[Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
http://www.michronicleonline.com/articlelive/articles/4054/1/DRUGS-THE-DESTOYERS/Page1.html DRUGS. THE DESTOYERS By Steve Holesey There will be debates, new information, denials, revelations, speculation, and just about anything else you can think of, for perhaps years to come. But the known facts make it clear that what took the life of Michael Jackson was his overuse of heavy-duty prescription drugs. Even his brother, Tito, has publicly acknowledged that there was a serious problem as far back as the ’90s. Because he was rich and famous, Jackson was able to get pretty much anything he wanted. Michael was surrounded by enablers, yes-men and various other hangers-on which made it that much easier. They formed a fence around him that blocked the outside world, which included concerned people who could have helped him. BILLIE HOLIDAY was, and will always be, one the finest jazz singers of all time. In fact, she, Ella Fitzgerald and Betty Carter rank as the three most accomplished and effective female jazz vocalists ever. They are untouchable. Holiday was plagued by an addiction to heroin that hampered her every step of the way. However, it was only near the end of her celebrated career that this affliction began to affect her special voice. But even then she was still capable of brilliance. “Lady in Satin” is one of the most powerful and soul-touching albums ever recorded, featuring Billie with an orchestra. The sound is lush and beautiful. By this time there was a ravaged edge to her voice, but she still delivers songs like “You Don’t Know What Love Is” and “I Get Along Without You Very Well” superbly. In a strange, almost haunting way, the condition of her voice made the songs that much more effective. AMY WINEHOUSE is a fascinating singer from England with a voice and style steeped in Black culture and music traditions (RB and jazz especially). Her 2006 album, “Back to Black,” was a huge success, finding favor with music buyers of many persuasions and ethnicities. Its success and artistic merit also resulted in Winehouse receiving the coveted Best New Artist Grammy. But while all this was happening, the songstress with the exotic look reminiscent of the Ronettes from the 1960s, was, with much media attention, battling substance abuse (cocaine, heroin and more). Interestingly, one of her biggest hits is titled “Rehab.” Fans are wishing the best for the talented lady. SLY STONE (real name: Sylvester Stewart) exploded on the music scene in the latter half of the ’60s, offering sounds and looks no one had heard or seen before. The music of Sly the Family Stone was exciting, energetic and often life-affirming. The best of the best included “Dance to the Music,” “Everyday People,” “Hot Fun the Summertime,” “I Want to Take You Higher” and “Stand!” In 1971, he introduced a completely different, much slowed down sound with “Family Affair” and continued with “If You Want Me to Stay” and others. But drug use ultimately made Sly undependable and far less creative. Eventually he became a recluse and today is only seen occasionally. WHITNEY HOUSTON knows there is a lot riding on her “I Look to You” album, which will probably be released by the time you read this. It can be accurately defined as a comeback project because Houston is rising from the depths of drug hell, after reaching megastardom in the 1980s with a gift-from-God voice and outstanding material. Some blamed her downward plunge on her former husband, Bobby Brown, also a recovering addict, but that is not fair. She made her own decisions, and now she has made the decision to get her life and career back together. The odds are in her favor. RAY CHARLES was a heroin addict for many years, was arrested for it and had to go through an extremely difficult detox program, all of which was made graphically clear in the remarkable movie “Ray,” with Jamie Foxx turning in an Academy Award-winning performance. Although Charles would never in a million years have advocated anyone using drugs, he said he had no regrets about his own drug use because that was what he chose to do at the time and had to go through. Like so many before him, Michael Jackson, one of the greatest entertainers and recording artists of all time, became, much like Elvis Presley, a prisoner of his massive fame. In many ways another legend, jazz icon Miles Davis, was representative of the many jazz musicians who were addicted to hard drugs. No one knows for sure why jazz musicians tend to be more prone to drug abuse. But some believe it has something to do with the music itself emerging from such a deep place in the musicians’ psyche and heart. This is compounded by the pain of making music that is not fully accepted or understood, and the fact that so many jazz musicians have to struggle to survive. NATALIE COLE has many people praying for her and sending out other expressions of support as she gallantly fights a battle with hepatitis C, the result of hard-core drug use
[Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Bix Beiderbecke Bix Beiderbecke - died at 28 Background information Birth name Leon Bismark Beiderbecke Born March 10, 1903(1903-03-10) Origin Davenport, Iowa,[1] U.S. Died August 6, 1931 (aged 28) Genre(s) Jazz Dixieland Occupation(s) Musician composer Instrument(s) Cornet, Piano Years active 1924-1931 Website bixbeiderbecke.com Leon Bismark Bix Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist and composer, as well as a skilled classical and jazz pianist. One of the leading names in 1920s jazz, Beiderbecke's career was cut short by chronic poor health, exacerbated by alcoholism. Critic Scott Yanow describes Beiderbecke as the possessor of a beautiful, distinctive tone and a strikingly original improvising style. Beiderbecke's chief competitor among cornetists in the 1920s was Louis Armstrong, but (due to their different sounds and styles) one really could not compare them.[2] Bix Beiderbecke recorded many jazz standards during his career in the 1920s and early 1930s, including Riverboat Shuffle, Copenhagen, Davenport Blues, Singin' the Blues, In a Mist, Mississippi Mud, I'm Coming, Virginia, and Georgia On My Mind. Contents [hide] 1 Early life 2 Career 3 Death 4 Influences 5 Influence on later musicians 6 Popular culture 7 Name 8 Compositions by Bix Beiderbecke 9 Major Recordings, 1924-1930 10 Cover Versions of In a Mist 11 Cover Versions of Davenport Blues 12 Honors 13 References 14 External links [edit] Early life Beiderbecke's childhood home in Davenport.Bix Beiderbecke was born in Davenport, Iowa[1], the son of Bismark and Agatha Beiderbeckes, both natives of Iowa. He was the youngest of three children in the middle-class family of German origin. As a teenager he would sneak off to the banks of the Mississippi to listen to bands play on the riverboats arriving from the south. Illness frequently kept Beiderbecke out of school, and his grades suffered. He attended Davenport High School briefly, but his parents felt that enrolling him in the exclusive Lake Forest