MJ UNSEEN NEVER FOOTAGE MJ's new documentary with images of him dancing and attending the cirque du solei

See This

http://www.youtube.com/watch?v=awm3VRu2HFM&feature=youtu.be

http://www.youtube.com/watch?v=9_POFEPbjiQ&feature=player_embedded

claudiax said:

MJ UNSEEN NEVER FOOTAGE MJ's new documentary with images of him dancing and attending the cirque du solei

See This

http://www.youtube.com/watch?v=awm3VRu2HFM&feature=youtu.be

http://www.youtube.com/watch?v=9_POFEPbjiQ&feature=player_embedded

LiLi1992 said:

claudiax said:

MJ UNSEEN NEVER FOOTAGE MJ's new documentary with images of him dancing and attending the cirque du solei

See This

http://www.youtube.com/watch?v=awm3VRu2HFM&feature=youtu.be

http://www.youtube.com/watch?v=9_POFEPbjiQ&feature=player_embedded

WoW

Now that right there is pure talent.

He's amazing onstage, but that right there is perfection at it's purest form!

Swa said:

I highly recommend anyone interested in knowing the story behind the sale of the ATV catalogue should read "Another Northern Song". Very insightful.

And whilst I respect McCartney as an exceptional song writer and musician, he is a tad hypocritical here.

He was given first right of refusal on the catalogue and thought it over priced. He, along with Yoko Ono were approached and declined. Then it was up for sale for anyone to buy. Michael saw the value in the investment and paid for it.

And as for the Beatles songs being used in commercials. He might have been annoyed, but he himself had used the songs by others he owned in commercial ventures. Maybe he just valued his own creations above others. 'Help' for example was used in car commercial before Jackson owned it (albeit a cover of the song by a soundalike).

At the end of the day if McCartney really valued the work he had produced he should have bought it when he had a chance.

As they say if you don't want it bought, don't sell it.

Michael did nothing new with using music in advertising deals. Nor did he do anything wrong.

And I'm sure McCartney never refused the royalties that the sale of the songs generated either.

I wonder why he refused to buy it? Was it because he just didnt want to pay the amount of money for it or he just couldnt afford it at the time?

NaughtyKitty said:

Swa said:

He was given first right of refusal on the catalogue and thought it over priced. He, along with Yoko Ono were approached and declined. Then it was up for sale for anyone to buy. Michael saw the value in the investment and paid for it.

I wonder why he refused to buy it? Was it because he just didnt want to pay the amount of money for it or he just couldnt afford it at the time?

http://en.wikipedia.org/w...cquisition

CrabalockerFishwife said:

NaughtyKitty said:

I wonder why he refused to buy it? Was it because he just didnt want to pay the amount of money for it or he just couldnt afford it at the time?

http://en.wikipedia.org/w...cquisition

Paul just felt that the catalogue was over priced. He had the means to purchase it, but chose not to. In retrospect it wasn't overpriced at all, though at the time I believe it was a record asking price.

The negotiations took a year to be finalised with many parties bidding for it. As I mentioned if you want to know the history of it in detail, and the full history of the Northern Song catalogue then I strongly recommend reading "Northern Songs".

http://www.amazon.co.uk/Northern-Songs-Beatles-Songwriting-Empire/dp/184609237X

And CrabalockerFishWife - love the nic. Was it a tough choice between that and "PornographicPriestess", lol.

I do not know whether this was discussed here already, but hell, Blanket Jackson - a copy of Omer Bhatti as a child.

How is this possible??

[Edited 3/21/12 9:26am]

Thanks for the info CrabalockerFishwife and Swa

HIStory Tour rehearsal footage!!! omg!!!!!!!!!!!

dm3857 said:

HIStory Tour rehearsal footage!!! omg!!!!!!!!!!!

WOW, where are those people getting it from?

Swa said:

LiLi1992 said:

WoW

Now that right there is pure talent.

Michael is killing that solo!!!

Michael Jackson's 'Blood on the Dance Floor,' 15 Years Later

MAR 21 2012, 2:02 PM ET 33

The strange story behind the global hit, which was released a decade and a half ago today

Epic

On June 6, 1990, producer/musician Teddy Riley was supposed to be at his friend and fellow band member's birthday party. Instead, he spent the night at a Soundworks Studio on 23rd Avenue in Queens, working on grooves for none other than the King of Pop, Michael Jackson.

"I told [the group] I had a lot of work to do," Riley recalls. "Michael was my priority. I was going out to California to meet him soon, and he wanted me to bring my best work."

It was a fortuitous decision.

Later that evening, Riley learned someone was shot on the dance floor at the party he had skipped. He was shaken. At just 23 years of age, violence and death were already becoming a recurring theme in his life. Within that same year, his half-brother and best friend both had also been murdered.

