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Все о Триллере - новости, интересные факты и т.д

Все о Триллере - новости, интересные факты и т.д

#1  Сообщение Trueamore » 27 июн 2011, 18:56

http://www.usatoday.com/life/music/news ... cket_n.htm

Michael Jackson 'Thriller' jacket fetches $1.8M

A famed black-and-red calfskin jacket that Michael Jackson wore in the classic Thriller video has sold at auction for $1.8 million.

Darren Julien, president and CEO of Julien's Auctions in Beverly Hills, says the jacket was purchased Sunday by Milton Verret, a commodities trader from Austin.

The jacket is one of two Jackson wore during the filming of the 1983 Thriller video. Jackson wears the jacket in a scene with a troupe of zombies who rise from their graves and break into a dance routine.

Verret says the jacket will be sent on tour and used as a fundraising tool for children's charities.

A portion of the sale price will go to the Shambala Preserve, a big cat sanctuary caring for two tigers Jackson one owned.

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Jackson's Thriller jacket on tour

#2  Сообщение Белая роза » 20 июл 2011, 14:04

http://www.beverleyguardian.co.uk/lifes ... _1_3594934

Published on Wednesday 20 July 2011 12:51

Michael Jackson's red-and-black calfskin jacket which the late pop star wore in the groundbreaking Thriller music video is going on tour.

The jacket's new owner, US commodities broker Milton Verret, plans to take the classic clothing around the world to raise money for charities that help sick children.

Mr Verret, from Austin, Texas, said he intends to line up corporate sponsors to fund the tour.

He bought the jacket for 1.8 million dollars (£1.1m) last month at a Beverly Hills auction.

The jacket is one of two Jackson wore during the filming of the 1983 video. He can be seen wearing the jacket in a scene with a troupe of zombies who rise from their graves and break into a dance routine.

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Re: Разные интересные статьи

#3  Сообщение Admin » 02 ноя 2012, 18:53

DispL.A. Case #18: Michael Jackson's Thriller Jacket

Posted By: Chris Nichols http://lamag.com · 10/31/2012 3:57:00 PM

The history of Los Angeles as told through 232 objects.

Los Angeles was founded on September 4, 1781. Between now and the 232nd anniversary, we are gathering the stories behind iconic objects that help explain our city. Los Angeles is older than Chicago, Atlanta or Washington, D.C. In fact, when L.A.’s founders were gathering at El Pueblo, New York City was still occupied by the British army. We have a long story to tell, let’s take a look back and see where the city came from. Feel free to add to this exhibition. Email your ideas to askchris@lamag.com

Michael Jackson’s Thriller is the most popular music video ever made. The 14-minute horror/dance film transformed a simple promotional tool into a cinematic event. Vanity Fair called it the “most popular and influential music video of all time.” At the height of its popularity, MTV played the film twice every hour, and in 2009, the Library Of Congress named it to the National Film Registry. The film reunited the director, cinematographer, composer, and make-up artist from An American Werewolf in Londonand was shot all over Los Angeles; at the Tower Theater, an alley in East L.A., and on Carroll Avenue in Angelino Heights. L.A.’s greatest monster fan, Forrest J. Ackerman, has a cameo and no less thanVincent Price provides the narration. The short marks the moment when music videos stepped up to grander aspirations and this one made Thriller the best-selling album in history. This letterman jacket was used in the video and is currently on display at the Grammy museum in downtown Los Angeles.

http://www.lamag.com/askchrisblog/bloge ... D=10459378

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13 фактов о Триллере, о которых вы не знали

#4  Сообщение Admin » 06 ноя 2012, 20:48

Throughout the 1980s, Michael Jackson was a practicing Jehovah's Witness who obeyed his religion's mandate to spread the faith by knocking on doors in his neighborhood, wearing a crude disguise of mustache and glasses. He attended services at the local Kingdom Hall with his mother and siblings, and abstained from drinking, swearing, and supposedly, R rated movies.

However, a pop star's life is often at odds with the Witnesses' strict teachings; Jackson and his assigned "minders" butted heads over numerous issues, including song lyrics ("Don't Stop 'Til You Get Enough" was too sexually suggestive) and dance moves (Jackson's iconic Motown 25 performance was deemed "dirty, burlesque dancing," despite the singer's protestation that "90.9% of dancing is moving the waist").

The "Thriller" star and the Jehovah's Witnesses butted heads again in 1983 when they found out he was making a werewolf music video.

"They told [Michael] that it promoted demonology and they were going to excommunicate him," said Jackson's then-attorney John Branca.

Jackson was devastated.
And He Almost Had The Footage Destroyed
About two weeks before the premiere of "Thriller," Michael Jackson called his attorney, John Branca, and tearfully ordered him to destroy the negative of the controversial music video.

After much cajoling, the singer revealed that the Jehovah's Witnesses were threatening to excommunicate him if he didn't.

Branca conferred with "Thriller" director John Landis, and both agreed that the video's negative had to be safeguarded. Landis immediately removed the film canisters from the lab and delivered them to Branca's office, where they were locked up.

To appease Jackson's conscious, Branca fabricated a tale that actor Bela Lugosi, one of the singer's idols, had been a deeply religious man who didn't approve of vampires and put a disclaimer to that effect at the beginning of his "Dracula" film.

Jackson bought the story, placing a similar disclaimer at the beginning of "Thriller" -- and the Jehovah's Witnesses never excommunicated him (Jackson officially left the religion of his own accord in 1987, though he often still referred to himself as a Witness).

The rest is music-video history.

Ola Ray Was A "Playboy" Model


After Jennifer Beals turned down an offer to co-star in "Thriller," director John Landis cast an unknown 23-year-old former Playboy Playmate named Ola Ray. (She appeared in the June 1980 issue of Playboy magazine.)

"I auditioned a lot of girls," Landis said. "[Ola] had such a great smile. I didn’t know she was a Playmate. ... I thought, 'Oh, Jesus Christ!' I went to Michael and told him and said, 'Can I hire her?' He said, 'Sure.'"

Though Landis seemed to think Ray's previous gigs would shock and disgust the religious Jackson... Ray said the singer had seen her center-fold spread and "seemed taken by the fact I was a Playboy model."

And Michael Jackson Made Out With Her
Former Playboy model Ola Ray, who co-starred with Jackson in his 1983 "Thriller" music video, rarely speaks about the singer at length; but in an exclusive 2010 interview with Vanity Fair, Ray revealed that she had "shared some intimate moments with [Michael] in his trailer" on the video's set.

"I won't say that I have seen him in his birthday suit, but close enough," she said, laughing. "What we had was such like a little kindergarden thing going on. ... Kissing and puppy-love make-out sessions, and a little more than that."

Journalist and Vanity Fair contributor Nancy Griffin, who was on set during the filming of "Thriller," similarly told ABC News that she witnessed "some very sweet kind of physical interaction going on between [Michael and Ola]." When asked how far she thought the pair got in their relationship, Griffin speculated, "second base, maybe third."

Since Jackson's death in 2009, Ray said she thinks about the singer every day, with considerable regret: "I just wish I would have had the opportunity to be a little bit more in his life. ... I didn’t tell him [I was in love with him at the time]. And that’s one thing I hate, the fact that I didn’t really get a chance to tell him how I really felt about him."

Joe Jackson Had To Be Escorted Off The Set By Police
During the shooting of "Thriller," Michael Jackson was emotionally stressed by long-simmering family and business pressures. As the singer grew to trust some of his "Thriller" collaborators -- including director John Landis, make-up artist Rick Baker, and Epic official Larry Stessel -- he opened up about his loneliness, his perception that he had been robbed his childhood, and his troubled relationship with his father.

