Menschen die sich an eine Begegnung mit Michael Jackson erinnern

[helen mj]

Vielen Dank für diesen Beitrag, liebe geli2709. Unglaublich, wie viel Zeit der Typ darauf verwendet hat, Michael zu folgen. Der Link ist auch wunderschön. Was für eine schöne Signatur auf der Gitarre
Der Mann hat einen wahren Schatz angehäuft.

[cori79]

...den er hoffentlich niemals zu bares machen wird. Das sind Schätze die ich nie hergeben würde.

[geli2709]

...den er hoffentlich niemals zu bares machen wird. Das sind Schätze die ich nie hergeben würde.

.....wenn doch, dann sollte er es nur für einen guten Zweck tun, aber nicht um sich persönlich zu bereichern !!!

Ich finde, dass wäre er Michael für seine Koulanz und Freundlichkeit einfach schuldig !
Hoffentlich hat er Charakter und Gewissen genug !

[geli2709]

Donny Osmond - Donny Osmond Opens Up Michael Jackson Friendship

29 February 2012 08:01


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Picture: Donny Osmond appearing on CTV's 'Marilyn Denis Show' Toronto, Canada -....


Singer Donny Osmond offered tragic superstar Michael Jackson a safe haven at his home a year before he died after the King of Pop revealed he had hired a motor home and was hiding in Arizona with his three kids.

The Puppy Love star grew close to Jackson when they were both were teen superstars in the 1970s.

He has now opened up about their friendship almost three years after Jackson's 2009 death, and reveals the singer fled to Arizona with his kids to escape the spotlight in 2008.

After receiving a call from Jackson, Osmond urged his friend to stay at his Utah retreat to enjoy a period of "normalcy".

He tells Life After 50 magazine, "We kind of protected our relationship but now that Mike's gone, Dr. Conrad Murray's been convicted and the headlines are over, I feel better about telling some stories, like the last time we talked.

"He called me a year before his passing and when I asked him where he was calling from, he asked me to promise not to tell anyone and told me he had rented a big motor home and had driven to Phoenix, Arizona, with his kids and was in hiding.

"I asked him whom he was hiding from and he said, 'Well, things are hitting the fan and there's so much pressure.'

"I asked him if he would do me a favour, to get in his bus and drive up to Utah where he and his kids could stay with me. Nobody would know and they would have normalcy in their life. He said he was going to take me up on it but he never did."

http://www.contactmusic.com/news/donny-osmond-opens-up-michael-jackson-friendship_1298006

Donny Osmond: Michael hatte ein Wohnmobil gemietet


In einem Interview mit dem „Life after 50 Magazine“, erinnert sich Donny Osmond an die 70er Jahre, in denen sowohl er (als Leadsänger von The Osmonds) und Michael Kinderstars waren. Sie hätten sich immer im Auge gehabt, was der andere gerade machte. Osmond erzählt, dass der Song „Ben“ ursprünglich für ihn geschrieben worden sei, doch er ihn aus Zeitgründen nicht aufnehmen konnte. Ähnliches sei mit dem ersten Nr. 1 Hits der Osmonds passiert. So sei „One Bad Apple“ ursprünglich für die Jackson 5 vorgesehen gewesen.

Dann berichtet Donny Osmond von einem Anruf, den er von Michael Jackson um das Jahr 2008 erhalten habe. „Er rief mich an - das war möglicherweise ein Jahr bevor er von uns ging - und als ich ihn fragte, woher er mich anrufe, sagte er, er könne es mir nicht sagen. Ich sagte 'Komm schon, du sprichst zu mir, wir sind Kumpels' Er bat mich zu versprechen, es niemandem zu erzählen wo er sei und dann sagte er mir, dass er ein grosses Wohnmobil gemietete habe und mit seinen Kindern nach Phoenix gefahren und untergetaucht sei. Ich fragte ihn, wieso er untertauchen müsse und er sagte "Nun, die Dinge trifft den Ventilator und es gibt so viel Druck.' Ich bat ihn, mir einen Gefallen zu tun, in seinen Bus zu steigen und und nach Utah zu fahren, wo er und seine Kinder sich mit mir aufhalten können. Niemand würde es wissen und sie könnten etwas Normalität in ihrem Leben haben. Er sagte, er würde diesbezüglich auf mich zurückkommen, aber er tat es nie.“


Quelle: jackson.ch, www.lifeafter50.com

http://jackson.ch/html/news.html

[geli2709]

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Michael's "store" and who stole Michael's penny ?


