Majestic Wonder: Whitney Houston, Prince and Michael Jackson

The Majestic Wonder of Prince, Michael Jackson, and Whitney Houston Music has the power to touch our souls, captivate our hearts, and transport us to another world. And among the countless stars that have graced the stage, there are a few whose talent, charisma, and impact are nothing short of a majestic wonder. Prince, Michael Jackson, and Whitney Houston are three such legendary artists who have left an indelible mark on the music industry and continue to inspire generations.

Prince, known for his flamboyant style and eclectic music, redefined the boundaries of genre. With his mesmerizing performances and undeniable talent, he brought a unique blend of funk, rock, pop, and R&B to the forefront of popular music. His captivating stage presence, unmatched vocal range, and mastery of various instruments made him a true musical genius. From hits like "Purple Rain" to "Kiss," Prince's music continues to resonate with audiences, reminding us of the power of individuality and creative expression.

 Michael Jackson, often referred to as the "King of Pop," was a force to be reckoned with. His unparalleled artistry, unmatched dance moves, and powerful vocals made him one of the most iconic figures in music history. Jackson's ability to seamlessly blend different genres, from pop to rock to soul, showcased his versatility and innovation. Songs like "Thriller," "Billie Jean," and "Beat It" not only topped the charts but also became cultural phenomena, solidifying his status as a true music legend.

 Whitney Houston, with her extraordinary voice and undeniable talent, captured the hearts of millions around the world. Her powerful and emotive vocals, combined with her soulful delivery, made her an icon in the realm of R&B and pop music. Houston's ability to convey raw emotion through her songs, such as "I Will Always Love You" and "Greatest Love of All," touched the hearts of listeners and solidified her as one of the greatest vocalists of all time. Her influence can still be felt in the voices of countless aspiring singers who aspire to reach the same level of artistry.

Maybe Whitney Houston, Michael Jackson and Prince were just a bunch of drug addicts, pedophiles and flamboyant make-up wearing homosexuals. Yet, they could have been a lot worse compared to a lot of people. The Leaving Neverland documentary painted Michael Jackson as an undercover pedophile who showered his victims and their families with all expense paid trips and shopping sprees and special access to him. Had it been another celebrity or person in general, those kids would have been kidnapped, sexually abused, tortured and murdered. Michael would gotten off scott free and their deaths still a mystery. 

 At least Whitney, Prince and Michael perpetrated positivity. They were generous and loving. They were mother and father figures in a lot of people's lives and careers. They were young, good looking and extraordinarily talented and gifted. So much so it would make your favorite rapper of today look like a complete failure. What sets these three artists apart is not just their immense talent, but also the impact they had on society. 

Prince, Michael Jackson, and Whitney Houston were not only musicians but also cultural icons who broke barriers, challenged norms, and paved the way for future generations of artists. They used their platforms to address social issues, advocate for change, and inspire others to follow their dreams. An even more pleasing dynamic of these three artist's appeal was that they appeared to have a true sense of faith. An unconditional love for the creator of all things and desire to want to learn more about whatever faith in that light is. You have to have faith no matter what you go through and what happens in this world.

 We all hear rumblings about behind-the-scenes adventures of the so called rich and famous. We hear the tales of sexual assault and devil worship among other things. If that was the case these three musical giants may have made the biggest mistakes of their lives by becoming a major success. Although, they as well would have clearly seen that error for themselves and realized how important faith is. All three recording artists have recorded original inspirational and spiritual compositions as apart of their catalogs. 

 When the world lost these three iconic musicians, ALL HELL BROKE LOOSE. When prior to their deaths the world was in a more stable place. Nothing is ever a coincidence. Maybe it's giving them too much credit. However, anyone who was alive during their time should be able to see this point of view. The deaths of Prince, Michael Jackson, and Whitney Houston had a significant impact on the world. While their deaths were tragic, they also served as reminders of their immense talent and the contributions they made to the music industry. 

However, some negative impacts can be identified. The world lost incredibly talented and influential artists, leaving a void in the music industry. The deaths of Prince, Michael Jackson, and Whitney Houston deeply affected their fans and followers around the world. Many people mourned their passing and experienced a sense of loss, as their music had touched the lives of millions.

 Their deaths also meant that they were unable to continue making any positive contribution to the world. This loss of potential future work is a negative impact in terms of what philanthropic efforts could have been produced. The deaths of these artists also shed light on the challenges and pressures faced by celebrities in the music industry. It highlighted the importance of addressing mental health issues and the need for support systems within the industry. As well, it may have driven many of their biggest fans insane.

