Presseschnipsel und andere kleine Infos zu Michael - Teil II

Oh man, ich krieg echt nix mehr mit

Zitat von KingOfPop

Oh man, ich krieg echt nix mehr mit

was biste auch nicht jeden tag 24/7 hier? heee?
sooo geht das net

Ich gelobe Besserung!

Zitat von KingOfPop

Ich gelobe Besserung!

so is fein

..ach Michael

Auszug aus der Aussage von Cherlyn Lee im Jackson./.AEG Prozess:

>>Lees Aussage beendete die 18. Woche des Prozesses, der bis in den September hinein weitergehen wird.

Sie hatte glühende Worte für Jackson, der am Donnerstag 55 geworden wäre. "Ich habe wirklich nie jemanden getroffen, der sich so kümmerte und so viel gab", sagte sie.
"Nach seinem Tod kam eine junge Frau bei einer Veranstaltung auf mich zu und begann zu weinen", sagte Lee. "Sie sagte, 'Ich wäre heute nicht hier, wäre Michael nicht zum Krankenhaus gekommen, er bezahlte für meine Hirn-OP und er wollte nicht, dass das jemand weiß.'"
Obwohl sie als Zeugin für AEG Live vorgeladen worden war, attackierte Lee die Behauptung der AEG-Anwälte, dass Jackson für Drogen Doctor-Shopping betrieb [neudeutsch Ärzte-Hopping, d.h. jemand wandert von einem Arzt zum anderen, bis er das Gewünschte bekommt]. "Alles, was er tat, war, nach dem besten Arzt zu suchen, der ihm wegen seiner Schlaflosigkeit helfen konnte", sagte Lee. "Es bricht mir das Herz, dass man Menschen als doctor-shopping bezeichnet, wenn sie im Grunde nur versuchen, den besten Arzt zu finden, der ihnen die beste Behandlung zukommen lässt."<<

>>Lee's testimony concluded the 18th week of the wrongful death trial, which will continue into September.
She had glowing words for Jackson, who would have turned 55 on Thursday. "I haven't really met anyone who was so caring and so giving," she said.
"After his passing, a young lady walked up to me at an event and she just stared crying," Lee said. "She said, 'I wouldn't be here today if Michael hadn't come to the hospital and paid for my brain surgeries and he didn't want anyone to know.'"
Although called as a witness by AEG Live, Lee attacked their lawyers' contention that Jackson was "doctor shopping" for drugs. "All he was doing was looking for the best doctor to help with his insomnia," Lee said. "It just breaks my heart for people to label someone as doctor shopping when they're only trying to find the best doctor to give them the best care."<<http://edition.cnn.com/2013/08/29/showbi…rial/index.html

..im Rahmen der ARTE "Summer Of Soul"-Reihe im Juni/Juli 2013:

..Beitrag auf Bayern2...:top

http://www.br.de/radio/bayern2…-michael-jackson-100.html

:wow..:wau...:inlove :umfall..wat süüüß...Michaels giggling..*schmelz*

[ame]

..wo hatten wir das bloss schonmal...???..die kurzen snippets...mein ich..

@ItsBlackItsWite 18m

Great T Mezz interview including video of SBSD at Neverland https://t.co/Enf79GSXkM


[ame='https://www.youtube.com/watch?v=7UIg6yB8bCw']Tom Mesereau is back on King Jordan! Talking Wade Robson, Tom Sneddon, Dr. Murray and Debbie Rowe! - YouTube[/ame]

..weitere rare snippets behind the scene Black or White..:top

[ame]

[ame]

Around six minutes of unreleased footage of Michael Jackson and The Jacksons performing during their legendary Victory Tour has leaked online.

The footage, uploaded to YouTube by a fan, showcases The Jacksons’ performing one of three shows at the Canadian National Exhibition Stadium in Toronto in early October, 1984.

The Victory tour, which consisted of 55 concerts across the U.S and Canada between July and December 1984, is one of the most highly sought-after items in the Jackson fan community. There are several low quality copies of different shows available on YouTube, however to date there has been no official release of the Victory Tour on any format.

The recently leaked footage, seen below, seems to be of a very high quality and is professionally edited

http://www.damienshields.com/u…our-footage-leaks-online/

^:wau..WO und WANN gibts DIESE DVD..?:panik

...Jeff Koons hat mal wieder was "gebastelt":

Celebrating a Legend | The Michael Jackson Bejeweled Statue

http://stupiddope.com/2013/08/…jackson-bejeweled-statue/

The King of Pop’s birthday was commemorated in style yesterday. From video marathons to hour long radio mix tributes and even a themed tribute party at Le Poisson Rouge Friday night in New York City, Michael Jackson’s birthday was celebrated in grand splendor.

