- Aimjee a écrit:
-
- Citation :
- Cory Rooney et Chris Apostle qui ont collaboré avec Michael Jackson, qui sont interviewés sur CYinterview.com . "Michael a été poussé à bout par des gens extrêmement puissants et il n'a pas été traité justement".
Patrick Allocco, un avocat interviewé pour l'émission de Geraldo, diffusée sur Fox news le 10 août 2009, fait des révélations surprenantes : Thome Thome aurait dit que Michael n'était pas en état de faire même un concert !? La journaliste du reportage ajoute qu'il y aurait d'autres personnes désignées comme coupables que le Docteur Murray lors de la conclusion de l'enquête.
Dieter Wiesner dans London Today dit que Michael Jackson s'était confié à lui plusieurs fois :
"J'avais eu plusieurs conversations avec Michael, il ne voulait pas retourner sur scène à aucun moment de sa vie. J'étais sur à 100% qu'il était dans l'incapacité de faire un concert"
mjackson.fr
Ca veut dire quoi INCAPACITE????? physiquement? mentalement? les 2?....
Tout son entourage me court sur le haricot car il commence un truc et puis laisse planer le doute, le questionnement
Et les journaliste , n'en parlons pas...Tu as un de ces proches qui te lâche ça , logiquement tu demandes: "Voulez vous précisez le fond de votre parole...
Je poste ça car (je sais , vous allez me renvoyer dans mes montagnes!!
)hier j'ai fait une page sur le Studio 54, la fameuse boite underground , avant garde et super dealeuse de drogue auprès des stars (DISCO IS NOT DEAD!
)
Lorsque MIKL a préparé the WIZ, ilest parti vivre à New York et Latoya est venue avec lui ( la référence suprême dans le genre destroy...)c'était en 1977
Il travaillait dur mais sortait souvent et notamment au STUDIO 54
Pour info , c'était le temps où tout roulait, la crise n'était pas dans le vocabulaire et la coke était dans les ballons qui surplombait le dancefloor
Toutes les extravagances étaient permises (d'où le fait que le STUDIO était précurseur de tout ce qui se fait dans toutes les boites actuelles ce qui en a fait une discothèque avant gardiste dans le concept)
Pour exemple la 1ère drag queen médiatisée (Divine) sortait là bas, Bianca Jagger , l'ex de Mike y entrait avec son cheval,il y avait déjà des GOGO danseuse à plumes et en topless, des homos (Village People entre autres) , James Brown dont on connait le goût pour la poudre blanche, Keith Richards (un autre adepte à qui ont a changer plusieurs fois le sang en Suisse car trop"intoxiqué" qui rencontra sa seconde épouse au 54 et qui d'ailleurs fut arrêté en 77,Andy Warohl Bref.....
Son amie
Liza Minelli était souvent de la partie.
Liza a eu de méchants problèmes de dépendance à la cocaine et à l'alcool, en 77(elle avait 31 ans) d'après mes recherches , elle éait en plein pré divorce avec Jack Haley (2ème mari , y'a de quoi se poser des questions en tant que femme).
Il faut savoir que Liza a fait en tout 23 tentatives de suicides donc bien que j'apprécie sa carrière il faut bien le dire , elle était assez "désaxée"
Elle a souvent été hospitalisée pour désintoxication et à silverhills notamment
ET REGARDEZ:
Silver Hill Hospital866-542-4455, www.silverhillhospital.com
This facility has been treating patients for psychiatric illnesses and substance abuse in New Canaan, Connecticut, since 1931, specializing in clients diagnosed with both disorders. Silver Hill emphasizes meetings between family members of patients and clinical staff. Inpatient cost is about $1,500 per day. Among those rumored to have undergone treatment at Silver Hill are Truman Capote,
Michael Jackson, Billy Joel, Joan Kennedy,
Liza Minnelli, and Diana Ross.OH!OH!Si quelqu'un sait trouver à quelle date MERCI
James BrownLui , on ne le sait que trop : addict total! violences conjuguales et tout le toutim! I FEEL GOOD!
