Rock with you - Varianta la exercitiu!

Cred ca rezolvarea exercitiului este aproape imposibila daca tinem cont de conditia ca trebuie/a sa ramai un nimeni individualizat din punctul tau de vedere, dar pur si simplu unul din sute de mii din toata lumea din punctul de vedere al doritului, in cazul de fata Michael Jackson. Acum, noi stim ca paratul din acest exercitiu intotdeauna a vorbit foarte frumos si cu multa L.O.V.E. Despre fanii sai. Si totusi ce am mai vazut prin anumite documentare, fanii absolut isterizati care il urmaresc peste tot, prin magazine, holurile hotelurilor, parcari subterane si au avut ocazia sa primeasca o imbratisare destul de generoasa (am fix in minte un episod cu o fata, blonda chiar...) si cateva cuvinte, iar in loc de la revedere un calduros I Love You MORE, este de-a dreptul isteric. Am gasit cativa norocosi care l-au intalnit pe Michael. Dar cred ca mai norocoase sunt anumite fane care au primit mai mult de o imbratisare. Problema este ca astfel multi sau/si multe sunt, si cred ca in momentele de reamintit momente amuzante cu prietenii, mereu vor ramane fana aia care nu se putea abtine din plans, sau tipul ala care m-a urmarit tot magazinul ca sa ii dau un autograf, fana care m-a sarutat... Cred ca intrebarea cea mai buna este daca vrei sa il intalnesti/sa il fi intalnit sau vrei sa il cunosti iar el sa nu aiba doar o amintire placuta, mai putin placuta sau stresanta despre tine?

Monkey Business

Stirile despre animalele de la Neverland sunt triste si ingrijoratoare... pentru animale dar si pentru noi ca natie. Ma intreb oamenii care le-au vazut ca sunt intr-o stare deplorabila nu au putut face nimic pentru ele? Ma indoiesc. Intrebarea este daca au vrut sa faca ceva pentru ele?...hmmm?! si din cate am mai vazut printre stiri nici Bubbles nu o duce prea bine...

Cam din perioada din care MJ era acompaniat de Bubbles dateaza si interviul de mai jos... foarte frumos pentru ca in perioada asta cine il prindea era chiar norocos. Take a look!

Why You Wanna Trip On HIM!?!

Se pare ca oamenii nu se pot abtine de la a specula, a critica in mod abuziv chiar rautacios, de a intra cu bocancii in vietile altora in ideea de a-si scrie articolele si de a fi pusi pe un piedestal ca fiind unii dintre cei mai buni jurnalisti. Se pare ca si cele mai serioase "wanna be" publicatii americane dau cu bata in balta mai rau ca cele de scandal (macar acolo sti la ce sa te astepti, iar majoritatea cazurilor sunt niste situatii asumate), asta de cele mai multe ori din cauza mirajului senzationalismului. Si se mai pare ca in drumul lor victorios de a scrie cat mai serios si mai profesionalist niste articole care ajung la nivelul celor din tabloide, calca in picioare tot obiectivismul poate chiar sufletul si mandria unor oameni. De la articole gen Michael Jackson Death Sweepstakes Winners and Losers, by Dan Pashman (June 26, 2009), Nightmare in Neverland, by Maureen Orth (January 1994), pana la amenintarile unor cititori de a renunta la cumpararea publicatiei daca unele articole sunt inca semnate de anumiti jurnalisti care uita sa isi lase subiectivismul si propriile pareri acasa. Mda... Acum se pare ca interviul de mai jos este de fapt un colaj de mai multe inteviuri date de MJ Lisei Robinson, de la Vanity Fair, de pe la varsta de 14 ani. Daca trecem peste tonul plin de drama si semi-tragedie informatiile sunt pretioase.
A, sa nu uit... fotografiile sunt facute de Annie Leibovitz, unul dintre cei mai premiati si mai cautati fotografi ai secolului 20, asa zic unii...


The Boy Who Would Be King

By the time Michael Jackson died, his unparalleled fame and dark troubles had locked him into a fragile shell. With her interviews and notes from the early chapters of the pop king’s career, the author resurrects the innocent, ebullient, exploring youth as he confided his struggle to move beyond his family and take control of his art. Photographs by Annie Leibovitz, from her 1989 V.F. shoot with a then 31-year-old Jackson.

The Westin Crown Center Hotel, Kansas City, Missouri, February 23, 1988: Michael Jackson had just finished the opening night of his Bad tour and his manager, Frank DiLeo, arranged for me to visit the star in his hotel suite. No handlers, no bodyguards, no hangers-on, no family members—unusual for a Jackson visitation—but we’d had a friendly journalist-to-artist relationship for the past 16 years, and Michael asked to see me. For Kansas City, the suite was lavish, the size of a small apartment, but as I entered, let in by a security guard, Michael was nowhere to be seen. “Michael?,” I called as I walked around. After a few minutes, I heard giggling from behind a door. The 29-year-old Michael Jackson was literally playing hide-and-seek. Eventually he appeared, wearing black trousers and a bright-red shirt, his semi-straightened hair in a loose ponytail with a few strands falling over his face. He hugged me. He was taller than I’d remembered, taller than he appeared in photos, and while his giggling continued, I thought that the hug was a hug from a man—not a boy—and while there was nothing sexual, it just was strong. Then he pulled back, looked at me, and said, in the lower and more “normal” of the two voices he could produce at will, “What’s that smell? What’s that perfume? I know that smell.” I laughed. “Oh, Michael, you don’t know this perfume. It’s an old drag-queen perfume from the 1950s.” At the words “drag queen” he started giggling and repeated: “Drag queen … hahahahahaha!!! No, I know it. It’s Jungle Gardenia, right?” I was more than slightly surprised. “How do you know that? The only people who’ve ever recognized this perfume are Bryan Ferry and Nick Rhodes. Well, I guess you’re not as la-la as they say you are.” The phrase “la-la” cracked him up and he repeated it: “La-la … hahahahahaha!!!”
nnn