His first goal in life must have been to own a candy store because he loved to play storekeeper. After Joe began giving him and his brothers a weekly allowance, he would spend every cent of it on candy and gum. He’d come home with an armful of it, take a board and two bricks and place them in the doorway to the boys’ bedroom, place a cloth over the board, lay the candy on top of it, and sell it to his brothers and sisters and friends for the same price he’d paid for it. Michael was also a serious candy-eater and gum-chewer. Before he opened his “store,” he’d save his pennies so that he could purchase bubble gum at the concession stand at the Little League ball park behind our house. One night, however, he couldn’t find his penny for gum and he was so upset he started crying. “Mother, do you know what happened to my penny?” he asked. I knew the answer when I saw Marlon happily chewing away on a wad of bubble gum nearby.

~ Katherine Jackson



During the Supermarket trip, arranged by Al Malnic, Michael said his favourite gum was Big Red, a cinnamon flavoured gum.

http://www.facebook.com/pages/UK-loves-MJ/116222408446161

[geli2709]

Jermaine Jackson in "You Are Not Alone":



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Michael and his brothers first televised appearance was on the Ed Sullivan Show in 1969. Michael wearing a wide-brimmed pink hat, blue waistcoat and brown patterned shirt. Jermaine tells of the story behind the 'pink' hat!

~ It's become a classic image over the years, but what people never saw was the panic behind that clashing costume choice. We had arrived at the studio's and, by now, Michael had developed as great a love for hats as drummer Johnny. Headgear was now part of the look, especially for Jackie, Marlon and Michael. The problem was that someone had forgotten the hats for the Ed Sullivan Show. Poor Suzanne De Passe had to dash out and grab what she could from Greenwich Village Market - and pink for Michael was all that she could find. Michael stared at himself in the mirror -all pink, blue and brown and said "I like it!" He never was afraid of standing out in a crowd when it came to fashion.

http://www.facebook.com/pages/UK-loves-MJ/116222408446161

[geli2709]

Ein wunderbares Interview mit Fotograf John Isaac, der über seine Arbeit für Michael und seine Zeit mit ihm erzählt:


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"BE MY EYES AND SHOW ME EVERYTHING THAT I CANNOT SEE"


Q : The first time you saw Michael:

One day I received a phone call. The voice said: "You are John Isaac?" I said, "Yes" and asked who he was. The voice said: "Michael." I said "Michael," The voice said: "Michael Jackson . " I said, "Who" and hung up. A few seconds later the phone rang again, and Bob Jones was wondering why I had hung up the phone to Michael Jackson! I replied: "It was he really?" and handed the phone to Michael. He said he was a fan of my photographs. He bought a poster I created for UNICEF,on which appeared many children because he loved the pictures and wanted to meet me. He asked if I could go to Neverland and sign the poster. I said I could sign one and send it to New York, but he insisted that I go to Los Angeles. Three days later, they came to the Big Apple to film "They Do not Care About Us" (prison version) and he invited me and my wife Jeannette to go see the movie. So we went and we met. The next day he asked me to spend the afternoon with him at his hotel in Manhattan and taught my photographic work.

Q: What is the best advice he gave you?

He once told me that I had a knack for photography and should continue to use it to help children around the world and to help the same cause. He knew how much I care about children. I took him to Brazil when they were finishing the video "They Do not Care About Us", and he said something I'll never forget ". John, be my eyes and show me everything that I cannot see " I was so excited that I made photos of children in the slums of Rio de Janeiro and Salvador, while they were filming. I travelled in his private plane to Brazil, it was my first trip with him. Michael always supported me, he was aware of my provenance. One day he said we both came round to different places and that is why we both love children. (John Isaac was born in India and spent 20 years working as a photographer of the United Nations, covering countries such as Vietnam, Rwanda, Sarajevo ...).

