I Will Be With Me Shortly, Please Continue To Hold

As a matter of maintaining historical records, it once again falls upon me to make note of this and that.  If my laying out of details here seems blandly straightforward, it is not a reflection of a bland disposition on my part.  Just filing everything in the right files is all goes on here.

special note- this blogsite will soon be unusable on my computer, which could affect any number of things that haven't even begun to cross my mind or touch human history.... - Jonathan

A Hillbilly's Empathy
I'm pleased to announce a new song (it's only a little bit of a song), "A Hillbilly's Empathy":

http://archive.org/details/AHillbillysEmpathy

A Split Personality Taliban Terrorist Does The American TV Talk Show Circuit

I'm also pleased to announce a new comedy sketch idea (possibly too explosive), "A Split Personality Taliban Terrorist Does The American TV Talk Show Circuit":
http://archive.org/details/ASplitPersonalityTalibanTerroristDoesTheAmericanTvTalkShowCircuit


Things Detected In Relation To "Inspector Burgundy"
I could list you the things that have occurred since the recent reemergence and (minor?) reworking of the 1978 work, "Inspector Burgundy". In certain instances, you'd be left having to take my word, or else do exhaustive research to verify. In other instances, not such exhaustive Internet research would be required on your part to verify. And without meticulous understanding of the precise bases for the conclusions, false bases would inevitably be presumed, leading to false assumptions about how the conclusions were reached. Hardly seems worth it.... however, it includes Paul McCartney, and Johnny Depp, which therefore ties in with my recent influence once again on Tim Burton (described below a little), etc. And so, for the millionth time, I imagine it's worth something.

Let's see, what's the best way to describe this. I'm always influencing Paul McCartney, for years and years and years, and have at various times known people he knows, etc., etc., etc. If you go through my blogs (you could compile a search-able database) you can form your own conclusions, I suppose. Not that you would thereby share all my "knowledge" on the subject.

I cannot completely stay away from going into some of the many intricate details of this and that (it's already over-intricate, which is why it's semi-invisible unless you closely follow), however, if you saw Paul McCartney's guest appearance on the live "30 Rock" East Coast edition (available if you have the right cable subscription), he went behind a picture on a wall. This action was performed by Inspector Burgundy in the 4/15/12 released "Inspector Burgundy" (www.archive.org), released over a week before "30 Rock". I've often shown in my blogs how I am an influence on Saturday Night Live (I regard the evidence as compelling at the least). I've also made the assertion that Paul McCartney's surprise appearance years ago on an Alec Baldwin sketch on SNL about Poison in a Drink resulted from my request through an intermediary a week before, for special reasons I won't detail here, that he do something in a comedy sketch relating to my "Recipe For Fun" video (on YouTube, this has to do with John Kerry.... I think).

I particularly believe there to be a connection between a sketch idea I posted a while ago, "Amnesia Land" and Paul McCartney's appearance on the live "30 Rock". The sketch idea is all about a TV show from the very early days of TV. That episode of "30 Rock" was all about the early days of live TV. At one point McCartney expressed having amnesia, a fact another character exploited to her advantage by convincing him his identity was that of her boyfriend. In "Amnesia Land", it is all about the characters convincing each other, as soon as they (inevitably) become amnesiac, of a made-up identity, to further their own ends. I would not even say that these similarities are sufficient for a conclusion, if not for the additional factors of my having an ongoing influence on McCartney, Baldwin in relation to McCartney, SNL, Lorne Michaels. Where was I? Right, "Amnesia Land":

http://archive.org/details/AmnesiaLand

In the second half of "Inspector Burgundy", the song in the background is, "The Piano Has Been Drinking," by Dan Hicks and Tom Waits.  In Will Ferrell's opening on SNL 5/12/12, we see him onstage with his mother.  And as with "The Piano Has Been Drinking", he diverts attention from himself by blaming the piano (I have occasionally referred to my influence on Will Ferrell in the past).

Inspector Burgundy's closing statement has him stating that now they must work on their hand gestures.

And much about hand gestures is suddenly going on.  On the 5/5/12 SNL, the guest host is in a sketch as a fashion model in a contest, who, upon losing, demonstrates her hand gestures, which she had hoped would be singularly responsible for making her win.

While I was working on "Inspector Burgundy" (4/15/12, when I released it by posting it to www.Archive.org, being approx. 4 days after I had first received a digital copy from the unsynched, unedited 16mm material from 1978), Paul McCartney was simultaneously receiving a degree of media attention from incorrect use of sign language by the performers in his music video, Johnny Depp and Natalie Portman.

Yes, it would certainly seem preposterous to correlate their hand gestures with the hand gestures discussed in Inspector Burgundy, in Burgundy's closing speech.  That there was coordination of things involved.  Well, I often do just that, sorry!  I make preposterous-sounding assertions of my great influence on Paul McCartney over the years. 

My Spin On My Spin

In earlier blogs I have described and I believe demonsrated, how I am a frequent and sometimes significant influence on  Tim Burton, who went to CalArts at the same time as myself, and knew many of the same people.  His newest film, "Dark Shadows", like many of his other works, contains my influence as well.  I'm watching the movie, see, already expecting I'll find something, 'cause he so often is influenced by me, almost like a secret college ritual that includes McCartney, Spielberg, SNL, Sting, Madonna, everybody else in show biz, major politicals as well, etc.  And then I spot at the very beginning, matted in the background of the character, the spinning around 360 pan, but combined with the sense of powerful wind connected to the background 360 pan.  Recognizing the likelihood that this was indicating something to me in shorthand, it being the millionth time, I thought, okay, why that work of mine it is suggesting to me?  And then it instantly became obvious: the title of the work, a music video, is "American Gothic" (you can view it on YouTube, where I'm "zoomsteinhoff").

A Dolphin Idea I May Have Forgotten Hearing Somewhere

PREDICTION: I hundred years from now it will finally be revealed!  We were able to fluently communicate with dolphins by 1989, butt we said something to them in conversation a few minutes later that they took as SO offensive, they refused from that moment forwawrd to communicate with us!

Secret Language of Smarties

The new release by Ian Anderson, "TAAB2" ("Thick As A Brick 2"), more recognizably known by some as "Mr. Tull," contains something on its CD cover which I interpret as being an inside-reference for my "benefit" (this is not in the category of things regarding which I would choose to go into detail).  The specific thing it brings to mind is also brought to mind in the inside-references adding up to my very significant influence on Ian Anderson's album, "Secret Language of Birds."  However, his whole idea of a 10-year old boy writing something that leads to songs by a legendary rock band, the whole Thick As A Brick concept that is, it's just pandering to child mythology wish fulfillment fantasy, although, then again- as a writer of a story at the age of 10 that influenced The Beatles, I should in all fairness recuse myself from this one.

