Unfortunately it looks like the chapter is not complete yet.
I recently viewed Barry Lyndon, and noticed that Lyndon’s natural child Bryan, who could double as the Danny of that film (the direct predecessor of The Shining in Kubrick’s filmography), drops a blackboard off his desk just before being abused by his older step brother Lord Bullingdon. A blackboard very similar in size to the one the tiger peers from behind in the psychiatrist scene.
Perhaps ironically, Bullingdon also looks like Danny in his younger years. Lord Bullingdon is in turn abused by Barry Lyndon, after he catches him red handed in the act of beating Bryan. In Ager’s 16th chapter of his Shining analysis, he mentions that Leon Vitali, who played the adult Bullingdon in Barry Lyndon, became a career-long collaborator with Stanley, and worked closely with Danny Lloyd on the set of The Shining. Ager appears to push for an intimate connection between, in effect, successive, abusive fathers Barry Lyndon and Jack Torrance, and also a ritual cycle of abuse.
I didn’t realize the resemblance between Danny and the Room 237 hag Jack sees in the mirror. Notice the very similar hair and, perhaps, even body build here. When we subsequently see the hag’s front, we realize she (he?) has no genitalia. This is neither man nor woman but alien, perhaps a dream being. Or *a child*.
Through these visual aids, Ager presents a strong case that Danny was both choked and sexually abused by Jack in the bedroom scene, complete with its own mirror.
But wait, Jack was downstairs typing when the choking took place, wasn’t he? Heck, we’re back in the maze again.
So here’s C-10 in tile order, Hucka. Are you up for this. I’m kinda cold myself.
Hucka D.:
Think warmth. I’ll help.
—–
“The Shining: Forwards and Backwards” experiment by John Fell Ryan has rainbow man Hallorann in the exact center. His powers extend fowards (blue) and backwards (red) in time. According to Icke forum poster Mata, Hallorann is seen being murdered in the 1921 black and white photo at the end of the film. It’s like Meredith Hunter at Altamont.
“That’s where he becomes totally dark, totally black (man). Just like at the beginning. Story Room knows.”
bb:
Oh, so you’re ready to speak of Story Room, then.
Hucka D.:
I’m not in this post.
—–
We open with Tom’s Petty High playing their hit single “Runaway Beach”. No it’s Tom Petty’s “Running Down a Dream.” The cue is very very simple. Let the first guitar lick of the song fall right on the first frame of the film, where we see Wild Goose Island mirrored in St. Mary Lake. And I’ve already mentioned the cue for Petty’s second and last contribution to C-10: it’s the silvery glint from the mouth of none other than our rainbow man Halloran again, just beyond the center of the film and where he’s still laying in the same bed and starting to psychically communicate with Danny up in Colorado, apparently. This is “Don’t Come Around Here No More”, a *tile* which Hucka D. says he likes better than Petty’s own video for the song. So that’s the two Tom Petty songs. And with this inclusion Petty and his band also earn the distinction of a variant name: Tom’s Petty High. “Running Down a Dream” could be seen as a drug song — references to “flying”, for example. “DCAHNM” is also about drugs, most likely, a stronger message. In the tile this overlaps the Room 237 sequence of the film, if not its chronological center then certainly its psychological one. And it’s also not the center of C-10, Hucka D. Oh, I forgot[ he’s not here]. So Jack County, Texas highlights Jack’s VW, and the association with Petty’s “RDaD” through the Runaway reference. We’ve covered that. Petty-High somewhat east in the same state references the drug aspect. Remember White Rock-Petty/Petteway? Of course you do. Along with the only other US Petty, also in Texas and in vacuous Lynn County, near New Home, near Dune, near the county’s oldest community of Grassland founded by Enos and Thomas Seeds.
