Michael Jackson is niet meer...
- Thread starter koekebakker
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Ja, precies, gave thread! Ik vraag me bij dit soort artiesten vaak af wie nou wat precies deed. In veel gevallen krijgen mensen namelijk gewoon nummers toegestuurd, en kiezen ze er dan een stel van die ze bevalt. Eigen muzikale creativiteit is dan toch wel minimaal. Maar zoals uit die thread van Gearslutz blijkt, geldt (gold...) dat dus totaal niet voor Michael Jackson. 
Subgroover
Zweet spot
fjoesz
Gepokt en gemazeld
- Lid sinds
- 21 januari 2005
- Berichten
- 8.564
MJ stories
MJ stories
Weliswaar van Gearslutz maar ik denk dat men het hier ook wel leuk vind om te lezen, ervaringen met MJ.
I worked with Michael on many occasions...first in 1979 shortly following the release of "Off The Wall", which was recorded at my old studio, Image Recording, when it was owned by its former owner, Allen Zentz.
I then spent some time in 1980 (or 81?) with Michael recording demo's for Thriller. This was great, because it was just the two of us and whoever Michael had coming in. "John, we have Jonathan Moffit coming at 12:00, then Greg Phillinganes at 1:00...oh, and we're recording strings at 4:00!". Wow, what a great experience working so closely with him. I had him on the mic for some days recording vocals, and it was an amazing experience...he would be dancing up a storm while singing and doing all of those "grunts, oohs, ahhs" vocal sounds that would pepper his tracks. He asked me to take up the carpet so he could dance, and in between takes, he would sing other popular songs of the day just freestyle and acapella and we would talk about the music we liked.
Over the next year or two, I hosted the Jacksons many times, recording various tracks, claps (we had a jacuzzi room which they loved to use for the massive white-noise claps that people liked back then). I got to know all the brothers.
Bruce Swedien came back to Image Recording to record a song (or two?) for the Jackson's "Victory" record in about 1983. Another great experience, as Bruce did (as I recall) a string quartet and (perhaps) Michael's vocal at the same time. Bruce IS the best of all time, by the way. BEST.
I believe there were a couple of sundry Jacksons sessions over the next couple of years, but by that time, Michael was hugely popular and I didn't see him as much. The next time was really in 1995, when Robmix and I worked on the HIStory album. Rob worked on this for quite a long time (2 years?), while I worked on it for a few months. We were all holed up in Larrabee North, where Bruce had a room (or were you guys at Record One, Rob?)...Eddie Delena was recording quite a lot Michael's vocals at Larrabee in one room, and I was put in another room to engineer for whomever needed it...my most memorable session being some days with Dallas Austin and on one day, recording The Notorious B.I.G. for his rap on "This Time Around". There I was, standing in a room with Dallas, Biggie and Michael. I'll never forget it.
The final days of that album were made interesting, by Bruce giving me the task to sequence the album and edit it down to a size that we could fit onto a CD. This was no small undertaking, as about 7 minutes needed to be trimmed somewhere. I laid this all out in Sound Tools and came to know every bar of every song very intimately. I found places where songs could be tightened up and came up with many suggestions. On the night of mastering, I was put in a room at Bernie Grundman's with my Sound Tools rig, and in this room, I would have to "negotiate" with Michael about what to take out. I'll never forget this night...Michael came in, and Bruce told MJ that we would have to remove either 1) one whole song or 2) edit the others to fit onto a CD. We chose the latter...I started with song one and played Michael my edits, "Oh no, we can't take THAT out...it's my favorite part of the album!". OK. Let's try another, "Oh no, we MUST keep those four bars". OK...let's go to the vamp, which carries on for two minutes...how about removing these eight bars, "Oh no, that's my favorite part of the vamp!". Well, you get the picture. Meanwhile, Jimmy Jam was in with us, telling Michael that all these edits were killer and actually make things better. And over the course of about 5 hours, we got it down. By this time, it was probably 3:00am, and I was wiped out. Bruce walked in..."Okay, John, I want you to make all these edits on the 1/2" masters right now!". My first thought was, "You've GOT to be kidding!" I had used some crossfades in Tools and such, plus I was worn out from "bartering" with Michael. But, into Bernie's room we went, and with Bruce over my shoulder, I cut the 1/2" tapes. As I recall, this took a couple of hours, and we were done. By the way, video footage of my "bartering session" with Michael exists, although I was never able to get a copy. Perhaps someday!
