"Când cântă, o face cu o voce îngerească. Când îşi mişcă picioarele, îl poţi vedea pe Dumnezeu dansând".Bob Geldof
(prezentându-l pe Jackson la ediţia din 1996 a BRIT Awards)
Poate că nu i s-a dat în bobi cum trebuie, dar Michael Jackson tot s-a întâlnit cu doi dintre Bobii importanţi ai muzicii contemporane: Bob Dylan şi Bob Geldof.Încep cu Bob Geldof, pentru că este cel care cu adevărat s-a întâlnit cu Michael Jackson - şi nu doar o dată (mă rog, se părea că ar fi trebuit ca MJ să se re-întâlnească şi cu Bob Dylan prin 2006, dar a rămas doar zvonul). Bob Geldof, un tip minunat, a fost în România prin 1980, cu trupa lui de atunci - The Boomtown Rats. A susţinut câteva concerte la Polivalentă, cu miliţia de jur-împrejurul scenei, primul spectacol fiind întrerupt vreme de mai bine de jumătate de oră din cauza publicului care era să declanşeze o răzmeriţă în toată regula. Până la urmă Geldof a ieşit la parlamentări cu miliţienii, le-a promis că toată lumea va fi cuminte şi concertul a mers bine până la capăt. Nu mai ţin minte câte concerte au avut în total, parcă patru - eu am fost la două. Or fi fost două cu totul? - nu cred, pentru că între concertele din zile diferite, Bob Geldof şi-a exprimat dorinţa de a vizita locuri interesante din Bucureşti. A fost la Patriarhie, şi-a cumpărat diferite cărţi şi icoane de acolo, s-a arătat foarte interesat de istorie şi religie ortodoxă (ca să aibă ce uita între timp). Zvonul (pe care-l cred, pentru că sursele sunt şi cele care l-au fotografiat pe Geldof la Patriarhie) este că Boomtown Rats, în vogă la vremea aceea, au venit în România nu pentru bani, ci pentru... cherestea - România intrase deja în era tacâmuri-fărăcurentelectric-salamcusoia-frig, bani oha, dar cherestea aveam destulă şi un om deştept ştie că asta înseamnă, de fapt, bani. Geldof s-a dovedit întotdeauna a fi o minte strălucită şi, după cum se va vedea din al doilea articol (cel din Times), este şi un înţelept.
În The Guardian a apărut, la 26 iunie 2009, un articol în care Bob Geldof îl omagiază pe Michael Jackson. Articolul este semnat de Mark SweneyBob Geldof pays tribute to We Are the World co-writer Michael Jackson as he unveils Band Aid-style musical coalition
guardian.co.uk, Friday 26 June 2009 12.54 BST
Bob Geldof, who collaborated with Michael Jackson on the 1985 Live Aid song We Are The World, paid tribute to the deceased pop star today as he unveiled a musical coalition that will record a new version of Midnight Oil's Beds are Burning as part of a global campaign to tackle climate change.
Geldof will work with artists including Duran Duran on the initiative, unveiled at the Cannes Lions International Advertising Festival. The plan to record a new version of Beds are Burning marks the launch of former UN secretary general Kofi Annan's Campaign for Climate Justice to raise awareness of the disproportionate affect of global warming on the world's poorest communities."Firstly, my condolences and sympathy go to Michael Jackson's family," Geldof said. "Twenty five years ago I asked Michael to write a song – We are the World along with Lionel [Ritchie] and Quincy [Jones] – and [today]reminds me what he achieved for poor people of the world and what he achieved musically."
The campaign's aim is to galvanise the global public to put pressure on world leaders to take stringent climate change measures at the critical United Nations summit in Copenhagen in December to secure a new treaty to replace the Kyoto protocol.
One feature of the campaign will be a We Are The World-style collaborative single, featuring artists including Geldof, Duran Duran and actress Milla Jovovich, recording a reworded version of Midnight Oil's 1987 protest song Beds are Burning. The Australian band has reworked some of the lyrics to make it directly relevant to the climate change issue.
The single will be released as a free music download from September both to raise awareness and act as a "giant digital petition" by those who download it.
Geldof identified the similarities between Annan's cause and the Live Aid initiative to help tackle African famine and poverty that he masterminded in the 1980s. African nations will be disproportionately affected by climate change.
He began his comments today by paying tribute to Jackson, co-writer of We Are The World, who died of a suspected heart attack in Los Angeles late yesterday.
