Spike Lee directs documentary “Michael Jackson’s Journey from Motown to ‘Off the Wall'” (photo via blogs.indiewire.com)
I had no idea Spike Lee was working on another Michael Jackson film. Or maybe I did, but I just don’t recall. I searched the S&A archives but didn’t immediately find anything, so it doesn’t appear we mentioned it. There was the Michael Jackson documentary Spike made in 2012, in collaboration with Jackson’s estate and Sony Music, titled “Bad 25.” But this one is an entirely new project, which will premiere at the Sundance Film Festival next month.
Titled “Michael Jackson’s Journey from Motown to ‘Off The Wall'”, the documentary’s synopsis reads: Catapulted by the success of his first major solo project, “Off The Wall,” Michael Jackson went from child star to King of Pop. This film explores the seminal album, with rare archival footage and interviews from those who were there and those whose lives its success and legacy impacted.
My research tells me that Spike first shared that he was working on this earlier this year, while doing press for his last film, “Da Sweet Blood of Jesus,” ahead of its USA release. Although he didn’t share any details – just that he was working on it, with potential plans to make similar documentaries on other seminal MJ albums, like “Thriller.”
No trailer or much media available yet for “Michael Jackson’s Journey from Motown to ‘Off the Wall'” except for the above still from Sundance. article by Tambay A. Obenson via Shadow And Act
The Weeknd (Photo Credit: Peter van Agtmael/Magnum, The New York Times)
The scene backstage last November at the American Music Awards, that annual gathering of pop perennials and idiosyncratic arrivistes, was carnivalesque: Niall and Liam of One Direction toddled about trying to snap a picture with a selfie stick, while Zayn, their bandmate at the time, smoked coolly out of frame; Ne-Yo was there in a leopard-print blazer two sizes too small; Lil Wayne was wandering around, alone, wearing absurd shoes. In the middle of it all, Abel Tesfaye, better known as The Weeknd, remained calm, slow motion to everyone else’s warp speed.
Allergic to these sorts of scrums, he found his way to his trailer to hang with his friends, five or so fellow Canadians, all of them art-goth chic, wearing expensive sneakers and draped in luxurious, flowing black. Tesfaye, 25, was dressed down by comparison, in a black corduroy jacket and paint-splattered jeans (Versace, but still). He stands 5-foot-7, plus a few more inches with his hair, an elaborate tangle of dreadlocks that he has been growing out for years, more or less letting it go where it wants. It spills out at the sides of his head and shoots up over it, like a cresting wave. Casually, Tesfaye did some vocal warm-ups and sat indifferently as his underutilized makeup artist dabbed foundation under his eyes and balm on his lips.
Abel Tesfaye, a.k.a. the Weeknd, at his apartment building in Toronto last December. (Credit: Peter van Agtmael/Magnum, for The New York Times)
He’d just had his first flash of true pop success: ‘‘Love Me Harder,’’ his duet with Ariana Grande, the childlike pop star with the grown-up voice, cracked the Top 10 of the Billboard Hot 100. He was scheduled to make a surprise cameo here at the end of a Grande medley. Until that song and, in a sense, that moment, Tesfaye had been a no-hit wonder: a cult act with millions of devotees and almost no mainstream profile.
When Tesfaye came out from the shadows midway through Grande’s performance, the crowd screamed. For two minutes, the singers traded vocal riffs and unflinching eye contact, Grande playing the naïf and Tesfaye the aggressor. The performance was quick and sweaty, and seconds after it was over, Tesfaye was already speeding for the exit, stopping only for a quick embrace from Kendall and Kylie Jenner. When he reached the parking lot, a yappy talent wrangler for an entertainment-news show sensed an opportunity and asked for an interview. Tesfaye gave him an amused half-smile and kept walking. ‘‘Hey!’’ the guy shouted in desperation, fumbling for a name before landing on the wrong one: ‘‘A$AP Rocky!’’ Tesfaye turned his head and said, ‘‘C’mon, man,’’ arching an eyebrow, then picked up the pace.
Even though he had just performed for an audience of millions, Tesfaye was still, to many of them, a total stranger. When he began releasing music in 2010 — murky Dalí-esque R.&B., sung in an astrally sweet voice, vivid with details of life at the sexual and pharmacological extremes — Tesfaye chose to be a cipher. The only photos of him in circulation were deliberately obscured; he didn’t do interviews. His reticence was an asset — fans devoured the music without being distracted by a personality. Their loyalty was to the songs and, in a way, to the idea of the Weeknd. He was happy to stay out of the way.
