When we first met, around 1988, I was struck by the combination of charisma and woundedness that surrounded Michael. He would be swarmed by crowds at an airport, perform an exhausting show for three hours, and then sit backstage afterward, as we did one night in Bucharest, drinking bottled water, glancing over some Sufi poetry as I walked into the room, and wanting to meditate.
That person, whom I considered (at the risk of ridicule) very pure, still survived -- he was reading the poems of Rabindranath Tagore when we talked the last time, two weeks ago. Michael exemplified the paradox of many famous performers, being essentially shy, an introvert who would come to my house and spend most of the evening sitting by himself in a corner with his small children.
 
    
        Michael Jackson 
     
    
     
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        Some time ago I saw a painting by Thijs Maris [= Matthijs Maris, one of the three brothers Maris, all three famous Dutch impressionist painters of the Hague School ] that reminded me of it. An old Dutch town with rows of brownish red houses with step-gables and tall flights of steps, grey roofs, and white or yellow doors, window-frames and cornices; canals with ships and a large white drawbridge, a barge with a man at the tiller going under it... Some distance away a stone bridge over the canal, with people and a cart with white horses crossing it. And everywhere movement, a porter with his wheelbarrow, a man leaning against the railing, gazing into the water, women in black with white caps... A greyish white sky over everything... 
         
 
    Vincent van Gogh 
 
                 
            
        
     
    
    
                                        
                    
    
        Without really wanting to at all, they pay calls and carry on conversations, sit out their hours at desks and on office chairs; and it is all compulsory, mechanical and against the grain, and it could all be done or left undone just as well by machines; and indeed the never ending machinery that prevents their being, like me, the critics of their own lives and recognizing the stupidity and shallowness, the hopeless tragedy and waste of the lives they lead, and the awful ambiguity grinning over it all. And they are right, right a thousand times to live as they do, playing their games and pursuing their business, instead of resisting the dreary machine and staring into the void as I do, who have left the track. 
         
 
    Hermann Hesse 
 
                 
            
        
     
    
    
                                        
                    
    
        Linden Arden stole the highlights
With one hand tied behind his back.
Loved the morning sun and whiskey
Ran like water in his veins.
Loved to go to church on Sunday,
Even though he was a drinkin' man.
When the boys came to San Francisco,
They were looking for his life.
But he found out where they were drinking,
Met them face to face outside.
Cleaved their heads off with a hatchet,
Lord, he was a drinkin' man.
And when somebody tried to get above him,
He just took the law into his own hands.
Linden Arden stole the highlights,
And they put his fingers through the glass.
He had heard all those stories many, many times before,
And he did not care, nor know, to ask.
And he loved the little children like they were his very own.
You say 'Someday, he may get lonely,
Now he's livin', livin' with a gun. 
         
 
    Van Morrison