Bücher/DVD's die nach MJ's Tod veröffentlicht worden sind

Ich freu mich schon irgendwie auf die DVD ...

Zitat von danceoflife

..trailer zu David Guests "MJ-life of an icon"

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"Ich weiß nicht, warum sie mir das antun. Sie wollen meinen Tod."

"Warum haben wir ihn nicht geliebt?"
"Warum haben wir ihn nicht angenommen?"

Den Trailer hätte ich mir mal lieber nicht angesehen...

JOU!!!

Ist die DVD Special Edition und die Blue Ray das gleiche? Es gibt ja anscheinend keine "normale" DVD und keine Blue Ray Special Edition!?

...:tatort..lt. Amazon is das Jermaine-Buch unterwegs zu mir....das hier fand ich grad dazu..

Roger Friedmann-Kommentar zum Buch:

Jermaine Jackson: In New Book Denies Father’s Abuse But Michael was “Terrified of Him”

09/17/11 9:41pm Roger Friedman

There’s not much fact in Jermaine Jackson‘s newest attempt to cash in on his late brother Michael. His book, “You Are Not Alone,” reads like a compendium of fictions and half-truths to anyone who’s reported anything about Michael Jackson over the last 20 years. It’s so far from reality that Jermaine defends his father while citing his abuse; still argues that Michael’s kids are his biologically; and basically excises the people closest to Michael like his personal assistant Evvy Tavasci and surrogate family, the Cascios.

This is largely because Michael didn’t have much to do with Jermaine after his 1991 recording, called “Word to the Badd.” Jermaine was jettisoned from Michael’s life. And yet, the older brother would continue to try and get back into Michael’s inner circle, playing on his vulnerabilities.

“You Are Not Alone” contains at least one anti-Semitic reference and is full of inaccuracies. It’s hard to believe, really, that a reputable publisher (Simon & Schuster) did no fact checking on “You Are Not Alone.” The anti-Semitic part is not a surprise. Jermaine is happy to go into details of his life as a Muslim, his following of Louis Farrakhan, and his introduction of the Nation of Islam into Michael’s life. Ironically, it’s NOI bodyguards who don’t let Jermaine in to see Michael in Las Vegas.

It’s Jermaine’s description of Joseph Jackson’s original business partner, Richard Aarons, that says it all. Jermaine writes of Aarons: “A short Jewish lawyer who always wore suits arrived on the scene.” There’s only other passing mention of the “short Jewish lawyer” in Jermaine’s book. But it was Aarons who partnered with Joseph Jackson, brought the Jackson 5 to Motown, and made the deals. For a long time, their company was called Jackson-Aarons. It was Aarons to whom many of the Jackson kids turned when their father was abusing them.

Jermaine does give credit, however, to their tutor, Rose Fine, also Jewish, also pointed out in case we didn’t get it.

None of this is terribly shocking. It was Michael who wrote and sang in “They Don’t Care About Us”: “Jew me. sue me…kick me, **** me…”

Otherwise., “You Are Not Alone” is quite a fanciful read. Jermaine basically absolves his father of all wrong doing, and says Michael misunderstood his “abuse.” It was just Joseph trying to keep the kids away from gangs. So he beat them. Jermaine dismisses all press reports of Joseph’s violence. But I can tell you that between Joseph’s own admissions and those of past employees–even Katherine Jackson on “Oprah”– none of what Jermaine says is true. This is sad.

Jermaine is wrong about so many things–about Michael’s manager Frank Dileo, and about how the “This Is It” concerts were originally conceived. He says that Michael’s manager in 2008, the non doctor Tohme Tohme, came up with the idea. In fact, it was Randy Phillips of AEG Live, in 2007, who first told me he’d approached Michael to play a series of dates at London’s O2 Arena. And it was not AEG that brought in Dileo and John Branca during the 2009 rehearsals. Michael happily brought Frank Dileo back, and Dileo brought back Branca. If anyone was unhappy, it was Jermaine–he was cut out again.

What Jermaine does reveal: that he and his wife Halima (there’s no mention of Jermaine’s second wife, Alejandra, mother of two of his children, and mother of two children with brother Randy–that whole episode of spousal sharing is absent) found Tohme and introduced him to Michael in 2008. In an interview I did with Tohme in 2009, the faux doctor made it seem like he’d been friends with Michael and the Jacksons for years. In fact Jermaine says he and Halima heard about him from mutual friends in Gabon, Africa in 2008. Later Jermaine is shocked when Tohme turns against him and tries to auction off all the possessions from Neverland without authority.

