There might just be a thing or two that could be added to this videoclip regarding Colbert, McCartney and myself:
Now I already know this one's not for beginners, it asks that a few things be taken on faith, and all because of the unfair reality that not everything that happens in this world is documented. And not everyone comes forward to corroborate what cannot be verified in any other way. As a case in point, I was sitting on my couch a few minutes ago, yet will never be able to prove it to anyone. Fortunately, that action is of no consequence and so I shall hope that I will not be judged too harshly for asserting I was sitting on the couch. Should I leave out everything of consequence that I cannot document? Thereby not requiring anyone to take anything I say on faith? I feel I have earned some credit among those who have been keeping track of what I can prove, so no, I do not truly feel that I am burdening people when I ask that they take certain things on faith. Though one may find there are actions in this world that one cannot prove actually took place, yet many such actions are significant and worth communicating. So bye-bye beginners/lowest common denominators, at least this time around.
One Thing That May Have Belonged In This Colbert-McCartney-Steinhoff Videoclip
The title of my second-to-last blog was, "Indoor Bench, Outdoor Bench." This title was partly designed to address an important aspect of the "Monk" episode to which the videoclip refers. In the "Monk" episode, Monk is concerned that there is some "catch" behind the Gena Rowlands character's wish to be his friend. In this I perceived a common concern experienced by many people, and it is not difficult to see where people in show biz are likely to be coming from when they express this type of concern: the idea that underneath the engaging of their emotions people are really trying to advance themselves. The title of my blog, in the context of the Monk/Steinhoff videoclip, brings to that discussion the relevance of the degree of need, an element sometimes considered taboo in such discussions. The Indoor Bench aspect of the Monk/Steinhoff videoclip regards a sockless person being given socks, the Outdoor Bench aspect regards a person being given a scarf. The videoclip includes the question of whether these items are dispensable or indispensable. Thus, how far does the degree of need play into things, and even perhaps, influence issues of morality underlying real motives when people engage our emotions?
One statement in such a discussion might eventually be, "Does this mean that a circumstance could arise where there can be any morality in one person eating another, if the need is great enough?" This is part of the discussion that took place between Colbert and McCartney. Of course, this would be among the more extreme statements one could make in such a discussion, however, it is precisely by following things to their extreme logical conclusions that important points are often brought to the surface. This is often a function of comedy. In this instance, one is immediately made more conscious of what many already know: however great the need, as valuable as one holds one's own life, it is not something for which one must automatically feel inclined to pay any price. Did "Indoor Bench, Outdoor Bench" influence the decision for Colbert and McCartney to go there? In my opinion, it is possible, because I see it as a likely direction the conversation would go in were one to follow the statement made in my blog title to its logical conclusion. I saw it in the blog title before the McCartney interview on The Colbert Show, more or less.
Incidentally, immediately following the "Indoor Bench, Outdoor Bench" blog, in my last blog (entitled simply, "Indoor Bench"), I pointed out that Kiefer Sutherland and Tony Shaloub sitting at the same table at the SAG Awards appeared related to what I had previously indicated in a January 19th blog ("Traffic On The Unbeaten Path"). Sitting at the same table relates to the title, "Indoor Bench, Outdoor Bench", thus the nearly identical title I gave that blog.
People sometimes deliberately do things to simultaneously address more than one thing. I therefore do not consider it contradictory that I look at the eating people discussion on Colbert as having been prompted in part by the carrot nose in "Frozen," yet also possibly by the "Indoor Bench, Outdoor Bench" blog title. Sometimes people are even obliged to only take actions that serve multiple purposes, though it may spread their chips around the roulette table to the point where a win is seriously mitigated by the losses.
The next Monk/Steinhoff videoclip (regarding the January 30th episode) is on the way.
Friday, January 30, 2009
Sunday, January 25, 2009
Indoor Table
Brief Note:
In my January 19, 2009 blog I stated, "I will leave these Spielberg - Sutherland - Shaloub - Pitt - et-al connections for you to interconnect...."
Tonight, less than one week later during the SAG Awards, we were shown Sutherland and Shaloub (as well as Shaloub's wife, Brooke Adams) sitting together at the same table having a conversation. Prior to this, has anyone ever mentioned these two in the same breath? I might also add that Mr. Sutherland had the honor of being the first presenter of the night.
Saturday, January 24, 2009
Indoor Bench, Outdoor Bench
Time again for the weekly Monk/Steinhoff videoclip, it being that nearly every episode of the TV show "Monk" makes deliberate reference to my material, usually references from among my three main live action videos, "Mall Man," "Gosk," and Steinhoff's Dostoyevsky's "Uncle's Dream," each of which can be found at archive.org, and regarding each of which I am the auteur.
