Playback

[Erto1984]

Tworzenie muzyki (a w sumie produkowanie utworów) jest moim hobby. Z tego powodu obracam sie w towarzystwie zawodowych muzyków, specjalistów od emisji głosu itp. I z pełną mocą moge podkreślić że głos Michaela nie jest genialny. Ani jego rozpiętośc ( podczas śpiewu osiąga dużą rozpiętośc? ja sie pytam w jakim utworze) ani barwa ani skalowanie ani przedłużanie dźwięków ( oprócz sławnego " hoooooooooo" - będacego znakiem firmowym Michaela :) ) nie jest imponujące. Michael ma fajny głos dodatkowo jest dobrze wyszkolony w jego wykorzystywaniu. Beatboxerem jest również bardzo dobrym :) Natomiast nie jest genialnym wokalistą bo genetyka nie dała mu genialnego głosu. Swego czasu na discovery bodajże leciał nawet program o gwiazdach muzyki w których spece sie wypowiadali o wartościach wokalnych różnych muzyków. Głosy Michaela oraz między innym Madonny zostały sklasyfikowane jako "dobre". Dla mnie Michael jest świetnym wokalistą a to dzięki temu jak swój głos wykorzystuje a nie jaki ma. Albumy Thriller Bad i Dangerous to majstersztyki muzyczne ale nie zawojoiwały świata dlatego że Michael ma głos jak dzwon :)
Pozdrawiam

[cicha]

Polecam artykuł: "The Mastery of Michael Jackson"kiedyś bodajże wklejanego przez Sade, z tego co pamiętam na starym forum.
~M..

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The mastery of Michael Jackson
A look into an unmatched talent

By: Nicole Reis

“Michael Jackson onstage is as good as it gets!”

- Cynthia Horner (journalist)

The art of performing; it is something which, for as long as can be remembered, has been held in high regard in every and any culture around the world. It is the idea of being lifted off, the idea of escapism, of watching a person, on a stage, who has the ability to impress you with some talent of theirs, whom has the ability to astonish you in some way. In today’s culture, however, the art of performing seems not to be carried so much by the individual, but more so by the limitations of the constantly advancing field of special effects. Visual effect is a cover up for the increasing lack of talent in the world of show business. Indeed, the term “performing artist” seems almost to be a joke now, with these so called entertainers up on some stage, accomplishing some simple choreographed routine which they worked for hours on, so that they might look as though they are actually somewhat talented in the field of dance. The joke, of course, is on the audience members, for actually falling for this. Someone should tell them that, with enough practice, they too would be singing and dancing on stage with as much “ease” as these people they pay hefty prices to see. It seems impossible, in fact, to think of a “performer” who has come up within the last 15 or so years who actually has any real amount of talent.

Now go down through the history of entertainers, and you will find but a handful that were ever considered exceptionally talented. The great majority of those talented few were indeed African-American, but rarely will you find their names to be prominent. It is usually those white performers who are given the credit that is due to those black entertainers; usually, it is those white entertainers who are noted as the most talented, even though the obvious is usually contradictory to that notion. Often, it has been those black performers whom had the greatest talent to offer, whom were the innovators.

But Michael Jackson is one man, whose greatness cannot be denied, a man who no white or black performer, no matter how talented, should ever be put before. Because, they may be good, but they aint that good.

In understanding Michael’s talent, you must first begin by describing Michael as a gifted genius. Talent is too weak a word to use in describing Michael’s capabilities. And each of his gifts should be dissected individually, so as to understand how great he is in each field. You can say, without hesitation, that Michael Jackson is the greatest performing artist that has ever been. When that man is onstage, he has the unique ability to fill his audience with an absolute excitement, all-encompassing. He sets the atmosphere aglow with his explosive presence alone, and his own excitement is plainly obvious. He is smiling broadly, laughing and moving with intense energy. Deep in the emotion of his own vitality. The more enthused Michael becomes, the more excited the audience grows. He controls their emotions. And the reason Michael, above any other performer, above any other person, is able to give people such joy, is because he lifts them up to some higher state of being. People become seemingly more alive when watching Michael perform. Their enthusiasm is equaled, perhaps even surpassed by this one man and in them a great energy is awakened. An energy that is born from both a feeling of vitality and a sense of awe. One that overcomes the soul. His audience is caught in amazement over a man with such extraordinary gifts. Astonished that there could ever be anyone with that much talent. He is hard to believe, yet brilliant and wonderful. People are so over come with emotion for this man, that they find it nearly impossible to control their own feelings. They break down. Crying, screaming, laughing, smiling. It is that people become enraptured by the emotion that is Michael’s. They are happy because, at last, he is happy too. This is one of the greatest gifts, if not the greatest gift that one can give. To allow happiness in others, if even for only a moment. Michael has in him the amazing ability of creating such real jubilation in others, because in his performance, there is a great expression. A kind of discovery that each time you see him, there is something new, something unique. He is the discoverer of unfounded emotion, and of unexplored truths.

