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Ближний и дальний круг знакомых Майкла. Предполагаемые участники и посвященные в хоакс./The inner circle of Michael Jackson. People that are supposed to be in the know, insiders involved in the hoax.

Эстейт Майкла Джексона / Michael Jackson's Estate

Эстейт Майкла Джексона / Michael Jackson's Estate

#131  Сообщение Liberian Girl » 18 июл 2017, 13:05

Tax Court Won't Seal Testimony In Michael Jackson Case

Law360, New York (May 1, 2017, 6:16 PM EDT) -- A federal tax judge on Friday refused to strike or seal testimony by an expert government witness accused of lying on the stand in the estate of Michael Jackson’s tax trial, rejecting the Internal Revenue Service’s claim the testimony contains protected information about the estate of Whitney Houston.
U.S. Tax Court Judge Mark V. Holmes rejected the IRS’ claim that testimony in which Weston Anson, chairman of Consor Intellectual Asset Management, admitted that his firm had been retained by the IRS in a tax dispute with the Houston estate constituted protected information about the deceased singer’s estate, saying it had already become public knowledge that it is involved in a tax dispute with the IRS.

The Jackson estate had accused the IRS of trying to conceal evidence that Anson lied under oath when he previously said he had “not begun any work” on the Houston case.

“The problem for the commissioner here is that it is a matter of public record that the Houston estate is also in Tax Court to challenge the commissioner's determination of a deficiency, and that part of that challenge includes a dispute about the value of Ms. Houston's intellectual-property rights at the time of her death,” the opinion states. “This means that the fact that the Houston estate is being audited is no longer information protected by I.R.C. [Section] 6103.”

While the IRS had sought to have only portions of Anson’s testimony related to his involvement in the Houston estate case sealed or stricken, the Jackson estate has moved to strike the entirety of Anson’s statements, saying the entire testimony is tainted by perjury.

Hochman Salkin Rettig Toscher & Perez PC attorney Avram Salkin, who represents the Jackson estate, told Law360 he expects a decision on that motion sometime this summer.

The IRS claimed that information from Anson’s report regarding the Houston estate constituted protected tax return information. The argument, said Judge Holmes, was plausible, but the court’s decision to allow only the first and last page of that report had been sufficient to establish whether Anson was indeed working on the Houston case without releasing any confidential information.

The IRS also could not argue that disclosure of Anson’s role as an assessor of the value of intellectual property rights of the Houston estate resulted in improper disclosure of the fact that the Houston estate was being audited, since the case is now being heard in the Tax Court and is therefore public record.

Jackson’s estate petitioned the tax court in July 2013, challenging a lengthy notice of deficiency the IRS mailed to the estate that month. The notice contested the estate’s reported valuation of a litany of items, including a 2001 Bentley Arnage and rights to the master recordings of the Jackson 5.

According to the notice, the IRS had adjusted the value of the estate from $7 million to $1.32 billion. As a result, the agency demanded $702 million, including $505.1 million in deficiencies and $196.9 million in accuracy-related penalties.

Anson was called to the stand in the final week of the trial to explain his report, which concluded Jackson’s publicity rights were worth $161 million at the time of his death, compared with the estate’s claim they were worth just $3 million.

During the cross-examination, Anson testified that he had not yet performed any work in connection with the Houston case. But Anson later recanted, saying he gave that answer “on the direction of counsel,” who he said had informed him that revealing information about the case “could result in a felony.”

Anson did not immediately respond to requests for comment.

The IRS does not comment on pending litigation.

Jackson's estate is represented by Avram Salkin, Charles Paul Rettig, Steven Richard Toscher, Robert S. Horwitz, Edward M. Robbins Jr., Sharyn M. Fisk and Lacey E. Strachan of Hochman Salkin Rettig Toscher & Perez PC, Paul Gordon Hoffman, Jeryll S. Cohen and Loretta Siciliano of Hoffman Sabban & Watenmaker APC, and Howard L. Weitzman of Kinsella Weitzman Iser Kump & Aldisert LLP.

The IRS is represented in-house by Donna F. Herbert, Malone Camp, Sebastian Voth, Jordan Musen and Denise Larson.

The case is Estate of Michael J. Jackson et al. v. Commissioner of Internal Revenue, case number 17152-13, in the U.S. Tax Court.

--Additional reporting by Jimmy Hoover. Editing by Jack Karp.


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Re: Эстейт Майкла Джексона / Michael Jackson's Estate

#132  Сообщение Liberian Girl » 25 июл 2017, 14:39

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Эстейт Майкла Джексона / Michael Jackson's Estate

#133  Сообщение Liberian Girl » 25 июл 2017, 14:48

"CONTRACT MONTRACT"

Quincy Jones, who is suing the Estate of Michael Jackson for $30m for alleged breach of contract, earned major press coverage with his testimony on 7/20. But Jackson’s team points out that the trial had been going on for weeks, with minimal press, prior to Jones taking the stand. They say the case is not based so much on standing contracts as unfounded interpretations—coupled with an emotional appeal that Jones should have a greater share of the Estate’s success.

