Interview with Sarah Hall Weaver: Assistant Director of the National Museum of Dance and Hall of Fame

On August 15, 2010, on a night filled with celebration and dance, Michael Jackson was inducted into the National Museum of Dance and Hall of Fame. Spectators, fans and the Saratoga Springs elite, joined together to pay tribute to an artist who has inspired countless musicians, dancers and singers. And for many of Michael’s fans, it was an acknowledgement and recognition of his artistic contributions that had been long overshadowed by unnecessary negativity and controversy.

One year later, I talked to Sarah Hall Weaver, Assistant Director at the National Museum of Dance and Hall of Fame, and asked her questions about the exhibit and her personal involvement in it.

 

Valmai:   Sarah, could you give us background on the museum? When was it first established?

Sarah:   We are located in Saratoga Springs, New York. The National Museum of Dance opened in 1986; this year is actually our 25^th anniversary! Prior to the opening of the museum, the building was the Washington Bathhouse. After a decline in popularity, the building was left vacant for years. Then Marylou Whitney and Lewis Swyer, the museum's founders, came up with the idea to convert the building into the nation’s only museum dedicated solely to the art of dance—and it remains to this day as the only one in the United States, and one of just a very few scattered throughout the world. The C.V. Whitney Hall of Fame opened in 1987, and remains the only hall of fame that recognizes dance professionals. Since its opening, the museum has continued to offer annually, rotating exhibits, plus various events and programs. It also has its own dance school, The School of the Arts, which offers dance opportunities to people of all ages and backgrounds.

Valmai:  To date, how many inductees are there in the Hall of Fame?

Sarah:  There are currently 46 inductees in the Hall of Fame. They represent an endless variety of dance and dance professionalism, including dancers, choreographers, writers, musicians, costume designers, and much more!

Valmai:  Where do you get the memorabilia for the exhibits? Is it all donated, or does the museum have to purchase some of it?

Sarah:  The memorabilia in the rotating exhibits comes from many places. We have our own archival collection that has been gathered throughout the years and many objects are donated or borrowed as new projects arise, but unfortunately we do not have the means to outright purchase memorabilia. The Michael Jackson exhibit is a particularly lovely example of how naturally some projects come together: We had a few things donated initially, but as I was installing the exhibit—during the last week of hammering, painting, building and detailing—we had an influx of private collectors offering their memorabilia to be displayed on loan.

Valmai:  You have a children’s gallery in the museum. Could you tell us about some of the things it offers?

Sarah:  The Alfred Z. Solomon Children’s Wing is one of our permanent exhibits. It has a variety of toys that inspire explorations of movement and dance, as well as a collection of costumes and props to be used with a curtained stage, so that visiting kids can create their own shows. There is also a reading corner with many books for all age levels that pertain to dance topics, and a video library where our visitors can select their own movies to watch.

Valmai:  Michael Jackson was inducted into the Dance Hall of Fame, on August 15, 2010, and you mentioned that his exhibit is one of your most popular. Approximately how many guests would you say visit his exhibit each day/month/year?

Sarah:  We see on average about 10,000 visitors annually. Our museum and local community cater to a very seasonal audience, so daily and weekly visitor numbers fluctuate throughout the year. I can say that this summer is showing larger numbers of daily visitors than I’ve ever seen in my four summers here, and every week we still have guests arrive with the first question of, “Where is the Michael Jackson exhibit?”

Valmai:  Can you share any reactions from visitors to his exhibit that are especially memorable?

Sarah:  I am always surprised to see people’s different, individual experiences of the exhibit. We have seen everything from tears to hysterical laughter, and I am always so pleased to see how new guests take it all in. At the induction last August, I had set up a bubble machine in the Jackson 5 section as a special one-night-only effect. The actual ceremony had just ended in our main foyer, and when I went to check on the machine, I found a mother and her toddler playing in the bubbles. I don’t know that I’m a good enough writer to convey the happiness on the little girl's face, but her eyes held nothing less than absolute joy while she danced to the Jackson 5. Her dancing and enjoyment made it very real for me on just how important this exhibit is.

Valmai:  Does his exhibit hold any personal significance for you?

Sarah:  It really does. Like a lot of people, I’ve been a fan of Michael’s music since I was in preschool, but this project allowed me the opportunity to examine his career in a different light. I got to learn a lot about him, and a lot about myself and my vision for the museum too. Dance is sometimes considered as something elitist and exclusive, but it is so ingrained in our culture and the things we love most—dance IS for everyone. The MJ exhibit allowed me the chance to prove this to our guests who might not otherwise be interested in the strict artistry of ballet, or the abstract messages of modern dance.

Valmai:  Personally, what is your favorite part of Michael’s exhibit?

Sarah:  That’s a hard question. I should probably say the memorabilia, or one of the individual videos, but I really love the glove chandelier. It’s a little silly, but it's fun and an exciting visual. It was a lot of fun (and took a lot of work) to make. 

Valmai:  Does the exhibit include Michael’s 1983 Motown Anniversary performance?

Sarah:  We do not use footage of that moment (because we were unable to get a good enough copy of it), but I make a very clear mention and explanation of that performance in the exhibit's text. Hopefully down the road, we can feature it in the Hall of Fame.

Valmai:  May I ask what pieces of Michael memorabilia are on display in the exhibit?

Sarah:  We have a autographed guitar and concert tickets that were donated to the museum. On loan are one of Michael’s fedoras, two signed tour jackets, and a pair of signed jeans that Michael had donated to a charity auction years ago. There are also a few portraits of Michael (by various fine artists), records, photographs, and a pass from the This Is It tour.

Valmai:  Is the exhibit one that can be added to? Can people donate memorabilia into the future?

Sarah:  Memorabilia donations are always welcome. Donors would simply need to contact the museum with a description of the object, and we would talk from there. Now that Michael is in the Hall of Fame, he will always be represented in our museum. We rotate the memorabilia featured in the Hall of Fame, so as we accumulate more, we will be better able to relay his presence.

Valmai:  Michael left a huge catalogue of dance in his films and concerts...as a child, teenager, and adult. Who was assigned the task of deciding what would be included in his exhibit? Was that difficult to do?

Sarah:  I selected the videos and content for the exhibit. It was difficult...and it wasn’t. I spent some time refamiliarizing myself with his videos and career during the research phase of the project, and after I examined the space, the selections really screamed to me. I wanted to highlight five videos or themes, and I wanted to do it chronologically to show his personal development. For those people who may not ever be able to see this exhibit. I chose the Jackson 5 (we put together a compilation video of several pieces of footage), The Wiz, Thriller, Black or White and This Is It. I wanted to cover the spectrum of what he accomplished in his career: films, concerts, music videos, etc. I used text to acknowledge the other obvious alternatives, and we will have the opportunity to feature some of his other videos and dance moments in the ongoing exhibition within the Hall of Fame itself.

