The Continuing Adventures Of The Only Person Who Can Save The World!

This post is to redirect you - "Jonathan D Steinhoff's Sometimes Blog" has moved to:

http://zoomsteinhoff.blog.com/

this is due to Blogspot having given out word their site will soon not work for, in so many words, my old computer....  

additionally, I continue to post collected volumes of my blog articles at www.Archive.Org

follow.... if you dare!

I Will Be With Me Shortly, Please Continue To Hold

As a matter of maintaining historical records, it once again falls upon me to make note of this and that.  If my laying out of details here seems blandly straightforward, it is not a reflection of a bland disposition on my part.  Just filing everything in the right files is all goes on here.

special note- this blogsite will soon be unusable on my computer, which could affect any number of things that haven't even begun to cross my mind or touch human history.... - Jonathan

A Hillbilly's Empathy
I'm pleased to announce a new song (it's only a little bit of a song), "A Hillbilly's Empathy":

http://archive.org/details/AHillbillysEmpathy

A Split Personality Taliban Terrorist Does The American TV Talk Show Circuit

I'm also pleased to announce a new comedy sketch idea (possibly too explosive), "A Split Personality Taliban Terrorist Does The American TV Talk Show Circuit":
http://archive.org/details/ASplitPersonalityTalibanTerroristDoesTheAmericanTvTalkShowCircuit


Things Detected In Relation To "Inspector Burgundy"
I could list you the things that have occurred since the recent reemergence and (minor?) reworking of the 1978 work, "Inspector Burgundy". In certain instances, you'd be left having to take my word, or else do exhaustive research to verify. In other instances, not such exhaustive Internet research would be required on your part to verify. And without meticulous understanding of the precise bases for the conclusions, false bases would inevitably be presumed, leading to false assumptions about how the conclusions were reached. Hardly seems worth it.... however, it includes Paul McCartney, and Johnny Depp, which therefore ties in with my recent influence once again on Tim Burton (described below a little), etc. And so, for the millionth time, I imagine it's worth something.

Let's see, what's the best way to describe this. I'm always influencing Paul McCartney, for years and years and years, and have at various times known people he knows, etc., etc., etc. If you go through my blogs (you could compile a search-able database) you can form your own conclusions, I suppose. Not that you would thereby share all my "knowledge" on the subject.

I cannot completely stay away from going into some of the many intricate details of this and that (it's already over-intricate, which is why it's semi-invisible unless you closely follow), however, if you saw Paul McCartney's guest appearance on the live "30 Rock" East Coast edition (available if you have the right cable subscription), he went behind a picture on a wall. This action was performed by Inspector Burgundy in the 4/15/12 released "Inspector Burgundy" (www.archive.org), released over a week before "30 Rock". I've often shown in my blogs how I am an influence on Saturday Night Live (I regard the evidence as compelling at the least). I've also made the assertion that Paul McCartney's surprise appearance years ago on an Alec Baldwin sketch on SNL about Poison in a Drink resulted from my request through an intermediary a week before, for special reasons I won't detail here, that he do something in a comedy sketch relating to my "Recipe For Fun" video (on YouTube, this has to do with John Kerry.... I think).

I particularly believe there to be a connection between a sketch idea I posted a while ago, "Amnesia Land" and Paul McCartney's appearance on the live "30 Rock". The sketch idea is all about a TV show from the very early days of TV. That episode of "30 Rock" was all about the early days of live TV. At one point McCartney expressed having amnesia, a fact another character exploited to her advantage by convincing him his identity was that of her boyfriend. In "Amnesia Land", it is all about the characters convincing each other, as soon as they (inevitably) become amnesiac, of a made-up identity, to further their own ends. I would not even say that these similarities are sufficient for a conclusion, if not for the additional factors of my having an ongoing influence on McCartney, Baldwin in relation to McCartney, SNL, Lorne Michaels. Where was I? Right, "Amnesia Land":

http://archive.org/details/AmnesiaLand

In the second half of "Inspector Burgundy", the song in the background is, "The Piano Has Been Drinking," by Dan Hicks and Tom Waits.  In Will Ferrell's opening on SNL 5/12/12, we see him onstage with his mother.  And as with "The Piano Has Been Drinking", he diverts attention from himself by blaming the piano (I have occasionally referred to my influence on Will Ferrell in the past).

