In 1998 I made a little sci-fi comedy video, “Gosk, Part 2” (sequel to my 1994 Gosk, Part 1) (http://www.archive.org/details/JonathanDavidSteinhoff_3), starring someone who was Joni Mitchell’s friend and artistic director of the album artwork on a number of her recordings. At this time I had long been a secret major influence on the work of a great number of major recording artists (and others of great importance in the entertainment industry), including Paul McCartney, John Lennon, The Rolling Stones, Madonna, and many others.
Remembering an interview John Lennon had once given in which he described the creation of “Give Peace A Chance” as a deliberate effort to provide a rallying anthem, and having secretly contributed the opening to John Lennon’s song, “Starting Over” (“Our life together is so precious together, etc.”), I was inspired to create a song about someone trying to rally everyone, “Brand New River of Love” (copyright January 1999 as part of my music CD, “Still Around”) (http://www.soundclick.com/bands/default.cfm?bandID=366981&content=songinfo&songID=2724662).
When the Joni Mitchell art director asked if he could have a copy of the song used for the opening credit sequence of “Gosk” (a scratchy Xavier Cugat song slowed down from 78 to 33) (http://www.archive.org/details/JonathanDSteinhoff), I put it on a ten-minute cassette, and for the flipside included my then work-in-progress, a (more uptempo, upbeat) version of “Brand New River of Love”.
James Taylor, one-time boyfriend of Joni Mitchell and very special guest (above all other guests) at an A&E television concert of people rendering Joni Mitchell songs, appears on the 1999 Sting music CD, “Brand New Day”. I surmise that it was via Taylor that Sting experienced “Brand New River of Love”, however, because of my secret importance to the work of so many, it is also possible that it reached Sting in some other way. There can be no doubt that my song led to the Sting song. Nor can there be any doubt that the crying saxophone in my song inspired the crying harmonica in Stevie Wonder’s accompaniment to Sting’s song.
Because Joni Mitchell’s art director also ran a videotape editing and copying business, and because I occasionally created music videos that I needed copied, copies of my videotapes were made by Joni Mitchell’s art director. From certain Sting product that followed, it became abundantly clear that Sting continued to use me as an influence. Though some instances of usage might in and of themselves contain no such implication, the cumulative implication is plain to see (please note: the document this link takes you to begins with this same text found here, but also goes on to include samples of works to illustrate the point).
Friday, January 23, 2009
Monday, January 19, 2009
Traffic On The Unbeaten Path
I've got some real news here, no joke, I'm it, this is where the train makes a big stop, gather around! On second thought, what I have to report this time around may involve some reviewing of my previous blog and other stuff, trusting me on a few things, and putting lots of things together. Well, would you look at all of those people who are unaware of how intense and trustworthy things are with me heading for the door. Okay, well, you're just not ready. And now, for the rest of you, those who are still here (especially those who are still here on the first read, as opposed to those who read only so far, leave, but then are prodded into coming back by people passing the word that there really is something here):
Where to begin? I'll just rattle everything off, that'll be my style here.
In my previous blog I described where I had special reason for making a connection between Steven Spielberg's description at the Golden Globes of trains colliding, and the simultaneously broadcast "24" premier, which involved the idea of airplanes colliding, and a scene in Spielberg's "Minority Report" that came from my "Mall Man" video.
I also showed in my previous blog where the weekly Monk/Steinhoff videoclip (which exist because nearly every episode of "Monk" ever made deliberately includes things that connect with things in my creative work, see some on YouTube under Zoomsteinhoff; and also to be found in a few of my other blogs) for 1-16-09 involved usage of a bicycle bell. Is there reason to connect the bicycle bell to the train and plane collision ideas, in that ringing a bicycle bell is like honking a car horn, which relates to avoiding vehicle collisions? Read on!