Valmai:  How, if at all, are Michael's dance influences (from Fred Astaire to James Brown) being treated, or handled within his exhibition? If they're not being highlighted in some way, are there any plans to do so?

Sarah:  I make mention of his dance influences in the exhibit text; Michael made gracious acknowledgment of them throughout his career, and they were so clearly important in aiding the development of his aesthetic. The text is divided to three boards: “His Heritage," “His Development" and “His Legacy." The first is a detailed explanation of his training, Motown roots, and influences. (Happily, Fred Astaire is also in the Hall of Fame!) 

Valmai:  I imagine the Dance Hall of Fame had to have the Michael Jackson estate's blessing. What was the response when you first contacted them?

Sarah:  It took a while for us to find the right contacts to reach the estate, but once we did, they were so supportive and kind. They sent a lovely letter and gave us their best wishes. It meant so much more that they felt honored on Michael's behalf, as we sought to recognize his dance contributions. 

Valmai:  Have any celebrities or Jackson family members, relatives, or friends visited the Michael Jackson exhibit, and if so, who?

Sarah:  Marlon Jackson accepted the award at the induction ceremony on Michael's behalf. He was a wonderful guest, and spoke beautifully of his brother. Katherine (Michael’s mother) and Michael's children sent letters that we were able to read to the guests at the ceremony. We have also had several other people who were familiar with Michael, visit the museum.

Valmai:  What various items related to Michael are on sale in the gift shop?

Sarah:  We have T-shirts and totes that were specially made for the museum (available at http://www.dancemuseum.org/), as well as posters, pocket folders, key chains, etc. We are also printing a 25^th anniversary book that will be available for sale soon—it has profiles, quotes, and graphics on each of our Hall of Fame members, to celebrate the museum's 25^th anniversary. As the most recent inductee, Michael is the last member profiled in the book, and it is wonderful to include him alongside the 45 others.

Valmai:  Do you intend to continue with plans to create a memorial garden in Michael’s name? What can we, as fans, do to help make this happen?

Sarah:  Unfortunately, the plans for the memorial garden fell through. We loved the idea, and had high hopes of seeing it become a reality, but the organization and implementation of the garden was actually coordinated by an outside fan group and things simply did not come together. Our small staff cannot oversee a project this big on our own right now, but we hope to reconsider it in the future.

Valmai:  Does the museum get a lot of support? What can we do to help with this, and to promote more awareness?

Sarah:  Support is growing, but we do need much, much more. Membership at every level is crucial to the museum. It means not just financial support, but encouragement. We are currently working tirelessly to expand our national recognition. We are seeing more hits on our website, more daily phone calls and emails, more interest in donating financially or archivally. We just need to keep it coming, we love where we’re going, and we love doing it for the betterment of dance and our national and local communities!

Valmai:  Mr. Jackson, so deserves to be included in the Dance Hall of Fame. We want to personally thank you for recognizing his cultural impact and contributions in the field of dance. I also want to personally thank you for taking the time to do this interview.

Sarah:  I would also like to thank you! I am so happy to interview with you. The MJ exhibit has been a great experience for the museum, and we look forward to furthering his legacy for years to come!

By Valmai Owens

© 2011. All Rights Reserved. No reproduction without permission from author.

This interview appears in the publication Dot to Dot: Keeping Michael’s Legacy Alive,

http://mjtpmagazine.presspublisher.us/ and its content is the property of the authors and the Michael Jackson Tribute Portrait. Articles and exclusive interviews are copyrighted; therefore there should be no republication without permission. You may email editor@michaeljacksontributeportrait.com with any requests for republication. If permission is given, credit must be given to the author, Dot to Dot: Keeping Michael's Legacy Alive and the Michael Jackson Tribute Portrait.

2Cellos: An Interview with Stjepan Hauser and Luka Šulić

Before Stjepan Hauser and Luka Šulić of  2Cellos launched themselves onto our collective radar with their energetic and brilliantly executed version of Michael Jackson’s “Smooth Criminal,” they were already respected and well-known concert cellists in the classical music world. But one video changed their lives forever and now their careers are moving in different and exciting directions.

In interviewing Stjepan and Luka, I found them both to be delightful, well-grounded young men and artists. They are both exceedingly talented musicians and I have no doubt that we will be hearing a lot more from them in the not-too-distant future.


Valmai:  Can you tell us how long you have been playing the cello?

Stjepan:  Luka started when he was 5 and me, when I was 8. Now he is 23, and I’m 24.

Valmai:  Was the cello your first choice of musical instrument?

Stjepan/Luka:  Yes, absolutely, we fell in love with it immediately

Valmai:  What made you choose this instrument as opposed to the more popular violin?

Stjepan/Luka:  Cello sound is so beautiful and warm, its sound so natural, and it is the closest to the human voice and much more pleasant than the violin!

Valmai:  You are both still very young, yet you have played with world-renowned orchestras in some of the most prestigious concert halls around the world, giving outstanding performances. Success like this requires dedication and sacrifice. Can you share some of the sacrifices you have had to make?

Stjepan/Luka:  We dedicated our entire lives to cello and music. We were practicing all along and didn´t really have a childhood the way other kids had. We didn't go out much during the high school days either. While other friends were having fun in clubs, we were practicing at home very hard.

Valmai:  What have been some of your most memorable concert experiences?

Stjepan/Luka:  Every concert is a special and different experience and it is hard to point out any.

Valmai:  In January of this year, you posted a self-made video on You Tube of your version of Michael Jackson’s “Smooth Criminal.” Can I ask what the inspiration was behind your choice of song?

Stjepan/Luka:  We were always huge fans of Michael Jackson, and since we are cello fanatics we wanted to play a song by our biggest hero on the cellos. “Smooth Criminal” is the song that worked out the best from his songs, and we thought it could rock great on the cello!

Valmai:  How long have you both been fans of Michael Jackson?

Stjepan/Luka:  For the past 3 years.

Valmai:  Has Michael Jackson inspired you in other aspects of your musical style and playing as cellists?

Stjepan/Luka:  Of course! A lot! His amazing energy, imagination, fantasy and unbelievable unique style and charisma have always been our big inspiration.

Valmai:  Was “Smooth Criminal” difficult to play on the cello?

