Jan. 1, 2008: Michael Jackson News & Mentionings

Momma Shannon

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Happy New Year to everyone!!! I hope everyone brought in the new year wonderfully. Lets hope Michael had fun where ever he was hiding :lol: (seems he was lucky not to be at the big J5 party :p )

So far there isn't any info on the party in the way of news or pics that I could find but there are a few mentions of MJ two aint worth posting :( but there is this one...

Mississippi Sheiks to join Grammy Hall of Fame



The Clarion-Ledger • December 31, 2007

The Mississippi Sheiks� "Sittin� on Top of the World" joins Michael Jackson�s "Thriller" and Pink Floyd�s "The Wall" as part of the 70 new entries in the Grammy Hall of Fame, variety.com recently reported.
The list, started in 1973, has 798 titles.

The Mississippi Sheiks, a highly popular and influential 1930s guitar and fiddle group, consisted mainly of the Chatmon family from Bolton.

[SIZE=+2]Today in
Michael Jackson History​
[/SIZE]
1994 - Michael Jackson made his first public appearance since December 10th when he appeared at a Barbara Streisand concert in Las Vegas.



[SIZE=+2]Michael Jackson Quote[/SIZE]

"I've seen lawyers who don't represent me and spokespeople who do not know me speaking for me. These characters always seem to surface with dreadful allegations just as another project, an album, a video is being released".
- Michael Jackson, November 18, 2003 after a search warrant was served at Neverland Ranch.
 
thanks and happy 2008.... I can't wait 4 what's ahead
 
Just to let you know THRILLER 25 got a TV mentioning on the Morning Show which is a national show..

They were talking about HOTT in the music industry for 2008.
 
Here's a bit regarding Mr. Jackson from a recent T-Pain interview that can be found here: http://www.bytcs.com/hip-hop/t-pain-dominates-the-music-world.html .


Despite all his success, T-Pain didn’t get much respect when he first arrived on the Hip-Hop scene.
He recalls, “They saw me, and they looked at me and they said, ‘Aw, he can’t be writing that kind of song’, or ‘He can’t produce that’, just because of the way I look. And when they figured out that I was somewhat of an intelligent person, (laughs) it just, it baffles people, you know what I’m saying? It just kind of makes me sad that people don’t catch on until two years later, but, hey, as long as they catch on.”
And many of those who caught on were the biggest names in the Hip-Hop culture, names like Kanye West, Chris Brown, Mario Wynans, and Michael Jackson; artists who wanted to collaborate with T-Pain on their projects.

“It was great just meeting Michael Jackson. Just them calling saying, ‘Hey we got to push your studio time back because Michael Jackson wants to meet you.’ Just that moment right there was the highlight of my life,” T-Pain said.
 
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I posted a new topic in the Michael Jackson: Present & Future thread intitled.. THE MEDIA'S ROLL IN MICHAEL JACKSON'S 2008 COMEBACK.

http://www.mjjcommunity.com/forum/sh...=25059&page=98

post opinions, comments, thoughts in the thread..



STAFF: If u see this, please change the thread title to.

Michael Jackson: Present & Future [Media's Roll In MJ's '08 Comeback]

Thanks... :smile:
 
Thanks for the news and thanks for the nice comment about Michael Jackson. It was really nice and i don,t even know who this T Pain even is but i do know he has lots of respect for Michael.
 
Thanks for the news and thanks for the nice comment about Michael Jackson. It was really nice and i don,t even know who this T Pain even is but i do know he has lots of respect for Michael.

