Helter Skelter Vol. 4: I Can't Live Without Fidelio

LL
June 22, 2011

Klaus:

Looks like I'm going to really spend some time with "Metaphor".  The mathematical language is beyond my immediate grasp.  I'm think, for now, I'm going to put it to the side, but I look forward to returning to it.  Some quotes that jumped out at me:

"Thus, we have indicated, the thought-object itself cannot be depicted explicitly within the domain of the communication medium. However, the reference to such a thought-object can be recognized by a hearer whose mind contains the sibling of that same thought-object."

"Otherwise, only if such suitable primary sources are not available, we should rely upon paraphrases which effectively and fairly state the true paradox associated with that original discovery."

"This form of classroom introduction to such original sources has a required order, as the ordering of Euclid's Elements of geometry illustrates, from a formalist standpoint, the notion of a choice of such an order. Secondly, the ordering is determined by the consideration, that mastery of one discovery is virtually prerequisite for the comprehension of a successor in that series. The sound secondary curriculum teaches geometry and the plastic arts, as the domain of visual experience, as, in parallel, the student concurrently learns language, literature, and music—the domain of hearing."

LeClair:

Hey William,

Just chilling this evening. Taking a cut off from the cut up. I have a rare occurrence of responsibilities to manage over the next several days, so I may find little time through the week end... but don't worry. I'll be back at it.

Pax

Klaus:

Good call.  Talk to you soon.

Eyes Walled Shut
June 22-23, 2011

Klaus:

First cycle through.  Speechless.
Did you honestly just discover this Wall/EWS yesterday?  I trust that what you represent is accurate, but it's really, really, really eye opening.

LeClair:

Yes sir.

I speak the truth to you hear, without the slightest distortion. It happened just as I say.

Before last night I had never heard "The Wall" and it has been over two years since I have watched EWS

LeClair:

Hey William,

I noticed the misspelling of "hear/here" in my above email, and I couldn't help myself.  I need to say a little more here, just a word or two.

I'm not one for dramatics, but I give you my word that in our discussion I have never even remotely distorted the truth.  There are alot of e-shennanigans going on out there, but that is not my style, and even if I were likely to engage in such foolery, I think this subject is far too interesting and fragile for anything other than complete and careful honesty.  I do not expect you to trust me as we may continue, but I hope you will.

In spite of my natural tendency to explore frontiers of information, I do not think I would have made this discovery without prompting from you.  Further, I think that there may be a link between you and me, a link with a highly charged potential.  Given the few hits at Floyd/Kubrick site, and adding the ridicule I have had to deal with when I try to broach this subject, I suspect there are not many people who are after the same magic.  I mean... it is scary.  A can of worms.

I am grateful that there is just one person with whom I can express this particular vein of thought in a detail that is not widely appreciated, and who seems to be touched by the same spectral influence.  I will treat this relationship with respect.

I have just completed my second full play of Pink Eyes Wide Shut and it was every bit as powerful the first time around.  One thought that occurred to me is that Kubrick is "another brick in the wall" and that this album is a critique of the underlying cruelty of Kubrick's work.  This may seem like  a stretch, but I have my rationale, which will surely come out in our investigation.

I may have a little time tomorrow to look at "A Pillow of Winds", and if I can I'll send you my thoughts.  Otherwise, I'm  likely out of the game until Monday.  Lot of household chores this weekend.

Talk soon,

Mark    

Quick Reply
June 23-27, 2011

Klaus:

Thematically, Pink Eyes is in tune, and my focus on this connection was monopolized, but there are some literal lyric-to-image synchs that are DEAD ON, too many, just as if K drops a few atomic bombs along the way as a kid randomly lights firecrackers.  The exactness of these connections distracted me, in the sense that it made me recognize that this was THE MASTER WORK of K and Pink.

  PKD uses a term, "enantiodromia", used by Heraclitus, then Jung, to "describe the tendency for the psyche to overcome deepseated psychic resistance by shifting (seemingly suddenly) to the opposite pole of attitude, belief, and emotion".  It's a psychic "2012".  I usually undergo this during hallucinogenic work, or intense marijuana visions (if I haven't smoked in a long time).  But the tandem of Shining and EWS and our dialogues sent me hurtling through an entire pole shift of confidence and meaning.  I kind of expected it, was kind of ready for it.  I expect that you may be very in tune to this phenomonom, judging by your direct response.

This enantiodromia is a kind of vertigo, a distortion, a Mirror image, a conscious nightmare, the content of which remains in the brain more lucidly than a dream.  I needed to banish the residues of those visions by humbly asking you directly about the Pink Eye origins.  I hadn't the strength in that moment to reconstruct the trust that I have in this.  Thanks for understanding.

Trust in my words as well, I present my feedback directly and honestly.

Talk to you Monday.

LeClair:

Cool, bro...

Talk Soon.

LeClair:

Hey WK,

Did you have a good weekend?  I got all my chores done and managed to get in two more complete plays of PEWS, once without the subtitles.  The exhilaration of this "discovery" is just about the finest I've ever felt, and I have had more than a few thrills in my life.  I am excited to get back into our discussion about The Pink Shining.  

Before I get into APOW, I want to sum up some thoughts on OOTD and also address a few vital points you suggest in your mails.

- Water.

The "light blue" book and album colors and the movie credit titles are the idealization of the color of Water.  In The Pink Shining this calls to mind the bathroom and kitchen, and the distorted sound effects that make these rooms different from other household space. Think of "singing in the shower" and therefore "Singing in the Rain".  "Singing in the Rain", a movie about the attempt to bring sound to the movies, I spoonerize as "Reining in the Sing", which describes the enclosure of a space in a wall of sound barrier.  Could it be that prior to the age of sound reproduction and synch, that we lived somehow outside of sound, "outside the wall", in a world of silent psychic imagery, with the music of the spheres as audio track?  Does this idea in any way relate to a period of time in the womb (caul field)?  Pink Eyes has alot to say on this subject.  There is something here about sound "underwater" that links nicely with "Comfortably Numb".  "You are only coming through in waves..." and the like.  But I glean more depth from the conflation of water with light.

