20 Things You Didn’t Know About Michael Jackson

Sources: Rant Lifestyle – By Nancy Rump | Edited By – All Things Michael

Michael Jackson broke musical barriers, countless world records and essentially the mold when it came to living an unique life. Let’s take a look at 20 things that make his legacy truly off the wall.

1. Jackson cast real gang members in his videos

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In the video for 1987’s ‘The Way You Make Me Feel,’ real members of the Crips gang were used as extras. Earlier in the decade, Jackson cast about 80 members of Los Angeles’ rival Crips and Bloods gangs for ‘Beat It,’ to foster peace between them and add authenticity to the production, which was filmed on Skid Row.

2. Vincent Price’s ‘Thriller’ rap includes a lost verse

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The horror movie legend’s spoken-word portion of the song included this cut verse: “The demons squeal in sheer delight/It’s you they spy, so plump, so right/For though the groove is hard to beat/Yet still you stand with frozen feet/You try to run, you try to scream/But no more sun you’ll ever see/For evil reaches from the crypt/To crush you in its icy grip.” It also originally ended with Price laughing maniacally and saying, “Can you dig it?”

3. Jackson wasn’t allowed to sing when he guest-starred on ‘The Simpsons’

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He provided the voice of Leon Kompowsky, a mental patient who believes he’s the King of Pop, for 1991’s ‘Stark Raving Dad’ episode, but his record company wouldn’t allow him to sing the birthday song to Lisa. Jackson remedied that by hand-picking Kipp Lennon, a founding member of the folk band Venice, as his vocal stand-in.

4. Jackson was supposed to be at the Twin Towers the day of the terrorist attacks

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Jermaine Jackson said his brother was scheduled for appointments at the World Trade Center on Sept. 11, 2001, but as a longtime suffer of sleep deprivation, the singer overslept that morning. Jackson was supposed to put a watch in a bank vault, but failed to wake up early after talking to his mother, Katherine, until 3 a.m.

5. Sonic the Hedgehog provided instrumental roots for ‘Stranger in Moscow’

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The lyrics of the R&B ballad, originally written as a poem, were penned by Jackson in 1993 during his Dangerous World Tour stop in Moscow. An instrumental theme written by the singer and his tour keyboardist, Brad Buxer, for the 1994 video game ‘Sonic the Hedgehog 3’ served as the basis for the track’s musical score.

6. A New Jersey school banned students from wearing Jackson’s signature white glove

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In March 1984, shortly after Jackson dominated the Grammy Awards, Bound Brook High School gained national attention for banning students from wearing imitations of the singer’s sequined, shiny white glove. Officials said the glove interfered with typing, gym and operating machine shop equipment.

7. Jackson was trained by ‘The Incredible Hulk’

Actor Lou Ferrigno, TV’s ‘Incredible Hulk,’ was a longtime friend of Jackson’s and had trained him during his career. He was training Jackson prior to the singer’s sudden death in 2009 in anticipation of the upcoming ‘This Is It’ concert series scheduled at the O2 Arena in London.

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8. Jackson convinced Queen to release ‘Another One Bites The Dust’ as a single

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Freddie Mercury and his bandmates never thought the song would be a hit, but Jackson came to them after a show on the Game Tour and told them they were mad if they didn’t release it. It sold over seven million copies and became the Queen’s most successful single.

9. Jackson’s landmark videos from ‘Thriller’ revolutionized music video budgets

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In 1983, following the November ’82 album release of ‘Thriller,’ Jackson filmed three landmark videos all within approximately three months of each other. The budget for ‘Billie Jean’ was $250,000, paid by Epic Records. Five weeks later, ‘Beat It’ was filmed for $150,000, paid out of Jackson’s own pocket. Later, ‘Thriller’ was filmed for an estimated $500,000 (rumored $1 million), the highest budget ever for a music video at that time.

10. Shamone has meaning, in more ways than one

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The word “shamone” is slang for “come on.” When Jackson used it in ‘Bad,’ he was paying tribute to its inventor, iconic soul-gospel singer Mavis Staples. Staples used the word when performing the 1972 classic ‘I’ll Take You There,’ a No. 1 single from her family band, The Staple Singers.

