ViintageJunkiie said:

ahh dammit!

that ain't the full version, some fan just looped it

bboy87 said:

GOT DAMMIT!

ViintageJunkiie said:

MJ fans: I love them and hate them at the same damn time

http://charlesthomsonjour...nvict.html


Saturday, 2 January 2010
FBI File Reveals Attempt to Convict Jackson with r@#%$ Law

Documents contained in Michael Jackson's FBI file show that the LAPD tried to prosecute the star under the same legislation used in the past to smear black luminaries such as Jack Johnson and Chuck Berry.

Records show that the LAPD contacted the FBI on 7th September 1993 to ask whether the bureau would assist in the prosecution of Michael Jackson under the Mann Act.


The Mann Act, also known as the 'White Slavery Act', was introduced in 1910. Allowing officers to make arrests on the vague premise of 'immoral behaviour', the law was frequently used to smear black men, particularly those who consorted with white women.

Jack Johnson, the world's first black Heavyweight Boxing Champion, was the first person to be prosecuted under the act. In fact, Geoffrey C Ward writes in his book 'Unforgivable Blackness' that the potential to smear Johnson had been one of the primary motivating factors behind the introduction of the law.

Johnson was viewed by the press and the establishment as a black man who didn't know his place. Not only was Johnson a black world champion more than 50 years before segregation was lifted, but he flaunted his success in a society which demanded that he be humble. He wore expensive clothes and jewellery and invested his money in a fleet of luxurious automobiles, a hobby for which he was repeatedly punished by white policemen who issued him with undeserved speeding tickets.

But what riled the establishment more than anything was that Johnson consorted with white women. Johnson was often accompanied on his travels by prostitutes, but so were the majority of his white contemporaries.

In 1913 Johnson was prosecuted under the Mann Act for 'transporting a female across the state line for immoral purposes'. None of his white contemporaries who also travelled with prostitutes were arrested or charged with similar crimes.

Johnson's alleged victims had travelled with him willingly and admitted it under oath. Moreover, the trips in question had taken place long before the Mann Act was even introduced. However, an all white jury convicted him regardless.

Years later the Mann Act was also used to sabotage the career of black musician Chuck Berry.

In 1959 Berry met a 14 year old waitress in El Paso and asked her to work as a hat-check girl in his restaurant. The girl agreed and he drove her from El Paso to St Louis on his way back from a concert.

On this flimsy premise Berry was arrested for 'transporting an underage girl for immoral purposes'. He was convicted under the Mann Act and sentenced to three years in prison.

In the same year Berry's white copycat Elvis Presley began openly dating Priscilla Beaulieu, a 14 year old girl. Furthermore, Scotty Moore's biography of Presley asserts that prior to his involvement with Beaulieu, the star had been dating an even younger girl.

Ergo, in 1913 the Mann Act was used to convict a black boxer whose only 'crime' was to indulge in the same behaviour as his white conemporaries. Later, In 1959, the Mann Act was used to prosecute a black musician for giving a job to an underage girl, while his white contemporary repeatedly slept with underage girls and went unpunished.

The Mann Act is an inherently r@#%$ law. Whilst it has not been used solely to prosecute African-Americans, the potential imprisonment of Jack Johnson was a primary motivating factor behind its introduction and since then it has been repeatedly used to convict black men of crimes that they didn't commit.

That Jackson was also targeted under the Mann Act is certainly intriguing and only strengthens the argument that he was targeted by a malicious prosecution on account of his race. In a way, it shows that little has changed since the days of Jack Johnson. The United States Attorney's decision not to prosecute Jackson under the Mann Act could be seen as a sign of progress, but the LAPD's decision to pursue Jackson in the first place - given the sheer abundance of evidence suggesting his innocence - remains disturbing.

That Jackson wasn't railroaded once he entered the courtroom is another indicator of progress. Of course, that the 2003 allegations against Jackson even made it into a courtroom was proof in itself that Jackson was given a bum rap - the allegations were nonsensical and his accusers were proven con artists - but while Johnson was found guilty of crimes that he patently did not commit, Jackson's jury at least made the right decision.

