Ok, I found it.I guess he did have shades on. I thought that he didn't. He looks good to me. Quote by the girl who met him:

"He got his curls back and was preparing his "new look" for the tour."

Damn, I wonder how Grace managed to get to Mike.

I hope that we´re gonna get the autopsy results soon cause the stories and speculations are unbelievable

CalhounSq said:

no, you misread sth. it was always considered for Vince.

A local radio DJ began to spin "Rock With You" today and I could barely stand to listen to it. It's been three weeks since MJ's passing, but I'm still sadden and in total disbelief. I can't believe he's gone.

Timmy84 said:

he had a moustache during his THriller hey days.

Copycat said:

errant said:

It wasn't

ROCK WITH YOU
Written by Rod Temperton
Produced by Michael Jackson and Quincy Jones

Conceived from a rhythm section that Temperton had previously, he felt it was just right for Michael who had a way of handling melodic themes.



The light, laid back yet very tight keyboarding is one of the songs many shining moments

The original title of the song was “Eat You Up”, but was changed to fit with Michael’s image at the time.



The song is harmonically complex composition, but flows effortlessly
Months after the initial release, Michael went back and produced a slightly enhanced version of the song for the single release adding another guitar part, handclaps, and more reverb, which also replaced the original version on later pressings.

Performed during the 1979/1980 Destiny Tour, the 1981 Triumph Tour, 1984 Victory Tour, and 1987-89 Bad World Tour. It was to be on the setlist during the Dangerous Tour, but omitted before the tour launched. Also part of the Off The Wall medley during the HIStory Tour

Mixes
Original Album Version
Single Version/ 1980 album version
Frankie’s Favorite Club Mix
Frankie’s Favorite Club Mix Radio Edit
Masters At Work Remix

Billboard Hot 100- #1 (for 4 weeks)
Billboard R&B- #1 (for 6 weeks)
Billboard Hot Airplay- #2
Billboard Hot Sales- #1
UK- #7
Australia- #4
Canada- #3
France- #59 (in 2006)
Germany- #58
Holland- #22 (in 2006)
Ireland- #11 (#19 in 2006)
Italy- #9 (in 2006)
Japan- #97
New Zealand- #3
Spain- #1 (in 2006)

Timmy84 said:

Yes, you suggested Lupus a few days back.

My housemate (a massive MJ fanatic) went up to the O2 yesterday; it would've been the same day we both went to see him in concert.

Anyway, he said there was a steady stream of fans the entire time he was there; all doing their thing. Signing the wall, dancing, listening to music, chatting amongst themselves, crying, the whole works. On Monday - which would have been the first day of the concert - a staff member told him that about 20,000 people turned up over the day. As I told my housemate: I'm sure the O2 staff members are sympathetic right now but, at some point, they're probably going to be after a few weeks of this. I bet the O2 owners and restaurant/bar owners, however, are not rolling any eyes...

Anyway... apparently, there is a small stall selling some of the official merchandise that would've been sold at the gigs. About five t-shirt designs (not the entire range) and not the programme, due to legal reasons. The guys behind the stall were lovely, he said, and really felt for the fans.

Also, he asked another staff member about the rumours of the actual show (featuring guest performers) on what would be MJ's birthday and got a very cryptic 'Watch this space!' response. It sounds as if it may be going ahead, on a ballot system.


.
[Edited 7/19/09 5:09am]

When are they going to bury him? (assuming they haven't already).

Swa

Pix

Michael Jackson: recording Dangerous with Teddy Riley
Producer reveals King Of Pop's studio secrets
http://www.musicradar.com...ley-211776

Future Music, Fri 3 Jul 2009, 1:24 pm BST


Released in 1991, Dangerous was the follow-up to 1987's Bad.

VIEW IN GALLERY
Much has been written about Michael Jackson over the past week – possibly too much – but one of the few things we know for certain about this most mysterious and controversial of characters is that he leaves us with an amazing body of work.

Dangerous, his 1991 album, may not have been his biggest release, but it's still managed to shift more units than most artists manage in their entire careers.

In an interview conducted last year, super-producer Teddy Riley spoke about his work with Jackson on Dangerous, providing some revealing insight into how the King Of Pop operated when he was in the studio.

