Kleinigkeiten Rund um Michael Jackson

    krass.... war ja klar , dass sowas rauskommen wird ! verdammten geldgeier !!
    alles der selbe dreck !

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    Zitat von Fatih

    krass.... war ja klar , dass sowas rauskommen wird ! verdammten geldgeier !!
    alles der selbe dreck !


    Dann habe ich es also doch richtig verstanden :tatort


    Sie bedauern es, dass sie Michael für "nicht schuldig" erklärt haben :peng :dong :schlagen


    Und jetzt wollen sie ein Buch herausbringen, die die Wahrheit erzählt :bla
    Und sogar einen Film :hm :schlagen :dong :peng


    SCHWACH :negativ


    SIE WERDEN IN DER HÖLLE SCHMOREN :dead :devil :voodoo :freddy :geist :horror



    2 Jahre später fällt es ihnen auf :spinnen :spinnen :spinnen


    Denen ist wohl das Geld ausgegangen :negativ


    Was wollen die denn da für ne Wahrheit schreiben im Buch? Die unwahre Wahrheit oda wie? Die Wahrheit ist, dass Mike absolut keine Kinder sexuell belästigt hat! :grr


    Man solche Hirnies ey!... :grr :grr :grr


    Geht das jetzt schon wieder los mit den Juroren? Von wann ist denn der Artikel? :?

    [CENTER][SIGPIC][/SIGPIC][/CENTER][CENTER]"Mein Herz...mein Verstand...sind gebrochen. Ich liebte Michael mit meiner ganzen Seele und ich kann mir kein Leben ohne ihn vorstellen. Ich glaube nicht, dass jemand wusste, wie sehr wir einander liebten. Oh Gott, ich werde ihn so vermissen!" Elizabeth Taylor[/CENTER]

    dürfte auch - selbst wenn der scheiss erscheinen sollte - kaum noch allzu grossen absatz finden.
    und die paar idioten, die diesen scheiss kaufen WÜRDEN, glauben sowieso nicht an michaels unschuld.
    so what?!? nix zum uffrege.. :P

    Ja klar! zb. Rihanna hat den Backgroun von "wanna be startin´somethin´" geklaut und für einen song verwendet! Justin Timberlake ist da auch so einer...Mamma Mia!!!!!!!

    Zitat von Bianconero

    Ja klar! zb. Rihanna hat den Backgroun von "wanna be startin´somethin´" geklaut und für einen song verwendet! Justin Timberlake ist da auch so einer...Mamma Mia!!!!!!!


    nix geklaut min jung :top dad lief alles korrekt ab :)

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    Babyface-Interview:


    AHHA: Has there been any person in your career that you really wanted to work with, that you still have not gotten a chance to work with?


    Babyface: Well there’s artists I wanna work with, but there isn’t anyone at the top of my list from the get go. I’ve been fortunate enough to work with those people from Stevie Wonder and Michael Jackson to even all those that didn’t come out. I did a tribute to a Beatles record where I had the chance to work with Paul McCartney. So that was amazing there. I think for me, as I get older and start listening to other things that influence me - Paul Simon would be great. Artists that are forever cool because of their history, just to be able to put it down, write it in the books.


    I’ll never be able to get to the level that Quincy Jones was with all of the artists that he worked with. He worked with Frank Sinatra, Ella Fitzgerald, Miles Davis. You can’t beat that, can’t even come close to it. Quincy will always go down as the greatest producer of all time. It’s a long space and it will always be a long space between Quincy being the top and anyone else in my opinion because he not only worked with them but he did great projects and music with them. You have to think Quincy wrote that song “It’s My Party” [sings] “It’s my party and I’ll cry if I want to” - Quincy’s been doing different things forever and producing different things. He wrote the theme for Austin Powers years ago. I don’t think we can ever show enough respect in just being in awe of Quincy Jones as a producer. When we’re talking producers people have the tendency to forget because they think of Back on the Block. No it’s so much more than that, besides the movies and TV shows he’s had the most amazing career.


    AllHipHop.com: The Artful Dodgers

    http://axecollectorblog.blogspot.com/2007/...th-badness.html


    My Brush With Badness


    Sunday, October 07, 2007


    A few weeks ago, I was at a staff meeting for new employees where everyone in the room was asked to mention one interesting thing about themselves that nobody else would know. I waited patiently 'til my turn came around, and then calmly explained how Michael Jackson once sent me to J.C. Penney to buy him underwear.




    Since I have told my friends this story countless times, I was a little surprised by the strong reaction people had to my off-the-cuff comment. I guess I shouldn't have been. Like him or not, there is no denying that Michael Jackson is still a force of nature. Even my 5th graders are aware of him, and they were all of three years old when his last record came out! So to set the record straight, here is the account of my years with the so-called King of Pop.