 While their deaths had negative impacts, it is essential to remember and honor the positive contributions they made to the world of music and the joy they brought to millions of people through their art. Their music continues to resonate with audiences of all ages, proving that their artistry transcends time. The majestic wonder of Prince, Michael Jackson, and Whitney Houston lies not only in their extraordinary talent but also in the lasting impact they have had on the world of music and beyond. Their legacies will forever be etched in the hearts of fans, reminding us of the power of music to unite, inspire, and heal.

 To wrap up, Prince, Michael Jackson, and Whitney Houston were more than just musicians – they were visionaries, trailblazers, and true icons. Their immense talent, captivating performances, and unwavering dedication to their craft continue to inspire and awe audiences around the world. The majestic wonder of these three legends will forever be remembered and celebrated, as their contributions to the music industry and society as a whole are truly unparalleled.

Jefferson Pierce: Comic Book Icon

In the entertainment business, cartoon characters are treated as real celebrities and public figures with full careers and accolades to match.

Black Lightning (Jefferson "Jeff" Pierce) is a superhero appearing in American comic book published by DC Comics. The character, created by writer Tony Isabella with artist Trevor Von Eeden. 

The original candidate for DC Comics' first headlining black superhero was a character called the Black Bomber, a white racist who would turn into a black superhero under stress.

When the editor who had approved the Black Bomber left the company before the character had seen print, Tony Isabella (whose previous writing experience included Luke Cage, a black Marvel Comics superhero with his own title) was asked to salvage the character. Isabella convinced editors to instead use his Black Lightning character, which he had been developing for some time.

Black Lightning #1

Black Lightning's first appeared in the comic book, Black Lightning #1 in April of 1977.

Although not the first black superhero to be featured in DC Comics stories, Black Lightning was DC's first African-American superhero to headline his own comic book series. This took place during the Bronze Age of Comic Books. He provided representation for African-American readers who had long been underrepresented in the superhero genre. Making him a symbol of empowerment and a relatable role model for many black readers. 

Thus, sending Mr. Pierce on a shooting rocket to stardom in the late '70s.

Isabella wrote the first 10 issues of Black Lightning before handing it over to Dennis O'Neil, and Trevor Von Eeden designed the character's original costume and drew the first 11 issues. Only one issue scripted by O'Neil came out before the series was canceled in 1978.

DC ran into financial trouble in 1978 which led them to cut back the majority of their titles causing the cancelation. This proved to be a blessing in disguise however, as the character went on instead to feature prominently in books like Justice League of America in DC's new slimmed down offering of titles, exposing him to more readers. Thus, marking his cross over period by entering various DC Comics storylines and team-ups, interacting with other iconic superheroes such as Superman, Batman, and The Justice League. This integration into the larger DC universe solidified his position as an important character in the superhero landscape.

Black Lightning was intended to appear on the '70s television series Super Friends, but disputes between DC and Black Lightning's creator, Tony Isabella, led to the creation of the show’s original character Black Vulcan.

Black Lightning, a DC Comics superhero, was important for several reasons. He was one of the first major African-American superheroes to have his own standalone comic book series. Created in 1977, he was a groundbreaking character and helped diversify the world of superhero storytelling. Black Lightning's character also addressed social issues and themes related to race, discrimination, and urban crime, providing representation and empowerment for readers who may not have seen themselves reflected in mainstream superhero stories previously. Additionally, the character has had a lasting impact, appearing in various storylines, team-ups, and adaptations across different forms of media.

Black Lightning offered a positive and dignified representation of black people and black culture through several key aspects.

He defied racial stereotypes often associated with comic book characters of color at the time. 

He was an accomplished educator and principal of a high school. His portrayal emphasized the value of education and intelligence, debunking negative stereotypes often associated with black characters being limited to sidekick or secondary roles.

With a strong moral compass: Black Lightning was depicted as a hero driven by a strong sense of justice, responsibility, and protecting his community. He prioritized doing what was right and defending the innocent, embodying positive values. Overcoming adversity, storyline soften saw him fight against social injustices, inequality, and systemic issues plaguing his city. His struggles and triumphs represented the resilience and determination of black individuals fighting against adversity.

In 1995, a new Black Lightning series began with art by Eddy Newell and again written by Tony Isabella, who was fired after the eighth issue and replaced with Australian writer Dave de Vries. The series was canceled five issues after Isabella left the title.

A Black Lightning: Year One six-issue limited series, written by Jen Van Meter and illustrated by Cully Hamner saw a bi-weekly release in 2009, and was nominated for two Glyph Awards in 2010.