Q: You've been to Neverland to take family photos of the first son of Prince Michael and Debbie Rowe. Please tell us more about this experience.

Debbie was not in Neverland it was just Prince and Michael and I took pictures of father and son. I took the pictures with Debbie at a hotel in Los Angeles. I've been twice to Neverland. I drove an electric cart around the farm, saw movies in the theater, climbed on the train. I felt like a kid when I was there! One afternoon we saw a movie together. I was in the suite of Liz Taylor. Michael was very philosophical, often talked about philosophy and life. He asked me to tell him things about the children I had photographed around the world. When I worked for the United Nations, many stories of pain and suffering of all kinds of children.He was always very compassionate towards the less fortunate children.

Q: What is your favorite memory during HIStory World Tour?

At the beginning of the tour in Prague, I think he wanted me to photograph on the stage while he was singing "Heal the World." I was scared up there in the spotlight with so many fans in front of me, my knees were shaking . Also I enjoyed meeting fans around the world while traveling with him. I must say that I met many fine young men. Michael would not have been who he was, if not all the wonderful fans who adored him so much. Being next to the King of Pop to visit hospitals and orphanages was something especially appreciated.

mj.jpg

Q: How many photographic reports did with Michael Jackson?

I'm not sure how many were, I know there were many. Some special calendars for Sony and other announcements. He also wanted to take pictures with children before each concert.
I also remember you told us that Michael had a surprise for fans at the concert in Milan on June 18, 1997: The photo of the hands of Michael and Prince on the screens of the stage.

Q: Michael decided to do this? What did he say?

He said it was one of the most special photos he had taken of him and Prince. I captured his hand taking the hand of Prince and he told me that he liked it so much he wanted to show the fans in Milan . It is one of my favorite too. Michael does not even appear, only his hand protecting Prince.

Q: What picture of Michael do you feel most proud of?

There are many photos that I like, but one I took during a rehearsal in Los Angeles which was published in a special Laurent Hopman - Captain Eo Productions (program memory HIStory World Tour - Limited Edition). Michael is at center stage and all the dancers around with different poses, rehearsing. looks like a painting. Michael really liked this photo also. All dressed in casual clothes . I have no copy of this negative image because I gave all to Michael.

Q: Why does it sometimes take three cameras at the same time, Michael wanted some special pictures? It also seemed that he took more photos of fans than him ...

I remember that he wanted every moment of his life to be saved Sometimes he wanted a black and white and the other two cameras were color photos. Today, with digital technology, you can convert the color black and white with no problem, but with the old negative it was more complicated. also had three different types of lenses, so I could shoot quickly without having to change them. After a first selection on my part, Michael chose his favorite, he had good taste tp select the photos! And Michael was delighted to see the photos of his fans. They were very important to him.

Q: How did you hear of his sudden death, what was your reaction?

I saw it on TV. I was very, very sad. I felt so sorry for starting so early. However, I know you're up there shining like a star. Every time I see a clear sky at night I see Michael.


Q: Have you seen the movie Michael Jackson This Is It? can you comment on that?

My wife bought me the DVD. I've only seen parts of it and I grieved so Michael's death that I could not keep watching. Maybe one day I will see it to the end

Q: What are your plans for the future John Isaac?

I am finishing a documentary about myself as a photographer in Japan I've been documenting on the survivors of the recent tsunami.While I was in Japan I met some of Michael's fans who were very friendly. In addition, Kodak House is preparing a permanent collection of my photographs in their museum. Unfortunately, I have no footage of what I took of Michael on tour or with Michael's baby. I gave them all to his managers.



In diesem Video sieht man John Isaac bei 1.05 Michael fotografieren und bei 4.25, wo er auf die Bühne tritt und Michael die Kamera reicht:

Herausgegeben und übersetzt aus:

http://wwwyouaremylife-jaqueline.blogspot.com/2011/11/john-seja-meus-olhos-e-me-mostre-tudo-o.html

John Isaac, geboren in Indien, wanderte 1965 mit nur wenigen Cent in der Tasche in die USA aus.
Dort verdiente er anfangs seinen Lebensunterhalt als Strassenmusikant, bis er seine Liebe zur Fotografie entdeckte.
Er arbeitete lange Zeit als Fotograf bei den Vereinten Nationen und hatte die Aufgabe Kriegs- und Krisengebieten der Welt zu dokumentieren.
Für seine Arbeit wurde er mit vielen nationalen und internationalen Preisen geehrt.

