PARIS JACKSON’S Tattoo and the MESSAGE of MICHAEL JACKSON’S Dangerous Album Cover
A lot of questions arrived while I took a hiatus from the blog. Of course, this break was not only due to the need to do planting in my garden – the main reason is the shock and the near-coma all sane people in Russia are currently in while the torrents of lies, hypocrisy and so-called ‘patriotism’ are ravaging my homeland. The closest analogy to it would be observing the events of George Orwell’s novel live and to tell you the truth, this is not easy, guys.
In the meantime another type of craziness – injustice and spite towards Michael Jackson do not seem to abate either. People still have ridiculous opinions about him and stick to vile dogmas about MJ though they have long been proven to be myths.
Funny, but when you compare both of these phenomena you can’t see much difference between the two. Both are based on cynicism, endless lies and media brainwashing. Both discourage people from fact-checking and keep them in the habitual comfort of prejudices and stereotypes acquired decades ago. Both make people behave at their worst and allow them to be free from conscience constraints.
In fact, if you know how some people distorted the reality around Michael Jackson and incited mass hatred for him on cooked-up allegations, you will also know how others can blind the perception of millions on other issues and make them believe the most rotten lies.
What I am trying to say is that the face of evil and its operation pattern is the same, and it is only its scope which is different. To let this evil take power over you all it takes is the deep cynicism and shocking lies on their side and disinterest, indifference and ignorance on yours.
PARIS JACKSON’S TATTOS
The question that arrived recently concerned Paris Jackson’s tattoo and had a surprising conclusion:
“I have a question about Michael Jackson’s Dangerous album cover. Paris, MJ’s daughter just recently got a tattoo of MJ’s Dangerous album cover as seen here: https://twitter.com/ParisJackson/status/734907092683751425/photo/1 in which she said “Never forget your roots. Always be proud of where you came from”. What does a person’s roots has to do with MJ’s Dangerous album cover? To me it seems like some type of insult.”
Insult?? But to me Paris’s tattoo is clearly a loving tribute to her father. And the choice of the ‘Dangerous’ album cover suggests that she is perfectly aware of the tragic circus her father had to endure for as long as he lived. And it is also very meaningful that she selected Michael’s eyes for the tattoo – now he and she will be looking at the outside world together.
Paris accompanied the photo of her ink with a quote from her father’s book, Dancing the Dream – the words which he evidently often told her in person: “The meaning of life is contained in every single expression of life. It is present in the infinity of forms and phenomena that exist in all of creation”. And it is to this quote that she added her love and appreciation for her dad: “Never forget your roots, and always be proud of where you came from”.
A little earlier this year Paris had another tattoo on her wrist made in Michael’s writing and most probably quoting him again: “Queen of my heart”. Her Instagram post said: “To everyone else, he was the King of Pop. To me, well, he was the king of my heart”, revealing how raw the wound of her loss still is.
Can we imagine the pain that is still deep in this girl’s heart?
It must be unspeakable.
To add to the story a month prior to that Paris made a photo of herself against her father’s mural, which she accompanied with just one word – ARCHANGEL.
The resulting picture will take your breath away. They look almost the same age – she has grown up and he is forever young, and both seem to be together, standing side by side, talking, smiling and probably sharing a good joke. The illusion is complete and is carrying your imagination away to portray a picture of how it could have been if the evils of society had not run him down into the ground.
‘My archangel’: Paris Jackson shares touching Instagram tribute to late father Michael Jackson as she poses next to a mural of the King of Pop
PUBLISHED: 06:40 GMT, 14 March 2016 | UPDATED: 08:20 GMT, 15 March 2016
Her father is one of the most iconic figures of popular music. And Paris Jackson paid a touching tribute to the late Michael Jackson late on Saturday night.
The 17-year-old shared a sweet Instagram post of a mural of her father captured during his 1980s heyday.
‘Archangel’: Paris Jackson paid a touching tribute to the late Michael Jackson late on Saturday night
In the snap she poses next to the image of MJ while wearing a nearly matching leather biker jacket, as the two of them cross their arms. Paris looks lovingly over her shoulder at her father in the tender snap.
She captioned the Instagram moment with a single and yet very powerful word to describe her father: ‘archangel’.
Some readers of the above missed the whole point and thought that a better word would be a “guardian angel” which they consider more appropriate here.
