Waiting For The Paint To Dry With All The Time In The World

Preface
This post will be a semi-sketchy attempt to justify the outlandish-sounding assertion I made in my 8.22.10 blog, "So I Says To Myself, Hey, I Don't Want The World Blowing Up, Right?". Specifically, I refer to my statement that the Iranian President, on several headline-grabbing occasions, employed a somewhat secret lexicon to express something in addition to what he appears to have endeavored to express. That this secret lexicon regards someone secretly super-important to Steven Spielberg, who is the most prominent Jewish man alive today. [I refer you to "Steven Spielberg and the 'Mall Man' Factor", posted at Archive.Org.]

In spite of the length of this blog article, as stated above this will only be semi-sketchy, that is, in the sense that I will not include here most of the numerous footnotes/links scattered about the Web, accessible to all, that support my statements. What I will do is indicate, with red font, those statements I am making that I believe can be verified/proven were one to know the footnotes/links, as opposed to non-red, unverifiable statements such as, "I sneezed half-an-hour ago, allergies," a fact I cannot prove to you (though it is not my fault that I cannot prove it to you). The statements you will see here in red font, had I included all of the related footnotes/links with them, would lead you to Web locations like YouTube or Archive.Org, where everything has a visible copyright date, so therefore, things posted there clearly did not suddenly come into being "after-the-fact". As I've stated many times before, this blogsite has the defect of an all-too-malleable timestamp, and I do not hold up the dates that these blogs are posted as being indicative of anything. There are also matters of public record such as news articles to support some of my statements. I periodically post at Archive.Org accumulations of my blog articles (Volumes 1, 2, 3 so far), which thusly makes it possible to pinpoint, to a degree, when certain of my blog articles were written (i.e., if at the end of 2008 I posted all of my 2008 blog articles at Archive.Org, there may not be proof that my Sept. 6, 2008 blog article was specifically written Sept. 6, but this would provide proof that it was written prior to 2009).

I must also preface this semi-sketch with the following example (which I like to refer to as "The "Aby Principle") to illustrate an important point regarding the deductive reasoning involved with cumulative implications (by the way, cumulative implications, if of a particular nature, can be considered valid in a court of law):

The Aby Principle
If I am on a 500-mile road trip, and at 10:49pm I see a personalized license plate that reads, "mccartney", and then at 11:49pm a license plate that reads "ccartney", and then at 12:49am a license plate that reads "cartney", 1:49am "artney"; 2:49am "rtney", 3:49am "tney", 4:49am "ney", 5:49am "ey", 6:49am "y", 7:49am "by", and at 8:49am "aby", cumulatively, something's going on here. Somebody put somebody up to something. So if I say the "aby" license plate is connected to that stuff, it isn't because I think McCartney necessarily has any involvement, and it isn't because I believe "aby" is generally to be associated with "McCartney". It would be because, as a basic point of logic, there is a cumulative implication. My experience of many, many, many years may have made me aware of how to associate certain things - but conveying to you exactly why I've deduced the "aby" car has anything to do with the "mccartney" car might require a WHOLE lot of explaining - that is, my example here may illustrate the concept, but in terms of the actual, specific things I need to describe, the example only barely scratches the surface of how many details might inform an observation of this nature, however unmistakable the implication may be.

So hopefully, in this semi-sketchy approach to this very important matter, those things I (thankfully) feel I am able to verify with footnotes/links (red font) will sufficently balance against those things I cannot, and you will get a.... semi-sketch of what I am saying. I may eventually return with a more complete explanation of those things referred to here in red font, though you might just go through my earlier blogs, archive.org, etc. if you need reassurance that I'm not just pulling things out of the air. And I apologize for not including everything here, footnotes/links and all, however, a degree of energy is required in order for me to track down all of the related links/footnotes, and this task has become quite draining as it is: The idea that the chain of ideas I express here is only as strong as the weakest link, and then the idea that it is MOST important that I correctly convey what I am attempting to convey, instead of dropping the ball, the potential for this to so seriously impact so many - well, to put it bluntly, a rather considerable amount of strength must be summoned to accomplish this.

A Semi-Sketch Of The Iranian President's Secret Little Messages
A lexicon has developed among those artists at the highest level of the entertainment industry. It is built around me and my little videos and other stuff regarding me, because of my secret super-importance in relation to people such as Spielberg, McCartney, Lennon, Tim Burton, Ridley Scott, The Stones, Madonna, SNL, etc., etc., but it might just as easily have been built/based around things more generally known, such as that which is found through reading Greek Mythology, or information accessible through reading a biography of John Lennon's Aunt Mimi, or it could have been based on anything you can think of. But it wasn't based on anything, it happens that it was built around me. I didn't ask them to and I don't get off on it personally, except perhaps the child inside me does. The size of my ego, though you might be inclined to presume from this that it is great, is not predicated on the things directed towards it. No, I do not describe all this out of ego, but rather, it is because I am stark raving mad! (I can't resist an opportunity to be most humorous - no really, that was a joke! I am as sane as, well, a few people)

By way of a secret lexicon, a man can seem to be heard talking about making his rocket go off with his girlfriend when everyone else goes to the movies, but he's really talking about them going at each other's things and doing their business (and I look forward to someday understanding what I just said, if I could just meet the right girl). Hopefully I haven't lost anybody other than myself yet. By the way, the very famous four-letter word we men use when we don't feel like saying we're doing our business with our rockets was itself originated a while back to avoid a direct reference, each of those four letters themselves being the first initial of four separate words.

And yes, I do recognize that followers of the music of aby are capable of getting all helter skelter with their screwy interpretations of so-called intended hidden meanings. However, that is not an intelligent reason for concluding that no one ever conceals their meaning from certain parties, or follows a complex path in order to accomplish this. So clearly, it can take a very discerning mind to make the difficult distinctions between subtle meanings, ambiguities, semi-ambiguities, slightly semi-ambiguities, non-ambiguities, etc. I do not expect that everyone is equally suited to the task, especially when it comes to a particularly high level matter, by which I mean, you are all terrific.

My fellow CalArts alum, Tim Burton, often makes heavy inside-references to me/my material in his work. A CalArts alum woman we both knew is part of that, and also part of some of the things contained in those references.