More than once, Landis found himself caught up in the twisted dynamics of the Jackson family.

One night when Joseph and Katherine Jackson visited the set, the director recalled, "Michael asked me to have Joe removed. He said, 'Would you please ask my father to leave?' So I go over to Mr. Jackson. 'Mr. Jackson, I'm sorry, but can you please...?' 'Who are you?' 'I'm John Landis, I'm directing this.' 'Well, I'm Joe Jackson. I do what I please!'"

After an increasingly hostile argument, Joe Jackson had to be escorted off set by a policeman

Well, they had to cut corners on the budget somewhere!

As co-designer Kelly Kimball explained in the documentary: "They told us we had to have a lot of dead people, so we went down to the Salvation Army and bought a lot of old suits and things, as-is -- they had holes in them. We took [the clothes] home and wrecked them! We dunked them in water, we rubbed them on the ground, we slashed them up with razor blades. Then we laid them out to dry, and bugs crawled in them, and I don't know . . . maybe some bugs are still in them! [laughs]"
Смотреть на youtube.com

Jackson himself with a big fan of the Salvation Army. The singer loved rummaging through the store for "
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," and often made sure to visit various second-hand, thrift shops wherever he traveled.

Michael Jackson's Red Jacket Sold For $1.8 Million
The iconic jacket, designed by Deborah Nadoolman-Landis (director John Landis' wife), sold for an absurd amount of money at an auction in 2011.

Nadoolman-Landis -- who had also designed Indiana Jones's jacket in "Raiders of the Lost Ark" -- elaborated on her iconic "Thriller" design in a recent interview with the Wall Street Journal.

"When it came to Michael’s jacket, there was a tremendous amount of thought that went into it," she said. "I had sketched different looks, but I found ultimately once I came across the jacket with the V with the extended shoulders -- that was it. It’s graphic and structural, and I wanted a good silhouette. The V in the jacket really echoes the pyramidal shape of the choreography."

As for the jacket's color, Nadoolman-Landis said she picked a bright red to stand out against all the fog and the "black, white, beige, gray, brown" zombie costumes on set.

"His pants were just white jeans that I dyed red to match the jacket. The socks and the shoes were his own."

The designer added: "Michael was elegant. I worked with David Bowie, who was also that same body frame, again very, very slim. Fred Astaire was a 36 regular; Michael was a 36 regular. David and Michael and Fred Astaire -- you could literally put them in anything, and they would carry themselves with a distinction and with confidence and with sexuality."

MTV And Showtime Helped Pay For The Video
With "Thriller," both Michael Jackson and director John Landis wanted to reinvent the "theatrical short" by creating a 14-minute, two-reeler musical with a big budget and a Hollywood director. However, such an ambitious idea did not go down well at Jackson's record label, CBS, who refused to pay for it.

"Music videos were new in 1983 [and] were used to sell records,"
Смотреть на youtube.com

. "When Michael decided to do the 'Thriller' video, the album had already become the biggest-selling album of all time. So nobody would give us the money, because the 'Thriller' album had already been so successful! Michael said he would pay for it, but I wouldn't let him." (Jackson previously paid $150,000 out of his pocket for his iconic "Beat It" music video.)

"['Thriller'] ended up costing $500,000 -- still enormous money at that time for that kind of thing."

George Folsey, Landis' partner in the venture, suggested they make a documentary, to be called The Making of Michael Jackson's 'Thriller.'

"We sold that hour to a brand-new thing called cable television and the Showtime Network, which at that time had only three million homes as subscribers," said Landis. "They paid a quarter of a million dollars for the rights to show it exclusively for, I think, ten days."

When bosses at MTV saw it, they were furious and immediately called the "Thriller" director.

"'How can you do that?!' they asked. We said, 'OK, you give us the money.' And they gave us another quarter of a million to show it for two weeks, and that [covered] our costs!"

"Thriller" Pioneered The "Making-Of" Genre

In 1983, Jackson's record label, CBS, refused to pay the "Thriller" music video's $500,000 budget. To make ends me, director John Landis did a deal with the new cable network Showtime, who handed over $300,000 for the video and a proposed documentary that Landis would oversee, too. (The rest of the budget came from MTV.)

The subsequent 45-minute Making of Michael Jackson's 'Thriller' doc established the genre, anticipating the "extras" that now accompany almost every DVD release.

However, at the time, said Landis, "we used to call it 'The Making of Filler'. It turned out very well, but the truth is that it's filled with scenes from 'American Werewolf' because I owned them, and anything else we could find to fill up the time.

"When we found we were still six minutes short, we decided to put in pieces of the video itself. In fact, it's very effective, but at the time I thought, 'This is shameless!'"

... It Also Basically Created The Home Video Market
After director John Landis and co. sold "Thriller" and its making-of documentary to cable TV... a company called Vestron arrived on the scene.

Vestron offered to distribute The Making of Michael Jackson's 'Thriller' as a $29.99 "sell-through" video on VHS and Betamax, a pioneering deal of its kind. (Most videos were then sold for far higher prices -- anywhere from $80 to $100 -- to rental stores, rather than directly to consumers.)

"You have to remember, back in those days none of us realized quite was home video was going to become," said Landis' then business partner George Folsey. "The studios treated it pretty much the way they treated television in the '50s and '60s, with total disdain. They had no idea that the home video business was going to save Hollywood -- it never crossed their minds."

The Making of Michael Jackson's 'Thriller' went on to become the best-selling musical on VHS ever, worldwide.

"Thriller" Was Screened In Theaters So It Would Be Eligible For An Oscar
"Thriller" never received an Academy Award nomination, but the video was screened before Disney's re-release of "Fantasia" for a week in Westwood, California just so it could be eligible for a short film nod.

Many A-list celebrities turned out for the premiere at the 500-seat historic Crest Theatre: Diana Ross, Warren Beatty, Prince, Eddie Murphy.

"I’ve been to the Oscars, the BAFTAs, the Emmys, and the Golden Globes, and I had never seen anything like this," remembered director John Landis.

Ola Ray looked for Jackson before the lights went down and found him in the projection booth. He told her that she looked beautiful, but refused her entreaty to come sit in the audience. "This is your night," he told her. "You go enjoy yourself."

Landis warmed up the audience with a new print of the Mickey Mouse cartoon "The Band Concert.' Then came "Thriller," with its sound mix cranked up to top volume. Fourteen minutes later the crowd was on its feet, applauding and crying, "Encore! Encore!"

Eddie Murphy shouted, "Show the goddamn thing again!" And they did.

It Lost The Top Prize At The MTV Video Music Awards

"Thriller" was nominated for Video of the Year at the first-ever VMAs in 1984, but it lost to The Cars' surreal clip for "You Might Think."

MTV later declared "Thriller" the Greatest Music Video Ever Made.

But It Became The First Music Video Ever Inducted Into The Library of Congress' Film Registry

Under the terms of the National Film Preservation Act, each year, the librarian of Congress names 25 films to the registry that are "culturally, historically or aesthetically significant," to be preserved. The library then works to make sure that a copy of the film is at least preserved by a film, television or recording company, and then tries to obtain a copy to keep in the Library of Congress, where it is available for research purposes.

In 2009, Jackson's "Thriller" became the first music video to enter the archives.

"I think it is a recognition of how much they changed the music industry in the '80s, and we thought it was important to represent that," said Stephen Leggett, the coordinator of the National Film Preservation Board. "We picked ['Thriller'] because it was most iconic from the era."

