Thief is recently released from federal prison, after the decision of a long-awaited appeal of bank robbery charges. He stumbles upon a DVD of the media-criminal mafia planning to have the superstar falsely indicted on child molestation charges to benefit their declining investment in the magazine, television, and newspaper industry or arrange his death. FBI Agent Spoon wants him imprisoned forever, having investigated and arrested him on numerous acts of mayhem, including robbery, jewelry heists, murder-for-hire plots, and other commissions of crime. The Mob wants him dead or a one million dollar offer to return the tape. Michael Jackson, with the assistance of The Nation of Islam¿s Minister, wants the tape to exonerate the superstar. But all Adrian ever wanted was fame and fortune and to return home to resume a failed relationship with Reagan and her son Ke¿in, and to live happily ever after. With the help of his Memphis friend (Pimp) and his illustrious call girl, will he dodge death, prison, or accept the money and sacrifice the world¿s most worshipped idol, Michael Jackson? About the Author Waalee D. Fajri is a native of Kansas City, Missouri, and changed his name from Adrian Williams, having declared his faith to Islam. He has survived troubling times, both domestic and social, ending in prison several times. This book was written in 2005, months before Michael Jackson¿s trial of the child molestation allegations. The author hopes to assist all men on the complicated journey of finding peace and closure to the world prohibiting us from success.

Blackface minstrelsy, the nineteenth-century performance practice in which ideas and images of blackness were constructed and theatricalized by and for whites, continues to permeate contemporary popular music and its audience. Harriet J. Manning argues that this legacy is nowhere more evident than with Michael Jackson in whom minstrelsy’s gestures and tropes are embedded. During the nineteenth century, blackface minstrelsy held together a multitude of meanings and when black entertainers took to the stage this complexity was compounded: minstrelsy became an arena in which black stereotypes were at once enforced and critiqued. This body of contradiction behind the blackface mask provides an effective approach to try and understand Jackson, a cultural figure about whom more questions than answers have been generated. Symbolized by his own whiteface mask, Jackson was at once ‘raced’ and raceless and this ambiguity allowed him to serve a whole host of others’ needs - a function of the mask that has run long and deep through its tortuous history. Indeed, Manning argues that minstrelsy’s assumptions and uses have been fundamental to the troubles and controversies with which Jackson was beset.

CMJ New Music Report is the primary source for exclusive charts of non-commercial and college radio airplay and independent and trend-forward retail sales. CMJ's trade publication, compiles playlists for college and non-commercial stations; often a prelude to larger success.

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