Special Thanks To Washington, Obama And McCartney

Unreal Dream
My July 23rd blog ended with my stating:

"I'm sure that, whatever specific elements might someday get glued together through the development of this concept, those elements will eventually find some way to unglue themselves from it."

My July 25th blog began with:

The image of the sword in the stone (Excalibur), which was followed in that blog by an allusion to the legend regarding it, which is about only one person being able to remove the sword from the stone (King Arthur).

So on the one hand (7/23), elements that, though they might one day become glued together, someday they will find a way to unglue themselves from each other. On the other hand (7/25), two things bonded together that only one person can separate.

I shall now bring together things that should unglue simply by breathing on them, or sneezing on them, or chewing on them, or whatever you feel like doing to them. I do so for your amusement, and also on the strange, remote offchance that it has been dictated to me to do so, by Paul McCartney and/or President Obama, via things regarding tonight's fantastic broadcast of McCartney being honored at the White House. And may I take this opportunity to say, that broadcast was a golden moment, and I have no desire to pull apart what came together there. I have nothing but thanks for their having done this. I would give them both an award to go with the Gershwin Award McCartney was given by the President, if I had one, not that I could do more to make that moment hold together than what has already been done. The specialness of the evening was remarkable.

I won't be backing up any of the following statements which, combined, comprise my theory that I might have been meant to see a connection in this McCartney/Obama event to my "Steinhoff's Dostoyevsky's 'Uncle's Dream'". So many of my previous blogs already go on at length to prove to the intelligent that I am a secretly super-important person to whom things happen that are far beyond normal experience, if you put pieces of puzzles together left by people who don't wish to speak too loud. I know this must appear to a newcomer as totally audacious, crazy, etc. Did I say "newcomer"? You could imagine yourself to be well familiar with what I have contended in the past, however, if you never bothered to follow the details, for lack of intelligence, inclination, ulterior motives regarding certain powerful situations, etc., then that which I do in these here type things will always be new/unfamiliar to you.

1. Paul McCartney has on innumerable occasions said and done things intended to be in relation to me. I have known many who know him, and I have been a very significant influence on him over the years, going back to the '60s and continuing to the present day. On my first few days ever in London in 1983, had I run across the train tracks at Baker Street Underground Station to be on the same platform as he, when we both were nearly the only ones in that station, we may even have shaken hands. Several days following our not shaking hands, I was invited to a dinner party by his next-door neighbor during the '70s. Unconnected events, perhaps....

2. A number of years ago, a song McCartney wrote with Elvis Costello (who appeared in tonight's broadcast of McCartney being honored by the President at the White House) contained a line, "She wants to shout at the back of his head." I interpreted the origin of that lyric as coming from something I came up with for my video, "Steinhoff's Dostoyevsky's 'Uncle's Dream'", wherein a character hallucinates that a woman is shouting at the back of his head.

3. A recent interview with McCartney about playing at the White House had him choosing to characterize the experience as being very comfortable, where one felt one could say anything, like when one is speaking to a cousin. In my "Uncle's Dream" video, a character is specially advised not to feel free to say anything when in the presence of a particular important individual. My cousin and his wife appeared in my "Uncle's Dream" video.

4. In my "Uncle's Dream" video, there are many references to the power someone has over a most important person due to her playing music before him. The nature of this idea is not totally unrelated to the nature of tonight's McCartney/Obama broadcast. (I certainly do not mean to infer anything, I am simply making an objective statement.)

5. When President W had that whole front-page episode over putting his hand on the shoulder of the German Chancellor and her responding with apparent revulsion, the incident occurred one day following my having emphasized the significance of an identical act (as described in my "Back To The Political Future" pdf at Archive.Org) that occurs in my "Dostoyevsky's 'Uncle's Dream'" video being used on a "Monk" episode (almost all episodes of "Monk" made inside-references to my material, which I attribute to my having once known the former President of USA, which made "Monk", having some kind of hand in it, it seems to me. He's always doing stuff like that in relation to me, seems to me. And at some point after that W incident, when W stated that his reading tastes were very epileptic, I believed this related to that previous situation, in that Dostoyevsky is one of the world's most well known epileptics, despite it obviously seeming to be that W meant to use the word, "eclectic". Paul McCartney was widely quoted as having said, while at the White House, that it was nice to now have a president who knows what a library is (PBS today defended not editing that into tonight's broadcast). This was McCartney touching on the subject of W's reading.