The TV show "Smallville" also makes heavy inside-references to me/my material. I first noticed that show's references before I learned that producer Sean Daniel, longtime Spielberg friend and the first person from whom I learned of CalArts, who is also someone who is involved with making inside-references to me/my material, was using the "Smallville" writers for his major project, "Mummy 3". I also came to make several other observations regarding "Smallville" in relation to these references. One was that sometimes the cumulative factor required seeing episodes of certain other shows that aired the very same night as the "Smallville" episode in question, TV shows that also had come to make inside references to my material ("Monk" and "Medium"). The other thing with "Smallville" is that they were the only show that led me to wonder what the turn-around time was for them, whether they could possibly get something into an episode 24 hours before air-time. One already knows Saturday Night Live or Bill Maher's show can do this, but I had specific reason, on more than one occasion, to wonder this about this one non-live show, "Smallville", and no other non-live show. I still do not know the answer, but it is clear what caused me to wonder this.

When CalArts alum Tim Burton had a scene in his movie, "Mars Attacks", where a gift to the Martians of white doves is presumably misconstrued and reacted against with serious violence, it was based on an incident involving myself and the CalArts woman I knew who worked for Tim Burton (this same incident also influenced Burton's "Nightmare Before Christmas" and James Cameron's "Titanic", the latter of which she herself worked on). A gift of a mechanical (wind up) bird was involved.

When the Iranian President had a major media event several years ago (November 2007), announcing a major milestone regarding his proceeding with developing nuclear energy, he had the graphic image of white doves as his backdrop. Thoughts of the scene in "Mars Attacks" crossed my mind at the time, as I felt the Iranian President sought to generate the impression that he was some innocent guy whose peace doves were being misconstrued and reacted against with threats of violence. When there already exists in popular culture (such as in a movie scene) something most very similar to an image someone seems to possibly be trying to conjure up, one might consider the possibility that it is deliberately intended in some way - though not necessarily intended to be foremost in our thoughts, as sometimes people exploit things in the backs of our minds (see the nature of the advertising industry for further examples, or political tyrants who have been known to go to extremes to manipulate how they are perceived by the world, such as when they make believe they won their power in a fair election even though we all know he didn't).

My being aware, through experience, of so many incidents in which people intertwine with the above-described lexicon regarding myself, incidents that sometimes involve world leaders, including presidents, I was on special alert with regard to a possible connection here to the "Mars Attacks" scene. The following day, an episode of "Smallville" also did something that immediately brought to mind the exact same incident regarding the mechanical bird and the woman at CalArts. I would have been aware of that similarity even without it having been brought to mind by what happened at the Iranian President's presentation to the media the day before. I noted this in my own inside-reference about a year later, in my Sept. 6, 2008 blog article. I indicated that there was a secret inside-reference I observed that connected the words "Iran" and "Smallville" and "Tim Burton" and "dove" (I included 10 other words as well, which were indirectly related, but the fact that these four words were included (and published at Archive.Org in November 2009 as part of an accumulation of my blog articles), supports my present statement that I was connecting these things no later than November 2009. From this it should be easy to deduce that "dove" in relation to "Tim Burton" was a reference to that "Mars Attacks" movie scene, and furthermore it is no stretch to construe that "Iran" also being put in relation to "dove" in that same Sept. 6, 2008 blog article regarded the November 2007 photograph that I include above. My point is, I had already made this connection prior to what I am about to describe regarding "Iran" and "Smallville" and "Tim Burton".

In Tim Burton's "Alice In Wonderland", released 3/5/10, he again makes inside-references regarding this same CalArts woman in relation to myself. However, more significantly, in "Alice" Burton makes inside-reference to a particular section of my 1998 "Gosk 2" video. In the first "Smallville" episode to air following the release of "Alice", which was titled "Escape," 4/2/10, Season 9, Episode 189 (their previous episode aired 2/26/10), "Smallville" also brought to mind that same section of "Gosk 2". I will be specific here, although, I also plan on doing a videoclip that more clearly illustrates how "Alice" makes strong reference to this section of "Gosk 2", at which time my point will be far more easy to see.

At a certain point in "Gosk 2", Vinkalert suddenly notices that the greenish-blue plastic pail he's been carrying has become purple. Shocked, he drops the pail to the ground, as the Procol Harum song, "Whiter Shade of Pale" is heard. At the end of "Alice", the Mad Hatter drops his sword to the ground in surprise, as if suddenly aware of what it truly is. He shortly thereafter does a special dance that is given great attention by all. In "Whiter Shade of Pale", the song lyrics begin with a description of doing a dance, "We skipped the light fandango." Additionally, the hat scene occurs at this point in "Gosk 2", wherein Vinkalert, lying in the front seat of his car, can only be identified by his hat - his hat is all we see. I cut between different angles of the hat to punctuate what he is saying about things not working out with the girl he knew back when he was in school, much as one would normally cut to different angles of a person's face. The Mad Hatter is the central character in "Alice", therefore, this is the single moment out of all my various works that most directly ties in with the idea of the protagonist of "Alice", The Mad Hatter (Johnny Depp). And cumulatively, alongside all of the other Tim Burton inside-references to me over the years, as well as elsewhere in that movie (see "aby" description above), I believe it should be easy to see that this was in relation to his fellow CalArts alum, i.e., myself.

On the very first "Smallville" episode following the release of "Alice" (4/2/10, as indicated above), we see a silver metal pail that has never been painted. Also in this episode is a story line that involves a painting in an inn, a painting containing paint that shockingly changes by itself.

When I was filming the above-described pail/hat scene for "Gosk 2", I had just finished filming with Robbie Cavolina (who played Vinkalert in "Gosk", and was Joni Mitchell's art director for a number of her album covers, while me, I'm just secretly a major influence on a number of Paul McCartney album covers, see "McCartney and Steinhoff, An Introduction" at Archive.Org) the scene where he's walking with the pail when it was still greenish-blue (clearly the same film location). So, what had to happen, of course, to avoid having to return another day? I had to then and there paint the pail so that in the video it could first be greenish-blue, then shockingly change to purple by itself. I painted the pail purple, and Robbie and I sat around waiting for the paint on the pail to dry, in order to continue (Joni Mitchell and Paul McCartney were nowhere to be seen). This moment was again brought to mind by the "Smallville" episode that featured a totally unpainted pail, and paint shockingly changing by itself on a painting. One could recognize the basis for drawing a correlation due to the cumulative factor regarding "Smallville" so often referencing me/my material. The Tim Burton/Gosk-related "Smallville" episode was their first episode to air following Tim Burton's Gosk-related "Alice". So now it's 4/2/10.

On 4/7/10, the Iranian President grabbed the headlines with his remark, "Mr. Obama, you are a newcomer (to politics). Wait until your sweat dries". This remark was considered odd. It is often the case that when someone is trying to work a lexicon reference into what they say, and/or are bent on being quoted in the headlines, the ostensible (non-lexicon) meaning is expressed in a strained/odd manner.