HOW IT HAPPENED
"I got the call to produce some tracks on Michael Jackson's Dangerous around 1991," Riley begins, as if recalling a matter of fact phone conversation with a telesales marketer – it's not like it happens every day!

"No, it sure doesn't," confesses Riley, reflecting on the shear magnitude of the topic. But being a Michael Jackson record, Dangerous was always going to sell, right? So, where's the pressure?

"There was more pressure," he says. "I didn't want to be the one to fail Michael. And I'm so grateful it didn't. It thankfully went on to become a success, selling about 34 million records, I think ."

"Thriller is a massive album, Bad is a big album, but Dangerous sits in the middle." Teddy Riley, speaking in 2008Teddy isn't quick to compare Dangerous to the rest of Jackson's mammoth cannon of world-changing work, but will admit that it was what he considers to be his 'last great record': "It's not a comparison to Thriller," says Riley. "Thriller is a massive album, Bad is a big album, but Dangerous sits in the middle."

The Jackson camp wanted a producer who had his ear to the street. It wasn't like the new wonder of MTV could be exploited again as with Thriller. What Jackson needed was a 'hot' sound, and a producer who understood what the icon needed to avoid becoming irrelevant in the wake of the scores of young, black and urban artists stepping up to fill Jackson's sequined glove.





"For Dangerous, I brought RnB back to Michael in its barest form; RnB and Funk," says Riley. "We recorded it in California, at Record One, and then we ended up in Larrabee Studios. I was using a lot of vintage stuff to get the sound we needed. Reeds and SSL XLs were mainly the boards we used – I always loved vintage better than digital. It's way better… much warmer."

Scan the credits on Dangerous and you'll see that Jackson gets a lot of co-production dues: "On every album Michael does, he has some sort of input," says Riley, "so I didn't mind him getting a co-production." Well, you can't exactly tell the King Of Pop he can't, can you?




JAM

"Jam was a track that Michael had the idea for. He told me to see what I could do with it so I took it and created some more instruments and reproduced the record – and he loved it.

"That's the way it worked a lot of the time. He'd come in with an idea and I'd flesh it out in the studio. He bought it to me as a DAT, and he told me there were things he wanted done, and I did them. It was my idea to get the rapper Heavy D to perform on there as well. He was Michael's favourite rapper at the time."

WHY YOU WANNA TRIP ON ME

"The element I'm most proud of in this song is my guitar playing. I thought he was going to get another person to play on it but he wanted my good self playing! That was something special to me. I was using an acoustic Ovation guitar.

"The whole song didn't take long to produce, actually. I think the longest part was writing everything and getting everything formatted. There's no studio trickery either, really. When you're doing analogue it's pretty much, you know, getting everything on tape, you know? It's very warm. That's basically it."

IN THE CLOSET

"Now, In the Closet was something Michael came up with, and it came out exactly as he wanted the track to be. He kind of put his vocals on a Dictaphone when he was in another room. He'd often record the vocals on a Dictaphone and take them into the studio and then see how it would all work out.

"This is some of Michael's more explicit material on there, in terms of lyrical content ! But it didn't surprise you at the time. No, not at all."


SHE DRIVES ME WILD

"My biggest memory from that recording was that we used all car sounds as drum sounds and it came out perfectly. I didn't go out into the field and record actual car sounds and take back to the studio – I had a sample CD that was really cool. It wasn't something I'd done before; it was the first time I went for unusual sounds in the place of drums."

REMEMBER THE TIME

"One of the biggest things Michael really surprised me with on the Dangerous album was his vocal deliverance on Remember The Time. That really blew me away. I came to the project with this track. That was the sound I was thinking of for this album. Basically it was the sound I wanted on Dangerous and he loved it – loved it from the beginning. I'd describe that sound as, really, like the New Jack Swing sound.

"He'd often record the vocals on a Dictaphone and take them into the studio and then see how it would all work out." Teddy Riley, speaking in2008
"The elements on this song that give it that New Jack Swing sound are the ones that I used when I recorded with Guy and Bobby Brown to pioneer it. Sort of like the twisted samples I brought in. There were no samples of other people on that; what I did was make the sounds myself – I was sampling myself. I'd just jam with a riff and think, 'That's a cool bit there…' Yeah, it kinda really brought a lot to the production side. It worked."

