Tag Archives: Firesign Theater^*+

plans

Heidi Hunt Ives read to him from their user’s Big Book of Synchronicity Interviews:

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.

She closed the book and laid it back down on the Great Table. “This is why The Bill are so important to Piera because The Bill are Firesign Theatre, Man. Tin S. Man.”

“But we can’t talk about ‘4orrin1,'” he replied. “Nor ‘Head Trip’. Our user has tried that… and failed (SEE: ‘Paradox II: The Chancelling’).”

“We can limit ourselves to ‘Pumpkintwisters’, though. Tossing out the weak ‘Kansas City Life’, (it’s) the first synch combining 2 movie into 1, the first example of platinum in that way. The great 2-n-1. And that’s why we have brought you to Capitol City and put you up at a cheap but clean rental in the northeast part of the burg I found the other day by accident. Because inside you is lead Kinks Ray Davies, their main man by a, er, long shot. But he doesn’t have a big head about it, hehe. You know and freely admit that now.

“Yes. Interesting collage by the way.”


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“The problem becomes: Who plays Zappa? If we extended our discussions to ‘Head Trip’ — which we won’t — *I* could play lead Monkees singer Davy Jones, since that’s *my* name.” He of course is featured in ‘Head’, the pop group’s trippy dippy hippy movie from the late 60s.”

“You as David Bowie, you mean. David Bowie’s given name was David Jones, which he changed because of the presence during his rise to fame of the already very famous Monkees singer.”

“Right. He did. *I* did.”


Boos 07

“And ‘Trip’?”

Heidi paused. “Zappa’s realm too, and a bigger one… but we cannot move into that dialog any deeper. We talk about ‘Pumpkintwisters’ and that is that. You fit in strongly there as the centre, Tin S. Man. Also ‘4orrin1’, but that’s even further away from the light, beyond ‘Head Trip’ even…”

“More complexity. Complexity stacked atop complexity.”

“It is the ultimate synch in ways, that and the parallel ‘1 Pink’, but it remains in pieces inside an shallow grave not of one peace. The whole must be collaged together still to (properly) fill the hole.” She paused, scratched her nose. “Yes, we will return to the Blue Feather for ‘Pumpkintwister’ discussion. I will work on the Zappa issue.” Heidi pulls out a pocket calendar. “How’s Friday the 26th for you? Sorry again about the location change. I didn’t realize that the intercontinental interwebs cables hadn’t been stretched between Corsica and Gaeta V yet. We remain in the Dark Ages here.”

“‘Tis Alright,” Tin S Man replies. “I’ve had enough of Capitol City and its bland and boorish manners anyway. Tronesisia… aww rats!!” He recoils from Heidi, unable to backtrack the slip.

“Tronesisia?? Did you say Tronesisia?? What’s Tronesisia got to do with this?” She gasps.

“You’re not *together* with Tronesisia are you? Du warst nicht mit ihr auf eine familiäre Art zusammen?”

Tin S. Man hung his head low. “Ja.”

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Table Meeting 02

For Table Meeting No. 2, Baker Bloch arrived at the Blue Feather in his self named Spookmobile, almost running over Old Mabel and Hucka Doobie while humming down Old Cannon Road from his attic home in the western part of town. Baker apologized to the two while they were walking up behind him, nerves rattled.

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“You know it’s only about 100 yards from your place to the Blue Feather,” says Hucka Doobie, still dusting herself off from diving behind Major Stone to avoid being hit. “You don’t really need to drive. What is that thing anyway? Where’d you get it?”

Baker Bloch realized Hucka Doobie wasn’t inworld all that much and hadn’t caught up with the news. So he caught her up.

“Fascinating,” says Hucka Doobie afterwards. Anson and Anton. Yet another one. *Must* be the work of Mid Hazel.”

“And we further speculate that Wheeler is trapped on New Island now, unable to escape. I’d take you there to see the broken bridge but the meeting’s starting up in a moment.”

“Without Wheeler?” Hucka Doobie scratches her bee head in confusion.

“I’m taking Wheeler’s place,” Baker declared. “Let’s head inside and get this thing started.”

“Cool, I suppose,” says Hucka Doobie, still a bit in the dark on things. Old Mabel remained silent, not liking where this was, er, heading.

