Timmy84 said:

a poster at the huffington post related a story about meeting mj. she was somewhere (film studio, i think) and she heard this jazz music going on. she was surprised to find him with these musicians, grooving to jazz. she said he said something to the effect that he would like to do stuff like this, but that basically the suits didn't want that type of music from him, they wanted to make money. i believe a lot of his stuff was probably rejected. rodney jerkins said they did better stuff from the invincible sessions, but for whatever reason, they didn't make the cut. i can kind of believe that when i listen to other stuff jerkins produced subsequent to mj. were they too r&b? was sony intent on putting out a mediocre album to further dampen his career, with an eye on that catalog? i don't know.

kibbles said:

Or were they trying to get Michael to a crowd he didn't wanna get really involved in (mainly the hip-hop soul crowd)? He had some hip-hop like stuff on it, I don't think his heart was in it though now hearing the album.
[Edited 7/10/09 21:09pm]

Would anyone like for me to post my essay on Off The Wall?

cdcgold said:

Oh STFU already! You're just feeding the vultures with all this whining about Joe!

bboy87 said:

Go right on ahead, Jay.

bboy87 said:

yes !!!

utopia7 said:

LMAO!!! I remember when this video was premiered on Fox after an episode of Martin went off and crackin' up watching it..... was Eddie still close to MJ?

Okay here, here it goes...




Intro:


As we mourn the loss of The Greatest Entertainer of All Time, I decided to finish this essay to pay tribute to the man who made me fall in love with music and dance. I started it in May 2009 and intended to post it on July 28th 2009, the 30th anniversary of the single release of Don' Stop Til You Get Enough, but with the recent events, I thought this was the right time.

Back in Christmas 1992, I was 5 years old and being the kid I was, I was never really into toys, but wanted cassettes. For that particular Christmas, my mom and god sister gave me 3 presents:

The Jackson 5's Greatest Hits
Michael Jackson's Moonwalker video game for Sega Genesis

and Off The Wall

I played that cassette so much that the tape literally fell apart. I fall in love with every time I play it. The vocals, the rhythm arrangements, the lyrics.....it's all JUST RIGHT

That album along with Thriller, cemented me being a fan of Michael Jackson.

I'll never forget the feeling I got the first time I heard Rock With You in full and I Can't Help It, or dancing to Burn This Disco Out and Get On The Floor

I wanted to make people feel the same way Michael and his music made ME feel, ever since that day


so thank you Michael Joesph Jackson


thank you for making my world alot happier

_____


DO NOT REPOST THIS ANYWHERE ELSE UNLESS YOU HAVE MY PERMISSION



On December 4th, 1978, 20 year old Michael Joe Jackson took a break from planning the release of The Jacksons' third LP on Epic Records titled "Destiny", to start production on his fifith solo effort.

Going into the studio with producer Quincy Jones, they set out on making an album that blended genres while bringing something new to the platform of pop and R&B music.

Destiny was released on December 17th and Michael and his brothers quickly went into promotion, appearing on such shows such as American Bandstand, Soul Train, and Top of The Pops as well as touring Europe and the United States, all the while, Jackson would catch flights back to Los Angeles to studios such as Cherokee Studios, Allen Zenth Recording, and Westlake Audio to continue recording for the solo project which was at the time titled "Girlfriend"

In the beginning, Michael was not exactly sure what he wanted as the final product but one thing he knew was that he didn't want to sound like a Jacksons album and strived for the individual and creative freedom that a solo album granted him, which was not something he had on his previous solo efforts at Motown, which were recorded at the same time his albums with The Jackson 5 were being recorded, even during the same sessions (for example, songs from Forever, Michael were recorded during the same session as songs from Moving Violation)

Michael began writing songs for the album around late 1977 after the filming of "The Wiz" and two of the songs from those early writing sessions were included on the album "Don't Stop Til You Get Enough" and "Workin' Day And Night", which early demos were recorded in 1978 with the help of his younger siblings Randy, then 17 and Janet, then 12 at the family's home recording studio at Hayvenhurst.

