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Dangerous World Tour

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This article is about the tour. You may have been looking for the album .

The Dangerous World Tour is the second worldwide concert tour by Michael Jackson . It was launched in support of the artist's eighth studio album, Dangerous (1991) and lasted from June 27, 1992 until November 11, 1993. The shows were sponsored by Pepsi .

The tour grossed a little less than its predecessor, Bad World Tour , gaining over $100 million. All profits were donated to charities including Heal the World Foundation . As it was nearing its end, the Dangerous World Tour was unfortunately cancelled due to Jackson's declining health. The tour was originally going to end on Christmas 1993.

• 1 Background
• 4.1 Cancelled dates
• 5.1 Live in Bucharest: The Dangerous Tour
• 6.1 Lead performer
• 6.2 Dancers
• 6.3 Musicians
• 6.4 Vocalists
• 9 References

Background [ ]

During the final show of the Bad World Tour in 1989, Jackson stated it was going to be the final time the world would see him on stage. This was initially the plan for his career going forward, as Michael later explained, concerts were exhausting and he went through "hell" touring. Additionally, the artist wanted to focus on making music and filmmaking instead.

On February 3, 1992 Michael held a press conference at Radio City Music Hall in New York, where the Dangerous World Tour would be announced. Michael explained, that the sole reason he'd do the tour was to raise funds for the Heal the World Fundation. The goal was to gain $100 million by Christmas of the following year; a goal the artist succeeded with.

As the tour was nearing its end, in 1993 Jackson was accused of child sexual abuse by Evan Chandler. This caused Michael to begin taking drugs to ease his mind, but caused his physical health to worsen. On November 11, Michael played in Mexico, which would unfortunately become the final show of the tour, as the rest of it would be cancelled so the artist can focus on improving his health.

Outfits [ ]

For the tour, Jackson rocked a couple different outfits. These were designed by Michael Bush and Dennis Tompkins .

He wore two different, military-like outfits; first was blue and glittery with a golden stripe crossing over the top, while another version was colored in black, and with two golden stripes. Another outfit was completely different from the above; featuring a completely golden top, and black pants. A fourth outfit featured Jackson with a golden, glittery top and two black striped crossing over it, and blue pants.

Setlist [ ]

• "Brace Yourself" (intro)
• " Wanna Be Startin' Somethin' "
• " Human Nature "
• " Smooth Criminal "
• " I Just Can't Stop Loving You " (with Siedah Garrett )
• " She's Out of My Life "
• Jackson 5 Medley
• " Thriller "
• " Billie Jean "
• "Black or White Panther" (video interlude)
• " Workin' Day and Night "
• " Beat It "
• " Someone Put Your Hand Out " (instrumental interlude)
• " Will You Be There "
• " The Way You Make Me Feel "
• " Black or White "
• " We Are the World " (video interlude)
• " Heal the World "
• " Dangerous "

Tour dates [ ]

Cancelled dates [ ], broadcasts & recordings [ ], live in bucharest: the dangerous tour [ ].

On November 16, 2005, a little over a decade after the show took place, a DVD of the October 1, 1992 show at the Bucharest National Stadium was released as a part of The Ultimate Collection , and saw its separate release as Live in Bucharest: The Dangerous Tour on July 25, 2005.

While all of the tour was professionally filmed, the Bucharest concert was the only broadcasted show of the Dangerous World Tour. However, amateur recordings of other shows have been shared online for years.

Personnel [ ]

Lead performer [ ].

• Michael Jackson

Dancers [ ]

• LaVelle Smith (choreographer)
• Dominic Lucero (asst. choreographer; 1992 leg)
• Jamie King (1992 and 1993 legs)
• Eddie Garcia (1992 leg)
• Randy Allaire (1992 leg)
• Travis Payne (1993 leg)
• Jason Yribar (1993 leg)
• Bruno "Taco" Falcon (asst. choreographer; 1992 and 1993 legs)
• Michelle Berube
• Yuko Sumida
• Damon Navandi

Musicians [ ]

• Musical director: Greg Phillinganes (1992), Brad Buxer (1993)
• Assistant musical director: Kevin Dorsey
• Keyboards, synthesizers: Greg Phillinganes (1992); Brad Buxer, Isaiah Sanders (1993)
• Drums: Ricky Lawson
• Lead/rhythm guitar: Jennifer Batten (1992), Becky Barksdale (1993), David Williams
• Bass guitar, synth bass: Don Boyette

Vocalists [ ]

• Vocal director: Kevin Dorsey
• Background vocals: Darryl Phinnessee, Dorian Holley, Siedah Garrett , Kevin Dorsey
• Slash – lead guitar on " Black or White " in Oviedo (September 21, 1992) and Tokyo (December 30 and 31, 1992)

