Quick Note
July 1, 2011
Klaus:
Obviously I am watching The Shining Wall. "Mommy, there's an airplane in the sky", the "Twin Towers". Damn.
LeClair:
There are a few interesting 9/11 references in The Shining. When Jack first bounces the tennis ball. There are 4 pencils on the writing table, aimed at the fours "Missile" looking figures on the wall over the fire place. Jack throws the ball 12 times but the sound of the last throw is muted as the scene cuts. This leaves 11 audible bounces. The first nine throws are seen and heard as the camera widens from the typewriter out to the whole room. There is then a cut to a shot from behind Jack as he makes two more throws before the fade out to exterior. This gives Nine bounces, and then two more make Eleven.
The Bar Back of the Gold Room also has a 9/11 code. There are 9 interior "white light" panels and 11 interior panels. A cash register sits in the two outer sconces. You are aware of the 9/11 vs 2001:ASO clues--The Millennium Hilton, etc.? Well IBM made cash registers before they got into computers. I take the two "registers" as similes for WTC 1 and 2.
TWO THOUSAND WALL
July 1, 2011
Klaus:
I'd like to hear your opinion on the starting of the Wall at 3:32 in 2001.
LeClair:
I'm gonna sit down and do the 3:32 timing in a few minutes, when my roomie leaves for work. I will also look at The Shining vs. The Wall. Quite frankly, I could listen to The Wall doing just about anything. I can't believe it took me this long to get around to hearing it.
I am sorry for my lack of response these last couple of days. Major anxiety attack. Spent two whole days undercover--avoiding shadows.
Klaus:
Dude, I completely understand going undercover. My brain has been rattled quite a bit too.
Looking forward to continued dialogue.
LeClair:
Thanks for saying so. This is some heady stuff. Ironically, since we have started this inquiry, I have felt somewhat elevated, as if I was walking a few inches above the ground. Nevertheless, the overall awesomeness of it all can be a bit much sometimes.
I have just completed your 3:32 timing and I loved it. Then ending is perfect and here are several points of interest throughout. The "squeak" on Vera is shocking the first play through. Do you have an organic justification for this timing or did you experiment to get it right? My 4:22 is oriented to begin DSOTM just as Also Sprach ends. I love that piece, and I like to hear it to start the movie.
I'm gonna try to mash Wall vs. The Shining in just a bit after I tuck away a little Soylent Green for lunch.. Any advice on timing?
Klaus:
The best part of the 3:32 timing is the absolute accidental timing caused by a smudge on the DVD that resulted in Thin Ice starting at the end of the Intermission. It clicked so hard, that I wondered if it would pay dividends from the start. Well, the "if you don't eat your meat..." kind of sealed it.
I was so high from watching that hit, the fact that the Shining was in tune to the Wall was almost just too much. I'm not really sure just what is going on here, but I am alternately feeling like we are either cutting edge mystics, or the two guys collecting aphids at the beginning of A Scanner Darkly. The problem/salvation is that when we wake up the next day, the damn bug is still in the jar.
I think the anxiety results from not knowing if this is the tip of the iceberg, or the end of the road. Three cheers to finding out!
Timing
July 1-7, 2011
Klaus:
My timing is fucked up. The key sound that locks in the Pre-Intermission is the screech in Vera by the Monolith, and the tires screeching as the pod turns. Post Intermission requires starting Thin Ice right before the Spaceship is presented. This manipulation seems to taint it a little, but it really works well.
LeClair:
The main purpose of the "tensor" is to use three different ruler sticks to measure three different events and thus find links not only in excellent musical synchro's but to come to know very well the timings of each movie and how they match thematically. As such, it is necessary to begin all plays at the same point in each film or conversely with each piece of music at a specific point.
But don't get me wrong here, the unique value of some accidental cut-ups is not to be dismissed. I am gonna do your skewed timing from the intermission tonight.
Klaus:
Start Thin Ice at 1:29:41. The year 1941 popped out, and it works really well.
LeClair:
I just completed your selective timing of 2001/Wall. It clicks on so many levels it is hard to imagine that it is accidental. It is actually pretty close to the play-out starting at 4:22. Out about 10-15 secs. I am beginning to doubt the strictness of my originally planned timings in favor of these more carefully applied results. I have an idea re: The Shining I want to test out.