Riley was shocked to learn Jackson's title for the track: "Blood on the Dance Floor." "He knew what it was about even before I told him what happened that night."

The rhythm track Riley worked on that night was aggressive, ominous, menacing. But it had no words, no title, and no melody.

The following Saturday he was on his way to Neverland Ranch to meet Michael Jackson. Riley was nervous. Jackson had already tried out a handful of people to replace legendary producer, Quincy Jones, including L.A. Reid, Babyface and Bryan Loren. None stayed on.

Jackson had high hopes, however, for Teddy Riley, whose street-inflected New Jack Swing style brilliantly fused jazz, gospel, R&B, and hip hop. Indeed, perhaps its greatest achievement was in bridging the divide between R&B and hip hop, a bridge, incidentally, that Jackson had been hoping to find since working on Bad.

Jackson listened carefully to the tapes Riley brought with him and instantly loved what he heard. The tracks used different chords than he was accustomed to. The rhythms were fresh and edgy. The beats swung with velocity and hit like sledgehammers.

Among several tracks Jackson listened to that day was the groove Riley worked on the night of the party. Jackson had no idea about the context. "He knew nothing about it," Riley says. "I never told him anything about it."

A couple of weeks later, however, Riley says he was shocked to learn Jackson's title for the track: "Blood on the Dance Floor." Riley got goose bumps. "It was like he prophesied that record. He felt its mood."

Over the subsequent months, Jackson and Riley began working feverishly on a variety of tracks, sometimes separately, sometimes together at Larabee Studios in Los Angeles. "I remember he came back with this melody, 'Blood on the dance floor, blood on the dance floor.' I was like, 'Wow!' He came up with these lyrics and harmonies. Then we just started building it up, layer by layer."

Riley used a vintage drum machine (the MPC 3000) for the beat. The snare was compressed to make it pop ("I want it dry and in your face," Jackson used to say). It was a sound they used throughout the Dangerous album. "Listen to 'Remember the Time,'" Riley says. "It's very similar."

Ultimately, however, "Blood on the Dance Floor" didn't end up making it onto Dangerous. "It wasn't quite finished," Riley says. "There were still some vocal parts missing. Michael loved the song, but he would listen to it and say, 'I like what you did here, but we still need this here.' He was a perfectionist."

As the Dangerous sessions continued, other tracks began to take priority, including "Remember the Time" and "In the Closet." Jackson wouldn't resume work on "Blood" until nearly seven years later. It was now January of 1997. Jackson was in the midst of his HIStory World Tour, and had decided to visit Montreux, Switzerland during a break between the first and second leg (according to news reports, while there he also tried to purchase the home of his longtime idol, Charlie Chaplin).

Here, at Mountain Studio, Jackson went to work on the old demo. "We took Teddy's DAT (Digital Audio Tape) and worked it over with a four-man crew," recalls musician, Brad Buxer. The completed multi-track, engineered, and mixed by Mick Guzauski, was modeled very closely on the last version Jackson and Riley recorded.

"When I heard it finished, I wished I could've been the one to [complete it]," Riley says. "But Michael knows what he wants, and he was happy with it."

It was, in some ways, an unusual dance song. Like "Billie Jean," its subject matter was dark and disturbing (in this case, a narrative about being stabbed in the back in the place he least suspected--the dance floor). Jackson's clipped, raspy vocals evoke a sense of foreboding, as the electro-industrial canvas conjures a modern urban setting. Still, the song feels anything but bleak. The beat cracks out of the speakers like a whip and the hook is irresistible.

Jackson told Riley he believed the song was going to be a "smash." "He explained it like this: A hit is a song that stays on the charts for a week or two. A smash is a song that stays up there for six weeks," Riley says. "He felt 'Blood on the Dance Floor' was a 'smash.'"

"Blood on the Dance Floor" was released on March 21, 1997. Strangely, the song wasn't even promoted as a single in the U.S. Riley says Jackson didn't mind in this case. "He figured people in America would find it if they really wanted it. He wasn't worried about it." Globally, however, the song thrived, reaching the Top Ten in 15 countries and hitting No. 1 in three (including the U.K.). It also proved ripe for remixes and received frequent play in clubs and dance routines. Left off Jackson's two major studio albums that decade, "Blood" ironically became one of Jackson's most durable rhythm tracks of the '90s.

Fifteen years later, what makes the song unique? I ask Riley. "It was just a direct, aggressive sound for Michael. He always pushed for something stronger. But what was really amazing was how he pre-meditated the energy of the song. He knew what it was about even before I told him what happened that night. I've never witnessed anything or anyone as powerful as Michael."

http://www.theatlantic.co...er/254877/

So this basically confirms that Michael did the vocals to "Blood" in 1990... though I already knew that.