Noting the "lavish" production values of the "Thriller" video, librarian of Congress James H. Billington added, "Music videos up to that time had been basically people singing a song to a camera. ... Anybody who saw this film at the time had it become part of their DNA."

http://ohnotheydidnt.livejournal.com/73 ... z2AvqVq2Og

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Как один альбом изменил весь мир

#5  Сообщение Admin » 02 дек 2012, 17:14

Michael Jackson's 'Thriller' at 30: How One Album Changed the World

When executives of CBS Records went about the business of preparing for the November 30 release of Michael Jackson's "Thriller" in the fall of 1982, they knew they had on their hands a terrific album by one of the biggest superstars in the music industry. But they were also a bit concerned, since the timing of Jackson's follow-up to his mega-selling 1979 album "Off The Wall" could not have seemed worse.

For starters, the record industry as a whole was in a bad slump, with shipments industry-wide down by 50 million units between 1980 and 1982. CBS Records' own profits were down 50% and sales were down over 15% for the year. As a result, major company-wide layoffs occurred in mid-August, on a day the company would remember as "Black Friday." CBS desperately needed Jackson's album to be a hit, but market conditions appeared daunting.


(1) With sales of 29 million, according to the RIAA, "Thriller" is the best-selling studio album in U.S. history. The set is tied with the Eagles' best-of collection, "Their Greatest Hits 1971-1975."

(2)"Thriller" has spent the most weeks (37) atop the Billboard 200 of any album by a single artist. Only the "West Side Story" soundtrack (54) has reigned longer.

(3)"Thriller" is the only album by a male artist to generate five Billboard Hot 100 No. 1 singles.

(4)The "Thriller" No. 1s "Billie Jean" and "Beat It" are two of Jackson's 13 Hot 100 leaders, the most of any solo male artist.

(5)"Thriller" became the first album to generate seven Hot 100 top 10 hits.

- Billboard Chart Staff
ABOUT THE AUTHOR OF THIS ARTICLE:Steve Greenberg ( @steviegpro) is the founder of S-Curve Records and a Grammy winning record producer who had an integral role in developing the careers of Hanson, Joss Stone and the Jonas Brothers, among many others. Find more of his writing here.Stories circulated in the press about how the slump in the business stemmed from kids feeding their money into the coin slots of video game arcades instead of spending it on music. But that trendy theory was, to say the least, inadequate in explaining the industry's malaise. What really had happened over the previous three years was a seismic technological shift that had torn apart the very idea of the mass audience upon which pop hits depended: By the end of the 70s, 50.1% of radio listeners were tuned to FM, ending AM's historical prevalence and hastening the demise of the mass-audience Top 40 stations that had dominated the radio ratings since the 1950s. By 1982, FM commanded 70% of the audience-and among the 12-24 year old demographic, it was 84%. Consequently, a mass pop music audience that crossed demographic lines could not be sustained. Instead of listening to stations which offered "the best of everything" as they had on the old AM Top 40's, the abundance of choice on FM afforded listeners the luxury of hearing only the musical sub-genre they liked on more narrowly formatted stations, without having to wade through everything else. The result of this shift was that each audience segment had only limited exposure to the music played on the formats targeted to other audience groups.

Billboard columnist Mike Harrison noted in 1981 that "No longer is there an exclusive Top 40 anything, but rather an ever-changing multitude of Top 40's, depending upon the genre one wants to research or focus on. He added "Those who enjoy a-little-bit-of-this-and-a-little-bit-of-that….constitute a minority." In fact, by 1982 many markets, including major ones like New York City, didn't even have a mass appeal Top 40 station anymore. Precision targeting of audiences meant that radio stations needed to avoid playing anything that fell outside their target listeners' most narrowly-defined tastes. Failure to do this would lead to listener "tune-out," the fatal turning of the dial.

This situation led Newsweek, in an April, 1982 article titled "Is Rock on The Rocks?" to assert that increased fragmentation had drained most of the excitement from the pop scene, as there was no longer much cross-fertilization between musical styles. Newsweek concluded their article on what they called "rock's doldrums" by reminiscing about the "good old days" when Elvis Presley and the Beatles created excitement by providing an identifiable center to the pop music world, recording music that the various segments of the pop music audience could all share. According to Newsweek, Elvis and the Beatles were "Phenomena produced by a nation responding in unison to the sounds on every Top 40 radio station." The magazine went on to predict that "In today's fragmented music marketplace, no rock star can hope to have that kind of impact."

If that prognosis wasn't enough to give CBS Records executives sleepless nights, one aspect of radio's fragmentation was particularly scary: Since the start of the decade, black music had been increasingly banished from most white-targeted radio stations. This was partially due the virulent, reactionary anti-disco backlash that resulted in the implosion of that genre at the end of 1979. As the 80's dawned, programmers increasingly stayed clear of rhythm-driven black music out of fear of being branded "disco," even when the black music in question bore little resemblance to disco. This backlash was greatly magnified by the demise of AM mass appeal Top 40 radio at the hands of FM, which led to black artists being ghettoized on urban contemporary radio, while disappearing from pop radio, which focused on a more narrow white audience.

How dramatic was the decline of black music on the pop charts in that period? In 1979, nearly half of the songs on the weekly Billboard Hot 100 pop chart could also be found on the urban contemporary chart. By 1982, the amount of black music on the Hot 100 was down by almost 80%. The fall of that year represented the nadir of black music's presence on the pop chart: Not one record by a black artist could be found in the Top 20 on the Top 200 album chart or the Hot 100 singles chart for three consecutive weeks that October-a phenomenon unseen since before the creation of Top 40 radio in the mid 1950s

In this environment, numerous No. 1 urban contemporary hits, like Roger Troutman's "Heard It Through the Grapevine" or "Burn Rubber" by the Gap Band, failed to make the pop Top 40, and one, Zapp's "Dance Floor," failed to even crack the Hot 100. Prince's "1999," which would later emerge as a pop culture anthem, flopped at Top 40 radio even as it soared up the urban chart. A black superstar like Rick James could sell over 4 million albums while remaining unknown at the time to most listeners of white-oriented radio. His "Super Freak," which like "1999" would eventually come to be considered iconic, peaked at No. 16 on the Hot 100 in 1981, and was not played at all on many pop stations, whose programmers shied away because it had "that disco feel."

In all of 1982, only two No. 1 records on the Billboard Hot 100 were by black artists: Lionel Richie's "Truly" and "Ebony and Ivory" by Stevie Wonder in tandem with Paul McCartney (In fact, they were the only two records by black artists to even make the Top 3). And those two records veered so far into easy-listening territory that neither of them even made it to No. 1 on the black chart (Billboard rechristened the R&B chart as the Top Black Singles chart in June of 1982). In fact, the only record to hit No. 1 on both the pop and black charts during all of 1982 was by a white act: "I Can't Go For That" by Hall & Oates.

A seemingly impenetrable wall had been erected between the black listening audience and its white counterpart; for the most part, neither black kids nor white kids had any idea what the other was listening to. And just as it seemed things couldn't get more difficult for a black artist hoping for across the board appeal, something new and scary appeared on the scene: MTV. MTV's playlist was just as fragmented as that of white radio, and it was taking the music world by storm.

History has been unkind to early MTV's exclusion of black music from its format, but this is somewhat unfair. Launched at the height of radio playlist segregation, the channel at first could not fathom the idea that its target audience--teens in the overwhelmingly white suburbs and small towns who were the first to receive MTV on their cable television systems in late 1981 -- would want to hear black records, with which they were unfamiliar. In a world without mass appeal Top 40 radio, the idea of mass appeal Top 40 video was far from obvious. But at least on the radio dial, there were choices for those who wanted to seek out black music. On television, MTV was the only game in town. And its power to steer pop tastes was quickly becoming apparent, as hits began to gather steam in the hinterlands simply due to MTV exposure, without any radio play.