CAN'T LET HER GET AWAY

"This was mostly from a sample CD that I just put together myself, and it kind of reminded me of the James Brown sound. I could feel it. I thought I'd bring a shadow of some of the greatness of the James Brown production sound to this. I made the sample CD myself – that was me playing instruments, then looping them up and having them lying around for potential projects. Back then I just had them lying around and I hadn't used them… But I really wanted to use them!

"Throughout the album I was drawing off a lot of CDs I had hanging around, all played by myself. I'm a multi-instrumentalist."


HEAL THE WORLD

"This has strong global issues – it was a big song. I didn't produce it though, all I did to that song was complement it. Heal The World had a lot more instrumentation on it before I got to it. I thought it needed different things that would really appeal. I did quite a lot of the percussion on there. I did that on there to bring something extra to the mix."

BLACK OR WHITE

"Again I didn't produce this. But again, I added the percussion to the track. I used wood percussion – cow bells, shakers and things like that. Producer Bill Bottrell had an EIII drum machine playing loops. I sat with the track for a while then I said, 'OK, this is a good track. But what it needs is instrumentation'. It had the guitars and Slash from Guns N' Roses on there but I felt if it was going to play live and acoustical, then we'd need to add some acoustical percussion. It was the case that I'd find the tracks very studio sounding and I wanted to add the live funk to them."

WHO IS IT

"This reminds me so much of Dirty Diana. I think he recaptured that sound on this song. You know, I think he went back to his roots of recording with this song to record an incredible track. I thought it would take someone like Quincy Jones to really put an incredible track like that together. I thought it would take someone like Quincy to get that sound, but Michael came up with it.

"Quincy Jones was like a quality controller for Michael. If Michael had the chance he'd keep working on songs forever." Teddy Riley, speaking in2008 "It was really difficult for me having to follow in Quincy Jones' footsteps. He left big footsteps! He did hear this album and he really gave me a great compliment on my production. He heard it before it was released and he said this was a masterpiece, and that it's ready to come out.

"Michael was taking so long and he brought Quincy in to hear it – he was like a quality controller for Michael. If Michael had the chance he'd keep working on songs forever."

GIVE IN TO ME

"Bill Bottrell put in some great production on this track. Because he had his hand in there it ended up sounding perfect. He had the magic touch and had everything levelled up nicely. He's been doing it for so long. He's the best with microphones, and knowing where to sit the instruments on the track. He's really good.

"I also like Bruce Swedien who mixed some tracks on this album. I'd never worked with Brucey before that. But I always ask for him as an engineer after working with him on this."



WILL YOU BE THERE

"This is Michael again. Bringing a vocal choir in on the track was a stroke of genius. It's something I'd consider doing since hearing him do it. It's a long song as well, a lot of this album really clocks in. This nearly hits eight minutes, I think – it's not a punchy radio edit! Yes, it's long but it came across really well for the album. A lot of the songs on the album are long. That's what makes the album I think."

KEEP THE FAITH

"I really admire the work that went into this track. Anything Michael does, I can admire. It doesn't really remind you of any of his other songs; this one's a bit different to his usual tracks but it stands out. Michael's always innovative. With this track, I just think he went another way due to the structure of the track and the instruments used. Well, that and him working with Glen Ballard with the writing on it – they kind of went head-on with that track."

GONE TOO SOON

"Another innovative track. I think he was trying to reinvent himself and become more credible; more commercial and he achieves that here. It reminds me of a more worldly version of She's Out Of My Life. With this album he's hinting at his past songs as well as trying to reinvent himself."

DANGEROUS

"Dangerous was about a woman who was just so beyond, you know, beyond the best girl he's ever been with. That was the name of the album, so we thought about doing a song called Dangerous, and Michael came up with the hook. So I said, 'Let me get into the music'. I went to my lab and put the track together.

"The track evolved: Michael came in with the hook, I did the music and then we finalised the song. We used a drum machine, the Akai MPC-60, and a lot of the sounds from that and samples I had on my sample CDs. There's no science to it, I just feel my way through the production. I always feel my way – I never do anything the same."


TEDDY RILEY ON WORKING WITH MICHAEL JACKSON

"We talked regularly before I produced the album and he described everything he was looking for, sound-wise. He pulled out one of my songs from the Guy album, which I sing, and he said he wanted that sound. He wanted something driving like that.