6. There was a moment in tonight's broadcast when Stevie Wonder appeared to respond negatively to McCartney putting his hand on his shoulder by pulling his hand off (as if it was overdoing it, as it followed McCartney kissing Wonder's head).

6. Once many years ago when McCartney was a guest on Saturday Night Live, he played a butler character who did a few things relating to the butler character in my "Uncle's Dream" video.

7. The female star of my "Uncle's Dream" video, my friend Sandra Church (former Broadway star and Brando's wife in a movie), once mentioned to me going to Thanksgiving Dinner at Judy Collins'. Judy Collins was a very close friend of Linda McCartney.

8. Tonight on a separate show, a nightly news comments show, someone appeared with comments whom I've never seen before, and I've seen this nightly news comments show a lot. She had the same, somewhat uncommon last name as a person I know who is a friend of Obama from Chicago. Obviously not connected to the other person with the same last name, yet interesting that this person should be there to bring the other person to mind today of all days.

9. I have occasionally noticed my influence on things said by the President the day following my putting something out. This was also true of W and Clinton.

10. Now unglue everything in items 1-9 for future use elsewhere in other contexts. But do me a favor and find some place to store these elements in the meantime. You could rearrange the letters, I think they could all write out something from Shakespeare (though you may need to add or subtract a few punctuation marks). I promise not to sign the above with anything other than a pencil, so it should all be simple to unglue.

From Last To First
In my previous blog I referred to something I wrote 30 years ago, "Two Hours In The Life Of George Washington". I have since then posted a pdf of it at Archive.Org.

Doesn't Count
Nothing to report regarding any influence from me on Tuesday's "Memphis Beat", unlike most of their other episodes (which I proved/demonstrated in previous blogs).

[Unless you count the fact that Tuesday's episode showed the influence of "My Name Is Earl", an earlier Jason Lee TV show that first originated from something I had sent to someone I once knew, who was the producer of the first movie Jason Lee starred in. "Earl" references on "Memphis Beat" shouldn't really count, though, as "Memphis Beat" stars Jason Lee, so if his references to his own earlier show have to be thought of as automatically coming back to me, all of our lists of who we might owe credit to would be endless.]

She Killed To Get Into The Party But They Were All Out Of Those Little Hotdogs When She Got There

Here are a few little pieces that may be part of little and big puzzles - or perhaps they're just little pieces, period.

The Best That You Can Do
It's London, 1983, and it's the day my photographs are supposed to be ready for me to pick up - the photographs of my day trip a few days before to Glastonbury, where King Arthur was supposed to be buried. So on my way to the store to pick up my photos, there's Arthur, standing there, staring at me, or more precisely, there's Dudley Moore, star of the 1981 movie, "Arthur". Here's the thing: there was a fence in front of a house, Dudley was standing in front of the fence, and the rungs of the fence were all cast iron and made to look like sword handles at the top. But the one Dudley was standing directly next to was missing the handle (broken off by someone, apparently). So, think of the legend of King Arthur and Excalibur, the sword in the stone, everyone trying to get at the sword. Dudley/Arthur had a very concerned look on his face - it really was a picture.

So then recently I'm once again watching the movie "Arthur", and suddenly I notice something. The movie came out in July 1981. Earlier in 1981, or possibly late in 1980, I was involved with trying to put together my own little avant garde movie project, "Two Hours In The Life of George Washington", intended as a 45-minute real-time movie about the father of our country having a sex affair (that was where the missing hour and fifteen minutes were intimated to be about - the whole thing was meant to be done in a style too absurd to be taken for real on any level). At one point Washington is walking through a horse stable (he is if the movie had ever been made, that is, which it wasn't), addressing each horse individually (they each had the name of a future American president, and he had something very special to impart to each). And there it was, in "Arthur", a comparable moment (by my standards) in a scene involving Dudley Moore and Liza Minelli. My experience tells me that the nearness in time of my attempted film project to the release date of "Arthur" is indicative of where the idea came from. Of course, my idea never got anywhere. Harley Lewin, a famous rock lawyer I had worked for as a temp once, expressed a little interest; so did Carl Zucker, who was Woody Allen's locations manager on "Interiors" as well as being someone I had once worked with; and finally, so did Ken Hanson, whose brother was a friend of Yoko's before she met John, as well as also being someone I had once worked with. Nothing happened though. Unless you count that Lewinsky business that followed in the '90s, but a connection to that is too ridiculous to even consider.