MTV's true impact was not fully felt until the channel made its debut on cable systems in the New York and Los Angeles areas in September of 1982. Suddenly, that which had been a rumor wafting in from the heartland became a loud thunderclap waking up the cultural agenda setters in the nation's twin media capitals, who accurately hyped MTV as the Next Big Thing. It is no coincidence that the aforementioned nadir of black music's presence on the pop charts occurred in October, 1982 -- a moment when all of pop radio and the only music channel on television excluded it from the mix.

Enter Michael Jackson. By the time he delivered "Thriller" to CBS's Epic label in 1982, Jackson had been one of the top recording stars in the world for over a dozen years, both with and without his brothers. However, his most recent album, the mega-hit "Off The Wall," which spawned four Top 10 singles, had been released in 1979, a year when 40% of the songs that reached the Top 3 on the Hot 100 were by black artists, before the wall separating black and white music on the radio arose.
CBS Records was well aware that there were no black records at all in the pop Top 20 the week they sent the debut single from "Thriller" to radio in October of 1982. Faced with the very real possibility that Jackson's record would fail to become exposed to a crossover radio audience, the record company took no chances. That first single, "The Girl Is Mine," was a gentle, easy-listening leaning duet with the ex-Beatle Paul McCartney, most recently Stevie Wonder's duet partner. The presence of McCartney, still very much a pop radio mainstay in the early 80's, virtually insured the song's acceptance at white radio. And, aware that MTV didn't play videos by black artists, CBS simply didn't make one for Jackson's first single from "Thriller."

"The Girl Is Mine" debuted on the Billboard Hot 100 on November 6th, 1982, the date on which, not coincidentally, the rebound of black music's presence on that chart began, after a three-year steady decline. The fluffy single was not well received by critics. "Michael's worst idea since 'Ben,'" was how Robert Christgau, writing in the Village Voice, judged it. For an album that not long after would be viewed as a masterpiece, this was an inauspicious beginning, although it did get on white radio as intended.

The "Thriller" album itself was released three weeks later, November 30th, and on the chart dated December 25th it debuted at No. 11. This was a highly respectable chart debut in those pre-Soundscan days, although unexceptional, as even back then it was not unheard of for albums to debut inside the Top 10 or even at No. 1. In January, the album inched into the Top 10, moving to No. 9 for two weeks, then No. 8, before stalling for three weeks at No. 5, which was as far as the momentum generated by "The Girl Is Mine" would take it. While the album could already be considered a hit, "Thriller's" chart performance in those early weeks gave no hint of the juggernaut it would turn out to be.

On the strength of the No. 2 pop chart peak of "The Girl Is Mine" just after Christmas, CBS Records knew their strategy to lead at radio with the McCartney "Trojan Horse" was a success. As 1983 began, the label prepared its campaign for the album's second single, the more "urban" sounding "Billie Jean." With the table already set, pop radio immediately started to play this follow-up single, and skeptics were indeed happy to find that "Thriller" had more thrilling things to offer than the McCartney duet. "Billie Jean" was nothing short of breathtaking, the kind of single that makes you stop in your tracks and always remember where you were when you first heard it. But with MTV the rage of the music world that winter, there was no way Jackson could occupy the central spot in pop culture without its support. And MTV didn't play black records.

CBS gambled and filmed expensive videos for both "Billie Jean" and the next single, "Beat It"--videos that were a joy to behold. Jackson was a natural video star, his era's premiere song and dance man. The two videos introduced a standard of choreography previously unseen in music videos, arguably surpassing even James Brown's 1960s live work, until then the gold standard against whom all R&B dancers were judged.

As a visual art form, music video is naturally suited to choreography. Yet with the exception of Toni Basil's "Mickey" clip from the previous fall, there really hadn't been any accomplished dancing featured in videos shown on MTV. This was largely due to the fact that the music business hadn't in recent years nurtured artists who could dance-even the stars of disco music weren't consummate dancers themselves. All that would eventually change after "Thriller," with the coming of Madonna, Michael's sister Janet, and Paula Abdul, among others. But in the meantime, Michael Jackson had the MTV dance-floor to himself.

Despite the obvious quality of the Jackson videos, MTV initially resisted playing them, claiming it was a rock station and Jackson didn't fit the format. There is to this day some disagreement as to what led the channel to change its policy and add "Billie Jean." At the time, a story was widely circulated that CBS chief Walter Yetnikoff resorted to threatening to pull all of his label's videos off the channel if MTV didn't play "Billie Jean," but this claim has been refuted over the years by original MTV honchos Bob Pittman and Les Garland. They concede that the channel initially assumed it would not play the video, as its thumping beat and urban production did not fit the channel's "rock" image. They contend however that in mid-February, after seeing the clip--which was possibly the best that had ever come across their desks--they began to re-think things. Coupled with the fact that even without MTV, the song had just leaped in one week from No. 23 to No. 6 on the Hot 100, the MTV execs concluded they should give it a shot.

MTV's -- and Jackson's -- timing was perfect. MTV debuted "Billie Jean," on March 1st, just four days before the song hit No. 1 on the Hot 100, making it the first uptempo urban song to accomplish that feat in over two years. Simultaneously, "Billie Jean's" momentum was the thing that finally pulled the "Thriller" album all the way up to No. 1 on the album chart in its 10th chart week. But a number one single and album turned out to be only the beginning-for both Jackson and MTV.

Featuring Jackson's videos for "Billie Jean" and two weeks later for "Beat It" widened the video-clip channel's appeal as much as airplay on MTV widened the appeal of Michael Jackson. MTV was already at the white-hot center of the pop universe, but it was only when they added Michael Jackson that they found their real star. The idea of the hottest pop star in the world being shown on TV throughout the day-between the two clips, you didn't need to sit in front of your TV for very long to catch Michael on MTV-made the network even more talked-about than before. New viewers watched MTV because they'd heard how great the Michael Jackson videos were; at the same time, MTVs core audience was blown away by videos featuring a type of music they weren't supposed to like-except it turned out they did. To use a modern term to describe what was happening back then, MTV and Michael Jackson made each other go viral.

Jackson's second MTV video, for "Beat It," was yet another master stroke, incorporating live sound effects, real L.A. street gang members and the mass choreographed dancing which would become a signature part of Jackson's videos. The "Billie Jean" video had been a revelation because it showcased the brilliance of Jackson's performance. "Beat It" did that too, but it also set a new standard of production for music video itself, and in fact it became the more popular and acclaimed video of the two, despite the fact that "Billie Jean" was a bigger hit song. "Beat It" also represented another step in Jackson's master plan to appeal across all musical boundaries, with its rock feel and Eddie van Halen guitar solo. It achieved that goal, being played on rock radio stations and earning Jackson yet another category of fans that would not otherwise have gravitated to his music (In this regard Michael Jackson was actually beaten to the punch by his older brother Jermaine, who featured the new wave band Devo on his 1982 hit "Let Me Tickle Your Fancy," which had also garnered some rock airplay) .

Then, just when it didn't seem possible that Jackson could get any bigger, he did. On May 16th, with "Beat It" at No. 1 and "Billie Jean" still in the Top 10, Michael debuted the moonwalk on the Motown 25th Anniversary TV special on NBC. Drawn by a desire to see Michael Jackson's first performance on a stage since the release of "Thriller," 47 million Americans tuned in, many of whom did not yet have cable television and thus could not see Jackson's videos on MTV. The performance Jackson gave that night hurled his career even further into the stratosphere.