"He always pushed me to be different and innovative and strong. He was demanding and we'd work on songs for a long time; we always had to get the mix right. We had the elements, but we had to get the mix right.

"With the sessions, he'd spend a long time doing vocals and sometimes he'd do it on his own. I didn't even have to be there at every session, because he likes to do stuff on his own. He was an inspiration to work with. I kinda learned his way of working and stuck with that formula – so he changed the way I worked on production with artists.

"Since the Dangerous project I've learned to get the writing done before I even approach a song on tape. The writing must be right, you know? Perfect. Before you even start.

"It's difficult to pick out the strongest elements on the album. Is it my music or his lyrics? In the end, I'd say it's both. There was nothing weaker than the other. That's why it was such a perfect album and such a big seller."

3121 said:

Ah yes! I forgot, I sure did. Thanks. But I doubt that's the case now after I was told.

Murder charges in Michael Jackson case are unlikely, source says

The investigation is far from over, but a law enforcement official says there's nothing to suggest murder. Some doctors could face lesser charges of improperly prescribing drugs, but not any time soon.

By Jack Leonard and Harriet Ryan
July 19, 2009

Michael Jackson's death is unlikely to result in murder charges against any of the performer's doctors, according to a senior law enforcement official familiar with the evidence being assembled by a multiagency investigation.

"There's nothing I have been told that would suggest a murder charge. It's just so remote and so unsupported by the facts as they've been gathered," said the official, who spoke on the condition of anonymity because the probe is continuing.

The official's assessment seemed designed to lower expectations for a quick conclusion to the investigation and to tamp down speculation that there was a clear criminal culprit in the unexpected death of one of the world's most famous men.

"There's a lot of hysteria out there," the official said.

Some of the speculation about criminal conduct has been fueled by members of Jackson's family. His father, Joe, recently told ABC News, "I do believe it was foul play." The singer's sister La Toya was quoted in a British tabloid calling her brother's death a murder and alleging, "It was a conspiracy to get Michael's money."

The official said that three weeks into the case, investigators from the Los Angeles Police Department, the county coroner's office, the district attorney's office and the Drug Enforcement Administration remain "so far away" from concluding their investigation.

Widespread reports about the imminent arrest of one or more of Jackson's physicians are wrongheaded, he said.

"They are not suspects," he said of several doctors who were ordered to turn over Jackson's medical files to authorities. "They are repositories of medical history. . . . There's been a high level of cooperation."

He also discounted reports that the singer's death might have been a suicide attempt, saying there was no evidence to suggest that.

Multiple law enforcement sources confirmed that the Jackson investigation is unfolding more slowly than the sometimes-breathless coverage has suggested. At one point, there were widespread reports that the coroner's office would release results of Jackson's toxicology report as early as Monday. Officials now say that will likely take longer.

If the toxicology report indicates that Jackson's death was caused by propofol, the powerful anesthetic found in his home, prosecutors could bring charges against doctors or others involved in giving him the drug. Prosecutors have discussed a range of possible charges in that scenario "all the way up to involuntary manslaughter," the senior law enforcement official said.

But the sources agreed that the probe may end without criminal charges directly related to the death. Even if the coroner declares the case a homicide, authorities may not pursue charges, said one source familiar with the investigation.

"There are plenty of homicides where . . . no one is accused of murder or manslaughter," that official said, adding that Jackson's well-documented battles with prescription drug abuse would be a strong defense to any charges. Jackson's doctors may face charges for using fake names on prescriptions, a violation of state and federal laws, or for illegally furnishing the performer with medication -- as in the case pending against doctors for model Anna Nicole Smith.

That investigation took two years to build into a criminal case.

"Nothing will happen quickly," said one police official, who like others working on the case demanded anonymity because he is not authorized to speak publicly.

The law enforcement investigation of Jackson's death began soon after the singer stopped breathing in a bedroom of his rented Holmby Hills mansion June 25. LAPD detectives quickly announced that his personal physician, Dr. Conrad Murray, who was in the home at the time of Jackson's death, was wanted for questioning.

