Latest on MJJC

June 20-22,2008 (Updated on post #60 for June 22)

Re: June 20-21,2008

Really, did Mark Ronson have to recount that?.......sometimes I just wish.....*sigh*
 
Re: June 20-21,2008

eternitys_child said:
"We turned around and he was cringing saying, 'Ooh stop it, stop it, ooh it's so silly.' He was not down with the program whatsoever. I think he just had really strong feminist views on porn and the use of it."
Click to expand...

I think thats probably a good statement made by mark ronson, as it shows MJ as having class and strong moral fiber, i dont think any harm was meant to come of that whole discussion about him.
 
Re: June 20-21,2008

Obviously, at least after meeting closely LMPresley, Jackson got into the porn, but it does not mean he would ever expose it to children. According to witnesses who testified in court, Jackson cared not expose wine and that children would not drink it (even though wine was family tradition for some families).
 
Re: June 20-21,2008

I think the Ronson story is quite funny, and as some others have said, is quite a strong argument against the Sneddon theory of MJ showing porn to kids. Not only was that wrong, now it turns out it was the other way around! :lol:
 
Re: June 20-21,2008

JudgingNoone said:
I think the Ronson story is quite funny, and as some others have said, is quite a strong argument against the Sneddon theory of MJ showing porn to kids. Not only was that wrong, now it turns out it was the other way around! :lol:
Click to expand...

Yes. I thought it was cute and think that is how Ronson recognizes it.
 
Re: June 20-21,2008

denisrs said:
Obviously, at least after meeting closely LMPresley, Jackson got into the porn, but it does not mean he would ever expose it to children. According to witnesses who testified in court, Jackson cared not expose wine and that children would not drink it (even though wine was family tradition for some families).
Click to expand...
LMP got him into porn??
 
Re: June 20-21,2008

the ronson story was first reported in the media a few months back
 
Re: June 20-21,2008

Also on today's SNP Pharrell Williams will talk about MJ and him showing Bubbles how to do karate at the ranch. LOL.
 
Re: June 20-21,2008

I find it hilarious that people are shocked that michael has seen porn, you know people have to grow up they see things in life. Why is it so strange that michael has seen the same things as the normal guy on the streets. When they hear that mike has done this or that they are shocked, why i just don't get it
he's just flesh and blood.
 
Re: June 20-21,2008

neverlandprincess said:
I find it hilarious that people are shocked that michael has seen porn, you know people have to grow up they see things in life. Why is it so strange that michael has seen the same things as the normal guy on the streets. When they hear that mike has done this or that they are shocked, why i just don't get it
he's just flesh and blood.
Click to expand...


Exactly....
 
Re: June 20-21,2008

eternitys_child said:
He was probably cringing because he was afraid he would get blamed for it.

http://www.digitalspy.co.uk/showbiz/a102694/ronson-showed-porn-to-michael-jackson.html

Ronson showed porn to Michael Jackson
Saturday, June 21 2008, 22:02 BST

By Dave West, Media Correspondent


Mark Ronson tried to get Michael Jackson to watch porn during a childhood sleepover at the popstar's house.

"It's a weird story, but I didn't touch him," revealed the musician who, living in the US as a child, met Jackson through John Lennon's son, Sean.

"We just went and stayed at his house and it seemed okay at the time," he said. "I think it's still okay. Unless I'm going to be in therapy in four years' time!"

Ronson, in an interview for tomorrow's Sunday Night Project on Channel 4, added: "We were just hanging out, we used to watch the porn channel because we were like ten and, 'Oh my God, tits!'

"Me and Sean said 'Michael do you want to see something cool?' We turned the dial to the porn channel and there were strippers shaking their tits around. We were like, 'Michael, Michael how cool is this?'

"We turned around and he was cringing saying, 'Ooh stop it, stop it, ooh it's so silly.' He was not down with the program whatsoever. I think he just had really strong feminist views on porn and the use of it."
Click to expand...

:rofl: That was pretty funny.

I don't think he was cringing because he thought he would get the blame or that he had feminist views on porn, I think this was his way of getting the boys to turn the stuff off without scolding them and making them feel bad about being curious.

After all, Jackson got a live view of strippers when he was in grade school and got a kick out of it, why would pixelated ones upset him as a grown up?
 
