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Wednesday, December 28, 2011

THIS IS IT AND BIBLICAL SYMBOLISM PART 1

As my previous post Michael is an angle of the Most High .
since 2009 we have seen many changes in our planet. we must listen and heed the word of those
great messengers. 



THIS IS IT



2009+4=2013
“Everyone’s doing a great job. Let’s continue and believe…

And have faith, and give me your all your endurance, your patience . . .

And your understanding. But . . . it’s an adventure . . .

(exhales with a laugh), it’s a great adventure . . .

There’s nothing to be nervous about. They just want wonderful

Experiences, they want escapism.

We want to take them places they've never been before.

We want to show them talent like they've never seen before.

So give your all . . . And, I love you all and we’re a family.

Just know that, we’re a family. And we’re bringing love back into the world.

To remind the world that love is important.

To love each other, that we’re all one . . .

The message is to take care of the planet.

We only got four years to get it right here

Or else it’s irreversible, the damage we've done.

So, we have an important message to give, okay?

It’s important, and I thank you for your cooperation so far.

Thank you – BIG thank you.”


Mattew 24:6
6And ye shall hear of wars and rumours of wars: see that ye be not troubled: for all these things must come to pass, but the end is not yet. 7For nation shall rise against nation, and kingdom against kingdom: and there shall be famines, and pestilences, and earthquakes, in divers places.
8All these are the beginning of sorrows.
 

In the past 2 years we had more Global disasters such us Hurricane , earthquakes , floods and so on.  Christ said on
 
Mat 24 :36 37But as the days of Noah were, so shall also the coming of the Son of man be.
38For as in the days that were before the flood they were eating and drinking, marrying and giving in marriage, until the day that Noe entered into the ark,
39And knew not until the flood came, and took them all away; so shall also the coming of the Son of man be.







Significant Earthquakes of the World 2011









Revelation 13:15-18

  15And he had power to give life unto the image of the beast, that the image of the beast should both speak, and cause that as many as would not worship the image of the beast should be killed.
16And he causeth all, both small and great, rich and poor, free and bond, to receive a mark in their right hand, or in their foreheads:
17And that no man might buy or sell, save he that had the mark, or the name of the beast, or the number of his name.
18Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is Six hundred threescore and six.

In The year 2013 there will be Mark of the Beast for every one RFID chip or two way radio.

http://en.wikipedia.org/wiki/Digital_Angel
Modern name/ digital angle/ RFID chip


Digital Angel, Inc. (NASDAQ: DIGA) develops global positioning satellite (GPS) and radio frequency identification (RFID) technology products for consumer, commercial, and government sectors worldwide. Headquartered in South St. Paul, Minnesota, their products offer security for people, animals, the food supply, government/military arena, and commercial assets. Included in this product line are RFID applications, end-to-end food safety systems, GPS/Satellite communications, and telecommunication, security infrastructure and the controversial Verichip human implant, a product which has caused concern among advocates of civil liberties.
Applications for this technology include pets, wildlife and livestock identification using implantable
RFID microchips, scanners and antennas.
Digital Angel has also researched and developed GPS search and rescue beacons that integrate geosynchronous communications for use by the military and the private sector to track aircraft, ships and other high value assets.
Digital Angel
GPS and RFID products enable the rapid and accurate identification, location tracking, and condition monitoring of people. Applications of their products include identification and monitoring of pets and fish with implantable RFID microchips, identification of livestock with ear tags, GPS based search and rescue beacons for aircraft, ships, boats, and individuals.
Animal Identification Segment
  • Destron Fearing - Leading US manufacture since 1945. Pioneered microchip technology for animals in 1980s.
Asset Identification Segment

  • SARBE - Encrypted GPS emergency beacons for military forces
  • McMurdo - Supplier of maritime emergency location beacons and navigational devices in Europe
Digital Angel owns a minority position (49%) in VeriChip.
Food shortage in 2011 world wide



Luke 21:8-12


8And he said, Take heed that ye be not deceived: for many shall come in my name, saying, I am Christ; and the time draweth near: go ye not therefore after them.
9But when ye shall hear of wars and commotions, be not terrified: for these things must first come to pass; but the end is not by and by.
10Then said he unto them, Nation shall rise against nation, and kingdom against kingdom:
11And great earthquakes shall be in divers places, and famines, and pestilences; and fearful sights and great signs shall there be from heaven.
12But before all these, they shall lay their hands on you, and persecute you, delivering you up to the synagogues, and into prisons, being brought before kings and rulers for my name's sake.

Food Shortage begining of famine?
http://peakoil.com/consumption/food-crisis-2011-the-global-food-shortage-has-already-begun/