This week I've excluded a few things I regarded as references, in order to keep things simpler for the lowest common denominator among us:
Nevertheless, there is enough here for anyone:
This week I've excluded a few things I regarded as references, in order to keep things simpler for the lowest common denominator among us:
- This week's "Monk" had Randy saying with a certain rhythm and intonation, with regard to Monk's rearranged furniture, "I kind of like it," followed by the Captain tilting his head, which added up to a reference to the moment in "Gosk, Part 2" when Tuxert, noticing the tan nose of the otherwise blue-skinned Dockert, says with a certain rhythm and intonation, "I kind of like it," tilting her head;
- I also saw the reference in this week's "Monk" to my Ringo Starr anecdote, or rather an anecdote regarding Ringo Starr that was related to me by a friend who was there. "Monk" made a reference to this same anecdote in March 2005 for the season finale.
Nevertheless, there is enough here for anyone:
Friday, January 23, 2009
To Have Won
The first week of Barack Obama's presidency has ended (for those who think of Friday as the end of the week, even in the case of weeks that begin on a Tuesday) with the kind of crystallizing soundbite from the President that the media seeks, "I won". The following quote from the Wall Street Journal blog can be found repeated throughout the media:
"January 23, 2009, 2:32 pm
"Obama to GOP: ‘I Won’
"....With those two words — 'I won' — the Democratic president let the Republicans know that debate has been put to rest Nov. 4 .... Democratic and Republican aides confirmed the exchange. A White House spokesman said he wasn’t immediately aware of the exchange. The aides who heard the remarks stressed that it wasn’t as boldly partisan as it might sound."
What you will not learn about from those discussing this is the fact that those two words are identical to the closing line of "Teddy Tinyfingers," the January 14, 2009 comedy sketch idea I submitted for the January 17th "Saturday Night Live", to which considerable reference has been made in my blogs (including mention of an inside reference to it on the January 17th SNL).
The performance by Sting and Stevie Wonder of Sting's song, "Brand New Day" was the closing song and climax of "The Neighborhood Ball: An Inauguration Celebration," broadcast the evening of Inauguration Day live on ABC TV (and broadcast taped on the west coast). Of all the shows on TV relating to the inauguration on Inauguration Day, this was the primary mass consumption television product (other than the Inauguration itself), and included the President, his wife, the Vice President, and his wife (among others).
My previous blog discussed how that same closing song, "Brand New Day," resulted from a song I created, "Brand New River of Love".
Is it really so difficult to figure out from whence came Obama's choice of words, "I won," at this point in time/history?
"January 23, 2009, 2:32 pm
"Obama to GOP: ‘I Won’
"....With those two words — 'I won' — the Democratic president let the Republicans know that debate has been put to rest Nov. 4 .... Democratic and Republican aides confirmed the exchange. A White House spokesman said he wasn’t immediately aware of the exchange. The aides who heard the remarks stressed that it wasn’t as boldly partisan as it might sound."
What you will not learn about from those discussing this is the fact that those two words are identical to the closing line of "Teddy Tinyfingers," the January 14, 2009 comedy sketch idea I submitted for the January 17th "Saturday Night Live", to which considerable reference has been made in my blogs (including mention of an inside reference to it on the January 17th SNL).
The performance by Sting and Stevie Wonder of Sting's song, "Brand New Day" was the closing song and climax of "The Neighborhood Ball: An Inauguration Celebration," broadcast the evening of Inauguration Day live on ABC TV (and broadcast taped on the west coast). Of all the shows on TV relating to the inauguration on Inauguration Day, this was the primary mass consumption television product (other than the Inauguration itself), and included the President, his wife, the Vice President, and his wife (among others).
My previous blog discussed how that same closing song, "Brand New Day," resulted from a song I created, "Brand New River of Love".
Is it really so difficult to figure out from whence came Obama's choice of words, "I won," at this point in time/history?
The Illustrated Story of Sting’s “BRAND NEW DAY”
In 1998 I made a little sci-fi comedy video, “Gosk, Part 2” (sequel to my 1994 Gosk, Part 1) (http://www.archive.org/details/JonathanDavidSteinhoff_3), starring someone who was Joni Mitchell’s friend and artistic director of the album artwork on a number of her recordings. At this time I had long been a secret major influence on the work of a great number of major recording artists (and others of great importance in the entertainment industry), including Paul McCartney, John Lennon, The Rolling Stones, Madonna, and many others.
