Category Archives: SID’s 1st Oz
“Return to Oz” movie script.
Return to Oz *movie* video:
Near New Deal (same as Square Deal?), Wilson…
Explore idea of Doc Worley as Norris figure. Parallels George Norris, father of TVA, a part of the New *Deal* which provided electricity. Worley switches on lamp as he states it is a *new* century, a century of *electricity.*
Proximity of Gump, PA (only US Gump) to Waynesburg and Rogersville could imply *MASH*up (Wayne Rogers a star of MASH series), perhaps the SID’s 1st Oz mashup synchronicity. This is logical given other synchy thing about Greene County here, including personal family member’s names listed (father, sister, brother at least).
Oz’s Gump is itself a mashup:
Prior to the events of the [Return to Oz] film, he was just an ordinary Gump walking through the woods until he heard a loud noise (presumably from a gunshot) and died. His head was mounted in the tower attic in the Emerald City’s palace. Sometime later, when the magical Land of Oz was taken over by the Nome King and Mombi, who turned it to ruin. Eventually Dorothy Gale (accompanied by her chicken Billina) returned to Oz and met Tik-Tok the mechanical copper man. When Dorothy was taken captive by Mombi and locked in her tower, under her imprisonment she met Jack Pumpkinhead who helped the little party make an attempt to escape. Together they devised a plan to escape the Emerald City; this involved using Mombi’s Powder of Life to bring to life the old Gump head in the tower and attaching it to a sofa with palm leafs for wings to fly them out. Mombi became aware of their plot and tried to stop them, but despite some complications they finished and brought to life the flying Gump sofa and all escaped out the tower window. They flew across the night sky and the Gump began to tell the story of what happened to him and how surprised he was to find himself in such an odd situation, although he was still willing to aid the group in their escape. Later he remained a mounted head and was placed in Princess Ozma’s mirrored palace. (Return to Oz)
The Gump itself is green(e).
Gump probably also represents Forrest Gump, part of the huge 1Pink mashup also profusely coded into Pennsylvania locations, including a prominent one in Greene County, once more (again involving a family member’s name — more doubling or multiplying of roles).
Return to Oz and mind control:
Sign for Neptune. Mirrors the Trident streams in extreme western Frank Park, and also Herman and Frank Parks taken together. But Neptune is unseen by the remainder…
… until Gene Fade reaches fabled Red Head and builds a dwelling place on the “northern” shore and calls it Neptune (or North Star). All that was unseen becomes seen with (one of his biographies), entitled “By Neptune’s Beard!”. Neptune becomes the outermost planet of our Solar System starting in 1846. It is the only one that cannot be C-een by the naked eye. It becomes a symbol of the darke night sky, then. Carrcassonnee.
Beyond the planets and into the darke night: stars. All revolves around North.
North Star was platted in 1852 along the road between Greenville and Celina, approximately midway between the two cities. Its name was derived from its location on the edge of the Great Black Swamp, as it was the northernmost point in Darke County that was not wetland.
The Great Black Swamp is The Abyss, the static nothingness of the Universe all around us and through us and into us. Only TILE saves. TILE is the effect of the C-een planets on the nothingness. Tennessee.
But then, beyond TILE is Still(water) and beams of light.
And I borrowed the page
From a leopard’s cage
And I prowled in the evening sun’s glaze
Her head lifted high to the light in the sky
The opening dawn on her face…
Charles Ives” “The Cage” with lyrics.
Annie Oakley is from North Star.
Annie Oakley (August 13, 1860 – November 3, 1926), born Phoebe Ann Mosey, was an American sharpshooter and exhibition shooter. Oakley’s “amazing talent” led to a starring role in Buffalo Bill’s Wild West show. Her timely rise to fame allowed her to become one of the first American women to be a “superstar“.
“By Neptune’s Beard!”
Great Black Swamp:
In the 1850s the states began an organized attempt to drain the swamp for agricultural use and ease of travel. Various projects were undertaken over a 40-year period. Local resident James B. Hill, living in Bowling Green, Ohio, in the mid-19th century, made the quick drainage of the Black Swamp possible with his invention of the Buckeye Traction Ditcher. Hill’s ditching machine laid drainage tiles at a record pace. The area was largely settled over the next three decades. The development of railroads and a local drainage tile industry are thought to have contributed greatly to drainage and settlement (Kaatz, 1955).
bb: Hucka? LINK.