Paint Things As You Please
It is my carefully considered belief, based on my special experience in such matters, that the coinciding of Tim Burton, "Smallville" and the Iranian President's actions in March/April 2010, all occurring in the same very specific time proximity, is too precise a mirroring of what occurred in 2007 with regard to Tim Burton, "Smallville" and the Iranian President, and therefore should not be presumed a mere coincidence. Somebody put somebody up to something.

I do not venture an opinion as to whether any value must be found in a discovery that the Iranian President was involved in the use of a lexicon at these important moments. I only wish to present my belief that such action did occur, and semi-sketch how I came to this conclusion. Some may regard my assessment as being based on something too flimsy to warrant so serious a conclusion. Some may even think the whole world situation in relation to Iran isn't serious. Some may think DNA evidence shouldn't be taken seriously because that stuff is so tiny you need a microscope to see it. There are people who watch detective shows on TV and think, "That's enough evidence?" I believe there is enough here, and the situation sufficiently important, as to make it idiotic to disregard it. However, many are new to this sort of thing, and I'll try not to judge too harshly those who fail to recognize in this a matter of grave concern.

And as I've indicated in other blog articles, I believe my May 2, 2010 blog article, "Knowing Where To Look," proves that the Times Square "attempted" bombing needs to be seen in terms of some of the key things touched on here.

If Periods Could Talk

Anyone who has seen my “Mall Man” video (archive.org) and also the August 24th season finale of Jason Lee’s “Memphis Beat” (which may or may not have been its series finale) and has also been reading my blog articles written since that show first began relating to how my having secretly created that which led to Jason Lee’s “My Name Is Earl” (“The Fun Guy” at archive.org) and that which led to the title of Jason Lee’s first starring role in a movie, “Mallrats” (“Mall Man” and "Fun Guy" were both sent to the producer of “Mallrats” and only one or two others prior to "Mallrats" and "Earl", respectively[8/26/10 correction-"Mall Man" (1993) video distributed to various people prior to "Mallrats"; "Mall Man" story treatment (1992) sent only to person who was later to become "Mallrats" producer]) will already have caught on to the clear basis for interpreting important things that occurred in that TV show episode as having originated with my video, “Mall Man” - the villain's self-description as having buried his former self, the villain’s head injury disconnecting him from his former self, the villain’s love interest becoming estranged/no longer feeling that she can recognize him due to the inner change, the villain’s rejection of a possession taking on a psychologically symbolic significance for the villain regarding the change in the character – however, all will not be aware that my “The Fun Guy” which led to “My Name Is Earl” was originally conceived with Drew Barrymore in mind for one of the three leads, causing me to send it to her when it was created (and speaking with Chris Miller, her housemate and business partner, who gave me his personal cell phone number), which makes it of particular interest that, on the same important day for Jason Lee (8.24.10), Letterman had Drew Barrymore as a guest, featuring her speaking the word “karma”, the oft-repeated, important word in both “My Name Is Earl” and “The Fun Guy”, though if I or Jason Lee had made a point of using that same word “karma” on August 24th it may possibly have been more obvious what the implied context usage of the word on that day might have been, though I'm only the guy who originated "Earl" and August 24th was only the last day of the first (and possibly last) season of "Memphis Beat", so what does my seeing Barrymore in "Earl" have to do with Barrymore on August 24th, and I should also mention that I've occasionally referred to Drew in earlier blogs regarding my influence, a positive influence I believe, and on a totally separate note, the inside track regarding myself with relation to the dove in Tim Burton’s “Mars Attacks”, to which I allude in my previous blog regarding Iran (8.22.10), and also alluded to, for those with a very discerning eye, in my Sept. 6, 2008 blog, “In Common Again”, is that the dove in the original situation upon which the movie scene was based was a mechanical flying bird (you wind it up) in relation to myself and a fellow CalArts alum who herself is in relation to fellow CalArts alum Burton, surely a fun coincidence given that Iran unveiled their new unmanned bomber (which they call their "Ambassador of Death", and which is receiving enormous attention) at a point in time when the issue of their aiming for nuclear weapon capability has so recently resurfaced pertaining to when they will attain it, the deadline for stopping them now very much of concern, and I know I can take comfort from the certainty that it is a mere coincidence, and I'm sure we will all agree, the time has come for this sentence to come to an end.

So I Says To Myself, Hey, I Don't Want The World Blowing Up, Right?

The Beginning
First of all, happy birthday to Ray Bradbury, author of "Farenheit 451", a book that tells the story of a government that burned books as part of its handle on how people should relate to things.

Think Of Adults Talking About Sex When They Don't Want The Child To Get It
I choose today to convey two things that the Iranian President secretly communicated to me, which I expect he did so that I might use my secret super-access to communicate them to pop culture's most super-important. His secret communications were accomplished by the employing of a lexicon of a generally secret nature, which he used in publicly made statements. This lexicon is used frequently by a certain set of people, and in this instance, was used in conjunction with an apparent awareness of my personal knowledge of certain events.

I certainly know how absurd this must sound to the general public, and I don't expect to win any new friends here (I would nevertheless appreciate the men in the white coats being kept at bay, thank you). This is written for those who have the advantage of already knowing that my powers of dissemination are keen in these matters, that I draw from vast experience (did I mention, it also helps to trust that I am sane). The value of this explanation regarding the Iranian President additionally requires that one already be aware of my singular, secret, super-importance over the years in relation to Steven Spielberg, the most internationally prominent Jewish man in the world today, my singular, secret, super-importance over the years in relation to Paul McCartney, and also my secret, super-importance over the years in relation to so many other super-important people in the world, who, through the massive effects of their creative inspiration, have so powerful an influence on the hearts and minds of so many people. Many share the belief that the current nature of things puts the power of certain major pop culture figures very much alongside tremendous political power, irrespective of whether these individuals would wish to exist in a political context (I am not so cynical as to believe their power is limited to occurring in a political context, and would appreciate not being lumped together with those who see everything through that prism).

I'm almost finished with my preface(s) - I hope it is understood that some things require more context-setting than others.

