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Медийни материали, Статии и снимки
taniahy
публикуване Jul 18 2011, 07:14 PM
Коментар #1001


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damita
публикуване Jul 18 2011, 07:47 PM
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Благодаря ти за сканираните страници. Не знаех, че са публуквали историята на Жоро. Те да не би да правят някаква поредица за фенове на Майкъл?!... mj_eyes.jpg


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taniahy
публикуване Jul 18 2011, 10:00 PM
Коментар #1003


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Цитат(damita @ Jul 18 2011, 07:47 PM) *
Благодаря ти за сканираните страници. Не знаех, че са публуквали историята на Жоро. Те да не би да правят някаква поредица за фенове на Майкъл?!... mj_eyes.jpg




Би било хубаво,по-добре е от "истината" за Майкъл за която всеки пише по своя си акъл.Наистина предпочитам да чета фенски разкази.А интервюто много ми хареса,много!
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RockTheBoat
публикуване Jul 18 2011, 10:34 PM
Коментар #1004


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Много хубаво наистина! Мерси за скановете smile.gif


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Janet
публикуване Jul 19 2011, 11:13 AM
Коментар #1005


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mirella78
публикуване Jul 19 2011, 02:44 PM
Коментар #1006


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Благодаря много за интервютата ,наистина е много хубаво.Този Жоро значи си се е остановил в Америка?И все пак значи Майкъл е знаел,че съществува страна като България.Стана ми много приятно ,след като прочетох,че е казал,че обича феновете си от България.
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PMJ130321
публикуване Aug 23 2011, 12:33 PM
Коментар #1007


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В утрешния брой на БРАВО:

Майкъл, Кърт, Тупак, Алая: Безсмъртните в музиката
На 29 август светът ще отпразнува 53 години от рождението на Майкъл Джексън – рожден ден, който той така и не дочака... Но и повод БРАВО да ти припомни безсмъртните!


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Janet
публикуване Oct 12 2011, 09:14 AM
Коментар #1008


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How five groundbreaking, teen-intoxicating videos got made, as told to Craig Marks and Rob Tannenbaum for their new oral history of MTV.

Published Oct 9, 2011


Michael Jackson on the "Billie Jean" set in Los Angeles, 1983.
(Photo: Sam Emerson/Polaris)


When MTV launched, in 1981, it was an outlet for something that barely existed: The channel had about a hundred videos in its inventory, mostly by marginal or unpopular British and Australian bands. But it soon became the sun around which popular culture rotated. The MTV aesthetic during its golden age of 1981 to 1992—quick cuts, celebrations of youth, shock value, impermanence, beauty—influenced not only music but network and cable TV, radio, advertising, film, art, fashion, race, sexuality, even politics. The channel was plotted to captivate an audience whose interests had been ignored: John Lack, who started MTV, called teenagers "the demographic group least interested in TV," because TV wasn't interested in teens. Children had cartoons; adults had the evening news and most of the shows that followed it. Teens were untapped, an invisible power. MTV gave them what they wanted—sometimes more or less accidentally. Before Facebook, Twitter, Tumblr, and text-messaging, kids did one thing, separately but simultaneously: They watched MTV. These are the behind-the-scenes stories of five history-making videos.


Michael Jackson ”Billie Jean” (1983)

MTV, thinking it was a rock station, refused to play it at first.