A few days later I sent a case of Jungle Gardenia to his hotel suite at New York City’s Helmsley Palace. The following night, on March 2, I stood in the wings at Radio City Music Hall as Michael waited with gospel singers the Winans, about to perform “Man in the Mirror” for the Grammy Awards live telecast. Looking at me he whispered, “Thanks for the smells.…I’m wearing it now.”

Before the animal companions, before the onstage crotch grabbing, before the disfiguring plastic surgeries, before the peculiar disguises, before the suspect marriages, before the mysteriously conceived children, before the rumored drug addictions and insomnia, and even before the friendships with aging legends, the hospital stays, the alleged family estrangements, the profligate spending, the grotesque tchotchke hoarding, the over-the-top fantasyland ranch, the Filipino prisoners dancing in formation to his songs, and certainly way before the child-molestation accusations and trial, Michael Jackson was one of the most talented, adorable, enthusiastic, sweet, ebullient performers I’d ever interviewed. From 1972 to 1989, I spent time with Michael at his family’s home in Encino, California, in New York City, backstage at his concerts, at parties, at Studio 54, and on the phone. And in 1972, when Michael was 14 but I thought he was 12 (he was 10 when he got to Motown but was told to say he was 8 because he’d seem cuter), we did the first of many interviews.

Havenhurst, Encino, California, October 8, 1972: A sign on the gate to the Jackson family’s house says, beware of guard dog, with the phone number of the place that trained the dog. (“Promotion,” Michael tells me later.) According to Michael, Liberace used to live across the street, and the Jacksons would visit him and look at his diamonds. The family has a German shepherd named Heavy and a Doberman named Hitler (the group’s drummer named him Hitler), but when they talk about that dog in interviews they call him Duke. The bottom of the swimming pool is decorated with two blue-tile dolphins. Lemons and tangerines grow on the trees around the pool. Michael shows me around the house: the pool, the animals, his room—with two beds, a clock with time zones from various cities around the world, the TV, a phone (there is also a pay phone in the house). He climbs a tree, he does dance steps, he is outgoing, inquisitive, fun. I call a friend and say, “This kid is going to be the greatest entertainer ever, seriously, like Frank Sinatra.”

Lisa Robinson: The group is going to perform in London soon?

Michael Jackson: Yes … and I want to go shopping when I go over there, get a lot of souvenirs, and antiques … Ever hear of Napoleon?

L.R. Yes …

M.J. I want to see him too.

L.R. You mean the monuments? His tomb? In Paris?

M.J. You’ve seen that? What airline did you take?

L.R. Well, several. I’ve taken Pan Am, TWA, Air France …

M.J. What kind of tape recorder are you using?

L.R. Sony. [A discussion ensues about the size of the tape recorder, how, if they get any smaller, people will be able to sneak them into concerts, tape, and make bootlegs.] They’re really excited you’re going to be performing in England.

M.J. I know, we got a lot of letters, so we decided to go. But we want this time to be the biggest … for the Queen.

L.R. Ah … you’re performing for the Queen. Her palace is huge …

M.J. You’ve seen it?

L.R. Well, only from the outside. Have any of the other groups told you what it’s like performing in England?

M.J. Well, the Supremes and the Temptations told us some stuff. You ever hear of Marty Feldman? [I say yes.] When the Supremes went there, Ringo Starr went shopping with them. But I don’t know what [the audiences] will be like, whether they’ll be quiet or loud.

L.R. So, what do you like to do in your spare time?

M.J. Swim … play pool … We don’t go much out of the gate because we have [everything] here. When we lived in the other house, we would go to the park to play basketball, but now we have it here.

(Michael asks me more questions than I ask him; there are discussions about my maroon nail polish, buying antiques on Portobello Road, the Apollo Theater, Madison Square Garden.)

L.R. Do you ever get scared onstage?

M.J. No. If you know what you’re doing, you’re not scared onstage.

Interview with Michael, circa 1974:

L.R. Do people tell you what to do?

M.J. Well, I never like to stop learning—even Stevie [Wonder] says that. If you stop learning, then you’re dead. People used to tell us what to do and we listened, but we filled in our own stuff, too … We still have people work with us, but no way are we puppets [laughs], no way.

L.R. What sort of thing are you going to do on the TV show?

M.J. I’m used to being highlighted on the show, but I also do different things—like dancing. It’s a very showbizzy kind of thing, we get funky in the front, and in the closing we get real spankin’—that’s what the fans like.

L.R. Any plans for acting? Movies?

M.J. I was supposed to do Roots, but it was done during our own TV show, and I couldn’t do it—I had an offer for that.That’s the kind of thing I’d like to be my first film—a big TV event, because then the most people can see it.

