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.