Hier kann man mehr über ihn, sein Leben und Werk erfahren:

http://askthephotographer.com/2008/12/31/photographer-profile-john-isaac/

Einige Beispiele seiner großartigen, ausdrucksstarken, und emotional berührenden Fotografien:

john-isaac-bluewalls.jpg john-isaac-rwanda.jpg john-isaac-famine1.jpg john-isaac-studying-pakistan.jpg john-isaac-riverboat.jpg john-isaac-horsemen-morocco.jpg john-isaac-puffin.jpg

[helen mj]

[QUOTEHe said it was one of the most special photos he had taken of him and Prince. I captured his hand taking the hand of Prince and he told me that he liked it so much he wanted to show the fans in Milan . It is one of my favorite too. Michael does not even appear, only his hand protecting Prince.

][/QUOTE]
Oh man, das zeigt so sehr, wie Michael seine Fans geliebt hat. Wir lieben dich genau so sehr, Michael!

Liebe geli2709,
wo hast du nur diese wudervollen Statements her. Vielen Dank an dich! Ich genieße es immer sehr, all diese Beiträge lesen zu können

[geli2709]

@ helen mj

He said it was one of the most special photos he had taken of him and Prince. I captured his hand taking the hand of Prince and he told me that he liked it so much he wanted to show the fans in Milan . It is one of my favorite too. Michael does not even appear, only his hand protecting Prince.

Ob er wohl damit dieses wunderschöne Foto meint ? EXTREMELY-RARE-michael-jackson-25689167-480-720.jpg

[Lena]

@geli2709
ich tippe eher auf ein Foto wie dieses

Denke ich auch. Er schreibt ja das Michael ansonsten (außer das die Hand von Prince nahm) nicht im Foto zu sehen ist.

[geli2709]

Auszüge aus dem Buch "How Pepsi Won the Cola Wars"



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“[…] Don King flies out to California with the contracts on a Saturday. I fully expect he’ll be back on a Monday. […] Don finally comes back. And there are the signatures. Joe and Katherine Jackson, the parents and managers. Tito, Jermaine, Jackie, Marlon and Randy, Michael’s brothers. And, in a huge script that fills almost a page, Michael Jackson’s. You would think that Michael’s the most enthusiastic of them all. Just the opposite. Don filters the story of what went on in California through Jay Coleman. But I get enough to know that everybody signed away - except Michael. Michael felt pressured. […] So it took King several days, with a lot of help from Michael’s family, to get that last name on the contract. When Michael finally signed, it was four a.m.

We, of course, are the other targets of this purported change of heart. Michael’s buddies – Paul McCartney, Jane Fonda - have been calling him. “Why are you doing commercials?” they ask. “People do commercials when they’re looking at the downhill slope of their careers, not when they’re shooting up like a rocket. You do these commercials, you’ll get overexposed.” Are they right? By all the then-known laws of show business, of course they are. […] Overexposure? This is a new one. All along, he thought the problem was the idea of endorsing a product! Alan and Phil fly out to Los Angeles with revised storyboards. They also have a cassette of a song the agency had written. The song’s been recorded by a Michael Jackson sound-alike, so Michael can get a sense of the whole package. Michael looks over the storyboards. He hears the song.

“Everything’s fine,” Michael says. Alan and Phil grin like fools. “There’s just one problem,” Michael says. “I don’t like the music and I don’t like these commercials.” “We can change the music,” Phil says. “What’s wrong with the commercials?” “My face. I’m on camera the whole time. I don’t want you to show me for more than four seconds.”

