- Everyone is talking about the balloon boy non-story, and I have a whole set of reasons to see this as yet another "major" news story that began as someone intertwining things with myself.
- This week's Monk/Steinhoff videoclip
- Another Smallville videoclip
- Another one of my old potential terrorist clues, for one and all to have a crack at addressing; or corrupting:
(b) for the ulterior motive that, to acknowledge these clues are
landing on my "doorstep" is to acknowledge that I truly am secretly
super-important in relation to Spielberg, McCartney, etc., i.e., so big
league that I very much show up on the radar of those wishing to strike
fear towards the center of American pop culture.
- Another whisper out of the mouths of Saturday Night Live (including a bonus Chevy Chase addendum!).
You Only Think You Can Burst This Balloon
As I've indicated in previous blogs, I believe the Letterman headlines involving innuendos about Dave in relation to his co-workers traces back to the fact that, whenever the Regis appearances on Letterman occur (such appearances all being major Letterman events), they always make inside references to myself in relation to a woman who was a co-worker of mine, someone who Regis once introduced himself to in a restaurant. (As someone secretly super-important in relation to Spielberg, McCartney, etc., this is more par for the course for me than strangenesses). When this woman left the company we worked for, I gave her a Kinks cassette and a copy of my self-published book, "The Coin That Came In Second" (see Archive.Org) (copyright 1987 in my collection of books, "Inventing Air"). It was little surprise to me when, in consequence, the next Kinks album therefore featured a reference to my book's second story, "The Secretly Tumbling Spacecraft" in their song, "Loony Balloon". Naturally I drew a circle around this song of theirs at the time, which includes the repeated refrain, "Drift away, just drift away." On the Kinks album that followed the one containing "Loony Balloon", it proved to be that this was the song for everyone to circle, as that album contained another song with the identical, repeated refrain (though sung differently): "Sometimes I wish I could just drive away! Drift away! Drift away!" So on the one hand we have the new relevancy through the Letterman matter to me in relation to this woman in relation to this Kinks song. So then someone at work described experiencing a fan falling to pieces and flying through the air at a hot air balloon event in Arizona. This sounded much like a concern expressed by Natalie on the 9.25.09 Monk episode, "Mr. Monk and the Voodoo Curse", and as I do weekly Monk/Steinhoff videoclips, it seemed noteworthy that I should be the one hearing about the hot air balloon incident. This prompted me to tell the person at work (who is the only person in proximity to me who adorns her cubicle with a McCartney photo) how, when I was attending CalArts during the time of McCartney's first non-Beatles U.S. tour (1976), a former friend confided in me that the password to go backstage was to tell them you're on the balloon crew (years later, this same former friend went to a party with Cher as his date, and Ringo Starr in attendance). So that was at the beginning of the week, prior to the balloon boy non-story.
Tony Shaloub, star of "Monk", last year became part of an IHI event for which I was responsible with regard to arranging its Southern California Kaiser Permanente broadcast (we were a major contributor to this event). This was well after every episode of "Monk" began featuring references to my material. And sometimes a person at work is apparently given something to say to me that turns out to be a reference to something upcoming on "Monk" in a day or two (this is not out of the ordinary in my experience - as far as I'm concerned, they could just as easily have a Mafia connection that accesses the inside word, it is nothing that makes me feel a special confidence in such people).
So I don't claim to know the specific cause and effect - was it the new relevance of the Kinks' balloon song that secretly prompted the co-worker's fan story (which included a balloon reference) that resembled something on a Monk episode, or was it when I brought the McCartney balloon crew password into it? It is too odd, and too consistent with my experiences of being in such proximity to a front page story timing-wise, for me to assume that it just happened to happen.
Monk/Steinhoff Videoclip, 10.16.09
Smallville/Steinhoff Videoclip, 10.16.09
This one may need a few words to frame the context. First of all, the writers for "Smallville" also wrote "Mummy 3", which was produced by Sean Daniel. Sean Daniel (friend of Spielberg and McCartney), was the first person from whom I learned of the college I attended, CalArts, and is someone I consider among those involved in making references to me/my material in a WHOLE lot of entertainment industry product. That this is not the first time I've observed references to my material on "Smallville" is evidenced by my Smallville/Steinhoff videoclip posted with a timestamp at HeyAHey. Though there has been a bunch of Steinhoff stuff on "Smallville", sometimes in a very major way, some of which I've mentioned in my blogs, this here blogsite's timestamp is meaningless as it is malleable, while the HeyAHey's timestamp is not malleable, therefore it is not evaporating ink, proof-wise.