Third Sword In The Stone From The Sun
I brought together the below stills from two different films, the 2009 Joseph Gordon-Levitt movie, "500 Days of Summer", and my 1974 CalArts Film Class' student film, "Limbo" (starring Dinah Manoff, who was also in this class) for a specific reason even greater than the sheer joy of seeing people in gorilla costumes, or seeing L.A.'s famous Bradbury Building, or seeing both at once.




In several recent blogs I observed that, beginning with "Third Rock From The Sun," I seem to be a continuing influence on things involving Joseph Gordon-Levitt, star of "Inception". This time around I draw your attention to yet another significant similarity with relation to Joseph Gordon-Levitt and myself:

• The very last scene (i.e., the ending) of "500 Days of Summer", which was filmed at the Bradbury Building, involves two people competing for the same job.
  

• In "Limbo", also filmed in the Bradbury Building, the characters are there to compete for the same job as well.

Cut To Hat
I may very possibly have passed by Steven Spielberg today, which is significant because of my immediately preceding July 23rd blog ("It's A Matter Of Principle, Or Money, One Of Those"). Because of my previous experiences, I had already pre-anticipated that something might very possibly occur during my first non-commuting drive since that July 23rd blog that would be something I would regard as fitting in with that blog, owing to the special significance of that blog. This does not mean it was necessarily actually Spielberg I saw today, but it does mean I was meant to feel that it may possibly have been. He was wearing the identifiable Spielberg baseball-ish cap, had the salt-and-pepper beard.... he also had an expression as he spoke to the person next to him that slightly reminded me of when Dudley Moore was concerned about something back in 1983 London.

It's A Matter Of Principle, Or Money, One Of Those

Two things to report which, together, may perhaps add up to five things, or ten things, or one thing, depending on your attitude (personally I think of them as two things that shouldn't be added together at all, but then I never combine the money I make on Tuesday with the money I make on Thursday, so what do I know):

What Does This Have To Do With Iran And Pakistan?
I just saw Barry Levinson's 2008 quite enjoyable movie, "What Just Happened", it being that it has just made its way to Showtime. It stars Bruce Willis, Stanley Tucci, Robert DeNiro and Sean Penn.

I have in the past been no small influence on works that involve them all, including Levinson. And I was an influence again here. The particularly interesting thing in this instance is that it ties in fairly directly with my influence on Spielberg, as related in my December 26, 2009 video, "Steven Spielberg and the 'Mall Man' Factor", which is posted at Archive.Org. I've also incorporated into the following videoclip, which primarily regards "What Just Happened", another videoclip that I featured with my January 30, 2010 blog ("May The Force Be Tested For Possible Negative Side Effects"), as both subjects share an addendum-like quality with relation to my aforementioned Dec. 26, 2009 video:



I do not consider this videoclip self-explanatory, but rather as something that should be seen in conjunction with "Steven Spielberg and the 'Mall Man' Factor".

Money Needed For Bread And Thumbtacks
(I'll Worry About Buying Protein And A Bulletin Board Some Other Time)
On Wednesday, July 22nd I posted at Archive.Org a comedy concept I came up with, "Following The Money Ridiculously". Someday it could perhaps redefine everyone's very relationship to dramatic tension and thereby influence the lives of millions, if only the perfect inspiration were to somehow inhabit this concept.... Well, in any event, I don't think it's too bad an idea. I must admit, generally I consider it simplistic to lump all matters relating to money into one bag, but sometimes one just wants to momentarily shove things together into the same context for the hell of it. I'm sure that, whatever specific elements might someday get glued together through the development of this concept, those elements will eventually find some way to unglue themselves from it.

All Roads Lead To Memphis And France

A few things from last night's Letterman tend to add support for my belief that someone over there is reading my blogs. In fact, I seem to have found reason to believe that SNL people also read my blogs, as well as certain others who make TV, movie, etc. contact with countless others.

One or two of you out there may even permit me to build my case:

As recently as July 15th I found reason to state in a blog article:

".... apparently something was worked out with Letterman (who has referenced me/my material quite a bit before, as I've indicated in numerous blogs)....."

My July 6th and July 13th blog articles related to my observations that the July 6th and July 13th episodes of the TV show, "Memphis Beat" made inside-references to my material (specifically, my 1993 video, "Mall Man", which is posted at Archive.Org), and in those blog articles I also included my explanation of why those inside-references were made on "Memphis Beat". Videoclip excerpts correlating things in "Memphis Beat" with things in my 1993 "Mall Man" video were also presented. My July 13th blog article ("One Small Step For Mall Man") included but one "Mall Man" videoclip excerpt for correlating purposes, which, interestingly, was directly sequential with the exact spot in "Mall Man" where we left off in my July 6th blog article.

