Interview with Gregory Smith, founder of Believe Foundation: Changing Kid’s Lives Through Art and Music.

Not many people in the fan community know who Gregory Smith is. For myself, I was not aware of him until a few weeks ago when by accident I happened upon his facebook page, Believe Foundation: https://www.facebook.com/#!/believefoundationusa?sk=info 

There, I saw a picture of him taken with Michael Bearden which piqued my interest and curiosity. Having interviewed Michael in the past, and finding in him a true sense of honesty and integrity, I knew that anything he was involved in would be something I would have no question in supporting. As I read a description of the Believe Foundation and what it stood for, I knew I had stumbled upon something that to me was a direct extension of Michael Jackson’s humanitarian legacy and empathy for children. I contacted Michael Bearden immediately asking what, if anything, I could do to help; how could I support this foundation. In turn, Michael put me in contact with Gregory Smith, a man with vision, dedication and heart, and the founder of the Believe Foundation.

Greg’s story is not uncommon. Growing up in South Central Los Angeles amongst gangs and violence, he lived through and witnessed what occurs on the street, but his strong sense of family, faith and belief in the way music can heal and change the world, brought him to the place where he stands now, changing the lives of disadvantaged and inner-city kids for the better. And that is really at the heart of this foundation, changing kid’s lives through art and music.
Up until now, the Believe Foundation has been running afters-chool arts programs in South Los Angles, but is now looking to expand and create the Los Angeles School of Arts and Entertainment. This school will provide kids with the opportunity to discover their talents and self-worth, and give them hope for a better tomorrow.

It was my pleasure to interview Greg, who gives us insight into his vision that was inspired by growing-up in South Central Los Angeles, and how that created a heartfelt need to give back to the community and provide kids with hope for a brighter future. We are also honored and privileged to have been asked to act as e-Ambassadors for the Believe Foundation, and this is something Dot to Dot and the Michael Jackson Tribute Portrait are proud to lend ourselves too.

Interview transcribed by Kelly Gallagher

Valmai:  Greg, can you tell us something about yourself and your background?

Greg:  My name is Gregory Smith, born in South Central Los Angeles, back in the early days. Born and raised by a minister, I am a pastor’s son, or the son of a preacher man. My father has been a minister since I was a baby. I was pretty much raised in the church element—and the church, being a community based church, was small. I’ve always had a tight-knit family base, and I’ve always tried to go the right way. Sure, we all get distracted every once in a while as a child, but I was pretty much born and raised in a very strict household.

I learned how to play music by ear, and I was discovered at a young age to play professionally. At 12, I started touring with a major gospel choir. Reverend James Cleveland....I’ve played with him back in the day—I was really well-known as a gospel drummer. So, I have a very interesting musical and religious background—and I love sports!

Valmai:  Did you play a lot of sports growing up?

Greg:  Yes, yes! Growing up in the "hood", one of the ways we were taught to possibly get out of that environment was through either sports or music and, unfortunately, that’s all we had to attach ourselves to immediately and see some type of a reward—to get a record deal, get discovered as a musician, or at least hopefully get a scholarship in sports. That’s all that we were taught, and that’s all we were able to see on television—athletes and musicians.

Valmai:  Greg, growing up in South Central Los Angeles must have been difficult for you at times. Is it what you had to go through and what you witnessed, the inspiration behind creating the Believe Foundation?

Greg:  Yes, I would definitely contribute it to my growing up; wanting to do something better in the community and showing kids other options. The Believe Foundation has always been a part of what I was born to do, wholeheartedly.

My father being a minister—you know, they always wanted me to take over the church and preach that upbringing, but I was always considered the “black sheep” because I always had a lot of questions about the religious aspect of things. So I made a deal with my parents that if they just let me go the way I wanted to go—[I'd} let something like Believe Foundation be my ministry. So to this day, I still always [ask] my mom, “Hey Mom, are still praying for my ministry?” She gave it two thumbs up years ago.

Valmai:  Greg, what do you see as the Believe Foundation’s ultimate goal?

Greg:  The ultimate goal as we stand right now—first let me give you a little history of how it evolved into the Believe Foundation. A few years ago, I was doing events for kids in South Central Los Angeles—major talent shows and major dance competition shows—trying to create a safe environment for them to come and be a part of, and to help their self-esteem. What I didn’t know at the time was that what I was doing was something, there was a cause. I was just doing it because it was in my heart to do [it].

My job as being one of the largest promoters in Los Angeles when I was doing dance events—I would get 2,000 to 5,000 kids in large arenas—I just didn’t know that I was really doing something really good. The ultimate goal at that time was just to create an environment where I could interest the kids and give them other options. Then somebody approached me about doing a non-profit, because at that time I wasn’t really making any money, I was actually spending my money trying to make money to cover the costs. But at that time, I was just trying to create some type of environment for kids to come to a place where they could do anything they wanted revolving being around music or around dance or sports, because that’s my upbringing. Then I started teaching at local schools—after-school programs—so I started falling into the teacher's mode of Well hey, I can teach, too; so let me start helping these kids out in another way as far as their education. Then I met with people who decided to take it to the next level and create the atmosphere of a performing arts school.

Valmai:  Are there other schools like this in Los Angeles?

Greg:  Not in the immediate Seventh District—this is where we’re looking now: District 7. In the immediate parts of South Central, now and over the past few years, there’s been a major shakeup of charter schools in Los Angeles. They’ve shut down numerous schools because of administraton doing their own thing with test scores and cheating, and things like that. So there’s been a shakeup, and the performing arts schools that did exist are gone.
As it stands, in the immediate South Central Los Angeles area, there is really no school like what we’re trying to build.

Valmai:  When I was in Los Angeles this past June, I went to Gardner St Elementary School with other representatives of the Michael Jackson Tribute Portrait, and we spoke with the headmaster there. He said that in a lot of schools, not just in the innercity, but also in the surrounding areas, were suffering because the government is cutting back their funding on music and arts and other important programs.

Greg:  Right, you’re absolutely right! It’s amazing, because out of all the things that help kids, art and music have, through the test of time, been shown to help. It’s amazing that they’re cutting the curriculum in public and charter schools when tests have already shown that low-income, high school seniors with a long-term involvement in band or orchestra, are twice as likely to score as highly proficient in math (33 percent) as their non-music counterparts. Now that’s been proven, you know? 