Gallery [ ]

• After the Oslo, Norway concert, " The Way You Make Me Feel " and " Bad " weren't performed for the rest of the tour, although the songs did return for the first 4 concerts in Tokyo. This also became the final performance of "Bad" Jackson ever gave.
• " Workin' Day And Night " and " Beat It " were taken out of the setlist in the third leg. The cherry picker that was used for "Beat It" in the first and second legs was then used for " Black or White " in some concerts in the third leg.
• " Rock with You " and " Remember The Time " were taken out of the setlist due to wardrobe malfunctions.
• Rehearsals for the tour have taken place in Jackson's Neverland home and at Culver City Studios. Footage of the rehearsals can be found on YouTube. [1] [2]
• The " We Are the World " interlude in the 1993 shows was extended, starting with the band and the backup singers singing along with the crowd.
• In some early 1992 shows " Wanna Be Startin' Somethin' " and "Beat It" were performed in their original key.
• Diana Ross was in the attendance on the Oslo show on July 15th 1992.
• Elizabeth Taylor was in the attendance on the Stockholm show on July 17th 1992.
• " Man in the Mirror " was taken out of the setlist of 1993, but was performed in Argentina (first and second night, on the third he had a headache and didn't perform it. He had added it due to the Argentinian audience's warmth according to what their people had told us), it was also performed at the last concert in Mexico. Contrary to popular belief, "Man in the Mirror" was not performed on any night in Brazil or Israel. It is believed by the words of the public that "Man in the Mirror" was also performed during the concert in Chile.
• During " Heal the World " in Bangkok, Michael wore the white shirt from "Man in the Mirror".
• The magic trick at the end of " Thriller " was not performed at the third leg and at select first leg shows.
• Michael cut his finger during the performance of " Jam " in the Copenhagen show, prompting Michael Bush to put a bandage on Michael's finger during " Human Nature ".
• The silver jacket that Michael wore during "Jam" in the 1992 shows (except for Munich and 7 Tokyo shows), was used for the Jackson 5 medley in the 1993 shows. It was confirmed thanks to a photograph that it was used in Tokyo (December 24).
• The original black jacket of "Jam" was only used in Munich and in possibly 7 concerts in Tokyo 1992. This jacket has 3 other versions. One of these was used in the 1993 Superbowl . Another version was used only in the first concert of 1993. And the final version was used during the rest of 1993, during the photo session of the album HIStory: Past, Present and Future, Book I in 1994, the Royal Concert 1996, and it was last used for Michael's scan for a video game in 1999.
• " Will You Be There " had 3 different endings during the tour: in one Michael would be joined by a female dancer in a angel costume (similar to MTV 10th Anniversary performance in 1991); in another one Michael would be joined by a girl who would do sign language and in the final one he would finish the song alone.

References [ ]

• ↑ https://www.youtube.com/watch?v=DC_cWKW3EOc&pp=ygUZZGFuZ2Vyb3VzIHRvdXIgcmVoZWFyc2Fscw%3D%3D
• ↑ https://www.youtube.com/watch?v=6DPeBxSE6BI&t=11049s&pp=ygUZZGFuZ2Vyb3VzIHRvdXIgcmVoZWFyc2Fscw%3D%3D
• 1 List of unreleased songs
• 2 Brandon Jackson

• International edition
• Australia edition
• Europe edition

Dangerous was Michael Jackson's true career high

Michael Jackson's Dangerous was the first album I ever owned, a cassette copy that I pored over like the Rosetta Stone. What was that dog in ermine robes about? Was In the Closet about literally keeping something in a closet? All that was certain was that Macaulay Culkin, in being allowed a spoken-word intro to Black Or White, as well as starring in Home Alone 2, was the luckiest kid alive.

Looking at the sales figures, it's clear that everyone's currently on a Jacko reappreciation binge. My own has inevitably (and nostalgically) honed in on Dangerous, and one thing is objectively clear: this album rules.

As its initial release dovetailed with the Jordan Chandler allegations, the album is now falling neatly into an accepted narrative – that it's part of Jackson's decline, both artistically and personally. The reality is that Dangerous is Jackson at the very peak of his powers, with his widest ever emotional range set to production that makes new jack swing seem much more than just lame dance moves and fluorescent man-made fibres .

Produced mostly by Teddy Riley, the tracks are fiendishly intricate, loaded with scratching, multiple layers of drum programming, and shiny smashes of hyper-artificial brass. In its mechanic complexity and tautly funky precision, it mirrors and amplifies Jackson's corporeal and vocal exactitude; it also reflects Jackson's fascination with the robotic that imperceptibly crept into his dance moves and continued in his Moonwalker film.

