sâmbătă, octombrie 31, 2009

La fel

Am primit din partea L.R. (am uitat să întreb cât din nume am voie să spun) o epistolă - din care citez mai jos:

"Adevărat, foarte dezamăgitor organizat totul... de la promovarea filmului până la întrebarea "cât costă un tricou?" la care ţi se răspunde cu un 99,9 în scârbă! Este de-a dreptul dezamăgitor, frustrant că nu te poţi bucura pur şi simplu de un moment pe care l-ai aşteptat o lună întreagă... Îmi dau seama pe zi ce trece că trăiesc într-o ţară în care, la orice mişcare, criticăm mişcarea celuilalt, aparent nebunească, dar pe care, în secret, ne-am dori să o fi făcut şi noi... este, la un moment dat, trist că nu ne mai simţim liberi să ne exprimăm cum ne dorim, nu mai zic cum simţim... păi ce să mai spunem de Michael, la sfârşitul clipului Black&White, dacă s-ar trezi vreunul de pe la noi să facă aşa ceva, probabil ar fi de-a gata catalogat drept nebun!

Cam asa a fost la plaza... la 20:45, joi 29 octombrie, oameni cărora le era parca frică să şi râdă, ce să mai zici să mai aplaude sau să cânte... deşi am încercat să mă simt cât mai bine şi am cântat cât am putut... să nu se audă foarte tare... la aplaudat nu prea m-am bagat... parcă eram toţi crispaţi. Cel puţin aşa era atmosfera. Deşi pretindem că suntem un popor civilizat şi cu mintea deschisă, fiind dispuşi să protestăm pentru drepturile homosexualilor şi a diverselor minorităţi, când vedem o persoană îimbrăcată mai diferit sau care pur şi simplu doreşte să îşi exprime admiraţia şi pura iubire faţă de o persoană cu totul specială, începem să clevetim mai ceva ca vecinele lu' mamaia... deşi, din nou, am vrea să avem şi noi tupeul, să avem atâta tărie să arătăm: da dom'le îmi place foarte mult de omul ăsta! ai ceva împotrivă?
Oricum, asta este uşor de discutat şi greu de aplicat...
....
Din tot ce am spus că este atât de nasol în legătură cu promovarea filmului... aaa pe lângă faptul că deştepţii de la MTV s-au bătut cu pumnul în piept duminica trecută că poţi câştiga 5 bilete a 2 persoane în cadrul MTV by Request, a fost un bogus total: nimic pe site NIMIC... nici umbra de astfel de concurs (asta pentru că trebuia să dai răspuns la o întrebare pe site)... pur şi simplu nu-mi venea să cred... doar aşa, pe marţi - miercuri au băgat pe site şi concursul ăsta unde ''MTV îşi rezervă dreptul de a modifica data, fără drept de compensare dar nu înainte de a anunţa publicul pe canalul MTV.'' ...deci da..."

Q.E.D.

vineri, octombrie 30, 2009

Primele impresii

Primul lucru la care m-am gândit, de cum am văzut în ce hal era "primirea" la cinematograf, a fost şi ultimul: bancul în care atentatele sunt adecvate ţării. Da, e adevărat, nici promovarea filmului n-a prea existat la noi, cronici şi păreri de la criticii noştri de film (că de muzică n-avem) nici atât, başca preţul biletului care este prohibitiv (să nu spunem cât costă junk-food-ul dinăuntru) - ceea ce-mi sugerează faptul că "ai noştri" au primit filmul ca pe o sarcină împotriva voinţei. De parcă ar fi dat ei bani, n-ar fi fost rost de câştig. Aşa că - la aşa o ţară aşa o promovare. Jalnic. Cât o fi de bun, de măreţ, de strălucitor, nimic nu se promovează singur la nivelul aşteptat, dacă e pus pe raftul unde nu ajunge nimeni, unde nu se vede şi dacă-i mai pui şi altceva în faţă.

Băieţii noştri n-au mişcat nimic-nimic, drept pentru care se poate, totuşi, ca o parte destul de mare din imbecilii planetei să se afle la noi în ţară. Albumul care, cum scrie chiar pe genericul filmului, îl însoţeşte - nexam. Tricouri, afişe, ceva - oha. Animaţie, decor - nici vorbă, vai de mine, cum pot pretinde aşa o enormitate? - nici în hol nu e măcar un afiş, să se vadă la ce-ai venit. Penibil.

Probabil că dobitocii ar spune că nu li s-au dat bani să mişte vreun deget. Dar, cretinii, nu s-au gândit că există nişte fan-cluburi, că există cei care au tot organizat flashmoburi şi, cu puţină imaginaţie, se putea face o mizanscenă de toată frumuseţea. Au avut o lună la dispoziţie: şi? De ce cred ei că se face un anunţ din vreme? ca să băltim, să ne scobim în nas... Dacă s-ar fi urnit, ar fi putut face ceva măcar acceptabil, dacă nu ceva chiar bun. Şi - mai ales - cu impact. Nu. Toţi vor doar bani, că idei ghe un'să ia? E drept, asta se culege după ce în astfel de posturi au ajuns doar nişte neici nimeni, piloşi, fii, fiice, neamuri, amante, relaţii. Ca peste tot în România. Drept urmare - sala a fost trei sferturi goală (pozitiv: un sfert plină), toti stânjeniţi: în alte părţi, la filmul acesta s-a cântat, chiar s-a şi dansat, s-a aplaudat frenetic la fiecare melodie. Aici - doar după o piesă cineva a început să aplaude şi s-a domolit imediat, dându-şi seama că restul zăcea în inerţie (eu - la fel, din acelaşi motiv).

Filmul este, într-adevăr, pentru fani. Pentru careva ca mine - prea puţin, poate doar speranţa că e prima parte şi că urmează partea a doua... şi a treia, în care documentarul să fie mult mai consistent, să-l vezi şi să-l auzi pe Michael Jackson vorbind şi comunicând cu ceilalţi. Aici - e multă muzică şi toată (cu mici inserturi "rătăcite" de piese din ultima perioadă plus o scurtă secvenţă de Jackson 5 şi o piesă The Jacksons) din perioadele Thriller - Bad - Dangerous - vag HIStory (excelenţi toti dansatorii - foarte bună partenera de la "The Way You Make Me Feel" - şi muzicienii, mai puţin solista de la "I Just Can't Stop Loving You"; chiar dezamăgitoare...; mulţumesc L. pentru corectură). Minunate, de asemenea, punerile în scenă (şi tăieturile la montaj) - poate cam exagerată versiunea nouă la Thriller.

