Michael Jackson

[Malcolm X]

 

[Malcolm X]

 

[M-heart-J]

 

[Antonina]

Blenkitu ova pojavljivanja uopste ne odgovaraju. Kako to niko ne ume da primeti, i zasto ga muce?!


Zasto danas nema sudjenja, da li neko zna?

 

[Blake]

 

[M-heart-J]

 

[M-heart-J]

 

[Man In The Mirror]

 

[DD]

Ovaj stariji je bas smeker!

Slatki su, ali mislim da decu ne treba da reklamiraju

 

[M-heart-J]

A Paris ima sve ljude da obara sa nogu čime god se bavila... Prelepa je!

 

[hejti]

i love michael jackson !

 

[M-heart-J]

Objavljena još jedna slika Majkla na samrti ili je možda čak već otišao...
Ne bih da je kačim ovde. Mnogo tužno. Bedno.

 

[DD]

Strašno! Kako mogu tako nešto da obelodane, krelci!

 

[Gaga_]

Objavljena još jedna slika Majkla na samrti ili je možda čak već otišao...
Ne bih da je kačim ovde. Mnogo tužno. Bedno.

juce sam vecerala za kompom i reko aj da skoknem na tmz.com da cujem sta se desava na sudjenju, i dok sam skrolovala da dodjem do prenosa videla sam sliku
bolesno je tako postaviti sliku mrtvog coveka bez obzira da li je to neka poznata licnost ili ne

 

[The Dog Woman]

Blenkitu ova pojavljivanja uopste ne odgovaraju. Kako to niko ne ume da primeti, i zasto ga muce?!


Zasto danas nema sudjenja, da li neko zna?

Tuzno je kako su se odmah zakačili za decu čim Majkla više nema. Ja nisam gledala poslednjih par dana, šta je bilo?

A Paris ima sve ljude da obara sa nogu čime god se bavila... Prelepa je!

Paris je divna.

Objavljena još jedna slika Majkla na samrti ili je možda čak već otišao...
Ne bih da je kačim ovde. Mnogo tužno. Bedno.

Dokle više, pitam se.

 

[The Dog Woman]

 

[M-heart-J]

 

[Antonina]

Sto su cipelice!


Da pokazali su na sudjenju majklovu sliku sa obdukcionog stola. Budale! Gledala sam uzivo ali opet nisam razumela u svrhu cega su je pokazali. Nije bilo razloga. Navodno je pokazan pogresan datum koji je obdukcionista stavio tog dana pored tela da bi ga slikao. Datum je bio valjda 26. 08. 2009. Pa su se zakacili za tu gresku . Jaka stvar.

I da pokazu navodno iglu i koja je ostala za vensko davanje lekova, pa i crtez obdukcionista gde je sve nasao ubode na njegovom telu. Nema gde ih nije bilo. Boo ga je i po nogama i vratu i rukama, grudima, i gde se god setio - mozete misliti u vrat mu davao venske inekcije. Previse je bio izbusen to su komentarisali.

A i zbog svega toga nisu morali da pokazuju telo moglo se to reci samo. Meni je malo izgledalo da je to vise zbog medija uradjeno. Ne znam. Mada sud je to, sve treba valjda da dokumentuju. (Ali ne mora slikom i dokumenti obdukcioniste su valjda dovoljno relevantni. Ma namerno su ga stavili na video wall. Osecalo se u vazduhu.)

Sutra nema sudjenja tek u ponedeljak , sad je rekao sudija Pastor . Michael E. Pastor - sto ima lepo imeee.

 

[Nina]

 

[The Dog Woman]

Liza Minelli recently did an interview with Daily Mail and talked about the Mchael she knew. She also said some nice words about Elizabeth Taylor.
When she married music producer David Gest in London in 2002 (more of him in a moment), she was attended by Michael Jackson, Elizabeth Taylor and — bizarrely — Martine McCutcheon. Sadly, the first two are now dead. ‘But there’s not a day,’ she says, ‘when I don’t think of Michael.’

