I don't like that all these documentaries are focused on early works, Michael had great albums after the '80s, Dangerous and History are great works!!! They focused on times when Michael was just a kid or a young man and what he says and does is not threatening to their narrow minds...
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Spike Lee announces Off The Wall Documentary - Estate Announcement Page 66
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barbee0715
Proud Member
Michael's only been gone a few years. We really haven't had any good documentaries or specials about his work since "The Magic Returns" and that was over 25 years ago.
We never had any docs or specials about OTW. Not too many people here that remember that time and even what culture was like back then.
I watch docs or movies that take place in the 60s and 70s and I'm always shocked at things that happened right under my nose and had no clue. Of course, I was a child, but what you hear from your own kids perspective is vastly different from what was really going on.
I'm glad they're making these (although again, they should be longer) and History and Dangerous will come.
Bringing Brighter Days
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oh they were definitely equal from the music perspective, not the dancing, or the videos, but the music yes
this is why this is so unfortunate because in 1984, when they stood on that podium together, that was the greatest single moment in the history of the Grammys,
because you had the greatest artist in the recording history, and the greatest producer, composer, and arranger in the history of the recording industry (which he already became the best in his craft by the turn of the 1970s), both men made history together
and it was no accident that Michael chose Quincy to work on his first 3 solo albums back to back to back.....he only worked with Teddy Riley once for a full album and Rodney Jerkins once for a full album but nobody understood how to nurture and shape his sound the way Quincy did
that whole gives a window into the mind of the greatest producer that's ever done it
and this clip proves that Quincy Jones never ever tried to take all the credit, or nor did anyone try to give him all the credit because he squelched any notion of that himself as he acknowledged every single person who contributed to Thriller's success, the songwriters, the studio singers, the musicians, everyone
as he always said the byproduct of a great album is never from the works of one person
that was his approach from the moment he started composing music, then arranging, then producing
and if any supposed documentary about Thriller, if it doesn't include those words than it aint' worth making it
h0opman31
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Yeah that sucks. Watcha gonna do?
That'll be a great experience, considering fans would get all that for free! I hope they allow video recording or pictures if Spike Lee or John Branca are in attendance.
SheilaMJFan4Ever
Proud Member
Well, I just signed up for the 30 days free trial of Showtime, woohoo! Hurry up, February!
SheilaMJFan4Ever
Proud Member
You do realize his career spanned almost 50 years, right? To NOT cover it from its beginning is disrespectful to the entire journey he ventured from child star to King of Pop. I realize most of you weren't around to witness Mike's professional progression (like Barbee, me and other J5 era fans here have), but not being born isn't an excuse to ignore his earlier years.
Silouette
Proud Member
Lol! I hear ya Sheila! And I set my DVR earlier this week. Ready!
Michaels Lover
Guests
exactly! I was not born at that time (J5), but I'm still aware that ALL of his career is important. every fan should know that, no matter how old they are
barbee0715
Proud Member
I'm on their "help page" right now-does it look better to sign up on the computer or through the app on the phone? I'm going to be pet sitting that weekend so I have to watch this at their house-and I'd prefer to use their computer!
Actually, I'd prefer the TV, but Comcast isn't running specials.
SheilaMJFan4Ever
Proud Member
barbee0715;4131782[b said:]I'm on their "help page" right now-does it look better to sign up on the computer or through the app on the phone?[/B] I'm going to be pet sitting that weekend so I have to watch this at their house-and I'd prefer to use their computer!
Actually, I'd prefer the TV, but Comcast isn't running specials.
I signed up through my android phone. I don't have any cable or satellite service.
barbee0715
Proud Member
Thank you both-then I'll do it through the phone and pull it up on their computer on the 5th. Thank you!!!!!!!!!!!!!!!!!!
Edit to add: got the app and signed up and went to PC and started free trial. Going to test it tonight by watching the Marlon Brando doc or David Bowie doc!!
