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Michael Jackson: unreleased song ( 1981) -Nineline-
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Grazie ragazze!!! Carine come sempre! e anche quest'anno è passato...azzzzzzz 56 anni.... finiti... dall'anno nuovo posso dire 57...c'è il 7.... 
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MICHAEL JACKSON E LA POESIA SU BERLINO:
“IL MURO ERA CADUTO PRIMA CHE FOSSE ABBATTUTO”
A 25 anni dalla caduta del muro di Berlino, Fabio Volo legge una poesia scritta dal re del Pop proprio in quella occasione. Lo scritto si intitola “Berlino 1989″ ed è contenuto nel libro del 1992 “Dancing the Dream”.
per sentire le parole clicca qui
http://www.deejay.it/news/michael-jackson-...battuto/407113/Berlino, 1989
“Loro odiavano il Muro, ma cosa potevano fare? Era troppo difficile da abbattere. Temevano il Muro, ma non avevano forse ragione? Molti di quelli che avevano tentato di oltrepassarlo erano stati uccisi.
Diffidavano del Muro, ma chi non lo avrebbe fatto? I loro nemici si rifiutavano di buttar giù anche solo un mattone, non importava quanto si protraessero i negoziati di pace.
Il Muro ghignava. “Vi sto insegnando una lezione”, si vantava. “Se volete costruire qualcosa di eterno, le pietre non servono a molto. Servono cose come l’odio, la paura e la diffidenza che sono molto più forti”.
Sapevano che il Muro aveva ragione, e stavano per mollare. Solo una cosa riuscì a fermarli. Ricordarono chi c’era dall’altra parte. Nonne, cugini, sorelle, mogli. Volti cari che bramavano di rivedere.
“Cosa succede?”, chiese il muro, tremante. Senza sapere come, ora riuscivano a guardare attraverso il Muro, nel tentativo di trovare i loro cari. In silenzio, da una persona all’altra, l’amore continuava a fare il suo lavoro invisibile.
“Smettetela!”, urlava il Muro, “sto cadendo!”. Ma era troppo tardi. Un milione di cuori si erano ritrovati. Il Muro era caduto prima che fosse abbattuto.”
Michael Jackson -
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A Cold Man:
An Article on the Death of
Michael Jackson’s Arch-Nemesis
02 Sunday Nov 2014
Posted by sylmortilla
It’s perhaps fitting that at the hour of Tom Sneddon’s death, many people across the world were continuing to celebrate the festival of Halloween – the time of year when many people believe that the boundary between the physical and the psychical realm is at its most permeable. Michael’s song Thriller and its accompanying short film are synonymous with the mischief of October 31st, its hand-in-glove theme and phenomenal success resulting in it now being universally accepted as the official anthem for the holiday. The echelons of fame that Thriller vaulted Michael into contained two major drawbacks for him. Firstly, that he would forever be shackled with the impossible task of striving to improve upon the album’s unprecedented commercial achievements; and secondly, that becoming the most famous person alive meant that the bounty on his head suddenly became dangerously high. Especially after his being shrewd and audacious enough to invest his capital into the white man’s game of music publishing. A very young and uniquely influential black man suddenly became perceived by the establishment as one who was getting disconcertingly above his station.
The monster that is Thriller means that Michael’s other macabre magnum opus – Ghosts – is often overshadowed by its older, colossal cousin. Nevertheless, Halloween does present a cobwebbed window of opportunity for the less well-known of the two short films to shine. And although the Thriller choreography may well be iconic, in comparison with the sophistication of its kindred cinematic spirit, its artistic significance has the mere pallor of the dead. Ghosts is not only a spectacular visual and sonic treat – it is also politically-charged and multi-layered in its themes. Part of the choreography evokes the image of a hanging man.
Michael conceived Ghosts as a response to the 1993 child molestation allegations. In the film, Michael mutates into a ghost, a skeleton, a demon, an oppressive village mayor, and a demonically possessed version of this mayor. The character played by George Wendt in the Black Or White video of 1991, meant we had already encountered one fat, white embodiment (and a substantial body at that) of the reactionary, radical capitalist mentality of Bible Belt (and a substantial belt at that) America. The mayor in Ghosts was borne of a rather more specific muse, however: the late District Attorney Tom Sneddon.
