Oh no...Jermaine - get a life or drop dead! These costumes are Michaels and no others! My god I can see already how you will look like a pig in thouse clothes <!-- s --><!-- s --> Man, first you need to get a figure before wearing Michaels costumes <!-- s --><!-- s -->
Otherwise his hair will melt down <!-- s --><!-- s -->
Oh no...Jermaine - get a life or drop dead! These costumes are Michaels and no others! My god I can see already how you will look like a pig in thouse clothes <!-- s --><!-- s --> Man, first you need to get a figure before wearing Michaels costumes <!-- s --><!-- s -->
That is not nice, he is only doing Michaels job.
( but that hair...)
Otherwise his hair will melt down <!-- s --><!-- s -->
Oh no...Jermaine - get a life or drop dead! These costumes are Michaels and no others! My god I can see already how you will look like a pig in thouse clothes <!-- s --><!-- s --> Man, first you need to get a figure before wearing Michaels costumes <!-- s --><!-- s -->
That is not nice, he is only doing Michaels job.
( but that hair...)
I know it's not nice but neither is Jermaine! And we can't be sure he's doing Michaels job, can we? It smells like he's just taking all he can from Michael to get more attention (money) and I hate it!
I think Jermaine wants the best for his bro.
He is not gonna stop with it.
Im sure that Jermaine is aware that people are bashing him and even angry with him. Ive read some comments on his twitter.. thats says enough.
He knows he is not Michael. But he is his Bro
to Glinda: Remember "nice" song he wrote about Michael years ago? Well, that's why I don't believe he's such a good bro as he wants the world to believe now. I will never forget that and actually shouldn't anyone who cares about Mike. Jermaine has always been a little clever, jelaous bro who wants to take benefit from Michaels work and clory. That's my opinion, been created from Jermaine himself. People don't change.
obviously Jermaine feels the need to step into Michael shoes, but why?? there's no need. Jermaine could never compete with Micheal before and now he's out of the way its seems like Jermaine has seized the opportunity. It wouldn't be so bad if Jermaine came up with he's own style etc...certainly would look less desperate and shameless.The costumes are an exact copy of MJ's outfits he could have tried to put his own twist on it or, maybe Jermaine has ran out of ideas? !! <!-- s --><!-- s --> well, they do say that imitation is the best form of flattery....i beg to differ in this case.
Óh yes i remember that song.
That was certainly not a nice song, but i.m.o Jermaine felt desperate at that time.
Jermaine was there when Michael went trough the trials.
He even said that he would go to prison for Michael if he could do that.
People forget the good stuff. Jermaine was there.
@ New Tiux
it's so easy to make promises and say big words if u know u never have to fulfill them <!-- s;) -->;)<!-- s;) --> same story with Jermaine. He would go to prison for Mike? Let's face the truth here - He would NEVER do that in real <!-- s --><!-- s --> Please...
it's so easy to make promises and say big words if u know u never have to fulfill them <!-- s;) -->;)<!-- s;) --> same story with Jermaine. He would go to prison for Mike? Let's face the truth here - He would NEVER do that in real <!-- s --><!-- s --> Please... <!-- s --><!-- s -->
He could not do that for real.
But what do you know about truth? And what do i know about truth?
"Don't judge a person, do not pass judgement, unless you have talked to them one on one"
I stole that one from Michael Jackson.
I can only agree on that.
it's so easy to make promises and say big words if u know u never have to fulfill them <!-- s;) -->;)<!-- s;) --> same story with Jermaine. He would go to prison for Mike? Let's face the truth here - He would NEVER do that in real <!-- s --><!-- s --> Please...
He could not do that for real.
But what do you know about truth? And what do i know about truth?
"Don't judge a person, do not pass judgement, unless you have talked to them one on one"
I stole that one from Michael Jackson.
I can only agree on that.
That's why we all are here - for the truth. I highly doubt there's any person who have talked with Jermaine or Mike one on one... we all have our own opinions without talking to them. And what I said was my opinion and there's no need or use to try to change it or attack me with your opinion until I can see that J is actually helping Michael to come back. That means that Michael returns one day and THEN I will apologize Jermaine for all I said about him and for not believing him. But right now it seems like he's just taking all he can until the "iron is hot" and who can blame him? Easy job for him....
I honestly do not know what to think. But in my personal opinion the Jackson Brothers have been long long over.Everyone on the face of this planet knows that MJ stood out and has ALWAYS stood out from his brothers. Honestly........before all of this the Jacksons were mostly afterthoughts except for Janet ...Janet and MJ honestly have had the most success in their careers. The Jackson brothers also had success but that success is in the past.
They are all getting older.....they should just sit back and enjoy their families and SUPPORT their brothers legacy. The key word here is SUPPORT their brothers legacy..Also they need to fight for justice until the end of this Hoax/Murder! They have had years of success time to let it go and just be themself become closer as a family should. We all know even MJ had been gone for a while out of the spotlight....Although we see now that even though he was out of the spotlight he was working on various projects. That is how MJ is remember? He leaves for a while and then BAM! New songs, new project, ect.... so..
If they are sooo concerned about MJ's death and are claiming Murder then we should see them on t.v. in some type of justice conference with Al Sharpton and Jesse Jackson! Rebbie saying it is NOT a MJ tribute! Honestly I was shocked the last song I heard from her was Centipede ! WHICH was wrote by MJ! So ummmmmmmm reviving careers at this poing to me is well......pointless! LEt it be Jacksons ! Just let it be! Thanks. <!-- s:) -->:)<!-- s:) -->
Just sayin'.....Jermaine tweets 16 times on July 25.....
16: 1 + 6 = 7
July: 7th month
25: 2 + 5 = 7
777!!!!!!