11. Annie in the song ‘Smooth Criminal’ is more of a what than a who

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Jackson’s inspiration for the lyrics, “So, Annie, are you okay?/Are you okay Annie?” was a CPR dummy from a first-aid class he took. Laerdal’s Little Anne dolls, often nicknamed Annie, are used to teach CPR. Before administering CPR, you’re required to check to see if Annie is conscious by asking her, “Annie, are you OK?”

12. He created his speaking voice, choosing to speak the way he primarily sang

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Jackson was a high tenor with a three-and-a-half octave vocal range. He had a baritone speaking voice, but chose to sing and speak mostly in tenor only.

13. Spike Lee, Martin Scorsese and other famous directors worked with Jackson

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Scorsese directed ‘Bad,’ which featured a young Wesley Snipes. John Landis (‘An American Werewolf in London’) directed ‘Thriller’ and ‘Black or White.’ Fashion photographer Herb Ritts directed ‘In The Closet.’ David Fincher (‘Fight Club,’ ‘Gone Girl’) directed ‘Who Is It,’ and John Singleton (‘Boyz N The Hood’) directed ‘Remember The Time.’

14. Jackson never filmed a music video, according to him

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The singer wouldn’t allow anyone associated with the production of his music videos to call them “videos.” Jackson referred to each of his productions as a “short film,” of which there are over 40, most running an average of five minutes each. Many run 10 minutes or more. A collection can be seen on the DVD box set ‘Michael Jackson’s Vision.’

15. Two music videos were filmed for the song ‘The Don’t Care About Us’’

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For the first time in his career, Jackson made a second music video for a single. The first shows him singing and dancing while surrounded by onlookers in Brazil’s Salvador and Rio de Janeiro. The second shows him in a prison with cellmates, and contains real footage of human rights abuses. Spike Lee directed both videos.

16. Jackson (sort of) let Spike Lee pick his own music video to direct

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Jackson initially asked Lee pick any song off ‘HIStory’ to direct as a music video prior to the album’s 1995 release. Lee picked ‘Stranger in Moscow,’ but Jackson wanted him to do the lyrically-controversial ‘They Don’t Care About Us.’ Lee obliged and suggested they film in Brazil, where officials unsuccessfully tried to shut down production, fearing images of poverty would affect tourism and their chances of hosting the 2004 Olympics.

17. ‘Ghosts’ is the longest music video to date

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In 1996, Jackson teamed with acclaimed horror novelist Stephen King to pen the long-form music video ‘Ghosts.’ The 40-minute video was screened in theaters as a short film alongside the movie adaptation of King’s ‘Thinner.’ In it, Jackson plays several roles. The video also earned him the 1997 Bob Fosse Award for best choreography in a music video.

18. He holds the biggest recording contract in history

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Jackson’s estate signed a $250 million deal with Sony Music nine months after his death. It is said to include a back catalog of material spanning his 40-year career such as outtakes, unreleased material from the ‘Off The Wall,’ ‘Thriller’ and ‘Bad’ studio sessions, and more than 100 unreleased songs.

19. He earns more than any other deceased musician

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In 2010, one year after his death, Jackson took the top slot on Forbes’ annual list with earnings of $275 million, more than the rest of the top 10 combined. He’s held the position every year since, this year earning $140 million. Elvis Presley was second with $55 million. Bob Marley was third with $20 million. The honor also earned him a spot in the Guinness World Records book.

20. His ‘Billie Jean’ music video broke barriers on MTV

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The video wasn’t the first aired on the music channel by a black artist, but the popularity and heavy rotation of ‘Billie Jean’ paved the way for genres like funk, R&B, and later rap to be added to the channel’s then mostly rock-oriented format.

 

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Dancing Raisins And Ed Sullivan

Sources: The Examiner – By John DeTirro | Edited By – All Things Michael

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Today in music history, the song that made the dancing raisins become famous was a number one hit for Marvin Gaye. The year was 1968 and Marvin Gaye had his first U.S. No1 single with “I Heard It Through The Grapevine”. This became a five week run at the top of the Billboard Chart. It was Marvin’s 15th so hit. But it was not Marvin Gaye who originally wrote and performed the song. Written by Norman Whitfield and Barrett Strong in 1966, the single was first recorded by Smokey Robinson & the Miracles as well as Gladys Knight & the Pips. The song went on to become a number one hit on television as well. The California Raisins took over the television in the early 80’s as the number one commercial and award winning nominations for commercials. The song “I Heard It Through The Grapevine” helped skyrocket this commercial to the top of all charts.