Jack drives a yellow VW Beetle up the Going-to-the-Sun Road started in 1921 to the Overlook Hotel. There both he and his son play with a yellow ball, which mysteriously seems to roll from the direction of Room 237 down the hall while Danny is playing with his trucks and cars on the hotel’s 2nd floor carpet. This mirrors Jack’s approach to the hotel and its parking lot of same in the opening sequence (accompanied by Petty’s song now). Danny thinks his mother might have playfully rolled the ball, but she seems to be in the boiler room downstairs. Jack is at his typewriter dreaming. Danny enters Room 237. He wears an Apollo sweater, which many have connected to the Apollo space program, and perhaps even faked lunar landing footage. Some just assoc. this with Apollo as a sun god, resonant with the yellow “solar” orb rolled in his direction. Sun=son. Yellow ball “caught” by a carpet [hexagon] design with south opening is also part of the Colorado flag design. This flag, almost always paired with Old Glory, is seen many times in various places around the hotel during the film. Early, Jack plays with this same yellow ball, taking his frustration out over not being able to write by hurling it against the Indian murals present in the Colorado Lounge. Some have connected Room 237 with the approx. 237000000 miles between the Earth and the Moon, and Danny rising from the floor as the launching of the Apollo mission rocket. Room 237 he then enters holds the key to the mysteries of the fake moon shootings. Mata has connected this with possible intrusions of reptilian aliens commonly known as Greys, who told the Apollo landing crew to don’t come around here no more unless receiving clearance.
And what of Hucka D.’s Lemon World from the BB Blog? Too bad he’s not here to speak further on that and other subjects.
“Hucka D., any more on Story Room tonight? The blog keeps chugg’n chugg’n along. Need to write a 2013 year summary.”
Hucka D.:
Why don’t you do it now. We’ll have a chat about 2013.
—–
It was an amazing year. A 2 week trip to England in the summer, contact with woodsy style aliens at the first of the year. New collage series, first in 5 years (42 collages I believe!). Huge year for carrcasses, one of the best ever, best since 2007. C-8, 9 , 10 all created. Great hikes during the year, ending with the unique Sharieland information of October. Alone at my work space for most of the year, with a new co-worker quickly relocating out of my building. Dependent on student workers alone now. New database. New friction with co-worker. Then at the *very* end of the year, somehow Mythopolis mythology reared its head again after an absence of, oh, 30 years or so? So much stuff going on it’s difficult to pick a starting point. But let’s start with the beginning of the year — simple enough.
Aliens.
Bill Mtn., Frank Park became the scene of what appeared to be an open contact with “something” out in the woods. A new type of toy happening was brewing, and following the Billfork Agreement, I knew I had to use material found in these woods for the more permanent parts of it. I was rushing headlong toward an exploitation of Rust Spot and its cache of (mainly rusty) objects. But bizarre things happened, then. Prime objects were inexplicably rearranged. *Someone* seems to know what I’d be taken pictures of. *Someone* was in the woods making noises *specifically designed* to draw my attention to it. The someone who rearranged the objects and the someone in the woods — thickly bushed woods I might add here, and nowhere a proper human being would be wandering around in (save me!) — making noises to attract my attention were *the same*. So right at the first of the year we have a confounding mystery, the contact at Bill Mtn. By the way, the Bill part of Bill Mtn. doesn’t really have any connection to Billfork except in name. What *was* I being warned off about? It was almost as if the contactees were telling me that this was their stuff (thinking along the lines of Cat from Red Dwarf and his stash of shiny objects that he didn’t like people messing with), even perhaps they had their *own* Billforks and such toy happenings to make, with the objects in question already earmarked for such plans. I think this is a correct theory at its base. This contact was caused by similarity — I was coming into alignment with someone who was doing the same thing on the “other side”. Ah heck, I still haven’t quite got it.
England, Part 1: Collages
So anyway, right after the Bill Mtn. contact I decided to join Edna and Cammie in their summer trip to England. I was going to fly! I was going overseas! I had *never* flown in a plane. I’d never made it further west than Memphis, further south than Jacksonville, further north than NYC. I was not an experienced traveler. I had a *condition* (sound sensitivity). Yet here I was, staying *alone* my first week in England while the wife and best friend traipse around glorious London. The plan was for them to join me during the second week in Wiltshire, where I was based the whole trip. I’ll get to details of the trip in a moment. But almost simultaneous with this decision (mid to late Jan.) I start collages, partially inspired by my use of GoogleEarth to do some preliminary exploring. GoogleEarth Streetview oddities were found around Avebury primarily (reminding me of more recent Shining finds of a similar ilk). Collage quickly followed collage in a working style I was familiar with now through the Art 10×10. But this was my first collage work in 4 years, after creating a new series each year for the 5 years prior to that (2004-2009). And they were different style collages at the same time, rougher in composition but more flowing in story, perhaps. Eventually not 2 but three *sub* series unwound in a 2 month period from Jan. to March. I was quit absorbed with their creation at the time: Gila, Latona, and then Lis, with a topping or culminating 4 part *quad*rtich called Falmouth. In a virtual sense, the 4 parts encircled the viewer, who figuratively stands in the center of Avebury, then. This was new. It was just as akin to the “Baker Bloch in England” art work/story from 2009 as the Art 10×10 collages. Second Life had a strong influence on it; the Power Tower Gowlery developed directly alongside the series.