Stjepan/Luka:  Extremely! It is, in our opinion, the hardest cello piece ever!

Valmai:  To date, your video has received over 5.6 million views and virtually became an overnight success. Did you have any idea it would be this well-received by so many in such a short time?

Stjepan/Luka:  We were hoping to receive more attention than usual, but we really didn‘t expect that one week after, Sony, Elton John, Ellen [DeGeneres] and many, many others would contact us! Our life changed overnight.

Valmai:  How did it feel to receive a record deal with Sony MASTERWORKS?

Stjepan/Luka:  Great! We received deals from many other record companies, but SONY was the best choice!

Valmai:  You also received a phone call from Sir Elton John inviting you to tour with him on his European tour this summer. How did you react to this?

Stjepan/Luka:  He called on the phone directly, so it was a real surprise and shock! The first time he called, he spoke about his excitement and admiration toward our music. A few hours later, he called again and asked if we would like to tour with him and already mentioned some dates. He was a really, really nice, adorable gentleman.

Valmai:  When does the tour begin and what preparations are you making to ready yourselves for it?

Stjepan/Luka:  The tour begins in June. We are at the moment finishing our CD. As soon as we finish, we will start preparing for the tour!

Valmai:  How does it feel to know you are touring with the legendary Sir Elton John?

Stjepan/Luka:  It is an absolutely amazing experience to tour with a living legend, one of the greatest musicians alive. It is an honor and a once-in-a-life-time opportunity.

(Because of the timing of this interview, it was unable to be published for our June 1, issue. The 2Cellos have now been on tour with Sir Elton John for almost six weeks.)

Valmai:  On April 25, you appeared on an episode of The Ellen DeGeneres Show. What was that experience like for you and how did it feel playing “Smooth Criminal” before millions of viewers?

Luka:  It was a crazy experience. The first time we played, we played with so much adrenaline and energy that Stjepan broke his bow!! The audience went wild! Then he ran off the stage to take a spare bow that he never played on before. Then we did it again, a bit cooler!

Valmai:  Within a four-month period starting from the time you first posted your video on You Tube, you have signed a record deal, will tour with one of the greatest artists of our time and appeared on national television with one of  the USA’s most famous and popular talk-show hosts. Has rising to stardom in such a short time affected you in any way?

Stjepan/Luka:  Not at all! We are the same humble guys from before. We are not spoiled and we want to stay that way!

Valmai:  Are you aware that Sony has blocked the original video you posted in January? If so, can you share the reasons for this?

Stjepan/Luka:  We are aware. It is because they have to put all the videos they own through the VEVO channel. So now it is on 2CellosVEVO's Channel.

Valmai:  Your debut album, available in July, will feature covers of Guns N' Roses, Sting, U2 and Nirvana songs. That is an eclectic genre! Are you fans of all of those artists as well?

Stjepan/Luka:  Well, at first we were only MJ fans and that is why we started with “Smooth Criminal.” We were always very into classical music before and didn‘t even know many of the artists and songs that we are recording now. Everything happened and changed so quickly, and we are getting to know more and more music we didn‘t know existed. From bands, we like AC/DC and U2. 

Valmai:  Will “Smooth Criminal” also be included on your debut album? Have you any plans to record more of Michael Jackson’s music?

Stjepan/Luka:  Of course! There is also one more of his songs on the album and in the future we will do more!

Valmai:  What comes next for you after the album is released and you have completed your tour with Sir Elton John?

Stjepan/Luka:  There is a concert: the iTunes Festival on 25 July in London, and straight after that we go to the USA to do more TV shows and promote our record everywhere. Then our tours begin!

Valmai:  Stjepan and Luka, thank you so much for answering my questions. I wish you all the best for your upcoming tour and the release of your debut album, both of which I am sure will be a huge success.

Stjepan/Luka:  Thank you very much! All the best!

2Cellos "Smooth Criminal"

 

  

     


http://www.youtube.com/watch?v=jjOQac1vOEc&feature=player_embedded
http://stjepanhauser.webs.com/biography.htm
http://www.lukasulic.net/Luka_Sulic_Cellist/biography.html

By Valmai Owens© 2011. All Rights Reserved.
No reproduction without permission from author.

This interview appears in the publication Dot to Dot: Keeping Michael’s Legacy Alive,

http://mjtpmagazine.presspublisher.us/
and its content is the property of the authors and the Michael Jackson Tribute Portrait. Articles and exclusive interviews are copyrighted; therefore there should be no republication without permission. You may email edito@michaeljacksontributeportrait.com with any requests for republication. If permission is given, credit must be given to the author, Dot to Dot: Keeping Michael's Legacy Alive and the Michael Jackson Tribute Portrait.

Interview with Stewart Backerman

Stuart Backerman is an award winning theatrical producer, national television correspondent, professional city planner, media-relations expert and an honors graduate of the State University of New York School of Business Management.

Stuart formed his own production company, B. E. L. Enterprises Ltd. in order to produce major arts and cultural projects on an international scale. He has promoted and produced a number of major international concerts, and his company was one of the producers for the Broadway musical I Love My Wife starring the Smothers Brothers on Broadway, the musical satire Six Women with Brain Death (which was awarded a coveted Sterling Award) and the national tour and Broadway production of Peter Pan, The Musical, which starred Cathy Rigby, and won a prestigious Tony Award in 1990 in New York, for the Broadway production. He also wrote and produced the King of Swing, a musical play on the life of Benny Goodman.
Stuart was introduced to Michael as a result of Peter Pan, The Musical, and became his worldwide official spokesperson, advisor and media relations representative during one of the most tumultuous periods of Michael’s life.

In this deeply personal and in-depth interview, Stuart shares with us his experiences of working with Michael.

Transcribed by Valmai Owens.

Valmai:  Stuart, you have a very impressive resume and list of credits to your name, but probably one of the things you are most noted for is your professional relationship with Michael Jackson. How did you get hired on as Michael’s publicist and spokesperson?

Stuart:  Well, when Michael hired Dieter Weisner, he also hired a fellow by the name of Ronald Konitzer, who lives in Vancouver, Canada. A colleague of mine told me that he would like me to have lunch with one of Michael Jackson’s new managers, which was Ronald.

So we had lunch in the spring of 2002, and we were talking about Michael and his new approach to his career which was reaching out and doing more business deals and less performing. He also wanted to perhaps; if he was going to perform again, do a Broadway Show. He had done The Whiz, and he had enjoyed that very much, but he hadn’t done anything theatrical on stage.

