Archive for the ‘Michael Jackson is alive through his history’ Category
Moonwalk was re-released on October 13 2009. The book is spectaculair , as it has been written by Michael Jackson himself. A real MJ fan owns the english version, because one can find his own words in the english version of Moonwalk.
The book chronicles MJ’s early years from the Jackson 5 untill the BAD period.
Michael breaks his silence and talks about his life , the book takes you on a journey you have never been on . It gives you a glimpse of the real Michael Jackson , the real King of Pop !
Just read the following passage from Michael’s Moonwalk , he talks about his Billie jean performance on Motown 25:
“‘The Motown 25 show had actually been taped a month earlier, in April. The whole title was Motown 25: Yesterday, Today, and Forever , and I’m forced to admit I had to be talked into doing it. I’m glad I did because the show eventually produced some of the happiest and proudest moments of my life.
As I mentioned earlier, I said no to the idea at first. I had been asked to appear as a member of the Jacksons and then do a dance number on my own. But none of us were Motown artists any longer. There were lengthy debates between me and my managers, Weisner and DeMann. I thought about how much Berry Gordy had done for me and the group, but I told my managers and Motown that I didn’t want to go on TV. My whole attitude toward TV is fairly negative. Eventually Berry came to see me to discuss it. I was editing “Beat It” at the Motown studio, and someone must have told him I was in the building. He came down to the studio and talked to me about it at length. I said, “Okay, but if I do it, I want to do ‘Billie Jean.’” It would have been the only non-Motown song in the whole show. He told me that’s what he wanted me to do anyway. So we agreed to do a Jacksons’ medley, which would include Jermaine. We were all thrilled.
So I gathered my brothers and rehearsed them for this show. I really worked them, and it felt nice, a bit like the old days of the Jackson 5. I choreographed them and rehearsed them for days at our house in Encino, videotaping every rehearsal so we could watch it later. Jermaine and Marlon also made their contributions. Next we went to Motown in Pasadena for rehearsals. We did our act and, even though we reserved our energy and never went all out at rehearsal, all the people there were clapping and coming around and watching us. Then I did my “Billie Jean” rehearsal. I just walked through it because as yet I had nothing planned. I hadn’t had time because I was so busy rehearsing the group.
The next day I called my management office and said, “Please order me a spy’s hat, like a cool fedora – something that a secret agent would wear.” I wanted something sinister and special, a real slouchy kind of hat. I still didn’t have a very good idea of what I was going to do with “Billie Jean.”
During the Thriller sessions, I had found a black jacket, and I said, “You know, someday I’m going to wear this to perform. It was so perfect and so show business that I wore it on Motown 25 .
But the night before the taping, I still had no idea what I was going to do with my solo number. So I went down to the kitchen of our house and played “Billie Jean.” Loud. I was in there by myself, the night before the show, and I pretty much stood there and let the song tell me what to do. I kind of let the dance create itself. I really let it talk to me; I heard the beat come in, and I took this spy’s hat and started to pose and step, letting the “Billie Jean” rhythm create the movements. I felt almost compelled to let it create itself. I couldn’t help it. And that – being able to “step back” and let the dance come through – was a lot of fun.
I had also been practicing certain steps and movements, although most of the performance was actually spontaneous. I had been practicing the Moonwalk for some time, and it dawned on me in our kitchen that I would finally do the Moonwalk in public on Motown 25.
Now the Moonwalk was already out on the street by this time, but I enhanced it a little when I did it. It was born as a break-dance step, a “popping” type of thing that blacks kids had created dancing on the street corners in the ghetto. Black people are truly innovative dancers; they create many of the new dances, pure and simple. So I said, “This is my chance to do it,” and I did it. These three kids taught it to me. They gave me the basics – and I had been doing it a lot in private. I had practiced it together with certain other steps. All I was really sure of was that on the bridge to “Billie Jean” I was going to walk backward and forward at the same time, like walking on the moon.
One the day of the taping, Motown was running behind schedule. Late. So I went off and rehearsed by myself. By then I had my spy hat. My brothers wanted to know what the hat was for, but I told them they’d have to wait and see. But I did ask Nelson Hayes for a favor. “Nelson – after I do the set with my brothers and the lights go down, sneak the hat out to me in the dark. I’ll be in the corner, next to the wings, talking to the audience, but you sneak that hat back there and put it in my hand in the dark.”