Though there may appear to be a path available to the reader for piecing together the specific basis for the conclusions I've drawn with regard to exactly what was communicated to me, i.e., though it may seem that you can figure out exactly what caused me to believe these specific things were communicated to me by the Iranian President, I am quite certain that, even at best, you would not know more than a part of the story, a part of the basis for my conclusions. You would not have enough facts in your possession to properly refute my conclusions, though you might think so (this statement is of course not meant to be taken as proof that I must therefore be right, I merely wish to state that you are not in a position to use deductive reasoning to determine whether I am right or wrong about having received these communications). Furthermore, the facts that some of you might possibly already have in your possession would likely mislead you into believing you have all the facts that led to my conclusions. This would be unfortunate, given the importance here and the consequential need for my words to be taken seriously. And so, the value of what I write here resides in your ability and inclination to trust in what I say. By now, there are some people who should. This is written for certain people within that set of people. There's a football of sorts here, and I'd like to see it reach the endzone, received by but one person if need be. An important investigation could perhaps be the upshot.

The Middle And The End
The Iranian President has pointed to two moments in two films. Through this, he has demonstrated the desire to solicit support for a position regarding nuclear power in his country. He has relied upon my proximity to the most influential as his means of carrying his message. I will carry his message here, but again, I must emphasize, I do not consider him a sincere person, and liken his approach more to that of the convoluted government in Ray Bradbury's "Farenheit 451", than to that of a world leader seeking a way to make his true and honest feelings known to those who are so influential in shaping popular culture.

The two moments are both contained in films by famed director Tim Burton. My dissemination of the references through the Iranian President's use of a lexicon was assured by his repeatedly drawing from the work of the same filmmaker, a fellow CalArts alumni who knew some of the same people as myself and who has himself made use of secret references known to few (as previously stated, there has come to be a lexicon that is used frequently by certain people). Some of the secret references made by the Iranian President are identical in both instances, further reinforcing my conviction with regard to how to read things. And though both of these secret statements by the Iranian President have an obvious political significance, I would have the same conviction that I had correctly read his secretly made statements even if they had turned out to be on the subject of the old woman who lived in a shoe rather than political matters. He did not have anything to say about the old woman who lived in a shoe, incidentally.

The first is the scene in "Mars Attacks!", where a dove of peace, a gift from our world to the Martians, triggers a massacre of those presenting the dove because it is supposedly misperceived as an act of aggression. The second is the scene in "Alice In Wonderland", where the Mad Hatter finds use of a weapon repugnant because it goes against his nature.

Why would the Iranian President prefer this avenue? He prefers to inject the poison of his propaganda into our reservoir (our most influential), than to be so clearly seen as engaged in propagandizing the world into seeing him as this innocent little lamb. He sees vulnerability/opportunity in the idealism of our most important creative artists.

I've Got The Key To The Highway Merge Ramp

This one may be of particular interest to those who appreciate that I don't make things up. It will also likely make me look like a desperate attention demanding liar to others. I don't exactly consider that any kind of a break-even, but the day I confine the things I choose to describe in order to avoid being, etc., etc. etc.

Our story begins with a subject I would prefer to avoid for various reasons: Once upon a time, the last time I'm aware of seeing a particular woman I once knew whose photograph was on the dark corkboard inside sleeve of Clapton's "Slowhand" album on account of me, I was on the 134 near the 210. And George Harrison (close Clapton friend) was expected to die inside of a week. He did. The previous time to that, this woman was in a car next to the one I was in as I was on my way to being driven past Clapton's Florida home (my being a Clapton tourist or something, I suppose; I'm also an influence on Clapton).

Yesterday, I noticed a Facebook friend had a Facebook conversation with her, so this is in that continuity - it was the first direct sign I've seen that she's still alive since the just-described two previous occurrences, though indirect signs of her still being alive are out there as well.

This morning, while I was on my way to work, nearly there, about to exit the 134 near the 210, there's a car in the entry/exit lane driving next to me, going too fast for me to exit in front of him, causing me to do a major slow down to let him enter the freeway in front of me, and to let me exit the freeway (which is good, it's always nice to have someone takeover for you on the freeway, lest it become too empty and boring, then they tear up the concrete and build a park on it or something).

[For more on this, go to http://www.wikihow.com/Merge-Onto-the-Highway-Without-Crashing]

I feel inclined, in consequence of this which-one-of-us-is-gonna-slow-down negotiation, to take a good look at the driver. We weren't actually in a game of chicken, neither one of us was really on the brink of death at any point, but it was just unusual enough. And I do always have to be slightly suspicious of the unusual things that happen to me. People parade things around me for my benefit at times, being the secretly super-important person that I am. It comes with the territory. You may or may not be interested in the details.

I find, in this brief moment, that the other driver is either Eric Clapton or a look-alike. I have on various occasions described how I have to occasionally consider that I might be getting dispatched at me a look-alike, i.e., someone I am meant to think is a particular person when it isn't, rather than their simply being some random person I happen to think is some particular other person. For example, if it's the day Jennifer Aniston is marrying Brad Pitt, and someone who looks like David Schwimmer is driving next to me, I know it doesn't have to be David Schwimmer. But I'm certainly expected to believe it is.

I go to the Internet shortly thereafter, to see where Clapton might be in the world today, in case I might be able to resolve it then and there, as when Paul McCartney drove by me several weeks ago (see my blog article from among the blog articles I wrote several weeks ago). I found, in an article dateline Los Angeles, that TODAY Eric Clapton announced his first album in FIVE YEARS. Sheryl Crow will be on it. I should add to this, that my July 21st blog ("All Roads Lead To Memphis And France") described something done on Letterman for my benefit that was specifically in conjunction with Sheryl Crow being a guest. I believe there is evidence to support that assertion, and I believe that evidence is apparent if you are intelligent and inclined to spend the time examining when what happened.

I am now, therefore, absolutely convinced, given the importance of today with regard to Eric Clapton, that I "encountered" either a Clapton look-alike, or Clapton himself. As to whether Paul McCartney might have been behind it, or.... whether the three of us will ever be in the studio together (I've already proven I have the ability to drive there).... or whether I will later be able to describe being inside-referenced on the upcoming Clapton release (as has happened on other Clapton releases).... or whether I have made myself appear like a child crying for attention by making things up (opportunities to undermine how seriously people take me are not sneezed at by those who see the chessboard a certain way).... all of these are thoughts that float about unobstructed. The main thing is, it's about the music.

Nobody Knows The Trouble I've Hallucinated

Yeah, Well I'm The One Who Oughta Be Quarantining You
Some of us look at other people, figure a few things out, and then divide them up into three categories: Beginner, Intermediate and Advanced. It's a weakness, of course, in that we all belong in one group, we're all the same, we all know the same things, have the same background information, the same inclination, willingness and perspective in putting facts together, etc. It's silly that I scored 97 percentile on my college tests and that this can ever make me feel that I'm among stupider people. I get so silly sometimes, it's enough to drive me up the wall.

