illesteva Partners with the Michael Jackson Estate to Launch Limited-Edition Eyewear
August 8th, 2017 (New York, NY) – New York based eyewear label, illesteva, today announced the launch of a limited-edition sunglass style in collaboration with The Estate of Michael Jackson.
Illesteva x Michael Jackson sunglasses are inspired by the iconic sunglasses Michael Jackson wore throughout his career, most notably during his acceptance speeches at the 1984 Grammys (he won a record-setting 8 awards), the opening number of his Dangerous Tour concerts, and his game-changing performance at the Super Bowl XXVII half-time show in 1993, the first ever performance by a recording artist superstar during half-time.
The original aviator style frame reimagined by illesteva, was created using a single sheet lens. The sunglass’ gold mirrored face is accented with lightweight gold temples and engraved with Jackson’s signature.

illesteva x Michael Jackson limited edition sunglasses release offers 200 numbered frames, retailing for $240, and available for purchase at select illesteva stores and on


MJ Live, a Michael Jackson tribute show, is coming to the Orpheum Theater this fall.

Tickets for the Nov. 25 event go on sale at 10 a.m. Friday through or 402-345-0606.
The stage production will feature a Jackson impersonator, a live band and dancers performing many of Jackson’s hits, such as “Bad” and “Beat It.” Promoter NRG Media also promises visual effects and a light show.



Quincy Jones has prevailed in a case he launched nearly four years ago against MJJ Productions, the record label founded by Michael Jackson, and Sony Music, over the “disguising” of royalties and breach of his contracts with Michael Jackson. In yesterday’s decision, a jury in Los Angeles Superior Court awarded Jones $9.4 million.

Jones’ lawsuit charged that MJJ Productions, now administered by Jackson’s estate, and Sony Music began to capitalize on Jackson’s work after his death, reissuing music that was remixed or edited without Jones’ approval. According to Jones’ contracts with Jackson and Sony Music, which go back to 1978, Jones would have first crack at this type of work.

The work that MJJ productions and Sony Music released after Jackson’s death included a 2012 re-release of Bad, the concert film This Is It and its accompanying soundtrack album and two Cirque du Soleil productions.

Jones’ complaint also accused Jackson’s estate of “disguising” royalties made from the various productions, films and albums by classifying them as profits, which prevented Jones’ royalties from being accurately calculated. Jones asked for $30.3 million; the estate countered that Jones was owed less than $400,000 due to accounting errors on their part.

Jones first met Jackson while working on The Wiz, the highly regarded adaptation of The Wizard of Oz, in 1978. The pair “were excited to work together,” according to Jones’ initial complaint in the case. They would go on to create Jackson’s albums Off The Wall, Thriller and Bad — the latter two became some of the highest-selling records of all time.

Jackson’s estate “intends to pursue post-trial motions and appeal the verdict which we believe was erroneous,” Howard Weitzman, the defending attorney in the case, wrote in an email to NPR.

“The jury worked very hard, listened to all of evidence, and weighed the facts of the case carefully. We are very pleased with the decision,” said Robert Allen, counsel for Quincy Jones in a statement provided to NPR.

In testimony last week, defending attorney Howard Weitzman asked Jones whether he realized that he was effectively suing his late friiend. “I’m not suing Michael,” Jones replied, according to The Hollywood Reporter. “I’m suing y’all.”



Prince Michael Jackson’s production company King’s Son Productions brings to mind his father, as Michael is often referred to as the King of Pop. But the name is both a homage and a challenge — as Prince says, “a name is given, but a title is earned.” The 20-year-old is working hard to live up to his family’s legacy with music videos for tracks like Swedish singer Nano’s “Hold On,” premiering on Billboard today (July 27).

“Hold On” is the third video Prince — Michael Jackson’s eldest son — has produced since launching the company in 2016. But his interest in video production stems back to childhood. Growing up, Prince was fascinated by his father’s own iconic music videos, like “Thriller” (“a classic,” he says) and “Smooth Criminal,” which Prince admired for its elaborate storyline.

“I love watching his music videos, because they had a very cinematic side to them,” Prince tells Billboard over the phone. “I enjoy that format, where it’s a story in short format, portrayed by the song.”

The video for “Hold On” takes a similar approach, weaving together the uplifting stories of several characters as they face various problems, ranging from financial to physical. The production team went with dark, dreary tones on purpose: “It would show through the visuals that it’s a struggling period,” Prince explains, gradually brightening the scene as each character overcomes their issue.

But Prince says his work also draws inspiration from television and popular movies. “When we heard the song ‘Hold On,’ the director [Christopher Perez] had the idea of portraying a bunch of struggles, and connecting them together, kind of like the movie Crash,” he explains, referencing Paul Haggis’s 2005 drama flick.

The video narrative for “Hold On” is personal for Nano, who says he was going through “rough times” while writing the track. “As I usually do when things get tough, I wrote a song to change my mindset. I imagined a day when everything would work out for the better and I took that emotion and put it into the song,” the artist, born Nano Omar, tells Billboard. “Who knew that this was the song that would make all that come true?”