Remembering an interview John Lennon had once given in which he described the creation of “Give Peace A Chance” as a deliberate effort to provide a rallying anthem, and having secretly contributed the opening to John Lennon’s song, “Starting Over” (“Our life together is so precious together, etc.”), I was inspired to create a song about someone trying to rally everyone, “Brand New River of Love” (copyright January 1999 as part of my music CD, “Still Around”) (http://www.soundclick.com/bands/default.cfm?bandID=366981&content=songinfo&songID=2724662).
When the Joni Mitchell art director asked if he could have a copy of the song used for the opening credit sequence of “Gosk” (a scratchy Xavier Cugat song slowed down from 78 to 33) (http://www.archive.org/details/JonathanDSteinhoff), I put it on a ten-minute cassette, and for the flipside included my then work-in-progress, a (more uptempo, upbeat) version of “Brand New River of Love”.
James Taylor, one-time boyfriend of Joni Mitchell and very special guest (above all other guests) at an A&E television concert of people rendering Joni Mitchell songs, appears on the 1999 Sting music CD, “Brand New Day”. I surmise that it was via Taylor that Sting experienced “Brand New River of Love”, however, because of my secret importance to the work of so many, it is also possible that it reached Sting in some other way. There can be no doubt that my song led to the Sting song. Nor can there be any doubt that the crying saxophone in my song inspired the crying harmonica in Stevie Wonder’s accompaniment to Sting’s song.
Because Joni Mitchell’s art director also ran a videotape editing and copying business, and because I occasionally created music videos that I needed copied, copies of my videotapes were made by Joni Mitchell’s art director. From certain Sting product that followed, it became abundantly clear that Sting continued to use me as an influence. Though some instances of usage might in and of themselves contain no such implication, the cumulative implication is plain to see (please note: the document this link takes you to begins with this same text found here, but also goes on to include samples of works to illustrate the point).
Remembering an interview John Lennon had once given in which he described the creation of “Give Peace A Chance” as a deliberate effort to provide a rallying anthem, and having secretly contributed the opening to John Lennon’s song, “Starting Over” (“Our life together is so precious together, etc.”), I was inspired to create a song about someone trying to rally everyone, “Brand New River of Love” (copyright January 1999 as part of my music CD, “Still Around”) (http://www.soundclick.com/bands/default.cfm?bandID=366981&content=songinfo&songID=2724662).
When the Joni Mitchell art director asked if he could have a copy of the song used for the opening credit sequence of “Gosk” (a scratchy Xavier Cugat song slowed down from 78 to 33) (http://www.archive.org/details/JonathanDSteinhoff), I put it on a ten-minute cassette, and for the flipside included my then work-in-progress, a (more uptempo, upbeat) version of “Brand New River of Love”.
James Taylor, one-time boyfriend of Joni Mitchell and very special guest (above all other guests) at an A&E television concert of people rendering Joni Mitchell songs, appears on the 1999 Sting music CD, “Brand New Day”. I surmise that it was via Taylor that Sting experienced “Brand New River of Love”, however, because of my secret importance to the work of so many, it is also possible that it reached Sting in some other way. There can be no doubt that my song led to the Sting song. Nor can there be any doubt that the crying saxophone in my song inspired the crying harmonica in Stevie Wonder’s accompaniment to Sting’s song.
Because Joni Mitchell’s art director also ran a videotape editing and copying business, and because I occasionally created music videos that I needed copied, copies of my videotapes were made by Joni Mitchell’s art director. From certain Sting product that followed, it became abundantly clear that Sting continued to use me as an influence. Though some instances of usage might in and of themselves contain no such implication, the cumulative implication is plain to see (please note: the document this link takes you to begins with this same text found here, but also goes on to include samples of works to illustrate the point).
Monday, January 19, 2009
Traffic On The Unbeaten Path
I've got some real news here, no joke, I'm it, this is where the train makes a big stop, gather around! On second thought, what I have to report this time around may involve some reviewing of my previous blog and other stuff, trusting me on a few things, and putting lots of things together. Well, would you look at all of those people who are unaware of how intense and trustworthy things are with me heading for the door. Okay, well, you're just not ready. And now, for the rest of you, those who are still here (especially those who are still here on the first read, as opposed to those who read only so far, leave, but then are prodded into coming back by people passing the word that there really is something here):
Where to begin? I'll just rattle everything off, that'll be my style here.
In my previous blog I described where I had special reason for making a connection between Steven Spielberg's description at the Golden Globes of trains colliding, and the simultaneously broadcast "24" premier, which involved the idea of airplanes colliding, and a scene in Spielberg's "Minority Report" that came from my "Mall Man" video.