Second Life.
In Dec., 2012 I had what was probably my last lengthy stay on the Jeogeot continent of mainland, where I create *New* Pietmond from the ashes of the old ones (2 in number). The move of New Pietmond in name and context to the unique Sikkima sinkhole at that time signaled my return to the Heterocera continent, perhaps for good — what I mean by that is that I might be virtually based on this continent for the rest of my Second Life enmeshment. The Sikkima stay only lasted about a month and a half itself, although I would have retained that land if possible. A failed start for VWX Town on the *northern* border of the Rubi Woods for several days in May was followed by (after my return to *rainy rainy* Blue Mtn. from England the first of July) another, much longer attempt at this new style of town in July-October on the opposite side of Heterocera. Then starting near the first of Nov., I moved VWX Town to its current location in Rubi, on the *south* side of the same forest I formed it next to in May. My tier had jumped up yet another level in the meantime, to 75 dollars a month. I knew I couldn’t continue with this expense — *can’t* continue — but at the same time I realize my Rubi town is the culmination of Second Life experiences so far, a type of summing up, even. Just recently, I’ve determined that the Rubi Woods are themselves *alive* — Edwardston has even seen an impossible human-type eye within the branches of one of its eucalyptus trees recently. Presently I’m trying to determine how to downsize my Rubi existence while retaining the essence (Essence) of VWX Town. Difficult decisions to make just ahead. But for now I have all the land I purchased in Nov. Old avatars have come back to life, climbing out of their unlogged tombs. A new one has been added (Edwardston Resident). Just exciting times in Rubi for me.
Carrcasses.
As mentioned, this has also been a very good year for carrcass creation, perhaps the best since the heyday of this artform in 2006-2007. As with the Gilatona-Lis series (my composite name for the directly related Gila, Latona, and Lis series described above), the 2013 carrcasses were a little different from anything formed before in this vein. 3 primary ones were created, started before my trip to England and finished in Sep. after my return. The smallest of the 3, Carrcass-10 — also the last chronologically — has just recently been declassified by Hucka D. and me, with the work’s guts illuminated on this blog. Now I just have to figure out the story of Story Room (smiles). Partnered Carrcass-8 and 9 formed a twinned relationship, with 9 directly continuing 8. This is very similar to the continuous flow of Carrcass+0 into Carrcass-0 to start the whole audiovisual synching/carrcass process in 2007. But *here* we have the addition of Carrcass-10, which can be inserted either in the *middle* of the 2, or at their end. Add in an overture created in Jan. actually (directly about contact with aliens appropriately!) and the whole rises to Carrcass+2 proportions (2006), and I consider Carrcass+2 to be the best one I’ve been able to tape, and probably one of the best two overall along with the unfilmed Carrcass+1 (2007). So we’re talking about some important work for me here. And The Shining research I’ve been involved in recently directly stems from Carrcass-10, as I’ve been trying to explain on the blog the last several days. Work on The Shining will continue into the new year, apparently.
Did Jack choke Danny in his bedroom just after the filmed scene depicted here?
Notice the red car in the bathroom window (thinking of the yellow duck again), and the similarity with Kearns’ close up of the ChOking poster above, as she points out. I have not much doubt that Danny was choked during the “time” we see the 2 versions of this poster in the film. Danny has entered, or seems to have entered Room 237 just before this. But Jack seems to have an alibi since he’s been typing, or at least dreaming at his typewriter. We are confronted with another aspect of the maze.
