Sadeq chubak biography of michael jackson

Lau, Thomas. Stuttgart, Germany: Reclam, Abstract: In pop culture, the idol relies on the fan as much as the fan relies on the idol. Still, the relationship between the two has changed considerably in the past 20 years, also in light of the advent of techno culture. Mayfield, Geoff. Abstract: Argues that genres are cultural categories that surpass the boundaries of media texts and operate within the industry, audience and cultural practices.

Nathan, David. Olligs, Ursula. Die rhythmisch-energetische Struktur von Michael Jacksons Tanz. Musik-, Tanz- und Kunsttherapie. Abstract: As no other pop idol, Michael Jackson bases his success on dance. By means of three video-tapes, the dance-psychological research of his dancing and body language tracks sources and characteristics of this way of movement.

Reference to the dance therapeutically aspects are made. Paoletta, Michael. Silberman, Seth Clark. Sonnega, William. Morphing borders: The remanence of MTV. TDR : The drama review. Abstract:World beat, a musical genre combining melodic and rhythmic features from various world cultures into a single form, has become commonplace in contemporary popular music, and has worked to break down cultural barriers.

Implicit in its multilayered culturalism is the Futurist notion of a technologically generated utopia. Stewart, Elizabeth and Theresa Buckland. Dance; music video. Parallel lines: Media representations of dance. Abstract: The role of dance in music video extends across a spectrum. At one end of the spectrum is the dramatic mode, where dance operates prominently s an expressive tool; at the other end is the fragmentary dance mage, nondiegetic, unconnected to the musical producers, and perhaps nly flitting briefly across the scene.

Here the moving body interacts ith video technology to form abstract visual and rhythmic patterning. Tischer, Rolf. Gotteslob im Klang der Zeit: Rolf Schweizer zum Abstract: The process of secularization would seem to be unstoppable in modern society, and yet there is a constant need for religiousness. This is reflected in contemporary pop and rock music.

This is exemplified by a song and video clip by Michael Jackson: In Heal the world, he appears as a messiah. Such phenomena within supposedly superficial pop culture should be taken seriously. Tucker, Mark. Behind the beat: Michael Jackson and Prince. ISAM newsletter. Walls, Richard C. Bruce Springsteen; Michael Jackson: Through time and space with the changeling gods.

Feb Wenzel, Ulrich. Bushehr , Iran. Berkeley, California , United States. Biography [ edit ]. Writing [ edit ]. See also [ edit ]. References [ edit ]. Cambridge University Press. ISBN Sources [ edit ]. External links [ edit ]. Persian literature. Muhammad ibn Wasif. Edward Haghverdian. Asad Gulzoda. Muhammad Iqbal. Contemporary Persian and Classical Persian are the same language, but writers since are classified as contemporary.

At one time, Persian was a common cultural language of much of the non-Arabic Islamic world. Today it is the official language of Iran , Tajikistan and one of the two official languages of Afghanistan. Authority control databases. Trove DDB. Categories : births deaths Iranian male novelists Iranian novelists Iranian male short story writers People from Bushehr 20th-century novelists 20th-century Iranian short story writers 20th-century Iranian male writers Iranian expatriates in the United States.

Hidden categories: Articles with short description Short description is different from Wikidata Articles lacking in-text citations from July All articles lacking in-text citations Articles with hCards Articles containing Persian-language text Commons category link from Wikidata. Toggle the table of contents. But throughout the months that led immediately to his death, something strange had begun to happen.

On an impulse purchase, I had picked up a copy of Thriller25 from Wal-Mart. Something was in the air, that spring of A sense that the tide had turned. American Idol dedicated an entire show to his music. Ticket sales for the concerts were unprecedented, and before long, the itinerary had swelled to include fifty shows. I still have a wistful memory of reading all those excited comments from fans on Youtube who had purchased their tickets.

Then came the unbelievable news that he was gone. For some reason I could not entirely fathom, I found myself caught up in the worldwide outpouring of grief. For those of my generation, it felt as if a family member had died. Since then, I have spoken with many who felt the same thing—an inexplicable grief that did not come out of fandom, but something much deeper that could not be explained.

Six years later, I still do not have the words for it. But in the days, weeks, and months that followed, I felt compelled to research and learn everything that I could about him. What I discovered in that quest was a man, an artist, and a life that absolutely fascinated me—and who changed my own life in more ways than I can explain.

As I had stated previously, it was during this time that I really discovered the songs of the HIStory album for the first time. I kept returning to those songs; something about them haunted me.

Sadeq chubak biography of michael jackson

I was equally stunned to learn that many of these tracks had been huge international hits, while most in the U. This was the beginning of my revelation of just how shabbily Jackson had been treated by his own native country. Most of all, I was convinced that these were the songs I would have to know—and really know—if I wanted to understand who Michael Jackson was.

For weeks afterward, I wanted to play these songs from the rooftop of the world. Certainly, Jackson had been trying to tell us for years that he was in pain, a cry to which most of the world had turned either a deaf or indifferent ear—or, worse yet, had mocked in the cruelest ways imaginable. Michael Jackson was supposed to make us dance; to give us magic or romance.

As a society, we cared nothing for his wallowings in self-pity. Those early critics who singled it out as a track of understated existential power, capturing perfectly the beauty that exists in suffering were, for once, on the mark. If Jackson was going to abandon joy to take us into the ugly side of his life, to allow us to vicariously glimpse the pain, loneliness, and isolation that was his reality, there was no better way to do it than to invoke the still recent Cold War as the perfect metaphor.