The Estate team, led by Ziffren Brittenham’s John Branca and John McClain, has transformed the $500m in debt the singer left after his 2009 death into big profits, thanks to a series of innovative record, film, stage and other projects, creating a huge base of wealth for Jackson’s progeny.

Jones, some observers say, feels entitled to a greater share of that pool of money than his contracts stipulate, perhaps motivated by a claim to greater credit more than greed. “I’m not suing, Michael,” he said on the stand. “I’m suing you all [the Estate team].”

Jones has earned some $100m overall on Jackson projects and $19m just since the artist’s death. Any monies he might be awarded by the jury in this case would come out of the Jackson children’s share.

“What’s happened [with the Estate] is nothing short of a miracle for Michael’s kids,” insists MJ Estate attorney Howard Weitzman of Kinsella Weitzman Iser Kump & Aldisert. “And all of a sudden, out of left field, a guy you would never expect this from makes these claims.”

During his time on the stand, Jones—the producer of Off the Wall and Thriller and co-producer (with Jackson) of Bad—underlined his contributions to Jackson’s albums. When pressed on the points of the deals he’d signed, however, Jones was dismissive. “I don’t care what the agreement says,” he said at one point; at another, “contract, montract.” He made several other remarks minimizing the importance of contractual language (and admissions that he hadn’t read his contracts) throughout his exchange with Weitzman.

“Quincy’s lawsuit [alleges] breach of contract and yet he says the contract doesn’t matter,” notes Branca. “An interesting theory.”

No one on the Jackson team underestimates Jones’ creative contribution. “He is and was a phenomenal producer,” says Branca. “Nobody is trying to take anything away from Quincy,” adds Weitzman. “He is as good as anyone who ever was as a producer. But it’s fair to say that Michael took him to another level too. And he’s done quite well, to say the least.”

Jones has been compensated in the same way—and by the same people, namely Branca—for more than 30 years. During that same period, the producer was repped by Don Passman. “Don never made any of the major claims that are being advanced in this case in 30 years,” Branca relates. “The only thing that’s changed is Quincy’s legal team.” That team, he says, has “trumped up a bunch of stuff and thrown it in front of the jury in the hopes of them getting confused and something sticking.”

“Quincy’s lawsuit [alleges] breach of contract and yet he says the contract doesn’t matter,” notes Branca. “An interesting theory.”

Jones has hired Texas contingency lawyer Mike McKool of McKool Smith, whose new legal team is making a number of fresh claims. One is that the producer is entitled to be paid on song downloads as though they are a license rather than a sale; another is he should participate in productions like the documentary film This Is It and Cirque du Soleil’s Jackson-themed shows as though they were videos, rather than master use licenses; and still another is that a standard clause in his deal that gave Jones first crack at requested “re-edits” from newly submitted albums should now be construed as the exclusive right to do any reworkings of the tracks, in perpetuity.

The Estate called music-biz contract specialist Owen Sloane of Eisner Jaffe as an expert witness to dispute these claims. Sloane described the demand for ticket royalties, for example, as “outrageous” and “absurd.”

It should also be noted that Jackson paid Jones monies not owed contractually as a sort of honorarium, and that the Estate has maintained this tradition. “Technically he only gets paid on the sale or download of records,” Branca points out. “Nevertheless, we have paid him, at my instruction—and, of course, Michael’s, since the ’80s—as if he had a clause in the contract.”

“What do you imagine Michael Jackson would think,” muses Weitzman, who gives his final argument to the jury today (7/24), “if he knew what was going on?”

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Эстейт Майкла Джексона / Michael Jackson's Estate

#134  Сообщение Liberian Girl » 15 авг 2017, 23:24

Specifics of the verdict at Quincy Jones v. MJ Estate trial

Last week jury awarded Quincy Jones $9.42 million in damages in the breach of contract and royalties case Quincy Jones filed against MJ Estate. (His claims against Sony are still pending.). The jury had to answer a very detailed verdict form that consisted of 28 questions. In this post, you will find verdict form questions, jury’s answers and damages awarded.

