EmeraldSkies said:

Okay, I finally was able to listen to all the unreleased tracks,and I love them all,but I LOVE Free. It is a light,feel good song,and I was grinning ear to ear when I heard the ending,Michael's laugh.

Exactly. I had tears of LOVE listening to it. It made me feel so good. Pure bliss. I so miss this type of music.

For all the Miami interview fans. Yeah, I hate Bashir and he's asking the stupidest questions, but Mike's just too hot in it.

[Edited 9/21/12 6:27am]

EmeraldSkies said:

NaughtyKitty said:

Well I finally watched the Wembley concert dvd tonite and That is all.

so did I!!! and I agree with you on all that! I am going to have to watch again reall soon.

I'm gonna watch it again tonite!

Michael Jackson's 25th 'Bad' Anniversary

Bruno del Granado previews Spike Lee's new documentary highlighting Jackson's better days.

http://abcnews.go.com/WNN...y-17278132

I wanna watch the dvd, too, but my box set still hasn't arrived.

Cloudbuster said:

Marrk said:

This is why i hate this sticky.

'She Drive Me Wild'

Yeah, nothing to do with BAD25!

Interesting jam this. Very underrated, I love the car parts being slammed, hit, and whirred. Is every part of this song a noise from a car? Is there much info on who's idea this was.

It's very creative, but probably been done before (i don't know though). It's not a song i've spoiled by listening to it too much.

Anyone else dig this?

Yup, great track. 1991 through to 2001 is my fave MJ era. His most interesting and creative work was done in that period.

I LOVEEEEEEEEEE She Drives Me Wild.... it has that 90s feel to it and its funky...

She's Got The Look
She's So Fine
And You Know Damn Well
The Girl Will Be Mine

She's Got The Breaks
She's The Scene
And You Know Damn Well
She Gives It To Me

Black Jeans And
A Turtleneck Sweater
I Know The Girl
Is Fakin' 'Cause
I've Seen Her Look Better

She's Composition
She's Statistical Fact
She Got It Ready
For The Willing
Got It Kicking Of The Back

She's Got The Look
She's Got The Look
Wanting No Break Time
She's Got The Look
She's Driving Me Wild

She's Got The Look
Wanting No Break Time
She's Got The Look
She's Driving Me Wild

Come To The Place
Shock Tacy
And You Know Damn Well
You Know What I Mean
Hot In The Face
One And 3

Like A Pleasure Trip
Like You've Never Seen
Satin Lace
And A Paisley Cut Top
The Girl Is Wasting Over
And She Knows
She's Got

She's Got Position
She's Got Just What It Takes

Got A Mojo
In Her Pocket
Got It Ready
Just In Case

She's Got The Look
Wanting No Break Time
She's Got The Look
She's Driving Me Wild

She's Got The Look
Wanting No Break Time
She's Got The Look
She's Driving Me Wild

ColAngus said:

damn i thought this was a thread about MARYJANE .

If ya wants me to change it to MICHAELJACKSON alls ya haz to do is orgnote me

Is it a new remaster for Bad or just the 2001 version? Can you hear any difference?

if I didn't know any better, I would think michael was taking something between those I'll be there and rock with you....he's totally drunk on his own music and I'm loving it!

LiveToTell86 said:

Is it a new remaster for Bad or just the 2001 version? Can you hear any difference?

It's definitely compressed. Both this and the 2001 special edition was compressed. What sucks even more is that the powers that be chose not to include the original mixes from the original album. That's why I'm holding on tight to my old 1987 CD pressing!

silverchild said:

LiveToTell86 said:

Is it a new remaster for Bad or just the 2001 version? Can you hear any difference?

It's definitely compressed. Both this and the 2001 special edition was compressed. What sucks even more is that the powers that be chose not to include the original mixes from the original album. That's why I'm holding on tight to my old 1987 CD pressing!

Wat exactly occurs in that process? I use to have the bad casette ages ago.

