Tay.tailsy

sade knows she’s bad.

Concept art for Reika

NEW Previously unreleased photo of Michael on the set of his 1997 song ‘Blood on the Dance Floor’

Flawless teeth

Bennie Collins First, let’s keep the facts straight. I did not tour with Michael, however I was very involved in something called “Tour Prep”, which was during tour rehearsals when the band was learning the new songs we had just recorded from an album. These songs would need to be restructured for the band - typically with a much faster tempo and in a lower key. Choreography would also come into play as the song might include dance breaks, etc. So my involvement with the touring group was usually before the tours started, not as much on the road.

Having said that, I was always fascinated by the Michael’s tours. I watched the rehearsals in LA in a huge soundstage at Universal Studios or in an airport hanger. We worked in Pensacola Florida at the Civic Center. I even remember early rehearsals taking place perhaps at SIR in Hollywood, but don’t quote me on that one. The tour personnel were each in their own division, and they were designated by an A, B or C (Artist, Band, Crew). As you can imagine the A group stayed in the best hotels, followed by B, then C. Obviously Michael, Miko, Bill and Michael’s personal staff/security traveled together in group A. Brad Buxer and the band and dancers would travel in group B, and so on. If you have even been backstage at a large show you have seen the crew. Black tee shirts, black pants or shorts, guys that you might give just a bit of extra room if they were walking towards you down the street. There are sound techs, lighting techs, video techs, riggers, electricians (sparkies), pyro, band techs, etc. These are some of the smartest, hardest working problem-solving people you can imagine. These shows don’t just “happen”, there is an amazing amount of planning, travel coordinating, insurance, payroll, local hiring (roadies), safety oversight, etc., for every show. There are payroll people, cooks, production assistants (runners), stage managers - an army of people at each show, and that army needs a general. For Michael, that general was Bennie Collins. I would be overstepping my bounds to say that Bennie and I were close friends, simply because we never had the time to get to know each other. Bennie was large and in charge, and he ran the backstage of a Michael show like a well-oil machine. I had perhaps 20 or 25 interactions with Bennie over the years, but there was always a deep respect given and received during each of them. He knew I worked with Michael in the studio, and I knew he worked with Michael on the road - there was no need to further discussion or “let me check with so and so to see if that’s OK…”, he just got things done. Bennie had this amazing gravely bass voice. You knew that voice from 100 feet away! I think Michael enjoyed being around guys like Bill Bray and Bennie Collins because they both had similar gravel in their vocals. During the HIStory tour in Europe there were three stages being used. One would be being built for an upcoming set of shows, one would be in use for current shows, and one would be being broken down from shows that just concluded. Think about that for a moment - that is an amazing amount of coordination, planning and execution happening at one time. And Bennie was in the center of it. During the HIStory tour in June 1997 we were in France, doing a project for Rod Temperton. It was purely by chance that Michael was in town at the same time. I reached out to Brad Buxer and asked if he could get us some tickets, which of course he was happy to do. Buxer simply said, “They’ll be backstage”. The tricky part was getting backstage. We weren’t traveling with a cell phone in 1997, and I don’t speak French, so the challenge was set. We arrived at the Parc des Princes venue a couple hours before the show, and I tried to communicate with security. I explained that I was part of Michael’s team, but without a backstage pass they wouldn’t let me through. Finally they agreed to let me find Bennie Collins if I left my wife Debbie and daughter Amanda in the security booth - sort of as collateral. I wound my way backstage, past all of the generators, amp stacks, road cases and staging materials until I found the production trailer - and Bennie. It’s the funniest feeling seeing a bunch of people that you recognize from rehearsals many weeks earlier and thousands of miles away. I think they like seeing a familiar face as much as I was happy to see them. Bennie had my passes and ran out to get Deb and Amanda. We returned and I was able to properly introduce my family to Michael’s “road family”, including Bennie. He was warm and friendly, but also very busy and focused on keeping the show on track. Michael invited Amanda to be on stage with a group of kids for the song “Heal The World”, which was a highlight for us. Bennie was highly respected in the industry, and he was a pro. He was funny, self-assured, and a gentle giant. As I look back at this amazing team of people who helped bring Michael’s music to his fans through recordings, videos and live performances, it is worth noting how many of these people were genuinely kind and good-hearted. It became evident that Michael usually worked with guys that he liked to be around. Rest in peace Bennie, and thanks for respecting a young engineer who likely looked out-of-place in your backstage world. Your smile was all I needed to know I was talking to the right person. <><><><><><><><><><><> In The Studio With MJ is planning our Centennial celebration (100 events!!) in Paris this spring! The journey started in Paris, so it only seems fitting that we bring it back home. Stay tuned for details, and thanks for an amazing five years! Keep The Faith - Brad

(x)

so lets look this over

 he’s black here

 and here

 aaaaaand here

 guess who’s black

 black again

 still black

 african american

 black

 still black doe

 he’s whi- no wait still black

 b l a c k

 black ass man right here

 STILL BLACK

MICHAEL JACKSON IS AN AFRICAN AMERICAN. HE WAS BORN BLACK AND HE DIED BLACK. 

END OF STORY.

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