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wonderouzdj2
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I just did too after reading this. I can't wait!
elusive moonwalker
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Mjjmsc can correct me if im wrong but i think their comment was more about been concerned of a continuation of the pushed agenda that mj did nothing after bad. (he was good before he became weird argument) and their concern for that notion (IF) documentries on dangerous etc arent made to compliment the others. I for one have never seen fans wanting to ignore any part of his carreer. Infact they tend to be more intrested in hearing and watching info from the eras they were not alive or old enough to see than the ones they lived through as it happened.because everything is "new" even if its a jackson album from 30 plus years ago.it Seems to me people are getting things twisted interms of thinking some fans want to ignore certain eras when infact they just want all eras to be treated equal. I find it weird that anyone would think a fellow fan would want to ignore any era of mj over another and personally i dont understand why some would even come to such an opinion based on some fans been concerned about the pushed agenda i first mentioned at the begining.
Bubs
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Spike Lee Defends Michael Jackson: ‘The Legacy Has Been Hijacked’
The celebrated filmmaker discusses his upcoming doc ‘Michael Jackson’s Journey from Motown to Off the Wall’ and the revolutionary power of Black Twitter.
The timing couldn’t have been worse. Just as the social media campaign #OscarsSoWhite forced Hollywood to acknowledge its white supremacy, with the Academy of Motion Picture Arts and Sciences instituting sweeping rules changes in order to diversify its majority-white membership, the news broke that Joseph Fiennes would be playing Michael Jackson in the road dramedy Elizabeth, Michael & Marlon. Joseph Fiennes is white.
Black Twitter shook its collective head, marveling at Tinseltown’s unbearable whiteness of being. Yes, Jackson suffered from vitiligo, a chronic skin condition that causes parts of the skin to lose their pigment. In order to cover up the blotches, Jackson allegedly applied copious amounts of makeup to mask the disease. But Jackson never wanted to be played by a white person. In an infamous 1993 interview with Oprah Winfrey at Neverland Ranch, she asked him about tabloid rumors that he’d wanted a white boy to portray him in a Pepsi commercial.
“Why would I want a white child to play me?” asked Jackson. “I’m a black American. I’m a black American. I’m proud to be a black American. I am proud of my race. I am proud of who I am. That’s like you [Oprah] wanting an oriental person to play you as a child. Does that make sense? Please people stop believing these horrifying stories.”
On Feb. 5, Showtime will premiere the documentary Michael Jackson’s Journey from Motown to Off the Wall. Directed by Spike Lee, the film chronicles Jackson’s rise from child prodigy in The Jackson 5 to breaking out as a solo artist with the Quincy Jones-produced Off the Wall. Along the way, it tackles his Oscar-nominated song “Ben,” days partying—or rather, quietly observing—at Studio 54, and the groundbreaking movie-musical The Wiz. According to Lee, who sat down with me at the Sundance Film Festival where Off the Wall debuted, the film seeks to capture how Jackson evolved into a music icon.
“To me, the most important thing that we tried to hammer home was Michael’s work ethic,” Lee told The Daily Beast. “He was a perfectionist. He worked hard at what he did. He practiced, studied, and worked at it.”
“It gets overlooked,” he continued. “Another thing that one should not overlook is that every year a new generation is discovering Michael Jackson, and their introduction to Michael Jackson might be from all the other stuff that was happening, not his music. It shouldn’t be that way. We made a conscious decision with these two films we’ve done to not deal with the other stuff and just focus on the music.”
That other film was Bad 25, and like Off the Wall, it was made in conjunction with Jackson’s record label, Sony, as well as his estate. Early reviews have criticized the film for being sanitized, devoid of the Jackson 5’s strip club performances, his father Joe’s alleged verbal and physical abuse—including reports he pressured his youngest son to sleep with prostitutes (Jackson never did), his mother’s rigid-religious parenting as a devout Jehovah’s Witness, or the numerous child sexual abuse allegations levied against Jackson (though those came after Off the Wall).
“That was not my choice,” Lee said of avoiding the dirt. “That was determined by the record company, the Michael Jackson estate, and the fans. That’s how they arrived at that decision.”
“They just have a viewpoint of how they want it to be, and that’s their right,” he added. “And going in, I knew I didn’t want to deal with that stuff. It’s just about the music.”
But isn’t the abuse he suffered reflected in the music? I asked Lee. There’s a sense of heartbreak and longing in a lot of his songs, including ballads like “Ben,” which I’d always interpreted as being about a guy.