Background For What Happened Sunday, 1-18-09
It used to be that on the rare occasions that I sent an email to one of the stars of my "Gosk 2" video, who happens to be connected with more than one Arquette sibling, the following day someone who resembled Jennifer Aniston would drive by me (possibly Ms. Aniston herself). As many of us know, Jennifer Aniston is best friends in real life with Courteney Cox Arquette, wife of David Arquette. However, there was only one time that I could say with absolute certainty that it was Jennifer Aniston herself driving by me - and driving one of those cube-shaped cars. On that day, in response, I watched that night's "In Case Of Emergency," a TV show David Arquette starred in, expecting, from what might be described as a shorthand that's developed, that I would likely see on that night's show something related. Sure enough, that night's episode connected to Jennifer Aniston, in that it strongly referenced the movie "The Graduate", a movie which was the focus of the Jennifer Aniston movie, "Rumor Has It" (a movie centered on the family that "The Graduate" was rumored to be based on in reality). A week or two following this, I saw another cube-shaped car, this one containing a license plate that read something like, "Jen B". I do also understand that there exist in this world cube-shaped cars that can in no way be connected with Jennifer Aniston.
Sunday, 1-18-09
Now back to the present: on Saturday I sent another one of my rare emails to that same star of my "Gosk 2" video. On Sunday, it was not Jennifer Aniston but Angelina Jolie herself who unmistakeably drove by me - in a cube-shaped car. When one reflects on the other thing, besides the bicycle bell, in this week's Monk/Steinhoff videoclip, namely the cube-shaped tomato, one finds a connection. People have taken an interest in the Cubist art movement for lesser reasons.
I will leave these Spielberg-Sutherland-Shaloub-Pitt-et-al connections for you to interconnect, however, please be careful to keep your train of thought from colliding with reality.
Other Sunday, 1-18-09 News
Additionally, my previous blog made a strong pitch for my idea for the "Saturday Night Live" of 1-17-09, "Teddy Tinyfingers" (for the history of myself and SNL read some of my other blogs). We then saw how the last SNL sketch of the evening was about giving people excuses, and how in the last two minutes of that sketch one character suggested to another character that they say their arms fell off. My "Teddy Tinyfingers" sketch idea is about Tim Burton making a movie about someone who deliberately blows up his own hands. To add to this, the next day, Sunday, a Tim Burton look-alike was witnessed by me. Incidentally, Tim Burton and I both went to CalArts at the same time during the '70s. Furthermore, I have been quite the major influence on Burton's work at certain times.
Finally, the 1-19-09 "24" included a woman hiding in a Safe Room intoning her line in the same identical precise manner as occurs in my "Gosk 2" video, when Buegert says, "Vinkalert's hiding somewhere, isn't he?"
Where to begin? I'll just rattle everything off, that'll be my style here.
In my previous blog I described where I had special reason for making a connection between Steven Spielberg's description at the Golden Globes of trains colliding, and the simultaneously broadcast "24" premier, which involved the idea of airplanes colliding, and a scene in Spielberg's "Minority Report" that came from my "Mall Man" video.
I also showed in my previous blog where the weekly Monk/Steinhoff videoclip (which exist because nearly every episode of "Monk" ever made deliberately includes things that connect with things in my creative work, see some on YouTube under Zoomsteinhoff; and also to be found in a few of my other blogs) for 1-16-09 involved usage of a bicycle bell. Is there reason to connect the bicycle bell to the train and plane collision ideas, in that ringing a bicycle bell is like honking a car horn, which relates to avoiding vehicle collisions? Read on!
Background For What Happened Sunday, 1-18-09
It used to be that on the rare occasions that I sent an email to one of the stars of my "Gosk 2" video, who happens to be connected with more than one Arquette sibling, the following day someone who resembled Jennifer Aniston would drive by me (possibly Ms. Aniston herself). As many of us know, Jennifer Aniston is best friends in real life with Courteney Cox Arquette, wife of David Arquette. However, there was only one time that I could say with absolute certainty that it was Jennifer Aniston herself driving by me - and driving one of those cube-shaped cars. On that day, in response, I watched that night's "In Case Of Emergency," a TV show David Arquette starred in, expecting, from what might be described as a shorthand that's developed, that I would likely see on that night's show something related. Sure enough, that night's episode connected to Jennifer Aniston, in that it strongly referenced the movie "The Graduate", a movie which was the focus of the Jennifer Aniston movie, "Rumor Has It" (a movie centered on the family that "The Graduate" was rumored to be based on in reality). A week or two following this, I saw another cube-shaped car, this one containing a license plate that read something like, "Jen B". I do also understand that there exist in this world cube-shaped cars that can in no way be connected with Jennifer Aniston.