After that album's completion, we were all invited to The Neverland Ranch with spouses and kids for a day of fun, with Michael as our host. What a memorable day that I will recount in another post...my arms hurt now!
Take it away, Rob...
I was fortunate enough to work with MJ early in my career. He was an incredible artist. Talented beyond your wildest dreams. Extremely generous, and a hard worker. I actually went from a staff assistant at the Hit Factory in NYC to freelance engineer under Swedien and MJ. They were due to start in Los Angeles when the Northridge earthquake hit so they moved to New York. One room was all Bruce, the second room was the writing room. I started assisting Bruce's writing partner Rene Moore. I would track stuff with Rene, and Bruce would come in and tell me what I did wrong, sit in for a few hours and set us straight. After a couple months MJ arrived and the entire tour rig was moved in along with Brad Buxer, Andrew Scheps, and Eddie Delena. I continued to assist them until the whole crew moved to L.A., they decided to take me with them. I would assist Bruce during the day, and help out every where else at night - assisting, engineering, programming, and on one song playing guitar. We had two rooms at Record One, and two rooms at Larrabee where I met John. At one point in NYC we had just about every room at the Hit Factory. The crew was great, and I learned so much from all of them. I learned to engineer from Bruce Swedien, John, and Eddie, and got to sit in with producers like MJ, Jam And Lewis, Babyface, David Foster, Teddy Riley, and Dallas Austin.
I was actually asked to leave the project early on because there were too many people around and MJ didn't know me. Luckily, I was rehired about 10 days later. At the wrap party MJ apologized profusely, and expressed his gratitude. Truly the most sincere man you will ever meet.
Some random memories:
One morning MJ came in with a new song he had written overnight. We called in a guitar player, and Michael sang every note of every chord to him. "here's the first chord first note, second note, third note. Here's the second chord first note, second note, third note", etc., etc. We then witnessed him giving the most heartfelt and profound vocal performance, live in the control room through an SM57.
He would sing us an entire string arrangement, every part. Steve Porcaro once told me he witnessed MJ doing that with the string section in the room. Had it all in his head, harmony and everything. Not just little eight bar loop ideas. he would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills.
At one point Michael was angry at one of the producers on the project because he was treating everyone terribly. Rather than create a scene or fire the guy, Michael called him to his office/lounge and one of the security guys threw a pie in his face. No further action was needed . . . . .
During the recording of "Smile" on HIStory, Bruce thought it would be great if Michael would sing live with the orchestra. But of course, we didn't tell the players that. We set him up in a vocal booth off to the side. They rehearsed a bit without vocals in, then during the first take Michael sang, just about knocked them out of their chairs.
His beatboxing was without parallel, and his time was ridiculous.
His sense of harmony was incredible. Never a bad note, no tuning, even his breathing was perfectly in time.
Once, while we were taking a break, I think we were actually watching the OJ chase on TV, there was a news program talking about him being in Europe with some little boy. I was sitting next to the guy while the news is making this crap up. He just looked at me and said this is what I have to deal with.
I spent close to 3 years working with him, and not once did I question his morals, or ever believe any of the allegations. I wasn't even a fan then. I saw him interact with his brothers kids, other people's children, and at one point my own girlfriend's kids. I got to spend a day at Neverland with them. A completely incredible human being, always looking for a way to make all children's lives better. Every weekend at Neverland was donated to a different children's group - children with AIDS, children cancer, etc., and most of the time he wasn't there.
He was simply living the childhood he never had. In many ways he never grew up.
I was assisting Jimmy Jam and Terry Lewis while they recorded the background vocals for "Scream" with MJ and Janet. The two of them singing together was amazing. Super tight, no bad notes. One part after another. When they took a break they sang the showtunes they used to sing as kids. Again, perfect harmony. Mj refused to sing the "stop f*ckin' with me part" because he would NOT curse.
I was the tape op for the recording of the background vocals on "Stranger in Moscow". Scared the hell out me. Michael was dropping in and out on syllables, rearranging the notes and timing as he put it down. No Pro Tools at the time, just 2" tape, and my punches.