“You can interpret that any way you want to,” replied Lee. “That’s your interpretation of him singing ‘Ben?’ It’s a song about a rat!”
Lee’s always felt a strong connection to Jackson’s music, ever since he first heard him in The Jackson 5. “I was born in ’57, he was born in ’58, and Prince was born in ’58,” said Lee, smiling. “I wasn’t performing, but we were young black boys in America.”
The two first met when Jackson was being feted at a United Negro College Fund dinner in 1988. It was around that time that Jackson’s skin color began to change (vitiligo), and before the child sexual abuse allegations began in 1993. Lee has very strong feelings about the tabloid coverage of Jackson, and how it’s affected his legacy.
“The legacy has been hijacked,” said Lee. “The narrative has been hijacked. So things like Bad 25 and Off the Wall are going to take it back. I’m happy I’ve been given the opportunity by Sony, Epic, and the Jackson Estate to combat that. The manifesto from the get-go has been: focus on the music, his artistry, his genius. That’s the bottom line.”
With two MJ documentaries in the can, Lee hopes to finish a third to complete his King of Pop trilogy.
“If I could do Thriller that would be a trilogy, and I’m good,” said Lee. “If things work out, I would like to do Thriller. Michael did three great collaborations with the master Quincy Jones: Off the Wall, Bad, and Thriller. I’ve done two of the three. Also, that would be a great DVD package! Who isn’t going to buy that?”
Our talk eventually turned to the transformative power of Black Twitter, and its ability to give a voice to the disenfranchised, and promote social justice—from Black Lives Matter to #OscarsSoWhite.
“Thank you, April!” Lee screamed into my tape recorder, giving a shout-out to #OscarsSoWhite creator April Reign.
“You know, tools can be used for good, or bad,” continued Lee. “If somebody gets murdered, and it wasn’t picked up by the press, you wouldn’t hear about it. Sandra Bland, I heard about it first on social media before the press. It lets us know what’s really going on. It’s powerful and very, very necessary.”
http://www.thedailybeast.com/articl...ael-jackson-the-legacy-has-been-hijacked.html
The celebrated filmmaker discusses his upcoming doc ‘Michael Jackson’s Journey from Motown to Off the Wall’ and the revolutionary power of Black Twitter.
The timing couldn’t have been worse. Just as the social media campaign #OscarsSoWhite forced Hollywood to acknowledge its white supremacy, with the Academy of Motion Picture Arts and Sciences instituting sweeping rules changes in order to diversify its majority-white membership, the news broke that Joseph Fiennes would be playing Michael Jackson in the road dramedy Elizabeth, Michael & Marlon. Joseph Fiennes is white.
Black Twitter shook its collective head, marveling at Tinseltown’s unbearable whiteness of being. Yes, Jackson suffered from vitiligo, a chronic skin condition that causes parts of the skin to lose their pigment. In order to cover up the blotches, Jackson allegedly applied copious amounts of makeup to mask the disease. But Jackson never wanted to be played by a white person. In an infamous 1993 interview with Oprah Winfrey at Neverland Ranch, she asked him about tabloid rumors that he’d wanted a white boy to portray him in a Pepsi commercial.
“Why would I want a white child to play me?” asked Jackson. “I’m a black American. I’m a black American. I’m proud to be a black American. I am proud of my race. I am proud of who I am. That’s like you [Oprah] wanting an oriental person to play you as a child. Does that make sense? Please people stop believing these horrifying stories.”
On Feb. 5, Showtime will premiere the documentary Michael Jackson’s Journey from Motown to Off the Wall. Directed by Spike Lee, the film chronicles Jackson’s rise from child prodigy in The Jackson 5 to breaking out as a solo artist with the Quincy Jones-produced Off the Wall. Along the way, it tackles his Oscar-nominated song “Ben,” days partying—or rather, quietly observing—at Studio 54, and the groundbreaking movie-musical The Wiz. According to Lee, who sat down with me at the Sundance Film Festival where Off the Wall debuted, the film seeks to capture how Jackson evolved into a music icon.
“To me, the most important thing that we tried to hammer home was Michael’s work ethic,” Lee told The Daily Beast. “He was a perfectionist. He worked hard at what he did. He practiced, studied, and worked at it.”