    Back in 1989, I was a fresh-faced college grad in Los Angeles searching for my first job. Since I was one of the six people that year who actually went to college just to learn how to work in a recording studio, I had no problem landing a position at one of the major studios in Hollywood. Of course, even with an expensive college degree, you couldn't just expect to start off working with bands inside the building, because that required actual EXPERIENCE, which of course was what everyone else was out getting while I was pursuing my worthless degree.


    Instead, they stuck me out in the parking shack across the street for two months. Strangely enough, I had some experience in this area, as I had spent the summer working as a valet in a garage near Fenway Park.




    Parking cars for rock stars certainly had its moments. Iggy Pop once drove up in a Hyundai with no windshield. Either Milli or Vanilli tipped me a dollar for parking their Jeep. The Beastie Boys all sped off laughing one day in their rented Escort, and then drove straight up to Mulholland Drive and pushed it over the cliff. And once a week during lunch, David Crosby handed me a twenty-dollar bill to take his brand-new BMW 750 to the car wash, which really only set me back like three bucks. Once when I brought it back to him, he handed me another twenty for a tip.


    Nevertheless, a promotion was inevitable, and in the winter of '89. I was promoted to the midnight to eight janitorial position. At least I was happy to be inside the building, as it was getting cold in the unheated parking shack. But I knew absolutely nothing about cleaning toilets and mopping floors, as evidenced by the huge cloud of noxious smoke that spewed from the cleaning bucket on my first night when I mixed the bleach and ammonia together.


    Washing David Crosby's car for twenty bucks was one thing. But cleaning the studio bathroom after David Crosby had been in there for twenty minutes was a different deal entirely. For starters, I was supposed to stay awake all night, but after six hours of cleaning the entire building, this was easier said then done. Finally, one morning as I was leaving, the studio manager asked me to take two small brass elephant bookends home and polish them up before my next shift. I spent the day looking for another job instead, and found one right away at a studio down the street on Sunset Blvd.




    At my new job, I was hired on as a "runner," which meant I got to run errands all over LA in my trusty '84 VW Rabbit. A couple months later, they moved me out to a studio in the San Fernando Valley for a "special" project.


    This project would eventually become Michael Jackson's "Dangerous" album. When I started, Michael was working with three different groups of producers, who were all trying to take the place of Quincy Jones, who had not been chosen to work on this project. I think Michael wanted to go out on his own for this one, but the problem was that he had no idea what he wanted! One day, Slash from Guns N' Roses would be recording a searing guitar solo, while the next day, a chorus of thirty children would be singing a nursery rhyme or something.


    Michael didn't say much to me at first, until one day he ran in screaming that there was a "vagabond" sitting in the alley behind the studio. I took a look, expecting Charlie Chaplin to pop out or something, but there was just some homeless guy sipping malt liquor out of a bag on the back steps.


    Eventually, Michael warmed up to me, and even started talking to me once in a while if he was in the mood. Once, he asked if I was going to have to go fight in the (Gulf) war. I told him I was probably too old to be drafted, and he responded by saying that he was relieved, because "if you went to the war, you could die."


    He also started sending me out on errands, like going out with his credit card one afternoon to fill his huge Blazer up with gasoline. If I remember correctly, he had an auxiliary gas tank mounted, so he could get up to his ranch without having to get out and fill up along the way.


    I guess I should mention at this point that Michael is an awful driver. He hit everyone's car in the studio lot at least once, including mine. One time, he rear-ended a guy on the 101 freeway, and just left the scene because the guy got out of his car and started screaming at him. Eventually, he gave up and got someone to drive him in to work every day.


    Other memorable experiences include calling Tower Records (RIP) an hour before they closed, and having them shut down early so that Michael and I could go shopping. Even thought it was just up the road, I was glad to get out of MJ's car and into the safety of the store! I think he dropped about $1500 on CDs that night.


    Anyway, one day Michael shyly asked me if I could do him a special favor. I'm pretty sure this was after he stopped driving, so I guess he really didn't have any other way to get stuff during the day. Of course I agreed, which was when he told me flat-out that he had just run out of underwear.


    For pretty much the whole two years that I worked with him, Michael came in every day wearing black dress pants and a red button-down shirt. He had a whole rack of just these two items in his office, which I assume he either had cleaned and returned to him, or just threw away at the end of the day. But on this particular day, I guess he was running low on drawers.


    At first, he just said that he wanted underwear. When I asked him what kind, he just repeated "Underwear!" When I told him I wasn't his mother and didn't know what to get, he kind of laughed, and then said "Hanes thirty please." When I was almost out the door however, he came running up and yelled "make them thirty-twos, I don't want them to be too tight!" So there it is folks. The King of Pop wears tightie-whities!