Este un film marca Kenny Ortega şi mai puţin, cred, un film pe care Michael Jackson l-ar fi aprobat întru totul. Aş crede c-ar fi vrut ca o parte să fie şi cu piesele din ultima perioadă şi la cel puţin o piesă să fie prezentat making of-ul pe larg. Dar astea-s chestiuni subiective: este un film în care se poate vedea cum TREBUIE făcut un lucru, cum trebuie muncit, cum trebuie să fie relaţiile între cei care formează o echipă. Adică - ei se află în secolul al XXI-lea, noi - în epoca de piatră.

joi, octombrie 29, 2009

Detalii

La adresa www.michaeljackson.com sunt detalii privind întreaga echipă care a participat, alături de Michael Jackson, la realizarea spectacolului "This Is It" - spectacol devenit film. Echipa de muzicieni, de pildă, a fost alcătuită din:

Orianthi Panagaris - chitară solo (24 de ani, australiancă): "Munca alături de Michael Jackson a fost o experienţă care mi-a schimbat viaţa. Una pe care n-o voi uita niciodată". Orianthi Panagaris are în pregătire un album propriu, "Believe".

Michael Bearden - keyboard: aptitudinile sale muzicale au fost folosite de nume mari din muzică (Christina Aguilera, Ricky Martin, Destiny's Child, D'Angelo, Jennifer Hudson, Usher, India Arie, Brian McKnight şi Jennifer Lopez) dar a şi cântat alături de vedete ale muzicii americane şi nu numai (Whitney Houston, Lionel Richie, Chaka Kahn, Patti Austin, James Ingrahm, Babyface, Lenny Kravitz, Yoko Ono, George Benson, Natalie Cole, Herbie Hancock, Anita Baker, John Mellencamp, Edie Brickell, precum şi legendarii Stevie Wonder, Nancy Wilson, Aretha Franklin, Liza Minelli şi Ray Charles).

Morris Pleasure - keyboard: poreclit Mo Pleasure, este un renumit multi-instrumentist (există termenul?), compozitor şi producător. La patru ani începea să studieze pianul clasic, iar la zece ani ştia deja să cânte la trompetă, chitară, contrabas, vioară şi tobe. A început cariera sa muzicală cântând la contrabas alături de Ray Charles, trecând apoi la colaborări (mai ales în jazz şi R&B) cu numeroşi artişti, printre care George Duke, Natalie Cole, Dianne Reeves, Jonathan Butler, Rachelle Ferrell, Michael McDonald, Oleta Adams, Roberta Flack, Marcus Miller şi Frankie Beverly and Maze. A participat la cele mai renumite festivaluri de jazz dar a şi concertat alături de Orchestra Simfonică Eastern din Connecticut, interpretând Rapsodia albastră de Gershwin.

Thomas Organ - chitară ritmică: experienţa sa profesională include turnee şi înregistrări cu Lionel Richie, Ray Charles, Tease, Bobby Lyle, Lakeside, Snoop Dogg, Coolio, Randy Jackson, Beyonce şi mulţi alţii.

Alfred Dunbar - chitară bas.

Roger Bashiri Johnson - percuţie: o extrem de bogată experienţă, căpătată în cursul nenumăratelor sale înregistrări pentru reclame, filme, televiziuni, concerte alături de vedete din diferite genuri muzicale, i-a permis lui Bashiri să conducă o şcoală de studiu intensiv al percuţiei, deschisă în propriul său studio de înregistrări. A cântat alături de Whitney Houston, Donald Fagen, Steve Winwood, Rolling Stones, Celine Dion, Gloria Estefan, Paul Simon, Barbara Streissand, Spice Girls, Miles Davis, Ray Charles, Michael Jackson, Queen, Eric Clapton, Sade, Kenny G, Lionel Richie, Kenny Garrett, Aretha Franklin, Sting, Mary J Blige, Gypsy Kings, Bob Dylan, James Taylor, Nina Simone şi mulţi alţii.

Jonathan "Sugarfoot" Moffett - tobe: talentul de care a dat dovadă de timpuriu i-a permis să ia parte la peste 20 de turnee majore, printre care şi faimosul Victory Tour al trupei The Jacksons. A făcut înregistrări cu Diana Ross şi Elton John, Peter Cetera (de la Chicago), Kenny Loggins, Diana Ross şi mulţi alţii. A participat la numeroase emisiuni TV celebre (The Tonight Show, Good Morning America, Saturday Nite Live şi Arsenio Hall)

Judith Hil - voce background: cântăreaţă şi compozitoare din Los Angeles, a participat la realizarea coloanelor sonore a numeroase filme; a cântat pe scenă cu artişti ca Smokey Robinson, Babyface, Lionel Richie, Peter Cetera, Usher şi francezul Michel Polnareff. Anul acesta va fi gata primul său album.

Ken Stacey - voce background: este unul dintre cei patru interpreţi care au asigurat background-ul pentru "This Is It"; a fost chemat şi la omagiul adus lui Michael Jackson la 7 iulie a.c.; a cântat cu Tony Bennett, Natalie Cole, The Four Tops şi The Temptations; a făcut parte din echipa de turneu a lui Elton John.

Dorian Holley, Darryl Phinnesse - voci background

miercuri, octombrie 28, 2009

Project Love - de la băftoşi citire

"Lumea a pierdut un concert dat naibii!" (The Hollywood Reporter)

Cinemagia (la noi) a ieşit deja cu primele impresii de la vizionare. Iar postarea de mai jos şi cea de mai jos de cea de jos (na-na-na-na-naaaaa-na) vor fi modificate un pic, habar n-am când, pentru că Rolling Stone-şii, aşa îi cum stă bine unei întreprinderi serioase, au scos text pentru fiecare filmuleţ.
________________
fotografia: Sony/AEG

marți, octombrie 27, 2009

Ultima apariţie publică

23 mai 2008 - petrecerea aniversară a lui Christian Audigier care a avut loc la Petersen Automotive Museum din Los Angeles

Project Love


Măi, îmi place cum au "codificat" filmul This Is It cei ce au lucrat (căci bănuim că, acum, e cam gata făcut) în mare secret la acesta. Îmi aduce aminte despre ceea ce se spune despre Moonwalk, ce primise, la fel, un nume de cod ("Neil Armstrong") şi la ce tertipuri au recurs la vremea aceea editorii cărţii. Ştim.
Dar uite ce bunătăţi avem - tot de la MTV (dot-com, ca să zic aşa):



(articolul se numeşte 'Michael Jackson's This Is It' Rehearsal Clips)
sursa: www.mtv.com

Bonus:

De la www.michaeljackson.com aflăm că:
Michael Jackson's This Is It Album Available Now
OCTOBER 26, 2009
The new album featuring the new song "This Is It" is available now! The 2-CD collector's edition features the music that inspired Michael Jackson's This Is It. The package includes a 36-page, commemorative booklet featuring exclusive photos of Michael from his last rehearsal along with an 11"x17" (approx. 28cm x 43cm) movie poster. The Deluxe Four Vinyl LP (180g) set contains the original album masters of some of Michael's biggest hits, previously unreleased versions of classic tracks plus two versions of the never-released "This Is It"
Aferim!