Now, on July 20th, a new reference on TV to my "Mall Man" video, again directly sequential with the exact spot in "Mall Man" where we left off on July 13th. This occurred on the July 20th Letterman, with the word "Memphis" also figuring big on that night's show:



May I express my apologies to Dave for making him look a little silly by editing him as repeating Sheryl Crow's word "Memphis" so much. However, the title of an important guest's latest release is important in that world, therefore, I do not exaggerate that word's degree of importance on that show. Perhaps on some future occasion it will become relevant for me to edit him as appearing to repeat the word "Mississippi" in like manner, which surely would have the effect of making him seem quite impressive. Who knows what the future will bring? Let's see, first I would have to do a video about Tom Sawyer, then....

Let's Pretend I Think We're Both On The Same Page

Only 3 things going on:

1. I will be starting "production" on one of my little videos, entitled, "Down The Hatch", which comes from my comedy idea of the same name, written and posted on my website in May 2006, and recently posted at Archive.Org. As with many of these comedy ideas of mine, upon creation I sent it to my SNL "contacts", and as has generally been traditional for years and years, that very week they worked some fragment (or more) of it into the show (I initially saw Julia Louis-Dreyfus in the starring role). This will be an attempt at a genuine realization of it.

2. Once again, Jason Lee's show, "Memphis Beat" has thrown in things I interpret as being intended as inside-references for my benefit. No one in their right mind would agree, if they didn't do the homework regarding the cumulative basis upon which my conclusion is based, including the fact that Lee's "My Name Is Earl" began with me, as did the title of the movie that featured his first starring role. So scant were this week's inside-references, I will only make general reference to them here. They were in relation to my video, "Steinhoff's Dostoyevsky's 'Uncle's Dream'". There was the couple that only stayed married for appearances in both; there was the character sitting on a couch looking over his shoulder in both; there was the panning shot of objects on a coffee table in both; there was the special significance given to a hand placed on someone's shoulder in both (never worth making note of if you don't know how the shorthand in connection with me has so often come to intertwine this one); there was the word "uncle" having more than your average specialness in both; there was the being knocked out in a big way by the beauty of music/singing in both. Possibly other things I missed.

3. I recently came up with something new about the time I gave John Lennon (through his intermediary) the opening of the "Double Fantasy" album. You may first want to do a search through my collected posted blogs at Archive.Org for the words "precious" and "Cinderella" for part of the backstory, then hurry back here before midnight strikes.

Done? Okay, well, I've recently been re-listening to something I once recorded off of the "Lost Lennon Tapes", where the song "Starting Over" is a work-in-progress. And at one point it was all about, "Why don't they leave us alone," you know, the whole thing about why should a person such as he continue as a special person in your lives. So it suddenly hit me, that when his intermediary provoked me to say the things that ultimately led to the whole opening of "Starting Over", I was responding to her exasperated-sounding statement about, "Hasn't he done enough for everybody already? He shouldn't have to do more." I described this part in an earlier blog, as you would know if you did that search I mentioned. And as I also described in that earlier blog, I knew at the time that Lennon was calling upon me.

Have You Heard The Dream About The....

I have more than one thing of interest to report this time around, two or more (depending on how one counts), and have carefully sorted them out in order of importance for you.

If A Derelict Falls Down In The Woods And No One Is There To Hear It
(sung to the tune of "If A Tree Falls In The Woods")
I have today posted a new story, "The Dead Time Traveling Derelict" at Archive.Org. If it goes the way of 99.9% of my other ideas, it will eventually get parted out like an old car, pieces showing up on The Daily Show, The Colbert Report, Saturday Night Live, movies, other TV shows, etc. (imagine what the destructive effect on Hollywood would be if they had to start acknowledging that the things I create stand up as whole works by themselves rather than being nothing more than assortments of isolated fragments, and that usage of my works reflects on their intrinsic value rather than it all being some game of "including" me/my material in a fun and novel way?). Enjoy (and please edit out in your mind that last rant, it was weak of me to go on like that, please forgive me, I love everything that happens to me at all times).

I Must Think You Must Think I Must Be Dreaming
When I stayed up Friday night (technically Saturday morning, 7.17.10, 12:35 am) to see Joseph Gordon-Levitt on Jimmy Fallon's show, I was looking to see two things:

• More that could be interpreted as connecting with "The French Stewart Situation" (described in, among other places, my immediately preceding, July 15th blog article, "Third Rock Lives").