Underneath the "blue" title credits, Jack drives the "yellow" VW.  As idealization of the bodily process, water is "blue" going in and "yellow"coming out.  These two colors are also noticed in the theory of an object moving at light speed, which approaches yellow and departs blue.  I could be wrong on the succession, maybe approach is blue and egress is yellow, but I am certain about the coloring.

As we have the "86" and "8/6" reference attached to the same images, I suggest this reinforces my theory that the Japanese detonations serve some sort of "time busting" purpose.  In my earlier mail I suggest the bombs are designed to "outpace the sun", but I would add that maybe this has to do with achieving light-speed tech.  Moreover, because the innate references to sounds cells, this same"'blue/yellow" connection could relate to Moon Landing tech, which is to say, the tech that allows for the possibility of leaving the "echo-drome" that is the Earth's atmosphere.

And together it all seems bound to the emerging Age of Aquarius and the Magick of Dee and Kelley through Crowley, Hubbard and Parsons, all of which is obsessed with the Moon and Sun.  There is a poem by Golden Dawn-er Yeats that suggests the destination of the soul is the Sun, by way of the Moon's orbit.  It is found in the epilogue to his "A Vision".  I intuit something like this: the Moon is the key to a Solar "stargate".  This is theme is present in the first verse of "Echoes", which I'll get to when I look at mirrors in detail.  Because of the anal-pedophila implied in "The Shining", along with data from some other research3 regarding the occult nature of the "stargate", I am stuck on the connection to the Sun as "anus" as expressed by Bataille in his short surrealist essay "The Solar Anus".  It gets into many ideas that gel with our investigation.

This imagery of Water is chilling when considering the McKenna link you sent to me.  Think of the refractive quality of water, which "splits" the image.  Christ bears a pitcher of water.  McKenna says Christ is the demiurgic presence that "splits" the time stream of human history.  Let's say McKenna's interp of his vision is correct.  Could it not be then inferred that Kubrick's work is a competitive technology, designed to give an ominous tone to the chance at reality outside of the BIP?  And if so, could one not simply reverse the whole model to imply that McKenna and his ilk are wolves in sheep's clothes, concealing an unknown danger, attempting to draw as many in as possible with false promises of spiritual transformation, and that Kubrick and others are trying, on the psychic level to sound a warning?  I walk the line on these questions.

 - Nice hit on that sandwich/cunnilingus pairing.  The jam on his cheeks is decidedly lurid.  It reminds me of 69 from "The Book of Lies" which ends with the admonition "...little children, love one another".

- About "Catcher".  It occurs to me that the final image of the book is of Holden (hold-in-caul-field) watching his little sister ride a carousel.  "Carousel" the musical brings "You'll Never Walk Alone".  I consider the title of this song may be a cryptic threat, given by the "all-seeing" demiurge to his malformed creation.  Add to this the notorious rep of "Catcher" as some sort of MKUltra trigger.  The poster in the Overlook games-room reads "Monarch" and "SKI" and shines a bright light into the eyes, in the technique of an interrogator or torturer.  The letters "K" and "I" from SKI are pressed together in such a way that one could read SKI as SK in a stylized font.  The implication of this image is massive, but at the least it seems to indicate the hand of Stanley as practitioner of the Monarch Mind Control program.  As I stated re: Pink Eyes Wide Shut, I think Waters may have "busted" the code and delivered "The Wall" as a critique on Kubrick's skullduggery.  I further posit the possibility that Pink Eyes Wide Shut is Stan's response to that critique.  

- You might be amused to note that the first four blue letters that overlay Jack's VW are RI and CH and the last four are ec and BU which unscramble into CUBERICH.

APOW plays from

00:06:11 to 00:11:22
00:46: 57 to 00:52:55
01:39:39 to 01:44:50

The links seem pretty straight forward, but there are a few interesting subtleties.

- Each play sets the stage for the increasing theme of isolation.  Of being closed in.  This fits in with either the gnostic BIP idea, or the sub-gnostic "lost in space" concept that I favor.  There is a nice parody of reversal in the idea of Summer/Winter.  I think APOW expresses a wintry quality, but lyrically refers to many seasons.  The regular staff of the Overlook will have their summer, their vacation, during the winter, and the Torrances are on vacation of sorts at the empty winter hotel.

- Two plays take place in the caretaker's bedroom, sitting on the bed.  APOW makes reference to sleep and being in bed.  What it interesting is that in different scenes we see the characters in question from opposing perspectives.  The article at Kubrick/Floyd discusses the use of this convention, which is apparent especially in the age of silent art cinema.  This type of image reversal is all over Kubrick.  I am not sure what it means, exactly, but I think it has something to do with the general theory of mirrors I'll present later.  There are mirrors present in all three scenes, and in each case characters are in direct eye-line with the mirror on the set.  The first of these mirrors is the first we see in the film.  Danny at the wash basin.

- The musical modulation from E major to minor is timed to three "darkening" events.  The first finds Ullman beginning to explain the Grady tragedy of '70 to Jack.  The second comes just as Jack says he can't sleep because he has "...too much to do...".  We know where his plans will take him... right along the same path as earlier caretaker Charles Grady.  This play of APOW relates also to the content of the novel, which blurs Charles into Delbert.  The third follows Wendy as she crosses from the well-lighted Colorado room into the dark passage behind Jack's typing desk.  This final modulation relates as well, I think, to Grady in some way.  Wendy will confront Jack soon after.  Jack, who is now operating under the spectral influence of Delbert Grady.  To this I add a sneaking suspicion that that "Grady" is a reference to the Monolith, the Moon or both of these.  Is Apollo 13 is the Tragedy of '70?  Off by a foot pound per second, per second?