Încă o dată

În urmă cu trei luni şi ceva trăncăneam despre dansul lui Michael Jackson. Pe lângă o sumedenie de prostii pe carele le-am debitat, tre' să recunosc că am zis şi câte ceva deştept (măi!), referitor la ceea ce uimeşte şi azi în ceea ce-l priveşte pe Jackson dansatorul (căci, dacă-l luăm pe bucăţele dăm în bâlbâială - şi asta nu prea e glumă). Revin acum doar să completez ceea ce a scris atât de bine kaleydospeeyes88, dar atât de telegrafic. M-am înarmat nu numai cu filmuleţele la care mă refeream atunci, ci şi cu muniţie marca MTV, foarte nouă (ştiau ei ce clocesc. Hă-hă). Repet, el nu s-a împăunat niciodată cu faptul că ar fi inventat din nimic ceva în domeniul coregrafic, dar a ştiut să valorifice tot ceea ce a văzut la alţii, filtrând prin propriul talent şi un simţ al ritmului aparte (era cotat, de pildă, ca fiind cântăreţ ritmic, adică un specimen rar întâlnit) un bagaj pe care l-a completat cu elemente unice şi cu totul speciale, făcând ca dansul lui să devină emblematic. Bun, după ce-am bătut câmpii, să trecem la treabă:



Putem bănui cam din ce an este filmarea - 1976 sau 1977 - şi, adăugând toate episoadele din cele două sezoane de "The Jacksons Show", trebuie să spun că, deşi Michael Jackson spune în Moonwalk că a urât fiecare moment din această experienţă (nu suporta să facă ceva fără repetiţii consistente, adică nu înţelegea să "fuşărească" nimic - ehe, n-a trăit el în România!), perioada respectivă i-a folosit în ceea ce priveşte dansul "standard" şi lucrul cu un coregraf profesionist. Nu am băgat de seamă ca, până atunci, să fi fost vreodată vorba în mod serios despre aşa ceva în ceea ce-i priveşte pe Jackson 5. Talentul, intuiţia şi imaginaţia n-ar fi putut duce improvizaţiile prea departe, cred.


(Psst: cum spuneam, sunt de urmărit cele ce se întâmplă începând cu a) minutul 0'23" şi b) minutul 4'12")

Şi acum - să trecem la This Is It şi la cele ce se găsesc la www.mtv.com. Urmează părerile unor dansatori, coregraful asociat Travis Payne, regizorul şi producătorul Kenny Ortega - toţi fiind parte din echipa care a lucrat cu Michael Jackson în primăvara acestui an.

Travis Payne - coregraf asociat

Tot Travis Payne - coregraf asociat

Mekia Cox - dansatoare

Devin Jamieson - dansator

Misha Hamilton - dansator

Kenny Ortega - regizor şi producător

Kenny Ortega.

Articolul se numeşte MTV News Extended Play: 'Michael Jackson's This Is It'
sursa: www.mtv.com

luni, octombrie 26, 2009

Influenţe şi inspiraţie


Michael Jackson nu a avut niciodată vanitatea de a-şi asuma inventarea dansurilor sale, dimpotrivă - chiar celebrul Moonwalk este, în opinia sa, un melanj între mişcările "puştilor din cartiere" şi cele ale lui James Brown, ca să cităm din memorie. De asemenea, au fost depistate imediat influenţele din "West Side Story" - atât în "Bad", cât şi în "The Way You Make Me Feel", precum şi citatul aproape exact din "Singing in the Rain" - la finalul părţii video din "Black or White". De asemenea, nu este de neglijat nici faptul că multe din dansurile lui Michael Jackson au fost create în colaborare cu coregrafi de profesie (Michael Peters, Jeffrey Daniel, de exemplu).

Dar ceea ce, cu certitudine, este genial în realizările coregrafice ale lui Michael Jackson nu este doar îmbinarea formidabilă a unor mişcări din zone coregrafice diferite cât, mai ales, anularea barierelor temporale, unind într-un singur act anii 20-30, cu anii 50, apoi 60 şi anii 90 şi chiar mai mult (dat fiind că, de la el încoace, cam nimic nou sub soare). Aşadar, un parcurs de circa 70 de ani reuniţi mereu şi mereu, cu har inegalabil, într-un tot unitar. Adică: dacă ai talent, imaginaţie şi, mai ales, inteligenţă, nu există nimic vechi şi nimic perisabil.

Am descoperit - la adresa kaleidescopeeyes88.xanga.com - un articol excelent despre originile dansului (generic vorbind) lui Michael Jackson, articol semnat de, aţi ghicit, kaleidescopeeyes88. Drept pentru care, cu acordul autoarei, îl voi cita mai jos ca atare:
The Genealogy of Michael Jackson's Dance

The articles I've read commemorating Michael Jackson's contributions to popular culture often refer to him as a genius, a born talent, a child prodigy who evolved into a megastar. These praises certainly speak to a truth-- Watching footage of him performing as a kid with The Jackson 5, one can argue that that kind of zeal and ease cannot be taught. However, watching his body of work as an adult makes one thing very clear to me: Michael Jackson must have also been a meticulous student who analyzed the work of his predecessors and spent countless hours carefully honing his craft, especially as a dancer. I don't claim to be a scholar of dance myself by any means, but I speak as a spectator who has always loved watching dance, on both the small and big screens.