I erased a live keyboard overdub that he played one night. He came in the next morning, replaced it, and never uttered another word about it.
I was there when Lisa Marie was around. They acted like two kids in love. Held hands all the time, and she hung out at the studio for quite a while. I never questioned their love for each other.
We recorded a Christmas song during the summer of '94 that needed a children's choir. Michael insisted that the entire studio be decorated with xmas lights, tree, fake snow and a sled for their recording. And he bought presents for everyone.
The last weekend of recording on HIStory he came to me and Eddie Delena, and said "I'm sorry, but I don't think any of us are going to sleep this weekend. There's a lot to get done, and we have to go to Bernie on Monday morning". He stayed at the studio the entire time, singing, and mixing. I got to spend a couple quiet moments with him during that time. We talked about John Lennon one night as he was gearing up to sing the last vocal of the record - the huge ad libs at the end of "earth song". I told him the story of John singing "twist and shout" while being sick, and though most people think he was screaming for effect, it was actually his voice giving out. He loved it, and then went in to sing his heart out. . . .
Later that night, while mixing, everyone left the room so MJ could turn it up. This was a common occurrence during the mixes, and I was left in the room with ear plugs, and hands over my ears, in case he needed something. This particular night, all the lights were out and we noticed some blue flashes intermittently lighting up the room during playback. After a few moments we could see that one of the speakers (custom quad augspuergers) was shooting blue flames. Mj liked this and proceeded to push all the faders up . . . .
MJ liked hot water while he was singing. I mean really hot !!!!! It got to the point that I would melt plastic spoons to test it.
Bruce and I were talking about walking to the studio everyday in NYC, and what routes we took. Michael looked at us and said we were so lucky to be able to do that. He couldn't walk down the street without being harassed. It was a sad moment for all of us.
The studio crew got free tickets to the Janet show so we all went right from work one night. About halfway through the show we see this dude with a long beard, dressed in robes dancing in the aisle behind. I mean really dancing . . . it was Mj in disguise. Kind of like the costume Chevy Chase wears in Fletch while roller skating.
He got one of the first playstations from sony in his lounge . . . we snuck in late at night to play the games that hadn't been released yet.
A couple people on the session hadn't seen Jurassic Park while it was out, so MJ arranged a private screening for us at Sony.
He was a huge fan of Nine Inch Nails Downward Spiral . . . .
I was lucky enough over the course of 3 years to have access to the multitrack masters for tour prep, videos, and archive purposes. To be able to pull these tracks apart was a huge lesson in production, and songwriting. A chance to look into the minds of geniuses.
Of all the records I've worked on, MJJ was the only company to give platinum award records.
One day we just all sat in the studio listening to his catalog with him for inspiration. He loved the process, he loved the work.
MJ stories
Weliswaar van Gearslutz maar ik denk dat men het hier ook wel leuk vind om te lezen, ervaringen met MJ.
I worked with Michael on many occasions...first in 1979 shortly following the release of "Off The Wall", which was recorded at my old studio, Image Recording, when it was owned by its former owner, Allen Zentz.
I then spent some time in 1980 (or 81?) with Michael recording demo's for Thriller. This was great, because it was just the two of us and whoever Michael had coming in. "John, we have Jonathan Moffit coming at 12:00, then Greg Phillinganes at 1:00...oh, and we're recording strings at 4:00!". Wow, what a great experience working so closely with him. I had him on the mic for some days recording vocals, and it was an amazing experience...he would be dancing up a storm while singing and doing all of those "grunts, oohs, ahhs" vocal sounds that would pepper his tracks. He asked me to take up the carpet so he could dance, and in between takes, he would sing other popular songs of the day just freestyle and acapella and we would talk about the music we liked.
Over the next year or two, I hosted the Jacksons many times, recording various tracks, claps (we had a jacuzzi room which they loved to use for the massive white-noise claps that people liked back then). I got to know all the brothers.
Bruce Swedien came back to Image Recording to record a song (or two?) for the Jackson's "Victory" record in about 1983. Another great experience, as Bruce did (as I recall) a string quartet and (perhaps) Michael's vocal at the same time. Bruce IS the best of all time, by the way. BEST.