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Jeff Ayeroff, A&M Records Exec: Quincy Jones called one day and told me to come to his office and meet Michael. I played them the Human League’s “Don’t You Want Me” video and said, “That’s who should do the video.”
Steve Barron, Director: Michael liked “Don’t You Want Me,” so his management contacted me. They said he wanted something cinematic. I had this flash to do something magical, where he’d have a Midas touch and everything he touches lights up.The budget was set at somewhere around $55,000. Jackson’s manager Freddy DeMann called me and said Michael had been practicing dance moves in front of the mirror, so it would be good to save some of the video for him to dance.
Susan Blond, CBS Records: I brought this amazing video to MTV, and they said, basically, “This doesn’t fit onto our network.” I first met Michael when he was a kid, and he was obsessed with the Osmonds—they were getting more coverage because Michael was black. This had been a major thing with Michael—his whole life, he had been excluded from the media because he was black.
Bob Pittman, MTV Co-Founder: Rick James made the claim that MTV wasn’t playing any black videos. I figured, “That’s ridiculous, people will watch MTV and know it’s not true.” I learned my first great PR lesson there. The press ran with MTV PLAYS NO BLACK VIDEOS, ALLEGES RICK JAMES. All of us realized, “God, we’d better work extra hard to find some black videos.” So we looked for artists. And when the guys saw “Billie Jean,” they said, “This is it.”
Walter Yetnikoff, CBS Records President: My recollection about “Billie Jean”—and I was drinking and drugging a lot during that period, so my memory’s a little spotty—is that I called Pittman and said, “You have to play this video.” He said, “We’re a rock station, we don’t play black music.” I said, “That’s great. I’m pulling all my videos.”
David Benjamin, CBS Records: I helped negotiate our contract with MTV, and there was a clause that allowed us to pull all our videos on 24 hours’ notice, in case we hadn’t negotiated the proper clearances with our acts. We hadn’t intended it, but that clause gave us a heavy hammer to wield.
Pittman: If anybody at CBS thought that we weren’t going to play Michael Jackson, they were out of their minds. Walter claims that he made us play the video. That’s such a typical Walter trick, to make himself seem important to his artists.
Yetnikoff: Now they say they played “Billie Jean” because they loved it. How plausible is it that they “loved it”? Their playlist had no black artists on it. And at the time, Michael Jackson was black. So what is this bullshit that they loved it?


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tanya
публикуване Oct 14 2011, 11:50 AM
Коментар #1009


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Earth Song: Inside Michael Jackson’s Magnum Opus

”Terrific! It was totally engaging to finally hear the complete story of ‘Earth Song.’ Vogel’s perspective is amazing. What true insights he has uncovered.” – Matt Forger, Technical Engineer for Thriller, Bad, Dangerous and HIStory

”To my mind, Joe Vogel’s analysis of Michael Jackson’s Earth Song represents the very best of what art criticism can be: it educates and enlightens us, and leads us to a deeper appreciation and understanding of Jackson’s art. This is especially important with Michael Jackson because his work appears deceptively simple but is surprisingly complex, with layer upon layer of sound and meaning. Most critics have either failed to see that complexity or have simplified it down to make it easier to write about. Vogel doesn’t. He revels in that complexity and shares his love with us, so that we too can experience the full richness of Jackson’s achievement. Vogel also isn’t afraid to cross that rather artificial divide between high art and popular art. Jackson himself crossed that boundary repeatedly in his work, and Vogel has the tools necessary to cross that boun-dary with him and fully explore both spheres. Vogel takes us on a tour not only of Jackson’s creative process but of the cultural terrain that gave rise to it, and I personally loved having Vogel as my tour guide.” – Dr. Willa Stillwater

”No pop culture journalist or music critic with one column to fill and ads to sell could possibly make the connections that Joseph Vogel is providing nor illuminate the entire scope of this incredible man’s art and the mind and soul that led him to it… Michael Jackson was clearly a man ahead of his time and perhaps out of sync with it through no fault of his own. His wisdom often fell upon deaf ears because he offered large thoughts to small minds. Vogel, however, has arrived at exactly the right time and his efforts are providing a new lens through which Jack-son’s work may be viewed and appreciated anew.” – Chris Kohler

”It is such a pleasure to read such a well-written work by someone who is uniquely qualified in his knowledge of music, art, and Mr. Jackson—and to write in such a way as to make it accessible to both musicians and laymen alike! Undoubtedly, ‘Earth Song is one of the most beautiful and haunting songs ever written, and Vogel’s background- details about the thought and musical process as well as the emotions behind the song make me appreciate it more than ever.” – Nancy Jensen

