If Paintings Of Dead Evil People Could Talk

In my first blog of the post-bin Laden world, I thought I would keep things simple and appropriate (to some anyway, no doubt):

Starting Up A Brand New Car
First, I thought I would again bring up, mainly for the benefit of those who have already bothered to check my evidence that I'm amazingly consistently right about amazing creative things by others having begun with something from me or have been seriously influenced by me/my creative work (and so they would do well to believe in this one as well perhaps perhaps perhaps, though the real evidence in this instance, such as a song I created and recorded that was copyrighted by me with the Library of Congress, has to be regarded by the average idiot as less verifiable evidence than desired, it being that the material copyrighted at the Library of Congress is comparatively inaccessible), the fact that I created something that resulted in Sting's "Starting Up A Brand New Day".

My version of things regarding the origin of that song, a song which was used as a sort of anthem of the new millennium (including being played in the background during a major network's coverage of the moment the new millennium began in Times Square) can be found by going to Archive.Org and looking at my "The Illustrated Story Of Sting's Brand New Day". Some of the direct links contained therein may have changed since it was first posted, but they should still work enough to achieve the main purpose if you do an extra obvious search or two.

If Paintings Of Dead Evil People Could Talk
I also have, in answer to my usual "responsibility" to come up with something for Saturday Night Live so that they can debone it of all the potent stuff that would tax the brains of grandmas but keep a few inside references from it on the next show and occasionally include something significant that I wanted used but still nothing that would really tax the brains of the little kids (or grandmas, whatever), I have a new comedy sketch idea - again, specially designed for the post-bin Laden world, a world which we all have already come to know and love.

I have just posted "If Paintings Of Dead Evil People Could Talk" at archive.org.

After They've Seen Paris

Some might expect that, with the enormous wealth of provable, significant show biz moments that "belong" to me, I would be more generous about sharing moments that are "less provable". In my March 13, 2010 blog, for example, I was able to clearly demonstrate that Ben Stiller's Oscar moment belonged to me. I could point to evidence that, previous to that moment, Stiller's producing partner, Stuart Cornfeld, who I once sort of half-knew (or perhaps knew even better than that, who is to say), was someone upon whom I have been an occasional influence. Therefore, correlating what Stiller did at the Oscars to something from my 1998 video, "Gosk 2" was not out of the blue, not a random similarity, but something consistent with what had previously been established.

So why don't I wish to detail how Stiller's recent movie, "Greenberg", which I just saw, contains a few things that cumulatively spell out the idea that they are there because of me/my material? I do not wish to go there. I do not wish to make it that easy for people who don't do the research, or appreciate the actual train of thought but think they do, or people who posture as skeptics for ulterior reasons (strange things happen in high stakes situations), to use my detailed acknowledgments of such moments to undermine me. My being taken seriously is important, and not just to me, and so I do not wish to go there. Maybe on rare occasions there will be a sufficient basis to go there, but in this case, I don't wish to go there. I don't wish to go there. Nevertheless, I am glad to be in people's thoughts, and will bring these things to the surface when they are easier to prove to people of reasonable intelligence.

For the same reason, I will pass on being specific about the things I found in "Taking Woodstock", except to say, they touched on my 1990, 1992 video, "Steinhoff's Dostoyevsky's 'Uncle's Dream'", in a manner that would have been too diluted a reference, if it were not immediately preceded by an inside-reference to my 1994 video, "Gosk 1". Incidentally, one of the stars of my 1998 video, "Gosk 2", was the art director for Joni Mitchell on a number of albums (Robbie Cavolina), and would talk with her on the phone every day. Joni Mitchell once did a song called "Altamont" I think.