I believe there were a couple of sundry Jacksons sessions over the next couple of years, but by that time, Michael was hugely popular and I didn't see him as much. The next time was really in 1995, when Robmix and I worked on the HIStory album. Rob worked on this for quite a long time (2 years?), while I worked on it for a few months. We were all holed up in Larrabee North, where Bruce had a room (or were you guys at Record One, Rob?)...Eddie Delena was recording quite a lot Michael's vocals at Larrabee in one room, and I was put in another room to engineer for whomever needed it...my most memorable session being some days with Dallas Austin and on one day, recording The Notorious B.I.G. for his rap on "This Time Around". There I was, standing in a room with Dallas, Biggie and Michael. I'll never forget it.
The final days of that album were made interesting, by Bruce giving me the task to sequence the album and edit it down to a size that we could fit onto a CD. This was no small undertaking, as about 7 minutes needed to be trimmed somewhere. I laid this all out in Sound Tools and came to know every bar of every song very intimately. I found places where songs could be tightened up and came up with many suggestions. On the night of mastering, I was put in a room at Bernie Grundman's with my Sound Tools rig, and in this room, I would have to "negotiate" with Michael about what to take out. I'll never forget this night...Michael came in, and Bruce told MJ that we would have to remove either 1) one whole song or 2) edit the others to fit onto a CD. We chose the latter...I started with song one and played Michael my edits, "Oh no, we can't take THAT out...it's my favorite part of the album!". OK. Let's try another, "Oh no, we MUST keep those four bars". OK...let's go to the vamp, which carries on for two minutes...how about removing these eight bars, "Oh no, that's my favorite part of the vamp!". Well, you get the picture. Meanwhile, Jimmy Jam was in with us, telling Michael that all these edits were killer and actually make things better. And over the course of about 5 hours, we got it down. By this time, it was probably 3:00am, and I was wiped out. Bruce walked in..."Okay, John, I want you to make all these edits on the 1/2" masters right now!". My first thought was, "You've GOT to be kidding!" I had used some crossfades in Tools and such, plus I was worn out from "bartering" with Michael. But, into Bernie's room we went, and with Bruce over my shoulder, I cut the 1/2" tapes. As I recall, this took a couple of hours, and we were done. By the way, video footage of my "bartering session" with Michael exists, although I was never able to get a copy. Perhaps someday!
After that album's completion, we were all invited to The Neverland Ranch with spouses and kids for a day of fun, with Michael as our host. What a memorable day that I will recount in another post...my arms hurt now!
Take it away, Rob...
I was fortunate enough to work with MJ early in my career. He was an incredible artist. Talented beyond your wildest dreams. Extremely generous, and a hard worker. I actually went from a staff assistant at the Hit Factory in NYC to freelance engineer under Swedien and MJ. They were due to start in Los Angeles when the Northridge earthquake hit so they moved to New York. One room was all Bruce, the second room was the writing room. I started assisting Bruce's writing partner Rene Moore. I would track stuff with Rene, and Bruce would come in and tell me what I did wrong, sit in for a few hours and set us straight. After a couple months MJ arrived and the entire tour rig was moved in along with Brad Buxer, Andrew Scheps, and Eddie Delena. I continued to assist them until the whole crew moved to L.A., they decided to take me with them. I would assist Bruce during the day, and help out every where else at night - assisting, engineering, programming, and on one song playing guitar. We had two rooms at Record One, and two rooms at Larrabee where I met John. At one point in NYC we had just about every room at the Hit Factory. The crew was great, and I learned so much from all of them. I learned to engineer from Bruce Swedien, John, and Eddie, and got to sit in with producers like MJ, Jam And Lewis, Babyface, David Foster, Teddy Riley, and Dallas Austin.
I was actually asked to leave the project early on because there were too many people around and MJ didn't know me. Luckily, I was rehired about 10 days later. At the wrap party MJ apologized profusely, and expressed his gratitude. Truly the most sincere man you will ever meet.
Some random memories:
One morning MJ came in with a new song he had written overnight. We called in a guitar player, and Michael sang every note of every chord to him. "here's the first chord first note, second note, third note. Here's the second chord first note, second note, third note", etc., etc. We then witnessed him giving the most heartfelt and profound vocal performance, live in the control room through an SM57.
He would sing us an entire string arrangement, every part. Steve Porcaro once told me he witnessed MJ doing that with the string section in the room. Had it all in his head, harmony and everything. Not just little eight bar loop ideas. he would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills.