However Paris knows better, and the 11 years she spent with her father gave her reason enough to say that he was not only an angel, but in fact, the chief of angels (which “archangel” literally means).
She may have also be alluding to the biblical Archangel Michael – the one who is named by the Book of Revelations as the one who will defeat the power of evil (dragon) by means of the power of good.
If this is what Paris really had in mind, she is not the only one. Photographer LaChapelle also depicted Michael as the archangel triumphing over the Beast, making a sort of a prophecy that in the spiritual battle against evil Michael’s ideals of humaneness will one day triumph over the dark side of men.
WHO IS MICHAEL JACKSON?
Four years ago Paris outburst to explain to the world what a unique man her father was. When someone anonymous trolled her with a question: “Who is Michael Jackson?” the 14-year old girl said:
“who is michael jackson? are you serious?
please excuse me so I can rant.
michael jackson was the king of pop rock and soul . he was a genius . he was a warrior . he was a prisoner in this hell hole we call society . he was the bravest man i’ve ever known . he was an angel sent from heaven . not only was he the greatest and most talented man , but a philanthropist and a patriarch for the jackson family . the glue that kept everyone together . he loved and cared for children and cared so much to make this world a better place .
he was goofy , crazy , hilarious , loving , kind , beautiful , lovable , incredible , and the best , most loving father probably to ever exist . i am so grateful and honored to have known him for over 10 years . he was my life . the only thing that really brought me true happiness .
michael jackson was the greatest thing that ever happened to the music industry . . . and my life”
Even the Celeb Dirty Laundry staff was amazed and their reporter expressed a sincere hope that Paris will continue to spread love and understanding, and will crusade for the reputation of Michael Jackson as she is the one who really knew him and better than anyone else too:
Paris Jackson Defends Michael Jackson On Twitter and Formspring
SEPTEMBER 5, 2012
“Paris’ account is filled with pride, love, and, perhaps mostly, grief. It is undeniable that Paris still deeply mourns her father’s passing. As she should. Although Paris is now surrounded by a huge family (many of whom seem to be fighting for the late Pop Prince’s estate and custody of his kids), no one can ever take the place of her dad.
I think we get so caught up in Michaels’ contribution to music that we forget the people who knew him best. I hope that Paris can stay strong and continue to spread love and understanding, and will crusade for the reputation of the Michael Jackson she knew better than anyone else.”
She knew better than anyone else is the crucial point here, so the opinion of this thoughtful young girl is by far more valuable than the judgment of millions who use as their sources someone’s idle and vicious gossip, and dirty imagination of their own.
WHAT THEY SAY ABOUT THE DANGEROUS COVER
The question addressed to me also touched upon the Dangerous cover and the monkey at the top of it:
“Also, when I searched for the meaning of MJ’s ‘Dangerous’ album cover, this is what one person said about some of the meanings on his ‘Dangerous’ cover:
“At the top of the Album, there is a Monkey being crowned and MJ is well-known as the King of Pop. I don’t think MJ would have thought comparing himself to a Chimp was racist or insulting, he loved animals- maybe he was suggesting the TPTB saw him as a Monkey, THEIR monkey, the star of the Circus they started”. (https://forum.davidicke.com/showthread.php?t=205638&page=2) Why would MJ consider himself as a monkey or think others saw him as a monkey? This is not good at all. Please answer my question Helena. Thanks.”
Well, let me give it a try.
First I looked up the TPTB abbreviation and found that it means “The Powers That Be”. In the opinion of conspiracy believers these “powers” are some mysterious “Illuminati” who are allegedly ruling the world.
But look here, guys – for various parts of the world “the powers that be” are different and this is no big secret to anyone. In my country, for example, the TPTB are the security services, permeating the whole of the country and having a nearly full power over the media and every other aspect of our life.
In the US the TPTB are evidently the various groups of the super-rich who hold their power irrespective of who is the current President and who guide public opinion via their own or sympathetic media and who exert much influence on social life by promoting what they deem necessary and by smearing those who are not to their liking.
Whoever these TPTB are, even judging by the incredible media bias against Jackson and their thorough suppression of the truth of his innocence, there can’t be any doubt that his harassment was orchestrated by someone with a very foul agenda and ways and means to implement it.
