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发表于 2010-2-16 23:57:22
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http://www.associatedcontent.com/article/2..._we.html?cat=33
Since His Death, the World Seems to Be Taking Another View of Michael Jackson
A new version of Michael Jackson's co-authored landmark song "We Are the World" has been recorded and presented to the world as an effort to raise money for earthquake release in Haiti. Jackson co-wrote the song in 1985 with Lionel Richie.
A shortened video of the song was released during Olympic Opening Ceremonies on Friday night. On Saturday afternoon, the full seven minute video was played around the world for the first time. Fans can download the video with all proceeds going to Haiti as the nation recovers from a devastating earthquake.
Nearly eight months after Jackson's untimely passing, the release of the new version of "We Are the World" is the latest in a string of events that have served to enhance Jackson's musical and humanitarian legacy, and begin to introduce his message and work to younger generations.
Recent months have seen increasing evidence that old and unproven allegations against Jackson are fading from public view as the world reflects more on his music and his humanitarian work. When major networks, institutions and the Olympics include Michael Jackson's work and his images in their productions and honors, it seems that the claims against him are more discredited than ever in the court of public opinion.
For example, in January, Jackson's landmark Thriller video become the first music video to be included in the National Film Archives in the United States. In addition, Jackson's Earth Song became the first 3D video presentation at a live awards show as the Grammy Awards made it one of the highlights. During the same show, two of Jackson's children, Prince and Paris, accepted a Lifetime Achievement Award on their father's behalf.
In the midst of all of this, a new Michael Jackson song, a collaboration with Lenny Kravitz, was leaked online (albeit briefly). Kravitz made a point to say that while he did not know who leaked it, that he found being in the studio with Jackson to be 'an amazing experience'. Kravitz also mentioned what a fantastic father Jackson seemed to be. Finally, Kravitz remarked that he found Jackson to have a very funny sense of humor and that the two of them laughed much of the time in the studio.
As Jackson battled ultimately unproven allegations of sexual misconduct throughout his life, his undeniable talent and messages of love and peace seemed to be lost except among his loyal fans. But as the world reflects on his life and contributions to the world and popular culture, there seems to be an undeniable shift in the way people think of, speak of, and remember Michael Jackson. His legacy and popularity, it would seem, will only grow from here.
Less-than-stellar remake 'We Are the World' debuts at Olympics in Vancouver
By Chris Richards
Washington Post Staff Writer
Saturday, February 13, 2010
"We Are the World" got a bad rap. Not the original charity anthem recorded in 1985, but the 25th-anniversary remake that debuted Friday night during coverage of the Opening Ceremonies of the Winter Olympics in Vancouver.
The updated take was horribly oversung, but it was largely faithful to the original tune written by Michael Jackson and Lionel Richie -- save for the 21st-century rap verses added toward the end of the track. One group rap-along, penned by Will.I.Am and led by LL Cool J, ends with a particularly platitudinous couplet: "We are the world connected by a common bond: Love! The whole planet is singing along."
Just probably not to this version. The remake starts with a slew of well-endowed vocal cords hyperextending themselves during precious seconds in front of the microphone.
Guilty parties from the opening verse include Jennifer Hudson, Justin Bieber, Josh Groban and Jennifer Nettles of Sugarland, each of them cramming too many notes into not enough syllables. Take it easy, guys.
If the original cast assembled by producer Quincy Jones were "the children," this new ensemble that Jones and Richie summoned the day after the Jan. 31 Grammy Awards in Los Angeles are the grandchildren. It's a sprawling extended family of singers -- more than 80 altogether. That's almost twice as many as the first cast, handfuls of them not even born when the original was recorded.
But despite the maxed-out guest list, quite a few future legends were absent. Beyoncé, Jay-Z, Taylor Swift, Lady Gaga, Justin Timberlake, Alicia Keys, Britney Spears, Rihanna and Mariah Carey were some of the biggest names not at the recording session. Also, there were too few voices from the country, rock and Latin music communities.
And that's really what's most disappointing about this overblown redux. Nobody can argue with its worthy cause -- the song's latest proceeds will go to earthquake relief in Haiti -- but the recording's original thrill was due to the panoply of voices gracefully working together: a reedy Willie Nelson, a roaring Bruce Springsteen, an angelic Michael Jackson.
On the new version -- its video will be simulcast around the world Saturday -- Jackson's original vocal contribution was wisely left intact.
‘We Are the World 25 for Haiti’: Big-Name Karaoke With Good Intentions
By JON PARELES
NY TIMES
When “We Are the World” was recorded in 1985, to benefit famine relief in Africa, Bob Dylan sang some pivotal lines with his usual wayward phrasing. Now Lil Wayne shows up in the same spot, using Auto-Tune on his vocal, in “We Are the World 25 for Haiti,” the remake to aid earthquake victims that had its video premiere on Friday night during the Olympics. Similarities aside — scratchy voice, gift for free association — Lil Wayne, you’re no Bob Dylan. It’s one measure of the slippage between the original and the remake, which can be seen on You Tube or downloaded from iTunes.
