Loose Thoughts…
Although Baker Bloch has admittedly disappeared or sunk into Sunklands, I want to assure the reader or readers of this blog that he is faring fine. Here’s a couple of pictures of his beautiful, new digs, which he gave me permission to post.
He may report specific finds later on, but for now he’s just enjoying walking around his new neighborhood, and also hanging out at his cottage a bit and the nice lake, rocks, and waterfalls just outside. And birds! Lots of birds.
I probably should also report that Blochs has moved out of Lill Burn Valley, at least for now.
Thought I’d also post, just to clear out my backlog of SL related snapshots, these two pictures of, first, Jeogeot and then Maebaleia… another comparison shot, but this time focused on the 2 “Rabbit Holes” already discussed on this blog, particularly in this recent entry.
In this early summer post, I similarly compared the masses of Jeogeot and Maebaleia through the perceived Chilbo-Crabwoo overlap, which I think still applies to a large degree. However, toggling between the two above maps gives a second or alternate way to look at this same continent resonation, this time overlapping the two rabbit holes on each, apparent twins of each other and unique to these particular spots in SL, perhaps… seemingly (at least as far as I’ve been able to check).
In looking at these again, the earlier Chilbo-Crabwoo map overlap still seems obviously more significant, but, make no mistake about it, there’s still mysteries to, er, plumb about these rabbit holes, and the continent overlap they make as well, most likely.
In other news/thoughts, I must decide what exhibit to show in my Yapland/Healy gallery next week, when I take down the current “E” exhibit. I’m leaning toward a more “conservative” show this time, perhaps just hanging some 10×10 collages, maybe just whole series. But we’ll see… I’ll keep the reader(s) posted.
*****
I’m very tempted to go further into the rabbit hole explanation, helped by a man I’ve recently identified as Peter or Pete, who has a great deal of information to share. The legend goes that Pete use to live in the northwest corner of Noru, right next to my current gallery parcels. He knew Karoz. He lived in Sunklands, and has some kind of direct connections with Petemond, which may have started out as “Peter’s Mound”. According to Hucka D., Petemond was an early town in Sunklands, perhaps its primary town. Perhaps it was pre-Second Life as well.
There are reasons to believe that Peter or Pete was a rabbit, maybe a rabbit avatar such as in the picture next to the Jeogeot Rabbit Hole. An obvious resonation would be Peter Rabbit (?) or Peter Cottontail.
I better bring in Hucka D. before I get into trouble… “Hucka D.?”
(no answer.)
Maybe it’s my decision. “Hucka?”
(no answer.)
Plant:
He’s not around tonight. He wasn’t expecting you. He has other projects.
bb:
Hi Plant. Do you or did you know Peter or Pete?
Plant:
Yes.
bb:
Was he a rabbit or rabbit avatar?
Plant:
Yes.
bb:
Was the town of Petemond or “Peter’s Mound” named after him.
Plant:
Right.
bb:
Can you say anything else?
Plant:
You better clear this with Hucka D. Goodnight.
bb:
Thank you.
RL “Denville”, 01
I’m writing this text a *long* time after posting the photos. Almost 2 months later. Since then I’ve discovered Key Rock just behind the blue feather I’ll talk about below. Major discovery; could be the source location for the 3rd, large group of “toy avatars” in the general area after Mossmen and Mmmmmm’s.
Below is the largest open space of the ridge I’ll now call Castle Rock ridge. This is where I found the blue feather that seemed to point to deeper things at the time, a hunch proven correct in the meanwhile.
This rock, on the east side of the meadow, has become more important — it is on the same hump as Key Rock.
The immediate area of the discovery. The “junk” here is mainly refuse from a ski resort on the east side of the ridge, since closed.
Another view of the meadow/open space. Great view of Granddaddy Mtn. from here, as you can tell even through my limited photography skills.
A second open space lies just west along the unpaved ridge road. More incredible views. Looks like this use to be a small quarry. Glad they shut it down when they did.
Wires, perhaps ones used as part of the blasting operations.
RL “Denville”, 02
The west end of Castle Rock ridge. I suppose this could be called Castle Rock proper. If I’m reading associated text correctly, looks like this was the planned site for an actual castle (?) Again, if so, I’m glad this plan didn’t go through, although I don’t suppose development on this ridge can be put off forever. Such high value real estate! But maybe I could be wrong and the ridge will be protected. Doubt it.
A viewing platform on the western tip. Incredible!
Perhaps mysterious bricks — originally yellow??
Heading back east to the large open meadow described in the post before this one.
And then to the ridge’s east side, the top of the old ski slopes. In the distance you can see what I call Diamond Rock (jutting rock in center of 1st photo below), which someone has built a road up to, as I’ve found out since these photos were taken. Diamond Rock is the place I “discovered” the Rainbow Sphere, according to legend. Diamond Rock is on a different ridge than Castle Rock Ridge, with its since discovered Key Rock.
3d map of the old ski slopes.
Another view of Diamond Rock from the streets of tiny Denville.
Looser Thoughts…
Read “I, Avatar” today. Wasn’t incredibly impressed, although it did have its moments. Not a lot to identify with within. Worth a read if you’re heavily involved with SL.
I’m still at a decision point. I don’t think Hucka D. wants to go further with discussions about Sunklands’ Pete or Peter now. Do I start a blog within a blog or another blog altogether?
The pictures from RL Denville turned out pretty well. Encouraging.
*****
We come into SL with a background.
Pre-SL is really the summary of our experiences before being born in that virtual world.
For me, The Ancients come from Pre-SL.
Hucka D. states The Ancients were in Sunklands, or will be, perhaps (past and future have gotten severely mixed up since my move to Noru in May). We already know through this blog that they appeared or lived in Sansara, the oldest SL continent according to standard chronology.
The Ancients protected Sunklands according to Marty, perhaps created Sunklands in the first place. There were 4, two rectangular and two with jagged edges. And a 5th as well, which is somehow identified with Baker Bloch. Perhaps it is actually Baker Bloch somehow.
The Ancients helped create the Rabbit Hole of Blackmount.
What is the relationship between The Ancients and The Bill? One and the same?
The Ancients are from both The Moon and Pluto at once.
Sunklands has been described, overall, as an “initiative”. It also has been related to atomics.
Blood Dr., 01
New a/v synchronicity (Blood Drive) as of mid-July, 2009.
Will be writing in this blog-within-a-blog more and more. The ideas and concepts of Sunklands could mainly shift over to this “interior” one from the “exterior” version of the Baker Blinker Blog, devoted mostly to SL.
The Ancients.
Early in the Baker Blinker Blog, The Ancients showed up in the form of several Aqua Teen Hunger Force characters, namely Master Shake and also Oglethorpe the Plutonian. Bought whole Aqua Teen Hunger Force set from what was then SL Marketplace (since changed name to XL Street), and used them as a number of props. Let me look those links up to make further comments.
Baker Blinker’s curse, where she is rather rigidly restricted to the same colors and proportions thereof of Master Shake, is outlined quite early in the blog, in section 1 (I view each month of the blog, beginning with the first entry, as a separate section).
In this section of the blog, part 19, I wish to talk about, well, all important a/v synchronicities beyond SID’s 1st Oz, which is the last public a/v synchronicity by baker b. These will include the following:
Quadrospirited
Billfork
3 Friends of Belleville
Pumpkintwisters
Head Trip
4orrin1
EDIT
All synchronicities up to Pumpkintwisters were discussed in Floydada document from Fall 2004, especially Billfork and elucidation of Billfork Core Diagram also reproduced (but without giving true name) in Baker Blinker Blog.
Much needs to be updated.
1st octaves:
When SID’s 1st Oz was created, it was thought to perhaps be a synchronicity to end all synchronicities, at least for baker b. It seemed so much further advanced than anything produced before. Only Walt SIDney’s Fantasia 2000 (with 10 tiles, compared to SID’s 26) seemed any kind of rival in my personal work.
Let’s start, then, with SID’s 1st Oz. A 15 part extension of The Booker T. Archive from 2008 best describes the details of this synchronicity, coupled with parts 15-19 of The Oz/Floyd Paradox. A 3rd slice of this investigation is planned, which will give details of individual tiles. Tentative title is SID’s 1st Oz: The Defining List.
So crazy thing is that I haven’t really even fully analyzed SID’s 1st Oz, even though it’s probably about the 11th most complicated synchronicity I’ve created. Let’s look at some creations that happened afterwards.
About a year and a quarter later, Billfork came along, which I initially thought of as a type of twin to SID’s 1st Oz, which still applies to a certain degree. However, I also feel Billfork is a bit of an advancement over SID because of the manipulation especially at the center, which hints of a higher, *platinum* style of synching. In fact, all synchronicities beyond Pumpkintwisters, except DELETE, I would consider a type of platinum synchronicity.
See part 01 of The Oz/Floyd Paradox interview for details on what I call silver and golding tilings that preceded platinum synchronicities.
The first obvious platinum synchronicity to come along was Head Trip in Dec. 2004, not long after Floydada was completed. Continuing the style of the last synch, Pumpkintwisters, 2 movies were involved. However, in this case there were many shifts between the 2 movies instead of just one back-and-forth, 10 to be exact. Also each movie was used as an equivalent whole within the synchronicity. These are Head (Monkees) and The Trip, from around the same time period and both written in whole or part by Jack Nicholson. I see them as yin-yang (yang being the comedic Head and yin the dark, drug trip of The Trip). Also continued from Billfork is the central use of Firesign Theatre, perhaps their classic album in this case, Dwarf. The other two musical sources are Zappa’s first solo album, the experimental Lumpy Gravy, and then Talking Heads classic Fear of Music, which many consider to be their best. As with the case of the 2 involved movies, I consider the use of these albums within Head Trip to be equivalent. For example, 8 of 11 tracks of Fear of Music are used in the synchronicity. The great majority of Lumpy Gravy and Dwarf are used. This is quite close to Dark Side of the Rainbow in this simplicity of wholeness, then, despite surface complexity. Head Trip was another revelation, and obviously a step up from Billfork, which, in turn, was a step up from SID.