Academy, north of Chicago in Lake Forest, Illinois, as a boarding student would provide him with both the necessary faculty attention and discipline to improve his academic performance. However, the change of scenery did not improve Beiderbecke's academic record, as the only subjects in which he displayed interest were music and sports. Beiderbecke began going into Chicago to catch the hot jazz bands at clubs and speakeasies. He often failed to return to his dormitory before curfew, and sometimes stayed off-campus the next day. Beiderbecke was dismissed from the academy due to his academic failings and extracurricular activities. His time now free, he began his musical career. [edit] Career Bix Beiderbecke was one of the great jazz musicians of the 1920s, the Jazz Age. Beiderbecke first recorded with the Wolverine Orchestra in 1924. The ensemble was casually called the Wolverines. The group recorded the jazz standards Riverboat Shuffle, written for the band by Hoagy Carmichael, and Copenhagen, written by Charlie Davis. Jazz composer and pianist Hoagy Carmichael had booked their appearance at Indiana University in 1924. Bix Beiderbecke became a sought-after musician in Chicago and New York City. He made innovative and influential recordings with Frankie Trumbauer (Tram) and the Jean Goldkette Orchestra. In 1927, he played cornet on the landmark Okeh recording Singin' the Blues, with Frankie Trumbauer on C-melody saxophone and Eddie Lang on guitar, one of the most important and influential jazz recordings of the 1920s. The orchestra on that session also included Jimmy Dorsey on clarinet and alto saxophone, Miff Mole on trombone, Chauncey Morehouse on drums, and Paul Madeira Mertz on piano. When the Goldkette Orchestra disbanded after their last recording (Clementine (From New Orleans)), released as Victor 20994, in September 1927, Beiderbecke and Trumbauer, a 'C' melody and alto saxophone player, briefly joined Adrian Rollini's band at the Club New Yorker, New York. Beiderbecke then moved on to the Paul Whiteman Orchestra, the most popular and highest paid band of the day. Although some historians have derided Whiteman and lamented Beiderbecke's tenure with the large orchestra, historian Dick Sudhalter, in his book Lost Chords, asserts: Colleagues have testified that, far from feeling bound or stifled by the Whiteman Orchestra, as [saxophonist and author Benny] Green and others have suggested, Beiderbecke often felt a sense of exhilaration. It was like attending a music school, learning and broadening; formal music, especially the synthesis of the American vernacular idiom with a more classical orientation, so much sought-after in the 1920s, were calling out to him. Bix Beiderbecke also played piano, sometimes switching from cornet for a chorus or two during a song (e.g., For No Reason at All in C, 1927). He wrote several compositions for the piano, and recorded one of them, In a Mist (after it was
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
It would seem that Michael Jackson aesthetic was a species of the bourgeois Romanticists Peter Pan philosophy. ( I think his pad was called Neverland; he even has an evil father , like Captain Hook in the fifties television version of Peter Pan) He sought to remain a child and in communication with children, presumably in some sense pursuing the idea that childhood is a special locus of creative consciousness and , of course, youthful vitality. In this regard, Jackson is part of a main Western aesthetic tradition. This shades into the notion of the child as the father of the man, which more abstractly is probably part of the process of the origin of the human species. Pan is part of the species name of the chimpanzee. This is also a version of adoration or deification of the child, which is a theme in the Christian myth of Jesus myth and other world philosophies. Peter Pan This article is about the character Peter Pan. For the original play and novel about the character, see Peter and Wendy. For other uses, see Peter Pan (disambiguation). Illustration of Peter Pan playing the pipes, from the novel Peter and Wendy published in 1911Peter Pan is a character created by Scottish novelist and playwright J. M. Barrie (1860–1937). A mischievous boy who can fly and magically refuses to grow up, Peter Pan spends his never-ending childhood adventuring on the small island of Neverland as the leader of his gang the Lost Boys, interacting with mermaids, Indians, fairies and pirates, and from time to time meeting ordinary children from the world outside. In addition to two distinct works by Barrie, the character has been featured in a variety of media and merchandise, both adapting and expanding on Barrie's works. Contents [hide] 1 History 2 Major stories 3 Appearance 4 Age 5 Personality 6 Abilities 7 Relationships 8 In popular culture 9 References [edit] History Cover of 1915 edition of J.M. Barrie's novel, first published in 1911.Peter Pan first appeared in a section of The Little White Bird, a 1902 novel written for adults. Following the highly successful debut of the play about Peter Pan in 1904, Barrie's publishers, Hodder and Stoughton, extracted chapters 13-18 of The Little White Bird and republished them in 1906 under the title Peter Pan in Kensington Gardens, with the addition of illustrations by Arthur Rackham.[1] The character's best-known adventure debuted on 27 December 1904, in the stage play Peter Pan, or The Boy Who Wouldn't Grow Up. This story was adapted and expanded somewhat as a novel, published in 1911 as Peter and Wendy, later as Peter Pan and Wendy, and still later as simply Peter Pan. Peter Pan has appeared in numerous adaptations, sequels, and prequels since then, including the widely known 1953 animated feature film Walt Disney's Peter Pan, various stage musicals (including one by Jerome Robbins, starring Cyril Ritchard and Mary Martin, filmed for television), live-action feature films Hook (1991) and Peter Pan (2003), and the authorized sequel novel Peter Pan in Scarlet (2006). He has also appeared in various works not authorized by the holders of the character's copyright, which has lapsed in most parts of the world. A major new stage production that will tour internationally is being mounted in 2009 in Kensington Gardens in a specially built theatre pavilion within view of the Peter Pan statue. [edit] Major stories Of the stories written about Peter Pan, several have gained widespread notability. See Works based on Peter Pan for a list of books, films, etc. featuring these and other Peter Pan stories. Peter Pan in Kensington Gardens - Infant Peter flies from his home, makes friends with fairies, and takes up residence in Kensington Gardens. A 'book-within-a-book' first published in Barrie's The Little White Bird. Peter Pan, or The Boy Who Wouldn't Grow Up/Peter and Wendy - Peter brings Wendy and her brothers to Never Land, where he has a climactic showdown with his nemesis Captain Hook. Originally told in Barrie's stage play and novel, and repeatedly adapted in various media. Hook - Peter has grown up, forgotten about his life in Never Land, and has a wife and children of his own. While the family is in London visiting elderly Wendy, Captain Hook abducts Peter's children to lure him back for a final duel to the death. A film by Steven Spielberg. Return to Never Land - During World War II, Wendy's slightly war-hardened daughter Jane is taken to Neverland by Captain Hook, but Peter saves her and asks her to be the Lost Boys' new 'mother'. A film by Disney. Peter and the Starcatchers, Peter and the Shadow Thieves, Peter and the Secret of Rundoon - Peter leaves a London orphanage for a series of adventures which offer an origin story for Captain Hook, fairies, his abilities, and the Lost Boys. Novels by Dave Barry and Ridley Pearson. Peter Pan in Scarlet - Wendy, John, and most of the Lost Boys return to Neverland, where Peter has begun to take Captain Hook's place. A novel by
