Baker B. Interview 2015

Karl Tune:

We have the honor of probing deeper into the inner mind and exploring the creative outer limits of Baker B., one of the early synchronistic pioneers of matching movies to music. Baker was creator and manager for the old internet watering hole “The Film/Album Synchronicity Board” where we were able to have a meeting of the minds and compare ideas. He has a fascinating perspective of this blend of art and science. To give you an idea of Baker’s historical view point, he was probably one of us alive when there were only 48 or 49 United States of America. A time of self reliance where you had to create what you needed before our cookie cutter mass produced society spoon fed us today.

Hello Baker! I also would like to find out more about you as a person. When I see your name, I always think of you cooking up a new idea. Is Baker your real name or a pen name? And what is Baker’s origin?

Baker B.:

Hi again Karl! Nice to be speaking with you again on the flipside, as it were, and extending our meaningful and also fun exchanges.

The name Baker actually originated in a high school prank where I somehow got away with having two sets of official yearbook photographs taken of me instead of the normal one set. I simply had the normal ones taken, and then got back in line and disguised myself for a second shoot with the same person. I mean, I literally disguised myself while in line, as encouragers to my stunt started handing me glasses, headbands, and other worn articles — anything that I could get away with to help distinguish me from my previous appearance. Looking back, maybe the photographer was on to us but didn’t care enough to report me — unsure. But the point is, the name of this second me, this *alt*, quickly became Baker. My best friend from high school started calling me that, at least at times, but I think he was the only one to regularly do so.

When I started interacting with others from a distance through the Internet, the name Baker was a natural one to assume as an alt to protect my real name, which I didn’t feel comfortable, say, posting with on the “Synchronicity Arkive” forum during those early days. We were still unsure what this beast (Internet) was or where we were heading; best to play it safe in my eyes. And I think it was the right decision. I don’t mind revealing my real name to those I have continued private correspondence with.

Karl Tune:

Wow! I wish I did something as clever as that in High School. What a fun memory! You had created an alternate virtual identity doppleganger early on. That is almost precognitive of the internet!

I was wondering if you are a city mouse or a country mouse? And how do you feel that it enhances your situational awareness or any extra sensory perception? The reason I ask is that an enlightened fellow named Edgar Cayce proposed that people possess the ability for telepathy, clairvoyance, and precognition. In the past, we have much discussed the realm of Carl Jung and how synchronicity defines matching music to movies. Do you have any thoughts on how your environment enhances your ability to find harmonious matches of music to movies? Do you get a sense of deja vu or a cosmic wink? Or is there some other gift to meld multi-media?

Baker B.:

I grew up in a medium sized town, I guess you could put it. Very Mayberry-like; quite peaceful and uneventful in the main. Then I went to college in a similar sized town not far away, but in the mountains and of a quite different climate, terrain, and overall energy which seemed much more charged to me — higher frequency on several levels. I came to study art, but had long thought of myself as more of a musician. Then toward the end of my original college days I believe I started to become — slowly, very slowly but surely — a writer more than anything, and then art latched on to writing and drew from it. I believe the very act of creating (art, music, writing for me) makes one a type of psychic or, perhaps better, medium, and opens one up to the, um, cosmos and all those winks and stuff. So I’m a medium from a medium sized town, as I’m reading back, hehe. I found myself performing tiny acts of clairvoyance, precognition and telepathy, but nothing on the level of Cayce, say. I was psychic in a particular, specialized area — creative channeling — and that was good enough for me. I experimented in some automatic arts, like music improvisation. So at this relatively early age I was pretty opened up and not locked into a belief that the physical world we perceive all around us with our 5 senses is the be all end all.

