If You're Reading This Blog In A World Devastated By Nuclear Warfare - Nevermind

IPSO-FACTO.... OH NEVERMIND, YOU'RE BUSY
I will begin with what, in one of its many forms and incarnations, serves as meat for the masses hungry for something that might rate as solid proof that I am secretly "super-important". That is, well, if one is all read-up on how my influence on everything Sean Daniel produces (sometimes a significant influence, as one finds here, where my work touches the last event so far in the world of the Scorpion King/Mummy sagas) contains larger implications, implications that.... are beyond what I should I ever expect can be conveyed to you!! (e.g., support for my assertions that I have influenced his friends Spielberg and McCartney, if one is ever entitled to build credibility in this world, which ipso-facto lends support to assertions regarding the center of a larger world chessboard that descends upon us who are there only a different world chessboard that ain't goin' round descending on no one, just minding it's own business like, ah, I can't explain this, you're still trying to figure out why checkers are round if they're ridged, you idiot!) (I've also posted this video on YouTube):





WORLDS END
I'm pleased to announce the release, on Feb. 24th, of my newest work-in-progress song (unless it isn't merely a work-in-progress, but something containing a totality that defies such half-certification?), "Worlds End", posted at Archive.Org.

I hope you'll find it enjoyable, whether you believe I'm offering an accurate picture or something that only has derivativeness and/or imitativeness at its core.


SNL UPDATE
I had nothing new for SNL's last new show (for those who may have been following the other saga weaving a thread through the world, by which I mean, the ongoing story of my perpetual influence on that week's Saturday Night Live whenever I come up with something for them, though my material is often only used in tiny fragments, although sometimes I consider it to be used in great big fragments(!), and even in sketches that open or close SNL seasons, not to mention my causing surprise appearances in sketches by people like Paul McCartney!).

However, Though I Didn't Submit Anything For Their Most Recent Show:
For this description of a possibly minor matter of note, I would ask that you first take into acccount assertions (observations?) I have made in my recent blogs that "Dear Whoever Gonna Blow Up The World," a comedy sketch idea of mine, has been useful to SNL in different ways over the past several shows (included in one of my discussions of "Dear Whoever" is my belief, supported by what I consider to be evidence, which I present, that my idea was also a substantial influence on SNL's first take / discussion of Kim Jong Un now that he has taken over that country, you know, the enemy of the U.S. with the nuclear weapons).

Second, I note that one finds a treehouse both in this same sketch idea of mine, as well as on the show currently in question, the most recent SNL. In and of itself, a treehouse in both works means nothing. Contextualized by my exceptionally brilliant mind, in a manner you can try at home and still get the same result, and - well, I would have to see their treehouse as a possible reference to my material, under the circumstances.... Then again, it could be their treehouse entirely. These are the types of questions that I study closely, but only up to a point, and then I, well, I can't say, I don't know what will happen on their next show that could impact this discussion.

I don't have anything for their next show, at least, not yet. Well, perhaps one bad idea in need of further development:

The evil dictator of some country or another on the brink of nuclear weapons capability thinks he's having a computer conversation with Paul McCartney and Steven Spielberg, but it's some 14 year-old kids (boys and girls) hanging out in a room together who somehow hacked into the evil dictator's computer for a science project several of them are doing. So they're all hanging out in someone's room pretending to be McCartney and Spielberg in a conversation with the evil dictator, who buys everything.

At this time I consider it the worst idea ever, however, as it would undermine any efforts to create a dialog between McCartney, Spielberg and Ahmadinejad, not that I think this should ever literally occur. However, I consider this to be one interpretation of what may have been a coded message that may have been meant to land in my lap due to my secret super-importance in relation to Spielberg, McCartney and others. Could non-political avenues to world viability be a modern ploy? It is not only a modern ploy, it has always been there, and the American "entertainment industry" (for disgraceful lack of a better word) is a most exceptional non-political avenue, were it only something an evil dictator could travel at will! And if I seem to be digressing here, then Jesus wore reindeer antlers on Halloween! And no, my special way of interpreting has not caused me to believe Jesus wore reindeer antlers on Halloween. What I'm actually trying to say, with enough gentleness to appease the very delicate sensitivities of innocent children (sensitivities to which so many adults entitle themselves, particularly when able to incorporate it into a criticism of the insensitivities of someone they regard as below them in the "true" hierarchy/pecking order to which we "all" acquiesce - but I digress!), yet with the emphasis dictated by a matter of so central a nature, potentially, that as such is not a tangent, not a digression, no-way, no-how, and don't ask your mama.

What I'm sorta kinda referring to, and sorta kinda being pulled into, because of my secret super-importance in this world (it's all there in my blogs, strange yet true, crazy but crazy because the world is crazy not because I'm crazy), is the sort of thing that I believe could act upon the real situation, that big one, with Iran. Not that anyone should be concerned, as no doubt the world is fated to end soon one way or the other anyhow, why should the shape of the table have affected the Vietnam Paris Peace Talks, why should a potential middle-ground be sought by the Iranian President so far outside the political world, strictly speaking (though who believes the relationship between Hollywood and the real world is outside that which affects the relationship between everyone in the world?). I believe I was a middle-ground between Lennon and McCartney during the period when they were not on the best of terms with each other, by their both simultaneously drawing from my material (during the years I was at CalArts, knowing people who knew them), and I believe I have grown over the years to become a common link between the works of all superstars of commercial entertainment industry success. I believe I have often been able to demonstrate this. And I therefore would be foolish, based on what I know (which I seem to feel the need to remind you isn't limited by what you know), to pretend there have been no indications that the singularity of my secret super-importance has attracted the serious notice of Ahmadinejad. And that his potential focusing on the "middle-ground" I might, in some way, shape, or form, appear to offer, may be an (incredibly, incredibly, incredibly, incredibly) important opportunity, at this time in the history of the planet, when there aren't that many situations that can so directly play into our collective fate, in consequence of human dispositions in upcoming situations immediately before us. As for me, I say he's provoking a response, however he tries to paint it. Perhaps he has convinced himself otherwise.