Ed Sullivan made history in 1969 on December 14th as he introduced The Jackson Five to television. Young Michael Jackson at the age of 10 became the most famous Jackson of all time. Michael Jackson stole the show with his little boy charm and smile. Michael went on tho have a fantastic and lucrative career as a performer.

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Guinness World Records Celebrate ‘Thriller’

Sources: MJWN | All Things Michael

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To commemorate 60 years of the Guinness World Records, a series of short films has been released celebrating some of the most iconic records that have been documented over the past six decades.

From the world of popular music, GWR take a look back at the best-selling album of all time, Michael Jackson’s 1982 ‘Thriller’ album. In 2006 Michael was given a certificate from GWR at the World Music Awards in London to commemorate the album selling over 104 million copies globally. The album continues to sell strongly and has held on to the top spot in the record books for 30 years!

Here’s the video Guinness World Records created, which also features MJWN’s Matt Blank:

Watch more videos from the Guinness World Records YouTube Channel, to see other record breakers.

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This Week in Music History: Black Or White Enters Seventh Week At #1

Sources: NJ1015 – By Big Joe Henry | All Things Michael

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December 6th, 1966The Beatles record Christmas greetings for two pirate radio stations. Radio Caroline and Radio London, both stations are broadcasting from ships anchored just off the British coastline.

December 7th, 1991Michael Jackson starts his seven week run at No.1 on the singles chart with ‘Black Or White’, his 12th solo No.1, also a No.1 in the UK. It was the fastest chart topper since The Beatles’ ‘Get Back,’ and made Jackson the first artist to have No.1 hits in the 70′s, 80′s and 90′s.

December 8th, 1963Frank Sinatra’s son was kidnapped at gunpoint from a hotel in Lake Tahoe. He was released a couple days later after Frank payed the $240,000 ransom demanded by the kidnappers, who were later captured, and sentenced to long prison terms. In order to communicate with the kidnappers via a payphone the senior Sinatra carried a roll of dimes with him throughout this ordeal, which became a lifetime habit, he is said to have been buried with a roll of dimes.

December 9th,1967 – Police arrest Jim Morrison as he performs onstage in New Haven, Conn. It’s the culmination of a wild night for the Lizard King, who clashed with a cop trying to hassle him and his lady before the gig. The cop in return maced him. When Morrison began complaining about his treatment by the New Haven police to the crowd, the house lights were turned up and Morrison was busted for breaching the peace.

December 10th, 1967Otis Redding is killed in a plane crash, aged 26. Redding and his band had made an appearance in Cleveland, Ohio on the local ‘Upbeat’ television show the previous day. The plane carrying Redding and his band crashed into icy waters of Lake Monoma near Madison. Redding was killed in the crash along with members from the The Bar-Kays, Jimmy King, Ron Caldwell, Phalin Jones and Carl Cunningham. Trumpet player Ben Cauley was the only person to survive the crash.

December 11th, 1988 – Days after the death of the great Roy Orbison, Don Henley, Tom Petty, and Graham Nash perform a concert in his honor at the Wiltern Theatre in LA.

December 12th, 1970Smokey Robinson and the Miracles start a two week run at No.1 on the singles chart with ‘Tears Of A Clown’. It was the group’s 26th Top 40 hit and first No.1. The song was written by Stevie Wonder in 1966, and his producer Hank Cosby, but Smokey Robinson wrote the lyrics.

Read More: This Week in Music History

The Legendary Thriller Turns 31

Sources: Lebanon Democrat – By Xavier Smith | All Things Michael

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Music videos are different from what they were 30 years ago, I assume. Now it’s very rare to find a music video that matches the lyrics to a song, or one that excites your brain because of the creativity behind the video.

This is why Michael Jackson’s “Thriller” video is so special. On Dec. 2, 1983, MTV premiered the video that would revolutionize music videos and the entertainment world.

First, the video features Michael Jackson, which is enough to make any music video entertaining. However, unlike the “Billie Jean” video, which was also released in 1983, Jackson tapped John Landis, a film director, to direct the video. It was an unprecedented move.

The 13-minute short film is one of my top music videos of all-time for many reasons. I remember watching the video when I was younger with the lights on because the video scared me. The makeup and costumes made the music video seem like a theatrical horror movie.