A brilliant solution to the question of overexposure - but not one you expect to pay millions of dollars for. Alan and Phil try to change Michael’s mind. But Michael knows what he wants. And what he wants is a world-class commercial in which, as they read it, he does a cameo. […] Finally, I talk to John Branca. […] Then I heard a rumor that the son of Quaker Oats executive adores Michael Jackson. And he’s had a vision. Michael endorsing Granola Bars. He’s shared this vision with his dad, Dad’s handed it over to his marketing folks, and Michael has supposedly decided that Granola Bars are somehow healthier than Pepsi. […] I have a feeling that Quaker Oats didn’t know that the Jacksons had actually signed a contract with us, because once they are so informed, that’s the end of the $10 million offer. […] The best meeting we can arrange is between Alan Pottasch, Don King, and Joe Jackson, Michael’s father. […] “I think I know how to resolve this,” Joe says. […] Joe calls his wife and gets Alan invited to lunch. […] Alan and the Jacksons conclude that Michael has a moral responsibility to go through with this deal. […] In a day or so, Michael agrees to a meeting. […] Michael brings along John Branca. […] “It isn’t that I don’t want to do this commercial,” Michael says. “I just think there are better ways to do it. […] I don’t want to be on camera very long – one close-up of no more than four seconds. But there are other ways to show me than push a camera in my face. Use my symbols. Shoot my shoes, my spats, my glove, my look – and then, at the end, reveal me.”

A brilliant use of imagery. But now it’s four seconds. […] “What do you want to do about the music?” Alan asks. “Well, I don’t like the song you had written,” Michael says. “It’s not big enough. Why don’t you just use “Billie Jean”?”

“Billie Jean”! Alan exclaims silently to himself: My God, he’s just offered us “Billie Jean”! Well, why not use it? It’s only the song of the year! And Michael’s offering it like a free hors d’oeuvre! […] Now all the other stuff – a few seconds or four, two close-ups of Michael or one – seems unimportant. We’ve got Michael and his best song, and he hasn’t even asked us to pay for it. (Later, his lawyers requested a very reasonable fee. We were happy to oblige.) The filming is rescheduled. Alan and Phil show me the revised storyboard. The commercial starts with the Jacksons - but not Michael – drinking Pepsi and relaxing in their dressing room before a concert. […] Then the set opens, and with a flash of fireworks, Michael dances and spins into a full-fledged, singing the reworded “Billie Jean” to a mob of screaming fans in the audience. […] And then… but what’s this? Ah, the second commercial. […] It features Alfonso Ribeiro, the eleven-year-old dancer from the Broadway show The Tap Dance Kid. […] Michael goes into the studio to record the new lyrics for “Billie Jean”. His brothers are supposed to be there with him. They’re nowhere to be found. Michael works his butt off anyway. His brothers materialize. The song is terrific.

A few days later, Walter Yetnikoff, the president of CBS Records, throws a huge party for Michael at the American Museum of Natural History in New York. I don’t see Michael – he pops in for just a few minutes. […] The Jackson party ends early.”

“Michael says nothing (following the stage pyrotechnics accident that set his scalp alight during a Pepsi commercial), but a spokesperson issues a statement that indicates a lawsuit is likely. And, by the way, that Michael didn’t want to do these commercials in the first place. The press wants our response. We don’t know what to say. No question Michael was hurt during the filming of our commercial. But it doesn’t, thank God, appear to be too serious. […] Phil smiles. “Now would you like to see the Jackson commercials?” “No. Of course not. We’ll just get a new add agency if you don’t roll that film. Phil starts with a ninety-second version of Street.” There’s Alfonso, stealing your heart. And then Michael and his brothers come in and take it to a whole other level. The music gives you goose bumps. The film is rich, exciting. Dynamite. And Michael Jackson’s face is all over it – there’s a lot more of Michael than the four seconds we’d agreed to. […] Michael doesn’t want to sit in a screening room in L.A. with us and watch the commercials. He prefers to have a cassette sent to his house, where he can watch them alone. Then he’ll make his decisions and get back to us. We decide that Phil Dusenberry should bring the cassette out and watch it with Michael. Now, during the filming of the commercials, Michael’s been pressured plenty by Phil Dusenberry. Take off your sunglasses. Turn this way. Move this way. Just one more close-up to be sure we’ve got it right. […] Phil, of course, was just doing his job - he wanted Michael’s commercials to be brilliant. Michael was just doing his job too - he wanted his spots to be magic. […] Michael, who by now sees Phil as kin to a Nazi SS officer, says, “Mr. Dusenheimer? No way.” […]

