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The Trials of Michael Jackson

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завтра начну выкладывать текст книги... на английском

Отредактировано Nasty Girl (24-10-2010 02:19:46)



информация о книге есть по следующим ссылкам

Отредактировано EllaS (24-10-2010 16:29:36)



This book came about as a result of a chance conversation with
someone whose knowledge of, and experience in, the highest
echelons of the music industry are second to none. During the
course of the exchange I was given some information about Michael
Jackson which was unknown to the public. With the singer on trial in
California, everyone was gossiping about the case in their spare time,
including me.
In the words made famous during the Watergate scandal of the 1970s,
I began to 'follow the money'. As an historian, researcher and journalist
I knew from the information I received that there was something being
hidden or obscured that was much bigger and more important than we
were being told at the time. I could just feel it. Little by little, as I ranged
from London, via New York and California, all the way to Tokyo, the
incredible story contained in these pages began to reveal itself.
During the course of this journey I have also plundered my own past, to
try to make sense of some of the things I was discovering. By including this
material, I hope to show that the events central to this book are not part of
some one-off aberration, but have been woven into the fabric of the music
business since its inception. Anyone who loves music or who is a fan of any
artist should read on. The dark underbelly of die entertainment world is
not a pretty sight. It is time to hold it up to the light.

'Not Guilty.'
Again and again these two little words from the voice of the jury
foreman, Paul Rodriguez, reverberated around the courtroom.
There was one count of conspiracy to kidnap and falsely imprison
an entire family, four counts of committing lewd acts, one count of
attempting to commit a lewd act, four counts of supplying alcohol to
minors and a number of counts on lesser charges arising from the same
crimes, allegedly committed against an underage boy, Gavin Arvizo.
These last counts were offered to the jury as alternatives should they find
the accused innocent of the main indictments. Instead, they found the
defendant not guilty on all charges. From the small community of Santa
Maria in Southern California to the furthest corners of the world, astonish-
ment registered. But just as OJ Simpson discovered some years previously,
Michael Jackson was about to find out that a not guilty verdict does not
an innocent man make in the eyes of commentators and consequendy, the
public. Had a blatant child molester beat the rap? If not, could the adverse
reaction be yet another manifestation of the racial fault lines carving an
inexorable swathe through American society? Perhaps it was simply a case
of celebrity-bashing for no good reason, unlikely though that might seem
to most of us. Or had something been going on that was more sinister than
any of these?
These questions had perplexed me since about two-thirds of the way
through Michael Jackson's infamous trial. One spring afternoon in 2005
I happened to be at the home of Paul Russell, delightfully situated among
the lush trees surrounding the famous Wentworth golf course in Surrey,
about forty minutes drive from London. Paul Russell knows Michael
Jackson. As a senior Vice-President of Sony Music Entertainment and

Chapter 1
before that as an executive with CBS Rccords, Russell worked with the
singer regularly. Their association goes back to the 1970s, when the Jackson
5 quit Motown to sign with CBS. Moreover, Russell spent time socialising
with Jackson during those years. Paul Russell and I, along with the doyen
of British record promotion men, Lcs Molloy, were sitting in the office
complex which is attached to Russell's house, discussing the production of
the now-retired record executives autobiography. As we shared a glass or
two of wine, Paul lit a huge cigar and began giving his views on the progress
of Michael Jackson's trial.
'There's one thing I just don't get,' Paul ventured.
'What's that?'
'Well,' said Paul, 'it's this business of the drink, the alcohol. You can say
what you like about the rest of it, but the drink charges make no sense to
me, no sense at all.'
'How do you mean?'
'Look, I've been around Michael for years, decades. I've been with him
at formal and informal occasions. I've been at private dinners with him
when only four or five other people were present. I've flown across the
Atlantic with him and Lisa-Marie (Presley). In all those years I have never,
ever seen him take one drop of alcohol.'
Paul shrugged his shoulders and took another puff on his DavidofF.
The import of what Russell said was astounding. Apart from the moles-
tation and conspiracy charges, Michael Jackson had been accused of plying
his accusers - the youngsters of the Arvizo family - with alcohol to get
them drunk and have his wicked way. In support of this contention the
prosecution produced witnesses, most notably a number of flight attend-
ants from the private airline Jackson used for his travels, who said that the
King of Pop concealed his own drinking by asking them to pour away the
cola from soft drink cans and replace it with vodka or white wine, which
he then drank copiously during the flights. Jackson's alleged drinking was
not central to the truth or otherwise of the molestation charges but, in
common with many US prosecutors, the Santa Barbara District Attorney,
Tom 'Mad Dog' Sneddon, and his assistants, Ron Zonen, and Gordon
Auchinloss, who were in charge of the prosecution case, seemed addicted
to overkill. But so marginal was Jackson's own alleged drinking to the case
that it begged the question; why would the issue of Jackson's drinking be
introduced at all if there were any doubt about it?