Looking back, Jungian style synchronicity was probably always a component in this, but it wasn’t until my mid 20’s that it started to become a focus. This is as good a place as any to state that in my original audiovisual synchronicity related podcast/interview conducted by Mike Johnston in 2007 I talked a bit about being a “syncher” quite a spell before “Dark Side of the Rainbow” came on the scene in a major way in 1997. I won’t repeat a lot of that, but I’ll again say this involved maps. So I was involved in synchronicity (art) long before Mike Johnston later borrowed the term and applied it to “2001-Echoes” and “DSotR”. One of my first Internet searches, maybe my first actually, was for the term “synchronicity”, and that’s how I found the “Sync Ark” — really quickly as I recall. And as I was also a big Oz fan and dug progressive rock, I was probably prepared as well as anyone to be sucked into the opened “Dark Side of the Rainbow” vortex for more emotional and intellectual and fun challenges.

So looking back at your last questions, I might say all that are more powerfully drawn to “DSotR” are psychic in some way, and that it attunes them one with the other. And also “2001-Echoes” to a lesser degree. And then they can decide what to do with this energy, a gift. Group energy is very important, and, again, I think a small band of us decided to step beyond the immediate “DSotR” circle in about 1999/2000 and venture further out. During our perceived Golden Age of Synching, I was just a part of that group, that energy. Doors were open in a collective manner for additional synch gathering. The concept of what I call tiling started, or the attempt to cover an entire movie not just with the repeat of an album but with different slices of music, many of a non-Floydian flavor. Movies not named “The Wizard of Oz” I might add.

I’m not sure if that completely answers your questions but I gave it a shot. 🙂

Karl Tune:

You are a clever medium Baker! I have read some of your blogs and notice you spend time in the wilderness. I was just wondering if this removal from technology unfettered some psychic ability.

I was also wondering about the collective conscious energy you mention. Could we all be the Miracle Fiber of synchronicity? Obviously we do have to connect through the internet as some point. The brain storming we do on the internet forums is highly constructive at times. Are there forums you are part of that create a grand conjunction of energy or new ideas? If so, what are some of these novel ideas?

Baker B.:

Karl, to your last point, I don’t really contribute to any forum except those you also frequent on facebook, which are the “Synchronicity Arkive” group and also “The Film Album Synchronicities” group we’ve touched on before. I don’t even have much personal correspondence going on any more about synchronicity. It’s sad: the days of the Yahoo boards and so forth, for me at least, are toast. We banter around some good ideas on facebook still, but… it’s not the same as the early to mid-2000s, or the heydays of group synchronicity discussions. Probably the last one I was a regular member of ended in 2007 or so. 8 years back now. If we’re talking about pure and unadulterated audiovisual synchronicity brainstorming I’d have to go back to the “Twin Duchs/Synching Troop” Yahoo group from 2004-2005. *10* years ago.

Regarding the wilderness: absolutely! I love getting out in the middle of the woods and enjoying nature; always have. Yeah, I think people who are deeply connected to nature tend to borrow some of that mystic energy while out and about and then bring it home with them. It can recharge them. For the “Sunklands” blog I like to take pictures of my explorations and then insert them in blog posts and create accompanying text, often in the middle of the night when my brain works weller. There are some odd things going on out beyond the fringes of civilization at times. It’s definitely a different world of sorts.

Karl, would this be a good place to go deeper into the “Twin Duchs/Synching Troop” discussions? I know we talked about this a bit before the interview: that it’s a platform I want to revisit and expand upon sometime here. If you have other questions on your mind right now we can go in that direction as well. I’m cool with either. We can wait for the “TD/ST” stuff.

Karl Tune:

Hmmm. Never heard of the “Twin Duchs/Synching Troop” Yahoo group until you mentioned them. How did it get it’s name? How did you find out about them? Was it a group you set up or did they seek you out of the cosmos? What aspects were discussed there? Inquiring minds want to know!