I happened to produce Peter Pan the Musical starring Cathy Rigby, in 1990. In fact, I introduced her as a professional performer to North America, and it was a very, very successful production that eventually went to Broadway, toured the United States and won a Tony award. Ronald Konitzer became very excited about that because Michael of course saw himself as Peter Pan, very much. Ronald asked my permission to talk to Michael about me coming onboard, and working with Michael to produce the musical with him in the lead role as Peter Pan. So that really started the ball rolling.

Ronald called me in due course after our brief lunch, from Neverland, and told me that Michael very much wanted to pursue the Broadway show with me being involved. Michael got on the phone and said that he was very excited about the possibility, and wanted me to come down to Neverland as quickly as I could to discuss the project and process. So, that’s what happened; that’s how we connected initially, with the thought that Michael would perform in a major Broadway production starring as Peter Pan. 

Valmai:  What was your first meeting like with Michael?

Stuart:  You know, you meet a lot of people in your life, and when you are introduced to them for the first time you get an initial impression of them. In the case of meeting Michael Jackson for the first time, there was just something very, very different about it. Obviously you don’t meet a star or celebrity or performer as great as Michael Jackson for no reason, but what I’m saying is that there is a presence about Michael. When you meet him it strikes you very, very quickly, and I really in a sense, was taken-aback by him being such a regular person. He was so empathetic and natural, and that automatically put me at ease.  

Of course, I’ve been very blessed and fortunate in my life to work with major politicians; the Premier of The Province of British Columbia, the Mayor of Vancouver and various other celebrities that I’ve worked with on theatrical projects, but like I said, Michael was natural and very accessible. I felt tremendously at ease; not-withstanding the fact I was meeting with another celebrity because I was a little nervous at first. I was brought down to Neverland and just that experience alone was very impactful. So I guess I entered the meeting with a little bit of trepidation, but Michael made me feel very much at ease. It was a very positive and open meeting.

Valmai:  Stuart did you get to spend a lot of time at Neverland?

Stuart:  I saw MJ a number of times at Neverland in different situations, but I’ll never forget a particular time in September of 2003. Michael convinced his team, including myself, that he wanted to make Neverland more accessible. So we devised a plan to have a major fund-raising charity event. It was a couple of weeks after his official birthday which was celebrated in Los Angeles. And that’s an interesting side story that I won’t get into other than to say, Michael never celebrated his birthday because he was brought up a Jehovah’s Witness.

We convinced him to celebrate his birthday in a very formidable way at the Orpheum Theater. Then, we also convinced him to carry that birthday feeling on at this charity event about two weeks later. This was done all on the basis that Michael wanted Neverland to be much more accessible to the public. He felt that Neverland was some sort of arcane place that very few people came to, except people he invited; his family and very close associates, but he wanted more people to be able to experience the beauty and peacefulness of Neverland.

So we had this incredible charity event; a lot of stars and celebrities showed up and Michael was so happy and so feeling the energy. That I remember very distinctly; that whole experience of seeing him at Neverland at that time kind of trumped all the other times I had seen him there, but all the other times had been mostly talking business. So, this time was different because Michael was the instigator of the event, and he really played the role of host very, very well. I will never forget the joy and happiness he exuded during that particular time at Neverland.

Valmai:  So you weren’t specifically hired to be his spokesperson?

Stuart:  I was originally hired to produce the Peter Pan musical on Broadway, with Michael as Peter Pan and maybe Alice Cooper as Captain Hook. That’s who we had talked about trying to get, but unfortunately, as things were starting to come together including a phone call to Alice Cooper and some other preparations, the baby dangling incident prior to the Bambi Awards in Berlin, occurred. Because of all the negative publicity and the world-wide screaming about Michael’s irresponsibility, which of course was foolish, we felt that to try and do Peter Pan with its theme about young children and lost boys, the timing wasn’t right. So, because Michael and I had gotten on so well up to that point, it was determined by Michael that I would be his spokesperson and publicist. He wanted to have one person that was able to speak for and represent him to the global media.

I think, to tell you the truth, and this is a heartfelt statement, Michael felt that I was the first person on his team that was reasonably normal. When I say normal, I’m as nutty as anyone else in this world, but normal in a sense that I’d been married  for 33 years at that time, I have a family that is very important to me, I’m reasonably well educated and I was not from Hollywood. He felt that a family guy like me who had a normal career outside of show business; for example I started out as an Urban Planner, I have a Masters Degree and I did a lot of things before I got involved in entertainment in a very entrepreneurial way. Michael felt that was exactly who he needed, and so it was kind of serendipitous not only because he liked Peter Pan, but he liked me because of my family background. So he asked me to become his global spokesman and we would do Peter Pan at a later date. So of course I accepted, and that’s how that came about.

Valmai:  I read somewhere that you were in the hotel room with Michael when he showed Blanket to the fans. Is this correct or just a rumor?

Stuart:  No, I was in Vancouver, but Dieter called me from Michael’s hotel room in Berlin.

Valmai:  Was part of your job was also to counteract the negative press Michael received? I’m referring to Bashir’s documentary, in which he deliberately and unethically attempted to cast Michael in the worst possible light. Did you take part in any of the counter measures?

Stuart:  Yes, and how we wanted to counteract negative publicity and negative image in some sections of the media, was to make him appear as he was. People unfortunately believe everything they read and see on television. Michael at that time, in 2002 and 2003, and before that of course, was portrayed almost as a lunatic.

I and his team certainly knew him to be very, very different because Michael was really on top of things. He knew where he wanted to go and he knew what he wanted to accomplish. What we were trying to accomplish as a team, really was segueing him from his performing years because he was approaching fifty at that time. He told me a number of times that he didn’t want to be an organ grinder’s monkey doing “Billie Jean” into his fifties. He wanted to elevate his game and be involved more at a professional and creative level; being involved in business at a managerial level and not necessarily having to do the stuff he did when he was in his twenties and thirties.

So we felt the best way to accomplish that was to really make him more accessible to the public. That sort of started off a chain of events where after we took care of the Bashir interview that got the world upset about Michael because of the scene with Gavin Arvizo, we were fortunate in locating footage that showed that Martin Bashir was duplicitous. Off-camera, what Martin Bashir was saying to Michael and to all of us, was that Michael was the greatest person in the world, children loved him so much, and he was impressed with how Michael conducted himself. Then of course with our camera, that interview was packaged in a very different way. We took steps very, very quickly to locate this footage that showed him being very duplicitous. Then we put together what it is now called the rebuttal documentary on Fox which Maury Povich hosted, and put to rest Martin Bashir’s insinuations about Michael.

