Tiger Shroff’s Shoots Michael Jackson Tribute Video

Source: Bollywoodlife.com – By Rukmini Chopra| All Things Michael

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The Heropanti star was spotted shooting for the tribute video in Filmistan studio

Tiger Shroff is an ardent fan of Michael Jackson and the shy lad doesn’t hold back when it comes to expressing his love for the legend.

On June 25, Tiger had tweeted about his plans to come up with a video as a tribute to the Thriller singer, which read “hi guys!!!! just a quick update!! i’m working on my MJ Tribute video and will share the details with you all very soon…”

Looks like the Heropanti fame actor likes to stick to his promises. Jackie Shroff’sbeta was seen shooting for his tribute video in Filmistan studios. Wearing a white vest topped with a black jacket and shoes, Tiger surely came close to almost looking like Mr. Michael Jackson himself! He completed his look with a stylish MJ hat and a shimmering golden glove.

Tiger certainly floored us with his moves in Whistle Baja and added himself to the list of brilliant dancers which already includes the likes of Madhuri Dixit-Nene, Govinda, Shahid Kapoor and Prabhu Deva. The hunk is seen giving us some signature style MJ steps including the famous Moonwalk.

Looking at Tiger’s MJ avatar, one can be convinced that the tribute video will be promising. We wish him all the best!

Read more at Bollywood Life

 

Michael’s Music Genius In Song

Source: The Daily Star | Time | All Things Michael

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From enlisting Eddie Van Halen for a guitar solo to borrowing the refrain “Mama-se, mama-sa, mama-coo-sa” from a Cameroonian saxophonist, Michael Jackson’s very best songs drew from influences far and wide. In remembrance of him on his fifth death anniversary (June 25), Here are the top six examples of the musical genius of the King of Pop.

6. Don’t Stop ‘Til You Get Enough (1979)
This was the first song Jackson had full creative control over as a singer and songwriter, and it proved he was more than just a sweet kid. “Don’t Stop” came out squarely at the end of the disco era, and yet it’s so filled with energy and instruments — trumpet, flugelhorn, electric piano — that it doesn’t sound the least bit dated.

5. Never Can Say Goodbye (1971)
At 12, Michael’s voice is noticeably deeper than on earlier Jackson 5 songs — and deeper than on a lot of his later solo stuff too. In the verse, he ramps up the emotion gradually, easing his way up the scale until he bursts into the chorus, hitting all the high notes with astounding clarity.

4. Billie Jean (1983)
Based on a real-life incident in which a woman accused Jackson of fathering her twins, the song almost didn’t make it onto “Thriller” because Quincy Jones hated the bass line. Thumping and fraught, it feels like the soundtrack to a late-night walk through a bad neighbourhood. It successfully makes Jackson sound dangerous, which is no small feat.

3. I Want You Back (1969)
The effortlessness with which Jackson fuses the influence of Sly Stone and James Brown with his own innocent yelping is part of the appeal, but the whole song flies by with a whimsy and sweetness that was Jackson’s calling card well into his mid-20s. Only a person with the hardest of hearts could hear the chord progression of the Jackson 5′s greatest song and not get up and dance.

2. Man in the Mirror (1988)
Beyond offering a fleeting glimpse of autobiography (“I’m starting with the man in the mirror/ I’m asking him to change his ways”), it’s one of Jackson’s most powerful vocals and accessible social statements, not to mention the best-ever use of a gospel choir in a pop song.

1. Beat It (1983)
Jackson never got much credit for being a pioneer, but his melding of rock and R&B preceded the meeting of Run-DMC and Aerosmith by years. Besides featuring one of the best guitar solos in pop history (provided free of charge by Eddie Van Halen) it’s the best example of Jackson’s ability to bridge moods and genres. It’s tense and spooky, it rocks, and yet you can’t help but to dance to it. It’s Jackson’s best.

