Другите за него с думи

Aз съм speechless........

Ох спомням си този разказ и клипа, изтръпвам като го гледам. Изумително просто. Като си направим ретроспекция можем да кажем, че това не е единственият случай при който нещата не винаги са вървели по план при някое изпълнение, но Майкъл винаги е давал всичко от себе си, някак забравяйки за себе си, за болката си. Не точно забравяйки за нея, но не й позволява да го спре. И точно това относно него е едно от многото неща, които ме вдъхновяват. А и моста можеше да падне дори върху Slash, той го видя да пада или пък върху публиката. Добре че не е било с по-голяма скорост.

Лили, имаш ли против да запазя превода на компютъра? И благодаря, хубаво беше да го прочета и да си го припомня отново. И пак ще го прочета.


"Майкъл, не разочаровай публиката!"... Миличкият, ти никога не я разочарова, Майкъл!

Tes написа:
Лили, имаш ли против да запазя превода на компютъра? И благодаря, хубаво беше да го прочета и да си го припомня отново. И пак ще го прочета.

Защо да имам? Запази си го, но определено не мисля, че се справих много добре. Все пак съм самоука и много от нещата ги превеждам по усет.

И най-силните думи са ... безсилни пред Майкъл и за Майкъл...

Andeli благодаря.

Nicholas Pike, composer

Thank you for agreeing to talk about working on Michael Jackson's Ghosts. How did you become involved in the project?
I worked with Michael on two videos, Ghost being the first and Rock My World the second. Initially Mick Garris, a director whom I have a long working history with, was scheduled to direct Ghost but when the schedule changed he was unable to continue because of prior commitments. Stan Winston took over as director as well as visual effects guru and so I rang him up and said that Mick had wanted me score the video and would he consider doing likewise! I sent him some of my work which he loved and asked me to come in and meet Michael.

What was it like working with Michael?
A dream. The highlight of my musical career. He is one of a very small handful of people that one dreams about working with. Obviously a massive talent, a pop superstar and at the same time, a very respectful and gentle collaborator. We were very much on the same wavelength and he was thrilled with the music that I wrote for him. I will share one experience. The first ten minutes of the video is all me, musically. The first time I sat down with him to play a synthesizer mock-up of what would eventually be played by the orchestra, I was very nervous about what his response would be. We sat down in a studio, I put in the tape, and sweated for nine and a half minutes while Michael sat there engrossed. At the moment where he has finished summoning all the ghosts, the music has built to a massive climax on Michael and when we reached that moment Michael jumped out of his seat and shouted "yes!" After that, I knew that I was on the right track!

What did he specifically say he wanted from you artistically? What infuenced your work?
He didn't make any requests of me. I met with him and Stan and gave him a brief idea of what I had in mind. I don't usually go into a lot of detail trying to talk about music preferring rather to compose it and show it. The picture is what influenced me. I knew that I wanted it big and the initial budget was for a 60 piece orchestra and I told Michael that I didn't think that he'd be happy with fewer than a 90 piece plus choir. I also knew I wanted it Gothic and dramatic - something that I thought would really compliment the film.

How much of a perfectionist was he? How much was he in control and vocal of what needed changing?
He is a perfectionist, as are all of the greatest artists - it's what sets them apart from all the rest. I also demand perfection from myself and the orchestra and so we both had the same goal. As far as changes, I made none. Michael would listen to a piece and say, "I have nothing to say!"

How long did you spent together? Were you mainly in the recording studio? Did he dance in front of you?
We spent about nine days together. Two full days in my studio just the two of us, and then days when we had meetings, recorded the orchestra. For the first ten minutes after he arrived at my studio, all I kept thinking was, "I'm sitting here with Michael Jackson, I'm sitting here with Michael Jackson!" After that we were just two musicians working together in the studio.

Does any footage exist of your time with Michael?
I don't think so. I have posted some photos of our recording session on my Facebook and IMDB pages - see http://www.imdb.com/name/nm0006229/.

Do any instrumentals remain from your work, and are any completed? Did he record any vocals?
Everything that I wrote is in the film and the only piece that had his vocal on it was Descending Angels.

Was he secretive over any recorded material?
Whatever I needed he made available to me.

