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Everybody knows about Peter Jackson, 'The Hobbit' movies and 'The Lord of the Rings' films being made in New Zealand, and to actually have been part of it for such a long period, to live there and to have friends that I will have for life because of that experience, is an amazing thing.
At the 'L.A. Times,' I always wanted to write about artists I thought were meaningful. So I interviewed Bob Dylan, John Lennon, Bruce Springsteen, U2, Stevie Wonder, Michael Jackson, Eminem, White Stripes. And I could understand how almost everybody I interviewed had a sense of artistry.
I was a part of the planning and attack package intelligence team for the strike against Syria in 1983 - in which we lost a pilot and had another one captured until Jesse Jackson got him out - and numerous other operations against Syria both before the Iraq war and during the insurgency.
I try to create something that draws you in without overthinking it. Something that resonates with you automatically that you don't have to think about. That's what the best pop is about: Michael Jackson, The Beatles, Nirvana - these guys made some of the most authentic and popular music.
I'm probably the only one in the world you can name that's worked with Billie Holiday, Louie Armstrong, Ella, Duke, Miles, Dizzy, Ray Charles, Aretha, Michael Jackson, rappers. 'Fly Me to the Moon' was played on the moon by Buzz Aldrin. Sinatra. Paul Simon. Tony Bennett. I'm the only one.
My hero is Michael Jackson. Was and continues to be. He's amazing. When I was growing up, it was the time of 'Thriller' and 'Bad.' I'd come home from school and put on the vinyls. I'd put on a white V-neck T-shirt and roll back the carpet and dance for hours. I'd moonwalk and do the spins.
I think that Michael Jackson, just as an entertainer, as a figure who embodies the contradictions of black identity and the possibilities of R&B music in the '70s and '80s, will continue to be one of the most recognized and formidable human beings that we've ever produced in our tradition.
My mom thought I could dance because I used to dance to this Janet Jackson song she'd play when I was a baby. Then she would take me to a Saturday dance school. I used to go every week and got spotted by a scout, who suggested I audition for the role of Billy in 'Billy Elliot the Musical.'
Black women fought for the right to vote during the suffrage movement and fought again during the civil rights movement. The rote narrative in the press of the civil rights movement is truncated with the briefest of histories of men like Martin Luther King Jr., Jesse Jackson, or John Lewis.
From Jefferson to Jackson to Lincoln to FDR to Reagan, every great president inspires enormous affection and enormous hostility. We'll all be much saner, I think, if we remember that history is full of surprises and things that seemed absolutely certain one day are often unimaginable the next.
I'd asked for things like the 'Footloose' soundtrack and Michael Jackson's 'Thriller' for my birthdays, but I remember walking what felt like miles to this cassette shop called The Warehouse to buy Paul Simon's 'Graceland,' U2's 'Joshua Tree' and a Roberta Flack album. I had pretty good taste.
Andrew Jackson was the first president to claim that the desires of the public overrode Congress's constitutional prerogatives. Virtually every president since Jackson has claimed the mantle, even while lacking two ingredients of an electoral mandate: a landslide victory and a specific agenda.
I developed my training routine going into my senior year at Jackson State. I found this sandbank by the Pearl River near my hometown, Columbia, Miss. I laid out a course of 65 yards or so. Sixty-five yards on sand is like 120 on turf, but running on sand helps you make your cuts at full speed.
Scripts were rather scarce in 1968. We did a lot of Amiri Baraka's plays, the agitprop stuff he was writing. It was at a time when black student organizations were active on the campuses, so we were invited to the colleges around Pittsburgh and Ohio, and even as far away as Jackson, Mississippi.
I first wrote about Michael Jackson in the 1980s. His skin was growing paler, his features thinner, and his aura more feminine. Some called him a traitor to his race. Some fussed about his gender fluidity. I saw him as a post-modern shape-shifter. But the shifts grew more extreme and mysterious.
At an incredibly divisive point in pop history, Donna Summer managed to create an undeniable across-the-board experience of mass pleasure - after 'Bad Girls,' nobody ever tried claiming disco sucked again. It set the template for what Michael Jackson would do a few months later with 'Off The Wall.'
When I was 17, my producer Rodney Jerkins was working with Michael Jackson at the time. He knew how much I wanted to meet Michael Jackson, so he says, 'Would you like to come and meet him?' I'm like, 'Are you serious? Of course I want to meet Michael Jackson! Where do I meet you? Where do we come?'
