Wednesday 2 June 2010
Michael jackson death
Michael Jackson died on June 25, 2009 at the age of 50, after suffering cardiac arrest at his home in Los Angeles. Several media sources posted photos of the star being wheeled on a gurney and assisted by paramedics.
Later, an autopsy showed Jackson died from an overdose of an anesthetic propofol.1
Later, an autopsy showed Jackson died from an overdose of an anesthetic propofol.1
Photos of Michael Jackson as he was rushed to the hospital covered many gossip magazines and newspapers, and appeared on many websites, including "The Insider", "bittenandbound", "dailyintake", "celebrityroyale.com" and "hollyhoodhdtv.com". All show similar images, of Jackson on a brancard, neck covered in a brace, and several tubes attached.
Jackson was laid to rest in a mausoleum at the Glendale Forest Lawn Memorial Park in California on September 3, 2009.2
Jackson was 50 years old at time of death, and left three children, Michael Joseph Jackson, Jr, Paris Katherine Michael Jackson and Prince Michael Jackson II
On December 27, 2009, a Michael Jackson This Is It Music Video music video of Michael Jackson's song "This is It" was released, featuring photos of highlights of Michael Jackson's career, and footage of rehearsals for the planned "This is It" performances, which Michael was due to give at London's O2 Arena starting July 2009.
Michael jackson history
The Bio History of Michael Joseph Jackson began when he was born on the 29th of August 1958 in Gary, Indiana. He was the 7th of nine children. (brothers: Sigmund "Jackie", Toriano "Tito", Jermaine, Marlon, Steven "Randy", and sisters Rebbie, Janet and La-Toya Jackson.
Michael began his musical career at the age of 5 as the lead singer of the Jackson 5 who formed in 1964. In these early years the Jackson 5, Jackie, Jermaine, Tito, Marlon and lead singer Michael played local clubs and bars in Gary Indiana and moving further afield as there talents grew and they could compete in bigger competitions. From these early days Michael would be at the same clubs as big talented stars of there days, such as Jackie Wilson and would be learning from them even back then.
Michael began his musical career at the age of 5 as the lead singer of the Jackson 5 who formed in 1964. In these early years the Jackson 5, Jackie, Jermaine, Tito, Marlon and lead singer Michael played local clubs and bars in Gary Indiana and moving further afield as there talents grew and they could compete in bigger competitions. From these early days Michael would be at the same clubs as big talented stars of there days, such as Jackie Wilson and would be learning from them even back then.
In 1968 the Bobby Taylor and The Vancouvers discovered the Jackson five and from there they got an audition for Berry Gordy of Motown Records. The Jackson 5 signed for Motown and moved to California. Their first 4 singles, "I Want You Back", "ABC", "The Love You Save", and "I'll Be There" all made US No1 hits. The Jackson 5 recorded 14 albums and Michael recorded 4 solo albums with Motown.
The Jackson 5 stayed with Motown until 1976, wanting more artistic freedom they felt they had to move on and signed up with Epic. The group name Jackson 5 had to be changed as it was owned by Motown, so they reverted to The Jacksons as they had be known in the early days. Brother Jermaine married Berry Gordy's daughter and stayed with Motown. Youngest brother Randy joined in his place. The Jacksons had a number of hit records and in total made 6 albums between the years of 1976 and 1984.
In 1977 Michael made his first film debut when he starred in the musical 'The Wiz' playing Scarecrow with Diana Ross in the lead role of Dorothy. It was at this time Michael met Quincy Jones who was doing the score for the film.
Michael teamed up with Quincey Jones as his producer for his first solo album with Epic Records. The album titled "Off The Wall" was a big success around the world and the first ever album to release a record breaking 4 No1 singles in the US.
In 1982 Michael Jackson released the world's largest selling album of all time, 'Thriller'. This album produced 7 hit singles, breaking yet again more records, and went on to sell over 50 million copies worldwide. Michael was keen to use music video or short films as he called them to promote his singles from the album. He worked with the best directors and producers, using the latest technology and special effects for the hit song 'Billie Jean' The short film 'Thriller' used the latest make-up artists technolgy combined with fantastic dancing and cherography, to produce a 14 minute video, with a start, a middle and an ending. So successful was this video that 'The Making Of Michael Jackson's Thriller' became the world's largest selling home video combined with soaring album sales. In 1983 Michael performed the now legendary moonwalk for the first time on the 'Motown 25 years' anniversary show. This performance alone set Michael undoubtable into the realm of a superstar.