    Other than that, I never saw any funny business going on for the two years I worked with him. I really enjoyed this experience, and even got my name on the CD! Michael was always polite and reserved in the studio, but he had his silly moments as well.




    He was also really concerned about doing anything that would inadvertently upset anybody around him. Even though he was spending five thousand bucks a day on studio time, Michael left me this note one day on my desk. I kept it as a souvenir, and pull it out now and then if people ever question my story. It pretty much tells you everything you need to know about him as a person and an artist.


    He's not an artist, he's a fucking work of art...



    I love you more, Mike!

    Zitat

    At first, he just said that he wanted underwear. When I asked him what kind, he just repeated "Underwear!" When I told him I wasn't his mother and didn't know what to get, he kind of laughed, and then said "Hanes thirty please." When I was almost out the door however, he came running up and yelled "make them thirty-twos, I don't want them to be too tight!" So there it is folks. The King of Pop wears tightie-whities!


    :rofl Das hört sich doch mal gut an! Make them thirty-twos! :kicher
    Kann das zufällig jemand lesen, was da auf Michaels Notiz steht?

    [CENTER][SIGPIC][/SIGPIC][/CENTER][CENTER]"Mein Herz...mein Verstand...sind gebrochen. Ich liebte Michael mit meiner ganzen Seele und ich kann mir kein Leben ohne ihn vorstellen. Ich glaube nicht, dass jemand wusste, wie sehr wir einander liebten. Oh Gott, ich werde ihn so vermissen!" Elizabeth Taylor[/CENTER]

    Zitat

    ich glaube dass das in dem fall eine andere bedeutung haben könnte.
    ink für tinte und pin kann auch stift heissen.


    hmm... :tatort fragen über fragen - was hat er sich jetzt genommen???!!!



    :D

    He's not an artist, he's a fucking work of art...



    I love you more, Mike!

    The 500 Greatest Songs Since You Were Born: Number 1


    Billie Jean !!!


    Michael Jackson, "Billy Jean"


    Once upon a time — before the courtroom dramas, the serial plastic surgeries, the nights spent in hyperbaric chambers and the play dates with Corey Feldman — Michael Jackson was just a run-of-the-mill 24-year-old musical genius, driving a burning Rolls-Royce with a melody stuck in his head.


    It was the summer of 1982. Jackson was on Los Angeles’s Ventura Freeway, commuting home after a day in the recording studio, where he and producer Quincy Jones were working on the follow-up to the singer’s smash solo debut, Off the Wall. As Jackson recalled in his 1988 autobiography, he was “so absorbed by this tune floating around in my head” that he failed to notice the smoke billowing out from the undercarriage of his luxury sedan.


    “We were getting off the freeway when a kid on a motorcycle pulls up to us and says, ‘Your car’s on fire.’ Suddenly we noticed the smoke and pulled over and the whole bottom of the Rolls-Royce was on fire. That kid probably saved our lives.” But not even that brush with death could shake Jackson’s obsession with his work in progress. “Even while we were getting help and finding an alternate way to get where we were going, I was silently composing additional material.”


    The song was perhaps the most personal Jackson had ever written, a guilt- and fear-streaked paternity drama inspired by the singer’s run-ins with delusional female fans. Jackson had been working on it for months and was certain that he had something special on his hands.


    “A musician knows hit material. Everything has to feel in place. It fulfills you and it makes you feel good,” Jackson would recollect. “That’s how I felt about ‘Billie Jean.’ I knew it was going to be big when I was writing it.”


    Jackson was right: “Billie Jean” was, to say the least, “hit material.” Released in January 1983, the song topped the Billboard Hot 100 for seven weeks, held the No. 1 spot on the R&B chart for nine, sold more than a million singles and launched pop’s biggest-ever commercial juggernaut, Thriller, which has sold upwards of 47 million copies worldwide, more than any album before or since.


    But the song’s place in history transcends mere numbers. “Billie Jean” shattered MTV’s color line and went a long way toward destroying the racial apartheid that had prevailed on commercial radio for decades. Ushering in the modern music-video era, the single also pioneered a new kind of sleek, post-soul pop music whose echoes can be heard to this day. Above all, “Billie Jean” marked a coming of age, the moment when a former kiddie singing star blossomed into a new generation’s equivalent of Elvis and the Beatles — the late 20th century’s preeminent pop icon.