Black Lightning: Year One

The character's backstory and interactions with his family showcased the importance of familial bonds and community unity. Black Lightning's role as a mentor and father figure further emphasized the values of love, support, and guidance.

Black Lightning later goes on to father two superhero daughters, Thunder and Lightning, and work closely alongside Batman as a founding member of the Outsiders superhero team.

Black Lightning's daughters

Black Lightning has proven a popular character for DC and was ranked 85th overall on IGN's "Top 100 Comic Books Heroes" list in 2011. The character has been adapted into various media, including animated television series, video games, and comic strips. The character and his stories were adapted for live-action Black Lightning TV series, which ran from 2018 to 2022.

In summary, Black Lightning's significance lies in his groundbreaking influence on subsequent black superheroes. He paved the way for increased diversity and inclusivity within the genre, making a lasting impact on popular culture. As well as, set an example to be followed by black people in the real world.

Dorothy Gale: A Traumatized And Disrespected Child

In the 1939 film adaptation of The Wizard of Oz, the character Dorothy Gale (played by Judy Garland) experiences several traumatic events that greatly impact her throughout the story. She was extremely mistreated. Just like many of us, Dorothy's trauma stems from people and things in her very own environment at home. Home is always where it starts.

These incidents include being parentless, being bullied by older adults, being lied to, feeling neglected, being forced to deal with strangers, being stalked and harassed, being deceived, and being in constant danger.

Firstly, Dorothy's trauma begins with being parentless. As an orphan living with her aunt and uncle in Kansas, she longs for the comfort and love that only parents can provide. This emotional absence sets the stage for her vulnerability and search for belonging throughout the film.

Since lack of parents can create a sense of loss and abandonment, Dorothy clearly fell vulnerable to emotional distress. This absence of familial support may have contributed to her seeking solace in her pet dog, Toto, as her primary companion.

Additionally, Dorothy is constantly bullied by an older adult, Miss Gulch. Miss Gulch threatens to take away Dorothy's beloved dog, Toto, and intimidates her with her loud and aggressive demeanor. She also threatens to take her Aunt and Uncle's farm when they refused to sign a court order that would allow her to take Toto.

This causing Dorothy significant distress as Miss Gulch owned half the county where Dorothy and her relatives lived, giving her the power to do so. The film starts with Dorothy running from Miss Gulch. As an opening scene this immediately alerts the audience. The power imbalance inherent in this situation further traumatizes Dorothy, as she feels helpless and victimized by an authority figure.

 

Because of her uncomfortable living situationat home, Dorothy runs away and encounters a fortune teller who manipulates her through deceit. As he begins his sessions with her, he instructs Dorothy to close her eyes. In doing so, her gaurd is immediately let down as the fortune teller slipped the basket in her hands away from her. He took a peak inside the basket to find a picture of Dorothy with her Aunt Em. Aunt Em was wearing a polka-dot dress in the photo. He then instructed Dorothy to reopen her eyes as he began describe a woman in a polka-dot dress. Dorothy instantly recognized the woman as her Aunt Em. As the fortune teller drew her in further and further into his so called abilities Dorothy is convinced.

The fortune teller suggests that Aunt Em is sick because of Dorothy's disobedience, instilling guilt and shame in her.This manipulation causes Dorothy to believe that she is responsible for the difficulties her family is facing, compounding her emotional burden. While the fortune tellers intentions might have been good, lying to an underage child about the health and well-being of a loved one in order to get her to return home was a dastardly tactic.

As she's on her way back home a tornado begins to whirl. Dorothy is left behind in the farmhouse. Why you ask? Well, because admist all the ruckus on the farm to escape the tornado's rampage, Dorothy's family quickly seeks shelter in the storm cellar. Although her Aunt Em helplessly called for Dorothy prior to this to no success. This neglect highlights a sense of abandonment as she finds herself subjected to the uncontrollable forces of nature all alone. The scene amplifies her vulnerability and creates a fear of being left behind or forgotten.

The tornado transports Dorothy to the Land of Oz. This traumatic event separates her from her family and familiar surroundings. Upon arriving in the enchanting Land of Oz, Dorothy is thrust into an unfamiliar environment filled with strangers. She must navigate the unfamiliar societal norms and customs of the Oz residents, which can be disorienting and overwhelming. This situation forces her to adapt to new surroundings hastily, intensifying her sense of vulnerability.

Throughout her journey, Dorothy and her friends are relentlessly hunted, and harassed by the obvious psychopath, the Wicked Witch of the West.

She seeks to retaliate against Dorothy for inadvertently killing her sister, the Wicked Witch of the East.

