Timmy84 said:

I heard the report too. They made it sound official by saying that it has been determined that Murray did in fact give MJ diprivan the night he died and that he will be charged with manslaughter once the report is released.


The source is the Associated Press.

utopia7 said:

Who in the world wants to die, but can we honestly say that death did him a favor?

That Jackson Family values book makes LaToya look desperate in her attempts to be own her own and living her life back then. When Jack came along he was her ticket to freedom! It's crazy how Katherine was keeping their rooms empty in any attempts that they might come back home even though they were full grown-ups!

Chic35 said:

Where can I get this book?

babybugz said:

You can go here and read it, scroll down but it's there:

http://jetzi-mjvideo.com/books/

LOS ANGELES, California (CNN) -- Michael Jackson's personal physician, Dr. Conrad Murray, administered a powerful drug that authorities believe killed the singer, a source close to the Jackson family and with knowledge of the investigation confirmed to CNN on Monday.

Murray was the doctor who was at Jackson's home when the pop star died on June 25.

http://www.cnn.com/2009/S...index.html

babynoz said:

Right I think I posted it earlier. And while we're now hearing this, again, the toxicology reports could come out to be different than what it is still speculated.

Tense Waiting Game for Michael Jackson's Doctor

By Ken Lee and Anne Lang

Originally posted Monday July 27, 2009 07:30 PM EDT

The L.A. coroner's pending toxicology results – expected to answer that key question any day now – may hold the fate of Dr. Conrad Murray, the singer's personal physician with him on the day he died and an apparent focus of an ongoing manslaughter investigation.

Miranda Sevcik, spokesperson for Murray's attorney Ed Chernoff, says they're "in the dark" as to whether an arrest of Murray is imminent, even as news reports increasingly pointed to potentially serious trouble for the Houston-based physician.

On Monday, CNN and the Associated Press reported investigators believe Murray was the person who injected Jackson with the powerful anesthesia Propofol the night before the entertainer died. Jackson regularly used the drug to help him sleep, according to media reports.

Murray's rep has declined to comment on whether he had administered Propofol to Jackson. The only two drugs Murray has denied prescribing for Jackson were Demerol and OxyContin.

Authorities have twice interviewed Murray and sought a third session with him, which has not yet been set. They also raided his Houston clinic on July 22, which Murray's camp said came as a surprise. His rep didn't know whether a similar search of the doctor's offices in Las Vegas would occur.

"Obviously investigators are not sharing details with us about their plans, as evidenced by what happened last week," Sevcik says. "Like everyone else, we're awaiting the results of the toxicology tests, and at that point, we'll assess what we need to do."

L.A.-based forensic toxicologist Nachman Brautbar, M.D., who's not involved with the case, says the the toxicology report – an analysis of drugs in a person's system – "plays a prime role in putting the pieces together of why someone died when the initial autopsy rules out any obvious known causes of death." But he said it would be "unsual" for a coroner to rule homicide – a death caused by another person which could include manslaughter – in a drug-related case outside of a hospital or nursing home scenario.

Timmy84 said:

Personally, I think they're delaying the release of the report while they build a case against the doctor.

babynoz said:

And that could be very well the case. I'm hearing it may be out by Thursday or Friday of this week (the toxicology reports).
[Edited 7/27/09 17:23pm]

i feel sick again from all this. i can't wait to see the toxicology reports to be released. if that bastard doctor who is a cardiologist gave michael michael something that shouldn't be given out of the hospital and he's not even an anesthesiologist his ass needs to be charged with 2nd degree murder

Timmy84 said:

thank you

babybugz said:

You're very welcome.

mimi07 said:

The cops won't go that far. If anything it would be manslaughter, nothing has been hinted that they would charge murder unless you see some of the tabloid headlines. The dumb "doctor" will get manslaughter.

Anna Nicole Doc Expects Drug Cocktail in Michael Jackson's System

Natalie Finn Natalie Finn Sun Jul 26, 8:23 pm ET

Los Angeles (E! Online) Even though the toxicology results are due this week, it's not going to be easy to nail a doctor for manslaughter if it was an overdose of propofol that killed Michael Jackson, according to a pathologist all too familiar with the intricacies of toxicology.

"Propofol basically disappears [from the blood] within minutes," says Dr. Joshua Perper, the Broward County, Fla., medical examiner who spent weeks testing samples from Anna Nicole Smith's body before ruling her death the result of a prescription-drug overdose in 2007.

"Like Anna Nicole, my expectation in Jackson's case is that the toxicology would show a combination of drugs, where propofol will be present," the pathologist and author of the upcoming book When Doctors Kill told E! News.

"The problem in finding it in the body will depend on how long [Jackson] lingered before he became comatose. It breaks down very fast and can disappear or burn out in as little as two to four hours."

The longer the King of Pop lived after taking what could have been a fatal dose of propofol, the more likely it is that the evidence faded away.