(The Los Angeles-based music manager Ken Kragen later took issue with Bob Geldof's claim to have commissioned We Are The World. Involving Michael Jackson was, he said, the idea of musician Quincy Jones. Kragen's account appears in a footnote at the end of this piece.)
Annan added: "The poorer and least developed nations will be hit hardest by the impact of climate change. [The Copenhagen deal] must be based on climate justice… polluters must pay."
David Jones, the global chief executive of advertising agency network Havas Worldwide, also unveiled the global strapline for the campaign in Cannes today — "Tck Tck Tck".
Jones said that the line was a digital version the word "tick" and represented the countdown of a clock ticking in the battle against climate change.
The strapline features in a "dogtag"-style logo in different colours and first appeared today in advertising in copies of USA Today being distributed at Cannes.
He added that the "Tck Tck Tck" logo is being made available as a digital download in the hope that consumers might latch onto it in the same way as they did for cyclist Lance Armstrong's famous yellow "Live Strong" cancer awareness wrist bands, which proved a global success.
A second, and equally important, aim is to convince the world's advertisers to give up a small part of their global TV, press and digital campaigns to feature the logo
"The great thing about [backing] this in a recession is that it is free. If just 1% to 2% of the world's advertisers did this over the next six months it would be the biggest campaign of the year," said Jones.
• This footnote was appended to this article on 29 June 2009, extracted from a letter received from music manager Ken Kragen in Los Angeles. Of Michael Jackson's role in writing We Are The World, he says: "I received a call from Harry Belafonte on 23 December 1985 saying that he was upset that more black artists were not involved with Bob Geldof's Do They Know It's Christmas and suggesting we do a concert with the many African American Artists (Michael Jackson, Lionel Richie, Prince, etc) who were dominating the US record charts and raise money for the same cause - African Relief - that Geldof's project was targeting. I responded that we should take our inspiration from Do They Know It's Christmas, and do a song with the top US artists, black and white.
"Belafonte agreed so I immediately drove over to the house of my then client, Lionel Richie, and discussed the project with him. He was totally receptive and we discussed bringing Stevie Wonder in to write the song with Lionel. We tried to reach Stevie all night with no luck but in the meantime I got my other clients Kenny Rogers, Kim Carnes and Lindsey Buckingham on board to perform and reached Quincy Jones just as he was boarding a plane for Christmas vacation in Hawaii. Quincy said we should involve Michael Jackson and called back within minutes saying he'd talked to Michael and he not only wanted to perform on the record but also write the song with Stevie and Lionel.
"Stevie agreed and then promptly disappeared (he went off to Philadelphia for a month but no one knew where he was). So with considerable push from Quincy, Lionel and Michael eventually got down to writing the song, completing it just in time for the demo session where we made the tapes for the artists I had been able to line up to sing. I invited Bob Geldof to come to Los Angeles to participate in the recording and he and I became friends during that period."
Un alt articol este cel din Time - www.time.com.
"Michael Jackson era cântăreţ pop; n-a inventat penicilina -
dar când i s-a cerut să ajute, a făcut-o."
dar când i s-a cerut să ajute, a făcut-o."
Unul dintre cele mai omeneşti şi fireşti discursuri. Bob Geldof povesteşte, pe scurt, incidentul de la gala BRIT Awards din 1996, când - în timp ce Michael Jackson cânta "Earth Song"-, numitul Jarvis Cocker (uite că a intrat şi ăsta în istorie) a protestat într-un mod îndeajuns de indecent. Jackson nu a înţeles de ce lumea a început să râdă şi, povesteşte Bob Geldof: "m-a sunat la trei dimineaţa să mă întrebe ce s-a întâmplat. I-am spus doar 'du-te la culcare; nu-ţi face griji'. 'Earth Song' era cam prea 'buricul pământului', dar era, totuşi, un cântec excelent. El era cântăreţ pop; n-a inventat penicilina. Dar la ce să te aştepţi când ai un copil care n-a fost niciodată la şcoală şi apoi a fost împins în existenţa asta nebună? Piesa mea favorită este 'Don't Stop 'Til You Get Enough', dar cea mai importantă este 'We Are the World'. Nu m-am omorât niciodată după cântecul ăsta, dar la vremea aceea majoritatea americanilor habar n-avea unde se află Africa. Nu cred că Michael înţelegea care sunt problemele, cele politice şi economice; nu-l interesau, dar când i s-a cerut ajutorul, a făcut-o".