In Jackson's case it was only the media which tarred him as guilty.

dearmother said:

i know it's a damn shame

So now what? Are they gonna exhume his body and arrest him?

babybugz said:

*blushes*

ViintageJunkiie said:

where did u hear the entire song?

mimi07 said:

Come to find out it wasn't full. it was simply looped.

ViintageJunkiie said:

that explains it

mimi07 said:

LOL. Yeah when I was listening to it, I didn't even realize the verse was looped. I just knew the song wasn't really catching me from jump. The hook is the only thing I cared for

mimi07 said:

OH MY!

Timmy84 said:

When I first saw that video clip of him spraying himself like that, I was honestly quite impressed.

mimi07 said:

I bet he was stinking too. Too much cologne will make you smell really bad.

mimi07 said:

I´ve seen a video of this on youtube. It was very funny video. When I saw this, I was also like

bboy87 said:

Unbelievable what´s going on in this world. Thanks a lot for posting.

bboy87 said:

Thanks for posting.

Mike was his own boss in a world where white people in power try to make black people modern-day slaves to work for them. Fuck the racists

[Edited 1/5/10 18:42pm]

Found out about 3 more unreleased songs from 1976-79

Disco Kids
Goodness Knows
Sweet Music

bboy87 said:

cool! i'd love to hear every unreleased song

http://www.gearslutz.com/...ut-mj.html

I worked with Michael on many occasions...first in 1979 shortly following the release of "Off The Wall", which was recorded at my old studio, Image Recording, when it was owned by its former owner, Allen Zentz.I then spent some time in 1980 (or 81?) with Michael recording demo's for Thriller. This was great, because it was just the two of us and whoever Michael had coming in. "John, we have Jonathan Moffit coming at 12:00, then Greg Phillinganes at 1:00...oh, and we're recording strings at 4:00!". Wow, what a great experience working so closely with him. I had him on the mic for some days recording vocals, and it was an amazing experience...he would be dancing up a storm while singing and doing all of those "grunts, oohs, ahhs" vocal sounds that would pepper his tracks. He asked me to take up the carpet so he could dance, and in between takes, he would sing other popular songs of the day just freestyle and acapella and we would talk about the music we liked.Over the next year or two, I hosted the Jacksons many times, recording various tracks, claps (we had a jacuzzi room which they loved to use for the massive white-noise claps that people liked back then). I got to know all the brothers.Bruce Swedien came back to Image Recording to record a song (or two?) for the Jackson's "Victory" record in about 1983. Another great experience, as Bruce did (as I recall) a string quartet and (perhaps) Michael's vocal at the same time. Bruce IS the best of all time, by the way. BEST.I believe there were a couple of sundry Jacksons sessions over the next couple of years, but by that time, Michael was hugely popular and I didn't see him as much. The next time was really in 1995, when Robmix and I worked on the HIStory album. Rob worked on this for quite a long time (2 years?), while I worked on it for a few months. We were all holed up in Larrabee North, where Bruce had a room (or were you guys at Record One, Rob?)...Eddie Delena was recording quite a lot Michael's vocals at Larrabee in one room, and I was put in another room to engineer for whomever needed it...my most memorable session being some days with Dallas Austin and on one day, recording The Notorious B.I.G. for his rap on "This Time Around". There I was, standing in a room with Dallas, Biggie and Michael. I'll never forget it.The final days of that album were made interesting, by Bruce giving me the task to sequence the album and edit it down to a size that we could fit onto a CD. This was no small undertaking, as about 7 minutes needed to be trimmed somewhere. I laid this all out in Sound Tools and came to know every bar of every song very intimately. I found places where songs could be tightened up and came up with many suggestions. On the night of mastering, I was put in a room at Bernie Grundman's with my Sound Tools rig, and in this room, I would have to "negotiate" with Michael about what to take out. I'll never forget this night...Michael came in, and Bruce told MJ that we would have to remove either 1) one whole song or 2) edit the others to fit onto a CD. We chose the latter...I started with song one and played Michael my edits, "Oh no, we can't take THAT out...it's my favorite part of the album!". OK. Let's try another, "Oh no, we MUST keep those four bars". OK...let's go to the vamp, which carries on for two minutes...how about removing these eight bars, "Oh no, that's my favorite part of the vamp!". Well, you get the picture. Meanwhile, Jimmy Jam was in with us, telling Michael that all these edits were killer and actually make things better. And over the course of about 5 hours, we got it down. By this time, it was probably 3:00am, and I was wiped out. Bruce walked in..."Okay, John, I want you to make all these edits on the 1/2" masters right now!". My first thought was, "You've GOT to be kidding!" I had used some crossfades in Tools and such, plus I was worn out from "bartering" with Michael. But, into Bernie's room we went, and with Bruce over my shoulder, I cut the 1/2" tapes. As I recall, this took a couple of hours, and we were done. By the way, video footage of my "bartering session" with Michael exists, although I was never able to get a copy. Perhaps someday!After that album's completion, we were all invited to The Neverland Ranch with spouses and kids for a day of fun, with Michael as our host. What a memorable day that I will recount in another post...my arms hurt now!Take it away, Rob...