In 1984 Michael won a record breaking 8 Grammy awards in one night. The awards were for his work on the 'Thriller' album and his work on the narrative for the 'ET Storybook'.
On December 9th 1984 at the last concert of the Jackson's Victory Tour, Michael announced he was splitting from the group and going solo.
In 1987 Michael released his much awaited third solo album, titled 'Bad', and lauched his record breaking first solo world tour. 1988, Michael wrote his first autobiography, Moonwalk, talking for the first time on his childhood and his career. At the end of the 1980s Michael was named 'Artist Of The Decade' for his success off of his 'Thriller' and 'Bad' albums.
In 1991 Michael signed with Sony Music the largest ever recording contract and released his fourth solo album, 'Dangerous'. He toured world again in 1992, taking his concerts to countries that had never before been visited by a pop/rock artist. Also Michael founded the 'Heal the World Foundation' to help improve the lives of children across the world.
In 1994 Michael married Lisa Marie Presley, daughter of rock legend Elvis Presley. The marriage only lasted for 19 months, as they divorced in 1996.
1995 saw Michael release a fifth solo album, 'HIStory', which was a double album, first half new material and second half half greatest hits. Michael toured again over a legs covering a 2 year period. In between legs of the tour on November 14th 1996, Michael married for his second time to Debbie Rowe who was a nurse that Michael had met in the treatment of his skin pigment disorder. Together they had their first child Prince Michael Joseph Jackson jr born on February 13 1997 and a daughter Paris Michael Katherine Jackson born on April 3rd 1998.
In 1997 Michael released the remix album 'Blood On The Dance Floor' which also contained 5 new song linked with a 38min film "Ghosts". This film Michael played 5 roles using the latest special effects and make-up artistry, combined with his dance and music.
In September, 2001 Michael celebrated his 30th anniversary as a solo artist with two concerts to be held in New York, USA. Many artists such as Whitney Houston, Usher, Destinys Child, Shaggy and many more performed there own and Michael Jacksons past songs. Michael then reunited with all of his brothers and performed there biggest hits. Michael then went onto perform solo some of his biggest hits.
In October 2001 Michael released the album 'Invincible' releasing only 2 singles including the big hit "You Rock My World". Shortly after the albums release there were rumours of a rift with Sony Music and a clear lack of promotion of the album. The second single "Cry" was released with a very poor music video which did not feature Michael and no other singles were released.
In November 2003 a new single "One More Chance" was released as a single and was also a track on new compilaition album "Number Ones".
In March 2009, Michael annouced a shock comeback tour at the O2 Arena in London to start in July 2009, intially for 10 dates but the total grew to a sold out 50 dates with over 750,000 tickets sold. All sold tickets sold out within minutes of being released.
On June 25th 2009 Michael Jackson died suddenly of a reported cardiac arrest. He was 50 years old. 
Michael jackson human nature
As a person who has worked with a deep connection to Spirit, it has become clear to me that we process not only our individual psychological issues, but the emotional energy of the groups that we are embedded within as a collective. These include smaller groups such as family, school, and community, as well as larger collectives. These events and lives become a kind of living synchronicity.
A very poignant example involved the life of actor Christopher Reeve, who played Superman in the movie series. The idea of Superman is an archetypical projection of the human ego – the idea of immortality and invulnerability are delusions that the ego puts forward as it confronts the reality that it will inevitably pass. At the level of consciousness, Superman represents the denial of impermanence, embodiment and death. Thus when Christopher Reeve accepted the role of Superman, he literally embodied a collective spiritual issue of the human oversoul.
When Christopher Reeve was thrown from his horse and became a quadriplegic, he became the antithesis of Superman – all too vulnerable and very mortal. He became completely helpless and dependent on others for survival. He became powerless in almost every sense, except for the power to choose his thoughts and attitude.
Within his spirit, and at the deeper level of the human oversoul, Christopher Reeve accepted a role as an agent in human consciousness evolution. He soared as high as the ego can fly, and fell as far as it can fall. And it was all for the service of humanity. His life helped us process a little of a collective issue of human egos, the delusion that we have ultimate power and control.
Recently another individual human soul passed away, and his life also served the human collective. Michael Jackson’s life, his music and his individual soul issues resonated deeply with the oversoul of a large segment of humanity – the Generation Xers. What I am about to say is not meant to be disrespectful to Michael Jackson. I write this with no judgment of him as a soul. These perceptions emerge from my intuitive sense of his life and soul issues. We all have soul issues. Michael Jackson’s were probably a little deeper than most, and he just happened to live his in the spotlight.