Propofol can be found in other tissues, but that would make it hard to determine how much he took and whether it proved fatal and would take away a crucial piece of evidence required in prosecuting any doctor for manslaughter, much less murder, Perper said.

"To ask for more time to do testing, it stands to reason the medical examiner didn't have enough toxicology to explain the death from propofol and wants to look for something else, like a combination of drugs," he said, referring to the extra week the L.A. County Coroner's Office is taking before it releases the final autopsy report.

The main culprit in Smith's death, while she had a number of prescription drugs in her system, was the powerful sleep aid chloral hydrate.

Two of Smith's doctors and her companion, Howard K. Stern, have pleaded not guilty to felony charges of facilitating Smith with various substances.

Meanwhile, a family practitioner who has worked with nurse Cherilyn Lee, the nutritionist who says Jackson once asked her for Diprivan (propofol's brand name), tells E! News he immediately thought of Lee's story when he heard of Jackson's death.

"To be honest with you, my first reaction was 'God, I hope he didn't get that Diprivan,' " Dr. Dwight James of Porterville, Calif., said.

James said that Lee called him for more information about propofol when Jackson requested it, and that he told her it was mainly used in hospitals and wasn't the sort of thing he would prescribe a patient to use at home.

"[Lee] communicated to [Jackson] that he didn't want to use the drug because it could kill him," James said. "She took the Physicians' Desk Reference to him it has all the indications but he still wasn't convinced."

Nobody will be charged... Drug overdose was the cause- THE END!!!

You should see the headlines after the LAPD source: DOCTOR KILLED HIM! HE KILLED HIM!

Im utterly upset with the latest developments, God, the last thing I wanna hear is Mj was murdered

AP source: Jackson doc gave him drug before death

By THOMAS WATKINS (AP) – 1 hour ago

LOS ANGELES — Michael Jackson's personal doctor administered a powerful anesthetic to help him sleep, and authorities believe the drug is what killed the pop singer, a law enforcement official told The Associated Press on Monday.

The official, who spoke on condition of anonymity because the investigation is ongoing, said Jackson regularly received propofol to sleep, a practice far outside the drug's intended purpose. On June 25, the day Jackson died, Dr. Conrad Murray gave him the drug sometime after midnight, the official said.

Though toxicology reports are pending, investigators are working under the theory that propofol caused Jackson's heart to stop, the official said.

Murray, 51, has been identified in court papers as the subject of a manslaughter investigation and authorities last week raided his office and a storage unit in Houston. Police say Murray is cooperating and have not labeled him a suspect.

Murray's lawyer, Edward Chernoff, has said the doctor "didn't prescribe or administer anything that should have killed Michael Jackson." When asked Monday about the law enforcement official's statements he said: "We will not be commenting on rumors, innuendo or unnamed sources."

Murray became Jackson's personal physician in May and was to accompany him to London for a series of concerts starting in July. He was staying with Jackson in a rented Los Angeles mansion and, according to Chernoff, found an unconscious Jackson in the pop star's bedroom the morning of June 25. Murray attempted to revive him but could not.

Police searching Jackson's home after his death found propofol and other drugs, an IV line and three tanks of oxygen in Jackson's bedroom, and 15 more oxygen tanks in a security guard's shack.

Propofol can depress breathing and lower heart rates and blood pressure. Because of the risks, propofol is only supposed to be administered in hospitals. Instructions on the drug's package warn that patients must be continuously monitored, and that equipment to maintain breathing, to provide artificial ventilation, and to administer oxygen if needed "must be immediately available."

Jackson had trouble sleeping and the official said he enlisted various doctors to administer propofol, relying on the drug like an alarm clock. He would decide what time he wanted to awaken and at the appointed hour a doctor would stop the intravenous drip that delivered the drug, the official said.

Copyright © 2009 The Associated Press. All rights reserved.

seeingvoices12 said:

According to the Associated Press, I don't think that'll be the case. If you read it, it looks like Conrad was regularly giving him the Diprivan according to the source.

The LAPD said "no comment".

dreamfactory313 said:

what are black people doing in the prison overseas ?
I didn't see them in the previous videos....unless these are guest dancers

utopia7 said:

They're guest dancers.

Timmy84 said:

Thanks Timmy I was worried ...

Tito will be giving a interview tomorrow so we'll see what he has to say I must say it's just confusing hearing all of these separate interviews... Joe-Jermaine-Latoya- now Tito

utopia7 said:

Jesus... lol

I've been meaning to ask them for a minute but other than "Beat It", how many of Michael's songs hit the Mainstream Rock chart? I know "Beat It" peaked at No. 14 on that chart (Janet's "Black Cat" hit number-one on the same chart seven years later), but I wonder if "Dirty Diana" hit the Mainstream rock chart. Or even "Black or White".

Michael Jackson: recording Dangerous with Teddy Riley

Producer reveals King Of Pop's studio secrets

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

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 [it's actually around 32 million]."