---

I was fortunate enough to work with MJ early in my career. He was an incredible artist. Talented beyond your wildest dreams. Extremely generous, and a hard worker. I actually went from a staff assistant at the Hit Factory in NYC to freelance engineer under Swedien and MJ. They were due to start in Los Angeles when the Northridge earthquake hit so they moved to New York. One room was all Bruce, the second room was the writing room. I started assisting Bruce's writing partner Rene Moore. I would track stuff with Rene, and Bruce would come in and tell me what I did wrong, sit in for a few hours and set us straight. After a couple months MJ arrived and the entire tour rig was moved in along with Brad Buxer, Andrew Scheps, and Eddie Delena. I continued to assist them until the whole crew moved to L.A., they decided to take me with them. I would assist Bruce during the day, and help out every where else at night - assisting, engineering, programming, and on one song playing guitar. We had two rooms at Record One, and two rooms at Larrabee where I met John. At one point in NYC we had just about every room at the Hit Factory. The crew was great, and I learned so much from all of them. I learned to engineer from Bruce Swedien, John, and Eddie, and got to sit in with producers like MJ, Jam And Lewis, Babyface, David Foster, Teddy Riley, and Dallas Austin. I was actually asked to leave the project early on because there were too many people around and MJ didn't know me. Luckily, I was rehired about 10 days later. At the wrap party MJ apologized profusely, and expressed his gratitude. Truly the most sincere man you will ever meet. Some random memories:One morning MJ came in with a new song he had written overnight. We called in a guitar player, and Michael sang every note of every chord to him. "here's the first chord first note, second note, third note. Here's the second chord first note, second note, third note", etc., etc. We then witnessed him giving the most heartfelt and profound vocal performance, live in the control room through an SM57.He would sing us an entire string arrangement, every part. Steve Porcaro once told me he witnessed MJ doing that with the string section in the room. Had it all in his head, harmony and everything. Not just little eight bar loop ideas. he would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills. At one point Michael was angry at one of the producers on the project because he was treating everyone terribly. Rather than create a scene or fire the guy, Michael called him to his office/lounge and one of the security guys threw a pie in his face. No further action was needed . . . . .During the recording of "Smile" on HIStory, Bruce thought it would be great if Michael would sing live with the orchestra. But of course, we didn't tell the players that. We set him up in a vocal booth off to the side. They rehearsed a bit without vocals in, then during the first take Michael sang, just about knocked them out of their chairs. His beatboxing was without parallel, and his time was ridiculous. His sense of harmony was incredible. Never a bad note, no tuning, even his breathing was perfectly in time. Once, while we were taking a break, I think we were actually watching the OJ chase on TV, there was a news program talking about him being in Europe with some little boy. I was sitting next to the guy while the news is making this crap up. He just looked at me and said this is what I have to deal with. I spent close to 3 years working with him, and not once did I question his morals, or ever believe any of the allegations. I wasn't even a fan then. I saw him interact with his brothers kids, other people's children, and at one point my own girlfriend's kids. I got to spend a day at Neverland with them. A completely incredible human being, always looking for a way to make all children's lives better. Every weekend at Neverland was donated to a different children's group - children with AIDS, children cancer, etc., and most of the time he wasn't there. He was simply living the childhood he never had. In many ways he never grew up. I was assisting Jimmy Jam and Terry Lewis while they recorded the background vocals for "Scream" with MJ and Janet. The two of them singing together was amazing. Super tight, no bad notes. One part after another. When they took a break they sang the showtunes they used to sing as kids. Again, perfect harmony. Mj refused to sing the "stop f*ckin' with me part" because he would NOT curse. I was the tape op for the recording of the background vocals on "Stranger in Moscow". Scared the hell out me. Michael was dropping