He may have lots of respect for Mike, but believe me you don't need to know who he is....(just think 'the latest music industry gimmick') and you'll have an idea. :rolleyes:
 
http://www.iht.com/articles/ap/2008/01/02/america/NA-FIN-US-Obit-Dusenberry.php

Dusenberry, who did Pepsi commercial in which Michael Jackson's hair caught fire, dies











NEW YORK: Advertising executive Philip B. Dusenberry, who oversaw the Pepsi television commercial in which Michael Jackson's hair caught fire and who helped coin some of the industry's best-known slogans, has died.
Dusenberry, who was 71, died of lung cancer Saturday at his Manhattan home, his advertising firm, BBDO, said in a news release.
Dusenberry was named one of the Top 100 Advertising People of the past century by Advertising Age. At BBDO he helped create the Pepsi theme line "The choice of a new generation" and the General Electric slogan "We bring good things to life."
In his television ads, he focused on advertising as entertainment, using beautifully filmed images, inspiring music and poignant themes to create emotional attachments between consumers and product brands, BBDO said. He liked to use special effects and often cast celebrities, including Lionel Richie and Madonna.
In 1984, while Jackson was taping a Pepsi ad, special effects that were supposed to create smoke blew up, burning the singer's hair and scalp. Jackson had to be taken to a hospital.



Dusenberry also worked in movies and was a co-author of the screenplay for "The Natural," in which Robert Redford plays a baseball prodigy making a return to the sport.
After the Sept. 11 attacks on the World Trade Center, Dusenberry worked with former Mayor Rudy Giuliani to create a public service campaign to raise city residents' spirits. The "New York Miracle" campaign featured the likes of Woody Allen and Barbara Walters.
Dusenberry, a former chairman of BBDO North America, retired in 2002. The next year he was inducted into the American Advertising Federation Hall of Fame.












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Just to let you know THRILLER 25 got a TV mentioning on the Morning Show which is a national show..

They were talking about HOTT in the music industry for 2008.

I saw that. That was on the Today show.

Michael should tell T-Pain and 'em to "learn how to sing and write better songs than that 'Buy You a Drink' crap

Like MJ is going to tell a grown ass man how to make his music. MJ is not that judgemental. :rolleyes:
 
Sure but it wouldn't hurt Mike to give him advice. C'mon now, a grown ass man shouldn't be using his vocoder for his voice unless he's Roger. Roger Troutman, Stevie Wonder and Peter Frampton are the only people who can get away with that.

Morrrre bouuuunce... B)
 
Here is a long article about the Beatles catalouge and how it has been used through out the years. It has Michael mentioned in it as well, which is in bold. All I can say is Kachhhagiiiiinnnnnnnnnnnggggggggg.


http://news.yahoo.com/s/nm/20080102/music_nm/beatles_dc_1


Beatles for sale: rappers, brands turn to Fab Four



By Susan Butler and Paul Sexton 1 hour, 26 minutes ago


NEW YORK/LONDON (Billboard) - It's perfectly legal, but it will still seem to some listeners like the sound of someone making off with England's crown jewels.
[SIZE=-2]ADVERTISEMENT[/SIZE]

On rap collective Wu-Tang Clan's new single "The Heart Gently Weeps," a Santana-style rock guitar opening gives way to an almost celestial chorus of something very familiar. There, and throughout the track, is the unmistakable melody of George Harrison's timeless contribution to the Beatles' "White Album" from 1968: "While My Guitar Gently Weeps."
Now, the track is accompanied by Wu-Tang's trademark, uncompromising language, rapping out a gritty street story, even as Harrison's son Dhani plays along.
Meanwhile on the just-finished "Judas," Ja Rule is introducing the rap community to another incongruous musical motif. This is no unthinking appropriation of a classic act's creativity, as has sometimes been the case in rap. As he works at folding the original flavor into the hook of this midtempo treatise on "love, hate, jealousy and betrayal," he's doing so with the help of "Eleanor Rigby."
Forty years and more after the Beatles changed rock music forever, their songs have truly arrived in the 21st century as part of the rap/hip-hop art form -- with the express permission of their publishers. Although there are hundreds of covers of "Yesterday," "Something" and the rest, this approach of "interpolation" -- essentially rerecording a portion of a song -- of the Beatles' compositions represents new access to the most famous catalogue in the world. These developments may ultimately signal a fresh attitude toward Beatles masters appearing in everything from commercials to movies.


