Another round of Michael Jackson FAKE NEWS to be expected this month

Matchstick Man- Michael Jacobshagen interviewed by disingenuous Daphne Barak – 8ys & False MJ Stories Still Abound –

Vindicating Michael

As the 8th anniversary of Michael Jackson’s death lies ahead of us, we can expect another round of fake news to be spread in tabloids, as is usual on this kind of Michael Jackson key dates. One of them was already announced some weeks ago in an article on the Daily Mail Online site about Michael Jacobshagen who apparently was interviewed by Daphne Barak for an Australian TV show.

The article told that the interview would be aired around Michael Jackson’s death anniversary this year, which is June 25.

For those who don’t know these two names, let me tell you that Daphne Barak calls herself an “international interviewer” and has a long history of harassing Michael Jackson and trying to interview him. Michael even once fled from her in a Las Vegas hotel when his father reportedly had promised Barak an interview with Michael which he didn’t want…

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Who Is It: An Appreciation #Dangerous25 by DoggoneCity

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We wholeheartedly urge all MJ Global family members to take the time necessary in reading this  eloquent description of Michael Jackson’s “Who Is It?” as set forth by Doggone City – the Appreciation is almost as glorious as Michael’s musical composition itself.

Below is the complete text of Twitlonger from @DoggoneCity  dated November 26, 2016 and link to original post is provided below.

James Brown, Prince, and Michael Jackson are the masters of rhythm in our time. And rhythm being nothing but eroticism set to time, their music, whatever its subject, has the effect of an aphrodisiac.

James Brown is the troubadour of gospel call-and-response that he made irresistibly combustible with his vocal inflections. Prince is the bacchanalian genius who revels in virtuosic experimentation and histrionic abandon. With Michael Jackson one finds something elusive and illusive. He can be feral like James Brown on his propulsive night train or devilishly insouciant like Prince in his scandalous love suite. But at its greatest, Michael Jackson’s music has something else, the quality of hallucination. His most compelling stories in sound, whether about extortion (Billie Jean), rape (Smooth Criminal), prostitution (Who is It), exile (Stranger in Moscow), or addiction (Morphine) have a spectral grace, suspended in animation, dream-like, as in a mosaic. His concerts are essays in movement but also stillness, mysteriously hieratic, full of long poses and shifting choreographic tableaux punctuated by stops and silences. His videos abound in echoes, shadows, reflections, and transformations. Echoes reverberate across his songs as much as silhouettes do on his stage, across the taut bridge of Smooth Criminal, the lone synth on the spoken passages of In the Closet, the swirling vocal layering on Why You Wanna Trip on Me, the melancholic keyboard bridge in Stranger in Moscow, and the wistful whistles in Whatever Happens.

Who is It is a different kind of hallucination. That haunting intro with those soprano voices dying with a dying fall, like a dim breeze across a vast urban desert, harks back to the descending string punctuations of Billie Jean. And echoes permeate that famous Who Is It beat too. That cracked-heartbeat of a percussion that is on the face of it, a slowed-down homage to James Brown’s ‘I Got the Feeling’. But he uses that queue from James Brown only as a point of departure to create an alchemy of rhythm. Critics were puzzled and disoriented by the beats on Dangerous, one calling them “abrasively unpredictable”, and another “like computerised artificial respiration”. But that’s the point. The cracked-heartbeat of a percussion in Who Is It rises and falls in unpredictable patterns; the vocal hiccups both echo and syncopate the thudding drum machine and Louis Johnson’s bass in a ménage of cardiac gasps, retches, and shocks. What sound like three-note rhythmic motifs that echo the melismatic sighs in the soprano intro, are basically only two notes pounded alternatively and insistently in duple time, creating a rhythmic ambiguity, like a sort of dirge-like boogie throbbing precariously inside “one dying head”. It’s a masterpiece of invention, and why his beats are endlessly studied by contemporary producers. Take that gulping sob peppered throughout that syncs exactly with the beat – surely the funkiest crying ever recorded?’

He often said he preferred making his own sounds to using sounds from keyboards or programmed machines. The result being his beats have the heft of something organic, with the urgent restlessness of human breath rather than mechanised static (although he could do that too, in Morphine) even when borne on beds of drum machines. Also why I think he broke away from Quincy Jones. He wanted to channel back to the funk of a forty thousand years—the circular, repetitiveness of the vamp in Don’t Stop Til You Get Enough, the looping grooves of James Brown. One only need think of the molten bed of percussion in Can’t Let Her Get Away.

