Michael Jackson - Bad 25 - 25th Anniversary Edition

 Michael Jackson - Bad 25 - 25th Anniversary Edition 

It’s been 25 years since Michael Jackson unleashed Bad, his follow-up to the best selling album of all time, Thriller. With five consecutive Billboard number one hits, Bad managed to overcome somewhat mixed critical reaction, eventually selling somewhere between 30 and 45 million copies worldwide. Quincy Jones produced the album, the third and final time he would fulfill that role on a Jackson release. Epic/Legacy Recordings has put together an outstanding box set that includes the remastered original album, a disc of outtakes, alternate versions, and remixes, plus a complete (and previously unreleased) concert from the Bad tour on DVD and CD.

The album remains a classic collection of sterling pop songs with enough hits that it almost plays like a “best of” collection. Jackson was at peak level songwriting-wise, responsible for nine of the 11 tracks. Only the self-improvement anthem “Man in the Mirror” (a potentially treacly song that only Jackson could convincingly sell) and the disposable “Just Good Friends” were contributed by outside writers. The latter is a duet with Stevie Wonder that is unfortunately the weakest thing on the record. It’s easy to see why Jackson chose to record Siedah Garrett’s uplifting “Mirror” (Garrett also duets with him on “I Just Can’t Stop Loving You”). But “Just Good Friends” is a piece of junk that is far beneath the two great artists who sing it.

For the most part, the album sizzles with unforgettable hooks. Yes, the overall sound forever brands it as a product of 1987, but luckily Jones didn’t layer on more than what was needed (unlike some of the producers Jackson would go on to work with). Jackson’s vocals are jaw-dropping throughout, whether caressing a ballad like “Liberian Girl” or rocking out on “Dirty Diana.” With 25 years separating Bad from whatever post-Thriller expectations once surrounded it, the album works better than ever.

The bonus audio on the second disc runs about one hour. The first six tracks, all written by Jackson, are the most interesting. They’re previously unreleased demo versions of songs that didn’t make the final cut. As the liner notes make clear, no additional production work was added to the raw recordings. In fact, in cases where Jackson himself returned to a track to continue working on it, only the Bad-era original recordings were used. That was a smart choice, given the justifiably controversial reaction to the overproduced mess that was the posthumous album Michael (2010). Here we get a fascinating glimpse at true works-in-progress.

It kicks off with the mid-tempo, piano-driven “Don’t Be Messin’ ‘Round.” Too bad he didn’t finish this one off, it would’ve made a far better duet vehicle for him and Stevie Wonder. With a Latin-tinged groove, it even recalls Wonder’s “Don’t You Worry ‘bout a Thing.” The lyrics are far from finished, but it’s a very cool track with a killer hook. “I’m So Blue” is a pretty, melodic ballad with a confident Jackson vocal. The verses are far more fleshed out than on the previous track, though he hadn’t come up with lyrics for the chorus yet.

Things get super interesting with the edgy dance number “Song Groove (a.k.a. Abortion Papers),” starting with the title itself. The liner notes explain, “The song is about a girl whose father is a priest…She gets married in the church but decides, against the Bible, to have an abortion.” It features a searing vocal by Jackson, passionately belting out the chorus, “Those abortion papers/Signing your name against the word of God.” From what I can tell (since the lyrics aren’t always easy to understand), this isn’t a pro-life screed, but rather a meditation on the girl’s internal struggle with her decision. The song is likely to inspire some discussion or even debate among fans.

“Free” is a mellow piece of smooth pop. The soaring chorus is fully formed and Jackson harmonizes beautifully with himself, but the verses were still sketchy in this demo. It ends with Jackson breaking up in a fit of laughter. “Price of Fame” is possibly the most fully finished of the outtakes, and it’s a great song that would’ve fit perfectly on the album. The liner notes include a quote regarding the lyrics, taken from Jackson’s work notes, that says the song is about “the girls who are over-obsessed with me, who follow me, who almost make me kill myself in my car.”