Another key writer on the album was Rod Temperton, who had been working on an album with Heatwave when Jones called him to write some songs for Michael.

Rod told him he’d write a song, and wrote 3 songs for Michael and Quincy to choose from. The duo booked a studio on the weekend when Rod wasn’t working with HW. Rod flew in (while Michael wasn’t there, most likely working promoting the Destiny album) to work on the tracks. He came back to Los Angeles the following week to work with Michael on the vocals, doing all of the background vocals for Rock With You, Burn This Disco Out, and Off The Wall that Saturday afternoon and all of the lead vocals the next afternoon. Michael spent the whole Saturday night learning the lyrics so he wouldn’t have to read off the paper.

The first session with Rod, Quincy asked him what musicians did he need to record the tracks, and Rod told him he would need 2 guitar players, a keyboard player, drummer, and a bass player. When he arrived to the studio, Quincy took him to the room with the musicians and told them “Here’s Rod, hit it!” This had been Rod’s first time without his own band.. Temperton had been in Heatwave for sometime and had gotten used to that environment and this was new atmosphere for him. He recalled feeling inadequate being in the studio when Jerry Hey and the other horns players arrived. At the end of the sessions, Temperton asked Quincy which songs had they picked, and Jones told him they wanted all 3. Temperton recalls Jackson singing uptempo grooves was very rhythmically driven and tried to write melodies with short notes to give him enough staccato, along with mixing them with enough harmonies.

Temperton took a different approach to his song writing after spending some time researching the background to Jackson's music style. Temperton mixed his traditional harmony segments with the idea of adding shorter note melodies to suit Jackson's aggressive style.

Other key contributors were Greg Philiganes who had worked on The Jacksons' Destiny album and would go on to collaborate with Michael on Thriller, Bad, Dangerous, and tour with him for the Victory, Bad, Dangerous, and HIStory Tour., The Brothers Johnson, especially Louis Johnson who co-wrote Get On The Floor with Michael which was created around the bass groove. Johnson had been playing around with it when he played it for Michael. He liked it, they went into the studio and collaborated on the song

other contributors included Stevie Wonder (co-writer of I Can't Help It with former Supremes Susaye Greene), David Foster and Carole Bayer Sager (It's The Falling In Love), Paul McCartney (writer of Girlfriend who would later record The Girl Is Mine, Say Say Say, and The Man with Michael in 1982), and Tom Bahler(writer of She's Out Of My Life)

The album did have obstacles. The recording of the album coincided with the European tour of The Jacksons' Destiny World Tour and the promotion of the Destiny album. Many observers feel that maybe Quincy's role in the production of the album has been overexaggerated.

Quincy's main role of the album was quality control, cutting down extra instrumentation and runs and getting particular people in the production. He was the person who got people like Temperton, The Johnsons, John Robinson from Rufus, and Patti Austin on board.
As time went on, Michael felt the direction of the album should be more dance and funk oriented but Quincy wanted a strict, conservative yet versatile album and the duo butted heads over the overall direction, comprising, and finding constant solutions.

Quincy also knew about balance and editing the album to fit the direction, which showed on the final result.

At the end of June 1979, audio mixing was handled by Bruce Swedien at Westlake Audio, after which the original tapes went to the A&M Recording Studio, also located in L.A. for mastering by Bernie Grunman.

OFF THE WALL initially debuted at #48 on the Billboard 200 but peaked at #3 26 weeks later, staying in the top 10 for 29 non consecutive weeks and stayed on the chart for over 2 years. It also peaked at #1 on the Billboard R&B album chart for 16 weeks, along with peaking at #5 on the UK album charts, selling over 19 million copies worldwide, making it the best selling album by a black artist of all time, for 3 years.