Question 1 Did Quincy Jones and MJJ Productions enter into a 1978 producer agreement?
Jury Answer Yes

Question 2 Is MJJ productions nonetheless bound by the 1978 producer agreement?
Jury Answer Yes

Question 3 Do any of the following contain re-mixes or re-edits of the master recordings produced by Quincy Jones under the 1978 producer agreement?
A. The movie "This Is It"
Jury Answer Yes
B. Cirque live show "Michael Jackson: ONE"
Jury Answer Yes
C. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer Yes
D. The album "IMMORTAL"
Jury Answer Yes

Question 4 Under the 1978 producer agreement, was Quincy Jones's right of first opportunity to perform re-mixes or re-edits limited to only those situations where Sony required the re-mix or re-edit of master recordings from "Off the Wall" or "Thriller"?
Jury Answer Yes

Question 5 For the projects listed below that you found in Question 3, contain re-mixes or re-edits, did Sony require the re-mixing or re-editing of master recordings from "Off the Wall" or "Thriller"?
A. The movie "This Is It"
Jury Answer Yes
B. Cirque live show "Michael Jackson: ONE"
Jury Answer Yes
C. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer Yes
D. The album "IMMORTAL"
Jury Answer Yes

Question 6 For the following projects, did Quincy Jones waive the right to have the first opportunity to create re-mixes or re-edits of master recordings from "Thriller" and/or "Off the Wall"?
A. The movie "This Is It"
Jury Answer No
B. Cirque live show "Michael Jackson: ONE"
Jury Answer No
C. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer No
D. The album "IMMORTAL"
Jury Answer No

Question 7 Did MJJ Productions fail to provide Quincy Jones with the first opportunity to re-mix or re-edit master recordings from "Off the Wall" and "Thriller" under the 1978 producer agreement on any of the following projects:
A. The movie "This Is It"
Jury Answer Yes
B. Cirque live show "Michael Jackson: ONE"
Jury Answer Yes
C. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer Yes
D. The album "IMMORTAL"
Jury Answer Yes

Question 8 Was Quincy Jones harmed by MJJ Productions' failure to give him the first opportunity to create re-mixes or re-edits under the 1978 producer agreement?
Jury Answer Yes

Question 9 Are the following projects considered records as used by the 1975 or 1981 recording agreements:
A. The movie "This Is It"
Jury Answer No
B. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer No
C. Cirque live show "Michael Jackson: ONE"
Jury Answer No

Question 10 Did MJJ productions fail to pay Quincy Jones royalties due to him under the 1978 producer agreement on the following projects:
A. The movie "This Is It"
Jury Answer No
B. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer No
C. Cirque live show "Michael Jackson: ONE"
Jury Answer No

Question 11 Under the 1978 producer agreement, is Quincy Jones entitled to a share of money from the 2009 joint venture agreement between Michael Jackson and Sony in addition to monies previously paid to Quincy Jones?
Jury Answer Yes

Question 12 Under the 1978 producer agreement, did MJJ Productions fail to pay Quincy Jones a share of the money of the 2009 joint venture agreement between Michael Jackson and Sony in addition to monies previously paid to Quincy Jones?
Jury Answer Yes

Question 13 Under the 1978 producer agreement, is Quincy Jones entitled to a share of SoundExchange, foreign public performance income, and foreign income tax deductions?
Jury Answer No

Question 14 Under the 1978 producer agreement, did MJJ Productions fail to pay Quincy Jones a share of SoundExchange, foreign public performance income, and foreign income tax deductions?
Jury Answer Jury skipped this question as they answered “No” to Question 13

Question 15 Did Quincy Jones and MJJ Productions enter into a 1985 producer agreement?
Jury Answer Yes

Question 16 Do any of the following contain re-mixes or re-edits of the master recordings produced by Quincy Jones under the 1985 producer agreement:
A. The movie "This Is It"
Jury Answer Yes
B. Cirque live show "Michael Jackson: ONE"
Jury Answer Yes
C. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer Yes
D. The album "IMMORTAL"
Jury Answer Yes
E. The album "Bad 25th Anniversary Edition"
Jury Answer Yes

Question 17 Under the 1985 producer agreement, was Quincy Jones's right of first opportunity to perform re-mixes or re-edits limited to only those situations where Sony or MJJ Productions required the re-mix or re-edit of master recordings from "Bad"?
Jury Answer Yes

Question 18 For the projects listed below that you found in Question No. 16 contained re-mixes or re-edits, did Sony or MJJ Productions require the re-mixing or re-editing of master recordings from "Bad?
A. The movie "This Is It"
Jury Answer Yes
B. Cirque live show "Michael Jackson: ONE"
Jury Answer Yes
C. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer Yes
D. The album "IMMORTAL"
Jury Answer Yes
E. The album "Bad 25th Anniversary Edition"
Jury Answer Yes

Question 19 For the following projects, did Quincy Jones waive the right to have the first opportunity to create re-mixes or re-edits of master recordings from "Bad"?
A. The movie "This Is It"
Jury Answer No
B. Cirque live show "Michael Jackson: ONE"
Jury Answer No
C. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer No
D. The album "IMMORTAL"
Jury Answer No
E. The album "Bad 25th Anniversary Edition"
Jury Answer No

Question 20 Did MJJ Productions fail to provide Quincy Jones with the first opportunity to re-mix or re-edit master recordings from "Bad" under the 1985 producer agreement on any of the following projects:
A. The movie "This Is It"
Jury Answer Yes
B. Cirque live show "Michael Jackson: ONE"
Jury Answer Yes
C. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer Yes
D. The album "IMMORTAL"
Jury Answer Yes
E. The album "Bad 25th Anniversary
Jury Answer Yes