Baker B.:

I *love* seeing one of your replies in my email inbox Karl when I get up in the middle of the night. This is so much fun! It’s interesting how we had different focuses for the years 2003-2005 or so. I believe you mentioned you had some computer problems during that time. That may explain why you weren’t around for the “Synching Troop”, which after a couple of months’ existence, changed its name to the “Twin Duchs”, and as I recall this was done to protect ourselves or hide ourselves further from prying eyes. In my 2007 podcast Mike Johnston and I chatted quite a lot about “The Film/Album Synchronicity Board” which I acted as administrator of just before this period. I think we covered that pretty well then, and volume-wise it certainly was a busier forum, as was, of course, the most central-y watering hole of all and what “T F/A SB” came out of (2000) and then merged back into (2002): the long running “Synchronicity Arkive Synchboard”.

“The Synching Troop” — a Yahoo group as I said, in contrast to the VoyForum products we were use to for discussion boards — just represented a final ditch effort, in my eyes, to make a legitimate, collective art out of the still evolving audiovisual synching field. The majority of the old group that emerged in 1999/2000 as independent synchers were around, and I’d number myself among their kind. Also appearing were people that came along just before or shortly after “Shared Fantasia”. You’ve mentioned a couple of them in your interview, including Whytless Physh. The group was formed and led by Virotti, who I know you recall as well. A big promise of the board was sharing digital files of our work. Well, it didn’t quite turn out that way and the wheels came off Spring 2005, about March-April-May as I recall. But let me set the stage again.

Coming into the board, I had already created “SID’s 1st Oz” about a year and a half back, which I called my most important synch find in my 2007 podcast, along with perhaps 2002’s “Walt SIDney’s Fantasia 2000”. Those Fantasias had and probably still have so much synching power! In retrospect I think they also have the power to divide people a bit as well as unite them. Interesting. Like Luke Skywalker and the light and dark forces.

I’ve decided not to go into the reasons why I didn’t do a full disclosure of my synchronicity finds in the 2007 podcast — but I didn’t. I told Mike J. ahead of time that I probably would just stick to material I had unraveled in “The Oz/Floyd Paradox Interview” conducted by fellow syncher Pierre Schaeffer in 2003. So if this is more or less full disclosure time I’ll now tell you and everyone else that Pierre Schaeffer is my own invention, another protective device or protecting “alt” in this case. I was not the best of “masters” (creators), however. I allowed him to take credit for a/v synch finds I was less enthusiastic about and perhaps didn’t want to call my own. These included an early work called “Kansas City Life” from 2001, which has its own interesting story to tell. Well, in my story he got his revenge, har. He *stole* my a/v synch finds after “SID’s 1st Oz”. The first of these was called “Billfork”, which represented a small but meaningful advance over “SID”. Well, it wasn’t so much that he stole from me as that I, Baker B., handed him a metaphorical baton and he ran with it. Far away. We handed off in Spring 2004, at “Billfork”.

I’d like to speak about tiling next but I’ll pause here to catch my breath and see what you think of all this so far. What a mess!

Karl Tune:

Yes, my computer crashed and I was off the grid for almost a year back in that time frame. I do recall that there was the idea to progress the synchronicity art in the digital age with better file sharing. And I remember Virotti. Wasn’t he from South America? Were there any take home messages or ideas which emerged from this “Twin Duchs” meeting of the minds? Something that would last beyond “Twin Duchs” demise? What does that name mean anyway?

So Baker, you consider your most important synch finds as “SID’s 1st Oz” and “Walt SIDney’s Fantasia 2000”. How can you describe them? What music did you use? In what ways do they resonate with the movies? How would they inspire us as the Oz/Floyd Paradox? And what is so paradoxical about them?

I was aware that Pierre Schaffer was a literary agent of yours to explore and bounce ideas around. And that you used him as a character cover for some ideas. Pierre was a virtual identity for you to possibly release you from your inhibitions. Did this work well for you? It almost sounds like a “Twilight Zone” episode!

Very interesting!

Now tell me about Tiling.

Baker B.:

Thanks for being patient with me here Karl.