It’s immediately clear from the herky-jerky rhythms that “Al Capone” would later evolve into “Smooth Criminal,” but it’s different enough to function as a song in its own right. Next up are the three songs that appeared on the 2001 reissue ofBad, “Streetwalker,” “Fly Away,” and “Todo Mi Amor Eres Tu” (the Spanish version of “I Just Can’t Stop Loving You”). If you haven’t heard “Streetwalker” before, you’re in for a treat as this is definitely an album-worthy cut. The French version of “I Just Can’t Stop Loving You,” "Je Ne Veux Pas La Fin De Nous,” is thrown in for good measure. That’s where the bonus disc effectively ends for me, as I have zero interest in the three all-new remixes (two of “Bad” and one of “Speed Demon”). Surely the vaults must have held more interesting original outtake material that could’ve been used instead of these.

Perhaps the best part of Bad 25 is the full concert recorded live at London’s Wembley Stadium, July 16, 1988. For the DVD, the video footage was sourced from Jackson’s personal VHS copy of the Jumbotron broadcast that the capacity crowd saw that night (the only known copy to exist). That means, obviously, that we aren’t dealing with anything close to modern visual standards. But thankfully it’s a highly watchable picture, generally unblemished by the typical dropouts and such that mar old VHS tapes. Even better, the audio was sourced from the original multitrack soundboard recordings. It’s been remixed and is presented as an excellent Dolby Digital 5.1 mix.

After a brief bit of news footage showing rabid fans charging into Wembley and Jackson meeting Prince Charles and Princess Diana (who attended the concert), the nearly two-hour show hits the ground running with “Wanna Be Startin’ Somethin’.” This is simply prime Michael Jackson. He’s in fantastic voice throughout, always in control of his instrument—even during the most delicate moments, such as “She’s Out of My Life.”

I’d list some highlights, but at the risk of sounding hyperbolic, the whole thing functions as a highlight. This concert is relatively stripped down visually, making it a perfect contrast to the more elaborately produced Live in Bucharest: The Dangerous Tour DVD. It’s a kick seeing Sheryl Crow, who was a back-up singer on the Bad tour, getting an early taste of the spotlight as she duets on “I Just Can’t Stop Loving You.” Older tunes like “Working Day and Night” and The Jacksons’ “This Place Hotel” sit well with the then-contemporary Badmaterial. Jackson’s dancing is as mesmerizing as ever, on full display during tunes such as “Smooth Criminal” and, of course, “Billie Jean.”

Branca keeps eye on Michael Jackson’s money

Branca keeps eye on Michael Jackson’s money, legacy 

As co-executor of Jackson’s will, John Branca chooses to ignore the erupting dramas and personal attacks and keeps his eye on the future, which he says belongs to Jackson’s mother and children and to the pop star’s musical legacy.

He and co-executor John McClain have been successfully pursuing projects to pay off a mountain of debt left by the superstar, to assure the financial future of his three children and to guarantee that Jackson’s music will live forever.

“When Michael Jackson died, he was near bankruptcy,” said Branca, suggesting the future for his three young children was uncertain. “Now we know the kids will be OK.”

Branca sat down recently with The Associated Press to discuss the current state of the Jackson estate and projects to preserve Jackson’s image as the King of Pop. But he resolutely refused to address the elephant in the room — recent attacks on him and McClain by some Jackson siblings who were left out of their brother’s will.

They sent a lengthy letter that became public accusing the executors of deceit and manipulation of their mother and claiming that Jackson’s will was a fraud. They have not taken any court action and legal experts say the time to challenge the will, which disinherited them, is long past.

Branca and McClain issued a statement calling the accusations “false and defamatory,” adding “we are especially disheartened that they come at a time when remarkable progress is being made to secure the financial future of his children ...”

Secure in his knowledge that all four of Jackson’s wills named him as executor, Branca continues to make deals for the Jackson estate that are generating millions in revenue. This week, they announced an agreement with Sony/ATV Music Publishing to administer Jackson’s Mijac Music catalog, which includes such hits as “Beat It” and “Billie Jean.” The deal is expected to generate enough revenues to pay off a remaining $5 million loan by year’s end.

Since Jackson’s death on June 25, 2009, Branca said the singer’s personal debt of $200 million has been paid off and another $300 million tied to his ownership of the Sony and ATV catalogs has been renegotiated.

“Michael had a will and a trust and that’s what we follow,” he said.