Obviously, through Michael’s individual talent’s, his brilliance shines through, but it is when he is onstage that his magnificence is clearly visible. When all of his gifts are brought together, that is when the realization of his talent hits us. Because when Michael performs, it amounts to so much more then “entertaining”. Through his talent alone, he creates a hypnotizing energy, in which the human spirit is caught in an unbreakable trance. One finds it impossible to pull they’re eyes from Michael, unwilling to do so for fear of missing something brilliant. He is too astonishing, too great. It is a thing of beauty to watch him, to watch what is his complete perfection onstage. He is a force. Engulfing the crowd with a sense of higher being. People become lost to themselves in watching Michael, seeing only him. They no longer pay any mind to the things surrounding them. To all the problems in this world, and to all their relentless insecurities. They become aware only to him and of the wonderment that lie, waiting to be discovered within their own hear. And it is then that the world can glimpse, but for a moment, into Michael’s heart, and for it, their eyes are opened to honesty. To the truth of love. For it is then that people so strongly feel a love for Michael Jackson. A love for the beauty they see residing within his very being. Because it is at that moment, when they so clearly know, so easily understand, the love that is the very essence of his soul.

In his performance, Michael may best be described as someone who is like that of a magician, creating what must be an illusion. It is too fantastic, too unbelievable. He is a great leader onstage, guiding his audience into the heart of creation, he is pure magic. When Michael is performing, he is creating an inexplicable phenomenon. It is a feeling that captures the soul. One that cannot be put into words. In his performance, Michael creates the merging of the physical and the spiritual. People become more aware to the wonders that lie within the universe. In that moment, Michael is sharing with us that which he can see so clearly. The purity of nature. He awakens within his audience a knowledge that can never be found within any book, and they are transfixed upon his figure. Gazing in eager anticipation, hanging on his every movement. A critic, Vince Aletti, once said of Michael after having seen him perform with his family in Las Vegas, at the age of sixteen, “… he’s supreme and so controlled it’s almost frightening. In his motel room, when he tells you he’s in the eleventh grade, it might seem strange, but it’s believable. Seeing him onstage, dancing and striding confidently out to the edge… you just know he had to be lying.”

Technically speaking, what makes Michael so incredible, so beyond anyone else as a performer, is his simple energy and grace onstage. He is explosive, setting the stage aflame with his intensity, yet he is incomparably easy and smooth. Truly breathtaking. That is what carries his audience away. Escapism. Jonathan King once said of Michael in relation to a tour he had gone on with his brothers, “What you saw on stage at the Jackson’s tour was the Michael Jackson of the single glove, the interesting hat, the moonwalking and all that. What you didn’t see was Michael Jackson, the real performer. I think Michael should go out on stage with a small backing band and do a show where he just performs his excellent numbers on his own… Michael Jackson is extraordinarily talented; he is backed up by brothers who are not particularly talented and to cover that over, they do a lot of spectacle and pantomime, and special effects.”

And that is the beauty of Michael Jackson as a performing artist.

When he is onstage, alone, that is when you can truly observe his intense talent without distraction. When you can at last concentrate on him, notice him, become completely aware of his absolute genius.

And it is almost frightening.

He is one of the most astonishing things that this world; rather this universe has to offer. He is everything onstage, every emotion. His sheer, raw talent is overwhelming. It dazzles and amazes us, tosses us back. The crowd is at that moment aware of his emotion. And it is real, authentic. It is that he creates there, a connection between the audience and himself. To watch Michael is to understand honesty. He let’s you see into the astounding beauty that resides throughout the universe. When Michael Jackson is onstage, having only his own ability to keep him company, he is beautiful.