From there, we were in a free position; a more open and flexible position to begin the strategy of segueing Michael from performing into business. That included him going back to Gary, Indiana, which was very successful in showing that he really cares about his roots; he cares about his family, he cares about where he came from, and we felt that that was a very important base point to show the public that he’s a sensitive, caring person. And he is, very, very much. Sometimes he cared too deeply about people and sacrificed himself; a lot of times got caught unawares by people he thought he could trust who in the end screwed him in a sense.

We felt it was important to bring him out to the public showing him to be the kind of person he really is. So, we went to Gary, Indiana; we had this charity event and we brought him to Las Vegas where he got the key to the city from Mayor Goodman, and a number of activities in the following months after the Bashir interview, as a way to show the world that Michael is not some kind of crazy hermit who is stranger or whatever. We wanted the public to really know him like we knew him, and that’s sort of the background.

Valmai:  So, all these things you are talking about was part of planning Michael’s comeback in a way. He also wanted to move forward into Motion Pictures didn’t he?

Stuart:  Yes, and he was particularly interested in animation. We connected with an animation company in Montreal, who had done an animated film called Pinocchio 5000. Michael met with the owner of the company called Cine Works. This company was very interested in helping Michael either purchase the firm and taking what was already in the works and pursuing them, or to work for them as sort of like a President of the company. He’d be involved in doing some of the voice-over work, some singing, some choreographic moves, be involved in some of the script writing, and have both a creative and managerial role in seeing major animated films come to Hollywood.

That’s an example of the kind of thing he was beginning to look at beyond straight performing. This was pursued very aggressively, and it would have happened if it wasn’t for, of course, the raid at Neverland by Tom Sneddon. That ended everything at that time. It’s very unfortunate, because we were all close to signing a major deal with City Works when the raid occurred. So that sort of ended that very quickly.

Like I said, that’s kind of an example of the things he wanted to get into as part of his comeback, but let me be clear, the comeback didn’t include a sort of O2 series of concerts. He only did that at the end because of a financial need, and most of us believe that never in a millions years would he have been able to do fifty concerts, even if they were spread out over a period of time. Honestly Valmai, he never really had his heart in performing again. He felt like that he was a father now; he had a responsibility to be with his family and that was a priority.

He wanted to package his life very differently where he would be in a more executive or managerial role, creative nonetheless, but not performing all over the place and touring and the kind of lifestyle that incurs. Michael didn’t think that would be a wholesome way to raise his family. So for anybody out there that doesn't believe Michael Jackson loved his family, and didn’t have them as his number one priority, even before his career; his family was more important than his so-called performing career, and he was willing to for emotional and family reasons, to change in his mid-forties from a performer to a business man. That’s what he really wanted. 

Valmai:  Right, right, but then he lost that opportunity when, like you said, Sneddon raided Neverland.

Stuart:  That is the saddest thing in the world. He and his team had actually accomplished all that was set out before, during and after the Bashir debacle. That strategy I was talking about before really had come into play. The Gary, Indiana trip was tremendously successful and the charity event was unbelievable; everybody in North America was writing about Neverland and what was happening there, the Las Vegas Radio Music Award Show as a humanitarian, and his birthday at The Orpheum Theater which he had never done before, and where he allowed his adoring fans from all over the world to enjoy that with him. All those things were tremendously successful, and they were culminating right at the time when Tom Sneddon and the Santa Barbara District Attorney’s Office decided they wanted to get Michael again. And they really did in a sense, kybosh these tremendous plans and strategy that was just about ready to be put into play. Very sad, very, very sad.

Valmai:  Yes, it was very sad for Michael. Now Dieter Weisner was the one who broke the news to Michael, and he spoke of Michael’s reaction and shock. Did you witness any reaction yourself in the days that followed after the raid?

Stuart:  Not really. It was such an emotionally wrenching time. The day that the raid took place, I spoke to Dieter in Las Vegas. I was back in Vancouver and I had left Las Vegas a couple of nights before the raid. Michael, his family, myself and a few other aides, were going to go to Europe for about six or seven weeks, on to Africa to meet with Nelson Mandela, and then over to South America to do about a three month publicity tour for his Number Ones album, and to continue this process of making himself more accessible to his fans and the public. Unfortunately that didn’t happen.

When Michael woke up; Dieter let him sleep that morning, he told Michael the news and it was obviously very, very difficult for Michael. He felt that he had gotten passed the 1993 Jordy Chandler furor, and he was very, very, very upset. I happened to call Dieter, who was in Michael’s hotel suite at The Mirage, and he asked Michael whether or not he wanted me to do or say anything specific to the media. At that point, they were calling me from all over the world asking me for comments about the issue that had already been leaked about a child molestation situation. Obviously it turned out to be the whole Gavin Arvizo charge.

I heard Michael over the phone saying, “No, I trust Stuart to say the right things and represent me as positively as possible.” So I didn’t talk to Michael directly in those moments, but in a way I really did because he basically put his trust in me to act the spokesman, and give off the most positive reflection of who Michael Jackson really is.

Valmai:  Right, and now we have a new trial coming up. I have heard this said, and I have asked others their opinion on this, Dr. Murray maybe the one sitting in the courtroom accused of Involuntary Manslaughter, but in reality it will be Michael who will once again be put on trial. Do you agree with this?

Stuart:  I do agree with that statement to a certain degree. Even though Dr. Murray is the one who has been charged and has to defend himself, it will be Michael to a certain degree that will be on trial. The defense will try and show or indicate that Michael hurt himself and that Dr. Murray was there to assist.
I’m afraid that the defense will try and make Michael look like a drug addict, and a sad person who had a natural need in a sense. That’s very troubling to me that Michael will be put on trial again, and I feel that’s very unfortunate.

Valmai:  Well the defense has already started moving in that direction; on the premise that Michael was an addict, and that he injected himself. Stuart, what was your strategy during the 2005 trial?

Stuart:  The strategy was to tell the truth, and let Janet Arvizo “hang herself” with her lies.

Valmai:  What would you say was the most outrageous or challenging thing that came across your desk before or during the trial?

Stuart:  The co-conspirator charges against Michael etc. were absolutely laughable. The Arvizo family was hucksters from the beginning, and Michael paid the price for his generosity and his foolishness. By that I mean, he shouldn’t have let Martin Bashir film Gavin…It was a bad mistake.

Valmai:  Stuart, you resigned from Michael publically on CNN after working for him for 20 months. Are you able to share your reasons why?