The estate pays Mrs. Jackson $70,000 a month for the children’s support, pays the rent on their mansion in Calabasas, and is picking up bills for other expenses including renovation of their Encino home.

Branca’s AP interview was his indirect response to accusations by Janet, Jermaine, Randy and Rebbie Jackson that the estate was being mishandled. Jermaine later disavowed the incendiary letter and called for peace in the family. But Janet, Randy and Rebbie fired back with a letter of their own reiterating their complaints.

Brimming with excitement, Branca spoke of upcoming ventures he thinks would have delighted Jackson, especially a permanent Jackson-themed extravaganza on the Las Vegas Strip. It comes on the heels of the Cirque du Soleil Jackson tribute show, “Immortal: The World Tour.”

“The Lion King” theater at the Mandalay Bay Hotel is being rebuilt to house the still untitled show, also a Cirque du Soleil production, which is set to open May 23, 2013.

“It will be highly theatrical and completely different from the arena show, which was more of a concert,” Branca said. “We will have the opportunity to create something special and ground-breaking.”

Declining to reveal all of the technical wizardry planned, he said, “We’ve got all kinds of tricks up our sleeves.”

Every seat will have its own speakers, while the walls and ceiling will be used to create “a totally immersive experience for the audience,” he said.

Unlike the touring show, there will be no live band and all music will come from remixes of Jackson’s recordings.

Branca and co-executor McClain, a reclusive recording executive, say they understand Jackson’s desires to take care of his mother and children — Prince, Paris and Blanket — financially and keep his music alive.

“We feel Michael entrusted us with his legacy and with the future of his mother and children,” Branca said. “We’re honored and proud and passionate about celebrating Michael. It’s a labor of love for us. We love Michael.”

Branca met Jackson in 1980 when both were just starting out. They would go on to legendary success together but there were also some rocky times. During more than two decades together, they had two three-year periods of estrangement over business disagreements.

Branca was rehired by Jackson a month before he died, with instructions to draft an agenda for future business deals. Branca presented the plan a week before Jackson died and it has been the roadmap for the estate’s posthumous enterprises.

In addition to the upcoming Las Vegas show, a new album and a concert DVD will be released soon celebrating the 25th anniversary of Jackson’s “BAD” album. Then a two-hour documentary by acclaimed filmmaker Spike Lee on the making of “BAD” will show at the Toronto and Venice film festivals next month.

The anniversary promotions include a deal with Pepsi to put silhouettes of Jackson on a billion cans of soda in 20 countries.

And this week, the Cirque du Soleil traveling show begins an international tour to Mexico, Europe and perhaps Asia.

 

Michael Jackson's longtime costumer unveils book

Michael Jackson's longtime costumer unveils book

The zipper-covered "Beat It" jacket. The military-inspired coats with their epaulets, crests and insignias. And, of course, that glittery glove.

Michael Jackson's fashion sense was as singular as his musical style and dance moves. Millions imitated his pegged pants and penny loafers, a fedora cocked just so.

Jackson's longtime costumer reveals the secrets behind the King of Pop's meticulously crafted, regal rock-star look - and an intimate glimpse into the man himself - in a colorful new book, "The King of Style: Dressing Michael Jackson."

"When you worked with him, you couldn't wait to get there and you didn't want to leave when you got done," said author/costume designer Michael Bush, who with his late partner, Dennis Tompkins, dressed Jackson for more than a generation. "It was hard to imagine anyone that projected fashion and style any better."

What most people don't know about Jackson, Bush said, is he was a joker - a playful prankster who loved to laugh and often teased those closest to him the most.

Bush tells of meeting Jackson for the first time in 1983, when both men were 25. The King of Pop hadn't retained a costumer yet, and Bush was up for consideration. Jackson had been holed up for hours in his trailer on the set of "Captain EO." Bush could hear a monkey squealing as he approached. It was dark inside and "like 120 degrees." Jackson was snacking.

Eager to please as he prepped the pop star's clothes, Bush felt something hit him gently in the head. A cherry stem. A few seconds later, it happened again. When it happened a third time, Bush lobbed a cherry at the rising superstar. Jackson tossed a handful back, and thus began a close professional and personal relationship that spanned the remainder of Jackson's life.