Will 2011 be the year that we point to as the beginning of the great global food crisis? Food prices are soaring, supplies are very tight and already we have seen some very intense food protests flare up around the globe this year. When people don’t have enough to eat, they tend to become very desperate, and unfortunately it looks like the global food situation is not going to improve much any time soon. Right now the world is really struggling to feed itself, and with each passing day there are even more mouths to feed. It is being projected that the population of the world will reach 9 billion people by the year 2050. There are already way too many people starving to death around the globe, and unfortunately starvation is only going to become more rampant as food supplies get even tighter. Some of the key food producing provinces in China are facing their worst drought in 200 years. Flooding has absolutely devastated agricultural production in Australia and Brazil this winter. Russia is still trying to recover from the horrific drought of last summer. Global weather patterns have gone haywire over the past 12 months, and this is putting immense pressure on a global food system that was already on the verge of a major breakdown.
Food stockpiles all over the world are disturbingly low at this point. If a major global famine broke out not even the United States would be able to last for long. The U.S. government is supposed to be keeping a lot of food stockpiled in the event of an emergency,
but that is just not happening.
Right now a desperate scramble for food is beginning. Quite a few nations that used to be huge food exporters are now importing a lot of their food. Prices for staples such as wheat, corn and soybeans are absolutely soaring, and the UN is projecting that they will continue to rise rapidly throughout 2011.
Unless something dramatically changes, the global food situation is only going to get tighter and tighter and tighter as this decade rolls along.
So who is going to decide who gets fed and who doesn't?
As food prices continue to rise, will we start to see more food riots erupt all over the world as starving populations demand answers from their governments?
What is going to happen if weather patterns get even worse or if we have a string of really bad natural disasters?
What is going to happen if we experience a really bad global economic collapse?
Right now these are just the “birth pains”, but if things get much worse we could be looking at a horrific food shortage that will rock the globe.
The following are 14 facts that make you wonder if the coming global food shortage has already begun….
#1 According to the U.S. Department of Agriculture, U.S. corn reserves will drop
to a 15 year low by the end of 2011.
#2 The United Nations says that the global price of food hit
another new all-time high in the month of January.
#3 The price of corn
has doubled in the past six months.
#4 The price of wheat
has roughly doubled since the middle of 2010.
#5
According to Forbes, the price of soybeans is up about 50% since last June.
#6 The United Nations is projecting that the global price of food
will increase by another 30 percent by the end of 2011.
#7 Due to all of the unprecedented flooding, the winter wheat crop in Australia
has been absolutely devastated.
#8 This winter Brazil was hit by
some of the worst flooding that nation has ever seen. This has substantially hampered food production in that country.
#9 Russia, one of the largest wheat producers on the entire globe, is still feeling the effects of last summer’s scorching temperatures. In fact, Russia
is actually importing wheat this winter to sustain its cattle herds.
#10 China is busy preparing for a “
severe, long-lasting drought” that is projected to have a huge impact on several provinces. In fact, Chinese state media says that the eastern province of Shandong is dealing with the worst drought it has seen in 200 years. The provinces being affected by this severe drought grow approximately two-thirds of the wheat in China. The following is a very short video news report about the horrible drought that China is going through right now….
#11 It appears that Chinese imports of corn will be
about 9 times larger than the U.S. Department of Agriculture originally projected them to be for 2011.
#12 Approximately
1 billion people around the world go to bed hungry each night.
#13 Somewhere in the world someone starves to death
every 3.6 seconds, and 75 percent of those are children under the age of five.
#14 As food has become increasingly scarce around the world, many companies have started using whatever kinds of “fillers” that they can think of in their “food” products. For example,
Raw Story is reporting that some companies in China have actually been mass producing “fake rice” that is made partly of plastic. According to one Chinese Restaurant Association official, eating three bowls of this fake rice is the equivalent of consuming an entire plastic bag.
Let us pray that this is not the beginning of a major global food crisis, because hunger and starvation are horrible things.
Starving to death is a fate that nobody should ever have to go through.
So, let us hope for the best, but let us also prepare as if we will be facing the worst.

Fresh water shortage please read the next article


http://voices.yahoo.com/water-shortages-may-affect-relocation-plans-60564.html

You can google Depopulation plan for the next few years.
We should listen to those who put their lives on the line to pass this information for us. Wake up


                WILL YOU HELP TO HEAL THE WORLD? WHAT IS YOUR PART?



 


Michael Jackson's Speech July 6-2002 Harlem New-York!

http://www.heeheeshamone.com/archives/40#more-40

On July 6, 2002, Michael Jackson spoke about racism within the entertainment industry to a crowd gathered at the headquarters of Rev. Al Sharpton’s National Action Network in Harlem, New York.

Thank you, Al Sharpton. Thank you, Johnnie Cochran. Thank you for inviting me here and all the lovely people here tonight.
I remember a long time ago, in Indiana—of course I was like six or seven years old—I had a dream that I wanted to be a performer, an entertainer.
Whenever I’d couldn’t get to to sleep at night, or my mother would wake me up and shout, “Michael, Michael, James Brown is on 2! Turn it on!”
I’d jump out of bed and I’d just stare at the screen and he’d twist and he’d turn and he’d bump and he’d grind. And then there was Jackie Wilson. He’d just go on and on, just phenomenal, unlimited, great talent. It’s very sad to see that these artists really are penniless. They created so much joy for the world, and the system, meaning the record companies, totally took advantage of them.

And it’s not like they always say, you know, “They built a big house, they spent a lot of money, they bought a lot of cars.” That’s stupid. That’s just an excuse. That’s nothing compared to what artists make. I just need you to know that this is very important, what we’re fighting for. Because I’m tired—I’m really, REALLY tired of the manipulation, I’m tired of how the press is manipulating everything that’s been happening in this situation. They do not tell the truth! They’re liars!

And they manipulate our history books. The history books are not true! It’s a lie! The history books are lying. You need to know that. You must know that. All the forms of popular music: From jazz to hip-hop, to bebop to soul. You talk about the different dances from the cake walk to the jitterbug to the Charleston to breakdancing. All these are forms of BLACK dancing!

What’s more important than giving people a sense of escapism, and escapism meaning entertainment. What would we be like without a song? What would we be like without a dance, joy, laughter, and music? These things are very important!
But if you go to the bookstore down at the corner, you won’t see ONE BLACK PERSON on the cover! You’ll see Elvis Presley. You’ll see the Rolling Stones. But where are the real pioneers who started it?
Otis Blackwell was a prolific, phenomenal writer. He wrote some of the greatest Elvis Presley songs. And this was a black man. He died penniless. And no one wrote about this man ever, they didn’t write one book about him at all. His songs were heard all over the world. I met his daughter today, and I was so honored. To me, meeting her was on the same level as meeting the Queen of England.

I’m here to speak for all injustice. You gotta remember something—the minute I started breaking the all-time record in record sales—I broke Elvis’s records, I broke Beatles records—the minute it became the all-time best-selling album in the Guinness Book of World Records, OVERNIGHT they called me a freak, they called me a homosexual, they called me a child molester, they said I bleached my skin! They made everything to turn the public against me!
And this is all a complete, complete conspiracy. You have to know that.
I know my race! I just look in a mirror. I know I’m black.
You know, it’s time for a change! Let’s not leave this building and forget what’s been said. Put it into your heart. Put it into your subconscious mind, and let’s do something about it. We have to. We have to.