There is a scene in the first "Superman" movie that has some cryptic moon/monolith clues, which includes a cop called "Officer Mooney" or "Moon-e".  "Grady" is a homophone for "Grade e".  I think that the letter "e", particularly in lower case, is somehow a symbol of the Moon and/or Monolith.  I find a small conformation for this in the  "Superman" film with Brandon Routh, which finds him lifting the monolithic "black" island into space to the music of Ligeti, also used in the soundtrack to "2001".

- I have found two fairly direct lyrical connections, both related to Wendy.  Wendy, says she'll "...lock the door..." lined up nicely to the same lyric in APOW.  Later, the "golden dawn" lyric comes close to Wendy riffling the novel pages at Jack's desk.  As I pointed out,  in the Italian version these pages read..."...the sun holds the morning in its mouth...".

There are one or two things I am forgetting here... I need more diligence in my note taking.  I hope that your comments will jar some of it loose.

I will start on "Fearless" now, which is where I think that this thing really starts to break free and fly.

Peace Oot for Now.  

Mark  

Klaus:

I too was in the spell of Pink Eyes this weekend and took it in twice more.  It is an incredible find indeed.  It feels as though an avalanche hit my brain last week.

I've can't get my thoughts down right now, expect a message tomorrow.

Demiurge Overkill
June 28, 2011

Klaus:

I wanted to take a little time to gather my thoughts, because I don't want to fall into the trap of "forcing" it, offering connections in bulk in an attempt to keep up with your insights.  I want to only report what is there.  The key to this work is some sense of objectivity amidst this swirling subjective tsunami of cinema.  Ulitmately, the goal is to cut this mother into enough pieces to reveal the truth, what ever that is.  I am trying to prevent myself from muddying the waters.

To remark one more time, it really is exactly like the commentary of Joyce scholars with Finnegans Wake, which is my cue to jump into the POW notes:

**I appreciate your concern for clarity, but I think your worry is unnecessary.  So far, your comments have been intelligent and restrained, and have helped me to see many things I had heretofore missed out.  For my end, I am never more satisfied than to be proven wrong on a favorite theory--but I will fight for a good idea until it is surely dead.  Indeed, I must be proven wrong in some way before the thrill of new discovery becomes to life.  My attitude toward this material is the product of a 30 year obsession with "2001".  The basis for this obsession is nothing more than the desire to "make sense" of the movie.  I will not settle for a merely self-satisfying result.  Our endeavor is the natural expansion of the same principle.  We differ here from attributed scholars because we do not seek external validation to our findings.  Throw in everything you've got, complete with any scathing critique, and in the spirit of mutual trust, the truth will rise to the top. 

1st Play

-first mention of 1907- tied to McKenna, but Tunguska happened in 1908, not 1907.  McKenna is usually right on with his facts.

**This slight discrepancy does not deter my interest here.  I think McKenna's "theory" is key.  The hotel is built from '07 to '09.  Indian (alien?) attacks are repelled during construction.  Because of the conflation of Bear/Russia and clues from "Dr. Strangelove", the Tunguska event fits in with my theory that the nuclear events of the 1940's had a reverse "ripple in time effect", precipitating anomalies in the past time stream.

-cruel winters, description of the Caretaker:  why do they not hire TWO families to take care of the Overlook, recognizing the isolation? $$$

**There must be "one family" as a model of the "Nuclear" nature of events at The Overlook.   Jacques Lacan talks about the "algebraic" shuffling of human emotions from one person, family or community onto outside groupings, to allow that certain traumatic facts of life are not dragged into daylight.  The Overlook experience is designed to counteract the false influence of "the other" upon the family unit.

-not physically demanding, psychological:  much like the psychedelic experience, or death.

**It is a fun fact that it is Wendy doing all of the maintenance while Jack writes.

-Charles/Delbert: stacked neatly in the West Wing

-"before I turn you over to Bill" coincides with "Golden Dawn"

**This is interesting.  The symbol of "The Golden Dawn" is the is the ascending blue and descending red triangles you describe that take place near the second playing of "Golden Dawn".  What a great clue.  Nice one bro.  In the "Golden Dawn" symbol there is a sun in the center of the image.  I am also interested in this bit of dialogue "...turn you over to Bill...".  Could it be that Ullman and Watson somehow represent the opposing sides of a One Dollar US Bill?  Turning over as US gives SU--Stuart Ullman.

Second Play

Problems with "reception" Wendy goes into the aurifice.  She contacts the US. Misses torrents?

**I like the "torrents" pun.  "Jack Torrents" seems especially profound.  Could Danny be "DNA Torrents"?  There seem to be more than a few computer related puns hidden in Kubrick at large.  This whole issue of contact wit the forestry service seems related to Moon Vehicle to Earth communication.  The tree on the US Forestry Placard is a rocket rising above plumes of exhaust.  There is a similar image of a tree on the wall at Zeigler's house party in EWS.  The rocket appears to be aimed at the Sun.  This is another clue to some thoughts I have about the use of mirrors as related to some lyrics in "Echoes" ("...no one flies around the sun...").  I'll open this vein when I get into "Fearless".

Wendy-yellow top, blue bottom

**Wendy's yellow top times to match the VW from play One of OOTD.

Language on the radio: they say "OVER" to note a stop in communication because they can't LOOK at each other.

Danny: cognitive hallucination of two girls, wearing red, white, blue

Danny-when he talks to Tony, they can't LOOK at each other.  This is back to your theme of listening without looking, with Adults using phones, radio, TV, the Child either: utilizing the organic, original media, or recreating this media based communication through mental disturbance ( imaginary friend).  The key here is content.