4orrin1 continued this trend of “stepping up”, and in a major way. To date, it is still one of the 2 most complicated synchronicities I’ve created, and only 1 of 2 not to be fully taped. Head Trip uses 2 movies, both equivalent. 4orrin1 uses a *bunch* of movies, perhaps 14 or so, as well as a bunch of musical sources (16 or so?). lt is the first *full* platinum synchronicity, while Head Trip represents an immature platinum synchronicity. I also importantly see it as the higher octave of SID’s 1st Oz, as SID, in turn, is higher octave to DSOTR/TRS.
(to be continued)
Hucka D.?
“Hucka D., it’s been about a week since we’ve chatted. Hucka D.?”
Hucka D.:
Hi.
bb:
Are we ready to proceed?
Hucka D.:
Sunklands. Sink, sank.
bb:
I think this has something to do directly with The Arab and Foreign One, as you’ve indicated yourself already, I believe.
Hucka D.:
Fulfilled. Ancients. Wall. End.
Plant:
We were all there. When it happened.
bb:
The End?
Marty:
We can only operate within the lives we are given at the moment. If we die… we cannot speak.
bb:
Can you guys at least tell me where The Arab was in Sunklands?
Hucka D.:
No.
bb:
Petemond?
Hucka D.:
Near Arrowtown, true enough.
bb:
Is Pete the same as Peter Dunne, the done deal Peter?
Hucka D.:
Cross.
bb:
Do you wish to talk about Tronesis more, Hucka D.? You like talking about that subject. It was created mainly by a Peter [Gabriel] after all.
Hucka D.:
Possibility.
bb:
Marty, have you thought more about the collage images I sent to you?
Marty:
Yes. The Beetles and The Residues are equal. Stunning.
bb:
Yes. I agree. Is that why you wish not to speak?
Marty:
No. Not.
bb:
Why is that twinship in place, then? Do you know?
Hucka D.:
Go ahead Marty.
Marty:
Inflation of value. Inflation must deflate.
bb:
Is this something you are conscious of in real life?
Marty:
Maybe not.
bb:
Interesting. (pause) All this seems to be about checks and balances.
Marty:
May be.
bb:
You won’t even be seen as clearly the greatest from your era.
Plant:
But Led Zeppelin is not the rival. That was drilled into me.
bb:
In Sunklands?
Marty:
Lemon knew. He accepted it, he reveled in the idea. He was different from me in this way.
bb:
You identified yourself more as a Beetle.
Marty:
In a nutshell.
bb:
Lemon was glad to burn the idea up. Firehead.
Marty (repeating):
Firehead. (pause) Because he could give the identification up, he recieved, um, special privileges. He didn’t need them — that was the trick…
bb:
The Bill.
Hucka D.:
What do you think they are?
(to be continued?)
Blood Dr., 02
(continued)
4orrin1 was different. Very difficult to explain still, but essentially as SID’s 1st Oz uses albums, 4orrin1 uses movies in the same way. A total of around 5 equivalent movies are woven through 4orrin1 (3 or 4 equivalent albums were used in SID). I’ll get to the titles in a moment.
For it is one, particular album that dominates the innards of 4orrin1 and that is another Firesign Theatre album, one of their relatively lesser known this time but still appearing within their golden era of 68-75, as did Dwarf (1970) used in the preceding synchronicity of Head Trip. This would be The Giant Rat of Sumatra, released in 1974. To give a brief history of Firesign T., what are considered their 4 classic albums are also their first four, or Waiting For The Electrician, How Can You Be In Two Places At Once…, Dwarf, and then We’re All Bozos on This Bus. All of these have now been used in synchronicities except the first. In addition, 3 more great albums, not as widely recognized as such, come after a brief hiatus for the band, the first being The Giant Rat of Sumatra, followed by Everything You Know Is Wrong and then, lastly, In The Next World You’re On Your Own (1975), actually my wife’s favorite. And all of these have now been used in synchronicities as well, along with 2 much later albums released in the late 1990s called Give Me Immortaliy… and Boom Dot Bust. So that’s now 7 Firesign T. albums employed in synchronicities. I may have run out of prime material to use from them, just as is the case for Pink Floyd before, I’ve tapped the well, supposedly, but we’ll see.
However, we’re still in Spring, 2005 with 4orrin1, and this is only the 3rd of 7 Firesign Theatre albums I’ve used in a synchronicity. Most of these are used as equivalent albums, including the one in Billfork (Boom Dot Bust) and Head Trip (Dwarf). No exceptions yet with 4orrin1, which uses the great majority of Giant Rat. The album is made up of 6 semi-equal sized tracks, 3 to each of the original sides of the vinyl album. It is a “concept album”, as are most of FT’s output, with the basic, single story conceived as a take off of a standard Sherlock Holmes tale. From the product description at Amazon.com:
AMG: After the mediocre response to the previous albums, Firesign Theatre returned to the radio play format that worked so well for them with Nick Danger. This time they take on Sherlock Holmes, here redubbed Hemlock Stones, and stretch the motif across both sides of the album. It has all the trademark wordplay of earlier Firesign Theatre… // AMF: …viewed as a sort of a “comeback” album as it came shortly after the group had disbanded briefly to pursue solo projects…f you know what the Firesign Theatre is all about, then grab without hesitation…”Rat” is one of their fastest paced entries and owes a lot to the Goon Show. The theme here is power and corruption as famed detective and cokehead Hemlock Stones (Philip Proctor) and his trusty companion Dr. John Flotsam (David Ossman) help filthy rich magnate Jonas Acme (Peter Bergman) recover the stolen “Zeppo Tube” (a powerful invention) from the hands of the maniacal Electrician (Phil Austin). Like a Python film or Kids in the Hall episode, the four members of the troupe essay dozens of roles each, all unique and hilarious…
4orrin1 easily represents the peak use of Firesign Theatre in my synchronicities, as many, many movies are drafted to video-dub almost the entire album. It’s the core of 4orrin1, but not all of it by any means. In my opinion, when Giant Rat “collides” with another important slice of 4orrin1 early in the synch, represented by the movie Anne of Green Gables, it really begins to take off. Literally, Anne, almost lipsynching at times the main player in the album, Hemlock Stones (parallel to Sherlock Holmes), begins to tell the tale of the allbum: The Giant Rat of Sumatra, embellishing a seed idea within Arthur Conan Doyle’s both The Adventure of the Sussex Vampire, never fleshed out. For other adaptations of this seed idea, see this wikipedia article.
Another movie, Dr. Zhivago, is most intimately tied to Anne of Green Gables, and also video-dubs only 1 small piece of Giant Rat, and right at the end (as Anne of GG dubs the beginning). Dr. Zhivago literally writes the end of the tale as told by Hemlock Stones, as Anne recites its beginning. We also seem to have a symbolic reference to letters “A” (Anne at the beginning of Giant Rat) and Z (Zhivago at the end), making it also seem we have an enlargement, somehow, of the concept of a letter based Billfork Core Diagram (see ____). I’ll have to think about that more, and, if so, it would have to also be present in the intermediate Dwarf/Head Trip melding as well, perhaps. I see the relationship between these 3 primary ingredients of 4orrin1 in colors, actually, with Anne of Green Gables appropriately colored green, Dr. Zhivago as red (The “Reds” are continually referred to in the movie, especially at an important juncture with Anne I’ll get to in a second), and the album Giant Rat as Blue. Taken together, I believe they represent Earth itself, an odd idea, perhaps, but given that Anne is set in the Western Hemisphere, Dr. Zhivago in the Eastern Hemisphere and in a traditionally rival area to the primary power of the west (U.S.S.R. to the U.S.A.), and that both extend a bit, *from opposite side* into the “middle, Giant Rat, which seems to be some kind of Europe symbol, then, between West and East.
Leaving that odd idea alone for a moment, let’s turn to other sources of 4orrin1. Anne of GG and Dr. Zhivago are used as equivalent whole movies within the synchronicity. There are several others in this category. Let’s list them all out here…
Anne of Green Gables
Dr. Zhivago
Station Agent
Andromeda Strain
Straight Story
Of these 5, the first to actually be introduced within the synchronicity is David Lynch’s Straight Story from 1999, Bits and pieces of this movie are scattered within the huge synchronicity, and then the very, very end of the synchronicity is also from this movie. Straight Story can be said to frame 4orrin1, then. Also in this very beginning and very ending tile is found the only Pink Floyd within the synchronicity, or actually the 2 halves of the song “Cirrus Minor”, the first part found at the very beginning and the second half at the end. These two pieces are also the very first and very last of the movie Straight Story itself. The movie begins with a fall. In the synchronicity, the meaning of this fall is expanded, perhaps, to include a fall that occurs when one dies. In the movie the actor playing Alvin Straight merely falls because of his bad hips, and is found by a friend and then goes to the doctor to receive a cane to help walk. In the synchronicity, this happens as well, true enough, or is implied, since we see Alvin Straight appear in all segments of the movie used throughout the synchronicity, basically in the order they are found in the movie. But another layer added onto this, especially in the synchronicity at least, is that the character dies at the very beginning of the movie/synch, and that the whole synchronicity is a journey of death, at least in this particular aspect.
Let’s return to that idea as well.
Anne of GG and Dr. Zhivago are then the second and third movies of the synchronicity to be introduced, with Station Agent being the fourth. But Station Agent is probably the movie most intwined with Anne of GG and Dr. Zhivago in the synchronicity. Andromeda Strain would be the last equivalent movie introduced in the synchronicity, but not long after Station Agent, and either just before or just after the introduction of Giant Rat into 4orrin1.
Well, if all these movies have been introduced before Giant Rat, one might be asking, what’s dubbing them? Good question, and the answer is primarily the album Bodysong by Jonnie Greenwood, another equivalent album in 4orrin1 just like Giant Rat. Unlike Giant Rat and most of the movies we have been talking about, Bodysong was a recent released, from 2003. 12 of its 13 tracks would be used in 4orrin1, all dubbing either Anne of Green Gables or Dr. Zhivago. At one point the same track is used to dub both movies, an important link. Basically this is used to link a house called Varykino in Dr. Zhivago with the house Green Gables in “Anne”, and also explicitly highlights the symbolic colors of each movie within the synchronicity (Varykino has been taken over by the “Reds” when Zhivago and co. arrive on its doorstep, at the “same time” in the synchroncity that Anne arrives at Green Gables; both parties are “unwelcome”).