When I was running the Troubadour, there was this transition from the classic singer/songwriter Jackson Browne types to bands like Black Flag, the Dead Kennedys, and Fear. Those are just some that come to mind. Oh, and Adam Ant! The Fear fans wanted to 'crush' the Ants. These guys hated each other.
I grew up in St. Louis in a tiny house full of large music - Mahalia Jackson and Marian Anderson singing majestically on the stereo, my German-American mother fingering 'The Lost Chord' on the piano as golden light sank through trees, my Palestinian father trilling in Arabic in the shower each dawn.
I was 14-15 when I first saw Michael Jackson dance, and I thought, 'How can he move like that?' I started following him. We didn't have TV in those days, and could access videos on VCR. But who in Gujarat would keep a MJ tape? After a year or so, I knew somebody from Mumbai who got that tape for me.
Just like Michael Jackson in the Jackson 5 or Beyonce in Destiny's Child or Justin Timberlake in 'NSYNC. I just think there's something unique and special about the breakout stars in groups. I think you're able to kind of connect differently with the audience when you're used to having that support.
I've worked with all sorts of random people - everybody from Metallica to Britney Spears to Ozzy Osbourne to Michael Jackson to the Beastie Boys. I've got a really strange CV. It's interesting - I work with a lot of these disparate, different people to learn what it's like to work with random people.
To describe the world Michael Jackson has created around himself as a childhood fantasy isn't quite accurate. Thanks to wealth and celebrity, he has been able to live as a superannuated child. With the help of plastic surgery and dramatic affectation, he has made himself look and sound pre-pubescent.
I've been caught in parachute pants. And on my high school yearbook, they used the wrong picture. They were supposed to use the picture of me with a nice suit on. They used me with my collar flipped up, in a fuchsia and white striped shirt. I blame Prince and Michael Jackson in the Eighties for that.
My biggest style inspirations come from the '90s. I'm really inspired by TLC, Janet Jackson, and designers like Jeremy Scott. I'm hugely inspired by Club Kids from New York back in the '90s. I'm inspired by the drag queen scene. Combat boots and the torn off jeans and a baggy shirt - I love that look.
I've been performing since I was very little, about three years old. I was inspired at first by the MTV artists of the '80s and started putting on 'shows' in the apartment, most of them set to Michael Jackson's 'Bad' album. In my mind, there was a full lighting rig behind me... but it was just a couch.
From, like, two, three years old, I was obsessed with Michael Jackson and just wanted to be on stage with him. And my mum put me in dance classes, but I had a lot of social anxiety and didn't want to be around people; I didn't like to look at anyone in the eye, so that was a difficult thing to get over.
I was born in the '80s, so I don't really remember it very strongly, but the music is so iconic. And so those artists - Madonna, Prince, Janet Jackson, Whitney Houston - you still hear those songs all the time. And there's such a distinctive style - the clothes, the shoulder pads, the big hair, the perm.
I do love Shirley Jackson, but I don't deserve to be named in connection with her. I remember reading 'The Haunting of Hill House' and having goosebumps for hours. The way she builds narrative pressure in that book is just amazing. I think you could reread it a few times and actually go out of your mind.
As a child I always wanted to be a singer. The music my mother played in the house moved me - Aretha Franklin, Chaka Khan, Mahalia Jackson. It was truly spiritual. It made you understand what God was. We are all spirits. We get depressed. But music makes you want to live. I know my music has saved my life.
I remember I heard it in an interview with Michael Jackson one day, saying the art is gone, everybody makes records just to make a record. See, I always want the artist that try to build a whole body of music on one album, so you can enjoy it. So you could say, 'I went with him here, I went with him here.'
Truth is, I love all the horror guys and girls: Gord Rollo, Shirley Jackson, Harlan Ellison, Ramsey Campbell, Dan Simmons, Thomas Ligotti. Each one of them brings something wonderfully different and, because I love the genre, I love those who love the genre, too. And I hope the genre ends up loving me back.
Playing Michael Jackson's memorial service was one of the hardest things to do because it was literally a few days after he had passed, and Kenny Ortega, who was directing it all, was like 'You're gonna come out and sing.' So not only was I completely shaken up, I didn't know how I was gonna get through it.