GARBAGE OR NOT GARBAGE, THAT'S THE $73.25 QUESTION
While I have no conviction of the certainty of the point that may or may not emerge from the following - nevertheless, you may be the judge, though probably you'll abstain, or make an irrational judgment, but hey, whatever, you be the judge! Yeah! In fact, how about this, why don't you just.... okay, NOW I'm digressing, I can see that.

Years ago, when I worked in NYC, I decorated my wastebasket until it was a collage (part of it can be seen in a video I once posted to YouTube, "A Guide To Brooke Shields"), which I came to regard as an artwork. The general idea was that its various sections would reflect a state in-between value and garbage.

I believe as a certainty that some things found in this cylindrical wastebasket collage have contributed to the work of others, as so much of my material generally has. There are also certain things in the collage which I only regard as potentially impacting on the works of others (one example of where I am unsure would be the song "Throw Away" by Mick Jagger, a person upon whom I believe myself to have been a significant influence at various points through the years).

Another "item" regarding which I feel similarly uncertain, with relation to the question of whether or not the collage was an influence, is the title song of George Harrison's album, "Cloud 9".

Part of what causes me to consider that I may have been an important influence on this song, in the first place, has to do with my already being a significant influence on Harrison's album, "Somewhere In England" (this according to the conclusions I arrived at based on the evidence before me - yes, I do recognize this stuff was never meant to be discussed this way, and how much nicer it would be if we all lived in a simple world where everyone agreed on what everyone was supposed to know, so that no obstacles crossed anyone's path ever where communication was concerned).

The specific "item" on the wastebasket collage to which I have been referring (an item descripttion for a Sotheby's auction):




I imagine you cannot read this, so I shall read it for you:

193 "PLATINUM" DISC PRESENTED TO GEORGE
HARRISON, APPLE for the album, "Magical Mystery Tour",
commemorating the sale of more than one million copies, framed.
16 1/2" x 20 1/3" $3000/5000

The George Harrison song, "Cloud 9", is about "The pieces you don't need of mine," "pieces" represented by various things through the course of the song. This just happened to encapsulate, in a certain regard, the significance of this part of the wastebasket collage. My artwork took Harrison's selling of the Platinum album he received for "Magical Mystery Tour", and contextualized that act as a discarding of something of great value (my wastebasket collage being very much in the realm of the discarding of things), such an item also appearing to be of great emotional value in the world's eyes when it looks upon Harrison in relation to the other 3 Beatles. It is, to me, a mere suggestion in my collage that there would be a subtext to Harrison's sale of this item. I would not wish to second-guess what George Harrison's true inner motivation was when he made the decision to part with this material world possession. Yet I found it could suggest a statement, while simultaneously housing such a statement in the quiet Beatle enigmatic mystery that is / was the inner workings of George Harrison (except for when he wore his heart on his sleeve....).

So without feeling certain, I nevertheless considered it a significant possibility that my work led to pieces of Harrison's - it would be far from the first time, especially during that period. For this, you might want to see my "Shadow" video posted on YouTube:

http://www.youtube.com/watch?v=eOO6ese9L6s

This leads me to my larger point. Many of us have enjoyed watching as some of the children of The Beatles grew up and into figures on the "pop scene" (for serious lack of a better word). Recently, Dhani Harrison (son of George), representing a less-often seen side of a "Beatle Child" (for pitifully serious lack off a better phrase), has been publicizing his work on a somewhat conceptual project, doing something that seems oriented more towards achieving a special media event effect than his peers, yet perhaps the sort of thing we sometimes experienced with The Beatles. He is organizing a campaign to collect back together all of the various guitars that once belonged to George Harrison that have, at one time or another, been sold off / auctioned off. I don't believe his idea is to purchase all the guitars back, rather, it is to undo some aspect of them having been "scattered to the wind", for a group photo of the guitars, to have them in one place again, for a moment.

I find, based on my experiences, that I must look at this and say: Even if George Harrison did NOT base the title song of 'Cloud 9' around the Harrison Platinum album sale section of my collage, nevertheless, the fact that I held onto this as a possibility, and now, for Dhani Harrison to be, deliberately or not, touching on something contained in this very same concept - a bemoaning of what has become of the things George Harrison has parted with - this is not some random aspect of his, mine and George Harrison's work, it is the focus in all three. I do have to wonder about this, don't I? Yes, I do I have to wonder about this.


MORE MISCELLANEOUS STUFF THAN CAN FIT INTO A GOLD-PLATED FILING CABINET
I've got too much miscellaneous stuff, that would take too much miscellaneous time away from other miscellaneous stuff, to be worth going into in extensive detail. And so instead, I will just rattle off a few recent observations:

• There's a reason or two (beyond the obvious one described here) for me to believe my film idea, "Time Colonies" (at Archive.Org), about an oppressed class feeding a power elite's dominion over time, the cost to the oppressed class being their aging, was an influence on the excellent Justin Timberlake movie, "In Time".

• There's a reason or two for me to believe that, as has occurred on so many other award shows, including past Oscars, I was again a significant influence here and there again this year.

• I may soon be able to offer proof that the name of Will Ferrell's character in "Anchorman" originated with my "Inspector Burgundy" (this is not based purely on the obvious reason of their sharing the name). On this subject, one may wish to further bear in mind, it is easy to see how Steve Carell's role in "Anchorman" was an influence on his then-upcoming role in "The Office" Could this all mean I deserve more paperclips than anyone who has ever lived? I could then make the greatest paperclip chain, and then attach an anchor to it, and - however, I am getting ahead of myself, and therefore, digress (though in my opinion we should have a special version of the word "digress" for when one is getting ahead of oneself, compared with when one is going off sideways, compared with an 87 degree angle, and so forth).

• A lost version of a Paul McCartney song from the movie, "Spies Like Us", happened to be announced as resurfacing on the day following my last blog, my blog having alluded to a conversation with someone who drove a truck in "Spies Like Us", who was also VP of Universal and a friend of McCartney and the first person from whom I learned of the school I attended (CalArts). I should add, that the alluded-to conversation is one I regard as having led to what was at one time the most successful movie of all-time: "Jurassic Park"! (I didn't mention this McCartney and "Spies Like Us" aspect to that conversation in my previous blog, but if you take some of the credit I've earned from having proven certain other things from time to time in my blogs, I don't see that you should have a problem with this detail, but hey, who ever was able to present complex evidence as a way of stopping a pack of hierarchical, dogmatic soundbiters from believing what they felt like? I know you'll pardon my bluntness, as you can see where I'm getting down to things that affect whether or not the world blows up, and am even perhaps seriously losing my patience with the kind of stupidity that proudly ignores any reality that requires really putting things together to be apparent).

