Michael - Kleinigkeiten in den Medien

Der Anwalt Mark Geragos, der Michael während der ersten 18 Monate bzgl. der Anschuldigungen zum Kindesmissbrauch vertrat äußerte sich gegenüber der Huffington Post. Die Anschuldigungen gegen ihn waren ein Shakedown. Michaels größter Fehler war es das er Leute zu nah an sich heran ließ. Dies gilt auch für die Kinder. Wenn die Leute die Zeugenaussagen gegen ihn verfolgt hätten, würden sich die schlechten Meinungen über ihn ändern . Vid. im Link.

http://www.huffingtonpost.com/…063815.html?utm_hp_ref=tw

Michael Jackson's former defense attorney thinks the King of Pop's child molestation charges were a shakedown.
Mark Geragos, known for defending celebrities in high-profile cases, says that Jackson made bad decisions in letting children get too close to him, he recently told HuffPost Live in an exclusive interview.

But he argues that if people had actually seen the testimonies given against the superstar, the negative opinions of him would change.
Watch the interview above to hear Geragos defend Michael Jackson.

.....immerhin...

In dem Artikel, in dem es um Vitiligo geht wird Michael erwähnt. Ich finde es schonmal sehr gut, dass wenigstens das mittlerweile nicht mehr bestritten wird...
(letzte Woche hab' ich schon so einen ähnlichen Bericht gelesen, sie hatten auch Michaels Vitiligo erwähnt..)

http://www.rundschau-online.de…st,15823866,22561860.html

Artikel: 6 Songs geschrieben von Leuten von denen man es nicht erwartet

MJ schrieb "Do the Bartman"

http://www.cracked.com/article…t-person-youd-expect.html

#6. Michael Jackson Wrote "Do the Bartman"

George Rose/Getty Images Sport/Getty Images

The Simpsons has been on the air so long that some of you aren't old enough to remember that at one time it was an absolute merchandising juggernaut. There was a span of a few years when you couldn't leave the house without seeing Bart Simpson dolls, T-shirts, lunch boxes, video games, and, at the apex, a music video for a single called "Do the Bartman":

So what songwriting hack was available in 1990 to slap together that sad, transparent cash grab?

Michael Jackson.

Here's something cool you probably didn't know about the late Michael Jackson: He loved The Simpsons. If you remember the third season debut, "Stark Raving Dad," you'll probably remember it as that episode where Michael Jackson provides the voice of a huge white mental patient who thinks he's Michael Jackson.

It was probably the most ingenious bit of stunt casting ever, and a pretty bold move for the young show to have the King of Pop on as a guest star. Few knew at the time that Jackson had always been a fan, and longtime Simpsons producer James L. Brooks explained in a DVD commentary how he fielded a call in his office one day from Jackson himself, who proclaimed that he was a huge fan of Bart and wanted to write a No. 1 single for him, which is a little pretentious, but whatever. It's Michael Jackson. "Do the Bartman" is what he came up with.

Looking back, the whole thing is a little weird. It's a rap song, featuring Bart Simpson rapping words written by Michael Jackson, who is not someone necessarily known for his ill rhymes. But who are we to argue? The video was directed by Brad Bird (!), got heavy rotation on MTV, and topped the charts in five other countries. None of whom could have known that the show would still be on the air 23 years later.

Read more: http://www.cracked.com/article…expect.html#ixzz2UFMewCnC

What Musicians Besides Elvis Changed America?

Scholars and Critics Offer Candidates. Hint: One Claimed Not To Be Billie Jean's Lover.

Historian David Halberstam once identified the three most important events of the 1950s as the Brown v. Board of Education decision, the building of Levittown, and the rise of Elvis Presley. That a musician should rank among the top three important phenomena of a 10-year span is unusual, and no musician since has achieved such significance. Still, music matters a lot. It influences our perceptions, our social lives, and, sometimes, even our politics. And musicians do keep influencing us. Therefore, in advance of the Zócalo/Occidental College event “Can Popular Music Still Change Culture?”, we asked several writers and critics to address the following question: What musician, aside from Elvis Presley, changed American society the most?