^Yeah, the song had that late 80s/early 90s sound to it.

NaughtyKitty said:

^Yeah, the song had that late 80s/early 90s sound to it.

I always thought it was funny when MJ would perform this song in like Munich, you could hear the sound of the knife hitting the wall, like he was lip synching to the music video track.

On an unrelated note found this and thought it was cute! Dates back to Thriller era. An ad from Berry to MJ.

[Edited 3/23/12 18:17pm]

NaughtyKitty said:

Michael Jackson's 'Blood on the Dance Floor,' 15 Years Later

MAR 21 2012, 2:02 PM ET 33

The strange story behind the global hit, which was released a decade and a half ago today

Epic

On June 6, 1990, producer/musician Teddy Riley was supposed to be at his friend and fellow band member's birthday party. Instead, he spent the night at a Soundworks Studio on 23rd Avenue in Queens, working on grooves for none other than the King of Pop, Michael Jackson.

"I told [the group] I had a lot of work to do," Riley recalls. "Michael was my priority. I was going out to California to meet him soon, and he wanted me to bring my best work."

It was a fortuitous decision.

Later that evening, Riley learned someone was shot on the dance floor at the party he had skipped. He was shaken. At just 23 years of age, violence and death were already becoming a recurring theme in his life. Within that same year, his half-brother and best friend both had also been murdered.

Riley was shocked to learn Jackson's title for the track: "Blood on the Dance Floor." "He knew what it was about even before I told him what happened that night."

The rhythm track Riley worked on that night was aggressive, ominous, menacing. But it had no words, no title, and no melody.

The following Saturday he was on his way to Neverland Ranch to meet Michael Jackson. Riley was nervous. Jackson had already tried out a handful of people to replace legendary producer, Quincy Jones, including L.A. Reid, Babyface and Bryan Loren. None stayed on.

Jackson had high hopes, however, for Teddy Riley, whose street-inflected New Jack Swing style brilliantly fused jazz, gospel, R&B, and hip hop. Indeed, perhaps its greatest achievement was in bridging the divide between R&B and hip hop, a bridge, incidentally, that Jackson had been hoping to find since working on Bad.

Jackson listened carefully to the tapes Riley brought with him and instantly loved what he heard. The tracks used different chords than he was accustomed to. The rhythms were fresh and edgy. The beats swung with velocity and hit like sledgehammers.

Among several tracks Jackson listened to that day was the groove Riley worked on the night of the party. Jackson had no idea about the context. "He knew nothing about it," Riley says. "I never told him anything about it."

A couple of weeks later, however, Riley says he was shocked to learn Jackson's title for the track: "Blood on the Dance Floor." Riley got goose bumps. "It was like he prophesied that record. He felt its mood."

Over the subsequent months, Jackson and Riley began working feverishly on a variety of tracks, sometimes separately, sometimes together at Larabee Studios in Los Angeles. "I remember he came back with this melody, 'Blood on the dance floor, blood on the dance floor.' I was like, 'Wow!' He came up with these lyrics and harmonies. Then we just started building it up, layer by layer."

Riley used a vintage drum machine (the MPC 3000) for the beat. The snare was compressed to make it pop ("I want it dry and in your face," Jackson used to say). It was a sound they used throughout the Dangerous album. "Listen to 'Remember the Time,'" Riley says. "It's very similar."

Ultimately, however, "Blood on the Dance Floor" didn't end up making it onto Dangerous. "It wasn't quite finished," Riley says. "There were still some vocal parts missing. Michael loved the song, but he would listen to it and say, 'I like what you did here, but we still need this here.' He was a perfectionist."

As the Dangerous sessions continued, other tracks began to take priority, including "Remember the Time" and "In the Closet." Jackson wouldn't resume work on "Blood" until nearly seven years later. It was now January of 1997. Jackson was in the midst of his HIStory World Tour, and had decided to visit Montreux, Switzerland during a break between the first and second leg (according to news reports, while there he also tried to purchase the home of his longtime idol, Charlie Chaplin).

Here, at Mountain Studio, Jackson went to work on the old demo. "We took Teddy's DAT (Digital Audio Tape) and worked it over with a four-man crew," recalls musician, Brad Buxer. The completed multi-track, engineered, and mixed by Mick Guzauski, was modeled very closely on the last version Jackson and Riley recorded.

"When I heard it finished, I wished I could've been the one to [complete it]," Riley says. "But Michael knows what he wants, and he was happy with it."