@sallydavis222. It's not this year. about 4 hours ago via Twitter for BlackBerry® in reply to sallydavis222
Reply Retweet @ShakeshaLTLthank you about 4 hours ago via Twitter for BlackBerry® in reply to ShakeshaLTL
Reply Retweet @kmnm2209 I will as soon as I watch the video. about 4 hours ago via Twitter for BlackBerry® in reply to kmnm2209
Reply Retweet @msirismgyes. He is amazing. about 4 hours ago via Twitter for BlackBerry® in reply to msirismg
Reply Retweet @sallydavis222no unfortunately not. about 4 hours ago via Twitter for BlackBerry® in reply to sallydavis222
Reply Retweet @becomebetteryes, we have them all. about 5 hours ago via Twitter for BlackBerry® in reply to becomebetter
Reply Retweet Over the years I have been fortunate to meet some incredible people, I enjoy it deeply. about 6 hours ago via Twitter for BlackBerry®
Reply Retweet Lunch was great, I met some amazing Opera singers from Mexico, I was very impressed. Just Amazing. about 6 hours ago via Twitter for BlackBerry®
Reply Retweet @lovefor3tthank you for all you Love and support through the years about 6 hours ago via Twitter for BlackBerry® in reply to lovefor3t
Reply Retweet @Joel_kanethank you for thinking of us, I got him a computer.
about 6 hours ago via Twitter for BlackBerry® in reply to Joel_kane
Reply Retweet @Soulsister13thank you for asking, we're well, Halima is sending her regards as well about 6 hours ago via Twitter for BlackBerry® in reply to Soulsister13
Reply Retweet @micaela_childthank you for your Love and support and the dedication to us. about 9 hours ago via Twitter for BlackBerry® in reply to micaela_child
Reply Retweet Going for Lunch with good friends and also following up on our Charity work we started in DC about 10 hours ago via Twitter for BlackBerry®
Reply Retweet @Elisalda2010thank you for all your love and support. about 10 hours ago via Twitter for BlackBerry® in reply to Elisalda2010
Reply Retweet @DivineMJthank you for all you Love and support. about 11 hours ago via Twitter for BlackBerry® in reply to DivineMJ
Reply Retweet @otad12thank you for thinking of us. about 11 hours ago via Twitter for BlackBerry® in reply to otad12
Reply Retweet
Now, admittedly, this may be a stretch....but one of the strangest of Jermaine's tweets is:
Lunch was great, I met some amazing Opera singers from Mexico, I was very impressed. Just Amazing.
So I googled "Mexican Opera Singers" and this was the first choice that came up...it is an article about a Mexican Opera Singer named Rolando Villazón....it is kinda lengthy, but for some reason, the more I read about him the more he reminded me of Michael....coincidence? I wonder why Jermaine was meeting with some Mexican Opera Singers anyway? Doesn't that strike you as an odd combo?
'The stage is a macabre playground where you set your fantasies free'
He is the next big thing in male opera singers, but life could have been very different. He abandoned his first calling, to be a priest, after God failed to meet him on top of a volcano. And he still consults a therapist every week following a near-burnout last year. Clown one moment, cultural sage the next, the Mexican tenor is a force of nature to be reckoned with, says Peter Conrad
Peter Conrad The Observer, Sunday 25 May 2008 Article history
Tenor Rolando Villazon photographed at the Royal Opera House in London. Photograph: Richard Saker
Backstage at the Royal Opera House to meet a tenor, I encountered a monster instead. My date was with Rolando Villazón, the young Mexican whose vocal ardour and dramatic intensity have singled him out as the successor to the venerable Placido Domingo; at the appointed time, a dinosaur turned up. No, not some lumbering relic of an extinct species like Pavarotti, but an actual saurian, admittedly made of plastic. Through the door poked the head of a triceratops, its jaws grinning as it chomped on a furry teddy bear. While it ate, the head emitted a jungly, rumbling growl.
When the mask came off, I recognised Villazón, a madcap jester who has eyes like burning coals, eyebrows like scorched earth and hair that looks as if it might have been twisted into curls by red-hot tongs. He had spent the day rehearsing the Hamlet-like title role in Verdi's Don Carlos, the most eagerly awaited new production of the Royal Opera's season, sold out months in advance; that, he said, explained his impersonation of a prehistoric beast. 'Ah yes, it is the director's concept. Nicholas Hytner is setting the opera in Jurassic Park, not 16th-century Spain. Interesting, no?' Then a wild burst of laughter jolted him. 'OK, I am joking, I tell you why I wear this. It is because the fans stop me everywhere in the street wanting autographs and this frightens them away!' Another fit of giggles followed, after which, on his third try, Villazón, who siphons off surplus energy by clowning and spends his spare time scribbling caricatures, let slip the dull, domestic truth. He had picked up the mask at a novelty shop in Covent Garden and was taking it home as a bedtime present for one of his young sons.
Before the dinosaur unmasked, I noticed that it was carrying a thick paperback. Most tenors have resonance cavities where their brains should be, but Villazón is a great reader and was immersed in The Goose Man, an untranslated novel by German expressionist Jakob Wassermann, which describes the travails of a misunderstood composer.The two accessories sum up his complexity: a child's mask on his head, an adult's weighty, frowningly obscure book in his hand. Villazón claims that novels help him to flesh out the inner lives of the sometimes vacuous operatic characters he has to embody. 'In books I discover the real human beings,' he said in 2006. 'In life, you often meet only the masks.'
I met the mask first. But the face underneath the dinosaur's head is another kind of mask, elasticised when Villazón laughs or torn apart by anguish as he surrenders to the rage of Alfredo in La traviata and the sobbing misery of Rodolfo in La bohème. When he sings, his head sometimes seems to disappear altogether, engulfed by a mouth that opens preternaturally wide to let out what he calls 'the cry of the unconscious - a continuous primal scream'. I had seen the layered disguises. Would I discover the real human being?
The task, I found, was like trying to catch a whirlwind. Unstoppably loquacious in several languages and physically restless to the point of frenzy, Villazón is a self-transformer. His slim body and his thin skin are the cage for a menagerie of creatures as feral as that triceratops: a predatory libertine like the Duke in Verdi's Rigoletto, a crazed stalker like Don José in Bizet's Carmen, a morbid narcissist like the poet Lensky in Tchaikovsky's Eugene Onegin. The man who lets these alter egos inhabit him, and who voices their neuroses with such eloquence, must sometimes wonder who he actually is.
Last summer, overcome by just that anxiety, Villazón cancelled his engagements for five months and retired to an island off the coast of Spain to brood about the forced pace of his career and the emotional self-expenditure it entailed. 'It was,' he told me, 'a physical and vocal collapse. Just before it happened, it was not me performing, it was my reflection. Somehow I wasn't there. My voice is a horse and it wanted to be ridden by a man, not a reflection.'
