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 "We may deify or demonize them but not ignore them. And we call them genius, because they are the people who change the world." |
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bboy87 said: Wonder where he was at in this pic... | |
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bboy87 said: Nice picture. It would make for good use in a music album of new MJ songs. | |
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There are enough pics here to start an MJ museum.  I love it. | |
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Michael Jackson (1958-2009): A View from the Jazz Camp by Ted Gioia Michael Jackson, for all his considerable talents, never enjoyed a large following among jazz devotees. His songs are rarely covered by jazz bands (although with one very famous exception), and if you raise his name in a discussion with serious jazzistas, they will usually change the topic to his former producer Quincy Jones, whose artistry is more closely aligned with jazz values. Yet jazz fans are not immune to the appeal of pop. They will embrace a great songwriter like Joni Mitchell; or a pop star who fills his band with jazz players like Sting; or a hitmaker who shows some impressive instrumental chops like Stevie Wonder. But Michael Jackson did not fit easily into any of these categories. Yet Jackson had a better sense of the changes transforming the entertainment world during the late 20th century than any of these figures. Jazz fans not only should mourn his passing, but perhaps learn from his example, Then as now, formulas were changing, technologies were evolving, and Michael Jackson was the perfect talent to seize the opportunities of this new era. In particular, the concept of the singer-songwriter—so powerful during the 1970s (and whose individualism was very congruent with the jazz sensibility)—would collapse as a platform for popular music during the 1980s. The intimacy and nuanced effects of this approach were not well suited to a multimedia age, which wanted something larger and more spectacular. Michael Jackson provided this panem et circenses spectacle, although in his case it was a spectacle that sometimes continued offstage and in private life. The arrival of music videos and cable television was almost like a second coming of talking movies. Just as during that earlier age, audiences were attracted to stars who could exploit the full potential of the new medium. A half-century before, movie releases had been marketed for their “all singing, all talking, all dancing” grandeur. The screen might be smaller at the home entertainment center during the 1980s, but the appetite for powerful visual effects was much the same. A Stevie Wonder or Joni Mitchell, for all their musical talent—no doubt deeper than Jackson’s when measured in mere sharps and flats—were not capable of operating on this level. In truth, no musical performer of his generation had a more powerful visual impact on the screen than Michael Jackson. He was so dynamic in front of the camera, that the Disney corporation even built a 3D film for its theme parks around him—and got Francis Ford Coppola to direct it and George Lucas to serve as executive producer. What a strange turn of events: after all, 3D films had always focused on massive effects, scary or scenic, something on a Grand Canyon type of scale. Now a 3D film was built around a personality? But Michael Jackson was not just another personality—he also operated on a Grand Canyon kind of scale. And I can assure you from the lines I encountered when I went to see Captain EO at Disneyland, that this was a hugely popular attraction. How many films do you know that enjoy a decade-long run? In fact, I wouldn’t be surprised if the movie has a return engagement in the near future. But it was in the more downsized and compact format of the music video where Michael Jackson crystallized his artistry and built his enormous audience. Here is the core of his legacy, one that you will not be able to appreciate if you simply listen to the compact disks or study the lead sheets. This is not to dismiss his purely musical talents—Jackson’s genuine skills as a singer had been clear from his earliest years. And through some strange biological fluke—perhaps aided by who-knows-what—Jackson retained the childlike quality of his voice even after he reached adulthood. To some degree, he reminded me of Ella Fitzgerald, who also managed to convey a sweet innocence, almost the exact opposite of the sassiness and sultriness around her, and put its stamp on everything she sang. Jackson was the same, and in the midst of a music scene that featured some of the most brazen and push-the-envelope acts in the history of music—the Sex Pistols were formed at almost the same moment that the Jackson 5 left Motown—he always held on to the ingenuous aura of the child star. But it was as a dancer that Michael Jackson parlayed his talents into superstardom. It was the moonwalk that killed the singer-songwriters, who stayed hidden behind their pianos and guitars while Jackson strutted the big stage. Youngsters everywhere imitated his steps, not his voice, and even today, his footwork is admired and emulated by countless stars and wannabe stars. All of this is foreign to the jazz sensibility. Jazz once had a close relationship with popular dance—not coincidentally during its period of