(to be continued)
Blood Dr., 03
Above diagram:
Anne of GG (green) and Dr. Zhivago (red) are separate because as of now there are no video-video overlaps in my a/v synchs except for, in part, The Rainbow Sphere itself (courtesy of Mike Casey’s interesting interpretation). Also containing a unique color energy in the above diagram are the 2 major albums (both equivalent) of 4orrin1, or Giant Rat of Sumatra (blue) and Bodysong (yellow). The above diagram shows how these 4 energies combine to create what seems to be the core of the 4orrin1 synchronicity.
Both Bodysong and Giant Rat are shared between Anne of GG and Dr. Zhivago. However, as explained before, only the first track of Giant Rat audio-dubs Anne of GG and only the very end of the last track of Giant Rat audio-dubs Dr. Zhivago. So the overlap between Giant Rat and Anne of GG, shown in cyan above (blue + green) is at the left end of the overall blue Giant Rat ellipse centering the above diagram, and then smaller Dr. Zhivago-Giant Rat overlap (shown in magenta, or red + blue), is on the very right end of same.
Like Anne of GG and Dr. Zhivago have no overlap, neither do the 2 major musical sources of 4orrin1, or Giant Rat and Bodysong. Although audio-audio tiles certainly exist within my synchronicities (especially, of course, if you include those of an audio-dialog nature), there are only a handful in 4orrin1, and none involving either of these 2 albums. So my point is that the (hidden) yellow energy of Bodysong in the above diagram, also represented by an ellipse like Rat, is totally separate from the Rat ellipse. Where Bodysong and Rat mainly differ is that *all* of Bodysong within the synchronicity, and this includes 12 of the 13 tracks of the album, audio-tiles either Anne of GG or Dr. Zhivago. The ellipse is weighed toward the Dr. Zhivago/right side of the above diagram, since more of it is used in that movie. No yellow is seen in the above diagram because Bodysong does not exist in 4orrin1 outside the context of these two movies. In contrast, the great majority of Giant Rat within 4orrin1 exists *outside* these two movies, although bits of both are found within (again: beginning and end respectively for Anne of GG and Dr. Zhivago).
This is a very simple diagram for 4orrin1. When we start to add in other movies, the subject becomes more complicated. Let’s take Station Agent, the 3rd of 5 equivalent movies used in the synchroncity. Oh… first let me add, to explain the last parts of the above diagram, that Anne of GG is also heavily audio-dubbed or audio-tiled by Copland’s Appalachian Spring. In fact, there’s only 1 tile of Anne of GG that isn’t a result of either audio-tiling with Bodysong or Appalachian Spring (outside just a simple dialog tile). Likewise, almost all the remainder of Dr. Zhivago within 4orrin1 is dubbed by tracks from Nirvana’s last album, In Utero. But instead of assigning these second musical influences for each of these movies an additional color, I decided to subsume them into the primary color of the movies and include mention of them in parentheses. But, nevertheless, the actual “green” part of the diagram above represents Appalachian Spring’s presence within not just Anne of GG but 4orrin1 itself, since it audio-tiles no other movies save this one. Likewise In Utero is used exclusively with Dr. Zhivago in 4orrin1.
Now let’s make that shift into discussions of other movies, starting with Station Agent. Although Ann of Green Gables and Dr. Zhivago are the perceived major movies used in 4orrin1 (as Giant Rat and Bodysong are the major albums), there are 3 other equivalent movies, as I see it, used in 4orrin1. The first and perhaps next most important is Station Agent, and its use in 4orrin1 is closely allied with both Dr. Zhivago and Anne of GG. On the audio side, it is tiled in the main by Beatles music, namely 5 selections from 2 proximate, earlier albums, or Rubber Soul (3 tracks) and Revolver (2 tracks). The only other tracks used with Station Agent are a small one with Jefferson Airplane, and then, like Anne of GG and Dr. Zhivago, there’s a small piece of Station Agent as well dubbed by Giant Rat.
But in the main, we can say there’s a basic one-to-one match between Station Agent and The Beatles within 4orrin1. Turning this around, The Beatles makes a *basic* one-to-one match with Station Agent as well, but with, again, a couple of exceptions. Namely, 2 tracks from a later Beatles album Magical Mystery Tour, are used with other movies in 4orrin1. One is Straight Story, which we’ll talk about in a second. The other is one I haven’t brought up yet, or the most recent Disney version of Flubber starring Robin Williams. But it’s important to fit this Station Agent-Beatles influence somewhere into the above diagram, making a revision necessary (I’ll get to that idea soon as well).
Let’s move on to Andromeda Strain, another equivalently whole movie used in 4orrin1. What are the musical tiles in this case? Well, for the first 1/2 of the synchronicity it’s almost exclusively Kinks, only the 2nd time I’ve used this group in a synchronicity. 3 Kinks tracks, all from the most excellent and incredibly undervalued album Village Green Preservation Society, are used to dub A Strain. For the second half of the synchroncity we see mostly Led Zeppelin used to dub the movie, specifically the 2 middle tracks of Physical Graffit (the last song of side 2 of the 4 sided opus (Kashmir), along with the first track of side 3 (In The Light)). *And*, like all equivalent movies we’ve spoken about up to this point, and also the one left to talk about, Andromeda Strain lends itself to only a very small part of the Giant Rat video-tiling.
And the last equivalent movie used in 4orrin1 is David Lynch’s Straight Story, already mentioned as the framing movie for the synchronicity as a whole. Less of Straight Story is used than other equivalent movies previously discussed, and there’s not a single artist heavily identified with the movie. Instead a variety of artists are used to dub the 7 audio Straight Story tiles of 4orrin1, including Pink Floyd, Beatles, Queen, Copland (not Appalachian Spring, but Fanfare for the Common Man), and, yes, Firesign’s Giant Rat once again.
So there’s our 5 equivalent movies within 4orrin1, explained in about as simple of terms as possible, or at least my attempt at such. We also know a lot about the audio side of 4orrin1, including, of course, that Giant Rat represents the absolute core of the synchronicity, and that also Bodysong is most likely the second most important audio source, and another used equivalent album. We also know that Appalachian Spring exclusively dubs essentially the remainder of Anne of GG (outside of Bodysong), and that, similarly Nirvana’s In Utero dubs essentially the remainder of Dr. Zhivago, again outside Bodysong. We also know that The Beatles are heavily identified with Station Agent, the 3rd most important equivalent movie of 4orrin1, and that, together, The Kinks and Led Zeppelin dub about all of Andromedia Strain.
But we still know relatively little of the main makeup of Giant Rat video tiles, since all of these 5 equivalent movies, as explained before, only lend a small portion of themselves to video-tiling that most important and central audio source. So what makes up the bulk of video tiles in Giant Rat? Well, that’s where we must drag in the subject of *non*-equivalent movies of 4orrin1, which number, let’s see, well I’ll just list them out in alphabetical order:
200 Motels
Baron von Munchhausen
Flubber
Gilligan’s Island (episode 71)
Mr. Toad’s Wild Ride
The Rutles.
And the, just to complete some particular thoughts on this, let’s list out the remainder of the moives used in 4orrin1 that are *neither* equivalent whole movies *or* used in Giant Rat:
Gilligan’s Island (episode 2)
Magical Mystery Tour
Space Ghost (several episodes)
To Kill A Mockingbird
Basically all these remaining movies are used in isolated fashion in one location within the synchroncity, and in combination with one album or musical source. Among these, the various Space Ghost episodes are unique in a way, since several of the actors or musicians found in other parts of the synchroncity are seen as guests of Space Ghost in these episodes, including the actors who played Gilligan, Mary Ann, The Professor on Gilligan’s Island, and also the leader of the band Green Jelly.
(to be continued)
Tonight I Thought We’d Try Something Different…
bb:
Hucka D., are you there?
Hucka D.:
You wish to speak to Baker Bloch? Interesting.
bb:
Yes, just to see how he’s doing… get in his shoes a bit.
Hucka D.:
Well.. alright…
Baker Bloch:
Hi baker b. Myself.
bb:
Hi.
Baker Bloch:
I am doing well. I am at peace.
bb:
What’s next for you? Beyond the peace?
Baker Bloch:
Another world. Assimilation. You had community here. You had possibilities. You still do.
bb:
Sunklands is an endpoint. According to Hucka D. Do you agree?
Baker Bloch:
I don’t usually disagree with Hucka Doobie. He is wise.
bb:
Most of the time. (laughs) So… Baker Bloch… can I call you Blochs?
Baker Bloch:
No. Just joking. That’s Ok. You do it in the blog sometimes. Before more than now but you slip it in sometimes.
bb:
Blochs, then, what is really in your future? Can you see it?
Baker Bloch:
I have my future.
bb:
Are you Syd?
(Baker Bloch doesn’t answer.)
bb:
Are you *SID*?
(no answer.)
bb:
Cyd? Cid? (pause)
Loose Thoughts: Sunklands
Marty:
As you thought about, I want to be moved ahead of The Residues at least. I’ve been studying the collages again. Strange Creek and all. baker b.?
(baker b. doesn’t answer)
Plant:
What about me? My group is lagging *far* behind yours. And we had to work together on The Arab. Foreign One.
Marty:
You needed humor. You needed to be able to make fun of yourself.
Plant:
I am making up time now. I wish to help more.
Marty:
baker b. will need your help, true. And mine. The tube for one. Sherwood. Zeppelin.
bb:
Hi guys.
Hucka D.:
Hello boys.
Plant:
You all show up at once. Where’ve you been?
bb:
We were working on the blog within the blog. Surely you’ve heard…
Marty (quickly):
Yes.
Hucka D.:
Going well. You two patch things up, then?