So after my brothers and I finished performing, I walked over to the side of the stage and said, “You’re beautiful! I’d like to say those were the good old days; those were magic moments with all my brothers, including Jermaine. But what I really like” – and Nelson is sneaking the hat into my hand – “are the newer songs.” I turned around and grabbed the hat and went into “Billie Jean,” into that heavy rhythm; I could tell that people in the audience were really enjoying my performance. My brothers told me they were crowding the wings watching me with their mouths open, and my parents and sisters were out there in the audience. But I just remember opening my eyes at the end of the thing and seeing this sea of people standing up, applauding. And I felt so many conflicting emotions. I knew I had done my best and felt good, so good. But at the same time I felt disappointed in myself. I had planned to do one really long spin and to stop on my toes, suspended for a moment, but I didn’t stay on my toes as long as I wanted. I did the spin and I landed on one toe. I wanted to just stay there, just freeze there, but it didn’t work quite as I’d planned.
When I got backstage, the people back there were congratulating me. I was still disappointed about the spin. I had been concentrating so hard and I’m such a perfectionist. At the same time I knew this was one of the happiest moments of my life. I knew that for the first time my brothers had really gotten a chance to watch me and see what I was doing, how I was evolving. After the performance, each of them hugged and kissed me backstage. They had never done that before, and I felt happy for all of us. It was so wonderful when they kissed me like that. I loved it! I mean, we hug all the time. My whole family embraces a lot, except for my father. He’s the only one who doesn’t. Whenever the rest of us see each other, we embrace, but when they all kissed me that night, I felt as if I had been blessed by them.
The performance was still gnawing at me, and I wasn’t satisfied until a little boy came up to me backstage. He was about ten years old and was wearing a tuxedo. He looked up at me with stars in his eyes, frozen where he stood, and said, “Man, who ever taught you to dance like that?” I kind of laughed and said, “Practice, I guess.” And this boy was looking at me, awestruck. I walked away, and for the first time that evening I felt really good about what I had accomplished that night. I said to myself, I must have done really well because children are honest. When that kid said what he did, I really felt that I had done a good job. I was so moved by the whole experience that I went right home and wrote down everything which had happened that night. My entry ended with my encounter with the child.
The day after the Motown 25 show, Fred Astaire called me on the telephone. He said – these are his exact words – “You’re a hell of a mover. Man, you really put them on their asses last night.” That’s what Fred Astaire said to me. I thanked him. Then he said, “You’re an angry dancer. I’m the same way. I used to do the same thing with my cane.”
I had met him once or twice in the past, but this was the first time he had ever called me. He went on to say, “I watched the special last night; I taped it and I watched it again this morning. You’re a hell of a mover.”
It was the greatest compliment I had ever received in my life, and the only one I had ever wanted to believe. For Fred Astaire to tell me that meant more to me than anything. Later my performance was nominated for an Emmy Award in a musical category, but I lost to Leontyne Price. It didn’t matter. Fred Astaire had told me things I would never forget – that was my reward. Later he invited me to his house, and there were more compliments from him until I really blushed. He went over my “Billie Jean” performance, step by step. The great choreographer Hermes Pan, who had choreographed Fred’s dances in the movies, came over, and I showed them how to Moonwalk and demonstrated some other steps that really interested them.
Not long after that Gene Kelly came by my house to visit and also said he liked my dancing. It was a fantastic experience, that show, because I felt I had been inducted into an informal fraternity of dancers, and I felt so honored because these were the people I most admired in the world.
Right after Motown 25 my family read a lot of stuff in the press about my being “the new Sinatra” and as “exciting as Elvis” – that kind of thing. It was very nice to hear, but I knew the press could be so fickle. One week they love you, and the next week they act like you’re rubbish. Later I gave the glittery black jacket I wore on Motown 25 to Sammy Davis as a present. He said he was going to do a takeoff of me on stage, and I said, “Here, you want to wear this when you do it?” He was so happy. I love Sammy. He’s such a fine man and a real showman. One of the best. I had been wearing a single glove for years before Thriller . I felt that one glove was cool. Wearing two gloves seemed so ordinary, but a single glove was different and was definitely a look. But I’ve long believed that thinking too much about your look is one of the biggest mistakes you can make, because an artist should let his style evolve naturally, spontaneously. You can’t think about these things; you have to feel your way into them.”
There is no doubt that Michael finds the constant barrage of attacks on him by the media. This is to such an extent that it really hurts him deeply.