You're On My Radar, Now You're Not, And There You Are Again

I will be running through this rundown of things I'm recently impacting, as it all seems quite a bit outside of me, yet in need of reporting at the same time. I'm impacting, but not wielding, in areas where one really wants to wield. What a drag.

SNL Update
Once again fragments from material I submitted for SNL found their way onto the show. This is consistent with what has been going on there regarding me for years and years, though there's no money, no apparent agreement, nothing that would make me legit by a certain very common standard.

Those who have created a database of my material posted at Archive.Org, and regularly update their database by periodically doing a search there, will have noticed exactly two new things added prior to the February 4th Saturday Night Live edition:

Shut Yor Song (published to Archive.Org 1/21/12 GMT)
Death Kills Me (published to Archive.Org 1/28/12 GMT)

They didn't use anything from my "Death Kills Me", however, fragments from "Shut Yor Song" can be found.

The instances where I was an influence this time around can be recognized based on the cumulative context. To make an analogy, imagine each show containing a lottery number digit, and prior to each show I guess the correct digit appearing on that show, for years and years and years. If you contextualized it wrong, and saw things only in terms of one show where I guessed the correct digit, it would seem that I had exaggerated the significance of guessing one digit in a larger lottery number.

• Both the 2.4.12 SNL and "Shut Yor Song" include, as an unexpected event, a celebrity hanging out in an ordinary bar

• Both the 2.4.12 SNL and "Shut Yor Song" include a group of people in a bar who are nonplussed no matter who takes the stage (on SNL, the middle-aged Asian women in the strip bar)

Additionally, in my previous blog I observed how my sketch idea, "Dear Whoever Gonna Blow Up The World," had a major impact on the 1/14/12 SNL by influencing how they discussed the new North Korean leader, Kim Jong Un. At the end of my sketch idea is the image of the Earth seen from outerspace.... exploding. This same image, of the Earth seen from outerspace.... exploding (seen from Newt Gingrich's space station) occurred on SNL's opening sketch on the 2/4/12 show (which was the SNL immediately following their 1/14/12 show).

I submitted nothing for the 2/11/12 show, and nothing of mine could be detected.

Smithers Reborn
Those familiar with my material may know that one of my works that I regard as more significant is "Gosk", which is a 1993 screenplay, two self-produced videos made from the screenplay (Part 1 in 1994 and Part 2 in 1998), a trailer for the videos, and a shooting script for Part 3. I additionally regard "Gosk" as being a significant influence on a great number of well known works by a great number of well known people.

A few may also be aware that "Gosk" originated, in part, from a short story I wrote in 1986, "Claggers and Smithers":

http://www.angelfire.com/blog2/jonathandsteinhoff/page13.html

["Claggers and Smithers" (copyright 1987 Library of Congress, as part of my collection of stories, "Inventing Air"); "Inventing Air" also includes "The Coin That Came In Second," which I have described as leading to Spielberg's "Jurassic Park" following my sending Sean Daniel a copy to give to Spielberg after speaking with Sean Daniel who said not to send it after I described it after he asked me to describe it.]

This brings me to Liam Neeson's frequent references to Smithers on recent talk shows publicizing his new movie, "Grey". Smithers, we learn on each Neeson TV show appearance, is the town used for their film location. In recent blogs (my previous two) I have discussed Neeson, for very particular reasons. Also relevant here is that I believe, and have written about how I believe, that Neeson's wife's death was committed in a manner that involved people who insidiously, deliberately devised a way to intertwine their action with something I had blogged three days before. As bizarre a statement as that is, I see this over and over and over and over over. My premise relates to my often-evidenced secret super-importance in relation to Spielberg (and others, such as McCartney, Sting, the Stones, SNL, etc., etc., etc.), that (as should be expected if one believes the premise) this attracts certain elements seeking this subtle "gateway" that I somehow am (among my million hats), through which they might access the attention of that super-high strata of the world's citizens. Center of the chessboard stuff.

So then, my Smithers-related Neeson update: If one appreciates Neeson's connection to Spielberg, on whom I am an ongoing influence..... if one reads the story "Claggers and Smithers" and also sees the movie "Grey"..... etc., then I think that perhaps someday you (some of you?) may be able to consider that "Claggers and Smithers" was, in its own way, a real influence on "Grey".

And while on the subject of the person who was going to play Lincoln for Spielberg and now is not, happy Abraham Lincoln's recent birthday!

Please Continue Not Blowing Up The World For A Minute
A search of my old blog articles will reveal my repeated contention that, also as the result of my secret super-importance with regard to one of (if not the) most prominently known Jewish persons in the world (Spielberg), Iranian President Ahmadinejad joined the hordes of the well known who make coded references for my "benefit", when he makes speeches of note to the world community. I crazily believe this occurred again yesterday, something worked into his speech.

I will not to attempt to convey the basis of my conclusion here. You would not appreciate why I recognize a deliberate action. This stuff requires people committed to voluminous research of the context that reveals the significance of what otherwise appears invisible. It would be dropping the ball to let people think they had enough information to form a proper conclusion on this important matter, when they do not. Especially at this point in human history, when we are looking at the possibility of a showdown with Iran sooner rather than later.

If These Beatles Could Talk
I've often referred to my influence on The Beatles, and more recently, my great influence on McCartney's latest. That means, there is also a context in which to see this latest Ringo news: Recently, the day before Ringo announced Gregg Rolie (original Santana, Journey member) would be joining his tour, I brought up the name Gregg Rolie while talking with some people, not something that commonly occurs. There being substantial, ongoing evidence that what I say in practically any situation can find its way to the world, I expect I likely deserve a little credit for this one. Also possibly for something Paul said Feb. 9th when receiving his star on the Hollywood Walk of Fame coming from something I said Feb. 8th, only a possibility.