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
On Jul 15, 2009, at 11:31 AM, c b wrote: It would seem that Michael Jackson aesthetic was a species of the bourgeois Romanticists Peter Pan philosophy...child as the father of the man,which more abstractly is probably part of the process of the origin of the human species. Pan is part of the species name of the chimpanzee. But pan as genus (not species) name for chimpanzees is taken from the resemblance of chimps and bonobos to the iconography of the Great God Pan. And there is absolutely nothing childlike about Pan. Shane Mage This cosmos did none of gods or men make, but it always was and is and shall be: an everlasting fire, kindling in measures and going out in measures. Herakleitos of Ephesos ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
The Great God Pan From Wikipedia, the free encyclopedia Jump to: navigation, search The Great God Pan Author Arthur Machen Country United Kingdom Language English Genre(s) Horror novella Publisher Creation Books Publication date 1926 Media type print (hardback) Pages 128 The Great God Pan is a novella written by Arthur Machen. The original story was published in 1890, and Machen revised and extended it in 1894. On publication it was widely denounced by the press as degenerate and horrific because of its decadent style and sexual content, although it has since garnered a reputation as a classic of horror. Machen’s story was only one of many at the time to focus on Pan as a useful symbol for the power of nature and paganism. Contents [hide] 1 Plot summary 2 Critical opinion 3 Film, TV or theatrical adaptations 4 Influence 5 References 6 External links [edit] Plot summary A woman in Wales has her mind destroyed by a scientist's attempt to enable her to see the god of nature Pan. Years later, a young woman named Helen Vaughan arrives on the London social scene, disturbing many young men and causing some to commit suicide; it transpires that she is the monstrous offspring of the god Pan and the woman in the experiment. [edit] Critical opinion In Supernatural Horror in Literature (1926; revised 1933), H. P. Lovecraft praised the novel, saying: No one could begin to describe the cumulative suspense and ultimate horror with which every paragraph abounds; he added that the sensitive reader reaches the end with an appreciative shudder. Lovecraft also noted, however, that melodrama is undeniably present, and coincidence is stretched to a length which appears absurd upon analysis. The Encyclopedia of Science Fiction (1993) notes The story begins with an sf rationale (brain surgery) which remains one of the most dramatically horrible and misogynistic in fiction. [edit] Film, TV or theatrical adaptations The Great God was brought to the stage in 2008 by WildClaw Theatre Company in Chicago. It was adapted and directed by WildClaw Artistic Director Charley Sherman. [edit] Influence The story's depiction of a monstrous half-human hybrid inspired the main plotline of Lovecraft’s The Dunwich Horror, which refers by name to Machen’s story. According to Lovecraft scholar Robert M. Price, 'The Dunwich Horror' is in every sense an homage to Machen and even a pastiche. There is little in Lovecraft's wonderful story that does not come directly out of Machen's fiction.[1] It also inspired Peter Straub's Ghost Story. The book was translated into French by Paul-Jean Toulet (Le grand dieu Pan, Paris, 1901). It was a major influence on his first novel, Monsieur du Paur, homme public. Stephen King wrote in the endnotes for his story collection Just After Sunset (2008) that his newly published novella N. was strongly influenced by Machen's piece, which he noted, surmounts its rather clumsy prose and works its way relentlessly into the reader's terror-zone. How many sleepless nights has it caused? God knows, but a few of them were mine. I think Pan is as close as the horror genre comes to a great white whale. In another interview he stated: Not Lovecraft; it’s a riff on Arthur Machen’s “The Great God Pan,” which is one of the best horror stories ever written. Maybe the best in the English language. Mine isn’t anywhere near that good, but I loved the chance to put neurotic behavior—obsessive/compulsive disorder—together with the idea of a monster-filled macroverse. [2] [edit] References ^ Price, pp. ix-x. ^ SELF-INTERVIEW By Stephen King 10:50am September 4th, 2008 [edit] External links On 7/15/09, Shane Mage shm...@pipeline.com wrote: On Jul 15, 2009, at 11:31 AM, c b wrote: It would seem that Michael Jackson aesthetic was a species of the bourgeois Romanticists Peter Pan philosophy...child as the father of the man,which more abstractly is probably part of the process of the origin of the human species. Pan is part of the species name of the chimpanzee. But pan as genus (not species) name for chimpanzees is taken from the resemblance of chimps and bonobos to the iconography of the Great God Pan. And there is absolutely nothing childlike about Pan. Shane Mage This cosmos did none of gods or men make, but it always was and is and shall be: an everlasting fire, kindling in measures and going out in measures. Herakleitos of Ephesos ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Pan (mythology) From Wikipedia, the free encyclopedia Jump to: navigation, search Pan Pan teaching his eromenos, the shepherd Daphnis, to play the panpipes 2nd century AD Roman copy of Greek original ca. 100 BC attributed to Heliodorus (found in Pompeii) God of shepherds and flocks, of mountain wilds and rustic music Abode Arcadia Parents Hermes and Penelope Roman equivalent Faunus This box: view • talk Pan (Greek Πάν, genitive Πανός), in Greek religion and mythology, is the companion of the nymphs,[1] god of shepherds and flocks, of mountain wilds, hunting and rustic music. His name originates within the Greek language, from the word paein, meaning to pasture.[2] He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is recognized as the god of fields, groves, and wooded glens; because of this, Pan is connected to fertility and the season of spring. The ancient Greeks also considered Pan to be the god of theatrical criticism.