YOU KNOW MY NAME

UP UP AND
There are a number of things I've blogged in the past regarding the TV show, "Smallville", of which I've been a big fan, and a big secret influence as well, in addition to being someone who is quite glad they didn't need to kill Superman off in the final episode. Not being a film critic, I will not go into further detail on the many other things in the series finale which I also found to be great.

So that my first blog article following their series finale is totally up, or upbeat, or coasting along, or bouncing around, or not a downer, or to be specific, to avoid touching on everything under the sun, I have considerably narrowed things down here (with the possible exception of my including these "Up Up And" paragraphs).

AND AWAY
Let me begin, with regard to the series finale of "Smallville" the day before yesterday (Friday, 5.13.11), that I have been saying right along that Clark Kent is really Superman, yet could not get one person to believe me. I will not blame this failure to get across so basic a point on the company I keep, but will instead in the future work harder to become more articulate in expressing how I come to my conclusions.

The following videoclip contains parts of two scenes from the "Smallville" series finale, and are presented with my prerequisite (or postrequisite, or no requisite, what do I care) that it be seen in relation to the previous time I discussed "Smallville", which was my 4.23.11 blog article ("If You Look Closely You Can See The Sun", in the section entitled, "When Last Blurry", the 4-15-11 Smallville related videoclip there being the more relevant here). The particular thing to bear in mind today is that my "Uncle's Dream" video (at archive.org), which I am contending is connected with this series finale, was shot at The Beresford in New York City (to be elaborated on following this videoclip):



Both the "Smallville" episode clip and the "Uncle's Dream" clip regard parent/child situations, most particularly extreme situations, where one feels the parent to be well beyond their boundaries in the affect they have on the life of their offspring. In "Smallville", Lionel Luthor wishes to take the heart of his daughter Tess, to implant it into a composite clone of Lex Luthor, Lex being in need of a heart. In "Uncle's Dream", slightly less serious but serious just the same, the mother is pushing with all her might to manipulate into being a marriage between her young daughter and a wealthy elderly man.

Regarding my above statement that my "Uncle's Dream" video was shot at The Beresford:

• In my October 18, 2009 blog article I state that famous director Sidney Lumet bought the apartment in which I shot this video.

• This link to a October 4, 2008 New York Times article reprint shows that Sidney Lumet resided in The Beresford: www.carolelevy.com/pdfs/NYT-glennclose.pdf

Sometimes I Wish I Could Just Fly To The Hamptons
Not everyone will recall a news story from January 2004 about Ray Davies of The Kinks being stabbed while standing up to a mugger. It being that I have been a significant influence on The Kinks (late '80s and early '90s), and it being that just two weeks prior in December 2003 I had been describing running away from a mugger one New Year's Eve despite the threat of death (an incident I had scarcely ever described in the decade or so since it happened), and it being that insidious creeps often find a way to make front-page type news in a way strangely apropos to what I might say (but in a convoluted/demented/twisted way, it being that I am secretly super-important in relation to Spielberg and McCartney and many others and therefore attract some of the worst people to focus in on me as a person of interest), and for other reasons, I concluded at the time that, somehow, one thing had led to the other here.

I bring it up now because, years after this conclusion, a new reason has become part of this. As I once described in a blog article, the words "Drift Away" had been used as an important part of the refrain on different songs on two Kinks albums in a row, and that, for a very specific set of reasons, I had concluded that this occurred because of me. In fact, I had discovered the first usage even before it was distinguished by becoming a carry-over to their next album. So recently I was reviewing in my mind where I was at the time I was describing standing up to a mugger - I was working temporarily in the office of the business managers of Andy Griffith, Bob Newhart, Brian Seltzer, Dan Hicks, and many others. Among the things of which I was particularly aware in being there (I was there two weeks while one of the secretaries in this two-secretary office was on vacation), one was that, two years previous to being there, I had given my brother-in-law the latest Dan Hicks CD (at the time) as a holiday gift ("Beatin' The Heat").

So the thing about all this that just recently crossed my mind is that one of the songs on that same Dan Hicks CD is entitled, "Driftin'".

And finally, so that I might continue to avoid touching on everything under the sun, I will not go into at this time how:

• Andy Griffith's "Matlock" would make occasional inside references to me/my material

• The legendary series finale of "Newhart" made inside reference to my "Uncle's Dream" video (including direct mention in that "Newhart" episode to the Marlon Brando movie, "The Ugly American", wherein the star of my "Uncle's Dream" video, Sandra Church, played Brando's wife)