She refuses to be drawn on the upcoming trial for involuntary manslaughter of Jackson’s doctor, Conrad Murray. But she’s happy to recollect the Michael she knew.

‘He was a supremely gifted human being but he didn’t survive, in my opinion, because he’d never been taught the rules of the game,’ says Liza. ‘He and his brothers and sisters were forced to rehearse round the clock while other kids were playing basketball.

‘Michael’s life was precisely the one dictated by his father. The family’s religion [the parents are Jehovah’s Witnesses] means the children weren’t even meant to be in show business. But, when they started making money for their father, that was it. Michael was used and abused almost from the time he was born.

‘Eventually, he distanced himself from his family, created this wonderful place — Neverland — for kids and supported different families. Then, one day, the father in one of those families called up Michael and said, “Unless you give me $30,000, I’m going to tell everyone you made a pass at my son.” And that’s when Michael called me.

'Michal Jackson was a supremely gifted human being, but he didn't survive because he'd never been taught the rules of the game'

‘When he’d finished his story, I remember pausing and then saying: “Michael, maybe you should tell your lawyer about this.” He said: “But it’s insane.” So I repeated my advice. “It’s blackmail, though,” he said. “It is,” I replied, “and that’s why you need to involve your lawyer.” But he wouldn’t.

‘What everyone forgets is that, when kids stayed at Neverland, their parents came, too. And they were treated grandly. But then other people jumped on the bandwagon.’

She sighs. ‘I remember he was going with this girl and he was so in love with her. He came to show me the ring he’d bought for her. I asked him what he was going to say and he didn’t know. So I said: “Let’s rehearse,” and that’s what we did.

‘But the girl turned him down. She said she wasn’t ready to commit right now. She told him to ask again in six months. And it all but killed him. He was heartbroken. I knew all his girlfriends including Lisa Marie who became his wife.’

Liza thinks she knows what killed her friend. ‘In the end, the scorn, the cruelty, the vicious meanness — these are the things that took his life. He was one of the best performers we’ve ever had. He changed everything. But he was only a king when he was on stage.’

 

[The Dog Woman]

Michael Jackson, Dangerous, and the Reinvention of Pop
By Joe Vogel 28 September 2011

As the traditional narrative has it, Michael Jackson’s Dangerous album represented the end of an era: the death of pop and the rise, in its wake, of grunge, alt-rock, and hip hop. Most critics point to the moment Nirvana’s Nevermind knocked Dangerous out of the #1 spot on the Billboard Charts as the symbolic turning point. Within months, muted flannel had smothered all trace of ‘80s excess and flamboyance.

Cultural transformations, of course, are never quite that simple. Several months after Nevermind reached the #1 spot, Nirvana shared the stage at MTV’s Video Music Awards with stadium rockers like Def Leppard, Van Halen, Metallica, and what remained the biggest band in America—Guns N’ Roses. Indeed, if one were forced to pin down a cultural turning point, the 1992 VMAs wouldn’t be a bad choice. Watching Nirvana’s subversive performance (which began with a few bars of the banned “Rape Me” before relenting into the moody “Lithium”) shortly after Def Leppard’s cartoonish “Let’s Get Rocked” not only made ‘80s rock look ridiculous, but it soon made it nearly obsolete. Even the mighty Guns N’ Roses, who closed the show with a spectacular performance of “November Rain”, were openly mocked by Nirvana as “corporate rock” and “packaged rebellion”. If ever there was a public changing of the guard, this was the night.