L.R. What other plans do you have for the future?

M.J. I’d like to write my own things, because an artist knows what fits him best. Every artist can’t write his own material, but if you feel like you can do it—like Marvin Gaye or Stevie Wonder—you should do it. At first, people didn’t think that Stevie could record himself—they thought he was taking a risk. Then he did those albums and they were dynamite.

To me, ballads are special, because you can have a pop song that’ll be known for three weeks and then you’ll hear nothing else about it. Nobody else will record it and it’ll just be gone. But if you do a good ballad, it’ll be [in] the world forever. Like [Stevie Wonder’s] “Living for the City”—that’s a great song, and it opens up the minds of a lotof people, but it won’t be around as long as “My Cherie Amour” or “For Once in My Life” or “You Are the Sunshine of My Life.”—Michael Jackson

Aici este doar prima pagina din interviu. Continuarea o gasiti aici

Este si un slide-show de poze
Se pare ca a fost si un interviu inregistrat...

Say Say Say

In ultima vreme, se pare ca toata lumea are ceva de spus despre Michael Jackson, fie de bine sau de rau, nu ca ne-am supara, oricum cele mai mari bombe vin tot de la ei, asa ca noi sa ne vedem de treaba frumos pe patratica noastra... Un om care are intr-adevar ceva de spus este Harrison Funk, fotograful personal al lui Michael (acum presupun ca o sa mai gasim vreo 10 fotografi care in perioada 1983-1996 l-au fotografiat), din era Thriller pana la HIStory.

He is well-known as Michael Jackson’s personal photographer throughout the height of his career, documenting the King of Pop from 1983 to 1995 and periodically for the next 12 years. After Michael’s passing in June, 2009 Harrison was tapped by Michael’s mangement and family to produce the programme book as well as on-stage/on-air visuals seen around the world at his Memorial Service.

Pe site-ul personal are printre fashion, world, politics, etc. galerii speciale pentru Michael si The Jacksons. In 2006, la Galeria Centrala Sony Ericsson Proud din Londra, Harrison Funk impreuna cu Lynn Goldsmith, fotograful personal al lui MJ intre 1980-1985 (v-am spus eu ca sunt multi), au organizat o expozitie cu fotografiile facute de artisti lui Michael, unele sunt chiar superbe.

"Michael nu este ca nimeni pe care l-am intalnit pana acum". "Cunoasteti vreun alt copil de 5 ani care se poate trezi sambata dimineata si sa se uite la ei la TV sub forma de desen animat? Michael a facut-o". "Nimeni n-ar trebui sa se astepte ca Michael sa se poarte ca o persoana normala". "El nu a crescut in aceeasi lume cu noi. Si apoi, ce rost are sa te astepti de la un geniu sa se comporte ca un om de rand?" - Lynn Goldsmith
"Sa lucrez cu Michael a fost una dintre cele mai creative experiente din viata mea""Michael are un mod de a impinge un artist la creativitate ca nimeni altcineva" - Harrison Funk

All ends and begins with L.O.V.E. - the sequel

I’m with Michael!

After landing an assignment shooting the Jackson 5, the author was told that Michael Jackson wanted him to be his personal photographer. The result: a trove of images, taken between 1974 and 1984, that reveal the future King of Pop’s quiet, soulful side. Related: Gray’s exclusive photos.

By Todd Gray

WEB EXCLUSIVE October 23, 2009

Excerpted from Michael Jackson: Before He Was King, by Todd Gray, to be published on November 6, 2009, by Chronicle Books; © 2009 by the author.

In January 1980, I received a call saying that Michael Jackson had specifically requested me to photograph him at Disneyland, where he was taping a television special celebrating the 25th anniversary of the Magic Kingdom. When Michael was not on the set performing, he took every opportunity to explore the park. The moment the director would release him from the set in order to prepare the next shot, Michael would grab my arm and say, “Come on, let’s hit some rides.” Off we went, the two of us accompanied by a Disney security person, who ushered us through secret passageways, making certain we never waited in line. Michael, who was 21 at the time, loved Disneyland, and while sitting next to him on the rides—the Matterhorn, the Pirates of the Caribbean—I joined right in with his screams and laughter. We really had fun.

View Todd Gray’s exclusive photos.

Not long after this job, I got another call from the Jacksons’ manager, Ron Weisner, asking me to shoot Michael at a charity event. He said that Michael had instructed him to hire only me when he needed a photographer. Then Ron asked me, “What’s up with you and Michael?” I answered, “We just get along, I guess.” (I had first met Michael in 1974 while photographing the Jackson 5 for Soul Newspaper.) I asked Ron if Michael had given him any indication as to why he wanted only me to photograph him. He said Michael told him, “I like Todd because he doesn’t talk much.” And that’s how it began. I was Michael’s photographer and friend for the next four years. It was the ride of my life.

From early on, I saw how dedicated Michael was to work. He worked nearly all the time and rarely seemed to relax. A great deal of time was spent in the recording studio—the Jacksons’ intense focus on creating a flawless product helped make them the success that they became, and Michael was clearly the most focused, hardest-working member of the group. While in the mixing booth, making technical adjustments and working the board with the engineers, he would whisper instructions to his brothers about a vocal arrangement, whispering not because the instructions were secret, but because he was shy and didn’t like to yell out his ideas.

