Joseph Vogel

His influence today proves him to be one of the greatest creators of all time, but Jackson’s art—like that of many black artists—still doesn’t get the full respect it deserves.

The point of his ambition wasn’t money and fame; it was respect…

Read More:  The Misunderstood Power of Michael Jackson’s Music – The Atlantic.

Gardner Street Elementary School in Hollywood, where Michael Jackson attended sixth grade, will kick off its Michael Jackson Music Education Lab with an open house Monday for students and parents.

The lab will feature a new curriculum and interactive music education program created to teach students how to read music, play piano and compose and arrange music.

The MusIQ program and its lab will incorporate personal computers and M-Audio MIDI keyboards into its curriculum.

“This is only the second school in California to have this program; it’s the first one in the LA Unified District,” said Lesley Holmes, the founder and chairwoman for the Friends of Gardnerville, the non-profit organization that supports the elementary school and children by creating funding opportunities for educational programs.

The lab will have pictures of Jackson and a signed chalkboard.

“This was a room that Michael Jackson used when he attended the school in the sixth grade. His presence was made in musical contributions,” said Holmes.

The lab was built with donations from various sponsors and The Friends of Gardnerville hope to fully fund the program on their own next year, said Holmes.

This is the second time Jackson has been recognized at the elementary school. The auditorium is also named after the late superstar.

NBC/LATimes

Billboard

Heal The World

Sammy Davis, Jr. once said that “everything Michael Jackson does on stage is exactly right.” The King of Pop indeed left some big leather loafers to fill, but judging by the crowd’s reaction at MGM’s Mandalay Bay Events Center in Las Vegas, Cirque du Soleil’s Michael Jackson: The Immortal World Tour is doing an admirable job.

Among those in attendance for Saturday night’s performance: Cee Lo Green, as well as Jay-Z and Beyonce Knowles. Seated within view of the reporters assembled to chronicle the show, the couple laughed and smiled as acrobats and dancers swirled across the stage–zombies popping out of coffins, contortionists emerging from giant books, even a performer dressed as a giant white glove–all while a live band blasted out the soundtrack beneath Jackson’s soaring vocals.

“We have all done our best to make this a celebration of his essence in his absence,” musical director Greg Phillinganes told me shortly after the show’s debut. “His passion for humanity … his commitment to excellence, his flair for the big show, we’ve tried to incorporate all those factors.”

Immortal is the highest-grossing live show in the country for the second week in a row, bringing in just shy of $2 million per night in Vegas. That’s over half a million dollars more than the next-highest earner, Taylor Swift, according to concert data provider Pollstar.

It’s all the more impressive given that the Jackson show has been parked at the 8,500-seat Mandalay Bay Theatre for much of December; Swift has been playing arenas more than twice that size, as Immortal will soon be doing when resumes its trek across the North America. An international leg is set to follow in late 2012.

A joint venture between the Michael Jackson estate and Cirque du Soleil, Immortal opened in October and is already approaching $100 million in ticket sales. That should come as no surprise, given the extraordinary spectacle that audiences witness with each performance.

The show begins with a spotlight illuminating a mime clad in all white; his shell-toed sneakers and backwards hat make him look more b-boy than sad clown. As he cozies up to an image of Michael Jackson that fills a giant video screen at the back of the stage, the pictures melts away to reveal the band, and a troupe of dancers streams onto the stage.

The mime serves as a guide throughout the performance, starting with Jackson’s early years and the song “Have You Seen My Childhood.” There’s a miniature hot air balloon and a Jackson Five montage complete with dancers dressed as Marlon, Tito, Jermaine, Jackie and Michael–oversized afros included. As the show continues, a replica of the Neverland gates rolls out, followed by performers dressed as Bubbles the Chimp and some of the other animals that once resided in Jackson’s private zoo.

Next comes the “Smooth Criminal” segment. The screens behind the stage turn black-and-white, revealing a video of Jackson outsmarting a series of detectives as they try to track him down. All the while, tommy gun-toting dancers decked out in fedoras and pinstriped suits mimic and elaborate upon Jackson’s moves, culminating in a flurry of pyrotechnics and mock gunfire that leaves only one dancer standing.

Perhaps the most impressive is the scene that comes next. The surviving gangster rips off her white suit to reveal nothing more than a shimmering bikini–and proceeds to ascend a slim tube that extends 30 feet or so into the air. Upon reaching the top she launches into an aerial pole-dance, contorting herself into positions that would seem impossible even on solid ground. At some point, she manages to hold herself perpendicular to the structure, supported by nothing besides her own strength.

