Som ni kanske vet så är kortfilmen Ghosts skriven av författaren Stephen King och Michael, och om ni klickar här kan ni läsa en artikel skriven av Stephen om Michael.

 

Tack för tipset Isabelle! <3 Ni kan läsa vad Uri Geller skrev här.

“One morning MJ came in with a new song he had written overnight. We called in a guitar player, and Michael sang every note of every chord to him. “here’s the first chord first note, second note, third note. Here’s the second chord first note, second note, third note”, etc., etc. We then witnessed him giving the most heartfelt and profound vocal performance, live in the control room through an SM57. He would sing us an entire string arrangement, every part. Steve Porcaro once told me he witnessed MJ doing that with the string section in the room. Had it all in his head, harmony and everything. Not just little eight bar loop ideas. he would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills.” ~ Robmix

"I took (these) photos on a train traveling from London to Exeter where he gave a very eloquent speech on Aids. He was an incredibly nice person and he told a story about when he wrote the song "We are the World". He believed the song was a gift from God since it came to him in a flash, whereas it usually took him a few re-writes. I was privileged to get to meet him." ~ Patti Boulaye

“Corey described Jackson as being someone who would give you the shirt off his back if you asked for it, ‘If you admired a pair of his famous Ray-Bans, he might pluck them from his head and give them to you, to keep.’

 

He would say that for a superstar Michael wasn’t as hard to get a hold of as you might imagine, ‘He didn’t have his personal assistant answer his private line. He didn’t have some sort of elaborate screening process. What he had was a great sense of humor. Michael had many voices. One of his favorites was an imitation of what sounded like an uptight, conservative Caucasian; not unlike the way comedian Dave Chappelle sounds when, during some of stand-up routines, he pretends to be white. Sometimes Michael answered the phone that way. If you didn’t know this game and you asked to speak to Michael, he might say, ‘There’s no Michael Jackson here. I don’t know what you’re talking about, mister.’ But for those on the inside, you’d recognize this voice and introduce yourself accordingly. Then he would immediately switch back into that familiar, high-pitched falsetto. ‘Oh, hi, Corey,’ he’d croon. ‘How are you?’ I figured it was a clever way to avoid talking to people he didn’t want to.

 

I don’t know a lot of things that happened in the years I wasn’t around, but all I can tell you is remarking about the person that I know, the person that was my close friend, that was like a brother to me. He was not that guy.

 

He taught me so many things. He taught me about loving animals, vegetarianism, animal rights, environmental issues, caring about your fans — how to treat your fans. The fact that the moment you meet your fans may just be a fleeting moment to you and sometimes you’re in the middle of things you’ve got to take time for, but to them, they’re going to remember this moment for the rest of their life, so how important it is for that exchange and how to treat them. He was the big brother I never had, honestly.

 

The fact that when I did get arrested for drug possession in 1990, even though his image was still squeaky clean and by all rights he could have stepped aside and moved me back, he didn’t.

 

He called me. I got that message on my answering machine, which said, ‘Hi Corey, it’s Michael. Is everything ok? Call me if you need me.’ You know, he was a friend. He was supportive. And thank God for that.

 

That really showed me the value of what type of person he was."

 

~ Corey Feldman (beskriver sin vänskap med Michael)

 

Hahaha! Denna historia fick mig att skratta bra!

 

Vi alla här vet nog att han hade en mörkare röst, man har ju hört den flera gånger! Jag tror att Michael var väldigt mån om hur han presenterade sig själv, i syfte att "vara så som man lär ut" i högsta grad, så att säga. Han älskade och trodde ju på alla sina "believes" och ville framföra de på det bästa sättet – vilket är att själv agera som så. Det är klart han släppte lös utanför strålkastarljuset och hade en stor humor. Han var ju mänsklig trots allt. Ingen direkt shocker. Men det betyder ju inte att han spelade en annan person, en roll, i strålkastarljuset! Han visade upp den sidan av sig själv han ville ha sagt till världen, helt enkelt. Alla gör ju det mer eller mindre!

 

Jag tror också att "denna sida" han visade upp kom kanske naturligare än hos många andra, då han fick lära sig av Motown hur man skulle bete sig, vad man skulle säga, etc., på scen eller i intervjuer när han var liten (de hade ju sådana lektioner). Han fick lära sig att man skulle alltid vara vänlig och respektfull gällande affärer, och detta hängde säkerligen med hela livet.

 

En av de bästa videorna som existerar är ju när Michael dansar i bilen... Klicka här, om ni inte sett den. Och detta, att R. Kelly har kommenterat den videon – kul!