In my opinion the group most interested in taking Michael down were real boy-lovers who first wanted to throw Michael into a bad class and then capitalize on his charisma and popularity for their own social acceptance. For proof it is enough to recall Victor Gutierrez who, besides being MJ’s worst harasser, was also a NAMBLA-conference attendee, who openly spoke in the 80s about the hopes and plans of these people. And once their “program” was launched, others readily joined in … however this is not the point of this post.
The point of this post is the Dangerous album cover and what the monkey is doing at its top, and what all those other enigmatic elements mean and whether Michael had any special idea behind it all.
When doing my reading for this post I was amazed by the nonsense most people are writing to interpret the picture. Some are busy looking for “satanic” symbols as proof of Michael being a “devil worshiper”. Others find Illuminati on every pillar. As to Michael Jackson’s best friends – the media – they never fail to note that the album cover is “a combination of bad taste, irony, opulence, artistic choreography, power, influence, jungle and urban in the same time, snobbery combined with humility” all of which “defines Michael Jackson’s creations” in their opinion.
What’s interesting is at the very same time the painter who created the album cover is a very popular and sought-after artist who is considered by many “a very talented and soft-spoken genius” (and you said there was no bias?)
A certain Susan Fast, who wrote a whole book about Michael’s Dangerous album and is the director of a “Program on Gender studies and Feminist research” at McMaster University, wrote an article called “Michael Jackson: Posthuman” to promote some pseudo-scientific absurdities that have nothing to do with Jackson. Her introduction says:
“The album cover for Michael Jackson’s album Dangerous was painted by American pop-surrealist artist Mark Ryden. In it, he depicts a world in which the boundaries between human and animal, living and dead, whole and part, and celestial and terrestrial have been crossed and fused.
Surrealist painters like Ryden often aim to collapse such categories – to reconcile, in their art, what seems to be irreconcilable in life. But actually, this boundary-crossing does happen in life – increasingly so – and corresponds to what some have called posthumanism.”
A “posthuman” specimen in her opinion is the poor Michael. Her ideas are based on the usual erroneous statements which are the regular media standard when it comes to Michael Jackson, routinely claiming that his entire career was “defined by his rejection of normal boundaries”, “transgression of societal norms” and “extreme modifications” (as if he never had his vitiligo that forced on him so radical a transformation).
All of these are grave stereotypes imposed on us by the media and for so long a time too that no one challenges them any more. The only difference between the media and this author is that the latter is on the defensive side of MJ claiming that all the “transgressions” she attributes to Jackson are okay. In fact she even claims that “by his life and art” Michael Jackson allegedly said that “order and normality are illusions”.
But Michael never said or meant anything of the kind! Normality was exactly what he was seeking most. He was cherishing innocence, simplicity and humaneness, and was living his ideals, while the world around him lived according to its own rules and now this “hell hole we call society” (to quote Paris Jackson) is trying to interpret Michael’s life, music and artwork via its own artificial “posthuman” constructs.
What amazes me most is that all these people who analyze the Dangerous album cover do not take the trouble to find out whether Michael made any input into that painting at all and whether the details of the picture are the fruit of the artist’s imagination instead of Jackson’s.
This differentiation between the two seems to be the first and most obvious thing to do, however as far as I know no one ever did it, which is an absolute shame – because if you look up the other artwork of Mark Ryden you will realize that the use of all those “masonic” numbers and symbols are actually the artist’s signature style – up to a point that he marks all his paintings and even personal messages with a stamp of an eye.
And the more he progressed from his initial illustrations of other people’s music (the first was for Warrant’s “Dirty Rotten Filthy Stinking Rich” album) to his later really weird paintings expressing his own self, the more you realize who should be the real hero of Susan Fast’s “posthumanism”.
It should be Mark Ryden, the artist who is indeed sort of advocating that “order and normality are an illusion”, and absolutely not Michael Jackson who would probably be abhorred by some of Ryden’s current paintings.
To make sure that the Dangerous cover elements are almost wholly the work of the artist’s imagination (and not Michael Jackson’s) here is Mark Ryden’s interview about the picture.
WHAT THE ARTIST SAID
In 2001 Mark Ryden gave an interview to a MJ fan club. The full of it is here while I will select only some excerpts.
Can you give the fans a little information about yourself? In your own words, who is Mark Ryden?