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—–

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“As most of you know,” Baker began, “Wheeler’s wishes were to move forward instead of backwards. Toward ‘Pumpkintwisters’ and the future instead of ‘Billfork’ and its Northfork and Billville in the past. *But*… Wheeler isn’t here.”

Old Mabel suddenly perked up. Could it be? Could it be?

“So we’re going to talk about ‘Billfork’ tonight.”

Old Mabel actually jumped out of her chair a bit in joy. She had been preparing to discuss ‘Billfork’ for weeks now, listening to all the pertinent John Lennon solo efforts and reading up about the Ono debacle and so forth.

“Now I’m sorry Tin S. Man. I know this was your time to shine.”

“‘T’is okay, Baker Bloch. The Ray Davies inside of me can wait. I am sympathetic to the plight of Northfork and Billville both. Both flooded, both moved. A moving tale each.” He smiled.

“Yes,” agreed Baker. “So since we’re backing up from ‘3 Friends of Belleville’ instead of going forward, we can point out that *Belle*ville camed from *Bill*ville — and also visa versa since time really doesn’t exist. This is part of the overarching complexity of the Piera. Old Mabel, do you want to help me out and pull up some pertinent videos on the interwebs? Try ‘Northfork + Polish’.”

“Sure thing, Wilson.” Everyone stared at her. “I mean, Baker Bloch, tee hee. Slip of the tongue.” She went over to the suave chair she had sat in so many times now and did the appropriate search.

“So what is ‘Billfork’ you might be asking?” then said Baker Bloch. “Well, on the audio side it’s primarily ‘Boom Dot Bust’ by Firesign Theatre. On the video side it’s the movie ‘Northfork’ by the Polish twins, Michael and Mark. As Tin S. Man alluded to, both feature towns that have to be moved in order to be saved. The town of Northfork is being flooded by a new lake. Billville is threatened by tornadoes, and also, strangely and syncily, a flood at the end, where the mayor has to turn into a fish and ‘swim, swim, swim’ to stay alive. Tonight, to begin, we’re going to look at a number of clips from ‘Northfork’ which are available on the Youtubes. We’re just going to look at them as they appear in Old Mabel’s hit list here, and I’ll talk about the relationship with ‘Billfork’ afterwards — I don’t think we need to do them in order. So if you would just start at the top of your list, Old Mabel, and work down.”

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“Yes *sir*”.

—–

2 1/2 hours later they had gone through innumerable Youtube videos featuring not only ‘Northfork’, but Firesign Theatre, Pink Floyd, and John Lennon and his Beetles. Even Old Mabel was getting a little tired. But they had learned a lot. They knew ‘Billfork’ contained some kind of code which Baker Bloch simply dubbed the Billfork Code during the meeting, having come up with that name several hours prior. Baker had passed out most of the 8 oranges Old Mabel dreamt about to participants at The Table this night, setting the remainder at empty seats while saying that each represented a whole track from ‘Boom Dot Bust’ used in ‘Billfork’. Old Mabel grasped hers tightly as Baker handed it to her, making sure she didn’t drop it this time (unlike in the dream). “Now I know we’re all tired,” Baker continued, “but we need to also talk about the 9th tonight. The 9th is ‘Doom Bot Dust’, the opposite of ‘Boom Dot Bust’. And that’s where we think the code comes from. A south by southwest direction.” Old Mabel nodded her head in agreement as she looked past Hucka Doobie in that direction.

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Free Platinum

Baker restudies Boos collages 07 and 08 for more clues about Wheeler and her Table.

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“That finger is pointing right at Zappa,” he murmurs. “12:01. Davy Jones is the pre-marriage David Bowie, too white noise and needing more black ties. Like Zappa (also) said to him in this collage, ‘you need to work on your music more, Davy Jones’. And he could add here now (understanding that Jones is Bowie): stop focusing on what other people want from you and turn to what *you* want. Develop the music itself. You have that leeway now. You do not need money. We’re not only it in for the money.” He smiles…

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… glances at the last two collages on this floor…

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… and teleports two floors up to examine another collage he had in mind. Boos 22. “There’s Hummie,” he begins again. “The Dart… that ran into The Mouse. Drug. Gas.” He was free associating. “Digesting Boos (fish) like I’ve been trying to digest [the Boos] collages. Martian. I suppose I’m a bit Martian now because of my visit. Things rub off on you. And now I have *Old* Mabel… must remember not to call her plain old Mabel any more. That’s in the past. She’s all grown up now. The equivalent of being 13? Not 12 Oz Mouse any more? Carrcassonnee is shrunk. I need to visit her.”