I also showed in my previous blog where the weekly Monk/Steinhoff videoclip (which exist because nearly every episode of "Monk" ever made deliberately includes things that connect with things in my creative work, see some on YouTube under Zoomsteinhoff; and also to be found in a few of my other blogs) for 1-16-09 involved usage of a bicycle bell. Is there reason to connect the bicycle bell to the train and plane collision ideas, in that ringing a bicycle bell is like honking a car horn, which relates to avoiding vehicle collisions? Read on!
Background For What Happened Sunday, 1-18-09
It used to be that on the rare occasions that I sent an email to one of the stars of my "Gosk 2" video, who happens to be connected with more than one Arquette sibling, the following day someone who resembled Jennifer Aniston would drive by me (possibly Ms. Aniston herself). As many of us know, Jennifer Aniston is best friends in real life with Courteney Cox Arquette, wife of David Arquette. However, there was only one time that I could say with absolute certainty that it was Jennifer Aniston herself driving by me - and driving one of those cube-shaped cars. On that day, in response, I watched that night's "In Case Of Emergency," a TV show David Arquette starred in, expecting, from what might be described as a shorthand that's developed, that I would likely see on that night's show something related. Sure enough, that night's episode connected to Jennifer Aniston, in that it strongly referenced the movie "The Graduate", a movie which was the focus of the Jennifer Aniston movie, "Rumor Has It" (a movie centered on the family that "The Graduate" was rumored to be based on in reality). A week or two following this, I saw another cube-shaped car, this one containing a license plate that read something like, "Jen B". I do also understand that there exist in this world cube-shaped cars that can in no way be connected with Jennifer Aniston.
Sunday, 1-18-09
Now back to the present: on Saturday I sent another one of my rare emails to that same star of my "Gosk 2" video. On Sunday, it was not Jennifer Aniston but Angelina Jolie herself who unmistakeably drove by me - in a cube-shaped car. When one reflects on the other thing, besides the bicycle bell, in this week's Monk/Steinhoff videoclip, namely the cube-shaped tomato, one finds a connection. People have taken an interest in the Cubist art movement for lesser reasons.
I will leave these Spielberg-Sutherland-Shaloub-Pitt-et-al connections for you to interconnect, however, please be careful to keep your train of thought from colliding with reality.
Other Sunday, 1-18-09 News
Additionally, my previous blog made a strong pitch for my idea for the "Saturday Night Live" of 1-17-09, "Teddy Tinyfingers" (for the history of myself and SNL read some of my other blogs). We then saw how the last SNL sketch of the evening was about giving people excuses, and how in the last two minutes of that sketch one character suggested to another character that they say their arms fell off. My "Teddy Tinyfingers" sketch idea is about Tim Burton making a movie about someone who deliberately blows up his own hands. To add to this, the next day, Sunday, a Tim Burton look-alike was witnessed by me. Incidentally, Tim Burton and I both went to CalArts at the same time during the '70s. Furthermore, I have been quite the major influence on Burton's work at certain times.
Finally, the 1-19-09 "24" included a woman hiding in a Safe Room intoning her line in the same identical precise manner as occurs in my "Gosk 2" video, when Buegert says, "Vinkalert's hiding somewhere, isn't he?"
Where to begin? I'll just rattle everything off, that'll be my style here.
In my previous blog I described where I had special reason for making a connection between Steven Spielberg's description at the Golden Globes of trains colliding, and the simultaneously broadcast "24" premier, which involved the idea of airplanes colliding, and a scene in Spielberg's "Minority Report" that came from my "Mall Man" video.
I also showed in my previous blog where the weekly Monk/Steinhoff videoclip (which exist because nearly every episode of "Monk" ever made deliberately includes things that connect with things in my creative work, see some on YouTube under Zoomsteinhoff; and also to be found in a few of my other blogs) for 1-16-09 involved usage of a bicycle bell. Is there reason to connect the bicycle bell to the train and plane collision ideas, in that ringing a bicycle bell is like honking a car horn, which relates to avoiding vehicle collisions? Read on!