Question 21 Was Quincy Jones's harmed by MJJ Productions' failure to give him the first opportunity to create re-mixes or re-edits under the 1985 producer agreement?
Jury Answer Yes

Question 22 Are the following projects -- are the following projects considered videoshows under the 1985 producer agreement
A. The movie "This Is It"
Jury Answer Yes
B. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer No
C. Cirque live show "Michael Jackson: ONE"
Jury Answer No

Question 23 Did MJJ Productions fail to pay Quincy Jones on the following projects as videoshows under the 1985 producer agreement?
A. The movie "This Is It"
Jury Answer Yes
B. Cirque live show "Michael Jackson: The IMMORTAL World Tour"
Jury Answer No
C. Cirque live show "Michael Jackson: ONE"
Jury Answer No

Question 24 Under the 1985 producer agreement, is Quincy Jones entitled to a share of money from the 2009 joint venture agreement between Michael Jackson and Sony in addition to monies previously paid to Quincy Jones?
Jury Answer Yes

Question 25 Under the 1985 producer agreement, did MJJ Productions fail to pay Quincy Jones a share of money from the 2009 joint venture agreement between Michael Jackson and Sony in addition to monies previously paid to Quincy Jones?
Jury Answer Yes

Question 26 Under the 1985 producer agreement, is Quincy Jones entitled to a share of SoundExchange, foreign public performance income, and foreign income tax deductions?
Jury Answer Yes

Question 27 Under the 1985 producer agreement, did MJJ Productions fail to pay Quincy Jones a share of SoundExchange, foreign public performance income, and foreign income tax deductions?
Jury Answer Yes

Question 28 Jury Award
A. What is the amount that you find that MJJ Productions agrees is owed under the 1978 and 1985 producer agreements? (Note: This is the amount Estate expert testified that Estate owes Quincy) $392,895
B. If you answered "Yes" to Question No. 8, what are Quincy Jones's damages, if any, from MJJ Productions' failure to provide him with the first opportunity to re-mix or re-edit the masters recording produced under the 1978 producer agreement? $745,640
C. If you answered "Yes" to Question No. 21, what are Quincy Jones's damages, if any, from MJJ Productions' failure to provide him with the first opportunity to re-mix or re-edit the master recordings produced under the 1985 producer agreement? $828,488
Re-mix or re-edit total 1,574,128
D. If you answered "Yes" to Question No. 10, what are Quincy Jones's damages, if any, for the following projects under the 1978 producer agreement which covers the albums "Off the Wall" and "Thriller :
A. The movie "This Is It." $0
B. Cirque “The IMMORTAL World Tour." $0
C. Cirque "Michael Jackson: ONE." $0
Royalties under 1978 agreement total $0
E. If you answered "Yes" to Question No. 23, what are Quincy Jones's damages, if any, for the following projects under the 1985 producer agreement which covers the album "Bad"?
A. The movie "This Is It." $1,960,167
B. Cirque “The IMMORTAL World Tour." $0
C. Cirque "Michael Jackson: ONE." $0
Videoshows total $1,960,167
F. If you answered "Yes" to Question No. 12, what are Quincy Jones's damages, if any, under the 1978 producer agreement, for a share of money from the 2009 joint venture agreement between Michael Jackson and Sony in addition to monies previously paid to Quincy Jones? $3,705,819
G. If you answered "Yes" to Question No. 25, what are Quincy Jones's damages, if any, under the 1985 producer agreement for a share of money from the 2009 joint venture agreement between Michael Jackson and Sony in addition to the monies previously paid to Quincy Jones? $1,609,968
2009 Joint Venture Total $5,315,787
H. If you answered "Yes" to Question No. 13, what are Quincy Jones's damages, if any, for SoundExchange, foreign public performance income, and foreign income tax deductions under the 1978 producer agreement? $0
I. If you answered "Yes" to Question No. 27, what are Quincy Jones's damages, if any, for SoundExchange, foreign public performance income, and foreign income tax deductions under the 1985 producer agreement? $180,718
SoundExchange, foreign income total $180,718
TOTAL DAMAGES $9,423,695[/align]

[align=justify]As a comparison below you can find the number from Quincy Jones Expert Report on Damages based on May 2016 revision and August 2016 Supplemental Report. Unfortunately these are organized differently than the verdict form. That makes direct comparison impossible.

Note: These number may have been revised up until trial and some might be demanded from Sony. During the opening statements Jones's lawyer said Jones was owed $30 million.