“It gets overlooked,” he continued. “Another thing that one should not overlook is that every year a new generation is discovering Michael Jackson, and their introduction to Michael Jackson might be from all the other stuff that was happening, not his music. It shouldn’t be that way. We made a conscious decision with these two films we’ve done to not deal with the other stuff and just focus on the music.”
That other film was Bad 25, and like Off the Wall, it was made in conjunction with Jackson’s record label, Sony, as well as his estate. Early reviews have criticized the film for being sanitized, devoid of the Jackson 5’s strip club performances, his father Joe’s alleged verbal and physical abuse—including reports he pressured his youngest son to sleep with prostitutes (Jackson never did), his mother’s rigid-religious parenting as a devout Jehovah’s Witness, or the numerous child sexual abuse allegations levied against Jackson (though those came after Off the Wall).
“That was not my choice,” Lee said of avoiding the dirt. “That was determined by the record company, the Michael Jackson estate, and the fans. That’s how they arrived at that decision.”
“They just have a viewpoint of how they want it to be, and that’s their right,” he added. “And going in, I knew I didn’t want to deal with that stuff. It’s just about the music.”
But isn’t the abuse he suffered reflected in the music? I asked Lee. There’s a sense of heartbreak and longing in a lot of his songs, including ballads like “Ben,” which I’d always interpreted as being about a guy.
“You can interpret that any way you want to,” replied Lee. “That’s your interpretation of him singing ‘Ben?’ It’s a song about a rat!”
Lee’s always felt a strong connection to Jackson’s music, ever since he first heard him in The Jackson 5. “I was born in ’57, he was born in ’58, and Prince was born in ’58,” said Lee, smiling. “I wasn’t performing, but we were young black boys in America.”
The two first met when Jackson was being feted at a United Negro College Fund dinner in 1988. It was around that time that Jackson’s skin color began to change (vitiligo), and before the child sexual abuse allegations began in 1993. Lee has very strong feelings about the tabloid coverage of Jackson, and how it’s affected his legacy.
“The legacy has been hijacked,” said Lee. “The narrative has been hijacked. So things like Bad 25 and Off the Wall are going to take it back. I’m happy I’ve been given the opportunity by Sony, Epic, and the Jackson Estate to combat that. The manifesto from the get-go has been: focus on the music, his artistry, his genius. That’s the bottom line.”
With two MJ documentaries in the can, Lee hopes to finish a third to complete his King of Pop trilogy.
“If I could do Thriller that would be a trilogy, and I’m good,” said Lee. “If things work out, I would like to do Thriller. Michael did three great collaborations with the master Quincy Jones: Off the Wall, Bad, and Thriller. I’ve done two of the three. Also, that would be a great DVD package! Who isn’t going to buy that?”
Our talk eventually turned to the transformative power of Black Twitter, and its ability to give a voice to the disenfranchised, and promote social justice—from Black Lives Matter to #OscarsSoWhite.
“Thank you, April!” Lee screamed into my tape recorder, giving a shout-out to #OscarsSoWhite creator April Reign.
“You know, tools can be used for good, or bad,” continued Lee. “If somebody gets murdered, and it wasn’t picked up by the press, you wouldn’t hear about it. Sandra Bland, I heard about it first on social media before the press. It lets us know what’s really going on. It’s powerful and very, very necessary.”
http://www.thedailybeast.com/articl...ael-jackson-the-legacy-has-been-hijacked.html
How ‘Off the Wall’ Launched Michael Jackson into Orbit http://www.ebony.com/entertainment-...-into-the-stratosphere/2#.Vq2FZDBvDbg.twitter …
When Babies can't take their eyes of #OffTheWall Michael Jackson (understandably so) https://www.facebook.com/MJalive.777/
When Babies can't take their eyes of #OffTheWall Michael Jackson (understandably so) https://www.facebook.com/MJalive.777/
https://www.facebook.com/yashibrown/
Can't be at Sundance and not catch the Spike Lee premiere
Live Q an A. Love Questlove..
Can't be at Sundance and not catch the Spike Lee premiere
Live Q an A. Love Questlove..
Silouette
Proud Member
mjjmsc;4131670 said:
http://www.billboard.com/articles/e...hael-jackson-more-movies-showtime-documentary
You may get what you hope for.