Individually, Michael’s talents are no less astonishing. He could have had great success having any one of them. And it is important to study each of his gifts on it’s own. His talent is… unmatched. He is capable of achieving things that simply put; other people are incapable of doing. Michael Jackson’s talent should perhaps be described as real. Nothing is contrived. It is raw, unwavering, overwhelming, intense. And he has more of it then anyone. As an entertainer, he can do it all, and with complete mastery. He is, rather then a jack-of-all trades, a master-of-all-trades. He is perfect in each field of endeavor that he wishes to take on in the art of performing. His brilliance was evident from his very earliest years of being. Since he was very young, Michael has possessed the most staggering ability to sing with the greatest, and most honest emotion. As a child, one could hardly believe that he really was. His voice was so full with emotional strength, with the greatest quality, and that has carried on into his adulthood. For anyone to sing with that kind of feeling would require a great sensitivity to the world, a great awareness to life. Michael Jackson possess’ an emotional genius, which shows through in his singing. He can so easily create a physical reaction even, through his voice alone. So great is his ability to convey the feeling of a song, that he seems almost to be living it at that very moment. Experiencing, right then, the song itself. He sing with such expression, such truth, that one would believe that he had lived the song a hundred times over. He seems to take on the life of a song, making it his own, capturing its essence. No matter the emotion, he conveys that with his voice like nobody. If the song is meant to be a happy one, then Michael sings it with a genuine joy, his voice seeming to laugh with the excitement. As though her were a child who had just been given a gift. If the song is meant to convey anger, he again takes on that attitude more convincingly than anyone. He becomes fierce, harsh sounding. He is spitting the words now, reducing his phrasing to chops and grunts. He makes himself seem too angry to sing with fluidity. And if the song is a sad one, then Michael can convey the most authentic heartache. Here, he makes the listener feel true sympathy for his pain, for his struggle. He is almost crying the words, begging. He goes from sounding sure and strong, and in that same instance, he becomes weak, wavering on the edge, ready to break down. At times, he seems to strain with the emotion, nearly chocking. And it is at those moments when you realize that Michael Jackson is always honest in what he sings. When you realize that he has truly become the song.

And staying with Michael’s voice, he truly does have the most beautiful. It is its quality of tone; it’s timbre, which makes it so remarkable, which makes it the best. It is unique, high, yet astoundingly rich and strong, and it is perfectly clean, as clear sounding as a bell. There too is an unmatched sweetness to Michael’s voice, one that melts the heart, and causes the spirit to soar. Beauty defines Michael Jackson’s voice. It is that quality of absolute beauty which makes his voice superior to that of any other.

Technically, as a singer, Michael Jackson is without an equal. His first advantage is in the natural speed of his voice. He is extremely sharp, executing notes that would be impossible for other’s to even attempt, and he run’s with the instrumentation of a song with what seems like no effort at all. He sings with break neck precision and timing, and is always on key, always in absolute pitch.

His second advantage is his versatility as a vocalist. He has perhaps the most diverse vocal ability out of any singer in history. He literally can sing in any genre of music and he can do it well. Be it from rhythm and blues, to jazz, all the way up through rock and pop. He can change from having the sweetest, most soothing voice, to having a hard, choppy, rough voice, and from there onto the slickest, most perfectly rhythmic voice. In describing Michael’s voice, his voice coach, Seth Riggs said of him, “He’s a high tenor with a three-and-a-half octave range. He goes from basso low E up to G and A-flat above high C. A lot of people think its falsetto, but it’s not. It’s all connected, which is remarkable. During his vocal exercises he would put his arms up in the air and would start spinning while holding a note. I asked him why he was doing that, and he said ‘I may have to do it onstage, so I want to make sure it’s possible.’ I’d never seen anything like that before. I thought maybe I should stop him so he can concentrate on his voice no, and dance later. But I figured if he can do it, let him do it”. Michael can reach a basso low E on the scale and perhaps even farther, and his range is probably closer to and a 3 and 8/12. His range goes from about two Es below middle C, to two Bs above middle C. His vocal range goes from basso low E up to high B or 44 notes. Michael’s natural vocal range, before he breaks off into falsetto goes from basso low E up to two C#s above middle C. Whereas most male tenors would be using their falsetto voice to reach those registers, Michael is able to use his natural voice. Essentially, Michael is able to reach octaves that other tenors cannot attain with their natural voice.

Essentially, Michael Jackson’s voice is perfect, and as a singer, he is unmatched.

And as a musical composer, Michael Jackson is perhaps one of the most gifted musical geniuses of any time. He has described his song writing process as it being as though the song fell straight into his lap from the heavens, and of actually hearing the whole of his musical composition in his mind before he ever records even a scratch demo. Meaning the music is heard in its entirety, from the strings, to the percussion to the horns and the rhythm and melody. Everything, harmonies as well. It is all there, it just comes to him. He then has the remarkable and extremely effective ability to literally sing what he hears to his musicians, so that they may then perform it. Bill Bottrell (a producer) said of Michael, “He hums things. He can convey it with his voice like nobody. Not just the lyrics, but he can convey the feeling in a drum part or a synthesizer part.”