It was, in some ways, an unusual dance song. Like "Billie Jean," its subject matter was dark and disturbing (in this case, a narrative about being stabbed in the back in the place he least suspected--the dance floor). Jackson's clipped, raspy vocals evoke a sense of foreboding, as the electro-industrial canvas conjures a modern urban setting. Still, the song feels anything but bleak. The beat cracks out of the speakers like a whip and the hook is irresistible.

Jackson told Riley he believed the song was going to be a "smash." "He explained it like this: A hit is a song that stays on the charts for a week or two. A smash is a song that stays up there for six weeks," Riley says. "He felt 'Blood on the Dance Floor' was a 'smash.'"

"Blood on the Dance Floor" was released on March 21, 1997. Strangely, the song wasn't even promoted as a single in the U.S. Riley says Jackson didn't mind in this case. "He figured people in America would find it if they really wanted it. He wasn't worried about it." Globally, however, the song thrived, reaching the Top Ten in 15 countries and hitting No. 1 in three (including the U.K.). It also proved ripe for remixes and received frequent play in clubs and dance routines. Left off Jackson's two major studio albums that decade, "Blood" ironically became one of Jackson's most durable rhythm tracks of the '90s.

Fifteen years later, what makes the song unique? I ask Riley. "It was just a direct, aggressive sound for Michael. He always pushed for something stronger. But what was really amazing was how he pre-meditated the energy of the song. He knew what it was about even before I told him what happened that night. I've never witnessed anything or anyone as powerful as Michael."

http://www.theatlantic.co...er/254877/

Wow... good read

I love hearing about the creative process.

[Edited 3/23/12 19:48pm]

I think bboy or someone said Michael didn't let "Blood" on the album because:

1.) it wasn't finished (as Teddy confirmed)

2.) it probably didn't fit the album's direction

Is anyone else amazed as I am with how he knew nothing about the shooting incident and still picked up on it when writing the lyrics in the final version?

Timmy84 said:

I think bboy or someone said Michael didn't let "Blood" on the album because:

1.) it wasn't finished (as Teddy confirmed)

2.) it probably didn't fit the album's direction

I think in the end, it was the right decision. "Blood On The Dancefloor" didn't fit with the album. Anyway, this was an interesting read. I really love reading about Michael's creative process when it comes to his music.

Swa said:

Michael Jackson’s The Immortal Show Dethrones Jay-Z and Kanye West As Top Concert

Jay-Z and Kanye West’s ‘Watch The Throne’ tour took second place to Michael Jackson’s The Immortal Cirque du Soleil show on the top concerts list.

2011 was definitely the year of The Throne. When Jay-Z and Kanye West announced a collaboration album dubbed ‘Watch The Throne,’ we already knew to expect an incredible project. The album was held in high regard for many throughout the hip hop community, but what was more impressive was The Throne’s tour.

Anyone that attended the performance knows that there was absolutely nothing like it, and although the ‘N*ggas in Paris’ music video took actual footage from their show, if you weren’t there, you just can’t understand the energy these two possess on the stage together.

With a tour so spectacular though, the hip hop duo only managed to pull in the number 2 spot with an impressive $1,902,032. This number averages out to each fan spending around $113 per ticket.

It comes as no surprise that the only artist great enough to dethrone Jay-Z and Kanye West would be Michael Jackson himself.

‘Michael Jackson: The Immortal’ was a Cirque du Soleil show that pulled in the number 1 spot, thanks to a mind boggling $2,2362,502 in revenue being generated over the past three months in ticket sales. Even after death, Michael Jackson still has such a strong presence in pop culture, and many would say that he simply is pop culture.

Awesome news! Michael still reigns even in the after life. Love it.

Can't wait to see the show!

I wonder if BOTDF could have replaced Can't Let Her Get Away too, but then again it fit perfectly with the theme of the other songs on the album.

alphastreet said:

Is anyone else amazed as I am with how he knew nothing about the shooting incident and still picked up on it when writing the lyrics in the final version?

Sometime you can just feel the music. It has those deep chords, very eerie like.

alphastreet said:

I wonder if BOTDF could have replaced Can't Let Her Get Away too, but then again it fit perfectly with the theme of the other songs on the album.

Ohhh, I'm glad it didn't; I love CLHGA

Editing to add that...on a random side-note, there's some...interesting...MJ fan-art out there...

NSFW-Discretion Advised, Adult Content :

http://www.flickr.com/pho...016848515/

[Edited 3/26/12 3:24am]

Alright guys! Vote for the MJ fan base. These other fanbases ain't got shit on us...

Proud Moonwalker for life!

http://www.nme.com/ratemy/263476/whats-the-ultimate-fanbase

While I do feel that MJ's fan base is huge but as far as hardcore fans go, Gaga wins.

aardvark15 said:

While I do feel that MJ's fan base is huge but as far as psychotic fans go, Gaga wins.

Fixed it for you.