In a few days, we hear from Michael’s aides. “Forget it. This isn’t the commercial Michael agreed to. You, guys, are trying to pull a fast one.” “Like, specifically, how?” Phil asks. “There’s much too much of Michael’s face.” […] I call Michael’s father. […] A few hours later, Joe calls me back. “Roger, I have Michael here,” he says, “and I’m sure you guys can work things out.” There’s a pause. “Talk to the man, will you,” Joe whispers to Michael. “Get on the phone.” A very soft voice comes on. “Hi.” “Hey, Michael, how are you?” “Okay.” “Good. Michael, if you’ll explain to me what’s wrong with the commercials, we can fix them.”

“Well, these just weren’t what I agreed to do, I mean, even with the compromises I made. Mr. Dusenheimer made me take my glasses off. I didn’t want to take them off, but he said there would be only one close-up. And now I see lots of close-ups of me with my glasses off, and there’s too much of me in there anyway. […] And the film is too dark. […] I had to fight with (Bob) Giraldi about the same thing when he made my videos - he makes everything so dark. Your Pepsi commercials are always bright and light. That’s why I like them. I want my spots to be that way too. […] There’s too much of me in concert. Way over four seconds on my face. […] And in the street commercial, I want bells when Alfonso bumps into me - like the sound of a wind chime. […] The street commercial… […] It’s magic, Roger. It’s just magic.” The way Michael says this gives me courage to continue. He’s not just trying to kill the deal with all this talk of spins and cuts and seconds and close-ups. He’s a perfectionist. To be sure, he’s freaked out being overexposed, but creative geniuses are sticklers for details. “I spin twice in the concert film. I should only spin once. […]” […] “Okay,” I say. “I’ll tell Alan. We’ll do what we can and send you another cut tomorrow.” “Thank you, Roger.” “Michael, we’re a week from the convention - we have to move faster. Would you be willing to sit in a studio with someone tomorrow and show him exactly where you want to put the bells?”

“Okay.”

“Thank you, Michael.”

I give Alan my notes. He re-edits for the millionth time. We send the edits out to Michael. He watches them with our producer. […] “Let’s watch it again,” the producer says, “and you say ‘Cut’ where you want us to get away from you.” They play the film again. “Cut,” Michael says. That’s exactly where the editor has already cut to another shot. “Cut,” Michael says. And again, the cut’s right there. […]”

“You ought to know,” Branca says, “that Michael’s planning to donate whatever he gets to the Burn Center at Brontman Memorial Hospital, where he was treated. Actually he’s going to do more than that - he’s going to add a lot of his own money to whatever he gets from you. In the end, it will be a substantial contribution, but I think Michael’s willing to hold a joint press conference with you at the Burn Center. You should be able to get some good out of that.”

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“That is a very different position,” I say. “Let me think about it.” We hang up. I talk about it with Joe McCann and Alan Pottasch. And we all agree. Once again, Michael’s out not for himself, but for others. Let’s join him.

After the Victory tour zapped its last laser and blasted off its last skybomb, Joe McCann and I went out to Los Angeles for the press conference at the Burn Center. […] I spoke first. Michael was standing backstage, behind me and off to the side. For the first time - and, I suppose, much to his surprise - he heard me say a lot of nice things about him. I meant every one of them. After my introduction, Michael came onstage with a stunned look, spoke briefly, and received thanks and a plaque from the head doctor at the Burn Center. We stood together for some photographs. Then he leaned over close to my ear.

“Roger,” he whispered, “do you get nervous at these things too?”

I thought: In the beginning, there was Michael softly telling me, “I’m going to make Coke wish they were Pepsi.” And then there were all these people – Don King, Frank Russo, Chuck Sullivan, thousands of reporters, a zillion lawyers – and all those misunderstandings. And through it all, Michael was a pro. He worked his butt off. He did make magic. And at the end, here we are again, Michael Jackson and Pepsi making another, different kind of joint contribution. It all seemed so fitting.