[Edited 9/21/12 23:11pm]

[Edited 9/21/12 23:22pm]

NaughtyKitty said:

Toronto: The 25 Baddest Things From the Premiere of Spike Lee’s Michael Jackson Documentary

• By Jada Yuan

Can you imagine a better director to do a movie about Michael Jackson then Spike Lee? This weekend at the Toronto Film Festival, Lee debuted his documentary about the making of Jackson's Bad, pegged to its 25th anniversary re-release. It was maybe one of the best music documentaries I’ve ever seen. Lee is not in myth-making mode here. The film concerns itself mostly with talking to people who knew and worked with MJ, teasing out details about the man through making of the album’s songs and music videos. Interspersed are interviews with Mariah Carey, Kanye West, Justin Bieber, Cee Lo Green, Chris Brown, and (best of all) Questlove, who talk about MJ from the perspectives of fans and fellow musicians. We’ve compiled the 25 baddest (and non-spoiler-y) things about the film, which ABC will air on November 22. In no particular order ... Shamone!

25. Spike Lee knows his sound levels. The roar of the crowd during extended concert footage of songs like "Man in the Mirror" and "Another Part of Me" is so immersive it feels like you’re actually there. So see it in a theater, or if you're watching it at home, turn the volume up to 11.

24. Spike’s favorite MJ song (he revealed during the post-screening Q&A) is "Wanna Be Starting Something," and his favorite video is "Stranger in Moscow."

23. Spike’s high-pitched MJ impression: He used it while telling the audience what MJ would say about his movie (“I loved it, Spike") and also while retelling the first time he met the singer. MJ came to his house in Brooklyn, played him HIStory, and said he could direct a short film of any song he wanted. Spike picked "Stranger in Moscow," and MJ was like, "any song but that one."

22. Stevie Wonder, interviewed at a piano. He does an impromptu rendition of "The Way You Make Me Feel." During the Q&A, Spike said he wants to make a documentary about Stevie Wonder. We're there.

21. The audience actually gasped (in a "for shame," tsk-tsk kind of way) when it was revealed that the first album to break Bad's record of five consecutive No. 1 singles was Katy Perry's Teenage Dream album.

20. The second collective gasp came from seeing Martin Scorsese with dark hair and a mustache and no glasses as the director of the 1987 "Bad" short film.

19. MJ wouldn't allow anyone to call his videos "videos." They were all short films.

18. The "Bad" short film was MJ's way of reaffirming his cred in the black community, so he recruited "the Jewish asthmatic and the Italian asthmatic," said Richard Price, who wrote the script as a bleak social drama, not knowing it would end in a dance sequence.

17. Young Wesley Snipes! Huge applause from the audience. (Also, Sheryl Crow's 80s perm. She was his backup singer on the Bad tour. You have to see it to believe it.)

16. Seeing the Hoyt-Schermerhorn subway stop, where they filmed "Bad," back in the day. MJ loved the pee stains everywhere.

15. Spike Lee asking Martin Scorsese, "Were you familiar with the whole Michael crotch-grabbing?"

14. Jacko and Prince met once. Prince apparently brought a "voodoo box" and MJ was convinced he was trying to cast a spell on him. Spike tried to get Prince to do an interview for the movie, but he refused. He also refused to let Lee include footage from a 1997 VH1 interview with Chris Rock where Prince explains why he didn't do the "Bad" video. (He would have wanted to play Wesley Snipes's character and couldn't see a situation where he would allow MJ to sing the song's first line, "Your butt is mine," to him, or where he would be okay singing that to him.)

13. MJ free-style scatting.

12. The alternate ending to the “Bad” video.

11. Learning that "Shamone!" ("Shamon"?) isn't just a cool way to say "come on," but MJ's tribute to soul singer Mavis Staples, who used it in a live version of "I'll Take You There" in 1975.

10. Every time Lee shows the studio where Bad was recorded, MJ is represented by a life-size cardboard cutout, because, as he explained in the Q&A, "who's going to play Michael?"

