Interview with Gregory Smith, founder of Believe Foundation: Changing Kid’s Lives Through Art and Music.

Not many people in the fan community know who Gregory Smith is. For myself, I was not aware of him until a few weeks ago when by accident I happened upon his facebook page, Believe Foundation: https://www.facebook.com/#!/believefoundationusa?sk=info 

There, I saw a picture of him taken with Michael Bearden which piqued my interest and curiosity. Having interviewed Michael in the past, and finding in him a true sense of honesty and integrity, I knew that anything he was involved in would be something I would have no question in supporting. As I read a description of the Believe Foundation and what it stood for, I knew I had stumbled upon something that to me was a direct extension of Michael Jackson’s humanitarian legacy and empathy for children. I contacted Michael Bearden immediately asking what, if anything, I could do to help; how could I support this foundation. In turn, Michael put me in contact with Gregory Smith, a man with vision, dedication and heart, and the founder of the Believe Foundation.

Greg’s story is not uncommon. Growing up in South Central Los Angeles amongst gangs and violence, he lived through and witnessed what occurs on the street, but his strong sense of family, faith and belief in the way music can heal and change the world, brought him to the place where he stands now, changing the lives of disadvantaged and inner-city kids for the better. And that is really at the heart of this foundation, changing kid’s lives through art and music.
Up until now, the Believe Foundation has been running afters-chool arts programs in South Los Angles, but is now looking to expand and create the Los Angeles School of Arts and Entertainment. This school will provide kids with the opportunity to discover their talents and self-worth, and give them hope for a better tomorrow.

It was my pleasure to interview Greg, who gives us insight into his vision that was inspired by growing-up in South Central Los Angeles, and how that created a heartfelt need to give back to the community and provide kids with hope for a brighter future. We are also honored and privileged to have been asked to act as e-Ambassadors for the Believe Foundation, and this is something Dot to Dot and the Michael Jackson Tribute Portrait are proud to lend ourselves too.

Interview transcribed by Kelly Gallagher

Valmai:  Greg, can you tell us something about yourself and your background?

Greg:  My name is Gregory Smith, born in South Central Los Angeles, back in the early days. Born and raised by a minister, I am a pastor’s son, or the son of a preacher man. My father has been a minister since I was a baby. I was pretty much raised in the church element—and the church, being a community based church, was small. I’ve always had a tight-knit family base, and I’ve always tried to go the right way. Sure, we all get distracted every once in a while as a child, but I was pretty much born and raised in a very strict household.

I learned how to play music by ear, and I was discovered at a young age to play professionally. At 12, I started touring with a major gospel choir. Reverend James Cleveland....I’ve played with him back in the day—I was really well-known as a gospel drummer. So, I have a very interesting musical and religious background—and I love sports!

Valmai:  Did you play a lot of sports growing up?

Greg:  Yes, yes! Growing up in the "hood", one of the ways we were taught to possibly get out of that environment was through either sports or music and, unfortunately, that’s all we had to attach ourselves to immediately and see some type of a reward—to get a record deal, get discovered as a musician, or at least hopefully get a scholarship in sports. That’s all that we were taught, and that’s all we were able to see on television—athletes and musicians.

Valmai:  Greg, growing up in South Central Los Angeles must have been difficult for you at times. Is it what you had to go through and what you witnessed, the inspiration behind creating the Believe Foundation?

Greg:  Yes, I would definitely contribute it to my growing up; wanting to do something better in the community and showing kids other options. The Believe Foundation has always been a part of what I was born to do, wholeheartedly.

My father being a minister—you know, they always wanted me to take over the church and preach that upbringing, but I was always considered the “black sheep” because I always had a lot of questions about the religious aspect of things. So I made a deal with my parents that if they just let me go the way I wanted to go—[I'd} let something like Believe Foundation be my ministry. So to this day, I still always [ask] my mom, “Hey Mom, are still praying for my ministry?” She gave it two thumbs up years ago.

Valmai:  Greg, what do you see as the Believe Foundation’s ultimate goal?

Greg:  The ultimate goal as we stand right now—first let me give you a little history of how it evolved into the Believe Foundation. A few years ago, I was doing events for kids in South Central Los Angeles—major talent shows and major dance competition shows—trying to create a safe environment for them to come and be a part of, and to help their self-esteem. What I didn’t know at the time was that what I was doing was something, there was a cause. I was just doing it because it was in my heart to do [it].

My job as being one of the largest promoters in Los Angeles when I was doing dance events—I would get 2,000 to 5,000 kids in large arenas—I just didn’t know that I was really doing something really good. The ultimate goal at that time was just to create an environment where I could interest the kids and give them other options. Then somebody approached me about doing a non-profit, because at that time I wasn’t really making any money, I was actually spending my money trying to make money to cover the costs. But at that time, I was just trying to create some type of environment for kids to come to a place where they could do anything they wanted revolving being around music or around dance or sports, because that’s my upbringing. Then I started teaching at local schools—after-school programs—so I started falling into the teacher's mode of Well hey, I can teach, too; so let me start helping these kids out in another way as far as their education. Then I met with people who decided to take it to the next level and create the atmosphere of a performing arts school.

