MICHAEL JACKSON'S DREAM CONTINUES
Wednesday, August 31, 2011
Sunday, August 28, 2011
Happy Birthday Michael: The Biblical Meaning Of Dangerous Album Art
THE BIBLICAL MEANING OF DANGEROUS ALBUM
As we all know Michael Jackson spoken through his art in the past 45 years.
I am one of the admirer of his symbolic art . I am also amazed by how much story can he tell us in a piece of art. One of my all time favorite art is the Dangerous album ART . It took me 3 days to solve the mystery. This beautiful symbolic art took 6 months of an artist time to reconnect all the basic ideas of symbolism .
Since Michael said “ that the design should be mysterious, that people will interpret in their own way” I interpret it as Biblical scriptures. Remember how spiritual Michael is and he is into a Bible . Michael said he read Bible every day and gain so much wisdom from The teaching of The holy Bible .
First lets start from The King Dog.
As we all know a Dog is a mans best friend , also Dog is the most faithful animal. The ancient Israelites know by shepherds and have a very special relationship with a dog. In farms Dogs have a responsibility to protect their owner flock . So why is the dog king have an initial MJ on his head ? Clearly he been serving man kind and the children.
Also there is an evil creature on his right hand. It symbolized Paparazzi and the media who try to defame him in the past.
The King has a rod on his right hand if you see closely you see a Queen bird with an evil red eye . It symbolizes satan overshadowed Michaels humanitarian work by using media . The media try to defame and make him look like an evil man. If you see to the left the evil bird uses his royal road. Showing that 70 AD The Romans controlled the Holy Land and control the Israelites kingdom. So he is fighting her from sipping his blood from his foot with his glowing gloves. Symbolized The holocaust of the natural branches since 70 A.D until now.
Also there is an evil creature on his right hand. It symbolized Paparazzi and the media who try to defame him in the past.
The King has a rod on his right hand if you see closely you see a Queen bird with an evil red eye . It symbolizes satan overshadowed Michaels humanitarian work by using media . The media try to defame and make him look like an evil man. If you see to the left the evil bird uses his royal road. Showing that 70 AD The Romans controlled the Holy Land and control the Israelites kingdom. So he is fighting her from sipping his blood from his foot with his glowing gloves. Symbolized The holocaust of the natural branches since 70 A.D until now.
If you look closer the gloves are two doves.
Michael Is A prehistoric man, perhaps a warrior tribe . Lets see who is a warrior tribe in The Bible.
Genesis 49:8
8 “Judah
your hand will be on the neck of your enemies;
your father’s sons will bow down to you.
9 You are a lion’s cub,Judah
you return from the prey, my son.
Like a lion he crouches and lies down,
like a lioness—who dares to rouse him?
10 The scepter will not depart from Judah,
nor the ruler’s staff from between his feet,[c]
until he to whom it belongs[d] shall come
and the obedience of the nations shall be his.
11 He will tether his donkey to a vine,
his colt to the choicest branch;
he will wash his garments in wine,
his robes in the blood of grapes.
12 His eyes will be darker than wine,
his teeth whiter than milk.[e]
your hand will be on the neck of your enemies;
your father’s sons will bow down to you.
9 You are a lion’s cub,
you return from the prey, my son.
Like a lion he crouches and lies down,
like a lioness—who dares to rouse him?
10 The scepter will not depart from Judah,
nor the ruler’s staff from between his feet,[c]
until he to whom it belongs[d] shall come
and the obedience of the nations shall be his.
11 He will tether his donkey to a vine,
his colt to the choicest branch;
he will wash his garments in wine,
his robes in the blood of grapes.
12 His eyes will be darker than wine,
his teeth whiter than milk.[e]
Since Michael is Royalty and from the warrior tribe Is he representing the future
Kingdom?Christ said on Revelation 2:26-28
26 To the one who is victorious and does my will to the end, I will give authority over the nations— 27 that one ‘will rule them with an iron scepter and will dash them to pieces like pottery’[b]—just as I have received authority from my Father. 28 I will also give that one the morning star.
Could this man be Michael? Was he trying to tell us something?
Isaiah 11
The Branch From Jesse
from his roots a Branch will bear fruit.
2 The Spirit of the LORD will rest on him—
the Spirit of wisdom and of understanding,
the Spirit of counsel and of might,
the Spirit of the knowledge and fear of the LORD—
3 and he will delight in the fear of the LORD
Michael dressed as royalty most of the time . he always have ER sign in his outfits and also his neverland ranch door is the crest of the Royal family . Because The moors were ruling Europe for a 1000 years until they fail and their kingdom taken by Edomites /seed of Esau/. Example King James who rule 5 countries at ones. he also was a black man from The tribe of Judah. And he also translates the Holy Bible please check 1611 KJV Bible.
You can see under the eyes there are many different kind of animals together and a child with a number 7 on his hat is leading them . hmm where did we read it before
Isaiah 11:6
6 The wolf will live with the lamb,
the leopard will lie down with the goat,
the calf and the lion and the yearling[a] together;
and a little child will lead them
the leopard will lie down with the goat,
the calf and the lion and the yearling[a] together;
and a little child will lead them
It is exactly like the scripture . Next a child is playing with a viper’s nest .
Isaiah 11
7 The cow will feed with the bear,
their young will lie down together,
and the lion will eat straw like the ox.
8 The infant will play near the cobra’s den,
and the young child will put its hand into the viper’s nest.
9 They will neither harm nor destroy
on all my holy mountain,
for the earth will be filled with the knowledge of the LORD
as the waters cover the sea.
their young will lie down together,
and the lion will eat straw like the ox.
8 The infant will play near the cobra’s den,
and the young child will put its hand into the viper’s nest.
9 They will neither harm nor destroy
on all my holy mountain,
for the earth will be filled with the knowledge of the LORD
as the waters cover the sea.
And a map of the earth on Michael's palm. In The new Kingdom Judah will rise as a king of The Earth , the king will be Christ Him self. It shows the new Earth and Heaven which is coming soon.
Next
Look to his eyes carefully to your right side is a woman , the left is a man Michael.
"our eyes are the windows to the world"MJ
If you see the king dog half of him is a female the left side of him . And she has a rod on her hand . And The golden hand shape rod with 11 sign . 11 is a spiritual messenger sign. And the hand has a bracelet if you look closer its a face of a woman .Michaels eternal companions who who will help him to complete His purpose.
Also to the right there is a statue if you see closer she is a woman and half a man at the same time . It symbolized The two who are one and their purpose is help building the kingdom of heaven.
If you see the king dog half of him is a female the left side of him . And she has a rod on her hand . And The golden hand shape rod with 11 sign . 11 is a spiritual messenger sign. And the hand has a bracelet if you look closer its a face of a woman .Michaels eternal companions who who will help him to complete His purpose.
Also to the right there is a statue if you see closer she is a woman and half a man at the same time . It symbolized The two who are one and their purpose is help building the kingdom of heaven.
Now to our right we can see a Queen bird dressed in purple dress .
Look carefully she trapped many people in her breast . she has a golden object on her left hand . also she had a rod with a king dog on her right. It look like she took the rod from the king dog because he has a bird queen in his hand. / could be every thing he is done is changed it to evil/ Also there are demons coming out of her head to stop the two birds /angles/ one of the birds has a letter M in red color. They try to revel her true identity when they uncover her dress she is nothing but a machine attached to an umbilical cord connected to a huge ball . if you look inside the ball Adam and Eve and the apple. Represents SIN
Rev 17
4 The woman was dressed in purple and scarlet, and was glittering with gold, precious stones and pearls. She held a golden cup in her hand, filled with abominable things and the filth of her adulteries. 5 The name written on her forehead was a mystery:
THE MOTHER OF PROSTITUTES
AND OF THE ABOMINATIONS OF THE EARTH.
6 I saw that the woman was drunk with the blood of God’s holy people, the blood of those who bore testimony to Jesus.
How Ironic another scripture
“‘Fallen! Fallen is
She has become a dwelling for demons
and a haunt for every impure spirit,
a haunt for every unclean bird,
a haunt for every unclean and detestable animal.
3 For all the nations have drunk
the maddening wine of her adulteries.
The kings of the earth committed adultery with her,
and the merchants of the earth grew rich from her excessive luxuries.”
