VÄRLDENS FINASTE ❤

THE WORLD'S GREATEST
DAGENS BILD

ANNIE ARE YOU OK?


"SHE'S OUT OF MY LIFE" DEMO
MTV AWARDS 1995
FORTSÄTT RÖSTA
THE WAY YOU MAKE ME FEEL
DAGENS BILD

THE STORY BEHIND "DON'T BE MESSIN' 'ROUND"

The finished product, then, is intentionally unfinished and spontaneous. "You can just hear him having fun," Forger says. "His spirit and emotion are totally there. He knew in demos he didn't have to be totally perfect in his execution. So he'd be loose. He'd throw in ad libs and dance or sing or pop his fingers or clap his hands. You just hear him enjoying himself."
Jackson first wrote and recorded "Don't Be Messin'" during the Thriller sessions with engineer Brent Averill. Around this time he was working on a variety of musical ideas, including demos of "P.Y.T." and "Billie Jean." "Don't Be Messin'" features Jackson himself playing piano ("He could do more than he ever really let people know," Forger says.) He also produced, arranged, and guided many of the instrumental parts, including the cinematic strings, Jonathan Maxey's piano part in the bridge, and David Williams funky guitar licks.
Ultimately, since "Don't Be Messin'" wasn't fully developed and so much other strong material was coming in for Thriller, Jackson decided to put the song on the back burner, having in mind to revisit it for his next album. "That was kind of how Michael developed ideas and songs," explains Forger. "He let the song unfold in its own time. Sometimes a song wasn't ready or didn't quite fit the character of an album or a project and it would stay in the vaults. And then at a certain point of time, he would pull it out again."
In this case, the track re-surfaced in 1986, during the early stages of the Bad sessions. Jackson worked on the song primarily with recording engineers Matt Forger and Bill Bottrell in the "laboratory," the nickname for his renovated home studio at Hayvenhurst. As was typical for Jackson rhythm tracks, the song was quite long (nearly eight minutes) in its early phases. "Michael loves a song to be long," Forger says. "He loves it to groove because he gets to dance to it—which is a big thing, because when Michael feels the music is making him dance it means the groove is in the pocket."
Jackson's grooves, however, were unusual in that they often lacked the predictable repetition of much dance music, surprising with strange beat patterns, textures and nuances. "Some of these long versions of ["Don't Be Messin'"] really sound very interesting because there's different things happening in different sections," Forger says. "It's really not like you're sitting there for eight minutes thinking it's terribly long, because things are happening within that length of time that make it feel like, 'Yeah, this is cool.' It's actually satisfying to listen to the rhythm."
Cutting the song down was often a brutal process for Jackson, especially the intros and outros. As with other songs on Thriller and Bad, though, Jackson tried to trim it down into the four-to-five minute range, which is where the new mix of "Don't Be Messin'" clocks in.
Jackson continued to work on "Don't Be Messin'" into late 1986, at both his home studio and at Westlake. However, once Quincy Jones came on board, the serious paring began and "Don't Be Messin'" was left on the cutting room floor. Jackson would pull out the song again during both the Dangerous sessions and HIStorysessions, updating its sound and adding new elements. Clearly, it was a song he liked. But ultimately it never found a home.
The version Matt Forger mixed was the last version Jackson worked on during the Badsessions in 1986. Forger feels it is the purest, most emotionally satisfying version: "It's exactly how Michael dictated it at the time. It's precisely Michael saying, 'this is how it has to be.'"
The 1986 demo isn't a groundbreaking song. The vocal is only partial-strength, the lyrics aren't finished, and the production isn't close to what it would be had it been fully realized by Jackson and Quincy Jones. However, it is a solid addition to the growing list of quality Bad-era outtakes (a list that also includes "Streetwalker," "Fly Away," and "Cheater"). "It's such a catchy underlying melodic hook," Forger says. "And it has a rhythmic feel that syncopates in such an interesting fashion." In a 2009 interview legendary recording engineer Bruce Swedien cited the track as one of his favorite unreleased Jackson songs. "It's just beautiful," he said . "Oh my God, there's nothing like it."
Like much of his work, the track doesn't fit neatly into a single genre, fusing flavors of Latin, jazz, and pop. With its breezy Bossa Nova rhythm and layers of interwoven hooks, it is a song that easily gets stuck in the head and makes you want to move—yet it also rewards multiple listens with its sophisticated syncopation and complex rhythm arrangement ("Music is like tapestry," Jackson once said. "It's different layers, it's weaving in and out, and if you look at it in layers you understand it better.")
For Forger, working on the track triggered memories of a simpler time in Jackson's turbulent career: "It just brought all the feelings back of what it was like in that era. Michael was just this exuberant, happy person. He wanted to challenge the world and make wonderful, great music."
What was Forger's goal in resurrecting the track?
"Just to make it authentic. Something Michael would enjoy and be proud of. It's got his charm and energy. If people appreciate it and enjoy it for what it is then I'll feel great. All I want it to be is enjoyed for the simple thing that it is."
WHAT IS YOUR GREATEST LESSON LEARNED?