Neo-classic Pythagoreans tire of keeping track of all the branchings of TILE. “See?” they point out. “This is what you get with extensions. You get refractions. Just like in the picture from that album. What is it: Passion Play?” “No,” I reply, and exhale deeply. But they’re right about the branchings. TILE and Tyle. Special and Mundane. Board oriented verses Waterfall oriented. There are as many parts of TILE as there are colors of the rainbow. And that’s the point, I believe. A spread out point, true, but a point if you look at it from a long enough distance still. We must step back, way back. Further back than that, even. Further. There. We’re at the point of analysis. Let’s begin again.
TILE is born in Dark Side of the Rainbow. This is the belief of a fundamental Rainbowologist. I might believe this too. This is my confession. I am a Rainbowologist and I believe TILE truly begins in Dark Side (of the Rainbow). That’s it drawing way back and taking a look-see. There, that wasn’t so hard.
HOW IT’S DONE
We are now able to look at more meaningful details. Where exactly does it start, this TILE and Dark Side fusion? One can say it begins when Dorothy falls into the pigpen at her farm exactly 4 minutes into both the synch and the album.
Why there? That’s when we separate from all those crocogator Neo-Pythagoreans and their haughty ways. That’s where we exit the corrupt Realm of Numbers and enter the purer Realm of Letters. We learn that Kansas is pure and uncorrupted at 5 and 8, or “I” and “E”. We learn that Oz is singly corrupted, missing only one letter from its own “T” and “L”. We’ve learned so much from a merger of TILE and Dark Side. And we must follow this single corruption further. Where does the missing letter of TILE go? What is the missing letter?
This one is
easy easier to understand. According to Baum biographers, the creator of Oz got the name from a filing cabinet drawer labelled O-Z. This would be the same as the final 12 letters of the Roman Modern alphabet, out of 26 total of course. Split down the middle, this alphabet would contain 13 letters on each side, or A-M and then N-Z. But here we have O-Z for the second half of TILE within Dark Side. The missing letter is obviously *N*. Oz uncorrupted might then be actually called Noz. We don’t know. And then the second part of our present conundrum: where does the letter go if it exits TILE? Well, it goes into that filthy Realm of Numbers, that’s where. Hidden and further corrupted.
We even know what this missing piece truly stands for within the Baum mythology. It is the same as Ozma, true ruler of Oz as we find out in books beyond Baum’s original one, The Wonderful Wizard of Oz (basis for the first movie). Here’s the story from the mythology:
While still an infant, Ozma, the baby daughter of the former King Pastoria of Oz, was given to the witch Mombi of the North by the Wizard of Oz. Mombi transformed Ozma into a boy and called him “Tip” (short for Tippetarius) in order to prevent the rightful ruler of Oz from ascending to the throne. Thus, Ozma spent her entire childhood with Mombi in the form of the boy Tip, and had no memory of ever having been a girl. During this time, Tip had managed to create Jack Pumpkinhead who was brought to life by Mombi’s Powder of Life. In The Marvelous Land of Oz, Glinda the Good Sorceress discovered what had happened and forced Mombi to turn Tip back into Ozma; ever since then, the Princess has possessed the Throne of Oz (although many realms within Oz remained unaware of her authority).
In SID’s 1st Oz and the parallel Return to Oz movie, Ozma is returned to her rightful place as Ruler of Oz. She is De Queen. TILE is thus fulfilled, like Oz is fulfilled at this place in time. SID’s 1st Oz becomes a complete TILE. But wait… not quite. Because we have that troublesome kink at approximately the 3/4th point in the synch.
No, not that Kink. Instead it comes at “Dark Globe” by Syd Barrett. He’s tatooed his brain all the way by now. Dorothy is Helen Keller blinded about how to proceed. She must find Scarecrow and the other Oz characters who have been turned into ornaments. But how?? At the end of Dark Globe, all’s she can do is close her eyes and spin around and around and wait to stop.
Tull is the “l”, the “t”, the “e”, and then not the “i” but the *”y”*. It is Tyle, not TILE. But still: close! And as Tull is Tyle not TILE, then we have SID not Syd (Barrett) to balance. This is not Syd’s 1st Oz, but SID’s 1st Oz. The link is Walt SIDney. More soon on that, perhaps.