Stop Blowing Up The World For A Minute

Old Puzzle Piece, Looks As Good As New
I neglected to point out in my previous blog, that the image I used as part of my email signature at work was something to which I referred in several blogs in September 2010. So "War Horse" being just released made this email signature image relevant; and McCartney's just-announced new album title ("Kisses On The Bottom"), being revealed as a song reference to a letter closing, also made this same thing relevant. As I have often stated, I am a secret, major influence on Spielberg and McCartney. It would be ten times easier for people to believe I just had their autographs - I do not. Or perhaps if I wasn't so huge an influence, it would be easier to believe. Or perhaps if I was rich.... yes, that would work!

NeesonWeeson
There have been a few occasions when I have referred to actor Liam Neeson in my blog articles. I have noted my belief that the death of his wife occurred in such a manner and at such a moment as to lead me to suspect foul play, though no one else has – that this foul play was deliberately intertwined by the perpetrators with something I had blogged shortly before, that it had to do with Neeson being Spielberg’s Lincoln at that time (the part has since gone to another actor), Neeson having previously been Spielberg’s Schindler, that these factors attracted a certain element to prey on someone in that small sphere, that my secret, great importance in relation to, and my secret, great influence on, Steven Spielberg (updated as recently as my blog article that immediately precedes this one, posted 12/30/11) is something that, over the years, have brought certain things to my doorstep, causing me to develop an ability to read certain things in ways the less experienced would miss.

This time, a recent Tonight Show appearance by Liam Neeson prompts me to draw your attention to my April 18, 2010 blog article (copyrighted to Archive.Org in May 2010 in Volume 3 of my collected blog articles), in which I observe the serious possibility that my “In Orders We Trust” (posted at Archive.Org, as a video and as a story idea) influenced the remake of the movie, “Clash of the Titans”, which stars Neeson as Zeus. My conclusion, though postponed until I had the chance to again see the original “Clash” to recheck a thing or two about the remake, is that I definitely was an influence on this movie.

Without all of this explanation, the following videoclip from the 1.11.12 Tonight Show could only seem completely inconsequential (whatever the word “consequence” means!). I present the videoclip so that you can see Neeson telling Leno urine should be referred to as, “Wee-wee”. Leno concurs (though he’s often overly agreeable, and too easily-made an agreement on important matters are at risk of falling apart, as history has taught us – in fact, I expect our truce with Great Britain from the Revolutionary War to blow up in our faces at any moment. However, I digress.).

This silly little discussion on wee-wee took place the same day the news story broke about American soldiers urinating on the corpse – a story that puts all Americans at risk of being thought of as enjoying desecrating corpses. Furthermore, whether or not you feel inclined to agree that I influenced “Clash”, it should be burned into the mind of anyone who sees (or reads) my above-referenced “Orders” that “wee-wee” is one of the most important things in this Neeson-associated story. It is an important moment in the piece when Hercules causes the human mortal to spray paint “Zeus Is A Big Fat Wee-Wee” onto Zeus (who was frozen into a statue by the granddaughter of Medusa when Hercules, not knowing what she could do, insulted her). The ending of the piece is when a dog, in urinating on Hercules (also frozen into being a statue), is suspected of being an instrument of Zeus, which ends the truce. Here the desecrating of one’s enemy has apparently escalated from writing the word “wee-wee” on their lifeless body to urinating on their lifeless body.

In summary: The key is that the exact words, “wee-wee”, were used in a very pronounced way by Neeson on 1/11/12; and spoken and written in a very pronounced way in my Neeson-associated (by way of my April 2010 blog article) “In Orders We Trust”.



Those wishing to express their appreciation of the position this puts me in with regard to the American entertainment industry’s diplomatic response to this grotesque news story about the soldiers may salute me as often as they please (or if I may ask that you at least not desecrate my lifeless body after I’m dead). Because my incredibly diplomatic nature, where I never say anything anyone might ever possibly disagree with, confining myself to topics that never offend or confuse, is the kind of thing the world now finds itself reliant upon! My “Orders” has come to the fore, wherever that is!

Ending Not With A Bang But A Letter To Kim Jong Un (or, "P Is For North Korea")
As I continuously explain, I have been a big influence on SNL (Saturday Night Live). I was not an influence on their 1/7/12 show – however, I did not “submit” anything for that show, so it kind of makes sense, at least to me, perhaps to you- oh, how I hope you agree!

I did submit something for their 1/14/12 show: “Dear Whoever Gonna Blow Up The World” -- http://www.archive.org/details/DearWhoeverGonnaBlowUpTheWorld.

This comedy idea of mine (copyrighted to Archive.Org on Saturday MORNING, 2am, 1/14/12 Calif. time, indicated at that site in Greenwich Time) is similar enough to the following clip from SNL’s show on Saturday NIGHT, that you might just want to assume mine came after theirs, if I couldn’t prove to you otherwise – though, of course, yes, the two comedy pieces are different.

Some may say that the common elements to both pieces are common ideas in general, to see someone who might someday end the world through the eyes of his childhood peers. Some may say that I could have had inside word that permitted me to post in advance of SNL’s broadcast. Yet I believe that those who have been following over time those things I HAVE been able to prove (proven to those who are truly reasonable, intelligent and honest – and can be relied on to remain so in proximity to these types of powers in the world) would consider it reasonable to give me the benefit of the doubt here. Or at the least, those following should see where it is a definite, real possibility, if not an extreme probability, that it was yours truly who set up SNL’s response to the appointment of the new North Korean dictator.



Now everyone in the world, go do something else, I have private business here:

Dear Un, If you want someone such as myself to feel that I shouldn’t write comedy ideas that people can in less than a day rework into something about you and then broadcast it to America, I suggest you not go waving that thing around the way your father did. I regard those who flirt with the dangers of nuclear annihilation to be grotesque human beings. I don’t wish to be disagreeable, however. Perhaps even just, just, hmm, even a softer image could win you my approval…. Try…. a more relaxed military outfit, that is, assuming military outfits are so essential. Something like a pea coat might look right. Yes, that’s all you need, really.