Că greşeşte când spune că Jackson n-a fost la şcoală (şi încă "niciodată") - la urma-urmei prea puţin importă. Şi să spui că e cântăreţ pop - nu se leagă. Doar cântăreţ? Şi pop - poate doar în înţelesul de popular(itate), altfel - batem câmpii cu graţie. Dar ceea ce vrea să spună Geldof este legat de veşnica hărţuială la care era supus Jackson, aşa că s-a exprimat pe scurt, mă gândesc, drept pentru care îi acordăm certificatul de bună-credinţă şi, în acest sens, mi se par bune de pus pe un poster afirmaţiile: "He was a pop singer; he hadn't invented penicillin" şi "when he was asked to help, he did" .
(Time e partener CNN)Că greşeşte când spune că Jackson n-a fost la şcoală (şi încă "niciodată") - la urma-urmei prea puţin importă. Şi să spui că e cântăreţ pop - nu se leagă. Doar cântăreţ? Şi pop - poate doar în înţelesul de popular(itate), altfel - batem câmpii cu graţie. Dar ceea ce vrea să spună Geldof este legat de veşnica hărţuială la care era supus Jackson, aşa că s-a exprimat pe scurt, mă gândesc, drept pentru care îi acordăm certificatul de bună-credinţă şi, în acest sens, mi se par bune de pus pe un poster afirmaţiile: "He was a pop singer; he hadn't invented penicillin" şi "when he was asked to help, he did" .
Remembering Michael
Bob Geldof
I remember when I presented him with an award at the Brits in London, and I was reading the script, and I just couldn't get through all the encomiums, so I stopped. And then he performed "Earth Song" and Jarvis Cocker* got up and did his thing. Michael didn't understand why people had been laughing. He rang me at 3 in the morning to ask about it. I just told him "Go to bed; don't worry." "Earth Song" was a little hubristic, but it was still a cool song. He was a pop singer; he hadn't invented penicillin. But what do you expect when you have a kid who never went to school, and then he was thrust into this mad existence? My favorite track is "Don't Stop 'Til You Get Enough," but the most important is "We Are the World." I was never that crazy about the song, but at the time most Americans didn't know where Africa was. I don't think Michael understood the issues, the politics and economics; it didn't interest him, but when he was asked to help, he did.
________________________
* - In 1996, Michael Jackson was given a special Artist of a Generation award. At the ceremony he accompanied his single "Earth Song" with a stage show, with Jackson as a Christ-like figure surrounded by children. Jarvis Cocker, of the band Pulp, mounted the stage in protest of the performance. Cocker ran across the stage, lifting his shirt and pointing his (clothed) bottom in Jackson's direction. Cocker was subsequently questioned by the police on suspicion of causing injury towards three of the children in Jackson's performance, although no criminal proceedings followed. "Earth Song", by that point, had become Jackson's biggest hit in the UK, spending six weeks at the top of the chart. (en.wikipedia.org)
sectiunea MJ in Time: http://www.time.com/time/specials/michael-jackson
Un articol interesant despre şi cu Bob Geldof este şi pe site-ul săptămânalului în limba română ce apare în Grecia - Curierul Atenei, articol din aprilie 2006.
BOB DYLANCeea ce este postat mai jos (linkul către original e la titlu) reprezintă, de fapt, o povestire subiectivă a "Making of"-ului piesei "We Are the World", film prezentat de Jane Fonda. Întrucât abia bibilesc la povestirea proprie a filmului - sunt minunate momentele de repetiţii, demo-ul făcut de Michael Jackson, atmosfera din studio şi felul cum lucrează un uriaş cum este Quincy Jones - las întreagă povestea de mai jos cu precizarea că întâlnirea dintre Bob Dylan şi Michael Jackson s-a petrecut doar prin faptul că au respirat acelaşi aer din studioul de întregistrări. Alte semnalmente - niente...
WHEN BOB MET MICHAEL JACKSON . . .