The first inklings of political nuances in Michael’s self-penned work began with the track ‘Beat It’ from Thriller. The political references are necessarily subtle – yet once you have interpreted the lyrics to ‘Beat It’ as concerning nothing less than the narrative of a lynching, it’s hard to imagine the song as being about anything else. Consider the line “Don’t wanna be a boy, you wanna be a man” as a simple reworking of the famous Malcolm X quote, “I ain’t a boy! I’m a man!” Michael sampled Malcolm X for his 1995 track ‘HIStory.’ Consider that “The fire’s in their eyes.”
In ‘D.S.’ – the HIStory album diatribe ditty directed towards Tom Sneddon – Michael labels Sneddon a ‘BSTA’. This could be construed as an insinuation of the word ‘bastard’, but certainly as a play on the acronym ‘SBDA’, or ‘Santa Barbara District Attorney’. The repetitive occultist chant that forms both the chorus as well as the denouement to the track dictates that “Tom Sneddon is a cold man”. This mantra is finally terminated by the sound of a gunshot being fired. The start of the song features the unsettling sound of an angry, id-driven baby’s cry.
Michael understood that millions of people around the globe would be chanting along with him to the chorus of ‘D.S’ – with him even taking the unusual step of including the track on the HIStory tour set-list. Michael had never before performed such an obscure album number on tour, but he brought out ‘D.S.’ to doubly ensure a communal chant of the ritualistic incantation. The song is shamelessly lip-synced, with Michael at one point handing over the microphone to a backing singer who is wearing an executioner’s mask that completely covers his mouth. One desire of the 1993 extortionists was that Michael would “never sell another record.” Michael was touring the world, performing in front of the largest crowds of his career, promoting the biggest selling double album of all time.
Sneddon had cynically and relentlessly attempted to systematically annihilate Michael. It was Sneddon’s turn to be scared.
Tom Sneddon had written to the FBI asking them to convict Michael under the Mann Act – a law created in 1910 used to entrap boxer Jack Johnson in 1912 for what are now regarded as racially-motivated reasons. In spite of the LAPD having been enthusiastic about this line of enquiry in their pursuit of Michael, the FBI disagreed. Following his failure to bring Michael to trial as a result of the 1993 Chandler case, an unperturbed – or perhaps simply incensed – Sneddon then oversaw a successful change in the law that enabled him to resume his baseless chasing of Michael in 2005.
As part of this second wave of allegations, Neverland was stormed and ransacked. It was a strange, entirely fruitless act that involved hitherto unseen levels of scrutiny, undertaken by the ominous luminosity of metaphorical burning crosses; mob-rule insisting that the ‘freak circus freak’ left the village. Michael had portentously referenced these events in Ghosts. And the last thing organised racists would do after carrying out a lynching such as that alluded to in the ‘Beat It’ lyrics? Seize the property of the lynched.
It’s important not to elevate Sneddon as anything more than a footnote in the epic cultural event that was the life and career of Michael. However, it’s an unfortunate and inescapable truth that the emotional agony suffered by Michael at the hands of the insidious Sneddon is what exacerbated the painkiller dependency that ultimately killed him.
There were many facets to Sneddon’s malice: he was the relentless motor obsessed with maintaining the norm, repulsed by the myriad things his pitiful close-mindedness couldn’t begin to comprehend; to Michael’s celebration of imagination, Sneddon was the equivalent of the rote-learning of dead facts; to Michael’s revelry in the ecstasy and infinity of rhythm, life and creation, Sneddon was the monotony of a drone engine seeking to destroy innocence.
And it was this engine that powered Sneddon’s indefatigable, merciless hunt of Michael for over a decade. This trait of irrational tenacity was such an innate one of his, that it earned him the nickname ‘Mad Dog’ – a sobriquet Michael refers to with audible glee as he spits the words “Go’on you dawg, down boy!” during the adlibs of ‘D.S.’
