD, with DANGEROUS, and with HISTORY

this is why, even during the years of OFF THE WALL, which was quintessential soul/r&b, musical critics would begin to say that Michael possessed great "pop sensability".....this is what they were talking about, the ability to scale down genuine r&b presentation to craft the ideal pop record

the foundation was the key in order for him to accomplish that vision

why does R&B of the 80s sounds so dated one may ask?....it depends on who asks the question

the reason that it may sound dated is because we haven't been presented w/genuine r&b in over 20 years as the Pop Ascension movement practically eliminated, so when we hear it, it sounds so foreign from what we have been accustomed to

so our ears are playing tricks on us because we've been robbed

[Edited 9/15/12 11:51am]

I think people have a hard time responding to you scorp, i don't know why. I liked everything you said in this here post. I've been a fan of the Jacksons since i was a kid 6 yrs old in '76 and honestly i don't have a problem with much you say at all. I think you're pretty level headed and see where you're coming from.

I suppose you've got to have lived it to understand.

it's real Mark......I appreciate the great words

it's like with the BAD 25 release, his fan following of the past 25 years are hearing the testimony, for the first time, from those who witnessed Michael's solo career from day one...

a testimony that was excluded the first time around when the actual BAD album was released in 1987

all we have to do is hear the progression his music travelled after reaching the pinnacle

with each album afterwards, even with THRILLER itself......he expanded on the theme of juxtaposing authenticity with commercial appeal, but when that dynamic drew him away from his center, he found himself relying on the efforts of contemporaries to incorporate authenticity into his work (Teddy Riley, Rodney Jerkins, Dr. Freeze, Jimmy Jam/Terry Lewis, Floetry) to sustain that effort

and by the late 90s, as pop radio excluded him from the charts (with his last #1 hit in America occured in 1995), as he began working on the album that he would later title INVINCIBLE, he found himself having to return back to his "roots" by the turn of the new century, but by then, real r&b presentation had all been but phased out a full decade earlier

a vitality of a great musical period that Michael was the leading presence for when his solo career began......that's the irony from all of this.....

[Edited 9/15/12 16:59pm]

Marrk said:

I think people have a hard time responding to you scorp, i don't know why. I

It's probably the true lack of paragraph structure in their posts. =/

Paris is getting into Prince. She has just tweeted this:

she wore a raspberry berret!!!!!!

NaughtyKitty said:

Too cute and too hot.

[Edited 9/16/12 0:08am]