”Vogel’s piece offers a revelatory experience for fans and scholars alike…The emotive power in his distinctive writing style reveals a coupling and mastery of both literary criticism and spiritual exegesis…[Earth Song] fully succeeds in illuminating Jackson’s music, lyrics, and performance by leading us through a fascinating journey from inception to completion of the creative process…The author establishes Jackson, not only as a musical savant, but also positions him as a fine artist of stature among a constituency of greats (an eclectic and profound milieu of such artists as Blake, Picasso, Michelangelo, poet Wordsworth, and composer Beethoven, among others). This innovative approach challenges the reader to expand his or her understanding of the artist’s work and of his significant place in cultural history. The piece triggers the reader to step over the threshold of prior literal limitations and into a much more expansive consciousness of Jackson’s art as it is situated amidst the panoramic landscape of centuries of art, literature, and music.” – Constance Pierce

”To the ordinary layman, and perhaps even some musicians, ”Earth Song” might be perceived as the ultimate ‘vanity vehicle.’ But in the hands of Vogel, these thoughts rapidly fall away. Earth Song takes the reader on a journey through the innermost workings of Jackson’s artistic process … Richly descriptive and informative, Vogel’s prose punches with poetical and religious references as diverse as Job, Abraham, Wordsworth and Beethoven, while co-existing with quotes and fresh recollections from people who were actually there with Jackson on tour and at key moments in the studio. Yet Vogel’s multi-layered work is never stuffy. Small details like Jackson’s preference for Gatorade as a between-song beverage on tours jostle happily with complex analysis of the recording techniques and microphone choices of a notoriously perfectionist artist … [Earth Song] sets new heights and defines new possibilities for how Jackson’s work and music can and should be appreciated.” – Deborah French
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suffer_well
публикуване Oct 14 2011, 03:38 PM
Коментар #1010


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Последните две статии! Снимката от Били Джийн е страхотна.
Обичам да чета такива истории от миналото и рецензии. Как са създавали песните и тн


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tanya
публикуване Oct 30 2011, 05:38 PM
Коментар #1011


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From October 22nd 2011 A New edition of the book, called “Invincible Sabotage by Luka Neskovic, (Inside Michael Jacksons Case) became available as ebook Amazon Kindle. Negotiations are under way in hope that the book will be available in psysical format for the next month. One review reads: It's very detailed, this is what I wanted As a MJ fan for a very long time I wanted to inform myself about Invincible case, and this was the right book. It describes a huge injustice that this album survived, and a detailed CONSPIRACY against this album and Michael Jackson by Sony. It also includes a two chapters about Sony/ATV Music Publishing catalog...In general,the book is very interesting, objective, excellent!!! Since this review, the book has a better professionall english translation, better formatting, new cover, and we also added a sources and references, plus other extras. So if anyone really wants the Truth about MJ and Sony, this could a great read. I know I will be reading it!!!
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Janet
публикуване Nov 4 2011, 03:38 PM
Коментар #1012


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Цитат
"Am I the Beast You Visualized?" The Cultural Abuse of Michael Jackson

Posted: 11/2/11

We have heard the point made over and over these past few weeks: It is not Michael Jackson currently on trial; it is Dr. Conrad Murray. But, of course, we know the reality. This is the "Michael Jackson Death Trial." He is, as he always was, the main event, the tantalizing spectacle. It is Michael Jackson who is under the microscope as we pry, one more time, through his home, his medical records, his body. And while the public at large is much more sympathetic now that Jackson has passed, he remains the subject of endless scrutiny and judgment.

Does any of it matter now that the man himself can't feel the abuse? Should the average person even care whether a "celebrity" like Jackson is treated with callousness or disregard? Projects like Voices, whose "Words and Violence" series highlights the disturbing trajectory of our social discourse, says yes. Words matter. No matter the target. Words, as we have witnessed with the recent attention on youth bullying and suicides, can lead to devastatingly tragic ends.