Jackson, meanwhile, is revelatory. On Remember the Time , he is soft and teasing, ruthlessly manipulating his former paramour, before unleashing ferocious passion at the climax. Indeed, Dangerous is the only album on which he sounds believably erotic, all strained frustration and full-throated entreaties; Riley extracts a sexual urgency that the Neptunes would later draw from Justin Timberlake. Meanwhile on the baked-Camembert ballads Heal the World and Will You Be There , he's charmingly innocent, and sings simple, effortless melodies.

And while Quincy Jones once allegedly shouted, "No squeaks, motherfucker!" during the recording of Thriller, here Jackson is off the leash, brilliantly weaving his vocal tics into the fabric of Riley's production. On Who Is It , he elicits a gulping sob that syncs exactly with the beat – surely the funkiest crying ever recorded?

In all the swooning at Thriller's album sales and Jackson's pre-surgery beatitude, Dangerous risks becoming even more underrated than it is now. That would be a tragedy – for me, it's his finest hour. Does anyone else agree?

• Michael Jackson
• Pop and rock

Comments (…)

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Dangerous World Tour: 1992 – 1993

The Dangerous Tour started on June 27th 1992 and ended on November 11th 1993. It consisted of 69 concerts and was seen by approximately 3.5 million people. All proceeds from the tour were donated to various charities, including Michael’s Heal The World Foundation. The tour was unfortunately cut short due to health reasons.

The tour had a spectacular ending, with what looked like Michael putting on a jet pack and flying over the audiences’ head and out of the stadium’.

Set List – 1st Leg:

• Wanna Be Startin’ Somethin’
• Human Nature
• Smooth Criminal
• I Just Can’t Stop Loving You
• She’s Out Of My Life
• Jackson 5 Medley
• Billie Jean
• Workin’ Day And Night
• Will You Be There
• The Way You Make Me Feel
• Black Or White
• Heal The World
• Man In The Mirror

Set List – 2nd Leg:

Latest news, michael biopic set for 2025, the greatest night in pop trailer, ‘we are the world’ documentary, alternate ‘thriller’ album cover photos, ‘beat it’ hits 1 billion.

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Michael Jackson’s Dangerous Won the Early ’90s Through Sheer Spectacle

The King of Pop's groundbreaking eighth studio album turns 25 years old

Dusting ‘Em Off is a rotating, free-form feature that revisits a classic album, film, or moment in pop-culture history. This week, Michael Roffman puts on his dancing shoes and attempts to do the moonwalk as he looks back on Michael Jackson’s ’90s masterpiece .

Michael Jordan. Macauley Culkin. Slash. Teddy Riley. Tyra Banks. Eddie Murphy. Wreckx-n-Effect. Bill Bottrell. Magic Johnson. George Wendt. Heavy D. Iman.  Free Willy . Princess Stéphanie of Monaco. Who are we missing from this lineup? Oh right, Michael Jackson . From the very beginning, The King of Pop always worked with the best of the best, and his eighth studio album, Dangerous , was no exception to that rule. It took four producers, two studios, one new genre, and 16 months to bring Jackson’s sound into the ’90s, and you can hear that monumental excess in each one of the album’s 14 varied tracks.

At the time, though, Jackson was in a very precarious position. As the money piled in — from his globe-trotting Bad tour, from his sponsorship with L.A. Gear, from his new $65 million contract with Sony Music — the hype surrounding him had begun to reach ridiculous heights. He managed to follow up Thriller with Bad , but could he also follow up Bad ? The “Man in the Mirror” was no longer just a blockbuster singer or a worldwide sensation but a global brand, the first of his kind, and he was entering uncharted waters with more people to please. All the while, music was evolving at a very rapid pace.

In 1990, one the best-selling artists was MC Hammer, whose third studio album,  Please Hammer, Don’t Hurt ‘Em , spent 21 non-consecutive weeks atop the Billboard charts and became the first hip-hop album to be certified diamond by the RIAA. Thanks to the then-seemingly unstoppable success of his juggernaut single “U Can’t Touch This”, the album would go on to sell over 14 million copies worldwide by June 1991. The only artist more successful was Jackson’s own sister, Janet, who reigned over the year’s receipts with her 1989 fourth studio album,  Janet Jackson’s Rhythm Nation 1814 .

So, it makes sense why Dangerous would be such a laborious process. Jackson needed another reinvention, and he wasn’t going to find it with longtime producer Quincy Jones. Sure, the two owned the industry with  Off the Wall , Thriller , and Bad , but even Jones was hip enough to know that it was time for some fresh, younger ears. So he strongly suggested producer Teddy Riley, who had been turning heads in his R&B group Guy and had pioneered a new sub-genre dubbed new jack swing, which brilliantly fused together hip-hop and dance samples into a more muscular pop sheen.