He then treated that voice to a little exercise in mythological metamorphosis, extra evidence of his flair for changing himself. 'When it goes well, the man and the voice are one, like Centaur. And when it goes really well, the horse becomes Pegasus - he flies!' His arms raked the air in anticipation of take-off; Villazón always seems on the point of going through the roof.
He is, conveniently enough, married to a psychologist and also has a trusted shrink in Mexico, whom he consults every week by telephone. He has often toyed with the idea of rounding up the operatic characters that are his multiple, optional selves and banging their heads together in a session of group therapy. The medical analogy breaks down, however, because opera is a sickness from which Villazón doesn't want to be cured. 'That's right, the theatre is not a doctor's office,' he said. 'The stage is a playground - a macabre playground, because it's where you set fantasies free, where the demons dance around like ghosts on the Day of the Dead in Mexico.' Villazón applies his knowledge of psychoanalysis to the roles he performs; but having uncovered the reasons for their perverse conduct, he does not restore them to sane, unoperatic normality. Instead he allows himself to be infected by a mania that the analyst would want to dispel.
Don Carlos, for instance, is a Spanish Oedipus, defying his tyrannical father Philip II and making abject love to his stepmother. Villazón filled in the emotional history of Carlos for me - his guilt at having killed the mother who died giving birth to him, his fear of a lethal father whose pastime was signing death warrants - and illustrated the schizophrenia of the music Verdi wrote for him. 'Listen to the way he is - sometimes very soft, pleading, lyrical, then he suddenly explodes with craziness.'
He crooned a few honeyed bars into my ear, then erupted in a spitting fury that I tried not to take personally. Before I had the chance to recover, he was lying on the floor, acting out the epileptic fits from which Carlos suffered. His eyes popped, his chest heaved, his breath came in rasping spasms; I was about to call for help when he laughed to exorcise this particular devil, jumped back into his seat, and talked about the tricky end of the opera, in which a spurious miracle saves Carlos from the Inquisition. 'When I did this opera in Amsterdam, the director refused to stage the miracle, so Carlos committed suicide in front of his father. I don't know yet what Nick Hytner wants me to do. But I have to say I love to kill myself!'
That is actually Villazón's vocation: wearing himself out on stage, shedding blood as he pours forth that molten, plaintive voice. 'I have to give the audience 100 per cent,' he said. 'I can do it no other way.' At lunchtime the day before, launching his new CD Cielo e Mar in a bar at the Royal Opera House, he treated a few dozen guests to three alternately ecstatic and tormented arias, sung with a force that made me fear for the chandelier above his head, then made an equally impassioned speech in which he celebrated music as 'the true nourishment of the spirit'.
Corporate honchos from Rolex, with whom he has an endorsement deal, swilled their champagne uneasily: they were there to shift merchandise, not save souls. 'We are living in the decadence of the interior life,' Villazón went on, adding a brief tirade against text messaging and the instant gratification of consumerist whims. 'We feel empty, so we fill up with stupid movies, or with food.' My hand, extended to grasp a passing canapé, guiltily retracted.
'But art opens our chests,' he continued. 'Art is a scalpel. Of course it can be hurtful. To open the chest you must make a wound, but that wound is a door. It shows the things that live inside a person - what makes it possible for us to jump into the sea or up to the clouds.' Once again, his rhetoric achieved lift-off, as he reached up towards the tinkling, agitated chandelier. No wonder he has described his wife, Lucia, as a necessary anchorage, tethering him like gravity: 'If I am the kite, she is the cord that keeps it close to the earth.' She must need both her hands to tug down her volatile husband, who is as aeronautical as his own high notes.
Villazón's messianic earnestness startled his listeners at the launch party. 'People said to me that they never hear speeches like that,' he told me later. 'Usually it's a just a few jokes so they can go back to drinking the champagne. But I meant it all, every word.' He may have meant more than he was saying out loud, because during his months off he questioned his conscience about the hucksterism that keeps classical music in business. His disc of duets with incendiary Russian soprano Anna Netrebko had a booklet in which they were photographed hugging, romping hand in hand and tickling one another's toes. Sex sells, and the recording company needed to unload CDs and DVDs of La traviata and La bohème; Netrebko and Villazón insisted that their partnership was confined to the theatre, though the denials sounded teasingly coy.
Last July in London, Netrebko began an affair with Uruguayan baritone Erwin Schrott, by whom she is now pregnant. Villazón's period of medical rest began soon afterwards, and he and Netrebko have not sung together since (though they are contracted to make joint appearances at the Metropolitan Opera and eventually, in Massenet's Manon, at Covent Garden). He looked back ruefully on those prurient efforts to brand them as a couple. 'A story was told though pictures about me and Anna that was not true or correct,' he said. For once, his rubbery, animated face had a solemn fixity. He is an idealist, who now knows that he can expect to be disillusioned or, perhaps, betrayed.
In his incautious, almost infantile candour, Villazón is a kind of holy fool or, perhaps, a knight riding off on an absurd crusade, preaching his musical gospel to an unworthy congregation of marketers, publicists and gossiping hacks. It was he who mentioned Don Quixote, the literary character who represents the interconnection of nobility and nonsense, aspiration and disaster. 'Living is a Quixotesque thing,' he said. 'We know we are going to die, we fail at whatever we try to do. But this is what gives us a reason to continue.'
Growing up in Mexico City, Villazón intended to devote himself to a calling more sacred than the erotically obsessive art of opera. He studied in a seminary and was a candidate for the priesthood. Before his ordination, he went on an Easter retreat to Popocatépetl, the quiescent volcano outside the city. He climbed to the top, perhaps expecting to hear God boom megaphonically from the crater or erupt in fire as on Sinai. The deity, however, was not in residence. 'Nothing happened for me. And I began to feel sorry for God - I understood that he needs us, not the other way round. So I went back down the volcano through the snow, and I felt the wind, and I looked at the village at the bottom and gradually I saw the people who lived there. Finally, I had this vision of Lucia, who was to become my wife. That revealed what my dream ought to be; to enter the monastery would be hiding. I just wandered away from Christianity - though I still admire Jesus as a man, a socialist maybe.' Or perhaps a singer, who made audible the distress of those he comforted. I recalled Villazón's claim that art performs open-heart surgery, baring our innards: had he been volunteering for the stigmata?
