duminică, 6 septembrie 2009
vineri, 4 septembrie 2009
Chapter One – Just Kids With A Dream
I've always wanted to be able to tell stories, you know, stories that came from my soul. I'd like to sit by a fire and tell people stories - make them see pictures, make them cry and laugh, take them anywhere emotionally with something as deceptively simple as words. I'd like to tell tales to move their souls and transform them. I've always wanted to be able to do that. Imagine how the great writers must feel, knowing they have that power. I sometimes feel I could do it. It's something I'd like to develop. In a way, songwriting uses the same skills, creates the emotional highs and lows, but the story is a sketch. It's quicksilver. There are very few books written on the art of storytelling, how to grip listeners, how to get a group of people together and amuse them. No costumes, no makeup, no nothing, just you and your voice, and your powerful ability to take them anywhere, to transform their lives, if only for minutes.As I begin to tell my story, I want to repeat what I usually say to people when they ask me about my earliest days with the Jackson 5: I was so little when we began to work on our music that I really don't remember much about it. Most people have the luxury of careers that start when they're old enough to know exactly what they're doing and why, but, of course, that wasn't true of me. They remember everything that happened to them, but I was only five years old. When you're a show business child, you really don't have the maturity to understand a great deal of what is going on around you.
People make a lot of decisions concerning your life when you're out of the room. So here's what I remember. I remember singing at the top of my voice and dancing with real joy and working too hard for a child. Of course, there are many details I don't remember at all. I do remember the
I was born in
what we did for entertainment and those times helped keep us together and kind of encouraged my father to be a family-oriented man. The
sound that is mine. I remember my childhood as mostly work, even though I loved to sing. I wasn't forced into this business by stage parents the way Judy Garland was. I did it because I enjoyed it and because it was as natural to me as drawing a breath and exhaling it. I did it because I was compelled to do it, not my parents or family, but by my own inner life in the world of music. There were times, let me make that clear, when I'd come home from school and I'd only have time to put my books down and get ready for the studio. Once there, I'd sing until late at night, until it was past my bedtime, really.
There was a park across the street from the Motown studio, and I can
remember looking at those kids playing games. I'd just stare at them in wonder - I couldn't imagine such freedom, such a carefree life - and wish more than anything that I had that kind of freedom, that I could walk away and be like them. So there were sad moments in my childhood. It's true for any child star. Elizabeth Taylor told me she felt the same way. When you're young and you're working, the world can seem awfully unfair. I wasn't forced to be little Michael the lead singer - I did it and I loved it - but it was hard work. If we were doing an album, for example, we'd go off to the studio after school and I might or might not get a snack. Sometimes there just wasn't time. I'd come home, exhausted, and it'd be eleven or twelve and past time to go to bed.
So I very much identify with anyone who worked as a child. I know how they struggled, I know what they sacrificed. I also know what they learned. I've learned that it becomes more of a challenge as one gets older. I feel old for some reason. I really feel like an old soul, someone who's seen a lot and experienced a lot. Because of all the years I've clocked in, it's hard for me to accept that I am only twenty-nine. I've been in the business for twenty-four years. Sometimes I feel like I should be near the end of my life, turning eighty, with people patting me on the back. That's what comes from starting so young.
When I first performed with my brothers, we were known as the
Every one of my albums or the group's albums has been dedicated to our mother, Katherine Jackson, since we took over our own careers and began to produce our own music. My first memories are of her holding me and singing songs like "You Are My Sunshine" and "Cotton Fields." She sang to me and to my brothers and sisters often. Even though she had lived in Indiana for some time, my mother grew up in Alabama, and in that part of the country it was just as common for black people to be raised with country and western music on the radio as it was for them to hear spirituals in church. She likes Willie Nelson to this day. She has always had a beautiful voice and I suppose I got my singing ability from my mother and, of course, from God.