There is a Biography and Artist statement on my web site that pretty much tells who I am, but I guess I would say I am just a guy who loves to paint. I have always loved to paint and never questioned that that is what I would do with my life. I love to collect things (toys, medical things, children’s books, figurines, knick-knacks, paper ephemera, etc.)
Mark Ryden in his studio. Photo by Liz Huston, http://www.photomonium.net
How did you get involved with doing CD covers?
I had a portfolio of pretty out of the mainstream work when I graduated from Art Center. I did one Album cover that became pretty visible (Warrant’s “Dirty Rotten Filthy Stinking Rich”) Other Record companies started contacting me and it just grew from there.
What process was involved in your being chosen to create the ‘Dangerous’ album cover? Did you know Michael prior to this work, and if you did, how?
I had previously worked with the Art Director at Sony Music (Nancy Donald) on several other projects and when she was working on the Michael Jackson project she thought of me. Michael was shown a portfolio of my work and he liked it very much. I then met with him at his recording studio where I got to hear a little of the new music and talk about the idea. From there I had about a week to create some ideas. I did 5 very elaborate pencil drawings which were shown to Michael. There was one which stood out which everybody including Michael seemed to like and that is what I painted.
[A QUICK RECAP: So Mark Ryden showed Michael pictures like the one he did for Warrant and Michael liked them, and this is how the artist got commissioned for the job. He listened to some of Michael’s new music and they discussed the general idea (he speaks of meeting him just once to discuss the concept), after which Ryden made 5 variants that “were shown” to Michael, evidently in the absence of the artist. One of them was selected by “everybody”, including MJ and (naturally) the Sony Art Director and possibly other Sony officials, so the decision-making was actually a joint one.]
So there were 5 pre’ Dangerous drawings? Can you tell us what the others were like?
They did all seem to be in the same general style as the one I did. One concept was in more of a Circus Poster motif with a skeleton jumping out of a clown’s gut. One sketch focused closer on that girl standing on the hand holding the skull which is in the final version. One idea was similar to the final except that it was an airy light outdoor scene with Michael’s eyes floating in the clouds above Bubbles who was standing on a heap of animals.
There are several similarities between the “Leave Me Alone” video and the Dangerous cover. Did this video influence your work on the Dangerous cover?
Definitely. […] The “Leave me Alone” video blew me away when I first saw it. It was very inspirational.[…]The design and subjects were great.
[POINTS TO REMEMBER: So all the five sketches revolved around one concept, apparently proposed by Michael Jackson and including the motif of a circus and Michael’s eyes, possibly staring at its participants, spectators and those who created it. One of the drawings even had his eyes “floating in the clouds” over the heap of animals beneath.
The girl with a huge skull (yes, that child is a girl) was meant to be someone very important as one of the sketches was focusing on her as a central figure.
It also turns out that the Dangerous cover was heavily influenced by the “Leave Me Alone” video which also had the idea of a circus where Michael was seen tied with ropes, dancing in chains, treated like an animal in a circus and dogged by dogs with cameras in the literal meaning of the word – which naturally reminds us of the crowned dog in the imperial regalia on the Dangerous cover too.
It wouldn’t hurt either to draw a comparison between the giant jaws in “Leave me alone” which are ready to devour Michael approaching it in a small boat and the machinery which is seen working in a huge gape in the center of the Dangerous cover.]
‘Dangerous’ is without a doubt one of the most impressive works ever done for an album cover. How long did it take you to complete this project, from start to finish?
It was by far my most ambitious work. The original was large (for me) three feet square. It took several months to do the entire project including sketches and everything.
Was the album completed before you did the cover, or were you working on the cover while Michael was still recording for the album?
Michael was still working on the album while I did the painting. I did get to hear some of it ahead of time and most of the song titles were given to me.
Are some of the song titles represented in the painting?
If you look around you can find them.
If the album wasn’t completed when you began your work, did you have the name of the album and if so, was the name any inspiration to your work?
Yes the Name was one thing that was decided. It did provide a starting point for the concept.
[A SHORT NOTE: So though Ryden didn’t hear all the songs he was given their titles and we can even find them incorporated into his painting. I can definitely see there “Why You Wanna Trip on Me”, “Black or White”, “Dangerous” and “Heal the World” as its central issue.]
Did Michael have any input in the design of the ‘Dangerous’ album cover and if so to what extent?
Michael was open enough to just let me go for it on my own. He did have some specific additions to the painting after I was finished.
