Thanx for noticing that and before we confuse each other. The Am6 I wrote is with a flat 6, which is A to F. Rather than A to F#. I agree the 6th is not a common harmony for a minor tonic chord. There is a reason why it is there although I agree totally with your statement and why.

The idea behind the post was to show how a C+ to Fmaj movement could be disguised in a harmonic cadence. The C+ to Fmaj alone sounds Hungarian to me, but C+/E to F/A sounds like an altered and more intensified harmonic minor cadence. The chords in the tab below are actually E7(b13) and Am6, the C+ and F are just disguised in those chords. Whether you omit the F or not, is personal taste although I must say the F plays an idiosyncratic part in the chord movement. As you can see both chords have a 5th and a b6th. It’s while this colorful harmony plays out that the harmonic minor cadence plays below it giving it it’s distinctive sound. I’ve used it once in a tune I wrote as a final cadence but I will agree in that it’s takes a special song texture to make it work as such. The final cadence went to Am6 ending the cadence, but then returned to C major on the last chord.

About the Michael Jackson issue. If that’s true, that’s pretty messed that he owns the rights to The Beatles music when one of the members doesn’t. I don’t know the particulars but I must say that.