1:28 AM
Faraz
Michael in 1984 with his best Friend “Bubbles” the monkey (Thats where Bubbles from Hott 95.3
got his name from) Bubbles has a matching shirt thats so cute, and thats a big dog! his skin is
glowing in a white kind of way
Saturday, October 10, 2009
Michael 1987 “Bad” tour his skin has changed
From the 1987 “Bad” tour his skin has changed and so has his nose, the pressures of entertainment
do that too you
Michael Jackson looks pretty 1995
Michael looks pretty effiminate in this 1995 pic, its like he is going for a white black man woman
look, thats what you call targeting all the marketing demographics
Michael Jackson “Invincible” Flop Album*2001*
Here is Michael on the cover of his 2001 flop album “Invincible” it probably flopped cause people
did not recognise him on the cover, its a sort of Peter Pan type bullerish picture
The only thing which has remained constant about MJ is his voice, even at 50 he still talks like a six
year old girl…. Here’s the last picture Brace your self its pretty brutal
Michael Jackson
Ok, so what can you say about this picture aah, well it
definitely would make the girls scream I’ll tell you that, and probably some men as well, plus some little boys.
This was Jacko’s mug shot when he was arrested by the police in 1993, guess the law men didn’t
let him put his make up on before they took him, the picture is not pretty and neither were the
charges, he looks like he could play the Joker in the next Batman movie.
About those child molestation accusations which have dogged MJ’s career, it was not helped by
his statement “I don’t see any thing wrong with sharing my bed with children”
He is known as The Peter Pan of Pop, Wacko Jacko, The Gloved One. the unforgettable the Michael Jackson, still most known as “The King of Pop”! Happy Birthday to you
Thursday, October 8, 2009
Michael Jackson
"PETA US has written to Michael Jackson's estate asking for the rights to the singer's first solo
hit, "Ben," which was written for the 1972 film of the same name. This beautiful song is about the
friendship between a lonely boy and a rat named Ben, and we hope it can be used to raise
awareness about the plight of rats and other animals tormented in laboratory
experiments." [PETA]
A tribute to Michael Jackson is taking place today at the Apollo Theater from 2-8pm. "The
Reverend Al Sharpton and the president of the theater will give eulogies." People have been on
line to get in to the Harlem venue since last night, and the outside of the Apollo has been a
gathering place for Michael fans since the night he died. Nearby walls are adorned with personal
messages.
AEG, the world's second largest concert promoter, stands to take some sort of hit from the
cancellation of Michael's 50 London concerts. Yesterday they announced that, "full refunds,
including the service fee charges, will be handed out to those who purchased from authorized
resellers, including Ticketmaster, Viagogo, See or Ticketline. For detailed information on the
how-to's of claiming the refund, fans are advised to go to MichaelJacksonLive.com from July 1,
Wednesday."
AEG also released pictures taken by concert photographer Kevin Mazur at one of Michael's final
rehearsals for the 50 shows. One of those pictures is above. A few more, and some old videos of
Michael performing "Ben", below...
Walking on the Moon
I
f you watch a video of the Jackson 5 performing “I Want You Back,” on the Ed Sullivan show, in 1969, you will see that the group’s lead vocalist—Michael, the youngest of the five brothers—was already an A-list dancer at the age of eleven. Here is this fat-cheeked boy, in a pink Super Fly hat that he is obviously proud of, doing tilts and dips and fanny rocks and finger snaps, and tucking in little extras—half steps, quarter steps—between them. Most amazing is his musicality, his ability to respond to the score faithfully and yet creatively, playing with the music, moving in before and after the beat. Musicality always comes off as spontaneity, and he was loved, early on, for that quality.
Now turn to “Don’t Stop ’Til You Get Enough” (1979). Ten years have passed. He has started recording his own songs. He does fancier steps. But at twenty-one, as at eleven, he is galvanizing above all because of his naturalness. He hops with joy; he wags his head; his shirt comes untucked.