There are so many kids who would go to school and get through math and English, if they knew they have another outlet, something they really loved to do which is music and art. I can testify to that because I was terrible in everything else, but when it came to music and sports I excelled. As I was told, “Hey, in order for you to play those things or to be involved in those things, you have to do well in school”.  And it just made sense to me.

Valmai:  Greg, you’re the Executive Director, President and Founder of the Believe Foundation. Michael Bearden and Sean Holt are also on the foundation’s board. Can you tell us how they came to be involved?

Greg:  Sure. About four years ago, when the events I was doing for all these kids were realized, I started reaching out—like, what else can I do with this whole thing? Actually, I was making noise in the community, and I was one of the top promoters doing large events and had access to a ton of kids. A friend of mine named Will Weaton, knew Sean, who is an excellent singer, musician and businessman. Sean met with me, and we both realized we had the same passion and wanted to help kids in the community. From there, we partnered.

For Sean, being well-rooted in Hollywood and in a different area of the city, his heart is where the kids are. He has also taught at USC and he has done some after-school programs for the African American kids in the community. Sean [although] being white, really has a heart for helping out the African American and Latino kids, because he grew up in Louisiana—in the boroughs of Louisiana—and he grew up where he knows the struggle. Sean has a beautiful heart for the kids, and he wanted to get connected again with the kids in the community. Sean always says to me, "G, let's change some kid's lives".

So Sean started to introduce me to people in his world. You know, it’s funny. Everybody knows somebody, but everybody has different worlds and circles. Sean saw me doing all these shows and he actually said, “Greg, why not do something? Let’s build a school, let’s do something really different—let‘s really change the world. These shows are great, but let’s really help these kids; let me help you change these kids’ lives”.

So, Sean really put me in the right direction to formulate the Believe Foundation, and ever since then, Sean has been bringing in people from his circle to help make this work, and that’s when he brought me to Michael Bearden.

Michael Bearden—it was funny. I had half-an-hour to go to [see] Michael Bearden and pitch the Believe Foundation to him in his trailer while they were on the set of the [George Lopez] "Lopez Tonight" [TV] show. Michael Bearden is very hard to pin down for half-an-hour, but he actually gave us two and a half hours because he was so moved by the pitch. He said, “Greg, before Michael [Jackson] passed, he said that I was going to do some great things in the world. There are many things coming. Michael Jackson didn’t exactly know what they were, but he kept mentioning in the spirit of using one's gifts to Michael Bearden"I feel you are going to do some great things in the world". And Michael Bearden felt this was aspect of his own humanitarian calling so he jumped on board.

It was really amazing how it all worked out once I actually let my guard down and let Sean help me. Such a blessing, such a blessing.

Valmai:  It’s amazing how all these connections have been made, but if you look back over it, it doesn’t appear to be a coincidence. More like something or someone else was directing you all to come together.

Greg:  Right, right, exactly! A lot of it just has to do with just believing in yourself, just step out of the way and let your faith take over, per se. Sometimes we block it by putting up these walls that we can get over. We just have to step back and let things happen.

Valmai:  Right. Now Charles Reagan has just recently signed on with you. Can you tell us a little something about him and what his role will be?

Greg:  Well, Charles just recently came onboard. Sean introduced me to him. Sean and Charles have a 20-year relationship, and Charles was just recently introduced to the Believe Foundation when we had a function: a small, private fund-raising “coming out” party for Believe Foundation LASAE, which is the school’s name and stands for Los Angeles School of Arts and Entertainment. Charles was at that event. Once he saw the players and had a chance to hear us speak and present the whole concept of the Los Angeles School of Arts and Entertainment, he almost tore down the place, like, “Hey guys I want to be involved, I do”.

It’s amazing! You just don’t know! These are people who are high echelon, you know? They’re on a different level. Charles has been on "The Simpson’s" for 25 years; he’s an Emmy award-winning artist—he's the only Emmy award-winning illustrator on "The Simpsons". A guy with that stature and kind of caliber—it’s just amazing to see that his heart is right here.

He wants to teach. So he would definitely be involved in developing our curriculum when it comes to the animation department. But having his name involved with our school, there will be kids trying to get in from around the world who are interested in art and cartoon work, just because his name is associated with it, and he’s going to come up with a curriculum. So he’s pretty much almost created his own position, and we’re going to find him an office at the Believe Foundation and at the school. He will definitely be involved with helping the kids and developing our curriculum, and also in actually hiring our teachers to help in the animation department.

Valmai:  At present, the foundation is running after-school arts programs and summer arts institutes, is that correct? Exactly what do these programs entail?

Greg:  Well, right now I do run an after-school program where I go into schools in the community—schools in South Central Los Angeles—and I teach performing arts. I teach different elements. Basically, there are charter schools right now that have budgets to allow after-school programming. Some of the charter schools don’t have music teachers, of course. They don’t have art teachers. So, I am a part a situation where I am the “music guy”. I will come into certain schools and help create a curriculum to help teach kids music production, via songwriting, musical arrangement, and learning-related software—just showing them how to write songs and [teaching some] production aspects. I usually teach 3 to 6 hours a day in different schools in Los Angeles, and I’ve been doing that for the past couple of years while we’ve developing Believe Foundation and formulating the whole concept, including the school.
Originally, Believe Foundation was an after-school program where I was trying to go into different schools, teach music, bring in celebrities and set up camps—like a work-shop. Then when I brought in Dr. Walker as my project lead—he said we need to take it to the next level and build a performing arts school of our own. Why go to these charter schools when you can build your own? That’s when we came up with the vision of building LASAE.

Valmai:  And how have the inner-city kids responded to these programs?

Greg:  Oh, they love it, they love it!  It’s funny, because teachers know that anything music or the arts-related can capture a kid. The kids African-American kids definitely have this inner art thing going on where they need to utilize it. Once we get the kids to open up and see what we’re doing, they welcome it with open arms. I mean, it’s unbelievable! Our classes are always full and kids are always asking questions. We also become mentors for the kids and we are available to them to answer their questions, to help them with work outside of music. They have a lot of questions and they are fascinated with music and art, so they've been very receptive. And, like I said, we all know the arts are so important to the schools, so we never have a problem with getting kids who are interested in art. 