His music is lush, full of sound, and he comes up with the most electrifying percussion sections, and the most ingenious string and horn sections. The rhythm and vocal arrangements of his songs are, to say the least, brilliant, with complex beats, and with each new work from him, comes an increasingly greater number in chords, making for more elaborate and more intricate musical composition’s.

And with his compositions, he creates real feeling. They are beautiful, intense, and they’re range is unlimited. He has gone from creating the jazziest tunes to the slickest, and then on from the funkiest to the most somber and sad. Never has another song writer displayed such an ability to create so many different kinds of sounds.

Michael Jackson is, although the genre and style of music is quite different, on the same level of genius as the great classical composers in a sense. Michael is able to hear things in his head that others cannot pick up on. He hears multiple sounds at one time, and that is why he is able to create the whole of a musical piece within his mind, just as any of the great musical composers. It is an extreme brilliance that Michael has, to be able to understand music on that level.

And of course, add in Michael’s ability to play several musical instruments, and you have quite a talented musician. He play’s very well, contributing often to his own songs with the drums, percussion, piano, keyboards, synthesizer and guitar.

But perhaps the talent that is one of Michael Jackson’s most brilliant is his ability as a dancer. Naturally, he is simply more talented then other’s in the field, quicker, smoother and more accurate. He is actually somewhat like a spinning top. Extremely easy, steady and fast. His style is a combination of superbly fluid motion intertwined with astounding energy. Really, Michael’s whole dance style is, in large part, based off of the energy and control that he has. His accuracy is amazing, hitting each step in perfect time, and without fault. He seems capable of achieving things with his body that seem humanly impossible. He moves with such control and such perfect flow, that he seems almost to defy the laws of gravity.

But one of the most intriguing aspect to Michael as a dancer is that he does not know how to dance. He has no idea, technically, of how to dance, or of how execute any certain movement in dance. He is not trained to do so. But although he may not know how to dance, he indeed understands how to dance better then anybody. Michael’s mother, Katherine, has said of him, “Ever since Michael was very young, he seemed different to me from the rest of the children. I don’t reincarnation, but you know how babies move so uncoordinated? Michael never moved that way. When he danced, it was as if her were an older person.”

Michael is so amazing as a dancer, because he can just do it. He doesn’t know how to do it, his body shouldn’t be able to do it, he just can, naturally. His talent is so great that he just has that ability. But he has no technical knowledge of dance. Michael Jackson does things that he is not trained to do, that he is not supposed to be able to do. He has never been trained in the art of dance, in any way. Not by the best or, for that matter, by the most mediocre dance instructor. He has never had even the most basic foundations of dance instilled in him. So really, Michael is somewhat of a phenomenon in the field. He possess’ the ability to imitate and to do any dance step and/or style/form that he sees. And it is a matter of understanding the rhythm of a movement. Michael never had relied on having to count steps. He simply follows the motion with what he is feeling. Without technical knowledge, it is purely on feeling that he dances, even in doing a choreographed routine. Never does Michel think when he is dancing. He does not put his mind to the timing, the next phase of a number, or of how to execute the motion of a step. Where as other dancer’s minds are concerned with the technical aspects of a routine, Michael is in another place entirely, never giving it any thought. He is spontaneous, and almost unintentional in his dancing. Indeed, many of Michael’s dance routines are simply spontaneous movement, him making it up as he goes along, although each time it appears that he has put a great deal of thought and planning into what he does. And literally, the man can duplicate any form of dance that he chooses to take on. Be it from jazz, to tap and even classical. Being able to imitate different styles. For example, if Michael were to decide he wanted to dance in the same style as Gene Kelly, Sammy Davis JR., or even Fred Astaire, he could do it, quite easily. Not simply speaking of the steps of any one of those individual’s routines, but of their actual sense of style. Michael can imitate that perfectly. And that ability extends to all aspects of dance. Be it in duplicating the line of a movement, or the motion into that pose. And he does so more quickly then anyone else. So, for instance, other dancers must be shown a particular step or movement several times before knowing how to do it, and then they must practice that step several times before being able to do it. With Michael, he need only see almost any seep executed once, and he is then able to duplicate it to perfection at first try. And there is no exaggeration in this. It is really the motion of a step or style that Michael understands. Meaning it is the flow of a certain movement or form that Michael can learn so quickly. The actual rhythm or beat of a step. He need only be shown the basic flow or motion of a step, and he does it, perfectly. If he sees somebody do it, he can do it. That is why he is able to duplicate any dance step, or emulate any style simply by observation, because he does not need to be shown what goes into it technically. The technical aspect has nothing to do with it. He doesn’t think, ‘oh, I need to put my foot here, or I need to adjust my torso here.’ He does it all by feeling, by rhythm. And by the fact that, naturally, his body is able to mirror a step or style with an easiness and flow that other dancers simply cannot achieve.