Background For What Happened Sunday, 1-18-09
It used to be that on the rare occasions that I sent an email to one of the stars of my "Gosk 2" video, who happens to be connected with more than one Arquette sibling, the following day someone who resembled Jennifer Aniston would drive by me (possibly Ms. Aniston herself). As many of us know, Jennifer Aniston is best friends in real life with Courteney Cox Arquette, wife of David Arquette. However, there was only one time that I could say with absolute certainty that it was Jennifer Aniston herself driving by me - and driving one of those cube-shaped cars. On that day, in response, I watched that night's "In Case Of Emergency," a TV show David Arquette starred in, expecting, from what might be described as a shorthand that's developed, that I would likely see on that night's show something related. Sure enough, that night's episode connected to Jennifer Aniston, in that it strongly referenced the movie "The Graduate", a movie which was the focus of the Jennifer Aniston movie, "Rumor Has It" (a movie centered on the family that "The Graduate" was rumored to be based on in reality). A week or two following this, I saw another cube-shaped car, this one containing a license plate that read something like, "Jen B". I do also understand that there exist in this world cube-shaped cars that can in no way be connected with Jennifer Aniston.
Sunday, 1-18-09
Now back to the present: on Saturday I sent another one of my rare emails to that same star of my "Gosk 2" video. On Sunday, it was not Jennifer Aniston but Angelina Jolie herself who unmistakeably drove by me - in a cube-shaped car. When one reflects on the other thing, besides the bicycle bell, in this week's Monk/Steinhoff videoclip, namely the cube-shaped tomato, one finds a connection. People have taken an interest in the Cubist art movement for lesser reasons.
I will leave these Spielberg-Sutherland-Shaloub-Pitt-et-al connections for you to interconnect, however, please be careful to keep your train of thought from colliding with reality.
Other Sunday, 1-18-09 News
Additionally, my previous blog made a strong pitch for my idea for the "Saturday Night Live" of 1-17-09, "Teddy Tinyfingers" (for the history of myself and SNL read some of my other blogs). We then saw how the last SNL sketch of the evening was about giving people excuses, and how in the last two minutes of that sketch one character suggested to another character that they say their arms fell off. My "Teddy Tinyfingers" sketch idea is about Tim Burton making a movie about someone who deliberately blows up his own hands. To add to this, the next day, Sunday, a Tim Burton look-alike was witnessed by me. Incidentally, Tim Burton and I both went to CalArts at the same time during the '70s. Furthermore, I have been quite the major influence on Burton's work at certain times.
Finally, the 1-19-09 "24" included a woman hiding in a Safe Room intoning her line in the same identical precise manner as occurs in my "Gosk 2" video, when Buegert says, "Vinkalert's hiding somewhere, isn't he?"
Friday, January 16, 2009
Anybody Wanna Hire One Of The Secretly Most Important People (or keep an eye on the people who did)?
I'll begin by mentioning that something extremely ugly happened to me where I work at Kaiser Permanente, Walnut Center, Pasadena, California. Let's leave it there.
I don't know precisely how good an idea it is to detail how Spielberg did something related to me at the Golden Globe Awards last Sunday. Any intelligent person who closely followed what I've already put forward in the past, and who saw the Golden Globes and the 4-hour season premier of "24", could already have pieced it together themselves anyway. Why show favoritism to those organized in a way that permits them to figure these things out? Because by definition such people are more ethical? Might as well share it with the world, or at least, with those able to follow this. Before you read this, I should also add that Jill Clayburgh, daughter of my former NYC next-door neighbor (the late Bill Clayburgh), co-starred in "Dirty Sexy Money" with Donald Sutherland (father of Kiefer Sutherland, star of "24"). Oh, and Jill may or may not have driven by me today. So now the Steven Spielberg thing:
1. Clearly Steven Spielberg’s moment about a train crash upon receiving the Cecil B. DeMille Award at the Golden Globes Sunday could be related to the “24” moment that same night about a plane crash.
2. Based on my own experience, I had reason to view the manner in which the Tony Olmedo character on “24” was filmed Sunday, surrounded in black with pretty much only his face lit, as a possible tip-off that a Steinhoff's “Mall Man” reference could be expected.
3. Monday's “24” contained a scene that struck one as resembling the scene in Spielberg’s “Minority Report” that was based on “Mall Man”, specifically, when Tony and Jack were escaping from the FBI while Chloe’s multi-monitor vantage point allowed her to provide split-second, all-knowing guidance.
4. From what happened Sunday, I was already on the alert for something on "24" that would intertwine with both Spielberg and “Mall Man”. This was confirmed Monday, and so confirms that I was on the right track.