Don't Put This Section Together With Anything
A while ago someone I know gave me a box of Q-tips. She didn't really give them to me. My group in my company had a Christmas Party and I was the lucky one who received her gag gift. She's an old friend of President Obama, lived a few doors down during the Chicago days. Even before I knew of that relationship, even before Obama was the president, I laughed about the Q-tips.

Isolate This Section As Well
The Iranian President said something not too long ago regarding the American President. Because I'm secretly super-important in relation to Steven Spielberg, the most prominent Jewish man, and also because I'm secretly super-important in relation to Paul McCartney and Saturday Night Live and Ridley Scott and Tim Burton and James Cameron and Sting and Madonna and The Rolling Stones and countless other institutions that wield unimaginable influence over the hearts and minds of Americans and the rest of the world, the Iranian President joins in. Like so many others, he said something in a lexicon that is unknown to almost everyone, a lexicon of which certain individuals have been continually making use. But we're all the same, really, no Beginners, Intermediates or Advanced, and if one of us doesn't get something none of us do.

All Of Five Minutes
In some of my other blog articles I've commented on my influence on Jason Lee's TV show, "Memphis Beat", an influence I've characterized as having grown out of my influence earlier in Jason Lee's career. Such as my originating what became "My Name Is Earl", by sending my Earl-like idea to the producer of the 1995 movie, "Mallrats", Lee's first starring role, a movie which had been named for my video, "Mall Man".

Last night's "Memphis Beat" once again included a few things that, if put together with a few other things, spelled something to those I consider Intermediates and Advanced. As if there actually is such a thing as Intermediates and Advanced, that is, which there aren't, it's just me being some sort of silly, crazy con artist or something. But let's just pretend I'm right, okay, and then I can finish the train of thought and move on to the next subject and finish that and then we can get out early and catch a smoke before our next class.

In my 1993 video, "Mall Man" (do a search at Archive.Org), we have a big shopping mall mogul. In last night's Jason Lee episode we did as well. In "Mall Man" we have someone seeming to be a homeless person who really isn't. Likewise on last night's show. In "Mall Man" we have the idea of a woman getting a special gift for a fiance, but it just isn't for him. On last night's show, likewise. Any of these connections in of themselves, nothing. All of these things on last night's show taken together with "Mall Man", perhaps again, nothing. All of these things put together with what I've been saying in other blog articles regarding Jason Lee and "Mall Man", that is something. Not to the Beginners, but to the Intermediates and the Advanced. And there are those who will hand over the microphone to the Beginners and boost the speaker to full volume for precisely that reason.

A Day In The, Okay, Not A Day Hanging In The Balance
At work, Obama's old friend from the Chicago days was supposed to give me a piece of paper showing she had permission to take a day off, signed by her supervisor. WEEKS ago. Her supervisor already knows she took the day off, the timekeeping system already recorded that she used up her time off. But I still need that piece of paper, it's part of my job, so that I can put it in a drawer and then a box for five years or so until the obligatory period of a potential audit has passed (like that's gonna happen). She laughs when I remind her. That's what happens when you laugh when someone gives you Q-tips. I'm this close to giving up on this and moving on. I'm really divided on this.

You Did Not Just Say That
Two days ago or so Bolton that Bush Administration right-wing/white mustache guy said the Israelis have an eight-day window to attack Iran's nuclear sites, after that, it would release dangerous radiation if they did. I'm left-wing, he's right-wing. He has a white mustache, mine is brown (okay, I'm willing to admit there's a little gray there). We're apples and oranges, therefore, I don't have to think about this.

It's A Small World (And That's Even Without Circumstances Having Yet Reduced It To A Speck Of Dust)
A recent Facebook development in my life has put a certain red wire very close to a certain blue wire. I sure am glad someone else is in the middle of that one. Though it actually has a whole lot to do with me. And yet it doesn't. It touches on a big part of this lexicon business I've been referring to, the part which stretches in the direction of what the Iranian President has been secretly connecting with in some of his headline-grabbing remarks over the past several years. I sure am glad there are enough Beginners in my life to scream in my ear that I'm just being silly about this.

Down The Hatches
Making good progress on my latest video, "Down The Hatch," which is currently in danger of being renamed, "Down The Hatches," and then good luck doing a search for it after you've read it in sketch idea form at Archive.Org, or vice-versa.

Oh Yeah
It took me 45 or so years, but I finally figured out something from John Lennon. I count about 14 major Beatle songs that I was a significant influence on (something to which I've occasionally made reference), and this one belongs in that column. The thing I figured out is, in the Beatle song, "Rain," it's like, emotionally a rainy day versus a sunny day. A year or so later, in the Beatle song, "Penny Lane," Lennon's emotional harmonizing on the word "Blue" in "Blue suburban skies" is like, advocating that the skies are blue. Meanwhile back, "the fireman rushes in from the pouring rain". So, therefore, it's like, a rainy day versus a sunny day.

I bet if I had really worked at it I could have gotten this in only 22.5 or so years. Then again, I hope I never stop being a Beginner, finding things that were always there but are only now exploding off the page in front of me.

You Really Have To Put Your Ear Right Next To The Speaker

As some who might be more familiar with these blogs can testify (not that they wouldn't leave the country if that's what they had to do to get out of testifying), some of the important-type things I describe here are accompanied by the kind of evidence an intelligent person can disseminate and appreciate, while other things are not. The same way you cannot prove to most of us that you didn't sneeze five times in a row eleven minutes ago. Your not being able to prove certain things is not to be taken as an indictment against you. As always, my hope/expectation is that the vast accumulation of things I can prove would suggest to those who are intelligent and good judges of character that "certain types of things" really do happen to me. In other words, you gotta give me credit already. Unless you don't happen to feel like it, but you don't feel like doing the (admittedly voluminous) research, and then have something to say about me being some kind of a.... which leads me to wonder a little bit about you, or maybe not just a little bit.

The Shadow Is On The Wall
Some may have expected me to do my blog article about Tim Burton's "Alice In Wonderland" by now, as this movie is currently available as a pay-per-view. I already described in a blog article, upon it's release in theatres, how I was a big influence on this movie, how I tend to be a big influence on Tim Burton films (March 16, 2010, "Kalorping Against The Jabberwocky"). We both went to CalArts at the same time, knew a lot of the same people, though we scarcely encountered each other. Nevertheless, I have come to be a very significant influence on him. I also wonder why his hair style is conspicuously identical to the one I had while at CalArts.