Rest in peace, Michael. The dog has been put down.
http://sylmortilla.com/2014/11/02/a-cold-man/@@@@@@@@@@@@@@@@@@@@@@@@@@@@@trad.Google
SPOILER (clicca per visualizzare)E 'forse giusto che nell'ora della morte di Tom Sneddon, molte persone in tutto il mondo continuavano a celebrare la festa di Halloween - il periodo dell'anno in cui molte persone credono che il confine tra il fisico e il regno psichica è al suo più permeabile. Canzone di Michael Thriller e il suo accompagnamento cortometraggio sono sinonimo di malizia del 31 ottobre, il suo tema di pari guanto e successo fenomenale con conseguente è ora universalmente accettato come inno ufficiale per la vacanza. Le sfere di fama che Thriller a volta Michael contenute in due grossi inconvenienti per lui. In primo luogo, che avrebbe per sempre incatenato con il compito impossibile di sforzarsi di migliorare i risultati commerciali senza precedenti dell'album; e in secondo luogo, che diventare la persona più famosa in vita ha fatto sì che la taglia sulla sua testa divenne improvvisamente pericolosamente alta. Soprattutto dopo il suo essere scaltro e audace abbastanza per investire il suo capitale in gioco dell'uomo bianco di edizioni musicali. Un giovanissimo ed unicamente influente uomo di colore è diventato improvvisamente percepito dallo stabilimento come uno che si stava sconcertante sopra la stazione.
Il mostro che è Thriller significa che altro macabro magnum opus di Michael - Ghosts - è spesso messa in ombra dal suo vecchio, cugino colossale. Tuttavia, Halloween fa presentare una finestra di ragnatele di opportunità per i meno noto dei due cortometraggi a brillare. E anche se il Thriller coreografia potrebbe essere iconico, in confronto con la raffinatezza della sua Kindred Spirit cinematografica, il suo significato artistico ha la semplice pallore dei morti. I fantasmi non è solo una spettacolare piacere visivo e sonoro - è anche politicamente carica e multistrato nei suoi temi. Parte della coreografia evoca l'immagine di un uomo appeso.
Michael concepito Ghosts come risposta alle accuse di molestie del 1993 bambino. Nel film, Michael muta in un fantasma, uno scheletro, un demone, un villaggio sindaco opprimente, e una versione demonio in possesso di questo sindaco. Il personaggio interpretato da George Wendt nel Black Or White il video del 1991, significa che avevamo già incontrato uno grasso, incarnazione bianco (e un corpo sostanziale a quello) del reazionario, radicale la mentalità capitalista della Bible Belt (e una cintura sostanziale a quel ) America. Il sindaco in Ghosts è stato a carico di una musa un po 'più specifico, però: alla fine del procuratore distrettuale Tom Sneddon.
I primi sentori di sfumature politiche nel lavoro di auto-scritto di Michael ha iniziato con il brano 'Beat It' dal Thriller . I riferimenti politici sono necessariamente sottili - ancora una volta che avete interpretato il testo della canzone 'Beat It' come per quanto riguarda niente di meno che il racconto di un linciaggio, è difficile immaginare la canzone come di qualsiasi altra cosa. Si consideri la linea "Non voglio essere un ragazzo, vuoi essere un uomo" come una semplice rielaborazione del X citazione famosa Malcolm, "io non è un ragazzo! Sono un uomo! "Michael campionamento Malcolm X per il 1995 traccia 'HIStory.' Si consideri che "Il fuoco è nei loro occhi."
In 'DS' - l' HIStory diatriba canzoncina album orientato verso Tom Sneddon - Michael etichette Sneddon un 'BSTA'. Questo potrebbe essere interpretato come una insinuazione della parola 'bastardo', ma di certo come un gioco l'acronimo 'SBDA', o 'Santa Barbara procuratore distrettuale'. Il canto occultista ripetitivo che costituisce sia il coro e l'epilogo alla pista impone che "Tom Sneddon è un uomo freddo". Questo mantra è finalmente terminata dal suono di uno sparo essere licenziato. L'inizio della canzone vede il suono inquietante grido di un arrabbiato, bambino id-driven.
Michael capì che milioni di persone in tutto il mondo sarebbero state cantando insieme a lui al coro di "DS" - con lui anche prendendo l'insolita iniziativa di includere il brano del HIStory Tour set-list. Michael non aveva mai eseguito un simile numero di album oscura in tour, ma ha messo in evidenza 'DS' per garantire doppiamente un canto comune di incantesimo rituale. La canzone è spudoratamente labbro-sincronizzati, con Michael in un punto consegna il microfono a un corista che indossa la maschera di un boia che copre completamente la bocca. Un desiderio del 1993 estorsori era che Michael avrebbe "mai vendere un altro record." Michael stava facendo un giro del mondo, esibendosi di fronte la più grande folla della sua carriera, promuovendo il doppio album di tutti i tempi più venduto.