'CAUSE THIS IS THRILLER, THRILLER NIGHT
DRESSING MICHAEL JACKSON




When you walk through the studio doors to prepare to film, you check your identity at the door. I was no longer Michael Bush. I was “wardrobe.” In the business, you are summoned by your job description. If your job is hair someone shouts, “Hair,” and if your job is makeup, then you’ll hear another yell for “Makeup!” And, like a dog to a whistle, you respond. It’s not personal; there are just too many people to remember by name, and the revolving door of the studio makes it virtually pointless to try to remember a name. But working with Michael was different. By 1991, I had been with him in 6 years, so the time when we were on set for the “Black or White” short film, and Michael called out “Wardrobe!” he caught himself. Michael stood in front of the green screen, leg guards sliding down his leg, with his hand over his mouth.
As I responded to the call and bent down to fix his guards, Michael reached for my arm, utterly mortified at the thought of being so impersonal and profusely apologized, saying, “I’m so sorry, I’m so sorry. I know your name, Bush. I didn’t mean that.” We were very close friends and confidants by this point, thanks to all of the travel time that allowed us personal conversations, as well as Michael’s eagerness to share his feelings with me about his day-to-day activities and long-term goals. I knew he didn’t mean it and couldn’t help but admire his humility. It’s not every day you hear about a person of Michael’s fame taking the focus off of himself and recognizing those who directly or indirectly help make his life work.
“That’s okay, Michael. From now on when on set, we’ll call you The Entertainer. ‘Is the Entertainer ready? Wardrobe to The Entertainer!”
Michael chuckled and gave me that raised eyebrow that said, “Man, you are all right.” But I think inside he liked the idea of being called “The Entertainer.” After all, he was the consummate entertainer, a master of ceremony. And nothing proved this truth better than Michael’s tours.
~ Michael Bush
COLDPLAY - "BILLIE JEAN" COVER
DREAM

SMILEY

ON THE RECORD: JAY-Z
JUST CALL MY NAME








TRUTH IN INNOCENCE

Yet there is a deep truth in innocence. A baby looks in his mother’s eyes, and all he sees is love. As innocence fades away, more complicated things take its place. We think we need to outwit others and scheme to get what we want. We begin to spend a whole lot of energy protecting ourselves. Then life turns into a struggle. People have no choice but to be street-smart. How else can they survive?
When you get right down to it, survival means seeing things the way they really are and responding. It means being open. And that’s what innocence is. It’s simple and trusting like a child, not judgmental and committed to one narrow point of view. If you are locked into a pattern of thinking and responding, your creativity gets blocked. You miss the freshness and magic of the moment. Learn to be innocent again, and that freshness never fades.
DAGENS BILD

BEATBOXING AND SINGING SPEECHLESS
P.Y.T (PRETTY YOUNG THING) DEMO
DÖMS FÖR JACKSON-STÖLD

Förutom den villkorliga domen måste de båda männen avtjäna samhällstjänst i 100 timmar.
Källa: SVD. Tack för tipset, Madeleine!
Rätt åt Sony, för flera av låtarna är det inte ens Michael Jackson som sjunger! Läs mer här. Kan inte fatta hur ett skivbolag kan göra något sådant. De är bara giriga efter pengar... *Suck*
INTRO

SPEED DEMON
;)

WHO YOU ARE

NÄR AKON TRÄFFADE MJ
SVAREN








DAGENS BILD

NÄR AKON TRÄFFADE MJ
MADONNAS TAL
AKON <3
FRÅGESTUND!

SEXIG
ESCAPISM

TODAY IN HISTORY

HEARTBEAT

"WHY DO YOU WANT TO FORGET?"


TILLFÄLLIG HEADER

VISSTE NI?

~ QUINCY JONES

DAGENS BILD

JUSTIN TIMBERLAKE OCH PHARELL WILLIAMS
GOLDEN TEMPLE