Inspector Burgundy's closing statement has him stating that now they must work on their hand gestures.

And much about hand gestures is suddenly going on.  On the 5/5/12 SNL, the guest host is in a sketch as a fashion model in a contest, who, upon losing, demonstrates her hand gestures, which she had hoped would be singularly responsible for making her win.

While I was working on "Inspector Burgundy" (4/15/12, when I released it by posting it to www.Archive.org, being approx. 4 days after I had first received a digital copy from the unsynched, unedited 16mm material from 1978), Paul McCartney was simultaneously receiving a degree of media attention from incorrect use of sign language by the performers in his music video, Johnny Depp and Natalie Portman.

Yes, it would certainly seem preposterous to correlate their hand gestures with the hand gestures discussed in Inspector Burgundy, in Burgundy's closing speech.  That there was coordination of things involved.  Well, I often do just that, sorry!  I make preposterous-sounding assertions of my great influence on Paul McCartney over the years. 

My Spin On My Spin

In earlier blogs I have described and I believe demonsrated, how I am a frequent and sometimes significant influence on  Tim Burton, who went to CalArts at the same time as myself, and knew many of the same people.  His newest film, "Dark Shadows", like many of his other works, contains my influence as well.  I'm watching the movie, see, already expecting I'll find something, 'cause he so often is influenced by me, almost like a secret college ritual that includes McCartney, Spielberg, SNL, Sting, Madonna, everybody else in show biz, major politicals as well, etc.  And then I spot at the very beginning, matted in the background of the character, the spinning around 360 pan, but combined with the sense of powerful wind connected to the background 360 pan.  Recognizing the likelihood that this was indicating something to me in shorthand, it being the millionth time, I thought, okay, why that work of mine it is suggesting to me?  And then it instantly became obvious: the title of the work, a music video, is "American Gothic" (you can view it on YouTube, where I'm "zoomsteinhoff").

A Dolphin Idea I May Have Forgotten Hearing Somewhere

PREDICTION: I hundred years from now it will finally be revealed!  We were able to fluently communicate with dolphins by 1989, butt we said something to them in conversation a few minutes later that they took as SO offensive, they refused from that moment forwawrd to communicate with us!

Secret Language of Smarties

The new release by Ian Anderson, "TAAB2" ("Thick As A Brick 2"), more recognizably known by some as "Mr. Tull," contains something on its CD cover which I interpret as being an inside-reference for my "benefit" (this is not in the category of things regarding which I would choose to go into detail).  The specific thing it brings to mind is also brought to mind in the inside-references adding up to my very significant influence on Ian Anderson's album, "Secret Language of Birds."  However, his whole idea of a 10-year old boy writing something that leads to songs by a legendary rock band, the whole Thick As A Brick concept that is, it's just pandering to child mythology wish fulfillment fantasy, although, then again- as a writer of a story at the age of 10 that influenced The Beatles, I should in all fairness recuse myself from this one.

The Implacable Veneer of The Implacable Veneeroid Invader

Inspector Burgundy
I am pleased to announce the release of the 2012 Writer / Editor's video cut of "Inspector Burgundy". I wrote this in 1978 for a color studio class exercise while a student at the CalArts School of Film/Video; Mitch Eakin filmed it in 16mm shortly thereafter; I received the footage from Mitch several weeks ago; had it transferred; edited it (including a few video effects, a little reframing, plus music and this and that - I've always been Mr. Auteur, or an auteur type, or whatever exact status you feel I should be permitted to entitle myself when it comes to creating, bugger off, imaginary demon police of artistic license!).

So I'm pleased to announce the release of "Inspector Burgundy", at Archive.org:

http://archive.org/details/InspectorBurgundy

In a future blog I plan to go into several miscellaneous extemporaneous details that seem to possibly regard "Inspector Burgundy", though they sort of clutter up the landscape.