And then up another floor to the final Boos gallery room with the last 4 collages. “The polarity displayed within is still important and relative,” he says to himself. ‘The Big Book of Rust’ in two halves.”

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There’s no solving it tonight. He needs to talk to Hucka Doobie. He meets her at Perch again.

—–

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“He was just here,” Hucka Doobie says upon manifesting, then sees the teleport offer to her left. “There he is.”

—–

“Look Baker Bloch,” she starts, “that ball representing me is the same size as my hand.”

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“Well let’s just twirl around the table so it’s positioned right in front of you. Then we can maybe finger this out better.”

“Figure,” Hucka Doobie corrects Baker Bloch.

“Right. Hold on. I forgot that Baker Blinker rezzed some of the objects so I’ll have to whirl ourselves around instead in these chairs.”

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“There we are.”

“Whee!” Hucka Doobie exclaims.

“Okay, so tell me more of how this works, Hucka Doobie.”

“Well… I’m SID’s 1st Oz at The Table. What I mean is that I represent older audiovisual synchs that culminate in SID, all the Oz/Floyd Paradox stuff. The line that began at Dark Side of the Rainbow and, of course, also The Rainbow Sphere and extended forward. SID’s 1st Oz is their baby, their child. But Billfork is as well. And that’s where Wheeler takes over. She is indeed The Bill.”

“She’s reinforced that repeatedly,” states Baker Bloch. “So what is your job at The Table? Why is Salad Bar Jack positioned opposite you?”

“Yes, that would be you (in his position),” she states.

“Yeah. You guys were buds in the discourse of the old Baker Blinker Blog.”

“I remember well,” Hucka Doobie says.

“I suppose all that’s going to come out in Table speak. The whole war of toys against Second Lyfe avatars — your ancient rivalry.”

“It could,” Hucka Doobie considered. Then she corrected something Baker Bloch and everyone else in town had been repeatedly getting wrong. “It’s not Salad Bar Jack, of course, but Grassy Noll. Unless the character has become one with the actor.”

“Interesting,” Baker Bloch says. “Has he?”

Hucka Doobie shrugs.

“But, whatever, *Grassy Noll* has now melded with Lemon The Beetle. What’s that say about you relative to him?”

“That he is part of The Bill as well. He drew The Bill into the audiovisual synching realm. He liked their humor. They are the Comedy Beatles.”

“We’re talking about Firesign Theatre here,” Baker states.

“Of course. That’s the finger entering the picture. The Bill. The Center. SID’s 1st Oz didn’t really have this center, although there’s a center involved. Just not some organizing principle that could carry us forward into the platinum beyond the gold. SID is gold. Solid gold. Platinum is beyond. That’s Billfork, that’s Head Trip. That’s 4orrin1. Especially 4orrin1. Later it becomes Pretty Bunnies, Waits 4 No 1, Peewee Big, 1 Pink, Empire Strikes Brak, Uncle Meatwad. That’s the first time in your blog I’ve been allowed to say all those. That’s The Bill. Pay The Bill.”

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Enter Karoz

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Writing abstract stuff about Whitehead Crossing always seemed to make Baker Bloch hungry. So he decided to take a break and walk up to the Bodega market to get a snack.

He was attempting to pay for his Yum-Oh Chocolate Bar when he recognized the figure behind the counter. “Karoz Blogger, as I’m living and breathing! I didn’t know they brought you back as well. How long you been working here?” Baker Bloch realizes he hasn’t visited the market in maybe 2 weeks. Trying to lay off the sugar, you see.

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“Day after Christmas. I think it’s a good gig,” Karoz responded.

“Well cool. How have you been doing my friend? How’s tricks?” Baker thinks how low Karoz has sunk from being a college president, but, of course, doesn’t say this out loud.

“Pretty good. I’ve got a gun now.”

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“Everyone’s got a gun,” says Baker. “So you own this place outright or just manage it… or just work here?” Baker realizes he’s getting into awkward territory. Don’t mention the lowering of status! he reminds himself.