9. The original Bad cover was supposed to be Jacko's face behind black lace, like the famous Gloria Swanson Vogue cover.

8. MJ tossed popcorn at Siedah Garrett's face during most of the recording of "I Just Can't Stop Loving You."

7. A photo montage of MJ in his various disguises. He apparently got really excited because he'd been able to go door to door as a Jehovah's Witness for a full day without getting recognized.

6. Those are real Crips in the video for "The Way You Make Me Feel." They were so mesmerized by MJ's dancing that shooting stopped when everyone on set froze just watching him.

5. Footage of MJ in a bathroom imitating four different California raisins.

4. Hearing MJ's vocal exercises. And learning that he actually had a range of three and a half octaves. He could go down to a low C (bass range) and had a baritone speaking voice, but chose to speak and sing in tenor only.

3. Seeing the "Smooth Criminal" dance sequences next to the Bob Fosse and Fred Astaire moves that inspired them.

2. You will find out who Annie, from the "Smooth Criminal" Annie are you okay?lyric is. You will never find out how they did the lean.

1. Not going to say how Spike does it, but you will cry about his death all over again.

http://www.vulture.com/20...j-doc.html

Looking forward to seeing number 5.

dag said:

NaughtyKitty said:

Toronto: The 25 Baddest Things From the Premiere of Spike Lee’s Michael Jackson Documentary

• By Jada Yuan

Can you imagine a better director to do a movie about Michael Jackson then Spike Lee? This weekend at the Toronto Film Festival, Lee debuted his documentary about the making of Jackson's Bad, pegged to its 25th anniversary re-release. It was maybe one of the best music documentaries I’ve ever seen. Lee is not in myth-making mode here. The film concerns itself mostly with talking to people who knew and worked with MJ, teasing out details about the man through making of the album’s songs and music videos. Interspersed are interviews with Mariah Carey, Kanye West, Justin Bieber, Cee Lo Green, Chris Brown, and (best of all) Questlove, who talk about MJ from the perspectives of fans and fellow musicians. We’ve compiled the 25 baddest (and non-spoiler-y) things about the film, which ABC will air on November 22. In no particular order ... Shamone!

25. Spike Lee knows his sound levels. The roar of the crowd during extended concert footage of songs like "Man in the Mirror" and "Another Part of Me" is so immersive it feels like you’re actually there. So see it in a theater, or if you're watching it at home, turn the volume up to 11.

24. Spike’s favorite MJ song (he revealed during the post-screening Q&A) is "Wanna Be Starting Something," and his favorite video is "Stranger in Moscow."

23. Spike’s high-pitched MJ impression: He used it while telling the audience what MJ would say about his movie (“I loved it, Spike") and also while retelling the first time he met the singer. MJ came to his house in Brooklyn, played him HIStory, and said he could direct a short film of any song he wanted. Spike picked "Stranger in Moscow," and MJ was like, "any song but that one."

22. Stevie Wonder, interviewed at a piano. He does an impromptu rendition of "The Way You Make Me Feel." During the Q&A, Spike said he wants to make a documentary about Stevie Wonder. We're there.

21. The audience actually gasped (in a "for shame," tsk-tsk kind of way) when it was revealed that the first album to break Bad's record of five consecutive No. 1 singles was Katy Perry's Teenage Dream album.

20. The second collective gasp came from seeing Martin Scorsese with dark hair and a mustache and no glasses as the director of the 1987 "Bad" short film.

19. MJ wouldn't allow anyone to call his videos "videos." They were all short films.

18. The "Bad" short film was MJ's way of reaffirming his cred in the black community, so he recruited "the Jewish asthmatic and the Italian asthmatic," said Richard Price, who wrote the script as a bleak social drama, not knowing it would end in a dance sequence.

17. Young Wesley Snipes! Huge applause from the audience. (Also, Sheryl Crow's 80s perm. She was his backup singer on the Bad tour. You have to see it to believe it.)

16. Seeing the Hoyt-Schermerhorn subway stop, where they filmed "Bad," back in the day. MJ loved the pee stains everywhere.