Re: June 20-21,2008

Well, I think anybody who has any knowledge about the trial will know that MJ enjoys adult material from time to time. That only makes him similar to most other males on the planet. The Ronson story, however, goes to show that he doesn't like little kids to watch porn, which is a feeling he and I share.
 
Re: June 20-21,2008

whoever spoke about the bad state of stand up comedy and chris rock and such, is correct.
 
Re: June 20-21,2008

ronson was ten hen it happened? well, it was about 85 I see, so yes, Michael was pretty innosent then.
 
Re: June 20-21,2008

I was a lil' strange feeling when I read that at first too... but then I remembered that of course Mike likes it so, whatever. :giggle:

MJ probably went right back to it when they were gone :shifty: ....just sayin'....
 
Re: June 20-21,2008

also...people, in these reports, other than michael, keep bringing up the word 'tour', and repeating it, as if to start a trend so somebody can sue Michael for something he never talked about.
 
Re: June 20-21,2008

thanks 4 the news again
 
Re: June 20-21,2008

Let's stop spectulating about the porn lol move on - goes to find a piece of pg rated news :lol: darn kids!
 
Re: June 20-21,2008

Business of carrying a tune

By Joshua Chaffin
Published: June 22 2008 17:20 | Last updated: June 22 2008 17:20

function floatContent(){var paraNum = "4"paraNum = paraNum - 1;var tb = document.getElementById('floating-con');var nl = document.getElementById('floating-target');if(tb.getElementsByTagName("div").length> 0){if (nl.getElementsByTagName("p").length>= paraNum){nl.insertBefore(tb,nl.getElementsByTagName("p")[paraNum]);}else {if (nl.getElementsByTagName("p").length == 3){nl.insertBefore(tb,nl.getElementsByTagName("p")[2]);}else {nl.insertBefore(tb,nl.getElementsByTagName("p")[0]);}}}}Before Martin Bandier agreed last year to sign on as chief executive of Sony/ATV Music Publishing, there was just one concern weighing on his mind: Michael Jackson (below).
ca372168-407d-11dd-bd48-0000779fd2ac.jpg
As half-owner of Sony/ATV, Mr Jackson holds broad sway over a catalogue that boasts roughly half a million songs, including more than 200 Beatles classics. But while the King of Pop has proved an astute collector of music, his legal troubles and reclusive lifestyle had sometimes paralysed management at Sony/ATV.
“If I wanted to do a deal, I had to have the flexibility to be able to close it quickly,” says Mr Bandier, one of the creators of the modern music publishing industry, as he recalls his concern.

The two men had done business before. In 1993, when he was head of EMI Music Publishing, Mr Bandier paid Mr Jackson a record $70m advance for the right to administer his ATV Music catalogue. As part of the deal, Mr Bandier also agreed to sell three of his favourite Elvis songs to the singer, who was then dating Lisa Marie Presley. This was no small concession for a self-described “song junkie”.