Because this has been a long, long time coming. And a change has got to come!
So let’s hold our torches high, and get the respect that we deserve.
I love you. I looooove you!
PLEASE don’t put this in your heart today and forget it tomorrow, or we will have not have accomplished our purpose if that happens. This has got to stop. It has got to stop. That’s why I’m here with the best, to make sure it stops.
I love you folks! And remember, we’re all brothers and sisters, no matter what color we are.
(original transcript provided by theidolhands)

Friday, December 23, 2011

Michael Jackson Magazine Interview 1982

1982, Andy Warhol, Bob Colacello, Interview magazine

10/1982
Michael Jackson
By Bob Colacello and Andy Warhol
Interview, October 1982
In August of 1982, Interview’s executive editor, Bob Colacello, interviewed Michael Jackson, then 23, at the condominium in the San Fernando Valley that the singer was renting with his family while their house nearby was being redecorated. (Andy Warhol called from New York midway through their conversation.) Jackson, of course, was already famous for his work with his brothers in the Jackson Five, but his first adult solo album, Off the Wall (1979), released three years earlier, had made him a star in his own right. When this interview took place, he was at work on a storybook companion record for the Steven Spielberg film E.T.: The Extra-Terrestrial (1982)—hence the E.T. references—and was fielding an array of film-role offers. He was also finishing up recording Thriller (1982), which would go on to become the best-selling album of all time. The following is an excerpt from their interview as it originally appeared as the cover story of the October 1982 issue.
BOB COLACELLO: Did you like performing as a child? Did you always love it?

   
MICHAEL JACKSON: Always did. I always enjoyed the feeling of being onstage—the magic that comes. When I hit the stage it’s like all of a sudden a magic from somewhere just comes and the spirit just hits you and you just lose control of yourself. I came onstage at Quincy’s [Jones] concert at the Rose Bowl and I did not want to go onstage. I was ducking and hiding and hoping he wouldn’t see me hiding behind people when he called me on. Then I went up there and I just went crazy. I started climbing up the scaffold, the speakers, the light gear. The audience started getting into it and I started dancing and singing and that’s what happens.
COLACELLO: How do you compare acting to performing on the stage?
JACKSON: I love both. Acting is the cream of the crop. I love performing. It’s a phenomenal getaway. If you want to really let out everything you feel, that’s the time to do it. With acting, it’s like becoming another person. I think that’s neat, especially when you totally forget. If you totally forget, which I love to do, that’s when it’s magic. I love to create magic—to put something together that’s so unusual, so unexpected that it blows people’s heads off. Something ahead of the times. Five steps ahead of what people are thinking. So people see it and say, “Whoa I wasn’t expecting that.” I love surprising people with a present or a gift or a stage performance or anything. I love John Travolta, who came off that Kotter show. Nobody knew he could dance or do all those things. He is like—boom. Before he knew it, he was the next big Brando or something.

COLACELLO: He hasn’t done much lately.
JACKSON: I know. I think he’s choosing scripts and stuff. It’s always difficult for anyone trying to compete against their past achievements…
COLACELLO: It seems that what really motivates you is your desire to entertain people, to please people. What about fame and money? Could you imagine not being famous or does being famous bother you?
JACKSON: It never has bothered me except sometimes when you want peace. Like you go to the theater and you say, “Nobody’s bothering me tonight, I’m wearing my hat and glasses and I’m going to enjoy this film and that’s all there is to it.” You get in there and everybody’s watching and staring at you and at the climax of the film somebody taps you on the shoulder for an autograph. You just feel like you can’t get away…

COLACELLO: You’re very close to your parents. Do they live out here in L.A.?
JACKSON: Yes. My mother’s upstairs. My father’s at the office.
COLACELLO: What’s your typical day like?
JACKSON: Daydreaming most of the day. I get up early and get ready for whatever I’ve got to do, songwriting or whatever it is. Planning the future and stuff.
COLACELLO: Are you optimistic about the future?
JACKSON: Yes. I always like to plan ahead of time and follow up…
COLACELLO: Do you care about fashion much?
JACKSON: No, I care about what I wear onstage. You know what I love, though? I don’t care about everyday clothes. I love putting on an outfit or a costume and just looking at myself in the mirror. Baggy pants or some real funky shoes and a hat and just feeling the character of it. That’s fun to me.
COLACELLO: You like to act a lot just in everyday life?

JACKSON: I love it so much. It’s escape. It’s fun. It’s just neat to become another thing, another person. Especially when you really believe in it and it’s not like you’re acting. I always hated the word acting—to say, “I’m an actor.” It should be more than that. It should be more like a believer.
COLACELLO: But isn’t that a little frightening when you believe it totally?
JACKSON: No, that’s what I really love about it. I just like to really forget.
COLACELLO: Why do you want to forget so much? Do you think life is really hard?
JACKSON: No, maybe it’s because I just like jumping in other people’s lives and exploring. Like Charlie Chaplin. I just love him to death. The little tramp, the whole gear and everything, and his heart—everything he portrayed on the screen was a truism. It was his whole life. He was born in London, and his father died an alcoholic when he was six. He roamed the streets of England, begging, poor, hungry. All this reflects on the screen and that’s what I like to do, to bring all of those truths out…

COLACELLO: Do you sometimes feel as though you missed out on childhood because you’ve always been performing in the adult world?
JACKSON: Sometimes.
COLACELLO: But you like people older than yourself, experienced people.
JACKSON: I love experienced people. I love people who are phenomenally talented. I love people who’ve worked so hard and been so courageous and are the leaders in their fields. For me to meet somebody like that and learn from them and share words with them—to me that’s magic. To work together. I’m crazy about Steven Spielberg. Another inspiration for me, and I don’t know where it came from, is children. If I’m down, I’ll take a book with children’s pictures and look at it and it will just lift me up. Being around children is magic…