“She was such a beautiful light in this world… especially in Michael’s world. I will never forget how much she made him laugh. They were such a joy to be around. The most beautiful memories of Elizabeth I have are all with Michael. I can hear Michael squealing with delight as he see’s Elizabeth approaching in the white light.. They run towards each other and embrace so tight… The thought of this kind of makes Elizabeth’s passing feel alright, knowing Michael will now be with his dear friend laughing and joking every night. Awh, what a beautiful thought & sight knowing Michael & Elizabeth will be togther forever starting tonight.” ~ Karen Faye

"He's a brilliant actor and dancer, probably one of the rarest entertainers I have ever worked with. His talent is awesome." ~ Sidney Lumet

"This was a lovely man. This man was sensational. He's a love to everyone, you know, a love to everyone. Everyone appreciated the man's generosity. Just a fabolous man, a fabolous father to his children." ~ Kai Chase (Michaels personliga kock)

“We were in Romania on the “Dangerous World Tour.” At one point in the show, all of the music would stop, and everyone on stage would freeze. One night I froze bent at the hip with my bottom in the air. Next thing I knew, MJ stood behind me and gave me one good spank on the bottom. I popped up like a jack-in-the-box! He knew I wasn’t expecting that. The look of shock on my face was priceless as he giggled and danced away. The next time I saw him, he asked me how I felt about it. My response? “Why didn’t you use BOTH hands?!” ¨~ Siedah Garret

 

"Here you go: I’ve worked with Michael Jackson in his studio on and off for over 17 years – that covers most of the time that everyone seems to be fixating upon.

 

Michael has vitiligo. I’ve seen it with my own eyes, along with the unhappiness it has caused him both privately and publicly. Many great artists are reserved off stage, but for Michael this was compounded by the media and public obsession over his appearance. He covered much of this up with make-up – and for many years hid behind a screen of uncomfortable and impractical panstick.

 

He’s tried to learn to be accepting that people don’t believe the transformation he’s made over the years, but all this ridiculous argument over it makes it incredibly hard for him. I see him a couple of times a year, usually just for a day or so, and even now, all the speculation and prying offends and upsets him. He is one of the most loving, kind and gentle souls I’ve ever met, and has possibly the most stoic and forgiving nature in the light of such awful injustice, slander and bigotry. He’s not without faults, and has to be one of the most exacting professionals I’ll ever have the fortune to work with. Most of the time, he ignores what people say, and in the last few years he’s gone past caring what people think. He isn’t on earth to justify how he looks – but the public seem to assume that he must account for the changes he made to his appearance, including those that he couldn’t control. I can tell you: I’ve been in a pool with him: before he had depigmentation therapy, he was blotchy all over. Now, he’s basically so white that he burns at even slight exposure to the sun. This was a choice he made: makeup or treatment, and having the money, he got the treatment. I don’t blame him – had I this condition, and the funds, I would have done it too.

 

And let me tell you: when you get to know him, he’s a normal, easy-going (out of the studio!) guy, with a great sense of humour and is most definitely a BLACK man.”

 

~ Leroy

 

The word had spread. The people waited. Rock's reigning monarch and the Boss - Michael Jackson and Bruce Springsteen - were about to meet for the first time, and 25 members and guests of the Jackson entourage had wedged into the reception room of Jackson's suite in Philadelphia to gawk. It felt like history.

 

Springsteen, 35, entered first, wearing boots, faded jeans, a short-sleeved shirt rolled up to free his biceps, stubble on his chin and a red kerchief knotted around his neck, as if his body needed a tourniquet to cut off all that energy on nonworking days. Then came Jackson, 26, fresh from a postconcert shower. He wore a pink button-down shirt over a white T-shirt, dusty rose pants so long they accordioned at the bottom and blue slippers with his initials stitched in gold. He seemed like a friendly, rich little schoolboy curious to know something about the world of a working man.

 

A space cleared around them, and both remained standing.

 

"Hi," said Jackson, extending his hand. "I just read a story about you in PEOPLE magazine. It was very good."

 

"Oh, thanks," grinned Springsteen. "I really enjoyed seeing your show tonight."

 

"I hear you play long concerts. How long do you go?"

 

"Oh, about three hours."

 

"How do you do it? Do you take a break?"

 

"Yeah, about a half hour. It works out pretty good, I guess."

 

A camera clicked, eyes strained, ears tilted. Jackson's eyes flitted about the room, never pausing long enough to see. He seemed anxious to think of another question, the way he seemed anxious onstage at the end of a song to sing another song. Springsteen sucked on an ice cube.

 

"Did you write that song Fire [sung by the Pointer Sisters]?" Jackson asked.

 

"Yeah, that was a quick one. Only took me about 10 minutes. But I don't write when I'm on the road. Can you?"

 

"No," said Jackson, "There's too much going on."

 

His hands fidgeted for a home, folding in front of him, then connection behind him, then looping over the unused belt loops of his pants. A reggae song came on the television nearby, and he started a dance step, then stopped himself.

 

Couldn't he simply ask Springsteen back into his empty bedroom so they could talk like two normal human beings, maybe discover that they both loved watching reruns of The Honeymooners? Or was the anxiety of intimacy perhaps greater for him than the anxiety of holding center stage?

 

During the lull Michael seemed to be looking for a prop. "My secretary, Shari, wants you for Christmas," he said, putting his arm around her waist and pulling her between them.

 

"What's wrong with Thanksgiving?" laughed Springsteen, as the three posed for Jackson's personal photographer.

 

"Do you talk to people during your concerts?" Jackson asked. "I read that you do."

 

"Yeah, I tell stories. People like that, I've learned. They like to hear your voice do something besides singing. They go wild when you just…talk."