“Tom Wilmot owns the place. He bought it from Hucka Doobie. You know Tom, don’t you? The town busker? He’s not been playing outside for a while. I think he went to medical school for a couple of weeks in Mexico.”

“Good one Karoz. Firesign Theatre references are springing up everywhere. I just used one in my last Whitehead Crossing post. Do you remember US Grant having General Lincolns in his back pocket?”

“Kind of…”

“Oh, and “The Giant Rat of Sumatra” just came up in a facebook reply to a friend. You know Cammie by chance?”

“I don’t think I do,” says Karoz. “Is that your sister?”

“No, she’s the wife’s best friend. And my best friend as well. She’s *like* a sister to us, so maybe that’s where you got the idea.”

“I thought *I* was your best friend.” Karoz tries to smile here but only manages to laugh maniacally. He apologizes afterwards, saying he needs to expand his gestures and that he’s a little behind the times.

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“So am I my friend,” gives Baker back. “So am I.”

“We need to catch up my old friend,” Karoz says. “When can we do it? I work the night shift, obviously, but have the days free. Not much to explore in Second Life any more, as I’m looking around. I suppose we need to talk about… the end.”

“That’s exactly what we need to start talking about, all of us. I want to get your story so it can carry on. I think you have a lot to say.”

“I do,” responds Karoz. “So how about tomorrow? And you can keep your linden dollar. Put it in a museum with the rest of everything.” He laughs maniacally again.

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Rocket Man

There are many things yet to be fathomed about WH X-ing. What is Pocket Rock and why was I compelled to bring it back home in that empty Starbucks coffee cup? What does the white resin mean?

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Newly placed Pocket Rock in WH X-ing, May 2014.

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Dec 2015: Pocket Rock with resin now.

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I can theorize that it stands for Rocket (Pocket + Rock), even though it got that name because I carried it into Whitehead Crossing in my back pocket. And I carried it out in another “pocket” (Starbucks cup).

http://www.firesigntheatre.com/chat/logs/fstchat_20040930.html

If president grant had had another one of those general lincolns in his back pocket.

Pocket Rock now sits on a filing cabinet next to a table downstairs in my study, beside another empty Starbucks coffee cup, coincidentally. The 2 different species seem to like hanging out with each other now.

Is Pocket Rock the same as the toy avatar Rock? It would be about the same height as the character.

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Rock Meadows, toy avatar movie star

Rock, after all came in a *rocket ship* to Whitehead Crossing in the projected movie “Fade to Moss”, written, directed and produced by Mossman Gene Fade. He is truly a Rocket Man, then. His crashed ship still exists on the southern edge of the area.

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Rock’s crashed spaceship in Matland.

Can the Rock toy be fit into a Starbucks coffee cup as well? That may be an ultimate test.

—–

Carr.:

Your collection has been rearranged, you think.

bb:

Seems to have been, Carr. Could *rock* have done it? Is there psychic transference going on?

Carr.:

Careful what you write here. Remember when I said “do do” [that time]? I get jokes about it all [over the place] now. Do you want to bring Rock[ Meadows] here to Collagesity? That could be an answer. Spongeberg could bring him the next time he comes.

bb:

Spongeberg really does live in Whitehead Crossing, then.

Carr.:

Yes. In the teepee I provided him. Stupid humans. But they give me my hands, my feet I need. In a slightly different dimension the teepee is insulated from the weather. And now we have entered a slightly different dimension in Collagesity where actual weather appears. Coincidence?

bb:

I don’t know.

Carr.:

So you think the rock you brought home… well, I can’t say it here.

bb:

The rock is Rock Meadows, star toy avatar. I’m pretty sure about that.

Carr.:

You now know that the *true* artists of Whitehead Crossing do not need that Rock. Either one of ’em.

bb:

Yes.

Carr.:

I am an alien being. What you are dealing with now is alien art, in essence. Terrestrial aliens, but aliens still. I know a little about that. What am I to you, baker b.?

bb:

An alien from both Pluto and its moon Charon at once.

Carr.:

You have been getting a lot of hits for that post about Charon, Georgia in your Sunklands blog.

bb:

Yes. I’ll link the post to your comment.