Michael Jackson (The King of Pop) was obviously influenced by Elvis Presley (The King of Rock) and James Brown (The Godfather of Soul). Many of Jackson's signature moves, including his spins, his pelvic thrusts, his kicks, the way he would arch his body and prop himself on his toes, can be seen in these two videos:





Both Presley and Brown embody a raw sexual energy combined with elegant physical dexterity that Jackson clearly channeled. But one of Jackson's biggest influences must have also been the legendary dancer/choreographer Bob Fosse, who can be seen in this weird clip from the film The Little Prince:




We can recognize how Jackson may have been inspired by Fosse in creating his iconic look-- the hat, the gloves, the too-short pants and white socks. At about 6:20 we can see bits of what looks almost like Jackson's Moonwalk. Fosse's dance style is perhaps best represented in the "Steam Heat" number from the 1957 film The Pajama Game, which he choreographed:




Perhaps what's most striking about this piece, and perhaps what also makes it somewhat revolutionary for its time, is the androgynous aesthetic: Carol Haney and her male co-dancers are dressed alike and perform the same choreography. The wide stances combined with hunched shoulders make for a body position that can't really be described as manly or womanly. Throughout his life, Jackson also created an androgynous image of himself, at once macho in its sexual energy but also feminine in its delicateness. Like Fosse, Jackson made us re-imagine how gender is to be represented through movements of the body.

Jackson was clearly a fan of musical theater and old Hollywood. This makes total sense, given that Jackson arguably did for dance through the music video what the likes of Gene Kelly and Fred Astaire did for dance through the big screen. Fans have been editing their own mashup videos on youtube to present such comparisons:




We can see hints of West Side Story in the dancing for his video, "The Way You Make Me Feel" (in particular the bit at 8:00). The film, which was choreographed by Jerome Robbins, another legendary dancer/director/choreographer, was clearly the inspiration for his videos for "Bad" (which was directed by Martin Scorsese) and "Beat It." These videos are clear homages to the scenes for the song "Cool" and the rumble from West Side Story:




Jackson's video for "Smooth Criminal" is perhaps his most direct homage to old Hollywood, with its film noir setting. When the gangsters in the background place their bets (at about 2:50), we can see striking glimpses of Guys and Dolls. (Sorry, I can't seem to find the clip that I have in mind.) The video is said to be based on "The Girl Hunt Ballet" from the 1952 film The Band Wagon, staring Cyd Charisse and Fred Astaire.
-
Lore has it that when Jackson debuted his Moonwalk on the 25 Years of Motown special in 1984, Fred Astaire called him on the phone to personally praise him as a dancer. I can totally believe this story to be true, because Jackson so clearly belongs in the tradition that Astaire helped create. But like any truly talented dancer, Jackson took these recognizable influences and made them his own. We can take any of his moves and see them as uniquely his. He weaves together all of these influences seamlessly, too. It's obvious that he didn't try to simply blend into the trends and traditions that he was channeling, but put himself and his dancing front and center. Whereas most performers these days who have been influenced by him (from Justin Timberlake to Beyoncé) usually use dance as part of the overall spectacle, in any one of Jackson's performances, our eyes go directly to his feet. We become immediately mesmerized by his movement and the story he tries to tell through it. To be able to create that for mass audiences who may be otherwise unfamiliar with the art of dance is a pretty awesome accomplishment.

Michael Jackson certainly had the talent to make his work look incredibly easy. And true, he may not have been a trained dancer in the traditional sense, and few of us can come close to emulating his movement even with training. But let's not forget that he must have worked incredibly hard to gain the skills that he did.
kaleidescopeeyes88.xanga.com

Claire Hoffman & Andy Greene - Michael Jackson’s “This Is It” Peek Reveals Star in Onstage Glory

Michael Jackson’s “This Is It” Peek Reveals Star in Onstage Glory
10/23/09, 3:47 pm EST

In five days, Michael Jackson fans will get their first real look at the comeback show that could have restored his reputation as the world’s greatest entertainer when the documentary This Is It hits 3,000 U.S. screens (and nearly 19,000 international theaters) for a two-week run. The film’s director, Kenny Ortega, says he had those fans in mind when he helped cut down 120 hours of rehearsal footage for Jackson’s 50-show run at London’s O2 Arena into the feature-length movie.

“There was this desire to have one more visit with Michael, one more experience with him,” says Ortega, who was choreographing Jackson’s show. “It’s powerful. It’s moving, it’s entertaining. It’s big.”

Two pieces of footage from This Is It screened for Rolling Stone were indeed impressive, and Jackson, who died after a lethal combination of sedatives stopped his heart on June 25th, appears professional and nimble on the screen. “Human Nature” begins with just Jackson and his guitarist, and it’s clear he’s totally in command of his body and his voice. “The Way You Make Me Feel” segues from a doo-wop intro into the song’s more familiar arrangement when Jackson punches out a fist and emits a little growl. When the band misses its cue, he firmly instructs, “Watch me for that growl!”

Gauntly thin and in bedazzled costumery, he hits all the notes, nails all the dance moves. He pops, locks, spins, does the worm, breaks out a penguin dance and even shows off some new moves. The dancers and musicians all working around him seem awestruck (their most frequent comments are “I agree, MJ” and “sounds good, MJ”). “We had a blueprint given to us by Michael from doing the tour — we translated his wishes and his final curtain call and that’s what you’ll see,” says the tour’s musical director, Michael Bearden.

The film also shows the sheer size of Jackson’s reimagined stage show — a huge set that included stories of scaffolding, the world’s largest 3-D LCD screen, a retinue of dancers, aerial acrobatics, a children’s choir and 12 original short films.

“I would hope they get what I got from it, which is a wonderful last experience with Michael that is like no other,” Ortega says.

Reporting by Claire Hoffman and Andy Greene

Rolling Stone

Noutăţi duium





sursa: www.michaeljackson.com
Adică demouri şi bunătăţi din This Is It. Avem promisiuni de piese întregi şi finite. Ura! Da' şi ce descoperiri am făcut, oah! O miiică parte din ele sunt la Dugheană (grigutza-dugheana.blogspot.com), altele - vor fi pe-aici.

sâmbătă, octombrie 24, 2009

Beat It - demo



sursa: www.michaeljackson.com
Superb.

Momeli

O fotografie nouă şi un demo - iată ce avem din partea celor ce se ocupă de "Project Love" - numele de cod al filmului. Ambele - la www.michaeljackson.com.

miercuri, octombrie 21, 2009

Dintr-una-ntr-alta

M-am uitat azi la Larry King (Live, mai ales), unde invitat era (şi) George Lopez. Invitaţia i-a fost făcută acestuia în legătură cu o nouă campanie a CNN-ului, privitoare la populaţia de origine latină din Statele Unite (the Garcias, cum sunt numiţi latino-americanii). Asta ca să nu ne mire de unde se inspiră (prost) ai noştri, când pornesc câte o campania aiurea-n tramvai.