Nano originally wrote the track for Swedish music competition Melodifestivalen, which selected the country’s entry in 2017’s international Eurovision Song Contest. “Hold On” was the runner-up in the end, but when Prince heard the song through Perez, he recognized the one thing he looks for when choosing collaborators: Passion. The song’s unifying message didn’t hurt, either. “There’s a lot of verses in here about having faith just to continue and being unified,” Prince says. “It’s a really good song for the time, for us, right now.”

On Nano’s end, choosing to partner with Prince for the visual was easy. “He was as humble as I heard he would be. To pull this big project through at his age says a lot…I mean, he’s only 20!” he adds. “There’s nothing Prince and his team promised me before shooting that didn’t happen.”

Prince, who is currently on summer break from studying for his business degree at Loyola Marymount University, says he’s interested in making the jump to film eventually. For now, he’s drawn to the behind-the-scenes aspect of his video production role, but not just as a shield from the spotlight.

“I enjoy bringing creative people together, and helping them make something,” he says.

Watch the full visual for “Hold On,” below.




Over here at MJJ Passion, we’ve debated over holding a contest for one lucky winner in the MJ World. There’s one quick decision maker here, we need a full cooperative group of participants to involve their efforts. We want a contest to run throughout the year of 2017 with the exciting  Unity of the Traveling MJ Shirt. The question is, would you partake in the festivities?


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In her first-ever in-depth interview, Michael Jackson’s daughter discusses her father’s pain and finding peace after addiction and heartache

Paris-Michael Katherine Jackson is staring at a famous corpse. “That’s Marilyn Monroe,” she whispers, facing a wall covered with gruesome autopsy photos. “And that’s JFK. You can’t even find these online.” On a Thursday afternoon in late November, Paris is making her way through the Museum of Death, a cramped maze of formaldehyde-scented horrors on Hollywood Boulevard. It’s not uncommon for visitors, confronted with decapitation photos, snuff films and serial-killer memorabilia, to faint, vomit or both. But Paris, not far removed from the emo and goth phases of her earlier teens, seems to find it all somehow soothing. This is her ninth visit. “It’s awesome,” she had said on the way over. “They have a real electric chair and a real head!”

Paris Jackson turned 18 last April, and moment by moment, can come across as much older or much younger, having lived a life that’s veered between sheltered and agonizingly exposed. She is a pure child of the 21st century, with her mashed-up hippie-punk fashion sense (today she’s wearing a tie-dye button-down, jeggings and Converse high-tops) and boundary-free musical tastes (she’s decorated her sneakers with lyrics by Mötley Crüe and Arctic Monkeys; is obsessed with Alice Cooper – she calls him “bae” – and the singer-songwriter Butch Walker; loves Nirvana and Justin Bieber too). But she is, even more so, her father’s child. “Basically, as a person, she is who my dad is,” says her older brother, Prince Michael Jackson. “The only thing that’s different would be her age and her gender.” Paris is similar to Michael, he adds, “in all of her strengths, and almost all of her weaknesses as well. She’s very passionate. She is very emotional to the point where she can let emotion cloud her judgment.”

Paris has, with impressive speed, acquired more than 50 tattoos, sneaking in the first few while underage. Nine of them are devoted to Michael Jackson, who died when she was 11 years old, sending her, Prince and their youngest brother, Blanket, spiraling out of what had been – as they perceived it – a cloistered, near-idyllic little world. “They always say, ‘Time heals,'” she says. “But it really doesn’t. You just get used to it. I live life with the mentality of ‘OK, I lost the only thing that has ever been important to me.’ So going forward, anything bad that happens can’t be nearly as bad as what happened before. So I can handle it.” Michael still visits her in her dreams, she says: “I feel him with me all the time.”

Michael, who saw himself as Peter Pan, liked to call his only daughter Tinker Bell. She has FAITH, TRUST AND PIXIE DUST inked near her clavicle. She has an image from the cover of Dangerous on her forearm, the Bad logo on her hand, and the words QUEEN OF MY HEART – in her dad’s handwriting, from a letter he wrote her – on her inner left wrist. “He’s brought me nothing but joy,” she says. “So why not have constant reminders of joy?”

She also has tattoos honoring John Lennon, David Bowie and her dad’s sometime rival Prince – plus Van Halen and, on her inner lip, the word MÖTLEY (her boyfriend has CRÜE in the same spot). On her right wrist is a rope-and-jade bracelet that Michael bought in Africa. He was wearing it when he died, and Paris’ nanny retrieved it for her. “It still smells like him,” Paris says.

She fixes her huge blue-green eyes on each of the museum’s attractions without flinching, until she comes to a section of taxidermied pets. “I don’t really like this room,” she says, wrinkling her nose. “I draw the line with animals. I can’t do it. This breaks my heart.” She recently rescued a hyperactive pit-bull-mix puppy, Koa, who has an uneasy coexistence with Kenya, a snuggly Labrador her dad brought home a decade ago.