Regarding “SID’s 1st Oz” and “Walt SIDney’s Fantasia 2000”, I’m going to let The Oz/Floyd Paradox Interview stand as is, and it’s found on the Sunklands site now, along with a type of new, abridged version called Baker B.’s Personal Journey Through the Golden Age of Synching. I’ll just add the links to the titles here. A description of “SID” takes up about the last 1/4th of the “Paradox” document. I also briefly touch upon it in my 2007 interview. I don’t consider them my most important synch finds currently, however. Oh wait… we’ve entered that Baker-Pierre conundrum again. I think it will sort itself out in a fashion soon enough. At any rate, with 2004’s “Billfork” (which I consider slightly more valuable than “SID” and “WSF2K” already), we’re starting to move beyond the Paradox and into something else.

Yes, Virotti was from Brazil I believe. I remember he had a Youtube channel sometime back where he shared his work, but I’m not sure if it is still around. I’ll have to check on that. I’m not sure how he came up with the name “Twin Duchs” to replace the original “Synching Troop” label for this group. Maybe it is an anagram of something?

Sometime prior to the “Synching Troop”, Virotti had come up with a nifty combo of the fabulous “Spirited Away” film with a number of musical sources. I’m pretty sure he understood that this was an example of what I called tiling. Likewise, the highly ambitious “Jesus Who?” by Whytless had arrived that summer I believe, which employed a *number* of movies meshed with music from The Who to reinterpret the life and times of one Jesus Christ. And also my old bud Stegokitty’s pretty complex “Darkest City” had been cobbled together and released in a spiffy package. And like I said, I now had “Billfork”, although it remained untaped in a finished form then — still does actually. I’m sure there were other works of similar complexity around. Oh — of course — Dave Bytor’s “Being Geddy Lee”, which may stand the test of time better than any I’ve mentioned so far. We’ll see.

(end Part 1 of 2)


(beg Part 2 of 2)

One common thing about all these is that they have to be *fixed* on some kind of media or file in order to be viewed. We have moved beyond the try-at-home synch using CDs and DVDs. I had even tried to justify “SID’s 1st Oz” as a repeatable synchronicity in a DJ type environment where you had the ability to play 5 CDs at once against 1 unbroken film (“Return to Oz”). The difference between it and “Billfork” is that now the film was being edited against the music as well, and I think that finally moved me firmly into the fixed synch age.

Toward the beginning of the “ST/TD” forum, Virotti and I attempted to hammer out some basic terminology to use in describing the ins and outs of a/v synching, like you have attempted in your own way as well. I personally thought I was at the end of my own ability to create synchs without the aid of digital manipulation. Probably following the lead of Whytless I speculated anyway on the idea of multiple movies within one synch being the next step. Well to my complete surprise, I was wrong about the possibility of creating a synch more complex than “Billfork” using just analog editing means. This took the form of what I called “Head Trip”, created on the cusp of 2004/2005.

I thought “Head Trip” to be an important work moving forward and I sent out some tapes to people. We were still on the edge of VHS tape days. I was very pleased that about all of them “got it”. At its base, “Head Trip” is a continuous toggling back and forth between 2 movies which are dubbed by 3 audio sources. It involves 47 tiles if you include plain dialog segments, compared to 32 for “Billfork” and 26 for “SID’s 1st Oz”. I mention these numbers for another particular reason.

You have to keep in mind “ST/TD” was a very small forum. Others began mentioning “Head Trip” and I chipped in with my own theories about it. Some tension manifested from the theories. Whytless Physh left the scene, saying he had accomplished all he wanted to do here with “Jesus Who?” Last I heard, I believe he spoke about refocusing his energies on becoming a lawyer. Dave had wrapped up his run of Rush centered synchs. Stegokitty had moved on to different interests. Virotti became frustrated that we were talking about other things besides file sharing. The wheels were falling off, like I said. And not just for this forum, but for the progressing forward of audiovisual synching in a group fashion. And it was during this upheaval that yet another synchronicity started forming for me which I sometimes call “Foreign One” or “4orrin1”. Another step forward into this brave new world of multi-movie synching. In fact, it was a stepping forward into its center as I now perceive it.