George Lopez este relativ bine cunoscut printre americani, fiind actor de comedie. Dar nouă ne este cunoscut datorită (mă rog, e un fel de a spune) cărţii scrise de "Aphrodite Jones,The Michael Jackson's Conspiracy" - în care este vorba despre acea ruşine americănească numită procesul - din 2005 - împotriva lui Michael Jackson. Lopez a fost acolo citat ca martor, fiind cel care i-a făcut cunoştinţă lui Michael Jackson cu familia Arvizo (Gavin Arvizo fiind foarte bolnav, Jackson depunând toate eforturile pentru însănătoşirea lui... după care a urmat mizeria pusă la cale de mai mulţi, nu doar de cei din familia aceea; nu reiau povestea pentru că este, realmente, oribilă).

Dincolo de trăncăneala pentru care a venit în emisiunea lui King, Lopez a trebuit să răspundă şi la o întrebare pusă de un telespectator. Întrebarea nu se referea nicidecum la campania CNN, ci la procesul în care comediantul a depus mărturie. În buna tradiţie americănească, şi nea Caisă ăsta a scăldat-o, spunând că procesul e una şi "entertainer"-ul Michael Jackson e alta. Adică ce e? Să înţelegem ce anume?
KING: Canton, Ohio, home of the NFL Pro Football Hall of Fame. Yes, go ahead. Canton, go ahead.

CALLER: Yes, I have a question for George Lopez.

KING: Go ahead.

CALLER: What did you think about the death of Michael Jackson?

G. LOPEZ: Well, listen, I testified in the trial, the Michael Jackson trial.

KING: In Santa Barbara? No, in --

G. LOPEZ: In Santa Maria. I testified in the trial. I believe that the trial aspect and Michael Jackson as a performer are completely different things. I don't think there's ever been a more dynamic performer than Michael Jackson. I don't believe that there's been maybe a sadder end to a life than Michael Jackson. I think what "This Is It," the movie, will show is that he looked like he was in pretty good shape the night before he passed.

KING: Yes, strange.

G. LOPEZ: And that he is and continues to be revered as a great entertainer, as all people who have passed have been great entertainers. Same as Jimi Hendrix, same as Janis Joplin, same as Elvis Presley.

Şi, căutând chestia de am citat-o mai sus, am descoperit, la pagina dedicată lui Michael Jackson (plină de articole) de la adresa larrykinglive.blogs.cnn.com, chestia asta: The $1 billion last waltz of Michael Jackson: This Is It film set to break box-office records
Even by Hollywood standards, the secrecy surrounding the release of This Is It is extraordinary. Rings of armed guards, body scanners and a nerve-racking multimillion-dollar auction for the rights to show Michael Jackson's intense preparation for his doomed O2 concerts. Caroline Graham talks exclusively to the men turning the King of Pop's last days into the biggest money-spinner of all time.
Articolul este scris de Caroline Graham - publicat la 18 octombrie 2009 (şi dichisit azi). Întregul articol este la Dugheană... Mărturisesc că mă tem să nu facă ăştia speculaţii tâmpite, cum făcură la memorial (recorduri, cifrărăi, topuri, măgării) şi să se trezească cu un fâs. Comentariile însă sunt la "sondajul" de pe pagină - dacă cititorul merge sau nu la film, când lipsesc întrebări esenţiale (întrebările sunt: a. mă duc în prima zi 2. aştept să citesc cronicile 3. nu mă duc) - de genul "mă duc în altă zi" sau "mă duc în fiecare zi".



Mai avem: comentarea primului banc (nesărat) făcut de Jeff Dunham despre MJ la emisiunea lui Jay Leno (16 oct), ce zic colaboratorii despre ultimele zile ale lui MJ (avem link la fotografia de sus), că Liz Taylor se duce cu copiii mai mari la noaptea de Halloween şi două intervenţii recente în emisiunea LKL ale doctorului Arnie Klein, dermatologul lui Michael Jackson. O să le puric - ca să trăncănim şi despre astea...
Şi, de la cele de mai sus ajunsei să mă documentez despre Tom Sneddon - dar ăsta e subiect pentru mâine, că e chiar interesant (chiar dacă e odios).

Caroline Graham - The $1 billion last waltz of Michael Jackson



The $1 billion last waltz of Michael Jackson: This Is It film set to break box-office records
Even by Hollywood standards, the secrecy surrounding the release of This Is It is extraordinary. Rings of armed guards, body scanners and a nerve-racking multimillion-dollar auction for the rights to show Michael Jackson's intense preparation for his doomed O2 concerts. Caroline Graham talks exclusively to the men turning the King of Pop's last days into the biggest money-spinner of all time

By Caroline Graham

(18.oct.2009) Last updated at 10:57 AM on 21st October 2009

Read more: www.dailymail.co.uk

For the pizza boy carrying his Domino's white cardboard box with its trademark red logo, it felt like any typical working day in Hollywood. He arrived at the entrance to Sony studios and passed the security guard at the gate. He was pointed in the direction of a nondescript building, towards the back of the Culver City lot; he parked his scooter, walked across the car park and headed towards a steel door.

Which was when he realised that this was no ordinary delivery.

For one thing, eight armed guards ringed the brick building. He wondered whether he had come to the right place. But then one waved at him and passed a hand-held electronic scanner over him before ushering him through a door. Once inside, his pizza rapidly cooling, the delivery boy underwent a full airport-style security check. He turned out his pockets and put the contents, including his mobile phone, into a plastic container that was run through a scanning machine. The pizza was placed in a plastic basket and scanned, too.

Now he was accompanied by another guard, who escorted him into a lift. The guard used his pre-programmed card to take them up to the second level of the building. Out of the lift he walked across a small walkway to another door, where another guard checked his credentials again, until finally, at a reception desk, he was allowed to hand over the pizza.

After leaving his pizza the delivery boy was then accompanied back down the lift, and scanned once more before being allowed out of the building.

This was not the end of the journey for the pizza, however. After the contents were consumed the box was placed with all the other rubbish collected from this building and the whole lot scanned to make sure that no USB memory chips had been smuggled out.

This is how security works at 'Project Love', the codename given to Hollywood's most closely guarded project of the year - Michael Jackson's This Is It film. With $1 billion at stake, the paranoia may be understandable. Nothing is allowed in or out of this building without all these checks. So tight is security that the 35 people who work here are not allowed out until the end of their shift. Food is brought in from the Sony campus and supplemented with regular pizza deliveries.

On the second floor are six editing bays, where some of Sony's top technicians and editors are busily finessing the 108-minute documentary.

Jackson had always filmed his rehearsals so that he could pore over the footage, often through the night, deciding what was working and what needed correcting or modifying. More than 130 hours of high-definition film had been recorded and upon Jackson's death these hours of footage suddenly took on a profound new significance.