Is Connecting The Dots Like Nap Time?

If You Just Let Me Survive This Black-Out, Oh Lord, I Promise To Never Again Shout Profanities At My Dishwasher
Having just experienced a harrowing two-hour black-out, it has come to me that the unexpected can occur at any time, even unexpectedly. It is true the black-out occurred before it got dark outside, but an intelligent mind instantly sees numerous possible scenarios, in fact, this is precisely the sort of thing for which we intelligent people have been known to receive criticism. Yet can we really close our eyes to the possibility that the lights would never come back on again, ever? That for the rest of our lives the people living in my apartment building might be cursed to live without electricity? What a nightmare - but the lights have returned, and I see now, it's time to get my affairs in order before it's too late. I've even started up a brand new pot of Marley Coffee (unbelievable coffee) - should the black-out be planning a return visit with us, at least I can get in a pot of coffee between crises.

One Person's Secret Word Is Another Person's Magic Word
So here's the thing I should pass along ASAP so as to avoid any risk of a particular possible secret dying with me: I may have had a hand in Paul Reubens adopting the name of one of his characters, Pee Wee Herman, as his official showbiz identity (I refer to his official showbiz identity prior to that incident when he, well, apparently, had his hand in something):

1. Paul Reubens, Tim Burton and myself all attended CalArts at the same time during the '70s, and knew many of the same people there. For a while I was friendly with a girl at CalArts who later worked for Tim Burton on "Beetlejuice", and who was hanging around at CalArts with Paul Reubens at one point. It is a matter of record that Paul Reubens' big movie, "Pee Wee's Big Adventure," was directed by Tim Burton, though I was surprised when Burton stated in an interview that they first met when that movie was being put together, which would put it at a point in time after they attended CalArts. And no mention was made by Burton that they had even both attended the same school.

2. A few years after graduation, in 1980, I sent to a (different) former friend, who was also a friend of Paul Reubens', my short story, "Sigmund Freud's Favorite Patient" (a key part to be excerpted momentarily). This former friend was later an influence on Burton's "Nightmare Before Christmas" (as was I). His influence was the part when they're all hunting for the mayor, Jack, by shouting his name over and over. Back at CalArts in the '70s, this person had enjoyed poking fun at the friends of someone we knew named Jack, mimicking them by calling Jack over and over. The similarity to fellow CalArts alum Burton's film's characters and their manner of shouting "Jack! Jaaa-aaack!" would be unmistakable to you if you had been there.

3. In 1982, Paul Reubens, who had not yet made Pee Wee Herman his official showbiz identity, was in a scene in a movie, "Pandemonium," with Tom Smothers, which I will be excerpting momentarily in a videoclip. This scene has something very much in common with the one I will momentarily be excerpting from my Freud short story.

4. In 1987 I copyrighted my Freud story with the U.S. Library of Congress, as part of a self-printed collection of my stories, "Inventing Air". I had previously self-printed it in 1982 as a story in my semi-novel, "The Coin That Came In Second" ("Coin" later to become a section within "Inventing Air"), and prior to that, in January 1981, I self-printed the story (slightly different draft) in "Mysteries of the Cosmic Boot." I posted "The Coin That Came In Second" at Archive.Org in June 2007.

5. In 1999 Angelina Jolie and Winona Ryder were in a movie entitled, "Girl Interrupted." This movie title was quite similar to the title of another story from my "Coin That Came In Second" (only 10 pages away from the Freud short story): "Man Without Interruption". One of Winona Ryder's earliest starring roles in a movie was in Tim Burton's "Beetlejuice".

6. The name most frequently associated with Johnny Depp, throughout the world, is: Tim Burton. This is because Depp has worked with Burton in so many of Burton's movies.

7. In 2010, Angelina Jolie and Johnny Depp were in a scene in the movie, "The Tourist," that has something very much in common with the previously referred-to scenes in my Freud short story and in the Paul Reubens movie. To be excerpted in a videoclip momentarily.

8. In general, I have often been an influence (occasionally a significant influence) on the work of Tim Burton, and have also found myself to be an influence on the work of Johnny Depp, with my Depp influence not being limited to Burton films.

9. Videoclip, including the aforementioned scene from "The Tourist" and the aforementioned scene from "Pandemonium":



10. The aforementioned scene from my short story, "Sigmund Freud's Favorite Patient":

“I see, said Sigmund. “I see, I see… your name’s wrong.”

“It is not! My parents gave me that!”

“Of course, but what I mean is, well, let me put it plainly. You must change your name. Change it at once, I tell you!” said Sigmund.

Egbert slowly unclenched his fists. “How about if I change it to, oh, what do you say to Jimmy Mocassin?”

11. Though one may often enough come upon scenes where people decide to change their name, one would have far more difficulty locating scenes that share the more specific similarity to which I refer. For in these three instances, the humor derives from the idea that the subject should be so over-willing to suddenly make a change to his name, simply because it should be the just-stated wish of the person they are with. And I would further be making the point that it should be looked upon as significant that these three remarkably similar instances should directly regard Reubens, Depp and myself.

How To Convert A Plastic Pail Into A Sword For Defending Against Martian Attack

As I promised I would be doing back when Tim Burton's "Alice In Wonderland" was released in theatres, I have now been able to put together my Steinhoff/Burton Correlations "version" (with a little help from the video becoming accessible on Starz Channel's Early Premieres).

Basically, this is just a dispassionate explanation, perhaps so that there will be some chance of the record being set straight someday. For those who can see the context/history I'm trying to get across, I believe this shows, as I have before, my influence on my fellow CalArts alum, Tim Burton - in this case with regard to "Alice". Unfortunately, however much my little videoclip provides some bases for my conclusions, there ultimately are many other things that contributed to these conclusions as well, things too voluminous to include here.