Under the Queen Bird we see an eye illuminati sign . check out your back dollar bill you will see the pyramid and an eye. On Book of Daniel 8 you will see the horn who has an eye controlled the earth .
Those are who watching all over the earth are DANGEROUS.
If you see in the middle of the art you can see the Planet Earth upside down . and its almost destroyed and there is DANGEROUS letter over it . Man kind destroyed the planet with War, Racism, and injustice. We can see a man look like a banker something high class politician could be behind all the weapons in the way to the middle .
After the system killed a man named Michael He came out brand new as a child , symbolized the saints of The Most High will return with the King of the Kings to receive their rewards.
Praise AHAYAH ASHER AHAYAH ,/ I AM THAT I AM/ in hebrew in the name of Christ . Amen
USA TODAY - Interview with David Nordahl
USA TODAY - Interview with David Nordahl - *Nordahl was Michael Jackson's portraitist from 1988 to 2005 -
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Michael Jackson's personal artist shared pop king's vision By Edna Gundersen, USA TODAY 8/09
SANTA FE — Artist David Nordahl was at home painting in February 1988 when the phone rang at midnight. A voice said, "This is Michael Jackson."
Yeah, riiiight, he thought. But he quickly realized the call was no prank.
While visiting Steven Spielberg's office, Jackson had admired one of Nordahl's paintings of Army troops invading an Apache camp as a young corporal shielded two Indian children. Now the singer was reaching out to the painter. For art lessons.
"He asked if I taught drawing and painting," says Nordahl, whose realist oils of 19th-century Apaches are highly prized. "I told him I didn't, but that I'd think about it. I was really busy."
Their hour-long conversation sparked a close friendship and working partnership that led Nordahl to abandon renown in the art world for a cloistered vocation as Jackson's portraitist. From 1988 to 2005, Nordahl completed thousands of drawings and roughly a dozen epic commissions, seven of which were among 2,000 Jackson items in Julien's authorized auction, which the singer sued to stop last spring.
Many canvases encapsulate Jackson's grandiose fantasies and fairy-tale worldview. In a massive triptych, he is crowned and knighted in royal robes. Along the sunlit path in Field of Dreams, he leads children of all nationalities (plus sister Janet, AIDS activist Ryan White and actor Macaulay Culkin). His firstborn son snoozes on an oversized golden throne in Prince, The Boy King.
Nordahl, 68, became not only Jackson's favorite living artist (Michelangelo led the historic ranking) but a trusted adviser and confidant who designed Neverland carnival rides and joined family outings.
He ducked the media for years, "because they wanted to talk about negative stuff, and I don't know anything bad about Michael," the soft-spoken Nordahl says, sitting with artist/wife Lori Peterson and frisky cat Scooter in a living room crowded with paintings by the couple. He's speaking now in hopes of brightening a picture darkened since Jackson's death June 25.
"I always thought of him as normal," he says. "He's the most thoughtful, respectful person I've ever met. In 20 years, I never heard him raise his voice."
Early days: Brainstorming
Nordahl's Jackson period began after the singer invited him to the Denver stop of the Bad tour in March 1988.
"I didn't know what to expect," Nordahl says. "He was sweet. We went to galleries, bookstores and a private showing of the King Tut exhibit. We sat around and laughed and talked and drew."
Jackson demonstrated talent but was stretched too thin to pursue visual arts. Instead, the two began hatching ideas for Nordahl to paint. The artist conceived the inaugural work, Playmates for a Lonely Child, a 41-inch-square oil of Jackson in a sylvan storybook scene. Next Nordahl embarked on a far bolder statement, Field of Dreams, a 36-by-104-inch oil study for an unfinished work that would have measured 12 by 38 feet.
He labored non-stop: large portraits, mythical tableaux, 10-foot charcoal drawings, a plaque on the Neverland gate. Nordahl billed Jackson in line with his earlier gallery rates, up to $150,000 for large pieces, and says he was always paid.
His duties expanded to amusement park design after Jackson began developing the ranch north of Santa Barbara, Calif., and Nordahl juggled several projects while adapting to Jackson's enchanted lifestyle. At Neverland, the two tested rides and tended the exotic menagerie.
They took trips to Disneyland and spent time at billionaire Ron Burkle's La Jolla, Calif., estate, where Jackson's insomnia often meant Nordahl was enlisted for wee-hour practical jokes and beachside chats. (He also was a victim of Jackson's notorious tricks, once finding his briefcase stuffed with bubblegum.)
He discovered the unglamorous Jackson, who in the late '80s often drove by himself in a Chevy Blazer (and relieved himself in a bucket because he couldn't risk being mobbed at gas stations) and lived in a two-bedroom Los Angeles condo.
"I expected a penthouse with maids," Nordahl says. "There was a grand piano pushed into the kitchen, a popcorn machine and a good sound system. The other furniture, you couldn't have gotten 50 bucks for it at a garage sale. Before the kids, Michael lived real simply."
What fueled this bromance?
"I grew up in a difficult home, and he did too," says Nordahl, whom Jackson thanks in liner notes for 1991's Dangerous and 1995's HIStory. "We had no playtime growing up. We're both fanatical about work.
"There was a bond."
Nordahl's youth troubled, too
Born in Albert Lea, Minn., Nordahl left home at 12 and supported himself through high school by working on farms, pinstriping cars and selling his art.
"I can't remember not drawing," he says. "I had an abusive, alcoholic father, and drawing is something that takes you out of the real world. I was always interested in cowboys and Indians. I sold drawings of the Lone Ranger to my classmates."
He began specializing in Apaches after moving to Steamboat Springs, Colo., in 1977, and his detailed, meticulously researched depictions soon lured collectors.
"His work had a lot of integrity, and he was one of those rare artists who was humble but extremely talented," says prominent Santa Fe art dealer Ray Dewey, who held lotteries to determine buyers of Nordahl's work because of high demand.
"His technique took a long time, so he was not prolific. When he talked to me about leaving to paint for Michael Jackson, I had over 200 people on a waiting list for his work. It was an interesting decision on his part.
"I think what Jackson saw in David was a complete artist," Dewey says. "He was a perfectionist. He choreographed everything. Jackson also may have seen his commitment to family. David primarily painted the Apache people's culture and lifeways, but he painted a lot of children, not just warriors. And he painted animals beautifully, especially horses."
What Nordahl saw in Jackson was a wounded and misunderstood genius who felt spiritually obligated to help children.
Though Jackson was acquitted in his 2005 child sexual abuse trial, it "broke his spirit," Nordahl says. "Michael would never molest a child. He always felt so bad for kids who were mistreated or sick. He spent so much time with critically ill kids. If a mother called about a dying child somewhere, he'd jump on a plane.
"People talked about Neverland being his private amusement park. It was always meant for kids. The last time I was at the ranch, they put up a big Sony JumboTron across from a condo building for sick children, so if kids woke up at night, cartoons would be on."
'Michael was a real dad'
Nordahl was bewildered that Jackson seemed to elicit more mockery than sympathy.
"People accused him of trying to be white, which is ridiculous," he says. "When I first met him, his vitiligo (a skin disorder that causes pigmentation loss) had gone to the right side of his face and down his neck. Most of his right hand was white. Stark white patches. He used makeup because he had to. Without it, he was speckled all over."
Nordahl never witnessed drug use by Jackson but was keenly aware of pain problems that lingered after the star's hair caught fire on a Pepsi ad soundstage.
"When they were trying to repair that burned spot, he had a balloon under his scalp that was inflated," Nordahl says. "He let me feel it. It was a huge mound. As the skin got stretched, they cut it out and stitched the scalp. He was in excruciating pain."
Jackson seemed an unlikely addict, Nordahl says, noting his avoidance of cigarettes, alcohol, soft drinks and sugar.
"He was mostly a vegetarian," he says. "When he was on tour, the cooks would make him eat fish and sometimes chicken. He loved little chicken wings. He always drank water. I shared wine with him only twice, once with (ex-wife) Lisa Marie (Presley) and once at Ron Burkle's house. Michael had one glass."
The clearest evidence of Jackson's responsible nature emerged in his parenting of Prince, Paris and Blanket.
"Michael was a real dad, not a Hollywood dad," he says. "He'd get up at night to feed them bottles. He'd change them, bathe them, everything a mother does.