Michael Gray
I meant to post this item weeks ago, when it might have claimed some vicarious topicality, but because it comes from the manuscript version of the book John Bauldie and I co-edited, All Across the Telegraph: A Bob Dylan Handbook, London: Sidgwick & Jackson, 1987, it's on my computer in a very old version of Word - it had started out on the green pastures of Amstrad Locoscript - but I couldn't access it until last night, when a visiting younger member of the family spent about ten seconds at my keyboard retrieving it for me. So. Almost as interesting as the preposterous story the article tells is the now-ancient nature of the technology described early on:
DYLAN & THE MAKING OF USA-FOR-AFRICA
by John Bauldie*
revised from an article originally published in issue no. 20 of fanzine The Telegraph
Having been stunned by the Ethiopian situation and impressed by the efforts of Band Aid, the man for whom Bob Dylan played harmonica on his first-ever venture into a professional recording studio (June 1961) - Harry Belafonte - is determined to get something going in America too. He asks manager Ken Kragen for advice, and Kragen, predictably, suggests a record. Kragen used to manage the late Harry Chapin, himself a crusader against world hunger. Now, in addition to Belafonte, Kragen manages wealthy Lionel Richie and fabulously wealthy Kenny Rogers (and therefore has a bob or two himself). Kragen puts the idea to Rogers and Richie, and both are keen to respond. The ball is rolling. By January 22nd, 1985, the song that is needed has been written, but not yet polished up, by Richie and Michael Jackson, and arrangements have been made to get something down on tape.
On January 22nd, then, in Kenny Rogers' Lion Share Recording Studio on Beverly Boulevard, there is a recording session to get the basic instrumental track down. They have six takes. When the backing is to producer Quincy Jones' satisfaction, Michael Jackson and Lionel Richie have to add a guide lead vocal. The idea then is to duplicate this onto fifty cassettes, to be sent out to the invited potential performers, so that they'll be familiar with the song before the upcoming main recording-session.
On this guide-version, the lyrics aren't finished. "There's a chance we're taking/We're taking our own lives" is causing some worries. The second line sounds suicidal, the first self-congratulatory. Richie changes the second "taking" to "saving", while Jones comes up with "There's a choice we're making." This version of the song also has a chorus of gobbledegook: "sha-lum, sha-lingay." But by 1.30am this demo is wrapped up. Two days later, the fifty cassettes are sent out to all the artists by Federal Express, which provides its delivery services free. With each cassette is a letter from Quincy Jones addressed to 'My Fellow Artists': "The cassettes are numbered, and I can't express how important it is not to let this material out of your hands. Please do not make copies, and return this cassette the night of the 28th. In the years to come, when your children ask 'What did Mommy and Daddy do for the war against world famine?' you can say proudly that this was your contribution."
On January 25th there is an administrative meeting, with Kragen as concerned as Jones had been to stress the need for absolute secrecy: "The single most damaging piece of information is where we're doing this. If that shows up anywhere we've got a chaotic situation that could totally destroy the project. The moment a Prince, a Michael Jackson, a Bob Dylan - I guarantee you! - drives up and sees a mob around that studio, he will never come in."
Secrecy is ensured, and Bob Dylan does come in. He arrives pretty early, soon after nine o'clock, on the evening of January 28th. Michael Jackson, Billy Joel and Ray Charles are there already: "Bob Dylan slouches in, stone-faced, and sits down in the seat closest to the door." He has just walked under Quincy Jones' sign which reads 'Please Check Your Egos At The Door'. The session is at the A& M studios, across the road from the Shrine Auditorium, where the American Music Awards ceremony is being held the same night but is due to finish at 10pm. Jones hopes to get things started soon after 11.
Few seem to have noticed the irony of tables in Studio B groaning with $15,000-worth of roast beef, tortellini, imported cheeses, fruit and delicacies: provided free by Someone's In The Kitchen Catering, but somewhat incongruous in the circumstances. As more and more people arrive, the studio gets noisier and Dylan is not allowed to sit silent for long: "Bruce Springsteen arrives with no entourage, no bodyguards. He simply parked his rented car across the street from the studio, breezed by security and entered the control room, where he's smothered in giggles and hugs by the Pointer Sisters. He hugs Dylan..."
After suffering the Springsteen hug perhaps Bob finds the Diana Ross hug more comfortable. Perhaps not: "From a dramatic dipping hug with Quincy, Diana jumps into 'Bobby' Dylan's lap for a few minutes..." Some time after 11pm, the recording begins - choruses first, so that none of the egoless stars will walk out if they find that vocal arranger Tom Bahler hasn't given them a solo vocal line in the verses. Each performer has been allocated a particular place to stand. Each name is on a piece of silver gaffer-tape on the risers. Egoless Diana Ross has been carefully allocated a place in the middle of the front row, between Michael Jackson and Stevie Wonder.