Valmai:  Are there other schools like this in Los Angeles?

Greg:  Not in the immediate Seventh District—this is where we’re looking now: District 7. In the immediate parts of South Central, now and over the past few years, there’s been a major shakeup of charter schools in Los Angeles. They’ve shut down numerous schools because of administraton doing their own thing with test scores and cheating, and things like that. So there’s been a shakeup, and the performing arts schools that did exist are gone.
As it stands, in the immediate South Central Los Angeles area, there is really no school like what we’re trying to build.

Valmai:  When I was in Los Angeles this past June, I went to Gardner St Elementary School with other representatives of the Michael Jackson Tribute Portrait, and we spoke with the headmaster there. He said that in a lot of schools, not just in the innercity, but also in the surrounding areas, were suffering because the government is cutting back their funding on music and arts and other important programs.

Greg:  Right, you’re absolutely right! It’s amazing, because out of all the things that help kids, art and music have, through the test of time, been shown to help. It’s amazing that they’re cutting the curriculum in public and charter schools when tests have already shown that low-income, high school seniors with a long-term involvement in band or orchestra, are twice as likely to score as highly proficient in math (33 percent) as their non-music counterparts. Now that’s been proven, you know? 

There are so many kids who would go to school and get through math and English, if they knew they have another outlet, something they really loved to do which is music and art. I can testify to that because I was terrible in everything else, but when it came to music and sports I excelled. As I was told, “Hey, in order for you to play those things or to be involved in those things, you have to do well in school”.  And it just made sense to me.

Valmai:  Greg, you’re the Executive Director, President and Founder of the Believe Foundation. Michael Bearden and Sean Holt are also on the foundation’s board. Can you tell us how they came to be involved?

Greg:  Sure. About four years ago, when the events I was doing for all these kids were realized, I started reaching out—like, what else can I do with this whole thing? Actually, I was making noise in the community, and I was one of the top promoters doing large events and had access to a ton of kids. A friend of mine named Will Weaton, knew Sean, who is an excellent singer, musician and businessman. Sean met with me, and we both realized we had the same passion and wanted to help kids in the community. From there, we partnered.

For Sean, being well-rooted in Hollywood and in a different area of the city, his heart is where the kids are. He has also taught at USC and he has done some after-school programs for the African American kids in the community. Sean [although] being white, really has a heart for helping out the African American and Latino kids, because he grew up in Louisiana—in the boroughs of Louisiana—and he grew up where he knows the struggle. Sean has a beautiful heart for the kids, and he wanted to get connected again with the kids in the community. Sean always says to me, "G, let's change some kid's lives".

So Sean started to introduce me to people in his world. You know, it’s funny. Everybody knows somebody, but everybody has different worlds and circles. Sean saw me doing all these shows and he actually said, “Greg, why not do something? Let’s build a school, let’s do something really different—let‘s really change the world. These shows are great, but let’s really help these kids; let me help you change these kids’ lives”.

So, Sean really put me in the right direction to formulate the Believe Foundation, and ever since then, Sean has been bringing in people from his circle to help make this work, and that’s when he brought me to Michael Bearden.

Michael Bearden—it was funny. I had half-an-hour to go to [see] Michael Bearden and pitch the Believe Foundation to him in his trailer while they were on the set of the [George Lopez] "Lopez Tonight" [TV] show. Michael Bearden is very hard to pin down for half-an-hour, but he actually gave us two and a half hours because he was so moved by the pitch. He said, “Greg, before Michael [Jackson] passed, he said that I was going to do some great things in the world. There are many things coming. Michael Jackson didn’t exactly know what they were, but he kept mentioning in the spirit of using one's gifts to Michael Bearden"I feel you are going to do some great things in the world". And Michael Bearden felt this was aspect of his own humanitarian calling so he jumped on board.

It was really amazing how it all worked out once I actually let my guard down and let Sean help me. Such a blessing, such a blessing.

Valmai:  It’s amazing how all these connections have been made, but if you look back over it, it doesn’t appear to be a coincidence. More like something or someone else was directing you all to come together.

Greg:  Right, right, exactly! A lot of it just has to do with just believing in yourself, just step out of the way and let your faith take over, per se. Sometimes we block it by putting up these walls that we can get over. We just have to step back and let things happen.

Valmai:  Right. Now Charles Reagan has just recently signed on with you. Can you tell us a little something about him and what his role will be?

Greg:  Well, Charles just recently came onboard. Sean introduced me to him. Sean and Charles have a 20-year relationship, and Charles was just recently introduced to the Believe Foundation when we had a function: a small, private fund-raising “coming out” party for Believe Foundation LASAE, which is the school’s name and stands for Los Angeles School of Arts and Entertainment. Charles was at that event. Once he saw the players and had a chance to hear us speak and present the whole concept of the Los Angeles School of Arts and Entertainment, he almost tore down the place, like, “Hey guys I want to be involved, I do”.

