Part 2:
SB: This, by the way, is a whole book unto itself, how you have learned the power of the hidden, of the mysterious. Look out there in New York. Right now as we speak there are hundreds of thousands of woman who want to get married and guys won’t commit to them. And do you know one of the main reasons is because they’ll have sex with them anyway.
Years later I authored a book called “The Kosher Sutra”, which outlined all the erotic principles of attraction, with mystery, forbiddenness, and sinfulness being at the forefront. The book became a best-seller.
MJ: Uh huh.
SB: Why would you marry her if you could have her without the commitment? If you wanted to borrow ten million dollars from the bank manager, and he says, “Here Michael, here’s ten million dollars,” would you then say, “Oh, by the way, you forgot to ask me for collateral. Here it is”? you wouldn’t volunteer it. So, you understand what I’m saying? And they might never get married and these women come in their hundreds to me, crying, writing about how lonely they are. They don’t know the power of mystery. They go to bed on the first date; they don’t know how to hold back. He never has to win them over. And by the way, that’s what happened to Madonna. Madonna overexposed herself. She’s still a celebrity but she’s not what she was.
MJ: Yeah, I know.
SB: She didn’t even overexpose herself, Michael, through TV and music. It wasn’t that she gave too many interviews. Rather, she overexposed her body. She was a sex symbol. People wanted to know what her body looked like, and she did that stupid, sleazy, disgusting book, and all you had to do was buy that book. The mystery was permanently gone.
MJ: I know, I know. Exactly right.
SB: There are a few people today who understand the power of mystery. You understand it because there is an intuitive spiritually to your nature that is a real gift. Because this understanding of mystery, and your understanding of the power of timing, helps us understand the holy. God only reveals very sporadically and at very choice moments. Mystery and timing are central to revelation.
(Like I said in the post about the cards, I think Michael is a spiritual man, and I think this chapter of the book kinda confirms it. Choice moments. Michael decides when to show us the clues, and when to come back. Mystery and timing are central to revelation. Exactly, after all the riddles we've been solving, and after Michael feeling that it's the right time to come back, he'll reveal himself, and tell the world what he did, and why he did the hoax. And it's interesting Michael said "That's one of my favorite things to think about too.") He likes to think about mystery, timing, revelation, the hidden and spirituality.
MJ: I love that. That’s one of my favorite things to think about too.
SB: How hidden god is.
MJ: How hidden.
SB: You’ve got to find him.
MJ: You see all this miracles through him but you don’t see his face, himself, you know? You see through the children.
SB: Which makes you more interested in him?
MJ: Yeah.
SB: You want to find him?
MJ: Makes you want to seek him out and find him. Absolutely. I love that. And some people just throw up their hands and go, “What is this all about, this whole universe and where is he? I want to talk to him and what is it?” you know I love that. He’s the ultimate. He is. He’s the man.
SB: So this is how we stop people from being bored. First of all one more thing before we move on to boredom. So you instinctively knew timing, mystery? You just knew?
MJ: Yeah, it’s true, Shmuley.
SB: It’s not like a manager pulled you aside and said, “Michael. You can be a big star. Don’t overdo it.”?
MJ: No. no way.
SB: Did your brothers not understand it?
MJ: No, they don’t understand it. They would jump on anything, any second. If anybody said, “I want to interview you tomorrow about Michael’s new style of dress, “Sure.” Cause they just want to be on TV, to be on TV. I think people appreciate you much more when you, you know conserve, just hold… you know.
SB: Hold back?
MJ: Hold back and build yourself and give yourself a certain kind of class and make them reach out for you and just… I love gates, gates to a house. I love huge big pillars and gates. You don’t know what’s back there beyond the road. You just see these… you know, you go, “God who lives in there?” I love that. You know, you never see them but you see the gates and I love that.
SB: But the gates to Neverland are so simple?
MJ: So simple, that’s how I wanted them. Because I don’t want the gate to represent, you know, it’s an act of almost psychology. I was gonna make them so, kind of, almost… what’s the word? Umm, I can’t think of the word I’m looking for. I was gonna have people swing them open and really kind of have them funky and tattered, just so psychologically you really feel like you’re coming to a ranch, so that when you go around the bend I want it to change to Technicolor, like the Wizard of Oz does in black and white.
(Remember the Yellow Brick Road in the movie. Remember Michael's musical of it. Remember the Yellow Brick Road in the "Hollywood Tonight" single cover.)
SB: That’s exactly what happened with us. First thing we said when we got to Neverland was, “This can’t be his ranch, what are those simple doors?” then you drive through and you see the sign, “Welcome to Neverland” and then, kaboom.
MJ: Yeah.
SB: It just hits you.
MJ: That, see, that’s important to understand in show business. If you open with too much of a bang, where do you go from there? Your crescendo too big, you have nowhere to go. You can’t do that. That’s why I always say, in amusement parks, the guy who creates the roller coaster, the dips, you’re going up at first, way up and you go, “Oh my god, why did I do this?” then it takes you straight down and it takes you up a little bit, then down, and he’s the real showman, the guy who creates the dips. You know the peaks and the valleys, then he takes you straight real fast and up and upside down. He’s a showman. That guy’s a real showman because he understands syncopation and rhythm and structure and that’s important. That’s real important as an artist of show business and most of your artists today know nothing about it.
SB: They all overexpose themselves.
MJ: At all. At all.
SB: Is that your professional greatest blessing, that you were born with that rhythm? You just had that natural timing and you understood it?
MJ: Yeah, yeah. I think
SB: Is it part of your love for God and his hiddenness and all that, that it’s all one, that you sort of tapped into that divine mystery and you know the power of mystery?
MJ: Yeah, I think, yeah, like you say, it’s just something… like the way you speak. That’s the power of God in you Shmuley. You do, I’ve never heard anybody speak like you, it’s amazing. It’s like God is working right through you. I mean it’s like that, when I’m on stage it’s the same way. I don’t think about what I’m gonna do, I don’t know what I’m gonna do.
SB: You just get into the zone, the timing.
MJ: You get into it, man. You become one with what god gave you. It’s like talking, it’s spiritual. It’s between you and God and the audience is right there with you. How do you describe it, I mean, how do you dissect it, how do you analyze it? You really can’t. People say how do you do it? “Well I work out and I train.” Well, you don’t.
So, this was it. What do you think?? Anything interesting you noticed?
With love,
~♥~ Susie ~♥~
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