If this provides me with any kind of "coin of the realm" (I have yet to see anything actually monetary from all these things, ever, by the way), I'd like to use it to point those that value it towards my new SNL comedy sketch idea, "Teddy Tinyfingers", published at archive.org. It's the little things that can get in there and save the world, so I am anxious to see at least particles of this idea utilized. SNL has found ways to include either my material or things related to me personally in every one of their shows for years, and this sketch idea happens to be something I particularly wish to point my finger at. I'd been kicking around for months an idea it contains, of a way to adapt to those tiny keyboards on handheld devices, but after trying to perfect a prototype (gloves with sawed down golf tees sticking out), I'm thinking this sketch idea is as far as that concept will go (unless you count last week's SNL sketch about the female air traffic controllers whose long fingernails practically deprived them of the ability to properly use their fingers).
And lastly for now, this week's Monk/Steinhoff videoclip, which, as occurs frequently with these weekly Monk/Steinhoff videoclips, draws from two of my three main live action videos:
I don't know precisely how good an idea it is to detail how Spielberg did something related to me at the Golden Globe Awards last Sunday. Any intelligent person who closely followed what I've already put forward in the past, and who saw the Golden Globes and the 4-hour season premier of "24", could already have pieced it together themselves anyway. Why show favoritism to those organized in a way that permits them to figure these things out? Because by definition such people are more ethical? Might as well share it with the world, or at least, with those able to follow this. Before you read this, I should also add that Jill Clayburgh, daughter of my former NYC next-door neighbor (the late Bill Clayburgh), co-starred in "Dirty Sexy Money" with Donald Sutherland (father of Kiefer Sutherland, star of "24"). Oh, and Jill may or may not have driven by me today. So now the Steven Spielberg thing:
1. Clearly Steven Spielberg’s moment about a train crash upon receiving the Cecil B. DeMille Award at the Golden Globes Sunday could be related to the “24” moment that same night about a plane crash.
2. Based on my own experience, I had reason to view the manner in which the Tony Olmedo character on “24” was filmed Sunday, surrounded in black with pretty much only his face lit, as a possible tip-off that a Steinhoff's “Mall Man” reference could be expected.
3. Monday's “24” contained a scene that struck one as resembling the scene in Spielberg’s “Minority Report” that was based on “Mall Man”, specifically, when Tony and Jack were escaping from the FBI while Chloe’s multi-monitor vantage point allowed her to provide split-second, all-knowing guidance.
4. From what happened Sunday, I was already on the alert for something on "24" that would intertwine with both Spielberg and “Mall Man”. This was confirmed Monday, and so confirms that I was on the right track.
If this provides me with any kind of "coin of the realm" (I have yet to see anything actually monetary from all these things, ever, by the way), I'd like to use it to point those that value it towards my new SNL comedy sketch idea, "Teddy Tinyfingers", published at archive.org. It's the little things that can get in there and save the world, so I am anxious to see at least particles of this idea utilized. SNL has found ways to include either my material or things related to me personally in every one of their shows for years, and this sketch idea happens to be something I particularly wish to point my finger at. I'd been kicking around for months an idea it contains, of a way to adapt to those tiny keyboards on handheld devices, but after trying to perfect a prototype (gloves with sawed down golf tees sticking out), I'm thinking this sketch idea is as far as that concept will go (unless you count last week's SNL sketch about the female air traffic controllers whose long fingernails practically deprived them of the ability to properly use their fingers).
And lastly for now, this week's Monk/Steinhoff videoclip, which, as occurs frequently with these weekly Monk/Steinhoff videoclips, draws from two of my three main live action videos:
Sunday, January 11, 2009
Still Around
A new season of "Monk" being upon us, a new season Monk/Steinhoff videoclips are as well. Many others can be found on YouTube (where I am "Zoomsteinhoff"), however, since the "Simpsons" episode (by which I do not mean episode of "The Simpsons" - see my November 30th blog, "Give My Regards To Silence"), I plan to steer clear of YouTube when it comes to new postings of videoclips containing references to commercial works (in spite of the unwritten law of entitlement when one considers that these commercial works involve my material).
One thing to add to this January 9, 2009 Monk/Steinhoff videoclip posted here: This Monk episode made the word "Gosford" key; I sent an email regarding the movie "Gosford Park" in December to the former USA Network president referred to in all of my Monk/Steinhoff videoclips (my "didtheyreadit.com" email technology showed that someone did in fact open and read that email for eight minutes):
I recently had the opportunity to see on TV the movie, "The Darwin Awards," which includes David Arquette among its stars. Hence, this videoclip:
For those who read comments to postings at Huffington Post, the other day I commented (as JonathanDS2U) to an article about the celebrities scheduled to be part of Obama's inauguration. I made a statement that Sting has my permission to sing "Starting Up A Brand New Day" there. To those aware of my relationship to the creation of this song, my giving of permission might be viewed as something that could materially translate into to a more positive vibe at the actual event, which in turn could lift up the nation and so forth. No need to thank me.