It’s amazing! You just don’t know! These are people who are high echelon, you know? They’re on a different level. Charles has been on "The Simpson’s" for 25 years; he’s an Emmy award-winning artist—he's the only Emmy award-winning illustrator on "The Simpsons". A guy with that stature and kind of caliber—it’s just amazing to see that his heart is right here.

He wants to teach. So he would definitely be involved in developing our curriculum when it comes to the animation department. But having his name involved with our school, there will be kids trying to get in from around the world who are interested in art and cartoon work, just because his name is associated with it, and he’s going to come up with a curriculum. So he’s pretty much almost created his own position, and we’re going to find him an office at the Believe Foundation and at the school. He will definitely be involved with helping the kids and developing our curriculum, and also in actually hiring our teachers to help in the animation department.

Valmai:  At present, the foundation is running after-school arts programs and summer arts institutes, is that correct? Exactly what do these programs entail?

Greg:  Well, right now I do run an after-school program where I go into schools in the community—schools in South Central Los Angeles—and I teach performing arts. I teach different elements. Basically, there are charter schools right now that have budgets to allow after-school programming. Some of the charter schools don’t have music teachers, of course. They don’t have art teachers. So, I am a part a situation where I am the “music guy”. I will come into certain schools and help create a curriculum to help teach kids music production, via songwriting, musical arrangement, and learning-related software—just showing them how to write songs and [teaching some] production aspects. I usually teach 3 to 6 hours a day in different schools in Los Angeles, and I’ve been doing that for the past couple of years while we’ve developing Believe Foundation and formulating the whole concept, including the school.
Originally, Believe Foundation was an after-school program where I was trying to go into different schools, teach music, bring in celebrities and set up camps—like a work-shop. Then when I brought in Dr. Walker as my project lead—he said we need to take it to the next level and build a performing arts school of our own. Why go to these charter schools when you can build your own? That’s when we came up with the vision of building LASAE.

Valmai:  And how have the inner-city kids responded to these programs?

Greg:  Oh, they love it, they love it!  It’s funny, because teachers know that anything music or the arts-related can capture a kid. The kids African-American kids definitely have this inner art thing going on where they need to utilize it. Once we get the kids to open up and see what we’re doing, they welcome it with open arms. I mean, it’s unbelievable! Our classes are always full and kids are always asking questions. We also become mentors for the kids and we are available to them to answer their questions, to help them with work outside of music. They have a lot of questions and they are fascinated with music and art, so they've been very receptive. And, like I said, we all know the arts are so important to the schools, so we never have a problem with getting kids who are interested in art. 

Valmai:  The foundation is completing its formal charter petition for the Los Angeles School of Arts and Entertainment, which I believe the submission date is October 30. It is a public charter school that will open in the fall of 2012. Can you tell us more about this school and what curriculum it will offer? Is it going to include all forms of art and music, or just specific areas?

Greg:  Right now, we’re just starting to get more people on board who bring us more things. For instance, we just signed Charlie for animation—we didn't have that before. We have art teachers who are proficient in actual painting and sculpting. We want to be well-rounded in the school, and any type of art we are open-minded to, but we just have to go with what we have [now] and what was available to us at the time, which started the vision. At that time, everybody who was on the board had something to do with music.

We’re starting to get more interest. For instance, Charlie is a great example because we are not animators; we don’t do drawings, none of us do what Charlie does. We need more people. I was really focused on bringing in dancing, but right now I am looking for someone with a more stable name to attach to the dancing side. 

So, it’s going to be a well-rounded school. Anything dealing with the arts and entertainment is what we’re trying to offer. That’s the way we planned it, let’s put it out there, let’s build it, we believe in it and they will come and—here we go!

Valmai:  Could you tell us how much money you have raised so far and how much you think will be needed to actually see the school completed and up and running?

Greg:  We’ve raised $51,000 thus far. With the Los Angeles Unified School District, in order to get your application on file or “in line”, they require you to raise or have at least $250,000 in some form for your application to be accepted. So we’re trying to raise $250,000 so we can get our application in for 2011.

We’re stretching—our first fund-raiser raised $51,000. We just have to keep pushing, and if we can get to $200,000 we’ll be set. We think there are people out there who once they see something like this, will want to be involved. We just have to get to the right people who believe in the arts, believe in our vision and believe in what Michael Jackson stood for, too, because Michael Bearden is on board, and he said Michael would love this if he were alive.

Valmai:  Oh yes, he would! But, don’t you have to have the submission in by the end of this month?

Greg:  No. Actually, we were trying to get it submitted with a charter school for a new Proposition (Prop) 39. Prop 39 requires you to have it in by your first original target date, but they also require you to have the $250,000. We went back and forth, and we decided that Prop 39 wouldn’t be to our advantage because of the stipulation that they will place your performing arts school on a campus somewhere in South Central Los Angeles, and they pick the campus. So we decided we would be a little confined because of a location that we weren’t comfortable with.

The facilities didn’t have the state-of-the art auditorium or music room that we need. So now they’re giving us more time and we have until, I believe, December 1 before we have to have our application in.