Sunday, 1-18-09
Now back to the present: on Saturday I sent another one of my rare emails to that same star of my "Gosk 2" video. On Sunday, it was not Jennifer Aniston but Angelina Jolie herself who unmistakeably drove by me - in a cube-shaped car. When one reflects on the other thing, besides the bicycle bell, in this week's Monk/Steinhoff videoclip, namely the cube-shaped tomato, one finds a connection. People have taken an interest in the Cubist art movement for lesser reasons.
I will leave these Spielberg-Sutherland-Shaloub-Pitt-et-al connections for you to interconnect, however, please be careful to keep your train of thought from colliding with reality.
Other Sunday, 1-18-09 News
Additionally, my previous blog made a strong pitch for my idea for the "Saturday Night Live" of 1-17-09, "Teddy Tinyfingers" (for the history of myself and SNL read some of my other blogs). We then saw how the last SNL sketch of the evening was about giving people excuses, and how in the last two minutes of that sketch one character suggested to another character that they say their arms fell off. My "Teddy Tinyfingers" sketch idea is about Tim Burton making a movie about someone who deliberately blows up his own hands. To add to this, the next day, Sunday, a Tim Burton look-alike was witnessed by me. Incidentally, Tim Burton and I both went to CalArts at the same time during the '70s. Furthermore, I have been quite the major influence on Burton's work at certain times.
Finally, the 1-19-09 "24" included a woman hiding in a Safe Room intoning her line in the same identical precise manner as occurs in my "Gosk 2" video, when Buegert says, "Vinkalert's hiding somewhere, isn't he?"
Friday, January 16, 2009
Anybody Wanna Hire One Of The Secretly Most Important People (or keep an eye on the people who did)?
I'll begin by mentioning that something extremely ugly happened to me where I work at Kaiser Permanente, Walnut Center, Pasadena, California. Let's leave it there.
I don't know precisely how good an idea it is to detail how Spielberg did something related to me at the Golden Globe Awards last Sunday. Any intelligent person who closely followed what I've already put forward in the past, and who saw the Golden Globes and the 4-hour season premier of "24", could already have pieced it together themselves anyway. Why show favoritism to those organized in a way that permits them to figure these things out? Because by definition such people are more ethical? Might as well share it with the world, or at least, with those able to follow this. Before you read this, I should also add that Jill Clayburgh, daughter of my former NYC next-door neighbor (the late Bill Clayburgh), co-starred in "Dirty Sexy Money" with Donald Sutherland (father of Kiefer Sutherland, star of "24"). Oh, and Jill may or may not have driven by me today. So now the Steven Spielberg thing:
1. Clearly Steven Spielberg’s moment about a train crash upon receiving the Cecil B. DeMille Award at the Golden Globes Sunday could be related to the “24” moment that same night about a plane crash.
2. Based on my own experience, I had reason to view the manner in which the Tony Olmedo character on “24” was filmed Sunday, surrounded in black with pretty much only his face lit, as a possible tip-off that a Steinhoff's “Mall Man” reference could be expected.
3. Monday's “24” contained a scene that struck one as resembling the scene in Spielberg’s “Minority Report” that was based on “Mall Man”, specifically, when Tony and Jack were escaping from the FBI while Chloe’s multi-monitor vantage point allowed her to provide split-second, all-knowing guidance.
4. From what happened Sunday, I was already on the alert for something on "24" that would intertwine with both Spielberg and “Mall Man”. This was confirmed Monday, and so confirms that I was on the right track.
If this provides me with any kind of "coin of the realm" (I have yet to see anything actually monetary from all these things, ever, by the way), I'd like to use it to point those that value it towards my new SNL comedy sketch idea, "Teddy Tinyfingers", published at archive.org. It's the little things that can get in there and save the world, so I am anxious to see at least particles of this idea utilized. SNL has found ways to include either my material or things related to me personally in every one of their shows for years, and this sketch idea happens to be something I particularly wish to point my finger at. I'd been kicking around for months an idea it contains, of a way to adapt to those tiny keyboards on handheld devices, but after trying to perfect a prototype (gloves with sawed down golf tees sticking out), I'm thinking this sketch idea is as far as that concept will go (unless you count last week's SNL sketch about the female air traffic controllers whose long fingernails practically deprived them of the ability to properly use their fingers).