-42:  1st play, Danny has 42 on his sweater, looking in mirror:  tv like reflection.  2nd play, Summer of 42 on the TV.
The day is Monday, Moonday.  The woman wants to give the boy $$$ for his service.
He refuses, will take coffee and marvelous doughnuts instead.  There's a fantastic transition between the Summer of 42 dialogue to Danny and Wendy speaking.  The kid in '42 switches roles and asks the woman if he can get his firetruck.  Follow the scene on the TV as if the subtitles are strictly for that.

**Oedipus Wrecks.  I love your notion of interplay between the TV and reality in this scene.  Which one is real?  Who made who?

- books surround the apartment, but very few are seen at the Overlook.
TV is central.

Third Play

Right back where we started from, Daddy away "working", Danny abused, and actually wearing the brown fur of the Teddy bear (robe), watching TV over breakfast with red and white tablecloth.

Halloran asks Wendy if she is a Winnie, and their is a Winnie the Pooh Bear next to the baseball bat.  Wendy is a Winnie, and will protect her honey (she calls Danny "hon").

Promises of time/obligations of time: Five minutes, five months.  Lotsa fives.

The visual of Wendy over the manuscript in the box  reveals a  descending blue and ascending red triangle on the ceiling.

Wendy understands her husband to be the blind creator/demiurge of gnostic theology.  A false god who imprisons.

Re:Water/Waters:  Roger Waters split the image in two and reveals the audio, the radio frequency of Tony, who delivers accurate content.

**Here is a corker!  What if "Tony" is also "Tone e".  Such would fit with your idea of "accurate" (in tune?) audio content.  Many of the songs are in the key of E and/or contain the note "e" as a part of the triad of the key signature.

I want to send some additional commentary on your notes.  I agree "Fearless" is where this elevates.

**Over all, an excellent batch of clues in your discovery.  I look forward to your upcoming commentary.  I am gonna start on "Fearless" now.

For now,

BK

Outside the Wall
June 28, 2011

Klaus:

"Could it be that prior to the age of sound reproduction and synch, that we lived somehow outside of sound, "outside the wall", in a world of silent psychic imagery,with the music of the spheres as audio track?"--LeClair

This made me think of the bicameral brain, and the supposed "wall" between the two.  This union of media might reflect the union we experienced consciously.  This might have had the effect of isolation instead of liberation, where instead of a wall dividing, there is a wall enclosing.

Roger Waters concerts for the Berlin Wall falling down might have been a misguided celebration.

Klaus:

There are 86 metals in the modern periodic table.
Germany is divided into two provinces, Upper Germany and Lower Germany, year 86 AD.

LeClair:

Dear William,

Before I give some thoughts** I want to report another beautiful discovery.  I am off and running the "tensor", measuring three Kubrick's against three separate Floyd's.  I was simply astounded with the first control, found by mashing "2001" with "The Wall".  It is awesome.  I propose the gentleman's wager that if you perform this first experiment, completing the tensor will immediately self validate.  The time code is 00:04:22 on the movie.  All Play Repeat on the albums as always.  The start codes are standard for each film, 4;22 for "2001" and as already practiced for "EWS" and "The Shining".

I plan to carry out the complete tensor as follows for what I hope is maximum tension.

Act One:
2001 vs. The Wall
The Shining vs. DSTOM
EWS vs. Meddle

Act Two:
EWS vs. DSOTM
2001 vs. Meddle
The Shining vs. The Wall

Act Three:
The Shining vs. Meddle
EWS vs. The Wall
2001 vs. DSOTM

**Notes from this email threaded into email above

Klaus:

http://nndmt.com/audio/McKenna/

If you'd like to hear the rest of the lecture that follows the bifurcation rap, go to "Rites of Spring 1-B" in the above link.  This picks up in mid story and continues.  Good stuff.

2001/Wall
June 28, 2011

"Isn't this where we came in?"

Digging it.

How could I never connect the stewardess in pink sitting next to Floyd!!!

LeClair:

Still working on "Fearless" and juggling my so-called "normal life".  Should be a mail later today.  I am glad you did the 2o01/Wall mash.  Pretty nice, huh?  The ending is particularly smashing.

I just want to say that it is really rewarding to find someone out there like yourself, not only for your excellent insight, but for your energy and good humor.  I am grateful to have you to talk with--about these mysteries so scintillating.

Have a good one...

Klaus:

Second turn of the wall through 2001.  Might be my aesthetic favorite.

Felix Culpa
June 30, 2011

Klaus:

My DVD malfunctioned, so that the second track The Thin Ice played for it's second time right at the end of the Intermission.  This played perfectly to my eyes and ears.  Will have to replay with a nonsmudgy DVD to compare.

Helter Skelter Vol. 3: The Pink Shining

The Pink Shining
June 20-21, 2011

LeClair:

Dear William,

I am excited to report a new discovery in the impossible field of iAhuasca, made possible for me by the grace of our e-friendship.

Before talking with you I had not listened to "Meddle".  I have loved Floyd for ten years now, but have listened only to DSOTM and a few "hit singles".  "Meddle" is a revelation.

Anyhow, I was reading up on "Meddle' at wiki and was stricken by three points.  1.  The first title for "Echoes" was to be  "The Return of the Son of Nothing"  2.  One early review of the album proclaimed that it was like "...the soundtrack to a movie that doesn't exist..."

The third is a bit more difficult, but about these first two points I was intrigued thusly... "The Return of the Son of Nothing" could refer to either Danny or Jack Torrance, who "return" to their spectral stomping grounds "The Overlook" to respectively confront and inherit nothingness (Halloran to Danny, "...there ain't nothing in rm. 237..." and also from Jack, after his visit to 237  "...not one god damn thing...") .  Another possible connection I considered in the Italian version of the words on the pages of Jack's "novel"  which read  "the Sun holds the morning it it's mouth" which provide a Sun/Son simile.  I decided to entertain that "the movie that didn't exist" during the creation of "Meddle" (1971) might be "The Shining" (circa late '77 to 80).