CAN'T BUY ME LOVE
But don't expect to hear samples of the Beatles' original recordings, which remain strictly under lock and key, for now at least. Instead Sony/ATV, which owns all but a handful of the Lennon/McCartney copyrights, is allowing a select few to license some celebrated compositions and reference them in their own, newly recorded material.
The first lucky participants in these interpolations are acts from the arena of hip-hop and rap, with Ja Rule joining Common -- who used "She's Leaving Home" on "Forever Begins" from his current album "Finding Forever" -- and Jay-Z, who commandeered "I Will" on "Encore" from his 2003 "The Black Album" and "Numb/Encore" on his 2004 collaboration "Collision Curse" with Linkin Park. Meanwhile, Wu-Tang licensed rights from Harrisongs, George Harrison's publisher, for "While My Guitar Gently Weeps."
Ja Rule's "Eleanor Rigby"-appropriating "Judas" will appear on his next album, "The Mirror," due in the first quarter, while the Wu's Harrison-referencing "The Heart Gently Weeps" is the first single from its new album "8 Diagrams," which came out December 11. The song features a re-created backing track plus electric guitar by the Red Hot Chili Peppers' John Frusciante as well as acoustic contributions from Dhani Harrison.
Sony/ATV chief executive Martin Bandier says he's very much in favor of licensing Beatles songs for things that haven't been licensed in the past -- under certain circumstances. Jay-Z, Common and Ja Rule received Sony/ATV's blessing because "they're prominent and well-regarded," Bandier says, but the way the song is used must also be acceptable.
"If Jay-Z interpolates a Beatles song and his album sells 2 million units, it doesn't change the economic structure" of the license deal, Bandier says. "It's wonderful to have that income, but we're more concerned about the possible repercussions of a bad message and something that we might not find tasteful."
The ever-sensitive nature of the Beatles' copyrights is reflected by the reluctance of several key players to participate in this story. Paul McCartney, Dhani Harrison, Jeff Jones (who became Apple Corps' new CEO in April) and EMI Music U.K. and Ireland chairman/CEO Tony Wadsworth were either "unavailable" or declined to comment.
In fact, Sony/ATV is not contractually required to obtain approval by John Lennon's widow, Yoko Ono, or by McCartney before it can license the compositions, but Bandier says he believes there is a "moral obligation" to speak with them about licensing the songs. In the internecine history of the Beatles' publishing, Lennon and McCartney effectively lost control of the group's song rights even while the group was still a recording entity, in 1969.
That was when Northern Songs, the company established six years earlier solely to publish their joint compositions by English publisher Dick James and Beatles manager Brian Epstein, was sold to British media tycoon Lew Grade's ATV Music. Ownership of ATV subsequently passed to Australian entrepreneur Robert Holmes a Court and then, in 1985, to Michael Jackson.
In 1995, Sony came into the picture, forming a joint venture with trusts formed by Jackson, creating a new entity: Sony/ATV Music Publishing. That publishing company includes the Northern Songs catalogue that contains 259 copyrights by Lennon and McCartney. These songs essentially represent everything recorded under the Beatles name by Lennon and McCartney, except for five songs: their first two U.K. singles, "Love Me Do"/"P.S. I Love You" and "Please Please Me"/"Ask Me Why," and "Penny Lane," "gifted" by Jackson to Holmes a Court under a specific provision of Jackson's purchase of the ATV catalogue.

THE LONG AND WINDING ROAD
When it comes to the Beatles' original studio recordings, controlled by EMI-Capitol Records, permission is another matter. After Nike used the Beatles' original of "Revolution" in 1987 for its "Revolution in Motion" TV commercial campaign (in a licensing deal worth $250,000 to the label, according to Nike at the time), Apple Corps and Apple Records sued Nike, its advertising agency and EMI-Capitol for $15 million.