Pushing the boundaries of the human body are trademarks of Cirque du Soleil, and that’s one of the many examples in which Immortal lives up to its lofty expectations (There’s also a scene where one acrobat lifts a partner into the air using only a strap hanging from his mouth; in another, a green dancer folds herself into a pretzel-shape and walks on her hands).

There’s a bit of tongue-and-cheek humor, too: at one point, Michael Jackson’s trademark black loafers appear as Mini Cooper-sized characters, each manned by a single dancer.

Though Immortal pays homage to Jackson’s biggest hits–”Thriller,” “Billie Jean” and “Man in the Mirror,” to name a few–it also showcases some of Jackson’s later work, including the environmental anthem “Earth Song” and the oddly prescient “They Don’t Care About Us.” The latter of features scores of stomping robots with dollar signs emblazoned on their metallic chests, an idea dreamed up years before the birth of Occupy Wall Street.

Immortal features quite a few mashups of Jackson’s music, so it’s only fitting that the show ends with a parade of dancers hoisting flags that bear the combined symbols of various nations.

The production’s narrative arc does jump around a bit, as one might expect given the diverse nature of Jackson’s oeuvre. But Immortal’s architects managed to connect everything in a generally coherent manner–quite an achievement, given the staggering array of individual songs and mashups that made the final cut.

At any rate, the show has clearly passed the necessary tests in Vegas. Plans are already in the works to renovate the Mandalay Bay Theatre, which currently houses the Lion King, to accommodate a modified version of Immortal in time for a 2013 opening. If this month’s run is any indication, it should be a bonanza for MGM, Cirque du Soleil and the Jackson estate.

Though Jay-Z and Beyonce ducked out as the performers were taking their final bows on Saturday night, it’s clear that another superstar–Michael Jackson–will be staying in Las Vegas for quite some time.

Forbes

Billboard

Artist:

Michael Jackson

Produced by:

Michael Jackson,  Andre Harris,  Teddy Riley,  Dr. Freeze,  Rodney Jerkins,  R. Kelly,  Babyface,  Andreao “Fanatic” Heard,  Richard Stites

Michael Jackson‘s long awaited Epic album “Invincible” debuted at Number 1  on The Billboard 200 on November 17, 2001 with sales of 366,300 copies in the U.S., according to SoundScan. The set had already bowed at the top of the charts in the U.K., Australia, France, Denmark, Belgium, Germany, and six other countries, according to Sony Music.  “Invincible” also charted at Number 1 on The Billboard Top R&B/Hip-Hop Albums the same week.

“Invincible” was Jackson’s first album of new material since 1995′s “HIStory: Past, Present and Future Book 1,” which opened at No. 1 on The Billboard 200 after selling 391,000 copies, Jackson’s high water mark for first week sales since Billboard began using SoundScan data in 1991. Overall, it’s his fifth No. 1 album as a solo artist.

The 16-track set features guest spots from guitarist Carlos Santana and the late rapper Notorious B.I.G., plus production work from Rodney Jerkins, Teddy Riley, and Babyface.

Billboard

Flush with cash from the stratospheric success of his solo career, Jackson thought seriously about buying the publishing rights to some of the songs he’d recorded years earlier as a member of the Jackson 5–including “I Want You Back,” one of hundreds in Motown’s Jobete catalog, then owned by the legendary Berry Gordy and his sister. Despite serious interest from Jackson, who was “like a son” to Gordy, the music mogul sold a 50% stake in the catalog to EMI for $132 million in 1997.

But dreams often take a lifetime to achieve, and the King of Pop seems to have realized this one posthumously. On Friday, a Sony-led team of investors purchased EMI’s entire publishing catalog for $2.2 billion. The group includes billionaire David Geffen, the Blackstone Group’s GSO Capital Partners LP, and none other than the estate of Michael Jackson (its stake is nested within Sony’s 38% share of EMI, according to sources close to the negotiations).

The move makes sense for reasons beyond just the sentimental. Michael Jackson’s estate still co-owns the separate Sony/ATV publishing catalog in a joint venture with Sony; that company, headed by former EMI chief Marty Bandier, will administer the newly-acquired EMI assets on behalf of the investors.