"I think he wanted someone he could play with. He just wanted to see, 'Am I going to have fun with this person?' " said Bush, now 54, an almost sheepish, informally trained clothier from Ohio who learned his craft from his mom and grandmother, who made wedding gowns, prom dresses and quilts.

"And I laughed every day until he died."

Bush wouldn't discuss the time Jackson wore pajama bottoms to court during his child-molestation trial in 2005, but relished in other details of the entertainer's unique approach to his performance attire.

"Michael's concept was, 'I want the fashion designers in the world, the big conglomerates, I want them to copy me. I don't want to wear what's out there. I want to push my individuality, and being that my music is me, my look should be me,' " Bush said in an interview at a warehouse in Los Angeles, racks of glittery history behind him.

Jackson's stage costumes were designed to display his dance moves, so Bush and Tompkins, who died in December, were treated to regular private dance recitals to inform their work. Jackson danced five or six hours a day whether he was on tour or not, Bush said: "He traveled with a hardwood floor in a road case."

All that dancing, such as during the 1987 "Bad" world tour, meant Jackson could drop so much weight during a concert that the costumes for his closing numbers had to be smaller than the ones for the show openers.

"Michael was usually a 28-inch waist, but by the midpoint of the show, when he was ready to perform his magic act of choice, right before 'Beat It,' he'd already lost five pounds of water, and his waist dropped to 27 and a quarter," Bush writes in "The King of Style." "If we didn't have clothes hanging on the rack in the right order that were getting progressively smaller, we'd risk him putting on a pair of pants that would fall to his ankles with each rhythmic move of his body. And there is no magic in that!"

The King of Pop preferred China silk, silk charmeuse and stretchy fabrics. "Spandex made Michael feel sleek and secure and worked for his dance style," Bush writes.

Then there were the military jackets, the rhinestone-encrusted interpretations of British war uniforms like the one Jackson wore at the 1984 Grammy Awards, when he raked in a record eight awards for "Thriller."

Jackson had a childlike fascination with rhinestones, Bush said.

"Sometimes I'd drive three hours to retrieve loose rhinestones straight from the factory, just because looking at them in that raw form pleased Michael to no end. Every time I opened the swatch of white felt that encased the rhinestones, he'd gasp," he writes. "He'd take them from me and delicately move them around with his fingertips and whisper 'Can you imagine being a pirate opening a treasure chest? And seeing all the glitter inside? What a fascinating life, to be a pirate like that.' "

Bush and Tompkins worked with Jackson until the pop star's death in June 2009. Though they weren't in charge of the costumes for the ill-fated "This Is It" comeback tour, Jackson's longtime costume designers created ensembles for seven songs, including a reprise of his "Billie Jean" outfit with its loafers and spangled socks. There was also a burgundy and gold monogrammed top with a Chinese collar and bell sleeves, and a pair of black bedazzled shin guards.

Bush declined to share any details about Jackson's health or demeanor in his final days. He did say, though, that the King of Pop had always hoped his costumes would be celebrated in books and museums, and Bush is humbled by making that dream a reality. The costumer will exhibit some of Jackson's performance outfits in South America, Europe and Asia before releasing his book on Oct. 30. Many of the costumes will be sold at auction in December, with a portion of the proceeds benefiting the Recording Academy's MusiCares charity. 

 

 

Jackson websites shut down for violating copyright

Jackson websites shut down for violating copyright

A Canadian memorabilia dealer who worked with Michael Jackson's mother on a tribute book, and whose websites used the singer's image and music, violated copyrights held by Jackson's estate, a judge ruled on Friday.

A federal judge in Los Angeles granted an injunction blocking entrepreneur Howard Mann from using the websites "michaeljacksonsecretvault.com" and "MJgives.com" and other similar domain names, saying he had infringed the dead singer's intellectual property.

"There is undisputed evidence that (Mann) intended in bad faith to profit from use of Jackson's name, by registering multiple domain names containing his name or the initials 'MJ' to sell Jackson-related products," U.S. District Judge Dean Pregerson wrote in his ruling.

The executors of Jackson's estate filed the case against Mann in January 2011, 18 months after the "Thriller" singer's sudden death in Los Angeles from an overdose of the surgical anesthetic propofol.