Stuart:  Yes, I NEVER would have left Michael’s employ if it wasn’t for the infiltration, and covert takeover by The Nation of Islam. The NOI had only one familiar agenda, and that was to soak Michael out of his monies because as soon as they gained control, they started making business deals on the side that were amateurish at best, and not in Michael’s interest. In fact, in my opinion Mark Geragos and the NOI hurt Michael’s legal defense strategy by their tasteless PR antics…That’s why Tom Messereau was appointed after Geragos/NOI were fired, and rightly so!

Valmai:  Did you have any contact with Michael at all after you resigned?

Stuart:  Yes, I had two brief conversations with Michael and his brother Randy, about me coming back to work for him, but it was too late. Raymone Bain was already screwing up any chance to represent Michael in a dignified way befitting an innocent man.

Valmai:  Stuart, in 2008 you did an interview with the MJFC in which you spoke of Michael in a very positive and loving way, but in another interview you did immediately after Michael's death with The Vancouver Sun, you talk about him quite differently. There is just a huge difference between these two interviews and what you are saying. It begs the question, why?

Stuart:  Could be a little more specific? What did I say that was different?

Valmai:  Well, like I said, the 2008 interview with the MJFC was very positive toward Michael. In the 2009 interview however, you say Michael was a class contradiction; too much money; too much material focus, and too much of the prescription drug situation following the unfortunate scalding of his head. You mention that you saw him being disloyal to people, that he was not all there at times, that he wasn’t so swift on the business side, he wore wigs that made him look strange, that he was an idiot with the Bashir documentary, “That was the stupidest thing in the world, and he was warned about it, but Michael does what Michael wants.” And, “I’d like to think that Michael Jackson had innocent relationships with these boys, similar to what a lot of 12 and 11 and 13-year-old boys might experiment with, in a sense. Kind of innocently. ‘I’ll show you mine, you show me yours’ kind of situation, at the most.” Etc…

Stuart:  I can’t compare what I said in that article to another time and place because I am not sure how they are set against each other. I will say this, the interview I did with The Vancouver Sun was the day after Michael passed away. Number one, I don’t know if you know this, but I had knee surgery the day Michael died and I did this interview the next day. I think I revealed some things that I wouldn’t normally reveal if it wasn’t for the fact that I was still a little “punchy” from the surgery.

Number two is, clearly I was feeling very upset. A lot of things sort of came up and I think it’s important to understand that. Like I said before, Michael and I were about to go on a huge trip that he very much wanted to do. When that didn’t happen because of the raid and the charges, I think I was still feeling a little upset about the disappointment that we weren’t still working together. That was a function of Michael allowing, being quite honest with you because he was in a very vulnerable state of mind, I’ll say that, but nonetheless, allowing the Nation of Islam and their followers so to speak, to basically take over his affairs was very upsetting to me.

So I think when I heard that he had passed away, and again, right after the surgery, I said some things that were probably more revealing that I normally would have said about him. I guess I was sort of ruminating about the whole sadness of the situation in that Michael had insomnia; he couldn’t sleep, he really couldn’t, and because of that situation he did take sleeping medication. That clearly had an impact on his life.
We didn’t see him during the day because he stayed up all night and slept in so to speak. Obviously that stuff affects you. It affected his ability to gain weight, it affected how he felt about himself, it affected how he acted in a general way, and normally I wouldn’t have went there at all. Because he died suddenly, and I was in surgery that day and did this interview, I wasn’t as guarded as what I normally would have been. I probably said way too much that I would normally say in an interview.

That’s the best I think I can explain. After I read the interview, I was a little upset about how I was quoted, but it’s not the reporters fault. I said those things, but my excuse so to speak, is that I was a little foggy and I was depressed about Michael’s death. It brought up a lot of old feelings about still being a bit resentful about the fact that our relationship ended so abruptly with the Nation of Islam; a group that is so anti-love, so anti-Michael Jackson philosophy that it always disturbed me.

I haven’t done all that many interviews frankly, after I left Michael’s employ, and I guess a lot of things kind of coalesced in my head the day after The Vancouver Sun called me, which was the day after he died. That I think is the best way I can explain it; why and what I said during that interview. I hope that explains it.

Valmai:  It does explain some things. Stuart, you wrote a book titled, In the Court of the King. Has this book ever been published?

Stuart:  No. I decided that I didn’t want to publish the book in respect for Michael. By the way, the book was a very positive reflection of my experiences with Michael. Some fans thought that it might be negative, but I wrote this long before he died; a couple of years before he died and I was frankly in the process of publishing the book at the time. But I decided when Michael died that I just didn’t want to get involved with looking like a blood-sucker so to speak, or taking advantage of his death.

I just felt that I had talked to the media and said enough about Michael that it didn’t really require for me to publish a book about him. But let me be very clear, if I ever do publish this book, it’s a positive story about Michael Jackson. It is not a dig; it’s not a tell-all in sense that makes Michael look bad at all. I love Michael. My experience in working with him was one of the most dynamic, exciting and most loving experiences in my life.

I consider myself a reasonably honest and straightforward person, but this is very, very important to me; when you love somebody, whether it be a family member, a spouse, a close friend, even if they are in trouble so to speak, you support them and love them. That’s the way I always felt with Michael Jackson. Even though I saw some things in Michael that were troubling which he himself saw; his anxiousness, his lack of sleep, sometimes some very knee-jerk reactions and decisions because of the state of mind he was in etc, wasn’t important to me in terms of the way I judged Michael. I did not judge him, and so like a family member you love the person, but you’re honest enough to see some of their weaknesses and of course their strengths.

The book I wrote about Michael was a very positive, very loving story about my experiences with Michael. In terms of publishing it, to tell you the truth, I just didn’t feel that it was a good time to kind of pile on, in a sense, with everybody else publishing books about Michael. It just didn’t feel right and it wouldn’t have looked right. But even if I did publish the book, the fans shouldn’t have been concerned that it would have been a negative book or that I would have been another Ian Halperin or some of those other dirty dogs who wrote books that don’t make Michael look good. The book I wrote would have made Michael look the way he is; loving, beautiful, sensitive, caring, but also a little nutty and complicated just like me and you, you know?