SID’s 1st Oz regions and their tiles, with Tull tiles highlighted in an appropriate TILE color:
T (Kansas; 7): f g h i j k l
E (Oz; 8): m n o p q r s t
L (Nome King; 6>7): u v w x y z a
I (Return; 5>4): b c d e
I’ve been getting complaints from
readers a reader that I’m just wandering in this series and getting nowhere in particular and becoming more and more diffuse and just not explaining myself well and so on and so forth. What’s rainbowology got to do with this and that and the other thing? they query. Well, I think I’m getting to that. Remember we’re in the “T” of SID’s 1st Oz, which can be seen as a complete TILE. Macro-letters I’m talking about here( once more). This is the beginning macro-letter of SID, composed of seven separate tiles each making a one-to-one match between audio and video pieces. I call this “region” of SID — one of 4 again — the Kansas region, because it all basically takes place in Kansas except for the very end where we have Dorothy arriving in the Deadly Desert surrounding Oz, accompanied by the first part of Jethro Tull’s A Passion Play album from 1973. Yes, the same year as Dark Side of the Moon. Yes, if you listen to the album those are very similar opening heartbeats to Dark Side. No, I don’t think A Passion Play is an homage to a fellow 1973 album. Actually they were on the Billboard charts at the same time (no. 1 and no. 3 here)…
I’m going to open up the phone lines for a bit. Hold on…
Continuous Blog Reader:
So are you saying Dark Side of the Moon and A Passion Play are clones?
In a way. Both begin and end with heartbeats, and both wax and wane in and out of the album ta boot.
I came to your blog promised that it was about a different angle into Second Life and I get all this Rainbowology crap that doesn’t make any sense. Can you explain? Really, I think we, the Reader, need one.
The Frank and Herman, Einstein! Blog is suppose to be about 2 local parks at the root of it, and mainly self spun mythologies surrounding them.
Where are the parks?
Where I live.
I’ve looked that up and I found one in Arkansas. Is that the one? It’s near some mountains.
No. It doesn’t matter where Blue Mountain is. It’s in the mountains. It has a college. It has the *parks*. That’s all you need to know.
What if I want to go to these parks and retrace your steps to better grok what you’re on about here in this here blog?
I can do that privately if you wish. If I know you a bit.
Do you know me well enough?
Let’s shift to caller #2 about 30 minutes later. This person called himself Wheeler. I’ll attempt to edit out the boring parts…
That’s fascinating about SID’s 1st Oz having so strong a center, unlike Dark Side of the Rainbow. So the “T” is the Kansas — region I think you called it…
And that’s the same as the Kansas 1/2 of Dark Side of the Rainbow, or the equivalent. They’re about the same length. All you’re getting at in these Rainbowology posts is that equation. Dorothy starts in Kansas in Dark Side of the Rainbow and then enters Oz in the second half. This is the same as the 2 sides of Dark Side of the Moon. That’s easy. Then in SID’s 1st Oz, the direct followup as it were…
… as it is…
… You have Dorothy in Kansas again to begin and then heading to Oz about 20-25 minutes in, but this is only the *one-fourth* point of SID’s 1st Oz, as opposed to the one-half point.
Yes. You’ve caught on suspiciously well.
Are you actually a Wheeler? An Oz Wheeler?
I suspect you may be Hucka D.
Nah. So to continue… SID of course does have a halfway point, but its the halfway point in the related movie and not the album. The Return to Oz movie. Were you suppose to say that?
And this center, this halfway point, is not a point like in Dark Side of the Rainbow but more spread out. There’s a central story of Return to Oz that matches the central one of A Passion Play here. You must begin at the top with A Passion Play and its direct relation to Dark Side of the Moon. Never forget that.
I’ll never forget that.
A Passion Play has 4 tiles in SID’s 1st Oz, correct? I know it to be so.
We are thus already trapped within TILE, within the macro-letter “T” to be specific. But we have a way out, just like Dorothy has a way out of the jail-like corn crib. She must enter Oz, and we must follow her.
We prepare through the last letter or tile of “T”, which is “l”. The macro-letters feed upon themselves, which is good. Good eat’n. Otherwise, each would represent a private jail — split off universes, not communicating with each other, not interacting.