Sneddon aveva cinicamente e senza sosta ha tentato di annientare sistematicamente Michael. E 'stato il turno di Sneddon di essere spaventato.
Tom Sneddon aveva scritto all'FBI chiedendo loro di condannare Michael ai sensi della legge Mann - una legge creata nel 1910 utilizzato per intrappolare pugile Jack Johnson nel 1912 per quello che sono ora considerati come motivi a sfondo razziale. Nonostante la polizia di Los Angeles dopo essere stato entusiasta di questa linea di indagine nella loro ricerca di Michael, l'FBI non è d'accordo. Dopo la sua incapacità di portare Michael in tribunale a seguito del caso Chandler del 1993, un imperturbabile - o forse semplicemente incensato - Sneddon poi ha gestito un cambiamento di successo nella legge che gli ha permesso di riprendere la sua caccia senza fondamento di Michael nel 2005.
Come parte di questa seconda ondata di accuse, Neverland è stato preso d'assalto e saccheggiata. Era una strana, atto del tutto inutile che ha coinvolto livelli mai visti di controllo, svolte dalla luminosità inquietante di croci in fiamme metaforiche; mob-regola insistendo sul fatto che il 'fenomeno da baraccone strano' lasciato il villaggio. Michael aveva portentosamente riferimento questi eventi in Ghosts . E i razzisti organizzati ultima cosa avrebbero fatto dopo aver effettuato un linciaggio come quello accennato nel 'Beat It' testi? Cogliere la proprietà del linciato.
E 'importante non elevare Sneddon come qualcosa di più di una nota in calce l'evento culturale epica che era la vita e la carriera di Michael. Tuttavia, si tratta di una verità spiacevole e inevitabile che l'agonia emotiva subita da Michael per mano del insidioso Sneddon è ciò aggravato la dipendenza antidolorifico che alla fine lo ha ucciso.
Ci sono state molte sfaccettature malizia di Sneddon: era il motore implacabile ossessionato con il mantenimento della norma, respinto da tutte le esistenze suo pietoso chiusura mentale non poteva iniziare a comprendere; alla celebrazione di Michael di immaginazione, Sneddon era l'equivalente della Rote-apprendimento di fatti morti; alla baldoria di Michael in estasi e l'infinito del ritmo, la vita e la creazione, Sneddon era la monotonia di un motore drone che cercano di distruggere l'innocenza.
Ed è stato questo motore che alimentato infaticabile, caccia spietata di Sneddon di Michael per oltre un decennio. Questo tratto di tenacia irrazionale era un tale innata uno dei suoi, che gli valse il soprannome di 'Mad Dog' - "! Go'on si Dawg, Down Boy", un soprannome si riferisce a Michael con gioia udibile mentre sputa le parole durante la adlibs di "DS"
Riposa in pace, Michael. Il cane è stato messo giù. -
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Seven Inches In: An Article on
Michael Jackson
and Women
20 Monday Oct 2014
Posted by sylmortilla
The theme of the femme fatale is a prominent one in Michael’s work; something that has led to accusations of his being misogynistic. This is a somewhat myopic perspective, as well as one easily discredited. Fundamentally – after all – the very idea of the femme fatale is one that acknowledges the power that women can wield.
During the 1984 Grammy’s – when Michael won an unprecedented eight awards – upon his acceptance of one of the gongs, there is a moment when Quincy Jones whispers in Michael’s ear. Instantly, Michael turns back to the microphone and gives a shout-out to “the girls in the balcony”. Later on in the ceremony – when Michael once again returns to the podium to collect another prize – Michael jokes about having made a deal with himself to remove his aviators if he went on to break the record for the number of Grammy’s won in a single night. In what seems to be an afterthought, after taking off his glasses, Michael also dedicates the gesture to “the girls at the back.”
Michael’s companions that night were Brooke Shields and Emmanuel Lewis. Candid backstage footage of the event that was recently made public shows Michael, Brooke and Emmanuel in an elevator. Whilst the three are hidden from public view, Brooke is essentially ignored at the expense of Emmanuel. Though as soon as the elevator doors open, Michael once again takes Brooke’s arm.