Michael had his stuff too. He wasn’t a God, he wasn’t a Jesus incarnate, he wasn’t Buddha, he was Michael Jackson; a tremendous, incredible, dynamic performer, a loving father, generous and good to his friends, but he had his things, you know? He was eccentric, he did have sleeping problems, and he did try and address his sleeping problems in a kind of negative way in a sense, and that impacted his life. So, you are either honest about somebody or you put them on a pedestal, and look the other way about the things that maybe or should be addressed; that maybe or should be mitigated in some fashion. When you talk about someone, it doesn’t make sense to be anything else but totally honest, but in conclusion, while Michael had some weaknesses and stuff he desperately needed to work on, overall, he was one of the most amazing people that I ever, ever met in my entire life.

Valmai:  Do you think that this description for your book might have led the fans to believe it was negative and a tell-all?

“Backerman gives the reader Michael without his make-up in his riveting depiction of what happens when celebrity cracks up and damage control starts. Packed with anecdotes and fascinating inside information, In The Court Of The King is a unique and stylishly-written memoir, engaging and profound, a highly personal portrait of Jackson and his world that is unflinching in its honesty and disquieting in its implications.”

Stuart:  Yes, but that’s just titillating headlines. The book itself was a positive reflection of my memories.

Valmai:  How did working for Michael Jackson change your life and career?

Stuart:  Working for Michael did change my life. I want to answer this question in a very focused way.  Michael’s propensity to give of himself taught me that giving, not so much in monetary terms, but giving of yourself as a person, is the most important thing you can do in your life. The way he treated me and treated the people around me with such dignity and respect, and given that he was such a huge celebrity; many celebrities treat their friends, hired help, colleagues and even family, terribly, but Michael was just the opposite. Michael gave of himself and treated people with respect and dignity because that was who he really was as a person, even though he had his share of issues.

That helped me, because when you see a celebrity of such magnitude like him being a humble person with tremendous humility, and like I said, giving of himself and sometimes sacrificing himself to his own detriment, made me feel that if somebody like him could do that then I have to begin to really to look at my own life, and act that way more and more to the people that are around me. He had a tremendous influence on my life because of just who he was as a person, and that helped me to become a better person.

Valmai:  I have heard so many people who worked with Michael say the exact same thing; how he affected their lives.

Stuart:  It’s true! I could tell you other things; how he affected my life. Obviously I got a much higher profile; people thought that if I was working with Michael Jackson I was the greatest, and that kind of stuff, but I’m telling you that that kind of stuff didn’t make a difference. The most important thing that changed my life from working with Michael was what I told you. ..The spiritual dimension...

Valmai:  Stuart, what do you think the public and fans still don’t know or understand about Michael?

Stuart:  He was very, very funny.

Valmai:  What do you miss the most about your days with Michael?

Stuart:  NEVERLAND!

Valmai:  Stuart, can I ask what your opinion is of the MJTP; the whole concept of it and what we are trying do on the site?

Stuart:  I think it’s brilliant! It’s the one opportunity for fans to really join in as one; to participate together in a project would be something that I think Michael would cherish. The Michael Jackson Tribute Portrait is the most accessible way for fans in general from all over the world, to have the opportunity to work together, basically. I think that is critically important because no matter what else you think of Michael Jackson, his mission in life was to create peaceful love in this world.

There were numerous examples of that including the song “Heal the World,” the Heal the World Foundation and various other things he did; quiet things he did in a charitable way. So, to have an opportunity for of all his fans to work together; to preserve his legacy and his image, would be something that he would be tremendously emotional about.

If you would like to ask your own questions of Stuart, please send them to editor@michaeljacksontributeportrait.com

© Valmai Owens, 2011. All Rights Reserved.
No reproduction without permission from author.

This article appears in the publication Dot to Dot: Keeping Michael’s Legacy Alive, and its content is the property of the authors and the Michael Jackson Tribute Portrait. Articles and exclusive interviews are copyrighted; therefore there should be no republication without permission. You may email edito@michaeljacksontributeportrait.com with any requests for republication. If permission is given, credit must be given to the author, Dot to Dot: Keeping Michael's Legacy Alive and the Michael Jackson Tribute Portrait.

http://mjtpmagazine.presspublisher.us/
http://www.michaeljacksontributeportrait.com/

Interview With Joe Vogel, Author of "Man in the Music:The Creative Life and Work of Michael Jackson



In September 2011, Joe Vogel will release his new book, Man in the Music: The Creative Life and Work of Michael Jackson.  Joe painstakingly researched Michael’s artistry for over five years, speaking with many people who knew and worked with Michael during his life. We have had brief glimpses into this highly anticipated book, most recently through Joe’s review and discussion of "Hollywood Tonight", in the Huffington Post. 

Many of Michael’s fans and advocates, are well aware of the kinds of publications and touted ‘tell all’ books and articles, written by purported experts on Michael’s life and person. As we stay the course in the marathon of truth, we are finally able to anticipate a book that will reveal who this man really was through his lyrics and music- his deep commitment and dedication to his art; the basic inner core of Michael that reached out to all of us as he spoke of injustice, bigotry and the need to make a real change in the world, his love for all children, young and older, and his vision for a better tomorrow.

Please join together and thank Joe for his efforts and for sharing his thoughts in this interview.


Lauren:  Joe, can you tell us about your background and how you became a writer?  

Joe:  I have always written. Actually, getting published took some time and figuring out -- I had my first book published in 2006 (ironically, I first submitted a very early version of my MJ book that year, but no one would publish it).

Lauren:  I know you have published two books prior to Man in the Music. Can you tell us a little about them?

     

 

Joe:  The first one, Free Speech 101, narrates the firestorm that erupted when I invited filmmaker Michael Moore to speak at a very conservative university. It's an exploration of people's fears, polarization, intolerance, censorship, etc. I was 23 at the time, and received all kinds of attacks, bribes, death threats, etc. simply for inviting someone to speak with different views. The second book, The Obama Movement, is a collection of essays about the youth movement Barack Obama inspired in his run for president. 

Lauren:  When did you become interested in Michael's music?  

Joe:  I discovered Michael Jackson when I was about 7-8 years old. I wore out my VHS of The Legend Continues; I watched it so many times. The first time I saw the Motown 25 performance, I was absolutely floored. It had a huge impact on me. My musical interests evolved in all kinds of directions since then; Michael was about the only artist that stuck from childhood on because I could continue to appreciate his work on new levels.

Lauren:  What prompted you to take on the challenges in writing this book and investing five years to research it?

Joe:  Well, to be honest, I had no clue of the scope of what I was taking on when I started. I began in the midst of his trial because I was frustrated with the degree to which people had forgotten -- or just never really understood -- his artistic genius. The plan was just to provide interpretations of his songs, and it evolved from there.  

Lauren:  When you spoke with people who knew or worked with Michael, did you find common experiences and impressions that they had about him?