Tull is the escape. The heartbeats begin again. Music kicks in, culminates, then exits to leave the heartbeats, which die down as the sarcophagus closes. We are dead. We are Dorothy dead in the Deadly Desert. But it only surrounds us (“Death all around”, as Queen will subsequently preach in The Prophet’s Song).
We are alive! All we have to do is follow the stepping stones to Oz, careful not to fall off (or else: death). Thank you Tull!
This segues into the examination of Wilson-Wheeler-Norris, a local embodiment of this universal application. LINK.
Classic and neo-classic Tilists see the tetractys as a womb-state before the birth of TILE proper and individuation of numbers into letters. Neo-classic Pythagoreans see TILE as a sloppy spillover of tetratys perfection (Tetrafection). Some even identify it as a physical spillway: the one at Drink Lake Dam in Herman Park. They might think it appropriate that early Tilist Grassy Knoll, famous for playing Salad Bar Jack in all those action-adventure movies from the 1630’s, claimed to have spilled over this dam to subsequently be eaten by Big Bob at the place where TILE Creek empties its colorful waters into the Old River, ironically one of the newest of its type.
But back to Wheeler-Wilson-Norris…
Above we have pictured a side-by-side Head Nurse Wilson and the future Head Wheeler from Return to Oz and, of course, SID’s 1st Oz. Actually, the man who plays the Head Wheeler is in front of Wilson, which could means we are in the realm of of First Non-President R. “Booger” Hayes once more.
But, then again, the role of Wheeler is still in the future for the gurney driver.
He wears white and the nurse black. White = present moment. Black is in the shadows of the past already.* We then enter the electroshock room. Here we encounter Norris and his mad dream of electrical shocks and surprises as the solution to All.
Dorothy is forced to listen to the first part of Queen’s “Death on 2 Legs”, the 1st track from their fabulous “A Night at the Opera” album most famous for giving the world “Bohemian Rhapsody”. But the 1st track unexpectedly turns off at the end of the piano led introduction as a lightning strike kills the hospital’s electricity. Dorothy’s brain is saved. The Wilson-Wheeler Paradox is complete.
It’s time now for a bit of Tull as we stream toward Oz.
* Note: This probably also represents *Head* Trip, as Head is white and Trip is black within. Head Trip and its 2 equalized components represents just as much of a conundrum and paradox as Wheeler-Wilson in its fullness. They too must be seen as parallel events.
baker b.’s personal synch journey through the golden age of synching, part vi of vi (we’re done!)
I wanted to go ahead and finish the series off this morning if possible. I’m sorry to disappoint some of you but I’ve decided not to post a link to the video files this go around. I can send them to you individually through messaging if you wish. I watched most of SID’s 1st Oz yesterday while the wife was in class, but fell asleep before reaching the end. I was still impressed by the power of the first half, however. It’s just that I had a full stomach and also was drinking some wine. You know how that goes.
A little bit of background. I served as administrator for a co-op forum called The Film/Album Synchronicity Board from about June 2000 until Sep 2002. I remember the last month especially because it was when my father died. An end in more ways than one. Walt SIDney’s Fantasia 2000 and Horton Hears The Who lie on the near side of this end, while The Point of The Wall and SID’s 1st Oz came after it, or Nov. and Dec. 2002 approximately. In looking at SID yesterday and seeing Dorothy re-enter Oz after crossing the Deadly Desert again to the accompaniment of Jethro Tull’s A Passion Play album, I was reminded what this synch might be most about, and that’s the subject of death. Namely Oz = death, The End. Or, more specifically, the afterlife.
I don’t have a SID’s 1st Oz website to fall back on in this case, unfortunately. I’ll have to describe it as briefly as possible. We’re dealing with 26 base tiles here, or almost 3x the amount of what I’d used in any synch up to this point. Four artists are employed: Jethro Tull, Queen, Roger Waters (1st solo album; with Ron Geesin) and Syd Barrett (1st solo album as well, plus 3 of his Pink Floyd tracks). The works of these artists are not isolated in big blocks this time, like Walt SIDney’s F2K, but are woven into each other to create a larger whole. And like with Pink Vertigo, Horton Hears The Who and The Point of The Wall, an overall storyline is highlighted. Aiding this cause are numerous bleedthroughs of dialog from the Return to Oz movie, many more than what appeared in MessiaenSphere. I’d say there might be close to 50 of these without an actual count.