A full year after "Thriller's" release, after the record-setting seven Top 10 singles and countless weeks at No. 1 on the album chart, making it the best-selling album of all time, Jackson still had one more trick up his "Thriller" sleeve: On December 2nd, he debuted his nearly 14-minute John Landis-directed video for the album's title track. It was immediately acclaimed as perhaps the greatest music video ever made and it reignited Michael-mania. A commercial videocassette featuring the short film shot to the top of the video chart and went on to become the biggest selling music video of all time. Meanwhile, the "Thriller" album, which had fallen out of the No. 1 position nearly six months earlier, now jumped back into the top spot just in time for Christmas and stayed there well into the new year. The Grammy telecast two months later, during which Jackson won eight Grammys, served as the formal coronation of Jackson as King of Pop, although now by that point the fact was obvious.

But "Thriller's" legacy goes far beyond its own sales and awards accomplishments. Once MTV found success with Michael Jackson, videos by other black performers quickly appeared on the playlist. This development single-handedly forced pop radio to reintroduce black music into its mix: After all, pop fans, now accustomed to seeing black artists and white artists on the same video channel, came to expect the same mix of music on pop radio. It was impossible to keep the various fragments of the audience isolated from one another any longer. Mass-appeal Top 40 radio itself made a big comeback due to this seismic shift. Beginning in early 1983 in Philadelphia, and rapidly spreading through the country, one or more FM stations in every city switched to Top 40 and many rose to the top of the ratings playing the mix of music made popular by MTV-young rock and urban hits
But "Thriller's" legacy goes far beyond its own sales and awards accomplishments. Once MTV found success with Michael Jackson, videos by other black performers quickly appeared on the playlist. This development single-handedly forced pop radio to reintroduce black music into its mix: After all, pop fans, now accustomed to seeing black artists and white artists on the same video channel, came to expect the same mix of music on pop radio. It was impossible to keep the various fragments of the audience isolated from one another any longer. Mass-appeal Top 40 radio itself made a big comeback due to this seismic shift. Beginning in early 1983 in Philadelphia, and rapidly spreading through the country, one or more FM stations in every city switched to Top 40 and many rose to the top of the ratings playing the mix of music made popular by MTV-young rock and urban hits.

In the age of "Thriller," black music made a resounding comeback on the pop charts. If 1982 was the genre's low point in terms of pop success, by 1985 more than one third of all the hits on the Billboard Hot 100 were of urban radio origin. Even Prince's "1999" single, shut out of pop radio upon its initial release in 1982, was re-launched in mid-1983 and off the back of its belated MTV exposure became a huge pop radio success the second time around. Thus, in a way few historians appreciate, the Michael Jackson/MTV team proved itself a remarkably progressive force, helping to reintegrate a fragmented popular culture at the dawn of the Reagan era. Black music was back at the center at the mainstream, and to this day it has never again been pushed from the spotlight.

As an aside, the rise of MTV conversely spelled doom for country music's fortunes in the pop world. Prior to MTV, country music had, since the early 70's, become increasingly strong at pop radio, with its popularity culminating in the summer of 1981, during the "Urban Cowboy" craze, just as MTV was being launched. That summer, there were an average of 11 country records on the Billboard Hot 100 in any given week. But MTV decided from day-one that country music would not be part of its programming and country's performance at pop radio steadily nosedived from that point onward. Soon, country records were completely shut out of the Hot 100, something that had never happened before.

For all its record-setting accomplishments, the thing which never ceases to amaze me is that Michael Jackson pulled off what is perhaps the rarest trick in any field: After more than a decade of being an absolutely huge superstar, top of his field, sure-thing Hall of Famer, etc., he somehow found an extra gear and suddenly transcended mere superstardom, redefining the very notion of how big someone in his field could be. Try imagining J.K. Rowling suddenly coming out with a series of books that were so much better and more popular than the Harry Potter books that they rendered them a mere footnote to her career and you'll get the idea of what Michael Jackson accomplished with "Thriller."

Newsweek's prediction just six month earlier that no new mass-appeal superstar would ever again emerge had proven spectacularly wrong, and for the time being, rock's doldrums had been cured. Robert Christgau proclaimed that 1984 was the greatest year for pop singles since the height of Beatlemania, crediting the revival of Top 40 radio and the integration of MTV for this development. And lest there be any doubt that "Thriller" truly did unify all corners of the pop audience, it's worth noting that it won the hipper-than-thou Village Voice critics' poll for album of the year in addition to all those Grammys.

Predictably, the death of Michael Jackson caused a lamentation about the impossibility of anyone ever doing it again. Shortly after Jackson's death The New York Times editorialized: "Fame on the the level Mr. Jackson has achieved is all but impossible for pop culture heroes today, and quite likely it will never be possible again." The similarity of these remarks to Newsweek's 1982 incorrect prediction is uncanny. The notion that never again will the conditions be right for a truly mass, sustainable musical moment is myopic, to say the least.

Despite a succession of on-line platforms that assume ever more fragmented audience niches, one would be foolish to bet against the potential for one to arise that encourages audience behavior which favors a vast coalition of sub-groups uniting behind something new and fantastic. Besides, pop music has always thrived on mass excitement; the yearning for shared cultural touchpoints seems to be hardwired into us. What "Thriller" taught us was that the right star, with the right product and the right technological environment, always has the ability to move us and to unite us all.

Happy 30th anniversary, "Thriller." No doubt the next big thing is just around the corner.

http://www.billboard.com/features/micha ... ory?page=4

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I Know I'm Late, But Here Are a Few Words About Thriller

#6  Сообщение Admin » 22 дек 2012, 20:03

Adam GoldbergFront Page Editor at The Huffington Post

I Know I'm Late, But Here Are a Few Words About Thriller

Thriller turned 30 a few days ago.

I'll be 30 in August.

Michael Jackson's birthday was on August 29th.

My birthday is on August 30th.

The first album I ever owned was Bad. On compact disc. It came in one of those long cardboard cases that early CDs used to come packaged in. I vaguely remember, after having played that CD over and over and over again, my mom explaining to me that this musical god had produced another album that I wasn't even aware of. So I went out and got myself a copy of Thriller.

I'm sitting in a conference room at The Huffington Post right now, listening to Thriller. It made sense to me to listen to the album while writing about the album. "Wanna Be Startin' Somethin'" is the opening track on the album. THE album. The greatest selling album in the history of recorded music. It belongs to everybody. But the experience I'm having, and have had thousands of times before this, belongs to me.

"Wanna Be Startin' Somethin'" is my favorite track on Thriller. Now it is, but not always. I go through different favorite songs on Thriller as time goes by. One year it might be "P.Y.T. (Pretty Young Thing)." One year the title track. Right now it's "Wanna Be Startin' Somethin'." The euphoria of this piece of music. The mania. The frantic percussion. The guitar at 3:25 is from another universe. I am getting a special feeling of love, joy and excitement in my heart just hearing this. The synthetic keyboards and the blaring horns. Michael's passionate vocals. What a mind-blowing opening song. This album may have come out in 1982, but as far as I'm concerned, when the needle first dropped on Thriller, the 80s began. Something got started, alright.

"Mama-say mama-sah ma-ma-coo-sah."

I used to watch the "Making Michael Jackson's Thriller" VHS tape obsessively. It's the legendary John Landis-directed music video plus a making-of documentary. The video terrified me, and I loved it. During the documentary, there's Michael, on the Motown 25 special, dancing to "Billie Jean." It's the first time he performed the moonwalk on stage. An absolutely incredible performance. I can't think of a better example of the essence and genius of Michael Jackson than this performance. Please watch it if you haven't already, and if you have seen it, you might as well watch it again. Witness pure art and hypnotic entertainment.