Quincy Jones Expert Report on Damages as of August 2016
1. Foreign Rates 2001 Artist Agreement $401,209
2. Participation Percentage $194,403
3. Remix fees $4,845,000
4. Audiovisual configuration reduction $148,575
5. Permanent digital downloads $4,778,938
6. Ringtones $285,558
7. Subscription income – Zero royalty $89,165
8. Subscription income – USA and Foreign $1,215,898
9. Coupling/Medleys – Immortal $110,656
10. Markups $169,907
11. Album free goods $136,338
12. Failure to report royalties – videos $282,928
13. Litigation settlements To be determined
14. Public performance and broadcast income $465,426
15. SoundExchange $490,107
16. This is it $462,284
17. This is it Synchronization Fees $3,998,793
18. Ancillary income $10,815
19. Foreign Income Taxes $111,644
20. Master use licenses- 2009 JV Amendment $1,158,678
21. Joint Venture Profits $6,075,186
22 Joint Venture Profits – This is it $569,548
23. Compact Disc Reduction $1,894,672
S1 Unpaid Royalties on MJ net receipts from This is it $11,319,094
Total $37,320,150

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Эстейт Майкла Джексона / Michael Jackson's Estate

#135  Сообщение Liberian Girl » 15 сен 2017, 23:51

Michael Jackson Estate Expects New Trial in ‘Next Couple of Months’ in Dispute With Quincy Jones

Изображение


VENICE, Italy – As expected, the Michael Jackson estate is appealing the verdict which in July awarded $9.4 million to music producer Quincy Jones in damages for allegedly unpaid royalties. John Branca, co-executor of the late singer’s estate, expects the case to go back in front of a jury “in the next couple of months.”

In an interview with Variety during the Venice Film Festival, where a new 3-D version of the 1983 “Thriller” video directed by John Landis world-premiered Monday, Branca said that “fairly serious errors were made in the trial.”

“So they are going to seek to overturn the judgment and then appeal it,” he added. Branca also specified that this action is the domain of the estate’s chief attorney, Howard Weitzman.

“We’ve always tried to pay Quincy fairly, and he should be,” Branca said. “His work with Michael was incredible…So he deserves to be paid fairly. And he [was].”

The verdict in Quincy’s favor, in a Los Angeles County Superior Court on July 26, revolved around alleged breach of contract over agreements signed in the 1970s and ’80s, when Jones and Jackson worked on three records – “Off the Wall,” “Thriller” and “Bad” – which collectively have sold more than 100 million copies worldwide. Jones said during the trial that the master recordings for those albums were improperly remixed to deprive him of royalties and production fees that he was entitled to.

The dispute largely concerns profits from the concert film “This Is It,” the world’s highest-grossing concert film.

The Jackson estate says that an accounting error did cause Jones to miss out on some royalties, but put that figure at roughly $392,000 – a tiny fraction of both the $30 million that the producer sought and the $9.4 million that the jury ultimately awarded him.

“What you had there was a jury trying to understand fairly complicated recording contract provisions and accounting provisions that, quite frankly, both without a law school education and years in the music business, most people would find difficult to understand. So that appeal is being processed,” said Branca, who predicted that the case will be “back in front of a jury in the next couple of months.”

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Эстейт Майкла Джексона / Michael Jackson's Estate

#136  Сообщение Liberian Girl » 28 сен 2017, 00:20

Обращение эстейта Майкла Джексона к поклонникам:

Привет, #MJFam!
Мы в предвкушении Хэллоуина с Майклом Джексоном, и хотим отпраздновать его с вами.
Если вы сделаете предзаказ альбома Scream до 29-го сентября или приобретете его до 4-го октября, пожалуйста, отправьте нам по электронной почте реквизиты своего заказа (скрыв свои личные и платежные данные). Один счастливчик выиграет путешествие в Лос-Анджелес на вечеринку в честь выхода альбома, которая пройдет в конце октября. Еще пять человек, которые закажут или купят альбом до 4-го октября, будут выбраны случайным образом и получат Sony Prize Pack. В комплект входит аудиосистема от Sony, которая сделает ваш Хэллоуин потрясающим. Этот конкурс только для самых преданных поклонников Майкла - «нефанаты» не смогут принять участие, так что ваши шансы возрастают.
Но подождите... еще кое-что! Мы знаем, что поклонники Майкла гордятся своими местными сообществами. У вас есть шанс показать, в каком сообществе самые преданные фанаты. Район, из которого поступит большее количество предзаказов Scream, получит доступ к фото Майкла из архива эстейта в шикарном качестве, и которое еще никто не видел. Это фото будет размещено на страницах, посвященных Майклу в соцсетях в том регионе, откуда поступило больше всего заказов.
Майкл обожал Хэллоуин и саму идею перевоплощения в другого персонажа. Это прослеживается в его работах — Thriller, Ghosts и др. Он много раз говорил об этом в интервью.

Мы с нетерпением ждем Хэллоуин, чтобы отметить его с вами.