Vaulting ahead of me, he denounced imperial Rome for its corruption of Christianity. 'When the Emperor Constantine made it all official, it became the power machine that Jesus fought against. I think religion is a mistake that's now behind us. It was an invention - an invention of the rich, just like opera. I still have faith, but in other things. I believe in a force inside us, not in heaven. People who can afford opera tickets sometimes go for the wrong reasons, and fall asleep when the music starts. I hope that in Don Carlos we will make them cry with joy and sadness. Why not have faith in that? Or in a great violinist - someone who shits and pisses like me, but when he takes up his instrument he grows extra fingers and can do things that are extraordinary? Someone like that is flesh and blood, but he is also spirit.'
Physiology blends with metaphysics in Villazón's thinking. He went on to rhapsodise about the division of cells and outlined his belief in creative evolution, which - with opera as its chosen agent - is showing us how to reconcile body and soul. 'I realised two things during those months when I was not singing,' he said. 'One is that what I have to give to opera is unique, just as my colleagues have their own unique contributions to make. The second is that opera can get on perfectly fine without me. The performances I cancelled took place with other singers; evolution continued. I am only a voice among all the other voices, like in Verdi's Requiem.' For a moment, I fancied I could hear a celestial choir making the sky resonate. Villazón, however, is a tenor, capable of surmounting that massed ensemble with a high C or a B flat. Without pausing for breath, he described the 'nucleus of fire' he has inside him and lamented the way it was muffled and dampened by the 'watery sphere' that comes with success. He found his calling on a volcano; his period of retirement enabled him to reignite the blaze. I reminded him that he once told a German interviewer that he felt 'a little like Prometheus, who challenges the gods and steals fire from heaven'. 'Oh shit,' he moaned, 'it was so pretentious of me to say that! No, what happened last year was different: I recovered my humanity.'
Despite this modest attempt to ground himself, Villazón is a human being with a gift that seems superhuman, as well as a fondness for pretending to be a subhuman dinosaur. I hope that he tends the fire carefully and doesn't let it burn out.
The life story
Early Life
Born 1972 in Mexico City. His first exposure to music comes via the boxes of records his father, a Columbia Records employee, brings home.
Career
· 1983: Joins the Espacios Academy for the Performing Arts at the age of 11.
· 1990: Accepted as a pupil of Arturo Nieto, a prominent baritone.
· 1992: Torn between becoming a priest and a singer, he eventually decides to audition for the National Conservatory of Music
· 1999: Wins the Audience Prize, Zarzuela Prize and second prize overall in Plácido Domingo's Operalia Competition.
· 2007: Begins a new contract with Deutsche Grammophon but is forced to take a five-month break, suffering anxiety and a failing voice.
· 2008: Reappears on the opera stage in Vienna, singing the title role in Massenet's Werther
He says
'I sing with more energy now. If you take risks, you eventually fall and eat some dust. As difficult as it has been, it tasted good, the dust!'
· Don Carlos is at the Royal Opera House from 6 June to 3 July. 'Cielo e Mar' is released on 2 June
I honestly do not know what to think. But in my personal opinion the Jackson Brothers have been long long over.Everyone on the face of this planet knows that MJ stood out and has ALWAYS stood out from his brothers. Honestly........before all of this the Jacksons were mostly afterthoughts except for Janet ...Janet and MJ honestly have had the most success in their careers. The Jackson brothers also had success but that success is in the past.
They are all getting older.....they should just sit back and enjoy their families and SUPPORT their brothers legacy. The key word here is SUPPORT their brothers legacy..Also they need to fight for justice until the end of this Hoax/Murder! They have had years of success time to let it go and just be themself become closer as a family should. We all know even MJ had been gone for a while out of the spotlight....Although we see now that even though he was out of the spotlight he was working on various projects. That is how MJ is remember? He leaves for a while and then BAM! New songs, new project, ect.... so..
If they are sooo concerned about MJ's death and are claiming Murder then we should see them on t.v. in some type of justice conference with Al Sharpton and Jesse Jackson! Rebbie saying it is NOT a MJ tribute! Honestly I was shocked the last song I heard from her was Centipede ! WHICH was wrote by MJ! So ummmmmmmm reviving careers at this poing to me is well......pointless! LEt it be Jacksons ! Just let it be! Thanks. <!-- s:) -->:)<!-- s:) -->
reading your response I get the feeling you are not over 30, because most people ages 35 and up love the Jacksons. They are very talented from dancing, singing, playing musical instruments and acting. Unless you've seen them perform live you really don't know the "Jackson Experience" and even during their last performance together in 2001, you can see from the crowds reaction that they were really enjoying the show. Truth is they (the family) made MJ what he was because all these entertaining practices were being done while he was young (his older brothers/father had music groups) so he had a chance to really become great by growing up in a household of entertainment...
it's so easy to make promises and say big words if u know u never have to fulfill them <!-- s;) -->;)<!-- s;) --> same story with Jermaine. He would go to prison for Mike? Let's face the truth here - He would NEVER do that in real <!-- s --><!-- s --> Please...
He could not do that for real.
But what do you know about truth? And what do i know about truth?
"Don't judge a person, do not pass judgement, unless you have talked to them one on one"
I stole that one from Michael Jackson.
I can only agree on that.
That's why we all are here - for the truth. I highly doubt there's any person who have talked with Jermaine or Mike one on one... we all have our own opinions without talking to them. And what I said was my opinion and there's no need or use to try to change it or attack me with your opinion until I can see that J is actually helping Michael to come back. That means that Michael returns one day and THEN I will apologize Jermaine for all I said about him and for not believing him. But right now it seems like he's just taking all he can until the "iron is hot" and who can blame him? Easy job for him....
If there is no chance to talk to someone one by one and you have nothing nice to say without actually learning the truth then better not to say anything.
First you have to learn the truth and then you will be able to draw your own conclusion. Bashing someone and sayin' "it's ok if he proves i'm wrong i'll apologize" is not a good way to think. Not at all. YOU have to prove that you're right.
BTW calling him a pig is not an opinion at all. It's just rudeness.
and I'm tired of people who will tear to pieces every word you write and who feel they need to act like some morality-police. I quess cogitative person can understand what I wanted to say and what I meant by my sarcasm...