Valmai:  Well, that gives you a little breathing room; not much, but a little bit of breathing room.

Greg:  Not much, right! But the other thing is that we’re also looking at other districts in Los Angeles. Like if you go on one corner of a street in Los Angeles, you can be in another small city that does not require the $250,000. So that’s what we’re looking at, and we have a little more time now.

Valmai:  Greg, are you relying solely on donations or are you hosting fund-raisers as well?

Greg:  Fund-raisers, yes, but donations is the way for us to go as non-profit. The good thing about Los Angeles is that corporations can make donations now, because the school board has allowed the schools to accept private donations from the corporations if the corporations can advertise on school grounds. For instance, Nike comes in; we can build a stadium and put Nike right on the floor.

Valmai:  Do you have any corporate sponsors at the moment?

Greg:  No, but you know what we need? We need that person on board who has the tenacity to go after the corporate sponsors, because like I said, at our first fund-raiser we were just trying to put the word out—here we are, help!  We wanted to get the soldiers on board. We’re looking for more soldiers. So there are people who might not have the money, but have the resources/access to people with the money or access to people who know how to get the money. Actually, we’d love to have somebody who has access or time to donate to the Believe Foundation, to help us raise that money. That’s what we really need.

Valmai:  So what about public support? Is the public aware of the foundation?

Greg:  That’s a great question, because that’s where we are right now. We have to take it to the next level and get the public support. So we need media exposure. What you’re doing for me are things that we need, and that’s why I really appreciate the time and opportunity, because we need to be out, more or less. You know it’s hard to get press unless, unfortunately—I am going to be honest with you, it’s hard to get press unless you’re doing something negative in Los Angeles.

Valmai:  Oh, I quite agree.

Greg:  It’s amazing! With all the good we’re trying to do, it’s hard to get press unless we’re out shooting somebody or, you know, stealing something. It’s like, really? We’re on a major campaign; we need a great PR person to be willing to donate time to us to help us get the press, get the word out.

There are a lot of things we need, but if people come onboard and see what we’ve done so far with what we have, it’s like, a no-brainer. And it’s for the good of the kids. We need other people who want to help out, like Charlie. We know they’re a lot of other people out there like PR firms who can help us get the publicity out.

I am going to launch a major talent show within the next couple of weeks, an "American Idol" style/Apollo [Theater] talent show, where kids will be performing in front of Michael Bearden and Sean Holt, and we’re trying to get Slash to be a judge. There are a lot of names we’re trying to bring in that Michael has access to. He can actually put these kids in front of them. I am not saying a record deal, but at least give them the exposure.

Valmai:  I am sure the media would be interested in something like that, if big celebrity names are attached to it?

Greg:  Yes, exactly. That’s why, for the last week, I’ve been going back and forth. We’re trying to strategize how to launch the talent. “Let’s launch a major, city-wide talent show. Let’s make it nation-wide, if they can get here, and do a major talent show that would probably get the media interested, besides the "American Idol‘s" local in the community.”

So you can go ahead and put it on record that the Believe Foundation will launch a major talent show.

Valmai:  The Believe Foundation is something that you’ve already said Michael [Jackson] would approve of, and no doubt if he were here, would offer his time and support to. Have you gained a lot of interest from his fans?

Greg:  You know what? Yes, we have, because when I launched the foundation, I went straight to Michael Bearden’s fan page, and facebook started blowing up! Then we lost the Pepsi campaign to raise money to try to win this $50,000 grant. We came in 165th out of 1,000. You had to be in the top 10, so we didn’t make it, but we had a lot of fan support voting for the Believe Foundation, due to Michael Bearden’s involvement. But, I haven’t directly tapped into the Michael Jackson fan base; I am not an expert at that. For instance, you’re big to me because you’re right in that alley I was trying to get to. I was trying to get to his fan base. Let me ask you this: How did you find out about us again?

Valmai:  It was quite by accident. I was looking at a friend’s facebook page and they had posted something about the Believe Foundation. There was a picture of you with Michael Bearden, so I clicked on the link and starting reading. I was so impressed with the work you are doing and your mission that I immediately emailed Michael [Bearden] and asked if I could help in anyway. That’s when he introduced me to you, and here we are.

Greg:  We need the Michael Jackson community to really stand behind this. Michael Bearden is very sensitive about it because he’s trying to protect Michael’s [Jackson] interests. He is so busy, I can’t really ask him to do that much as far as how to attach ourselves more to the Michael Jackson fan base. But I knew some way, somehow, someone would hear about us and take a liking to us and want to help us out. I really need that help.
Let me ask you this. How do we attach our track to Michael Jackson’s fans? Because we’re not using Michael Jackson’s name or anything.

Valmai:  What you're doing is continuing a part of his humanitarian legacy and vision, just as the fans are, by supporting the Michael Jackson’s Children Hospital. His name doesn’t have to be attached to it for the fans to support it, and even if it were attached, there is no exploitation on your part.