Billboard Album 200: #3
Billboard R&B Album- #1 (for 16 weeks)
UK Album Chart: #5
Australia- #1 (for 2 weeks)
Canada- #4
Finland- #9
France- # 27 (1988)
Germany- #25
Holland- #7
Ireland- #12 (2004)
Italy- #21
Japan- #26 (LP), #28 (cassette)
New Zealand- #2
Norway- #4
Sweden- #26
Zimbabwe- #1 (for 7 weeks)

Abdul said:

At the time? Yes. They weren't close again after the '93 allegations.

bboy87 said:

----
Great, I'm gonna show y'all mine's in a moment that I wrote on my blog a while back.

http://midnightman84.word...l-jackson/

[list]

Off the Wall
Michael Jackson
Epic Records (1979)

It’s the one thing that has always concerned lead singers of a popular recording group/band: “can I do it on my own?”

This must’ve popped in Michael Joseph Jackson’s mind when he decided to record a solo album in the midst of his debut film role in the critical bomber but cult fave, “The Wiz” and releasing the Jacksons’ return-to-form album, Destiny (1978). But it seem like Michael was more confident than some: he had riskily included Quincy Jones as his producer, a move that Epic Records associates at the time felt was costly since they felt Jones was simply a “jazz man”. However, Jackson stuck to his guns that he picked the right choice. Eventually released in August of 1979 prior to the singer’s 21st birthday, the album eventually liberated Jackson from his family and set him on the path to pop stardom.

From first glance, the cover indicates joy and relief in an independent young man basking on upcoming glory. Later issues of the album included a Jackson trademark: glittery and silver socks and his penny loafers. Most of the material on the album also fill that happy mood as you can tell with the tuxedo Jackson sports that it’s in the middle of the disco revolution, which kicked into full speed in the year this album was released. However, disco was also getting a backlash by other musical genres for being too…something. “Too posh, too gay, too black, etc.” Oddly enough, even black music audiences complained that disco’s elements had been stripped of its origins (funk and soul) and had become a watered down genre that any artist could do as a trend rather than as a means to go against the grain. In their view, the music of the likes of Rick James, Prince and the Bar-Kays were annoyed while Rod Stewart, Donna Summer and the Bee Gees dominated with their colorless-based pop sound. Many contributed disco to John Travolta walking down a New York street in a strut and dancing in a white suit to Deney Terrio’s complicated dance routines (though that simple arm shuffle used during “Night Fever” was often repeated as a joke/gimmick to what people thought disco really represented).

By comparison, Jackson’s album had more grit in its disco feel than say ABBA or Gloria Gaynor, whose “I Will Survive” pretty much dominated 1979 (at least until Donna Summer’s Bad Girls came out and took away most of its attention). But while the album definitely shows some dated disco affair, there was also something timeless about its material. In spite of its disco assocation, you can say Off the Wall ushered in the modern pop music scene, a scene that soon exploded upon Jackson’s next release – yeah that one.

Anyway, this author didn’t get the record until Christmas 2000. And I was amazed with how much the original album differed from the single releases. As it turned out, after the single release of the second single, “Rock With You”, later versions included the famed handclaps that accompanied the chorus. There was more vocals in the finale of the funk song “Get on the Floor” that was not included in the original version, which I had on tape. I eventually got the CD and this album is easily my favorite of Michael Jackson’s albums in his entire career. Some may ask “why?” Sure the songwriting Michael displays on this album doesn’t reach the ominous intensity of “Billie Jean” or the raucous anti-violent advice of “Beat It” or the murderous assumption of “Smooth Criminal” or the depressed and downhearted mood of “Stranger in Moscow”, but it still is thrilling to hear them sung through the heart the way Michael does it. His vocals here are mostly softer than later releases but his trademarks help make up for it. And there is still a sense of innocence and curiosity in Jackson’s sound that would be absent in later albums in which Jackson’s mood had obviously shifted due to stress over his frantic career and the struggles of just being Michael Jackson, that nearly got the best of him.