Was it always intended that the music should be timeless? What was the artistic direction?
For my part, I think that orchestral scoring is timeless. There are no synth sound effects that may sound dated down the road. I think that speaking for the project as a whole, everybody set out to do their very best and our only adversary was time. From the time that I came on, I had three weeks to deliver the score. The artistic direction had been set long before I wrote any music and so my job was to enhance the film to the best of my ability.

Do you remember which compositions came first and last in terms of being made? Which took the longest and shortest?
I worked chronologically. The most demanding section being the first 10 minutes where the score is very much helping to tell the story and create the atmosphere as well as underline the action. I spent a lot of time on the Ceiling Dance piece. It had to be perfectly in sync with the dancing as well as the acrobatics of Michael and the ghosts.

The connection between the visuals and the music is powerful in Ghosts. How did the production team working on the visuals listen to the story of what the music was telling?
That wasn't my area of work. Essentially, the film was close to being complete by the time I started to compose.

How did the post-production team listen to various elements of the songs from the short film? Did you work with them and say where you thought each piece should fit?
The placement of the songs was tied to the storyline and so they were pretty much set. Footage had been shot and assembled and visual effect sequences like the dancing skeleton were being digitized. As far as the score, Michael, Stan and I decided on where to put music.

Did the music influence a direct approach to how the stages of visual production and the final artistic approaches to the short film?
I have no doubt that the songs influenced the approach but ultimately, Michael knew the story he wanted to tell and the tone in which he wanted it told.

You have worked with some true legends and icons, but was Michael the greatest?
Michael was the greatest.

How did you hear about his passing?
A friend called me and I can tell you that it was the start of an extended period of grief. Even though Michael hadn't been very active for a few years I always believed that we would work together again and I was sensing that the moment was approaching. Coming to terms with the fact that nothing else was going to happen was very sad.

Are you aware of any plans for a DVD/Blu-ray release of Ghosts?
I am not, but I can't imagine that it wouldn't be released in a high quality format sometime in the future.

Did you get the chance to watch Ghosts' limited theatrical release?
No. However we did have a screening of the finished work at the Motion Picture Academy Theatre - a state of the art facility and I don't think it could be more impressive than that.

A short snippet of a score from Ghosts, titled Descending Angels, appears in the This Is It rehearsal film following Thriller. This also means you are given a credit in the trailer. Were you aware of this beforehand or were you given a surprise whilst watching it?
I didn't know about it until it showed up on my IMDB page before I even saw the film!

What did you make of the film? Were you planning to see the shows live in London?
I enjoyed it. I never saw Michael perform live and so I am always keen to see him sing and dance, even on film. As far as London was concerned, I had no plans to go. I think that I was assuming that there would be more to follow and closer to LA.

[COLOR]How would you describe Michael in one word?[/COLOR]
I don't think that I can describe him in one word. He was a very complex being. To me the greatest performer ever, a huge musical talent and at the same time the most gentle of souls. Extremely thoughtful and respectful of others as well as extremely generous and caring.

Finally, what did you learn from him?
I learned from him that being tolerant and respectful of others, no matter who you are, allows your own star to burn a million times brighter.

Thank you for your time.

Michael Jackson - Jackson Trashed Vegas Hotel Room As Police Raided His Home

Jackson Trashed Vegas Hotel Room As Police Raided His Home

King of Pop MICHAEL JACKSON trashed a hotel room in Las Vegas after learning police were raiding his Neverland Ranch home in Santa Barbara, California - as they looked for clues to prove the pop star was a child molestor.

The singer and his entourage were staying at The Mirage hotel in 2003 when his manager Dieter Wiesner got the call to return to California as soon as possible.

A devastated Jackson then acted completely out of character, hurling furniture around his room.

Almost three months after the singer's death, Wiesner has come forward to recall the terrible day.

He tells news show Entertainment Tonight, "He couldn't talk and then he started to cry... Michael destroyed some stuff in the suite... He was out of control."

It took a chat with his mother, Katherine, to calm Jackson down - and then she started to clean up her distraught son's mess.

Wiesner adds, "She went down on the floor and started to clean the room. I told her, 'You don't have to do this because we have people here, they can take care (of this).'

"She told me, 'You know what, I don't want the world or anyone from the hotel to see what he did and she cleaned the whole room."

Michael Jackson saved my grandma.