And lastly for now, this week's Monk/Steinhoff videoclip, which, as occurs frequently with these weekly Monk/Steinhoff videoclips, draws from two of my three main live action videos:
I don't know precisely how good an idea it is to detail how Spielberg did something related to me at the Golden Globe Awards last Sunday. Any intelligent person who closely followed what I've already put forward in the past, and who saw the Golden Globes and the 4-hour season premier of "24", could already have pieced it together themselves anyway. Why show favoritism to those organized in a way that permits them to figure these things out? Because by definition such people are more ethical? Might as well share it with the world, or at least, with those able to follow this. Before you read this, I should also add that Jill Clayburgh, daughter of my former NYC next-door neighbor (the late Bill Clayburgh), co-starred in "Dirty Sexy Money" with Donald Sutherland (father of Kiefer Sutherland, star of "24"). Oh, and Jill may or may not have driven by me today. So now the Steven Spielberg thing:
1. Clearly Steven Spielberg’s moment about a train crash upon receiving the Cecil B. DeMille Award at the Golden Globes Sunday could be related to the “24” moment that same night about a plane crash.
2. Based on my own experience, I had reason to view the manner in which the Tony Olmedo character on “24” was filmed Sunday, surrounded in black with pretty much only his face lit, as a possible tip-off that a Steinhoff's “Mall Man” reference could be expected.
3. Monday's “24” contained a scene that struck one as resembling the scene in Spielberg’s “Minority Report” that was based on “Mall Man”, specifically, when Tony and Jack were escaping from the FBI while Chloe’s multi-monitor vantage point allowed her to provide split-second, all-knowing guidance.
4. From what happened Sunday, I was already on the alert for something on "24" that would intertwine with both Spielberg and “Mall Man”. This was confirmed Monday, and so confirms that I was on the right track.
If this provides me with any kind of "coin of the realm" (I have yet to see anything actually monetary from all these things, ever, by the way), I'd like to use it to point those that value it towards my new SNL comedy sketch idea, "Teddy Tinyfingers", published at archive.org. It's the little things that can get in there and save the world, so I am anxious to see at least particles of this idea utilized. SNL has found ways to include either my material or things related to me personally in every one of their shows for years, and this sketch idea happens to be something I particularly wish to point my finger at. I'd been kicking around for months an idea it contains, of a way to adapt to those tiny keyboards on handheld devices, but after trying to perfect a prototype (gloves with sawed down golf tees sticking out), I'm thinking this sketch idea is as far as that concept will go (unless you count last week's SNL sketch about the female air traffic controllers whose long fingernails practically deprived them of the ability to properly use their fingers).
And lastly for now, this week's Monk/Steinhoff videoclip, which, as occurs frequently with these weekly Monk/Steinhoff videoclips, draws from two of my three main live action videos:
Sunday, January 11, 2009
Still Around
A new season of "Monk" being upon us, a new season Monk/Steinhoff videoclips are as well. Many others can be found on YouTube (where I am "Zoomsteinhoff"), however, since the "Simpsons" episode (by which I do not mean episode of "The Simpsons" - see my November 30th blog, "Give My Regards To Silence"), I plan to steer clear of YouTube when it comes to new postings of videoclips containing references to commercial works (in spite of the unwritten law of entitlement when one considers that these commercial works involve my material).
One thing to add to this January 9, 2009 Monk/Steinhoff videoclip posted here: This Monk episode made the word "Gosford" key; I sent an email regarding the movie "Gosford Park" in December to the former USA Network president referred to in all of my Monk/Steinhoff videoclips (my "didtheyreadit.com" email technology showed that someone did in fact open and read that email for eight minutes):
I recently had the opportunity to see on TV the movie, "The Darwin Awards," which includes David Arquette among its stars. Hence, this videoclip:
For those who read comments to postings at Huffington Post, the other day I commented (as JonathanDS2U) to an article about the celebrities scheduled to be part of Obama's inauguration. I made a statement that Sting has my permission to sing "Starting Up A Brand New Day" there. To those aware of my relationship to the creation of this song, my giving of permission might be viewed as something that could materially translate into to a more positive vibe at the actual event, which in turn could lift up the nation and so forth. No need to thank me.