But no, I am waiting for "Alice In Wonderland" to come to the premium cable movie channels, that will give me the kind of time I need to put together a videoclip. For now, I can relate what I believe are related bits of information with regard to the blog article I wrote upon seeing this movie.

Those with hundreds of millions of dollars know, as might those with only fifty dollars, that if you only have three Facebook friends, Facebook shows up on your page and suggests you friend certain individuals who visited your Facebook page (if you have a number of Facebook friends, they have a more vast set of people to suggest, as they draw from all friends of all of your friends). I now have 26 Facebook friends (my reclusive nature catching up with me in terms of my not having accumulated a vast number of friends and acquaintances over the years), but at the time I wrote about seeing "Alice In Wonderland", mentioning my influence, I only had three (hey, I wasn't even trying). Within approximately two days of my aforementioned "Alice" blog article, I was directed to go to my Facebook page. This was accomplished by someone I hadn't spoken with in about 30 or so years, whom I shall refer to as Person A, inviting me to be her Facebook friend. I did, and of course then went to my Facebook page, for what was the first time in half-a-year. And there was that thing I was just talking about, Facebook suggesting I friend someone who had apparently visited my Facebook page, someone I knew at CalArts during the '70s, whom I shall refer to here as Person B. Without the "directive" from Person A to go to my Facebook page, I never would have seen that Person B had visited my page. I then did what one might expect I would do. I looked to see who Person B's Facebook friends are/were. Person B turned out to be one of Tim Burton's eighty Facebook friends. So two days after my blog about being a big influence on Tim Burton, most recently "Alice", I am being directed (yes, directed I say!) to one of his relatively few Facebook friends (few considering how big a figure he is).

When I was little we used to go to Passover Seders at the home of Person A's father, also attended, of course, by Person A. Another person we would see there was someone named Stanley Panesoff, who was involved in a TV show they had back then, "Dark Shadows". This meant something to a kid (not that an adult should be thought childish were it to mean something to him). There were no other people of such note at the Seders, at least none of which I was made aware, and I was a kid. That is why I find it of particular significance that Tim Burton has now announced that he plans a movie version of "Dark Shadows". Remember, this is now Person A in a certain connection with Tim Burton, not just Person B. Presumably these A and B Persons come from different times in my life, if I may describe them that way.

Then there's the fact that the Facebook page of Person B, whom I have not friended (I cannot even say she was ever my buddy at any point in time), currently features, as her primary photograph, a depiction of her that is strikingly similar to this still from my 1998 video, "(Kalorping for) Gosk 2" (posted at Archive.Org in 2005). Only she is lying in the backseat of a car instead of in the front seat, and the door is most decidedly open rather than most decidedly closed. In my photograph, it is Robbie Cavolina, who played Vinkalert in "Gosk 2". He also was Joni Mitchell's art director on a large number of her album covers, as I was a secret but major influence on a large number of Paul McCartney album covers. The particular significance here is that, it is right during this several-minute section of "Gosk 2" that my influence on "Alice In Wonderland" takes place.

This also regards what the Iranian President hooked into, Lexicon-wise, when he was saying something about the American President a little while ago, but it would take way too many words to go into that here. [This might be a good place to again mention that I believe a number of strange things happen to me as a result of being secretly super-important in relation to the work of Spielberg, McCartney, Cameron, and many others of international note.]

All this and (fill in current amount of New York City subway token, not sure what that is these days) will get me a ride on the subway.

Not Beyond The Pail
Yesterday I became Facebook friends with someone I hung around with a little during the late '80s, David Peel, who is the same David Peel mentioned in the Lennon song, "Sometime In New York City". He is most known for the rock albums, "The Pope Smokes Dope" (produced by John Lennon) and "Have A Marijuana" (connected in subject matter to "The Pope Smokes Dope", but not produced by John Lennon).

Today I went for a brief drive, and believe I saw the guy who plays Kumar in "Harold and Kumar Go To White Castle", a very marijuana-related movie. I also believe I saw the guy who plays Jay in the numerous Silent Bob and Jay (Kevin Smith) movies, a very marijuana-related movie character (I have also been an influence on the Silent Bob and Jay movies, here and there, sometimes more than other times). I am not aware of seeing anyone else I might recognize today. I therefore correlate these sightings (unless they were look-alikes) to my having become one of David Peel's many, many Facebook friends. I know myself well enough to know it was not the power of suggestion that caused me to imagine I was experiencing these sightings. If you would tend to want to infer that, you are not taking into consideration the evidence that does exist that these types of things are often set up for me to experience. I have to admit, I would have been just a little bit more pleased with it all if the person who played Kumar hadn't turned around, after the movie, and denounced pot smokers, saying he is that separate from that character. He seems like a nice type, and perhaps someday he will understand what respect for human autonomy really means. A lot of people still seem to have difficulty with that.

Maybe You Should First Explain To Me What Being The Ninth Beatle Will Entail

Hail, Hail, Chicago's All Here
I stated in my May 1st, 2010 blog (readable on this site, and also to be found in Volume 3 of my blogs published/copyrighted in May 2010 at Archive.Org):

"In The Future All My Troubles Seem So Far Away
"A new event has occurred in connection with my observations that someone behind-the-scenes at the Huffington Post website is very much 'on' to my secret super-importance (or partially on?)...."

Something not unrelated to this observation about Huffington Post occurred today. Ariana Huffington printed an article entitled, "'Third World America' Excerpt: Michigan Father Commutes To Chicago For Work". Here is what I find particularly interesting about that article (not counting the article itself) - just two days ago, in my August 8th blog, I stated:

How many movies are there where the guy with the private airplane shocks someone by saying, "Hey, let's have dinner in Chicago!"

So, if you put two days ago together with today, and sprinkle in some May 1st, you might have to see something, I would think. I wouldn't assume that the Mayor of Los Angeles, who is one of my few "fans" at Huffington Post (they have fans for when you comment on an article - I comment as either JonathanDS or JonathanDS2U), has a proper vantage point for putting these things together to see the composite whole I'm drawing, but that's the lot of those who are fans of my comments at Huffington Post without being fans of my own blog articles. I only regret that there is little or nothing I can do for these sad unfortunates. Maybe I should direct people to these blogs sometime when I'm commenting on a Huffington Post article. Let's see, how about, "I too am concerned about the economy, in fact, I'm the 9th Beatle, I believe, with no hope of ever becoming the 5th Beatle."