Like a true narcissist, she also desires possession of Dorothy's Ruby Slippers for herself. She intimidates Dorothy by stalking her and keeping surveillance of her journey through a crystal ball, continuelly communicating threats and attempting to intoxicate Dorothy and companions with poisoned poppies.

As well as sending minions to capture her and her friends. Other forms of torture take place by taunting Dorothy with illusions of her Aunt Em, ordering to have Toto drowned, keeping Dorothy held hostage in her castle and even setting Scarecrow on fire. The constant danger posed by the witch heightens Dorothy's anxiety.

When Dorothy and her companions finally reach the Emerald City and gained an audience with the Wizard, they discover that he was a deceptive and manipulative figure. Not right away of course. He starts their relationship off by intimidating them and calling them names. With every insult he grew more pompous. He ends their first meeting with them agreeing to bring him back the broom stick of the Witch of the West.

The group reluctantly agree to these terms. After escaping the clutches of the evil witch barely with their lives, they return to the wizard who is not pleased to see them. No doubt assuming the Wicked Witch and her henchmen would do away with Dorothy and her friends and he wouldn't have to deal with them again. Dorothy presents him with the broom stick as she expects him to keep the promises he made to them in the original meeting.

However, he attempts to prolong their justice by requesting that they go away and come back the next day after he's given the matter some more thought. This upset Dorothy and her friends. As an argument ensues between the two parties, Toto pulls back the curtain on the fraud. Revealing him to be just an ordinary man and not the mystical all-powerful being they had thought.

He had been using grand illusions to deceive the people of Oz. All his abilities simply smoke and mirrors. This deception and false hope leads Dorothy to question the authenticity of her journey and the promises made to her. She initially believes that the Wizard will grant her wish to return home, only to discover his charade. This realization leaves her feeling disillusioned and deeply disappointed.

Near the end of the film, although promising Dorothy that he would take her home himself on his air baloon, the Wizard once again failed Dorothy and left her in Emerald City, "accidentally". Then, Glinda appeared. The good witch whom she met at the beginning of the film. A light who tried to help guide Dorothy on her way. Besides the fact that she was the one who instigated the tension between Dorothy and the Wicked Witch of the West to begin with. It was Glinda who taunted and teased the Witch of the West and gave Dorothy the Ruby Slippers. With this, she set Dorothy up to be a target of the Witch of the West.

Dorothy was wronged by virtually every other character in the film. Often being met with harsh treatment for seemingly unnecessary reasons. When she awoke from her adventure in Oz she was back to her boring grey life. However, with a new perspective on life and new courage.

Franklin Armstrong: Iconic Black Character Gets His First-Ever Special in 2024

In the entertainment business, cartoon characters are treated as real celebrities and public figures with full careers and accolades to match.

It's 51 been years since Peanuts character, Franklin Armstrong, appeared alongside the gang in, A Charlie Brown Thanksgiving.

Franklin Armstrong

The Thanksgiving special has become a holiday staple for generations. However, one scene has stirred controversy. In recent years, viewers have pointed out how, Franklin, the only Black character, is treated during the big feast.

At dinner, Franklin, is seated by himself on the opposite side of the table, seemingly "segregated" from the other kids. For those viewers who feel uncomfortable with how the scene is depicted, it can feel anything but accidental. But the decision to sit Franklin by himself is said NOT to have been racially motivated.

Franklin in A Charlie Brown Thanksgiving 

Although, according to Darnell Hunt, dean of social sciences and professor of sociology and African American studies at UCLA, told Yahoo Life in November 2020: "Having [Franklin] on this long side by himself, you could interpret it that no one wanted to sit next to him."

Hunt's thoughts on Franklin's visual exclusion at Charlie Brown's Friendsgiving feast have been echoed by countless others on social media, who feel that the sole Black character in Peanuts' solitude during the celebration was animated intentionally and done so with malice.

Franklin slumped in his lawn chair

In the holiday special, Franklin arrives at Charlie Brown's Thanksgiving celebration along with Peppermint Patty and Marcie. The girls walk into the house, while Franklin gives Charlie a little dap on his way in. Charlie and Linus pull out dining chairs for Patty and Marcie at the table, leaving Franklin to sit by himself on the opposite side in a lawn/beach chair.

You can draw your own conclusion about Franklin's simultaneous inclusion and isolation at the seasonal gathering by watching A Charlie Brown Thanksgiving.

Yet, with time all wounds heal. Franklin, fans and animators alike may finally get their much needed full circle/full closure moment.

Franklin in Welcome Home, Franklin

Thanks to Apple TV+ Franklin is set to make history again as he did when he first arrived on the scene in 1968. Franklin's first-ever animated special, Snoopy Presents: Welcome Home, Franklin, will premiere on Friday February 16, 2024.