It is unclear whether that favour figured in Mr Jackson’s thinking. But, after a brief phone conversation last year, Mr Bandier was put at ease.
“For me, it’s a piece of cake,” he says of the relationship, still chuckling at Mr Jackson’s insistence on calling him “Mr Bandier”. “To his credit, Michael has given me a green light.”
As Mr Bandier recounts it, the episode is of a piece with his happy tenure at Sony/ATV. With two sizeable acquisitions, he has begun to increase market share at the fourth-largest music publisher. He enjoys the backing of a supportive boss, Sony chief executive Sir Howard Stringer.
Just as importantly, Mr Bandier feels free from the turmoil of his time at his former employer, EMI, where the contribution of music publishing was often overshadowed by the chaos in the rest of the company, and profit warnings and restructurings seemed to lurk around the corner.
“It’s been spectacular. There’s no other way to put it than to say that this has been the best year-and-a-half imaginable,” says Mr Bandier, seated in a mogul-sized office that includes his familiar wooden cigar box and the requisite collection of autographed guitars.
In geological terms, music publishing is one part of the music industry that is not sinking into the ocean. In fact, it continues to grow. Publishers collect a small royalty each time their songs are featured in films, advertisements, concerts, wind-up toys and now video games, among other uses.
A music-lover who trained as a lawyer, Mr Bandier got into publishing in the 1970s when it was the decidedly un-sexy side of the business. His big score came in 1986, when he and two partners acquired the CBS Songs catalogue for $125m. Two years later, they sold to Thorn-EMI for $340m. For the next 17 years, Mr Bandier worked to build EMI Music Publishing into the industry leader, snapping up the Motown catalogue, among others, and aggressively marketing their hit songs. “It’s not just being a bank,” he says of his approach. “It’s about being proactive and going out and getting commercials or film and TV opportunities.”
In spite of EMI’s success, it came as little surprise in late 2006 when Mr Bandier bowed out. The relationship had frayed over the years as Mr Bandier took an increasingly dim view of senior management. “It was one fiasco after another,” he says. For their part, EMI’s top brass tired of the griping from an executive who was being paid more money than the company’s then-chief executive, Eric Nicoli.
At 64, and wealthy, Mr Bandier could easily have retired. But he was restless. At Sony/ATV, he saw a publishing business with room to grow. Sony sweetened the forthcoming deal by offering equity, making him a partner as opposed to a salaried employee. “I’m at the stage of my life that I’m doing this because I want to – not because I have to,” he says.
Once in the job, Mr Bandier wasted little time fulfilling industry expectations that he would become an aggressive bidder for any and all catalogues. Last April, he paid $45m for the Leiber and Stoller catalogue, which includes Elvis’s “Hound Dog” and “Jailhouse Rock”.
A month later, he won a $350m auction for Viacom’s Famous Music Publishing, which boasts the soundtracks to Paramount films such as The Godfather.
There are whispers in the industry that Mr Bandier has overpaid, but he is unapologetic. “My philosophy has always been that I would rather spend more on something that is climbing the charts and going to be successful than spend half that on something where you just don’t know,” he explains.
For all the happy talk, though, Mr Bandier admits to suffering an emotional period following his EMI break-up and the loss of a business he had spent his career building. It was particularly wrenching when he would drive to his beach house and one of his old EMI songs would come on the radio. “My wife said my face would sort of change,” he recalls.
Six months ago, he went for lunch with his old friend Berry Gordy, the legendary Motown Records founder who sold his own catalogue of songs to Mr Bandier in 1997.
“I said, ‘Berry, let me ask you a question: Do you ever feel like you were lost? Do you ever feel anger that you still don’t own Motown Records . . . when you hear a song being played, and you know that you were there when Smokey Robinson wrote it?’”
“He said, ‘yeah, all the time,’” Mr Bandier recalls. Then Mr Gordy offered a blunt bit of advice: “Get over it.”
Mr Bandier says he finally has. The question now is, how will he take Sony/ATV forward? Mr Stringer, he says, publicly pledged at a recent gathering of Sony/ATV executives that he was prepared to bankroll further acquisitions.
Mr Bandier would jump at the opportunity if EMI were to unload all or part of its publishing group – either to raise cash or to satisfy regulators as part of a future merger with Warner Music.
At present, though, Sony seems more focused on trying to buy out Bertelsmann’s share of their recorded music joint venture, Sony BMG. The cost could exceed $1bn (€641m, £506m).
Another problem is that Mr Bandier’s success has encouraged a legion of imitators. As the recorded music business collapses and the value of publishing becomes clear, new competitors – including private equity firms – have entered the fray and pushed up prices.
Mr Bandier is convinced that many have overpaid, and – lacking experience – will be forced to sell sooner or later. “At some point in time, we’re going to be able to buy those things back at a much cheaper rate,” he predicts.
He also foresees an eventual windfall from a host of new social networks, such as MySpace, which are ramping up their music offerings and will have to pay royalties.
In the meantime, he is focusing on Sony/ATV’s most valuable asset – its trove of Beatles songs. “There’s no bigger star than ‘All You Need is Love’,” he says, calling the collection “unique”.
In 1985, he travelled to Perth to try to buy the catalogue from Australian tycoon Robert Holmes à Court. But another collector – Mr Jackson – bested him.
Although their offers were comparable, Mr Jackson played a charity show in Australia. He also gave the song “Penny Lane” to Mr Holmes à Court’s daughter, Penny.
Apple Corps, the company the Beatles created to manage their business affairs, has balked at licensing deals over the years. Yet that seems to be changing under Jeff Jones, the new chief executive. In the past year, Apple and Sony/ATV have licensed Beatles compositions for use in American Idol, a Las Vegas show and a Hollywood film. They are closing in on a multi-million dollar deal to create a Beatles-themed video game.
“It’s about making sure that the songs that we control are used in every manner, shape and form possible,” Mr Bandier says, “and hopefully with good taste.”