    Not bad for a song that, to this day, remains one of the most sonically eccentric, psychologically fraught, downright bizarre things ever to land on Top 40 radio. Jackson’s previous solo hits had been awash in the lush sounds of disco, but “Billie Jean” was almost frighteningly stark, with a pulsing, cat-on-the-prowl bass figure, whip-crack downbeat and eerie multi-tracked vocals ricocheting in the vast spaces between keyboards and strings. Over the years, listeners have grown used to Jackson’s idiosyncratic vocal style — the falsetto whoops, “hee-hees,” James-Brown-on-helium grunts and gonzo diction (“the chair is not my son”?) — but in 1982 no one had ever heard anything quite like it, which only heightened the song’s unsettling effect, the sense that “Billie Jean” was a five-minute-long nervous breakdown, set to a beat.


    This weirdness wasn’t accidental. Bruce Swedien, Jones’s longtime studio engineer, remembers: “When we recorded ‘Billie Jean’ … Quincy told me, ‘Okay, this piece of music has to have the most unique sonic personality of anything that we have ever recorded.’ Jones had Jackson sing vocal overdubs through a six-foot-long cardboard tube, and brought in jazz saxophonist Tom Scott to play a rare instrument, the lyricon, a wind-controlled analog synthesizer whose sour, trumpet-like lines are subtly woven through the track. Bassist Louis Johnson ran through his part on every guitar he owned before Jackson settled on a Yamaha bass with an ideally thick and buzzing sound.


    Swedien, meanwhile, turned his search for the perfect beat into an arts-and-crafts project, hiring carpenters to construct a special plywood drum platform, ordering a custom-made bass drum cover, using everything from cinder blocks to specially designed isolation flaps, all to capture just the right imaging on the snare and hi-hats. “See if you can think of any other piece of music where you can hear the first three drum beats and know what the song is,” Swedien has said. “That’s what I call sonic personality.”


    A major component of that personality almost didn’t survive the final cut. “Billie Jean” opens with an unusually long bass-and-drums intro — Jackson doesn’t begin singing until the 0:29 mark—that Jones wanted to trim but Jackson vehemently insisted be kept.


    “I said, ‘Michael we’ve got to cut that intro,’” Jones recalls. “He said, ‘But that’s the jelly!’” — Jackson’s personal slang term for a funky beat is “smelly jelly” — “‘That’s what makes me want to dance.’ And when Michael Jackson tells you, ‘That’s what makes me want to dance,’ well, the rest of us just have to shut up.”


    It was Jackson’s dancing, as much as his singing, that propelled the “Billie Jean” phenomenon. On May 16, 1983, more than 50 million viewers watched Jackson debut his famous moonwalk in a mesmerizing performance on the Motown 25 television special. Then there was the “Billie Jean” video, in which Jackson slinks and whirls through a fantasy cityscape, with a sidewalk that lights up like a disco floor underfoot. MTV rarely aired videos by black performers, and when they refused to show “Billie Jean,” CBS Records president Walter Yetnikoff went ballistic. “I said to MTV, ‘I’m pulling everything we have off the air, all our product. I’m not going to give you any more videos. And I’m going to go public and fucking tell them about the fact you don’t want to play music by a black guy.’” “Billie Jean” was promptly put in heavy rotation, and neither Jackson nor MTV ever looked back.


    Those video images have lodged permanently in the cultural memory. But it’s Jackson’s songwriting that makes “Billie Jean” such a riveting psychological drama — the real thriller on his landmark album. Few songs have provided so much fodder for armchair Freudians: paranoia, sexual terror, temptation and shame mingle in lyrics that lurch from outright denials (“The kid is not my son”) to seeming admissions of guilt (“This happened much too soon/She called me to her room”). Today, “Billie Jean” seems more than anything like a parable of the twisted relations between celebrities and their fans, a theme dramatized in the video, in which Jackson is pursued by a creepy gumshoe in a trench coat. Count on the most famous man in the world — a guy who has had audiences tearing at his clothes since he was 10 years old—to deliver the great artistic statement on celebrity stalking.


    Whatever its larger autobiographical and historical significance, “Billie Jean” is first and foremost a dance track. Untold millions of radio and MTV plays have not reduced the power of a song that simply explodes out of the speakers.


    “‘Billie Jean’ is hot on every level,” says Greg Phillinganes, a legendary L.A. session musician who played keyboards on the song. “It’s hot rhythmically. It’s hot sonically, because the instrumentation is so minimal, you can really hear everything. It’s hot melodically. It’s hot lyrically. It’s hot vocally. It affects you physically, emotionally, even spiritually.” Twenty-three years on, Michael Jackson can rest assured: No one has made smellier jelly.


    Music Reviews, Artists Interviews, Music Videos, Artist News and More on Blender :: The Ultimate Guide to Music and More

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