One important detail to be discussed: My well-supported but very complicated basis for concluding that Will Ferrell - whose work has frequently been influenced by my material, and in serious ways, which I have discussed in my blogs here or there - decided upon his character's name in "Anchorman," Ron Burgundy, in order to inside-reference / mimic my character's name, Inspector Burgundy. I have no problem with this, but will not make my discussion of this part of this announcement. I'm merely making a reference. Not a detailed explanation, because this is the announcement, okay, so I hope we all understand that.

It being that "Inspector Burgundy" has now been resurrected 34 years later, or has been born 34 years later, whatever, I am considering (though not seriously), as an alternate, more audience-grabbing video title, renaming it, "The Implacable Veneer of The Implacable Veneeroid Invader" (if this sounds familiar, re-read the title of this blog article!). A revision of this nature would be more likely to occur if I get trouble from the people who own the song I use in "Burgundy", Dan Hicks' and Tom Waits' "The Piano Has Been Drinking". Should that happen, the new title for the video would legitimize outerspace sounds / outerspace music to replace that song.... although, hmm.... such a substitution could very possibly undermine something at the video's very core. Should I be faced with this issue, I imagine I might need a year to weigh the factors, or two, definitely no more than 33 years....

Real Play Money Of The Future
I also am pleased to announce a new comedy sketch idea I've posted to Archive.org, "Real Play Money Of The Future":

http://archive.org/details/RealPlayMoneyOfTheFuture

SNL found no value in "Play Money" on the show of the week it was created, in terms of finding usable fragments from it, as they tend to do with my material. This time around Saturday Night Live appears to have instead picked up on something I posted to Facebook earlier that day (an alternate general tendency we also find occurring as an unconscious act in our patient, SNL). That day on FB I made a reference to a screenplay I wrote back in the '70s entitled, "Joel's Baby," which is primarily about a parent trying to track down his child put up for adoption at birth 15 years earlier. SNL did a sketch about someone once put up for adoption being reunited with their biological parent on a talk show. And so, again I find SNL doing something that in and of itself could never be construed as signifying anything beyond "it is what it is", unless its perfect fit quality in relation to a pre-identified (by me) context is known.

On their most recent show, it is possible (hard to say) that the piece they did with Steven Spielberg contained inside references. I did not "submit" anything for this show, but this doesn't always stop them.

The laser cat piece with Spielberg (as I have often discussed and demonstrated in my blogs, I am a very significant influence on Spieberg) made me think of the laser cat piece they once did with James Cameron. In my discussion in an earlier blog of the Cameron laser cat appearance on SNL, I correlated, to something I submitted for that show, the part where Lorne Michaels expresses that the only reason he is willing to go along with an idea he finds dubious is on the strength of Cameron's insistence. Then, in the Spielberg laser cat appearance, Lorne Michaels responds in the identical way - great reluctance, but at the insistence of.... Then, for the ending of the Spielberg laser cat piece, I observed something that occurs in my often-referenced "Gosk" video (inside-referenced and an influence upon innumerable major films, TV shows, etc.), a character looking up to an alien spacecraft and shouting at it. This identical bit from "Gosk" is something I have mentioned, in previous blogs, as part of Gosk's influence on Cameron's "Avatar". I would never say that, in and of itself, such an action must necessarily have originated in "Gosk". To learn the actual basis for my conclusions regarding Cameron, please see where I discuss this in previous blogs.

Those Who See The Pattern Will Be Held For Questioning

Oh, To Be In A Past Decade Again
Let's see, how about if I begin with something light, such as how I looked when the weight of the world was 23% less (you've all got to lose some weight!):


Worlds End, Continued
I'm most pleased to announce I have a new, recently posted version of my work-in-progress song, "Worlds End":

http://www.archive.org/details/WorldsEndVersion2

Perhaps there will be more for this one, it certainly deserves it!

What You Should Have Learned
Everyone being focused at this moment on the Toulouse situation and the guy who killed the children at the French Jewish school, I thought I should point out that in my Oct. 11, 2009 blog article (copyrighted in 2009 when I published it at archive.org) I found something re the gunman at the Jewish Community Center that could be seen as secretly threading into.... okay not Toulouse, but another painter. Has to be coincidence?