[3] In Roman mythology, Pan's counterpart was Faunus, a nature spirit who was the father of Bona Dea (Fauna). In the 18th and 19th centuries, Pan became a significant figure in the romanticist movement of western Europe, and also in the 20th century Neopagan movement.[4] Contents [hide] 1 Origins 2 Worship 3 Mythology 3.1 Erotic aspects 3.2 Pan and music 3.3 Capricornus 3.4 Epithets 4 The Death of Pan 5 Influence 5.1 Satan 5.2 Revivalist imagery 5.3 Neopaganism 6 Notes 7 References 8 See also 9 External links [edit] Origins In his earliest appearance in literature, Pindar's Pythian Ode iii. 78, [5] Pan appears as the agent, guardian or attendant of the Great Goddess (Cybele). The parentage of Pan is unclear;[6] in some myths he is the son of Zeus, though generally he is the son of Hermes or Dionysus, with whom his mother is said to be a nymph, sometimes Dryope or, in Nonnus, Dionysiaca (14.92), a Penelope of Mantineia in Arcadia.[7] Following Plato's inventive etymology,[8] his name is sometimes mistakenly thought to be identical to the Greek word pan, meaning all, when it is more likely to be cognate with paein, to pasture, and to share an origin with the modern English word pasture. In 1924, Hermann Collitz suggested that Greek Pan and Indic Pushan might have a common Indo-European origin.[9] In the Mystery cults of the highly syncretic Hellenistic era[10] Pan is made cognate with Phanes/Protogonos, Zeus, Dionysus and Eros.[11] Probably the beginning of the linguistic misunderstanding is the Homeric Hymn to Pan, which describes him as delighting all the gods, and thus getting his name.[12] The Roman Faunus, a god of Indo-European origin, was equated with Pan. However, accounts of Pan's genealogy are so varied that it must lie buried deep in mythic time. Like other nature spirits, Pan appears to be older than the Olympians, if it is true that he gave Artemis her hunting dogs and taught the secret of prophecy to Apollo. Pan might be multiplied as the Panes (Burkert 1985, III.3.2; Ruck and Staples 1994 p 132[13]) or the Paniskoi. Kerenyi (1951 p 174) notes from scholia that Aeschylus in Rhesus distinguished between two Pans, one the son of Zeus and twin of Arcas, and one a son of Kronos. In the retinue of Dionysos, or in depictions of wild landscapes, there appeared not only a great Pan, but also little Pans, Paniskoi, who played the same part as the Satyrs. [edit] Worship The worship of Pan began in Arcadia which was always the principal seat of his worship. Arcadia was a district of mountain people whom other Greeks disdained. Arcadian hunters used to scourge the statue of the god if they had been disappointed in the chase (Theocritus. vii. 107). Pan inspired sudden fear in lonely places, Panic (panikon deima). Following the Titans' assault on Olympus, Pan claimed credit for the victory of the gods because he had inspired disorder and fear in the attackers resulting in the word 'panic' to describe these emotions. Of course, Pan was later known for his music, capable of arousing inspiration, sexuality, or panic, depending on his intentions. In the Battle of Marathon (490 BC), it is said that Pan favored the Athenians and so inspired panic in the hearts of their enemies, the Persians. [edit] Mythology Greek deities series Primordial deities Titans and Olympians Aquatic deities Chthonic deities Personified concepts Other deities Asclepius, god of medicine Leto, mother of Apollo and Artemis Pan, shepherd god Nymphs Anatolian deities The goat-god Aegipan was nurtured by Amalthea with the infant Zeus in Crete. In Zeus' battle with Typhon, Aegipan and Hermes stole back Zeus' sinews that Typhon had hidden away in the Corycian Cave.[14] Pan aided his foster-brother in the battle with the Titans by blowing his conch-horn and scattering them in terror. According to some traditions, Aegipan was the son of Pan, rather than his father. One of the famous myths of Pan involves the origin of his pan flute,
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Michael Jackson's Thriller ( video) Michael Jackson's Thriller title card. Directed by John Landis Produced by George Folsey Jr. Written by John Landis Michael Jackson Starring Michael Jackson Ola Ray Distributed by Columbia Pictures Epic Records Productions Release date(s) December 2, 1983 Running time 13:43 Language English Budget $500,000[1] Sales: 9 million units Michael Jackson's Thriller is a 14-minute music video for the song of the same name released on December 2, 1983 and directed by John Landis, who also co-wrote the screenplay with Jackson. The mini-film music video was broadcast on MTV three weeks before Christmas 1983. It was the most expensive video of its time, costing US$500,000[1], and Guinness World Records listed it in 2006 as the most successful music video, selling over 9 million units.[2] Thriller was less a conventional music video and more a full-fledged short subject or mini-film: a horror film homage featuring choreographed zombies performing with Jackson. The music was re-edited to match the video, with the verses being sung one after the other followed by the ending rap from Vincent Price, then the main dance sequence (filmed at 3701 Union Pacific Avenue in East Los Angeles[3]) to an instrumental loop, and finally the final: the choruses in a big dance number climactic scene. During the video, Jackson transforms into both a zombie and a werecat (although makeup artist Rick Baker referred to it as a cat monster in the Making of Thriller documentary); familiar territory for Landis, who had directed An American Werewolf in London two years earlier. Co-starring with Jackson was former Playboy centerfold Ola Ray. The video was choreographed by Michael Peters (who had worked with the singer on his prior hit Beat It), with Michael Jackson. The video also contains incidental music by film music composer Elmer Bernstein, who had previously also worked with Landis on An American Werewolf in London. The video (like the song) contains a spoken word performance by horror film veteran Vincent Price. Rick Baker assisted in prosthetics and makeup for the production. The red jacket that Jackson wore was designed by John Landis' wife Deborah Landis to make him appear more virile.