Carr.:

You have been given the Bigfoot art happening as compensation. The whole landscape was developed by the artists of Whitehead Crossing. You should thank them sometime.

bb:

I will (!)

Carr.:

They understand you and your happenings better now. But they don’t want it in The Crossing still. My Crossing.

bb:

Everything can’t be yours, Carrcassonnee.

Carr.:

Can’t it?

—–

bb:

I came back, Carrcassonnee, to ask if New Monkey City near but not technically part of Whitehead Crossing could instead be the site of a toy happening?

Carr.:

Can it?

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Uncle Meatwad Too

Spongeberg wanted to hear the involved album, so we figured out a way to pipe it into the gazebo. I told him it was my favorite Firesign Theatre album. “Everything You Know Is Wrong” is the name. He listened intently. I was hoping he was remembering the parts I used in “Uncle Meatwad”. Everything hinges on this, I repeat to myself. Don’t goof it up!

He was disappointed that the “Egypt” segment wasn’t on this album. I told him it was on one of their earlier works, called “How Can You Be In 2 Places…” He didn’t seem to want to hear that particular album, and I was relieved. I told him *all* the middle part used “Everything” instead. It was only the 1st and 3rd parts of “Uncle Meatwad”, the *mirrored* parts, that used a little of “2 Places”. He nodded his head. “So this is the important one,” he stated. “I suppose so,” I replied. “This is the middle, the hole in the middle.”

“It’s what we have to discuss,” Carrcassonnee then adds. “This zero, this null. What to plant within. Because there is work to be done still.”

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Synch Talk 01

“You better think about tiling again.”

BB:

Thanks Carrcassonnee. Tiling comes in three flavors, like vanilla, chocolate, strawberry. Instead we have what I call silver, gold and platinum tiling. Silver tiling is album dominated like the one-play Dark Side of the Rainbow dominated by the album Dark Side of the Moon. We have the entire album within the synch. We only have 2/5ths of The Wizard of Oz movie, and that even without its soundtrack, since that’s dubbed over by Dark Side of the Moon. Then in a gold tiling we shift the emphasis from album or audio source to movie or video source. The movie begins to act as the template for the synch. A perfect example of this is SID’s 1st Oz, which tiles the entire Return to Oz movie that acts, in turn, as a direct follow-up, as it were, to The Wizard of Oz.

Carr.:

You forgot Rainbow Sphere.

BB:

Yes. Thanks for that. And a gold tiling can contain several silver tilings or equivalent silver tilings within it, like SID has 3 within it. I’m not sure anyone else was doing that at the time, however. Then we can shift to platinum tiling, another jump up. Platinum tiling favors neither album or movie. Both have to work together, one with the other, to form something higher — a meta-movie in effect. No, not a meta-movie, as I’m checking the definition. A hyper-movie. And a hyper-album.

Carr.:

You better explain it better than that to Karl (!)

BB:

Yes. Thanks again for that. A platinum tiling has links between involved movies and involved albums. Specific examples are needed. Let’s take Uncle Meatwad (again).

Carr.:

Good. I always liked that one the best of your examples.

BB:

Thanks. Uncle Meatwad has four video sources and also 4 involved musical artists. What are the links? How does it all fit together? First we have to understand that the synch is dividable into 3 logical parts with the overall pattern A-B-A. That is, the first and last parts are matched, or, better, reversals of each other. This same pattern appears in a lot of my synchs, and in PB, perhaps the best of all of ’em.

Carr.

I haven’t watched that one. I haard it is good.

BB:

Then the middle part is separate from both. In Uncle Meatwad the middle part is overlapped with Firesign Theatre’s Everything You Know is Wrong album from 1974, one of my favorites from them. You have maybe 6, 7 or 8 tiles using this album in this central region. “Everything” does not appear, however, in parts 1 and 3. It is exclusive to Part ii, and lends itself to its uniqueness as opposed to the other parts. Instead in parts 1 and 3 we have use of one other Firesign Theatre in Uncle Meatwad, and this would be “2 Places”. 2 tiles using it appear in part 1, and another in part 2. And that’s it for Firesign Theatre within the synch. And, in fact, that’s it for Firesign Theatre in any of my synchs so far… past this one. Overall it’s used in 5 others, and all date from 2004-2007, or this peak creative period of mine in terms of a/v synching. This is when the platinum style of synching was strongest. Uncle Meatwad was the final synch of this period as I’m figuring it.