The estate holds the copyright to Jackson's image and music for the benefit of the singer's mother Katherine and his three children.

Judge Pregerson sided with executors, who claimed that the websites run by Mann used copyright protected clips of Jackson's song "Destiny", a logo featuring the self-styled "King of Pop" and art from the posthumous concert movie "This Is It".

Mann has worked with Katherine Jackson on several projects since 2009, including a 2010 "Never Can Say Goodbye" coffee table book featuring recollections of her son, as well as a DVD and calendar featuring what were described as never before seen photos and video.

All were sold through the "secretvault" website. Mann claimed he obtained the rights to the material at a bankruptcy sale involving members of Jackson's family several years ago.

The "www.michaeljacksonsecretvault.com" site failed to load on Friday and Mann could not immediately be reached for comment.

Howard Weitzman, a lawyer for Jackson's Estate, said a court date set for September 4 will involve "how much in damages the Michael Jackson Estate is entitled to collect from Mann and his various entities."

The two executors, John McClain and John Branca, said in a statement they were "extremely pleased" with the Court's ruling which will prevents Mann from "continuing to unlawfully profit from Michael Jackson and his intellectual property."

Michael Jackson tribute by Cirque du Soleil

Michael Jackson tribute by Cirque du Soleil is a thriller for fans

 

You know the one. This is “Michael Jackson, The Immortal World Tour” by Cirque du Soleil. A recording of Jackson’s voice filled the room, and he was emitting those monosyllabic bursts of sound, the “oww!” and the “ooh!” and that up-on-his-toes, one-hand-tipping-the-hat-and-the-other-outstretched, pelvis-thrusting “ooooo!”

The event was half-tribute, half-Cirque spectacular, a sort of sparkly seance for the late King of Pop. Within the first five minutes, clips of Jackson’s videos were playing in rapid succession on the screen, his life flashing before our eyes: there’s the “Thriller” claws, there’s the lean, there’s the moonwalk.
This is what the 10,000-plus people who packed the almost-sold-out Verizon Centercame to see. Yes, they came for the Cirque trappings, which were reliably Cirque-like in skill and scale: the trapeze artists, the contortionists, the acrobats. There were pyrotechnics of every flavor, strobe lights, fireworks and mood-setting smoke. But the thing about a Michael Jackson-themed show is this: The best special effect is Michael Jackson.
The moments that captured that ethos were the night’s highlights: a sprawling, 1920s-style rendition of “Smooth Criminal,” complete with dancers on wires; a “Billie Jean” that was costumed to show off the spot-on choreography, with socks and gloves that glowed in the dark. Jackson’s physics-defying dance moves are a perfect fit for the talents of the Cirque performers, whose Gumby bodies can apparently go boneless on command.
That said, Cirque wasted time on lesser-known songs most fans neither miss nor remember. Some numbers were weighed down with imagery so concrete you could have paved a street with it. Videos of starving children played during “They Don’t Care About Us,” a globe with a bandage on it was a centerpiece of “Earth Song” and for “Black or White,” dancers ran through the audience with flags of countries from around the world.
What really got the crowd leaning forward, and for one three-song stretch actually on its feet, weren’t the Cirque-du-So-Strange feats but the glimmers of the deeply familiar: the fedora, the white socks, the red leather jacket, the single glove.
In fact, the least Cirque-esque moment of the night may have won the most applause: a video of young Jackson singing “I’ll Be There.” The stage was completely deserted. It was just Michael, chipmunk-cheeked and Afro-haired, his face blown up as big as the arena wall.
A woman in the back belted out, “WE LOVE YOU, MICHAEL!” and, quietly, some people started to sing along. “Just call my nay-yay-yame, and I’ll be there . . .”
As if hoping he’d make good on the promise, the audience chanted “MI-CHAEL, MI-CHAEL, MI-CHAEL” as his face faded from the screen, and then they kept on chanting into the darkness.

Michael Jackson - Michael Jackson's Nickname Revealed

A hand-written letter Michael Jackson sent to then-wife Lisa Marie Presley - which reveals his nickname was 'Turd' - has been removed from auction.