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The voiceovers boosted the horror effect. The eerie growl of, “darkness falls across the land. Midnight hour is close at hand,” had me on the edge of the couch wondering if Jackson and Ola Ray would make it past the zombies.

However, Jackson flipped the script and transformed into a zombie, and starting at 8:28, he and the 1983 Walking Dead zombies began one of the most memorable dance routines ever.

If you’ve never tried the routine (kudos to anyone who can complete the routine flawlessly), I’m sure you can recognize or remember it. It’s so popular that more than 13,000 people performed the routine in Mexico City in 2009.

I’ve never attended any event and somebody did not do a couple of signature moves from the music video when the song was played. I can’t think of any other song that a dance is so closely tied to that isn’t a dance intended song.

The video is almost opposite from most videos shown on TV nowadays. Many videos chop scenes and rapidly cut back and forth between them –not Thriller. The video flows from one scene to the next, letting the concept unfold from beginning to end. From the movie theatre to the house at the end, the viewer is engaged throughout every plot twist. Michael Jackson turns into werewolf, zombie and back into himself and I still don’t know if it was Ray’s dream or actuality.

The video cost nearly $1 million to make and the way in which Jackson and Landis decided to cover the costs was groundbreaking, as well. “The Making of Michael Jackson’s Thriller” has sold nearly 10 million videocassettes and DVD’s. The behind the scenes look at production of “Thriller” was the start of behind the scene’s craze that is popular now.

“Thriller” was the first music video inducted into the Library of Congress National Film Registry in 2009, which highlights its popularity.

I’m all for proclaiming Dec. 2 as National Thriller Day.

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On This Day In 1983, Michael Jackson’s ‘Thriller’ Premiered On MTV

Sources: Billboard – By Leslie Richlin | All Things Michael

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Thirty-one years ago today (Dec. 2), MTV aired the full 13-minute version ofMichael Jackson‘s “Thriller” music video for the first time.

In 1984 the single peaked at No. 4 on the Billboard Hot 100 and at No. 3 on Hot R&B/Hip-Hop Songs. Following Jackson’s death in 2009, the song returned to Billboard’s tallies, climbing to No. 2 on Hot Digital Songs. The same year, the video was inducted into the National Film Registry of the Library of Congress — the first music video to ever receive this honor — for being “culturally, historically or aesthetically” significant.

“Thriller” is also the is the most-downloaded Halloween-themed hit of all-time, according to data from Nielsen SoundScan.

Today, on the anniversary of its premiere, we revisit the clip regarded as the most influential pop music video of all time.

The John Landis-directed video opens with a disclaimer stating that by creating the music video, Jackson in no way endorsed supernatural practices — which includes the belief that humans could ever transform into werewolves. Glad we got that out of the way! Fifteen seconds in, the tone is set with a spooky title card and the sound of wind rustling and heavy breathing in the background.

Our story begins in the ’50s. Everything is going swell for Jackson and his girl (the ring makes it official), but their happiness is cut short with the appearance of a full moon, when we learn Jackson is “not like other guys” — and we believe him when one heck of a transformation takes place. “Go away!!!”

But then, wait — it was all just a scary movie. Jackson is amused but his girlfriend is disturbed enough to walk out. “It’s only a movie,” says Jackson. 
“It’s not funny,” says girlfriend.

Note: Jackson is not at fault here, since clearly the movie wasn’t billed as a comedy.

At 4:13 in, “Thriller” (the song) begins with a shot of Thriller (the movie) starring Vincent Price on the billing of the theater.

This is where Jackson decides his girlfriend isn’t spooked enough and proceeds to fill her head with a real ghost story. “It’s close to midnight and something evil’s lurking in the dark…”

Fittingly, the couple walks past a graveyard, where things begin to liven up.

“The foulest stench is in the air. The funk of 40,000 years. And grisly ghouls from every tomb, are closing in to seal your doom…”

Next they come face to face with these grisly ghouls and are surrounded by the walking dead. Well, if you can’t beat ‘em, join ‘em, right? To his girlfriend’s horror, Jackson becomes a zombie, too.

And then ladies and gentleman, we have reached the climax of the video — the Thriller dance! At this point, I wish I didn’t immediately think of Jennifer Garner in13 Going On 30.

As quickly as his second transformation began, Jackson returns back to his natural state, but at this point, he’s already proven his talent can shine through any amount of make-up (even the full-blown zombie kind).