Center is strongly emphasized, carrying forth or transposing the strong center of the Passion Play album (the enigmatic Hare Who Lost His Spectacles tale). That’s different as well. And unlike Horton Hears The Who and The Point of The Wall, I didn’t just pick and choose tracks to match the video. They are inserted into the synch in almost the same chronological order that they are found on the albums. 1 artist is bonded to 1 album in this manner (except for Barrett and the early Pink Floyd stuff). SID’s 1st Oz is also divided into 4 “regions”, each with similar qualities. It’s a difficult synch to describe without illustrations. I’ll direct the more curious here until further notice:
I was also speculating this morning about “what ifs”. What if I decided to keep The Film/Album Sync Board going and attempted to push the envelope and raise audiovisual synching to a higher ground. Perhaps a more polished, more accessible SID’s 1st Oz could have helped some. If we hadn’t been beaten down by copyright issues… But I decided it all had to be let go of. And I believe a part of me died there as well. Slowly but steadily, you recover and move on. That’s another series altogether, probably for a different arena.
So let’s just see what happens next, shall we? 🙂
Thanks a bunch,
Merk Coolie Brighton posted in Film Album Synchronicities.
I’m not sure I want to create the “posts” here but now that I understand you can preview 15 minutes of *any* synchronicity that’s on a DVD through dropbox, I can explain “tiling” in a much more comprehensive and understandable manner. I’ll soon share a link with one of the four sections of SID’s 1st Oz for demonstration, probably part 2 of 4, and perhaps contrast it with the neighboring part 3 of 4. At this point I would call SID a “historic” synch, since it is over 12 years old. It didn’t have quite the impact I imagined when I first found it, and part of this is that I don’t think about half of the tiles in part 1 of 4 were properly aligned — made a bad 1st impression on some — and also because it came after the demise of the Film/Album Synchronicity Board and members of the synching community were starting to really drift away from each other… creatively at the least. Tape trading was becoming increasingly rare. Also I think people were getting a little tired of Floyd based synchronicities in any shape and form, and that would include me (kind of ironically). And on top of this, Return to Oz is not a classic classic movie, although I would consider it the truest follow-up to The Wizard of Oz that we have. Still in looking back and analyzing our golden age of synching, or the period of maybe 1999-2003, I see SID as my most original if misunderstood synchronicity contribution, along with The Rainbow Sphere, which I also want to talk about somewhere soon… probably sooner than SID. Both of these works were mentioned in my 2007 podcast. According to the front to back flow of the Oz/Floyd Paradox document (2003), SID is a kind of logical output of The Rainbow Sphere seed idea — the alpha and omega of the delineated paradox.
I’ll begin with The Rainbow Sphere asap. TRS presents us with the seeming conundrum that The Wizard of Oz *synchs with itself* and does not need “outside” help from Dark Side of the Moon. This also seems to mirror the original album/audio vs. movie/video tension, and the question about which claims the upper hand (silver vs. gold tiling in other places). Dark Side of the Rainbow is an album oriented synch. An e.t., say, armed with just the 1 play version of DSotR, would have to guess about the remainder of The Wizard of Oz movie while having complete knowledge of the album. The Rainbow Sphere is purely a movie synch, since no album of any kind is involved. The same e.t. watching this and deciphering it as 2 signals fused into 1, would be able to understand the movie in a considerably more complete manner than even just with the unmixed, full video, I feel, and also would need no prerequisite knowledge of DSotM.
Does any of this sound interesting to others? 🙂
The Rainbow Sphere concept is about 17-18 years old.