Michael Jackson, meanwhile, the defining pop icon of the ‘80s, created an album in Dangerous that had as much—or little—to do with pop as Nevermind did. The stylistic differences are obvious enough. Nevermind was rooted in punk rock and grunge, while Dangerous was primarily grounded in R&B/New Jack Swing. Yet both expressed a strikingly similar sense of alienation, with many songs functioning as a kind of confessional poetry. Compare Cobain’s lyrics from “Lithium”—“I’m so happy / Cause today I found my friends / They’re in my head”—to Jackson’s on “Who Is It”—“It doesn’t seem to matter / And it doesn’t seem right / ‘Cause the will has brought no fortune / Still I cry alone at night.” Both albums also contained their share of catchy pop hooks and choruses while introducing more underground sounds to mainstream audiences, and both albums were sung by wounded, sensitive souls who happened to be brilliant marketers/mythmakers.

Sonically, Dangerous shared little in common with the work of fellow pop stars like Madonna, Whitney Houston, and Mariah Carey. Its tone was much more ominous, gritty, urban, and industrial. In short films like “Black or White”, Jackson was likewise exploring darker territory, shocking middle-class audiences with his raw expression of pain and indignation at racism. Ironically, it was the “establishment pop star,” not the outsider grunge band, whose music video was censored following public outcry over its controversial coda. “Smells Like Teen Spirit”, meanwhile, was in such heavy rotation it had one MTV executive gushing that they had “a whole new generation to sell to.”

The point is that, contrary to conventional wisdom, by the end of 1991, Nirvana was as much “pop” as Michael Jackson—and Michael Jackson was as much “alternative” as Nirvana. Both artists’ albums were released by major labels and had similar commercial and chart successes, though they were measured against much different expectations. Each produced hit singles. Each elicited memorable videos and performances that played side-by-side on MTV. And each has now sold in excess of 30 million copies worldwide.

Nevermind, of course, has received far greater critical acclaim, both for its cultural import and artistic substance. Yet 20 years later, Dangerous is gaining admirers as more people move beyond the extraneous nonsense that was so prominent in contemporaneous reviews and pay attention to its content: its prescient themes, its vast inventory of sounds, its panoramic survey of musical styles.

The bottom line is this: If indeed it is considered a pop album, Dangerous redefined the parameters of pop. How else to explain an album that mixes R&B, funk, gospel, hip-hop, rock, industrial, and classical; an album that introduces one song (“Will You Be There”) with Beethoven’s Ninth Symphony and another (“Dangerous”) with what sounds like the heart of a steel-city factory; an album that can alternately be paranoid, cryptic, sensual, vulnerable, idealistic, bleak, transcendent, and fearful? Even the album cover—an acrylic painting by pop surrealist Mark Ryden featuring a circus-like mask through which Jackson gazes back at his audience—signifies a new depth and awareness.

Jackson sets the tone from the opening track. In place of the pristine, cinematic grooves of Bad is something more attuned to the real world, something more edgy and urgent. The shattering glass at the beginning of “Jam” fittingly symbolizes the breakthrough. Dangerous was Jackson’s first album without legendary producer Quincy Jones. Many thought he was crazy to part ways with Jones, given the pair’s unprecedented success together. Yet Jackson liked challenges and was invigorated by the idea of acting as executive producer and working with a fresh canvas. He began experimenting with a group of talented producers and engineers he had developed relationships with in the previous years, including Bill Bottrell, Matt Forger, and Bryan Loren; later in the process, he also brought back longtime engineer, Bruce Swedien. What resulted from the recording sessions—which spanned from 1989-1991—was his most socially conscious and personally revealing album to date.

Perhaps the most significant addition to the new creative team, however, wasn’t made until the final year. Jackson remained dissatisfied with many of the rhythm tracks. He wanted them to hit harder, to feel edgier. With this in mind, he reached out to then-23-year-old New Jack Swing innovator, Teddy Riley. Since the release of Bad in 1987, R&B and hip-hop had evolved in a variety of directions, from the provocative rap of Public Enemy, to the sexual bluntness of LL Cool J, to the aggressive New Jack Swing of Bobby Brown and Guy. Jackson wanted to take elements from all of the latest innovations and sounds, and bend, contort, and meld them with his own creative vision. While Dangerous is often characterized as New Jack Swing—because of Riley’s presence, no doubt—Jackson’s appropriation of the style is clear. The beats are often more dynamic and crisp, the rhythms more syncopated, the sound more visceral and industrial. Found sounds are used as percussion everywhere: honking horns, sliding chains, swinging gates, breaking glass, crashing metal. Jackson also frequently implements beatboxing, scatting, and finger-snapping.