Michael Jackson never integrated his childhood scars. He did not know how to deal with adult relationships, because his personal boundaries were so diffused as a child that he did not know where “he” ended and others started. became a parody of that child because he was not prepared to become the parent to it. He rejected responsibility for himself. An increasing acceptance of responsibility for self and one’s soul issues is a fundamental component of personal, psychological and spiritual development. This is a lifetime process for most of us. Inevitably, most of us never complete the processes.
Michael jackson dangerous
ABC's Robin Roberts, Janet Jackson reveals that she believes that Dr. Murray is, in fact, responsible for the death of her brother. Murray is currently charged with manslaughter as a result of Jackson's death, but it is unclear at what point any real legal proceedings will commence. Murray maintains that he never prescribed or administered any drugs that he believed would be life-threatening to Jackson.
Investigators have yet to reveal some of the information that they have gathered in the case, although they have made several high profile raids in an attempt to gather additional information and possibly build their case against .
Janet explained to Robin Roberts that she got a call from her assistant on June 25 saying that Michael had been taken to the hospital. She told her relatives to call her with updates as they got more information. She said she became very worried when she didn't receive any updates on his condition.
Investigators have yet to reveal some of the information that they have gathered in the case, although they have made several high profile raids in an attempt to gather additional information and possibly build their case against .
Janet explained to Robin Roberts that she got a call from her assistant on June 25 saying that Michael had been taken to the hospital. She told her relatives to call her with updates as they got more information. She said she became very worried when she didn't receive any updates on his condition.
Michael jackson invincible
You can say what you like about Jackson – and people often did – but it was rare that they said it while his music was playing because they were too busy singing along. And so it was yesterday that Brooklyn hummed into nightfall in a state of shock and nostalgia.
There are only three topics that middle-class black couples have when they go out to dinner, Chris Rock once joked: complaining about rap music, wondering why blacks cannot be as successful as Jews, and Michael Jackson.
"I admit it's weird, but it doesn't mean he's guilty," says one of the characters in Rock's film I Think I Love My Wife.
"I wouldn't let Michael Jackson watch my kids on TV," replies Rock.
"All comedians should send Michael Jackson a check," Rock once argued. "You know, if you give your agent $10, Michael should get $3."
Such has been the ambivalent relationship between Black America and Michael Jackson. A consistent heartfelt appreciation for his music that has long been tempered by a mixture of disdain and disbelief at the how his childhood facial features changed as he got older even as his childlike behavior did not.
"Many ridiculed him," said the New York-based activist, the Reverend Al Sharpton yesterday. "It's amazing to see how many people are now praising him that wouldn't go near him in the last several years, and condemned him. In our last conversation a couple of months ago, when I was teasing him I was coming to England to see him perform again, he talked about how many people had let him down. I told him it didn't matter, he had never let the fans down."
Jackson rose to prominence in the 1970s – the first black superstar of the post civil-rights era. Born just four years after segregation was outlawed, he signed for Motown in 1968 – the year Martin Luther King was assassinated and Detroit burned to the ground.
"That was a special time," Chaka Khan once told me, referring to the early 70s. "We were all hopeful and everybody seemed to be getting along in a way that they never did before. There was this wonderful feeling about being alive and there was hope that we could make a difference. Those kind of times will probably never happen again."
Jackson was never politically associated with these developments, but among many black people his cultural ascendancy was understood to be an integral product of them. A little black boy on American Bandstand and Soul Train with a voice that wouldn't break, dance moves that couldn't fail and an afro that wouldn't threaten. As the first breakthrough black performer to grace the screens of MTV in any regular fashion, he continued breaking barriers long after the official word was that there were no barriers left.
"Michael Jackson made culture accept a person of colour way before Tiger Woods, way before Oprah Winfrey, way before Barack Obama," said Sharpton.
This was the Jackson I was raised with. Not just an American pop star but a global icon; not just a individual but part of a family. A black family – the kind you never saw in Britain during the early 70s. A counterpoint to the Osmonds or the Partridge Family that made sense on its own cultural terms. In our living room, my brothers and I would spin and shuffle to dance like him. When we were going out our mother would comb our hair high – until our scalps were on fire – so we could look like them.