Plant:
*No.*
Marty:
Maybe.
bb:
Can we please talk about Sunklands, then, a little more tonight? The Arab? Outside the interior blog, I mean?
Plant:
We will work together to help you, seriously.
bb:
Were the original Sunklands just the smaller, second largest sink that Baker Bloch now resides within?
Plant:
Resident (looking at Marty, who sneers).
Hucka D.:
It could be. What say you Marty? Plant?
bb:
(after an awkward pause) Was The Arab, then, built or *found* in that particular sink? The most western sink?
Hucka D. (after Plant and Marty don’t answer again, and reinforcing his former opinion):
I think that could very well be. The Arab would fit quite comfortably within the present body of water. Marty and Plant would know better than I, though (this is a prompt for them to speak, but they don’t).
bb:
Maybe they left. I can’t see really well in this dimension.
Hucka D.:
Well, let’s move to the larger sink, the largest. The most damaged now, it seems. Has your Baker Bloch explored it all yet?
(bb shrugs)
Hucka D.:
I didn’t think so. You have further work in SL. And you must find the location of Petemond and understand who Peter or Pete was and also his Mound. Peter’s Mound or Petemond. Near Arrowtown, as I said.
bb:
Was Karoz even involved in The Arab project, Hucka D.?
Hucka D.:
He was involved with the Fuchsia Diamond.
bb:
This took place in the largest of the sinks, though.
Hucka D.:
As I said: maybe.
bb:
The first sink created, then, the smaller of the 2 main sinks, is Mythos?
Hucka D. (repeating what he said earlier):
Marty and Plant would know better than me.
bb:
They’re gone, it seems.
Hucka D.:
No. There they are, behind the curtain over in the shadows.
bb:
Oh. Yes. Marty?
(Marty does not answer)
Hucka D.:
Marty wants to move ahead of The Residues. You can make that happen.
(to be continued?)
*****
bb:
I sense a jostling of power behind the curtain, Hucka D. Lemon has something large to do with this, it appears. Let in The Bill. Allowed that to happen. And this started on the 2nd album….
Marty (quickly):
Yes. Rabbit Hole.
bb:
There you are. Where’s Plant?
Plant:
I am brought along for comic relief. Look at Marty’s eyes.
(bb. looked. They were the eyes of a daemon. Which reminded him…)
bb:
Hucka D., should we talk about Denville tonight?
Hucka D.:
There ya go.
bb:
Good. I’ve had a lot of fun exploring the Denville ridge.
Hucka D.:
You will camp out there sometime. Make a toy city. Marbles. *Marbles*.
bb:
Are marble avatars from that mountain and town, Hucka D.?
Hucka D.:
Very well could be.
bb:
Are they instead from Frank and Herman Parks?
Hucka D.:
Most likely not. (pause) You should go back but not tomorrow.
bb:
I think I know what Petemond turned into. A through Z. A-Z.
Hucka D.:
What did Lemon open up? What World?
bb:
Mythos, I suppose.
Hucka D.:
He is a firehead. Always keep that in mind. The Fuchsia Diamond really didn’t have much to do with him. Residues, instead. They are special. Marty doesn’t like the speciality, particularly. He is staring at those collages, and thinking: that should be me. He is Sgt. Pepper, you see.
bb:
We must begin speaking of DL in the near future, then.
Hucka D.:
Yes. He controls the largest sinkhole.
Blood Drive, 04
We chatted a bit about the video side of 4orrin1, now let’s take a closer look at the audio. Here are the main players, starting with the most important:
Firesign Theatre (Giant Rat) – to – most of movies in synch
Jonni Greenwood (Bodysong) – to – Dr. Zhivago, Anne of GG
Beatles (Rubber Soul, Revolver, Magical Mystery Tour) – to – Station Agent (& Straight Story)
Copland (Appalachian Spring) – to – Anne of GG (& Straight Story)
Nirvana (In Utero) – to – Dr. Zhivago
Led Zeppelin (Phys Graffiti, Led Zep II, House of Holy) – to – Andromeda Strain, Rutles, MMT
Kinks, The (Village Green Pres Society) – to – Andromeda Strain
Now we come to the audio sources we haven’t talked about, all which probably rank below the above with the possible exception of Green Jelly and Queen.
Green Jelly
Queen
Ives, Charles
Jefferson Airplane
McCartney, Paul
Pink Floyd
Satie, Erik
Sex Pistols
10cc
Like The Kinks, 4orrin1 employs 3 tracks from both Green Jelly and Queen. From Green Jelly, it’s all off their Cereal Killer album. These are used to audio-tile an early Gilligan’s Island episode, Flubber, and The Rutles, in the order they appear within the synch. For Queen, all are from their Greatest Hits albums, and are used to tile Mr. Toad, Straight Story, and Anne of GG.
All of the other artists or groups from the leftover list contribute 1 or 2 tracks to 4orrin1.
*****
Basic design of 4orrin1.
4orrin1 is most definitely centered by Giant Rat of Sumatra. The tiles of Giant Rat follow the order of the album in almost ever part; can’t think of an exception off the top of my head. However, each track of Rat is clumped together within the synchronicity in edited form, and separated by a wide but basically equal gap from the track that succeeds it. In other words, track 1 of Rat will play, in somewhat edited form, in order within 4orrin1. However there is maybe a 15 minute gap between the end of track 1 in the synch, and the beginning of track 2.
Roughly, the synchronicity can be seen as a circle divided into 6, corresponding to the 6 tracks of Giant Rat. We’ll color these, in order, red, orange, yellow, green, blue, violet, which aids in seeing the progression throughout the synchronicity:
Side 1
track 1 = red
track 2 = orange
track 3 = yellow
Side 2
track 4= green
track 5= blue
track 6 = violet.
Separated from the rest of the synchronicity, the tracks of Giant Rat might correspond to the following circle within 4orrin1, then:
However, as I said, there are actually large gaps between each track of Rat used in 4orrin1, including one before the first track and after the sixth track. The following diagram will serve us better for seeing, then, the basic structure of the entire synchronicity centered by Rat…
I decided a while back to base the numbering system of various identified regions of 4orrin1 according to Rat tracks. Thus those tiles that come in the region before track 1 of rat in the above diagram are labeled 0, or “zero”. I should also add that I may divide non-Rat regions into further regions, thus leaving open the possibility of, for example, an 0a region, 0b region or 0c region.
At a certain point late in the development of 4orrin1 initially, and when I fully grasped the idea that this was a true octave of SID’s 1st Oz I was dealing with here, I also thought of the idea of making 26 regions of about 6-7 or so tiles apiece, corresponding with the 26 individual tiles that make up SID. This is still how the tiles are loosely grouped in the current version of the TILE database (excel spreadsheet). So each one of the 6 Rat tracks would form 1 region themselves (since they avg. about 6-7 tiles apiece, or so), and then we’d have 2-3 more regions between the Rat track regions.
So “0a-” in the above diagram means that we have perhaps several regions before the beginning of Rat “1”, and then “1a-” means the same thing after Rat 1. Again, I’m not sure I want to keep the idea of the areas between the 6 Rat tracks as multiple regions, or just treat them as 1 region… probably the latter in thinking about it further, just for simplicity’s sake. But I’ve left the nomenclature in the above diagram for the present.
Before dealing more with the idea of 4orrin1 as a direct higher octave of SID’s 1st (as SID, in turn, was seen at the time of its creation as the higher octave of Dark Side of the Rainbow and The Rainbow Sphere in one), let’s see a highly abstract diagram of how the 5 identified, equivalent movies in the synchronicity track from beginning to end. As it turns out, the best way I found to create 4orrin1 is to allow the equivalent movie that enters first in the synchronicity to exit last, the second to begin in the synch to be the second to last to exit, and so on down through the 5. This means that Straight Story, which opens the synch, also closes the synchronicity; Anne of Green Gables, the movie that follows Straight Story to open 4orrin1, is the second to last movie used in the synchronicity; Dr. Zhivago, the third to come in, is also the third to last to exit. Same pattern would hold, then, for the remaining two of Station Agent (4th to enter, 4th from end to leave) and Andromeda Strain (5th and last of the equivalent whole movies to appear in 4orrin1, but first of such to end within same).
All of these equivalent movies, save Andromeda Strain, also make their first appearance in the region before Rat 1, if you look and understand the below diagram (this region, again, is labeled “0a-” in the diagram). All, including Andromeda Strain this time, exit the synchronicity in the region after the last Rat track, number 6 (region “6a-“). In fact, there are no other movies besides Straight Story, Anne of GG, Dr. Zhivago, and Station Agent in 0a-, and only one other movie in 6a- besides these plus Andromeda Strain. This means that almost all the 44 tiles of 0a- and 6a-, save 4, are from equivalent whole movies in 4orrin1, and not non-equivalent (The Rutles, making up the remaining 3 of 4, according to the present spreadsheet on the synchronicity, is a non-equivalent movie, as explained before).
And even though Andromeda Strain is the only one not to begin in 0a-, it, like the others, does not begin in any Rat track, although it lies near the edge of Rat 1 on the diagram below.
Since these equivalent movies are also used sparingly in *any* Rat track, what this means is that we have two basic tendencies in the synchronicity, at least according to this angle: we have Giant Rat whose story is mainly driven by non-equivalent movies, and then non-Rat regions whose parallel storylines are driven mainly by the 5 equivalent movies. This is another fascinating aspect of 4orrin1, making it considerably more complicated than all other synchronicities outside of 1Pink (which is even somewhat more complicated than 4orrin1, believe it or not).
(to be continued)
Blood Dr., 05
The equivalent movies, within the parameters (entrance -exit strategies seen in last diagram of last post), are interlaced throughout the synchronicity, and are not conglomerated into one area. I would be willing to bet, for instance, that both Anne of GG and Dr. Zhivago appear in *all* white regions of the above diagram. In contrast, Anne of GG is only use sparingly in 2 of the 6 Rat track regions, and the same would go for Dr. Zhivago.
In creating this story, it is being reinforced to me the twinship of Anne of GG with Dr. Zhivago, and also how they both “surround” the central Giant Rat album of 4orrin1, as per this earlier diagram.