They can also be used to inspire and heal.

Michael Jackson knew this. In 1988, he befriended AIDS victim Ryan White, a young boy forced out of his school in Kokomo, Indiana because of relentless verbal assaults and threats of violence. Jackson, White said, made him feel normal. "[Michael] didn't care what race you were, what color you were, what was your handicap, what was your disease," recalled Ryan White's mother, Jeanne. "[He] just loved all children."

White is one of thousands of "outsiders" to whom Jackson reached out, befriended and treated with kindness. He identified with them. He understood their pain and loneliness. He felt empathy for their struggle to live in a world that refused to accept them for who they were, whether because of illness, physical appearance, race, sexual orientation or some other reason.

Even as a young boy, Jackson possessed this sensitivity. Listen to the song, "Ben." There is genuine pain and compassion in Jackson's delivery ("They don't see you as I do/ I wish they would try to"). The song can be seen as one of the first artistic statements Jackson made on behalf of the marginalized and misunderstood. Many more would follow.

Jackson's outsider role may have begun in childhood (as there was never a time Jackson felt "normal" and never a time he was perceived as such). Yet the intensity and hostility caused by his difference grew over time. In his 1996 essay, "The Celebrity Freak: Michael Jackson's Grotesque Glory," David Yuan argued that Michael Jackson was the defining "freak" of our time. No other public figure in the world evoked the same level of ridicule, scrutiny and hyper-interrogation. As early as 1985, Jackson was being labeled "Michael Jackson" by the tabloids, a term he despised (as recently as this year, some mainstream news organizations continued to refer to him as "Jackson"). In the press, he was frequently described as "bizarre," "weird," and "eccentric." Indeed, there was very little he said or did from the mid-1980s forward that wasn't described in these terms by the media.

Jackson was mocked incessantly for his skin disorder, vitiligo, which most people didn't believe was real until it was confirmed definitively in his autopsy. He was mocked for his love of animals; for his love of children; for his love of the planet. He was mocked for his marriages, for his three kids, for his Neverland home. He was mocked for his sexuality, his voice, his childlike behavior. Even reviews of his music couldn't resist filling up the majority of the space with pseudo-psychoanalysis and ad hominem assaults. Can there be any doubt that this treatment by the media and culture at large was abusive?

Certainly the victim of these dehumanizing attacks felt that way. Listen to the lyrics of his songs. In "Tabloid Junkie" he describes the mass media as "parasites" sucking the life out of him, while drugging/distracting the general public with a steady dose of sensationalism. In "Stranger in Moscow" he is an artist in exile, used up and spit out by his native country. "I was wanderin' in the rain," he sings from the lonely role of vagabond, "Mask of life/ Feeling insane."

In "Scream" he is so weary of being bullied, he pleads, "Oh brother, please have mercy 'cause I just can't take it." The song, however, also serves as a vehicle of strength and resolve ("Kickin' me down/ I got to get up"). Michael and sister Janet deliver a fierce counterblow to a system they rightfully see as corrupt and unjust. "You're sellin' out souls," Janet sings in one verse, "but I care about mine." It is a defiant song about standing up to cruelty, even when the pain and indignation is so deep it can only be expressed in a guttural scream.

In numerous songs, Jackson uses his music as a rallying call for others who have been mistreated. In "They Don't Care About Us," he witnesses for the disenfranchised and demeaned. "Tell me what has become of my rights," he sings, "Am I invisible because you ignore me?" "Little Susie" draws attention to the plight of the neglected and abandoned, telling the story of a young girl whose gifts go unnoticed until she is found dead at the bottom of the stairs in her home ("Lift her with care," Jackson sings, "Oh, the blood in her hair"); "Earth Song" offers an epic lamentation on behalf of the planet and its most vulnerable inhabitants (represented by the choir's passionate shouts, "What about us!"). Through such songs (as well as through his life and persona), Jackson became a sort of global representative of the "Other."