At one point Michael was angry at one of the producers on the project because he was treating everyone terribly. Rather than create a scene or fire the guy, Michael called him to his office/lounge and one of the security guys threw a pie in his face. No further action was needed . . . . .
During the recording of "Smile" on HIStory, Bruce thought it would be great if Michael would sing live with the orchestra. But of course, we didn't tell the players that. We set him up in a vocal booth off to the side. They rehearsed a bit without vocals in, then during the first take Michael sang, just about knocked them out of their chairs.
His beatboxing was without parallel, and his time was ridiculous.
His sense of harmony was incredible. Never a bad note, no tuning, even his breathing was perfectly in time.
Once, while we were taking a break, I think we were actually watching the OJ chase on TV, there was a news program talking about him being in Europe with some little boy. I was sitting next to the guy while the news is making this crap up. He just looked at me and said this is what I have to deal with.
I spent close to 3 years working with him, and not once did I question his morals, or ever believe any of the allegations. I wasn't even a fan then. I saw him interact with his brothers kids, other people's children, and at one point my own girlfriend's kids. I got to spend a day at Neverland with them. A completely incredible human being, always looking for a way to make all children's lives better. Every weekend at Neverland was donated to a different children's group - children with AIDS, children cancer, etc., and most of the time he wasn't there.
He was simply living the childhood he never had. In many ways he never grew up.
I was assisting Jimmy Jam and Terry Lewis while they recorded the background vocals for "Scream" with MJ and Janet. The two of them singing together was amazing. Super tight, no bad notes. One part after another. When they took a break they sang the showtunes they used to sing as kids. Again, perfect harmony. Mj refused to sing the "stop f*ckin' with me part" because he would NOT curse.
I was the tape op for the recording of the background vocals on "Stranger in Moscow". Scared the hell out me. Michael was dropping in and out on syllables, rearranging the notes and timing as he put it down. No Pro Tools at the time, just 2" tape, and my punches.
I erased a live keyboard overdub that he played one night. He came in the next morning, replaced it, and never uttered another word about it.
I was there when Lisa Marie was around. They acted like two kids in love. Held hands all the time, and she hung out at the studio for quite a while. I never questioned their love for each other.
We recorded a Christmas song during the summer of '94 that needed a children's choir. Michael insisted that the entire studio be decorated with xmas lights, tree, fake snow and a sled for their recording. And he bought presents for everyone.
The last weekend of recording on HIStory he came to me and Eddie Delena, and said "I'm sorry, but I don't think any of us are going to sleep this weekend. There's a lot to get done, and we have to go to Bernie on Monday morning". He stayed at the studio the entire time, singing, and mixing. I got to spend a couple quiet moments with him during that time. We talked about John Lennon one night as he was gearing up to sing the last vocal of the record - the huge ad libs at the end of "earth song". I told him the story of John singing "twist and shout" while being sick, and though most people think he was screaming for effect, it was actually his voice giving out. He loved it, and then went in to sing his heart out. . . .
Later that night, while mixing, everyone left the room so MJ could turn it up. This was a common occurrence during the mixes, and I was left in the room with ear plugs, and hands over my ears, in case he needed something. This particular night, all the lights were out and we noticed some blue flashes intermittently lighting up the room during playback. After a few moments we could see that one of the speakers (custom quad augspuergers) was shooting blue flames. Mj liked this and proceeded to push all the faders up . . . .
MJ liked hot water while he was singing. I mean really hot !!!!! It got to the point that I would melt plastic spoons to test it.
Bruce and I were talking about walking to the studio everyday in NYC, and what routes we took. Michael looked at us and said we were so lucky to be able to do that. He couldn't walk down the street without being harassed. It was a sad moment for all of us.
The studio crew got free tickets to the Janet show so we all went right from work one night. About halfway through the show we see this dude with a long beard, dressed in robes dancing in the aisle behind. I mean really dancing . . . it was Mj in disguise. Kind of like the costume Chevy Chase wears in Fletch while roller skating.
He got one of the first playstations from sony in his lounge . . . we snuck in late at night to play the games that hadn't been released yet.
A couple people on the session hadn't seen Jurassic Park while it was out, so MJ arranged a private screening for us at Sony.