Mark Anthony Neal

Michael Jackson
When Michael Jackson reached the commercial apex of his career in the mid-1980s, he did so not only on the strength of his formidable talent and creative vision, but also as the most visible embodiment of the broad traditions of African-American musicality.
Als Michael Jackson den kommerziellen Höhepunkt seiner Karriere erreichte in der Mitte der 1980er Jahre, tat er dies nicht nur auf Grund der Stärke seines gewaltigen Talentes und kreativen Vision, sondern auch als sichtbare Verkörperung der breiten Traditionen der afro-amerikanischen Musikalität.

For many, Jackson’s ascendance to the pinnacle of popular music could only be read through the prism of figures who defined the stakes in popular music, namely Elvis Presley and the Beatles. But both Presley and the Beatles owed much of what they did to the oft-diminished earlier generation of black blues and rhythm-and-blues artists (something that Presley never denied).
Für viele könnte Jacksons Aufstieg an die Spitze der populären Musik nur durch das Prisma der Figuren, die die Höhe der popbulären Musik definierten, nämlich Elvis Presley und die Beatles definiert gelesen werden. Aber beide Presley und die Beatles verdankten vieles was sie taten der oft unterbewerteten früheren Generation von schwarzen Blues-und Rhythm-and-Blues-Künstler (etwas, dass Presley nie bestritten hat)

Jackson’s inspirational archive was wide-ranging, but he drew especially heavily on the Chitlin Circuit—the network of clubs, speakeasies, theaters (the Apollo being the most well known), restaurants, and even barns that incubated much of the Black music tradition during the early 20th century. Fully understanding that heritage gave Jackson his signature performance quality: making such thorough and inventive use of all those primary influences that people couldn’t even tell he was doing it. This move by Jackson was as much about his artistic ego—his interest in literally being the “Greatest Show on Earth” (he loved P.T. Barnum)—as it was about his respect for cultural and artistic roots. Michael Jackson’s singular brilliance was his capacity to archive a comprehensive history of Black musical performance and then both reproduce it, yet also create something that was truly original.

Jacksons inspirierendes Archiv war breit gefächert, aber er zog es besonders stark aus der Chitlin Circuit das Netzwerk von Vereinen, Speakeasies, Theater (das Apollo ist das bekannteste), Restaurants, und sogar Hallen, die viel von der Schwarzen Musiktradition besetzt hatten Anfang des 20. Jahrhunderts. Komplettes Verständnis, dass das Erbe Jackson seine Signatur-Performance gab: Die Herstellung solcher gründlichen und erfinderischen Verwendung all jener primären Einflüsse, das Menschen nicht einmal sagen, dass er es tat. Dieser Schritt von Jackson sagte so viel über seine künstlerisches Ego aus, sein Interesse daran buchstäblich die "Greatest Show on Earth" zu sein (er liebte PT Barnum )-wie auch seine Achtung der kulturellen und künstlerischen Wurzeln. Michael Jacksons einzigartige Brillanz war seine Fähigkeit, ein umfassendes Archiv an schwarzer musikalischer Aufführungsperformance zu haben -um dann beide zu reproduzieren, aber auch etwas zu schaffen, das wirklich original war.

Jackson’s championing of Black musical traditions became particularly important when Jackson became a global phenomenon, in effect making those Black musical traditions part of an emerging global language—an effect seen in the huge global popularity of hip-hop culture and rap music. In this regard few could claim to have had the kind of impact that Jackson did.

Jacksons Eintreten für schwarze Musiktraditionen wurde besonders wichtig, als Jackson ein globales Phänomen wurde mit dem Ergebnis, dass diese schwarzen Musiktradition Teil einer entstehenden globalen Sprache wurde ein Effekt der in der riesigen weltweiten Popularität von Hip-Hop-Kultur und Rap-Musik gesehen werden kann. In dieser Hinsicht können nur wenige behaupten einen Einfluss gehabt zu haben in der Auswirkung wie es Jackson hatte.

Mark Anthony Neal is Professor of Black Popular Culture in the Department of African & African American Studies at Duke University and the author of several books including the just released Looking for Leroy: Illegible Black Masculinities (NYU Press).

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