Michael Peters (a Broadway choreographer) who had worked closely with Michael on two of his short films, said of him after having been asked whether he thought Michael was the Fred Astaire of the 1980s, “I think he’s got the gift. You either have it or you don’t. He’s always had it. I think like anything or anybody, the more exposure he has to different elements of that arena, he will grow. If he should so desire to do a Fred Astaire type of number and study that form of movement, that will just add to what he does, because he has the wonderful ability to imitate what he sees. He’s a chameleon of sorts, and that’s one of his powers that, although he has no technical knowledge of what it takes to do, plus the soul, he can imitate- whether that’s by rhythm or in the mirror, emulating style, or the line of the movement. So, I think he’s the type of person that whatever he chose to do, he would go ahead and do that.” Asked again if he thought a lot of Michael’s moves were derived from his days at Motown, Peters responded, “Yes, also the stuff he did when he was little. That audition tape that they show of him in the basement was all the stuff James Brown used to do. I think that it’s like any of the people that I’ve worked with. If you challenge them to grow, they’ll do it. And it’s the same with Michael Jackson. He could have been left to do what he does and been very successful and always been acknowledged for that, but I think that fact that he took the chance to try something a little bit different, a little bit new, and grow and expand, had taken him to another level. He’s an innovator. If he chose to do ballet, he could it - I really believe it!” Peters went on to say in another interview, “Michael is quite amazing to me because he’s working with these people that have made a living of this, I mean have studied this for a greater portion of their lives. And he’ll walk into a studio and, its purely on rhythm, I mean I purely give him a rhythm of a step, and he does it, you know? And it really just… it’s fascinating because here are these people, you know, who spent X amount of thousands of dollars training, studying to be dancers all their lives, and this kid walks into a room, and you say, ‘this is the beat, ba da da, da da, da.’ And he does it. And its really wonderful to watch because, it’s an innate gift that he has. He’s a dancer in his soul.”

As a dancer, naturally, Michael is unequaled. He is insanely controlled, and just so fast. He stops on a dime, whether he is spinning, making a sharp turn, or a quick change in direction, he just stops, and then he flows into the next movement without hesitation and with so much ease, that it’s like you knew what the next step was all along. And his rhythm as a dancer is superior. Just the rhythm in his movement is unmatched and unsurpassed by anyone, by any dancer throughout history. His ability to take a sound, whether it be a beat or a melody, and make that sound into something that is visible, into something you no longer just hear, but see, that is a phenomenon. His body actually takes on what one would visualize the sound to look like; Michael Jackson actually becomes the music. Just his ability to move his body is exceptional; that in it self is a phenomenon. He is the most talented, the most naturally gifted dancer that has ever been.

Film director John Landis said on Michael Jackson, “This guy is Fred Astaire, Gene Kelly, I mean you know, he's that good.”

And although Michael’s style is different, (which, subsequently, is his own unique style) he more or less is the same type of dancer as Fred Astaire. Meaning he dances with that same effortless motion, speed and accuracy. Michael Jackson really just flows more easily, and more beautifully than anyone. From step to step, he is smooth and without hesitation. He seems almost to be on ice, more so floating than dancing. Michael in fact is so easy in his movement, that he appears not to be expending any of his own physical energy to dance, but rather is being moved by some outside force, it appears as though he is being made to dance by some separate energy from his own.

And his energy is supreme, explosive; and he is so controlled that it is frightening. Michael launches into a step so quickly, and with such force, that he seems almost to have to pull himself back into place after hitting a pose. Shacking with the force of a sudden stop. As if he had just run to the edge of some high up point and caught himself within an inch of falling. And it is because he moves so quickly, and with such energy, that he seems to need to catch himself, to force himself to stop his flow. But in this, he is completely graceful, effortless, and with such mastery that one can hardly believe their eyes. And his speed is something of a phenomenon in itself. He is so quick, so effortless with each step, and with every movement, that it seems he is dancing without the burden of physical weight. But what truly makes Michael’s speed exceptional is, he is amazingly fast, but you are still able to see exactly what it is that he does. You can see every movement that his body makes, every adjustment, no matter how slight, that he executes, with absolute clarity. The movements that he makes are as quick as can be, his speed in fact is probably greater then that of any dancer one could name, but his movements are so precise and so well executed, that you can easily and clearly make them out. There is nothing sloppy about Michael’s dancing. One simply has to look at him, and they can see the beauty in his movement.