greatest financial success. But in the 1980s, jazz had lost this connection. Jazz bands might be able to cover Jackson's tunes (not often, as I noted above—I still remember working in a combo where the sidemen rebelled after the leader wanted to play “Beat It”; he gave up and called another tune); but they could not assimilate the full effect of Michael Jackson, which started with his toes and only gradually arrived at the vocal chords and cerebellum. Jazz fans did know about Quincy Jones, however. They had known about Jones long before Jackson and the mass audience had discovered him. They would give him much of the credit for Jackson’s hits, and certainly he played a key part in the elevation of this pop superstar. Yet Jones's brilliance lay in adapting his techniques to Jackson's inherent strengths and potent charisma—and not merely applying some formula he had learned from his jazz days. The production tricks Jones brought to these hit tracks are fascinating to study. And sometimes daring in bizarre ways. How did Jones ever get the idea of taking little snippets of Jackson squeaking out high notes, and use them as background effects—almost like birds chirping on the trees? Then Jones would mix this amalgamation of quasi-ambient sounds with a lead vocal, hypnotic bassline and a very 80s-style rhythmic sensibility. All this was a far cry from what Jones had done with Sinatra and jazz players, but give this man—born in 1933—his due for understanding the new sensibility in a way that no one of his generation could approach. If you had any doubts that this was the right formula, you merely needed to look at the Billboard charts. The Jackson-Jones collaborations sold around 200 million albums. The duo eventually parted ways, and Jackson was focused on producing his own music. Yet he never came close to matching the sales of his work with QJ. Jazz fans might think that this success was driven more by technology (videos, cable TV) than by musical factors. But a close examination of the history of jazz shows that the same marriage of music and technology has driven its own success. The possibility of jazz as an improvised art form with large scale distribution depended on the invention of sound recordings. Benny Goodman’s immense success—and indeed the whole phenomenon of the Swing Era—would not have been possible without the widespread adoption of radios in American households. Without long-playing records there would have been no Kind of Blue or A Love Supreme. Music and technology have always been interlinked, ever since the first cave dweller figured out how make a bone into a flute, the hide of an animal into a drum. If the jazz world didn’t embrace Jackson, it was due to the fact that the technologies he parlayed into fame were those which jazz players were either unable or unwilling to assimilate into their own creative endeavors. Yet it’s clear to me that, two decades after Jackson’s biggest hits, the jazz world can still learn from his example. Only nowadays, the stakes from comprehending the symbiotic relationship of music, technology and media are even higher. [Edited 9/8/09 15:26pm] | |
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Timmy84 said: bboy87 said: Wonder where he was at in this pic... The weight of loneliness The 1988 Michael confides in his autobiography suffer from loneliness qu'entaine unfathomable success. In 2005, was declared innocent after unproces for pedophilia, it seems even more isolated, has Neverland. I thought maybe the writting would say were the picture was taken,but this is what it translated to. Maybe the picture was taken on the grounds of Neverland.  [Edited 9/8/09 15:42pm] Music washes away from the soul the dust of everyday life. ~Berthold Auerbach | |
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Copycat said:
Michael Jackson (1958-2009): A View from the Jazz Camp by Ted Gioia Michael Jackson, for all his considerable talents, never enjoyed a large following among jazz devotees. His songs are rarely covered by jazz bands (although with one very famous exception), and if you raise his name in a discussion with serious jazzistas, they will usually change the topic to his former producer Quincy Jones, whose artistry is more closely aligned with jazz values. Yet jazz fans are not immune to the appeal of pop. They will embrace a great songwriter like Joni Mitchell; or a pop star who fills his band with jazz players like Sting; or a hitmaker who shows some impressive instrumental chops like Stevie Wonder. But Michael Jackson did not fit easily into any of these categories. Yet Jackson had a better sense of the changes transforming the entertainment world during the late 20th century than any of these figures. Jazz fans not only should mourn his passing, but perhaps learn from his example, Then as now, formulas were changing, technologies were evolving, and Michael Jackson was the perfect talent to seize the opportunities of this new era. In particular, the concept of the singer-songwriter—so powerful during the 1970s (and whose individualism was very congruent with the jazz sensibility)—would collapse as a platform for popular music during the 1980s. The intimacy and nuanced effects of this approach were not well suited to a multimedia age, which wanted something larger and more spectacular. Michael Jackson provided this panem et circenses spectacle, although in his case it was a spectacle that sometimes