Il a été arrêté 2 fois pour possession de drogue et il disait que c'était pour des raisons médicales
Il a , par ailleurs , été condamné à 6 ans ede zonzon (mais je pense qu'il ne les a pas fait??Il en a fait 3)
http://www.absolutenow.com/mugshots/james_brown.html
En 1988 il arrêté pour excès de vitesse MAIS AUSSI pour détention de PCP (un anésthésique!!!!!tiens tiens!!!!)
Après , il aura plein d'embrouilles année après année pour possession de drogue, violences conjuguales et conduite en état d'ivresse...
ICI c'est intéressant car Murray était aussi le médecin de J.BROWN
NEW YORK - If reports are to be believed, late King of Pop Michael Jackson’s doctor was part of a group of “feel good” physicians who catered to the needs of celebrities in
the 1990s.According to a former law-enforcement source, Dr. Conrad Murray, who is under investigation for Jackson’s death, had also catered to the needs of drug-addled Godfather of Soul James Brown.
“
James Brown and Michael Jackson were inseparable and they used the same ’safe doctors’-doctors who would get them anything they wanted,” the New York Post quoted Brown’s long-time producer and assistant, Jacque Hollander, as saying.
“
If James Brown wanted drugs, he knew he could get them from these safe doctors in Dallas, Houston, Las Vegas and Los Angeles,” Hollander said.
Brown died of congestive heart failure in 2006, and it was reported at the time that he was battling an addiction to
painkillers and PCP.His wife, Adrienne, had also been one of Murray’s patients when she died 10 years earlier in LA under mysterious circumstances, and the immediate cause of her death was given as being due to PCP intake coupled with heart disease.
Charles Bobbit, Brown’s personal assistant and business manager in the last four years of his life, said that he knew who Murray was before Jackson’s death.
“Mr. Brown may have been sneaking around behind my back with this doctor,” Bobbit said, but he added that he never saw Brown use drugs.
Murray has been under intense scrutiny since Jackson died June 25 of cardiac arrest and investigators removed drugs from the singer’s Bel Air estate.
CA C'EST A CREUSER ET MECHAMMENT!http://images.google.be/imgres?imgurl=http://blog.taragana.com/e/wp-content/uploads/2009/07/king-of-pop-michael-jackson.jpg&imgrefurl=http://blog.taragana.com/e/2009/08/03/mjs-doc-also-catered-to-drug-addled-james-browns-needs-21531/&usg=__EGMXOjMW6NrRuyM62Eo5QCZ74uo=&h=480&w=481&sz=44&hl=fr&start=15&um=1&itbs=1&tbnid=GwFO8R2LcL85xM:&tbnh=129&tbnw=129&prev=/images%3Fq%3Djames%2Bbrown%2BDRUGS%26um%3D1%26hl%3Dfr%26sa%3DN%26rlz%3D1G1GGLQ_FRBE368%26tbs%3Disch:1
Andy Warohlqui a notamment réalisé le portrait de MIKL et bien là je me pose des questions....
O.K , ils devaient se rencontrer mais de là à faire un portrait de MIKL, MIKL était très différent des proches de Warohl
La FACTORY( son loft) était un lieu de créativité mais aussi pourvoyeuse de coke, de speed et d'héroine
Voici un extrait d'aricle où on relate la relation d'Edie SEDGWICK avec Warohl
"Comme la majorité de ceux qui fréquentent la Factory,
Edie devient rapidement « accro » à l’héroïne et au speed en sortant avec le plus célèbre dealer d’amphétamines de New York. Edie, à la beauté troublante et extrêmement moderne, fait une brève carrière de mannequin dans Vogue et Life entre 1965 et 1966, mais n’a jamais pu réellement faire partie de l’industrie de la mode car trop stigmatisée par sa consommation de drogues qui effraie le milieu. Après s’être violemment disputée avec Andy qui va jusqu’à remplacer des scènes du film The Chelsea Girls qu’il vient de tourner et dans lesquelles Edie apparaît, par des images de Nico (autre icône de la Factory). Elle s’installe alors à l’hotel Chelsea où elle fréquente Bob Dylan. En 1966, après avoir été victime d’un accident de la route à moto, alors qu’elle est enceinte (de Dylan prétend-elle), les médecins la forcent à avorter craignant pour l’enfant à cause de
son anorexie et ses addictions aux drogues. Edie devient dépendante des barbituriques et de l’alcool et tente de décrocher de l’héroïne en prenant toujours plus d’amphétamines.