In the spring of 1981, Michael and his brothers began rehearsals for the Triumph Tour, which would travel to 35 cities in North America. When Michael found time to relax, he loved to leaf through photographic books. He especially loved books about 1930s Hollywood glamour, richly illustrated children’s books, and coffee-table books on photography. Michael would usually hole up in the rear of the bus, while the others spent their time together in front. I also preferred the quiet at the back, and I would sit down with him while he was engrossed in reading.

My photographs of Michael, from 1974 to 1984, show him as the engaging, charming, youthful person he was before the insatiable demands of his extraordinary celebrity bore so heavily on him. As I reflect, I realize now that this was the time before he was King.

All ends and begins with L.O.V.E.

Am ramas in acelasi registru, al fotografiilor, de data asta profesioniste, facute de-a lungul timpului lui Michael, si am gasit un domn pe nume Todd Gray numele este link direct catre un site unde pot fi gasite mai multe pagini (Facebook, Twitter,etc.) ale domnului Gray, domn care din pura placere a inceput sa il fotografieze pe MJ de pe vremea pe cand acesta avea 16 ani, ajungand mai tarziu sa-i fie fotograf personal, acest lucru fiind accentuat si de o prietenie. Tot din respect, L.O.V.E. si ca un omagiu acesta a lansat o carte "Michael Jackson - Before He Was King", nu prea am inteles daca este un album foto sau cuprinde si altfel de informatii, asta ramane de vazut.

Michael Jackson has touched the life of millions of his fans and his tragic death left us with his music to remember him by. But Photographer, TODD GRAY has recently provided fans with photos to remember the late singer with as well with his new book, Michael Jackson: Before He Was King that’s due out just in time for the holidays on November 6^th, Gray had the chance to get up close and personal with Michael in the early days of his solo career success, being hired on as Michael’s personal photographer. He’s seen Michael do performances, interactions with his fans, and even photographed him in his solitude and with his family. Michael Jackson: Before He Was King comes out just in time as the motion picture movie, This Is It debuts. Gray gave BE-NEW YORK a glimpse into the man before he became the King of Pop and informed us while catching up with him on promotional tour for the new book, what it was like working with Michael for nearly seven years and convey Michael’s emotions through the art of photography plus much more about Michael we may not have ever known.

BE-NEW YORK: What can Michael Jackson’s fans expect from your book, Michael Jackson: Before He Was King?

TODD GRAY: A really intimate portrait that shows Michael in many situations where he’s unguarded and he’s just being himself. There’s fantastic performance shots, when I was on the road with him, I photographed him performing several times over many different years. But also, with him at his home and things like that, the photos reflect the relationship that I had with him. There’s really a missed warmth – an emotional warmth to the photographs.

BE-NY: Your time spent being Michael’s personal photographer was from 1974 to 1983, correct?

TODD GRAY: The first time I photographed him was in 1974 as a freelancer actually. I photographed him and the brothers a few times in the seventies as a freelancer. But then in 1979, that’s when he requested that I work as his personal photographer, and that ran from 1979 to 1983. So that’s when I was really close to him.

BE-NY: During that time period when you worked with Michael, did you ever think in your mind that Michael Jackson would stratosphere into the icon and legend that he is know remembered as?

TODD GRAY: To the flight and extent of accomplishments of fame that he acclaimed, no that did not enter my mind. I could not have even imagined it. I was completely impressed and amazed of his talent, and I just thought, “Oh my God, this is like the most talented cat that I’ve ever seen,” and I’ve photographed a lot of performers. But I had no idea that his talent would be recognized and embraced around the world to the extent that it was.

BE-NY: How was it working and being around Michael during the time you served as his personal photographer?

TODD GRAY: Well he was really easy going because I’ve shot over a hundred album covers. And I’ve worked with a lot of artists who didn’t have ten percent of the fame or talent, (laughs) so I would get so much attitude – not from Michael – but from some of these other musicians I’ve worked with. It was really a pleasure working with Michael because he would actually take direction from me and he really trusted me. So a lot of times when I photographed him, it was more like a collaboration where I’d say, “Hey Michael, why don’t you do this kind of a picture,” and he’d say “you know well…” he agreed or he would give his interpretation. Case and point, this one session he said, “You know what, I want my eyes… I want to come across with this kind of sadness,” that he wanted in one of these photographs. He said that he wanted to show how he was feeling inside and he wanted to do that through his eyes. So we talked about how we can do this, we looked at some photo books where we saw portraits of children and other people to get an idea of how he might present himself to the camera. We were really active. What’s funny is, sometimes the record company would ask me to, “Aye man, photograph Michael more macho and tough because you know, we don’t want to see him as a child figure. We want to see him as more of a mature adult.” I would photograph him in stronger light, more contrasting or harsher light sort of hardening his features, without him knowing. Because I couldn’t say, “Hey Michael, I got to toughen’ you up,” I would never ever say that! But the funny thing is Michael was just himself and he is this really special creature, this really special human who is just part child, and that was thing that got me was just trying to figure him out because as a photographer part of my job is to get a clue as to who you are and then try to reflect that in the photographs. I literally tried to understand Michael, but it was really difficult because on stage he is the most machismo, the most sexual, the most dynamic performer. And then off stage he’s really quiet, he’s really introverted, and he’s really shy. So here I am trying to convey the image that he has on stage with the person off stage. It’s like another personality, and I could never resolve it and never understand it. It always blew my mind after performing and riding in the limousine and back to the hotel I’d go, “Whoa Michael that was amazing,” and he’d go (imitating Michael’s voice) “Oh thanks, you think so?” (Laughs) I mean this really quiet voice would come out where on stage I just seen Superman; you know and I always got the Clark Kent!