Given all of this, the degradation of his physiognomy was, to say the least, troubling. The sleeker nose, the thinner lips, the lighter skin, the higher cheek bones, the straight hair – the shift was so irreversible and emphatic that it was as though the teenager we had wanted to look like had turned into a man who did not want to look like us.
To some extent his transformation provided no great mystery within the black community. Skin-whitening creams and hair-straightening gels have been part of our cosmetic lives for almost as long as dark skin and curly hair have been denigrated. And so long as whiteness has carried a premium, the notion that some black people might actively seek it was no shock either.
"Every year, approximately 12,000 white-skinned Negroes disappear," wrote Walter White, the head of the country's oldest civil rights organization, the NAACP, back at the beginning of the last century. "People whose absence cannot be explained by death or emigration. Nearly every one of the 14 million discernible Negroes in the United States knows at least one member of his race who is 'passing'– the magic word which means that some Negroes can get by as whites. Often these emigrants achieve success in business, the professions, the arts and sciences."
But they are not supposed to disappear in full view. The point of passing was to leave your past behind, not bring it with you in the form of videographic evidence that blatantly reveals your transgression. The before and after shots of Jackson – the first as a black kid in with a microphone for hair and the second with chipped nose .
He was born black, but he didn't die white. Instead, he took on the characteristics of a transracial experiment, a combination of attributes that had never before been seen collected in one human being. If ever there was a candidate to tick the box "other" on the racial categories of forms, it was Jackson.
It was precisely this sense of "otherness" that blunted any feeling of full-on racial betrayal. Thanks to Bubbles the chimp and the pre-teen sleepovers at the Neverland ranch, Jackson's deviations were not purely racial. Sexually, socially and behaviorally he was outside the mainstream. He was not lost to black America, he was just plain lost.
So while his relationship with black America was often strained it was never broken. For reasons more to do with expediency, there were moments when he would hug them close.
In 2002, he rode through Harlem on an open-top bus with Sharpton, accusing record companies of racism. "The record companies really, really do conspire against the artists," Jackson told an audience of 350 at Sharpton's headquarters. "They steal, they cheat, they do whatever they can. Especially against the black artists." He then launched a scathing attack on his record label, saying of Sony's chairman, Tommy Mottola: "He's mean, he's a racist, and he's very, very, very devilish."
Given the centrality of both black people and racism in the history of the music industry, there will always be an audience for this kind of accusation in Harlem of all places. But somehow it seemed too fortuitous that he had made this discovery shortly after Sony had asked him to pay back tens of millions of dollars that had been spent promoting his new album, Invincible, after it had sold just a few million copies.
There are only three topics that middle-class black couples have when they go out to dinner, Chris Rock once joked: complaining about rap music, wondering why blacks cannot be as successful as Jews, and Michael Jackson.
"I admit it's weird, but it doesn't mean he's guilty," says one of the characters in Rock's film I Think I Love My Wife.
"I wouldn't let Michael Jackson watch my kids on TV," replies Rock.
"All comedians should send Michael Jackson a check," Rock once argued. "You know, if you give your agent $10, Michael should get $3."
Such has been the ambivalent relationship between Black America and Michael Jackson. A consistent heartfelt appreciation for his music that has long been tempered by a mixture of disdain and disbelief at the how his childhood facial features changed as he got older even as his childlike behavior did not.
"Many ridiculed him," said the New York-based activist, the Reverend Al Sharpton yesterday. "It's amazing to see how many people are now praising him that wouldn't go near him in the last several years, and condemned him. In our last conversation a couple of months ago, when I was teasing him I was coming to England to see him perform again, he talked about how many people had let him down. I told him it didn't matter, he had never let the fans down."
Jackson rose to prominence in the 1970s – the first black superstar of the post civil-rights era. Born just four years after segregation was outlawed, he signed for Motown in 1968 – the year Martin Luther King was assassinated and Detroit burned to the ground.
"That was a special time," Chaka Khan once told me, referring to the early 70s. "We were all hopeful and everybody seemed to be getting along in a way that they never did before. There was this wonderful feeling about being alive and there was hope that we could make a difference. Those kind of times will probably never happen again."
Jackson was never politically associated with these developments, but among many black people his cultural ascendancy was understood to be an integral product of them. A little black boy on American Bandstand and Soul Train with a voice that wouldn't break, dance moves that couldn't fail and an afro that wouldn't threaten. As the first breakthrough black performer to grace the screens of MTV in any regular fashion, he continued breaking barriers long after the official word was that there were no barriers left.