Valmai:  The foundation is completing its formal charter petition for the Los Angeles School of Arts and Entertainment, which I believe the submission date is October 30. It is a public charter school that will open in the fall of 2012. Can you tell us more about this school and what curriculum it will offer? Is it going to include all forms of art and music, or just specific areas?

Greg:  Right now, we’re just starting to get more people on board who bring us more things. For instance, we just signed Charlie for animation—we didn't have that before. We have art teachers who are proficient in actual painting and sculpting. We want to be well-rounded in the school, and any type of art we are open-minded to, but we just have to go with what we have [now] and what was available to us at the time, which started the vision. At that time, everybody who was on the board had something to do with music.

We’re starting to get more interest. For instance, Charlie is a great example because we are not animators; we don’t do drawings, none of us do what Charlie does. We need more people. I was really focused on bringing in dancing, but right now I am looking for someone with a more stable name to attach to the dancing side. 

So, it’s going to be a well-rounded school. Anything dealing with the arts and entertainment is what we’re trying to offer. That’s the way we planned it, let’s put it out there, let’s build it, we believe in it and they will come and—here we go!

Valmai:  Could you tell us how much money you have raised so far and how much you think will be needed to actually see the school completed and up and running?

Greg:  We’ve raised $51,000 thus far. With the Los Angeles Unified School District, in order to get your application on file or “in line”, they require you to raise or have at least $250,000 in some form for your application to be accepted. So we’re trying to raise $250,000 so we can get our application in for 2011.

We’re stretching—our first fund-raiser raised $51,000. We just have to keep pushing, and if we can get to $200,000 we’ll be set. We think there are people out there who once they see something like this, will want to be involved. We just have to get to the right people who believe in the arts, believe in our vision and believe in what Michael Jackson stood for, too, because Michael Bearden is on board, and he said Michael would love this if he were alive.

Valmai:  Oh yes, he would! But, don’t you have to have the submission in by the end of this month?

Greg:  No. Actually, we were trying to get it submitted with a charter school for a new Proposition (Prop) 39. Prop 39 requires you to have it in by your first original target date, but they also require you to have the $250,000. We went back and forth, and we decided that Prop 39 wouldn’t be to our advantage because of the stipulation that they will place your performing arts school on a campus somewhere in South Central Los Angeles, and they pick the campus. So we decided we would be a little confined because of a location that we weren’t comfortable with.

The facilities didn’t have the state-of-the art auditorium or music room that we need. So now they’re giving us more time and we have until, I believe, December 1 before we have to have our application in.

Valmai:  Well, that gives you a little breathing room; not much, but a little bit of breathing room.

Greg:  Not much, right! But the other thing is that we’re also looking at other districts in Los Angeles. Like if you go on one corner of a street in Los Angeles, you can be in another small city that does not require the $250,000. So that’s what we’re looking at, and we have a little more time now.

Valmai:  Greg, are you relying solely on donations or are you hosting fund-raisers as well?

Greg:  Fund-raisers, yes, but donations is the way for us to go as non-profit. The good thing about Los Angeles is that corporations can make donations now, because the school board has allowed the schools to accept private donations from the corporations if the corporations can advertise on school grounds. For instance, Nike comes in; we can build a stadium and put Nike right on the floor.

Valmai:  Do you have any corporate sponsors at the moment?

Greg:  No, but you know what we need? We need that person on board who has the tenacity to go after the corporate sponsors, because like I said, at our first fund-raiser we were just trying to put the word out—here we are, help!  We wanted to get the soldiers on board. We’re looking for more soldiers. So there are people who might not have the money, but have the resources/access to people with the money or access to people who know how to get the money. Actually, we’d love to have somebody who has access or time to donate to the Believe Foundation, to help us raise that money. That’s what we really need.

Valmai:  So what about public support? Is the public aware of the foundation?

Greg:  That’s a great question, because that’s where we are right now. We have to take it to the next level and get the public support. So we need media exposure. What you’re doing for me are things that we need, and that’s why I really appreciate the time and opportunity, because we need to be out, more or less. You know it’s hard to get press unless, unfortunately—I am going to be honest with you, it’s hard to get press unless you’re doing something negative in Los Angeles.

Valmai:  Oh, I quite agree.

Greg:  It’s amazing! With all the good we’re trying to do, it’s hard to get press unless we’re out shooting somebody or, you know, stealing something. It’s like, really? We’re on a major campaign; we need a great PR person to be willing to donate time to us to help us get the press, get the word out.

There are a lot of things we need, but if people come onboard and see what we’ve done so far with what we have, it’s like, a no-brainer. And it’s for the good of the kids. We need other people who want to help out, like Charlie. We know they’re a lot of other people out there like PR firms who can help us get the publicity out.

I am going to launch a major talent show within the next couple of weeks, an "American Idol" style/Apollo [Theater] talent show, where kids will be performing in front of Michael Bearden and Sean Holt, and we’re trying to get Slash to be a judge. There are a lot of names we’re trying to bring in that Michael has access to. He can actually put these kids in front of them. I am not saying a record deal, but at least give them the exposure.

Valmai:  I am sure the media would be interested in something like that, if big celebrity names are attached to it?

Greg:  Yes, exactly. That’s why, for the last week, I’ve been going back and forth. We’re trying to strategize how to launch the talent. “Let’s launch a major, city-wide talent show. Let’s make it nation-wide, if they can get here, and do a major talent show that would probably get the media interested, besides the "American Idol‘s" local in the community.”

So you can go ahead and put it on record that the Believe Foundation will launch a major talent show.

Valmai:  The Believe Foundation is something that you’ve already said Michael [Jackson] would approve of, and no doubt if he were here, would offer his time and support to. Have you gained a lot of interest from his fans?

Greg:  You know what? Yes, we have, because when I launched the foundation, I went straight to Michael Bearden’s fan page, and facebook started blowing up! Then we lost the Pepsi campaign to raise money to try to win this $50,000 grant. We came in 165th out of 1,000. You had to be in the top 10, so we didn’t make it, but we had a lot of fan support voting for the Believe Foundation, due to Michael Bearden’s involvement. But, I haven’t directly tapped into the Michael Jackson fan base; I am not an expert at that. For instance, you’re big to me because you’re right in that alley I was trying to get to. I was trying to get to his fan base. Let me ask you this: How did you find out about us again?