Over the past year I have found out more about the Jackson family and it has been good for me of course I always knew that Michael stood out from them but the family are super talented and it is good to see I have to say Jermaine is growing on me and it must be hard living in the shadow of your brother knowing you can never better him.
28 august 2010 ??!! Right after the hearing..You be the judge.. ---> 28 - 2010- 8 - 07 - 1923 RT @jermjackson5 IMG00028-20100807-1923.jpg
That's what I made out of Jermaine's new tweet! Those numbers must mean something i don't know why did he let those numbers there if not.
let's check out the rest of the numbers. we have 07/1923 left. I checked out what happened on 07 of 1923 and look what I found!!!
July 1923
Friday 13:
The Hollywood Sign is officially dedicated in the hills above Hollywood, Los Angeles. It originally reads "Hollywoodland " but the four last letters are dropped after renovation in 1949.
So those V videos are about Michael?!? Meet me at the Hollywood sign at 28th of August? OMG!!! <!-- s:o -->:o<!-- s:o --> <!-- s:shock: -->:shock:<!-- s:shock: --> <!-- s:o -->:o<!-- s:o -->
28 august 2010 ??!! Right after the hearing..You be the judge.. ---> 28 - 2010- 8 - 07 - 1923 RT @jermjackson5 IMG00028-20100807-1923.jpg
That's what I made out of Jermaine's new tweet! Those numbers must mean something i don't know why did he let those numbers there if not.
let's check out the rest of the numbers. we have 07/1923 left. I checked out what happened on 07 of 1923 and look what I found!!!
July 1923
Friday 13:
The Hollywood Sign is officially dedicated in the hills above Hollywood, Los Angeles. It originally reads "Hollywoodland " but the four last letters are dropped after renovation in 1949.
So those V videos are about Michael?!? Meet me at the Hollywood sign at 28th of August? OMG!!! <!-- s:o -->:o<!-- s:o --> <!-- s:shock: -->:shock:<!-- s:shock: --> <!-- s:o -->:o<!-- s:o -->
Totally!
07 - 1923 --> So..see you on 28 - august 2010 at the Hollywood sign as VforVanquish said? RT @jermjackson5 IMG00028-20100807-1923.jpg
28 august 2010 ??!! Right after the hearing..You be the judge.. ---> 28 - 2010- 8 - 07 - 1923 RT @jermjackson5 IMG00028-20100807-1923.jpg
That's what I made out of Jermaine's new tweet! Those numbers must mean something i don't know why did he let those numbers there if not.
let's check out the rest of the numbers. we have 07/1923 left. I checked out what happened on 07 of 1923 and look what I found!!!
July 1923
Friday 13:
The Hollywood Sign is officially dedicated in the hills above Hollywood, Los Angeles. It originally reads "Hollywoodland " but the four last letters are dropped after renovation in 1949.
So those V videos are about Michael?!? Meet me at the Hollywood sign at 28th of August? OMG!!! <!-- s:o -->:o<!-- s:o --> <!-- s:shock: -->:shock:<!-- s:shock: --> <!-- s:o -->:o<!-- s:o -->
28 august 2010 ??!! Right after the hearing..You be the judge.. ---> 28 - 2010- 8 - 07 - 1923 RT @jermjackson5 IMG00028-20100807-1923.jpg
That's what I made out of Jermaine's new tweet! Those numbers must mean something i don't know why did he let those numbers there if not.
let's check out the rest of the numbers. we have 07/1923 left. I checked out what happened on 07 of 1923 and look what I found!!!
July 1923
Friday 13:
The Hollywood Sign is officially dedicated in the hills above Hollywood, Los Angeles. It originally reads "Hollywoodland " but the four last letters are dropped after renovation in 1949.
So those V videos are about Michael?!? Meet me at the Hollywood sign at 28th of August? OMG!!! <!-- s:o -->:o<!-- s:o --> <!-- s:shock: -->:shock:<!-- s:shock: --> <!-- s:o -->:o<!-- s:o -->
Totally!
07 - 1923 --> So..see you on 28 - august 2010 at the Hollywood sign as VforVanquish said? RT @jermjackson5 IMG00028-20100807-1923.jpg
Let's wait and see! !
not sure if you read it or not..but i posted the other day when TS did and the numbers at the end of TS post..i typed in 1923 and got the information about the hollywood sign and it was also the date that.....the yellow checker taxi cabs first started on the streets!!..yellow taxi cab on judges desk...hollyland to hollywood to graceland to neverland!!...
huggs n keep the faith..
suzz
sorry i do not know how to put the topic number to show where i posted all this information sorry <!-- s:oops: -->:oops:<!-- s:oops: -->
Comments
The Sunflowers ! <!-- s;) -->;)<!-- s;) -->
Otherwise his hair will melt down <!-- s
That is not nice, he is only doing Michaels job.
( but that hair...)
He is not gonna stop with it.
Im sure that Jermaine is aware that people are bashing him and even angry with him. Ive read some comments on his twitter.. thats says enough.
He knows he is not Michael. But he is his Bro
That was certainly not a nice song, but i.m.o Jermaine felt desperate at that time.
Jermaine was there when Michael went trough the trials.
He even said that he would go to prison for Michael if he could do that.
People forget the good stuff. Jermaine was there.
@ New Tiux
He could not do that for real.
But what do you know about truth? And what do i know about truth?
"Don't judge a person, do not pass judgement, unless you have talked to them one on one"
I stole that one from Michael Jackson.
I can only agree on that.
They are all getting older.....they should just sit back and enjoy their families and SUPPORT their brothers legacy. The key word here is SUPPORT their brothers legacy..Also they need to fight for justice until the end of this Hoax/Murder! They have had years of success time to let it go and just be themself become closer as a family should. We all know even MJ had been gone for a while out of the spotlight....Although we see now that even though he was out of the spotlight he was working on various projects. That is how MJ is remember? He leaves for a while and then BAM! New songs, new project, ect.... so..