He was a huge fan of Nine Inch Nails Downward Spiral . . . .
I was lucky enough over the course of 3 years to have access to the multitrack masters for tour prep, videos, and archive purposes. To be able to pull these tracks apart was a huge lesson in production, and songwriting. A chance to look into the minds of geniuses.
Of all the records I've worked on, MJJ was the only company to give platinum award records.
One day we just all sat in the studio listening to his catalog with him for inspiration. He loved the process, he loved the work.
ChampionSound
lid
Ik heb al een aantal nachten op TMF al zijn hits voorbij zien komen. Wat heeft MJ toch veel hits op z'n naam staan zeg. Ik kijk er met plezier naar terug en heb in ieder geval veel respect voor hem als zanger en performer/danser zijnde. Persoonlijk heb ik nooit geloofd in al die roddels en de media ziet ook wel in dat deze roddels goed verkopen dus waarom zouden ze het laten, denk ik dan. Die aantijgingen vind ik ook helemaal niet passen bij zo'n zachtaardige man. Vergeet niet dat z'n ouwe hem vanaf zijn 5e/6e het podium op heeft geschopt en misbruikt heeft en weet ik wat allemaal nog meer. Ondanks z'n slechte jeugd vind ik het erg goed dat hij vrijwel alleen positieve boodschappen in zijn nummers brengt. Heal the world, Earth song, Black or white, Childhood enz. (naast de wat meer opzwepende nummers Thriller, Bad, Ghosts, Billie Jean enz.)
Natuurlijk is er ook wat van z'n uiterlijk te zeggen. Daarin vond ik 'm wel een freak. Dat van z'n huidziekte geloof ik wel, maar al die plastische ingrepen hebben 'm echt verpest.
Hij heeft ooit in dat interview met Martin Bashir beweerd dat hij slechts 2 neusoperaties heeft gehad en dat heeft gedaan om beter te kunnen ademhalen. Dat lijkt me natuurlijk echt onzin.
Maar eigenlijk moet hij dat allemaal ook lekker zelf weten. Voor MJ als artiest heb ik in ieder geval zeker respect. Alleen tragisch om na misbruikt en geïndoctrineerd door je vader te zijn, en vervolgens door al die kindermisbruik roddels en aangespannen rechtzaken al je geld afhandig te zijn gemaakt, zo aan je eind te komen. Ik had 'm z'n laatste concert tournee "This is it" zo gegund. Hij leek er zoveel zin in te hebben (al was hij er fysiek gezien nog lang niet aan toe om zoveel concerten te geven). Nu heeft hij in ieder geval rust, iets wat hij nooit heeft gehad, en zal de media hem niet meer kunnen lastigvallen.
in ieder geval, RIP Michael
Natuurlijk is er ook wat van z'n uiterlijk te zeggen. Daarin vond ik 'm wel een freak. Dat van z'n huidziekte geloof ik wel, maar al die plastische ingrepen hebben 'm echt verpest.
Hij heeft ooit in dat interview met Martin Bashir beweerd dat hij slechts 2 neusoperaties heeft gehad en dat heeft gedaan om beter te kunnen ademhalen. Dat lijkt me natuurlijk echt onzin.
Maar eigenlijk moet hij dat allemaal ook lekker zelf weten. Voor MJ als artiest heb ik in ieder geval zeker respect. Alleen tragisch om na misbruikt en geïndoctrineerd door je vader te zijn, en vervolgens door al die kindermisbruik roddels en aangespannen rechtzaken al je geld afhandig te zijn gemaakt, zo aan je eind te komen. Ik had 'm z'n laatste concert tournee "This is it" zo gegund. Hij leek er zoveel zin in te hebben (al was hij er fysiek gezien nog lang niet aan toe om zoveel concerten te geven). Nu heeft hij in ieder geval rust, iets wat hij nooit heeft gehad, en zal de media hem niet meer kunnen lastigvallen.
in ieder geval, RIP Michael
6 trak
?ILLEGAL QUANTITY ERROR
- Lid sinds
- 20 september 2002
- Berichten
- 33.894
yup, en daarnaast niet zoals bijv. Prince of Madonna er allerlei erotische shit bij te halen om te kunnen scoren... (behalve af en toe ff in zijn kruis tasten dan maar dat stelt weinig voor in vergelijk nutuulk)
so wie so zijn Prince en Madonna agents van de boze duistere heren op het topje der pyramide...