The third point is my abiding sensation that "One of These Days" with its reference to "cutting up" the listener is in fact drawn from the Gregorian "Day of Wrath" which promises God's vengeance against the sins of humanity.  If you are with me in the acceptance that this "God" is Saturn, who "cuts up" and "cannibalizes" his children, and add to this the "cutting up" of both "Meddle" and "The Shining"--I think that "One of These Days" (first album track) pairs naturally with "Day of Wrath" (first movie track).

Now, I am a sucker for a Triple Play, and I very much want to believe that "Meddle" is in fact a perfect soundtrack to "The Shining".  I have repeated the complete experience three times, once with a trusted and critical friend who is now a convert to iAhuasca.  This mash is fucking amazing.

The album is a perfect triple play, ending for the third time as we close in on the Photo of Jack at the party.  A fourth replay of "One of these Days" covers the closing credits.  I am telling thee William, you will be blown away.

There are certain musical "themes" that follow specific actions.  "One of these Days" finds us in the office at three separate times and follows with precise timing the entrance of Wendy to talk on the radio and later Jack to dismantle the radio.  Halloran has a theme, a guitar riff from "Echoes", that plays at three discreet entrances to his character: when we meet him; when we meet him again in Florida, and when he returns to the Overlook in the snowcat. "Echoes" visits "the maze" when it is introduced and during both times that it is entered, the latter of these two to profound effect.  These are but a few, and these effects are so many and strong that it is, for me impossible to believe that Kubrick did not break his film into precisely plotted section of 46 min. and 44 sec, which just so happens to be the exact length of "Meddle" played on digital media.

To reinforce, you will notice that practically every time a scene is set, it plays to a mirror from "Meddle".  There are multiple occurrences where characters literally occupy the exact same space within the Hotel as they do in an earlier play of the same track.  The accuracy is highly precise.  Yet another beauty is the exposure of Kubrick's obsession with "the bathroom".   It turns out that the bathrooms in "The Shining" are interchangeable, with similar "Meddle" cues accompanying key bathroom antics.  The scene, during the second play of "Echoes" when Jack enters rm 237, is jaw dropping.

As icing on the cake the musical cues highlight the action of the film just so.  Song cuts closely match many major scene changes, and certain standout phrases of melody pinpoint tense action time and time again.

Here is a final treat, to entice you into performing this experiment for yourself.  The song "You'll Never Walk Alone" is from the Broadway musical "Carousel", which is noted as the first musical to confront the issue of domestic violence.  The song itself is performed by a character who has died during the action.  As mourners attend his funeral, he sings.  This same character is the person responsible for the acts of alcoholism and domestic abuse depicted in the play.  During the the mash-up, the closing invocation of "You'll Never Walk Alone" from the end of "Fearless" matches exactly the discussion of domestic violence in "The Shining" not once or twice, but every time it plays.

Here is how to do it.  At the computer, put the volume on your movie player very low and the Meddle player at 100%.  Make sure you have set your player to ALL PLAY REPEAT.  Do not forget this point, because it can suck to have to start over.  Start the music at the exact moment of the attack of the first note on "The Shining" soundtrack.  Once the Meddle track starts to groove at a greater volume, turn up the movie sound so that the balance is about 60-40 music to movie.  You may want to tweak the movie volume a bit, to keep the mix nice.  You won't be able to make out much of the dialog but the movie music should always be just nicely audible against the stronger Meddle volume.

Sit back and enjoy, cuz you don't want to miss the action.

On a personal note, I have revived Da WWWiz with a recent article and also started a new blog as a more cohesive project, with each article to connect directly to the rest.  The new blog is called "Hermetic Occult Secrets of the Occult" and has one article up.

Da WWWiz on Vancouver riots.  http://wrongwaywizard.blogspot.com/2011/06/pubic-relations.html?spref=fb

The New Blog.    http://hermeticoccultsecretsoftheoccult.blogspot.com/    

Pax

Klaus:

Very much looking forward to getting into this.  Do you have an exact time code to start (00:00:00)?

I have been very uninspired as of late, and your message comes in perfect timing.

LeClair:

Hey WK...

The exact timecode start up is between 00:00:13 and 00:00:14. Better a smidge late than a smidge early, so basically just before the counter tolls 14 secs. This is just after the WB card fades and right when the music on the movie soundtrack starts up. Don't forget to get a good sound balance as soon as you can.

A while after I mailed you, it occurred to me that at the end of "Catcher in the Rye" Holdens little sister rides a "Carousel" as he looks on.

Have fun and lemme know what you think.

Pax

Klaus:

I'm a staunch afficionado of the complete separation of film and soundtrack, so I'm wondering how the balance of the two audios is essential.  I guess I'll find out.

LeClair:

Actually, I'd like to answer that one. First, the balance I suggest provides a unique musical experience. Many sounds from the sound track match with musical cues beautifully. A high pitched whine on the movie sound track, like a high whistle, accompanies the howling of "Seamus", for example. The music from each seem to blend together very well to my ear. Also, because most of the dialog will be just barely audible, there are certain section of dialog that stand out when the music goes a bit softer during instrumental breaks and such. I found many of these emerging dialog sequences to be interesting and in some case startling.

I hope you will trust me on this, but wha ever you decide for your personal taste... I am sure you will dig it muchly.

Peace and Good Hunting

Klaus:

Heavyweight.

Stunned, and a little frightened.  Makes me feel like I've never really understood the film.

Tough to gather the words right now.

The Danny/USA, Lloyd/Viewer connection alone.