By then, new jack swing had already taken over the radio and rocketed up the charts, namely through crossover hits by Bobby Brown (“My Prerogative”, “Every Little Step”), Janet Jackson (“Miss You Much”, “Love Will Never Do (Without You)”), Keith Sweat (“I Want Her”), Club Noveau (“Lean on Me”), and Babyface (“It’s No Crime”). In other words, Jackson was pretty late to the game by the time he started working on Dangerous , even beat by his closest rival, Whitney Houston, who embraced the sub-genre in 1990 with her third studio album,  I’m Your Baby Tonight .

None of that mattered, though, because the buck always started and stopped with Jackson. Although this period saw the rise of both alternative rock and hip-hop — not to mention all of the superstars quickly lining up behind Madonna, Houston, and his own sister — Jackson was still an untouchable enigma. Even if he wasn’t necessarily in the spotlight, the media still would find ways to perpetuate his myth, referring to him as  “Wacko Jacko”  throughout the ’80s and conjuring up all sorts of rumors and lies despite his best efforts to dispel them with his enlightening 1988 memoir,  Moonwalk .

Naturally, the world ate everything up.

Much of that intrigue, let’s be honest, also had to do with Jackson’s predilection for secrecy, something he would himself slightly parody with the help of  The Simpsons . For the series’ 1991 third season premiere, titled “Stark Raving Dad”, Homer J. Simpson is sent to the mental hospital, where he meets a portly, white patient claiming to be the King of Pop. Eventually, he wins over Homer, who brings him home to much fanfare, only to disappoint everyone when the guy turns out to be a fraud named Leon Kompowsky. His white flag is a birthday song for Lisa, which Jackson actually penned himself.

Truth be told, it was the world who was actually wacko for Jacko, and Epic capitalized on that notion when they rolled out Dangerous , starting with the worldwide debut of “Black and White”. Now, it’s impossible to explain how big of a deal it was to catch Jackson’s new video, but when it finally premiered on the night of November 14, 1991, it felt like the globe stopped spinning. In a way, it did: Thanks to a deal with Fox, John Landis’ iconic 11-minute video was screened simultaneously across multiple networks — MTV, BET, VH1, and Fox — and 27 countries to a record-shattering 500 million viewers.

Between the starry cameos, the visual effects, and the catchy song itself, the video was nothing short of a spectacle. Yet what made it a cultural moment were the controversial final four minutes. At the very end, a black panther prowls a dark street before morphing into the singer, who proceeds to dance atop an abandoned car that he destroys in an outrageous show of protest. While conservatives complained about the more sexual material — he grabs his crotch, zips up his pants — the video’s radical epilogue was actually the truest preview of the Michael Jackson they would find on Dangerous .

With shattered glass and a brash orchestral hit, album opener “Jam” wastes zero time announcing the King of Pop’s furious return, eschewing the comfortable handshaking that might otherwise try to pad such a jarring reinvention. “Nation to nation, all the world must come together/ Face the problems that we see/ Then maybe somehow we can work it out,” Jackson addresses his fans and critics at once, signing off on the first verse with the rather haunting line: “I told my brother there’ll be problems, times and tears for fears/ But we must live each day like it’s the last/ Go with it, go with it…”

One of the finest of Riley’s seven contributions on the record, “Jam” wisely sets the tone for everything that follows by not only introducing his new sound for Jackson but immediately unleashing the singer’s socially charged frustrations. With the lone exception of “Leave Me Alone” off Bad , Jackson had never sounded so angry and frustrated, two emotions that would inform much of his music within the ’90s (see: 1995’s HIStory: Past, Present and Future, Book I ). Given that Riley was responsible for bridging Jackson and the hip-hop scene, it makes sense that his cuts are the fiercest of the bunch.

Perhaps the greatest part about Jackson’s ferocity is what it did to him vocally. He does some remarkable things with his voice throughout Dangerous , leaning on the raspier side of his talents, which allows him to wrap around rappers like Heavy D (“Jam”) and Wreckx-n-Effect (“She Drives Me Wild”) with aplomb. It’s like Riley sat him down, had him re-listen to “Dirty Diana”, and said, “Look, do that, but do it even angrier.” It’s why he’s able to smear venom all over the viciously underrated “Why You Wanna Trip on Me” and later sell the tortured angst that fuels the timelessly sexy R&B of “Remember the Time”.

Then again, this is Michael Jackson, who was only three years removed from this:

While, yes, he did tackle polarizing issues like racism, poverty, and inner city life with a rare dose of vitriol, he was never going to abandon his friendly brand of optimism. That’s why  Dangerous is jarringly split down the line between Angry Jackson and Hopeful Jackson, the latter finding the singer becoming less King of Pop and more King of Saccharine on “Heal the World”, “Will You Be There”, “Keep the Faith”, and “Gone Too Soon”. Not coincidentally, these sappy, dated tracks were all from the hands of the album’s more old-school producer, Bruce Swedien.