All The News That Has A Feeling Of The Right Amount Of Newness

A few notes, presented here in a manner devoid of all insight or perspective into how this might all affect the state of humanity some day! And while I essentially just feel myself to be wearing my reporter's hat at present, I totally see where it does look a little more like I'm actually trying to make a crown of sorts appear upon my head. Okay, well, I get a kick out of wearing crowns! (have I neutralized the deep tension that has subtly plagued mankind over what hats go where for all eternity? not yet?)

THE DAILY SHOW
In my previous blog (12/11/11), I was pushing for SNL (Saturday Night Live) to use material from one of two recent writings of mine for their last show before Christmas. They invariably work stuff I "submit" for that week's show in, though usually in fragments too different or small to be recognizable for what they are, unless one is clued in. Though I don't see how anyone making the effort could fail to appreciate the evidenciary nature of what I generally submit, when I can. They aren't always vague in their reference.

One of those two writings of mine, "Dostoyevsky's 'A Christmas Carol'" (published to Archive.Org by me on 11/27/11), did get used - however, not on SNL, but on another favorite show of mine, "The Daily Show". As I have occasionally described in my blogs, both "The Daily Show" and "The Cobert Report" occasionally find ways to incorporate my material into theirs, sometimes in a very big way, and most likely things aimed by me towards the next SNL.

In this case, I refer to their segment with John Hodgman, which aired 12/14/11. And if I may boast, this was their second to last show before Christmas, and unlike SNL, Daily Show's second to last show before Christmas is only a day apart from their very last show before Christmas. New Year's Eve too, for that matter, so thank me for your Daily Show holiday send-off, or one part of it. Or don't thank me, though it is the holiday season, you might want to thank me just for anything at all. Happy Holidays!

In my above-referenced writing, we find a reworking of Dickens' "A Christmas Carol," with the anti-Capitalist message specifically removed as a chief part of the amusing convolution of things. John Boehner, one of the hosts of the movie presentation described in my writing, is seen to be tearful with emotion at viewing the story's new non-anti-Capitalist turn (it is for this reason that I edited in a little special emphasis on Hodgman's tearfulness, in case you somehow missed my point that their 12/14/11 bit comes from my 11/27/11 bit initially meant for SNL's 12/17/11 show):




SATURDAY NIGHT LIVE
While SNL apparently passed on the two writings I hoped would make their way in some form or another into their 12/17/11 show (though perhaps it is too soon to know these have no use to them), I did notice that they picked up on at least one thing contained in my previous blog (12/11/11). Those who read that blog prior to their 12/17 show will know as a certainty that I was several days prior to that show referring to how in my "Gosk" video, "One finds a montage in which a violinist is getting set up to play classical music, but the montage is coordinated with a Motown song." On SNL several days later, we find a sketch in which Beethoven conducts an orchestra playing Motown music. I have previously mentioned that SNL occasionally evidences that they follow these blogs. I might further add that their sketch on Spielberg's "War Horse" immediately followed this sketch, which I believe SNL did apropos of what came up in my previous blog, when I was discussing something Spielberg recently said on TCM.

I noticed something else on SNL's 12/17 show as well, though it is more obscure and requires great experience and knowledge in these shorthands to appreciate, perhaps. Or maybe you can pick it right up. I refer to the end of my 12/11 blog, where I pretend to plea, on little Tiny Tim's behalf, that SNL include an idea contained in a writing of mine, as it could help Tiny Tim. That sort of approach to creating something for SNL - do it for Tiny Tim. Then, on SNL's 12/17 show, Adam Sandberg calls to host Jimmy Fallon as he's creating a song, to please include something in it for the Jews. Fallon then obliged Sandberg, which had itself sort of been Sandberg obliging me, in trying to get an idea through about getting an idea through. God bless us everyone!

STEVEN SPIELBERG
For this next section, I will begin with an analogy to that thing on "LIVE With Regis and Kelly" (back in the day), where they have a number selected at random by the person on the phone means a person in the audience with that same number gets something. Because: this isn't that, despite looking like that. I've confused you already....

I took from a graphic artwork book of mine, "Go Eyes, Go!", (posted at Archive.Org) a specific image, and reproduced it beneath my signature line on all of my emails where I work, as sort of my logo. I did this from 8/10/09 to 12/28/10, and though thousands and thousands of such emails bear witness, I didn't gett around to emailing everyone who ever lived everywhere, my oops). The work, like it or not, is entitled "A Separate Thing":


Few images come closer to summoning a thought towards the new Steven Spielberg movie, "War Horse". The predominant focus of my signature line logo image is a photograph I took in the English countryside (Dorset), so, essentially the identical setting and subject of "War Horse." Furthermore, it does not simply bring to mind a random moment in the movie, rather, it tends to preserve the film's most innocent (almost iconically innocent) period.

I now abruptly must return to the above "LIVE With Regis" analogy. I recognize that invariably someone (or more than one) make prominent an image that connects to this or another movie or whatever at any given time, I do get that this is a statistical inevitability that someone has the number called out. What distinguishes my circumstance in a complete and total way, however, is that for Spielberg to be influenced in an important decision by something I'm betting my chips on is extremely consistent of him. I believe much evidence of this has already been presented by me from time to time, and would suggest interested predators and good people put in a moment and see my video, "Steven Spielberg and The Mall Man Factor", which can be viewed at Archive.Org). Of additional relevance in this instance is that, according to Wikipedia, Spielberg first announced in December 2009 that he was going to direct "War Horse". I began using this as the image at the bottom of all of my emails in August 2009. This was the image I had committed to, in a way, if you look at it that way.

• I have previously asserted that the DreamWorks' recurring opening montage was created apropos of the opening moment in my video, "Gosk".

• I have previously asserted that "Jurassic Park" began with the first thing I ever sent Spielberg, which was via a friend of his with whom I had spoken the day before, the title of which, "The Coin That Came In Second" (also posted at Archive.Org) alluding to the idea of occupants of a prehistoric artificial natural habitat environment somehow, perhaps ominously, escaping from there.
  