But you can only feel sorry for Jermaine Jackson. He rationalizes his father’s abuse while detailing beatings and violence, including the use of “switches.” He confirms that “over time, Randy and Janet got to know what the belt felt like, mainly for disobedience.” Jermaine admits “There is no denying that Michael was terrified of our father.” But in the same breath, Jermaine writes: “If he [Joseph] had truly abused us, we wouldn’t still be speaking to him…” I would counter that Michael was not speaking to his father at the time of his death, and would be mortified to see how Joseph Jackson has since behaved.

That Jermaine lives in denial is most evident when he writes about his own relationship with Michael.. Jermaine wrote and recorded a song called “Word to the Badd” in the 90s as a rebuke to Michael’s scandal-ridden life style. Now he blames LA Reid and Kenny “Babyface” Edmonds for allowing out a “leaked” version that Jermaine never intended. The result was a sit down with Michael and their parents. Of course, in Jermaine’s version, Michael forgives him and the brothers become closer. And so “You Are Not Alone” becomes a fantasy.

Wo kommt denn der Friedman plötzlich wieder her??? Der scheint Jerm's Buch nicht wirklich zu mögen

Weiß nicht, ob das schon gepostet wurde. Hier ist ein Klip von der MJ Doku von David Gest:

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Die DVD kommt Anfang November raus...

Danke, sieht total interessant aus. Auch wenn die letzten Aufnahmen hart sind..

Wir werden demnächst mehr über diese DVD erfahren und posten.

Sieht wirklich gut aus!
Habe sie mir auch jetzt gerade vorbestellt

Wow ein toller und bewegender Trailer

Ich werde mir die DVD auf jedenfall auch kaufen!

...zum Buch von Joe Vogel..dieses hier von seiner website..

http://www.joevogel.net/revisiting-invincible

:top..mit einfachen Worten gefühlvoll die Lieder auf Invincible beschrieben...:wub

INVINCIBLE GOOSEBUMPS
Chris Kohler

Have been soaking in the waters of Invincible again, such a wonderful place to be – and so many new things pop into my ears when I leave an album for a while and return to it again, the moth after the flame…

I’m actually going to go against the Maestro Michael Jackson on something in reference to this album though…

I know there’s good science behind the order of the tracks on any album, and that issue is decided after lengthy consideration and taken very seriously. Indeed it’s more art than science.

Curiously, I find that I prefer listening to Invincible on “random” or “shuffle” if you will, rather than in the order it was originally released in.

The first three tracks (Unbreakable/Heartbreaker/Invincible), all*co-produced*by Rodney Jerkins and co-written by MJ and members of the Jerkins team, are all very strong songs – not much time gap in between – sympathetic rhythms/tempos – sharing an almost monotonic sound in the verses not heard since In The Closet – sometimes it feels like they can be strung together as a unit, a megamix, experienced as all one song. It works.

But – I find them to be even more interesting individually.

So I now break them up whenever I listen to this album and I like it better.

Hope the Master doesn’t mind.

Look at how many people co-wrote songs with MJ on this album!

The order of the names indicates the importance in the contribution to the song.

Some of the lyrics that give me goosepimples from Invincible: (italics mine)

You can try to stop me, but it won’t do a thing

No matter what you do, I’m still gonna be here

Through all your lies and silly games

I’m a still remain the same, I’m unbreakable

(Unbreakable)

Now many times I’ve told you of all the things I would do

But I can’t seem to get through no matter how I try to

So tell me how does it seem that you ain’t checking for me

When I know that I could be more than you could ever dream

(Invincible)

The entire song of “Heaven Can Wait” gives me goosepimples.

Extraordinary song. Starts out like an R&Bish love song, then goes so much deeper, can’t box it in genres, MJ is shoutin’ the blues on the chorus, getting into spirit, from that point on (“You’re beautiful”) it is a song that ONLY Michael Jackson could do and his delivery and personal vocal touches are –well– heavenly. He just owns it.

I’d hate to see anyone else try this song.

“You Rock My World” – probably the most potential of wide appeal chart-topper on this album – I don’t recall its highest chart position but I bet somebody does – wonderful hoppin’ song,*irresistible*really, can’t understand why the fans didn’t choose it for TII…

I caress you, let you taste us, just so blissful… listen

I would give you anything baby, just to make my dreams come true

Oh baby you give me butterflies

(Butterflies)

I know he didn’t write those lyrics but his delivery of them is so intense (let you taste us, an unusual lyric in the first place, becomes palpable) that as usual he just owns it…

You gave me hope when all hope is lost

You opened my eyes when I couldn’t see

Love was always here waiting for me

(You Are My Life)

That last line a triumphant release vocally – this one’s for his kids – great significance here in the discovery of where he could concentrate all that love he’d been carrying around for so long, without worrying about the agendas of others…

“Don’t Walk Away” – oh my – could anyone else do better at verbalizing the end of a deep love?