Then come the landmark videos of the early nineteen-eighties: “Billie Jean,” “Beat It,” and “Thriller,” all of them for songs that appeared on the collection “Thriller” (1982), which is the best-selling album of all time. At this point, Jackson has just about everything you would want in a dancer. He is very fast, and, now that the adult musculature has come in, his whole body is “worked.” (This means that every muscle is stretched, and operating in the service of the dance. Nothing is blurred.) As a result, he has a sharp attack, and wonderful clarity. Watch him—as you can, for example, in “The Way You Make Me Feel” (1987)—dancing, silhouetted, alongside other men doing the same steps. You can’t see the faces, but you know which one he is. He dives into a step more intently, and shows it to us more precisely, than anyone else. Around this time, the videos are featuring some new moves—for example, multiple spins (which seem, at times, to have received technical assistance). And he’s now doing the famous moonwalk, which he picked up from break dancing. He has also started doing some rather dirty moves, notably the crotch-grab, which will endure, with striking embellishments, throughout his career.
The “Thriller”-period videos were instrumental in converting MTV from a backwater to a sensation. Jackson consciously aimed at doing that. “I wanted to be a pioneer in this relatively new medium,” he said in his 1988 memoir, “Moon Walk” (a book, incidentally, edited by Jacqueline Onassis). He spent a fortune on these projects. The 1995 “Scream” video cost seven million dollars—a record at that time. He didn’t like to call these works videos. They were “short films,” he claimed—and rightly, for he had them shot not on videotape but on 35-mm. film. “We were serious,” he said.
Jackson took his choreography from a number of sources: hip-hop, sock hop, “Soul Train,” disco, and jazz dance, plus a little tap and Charleston. By his account, he constructed some of the movement himself. “Billie Jean,” he says in “Moon Walk,” still had no dance component the night before he was scheduled to perform it in honor of Motown’s twenty-fifth anniversary. He went down to the kitchen, turned on the music full blast, and, in his words, “let the dance create itself” on his body. His moonwalk had its début in that number.
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But on most of his dances he did not work alone. Michael Peters, Vincent Paterson, and Jeffrey Daniel, all of them experienced stage and TV choreographers, collaborated with Jackson. On the PBS special “Everybody Dance Now” (1991), in answer to a question from the dance historian Sally Sommer, Peters said that Jackson’s method was to put together some steps and ideas and bring them to a choreographer, who would then organize them into a coherent dance.
But, whether he went it alone or got help, the result was much the same. He didn’t have a lot of moves. You can almost count them on your fingers: the gyrating hips, the bending knees (reversing from inward to outward), the pivoting feet (ditto), the one raised knee, the spins, and, above all, the rotated or raised heel, which is what he gets around on. These steps are generally done staccato. He finishes the phrase and freezes, then finishes the next phrase and freezes. He also has some moves so natural that one hesitates to call them steps: lovely, light-footed walks, struts, jumps, and runs. He made at least one important innovation in music-video choreography—the use of large ensembles dancing behind the soloist—but beyond that he created very little dancing that was different from his own prior numbers, or anyone else’s. Yet many people were happy to see him, again and again, do the thing he did. Long after the critics soured on his music and his videos, they still liked his dancing.
Sometimes they had to take the dancing on faith. Jackson, who had a thorough knowledge of the movie musical, revered Fred Astaire. He records in his memoir how thrilled he was when Astaire praised him. The old master even invited him over to his house, where Jackson taught the moonwalk to him and his choreographer Hermes Pan. (Astaire told Jackson that both of them, he and Jackson, danced out of anger—an interesting remark, at least about Astaire.) But despite Jackson’s awe of his predecessor, he never learned the two rules that Astaire, as soon as he gained power over the filming, insisted on: (1) don’t interrupt the dance with reaction shots or any other extraneous shots, and (2) favor a full-body shot over a closeup. To Astaire, the dance was primary—his main story—and he had it filmed accordingly. In Jackson’s videos, the dance is tertiary, even quaternary (after the song and the story and the filming). The camera repeatedly cuts away, and, when it comes back, it often limits itself to the upper body. Jackson didn’t value his dancing enough.