I hate to be an old fogie but I guess I am. I’m old school when it comes to audiovisual synchronicities. I like to watch them on the tellie with the speakers cranked loud. I do not yet have a home stereo system directly linking digital and analog sources together in an easy manner. Plus I’m stuck in some kind of no man’s land between synching and mashing, with no way to easily share my work. I’d like to reintroduce the idea of levels in synching sometime. No level of the 3 (I know) is worse or better than the others. Just level 3 is more complicated than level 2 and level 2 methods produce more complicated work than level 1. It is difficult for me to justify level 3 without examples, however. Each level builds one on top of the other in a logical manner. I’m about on the verge of sharing a synching work that at least starts to move from level 2 to level 3 for me called Billfork. This was over 10 years ago. I have not taped that one all the way through, but have the bits and pieces fixed, to collage together. The next large one I created, also almost 10 years old, is Head Trip, and this is moving much more into level 3 territory. That had limited exposure to what remained of the synching community at the time, but already we were far into the process of splitting apart after the Shared Fantasia peak. SF, by the way, is level 2 in my definition, but not a peak level 2. Stegokitty’s Darkest City is another example. My SID’s 1st Oz also represented a level 2 sync, and the most dead center example I know of. I would call Billfork, perhaps, an “aged” level 2 sync or synch.
My next large one after Head Trip — again we’re talking 9 1/2 years ago still — was a full level 3 project, a task I wasn’t really ready for at the time in retrospect. Whatever true creative connections with the community I had, they were broken by then. I was on my own. The thing is that after this huge work I went back to level 2 for the next project (spring 2006). But I never really went back to level 1. I would consider all levels audiovisual synchronicity, as each is built on a single cued region or collection of such. If you would like to know more about this I’ll be glad to share what I can. I might also be able to produce some more Head Trip DVDs soon… perhaps.
There was what we determined as a golden age of synching from about 1999-2003, when people as a group were moving beyond Dark Side of the Rainbow and Pink Floyd and exploring new synching ideas and crystallizing many new synchs. It was an exciting, blooming period. If you listen to Mike Johnston’s original set of synching podcasts created in 2007-2008 I believe, you can get a sense of Shared Fantasia’s central role in all this.
As I’ll always see Dark Side of the Rainbow and attached phenomena as the seed or even core of film/album synching I’ll always be a part of any synching community as it exists through time, larger or smaller. DSotR, traditional style, is level 1. It is the ur synchronicity. A very different type of synchronicity analysis can be created from matches within, and I don’t think that analysis is done by a long shot. A study called, let’s say, *rainbowology* could be created even now.
All levels I speak of are technically a mashup, even DSotR. But it’s especially in levels 2 and 3 where a distinction should be set up. I don’t consider myself a filmmaker, yet, ironically, it can be said I have made many films by now, a good number being feature length and sometime beyond. Synchronicity penetrates the levels top to bottom.
If anyone is interesting in all this I can write more about the subject. Thanks for your continued support of the film/album synching community. 🙂
I appreciate your continued ventures outside of the realm of the easily replicatable. It’s the same reason I love Zaireeka, which is predicated on the in-the-moment experience and the openness to randomness.
Thanks for the like and comment MA. I printed out my post here to read on a break. My thoughts are that level 2 and 3, without going into detail yet about them, are actually more replicatable in ways than level 1, which usually involves longer, sometimes much longer single cued regions, or what you probably remember I personally like to call “tiles”. On the other end, when you start breaking apart video and audio sources to smaller and smaller discreet parts, you also move more into mashup territory (art for art’s sake, in a way), although not necessarily. I’ve telescoped down to breaking apart or faceting, I suppose you could call it, a single song into 4 different cues for audio overlap, but that’s about it. Billfork contains an early example for this (perhaps the earliest in my stuff), and I may be able to youtube that particular section. It’s a funny one, because it involves a surreal tv show based on gluing impossible things together on the audio side, which should be “glued together” as one audio tile in the synchronicity. On the video side, we also have a kind of single narrative, but still nonlinear according to movie order. In other words, the video is broken down into 4 related but still chronologically separated parts according to movie order, and arranged to match a continuous audio track. Since the audio resonantly references gluing (or collaging, as it were) the combination of the 2 can be called archetypal in a manner, like it was meant to happen or appearing as such.
Randomness is another exploration of synchronicity that has much promise, however. And there’s the whole debate or potential debate over whether you can actually, successfully “fix” an audio and video source together in a single tile. Is the whole process random, one could ask, for example. I personally don’t think it is, but that doesn’t mean there can’t be multiple ways to create a single tile, or variations thereof. This can be traced back, in ways, to the different lion roar starts of Dark Side of the Rainbow. Ok, I really need to end my break. 🙂