Another year, another Halftime show. With the latest Superbowl mid-game extravaganza just a few hours away, it’s the aptest of occasions to reflect on the undeniable blueprint of what a Halftime performance should be. As such, Michael Jackson‘s 1993 showing is this week’s From The Vault pick.
Hot on the promotional trail for his ‘Dangerous’ album, the late, great superstar was offered the slot following the lackluster ratings generated by his predecessors.
Already crowned the King, the genesis of modern Pop seized the moment to reaffirm why he was (and still is) the bar and the benchmark.
After making an explosive entrance (on a toaster….naturally), the stage titan stood still for 90 scintillating seconds before bursting into ‘Dangerous’ smash ‘Jam.’ Rousing renditions of classics ‘Billie Jean’ and ‘Black Or White’ quickly followed.
Famed for his philanthropical and humanitarian work, Jackson closed the set with a hymn-like sing-along to ‘We Are The World’ and ‘Heal The World’ – with a choir of comprised of over three thousand.
Like most things Jackson touched, this showing forever changed the scope of live performance and arguably the entertainment industry at large. Indeed, following the 1993 ratings touchdown, the Superbowl Halftime has become the definitive destination for high-octane showings by music’s biggest names.
What’s more, between interest in the big game and the buzz about Halftime, the Bowl has become a mecca of sorts for advertisers who plunge millions into commercials which run during the show. Put simply, the event has morphed from a sports phenomenon into a global, Pop cultural experience. Something Michael Jackson was instrumental in.
[Side note: Even the chronology of the setlist (cannonball opening into a mellower, ballad flavored end) has been adopted by almost every Halftime headliner that has followed – including Madonna]
With Beyonce and Bruno Mars set to return to rock the stage with Coldplay tonight, it’ll be interesting to see which way Mike’s influence will be used this time around.
Beyonce‘s ‘Formation’ clip is scorching the net…for all the right reasons.
The visual marks the first to be released to support her sixth studio album (reportedly her last under her current contract with Columbia Music) and honours her ancestral ties to New Orleans (see Joseph Broussard.)
By David on Saturday 6th Feb 2016 | Filed Under Nelly
Nelly‘s affinity with Country music is unwavering.
So, in honour of the Pam Tillis‘s and Reba McEntire‘s of the world, the Hip-Hop star has covered Thomas Rhett’s ‘Die A Happy Man’ twelve years after he teamed up with Tim McGraw to record the hit ‘Over & Over Again.’
Ready to hear the ‘Country Grammar’ maestro honour his southern roots with song.
Welcome to ‘Retro Rewind’, the TGJ original feature carved out to take our faithful readers on a journey to TV and Film’s glorious past.
Today, we make our way to 1997 to celebrate the arrival of the short-lived soap opera ‘Sunset Beach.’
Following his success with the hit TV shows ‘Charlie’s Angels’, ‘Dynasty’ and ‘Beverly Hills 90210‘, the television producer Aaron Spelling set out to restore interest in NBC‘s daytime programming and draw younger audiences towards it.
The result? ‘Sunset Beach‘, a soap opera following the dramatic lives of people living on the coast of California.
Armed with characters whose back stories weaved in and out of each other’s decades before the show’s premiere on January 6th 1997, the series enthralled viewers with its compelling (and often unrealistic) tales of betrayal (see Olivia, Caitlin & Cole), class and crime (Virginia‘s desperation to protect her son from the dangers of South Central LA) and the supernatural (Annie‘s frequent trips to Hell.)
Oh…and pregnancies by way of turkey basters.
The plug was pulled on the series in 1999 but not before it would turn make household names out of Eddy Cibrian, Sarah Buxton and its African-American cast Sherri Saum, Jason Winston George and Dominique Jennings.