Greg:  Michael Bearden told me that helping children was something Michael [Jackson] loved to do—he loved the idea of Believe Foundation. I said, “Well Michael, can I put it out there in the press?” He was like, “Well, I don’t want to make it seem we’re using Michael”. I said, “We’re not. He told you that you’re going to do some great things, this is one aspect of what you need to be doing.”

It’s funny, because he’s told me so many stories of him and Michael just talking and envisioning things, but then he says to me he doesn’t want it to seem like we’re using Michael. But we’re not; we’re just carrying on the legacy.

Valmai:  That’s it exactly. There’s a big difference between using Michael’s [Jackson] name for profit, and carrying on his name and legacy by providing inner-city and underprivileged children with a chance to discover their talents and realize their potential.

Greg:  Exactly! The difference is exploiting. Michael Bearden gave us his blessing to put his name on this, not Michael Jackson’s, but it’s still part of his legacy.

Valmai:  Agreed!

Greg:  So we definitely would love to have Michael Jackson’s fans on board, and I really feel in my heart that they can help this thing pick up the momentum that it needs to get to the next level. It’s funny, everything happens for a reason. We went to see Michael Bearden and Michael Bearden saw this and the vision.

And, the other dream is for us to build schools in other cities, not only in Los Angeles, like Chicago or New York. Let’s keep it going, let’s make it happen—the Believe Foundation is known to build schools, that’s what we want to do.

Valmai:  Well, you have a goal. First of all you’ve got to imagine, then you’ve got to believe it and then you make it happen.

Greg:  That’s right, and that’s what I am doing, I am going for it! 

Valmai:  What can we, within the fan community, do to help the Believe Foundation attain its goals?

Greg:  Oh wow, there’s so much! We need donations, definitely. You can go to the foundation’s web page: http://believefoundationusa.org/#/about/donate. We have a donation button you can click on the bottom, and it takes you to a secure PayPal account where you can put in any amount and donate. Donations are tax-deductible, we are 501C3. Just like with President Obama or a lot of the [political] candidates, you can’t operate without funding.

Unfortunately, we are in a situation where we need the funds to continue what I’ve created and started. I need the community support, donation-wise, and we need resources, like what you’re bringing to the table. We need exposure, we need press. We need our facebook page to blow up! You can find us on facebook at:  https://www.facebook.com/#!/believefoundationusa?sk=info  We need people to like us, and we need donations desperately!
Our goal is to reach the $250,000. Like I said, in just the first few months we were able to obtain $51,000, so we know we’re onto something. There are people who believe in this when they see it and they hear about it. So we need support and we need resources.

You know it’s funny—because, after doing all this and learning a lot of statistics, [you] basically [see] how important music and the arts are to kids, and it also helps keep kids out of trouble, we just need people to see that this is really, really important. Students immersed in a long-time arts-rich environment, outperform their arts-poor counterparts by 46% on standardized testing. That’s huge. And for them to take the arts out of the schools—it just does not make sense! 46% is amazing and proves that the arts is very critical.

So, I am going to go to my grave with this in my heart; I am actually getting a Believe tattoo on my shoulder. If I can get it past the wife, I am going to go get my Believe tattoo—I believe in this 100%; this is my calling. My Dad’s a preacher—and this is my ministry right here.

Valmai:  And it’s a wonderful ministry!

Greg:  Thank you!

Valmai:  I want to thank you very much for giving me your time, and talking about the Believe Foundation. We will do our utmost to help promote it, get the word out there and get the fans’ support for it.

Greg:  Please do, I really appreciate it. We have a vision for the Believe Foundation to build a school, The LASAE, and by getting your support, we’re on our way. I really appreciate the time for the interview, and the opportunity. 

    

 http://www.youtube.com/watch?v=6pYbHSsCu6Y

If you would like to offer your support to the Believe Foundation or make a donation, please visit their website and Facebook page.

https://www.facebook.com/#!/believefoundationusa?sk=info 
https://www.facebook.com/#!/believefoundationusa?sk=info 



By Valmai Owens

© 2011. All Rights Reserved. No reproduction without permission from author.

This interview appears in the publication Dot to Dot: Keeping Michael’s Legacy Alive,

http://mjtpmagazine.presspublisher.us/ and its content is the property of the authors and the Michael Jackson Tribute Portrait. Articles and exclusive interviews are copyrighted; therefore there should be no republication without permission. You may email editor@michaeljacksontributeportrait.com with any requests for republication. If permission is given, credit must be given to the author, Dot to Dot: Keeping Michael's Legacy Alive and the Michael Jackson Tribute Portrait.

Interview with Michael Bearden

I had the privilege recently of interviewing Michael Bearden for Dot to Dot. He is widely known  as Michael Jackson’s musical director for the This Is It tour, but I discovered he was much more than that.

Michael has worked, performed and recorded with some of the great artists of our time, has composed numerous film scores, is a consummate musician and arranger,and is currently musical director for Lopez Tonight on TBS. As impressive as his credits and gifts are, Michael remains humble. In this interview, he shares a refreshing view on his friend Michael Jackson, and a very human element of “celebrity.”