Jesse Jackson Said
Giving alcohol to minors was put forward as corroborating evidence to
the main charges, which were concerned with the committing of lewd acts.
Whether Jackson himself drank or not was surely irrelevant to these accu-
sations. Yet Paul Russell is no fool. Record company executives develop,
out of necessity, a perceptive eye for their artists' drug and drink usage.
Russell even knew why Michael Jackson maintained a large wine ccllar.
'When Michael bought Neverland,' Paul said, someone told him that no
house was complete without a wine ccllar, so he arranged to have one put
in, and being Michael, he had to have the best, but he never drank any of
the wine himself, at least not to my knowledge.'
Put it this way: I completely trusted Paul Russell's veracity and his
judgment on this one. He certainly had no reason to lie (indeed in the
course of our discussions over his autobiography he told me of any number
of incidents featuring himself and his associates which were far worse
than Jackson's supposed alcohol use) and he was expert at knowing what
his artists were up to. You should hear his stories of getting blind drunk
again and again with the manager and producer of Abba, the Swede,
Stig Anderson, as they conducted their contractual negotiations each
November. It seemed to me there was no way Michael Jackson could have
been a secret drinker without Russell being aware of the fact. So what was
going on? Something didn't smell right.
That night Paul Russell checked his recollections with a colleague in
the USA in case his memory was failing him. The word came back that
he had remembered correctly. His opinion about Jacksons drinking was
confirmed. But that confirmation went against the prevailing wisdom.
Just about everyone I spoke to believed, if not the main allegations,
certainly that Jackson was a secret drinker. At my instigation, Russell
repeated his knowledge of this issue to some members of the great British
press a few days later. Yet despite their avarice at the time for Jackson
stories, they were all expecting a guilty verdict, on the alcohol charges
if nothing else. Indeed I would go so far as to say that most of them (for
professional reasons of course), wanted a guilty verdict. This prejudiced
them against the exclusive story staring them in the facc and for whatever
reason, they refused to believe it. Thus a major Michael Jackson scoop,
which would later be verified by the jury's verdict, lost out to the media's
alrcady-dccidcd agenda.

Chapter I
It was entirely different a month or so earlier, when Paul gave me infor-
mation concerning Michael Jackson's finances. There had been speculation
throughout the run-up to the trial that the defendant was in financial
trouble. The prosecution sought to introduce the state ofjackson's money
problems at every turn before the trial and during the proceedings. They
claimed that Michael Jackson was, to all intents and purposes, bankrupt.
The reason they gave for their concentration on this point was that if it
were true, it provided a motive for Jackson to have given the broadcaster,
Martin Bashir, virtually unlimited access to his life. The prosecution line
was that Jackson needed money following a downturn in his record sales
in the 1990s. Bashir, through the proposed television documentary, Living
with MichaelJackson, offered the prospect of bringing the fading star back
into the public eye, thereby hclpingjackson generate vast amounts of cash
oncc again. This, they said, was the pivotal event which precipitated the
abuse of Gavin Arvizo.
The lawyers in the Santa Barbara DA's office obviously do not know
very much about the way the entertainment industry works. The fact is,
artists live for the publicity they generate. It's what they believe makes
them whole. Whether or not Jackson's finances were on the skids, he
would probably still have wanted to do the show with Bashir. Although
the prosecution, at great expense, employed a forensic accountant to verify
their claims, the exact nature ofjackson's finances remained a matter of
The story Paul Russell told me then was even more extraordinary than
the one concerning Jackson's supposed alcohol consumption. It turned out
that Michael Jackson was indeed in something of a financial hole, although
he was far from bankrupt. Hie details, as they rolled out of Russell's mouth,
were jaw-dropping. His knowledge camc from the fact that he was, in
addition to holding responsibilities at the record label, also Chairman of
a music publishing company called Sony AT V, which was a joint venture
between Sony and Michael Jackson. Jackson was a director and major
stockholder in the company, owning fifty per cent of the shares.
Sony ATV was originally formed under the name Associated Television
(ATV) in the UK during the 1950s. It was founded by one of Britain's
greatest impresarios, Lew Grade. Grade was of one of a family of long-
established show-business agents and entrepreneurs that included Bernard
Delfont, Leslie Grade and, later, Michael Grade, who at the time of writing

