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UCLA / Did MJ had a pulse at UCLA or not?!
« on: November 10, 2011, 10:46:24 AM »

Sorry if it was posted before..
This here  is from Joe Jackson's lawsuit (2010) against Conrad Murray

here some more info

"Michael Jackson's Dad Gets Medical Records
Joe Jackson is entitled to get copies of Michael Jackson's medical records ... according to the judge in the Michael Jackson estate case.

According to the judge's ruling, Joe Jackson is only entitled to records from UCLA made on the day Jackson died.

Joe Jackson wants the records for a possible wrongful death case."

Dr.Cooper said in her testimony:

"Continuing her testimony from Friday, Dr. Cooper said that for the hour and 13 minutes she treated MJ, she never felt a pulse"

sorry if this was posted before.. and sorry if this is the wrong subforum for it...  :oops:

Michael Jackson, the Snake, the Mouse -- and a Lesson in Drama
Published: March 05, 2011 @ 1:56 pm

 By Peter Guber
The following is an excerpt from the just-released book, 'Tell to Win':

Once you’ve got your hero, what gets the emotion moving? What holds us spellbound, begging for more? Michael Jackson taught me in no uncertain terms, the answer is drama.

Back in 1991, Jackson already was a force to be reckoned with. After renewing his contract with Sony for a record-setting $65 million, he released his eighth album, "Dangerous¸" with the singles “Black or White” and “Remember the Time,” both of which dominated the pop charts. As CEO of Sony Pictures, I’d sat in on the studio production of that album and was overwhelmed by Michael’s creative intensity and perfectionism.

His ambition knew no bounds. But when Sony’s most important musical asset invited me to his home in Encino to discuss his plans to get into movies and television, I was taken aback. Michael had proven he knew everything there was to know about pop music, but movies were a different animal. He wanted to produce as well as act. That meant telling stories. Could he do it?

I didn’t even have to ask the question. “In both films and music,” Michael said, “you have to know where the drama is and how to present it.” He gave me a long, intense stare and abruptly stood up. “Let me show you.”

He led me upstairs to the hallway outside his bedroom, where we stopped in front of a huge glass terrarium. “This,” he said, “is Muscles.”

Inside, a massive snake was coiled around a tree branch. His head was tracking something in the opposite corner of the terrarium.

Michael pointed with his finger at the object of Muscles’ obsession. A little white mouse was trying to hide behind a pile of wood shavings.

I said hopefully, “Are they friends?”

“Do they look it?”

“No. The mouse is trembling.”

Michael said, “We have to feed Muscles live mice, otherwise he won’t eat. Dead ones don’t get his attention.”

“So why doesn’t he just go ahead and eat it?”

He said, “Because he enjoys the game. First he uses fear to get the mouse’s attention, then he waits, building tension. Finally, when the mouse is so terrified it can’t move, Muscles will close in.”

That snake had the attention of that mouse, and that mouse had the attention of that snake -- and Michael Jackson had my attention.

“That’s drama,” he said.

“It sure is!” I said. “This story has everything -- stakes, suspense, power, death, good and evil, innocence and danger. I can’t stand it. And I can’t stop watching.”

“Exactly,” he said. “What’s going to happen next? Even if you know what it is, you don’t know how or when.”

“Maybe the mouse will escape.”

Michael let out one of his high, strange laughs. “Maybe.”

If I’d had the slightest doubt about Jackson’s command as a teller of stories, it evaporated that day. His telling to win profoundly and clearly taught me that nothing grabs our attention faster than the need to know what happens next?

Back at UCLA, I asked Dan Siegel to help me understand from his perspective as a neuroscientist why people are so enthralled by drama. Siegel pointed out that emotions don’t occur spontaneously. Nor, as any actor knows, can they be summoned at will. Emotions have to be aroused. “And arousal gets heightened,” Siegel said, “when you realize, I don’t know if the mountain lion’s still there; I don’t know if the spaceship is going to get back; I’m not sure he’s going to win the race. You have to have tension between expectation and uncertainty. Emotional tension drives you to think it might go this way, but it might go that way, and that makes you wonder, what will happen next?”

The more you wonder what will happen next, the more you pay attention. And the more attention you pay, the more you hear, notice, and retain.

One reason I was so helplessly enthralled as I watched Michael Jackson’s mouse and snake was that they were enacting a story of primal desire and dread. Somewhere deep in our DNA, we all have this story lurking because, at some stage of our evolution, if not in our more immediate existence, we lived this story. We were the weaker prey that hid trembling inside the cave from the saber-tooth lurking outside.

Of course, most business storytellers don’t need to set dramatic stakes as high as death or survival. But even business stories are told best if they trigger the conflict between dread and desire. Desire is a core human need which in business may translate as landing a job, motivating employees, keeping an account, impressing a boss, successfully launching a product, or securing a brand. The more we desire something, the greater our fear of not achieving it. And that emotional tension engages your audience because it makes them feel “what’s in it for them.”

Excerpted from "Tell To Win: Connect, Persuade, and Triumph with the Hidden Power of Story," by Peter Guber (Crown Business).

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Other Odd Things /> credits
« on: May 23, 2010, 03:45:34 PM »
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"Michael Jackson wanted to thank the Choreographers who collaborated with him on past works" ...ok, that`s the first strange thing..I mean, did he say: "In case that I die please thank my ex-choreographers"??

these are the names:

Michael Peeters
Vincent Patterson
George Burge (Bad)
LaVelle Smith, Jr
Barry Lather (Ghosts)
Courtney Miller, Jr.
Talaluega Bros (Ghosts)
Travis Payne

but it`s not

Michael Peeters, it`s Michael Peters You are not allowed to view links. Register or Login

It`s not Vincent Patterson, it`s Vincent Paterson You are not allowed to view links. Register or Login

IT´s not George Burge, it`s Gregg Burge You are not allowed to view links. Register or Login

it`s not LaVelle Smith, Jr, LaVelle Smith Jnr You are not allowed to view links. Register or Login

it`s not Talaluega Bros , it`s Talauega Bro

so, what`s going on??

I sent it to both to see if they write the same...

That`s what I wrote:

I have a question about the DC and the Autopsy Report of Michael Jackson. Why is it always "Michael JOSEPH Jackon", when his real name was "Michael JOE Jackson" ? Schouldn`t there be the correct name on official documents??

Thanks for reading and I`m looking forward to your answer.


The original information received from the hospital along with information provided by a family member was Joseph so the original report did list that name along with a AKA of Joe.

Ed Winter, Asst. Chief


We were given the name early on in the investigation. By the time we were at a point where we could have made some adjustments to the report, the pressure we were under to protect the integrity of our investigation became a great concern so the decision was made to remove the case from our database, making further alterations or additions possible. For whatever reason, the mortuary prepared the death certificate with that name and we went ahead and signed it. It could have been because that was the name we had in our system or that was the name they were given when they prepared the certificate or it was a clerical error to formalize a name. We (funeral directors and coroners) have a tendency to want to do that out of habit.

Sent from my iPhone

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