"All the time I spent with those kids, I never heard them beg for anything or throw a fit. I never heard them cry. They were so well-adjusted."
Jackson took pains not to spoil his children, says Nordahl, recalling a modest eighth birthday party in L.A. for Prince. (Jackson's mother, Katherine, and sister Rebbie came over but skipped the festivities because of their Jehovah's Witness beliefs, he says.)
"I was curious to see what Prince was going to get," Nordahl says. "I figured it would be pretty extravagant, but he didn't get one thing that cost over $2. He got Play-Doh, little action figures, things we'd call stocking stuffers.
"The kids were not allowed to watch TV or DVDs or play video games" except through points earned by their schoolwork. "Nothing was given to them. Michael said, 'I want them to grow up as close to normal as possible.' Those kids were so respectful and courteous, just sweet."
Surprise visit to Santa Fe
Nordahl grew close to all three. Typically, the artist spent time with the Jackson brood on the West Coast. But over Memorial Day weekend in 2004, the star and his tykes surprised Nordahl by visiting Santa Fe via Jackson's plush private bus (with a 60-inch plasma TV). Jackson suggested a movie outing.
"I thought we were going to a screening room," Nordahl says. "His driver pulled into DeVargas Mall. He was friends with (Roland Emmerich), the director of The Day After Tomorrow, and it was opening weekend. The mall was jammed, and there was no place to park. I took the kids, got the tickets and popcorn, and we went in. Michael came in after the lights went down.
"The lights came up, and nobody noticed him. He had on a baseball cap and these Chinese silk pajamas. The kids had no masks on. Any of those rags would have paid $100,000 for that picture."
Paintings' future unclear
He last saw Jackson in 2005, when the singer moved to Bahrain and vowed never again to live on U.S. soil. Accustomed to lulls when Jackson was overseas or overextended, Nordahl resumed painting Apaches and presumed he'd be summoned once Jackson found a new home and showcase for his treasures.
The fate of Nordahl's Jackson paintings is in limbo, though they may be part of a touring exhibition of the singer's memorabilia proposed by the estate administrators. "I would like to see them in a Michael Jackson museum," Nordahl says. "That was always Michael's goal. He was very self-effacing, but he understood he was a music icon."
Nordahl, represented by Settlers West Galleries in Tucson and Sherwoods Spirit of America in Santa Fe, has returned to painting Apaches and other subjects.
Whether his extended hiatus from the public eye damaged his authority or reputation "is difficult to gauge," Dewey says. "I don't know if it furthered his career. An artist who does commissions for one patron often is just isolated unless the patron publishes or exhibits the work. David's always been independent, and he's never sought publicity."
And how many patrons are the King of Pop?
"We got to be such good friends that I forgot who I was hanging out with," Nordahl says. "Then he'd break into these dance moves, quick as lightning, and it would dawn on me: He's the best entertainer in the world."
link- http://www.usatoday.com/life/people/2009-08-20-jackson-paintings_N.htm#
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Michael Jackson's personal artist shared pop king's vision By Edna Gundersen, USA TODAY 8/09
SANTA FE — Artist David Nordahl was at home painting in February 1988 when the phone rang at midnight. A voice said, "This is Michael Jackson."
Yeah, riiiight, he thought. But he quickly realized the call was no prank.
While visiting Steven Spielberg's office, Jackson had admired one of Nordahl's paintings of Army troops invading an Apache camp as a young corporal shielded two Indian children. Now the singer was reaching out to the painter. For art lessons.
"He asked if I taught drawing and painting," says Nordahl, whose realist oils of 19th-century Apaches are highly prized. "I told him I didn't, but that I'd think about it. I was really busy."
Their hour-long conversation sparked a close friendship and working partnership that led Nordahl to abandon renown in the art world for a cloistered vocation as Jackson's portraitist. From 1988 to 2005, Nordahl completed thousands of drawings and roughly a dozen epic commissions, seven of which were among 2,000 Jackson items in Julien's authorized auction, which the singer sued to stop last spring.
Many canvases encapsulate Jackson's grandiose fantasies and fairy-tale worldview. In a massive triptych, he is crowned and knighted in royal robes. Along the sunlit path in Field of Dreams, he leads children of all nationalities (plus sister Janet, AIDS activist Ryan White and actor Macaulay Culkin). His firstborn son snoozes on an oversized golden throne in Prince, The Boy King.
Nordahl, 68, became not only Jackson's favorite living artist (Michelangelo led the historic ranking) but a trusted adviser and confidant who designed Neverland carnival rides and joined family outings.
He ducked the media for years, "because they wanted to talk about negative stuff, and I don't know anything bad about Michael," the soft-spoken Nordahl says, sitting with artist/wife Lori Peterson and frisky cat Scooter in a living room crowded with paintings by the couple. He's speaking now in hopes of brightening a picture darkened since Jackson's death June 25.
"I always thought of him as normal," he says. "He's the most thoughtful, respectful person I've ever met. In 20 years, I never heard him raise his voice."
Early days: Brainstorming
Nordahl's Jackson period began after the singer invited him to the Denver stop of the Bad tour in March 1988.
"I didn't know what to expect," Nordahl says. "He was sweet. We went to galleries, bookstores and a private showing of the King Tut exhibit. We sat around and laughed and talked and drew."
Jackson demonstrated talent but was stretched too thin to pursue visual arts. Instead, the two began hatching ideas for Nordahl to paint. The artist conceived the inaugural work, Playmates for a Lonely Child, a 41-inch-square oil of Jackson in a sylvan storybook scene. Next Nordahl embarked on a far bolder statement, Field of Dreams, a 36-by-104-inch oil study for an unfinished work that would have measured 12 by 38 feet.
He labored non-stop: large portraits, mythical tableaux, 10-foot charcoal drawings, a plaque on the Neverland gate. Nordahl billed Jackson in line with his earlier gallery rates, up to $150,000 for large pieces, and says he was always paid.
His duties expanded to amusement park design after Jackson began developing the ranch north of Santa Barbara, Calif., and Nordahl juggled several projects while adapting to Jackson's enchanted lifestyle. At Neverland, the two tested rides and tended the exotic menagerie.
They took trips to Disneyland and spent time at billionaire Ron Burkle's La Jolla, Calif., estate, where Jackson's insomnia often meant Nordahl was enlisted for wee-hour practical jokes and beachside chats. (He also was a victim of Jackson's notorious tricks, once finding his briefcase stuffed with bubblegum.)
He discovered the unglamorous Jackson, who in the late '80s often drove by himself in a Chevy Blazer (and relieved himself in a bucket because he couldn't risk being mobbed at gas stations) and lived in a two-bedroom Los Angeles condo.
"I expected a penthouse with maids," Nordahl says. "There was a grand piano pushed into the kitchen, a popcorn machine and a good sound system. The other furniture, you couldn't have gotten 50 bucks for it at a garage sale. Before the kids, Michael lived real simply."
What fueled this bromance?
"I grew up in a difficult home, and he did too," says Nordahl, whom Jackson thanks in liner notes for 1991's Dangerous and 1995's HIStory. "We had no playtime growing up. We're both fanatical about work.
"There was a bond."
Nordahl's youth troubled, too
Born in Albert Lea, Minn., Nordahl left home at 12 and supported himself through high school by working on farms, pinstriping cars and selling his art.
"I can't remember not drawing," he says. "I had an abusive, alcoholic father, and drawing is something that takes you out of the real world. I was always interested in cowboys and Indians. I sold drawings of the Lone Ranger to my classmates."
He began specializing in Apaches after moving to Steamboat Springs, Colo., in 1977, and his detailed, meticulously researched depictions soon lured collectors.
"His work had a lot of integrity, and he was one of those rare artists who was humble but extremely talented," says prominent Santa Fe art dealer Ray Dewey, who held lotteries to determine buyers of Nordahl's work because of high demand.
"His technique took a long time, so he was not prolific. When he talked to me about leaving to paint for Michael Jackson, I had over 200 people on a waiting list for his work. It was an interesting decision on his part.
"I think what Jackson saw in David was a complete artist," Dewey says. "He was a perfectionist. He choreographed everything. Jackson also may have seen his commitment to family. David primarily painted the Apache people's culture and lifeways, but he painted a lot of children, not just warriors. And he painted animals beautifully, especially horses."