continued offstage and in private life. The arrival of music videos and cable television was almost like a second coming of talking movies. Just as during that earlier age, audiences were attracted to stars who could exploit the full potential of the new medium. A half-century before, movie releases had been marketed for their “all singing, all talking, all dancing” grandeur. The screen might be smaller at the home entertainment center during the 1980s, but the appetite for powerful visual effects was much the same. A Stevie Wonder or Joni Mitchell, for all their musical talent—no doubt deeper than Jackson’s when measured in mere sharps and flats—were not capable of operating on this level. In truth, no musical performer of his generation had a more powerful visual impact on the screen than Michael Jackson. He was so dynamic in front of the camera, that the Disney corporation even built a 3D film for its theme parks around him—and got Francis Ford Coppola to direct it and George Lucas to serve as executive producer. What a strange turn of events: after all, 3D films had always focused on massive effects, scary or scenic, something on a Grand Canyon type of scale. Now a 3D film was built around a personality? But Michael Jackson was not just another personality—he also operated on a Grand Canyon kind of scale. And I can assure you from the lines I encountered when I went to see Captain EO at Disneyland, that this was a hugely popular attraction. How many films do you know that enjoy a decade-long run? In fact, I wouldn’t be surprised if the movie has a return engagement in the near future. But it was in the more downsized and compact format of the music video where Michael Jackson crystallized his artistry and built his enormous audience. Here is the core of his legacy, one that you will not be able to appreciate if you simply listen to the compact disks or study the lead sheets. This is not to dismiss his purely musical talents—Jackson’s genuine skills as a singer had been clear from his earliest years. And through some strange biological fluke—perhaps aided by who-knows-what—Jackson retained the childlike quality of his voice even after he reached adulthood. To some degree, he reminded me of Ella Fitzgerald, who also managed to convey a sweet innocence, almost the exact opposite of the sassiness and sultriness around her, and put its stamp on everything she sang. Jackson was the same, and in the midst of a music scene that featured some of the most brazen and push-the-envelope acts in the history of music—the Sex Pistols were formed at almost the same moment that the Jackson 5 left Motown—he always held on to the ingenuous aura of the child star. But it was as a dancer that Michael Jackson parlayed his talents into superstardom. It was the moonwalk that killed the singer-songwriters, who stayed hidden behind their pianos and guitars while Jackson strutted the big stage. Youngsters everywhere imitated his steps, not his voice, and even today, his footwork is admired and emulated by countless stars and wannabe stars. All of this is foreign to the jazz sensibility. Jazz once had a close relationship with popular dance—not coincidentally during its period of greatest financial success. But in the 1980s, jazz had lost this connection. Jazz bands might be able to cover Jackson's tunes (not often, as I noted above—I still remember working in a combo where the sidemen rebelled after the leader wanted to play “Beat It”; he gave up and called another tune); but they could not assimilate the full effect of Michael Jackson, which started with his toes and only gradually arrived at the vocal chords and cerebellum. Jazz fans did know about Quincy Jones, however. They had known about Jones long before Jackson and the mass audience had discovered him. They would give him much of the credit for Jackson’s hits, and certainly he played a key part in the elevation of this pop superstar. Yet Jones's brilliance lay in adapting his techniques to Jackson's inherent strengths and potent charisma—and not merely applying some formula he had learned from his jazz days. The production tricks Jones brought to these hit tracks are fascinating to study. And sometimes daring in bizarre ways. How did Jones ever get the idea of taking little snippets of Jackson squeaking out high notes, and use them as background effects—almost like birds chirping on the trees? Then Jones would mix this amalgamation of quasi-ambient sounds with a lead vocal, hypnotic bassline and a very 80s-style rhythmic sensibility. All this was a far cry from what Jones had done with Sinatra and jazz players, but give this man—born in 1933—his due for understanding the new sensibility in a way that no one of his generation could approach. If you had any doubts that this was the right formula, you merely needed to look at the Billboard charts. The Jackson-Jones collaborations sold around 200 million albums. The duo eventually parted ways, and Jackson was focused on producing his own music. Yet he never came close to matching the sales of his work with QJ. Jazz fans might think that this success was driven more by technology (videos, cable TV) than by musical factors. But a close examination of the history of jazz shows that the same marriage of music and technology has driven its own success. The possibility of jazz as an improvised art form with large scale distribution depended on the invention of sound