Mom played the clarinet and the piano, which she taught my oldest sister, Maureen, whom we call Rebbie, to play, just as she'd teach my other older sister, LaToya. My mother knew, from an early age, that she would never perform the music she loved in front of others, not because she didn't have the talent and the ability, but because she was crippled by polio as a child. She got over the disease, but not without a permanent limp in her walk. She had to miss a great deal of school as a child, but she told us that she was lucky to recover at a time when many died from the disease. I remember how important it was to her that we got the sugar-cube vaccine. She even made us miss a youth club show one Saturday afternoon - that's how
important it was in our family. My mother knew her polio was not a curse but a test that God gave her to triumph over, and she instilled in me a love of Him that I will always have.
She taught me that my talent for singing and dancing was as much God's work as a beautiful sunset or a storm that left snow for children to play in. Despite all the time we spent rehearsing and travelling, Mom would find time to take me to the Kingdom Hall of the Jehovah's Witnesses, usually with Rebbie and LaToya.
Years later, after we had left
that I reminded them of Frankie Lymon, a great young singer of the 1950s who lost his life that way. Ed Sullivan may have been thinking of all this when he told me, "Never forget where your talent came from, that your talent is a gift from God."
I was grateful for his kindness, but I could have told him that my mother had never let me forget. I never had polio, which is a frightening thing for a dancer to think about, but I knew God had tested me and my brothers and sisters in other ways - our large family, our tiny house, the small amount of money we had to make ends meet, even the jealous kids in the neighbourhood who threw rocks at our windows while we rehearsed, yelling that we'd never make it. When I think of my mother and our early years, I can tell you there are rewards that go far beyond money and public acclaim
My mother was a great provider. If she found out that one of us had an interest in something, she would encourage it if there was any possible way. If I developed an interest in movie stars, for instance, she'd come home with an armful of books about famous stars. Even with nine children she treated each of us like an only child. There isn't one of us who's ever forgotten what a hard worker and great provider she was. It's an old story. Every child thinks their mother is the greatest mother in the world, but we Jacksons never lost that feeling. Because of Katherine's gentleness, warmth, and attention, I can't imagine what it must be like to grow up without a mother's love.
One thing I know about children is that if they don't get the love they need from their parents, they'll get it from someone else and cling to that person, a grandparent, anyone. We never had to look for anyone else with my mother around. The lessons she taught us were invaluable. Kindness, love, and consideration for other people headed her list. Don't hurt people. Never beg. Never freeload. Those were sins at our house. She always wanted us to give , but she never wanted us to ask or beg. That's the way she is. I remember a good story about my mother that illustrates her nature. One day, back in
door early in the morning. He was bleeding so badly you could see where he'd been around the neighbourhood. No one would let him in. Finally he got to our door and he started banging and knocking. Mother let him in at once. Now, most people would have been too afraid to do that, but that's my mother. I can remember waking up and finding blood on our floor. I wish we could all be more like Mum.
The earliest memories I have of my father are of him coming home from the steel mill with a big bag of glazed doughnuts for all of us. My brothers and I could really eat back then and that bag would disappear with a snap of the fingers. He used to take us all to the merry-go-round in the park, but I was so young I don't remember that very well.
My father has always been something of a mystery to me and he knows it. One of the few things I regret most is never being able to have a real closeness with him. He built a shell around himself over the years and, once he stopped talking about our family business, he found it hard to relate to us. We'd all be together and he'd just leave the room. Even today it's hard for him to touch on father and son stuff because he's too embarrassed. When I see that he is, I become embarrassed, too. My father did always protect us and that's no small feat. He always tried to make sure people didn't cheat us. He looked after our interests in the best ways. He might have made a few mistakes along the way, but he always thought he was doing what was right for his family. And, of course, most of what my father helped us accomplish was wonderful and unique, especially in regard
to our relationships with companies and people in the business. I'd say we were among a fortunate few artists who walked away from a childhood in the business with anything substantial - money, real estate, other investments.
My father set all these up for us. He looked out for both our interests and his. To this day I'm so thankful he didn't try to take all our money for
himself the way so many parents of child stars have. Imagine stealing from your own children. My father never did anything like that. But I still don't know him, and that's sad for a son who hungers to understand his own father.