If Periods Could Talk

Anyone who has seen my “Mall Man” video (archive.org) and also the August 24th season finale of Jason Lee’s “Memphis Beat” (which may or may not have been its series finale) and has also been reading my blog articles written since that show first began relating to how my having secretly created that which led to Jason Lee’s “My Name Is Earl” (“The Fun Guy” at archive.org) and that which led to the title of Jason Lee’s first starring role in a movie, “Mallrats” (“Mall Man” and "Fun Guy" were both sent to the producer of “Mallrats” and only one or two others prior to "Mallrats" and "Earl", respectively[8/26/10 correction-"Mall Man" (1993) video distributed to various people prior to "Mallrats"; "Mall Man" story treatment (1992) sent only to person who was later to become "Mallrats" producer]) will already have caught on to the clear basis for interpreting important things that occurred in that TV show episode as having originated with my video, “Mall Man” - the villain's self-description as having buried his former self, the villain’s head injury disconnecting him from his former self, the villain’s love interest becoming estranged/no longer feeling that she can recognize him due to the inner change, the villain’s rejection of a possession taking on a psychologically symbolic significance for the villain regarding the change in the character – however, all will not be aware that my “The Fun Guy” which led to “My Name Is Earl” was originally conceived with Drew Barrymore in mind for one of the three leads, causing me to send it to her when it was created (and speaking with Chris Miller, her housemate and business partner, who gave me his personal cell phone number), which makes it of particular interest that, on the same important day for Jason Lee (8.24.10), Letterman had Drew Barrymore as a guest, featuring her speaking the word “karma”, the oft-repeated, important word in both “My Name Is Earl” and “The Fun Guy”, though if I or Jason Lee had made a point of using that same word “karma” on August 24th it may possibly have been more obvious what the implied context usage of the word on that day might have been, though I'm only the guy who originated "Earl" and August 24th was only the last day of the first (and possibly last) season of "Memphis Beat", so what does my seeing Barrymore in "Earl" have to do with Barrymore on August 24th, and I should also mention that I've occasionally referred to Drew in earlier blogs regarding my influence, a positive influence I believe, and on a totally separate note, the inside track regarding myself with relation to the dove in Tim Burton’s “Mars Attacks”, to which I allude in my previous blog regarding Iran (8.22.10), and also alluded to, for those with a very discerning eye, in my Sept. 6, 2008 blog, “In Common Again”, is that the dove in the original situation upon which the movie scene was based was a mechanical flying bird (you wind it up) in relation to myself and a fellow CalArts alum who herself is in relation to fellow CalArts alum Burton, surely a fun coincidence given that Iran unveiled their new unmanned bomber (which they call their "Ambassador of Death", and which is receiving enormous attention) at a point in time when the issue of their aiming for nuclear weapon capability has so recently resurfaced pertaining to when they will attain it, the deadline for stopping them now very much of concern, and I know I can take comfort from the certainty that it is a mere coincidence, and I'm sure we will all agree, the time has come for this sentence to come to an end.

So I Says To Myself, Hey, I Don't Want The World Blowing Up, Right?

The Beginning
First of all, happy birthday to Ray Bradbury, author of "Farenheit 451", a book that tells the story of a government that burned books as part of its handle on how people should relate to things.

Think Of Adults Talking About Sex When They Don't Want The Child To Get It
I choose today to convey two things that the Iranian President secretly communicated to me, which I expect he did so that I might use my secret super-access to communicate them to pop culture's most super-important. His secret communications were accomplished by the employing of a lexicon of a generally secret nature, which he used in publicly made statements. This lexicon is used frequently by a certain set of people, and in this instance, was used in conjunction with an apparent awareness of my personal knowledge of certain events.

I certainly know how absurd this must sound to the general public, and I don't expect to win any new friends here (I would nevertheless appreciate the men in the white coats being kept at bay, thank you). This is written for those who have the advantage of already knowing that my powers of dissemination are keen in these matters, that I draw from vast experience (did I mention, it also helps to trust that I am sane). The value of this explanation regarding the Iranian President additionally requires that one already be aware of my singular, secret, super-importance over the years in relation to Steven Spielberg, the most internationally prominent Jewish man in the world today, my singular, secret, super-importance over the years in relation to Paul McCartney, and also my secret, super-importance over the years in relation to so many other super-important people in the world, who, through the massive effects of their creative inspiration, have so powerful an influence on the hearts and minds of so many people. Many share the belief that the current nature of things puts the power of certain major pop culture figures very much alongside tremendous political power, irrespective of whether these individuals would wish to exist in a political context (I am not so cynical as to believe their power is limited to occurring in a political context, and would appreciate not being lumped together with those who see everything through that prism).

I'm almost finished with my preface(s) - I hope it is understood that some things require more context-setting than others.

Though there may appear to be a path available to the reader for piecing together the specific basis for the conclusions I've drawn with regard to exactly what was communicated to me, i.e., though it may seem that you can figure out exactly what caused me to believe these specific things were communicated to me by the Iranian President, I am quite certain that, even at best, you would not know more than a part of the story, a part of the basis for my conclusions. You would not have enough facts in your possession to properly refute my conclusions, though you might think so (this statement is of course not meant to be taken as proof that I must therefore be right, I merely wish to state that you are not in a position to use deductive reasoning to determine whether I am right or wrong about having received these communications). Furthermore, the facts that some of you might possibly already have in your possession would likely mislead you into believing you have all the facts that led to my conclusions. This would be unfortunate, given the importance here and the consequential need for my words to be taken seriously. And so, the value of what I write here resides in your ability and inclination to trust in what I say. By now, there are some people who should. This is written for certain people within that set of people. There's a football of sorts here, and I'd like to see it reach the endzone, received by but one person if need be. An important investigation could perhaps be the upshot.

The Middle And The End
The Iranian President has pointed to two moments in two films. Through this, he has demonstrated the desire to solicit support for a position regarding nuclear power in his country. He has relied upon my proximity to the most influential as his means of carrying his message. I will carry his message here, but again, I must emphasize, I do not consider him a sincere person, and liken his approach more to that of the convoluted government in Ray Bradbury's "Farenheit 451", than to that of a world leader seeking a way to make his true and honest feelings known to those who are so influential in shaping popular culture.

The two moments are both contained in films by famed director Tim Burton. My dissemination of the references through the Iranian President's use of a lexicon was assured by his repeatedly drawing from the work of the same filmmaker, a fellow CalArts alumni who knew some of the same people as myself and who has himself made use of secret references known to few (as previously stated, there has come to be a lexicon that is used frequently by certain people). Some of the secret references made by the Iranian President are identical in both instances, further reinforcing my conviction with regard to how to read things. And though both of these secret statements by the Iranian President have an obvious political significance, I would have the same conviction that I had correctly read his secretly made statements even if they had turned out to be on the subject of the old woman who lived in a shoe rather than political matters. He did not have anything to say about the old woman who lived in a shoe, incidentally.

The first is the scene in "Mars Attacks!", where a dove of peace, a gift from our world to the Martians, triggers a massacre of those presenting the dove because it is supposedly misperceived as an act of aggression. The second is the scene in "Alice In Wonderland", where the Mad Hatter finds use of a weapon repugnant because it goes against his nature.