BE-NY: You were also on the set of the video shoot for Beat It, correct?

TODD GRAY: Yes.

BE-NY: What was it like being on the set of one of the most all time favorite video for a lot of Michael Jackson fans, as well as a video that is often looked back upon in his long music career catalog as a solo artist?

TODD GRAY: I got to say it was tense. It was tense when you first arrived on the set because there were a lot of police there. A lot of police that weren’t in uniform – there were a decent amount in uniform but there were a lot that were not in uniform but you knew that these cats were officers and you knew they were packing. The reason being there were serious gangsters on that set! I mean East Side gangs, South Side gangs… there were Latino gangs, Black gangs representing in full force wearing colors. (Laughs) So it was like, I work in Hollywood but I am not from Hollywood, so for me I was going “Whoa, what’s going to happen here?” And when I found out, everybody was pretty chill. Michael would circulate, and between takes Michael would talk to these gang bangers and these people; and once they got around Michael they were like little kids. They were frontin’, they just stopped frontin’ as soon as they got next to Michael. That was a trip, because they just knew him. Another thing was I had been on a couple of other videos like Can You Feel It, when they made that video with the Jackson brothers; and it was on a Hollywood set. I think a lot of the other video shots were usually on sets in a Hollywood studio. This one was in the nitty gritty funky part of Downtown in a really funky hardcore location. It wreaked and the smell wreaked, and so in part I felt it was a completely different experience. Part of it also was the authenticity of those locations and the tension on the set I think it really created a really nice creative energy. But with Michael you could feel it was more intense. He set off the tension that was on the set. You knew that if these cats bumped into each other tomorrow, they were going to call each other out but on the set there was truce.

BE-NY: As a photographer, who has done a lot of album covers, why is it important for the album cover to be the finishing touch to finalizing the project?

TODD GRAY: I mean really if you haven’t heard the music or you’ve only heard one cut, the photo is the first encounter you have of the music, the photo on the album cover. It’s going to give you the vibe, it’s going to give you the personality, it’s the first message that you receive off the product. When you’re walking in a store or you’re browsing online and you see that photograph – that’s before you hear the music – that’s the first indication of what you’re going to get. Is that picture going to seduce you? Is that picture going to draw you in? Is that picture going to make you more curious? Is that picture going to make you go “WOW!” Is it going to make you emote, are you going to respond emotionally? Depending on your emotional response to that photograph of what is to come once you hear the music. The photo’s got to emote. It’s got to pull some kind of emotional lever and that’s where I do my work. That’s actually important.

BE-NY: Of all of the Michael Jackson album covers that have been done, which one would you say is your personal favorite?

TODD GRAY: I would have to say in frank, my personal favorite is the HIStory Volume 2 and it has his shoes on point because that’s my photo! (Laughs) But if I discount that one, I would say its Off The Wall.

BE-NY: Off The Wall?

TODD GRAY: Yeah because he’s playful and I believe his white socks are showing. It’s just… that’s him! A lot of the other ones… I don’t feel… and Thriller that him too with that little tiger. But that photo to me is so opposite of what’s in store. That’s such a soft sweet photograph of him. Thriller is a heavy hitter, and to me it doesn’t represent the music as well. Where Off The Wall that photo is so playful and its interesting that tuxedo wasn’t the right size it made it sort of hip, and then you go into the album and it’s such a wonderful album.

BE-NY: How did you initially get your start in Photography?

TODD GRAY: I took Photography in high school and then I just started showing up – I loved music – so I was going to concerts and everything since I was sixteen years old and I would just bring my camera and start snapping photographs at concerts. I also went to art school and got a degree in Photography.

BE-NY: Is there a technique or strategy you use to obtaining that one performance shot when you go out on jobs?

TODD GRAY: It’s difficult if you’re not real familiar with the artist or haven’t seen their performance. I was on the road with The Jacksons’ so I have seen Michael perform every other night and I was really familiar. Performances are pretty much the same with light variation. Once you’re familiar with the performance, you can choose your spot at different points because you know what’s going to unfold. You know that their going to do this kind of mood or have this kind of attitude at this part of the stage, so you can prepare yourself and position yourself to take the best advantage of the situation. Now having said that, the most famous photographs I have done of Michael is the one with his shoes on point – a close up shot – it’s just above the ankles, his shoes just above the ankles. That photograph, it took me three weeks on the road to get that photograph because Michael would hit that pose at different points of the stage when he felt it. So I would talk to him and go “Michael, man,” – this is another thing – I pre-visualize the photograph. You have to see a picture in your head. After seeing Michael perform, you know which is the most iconic, you know which symbolizes him more and how individually new he is, is when he goes on point, when he goes on point with his shoes. That was in my head so I decided I’m going to capture that shot and I didn’t want it with his whole body, I only wanted the shoe. And I wanted you to feel the impact of the weight where as the show hit the floor, it was really important. That was in my head and I was going after a shot. If you’re shooting a performer you want to see what’s their signature move? What really distills and boils down their style? Then you want to say okay, what is the best position for me to capture that signature move? I pre-visualized it and had it in my head. I wanted to make a photograph that was really symbolic.