15. Spike Lee asking Martin Scorsese, "Were you familiar with the whole Michael crotch-grabbing?"

14. Jacko and Prince met once. Prince apparently brought a "voodoo box" and MJ was convinced he was trying to cast a spell on him. Spike tried to get Prince to do an interview for the movie, but he refused. He also refused to let Lee include footage from a 1997 VH1 interview with Chris Rock where Prince explains why he didn't do the "Bad" video. (He would have wanted to play Wesley Snipes's character and couldn't see a situation where he would allow MJ to sing the song's first line, "Your butt is mine," to him, or where he would be okay singing that to him.)

13. MJ free-style scatting.

12. The alternate ending to the “Bad” video.

11. Learning that "Shamone!" ("Shamon"?) isn't just a cool way to say "come on," but MJ's tribute to soul singer Mavis Staples, who used it in a live version of "I'll Take You There" in 1975.

10. Every time Lee shows the studio where Bad was recorded, MJ is represented by a life-size cardboard cutout, because, as he explained in the Q&A, "who's going to play Michael?"

9. The original Bad cover was supposed to be Jacko's face behind black lace, like the famous Gloria Swanson Vogue cover.

8. MJ tossed popcorn at Siedah Garrett's face during most of the recording of "I Just Can't Stop Loving You."

7. A photo montage of MJ in his various disguises. He apparently got really excited because he'd been able to go door to door as a Jehovah's Witness for a full day without getting recognized.

6. Those are real Crips in the video for "The Way You Make Me Feel." They were so mesmerized by MJ's dancing that shooting stopped when everyone on set froze just watching him.

5. Footage of MJ in a bathroom imitating four different California raisins.

4. Hearing MJ's vocal exercises. And learning that he actually had a range of three and a half octaves. He could go down to a low C (bass range) and had a baritone speaking voice, but chose to speak and sing in tenor only.

3. Seeing the "Smooth Criminal" dance sequences next to the Bob Fosse and Fred Astaire moves that inspired them.

2. You will find out who Annie, from the "Smooth Criminal" Annie are you okay?lyric is. You will never find out how they did the lean.

1. Not going to say how Spike does it, but you will cry about his death all over again.

http://www.vulture.com/20...j-doc.html

Looking forward to seeing number 5.

I wonder if this is the California Raisin footage Spike was speaking of

[Edited 9/22/12 0:40am]

[Edited 9/22/12 0:44am]

NaughtyKitty said:

Toronto: The 25 Baddest Things From the Premiere of Spike Lee’s Michael Jackson Documentary

• By Jada Yuan

Can you imagine a better director to do a movie about Michael Jackson then Spike Lee? This weekend at the Toronto Film Festival, Lee debuted his documentary about the making of Jackson's Bad, pegged to its 25th anniversary re-release. It was maybe one of the best music documentaries I’ve ever seen. Lee is not in myth-making mode here. The film concerns itself mostly with talking to people who knew and worked with MJ, teasing out details about the man through making of the album’s songs and music videos. Interspersed are interviews with Mariah Carey, Kanye West, Justin Bieber, Cee Lo Green, Chris Brown, and (best of all) Questlove, who talk about MJ from the perspectives of fans and fellow musicians. We’ve compiled the 25 baddest (and non-spoiler-y) things about the film, which ABC will air on November 22. In no particular order ... Shamone!

25. Spike Lee knows his sound levels. The roar of the crowd during extended concert footage of songs like "Man in the Mirror" and "Another Part of Me" is so immersive it feels like you’re actually there. So see it in a theater, or if you're watching it at home, turn the volume up to 11.

24. Spike’s favorite MJ song (he revealed during the post-screening Q&A) is "Wanna Be Starting Something," and his favorite video is "Stranger in Moscow."

23. Spike’s high-pitched MJ impression: He used it while telling the audience what MJ would say about his movie (“I loved it, Spike") and also while retelling the first time he met the singer. MJ came to his house in Brooklyn, played him HIStory, and said he could direct a short film of any song he wanted. Spike picked "Stranger in Moscow," and MJ was like, "any song but that one."