“Yeah, Michael,” I said. “I get nervous too.”



[Roger Enrico, business man, former Chairman/CEO of PepsiCo (& Jesse Kornbloth – journalist and editor); excerpts from “The Other Guy Blinked. How Pepsi Won The Cola Wars” (1986)]

http://www.facebook.com/pages/The-Silenced-Truth-about-Michael-Jackson/82324869092

Video vom Brandunfall: http://www.youtube.com/watch?feature...&v=RYjbSQhlnfI

[geli2709]

In diesem Video aus "Life on an Icon" erklärt ein Arzt das Ausmaß der Verbrennungen an Michaels Kopfhaut durch den Brandunfall beim Pepsi Videodreh 1984.
Er beschreibt die zahlreichen schmerzvollen Behandlungen, die erforderlich waren und die Michael ertragen mußte.
Michaels Lupus Erkrankung war bei der Narbenbehandlung eine weitere Herausforderung, die zusätzliche Eingriffe nötig machte.

[geli2709]

Mark Romanek, "Scream" Music Video Director:


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Being a huge fan, I was – of course – extremely nervous to meet him. Michael was unquestionably eccentric, but to my surprise, he was warm, curious, amusing, and un-temperamental. I was particularly struck by how this legendary megastar became just another affectionate, playful, protective big brother whenever Janet was around.

I took the opportunity to chat with him between takes and he always skewed the conversation away from himself. He asked about my childhood, my favorite films, if I knew how to swim, my religion, etc. My mother visited the set, and Michael immediately charmed her, asking her to hold his jacket while he filmed, giving her a warm hug and kiss as he left the set each day. My mom felt like she had a new best friend. The chance to experience the phenomenon of his gift from only a few feet away was the treat of a lifetime. Over those ten days of filming, I felt like I had the single greatest job in the world..."


Übersetzung mit Translator:

Als ein großer Fan, war ich - natürlich - extrem nervös, ihn zu treffen. Michael war zweifellos exzentrisch, aber zu meiner Überraschung, war er herzlich, neugierig, humorvoll, und un-temperamentvoll. Mich hat vor allem, wie diese legendäre Megastar wurde nur ein weiterer anhänglich, verspielt, schützende großen Bruder, wenn Janet war rund geschlagen. Ich nutzte die Gelegenheit, mit ihm zu plaudern und zwischen den Takes er immer das Gespräch zerrte von sich weg. Er erkundigte sich nach meiner Kindheit, meiner Lieblingsfilme, wenn ich wüsste, wie man schwimmt, meine Religion, etc. Meine Mutter besuchte das Set, und Michael sofort bezaubert ihr und bat sie, seine Jacke zu halten, während er filmte, gab ihr eine warme Umarmung und küssen, als er das Set verließ jeden Tag. Meine Mutter fühlte sich wie sie einen neuen besten Freund hatte. Die Chance, das Phänomen, der sein Geschenk aus nur ein paar Meter entfernt zu erleben, war der Genuss des Lebens. Im Laufe dieser zehn Drehtage, fühlte ich mich wie ich die größte einzelne Job in der Welt hätte..."



Mark Romanek, "Scream" Music Video Director


www.michaelschildrenshospital.com.

[geli2709]

Liza Minelli erinnert sich:



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Michael [Jackson] was used and abused almost from the time he was born...he...created this wonderful place - Neverland - for kids and supported different families. Then, one day, the father in one of those families called up Michael and said, “Unless you give me $30,000, I’m going to tell everyone you made a pass at my son.” And that’s when Michael called me. When he’d finished his story, I remember pausing and then saying: “Michael, maybe you should tell your lawyer about this.” He said: “But it’s insane.” So I repeated my advice. “It’s blackmail, though,” he said. “It is,” I replied, “and that’s why you need to involve your lawyer.” But he wouldn’t. What everyone forgets is that, when kids stayed at Neverland, their parents came, too. And they were treated grandly. But then other people jumped on the bandwagon. [sighs]...In the end, the scorn, the cruelty, the vicious meanness - these are the things that took his life."