This may be my favorite MJ ballad.

The agonizing conflict here between “When there’s nothing left to do but walk away” and “Can’t you see, I don’t wanna walk away”, which are rendered differently in musical terms too, perhaps hinting that his strongest emotion lay in the latter sentiment.

This one seems straight from his heart.

The final phrase “Don’t walk away”, unembellished, echoing, abruptly ending the song…

You hang there as he does. Nothing left to say. Done.

Nothing in the liner notes about the band or orchestration on this track but the guitar work is excellent.

But again he had co-writers. Teddy Riley, your contributions to MJ’s art probably can’t be quantified or diminished.

Whatever happens, don’t let go of my hand

(Whatever Happens)

Again collaboration with Teddy Riley and several others, and again a feeling I get that this came straight out of MJ’s life and I get a vivid mental picture of the time period and person involved.

To suddenly drop the listener immediately into his story, literally mid-conversation, and vividly share a moment in time, just a small moment that made a big impact on him and triggered a song… that’s the mark of a great storyteller. One of his many cinematic songs. With goosepimples… and premonitions.

Every time your lady speaks she speaks to ME, threatened

Half of me you’ll never be, so you should be threatened by me

(Threatened)

A more delightful bit of musical testosterone and bravado, I have yet to hear!

“Threatened”!

Oh my gosh.

Sardonic, sarcastic, caustic, powerful. Unique and breathtaking.

This, the most unusual in the “Michael as Monster” series begun with “Is It Scary”.

Every line is satiric and MJ almost spits them out, he feels the truth behind what he says and yet he makes it art instead of insult and delight wrapped inside defiance.

He flings his omnipresent/outcast status in your face, firing in staccato bursts.

It thrills me to hear what he can create out of the irony of his life and the ignorance embedded in human nature.

His personal torture becomes an inside joke, an intimate moment he can share with you the listener who is privy to the point he’s making because you’ve read the headlines…

The concept is amazing – and to top it off, who else would invest in a “rapped” intro and outro by Rod Serling??

What other performer had more time spent in the Twilight Zone and knew it?

(Remember the infamous Twilight Zone episode where a woman is having her face surgically altered to fit into the general population, who find her horrifying to gaze upon? The denouement that shows you that the crowd of doctors around her, unwrapping their latest attempt and again failing to change her to their satisfaction, are themselves incredibly ugly and she is beautiful?* I’m certain that its message about being different and what constitutes beauty to the mass mind was not missed by the ravenous mind of Michael Jackson.)

Goosebumps in that song from the first note to the last.

Buch-Review:

http://musicindustrynewswire.c…/10/01/min4491_090008.php

Book Review: Man in the Music
Sat, 01 Oct 2011 09:00:08 -0400 EDT
by John Scott G

REVIEW: From his smooth writing style to his commitment to interviewing nearly every possible source involved with the material, there’s a lot to like about Joseph Vogel’s new book on the King of Pop.

In fact, considering the poor quality of much that has previously been churned out on this topic, I think a lot of people will be pleasantly surprised by “Man in the Music: The Creative Life and Work of Michael Jackson.” Perhaps the best thing I can say is that, after dipping into it, you may just discover that it is more than the sum of its parts.

You can read this book in two different ways. The first and most common method would be to immerse yourself; you can simply read from first page to last, like a novel full of bigger-than-life characters who turn out to be interesting individuals working with one of the giants of entertainment. But there’s another use for the book: you can dip into it again and again to check out what was involved in the inventive decision-making behind the creation of some of the world’s favorite and most successful songs.

Entertainment or Reference Work

This volume may be much too lively and entertaining to be considered a reference work. That reservation aside, the book is valuable on both levels and serves as an examination of the subject’s intense desire and will to produce music that existed as art while also achieving commercial success.

Reading this book, you will experience a strong “you are right there in the room with these people” feeling. Vogel has achieved a fine blend here; for example, there’s investigative reporting on the one hand, and then there’s transcribed oral history on the other. The result feels like a compact compendium of fact, emotion, opinion and perspective.

Having written about politics in his first two books, “Free Speech 101″ and “The Obama Movement,” Vogel may appear on the surface to be an unusual choice to tackle the subject of Michael Jackson. As it turns out, his ability to subtly weave a myriad of fact into a personal perspective is extremely effective; his talent to make you see and feel his own reactions and emotional connection with Jackson’s pop music makes this book even more of a success.