Toute cette litanie car je me suis posée la question (BOUH.....) comment un gamin de 18 ans fréquentant le STUDIO 54 et sa clientèle ne toucherait il pass aux substances (car sortir tard à cette période , la folie 54 et travailler le lendemain pour le tournage du film, soit il était surhumain (je doute car le 4 juillet 77 il a contracté un pneumothorax et les médecins lui avaient demandé de se reposer ce qu'il n'a pas fait), soit MIKL carburait déjà!
OUI BOUH BOUH mais je me pose la question
STEVE TYLER (aérosmith)
vIE PRIVEE DE STEVE TYLER EN 1976
En 1976, il a une relation avec le mannequin Bebe Buell avec qui il a une fille, l'actrice Liv Tyler (Buell déclare initialement que le père est Todd Rundgren
pour protéger Liv de Steven, alors toxicomane).
The Associated Press news agency reported on December 23rd, 2009 that Steven Tyler entered a rehab clinic to treat an
addiction to pain killers he had been taking to cope with performance injuries. The band canceled a summer tour in August after Tyler fell off the stage during a performance in South Dakota and broke his left shoulder.
Sur une autre photo du Studio , on voit MIKL avec Steve Tyler et
Cherie Currie (chanteuse des Runaways,
A L'EPOQUE avec Joan Jett)
pourquoi A L'EPOQUE parce que : (pou info, elle est née en 59)
Editorial Reviews
From Publishers Weekly
Currie powerfully recounts her teenage years in this candid autobiography, chronicling the experiences that destroyed her
self-confidence and led her to drug and alcohol abuse.
At 15 she became the lead singer for the Runaways, a female rock group. The Runaways soared rapidly to success, but Currie was overwhelmed by the pace and constant travel. As the pressure increased, Currie went from marijuana to Quaaludes; amid family conflicts and quarrels with the Runaways, she
eventually became a cocaine addict. [color=red]At age 17
r=blue]](+/- EPOQUE DU STUDIO)she left the group to produce a solo album;
her drug use continued to escalate, moreso when she learned that her father was dying of alcoholism, and her mother, of cancer. Currie lets readers know that drug abuse destroyed her family, her career and almost her life; she hit rock bottom before realizing that if she didn't get help she would die. This turbulent, frightening story sends mature readers a potent warning against drugs. Ages 12-up.
STEVE RUBELL = un des 2 boss du Studio 54
Business
Rubell joined the National Guard, returning to New York after a tour of duty in the military intelligence unit, he worked at a brokerage firm after his return.
Then he decided to start his own business and opened up two restaurants, one in Queens, New York and the other in New Haven, Connecticut.
[edit] Studio 54 Era
In 1974, Rubell teamed up with Schrager to run a chain of steak restaurants, and after spending some time in the NY nightclub scene, the two decided to open a club of their own.
They opened two clubs to start with, one in Boston, the other, called The Enchanted Garden, in Queens. In April 1977, they opened Studio 54 in an old television studio on West 54th Street. Rubell became a familiar face in front of the building, turning people down at the door and only letting in those who met his specific standards. Sometimes he would dismiss unwanted patrons by telling them that they were ugly, or that they should go home and change their clothes. Rubell also dealt with the club's celebrity patrons, ensuring that they were thrown lavish parties and given gifts. His tactics worked, and the club made $7 million during its first year.