 

Read more: http://www.thedailystar.net/entertainment/mjs-best-30554

BEST-SELLING ALBUM COVERS REIMAGINED

Source: Daily Beast | All Things Michael

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In the pop culture world, well-renowned albums have cover art that sometimes become just as timeless as the songs on the record. This contest specifically asked designers to put a new and creative spin to the cover of one of their favorite best- selling albums. DesignCrowd received 87 submissions from around the world, including Michael Jackson’s Thriller, Pink Floyd’s Dark Side of the Moon, and Nirvana’s Nevermind.

The winning submission was U2’s Pop.

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Read more at The Daily Beast

Donny Osmond Set To Release 60th This fall, Tells The Story Behind The Songs

Source: Voices | All Things Michael

National Television Awards - Red Carpet Arrivals

To paraphrase the stage musical that he once starred in, Donny Osmond is indeed wearing a coat of many colors these days. And each of those colors could easily symbolize a chapter of the multifaceted, five-decade career that the 56-year-old has cultivated: successful albums; successful TV variety show; the “best show in Las Vegas” (along with his sister Marie) three-years running; “Dancing with the Stars” champion; a home furnishings line (created with his wife, Debbie); and his 60th album set for release this fall. Talk about staying power.

For the upcoming “The Soundtrack of My Life” album, Osmond can now add “interactive social media app” designer to his colorful resume. The just-launched, completely free Donny Osmond App (available through iTunes and Google Play) allows fans to read the stories behind each of the 15 songs on the album, as well as sample each cut — and we’re talking nearly two minutes’ worth of samplin’.

“The record company thought I was nuts to allow two minutes’ worth of sampling, but I told them, if they like what they hear, they’ll want to buy the album,” Osmond said. “And the app asks for absolutely no permissions; I have no interest in invading people’s cell phones like the rest of the apps out there that invade your phone with permissions. And it absolutely had to be a free app. I’m a HUGE tech geek, so I designed it to be easy to use, extremely simple in design. I turned it over to an engineer for the code and we went through a few incarnations and it’s finally out.”

The first song available through the app is Osmond’s version of Stevie Wonder’s “My Cherie Amour,”  featuring a harmonica solo by Wonder. Starting July 1, and each week after that until the CD’s release, app users will be able to sample two-minutes’ worth of the featured song and read the backstory of how the song relates to Osmond’s life and career.

“This is my 60th album, and that’s really significant to me,” Osmond said. “I’m actually in the Top Three all-time album releases: Zappa has 75, Presley had 78. The Stones have 57. I think that’s quite an accomplishment. But it’s not enough to just release an album these days. I wanted something more for this album because each song on the album played a significant role in my life. I wanted to tell those stories.”

The stories on the app are succinct, but Osmond was happy to elaborate on some of them:

“‘My Cherie Amour’ was the first 45 [record] I ever bought. So I called Stevie and told him I’d love it if you would do a harmonica solo on the song for me. I sent him the track, and his assistant called and said Stevie loved it and wanted to be on the record.”

“‘Ben,’ the Michael Jackson hit was actually written for me, but because I was on tour with my brothers at the time, I wasn’t available, so the song went to Michael and became his first number one hit. … ‘One Bad Apple’ was written for the Jackson Five, but we got it instead, and that became OUR first number one hit.”

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The Beatles’ ‘Long and Winding Road’ is one of my favorites, and their last number one single. It’s 1973 and I’m in France at the George V Hotel and there’s a knock on my door and it’s Paul McCartney and his young daughter Mary. So he says in that great [Liverpool-accented] voice of his, ‘Mary is a huge fan of yours and would like your autograph.’ She hands me a picture of myself, and I sign it. He says ‘thank you very much’ and closes the door. Fast-forward to 1991, I’m in a recording studio and Paul’s in the studio adjacent to mine. So I stop by and told him the story because honestly, I wanted to make sure it had really happened [Laughs], I mean it was Paul McCartney standing in my doorway! It was still surreal [20 years later]. And Paul says to me that not only did it happen but he says ‘It’s one of the very few autographs I’ve ever asked for.’”