“Hucka D., I believe we might have a little time to go into this table tonight. This is not *The* Table, but it’s an excerpt, or the equivalent thereof.”
Hucka D.:
Yes. (pause)
bb:
And I believe you might be thinking that we had to declassify this section because of the Texas material.
Hucka D.:
Yes. (pause) Texas.
bb:
So Hucka, I’m so so interested in learning about Story Room (!)
Hucka D.:
Well, I can’t say I want you to wait. It’s a band within a band that’s also the band that has a band within.
bb:
And “What’s Up Doc?” is their 4th, 7th, 10th album? (smiles)
Hucka D.:
10th. Just like the carrcass.
bb:
Excellent. So… this album is manufactured on purpose to synchronize with the various illuminated parts of The Shining.
Hucka D.:
Yes.
bb:
Are you, say, their *manager*?
Hucka D.:
Yes.
bb:
Do you want to say more about that table above tonight?
Hucka D.:
Do you?
bb:
I suppose I could. The table is The Shining front to back, dividing the movie into, let’s see, 34 sections. Each successive section takes up right where the previous one ends, with one exception.
Hucka D.:
Ex-section.
bb:
And I think I will find where this particular cue is… probably talk about it more later. Dick Hallorann begins to shine in his room in Florida, when he seems to get in contact with Danny in Colorado. The shining moment kind of *begins* when a shiny glint in his mouth occurs, Hucka D. I’m going to get a screen capture.
Hucka D.:
Take your time. I’ll be here.
bb:
And this is the cue in the movie to start a 2nd Petty song in the carrcass, “Don’t Come Around Here No More”.
Hucka D.:
Might as well include the lyrics at the end of this post, yes.
bb:
But this particular section… 22 in the Movie Order column of the table above… reverses time a bit and overlaps with section 21 before it. We have (checks) about 43 seconds reversed. And both of these sections are also *tiles* and so part of Carrcass-10. The movie is divided into 34 sections here to highlight what is tiled and what is not tiled within. The tiled parts are collaged together into Carrcass-10.
Hucka D.:
Yes.
bb:
… in the order according to the Tile column.
Hucka D.:
(pause) Yes.
bb:
You see that the tiles come in order according to the movie sequence, basically speaking. But again there are exceptions.
Hucka D.:
The two Room 237 scenes are knitted together through my song “2-3-7”.
bb:
*Your* song?
Hucka D.:
Yes. Then “Black Man” knits the two final tiles together, which are separate in the film. Both near the end, true, but separate. Cube Brick liked this, and saw that I had gone beyond him just as he went beyond King. He had a source to alter and I had a source. He put a stamp of approval on it[ in other words]. I had a derivative and he had one. “Black Man” solves the problem of the gaping mouthed Wendy. It distracts. Cube Brick knew this too. In my version we simply have the kill — *CUT!* (Hucka D. shouts this very loudly here) — and then the end of the film with the black and white photo and Jack back in 1921 again.
bb:
And a point to make here, perhaps, is that *anyone* can try this at home. Start Petty’s “Don’t Come Around Here No More” at the spot already discussed where Hallorann’s tooth glints or mouth glints or whatever. I’m reminded from that table it’s 071:02 into the film. That’s 1 hour 11 minutes and 2 seconds. The glint last several frames. The test is that we should enter room 237 on the beat. Here’s the video Petty and Associates cooked up for the single, Hucka D. Which do you think is better?
Hucka D.:
Which do you think?
bb:
I don’t know.
Hucka D.:
You haven’t read the liner notes to “What’s Up Doc?”, then.
VINEYARD, TEXAS. Vineyard is at the intersection of U.S. Highway 380, State Highway 114, and Farm Road 1156, on Beans Creek, two miles south of Wizard Wells and thirteen miles southeast of Jacksboro in eastern Jack County. The current community of Vineyard is the second of that name to be located in Jack County. The original community of Vineyard, sometimes called Old Vineyard, was founded by George Washington Vineyard in the 1880s. Water found on the property was unfit for drinking, but cured G. W. Vineyard’s chronic leg sores and eye disease. Vineyard received a post office in 1882, and in 1914 the name was changed to Wizard Wells. In 1890 the community had a population of 100, a general store, blacksmith, and a barber. A new community was formed two miles south of Wizard Wells, around the depot of the Chicago, Rock Island and Texas Railway, eventually called the Chicago, Rock Island, and Santa Fe, when it was constructed in 1899 from Bridgeport to Jacksboro. In 1915, when old Vineyard was renamed Wizard Wells, the new community centered around the depot took the name of Vineyard.