BE-NY: What’s one thing that you remember the most about working with Michael?

TODD GRAY: I think how genuinely sensitive he is. He was extremely, extremely sensitive and extremely aware. Michael really was a ‘man child.” He definitely was in touch with his inner-child. He was twenty-one when I was working with him, but you could easily switch that twenty-one to twelve! That’s how he enjoyed his life like a twelve year-old. That’s like with a camera shot, he was aware what was going on and remembers what you said and so you really had no special intellect. Where although he was enjoying life like a twelve year-old, he had a sharp mind and a good memory and he could switch to a very savvy adult really quickly and toss you answers and straighten you out. To answer your question, I think it was sensitivity; he was the most sensitive person. We would look at these photographs – and he would always come to tears looking at these photographs – it was of a person in distress or a person hurt; his emotions… he had really delicate emotions.

BE-NY: Michael Jackson: Before He Was King hits bookstores and online November 6^th. Why is this book a ‘must have’ purchase?

TODD GRAY: I’m really proud of this book because it celebrates Michael, I think, where he was closer to the community, in my view. When I was photographing him about seventy to eighty percent of everyone in the hall was Black and I was like, “WOW.” I haven’t experienced things like that and it was just wonderful coming out of the Black community… we were in love. And to be at a Jacksons’ concert back then, it was just so much Black love being showered. That’s why the first photograph of the book is that of an audience in Washington D.C. just showering him with love. To feel that vibe that was going on back then, to feel that vibe that was going on in our community – and the vibe has changed.

Michael Jackson: Before He Was King is in bookstores and available online November 6^th. BE sure to support the very talented photographer Todd Gray and add it to your collection of memorabilia to the late and great King of Pop, Michael Jackson! A very special thank you to Juanita Stephens of JS Media Relations! Thanks for always taking care of BE Magazine & The Prince of All Media!

Cautand mai multe informatii despre Todd Gray, am dat peste niste filmulete destul de interesante pe Youtube, ceea ce este destul de ciudat e faptul ca nu am reusit sa il gasesc in engleza, este preluat de pe contul cuiva de pe Yutube... dar asta nici macar nu conteaza, ideea este ce spune omul acesta, care, pare plin de o lumina pozitiva si numai intentii bune! la mai multi asa!

TODD GRAY on Michael Jackson part 1

TODD GRAY on Michael Jackson part 2

Workin' Day and Night

nu ca nu ar fi adevarat...

Oficial ieri a fost ultima sarbatoare din ciclul sarbatorilor de iarna, religioase sau mai putin religioase, am trecut si peste pragul dintre ani, we "kissed the old year out, kissing the new year in", ne apropiem vertiginos de 2012, dar cu profetii sau fara profetii ne indreptam vertiginos catre sfarsitul celor patru ani de care dispunem (cei de care vorbea si Michael, in documetarul This is it), lucru cu care nu ar trebui deloc sa glumim... pe aceasta tema este si un film, care ne arata frumusetile acestui pamant, cele de care noi toti ar trebui sa avem grija, pe care cu siguranta MJ l-a vazut si cu siguranta i-a si placut - HOME. Aici este doar trailerul dar il gasiti pe tot pe Youtube. Asa ca ne asteapta long days and nights de munca. Dar asa cum spune si Michael in faimosul cantec ar trebui sa ne si simtim bine in toata aceasta munca. Am gasit ceva amuzant, asta asa ca un start frumos si optimist pentru un an nou, un fan a prelucrat niste poze cu Mr. Smelly si uita-ti ce i-a iesit:

how cute is that...

hee-hee...

lol...

just let me finish this post...

Funny, huh? sunt mai multe, chiar pe Youtube, unele sunt un pic deplasate dar intentiile, dupa cum spune si cel care le-a realizat sau postat, ca nu se stie exact, sunt cele mai pozitive si de apreciat (intentiile adica)... in orice caz, chiar te binedispun si poti sa zici ca ai mancat o portie din tortul de mai sus. Asa ca cine doreste:

si inca unul:

si sunt chiar multicele, asa ca spor la cautat si la chicotit!