Valmai:  It was quite by accident. I was looking at a friend’s facebook page and they had posted something about the Believe Foundation. There was a picture of you with Michael Bearden, so I clicked on the link and starting reading. I was so impressed with the work you are doing and your mission that I immediately emailed Michael [Bearden] and asked if I could help in anyway. That’s when he introduced me to you, and here we are.

Greg:  We need the Michael Jackson community to really stand behind this. Michael Bearden is very sensitive about it because he’s trying to protect Michael’s [Jackson] interests. He is so busy, I can’t really ask him to do that much as far as how to attach ourselves more to the Michael Jackson fan base. But I knew some way, somehow, someone would hear about us and take a liking to us and want to help us out. I really need that help.
Let me ask you this. How do we attach our track to Michael Jackson’s fans? Because we’re not using Michael Jackson’s name or anything.

Valmai:  What you're doing is continuing a part of his humanitarian legacy and vision, just as the fans are, by supporting the Michael Jackson’s Children Hospital. His name doesn’t have to be attached to it for the fans to support it, and even if it were attached, there is no exploitation on your part.

Greg:  Michael Bearden told me that helping children was something Michael [Jackson] loved to do—he loved the idea of Believe Foundation. I said, “Well Michael, can I put it out there in the press?” He was like, “Well, I don’t want to make it seem we’re using Michael”. I said, “We’re not. He told you that you’re going to do some great things, this is one aspect of what you need to be doing.”

It’s funny, because he’s told me so many stories of him and Michael just talking and envisioning things, but then he says to me he doesn’t want it to seem like we’re using Michael. But we’re not; we’re just carrying on the legacy.

Valmai:  That’s it exactly. There’s a big difference between using Michael’s [Jackson] name for profit, and carrying on his name and legacy by providing inner-city and underprivileged children with a chance to discover their talents and realize their potential.

Greg:  Exactly! The difference is exploiting. Michael Bearden gave us his blessing to put his name on this, not Michael Jackson’s, but it’s still part of his legacy.

Valmai:  Agreed!

Greg:  So we definitely would love to have Michael Jackson’s fans on board, and I really feel in my heart that they can help this thing pick up the momentum that it needs to get to the next level. It’s funny, everything happens for a reason. We went to see Michael Bearden and Michael Bearden saw this and the vision.

And, the other dream is for us to build schools in other cities, not only in Los Angeles, like Chicago or New York. Let’s keep it going, let’s make it happen—the Believe Foundation is known to build schools, that’s what we want to do.

Valmai:  Well, you have a goal. First of all you’ve got to imagine, then you’ve got to believe it and then you make it happen.

Greg:  That’s right, and that’s what I am doing, I am going for it! 

Valmai:  What can we, within the fan community, do to help the Believe Foundation attain its goals?

Greg:  Oh wow, there’s so much! We need donations, definitely. You can go to the foundation’s web page: http://believefoundationusa.org/#/about/donate. We have a donation button you can click on the bottom, and it takes you to a secure PayPal account where you can put in any amount and donate. Donations are tax-deductible, we are 501C3. Just like with President Obama or a lot of the [political] candidates, you can’t operate without funding.

Unfortunately, we are in a situation where we need the funds to continue what I’ve created and started. I need the community support, donation-wise, and we need resources, like what you’re bringing to the table. We need exposure, we need press. We need our facebook page to blow up! You can find us on facebook at:  https://www.facebook.com/#!/believefoundationusa?sk=info  We need people to like us, and we need donations desperately!
Our goal is to reach the $250,000. Like I said, in just the first few months we were able to obtain $51,000, so we know we’re onto something. There are people who believe in this when they see it and they hear about it. So we need support and we need resources.

You know it’s funny—because, after doing all this and learning a lot of statistics, [you] basically [see] how important music and the arts are to kids, and it also helps keep kids out of trouble, we just need people to see that this is really, really important. Students immersed in a long-time arts-rich environment, outperform their arts-poor counterparts by 46% on standardized testing. That’s huge. And for them to take the arts out of the schools—it just does not make sense! 46% is amazing and proves that the arts is very critical.

So, I am going to go to my grave with this in my heart; I am actually getting a Believe tattoo on my shoulder. If I can get it past the wife, I am going to go get my Believe tattoo—I believe in this 100%; this is my calling. My Dad’s a preacher—and this is my ministry right here.

Valmai:  And it’s a wonderful ministry!

Greg:  Thank you!

Valmai:  I want to thank you very much for giving me your time, and talking about the Believe Foundation. We will do our utmost to help promote it, get the word out there and get the fans’ support for it.

Greg:  Please do, I really appreciate it. We have a vision for the Believe Foundation to build a school, The LASAE, and by getting your support, we’re on our way. I really appreciate the time for the interview, and the opportunity. 

    

 http://www.youtube.com/watch?v=6pYbHSsCu6Y

If you would like to offer your support to the Believe Foundation or make a donation, please visit their website and Facebook page.

https://www.facebook.com/#!/believefoundationusa?sk=info 
https://www.facebook.com/#!/believefoundationusa?sk=info 



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.

Interview With Omer Bhatti (O-Bee)

Omer Michael J Bhatti (O-Bee) has been performing in front of audiences since as long as he can remember, in fact, one could say he literally grew up on the stage. Gifted and passionate, Omer is a young man very much dedicated to his craft, delighting audiences with his own unique and individual style as a hip-hop musician and performer.

Following the success of his first official song, “All Around the World” featuring Genevieve Jackson, Omer concentrated his efforts on making his first official music video for the smash single, “Life is a Movie.” Released August 19, 2011, the video has received  outstanding responses from his supporters, and showcases Omer’s dynamic dance technique and provides a platform for his powerful lyrics.

My new single “Life is a Movie”, is a very personal song dealing with life under the media’s microscope. It’s a lyrical and visual insight into some of the scrutiny I have had to endure. It’s not criticism on any one person, but I hope it will open the window to my world with a fresh approach. The song is also influenced by the words, training, and experiences of my mentor. O-Bee

It is well-known that Omers’ mentor was of course, Michael Jackson. Over the years they developed a close friendship and spent considerable time together. There is no doubt that Michael inspired the excellence we see in Omer’s artistry as an individual performer, but this association also provoked an intrusive interest by the media and public into his own private life and relationship with Michael. His song “Life is a Movie,” is as much biographical as it is relating to what Michael underwent, living life under the watchful eyes of the media.