One singular thalamus has the ‘v-shape’…2 together make the ‘w-shape’.
The literal peoples car…Volks-Wagen….’STUVWXYZ’ (VW alphabet order and XY 23 chromosomes)
Important here may be the town of Runaway Beach (close to Vineyard + Wizard Wells) on the west side of Jack, and also Chico and Alvord. Okay, maybe not the latter two, but still: Runaway Beach, which I think may refer to the song “Runaway” by Del Shannon, referenced in Tom Petty’s “Running Down a Dream”.
Tom Petty’s “Running Down a Dream” might make a nice alternate soundtrack for Jack’s initial trip to the Overlook Hotel during the movie’s opening scenes, driving his yellow VW through the beautiful Montana mountains toward his caretaker position interview. And in fact, this is what happened.
Songwriters: Lynne, Jeff / Petty, Tom / Campbell, Michael
By Tom Petty, Jeff Lynne and Mike Campbell
It was a beautiful day, the sun beat down
I had the radio on, I was drivin’
Trees flew by, me and Del were singin’ little Runaway
I was flyin’
Chorus
Yeah runnin’ down a dream
That never would come to me
Workin’ on a mystery, goin’ wherever it leads
Runnin’ down a dream
I felt so good like anything was possible
I hit cruise control and rubbed my eyes
The last three days the rain was un-stoppable
It was always cold, no sunshine
(Repeat Chorus)
I rolled on as the sky grew dark
I put the pedal down to make some time
There’s something good waitin’ down this road
I’m pickin’ up whatever’s mine
A yellow rubber duck is seen clearly behind the shower curtain Danny stands in front of at the sink. The curtain is drawn slightly away from the side wall at the bottom to emphasize the object, seemingly. Note also that Dopey the Dwarf is the last sticker character seen on the door as we track into the bathroom during the shot. This will become important in a moment.
We move to Chapter 5 now and Shot 61 again covered in “strange? 01, 02 and 03”, with screen captures of additional oddities or curiosities. The first is a spark illuminating the spot where the duck *was* in Chapter 4, the last time we saw this bathroom. The shower curtain hangs slightly *toward* the side wall at its bottom this time in contrast to before. We might presume the duck is obscured then, if it wasn’t clearly present in the *window* of Danny’s room. Did Danny move the duck? Or is this more magical Shining displacement, with no possible, terrestrial explanation?
Another reason this shower glint might be important is that it occurs in the first few frames of the shot, near its very beginning (12:10).
At 12:25, we have an oval patch appearing just to the left of the bear pillow on the bed. Notice that shapes seem to be formed in the pillow, perhaps most prominently what looks like a 4 toed foot across the top side, to the left of the 2 ears in the below capture. I’m recalling that Halloran would have his feet symmetrically propped up on pillows later on in the movie, when he’s watching TV in Florida and just before a shining moment where he appears to be in psychic contact with Danny.
Two more black dots form at 12:26 and 12:27 between Wendy and the bathroom, at about the same height above the top of the picture with the 3 animals. During this time, the doctor is approaching Danny to begin asking questions about the fainting incident he experienced earlier that day.
Then in what appears to be the last frame of shot 61, we have the *duck* highlighted by a small, dark discoloration. Recall that the place the duck *had* been, in the shower, is spotlighted at the very beginning of the same shot with a white sparkle thingie. Quite a bit of framing symmetry here, then, and another Alpha-Omega relationship. Planned? Dunno.
But there’s more (!) In the very next frame past shot 61, the first of 62, we have a mysterious white streak appearing above Danny’s head and the bear pillow, reminding us of the earlier white streak coming above the doctor’s head in shot 61. The white light only appears in this one frame, and doesn’t reappear in any other shot of Danny on the bear pillow in this movie chapter as far as I can tell.