22. Stevie Wonder, interviewed at a piano. He does an impromptu rendition of "The Way You Make Me Feel." During the Q&A, Spike said he wants to make a documentary about Stevie Wonder. We're there.

21. The audience actually gasped (in a "for shame," tsk-tsk kind of way) when it was revealed that the first album to break Bad's record of five consecutive No. 1 singles was Katy Perry's Teenage Dream album.

20. The second collective gasp came from seeing Martin Scorsese with dark hair and a mustache and no glasses as the director of the 1987 "Bad" short film.

19. MJ wouldn't allow anyone to call his videos "videos." They were all short films.

18. The "Bad" short film was MJ's way of reaffirming his cred in the black community, so he recruited "the Jewish asthmatic and the Italian asthmatic," said Richard Price, who wrote the script as a bleak social drama, not knowing it would end in a dance sequence.

17. Young Wesley Snipes! Huge applause from the audience. (Also, Sheryl Crow's 80s perm. She was his backup singer on the Bad tour. You have to see it to believe it.)

16. Seeing the Hoyt-Schermerhorn subway stop, where they filmed "Bad," back in the day. MJ loved the pee stains everywhere.

15. Spike Lee asking Martin Scorsese, "Were you familiar with the whole Michael crotch-grabbing?"

14. Jacko and Prince met once. Prince apparently brought a "voodoo box" and MJ was convinced he was trying to cast a spell on him. Spike tried to get Prince to do an interview for the movie, but he refused. He also refused to let Lee include footage from a 1997 VH1 interview with Chris Rock where Prince explains why he didn't do the "Bad" video. (He would have wanted to play Wesley Snipes's character and couldn't see a situation where he would allow MJ to sing the song's first line, "Your butt is mine," to him, or where he would be okay singing that to him.)

13. MJ free-style scatting.

12. The alternate ending to the “Bad” video.

11. Learning that "Shamone!" ("Shamon"?) isn't just a cool way to say "come on," but MJ's tribute to soul singer Mavis Staples, who used it in a live version of "I'll Take You There" in 1975.

10. Every time Lee shows the studio where Bad was recorded, MJ is represented by a life-size cardboard cutout, because, as he explained in the Q&A, "who's going to play Michael?"

9. The original Bad cover was supposed to be Jacko's face behind black lace, like the famous Gloria Swanson Vogue cover.

8. MJ tossed popcorn at Siedah Garrett's face during most of the recording of "I Just Can't Stop Loving You."

7. A photo montage of MJ in his various disguises. He apparently got really excited because he'd been able to go door to door as a Jehovah's Witness for a full day without getting recognized.

6. Those are real Crips in the video for "The Way You Make Me Feel." They were so mesmerized by MJ's dancing that shooting stopped when everyone on set froze just watching him.

5. Footage of MJ in a bathroom imitating four different California raisins.

4. Hearing MJ's vocal exercises. And learning that he actually had a range of three and a half octaves. He could go down to a low C (bass range) and had a baritone speaking voice, but chose to speak and sing in tenor only.

3. Seeing the "Smooth Criminal" dance sequences next to the Bob Fosse and Fred Astaire moves that inspired them.

2. You will find out who Annie, from the "Smooth Criminal" Annie are you okay?lyric is. You will never find out how they did the lean.

1. Not going to say how Spike does it, but you will cry about his death all over again.

http://www.vulture.com/20...j-doc.html

I thought everyone already knew about the special shoes that were made for Michael to achieve that move?

[Edited 9/22/12 1:14am]

yes that is the same raisin clip they showed, the audience laughed and liked it I'd already seen it months ago, but it was even cuter on a big screen

OMG< is that David Gest in the back?

Ellie said:

OMG< is that David Gest in the back?

Yep thats him

Studying Michael Jackson by Joe Vogel

by Joe Vogel on September 19, 2012 ·



The serious study of Michael Jackson, from a variety of fields and perspectives, continues to grow. Many of you have probably heard about Dr. Mark Anthony Neal’s course, “Michael Jackson and the Black Performance Tradition,” which is being taught this semester at Duke University. Dr. Neal brings a deep well of knowledge and insight to the subject. A friend and fellow researcher (Seven Bowie) has compiled some of his previous material about MJ on her blog.