If they are sooo concerned about MJ's death and are claiming Murder then we should see them on t.v. in some type of justice conference with Al Sharpton and Jesse Jackson! Rebbie saying it is NOT a MJ tribute! Honestly I was shocked the last song I heard from her was Centipede ! WHICH was wrote by MJ! So ummmmmmmm reviving careers at this poing to me is well......pointless! LEt it be Jacksons ! Just let it be! Thanks. <!-- s:) -->:)<!-- s:) -->
16: 1 + 6 = 7
July: 7th month
25: 2 + 5 = 7
777!!!!!!
@sallydavis222. It's not this year. about 4 hours ago via Twitter for BlackBerry® in reply to sallydavis222
Reply Retweet @ShakeshaLTL thank you about 4 hours ago via Twitter for BlackBerry® in reply to ShakeshaLTL
Reply Retweet @kmnm2209 I will as soon as I watch the video. about 4 hours ago via Twitter for BlackBerry® in reply to kmnm2209
Reply Retweet @msirismg yes. He is amazing. about 4 hours ago via Twitter for BlackBerry® in reply to msirismg
Reply Retweet @sallydavis222 no unfortunately not. about 4 hours ago via Twitter for BlackBerry® in reply to sallydavis222
Reply Retweet @becomebetter yes, we have them all. about 5 hours ago via Twitter for BlackBerry® in reply to becomebetter
Reply Retweet Over the years I have been fortunate to meet some incredible people, I enjoy it deeply. about 6 hours ago via Twitter for BlackBerry®
Reply Retweet Lunch was great, I met some amazing Opera singers from Mexico, I was very impressed. Just Amazing. about 6 hours ago via Twitter for BlackBerry®
Reply Retweet @lovefor3t thank you for all you Love and support through the years about 6 hours ago via Twitter for BlackBerry® in reply to lovefor3t
Reply Retweet @Joel_kane thank you for thinking of us, I got him a computer.
about 6 hours ago via Twitter for BlackBerry® in reply to Joel_kane
Reply Retweet @Soulsister13 thank you for asking, we're well, Halima is sending her regards as well about 6 hours ago via Twitter for BlackBerry® in reply to Soulsister13
Reply Retweet @micaela_child thank you for your Love and support and the dedication to us. about 9 hours ago via Twitter for BlackBerry® in reply to micaela_child
Reply Retweet Going for Lunch with good friends and also following up on our Charity work we started in DC about 10 hours ago via Twitter for BlackBerry®
Reply Retweet @Elisalda2010 thank you for all your love and support. about 10 hours ago via Twitter for BlackBerry® in reply to Elisalda2010
Reply Retweet @DivineMJ thank you for all you Love and support. about 11 hours ago via Twitter for BlackBerry® in reply to DivineMJ
Reply Retweet @otad12 thank you for thinking of us. about 11 hours ago via Twitter for BlackBerry® in reply to otad12
Reply Retweet
Lunch was great, I met some amazing Opera singers from Mexico, I was very impressed. Just Amazing.
So I googled "Mexican Opera Singers" and this was the first choice that came up...it is an article about a Mexican Opera Singer named Rolando Villazón....it is kinda lengthy, but for some reason, the more I read about him the more he reminded me of Michael....coincidence? I wonder why Jermaine was meeting with some Mexican Opera Singers anyway? Doesn't that strike you as an odd combo?
<!-- m -->http://www.guardian.co.uk/music/2008/ma ... ra.culture<!-- m -->
'The stage is a macabre playground where you set your fantasies free'
He is the next big thing in male opera singers, but life could have been very different. He abandoned his first calling, to be a priest, after God failed to meet him on top of a volcano. And he still consults a therapist every week following a near-burnout last year. Clown one moment, cultural sage the next, the Mexican tenor is a force of nature to be reckoned with, says Peter Conrad
Peter Conrad The Observer, Sunday 25 May 2008 Article history
Tenor Rolando Villazon photographed at the Royal Opera House in London. Photograph: Richard Saker
Backstage at the Royal Opera House to meet a tenor, I encountered a monster instead. My date was with Rolando Villazón, the young Mexican whose vocal ardour and dramatic intensity have singled him out as the successor to the venerable Placido Domingo; at the appointed time, a dinosaur turned up. No, not some lumbering relic of an extinct species like Pavarotti, but an actual saurian, admittedly made of plastic. Through the door poked the head of a triceratops, its jaws grinning as it chomped on a furry teddy bear. While it ate, the head emitted a jungly, rumbling growl.
When the mask came off, I recognised Villazón, a madcap jester who has eyes like burning coals, eyebrows like scorched earth and hair that looks as if it might have been twisted into curls by red-hot tongs. He had spent the day rehearsing the Hamlet-like title role in Verdi's Don Carlos, the most eagerly awaited new production of the Royal Opera's season, sold out months in advance; that, he said, explained his impersonation of a prehistoric beast. 'Ah yes, it is the director's concept. Nicholas Hytner is setting the opera in Jurassic Park, not 16th-century Spain. Interesting, no?' Then a wild burst of laughter jolted him. 'OK, I am joking, I tell you why I wear this. It is because the fans stop me everywhere in the street wanting autographs and this frightens them away!' Another fit of giggles followed, after which, on his third try, Villazón, who siphons off surplus energy by clowning and spends his spare time scribbling caricatures, let slip the dull, domestic truth. He had picked up the mask at a novelty shop in Covent Garden and was taking it home as a bedtime present for one of his young sons.
Before the dinosaur unmasked, I noticed that it was carrying a thick paperback. Most tenors have resonance cavities where their brains should be, but Villazón is a great reader and was immersed in The Goose Man, an untranslated novel by German expressionist Jakob Wassermann, which describes the travails of a misunderstood composer. The two accessories sum up his complexity: a child's mask on his head, an adult's weighty, frowningly obscure book in his hand. Villazón claims that novels help him to flesh out the inner lives of the sometimes vacuous operatic characters he has to embody. 'In books I discover the real human beings,' he said in 2006. 'In life, you often meet only the masks.'
I met the mask first. But the face underneath the dinosaur's head is another kind of mask, elasticised when Villazón laughs or torn apart by anguish as he surrenders to the rage of Alfredo in La traviata and the sobbing misery of Rodolfo in La bohème. When he sings, his head sometimes seems to disappear altogether, engulfed by a mouth that opens preternaturally wide to let out what he calls 'the cry of the unconscious - a continuous primal scream'. I had seen the layered disguises. Would I discover the real human being?