Paul Russell, former chairman of Sony/ATV Music Publishing, recalls, "Once Sony/ATV was formed, any requests for those songs came to Sony/ATV and not to Michael Jackson.
"(When) those requests came in, serious requests for serious money, for products that we knew were noncontentious, they would come to me and we would form a view, and then we'd go to Michael, even though he didn't have the right to approve it, and say, 'We've received this request, we think it's the right price and an OK use, what do you think?' If somebody had come back to us, either Michael or the Apple people, and said, 'We really don't want you to do this,' we probably wouldn't have done it."
According to a 1988 New York Times report, Apple's attorney Leonard Marks said that "Ono and the (then) three surviving Beatles each own 25% of Apple and that the company required 'unanimity among the four Beatles' interests in order to act."'
In 1989, it was announced that the dispute had been resolved, in a formal statement that all outstanding lawsuits between the Beatles/Apple and EMI-Capitol-- some of them dating back 20 years -- had been settled. The parties agreed that no further Beatles recordings would be licensed for commercial use, although the Nike commercial can now be seen on YouTube.
Brian Southall, author of "Northern Songs: The True Story of the Beatles' Publishing Empire," published in August in the United States by Omnibus Press, says, "There aren't a lot of Lennon/McCartney songs that appear in adverts since the Nike ad. And you'll never, ever find the Beatles singing as a background to a TV commercial. You could take a song and get it recorded by 'A. N. Other.' But Michael (Jackson)'s attitude in the early days was, 'These are the greatest songs ever recorded, and they ain't gonna end up on a cornflakes ad."'
Nevertheless, Ono was quoted by Time magazine at the time as saying the "Revolution" commercial was "making John's music accessible to a new generation." That's exactly how Bandier feels today about actively promoting the Beatles via licensing, and others agree that current commercial realities make the eventual appearance of their original recordings in commercials and films much more likely.
The type of licensing that's been the most contentious for music purists is for commercials. But a license for a Lennon/McCartney song -- albeit in a cover version -- not only drives revenue for the advertiser, publisher and writers, it can convey a message in the most powerful way.
Rob Kaplan, director of music production for New York-based advertising agency Mcgarrybowen, has been involved with three commercials using Lennon/McCartney songs licensed from Sony/ATV. In 1998, Europe-based Philips Consumer Electronics had very little brand recognition in the United States, Kaplan says. It was using the tag line, "Let's make things better," and wanted an anthemic song to unify its products and create a corporate identity.
"They needed something that was a big statement, that could cut across generations, was instantly recognizable but also kind of cool and clever," Kaplan says. Since the Beatles recording wasn't available, they had Gomez, then an emerging English band signed to Virgin, record the chorus to "Getting Better," the last seven seconds of which played at the end of every Philips commercial for about three years.
"We literally got thousands of requests from consumers wanting to know where to buy the song," Kaplan says.
Mcgarrybowen subsequently licensed Rufus Wainwright's recording of "Across the Universe" for Canon digital cameras in 2004, as well as a version of "All You Need Is Love" for Chase Bank's 2006 campaign for rewards programs and customized credit cards with partners including Marriott Hotels, Disney and Borders Books & Music.
"What makes a Beatles song special in advertising is that it's one of the few things that you know everybody is going to 'get,' no matter what," Kaplan says. "The lyrics are really clear. There are very few things that cut across every demographic imaginable and are still special. The Beatles really are. There's no comparison."
Such campaigns are even rarer in the Beatles' homeland but in 2000, U.K. bank Halifax used a cover of "Help!" in a six-month TV campaign.
"To get something as anthemic as 'Help!' was a massive coup," recalls Tim Male, the company's head of advertising and media. "We were very surprised when we got it, on the basis that artists like that aren't interested, or the process or cost of doing it makes it prohibitive.
"The thought of a Beatles track being used in anything is abhorrent to certain people," Male adds, "and you've got to be mindful of that."