Take a song like “In the Closet” and compare it to other late ‘80s/early ‘90s New Jack Swing. The differences are striking. Listen to the way the elegant piano intro gives way to the erotic, gyrating beat. Listen to how the song builds tension and releases, builds tension and releases, before the climax explodes at the 4:30 mark. Listen to the agile vocal performance, from the hushed, confessional narration, to the tight falsetto harmonies, to the passionate sighs, gasps and exclamations. It is one of Jackson’s most sexually charged songs, yet it still manages a certain subtlety and intrigue—even the title is coyly playing with expectations about sexuality. Unlike most R&B and pop songwriters, Jackson’s “love songs” almost always contain a certain ambiguity, dramatic tension, and mystery. See, also, “Dangerous”, which contains the lyric: “Deep in the darkness of passion’s insanity / I felt taken by lust’s strange inhumanity.”

It is the second half of the Dangerous album, however, that really showcases Jackson’s artistic range. Following the declarative blockbuster, “Black or White”, Jackson unveils one of the most impressive songs in his entire catalog, the haunting masterpiece, “Who Is It”. For those who still believe the myth that Jackson’s work declined after the ‘80s, this track alone should dispel the notion. Not only is it expertly crafted (rivaling “Billie Jean”), it is Jackson at his most emotionally raw: “I can’t take it ‘cause I’m lonely!” “Give in to Me” continues the dark tone, as Jackson unleashes pent-up angst over Slash’s blistering guitar stabs. It is a song that would be right at home alongside the contrasting quiet/loud song dynamics on Nevermind or the rough, metallic textures of U2’s Achtung Baby.

What comes next? A prelude taken from Beethoven’s Ninth Symphony, naturally, followed by two songs—“Will You Be There” and “Keep the Faith”—rooted in black gospel. Jackson then closes the album with a tender expression on the transience of life (“Gone Too Soon”), inspired by AIDS victim, Ryan White, before returning full circle to the industrial New Jack Swing of the title track.

 

[The Dog Woman]

Nastavak...


For some, this kind of eclectic, maximalist approach to an album was viewed scornfully. Dangerous was criticized for being too long, over-the-top, and unfocused. What in the world, skeptics asked, was a song like “Heal the World” doing on an album with “Jam” and “Dangerous”? Certainly, it fell in contrast to the sustained sound and theme of an album like Nevermind. Jackson, of course, could have easily gone this route by adding a few more songs to the seven rhythm tracks he created with Teddy Riley. Yet ultimately, it was an aesthetic choice. Jackson valued diversity and contrast, both sonically and thematically. He loved the idea of surprising an audience with an unusual song sequence, or an unanticipated shift in mood. If traditional R&B couldn’t express a certain emotion, he found a style that could (thus, the epic, Biblically-rooted pathos of “Will You Be There” turns to classical and gospel). Albums, he believed, were journeys—and as he would later explain in reference to his This Is It concert series, he wanted to take people places they’d never been before.

Yet regardless of stylistic preferences, one must at least acknowledge the sheer audacity and talent of an artist who was able to draw from such disparate sources and create in such a variety of genres. Could Axl Rose do New Jack Swing? Could Kurt Cobain do hip hop? Could Chuck D do gospel? Yet Michael Jackson worked as comfortably with Slash as he did the Andrae Crouch Singers Choir or Heavy D.