The task, I found, was like trying to catch a whirlwind. Unstoppably loquacious in several languages and physically restless to the point of frenzy, Villazón is a self-transformer. His slim body and his thin skin are the cage for a menagerie of creatures as feral as that triceratops: a predatory libertine like the Duke in Verdi's Rigoletto, a crazed stalker like Don José in Bizet's Carmen, a morbid narcissist like the poet Lensky in Tchaikovsky's Eugene Onegin. The man who lets these alter egos inhabit him, and who voices their neuroses with such eloquence, must sometimes wonder who he actually is.
Last summer, overcome by just that anxiety, Villazón cancelled his engagements for five months and retired to an island off the coast of Spain to brood about the forced pace of his career and the emotional self-expenditure it entailed. 'It was,' he told me, 'a physical and vocal collapse. Just before it happened, it was not me performing, it was my reflection. Somehow I wasn't there. My voice is a horse and it wanted to be ridden by a man, not a reflection.'
He then treated that voice to a little exercise in mythological metamorphosis, extra evidence of his flair for changing himself. 'When it goes well, the man and the voice are one, like Centaur. And when it goes really well, the horse becomes Pegasus - he flies!' His arms raked the air in anticipation of take-off; Villazón always seems on the point of going through the roof.
He is, conveniently enough, married to a psychologist and also has a trusted shrink in Mexico, whom he consults every week by telephone. He has often toyed with the idea of rounding up the operatic characters that are his multiple, optional selves and banging their heads together in a session of group therapy. The medical analogy breaks down, however, because opera is a sickness from which Villazón doesn't want to be cured. 'That's right, the theatre is not a doctor's office,' he said. 'The stage is a playground - a macabre playground, because it's where you set fantasies free, where the demons dance around like ghosts on the Day of the Dead in Mexico.' Villazón applies his knowledge of psychoanalysis to the roles he performs; but having uncovered the reasons for their perverse conduct, he does not restore them to sane, unoperatic normality. Instead he allows himself to be infected by a mania that the analyst would want to dispel.
Don Carlos, for instance, is a Spanish Oedipus, defying his tyrannical father Philip II and making abject love to his stepmother. Villazón filled in the emotional history of Carlos for me - his guilt at having killed the mother who died giving birth to him, his fear of a lethal father whose pastime was signing death warrants - and illustrated the schizophrenia of the music Verdi wrote for him. 'Listen to the way he is - sometimes very soft, pleading, lyrical, then he suddenly explodes with craziness.'
He crooned a few honeyed bars into my ear, then erupted in a spitting fury that I tried not to take personally. Before I had the chance to recover, he was lying on the floor, acting out the epileptic fits from which Carlos suffered. His eyes popped, his chest heaved, his breath came in rasping spasms; I was about to call for help when he laughed to exorcise this particular devil, jumped back into his seat, and talked about the tricky end of the opera, in which a spurious miracle saves Carlos from the Inquisition. 'When I did this opera in Amsterdam, the director refused to stage the miracle, so Carlos committed suicide in front of his father. I don't know yet what Nick Hytner wants me to do. But I have to say I love to kill myself!'
That is actually Villazón's vocation: wearing himself out on stage, shedding blood as he pours forth that molten, plaintive voice. 'I have to give the audience 100 per cent,' he said. 'I can do it no other way.' At lunchtime the day before, launching his new CD Cielo e Mar in a bar at the Royal Opera House, he treated a few dozen guests to three alternately ecstatic and tormented arias, sung with a force that made me fear for the chandelier above his head, then made an equally impassioned speech in which he celebrated music as 'the true nourishment of the spirit'.
Corporate honchos from Rolex, with whom he has an endorsement deal, swilled their champagne uneasily: they were there to shift merchandise, not save souls. 'We are living in the decadence of the interior life,' Villazón went on, adding a brief tirade against text messaging and the instant gratification of consumerist whims. 'We feel empty, so we fill up with stupid movies, or with food.' My hand, extended to grasp a passing canapé, guiltily retracted.
'But art opens our chests,' he continued. 'Art is a scalpel. Of course it can be hurtful. To open the chest you must make a wound, but that wound is a door. It shows the things that live inside a person - what makes it possible for us to jump into the sea or up to the clouds.' Once again, his rhetoric achieved lift-off, as he reached up towards the tinkling, agitated chandelier. No wonder he has described his wife, Lucia, as a necessary anchorage, tethering him like gravity: 'If I am the kite, she is the cord that keeps it close to the earth.' She must need both her hands to tug down her volatile husband, who is as aeronautical as his own high notes.
Villazón's messianic earnestness startled his listeners at the launch party. 'People said to me that they never hear speeches like that,' he told me later. 'Usually it's a just a few jokes so they can go back to drinking the champagne. But I meant it all, every word.' He may have meant more than he was saying out loud, because during his months off he questioned his conscience about the hucksterism that keeps classical music in business. His disc of duets with incendiary Russian soprano Anna Netrebko had a booklet in which they were photographed hugging, romping hand in hand and tickling one another's toes. Sex sells, and the recording company needed to unload CDs and DVDs of La traviata and La bohème; Netrebko and Villazón insisted that their partnership was confined to the theatre, though the denials sounded teasingly coy.
Last July in London, Netrebko began an affair with Uruguayan baritone Erwin Schrott, by whom she is now pregnant. Villazón's period of medical rest began soon afterwards, and he and Netrebko have not sung together since (though they are contracted to make joint appearances at the Metropolitan Opera and eventually, in Massenet's Manon, at Covent Garden). He looked back ruefully on those prurient efforts to brand them as a couple. 'A story was told though pictures about me and Anna that was not true or correct,' he said. For once, his rubbery, animated face had a solemn fixity. He is an idealist, who now knows that he can expect to be disillusioned or, perhaps, betrayed.
In his incautious, almost infantile candour, Villazón is a kind of holy fool or, perhaps, a knight riding off on an absurd crusade, preaching his musical gospel to an unworthy congregation of marketers, publicists and gossiping hacks. It was he who mentioned Don Quixote, the literary character who represents the interconnection of nobility and nonsense, aspiration and disaster. 'Living is a Quixotesque thing,' he said. 'We know we are going to die, we fail at whatever we try to do. But this is what gives us a reason to continue.'