• Some potential indication that my immediately preceding, July 15th blog article had been noticed (Occasionally I observe very significant indications that my blog articles are being very noticed, and in turn oftentimes, very influential on very significant things - and also less than very, by varying degrees).

Sure enough, I found something I regard as meeting both criteria. As is always the case with inside-references whenever they occur throughout the world, what I found to be inside-references could simultaneously be seen as things that stand up by themselves, with no need for any other raison d'etre than that which one finds on the surface, thus tending to make suspect the ascribing to them of any additional properties, such as being inside-references:

• In my May 1, 2010 blog article ("Dear Letter"), wherein I first announce the posting of my French Stewart video on YouTube ("Come On, French Stewart, You Owe Me!"), one finds a section entitled "Wheel Of Making Me Look Like I'm Piecing Together Sentences That Aren't There", which includes this paragraph:

.... please first permit me a moment to once again attempt to get across the cumulative concept: If John Lennon wears a T-shirt in Los Angeles that only has the letter "M" on it; and Paul McCartney wears a T-shirt the next day in London that only has the letter "I" on it; and George Harrison wears a T-shirt the day following that in San Francisco that only has the letter "C" on it; and Ringo Starr a week or two or even three later in Ann Arbor, Michigan wears a T-shirt that only has the letter "K" on it, and you are in on the fact that John, Paul, George and Ringo were once in a group together, you could surmise that the context exists in which Ringo's "K" could be seen as part of a deliberate effort to spell the word "Mick", even though "K" all by itself contains no such implication. And if someone took the basis of your surmisal out of context, and said, "How does 'K' have to necessarily be part of spelling 'Mick'?", or "How does 'I' and 'K' necessarily have to be part of spelling 'Mick'?", or "Why do you think of The Beatles at the same time as the Stones when their music is not really all that similar?", the person saying these things about your surmisal might be out to make you sound like an i-d-i-o-t, or themselves be less smart than a non-idiot.

• If one saw Joseph Gordon-Levitt on Friday night's Fallon's show, one saw:

• If one properly understood why I titled my immediately preceding, July 15th blog article, "Third Rock Lives", one would appreciate that I was involved with the concept that, if a situation is pulled together into being that includes two people who once very significantly existed in relation to each other in a separate context, that separate context, though by certain measures no longer in existence, will be seen by some as living once more, at least to a degree. This is very much akin to the cumulative concept.

Any Similarity Between This Section Of This Blog Article And The Preceding Section Of This Blog Article Is Purely Coincidental
Yesterday I went to see the new Joseph Gordon-Levitt movie, "Inception", which, as can be said of most if not all Chris Nolan movies, is astounding, wonderful, very emotional, etc. I'm sure its reception will speak for itself and thus confirm what I found to be its appeal.

Based on my considerable experiences with finding inside-references to me/my material (never to be confused with usage of that which is special in my material, for which I would love to be someday compensated though I likely never will), on that cumulative basis (and only on that cumulative basis - see cumulative concept paragraph above), I found no small number of things in that movie that had to do with me. Most visibly:

• A sideways train, which I used in my music video, "Dream" (posted at Archive.Org in 2005)
  

• A partially broken drinking glass under someone's foot, which I used in my video, "Mall Man" (posted at Archive.Org in 2005)

On a more personal note, this extraordinary movie reminded me of a dream I once had a long time ago, which over time I don't believe I've related to more than one or two people (though sometimes telling one particular person can be more like telling thousands than if one only had told 20 people without including that one person, believe you me).

In that dream, I was just about to finally have lunch with someone with whom I had for some time planned to eventually have lunch some day. But then a child came into the room who needed attention. Then another child came into the room. She said to wait a moment, she first had to attend to the matter at hand, it would just be a moment. Then another child came in, and so on. Some sort of dilemma between the children similarly intensified, it all becoming more and more entangled. I said that I had to wake up now, we wouldn't be able to go to lunch afterall. She said I should just wait another moment. And then more children came into the room, and the complexity of the entangled nature of the situation between the children likewise continued to intensify. I had to wake up, lest I be pulled forever into this entangled world. We would not be able to go to lunch. She began to despair at my leaving, as if being left behind in this dream was some kind of death. Before I could allow myself to wake up, I felt compelled to make the promise that I would remember the dream after I woke up, and in this manner I would not be leaving her behind to face the strange form of death that being left behind would cause. And then, as one might expect, I woke up. It was a nice dream, as in reality she never much cared about me, the opposite of what the dream allowed me to feel.