In December 1978, Studio 54
was raided after Rubell was quoted as saying that only the Mafia made more money than the club brought in. In June 1979, Rubell and Schrager were charged with tax evasion, obstruction of justice, and conspiracy for reportedly skimming nearly $2.5 million in unreported income from the club's receipts, in a system Rubell called "cash-in, cash-out and skim." [3] A second raid occurred in December 1979. The pair hired Roy Cohn to defend them,[4] but on January 18, 1980, they were sentenced to three and a half years in prison and a $20,000 fine each for the tax evasion charge.
On February 4, 1980, Rubell and Schrager went to prison.
Studio 54 was sold in November 1980 for $4.75 million.
In January 1981, Rubell and Schrager were released from prison after handing over the names of other club owners involved in tax evasion.
Steve Rubell a eu l'idée de réunir sur une même piste de danse les plus grande stars et les plus « in » des monsieurs et mesdemoiselles « tout le monde ». De véritable marées humaines envahissaient l'entrée chaque soirée, dans l'espoir d'avoir l'immense chance d'être choisi(e) par le portier pour rejoindre la piste. Steve Rubell, qui a donné sa véritable âme à la discothèque, était réputé pour être impitoyable à l'entrée. Il lui arrivait parfois de laisser sa boite presque vide avec plus de 5 000 personnes à l'entrée, pour la simple raison qu'à ses yeux, il était préférable d'avoir une soirée presque vide plutôt que de laisser entrer une seule personne mal habillée. Le groupe Chic en a fait l'expérience (cf. Anecdote) Ceci dit, la discothèque était les trois quarts du temps pleine à craquer. La quasi impossibilité d'y entrer était à ce point connue, que lorsque qu'ils créèrent les blue jeans Studio 54, le slogan était Now everybody can get into Studio 54 : « Maintenant, tout le monde peut entrer dans le Studio 54 » (dans le jeans !)
Temple de la drogue sans complexe, du sexe désinhibé et de tous les excès, c'était le seul endroit à l'époque
où il était décent de se laisser aller complètement. Le dernier balcon (vestige de l'ancien théâtre) était réservé aux rencontres sexuelles,
et le premier carré VIP du monde (la cave du studio), était encore plus imbibée d'acides, de cocaïne et de LSD que le reste de la boîte. Par exemple, il était courant de faire tomber des ballons du plafond, avec un peu de cocaïne dedans. La cocaïne tombait alors littéralement du ciel et il suffisait de faire exploser les ballons !
Lors d'une sévère perquisition la nuit du 31 décembre 1979, révélant une fraude fiscale chiffrée à 2,5 millions de dollars de l'époque et la distribution de toutes sortes de drogues au personnel et aux clients, Rubell et Schrager furent arrêtés et contraints à la fermeture. Cela mettait fin aux 33 mois les plus déments de l'Histoire.
On retrouvera plus tard plus de 750 000 $ en liquide et une importante quantité de cocaïne à l'intérieur des murs du Studio. Ils furent néanmoins autorisés à organiser une dernière soirée d'Adieu appelée « The End of Modern-day Gomorrah » le 4 février 1980. Le studio fut racheté pour 4,5 millions de dollars par le propriétaire de restaurants et dancings Mark Fleischman et fut rouvert le 12 septembre 1981. Cependant, l'âme du Studio 54 s'était évaporée et le succès n'était plus au rendez-vous. Il ferma définitivement ses portes en 1986.