“‘Under My Skin,” I had to include because my mom had a secret crush on Frank Sinatra all her life. She would play his albums all the time, along with Dean Martin’s and Perry Como’s, and that’s how I learned to sing all their songs. But my dad did not like the fact that she had this crush on Frank so it was taboo to play his songs, especially that one. So I’m 9 years old, opening for Nancy Sinatra with my brothers in Las Vegas and we’re doing a dress rehearsal. I look into the audience and the only people there were Frank and his entourage. So all these guys are talking, dropping F-bombs and my dad just blows a gasket. He walks right up to Frank and rips him a new one about how could his people talk like that in front of his kids, and don’t ever do that again, and stuff like that. Frank’s people look like they’re about to kill my dad; Frank doesn’t say a word. The next evening, my dad is backstage setting up props for our show and one of Frank’s guys comes up to him and hands him an envelope and says ‘Frank wanted you to have this.’ Inside the envelope was $1,000 and a handwritten note from Frank apologizing for the language that happened in front of us kids. Now here’s the [tragedy] of this whole situation: $1,000 back then was a LOT of money to us, so my dad takes the cash and puts it in his pocket — and throws the letter away! Can you imagine the value of that letter today? [Laughs] A letter from Frank, apologizing!”

Each of the songs on the album has new arrangements, taking some of the songs in an entirely new direction, under the watchful eye of producer Eliot Kennedy, who has collaborated with Osmond twice before. “I had to push the envelope with songs otherwise it becomes karaoke,” Osmond said. “For ‘Under My Skin’ I didn’t want to do it the big band way that Sinatra or [Michael] Buble did it. I want to take the listener to a smoky jazz lounge and make it my own. On ‘Nothing Compares to U,’ everybody know Sinead O’Connor’s version, but I’m familiar with they way Prince originally produced it… I went back to THAT version and put a little gospel into it the way Prince did it in the first place.”

Some of the other cuts on the album include “Don’t Give Up,” by Peter Gabriel and Kate Bush; “Broken Wings,” by Mister, Mister; “I Who Have Nothing,” by Tom Jones; “Your Song,” by Elton John;“Peg,” by Steely Dan; and “Moon River,” by Andy Williams.

“This my personal homage to all these artists,” Osmond said. “The is my absolute favorite album I’ve ever done because it’s my most personal. I’m hoping that’s what will set this album apart from the rest.”

 

Read more: Voices

 

In Sync Dance of Auburn Proudly Presents “Michael Jackson vs. The Beatles

Source: In Sync Dance of Auburn | Eventbrite | All Things Michael

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Don’t miss In Sync Dance of Auburn’s annual showcase of talent… ‘Michael Jackson vs. The Beatles.’  In their 17th season of bringing exceptional performances to the stage, enjoy 100+ academy students and your favorite Michael Jackson and Beatles music in a fast-paced dance performance with all original choreography. This show is brought to you with love from the academy students and the creative minds of head Mistress Jessie Krick and her academy staff with 150+ collective years of performing and teaching experience. This show is perfect for all ages.

Dates: (June 28) 2PM – 4PM & 7PM – 9PM, (June 29) 2PM – 4PM

Venue: Bear River High11130 MAGNOLIA RD., Grass Valley, CA 95949

Costs: $10 Adults, $7 Senior & Youth ages 13-18, $5 Child ages 6-12, Age 5 and under FREE

Tickets: Eventbrite

Moonwalking Forward: The Posthumous Chart Legacy of Michael Jackson

Source: Pitchfolk – By Chris Molanphy | All Things Michael

Photo by Neal Preston

Photo by Neal Preston

Hey, did you hear that awesome Michael Jackson song that popped into the Top 20 a month ago? It just materialized all the way up at No. 14 on Billboard’s Hot 100 one week in late May, and it was better than anything on the chart that week. Supple, propulsive, impossible not to dance to—it was a reminder of everything that made the late Jackson great.