Jesse Jackson Said
is Chairman of the BBC. Back in the fifties, Lew Grade also started the
Independent Television Corporation (ITC), which provided programmes
such as V)e Prisoner, starring Patrick McGoohan, The Saint, with Roger
Moore and Die Persuaders, which featured Moore and Tony Curtis, to
British and international broadcasters. ATV was itself originally one of
these broadcasters, having been awarded a franchise in the mid 1950s to
operate one of the new commercial television companies in the UK. ATV
broadcast to the English Midlands as part of the Independent Television
Network (ITV).
Grade was also involved with another old-school show business tycoon,
Louis Benjamin, in one of the three major record companies existing in
Britain at the time. This company was called Pyc Records, which, along
with EMI and Decca, accounted for the vast majority of records sold in
the country. ATV acquired Pyc as a wholly-owned subsidiary in 1957
with Lew Grade and Louis Benjamin holding most of the shares. Another
subsidiary company, ATV Music Publishing, was created to exploit
a catalogue of songs, mainly written by or for artists on the Pye label or for
themes to ITC and ATV television programmes. It also bought the UK
rights to some classic rock and roll music coming out of the USA.
When a song is commercially recorded it is the job of the songs publisher
to register it with the appropriate agencies, such as the Performing Rights
Society. If the song proves to be a money-earner, the publisher collccts
royalties from sales and fees which arc payable each time the tunc is played
on radio, television, film or other reproductive medium, like ringtones. The
publisher then pays a previously agreed portion of the money collcctcd to
the writcr(s) of the song.
If this sounds like a model of efficiency, it isn't. Like any industry, the
music business contains its fair share of vendettas, petty rivalries and
office politics. Unlike other industries, though, there is so much money
sloshing around, much of it unaccounted for (many would say it is also
undeserved), that egos can reach stratospheric levels and responses are
often wildly disproportionate. In my experience, the 'prima donna' factor
goes up in inverse proportion to the level of talent.
Back in the late 1970s and early 1980s, for instance, when I was running
with Angie Guest a small, independent record label, we went out to
a working breakfast with an old-time music publisher with whom I was
negotiating over the payment of monies for the promotion of a record.



такой формат устраивает (посерединке и в блоках(я блоки постранично.. как в книге.. мне так проще... продолжу завтра...седня сорри некогда))



EllaS написал(а):

одна из форумчанок, не помню, к сожалению кто, уже давно кидала ссылку на резюме этой книги от Justice Rainger.
ссылку я не сохранила, а вот файл скачала.
скопирую пока сюда, может пригодится

ссылки: http://community.livejournal.com/foreve … 49419.html

У нас это здесь: SONY.make.believe
И здесь: SONY.make.believe
(Ветка SONY.make.believe)



Вот здесь http://www.mjjforum.com/users/mstenda/jackson29.pdf
можно скачать файл книги в пдф-формате, текстовый слой есть, так что текст можно выделять и переводить в переводчике.

Отредактировано Ines (24-10-2010 13:53:14)



Ines написал(а):

можно скачать файл книги в пдф-формате, текстовый слой есть, так что текст можно выделять и переводить в переводчике.

понятно... значит сизифов труд мой...............................



ILLV написал(а):

ссылки: http://community.livejournal.com/foreve … 49419.html

У нас это здесь: SONY.make.believe
И здесь: SONY.make.believe
(Ветка SONY.make.believe)

ILLV, Спасибо за напоминание,
я добавлю ссылку в свой предыдущий пост, если не возражаете.
если модераторы сочтут, что здесь эта информация лишняя - удалю

Отредактировано EllaS (24-10-2010 16:15:01)



текстовый слой есть, так что текст можно выделять и переводить в переводчике.

супер, спасибо.......  :cool: очень удобно и каждый кому интересно может переводить эту книгу.


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