When Michael went on the BAD TOUR he broke his vow of silence and agreed to answer one question from PEOPLE magazine journalist Todd Gold. Todd asked Michael what misconceptions the public had of him.
Michael Jackson gave this written reply:
“Like the old Indian proverb says, do not judge a man until you have walked two moons in his moccasins. Most people don’t know me , that is why they write such things in which most is not true. I cry very,very often because it hurts and I worry about the children. All my children all over the world. i live for them. If a man could say nothing against a character what he can prove, his story could not be written. Animals strike not from malice, but because they want to live, it is the same with those who want to criticise, they desire our blood, not our pain. But still i must achieve . I must seek Truth in all things. I must endure for the power I was sent forth , for the world, for the children. But have mercy , for I’ve been bleeding a long time now. M.J. “
My phone rang and I heard: “This is Michael Jackson.” The voice was breathy, unbroken, boyish – tentative, yet tremulously eager and helpful, not the voice of a 40-year-old. In contrast to this lilting sound, its substance was denser, like a blind child giving you explicit directions in darkness.
“How would you describe Elizabeth Taylor?” I asked.
“She’s a warm cuddly blanket that I love to snuggle up to and cover myself with. I can confide in her and trust her. In my business, you can’t trust anyone.”
“Why is that?”
“Because you don’t know who’s your friend. Because you’re so popular, and there’s so many people around you. You’re isolated, too. Becoming successful means that you become a prisoner. You can’t go out and do normal things. People are always looking at what you’re doing.”
“Have you had that experience?”
“Oh, lots of times. They try to see what you’re reading, and all the things you’re buying. They want to know everything. There are always paparazzi downstairs. They invade my privacy. They twist reality. They’re my nightmare. Elizabeth is someone who loves me – really loves me.”
“I suggested to her that she was Wendy and you’re Peter.”
“But Elizabeth is also like a mother – and more than that. She’s a friend. She’s Mother Teresa, Princess Diana, the Queen of England and Wendy. We have great picnics. It’s so wonderful to be with her. I can really relax with her, because we’ve lived the same life and experienced the same thing.”
“The great tragedy of childhood stars. We like the same things. Circuses. Amusement parks. Animals.”
And there was their shared fame and isolation.
“It makes people do strange things. A lot of our famous luminaries become intoxicated because of it – they can’t handle it. And your adrenaline is at the zenith of the universe after a concert – you can’t sleep. It’s maybe two in the morning and you’re wide awake. After coming off stage, you’re floating.”
“How do you handle that?”
“I watch cartoons. I love cartoons. I play video games. Sometimes I read.”
“You mean you read books?”
“Yeah. I love to read short stories and everything.”
“Any in particular?”
“Somerset Maugham,” he said quickly, and then, pausing at each name: “Whitman. Hemingway. Twain.”
“What about those video games?”
“I love X-Man. Pinball. Jurassic Park. The martial arts ones – Mortal Kombat.”
“I played some of the video games at Neverland,” I said. “There was an amazing one called Beast Buster.”
“Oh, yeah, that’s great. I pick each game. That one’s maybe too violent, though. I usually take some with me on tour.”
“How do you manage that? The video game machines are pretty big, aren’t they?”
“Oh, we travel with two cargo planes.”
“Have you written any songs with Elizabeth in mind?”
“Is that the one with the line, ‘Has anyone seen my childhood?’”
“Yes. It goes…”, and he liltingly recited “Before you judge me, try to…”, and then sang the rest.
“Didn’t I hear that playing on your merry-go-round at Neverland?”
Delightedly, he said, “Yes! Yes!”
He went on about childhood, how, like Elizabeth, as a child star he used to support his family.
“I was a child supporting my family. My father took the money. Some of the money was put aside for me, but a lot of the money was put back into the entire family. I was just working the whole time.”
“So you didn’t have a childhood, then – you lost it. If you had it to do again how would you change things?”
“Even though I missed out on a lot, I wouldn’t change anything.”
“I can hear your little kids in the background.” The gurgling had become insistent, like a plug-hole in a flood. “If they wanted to be performers and lead the life you led, what would you say?”
“They can do whatever they want to do. If they want to do that, it’s okay.”
“How will you raise them differently from the way you were raised?”
“With more fun. More love. Not so isolated.”
“Elizabeth says she finds it painful to look back on her life. Do you find it hard to do that?”