This year also saw the publication of a special issue on Michael Jackson (Michael Jackson: Musical Subjectivities) in the academic journal, Popular Music & Society, edited by Dr. Susan Fast and Dr. Stan Hawkins. It contains some really fascinating essays (listed below). You can learn more about how to purchase a copy here. (I used the Warwick essay for my class at the University of Rochester last spring).

• “You Rocked Our World Michael: Your Looks, Your Moves, Everthing! By Stan Hawkins
• “The Sound of Crossover,” By Anne Danielsen
• “Black or White: Michael Jackson and the Idea of Crossover” By David Brackett
• “Michael Jackson’s Ressentiment: Billie Jean and Smooth Criminal in Conversation with Fred Astaire” By Amir Khan
• “They Don’t Care About Us: Michael Jackson’s Black Nationalism” By Brian Rossiter
• “When You Have to Say I Do: Orientalism in Michael Jackson’s Liberian Girl” By Jeremy Faust
• “You Can’t Win, Child, But You Can’t Get out of the Game: Michael Jackson’s Transition from Child Star to Super Star” by Jacqueline Warwick
• “Michael Jackson and the Power of Voice-Produced Sound” By Mats Johansson
• “Michael Jackson’s Queer Musical Belongings” By Susan Fast

Dr. Susan Fast, who some of you might remember from her excellent piece on Jackson following his death (“Difference That Exceeded Understanding),” also recently informed me that she will be publishing a book on Jackson’s Dangerous album as part of the critically-acclaimed series 33 1/3 from Bloomsbury Press. It will be the first book in the series on a Michael Jackson album. Here is a summary from the publisher:

Dangerous can be viewed as Michael Jackson’s coming of age album, a grand claim to make given that many think his best work lay behind him by the time this record was made. It offers Jackson on a threshold, finally inhabiting adulthood and doing so through an immersion in black music that would continue to deepen through the remainder of his career, yet unable to convince a skeptical public that he was either adult or interested in his black heritage. In fact, it is in the wake of Dangerous, in the wake of his bold new direction, that Jackson’s tragic downfall began. Jackson struggles with weighty stuff on this record—love and lust, politics, and race—in ways unseen before; he gives us a darker, less childishly optimistic vision of the world, one based more in realism than his characteristic theatricality, one in which he is emotionally wrenched. Significant as this turning point in Jackson’s career may be, the album is one of his least celebrated. It is precisely with this record, precisely when he enters maturity, that his differences become intolerable and that a critical blindness towards his music takes hold. This book offers a fresh look at Dangerous, suggesting it as a concept album with a compelling narrative arc of uncertainty, anger, and betrayal—spiritual, physical, emotional, and political. The analysis moves between song and the social, taking up issues such as postmodernity and blackness; black dandyism; age, generation and race; and Jackson’s challenge to the norms of American sexuality. One wise critic (Jon Dolan) compared the album to Nirvana’s Nevermind, writing that “Jackson’s dread, depression and wounded-child sense of good and evil have more in common with Kurt Cobain than anyone took the time to notice.” This book seeks to explore Jackson’s artistic/political vision on the album, one so challenging to American normal, it could be argued, that it set the wheels of his spectacular fall from grace into motion.

...
See the 33 1/3 website for a list of books in the series: http://33third.blogspot.com/


Finally, for those who missed the initial announcement, my friend Zack O’Malley Greenburg, a staff writer at Forbes and the author of a critically-acclaimed biography on Jay-Z, is hard at work on a book focused on Jackson’s business career, entitled Michael Jackson, Inc. You can read more about it here. Zack does his research and is a writer of great intelligence and integrity. The outline I saw looks very promising.

Too bad the book isn’t already written since another course is being offered this semester at Clark Atlanta University (Michael Jackson: The Business of Music) in the MBA program.

Update: I was reminded that another collection of essays, Michael Jackson: Grasping the Spectacle, comes out this month. I haven’t had a chance to read it so for those who have, let me know what you think.