Why would the Iranian President prefer this avenue? He prefers to inject the poison of his propaganda into our reservoir (our most influential), than to be so clearly seen as engaged in propagandizing the world into seeing him as this innocent little lamb. He sees vulnerability/opportunity in the idealism of our most important creative artists.

You Really Have To Put Your Ear Right Next To The Speaker

As some who might be more familiar with these blogs can testify (not that they wouldn't leave the country if that's what they had to do to get out of testifying), some of the important-type things I describe here are accompanied by the kind of evidence an intelligent person can disseminate and appreciate, while other things are not. The same way you cannot prove to most of us that you didn't sneeze five times in a row eleven minutes ago. Your not being able to prove certain things is not to be taken as an indictment against you. As always, my hope/expectation is that the vast accumulation of things I can prove would suggest to those who are intelligent and good judges of character that "certain types of things" really do happen to me. In other words, you gotta give me credit already. Unless you don't happen to feel like it, but you don't feel like doing the (admittedly voluminous) research, and then have something to say about me being some kind of a.... which leads me to wonder a little bit about you, or maybe not just a little bit.

The Shadow Is On The Wall
Some may have expected me to do my blog article about Tim Burton's "Alice In Wonderland" by now, as this movie is currently available as a pay-per-view. I already described in a blog article, upon it's release in theatres, how I was a big influence on this movie, how I tend to be a big influence on Tim Burton films (March 16, 2010, "Kalorping Against The Jabberwocky"). We both went to CalArts at the same time, knew a lot of the same people, though we scarcely encountered each other. Nevertheless, I have come to be a very significant influence on him. I also wonder why his hair style is conspicuously identical to the one I had while at CalArts.

But no, I am waiting for "Alice In Wonderland" to come to the premium cable movie channels, that will give me the kind of time I need to put together a videoclip. For now, I can relate what I believe are related bits of information with regard to the blog article I wrote upon seeing this movie.

Those with hundreds of millions of dollars know, as might those with only fifty dollars, that if you only have three Facebook friends, Facebook shows up on your page and suggests you friend certain individuals who visited your Facebook page (if you have a number of Facebook friends, they have a more vast set of people to suggest, as they draw from all friends of all of your friends). I now have 26 Facebook friends (my reclusive nature catching up with me in terms of my not having accumulated a vast number of friends and acquaintances over the years), but at the time I wrote about seeing "Alice In Wonderland", mentioning my influence, I only had three (hey, I wasn't even trying). Within approximately two days of my aforementioned "Alice" blog article, I was directed to go to my Facebook page. This was accomplished by someone I hadn't spoken with in about 30 or so years, whom I shall refer to as Person A, inviting me to be her Facebook friend. I did, and of course then went to my Facebook page, for what was the first time in half-a-year. And there was that thing I was just talking about, Facebook suggesting I friend someone who had apparently visited my Facebook page, someone I knew at CalArts during the '70s, whom I shall refer to here as Person B. Without the "directive" from Person A to go to my Facebook page, I never would have seen that Person B had visited my page. I then did what one might expect I would do. I looked to see who Person B's Facebook friends are/were. Person B turned out to be one of Tim Burton's eighty Facebook friends. So two days after my blog about being a big influence on Tim Burton, most recently "Alice", I am being directed (yes, directed I say!) to one of his relatively few Facebook friends (few considering how big a figure he is).

When I was little we used to go to Passover Seders at the home of Person A's father, also attended, of course, by Person A. Another person we would see there was someone named Stanley Panesoff, who was involved in a TV show they had back then, "Dark Shadows". This meant something to a kid (not that an adult should be thought childish were it to mean something to him). There were no other people of such note at the Seders, at least none of which I was made aware, and I was a kid. That is why I find it of particular significance that Tim Burton has now announced that he plans a movie version of "Dark Shadows". Remember, this is now Person A in a certain connection with Tim Burton, not just Person B. Presumably these A and B Persons come from different times in my life, if I may describe them that way.

Then there's the fact that the Facebook page of Person B, whom I have not friended (I cannot even say she was ever my buddy at any point in time), currently features, as her primary photograph, a depiction of her that is strikingly similar to this still from my 1998 video, "(Kalorping for) Gosk 2" (posted at Archive.Org in 2005). Only she is lying in the backseat of a car instead of in the front seat, and the door is most decidedly open rather than most decidedly closed. In my photograph, it is Robbie Cavolina, who played Vinkalert in "Gosk 2". He also was Joni Mitchell's art director on a large number of her album covers, as I was a secret but major influence on a large number of Paul McCartney album covers. The particular significance here is that, it is right during this several-minute section of "Gosk 2" that my influence on "Alice In Wonderland" takes place.

This also regards what the Iranian President hooked into, Lexicon-wise, when he was saying something about the American President a little while ago, but it would take way too many words to go into that here. [This might be a good place to again mention that I believe a number of strange things happen to me as a result of being secretly super-important in relation to the work of Spielberg, McCartney, Cameron, and many others of international note.]

All this and (fill in current amount of New York City subway token, not sure what that is these days) will get me a ride on the subway.

Not Beyond The Pail
Yesterday I became Facebook friends with someone I hung around with a little during the late '80s, David Peel, who is the same David Peel mentioned in the Lennon song, "Sometime In New York City". He is most known for the rock albums, "The Pope Smokes Dope" (produced by John Lennon) and "Have A Marijuana" (connected in subject matter to "The Pope Smokes Dope", but not produced by John Lennon).

Today I went for a brief drive, and believe I saw the guy who plays Kumar in "Harold and Kumar Go To White Castle", a very marijuana-related movie. I also believe I saw the guy who plays Jay in the numerous Silent Bob and Jay (Kevin Smith) movies, a very marijuana-related movie character (I have also been an influence on the Silent Bob and Jay movies, here and there, sometimes more than other times). I am not aware of seeing anyone else I might recognize today. I therefore correlate these sightings (unless they were look-alikes) to my having become one of David Peel's many, many Facebook friends. I know myself well enough to know it was not the power of suggestion that caused me to imagine I was experiencing these sightings. If you would tend to want to infer that, you are not taking into consideration the evidence that does exist that these types of things are often set up for me to experience. I have to admit, I would have been just a little bit more pleased with it all if the person who played Kumar hadn't turned around, after the movie, and denounced pot smokers, saying he is that separate from that character. He seems like a nice type, and perhaps someday he will understand what respect for human autonomy really means. A lot of people still seem to have difficulty with that.