Michael’s behaviour in the footage is certainly susceptible to close-minded and cynical judgement. However, it is important to bear in mind that at this juncture in Michael’s life, it seems he purposely curtailed the gratification of his libido in an effort to concentrate on his primary focus – his galvanised career. Also – and by no means less significantly – Michael’s apparent disinterest in sex at this point was perhaps a consequence of his uniquely peculiar upbringing: one that had left him hesitant with regards to such matters. What with the mystifying messages that had bombarded his maturing psyche: the bewilderment of being torn between a profound loyalty to his venerated stay-at-home mother and her deeply religious views, and the negative contrast of a dedication to a life on the road in which witnessing behaviour of sexual immorality was par-for-course. Michael’s repulsion at the disrespect for his mother and in the treatment of groupies at the hands of his father, lends further support for his love of women in its own right.
Besides, Brooke and Michael remained close, regardless. In words disclosed by Rabbi Shmuley Boteach, Michael rues the day that Brooke attempted to get amorous with him, but he was too nervous to indulge:
“I sincerely liked Brooke, I liked her a lot. She was one of the loves of my life… I was at the Academy Awards with Diana Ross and she just came up to me and said: ‘Hi, I’m Brooke Shields. Are you going to the after party?’ I said: ‘Yeah’ and I just melted. So we get to the party and she says: ‘Would you dance with me?’ And we went on the dance floor. And man, we exchanged numbers and I was up all night, spinning around in my room, just happy. She was classy. We had one encounter when she got real intimate and I chickened out. And I shouldn’t have”
Michael’s friendship with Brooke survived longer than his relationship with Emmanuel did; with her being regularly seen accompanying Michael in the ensuing years. Similarly, once Michael’s marriage with Lisa Marie Presley was over, they remained on good terms – with Lisa Marie frequently flying out to see Michael all over the world whilst he was on the road with the HIStory tour.
Michael’s adoration of his own mother is well documented, but in the foreword he contributed to a recipe book, he reveals an appreciation for the magical nature of motherhood in general:
“Remember when you were little and your mother made a pie for you? When she cut a slice and put it on your plate, she was giving you a bit of herself, in the form of her love. She made you feel safe and wanted. She made your hunger go away, and when you were full and satisfied, everything seemed all right… You may think that your apple pie has only sugar and spice in it. A child is wiser… with the first bite, he knows that this special dish is the essence of your love.”
Michael intentionally chose a female guitarist to tour with him, with Jennifer Batten remaining a tour stalwart of his for a decade. There are a gamut of nuances in Michael’s on-stage relationship with Jennifer that, due to their subtleties, perhaps offer a more genuine level of evidence for Michael’s intrinsic respect for women than can be found anywhere else. In the ‘Dirty Diana’ performance during one of the Wembley Bad tour shows, guest guitarist Steve Stevens – the guitarist on the record – is given “time to shine” (to use Michael’s expression when he is emboldening This Is It guitarist, Orianthi – incidentally, another guitarist specifically chosen with the intent of subverting gender stereotypes and making a statement in support of women). Yet, Michael is still seen at pains to ensure that the crowd recognise Jennifer’s contribution as well as the guest performer’s.
Jennifer herself gets her own “time to shine” during the sonically incongruous guitar solo she is gifted with for ‘Working Day And Night’. The incongruity throws extra spotlight on Michael’s unorthodox decision to employ the services of a woman in the role.
This mutual fondness between Michael and Jennifer can also be seen in footage of the ‘Beat It’ solo during the Copenhagen HIStory tour show. At its denouement, Michael seems slightly out of sorts, and as Jennifer exits stage-left and Michael gives her an affirmative pat of gratitude, Jennifer responds by providing Michael with a reassuring nudge. A nightly-repeated dance move of Michael’s during the ‘Beat It’ solo was a crouched toe-stand, the successful conclusion for which – in order to maintain his centre of balance – meant having to hold Jennifer’s leg for support.
In songs inspired by Jackson family dynamics, such as ‘Superfly Sister’ and ‘Monkey Business’, Michael laments some of the actions of certain members of his family. In the words to the latter track, Michael bemoans the loose morals of the male members of his family, singing,
“Your brother’s gone and kissed/ The mother-in-law / I might tell dad about what I saw / Your brother didn’t make a nickel or dime.”
Michael’s propensity for generalising a theme in order to appeal to a larger audience – such as in ‘Leave Me Alone’ – was second to none. But in ‘Monkey Business’ the glove is well and truly off, with the intended recipients of the message being perfectly clear. And although Michael switches between third and first person perspectives, in an effort to afford him the liberty of ambiguity – and therefore seeming less direct in his accusations – the subject matter of taking his family’s indiscretions to task remain a courageous choice of his. The lyric “I might tell dad about what I saw” is instantly endearing in its childlikeness, and reveals a great deal about this facet of Michael’s personality.