COLACELLO: Are you interested in art?
JACKSON: I love to draw—pencil, ink pen—I love art. When I go on tour and visit museums in Holland, Germany or England—you know those huge paintings?—I’m just amazed. You don’t think a painter could do something like that. I can look at a piece of sculpture or a painting and totally lose myself in it. Standing there watching it and becoming part of the scene. It can draw tears, it can touch you so much. See, that’s where I think the actor or performer should be—to touch that truth inside of the person. Touch that reality so much that they become a part of what you’re doing and you can take them anywhere you want to. You’re happy, they’re happy. Whatever the human emotions, they’re right there with you. I love realism. I don’t like plastics. Deep down inside we’re all the same. We all have the same emotions and that’s why a film like E.T. touches everybody. Who doesn’t want to fly like Peter Pan? Who doesn’t want to fly with some magic creature from outer space and be friends with him? Steven went straight to the heart. He knows—when in doubt, go for the heart…
[Andy Warhol calls from New York.]

ANDY WARHOL: Hello?
JACKSON: Hi.
WARHOL: Gosh, this is exciting. You know, every time I use my Walkman I play your cassette on it…How have you been?
JACKSON: I’ve been in the studio a lot, writing lyrics and working on songs and stuff.
WARHOL: I might go see an English rock group at the Ritz tonight called Duran Duran. Do you know them?
JACKSON: No.
WARHOL: I went to see Blondie at the Meadowlands last week.
JACKSON: How was Blondie?
WARHOL: She was great. She’s so terrific. Do you know her?
JACKSON: No, I never met her.

WARHOL: Well, when you come to New York I’ll introduce her. Going on tour is about the hardest thing to do in the world.
JACKSON: Tour is something—the pacing. But being onstage is the most magic thing about it…
WARHOL: Did you ever think you’d grow up to be a singer?
JACKSON: I don’t ever remember not singing, so I never dreamed of singing.
WARHOL: Do you go out a lot or stay home?
JACKSON: I stay home.
WARHOL: Why do you stay home? There’s so much fun out. When you come to New York we’ll take you out.

JACKSON: The only time I want to go out is when I’m in New York.
WARHOL: Do you go to the movies?
JACKSON: Oh, yes. We’re going to be working on the E.T. album. I had a picture session with E.T. and it was so wonderful…He’s hugging me and everything.

WARHOL: I like Tron. It’s like playing the video games. Have you seen it?
JACKSON: Yes. It didn’t move me.
WARHOL: Well, thanks a lot. See you soon.
JACKSON: I hope so…
10/1982
http://www.heeheeshamone.com/archives/333#more-333

Monday, December 19, 2011

OFF THE WALL ♪ ♫ Michael Jackson ♫ ♪ Tribute Written by Carmen




OFF THE WALL ♪ ♫ Michael Jackson ♫ ♪ Tribute Number One
♪ ♫ A Tribute to showcase Michael’s first Solo Career album ♪ ♫
I share with you all the details plus a little ‘extra’ insight into all 10 songs from the album, taken from five different books. I also include a ‘you tube’ for each song for your viewing and listening pleasure .
This album is one of the many beautiful Gifts that Michael gave to us. May you treasure it too, and all of his music… forever keeping his Legacy ALIVE. 1958 - Forever..!!
♥ L.O.V.E. you Michael ♥ Thankx for ALL you’ve given us.
♪ ♫ ♪ ♫ ♪ ♫ ♪ ♫ ♪
USA August 1979
Don’t stop ‘Til You Get Enough
Rock With You
Working Day and Night
Get On The Floor
Off The Wall
Girlfriend
She’s Out Of My Life
I Can’t Help It
It’s The Falling In Love
Burn This Disco Out
‘Off The Wall’ (LP) is released August 1979, mixing Pop R & B and Jazz. This album breaks new ground vocally for Michael, with his most adventurous and mature vocals to date. It delivered jazzy disco-funk tunes with irresistibly clever pop hooks. It breaks music industry records by being the first album ever to spawn four Top Ten singles in the US, two of which become number 1 hits and are certified Gold. In Britain, for the first time in music history, a record five hit singles are released for one album, ‘Girlfriend’, written by Paul McCartney, being one of them.

The album exceeds all expectations and is hugely successful on both the Pop and Black album charts, eventually selling over 20 million copies worldwide. Some of the early copies of ‘Off The Wall’ feature a free 7” picture disc of ‘You can Win’.
Michael’s singing throughout the album is daring, personal, and unique - full of vocal ticks, squeals, and yelps that would become his trademark.
Off The Wall is an ecstatic, exhilarating pop soul album - considered by many to be one of the greatest albums ever released.
Produced by Quincy Jones; three songs co-produced by Michael, which he also wrote: Don’t Stop ‘Til You Get Enough, Working Day and Night and Get on the Floor. Michael having worked with him on the Wiz, approached Quincy for advice, when he’d decided he wanted to do a solo album but didn’t know any great producers. ‘I’ll tell you what,’ said Quincy, ‘why don’t you let me do it?’
Heatwave’s Rod Temperton also penned three songs for the album, and in so doing he tried to find out about Michael’s character. ‘I knew he loved Charlie Chaplin,’ he said, ‘and I thought Off The Wall was a nice thing for Michael…Rock With You was a rhythm section idea I’d had - I thought I’d go with this one, too, because he’s good at handling very melodic things.’