The shift in tone wasn’t exactly unwarranted. Jackson had previously raised the world’s spirits with his critically acclaimed single “Man in the Mirror” on Bad , and it was quite clear he was trying to maintain that role of World’s Finest on Dangerous , even reuniting with “Mirror” songwriters Glen Ballard and Siedah Garrett for the gospel-driven stunner “Keep the Faith”. The issue is that these more spiritually uplifting tracks — even his touching ode to HIV victim Ryan White on “Gone Too Soon” — seemingly work in direct opposition to everything that Riley had set in place on the first half of the album.

Fortunately, the album had a third outside producer in Bill Bottrell. Having worked with the singer on Bad , and coming off of dynamite collaborations with both Madonna and Tom Petty, Bottrell was perhaps the more obvious choice for the pop album. And to be fair, it’s his work that glues everything together, finding a direct middle ground between Riley’s prized new jack swing and Swedien’s glossy vintage pop with his three slick-as-hell contributions: “Black or White”, “Who Is It”, and “Give In to Me”. It’s not surprising that all three songs co-exist towards the album’s middle, acting as a literal bridge.

What really  bridged everything together, though, was how Dangerous  was marketed. Unlike today, where pop albums tend to live and die by the year, Jackson’s works had the luxury of enjoying fruitful, elongated stretches with six to seven hit singles per release. Dangerous  had nine — plans for a 10th with the title track were scrapped once the child abuse allegations surfaced in August 1993 — yet it was a far more difficult run than previous efforts. Despite becoming one of the best-selling albums of all time , the biggest hits really boiled down to “Black or White” and “Remember the Time”.

Here’s the thing, though: Dangerous never left the public consciousness. Again, Jackson attracted the best of the best, and even if every single didn’t top the charts, they roped in enough talent to turn heads. “Jam”, for instance, only hit No. 26 on the Billboard 200 (and No. 3 for US R&B), but everyone knew about the video that starred NBA god Michael Jordan. “Heal the World” also performed low, but it was accompanied by the foundation of a global charity of the same name. “Will You Be There” admittedly fared much better on the charts, but mostly thanks to its inclusion in 1992 blockbuster Free Willy .

It gets better: Guns N’ Roses’ six-string hero Slash not only appeared in the studio but also on the video for “Give In to Me”. Then rising filmmaker David Fincher directed the video for “Who Is It”. Late photographer Herb Ritts lensed the video for “In the Closet”, which also starred Naomi Campbell and featured the vocals of Princess Stéphanie of Monaco. And John Singleton, hot off his Academy Award-nominated masterpiece Boyz n the Hood , directed the video for “Remember the Time”, which featured Eddie Murphy, Iman, The Pharcyde, Magic Johnson, Tom “Tiny” Lister, Jr., and Wylie Draper.

Sony and Epic made it literally impossible to escape Jackson in the early ’90s. In addition to the star power and the behind-the-scenes talent, the singer also released his first HBO concert special,  Michael Jackson: Live in Bucharest , in October 1992, and performed at both the American Music Awards and the Grammy Awards. To top it all off, he did a huge interview with television titan Oprah Winfrey and headlined the halftime show for the legendary Super Bowl XXVII, where the Dallas Cowboys toppled over the Buffalo Bills and pre-cold-blooded killer O.J. Simpson handled the game’s coin toss.

He was everywhere, even when you least expected him.

Of course, Jacksonpalooza would come to an end in the summer of 1993. After the aforementioned allegations, a new era for the singer began, one marred in devastating controversies and astounding revelations that piled atop one another as the years inched by. He was still an enigma, but for achingly sordid reasons, and there seemed to be an asterisk added to any of his following accomplishments, something that continues to loom over his continuously polarizing legacy. All of this, however, only makes Dangerous that much more intriguing and vital in Jackson’s discography.

In some respects, it’s arguably his final album, the true bookend to the legend of the King of Pop. While Jackson would see blockbuster success with 1995’s greatest hits/ninth studio album,  HIStory: Past, Present and Future , and there are some really interesting tracks there narratively speaking (see: “Scream” and “They Don’t Care About Us”), it hardly had the energy or the prestige that once prompted a new Michael Jackson album. Even worse was its incredibly belated follow-up, 2001’s Invincible , which one might make the case for being the least appropriately titled of Jackson’s 10 studio albums.