The mass media, however, never held much regard for Jackson's other-ness, just as they held little regard for the "others" he spoke of in his songs. Rather, they found a narrative that was simple and profitable -- Jackson as eccentric "freak" -- and stuck with it for nearly three decades, gradually upping the stakes.

Perhaps Jackson's most compelling response to the public perception of him that resulted comes in his trio of late Gothic songs: "Ghosts," "Is It Scary," and "Threatened." It is here that Jackson holds a mirror up to the society that scorns him and asks it to look at its own grotesque reflection. "Is it scary for you!" he demands. The songs, and their accompanying visual representations, are not only keenly self-aware, they demonstrate a shrewd understanding of the toxic forces that surround and haunt him.

In the short film, Ghosts, the Mayor of Normal Valley (a conservative figure of authority inspired, in part, by Santa Barbara District Attorney, Tom Sneddon) taunts Jackson's character: "Freaky boy! Freak! Circus freak." Interestingly, it is Jackson himself (disguised as the Mayor) that delivers these words, and one can feel the way they have been internalized. They are slurs intended to mark, marginalize and humiliate (which was ultimately the purpose of the witch hunts of 1993 and 2005). For the Mayor, Jackson's presence in the community is intolerable. It is not that Jackson has done any harm; it is simply that he is different and that difference is threatening.

In such artistic expressions, Jackson clearly recognizes what is being done to him. He is being defined by outside forces. He is a phantom they have constructed in their own minds. As he sings in "Is It Scary," "If you wanna see/ Eccentric oddities I'll be grotesque before your eyes." He will be grotesque, in other words, because that is what the public "wants to see." It is how they have been conditioned to see. Later in the song, he anticipates his audience's reactions, asking: "Am I amusing you/ Or just confusing you/ Am I the beast you visualized?" Has he become something less than human? Why is this? Is it his physical appearance? His ambiguous identity? His unusual life story? There is no question Michael Jackson was different. The question is why this difference incited such fervent disparagement and abuse.

One of the remarkable qualities of Jackson's life and work, however, is that he refuses to compromise his "difference." He never becomes "normal," as the term is represented by, say, the Mayor of Normal Valley. He doesn't conform to expectations. Rather, he is true to himself and flaunts his unique, multi-faceted identity, to the frustration of those who would like him to fit in more predictable boxes. His differences, as Susan Fast notes, were "impenetrable, uncontainable, and they created enormous anxiety. Please be black, Michael, or white, or gay or straight, father or mother, father to children, not a child yourself, so we at least know how to direct our liberal (in)tolerance. And try not to confuse all the codes simultaneously."

Even over two years after his tragic passing, it seems, many people don't know what to make of Michael Jackson. He is reduced, therefore, to easy labels like "drug addict." A picture of his lifeless body is callously plastered on news sites. It is cruel, abusive behavior masquerading as "normal." Perhaps this is why Jackson chose the medium of the Gothic to fight back. It was a way to turn the tables, to symbolically represent the world as it often felt to him: monstrous and grotesque. His "horror stories" certainly weren't intended merely to entertain.

"Freaks are called freaks," observed author James Baldwin, "and are treated as they are treated -- in the main, abominably -- because they are human beings who cause to echo, deep within us, our most profound terrors and desires." In Jackson's case those "terrors and desires" were manifold, including race, sexuality, money and power. Yet as much as Jackson became the symbolic magnet onto which many of these cultural anxieties were projected, he was also an actual person trying to live his life. Toward the end of "Is It Scary" he explains, "I'm just not what you seek of me," before revealing to the compassionate listener: "But if you came to see/ The truth, the purity/ It's here inside a lonely heart/ So let the performance start!"

Ironically, it is in the "performance" of his art that we find "the truth, the purity." This is where he exorcizes his demons, where his anguish is transfused into creative energy. This is where the walls come down and the mask comes off. To the outside world, he may be a spectacle, a caricature, a freak; but here, finally, inside his music, he bares his soul. He is a human being.