Much as MJ’s music is an invitation to dance, it also has an element of melancholy all his own. These shadows clothe his arrangements in a mystery, not unlike the sfumato in an Old Master painting, all smoky shadows, ambiguous modeling, shifting smiles. The suppleness of his percussion allows him to combine that icy Who Is It intro and ‘abrasive’ percussion with the most sinuous strings, which come at you in waves, circling but never resolving. And there’re the seamless transitions from intro-verse-bridge-chorus-outro-fade-out. His vocal delivery too is full of light and shadow, his voice smooth, imploring, caressing one moment, and then breaking out in harsh, coiled, turgid accents. It’s a method he started perfecting long ago in ‘Maria’.

That Who is It chorus is like a gospel incantation, a melody going on into infinity, like the soldiers under a twilight sun in This is It. It has the same harmonic profile as the throbbing rhythmic pattern of the beat; but the moment it seems like it is resolving, he destabilises it with the persistent ‘Who Is It?’, the question-and-answer of gospel—only that here it is several Michaels in a dialogue and self and soul, questions echoed with questions, as in a hall of mirrors, or as what Jon Pareles called ‘an electronic wilderness’. When the instrumental bridge comes in, it takes up the soprano theme of the intro, and then improvises it on the synth with the same echoing effect heard throughout, probing, questioning, rippling, and fading through an unending night, and engaging the strings as in a vast antiphonal choir in a church full of mosaics.

This mosaic-like quality of Who Is It is well-captured in David Fincher’s plush video with its purple shadows where surfaces reflect and refract, a world of smoky decadence, more urban and more desolate than the degenerate juke-joint of Smooth Criminal. When you think of it, mystery permeates so many of his videos and concerts. The man made an art out of disappearing, as if enacting the alchemy of rhythm through his body itself. Only through artifice he comes alive; his conceptions, always grand and operatic, are ringed everywhere by illusion: silhouettes, shadows, and mirrors. He vanishes into sand, shadows, smoke, mist, fire, leaping in, flying out. Never wanting to be chained to earth.

Who is It is a kind of cross-roads in his career, combining as it does his rhythmic invention and melodic sensibility. Henceforth, with some exceptions, there’s a dividing line between his jams and his ballads. The jams will be seething, with swaggering verses, clenched-teeth choruses acerbic, wrought-iron beds of percussion and arrangements, all rhythm, with his voice sounding as if on the rack; and the ballads all melody, simpler, sweeter and more soaring.

The worst of showbiz always brings out the best in him, transmuting tales of treachery and feelings of disgust and loneliness into lusciousness that ravishes the ear. Always makes me think of what Alan Light said, “Michael Jackson’s finest song and dance is always sexually charged, tense, coiled – he is at his most gripping when he really is dangerous.”

Source: Link to original Twitter post 

Michael Jackson’s Short film Who Is It

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When LOVE creates MIRACLES

When God uses a mortal to HEAL – it’s a glorious celebration of divinity- Michael Jackson was a Chosen One.

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Tribute to Michael Jackson Part of Opening of African American Museum in Washington D.C.

Geoff Edgers of the Washington Post has written an electric review of the opening of our National Museum of African American History & Culture-  This is a defining moment in our nation as the struggle for parity within race relations and legal authorities is at all time fever pitch.  The Black Lives Matter movement highlights much needed reform in how to police in a nation where just being black  is considered a threat.  Michael Jackson fans know all to well that his messages of Unity, Brotherhood and respect for the children of all cultures was of paramount importance and integral to his art. We are proud that Michael Jackson’s  costume is part of this National Museum.  Please click link at bottom to read full Washington Post article.

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James Brown, Marian Anderson, the Duke and Lena Horne. They weren’t there physically Friday night at the Kennedy Center, but their presence was undeniable during a star-studded concert marking this weekend’s opening of the National Museum of African American History and Culture.

“I should say good evening, everyone,” said Oprah Winfrey, who donated $21 million for the museum, after President Obama and first lady Michelle Obama took their seats in the balcony of the Eisenhower Theater. “But what I’d really like to say is hallelujah.”

If the concert — recorded for future broadcast on ABC — set the tone for this weekend’s events, it did so by honoring a stunning artistic legacy without glossing over the painful road that’s been central to the African American experience.