On the other side of Michael Jackson - between him and Paul Simon - is a space marked 'Prince'. He never shows. He'd offered to play a steaming guitar part, but was asked to do the same as everybody else. ("Fuck him. What is he? A creep" - Bob Geldof.) After several takes of the chorus, a break is announced and the company makes for the roast beef. Video screens replay the session-so-far. LaToya Jackson (one of Michael's sisters) checks her yellow head-band and make-up. Diana Ross checks everybody's make-up. Stevie Wonder remains unimpressed. Dylan is with Paul Simon but is confronted by Billy Joel and fiancée Christie Brinkley, who looks star-struck. She begins to babble about a new scheme - Fashion For Africa: models and designers pooling their talents to relieve world hunger. Unfortunately Billy Joel is not star-struck, and hugs Dylan.
At one in the morning, the chorus reconvenes: but there's a problem with the "sha-lum, sha-lingay" line. Stevie Wonder has had an idea. Instead of "sha-lum, sha-lingay", why not a line in Swahili? Waylon Jennings figures that no good ole boy ever sang in Swahili and leaves the studio, never to return. Bob Geldof points out that Ethiopians don't speak Swahili (more properly, they don't speak KiSwahili). Michael Jackson votes to keep the "sha-lum sha-lingay" line. But then he would, wouldn't he?: he wrote the line in the first place. It is tried out again, but a secret and subversive coalition is forming between Paul Simon and Al Jarreau. Cyndi Lauper wants to join in. She's not sure what a subversive coalition is but it sounds like fun - specially with Al Jarreau. The manifesto is to find something meaningful to sing, preferably in English. Jarreau soon produces a meaningful new line: "One world, our world."
Michael Jackson is stunned. He never knew that songs could be so meaningful. Nothing he ever wrote made as much sense as this new Jarreau line. But the new line's main champion becomes Cyndi Lauper, who recognises the line's depth and message: "That's right! Aint what we're doing trying to unite the world?"
Stevie Wonder begins to sulk. Tina Turner says she prefers "sha-lum, sha-lingay" anytime. The song is eventually tried with the Jarreau line, though by this time it too has been substantially changed. Now it's "One world, our children," which Quincy Jones thinks is the best line yet. There is no information on who came up with it. Perhaps it was Quincy. To relieve his frustrations at not being allowed to sing in KiSwahili, Stevie Wonder suddenly breaks into 'The Banana Boat Song'. (This is all true.) There is later speculation that this was "a sudden tribute to Harry Belafonte, who had first suggested this benefit recording-session." 'The Banana Boat Song' proves much more popular than "One world, our children" and the whole chorus defects to singing "Day-o! Day-o!". . . Stevie Wonder cheers up.
Meanwhile Bob Geldof "draws a map of Africa on a piece of sheet music" to explain to Bruce Springsteen "the logistical difficulties" of famine relief, while Willie Nelson explains to Dylan the logistical difficulties of golf: "...Nelson asks Bob Dylan if he plays golf. Dylan, slightly amused, replies 'No, I've heard you had to study it.' Says Willie - who has become obsessed with the game - 'You can't think of hardly anything else.'" Huey Lewis joins in this discussion with an echoing enthusiasm. Dylan remains polite. He and Willie exchange 'phone-numbers and tentatively plan to meet in Hawaii during school spring break with the kids, to start working on material for a mooted joint album.
(Perhaps at this point Willie mentions that the song Bob keeps calling 'When I Think Of Her' is actually called 'Why Do I Have To Choose?' Perhaps he asks Bob why he dropped it from the '84 tour set. Perhaps he also asks why Bob accidentally took the composer-credit for 'Angel Flying Too Close To The Ground', on the B-side of the 'Union Sundown' single.) Willie Nelson is looking cleaner and smarter than anyone has ever seen him look before. He looks ten years younger and would pass for 62. Bob Dylan also looks fairly well-groomed, in a smart soft-leather black bomber jacket and a light-&-dark grey-checked shirt which could have come from Next For Men. Photographs are taken.