The question is: What do we see?


This article is cross-posted at Voices: Education Project as part of the "Words and Violence" curriculum.

Joseph Vogel is the author Man in the Music: The Creative Life and Work of Michael Jackson, released worldwide November 1, 2011.


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SCARY
публикуване Nov 4 2011, 05:24 PM
Коментар #1013


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^ СТРАХОТНА СТАТИЯ !!! С МАЛКО РЕДОВЕ , НАПРАВЕНА ЕДНА ТОЧНА Х-КА , ТОЧЕН РАЗБОР И ОТРАЖЕНИЕ НА MICHAEL
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Kathie
публикуване Nov 6 2011, 12:39 AM
Коментар #1014


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Janet благодаря за статията...gives food for thought...


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tanya
публикуване Dec 8 2011, 06:32 PM
Коментар #1015


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Dear Michael book rocks with Swarovski-studded Michael Jackson portrait

Connoisseurs of luxury add luxury books to your list of must haves. Bungalow Publishing is unveiling their first ever luxury book based on Michael Jackson.

The ”Dear Michael” book is exclusive and limited-edition. The founders of Bungalow Publishing Marisa Garau and Arjan van Woensel wanted to combine high value with human creativity. The Michael Jackson Book Memorial in honor of the late singer Michael Jackson features his portrait made from 3,000 Swarovski crystals and is on every book cover.

The book is thoughtfully placed in two cases made from Alpine White engineered stone and sweet-scented wood from walnut tree. This case is cleverly designed to perform as a pedestal for those interested in a little bit of display. The white case is also equipped with a Medal of Honor with Michael Jackson’s initials on it.

To bring to life and create a high-end, one of a kind product they brought together creative professionals from all walks of life such as artisans, designers, jewelers, printers, photographers, graphic artists and manufactures. Only 2,000 copies of this limited edition set will be available for sale.

For a small price of $7,500, ohmy.gif angry.gif fans will receive their very own personalized and numbered copy of this very exclusive book.











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jaco12
публикуване Dec 8 2011, 10:37 PM
Коментар #1016


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Ебай златната книга biggrin.gif мен ще ме е страх да я пипна , иначе много яко изглежда tongue.gif


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methodman
публикуване Dec 11 2011, 08:52 AM
Коментар #1017


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http://www.mjvibe.com/store/int/?wpsc-prod...-series-issue-1


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taniahy
публикуване Dec 12 2011, 08:11 PM
Коментар #1018


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Тва вече е наистина за хора колекционери,не вярвам да има нещо по-различнов тази книга.Само на шкефчето да стои mj_damn.jpg
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Kathie
публикуване Dec 12 2011, 11:50 PM
Коментар #1019


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Цитат(tanya @ Dec 8 2011, 06:32 PM) *

Дори и да имах парите не бих си я взела. Swarovski върху книга? Какво ще я правя с толкова много bling по нея, на шията ли да си я окача hihihiaiaia.jpg


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Janet
публикуване Jan 19 2012, 10:37 AM
Коментар #1020


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Цитат
For more than 20 years, superstar Michael Jackson would include mysterious symbols on his clothing or add them to his autographs. Now, MJJMagazine takes you on the inside to explain - finally - what the symbols really mean!

"It’s great to know the true meaning of 777 or CTE, at last," says the magazine editor. "We had an exclusive and extensive interview in Los Angeles with Jackson's long-time personal costume designer, Michael Bush, [who] clarified all the rumors! It was an illuminating conversation!"

The current issue also features many never-before-seen official photographs from the 'Captain Eo' short film, celebrating 25 years since its premiere. It also includes full coverage of the first ever Michael Jackson Estate-authorized Fan Fest in Las Vegas which pulled in thousands of fans from all over the world this past December.




http://www.mjjwebsite.com/


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