What Nordahl saw in Jackson was a wounded and misunderstood genius who felt spiritually obligated to help children.
Though Jackson was acquitted in his 2005 child sexual abuse trial, it "broke his spirit," Nordahl says. "Michael would never molest a child. He always felt so bad for kids who were mistreated or sick. He spent so much time with critically ill kids. If a mother called about a dying child somewhere, he'd jump on a plane.
"People talked about Neverland being his private amusement park. It was always meant for kids. The last time I was at the ranch, they put up a big Sony JumboTron across from a condo building for sick children, so if kids woke up at night, cartoons would be on."
'Michael was a real dad'
Nordahl was bewildered that Jackson seemed to elicit more mockery than sympathy.
"People accused him of trying to be white, which is ridiculous," he says. "When I first met him, his vitiligo (a skin disorder that causes pigmentation loss) had gone to the right side of his face and down his neck. Most of his right hand was white. Stark white patches. He used makeup because he had to. Without it, he was speckled all over."
Nordahl never witnessed drug use by Jackson but was keenly aware of pain problems that lingered after the star's hair caught fire on a Pepsi ad soundstage.
"When they were trying to repair that burned spot, he had a balloon under his scalp that was inflated," Nordahl says. "He let me feel it. It was a huge mound. As the skin got stretched, they cut it out and stitched the scalp. He was in excruciating pain."
Jackson seemed an unlikely addict, Nordahl says, noting his avoidance of cigarettes, alcohol, soft drinks and sugar.
"He was mostly a vegetarian," he says. "When he was on tour, the cooks would make him eat fish and sometimes chicken. He loved little chicken wings. He always drank water. I shared wine with him only twice, once with (ex-wife) Lisa Marie (Presley) and once at Ron Burkle's house. Michael had one glass."
The clearest evidence of Jackson's responsible nature emerged in his parenting of Prince, Paris and Blanket.
"Michael was a real dad, not a Hollywood dad," he says. "He'd get up at night to feed them bottles. He'd change them, bathe them, everything a mother does.
"All the time I spent with those kids, I never heard them beg for anything or throw a fit. I never heard them cry. They were so well-adjusted."
Jackson took pains not to spoil his children, says Nordahl, recalling a modest eighth birthday party in L.A. for Prince. (Jackson's mother, Katherine, and sister Rebbie came over but skipped the festivities because of their Jehovah's Witness beliefs, he says.)
"I was curious to see what Prince was going to get," Nordahl says. "I figured it would be pretty extravagant, but he didn't get one thing that cost over $2. He got Play-Doh, little action figures, things we'd call stocking stuffers.
"The kids were not allowed to watch TV or DVDs or play video games" except through points earned by their schoolwork. "Nothing was given to them. Michael said, 'I want them to grow up as close to normal as possible.' Those kids were so respectful and courteous, just sweet."
Surprise visit to Santa Fe
Nordahl grew close to all three. Typically, the artist spent time with the Jackson brood on the West Coast. But over Memorial Day weekend in 2004, the star and his tykes surprised Nordahl by visiting Santa Fe via Jackson's plush private bus (with a 60-inch plasma TV). Jackson suggested a movie outing.
"I thought we were going to a screening room," Nordahl says. "His driver pulled into DeVargas Mall. He was friends with (Roland Emmerich), the director of The Day After Tomorrow, and it was opening weekend. The mall was jammed, and there was no place to park. I took the kids, got the tickets and popcorn, and we went in. Michael came in after the lights went down.
"The lights came up, and nobody noticed him. He had on a baseball cap and these Chinese silk pajamas. The kids had no masks on. Any of those rags would have paid $100,000 for that picture."
Paintings' future unclear
He last saw Jackson in 2005, when the singer moved to Bahrain and vowed never again to live on U.S. soil. Accustomed to lulls when Jackson was overseas or overextended, Nordahl resumed painting Apaches and presumed he'd be summoned once Jackson found a new home and showcase for his treasures.
The fate of Nordahl's Jackson paintings is in limbo, though they may be part of a touring exhibition of the singer's memorabilia proposed by the estate administrators. "I would like to see them in a Michael Jackson museum," Nordahl says. "That was always Michael's goal. He was very self-effacing, but he understood he was a music icon."
Nordahl, represented by Settlers West Galleries in Tucson and Sherwoods Spirit of America in Santa Fe, has returned to painting Apaches and other subjects.
Whether his extended hiatus from the public eye damaged his authority or reputation "is difficult to gauge," Dewey says. "I don't know if it furthered his career. An artist who does commissions for one patron often is just isolated unless the patron publishes or exhibits the work. David's always been independent, and he's never sought publicity."
And how many patrons are the King of Pop?
"We got to be such good friends that I forgot who I was hanging out with," Nordahl says. "Then he'd break into these dance moves, quick as lightning, and it would dawn on me: He's the best entertainer in the world."
link- http://www.usatoday.com/life/people/2009-08-20-jackson-paintings_N.htm#
Thursday, August 25, 2011
Monday, August 22, 2011
Saturday, August 20, 2011
Michael Jackson a Dance machine 2
Michael Jackson in the 1980s Photograph: Kevin Winter/Getty
Downtown between the Pacific American Fish Co and the Hotel St Agnes Hospitality Kitchen there's an alley. Cars block each end, no escape. And, silhouetted in the car headlights, two rival LA gangs are swaggering towards each other. A couple of people pop their heads out of the hotel window, mutter something incomprehensible and go back to sleep. Down below in the smoke, the gangs are getting closer. They look mean. Those Cripps, the ones with the blue bandannas, look really mean, slapping their fists in their hands and scowling and getting closer. Then someone switches on a tape machine and a bit of "Beat It" blares out into the night ...
"Magic" - says Michael Jackson, who talks a lot about magic - "is easy if you put your heart into it." There can't be that many things much more magic than standing around in downtown LA in the middle of the night watching marauding hordes stand to attention when someone with a fruity English accent gives the command. This particular bit of sorcery will, by the time you read this, be the video for "Beat It", Michael Jackson's new single. This song's about machismo; so's the video. Michael wakes up in some sleazy downtown bedroom in a cold sweat; he's had a dream about the upcoming punch-up and has to go stop it. He leaps out of bed, seriously endangering the lives of a whole family of cockroaches.
Back in the warehouse they're doing the choreographed fight sequence. The real gang members stand on the edges while a dozen or so imitation gang members, professional dancers, dance and wave knives.
All this time, a thin, long-fingered man in a brown leather jacket too big for him, is sipping orange juice, gazing wide-eyed and curious at the dancers and the monitors, nodding his head soberly in time to the music, his foot on automatic tap. Michael Jackson looks fascinated by the whole thing. It's three in the morning before he gets his go. He's to come in, break up the fight and lead them dancing out of a warehouse. Pied Piper meets Peter Pan. Dawn was breaking by the time they finished; Michael Jackson wasn't.
Where the man gets his energy from no one knows. It's certainly not drugs - he doesn't touch them and rarely drinks. It's certainly not raw meat - Michael's a strict vegetarian and wouldn't eat at all given an alternative; he fasts and dances every Sunday and manages to live to start another week. Michael Jackson manages to do more in a week than most manage in a decade. In the time it took Supertramp to get the right piano sound, Michael sang harmonies with Donna Summer, backing vocals with Joe King Carrasco, wrote and produced "Muscles" for Diana Ross, wrote and sang "The Girl is Mine" with Paul McCartney, and did a song for a narrated ET album, gathered together everyone from Vincent Price to Eddie Van Halen to help out with his solo album, and still had time for his pet llama, snake and parrots.
Just back from England (a couple more tunes with Macca, whom he met at a Hollywood cocktail party at silent comedian Harold Lloyd's place and swapped phone numbers: "I love Paul, Linda and family very much."), he's already planning projects with Gladys Knight, Jane Fonda, Barbra Streisand, Katharine Hepburn, and Freddie Mercury of Queen, his old pal. Not to mention working on a film with Steven Spielberg ("a futuristic fantasy with music") and an album with the Jacksons. Remember the Jacksons? Michael's been their singer and choreographer ever since his dad Joe Jackson - one-time head of a Chuck Berry cover band in Indiana, the Falcons - noticed the five-year-old's nifty James Brown impersonations.