[4] Jackson, who at the time was one of Jehovah's Witnesses, added a disclaimer to the start of the video, saying: “ Due to my strong personal convictions, I wish to stress that this film in no way endorses a belief in the occult. ” To qualify for an Academy Award, Thriller debuted at a special theatrical screening, along with the 1940 animated motion picture Fantasia. Contents [hide] 1 Plot 2 Awards 2.1 Grammy Award 2.2 MTV Award 3 Making Michael Jackson's Thriller 3.1 Behind the Scenes 4 Broadway and litigation 5 In popular culture 6 See also 7 References 8 External links [edit] Plot Jackson dancing with the undead.It is the early 1960s. A teenaged Michael and his unnamed date (Ola Ray) run out of gas in a dark, wooded area. They walk off into the forest, and Michael asks her if she would like to go steady. She accepts and he gives her a ring. He warns her, however, that he is different. A full moon appears, and Michael begins convulsing in agony – transforming into a horrifying werecat. His date shrieks and runs away, but the werecat catches up, knocking her down and begins lunging at her with its claws. The scene cuts away to a modern-day movie theater (exteriors filmed at the Palace Theatre in downtown Los Angeles[5]), where Michael and his date – along with a repulsed audience – are actually watching this scene unfold in a movie called Thriller starring Vincent Price. Michael's date is scared, but he is clearly enjoying the horror flick. Frightened, his date leaves the theatre. Michael puts his popcorn down, and catches up to her, smiling and saying It's only a movie! Some debate follows over whether or not she was scared by the scene; she denies it, but Michael disagrees. Michael and his date then walk down a foggy street, and he teases her with the opening verses of Thriller. They pass a graveyard, where corpses suddenly begin to rise from their graves as Vincent Price performs his rap. Michael and his date then find themselves surrounded by the zombies, and suddenly, Michael becomes a zombie himself. Michael and the undead perform an elaborate song and dance number together, followed by the chorus of Thriller (in which Michael is changed back into human form), frightening his girlfriend to the point where she runs for cover. The girl is chased into an abandoned house (filmed in the Angeleno Heights neighborhood of Los Angeles at 1345 Carroll Avenue[6]), where Michael (who reverts back to zombie form) and his fellow zombies back her into a corner. As Michael slowly reaches for her throat, she lets out with a blood-curdling scream, only to awake and realize it was all a dream. As a human Michael calmly asks What's the problem?, he offers to take her home. As the two depart, Michael glances back
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
In the late nineteenth century Pan became an increasingly common figure in literature and art. Patricia Merivale states that between 1890 and 1926 there was an astonishing resurgence of interest in the Pan motif.[21] He appears in poetry, in novels and childrens' books such as The Wind in the Willows during this period. Pan (mythology) Pan Pan teaching his eromenos, the shepherd Daphnis, to play the panpipes 2nd century AD Roman copy of Greek original ca. 100 BC attributed to Heliodorus (found in Pompeii) God of shepherds and flocks, of mountain wilds and rustic music Abode Arcadia Parents Hermes and Penelope Roman equivalent Faunus This box: view • talk Pan (Greek Πάν, genitive Πανός), in Greek religion and mythology, is the companion of the nymphs,[1] god of shepherds and flocks, of mountain wilds, hunting and rustic music. His name originates within the Greek language, from the word paein, meaning to pasture.[2] He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is recognized as the god of fields, groves, and wooded glens; because of this, Pan is connected to fertility and the season of spring. The ancient Greeks also considered Pan to be the god of theatrical criticism.[3] In Roman mythology, Pan's counterpart was Faunus, a nature spirit who was the father of Bona Dea (Fauna). In the 18th and 19th centuries, Pan became a significant figure in the romanticist movement of western Europe, and also in the 20th century Neopagan movement.[4] Contents [hide] 1 Origins 2 Worship 3 Mythology 3.1 Erotic aspects 3.2 Pan and music 3.3 Capricornus 3.4 Epithets 4 The Death of Pan 5 Influence 5.1 Satan 5.2 Revivalist imagery 5.3 Neopaganism 6 Notes 7 References 8 See also 9 External links [edit] Origins In his earliest appearance in literature, Pindar's Pythian Ode iii. 78, [5] Pan appears as the agent, guardian or attendant of the Great Goddess (Cybele). The parentage of Pan is unclear;[6] in some myths he is the son of Zeus, though generally he is the son of Hermes or Dionysus, with whom his mother is said to be a nymph, sometimes Dryope or, in Nonnus, Dionysiaca (14.92), a Penelope of Mantineia in Arcadia.[7] Following Plato's inventive etymology,[8] his name is sometimes mistakenly thought to be identical to the Greek word pan, meaning all, when it is more likely to be cognate with paein, to pasture, and to share an origin with the modern English word pasture. In 1924, Hermann Collitz suggested that Greek Pan and Indic Pushan might have a common Indo-European origin.[9] In the Mystery cults of the highly syncretic Hellenistic era[10] Pan is made cognate with Phanes/Protogonos, Zeus, Dionysus and Eros.[11] Probably the beginning of the linguistic misunderstanding is the Homeric Hymn to Pan, which describes him as delighting all the gods, and thus getting his name.[12] The Roman Faunus, a god of Indo-European origin, was equated with Pan. However, accounts of Pan's genealogy are so varied that it must lie buried deep in mythic time. Like other nature spirits, Pan appears to be older than the Olympians, if it is true that he gave Artemis her hunting dogs and taught the secret of prophecy to Apollo. Pan might be multiplied as the Panes (Burkert 1985, III.3.2; Ruck and Staples 1994 p 132[13]) or the Paniskoi. Kerenyi (1951 p 174) notes from scholia that Aeschylus in Rhesus distinguished between two Pans, one the son of Zeus and twin of Arcas, and one a son of Kronos. In the retinue of Dionysos, or in depictions of wild landscapes, there appeared not only a great Pan, but also little Pans, Paniskoi, who played the same part as the Satyrs. [edit] Worship The worship of Pan began in Arcadia which was always the principal seat of his worship. Arcadia was a district of mountain people whom other Greeks disdained. Arcadian hunters used to scourge the statue of the god if they had been disappointed in the chase (Theocritus. vii. 107). Pan inspired sudden fear in lonely places, Panic (panikon deima). Following the Titans' assault on Olympus, Pan claimed credit for the victory of the gods because he had inspired disorder and fear in the attackers resulting in the word 'panic' to describe these emotions. Of course, Pan was later known for his music, capable of arousing inspiration, sexuality, or panic, depending on his intentions. In the Battle of Marathon (490 BC), it is said that Pan favored the Athenians and so inspired panic in the hearts of their enemies, the Persians. [edit] Mythology Greek deities series Primordial deities Titans and Olympians Aquatic deities Chthonic deities Personified concepts Other deities Asclepius, god of medicine Leto, mother of Apollo and Artemis Pan, shepherd god Nymphs Anatolian deities The goat-god Aegipan was nurtured by Amalthea with the infant Zeus in Crete. In Zeus' battle with Typhon, Aegipan and Hermes stole back Zeus' sinews that Typhon had hidden away in the Corycian Cave.[14] Pan aided
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