Mike Salisbury, the man behind the concept of the sleeve design, has revealed before he was brought in, ‘they had him (Michael) seated on a bale of straw, wearing cowboy clothes’. Salisbury wasn’t convinced this would work, so he ‘designed a person and created an identity for him…it’s a metaphor. He’s just a kid out from under his Dad, so I think the album cover should make a statement that his solo debut is as big as Sinatra coming on stage in Vegas.’
Album cover photo shoot took place at the Griffith Observatory at the Hollywood Planetarium. Michael liked Salisbury’s idea of a tuxedo (found in Yves St. Laurent), but insisted he wanted to wear white socks (custom made for him by top Hollywood designer Bob Mackie) and glove. But… the socks didn’t work, until Salisbury remembered Fred Astaire, Gene Kelly and Cary Grant, ‘They put their hands in their pockets to raise the trousers so you could see the socks,’ said Salisbury. ‘Michael! Put your hands in your pockets. Raise your thumbs and raise your trousers!’ And so a memorable album sleeve was created.
‘Off The Wall’ enters both the Black and Pop albums charts peaking at numbers 1 and 3 respectively and remains on the Pop charts for a mammoth 84 weeks. It holds its position at number 1 on the Black charts for a lengthy 16 weeks during a 61 week residence.
Michael becomes the first solo artist in America to chart Top 10 singles from one album.
August 29th Michael is 21 years old today and celebrates his birthday at Studio 54 in New York City.
Michael’s contract with his father Joe Jackson expires and he now takes control of his own career.
Michael worked to renegotiate his solo recording deal with Epic. In the process, he secured the highest royalty rate for any artist in the music industry.

December 10th ‘Off The Wall’ (LP) is certified Gold and Platinum. The album will go to sell 12 million worldwide.
Hit Singles: Don’t Stop ‘Til You Get Enough, Rock With You, Off The Wall, She’s Out Of My Life, and Girlfriend.
First solo album to produce four Top 10 hits on both side of the Atlantic, and to produce five hits in the UK.
On the album credits was: “I dedicate this to the year of the child and my mother, - Love M.J.”
American Music Awards:
Favorite Male Soul Singer.
Favorite Soul Album.
Favorite Soul Single: Don’t Stop ‘Til You Get Enough
Grammy Award:
Best R & B Vocal Performance, Male : Don’t Stop ‘Til You Get Enough.
February 27,1980 At the Shrine Auditorium in Los Angeles Michael is awarded his first Grammy as a solo performer in the category Best R & B Vocal Performance - Male for ‘Don’t Stop ‘Til You Get Enough’. Michael boycotts the event in disgust at being pigeon-holed into only R & B soul categories and is disappointed that ‘Off The Wall’ was overlooked for Best Album. He vows his next album won’t be ignored. It is widely accepted that the awards do not do justice to the hugely successful LP.
Inducted into the Grammy Hall of Fame in 2008.
♪ ♫ ♪ ♫ ♪ ♫ ♪ ♫ ♪ ♫ ♪ ♫ ♪ ♫ ♪ ♫ ♪ ♫ ♪ ♫
1st Song ~ Don’t Stop ‘Til You Get Enough~

http://www.youtube.com/watch?v=yURRmWtbTbo
Song written and recorded by Michael.
This song is all swirling, symphonic strings and basslines supporting Michael’s falsetto melodies.
‘We had little arguments, nothing very serious, during the first record we made, which was Don’t Stop ‘Til You Get Enough,’ said Quincy Jones. ‘Most people at Motown didn’t sing low and I needed him to sing low. I wanted him to do a very sexy kind of sound at the bottom. At first, he was a little reluctant, but that’s okay. It was never contentious, and that’s where the trust comes in.’
Lyrical content shocked his mother, Katherine, who pointed out the title could easily be misinterpreted - Michael asserted it wasn’t a reference to sex, but that it could mean whatever people wanted it to mean.
Lead single from the album - heralded Michael’s arrival as an adult solo performer, and paved the way for a new beginning to his musical career.
Promo short film, directed by Nick Saxton, premiered in October 1979.
A music video released to promote the single features Michael in a tuxedo and showcases his advancing dance steps.
Hit no. 1 on the Hot 100 in the States, giving Michael his first chart topper since Ben, and gave him his first no. 1 on the R & B singles chart. Also no. 1 in Australia, New Zealand, Norway and South Africa, and no. 3 in the UK.
Michael’s first solo hit in Germany - it peaked at no. 13.
Official Versions:
Album Version.
Masters At Work Remix.
7” Edit.
7” Edit w/ Intro.
12” Version.
Original Demo Recording.
Roger’s Underground Club Solution.
Live version recorded at a concert at Madison Square Garden in September 1981, featured on the Jacksons album, LIVE, issued in November 1981. This version was included on the 12” single of Michael’s Beat It in the UK.
Impromptu performance by Michael at New York’s Peppermint Lounge on 25th March 1983 when, following a set by Grandmaster Flash & The Furious Five, he took to the stage and surprised everyone by lip-synching to Don’t Stop ‘Til You Get Enough and (10 minutes later) Wanna Be Startin’ Somethin’.
Introduction re-recorded for Michael’s performance at the MTV Video Music Awards in 1995.
Michael recorded a version with Chris Tucker for the latter’s movie , Rush Hour 2, in which Tucker was seen singing the song - remains unreleased.
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2nd Song ~ Rock With You ~