Ok now back to OTW.
SheilaMJFan4Ever
Proud Member
What "agenda"? One doesn't have to be a fan to be aware of Mike's catalog. That goes for any artist. The paranoia and/or imagined victim hood that his post-Bad albums are unheard of by the casual music listener is played out! What's closer to the truth is that the casual listener probably PREFERS the Quincy era Mike albums to his later ones. That's the sentiment I've heard from the people that weren't hardcore fans through the years. Btw, I've seen comments on this very site from fans glossing over Mike's earlier releases (with and without his brothers) in favor for the late career albums when they became fans. That isn't any better than those you claim have an agenda for his earlier albums.
Bringing Brighter Days
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all true
there is no agenda,
everything starts with the source and what's being projected to the public
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elusive moonwalker
Guests
What "agenda"? One doesn't have to be a fan to be aware.
The medias agenda. It had been pushed for along time by some outlets about mjs supposed lack of success after bad. hence also the actions of some outets to try and reduce mjs work on the jones produced albums .the same agenda were u would see articles written about mj where mills if not tens of mills of copies suddenly were taken off record sales inorder to downplay his success.its a running theme that has been around for many years.hence the other posters concern about the lack (possibly) of post bad documentries
The medias agenda. It had been pushed for along time by some outlets about mjs supposed lack of success after bad. hence also the actions of some outets to try and reduce mjs work on the jones produced albums .the same agenda were u would see articles written about mj where mills if not tens of mills of copies suddenly were taken off record sales inorder to downplay his success.its a running theme that has been around for many years.hence the other posters concern about the lack (possibly) of post bad documentries
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barbee0715
Proud Member
Another lovely review-this time from the Moderate Voice by Spencer Moleda http://themoderatevoice.com/212958/
5/5Spike Lee’s Michael Jackson’s Journey is an extraordinary immersion in the energy of one contemporary music’s most definitive icons. As an exposé, it challenges the audience to see beyond the spiral of its subject’s tragic life and into the heart of what made him a marvel of both the stage and the studio. If you don’t like it, you’ll have a hard time convincing me you like movies at all.
Michael Jackson spent so much of his later career embroiled in controversy that for much of my own life, his music went virtually unnoticed. This new film, a documentary about a very particular period of Jackson’s career, strips away all that sensationalism and lasers in on a man molting his boyband shell before recording Off the Wall, an album Spike Lee argues marked his arrival as a singular artist with world-sweeping vision. If anything is to be taken away from this film, it’s that the same merciless perfectionism that would eat away at him in later years is also what sculpted him in his prime.
At the film’s start, Michael is as he is on his album covers — sweet and pure, a small boy attempting to navigate the fame and hysteria that comes with being the precocious frontman of the Jackson 5. A label dispute eventually transforms the group into The Jacksons, and this is where we catch our first glimpses of MJ, maestro of the stage. Before he ever started writing the bulk of his material and, he learned to see the stage as being as integral to a live performance as the music itself. Soon, he would adopt it as his instrument of choice, perhaps second only to his voice.
There is a moment near the film’s middle that proves the most revealing — Jackson, still a teenager, writes a letter while touring with The Jacksons that becomes his manifesto. Hearing it read aloud leaves you in awe-struck silence. It is a proud, desperate declaration of his every ambition; he writes that he no longer wishes to be Michael Jackson but “MJ”, an artist without equal. He pledges to become the greatest performer of all time, to work harder than anyone else, to dance and dance and dance until he can give Gene Kelly and Fred Astaire a run for their money. There are countless pop musicians that are delivered to us with machine-cut prestige about as enduring as trial software. With this letter, Michael Jackson proved that although the spotlight was given to him by his father and his brothers, it was by his own virtue that he held onto it until the day he died.
It’s in the second half that the documentary shifts focus onto Off the Wall itself, unfolding into a track-by-track dissection of the entire LP. I cringe at the thought of the glorified ad campaign this could have been in lesser hands, but here Lee manages to turn the album into a cultural portrait. Each song becomes a different shade of the man who made it as well as the time it would come to encapsulate.