Omer is a very private person, and it was to my delight that he agreed to be interviewed by me for this magazine. Respecting his privacy, this interview has been crafted to highlight his achievements as an artist, musician and dancer.

Valmai:  Omer, before we begin, I would like to take a moment to thank you for agreeing to this interview with me, and for giving us the opportunity to help promote your song and music video, “Life Is a Movie”. It is a pleasure and honor.

Omer, did you always know that you wanted to be a performer, or was it something that came to you gradually?

Omer:  Music and dance has been my passion for as long as I can remember, and I have always wanted to be a performer.

Valmai:  What were some of your greatest aspirations?

Omer:  I always had the desire to entertain, and I used to be quite competitive as a kid. I tried out many different sports, but I found myself in dance and music.

Valmai:  How difficult was it for you growing up performing on stage? What sort of sacrifices did you have to make?

Omer:  It was never difficult for me being on stage, since it was something I really enjoyed. I wouldn’t say that I had to make many sacrifices, but I did miss out on school-trips and hanging out with friends on the weekends

Valmai:  Do you see similar parallels to your early beginnings on stage, to Michael Jackson’s?

Omer:  No, not really. I don’t want to be compared to him. He was on another level. But I guess we both truly loved to entertain. One thing I do want to say is that I wish people wouldn’t say I copy him, because like every other artist out there, yes, I am very inspired by him, but he also straight-up taught and mentored me. So I’m doing things the way I was taught, but adding my own twist to it. Like a martial artist being mentored be his sensei, and then taking that knowledge ahead with you in life.

Valmai:  It says in your bio on your website that as a gifted child, you always danced like entertainers beyond your years. It is clear Michael has a strong influence on your dance style; many of your moves are reminiscent of his, but who else would you say has inspired you in dance in the past and more recently?

Omer:  I am inspired by entertainers such as Frankie Lymon, James Brown and Fred Astaire. But, I’m also inspired by people like Bruce Lee—I like the way he carried and moved his body.

Valmai:  Omer, you have a very eclectic and unique style of dancing, incorporating various dance forms to make it completely your own. What inspired you to develop this technique?

Omer:  I like to pick up elements from different type of arts and combine them with my own twist. Sometimes, my moves might look weird or not technically perfect, but I like to take the body to new places and experiment.

Valmai:  When you dance Omer, are you there in the moment—are you thinking about the next move or step, or simply allowing the dance to lead you where it wants to take you?

Omer:  When I dance, I completely let go and the music controls my movements. Different music evokes different emotions, which creates different moves. I dance the best when I improvise, but when I am performing, I like to have a few cues in the music, where I “kinda” know what I can do.

Valmai:  “Life Is a Movie” is your first official music video. The way that color is used during different segments is interesting. Sepia tones transcend to stark black and white, and then subtly, color is introduced by way of the red, empty seats of a theater. There again, the use of an empty dance studio and mirror is redolent of Michael. Was the video constructed this way to indicate hidden metaphors?

Omer:  Well, first of all, the song is very personal and gives an insight into some of the things I have experienced. We wanted the video to be just as personal, and help people get a better understanding by showing them real visuals...no special effects or green-screens, just me in my element. The one theatre scene is of course inspired my Michael, and a reference to him.

Valmai:  What areas of artistic input did you have in the making of the video? Did you choreograph it entirely yourself?

Omer:  I had a lot of artistic input in this video. I wrote the whole video myself and chose the locations we filmed at. None of the dancing is really choreographed...it is mostly freestyle where we played different music and just had the camera rolling while I did my thing. I was also part of the whole editing process.

Valmai:  Omer, the lyrics of this song tells a powerful yet lonely story of one living a life under scrutiny and criticism. Just how difficult has it been for you living under the watchful eyes of the media and the world?

Omer:  Life in public eye can get hard and sometimes lonely. It has made me trust very few people and also a little paranoid. A lot of the attention I have been getting from media has been about my private life, and therefore that’s unwanted attention. I do want to share my artistry, but not my private life.

Valmai:  Is the storyline biographical or does the meaning and storyline also relate to what Michael went through during his life?

Omer: The storyline is biographical to a degree, but certain parts relate to things I saw Michael go though. I have learned a lot from him.

Valmai:  On You Tube, the video and song has received 56,582 hits to date, since its release. How much exposure has it received elsewhere, and what has been the general reaction to it?

Omer:  Those hits are thanks to my supporters, who are my greatest promoters. They are so dedicated, and it humbles me to see how much time they take to share my work. I posted the video on my own You Tube channel, and promoted it myself on my social accounts and official website - http://www.omerbhatti.com/ I hope it will keep getting exposure and open more eyes to me as an artist. The general response has been great—this is my first official music video, and I have much more in store.

Valmai:  Will the song appear on your debut EP, and when can we expect to see its release?

Omer:  Yes, the song will definitely be on my debut EP. There is no date yet, but the plan is early 2012.

Valmai:  You mention that Michael is your biggest inspiration. Could you share with us what the most important thing was that you learned from him, and the most important piece of advice he gave you?

Omer:  One of the mottos I live by is ‘RISE ABOVE’, meaning, not to fall down over obstacles and roadblocks in life, but rather ‘Rise Above’ them. I got that from him. He gave me lots of great advice, and if you take another listen to the song, you will hear some of the lines are actually quotes straight from him, as for example, “The bigger the star, the bigger the target.” He would always say that.

Valmai:  How do you implement that in your personal and professional life?

Omer: I RISE ABOVE :)

Valmai:  After the release of your debut EP, what is next for you Omer? What plans do you have for your future? Are there any VIPs or companies that are helping to boost your career?

Omer:  I am just living in the moment and doing what feels right—always with love.

Valmai:  The video has been wonderfully crafted, and the song stands on its own as one containing potent dialect. Combined with your dancing, it offers a strong message and an expression of gifted artistry. I believe this is just the beginning of a promising future and long career for you. We wish you luck in all your undertakings and much happiness in your life. Thank you, Omer.