To show you what I mean, I’ll give you a song-by-song review:

1.) Don’t Stop ’til You Get Enough (Jackson) – this potent first release off the album is probably its crowning achievement. Based off “Star Wars” (the force) and Marvin Gaye’s potent funk hit “Got to Give It Up” (in which was also sung in falsetto), this song almost gives you the debut of an adult Michael: he begins by speaking in his nervous whisper as if he doesn’t know about “this force” that has a hold on him. The bass riff keeps up until Michael finally loses it (”it makes me feel like…ooooh!”) and the beat kicks in and the singer sheds his Motown teen pop image in a flash. The lyrics have an adult flair (”I’m melting like hot candle wax/sensation, lovely where we’re at…”; “touch me and I feel on fire” for example), the music is testorone-driven funk. In fact the only thing “disco” about it were the strings, which go at the flow in a staccato flow. Jackson multi-layered his vocals in the similar way Marvin did it and did it to the max. Oddly enough the ending of the song is much like the intro but instead of Jackson, it’s an instrumental that ends with a raucous guitar riff played here by the recently departed David Williams. Quincy Jones helps propel the song from strength to strength and leaves you for more in the end. The song eventually hit number-one on the pop chart and culminated in ten years the growth of Michael from teeny bopper to adult superstar.

2.) Rock With You (R. Temperton) – The other great thing about Off the Wall was Rod Temperton. The Wales import had previously made a splash as the main songwriter and keyboardist for the funk band, Heatwave. During a break in sessions, Temperton was recruited by Quincy Jones to help in assisting on Jackson’s album. Temperton included three songs that were to be chosen to be included on the album. Jones included all three songs much to Temperton’s amazement. One of those songs, “Rock With You” (original title was actually “Eat You Up” if you can believe that) was a then-rarity. Though its move was also “disco”, there’s a more conversational soul approach to it. Instead of a falsetto, Jackson sings the song in a deep tenor vocal. His voice clearly having graduated to the trademark flutter that would coronate his legend (”girl close your eyes/let the rhythm get into you”), it’s a sexy song done on the dance floor but done with so much class that it still resonates with audiences today. The chorus, instrumental solo and the bridge are my favorite moments of the song personally. They help to take the song home and its melody just punctuates throughout. It’s what makes Jackson a genius vocally because he helps to bring Temperton’s music home. The second number-one from the album, it remains one of his signature songs and probably one of the songs I normally associate when you say the name “Michael Jackson”.

3.) Working Day & Night (Jackson) – the second song written by Jackson, this song is more personal… though it’s unclear whether or not Jackson is referring to his girlfriend or maybe his family. As we all know Jackson had a tough relationship with his father Joseph and he was known to have driven Michael crazy during his childhood. Then again, who knows? But the song is still an amazing dance song. Jackson’s raw tenor flows in and out of its consciousness at times raising an octave whenever he tries to get his point across (”HOW CAN I LIVE, GIRL?!/If the love for us was meant to be…”) You can sense the paranoia in Jackson as he purports to his lady that she must be seeing someone else adding to the frustration that he feels the girl wants out of their relationship. Jackson is helped musically by the backing musicians, accompanied by Quincy Jones. Louis Johnson, the great bass player, is on this track like wildfire as is Greg Phillinganes, Stevie Wonder’s former keyboardist, and again David Williams has his great guitar licks during the break of the song where Jerry Hey’s horn arrangements bring in that party mood. The song was often performed during Jackson’s tours between 1981’s “Triumph” tour and 1992’s “Dangerous” tour often in different arrangements though it always ended with Jackson being cornered and then put under a sheet before “disappearing” and then “reemerging”. Jackson’s intro which includes some proto beat-boxing is probably my favorite intro of a song ever (besides the great intros by Motown’s sixties singles). Overall it’s a fine classic of Michael’s though it was never released as a single.