• Lots of other stuff
  

I also noticed stuff in the newly released Spielberg movie, "TinTin", and at the risk of appearing to see things (as I always do!), will just mention that I am certain of inside-references in that movie to my little music video, "Whatever Happened" (posted at Archive.Org). References to this music video of mine previously seemed the mostly exclusive domain of Joseph Gordon-Leavitt (who will be in the upcoming Spielberg movie about Lincoln), which I've discussed in earlier blogs.

HAPPY NEW YEAR, WORLD!

P.S. PAUL MCCARTNEY
The title of the upcoming (in February) Paul McCartney release has just been officially announced as, "Kisses On The Bottom". I researched it, and it comes from one of the songs on the album, and in context has to do with the bottom of a letter. I have long asserted and demonstrated (whenever possible) my great (or good at least) influence on Paul McCartney, particularly when we're talking about his album titles and/or album covers (not that there is direct communication where I'm concerned, in fact, well, I don't know exactly how it goes, actually, though I'm sure somebody has a good explanation for why I'm not a billionaire which just popped into my head and may explain why there's no direct communication). Continuing.... I cannot help but observe how this album title of Paul McCartney's conceptually connects, or interconnects, so distinctly with my observation about the signature line on my emails. Because I'm crazy enough to hope that one day everyone in the whole world will be on the same page, except maybe for the illiterates, those lousy bums, so pay attention in school and occupy your fingers, then your hands, then the universe, I'm probably leaving out a few steps. I'm going to have to leave things there for 2011.

Three Show & Tell Points Pending Approval of Review Board

Studying For The Big Show And Tell Exam
These two photographs of me are from over 50 years ago. I look older now.





Something Of Possible Interest To Those Who Go Overboard For Christopher Walken
Whether or not you possess the socks, or the IQ, or the proclivity for doing research, or the whatever that would be necessary to appreciate the point made in the first paragraph of my August 22, 2009 blog article ("Graffiti Is In The Eyes Of The Typesetter"), you cannot dispute certain things:

1. First, that this article definitely was not written apropos of recent events, as it was copyrighted at Archive.Org in November 2009 as part of a volume of my collected blog articles.
2. Second, that this article asserts that the "Gods Behaving Badly" project (an entertainment industry project that first manifested before the public via Marie Philips' best-selling novel of the same name being purchased for development as a TV show by Red Hour, the film company of Stuart Cornfeld and Ben Stiller) resulted from my "In Orders We Trust" project. (Again: appreciating that this assertion was made by me does not require that you concur with the assertion - the point here is simply that the assertion regarding this project was made at this time.)
   

Now that this exact same "Gods Behaving Badly" project is to become a movie starring Christopher Walken, its very title, "Gods Behaving Badly," will tend to automatically bring to the mind of the public the current mystery surrounding Walken's possible involvement with relation to the recently reopened investigation into the death of Natalie Wood. Which was huge in the news during Thanksgiving, and which one expects will continue to "resurface" (with apologies to Natalie Wood) with like intensity.

My larger point becomes:

Here we have yet another instance where a huge story in the media contains a component of considerable interest that leads back to me - in this case, the upcoming Christopher Walken movie, "Gods Behaving Badly," the title of which will unquestionably prompt one to think of the Natalie Wood death; it will furthermore become obvious to one and all that this movie is prompting this thought, owing to the enormity of the news story and the wording of the title. The news story generating a shadow over Walken, how far his negative side may have gone in real life, and a similar shadow suggested by the words, "Gods Behaving Badly" - how far do the Gods entitle themselves to go?

I Hear That
Those who saw Steven Spielberg's recent appearance on TCM discussing music in his films may recall his description of how, on set, he might occasionally address his music director, John Williams, out loud but in his absence, when particularly cognizant that he has done something that will get interesting further down the "assemby line" when it becomes Williams' turn to contribute something to the material.

This was a rare television appearance by Steven Spielberg, therefore, a special appearance. Therefore, those who have followed me on the subject of my being a secret, significant influence on Spielberg may, like me, have had their receptors up and running, ready to detect that which might lend itself as something to further support my contention.

In this one must first recognize that at no time will Spielberg ever look directly at the camera and state, "Jonathan David Steinhoff is the most amazing person in the universe." No, not directly. All things communicated by Spielberg to express this thought about me, or perhaps only a diluted version of this thought, would occupy a form on some other level, and only via a more subtle means would simultaneously contain this. For we live in a cold realm, where people are only somewhat effusive with regard to one another. I once actually saw an award show where the winning actor only referred to his director as a phenomenal genius, rather than referring to him as the most incredible genius who ever lived, which would have been more correct, at least in my view. However, I was discussing people recognizing one another.

So to continue, yes, if one were looking there was something there.

It is an often seen event, in instances where one finds a work that makes reference to me/my material, that:

• There is something contained in the material of another that suggests one is being alerted to the specific place in my material that is in relation to the influence or inside-reference
  

• Alongside the similarity, an additional component that further connects that same material
  

The moment in my material to which I was alerted while watching Spielberg on TCM is in my video posted at Archive.Org, "Gosk, Part 2". Vinkalert is by himself, yet says out loud, "Dockert, I can see the car." A moment later, he drops his pail because it changed from being a bluegreen pail to being a purple pail. That's when we hear the song by Procol Harum, "Whiter Shade of Pale".

So, not only was a specific moment in one of my works brought to mind while watching something that I pre-anticipated would contain something regarding my work (it being that Spielberg does this frequently with regard to me/my material). The subject of Spielberg and Williams talking on TCM was all about music in film. And what could be additionally said of the moment of mine Spielberg brought to mind? Of all the moments in all my work, it is the singular moment that takes the whole idea of music in film and cracks a joke about it - without compromising the mood of the moment. Throughout "Gosk" I was interspersing the idea of music as something to be heard from "outside the box", but this moment was the most direct.

Other music related moments in "Gosk" that I also would have found sufficiently relevant, had Spielberg brought such moments to mind:

• One finds a montage in which a violinist is getting set up to play classical music, but the montage is coordinated with a Motown song.

• Women from the planet Klug are automatically mesmerized by Earth music, therefore, as we watch shots of the musician intercut as part of the scene, and hear him playing, the music as we hear it transends its traditional role in such a scene.