The name of this killer cut? “Billie Jean”.

The all-time pop classic, which spent seven weeks at No. 1 in 1983, re-debuted on Billboard’s premier song chart, 31 years after it fell off, for a very modern reason: YouTube. In May, a video of high-school junior Brett Nichols recreating Jackson’s immortal Motown 25 performance of “Billie Jean” live in front of his whole California school, and absolutely crushing it, went viral. It racked up more than 11 million views in a week, according to Billboard.

Any YouTube video that uses at least 30 seconds of an original recording now counts toward that song on Billboard’s charts. So that huge viewing total sent “Billie Jean” to No. 2 on Billboard’s Streaming Songs chart; its streaming numbers among all songs that week were second only to 2014 chart-topper “Fancy” by Iggy Azalea. Because Streaming Songs is now a component of the Hot 100, “Billie Jean” was able to reappear on the big chart. For that one week, its No. 14 rank was actually two notches higher than “Love Never Felt So Good”, the “new” Jackson single reimagined by producer Timbaland and currently being promoted to radio by Sony.

This delightful oddity tells us something about what’s happened to the charts since Michael joined the choir invisible five years ago this week—and what’s happened to Jackson’s legacy.

YouTube did exist the year Jackson died, but it wasn’t a factor in Billboard. In 2009, the labels had only just stopped fighting YouTube, let alone figuring out how to monetize and generate hits on it. (The industry’s YouTube-partnering Vevo channel would launch six months after Jackson passed.)

What’s more, old songs like “Billie Jean” generally weren’t eligible to appear on the Hot 100 in 2009. A major overhaul of chart policy since then has reshaped both the single and especially the album charts—a liberalization Jackson’s death inspired. (More on that in a moment.)

But of course, what’s most poignant about the video of the 17-year-old Brett Nichols that sent “Billie Jean” back to the Hot 100 is the knowledge that the kid was basically a preadolescent when Jackson died. He stands in for the millions of millennials who’ve embraced Jackson since his death—a generational embrace of a performer whose best days as a performer were behind him when they were all born. Watching Nichols recreate Jackson’s galvanizing performance move for move—from hat-toss to moonwalk—is more a powerful homage to his legacy than any encomium you might have read this week on the five-year anniversary of Jackson’s death.

I wrote one of those encomia back in 2009, for my former Idolator column “100 & Single,” running down all of the amazing sales and chart achievements Jackson tallied during his lifetime. As I wrote at the time, “Jackson is one of very few acts for whom chart achievements serve as a fairly accurate barometer for artistic and cultural impact…We won’t see his like again.” To recap in brief, the feats I chronicled in that 2009 article were as follows:

Youngest act to top the Hot 100. When the Jackson 5’s “I Want You Back” reached the penthouse in January 1970, lead singer Michael was just shy of 11 and a half.

First act to launch with four No. 1 singles. “I Want You Back” was followed in Billboard’s top slot by the Jacksons’ “ABC”, “The Love You Save” and “I’ll Be There”, a then-unprecedented feat.

Most Top 10 hits pulled from a single album. First Off the Wall produced four Top 10s (tying a then-record, in 1979–80), and then Thriller generated seven Top 10s in 1982‒84, starting with “The Girl Is Mine” and ending with “Thriller”.

First R&B-to-rock chart crossover. Billboard’s Album Rock chart, launched in 1981, was still in its infancy when Jackson’s Eddie Van Halen–supported “Beat It” made its debut in April 1983. It peaked at No. 14 on the Rock chart, making Jackson the first African-American to score a serious AOR hit.

First album to spawn five No. 1 hits. From the fall of 1987 to the summer of 1988, Jackson’sBad spun off the chart-toppers “I Just Can’t Stop Loving You”, “Bad”, “The Way You Make Me Feel”, “Man in the Mirror”, and “Dirty Diana”. Prior to that, the upper limit had been four.