Story.
So I’ve abstractly talked about the structure of 4orrin1. What about the story? How do these separate and seemingly unrelated movies weave together to form the story of 4orrin1 between them? What is the story of 4orrin1, in short? Well, to start off, this is obviously a much different situation than SID’s 1st Oz, Billfork, and even Head Trip to a large degree. The story of SID’s 1st Oz is largely dependent on the (single) base movie of Return to Oz, and the assumption that the viewer would at least have a cursory knowledge of the Oz mythology from the 1939 Garland classic, which “Return” directly builds upon. I think for Billfork, the onus of story considerably shifts over from the movie to the core album, Boom Dot Bust. It is almost more a video accompanyment to that Firesign Theater album than the other way around, although, of course it is both — each major component compliments the other. In Head Trip, I think the Dwarf album carries the storyline in an even larger way. The two involved movies compliment each other so well that it is difficult to separate the two after the melding. Head will always be coupled with The Trip for me, made easier because of my basic unfamiliarity with either movie before using them together to form Head Trip. And, I assume, for the great majority of others as well.
So returning to 4orrin1, if there is a closeness between 2 movies anything like in Head Trip, it would be between Anne of GG and Dr. Zhivago. They also share a common, equivalent album: Bodysong. The other half of each is unrelated to the other, musically — far apart. This would be Copland’s Appalachian Spring for Anne of GG, and Nirvana’s In Utero for Dr. Zhivago.
At this point in my spiel, you may want to review my interview with Booker T. from late 2007 to understand at least how SID’s 1st Oz is viewed by Booker as a hypertime creation, and not a linear one. In short, he believes it starts with Jethro Tull’s Passion Play and builds out from that, first with Queen (partner to Tull) and then the two *musical* twins of that synch, Roger Waters and Syd Barrett. In that interview, Booker also identified each of the 4 main artists of SID with a particular color, Tull, at the center or the beginning, with yellow/gold; Queen: blue; Waters: green; and Barrett: red.
*****
Let me see if I can explain this better now from a more mature, 2009 perspective. Let’s begin with Dark Side of the Moon, actually. Pink Floyd’s ultra-classic 1973 album, according to Booker’s esoteric theories (see Booker T. Archive for more), is the most perfect album ever recorded on Earth, but in order to become physically apparent (recorded and released in our dimension as a physical, vinyl album), it had to go through a putrefaction process. In the higher realm where it is “originally” created (in turn, by a “higher form” of Pink Floyd), it exists as one with perfection itself, symbolized in Booker’s Archive as what’s called a 36-Triangle, and reducible through logical, built-in means to a 10-Triangle, or what Pythagoras terms The Tetractys, an all important symbol for him and his followers.
The putrefaction of Dark Side of the Moon came in 3 stages. The putrefaction was designed to take place within the larger circle of The Wizard of Oz movie (in turn, the most perfect *movie* released on Earth). The perfection of the album sacrificed itself to the movie; again this is the only way it could visibly appear on our Earth.
The game/philosophy/religion of TILE is a way to preserve the memory of the perfection. A home tile was identified in the album and movie, which corresponds in TILE to the small letter “e”.
The original perfection is identified with the constellation Lyra in our night skies, specifically with the parallelogram of stars southwest of Vega. The putrefaction begins when the 5th of these stars, 5 like the letter “e” is the 5th letter, starts the movement away from this perfection by dividing itself into 8 parts. When it does this, it “graduates” from being an “e” to become an “E”. It *thinks* of itself as graduating, but it is actually also a devolution. For, as said, this is where putrefaction sets in, although it has a fixed, bottom level to reach and no more. This bottom level would correspond to our physical dimension. The sacrifice was needed to make this perfection accessible to Earth. The putrefaction is identified specifically with the star Vega of the Lyra constellation.
The “E”, in itself, is not putrefaction — the corruption of the perfection is still not apparent. Instead it appears as a mate to the abcde, or, in summary, the “I” of TILE. The division, in this way, is an act of a sexual nature, but not the way we usually think of it. “I”, perfection, becomes male in this way (formerly asexual), and “E’ becomes the perfect female receptacle. “e” (“tip” of “I”) fills up “E”, and thinks of itself as graduating in this manner.
In Dark Side of the Moon, the perfection of I and E is still very apparent. “I” corresponds to the track Great Gig in the Sky, ending the original side one of the album, plus a song length which equals precisely 1/4th its length. The latter would be the track Home Again, unlisted on more modern CDs but on the vinyl album (check). This is the home tile.
How do I know this? Well, it all has to do with, also, a base number for the Dark Side of the Moon album, which corresponds to 71 seconds, or 1:11 (one minutes and 11 seconds) or just 111. As it turns out — no accident, again — Great Gig is 4 x 1:11 or 4 times one minute and 11 seconds, for a time of 4:44.
This means, of course, that Home Again, separated out from the parent track of Time in the newer, CD version of the album, is precisely 1:11 or 71 second long. This is the home tile, the base tile. This is the same as the renegade “e” which separates itself from the other 4 original perfection tiles corresponding to a, b, c, and d.
This is the meaning of the configuration greeting visitors to the old “E” exhibit in my Healy gallery (Something To CHRO About). And a configuration still on the roof of same, if anyone wants to visit.
(to be continued)
Sunklands, Etc…
Sunrise over the center of Sunklands. Wunderbar!
Well, that’s the center of the sunk part anyway. The 3 pictures below are from the center of the whole Sunklands area, perhaps very near where Petemond was located. Many gravestones are found in the immediate area of what might be the highest hill of Sunklands, in Tuatara (*very* laggy when Blochs was visiting the other night) and also the northwest corner of Pudding Hill. There’s about a 100 meter drop in elevation from this hill to the bottom of Sunklands (140 meters down to 40 meters, approx.).
Baker Bloch has also been roaming around the Okinu area again, specifically the sim immediately to the south, Suisun. He’s tempted to rent some presently available land there, but remembers that he and his user have perhaps enough irons in the fire right now. Could be wrong.
Ps. Baker Bloch is standing on a platform shown in the 1st Hidalgo collage, called “Lemon World”. Okinu sim is directly to his north here.
Blood Drive, 06
We don’t want to get too bogged down in the mechanisms of TILE within Dark Side of the Rainbow, since we must move forward and attach all this to, first, SID’s 1st Oz, and then through SID to 4orrin1 itself. I’ll return to the details of TILE workings in a future post, then. Suffice to say for Dark Side of the Rainbow, the flow of TILE in the *center* of the synchronicity harbored a perfect half *plus* a half singly corrupted. We have reviewed the components of the perfect half in part:
Great Gig in the Sky, 4:44, plus Home Again, 1:11, equals 5:55, or *5*
On the Run, 3:33, plus Time proper (minus Home Again), 7:06 or 6:66, equals 8:88, or *8*
71 seconds or 1:11 is the base number, true, but it can be reduced to simply 1. Home Again then equals 1, the singularity. Once more, when Home Again, or the “e” of TILE, breaks away from the rest of “I” (a,b,c, and d, or the 4 1’s of Great Gig, moving backwards from the end of the original side one of Dark Side of the Moon) and becomes “E” (8 of On the Run + Time proper), then this sets in motion the mechanism of the TILE process. Once “I” becomes “E”, it naturally also has to devolve back to “I” through intervening letters “T” and then “L”, passing through all of TILE in the process, or, according to microcosmic scale, all the *small* letters of the English alphabet.
The letters T and L act as a balance to I and E in TILE. Both contain exactly 1/2 of the 26 letters of this alphabet, or 13 apiece. I and E stand in for the non-colored *Kansas* portion of The Wizard of Oz movie that the corresponding tracks of Dark Side of the Moon audio-tile in succession. In a balancing way, T and L correspond to the colored *Oz* portion of The Wizard of Oz, which the beginning 2 tracks of the second side of Dark Side of the Moon audio-tile in succession.
It should work this way in theory, and it does in the higher realm with the higher Pink Floyd mentioned before. Theoretically. However, in reality, although the perfection certainly remains in the Kanas portion, which retains all original 13 letters, in the Oz half exactly 1 of the corresponding letters has been removed, devolving it from 13 to 12. The TILE process in and of itself is not putrefaction or corruption. It is only when it unfurls within Dark Side of the Rainbow (Dark Side of the Moon plus The Wizard of Oz) is the corruption made physically apparent.
Where is this missing 1 in the Oz portion of Dark Side of the Rainbow? Well, again it’s complicated, because we must see, also, that TILE is not the same as the 36-Triangle itself, which represents perfection in Booker’s terminology. The entire Dark Side of the Moon *album* is quite close to this, though, because it also contains the compliment to TILE in the tetractys itself, which is also seen as a flow in an opposite direction of 1-4-3-2, mirroring the larger flow of 5-8-7-6 of TILE.
We’re getting into deep waters, eh? Let’s take a breath and attempt to simplify, once again. Below is Booker’s oversimplified graph of TILE within Dark Side of the Moon from the 2007 SID interview, as it interacts with The Wizard of Oz to create Dark Side of the Rainbow.
What we are admitting now is that this circle representing TILE in the above diagram can also be divided into 2 parts, corresponding to the Kansas and Oz sections of The Wizard of Oz movie as audio-dubbed by Dark Side of the Moon.
Simplified, Kansas is perfect within DSOTR, while Oz is singly corrupted. Symbolically the “N” is removed to make 13 become 12 (O-Z), reinforced by filing cabinet origin of name Oz, seemingly. Again, all of this is in the Booker T. Archive.
Where does this symbolic “N” go, then, if it was originally in the Oz part of the synchronicity but removed in the putrefaction process? It goes into the Tetractys, raising its number from 10 to 11. This is seemingly connected to string theories. Much beyond the scope of the present study. The overall number of the 36-Triangle remains the same, except 1 has been shifted from bottom 4 rows to top 4 rows.