As Randy Phillips, the CEO of the star's concert promoter AEG Live, puts it bluntly in an exclusive interview with Live, 'It didn't take a rocket scientist to figure out that we were sitting on a goldmine. Not only in financial terms but also in terms of what this footage shows.

'Here, on film for all posterity, we have the greatest pop artist of all time showing his every move and thought process as he goes from describing his vision of the show to rehearsing the band and the dancers, to running through on stage what he told me was going to be his finest performance ever.'

There has never been a film launch like the one we are to see in ten days' time. This Is It will debut at 30,000 screens around the world. Simultaneous premieres will be held in 15 cities, including London, Los Angeles, New York, Berlin, Seoul and Rio de Janeiro. A two-disc CD featuring original album masters of the late singer's biggest hits and the new single This Is It will be released before the film goes out. It is all being as carefully choreographed as any of Jackson's dance routines.

Moreover, the DVD of the movie will be released after the cinema release. But the unique aspect of the venture's projected $1 billion revenue is how much will be profit.
The studio heads were fighting over it. They went nuts

Compared to the $200 million or so it cost to film box-office runaways like Titanic and The Lord Of The Rings, This Is It cost very little to make. In death, Jackson is going to earn hundreds of millions of dollars - more than he ever would have dreamed of making from the O2 concerts.

On Tuesday June 30, just five days after Jackson died, Randy Phillips locked himself into an editing suite in AEG's headquarters on the third floor of the massive entertainment campus LA Live. This complex is just opposite the Staples Centre in LA where Jackson was rehearsing in the final days of his life.

Together with three editors from AEG, he scanned through the hours and hours of footage.

'I didn't really know what we'd captured, but when I saw a rough cut of some of the footage I had the editors put together 15 really compelling scenes from a bunch of different songs,' says Phillips.

The material was dynamite.

'I knew that some people would beg, borrow or steal to get their hands on this footage and put it on the internet. It has been under Fort Knox-style security ever since he died.'

A few days later, with a slick 15-minute cut in the can, Phillips invited the chairmen from Hollywood's four key studios - Fox, Universal, Sony and Paramount - to his office.

'These are guys who are used to things coming to them. But that footage was not leaving my office. They all came. By the time the screening was over, the studio heads were fighting each other to get it. They all went nuts. They all had to have it.'

The studio heads put in their offers.

'We went with a $60 million deal with Sony in the end, not because it was the highest offer but because it made good synergy - Michael's music catalogue is with Sony. It just made sense.'

It certainly made sense for Sony. More advance tickets were sold in the first 24 hours of their release three weeks ago than have ever been sold for any previous film. In the UK, Vue Entertainment has sold more than 30,000 tickets.

In its first weekend, This Is It is expected to take £188 million ($300 million). The film isn't going to challenge Titanic's $1.84 billion, the promoters have decided to give it a two-week run. But this is part of the strategy. With the hype around the film fresh in shoppers' minds, Sony will be able to halve the money it would usually spend to support a big DVD release.

This Is It is a money-making machine. Revenues are almost guaranteed to crash through the $1 billion barrier. And that leaves a lot of profits for the three organisations involved: Sony, AEG and the Jackson estate.

Under an agreement approved by Los Angeles Superior Court Judge Mitchell Becklo, once the film has passed the $135 million mark, the Jackson estate gains 90 per cent of the additional box-office earnings, while AEG takes the remaining ten.

AEG has already covered the $50 million losses it racked up after Jackson died, out of the $60 million it has received from Sony, so any other gains will be pure profit. The income from DVD sales is being shared equally between AEG, Sony and the Jackson estate. And Sony will capitalise on a huge jump in record sales that it hopes the film will generate.

So while This Is It is not going to be the biggest-grossing film in history, the whole project is certainly going to be one of the most profitable.

Frank DiLeo is a character seemingly plucked from central casting as a music manager. A cigar between his teeth, he greets me on the sun-decked patio of his room at the Beverly Hilton Hotel, his shirt open to the waist, a large gold Rolex (a gift from Jackson) prominently displayed on his tanned wrist.

It was DiLeo who masterminded Jackson's 'glory days', from the Bad, Thriller and Victory tours through to negotiating his $10 million Pepsi advertising deal. It was while filming the Pepsi commercial in 1984 that Jackson's hair caught fire, prompting his first use of the prescription painkillers and sleeping medication that would lead to his death at 50.

It was during rehearsals for his Bad tour that the idea of videoing his preparations first came up.

'Michael liked to go through the footage at night,' says DiLeo.

'He'd see places he could improve his routine or notice things like how a back-up dancer blocked him from the crowd in a certain song.'

For the O2 gigs, all the sessions were filmed from the start and they were still shooting the day before Jackson died.

'We captured Michael talking about his creative vision and then the dancers come in and the band members. The dancers had already been whittled down from hundreds to 50. Michael did what he would always do. He sat quietly at the back of the studio. He never really liked the kids knowing he was there because if they did it would throw them.'

The footage shows Jackson's perfectionism.

'You see him going to wardrobe to discuss every item of clothing, not just for him but for the backing dancers. I remember him looking at a costume and noticing that a button had been stitched on cross-ways and he wanted it on a diagonal. He was that precise.'

By the time the rehearsals were in full flow there were 80 people in the venue - a band of eight, 12 dancers, the crew and backstage staff.

'The thing that struck me was how sharp his memory was. It wasn't like he had to consciously remember any of the steps. It was like they were ingrained in him. As the music started, this wasn't a 50-year-old man; this was the old Michael, running through the familiar steps, totally in control.'

It all sounds a long way from the frail, emotionally fragile, heavily doped-up Jackson that others have portrayed. Surely DiLeo must have had some inkling that his friend was heavily drugged up, as the toxicology tests have since revealed?

'No, no,' the manager says. 'I know you won't believe me but Michael compartmentalised his life. I was his manager, his friend. The only time I ever saw him on drugs was during the second trial when he started acting weird and dancing on cars. I told him, "Michael, you need to get off this stuff" and he said he was hooked on prescription pills for the pain. He went to rehab to kick it.

'The Michael who turned up for rehearsals wasn't a frail addict. Michael was a professional. Whatever was or wasn't going on in his home, when he showed up to work, he was on.'

Randy Phillips, who attended many of the rehearsal sessions, also denies Jackson displayed any health woes: 'He would turn up to rehearsals between 2pm and 4pm. Most days he would be there until midnight. He was thin, but not anorexic. He drank a lot of juices and ate salads that his personal chef made and he'd bring with him. There were some days he didn't show but that's because he didn't need to be there.