He's still a mystery man to me and he may always be one.
What I got from my father wasn't necessarily God-given, though the Bible says you reap what you sow. When we were coming along, Dad said that in a different way, but the message was just as clear: You could have all the talent in the world, but if you didn't prepare and plan, it wouldn't do you any good.
Joe Jackson had always loved singing and music as much as my mother did, but he also knew there was a world beyond
excuse to around when the Falcons came over. Dad let them think they were being given a special treat by being allowed to listen, but he was actually eager to have them there.
Tito watched everything that was going on with the greatest interest. He'd taken saxophone in school, but he could tell his hands were big enough to grab the chords and slip the riffs that my father played. It made sense that he'd catch on, because Tito looked so much like my father that we all expected him to share Dad's talents. The extent of the resemblance was scary as he got older. Maybe my father noticed Tito's zeal because he laid down rules for all my brothers: No one was to touch the guitar while he was out.Period.
Therefore, Jackie, Tito, and Jermaine were careful to see that Mom was in the kitchen when they "borrowed" the guitar. They were also careful not to make any noise while removing it. They would then go back to our room and put on the radio or the little portable record player so they could play along. Tito would hoist the guitar onto his belly as he sat on the bed and prop it up. He took turns with Jackie and Jermaine, and they'd all try the scales they were learning in school as well as try to figure out how to get the "Green Onions" part they'd hear on the radio. By now I was old enough to sneak in and watch if I promised not to tell. One day Mom finally caught them, and we were all worried. She scolded the boys, but said she wouldn't tell Dad as long as we were careful. She knew that guitar was keeping them from running with a bad crowd and maybe getting beat
up, so she wasn't about to take away anything that kept them within arm's reach. Of course, something had to give sooner or later, and one day a string broke. My brothers panicked. There wasn't time to get it repaired before Dad came home, and besides, none if us knew how to go about getting it fixed. My brothers never figured out what to do, so they put the guitar back in the closet and hoped fervently that my father would think it broke by itself. Of course, Dad didn't buy that, and he was furious. My sisters told me to stay out of it and keep a low profile. I heard Tito crying after Dad found out and I went to investigate, of course. Tito was on his bed crying when Dad
came back and motioned for him to get up. Tito was scared, but my father just stood there, holding his favourite guitar. He gave Tito a hard, penetrating look and said, "Let me see what you can do."
My brother pulled himself together and started to play a few runs he had taught himself. When my father saw how well Tito could play, he knew he'd obviously been practising and he realised that Tito and the rest of us didn't treat his favourite guitar as if it were a toy. It became clear to him that what had happened had been only an accident. At this point my mother stepped in and voiced her enthusiasm for our musical ability. She told him that we boys had talent and he should listen to us. She kept pushing for us, so one day he began to listen and he liked what he heard. Tito, Jackie, and Jermaine started rehearsing together in earnest. A couple of years later, when I was about five, Mom pointed out to my father that I was a good singer and could play the bongos. I became a member of the group.
About then my father decided that what was happening in his family was serious. Gradually he began spending less time with the Falcons and more with us. We'd just woodshed together and he'd give us some tips and teach us techniques on the guitar. Marlon and I weren't old enough to play, but we'd watch when my father rehearsed the older boys and we were learning when we watched. The ban on using Dad's guitar still held when he wasn't around, but my brothers loved using it when they could. The house on
bursting with music. Dad and Mom had paid for music lessons for Rebbie and Jackie when they were little kids, so they had a good background. The rest of us had music class and band in the
The Falcons were still earning money, however infrequent their gigs, and that extra money was important to us. It was enough to keep food on the table for a growing family but not enough to give us things that weren't necessary. Mom was working part-time at Sears, Dad was still working the mill job, and no one was going hungry, but I think, looking back, that things must have seemed one big dead end.