While his memories and hits are plentiful, the King of Pop has so many items to be remembered by. From his famed property on Neverland Ranch, to the sparkly glove he wore, and red leather “Beat It” jacket, the list is almost endless. Another item has been added to the list. A specially designed statue of the King striking one of his legendary dance poses has been released just in time to add to the celebration. The artist, Jeff Koons, is known for other Michael Jackson pieces including a $10 million gold piece. This statue is designed with white and yellow gold and sits on a black jade base. The statue is adorned with 505 diamonds and 45 pieces of sapphire which gives the statue a weight of 395 grams. This collectible is available via Bon-Cadeau, a Russian boutique. The cost? A whopping $380,000.

Ein wenig off topic, aber da wir hier gerade bei "nicht Michael Songs" sind:

Auf der Suche nach Infos zu James Porte bin ich irgendwie über den folgenden Youtube Link gestolpert.... hat (vermutlich) nichts mit Porte zu tun und ist auch 1000%ig nicht Michael - aber ich find den Song dennoch gut (irgendwie ein Ohrwurm) und wenn er ihn gesungen hätte wäre er großartig geworden:

[ame='http://www.youtube.com/watch?v=HAKpPRV6EGw#t=212']Michael Jackson - New Song 2010 - YouTube[/ame]

Four Years After Death 'Michael Jackson One' Shows Why Artist's Legacy Is Flourishing
Joe VogelAuthor and Freelance Journalist

Michael Jackson would have turned 55 last week. Wherever he is, he must be pleased to see a statement he made to Ebony in his final interview come to fruition: "You want what you create to live," he said. "Be it sculpting, painting, music, composition. That is why to escape death I attempt to bind my soul to my work."

Four years after his unexpected death, Jackson's words could hardly be more prescient. His artistic legacy is flourishing. The salacious details of a lengthy, ongoing wrongful-death trial have hardly made a scratch on public opinion (indeed, those who have followed it closely seem to find him more sympathetic and human than he ever was during the final decades of his life). Meanwhile, a new generation of Jackson fans -- added to the considerable global fanbase that grew up with the pop star -- have made him the most influential deceased artist of the 21st century.

Don't believe it? Consider the evidence: Jackson still remains the biggest-selling artist on iTunes; contemporary pop is a virtual homage to the Original Thriller (see Daft Punk, Justin Timberlake, Robin Thicke, Bruno Mars and Jay Z, the latter of which name-checks the King of Pop multiple times on his latest album, Magna Carta, Holy Grail); in 2012, Cirque du Soleil's "Michael Jackson Immortal World Tour" out-grossed the world tours of Lady Gaga, Coldplay and Kanye West, recently surpassing $270 million dollars in global revenues; a critically acclaimed documentary celebrating the 25th anniversary of Jackson's Bad album, directed by Spike Lee, premiered to a standing ovation at the Cannes Film Festival, before airing on ABC in primetime on Thanksgiving night; meanwhile, Jackson is drawing increased attention from scholars and academics, including several new essay collections and a recent course at Duke University by Dr. Mark Anthony Neal entitled "Michael Jackson and the Black Performance Tradition."

Add to this list Cirque du Soleil's remarkable new residency show at Mandalay Bay in Las Vegas, "Michael Jackson ONE." In a special birthday performance on Thursday, August 29th, the achievements previously catalogued were made concrete. Far from the typically superficial sensory onslaught one finds in Vegas, "Michael Jackson ONE" offers a socially conscious, soulful, invigorating experience. By the end of the show, the sold-out crowd -- cross-generational and diverse -- was not only standing and clapping, they were dancing in the aisles.

"Michael Jackson ONE" follows Cirque's record-setting "Michael Jackson Immortal World Tour," which is currently visiting stadiums throughout Asia, before traveling to Australia, New Zealand and eventually South Africa and South America.

Where the "Michael Jackson Immortal World Tour" offered a raucous, exhilarating, if occasionally uneven and unsubtle tribute to the King of Pop, "Michael Jackson ONE" (also written and directed by Jamie King, this time in coordination with Montreal native Welby Altidor) feels like a second draft. The result is a richer, more focused, and evocative show.