niet zo gek dus dat iemand zoals jacko het veld moest ruimen... maar dat ff terzijde...
ik geloof ook geen ene reet dat ie foute dingen met/voor kinderen heeft gedaan, wel goede!
fjoesz
Gepokt en gemazeld
- Lid sinds
- 21 januari 2005
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- 8.564
ik vind het volstrekt oninteressant al die secundaire info
goed of slecht.. allemaal speculaties
beoordeel zn muziek zou ik zeggen
al die stemmingmakerij... who cares man
pipo:"aah man die wacko, die vuile bleke kinderlokkert"
allen:"jaaaa aan het gas met die gast"
pipo:"nee het is een hele goede man want IK heb met m gewerkt"
allen:""
het lijkt wel verkiezingstijd hiero lately
ow 1 leuk dingetje las ik wel.. en dat is dat MJ downward spiral zo vet vond.. nou dan kunnen we de hand schudden michael!
goed of slecht.. allemaal speculaties
beoordeel zn muziek zou ik zeggen
al die stemmingmakerij... who cares man
pipo:"aah man die wacko, die vuile bleke kinderlokkert"
allen:"jaaaa aan het gas met die gast"
pipo:"nee het is een hele goede man want IK heb met m gewerkt"
allen:"
"het lijkt wel verkiezingstijd hiero lately
ow 1 leuk dingetje las ik wel.. en dat is dat MJ downward spiral zo vet vond.. nou dan kunnen we de hand schudden michael!
elektrovolt
compuphonic
shamone !
fjoesz
Gepokt en gemazeld
- Lid sinds
- 21 januari 2005
- Berichten
- 8.564
die stemmingmakerij zelf houdt me wel bezig ja..
in feite is iedereen zn voorkomen aan het oppoetsen over de rug van een dooie,
of je nou goed of kwaad over m spreekt.
Misschien zou ik hier nu ook ove rmoeten zwijgen, want in feite ben ik ook mijn persoontje aan het oppoetsen door dit te zeggen.. maar dat zie ik zelf iig in en heb er geen problemen mee als ik er op afgerekend wordt
ik vraag me gewoon af wat je er aan hebt om iemand zwart of wit te gaan zitten maken zonder dat je er zelf ook maar iets van weet.. en dat is in dit geval idd misschien een treffend gekozen bewoording hehe
[edit] dit was een reactie op 6rack zn reply die nu weer weg is[/edit]
in feite is iedereen zn voorkomen aan het oppoetsen over de rug van een dooie,
of je nou goed of kwaad over m spreekt.
Misschien zou ik hier nu ook ove rmoeten zwijgen, want in feite ben ik ook mijn persoontje aan het oppoetsen door dit te zeggen.. maar dat zie ik zelf iig in en heb er geen problemen mee als ik er op afgerekend wordt
ik vraag me gewoon af wat je er aan hebt om iemand zwart of wit te gaan zitten maken zonder dat je er zelf ook maar iets van weet.. en dat is in dit geval idd misschien een treffend gekozen bewoording hehe
[edit] dit was een reactie op 6rack zn reply die nu weer weg is
[/edit]
Snif... R.I.P.
Het veelomvattende werk van deze heer staat hier ook in de kast.
ik laat het meestal dicht, omdat de aanblik van de levensgroot afgebeelde bierflessen in zijn atlas me altijd naar de koelkast doen lopen
iets meer ontopic: Het werk van deze Michael Jackson is, in tegenstelling tot dat van de artiest, wel wat achterhaald.
Ik moet toch even iets recht zetten! Michael maakte zich toch zelf "wit"?
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dat ging vanzelf, vitiligo
Ja en hij was ook de natuurlijke vader van zijn kinderen zei hij in die docu.
Op de vraag "maar hoe komen ze zo wit Michael?" Zei hij "mijn vader heeft ook blauwe ogen, dus ze zullen zijn genen hebben haha"
Zoek dan voor de grap eens op hoe vitiligo er uit ziet. Je wordt er NIET langzaam maar zeker gelijkmatig bleker van. En je hebt nog altijd de mogelijkheid in het begin om de witte plekken naar je oude natuurlijk huidskleur terug te schminken.
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