Valmai:  Michael, you are a very accomplished keyboardist, arranger, composer and musical director. Can you tell us how and when your career began in the music/entertainment industry?

Michael:  The first time I ever played or performed music in front of people was probably around the age of 11 or 12. I played for neighborhood events, personal parties and other things like that. I realized very early on that getting paid for something I would do for free was a path I wanted to pursue more. With much hard effort, perseverance and a lot of dues paid, I eventually progressed to where I am now. It’s been an amazing journey so far and I don’t have plans to stop any time soon.

Valmai:  Who was the first major artist you performed with or recorded for?

Michael:  The first major artist I worked with was Ramsey Lewis. I was very young when I met him- probably around 15 or so. He took a liking to my potential and me. I would go to his house and sit with him on the weekends when he was available. I learned a lot just by being around him. He probably doesn’t even remember those days. I also met and was mentored by Herbie Hancock around that time. He was and still is a major influence on me.

After I left Chicago and moved to D.C., I met Stevie Wonder. I was able to meet him when I was 18. He invited me on stage with him when he was just passing through D.C. and I got my first taste of what a true genius is like.

My first big break after I left D.C. and moved to Brooklyn, NY, was with the legendary flutist, Herbie Mann. With Herbie, I traveled the world and was exposed to many huge artists in the business. I was able to work with many of them because of Herbie’s influence. Fortunately, it hasn’t stopped since.

Valmai:  There is a long impressive list of artists you have either performed with or recorded for including Sting, Whitney Houston, Michael Jackson and Aretha Franklin, to name a few. What were those experiences like for you?

Michael:  All of my musical experiences are different. However, the one thing that remains consistent throughout is that child-like feeling I get anytime I work with a new artist or an artist I’ve worked with before. It’s still a lot of fun for me. Hopefully that will never change.

Valmai:  What did you learn professionally and personally from working with some of these artists that has enhanced your career and life?

Michael:  Great question! I learned many things from working with these artists. What I see consistently is that every artist I’ve worked with just wants to be loved. It sounds corny, but it’s true. The art they create is not necessarily the same as the human being who creates it. I learned from Herbie Hancock years ago that to be a great artist, you must first be a great human being and citizen of the world.
Yes, even MJ and I talked about how he longed for a greater sense of normalcy in his life. It is true that many artists seek attention and some sort of validation. There is no debate about that, but at the end of the day I go back to my original statement; we all just want to be loved.

Valmai:  I’m sure you have experienced some very memorable moments on stage, but are there any that stand apart from the others?

Michael:  There are so many memorable moments on stage for me. Too many to mention here, but I’ll point out two.

A few years ago, I was on stage performing with several different artists at Michael Jordan’s celebrity golf tournament in the Bahamas. The great Billy Preston, or the fifth Beatle as he is affectionately known, was performing a solo organ piece. Billy was very sick and was towards the end of his life, but he performed as if his health was perfect. He ended his piece by standing up and doing an amazing glissando just with his feet on the organ pedals. The entire place erupted in applause and cheers. It was an extraordinary moment.

Another memorable moment was during a performance with Whitney Houston. This was during her “hey day” and we were on a very long tour. I don’t remember the city we were in, but I do remember the song. We used to play a song called “In Return." We played this song just about every night. However, on this particular evening Nip, (as all of her close friends call her) decided to put something extra on her delivery. She didn’t tell us she was going to do, she just did it. At the end of the song at least half the band was crying including me. It was the first time it had ever happened to me and hasn’t happened since. Whitney was the only artist ever to do that to me while I was playing with them on stage. What an amazing gift she had in those days. We’ll probably never see a gift like that again anytime soon in this lifetime.

Valmai:  Michael you are an arranger and composer and you have also scored quite a few films. What inspired you to take this direction in music as opposed to popular songwriting?

Michael:  I’ve always loved film and film music. When I was a kid, our parents would take us to the movies often. I was always more fixed on the music than the actual images. I loved the other dimension music adds to the scenes. Music makes a scene more loving, scary, suspenseful, joyous, etc…I did not know I had the talent to score film until I went to college. While at Howard University, I was asked to provide music to a score for a documentary on Chief Justice Turgood Marshall. After seeing and hearing the music I composed married to the images on the screen, I was hooked. I’ve been scoring film ever since that moment.

Valmai:  What do you think are the necessary qualities needed to make a good arranger?

Michael:  You definitely need necessary qualities like command of music theory, orchestration, instrument ranges, imaginative musical phrasing, colors, textures and the like. But I think the most important quality might be un-teachable. That quality is taste. You have to know what to put in and what to leave out. I recently performed with icon Sergio Mendes. He paid me a great compliment after the show. He told me that anyone could learn technique, theory and all the rest, but he said you couldn’t teach taste. I’m always humbled when artists tell me that. I’m not sure where it comes from, but I’m glad to know what that means.

Valmai:  You first met Michael Jackson in 1993, and worked with him professionally for the first time in 2001. What were both experiences like for you?

