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).