The Weeknd (Photo Credit: Peter van Agtmael/Magnum, The New York Times)
The scene backstage last November at the American Music Awards, that annual gathering of pop perennials and idiosyncratic arrivistes, was carnivalesque: Niall and Liam of One Direction toddled about trying to snap a picture with a selfie stick, while Zayn, their bandmate at the time, smoked coolly out of frame; Ne-Yo was there in a leopard-print blazer two sizes too small; Lil Wayne was wandering around, alone, wearing absurd shoes. In the middle of it all, Abel Tesfaye, better known as The Weeknd, remained calm, slow motion to everyone else’s warp speed.
Allergic to these sorts of scrums, he found his way to his trailer to hang with his friends, five or so fellow Canadians, all of them art-goth chic, wearing expensive sneakers and draped in luxurious, flowing black. Tesfaye, 25, was dressed down by comparison, in a black corduroy jacket and paint-splattered jeans (Versace, but still). He stands 5-foot-7, plus a few more inches with his hair, an elaborate tangle of dreadlocks that he has been growing out for years, more or less letting it go where it wants. It spills out at the sides of his head and shoots up over it, like a cresting wave. Casually, Tesfaye did some vocal warm-ups and sat indifferently as his underutilized makeup artist dabbed foundation under his eyes and balm on his lips.
Abel Tesfaye, a.k.a. the Weeknd, at his apartment building in Toronto last December. (Credit: Peter van Agtmael/Magnum, for The New York Times)
He’d just had his first flash of true pop success: ‘‘Love Me Harder,’’ his duet with Ariana Grande, the childlike pop star with the grown-up voice, cracked the Top 10 of the Billboard Hot 100. He was scheduled to make a surprise cameo here at the end of a Grande medley. Until that song and, in a sense, that moment, Tesfaye had been a no-hit wonder: a cult act with millions of devotees and almost no mainstream profile.
When Tesfaye came out from the shadows midway through Grande’s performance, the crowd screamed. For two minutes, the singers traded vocal riffs and unflinching eye contact, Grande playing the naïf and Tesfaye the aggressor. The performance was quick and sweaty, and seconds after it was over, Tesfaye was already speeding for the exit, stopping only for a quick embrace from Kendall and Kylie Jenner. When he reached the parking lot, a yappy talent wrangler for an entertainment-news show sensed an opportunity and asked for an interview. Tesfaye gave him an amused half-smile and kept walking. ‘‘Hey!’’ the guy shouted in desperation, fumbling for a name before landing on the wrong one: ‘‘A$AP Rocky!’’ Tesfaye turned his head and said, ‘‘C’mon, man,’’ arching an eyebrow, then picked up the pace.
Even though he had just performed for an audience of millions, Tesfaye was still, to many of them, a total stranger. When he began releasing music in 2010 — murky Dalí-esque R.&B., sung in an astrally sweet voice, vivid with details of life at the sexual and pharmacological extremes — Tesfaye chose to be a cipher. The only photos of him in circulation were deliberately obscured; he didn’t do interviews. His reticence was an asset — fans devoured the music without being distracted by a personality. Their loyalty was to the songs and, in a way, to the idea of the Weeknd. He was happy to stay out of the way.
Musical legends Michael Jackson and Ray Charles (photo via eurweb.com)
The United Negro College Fund (UNCF) is putting the icon status of Michael Jackson and Ray Charles towards a great cause with the establishment of two new scholarship programs.
A press release reveals the Michael Jackson scholarship will provide financial assistance to communication arts and social science students attending a UNCF college/university during the upcoming academic year.
To qualify for the scholarship, high school seniors must plan on enrolling at a UNCF member school in the fall. Proof of acceptance at the UNCF college/university must be submitted. Depending on the financial need of the student as verified by the attending University or College, the scholarship will provide an award totaling up $5,000.
In addition to the Michael Jackson scholarship, the release detailed the intent of the Ray Charles Endowed Scholarship, which is set up to help African-American students with high academic promise that have significant financial need.
Endowment scholarships, which are renewable for up to one year, will be awarded to students who meet the recommended eligibility criteria. Criteria includes students being an African-American junior enrolled full-time at a UNCF member HBCU and having a minimum cumulative grade point average of 3.0 on a 4.0 scale. In addition, students must have a demonstrated unmet financial need that is verified by their college or university.
For more details on the Michael Jackson UNCF Scholarship, click here. More information on the Ray Charles Endowment Scholarship can be found here. article by Qwest7 via eurweb.com
It’s been 5 years since Michael Jackson died. Five. There have been constant tributes, celebrations and memorials since that shocking June 25th in 2009, when we collectively learned that one of the most undeniable musical forces ever to walk the Earth was no longer with us. So it’s not like there hasn’t been time to process the reality and finality of his passing – but for me (and I know I’m not alone), as every year passes, Michael’s death hits harder and harder.