Really? Can you tell us what it was that he added?
He wanted his friend McCauley added in the ride car at the bottom right. He wanted the 1998 pin on P.T. Barnum’s Tux. The half white/half black boy was also some thing Michael wanted added. They were a few more things also.
Can you tell us what the picture and it’s different symbols represent? For example: What does the “amusement ride” represent? Who is the “ring master” on top of the man in the tux, and what does the 7 represent on his hat? Who is represented by the bust that is half black and half white, and what does it mean? What about the animals? Why are the dog and the bird represented as king and queen? And what does the MJ on the dog’s crown represent? What does the “Birth of Venus” statue represent in this picture?
Well these are all the questions that I am sure you are very anxious to hear explained. I feel that if a painting is explained away something is lost for the viewer. I like the sense of mystery to the symbolism and wouldn’t want that to get lost. It is an important part of the image to me. I am more interested in how other people interpret the image themselves.
There is definitely a sense of mystery to the symbolism! I do understand your not wanting that to be lost with an interpretation of the painting. Can you give the fans any ideas about what you were thinking when doing this? Give them some sense of direction toward the meaning?
I am afraid they are on their own! (sorry!)
The entire picture is extremely impressive but, the thing that makes it most unique is the eyes. How did you decide to use only Michael’s eyes?
That was part of the original concept decided by Michael and the Art Director. That is what I began with.
The full interview is here:http://www.freeforumzone.com/lofi/mARK-rYDEN/D645591.html
Well, this final piece is the key to the whole picture.
First of all we find that Michael provided Ryden only with the general concept and was open enough to let him work on his own. This explains those enigmatic symbols all over the painting – the artist gave full reign to his imagination, used some imagery from the ‘Leave me alone’ video (dogs, circus, animals, Elephant Man, etc.) and introduced some of his own signature elements to it.
So whatever mysterious symbols you see there you should approach Mark Ryden and not Michael Jackson for their interpretation – however Ryden’s reaction makes it clear that you won’t get the reply. All his artwork abides in symbols which he never explains, and everyone is free to interpret them the way they like. The painter even seems to like keeping people mystified by his riddles.
When the cover was ready and Michael finally saw it he did ask to add some small details. These included the image of McCauley Culkin emerging unscathed from his “amusement ride” through the sinister machinery in the center of the picture. We also see that the others who entered the ride didn’t manage it. After going through the machinery they turned into skeletons, and it is only young Michael and McCauley Culkin who more or less escaped. They look sad, but are at least alive. This seems to be an allusion to the entertainment industry which can crush people, especially children, and turn them into the mere ghosts of their former selves.
Another addition Michael made was putting a certain number on the lapel of the man in the tuxedo. And though the meaning of the number is unclear, now we can at least be sure that the man’s name is P.T.Barnum – so forget that “satanic Aleister Crowley” nonsense, please.
But who is P.T.Barnum? Oh, Barnum is a very interesting personality. Besides sitting for two terms in the Connecticut legislature 150 years ago, he also founded a popular Barnum & Bailey circus and the attraction called “Barnum’s American Museum”.
Wiki says that the museum had a changing series of live acts and curiosities, including albinos, giants, midgets, “fat boys”, jugglers, magicians, exotic women, a menagerie of animals in addition to the exhibits of stuffed species as well as “Feejee mermaid” with the head of a monkey and the tail of a fish.
This mermaid was a hoax of course, but Barnum justified his hoaxes by saying they were “advertisements to draw attention to the Museum”. Actually, Barnum’s words, “I don’t believe in duping the public, but I believe in first attracting and then pleasing them” should be placed as a motto under the title of every media outlet that also used gross lies and hoaxes regarding Michael Jackson for attracting the public to their papers and raising their ratings.
Barnum is one of the two central figures in the picture and it is clear that his image embodies the freak show Michael Jackson’s life was turned into. So the monkey (Bubbles) at the top is of course a symbol of the way Michael was treated by the media and public – as a major attraction in the global circus they created for him, a sort of a bait used by its organizers to draw, entertain and please the audience and derive huge profits from the constant poking of their star with a curiosity stick (remember Barnum’s motto?)
The machinery in the center seems to point to the inner workings of the whole thing. This machinery is operating around the globe which is painted upside down – and the latter is actually very true considering the world’s current state of affairs and our present values, goals and ways.