I had visited the following link before, at least a year ago, but never followed through.  There is good info regarding Meddle/McLuhan/Floyd here, the info that I focused on.  I was following the 2001/Floyd lead, and did not yet have enough room in my head to accept the notion that this whole thing extended far beyond.

http://www.angelfire.com/co/1x137/theshining.html

I include this link because it is evidence of a public awareness.  This post appears to be ten or more years old, and the home page reveals less than 300 visits since 1998.  I include this primarily to illustrate that the information was up for public digestion, and it sits ignored, an atomic dud.

I want to stress that I am in no way attempting to diminish your moment of discovery by referencing this link.  I might have never gotten to it without your direction, and the silver star is deservedly pinned on you.

I don't think people have the patience to interpret the Meddle/Shining, much like people don't have the patience to read a novel.  There is too much active participation and thought involved, not like newspaper or TV.  I was on the edge of my seat throughout, and in awe of the clarity of Kubrick's vision.  It was the same effect as if a red sea parted in my mind, and the prose of Finnegans Wake were finally witnessed in the clarity with which it was written.

I am also beginning to really grasp McLuhan's role in this, and can sense the commonalites between the Outsiders:  McLuhan/Canada, Kubrick/England(escaped), Floyd/England(born), Scatman and Tony Burton/Second Class citizens, Danny/Child.  All of them satellites orbiting a nuclear American family in a state of evolution, with Danny on the verge of a gravitational no return.

The visual of Danny sitting on the Hexagram, the tennis ball sun at his feet, and rising into space with the Apollo 11 to go observe Room 237 is astoundingly clear and simple to me in this medium, but was elusive before.  1776+237= : ) .

Your essays on the hypercube have definitely revolutionized my lenses, and play a huge role in my ability to process Kubrick's language.

I marvel at your discipline and scope of vision in your ability to capture all of your thoughts into coherent and encompassing essays.  There's a whole hell of a lot shining through here, and I am curious as to your angle of attack here.  I'm also fascinated in how much of our reads match up with each other, as well as the interpretation of whomever posted this connection a decade ago.

LeClair:

Dear William,

Wow, Wow, Wow!!!  This does not diminish but validates me in a manner you can barely imagine.  I am a constant second place winner in life and my only substantial first place victory was a speech I gave about... get ready... the Moon and Werewolves.

Thank you for that link... simply fucking awesome.  And 1776+237 is brilliant and awful.  How did this occur to you?  Please tell me, I am tingling here, I mean... it's genius.

Thank you for your words of encouragement.  I too am interested to compare our competing ideas regarding this discovery.  I hope you trust that I consider everything you have told me with plenty of open thought.

For now, I have no intention of publicizing any of my findings, or my over arching theory.  However, if you permit, I would like to share them to you via this email thread.  They will be lengthy and esoteric, and so I will not expect any particular response from you.  Also, I have alot of time to pursue this, whereas I am aware you carry a full schedule.  I am not a naturally competitive man, but if I get going, there will be alot of enthusiasm on my end.  I wouldn't expect you to carry the same energy, and yet I would, if you agree to continue, always value you as equal partner in this adventure.  Discovery is my passion--not victory.  The truth is, I would love the opportunity to share these thoughts exclusively with you, to create a safe critical dialog between two not too similar minds.  There are some risks.  I made errors in a previous likewise relationship that I am not likely to make again, if that is in any way reassuring.  Please let me know what you think.

I have an idea on how to expand this experiment to mathematical proportion, but I want to look at your link first.

I await your response like a patient man on fire,

Pax

Structure 
June 21, 2011

Klaus:

I'm going to sit down today and attempt to map out my thoughts from the start of the film to the finish.

I think that an email dialogue will prove to be an extremely efficient mode for sharing our examinations.  I look forward to pursuing an omega point on this.

I too approach from an unquenchable and desperate sense for discovery unburdened by the trappings of ego.  I simply want to understand more.  I truly feel like this is a form of cultural autopsy, and I value the chance to cut this into little pieces with you.

I hear a ping-pong in the distance....

Might it be wise to truly cut this into little pieces and discuss this song by song?  Example:  you forward your thoughts of track 1 and inherent scenes, and I'll respond.  After my response, I'll forward my thoughts to track 2.  This will ping pong back and forth.

I intend to move full steam ahead on my own, but this structure might allow some focus to the dialogue.

LeClair:

I think that is a very good idea. I'll confine my thoughts to "One of These Days" for now. I can't wait to hear what you have in mind.

Peace

re: Pink Shining

LeClair:

Excellent sir...

Give me a few hours, perhaps until tomorrow, to order and compose my thoughts.

As a starter, I will lay out my "grand theory" of what I think we are after here.  Please feel free to ridicule this theory at your discretion.

The basic formula has to do with the passage of the Sun around the Earth in one Day.  The pre-WWII Japanese flag was called the Rising Sun and had rays coming off of its central solar orb.  This flag was banned by the Americans as a part of the treaty to end the war in the Pacific.  So let's say for arguments sake the the Earthly Solar day starts when the Sun rises over Japan.  I would refine this to suggest that the Solar Day begins when sunrise creeps westward across the Bering Strait, but these first hours are the time when most stay in bed, to throw their windows open to a full Rising Sun.

So we can now compress this event into the whole of Human Natural History.  Japan is a creature rising from the great sea.  Human Culture develops and struggles from East to West, admittedly moving awkwardly, growing strength until a Indo-Middle-Eastern culture breaks into the Western extremities of Europe.  Africa remains out of reach because of its brutal terrain and climactic condition.  Europe, after a polite Age of Innocence fulminates into adulthood and pushes farther into the West into the Americas.  There is a brief renaissance of geographic conquest and by the 1900's, this phenomenon has reached the limit of Earthly real estate, all the way into the harsh corners of Alaska and the coast of California, as well as all the way South to Chile.

At this point the need of this rampant culture to continue to evolve was the immediate cause of two terrible world wars, the second of which threatened human extinction by attrition.  It is no co-inky-dink that the second of these wars ended upon the shores of Old Japan.  Fact is Japan saw it coming.