I know I haven’t talked about tiling yet, but I don’t want to yammer on too long without your feedback. Some of this is probably new to you.

Karl Tune:

That’s quite alright. This is your interview to talk about what interests you. And yes, much of this information is news to me.

You have started to mention how your “Head Trip”, “Billfork”, and “SID’s 1st Oz” are all tiled. Could you explain for our audience about tiling? Does tiling define these synchs you mention? And is “Foreign One” some kind of balanced, golden ratio, or center tile system? How would you describe “Foreign One”? Is it actually a “4 rolled into one” synch?

Baker B.:

Wow. “Foreign One” is a toughie to explain. So let’s go back to tiling, way back to the beginning and “Dark Side of the Rainbow”, the centerpiece synch still for all the world to view as a firmly planted urban legend. We still build around that. What is it really? Well, if you approach it as a one play version — which we both do as I know now — it is simply the playing of Pink Floyd’s “Dark Side of the Moon” alongside the first 2/5ths or so of the ultra-classic 1939 “The Wizard of Oz” movie, soundtrack muted. They are cued together at Leo the Lion’s 3rd roar: just hit play to begin the album and let the thing unfold without any more manipulation, ending with its concluding heartbeats “filling in”, as it were, the just declared missing heart of the Tinman. I love that.

This “Dark Side of the Rainbow” is an album oriented synch because we hear the entirety of the “Dark Side of the Moon” within, but see only part of the “Oz” film, and even minus the soundtrack. As I explain in some detail in my 2007 podcast interview, from almost the beginning — and extending even to present days — we synchers old and new attempt to fill in the rest of the movie with more music. Traditionally this is done by simply setting the “DSotM” album on repeat and let it play till the movie is complete. But many many other variations have been tried. Our mutual friend Randy Teaford is the modern revivalist maestro of this bygone tradition, taking it to a new level and reshaping “DSotR” in a different, complex way each season. Wonderful!

But at its core, “DSotR” is a one tile dealie. It’s a merged media zone or region of one cue, that one degree of manipulation allowing us to view the whole. This is the magic of synchronicity in pure form. We can never escape from it.

Tiling — trying to speed things up here — originated in that impulse to fill the remainder of movies with audio in *any* synch. I call “DSotR” a silver tiling, an archetypal one really, because the central moon image of the album implying madness is traditionally associated with the element silver. Floyd mastermind Roger Waters proclaimed “DSotM” to be a symbolic interplay of sun and moon, actually, or the contrast between light/sanity and darkness/madness. So although I don’t think he intended it at all, we can perfectly slot in *Oz* as the sun (video), which is the ancient complement to the moon (audio) and associated with the metal gold. So the attempt to tile the “Oz” movie with additional music becomes the alchemical process of changing *silver to a higher state of gold* to complete an axial transmutation. Then moving to other movies, we later have Dave Bytor using one Rush album and a number of other Rush tracks to completely tile the original “Willy Wonka” movie. This is another gold tiling according to my definition. Stegokitty’s somewhat more complex “Darkest City” is the same. “Shared Fantasia”: same. And my “SID’s 1st Oz” is the same but perhaps even more goldeny hued than the others I mention in that another Oz movie is employed, and one that can be seen as the direct successor to the ’39 classic. I’m talking about “Return to Oz” again, a Disney production released in 1985 to mixed views. A number of albums are used to tile the movie here. I see these as a series of equivalent silver tilings woven together to create the warp and woof of “SID”. I’ll leave it at that; it’s explained in more detail in the “Paradox” document.