As far as the horror story/movie genre, Michael Pan Jackson's greatest album was _Thriller_, in the video of which he transforms from a teenage boy dating a girl into a Wherewolf stalking her, thereby weaving in the classic myth of The Beauty and the Beast. He features the voice of the classic horror film actor Vincent Price. Thriller (album) Thriller Studio album by Michael Jackson Released November 30, 1982 Recorded April 14 - November 8, 1982 Westlake Recording Studios (Los Angeles, California) Genre RB, dance, dance-pop, pop/rock, funk[1] Length 42:19 Label Epic EK-38112 Producer Michael Jackson Quincy Jones Professional reviews Allmusic [1] Robert Christgau (A-)[2] Melody Maker (unfavorable) 1982[3] Q [4] Rolling Stone [5] Slant [6] Stylus (favorable)[7] The New York Times (favorable)[8] Michael Jackson chronology Off the Wall (1979) Thriller (1982) Bad (1987) Singles from Thriller The Girl Is Mine Released: October 18, 1982 Billie Jean Released: January 3, 1983 Beat It Released: February 14, 1983 Wanna Be Startin' Somethin' Released: May 8, 1983 Human Nature Released: July 3, 1983 P.Y.T. (Pretty Young Thing) Released: September 19, 1983 Thriller Released: January 23, 1984 2001 Special Edition Thriller is the sixth studio album by American recording artist Michael Jackson. The album was released on November 30, 1982 by Epic Records as the follow-up to Jackson's critically and commercially successful 1979 album Off the Wall. Thriller explores similar genres to those of Off the Wall, including funk, disco, soul, soft rock, RB, and pop. Thriller's lyrics deal with themes including paranoia and the supernatural. With a production budget of $750,000, recording sessions took place between April and November 1982 at Westlake Recording Studios in Los Angeles, California.[9] Assisted by producer Quincy Jones, Jackson wrote four of Thriller's nine tracks. Following the release of the album's first single The Girl Is Mine, some observers assumed Thriller would only be a minor hit record. With the release of the second single Billie Jean, the album topped the charts in many countries. At its peak, the album was selling a million copies a week worldwide. In just over a year, Thriller became--and currently remains--the best-selling album of all time. Sales are estimated to be over 50 million copies sold worldwide. Seven of the album's nine songs were released as singles, and all reached the top 10 on the Billboard Hot 100. The album won a record-breaking eight Grammy Awards at the 1984 Grammys. Thriller cemented Jackson's status as one of the predominant pop stars of the late 20th century, and enabled him to break down racial barriers via his appearances on MTV and meetings with President Ronald Reagan at the White House. The album was one of the first to use music videos as successful promotional tools--the videos for Thriller, Billie Jean and Beat It all received regular rotation on MTV. In 2001, a special edition issue of the album was released, which contains additional audio interviews, a demo recording and the song Someone In the Dark, which was a Grammy-winning track from the E.T. the Extra-Terrestrial storybook.[10] In 2008, the album was reissued again as Thriller 25, containing re-mixes that feature contemporary artists, a previously unreleased song and a DVD. Thriller ranked number 20 on Rolling Stone magazine's 500 Greatest Albums of All Time list in 2003, and was listed by the National Association of Recording Merchandisers at number three in its Definitive 200 Albums of All Time. Thriller was preserved by the Library of Congress to the National Recording Registry, as it was deemed culturally significant. Contents [hide] 1 Background 2 Recording 3 Music 4 Release and reception 5 Influence and legacy 5.1 Music industry 5.2 Music videos and racial equality 5.3 Contemporary appeal 6 Reissues and catalog sales 7 Track listing 8 Personnel 9 See also 10 References 11 Notes [edit] Background Jackson's previous album Off the Wall (1979) was a critical success and received generally favorable reviews.[11][12] It was also a commercial success, eventually selling over 20 million copies worldwide.[13] The years between Off the Wall and Thriller were a transitional period for the singer, a time of increasing independence and struggles with his family. In 1973, Jackson's father Joseph began a secret affair with a woman 20 years younger than he; the couple had a child in secret. In 1980, Joseph told his family of the affair and child. Michael, already angry with his father over his childhood abuse, felt so betrayed that he fell out with Joseph for many years.[14] The period saw the singer become deeply unhappy; Jackson explained, Even at home, I'm lonely. I sit in my room sometimes and cry. It's so hard to make friends ... I sometimes walk around the neighborhood at night, just hoping to find someone to talk to. But I just end up coming home.[15] When Jackson turned 21 in August 1979, he fired
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
The Great God Pan The Great God Pan Author Arthur Machen Country United Kingdom Language English Genre(s) Horror novella Publisher Creation Books Publication date 1926 Media type print (hardback) Pages 128 The Great God Pan is a novella written by Arthur Machen. The original story was published in 1890, and Machen revised and extended it in 1894. On publication it was widely denounced by the press as degenerate and horrific because of its decadent style and sexual content, although it has since garnered a reputation as a classic of horror. Machen’s story was only one of many at the time to focus on Pan as a useful symbol for the power of nature and paganism. Contents [hide] 1 Plot summary 2 Critical opinion 3 Film, TV or theatrical adaptations 4 Influence 5 References 6 External links [edit] Plot summary A woman in Wales has her mind destroyed by a scientist's attempt to enable her to see the god of nature Pan. Years later, a young woman named Helen Vaughan arrives on the London social scene, disturbing many young men and causing some to commit suicide; it transpires that she is the monstrous offspring of the god Pan and the woman in the experiment. [edit] Critical opinion In Supernatural Horror in Literature (1926; revised 1933), H. P. Lovecraft praised the novel, saying: No one could begin to describe the cumulative suspense and ultimate horror with which every paragraph abounds; he added that the sensitive reader reaches the end with an appreciative shudder. Lovecraft also noted, however, that melodrama is undeniably present, and coincidence is stretched to a length which appears absurd upon analysis. The Encyclopedia of Science Fiction (1993) notes The story begins with an sf rationale (brain surgery) which remains one of the most dramatically horrible and misogynistic in fiction. [edit] Film, TV or theatrical adaptations The Great God was brought to the stage in 2008 by WildClaw Theatre Company in Chicago. It was adapted and directed by WildClaw Artistic Director Charley Sherman. [edit] Influence The story's depiction of a monstrous half-human hybrid inspired the main plotline of Lovecraft’s The Dunwich Horror, which refers by name to Machen’s story. According to Lovecraft scholar Robert M. Price, 'The Dunwich Horror' is in every sense an homage to Machen and even a pastiche. There is little in Lovecraft's wonderful story that does not come directly out of Machen's fiction.