Also:
I previously mentioned I was accumulating various "Smallville" fragmented references to Steinhoff stuff for when I have enough to shout "bingo!" (or maybe just "bing!"). I am still accumulating these and am not using them in this videoclip, as this videoclip is of the self-contained, one TV episode/one Steinhoff work correlation variety, and does not require my "expanded context explanation" in the videoclip.
Secret Location
And now this blog's potential terrorist clue. On the first anniversary of 9/11/01, our eyes were trained on the national news, should the terrorists be planning a rendezvous with their activities of the previous year. Though the national news contained nothing generally perceived as a terrorist act, my approach has become one in which, as most major acts of terrorism have tied in with things regarding which I have a strong personal association (as I've described before, this is something I ascribe to my "doorstep" being targeted due to my secret super-importance), I look for something that isn't identifiable to the public at large. Sometimes I wish I had more time to study such things.
So I noticed on the first anniversary of 9/11 that a major national news item was a wildfire in Glendale, California, in the same area that served as a film location for me in 1998. I have used very few film locations throughout the years for my major works. My three main works have been "Steinhoff's Dostoyevsky's 'Uncle's Dream'" (1990, 1992), "Gosk, Parts 1 and 2" (1994, 1998), and "Mall Man" (1993). "Gosk" had about four locations, and the other two videos had two each. This is a very limited set of places.
In February 1993, less than a week after I filmed "Mall Man" at the NYC World Financial Center, an overpass away from the World Trade Center, the first bombing of the World Trade Center occurred (the 9/11 attack has been seen as a successful follow-up to this first, unsuccessful attempt at mass destruction, though there was a degree of destruction).
In February 1992, I filmed my Dostoyevsky video in the NYC apartment of a (now deceased) old family friend, who my mother had known for over 50 years. There was no clear terrorist connection to what happened to this film location. However, something extremely odd did happen: though this person had occupied this apartment for at least 30 years, and though it is essential that, if one uses a film location that one must return to for further shooting for continuity (it was the primary location), nevertheless this person felt prompted to suddenly sell their apartment after I put in a day's shooting with eight people (I only needed use of the apartment one other day). A month later he had sold the apartment to famed film director Sidney Lumet. So could someone have been pulling strings behind the scenes, someone somehow tied to those responsible for the other assaults on my few film locations?
And finally, the aforementioned wildfire in Glendale at a major "Gosk" film location on the first anniversary of 9/11.
I would therefore suggest that, if someone could trace who was truly responsible in any of these instances, all identical instances in terms of targeting my film locations in ways that struck me personally, one might thusly solve a much larger puzzle.
Saturday Night Whispers
As there exists the context of "Saturday Night Live" frequently making references to me/my material, I associate the Kristen Wiig sketch, in which the character repeatedly expressed experiencing orgasms from warm wind or cold wind (as well as other things, though the other things were not referenced repeatedly), with the title of my October 11th blog, "Water, Hot Water, Wet Paint, Etc." Using the words "water, hot water" is not dissimilar from using the words, "warm wind, cold wind". Air and water are associated, ask your science teacher. Or insist I am being triggered in a random way, whichever you prefer.
Chevy Chase Addendum
In my October 11th blog's videclip reference to (original SNL cast member) Chevy Chase's usage of my "Mall Man" material on the TV show, "Community", I should also perhaps have mentioned several Chevy Chase connections to me. When I lived in NYC from 1983 to 1993, among the 10 families occupying the co-op I lived in was someone who was Chevy's best friend when he attended Bard. Once I gave him a message he said he would get to Chevy, and the next day I was alone on an elevator with SNL's Mike Myers. Additionally, film producer and Ben Stiller business partner, Stuart Cornfeld, who I knew when I worked on an AFI film shoot in 1975, produced Chevy's "National Lampoon's European Vacation". The 1975 AFI film shoot featured a TV being smashed, a big thing, or at least a loud thing. So in 1993, on the same day that Stuart returned a phonecall, that night on Chevy's talk show they smashed a TV. TV's are smashed far less frequently than most people think. And in the mid-to-late '80s I spoke on the phone with producer Sean Daniel, who was at the time not only Vice President of Universal, but also credited in the Chevy Chase movie, "Spies Like Us", for driving a truck. I had called to applaud Sean's excellence in truck driving. Oh yes, and finally, the person who sold pot regularly to a friend in NYC during the late '70s also sold to Chevy's brother. My friend also had an in that permitted him to hang out on the "Blues Brothers" shoot, a movie (like "Animal House") for which Sean Daniel was extremely responsible.
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