• Following a montage I use to introduce a scene, the same song heard playing as part of the montage completely changes in significance by the song itself becoming the initial focus of discussion when the dialog in the scene begins (the introduction of the spacecraft interior in "Gosk 1").

I might additionally note that the actor in my "Gosk" scene who speaks out loud to Dockert in his absence was Joni Mitchell's art director in real life. Mitchell goes way back with David Geffen, who, together with Spielberg and Katzenberg, run DreamWorks. I might also mention that it was ONE WEEK after I told a group of my "Gosk" actors, "I don't recommend using the park's restroom, I would suggest if possible waiting until later when you can use a restaurant bathroom," just one week later, one week I tell you, that George Michael had that scandal where he was caught beating off in a park's bathroom and somehow wound up as a result being David Geffen's houseguest for a week according to the papers (had to remain in town as a result or something, who remembers exactly?). Admittedly, the Joni Mitchell art director/"Gosk" actor wasn't in the specific "Gosk" group I addressed on the subject of restrooms in parks, however, he specifically told me on a separate occasion that he had previously worked with one of the actors who was in that "Gosk" group, so with that kind of cross-pollination, and the kind of attention I generally secretly receive, I think this is putting two and two together, from all that I've seen in the past. Oh yeah, and Sean Daniel, to whom I refer from time to time, once ran Geffen's film production company, though what that has to do with me, well, actually, I suppose it has something to do with me, I just don't quite know what. David Geffen was in the physical presence of John Lennon when Lennon was shot, though Lennon is not known to have called out to him, or to Yoko, or to Dockert. But I'm sure I digress.


SNL, PART 1 OF 3.4 MILLION
I should begin by explaining, SNL is secret code language for the television show, "Saturday Night Live".

Below are my Facebook posting of a photograph with my comment, plus another comment from me regarding it below that. I believe these suggest to those who have been following things that, as a more significant part of my ongoing substantial influence on SNL, two consecutive SNLs had political opening sketches which had as their basic idea something I had days before brought up "on the record". One might have to appreciate the context of my being quite (that's right, I said quite) the influence on SNL over the years (as conveyed in numerous blog articles I've written), in order to appreciate my reading of things - please read more, at your leisure, in earlier blogs of mine, be my guest (you may want to go to archive.org, make a single document from the 5 volumes of postings there of my blog articles, and presto, you'll have a searchable database of all of my blogs posted to archive.org thus far).


Jonathan Steinhoff
Herbert Lamm on the left, then my mother (Herbert's cousin) and my father. My understanding, though you didn't hear it from me, is that Mom and Cousin Herbert were great Communists together in their youth, in the Bronx. Herbert later married the sister of Sidney Buchman, who wrote "Mr. Smith Goes To Washington," "Holiday", "Talk Of The Town", etc., and was the head of the Screenwriters Union during WW II, etc., etc. (I therefore credit my mother with every bad thing said on-screen about Hitler during his reign, though it could be said I have an exaggerated belief in my mother's influence on the world, especially when I was a youth, etc., etc., etc.)
December 1 at 5:50pm

Jonathan Steinhoff
Those who caught my subtly ambiguous use of the word "reign" here (Hitler's or Buchman's?) may further notice SNL's taking this very concept further in their opening sketch last night. I've previously referred to my influence on their previous (11/19/11) show's opening sketch as well. My continuing thoughts on this will be next appearing in an upcoming blog!
December 4 at 8:11am

I would add, the SNL sketch to which I refer had Obama explaining how we are not living under his rule, he is only five on the list of the most powerful people in the U.S. Certain show biz individuals came ahead of him, though the application of the exact word "reign" did not literally materialize with regard to a show biz name. It was there, however.


SNL, PART 2 OF 3.4 MILLION
On last night's SNL, there was a sketch about Al Sharpton's political TV show on MSNBC. At one point, as if to represent the idea of an obscure political theory that has been fixated on, Sharpton over and over repeats the idea of the GOP having rocks in their heads, until the phrase appears at the bottom of the screen, "GOP: Rocks In Their Heads?" He further tries to interconnect with this phrase, the idea of "stone walling", the words stone walling said repeatedly, Sharpton saying, "Stone walling? You know, stones are just a variation on rocks. So they have rocks, big old roley poley rocks, in their head?" He finds numerous opportunities beyond these to say "Stone Walling" and "Rocks in their heads". My previous blog, and therefore my last blog before this show, gave the word "stone walling" the importance of being included in the blog title: "All I Want For Christmas Is A Stone Wall". My blog article immediately previous to that blog article refers to the idea of rocks in someone's head, using the phrase several times, while I specifically discuss a previous SNL reference to me/my material. This discussion about rocks in the head goes back to a previous thing I came up with about Larry, The Geologist Of The Mind.

I Was A Prisoner of A Cop Who Wouldn’t Let Anyone Leave The Office Christmas Party Until He Found Out Who Brought The Pot As A White Elephant Gift For 50 Hours
Yes, all that is the title of my newest comedy sketch writing, or for short, "I Was A Prisoner Of A Cop". And as with the one before it ("Dostoyevsky's 'A Christmas Carol'"), it would be most appropriate for their very last SNL before Christmas, and I don't know why I haven't seen a single trace of either one of these ideas on an SNL show yet (I ask but a single trace of one of these ideas, Mr. Michaels, spare a trace if you can, happy holidays to you and yours, sir! It's Tiny Tim, sir, he hasn't been at all well! spare a trace of my sketch idea that'll say something to help poor Tiny Tim!). Oh yes, and on this subject, SNL's last show before Christmas will be taking place this Saturday, or the one after it, or possibly next month (I'm never sure about anything).

http://www.archive.org/details/IWasAPrisonerOfACopWhoWouldntLetAnyoneLeaveTheOfficeChristmas