recordings. Benny Goodman’s immense success—and indeed the whole phenomenon of the Swing Era—would not have been possible without the widespread adoption of radios in American households. Without long-playing records there would have been no Kind of Blue or A Love Supreme. Music and technology have always been interlinked, ever since the first cave dweller figured out how make a bone into a flute, the hide of an animal into a drum. If the jazz world didn’t embrace Jackson, it was due to the fact that the technologies he parlayed into fame were those which jazz players were either unable or unwilling to assimilate into their own creative endeavors. Yet it’s clear to me that, two decades after Jackson’s biggest hits, the jazz world can still learn from his example. Only nowadays, the stakes from comprehending the symbiotic relationship of music, technology and media are even higher. [Edited 9/8/09 15:26pm] | |
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Copycat said: 
Mary J. Blige to Lead Jackson Tribute in Vienna September 8, 2009 Artists including R&B stars Mary J. Blige, Akon and Chris Brown as well as veterans Natalie Cole and Sister Sledge will perform at the Vienna Michael Jackson tribute concert later this month, organizers said on Tuesday. Thirteen artists so far have been confirmed to perform at the concert, set in front of Vienna's Schoenbrunn castle on September 26, Michael's brother Jermaine Jackson and producer Georg Kindel told reporters at a news conference in Vienna. Jermaine will sing a virtual duet with his late brother, who died from a drug overdose on June 25 and will be brought to life by video projections on the concert stage. All the artists will sing Michael Jackson's greatest hits and will be supported by the band and dancers which were to accompany Jackson on his planned "This Is It" series of comeback concerts in London before the king of pop died in June. In a grand finale, all of them will sing "We Are The World" and "Heal The World" together, Kindel said. Jackson's children and his mother Katherine will also be in Vienna. A total of 20 to 25 artists are expected for the concert. More names will be revealed at separate news conferences in London on Wednesday and in Berlin on Thursday, Kindel said. Tickets for the concert are being sold in stages for 63 to 518 euros ($91-$745) each. More than half have been sold. http://abcnews.go.com/Ent...id=8513014  | |
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DesireeNevermind said: There are enough pics here to start an MJ museum.
I love it.That's actually a good idea.... "We may deify or demonize them but not ignore them. And we call them genius, because they are the people who change the world." |
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BoOTyLiCioUs said: 
LOVE THIS!!! "You put water into a cup, it becomes the cup...Now water can flow or it can crash. Be water, my friend." - Bruce Lee
"Water can nourish me, but water can also carry me. Water has magic laws." - JCVD | |
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Arnotts said: mrsnet said: lol, you're not crazy. Crazy is believing too such unattractive very fair complexioned people could produce those BEAUTIFUL tan children. Those kids are NOT fully White. There are many people who see the resemblance to the Jacksons. But unfortunately there are those who are allowing themselves to be brainwashed. Arnold is quite tan with brown hair and brown eyes. And old which is why he is unattractive. And I hate to say it but I really don’t find Michaels children all that attractive especially the older boy. He’s a bit weird looking. Which is even more reason why I don’t think Michaels the father. I dont get how anyone could think someone as dark and African looking as Michael could have three kids like that. 
[Edited 9/6/09 19:51pm] Mike is NOT dark as someone said, & the reason why I can believe Mike is the father is my God-son has a DARK father (Akon 'dark') he's pitch black with kinky, woolly hair; mother a White lady (very pale). My Godson is light tan (like Prince Jackson) with straight hair and white facial features because he looks just like his maternal grandfather. As a baby he looked like his dad (facial features) but now, age 13 he looks just like his mother's dad. Bi-racial children come in all shades. Did you ever see Johnnie Carson's grand-daughter (who he disowned,btw)? Mother was dark brown, African American facial features - the little girl was VERY white, pink like white people. One would never have believed that child was mixed. But as for Mike's kids, Prince LOOKS like Mike, Randy, & that Grandad Tito talked about. Blanket looks just like Mike. I can't see Mike in Paris. But she does look mixed to me, just looks like her mom. | |
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Larger Version:
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Evvy said: 
I know some light skin black people who dont tan this much in the sun-they burn-and i've never seen a caucasion person- with no mixed blood- tan this dark- red like a strawberry yes- brown like a grocery bag-- NO this boy moves like Michael- his mannerisms and expressions.... I agree. He looks so like little Mike to me. Sittin there just like Mike when he was that age. I can't see how everyone cannot see this. | |
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So do you all think he surpassed James Brown in dancing?