 

VERSE 1
Look at me, my life's like a movie
But this is real life you should sue me
Sit back and watch me do me,
I mean kick back, Bruce Lee
Am I a knockout? Yeah, probably
But don't get punched out, Ali
Media should have left him alone,
but he kept jabbing, Sylvester Stallone
I don't worry too much about looks and stares
I'm a modern day Fred Astaire
This is new life, no abortion
surrounded by flames, bring torches!
Been under microscopes since adolescent
But being this famous is rather stressing
No more second guessing
I'm back to the bench pressing

CHORUS
Tell me what you see when you see me
Real life, this is not TV
My life is a movie, life is a movie, life is a movie
I know you've seen it before
They all wanna see me fall
My life is a movie, life is a movie, life is a movie

VERSE 2
Turn the spotlight off, good night
Let us reveal the few good types
Me defeated - is what they would like,
but in the darkness you will see good light
I keep sailing, my boat's kinda nice
But these sharks,- they could bite
Switch the channel, on to the next one
Broadcasting live I am the best one
Born to win since the baby carriage
Went from nothing to a kings palace
Heart of a prince, blood of a lion
There is no denying
This legacy, you can't tarnish
I was raised by the greatest, I promise
Honestly, I'm honored
See the bigger the star - the bigger the target

CHORUS
Tell me what you see when you see me
Real life, this is not TV
My life is a movie, life is a movie, life is a movie
I know you've seen it before
They all wanna see me fall
My life is a movie, life is a movie, life is a movie

BRIDGE
Yeah,
Tell me what you see when you see me
Real life, this is not TV
My life is a movie, life is a movie, life is a movie
Yeah,
Tell me what you see when you see me
Real life, this is not TV
My life is a movie, life is a movie, life is a movie
I know you've seen it before
They all wanna see me fall
My life is a movie, life is a movie, life is a movie
Yeah,
I know you've seen it before
They all wanna see me fall
My life is a movie, life is a movie, life is a movie

CHORUS
Tell me what you see when you see me
Real life, this is not TV
My life is a movie, life is a movie, life is a movie
I know you've seen it before
They all wanna see me fall
My life is a movie, life is a movie, life

Turn the spotlight off, good night!

    

http://www.youtube.com/watch?v=uHpK5lk5C0M 

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.



Reflections

With everything Michael wore, it became a symbol of who he was, a trademark, completely owned by him. The glittery glove, the sparkly socks, his military-style jackets with colored armbands, the high-water pants, the fedora, the mask, and especially the oversized sunglasses were all a part of the Michael we knew and loved. He was fearless in the ways he expressed himself, both through his music and attire. Not afraid to be different, he challenged society’s conventions.

And no one else can quite pull off that air of mystery and intrigue that surrounded Michael, when he stepped out into public hidden behind those large aviators. Many have tried, and still do, but they are missing something integral and important; something other than just imitating the look that Michael made solely his. They are missing a reflection in those glasses that is impossible to replicate. Why? Because they are not one of the most-loved and hated men on earth. They are not the most-famous or photographed entertainer. They are not one of the most-ridiculed, feared and extorted celebrities. They are not the man whose life was lived on the world stage, allowing for neither privacy nor normal life. They are not the man whose appearance and every word or action, was dissected and twisted into something strange, weird, and sinister. They are, simply, not Michael. The reflections that appear in their glasses are quite different from what we see reflected in Michael’s....

Look closely at the masses of adoring and loving fans, whom Michael loved equally as much as they do him.

See the voracious media with their intrusive cameras and microphones.

See the securitypeople, business associates, hangers-on, curiosity seekers and those infatuated by his celebrity.

See those who eyed his wealth and fame—greedily swarming around him, pushing and pulling, all hungry for a piece of him and ready to take him down to get it. They all there somewhere, reflected in his glasses. This was the world he viewed: a world that surrounded him wherever he went.

Of all the speculation and intrusive curiosity over every aspect of Michael’s life, the most ridiculous was the time spent by the media debating his choice of wardrobe. It disintegrated quickly into something embarrassing and dehumanizing—almost as if they couldn’t or didn’t want to see the “man” himself. Perhaps it was because Michael could not be defined; he didn’t fit into preconceived societal norms, and the more they tried to pigeonhole him, the more angry and fearful of him they became. He made them uncomfortable.

They concentrated their efforts on nitpicking over why he wore this and why he wore that, insinuating that Michael’s penchant for the military style was based on something darker than making a mere fashion statement.  And, as with the surgical mask he wore, people were very interested in the reasons behind his wearing the large sunglasses even at night (as if Michael were the only person ever to do this). There were snide comments made about him trying to cover up more plastic surgery, and some went so far as to imply that he was hiding the effects of drug use.

Everything about Michael was turned into a negative by the media; a consistent analysis was brutally waged against him because some could not accept him for what he was and others felt he had stepped out of his place as a definable entity. Still others saw Michael as a means to satisfy their desire for fame and fortune, and power. Michael trusted to easily, simply because he came from a place of love—though in reality, there were very people he could trust at the end of the day because they came from a place of greed, mistrust, fear and plain old jealousy.

Michael once said that he didn’t like to look people in the eye—a reason why he wore the sunglasses, almost as if he were creating a protective barrier to guard what vestige of privacy he had left. The eyes are the mirror to the soul, it is said, and Michael’s soul was bruised and battered. He was lonely, he had lost his childhood, he found it difficult to find a true friend or someone to love him as he was, and his trust had been broken by too many claiming to be his friend—his life had become a platform for the media to stand upon and espouse far and wide all that was wrong with him and why we should be suspicious of him. They called him names; they ridiculed and debased his humanity. He felt the pain of all this, and no doubt it was reflected in his eyes; the hurt and disappointment, and the betrayal.

    

 

   

“I cut and bleed like anyone else”, he said, but still they wanted more from him. With the advent of his 2005 trial, the media went into overdrive and, as we know, very little of went on in that courtroom—the testimonies that were presented in Michael’s favor—were reported by the press. Instead, they chose to report bits and pieces—a mishmash of discredited witness testimony that placed Michael in a bad light—because that provided the fodder for sound bites: easy revenue based on sensational and biased reporting at the expense of a man’s life and reputation. What was left of Michael’s soul was in danger of being lost forever. His very private and intimate personal life was laid bare for the whole world to pick over like hungry vultures. You see it in his eyes, peering out from his wire-framed spectacles: trauma from a life inspected, used, abused and, finally, crucified. There wasn’t much left of him.