As Jackson’s girlfriend flees the scene, she runs into an abandoned house and attempts to board herself up as walkers break through windows and rise up through the floor. Basically, your worst nightmare is coming true. And as the zombies reach out to eat you…

“What’s the problem?” says Jackson.

Thank goodness, it was all a dream. Or was it? Cue Vincent Price’s evil laugh.

 

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Douglas Kirkland: Michael Jackson: The Making of “Thriller” Four Days/1983

Sources: Glitterati Incorporated | All Things Michael

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Michael Jackson’s “Thriller” made music history as MTV’s first world premiere video when the thirteen-minute epic was released on December 2, 1983. Directed by John Landis, who co-wrote the screenplay with Michael Jackson, “Thriller” was budgeted at half a million dollars in production. It has sold 9 million units to date. In 2009, this landmark video was inducted into the National Film Registry of the Library of Congress, the first music video ever to receive this honor.

With exclusive access to the set of “Thriller”, photographer Douglas Kirkland documented Jackson in all his glory. Michael Jackson: The Making of “Thriller”: 4 Days/1983 (Glitterati Incorporated) is an exquisite tribute to the King of Pop. With a hologram cover of Jackson’s remarkable transformation from pop star into dark zombie, the book features 200 never-before-seen photographs. We witness the grandeur and the glory of this production that has made Jackson one of the most beloved artists of our age.

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Douglas Kirkland shares his memories of the historic video shoot, providing an incredible firsthand account of the man and the music that changed the world. In an interview with Nancy Griffin, published in the book, Kirkland recalls, “I met Michael Jackson for the first time on the night they were shooting at the Palace Theater, when I was taken to meet him in his trailer. Frankly I was somewhat intimidated at first. I’ve been around a lot of people, but I had no idea what kind of individual he would be. He already had so much myth surrounding him. I wondered if he was going to be strange or odd—who was this person I was going to be with, and how could I best do my job?

“With the power Michael Jackson had demonstrated on stage, and the aura that had been created around him, I expected him to behave like an assured giant in dealing with a LIFE magazine photographer and journalist.

“What I found was somebody who wasn’t remotely threatening or intimidating. In fact, he was disarming, and very responsive. He made me feel at home. He had a small voice and smiled easily, not a big smile but a small smile. A very light handshake as I recall, not a firm, ‘I’m in charge’ kind of handshake at all. Everything about him made me think that he was a gentle person.

“As a person taking pictures, I quickly try to drift into the background; the hellos are just to warm everything up. It worked because he was very receptive.

“When I went into Michael’s trailer he was having his make-up done, and he was actually ready before the crew was. He came out and was sitting outside the theater in a director’s chair talking to everyone. They had a video pinball machine there, and I have pictures of him playing with it. The eternal child, Michael was always friendly and playful between takes. He would hang out with the crew and joke with them, rather than hide in his dressing room.

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“John Landis and everyone involved with ‘Thriller’ were very pleased that LIFE was there. I didn’t get the impression that Michael knew a great deal about photography, and he didn’t say anything about it. I heard that he collected antique cameras, but he didn’t know what my 300mm f2.8 lens was, what it represented, or why I would have that piece of equipment. It’s what I used to take interesting pictures of him in close-up from a distance.

“I took pictures with a long lens when he was sitting in his chair. I had a flash on him because he was in the dark. There’s one of him in profile biting his tongue, and a light in the distance that forms a kind of bubble behind his face. I was shooting with 64 Kodakchrome film—everything was 3mm, it was a pre-digital film—which sadly is no longer made.

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“I’ve photographed a lot of people, and seen some geniuses. Peter Sellers was a genius: he had a way of knowing what buttons to press, what to do to create an impression, make people laugh and enjoy themselves. Michael wasn’t a comedian, but he had a comparable quality of knowing how to get the most out of a performance. People who aren’t in or around show business don’t really the spontaneity they see has to be carefully created. Michael could ‘light up’ for people when he was going before the lens, and really project a personality and a joy or whatever was necessary.

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“When he stepped into the motion picture lights and was preparing to perform—that’s when his star quality could really be seen. In those minutes just before shooting, I was watching and following him with my long lens. This rather shy individual suddenly radiated confidence. He projected this glorious smile, which could warm anybody up. My favorite pictures of him have this smile. That was Michael being Michael, and that’s when I made my best pictures. He was in this beautiful lighting, the motion picture tungsten lights, so I used a fast Ektachrome 160 tungsten film. TIME magazine commissioned Andy Warhol to interpret one of those portraits for its cover. And years later I put one in book, Freeze Frame (Glitterati Incorporated).