Carr.:

What are the synchs from this period? Can you say? Do you feel comfortable saying? Because I want you to feel comfortable saying. If you feel like it. Do you feel like it? I’m just saying. Only if. Only.

BB:

Billfork, Head Trip, 4orrin1, Frank’s Moving Mountain, Pretty Bunnies, W4N1, PB, 1Pink, and then Empire Strikes Brak and Uncle Meatwad to close it. That’s 10. But there’s also [the smaller] 3 Friends of Belleville and Pumpkintwisters between Billfork and Head Trip. So: 12. 12 from this period.

Carr.:

There, that wasn’t so harrd.

BB:

No. Firesign Theatre is found in Billfork, Head Trip, 4orrin1 — the first three of the period. And then again in Pretty Bunnies (skipping over Frank’s Moving Mountain, where they aren’t used), and then 1 Pink and also Uncle Meatwad. 6 synchs like I said. And they can also be paired in 3 sets of twos. Billfork and FT within are most like Uncle Meatwad. That’s the beginning synch of the period and the ending synch. Both have Firesign Theatre as the primary audio source, with a primary album to draw upon but also a secondary album figuring into the mix. Billfork and Uncle Meatwad are close in size tile-wise, with 32 for the former and 37 for the latter. Billfork and Uncle Meatwad are twins. Both employ the music of John Lennon in a larger way. Lennon is not used in any other synch apart from Beatles’ music. There’s a pattern to that as well.

Carr.:

You better stick to Firesign Theatre or you’ll never get out of here (!)

BB:

Then Head Trip and Pretty Bunnies are also twins. They contain the same exact number of tiles: 47. One Firesign Theatre album in each: “Dwarf” for the earlier Head Trip and “Bozos” for Pretty Bunnies coming along about a year and a half later. In Firesign Theatre chronology, “Bozos” is the album coming directly after “Dwarf”. The members of “Firesign Theatre” considered “Dwarf” their best album if I remember correctly, but “Bozos” is top notch as well.

Carr.:

How are all these Firesign Theatre albums synched up to movies?

BB:

Well, to complete this we have “Rat”, the album after “Bozos”, used in 4orrin1, a massive synch composed of perhaps close to 200 tiles, if you include dialog tiles and I do. And then about 6 tracks of a later album from 2000 I believe is found in 1Pink, a second massive synch of similar size to 4orrin1. These are my 2 largest synchs tile-wise by far, outpacing PB and w4N1 by an almost 2:1 margin, I would suppose. But the use of Firesign Theatre within each is somewhat contrasting as well. 4orrin1 represents my most extensive use of the comedy group’s work in a synch. 1Pink represents the least use. It’s interesting to me that “Rat”, considered by some a secondary work, fits this role and not, say, “Dwarf” or “Bozos”. But: there it is.

Carr.:

Movies, though. Keep going.

BB:

For Billfork there’s only 1 movie and that’s Northfork. So Firesign Theatre in that synch is obviously tiled to that movie. For Head Trip it’s *almost* exclusively the movie “Head” by The Monkees, but spilling a little into “The Trip” at the end. “Head Trip” is solely composed of these 2 movies, and represents my first true platinum synch I suppose you could call it. Then in 4orrin1 “Rat” tiles many movies, perhaps 12 or 14, or most of those in the synch. 4orrin1 is the platinum synch extended to its logical conclusion in many ways. A peak work, like SID is a representative work for a gold tiling. But I don’t think it is the best platinum work, which I would reserve for PB or 1Pink. But anyway, Firesign Theatre in Pretty Bunnies mainly uses the cult sci fi/surrealist flick Donnie Darko. And then in 1Pink it’s several movies again, “Lulu on the Bridge” for one, but also Mulholland Drive and LOST. The use of Firesign Theare in 1Pink is interesting, and connected to matching hatches of LOST. In fact, they are the same hatch or station. Then we come to Uncle Meatwad again. I believe “INLAND EMPIRE” is the main video source tiled in that case. Oh, and the Aqua Teen Hunger Force movie of course. Both of those. That answer your question?

Carr.:

Oh suppose so. What is the point of all this?

BB:

Rehearsal.