[1] It also inspired Peter Straub's Ghost Story. The book was translated into French by Paul-Jean Toulet (Le grand dieu Pan, Paris, 1901). It was a major influence on his first novel, Monsieur du Paur, homme public. Stephen King wrote in the endnotes for his story collection Just After Sunset (2008) that his newly published novella N. was strongly influenced by Machen's piece, which he noted, surmounts its rather clumsy prose and works its way relentlessly into the reader's terror-zone. How many sleepless nights has it caused? God knows, but a few of them were mine. I think Pan is as close as the horror genre comes to a great white whale. In another interview he stated: Not Lovecraft; it’s a riff on Arthur Machen’s “The Great God Pan,” which is one of the best horror stories ever written. Maybe the best in the English language. Mine isn’t anywhere near that good, but I loved the chance to put neurotic behavior—obsessive/compulsive disorder—together with the idea of a monster-filled macroverse. [2] [edit] References ^ Price, pp. ix-x. ^ SELF-INTERVIEW By Stephen King 10:50am September 4th, 2008 [edit] External links has original text related to this article: The Great God PanThe Great God Pan at Project Gutenberg This article about a 19th century novel is a stub. You can help Wikipedia by expanding it. On 7/15/09, c b cb31...@gmail.com wrote: As far as the horror story/movie genre, Michael Pan Jackson's greatest album was _Thriller_, in the video of which he transforms from a teenage boy dating a girl into a Wherewolf stalking her, thereby weaving in the classic myth of The Beauty and the Beast. He features the voice of the classic horror film actor Vincent Price. Thriller (album) Thriller Studio album by Michael Jackson Released November 30, 1982 Recorded April 14 - November 8, 1982 Westlake Recording Studios (Los Angeles, California) Genre RB, dance, dance-pop, pop/rock, funk[1] Length 42:19 Label Epic EK-38112 Producer Michael Jackson Quincy Jones Professional reviews Allmusic [1] Robert Christgau (A-)[2] Melody Maker (unfavorable) 1982[3] Q [4] Rolling Stone [5] Slant [6] Stylus (favorable)[7] The New York Times (favorable)[8] Michael Jackson chronology Off the Wall (1979) Thriller (1982) Bad (1987) Singles from Thriller The Girl Is Mine Released: October 18, 1982 Billie Jean Released: January 3, 1983 Beat It Released: February 14, 1983 Wanna Be Startin' Somethin' Released: May 8, 1983 Human Nature Released: July 3, 1983 P.Y.T. (Pretty Young Thing)
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Another thing about the list below is so many of the people named were perhaps the top person in their area. Bessie Smith, Billie Holiday, Charlie Parker, Marvin Gaye, Elvis Presley and Hank Williams, John Lennon, John Coltrane, Jimi Hendrix Mozart were all top superstars of their moments. Another one is Duane Allman. He was in his twenties. Allman Brothers were a Georgia guitar band from the sixties and seventies. All in list were under 50! Partial list of famous musical artists who died as young or younger than Michael Jackson Michael Jackson 50 Bessie Smith 37 Billie Holiday 44 Charlie Parker 34 John Coltrane 40 Jimi Hendrix 28 Mozart 35 Tupac Shakur 25 Biggie Smalls 24 Elvis Presley 42 Fats Waller39 Judy Garland 47 Marvin Gaye 44 David Ruffin 50 Paul Williams 34 John Lennon40 Edith Piaf 47 Janis Joplin 27 Jim Morrison 28 Paul Chambers 33 Charlie Christian 26 Hank Williams 29 Florence Ballard 32 Mary Wells 49 Tammi Terrell 24 Scott Joplin 48 Dinah Washington 39 Nat King Cole 45 Buddy Holly 22 Ritchie Valens 17 On 7/13/09, Ralph Dumain rdum...@autodidactproject.org wrote: Reading your posts, I dread whatever senility awaits me. At 08:31 AM 7/13/2009, c b wrote: Clearly ,even, Michael Jackson reached out to White people in a graphic and bodily manner , even. He sort of turned himself into a White person. He married Elvis Presley's daughter, the princess of white anglo saxon working masses. What a political marriage of old. He had children with very wasp working class women. He's the original uniter , not divider. Black and white , unite and fight, workers of all races unite. And he was an extraordinary artist. On 7/10/09, Ralph Dumain rdum...@autodidactproject.org wrote: And all of them far worthier of attention than Michael Jackson, except for Tupac Shakur and Biggie Smalls--good riddance! And what this has to do with this list, I can't imagine. ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
[Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Ralph Dumain Reading your posts, I dread whatever senility awaits me. ^ Reading your post, evidently ,your senility has already arrived ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Crossover (music) From Wikipedia, the free encyclopedia Jump to: navigation, search Crossover is a term applied to musical works or performers appearing on two or more of the record charts which track differing musical tastes, or genres.[1] If the second chart is a pop chart, such as a Hot 100 list, the work is not a crossover since the pop charts only track popularity and do not constitute a separate genre. In some contexts the term crossover can have negative connotations, implying the watering-down of a music's distinctive qualities to accommodate to mass tastes. For example, in the early years of rock and roll, many songs originally recorded by African-American musicians were re-recorded by white artists (such as Pat Boone) in a more toned-down style (often with changed lyrics) that lacked the hard edge of the original versions. These covers were popular with a much broader audience. In practice crossover frequently results from the appearance of the music in question in a film soundtrack. For instance, Sacred Harp music experienced a spurt of crossover popularity as a result of its appearance in the 2003 film Cold Mountain, and bluegrass music experienced a revival due to the reception of 2000's O Brother, Where Art Thou?. Even atonal music, which tends to be less popular among classical enthusiasts, has a kind of crossover niche, since it is widely used in film and television scores to depict an approaching menace, as noted by Charles Rosen[citation needed] The largest figure to date for a crossover hit in the US has come from Grammy Award-winning country singer LeAnn Rimes, whose song How Do I Live sold over 3 million copies and spent a world record breaking 69 weeks on the Hot 100 chart, more than any other song in history, despite peaking only at number 2. It was also a massive hit in Europe. Contents [hide] 1 Classical crossover 2 Crossover rock 3 Crossover country 4 Christian crossover artists 5 Crossover as a mix of genres 6 References 7 Bibliography 8 Further reading 9 See also [edit] Classical crossover Particular works of classical music sometimes become popular among individuals who mostly listen to popular music. Some classical