Titanic Importance

In my immediately preceding post (April 8th), I mentioned, among other things, my conclusion that Jon Stewart on "The Daily Show" had "reflected a cognizance of the release of my 'Orders' video". Why did I choose to word this so strangely, outside of the fact that I like to word things strangely?

I chose these words to get across the idea that they are willing to go so far as to acknowledge to me that they know the video was released, yet at the same time they do not seem to feel they actually need to see it. I beg to differ: it is from me, I am unbelievably important, they know this, it is an important release. What's this stuff about sweeping it under the rug? I don't get it. "Avatar" and "Alice In Wonderland" are currently showing major contributions from me, to those in on it. To say the least. It doesn't make sense to pass on my latest work.

Later in this blog I will tell a little Hollywood story I just made up, entitled, "The Covering Their Astors Squad". First though, I would like to attend to a little business, which is to say, present how last night's "Saturday Night Live" also "reflected a cognizance of the release of my 'Orders' video".

In my "In Orders We Trust" (the video), which I completed April 6th and posted on/ copyrighted at Archive.Org April 7th (the comedy sketch itself having been written 5.15.06), I used at the beginning of the video the image of the famous sculpture, "Artemision Bronze", which according to Wikipedia is often called, "The God from the Sea," and "represents either Zeus or Poseidon" (my usage was intended to represent Zeus, and so if you were to see Poseidon in my usage of this image you would be.... well, I put the word Zeus under the image as well, so....). In the thumbnails at Archive.Org for my video, which one can view without viewing the actual video, one will also see my usage of this image ("Artemision Bronze").

I will give you a moment to go to Archive.Org and see for yourself (I provided the link in my April 8th blog, please don't expect me to do everything for you).

In my April 8th blog, wherein I announced the release of my video, I also reprinted the original 5.15.06 email from when I first sent the comedy sketch out to certain people. That email contained, among other things, something that my blogs have occasionally touched on - references to a few of the immense number of timely references to my material on "Saturday Night Live". And with that as the background information, last night's (April 10th) show was no exception - for in Tina Fey's Sarah Palin sketch (which, unfortunately, was only partially successful in erasing from my mind the image of Sarah Palin looking at me as we drove by each other in Santa Barbara last month), Fey ended the bit with an image of Republican National Committee Chairman Michael Steele in a photoshopped pose quite identical to the Zeus thumbnail posted with my video at Archive.Org on April 7th:



Those who knew, as I did, the near-inevitability of some kind of SNL inside-reference to my newest release, will appreciate my interpretation of why they chose to show Michael Steele this way. And if you wish, I will even apologize for any responsibility I might have for any difficulty you might have in erasing this image from your mind.

I should also say something about tonight's "Simpsons" before relating my "The Covering Their Astors Squad" story.

First, some are aware that the main opening montage of every "Simpsons" (sometimes they use variations so who can say what one will find on any given night), the latest regular opening montage (past two or so years), contains something that began as an ongoing inside-reference found on many "Simpsons" episodes. The inside-reference has to do with a scene from the CalArts film class student film, "Limbo" (1973-1974), wherein someone cannot remove a gorilla mask, while I stand in the background watching. One of the primary "Simpsons" directors, Mark Kirkland, used to live down the hall from me at CalArts, though we didn't know each other. This has not prevented him from joining the throngs of people in show-biz who make inside-references regarding me. These inside-references in certain "Simpsons" episodes to this "Limbo" moment would appear in conjunction with other Steinhoff-related stuff, producing a cumulative effect that made clear the inside-reference, at least to those "inside". So: nowadays their opening montage shows a statue head falling from a statue and landing over the head of someone beneath the statue, basically trapping the person inside the mask. Much like the previously recurring "Limbo" inside-references.

Tonight's "Simpsons" episode ended with Lisa and Bart forming a truce, until their dog commits some blunder, for which Lisa chooses to blame Bart, though there is no apparent basis for her to hold him responsible for what the dog does. And the truce ends as quickly as it was formed. Those familiar with the ending of "In Orders We Trust" (either the 2006 written version or the April 2010 video) need no further explanation to appreciate my conclusion regarding the origin of the "Simpsons" ending.

I seem to have one more thing to describe before relating my "The Covering Their Astors Squad" story.

For somewhat complicated reasons, which I will not detail here, I found the ending of the April 9th "Smallville" to be in relation to me as well. Nor did I choose to detail in my April 8th blog exactly how something the Iranian President recently said was designed to intertwine with the April 2nd "Smallville" as it related to me.

What I will mention here is that it was something he said in relation to President Obama's nuclear treaty, something that was extracted from the rest of what he said and given the headline, because of it being such a from out of nowhere phrasing. I am the one who sees how it was not from out of nowhere, it was an inside-reference, it was from a wish to interconnect with something in relation to me/my material that has recently become relevant through recent doings.

My December 26th, 2009 video, "Steven Spielberg and the 'Mall Man' Factor" (at Archive.Org) demonstrates how tremendously and singularly important I am in relation to Steven Spielberg. It does not take a genius to appreciate that, the way our world is put together, Spielberg is something of an ambassador for the Jewish people, being among the most prominent living Jewish persons in the world. I have previously mentioned in a blog that the Iranian President has endeavored to "intertwine" with me via a show that often references my material, "Smallville" (I mentioned this in a September 2009 blog). I have also mentioned/demonstrated in earlier blogs that the show "Medium" has intertwined with references to my material on the episodes of "Smallville" that aired the same night as certain "Medium" episodes.

Back when a number of inside-references to my several music videos all suddenly began occurring around the same time on various shows, as I mentioned/demonstrated at those times, I also noticed that "Medium" (in their fever episode, which was concurrent with the two-part "Monk" series finale - another show that made innumerable inside-references to my material) included the line, "Another Good Answer" - the title of one of my music videos. It was that same music video of mine wherein I get specific about the fact that, due to my secret importance, terrorists "leave things on my doorstep". That "Medium" episode had the antagonist exploiting people's fear of a cataclysmic (terrorist?) event for personal gain. I include that among the significant number of times when "Medium", or rather, someone with a pipeline to the writers of "Medium", seems to manifest an investment in undermining me with regard to certain concerns I have. My statement that terrorists leave things on doorstep/their statement that causing concern of this kind is a manipulative exploitation for monetary gain.