One thing to add to this January 9, 2009 Monk/Steinhoff videoclip posted here: This Monk episode made the word "Gosford" key; I sent an email regarding the movie "Gosford Park" in December to the former USA Network president referred to in all of my Monk/Steinhoff videoclips (my "didtheyreadit.com" email technology showed that someone did in fact open and read that email for eight minutes):
I recently had the opportunity to see on TV the movie, "The Darwin Awards," which includes David Arquette among its stars. Hence, this videoclip:
For those who read comments to postings at Huffington Post, the other day I commented (as JonathanDS2U) to an article about the celebrities scheduled to be part of Obama's inauguration. I made a statement that Sting has my permission to sing "Starting Up A Brand New Day" there. To those aware of my relationship to the creation of this song, my giving of permission might be viewed as something that could materially translate into to a more positive vibe at the actual event, which in turn could lift up the nation and so forth. No need to thank me.
Sunday, January 4, 2009
Bits and Pieces Strike Back
Today I'm offering a few bits and pieces that cannot possibly be worthy of significance, unless you have already familiarized yourself with lots of other bits and pieces. The significance of this videoclip regarding Kevin Smith, Will Ferrell and Jason Lee is connected to several prime facts:
As I said, these are mere bits and pieces, and require familiarity with other bits and pieces before they (cumulatively) contain recognizable significance in relation to me.
Another movie that includes a reference to my work, one I just had the opportunity to see yesterday for the first time when it made its premium TV channel (Showtime) premier, is "1408", which stars John Cusack and Tony Shaloub. Owing to Tony Shaloub being involved, I was immediately aware that I should be on the lookout (see the second-to-last paragraph of my 12.25.08 blog), based on my experiences. I then found this movie to make very pronounced use of the identical section of a Mozart piece that I use for the opening of Steinhoff's Dostoyevsky's "Uncle's Dream" (one of my three more important live action videos). Though I would never say that anyone using this section of this Mozart piece was therefore doing so in relation to me, the Tony Shaloub connection had tipped me off in advance. Shorthand indicators are things an intelligent person appreciates. I then found this movie to share something further with this video work of mine, the recurring question of whether one is witnessing a reality or a dream. Again, I would not say that every time such a component contains significance in a work it is therefore being done in relation to my work. However, with the cumulative and shorthand aspects, I must conclude the Mozart was there for me. I should add that it often happens that John Cusack movies also include things for me. On this subject, Cusack's first big movie, "Better Off Dead," was written and directed by Steve Holland, who I knew at CalArts and who was the roommate of someone who was at that time a friend of mine.
- Jason Lee's first big movie, "Mallrats" (1995), which was made by Kevin Smith (aka Silent Bob) and produced by Sean Daniel, who was the first person from whom I learned of the college I attended, CalArts, was named after my video, "Mall Man" (1993). I have been pointing out well before "Mallrats" that every time Sean Daniel produces a movie one can find things derived from my work.
- Ever since "Mallrats", Jason Lee, like Sean Daniel, always appears in projects that contain things derived from my work, or related to me in other ways. This includes "Underdog" (for which Jason Lee is the voice of Underdog) and "Alvin and the Chipmunks" (which stars Jason Lee as Dave), among other Jason Lee roles. The NBC TV sitcom in which Jason stars, "My Name Is Earl", began with my idea.
- Will Ferrell is among a number of celebrities whose work invariably contains references to my work (though there have been a few Will Ferrell projects that do not).
As I said, these are mere bits and pieces, and require familiarity with other bits and pieces before they (cumulatively) contain recognizable significance in relation to me.
Another movie that includes a reference to my work, one I just had the opportunity to see yesterday for the first time when it made its premium TV channel (Showtime) premier, is "1408", which stars John Cusack and Tony Shaloub. Owing to Tony Shaloub being involved, I was immediately aware that I should be on the lookout (see the second-to-last paragraph of my 12.25.08 blog), based on my experiences. I then found this movie to make very pronounced use of the identical section of a Mozart piece that I use for the opening of Steinhoff's Dostoyevsky's "Uncle's Dream" (one of my three more important live action videos). Though I would never say that anyone using this section of this Mozart piece was therefore doing so in relation to me, the Tony Shaloub connection had tipped me off in advance. Shorthand indicators are things an intelligent person appreciates. I then found this movie to share something further with this video work of mine, the recurring question of whether one is witnessing a reality or a dream. Again, I would not say that every time such a component contains significance in a work it is therefore being done in relation to my work. However, with the cumulative and shorthand aspects, I must conclude the Mozart was there for me. I should add that it often happens that John Cusack movies also include things for me. On this subject, Cusack's first big movie, "Better Off Dead," was written and directed by Steve Holland, who I knew at CalArts and who was the roommate of someone who was at that time a friend of mine.