As a kid, I mimicked his "Billie Jean" performance, by myself, in front of the television (minus the key move, the moonwalk. I never did get that part). It wasn't mimicking exactly. Really just an extraordinarily rough approximation of the moves of an artist who was so in touch with his music and his soul that the dancing was effortless and mesmerizing.

My parents didn't know where I had learned this dance when they watched me perform it in the 3rd grade Countryside Elementary School Talent Show. They'd never seen me do it. Then I performed it on Good Company, a local daytime TV show. They were having a karaoke contest, so my mom entered my name into the competition, knowing I'd relish the opportunity. I auditioned, and then a few days later, we got the phone call to let us know that I'd be on the show.

I sang the song as best as I could, and I danced with as much stagecraft as I could muster. This all happened at the Mall of America. Under the Camp Snoopy roller coaster. One of the judges was blind, so my dancing fell flat with 1/3 of the panel. I lost the contest. But that song. It's still with me. It's always going to be with me. A 4th-grade white kid from suburban Minnesota dancing to a song written by perhaps the most famous black entertainer in American history. A song about false paternity claims. I had no idea. What difference did it make? That kick drum. That bass line. It activates something in your soul. It's funky, it's menacing, it's even a little painful. And it's from Michael's heart. From his heart and soul to my ears. From his heart and soul to the world's ears.

I've owned Thriller on cassette tape, on compact disc (multiple copies), and on vinyl. Now I'm listening to it on Spotify.

This album is what religious people would call a "blessing." I'm not a religious man, but if there is a God, Michael's music was a gift from that Entity.

This album is beyond compare. It's not pop music. It's Michael's music. This album doesn't pander, it brings joy. Pure and simple.

I'm not going to stop listening to Thriller. Or Bad. Or Off The Wall. They're part of who I am.

Ultimately, we're all connected in this gigantic mysterious universe. Nowadays I have trouble remembering that. I feel disconnected. There's so much media stimulation. There are too many choices available on demand. It's too easy. But do yourself a favor after reading this. Hit play on "Wanna Be Startin' Somethin'." Listen to it uninterrupted, from start to finish, and focus just on the music. Forget the chart-busting statistics. Forget the impact this album had on the music business. Forget everything you associate with this album. Just listen. And feel connected to the millions that came before you. Feel the music. Feel the joy. Feel the rhythm.

Let this musical document free you.

Rest In Peace, Michael Joseph Jackson. Thank you for your music.

I'm sorry this post is a few days late (the album's 30th anniversary was on November 30, 2012), but better late than never. And it's worth noting some of the other geniuses who were instrumental in making this album what it was. Notably producer Quincy Jones and recording engineer/mixer Bruce Swedien. There are countless others who contributed to this masterpiece, so please forgive me for neglecting to include all of their names.
http://www.huffingtonpost.com/adam-gold ... 45434.html


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“Thriller” has sold MORE THAN 100,000,000 ALBUMS WORLDWIDE

#7  Сообщение Admin » 15 янв 2013, 05:53

Какой - то Нью - Йоркский блоггер разместил статью, в которой поставил под сомнение рекорды продаж Триллера.
Реакция Эстейта по этому поводу:

From the Estate of MichaelJackson:
We understand that loyal MJ fans are reacting to the article that appeared in the New Yorker questioning the sales of Michael’s “Thriller” album. Let’s state this for the record: “Thriller” has sold MORE THAN 100,000,000 ALBUMS WORLDWIDE. In addition, the number of singles sold cannot even be tallied. It is far and away the largest selling album in record industry history which, ironically, the same reporter noted in the December issue of the same magazine. Quite frankly, we are unaware of the credentials of the blogger in the New Yorker, and point out that it is his opinion only, and not based on the facts of the extraordinary 30-year sales history of Michael’s masterpiece.

- John Branca and John McClain, Co-Executors, The Estate Of Michael Jackson


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The Estate filed four trademarks on Triumph Iternational reg

#8  Сообщение Admin » 11 мар 2013, 19:14

The Estate filed four trademarks on Triumph Iternational regarding the Thriller Album.

Hot News! On Monday, March 4, 2013, a U.S. federal trademark registration number 85866272 was filed for THRILLER THE WORLD'S BIGGEST SELLING ALBUM OF ALL TIME by TRIUMPH INTERNATIONAL, INC. with the description Entertainment services in the nature of live musical performances.

Hot News! On Monday, March 4, 2013, a U.S. federal trademark registration number 85866279 was filed for THRILLER THE WORLD'S BIGGEST SELLING ALBUM OF ALL TIME by TRIUMPH INTERNATIONAL, INC. with the description Sound recordings featuring vocal and musical performances on phonograph records, pre-recorded audio tapes, pre-recorded CD`s, and digital audio files; Video recordings featuring vocal and musical performances on pre-recorded video cassettes, pre-recorded DVD`s and digital video files.

Hot News! On Monday, March 4, 2013, a U.S. federal trademark registration number 85866287 was filed for THRILLER THE WORLD'S BIGGEST SELLING ALBUM OF ALL TIME by TRIUMPH INTERNATIONAL, INC. with the description Stickers; posters; souvenir programs concerning vocal and musical performances; books in the field of performing and recording musical artists and artists music.

Hot News! On Monday, March 4, 2013, a U.S. federal trademark registration number 85866290 was filed for THRILLER THE WORLD'S BIGGEST SELLING ALBUM OF ALL TIME by TRIUMPH INTERNATIONAL, INC. with the description Sweaters; shirts; tee shirts; headgear, namely, hats, headbands and caps.

http://www.trademarkia.com/company-triu ... 5-page-1-2

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Michael Jackson: 'Magic is easy...

#9  Сообщение Trueamore » 25 мар 2013, 02:13

Michael Jackson: 'Magic is easy if you put your heart into it' – a classic interview from the vaults

Thriller is 30 years old this month – and here's an insight into the world of Michael Jackson as his career exploded, from Creem magazine, courtesy of Rock's Backpages, the world's leading archive of vintage music journalism

Downtown, between the Pacific American Fish Co and the Hotel St Agnes Hospitality Kitchen, there's an alley. Cars block each end, no escape. And silhouetted in the car headlights, two rival LA gangs are swaggering towards each other. A couple of people pop their heads out of the hotel window, mutter something incomprehensible and go back to sleep. Down below in the smoke, the gangs are getting closer.

Then out of the corner of your eye you spot a lot of people standing around with cameras. What's this? Have they started putting the Pacific American Fish Co on those maps they give Japanese tourists? You know, Disneyland, Marineland, Gangland? Then you notice the movie cameras half hidden in the smoke. Ah, I've got it. A sequence for That's Incredible, right? "OK, Skip, you're going to tell us about real people who beat the shit out of each other EVERY DAY!" I can see them now, micing up the bodies, tapping them with rubber sticks for the soundcheck – "Hey Joe, a little more middle on the ribs please! we're getting awful feedback on those kneebones …"

I wouldn't want to mess with this bunch. Those gangs look mean. Those Crips, the ones with the blue bandanas, look really mean, slapping their fists in their hands and scowling and getting closer and – "CUT! OK, back to your places. Excuse me? EXCUSE ME? Thugs on the left? You sir, a teeeeeensy bit more knuckle-cracking. Perfect. ACTION!" – someone switches on a tape machine and a bit of Beat It blares out into the night. A woman bawls something rude off a balcony. The man with the Jordache look and a can of instant atmosphere ignores it and puffs some more into the alley. The gangs start swaggering towards each other once again.