Yes I'm Gonna Be A Person Who Remembers Not To Run Out of Gas Next Time
Also possibly in relation to my blog article of two days ago, on my way to work today I saw an uninhabited car pulled over onto the shoulder of the road, and found the car seemed to very much resemble the car I saw that guy driving, that guy I mentioned in my two days ago blog article. I don't know if there was anything to read from that, though today's car did have some sort of very small sign, like a large post-it note, taped to a side window (I didn't stop to read it). If I were better at identifying fancy black sports cars I might have something more definite to offer here, however, ignorance about cars remains one of my few guilty pleasures and I don't see this changing much in the future.

I suspect this could be one of those bits where first Paul McCartney shows up somewhere for my benefit (as described in my August 8th blog article), then someone takes over from there - I'm supposed to attach something to whatever his assigned delegate puts in front of me. Oh look, let's put a car like the one Paul drove behind him when he's on his way to the mountains. Now let's put the car in front of him when he's on his way to the supermarket. Don't even need to put McCartney in the car. Gee, this is fun, are you keeping close track of the look on his face when he sees it's not a Beatle?

I once knew a girl who knew/knows Paul McCartney. Her photograph was "once" on the inside album sleeve of Clapton's "Slowhand" on account of me (I was the only one given in the CalArts dorm that year whose room that had a brown corkboard bulletin board, and the inside Clapton album sleeve featured photos apparently tacked to a brown corkboard bulletin board; the previous year I had the dorm room with the different looking carpet because Amy Wexler, the daughter of Jerry Wexler, the head of Clapton's record company, had destroyed the carpet the year it was her room, etc., etc. - I've explained all this before in earlier blogs). God forbid the "Slowhand" girl should be the McCartney assigned delegate who gets to leave cars on road shoulders for me to make things out of. A conversation I once had with her led to Tom Hanks' TV sitcom, "Bosom Buddies" (also something I've described before), and yet she has never come forward and vouched for my assertion that I'm secretly super-important, or done anything about it. Would Mary Tyler Moore behave this way? I wonder if this is the sort of thing McCartney and Spielberg laugh about together in the Hamptons, where they're reportedly next-door neighbors.

Earl Gray Area
Nothing happened in connection with me on tonight's "Memphis Beat", which in itself is worth noting. I do have an observation, nevertheless, just in case they thought they were doing something that I would find worth noticing. Can't leave them hanging if that was the case, but I emphasize, I expect it never happened, is just a coincidence if even that, yet just the same, I have to take into account the possibility:

In my August 4th blog, in the section entitled, "His World", I pointed out a moment in one of my major little videos, "Gosk 2" by including a videoclip excerpt, as it was in connection with something or another (read it/view it). In that same "Gosk 2" scene, one of the characters from the planet Klug finds that his girl is all taken by the music being played by an Earthling, and he is not delighted. One finds a certain correlation made in "Gosk" to racial tension vs. embracing racial differences. [If one takes the trouble to read my entire 1993 full-length screenplay that I've posted at Archive.Org, one will in fact find a very positive message on that subject, where things culminates in all the people of Earth and all the people of Klug feeling great love for one another. It's really heartwarming, someone should make this movie, though surprisingly it gets treated more like a car by the side of the road with parts worth stealing.]

And so in tonight's "Memphis Beat", a white character is not too delighted that his former girl is all taken by the music played to her by a black character. We suspect race might have contributed to his killing his former girl and framing the black guy, though thankfully they are always careful never to take us too far into the deep, underlying motivations of a killer, lest it transform us all into killers (some of us even feel the need to stay away from people who enjoy mimicking Jack Nicholson's "Here's Johnny!" from "The Shining", not to mention the Barney song, but I digress).

Also on tonight's "Memphis Beat" we find a snow globe. In the scene in "Gosk 2" that immediately precedes the "Gosk 2" scene to which I've just referred, one of the characters observes, with regard to little white flakes floating around, "I think I know where all these little white flakes come from". However, in truth, "Gosk 2" is not set inside a snow globe, which is only one of the places where the correlation falls apart.

Stuck In Traffic, Not

This installment is specially designed to convince people that I'm out to impress them with my zany quality of applying wishful thinking to reality, or perhaps a desire to seem like I would say anything to get ahead by being impressive. Or else this blog might be an important historical document for those who will someday come along in the future and want to reinvestigate our lives because they found out the mainstream media didn't have the whole story and basically they're left out of the real loop without these little fragments of information.

On Friday I sent someone a message regarding one of my important videos, which I made at CalArts years ago (1978), "How Did The Future Learn To Play Monopoly?". You may want to research mention of this video in my previous blogs, by going to Archive.Org where I occasionally publish accumulations of my blogs, so that you can do a nice, simple word search on that one. I describe how there is a specific basis (involving filmmaker Robert Zemeckis) for concluding that its title led to the movie title, "Back To The Future". I also describe how my video was a HUGE influence on some important Paul McCartney stuff, particularly his movie, "Give My Regards To Broad Street".

Because this video was a HUGE influence on some important Paul McCartney stuff, and because the communication I sent someone Friday was of a special nature, I expected to see some acknowledgment of my message occurring while I was out for a drive on Saturday. This expectation I had came out of there being a certain strange tradition, though not one experienced by most. So I expected to see something, I don't know, a personalized license plate that read, "PM", perhaps. And while "PM" can mean afternoon as opposed to "AM", I would know the secret meaning (oh yes I would).

So I'm driving along a road that strongly resembles a road in the above-referenced movie, which appears at the beginning of the movie, which is right after a part of the movie upon which I was a HUGE influence. And I had stopped thinking about expecting to see some form of acknowledgment for quite some time by now, because it isn't the kind of thought that lodges in my brain excessively, it merely crossed my mind.

At this point, on this road, I was on my way to the nut house - and a funny thing happened. Actually, I was on my way to the Somis Nut House (located in Somis, California), one of my regular journeys that comes up periodically whenever I need to replenish my bad cholesterol remedy, walnuts and almonds. But let's stick with my original wording: "I was on my way to the nut house". I have a whole subset of followers whose primary enjoyment of me comes from the fact that I will occasionally say something that sounds like I know I'm crazy. Opportunities to play to them are rarely so perfect as this.

So a funny thing happened (I may be making a play-on-words reference to the movie title, "A Funny Thing Happened On The Way To The Forum," that Zero Mostel movie Richard Lester made around the same time he made Help!" and "A Hard Day's Night"). And if it seems like I'm taking a little too long to get to the point, there's a special reason. I was always brought up to avoid saying things that make me sound REALLY, REALLY crazy. Crazy's okay, really crazy I'll do, we all have to make sacrifices, besides, I already mentioned that subset of followers. But this will downright alienate the few people I haven't alienated already.