The film’s enormous gallery of talking heads, ranging anywhere from Quincy Jones to Kobe Bryant, guides us through both the album and the fledgling career that was its precedent. In a lesser treatment, the sheer wealth of faces would threaten to collapse the entire picture. Instead, Lee carefully chooses a variety of stars from an array of professions to show the sheer diversity of people Jackson’s music managed to influence. I was especially struck by Bryant’s contributions — he seems at first like the odd duck, but he quickly reveals himself to be among the most succinct and erudite of the bunch. Respect.
Some will argue that a Michael Jackson film that excises his descent into illness and public ridicule is only telling half the story. Tell me something — on these topics, is there really any more to be said? We know about the surgery and skin lightening. We know about the molestation allegations. And we’re painfully aware of the profoundly depressing attempts to rebuild a childhood that never was. These things have been reported, dissected, and parodied to such a cruel extant that to a generation, the music that made them relevant has been buried in the mud. This is a film about pulling it out and giving it a fresh face.
Journey is the second documentary Spike Lee has made about Michael Jackson, the first being Bad 25. Rarely has there been a more worthy match of director and subject. With his unchained exuberance, Lee has taken an oft-exploited life and crafted from it an electrifying tribute to the dual act of making and loving music. One could say Lee is guilty of worship and hagiography, but I disagree; I think he’s committed to it. He has no agenda but to showcase one man’s immeasurable passion and the countless lives who made it their own. To Spike Lee and company, the name “Michael Jackson” is synonymous with music itself. As the lights came on in the screening room, I had to admit they were on to something.
Click here for reuse options!
Copyright 2016 The Moderate Voice
5/5Michael Jackson spent so much of his later career embroiled in controversy that for much of my own life, his music went virtually unnoticed. This new film, a documentary about a very particular period of Jackson’s career, strips away all that sensationalism and lasers in on a man molting his boyband shell before recording Off the Wall, an album Spike Lee argues marked his arrival as a singular artist with world-sweeping vision. If anything is to be taken away from this film, it’s that the same merciless perfectionism that would eat away at him in later years is also what sculpted him in his prime.
At the film’s start, Michael is as he is on his album covers — sweet and pure, a small boy attempting to navigate the fame and hysteria that comes with being the precocious frontman of the Jackson 5. A label dispute eventually transforms the group into The Jacksons, and this is where we catch our first glimpses of MJ, maestro of the stage. Before he ever started writing the bulk of his material and, he learned to see the stage as being as integral to a live performance as the music itself. Soon, he would adopt it as his instrument of choice, perhaps second only to his voice.
There is a moment near the film’s middle that proves the most revealing — Jackson, still a teenager, writes a letter while touring with The Jacksons that becomes his manifesto. Hearing it read aloud leaves you in awe-struck silence. It is a proud, desperate declaration of his every ambition; he writes that he no longer wishes to be Michael Jackson but “MJ”, an artist without equal. He pledges to become the greatest performer of all time, to work harder than anyone else, to dance and dance and dance until he can give Gene Kelly and Fred Astaire a run for their money. There are countless pop musicians that are delivered to us with machine-cut prestige about as enduring as trial software. With this letter, Michael Jackson proved that although the spotlight was given to him by his father and his brothers, it was by his own virtue that he held onto it until the day he died.
It’s in the second half that the documentary shifts focus onto Off the Wall itself, unfolding into a track-by-track dissection of the entire LP. I cringe at the thought of the glorified ad campaign this could have been in lesser hands, but here Lee manages to turn the album into a cultural portrait. Each song becomes a different shade of the man who made it as well as the time it would come to encapsulate.
The film’s enormous gallery of talking heads, ranging anywhere from Quincy Jones to Kobe Bryant, guides us through both the album and the fledgling career that was its precedent. In a lesser treatment, the sheer wealth of faces would threaten to collapse the entire picture. Instead, Lee carefully chooses a variety of stars from an array of professions to show the sheer diversity of people Jackson’s music managed to influence. I was especially struck by Bryant’s contributions — he seems at first like the odd duck, but he quickly reveals himself to be among the most succinct and erudite of the bunch. Respect.