“We Are the World” was written by Michael Jackson, whose portions from the original video clip are reused, and by Lionel Richie, who organized the 2010 version along with the original producer, Quincy Jones. They took on new-generation collaborators: Lady Gaga’s producer, RedOne, and Will.i.am, who joins the songwriting credits by adding rhymes for rappers. The song itself, for all its Hollywood gloss, has turned out to be durable. A gospelly lift in the chorus saves the lyrics from their potential narcissism–”We’re saving our own lives”–to insist that all the stars are, indeed, singing about worldwide community.
A 25th anniversary remake had already been in the works, timed to the availability of stars in Los Angeles for the Grammy Awards at the end of January. When the earthquake hit Haiti on Jan. 12, the song acquired a new and immediate cause, and a central performer: Wyclef Jean, the Haitian-American songwriter, singer and rapper from the Fugees, and one of the remake’s producers. His spot leaps out of the video clip: singing in English and Kreyol, he ululates in a way that reaches back to Afro-Haitian roots. It’s a premeditated moment, but a passionate one.
The good intentions are clear and laudable. May the song and video draw donations. But as a piece of work, “We Are the World 25 for Haiti” has all the pitfalls of a Hollywood remake. It whipsaws between attempting a shot-for-shot homage to the original and giving it some new twists. The video’s director, Paul Haggis (who made “Crash”), added one major improvement on the 1985 clip. He includes images from outside the recording studio, from Haiti, where scenes of ruins and relief work give way to smiling, hopeful children under the Caribbean sun. While the stars still get their closeups, now they have a context.
Still, “We Are the World 25 for Haiti,” rises or falls on its talent pool. As in 1985, the song features current chart-toppers along with a few elders, like Tony Bennett and (on guitar) Carlos Santana. It turns out there’s a major gender gap. The women can nearly hold their own against 1985: Jennifer Hudson, Pink, Barbra Streisand, Mary J Blige, Celine Dion, Toni Braxton, Jennifer Nettles (from Sugarland) and Nicole Scherzinger (from Pussycat Dolls) can rival the lungpower of Dionne Warwick, Tina Turner, Diana Ross, Kim Carnes and Cyndi Lauper from 1985. They’re not always deployed as wisely, though, especially when the new version follows Ms. Streisand’s warmth with the teenypop nasality of Miley Cyrus.
And the men, well, the lineup unfortunately speaks for itself. Justin Bieber in place of Lionel Richie’s opening verse. Josh Groban for Kenny Rogers — actually, that’s a toss-up. Simperers like Adam Levine (from Maroon 5) and Enrique Iglesias appear rather than Stevie Wonder. Usher openly mimicks Michael Jackson. And there’s an Auto-Tuned triumvirate: not just Lil Wayne but Akon and T-Pain, all in a row. (Mr. Bieber also sounds slightly computer-assisted, or maybe I’m just suspicious.)
Back in 1985, the pop charts gave “We Are the World” male stars like Bruce Springsteen, James Ingram and Willie Nelson, and even the cornballs — Steve Perry of Journey, Kenny Loggins, Huey Lewis — could sing. The remake’s most embarrassing moment is the spot where Ray Charles arrived in 1985–off-camera at first, but absolutely unmistakable. Now, Jamie Foxx trots out his Charles imitation.
That’s not the only part of “We Are the World 25 for Haiti” that suggests big-name karaoke. Michael Jackson’s first ghost appearance, where he was juxtaposed with Diana Ross, now has him joined by Janet Jackson instead. Celine Dion mechanically copies the octave-spanning arpeggio that Cyndi Lauper used for a spontaneous jolt in the original. Many of the singers sound daunted by their predecessors, and rightfully so.
Eras change. In 1985, rock ruled pop and R&B was determined to cross over. In 2010, rock is barely on the map, and R&B and hip-hop define pop. Where the first “We Are the World” headed into its finale with fervent, improvisatory call-and-response duos–Mr. Springsteen and Mr. Wonder, Mr. Ingram and Mr. Charles–the anniversary version switches over to rapping, with solo spots from Kanye West and Will.i.am and a group led by Will.i.am, adding more star names to the list of performers for some serviceable rhymes: “Someone to help you move the obstacles you stumbled on/Someone to help you rebuild after the rubble’s gone.”
It’s as dutiful as it is sincere, but it’s not a peak. For that, “We Are the World 25 for Haiti” finally makes its least predictable move: ending with just voices. The studio choir belts the chorus, images of Haiti (including the long trumpets and drums of Haitian carnival tradition) fill the screen, and Mr. Jean chants “Haiti, Haiti.” Finally, the song no longer looks back. |
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