Creative Process

There is no need for me to go into the case for Michael Jackson as performer, songwriter or icon, but Vogel gives plenty of examples of the ways MJ affected musical and cultural shifts in the latter part of the last century and into the beginning of this one. Again and again, there are scenes where Vogel subtly puts you inside the moment so you can feel something of what it was like to experience the creative process. “Man in the Music” showcases Vogel’s attempt to place every part of Jackson’s muse into historical perspective. (Please note how I refrained from using the word “zeitgeist” in this paragraph.)

Everything in its Place

Seven of the eight chapters are organized around one of Jackson’s albums, and the stories are often revelatory as Vogel points out facts that are not top-of-mind even for Jackson fans. For instance, he notes that the overwhelming success of later albums sometimes eclipses the achievements of Jackson’s first solo effort, “Off the Wall,” yet when it was burning up clubs and radio during 1981 it was then the largest-selling album by a black artist in history.

Another fascinating section is Vogel’s description of the first official pre-release listening party for “Thriller.” Far from the moment of triumph everyone expected, “It was a disaster,” Quincy Jones stated. The first single had been released, the promotion campaign was ready, the public (and the record company) was clamoring for it, and they were dead in the water. It was only with intense dedication and perseverance that the tracks were re-mixed into the sonic perfection we know today.

However, once “Thriller” hit the scene, the discussion was no longer about Jackson being in a niche such as R&B or dance. With the monumental sales of that recording, popular music itself had been transformed. This was not only due to the indelible compositions and glorious performances, but also to “The A-Team,” as it was known: In addition to MJ himself, there were Quincy Jones, Rod Temperton, Bruce Swedien, and Matt Forger.

Technology in the Service of Art

In creating the landmark that was the “Thriller” album, the team was utilizing then state-of-the-art recording technology: 24-track analog. But they used it differently, and better, than anyone had ever done before. The songs on “Thriller” went beyond 24 tracks, often way beyond, so they synchronized multiple sets of 24-tracks, which in the album liner notes was called the Acusonic Recording Process.

The result was a lushness and complexity to the sound that prompted many in the recording industry to try emulating. As Vogel reports:

After “Off the Wall” and “Thriller,” when others in the industry heard the incredible richness and vibrancy of Michael Jackson’s albums, they tried to imitate this texturing by simply stacking parts. “There was a misconception,” says Forger, “that ‘Oh, if I play the same guitar part six times it will make it thick and rich’.” Instead, the result was often mushy and overproduced. “We didn’t use all these tracks just to record over and over again,” says Forger. “We used them so that Quincy could layer different sound characters together very strategically so that the textures that were created had this richness and depth.”

In another section of the book, Vogel puts into perspective the leap forward that was achieved by The A-Team, not only in terms of manipulating technology, but in the creative application of that technology:

It has often been said that groups such as the Beach Boys and the Beatles were the first to use the studio as an instrument. “What we did on ‘Thriller,’” says Forger, “was the extension of that. We were able to warp the technology and stretch it to such an extent that we were able to make the technology adapt to whatever it was Michael or Quincy creatively wanted to achieve. . . .” For Jackson, as with the Beatles, the studio technology always followed the lead of the music.

Unheard Music

Because of the thoroughness of Vogel’s research, there is a great deal of setting-the-record-straight in the book. Some of the more intriguing points involve the number of recordings Jackson made. Upwards of 100 songs would be worked on in order to find the ones that would appear on the albums. As Matt Forger put it, “With Michael, he never stopped creating. He wasn’t an artist who said, ‘Oh, I’ve got an album coming up, I better start writing songs.’ The songs were constantly flowing from him.”

Obviously, a great deal of unreleased material exists. For example, with “State of Shock,” a Top Ten hit for Jackson featuring a duet with Mick Jagger, there is also a demo featuring Jackson and Freddie Mercury. There are 25 more titles of unreleased songs listed in the book, often with interesting descriptions of the writers, producers, and performers.

Details

Vogel’s prose continually pushes you forward from one interesting point to another, from one arresting opinion to another, and from one eyebrow-raising conclusion to another. In some sections, you may find your head swimming from the social, political, artistic, and cultural ramifications emerging from Jackson’s music, movies, and dance moves. Without calling much attention to itself, Vogel’s writing is quietly incendiary and often rather delightfully subversive.