One thing to add to this January 9, 2009 Monk/Steinhoff videoclip posted here: This Monk episode made the word "Gosford" key; I sent an email regarding the movie "Gosford Park" in December to the former USA Network president referred to in all of my Monk/Steinhoff videoclips (my "didtheyreadit.com" email technology showed that someone did in fact open and read that email for eight minutes):
I recently had the opportunity to see on TV the movie, "The Darwin Awards," which includes David Arquette among its stars. Hence, this videoclip:
For those who read comments to postings at Huffington Post, the other day I commented (as JonathanDS2U) to an article about the celebrities scheduled to be part of Obama's inauguration. I made a statement that Sting has my permission to sing "Starting Up A Brand New Day" there. To those aware of my relationship to the creation of this song, my giving of permission might be viewed as something that could materially translate into to a more positive vibe at the actual event, which in turn could lift up the nation and so forth. No need to thank me.
Sunday, January 4, 2009
Bits and Pieces Strike Back
Today I'm offering a few bits and pieces that cannot possibly be worthy of significance, unless you have already familiarized yourself with lots of other bits and pieces. The significance of this videoclip regarding Kevin Smith, Will Ferrell and Jason Lee is connected to several prime facts:
As I said, these are mere bits and pieces, and require familiarity with other bits and pieces before they (cumulatively) contain recognizable significance in relation to me.
Another movie that includes a reference to my work, one I just had the opportunity to see yesterday for the first time when it made its premium TV channel (Showtime) premier, is "1408", which stars John Cusack and Tony Shaloub. Owing to Tony Shaloub being involved, I was immediately aware that I should be on the lookout (see the second-to-last paragraph of my 12.25.08 blog), based on my experiences. I then found this movie to make very pronounced use of the identical section of a Mozart piece that I use for the opening of Steinhoff's Dostoyevsky's "Uncle's Dream" (one of my three more important live action videos). Though I would never say that anyone using this section of this Mozart piece was therefore doing so in relation to me, the Tony Shaloub connection had tipped me off in advance. Shorthand indicators are things an intelligent person appreciates. I then found this movie to share something further with this video work of mine, the recurring question of whether one is witnessing a reality or a dream. Again, I would not say that every time such a component contains significance in a work it is therefore being done in relation to my work. However, with the cumulative and shorthand aspects, I must conclude the Mozart was there for me. I should add that it often happens that John Cusack movies also include things for me. On this subject, Cusack's first big movie, "Better Off Dead," was written and directed by Steve Holland, who I knew at CalArts and who was the roommate of someone who was at that time a friend of mine.
- Jason Lee's first big movie, "Mallrats" (1995), which was made by Kevin Smith (aka Silent Bob) and produced by Sean Daniel, who was the first person from whom I learned of the college I attended, CalArts, was named after my video, "Mall Man" (1993). I have been pointing out well before "Mallrats" that every time Sean Daniel produces a movie one can find things derived from my work.
- Ever since "Mallrats", Jason Lee, like Sean Daniel, always appears in projects that contain things derived from my work, or related to me in other ways. This includes "Underdog" (for which Jason Lee is the voice of Underdog) and "Alvin and the Chipmunks" (which stars Jason Lee as Dave), among other Jason Lee roles. The NBC TV sitcom in which Jason stars, "My Name Is Earl", began with my idea.
- Will Ferrell is among a number of celebrities whose work invariably contains references to my work (though there have been a few Will Ferrell projects that do not).
As I said, these are mere bits and pieces, and require familiarity with other bits and pieces before they (cumulatively) contain recognizable significance in relation to me.
Another movie that includes a reference to my work, one I just had the opportunity to see yesterday for the first time when it made its premium TV channel (Showtime) premier, is "1408", which stars John Cusack and Tony Shaloub. Owing to Tony Shaloub being involved, I was immediately aware that I should be on the lookout (see the second-to-last paragraph of my 12.25.08 blog), based on my experiences. I then found this movie to make very pronounced use of the identical section of a Mozart piece that I use for the opening of Steinhoff's Dostoyevsky's "Uncle's Dream" (one of my three more important live action videos). Though I would never say that anyone using this section of this Mozart piece was therefore doing so in relation to me, the Tony Shaloub connection had tipped me off in advance. Shorthand indicators are things an intelligent person appreciates. I then found this movie to share something further with this video work of mine, the recurring question of whether one is witnessing a reality or a dream. Again, I would not say that every time such a component contains significance in a work it is therefore being done in relation to my work. However, with the cumulative and shorthand aspects, I must conclude the Mozart was there for me. I should add that it often happens that John Cusack movies also include things for me. On this subject, Cusack's first big movie, "Better Off Dead," was written and directed by Steve Holland, who I knew at CalArts and who was the roommate of someone who was at that time a friend of mine.