Still, the reunion is little more than a drop in the financial bucket. Because Sony/ATV (The Michael Jackson Estate)  will soon begin receiving administrative fees from the EMI catalog’s new owners, its own value is likely north of $2 billion as well.

As for Jackson, his estate has raked in half a billion dollars since his death two and a half years ago. And though the King of Pop’s posthumous concert flick was called This Is It, he’s just getting started from a posthumous earnings perspective. Jackson’s Immortal World Tour, a partnership with Cirque du Soleil, is grossing $2.4 million a night; plans call for over 100 shows a year for each of the next three years.

Forbes

Sony/ATV News

INVESTOR GROUP INCLUDING SONY CORPORATION OF AMERICA ENTERS INTO DEFINITIVE AGREEMENT TO ACQUIRE EMI MUSIC PUBLISHING FROM CITI

Sony/ATV

Michael Jackson THE IMMORTAL World Tour by Cirque du Soleil

An electrifying production that unfolds inside the creative mind of Michael Jackson.
A riveting fusion of visuals, dance, music and fantasy that immerses audiences in Michael’s creative world and literally turns his signature moves upside down, Michael Jackson THE IMMORTAL World Tour unfolds Michael Jackson’s artistry before the eyes of the audience. Aimed at lifelong fans as well as those experiencing Michael’s creative genius for the first time, the show captures the essence, soul and inspiration of the King of Pop, celebrating a legacy that continues to transcend generations.

NOW ON TOUR! Tickets & Info: http://cirk.me/oDTx4T

The Canadian Press – ONLINE EDITION

‘A gift from beyond’: Cirque du Soleil’s Jackson show debuts in Montreal

By: Benjamin Shingler, The Canadian Press

MONTREAL – Michael Jackson had always hoped to do a show with Cirque de Soleil, and on Sunday that dream came true.

The “Immortal World Tour” debuted at the Bell Centre in Montreal, combining acrobatics and dance with the King of Pop’s massive catalogue of hits spanning more than four decades.

From “ABC” to “Thriller,” the high-octane performance did not disappoint.

It was also a tribute to Jackson’s lasting impact on dance and fashion _ from his patented moonwalk to his iconic white glove.

At one point, a pair of giant dancing black dress shoes with white socks graced the stage, and at another, a pack of acrobatic werewolves.

But Michael Jackson and the circus? It’s a perfect fit, according to his brother, Jackie.
“First of all, Michael is a great fan of Cirque (du Soleil). He’s seen all the shows,” Jackie, who arrived with his brothers Tito and Marlon, told reporters just before the show. “And to have Cirque and Michael together, you expect to see something fantastic.”

Jackson’s mother Katherine and his three children were also at the show, making a brief appearance beforehand for a photo-op.

The family made the trip to the premiere from Los Angeles, where the manslaughter trial of Michael Jackson’s doctor is underway.

The show packed 60 hits into about an hour and a half, starting with the Jackson 5 and ending with Jackson’s last studio album.

It did not, however, dare imitate the man himself — no single performer plays the role of Jackson.

“We were very clear on this, and I think the family was too,” said Daniel Lamarre, president and CEO of Cirque du Soleil.

Lamarre said he had the blessing of Jackson’s mother to go ahead with the show.

“Many people were interested in doing shows to pay tribute to Michael Jackson,” Lamarre said.

“His mother said Michael has always wanted to do a show with the circus, so if there is a show about Michael, it will be Cirque du Soleil.”

While a wholehearted tribute, the performance didn’t glaze over Jackson’s eccentricities, with Bubbles the chimpanzee making more than one appearance.

It also alluded to a darker side. To the tune of Jackson’s song “Childhood,” where he laments never having had one, dancers swayed above the entry sign to the now infamous Neverland Ranch while a child looked longingly through a window.

In another tune, Jackson is heard pleading “I need my privacy, get away” as clips of the TV news media play in the background.

The $60-million tour has stops in cities across Canada and the United States, beginning with Ottawa on Oct. 7.

The Jackson estate authorized and took part in the project.

Before the show, more than a hundred fans waited in the rain for a glimpse of the Jackson family on the red carpet.

One group of women wore single white gloves and black leather jackets in homage to Jackson.

“I’ve been a fan since I first saw him on TV in 1969 when I was nine,” said Montrealer Shirley Elvis.

“When I first heard this show was coming, I think everyone was in a really dark place and when we heard that they were going to do this it was like another gift from Michael from beyond.”

Winnipeg Free Press