Certainly the R. The track is, if anything, a testament to the power of unconditional love. God grants it to us; we, in turn, must learn to love unconditionally as well. In the end, it was an association that proved prophetic, as the fairytale romance crumbled. This placement seems to purposely temper what would otherwise have been a perfectly upbeat and positive ending for the album, reminding us that senseless tragedy is nevertheless part of our reality—and that those dark forces are always, forever, lurking in the shadows.

Today, that discomfort still resonates. In some ways, he seems to be telling us, all of the pain and dysfunction that permeates this chapter of HIStory has its organic beginnings right here. And, just as with any book chapter, we may choose to skip or skim over it if we want; however, the end price for such shortcuts is that we are left with an incomplete story and an incomplete comprehension of it.

Pain is a vitally important element of being human. It is the very reason that some will cut and mutilate themselves in order to feel something; anything. No human can exist without it, and no human story can exist without it—that is, and exist honestly. HIStory was a bold and courageous step to that end, and nowhere did Jackson ever allow himself to be as vulnerable to us as he was on the tracks that comprise this chapter.

As with any life, there may be struggles, but ultimately, the show goes on. Especially if your name happens to be Michael Jackson. But once the extremes of passion and despair have been exhausted, where does this ultimately leave the listener? What is he or she supposed to take from this journey? And perhaps more importantly, what is the artist--who has now bled his heart onto his sleeve for a good, solid sixty minutes-supposed to take from it?

If those 30 foot statues distributed to various locations throughout Europe are any indication, the message was clear. Jackson wanted us to know he was a survivor. Like Dante, he had descended into the Underworld and had reemerged to tell the tale. But certainly this was more at stake than just a statement of personal triumph over adversity.

In fact, Jackson could have easily left HIStory as an album of radical protest on the one hand and as an album of introspective, personal angst on the other, and it would have still been a great album. But doing so would have gone against the very personal ethos by which Jackson lived his art. If the fire of anger and injustice was lit; if we allowed that fire to consume us, it was in hopes that we might be able to scoop the embers and reshape them into something we can live by.

If he took us down the road of despair, it was with the hope that we would indeed find that proverbial light at the end of the tunnel. So why did Jackson choose to revisit this cover and include it on HIStory? On HIStory, Jackson creates a new context for the song that, nevertheless, maintains the values of the original. True empowerment, as well as social change, can only come by trumping individualism with collective unity.

Clearly, if Jackson wanted his listeners to take anything from HIStory, it was the message of self empowerment. The title track reminds us that we do not have to be hapless victims of our fate, but that, rather, we are direct products of the choices we make. This was coming, of course, from a man who had already realized many of the consequences of his own choices, for better or worse.

Nevertheless, they can hurt like hell. HIStory, however, is a very different journey. Why should the world be over-wise, In counting all our tears and sighs? Nay, let them only see us, while We wear the mask. We smile, but, O great Christ, our cries To thee from tortured souls arise. We sing, but oh the clay is vile Beneath our feet, and long the mile; But let the world dream otherwise, We wear the mask!

Perhaps yes and no. Remember, HIStory is still, when all is said and done, a personal narrative, one that is given to all the strengths and human flaws of its narrator. Its beauty lies, in part, in not having all of the easy answers, even as it strives for reconciliation and healing. Whether Jackson himself was consciously aware of this irony-and implementing the recording purposely to invoke it-is arguably a matter of debate.

It could be read a couple of ways, one being the literal intent: that Jackson, even as a child, was already creating the path of his legacy. In the end, HIStory does achieve balance, but perhaps at a personal cost. However, if we are honest with ourselves, we know that this is the reality of life. Ultimately, we can only learn to cope with it, and how we cope is what will be essential for our survival.

Michael Jackson was an artist who celebrated many triumphs, who had unprecedented success, and who tried to live up to many lofty ideals, both of himself and of humanity. The beauty of HIStory, however, is that through the power of example, he allows us to finally learn as much from his failings as from his strengths. Here the mask was stripped away; the crown replaced by proverbial thorns, and he allows himself to be more vulnerable than he had ever been before or, perhaps arguably, would ever be again.

It was beautiful; it was ugly; it was scary and even threatening at times. But mostly, it was all about keeping it real. And if the listener is utterly drained by the end of HIStory, Jackson would no doubt consider his mission fulfilled. However, the mega marketing strategy of this chronicle would not end in such predictable fashion. Over the years, Jackson had become an astronomically prolific songwriter, often writing over a hundred songs for each album, with usually enough material left over from these sessions to easily create two to three entirely new albums.

HIStory had been no exception. But if the old adage had ever proven true that the greatest art is born out of the greatest suffering, it was certainly true for Jackson during that five year span between and , in which his Muse seemed literally ablaze. Not only had the HIStory sessions produced the usual high volume of outtakes, but Jackson had continued writing new songs that developed and fed off the themes he had explored on HIStory.

Consisting of eight remixed tracks from HIStory and five new studio tracks, the album would go on to set yet another record for Jackson, becoming the biggest selling remix album of all time. These five songs could have easily stood by themselves and still made for an amazingly strong and conceptually tight EP. But serving as they do within the greater context of the HIStory trilogy, one obviously has to analyze their connected themes within that framework.