All I Want For Christmas Is A Stone Wall

Two things worth noting since last time - my sketch idea submitted for the Nov. 19th SNL, "Talking Dirty Cups On A Dirty Kitchen Counter At Thanksgiving Time":

http://www.archive.org/details/TalkingDirtyCupsOnADirtyKitchenCounteratThanksgivingTime

and my sketch idea submitted for the Dec. 3rd SNL, "Dostoyevsky's 'A Christmas Carol'":

http://www.archive.org/details/DostoyevskysaChristmasCarolcomedySketch

Those who saw (or will see) the Nov. 19th show will notice in their opening sketch the idea of Romney cleaning a teacup was used to represent the opposite of a sleazy type; in my sketch, a dirty cup is used to represent a sleazy type. This fact, combined with SNL's ongoing references (for years and years) to material I submit for that week's show, says a mouthful (not just a sipful). In the neither-here-nor-there dept., there were other possible references on that show. A sketch about a mattress ended with the image of a glass of wine, it NOT spilling being the essential meaning of the image - my sketch has a cup bemoaning that his new crack will result in liquid spilling from him. Another sketch took place in a bar called "The Empty Glass" - if seen in the context I describe, it is related. And finally, in my previous blog, I state (in a discussion relating to SNL) that crude is often regarded as a surefire approach (that blog is not yet copyrighted, so if you didn't read it before the show, you might admittedly consider it had been written any time, though it was not). This idea was central to their opening Romney sketch, wherein he wishes to compete with the edgier personalities of Cain and Perry by appearing more crude than he is.

Those unfamiliar with the degree of my impact on SNL may have difficulty accepting the idea that I should have had so powerful an effect on that show.

COMING SOON:
Something for Christopher Walken and Steven Spielberg fans, or not, depending on your point of view.

Lawrence of Wherever

From The Ridiculous
SNL (secret code language for Saturday Night Live) has, for the millionth show in the past million years, made some kind of inside reference to material I provided for that show, specifically, something I (officially) posted to www.archive.org on Monday, Oct. 31st, 12:39am Greenwich Mean Time (Sunday, Oct. 30th in California): "We Do That Too".

"We Do That Too" is my comedy idea specifically meant for the Nov. 5th SNL. Throughout the bit, the action of wetting oneself flows through it like a beautiful river (as the prejudiced author, I may have waxed a little too poetic in my description, but the essential thing makes it through: wetting oneself is the predominant action of the bit).

The Nov. 5th SNL included a bit all about pooping oneself (the Dr. Oz takeoff where the person who poops himself is the focus of a magnificent demonstration that one can't forget, though perhaps someday I can charge people to read "We Do That Too" as a possible remedy that might assist one in forgetting to some degree anyway, but I digress).

So in conclusion, while people have been pooping and wetting themselves ever since they first began wearing animal skins (not that there are any cave paintings where they admit it, but what do you expect), and also making references to same ever since as well, this is not the proper context in which to scrutinize what has occurred here. Here we have the upteenth example of me submitting a comedy sketch idea for that week's SNL, and them taking something from it.

I would just like to add that the core of my idea was not used. My idea includes a concept in addition to the.... other stuff. I was going for how big business will try to co-opt a true group spirit (Occupy Wall Street) by latching onto something irrelevant they have in common with the movement and running with it. I do not normally go for the crude (though it is for many a surefire approach), but in this case, wetting oneself struck me as the obvious common ground for co-opters to exploit. In the '60s, we saw people grow their hair long without having any true belief in the spirit of freedom it connoted at the time, ultimately co-opting real change. So I say, beware the..... beware the..... perhaps you should read "We Do That Too" for yourself.

To The Not Ridiculous Enough (But Close)
When it came to the Nov. 12th SNL, I offered my comedy sketch idea, "It'll Shake Your Head". I posted this one to www.archive.org on Tuesday, Nov. 8th, 4:30am Greenwich Mean Time (or Monday, Nov. 7th California time).

SNL did an incredibly minor reference to it on their Nov. 12th show, would not begin to count as a reference, if not for the aforedescribed context that has developed over the years, as well as a shorthand.

Specifically, "It'll Shake Your Head" is about a Glen Beck-type named Larry, The Geologist of the Mind, who explains all things political with a crazy concept having to do with invisible Tectonic Plates in the sky that act on the human mind.

The Nov. 12th SNL had a game show sketch in which the characters had to guess the secret word without the person prompting them saying it. Kristin Wiig said the name, "Scientist Kate". It was not a secret, so it was okay for her to say, "Scientist Kate". Had she said, "Larry, The Geologist Of The Mind", that would have been a different matter - so, "Scientist Kate" in, "Larry, The Geologist Of The Mind" out.

An additional thing, though I attach little to it, was their opening, wherein Rick Perry is shot in the head but the bullet bounces off. This could be said to bring to mind the idea of having rocks in one's head, or a plate in one's head. If this did bring such a thought to mind, well, rock's in one's head, geologist of the mind, plate in one's head, Tectonic plate affecting our minds.... who knows what was going on inside their heads!

And now it gets scary. Glen Beck was looking at me contemplatively in traffic several weeks ago. So then, on the night of Nov. 8th on his show, Glen Beck guts a fish named Larry as part of a symbolic attack on mainstream media. I don't enjoy watching people defecate, and so never watch the Glen Beck Show, but apparently this was noteworthy enough to rate a Huffington Post article. I did a little further research, and found that the last posting on YouTube of Beck and his Larry the Fish was 2.5 years ago, in March 2009. So Larry the Fish returns after over two years in order to appear within less than a day of the appearance of the Beck-like Larry, The Geologist Of The Mind. A character created by me (a secret perpetual influence on the often political SNL) prompting a reaction from Glen Beck. Nope, wouldn't be at all surprised to find this is the Republicans remembering my influence on SNL when the 2008 election was getting into full swing.

In Other News
There's been other stuff worthy of mention, however, I don't really have the energy (did I mention I still don't have a 9-5 that takes into account my solemn duties as one of the most secretly influential people in the world at a time in history when that could make a real difference, and so my energy gets sapped by non-solemn duties? still waiting for Spielberg, McCartney, or somebody to call and tell me I can officially be seated upon my throne....).

I originally was inspired with the Tectonic Plates concept in "It'll Shake Your Head" as something for an animation of some kind. I saw it as containing huge possibilities. Now I see Glen Beck gutting a fish, and somehow, that messes with the whole thing (hopefully I'm mistaken). I mention this so that Spielberg or McCartney will feel compelled to call before another fish pays the price!