http://www.youtube.com/watch?v=5X-Mrc2l1d0
Song Michael recorded for his album Off The Wall - written by Rod Temperton.
‘Rock With You was a rhythm section I’d had before,’ said Temperton. ‘I thought I’d go with this one because he’s (Michael’s) good at handling very melodic things.’
Hit no.1 on both American charts, and achieved no.7 in the UK.
RIAA Gold Record (USA million seller).
No.9 best selling single of 1980 in the States.
Promo short film, directed by Bruce Gowers, premiered in November 1979.
Video features Michael dressed in a silver sequined suit with matching boots.
Re-arranged version, slightly jazzed-up (jazzy guitar and added handclaps), dating from early 1980, was included on new pressings of Off The Wall, replacing the original recording. Original version featured on the original CD pressing issued in Japan, and on some later Japanese pressings.
Official Versions:
Album Version.
Single Version.
Frankie’s Favorite Club Mix.
Frankie’s Favorite Club Mix Radio Edit.
Masters At Work Remix.
Performed by Michael on two TV specials in the States in 1980, the charity event Because We Care and diana! - on the latter, he sang the song twice, solo and as a duet with Diana Ross.
Live version, recorded at a concert at Madison Square Garden in September 1981, featured on the Jacksons album, LIVE, issued in November 1981. This version was released on the B-side of Michael’s UK single, Wanna Be Startin’ Somethin’.
Live performance part of a concert screened by Nippon TV in Japan.
Demo version included on the second acetate version of the expanded, special edition of Michael’s Off The Wall album in 2001 - later withdrawn.
Michael does his vocals on my drum platform ~ from Bruce Sweden : When we were recording “Rock With You” for the Off The Wall album, I wanted the drums in this incredible song to have their own unique acoustic space. After thinking about it for some time, the only answer was to have the studio carpenters build me a drum platform, eight feet square, ten inches off the floor. It is very heavily constructed, braced and counter-braced. The surface is natural wood and is unpainted and unvarnished.
In fact, not long after we recorded the drums on “Rock With You,” I put Michael on my drum platform to record his vocals. I’ve been using it for his vocals ever since! When Michael does his vocals he dances all through his vocal performances .
I use the unpainted plywood surface, of the drum platform to reflect Michael’s voice, or whatever sound source I’m recording, back to the microphone. In Michael’s case, this also preserves the rhythmic effect of him dancing happily away while he sings, as part of his sonic image.
I love to have Michael’s dancing sounds as part of the vocal sound. Keeping the platform unpainted maintains a surface as porous as possible, to keep some reflective surface in the sound-field.
Even when we do backgrounds, Michael does little vocal sounds, and snaps his fingers and taps his foot. I keep those sounds as part of the recording. I absolutely love those little sounds as a part of Michael’s sonic character. First of all, his time and his rhythm are flawless. I think those little dancing sounds are very important.
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3rd Song ~ Working Day and Night ~

http://www.youtube.com/watch?v=f-NxkCgkwDg
Written by Michael, issued in 1979 - said by Michael to be very autobiographical in some ways, however, he wrote the song from a married man’s viewpoint.
This song has a deeply funky groove with complex, layered percussion and sharp brass.
Michael’s original demo recording featured as a bonus track on the expanded, special edition of Off The Wall, released in 2001.
B-side of Rock With You in the USA.
B-side of Off The Wall in the UK.
Live version, recorded at a concert at Madison Square Garden in September 1981, featured on the Jacksons album, LIVE, issued in November 1981.
Live performance by Michael, at his Dangerous Tour concert in Bucharest, Romania, on the 1st October 1992, featured on the DVD released as part of his box-set, The Ultimate Collection, issued in November 2004.
Different live performance screened on Nippon TV in Japan.
2008 Remix featured of the P.Y.T. (Pretty Young Thing) mini CD single, part of the Thriller 25.
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4th Song ~ Get On The Floor ~

http://www.youtube.com/watch?v=pqqcidrADVw
Song written by Michael with Louis Johnson of the Brothers Johnson.
Developed from a song the Brothers Johnson were working on, for their Light Up The Night album. Michael heard the incomplete song, put a melody to it, and recorded it himself.
Re-arranged by Michael in early 1980 - this newer version - with a more prominent guitar sound - was included on the pressing of Off The Wall, in the place of the original recording.
Original version appeared on the CD single, Liberian Girl, and a variety of Japanese pressings of Off The Wall, including the original CD pressing.
Newer version featured as the B-side of Rock With You in the UK and Off The Wall in the States.
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5th Song ~ Off The Wall ~

http://www.youtube.com/watch?v=bO821DPNJZ4
Title track of Michael’s first solo album released in August 1979.
Written by Rod Temperton in 1978, who submitted three songs for the album. ‘The one I thought would be their choice was Off The Wall,’ he said. ‘I tried to find out about Michael’s character. I knew he liked Charlie Chaplin, and I thought Off The Wall would be a nice thing for Michael.’
Charted at no.5 on the R &B singles chart and no.10 on the Hot 100 in the States, and no.7 in the UK.
Official Versions:
Album Version.
7” Remix.
Remix.
Junior Vasquez Mix.
Live concert performance screened by Nippon TV Japan.
Live version, recorded at a concert at Madison Square Garden in September 1981, featured on the Jacksons album, LIVE, issued in November 1981.
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6th Song ~ Girlfriend ~

http://www.youtube.com/watch?v=92TvK5tc40w
Written by Paul McCartney, and mentioned to Michael at a Hollywood party in 1978, as a song he might like to record. Nothing happened, so Paul recorded the song himself, for the Wings album, London Town.
Brought to Michael’s attention again by producer Quincy Jones, when they were looking for songs for Michael’s first solo album as an adult. This time Michael did record the song, and included it on Off The Wall, released in August 1979.
Fifth single from the album in the UK (but not USA), where it gave Michael a then record fifth hit from one album, peaking at no.41.
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7th Song ~ She’s Out of My Life ~

http://www.youtube.com/watch?v=6DQJPL9Yuq0&feature=fvst
Song Michael recorded for his solo album, Off The Wall.
Written by Tom Bahler - originally in E Flat, whereas Michael sang the song in E. Bahler couldn’t play the song in E, ‘so, Quincy recorded me playing it in my key and we made a tape for the pianist who was going to record it for the album. He took it home and studied it, in order to grasp whatever magic there was in my performance. When I listen to the record, I think - God, it sounds just like me!’
Inspired by Karen Carpenter, who broke up with Bahler, after she discovered he had fathered a child with another woman.
‘How Michael could do such a sincere interpretation of the lyric has always puzzled me, because I know it was an experience he had never even thought about,’ said Bruce Swedien. ‘It’s a very mature emotion, and Michael was only nineteen years old at the time… When we were recording Michael’s vocal, he broke down and cried at the end of every take. We recorded about six or seven takes. At the end of each take Michael was sobbing, actually crying. I know he was sincere, because when we finished the last take, Michael was too embarrassed to come in the control room. He just tippy-toed out the back door of the studio, got in his car, and left the studio building. Quincy said to me, “Hey - that’s supposed to be, leave it on there, leave it there”.’
It was the day that we were to record the music track for “She’s Out of My Life.” It was about 1:00 p.m. We were all in Studio Three at Cherokee Recording Studio. The musicians were slated to arrive at 5:00 p.m. We were rehearsing in the studio. Greg Phillinganes was there playing the Rhodes (perfectly, as usual). Quincy was busy, at the piano making arrangement notes for the song. I was in the studio setting up my mics and all.