An origin story ALL ABOUT FRANKLIN.

The special will be produced by Peanuts and WildBrain while being directed by Emmy Award winner Raymond S. Persi (The Simpsons - “The Seemingly Never-Ending Story” - Season 17; Episode 13). Executive producers will be the legendary Schulz son and grandson Craig Schulz and Bryan Schulz along with others.

Let's keep our fingers crossed for at least an Annie Nomination in recognition.

La Toya Jackson's Stint In The Adult Entertainment Industry

In 1987, Jack Gordon was hired to co-manage La Toya Jackson by her father, Joseph. He later took over her management completely. Under Gordon's management, Jackson's public image became increasingly sexualized.

Around this time Jackson was disfellowshipped by the Jehovah's Witnesses. Defying her father, Jackson made a stormy exit from the family's Encino compound to take up residence in New York City.

In late 1988, Jackson released the album La Toya, which featured song title's like "Such a Wicked Love" and "(Ain't Nobody Loves You) Like I Do".

The album was the first one Jackson released after changing her management. This became an interesting period in her life. The album cover for La Toya features a close-up photograph of La Toya Jackson herself. She is depicted wearing a striking rhinestone studded black bikini top attached to suspenders. Her hair is styled with voluminous curls, framing her face. La Toya's makeup features bold, dramatic eyes and purple lips, adding to the overall glamorous and fierce look.

The album cover exudes a sense of confidence and power, reflecting La Toya's image as a pop artist during that era. The combination of the purple color scheme and the edgy hairstyle contributes to the album's aesthetics and helps establish La Toya's own unique style.

The album cover showcases a bold and glamorous statement, capturing the essence of the music and fashion trends of the late 1980s.

In March 1989, Jackson posed topless for Playboy magazine. Jackson saw the pictorial as a declaration of independence from her conservative upbringing. 1989's Playboy cover contributed to La Toya gaining attention and recognition as a sex symbol. The explicit nature of the photographs brought her widespread media coverage and the image of being a provocative and appealing figure. Jackson's first cover for the magazine was equivalent to Vanessa Williams Penthouse spread in 1983 or her sister Janet's 1993 Rolling Stones topless cover.

That same year, Jackson began recording her sixth album Bad Girl and staged a live pay-per-view concert, A Sizzling Spectacular!, from Bally's theatre in Reno. 

The new album featured song title's like "Sexual Feeling", "Playboy (Be My)" and the title track.

She posed again in Playboy in November 1991 to promote her New York Times Best Seller autobiography, La Toya: Growing Up in the Jackson Family. That year also saw the release of her album No Relations. This album featured Jackson's top twenty-five Netherlands hit "Sexbox" and other titles "Be My Playboy" and "Submission".

In 1992, Jackson signed a contract with cabaret venue Moulin Rouge in Paris to star in her own revue, Formidable. Jackson was to perform two shows a night, six nights a week. Jackson was the highest-paid performer in the cabaret's history, earning a reported $5 million. Initially Formidable was successful, selling out on most nights, Jackson departed half-way into her year-long contract.

In 1994, Jackson again worked for Playboy Entertainment, becoming one of the first celebrities to have a Celebrity Centerfold video. Playboy Celebrity Centerfold: La Toya Jackson was released in the first quarter of 1994 and sold roughly 50,000 copies.

Also during the '90s, La Toya embarked on her Exotic Club Tour. The tour saw Jackson traveling to places such as Hawaii, North Carolina, Texas and Fort Lauderdale. All of these locations received a home video release on VHS from taped performances.

By the late '90s, Jack Gordon had forcibly married La Toya and gimmicked her out of a career by manipulating her into sexual escapades and making allegations against her own brother Michael as well as spearheading what seems to be the most successful period of her career, all at the same time.

Soon, when Jackson became aware that Gordon was planning to feature her in a pornographic film she decided she'd had enough. She made her escape from Gordon with the loving help of her brother Randy and divorced Gordon.

Additionally, La Toya's overall style, beauty, and charisma also played a role in contributing to her status as a sex symbol. Although, the Jackson family's "black sheep" has become a Grammy Award-Winning Songwriter as well.

Ultimately, she triumphs NOT as the sex Goddess that she came to be known as during her "sexual liberation" venture into the adult entertainment realm, but as a survivor of one of the most tumultuous and unpredictable times of her life secretly orchestrated by a man who had his own personal plans and agenda for her life and career. She lives to tell the story. Breathing to help and inspire young girls and women like herself who have found themselves in a similar situation.

La Toya Jackson's name should be VICTORY!