Growing up in Mexico City, Villazón intended to devote himself to a calling more sacred than the erotically obsessive art of opera. He studied in a seminary and was a candidate for the priesthood. Before his ordination, he went on an Easter retreat to Popocatépetl, the quiescent volcano outside the city. He climbed to the top, perhaps expecting to hear God boom megaphonically from the crater or erupt in fire as on Sinai. The deity, however, was not in residence. 'Nothing happened for me. And I began to feel sorry for God - I understood that he needs us, not the other way round. So I went back down the volcano through the snow, and I felt the wind, and I looked at the village at the bottom and gradually I saw the people who lived there. Finally, I had this vision of Lucia, who was to become my wife. That revealed what my dream ought to be; to enter the monastery would be hiding. I just wandered away from Christianity - though I still admire Jesus as a man, a socialist maybe.' Or perhaps a singer, who made audible the distress of those he comforted. I recalled Villazón's claim that art performs open-heart surgery, baring our innards: had he been volunteering for the stigmata?
Vaulting ahead of me, he denounced imperial Rome for its corruption of Christianity. 'When the Emperor Constantine made it all official, it became the power machine that Jesus fought against. I think religion is a mistake that's now behind us. It was an invention - an invention of the rich, just like opera. I still have faith, but in other things. I believe in a force inside us, not in heaven. People who can afford opera tickets sometimes go for the wrong reasons, and fall asleep when the music starts. I hope that in Don Carlos we will make them cry with joy and sadness. Why not have faith in that? Or in a great violinist - someone who shits and pisses like me, but when he takes up his instrument he grows extra fingers and can do things that are extraordinary? Someone like that is flesh and blood, but he is also spirit.'
Physiology blends with metaphysics in Villazón's thinking. He went on to rhapsodise about the division of cells and outlined his belief in creative evolution, which - with opera as its chosen agent - is showing us how to reconcile body and soul. 'I realised two things during those months when I was not singing,' he said. 'One is that what I have to give to opera is unique, just as my colleagues have their own unique contributions to make. The second is that opera can get on perfectly fine without me. The performances I cancelled took place with other singers; evolution continued. I am only a voice among all the other voices, like in Verdi's Requiem.' For a moment, I fancied I could hear a celestial choir making the sky resonate. Villazón, however, is a tenor, capable of surmounting that massed ensemble with a high C or a B flat. Without pausing for breath, he described the 'nucleus of fire' he has inside him and lamented the way it was muffled and dampened by the 'watery sphere' that comes with success. He found his calling on a volcano; his period of retirement enabled him to reignite the blaze. I reminded him that he once told a German interviewer that he felt 'a little like Prometheus, who challenges the gods and steals fire from heaven'. 'Oh shit,' he moaned, 'it was so pretentious of me to say that! No, what happened last year was different: I recovered my humanity.'
Despite this modest attempt to ground himself, Villazón is a human being with a gift that seems superhuman, as well as a fondness for pretending to be a subhuman dinosaur. I hope that he tends the fire carefully and doesn't let it burn out.
The life story
Early Life
Born 1972 in Mexico City. His first exposure to music comes via the boxes of records his father, a Columbia Records employee, brings home.
Career
· 1983: Joins the Espacios Academy for the Performing Arts at the age of 11.
· 1990: Accepted as a pupil of Arturo Nieto, a prominent baritone.
· 1992: Torn between becoming a priest and a singer, he eventually decides to audition for the National Conservatory of Music
· 1999: Wins the Audience Prize, Zarzuela Prize and second prize overall in Plácido Domingo's Operalia Competition.
· 2007: Begins a new contract with Deutsche Grammophon but is forced to take a five-month break, suffering anxiety and a failing voice.
· 2008: Reappears on the opera stage in Vienna, singing the title role in Massenet's Werther
He says
'I sing with more energy now. If you take risks, you eventually fall and eat some dust. As difficult as it has been, it tasted good, the dust!'
· Don Carlos is at the Royal Opera House from 6 June to 3 July. 'Cielo e Mar' is released on 2 June
reading your response I get the feeling you are not over 30, because most people ages 35 and up love the Jacksons. They are very talented from dancing, singing, playing musical instruments and acting. Unless you've seen them perform live you really don't know the "Jackson Experience" and even during their last performance together in 2001, you can see from the crowds reaction that they were really enjoying the show. Truth is they (the family) made MJ what he was because all these entertaining practices were being done while he was young (his older brothers/father had music groups) so he had a chance to really become great by growing up in a household of entertainment...
If there is no chance to talk to someone one by one and you have nothing nice to say without actually learning the truth then better not to say anything.
First you have to learn the truth and then you will be able to draw your own conclusion. Bashing someone and sayin' "it's ok if he proves i'm wrong i'll apologize" is not a good way to think. Not at all. YOU have to prove that you're right.
BTW calling him a pig is not an opinion at all. It's just rudeness.
That's what I made out of Jermaine's new tweet! Those numbers must mean something i don't know why did he let those numbers there if not.
let's check out the rest of the numbers. we have 07/1923 left. I checked out what happened on 07 of 1923 and look what I found!!!
July 1923
Friday 13:
The Hollywood Sign is officially dedicated in the hills above Hollywood, Los Angeles. It originally reads "Hollywoodland " but the four last letters are dropped after renovation in 1949.
http://www.spiritus-temporis.com/1923/
So those V videos are about Michael?!? Meet me at the Hollywood sign at 28th of August? OMG!!! <!-- s:o -->:o<!-- s:o --> <!-- s:shock: -->:shock:<!-- s:shock: --> <!-- s:o -->:o<!-- s:o -->
Totally!
07 - 1923 --> So..see you on 28 - august 2010 at the Hollywood sign as VforVanquish said? RT @jermjackson5 IMG00028-20100807-1923.jpg
Let's wait and see!
not sure if you read it or not..but i posted the other day when TS did and the numbers at the end of TS post..i typed in 1923 and got the information about the hollywood sign and it was also the date that.....the yellow checker taxi cabs first started on the streets!!..yellow taxi cab on judges desk...hollyland to hollywood to graceland to neverland!!...
huggs n keep the faith..
suzz
sorry i do not know how to put the topic number to show where i posted all this information sorry <!-- s:oops: -->:oops:<!-- s:oops: -->