Thursday, January 1, 2009
How McCartney Can Solve The Whole iTunes Puzzle
We all know the story of King Solomon and how two women each claimed a baby to be theirs. How King Solomon, to determine the identity of the true mother, said he would therefore cut the baby in two and give each woman half. How this was intended to provoke the true mother to change her story and deny that the baby was hers. How this would reveal the true mother, who would be willing to give her baby to the other woman, if this was the only way to keep her baby from being cut in half.
This does not perfectly correlate to my solution to a problem currently faced by Paul McCartney regarding Beatles songs and iTunes, nevertheless, follow me, or Paul McCartney, follow me.
If Beatles songs become available on iTunes in the normal manner, what will happen to the artistic wholeness of Beatles albums? The songs on Beatle albums are not just packaged together as so much Beatles product; and Beatles albums are not merely artifacts of ways in which the songs were once packaged. They are artistic creations.
To strengthen the glue that holds these songs together as parts of specific Beatles albums, after the songs have been released into an iTunes song - at - a - time world, it may require more than a money incentive approach, a cheaper - by - the - dozen/ cheaper - if - you - get- all - of - the - songs - on - a - particular - Beatles - album approach.
I have an unusual plan for eliciting appropriate respect among the masses for the artistic wholeness that the Beatles albums possess. I do not know if Paul McCartney or iTunes are ready for my idea - in fact, I'm sure there are those for whom even the King Solomon story is considered profane (try pitching a movie where a major moment involves the idea of sawing a baby in half).
Sell Beatle songs on iTunes by the half-song. Each half-song would cost half as much as the whole song. From this there would emerge an ethic, a mentality of "You only bought half of that Beatles song???!!! What a ___ you are!" Song samples are one thing, where you know you aren't legitimately experiencing the entire work, but the idea of Beatles half-songs will touch so deep a nerve, provoke so extreme a reaction from those who respect the artistic wholeness of the entire Beatles song, that this disposition would emerge as a basic ethic. People would inwardly rejoice when they learn that, despite the option of purchasing half-songs, invariably the same number of both halves (i.e., whole songs) would be purchased (this is my prediction, as is the idea that this statistic would receive much attention).
I believe this new, basic ethic would have a ripple effect, reinforcing the glue holding together the sense that these songs are parts of whole Beatles albums. It could even become the foundation of a more widespread respect for artistic autonomy.
This does not perfectly correlate to my solution to a problem currently faced by Paul McCartney regarding Beatles songs and iTunes, nevertheless, follow me, or Paul McCartney, follow me.
If Beatles songs become available on iTunes in the normal manner, what will happen to the artistic wholeness of Beatles albums? The songs on Beatle albums are not just packaged together as so much Beatles product; and Beatles albums are not merely artifacts of ways in which the songs were once packaged. They are artistic creations.
To strengthen the glue that holds these songs together as parts of specific Beatles albums, after the songs have been released into an iTunes song - at - a - time world, it may require more than a money incentive approach, a cheaper - by - the - dozen/ cheaper - if - you - get- all - of - the - songs - on - a - particular - Beatles - album approach.
I have an unusual plan for eliciting appropriate respect among the masses for the artistic wholeness that the Beatles albums possess. I do not know if Paul McCartney or iTunes are ready for my idea - in fact, I'm sure there are those for whom even the King Solomon story is considered profane (try pitching a movie where a major moment involves the idea of sawing a baby in half).
Sell Beatle songs on iTunes by the half-song. Each half-song would cost half as much as the whole song. From this there would emerge an ethic, a mentality of "You only bought half of that Beatles song???!!! What a ___ you are!" Song samples are one thing, where you know you aren't legitimately experiencing the entire work, but the idea of Beatles half-songs will touch so deep a nerve, provoke so extreme a reaction from those who respect the artistic wholeness of the entire Beatles song, that this disposition would emerge as a basic ethic. People would inwardly rejoice when they learn that, despite the option of purchasing half-songs, invariably the same number of both halves (i.e., whole songs) would be purchased (this is my prediction, as is the idea that this statistic would receive much attention).
I believe this new, basic ethic would have a ripple effect, reinforcing the glue holding together the sense that these songs are parts of whole Beatles albums. It could even become the foundation of a more widespread respect for artistic autonomy.