D'OU TOUTES MES QUESTIONS .....QU'EN PENSEZ VOUS????MERCI DE REPONDREEXTRAIT D'INTERVIEW REALISEE PAR BOB COLACELLO EN 1982 (rédacteur en chef du magazine INTERVIEW appartenant à Warohl )
1982
In August of 1982, Interview’s executive editor, Bob Colacello, interviewed Michael Jackson, then 23, at the condominium in the San Fernando Valley that the singer was renting with his family while their house nearby was being redecorated. (Andy Warhol called from New York midway through their conversation.) Jackson, of course, was already famous for his work with his brothers in the Jackson Five, but his first adult solo album, Off the Wall (1979), released three years earlier, had made him a star in his own right. When this interview took place, he was at work on a storybook companion record for the Steven Spielberg film E.T.: The Extra-Terrestrial (1982)—hence the E.T. references—and was fielding an array of film-role offers. He was also finishing up recording Thriller (1982), which would go on to become the best-selling album of all time. The following is an excerpt from their interview as it originally appeared as the cover story of the October 1982 issue.
BOB COLACELLO: Did you like performing as a child? Did you always love it?
MICHAEL JACKSON: Always did. I always enjoyed the feeling of being onstage—the magic that comes. When I hit the stage it’s like all of a sudden a magic from somewhere just comes and the spirit just hits you and you just lose control of yourself. I came onstage at Quincy’s [Jones] concert at the Rose Bowl and I did not want to go onstage. I was ducking and hiding and hoping he wouldn’t see me hiding behind people when he called me on. Then I went up there and I just went crazy. I started climbing up the scaffold, the speakers, the light gear. The audience started getting into it and I started dancing and singing and that’s what happens.
COLACELLO: How do you compare acting to performing on the stage?
JACKSON: I love both. Acting is the cream of the crop. I love performing. It’s a phenomenal getaway. If you want to really let out everything you feel, that’s the time to do it. With acting, it’s like becoming another person. I think that’s neat, especially when you totally forget. If you totally forget, which I love to do, that’s when it’s magic. I love to create magic—to put something together that’s so unusual, so unexpected that it blows people’s heads off. Something ahead of the times. Five steps ahead of what people are thinking. So people see it and say, “Whoa I wasn’t expecting that.” I love surprising people with a present or a gift or a stage performance or anything. I love John Travolta, who came off that Kotter show. Nobody knew he could dance or do all those things. He is like—boom. Before he knew it, he was the next big Brando or something.
COLACELLO: He hasn’t done much lately.
JACKSON: I know. I think he’s choosing scripts and stuff. It’s always difficult for anyone trying to compete against their past achievements . . .
COLACELLO: It seems that what really motivates you is your desire to entertain people, to please people. What about fame and money? Could you imagine not being famous or does being famous bother you?
JACKSON: It never has bothered me except sometimes when you want peace. Like you go to the theater and you say, “Nobody’s bothering me tonight, I’m wearing my hat and glasses and I’m going to enjoy this film and that’s all there is to it.” You get in there and everybody’s watching and staring at you and at the climax of the film somebody taps you on the shoulder for an autograph. You just feel like you can’t get away . . .
COLACELLO: You’re very close to your parents. Do they live out here in L.A.?
JACKSON: Yes. My mother’s upstairs. My father’s at the office.
COLACELLO: What’s your typical day like?
JACKSON: Daydreaming most of the day. I get up early and get ready for whatever I’ve got to do, songwriting or whatever it is. Planning the future and stuff.
COLACELLO: Are you optimistic about the future?
JACKSON: Yes. I always like to plan ahead of time and follow up . . .
COLACELLO: Do you care about fashion much?
JACKSON: No, I care about what I wear onstage. You know what I love, though? I don’t care about everyday clothes. I love putting on an outfit or a costume and just looking at myself in the mirror. Baggy pants or some real funky shoes and a hat and just feeling the character of it. That’s fun to me.
COLACELLO: You like to act a lot just in everyday life?
JACKSON: I love it so much. It’s escape. It’s fun. It’s just neat to become another thing, another person. Especially when you really believe in it and it’s not like you’re acting. I always hated the word acting—to say, “I’m an actor.” It should be more than that. It should be more like a believer.
COLACELLO: But isn’t that a little frightening when you believe it totally?
JACKSON: No, that’s what I really love about it. I just like to really forget.