Michael Jackson signed letters to Lisa Marie Presley as 'Turd'.
A note penned by the late 'Thriller' hitmaker to his then-wife - who he was married to between 1994 and 1996 - reveals his apparent nickname, which is a slang term for faeces, and also details his need for sleep.
The handwritten letter - which was has been removed from sale for Julien's Auctions forthcoming Music Icons sale - reads: ''I truly need this rest. I haven't slept litterally in 4 days and I need to be away from phones and business people. I must take care of my health first. Im' crazy for you. (sic)''
The sign off then says: ''Love, Turd,''
The letter has been removed from the sale following a request from Lisa Marie.
Julien's Auctions CEO Darren Julien complied with the request because of the letter's ''personal nature'' and his company's desire to maintain a ''good relationship'' with Lisa Marie.
It is not yet known what will now happen to the note.
Michael's battle with insomnia is well known.
Dr. Conrad Murray - who was convicted of the involuntary manslaughter of the star last November - has previously admitted he administered powerful anaesthetic Propofol to his famous patient almost every day for two months until his death in June 2009 because the singer ''loved it'' and felt it was the only drug that could cure his insomnia.

 

MICHAEL JACKSON'S DAUGHTER

MICHAEL JACKSON'S DAUGHTER: WHY MY DAD MADE ME WEAR A MASK

MICHAEL Jackson’s daughter Paris has told how she finally understands why her eccentric father made her wear a mask in public.

The 14-year-old opened up about her life with the pop star, who died three years ago, to American television host Oprah Winfrey.

The striking dark-haired teenager confessed to Oprah that she found Jackson’s insistence that she and her two brothers have their faces covered odd at the time.

But she said she now realises it helped her and Prince Michael, 15, and 10-year-old Prince Michael II – nicknamed Blanket – have a childhood.

“I was really confused,” she told Oprah.

“I didn’t get why I was wearing a mask. I understand it now. My dad wanted us to be covered. He wanted us to have a childhood.”

She said the bizarre disguises did at least allow them go to venues such as the Chuck E. Cheese chain of pizza restaurants which also features rides, arcade games and entertainment, without being mobbed.

“Chuck E. Cheese was one of our most favourite places to go,” she said.

Jackson died aged 50 on June 25, 2009, from an overdose of the powerful anaesthetic propofol.

Since his death his children, whose lives were once shrouded in mystery, are out in public frequently – and don’t wear masks.

Speaking of her grief, Paris told Winfrey: “It never gets any better.”

Paris, whose mother is Jackson’s ex-wife Debbie Rowe, is a budding actress and is due to make her debut in the fantasy film Lundon’s Bridge And The Three Keys.

She revealed she was inspired to go into the movies by her father.

Michael Jackson's estate hit with $1 billion lawsuit

Michael Jackson's estate is being sued for over $1 billion (£650 million) by a woman who claims to have inspired many of his biggest hits.

Kimberley Griggs filed the handwritten lawsuit suit earlier this week in San Diego, California, reports US gossip website TMZ.

According to Griggs, she had an "intimate relationship" with Jackson in 1979. She then goes on to suggest that he detailed the alleged romance on albums including 'Thriller', 'Bad' and 'Dangerous'.

Her lawsuit indicates that she believes the star exposed her personal secrets and promised to give her the rights to the tracks. Jackson's estate have issued no comment on the lawsuit as yet.

Earlier this week, a previously unreleased Michael Jackson song named 'Don't Be Messin' Round' surfaced online. Scroll down to the bottom of the page and click to hear it.

The track was officially released in the US on June 5 and is set to feature on the forthcoming reissue of the late singer's 1987 album 'Bad'. A UK date is yet to be set. It was recorded with engineer Brent Averill during sessions for the original album but it never appeared on the record.

The 'Bad 25' deluxe package, which will also feature unseen live footage taken from Jackson's performance at Wembley Stadium in 1988, is due to be released in the UK on September 18. It's the first full re-release of an album from his catalogue since his death in 2009.

A controversial posthumous album of demos and previously unreleased tracks was released in 2010. The album entitled 'Michael' was slammed by members of the late singer's family, who alleged that Sony Music had not used genuine Michael Jackson vocals on the record.

A letter written by the late singer in which he complains of not being able to sleep was also recently withdrawn from an auction at the request of his ex-wife Lisa Marie Presley.