I think they were both at the same level. Btw fuck that idiot that keeps bringing up the kids. Leave the kids alone. [Edited 9/8/09 20:01pm] [Edited 9/8/09 20:23pm] | |
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rsggamer said: Larger Version:
Now, that's more like it. You rock! | |
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voyevoda said: So do you all think he surpassed James Brown in dancing?
I think they were both at the same level. Btw fuck that nigga that keeps bringing up the kids. Leave the kids alone. [Edited 9/8/09 20:01pm] I know your ghetto a.ss is not talking to me!!! You think you sound cool, idiot!? I'm Afican American and too proud to use the N word, even with an 'a'. Go learn some sense. I'll talk about Mike's the biological parent as long n LOUD as I please. | |
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mrsnet said: voyevoda said: So do you all think he surpassed James Brown in dancing?
I think they were both at the same level. Btw fuck that nigga that keeps bringing up the kids. Leave the kids alone. [Edited 9/8/09 20:01pm] I know your ghetto a.ss is not talking to me!!! You think you sound cool, idiot!? I'm Afican American and too proud to use the N word, even with an 'a'. Go learn some sense. I'll talk about Mike's the biological parent as long n LOUD as I please. | |
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Singer says no to Jackson's Vienna tribute
Mary J. Blige has turned down an invitation to perform at Jermaine Jackson's planned Vienna, Austria tribute to his late brother Michael. Jermaine announced Blige and Chris Brown would be among the headliners at a press conference on Tuesday, but both have since insisted they won't be part of the September 26th concert at the Imperial Schonbrunn Palace. Brown's spokesperson has said, "Chris is not confirmed to perform or participate in any capacity for this show," and now Blige's people have followed suit. An aide insists Blige will be in Italy and not in Austria on the day of the tribute. Natalie Cole, Akon and Sister Sledge are also on the bill, according to Jermaine. Meanwhile, promoters are trying to play down reports that the King of Pop's brother is staging the Vienna show against his mother Katherine's wishes. Event organizer George Kindel says, "She will be there with Michael Jackson' s kids." http://www.abcactionnews....eM9nw.cspx | |
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mookie said: Singer says no to Jackson's Vienna tribute
Mary J. Blige has turned down an invitation to perform at Jermaine Jackson's planned Vienna, Austria tribute to his late brother Michael. Jermaine announced Blige and Chris Brown would be among the headliners at a press conference on Tuesday, but both have since insisted they won't be part of the September 26th concert at the Imperial Schonbrunn Palace. Brown's spokesperson has said, "Chris is not confirmed to perform or participate in any capacity for this show," and now Blige's people have followed suit. An aide insists Blige will be in Italy and not in Austria on the day of the tribute. Natalie Cole, Akon and Sister Sledge are also on the bill, according to Jermaine. Meanwhile, promoters are trying to play down reports that the King of Pop's brother is staging the Vienna show against his mother Katherine's wishes. Event organizer George Kindel says, "She will be there with Michael Jackson' s kids." http://www.abcactionnews....eM9nw.cspx  I wonder why Mary is pulling out of the event?Music washes away from the soul the dust of everyday life. ~Berthold Auerbach | |
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mookie said: Singer says no to Jackson's Vienna tribute
wtf is Jermaine doing?Mary J. Blige has turned down an invitation to perform at Jermaine Jackson's planned Vienna, Austria tribute to his late brother Michael. Jermaine announced Blige and Chris Brown would be among the headliners at a press conference on Tuesday, but both have since insisted they won't be part of the September 26th concert at the Imperial Schonbrunn Palace. Brown's spokesperson has said, "Chris is not confirmed to perform or participate in any capacity for this show," and now Blige's people have followed suit. An aide insists Blige will be in Italy and not in Austria on the day of the tribute. Natalie Cole, Akon and Sister Sledge are also on the bill, according to Jermaine. Meanwhile, promoters are trying to play down reports that the King of Pop's brother is staging the Vienna show against his mother Katherine's wishes. Event organizer George Kindel says, "She will be there with Michael Jackson' s kids." http://www.abcactionnews....eM9nw.cspx | |
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dang | |