When I sit here and see that the eight brothers from the neighborhood that I grew up with still have success, it had to be magical. I doubt if you get another 'Wu-Tang Clan.' That might be harder than getting the new 'Jackson Five.' Certain groups you only get one time, and we just happened to be that group.
Michael Jackson, he used to chase relevancy all the time. He always wanted to go a little bigger and better and keep that audience. There was never a point where Michael was going to feel like, 'I've got to play the Nokia, and that's all I'm going to pull in is the Nokia.' That would not have been acceptable.
I grew up in Florida, started fishing with my dad going down to the Everglades and around the state, plus some offshore stuff for sails and wahoo - but I never really got the bug until my husband and I went float fishing on the Snake River at Jackson Hole for trout - I've been pretty much addicted ever since.
Both Springsteen and Michael Jackson, who had these huge productions, could always scale them back down to just a song and a melody. All of that influences me. I also try to be a fictional writer, and sometimes I get close, but the things that resonate the most with me - and with everyone else - is what's real.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
I was born in Chicago, but I was raised in a town called Jackson, Tennessee. And a lot of these changes that were necessary and talked about it as important have been made, like, people go to school where they want to go. They work for equal pay, they work for - they can go school and have an equal shot at a job.
Minister and writer Barbara Kaufmann has addressed the subject of guerrilla decontextualization on both the 'Voices Compassionate Education' website and on 'Inner Michael', where she offers the kind of insights into the spiritual aspects of Michael Jackson's creative artistry that mainstream media mostly ignores.
I have a very eclectic iPod. So I've got my cardio people - so it's anything from Beyonce to some Jay-Z to Janelle Monae, her song 'Tightrope,' that's a good cardio song. And then I've got Sting. I've got Mary J. Blige. I've got The Beatles. I've got Michael Jackson. I try to pick the songs that I personally love.
We saw Jesse Jackson the victim of a smear campaign. People remember the Dean scream that was used against Howard Dean as a peace candidate who was doing well. So, in many ways, the Democratic Party creates campaigns that fake Left while it moves Right and becomes more corporatist, more militarist, more imperialist.
I had danced with Janet Jackson and P. Diddy so I had done a bunch of hip hop. Really and truly my roots are in modern and ballet but, professionally, that's not really out there any more, unfortunately, so these artists aren't really having a lot of ballet dancers behind them so I had to learn hip hop really quick.
There is a business built around racial grievance. And that business is booming at such a level that white people are like hey, I'm going to adopt a whole new identity so I can benefit from being Baby Al Sharpton, Baby Jesse Jackson, and in academia, this has been embraced and she has been able to pull off this scam.
One of the first times I ever performed in front of a big group of people was at my kindergarten graduation. I did, like, a Michael Jackson impersonation as, like, a five year old. I had the suit and blazer, the glove and the fedora, and I just performed a whole Michael Jackson song. I'm sure it was 'Smooth Criminal.'
I was born in Jackson, Mississippi, in 1969, in a time and place where no one was saying, 'Look how far we've come,' because we hadn't come very far, to say the least. Although Jackson's population was half white and half black, I didn't have a single black friend or a black neighbor or even a black person in my school.
Mark Jackson played 19, 20 years in the NBA. Shouldn't even have probably been in the league, and he's the third-ranked assist guy in the NBA. But you describe his game: Can he jump? No, not really. How's his outside shot? Eh, it's inconsistent. Can he defend? Nah, he can't stay in front of guys. And he played 19 years!
Ambiguity and the horror of possibility play a part in so many of my favorite horror stories: Shirley Jackson's 'We Will Always Live in the Castle,' Mark Danielewski's 'House of Leaves,' Victor LaValle's 'Big Machine,' Charlotte Perkins Gilman's 'The Yellow Wallpaper,' Stewart O'Nan's 'The Speed Queen,' and so many more.
See, I have to do my best because I am not as glamorous or as well-equipped like a Beyonce Knowles or Michael Jackson, where their band members are close to 100-150 people. They even have great equipment which is flown along with the artists. They have a budget of around $5 million pumped in to make their concerts a hit.
In the NBA, you're taking a bunch of different talents, and you're managing them. You have to give them a system; you have to give them a belief. That's why coaches like Phil Jackson and Gregg Popovich are so great: because they gave the team confidence in the system and in their ability to execute night in and night out.