4.) Get on the Floor (Jackson/Johnson) – originally supposed to be a Brothers Johnson single, Jackson (and Jones) insisted that it should be recorded for Jackson’s album with Michael adding in extra lyrics. Louis Johnson’s bass dominates the entire song while Michael sings with reckless abandon. It’s clear what his intention is: to rock the dance floor and he’s willing to take a participant along with him. The song’s message was repeated a year later with The Jacksons’ “Everybody” and also influenced a lot of other dance songs that had that same similar message. Personally I think Jackson’s spoken vamp: “get up/won’t you gon’ get down/shake your body/won’t you gon’ get down?!” is my favorite part of the song. It has a Marvin Gaye-esque affair about it also in my honest opinion in which Michael hollers, shouts and does a slick vamp much in the same way Marvin did on his later Motown releases in the 1970s. The energy throughout the song is palpable and this is actually my second favorite track on the entire album.

5.) Off the Wall (Temperton) – the second Rod Temperton single, it was also the third release of the album and the title track pretty much coronates the album’s entire base (”so tonight/better leave that nine-to-five upon the shelf/and just enjoy yourself”) and the whole assumption that things are not as bad as they seemed (”life ain’t so bad at all/if you live it off the wall”). The chorus actually prophetizes what has become of Jackson’s life since then. Hopefully when he performs, he’ll sing the song with more energy than he ever have because he clearly survived moments that could’ve made one want to be “off the wall” literally. Jackson uses a staccato flow to his voice in much the same way Stevie Wonder did his vocals during this time. In fact Wonder was one of Jackson’s biggest influences in his career. Again the Marvin influence comes in through his background doo-wop emulated harmonies. Michael is one of the few to match this trademark. At one point you can hear Michael’s baritone, tenor and falsetto clash into each other during the bridge (”do what you wanna do/there ain’t no rules it’s up to you”). The title track is still as funky today as it was the day Michael recorded it and much like the other singles lives up to its reputation.

6.) Girlfriend (Paul McCartney) – this song’s hsitory is interesting. First, Paul had talked to Michael in 1978 about doing this song for the album but at the time Michael hadn’t recruited Jones for the album and McCartney’s band Wings recorded it themselves. A year later, Jones ironically suggested that Jackson record the song though Jackson told him Paul had suggested he recorded it anyways, which Jones was pleased of hearing. Eventually recording it, the song is evidently more soulful than the Wings release. For a long time I thought the song was the only corny spot of the album but now I don’t see it that way anymore. I love Michael’s scats (especially at the end) and I think it’s kinda sly that he’ll dare tell his new lover’s former interest that they’re going out. The song includes a rarity: a saxophone solo, albeit brief. Jackson almost never has had a song with a sax break. This helps to make the song more jazzy and brings out Jones’ influence on Jackson’s sound. The song was released in the UK and peaked below the top forty. But in the midst of the funk that dominated the first half of the album, it’s a great little pop ditty.

7.) She’s Out of My Life (Tom Bahler) – the next song is the only ballad featured on Off the Wall and yet it’s probably one of the most potent songs Jackson has put out in his career. The songwriter, himself a talented musician, wrote the song after his girlfriend, Carpenters lead singer Karen Carpenter (God rest her soul) broke up with him after discovering that Bahler had a life as a married man and father. Bahler eventually gave it to Quincy for Michael to record and the singer struggled to record the song due to its finale ending with Jackson crying. Quincy Jones himself didn’t know why Jackson would cry but after a few tries, he eventually left it in as a necessity. It ended up being a show-stopping moment for Jackson during performances of the song onstage. Jackson often would sing it and then end it with his voice breaking and him holding his head in disgust and walking around while sobbing before finally singing “…life” in a whimper. The original song is still a classic to this day.

8.) I Can’t Help It (Stevie Wonder/Susaye Greene) – This is my favorite song from the album for many reasons: one, it was written by Stevie; two, the intro’s bass riff and synth flow is haunting; three, Jackson records the most deep-throated tenor of his career with this song only hitting falsetto a few times especially during the end. The song has an obvious jazz and soul influence and was the deepest Motown recording Michael did that wasn’t even on Motown. The lyrics are poetic and Jackson’s choruses are electric. His raw and unpolished growl near the end of the song is actually my favorite part of the song, believe it or not. You could tell Michael had fun making it. This set the tone for singles such as “Human Nature”, “Liberian Girl”, “Someone Put Your Hand Out” and “Butterflies” in terms of its urban fluency.