For simplicity’s sake we’re going to say that Dark Side of the Moon becomes the same as the 36-Triangle, although this is not exactly correct. When it does so, it can be seen to make a vesica piscis within The Wizard of Oz, effectively *spherizing* the movie. This is the same as The Rainbow Sphere, which we won’t go into here.
*****
My apologies again for going into deep water here, and I’ll attempt, again, to explain all this better in some future document, perhaps specifically dealing with SID or Dark Side of the Rainbow/The Rainbow Sphere. For this document we must move on, though. The 1st graphic below depicts Dark Side of the Rainbow as, well, a dark circle. The second graphic show how Dark Side of the Rainbow, which on the audio side is exactly the same as Dark Side of the Moon, enters what we can call the second Oz movie, Return to Oz, the immediate and, I believe, the official successor to the 1939 Wizard of Oz. As the larger, lighter circle labeled “SID’s 1st Oz” is about 2 1/2 times the diameter of this smaller, dark circle now, so the movie Return to Oz is about 2 1/2 times the length of the Dark Side of the Moon album.
However, when Dark Side of the Moon “enters” this second Oz movie — as it has already entered the first and created The Rainbow Sphere, according to Booker’s theories — what happens is that it changes form to a double. This double is represented in our reality as another album released just after Dark Side of the Moon, and shares a number of other, suspiciously similar elements with it as well. This double is Jethro Tull’s A Passion Play album. According to wikipedia, Dark Side of the Moon was recorded June 1972 through January 1973, and released in March 1973. A Passion Play, according to its entry, was recorded in March 1973 and released in July. Let’s leave alone the possibility of Tull directly inserting at least some references to Dark Side of the Moon in his album (they would have to be cutting it close, you see) — doesn’t matter in the broader scheme of things, according to Booker. Certainly what the group couldn’t have done was synch it to the Return to Oz movie. Instead, what Booker is proposing is that, as stated, A Passion Play is a *psychic* double to Dark Side of the Moon, *specifically created* as such to enter the 2nd Oz movie beyond the first and to “stretch across” it front to back, effectively becoming one with the movie or sacrificing itself into the movie, loosing its status as an unedited, unbroken album in the process. From this start, the rest of the audio-tiling of Return to Oz to ultimately form SID’s 1st Oz can fall into place, starting with Queen after Tull, and then Waters and Barrett, completing the 4 needed weavings.
Why is this important in the present discussion of 4orrin1? Well, the same thing happens between SID’s 1st Oz and 4orrin1, but on the *exact higher octave* (and also what is apparently a perpendicular angle to the former). This is an amazing process, really. The movie Return to Oz, which is exactly the same as the video side of SID’s 1st Oz (as Dark Side of the Moon before it is exactly the same as the audio side of Dark Side of the Rainbow), “enters” the circle of 4orrin1 in the below diagram, just as Dark Side before it “enters” SID’s 1st Oz. Similarly it turns into its double for this purpose, as Dark Side of the Moon changed into A Passion Play. What is the double in this higher case? The answer is: Anne of Green Gables, which enters the 4orrin1 circle as defined below. Like A Passion Play does to Return to Oz, then, Anne of Green Gables also *sacrifices* itself into 4orrin1 for a higher purpose, or stretches itself across 4orrin1 to create an equivalent, edited movie rather than a whole, unbroken movie.
4orrin1 “begins” when Anne of Green Gables enters its circle and stretches across it.
(to be continued)
Covered Sink, Etc.
“Those people shouldn’t have covered that sink in Aotearoa, Hucka D.”
Hucka D.:
No.
bb:
But I have this feeling you’re going to say that’s where Peter lived.*
Hucka D.:
Yes. And in the sink across the street as well. Petemond.
bb:
Part of Greater Petemond?
Hucka D.:
Yes, exactly.
bb:
Can you talk about that more?
Hucka D.:
Plant is here.
bb:
Hi Plant. Do you know of Pete or Peter in Aotearoa? Perhaps associated with the Cross of the Lamb?
(Plant does not answer)
* In the span of a couple of minutes the other night, heard Genesis music on radio in SL, and then saw avatar named Genesis in another location. Later, maybe same night, learned that Genesis Systems had bought the entire sim of Aotearoa, and tonight saw that they had managed to cover the central sink of the sim. Sacrilege!
Sunklands Once More…
TEXT SOON.
Huck Chat…
“Tomorrow we work more on the blog within the blog, Hucka D.”
Hucka D.:
You know now.
bb:
About the blue drake?
Hucka D.:
Boulder has spoken back.
bb:
Put my pictures up tonight?
Hucka D.:
Yes.
bb:
I’ll just put them in this blog post and see if you have comments, then.
Hucka D.:
Alright.
*****
While the pictures are loading up why don’t we chat a bit more.
Hucka D.:
Plant is here.
Plant:
Hi.
bb:
Hi Plant. Do you want to talk about Sunklands more?
Plant:
Beyond.
bb:
Beyond Sunklands?
Plant:
Yes. That cemetery is haunted you know. The one in _____. That’s the good folks of Petemond. That’s where they went.
bb:
Fairly close to the Rabbit Hole. Connections?
Plant:
Sacrifices.
bb:
What *is* the tube, Mr. Plant?
Plant:
Source. Power.
bb:
I don’t…
Marty:
I’m here… briefly.
bb:
Do you have my answer?
Marty:
I have the answer to the hole.
bb:
Ok.
Marty:
One side of the world to the other. Passing through Hades. Pluto. Sun in center of world.
bb:
Some people say you can’t escape hell fire if your a heathen.
Marty:
No. But…
Hucka D. (interrupting):
Your pictures have downloaded.
bb:
Thanks Hucka D.
*****
“Too adorable, Hucka D.!”
Hucka D.:
Yes… too.
bb:
But I see a smile.
Hucka D.:
Well, it gets to you.
bb:
So this is the blue drake?
Hucka D.:
Yes. Invert the pictures to demonstrate.
“Looks a little more black than blue, Hucka D.”
Hucka D.:
That’s more your camera. It’s the blue drake, that’s for certain.
bb:
What does [it] mean? Does that mean the 3 ponds he frequents, he lives at, probably his entire life now, are like the Maebaleia Lake District centered by the Blue Feather Sea?
Hucka D.:
That’s his feather. Blue Drake’s.
bb:
I wonder if he’s attached to martin images, like in Greenup 12 posted about recently?
Hucka D.:
Lyra. Vega. 5th. “e”. Graduated but not graduated. “e” to “E”. Schwa. Geezer Grid?
bb:
Geezer Grid?
Hucka D.:
Blue drake will help you. Blue drake is there for…
bb:
Hucka D.?
Blood Dr., 07
Let’s go into some of the comparisons between Return to Oz and Anne of Green Gable, then, just as we skimmed the similarities between Dark Side of the Moon and A Passion Play before. In doing a little research for this comparison, came up with the following post from what’s called the Royal Blog of Oz. Within are outlined the essential parallels between Dorothy Gale of Kansas/Oz and Anne Shirley of Green Gables. I saw many of these before as well: Dorothy and Anne are both orphans who are adopted by a kindly, unhealthy father figure (Uncle Henry/Matthew Cuthbert) and a similarly kindhearted but sterner mother figure (Aunt Em/Marilla Cuthbert). Both then live on farms. Both have conspicuous fantasy worlds, which the mother figure especially disapproves of.
In examining more the involved movies, we can add to this list. Both the very successful Canadian production of Anne of Green Gables used in 4orrin1, and Return to Oz are 1985 releases (Anne of GG from Dec 85 and Return to Oz in June 85). This is similar to Dark Side of the Moon and A Passion Play being released in the same year as well (1973). Remember we’re calling Return to Oz and Anne of GG doubles in a very similar way as we’ve already done with DSOTM/APP. Then there’s the very interesting parallel between Anne Shirley’s imaginary friend Katie, a “window buddy”, and Dorothy’s quite similar imaginary friend Ozma. Both speak to these “imaginary” friends in the respective movies *as reflections* Anne speaks to Katie through a darkened window — in 4orrin1, dialog with this Katie is included in an early tile, just before Anne is told by the guardian that she has been selected to go to Prince Edward Island and Green Gables. Dorothy, on several occasions in Return to Oz and SID’s 1st Oz (remembering that all of Return to Oz is included in that synchronicity in video form) speaks to Ozma through a mirror. We first see this when she is in a consulting room at an asylum. But, as Jared Davis briefly discusses in his Oz blog linked to above, Dorothy then actually *meets* Ozma and becomes friends with her in the “physical world”, while Anne’s Katie remains a reflection, later to be essentially replaced (at Marilla’s insistence) by real bosom friend Diane Berry, a neighbor’s daughter.
Here I’ll also include the connected quote from the Royal Oz blog…
Another big, and obvious, difference is that Dorothy really does go to fantasy worlds and meet fantastical characters. Anne, on the other hand, just imagines hers.
So going back to this graph…
… I think we have outlined enough parallels to justify Booker T.’s doubling of Return to Oz with Anne of GG, especially as supported by the similar “lower octave” doubling of Dark Side of the Moon and A Passion Play. Now, when Anne of GG “enters” the larger circle of 4orrin1, which has to be a hyperstory or hypermovie, we already know that an oppositely charged twin lies waiting: Dr. Zhivago. Working backwards, we can also see the same exists for A Passion Play when it enters the circle of SID’s 1st Oz. In that case the opposite twin is Queen’s A Night at the Opera album (1975). Returning to 4orrin1, and this is what makes it seemingly different from SID’s 1st Oz a bit, we also know that all this revolves around a powerful center formed in the meantime involving Firesign Theater’s A Giant Rat of Sumatra.
Let’s then redo the last half of our above diagram to reflect these energies, which is very similar to the picture shown in Blood Dr., 03 before.
Bodysong and Music From The Body.
Another very odd parallel between SID’s 1st Oz and 4orrin1 is the use of equivalent albums in each that have really suspiciously similar names. This would be Music From The Body for SID’s 1st Oz, with compositions by both Roger Waters and experimental composer and friend Ron Geesin. __ tracks of the album are used in SID, all but 1 and 2. It is, in fact, the 3rd obvious equivalent album of SID — we’ve already discussed the first two in A Passion Play and Night at the Opera.