"The Covering Their Astors Squad"
(a made-up story about a dead person)

Once upon a time someone with a lot of money repeatedly used someone's creative material in the movies he made with famous actress Mary Astor. Mary Astor became very upset at the injustice that might be done to the person with a lot of money, who had been so kind to finance the movies she starred in, for she feared that this person might be thought to be a mean person when he was really just a nice person having fun with the person whose material he used. So Mary Astor became so upset, she came down with a cold. It was chilly outside, and she was playing the part of someone who was in a warm climate, so she had to wear short sleeves, which aggravated her cold, and it looked like the picture might have to be scrapped, and everyone would have to say goodbye to all that this picture would have meant for them. So the studio hired a squad of people to always have blankets on hand, and whenever the cameras weren't rolling, these people in this squad would immediately cover Mary Astor with a blanket. The same thing happened when Mary Astor's relatives appeared in the movie, Astors were everywhere, for these were all people who were found worthy of being in this important picture, though it meant wearing short sleeves in chilly weather. So the squad of people with the blankets became known as "The Covering Their Astors Squad". Unfortunately, the benches they sat on became drenched during a terrible thunderstorm, soaking in the water, and when people sat on the benches the water seeped through to their bottoms. Apparently, they could not cover their asses.

It's swell that people are demonstrating to me a "cognizance of the release of my 'Orders' video", as I stated earlier. To fall short of manifesting that they've viewed the video, however, given the stage I've reached in the world of important releases, is, in certain respects, disturbing, and I do not say this as an artist. I say this because it has "my lawyer told me not to" written all over it.

At this moment in the history of humanity, in the history of the Earth, the Iranian President, perhaps the single individual posing the greatest threat to the world at this time, due to what his present actions could very easily lead to not so far down the road, is trying to intertwine with me/my work, because of my tremendous importance in relation to Steven Spielberg. Spielberg being an important "ambassador" for the Jewish people, for the reasons described earlier in this blog. This plays Spielberg and myself, on a certain level, directly into the matter created by the Iranian President, a matter that springs from the animosity the Iranian President has for the Jewish people, which is behind his efforts to unite the Arab world, through this sentiment, behind his "right" to "blow Israel off the map".

It would be complicated to explain how it has been made manifest to me that the Iranian President is doing this in relation to me, though it is nevertheless something I could explain, to an intelligent person. There are facts to support my explanation. What isn't complicated is the fact that I have earned enough credibility by now to be taken seriously on this to a substantial degree even during the withholding at this time of the complicated explanation.

I believe that my little made-up story about Mary Astor may help to explain to all of you boys and girls a few factors that have impeded the response I demand. Those interfering with following-up on what I've asserted regarding myself in this situation are committing acts that, due to their intended effect with relation to the larger situation, are beyond criminal, and beyond forgiveness, due to the enormity of this situation. I find it unfortunate that the situation requires that I be the heavy to this degree, by having to point this out, but this is scarcely a situation that can be ignored. I find it difficult to think of a matter more worthy of serious attention.

Simmer, Cool, Simmer Again, Whatever

Julie, Julia, Clerp, Jerp, and Amy
The following videoclip, which includes our first introduction to Amy Adams' Julie character in the 2009 movie, "Julie and Julia" (now available on TV for the first time on "Starz On Demand-Early Premieres"), should be filed under my March 21st blog (two blogs ago), in the section, "Pavlov's Chef":




Out Of The Frying Pan, Into The Fire
A person I've referred to here and there in previous blogs, Kiefer Sutherland, again drove past me. It was while I was on my way to work Friday, March 26th. I am nearly certain it was he, despite the sunglasses and semi-upbeat expression.

His face divulged nothing about a bombshell that was about to be dropped on the world later that day, not that the explosion would have been preventable even if I had foreknowledge: "24" has been canceled. Jack Bauer will not live forever - at least in terms of new episodes of "24" (after this season). I also read that there may be a movie. I think back to the expression on his face for some indication of exactly how dead Bauer might be for Sutherland, but as I find myself unable to visualize ketchup splattered about, it is difficult for me to envision death and Jack Bauer next to each other to the extent that it is now so.

We have been left with a serious void on the landscape of our shared, common focus on matters related to terrorism against the U.S. Do not underestimate the value of a singularly iconic fictitious character of this variety at this point in the history of the world, particularly when one considers the degree to which we as a society have come to use the medium of theater to digest events that would otherwise be too difficult, perhaps even impossible to wrap our hearts and minds around.

We can come together over nobody in particular when we say here comes the sun, we may never need a sun king to say "here comes the" about, but we are not so good at not having a human to focus on when real events turn us towards this side of reality, and occurrences that could conceivably lead to the end of reality itself. I don't see anyone coming close to a Jack Bauer, just a whole lot of James Bonds, Sherlock Holmeses and what not.

On the bright side, Sutherland is now free to do a sequel to "Dark City" - though I have the feeling I'm alone in thinking along those lines.

It's Just Another Vote
Several days ago on my way home from work, at about 5:30pm, about 30 minutes before the final reconciliation vote on healthcare reform (after the House passed the healthcare legislation and after the Senate then passed the agreed-to reconciliation amendments and then the amendments went back to the House - I believe this was Thursday, March 25th), "Daily Show" host Jon Stewart may or may not have driven past me. The show has been on vacation this past week, so it was definitely possible for him to be in Southern California. Also, as occasionally referred to in previous blogs, over the years I have occasionally been an influence on his and Colbert's show, sometimes to no small degree. He appeared very serious. And his hair was not slicked down as one normally expects when looking at Jon Stewart. I don't think his was searching his mind for a punchline just then. Then again, it could have just been someone whose job it is to bring Jon Stewart to someone's mind at the precise right moment. I get a lot of that.

One On One
Ben Stiller, whose appearance at the recent Oscars was largely in relation to my "Gosk 2" video (see my March 13th blog), drove by me yesterday (March 27th), while his two recent late-night talk show appearances made no inside-references for my benefit (of which I am aware). I think that puts things where I'm supposed to.... no, can't say I know exactly.

The late-night talk show appearance in February by Helena Bonham Carter, Tim Burton's wife, on Craig Ferguson's show did make inside "Gosk" references for my benefit. These references to "Gosk" were not even close to being as clearly delineated as Burton's "Gosk" references in "Alice In Wonderland" (see my my March 16th and March 21st blogs). I do not feel that husbands and wives should be considered contractually obligated to be identical in the degree to which they make references to "Gosk", nevertheless, I will not permit Carter's references to dilute the intensity of Burton's references, and will therefore confine myself here to this general a description of her action.

Regis Philbin's recent late-night talk show appearance on Ferguson made absolutely no inside-reference for my benefit of the variety I have come to expect, though Ferguson isn't Letterman, which is where/who this normally can be relied upon. Is this non-relationship over? If so, I do not yet feel the void, and for now will make no assumptions.