First song to debut at No. 1 on the Hot 100. Jackson’s last chart milestone came in 1995, when “You Are Not Alone” burst onto Billboard’s flagship chart in the top slot, another then-unprecedented feat.

World’s top-selling album: Thriller still handily outdistances all worldwide challengers.

Five years later, all of these records are essentially still intact: another testament to Jackson’s inimitable legacy. Obviously the “firsts” can’t ever be taken away—even though the Jackson 5’s record of four career-launching No. 1s was actually beaten in 1991 by Mariah Carey, who led off her career with five; and “Beat It”’s R&B-to-rock crossover was later outshone by bigger AOR hits like Robert Cray’s “Smoking Gun” or Lenny Kravitz’s “Are You Gonna Go My Way”. The debut at No. 1 by “You Are Not Alone” in 1995 is still notable, even though it has been followed by another 20 chart-topping debuts; such debuts have actually increased in frequency since Jackson died—seven more songs have duplicated the feat since 2009, including smashes by the likes of Eminem,Britney SpearsLady Gaga and Ke$ha.

As for the other records, since 2009, the walls of Fortress Jackson have been scaled, but not breached. No one younger than 16-year-old Lorde has reached No. 1 since ’09, leaving 11-year-old Michael’s record intact. The Thriller record of seven Top 10s from a single album hasn’t been seriously challenged since Bruce Springsteen and Janet Jackson tied it in 1986 and 1991, respectively; since 2009 no one’s pulled more than six Top 10s in a single album-release cycle.

Just one Jackson record has been equaled since 2009, and it was nearly beaten: Bad’s quintuplet of No. 1 songs from a single album. In 2010–11, Katy Perry managed to tie the record with five chart-topping singles from the original release of her Teenage Dream album; if she hadn’t stalled at No. 3 with the album’s sixth single, “The One That Got Away” (apt title), she’d have taken the record from Jackson. (A subsequent No. 1 from a rerelease of the Dream album, “Part of Me”, doesn’t count for the record books.)

So the Jackson chart dossier holds up quite well. About the only chart or sales feats that have seen any change since Jackson passed happened within the first year after his death.

The big one was a change to Billboard chart policy with far-reaching effects: the elimination of the catalog rule preventing old albums and singles from appearing on the magazine’s flagship charts. Throughout the SoundScan era, Billboard had long maintained rules that removed old discs from the Billboard 200 album chart. Albums were yanked after they were older than two years and fell below the top half of the chart—lest discs like Journey’s Greatest Hits, Bob Marley’s Legend or Led Zeppelin IV ride the chart every week for eternity.

The problem, in the weeks immediately after Jackson’s death in the summer of 2009, was that his old albums Number Ones (2003) and Thriller (1982) became two of the top-selling albums in America; the former was actually the top-seller for a month and a half that July and August. ButBillboard’s rule hid that fact from the public; chart-watchers were confused and frustrated that Jackson wasn’t scoring the posthumous No. 1 album he deserved. Finally, later that year, inspired by Jackson’s sales feats, the magazine changed the rule. Now on the Billboard 200, as much as one-fourth of a typical week’s chart may be older albums—Led Zeppelin and Pink Floyd fans have Jackson to thank for these stalwart bands being allowed to jostle for chart position with the likes of Iggy Azalea and Luke Bryan. On the Hot 100, Billboard also loosened its criteria for allowing old songs to reappear on the chart—any song with enough sales or streaming points to rank among the Top 50 is allowed to reappear on the chart. Beneficiaries since Jackson’s death have included the late Whitney Houston, the unkillable Bon Jovi and, as noted above, Jackson himself. It is appropriate, if depressing, that Michael would be the one to effect a change that reminds us, weekly, just how big old music is. After all, it’s the Jackson estate that has emerged as the biggest money-maker of any musical act, living or dead, since his passing.