ALL YOU NEED IS ... LUVS?
Sony/ATV U.K. says that no applications for British commercial licenses of Beatles songs are in the works, and that the company will take its lead on potential recorded interpolations from the U.S. company. A London representative for Universal Music Publishing Group, which administers "Please Please Me" and "Ask Me Why," says, "We're very selective over any requests and uses of the songs. We would consider commercials if appropriate."
Bandier notes that the publisher's decision to grant a license for a Beatles song can be informed by whether it will take the composition to a new audience. Hence Luvs Diapers' current campaign, which proclaims, "All You Need Is Luvs."
"The thought and the song were ideal for morning TV, when young mothers are watching," Bandier says, adding that the commercial was being aired to young parents who may not know the song or have a sense of the theme. "We thought it was very tasteful."
Since Bandier joined Sony/ATV in March after leaving EMI Music Publishing -- which holds rights in Lennon's solo compositions -- he has strived to ensure that these classic songs reach the next generation of listeners in a myriad of ways, not just from their parents talking about them.
Seemingly the most successful venture to date is the Las Vegas show "Love," a joint production of Cirque du Soleil and Apple Corps using the original Beatles recordings, remixed by George Martin and son Giles. Since the show opened in June 2006, it has drawn more than 600,000 spectators and generated music publishing fees nearing $500,000 per month, according to a source close to the show. Worldwide sales of the accompanying "Love" album, released this time last year, stand at 5 million units, according to EMI in London.
Elsewhere, Beatles lyrics are appearing on clothing, after Sony/ATV sealed a deal with Lyric Culture authorizing use of the lyrics on jeans, T-shirts and other items. The publisher is negotiating other merchandising deals.
On the big screen, Julie Taymor's "Across the Universe" -- with a plot based on the Beatles songbook and a soundtrack featuring cover versions of Beatles classics -- was released this fall. It grossed about $24 million in the United States and Canada. (The soundtrack album also just received a Grammy Award nomination for best compilation soundtrack album for motion picture, television or other visual media.)
On TV, a special edition of NBC's "The Singing Bee" was recently dedicated to Lennon and McCartney, while the sixth season's final episode of "American Idol" was a Lennon, McCartney and the Beatles special, with the contestants all singing Beatles songs.
"In all of the years that 'American Idol' has been around, there's never been a Lennon and McCartney song performed on that show," Bandier says. "I thought it was preposterous. We were missing an audience of tens of millions of people.
"It's important that the world knows this music," Bandier adds. "It just can't be hidden forever, otherwise you're going to miss generations of music listeners." Reuters/Billboard
 
so if Michael's approval doesn't matter, why do they go to him to ask?
 
Good question.

So Sony/ATV was making about $6 mil a year on that Circ De Soliel "Beatles Love" thing in Vegas. Amazing, isn't it?
 
Maybe they wanted to go to Michael as a way to get his thoughts on a situation because he owned a sizable share in the company. Also, maybe the need for his approval came about once he strengthened his stake in the company.
 
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that's what I'm thinking. Michael has to have some say in the business matters. I remember Sony BMG had to get Mike's approval to buy a publishing company, so Mike must have some kind of importance in the deals
 
so if Michael's approval doesn't matter, why do they go to him to ask?

That's a good question. In my opinion, it shows just how POWERFUL Michael is. They don't need his approval, per se, but they ask him anyway, "probably" out of respect. They ain't trying to get Michael on their bad side. LOL!
 
That's a good question. In my opinion, it shows just how POWERFUL Michael is. They don't need his approval, per se, but they ask him anyway, "probably" out of respect. They ain't trying to get Michael on their bad side. LOL!
This is the truth. People don't understand the system but Mj is a very smart guy. His business is operated through a TRUST which he set up, which means that he doesn't handle the day to day running of the business. The trust was also set up to PROTECT MJ's assets, which means that no one can sue him with the intention of getting his catalogue, it will never happen. The trust operates indepently of MJ and his personal problems. This is why the MJ broke story is just the media brainwashing the public about MJ's affairs as usual. MJ is smart, you all.
 