Thursday, January 1, 2009
How McCartney Can Solve The Whole iTunes Puzzle
We all know the story of King Solomon and how two women each claimed a baby to be theirs. How King Solomon, to determine the identity of the true mother, said he would therefore cut the baby in two and give each woman half. How this was intended to provoke the true mother to change her story and deny that the baby was hers. How this would reveal the true mother, who would be willing to give her baby to the other woman, if this was the only way to keep her baby from being cut in half.
This does not perfectly correlate to my solution to a problem currently faced by Paul McCartney regarding Beatles songs and iTunes, nevertheless, follow me, or Paul McCartney, follow me.
If Beatles songs become available on iTunes in the normal manner, what will happen to the artistic wholeness of Beatles albums? The songs on Beatle albums are not just packaged together as so much Beatles product; and Beatles albums are not merely artifacts of ways in which the songs were once packaged. They are artistic creations.
To strengthen the glue that holds these songs together as parts of specific Beatles albums, after the songs have been released into an iTunes song - at - a - time world, it may require more than a money incentive approach, a cheaper - by - the - dozen/ cheaper - if - you - get- all - of - the - songs - on - a - particular - Beatles - album approach.
I have an unusual plan for eliciting appropriate respect among the masses for the artistic wholeness that the Beatles albums possess. I do not know if Paul McCartney or iTunes are ready for my idea - in fact, I'm sure there are those for whom even the King Solomon story is considered profane (try pitching a movie where a major moment involves the idea of sawing a baby in half).
Sell Beatle songs on iTunes by the half-song. Each half-song would cost half as much as the whole song. From this there would emerge an ethic, a mentality of "You only bought half of that Beatles song???!!! What a ___ you are!" Song samples are one thing, where you know you aren't legitimately experiencing the entire work, but the idea of Beatles half-songs will touch so deep a nerve, provoke so extreme a reaction from those who respect the artistic wholeness of the entire Beatles song, that this disposition would emerge as a basic ethic. People would inwardly rejoice when they learn that, despite the option of purchasing half-songs, invariably the same number of both halves (i.e., whole songs) would be purchased (this is my prediction, as is the idea that this statistic would receive much attention).
I believe this new, basic ethic would have a ripple effect, reinforcing the glue holding together the sense that these songs are parts of whole Beatles albums. It could even become the foundation of a more widespread respect for artistic autonomy.
This does not perfectly correlate to my solution to a problem currently faced by Paul McCartney regarding Beatles songs and iTunes, nevertheless, follow me, or Paul McCartney, follow me.
If Beatles songs become available on iTunes in the normal manner, what will happen to the artistic wholeness of Beatles albums? The songs on Beatle albums are not just packaged together as so much Beatles product; and Beatles albums are not merely artifacts of ways in which the songs were once packaged. They are artistic creations.
To strengthen the glue that holds these songs together as parts of specific Beatles albums, after the songs have been released into an iTunes song - at - a - time world, it may require more than a money incentive approach, a cheaper - by - the - dozen/ cheaper - if - you - get- all - of - the - songs - on - a - particular - Beatles - album approach.
I have an unusual plan for eliciting appropriate respect among the masses for the artistic wholeness that the Beatles albums possess. I do not know if Paul McCartney or iTunes are ready for my idea - in fact, I'm sure there are those for whom even the King Solomon story is considered profane (try pitching a movie where a major moment involves the idea of sawing a baby in half).
Sell Beatle songs on iTunes by the half-song. Each half-song would cost half as much as the whole song. From this there would emerge an ethic, a mentality of "You only bought half of that Beatles song???!!! What a ___ you are!" Song samples are one thing, where you know you aren't legitimately experiencing the entire work, but the idea of Beatles half-songs will touch so deep a nerve, provoke so extreme a reaction from those who respect the artistic wholeness of the entire Beatles song, that this disposition would emerge as a basic ethic. People would inwardly rejoice when they learn that, despite the option of purchasing half-songs, invariably the same number of both halves (i.e., whole songs) would be purchased (this is my prediction, as is the idea that this statistic would receive much attention).
I believe this new, basic ethic would have a ripple effect, reinforcing the glue holding together the sense that these songs are parts of whole Beatles albums. It could even become the foundation of a more widespread respect for artistic autonomy.
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