The songs, ideas, energy come from God, he reckons - the man's a devoted Jehovah's Witness, He'll just wake up in the night and there they are. Several more million sellers. His first solo album, Off the Wall, sold seven million copies. Thriller's not exactly ready for the cut-out bins yet. The first act in history, no less, to top the pop and R&B singles and albums charts all at the same time ...
I talked to Jackson before the video shoot. In a three-story condo in the San Fernando Valley - where Michael is staying while they rebuild his family house five miles down the road - filled with books, plants, art-work, animals, organic juices and nephews and cousins and siblings of the Jackson family. La Toya was there in a cowboy hat. Little sister Janet was there to parrot my questions to Michael. Oh, I forgot, and there was a record collection ranging from Smokey Robinson to Macca, with stops at funk, new wave, classical and just about anything else.
"James Brown, Ray Charles, Jackie Wilson, Chuck Berry and Little Richard - I think they had strong influences on a lot of people, because these were the guys who really got rock'n'roll going. I like to start with the origin of things, because once it gets along it changes. It's so interesting to see how it really was in the beginning."
Michael's got a tiny, otherworldly voice. You've heard him described as childlike and angelic. You will again. He's painfully shy, stares at his hands, his shoes, his sister, anywhere he can forget there's an interviewer around.
He goes on: "I like to do that with art also. I love art. Whenever we go to Paris I rush to the Louvre. I just never get enough of it! I go to all the museums around the world. I love art. I love it too much, because I end up buying everything and you become addicted. You see a piece you like and you say, Oh God, I've got to have this ...
"I love classical music. I've got so many different compositions. I guess when I was real small in kindergarten and hearing Peter and the Wolf and stuff - I still listen to that stuff, it's great, and Boston Pops and Debussy, Mozart, I buy all that stuff. I'm a big classical fan. We've been influenced by all kinds of different music - classical, R&B, folk, funk - and I guess all those ingredients combine to create what we have now.
"I wouldn't be happy doing just one kind of music or label ourselves. I like doing something for everybody... I don't like our music to be labelled. Labels are like ... racism."
How does he choose who he works with? Anybody who asks?
"I choose by feeling and instinct," says Michael.
What does he get out of them?
"I feel it would be... magic."
Then again, you've got to keep in mind the man lives for his work.
"My career is mainly what I think about. It's hard to juggle your responsibilities around - my music here, my solo career, my movies there, TV and everything else."
Is that what makes you happy?
"Yes. That's what I'm here for really. It's like Michelangelo or Leonardo da Vinci," his voice trails off; he looks torn between sounding immodest and telling the truth, which, as he sees it, is that talent comes from God anyway, so don't go patting him on the back. "Still, today, we can see their work and be inspired by it."
So, as long as there are stereos, Michael Jackson lives?
"Yes. I'd like to just keep going and inspire people and try new things that haven't been done."
To what extent has his belief in divinity influenced his life?
"I believe in God. We all do. We like to be straight, don't go crazy or anything. Not to the point of losing our perspective on life, of what you are and who you are. A lot of entertainers, they make money and they spend the rest of their life celebrating that one goal they reached, and with that celebration comes the drugs and the liquor and the alcohol. And then they try to straighten up and they say, 'Who am I? Where am I? What happened?' And they lost themselves, and they're broken. You have to be careful and have some kind of discipline."
Is he a very self-disciplined person? "I'm not an angel, I know. I'm not like a Mormon or an Osmond or something where everything's straight. That can be silly sometimes. It goes too far."
It must be hard being an angel when you're acknowledged as one of the sexiest performers around, have girls camping in your backyard and the like.
"I wouldn't say I was sexy! But I guess that's fine if that's what they say. I like that in concert. That's neat."
What isn't neat is: "Like you run into a bunch of girls, which I do all the time, you'll drive outside and there'll be all these girls standing on the corner and they'll start bursting into screaming and jumping up and down and I'll just sink into my seat. That happens all the time ... Everyone knew where we lived before, because it was on the Map To The Stars Homes, and they'd come round with cameras and sleeping bags and jump the fence and sleep in the yard and come in the house - we found people everywhere. Even with 24-hour guards they find a way to slip in. One day my brother woke up and saw this girl standing over him in his bedroom. People hitch-hike to the house and say they want to sleep with us, stay with us, and it usually ends up that one of the neighbours takes them in. We don't let them stay. We don't know them."
More tales of crazy fans. One girl who tried to blow them up; another who screams at him in supermarkets. Must get a bit tough knowing who's your friend sometimes.
"It does become difficult. It's hard to tell, and sometimes I get it wrong. Just the force of feeling, or if a person's just nice without knowing who you are."
Lonely at the top? "We know lots and lots of people because we have such a big family. But [I've got] maybe two, three good friends."
Things weren't much different when he was growing up in Gary, Indiana. He remembers "a huge baseball pitch at the back of where I lived and children playing and eating popcorn and everything" and not being allowed to join in, but still reckons: "I didn't really feel left out. We got a lot in exchange for not playing baseball in the summer. My father was always very protective of us, taking care of business and everything.
"We went to school, but I guess we were even different then, because everyone in the neighbourhood knew about us. We'd win every talent show and our house was loaded with trophies. We always had money and we could buy things the other kids couldn't, like extra candy and extra bubblegum - our pockets were always loaded and we'd be passing out candy. That made us popular! But mostly we had private schooling. I only went to one public school in my life.
"I tried to go to another one here, but it didn't work, because a bunch of fans would break into the classroom, or we'd come out of school and there'd be a bunch of kids waiting to take pictures and stuff like that. We stayed at that school a week. The rest was private school with other entertainment kids or stars' kids, where you wouldn't have to be hassled."
But spending your life almost exclusively with your brothers and sisters - doesn't it get claustrophobic?
"Honestly, it doesn't, and I'm not just saying that to be polite."
Not even when they're on the road?
"No. We're so silly when we're on the road. We play games, we throw things at each other. It seems like when you're under pressure you find some kind of escapism to make up for that - because the road is a lot of tensions: work, interviews, fans grabbing you, everybody wants a piece of you, you're always busy, the phones ringing all night with fans calling you, so you put the phone under the mattress, then the fans knock at the door screaming, you can't even get out of the room without them following you. It's like you're in a goldfish bowl and they're always watching you."
How do you escape the madness?
"I go to museums and learn and study. I don't do sports - it's dangerous. There's a lot of money being counted on, and we don't want to risk anything. My brother hurt his leg in a basketball game and we had to cancel the concert, and just because of him having an hour of fun, thousands of people missed the show, and we were being sued left and right because of a game. I don't think it's worth it ... I try to be real careful."
Even about talking to the press. Another reason he hates interviews is a fear of being misquoted. Magazines he reckons, "can be so stupid sometimes that I want to choke them! I say things and they turn it all around. Once I made a quote - I care about starvation and I love children and I want to do something about the future. And I said, one day I'd love to go to India and see the starving children and really see what it feels like. And they wrote that Michael Jackson gets a kick out of seeing children starve, so you can see what kind of person he is!"
You wonder how someone so sweet and shy and childlike gets to be such as you onstage.
"I just do it really. The sex thing is kind of spontaneous. It really creates itself."
So you don't practise being sexy in front of the mirror?
"No! Once the music plays, it creates me. The instruments move me, through me, they control me. Sometimes I'm uncontrollable and it just happens - boom, boom, boom! - once it gets inside you."
Michael has complete control over every aspect of his career. And he criticises his own efforts more than anyone else's: "I'm never satisfied with what I do. I always think I can do it a lot better."
Anyway, as we told you already he's going to be working on a film with Steven Spielberg. "I love Steven," says Michael. "I can't really tell you anything about the project. I will say Steven is my favourite director, and that he's looked long and hard for the right property."
Just heard that Francis Ford Coppola wants to do Peter Pan with him as the lead. And we at Creem haven't seen such a blatant bit of typecasting since Sly Stone made his fortune playing mindless beefcake. At 24, doesn't it get on his nerves being referred to as a "child"?
"I don't mind. I feel I'm Peter Pan as well as Methusalah, and a child. I love children so much. Thank God for children. They save me every time!
But how about a film of his own life, then? Will we ever get to see a film of Michael Jackson's magical life?