Предзаказ можно сделать здесь:
https://www.amazon.com/dp/B074R45D51?ta ... 278e9d483d

И здесь:
https://itunes.apple.com/ca/album/scream/id1278579748

MJOnline
The Official Online Team of The Michael Jackson Estate


Майкл Джексон|Michael Jackson: United Fan Family
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Эстейт Майкла Джексона / Michael Jackson's Estate

#137  Сообщение Liberian Girl » 03 окт 2017, 12:51

Ivy
Michael Jackson Estate's request to strike all of IRS experts testimony has been denied. However the judge ruled IRS expert has lied under oath and the court will "discount the credibility and weight they give to his opinions"


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Эстейт Майкла Джексона / Michael Jackson's Estate

#138  Сообщение Liberian Girl » 03 окт 2017, 12:53

IRS Valuation Expert for Michael Jackson Estate Case Almost Thrown Out!

On September 29, 2017, Judge Mark Holmes of the United States Tax Court (Tax Court) issued an order in the estate tax valuation case brought by the Estate of Michael Jackson (the Estate). In the case, the Estate moved to strike the testimony of the Internal Revenue Service’s (IRS) valuation expert witness on the grounds that he lied. The IRS acknowledged that its expert “did not tell the truth when he testified that he did not work on or write a valuation report for the IRS Examination Division in the third-party taxpayer audit.” Apparently, the expert had worked on the valuation of Whitney Houston’s Estate on behalf of the IRS, and failed to list the engagement in his report. He also omitted one publication that he wrote and one case in which he provided expert-witness testimony at a deposition.

The question for the Court was the proper remedy for the omissions, with sanctions ranging from striking all of the expert’s testimony (and thereby depriving the IRS of the only evidence in its favor on the key issues in the case) to discounting the expert’s testimony and weight to be given to his opinions. The Court decided to take the latter route.

The Court explained that striking expert testimony pursuant to Tax Court Practice and Procedure Rule 143(g) (governing expert witness reports) occurs when a putative expert omits information from the report without good cause for the omission. In this case, the Court explained that the IRS’s expert failed to disclose his valuation work on his long list of expert-testimony engagements attached to his resume, but ruled that the omission was merely a “clerical error.” However, the expert did provide false testimony at trial when he testified he did not work on or write a valuation report in the matter involving Whitney Houston’s Estate. The Court determined that there had to be some negative consequences for the expert’s false testimony, and settled on discounting his credibility and opinions.

Practice Point: The order in Estate of Michael Jackson, as well as the Tax Court’s prior opinion in Tucker v. Commissioner, TC Memo. 2017-183, highlight a very important aspect of preparing an expert report for submission in Tax Court: it must be complete and accurate at the time of its submission. It is good practice to run a litigation database search (e.g., Lexis or Westlaw) on your expert’s testimony experience as a check on what the expert has listed in his report.

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Эстейт Майкла Джексона / Michael Jackson's Estate

#139  Сообщение Liberian Girl » 29 окт 2017, 04:59

"Триллер 3D" и будущие релизы

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На этой неделе MJWN получили возможность увидеть пару новых проектов, над которыми работает Эстейт MJ. В дополнение к этому у нас также была возможность пообщаться с Джоном Бранкой, со-исполнителем MJ-Эстейта, Карен Лэнгфорд и другими, кто принимал участие в этих последних проектах.

В течение двух дней, которые мы находились в Нью-Йорке, г-н Бранка рассказал о целом ряде тем, которые включали в себя неизданную музыку, концертные релизы, его видение будущего и даже Neverland. Он также ответил на ряд вопросов, заданных ему командой в Нью-Йорке.


‘Blood On The Dance Floor’ 2017


Наш первый предварительный просмотр был проведен в небольшой комнате для скрининга в новом здании Sony Music. Нам показали «Blood on the Dance Floor 2017» - новая версия оригинального музыкального видео. Видеозапись включала некоторое из того, что мы уже видели в выпуске 1997 года, но также включала новые танцы с фантастическими талантами в исполнении Cirque Du Soleil. Это отличная современная интерпретация этой классики Майкла, которая изначально должна была быть выпущена ранее на прошлой неделе. Однако в свете ужасного инцидента в Лас-Вегасе было решено отложить выпуск из уважения.
‘Thriller 3D’


Затем нам показали нечто, что мы все очень рады видеть с тех пор, как было объявлено о «Thriller 3D». Хотя было здорово видеть, что классический шедевр Майкла еще больше ожил, используя современные технологии и на большом экране, настоящее удовольствие пришло с тем, что он был блестяще ремастерирован. Это заставляет вас чувствовать, что вы смотрите фильм в первый раз! Я не мог поверить, что после всех этих лет просмотров, и, очевидно, что их было много, я фактически начал извиваться во время трансформации оборотня. Я также смог понаблюдать за танцорами и увидеть крошечные детали, которых я никогда раньше не видел. Это будет таким удовольствием для всех поклонников Майкла и общественности.