"Magic," says Michael Jackson, who talks a lot about magic, "is easy if you put your heart into it."

There can't be that many things much more magic than standing around in downtown LA in the middle of the night watching marauding hordes stand to attention when someone with a fruity English accent gives the command.

This particular bit of sorcery will, by the time you read this, be the video for Michael Jackson's new single. You know, the one with the Eddie Van Halen guitar on it. The follow-up to the one about paternity suits. This one's about machismo; so's the video. Michael wakes up in some sleazy downtown bedroom in a cold sweat; he's had a dream about the upcoming punch-up and has to go stop it. He leaps out of bed, seriously endangering the lives of a whole family of cockroaches, and heads downtown to the Empty Food Warehouse for the grand finale.

Which is where we're heading now: the film crew, the Japanese tourists, the Fruity English accents, the Rival Gangs and the Stars. Everyone's there; even the cockroaches. Someone's escorting us through the cardboard boxes and the cartons and explaining how Michael's going to meet up with the gangs right here for some killer choreography – "It's difficult to look at cartons and be creative" – and it looked great in rehearsal. Apocalypse Now between the liquid shortening and stuffed Spanish olives.

But first they've got to shoot the gangs leaping out from behind the boxes looking mean. They do this several million times, the gangs (favoured fashion for punch-ups: black shades, tennis shoes, bandannas, woolly hats) looking meaner by the take. Just as they're getting it right, they have to stop filming while a freight train comes through. Time for a tea break. They've got tables filled with food outside (favoured gangland food: fruit salad, soft drinks – after all, the video's being done by the people who did the Dr Pepper commercials) and beverages. Gives a whole new meaning to "coffee mug". The gangs queue up in neat little lines and chat over the buffet. Nice civilised folks; one of them told me he was only a temporary member; he really wants to be an actor; another one swore they were the real thing, showed me scars and reckoned they were paid more tonight as extras than in a good night's street crime.

Back in the warehouse they're doing the choreographed fight sequence. The real gang members stand on the edges while a dozen or so imitation gang members – professional dancers – dance and wave knives. It looks perfect first time, but they make them do it again and again.

All this time, a thin, long-fingered man in a brown leather jacket too big for him is sipping orange juice, gazing wide-eyed and curious at the dancers and the monitors, nodding his head soberly in time to the music, his foot on automatic tap. Michael Jackson looks fascinated by the whole thing. It's three in the morning before he gets his go. He's to come in, break up the fight and lead them dancing out of a warehouse. Pied Piper meets Peter Pan.

Dawn was breaking by the time they finished; Michael Jackson wasn't. He's brilliant. Where the man gets his energy from no one knows. It's certainly not drugs – he doesn't touch them and rarely drinks. It's certainly not raw meat – Michael's a strict vegetarian and wouldn't eat at all, given an alternative; he fasts and dances every Sunday and manages to live to start another week.

Whatever, Michael Jackson manages to do more in a week than most manage in a decade. In the time it took Supertramp to get the right piano sound, Michael sang harmonies with Donna Summer, backing vocals with Joe "King" Carrasco (happened to be on the next studio at the time and was happy to oblige, once he translated it from Texan), wrote and produced Muscles for Diana Ross, wrote and sang The Girl Is Mine with Paul McCartney, and did a song for a narrated ET album, gathered together everyone from Vincent Price to Eddie Van Halen ("Eddie was a great choice, because he's brilliant") to help out with his solo album, and still had time for his pet llama, snake and parrots.

Just back from England (a couple more tunes with Macca, whom he met at a Hollywood cocktail party at silent comedian Harold Lloyd's place and swapped phone numbers: "I love Paul, Linda and family very much."), he's already planning projects with Gladys Knight, Jane Fonda, Barbra Streisand, Katherine Hepburn, and – let's stick with the girls! – Freddie Mercury of Queen, his old pal. Not to mention working on a film with Steven Spielberg ("a futuristic fantasy with music") and an album with the Jacksons. Remember the Jacksons? Michael's been their singer and choreographer ever since his dad Joe – one-time head of a Chuck Berry cover band in Indiana, the Falcons – noticed the five-year-old's nifty James Brown impersonations. I mean, Michael was 11 years old when he had his first No 1 single!

It's a mystery to Michael, too. "Magic." The songs, ideas, energy come from God, he reckons – the man's a devoted Jehovah's Witness, He'll just wake up in the night and there they are. Several more million sellers. His first solo album, Off the Wall, sold seven million copies. Thriller's not exactly ready for the cutout bins yet. The first act in history, no less, to top the pop and R&B singles and albums charts all at the same time.

We didn't get to talk at the video. The Man at Epic threatened me with all sorts of violence if I approached Jackson during the shooting, and with those Crips backing him up, who's arguing? Seems during an earlier take a pressperson said something to Michael that gave him a fit of giggles (Oh No! Not the Freddie Mercury jokes, please!) and gave the film crew a very expensive break. But he did say he'd pass on a questionnaire to the man at an opportune moment.

And we did get to talk last year, in a three-storey condo in the San Fernando Valley – where Michael was and still is, staying while they rebuild his family house five miles down the road – filled with books, plants, art-work, animals, organic juices and various nephews and cousins and siblings of the Jackson family. La Toya was there in a cowboy hat. Little sister Janet was there to parrot my questions to Michael in a simpatico accent. Oh, I forgot, and there was a record collection ranging from Smokey Robinson (the first record Michael ever bought was Mickey's Monkey) to Macca, with stops at funk, new wave, classical and just about anything else. Hmm. The Jackson influences, eh?

"James Brown, Ray Charles, Jackie Wilson, Chuck Berry and Little Richard – I think they had strong influences on a lot of people, because these were the guys who really got rock'n'roll going. I like to start with the origin of things, because once it gets along it changes. It's so interesting to see how it really was in the beginning."

Michael's got a tiny, otherworldly voice. You've heard him described as childlike and angelic. You will again. He's painfully shy, stares at his hands, his shoes, his sister, anywhere where he can forget there's an interviewer around.
He goes on: "I like to do that with art also. I love art. Whenever we go to Paris I rush to the Louvre. I just never get enough of it! I go to all the museums around the world. I love art. I love it too much, because I end up buying everything and you become addicted. You see a piece you like and you say, 'Oh God, I've got to have this …'

"I love classical music. I've got so many different compositions. I guess when I was real small in kindergarten and hearing Peter And The Wolf and stuff – I still listen to that stuff, it's great, and Boston Pops and Debussy, Mozart, I buy all that stuff. I'm a big classical fan. We've been influenced by all kinds of different music – classical, R&B, folk, funk – and I guess all those ingredients combine to create what we have now.

"I wouldn't be happy doing just one kind of music or label ourselves. I like doing something for everybody... I don't like our music to be labeled. Labels are like … racism."

A good enough reason for swinging from Streisand to Freddie Mercury, not wanting to become the figurehead of just one group of people. How does he choose who he works with? Anybody who asks?

"I choose by feeling and instinct," is Michael's questionnaire answer. What does he get out of them? "I feel it would be … magic." Then again, you've got to keep in mind the man lives for his work.

"My career is mainly what I think about … There's been so many other things, they come in all the time. It's just hard to juggle your responsibilities around – my music here, my solo career, my movies there, TV and everything else."

Is that what makes you happy, just working?

"Yes. That's what I'm here for, really. It's like Michelangelo or Leonardo da Vinci." His voice trails off; he looks torn between sounding immodest and telling the truth, which, as he sees it, is that talent comes from God anyway, so don't go patting him on the back. "Still, today, we can see their work and be inspired by it."