“You don’t want to be so happy, you don’t want to be so sad but you do want to celebrate,” said Jacqueline Washington, the daughter of a pioneering federal judge, Aubrey E. Robinson Jr.

Washington sat in the last row next to her Howard University classmate Debbie Allen, the choreographer and actress. But they weren’t complaining about the view.

“Every seat is a front-row seat,” Allen said. “That’s what this is tonight. Being in the room. When we were at the inauguration of Barack Obama, it was that you were there.”

“Taking The Stage: Changing America” wasn’t just a concert. Musicians were often introduced along with photos of the museum artifacts related to their performances, including: a pair of slave shackles; Louis Armstrong’s horn; and the silk and black velvet dress Marian Anderson wore for her Easter concert in 1939, when she performed on the steps of the Lincoln Memorial after having been shut out of Constitution Hall by the Daughters of the American Revolution.

Actress Angela Bassett spoke of how segregation hurt artists such as Billie Holiday, Sarah Vaughan and Horne.

“They were born too early to be the bigger stars they might have been but it doesn’t diminish what they did and the legacy they left,” she said. “Singing, it wasn’t the same after them. Nor were the audiences that heard them.”

Read full Washington Post article — 

Source: https://www.washingtonpost.com/news/arts-and-entertainment/wp/2016/09/24/direct-dramatic-concert-marks-pain-and-promise-of-road-to-african-american-museum/

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Liza Minelli – re: Michael Jackson

Ellen:I just think that as someone who is a really huge fan of Michael Jackson, I never had a chance to meet him and I’m sorry that I didn’t but know you were close friends with him but, just as a fan watching that trial, it was heartbreaking, are you watching it or trying hard not to watch it?

Liza:I watched some of it and then when it becomes “showbiz” I think, “Come on, everybody’s trying to make money”, they are just making money off him again, you know?

Ellen:Yeah.

Liza:That kid really never had a life without someone saying “you know we can make money off of this Michael”. I think.

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Ellen:Yeah. When you knew him did you see.. I mean that must be hard to see that, because you must have experienced that yourself, everybody wanting to make money off you, did you..?

Liza:No I didn’t. I was so lucky because in Hollywood, I didn’t care anything about it. I wanted to go to New York, so I went by myself. I was lucky enough to not have anyone on me like that. I made furniture for shows, I did anything, but with Michael it’s .. when I first met Michael, he was a kid you know, and as he grew up, he was funny… he was so funny.

Ellen:I heard he was funny.

Liza:and he was interested in everything. He loved my dad and so I used to take him over to visit my dad and he would have dinner with Fred Astaire and Gene Kelly, and the Gregory Peck(s) and all these people. He was like a sponge for information and a wonderful conversationalist, really, but then he had to go back to whatever he had to go back to and it just went wrong and who knows what happened.

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Ellen:Yeah. How long before he died had you seen him?

Liza:Oh boy, I think the last time I saw him was 2000. I was on his show (smiling)

Ellen:On his show:

Liza:One of his shows that he did?

Ellen:While he was touring?

Liza:A special, one of his specials for TV.

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Ellen:That special that he was going to do looked like it was going to be amazing, that he was planning for.

Liza:Yeah, see he worked liked nobody else. We would go to Martha Graham, because I knew Martha Graham because I was in one of her ballets. So we would go over there and we would sit in the corner, the two of us and we would watch and then everybody would break and we would run into the other room and try and remember what we had seen.

Ellen:Wow!

Liza:And we would do it! It was fun.

Ellen:I would love to see those tapes. That’s amazing. Incredible!

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Much love and appreciation for our dedicated transcriptionist – 💞

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A Call To Arms UK MJ Fans… The Felon is set to be on a UK Reality Show!

We are asking you to write, tweet, and make phone calls to stop this murderer from appearing on this show

Stop Global Airwave Abuse

A call to arms to all our UK MJ Fam and fans from across the world.   Conrad Murray The Murderer has come out of the woodwork and is set to appear on “I’m A celebrity, get me out of here!” in the UK. The felon will be compensated for being on this show you can be sure and his “celebrity” status is purely based on the fact that he murdered the most famous man on the planet, Michael Jackson.Screen Shot 2016-07-24 at 3.49.36 PM

He will receive blood money from his new book about Michael and from his appearances on television promoting this fictitious book full of disgusting lies. His new publicist and manager Australian Max Markson, is  being glib in his conversations about the felon’s book and this TV show.  He is being promoted not only the UK, but around the world.  This murderer also wants to get his Physician’s license back, please read MJ Justice P’roject’s post

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MJGlobal – Campaign to Contact Medical Boards RE: Prevent Conrad Murray’s Medical License Reinstatement

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Conrad Muray has raised his ugly lying head again-  this time with the support of the media in Australia –  Yep .. No surprise there.