Michael:  I met MJ in Mexico, at his concert in 1993. I was working with Madonna at the time and we all went to see the show. He was having a difficult time breathing in that Mexico City altitude. I was having a hard time and I wasn’t even on stage performing. We went back stage and I was able to say hello and all of that. He’s always been one of the nicest artists you ever wanted to meet. He was just a really sweet human being.

I first worked with him on stage in 2001 at his 30th Anniversary concert at Madison Square Garden in New York City. He wasn’t what I was told he would be. He was easy to talk to, engaging and not as shy as I had heard. His brothers were around so maybe he was in his comfort zone. I found him to be extremely professional and very detailed oriented. He knew what he wanted and how to get it. His talent speaks for itself.

Valmai:  Did you keep in contact between 2001 and 2009?

Michael:  Not every single year, but I did see him a few times when he was recording. MJ always recorded a lot of music when he was working on a record and I was in the studio with him for a few of those recordings. A lot of stuff I played on never made the final record, but it was always great working in the studio with Michael.

Valmai:  How did you come to get signed on for This Is It?

Michael:  When I found out I was on the short list of music director hopefuls for MJ's tour, surprisingly I was somewhat reluctant. I had been the music director for so many big stars in my career and wanted to pursue other musical endeavors closer to home. However, when it's Michael Jackson calling you have to at least explore the possibilities.

I first met with the This Is It director Kenny Ortega. We had a great meeting and he invited me back down that evening to meet with MJ. I asked that there be keyboards in the room when MJ and I met. When they finally brought MJ in to see me, I was already playing around on the keyboard. He walked in smiling broadly with pep in his step. Instantly, he started dancing and swaying to me playing "Workin Day and Night". We hugged and began talking about what he was looking for, and I told him what I was looking for. I interrupted him several times to have him sing songs as I played them. To his credit he did and we had a great bond immediately. We did a concert for about half an hour; just him and me. As I was leaving, I asked him for the set list and he just laughed. They were looking at a few more guys after me. He said, “God bless you,” and I left the room. I wasn't even home good before I got the call to be his musical director. I had a private gratitude moment and went right to work learning songs!

Valmai:  Michael Jackson knew every element, instruments, notes and chords in his music. He knew when something wasn’t right and we see this in the film with his song “The Way You Make Me Feel.” Was this the only time you and he didn’t see eye to eye with a musical arrangement?

Michael:  Many people seem to think me and MJ didn’t agree in that moment. Not true. We we’re having a “creative joust” as we called it. MJ had a strong opinion and so did I. We laughed and hugged at the end of it and you can see the mutual respect and love in the film. I have never been one to just be a sycophant and bow down to everything the artists say. Why else would you hire a musical director? Just hire a person to execute what you want to have happen and go with that? MJ was brilliant in that he always wanted to grow and push boundaries. He would always tell me to push him so that’s what I did. I have no problem doing that with any artist I work with. That’s the way it was with MJ and me and that’s the way it is. We saw eye-to-eye and then pushed our vision even further. The results are always better with that approach. It was all done in love.

Valmai:  What is your most memorable moment working with Michael on This Is It?

Michael:  That question is always so hard to answer. I grew up idolizing Michael Jackson and the Jackson 5 as many of us did. And now here I was working closely with a childhood hero. Not only working but confiding in, hanging with and having the blessings of his trust and faith in me to deliver him to the next level of his professional life. What can be more memorable than that? Towards the end, MJ trusted me implicitly and told me as such while he was here. I’ve been eternally “validated”, if you will, by MJ, and that alone is memorable enough for me.

Valmai:  Other people who have known Michael, speak about energy or an aura that surrounded him- that when he walked into a room the air literally changed. Did you experience that?

Michael:  Yes, actually I did. Everything they say about that is true. MJ just had a certain swagger with him nobody else could duplicate. That aura was real. The air would change because he always made it a concerted effort to smell good. And he smelled amazing! I always knew when he was around even if I didn’t see him.

Valmai:  You were the last one from the company who saw Michael after that last rehearsal. Did he seem happy and ready to do this tour?

Michael:  You’ve done your homework. Yes, he was very happy. Kenny Ortega and I were with him for the better part of the day taking care of tour business stuff. Travis was out working with the dancers. We got to the stage late that evening, but put in a full rehearsal. MJ looked great and he said he felt good. The band said he had a glow about him that night. They were right. I hugged him; he told me he loved me, talked about the next day and we got in our cars and left Staples Center. I have a very positive mental image of the last time we spoke. I’m at peace with it.

Valmai:  Many people have said Michael would never have been able to complete 50 concerts. What is your opinion on this?

Michael:  Who are these many people and were they at the same rehearsals I attended? I’m always amazed at people who talk in full confidence with no advantage of firsthand knowledge, obviously basing their opinions on hearsay and rumor. Look, It’s difficult to say if MJ would have completed all 50 dates or not. He was never one to mark when he worked. He always went full out every time I’ve worked with him. A couple of his brothers did express surprise when they saw an early cut of This Is It. They couldn’t believe that was MJ going full out like that. They told me he always used to try and save it for the show. I guess MJ felt he had something to prove. In my opinion, he was well on his way to doing it too. There is no way to fake what he did in This Is It. That was MJ doing what he did best. He was working his way back up to being show ready and those last few nights he was on! And he knew it! I don’t see any reason why we would not have made it through those dates. He even talked about the possibility of extending the tour in another country. That said it all to me.