"Thriller is a massive album, Bad is a big album, but Dangerous sits in the middle." Teddy Riley, speaking in 2008

Teddy 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.

Michael jackson dangerous tour

On stage in Paris during the 1992 Dangerous tour. Image: © David Lefranc/Kipa/Corbis

"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?

Nevermind I found it:

LINK: http://www.aorblog.com/20...ck-charts/

Michael Jackson (RIP) on the Rock Charts
Jun.26, 2009 in RIP

Like most people I am shocked by the fact that Michael Jackson has died at the age of 50. Although I really wasn’t a big fan, no one can deny the impact he made on pop music. The success of his massive 1982 album “Thriller” changed the course of music forever, becoming the biggest selling album of time (50 million copies), spawning seven top ten singles (including #1s “Beat It” and “Billie Jean”), and breaking the color barrier on MTV. The album crossed genres, from the funk of “Wanna Be Startin’ Somethin”, to the R&B balladry of “Human Nature”, to the rock edge of “Beat it”. Jackson’s talent truly transcended race and musical styles and he will never be forgotten.

Michael Jackson had a few songs cross over to the Mainstream Rock chart, and one that surprisingly did not, even though it was designed to do so.

Beat It – #14 Mainstream Rock

The third single from “Thriller”, “Beat It” hit #14 Mainstream Rock, #1 Pop Singles, and #1 Black Singles in 1983. The track was fueled by a fiery guitar solo by none other than Eddie Van Halen, who actually refused to be paid for his lead work. “Beat It” also features a couple of musicians from Toto: drums by Steve Pocaro and rhythm guitar by Steve Lukather. MTV initially refused to play the West Side Story-inspired video, but they caved under pressure from CBS Records, thus shattering the color barrier on the fledgling music channel.

Eddie Van Halen: “I am really shocked; as I’m sure the world is, to hear the news. I had the pleasure of working with Michael on ‘Beat It’ back in ‘83 — one of my fondest memories in my career. Michael will be missed and may he rest in peace.”

Thriller – #42 Mainstream Rock

The title track from “Thriller” crossed over and hit #42 on the Mainstream Rock chart as well as hitting #4 on the Hot 100. The song features the Grammy-winning, biggest selling, most influential music video ever; a horror/zombie/werewolf homage directed by John Landis with makeup effects by Rick Baker. Michael’s co-star in the video was Playboy Playmate Ola Ray.

Say Say Say – #24 Mainstream Rock

“Thriller” featured a schmaltzy duet between Paul McCartney and Michael Jackson called “The Girl is Mine”, which hit #1 Black Singles and #2 Pop Singles in 1982. The duo reunited the next year for more upbeat #1 Pop hit “Say Say Say”, which also crossed over onto the Mainstream Rock chart, hitting #24. The video is notable for its portrayal of McCartney, his wife Linda, and Jackson as turn of the century con artists/Vaudeville performers. The young woman that Jackson romances in the video is played by Jackson’s real-life sister, LaToya.

Paul McCartney: “I feel privileged to have hung out and worked with Michael. He was a massively talented boy man with a gentle soul. His music will be remembered forever and my memories of our time together will be happy ones.”

State of Shock – #42 Mainstream Rock

Although “State of Shock” was on the 1984 Victory album by The Jacksons, it really is a duet between Michael Jackson and Mick Jagger of The Rolling Stones. Jackson, of course, was the most popular artist in the world in 1984 and threw his brothers a bone by appearing on the Victory album. Jackie, Randy, Tito, Jermaine, and Marlon reaped the benefits as “State of Shock” hit #3 on the Hot 100 and #42 on the Mainstream Rock chart.

Dirty Diana

“Dirty Diana” didn’t actually hit on the Mainstream Rock charts, but if there was ever a Michael Jackson song that tried to become a rock hit, it was this one. The track was featured on “Bad”, Jackson’s 1987 followup to “Thriller”. “Bad” tried to hard to duplicate the genre-busting formula of “Thriller”, and “Dirty Diana” was “Bad’s” version of “Beat It”; a harder-edged rock track with a solo by a rock guitarist, in this case Steve Stevens, lead guitarist for Billy Idol.

----
I'm actually quite surprised that besides "Dirty Diana" that "Black or White" or even "Give Into Me" didn't make the rock chart at all either. Maybe it was because "Black or White" had a rap verse.
[Edited 7/27/09 18:18pm]
[Edited 7/27/09 18:20pm]

Dangerous track-by-track with Teddy Riley

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 [Jackson] 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 [laughs]! But it didn't surprise you at the time. No, not at all."

Michael jackson dangerous tour

The Dangerous tour hits Brazil in 1993 - as does a signature Jackson move. Image: © STRINGER/BRAZIL/Reuters/Corbis

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 [Jackson] 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 in 2008

"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 [who produced Dirty Diana] 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 in 2008

"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."


Michael jackson dangerous tour

Paris 1992 - the King Of Pop stands defiant. Image: © David Lefranc/Kipa/Corbis

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."