Michael was seated at the drums, singing his heart out! Every time we came to the third verse, and the line “Damned indecision and cursed pride,” Michael couldn’t say the word “damned”. He just couldn’t bring himself to do it! He would stop singing and, with his foot, hit the bass drum foot pedal as loud as possible! He just couldn’t curse! When the rehearsal ended, Quincy quietly told Michael that he would absolutely have to sing the word “damned” for the recording. Michael nodded and said to Q, “I know.” He did.
Promo short film directed by Bruce Gowers - a simple affair with Michael sitting on a stool and singing, ended in tears as well.
Fourth single from the album - charted at no.3 in the UK, and no.10 on the Hot 100 and no.42 on the R&B singles chart in the States, making Off The Wall the first solo album to produce four top 10 singles on both sides of the Atlantic.
RIAA Gold Record (USA million seller)
Performed by Michael during his Bad World Tour - at each concert, one lucky girl was allowed up on stage, to dance with Michael as he sang the song to her.
Live version, recorded at a concert at Madison Square Garden in September 1981, featured on the Jacksons album, LIVE, issued in November 1981.

Live performance by Michael, at his Dangerous Tour concert in Bucharest Romania, on 1st October 1992, featured on the DVD released as part of his box-set, The Ultimate Collection issued in November 2004.
Different live performance screened as part of a concert televised by Nippon TV in Japan.
Planned performance, with Mariah Carey, at Michael’s ‘What More Can I Give?’ concert in Seoul, South Korea on 25th June 1999, cancelled as Mariah arrived too late.
Performed by Marc Anthony during the Michael Jackson: 30th Anniversary Celebration, The Solo Years concerts, staged at New York’s Madison Square Garden on 7th and 10th September 2001.
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8th Song ~ I Can’t Help It ~

http://www.youtube.com/watch?v=QnhWML43NI8&feature=related
Song written by Stevie Wonder and Susaye Greene , recorded by Michael for his album Off The Wall issued in 1979.
B-side of the album’s lead single, Don’t Stop ‘Til You Get Enough.
Performed as a tribute to Michael by Beyonce’ at a concert during her ‘I Am Tour’, staged in Philadelphia, Pennsylvania, on the 26th June 2009. On the opening day of the Essence Musical Festival in New Orleans, Louisiana, on 3rd July 2009, Beyonce’ changed the lyrics to her hit, Halo, to pay further tribute to Michael (‘Michael, I can see your halo…’)
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9th Song ~ It’s the Falling In Love ~

http://www.youtube.com/watch?v=hvaKLAO2hnw
Song Michael recorded for his Off The Wall album. Featured guest vocals by Patti Austin.
B-side of Billie Jean in the UK.
Reportedly, performed by Michael when he made a cameo appearance at the Rose Bowl in Los Angeles, CA, during the nine hour Budweiser Superfest on 1st August 1982 - unconfirmed.
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10th Song ~ Burn This Disco Out ~

http://www.youtube.com/watch?v=LkYKU2PWs7I
One of three song’s Heatwave’s Rod Temperton wrote for Michael, around the same time as Rock With You, for his first solo album, Off The Wall.
Initially, Temperton was invited to deliver just one song, and was surprised when all three of his songs made the final selection. Michael recorded vocals for all three songs in one weekend, having already mastered the lyrics - professionalism that impressed Temperton.
B-side of Michael’s single Beat It in the UK (but not USA).
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In Closing ~
Michael Jackson, March 1980
“I love the whole world of dance, because dancing is really the emotions through bodily movement. And however you feel, you just bring out that inner feeling through your mood. A lot of people don’t think about the importance of it, but there’s a whole psychological thing to just letting everything loose.
Dancing is important, like laughing, to back off tension. Escapism…it’s great.
I really believe that each person has a destiny from the day he’s born, and certain people have a thing that they’re meant to do. There’s a reason why the Japanese are better at technology, and a reason why the Negro race are more into music - you go back to Africa and the tribes and the beating of the drums…
I love Studio 54 in New York, it’s so theatrical and dramatic. People come there as characters, and it’s like going to a play. You make yourself up to be this thing and just go crazy with the lights and the music, and you’re in another world. It’s very escapist…
Escapism and wonder is influence. It makes you feel good, and that allows you to do things. You just keep on moving ahead, and you say, ‘God, is this wonderful - do I appreciate it.’”
Michael Jackson
March 1980
♥ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ♥
♪ ♫ ♥♥ MICHAEL JOSEPH JACKSON ~ OUR BELOVED KING OF POP ♥♥ ♪ ♫
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NOTE ~ be sure and check out all the replies in this thread too cause that's where I've added Photos, Interviews and more videos of Michael. They are all so gorgeous, dreamy and sooo Off The Wallicious...!!
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Friday, December 16, 2011

"Michael Jackson On Songwriting" Interview Quotes

 compiled by McClure & Trowbridge Publishing Ltd 10/29/02


TV Guide

TV Guide:
Did you ever imagine that Thriller and the videos from the album would
catapult your career into the stratosphere?

                    
Michael: I didn't really think about how the album would do; I just wanted to
create what I would enjoy seeing. And my main goal for [the video] "Thriller" was
to do something that would be scary, fun and exciting.
 
 TV Guide:
 How do you look back on that era now?

Michael: I see it as a happy time and a sad time. Because it made a lot of my
dreams come true. The notoriety was wonderful.

TV Guide:
You also said it was a sad time.

Michael: Yeah. If I don't get exactly what I'm looking for, I get very depressed.

TV Guide: 
You mean the album still didn't live up to what you had envisioned?
Michael: Not completely.