The technology of the bombs dropped on Hiroshima and Nagasaki is not designed in the main for the purpose of human and structural damage.  This is a  side-effect, an accepted cost, and is also a cover for the actual purpose of the bombs.  The bombs are designed to open an dimensional portal, to allow for the progress of new worlds to conquer.  And they are successful.  This is what Oppenheimer means when he quotes the Bhagvad Gita.  Human history is dead on Aug 6. 1945.  Aug. 9 is the coup-de-grace shot into to the head.  It is the destruction of human history but also to be the beginning of the New Paradigm and the conquest of terra nova.  The bombs are literally designed to outpace the sun.

Trouble is Human Error.  The old fashion Russians at the Kremlin misinterpret their intel on the ManHatTan Project and set to building a counter-device with the help of some Chinese blokes especially versed in the mystical science of Nothingness.  A doomsday device is created that will destroy reality on Earth from the top down, creating a Black Hole the size of our Solar System and destroying human life for good.  Surely the existence of this device will produce the detente necessary to stop Uncle Sam from using their weapons of mass destruction.

But it is too late.  GI Joe drops the bomb and the device is initiated.  The reality vortex begins immediately.  There will be little, too little time to capitalize on the opening of this gate, which I propose is a MoonGate.  Strange artifacts pop up all over the Earth, at dig site and graveyards.  The long held balance of human sexual dynamic goes somewhat haywire.  The elasticity of social taboo is stretched and will break soon.  By the '50's everyone Stateside is impossibly happy and valuable and none of them know that in ten years it'll all come crashing down.  Meanwhile, a group somehow perceived as "elite" are being classified by way of genetic science into a cybernetic organism that runs on a loop of 70-80 Earth years.  The loop much match closely the memory events of the chosen subject, right up to the event horizon of destruction, circa late '63.   This "data" will be sent into space, to either self-revive in proper conditions or to be revived by another culture far away.

This is where I think PK Dick was wrong.  He interpreted his awakening in terms of religious Gnosis.  It is difficult not to do this.  I suggest that to "become aware" of the system is not Gnosis at all.  Gnosis will be the emergence from this system and into real truth.  Furthermore I argue that very much of human history and the often religious documents that support that history are not in fact ancient, but a part of a software that support the stability of the loop.  I add that the films of Kubrick represent the extreme limit of that technology and are accessible only by those who continually press their awareness of the system.

Kubrick is the outer limit and also the end of sorts.  His films from "Strangelove" on through to "EWS" document the extremities of this software and its code.  I think "Finn's Wake" is a similar tech, that did not exist prior to the 1963 download, when that final shot, back and to the left, killed reality of Earth for good.

I will attempt to sketch this theory in detail as we explore the Pink Shining.  To keep you coming back, I promise to at once show how this theory is supported by the very first sounds of "The Shining", by way of the ominous promise of 2013.

Peace Owt for Now

Mark. 

P.S.  Can you fill me in on just how you came up with the 1776+237 thing.  It is so killer... I must know more.

Klaus:

Hmmm....

1776 + 237

On most acid trips in college, I was struck by the drugs ability to completely throw me into Everything.  This is cosmic beauty in nature, but in a dormitory, it is a prison.  Each and every dorm room door represented a possible reality/archetype, much like a table of elements.  I alone sat in the hallways in fear of the ignorant cellular lives of the people oblivious to the prison.  The oblivious remained content with fascination of the creature comforts that decorated and accentuated their cells.  I guess it was my first vision of the Black Iron Prison on a dimensional level.  The Howl of my soul shook the Foundation and destroyed me.

The Overlook is just such a prison.  The Shining represents the collective Everything that Joyce talks about: Howth Castle and Environs, HCEarwicker, Here Comes Everyone, the HCE, ubiquitous initials that litter FW.  This twisted sleep is The Winter, the Iron Age, The BIP.  The message needed to awake is communicated non-locally in this dream language that Joyce wrote, but also in psychedelic reveries that provide nonlocal communications of cosmic feedback that are almost impossible to explain to another person.

SO, if the prison is made of CELLS, we have our macro to dance with micro, human cells.  One step higher, the rooms of the Overlook represent the years afforded to the great alchemical melting pot of the USA.  The last room, 237, the room of Nothing, echoes our deepest desires--much like the film "Stalker".  Kubrick suggests that the majority of the American public are abused--sexually, psychologically, technologically(TV, media) so that when they enter the final room, the paradigm shift of 2013, they will choose to be slaves to their desires, an eternal workforce for the Caretakers of Hell.

Kubrick, Joyce, PKD, McKenna, are akin to the Gospel writers, the secret Gnostics that don't bury the message deeply, they reveal the message discretely.

Something like that.

Since college I understood that the events of 1945 were of extreme importance.  I have interpreted it as the crucifixion of the atom by human blindness, and that these atoms will be resurrected.  I have had the experiences in my own consciousness of what an eternal Heaven is like, and I have experienced an eternal Hell.  I believe that to grapple with these experiences not as hallucination, but as revelation is the cross that we seem to be bearing.  Kubrick's nonlocal sermons echo around the globe, his screaming gets louder and louder from beyond the grave.

1963--Ullman, a pale JFK, in cooperation with what's on the Bill, must select a caretaker for the secluded garden of beauty before he must leave for the Winter.

The information sent into space came back in 1945 with the discovery of the Dead Sea Scrolls--was this the time-travelling artifact?

Check out McKenna:

http://www.youtube.com/watch?v=HLFSz5zCs5o&feature=youtube_gdata_player

http://www.youtube.com/watch?v=aVaWPdcLLIM&feature=youtube_gdata_player

LeClair:

Your earlier comment was poetic. I am worried about my own worth in the face of such an awesome premise.  I want to discard my false self, and proceed with my compassion, my humanity intact.  I worry I will lapse into old and terrible ways.