Планируется выпустить «Thriller 3D» в IMAX по всему миру в качестве специального превью, когда вы идете и смотрите большой тематический фильм на Хэллоуин. К сожалению, поскольку на этот Хэллоуин не было подходящих фильмов, которые были выпущены для продажи, Estate решил оставить релиз до следующего Хэллоуина.

После этих показов мы направились наверх на крышу здания, на коктейль, который проводил Эстейт. Здесь мы получили возможность задать вопросы и обсудить предстоящие проекты.


‘Ghosts’


Другие новости, которые порадуют каждого поклонника, это то, что Estate надеется обновить и выпустить «Призраки» в 3D в следующем году. Это проект, который еще не запущен, поэтому они предпочли бы не говорить о том, каким он будет, или когда он будет выпущен. Тем не менее, здорово слышать, что они планируют отличные вещи для этого шедевра Майкла 1996 года и показывают, что Estate слушают то, что хотят фанаты, - и в то же время пытаются представить Майкла новой аудитории.

Unreleased Songs


Что касается неизданного материала, то г-н Бранка объяснил, что не верит, что для целого альбома достаточно качественной записанной музыки. Мы все знаем, что Майкл записал много за всю свою жизнь, но музыка, которая была завершена и достигает того же качества, что и предыдущие релизы, немногочисленна... Даже музыка Майкла, записанная с will.i.am, не включала вокал. Однако запись песни Sly и Family Stone «Hot Fun In The Summertime» (на которую Майкл купил права) существует. Г-н Бранка объяснил, что Майкл записал несколько гармоний для хора этой песни, но, к сожалению, ни один из стихов. Таким образом, они могут задуматься о том, чтобы привлечь популярного певца, чтобы сделать это дуэтом когда-то в будущем.

Эстейт также стремится дать нам, фанатам то, что мы хотим. Например, новую музыку. Тем не менее, они хорошо осознают, что трудно угодить всем и понимают, что некоторым фанатам трудно принять новую музыку. Они получают много отзывов от сообщества поклонников, и г-н Бранка сказал, что они уважают страсть и любовь фанатов в том, чтобы они помочь установить наследие Майкла. Он рассказал о расширении базы поклонников Майкла с такими выпусками, как ‘Scream’, которые направлены на привлечение новой аудитории, аудитории, которая, возможно, не слишком хорошо знакома с Майклом Джексоном, и увлечь их о его творчеством.


Tours


Г-н Бранка сказал нам, что тур «HIStory» Майкла (1996-1997) был, действительно, единственным туром, который был снят для высокого разрешения, объемного звука, разных ракурсов и т. д. Он предвидит, что тур может быть выпущен, когда подойдет празднование выхода этого альбома или к Юбилею. Он добавил, что «HIStory» - его любимый альбом, но сомневается, что это будет релиз для кинотеартров, а это значит, что он, вероятно, будет предназначен для DVD / Netflix.

Neverland


Что касается прежнего дома Майкла в Neverland Valley Ranch - The Estate приветстввел бы возможность открыть Neverland для публики, но повторил то, что нам сказали раньше. Законы о зонировании в Калифорнии не позволяли бы трафик вдоль одиночной длинной дороги, ведущей к воротам ранчо. Г-н Бранка говорил о своей надежде, что они могли бы хотя бы сделать что-то гораздо менее масштабное, благодаря чему они предоставили бы Neverland свои оригинальные вещи и позволили нанимать имущество для специальных частных мероприятий. Однако в конце концов права ранчо не в их руках и частные инвесторы хотят продать. Несмотря на это, г-н Бранка сказал, что они изучают возможность открытия Hayvenhurst, где Майкл провел много лет жизни и записал демо «Billie Jean» и другие для альбома «Thriller».

Заключительные мысли

Я хотел бы воспользоваться моментом, чтобы порассуждать о том, что делает Эстейт...
Лично я думаю, что с 25 июня 2009 года они сделали исключительную работу. То, что они стремятся сделать, это продолжить наследие Майкла, постоянно представляют его новым зрителям и успокаивают его поклонников... Некоторые фанаты были разочарованы ранее выпущенной неизданной музыкой, а другие были разочарованы компиляциями. Однако это показывает, что вы не можете угодить всем, но они изо всех сил стараются обратиться к существующим фанатам, представив его новому поколению. Их реальные успехи были в таких проектах, как Cirque Du Soleil и документальные фильмы Spike Lee - счастливая промежуточная площадка для старых и новых поклонников - переосмыслить работу Майкла и дать нам представление о его жизни и карьере. Я считаю, что предстоящая анимация «Хэллоуин Майкла Джексона», также попадет в эту категорию.