http://www.ft.com/cms/s/0/1ce3ccbe-3eed-11dd-8fd9-0000779fd2ac.html

Sorry, if this was already posted I haven't taken the time to check - more important to change the topic :yes:
 
Re: June 20-21,2008

Shannon said:
Business of carrying a tune

By Joshua Chaffin
Published: June 22 2008 17:20 | Last updated: June 22 2008 17:20

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ca372168-407d-11dd-bd48-0000779fd2ac.jpg
As half-owner of Sony/ATV, Mr Jackson holds broad sway over a catalogue that boasts roughly half a million songs, including more than 200 Beatles classics. But while the King of Pop has proved an astute collector of music, his legal troubles and reclusive lifestyle had sometimes paralysed management at Sony/ATV.
“If I wanted to do a deal, I had to have the flexibility to be able to close it quickly,” says Mr Bandier, one of the creators of the modern music publishing industry, as he recalls his concern.




The two men had done business before. In 1993, when he was head of EMI Music Publishing, Mr Bandier paid Mr Jackson a record $70m advance for the right to administer his ATV Music catalogue. As part of the deal, Mr Bandier also agreed to sell three of his favourite Elvis songs to the singer, who was then dating Lisa Marie Presley. This was no small concession for a self-described “song junkie”.



It is unclear whether that favour figured in Mr Jackson’s thinking. But, after a brief phone conversation last year, Mr Bandier was put at ease.
“For me, it’s a piece of cake,” he says of the relationship, still chuckling at Mr Jackson’s insistence on calling him “Mr Bandier”. “To his credit, Michael has given me a green light.”
As Mr Bandier recounts it, the episode is of a piece with his happy tenure at Sony/ATV. With two sizeable acquisitions, he has begun to increase market share at the fourth-largest music publisher. He enjoys the backing of a supportive boss, Sony chief executive Sir Howard Stringer.
Just as importantly, Mr Bandier feels free from the turmoil of his time at his former employer, EMI, where the contribution of music publishing was often overshadowed by the chaos in the rest of the company, and profit warnings and restructurings seemed to lurk around the corner.
“It’s been spectacular. There’s no other way to put it than to say that this has been the best year-and-a-half imaginable,” says Mr Bandier, seated in a mogul-sized office that includes his familiar wooden cigar box and the requisite collection of autographed guitars.
In geological terms, music publishing is one part of the music industry that is not sinking into the ocean. In fact, it continues to grow. Publishers collect a small royalty each time their songs are featured in films, advertisements, concerts, wind-up toys and now video games, among other uses.
A music-lover who trained as a lawyer, Mr Bandier got into publishing in the 1970s when it was the decidedly un-sexy side of the business. His big score came in 1986, when he and two partners acquired the CBS Songs catalogue for $125m. Two years later, they sold to Thorn-EMI for $340m. For the next 17 years, Mr Bandier worked to build EMI Music Publishing into the industry leader, snapping up the Motown catalogue, among others, and aggressively marketing their hit songs. “It’s not just being a bank,” he says of his approach. “It’s about being proactive and going out and getting commercials or film and TV opportunities.”
In spite of EMI’s success, it came as little surprise in late 2006 when Mr Bandier bowed out. The relationship had frayed over the years as Mr Bandier took an increasingly dim view of senior management. “It was one fiasco after another,” he says. For their part, EMI’s top brass tired of the griping from an executive who was being paid more money than the company’s then-chief executive, Eric Nicoli.
At 64, and wealthy, Mr Bandier could easily have retired. But he was restless. At Sony/ATV, he saw a publishing business with room to grow. Sony sweetened the forthcoming deal by offering equity, making him a partner as opposed to a salaried employee. “I’m at the stage of my life that I’m doing this because I want to – not because I have to,” he says.
Once in the job, Mr Bandier wasted little time fulfilling industry expectations that he would become an aggressive bidder for any and all catalogues. Last April, he paid $45m for the Leiber and Stoller catalogue, which includes Elvis’s “Hound Dog” and “Jailhouse Rock”.