9.) It’s the Falling in Love (Carole Bayer Sager/David Foster) – a duet with Patti Austin, this song, much like “Girlfriend”, is a pop ditty yet I’d always loved this song. I guess it’s because of Michael and Patti’s harmonies. The music doesn’t thrill me much without the vocals. Patti Austin adds a sexy soprano to contrast Michael’s tenor/falsetto. In fact that damn chorus is so peppy and catchy that if you’re not careful, you may end up repeating it over and over again. Again Quincy Jones’ jazz influence creates the smooth flow that is given to songs such as this, it’s also the finale of the segue of the sweeter songs that parlayed the second side of the album and it’s probably a hint of Michael’s later Motown material (in fact this song reminds me of “We’re Almost There” musically almost).

10.) Burn this Disco Out (Temperton) – just as the disco flow ended with “Off the Wall”, it’s picked back up by the final Temperton single and the final song on the album. Its title is already an indicator of what to expect: it’s a funky disco song aimed for the dance floor and it’s also created with the same staccato flow that created the atmosphere of “Off the Wall” while the song also shouts out Heatwave and The Jacksons hit “Shake Your Body (Down to the Ground)”. A stacatto horn flow keeps up throughout the song and takes the album home near the end of it bringing this masterpiece of an album to an essential close.

—-

So as you can see, there’s reasons why I feel this is Michael’s best. He seems to relieve the moment that he becomes a solo star (again) and he sheds his Motown image while retaining the Motown sound in his own way through his influences and his own unique vocal style. 30 years on and this album is still as invigorating as it was when Michael first recorded it.

And as for Jackson’s solo career after “Off the Wall”, well we KNOW what happened with that, don’t we? Shamon!
[Edited 7/10/09 21:26pm]

Abdul said:

You know I don't know if they were still close in the end ... but I am sure he was saddened...I was also wondering how him & Chris Tucker felt, having the opportunity to really get to have fun working with him.

WOW BBOY ! GREAT ESSAY ! here I learned something too ...didn't know Paul helped write Girlfriend another one which has been on repeat after TWYGFBP .


and OFF THE WALL is still my # 1

utopia7 said:

Paul and Wings originally did the song in 1978 and I guess he wanted to give it to Michael but Epic rejected it or something, Quincy then told Michael that he wanted Michael to do "Girlfriend" and he told him "Paul wanted me to do it".

suga10 said:

Janet should have planned on going to rehab herself...

Timmy84 said:

good info here ! I wish there was a video for the song ... the story alone would make good visuals

Pepsi ads series from 1988. More fun memories.

dreamfactory313 said:

you're a brand new generation... AND PEPSI'S COMIN' THRU..

love it
[Edited 7/10/09 22:35pm]

Stockholm

Copycat said:

Yeah,she loves them so much,she hasn't had anything to do with them in 12,and 11 years. I hope that the Jackson's are able to use the interview that she did with 20/20. Anyone else see that?
[Edited 7/11/09 0:05am]

http://earlofarihutchinso...on-as.html

Bury the Never Ending Myth of Jackson as Child Molester

by Earl Ofari Hutchinson


Political Analyst and Social Issues Commentator
Posted: July 8, 2009 08:11 PM

Websites, blogs and chatrooms pulsed with garish cracks about it. Legions of commentators and news reporters snuck it in every chance they got. More than a few of Michael Jackson's fervent admirers and supporters made a dismissive reference to it. Even President Barack Obama in a cautious acknowledgment of Jackson's towering contributions to American music and artistry still made reference to the "tragedy" in Jackson's life which was a subtle nod to it. And New York Congressman Pete King skipped the niceties and flatly said it.

The "it" is the never ending myth of Jackson the child molester. It still hangs as a damning indictment that feeds the gossip mills and gives an arsenal of ammunition to Jackson detractors. This is not a small point. In the coming weeks, there will be a push to bestow official commemorative monuments, honors on and a national stamp for Jackson. The taint of scandal could doom these efforts to permanently memorialize Jackson.