Well, no more will we see his beautiful, soulful eyes, because they have been closed forever by a man who took an oath to preserve and protect life. A man who held Michael’s life in his hands, and then systematically turned his back on his patient to make some “phone calls”, leaving Michael without the required monitoring equipment, abandoning him to the propofol filling his veins—leaving him alone to die. This man will shortly stand trial for manslaughter;  yet, knowing this, the media are still calling it the Jackson trial, and while the defense plays the “blame the victim” game, Michael’s life is once more examined. Michael’s life is once more being prepared for crucifixion.

The spirit lives on—I firmly believe that. Michael’s physical essence has departed this place, and no more will he have to endure the pain or hide behind the frail barrier of masks and glasses. We will no longer see his world reflected in a pair of lenses, but, I believe his spirit is fully aware of the events taking place. His legacy is at stake! His legacy is now in the hands of those who wish to protect it, for no other reason than  for the love of a man who was misunderstood and hated without reason. For no other reason than that we know and understand the importance of Michael’s life, we know what the gift of his life is to us, and to the world, really means. Knowing this, when we don our glasses tomorrow, whether it is to protect us from the sun or to enable us to see better, the reflections we see in our glasses should mirror that legacy. He is relying on us, he trusts us and we will be there to protect and preserve what he no longer can.

Based on the idea by Debby Barker

By Valmai Owens

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

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.

The Comment

What does Amy Winehouse, victims of the current famine in the Horn of Africa, Michael Jackson, and a rape victim from Libya all have in common? They, among others, are the target for what is becoming a common source of pleasure and entertainment for many, and the opportunity for others to spew forth their own unique brand of virtual psychological and emotional terrorism, and that is, “The Comment”.

Almost everywhere you navigate online, facebook, You Tube, forums, discussion threads, news articles, or blogs, there is nearly always an opportunity for the reader to leave a comment, and it is here on this platform that we have an insight into the hearts and minds of those leaving their comments.

And an ugly picture is emerging; one of a sector of humanity, which has lost the ability to be humane, to be empathetic, to feel love, to show compassion, and to forgive. But, perhaps I am over-generalizing. Would it be better to say that a picture is emerging of a sector of humanity, of a society that is full of anger, cruelty and hate, and with an attitude of, “I don’t give a damn as long as it doesn’t affect my life”; an attitude of complacency and of living in a “bubble” mentality? Still over-generalizing? Too harsh? Unsubstantiated? Unfounded? A tad too critical and self-righteous? Allow me then, to let you be the judge.

Upon hearing that Amy Winehouse had died, I went to Youtube to revisit her marvelous voice and talent that had not been given a chance to reach its full potential. Death has an insidious tendency to cut short life, and Amy’s was indeed, taken from her much too soon. The world already knew of Amy’s demons and the battle she fought to exorcise them. That took courage to do, especially when she was faced with the knowledge that the eyes of the media were watching, and waiting for her to stumble and fall, providing more fodder for their hungry readers. While a lot of comments I read praised Amy for her fight and showed compassion, many more degraded and ridiculed her, in a torrent of senseless and venomous hate.

“It was her own fault she died early, shouldn't of been a crack head who had needle holes in her toes!, if you saw a heroin addict outside a shop with a good voice and died of an overdose the next week, would you say she died too early, or would you say it’s her own fault? Think about that for a second”.

“She was a Drug addict, she’s not a victim. You guys are f***ing idiots if you think she’s some poor girl. Why don’t you look up the videos of her smoking crack before you support someone who endorses a lifestyle like that”.

“ADDICTS = BIG STINKING CRAPS !!! ADDICTS = BIG STINKING CRAPS !!!

“Let’s face it all she was  ... was a smack head and a p**s head she had her chances to get clean and she didn’t, so I have no sympathy”!

“I'm actually very ok with her perishing, I mean one more drug addict off the streets it's not a bad thing, I bet most people pass thru junkies and/or hobos and speak very bad things about them so I don't know what is so different from her (besides she sings woopdi doo!)”

And the icing on the cake….

“Not enough money in the world for her sick lust for meth. She shoulda just ended it by drinking windshield wiper. Then maybe the world would be spared by her screeching that she calls singing. Coincidentally, she was probably singing on screech. LULZ”!

So, now let us proceed to the current famine crisis in the Horn of Africa, particularly, Somalia. Just speaking the word Somalia, for some, leaves a bitter after-taste in the mouth, because for Americans, emotions run deep and memories are long over events that occurred in Mogadishu on October 3, 1993. I can understand this, for what took place that day touched the world with the same feelings of outrage and horror. But, you cannot blame a whole nation for the actions of a few.

The people of Somalia are poor, and have been trying to survive in a country plagued by years of conflict. They are farmers and herdsmen for the most part, struggling to make a living, and a way to feed their families on a land that is as unyielding and relentlessly brutal as the conflict that surrounds them. Thousands flee to refugee camps, sometimes facing conditions not much better than from the ones they escaped from, and often leaving behind their children, who have been taken by rebels to train as soldiers in their army. Now, they are in the grip of the worst famine in nearly twenty years, and we see images of children with huge eyes and skeletal little bodies; their mothers weeping and praying for someone to save the life of their child. Aid has been slow to reach them because of the conflict, and what aid has been sent, falls far short of what is needed to effectively counter the hunger crisis.

I have read many articles pertaining to the famine, and comments left by some, have been particularly cruel and ugly.

“Oh well not my problem....... I don’t live in Africa”.

“When I get the urge to contribute, I think of how much these people hate people like me and the urge goes away”.

“Not only do I not care, but I am pleading for people to ignore their calls for help. Yes, someone is still bitter over the Black Hawk Down thing”.

“Let nature run its course.....stop sending food, financial aid (money pit), send birth control”!!!!

“I actually like watching people suffer”.

And the winner is….

“F*** THEM LET STARVE!!! Or better yet let the n****r rapists and basketball players and all the other n*****s with money feed them”.

Now, enter Michael Jackson, who was and still is, relentlessly pursued by a media determined to pry into every detail of his life, to dissect his every word and action, to publically put him on display as a “freak” and “weirdo”, to twist and manipulate every grain of truth, to portray him as a monster, pedophile, and drug addict, all for a juicy headline and a fat paycheck at the end of the week.

For most of his talented and brilliant life, Michael Jackson has been the target of hate, jealousy, prejudice, and ridicule, and even death has not saved his name and legacy from this continuous assault. The fire started long ago by tabloid reporters looking to gain a name for themselves in a business that had once been founded on integrity and truth, and continually fanned by die-hard supporters of sensationalistic headlines, is still being stoked by pens that should have run out of ink long ago.