Let’s turn to what can only be called a *double* of this album in 4orrin1: Jonny Greenwood’s Bodysong. Besides the obvious similarity in names, Bodysong is a soundtrack album for a 2003 documentary film of the same name about “human life”. Waters’ and Geesin’s Music From The Body is a soundtrack album to a 1971 documentary movie called The Body, about “human biology”. Yet as far as I can tell, there’s no causal (non-synchronistic) connection between the films/soundtracks.
Then there are the similar ways each tiles in their respective audiovisual synchronicities.
Music From The Body, of course, only audio-tiles one movie in SID, since only one movie (Return to Oz) is used in the entire synchronicity. All but 2 tracks are used in the synch, the ones omitted being the first 2 tracks. So that means track 3-22, or the last 17 tracks of the album, are all used in SID’s 1st Oz.
Bodysong has a very similar role in 4orrin1 in this respect as well. First off, it is one of only two clearly identifiable equivalent albums used in this much larger synchronicity. So although many more artists/groups are used to audio-tile 4orrin1 (__ at last count) than SID’s 1st Oz (5 total), these tend to be grouped in smaller, non-equivalent clumps. And like Music of The Body within SID, almost all of the 13 tracks of Bodysong are employed for audio-tiling purposes in 4orrin1. The one exception in this case is track 10, an extended jazz piece (check). A difference is that Bodysong tiles 2 but only 2 movies within 4orrin1: Anne of GG and Dr. Zhivago. And in a specific, interesting way.
(to be continued)
Blood Dr., 08
Above diagram:
We can see that the first Bodysong track used in 4orrin1 is track 9, audio-dubbing Anne of Green Gables. Then comes tracks 7-8 in the second tile used from this album, this time dubbing Dr. Zhivago. But it’s the next two tiles that are the crux of the matter, since they blend directly into each other, the first (tracks 4-5) involving Anne of GG, and the second (5, continuation) Dr. Zhivago. This is where the direct association between the houses Green Gables and Dr. Zhivago’s Varykino is made in the synchronicity. Then continuing, the next Bodysong tile (track 6), 5th overall, involves Dr. Zhivago once more, coming in the middle of the 4orrin1 synchronicity as a whole. As you can see from the diagram, from the point where contact is made between the two movies, the *only* point where Bodysong directly tracks from one to the other in the synchronicity, Dr. Zhivago’s red line heads to the right of the diagram, while Anne of Green Gables goes left. What this means is that successive tracks of Bodysong used to audi-tile Dr. Zhivago from this point, 4 in all, also involve sucessively higher track numbers ( (tracks 6, 10, 11, 13), while Anne of Green Gables tracks successively go down in number (tracks 2-3, 1). It almost appears that the two movies repel away each other after contact.
I can’t say for certain that this phenomenon is chance, but I would point to Booker’s 2007 SID’s 1st Oz interview again, and the fact that the two red and green energized artists within, Barrett and Waters/Geesin, are said to act *retrograde* to each other. Is this some kind of carryover of that, especially given the relationship betwen Bodysong and Music From the Body by Waters/Geesin?
Let’s move to Station Agent and some of its qualities within 4orrin1 (I’ll take a closer look at the Green Gables/Varykino twinship a little later, hopefully)? Basically, as already stated, this movie makes a rough 1:1 correspondence with Beatles music within 4orrin1. An interesting pattern to this is that the first and last of 5 tracks used from this group are from the Revolver album, and, in fact, two sides of a famous single released off that album: Eleanor Rigby/Yellow Submarine, one of the best known singles records of all time I would assume. The 3 remaining, middle tracks are all from one album as well: Rubber Soul, the one before Revolver and also usually listed as one of the better Beatles albums (although not usually put in the class of Revolver or Sgt. Pepper).
Basically we can say that Eleanor Rigby and Yellow Submarine *frame* the energies of Station Agent within 4orrin1, with Yellow Submarine acting as a positive outlet for the negative input of ER (which ends in a death in the synch). “Drive My Car” introduces Finn, the lead character of Station Agent, to a woman friend Olivia who almost runs him over by accident not once but twice. But through this “accident” a friendship is formed, culminating, in a way, through “Norwegian Wood”, which shows an unsuccessful attempt at erotic encounter between the two (directly juxtaposed, in the middle of the synch, with the success of same between Dr. Zhivago and “soulmate” Laura). “Nowhere Man” (4th of 5th Beatles tracks used) depicts a temporary split in friendship between Finn and Olivia, as well as Joe the third friend involved in the movie (the movie is a sweet story about 3 friends). And then “Yellow Submarine” has them all together agian and made up at the end of the movie. Nicely tied up.
I’ve mentioned the parallels between Finn + Olivia in “Norwegian Wood”, and Dr. Zhivago + Laura, as audio-dubbed by both Bodysong (track 6) and also a group we’ve not mentioned yet, 10cc. This is, in fact, the only 10cc used in the whole synchronicity, but it’s a good one, I feel. It represents the very center of the center of 4orrin1, its heart and soul. The conjunction of Zhivago and Laura is inevitable in the movie, and also the synchronicity — the non-success of the erotic pair Finn + Olivia just plays off this. More Station Agent-Dr. Zhivago pairings are found through other tiles, however, including “Nowhere Man” with In Utero’s audio-dubbing of Dr. Zhivago being temporarily separated from Laura as he is kidnapped by the Reds and has to serve a stint in their militia (this parallels temporary separation of Finn from friends Olivia and also Joe). Then in Yellow Submarine, all 3 friends of Station Agent are reunited in Olivia’s lakehouse, perhaps to live happily ever after. This tracks to Dr. Zhivago and Laura living, for a *time*, happily in Varykino, which they illegally enter to escape prosecution.
Olivia’s Lakehouse parallels Varykino.
We also assoc. Olivia’s lakehouse with the Yellow Submarine itself, another gathering place of happy friends (“all our friends are all aboard…”). Also the fact that the lakehouse is on Green L. seems to related to the Sea of Green that the yellow submarine lives within, emphasized in the movie of the same name where the cartoon version of The Beatles search through the first 2/3rds of the movie for this sea where the magical yellow submarine is located, the only thing that can save Pepperland from the invasion of the Blue Meanies.
And then to back up we also have death in the first Nirvana/Dr. Zhivago pairing (“Heart Shaped Box”), and also Eleanor Rigby is about death and burial and people who live and die lonely without friends. The death of the Golden Spike model train shop owner at the end of Eleanor Rigby in 4orrin1 is then coupled with the death of Dr. Zhivago’s mother in “heat Shaped Box). Both deaths cause a move for the lead characters: Finn moves from an urban New Jersey area to Newfoundland, described as being in the middle of nowhere; Zhivago moves to Moscow, which then soon takes him to Varykino in 4orrin1 (not as quickly in the movie, however).
Since we’re on this subject, let’s bring in Anne of Green Gables here, because a third and directly related move is involved, that of Anne from Nova Scotia to Prince Edwards Island/Green Gables, and again a death indirectly causes this move, this time of a surrogate father in Nova Scotia. From this we can draw the important following associations.
Prince Edward Island (Green Gables) equals Russia (Moscow > Varykino) equals Newfoundland, New Jersey (RR station Finn inherits from dead boss, but also Olivia’s lakehouse in same area).
(to be continued)
*****
Blood Drive Notes, 02
Next up for Blood Drive posts is explanation of Anne of GG vs. Dr. Zhivago through Bodysong tracks going opposite directions in each. Meet at Green Gables-Varykino.
How does Station Agent, then, figure into this. Look at all of these movies again very soon. How many do I have… I’ve forgotten.
******
Will talk about melding of Station Agent with Beatles near start of my work on 4orrin1. Then Norweigan Wood and Drive My Car introduced a little later on. Talk about Beatles and Rutles, and also overlap with Led Zeppelin. We *see* the Beatles twice in the synchronicity, once on the Magical Mystery Bus that Alvin Straight has just entered, and then next in MMT again overlapped with Zeppelin’s Ocean.
Tell of how Beatles songs divided into 2-4 parts,usually. Have I done this in synch before? Where’s the first time it happened?
Tell of reversing tiles in synchs. This happens first in WSF 2000, and then twice, I think, in SID. Happens in Billfork I know… need to study that synch more. Pattern of FT in Billfork seems very important. Billfork Core Diagram. Read Floydada again.
Drive My Car is unusual because 3 parts from Station Agent and 4th from Flubber. Obviously should be together, though.
Then we must go into center of synch in 10cc overlap Dr. Zhivago. Obvious center, backed up by Norwegian Wood-Sta. Agent (center of Beatles influence in that movie in synch).
Station Agent tiles framed by E Rigby and Yellow Sub, flip sides of 1 single. This is like flip sides of Kinks framing 12 Oz Mouse in Cpt. Mouse. More examples like this?
Go into holes eventually in SL — Rabbit Holes, and Lenin on 2 Places album =ing U. Oblast with second (exit?) Rabbit Hole. This stands for hole in Uncle Meatwad, obviously, which uses 2 Places in 1st and 3rd of 3 sections. How many synchs divided into 3? (MessiaenSphere, SOphie’s no. 9 kinda, Quadrospirited, Billfork kindas, Waits 4 No 1, Peewee Big, 1 Pink kinda, Uncle Meatwad… that’s it I think).
Use Preservation Act I in synch soon. Also more Kinks… Messiaen’s T Symphony. More Radiohead. Portishead. *Beatles* (2 early movies, Let It Be maybe, and more music… they have lots more music to use Paperback Writer, Yesterday, Tomorrow Never Knows, When I’m 64, Day in the life, She’s Leaving Home, Mother Nature’s Son, Helter Skelter, Revolution No. 1, second side of Abbey Rd., solo stuff from *McCartney*, Harrison,
Zappa’s Yellow Shark, How Time Flies??? More Zep? (tube).
Also start thinking about Flatland synch. Buy Miles Davis’ Kinda Blue, and Animal Collective. Portishead’s Dummy.