The child molester myth doesn't rest on Jackson's trial and clean acquittal on multiple child abuse charges in a Santa Maria courthouse in June2005 . Only the most rabid Jackson loathers still finger point to that to taint Jackson. The myth of Jackson as child abuser rests squarely on the charge by a13 year old boy a decade before the trial and the multi-million dollar settlement out of court. The settlement, then and now, feeds the suspicion that Jackson must have done something unsavory and probably criminal, or else why settle?

Sixteen years later, though, the facts remain unchanged. The charge that Jackson molested the boy was brought by the boy's father. In interviews the boy repeatedly denied the charges. This changed only after he was administered sodium amytal, an invasive, mind altering drug that medical experts have frowned on and courts have disregarded in witness testimony.

Prosecutors, police departments and investigators in Los Angeles and Santa Barbara spent millions of dollars, convened two grand juries and probed nearly 200 witnesses that included 30 children, who knew Jackson to try to substantiate the charge. Not a single corroborating witness was found. Nonetheless, a motley group of disgruntled Jackson's former housekeepers, attendants and bodyguards still peddled the story to any media outlet willing to shell out the cash that Jackson had engaged in child sexual wrongdoing. Not one of the charges was confirmed. Typical was this exchange between one of Jackson's attorneys and one of the accusing bodyguards under oath:

"So you don't know anything about Mr. Jackson and [the boy], do you?" "All I know is from the sworn documents that other people have sworn to."

"But other than what someone else may have said, you have no firsthand knowledge about Mr. Jackson and [the boy], do you?"

"That's correct."

"Have you spoken to a child who has ever told you that Mr. Jackson did anything improper with the child?"

"No."

"Where did you get your impressions about Jackson's behavior?"

"Just what I've been hearing in the media and what I've experienced with my own eyes."

"Okay. That's the point. You experienced nothing with your own eyes, did you?"

"That's right, nothing."

When asked at the time about the charges against Jackson, child behavior experts and psychiatrists nearly all agreed that he did not fit the profile of a pedophile. They agreed that the disorder is progressive and there are generally not one but a trail of victims.

The myth of Jackson as child molester never hinged on evidence or testimony to substantiate it, but solely on the settlement. Why then did Jackson agree to it?

No charge stirs more disgust, revulsion, and pricks more emotional hot buttons than the charge of child molestation. The accusation stamps the Scarlet letter of doubt, suspicion, shame and guilt on the accused. The accused can never fully expunge it. There is simply no defense against it. Under the hyper intense media glare and spotlight that Jackson remained under, the allegation no mater how bogus would have been endless fodder for the public gossip mill. This would have wreaked irreparable damage on Jackson's ever shifting musical career and personal life.

A trial in Los Angeles in the racially charged backdrop of the Rodney King beating, the L.A. riots, and pulsating racial tensions in the mid-1990s would have been risky business. A trial in staid, upscale, and majority white, Santa Barbara County would have been even more risky.

Jackson and his attorneys knew that when it came to the charge of child molestation the presumption of innocence, or even actual innocence, is tossed out the window. Though Jackson did nothing wrong, a trial would have left him, his reputation and his career in shambles. The settlement was the only pragmatic, logical and legal way to end the sordid issue.

The settlement under extreme duress must not sully his name and place as an honored American icon. The myth of Jackson as child molester must finally be buried.

Earl Ofari Hutchinson is an author and political analyst. His weekly radio show, "The Hutchinson Report" can be heard on weekly in Los Angeles on KTYM Radio1460 AM and nationally on blogtalkradio.com

http://www.youtube.com/wa...lIKw6ceEKo


rodney jerkins about michael

pharrel williams about

http://soul88.blogspot.co...ks-on.html

Timmy84 said:

Crazy bitch!

motownlover said:

yo....

cdcgold said:

You're even more "touched" then what I already thought you were. Please seek some mental help...seriously.