A collaboration between Cirque and the Michael Jackson Estate, "Michael Jackson ONE" benefits in numerous ways from its permanent setting in Mandalay Bay's fully-refurbished, state-of-the-art theater (which previously housed "The Lion King"). The audience is literally enveloped by screens and sound, lights and acrobats. The elaborate, baroque-style set was designed by François Séguin and draws inspiration from the cover of Jackson's Dangerous album, "Leave Me Alone" video, and Neverland Ranch. These allusions appropriately highlight both the circus-like elements of Jackson's life in the public spotlight as well as the eccentric spirit that embraced what Mikhail Bakhtin described as the "carnivalesque" -- a communal creativity that dissolves hierarchies of race, gender, class and nation.

Indeed, part of what makes the show so effective is the tension it allows to develop between the parasitic and the dialogic. The show's antagonistic presence is the faceless and amoral Mephisto, a techno-media-amalgam -- composed of TVs, cameras, microphones, surveillance equipment, and probing tentacles -- that brings freshly updated dimensions to Faust's soul-seducing Mephistopheles. Mephisto not only represents the perilous industry Jackson confronted as a star since the age of nine, but the Information Age-apparatuses of power and exploitation that threaten to consume us all.

Yet this is hardly a simplistic retreat into Luddite romanticism. Jackson, after all, fully embraced new media and technology in his own work, revolutionizing the use of studio technology and the medium of the short film. Cirque's show appropriately follows suit. The first thing one notices walking in the theater is the presence of massive audiovisual walls on the stage and to the sides of the theater that project images of Jackson's iconic videos throughout the show.

The sonic experience is similarly breathtaking. Jackson's multi-tracks are masterfully arranged by musical director Kevin Antunes, who alternately pares down production to isolate elements of a song, fuses related tracks, and adds slight variations, dramatic pauses and interaction with the live performers, to give the music a freshness and vitality. It doesn't hurt, of course, that sound designer Jonathan Deans allows us to hear all of this through over 5,500 speakers, strategically positioned on all sides of the audience, including on the backs of seats, to maximize the sonic effect. When the bass line hits on "Billie Jean" you don't just hear it, you feel it.

The cutting-edge technology, however, rarely overwhelms the content. In one of the most moving moments, a ten-year-old Jackson sings "I'll Be There" from the pages of a photo book with no bells and whistles. Hearing the piercing purity of his voice in such clarity, accompanied by 1970s Soul Power-era images of young Michael and the Jackson 5, not only reminds of his transcendent talent, but of his cultural import as perhaps the most famous black boy to grow up in front of America's collective eyes.

In many ways, traveling through Jackson's catalog in the show is like traveling through social history. In "Bad" we find ourselves in a 1980s graffitized urban subway station, with imaging that reminds of the ravaging of cities in the Reagan era as well as the birth of hip hop. In the politically charged 1990s-era street anthem, "They Don't Care About Us," a montage of disturbing images --Ku Klux Klan rallies, the Rodney King beating, victims of AIDS, poverty and war, and environmental destruction--accompanies Jackson's fierce lyrical missive on behalf of the oppressed. Seeing an image of Martin Luther King, Jr., who gave his "I Have a Dream Speech" when Jackson was just five years old, as we hear the line, "If Martin Luther was living, he would not let this be!"--was a particularly poignant moment, especially coming just a day after the fifty-year anniversary of the March on Washington.

The show did contain a few missed opportunities. Perhaps the weakest number was "Wanna Be Startin' Somethin.'" One of the strongest acts in "Immortal" (which captured all of the song's frenetic, tribal, transnational energy), it is reduced in "ONE" to a rather mundane hat-juggling act. Another omission came in the otherwise fantastic "Billie Jean." Where other songs with iconic imagery--"Thriller," "Bad"--featured images of Jackson in the expected context, "Billie Jean" uses extensive video footage of Jackson in the 90s, rather than in the defining moment of his career: his performance of "Billie Jean" for Motown 25 in 1983.

But these are minor qualms for a show that succeeds rather miraculously in not simply showcasing, but immersing the audience in the genius, depth and breadth of Jackson's artistry. Brilliant touches abound, from the Chaplin-inflected homages in "Smile" and "Workin' Day and Night" to the phenomenal acrobatics and choreography of "Smooth Criminal" and "Thriller."

In one of several goosebumps moments, snowflakes fall down on the audience as Jackson delivers the haunting lyrics to "Stranger in Moscow," accompanied by an African moon goddess. On the screen, apparitional images appear of Katherine Jackson, Diana Ross, Elizabeth Taylor, and finally Jackson himself, exclaiming out of the void, "I'm livin' lonely! I'm livin' lonely, baby!"

The show climaxes with Jackson appearing as an uncannily lifelike illusion/hologram on stage, empowering the "four misfits" who have sought him throughout the show in a sublime rendition of "Man in the Mirror." To this point, Jackson has appeared in video fragments, songs, whispers, laughs, silhouettes, dance moves, but he is finally "revealed," significantly, in a song that encourages the characters (and by extension, the audience) to discover their own meaning in Michael's creative life and work.