A month later, he won a $350m auction for Viacom’s Famous Music Publishing, which boasts the soundtracks to Paramount films such as The Godfather.
There are whispers in the industry that Mr Bandier has overpaid, but he is unapologetic. “My philosophy has always been that I would rather spend more on something that is climbing the charts and going to be successful than spend half that on something where you just don’t know,” he explains.
For all the happy talk, though, Mr Bandier admits to suffering an emotional period following his EMI break-up and the loss of a business he had spent his career building. It was particularly wrenching when he would drive to his beach house and one of his old EMI songs would come on the radio. “My wife said my face would sort of change,” he recalls.
Six months ago, he went for lunch with his old friend Berry Gordy, the legendary Motown Records founder who sold his own catalogue of songs to Mr Bandier in 1997.
“I said, ‘Berry, let me ask you a question: Do you ever feel like you were lost? Do you ever feel anger that you still don’t own Motown Records . . . when you hear a song being played, and you know that you were there when Smokey Robinson wrote it?’”
“He said, ‘yeah, all the time,’” Mr Bandier recalls. Then Mr Gordy offered a blunt bit of advice: “Get over it.”
Mr Bandier says he finally has. The question now is, how will he take Sony/ATV forward? Mr Stringer, he says, publicly pledged at a recent gathering of Sony/ATV executives that he was prepared to bankroll further acquisitions.
Mr Bandier would jump at the opportunity if EMI were to unload all or part of its publishing group – either to raise cash or to satisfy regulators as part of a future merger with Warner Music.
At present, though, Sony seems more focused on trying to buy out Bertelsmann’s share of their recorded music joint venture, Sony BMG. The cost could exceed $1bn (€641m, £506m).
Another problem is that Mr Bandier’s success has encouraged a legion of imitators. As the recorded music business collapses and the value of publishing becomes clear, new competitors – including private equity firms – have entered the fray and pushed up prices.
Mr Bandier is convinced that many have overpaid, and – lacking experience – will be forced to sell sooner or later. “At some point in time, we’re going to be able to buy those things back at a much cheaper rate,” he predicts.
He also foresees an eventual windfall from a host of new social networks, such as MySpace, which are ramping up their music offerings and will have to pay royalties.
In the meantime, he is focusing on Sony/ATV’s most valuable asset – its trove of Beatles songs. “There’s no bigger star than ‘All You Need is Love’,” he says, calling the collection “unique”.
In 1985, he travelled to Perth to try to buy the catalogue from Australian tycoon Robert Holmes à Court. But another collector – Mr Jackson – bested him.
Although their offers were comparable, Mr Jackson played a charity show in Australia. He also gave the song “Penny Lane” to Mr Holmes à Court’s daughter, Penny.
Apple Corps, the company the Beatles created to manage their business affairs, has balked at licensing deals over the years. Yet that seems to be changing under Jeff Jones, the new chief executive. In the past year, Apple and Sony/ATV have licensed Beatles compositions for use in American Idol, a Las Vegas show and a Hollywood film. They are closing in on a multi-million dollar deal to create a Beatles-themed video game.
“It’s about making sure that the songs that we control are used in every manner, shape and form possible,” Mr Bandier says, “and hopefully with good taste.”

http://www.ft.com/cms/s/0/1ce3ccbe-3eed-11dd-8fd9-0000779fd2ac.html

Sorry, if this was already posted I haven't taken the time to check - more important to change the topic :yes:
Click to expand...

this is a great find.. thanks soooooooooooo much for posting this article...

and loving the little tidbits on Bandier and Michael's history together...

Bandier is working it for Sony/ATV... I am loving that!
 
Re: June 20-21,2008

Dr.Feelgood said:
dangerous_88: You don't mean Cat Stevens (Jusuf Islam), do you?

eternitys_child: That is something what I would love to read every day. Heal the world.
Click to expand...



God you are right!

Sorry!

Cat Stevens is OK :)

I hate that other loser though.
 