Face To Face
Immediately after I emailed someone (a fellow CalArts alumni, aka a "CalArtian") asking what gives with Tim Burton and his Steinhoff references in "Alice In Wonderland", where's my $11.23 (I did the math and decided I was at least entitled to enough money to purchase 9.2 chocolate bars), I received an invitation to be the Facebook friend of someone else, someone I hadn't spoken with in about 30 or more years, and a non-CalArtian. Adding this person as a Facebook friend required that I logon to my Facebook page for the first time in about half-a-year. This caused me to see that another CalArtian I knew (different CalArtian) had visited my Facebook page, indicated to me by way of that privacy-violating way Facebook has of showing Facebook users this like it or not. This led me to feeling inclined to look up that particular CalArtian on Facebook and the listing of her Facebook friends - which included Tim Burton. I suppose it is a given that when Tim Burton uses your material in a big way in "Alice In Wonderland", trails of breadcrumbs are headed your way. Now send me a trail of breadcrumbs I would want to follow more directly, please.

A Good Diet Is The Key To Good Health

Several things to report, though for the most part they are things that fall into the category of being unsubstantiated by anyone other than myself. Approximately 29.2% of the things I describe in my blogs fall into this category. The way I figure it is, owing to the 70.8% of the extraordinary things I describe that can be substantiated, though some effort may be involved (such as checking that the timestamp/copyright at Archive.Org is intransmutable; viewing those videos of mine posted there when I indicate that such action is relevant to the information being conveyed; putting 2 plus 2.2 together; etc.), I'm legitimately entitled to some real cred.

Addendum In Wonderland
After I posted my immediately preceding blog, which focused on Alice In Wonderland with relation to the bucket scene in my "Gosk 2", it occurred to me that the hat scene in "Gosk 2" immediately follows the bucket scene. This is the scene where all you see are intercut shots of Vinakalert's hat, framed such that one does not see his head beneath it, while he talks to himself about his high school girlfriend, Gosk (only direct mention of Gosk in the video). This hat scene should also be seen in connection with my fellow CalArtian's movie, owing to the context as described in my preceding blog. I should also take this opportunity to mention that the other CalArtian described in that blog, a woman I knew at CalArts, was never my girlfriend, I regard her as someone who was a friend. Whether or not people such as Paul McCartney or whoever saw in that relationship material for songs is more of a reflection of the fact that he tends to make quite a bit out of any relationship I have with members of the opposite sex. I have come to look upon any woman I might or might not have any kind of relationship with in terms of whether this is something they are secretly taking into account.

Wagon Train
In my June 7, 2009 blog I described something that happened the moment I came back to California for the first time in 15 years, during the early '90s, half-a-year after a movie that originated with something I sent to Steven Spielberg became the biggest movie of all time ("Jurassic Park", though this movie has subsequently lost this status - to other movies upon which I have also been a significant influence):

"....approximately one week after I moved to Southern California in the early 90s, when I was driving in Van Nuys when suddenly I found myself driving alongside Steven Spielberg, with two motorcycle police riding alongside each other in front of us."

The other day I saw on the highway four policemen riding together on motorcycles. Being aware that this did not constitute being under alien attack, and furthermore that it could easily contain zero significance, I did not see it as necessarily relating to the afore-described Steven Spielberg experience. It nevertheless seems odd to me that about four hours or so later, in a completely different neck of the woods, someone I believe may have been Steven Spielberg drove by me, though some of the hair on top of his head seemed darker than one would expect, and though he was driving a red pickup truck. A few moments later I came to an establishment called, "Stagecoach", which is also the name of a movie, about people on a road trip having to contend with being the target of attacks yet without the security of motorcycle policemen driving in proximity. At the time I saw the motorcycle cops there no was indication I would later be driving by "Stagecoach", so I can't say the whole thing in every detail was planned that way from the start. On the other hand, people know how to find moments to do things that are more opportune than other moments.

I already had been given a clear heads up that I was being followed that day (as if I needed one, as I can generally expect to receive such a heads up on most trips), when I saw someone driving by me who resembled Rob Hahn. I had just brought up Rob Hahn in conversation at work two days before, so it seems very unlikely to me that the siting of his look-alike in the middle of nowhere was a random event. By the way, Rob Hahn was among the people I assisted on an AFI film shoot during the summer of 1975. He had been the boyfriend of Amy Heckerling (now a well known director) at high school in New York, afterwhich they came to AFI together, afterwhich they broke up, afterwhich they were both working on that same AFI film shoot. I first met Stuart Cornfeld on that AFI shoot (now a major producer whose film company has their films distributed by Spielberg's DreamWorks).

Pavlov's Chef
Only because of my strange experiences in life and not because I consider it something that would ordinarily occur, I believe it possible that the Merryl Streep movie, "Julie and Julia", was made partly because it could later become connected, in a certain way, with my YouTube posted video, "Recipe For Fun" (I have not yet seen this Streep movie, however). "Recipe For Fun" (not to be confused with my "Recipe For Fun Epilogue (Non-Ketchup Version)") resulted from Lorne Michaels eating a sandwich on SNL, which itself had been the result of my sending Michaels something several days earlier wherein he eats a sandwich (my "Frozen" comedy sketch idea, which I subsequently made into a video that I've posted on Archive.Org - about The Beatles reuniting for an SNL appearance with a little help from cryogenics). The day following "Recipe For Fun", wherein the specific ingredients of good comedy are conveyed, ketchup being specifically portrayed as one of the major ingredients, the husband of the head of Heinz ketchup (former Democratic presidential candidate, John Kerry) got into serious trouble, regarding which he could only defend himself by saying that he had told a bad joke. He had been misunderstood. He wasn't trying to say people who go into the military have a lower IQ. So I sent a message to Paul McCartney that this mishap, which had been set off by "Recipe For Fun", etc., should be addressed by McCartney being in a comedy sketch. A former candidate for President of the United States of America is not a small potato (I didn't put it exactly that way). Basically, I was saying, "Clean-up on Aisle 7" (I didn't put it exactly that way either). Several days later Paul McCartney made a surprise appearance on SNL in a comedy sketch about poison in a drink, which naturally made me think of "Recipe for Fun", though I am not Julia Childs. Steve Martin and Alec Baldwin were also in that SNL poison comedy sketch. So years later, when Steve Martin and Alec Baldwin were together again, this time in a movie, I also thought of "Recipe for Fun", though I have not seen this movie yet ("It's Complicated"). Meryl Streep was also in that movie with Martin and Baldwin. Martin and Baldwin just cohosted the Oscars together - this made me think of "Recipe for Fun" as well. Streep also justed appeared in "Julie and Julia", about famed chef Julia Childs, which might also bring "Recipe For Fun" to mind (it brings it to my mind, anyway). I'm seeing this great big Baldwin, Martin, Streep stew, and I'm sure you could too, if you just put your mind to it.