That's a good question. In my opinion, it shows just how POWERFUL Michael is. They don't need his approval, per se, but they ask him anyway, "probably" out of respect. They ain't trying to get Michael on their bad side. LOL!
that was said by the FORMER.. head of Sony/ATV.. in 2007 Michael realigned and hired Martin Bandier.. its a whole new ballgame.. he is very much on top of things...

you can tell.... his name is very much mentioned nowadays.. when Sony/ATV news is out.. not like before..

but I sure can tell with the hiring of Martin Bandier.. he and Mike.. have had a long business relationship before taking the job at Sony/ATV..
 
that was said by the FORMER.. head of Sony/ATV.. in 2007 Michael realigned and hired Martin Bandier.. its a whole new ballgame.. he is very much on top of things...

you can tell.... his name is very much mentioned nowadays.. when Sony/ATV news is out.. not like before..

but I sure can tell with the hiring of Martin Bandier.. he and Mike.. have had a long business relationship before taking the job at Sony/ATV..

Thanks for pointing that out Rasta how different it is now unlike before Marty was hired.
 
you can tell.... his name is very much mentioned nowadays.. when Sony/ATV news is out.. not like before..

Oh you surely can tell, what the deal is now. I also noticed with the two acquisitions from last year, Michael's comments were prominently displayed in the press release and in ALL articles about those two acquisitions thereafter.
 
Oh you surely can tell, what the deal is now. I also noticed with the two acquisitions from last year, Michael's comments were prominently displayed in the press release and in ALL articles about those two acquisitions thereafter.
yes, I made a note of that myself.. it was suttle yet prominent.. and on Sony's site it also notes the partnership...
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Outline of
Principal Operations
Select a Section ------------- Overview Page ------------- Sony Corporation of America Sony Pictures Entertainment Sony Electronics Inc. Sony Computer Entertainment America Inc. Sony DADC Sony Entertainment Distribution Sony Plaza Public Arcade Sony Wonder Technology Lab (NY) ------------- Sony BMG Music Entertainment Sony Ericsson Sony/ATV Music Publishing Partnerships

Sony/ATV Music Publishing
  • Sony/ATV Music Publishing owns or administers copyrights and catalogs by such artists as The Beatles, Beck, Brooks & Dunn, Leonard Cohen, Neil Diamond, Bob Dylan, The Everly Brothers, Fall Out Boy, Jimi Hendrix, Billy Mann, Joni Mitchell, Graham Nash, Willie Nelson, Roy Orbison, Richie Sambora, Stephen Stills, KT Tunstall and Hank Williams, among others.
  • Sony/ATV Music Publishing is a worldwide music publishing joint venture between Sony and Michael Jackson.
  • Martin N. Bandier is Chairman and CEO of Sony/ATV Music Publishing
For additional information, please go to: http://www.sonyatv.com


the site was last updated 4th quarter of last year...

pigs will definitely FLY when the media focuses positively on Michael's business dealings... but Rev Jessie Jackson.. said it best when ..'he is a very astute business man'...
 
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yes, I made a note of that myself.. it was suttle yet prominent.. and on Sony's site it also notes the partnership...



the site was last updated 4th quarter of last year...

pigs will definitely FLY when the media focuses positively on Michael's business dealings... but Rev Jessie Jackson.. said it best when ..'he is a very astute business man'...

True. And MJ has 2 careers, one in making music and the other in publishing it. The second one is far more lucrative than the first, and it is less work. So MJ doesn't have to make another album if he doesn't want to, but he does need to look after his major asset and to protect it from jealous and greedy eyes. MJ is the Berry Gordy of business now. He is the real deal, He pays the piper and calls the tune.
 
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