Re: June 20-21,2008

Sorry folks but I keep having trouble with my darn computer. Here is the update for today of mentionings and history.




Michael Jackson Mentionings for June 22, 2008:


http://blogs.vibe.com/man/2008/06/black-music-month-08-the-thom-bell-session/

"La-La (Means I Love You)"--The Delfonics
The Delfonics were the first Philly Soul group that Thom Bell had regular success with. They would never reach the supergroup status of groups like The Stylistics and The Spinners, but like their New York City based peers The Main Ingredient, they were the quintessential East-Coast Soul harmony group of the late 1960s. And "La-La (Means I Love You)" is just timeless, from the simplicity of the lyrics: "Now I don't wear a diamond ring and I don't even have song to sing, all I know is la-la-la-la-la-la-la-la...la mean, I love you" to the earnestness of lead singer William Hart's soaring falsetto. The genius of the song was not lost on a young Michael Jackson--a big fan of Hart--who recorded his own classic version of the song on the Jackson Five's ABC (1970) recording.


http://blog.al.com/live/2008/06/you_can_dance_if_you_want_to.html



You can dance if you want to

Posted by [URL="http://blog.al.com/live/about.html"]Casandra Andrews, Staff Reporter[/URL] June 22, 2008 10:08 AM

Categories: Breaking News
Couples across the country are kicking it up a notch when it comes to the first dance at their wedding reception. Gone are the days of "Let Me Call you Sweetheart," now it's more likely to be a routine to Michael Jackson's "Thriller." Some couples are even hiring professionals to choreograph unexpected dance routines for their receptions, and folks along the Gulf Coast are following suit.
(For a complete report, see Monday's Press-Register.)


http://www.melodika.net/index.php?option=com_content&task=view&id=4074&Itemid=50



Music publishers are also very much in the business of buying the rights to utilize the music of popular artists or composers as there is a lot of money to be made in royalties from a popular artist’s music. Investors are aware of this profitable business, as was the case with Michael Jackson who bought the rights to most of The Beatles music—the majority of which was written by Paul McCartney. Beatles’ music is now widely used in everything from car commercials to movies. Musicians themselves, while they can appreciate the money, tend to be temperamental in their attitude toward commercial licensing...since the artist places such importance on their creative works that they don't want to see them “cheapened” with use as background music in a car commercial.





http://www.sundaymail.co.uk/tv-show...60-second-interview-foy-vance-78057-20617572/


What did you listen to growing up?
My dad listened to everything from old blues to John Denver, a lot of American folk. He and my mum would listen to a lot of gospel music and hymns too. My eldest brother was an avid music collector with everything from Meat Loaf to Michael Jackson, while another brother was into The Jam, The Who and all the MOD stuff.



http://www.pr-inside.com/singer-ne-yo-bio-actor-51-800-video-r657136.htm


He has also said that he has written songs for Whitney Houston, Celine Dion, Britney Spears, Corbin Bleu, and Enrique Iglesias for their upcoming albums. Smith also has stated that he will write songs for Craig David, [COLOR=#0000cc! important][COLOR=#0000cc! important]Usher[/COLOR][/COLOR], Chris Brown, Jennifer Hudson, Leona Lewis, and he recently confirmed that he has been contacted by producer will.i.am to work on Michael Jackson's upcoming album. ...Movi album country rapper concert festival or Actress pop actor rock singer Blues CD or DVD single radio tv ...(more video news images and samples etc. see).


http://www.thestarpress.com/apps/pbcs.dll/article?AID=/20080622/NEWS01/806220371/1002


The music we have had is good, and the food is good."
Hill, who had been a member of bands years ago, said the event was also conducted to make youths aware of black musicians from the past: Wes Montgomery, Louis Armstrong, Billie Holiday, Charlie Bird, Hank Crawford...
"Everybody knows Michael Jackson," said Hill, who might have played at, and definitely attended, one of the earlier events.
Youths on a stage portrayed Jackson, Ashanti, Kelly Rowan and others as part of a living museum



Michael Jackson HIStory for June 22, 2008:


1995 - Michael Jackson was presented an award for his humanitarian work at the VH1 Honors. The award was later renamed the "Michael Jackson Special Award."
 
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