Joe:  People loved working with Michael; they loved his passion and joy, his desire to innovate and just create great work. Starting around the time of the BAD album, his collaborators could sense a newfound confidence and autonomy in carrying out his creative vision.

Lauren:  Do you have a particular favorite track, and why?

Joe:  Growing up it was songs like "Billie Jean" and "Man in the Mirror." Now, I tend to enjoy more of his obscure tracks. My favorite album currently is HIStory. I think it's a masterpiece and will be recognized as such down the line. 

Lauren:  In the history of modern music, where would you place Michael in importance and cultural influence?

Joe:  Culturally, I think Michael ranks alongside the Beatles. I believe he's ahead of Elvis. Michael and the Beatles were not only enormous in their respective eras, but their music has the kind of depth and diversity required to inspire generation after generation. 

 

Lauren:  How much of the man do you find in the music?  Did your impressions and beliefs in who he was change in any way?

Joe:  Michael believed the best way people could understand him was through his art. I found that to be the case. Everything essential comes out in his work. 

Lauren:  Was there anything you learned while doing your research that surprised you? How did that affect you?

Joe:  There were many surprises. What happens is when you really focus on an individual song and album, layer after layer after layer reveals itself. I could have written entire books on each album.

Lauren:  I understand that you teach at the University of Rochester.  How do your students react to your insights into tracks like "Man in the Mirror" or "Black or White"? Do you find high interest and response from them to any one particular release or short film? 

Joe:  My students have really enjoyed learning about Michael. So many important issues/ideas come out of his work. We often compare "Black or White" to Blake's, Songs of Innocence and Experience. I think much of MJ's work can be interpreted fruitfully through that lens where there is a constant tension/interplay between these contrary states.

Lauren:  Have you had any resistance from your faculty, students or the parents of your students to what you teach about Michael and his music?

Joe:  Not at all. 

Lauren:  What do you feel is the importance of continuing Michael's legacy? What do you see as the primary things that ordinary people can learn, and take away from his body of work?

Joe:  My more complete answer to that question is in my book, but in short, I believe Michael's work is about liberation. He refused to accept the world as it is; he wanted it to be more aware, in tune, connected, fair, loving, creative, and free. 

Lauren:  How has your lengthy research affected you personally?  

Joe:  I am inspired by great artists and great art, so exploring one of the great artists of our time in this kind of depth has had a profound impact on me. It's taken a lot of time and sacrifice, but I feel lucky to have done it. It's been very rewarding. 

Lauren:  Are you aware of the hunger that fans have for positive, in-depth studies about Michael, and his work and contributions?

Joe:  Absolutely! Michael's fans are often depicted as mindless and crazy. And while there are certainly some live up to the stereotype, the vast majorities I have come in contact with are thoughtful, intelligent, and eager to get beyond the celebrity infatuation to the art and the human being.

Lauren:  What are your thoughts of Michael as a social activist?

Joe:  Well, he obviously did a great deal and in a variety of ways. For all of his supposed narcissism, I can't think of another pop star who more consistently looked outward and genuinely tried to change the world. Has anyone from the entertainment world been a fiercer media critic; a stronger advocate for children? "Earth Song" in my opinion, is the most significant anthem of our age. Think of how prescient and powerful that song was (and continues to be). 

Lauren:   Have you encountered negative responses to your endeavors or are you finding open minds and interest in your work?

Joe:  There is always negativity, but I've been overwhelmed and humbled by how positive the reaction has been. 

Lauren:  How do you compare Michael with MJ's previous releases?  Do you think his collaborators and friends got it right? 

Joe:  Posthumous albums will never compare to the albums MJ completed while alive. I would personally like to see all of his unfinished work released exactly as he left it, then, I don't mind what happens from there in terms of new mixes, remixes, etc. I like hearing different takes. Transparency is the key, especially when dealing with someone of Michael's historical import. 

Lauren:  Do you have an opinion on why the media have concentrated their efforts to report on all the perceived negative aspects of Michael's life, bypassing his artistic achievements, and all but ignoring his humanitarian efforts?

Joe:  I talk about this a lot in the book. The reasons are complex, but essentially, Michael was so different and unique as both an artist and a person, that many people couldn't wrap their minds around him. He didn't fit into the boxes we like people to fit into. So instead they reduced him, caricatured him, exploited him, and denied him of his complexity, depth, humanity, and artistry. 

Lauren:  When you speak about how people and the media did not understand Michael, and how he was so unfairly treated and marginalized, what is your opinion on how the issue of racism may have been a factor?

Joe:  I think there were certainly strains of racism. Even though he broke barriers on MTV and radio, there was still a double standard in terms of how predominantly white music critics assessed him and his work. He was often dismissed as a "commercial" entertainer rather than an artist, which is a stereotype with a long racial history. Same with the perception that he was a singer, but not a songwriter. Same with "dance music/R&B" vs. rock. The assumption from some critics is that black artists aren't as cerebral or creative. Some people, including executives, were also threatened by his enormous success and power, particularly after his acquisition of the Beatles/ATV catalog. Of course, it's more complicated than just race, but there is no question for me that race played a part.

Lauren:  What do you think about the fans who have come together since Michael died, and their efforts to reinstate his character and name, and who are working hard to continue all aspects of his legacy?

Joe:  Michael has a very impressive and effective fan base when they put their minds to something. For those who think of Michael as a mere celebrity or pop star, it speaks volumes that his fans continue to fight for all the causes that were important to him, from social justice to peace to media fairness to environmental issues to children's rights. 

Lauren:  And lastly, what do you hope your readers learn and appreciate about Michael, and his body of work as revealed through your book?

Joe:  I want Michael to be recognized for what he was and is: one of the most significant artists of the past century. Hopefully the book gives people an in-depth window into why. 
Joseph Vogel
Department of English
University of Rochester
Rush Rhees 324
Rochester, NY 14627

By Lauren Trainor

All Rights Reserved.
No reproduction without permission from author.

This article appears in the publication Dot to Dot: Keeping Michael’s Legacy Alive, and its content is the property of the authors and the Michael Jackson Tribute Portrait. Articles and exclusive interviews are copyrighted; therefore there should be no republication without permission. You may email edito@michaeljacksontributeportrait.com with any requests for republication. If permission is given, credit must be given to the author, Dot to Dot: Keeping Michael's Legacy Alive and the Michael Jackson Tribute Portrait.

http://mjtpmagazine.presspublisher.us/

http://www.michaeljacksontributeportrait.com/