I am over and over making the point that I am secretly super-important in relation to Steven Spielberg (see my video at archive.org, "Steven Spielberg And The Mall Man Factor"), who is among the most prominent living Jewish men, and whether he wishes to be or not, someone regarded as a bit of an ambassador to the world - not a favorite of those who would want Israel and ipso facto the world's Jews seen as an evil force upon the world. I further demonstrate in my blogs (i.e., offer what should be discernible to an intelligent person as evidence) my secret super-importance / enormous influence on any number of legends, superstars, movies, TV shows, songs, etc. And I have long experienced what it is to be secretly at "the center of the chessboard", in terms of people getting things to my "doorstep" that I am able to discern as being terrorist related. Things that show whoever left them, knew of the MAJOR headline-grabbing terrorist stuff, right before they occurred.

My analytical approach towards the Toulouse situation was to see if again "they" had aimed something for my doorstep. I began with what I see as an obvious approach, I looked to see if there was anything to correlate it with the news story about the gunman going after the children at the Jewish Community Center in Southern California that dominated the headlines over a decade ago. First, because these two news stories automatically bring one another to mind - and second, because the news story from a decade ago included elements that cause me to believe the whole thing to be among the things left on my doorstep. So did I find an element in the Toulouse occurrence that appears to link up with what I had written about the Jewish Community Center story in my Oct. 11, 2009 blog? The specific element I started out looking for a connection to, as it is the significant factor that connects things in that SCAL situation to my doorstep - even before I realized the recent story occurred in Toulouse(!) - was the painting aspect. And so, I have little doubt of a connection. Those who haven't been following what I've described.... will not see it.

Now Try To Express E=MC2 Using Fragments From Beatle Album Covers

One of artist Robert Berks' Einstein sculptures in Washington D.C. Einstein posed for him in the early '50s.


A painting by artist Robert Berks from the very early 50s, which he gave to my mother when they were friends in the early '50s (he also gave her a portrait he made of her, which I've previously posted). It's not easy to see from this still from a vid of a photo of the original, but it's grape tears, a banana mouth, other fruit, near human texture and color, and the overall suggestion of a human face in deep sorrow, slightly more penetrating than you'd expect nice, delicious fruit to be.

MUWR
MUWR is my most recent comedy sketch idea, posted 3/8/12 to archive.org.

One of the things one finds in this piece that was seen in advance by the author (i.e., me) as "low hanging fruit" for those who might come along looking for reusable fragments (as SNL tends to do, for the past years and years, as I have frequent occasion to demonstrate in my blogs) is the time machine weapon that was created "in the image of a 1940s machine gun, with some variations". A mythological weapon, with an element of the iconic/symbolic (I was thinking- Nuclear Weapons in relation to Iran are a dominant issue facing us, and so the introduction of this imaginary device in the image of a '40s machine gun to camp up the romanticizing of a weapon).

Seen cumulatively with the fact that SNL always offers up something (sometimes fragments, sometimes bigger stuff) that can easily be correlated to something I "submitted" for that week's show, I look upon SNL's sketch about Martin Blattfield on their 3/10/12 show as being in connection with MUWR. Their sketch was all about the wonder of Martin Blattfield's Samurai sword and his ancient sword collection, leading to a song about his sword in which all in the scene joined in.

Honk If I Influenced You
Did I mention a premium channel recently had its cable premiere of a movie that turned out to have been very loosely based on something regarding myself (I have no doubt on this, based on the evidence, however, I will go into no further detail on this particular one, sorry), and that the next day the star of the movie (or a deliberately placed look-alike) drove by me, drawing my attention with a dramatic motion, and perhaps wearing the facial expression of someone looking at the person on whom a movie he starred in that just had its cable premium channel premier was very loosely based?

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

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





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

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


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

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

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

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

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

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

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


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

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

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

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

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

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




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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stop Blowing Up The World For A Minute

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

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

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

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

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

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



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

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

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

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

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



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

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