"No. I'd hate to play my own life story," he grimaces. "I haven't lived it yet! I'll let someone else do it."
© Sylvie Simmons, 1983
http://www.guardian.co.uk/music/2009/jun/28/michael-jackson-interview
Downtown between the Pacific American Fish Co and the Hotel St Agnes Hospitality Kitchen there's an alley. Cars block each end, no escape. And, silhouetted in the car headlights, two rival LA gangs are swaggering towards each other. A couple of people pop their heads out of the hotel window, mutter something incomprehensible and go back to sleep. Down below in the smoke, the gangs are getting closer. They look mean. Those Cripps, the ones with the blue bandannas, look really mean, slapping their fists in their hands and scowling and getting closer. Then someone switches on a tape machine and a bit of "Beat It" blares out into the night ...
"Magic" - says Michael Jackson, who talks a lot about magic - "is easy if you put your heart into it." There can't be that many things much more magic than standing around in downtown LA in the middle of the night watching marauding hordes stand to attention when someone with a fruity English accent gives the command. This particular bit of sorcery will, by the time you read this, be the video for "Beat It", Michael Jackson's new single. This song's about machismo; so's the video. Michael wakes up in some sleazy downtown bedroom in a cold sweat; he's had a dream about the upcoming punch-up and has to go stop it. He leaps out of bed, seriously endangering the lives of a whole family of cockroaches.
Back in the warehouse they're doing the choreographed fight sequence. The real gang members stand on the edges while a dozen or so imitation gang members, professional dancers, dance and wave knives.
All this time, a thin, long-fingered man in a brown leather jacket too big for him, is sipping orange juice, gazing wide-eyed and curious at the dancers and the monitors, nodding his head soberly in time to the music, his foot on automatic tap. Michael Jackson looks fascinated by the whole thing. It's three in the morning before he gets his go. He's to come in, break up the fight and lead them dancing out of a warehouse. Pied Piper meets Peter Pan. Dawn was breaking by the time they finished; Michael Jackson wasn't.
Where the man gets his energy from no one knows. It's certainly not drugs - he doesn't touch them and rarely drinks. It's certainly not raw meat - Michael's a strict vegetarian and wouldn't eat at all given an alternative; he fasts and dances every Sunday and manages to live to start another week. Michael Jackson manages to do more in a week than most manage in a decade. In the time it took Supertramp to get the right piano sound, Michael sang harmonies with Donna Summer, backing vocals with Joe King Carrasco, wrote and produced "Muscles" for Diana Ross, wrote and sang "The Girl is Mine" with Paul McCartney, and did a song for a narrated ET album, gathered together everyone from Vincent Price to Eddie Van Halen to help out with his solo album, and still had time for his pet llama, snake and parrots.
Just back from England (a couple more tunes with Macca, whom he met at a Hollywood cocktail party at silent comedian Harold Lloyd's place and swapped phone numbers: "I love Paul, Linda and family very much."), he's already planning projects with Gladys Knight, Jane Fonda, Barbra Streisand, Katharine Hepburn, and Freddie Mercury of Queen, his old pal. Not to mention working on a film with Steven Spielberg ("a futuristic fantasy with music") and an album with the Jacksons. Remember the Jacksons? Michael's been their singer and choreographer ever since his dad Joe Jackson - one-time head of a Chuck Berry cover band in Indiana, the Falcons - noticed the five-year-old's nifty James Brown impersonations.
The songs, ideas, energy come from God, he reckons - the man's a devoted Jehovah's Witness, He'll just wake up in the night and there they are. Several more million sellers. His first solo album, Off the Wall, sold seven million copies. Thriller's not exactly ready for the cut-out bins yet. The first act in history, no less, to top the pop and R&B singles and albums charts all at the same time ...
I talked to Jackson before the video shoot. In a three-story condo in the San Fernando Valley - where Michael is staying while they rebuild his family house five miles down the road - filled with books, plants, art-work, animals, organic juices and nephews and cousins and siblings of the Jackson family. La Toya was there in a cowboy hat. Little sister Janet was there to parrot my questions to Michael. Oh, I forgot, and there was a record collection ranging from Smokey Robinson to Macca, with stops at funk, new wave, classical and just about anything else.
"James Brown, Ray Charles, Jackie Wilson, Chuck Berry and Little Richard - I think they had strong influences on a lot of people, because these were the guys who really got rock'n'roll going. I like to start with the origin of things, because once it gets along it changes. It's so interesting to see how it really was in the beginning."
Michael's got a tiny, otherworldly voice. You've heard him described as childlike and angelic. You will again. He's painfully shy, stares at his hands, his shoes, his sister, anywhere he can forget there's an interviewer around.
He goes on: "I like to do that with art also. I love art. Whenever we go to Paris I rush to the Louvre. I just never get enough of it! I go to all the museums around the world. I love art. I love it too much, because I end up buying everything and you become addicted. You see a piece you like and you say, Oh God, I've got to have this ...
"I love classical music. I've got so many different compositions. I guess when I was real small in kindergarten and hearing Peter and the Wolf and stuff - I still listen to that stuff, it's great, and Boston Pops and Debussy, Mozart, I buy all that stuff. I'm a big classical fan. We've been influenced by all kinds of different music - classical, R&B, folk, funk - and I guess all those ingredients combine to create what we have now.
"I wouldn't be happy doing just one kind of music or label ourselves. I like doing something for everybody... I don't like our music to be labelled. Labels are like ... racism."
How does he choose who he works with? Anybody who asks?
"I choose by feeling and instinct," says Michael.
What does he get out of them?
"I feel it would be... magic."
Then again, you've got to keep in mind the man lives for his work.
"My career is mainly what I think about. It's hard to juggle your responsibilities around - my music here, my solo career, my movies there, TV and everything else."
Is that what makes you happy?
"Yes. That's what I'm here for really. It's like Michelangelo or Leonardo da Vinci," his voice trails off; he looks torn between sounding immodest and telling the truth, which, as he sees it, is that talent comes from God anyway, so don't go patting him on the back. "Still, today, we can see their work and be inspired by it."
So, as long as there are stereos, Michael Jackson lives?
"Yes. I'd like to just keep going and inspire people and try new things that haven't been done."
To what extent has his belief in divinity influenced his life?
"I believe in God. We all do. We like to be straight, don't go crazy or anything. Not to the point of losing our perspective on life, of what you are and who you are. A lot of entertainers, they make money and they spend the rest of their life celebrating that one goal they reached, and with that celebration comes the drugs and the liquor and the alcohol. And then they try to straighten up and they say, 'Who am I? Where am I? What happened?' And they lost themselves, and they're broken. You have to be careful and have some kind of discipline."
Is he a very self-disciplined person? "I'm not an angel, I know. I'm not like a Mormon or an Osmond or something where everything's straight. That can be silly sometimes. It goes too far."
It must be hard being an angel when you're acknowledged as one of the sexiest performers around, have girls camping in your backyard and the like.
"I wouldn't say I was sexy! But I guess that's fine if that's what they say. I like that in concert. That's neat."
What isn't neat is: "Like you run into a bunch of girls, which I do all the time, you'll drive outside and there'll be all these girls standing on the corner and they'll start bursting into screaming and jumping up and down and I'll just sink into my seat. That happens all the time ... Everyone knew where we lived before, because it was on the Map To The Stars Homes, and they'd come round with cameras and sleeping bags and jump the fence and sleep in the yard and come in the house - we found people everywhere. Even with 24-hour guards they find a way to slip in. One day my brother woke up and saw this girl standing over him in his bedroom. People hitch-hike to the house and say they want to sleep with us, stay with us, and it usually ends up that one of the neighbours takes them in. We don't let them stay. We don't know them."
More tales of crazy fans. One girl who tried to blow them up; another who screams at him in supermarkets. Must get a bit tough knowing who's your friend sometimes.
"It does become difficult. It's hard to tell, and sometimes I get it wrong. Just the force of feeling, or if a person's just nice without knowing who you are."
Lonely at the top? "We know lots and lots of people because we have such a big family. But [I've got] maybe two, three good friends."
Things weren't much different when he was growing up in Gary, Indiana. He remembers "a huge baseball pitch at the back of where I lived and children playing and eating popcorn and everything" and not being allowed to join in, but still reckons: "I didn't really feel left out. We got a lot in exchange for not playing baseball in the summer. My father was always very protective of us, taking care of business and everything.