 

"Oh, I could never do that. It feels like people are learning something about you they shouldn't know."

 

"I kinda know what you mean – the songs are a protection. But I remember once I played for a Vietnam veterans' benefit and I had to go onstage to introduce this guy who was a president or something, and I didn't have my guitar. Man, I was shaking. I realized it was the first time in 15 years I'd been onstage without it, and I've never been so nervous in my life."

 

Jackson's voice grew softer, so no one could hear. "Do you like talking in front of all these people? It feels kind of strange."

 

"Yeah, it is strange, isn't it?"

 

Jackson took a deep breath, then took a small step toward the door. Springsteen's boots remained planted. He broke the pause. "How long did you rehearse for this tour?" he asked.

 

"Oh, one or two months."

 

"There's so many cues in that show."

 

"Yes, there is a lot of technology….We'll finish up in December. Then we're going to do a movie."

 

"Yeah, I heard about that - with Steven Spielberg?"

 

"Yes, as a matter of fact, I just spoke on the phone with him today," Jackson said. "It's not certain just what the movie will be yet, but it will be with him."

 

Pause. Jackson's hands rapped the rhythm of the reggae song on his thighs, his eyes hopping like sparrows.

 

"I read you go right to sleep after you perform. You can't really do that, can you?" Jackson asked.

 

"No, I feel good after a concert, because I feel like I've worked hard. I stay up till about 4. What do you do?"

 

"I watch TV or read," said Jackson. "I can't go to sleep."

 

"Don't you ever go out?" Springsteen asked.

 

"I can't. Too many people would bother me….How did you decide to let PEOPLE magazine do that story on you?"

 

"I just rolled the dice," said Springsteen, blowing on his fist and tossing imaginary dice.

 

"Oh," said Jackson, shaking his head. "I could never trust anyone enough to do that."

 

He took another fleeing scan of the room, his bank of questions emptied. "Well, I think I'm gonna slide on out now," he said quietly. "It was real nice meeting you." He thrust out his hand quickly and walked through the door to another part of the suite.

 

Springsteen lingered for a moment. A little earlier he had seen Jackson do things for more than an hour and a half onstage that appeared almost effortless. But this was something Springsteen seemed more familiar with, 15 minutes of a human being struggling.

 

"You know," he said, spitting an ice cube back into his cup, "He's just a real nice guy."

"I can’t say we were great friends, but in 1991 I decided I wanted to get to know him better. I asked him out to dinner: I said, ‘My treat, I’ll drive, just you and me.’ He agreed and showed up to my house without any bodyguards. We drove to the restaurant in my car. It was dark out, but he was still wearing sunglasses. I said, ‘Michael, I feel like I’m talking to a limousine, do you think you could take off those glasses so I could see your eyes?’ He paused for a moment, then he tossed the glasses out the window, looked at me with a wink and a smile and said, ‘Can you see me now, is that better?’

"In that moment, I could see both his vulnerability and his charm. The rest of the dinner, I was hell-bent on getting him to eat French fries, drink wine, have dessert and say bad words, things he never seemed to allow himself to do. Later, we went back to my house to watch a movie and we sat on the couch like two kids, and somewhere in the middle of the film, his hand snuck over and held mine. It felt like he was looking for a friend more than a romance and I was happy to oblige him. And in that moment he didn’t feel like a superstar, he felt like a human being. We went out a few more times together and then for one reason or another we fell out of touch. Then, the witch hunt began and it seemed like one negative story after the other was coming out about Michael. I felt his pain. I know what it’s like to walk down the street and feel like the whole world has turned against you. I know what it’s like to feel helpless and unable to defend yourself because the roar of the lynch mob is so loud that you are convinced your voice can never be heard."

 

~ Madonna

“Michael was being shown through the hospital by doctors and nurses. They were doing the usual things – greeting children on the wards, giving them presents, spending some time with them. Then, they walked along a corridor between wards and there was a separate room with one child in it. Michael asked why the child was alone and what the room was. The doctors told him it was a quarantine room – that they had to restrict who could go in there because the child was seriously ill and they didn’t know what was wrong with him or whether the boy’s illness was contagious. The doctors carried on walking. Michael hung back, and when they had gone ahead a little, he ducked into the room. All hell broke loose. The doctors and nurses panicked but none of them wanted to follow Michael into the room unprotected. Joe told me that they watched through the window as Michael sat on the bed with the child, spoke to him and kissed him on the forehead. Then Michael just calmly came out of the room and of course the doctors didn’t want to scold him – he was Michael Jackson, after all. But they were clearly anxious. Afterwards Michael’s cinematographer Joe Wilcots asked Michael why he had done it – what on Earth had he been thinking to take what could have been such a serious risk with his own health. Michael replied very simply: “I wanted to do what the child’s mother would have done, if she was here.” He knew no danger would keep a parent from their child. No risk would stop a mother reaching her child and making sure he knew he was loved. This has always epitomised, to me, Michael’s relationship with children. He seemed to feel a parent’s love and a parent’s responsibility for every child in the world." ~ Maria Crawford (om Michaels besök på ett sydafrikanskt barnsjukhus 1997)