During a three-hour interview with detectives the following day, Murray described in detail his treatment of the singer. In public statements later, Murray's attorney said that the physician gave no medication that "should have" caused his death and that he was just as mystified as everyone else at the pop star's sudden death. The attorney subsequently refused to answer media inquiries about the propofol found in Jackson's home.

After autopsy results were inconclusive, the coroner's office ordered the toxicology screening. Jackson's struggles with addiction to Demerol and other prescription drugs date to the early 1990s, and at the time of his death he had prescriptions for multiple medications, including at least one prescribed using the pseudonym Omar Arnold, according to officials with knowledge of the investigation.

Coroner's officials served subpoenas on several of Jackson's physicians. Those told to submit "any and all" of Jackson's medical files and radiology and psychiatric records include Dr. Arnold Klein, a Beverly Hills dermatologist who counted Jackson among his celebrity clientele for more than two decades. Klein's lawyer met with investigators last week and emerged saying his client was not accused of wrongdoing.

Even if the toxicology report shows large amounts of prescription drugs in Jackson's blood, the district attorney's office may not file charges, the senior law enforcement official said.

If Jackson's death is determined to be the result of a heart defect or caused by decades of drug abuse, "probably you have no case at all," he said.

If propofol is determined to be the cause of death, he said, the district attorney's office is more likely to act. The anesthetic, which renders surgical patients immediately unconscious, is not designed for use outside the operating room, and it is unclear how Jackson obtained it and who may have administered it to him.

Vesna Maras, a former L.A. County deputy district attorney who prosecuted physicians and nurses in medical cases, said fatal overdoses can present a challenge for prosecutors when numerous doctors are prescribing drugs.

"If it is a combination of drugs, and these drugs . . . were coming from multiple sources, the argument can be made that the doctors did not know their patient was doctor-shopping. . . . That can make it really hard to prosecute," said Maras.

But, she said, that calculus can change when a drug such as propofol -- which is only meant for use by anesthesiologists -- is involved. If investigators determine that a doctor who wasn't an anesthesiologist administered the drug to Jackson without the required devices to assure proper breathing, "in that case, I would not rule out filing a murder case," she said.

In 2004, Maras prosecuted two Burbank nurses for involuntary manslaughter for administering the anesthetic to a cancer patient without authorization of an anesthesiologist. The patient died. One nurse pleaded no contest to a lesser charge. The other was acquitted.

Bryan Liang, executive director of the Institute of Health Law Studies at California Western School of Law, said he would not be surprised if prosecutors decided not to charge the doctors.

He said evidence in Jackson's death may be used more effectively in civil court or by the state medical board, which can strip doctors of their licenses.

"The medical care system has traditionally been regulated through civil cases, so juries generally don't like to find physicians criminally liable," he said. "They are happy to grant damages, but in terms of throwing a physician in jail, you really have to rise to really egregious behavior . . . and prosecutors recognize that."

jack.leonard@latimes.com

harriet.ryan@latimes.com

Times staff writers Cara Mia DiMassa, Andrew Blankstein, Joel Rubin and Richard Winton contributed to this report.

I had to look up In the Closet's lyrics since I never really liked that song. I don't get how people think that he was asexual.

.
[Edited 7/19/09 10:09am]

Swa said:

I have no clue whatsoever, my parents keep asking me that.

i wonder what he meant by that? That Mike had actually lots of (or at least one) lovers hidden from the public? It wouldn´t surprise me though.

Timmy84 said:

Don't know about murder, but I smell a big cover up by Murray regarding what happened. More likely it was an accident of some sort.

Apparently Michael Jackson security video footage is missing from his house. Hmmmm.
[Edited 7/19/09 10:26am]

suga10 said:

They said murder was unlikely anyway and I've been saying the death could've been accidental.

bboy87 said:

T4P
[Edited 7/19/09 12:07pm]

StillDirrty said:

bboy87 said:

"Joy", was also recorded for this album but, Michael did not think it fit the theme of it. It ended up on the first Blackstreet cd, with Michael getting credit.

Did they release Special Editions of all or most of the Jacksons CD's? I was looking on Borders,and there was one Goin' Places CD listed as $7.99,and there is another listed as $33.99,this is the same of all there releases.
[Edited 7/19/09 12:53pm]

I can't find the YOUTUBE link posted on this thread earlier. Can someone post Prince covering Billie Jean ? I love the audience singing it !