works that achieved crossover status in the twentieth century include the Canon in D by Johann Pachelbel, the Symphony No. 3 by Henryk Górecki, and the second movement of Mozart's Piano Concerto No. 21, K. 467 (from its appearance in the 1967 film Elvira Madigan). Within the classical recording industry the term crossover is applied particularly to classical artists' recordings of popular repertoire such as Broadway show tunes, or collaborations between classical and popular performers such as Sting and Edin Karamazov's album Songs from the Labyrinth. Early examples of this are Deep Purple's Concerto for Group and Orchestra (1969) and Gemini Suite Live (1970) as well as Rick Wakeman's Journey to the Centre of the Earth (1974) and The Myths and Legends of King Arthur and the Knights of the Round Table (1975). Metallica's SM (1999) is a recent example of classical music crossover. Vocally, the most popular crossover artist was American tenor and film star Mario Lanza, although there was no such recognized genre as crossover at the time of Lanza's greatest popularity in the 1950s. Signed to RCA Victor as an artist on its premium Red Seal label, Lanza's magnificent voice reached beyond classical music-buying audiences. His recording of Be My Love, from his second film, The Toast of New Orleans, hit Number One on the Billboard pop singles chart in February 1951 and sold more than 2-million copies, a feat no classical artist before or since has achieved. Lanza recorded two other million-selling singles that made Billboard's top ten, The Loveliest Night of the Year and Because You're Mine. Five of Lanza's albums hit Number One on Billboard's pop album chart between 1951 and 1955. The Great Caruso was the first and to date is the only recording comprised exclusively of operatic arias to reach Number One on the pop album charts. The Student Prince, released in 1954, was Number One for 42 weeks. No classical label artist, including The Three Tenors has achieved the success on the popular charts that Mario Lanza did in the 1950s. [edit] Crossover rock Dream Theater had a very strange and unexpected crossover with their song Pull Me Under in the early 1990s. Their style of progressive metal was never intended for mainstream audiences, and yet the song received extensive MTV rotation and radio play. [edit] Crossover country During the late 1960s, Glen Campbell began aiming his music at the mainstream pop charts, adding strings, horns and other pop music flurishes to such songs as Witchita Lineman, By the Time I Get to Phoenix, and Galveston, which allowed his music to chart both in country and pop. While such artists as Lynn Anderson and Charlie Rich followed Campbell's example into the early 1970s, it was Dolly Parton and Kenny Rogers who, during the mid- to
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Clearly ,even, Michael Jackson reached out to White people in a graphic and bodily manner , even. He sort of turned himself into a White person. He married Elvis Presley's daughter, the princess of white anglo saxon working masses. What a political marriage of old. He had children with very wasp working class women. He's the original uniter , not divider. Black and white , unite and fight, workers of all races unite. And he was an extraordinary artist. On 7/10/09, Ralph Dumain rdum...@autodidactproject.org wrote: And all of them far worthier of attention than Michael Jackson, except for Tupac Shakur and Biggie Smalls--good riddance! And what this has to do with this list, I can't imagine. _ If you don't know the '70s, you don't know shit! ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Reading your posts, I dread whatever senility awaits me. At 08:31 AM 7/13/2009, c b wrote: Clearly ,even, Michael Jackson reached out to White people in a graphic and bodily manner , even. He sort of turned himself into a White person. He married Elvis Presley's daughter, the princess of white anglo saxon working masses. What a political marriage of old. He had children with very wasp working class women. He's the original uniter , not divider. Black and white , unite and fight, workers of all races unite. And he was an extraordinary artist. On 7/10/09, Ralph Dumain rdum...@autodidactproject.org wrote: And all of them far worthier of attention than Michael Jackson, except for Tupac Shakur and Biggie Smalls--good riddance! And what this has to do with this list, I can't imagine. _ If you don't know the '70s, you don't know shit! ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
[Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
Michael Jackson 50 Bessie Smith 37 Billie Holiday 44 Charlie Parker 34 John Coltrane 40 Jimi Hendrix 28 Mozart 35 Tupac Shakur 25 Biggie Smalls 24 Elvis Presley 42 Fats Waller39 Judy Garland 47 Marvin Gaye44 David Ruffin 50 Paul Williams 34 John Lennon40 Edith Piaf 47 Janis Joplin 27 Jim Morrison 28 Paul Chambers 33 Duane Allman 24 http://en.wikipedia.org/wiki/Duane_Allman Howard Duane Allman (November 20, 1946 – October 29, 1971) was an American lead guitarist, co-founder of the Southern rock group the Allman Brothers Band, and respected session musician. He is best remembered for his brief but influential tenure in that band, expressive slide guitar playing, and formidable improvisational skills.[citation needed] A sought-after session musician both before and during his tenure with the band, Allman performed with such established stars as King Curtis, Aretha Franklin, Otis Redding, and Herbie Mann. His contributions to the 1970 album Layla and Other Assorted Love Songs by Derek and the Dominos went on to become a part of Rock history. Phillipe Wynn 43 Philippé Wynne (April 3, 1941 – July 13, 1984), born Phillip Walker, was an American RB vocalist. Best known for his role as the lead singer in the popular RB group The Spinners (a role he shared with fellow group member Bobby Smith), Wynne scored notable hits such as How Could I Let You Get Away, The Rubberband Man, One of a Kind (Love Affair), I'll Be Around, Mighty Love, Sadie, Could It Be I'm Falling in Love, and Then Came You (with Dionne Warwick). After leaving The Spinners, Wynne never regained the same success, although his voice was featured in hits such as (Not Just) Knee Deep. Wynne died of a heart attack while performing at a night club on July 13, 1984. Charlie Christian 26 Hank Williams 29 Florence Ballard 32 Mary Wells 49 Tammi Terrell 24 Scott Joplin 48 Dinah Washington 39 Nat King Cole 45 Buddy Holly 22 Ritchie Valens 17 ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
Re: [Marxism-Thaxis] Partial list of famous musical artists who died as young or younger than Michael Jackson
And all of them far worthier of attention than Michael Jackson, except for Tupac Shakur and Biggie Smalls--good riddance! And what this has to do with this list, I can't imagine. _ If you don't know the '70s, you don't know shit! ___ Marxism-Thaxis mailing list Marxism-Thaxis@lists.econ.utah.edu To change your options or unsubscribe go to: http://lists.econ.utah.edu/mailman/listinfo/marxism-thaxis