And one of the greatest things about Michael as a dancer and, other then technical precisian and fluidity, perhaps what makes him so superior to other dancers, is the attitude that he has in his movement. He is very theatrical in his style, probably more so then any other dancer, and with each movement he makes, he is telling a story, conveying intense emotion, and creating a new character. He has so much oomph to his dance, and that leaves a greater and longer lasting impression on whomever is watching, then do other dancers style or ability. He says so much with his movement, that if you could not hear the music, and were only able to see Michael Jackson dancing, you would be able to tell, from his movement, the mood of the song. Michael has the greatest ability to convey feeling and emotion through his dance alone.

Caroline Latham, an author, made some very interesting observations about Michael as dancer, and in his comparison to Astaire. She wrote, “Audiences have been impressed with Michael’s dancing ability since he was just five years old, and his skills have matured greatly in the past twenty years, as he has become more and more original. Technically, he is amazing, especially in his ability to pull off fast moves and still make them crystal clear. Sometimes it seems that he is doing things impossible for the human body to accomplish: try, for example, whipping you hand back and forth about half the speed Michael has on “Beat It” and you’ll feel like you are in the imminent danger of fracturing your wrist. And sometimes his legs scissor the air so quickly that it seems they must snap.” Now it is important to remember, Michael has had no formal training as a dancer in the least. Latham went on to say, “Speed is not his only virtue as a dancer. He also has what professional dancers call “line”, which, roughly translated into words, means the ability to extend the body into some graceful position and hold it there, stretched out, long enough for the silhouette to be seen against the backdrop of space. You can see that line the still photos that have been released from all three of the videos.” (Meaning “Billie Jean, “Beat It, and “Thriller” “Each pose is a graceful composition, as fully though out as an artists painting: the angel of the arms and legs, the thrust of the head, the diagonal of the torso, the set of the hips. Each of these photographs would make a striking outline, creating a pattern of dark shapes against the light and space of the background. And, like a good ballet dancer, Michael keeps his line flowing. As he moves from one position to the next, he is conscious of the little interim steps, and he makes each of those as graceful as the final pose. Many dancers (you can see this happen if you watch some of them in the “Beat It” video) are capable of achieving and holding some fabulous pose, but in between these highlight of their performance, they seem to be scurrying around, churning and thrashing as they get themselves ready for the launch into the next striking attitude. Only a great dancer can make that line flow from one pose to the next-and Michael Jackson is one of those greats.” She of course is speaking of how a dancer flows from step to step. That is truly what is important in dancing, and indeed, Michael Jackson flows more beautifully than anyone, seeming to float into the next phase of any routine. She continued, “Choreographer Michael Peters, who worked on tow of the videos, says that Michael spent a great deal of time studying Fred Astaire’s performances in his old movies. Although Michael’s dance steps are quite different from Fred Astair’s, the similarity of style is unmistakable. Both men have the same slim elongated figure, the easy grace, the sense of movement that comes from high up, in the torso, rather then down at the knees and ankles. Perhaps their greatest similarity lies in their identical sense of effortlessness. It is impossible ever to imagine Fred Astaire getting all hot and bothered from the exertion of dancing- even though we know that in reality most of his routines call for hours of incredibly hard work to capture on film. His genius was to make it all look easy. You don’t see his muscles know up, or the sweat roll off his body; instead, he gently floats across the screen with what appears to be a minimum of effort. Even when he picks Ginger up bodily, or dashes full tilt to the top of the stairs, he makes it look physically easy. Michael Jackson has exactly the same uncanny ability. His hair may look a little bit more disheveled then Fred’s- but then it always does, even when he isn’t dancing. On his feet, he looks just as effortless. His arms and legs seem to move on some unusual principle… one that doesn’t require muscle power and a high expenditure of energy. When he spins, it looks like he is energized by a concealed electric motor. Occasionally, Michael dances with his eyes closed, but you know it’s not because he has to concentrate on the effort he’s making but because he has been transported to some other place of existence.”

And every time Michael Jackson performs, he is inspiring creation. He is the one who is bringing forth the untouched. New emotions, new understanding. He is imagining the unimagined. He is creating sounds never heard, creating movement never see. When he performs, he is placing in our view the unknown existence of something beautiful within the world, and within the universe. His expressions show the honesty in his art. His singing and dancing captures out souls and opens our eyes. Michael Jackson was sent forth to create untold visions and guide people’s heart to love. And for Michael, it is his most important task to share with us his brilliance, to put people into a state of divine bliss. He is a giver of joy, and of understanding. Essential, because through himself, he brings into the universe what never was, but what was meant to be. Through his talent, he brings into this world those things that have been waiting to be discovered.