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“Michael got together with John Landis and they created ‘Thriller’ and had such fun with it. It was landmark; it established what a music video could be—more than someone just standing there playing a guitar. It was telling a story, like a small feature film. At that time the narrative video hadn’t been invented, and everybody copied it afterwards and it changed music videos forever.

“This was such an innovative period for Michael, it was tremendously exciting. He has broken away from The Jackson and had taken control of his career. He looked so great, he had such extraordinary ability, and watching him perform in ‘Thriller’ or when he unveiled the Moonwalk at the Motown 25 anniversary show, I felt that he wanted to explode, and to do his best. He was still searching for who he was as a performer, and what he had reached for he accomplished, and did it brilliantly.”

Links
Photographs from Michael Jackson: The Making of “Thriller” Four Days/1983 by Douglas Kirkland

 

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David Crumpler’s Review Of The Jacksons Victory Tour Show At The Gator Bowl – Final Part

Sources: Jacksonville.com | Edited By – All Things Michael

This is a review of the Jacksons’ Victory Tour show at the Gator Bowl that ran in the Times-Union.

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Michael Jackson live and in person. Is it possible for this performer to live up to the hype he’s been given in the past year?

The answer is a larger-than-life “Yes,” and the crowd at the Gator Bowl last night for the final of three Jacksons concerts was awed by every move he made.

No matter that Jackson has been the subject of newspaper, magazine and music trade-industry stories since we can remember, nor that his videos have dominated Music Television, nor that his songs dominate the airwaves. And let’s not even talk about his commercials and clothes.

The crowd greeted him as if he had just popped into its consciousness, and whether it was the old Jackson Five songs, such as “I Want You Back,” or the recent songs from his album “Thriller,” this 25-year-old performer could do no wrong.

It’s billed as the Jacksons’ Victory Tour, and the show featured brothers Jermaine, Marlon, Randy and Tito. Still, it was Michael’s night, and the show does very little to encourage interest in the new “Victory” album. It’s hard to imagine what it would have been like without him, even though the others, especially Jermaine in his two solo numbers, showed they are exciting, capable performers.

The audience itself was electric with anticipation at the show’s opening. They seemed so worked up at the prospect of seeing Michael on stage that they didn’t appear to mind the stupid Kreeton scenario that opens the concert.

Other reviews have tried and failed to make much sense of this, and understandably so. I still don’t know what the opening is supposed to mean, or why it’s included.

These rock ‘n’ roll blobs, which are probably what Muppets would look like on the Day After, come prancing on stage, and this voice comes booming over the sound system telling us that whoever can pull a sword from a stone is the one who can conquer the Kreetons.

So a few people try, but it takes Randy Jackson before we find a victor. With every lighting trick and poof of smoke, the crowd obviously expected Michael to appear, but they had to wait until the Kreetons get zapped before he began his first number, “Wanna Be Startin’ Somethin’.”

Michael’s domination of the concert showed why he’s the brother the crowd really came to see. He’s a performer with a real sense of showmanship. Though most every move and spin could be anticipated (unless you’ve never seen one of his music videos, nor the army of imitators), spectators seemed all the more thrilled that they were seeing all this in person.

As a performer, Michael certainly has to be one of the most dynamic in recent history. Even with slower songs, such as “She’s Out of My Life,” he gives the impression that his body can’t quite hold all the energy inside him. By the time he gets around to “Billie Jean” near the concert’s end, he seemingly has every adult, teenager and child in the palm of his hand.

The set, lighting and laser show are overwhelming, and some might say suffer from overproduction. It’s part Broadway, part science fiction and part Disney World, designed to dazzle. And it does — even in a structure as large as the Gator Bowl.

The large video screen atop the set allowed the audience to see the magic moves of Michael Jackson and his brothers close up — you could, at times, almost count the beads of sweat on foreheads — and the camera allowed for a few very intimate shots of the lean, boyish-girlish Michael that sent the crowd into hysterical approval.

Was it worth the $30 price of admission? All things are relative. Let’s leave it at that. The Jacksons worked hard for your money.

 

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