Pax for now.
Klaus:
I was rereading your essay on "A Serious Man", and the connections between Danny, Harold Lloyd, and The Mentaculus (all work, no play) seemed to jump out. Also, the Dybbuk dies outside in the cold due to a woman protecting her little man.
Klaus:
Rewatching ASM, and wondering at the connections between the Mentaculus of Arthur and The Anti-Mentaculus of Jack Torrance.
Hope all is well with you and yours.
LeClair:
A nice connection, William. In a sense the two are identical. Strike that, it more than merely a sense... they are the same work... because God = Saturn/Satan. Jack and Arthur are each confronting God. Maybe the difference is that, to my eye, it appears that God is just as interested in Jack as Jack is interested in God. The same does not seem to be true for Arthur. Another difference is that Jack's manuscript is like a mantra, and indicates the clearance of thought. Arthur's work seems like the result of a more fruitful investigation of his creative talent. I mean, "The Mentaculus" is beautiful. The transitional scene, which finds Larry under the spell of "The Mentaculus" is my favorite shot in the whole Coen Ouvre. They actually manage to create, in that quick cut, a sense of "out of body" contemplation.
Here is a quick clue to the hidden cruelty (barely hidden) of the Coen's. "Mentaculus" is a spoonerized term for "A mental case".
It is interesting you reached out today, as I was gonna drop a line myself a little later. I am going camping for a week, starting tomorrow and I didn't want to miss returning any mails.
I'll be back in touch when I return mid-month.
Glad to hear from you.
Klaus:
Slowed down, one can see "SGGIH-NOSOB" written in the middle of one of the pages of the Mentaculus, ala "REDRUM". Both Arthur and Danny are in tune, but just need to tune in a bit clearer, as the messages are coming through backwards.
Why can I not place the pink ball scene offhand?
Enjoy your getaway into Nature, I'm a bit jealous. Talk to you later Mark.
LeClair:
The scene is right before Danny goes into Rm. 237, as he plays with his dinky toys.
Peace
Deathly Hallowed Pt. 2
July 16-17, 2011
Klaus:
Try to experience this [Dark Side of the Moon + Harry Potter and the Deathly Hallows Part 2] in the theater. Start DSOTM with "Time" right as the movie opens. You'll know right away if you've got it locked.
LeClair:
Just got back from the theater... the movie was sold out. It is Stampede Week here in Calgary. The city is swollen to its maximum capacity. Gonna try again with friends next Friday, when the town has cooled down. In the mean time, I have started to work on the "tensor". DSOTM is a lead pipe cinch as a sound track to The Shining, with especial emphasis on the lyrics. This is going to be a big project... I expect to have to complete all nine pairings several times to get the message.
Anyhoo... glad you are well.
Klaus:
The correct timing should have the alarm clock in Time going off as Valdemort's wand lights up the sky. It's really good.
Obvious
July 21-25, 2011
Klaus:
Start The Wall at 00:28 on the DVD for The Wizard of Oz. The screen shot says "A Victor Fleming Production". It's kinda ridiculous.
LeClair:
Wow... I can't wait to try this. I am gonna do it right now.
I have been working very hard on "the tensor" and the results are astonishing. Just to explain, the basic idea is to use the three albums as fixed measurements against each film. The term "tensor" is metaphorical, from Gauss and the "physical tensor", which is a way of triangulating a point in space.
I have alot I want to share with you but the data is voluminous to say the least. I am a slow writer, and I don't want to stop the research just yet. I am at it day and night and I think the first complete pass ought to take me about another two weeks. At that time I will compile what I have and send it to you alone. There may be some kind of writing project in this--I dunno--but for now, I really appreciate your thoughts and the education that informs them, and I would like to continue our partnership into these matters..
I am doing The Wiz on the Wall right fukkin' now.
Klaus:
I do consider myself lucky to be in communication as you tackle this monster. Let me know if there are any specific viewings that I can offer feedback on.
As I wrote before, I just completed Joe Campbells book Skeleton Key to Finnegans Wake, as well as another reread of Robert Anton Wilsons James Joyce essays, and, my mind is just completely afire. It's really starting to absorb itself to a new level. Kubrick has to have been well versed in Joyce, and I am concentrating on this angle right now.