-Liza Minnelli


Übersetzung mit Translator:

Michael [Jackson] benutzt/ausgenutzt wurde und fast aus der Zeit er geboren wurde missbraucht ... er ... erstellte diesen wunderbaren Ort - Neverland - für Kinder und unterstützte verschiedene Familien. Bis dann eines Tages der Vater einer dieser Familien Michael anrief und sagte: "Wenn du mir nicht 30.000 $ gibst, werde ich allen erzählen, dass du meinen Sohn belästigt/mißbracht hast." Und das ist, weswegen Michael mich angerufen hat. Als er seine Geschichte beendete, ich erinnere mich pausieren und dann sagen: ". Michael, vielleicht solltest Du Deinen Anwalt davon zu erzählen", er sagte: "Aber es ist verrückt." Also habe ich meinen Rat wiederholt. "Das ist Erpressung, wenn auch", sagte er. "Es ist," antwortete ich, "und das ist, warum Sie Ihren Anwalt einbeziehen müssen." Aber er wollte nicht. Was alle vergessen ist, dass, wenn Kinder auf Neverland blieben, ihre Eltern kamen auch. Und sie wurden großartig behandelt. Aber dann andere Leute auf den Zug aufgesprungen. [Seufzt] ...
Am Ende, die Verachtung, die Grausamkeit, die bösartige Gemeinheit - das sind die Dinge, die ihm sein Leben nahmen ".

Liza Minnelli-

[geli2709]

Marielle Tourelle's Erinnerungen an Michael:



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The girl is Marielle Tourelle: TVN24 reached out to Marielle, who as a young girl greeted the singer at the Warsaw airport. “When I was with him I felt that this is my friend. He was a normal person with a beautiful soul.”

“Everyone waited for his arrival, among the people was such positive energy, great enthusiasm and a great adrenaline. All were excited, smiling. Older women are crying, kids going wild – they behaved very differently than usual,” says Marielle. Jackson landed in Poland 20 September 1996 and gave a concert at the Warsaw Bemowo that 120,000 people watched.

At this concert, Marielle, daughter of the Polish-French marriage, appeared on the scene. The girl accompanied the singer throughout the whole visit in Poland.

Their friendship didn’t stop there, Mirella was also at his concert in Paris. “I danced with him at a concert in front of 100 thousand people. Always a group of children entered the stage for the song “Heal the World”. Because he believed that children can improve the world. Well, the rest of the kids went, but I took the whole song. Then I felt a part of this mission. It’s one of my most beautiful memories.”

As a child, Marielle met with the singer several times. “It’s always been a great experience. Thanks to him my childhood was very colorful, he inspired me to look at the world differently. Always treated me like an adult, not talking in childish language, and always made sure I felt very important,” she says.

Marielle and her family lived in the same hotel with Jackson in the Paris suburb of Paris and Disneyland. According to her, despite the huge popularity of Jackson, he did not look down on people. “He was a normal man with a great sense of humor. He had a very soft voice – it was amazing that he was a delicate person, compared with what was on the scene. Very well guarded, to have time only for themselves, to be able to recover,” she recalls.

Marielle knew it from the private side. “When I was with him I felt that this is my friend. Once, I wanted to go with him to the museum. I suggested it to him, and he answered me: “how much I would give to be able to do it, but it’s impossible. I’d have to go with lots of bodyguards “- she adds.

According to her, Jackson was not only a “great hero”, but “person with a very beautiful soul.” “He wanted to inspire people, help them, happy. He looked at everything artistically and idealistic. They said it was naive, but I think he really believed that if you want you can change the world. He wrote all the lyrics to those songs and they show how he was. He was singing “Heal the World”, “No matter whether you’re white or black”.

Marielle does not believe in rumors about the singer, and believes the media destroyed Jackson. “He was not a pedophile. It’s a silly rumor. He did not change his color, just had a skin disease. I hope now everyone understands that these things were not true,” she concludes.


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Marielle today lives in London, studying at the London School of Economics


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