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voyevoda said: mookie said: Singer says no to Jackson's Vienna tribute
wtf is Jermaine doing?Mary J. Blige has turned down an invitation to perform at Jermaine Jackson's planned Vienna, Austria tribute to his late brother Michael. Jermaine announced Blige and Chris Brown would be among the headliners at a press conference on Tuesday, but both have since insisted they won't be part of the September 26th concert at the Imperial Schonbrunn Palace. Brown's spokesperson has said, "Chris is not confirmed to perform or participate in any capacity for this show," and now Blige's people have followed suit. An aide insists Blige will be in Italy and not in Austria on the day of the tribute. Natalie Cole, Akon and Sister Sledge are also on the bill, according to Jermaine. Meanwhile, promoters are trying to play down reports that the King of Pop's brother is staging the Vienna show against his mother Katherine's wishes. Event organizer George Kindel says, "She will be there with Michael Jackson' s kids." http://www.abcactionnews....eM9nw.cspx Jermaine always seem to run his mouth about events that arent taking place. | |
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It would be more heartfelt if the brothers could get together to do a show in honor of Michael.Seems like Jermaine is doing his own thing while Tito is planning his upcoming show in Detroit. I just think the Vienna show is veering off no one can capture the essence of the Jackson experience than the brothers themselves. No need for others on the bill unless it's musicians accompanying the music.They have just as much a music legacy aside from Michael,Now is the time to do it before age sets in it was great to see them 2001 for the 30th anniversary show. |
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voyevoda said: So do you all think he surpassed James Brown in dancing?
I think they were both at the same level. Yes. MJ is in league with other two greats Fred Astaire and Gene Kelly. Both loved him. MJ was a versatile dancer. He could even tap dance like Fred. It's no wonder Fred called him the best dancer of the century. But I would say Fred was the best just because of who he is. [Edited 9/8/09 21:41pm] | |
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Has Jermaine gone full retard? I mean wtf is wrong with this guy. | |
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Comment on ONTD.
"Jermaine's like Cain to MJ's Abel"  | |
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voyevoda said: So do you all think he surpassed James Brown in dancing?
I think they were both at the same level. Btw fuck that idiot that keeps bringing up the kids. Leave the kids alone. [Edited 9/8/09 20:01pm] [Edited 9/8/09 20:23pm] I don't. MJ and James may have similar dancing traits like gliding and sliding across the stage and their hand patterns in the way they lead their bands, they even sound alike vocally (when they grunt-talk-sing, lol). But they were different too. James was more acrobatic with it in his YOUNGER DAYS, he did what Prince and Hammer did later while MJ was more, I guess, inspired by the mimes and breakdancers. | |
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and fred and gene! | |
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dearmother said: and fred and gene!
Yeah them, lol | |
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NO JACKSON TRIBUTE FOR BROWN DESPITE FAMILY BACKING
2009-09-08 23:45:05 - CHRIS BROWN has not signed up to lead the musical tribute concert to MICHAEL JACKSON in Vienna, Austria - despite the tragic icon's brother JERMAINE backing him as the main headliner. At a press conference in the European city on Tuesday (08Sep09), the Jackson 5 singer told reporters that disgraced Brown would take centre stage at the star-studded tribute for the late Thriller legend on 26 September (09). He confirmed, "Michael was his idol and he (Brown) dedicated his first number one hit in the U.S. to Michael. Chris is a very, very talented artist." It was to be Brown's first time on stage since his brutal attack on ex-girlfriend Rihanna in February (09). He was sentenced to five years probation and six months hard community labour last month (Aug09). And although Brown obviously has the support of the superstar clan, a rep for the shamed singer insists the Kiss Kiss hitmaker's appearance at the show has not been scheduled. The spokesperson says, "Chris is not confirmed to perform or participate in any capacity for this show." Other artists on the bill include Mary J. Blige, Natalie Cole and Sister Sledge, as well as American boyband US5. ---- This is a mess, lol. Watch, Natalie's camp gonna deny it too. | |
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