After that go into Rat itself. Look up material on Giant Rat of Sumatra by Ft on the web. Rat, MO is map synch (how about Sumatra, MT?). Rat-Gang obviously related to Foreign ONe and Willard as gang of one. Willard is also a rat. Map, Mo may play role here. Arab-Grassy-Gypsy. Sink Creek and Camp Zoe, 1/2 mile from Current River. Arab = Arabian, also from Missouri or very close (in Missouri R.). Foreign One = Arab. 4orrin1. Rat-Cornell-Max represents 3 of 4 Greater Sundra islands of Indonesia, Java being 4th. Another pointer to Giant Rat of Sumatra. Look up Max, Cornell, then.
Ink also related to 4orrin1, I think, since points to Ink, AR in heavy SID’s 1st Oz related field of Polk Co. and environ there.
At some point in Blood Dr. posts must move on beyond 4orrin1, will not deal heavily with either Frank’s Moving Mtn. or Pretty Bunnies (twins to Billfork and Head Trip respectiveLy), but will with twins W4N1 and Peewee Big, which are full platinum synchs like 4orrin1. Have already discussed Waits for No 1 a bit below.
Rumblefish and The Birds are most equivalent movies, but Rear Window-Fisher King a bit below, and also Dune. Big Fish, though, is probably 3rd most important movie, but like Baron in 4orrin1, only 1 section of the overall movie is basically used (more Big Fish is used in 1 Pink, which I’m sure will be another I’ll be discussing heavily). Only 1 equivalent album: Duck Stab, 13 of 14 tracks used, though. Residents use the greatly expanded in 1 Pink… most expansive use of one artist in one synch by far, with FT in 4orrin1 perhaps coming in second.
For Peewee Big, we have equivlanet movies of Close Encounters, Oh God perhaps, (closely united with Close, it seems, throughout synch), The Elegant Univ. (?), Being John Malk.,
Just below this we have At Play In Fields of Lord used, but only plane flying parts at almost very beginning and end of synch. Then One From The Heart is used in similar way, although only in 2 stretches again, and at end of part 1 and beginning of part 3, on opposite sides of the same sections Fields is used. These are *balance*, then.
Simpsons use both LEmon of Troy and Who Shot Mr. Burns, both parts 1 and 2. Difficult to call them equivalent, since both are not movies.
6 Feet Under used sparingly. Oh West Wing… 3 episodes used, but Noel the most. COuld be called equivlaent, but still not movie but 1 hour episode of show.
Peewee’s Big Adv. in Peewee Big is an interesting case. All video of movie found in middle of 3 sections, making it like Big Fish in this resepct. However, audio is used in several instances in both beg. and ending sections (1 and 3). However, I would probably call this an equivalent movie since movie is all about Peewee loosing his precious bike and then getting it back, and all this is shown in synch.
Peewee Big is first synch, I believe, that quotes from former synchs, namely Quadrospirited in 2 instances in 1st and last section, and then SID”s 1st Oz in middle section.
Second most used West Wing episode (of 3 in synch), which is called Poet Laureate, is only in middle section, where no Noel tiles are found, I don’t think. Actually a 4th West Wing episode tile is found in middle section, talking about Ishmael and Isaac.
Sophie’s Place, like many other movies in synch (Fields, Heart, Close Encounters, Oh God, Being John Malk., Peewee’s Big Adv. (audio), Elegant Univ.), is balanced between 1st and 3rd sections. Exact middle and exact end of movie is used in this case. Both are continuation of tiles from other synchs, Sophie’s No. 9 and new Blood Dr. respectively.
Other Peewee Big movies used in synchs: well, Blood Dr. is a kind of moon or sattelite of Peewee Big in ways… no 1 Pink, I’m sorry. But also uses the same Simpsons DVD used in PWB, but not the Burns epsode but 2 other episodes later on in disk. (Lisa the Vegetarian and esp Homer 3d part of Treehouse of Terror VII). 2 tracks of Queen are also used in Peewee Big as they are in Blood Dr. 1 Pink also contains 2 Queen tracks.
Close Encounters also used in Cpt. Mouse, and represents a continuation and perhaps culmination of ideas from that movie in music the aliens make with mothership.
Movies from Peewee Big used in other synchs, then:
Sophie’s Place: Sophie’s No. 9, Blood Dr.
Simpsons: Blood Dr.
Close Encounters: Cpt. Mouse
Peewee Big Albums:
6 tracks of David Bowie’s greatest hist are used. Notable exception: Life on Mars. Glues a lot of PWB together. Very good songs all. Wendy Carlos balances Ives by overlapping 2 Fields. Ives continues when Fields switches to Close Encounters at end. Ives continued from 4orrin1. 2 in first section, 0 in second, 4 in third.
Negativland used in all 3 sections. 1st and 3rd with Sophie’s Place, and 2nd with Peewee’s Big Adv. in diff. album (Death Sentences, perhaps their best).
Queen has 1 track in first and 3rd sections. Another balance between 1 and 3.
Pink Floyd also used to balance 1, 2, 3. Appears in all 3.
Lots of movie dialog on diff. movies in this synch, cutting down need for audio sources. Notable in this is overlap of audio from SImpsons with video from Peewee’s Big Adv. in section 2. Another notable instance is use of West Wing dialog overlapping Being John Malk. when JM himself enters hole. And then also BJM dialog overlapping Elegant Univ. video.
Peewee Big begins and ends with West Wing. Like W4N1 begins and ends with 6 Feet Under (also used in PWB, but all in middle in that case).
Go into parallels of PWB and W4N1. Imp. to note that no FT in either one, unlike other platinum synchs with exception of Cpt. Mouse and Blood Dr.
1 Pink:
Divided into 3 parts, like previous synchs w4n1 and pwb. However, sections more amorphous in new synch, and not as distinct and fixes as in w4n1 and pwb. Mulh. Dr. introduced heavily in section 2. Replaces Twin Peaks of FWWM. This is first synch heavily about David Lynch and his movies (Muhl Dr. and FWWM in this case, INLAND EMPIRE in the 3 subsequent synchs and then Muhl Dr. agian in the synch after that, the newest one).
Big Bubble only used in middle sec of 1 Pink. Fingerprince found in all 3 sections… kind of a balance. Comm Album in all. Mole only in 1 (hatch), and Tale of 2 Cities is also in sec. 1. Freak Show only in first, toward beginning, but Petting Zoo, also new Residents, in 3rd. (Betty’s Body, Picnic in the Jungle). Let’s Rock and Man’s World are pretty close: last of sec. 1 and first of sec. 2.
Loosest Thoughts…
Think now that I will pull out of Noru, finally, at the end of this month. Been a great run. Not 100 per cent sure of this, but I want to really start to downsize in SL. Want freedom of motion. Here’s the idea:
Reinstate the Edwardston Station Gallery of 100 collages, that can fit snugly on a 1024. This was erased to make way for b_hivia,which I suppose will have to go… a shame. May change my mind (but can also always bring back b_hivia in the future). I don’t think Noru is the permanent place I want to settle down in SL, if there is such a place. Keep the CHRO gallery in Healy, and also the ability to rent outside the 1024 with the ESG on it. So that’s 3 places I’ll always rent. But have to think about all this more.
Sunklands within SL is kind of like the blog within the blog Hucka D. and I have been working on lately. World within a world. If there are portals to other virtual worlds, they could *well* (hehe) be in Sunklands. Sink, sank sunk. Sunklands. Where to rent there, though? Many options.
I’m going to have to keep “channeling” Hucka D. and his Sunkland related friends in order to keep retrieving info about a Sunklands before the Sunklands. I haven’t forgotten about Chilbo… always have the option of renting there or near there as well. Same goes for Rubisea.
Let’s bring in Hucka D. briefly. He hasn’t been his usual chatty self lately, but let’s see what he has to say this morning.
Hucka D.:
Good to downsize. Blue Mars is Blue Oz. Time to sink, sank, sunk. Thank you.
bb:
Thanks.
Marty?
Hucka D.:
Marty wished to speak.
bb:
Thanks Hucka D. Hi Marty.
Marty:
The end is here. Beyond the end is beyond the beginning. 5 in 1, 4 in 1. 5, 4.
bb:
Where’s Lemon tonight?
Lemon:
He asked me here. Firehead.
bb:
Who are The Bill?
Marty:
2 in 1.
bb:
Is this the beginning of the end of SL?
Marty:
Yes.
bb:
But not for me in SL.
Marty:
Sink, sank, sunk as our friend says.
bb:
Is the answer Blue Mars?
Marty:
Yes. Martins all.
bb:
Blue drake?
Hucka D.:
I am here. Did you hear?
bb:
Not sure…
Hucka D.:
I have a list. First, count your sinks. 6, 7? Better find out. Second, figure out why they are there. Start with The Arab. What is it? Third, what about the obvious 2 biggest sinks? What’s their relationship? Fourth, Plant’s here.
Plant:
Hi. The Arab?
bb:
You said you stayed 3 to 7 years in Sunklands, Robert Plant Variant.
Plant:
True.
bb:
Where did you live there during that time?
Plant:
In the hole.
bb:
I don’t understand that answer.
Plant:
Let’s do an experiment. Pull up “Rabbit Hole”.
bb:
The rabbit’s not coming out. It’s unanimated now that I transferred it to the blog.
bb:
I think that’s enough. I’m not fully seeing the point.
Plant:
The point is to think about rabbits and holes. Think like one.
bb:
Can you tell me more about Peter?
Plant:
You are.
bb (echoing what Plant said):
I’m Peter. Peter Rabbit.
Plant:
Yes.
bb:
Why don’t I remember this? What happened to our nice discussions of Chilbol and Crabwoo and such?
Plant:
bb:
Did you live in Quetzal, Mr. Plant? It’s quite close to Nowtown and Zen City and also Sternberg, after all.
Hucka D.:
Yes, he lived there. He had to buy oranges.
bb:
Oh. Is that part of Greater Sternberg, then?
Hucka D.:
Yes. Go there. Thank you and goodnight.
bb:
Thank you.
Sunklands 
