Phamous phaces biography of michael

American make-up artist (born )

Michael George Westmore I (born March 22, ) is an American make-up artist best known for his work in various Star Trek productions, winning nine Emmy Awards, and is a member of the Westmore family. He won the Academy Award for Make-up in for his work on the film Mask. His career began at Universal Studios in , and spanned four decades, including working for the CIA creating make-up kits for spies overseas.

Biography

Born in Los Angeles, California, Westmore is the son of Monte Westmore, husband of model Marion Bergeson Westmore, father of McKenzie Westmore, Michele Westmore Meeks, and Michael Westmore II, and brother of Marvin Westmore, and Monty Westmore, who are also make-up artists. His family is heavily involved in the Hollywood make-up business. In his grandfather George Westmore had created the first studio make-up department. Michael's father was a make-up artist for Gone with the Wind and his uncles were Bud Westmore, famous for co-creating the creature in Creature from the Black Lagoon, Perc (main make-up artist at the Warner Brothers studio), Wally (Paramount), Ern, and Frank, all make-up artists working regularly in major Hollywood productions for decades.

He is a graduate of the University of California-Santa Barbara and a member of Lambda Chi Alpha fraternity. He began working for Universal Studios in as a make-up artist, and was promoted

American singer (–)

For other uses, see Michael Jackson (disambiguation).

"King of Pop" redirects here. For other uses, see King of Pop (disambiguation).

Michael Joseph Jackson (August 29, – June 25, ) was an American singer, songwriter, dancer, and philanthropist. Dubbed the "King of Pop", he is regarded as one of the most significant figures of the 20th century. Over a four-decade career, his world record music achievements broke racial barriers in America and his publicized personal life made him a global figure. Through songs, stages, and fashion, he proliferated visual performance for artists in popular music; popularizing street dance moves including the moonwalk (which he named), the robot, and the anti-gravity lean. Guinness World Records named him the most successful entertainer of all time.

As part of the Jackson family, Michael at age six made his public debut in with his older brothers Jackie, Tito, Jermaine and Marlon, as a member of the Jackson 5 (later known as the Jacksons). The Jackson 5 signed with Motown in and achieved worldwide success with Michael as lead singer. Jackson achieved s

It was while leafing through Life magazine when he happened upon the photograph of a man’s face burned by bleaching creams that Barack Obama – as he recalls in his first memoir [1] – felt black, irremediably black, for the first time in his life. Such a repudiation of the black self was a gut-wrenching shock to Obama, who would later be accused by some detractors of “not being black enough.” That may account for the president’s silence at a time when much of America was grieving for the late Michael Jackson, and Obama’s evocation, belatedly and through a spokesperson, of the “tragic” nature of the artist’s life. Since his disappearance, people frequently recall Jackson’s desperate measures to whiten his complexion, presumably in a desire to expunge every hint of blackness, which he associated with his father’s virile brutality. But if that were all we had to say about his identity troubles, we would be wrongly reducing his work – on himself and his music – to a racial eccentricity and to the extravagance of a megalomaniac diva. Jackson’s art doubtless involved a more complex approach, whose roots are to be found at once both in the exemplarity of a unique schizophrenia, a masterful madness, certain aspects of which we can try to analyze, and more generally in the painful representation of the self in the African-American world.

Child’s play

Michael Jackson left behind the image of a man tormented by his demons, which stifled his genius and transformed him into a ghostly figure. The last, obscene image of the dying Jackson, of a pale face turbaned in hospital sheets and half-hidden by intubation equipment in an abortive attempt to resuscitate him, is tragically faithful to what he was: a man of masks, evolving in a liminal space between life and death, between self-hatred and fascination with the alter ego he’d have loved to have been.

Jackson was born into a