'When you see Michael in the film you will see why none of us knew anything was wrong. He dances like a man 15 years younger. He didn't dance and sing at full strength during many of the rehearsals but he didn't have to. This was the process of putting a show together.

'When he was talking, he was present and not slurring his words. He acted fit and well. He seemed engaged in the people around him. He was happy. There were no outward signs of drug use that I could see. The Michael you will see in our footage is healthy, vibrant, alive.'

'The one thing that comforts me,' adds DiLeo, 'is something Michael said to me when we started working on the concert. He wanted to do it for his new generation of fans. He said: "Frank, I want my kids to see me perform, just one last time."

'He was doing it for his kids.'

At the moment there are three different openings for the movie - one which begins with footage of Jackson's funeral, one which starts with the 'tap, tap, tap' of his foot at the first rehearsal, and one which opens with a full-blown production number.

DiLeo says: 'I am sure we'll be editing right up to the last minute. We are trying to hit a fine balance between this being a tribute to Michael and also a showcase for his genius. The hard part in the editing process is not what to put in; it's what to leave out.'

Jackson is going to get a bigger send-off than he could possibly have imagined. DiLeo is sitting on hundreds of hours of film from previous concert preparations, as well as several dozen songs that are locked away in his vault - all songs that Jackson recorded but decided not to release.

This Is It? Actually, this is just the start.

This Is It' is released on October 28
_________________

THE GREATEST SHOW THAT NEVER WAS

Nobody except the people in the rehearsals have any idea of the stagecraft that was being put together by Jackson. The O2 gig was going to be a total theatrical experience and this will come across in the film.

For the first time, Live can exclusively reveal the extraordinary shows planned for Jackson's key songs.

The set list was a compendium of full performances of 11 of his greatest hits: Thriller, Bad, Dangerous, Beat It, Billie Jean, Man In The Mirror, We Are The World, Black Or White, Heal The World, Dirty Diana, Wanna Be Startin' Somethin', along with snippets from other hits such as Smooth Criminal and a Jackson Five tribute medley.


Thriller was to be staged with dozens of gigantic spiders and 20ft puppets. The lights were going to be dimmed and a giant screen come on. Everyone at the gig would have been given 3-D glasses, which they would have been told to put on at the start of the song.

As the famous opening bars rang around the arena monsters would have come up out of the ground - in 3-D. Jackson's manager Frank DiLeo describes the scene: 'It's amazing. The monsters are incredible and when you have the glasses on they come straight at you. It's terrifying!'

After the first shot of the monsters, Jackson and his dancers start to perform. The audience would have seen the monsters on the stage performing alongside the star and his crew.

Although the film does not include any 3-D snippets, cinema-goers will get a tantalising view of the spectacle.

The opening song in the concert was to be 1982's Wanna Be Startin' Somethin'. A glass sphere would light up on stage and then slowly drift over the heads of the crowd. As it grew brighter, it would light up in a series of primary colours before returning to the stage where a shadowy figure would emerge from a hidden platform moving up through the stage: Jackson. The globe would land in Jackson's hand and the singer would launch into the opening line of the song.

For Dirty Diana, Jackson planned to have a flaming bed with pole-dancing aerial gymnasts playing the part of the flickering flames. In an elaborately plotted routine, Jackson would be chased around the bed by a scantily dressed 'fire goddess' who, each time she touched the stage, would send flames shooting towards the rafters.

After she'd caught him mid song, she would tie him to the bedposts with gold ropes as a sheet of red descended to cover his struggling figure. At the end, the sheet would be whisked away - to reveal the goddess as the struggling figure, not Jackson.

In the Back

In the Back

You're just preaching the Bible and they still speakin you're a lier
And you still deal with the fires
That they made...

dah dah dah dah dah
dah dah dah dah dah
dah dah dah dah dah, you
dah dah dah dah dah
dah dah dah dah dah
dah dah dah dah dah

Why you wanna get me?
Dreams don't last forever
Why you wanna fix me?
See, if the police don't take it
God forsake it
I can't take it

Why you stab me in the back?

We're so gonna loose
And she, knows they got this to be
She... I dah dah dah dah dah

dah dah dah dah dah
dah dah dah dah dah
dah dah dah dah dah people
dah dah dah dah dah
dah dah dah dah dah
dah dah dah dah dah

Why you wanna get me?
This dude won't last forever
Why you wanna hit me?
See, if the police don't take it
God forsake it
I'll fell breaking

Why you stab me in the back?

Mai e o săptămână

Azi (pentru ei, e aseară):


Omagiu adus de cei mai buni dansatori ai showului (mă rog; totuşi: de ce La Toya? Data viitoare o să-l prezinte Tom Sneddon?). Dar... revenons à nos moutons: începe numărătoarea:


Bob numărat, de azi până la lansarea oficială mai este o săptămână (şi ceva, dacă socotim corect, conform fusului orar). Deasupra este cântecul "This Is It", dedesubt - "Human Nature". Iac-aşa.

sursa: www.michaeljackson.com
_____________________
şi un îndemn - să fie votat ca om al anului (nu ştiu dacă doar în Olanda sau peste tot): www.persoonvanhetjaar.nl

Ca miercurea

SHOUT

Ignorance of people purchasing diamonds and necklaces,
And barely able to keep the payments up on their lessons,
And enrolled in a class and don't know who the professor is,
How low people go for the dough and make a mess of things,
Kids are murdering other kids for the fun of it,
Instead of using their mind or their fist, they put a gun in it
Wanna be a part of a clique, don't know who's running it,
Tragedy on top of tragedy you know it's killing me.
So many people in agony, this shouldn't have to be,
Too busy focusing on ourselves and not His Majesty,
There has to be some type of change for this day and age,
We gotta rearrange and flip the page,
Living encaged like animals and cannibals,
Eating each other alive just to survive the nine to five,
Every single day is trouble while we struggle and strive
Peace of mind's so hard to find.

I wanna shout, throw my hands up and shout
What?s this madness all about
All this makes me wanna shout
You know it makes me wanna shout,
Throw my hands up and shout
What's this madness all about
All this makes me wanna shout, c'mon now

Problems, complications and accusations
Dividing the nations and races of empty faces
A war is taking place.
No substitution for restitution, the only solution for peace
Is increasing the height of your spirituality.
Masses of minds are shrouded, clouded visions
Deceptions and indecision, no faith or religion, how we're living.
The clock is ticking, the end is coming, there'll be no warning,
But we live to see the dawn.

