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

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

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

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

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

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




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

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

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

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


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

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

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

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

• Lots of other stuff
  

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

HAPPY NEW YEAR, WORLD!

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

Three Show & Tell Points Pending Approval of Review Board

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





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

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

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

My larger point becomes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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


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

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

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


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

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

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