Thursday, December 25, 2008
I Was Somewhere Or Another And All I Got Was This Lousy T-Shirt
In a matter regarding one of the top five celebrities in the world, who is also among those many celebrities who have made frequent and prominent use of my material over the years (while forgetting to credit me), we were all recently provided with a very rare television appearance by one of his very close relatives. During the course of this TV appearance, a specific reference was made by this close relative of his to a particular physical location of a particular business establishment during the late 1970s, which also happens to be the identical spot where a woman I once knew was employed during the late 1970s. This same person who I once knew also knew the referred to top five celebrity, prior to being employed on this spot in the late 1970s. “Saturday Night Live”, in their first post-election show this year, chose to make several inside references to things regarding myself in relation to this same woman I once knew. It was far from the first time inside references were made to myself in relation to this woman, one can even find such inside references in the work of the referenced top five celebrity.
This is all I wish to say on this subject, and have only said this much out of respect for the top five celebrity and his very close relative. Based on my extensive experience with such things, this appears to have been this individual’s first attempt at making such an inside reference, and so I acknowledge it. I recognize that the inside reference is buried in deniability, being obscure even for those advanced in reading such indications as I’ve described, but one tends to encounter this precise level of ambiguity in those burying inside references into things for their first time. I now consider the matter close.
In a separate matter, I previously have referred to the show "Monk" making inside references to my material in just about every episode made, and have posted videoclips illustrating many of these on YouTube (where I am Zoomsteinhoff). I have also previously mentioned that in my job I was responsible this month for handling the organizing of a rebroadcast throughout Kaiser Permanente in Southern California that included a special performance by Tony Shaloub, the star of "Monk". Prior to the Tony Shaloub performance I emailed those assigned to assist me at other Kaiser Permanente Southern California locations that we were like an orchestra being led by a train conductor, and that we were a train that would stay on schedule (now and then I provide people with amusement, which is something I've been doing on a volunteer basis since I was little, and so this was meant for amusement purposes). When Tony Shaloub and several others assisting him took their positions onstage, one's initial reaction was that they were musicians performing in an orchestra, as they had things in front of them that looked like music stands for holding written music. Actually these things were there for them to place their pages on for reading, but I stand by my initial reaction as the universal one. Out of all of the presentations that were part of this broadcast, only one presentation was off-schedule: Tony Shaloub's, which ran 30 minutes long.
Though my orchestra schedule remarks may not have had anything to do with what followed, I would nevertheless be remiss not to acknowledge this as a possibility, when one sees my "Monk" videoclips on YouTube alongside my role in this Tony Shaloub performance.
This is all I wish to say on this subject, and have only said this much out of respect for the top five celebrity and his very close relative. Based on my extensive experience with such things, this appears to have been this individual’s first attempt at making such an inside reference, and so I acknowledge it. I recognize that the inside reference is buried in deniability, being obscure even for those advanced in reading such indications as I’ve described, but one tends to encounter this precise level of ambiguity in those burying inside references into things for their first time. I now consider the matter close.
In a separate matter, I previously have referred to the show "Monk" making inside references to my material in just about every episode made, and have posted videoclips illustrating many of these on YouTube (where I am Zoomsteinhoff). I have also previously mentioned that in my job I was responsible this month for handling the organizing of a rebroadcast throughout Kaiser Permanente in Southern California that included a special performance by Tony Shaloub, the star of "Monk". Prior to the Tony Shaloub performance I emailed those assigned to assist me at other Kaiser Permanente Southern California locations that we were like an orchestra being led by a train conductor, and that we were a train that would stay on schedule (now and then I provide people with amusement, which is something I've been doing on a volunteer basis since I was little, and so this was meant for amusement purposes). When Tony Shaloub and several others assisting him took their positions onstage, one's initial reaction was that they were musicians performing in an orchestra, as they had things in front of them that looked like music stands for holding written music. Actually these things were there for them to place their pages on for reading, but I stand by my initial reaction as the universal one. Out of all of the presentations that were part of this broadcast, only one presentation was off-schedule: Tony Shaloub's, which ran 30 minutes long.
Though my orchestra schedule remarks may not have had anything to do with what followed, I would nevertheless be remiss not to acknowledge this as a possibility, when one sees my "Monk" videoclips on YouTube alongside my role in this Tony Shaloub performance.
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