In the end, then, the medium is not the message, as Marshall McLuhan would have it. The artist is the message. It is the qualities that Jackson represents in the show--compassion, sensitivity to the vulnerable, social justice and equality--that battle against the mercenary machinery of Mephisto.

Not the trivial message one expects to find at a show in Las Vegas, or in contemporary pop music for that matter. But then, this was Jackson's expressed plan to "escape death" all along--it was no mere Siegfried and Roy magic trick; it was to make art that mattered, that spoke to people, that carried in it his "soul" long after he passed on.

"Michael Jackson ONE" offers the latest proof that in spite of ongoing attempts to reduce him to a tabloid caricature, the King of Pop beats on against the current in the vitality of his work.

http://www.huffingtonpost.com/…ackson-one_b_3853407.html

Zitat

(videoclip) ...entfernter post?

Ist ein Sänger namens Tom Fox.

Brad Sundburg über Neverland und Michael Jackson:
("A Place in Your Heart," September 2, 2013)

Michael Jackson baute Neverland wirklich für Kinder, die Kinder der Welt. Leider ist es nur nicht möglich, dass alle Kinder der Welt Neverland erleben konnten, aber ich möchte sagen – und das ist etwas, was ich mit großer Leidenschaft tue – denn ich habe es mit eigenen Augen gesehen-, wenn Michael Kinder dort hatte, kranke Kinder, Kinder von Make A Wish, sprach Neverland für sich selbst, weil es so ein erstaunlicher Ort war, aber zusätzlich gab Michael noch seine Zeit, er war dort und machte eine Führung. Er fuhr das Golf Cart und erzählte den Kindern Witze. Er war mitten drin beim Wasserballon-Kampf. Er war mit auf den Karussells, sagte dem Bediener, er solle es schneller und schneller laufen lassen. Es ist eine Sache, etwas zu bauen und dann zu sagen: „Ok, kommt alle her und geniesst es. Ich bin zu beschäftigt.“ Und es ist eine andere Sache, die Ärmel hoch zu krempeln, und bei allem mit dabei zu sein, und das ist, was ich sah.

„Also, ich war dort, und ich habe 4 Töchter, 4 wunderbare, gesunde Töchter. Ich kann mir nicht das Leid vorstellen, was Eltern spüren, wenn ihr Kind krank ist und es nichts gibt, was daran noch etwas ändern könnte. Aber Michael...ich weiß nicht, wie ich es sagen soll, es ist ein schwieriges Thema. Es ist so leicht für uns, uns zurückzulehnen und zu denken: „ja, zu traurig, da sind kranke Kinder im Krankenhaus aber ich bin hier und kümmere mich um meine Sachen.“ - Aber Michael ging zu diesen Kindern hin. Michael öffnete sein Zuhause und es war herzerweichend, ich sah kleine Mädchen und kleine Jungs in Rollstühlen, die von ihren Eltern oder von Michael in die Karussells gehoben wurden. Er hatte ein Karussell - Michael hatte eine Kutsche in ein Karussell einbauen lassen, für Kinder, die nicht kräftig genug waren, um auf einem Pferd oder einem der anderen Tiere zu sitzen, du konntest sie auf eine Bank setzen und sie konnten damit fahren, und es war nicht so schwer, wie wenn man sich auf einem Pferd festhalten muss. Das sind diese Dinge... das ist das wirkliche Leben. Das kleine Mädchen, was am Karussell vor mir sitzt, wird in 3 oder 4 Wochen wahrscheinlich nicht mehr bei uns sein und das ist ihr letzter Wunsch – auf Neverland bei Michael zu sein.
Das ist eine (emotionale..)Last, die man mit sich trägt und das sind diese Dinge --- und ich arbeitete mit vielen Leuten zusammen, die viel Geld gemacht haben und es verpulvern, es für Parties verpulvern – Neverland so zu erleben, wozu es wirklich geschaffen war und seinen Traum lebendig werden zu sehen und zu sehen, welchen Einfluß es auf Kinder und Familien hatte... Ich werde immer den größten Respekt für Michael haben und ich bin sehr stolz, Teil des Teams gewesen zu sein, das Neverland Wirklichkeit werden lies. Es war wie kein anderer Ort auf der Erde.