My mind is always open to bounce ideas off of.
LeClair:
Just finished up the Wall on the Wiz.
Many marvelous moments. Funny and profoundly insightful. I am interested in knowing how you settled on this particular time coding.
Here is a corker for you in the field of non-local punnery--and I would have missed it if I had not watched the Wizzing on the Wall.
The Three albums of The Wall, Dsotm and Meddle are natural pairs for the Scarecrow, the Tin man, and the Lion by way of EWS, 2001 and The Shining.
1. The Wall's most famous track is themed around the concept of education. Scarecrow gets a Diploma (kept on The Wall. The connections to EWS are also present in this character, as the film is an education for Bill. There are many themes in EWS that relate to "paper". Money, Wrapping, Newspaper, Rolling Paper, the note from Somerton. Paper, like Scarecrow, is vulnerable to Fire.
2. The main theme of DSOTM and of 2001 is "Time". Many, many lyrics about the passing of Time. Dave gets lost in a Time Warp. HAL is an electronic life from and vulnerable to Water. Like Tin Man, HAL is also a Machine. The alchemical metal associated with Jupiter is exclusively Tin. The rain-rusty Tin Man is given a Watch.
3. Meddle is acknowledged as a play on Medal and Metal. "Fearless" is a key track. The fearless Lion gets a Medal. Metal oxidizes into rust (vulnerable to moist Air). The costumed man/bear/pig from The Shining is remarkably similar in costume to the Coward Lion. There is a Lion on a prominent painting in Danny's room. Wendy (windy?) mentions Air by way of the high altitude.
The use of The Axe by Tin Man somewhat blurs the matter. The Tin Man appears in EWS too, as Szavost. Both he and the Tin Man discuss the Art of Love. I suspect there is much more to this vein of thought.
I am interested in your research. Please don't hesitate to drop some knowledge my way, especially as it pertains to our mutual fascination with Kubrick iHuasca.
Peace Owt for Now.
Klaus:
As to the timing,
I chose the "there's an airplane up in the sky" to coincide with Glenda's bubble.
Everything seemed to fall in place after that.
Klaus:
The dog's name is Toto. Can be pronounced TwoTwo. I think 00:22 provides a better starting time for Dark Side of The Oz. Just in the first ten minutes it has revealed a much tighter fit.
Klaus:
Holy fuckin shit! There's no denying it. Everyone has been wrong with the timing. I'm guessing the wrong time was initially given out on purpose.
LeClair:
Looking forward to trying this tonite. The number 22 has specific connotations for me which also directly relate to my experience of DSOTM/2001. I have also decoded Toto as 2-2. We are on a likewise wavelength, I think.
Klaus:
I might have gotten a little overexcited about the new start time for Dark Wizard, but I really believe it's a better fit.
I can't seem to find a fit for Meddle.
LeClair:
Honestly, I think the 22 timing is boss. I have only watched through the second play of Time (was interrupted by my roomie), but I liked it alot. In a strictly musical sense it is very strong, and many good lyrical connections
I have a discovery that I think is worth consideration. I do not know what it means, but it mos def validates matching The Wall to all three Kubrick's of our recent interest, with timings as I have suggested. Furthermore, it is a strong indicator that there is a Floyd specific code in Kubrick and particularly in these movies.
On four distinct plays of "Goodbye Blue Sky?" a character or characters are seen emerging from "elevators".
1. Dr. Bill into his office. First play.
2. Dr. Bill stands in front of a single elevator in the Lobby of the Hotel Jason. Second play.
3. With 4:22 timing: Floyd emerges from elevator into Space Station customs (seated next to pink flight attendant). First play.
4. With 00:13 timing: Ullman, Watson and the Torrances step out of elevator into the Colorado Rm. First play.
I have found another correspondence in Wall/2001. Mother plays at roughly the same time as Money from the DSOTM mash-up. What it interesting is that Mother oscillates between the time sig. 3/4 and 4/4. Money is mostly 7/4. In the DSOTM/2001 synch the "cash register" from Money cha-chings just as we see the IBM logo on the ship console. During The Wall/2001 mash, the IBM logo appears to the lyric "check out". IBM-Business Machine-Cash Register-Check Out.
BTW, have you watched DSOTM with the 4:22 Timing for 2001? You will dig it.