In December 1997, my maternal grandparents, Joseph and Concetta delisi, were on an American airlines flight from JFK to LAX. sitting coach, they were visiting my family for Christmas.

A couple of hours into the flight, my grandma (literally) falls ill. what started as a stomach ache, ended with granny fainting and tumbling into the aisle.

When she awakes, hovering above (next to my grandpa) and holding out his hand, Michael Jackson.

“Are you o.k.?” MjJasked, in his delicate voice.

He helps grandma up, and invites my grandparents to join him in first class. they accept.

While grandma rests, grandpa enjoys first class service and chats it up with Jackson. they discuss family, food, and Italy (gramps favorite subjects.)

Upon landing, Michael offers to drive my grandparents from LAX to my folks house (in the valley.) once again, they accept.

With grandma getting pushed through the airport in wheelchair, they make their way to MJ’s limo. however, in an effort to dodge paparazzi, they’re forced to make three limo transfers by Jackson’s security.

Once settled and on the 405N, Michael pops-in one of his favorite movies (at the time,) men in black. they watch it together.

Once they arrive at my childhood home, mom opens the front door to find my grandparents standing on the stoop, with Michael Jackson behind them (holding their bags.)

MJ enters the house, puts the bags down, and stands in front of the Christmas tree. he is enamored by its beauty and the “family spirit” in the home.

My mom, in utter shock, FAILS to grab a camera to document the event, instead invites Michael Jackson back for a Christmas party. he politely declines, returns to his limo, and heads to Neverland ranch.

While a photograph was never taken, he left our family with an amazing memory, one that showed us Michael Jackson’s heart, soul, and genuine kindness.

Oh, and this first class menu he signed on the plane:

My close encounter with Michael Jackson
By Gwen J. Cariño

MANILA, Philippines – When I was a PR officer at Manila Hotel, I was assigned to head the annual Orphan’s Christmas Party where 300 children from different orphanages around Metro Manila were treated to a day of fun and surprises. It was one of the biggest projects on my plate and it was such a challenge to focus on work the day before the big event, knowing Michael Jackson was billeted in the hotel.

Two nights before, I had been fortunate to be part of his welcome line at the hotel lobby together with the rest of the PR and sales staff but was content enough to see him walk by.

The day before, a guy claiming to be Michael Jackson’s aide from Mamarao Productions came to the office. I couldn’t recall his name but he looked for the “person in charge” and said his boss had read the announcement about the event in the Dear Guest flyers we had circulated to all the rooms a week before. Michael wanted to know how he could help. His aide went up to the Penthouse and down to the PR office several times after we gave our suggestions.

Michael offered to fill up the 300 loot bags with goodies and toys, candies and chocolates. But after getting close to 50 sponsors, it was actually a problem for us to dispose of everything.

So I thought hard…how can the King of Pop meaningfully join the affair? I couldn’t possibly have him be with the kids in the palayok game or the pabitin as he might end up being mobbed! And since the annual event was really all about giving, I mustered all my courage and told the Mamarao guy that the best thing I could think of was for Michael to literally be present to help distribute the loot bags, sign autographs and pose with the children for photos. “Wow, that may not be easy. You’re talking about handing goodie bags to 300 children and I can just imagine the chaos. We’ll see, Ms. Jacinto. I’ll get back to you,” he said.

Lunch break came and it was the most hurried one I ever took in my entire life. It wasn’t until after 5 p.m. that Michael‘s aide came back and said, “Michael is more than happy to do whatever you suggest. How do we go about it tomorrow?”

I wanted to scream. I had to calm myself and regain composure as the Lizzie Maguire in me said, “Get real, get back into focus.”

We agreed that Michael would join after the games, musical program and snacks, and at the last part to give out the loot bags. My colleague Annette Africano and boss Dulce Agnir requested for additional security around the garden and the stage area as this was where we decided to distribute the gifts. We made sure the children would form an orderly line.

Then the moment arrived. It was at the Champagne Gardens on Dec. 7, 1996. I was surprised to see him walking towards us, guided by his aide. Michael came up to me as I had to brief him.

“Hi, how are you? Thanks so much for letting me in, I know I’m early ’coz I didn’t want to miss the program.”