TV Guide: 
Which songs disappointed you?

Michael: "Wanna Be Startin' Something." Songwriting is a very frustrating art form.
You have to get on tape exactly what's playing inside your head. When I hear it
up here [points to his head], it's wonderful. I have to transcribe that onto tape.
"The Girl Is Mine" [his duet with Paul McCartney] wasn't completely what I wanted,
but it's very nice. But "Billie Jean" is there. I worked so hard on that. I worked for
three weeks on the bass lick alone.

Online Audio Chat

Anthony: 
Tell us about a couple of those tracks. You know, what was it like work...
I mean, were there special guests, or were you working with new producers, or how
you wrote them. You know, something that gives us some flavor. 

Michael: Well, the songwriting process is something very difficult to explain
because it's very spiritual. It's, uh...You really have it in the hands of God, and it's
as if its been written already - that's the real truth. As if its been written in its
entirety before were born and you're just really the source through which the songs
come. Really. Because there is...they just fall right into your lap in it's entirety.
You don't have to do much thinking about it. And I feel guilty having to put my
name, sometimes, on the songs that I - I do write them - I compose them, I write
them, I do the scoring, I do the lyrics, I do the melodies but still, it's a...it's a
work of God.

Michael: 
It was, um, it's hard to explain. It was quite exciting, to feel the audience
and to see them and to be accepted so warmly by them. Um, it's just an incredible
feeling. It really is. They're there to support you and to love you and to hear their
favorite songs and you're just standing there and they're just giving you so much
adulation and love and the sprit is just full of love, it's wonderful. It's very
emotional. It, uh, brings me to tears. It's wonderful. 

Anthony: 
I remember in your book you describe that like sometime on stage is
when you feel the most alive, that those are the moments that, you know, really
are the whole -- kind of the most transporting for you. 

Michael: It is. It's being offstage that's difficult for me. Uh, being on stage ...
either writing music or writing poetry, and being on stage, and watching cartoons
are my favorite things to do in the entire world. Um, that's what brings me to life.
I love that. That's what inspires me to do what I do, you know?

Michael: Well, I let the song pretty much speak to me and I get in a room and I
pretty much start making notes... You know, I'll speak to a writer -- like Stephen
King and myself, both of us wrote Ghosts, the short film Ghosts, and we just on
the telephone started writing it and let it create itself and go where it wants to go.
But we try to do things that are very unusual. And it's... it's not an easy thing to
do because you have to time it with the song, and you can't spend too much time,
and the special effects can take 5 months sometimes to execute. So, it's just ..
it's kinda difficult thing and the record company's saying, "Come on, come on,
come on, we have to go, we have to go." So, I understand. So we try to do the
best we can in the amount of time that we can execute it in. 

VH1 Interview

Question: 
If you could spend one day in complete anonymity, where would you go
and what would you do?
 
Michael: Probably go to Neverland, or an isolated island somewhere. What would I
do? Probably write music or kind of create some music or stage play or something
something creative. I never stop working.

                    
Question:
Does the real Billie Jean know about the song and if she did what was
her reaction?
 
Michael: There is a girl named Billie Jean, but it's not about that Billie Jean. Billie
Jean is kinda anonymous. It represents a lot of girls who used to - they used to
call them groupies in the '60s - they would hang around backstage doors and any
band that would come to town they would have a relationship with. And I think I
wrote this out of experience with my brothers when I was little. There were a lot of
Billie Jeans out there. Every girl claimed that their son was related to my brothers.

Question: 
Which songs of yours are autobiographical?

Michael: Stranger in Moscow, Heal the World, We Are The World, I'll Be There.
Those type of songs.

Question: 
What inspired the song Sranger in Moscow?

Michael: I wrote that in Moscow. The lyrics are totally autobiographical. When you
hear lines like, "Here abondoned in my fame...Armageddon of the brain" - at the
time, on the last tour when we were in Moscow - that's how I really felt. It kinda
created itself. It fell into my lap, because that's how I was feeling at the time. Just
alone in my hotel and it was raining and I just started writing it. 

Simulchat

Midway Gal: 
How did you get into music
 
Michael: I don't think I can answer that without sounding philosophical. We never
had music or dance lessons. We were a family that sang all the time. We watched
TV. We would entertain ourselves...we would take the furniture out of the living
room and dance. I think you're pretty much born with a gift and you're compelled
to create. That is what I have always felt. I remember when I was really little there
was rain outside and we would make up songs. Janet and I would have a
songwriting game while we washed the dishes...while we were cleaning. I think
most kids don't do that these days. It was our destiny.

Even Beevu:
Do you come up with the ideas for all your videos?

Michael: A lot of them I do come up with. A lot of the concepts do originate with
me. After singing "Thriller" I knew that I wanted to do a short film. A simple guy
goes out on a date and confesses to her that he's different. I wanted to transform
into different things. It was fun. I had so much fun making that. "Beat It" is
another concept I came up with. Confrontaion - two gangs - West Side Story. I
wanted real gang members. I wanted to see real truisms...in the walk, in the
character, in the clothes. I think it came across. 

Pelon: 
What has been your proudest musical achievement?

Michael: One of them - it is a really difficult question to answer because I am not
a woman, but writing a song is like concieving a child. I love all the songs. "We
Are the World" is one of the most favorite things that I've done. I am proud of
that...it has reached a lot of people, it has touched a lot of people. My secreatry
called when I was in the car and said pull over. And it was like a prayer when all of
the radio stations played it. I had tears.

MJJ: What is your process from going from creating a rhythm on your human voice
box to the album version, such as in songs "Who Is It" and "Tabloid Junkie"?

Michael: The process is creating a rhythm to a click track - which is a sound, a
timed beat. And you're doing these mouth sounds to that beat. These sounds can
be taped according to how you sample it in the computer again and again. This is
the foundation for the entire track - everything plays off this. It's the rhythm, like
a beatbox rhythm. Every song I've written since I was very little I've done that
way. I still do it that way.