Third Rock Lives

I don't see how I can get away with not pointing out something I was able to identify last night on Letterman. It touches on a matter that touches on a matter that touches on a matter that touches on the recent "attempt" to bomb Times Square. Of course, you're likely to scoff, if you don't do the research - and why bother to do the research, who I am I to have something to say here, etc., etc. My bad.

1. Read my June 23, 2010 blog article, "Crazy Time", wherein I explain how my April 29, 2010 posting on YouTube, "Come On, French Stewart, You Owe Me!" was, several days following its posting, being rendered part of a larger puzzle by a Pakistani Taliban action, the "attempted" bombing of Times Square (the likely result of my secret super-importance in relation to Steven Spielberg, perhaps the most prominent Jewish person alive today, a fact that makes him a great big blip on the radar of Muslim terrorists).

2. The title of that YouTube posting of mine includes reference to actor French Stewart of the TV sitcom, "Third Rock From The Sun", the piece itself further referencing French Stewart in that context.

3. Additionally, the title of that YouTube posting speaks of someone owing someone, in a non-monetary way.

4. The one other actual work of mine that specifically uses the word owe in the context of someone being owed in a non-monetary way (less significant usage of the word notwithstanding, such as a blog article) is the title track of my 2005 CD, "Enough To Eclipse", which was posted and copyrighted in 2005 at CD Baby. To hear that particular song of mine one might go to http://www.isound.com/jonathan_david_steinhoff. The lyric is, "You couldn't possibly ever owe something to me." You may not want to hear the sarcasm in the delivery of that line.

5. In addition, my song, "Enough To Eclipse" also includes the line, "Don't you wanna be inside the sphere".

6. When I stayed up to watch Letterman last night, it was to see whether it would be upon Joseph Gordon-Levitt to do something I might see as being in connection with the French Stewart "situation", in that it touches on a matter of the utmost consequence. Joseph Gordon-Levitt was French Stewart's costar on the TV sitcom, "Third Rock From The Sun", the star of the show being John Lithgow, whose sister, SJ, was someone I knew back in high school in Princeton, NJ, as she was my best friend's girlfriend. I previously referenced JGL in my December 2, 2009 blog article (where I mispell his last name as Gordon-Leavitt), specifically, I assert that, when he hosted Saturday Night Live, he was involved in a deliberate reference to the music video I made for my song, "Whatever Happened". And sure enough, staying up late to watch Letterman "paid off" - apparently something was worked out with Letterman (who has referenced me/my material quite a bit before, as I've indicated in numerous blogs) to make the following pre-anticipated inside-reference occur:

Real Action, Jerry Rubin-Style

After giving this a tremendous amount of thought, I have finally come to the conclusion that it falls to me to wish Jerry Rubin a happy birthday today, though he is dead.

The year was 1974, and I was working for Howard Smith, the one-time close Lennon friend (and Village Voice Columnist) who had first introduced Lennon to New York City's radical scene, Jerry Rubin included. That led to the line from the the title song of Lennon's "Sometime In New York City" album, "Standing on the corner, just me and Yoko Ono, we was waiting for Jerry to land." Ever since Howard did that, or rather Lennon did that, or rather, Lennon recorded that and I heard that, from the recording, I too have been waiting for Jerry to land. Shouldn't we all be waiting for Jerry to land? Or, shouldn't we at least wish him a happy birthday? (Though I suppose this means I'll have to wish Abbie Hoffman a happy birthday when the time comes as well.)

One Small, Fun Step For Mall Man

When last we saw our heroes together (myself; Jason Lee), it was my July 6th blog, "Ten Fun Steps", with "Step 10" being:



A week has passed, it's a new "Memphis Beat" (7.13.10 episode), and once again it's time for Jason Lee's character to get a break in the case - during a moment that also picks up from where my July 6th "Step 10" left off, being sequential with that step's "Mall Man" moment. It also resoundingly connects together "Mall Man" with Jason Lee once again (that is, if you've been paying attention, i.e., if you incorporate what is contained in my July 6th blog):



This might just be a good and proper moment for me to once again mention the fact that, almost without exception, every episode of "Monk" also tied in with things Steinhoff. This is something made apparent (i.e., proven to the intelligent and discerning among us) through the cumulative implications of numerous videoclips I created that correlate almost every single "Monk" episode to me/my material (these videoclips of mine can be found either posted on YouTube, where I am Zoomsteinhoff, or among my numerous previous blog entries). I have attributed this Monk/Steinhoff relationship to the fact that USA Networks, which made "Monk", once had as its president a certain individual I once knew, who I happen to believe enjoyed being part of these things in his "spare time", though no longer president of USA when those "Monk" episodes were made. This in spite of the fact that most normal people would think of golf as a more reasonable spare time activity.