“No, not when it’s pertaining to an overview of your life rather than any particular moment.”
This oblique and somewhat bookish form of expression was a surprise to me – another Michael Jackson surprise. He had made me pause with “intoxicated” and “zenith of the universe”, too. I said: “I’m not too sure what you mean by ‘overview’.”
“Like childhood. I can look at that. The arc of my childhood.”
“But there’s some moment in childhood when you feel particularly vulnerable. Did you feel that? Elizabeth said that she felt she was owned by the studio.”
“Sometimes really late at night we’d have to go out – it might be three in the morning – to do a show. My father forced us. He would get us up. I was seven or eight. Some of these were clubs or private parties at people’s houses. We’d have to perform.” This was in Chicago, New York, Indiana, Philadelphia, he added – all over the country. “I’d be sleeping and I’d hear my father. ‘Get up! There’s a show!’ ”
“But when you were on stage, didn’t you get a kind of thrill?”
“Yes. I loved being on stage. I loved doing the shows.”
“What about the other side of the business – if someone came up after the show, did you feel awkward?”
“I didn’t like it. I’ve never liked people-contact. Even to this day, after a show, I hate it, meeting people. It makes me shy. I don’t know what to say.”
“But you did that Oprah interview, right?
“With Oprah it was tough. Because it was on TV – on TV, it’s out of my realm. I know that everyone is looking and judging. It’s so hard.”
“Is this a recent feeling – that you’re under scrutiny?”
“No,” he said firmly, “I have always felt that way.”
“Even when you were seven or eight?”
“I’m not happy doing it.”
“Which I suppose is why talking to Elizabeth over a period of two or three months on the phone would be the perfect way to get acquainted. Or doing what we’re doing right now.”
At some point Michael’s use of the phrase “lost childhood” prompted me to quote the line from George William Russell, “In the lost boyhood of Judas / Christ was betrayed”, and I heard “Wow” at the other end of the line. He asked me to explain what that meant, and when I did, he urged me to elaborate. What sort of a childhood did Judas have? What had happened to him? Where had he lived? Who had he known?
I told him that Judas had red hair, that he was the treasurer of the Apostles, that he might have been Sicarii – a member of a radical Jewish group, that he might not have died by hanging himself but somehow exploded, all his guts flying.
Twenty more minutes of Biblical apocrypha with Michael Jackson, on the lost childhood of Judas, and then the whisper again.
So many crap was written abou t MJ , especially the rumour and the bad jokes about his skin. The press wrote that MJ wanted to look white , when in fact MJ told the world in intervieuws that he was proud to be a black man.
Let’s just asume if it’s true , which is absolutely ridiculous, why would he make himself as white as milk, not white with a cute tan? Because the colour of vitilligo is porcelyn white ; nobody in the world would want that colour . But if you cant help it and your skin disorder gives you this colour , what ‘s one suppose to do? You just can use make up and try to even out your skin , because there is no real cure for this disease. It even can cause skin cancer.
This lie absolutely devistated MJ , so here’s some proof in the following video:
Please believe MJ , it’s all he wanted.
Michael Jackson was so special that his parents started to realize this when he was still in diapers, he joined his brothers in their band at the age of eight . Michael was the best one amongst the brothers. Later when the band was contracted by recordlabel Motown , not only Berry Gordy was blown away by Michael , for he knew that this little fellow was a golden child, the whole world was blown away. As the years would pass by this fact would even get bigger, Michael would get better every year. People tought Michael was a little midget , or they called him that , because he had so much soul for a child; he was a old soul wrapped in a little body.
He couldn’t play like any other kid his age, he had to practice, go from one studio to the other . Michael’s only thing back in the days was work. Even though it was hard on little Michael Jackson he was a very bubbly sweet child. This child inside Michael never died. The child is still alive.
Michael Jackson has a God given talent. But of course he learned from other when he was a little kid. Back in the days, the J5 days, he used to stare at stars like James Brown and Jackie Wilson, whenthey performed on stage. He tried to learn from them, what was the magic that they had , to make the people in the audience crazy. Michael looked and he saw James Brown throwing his Mike and grabbing it again like it was no big deal, he saw jackie Wilson doing the slide and standing back on his feet in no time… Michael memorized all these steps and tried them himself. He took those people as an inspiration. And it did Michael jackson good, look where it brought him ! It made him even a bigger star than his idols at the time.