Though the song ‘Superfly Sister’ is in itself a direct rebuttal of sexist attitudes – a judgement on the superficial rating of women by men, with its repeated refrain reminding us that, “Push it in, stick it out / That ain’t what it’s all about” – in said track, Michael does not hold back in discriminating from highlighting his disappointment with some of the lifestyle choices of his siblings, regardless of their gender. As he sings,
“Susie like to agitate / Get the boy and make him wait / Mother’s preaching Abraham / Brothers they don’t give a damn.”
Michael’s love for his sisters was, nevertheless, very evident. He produced music with all three of his sisters, even giving the Bad album outtake ‘Fly Away’ to his eldest sister, Rebbie, for her 1998 album Yours Faithfully, as well as writing the track ‘Centipede’ for her.
In the 1983 Unauthorised interview undertaken with LaToya, the effortless repartee between Michael and his sibling is there for all to see. In an interview a decade later, Oprah Winfrey asks Michael if he has read LaToya’s ‘tell-all’ autobiography – to which he responds that he hasn’t, because he doesn’t need to as he understands LaToya’s true heart. It was this rational attitude that enabled Michael to forgive the misguided comments made by LaToya during the media frenzy of 1993. Michael understood that the essence of his sister was one of vulnerability, and that she had become a coerced and powerless victim of egregious abuse. This trait of vulnerability being a familial one – that would eventually contribute to Michael’s ultimate demise.
Janet’s steadfast backing of Michael throughout his tribulations is legendary. Not only did she team up with Michael to duet with him on his post-allegations comeback single, ‘Scream’, but also – with total disregard for the contemporaneous status of her career being at its zenith – chose to join Michael on stage to receive the song’s 1995 MTV Video Music Award for ‘Best Dance Video’. Furthermore, not being content with the constraints of the effusive praise she could vocally shower upon Michael as part of her stolid advocating of him, she brazenly wore a t-shirt bearing the words ‘PERVERT 2’ emblazoned across its back. You smear Michael, you smear Janet – was the very direct message.
One of Michael’s later femme fatale works was ‘Blood On The Dance Floor’. The imagery of “She stuck seven inches in” and “Since you seduced her / How does it feel / To know that woman / Is out to kill” was interpreted by some commentators as a sexist reference to promiscuous women and their role in the spread of HIV/AIDS – an idea immediately rebuffed by Michael. It would be disingenuous of me – considering my stance on the criminal ubiquity of the discrediting of the nuances in Michael’s art – to dismiss this interpretation outright. But one need only look to ‘Smooth Criminal’ or ‘Little Susie’ for evidence of Michael’s penchant for a dark lyrical narrative. Though both of those examples are comprised of tales depicting Michael’s concern for their female protagonists.
This concern is also apparent in Michael’s songs that feature prostitutes as their central characters. Michael empathises with the plight of the ‘streetwalker’, and makes an effort to expose the reasons for their finding themselves in such desperate circumstances. The narratives of ‘Do You Know Where Your Children Are’ and ‘Hollywood Tonight’ both involve girls having to resort to prostitution in order to survive.
The Dangerous campaign became an all-out attack to convince anyone sceptical about Michael’s heterosexuality. The ‘Give In To Me’ and ‘Who Is It’ videos are loaded with sexual connotations, and the ‘Remember The Time’ video – to great chatter at the time – featured Michael’s first on-screen kiss (with David Bowie’s wife, the pulchritudinous Nubian model Iman, in her role as a Pharaohess, becoming the much-envied recipient). However, such subtleties were flagrantly dismissed with for the ‘In The Closet’ video, in which Michael’s interactions with Naomi Campbell are intimate, to say the least (particularly in pictures taken during rehearsals, where Michael’s enthusiasm for incorporating the suggested stimulation of Naomi’s – let’s say groin – into a proposed dance move, completely belie the myth of a shyness with women in his more mature years).
Candid footage of Michael in his forties portray Michael as very much the heterosexual man. During film shot in the back of cars that are swarmed with baying fans, Michael is seen excitedly commenting on the attractiveness of some of the girls, who he liked to call “Fish”. In other footage, when Michael was given free reign of a supermarket – granted upon his request to experience something resembling normality – in-between riding around the aisles on the trolleys, Michael picks up a magazine adorned with the image of his friend Elizabeth Taylor, before turning to hold the picture towards the camera, smiling coyly and saying, “Now that’s what I’m talking about!”