"[Michael Jackson] really did build [Neverland] for kids, the children of the world. There’s just no way that all the children of the world could experience Neverland but I will say -- and this is something that I get very almost passionate about -- ... I have seen it first hand. If Michael did have kids there, you know sick kids, Make a Wish kids, Neverland stood on its own two feet in terms of this is an amazing place, but on top of that Michael gave his time and he would be out there giving the tour. He’d be driving the golf cart and telling jokes with the kids. He would be in the middle of the water balloon fight. He would be on the rides, you know, telling the operator to go faster, faster.... It’s one thing to build something and then say 'okay, everyone come enjoy it, I’m too busy,' but it’s another thing to roll up your sleeves and be out there in the midst of it and that’s really what I saw.

"I mean I would be there and, you know, I have four daughters so I have four beautiful, healthy awesome daughters. I can’t imagine the pain that a parent must feel when their child is sick and there’s nothing that anybody can do about it. But Michael and, how do I put this, that’s a difficult place to go. It’s easy for us to pull back and 'yeah, that’s too bad there’s sick kids in the hospital and I’m going to be over here doing my thing,' but Michael would go to those kids. Michael would open up his home and I would just be heartbroken; I mean I would see little girls and little boys in wheel chairs being lifted onto rides by their parents or by Michael. He had a carousel -- Michael had a chariot built into the carousel for kids that weren’t strong enough to sit on a horse or on one of the animals, so you could just put them on a bench and they could be on the ride but not quite as vigorous as having to hold onto a horse. That’s the stuff ... that’s real, that’s real life. That little girl that’s on this ride in front of me is probably not going to be with us in three or four weeks and this is her final wish -- to be at Neverland with Michael.

That’s a lot of weight to carry around and that’s the kind of stuff that -- and I’ve worked with plenty of people that have made a lot of money blowing it up their nose, blowing it on parties -- ... to experience Neverland for what it really was and see his dream come to life and to see the impact that it had on kids and on families.... I will always have an enormous and most respect for [Michael] and I’m extremely proud to be part of the team that helped bring [Neverland] to reality. It was like no place else on earth."

Source: Marcela Torres, Michael Jackson Fans of Southern California, "A Place in Your Heart," September 2, 2013

...MJs Facebook-Page gehört weiterhin zu den 25 beliebtesten Pages der Welt. Allein im September 2013 erhielt sie 72000 weitere "likes" und nimmt derzeit Rang 11 ein mit 63 Mio. Followern ein:

Andere Künstler-Seiten im Vergleich:
Lady Gaga 59 millió
Justin Bieber 57 millió
Beyoncé 50 millió
Adele 48 millió
Taylor Swift 47 millió
Bruno Mars 40 millió
Beatles 36 millió
Metallica 32 millió
Britney Spears 30 millió
Justin Timberlake 26 millió
AC/DC 26 millió
Pink Floyd 25 millió
Guns N’ Roses 24 millió
Red Hot Chilli Peppers 24 millió
Bon Jovi 23 millió
Nirvana 23 millió
Queen 22 millió
Jay-Z 18 millió
Rolling Stones 15 millió
U2 15 millió
Madonna 13 millió
Celine Dion 13 millió
Mariah Carey 13 millió
2 Pac 11 millió
Led Zeppelin 10 millió
Elvis Presley 9 millió
Backstreet Boys 9 millió

MJ Still Rules Social Media

Philadelphia, Pa (WOGL) – Michael Jackson’s Facebook page ranked in the top pages followed last month…four years after his death.

InsideFacebook reported that MJ’s fan page received over 72,000 likes a day in the month of September, putting the page at No.11 on the 25 Most Liked Facebook Pages.

Ahead of MJ on the list is The Simpsons, Coca Cola, Rihanna, and Eminem. Facebook for Every Phone took the No.1 spot, followed by Facebook at No.2 and Youtube failing in at No.3
Vor MJ in der Liste The Simpsons, Coca Cola, Rihanna und Emimem. Facebook für jedes Phone belegt Platz 1, gefolgt von Facebook und Youtoube.

MJ still holds the title for the King of Pop and, as the most influential person in Pop music history, it’s no surprise that he is social media royalty as well.

http://wogl.cbslocal.com/2013/09/04/...ond-the-grave/

Da ist bestimmt ein Fehler unterlaufen

Oder wieso ist Justin Bieber in der Liste drin

es liegt wahrscheinlich daran das viele kleine mädels facebook nutzen!

Former THRILLER LIVE lead singer Denise Pearson has released a new music video for her song Freak Dance. Choreographed by Thriller Live Director Gary Lloyd, it features a number of dancers from the hit show and also pays tribute to Michael Jackson in one scene. See if you can spot where...

[ame='http://www.youtube.com/watch?v=WjWmQ19qN1Q']