So as long as there's stereos, Michael Jackson lives, then?

"Yes. I'd like to just keep going and inspire people and try new things that haven't been done."

To what extent has his belief in divinity influenced his life?

"I believe in God. We all do. We like to be straight, don't go crazy or anything. Not to the point of losing our perspective on life, of what you are and who you are. A lot of entertainers, they make money and they spend the rest of their life celebrating that one goal they reached, and with that celebration comes the drugs and the liquor and the alcohol. And then they try to straighten up and they say, 'Who am I? Where am I? What happened?' And they lost themselves, and they're broken. You have to be careful and have some kind of discipline."

Is he a very self-disciplined person?

"I'm not an angel, I know. I'm not like a Mormon or an Osmond or something where everything's straight. That can be silly sometimes. It goes too far."

It must be hard being an angel when you're acknowledged as one of the sexiest performers around, have girls camping in your backyard and the like.
"I wouldn't say I was sexy! But I guess that's fine if that's what they say. I like that in concert. That's neat."

What isn't neat is: "Like, you run into a bunch of girls, which I do all the time, you'll drive outside and there'll be all these girls standing on the corner and they'll start bursting into screaming and jumping up and down and I'll just sink into my seat. That happens all the time … Everyone knew where we lived before, because it was on the 'Map To The Stars' Homes', and they'd come round with cameras and sleeping bags and jump the fence and sleep in the yard and come in the house – we found people everywhere. It gets crazy. Even with 24-hour guards they find a way to slip in. One day my brother woke up and saw this girl standing over him in his bedroom. This one lady, who's 30 and she's crazy, and she said Jesus sent her there, and she's got to me … People hitch-hike and come to the house and say they want to sleep with us, stay with us, and it usually ends up that one of the neighbors takes them in. We don't let them stay. We don't know them."

More tales of crazy fans. One girl who tried to blow them up; another who screams at him in supermarkets. Must get a bit tough knowing who's your friend, sometimes.

"It does become difficult certain times. It's hard to tell, and sometimes I get it wrong. Just the force of feeling, or if a person's just nice without knowing who you are."

Lonely at the top?

"We know lots and lots of people because we have such a big family. But [I've got] maybe two, three good friends."

Things weren't much different though when he was growing up in Gary, Indiana. He remembers "a huge baseball pitch at the back of where I lived, and children playing and eating popcorn and everything," and not being allowed to join in, but still reckons "I didn't really feel left out. We got a lot in exchange for not playing baseball in the summer. My father was always very protective of us, taking care of business and everything.

"We went to school, but I guess we were even different then, because everyone in the neighborhood knew about us. We'd win every talent show and our house was loaded with trophies. We always had money and we could always buy things the other kids couldn't, like extra candy and extra bubblegum – our pockets were always loaded and we'd be passing out candy. That made us popular! But most of our life we had private schooling. I only went to one public school in my life. I tried to go to another one here, but it didn't work, because we'd be in our class and a bunch of fans would break into the classroom, or we'd come out of school and there'd be a bunch of kids waiting to take pictures and stuff like that. We stayed at that school a week. One week! That was all we could take. The rest was private school with other entertainment kids or stars' kids, where you wouldn't have to be hassled."

But spending your life almost exclusively with your brothers and sisters – don't you get on each other's nerves? Doesn't it get claustrophobic?

"Honestly, it doesn't, and I'm not just saying that to be polite. Thank God it doesn't."

Not even when they're out on the road together?

"No. We're so silly when we're on the road, and we just get sillier. We play games, we throw things at each other, we do all kinds of silly things. It seems like when you're under pressure you find some kind of escapism to make up for that – because the road is a lot of tensions: work, interviews, fans grabbing you, everybody wants a piece of you, you're always busy, the phones ringing all night with fans calling you, so you put the phone under the mattress, then the fans knock at the door screaming, you can't even get out of the room without them following you. You feel that all around you. It's like you're in a goldfish bowl and they're always watching you."

How do you get away from the madness?

"I go to museums and learn and study. I don't do sports – it's dangerous. There's a lot of money being counted on, and we don't want to risk anything. My brother hurt his leg in a basketball game and we had to cancel the concert, and just because of him having an hour of fun, thousands of people missed the show, and we were being sued left and right because of a game. I don't think it's worth it … I try to be real careful."

Even about talking to the press. Another reason he hates interviews is a fear of being misquoted. Magazines, he reckons, "can be so stupid sometimes that I want to choke them! Like I say things and they turn it all around. I could kill them sometimes. Once I made a quote – I care about starvation and I love children and I want to do something about the future. And I said, 'One day I'd love to go to India and see the starving children and really see what it feels like.' And they wrote that Michael Jackson gets a kick out of seeing children starve, so you can see what kind of person he is!

"Ryan O'Neal sent her a tarantula spider one time," he grins of the author. "That was good!"

It's probably the nearest thing to a mean statement the man's made. You wonder how someone so sweet and shy and childlike gets to be such a demon onstage.

"I just do it, really. The sex thing is kind of spontaneous. It really creates itself, I think."

So you don't practice being sexy in front of the mirror?

"No! Once the music plays, it creates me. The instruments move me, through me, they control me. Sometimes I'm uncontrollable and it just happens – boom, boom, boom! – once it gets inside you."

That doesn't mean that outside forces get the blame if anything goes wrong. Michael has complete control over every aspect of his career. And he criticises his own efforts more than anyone else's.

"I'm never satisfied with what I do. I always think I can do it a lot better. I think," he considers, "it's good to be like that."

Anyway, as we told you already he's going to be working on a film with Steven Spielberg.

"I love Steven," says Michael in the questionnaire "Just 10 minutes before writing this, Steven called me. He bought me a present! I can't really tell you anything about the project. I will say Steven is my favorite director, and that he's looked long and hard for the right property."

I just heard that Francis Ford Coppola wants to do Peter Pan with him as the lead. And we at Creem haven't seen such a blatant bit of typecasting since Sly Stone made his fortune playing mindless beefcake.

At 24, doesn't it get on his nerves being referred to as a "child"?

"I don't mind. I feel I'm Peter Pan as well as Methuselah, and a child. I love children so much. Thank God for children. They save me every time!"

But how about a film of his own life, then? Will we ever get to see a film of Michael Jackson's magical life?

"No. I'd hate to play my own life story," he grimaces. "I haven't lived it yet! I'll let someone else do it."

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С днем рождения ТРИЛЛЕР! 30 ноября 1982г

#10  Сообщение Admin » 30 ноя 2013, 09:06


Michael Jackson’s ‘Thriller’ was released 31 years ago today, (November 30th), and here are some of the lesser known facts about the album.

1) -

The singles ‘Wanna Be Startin’ Somethin’ was one of the biggest hit off the ‘Thriller’ album but no video clip was ever made for the song..

2) -

It has been reported that Thriller’s popularity led to the breaking down of racial barriers on some radio stations in United States that only played songs by white people prior to the release of the album. MJ’s ‘Beat It’ was first played in one of New York’s ‘white station’ because of the appearance of Eddie Van Helen. An uproar was created by listeners who did not want ‘black’ music on the music station.

3) -

The disclaimer “Due to my strong personal convictions, I wish to stress that this film in no way endorses a belief in the occult” that appears before “Thriller” video clip was inserted due to MJ’s Jehovah’s Witness faith. It was also reported that the King of Pop wanted to destroy the video but later changed his mind.

READ MORE: http://www.thestar.com.my/News/Nation/2 ... iller.aspx

Source: thestar / MJ-Upbeat.com

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