In shot 63, we’re back looking at the dr. and Wendy. A brown spot occurs above the doctor’s head at 12:49…
… a redder spot near the center of Danny’s window at 12:53…
… and then, in shot 65, *another* vertical white streak above the psychiatrist at 13:07. Quite remarkable. It comes precisely as she’s saying the word “just” of the sentence, “Now Danny, can you remember what you were doing, *just* before you were brushing your teeth?” “Just” is the highest pitched word of her question.
When Wendy closes her eyes at 13:25, we again get the impression that her right eye is somehow larger than the left one, a popeye effect if I may be allowed again.
Wendy sneaks a quick glance at her doppleganger doll Goofy before leaving the room. I would assume Kubrick instructed her to do so. Something odd about her arms movements throughout these shots as well.
As other Shining researchers have pointed out, Dopey is gone from the door now as Wendy shuts it to end Chapter 5 of the movie. Compare with the first photo of this blog post. This disappearing act is mentioned in the “Room 237” documentary as well.
Rereading KDK12’s post about his “The Shining: Forwards and Backwards” synchronicity, perhaps the most important audiovisual synching find since “Dark Side of the Rainbow” and its less known sidekick “2001-Echoes” from the 1990s.
I was going to select a handful of KDK12’s screen captures of the synch for further comments, but, heck, the whole thing looks fantastic. Next step: make my own god damn copy!
To add to this, KDK12 and others have been inspired by the incredible depth of The Shining to make more movie-movie overlaps, mini-synchs in and of themselves all, if shorter and giving more the appearance of “collage studies” than full blown works of art like “The Shining: Forwards and Backwards” (and the earlier “Dark Side of the Rainbow”).
I’ve seen versions of this one on several sites (overlap of end of The Shining with end of 2001: A Space Odyssey):
We turn to blog spirit Hucka Doobie for help in this confounding new development.
Hucka D.:
Happy New Years Day baker b.!
bb:
Thanks! Same to you my old friend.
[they sing Auld Lang Syne for several minutes]
bb:
Phew!
Hucka D.:
Wowwy Zowwy!
bb: (wiping brow):
So we’re ready to get down to business?
Hucka D. (still catching breath):
In a moment.
—–
5 minutes later:
Hucka D.:
Okay I’m ready! (another breath) So… you know about Michael Tree now. Let’s see (checks script in his hand). We’re up to page 78 already. “Enter the Redlands”.
bb:
It’s a stunning return of Mytholopolis to mythological significance.
Hucka D.:
Mythopological.
bb:
So surely Michael Tree is not the same as Michael Too of Frank and Herman Parks?
Hucka D.:
No, not really. A different Michael. A Tree. You have clues in The Shining, no?
bb:
You mean the film mistake on the floor in front of Wendy, right on the red band where Halloran would later be axed.
Hucka D.:
This is the stacked rock village you discovered today… yesterday.
bb:
Not possible.
Hucka D.:
Never say that. Your find was coordinated… I mean, the 2 finds were coordinated across space-time. The finding of the rock village was predicted in The Shining oval flaw.
bb:
Michael Tree then lives in the middle of this squared circle. Because that’s what it is.
Hucka D.:
Yes. The circle (Hucka D. points to interior circle Wendy is exiting) and the square (Hucka D. points to the square, red band it’s centered within) at once.
Squared circle.
bb:
Same position on the square, huh.
—–
bb:
I’m trying to follow this further. So Halloran’s blood mirrors the red paint of the square band. Right when he steps on this band, Jack comes out from behind the column with his axe.
Hucka D.:
Michael Tree has been axed[ as well]. Think about that.
Hucka D.:
Michael Tree is the top [rust red] rock of his temple, a variation of Michael Too’s Norris Temple. That’s him… axed.
bb;
Yet they’re not the same.
Hucka D.:
No.
bb:
Axed means fired?
Hucka D.:
Kind of. Axed through the heart. Heart Line.
—–
Hucka D.:
Let’s go back the the missing scene of The Shining. Killings and disappearances have been going on for 70 years within that Fowl Mouthed Hotel. That’s not elucidated in the movie.
bb:
It’s in the scrapbook.
Hucka D.:
Redlands is an engineered landscape. Carefully planned out in space-time. Michael Tree may be Michael Treed.
Sunklands 