I love that his music and legacy live on not only in his family and children, but also in every (and I do mean every) modern entertainer alive today. Usher, Justin Timberlake, Justin Bieber, Jason Derulo, NeYo, Bruno Mars, Chris Brown, Beyoncé… who among them doesn’t echo Michael in their movements, their singing, their showmanship? But when I hear the posthumous Jackson album “Xscape” from earlier this year – which, even though critically referred to as “B” level Michael, is better than most pop music currently out there – or a current song that sounds like it could have been a Michael song (see Timberlake’s “Take Back The Night”), the totality of his loss is all the more evident.
There is comfort in the fact that he existed at all and gave us a lifetime filled with thrilling, soul-stirring and oft-emulated art via dance and song. And according to the Orlando Sentinel, today, on what would have been Jackson’s 56th birthday, he is being remembered in different ways around the world.
Cirque du Soleil in Las Vegas has launched the #MJWeAreOne campaign in conjunction with MichaelJackson.com.
Fans worldwide are urged to use Instagram by sharing videos — using the hashtag #MJWeAreOne — honoring MJ and sharing ideas of how to make the world a better place.
The MJ Global Party has fans celebrating Jackson’s birthday in live-time around the world using the hashtag #MJGBP2014. Check out the website here.
The fifth annual Michael Jackson Tribute Festival of the Arts is underway in Jackson’s birth home of Gary, Indiana. The three-day festival celebrates Jackson’s life and career while helping revitalize part of Gary.
So on this day, remember the King of Pop in your own way. Listen to your favorite MJ song. Watch your favorite Michael video for the thousandth time.
Below I’m posting one of my all-time favorite Jackson songs and videos, the John Singleton-directed “Remember The Time” and I know I’m going to shake my head (for the thousandth time) when Magic Johnson says “Behold, great Pharoah Ramses!”, laugh (for the thousandth time) when Eddie Murphy’s eyes bug out at Iman crushing on Michael, stare in awe (for the thousandth time) at the dance moves, and lose it (for the thousandth time) when Michael sings the “Rah dah /dah dah dah / What about us, girl?!” part because it is just so uniquely Michael, uniquely musical and uniquely inspiring.
GARY, Ind. (AP) — Plans are in the works to name a school after Michael Jackson in the late pop star’s Indiana hometown.
The Gary Community School Board approved Tuesday a memorandum of understanding with Jackson’s mother, Katherine Jackson. The agreement that Jackson signed last month says the district “seeks to honor Michael Jackson and to inspire children to excel in the arts and education.”
District superintendent Cheryl Pruitt said she’s working with the Jackson family on which school to rename.
“A close relationship with the Jackson family to improve the quality of programs for the Gary Community School Corp. can mean tremendous gains for the school district and the city as a whole,” she told the Post-Tribune (http://bit.ly/1luhGfp ).
Michael Jackson spent the first 11 years of his life in Gary. His family moved to California after the Jackson 5 struck it big in 1969 with the release of their first album. Jackson, who died in 2009, last returned to Gary in 2003 and received an honorary diploma from Roosevelt High School near his childhood home.
Pruitt said renaming the school came up in a conversation with Katherine Jackson, who donated $10,000 during the Gary Promise scholarship event hosted by former NBA star Magic Johnson in April.
“She’s always wanted something left here,” Pruitt said.
The district has long struggled with high poverty levels, and the school board voted in June to close six of its 17 schools because of a $27 million deficit blamed in part on declining enrollment and the state’s property tax caps. article via huffingtonpost.com
In this Thursday, July 17, 2014 photo, from left, outfits from Beyonce’s 2013 Super Bowl performance, 2011″Sweet Dreams,” 2003 “Single Ladies” and 2003 “Dangerously in Love” are displayed in a new exhibit at the Rock and Roll Hall of Fame in Cleveland. The Rock Hall announced Friday, July 18, 2014, that outfits from Beyonce’s Super Bowl performance and music videos will debut Tuesday in the Ahmet Ertegun Main Exhibit Hall in its Legends of Rock section next to iconic pieces from Michael Jackson, David Bowie and Bruce Springsteen. (AP Photo/Mark Duncan)
NEW YORK (AP) – A fashion exhibit centered on Beyoncé will debut at the Rock and Roll Hall of Fame and Museum in a section previously featuring only Hall of Famers. The Rock Hall announced today that outfits from Beyoncé’s Super Bowl performance and music videos will debut Tuesday in the Ahmet Ertegun Main Exhibit Hall in its Legends of Rock section, next to iconic pieces from Michael Jackson, David Bowie and Bruce Springsteen.
The 32-year-old Beyoncé would be eligible for induction into the Rock Hall as a member of Destiny’s Child in 2022 and as a solo artist in 2027. The exhibit in Cleveland, Ohio, will feature Beyonce’s ubiquitous black leotard from her “Single Ladies” music video, as well as her body suit, skirt and jacket from her Super Bowl performance last year in New Orleans.