EmeraldSkies said:

Now lets just calm the hate down, From my understanding MJ made Debbie seeing those kids next to impossible. Let's not forget that once someone pissed of MJ they were pretty much out of the inner circle and shown the door. No one here knows the deal that went down with mj and debbie. Is she a loving caring mother, who knows hell the kids themselves were made from a contract not love. But they are her's biologically is she courting this for more money and that any more different than what the jacksons are going to do? No one on either side really gives a shit bout those kids stability, everyone is seeing dollar signs.

motownlover said:

wow, that's something. reminds me of my friend's husband. about four years ago, he had this feeling that he should start going to church. i wouldn't say he was an atheist or anything, but he wasn't in church every sunday, either. he was baptized, joined a little church near his house, and started making everyone in the house go to services with him. he was on his way to bible study when he was killed in a drive by on the freeway. maybe he had a feeling he was about to be called home soon.

http://eurweb.com/story/eur54470.cfm


OPEN LETTER TO A MICHAEL JACKSON ACCUSER (THE ARVIZO FAMILY): Subpoenaed by the defense in 2005, Azja Pryor writes to Jackson's 2nd accuser
(July 6, 2009)Email to a friend | Print Friendly Buzz up! *Dear Gavin, Star, Davellin, and Janet:

After Michael's tragic death last week, I have to say that all the negative feelings
I've had towards your family following the outrageous claims made by you Gavin and your mother Janet--against Michael--came back to me tenfold. The pain, disappointment, anger, and betrayal I feel towards you simply cannot be put into
words.

You have shown me that your greed, lies, and personal gain override any “morals” your family claims to have; and you have proven yourselves to be the kind of people capable of turning your back on the very person who came to your rescue when you were most desperate.

The fact that you falsely accused Michael of the most heinous of acts, and made
his life a living hell in what would become his last years is unthinkable; and I am sure some would say, unforgivable. In your attempts to destroy him once again, you, Gavin, accused the man you called your “best friend” of the one thing that you (and everyone else) knew would completely turn his life inside out.

You took the one thing we all know that Michael cared about most in life--children,
especially children who are suffering, and you tried to turn it into a bad thing. You Janet, as a parent, allowed this, encouraged this, and went forward with the awful lies in an attempt to destroy Michael Jackson and swindle money from him.

Shame on you!

This man did nothing but help your family in their darkest hour. I know Michael was just like my family. We were all pulled into your woeful stories and shared your family's plight as Gavin fought for his life during his battle with cancer. Gavin, you told me that Michael's love helped cure you of cancer.

Your entire family praised Michael privately to everyone who would listen, yet turned against him so viciously in public. I have remained silent for many years, but I can no longer do so. Right now I struggle to find the words to adequately write this letter, as I am so filled with anger towards you and pain for the Jackson family.

You call yourself Christians. If this is true I call on you, Gavin, and your mother Janet to finally do the right thing for Michael in death that you never did during his days here on earth. You need to completely exonerate Michael's name and legacy from the awful, disgusting claims you made against him.

Claims and allegations that you and I both know are completely false and utterly ridiculous. Whatever your motives at the time to create such accusations are now minute and unimportant.

It is much bigger than you.

We are speaking on this man's legacy; a man who positively touched lives around the world. A man who is arguably the greatest entertainer the world will ever know. Michael is someone who shared in your family's pain; opened his home to you and included you in his very own family. He was a human being who never deserved any of this.

Gavin and Janet, you can change your identity and try to hide from the public scrutiny, but ultimately, you cannot hide from the wrath of God's judgment. This is
the right thing to do. It is the very least you can do for Michael, his children, and
his legacy.

Gavin you are now 19 years old, no longer an impressionable young boy under you mother's guidance, nor are you a pawn in this grand scheme to assassinate Michael's character. I know your heart, and I know that you are capable of doing what is right. Clear Michael's name of your ugly accusations once and for all. You owe it to him. You owe it to his family. And you owe it to God. Let's finally give Michael the ability to completely rest in peace.

Azja Pryor
July, 2009

dreamfactory313 said:

THAT IS TRULY AMAZING !