“What happened? Why is this molester still on YouTube? Huh”!

“Yay... The KING OF THE PEDOPHILES is dead. Little boys around the world, rejoice.. your p***s is now safe”!!!

“It’s funny how people cry over a f****d up guy that was trying to look like a girl and raped little kids”.

“It’s incredible to forget how absolutely normal Michael Jackson looked back in the 70’s and 80’s, attractive even, before turning into the sideshow freak that he became”.

“I wonder how much his nose went for on EBay after his death..... It was still in decent shape, only a couple years old”.

And the pièce de résistance…..

“I was really disappointed last Saturday. I was rafting with some friends and missed Michael's two year anniversary of his death. I just wanted to stop by and say happy anniversary Mike. I hope you are rotting in hell you filthy, drug addicted, and child molesting freak. I hope your final moments were painful as your body was overtaken by the overdose. I hope you choked on your own vomit and felt your insides bloating up. You did it to yourself you fag. No one killed you except you. Trash pedophile”.

Ah, so eloquently penned.

And, lastly, we arrive at the Libyan woman, who burst into a Tripoli hotel where international journalists were based, claiming she had been gang-raped and beaten by Gadhafi’s forces. She has now been granted asylum in the United States.

Again, emotions and memories run deep in the hearts of many, as they remember the events that took place 11 years ago, on 9/11/2000. The act of terror played out on American soil, hit the heart and soul of this country, because no one dreamed, or thought that something like this could ever occur here. Trust turned to suspicion, courage turned to fear, children were educated about national security, and minds and hearts were redefined in the days and weeks that followed.

But again, you can’t blame an entire nation, or religion, on the acts of those who choose terrorism as a means to an end. They are not to blame for someone else’s agenda.

“Hilary Clinton needs to be slapped and removed from office for letting another freeloader into our country to live off our system”.

“Just what we need another lying asylum seeker from a terrorist country that the American taxpayers will be taking care of for years to come along with all her relatives that will now be given Visas and allowed to immigrate here”.

“Send her back to where the hell she came from. How long will it be before she starts making demands on our government. The last thing we need in this country is more Muslim's. Send her to France. Enough Muslims in our country”.

“While I feel for this woman, once again we will make this woman a celebrity, rich, while people, who have lived and struggled all their lives, will have to listen to her story for the next 6 months. I'm sorry, but send her a** back and save taxpayers a lot of money. Who knows, probably lying anyway. Whatever happened to the wino with the great voice? Probably back on crack, spending the money he made off his 15 minutes of fame”.

“Great. Another terror cell is now set up in the U.S. Why doesn't one of the freaking Muslim countries offer her asylum? She'll be on welfare and at the same time plotting death to the American people”.

And on a scale of 1 to 10, this comment received a zero...

“It would be interesting to find out how many family members she’s got. Probably hundreds. In a way I don’t have a problem with Muslim women seeking asylum. I much prefer that to the tidal wave of young Muslim men invading Europe. Illiterate, criminal scum, with no other reason to migrate than to make Europe’s white people suffer”.

The comments above are just a small proportion of what is really out there, and if you take notice, you will see commenter’s falling into definite patterns and groups.

The hit and run commenter’s are people who sign up on different sites, proceed to run someone over with their particular brand of unsavory words, and then flee the scene without checking for a pulse. They specifically troll the internet to see where they can do the most damage. You see this quite often on social websites such as facebook, You Tube, Twitter, and Topix.

Then, there are commenter’s who enter the room fully-armed, fire at point-blank range, sit back smugly and with a misguided sense of satisfaction, and read the effect their vitriolic and often pointless attack has had on another person. They then engage in verbal warfare with anyone who chooses to fight back, becoming increasingly more hateful with their comments, until they either get bored and move on to their next victim, or are blocked and reported. But, blocking and reporting is little deterrence when one can easily set up another anonymous profile.

And, let’s not forget the comments left to news articles. I will admit that a lot of commenter’s in this arena have constructive and intelligent comments to make. But, things will get heated when discussing sensitive issues, such as politics and religion. It is when you see strong opinions clash with other strong opinions that the sparks will fly and tempers will be lost, and eventually there ensues a melee of mud-slinging. In the quickly disintegrating atmosphere, certain personality types are easily recognized, while others remain hidden behind their strategically, veiled agendas.

Most news sites have moderators, who read each comment that has been submitted before giving the approval for it to be published. If the comments above, and others that I have read made the final cut, I would hate to read the ones that weren’t given approval. I know we have the 1^st Amendment in this country, which entitles all people to freedom of speech, but at best, it appears that it is being used as a screen to hide behind while dumping the muck from the bottom of the barrel. Why do people do this? What is their motivation? What are their individual agendas, because what people are bringing to the virtual table, appears to be multi-faceted.

Far from being an expert on this, my guess is as good as the next person’s, but, three distinct groups of commenter’s are emerging. You have, to all intents and purposes, the stereotypical and mean-spirited bully; the hit and run commenter whose purpose is to elevate him or herself socially, and to gain a sense of superiority. The fully-armed commenter; the one who likes to linger and watch their victims squirm with their continuous, verbal assault, seem to have no other purpose than to spread their hate far and wide. Perhaps, this is because hate is all they are capable of feeling. The last group is hard to define, but it seems to be comprised of an eclectic assortment of racists, bigots, the amateurish, armchair, political analysts, the quasi-religious, the self-opinionated, the self-righteous, and the apathetic. Quite the melting pot, really.

It’s through comments that we get a sense of the disturbing nature of some people’s minds and lives. Bitterness, anger, apathy and hate come to the forefront, and one has to wonder what has happened to these people. What has occurred in their lives to make them feel so bitter, angry, apathetic and hateful? Are they relating to these stories from personal experience? Do they see themselves mirrored in the accusations they hurl at others? Are they victims or perpetrators themselves, trying to shift the focus from themselves on to others?

We can only speculate, at best, what the motives and reasons behind a comment are, but one thing that can’t be argued is that no matter what the topic or subject is, in the virtual world, everyone is vulnerable. And the terrifying thing is that people can hide behind their anonymity on the internet. No one knows who you are. The person who leaves you one of these comments could be your best friend, next-door neighbor, work colleague, or a member of your own family. Kind of scary isn’t it?

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