in and out on syllables, rearranging the notes and timing as he put it down. No Pro Tools at the time, just 2" tape, and my punches. I erased a live keyboard overdub that he played one night. He came in the next morning, replaced it, and never uttered another word about it. I was there when Lisa Marie was around. They acted like two kids in love. Held hands all the time, and she hung out at the studio for quite a while. I never questioned their love for each other. We recorded a Christmas song during the summer of '94 that needed a children's choir. Michael insisted that the entire studio be decorated with xmas lights, tree, fake snow and a sled for their recording. And he bought presents for everyone. The last weekend of recording on HIStory he came to me and Eddie Delena, and said "I'm sorry, but I don't think any of us are going to sleep this weekend. There's a lot to get done, and we have to go to Bernie on Monday morning". He stayed at the studio the entire time, singing, and mixing. I got to spend a couple quiet moments with him during that time. We talked about John Lennon one night as he was gearing up to sing the last vocal of the record - the huge ad libs at the end of "earth song". I told him the story of John singing "twist and shout" while being sick, and though most people think he was screaming for effect, it was actually his voice giving out. He loved it, and then went in to sing his heart out. . . .Later that night, while mixing, everyone left the room so MJ could turn it up. This was a common occurrence during the mixes, and I was left in the room with ear plugs, and hands over my ears, in case he needed something. This particular night, all the lights were out and we noticed some blue flashes intermittently lighting up the room during playback. After a few moments we could see that one of the speakers (custom quad augspuergers) was shooting blue flames. Mj liked this and proceeded to push all the faders up . . . . MJ liked hot water while he was singing. I mean really hot !!!!! It got to the point that I would melt plastic spoons to test it. Bruce and I were talking about walking to the studio everyday in NYC, and what routes we took. Michael looked at us and said we were so lucky to be able to do that. He couldn't walk down the street without being harassed. It was a sad moment for all of us. The studio crew got free tickets to the Janet show so we all went right from work one night. About halfway through the show we see this dude with a long beard, dressed in robes dancing in the aisle behind. I mean really dancing . . . it was Mj in disguise. Kind of like the costume Chevy Chase wears in Fletch while roller skating. He got one of the first playstations from sony in his lounge . . . we snuck in late at night to play the games that hadn't been released yet. A couple people on the session hadn't seen Jurassic Park while it was out, so MJ arranged a private screening for us at Sony. He was a huge fan of Nine Inch Nails Downward Spiral . . . . I was lucky enough over the course of 3 years to have access to the multitrack masters for tour prep, videos, and archive purposes. To be able to pull these tracks apart was a huge lesson in production, and songwriting. A chance to look into the minds of geniuses. Of all the records I've worked on, MJJ was the only company to give platinum award records. One day we just all sat in the studio listening to his catalog with him for inspiration. He loved the process, he loved the work.

I finally got the Opus and was dissapointed about two things. First, I´d love to see more paintings or drawings by MJ and not of MJ. And secondly, it´s a shame that most of the pictures leaked before because it ruins the magic of surprise when opening it.

thanks for posting that story bboy



[Edited 1/6/10 8:46am]

dag said:

Do you feel it was worth the price?

ViintageJunkiie said:

Looks like he was overdoing it there but everyone who gets close says he smells really good. Wonder what that fragrance was.

JackieBlue said:

Well, it´s hard to tell. I think if I hadn´t seen the pictures before, I´d be ecstatic, but since I ve seen them, I wasn´t. I´d select other pictures as well. I wish I could design something like that. I´d knew which photos to pick.
Like these:




I´d want all those rare photoshoot pictures and the personal ones.

AND I am still waiting for that "video" experience.

But I adore the Chaplin-like pictures. They´re so beautiful.
Even these that are not in the book.
URL=http://img80.imageshack.us/i/61861773.png/][/URL]
[Edited 1/6/10 9:35am]

mimi07 said:

well then..

bboy87 said:

This is truely disgusting.