Paris describes herself as “desensitized” to even the most graphic reminders of human mortality. In June 2013, drowning in depression and a drug addiction, she tried to kill herself at age 15, slashing her wrist and downing 20 Motrin pills. “It was just self-hatred,” she says, “low self-esteem, thinking that I couldn’t do anything right, not thinking I was worthy of living anymore.” She had been self-harming, cutting herself, managing to conceal it from her family. Some of her tattoos now cover the scars, as well as what she says are track marks from drug use. Before that, she had already attempted suicide “multiple times,” she says, with an incongruous laugh. “It was just once that it became public.” The hospital had a “three-strike rule,” she recalls, and, after that last attempt, insisted she attend a residential therapy program.

Home-schooled before her father’s death, Paris had agreed to attend a private school starting in seventh grade. She didn’t fit in – at all – and started hanging out with the only kids who accepted her, “a lot of older people doing a lot of crazy things,” she says. “I was doing a lot of things that 13-, 14-, 15-year-olds shouldn’t do. I tried to grow up too fast, and I wasn’t really that nice of a person.” She also faced cyberbullying, and still struggles with cruel online comments. “The whole freedom-of-speech thing is great,” she says. “But I don’t think that our Founding Fathers predicted social media when they created all of these amendments and stuff.”

There was another trauma that she’s never mentioned in public. When she was 14, a much older “complete stranger” sexually assaulted her, she says. “I don’t wanna give too many details. But it was not a good experience at all, and it was really hard for me, and, at the time, I didn’t tell anybody.”

After her last suicide attempt, she spent sophomore year and half of junior year at a therapeutic school in Utah. “It was great for me,” she says. “I’m a completely different person.” Before, she says with a small smile, “I was crazy. I was actually crazy. I was going through a lot of, like, teen angst. And I was also dealing with my depression and my anxiety without any help.” Her father, she says, also struggled with depression, and she was prescribed the same antidepressants he once took, though she’s no longer on any psych meds.

Now sober and happier than she’s ever been, with menthol cigarettes her main remaining vice, Paris moved out of her grandma Katherine’s house shortly after her 18th birthday, heading to the old Jackson family estate. She spends nearly every minute of each day with her boyfriend, Michael Snoddy, a 26-year-old drummer – he plays with the percussion ensemble Street Drum Corps – and Virginia native whose dyed mohawk, tattoos and perpetually sagging pants don’t obscure boy-band looks and a puppy-dog sweetness. “I never met anyone before who made me feel the way music makes me feel,” says Paris. When they met, he had an ill-considered, now-covered Confederate flag tattoo that raised understandable doubts among the Jacksons. “But the more I actually got to know him,” says Prince, “he’s a really cool guy.”

Paris took a quick stab at community college after graduating high school – a year early – in 2015, but wasn’t feeling it. She is an heir to a mammoth fortune – the Michael Jackson Family Trust is likely worth more than $1 billion, with disbursements to the kids in stages. But she wants to earn her own money, and now that she’s a legal adult, to embrace her other inheritance: celebrity.

And in the end, as the charismatic, beautiful daughter of one of the most famous men who ever lived, what choice did she have? She is, for now, a model, an actress, a work in progress. She can, when she feels like it, exhibit a regal poise that’s almost intimidating, while remaining chill enough to become pals with her giant-goateed tattoo artist. She has impeccable manners – you might guess that she was raised well. She so charmed producer-director Lee Daniels in a recent meeting that he’s begun talking to her manager about a role for her on his Fox show, Star. She plays a few instruments, writes and sings songs (she performs a couple for me on acoustic guitar, and they show promise, though they’re more Laura Marling than MJ), but isn’t sure if she’ll ever pursue a recording contract.

Modeling, in particular, comes naturally, and she finds it therapeutic. “I’ve had self-esteem issues for a really, really long time,” says Paris, who understands her dad’s plastic-surgery choices after watching online trolls dissect her appearance since she was 12. “Plenty of people think I’m ugly, and plenty of people don’t. But there’s a moment when I’m modeling where I forget about my self-esteem issues and focus on what the photographer’s telling me – and I feel pretty. And in that sense, it’s selfish.”

But mostly, she shares her father’s heal-the-world impulses (“I’m really scared for the Great Barrier Reef,” she says. “It’s, like, dying. This whole planet is. Poor Earth, man”), and sees fame as a means to draw attention to favored causes. “I was born with this platform,” she says. “Am I gonna waste it and hide away? Or am I going to make it bigger and use it for more important things?”

Her dad wouldn’t have minded. “If you wanna be bigger than me, you can,” he’d tell her. “If you don’t want to be at all, you can. But I just want you to be happy.”

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It’s been 28 years since Michael Jackson won Best Male Artist and Best Album Of The Year (for “Bad”) at the NAACP 21st Image Awards. The album was the very first album from a single artist to  produce a record five Billboard Hot 100 number one singles, and was the recipient of six Grammy Award Nominations.

“Speed Demon”, “Another Part Of Me”, and “Leave Me Alone” are songs that can addict the ears of a music groupie for sure. There are also those classics such as “The Way You Make Me Feel” and “Smooth Criminal”.

But are they the best songs on the entire album? Weigh in you thoughts below and let us know what’s the best song on Michael Jackson’s ‘Bad’! You’ll be surprised to see what other people are thinking.


What’s the best song on Michael Jackson’s ‘Bad’? (poll)

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