Chris talking about Tom’s dancing. x
I DONT CARE WHAT KIND OF BLOG YOU HAVE
EVERYONE NEEDS A DANCING FESTIVE CARLTON
I CANT BELIEVE THIS
I CANT BELIEVE OBAMA IS ACTUALLY OBAMA
Every photographer waits for the moment. In 1990, photographer Scott Christopher saw an opportunity. He knew what he wanted. The position. The angle. He took a risk and hoped for the moment. By chance, it happened. The result may be the greatest photograph of pop star Michael Jackson. It depicts a youthful man, at ease, at peace, clear eyed and creative. The photograph has now been unveiled for the very first time to the general public at the AMFM Fest in the Coachella Valley.
In April of 1990, Michael Jackson was in Washington D.C. to receive an award, the Artist of the Decade, from President George Bush Sr. One of the many related events was a visit to the National Children’s Museum. Jackson was with a large entourage. His bodyguards, managers and publicists were milling with museum officials and selected guests. Photographer Scott Christopher was there to document the occasion. The group was halted as scores of school kids were assembling in the next room. Michael Jackson found a moment and he slipped away.
Jackson dodged into a small exhibit room and Scott Christopher followed. The photographer had developed a rapport with the pop star. They were comfortable with each other. Christopher and his camera had become invisible. Jackson sat down, next to a kid-sized table that held three toy xylophones. Above it on the wall was a photograph of jazz great Louis Armstrong. The trumpeter was rehearsing in a bathroom before a concert. A photographer had caught him in an unguarded moment.
Jackson took the xylophone mallet and began to play. There was a shift in the energy and Christopher sensed it. Michael Jackson was getting lost in his own little world. The photographer recalls, “Michael was within his heart of hearts.” His face began to relax and his eyes lost focus. The man was having fun. He was playing music.
A photographer looks at elements. Jackson was playing with one hand, the other was relaxed beside him. Louis Armstrong held his trumpet at an angle. The contemporary pop star was lost to himself and so was Armstrong. Scott Christopher wanted a shot where Jackson’s arm would parallel the trumpet. He could hope. He also could have popped off a few safe shots. He could possibly ruin the moment. He waited. Jackson continued to play, for himself.
After twenty to thirty seconds, the pressure of the photographer’s finger opened the shutter of the camera for a fraction of a second. Light hit celluloid. An image was captured. Immediately, an official popped into the room and announced the start of the event. Reality beckoned. The moment was broken.
Scott Christopher has never shared the photograph of a very private moment of a very public man. He was waiting for the right moment. On June 14, 2013, the photograph was unveiled to the public at the AMFM Fest in Coachella Valley at the Incredible Artist Gallery. The festival, art, music, film and more, is sponsored by Film 4 Change, an organization that Christopher supports. The photograph is noteworthy in so many ways. [x]
Michael, I know you have a deep love for children.
Michael: I’ve always been totally crazy about children. I feel like they are more than just children; that they are all little geniuses and that they have a secret all of their own. A secret that they cannot always express.
Do they lose it when they become adults, then?
Michael: I kinda think they do. I studied child psychology because of my love for children- all over the world.
Could that secret be innocence?
Michael: That may well be it. If a kid doesn’t like you, he’ll tell you. But adults pretend and they put on phony ways. I wish the world could be full of children!
Michael Jackson 1979
Aw see, Michael was always loving
he should have just left it alone, honeslty
"And when you smile"
"the whole world stops and stares for a while"
"There’s this story, actually, that Quincy told me years ago. And what said is that Michael had the ability to come in, he could lay down the lead vocal of a track. And then he could sit there, listen, just put the time in and figure out where all the harmonies should go. And then do that, not leave until he had the harmonies right."~Nelson George