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Post by Invincible on Jul 30, 2017 19:38:19 GMT
I reject the stereotype that an artist has to be a tortured soul in order to produce creative work. Who said that?
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Deleted
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Post by Deleted on Jul 30, 2017 20:40:15 GMT
@snow White Nowhere did I give Quincy sole credit for Michael's work. I actually listed a whole lot of songs that Michael wrote prior, or outside of their collaboration.
It's always been understood that Michael had to fight the record label for them to allow him to work with Quincy in the first place. They felt he was 'too jazzy'.
They may have had their disagreements, but ultimately Michael had a mind of his own, and demonstrated his control over his career. No one 'forced' him to do anything he didn't want to.
It seems you have some personal feelings which you're entitled too, but I feel as though you're rewriting history.
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Post by Snow White on Jul 30, 2017 22:06:42 GMT
You can dislike, not listen to his 90s records and disagree with the rest of us all you want but you're dismissing everyone else's contribution to the thread claiming we derailed it when the OP never specified it was an appreciation to the work of those years in the first place. He claimed 1978-1983 were Michael's most creative years based on how prolific his releases were and the majority disagreed because he was going in a safer route during that period compared to his subsequent works.
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Post by Russg on Jul 31, 2017 2:00:19 GMT
Maybe the original poster can come back and explain the purpose of this thread? I'm completely lost. I thought it was to acknowledge Michael's artistic growth between the years of 1978 and 1982? Yet people are dismissing that time period as being 'careless safe pop', despite my many arguments to the contrary. Can't a separate thread be created for those who wish to celebrate Michael's '90's output? Otherwise I see this going nowhere... I think this is unfortunately typical of MJ fans who frequent his online forums. His 78-82 output has always played second fiddle to his 86-95 work amongst his hardcore fanbase, which is strangely at odds with the general consensus of MJs work outside of the fanbase.
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Post by Snow White on Jul 31, 2017 2:11:12 GMT
^Again, you never specified on your original post it was an appreciation thread for his work during the years you said. You made that claim, most of us stated the reasons why disagreed with you.
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Post by Russg on Jul 31, 2017 2:14:27 GMT
^^ It's not an appreciation thread, just sharing my opinion. Of course, you are more than welcome to disagree with me... it's all good.
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Post by Snow White on Jul 31, 2017 2:17:46 GMT
Thank you for saying that, no one derailed the thread as mj83 suggested then.
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Post by respect77 on Jul 31, 2017 18:20:35 GMT
I don't think it is degrading the 1978-82 period if someone says they consider some other period even more creative. I love the 1978-82 period too.
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Post by MattyJam on Aug 1, 2017 9:18:47 GMT
I don't think it is degrading the 1978-82 period if someone says they consider some other period even more creative. I love the 1978-82 period too. I think fans have a tendency to get a bit overly defensive over their preferred era. I think a lot of fans feel a greater need to champion the merits of his 90s output, mainly because it is so blatantly and unfairly ignored by the music press, media and even his own estate. It ends up giving the impression in the fanbase that there's this whole group of people who don't appreciate his 78-82 output enough, but in my experience, most fans who frequent MJ fanforums have a pretty broad taste in every aspect of MJs career.
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Post by .♦♛Pink Diamond Princess♛♦. on Aug 9, 2017 13:13:26 GMT
TBH when it comes to questions like this I'm very wishy washy. I'll say one thing now but then not feel the same way in a few days LOL. So I don't have an answer I guess.
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Post by jaywonder on Aug 10, 2017 0:58:33 GMT
I think his commercial peak was 1978-1984 but his creative peak in terms of songwriting was 1984-1994. So much great work in both periods so I might as well say 1978-1994 lol
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Post by MattyJam on Aug 10, 2017 6:29:17 GMT
I think his commercial peak was 1978-1984 but his creative peak in terms of songwriting was 1984-1994. So much great work in both periods so I might as well say 1978-1994 lol Why 1994? Those 5 new songs on BOTD were still being worked on up until 1997. I'm guessing he wrote Morphine after 1994 considering its lyrical content, and that song is probably one of the most creative and experimental pieces of music he ever produced. So I would extend it to 1997 personally.
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Post by jaywonder on Aug 10, 2017 8:21:58 GMT
That period gave us That's What You Get For Being Polite, Heartbreak Hotel, Billie Jean, Wanna Be Startin' Somethin, Beat It, Don't Stop Til You Get Enough and other songs like Night Time Lover, This Had To Be.
To think he was under 25 during this period...
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Post by jaywonder on Aug 10, 2017 8:23:54 GMT
I think his commercial peak was 1978-1984 but his creative peak in terms of songwriting was 1984-1994. So much great work in both periods so I might as well say 1978-1994 lol Why 1994? Those 5 new songs on BOTD were still being worked on up until 1997. I'm guessing he wrote Morphine after 1994 considering its lyrical content, and that song is probably one of the most creative and experimental pieces of music he ever produced. So I would extend it to 1997 personally. True but for the most part, the songs were already finished structure wise. Ghosts, BOTDF, and Superfly Sister were from '90-91 and Is It Scary and Morphine were from 1993-94. They recieved some minor tweaking then were put out I would've said '95 but wanted to stay at a 10 year limit
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