The other change in the record books since Jackson died has been subtler, and oddly muted: the record for biggest-selling U.S. album. As noted above, on a global scale, Thriller bests all comers, even when sales-figure hype is taken into account. However, it’s been a tighter horserace at home, and in the record books of the Recording Industry Association of America (RIAA).

When Jackson died in June 2009, Thriller was actually one million in sales behind the Eagles’ perennial best-selling 1976 compilation Their Greatest Hits, 1971–1975—28 million for the former, 29 million for the latter as of that month, according to the RIAA. Indeed, the Eagles disc had quietly taken the record away from Jackson as far back as 1999. (The 90s were good to the Eagles—a decade in which they reunited and toured endlessly, and a new generation of Garth Brooks–era country acts cited the band as a formative influence, particularly the early country-flavored hits captured on the 1976 hits disc.) In my 2009 column on Jackson’s feats, I wrote, “You don’t have to be a virulent Don Henley-hater to find this standing offensive—a bloody hits compilation, topping one of the greatest original pop recordings of all time?”

In August 2009, however, less than two months after, Thriller was recertified by the RIAA at 29 million in sales. And that’s where the two discs still stand, nearly five years later—a two-album tiebetween the Eagles greatest-hits disc and Thriller as America’s all-time top-selling album. I think I speak for pop fans everywhere when I say it’d be nice if Jackson’s album could sew the record up already and retake the crown. Surely, Thriller has sold enough by now?

According to the helpful folks at Nielsen SoundScan, since Jackson’s death in the last week of June 2009, Thriller has sold just shy of two million copies (1.905 million). In that same period, the Eagles’ Their Greatest Hits 1971–1975 has only shifted about a half-million. Slam-dunk, right?

There are several problems with this back-of-the-envelope math, however. For one thing, the Eagles hits disc hasn’t been recertified since 2006; a full RIAA audit might well turn up a couple more million in sales, and prior to Jackson’s death Thriller wasn’t selling all that well (although a 2008 reissue undoubtedly helped). Additionally, SoundScan and the RIAA measure different things—albums sold and albums shipped. While many more music fans buy digital albums now, for stalwart acts like these two, physical goods still sell, and there are likely millions of Jackson and Eagles albums in the retail pipeline. Finally, albums are only recertified when labels request an audit from the RIAA. Sony (Jackson’s conglomerate) and Warner (the Eagles’) might well have their own reasons for holding off on asking for that next multiplatinum sales tier, including the possibility of mutually assured destruction.

Still, in all, five years later, it’s an anticlimax for Thriller to remain stuck at 29-times-platinum—tied with Glenn Frey and Don Henley, and with a triple-diamond certification tantalizingly close. Sony Music and the keepers of the Jackson estate have been heavily focused lately on getting Michael back on the radio and reanimating his live presence with smoke and mirrors. Honestly? If they really want to do his legacy justice, they should get the late Jackson the one career plaudit he loved more than anything: a sales record all to himself. Just ask Brett Nichols’s teenage classmates in that packed gym what album they think deserves the all-time title.

 

Read more at Pitchfork

 

11-Year-Old Jase Nelson Writes Michael Jackson Tribute For 5th Anniversary

Source: Red Dear Advocate – By Lana Michelin| All Things Michael

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Eleven-year-old singer Jase Nelson is such a huge Michael Jackson fan that he wrote a tribute song for the King of Pop on the fifth anniversary of his death.

The Central Alberta youth enthuses about seeing Jackson’s This is It concert documentary film “about 12 times” and adds, “I really miss how he lit the stage and his creativity.”

We Miss You Michael was one of several tunes Jase recently recorded with Los Angeles music producer Andrew Lane, who’s worked with the Backstreet Boys and Irene Cara, as well as on recordings for Hannah Montana and the platinum-selling High School Musical.