When we look into this huge gape we see it as a purely industrial, business-like and no-nonsense world which doesn’t have a single natural element to it – no nature, no sky, no animals, no blade of grass. In fact, those living beings that enter this machinery expecting it to be an amusement ride return from it fully processed and with no signs of life as the emerging skeletons show it. No wonder that the river of produce that flows from this upside-down world contains only weapons, guns, rockets and death.
And who is on the opposite side of this sinister machinery which is partially closed from view by entertainment and freak shows in P.T.Barnum’s style ?
And on the opposite side we see an innocent child supported by Michael’s hand (easily recognized by the tape on his fingers), who is holding the skull of a huge dragon in her little hands. This figure was meant to be the crucial one in Michael’s concept of the ‘Dangerous’ cover – Ryden explained that one of his sketches was even focused on this girl.
However Michael selected another variant where the child was placed opposite the symbolic circus represented here by P.T.Barnum, and the final picture began to look like it is talking of an alternative facing humans.
The innocence of a child as an alternative to worldly evil is the ideal Michael spoke of in half of his songs and all his interviews and public speeches, so we are more or less familiar with this concept. But why the dragon and why the skull?
Well, the dragon symbolizes the ills of human beings and society as a whole. And its skull symbolizes that these evils may be eventually defeated. The alternative to the freak show we have created for ourselves does exist and this is what Michael’s message to us is.
But what is the way to defeat the dragon? Regain your innocence and peel off the sheaves of stereotypes acquired in the crafty and cynical world of adults, return to the child you have once been and value what is really worth valuing – simple things in life and beauty of the world, a child’s inquisitiveness and eagerness to know more, a child’s open mind, freshness of perception and unawareness of the existence of prejudices, sincerity, love, peace and all the other good we associate with these little angels who are also called the flowers of life.
Actually this is what Michael’s song ‘Heal the World’ in the Dangerous album is all about, and it is only when you understand Michael’s general concept that you also start realizing that despite all other great hits in the album, ‘Heal the World’ is its central piece and something which Michael wanted to address us with in the first place.
For those who don’t know or forgot it, here is what Michael used to say on the subject.
- “What… what we need to learn, what we need to learn from children isn’t childish. Being with them connects us to the deeper wisdom of life which is ever present, and only asks to be lived. They know the solutions that lie waiting to be recognised within our own hearts.”
- “Children – this is my opinion – represent the purest, the quintessence of honesty, of love, of God. To me they are the God´s way of saying there is hope, there is such a thing as humanity. Be like children, be humble like them, be sweet, be innocent. It shows in the eyes, I always see it in the eyes. When you look in a child´s eyes you see just a pure innocence and it reminds me to be humble, to be sweet and to be really good.”
- “I don´t mean to sound weird, but I really believe that children are God. I think that they are the purest form of the creation of God. When a child steps into a room I am totally changed. I feel their energy, their presence, and their spirit. I think we have to remember it is so easy for adults and parents to push them aside and not to pay attention to them. But I think they have so much to say and we don´t listen, we don´t feel. It´s almost hard to put it into words.”
(quoted by http://www.truemichaeljackson.com/on-children/)
In fact, Michael’s plea to learn from little children’s honesty, love and God’s ways is nothing new, at least to those people who call themselves Christians.
Michael’s views are the direct reflection of Jesus’s words: “Truly I tell you, unless you change and become like little children, you will never enter the kingdom of heaven.” (Matthew 18:2-3), and the only problem here is that almost no one is following this advice.
Amazing, but as soon as you realize the real message of the Dangerous cover, you immediately make another discovery and grasp the meaning of Michael’s look too, which as Ryden told us, was another indispensable element of his original concept.
Now that we know of Michael’s message to us, the look of his eyes suddenly changes and you realize with somewhat of a start that he is looking at you from behind this show, challenging and scrutinizing you, as if asking you a question:
“What choice will you make? Will you continue to take part in this circus and will you choose the other way? Will there be a time when all of it ends?”
As a final point let me add that when the ‘Dangerous’ album was initially released it came in a large box with a picture of Michael’s eyes on top of it, which then folded open to reveal the full picture we are discussing here. If this is not the best proof of what has been said here, then I don’t know what is.
Michael Jackson is looking at us and is waiting for an answer.