So how about “Foreign One” or “4orrin1”, then? To me, it naturally follows that “4orrin1” must be defined as something beyond a silver or gold tiling, and I chose the highly valuable metal platinum to name the process. “Head Trip”, although simpler, actually acts as the first true platinum synch that I concocted. It’s very simple, really: “HT” is two basically complete golden tilings woven together — tiles switched on and off between the two — to create something beyond each. In other words, it’s the tiling of 2 equivalent full movies mashed together in a back and forth manner. Back to your question then, Karl, “4orrin1” is kind of 4 gold tilings synched together, yes. But – – this is also very important — platinum tilings can contain not only a multitude of equivalent gold tilings within but also *silver* tilings. And to this, at the center of both “Head Trip” and “4orrin1” — and also “Billfork” — is one particular album apiece by the esteemed comedy group Firesign Theatre, dubbed the Beatles of Comedy at one point. Basically Pink Floyd handed off to Firesign Theatre in “Billfork”, which contains music and equivalent albums from both.

That’s tiling in a nutshell using the synch examples already mentioned. There’s also a type of 1-2-3 relationship between “Dark Side of the Rainbow”, “SID’s 1st Oz”, and “4orrin1” that’s very relevant, but it may be too much to go into here. Does this satisfactorily answer your questions enough for now? Thank you again for being patient with me through all this exposition.

Karl Tune:

I can ask more questions than the wisest of men can answer. But yes, you do answer my question. You seem to be adding extra dimensions to your synchronicity as if the fabric of space is folding and merging with other dimensions. Almost seem like in a Mobius Strip so you end up where you began. We used to talk about how things repeat in time and space to re-enforce the experience, almost like deja vu.

I was wondering if you are a musician? If so, what instrument do you play? Do you write songs or play in a band? Do you think that being in a musician can aid a person in trying to match movies to music? Have you written music to movies? Do you think some musicians intentionally create sound tracks?

Baker B.:

I am a musician but a dormant one. I play keyboards, and last time I checked in with my muse, which is about 15 years back now, I compose by ear in a personalized style lying somewhere between rock and classical. Yeah, I guess being a musician might aid one in being an audiovisual syncher, but wouldn’t think of it as a prerequisite at all. If you look at it from the other direction, I’m not a filmmaker and I don’t think that lack in my resume hinders me from finding movie-music matches in the manner I desire. We all come to “Dark Side of the Rainbow” and to the synching field as a whole from different backgrounds, different interests, different paths in life. It’s what we do when we get here that’s key, and how we set common standards and boundaries.

I’m admittedly a little bit of the oddball here in that I consider myself a “synchronicity artist”, which kind of dovetails now with being a collagist. I like to tell people sometimes that I’m really only good at 2 things: putting one thing on top of the other and then putting one thing beside the other. Another way to put it is that I’m a tilist, I suppose.

How about you Karl? What’s your path in life? How does the big picture of who you see yourself as align with an interest in “Dark Side of the Rainbow” and a/v synching as a whole? I don’t know much about you except that you’re chill’n on an iceberg somewhere off the coast of Iceland. Tell me more if you can! You’re a very good writer so I’m guessing you do a lot of that at work or in your spare time.

Karl Tune:

The way you describe tiling, it makes it seem like you are mating music and movies in a way to propagate the species! 😀

I always suspected that being a musician aided a person in synching music to movies. but as in my case, it is not required to be a musician.

Me? I have no music skill or music training. I just enjoy listening to music. I also do believe in being part of a participating audience. In my early school days as a child, we would draw pictures to what we thought music meant. And as a kid, I thought it was amazing that Disney’s “Fantasia” is animation to already existing music! In the 1970’s, I was an early eager audience participant in “The Rocky Horror Picture Show”. Just how much junk can you smuggle into a movie theater and not get caught? Right?