"Michael Jackson made culture accept a person of colour way before Tiger Woods, way before Oprah Winfrey, way before Barack Obama," said Sharpton.
This was the Jackson I was raised with. Not just an American pop star but a global icon; not just a individual but part of a family. A black family – the kind you never saw in Britain during the early 70s. A counterpoint to the Osmonds or the Partridge Family that made sense on its own cultural terms. In our living room, my brothers and I would spin and shuffle to dance like him. When we were going out our mother would comb our hair high – until our scalps were on fire – so we could look like them.
Given all of this, the degradation of his physiognomy was, to say the least, troubling. The sleeker nose, the thinner lips, the lighter skin, the higher cheek bones, the straight hair – the shift was so irreversible and emphatic that it was as though the teenager we had wanted to look like had turned into a man who did not want to look like us.
To some extent his transformation provided no great mystery within the black community. Skin-whitening creams and hair-straightening gels have been part of our cosmetic lives for almost as long as dark skin and curly hair have been denigrated. And so long as whiteness has carried a premium, the notion that some black people might actively seek it was no shock either.
"Every year, approximately 12,000 white-skinned Negroes disappear," wrote Walter White, the head of the country's oldest civil rights organization, the NAACP, back at the beginning of the last century. "People whose absence cannot be explained by death or emigration. Nearly every one of the 14 million discernible Negroes in the United States knows at least one member of his race who is 'passing'– the magic word which means that some Negroes can get by as whites. Often these emigrants achieve success in business, the professions, the arts and sciences."
But they are not supposed to disappear in full view. The point of passing was to leave your past behind, not bring it with you in the form of videographic evidence that blatantly reveals your transgression. The before and after shots of Jackson – the first as a black kid in with a microphone for hair and the second with chipped nose .
He was born black, but he didn't die white. Instead, he took on the characteristics of a transracial experiment, a combination of attributes that had never before been seen collected in one human being. If ever there was a candidate to tick the box "other" on the racial categories of forms, it was Jackson.
It was precisely this sense of "otherness" that blunted any feeling of full-on racial betrayal. Thanks to Bubbles the chimp and the pre-teen sleepovers at the Neverland ranch, Jackson's deviations were not purely racial. Sexually, socially and behaviorally he was outside the mainstream. He was not lost to black America, he was just plain lost.
So while his relationship with black America was often strained it was never broken. For reasons more to do with expediency, there were moments when he would hug them close.
In 2002, he rode through Harlem on an open-top bus with Sharpton, accusing record companies of racism. "The record companies really, really do conspire against the artists," Jackson told an audience of 350 at Sharpton's headquarters. "They steal, they cheat, they do whatever they can. Especially against the black artists." He then launched a scathing attack on his record label, saying of Sony's chairman, Tommy Mottola: "He's mean, he's a racist, and he's very, very, very devilish."
Given the centrality of both black people and racism in the history of the music industry, there will always be an audience for this kind of accusation in Harlem of all places. But somehow it seemed too fortuitous that he had made this discovery shortly after Sony had asked him to pay back tens of millions of dollars that had been spent promoting his new album, Invincible, after it had sold just a few million copies.
New Michael Jackson Single a Very Old Song
This Is It has been revealed to be a song that was not entirely Michael's. In fact, Paul Anka was a co-writer and originally produced the song. He ended up with the song and eventually had it recorded by a Puerto Rican singer.
Anka immediately came forward after the song was released and demanded compensation and credit for the song. The Jackson estate, apparently aware of the conflict, immediately awarded Paul Anka 50% of the take from the sales of the song, which will likely be substantial.
Anka has defended the Jackson family, explaining that he believes that their intentions were honorable and that the mistake was an honest one. The likely scenario is that no one knew of Anka's involvement or the origins of the song until it was released. Now that the information has come to light, the Jackson family had no reason to attempt to fight Anka's claims.
Anka immediately came forward after the song was released and demanded compensation and credit for the song. The Jackson estate, apparently aware of the conflict, immediately awarded Paul Anka 50% of the take from the sales of the song, which will likely be substantial.
Anka has defended the Jackson family, explaining that he believes that their intentions were honorable and that the mistake was an honest one. The likely scenario is that no one knew of Anka's involvement or the origins of the song until it was released. Now that the information has come to light, the Jackson family had no reason to attempt to fight Anka's claims.
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