Valmai:  Looking back on all the love that has been expressed for your friend since he died, what do you imagine he would say about that?

Michael:  I don’t really have to imagine. I know he would be very humble about it. He would embrace it and wallow in it. Even from the hypocrites. MJ only wanted to be loved for the art he created. I know he was hurt by all of the tabloid attention and paparazzi stalking him, but he understood it. He just wanted to be judged fairly and to have the attention he garnered to be more balanced. He was a giving and loving person and wanted that in return. As his friend, I will never try to deify him. He was only a man and not a deity, albeit an extraordinary man.

Valmai:  If you could have time to spend with him today what would you say to him? What would be very important for him to know? 

Michael:  There is not a day that I don’t think about MJ. Not one day since he passed. We will be linked forever and I’m good with that. I don’t really like to live my life in hypothetical, but if he were here the most important thing he would need to know is that his children are doing well and look as though they are going to be extraordinary world citizens. He would be most happy about that. All other issues would be secondary to him. I’d also let him know his true friends have never abandoned him and would back it up with actions and deeds, not just words. Then, we’d probably laugh a lot and go get something to eat from a place we liked to have lunch. I’d enjoy that immensely.

Valmai:  Have you experienced his spirit with you as so many others have? 

Michael:  Yes, but not in the way you might think. I experienced it when he was here. There is a moment in This Is It when we’re working on “Earth Song”. MJ is explaining what he wants and then he tells me when to “start that piano.” At the very moment he gives a thumb up to me, I felt something. I remembered it as I drove home from rehearsal that night. I forgot about it until we started making the film. As soon as I saw it, I got the exact same feeling I did the first night it happened. Transferring of energy is real amongst creative beings, but that was something else.

Valmai:  What is the one thing that you will always consider to be your fondest moment with Michael?

Michael:  I have many fond moments with MJ. He was just that way. One of my favorite moments is when he and I were working on the set list in the beginning of rehearsals, even before we had a band and dancers. We talked about how the show should flow and how we were like roller coaster designers. That’s what he wanted his show to feel like- a roller coaster ride. The warm moment for me was when he showed me his personal hand written notes about the set; he pulled out his reading glasses. I looked at him and smiled and he said, “What”? I said nothing and we just kept working. It was great to see his humanity on display. He was always so complete in public; it was cool to see him a little vulnerable. It was also cool to know that our relationship was changing to something more than just a music director/star relationship. He felt very comfortable around me and I appreciated that. He knew I didn’t want anything from him other than to see him back on top. Those glasses affirmed it to me.

Valmai:  What do you think is Michael’s greatest legacy?

Michael:  That’s hard to say. His art means different things to different people. For me, his legacy is probably his simplicity. Never in my career and probably in the history of music, has an artist affected so many human beings simultaneously. I can’t tell you how many times I hear from fans telling me that their 2, 3, 4 or 5 year-old children have discovered Michael’s music. This is just extraordinary to me. What is it about his music that appeals to so many people? He used to say to me, “When you’re coming up with new arrangements for the songs, make sure they’re simple.” He would say, “They gotta be able to hum it. If they can’t hum it’s too complicated.” He wanted his music to be sung by 8 to 80 year-olds. He succeeded!

Valmai:  What do you think of the Michael Jackson Tribute Portrait? Is it something you think he would have liked and approved of?

Michael:  I think it’s a great thing, this Tribute Portrait! It’s brilliant in its construct and I can only imagine MJ would have loved it. I’m honored to be part of the dedication.

Valmai:  With the list of credits to your name Michael, you must be very much in demand. Can you share what you are working on at present? Any big things on the horizon?

Michael:  I’ve been extremely blessed thus far in my career. It is not an easy thing to make a living at something you love to do and I don’t take it for granted. I’m humbled everyday at my good fortune. Presently I’m the music director for Lopez Tonight, George Lopez’s late night talk show on TBS. We are having a great time and we’re slowly trying to change late night. I have a few new artists I’m developing and recording a record with my band on the TBS show, The Ese Vatos. I also have many philanthropic things going on. I’m just trying to stay healthy and rest as much as possible so I can do everything I want to do. I’m a workaholic!  But, what a blessing it is to do this for a living.
Embrace love.
M~

By Valmai Owens© 2011. All Rights Reserved.
No reproduction without permission from author.

This interview appears in the publication Dot to Dot: Keeping Michael’s Legacy Alive,

http://mjtpmagazine.presspublisher.us/
and its content is the property of the authors and the Michael Jackson Tribute Portrait. Articles and exclusive interviews are copyrighted; therefore there should be no republication without permission. You may email edito@michaeljacksontributeportrait.com with any requests for republication. If permission is given, credit must be given to the author, Dot to Dot: Keeping Michael's Legacy Alive and the Michael Jackson Tribute Portrait.