Cheater

Anul trecut, la acelasi revelion organizat in piata revolutiei nu vedeam urma de billie jean sau moonwalk sau palarii sau insigne sau jachete din piele ori lac firchizuite cu fel si fel de aplicatii… Dar, na, anul nou surpize a avut, si mai ales ce usor este sa le iei asa cand iti sunt servite pe tava de catre altii, altii care poate si-au strofocat capul sa fie originali. Anul acesta am sarbatorit din nou, revelionul intr-un mod foarte studentesc, in Piata Revolutiei. Din cate am citit din programul de desfasurare, a fost si o JUMATATE de ora ?!?! in care "dansatori profesionisti dar si fanii lui Michael Jackson ii aduc un tribut... Din pacate nu am putut sa ajung la timp pentru a vedea acest omagiu, si nici nu am gasit vreun material despre el. Nu pot spune ca nu a fost distractiv avand contextul in care ne aflam, nu ne asteptam, nici la mai mult nici la mai putin. Ceea ce m-a intrigat cel mai tare a fost faptul ca toata lumea de pe scena, ce am vazut eu cel putin, in afara de dei de la Voltaj, toata lumea parca a cazut intr-un ceaun plin de elemente inspirationale MJ. Si nu ma refer aici doar la vestimentatie; parca lumea vrea sa faca si un pic de show, o altfel de reprezentatie, un melanj de mai multe melodii si dansuri, printre care soc! si Billie Jean! Cel mai mare soc a fost costumul Loredanei Groza; foarte frumos dar parca aducea cu unul, pe care il stim mai bine. Nu am putut gasi nici o imagine destul de explicita, dar sunt cateva filmulete .
Toate eforturile sunt de laudat, dar pacat ca au venit cam tarziu, dar cred ca in acest ceaun suntem cam toti..nu?

Give love on Christmas day

Nu mai este pentru nimeni, acum, un secret sau greu de descoperit albumele Jackson 5. Eliminand sutele, probabil, de melodii doar inregistrate la Motown, vorbim doar de cele oficial lansate. Printre ele se afla si un album de craciun The Jackson 5 - Christmas Album. Lansat in octombrie 1970, albumul a intrat direct #1 in Top Bilboard Pop Albums, si s-a vandut in peste 3,5 milioane copii in intreaga lume.
Este chiar un album frumos si are un aer foarte fresh, mai ales vocea lui Michael. Cine iubeste clasicele melodii de Craciun, este o varianta foarte tare...
Cea mai frumoasa si parca emblematica si scrisa special pentru MJ este Give love on Christmas day...




Have yourself a merry little Christmas and do not forget give love on Christmas day and everyday!

Dapper Dan indeed

Este un text mai vechi, dar mie imi place. So enjoy!

Dapper Dan indeed!!! Daca prima oara cand am mers la film am fost influentata de ideea ca e bolnav, ca e slab, ca are 50 de ani...si toate porcariile pe care presa le-a tot spus si inca le mai indruga...ei bine am avut doua surprize weekendul trecut. Eram impreuna cu un prieten si ne tot holbam la lista cu filme de le movieplex, eu incercand, bineinteles, sa il fac sa mergem la THIS IS IT, el sovaind...am primit doua invitatii cadou de la Europa FM la This Is It....Fericire mare!!! Abia asteptam sa intram amandoi fericiti in banca noastra...eu ca mai vad filmul odata si el ca nu trebuie sa plateasca pentru un film pe care (se presupunea) nu vrea sa il vada in mod expres. Primul soc si, impresie proasta, a fost cand am vazut unde avem locurile... in fata unde nu cumpara nimeni bilete... Deci aceste premii sunt pe jumatate satisfacatoare...toate planurile noastre de a fugi in spatele salii cand lumina va fi stinsa, (daca ei fac asa noi de ce nu? revolta) au fost dejucate pentru ca era acolo un cerber care era cu ochii in 6 si la primi spectatori dornici sa incalce regulile s-a si zbarlit! si asa am hotarat sa ramanem acolo si sa incercam si o viziune mai apropiata...el oricum gandindu-se ca nu are mare lucru de vazut...eu ca sunt mai aproape de MJ, sperand totusi sa vad ceva. A, sa nu mai zic ca, toata lumea era ofuscata, iti dai seama ca erau oameni care au ascultat intentionat Europa FM ca sa castige biletele astea...oricum noi eram cat de cat fericiti ca nu am nimerit chiar pe primul rand (eram pe al treilea)....dar spre marea noastra surprindere a fost chiar foarte bine. Eu m-am simtit ca si cum eram langa MJ pe scena, te cuprinde foarte mult apropierea, parca eram intr-o alta lume..merita incercata si dimensiunea asta. Trecand peste toate astea, acum am fost mai atenta la detalii. Ce pot sa spun... intr-adevar un Dapper Dan. Cred ca melodia asta a fost prezisa pentru viitorul lui Michael "I've got the fastest feet around"
Do it do it, he can do it,watch him do it
I got rhythm and a whole lot of soul
I can dance I can shake it baby (He can dance)
I'm just a little country boy
Harmonica in my hand
I got soulful rhythm in me
I'm a get down dancin man
Shalalala boom boom
My name is Dapper Dan
Shalalala boom boom
I'm a dancin' man yeah
'm gonna be king of the Disco tech
That's where I can be found
Master of the rhythm beat ohh
I've got the fastest feet around
Shalalala boom boom
My name is Dapper Dan
Shalalala boom boom
I'm a dancin man yeah
Do it do it Let's do it do it
Get up on the floor
Let's do it do it
Dance what you wanta
Let's dance dance with me
I like the way he shake it (2x)
I like the way he move it oo he's sexy
Do it do it i can do it watch me do it
i can dance dance dance
do it do it i can do it let me show ya
I'm a dancing man
i got the rytem adn a whole lot of soul
i can dance ahh
i got music and i know how to use it
i can sing ahh mm
Do it do it i can do it do it do it
do it do it i can do it watch me do it
i can dance dance dance