С выпуском ‘Scream’ появляется новая глава для Estate. Это самый стратегический релиз, который они сделали, поскольку они пробуют соединить сезон Хэллоуина с Майклом Джексоном. Каждый Хэллоуин «Триллер» продолжал ударять по чартам. Используя это как отправную точку, они хотят, чтобы Майкл был связан с Хэллоуином в течение долгого времени. Их надежда состоит в том, что альбом «Scream» будет каждый год обновляться, что новая анимация «Halloween» Майкла Джексона будет проходить по телевизору каждый октябрь, и из года в год появятся новые сезонные релизы, начиная с «Thriller 3D» и потенциально для ‘Ghosts’. Это очень умная идея, благодаря которой публика начинает связывать Хэллоуин с Майклом Джексоном на долгие десятилетия. Это также сочетается с любовью Майкла к Хэллоуину, и все это страшно. ‘Thriller,’ ‘Ghosts,’ ‘Is It Scary,’ ‘Threatened’ и т. д. Очевидно, что у Майкла была любовная интрига с тем, что Estate теперь продолжает.


Мэтт Бланк от имени MJWN

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Эстейт Майкла Джексона / Michael Jackson's Estate

#140  Сообщение Liberian Girl » 29 окт 2017, 05:18

‘Michael Jackson Loved Halloween’: John Branca On CBS Animated Special

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Michael Jackson will always will be synonymous with Halloween. The late pop star’s music still resonates deeply with fans all over the world and his music videos such as “Thriller” and “Ghost” demonstrate that Jackson had a strong affinity for the scary and spooky in life. On Friday, October 27, Jackson’s fans will be able to hear his music in a brand new way when CBS premieres “Michael Jackson’s Halloween” at 8pm EST. Produced by John Branca and John McClain, the executors of Jackson’s estate, this one hour animated special features some of the King of Pop’s most iconic tracks.

Branca spoke with CBS Local’s DJ Sixsmith about how the project came together, what it was like to work with some of the biggest names in Hollywood and his long professional & personal relationship with Michael Jackson.

DJ Sixsmith: How did this animated special come to life and why did it make sense to do it on CBS?

John Branca: Michael loved Halloween, he was a big fan of it. In a way, Michael was a big kid. If you look at some of his music videos for “Thriller” and “Ghost,” they reflect that. What he did for the California Raisins commercial, he used to like to have fun. Every October, there is a huge interest in Michael and “Thriller.” We thought it was natural and logical to do something that Michael wanted to do. We surveyed the field and picked Hammerhead Productions because they are one of the best animation studios in town. In terms of CBS, we talked to Jack Sussman, who took an immediate interest in the project. CBS is obviously the best network out there. Michael had a long history of doing projects with CBS, so it was a natural combination.

DS: You mentioned how much Michael loved Halloween. What would he think of the final product you guys created?

JB: I think he would’ve loved it and had a lot of fun with it. Michael appears as several characters in the show. He appears as a pumpkin man, as a Halloween cat and as a spider and they perform some of Michael’s great dance moves. He really would’ve liked this.

DS: Lucy Liu, Jim Parsons and Alan Cumming were all part of this project. What was it like working with some of the top talent in Hollywood?

JB: They really were our first choices. Lucy Liu, Jim Parsons and Alan Cumming were all on the list of actors that CBS provided us. We were really fortunate to get them.

DS: You knew Michael for a long time. How would you describe your relationship with him?

JB: I met Michael in January of 1980 after “Off the Wall” had just been released. We worked on “Thriller” together, “Bad”, “History” and a number of his albums and tours. Michael was a perfectionist. We all know what a genius he was and a great entertainer he was. Not everyone knows what a perfectionist he was. He worked very hard to get the results that he got and for that we all really respected him.

DS: Michael’s music is still synonymous with Halloween. How did you guys incorporate his music into this animated special?

JB: We hired Kevin Antunes to put the soundtrack together. Kevin worked with us on the two Michael Jackson Cirque Du Solei shows in Las Vegas and on Michael Jackson: The Immortal World Tour. Kevin has been a Michael Jackson fan all of his life and he has also been a musical director for Madonna. The show uses over 25 songs of Michael’s and they’re woven throughout the show and help to tell the story. If all you wanted to do is listen to the music, I think you’d really enjoy the show.

DS: When people watch this special, what do you want them to walk away thinking?

JB: I want them to walk away with a smile on their face. It’s fun. We were all just trying to have fun with this project and celebrate Michael and Halloween. There’s a lot of double entendres in this show, so it’s good for kids and good for adults.

DS: When you think about Michael’s legacy and his career, why do you think his music is still relevant?

JB: Michael was universal. He’s one of the few artists that you can say is popular in every country in the world. His music is timeless. It’s been influential to subsequent generations and current artists. Really, all the top artists today look to Michael for inspiration. New generations are continuing to discover him. We find that kids enjoy Michael’s music just as much as adults do. I think his videos are part of that as well.

“Michael Jackson’s Halloween” premieres this Friday, October 27 at 8pm EST on CBS.

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