"We went to school, but I guess we were even different then, because everyone in the neighbourhood knew about us. We'd win every talent show and our house was loaded with trophies. We always had money and we could buy things the other kids couldn't, like extra candy and extra bubblegum - our pockets were always loaded and we'd be passing out candy. That made us popular! But mostly we had private schooling. I only went to one public school in my life.
"I tried to go to another one here, but it didn't work, because a bunch of fans would break into the classroom, or we'd come out of school and there'd be a bunch of kids waiting to take pictures and stuff like that. We stayed at that school a week. The rest was private school with other entertainment kids or stars' kids, where you wouldn't have to be hassled."
But spending your life almost exclusively with your brothers and sisters - doesn't it get claustrophobic?
"Honestly, it doesn't, and I'm not just saying that to be polite."
Not even when they're on the road?
"No. We're so silly when we're on the road. We play games, we throw things at each other. It seems like when you're under pressure you find some kind of escapism to make up for that - because the road is a lot of tensions: work, interviews, fans grabbing you, everybody wants a piece of you, you're always busy, the phones ringing all night with fans calling you, so you put the phone under the mattress, then the fans knock at the door screaming, you can't even get out of the room without them following you. It's like you're in a goldfish bowl and they're always watching you."
How do you escape the madness?
"I go to museums and learn and study. I don't do sports - it's dangerous. There's a lot of money being counted on, and we don't want to risk anything. My brother hurt his leg in a basketball game and we had to cancel the concert, and just because of him having an hour of fun, thousands of people missed the show, and we were being sued left and right because of a game. I don't think it's worth it ... I try to be real careful."
Even about talking to the press. Another reason he hates interviews is a fear of being misquoted. Magazines he reckons, "can be so stupid sometimes that I want to choke them! I say things and they turn it all around. Once I made a quote - I care about starvation and I love children and I want to do something about the future. And I said, one day I'd love to go to India and see the starving children and really see what it feels like. And they wrote that Michael Jackson gets a kick out of seeing children starve, so you can see what kind of person he is!"
You wonder how someone so sweet and shy and childlike gets to be such as you onstage.
"I just do it really. The sex thing is kind of spontaneous. It really creates itself."
So you don't practise being sexy in front of the mirror?
"No! Once the music plays, it creates me. The instruments move me, through me, they control me. Sometimes I'm uncontrollable and it just happens - boom, boom, boom! - once it gets inside you."
Michael has complete control over every aspect of his career. And he criticises his own efforts more than anyone else's: "I'm never satisfied with what I do. I always think I can do it a lot better."
Anyway, as we told you already he's going to be working on a film with Steven Spielberg. "I love Steven," says Michael. "I can't really tell you anything about the project. I will say Steven is my favourite director, and that he's looked long and hard for the right property."
Just heard that Francis Ford Coppola wants to do Peter Pan with him as the lead. And we at Creem haven't seen such a blatant bit of typecasting since Sly Stone made his fortune playing mindless beefcake. At 24, doesn't it get on his nerves being referred to as a "child"?
"I don't mind. I feel I'm Peter Pan as well as Methusalah, and a child. I love children so much. Thank God for children. They save me every time!
But how about a film of his own life, then? Will we ever get to see a film of Michael Jackson's magical life?
"No. I'd hate to play my own life story," he grimaces. "I haven't lived it yet! I'll let someone else do it."
© Sylvie Simmons, 1983
http://www.guardian.co.uk/music/2009/jun/28/michael-jackson-interview
Michael Jackson The Dance machine
*Wade Robson, choreographer ~ "God danced through him."
Michael’s movement was this amazing amalgamation of all his influences, filtered through this beast of a dancer. His lines were so dynamic. He understood the strength of simple movement delivered with incredible precision and energy. An invert of the legs and an extension of the arm were so much more powerful than 15 pirouettes.
His energy shot up from the earth. God danced through him.
I remember the first time he taught me the moonwalk at the dance studio at Neverland. I was 7, I think. I remember standing at the ballet barre and him teaching me to push back one foot at a time, teaching me the weight distribution on the balls of the feet. “Now just go, push off, and fly!” he said. That night I couldn't sleep. I had to get up every 15 minutes and do it again. I learned altruism from him. In the entertainment industry, it’s easy to get jaded. Despite all of the madness he went through, he had such an innocence. He trusted people, and in his heart, believed in them.
*Brian Friedman, choreographer
Even in his most subtle moves, he forced you to watch him. No one hit as hard as he did. He’s one of the only people who could stand still for 30 seconds, a minute, and not let you look away. Thriller, Smooth Criminal, Ghost, and Captain EO molded me as a creator. Without projects like these, I would be afraid to take the risks I do. If Michael had just described the plot of Thriller, who would've ever believed him? But he made it anyway and it is the most iconic video ever. He was the first person to have technical dancers from contemporary and ballet backgrounds dancing with Pop N’ Taco. It was incredible to see him bringing the worlds together. He gave every audience member something to connect with.
At 14, I booked a job with him. At the end of the live show, I happened to be standing next to him. He put his head close to mine, pointed to the signs in the audience, and said, “I don’t understand why all these people love me.” Especially to a kid, it was so honest. He was saying “I’m normal.” It put me in a position to always stay grounded.
*Brian Thomas, teacher/choreographer
The first day of rehearsals for Michael’s 30th- anniversary celebration everyone was terrified. When he came in to watch the choreography I had made for him, I said, “OK, you can sit over here.” I looked over, and my son had put some candy and a picture he drew of Michael on his chair. I apologized, “My son must have done that.” Michael fell on the floor laughing—he was literally rolling. He said, “Show me some dance moves” to my son. It broke the ice, so the dancers aren't so afraid. He could've been a diva but he was nice to everyone. That’s what I remember most—his childlike spirit.
*Buddha Stretch, teacher/Remember the Time music video choreographer
Michael’s a combination of so many different styles and influences. I think his biggest influence was James Brown, with some Bob Fosse, some Fred Astaire, some Don Campbell and the Lockers, some Nicholas brothers, and later on, some hip hop. We were working on the video for “Remember the Time,” and Michael wanted to learn everything that we did—any little movement, even if we were just playing around. He was so interested in what made us dancers, what made us do hip hop. He wanted to experience going to a club and dancing in a circle. We were going to dress him up in a hoodie, hat, jeans, and sneakers, but the last day, his security and his management talked him out of it.
*Randy Allaire, co-founder of the Edge Performing Arts Center/MJ backup dancer for eight years
How many stars can brand a step like he did? He affected generations of dancers. He pulled guys into the studio and made it OK for us to move. A lot of Michael’s movement was dance, but he always tried to go for the pedestrian feel. As dancers, we were very careful to not look like dancers. We had to be more accessible.
Michael was very generous, a very good soul. There were definitely the two sides: the ultimate showman and the regular guy—however regular you could be as a superstar. But he controlled it all. He collaborated with many choreographers, but it was always MJ’s vision and direction
*Chloe Arnold, tap dancer/teacher
He was 100 percent unique and heartfelt. To take our art seriously and realize how many people we can affect—that’s something we can take from him. There are so few artists genuinely creating their style. With Michael, you could see a silhouette and immediately know it was him.
*Jared Grimes, tap dancer
Michael Jackson was a human phenomenon. To me, he is up there with the seven wonders of the world—a god of dance. I remember when he popped out of the floor and stood still for five minutes at the Bucharest concert—I had never seen an aura that strong before.
*Akram Khan, choreographer
When Michael Jackson came along with Thriller, my world changed. I thought, There’s hope. He’s closer to my color. I was in love with the fact that he had the power to draw people in, not only white people but people in general.
*Jorma Elo, resident choreographer, Boston Ballet
Growing up, MJ inspired me to learn to dance and how to put together a great show. I remember getting together with friends before going to a party one Saturday night in the early ’80s. Somebody had a VHS tape of him doing Billie Jean at the gala show where he first did the moonwalk. All the girls wanted to see it over and over again—it kept looping for hours. We never got to go out. MJ kind of destroyed that evening by being too good and magical.
Source: http://www.dancemagazine.com/issues/September-2009/Remembering-Michael-J...