Because of this, there’s something poetic about Dangerous . It’s not a perfect album by any means — the sequencing alone leaves much to be desired — but it’s by far Jackson’s most daring. What’s more, the risks he took paid off and continue to pay off; think about all the crossover pop albums that have followed in its wake, the echoes in marketing, and the constant starfucking that has become all too commonplace. No, there’s a mysterious presence to Dangerous that just doesn’t exist on Off the Wall , Thriller , or Bad , and while it’ll never appeal in the same way those do, it’ll always engage.

Isn’t that the ending everyone wants?

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Michael Jackson's Dangerous Won the Early '90s Through Sheer Spectacle

Dangerous World Tour

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The Dangerous World Tour was Michael Jackson's second concert tour. The tour took place from June 27, 1992 to November 11, 1993.....

The 69 concert dates of the tour attracted more than three million fans & the staging of the concert sets took nearly three days to set up. There were 20 trucks of equipment that were shuttled on cargo planes to countries around the world.

Michael ended up cutting the remainder of his tour short due to the stress from the child sexual abuse allegations levelled against him.

• 1 Tour Overview
• 2 Preparations & Set Designs
• 3.1 Super Bowl XXVII Halftime Show
• 4 Opening Acts
• 6 Tour Dates
• 7 Concert Broadcast & Recordings
• 8 Tour Personnel

Tour Overview [ ]

Following the huge success of Michael's first solo world tour, Bad World Tour (where he earned over $125 million), the star claimed that he would not tour again and would concentrate on making films and records instead.

On February 3, 1992 in a Pepsi press conference, it was announced that he would be touring again. The announcement coincided with a new deal between Michael and Pepsi with a reported $20 million deal to sponsor the tour.

In an interview, Michael stated, " The only reason I am going on tour is to raise funds for the newly formed Heal the World Foundation, an international children's charity, that I am spearheading to assist children and the ecology. My goal is to gross $100 million by Christmas 1993. I urge every corporation and individual who cares about this planet and the future of the children to help raise money for the charity. The Heal the World Foundation will contribute funds to paediatric AIDS in honour of my friend, Ryan White. I am looking forward to this tour because it will allow me to devote time to visiting children all around the world, as well as spread the message of global love, in the hope that others will be moved to do their share to help heal the world ."

" Michael's show, I loved ," said Janet Jackson. " The only thing – and I told him – that I wish he had done was to play more songs from the new album. And I wish he had played 'Don't Stop 'Til You Get Enough'. He goes, 'I know, Jan, and the other brothers told me that, but you know what? I was really pressed for time.' And that's the thing, when you become so busy. So it was pretty much the same show as he's been doing for some time ."

Preparations & Set Designs [ ]

The stage used for the tour required more time to set up than before. Equipment, which in total weighed over 100 tons, required two Boeing 747 jet aircraft and multiple lorries to transport to each venue.

For the tour's design, Michael was influenced by the uniform worn by the military. For "Jam", the first performance on the set list, He wore two variations of a faux-military uniform.

During the 1992 leg, the uniform was a grey-green jacket with a one bolted strap which sparkled with multicolour.

For the Tokyo and 1993 leg, Michael wore a black uniform with three gold bolted straps, one going from his collar to his waist in one direction and the other two in another; he also used similar costume at the first Dangerous tour concert in Munich, the Super Bowl XXVII halftime show in 1993, and later at the Royal Brunei Concert in 1996.

The tour also incorporated several stage illusions. The Dangerous era was considered one of Michael's best.

Each concert on the tour ended by a stuntman, Kinnie Gibson, who secretly switched with Michael as he kneels down a trap hole in the stage, dressed in a full astronaut costume (therefore appearing as Michael Jackson), flying out of the arena using a rocket belt.

Each concert also began with an illusion-like stunt dubbed "the Toaster" in which following the ringing of bells and the roar of a panther, Michael catapults on to the stage through a trap door in the front, sending off pyrotechnics that electrified the crowd.

" That opening was kick-ass ," admired Janet Jackson. " I'm sitting in the sound tower and all the kids are everywhere. And when he jumped out of whatever the hell that thing was, I was yelling so loud, the kids in front of me were looking back and I didn't even know it. My friend Tina is saying, Jan, they're looking at you. Because I was going, Fuck yeah, Mike! That was the shit to me. That was so bad-ass. Why didn't I think of that? When he thought of that shit, he hit it. "

A similar version of "the Toaster" stunt was used in the beginning of Michael's Super Bowl XXVII Halftime Show performance in 1993.

During the 1992 leg, the transition from "Thriller" to "Billie Jean" was another stage trick.

When Michael walks into two pillars, he secretly switches with a werewolf-masked backup dancer while he changes for "Billie Jean."

The backup dancer posing as Michael is placed into a coffin which disappears when dancers posing as skeletons and zombies drape a cloth over the coffin and pull it out. He appears fully dressed for Billie Jean in the upper stage level as it lowers down.