Michael once said of his art, “What one wishes is to be touched by truth and to be able to interpret that truth so that one may use what one is feeling and experiencing, be it despair of joy, in a way that will add meaning to one’s life and will hopefully touch others as well. This is art in its highest form. Those moments of enlightenment are what I continue to live for.”
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[Agata**]

Michael ma (a przynajmniej miał) dobry głos. Nie genialny, nie wspaniały ale dobry

na boga..

[guruFARMI]

jackson ma wybitny głos.

spece wieksze od ciebie i twoich kolegów wypatrzyli to gdy mial kilka lat. a weź se obejrzyj klip z lat 60 jak mały gówniarz spiewał na zywo. lepiej niz niejedna artystka z 20 letnią praktyką

[Erto1984]

guruFARMI gdy zwracasz sie do kogoś w necie fajnie by było pisać zwroty "Ciebie" , "Twoich" z wielkiej litery.. taka oznaka kultury ,dobrego wychowania i obycia miła dla oka :) Michael przed mutacją miał inny głos niż po co da sie łatwo zauwazyć każdemu kto potrafi odrózniać od siebie dźwięki (nawet bez absoluta) Obycie na scenie od najmłodszych lat rzeczywiście miał i to sie chwali :) spece większe od Ciebie guruFARMI uznały że jednak genialnego wokalu nie miał , co nie zmienia sytuacji że świetnym artystą Michael jest. Jeżeli słuchasz jego utworów szczególnie tych "live" i uważasz że ma 'genialny głos' to oznacza że masz takie pojęcie o muzyce i śpiewaniu jak ja chemii molekularnej.
Pozdrawiam :)
ps. Agata** to wspaniale że wypowiadasz się w tej jakże porywającej dyskusji, mogłabyś jednak podac jakieś argumenty zamiast wzywac Boga nadaremno i nabijac sobie posty.

[Matisse J]

spece większe od Ciebie guruFARMI uznały że jednak genialnego wokalu nie miał , co nie zmienia sytuacji że świetnym artystą Michael jest. Jeżeli słuchasz jego utworów szczególnie tych "live" i uważasz że ma 'genialny głos' to oznacza że masz takie pojęcie o muzyce i śpiewaniu jak ja chemii molekularnej.

Każdy ma swoje zdanie ,które dodatkowo może poprzeć słowami "fachowców" - i to w obie strony. Jedni piszą ,że geniuszem jest , inni - że znów nie bardzo .
Z MOICH obliczeń wynika natomiast ,że na chemii molekuralnej - znasz się całkiem niezle .

[Erto1984]

a prawda jest taka że nie liczy się opinia fachmanów tylko to co kazdy fan ma w sercu :) Mike jest zebeściak i już :)
Pozdrawiam

[Terminator]

Czy Mike kiedykolwiek śpiewał Eart Song i Heal the World na żywo?
Jeśli tak to kiedy i gdzie?

[Krzychu Redhedzio]

Mowa o playbacku tak ???
Faktycznie.Oglądałem wiele koncertów Michaela gdzie równierz nasuwało mi się pytanie dlaczego on spiewa tak często z playbacku???
Czasem było bardziej widać ten playback czasem mniej.
Najbardziej było go widać na koncercie w Bucharescie podczas utworu "Will you be there"... Pamiętny koncert z Warszawy z tego co pamiętam też był przepełniony playbackiem.
No ale cóż.
Akurat w przypadku Michaela Jacksona, playback w żadnym stopniu nie podważa ani nie powinien podważać jego kompetencji głosowych.
Jacko jest/był takim artystą, który na koncertach potrafił odwrócić uwagę od śpiewu.Dawał niesamowite show na scenie, żywiołowe układy choreograficzne napewno w jakimś stopniu by "zanieczyszczały" barwe i brzmienie jego głosu na żywo.
Są tacy artyści, którzy raczej nie mogą sobie pozwolić na playback a należą do nich przedewszystkim artyści rockowi (Budka Suflera, Lady Pank) a są też tacy, którzy mogą i mają odwage sobie pozwolić na playback (Mandaryna, Britney Spears, Kate Ryan).
Koncerty MJ były robione w podobny sposób jak koncerty Britney Spears (jeszcze za jej czasów świetności).Pamiętam jak prawie 5 lat temu oglądałem wspaniały koncert Britney z Las Vegas i również zadawałem sobie pytanie dlaczego ona śpiewa z playbacku??? ale dziś dochodze do wniosku, że czasem poprostu trzeba skorzystać z playbacku.
I wcale nie uważam aby "śpiew" z playbacku był zniewagą lub obrazów dla fanów.Fani powinni na tyle znać swojego idola aby idąc na koncert wiedzieli za co płacą.
Ja idąc na koncert naprzykład Mandaryny wiem za co płace.Wiem, że będe słyszał identycznie tak samo jak na płycie ale dostane też coś co zastąpi śpiew na żywo czyli wspniałe show, wysmienitą zabawę i bezproblemowe spotkanie z idolem.
Idąc na koncert Ich Troje wiem, że usłysze muzyke zagraną i zaspiewaną na żywo...
I takich przykładów mozna wymieniać a wymieniać.
Zmierzam do tego, że nie powinno tak naprawde się oceniać MJ po tym, że śpiewa/ł z playbacku gdyż na scenie robi o wiele więcej niż nie jeden artysta grający i śpiewający na żywo.
To na tyle

