Bubs;4111566 said:
I don't think so, but there is doubt whether the Glenda tapes are real because the way MJ spoke of his family in few occasion, and seemingly Stein family letter are fake too
Tygger;4111953 said:
Respect77, I maintain the tapes are not authentic because it is NOT Michael’s voice. I maintain the letters you posted are not authentic because it is NOT Michael’s handwriting. If you or anyone would like to prove me incorrect, I encourage you to. I have even made suggestions on how to do so: compare Michael’s voice on Shmuley’s tapes to Stein’s and compare any handwritten note by Michael through a simple and brief Google search to Stein’s letters. The laziest action would be to simply compare Michael’s signature on Stein’s autograph picture you posted to Michael’s signature on Stein’s letters. No one can truthfully say those signatures are a match.
I just wanted to add that I was one of the ones who doubted the authenticity of the tapes-or at least questioned them as well as asked about the handwriting on the letters-I thought perhaps it was his secretary's or something.
But I wasn't asking because of the
CONTENT-I was asking because the voice didn't sound like Michael or enunciate like Michael-but I know it's an overseas connection, so yes, it could be totally distorted. It doesn't really matter to me if they are authentic or not-because there is nothing especially revelatory in these tapes and letters that we haven't seen or heard through the years-from interviews, and all the books-the Hillburn tapes that made it into "Moonwalker", Margaret's book, Katherine's book, LaToya's book (which I would not have read had I not heard Michael speak to Glenda about it-as if it were the truth)-to get a better understanding of the social culture and family dynamics at that time, read Berry's book-
"American Dream" is a conglomeration of all those books and interviews-A Disney version, perhaps, but there's a lot in there that frankly, I'm surprised they let people see. Same with "Moonwalker." The best thing about "American Dream" is that you get in Joseph's head and understand why he did what he did.
I also think that "The Things I Do for You" is not about Michael and his brothers, but all of the brothers feeling used, abused and put upon-maybe by their parents, and maybe by the music industry. (Maybe if Michael had written it post 83, I'd think differently). They all had quite different dreams of their own according to interviews they gave when children-baseball dreams, college dreams, legal school, business school, etc. etc. I think their dreams changed somewhat when Epic finally gave them control of their music and they produced "Destiny." That's the time they all seemed the most excited about their music-until later when Marlon and Randy tried to go out on their own. I keep forgetting Jermaine in all of this-yes, he was on his own and spent a lot of time working and developing other artists-so I would say he had decided music was in his blood by then also.
Michael had it way harder than everyone else, in my opinion, because first, he was the most sensitive, and second, he was the one that was just struck with almost supernatural talent.
He's the one who didn't run off and play cards and watch TV or play ball with his brothers between sets. (Yes, I know that he had to do a LOT of solo work and Motown/Epic didn't require the brothers to be around). He wrapped himself up in the stage curtain and watched performers that we can only dream of perform in person, soaking in their every note and every move with every sense in his little body. He was the one that everyone paid attention to-and really didn't care about the rest-in Todd Gold's book, he mentions that the first time he was around the Jacksons, all of the brothers were hanging out and joking around amongst themselves and Michael is SURROUNDED by music executives (adults) and I have no doubt that was probably each and every time he was out.
Anyway, my post is partially about Glenda and partially about the family relationship-if there is a Glenda thread, I'd be happy to move it over there.