Ten Fun Steps

Something to which I have occasionally made reference is the fact that it was I who originated the essential premise to the Jason Lee sitcom, "My Name Is Earl". You can read "The Fun Guy" at Archive.Org (posted May 29, 2009), the original idea for it which I sent in March 2002 to Sean Daniel, who had produced the 1995 movie in which Jason Lee had his first starring role, "Mallrats" ("Mallrats" itself was named after my 1993 video, "Mall Man", which is posted at Archive.Org). To dig a little deeper into this "backstory", you may wish to read my January 4, 2009 blog, "Bits and Pieces Strike Back". That blog article is copyrighted, at least the text, for I periodically post accumulations of my blogs at Archive.Org (so you can be sure I didn't just hatch all this within the past hour). As I have mentioned numerous times before, unfortunately, this Blogspot blog site does not copyright worth a dam, as one can come back and re-edit without changing the timestamp, which is why I periodically post the text of my accumulated blogs at Archive.Org.

As I blogged at the time, I found that the premiere episode of Jason Lee's new TV show, "Memphis Beat", like much of Jason Lee's work, also made some reference to my material, though relatively little. However: I am pleased to report that, with the July 6th third episode, I once again occupy, at least for the moment, a somewhat important role in Jason Lee's work. It does require digging deep to see this, and I know how so many prefer arriving at shallow conclusions. Nevertheless, I am not one who is obsessed with only playing to the lowest common denominator. Therefore, the following presentation is for the benefit of those willing to persevere in spending the time and energy required to get to the truth about this. For newcomers to all things Steinhoff, the following may perhaps also contain implications regarding how serious my statements regarding other matters deserve to be taken.

And one more thing: tomorrow, July 7th (the day following this episode) will be Ringo Starr's 70th birthday. This fact appears to have resulted in "Memphis Beat" working a memorable Ringo Starr moment into the Steinhoff/Lee mix. I'm not sure this makes the three of us a group, however.

Step 1
Excerpt from the script for the Beatles movie, "A Hard Day's Night":
Ringo has an idea and does a Sir Walter Raleigh with his large Mac, spreading it over one of the puddles…. He spreads the coat, without noticing what he is doing, over the hole. The girl steps on the coat and disappears sharply.


Step 2
What Step 1 meant by "a Sir Walter Raleigh":
According to a famous legend he (Raleigh) once laid his plush and expensive cloak over a mud puddle so that the Queen's feet would not be dirtied.


Step 3
From the July 6th episode of "Memphis Beat":




Step 4
From the July 6th episode of "Memphis Beat":




Step 5
From my 1993 video, "Mall Man" (the title of which led to "Mallrats", Jason Lee's first starring role):




Step 6
From my 1993 video, "Mall Man":




Step 7
From the July 6th episode of "Memphis Beat" (with some sound from the Step 6 "Mall Man" videoclip included):




Step 8
From the July 6th episode of "Memphis Beat":




Step 9
From my 1993 video, "Mall Man":




Step 10
From my 1993 video, "Mall Man" and from he July 6th episode of "Memphis Beat":

Neither Here Nor Downtown

Something I "experienced" yesterday has caused me to immerse myself in a certain degree of cogitation, including the weighing of the pros and cons of reporting it. I have finally decided to say to myself: what the hell.

As I have occasionally mentioned in earlier blogs, I regard myself as being in relation to high-powered people and situations, though common knowledge of this is buried by certain things for what one imagines are certain reasons. In relation to this, it is periodically confirmed to me that, no matter where I am, I am generally followed by some kind of network or networks.

Yesterday I saw someone who conspicuously reminded me of the woman in the movie, "Greenberg," as she had a thing on her right temple. As I had just blogged the previous day that I had just seen that movie, and as this is the kind of shorthand I am accustomed to in terms of something happening in connection with a recent action, I had no doubt. I had been notified that my whereabouts were "known".