Michael’s movement was this amazing amalgamation of all his influences, filtered through this beast of a dancer. His lines were so dynamic. He understood the strength of simple movement delivered with incredible precision and energy. An invert of the legs and an extension of the arm were so much more powerful than 15 pirouettes.
His energy shot up from the earth. God danced through him.
I remember the first time he taught me the moonwalk at the dance studio at Neverland. I was 7, I think. I remember standing at the ballet barre and him teaching me to push back one foot at a time, teaching me the weight distribution on the balls of the feet. “Now just go, push off, and fly!” he said. That night I couldn't sleep. I had to get up every 15 minutes and do it again. I learned altruism from him. In the entertainment industry, it’s easy to get jaded. Despite all of the madness he went through, he had such an innocence. He trusted people, and in his heart, believed in them.
*Brian Friedman, choreographer
Even in his most subtle moves, he forced you to watch him. No one hit as hard as he did. He’s one of the only people who could stand still for 30 seconds, a minute, and not let you look away. Thriller, Smooth Criminal, Ghost, and Captain EO molded me as a creator. Without projects like these, I would be afraid to take the risks I do. If Michael had just described the plot of Thriller, who would've ever believed him? But he made it anyway and it is the most iconic video ever. He was the first person to have technical dancers from contemporary and ballet backgrounds dancing with Pop N’ Taco. It was incredible to see him bringing the worlds together. He gave every audience member something to connect with.
At 14, I booked a job with him. At the end of the live show, I happened to be standing next to him. He put his head close to mine, pointed to the signs in the audience, and said, “I don’t understand why all these people love me.” Especially to a kid, it was so honest. He was saying “I’m normal.” It put me in a position to always stay grounded.
*Brian Thomas, teacher/choreographer
The first day of rehearsals for Michael’s 30th- anniversary celebration everyone was terrified. When he came in to watch the choreography I had made for him, I said, “OK, you can sit over here.” I looked over, and my son had put some candy and a picture he drew of Michael on his chair. I apologized, “My son must have done that.” Michael fell on the floor laughing—he was literally rolling. He said, “Show me some dance moves” to my son. It broke the ice, so the dancers aren't so afraid. He could've been a diva but he was nice to everyone. That’s what I remember most—his childlike spirit.
*Buddha Stretch, teacher/Remember the Time music video choreographer
Michael’s a combination of so many different styles and influences. I think his biggest influence was James Brown, with some Bob Fosse, some Fred Astaire, some Don Campbell and the Lockers, some Nicholas brothers, and later on, some hip hop. We were working on the video for “Remember the Time,” and Michael wanted to learn everything that we did—any little movement, even if we were just playing around. He was so interested in what made us dancers, what made us do hip hop. He wanted to experience going to a club and dancing in a circle. We were going to dress him up in a hoodie, hat, jeans, and sneakers, but the last day, his security and his management talked him out of it.
*Randy Allaire, co-founder of the Edge Performing Arts Center/MJ backup dancer for eight years
How many stars can brand a step like he did? He affected generations of dancers. He pulled guys into the studio and made it OK for us to move. A lot of Michael’s movement was dance, but he always tried to go for the pedestrian feel. As dancers, we were very careful to not look like dancers. We had to be more accessible.
Michael was very generous, a very good soul. There were definitely the two sides: the ultimate showman and the regular guy—however regular you could be as a superstar. But he controlled it all. He collaborated with many choreographers, but it was always MJ’s vision and direction
*Chloe Arnold, tap dancer/teacher
He was 100 percent unique and heartfelt. To take our art seriously and realize how many people we can affect—that’s something we can take from him. There are so few artists genuinely creating their style. With Michael, you could see a silhouette and immediately know it was him.
*Jared Grimes, tap dancer
Michael Jackson was a human phenomenon. To me, he is up there with the seven wonders of the world—a god of dance. I remember when he popped out of the floor and stood still for five minutes at the Bucharest concert—I had never seen an aura that strong before.
*Akram Khan, choreographer
When Michael Jackson came along with Thriller, my world changed. I thought, There’s hope. He’s closer to my color. I was in love with the fact that he had the power to draw people in, not only white people but people in general.
*Jorma Elo, resident choreographer, Boston Ballet
Growing up, MJ inspired me to learn to dance and how to put together a great show. I remember getting together with friends before going to a party one Saturday night in the early ’80s. Somebody had a VHS tape of him doing Billie Jean at the gala show where he first did the moonwalk. All the girls wanted to see it over and over again—it kept looping for hours. We never got to go out. MJ kind of destroyed that evening by being too good and magical.
Wednesday, August 17, 2011
Friday, August 12, 2011
Michael Jackson Destiny
Destney Lyrics
By Michael jackson
1st Verse
In this world there's much confusion
And I've tasted the city life and it's not for me
Now I do dream of distant places
Where I don't know, but it's destiny
Bridge
If it's the rich life, I don't want it
Happiness ain't always material things
Chorus
I want destiny
It's the place for me
Give me the simple life
I'm getting away from here
Let me be me, come on let me feel free
2nd Verse
I'm a man that's for all seasons
What the city offers me ain't naturally
I look to greet the stars
But there's no stars to see
Gonna search this world until I find my destiny
Bridge
If it's the rich life, I don't want it
Happiness ain't always material things
Chorus
I want destiny
It's the place for me
Give me the simple life
I'm getting away from here
Let me be me, come on let me feel free, let me be me
Chorus
I wanna be far from here
Should I up and fly away so fancy free
Nobody can change my mind
the words of destiny are calling me
While time
I want destiny
it's the place for me
Destiny
You and me
In this world there's much confusion
And I've tasted the city life and it's not for me
Now I do dream of distant places
Where I don't know, but it's destiny
Bridge
If it's the rich life, I don't want it
Happiness ain't always material things
Chorus
I want destiny
It's the place for me
Give me the simple life
I'm getting away from here
Let me be me, come on let me feel free
2nd Verse
I'm a man that's for all seasons
What the city offers me ain't naturally
I look to greet the stars
But there's no stars to see
Gonna search this world until I find my destiny
Bridge
If it's the rich life, I don't want it
Happiness ain't always material things
Chorus
I want destiny
It's the place for me
Give me the simple life
I'm getting away from here
Let me be me, come on let me feel free, let me be me
Chorus
I wanna be far from here
Should I up and fly away so fancy free
Nobody can change my mind
the words of destiny are calling me
While time
I want destiny
it's the place for me
Destiny
You and me
Wednesday, August 10, 2011
Tuesday, August 9, 2011
Monday, August 8, 2011
Saturday, August 6, 2011
Friday, August 5, 2011
Wednesday, August 3, 2011
Tuesday, August 2, 2011
Monday, August 1, 2011
Take me away Michael Jackson 2011 with Lyrics
Take me some place different
somewhere by the ocean
and not return to the city
and all its' bad emotion
somewhere by the ocean
and not return to the city
and all its' bad emotion
i dont wanna live
i dont wanna live
in the rain no more
i dont wanna live
in the rain no more
i just wanna go
i just wanna go
where it's always warm
i just wanna go
where it's always warm
come on and
take me away
take me away
to where the sun is always shining
and the sky is always blue
i wanna live somewhere that's beautiful
and i wanna be there with you
and the sky is always blue
i wanna live somewhere that's beautiful
and i wanna be there with you
we can leave this grey behind us
and start our life anew
forget our work and daily life
forever me and you
and start our life anew
forget our work and daily life
forever me and you
take me some place different
i know i'm deep in love
passion in the sunshine
is what i'm thinking of
i know i'm deep in love
passion in the sunshine
is what i'm thinking of
I don't wanna go
I don't wanna go
in to work no more
I don't wanna go
in to work no more
no one understands
make stupid demands
i don't know what its for
oh baby take me away
make stupid demands
i don't know what its for
oh baby take me away
to where the sun is always shining
and the sky is always blue
i wanna live somewhere that's beautiful
and i wanna be there with you
and the sky is always blue
i wanna live somewhere that's beautiful
and i wanna be there with you
we can leave this grey behind us
and start our life anew
forget our work and daily life
forever me and you
and start our life anew
forget our work and daily life
forever me and you
I want my baby
I want my baby with me
I want my baby
tonight.......
I want my baby with me
I want my baby
tonight.......
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