Carr.:

You will not say anything of this in the interview. Anything. What will you say instead?

BB:

I will have to explain some of 4orrin1 or all will be in vain. I’ll call it Foreign One.

Carr.:

Good. You can mention Head Trip. You can mention Billfork. And Foreign One. And that’s it. That’s it.

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Another sad day…

Phil Austin, dead at 74. A member of one of the most influential comedy groups of all time, Firesign Theatre.

https://en.wikipedia.org/wiki/Phil_Austin

I’m reading his old blog right now starting from the beginning.

https://philaustinblogofunknown.wordpress.com/

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3 in 1

Facebook once more:

Everyone who knows me, well some, know that I love The Beatles. But some of the some might not know that there are 3 Beatles to love, the actual Beatles, then The Beatles of Comedy, and then the Bizarro Beatles. The Beatles of Comedy are more commonly known as Firesign Theatre. The Bizarro Beatles often go by the moniker of The Residents. 3 Beatles. All equal. All Beatles in their own special way. Love the 3 Beatles.

http://www.feelnumb.com/2012/10/10/another-paul-is-dead-clue-magical-mystery-tour-hidden-message-love-the-3-beatles/

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Land of Blue and Purple 03

Hemlock tree hiding The Totem from the direction of Bridge of B and P.

4/17/13:

I actually returned to the Land of Blue and Purple yesterday, the day after these pictures were taken, but didn’t snap any more shots. I have a new name for the area: Silverberg, which is connected to both the Korean Channel and Pork Chop Hill.* But I think Silverberg at least has closed up early for me. Saw a snake there yesterday that wasn’t the cute garter variety I’m use to seeing. Not a big snake, but perhaps a young blacksnake or water snake. I’ll leave it/them in peace at any rate until they slink back in their holes when cold weather returns. I’ll probably treat the whole, marshy Korean Channel in this manner, except for the very upper part, perhaps, where it connects with Whitehead Crossing.

But to the pictures:

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Below we have another shot of The Totem of Silverberg, and perhaps its glinty metallic appearance lent itself to the name of this “burg”. Here The Totem is merged with a background tree, as in a real life collage.

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There’s one significant pool of water in Silverberg, and this picture is taken from its side. I don’t as yet have a name for this pool, but The Silver Pool could be a candidate. Many frog eggs are currently in this body of water, nestled in a swirling abundance of algae. Perhaps the calm, reflective quality of this pool is the source of the name Silverberg instead?

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There’s a flat region to the pool’s east that is also most likely a part of Silverberg, dotted with small pine trees like in the photo below. The central stumps seem significant: ruins of an avatar castle?

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“Silver Pool” from the north. It’s actually part of one of 2 stream flows in Silverberg…

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… this being the other one, just to its east. It’s a bit smaller. The 2 streams, again, conjunct at The Totem, which would be dead center in the below photo, but hard to detect because it is sihoutted against another, similarly colored tree.

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* Silverberg and Pork Chop Hill tie into Korea and Korean Channel through this:

http://firesigntheatre.com/media/media.php?item=dctd-rv

Appropriate quote (my emphases):

… Switching of channels. Another old flick, this one seemingly set in the Korean War. Pico and Alvarado have been out on patrol for a long time. Silverberg won’t go over Pork Chop Hill—killing pigs ain’t kosher, he says. Lt. Tirebiter tries to keep morale up. Something’s moving in Sector N. Quick, the password. “I’d better disguise my voice,” and, in a WWII propaganda-film Japanese voice: “You so smaht, who wunna Seconda Wulda Wah?” The correct answer, “Not responsible,” comes back. It’s them. They’re bushed—they’ve been shooting reds and yellows all day. But the gooks are around them on three sides. They’ve got women, children, animals, and tonight they’ll all be out in the paddies because it’s the planting moon. The lieutenant outlines the plan, finishing up with “Then we’ll lock and load and go out there and ki-, ki-, ki- . . .” “Hey, what’re we gonna do, lieutenant?” “We’re gonna go out there and ki-, ki-, ki- …” The voices mount in a crescendo, and we hear one voice yelling “Porgie, Porgie, Porgie!”/Commercial. Switching channels

This *is* the Korean channel (!) It’s also an audiovisual tile.

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Filed under Blue and Purple Land, Frank Park