Less than five minutes later I saw a look-alike for Ringo Starr's wife, Barbara Bach. It is Ringo's 70th birthday on the 7th, and I have been very important with relation to some of Ringo's most important songs. So it may not have been a look-alike, but Bach herself, and not a coincidence, but a deliberate action in relation to me. One thing is certain: it had nothing to do with it being the day in history that someone went over Niagara Falls inside a rubber ball. Ringo is about marriage expressed through rings, or so his name implies, not people expressing themself in the honeymoon capitol in this strange manner. Then again, rings can be expensive.

About half-an-hour later someone who was probably Petula Clark walked by me. I subsequently checked the Internet for a more recent photograph of her, which is why I believe it was probably she. The only discrepancy would be that her hair when she walked by me was a match for the way she wore her hair when she was much younger, which is not the way she wears her hair now.

The interesting thing about Petula Clark walking by is, I once sent her a letter asking how close she was with John Lennon, making the assumption that she at least had the chance to meet him back in the day. I asked because of something that happened to on the day Lennon's last non-posthumous recording, "Double Fantasy" was supposed to be released. As it turned out, "Double Fantasy" (an album I was a significant influence on) was not released on the announced released date, but several days later. The announced release date, November 15, 1980, was Petula Clark's birthday. While I was on my way to the record store on that announced release date, walking down a quiet Denver sidewalk, someone who looked quite a bit like John Lennon walked towards me, wearing a bathrobe. I became angrier than you can imagine, as it meant to me that someone was ruining this important experience for me, the buying of the first Lennon album in five years. As the person came near, I suddenly had to wonder whether this might be the last person in the world I should be angry at - i.e., was it John Lennon?

Several years later I wrote to Yoko Ono, asking whether Lennon might have been in Denver that day. She actually wrote back, and said I was exactly right. Nevertheless, I have no idea whether or not she was humoring me.

As sometimes the "games" people play with/on me relate to my occasionally noticing what day it is in history, in accordance with something they used to publish, The Daily Planet Almanac, I looked there to see where this might all fit in. When I saw that November 15th is Petula Clark's birthday, I considered the bathrobe attired Lennon or Lennon look-alike might be relation to her song, "Don't Sleep In The Subway". That would also go with the cover of "Double Fantasy" somewhat, or a little, well, sort of.

Yesterday when Petula Clark or her look-alike walked by me, it was the day in history that bus service began in England. Hmm, that fits. Or should I be playing the words to the song "Downtown" in my head? I was in San Diego, yet, it was a downtown sort of area, I think it's called "Old Town" though. No, I won't go there. I will not go there.

After They've Seen Paris

Some might expect that, with the enormous wealth of provable, significant show biz moments that "belong" to me, I would be more generous about sharing moments that are "less provable". In my March 13, 2010 blog, for example, I was able to clearly demonstrate that Ben Stiller's Oscar moment belonged to me. I could point to evidence that, previous to that moment, Stiller's producing partner, Stuart Cornfeld, who I once sort of half-knew (or perhaps knew even better than that, who is to say), was someone upon whom I have been an occasional influence. Therefore, correlating what Stiller did at the Oscars to something from my 1998 video, "Gosk 2" was not out of the blue, not a random similarity, but something consistent with what had previously been established.

So why don't I wish to detail how Stiller's recent movie, "Greenberg", which I just saw, contains a few things that cumulatively spell out the idea that they are there because of me/my material? I do not wish to go there. I do not wish to make it that easy for people who don't do the research, or appreciate the actual train of thought but think they do, or people who posture as skeptics for ulterior reasons (strange things happen in high stakes situations), to use my detailed acknowledgments of such moments to undermine me. My being taken seriously is important, and not just to me, and so I do not wish to go there. Maybe on rare occasions there will be a sufficient basis to go there, but in this case, I don't wish to go there. I don't wish to go there. Nevertheless, I am glad to be in people's thoughts, and will bring these things to the surface when they are easier to prove to people of reasonable intelligence.

For the same reason, I will pass on being specific about the things I found in "Taking Woodstock", except to say, they touched on my 1990, 1992 video, "Steinhoff's Dostoyevsky's 'Uncle's Dream'", in a manner that would have been too diluted a reference, if it were not immediately preceded by an inside-reference to my 1994 video, "Gosk 1". Incidentally, one of the stars of my 1998 video, "Gosk 2", was the art director for Joni Mitchell on a number of albums (Robbie Cavolina), and would talk with her on the phone every day. Joni Mitchell once did a song called "Altamont" I think.