Rock Hall curator Meredith Rutledge-Borger said they have been trying to court Beyonce “for a really long time.” “When we looked at the depth of the amount of stuff that she was willing to send, we just thought, ‘The only way we can really showcase these items is to put them in the Legends of Rock area in the museum,’ which really is the spot that we have to pay tribute to legends of rock, which Beyonce has proven herself to be,” she said in an interview.
Lee Anne Callahan-Longo, the general manager of Beyonce’s production house, Parkwood Entertainment, said the singer was honored and humbled by the opportunity to have her personal items in the museum.
Even in death, Michael Jackson continues to break records. His duet with Justin Timberlake, “Love Never Felt So Good,” will make the late King of Pop the only artist to score a top ten Hot 100 hit in five different decades. The musicians he surpassed include Whitney Houston, Madonna, Aerosmith, Barbara Streisand and Cher.
It’s a royal return for the King of Pop to the Billboard Hot 100 and Hot R&B/Hip-Hop Songs charts. Michael Jackson‘s “Love Never Felt So Good” with Justin Timberlake makes splashy debuts at No. 20 on the Hot 100 and No. 6 on Hot R&B/Hip-Hop Songs. The track (heard below) is the first single from Jackson’s posthumous album “Xscape,” due tomorrow (May 13).
“Good” sold 80,000 downloads in the week ending May 4, according to Nielsen SoundScan, after only three full days on-sale. The song went on-sale in the evening of May 1, after it premiered on the iHeartRadio Music Awards the same night. It’s available as both a duet and as a solo track from Jackson, although sales of the Timberlake version drive 80 percent of its combined sales.
Powered by hourly play across a multitude of Clear Channel-owned radio stations on May 2, “Love” debuts at No. 38 on the Radio Songs chart. It bows with 34 million in audience for the week ending May 6, from 358 stations, according to Nielsen BDS. “Love” is Jackson’s biggest Radio Songs hit since “Butterflies” peaked at No. 14 in early 2002.
The debut for “Good” is handsome not just because of its sales and airplay figures, but also thanks to its streaming numbers. The tune collected 1.9 million U.S. streams in the week ending May 4, according to BDS. It arrives at No. 41 on Streaming Songs. Bringing Michael Jackson Back: The Inside Story of ‘Xscape’ (Cover Story)
“Good” arrives as Jackson’s 49th Hot 100 hit (not counting his entries as part of the Jackson 5). He nets his highest Hot 100 rank since “Butterflies” reached No. 14 (Jan. 26, 2002). He also ties for his third-highest debut: “You Are Not Alone,” his 13th and last No. 1, launched at the summit (Sept. 2, 1995), almost three months after “Scream,” with Janet Jackson, started at its No. 5 peak. “Good” matches the bow of his classic “Thriller,” which began at No. 20 on Feb. 11, 1984 and rose to its No. 4 highpoint three weeks later.
“Good” becomes Jackson’s 33rd top 20 Hot 100 hit, tying him with Rihanna for the seventh-best sum in the chart’s 55-year history. (Jackson was born the same month as the Hot 100: August 29, 1958, or 25 days after the chart’s inception.) Elvis Presley leads with 48 top 20 hits, followed by Madonna (44), the Beatles (42), Elton John (40), Lil Wayne (39) and Stevie Wonder (36).
On Hot R&B/Hip-Hop Songs, “Good” is likewise Jackson’s highest-charting entry since “Butterflies,” which reached No. 2 on the ranking. He lands his 33rd Hot R&B/Hip-Hop Songs top 10. (James Brown boasts the most top 10s all-time, 60, followed by Louis Jordan, with 54, and Aretha Franklin, with 52.)
Timberlake, meanwhile, tallies his 21st Hot 100 top 20 and 10th such hit on Hot R&B/Hip-Hop Songs. article by Keith Caufield & Gary Trust via billboard.com
Michael Jackson’s classic single glove was actually worn to cover up his skin condition of vitiligo, not to make a fashion statement. (Photo by Ebet Roberts/Redferns) The King of Pop still reigns. According to Forbes magazine, the late Michael Jackson has earned more money in the past year than any other musician — dead or alive. Between June 2012 and June 2013, Jackson’s estate earned $160 million. This surpassed the second-place earner, MJ’s living rival Madonna, who made $125 million in that time span, by $35 million. “It’s the third time in the past five years that the top-earning celebrity in the world has come from the graveyard,” reports Forbes. According to Entertainment Weekly, Jackson’s earnings come from ”two Cirque du Soleil shows — one that tours, one housed at the Mandalay Bay Hotel & Casino in Vegas — and his half of the Sony/ATV song catalog, which includes his own hits as well as tunes like ‘When a Man Loves a Woman.’” On the list of deceased earners, Elvis Presley comes in a distant second (with $55 million), followed by Peanuts creator Charles Schultz ($37 million), Elizabeth Taylor ($25 million), and Bob Marley ($18 million). article via thegrio.com