“He made (Miley Cyrus) into Hannah Montana,” says Jase, who’s now signed to Lane’s recording label, Drew Right Music Inc.

The heavyweight producer approached Jase’s grandmother, Maggie Hewitt, to say he was interested in working with her grandson after being “bowled over” by Jase’s a cappela performance of The Kite from the musical You’re a Good Man Charlie Brown at a performing workshop in Los Angeles.

Hewitt recalls, “I wasn’t even sure if he was serious,” until Lane assured her he was.

Last week, Jase cut several singles in L. A., including We Miss You Michael (written by Jase and Hewitt and reworked by Lane), a revamp of the Sam Cooke song Cupid and Waking Up, a new tune written by Lane that will be used in a short Calgary-made film about bullying that Jase appears in as an actor.

Jase says he really enjoyed recording both the lead vocals and harmonies on the tracks, and listening to Lane’s guidance on how to deliver the emotional lyrics.

Hewitt recalls Lane was amazed at how quickly Jase could grasp new material. But it probably helped that the home-schooled Central Albertan plays piano, guitar and ukulele — Jase says if Lane told him you’re a little flat or sharp, “I could understand exactly what he was saying.”

Recording with the seasoned producer was an “amazing” experience, concludes the affable youth, whose long blond hair makes him reminiscent of the Hanson brothers of MMMBop fame.

Hewitt says Lane intends to send copies of Jase’s singles to larger recording labels, as well as to radio stations, iTunes and YouTube. Lane’s support indicates the Red Deer County-based singer now has a whole coterie of high-profile people in his corner, including his Calgary-based manager and a New York City-based talent agency.

Jase has known he’s wanted to perform since the age of five, when his grandma heard him singing along to a Justin Timberlake song and asked if he wanted to take singing lessons. His response? “Let’s move to New York. I want to be on Broadway!”

The singer, who studies with Calgary vocal coach Brian Farrell (who has worked with k.d. lang, Sarah McLachlan and Paul Brandt) confirms this is still his goal.

To try to reach it, he’s spent much of his childhood performing in various Alberta talent competitions and rodeos — including the Calgary Stampede. Hewitt says Jase also regularly sings the Canadian anthem at Blackfalds Wranglers games and some involving the Bentley Generals.

Experience has already taught him to take his knocks: For every audition or competition he lands, Jase says there have been dozens that he doesn’t. “They say you have to do 50 or 100 auditions to get one or two. It doesn’t bother me,” adds the youth, who spends a lot of time in various dance and music classes and workshops to keep honing his skills.

Hewitt believes it’s probably no more time than someone would spend playing minor hockey.

While the pitfalls that can entrap young performers, including alcohol and drugs, are scary, Hewitt believes these same problems can befall oilfield workers — or anyone else for that matter.

She stressed that she will support Jase no matter what he wants to do. “If he wants to teach voice or piano someday, it would be a success story. If he chooses to perform, then we’ll try to give him whatever tools are necessary to live his dream.”

 

Read more at Red Dear Advocate

 

Michael Jackson And Rupert The Bear Spotted At Hobbycraft Store For Charity

Sources: Crawley News | All Things Michael

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ANYONE who popped into Hobbycraft at County Oak Retail Park on Saturday may have got a surprise – as all the employees were in fancy dress.

Staff were invited to come in dressed as their favourite superhero – with the theme being stretched a little by some. Visitors were met by employees dressed as Michael Jackson, Rupert Bear and the Queen of Hearts, as well as two Superwomen.

The craft shop also put on a host of fun activities to keep children entertained.

Store manager Paul Cleeton said: “We had face painting, a guess the name of a big papier-mâché giraffe competition, and a guess the number of beads in a large jar competition.”

In exchange for the fun and games visitors were invited to make a donation to children’s charity Together For Short Lives.

Read more: http://www.crawleynews.co.uk/Hobbycraft-staff-s-super-fundraiser