These latterday examples suggest the truth of Michael’s sexual orientation, due to their possessing an irrefutable sincerity about them. But there are also many quotes taken during the Jackson 5 years, in which all the brothers’ hot-blooded-male credentials are apparently cemented. One such supposed citation from Michael being,
“…I have this weakness – I love looking at girls!’”
However, it would be further disingenuous of me to promote such quotes as being the verbatim thoughts of a teenage Michael. In the same way Michael and his brothers were coached with regards portraying a benign stance on issues such as black rights for the sake of commercial potentiation, so they also were in context of their views on their female fanbase. Nonetheless, the idea of the dubious credibility of such quotes is fascinating in itself. The practice of public perspectives on Michael’s sexuality being enforced by pedantic and paranoid profiteers, solely concerned with the palatability of his image, was a system heavy with repercussions for the person that would become the adult Michael.
This entrenched understanding that Michael had of public relations became the reason he was so careful – and so clever – when it came to camouflaging the political messages contained in his later work. Michael understood it was merely a matter time before people unveiled the messages in his art. To have managed this tight-rope so expertly with such faith in the long-game, was a manifestation of startling genius.
Perhaps counterintuitively, to find the ultimate proof of Michael’s attitude towards women, one need look no further than his face. It was a face that he had initially wanted to be seen adorned with lace for the cover of the Bad album – a desire overruled by his record company, who took it to the other extreme, insisting on a relatively macho image of Michael instead. Far from being misogynistic, Michael elevated femininity to the extent that he was completely comfortable in androgenising himself – he voluntarily absorbed the feminine into his appearance.
Michael viewed himself as a visionary: a sincere and plausible surmising borne as a consequence of his having been a uniquely positioned observer in the spiritual evolution of humanity. For a third-of-a-century, his career had entailed entertaining hundreds of millions of souls brought together as a result of love. There exists an intriguing correlation between Michael’s unshackling himself of the craving for commercial success in favour of philanthropic achievements, and his acquiescence in allowing himself opportunities to succeed in romantic love. Though Michael effortlessly stirred millions of women into maniacal frenzies, this phenomenon of his fainting fanhood became by no means an exclusively female occurrence. As Michael said,
“But I am finding today, and it is so true, that guys today are really changing and I have watched it happen through my career. Guys scream with the same kind of adulation that girls do in a lot of countries. They are not ashamed.”
Michael had witnessed the change in behaviour of male fans over the decades he had been performing. He witnessed in real-time the increasing confidence of people celebrating the emancipated self. Michael had intuited society’s increasing intolerance of paternalistic orthodoxy. Archaic attitudes that he so sublimely subverted himself in his total reimagining of the stereotypical family unit.
This was Michael’s power.
http://sylmortilla.com/2014/10/20/seven-inches-in/ -
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MICHAEL JACKSON PROSECUTOR
TOM SNEDDON DEAD
11/2/2014 7:02 AM PST BY TMZ STAFF
Tom Sneddon -- the prosecutor who tried twice to nail Michael Jackson on child molestation charges -- has died.
Sneddon -- who served as D.A. of Santa Barbara County for more than a quarter century -- famously lost the case against Jackson in 2005, in which Jackson was accused of plying his alleged victim with wine, sexually assaulting him at Neverland and holding his family hostage.
But Sneddon went after Jackson more than a decade before, trying to prosecute the singer for allegedly molesting a boy at Neverland. Jackson made the boy's civil case go away at a cost of $20 million and the boy and his family refused to cooperate with Sneddon, so the case went away.
Sneddon, who had 9 kids, fiercely believed Jackson was a child molester. For Jackson's part, in one of his tracks you hear him say, "Tom Sneddon is a cold man."
He died of cancer.