One day Dad was late coming home and Mom began to get worried. By the time he arrived, she was ready to give him a piece of her mind, something we boys didn't mind witnessing once in a while just to see if he could take it like he dished it out, but when he poked his head through the door, he had a mischievous look on his face and he was hiding something behind his back. We were all shocked when he produced a gleaming red guitar, slightly smaller than the one in the closet. We were all hoping this meant we'd get the old one. But Dad said the new guitar was Tito's. We gathered around to admire it, while Dad told Tito he had to share it with anyone who would practice . We were not to take it to school to show it off. This was a serious present
and that day was a momentous occasion for the
We even had microphones in the house. They seemed like a real luxury at the time, especially to a woman who was trying to stretch a very small budget, but I've come to realise that having those microphones in our house wasn't just an attempt to keep up with the Joneses or anyone else in amateur night competitions. They were there to help us prepare. I saw people at talent shows, who probably sounded great at home, clam up the moment they got in front of a microphone. Others started screaming their songs like they wanted
to prove they didn't need the mikes. They didn't have the advantage that we did - an advantage that only experience can give you. I think it probably made some people jealous because they could tell our expertise with the mikes gave us an edge. If that was true, we made so many sacrifices – in free time, schoolwork, and friends - that no one had the right to be jealous. We were becoming very good, but we were working like people twice our age.
While I was watching my older brothers, including Marlon on the bongo drums, Dad got a couple of young guys named Johnny Jackson and Randy Rancifer to play trap drums and organ. Motown would later claim they were our cousins, but that was just an embellishment from the P.R. people, who wanted to make
us seem like one big family. We had become a real band! I was like a sponge, watching everyone, and trying to learn everything I could. I was totally absorbed when my brothers were rehearsing or playing at charity events or shopping centres. I was most fascinated when watching Jermaine because he was the singer at the time and he was a big brother to me - Marlon was too close to me in age for that. It was Jermaine who would walk me to kindergarten and whose clothes would be handed down to me. When he did something, I tried to imitate him. When I was successful at it, my brothers and Dad would laugh, but when I began singing, they listened. I was singing in a baby voice then and just imitating sounds. I was so young I didn't know what many of the words meant, but the more I sang, the better I got.
duminică, 23 august 2009
Michael Jackson Nobel Peace Prize
Este nevoie de 100,000 de semnaturi....
The Millennium-Issue of the “Guinness Book Of Records” names Michael as the “Pop Star who supports the most charity organizations”
Subsemnaţii, avem intenţia de a nominaliza legendarul artist şi performer, umanitaristul de talie mondialã MICHAEL JACKSON, pentru Premiul Nobel pentru Pace 2010. El a fost şi continuã sã fie unul dintre cei mai renumiţi şi influenţi oameni de pe Pãmânt. Mesajul lui Michael pentru omenire a fost întotdeauna izvorât din compasiune şi bunãtate. A fost urmat de dedicarea întregii vieţi spre binele umanitãţii. Militând dincolo de limitele politice, sociale şi economice, Michael Jackson a purtat constant mesajul pozitiv de unitate globalã, vindecare şi dragoste. Michael Jackson şi-a dedicat fãrã încetare viaţa pentru a-i ajuta pe alţii în cele mai grele momente ale vieţii lor. Este aproape imposibil sã numãrãm multiplele sute de milioane de dolari pe care Michael le-a donat pentru acţiuni de binefacere din propriile fonduri şi organizaţii