[Pank]

Czy Mike kiedykolwiek śpiewał Eart Song i Heal the World na żywo? Jeśli tak to kiedy i gdzie?

Podczas koncertu w Brunei w lipcu 1996 r. Michael zaśpiewał (właściwie wykrzyczał, ale jak! ) na żywo końcówkę "Earth Song". "Heal the World", prócz końcówek podczas Dangerous World Tour i HIStory World Tour, w całości chyba tylko podczas występu na Bahamach w 1998 r. Zastanawia mnie, czy podczas występu w Apollo Theather w 2002 r. może nie zaśpiewał na żywo, ale nikt z nas chyba dostępu do tych nagrań nie posiada. Bu.

[Dominika]

Zaśpiewał mniej, za to prawdziwych, z klimatem koncertów.

Nawiąże jeszcze na sekundkę do koncertów. Słuchając dziś rano piosenek z ostatniej płyty Michaela naszło mnie takie marzenie... Piękny utwór Speechless zagrany i zaśpiewany w pełni na żywo, przy akompaniamencie fortepianu, nie na stadionie dla 100 tysięcy osób gdzie ludzie stoją i gniotą się jak..., a dźwięk się rozprasza, ale w mniejszej sali, miałby niesamowitą dusze i klimat. Marzy mi się taki koncert. Nie wiem w jakim kierunku pójdzie Michael w przyszłości, jaki będzie jego kolejny album (zakładając, że będzie) i czy będzie chciał śpiewać jeszcze coś na żywo, ale jeśli miałby to chciałabym, żeby zrobił właśnie takie koncerty. Ot, takie sobie marzenie fana...
I w sumie to wszystko czym się na dzień dzisiejszy chciałam podzielić

[mrpiter]

A to ja się zapytam o "Man In The Mirror".... Z tego co ja widzialem to chyba tylko końcówki są na żywo. A tak to cała reszta to tez raczej playback.... Macie może jakieś nagranie, które jest w pełni "live"??

[Maciej 1989]

No jeżeli chodzi o Apollo Theather to wykonując Dangerous bardzo możliwe ze robił to na żywo w pewnym momencie dostaje niezłej zadyszki i jest to bodajże środek kawałka.Poza tym Dangerous nie jest aż takie trudne do zaśpiewania dużo tam gadania

[Willy]

A to ja się zapytam o "Man In The Mirror".... Z tego co ja widzialem to chyba tylko końcówki są na żywo. A tak to cała reszta to tez raczej playback.... Macie może jakieś nagranie, które jest w pełni "live"??

Jeśli kogoś interesują konkretne piosenki co, gdzie i kiedy to odsyłam na http://mjinf.co.uk/ i tak jeśli chodzi o MITM:

Man In The Mirror was performed (partly live) at the Grammies in 1988, later Bad concerts and it ended nearly all the Dangerous concerts (during some late 1993 concerts it was dropped). It was never performed during the HIStory tour but it did feature in the 1996 'HIStory warm-up' concert in Brunei. Most of the Bad versions of the song were 100% live and emotionally and stunningly performed. An excellent live version of a Bad tour performance of this song can be seen at the start of the Moonwalker film.

During the Dangerous tour, and some later Bad tour performances, the song was mimed during the first few verses but then sung live for the rest. The Dangerous tour performance's were very long (well over 10 minutes) and was emotional, energetic and powerful and Michael would sing different lyrics while the stage was being prepared for his rocket pack stunt. It was a stunning way the end the show and arguably the best ending of any MJ tour.

The song was also performed (Dangerous tour style) in 2001 at the United We Stand concert (where 'What More Can I Give' was premiered).

[mrpiter]

An excellent live version of a Bad tour performance of this song can be seen at the start of the Moonwalker film.

Hmmmm.... was it really live version? I don't think so...