I said, “Are you kidding? Thanks so much for volunteering! Here’s what Michael, why don’t you just sit here and watch the musical numbers before we get into the gift giving. I will have to tweak the program a bit.”

He replied, “Sure, anything you say… (pausing to look at my name tag) Gwen!”

I was stunned at how incredibly sweet and modest he was. And in my mind it was, “Oh my God, this is really happening!”

Amazing how he patiently sat through the whole program. Carol Banawa, then an Ang TV mainstay couldn’t believe MJ was watching her perform. She had her red blouse signed by him right after her number. Then followed Stefano Mori’s dance number. Later, his back up singers and dancers came up on stage followed by select kids from different orphanages who danced to the beat of Billie Jean. Oh, the smile on Michael’s face was just amazing.

Then we announced that Michael will be distributing gifts onstage. I explained to him that there’s a loot bag for the younger kids and another for the older ones and he nodded. The thrill and excitement he gave those children was incredibly touching. It was in between the gift bag distribution that I caught a glimpse of MJ, not as a performer but as a person.

It was one in the afternoon. Santa Claus (David Endriga, a friend of fellow PR officer Francis Capistrano) was with us. The heat was scourging and I was worried that Michael felt so hot with his black long-sleeved signature attire and hat.

“Are you alright Michael? We can let you take a break,” I asked.

He said, “I’m cool Gwen. Just imagine how Santa feels inside his velvet suit and beard. We’ll be fine.”

I never heard him complain or say a word about how hot it was or how long the line was. He had the most beautiful manners. He didn’t even ask for a drink or a towel to wipe his sweat but one of our banquet staff made sure he got a glass of fresh orange juice.

An hour passed and we were halfway through gift-giving when we noticed that the garden was getting filled up. Suddenly, there were people from media, politicians, officials and hotel guests including those in a wedding reception at the nearby Champagne Room who deserted the newly-weds just to get a glimpse of the King of Pop.

“Oh oh, this isn’t supposed to be, I’m so sorry,” I said. It’s all right, we’ll get through it,” Michael said smiling.

As we finished giving out the last loot bag to an 11-year-old orphan, a new line of more kids and adults formed. Michael’s bodyguard, Wayne, said. “We can leave now.”

Michael replied calmly, “We can’t leave when there are still people in line. It’s Christmas, dude.”

I felt my heart beat faster and the hair on my arms and the back of my neck stood up. He wasn’t just the most electrifying performer, but the most generous person.

One of the most memorable moments was when a lady came up to him for an autograph. Laughing and holding his tummy, he said “Hey Gwen, you’ve gotta check this out. He whispered, “It’s a blank check. The lady is making me sign on a blank check.”

We laughed hard and little did we know that it wasn’t even half of the comedy. He later showed me and Wayne other stuff people would use or pick up on the ground when they couldn’t find paper for him to sign on. One lady made him sign at the back of her elegant, designer Filipiniana gown. One teenager came up to him holding a dead leaf and another one, a popped balloon. Imagine how our laughter ballooned as well.

It was an amazing, genuine experience. At one point he asked if I was going to catch his History concert and I said “tomorrow night.”

“Oh, you’ll have a blast!” Michael told me.

At this point he became concerned about the stage as adults outnumbered the kids. His face had nervousness written all over it but he still didn’t complain. He tapped the wooden floor with his foot several times making sure it was sturdy enough not to fall apart. “I’ve experienced the stage collapse and I just want to make sure we’re all safe here,” he explained.

Half of me wanted the line to finish because we were literally melting and worried about our safety, but half of me didn’t, knowing that once the line ended, Michael will leave.

At some point it did end. I managed to get an autograph for my sisters and me before our general manager, Clem Pablo, requested him to sing Give Love on Christmas Day.

Cesar Sarino, one of the hotel’s officials, addressed his thank you note to the King of Pop. Then I saw his guards and aides whisking Michael off stage.

I said in my mind, “Oh man, I didn’t even have the chance to say goodbye.”

Suddenly, I saw Michael return on stage and say, “Thanks so much to you and your team, Gwen. This really means a lot.”

Then he held me beside him and said, “I’ll see you at the concert.”

As Michael Jackson is laid to rest and returned to pristine condition in the afterlife, these two incredible acts of the King of Pop — volunteering for charity and unselfishly spending time with the less fortunate, will forever be the way I will remember this man.