How can we preach, when all we make this world to be
Is a living hell torturing our minds.
We all must unite, to turn darkness to light,
And the love in our hearts will shine.

We're disconnected from love, we're disrespecting each other
Whatever happened to protecting each other
Poisoned your body and your soul for a minute of pleasure,
But the damage that you've done is gonna last forever.
Babies being born in the world already drug addicted and afflicted,
Family values are contradicted.
Ashes to ashes and dust to dust, the pressure is building and I've had enough.

(sursa: www.lyrics007.com)


Nu prea înţeleg cum funcţionează povestea asta cu MJTP, ca grupuri şi mari prietenii care se tot leagă. Deocamdată m-am umplut de nervi cu privire la un post de radio - MJTunes, pen'că- de câte ori am încercat să intru (ca să nu zic, că, am impresia, nu e pentru Europa; sau nu e pentru Europa noastră) - mi se deschid tot felul de tâmpenii promoţionale de care nu mai scapi. Adică - şanse mari să-mi fac praf tractorul (a se citi PC).
De aceea am postat deasupra cântecul zilei (mint, nu numai de-asta; e cu totul special, una din demonstraţiile de "privit sunetele la microscop" şi de manevrare a lor după pofta talentului lui Michael Jackson). Excelent tot firul piesei, demenţial finalul.

marți, octombrie 20, 2009

Am făcut ordine (şi disciplină)

Adică am adunat tot ceea ce am găsit pe You Tube în ceea ce priveşte lista de piese de după 1979 (am dubii în ceea ce priveşte lista de piese pe care le are cu The Jacksons, deja-mi vin în minte vreo două) - dar, în linii mari, cam asta e. Două din listă nu sunt de găsit, în rest... Doar atât? Doar atât s-a îndurat să lanseze şi să iasă pe piaţă până acum - fără acordul lui. Lista e împărţită în patru hălci şi e pe bara din dreapta. Mai jos. Şi, desigur, mereu mai descopăr ceva nou - adică nou pentru mine. Şi lipsesc remixurile, reinterpretările, alea - poate - pe o listă separată.
Aştept, ca să zic, aşa, un top general: Cea mai cea dintre cele mai cele.
Şi uite preferata zilei/lunii/anului - o piesă excepţională, din toate punctele de vedere:



In the Back

You're just preaching the Bible and they still speakin you're a lier
And you still deal with the fires
That they made...

dah dah dah dah dah
dah dah dah dah dah
dah dah dah dah dah, you
dah dah dah dah dah
dah dah dah dah dah
dah dah dah dah dah

Why you wanna get me?
Dreams don't last forever
Why you wanna fix me?
See, if the police don't take it
God forsake it
I can't take it

Why you stab me in the back?

We're so gonna loose
And she, knows they got this to be
She... I dah dah dah dah dah

dah dah dah dah dah
dah dah dah dah dah
dah dah dah dah dah people
dah dah dah dah dah
dah dah dah dah dah
dah dah dah dah dah

Why you wanna get me?
This dude won't last forever
Why you wanna hit me?
See, if the police don't take it
God forsake it
I'll fell breaking

Why you stab me in the back?

sursa: www.lyricstime.com

Make August 29th Michael Jackson Day Worldwide!



Ăsta e promoţionalul lor... aşa că eu nu pun decât poză, na.



şi MAI ESTE UNA
bună:

Michael Jackson - ARTIST AL MILENIULUI (care din ele? că e reprezentativ şi pentru cel trecut şi, de ce nu, poate fi şi pentru acesta, daca ne gândim bine).

luni, octombrie 19, 2009

The Simpsons au împlinit 20 de ani

Iar avem un eveniment de marcă: favoriţii lui Michael Jackson au împlinit 20 de ani, devenind cel mai longeviv serial de comedie. Drept răsplată, Marge Simpson este prima eroină de desen animat care apare pe coperta unei reviste "pentru bărbaţi" - adică cea mai cunoscută revistă de gen, Playboy, ediţia din noiembrie 2009 (a se reamrca alături de cine apare ea, sus, la nume... niciun vrednic comentator tv de la noi n-a remarcat asta). Minunat, nu? Deja presa e scandalizată, ceea ce demonstrează, încă o dată, acuta lipsă de simţ al umorului, cel puţin în tagma asta. Când, de fapt, ar trebui să fie o trăsătură esenţială... dar asta e altă poveste.

Ar fi trebuit să linkuiesc spre www.playboy.com, dar - de câte ori am încercat să iau de la sursă informaţiile privind frumoasa copertă a lunii noiembrie a.c., am dat de "erori", aşa că.... detalii se pot obţine şi de la nerecomandabilul tabloid www.dailymail.co.uk. Dar la fotografia de deasupra (cea cu Bart) am pus link spre mai vechiul articol de aici (11 august!) privitor la Leon Kompowski...

Iată un bonus pentru fanii lui Bart:

Şi, pentru timpul nostru liber, avem parte şi de câteva lecţii de desen - avându-l ca subiect pe Bart Simpson, poate-poate devenim experţi (hă-hă) - la adresa www.dragoart.com (link la poza de deasupra). Văd că a dispărut de pe You Tube fragmentul din film în care se cântă Do the Bartman, asta e. Facem şi noi ce putem...

Ziua Internaţională Michael Jackson


Argument:

Many countries worldwide have 'children's days'.
However, these are all on different dates which means the children are not honored globally the way they should be. We say: create an international day for ALL children to be honored and celebrated, and call it "Michael Jackson Day" in honor of the 1 person who cared most about the world, and the children.

Semnăturile se strâng la adresa: www.gopetition.com

duminică, octombrie 18, 2009

MTV - Michael Jackson: In His Own Words

La adresa www.mtv.com este acest interviu - esenţial pentru cei ce vor să cunoască modul de lucru şi concepţia lui Michael Jackson despre muzică. Sper să nu se încarce pagina prea greu - dacă o fi aşa, o să pun fiecare filmuleţ pe câte o altă postare...

Michael Jackson's Innovation And Creativity

What Makes A Great Music Video?

Behind The Video For 'Thriller'

Michael Jackson's Favorite Scene From 'Thriller'

The Choreography For 'Thriller'

Michael Jackson - "Thriller (Long Version)"

Behind The Video For 'Beat It'

Michael Jackson - "Beat It"

Behind The Video For 'Billie Jean'

Michael Jackson - "Billie Jean"

Behind The Video For 'Black Or White'

Michael Jackson - "Black Or White (Long Version)"

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