The coffin portion of this stage illusion was removed in some of the 1992 leg shows and the entire 1993 leg of the tour, and replaced with the Michael Jackson impersonator and the backup dancers performing an encore of the "Monster Breakdown" (the dance sequence in "Thriller").

The Show [ ]

The original set list for the 1992 leg featured " The Way You Make Me Feel " and " Bad ", but these were taken out after the eighth concert in Oslo, Norway. However, these two songs were returned for the first six performances in Tokyo, Japan.

During the Europe leg in 1992, MTV was allowed to film backstage and broadcast six fifteen-minute episodes of the tour. The show was called "The Dangerous Diaries" and was presented by Sonya Saul.

MTV released footage of "Billie Jean" and "Black Or White" at the first show in Munich. "Billie Jean" was released with 2 different versions, one by MTV as a special, and the other on the "Dangerous Diaries" documentary.

Both versions have placed a snippet of Michael's original a cappella recording for "Billie Jean" over the live vocals when he throws his fedora.

Michael sold the film rights to his October 1, 1992 concert in Bucharest, Romania to HBO for $21 million.

The deal was the highest ever paid for a live concert. The concert was broadcast live on radio and shown on television across 61 countries and received the highest TV ratings in the history of the HBO network, in which Michael was honoured with a CableACE Award.

In 2004, the concert was released on DVD as part of Jackson's The Ultimate Collection box set. It was released again in 2005 as the separate DVD "Live in Bucharest: The Dangerous Tour." The footage used on the released version is actually a mixture of footage from Bucharest – The BBC Broadcast, HBO live telecast (pay per view) and the HBO TV version.

The Dangerous tour was met with some backlash by music critics and fans because of Jackson's increased habit of lip syncing his live performances.

The Toulouse, France concert performed on September 16, 1992 featured a special instrumental performance of the first half of the song "In the Closet" as an interlude between the songs " Heal the World " and " Man in the Mirror ".

Princess Stéphanie of Monaco (who was the "Mystery Girl" in the actual song) was in attendance at this concert. This concert marked the first and only time that this song was performed during this tour.

On December 31, 1992 during the New Year's Eve concert in Tokyo, Japan, Slash made a special guest appearance for the performance of " Black or White ". Slash also made a special appearance for "Black or White" at the concert in Oviedo, Spain in September 1992.

On August 29, 1993, Michael performed in front of 47,000 on his 35th birthday in Singapore.

During his visit to Moscow in September, he came up with the song "Stranger in Moscow" which would be released on his 1995 album HIStory: Past, Present and Future, Book I . It was during a time when Jackson felt very alone, far away from his family and friends, yet every night throughout his tours fans would stay by his hotel and support him.

Michael performed a free concert at the Jerudong Park Amphitheatre in Bandar Seri Begawan, Brunei on July 16, 1996.

The concert was in celebration of the fiftieth birthday of Hassanal Bolkiah, the Sultan of Brunei and was attended by the Brunei royal family. This concert resembled the Dangerous tour with the addition of HIStory songs, " You Are Not Alone " and " Earth Song ".

Super Bowl XXVII Halftime Show [ ]

Unlike many previous years, Michael was the only performer in the entire Super Bowl XXVII halftime show.

The show started with him dancing on certain jumbotrons, followed by impersonators that posed on top of the screen, which gave the illusion of Jackson moving from one side of the stadium to the other. Then Michael himself catapulted on stage and simply stood frozen in front of the audience.

Jackson's set consist of a medley: "Jam" (with the beginning of "Why You Wanna Trip on Me"), "Billie Jean" and "Black or White".

The finale featured an audience card stunt, a video montage showing Michael participating in various humanitarian efforts around the world and a choir of 3,500 local Los Angeles area children singing "We Are the World", later joining him as he sang his single "Heal the World".

It was the first Super Bowl where the audience figures actually increased during the half-time show.

The selection of Michael for the halftime show was in response to sagging interest in recent performances, notably in the two years immediately prior.

The NFL and FOX network officials decided it was necessary to sign top acts for the halftime in future years to boost future viewership and interest. The NFL donated $100,000 to Michael's Heal the World Foundation.