He also quotes seemingly everyone who was involved with the phenomenon that was Michael Jackson, from Michael Eric Dyson to Greil Marcus, from Jon Pareles to W.E.B. Du Bois, and from Stevie Wonder to TV Guide.

The conclusion of the book comes upon us much too fast, but I feel the most interesting summary actually occurs earlier in the work, during Vogel’s discussion of the “HIStory” album:

People were quick to scoff, mock, or offer advice. Yet very few could imagine what his life was actually like: the loneliness, abuse, exploitation, and constant expectations in the early years; working all day in the studio, while other kids played in the park across the street; not being able to leave the house without being mauled from the time he was ten years old; hiding in a dark closet because of the shame and fear of fans seeing him with acne and rejecting him; the looming presence of an abusive father who might yell at him or hit him for any perceived imperfection. . . while there are many layers to the enigma that is Michael Jackson, the trauma of his “lost” childhood is where it all begins. The rest of his life, in a way, was an ongoing attempt at recovery.

"Michael Jackson un uomo oltre lo specchio" - Michael Jackson ein Mann hinter dem Spiegel

Das Buch von Dieter Wiesner erscheint nicht am 11.11.2011, sondern erst am 21.11.2011!

"Blick ins's Buch":

http://www.amazon.de/Michael-J…TF8&qid=1320925000&sr=8-1

Die Kapitel klingen SO SPANNEND und INTERESSANT

Ich bin sehr gespannt auf dieses Buch

hoppla, ich dachte das Buch von wiesner wäre auf englisch
wie komm ich bloß drauf???

mensch, die ersten seiten in Neverland sind echt toll zu lesen. so detaliert
und zugleich sehr traurig im abschnitt von this is it

habs gleich in den warenkorb getan das muss man unbedingt lesen

ich habs mit Frank cascio Buch verwechselt

..Kommentar von Roger Friedmann zum Buch
von Frank Cascio..“My Friend Michael”

http://www.showbiz411.com/2011/11/14...ew-up-with-him

Michael Jackson Not A Pedophile, Says Author Who Grew Up with Him

11/14/11 12:40am Roger Friedman 0

Michael Jackson was not a pedophile. So says Frank Cascio, who grew up with Jackson as a kid along with his siblings. Cascio, now in his early 30s, details his life with Jackson in “My Friend Michael,” officially published tomorrow. It’s the first real, true account of Jackson, including recent books by his brother and sister, Jermaine and LaToya.

Cascio, who knew Jackson from age 5, knew Jordy Chandler and Macaulay Culkin and all the kids who passed through Neverland, writes: “Michael’s interest in young boys had absolutely nothing to do with sex. I say this with the unassailable confidence of firsthand experience, the confidence of a young boy who slept in the same room as Michael hundreds of times, and with the absolute conviction of a man who saw Michael interact with thousands of kids. In all the years that I was close to him, I saw nothing that raised any red flags, not as a child and not as an adult. Michael may have been eccentric, but that didn’t make him criminal.”

Cascio details all the times he and his brothers and sister slept in Jackson’s bedroom, and shares stories of other kids who got the Neverland treatment. Cascio has always maintained this stance, since I met him in 2000. His accounts jibe with those of Culkin and other young men who visited Neverland. Cascio recounts Jackson’s reluctance settle the Chandler case out of court. And he details the story of the greedy, scheming Arvizos.

This past weekend, some press accounts concentrated on Cascio’s admission that Jackson was hooked on a variety of drugs. Fair enough. But as a historical chronicle, “My Friend Michael” is about so much more. Because Cascio and his whole family had a unique place in Jackson’s life. He lived in their homes as an adult, and the Cascios were regular visitors at Neverland, and in Bahrain when Jackson went into self imposed exile. It was Frank Cascio’s minute record keeping in 2003 during the Gavin Arvizo scandal that exonerated Jackson from child molestation and conspiracy charges.

What makes Cascio’s book so compelling for Jackson fans aren’t the drug revelations. Cascio tells the story in minute detail of Jackson’s financial situation and the machinations of various people around him during a key period–from 1994 and the Jordy Chandler scandal through 2000, the “Invincible” album, and the arrest in 2003.

Cascio has no love lost for John McClain, Jackson’s sometime manager and now, by fluke of a 2002 will, the co-executor of his estate. According to Cascio’s account, which I reported at the time, McClain was a constant thorn in his side, undermining their friendship. Years later, in 2010, it would be McClain who would make a mess of the posthumous “Michael” album by encouraging fans to doubt the veracity of tracks produced by Cascio’s brother, Eddie.

“My Friend Michael” is a must read for any Michael Jackson fan. I’ll have some more bits from it as the day goes on