Some will argue that a Michael Jackson film that excises his descent into illness and public ridicule is only telling half the story. Tell me something — on these topics, is there really any more to be said? We know about the surgery and skin lightening. We know about the molestation allegations. And we’re painfully aware of the profoundly depressing attempts to rebuild a childhood that never was. These things have been reported, dissected, and parodied to such a cruel extant that to a generation, the music that made them relevant has been buried in the mud. This is a film about pulling it out and giving it a fresh face.
Journey is the second documentary Spike Lee has made about Michael Jackson, the first being Bad 25. Rarely has there been a more worthy match of director and subject. With his unchained exuberance, Lee has taken an oft-exploited life and crafted from it an electrifying tribute to the dual act of making and loving music. One could say Lee is guilty of worship and hagiography, but I disagree; I think he’s committed to it. He has no agenda but to showcase one man’s immeasurable passion and the countless lives who made it their own. To Spike Lee and company, the name “Michael Jackson” is synonymous with music itself. As the lights came on in the screening room, I had to admit they were on to something.
Click here for reuse options!
Copyright 2016 The Moderate Voice
SheilaMJFan4Ever
Proud Member
Yeah, that's the vibe I picked up on BD's post, that Mike somehow sabotaged his own career (ridiculous). As for the tabloid explosion about Mike after Motown 25, that was pure insanity to me, lol! I was in high school then (which is a bedlam of gossip ANYWAY) and he was the hottest topic with the students AND the teachers. I remember one of my assistant principals asking me questions about Mike while holding a copy of the NE in his hand... :blink: That damn oxygen chamber pic and article was the one that people asked me about the most, wondering if he really slept in it and did I think it would make him live to be 150 years old.
Wow, people... :crackingup: :hysterical: :wtf:
Edit
It's February 1st on my side of the pond, WOOOOOOOO!!! Four more days until the OTW documentary!!! :wild: :woohoo: :girl_dance:
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barbee0715
Proud Member
Spike adores Quincy too. He never says his name without saying "the great Quincy Jones", so nothing in the doc or Thriller doc will be underestimating Q.
HIStory
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I don't think that is true AT ALL. That is something that is only in your mind.
I am sure in the OTW documentary we will hear a lot of mention and praise of Quincy Jones just as we did in Bad 25. No one rewrites anything.
OnirMJ
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That's not true. According to Mediatraffic Bad sold 32 MIL copies, Dangerous 30 MIL copies. Off The Wall did not sold nearly that many copies. According to them Off The Wall sold 20 MIL copies, same as HIStory (also 20 MIL copies).
If we are looking at Estate's numbers that is 45 MIL copies for Bad and 30 MIL copies for Off The Wall. But we don't know The Estate's numbers for other albums.
HIStory
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I was talking about US sales. Official certifications in the USA are:
OTW - 8x Platinum
Bad - 9x Platinum
Dangerous - 7x Platinum
That's about the same range to me.
Maybe you missed it, but I did add that globally Bad and Dangerous were more popular than OTW:
SmoothMJ
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Quincy played his part in making the albums successful but;
I did not see Quincy blowing away the audience in Motown 25.
I don't remember Quicy writing many of the greatest pop/R&B songs of a generation.
I did not see Quincy dancing the ass off in Billie Jean, Beat It, etc.
I did not see Quincy in the greatest music video of all time - Thriller.
I can not remember any Quincy 'Trade Marks', a la; THE glove, THE Moonwalk, THE lean, etc.
I do not remember Quincy mesmerising millions across the world tour after tour, year after year.
I could go on but, suffice to say, the 'production' of his songs and albums were only a small part of what made MJ the greatest all round artist of my, or any other lifetime. So let's get Quincy's contribution in some sort of context...please.
I did not see Quincy blowing away the audience in Motown 25.
I don't remember Quicy writing many of the greatest pop/R&B songs of a generation.
I did not see Quincy dancing the ass off in Billie Jean, Beat It, etc.
I did not see Quincy in the greatest music video of all time - Thriller.
I can not remember any Quincy 'Trade Marks', a la; THE glove, THE Moonwalk, THE lean, etc.
I do not remember Quincy mesmerising millions across the world tour after tour, year after year.
I could go on but, suffice to say, the 'production' of his songs and albums were only a small part of what made MJ the greatest all round artist of my, or any other lifetime. So let's get Quincy's contribution in some sort of context...please.