I like the way he shake's it (2x)
I like the way he moves it
oooo he's sexy
do it do it, i can do it, watch me do it
i can dance dance dance
do it do it, i can do it let me show ya
i'm a dancing man
Do it do it, i can do it, do it, do it
do it do it, i can do it, watch me do it
i can dance dance dance
Do it do it, i can do it let me show ya
i'm a dancing man

Cam asta am simtit acum a doua oara cand am fost. Minunat! Ritm! Beat! cum vrei sa ii spui, oricum simte muzica si o transmite mai departe, desi dansatorii erau mult mai tineri si mai rapizi uneori, si desi trebuiau sa fie "an extension of the man" de mai multe ori am vazut cum nu mai stiau ce sa faca, sau repetau miscarile. In schimb Mr Dapper Dan era smelly jelly!! super...si amuzant...cu toate faze alea cu "I have to que that, I have to que that", sau partea cand cauta sa stabileasca intro-ul pentru The way you make me feel, foarte tare...si acadelele, nu stiu daca se observa dar i se vedeau in buzunar cand dansa pe scena...Si bineinteles zambete peste tot!!! Chiar a meritat sa stai asa in fata!! parca era "aproape 3D" Aaa, si mult mai bine din punct de vedere al atmosferei! S-a aplaudat s-a si cantat, a fost chiar o atmosfera de placere! Lumea se simtea chiar bine! Foarte frumos! Abia astept sa mai merg odata, si inca odata...si inca odata... Am inteles ca o sa fie prelungit termenul de rulare a filmului inca o saptamana, pana dupa Thanksgiving Day, ceea ce este de foarte bine!

Ohh...i'm so shy... but...

I'm good! Dancing machine!

Facts: Cei de la premiile Grammy il vor onora pe Michael cu un premiu pentru intreaga cariera.
Cei de la MTV l-au numit The man of the year!
Story: cica si cei din comisia premiilor Oscar ar cam da mai multa importanta documentarului...cine stie... cum ar fi?!

HUMAN NATURE

In curand se vor implini 6 luni de la evenimentul de pe 25 iunie…stiti voi care… luni intregi fiecare a devenit mai Michael decat Michael in sine; multi incercand sa impresioneze, alti teribil afectati sau pur si simplu sa redescopere sau sa decopere mai amanuntit ceea ce stiau asa de pe posturile muzicale, youtube s.a.m.d. Nici nu stiu cum sa cataloghez incercarea disperata (asa pare uneori) a unor posturi muzicale fie ele de radio sau tv de a se arata cat mai THRILLER… De la bilete pentru film, la ore cu MJ (care ar fi fost intrerupte daca nu interveneau fanii), pana la tricouri, un pic cam scumpe as spune eu, si fel de fel de compilatii din intreaga cariere muzicala a lui Michael. Trecand peste nemultumirile tipic romanesti, am observat ca multe posturi straine (asta nu include si MTV) nu prea se sinchisesc de ore M is for Michael sau Michael's legacy... asa ca sunt de laudat. La mai multe ore si mai multe informatii!!

Acest text este scris de cateva zile dar, cum postarea lui a intarziat, am o mica povestioara... Miercuri a fost prima zi de iarna adevarata in bucuresti. Era absolut feeric, vazut din casa si descurajator de frig simtit de afara. Ignorand frigul care se strecura peste tot, cu “Why you wanna trip on me” in urechi, incercam sa ma concentrez pe atmosfera de poveste ce avea loc, versuri precum They Say I'm Different
They Don't Understand
But There's A Bigger Problem
That's Much More In Demand
You Got World Hunger
Not Enough To Eat
So There's Really No Time
To Be Trippin' On Me… We've Got More Problems
Than We'll Ever Need… amestecandu-se cu realitatea de afara. Si ma gandeam cate bullshituri a incasat omul asta de la multi incepand cu presa si terminand cu ultimii acuzatori, la mijloc intervenind fel si fel de bucatari, avocati, sau fel de fel de firmulite carora nu le convenea nu stiu ce… starea mea de reverie a fost brusc intrerupta de un bulgare din proaspata zapada in ureche... WHAT? Cum sa reactionezi in astfel de situatii? In primul rand ca esti prea bulversat, avand in vedere ca tu iti vezi civilizat de drum si vin unii sa te frustreze pur si simplu pentru ca nu e ceva ce tu poti face; doar sa alergi dupa ei riscand in astfel de situatii sa cazi si sa te ridiculizezi si mai tare sau sa te iei la tranta... oricum ar fi multe variante de raspuns nu prea sunt…doar sa keep on walking, cu mandria un pic franta dar na! asta este human nature! situatia m-a dus cu gandul la alte versuri ael lui Michael din “Privacy”, But on that cold winter night,/ my pride was snatched away/ … respect’s not given, it’s earned… calmandu-ma, si facandu-ma sa ma gandesc la ce situatii cu mult mai grave si enervante a fost si inca ii mai este pus numele. Oare el cum s-ar fi simtit cu un bulgare de zapada in cap? (mai ales ca nu e prea mare fan al zapezii) cum ar fi reactionat? Probabil mai usurat decat cu o acuzatie de molestare… cred ca un pic suparat, totusi. Asa ca daca va treziti in perioada asta asa din senin cu un bulgare de zapada in cap ganditi-va ca este doar natura umana pusa pe sotii malitioase si ca altii, paratul de mai sus, au incasat-o si mai rau...