COLACELLO: Why do you want to forget so much? Do you think life is really hard?
JACKSON: No, maybe it’s because I just like jumping in other people’s lives and exploring. Like Charlie Chaplin. I just love him to death. The little tramp, the whole gear and everything, and his heart—everything he portrayed on the screen was a truism. It was his whole life. He was born in London, and his father died an alcoholic when he was six. He roamed the streets of England, begging, poor, hungry. All this reflects on the screen and that’s what I like to do, to bring all of those truths out . . .
COLACELLO: Do you sometimes feel as though you missed out on childhood because you’ve always been performing in the adult world?
JACKSON: Sometimes.
COLACELLO: But you like people older than yourself, experienced people.
JACKSON: I love experienced people. I love people who are phenomenally talented. I love people who’ve worked so hard and been so courageous and are the leaders in their fields. For me to meet somebody like that and learn from them and share words with them—to me that’s magic. To work together. I’m crazy about Steven Spielberg. Another inspiration for me, and I don’t know where it came from, is children. If I’m down, I’ll take a book with children’s pictures and look at it and it will just lift me up. Being around children is magic . . .
COLACELLO: Are you interested in art?
Jackson contributed the song "Someone In the Dark" to the storybook for the film E.T. the Extra-Terrestrial. Listen to a sample from the song:
JACKSON: I love to draw—pencil, ink pen—I love art. When I go on tour and visit museums in Holland, Germany or England—you know those huge paintings?—I’m just amazed. You don’t think a painter could do something like that. I can look at a piece of sculpture or a painting and totally lose myself in it. Standing there watching it and becoming part of the scene. It can draw tears, it can touch you so much. See, that’s where I think the actor or performer should be—to touch that truth inside of the person. Touch that reality so much that they become a part of what you’re doing and you can take them anywhere you want to. You’re happy, they’re happy. Whatever the human emotions, they’re right there with you. I love realism. I don’t like plastics. Deep down inside we’re all the same. We all have the same emotions and that’s why a film like E.T. touches everybody. Who doesn’t want to fly like Peter Pan? Who doesn’t want to fly with some magic creature from outer space and be friends with him? Steven went straight to the heart. He knows—when in doubt, go for the heart . . .
[Andy Warhol calls from New York.]
ANDY WARHOL: Hello?
JACKSON: Hi.
WARHOL: Gosh, this is exciting. You know, every time I use my Walkman I play your cassette on it . . . How have you been?
JACKSON: I’ve been in the studio a lot, writing lyrics and working on songs and stuff.
WARHOL: I might go see an English rock group at the Ritz tonight called Duran Duran. Do you know them?
JACKSON: No.
WARHOL: I went to see Blondie at the Meadowlands last week.
JACKSON: How was Blondie?
WARHOL: She was great. She’s so terrific. Do you know her?
JACKSON: No, I never met her.
WARHOL: Well, when you come to New York I’ll introduce her. Going on tour is about the hardest thing to do in the world.
JACKSON: Tour is something—the pacing. But being onstage is the most magic thing about it . . .
WARHOL: Did you ever think you’d grow up to be a singer?
JACKSON: I don’t ever remember not singing, so I never dreamed of singing.
WARHOL: Do you go out a lot or stay home?
JACKSON: I stay home.
WARHOL: Why do you stay home? There’s so much fun out. When you come to New York we’ll take you out.
JACKSON: The only time I want to go out is when I’m in New York.
WARHOL: Do you go to the movies?
JACKSON: Oh, yes. We’re going to be working on the E.T. album. I had a picture session with E.T. and it was so wonderful . . . He’s hugging me and everything.
WARHOL: I like Tron. It’s like playing the video games. Have you seen it?
JACKSON: Yes. It didn’t move me.
WARHOL: Well, thanks a lot. See you soon.
JACKSON: I hope so . . .
Sam 12 Déc - 21:48
moi c'est plus sa coiffure qui me pose problème 