It’s a given he’d get support from the down under media, – which prides itself in the lowest common denominator, sensationalism for “Inquiring Minds”  There is a distinct relationship between Rubert Murdoch, Dylan Howard and of course, Wade Robson.

Although most of the tabloid trash stories regarding Michael Jackson coming out of Australia are the usual incredible and easily disproved brazen lies – there is one concern.

Conrad Murray has stated he is seeking to have his Medical license(s) reinstated so he can resume practicing medicine.

Let’s recall a Judge Pastor quote

“Murray repeatedly LIED, engaged in DECEITFUL MISCONDUCT & endeavored to COVER UP his TRANSGRESSIONS.”

Conrad Murray actually had the temerity to state in interview:

“I am highly skilled and have an unblemished medical record. My career has been impeccable.”

To get his medical license back, Murray is trying to assert that Michael Jackson killed himself by administering drugs to himself. He wishes to rewrite history,  but this ridiculous assertion did not hold under evidence and deliberance in court.

“During Murray’s six week trial, the prosecution – LA deputy district attorneys David Walgren and Deborah Brazil – successfully exposed the defenses’ theory that Jackson had either self-administered propofol and/or ingested drugs without Murray knowing – as baseless” 

For more detailed information of Murray’s 2011 trial – California vs Conrad Murray

To imagine Conrad Murray would be given any kind of support by ANY media is truly a sad demonstration that money has been and will always be the driving force behind tabloidesque media groups- but alas, it is current state of media as we know it.

Through these interviews he clearly demonstrats, he still has no remorse for killing another human being. NONE

His callous disregard for Michael Jackson’s children, who through his actions, left them orphaned doesn’t concern him.

He doesn’t consider the jury finding him solely responsible for Michael Jackson’s death to be of any concern  or relevant.-

He believes he is above HIPAA laws which are enforced to protect the medical history of patients and are enforced even if the person is deceased for 50 years after their death.

In 2013, Murray was served a “cease and desist” by the Estate of Michael Jackson when he began interviewing and talking about Michael Jackson, and to avoid this push back,  he’s gone outside the United States to evade HIPAA violations concerns.

Since Conrad Murray has expressed a desire to request Medical Boards to reinstate his license – We urge the MJGlobal family to take a few moments to call, email or send ground letters to the three entities who control Murray’s future.

In no way should Conrad Murray  be allowed to practice medicine and put another human being’s life at risk by his total disregard for standard medical practices.

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We encourage a relisten of Judge Pastor’s full admonishment to Conrad Murray at his sentencing in 2011-

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Please use the information below.. If any of this information is lacking or other information needs to be added – Please do not hesitate to alert MJJJP in the comment section.

Texas Medical Board:                                                                                                                           P.O. Box 2018 Austin, TX 78768-2018
e-mail: verifcic@tmb.state.tx.us
Main Phone: (512) 305-7010
Customer Service Phone: (512) 305-7030 (Outside Texas)Customer Service Phone: (800) 248-4062 (Texas only)Customer Service E-mail: verifcic@tmb.state.tx.us

Nevada State Board of Medical Examiners
1105 Terminal Way, Suite 301
Reno, NV 89502-2144
Phone: (775) 688-2559
Toll Free: (888) 890-8210 (in state)
Fax: (775) 688-2321
Email: nsbme@medboard.nv.gov

THE MEDICAL BOARD Of CALIFORNIA
2005 EVERGREEN STREET, SUITE 1200
SACRAMENTO, CA 95815
webmaster@mbc.ca.gov

REMEMBER Judge Pastor’s words –

“Murray violated the trust of the medical community, of his colleagues, & of his patient. he IS & REMAINS dangerous.” 

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STAND up for our brother, Michael –

STAND up for other  potential  victims of Conrad Murray’s calloused neglect, medical malfeasance and boundless hubris.

 

 

Posted in Boycott Murray Campaign -, Conrad Murray Trial, Michael News, Petition Links and Campaigns, Uncategorized | Tagged , , , , , , , , , , , , , , | 10 Comments