Read more: http://www.tmz.com/2014/11/02/michael-jack.../#ixzz3Hw16uUDB -
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BLUE IVY CARTER MICHAEL JACKSON COSTUME 2014
Blue Ivy Carter Is the Perfect Michael to Beyoncé's Janet Jackson
Beyoncé took to Instagram on Friday to share an adorable photo of herself and her daughter, Blue Ivy Carter, dressed up for Halloween. The 2-year-old looked absolutely adorable as Michael Jackson, while her famous mom channeled Michael's sister Janet in her "Rhythm Nation" video. Beyoncé and Blue kicked off the holiday festivities when they attended Power 1051.1's Powerhouse event in NYC; Jay Z took the stage to perform during the party, and the trio was spotted leaving together later that evening. We'll have to wait and see if the Knowles-Carter clan does any more celebrating tonight, but for now, let's just marvel at how flawless little Blue looks in her MJ costume.
http://www.popsugar.com/celebrity/Blue-Ivy...e-2014-36031743 -
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Michael Jackson - Friar talks about MJ's heart inside church - Fra Alessandro parla di MJ.. - Michael e i suoi fans.
Michael Jackson - Friar talks about MJ's heart inside church - Fra Alessandro parla di MJ in chiesa
74MICHAELFOREVER
31/ott/2014
On 24 October 2014, in a Christian curch in Foggia, Italy, in the Parish of the 'Beata Vergine Maria Immacolata', Friar Alessandro from Assisi, gives a very moving speech telling the churchgoers who were inside church, the very essence of Michael Jackson.
.." They have painted him to us in a terrible way, they destroyed him, they have presented this man as if he were a monster telling us lie after lie. Do you know why? Because of envy. Because Michael Jackson was a man who dedicated his life to do good, for charity and to spread love through his music. You have to get to know things, we must listen to those who lived with him, not the one who has never known him, those who have never lived with him. You have to read what he wrote, you have to see the facts, foundations which he founded, the money he gave to charity to build structures, to care for people in need,his presence in the first person..."
Friar Alessandro D'Assisi
TRADUZIONE
31 / ott / 2014
Il 24 ottobre 2014, in una chiesa cristiana di Foggia, in Italia, nella Parrocchia del 'Beata Vergine Maria Immacolata', Frate Alessandro da Assisi, fa un discorso molto commovente dicendo ai fedeli che erano all'interno della chiesa, l'essenza stessa di Michael Jackson .
.. "Lo hanno dipinto a noi in un modo terribile, lo hanno distrutto, hanno presentato quest'uomo come se fosse un mostro che ci raccontano menzogne su menzogne. Sai perché? A causa di invidia. Perché Michael Jackson era un uomo che ha dedicato la sua vita per fare del bene, per carità e per diffondere l'amore attraverso la sua musica. Bisogna conoscere le cose, dobbiamo ascoltare coloro che vivevano con lui, non quello che lui non ha mai conosciuto, chi non ha mai vissuto con lui. Devi leggere quello che ha scritto, bisogna vedere i fatti, le fondazioni da lui fondata, i soldi che ha dato in beneficenza per costruire strutture, di prendersi cura di persone in difficoltà, la sua presenza in prima persona ... "
Frate Alessandro D'Assisi -
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Michael Jackson: esce al cinema il film concerto definitivo
Il 25 e 26 novembre arriva in 250 sale italiane "Michael Jackson - Life Death and Legacy"
Il 25 e il 26 novembre, in oltre 250 sale italiane, arriva il film dedicato alla vita e all'eredità artistica di Michael Jackson. S'intitola Michael Jackson - Life Death and Legacy ed è un film concerto evento distribuito da Microcinema. Si tratta di un tributo al Re del Pop, alla sua vita e all'eredità artistica che ha lasciato dopo la sua morte nel 2009.
Il film permette di riascoltare tutti i suoi brani più celebri e amati: da I Want You Back, inciso con i Jackson Five quando era ancora un bambino; la popolarità da solista ottenuta con il brano Don't Stop 'til You Get Enough; per arrivare al successo planetario raggiunto grazie a canzoni come Thriller e Billie Jean; fino alle conferme di Bad e Black or White, solo per citare alcuni dei classici presenti in Michael Jackson: Life, Death and Legacy. Il regista è Maureen Goldthorpe.
Non solo: la pellicola presenta anche testimonianze inedite di coloro che hanno lavorato con Michael Jackson, amici, familiari e giornalisti, accompagnate da commoventi ricordi, si alternano a nuovi e mai visti filmati che lo ritraggono nella sua brillante quotidianità e alle emozionanti esibizioni che lo hanno reso uno degli artisti di maggiore successo di sempre.
http://www.panorama.it/musica/michael-jack...rto-definitivo/
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