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Tavis Smiley - Before You Judge Me: The Triumph and Tragedy of Michael Jacksons Last Days

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A powerful chronicle of the sixteen weeks leading up to King of Pop Michael Jacksons death
Michael Jacksons final months were like the rest of his short and legendary life: filled with deep lows and soaring highs, a constant hunt for privacy, and the pressure and fame that made him socially fragile and almost--ultimately--unable to live.
With the insight and compassion that he brought to his bestselling telling of Martin Luther King, Jr.s final year, Tavis Smiley provides a glimpse into the superstars life in this emotional, honest, yet celebratory book. Readers will witness Jacksons campaign to recharge his career--hiring and firing managers and advisors, turning to and away from family members, fighting depression and drug dependency--while his one goal remained: to mount the most spectacular series of shows the world had ever seen. BEFORE YOU JUDGE ME is a humanizing look at Jacksons last days.

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Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture.

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Copyright 2016 by Tavis Smiley

Cover design by Mario J. Pulice

Cover photograph by Getty Images

Cover copyright 2016 by Hachette Book Group, Inc.

All rights reserved. In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the authors intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at permissions@hbgusa.com. Thank you for your support of the authors rights.

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First ebook edition: June 2016

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ISBN 978-0-316-25910-1

E3-20160402-JV-PC

My Journey with Maya

Death of a King

The Rich and the Rest of Us

Fail Up

Accountable

The Covenant with Black America

The Covenant in Action

What I Know for Sure

Never Mind Success Go for Greatness!

Keeping the Faith

Doing Whats Right

Hard Left

How to Make Black America Better

On Air

Just a Thought

Before you judge me

Try hard to love me

Childhood by Michael Jackson

Wednesday, June 24, 2009

No one can quite believe it.

The dancers, the singers, the musicians, the creweveryone is stunned, even shocked, by the power of Michaels performance. His presence has electrified the Staples Center. It makes no difference that the cavernous arena is empty. Makes no difference that this is only a rehearsal. What matters is that after months of dire uncertainty about the upcoming shows in Londonmonths when the star has appeared too weak, distracted, or drugged to commit to this enormous undertakingMichael has turned it around. Just when many were convinced that the concerts, starting July 13, would have to be scrubbed, Michael has proved the skeptics wrong.

His voice is strong. His dance moves are impeccable. His critiques of the arrangements and choreography are right on the mark. But what moves his support team most is Michaels heart. Everyone present can feel Michaels loving and generous heart. His heart is beating wildly, and so are theirs. In his heart, he has rededicated himself to the great task at hand.

Onstage, Michael has taken command of what only a few days earlier appeared to be a hopelessly unwieldy production. Only he knows how to repair and refit the broken pieces. Only he has the charismatic energy to bring it all together. Only he has the singular focus to salvage this enterprise and pull off the comeback he has promised his worldwide audience.

As he works his magic for hours on end, all eyes are on Michael. The renewal of his ambitionto make these shows the most spectacular in his four-decade history of performinghas excited the ambition of everyone around him. To be close to Michael is to be close to immortality.

When he leaves the Staples Center that Wednesday evening, exhausted but exhilarated, he feels more alive than ever.

Yet only sixteen weeks earlier, at a chaotic London press conference, he was experiencing far different feelings.

On March 5, 2009, in London, England, Michael realizes he must do what he has long sought to avoid. He must announce his decision to return to the stage. At this point he has no choice. Commitments have been made, contracts signed. The deal is sealed. Yet part of him remains uncertain and reluctant. A fifty-year-old single father of three who has devoted himself to his children, he has for the past several years led a highly protected and insular family life. He has not toured since 1997 and not performed since 2006, and then only for a few fleeting moments. Following his dramatic acquittal after a sixteen-week-long trial in the summer of 2005, he and his children have wandered the world in search of a peace that has maddeningly eluded him. Meanwhile, with his finances in catastrophic disarray, he has finally settled upon a solution: a series of ten concerts at the O2 Arena.

And still he isnt sure.

As hundreds of reporters and thousands of fans await his arrival at the press conference inside the O2, Michael paces back and forth in a van outside the arena. He is not ready to face the music or the worldwide media.

He cannot help but remember his last public appearance in London. It was in 2006, during the eighteenth annual World Music Awards. Beyonc introduced him at Earls Court, where he was presented with a Guinness World Record: twenty-four years after its initial release, Thriller was declared the biggest-selling record ever. But what should have been a happy occasion turned sadat least for Michaels fans. Besides joining with a childrens choir to sing a few choruses of We Are the World, Michael did nothing beyond give a brief acceptance speech. His fans had hoped he would perform Thriller. Instead, it was Chris Brown who sang the song. The next day the press eviscerated Michael, who claimed that he had never been scheduled to sing. The negative publicity stung, and now, waiting in the van, Michael wonders whether London is ready to forgive and forget.

This announcement is a turning point. He knows that theres no going back. Hes gone back before. Michael has a history of breaking commitments and canceling shows, followed by floods of legal entanglements. He cant afford to do that again.

This is it is the mantra that sounds inside his head.

This Is It is the actual name hes given the tour. He wants there to be no mistake.

This will be his last public performance.

Ever.

His closest confidants, like his sister Janet, understand who he is and who he will always be: an artist obsessed with art. He is a man who wants nothing more than the freedom to devote himself to making music and other creative endeavors. Live shows are simply too draining. They are repetitive. They reflect his past, not his present, and not his future.

The O2 shows, though, will be different. He will not have to travel. This concert series will take place in one venue and one venue alone. That means he and his children can avoid the exhausting grind of a grueling tour.

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