Opening Acts [ ]

• D'Influence (England)
• Snap! (Bucharest)
• Culture Beat (1993 European dates)

Set List [ ]

1992 Rehearsals

• " Wanna Be Startin' Somethin' "
• " Human Nature "
• " Smooth Criminal "
• " I Just Can't Stop Loving You " (duet with Siedah Garrett )
• " She's Out of My Life "
• The Jackson 5 Medley: " I Want You Back " / " The Love You Save " / " I'll Be There "
• " Rock With You "
• " Thriller "
• " Billie Jean "
• " Remember The Time "
• " Workin' Day and Night "
• " Beat It "
• " Will You Be There "
• " The Way You Make Me Feel "
• " Black or White "
• " Heal the World "
• " Man in the Mirror "
• "Brace Yourself" (Introduction)
• "Black or White Panther" (Video Interlude)
• " Someone Put Your Hand Out " (Instrumental Interlude)
• " We Are the World " (Video Interlude)
• " Man in the Mirror "/"Rocket Man" (Final)
• " Dangerous "

1996 Royal Concert

• " I Just Can't Stop Loving You " (with Marva Hicks )
• "Black Panther" (Video Interlude)
• " Beat It " (with Jennifer Batten )
• " You Are Not Alone "
• " Earth Song "

Tour Dates [ ]

Concert broadcast & recordings [ ].

All concerts were professionally filmed by Nocturne Productions Inc., which filmed all of Michael's tours and private affairs.

During the 1992 European leg of the tour, MTV was given permission to film backstage reports, interview the cast and film live performance.

The mini-show was hosted by Sonya Saul and had six, 15-minute mini-episodes of concerts in Munich, Werchter, Dublin, Hamburg, Cardiff, London, Leeds, Berlin, Oviedo and Madrid.

Performances include Billie Jean , Black or White , Jam , Wanna Be Startin' Somethin' and Will You Be There .

The concert in Bucharest on October 1, 1992, was filmed and broadcast on television all across the world, giving HBO the highest rating garnered in cable TV history with an unedited version airing on the BBC.

The concert film titled "Live in Bucharest: The Dangerous Tour" was officially released on DVD on July 25, 2005.

Tour Personnel [ ]

• LaVelle Smith (choreographer)
• Jamie King, Evaldo Garcia, Randy Allaire (1992 leg), Wade Robson (1992, Oslo), Travis Payne (1993 leg), Damon Navandi, Bruno "Taco" Falcon, Michelle Berube and Yuko Sumida

Band members

• Musical director: Greg Phillinganes
• Assistant musical director: Kevin Dorsey
• Keyboards/ Synthesizers: Greg Phillinganes, Brad Buxer & Isaiah Sanders
• Drums: Ricky Lawson
• Lead/Rhythm Guitar: Jennifer Batten & David Williams
• Bass Guitar/Synth Bass: Don Boyette
• Vocal director: Dorian Holley
• Background Vocals: Kevin Dorsey, Dorian Holley, Siedah Garrett & Darryl Phinnessee
• 1 Cheryle Terrell
• 2 JohVonnie Jackson
• 3 Dangerous World Tour

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The Protesters and the President

Over the past week, thousands of students protesting the war in gaza have been arrested..

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Over the past week, students at dozens of universities held demonstrations, set up encampments and, at times, seized academic buildings. In response, administrators at many of those colleges decided to crack down and called in the local police to detain and arrest demonstrators.

As of Thursday, the police had arrested 2,000 people across more than 40 campuses, a situation so startling that President Biden could no longer ignore it.

Jonathan Wolfe, who has been covering the student protests for The Times, and Peter Baker, the chief White House correspondent, discuss the history-making week.

On today’s episode

Jonathan Wolfe , a senior staff editor on the newsletters team at The New York Times.

Peter Baker , the chief White House correspondent for The New York Times covering President Biden and his administration.

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As crews cleared the remnants of an encampment at U.C.L.A., students and faculty members wondered how the university could have handled protests over the war in Gaza so badly .

Biden denounced violence on campus , breaking his silence after a rash of arrests.

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Camila Cabello Announces Release Date for New Album ‘C, XOXO’

By Steven J. Horowitz

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Camila Cabello has announced that her upcoming album “C, XOXO” is slated for release on June 28.

The singer initially launched this new era with the project’s debut single “I Luv It” featuring Playboi Carti in late March. The track, produced by El Guincho and Jasper Harris, featured a sample from Gucci Mane’s 2009 single “Lemonade” and peaked at No. 81 on the Billboard Hot 100. She performed the single at Coachella with a surprise appearance during Lana Del Rey’s headlining set on the event’s second weekend.

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The former Fifth Harmony member last released “Familia” in 2022, featuring the singles “Don’t Go Yet” and “Bam Bam.” Prior to that, she dropped her eponymous debut solo album in 2018, followed the next year by “Romance.”

Outside of music, Cabello appears in the indie drama “Rob Peace,” which premiered at this year’s Sundance Film Festival. In the movie, she plays the girlfriend of the titular character (actor Jay Will) who is forced to sell drugs to help pay for his incarcerated father’s legal issues.

“I felt a story like this needed to be told,” Cabello said at the Variety Studio presented by Audible in January. “People have told stories like this in an overly simplistic way… people coming from difficult circumstances; binary ways of looking at success and failure. In reality, it’s more complex than that.”

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