What, then, is the legacy of Dangerous twenty years later? It was an artistic turning point for Jackson, shifting his focus to more socially conscious material, ambitious concepts, and a broader palette of sounds and styles. It is also the culminating expression of the New Jack Swing sound, contributing to late ‘80s/early ‘90s R&B what albums like Nevermind and Ten did for rock. His R&B-rap fusions set the blueprint for years to come, while his industrial soundscapes and metallic beats were later popularized by artists as disparate as Nine Inch Nails and Lady Gaga. In terms of the overall music scene in 1991—which truly was a remarkable year for music—it may not have been as culturally overpowering as Nevermind, but it does stand alongside it (and a handful of other records) as one of the early decade’s most impressive artistic achievements.

In the end, Nirvana and company may have killed off ‘80s rock. But if pop was dead, its “king” had successfully created alternatives.

 

[Antonina]

Liza Minelli recently did an interview with Daily Mail and talked about the Mchael she knew. She also said some nice words about Elizabeth Taylor.
When she married music producer David Gest in London in 2002 (more of him in a moment), she was attended by Michael Jackson, Elizabeth Taylor and — bizarrely — Martine McCutcheon. Sadly, the first two are now dead. ‘But there’s not a day,’ she says, ‘when I don’t think of Michael.’

She refuses to be drawn on the upcoming trial for involuntary manslaughter of Jackson’s doctor, Conrad Murray. But she’s happy to recollect the Michael she knew.

‘He was a supremely gifted human being but he didn’t survive, in my opinion, because he’d never been taught the rules of the game,’ says Liza. ‘He and his brothers and sisters were forced to rehearse round the clock while other kids were playing basketball.

‘Michael’s life was precisely the one dictated by his father. The family’s religion [the parents are Jehovah’s Witnesses] means the children weren’t even meant to be in show business. But, when they started making money for their father, that was it. Michael was used and abused almost from the time he was born.

‘Eventually, he distanced himself from his family, created this wonderful place — Neverland — for kids and supported different families. Then, one day, the father in one of those families called up Michael and said, “Unless you give me $30,000, I’m going to tell everyone you made a pass at my son.” And that’s when Michael called me.

'Michal Jackson was a supremely gifted human being, but he didn't survive because he'd never been taught the rules of the game'

‘When he’d finished his story, I remember pausing and then saying: “Michael, maybe you should tell your lawyer about this.” He said: “But it’s insane.” So I repeated my advice. “It’s blackmail, though,” he said. “It is,” I replied, “and that’s why you need to involve your lawyer.” But he wouldn’t.

‘What everyone forgets is that, when kids stayed at Neverland, their parents came, too. And they were treated grandly. But then other people jumped on the bandwagon.’

She sighs. ‘I remember he was going with this girl and he was so in love with her. He came to show me the ring he’d bought for her. I asked him what he was going to say and he didn’t know. So I said: “Let’s rehearse,” and that’s what we did.

‘But the girl turned him down. She said she wasn’t ready to commit right now. She told him to ask again in six months. And it all but killed him. He was heartbroken. I knew all his girlfriends including Lisa Marie who became his wife.’

Liza thinks she knows what killed her friend. ‘In the end, the scorn, the cruelty, the vicious meanness — these are the things that took his life. He was one of the best performers we’ve ever had. He changed everything. But he was only a king when he was on stage.’

Lepo je .


I video u prilog tome. Dosla sam ovde da bih njega postavila i nisam ni slutila koliko ce on imati smisla.

 

[Antonina]

Sta devojke prave u photoshop-u ne mogu da verujem! Majke mi. :-) Gledajte od 2: 32 joj! A necu vam reci gde je sok! Ne mogu da verujem... Boze koliko sam ja naivna- uzas! ( blam) Nije, nije ova naslovna slika - to nije nista!

 

[The Dog Woman]

Ne znam za vas, ali meni su te slike odvratne. Po meni, Michael ima savrseno telo i ne vidim razlog zbog cega upropascuju tako sto stavljaju njegovu glavu na tela nekih misicavih stokilasa. Razumem da im to sluzi za neke fantazije (svi ih imaju), ali sta fali Majklu onakvom kakav jeste?