Source: http://www.joevogel.net/studying-michael-jackson

Dangerous can be viewed as Michael Jackson’s coming of age album, a grand claim to make given that many think his best work lay behind him by the time this record was made. It offers Jackson on a threshold, finally inhabiting adulthood and doing so through an immersion in black music that would continue to deepen through the remainder of his career, yet unable to convince a skeptical public that he was either adult or interested in his black heritage. In fact, it is in the wake of Dangerous, in the wake of his bold new direction, that Jackson’s tragic downfall began. Jackson struggles with weighty stuff on this record—love and lust, politics, and race—in ways unseen before; he gives us a darker, less childishly optimistic vision of the world, one based more in realism than his characteristic theatricality, one in which he is emotionally wrenched. Significant as this turning point in Jackson’s career may be, the album is one of his least celebrated. It is precisely with this record, precisely when he enters maturity, that his differences become intolerable and that a critical blindness towards his music takes hold.

Finally, someone else gets it. About fucking time.

Cloudbuster said:

Dangerous can be viewed as Michael Jackson’s coming of age album, a grand claim to make given that many think his best work lay behind him by the time this record was made. It offers Jackson on a threshold, finally inhabiting adulthood and doing so through an immersion in black music that would continue to deepen through the remainder of his career, yet unable to convince a skeptical public that he was either adult or interested in his black heritage. In fact, it is in the wake of Dangerous, in the wake of his bold new direction, that Jackson’s tragic downfall began. Jackson struggles with weighty stuff on this record—love and lust, politics, and race—in ways unseen before; he gives us a darker, less childishly optimistic vision of the world, one based more in realism than his characteristic theatricality, one in which he is emotionally wrenched. Significant as this turning point in Jackson’s career may be, the album is one of his least celebrated. It is precisely with this record, precisely when he enters maturity, that his differences become intolerable and that a critical blindness towards his music takes hold.

Finally, someone else gets it. About fucking time.

I too agree with this. It'll be interesting to see what the Estate will do with Dangerous when it's 25th anniversey comes around. I've always viewed this as Michael's best artistic work. More mature and darker than his previous works (along with Blood on the Dance Floor, most of which was recorded during the Dangerous sessions) and much richer and meatier song writing. ''Who is It'' alone is worth the price of admission. That is, in my view, one of MJ's most underrated masterpieces.

purpleworld said:

I too agree with this. It'll be interesting to see what the Estate will do with Dangerous when it's 25th anniversey comes around. I've always viewed this as Michael's best artistic work. More mature and darker than his previous works (along with Blood on the Dance Floor, most of which was recorded during the Dangerous sessions) and much richer and meatier song writing. ''Who is It'' alone is worth the price of admission. That is, in my view, one of MJ's most underrated masterpieces.

my favorite album of Jackson. Period.
Brilliant work.
Give in to me, Who is it, Will you be there, In the closet ....
I love love this song.

For me it is like this:
1. Dangerous
2. Bad
3. HIStory

all the rest

who is it is the best mj song ever, I can put that on repeat and hear it differently at different times

I have memories of coming home after school in the 90's and playing the chords on my 80's yamaha keyboard and putting it on tape, w ishI still had them

NaughtyKitty said:

EmeraldSkies said:

so did I!!! and I agree with you on all that! I am going to have to watch again reall soon.

I'm gonna watch it again tonite!

I watched mine this evening and it's amazing, the poor picture didn't bother me at all, it's not even that bad, i was expecting alot worse. just an amazing performance.

can I marry him?

you know I'm satisfied with the level of unrealized songs.
We have 8 different songs, each written by Michael

for me

1. "Don't Be Messin '' Round" 3/5
2. "I'm So Blue" 2/5
3. "Song Groove (A / K / A Abortion Papers)" 4.5 / 5
4. "Free" 4/5
5. "Price of Fame" 4/5
6. "Al Capone" 5/5
7. "Streetwalker" 4/5
8. "Fly Away" 5/5

Overall - 4/5