Between three and four in the morning, soloists start getting organised. Stevie Wonder introduces two Ethiopian women to the performers. Things proceed slowly. "Where's Bobby Dylan?" yells Quincy. "Let's get Bobby in here." It is 5.30am. Dylan is taken to Stevie Wonder for a rehearsal of his solo lines: (ahem: "There's a choice we're making/We're saving our own lives/It's true, we'll make a better day just you and me.") Stevie wants Dylan to sound like Dylan.
"Dylan is tentative. Stevie is doing a better 'Dylan' than Dylan - more whining exaggeration - and explains, 'Do it more like this'. After twenty minutes of coaching from Wonder, Dylan approaches the microphone. He barely manages a mumble. Lionel clears almost everyone out. With each successive take, Dylan gets stronger - more like himself. He asks Stevie to play the piano behind him. Quincy rushes in after the take. 'That's it. That's it. That's the statement.' Dylan, unconvinced, mutters 'That wasn't any good.' Lionel tells him: 'Trust me.' As Quincy gives him a bear hug" [of course] "and whispers 'It's great.' Dylan finally smiles. 'Well, if you say so.'"
At exactly 5.57am, Dylan's lines are played back over the monitors. Lionel Richie falls flat on his back, eyes closed, then dances awhile, waving his ladies' Reebok aerobic shoes in the air. The shoes have been manufactured in Bury, England, home of The Telegraph. One world. "Soon after, Al Jarreau corners Dylan by the piano. He's choked up. 'Bobby', Jarreau says, holding back tears, 'in my own stupid way I just want to tell you I love you.' Dylan slinks away without even looking at him. Jarreau walks to the door of the studio, looks back at Dylan, cries 'My idol,' bursts into tears and leaves."
Then Bruce Springsteen finally moves forward to record his solo: "'You sounded fantastic, Dylan,' he calls to Bob as he steps to the mike. Dylan leans against the wall to watch Bruce work..." Springsteen produces a flawless first take, and it's time to leave. Dylan, who slunk away from Al Jarreau possibly fearing another hug, cannot evade a block tackle by linebacker Bette Midler. Midler, whose earlier attempts at seducing Dylan were reported in The Sun in November 1982, you'll remember (in caseyou don't, they were unsuccessful: "I got close...a couple of first bases in the front seat of his Cadillac"), is as determined as anyone to hug Bobby. This time her determination proves irresistible: "Bette Midler hugs Dylan, tells him 'Goodnight, dearest.'" By eight o'clock everyone is on the way home. 'We Are The World' is in the can. Some weeks later a bruised and thoroughly hugged Bob Dylan appears, improbably enough, on millions of television screens in 1985 pop music programmes all over the western world.
* This article has been almost entirely winkled out of a thorough account of the relevant events by freelance writer David Breskin in Life in April 1985, plus a tiny bit from the We Are The World book, Perigree Books, USA, 1985. I hope this explains why some paragraphs appear in quotation marks.
Name: Michael Graysursa: bobdylanencyclopedia.blogspot.com
Location: France
English writer, critic, broadcaster and performer of one-man-show/talk-with-music live gigs. Specialist subjects Bob Dylan's work, rock'n'roll, some pre-war blues and travel. Author of a biography of Frank Zappa (1985, 1992, 1993, 2003 & 2007), co-author of THE ELVIS ATLAS: A Journey Through Elvis Presley's America (1996), co-editor of ALL ACROSS THE TELEGRAPH: A Bob Dylan Handbook (1987), author of SONG & DANCE MAN: The Art Of Bob Dylan (1972), THE ART OF BOB DYLAN: Song & Dance Man (1981), SONG & DANCE MAN III: The Art Of Bob Dylan (1999/2000), THE BOB DYLAN ENCYCLOPEDIA (2006; paperback 17 July 2008 in the UK & US) and HAND ME MY TRAVELIN' SHOES: In Search Of Blind Willie McTell (UK hardback Bloomsbury, July 2007. UK paperback October 2008. US hardback Chicago Review Press, September 1, 2009). But would anyone notice if I substituted a completely different blurb? - Tuesday, August 04, 2009
ştire: http://news.softpedia.com/news/Michael-Jackson-to-Sing-with-Bob-Dylan-27633.shtml
şi răspuns ca nu: http://visionsofdylan.co.uk/2009/07/08/when-michael-jackson-almost-sang-with-bob-dylan/
analiză/comparaţie BD si MJ: http://www.blackshadow.com.au/2009/06/why-michael-jackson-will-be-remembered-as-greater-than-dylan/