umanitare, şi deasemenea organizând acţiuni strângeri de fonduri umanitare. În 1984, Michael Jackson a suferit arsuri majore în timpul filmãrilor pentru o reclamã a companiei Coca Cola. Michael a fost recompensat prin instanţã cu 1,5 mil $, pe care i-a donat centrului Michael Jackson Burn Center. În 1985, cântecul ‚We Are The World’ destinat strângerii de fonduri a fost scris în colaborare şi organizat de Michael Jackson. Cântecul a fost înregistrat în scopul de a ajuta la eradicarea foametei în Etiopia. Pânã în prezent, cântecul a generat peste 60 mil $ donaţii pentru acest scop. Cea mai prestigioasã contribuţie umanitarã globalã realizatã de Michael a fost în 1992 crearea fundaţiei Heal The World. Fundaţia lui Michael este responsabilã de educarea copiilor asupra pericolului abuzului de droguri şi alcool, donaţii de milioane de dolari cãtre copiii sãraci, şi transportul a 46 tone de ajutoare în timpul rãzboiului din Sarajevo. În 1994, Michael a obţinut 120 000 $ prin fundaţia Heal The World pentru a plãti costul unui transplant de ficat pentru un copil orfan maghiar numit Bela Farkas. Acesta este modul lui de a dãrui care a condus la a fi nominalizat la secţiunea „Cele mai multe acţiuni umanitare iniţiate de un pop star” în Cartea Recordurilor în anul 2000. Michael Jackson a contribuit de asemenea la acţiuni caritabile pentru supravieţuitorii uraganului Katrina şi pentru familiile victimelor atacurilor de la 11 sept 2001. Noi, subsemnaţii, considerãm cã Michael Jackson s-a dedicat altruist, în întregime, într-un efort de o viaţã, pentru a îmbunãtãţi condiţia universalã a copiilor, şi deasemenea a omenirii. Vã rugãm sã îl consideraţi din toatã inima pe Michael Jackson îndreptãţit ca nominalizat şi destinatarul remarcabil al acestui prestigious premiu. Michael Jackson meritã fãrã îndoialã Premiul Nobel pentru Pace în 2010.
Noi, subsemnaţii, intenţionãm ca fundaţia lui Michael Jackson Heal The World sã accepte aceastã petiţie pentru nominalizare, în onoarea marelui dispãrut Michael Jackson. Scopul acestei adãugiri la petiţie este de a elimina orice controversã dacã Michael Jackson este sau nu eligibil pentru Premiul Nobel pentru Pace, postum. În 1961, Dag Hammarskjöld a fost rãsplãtit cu Premiul Nobel pentru pace postum. Sã îl onorãm pe Michael Jackson pentru efortul lui de o viaţã ca Umanitarist Global de neuitat. Urmeazã restul petiţiei. Vã mulţumim. -
joi, 30 iulie 2009
There comes a time
When we head a certain call
When the world must come together as one
There are people dying
And it's time to lend a hand to life
The greatest gift of all
We can't go on
Pretneding day by day
That someone, somewhere will soon make a change
We are all a part of
God's great big family
And the truth, you know love is all we need
we are the world!
sâmbătă, 25 iulie 2009
Ma gandeam de mai mult timp sa-mi fac si eu un blog... si in sfarsit am pus in practica ideea..
In primul rand vreau ca in acest blog sa-mi povesteasca fiecare ce lucruri bune a facut pentru ceilalti.. pentru el.
Si foarte important!Nu l-am facut ca sa ma laud sau ca altii sa se laude!
Vreau pur si simplu sa incerc sa fac ceva pentru lume ,sa o ajut si sa impartasesc aceste lucruri cu voi toti.In fiecare zi vad coruptie, mincina ,ipocrizie,indiferenta ,rautate cata rautate...nimanui nu-i pasa decat de propria persoana...nu conteaza ce trebuie sa faca ca sa reusesca... sunt capabili sa faca ORICE. M-am saturat efectiv sa vad in fieare zi aceleasi lucruri.
Ma deprima.. ma intristeaza ,vreau sa stiu.. ca mai exista oameni care ajuta.. care au un suflet bun... care nu a fost contaminat.
Asadar... vreau ca fiecare sa spuna.. ce lucruri a facut sau ar vrea sa faca pentru el.. pentru ceilalti.De exemplu: daca de mult dorea sa schimbe ceva la el,cat timp a trecut pana a putut realiza acest lucru, prin ce a trecut ca sa ajunga in acest stadiu,drumul pe care la parcurs...
Cand vad aceste mici povestioare mi se lumineaza sufletul!Speranta reinvie...