I had read about art as a multi media. John Cage was an avant gard musician who’s ideas of “Music Happenings” were carried on by his student Allen Kaprow. Mr. Kaprow first had limited audience participation in his 1957 “Happenings”. The artist movement “Fluxus” also takes its origins from John Cage’s experiments in music. Fluxus tries to blend different artistic media and disciplines. I read about Picasso’s Happenings” in “Life” magazine in the late 1960’s and early 1970’s where the more absurd the blend of multi-media, the better! Ballets being performed in the ocean and such!

So, I had a prepared mind in 1981 or 1982 when I was first told of Pink Floyd’s music was supposed to be soundtracks to movies. I had already had decades of pre-exposure to blending the arts. I had a desire to be an audience participant in this.

But when we as a group try to ponder the question of why we do this synchronicity and how it originated, the following quotes from the 1977 movie “Close Encounters of the 3rd Kind” come to mind:

This is a small group of people who have shared a vision in common.

It is still a mystery why they are here. Even they do not know why.

These people have come from all over the country to a place they have been told will endanger their lives.

For every person here, there must be hundreds who were affected but they never watched the TV broadcast. Or they did watch the TV broadcast but never made the psychic connection.

And to answer another question of yours, “No”. I am not a writer and I do not write for anything. I am active in my community and this occasionally requires me to write articles for information, persuasion, and propaganda. I have no training for this. I also write for our group efforts about synchronicity.

I must admit that “The Professor” Randy Teaford writing a book about his music history and tying it in with the Dark Side of Oz in his “Another Day, Another Decibel” has inspired me to write my own small book about my own research. A small pamphlet which will probably never be published because it is so specialized. All who contribute also get my information. It is a win-win collaboration.

And what about you Baker? You are a skilled writer! Are you a professional writer? Are you part of a university community of writers? If so, what areas do you specialize in? What are some of your prize writing efforts? Are you published?

Baker B.:

I’m not a published writer either, Karl. Probably the two blogs I’ve worked on since 2008 represent my best writing. I suppose you could say they’re published in a way already. And now I have the newly established “Sunklands” web site which has absorbed both. We’ll see where it takes me! I feel very positive about moving forward from this base into the future.

I love the ideas of art happenings as well. I think I’ve been a part of some but unsure. Isn’t life itself an art happening?

Karl, I feel like I’ve left some of your questions hanging but there’s only so much we can talk about in one interview. As I understand concerning these things, they will always feel unfinished no matter how hard one tries. I think it’s best if we leave our 2 interviews at about equal length; treat them as a set, a 2 fer 1 dealie of sorts. I’m looking at the word count and we’re drawing close to even.

I will say that I still synch, and that once I passed into multi-movie territory in 2004 I couldn’t really go back, a Pandora’s Box situation. But I divine you’re right about “Dark Side of the Rainbow” being “Lingua Franca” as you put — common ground. I would certainly be up for further discussion about that most hallowed of all synchs.

In terms of group energy moving forward, I think we might turn our attention to the synchromystic community for further inspiration and comradery. John Fell Ryan’s new-ish audiovisual synchronicity “The Shining Forwards and Backwards” experiment, highlighted in the “Room 237” documentary and loosely connected with this group, has been described as a “Dark Side of the Rainbow” for the 21st Century. “The Shining” movie itself is a goldmine of oddities, as I’ve found out in more recent research. If “The Wizard of Oz” is the starting point of synching goodness, then this Kubrick masterwork might be the place where it all darkly ends and culminates, an Omega Point.

And I believe that’s it Karl! Thanks again for taking time for all this and perhaps in 8 more years we can do another update for each other. Hopefully I’ll be retired retired retired by that time. Maybe we can write a book *together* then! Peace to you brother.

4 responses to “Baker B. Interview 2015

  1. Pingback: Baker B. Interview, August 2015 | Sunklands

  2. edna million

    “Tiny acts of clairvoyance” is my new favorite name for a book-

  3. Pingback: Boos Interpretation 08 | Sunklands

  4. Pingback: Plan | Sunklands

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