The very last moment of Barbara Walters' very last Oscar Night interview (she will no longer be doing this show) had Barbara Walters and Sandra Bullock toasting Meryl Streep.

My own "personal" Meryl Streep story involves when I went to see her in "Taming of the Shrew" at a Shakespeare In The Park performance in NYC in 1976 or 1977. A heavy downpour occurred during the performance, which prompted Streep's costar, Raul Julia, to say, "And NOW my reign begins." I subsequently learned that there is no such line in Shakespeare's "Taming of the Shrew", though it was certainly a relevant thing for Raul Julia to say. I tended to enjoy this anecdote more when I thought it was Shakespeare's line benefiting for the moment from Julia's inflection. Now I realize Shakespeare isn't very much a part of the anecdote at all. Raul Julia just ran with the moment, apparently.

In any event, the anecdotal significance of this line from the Meryl Streep play, "And NOW my reign begins," comes to mind (as I associate it) during that toast at the final moment of Walters' show:



This all makes me think of "Recipe for Fun". In recent blogs I promised to describe in an upcoming blog the significance I found in this Walters-Bullock moment. Sandra Bullock has since that promise of mine leaped into the headlines, or was pushed, owing to her marital problems. I am most reluctant to appear to be inserting myself into that situation. I have influenced the work of Sandra Bullock in the past ("The Lake House" comes most immediately to mind) without acknowledgment, and hope to continue this non-relationship with her in the future. I do not wish to be in relation to her current situation in any way, and am confident that this attention I am drawing to that toast will not leap anywhere near the headlines. If that wouldn't make me seem opportunistic I don't know what would. Perhaps Paul McCartney could do a song that will straighten all this out.

Kalorping Against The Jabberwocky

There are many things many people can and will say and think about the somewhat amazing 3D movie, "Alice In Wonderland". Amidst all that, it has fallen to me to speak in relation to this movie in a manner that will surely be regarded by the "uninitiated" as strange - though I suppose that by now I should be quite accustomed to being cast in a role such as this.

Tim Burton, the auteur of the work to which I refer, not only attended CalArts at the same time as myself. Tim Burton has consistently been influenced by me/my work in a major way. "Alice" is no exception.

A woman who was a friend of mine at CalArts also existed in the realm of Tim Burton, has worked with Tim Burton, in fact, according to her website, she was responsible for CG (computer graphics) on "Alice". I do know that she worked on Burton's "Beetlejuice", yet there is nothing to confirm her assertion about "Alice", other than her own statement. I choose to believe her, however, it being that she always liked the low-profile route, and once you've reached a certain height, who really needs all the baggage that comes with being known as someone with that particular kind of status?

I have not spoken with this woman in about 30 years, yet Tim Burton has occasionally been known (to some anyway) to shine the "spotlight" on various things that passed between myself and her all those years ago.

With "Alice", Burton has outdone himself in this regard (and in other regards as well - it really is quite a movie!). No small number of times while watching "Alice" I found myself saying (not aloud), "Hey, that reminds me of a conversation I had about 30 years ago with (blank)." After a while (actually after the first one) it became obvious to me: she had confided the most insignificant things regarding our conversations to Tim Burton, who then instructed the writer of "Alice" to include them in the movie, who then included them in the movie, and then they filmed them for the movie, then edited them into the movie, then made the whole movie 3D (I have no idea how they did that part), put the completed film into film canisters, had someone drive the film canisters to movie theatres around the world, etc. For some people I might have put in the "etc." considerably sooner, but I always like filling people in and keeping the lowest common denominator among us in the loop. It's my inclusive nature.

There were also things in "Alice" that came from my creative work, things of consequence to Tim Burton's movie. I think it unlikely you would recognize these things, however, without knowledge of the fact that Tim Burton often does this in relation to me/my material. You would tend to be oblivious to the context necessary to appreciate my point. If I may therefore ask those of you who don't see eye to eye with me on this to kindly leave so that I may continue speaking with those who know what I'm talking about. Thank you ever so much.

In my Dec. 26, 2009 video, "Steven Spielberg and the 'Mall Man' Factor" (see Archive.Org), I detail how Spielberg's "Indiana Jones and the Kingdom of the Crystal Skull," in addition to its numerous references to my "Mall Man" video, also included something from my original "Mall Man" film treatment (sent in '92/'93 to Spielberg's good friend, Sean Daniel, the first person from whom I learned of CalArts). Specifically, I refer to the part in "Indiana Jones" where the statue is restored to wholeness through the returning of its head. And so I recognized something familiar when, in "Alice", significance was attached to Alice restoring wholeness to a suit of armor by bringing its sword to it following a special journey. I know this general concept is not new to various genres of storytelling - however, the shorthands I am "in on" led me to regard this as more specifically having been done as a reference to Spielberg/Steinhoff. It was then that I recalled how in "Alice" there is an important thing where The Mad Hatter's head is restored to his body. I see this as reinforcing my initial impression. Plus the restoration of Indiana Jones' hat to his head in that movie having a Hatter-esque dimension, a device used in the Spielberg film as something to correlate with the crystal skull's being returned to its proper place.

There was another important event in "Alice" that left me with a much stronger sense of my influence. That movie has a very important moment where The Mad Hatter throws his sword onto the ground as if it has suddenly come upon him that the sword is of an alien nature. Around this same exact point in the movie, The Mad Hatter does a very special dance, and for those who have seen the movie (did I forget to say "spoiler alert" somewhere in here?), this special dance of his is not merely in the category of someone dancing on-screen. It is a pre-anticipated, significant moment. Not unlike the extreme specialness of a dance as conveyed in the very first lines of the Procol Harum song, "Whiter Shade of Pale" (following the organ introduction): "We skipped the light fandango, turned cartwheels 'cross the floor." These song lyrics go well beyond being a mere mention of a dance. And this brings me to this videoclip from my 1998 video, "Kalorping For Gosk, Part 2" ("Gosk 2"):


As for the white dandelion particles we see here and there in "Alice", I apologize, but I am under contract to only discuss such things as they relate to "Avatar".

And again, I postpone for another blog my description of the last moment of Barbara Walters' last Oscar Night interview as it relates to me. You can see how it doesn't belong in the same company as this "Alice" blog.