Paul McCartney drives by, looking at me very happily. One rarely sees him looking this happy, and we've all seen images of him looking extremely happy, so in other words, here was a person who was conspicuous in his happy appearance. It was contagious - I'm still happy.

I went home and checked to make sure Paul McCartney is on the other side of the world so that I know I need not feel any obligation to anyone to mention it, because it was an illusion. He had a concert the next day in Canada. Not good enough. In fact, the personalized license plate I saw at a certain point that day regarding jet lag was now hammering in my head, a horrible reminder that airplanes really do exist. I was still in the world of serious ambiguity, that place where one cannot really be certain in relation to a matter of considerable significance. Okay, but then I saw that an interview he had given to a Canadian owing to the upcoming concert there had aired the day before. Yet the article about the interview somehow carefully avoided stating when the interview itself took place. And then there's airplanes again. But airplanes have such uncomfortable seats. Though it is in truth fun when you have a billion to suddenly say to yourself, "I'm going to scoot way over there and then scoot way back here!" How many movies are there where the guy with the private airplane shocks someone by saying, "Hey, let's have dinner in Chicago!"

I seem to be dwelling on a part of the story that some people wouldn't. While others wouldn't see any story, just someone who thought he saw someone he didn't, and if he did, what does it have to do with that person, because that part about "How Did The Future Learn To Play Monopoly?" doesn't sound right to me, does it sound right to you, etc., etc. Well, I hope those people and also those other people and let's not forgot those other other people realize, that some of us like to address more than one frame of mind simultaneously.

So long story short, Paul McCartney has yet again found a way to trick me into feeling he has no further obligations where I'm concerned. Like it would matter if I thought he did. That's right, I'm talking about making it possible for me to go further than the nut house should I feel the inclination.

That Elvis Sure Can Play The Piano

The Movement You Need
Those who remember all the way back to my previous, July 28th blog article may recall that in the "Unreal Dream" section, Item 6, I characterized Stevie Wonder as having a negative reaction to Paul McCartney's hand on his shoulder (as always, this was part of a larger statement I was making, as opposed to being a personal exploration on my part into hands and shoulders of celebrities). I have reviewed this McCartney and Wonder moment, and though I continue to regard it as significant in terms of the statement I was making, it was far from the race riot I might have seemed to have been suggesting. The following videoclip, I believe, reinforces the idea that, when taken cumulatively with the other observations I was making, that other context, through which one might see that moment, loomed in proximity:



With regard to the above photograph showing the two American Presidents, which is also from that same event, I believe it might be added to Item 2 of that same section of that same previous blog. It was a recurring image throughout that show for there to occasionally be this portrait of Washington and his outstretched hand seemingly hovering behind various people onstage. Thus, significant in the context I was trying to get across.

A Little Colder
Those who can remember even further back than my previous blog article, all the way to my July 20th blog article, "Let's Pretend I Think We're Both On The Same Page", should recall that I announced there my newest little video project that I'm working on, "Down The Hatch". I have subsequently found something done by Stephen Colbert to be worth noting in relation to this.

I have previously pointed out from time to time in my blogs how Colbert and The Daily Show will sometimes include things in relation to my material (I have also explained how I am responsible in a big way for Colbert's bear sketch with Elvis Costello in Colbert's Christmas special a few years ago. I suspect my influence in those parts has a little to do with someone I once knew, producer Stuart Cornfeld, crossing paths from time to time with much that is in connection with Daily Show alumni (I have also in previous blog articles gone into how I am a continuing influence on Stuart Cornfeld's work).

So anyway, my "Down The Hatch" video project announcement came while Colbert was on vacation. He is just two days back from vacation (i.e., on his second show following my announcement), and Colbert happens to open his show by doing something that is among the things that occur in "Down The Hatch", a moment of the sort Colbert might be expected to pick up on. From my "Down The Hatch" comedy sketch idea (posted in 2006 at my website; posted in June 2010 at Archive.Org ):

"PENNY, her back to the audience, opens up her blouse to STEVEN."

From "The Colbert Report", July 27, 2010:




His World
Having had the chance to see the 2009 movie, "Planet 51", it being that the Starz Channel recently began featuring it as an "Early Premiere", I was pleased to discover the influence of my 1998 video, "Gosk 2", stretching way over there:



I wish to add, that I appreciate their faithfulness to my underlying idea, which was to have someone all agitated that an outerspace alien is in his midst (correlated in the audience's mind to a relatively racist disposition), the character anxious to get everyone else as agitated by this as he, then cutting to the actual source of the agitation - an alien anti-climatically conspicuous by his innocuousness, and an implacable resistance by the other characters to share the agitated character's discombobulated feelings, despite the accusation from him that their disposition reveals them to be crazy/sick rather than he.

Make It Better
In my July 6th, July 13th and July 21st blog articles I refer to how the same nine-second section from my 10-minute 1993 "Mall Man" video (posted at Archive.Org) has very recently been focused in on, in pieces, specifically with relation to the TV show, "Memphis Beat" (and one time when Memphis was important on a David Letterman show). One really does have to do the research, however, in order to appreciate that a special context brings together what one would otherwise tend to see as random, separate moments.

The nine-second section from "Mall Man":



With relation to this, I have found that key occurrences in the August 3rd "Memphis Beat" should also be tuned in on with this same context in mind. I have done a little extra (easily recognizable) sound editing with the following videoclip from that episode to drive home my point:



Take A Sad
And finally, a few things have occurred that I regard as being in connection with a matter I've occasionally been referring to in my blogs, which pertains to the Pakistani Taliban, the Iranian President, the American President, Tim Burton and Smallville in relation to inside-references to me/my material (a matter I have expressed as being something I regard as the result of my secret super-importance). However, I don't know exactly how much most people can truly appreciate how there can be occasions when even a single syllable can clearly belong as a piece in a puzzle. Or, for example, how a single word can clearly be meant to be associated as part of the Beatles song, "Hey Jude", rather than it merely being one's imagination to believe that one is to associate a word as part of that context. Not that I'm saying I would necessarily win anything if I were to be a guest on "Wheel Of Fortune".

I don't know that including the public-at-large in this matter will keep the world from blowing up, though it could, or perhaps the opposite, who knows what's "better"? Probably, it's a mistake to think anything really comes down to one person, or ten people, or a million people, or whatever. I'd prefer not to think that, anyway. Yet perhaps at some point I'll get around to rendering something about these new things that have occurred just the same. It's just a matter of figuring out what's good, better, better, better, or....better.