For now, I soldier onward.  I will send my "One of These Days" notes soon.

Klaus:

Just check out the year McKenna drops in Part Two.  The Tunguska Event.  The year they break ground on the Overlook.

LeClair:  

Holy Shit Bill,

I heard the McKenna and I can't believe the synchronicity between my "theory" and his own.  It is almost to much to take.  The 1907 inference is enough for me to feel like we are on to a massive discovery.  I have a specific model to explain the timesplit that is educated by the Pink Shining.  I'll get in to it when I discuss the use of mirrors in the movie, and how this use pair with Floyd lyrics.

For now I am doing my "One of These Days" research.

Peace

**(I have embedded my response to LeClair's notes from a subsequent email into the text of following response.) 

OK

Here are some prelims on "One of These Days".

OOTD runs from 00:00:13 to 00:06:11
                       from 00:46:57 to 00:52:55
                       from 01:33:41 to 01:39:39

- First, I recall the common ideas of Cut Up, Magick, Saturn, and the Day of Wrath that I think the song evokes.  Composer Wendy Carlos, herself a cut-up human being, has altered the traditional Gregorian Day of Wrath slightly, I suspect at the behest of Stanley.  Her Shining version is expressed in 5 phrases with the following number of notes.  20-13-20-20-13.  This not only opens and closes with a "2013" but also sums the total 86.  To "eighty-six" is a slang to "cross out", "wipe out" or "destroy" and "nix".  It is also worth a mention that 86 gives 8/6, the day of Hiroshima and Fat Man.  And 2013 is 68 years ahead of 1945.  This reversal of 86 to 68 is I think indicative of a mirroring technology that we will talk about further on.  I have alot of ideas on this matter.

**This is hard to fathom... Wendy/Wendy to complete.  The structure of the score is brilliant, as are your permutations.  Just incredible, I bow to your dissection.  Have you ever heard Electric Wizards song "Saturn's Children"?  Awesome, and quite cinematic.  I need to review the Saturnian background.

- The triple-play of OOTD seems to be about sound and communication over air waves and land lines.  Characters in these scenes are often talking while looking away from their subject: "listening" but not "looking".  Multi-tasking.  Reading, TV and Talk (Danny and Wendy, both times at lunchtime).   Workplace, Telephone and TV (Durkin and Halloran).   Wendy and Jack play with the radio.  Wendy and Dick talk to radiomen.  Halloran listens to the radio as he drives, as I suspect does Jack on his first drive up to the Overlook.

**These are all symptoms of diseased/distressed sense ratios as discussed by McLuhan.

- When Danny confronts the twins in the hallway, he "covers his eyes".  The whole image of OOTD seems related to the act of listening but failing to see.  Because of this reference being made to the problem of sound, I infer a connection to the Moon missions.  If you remember "The Right Stuff", it is concerned, to begin, with the event of the breaking of the sound barrier.

**Danny covers his eyes as we cover our ears.

- On the first play, the drive up to the Overlook snakes like a telephone line or cable.  When he enters the lobby Jack stands in the "reception area".  Phones ring and typists type.  Above him is the sign reading "reception" and just above that, atop a pillar and indeed atop all the pillars in the lobby, are stylized "ZZZZZ"'s, which give the phonetic zzzzzz common to dial tones and bad radio and TV reception.  The second and third plays also find Jack typing.  In all these OOTD typing scenes we do not see any text.  We hear the keys.

- All three OOTD's find us in the office.  Because of my tendency for homophones, I transpose "office" into "orifice" and then "aur-ifice".  "Aur" gives both a reference to sound transmission and also to the element of gold, which is often used in the production of high quality sound devices.

- Another figure that emerges is that of Tony.  During all three plays, and at very nearly the exact point of the song, Tony is visited to the screen.  The first and second and third are three successive appearances of Tony as invisible friend, and the musical timing is re-enforced during the third play when Halloran talks to Durkin/Tony Burton.

- During the first and second play, Wendy is reading "Catcher" while Danny watches TV.  The depth here is dark and arcane, because of the inevitable anal sex and anal pedophilia references in the film.  I also transpose "Catcher" to "catcher in the corn" then "catcher in the maize" and thus "maze".  This is recalled when Jack chases Danny... "...I'm coming Danny, I'm right behind you...".  I hone in on the "dog-eared" page, page 133 of the usual pocketbook printing, which has reference to Vermont (on 132), a "monkey on a bicycle", and contains the phrase "open you ears" on mid-page.

**Please explain this "dog-eared" page, I don't follow

- We also have appearances by HAL, timed to match the music pretty closely in the second and third plays.  In the third play, Halloran listens to the twin broadcasters of Hal and Charlie on his car radio.  The second HAL inference is esoteric, found when Danny finds the twins in the hall-way.  Read from left to right, in the Hebrew fashion are: the Window, the Axe and the Upturned Chair.  The Window is the symbol of the Hebrew Heh, meaning window.  The Ax is cryptically symbolic of Alef.  Alef means Ox and also "to yoke".  The fact that this yoke pulls a beveled blade through the earth should not be lost to this connection to an Ax.  The Upturned Chair is a picto-graphic plain font of a san-serif lower case Lambda, which is analog to the Hebrew letter "L" called Lamed.  Together these give HAL.  And of course, Jack will be made lame or "lamed" in his fall down the stairway.  

**You are an awesome student of language, especially the Hebrew, and this kind of analysis is always my favorite.  HAL/HCE?

That's all for now... next installment: "A Pillow of Winds".  I await your thoughts on OOTD's

Pax

Klaus:

I just want to say that your lens is Hubble-esque.  I need to take time to integrate these notes, I'll respond in time.

Essentially, "Meddle" plays the MAO Inhibitor to the Kubrick vine?  The transmigration of media into matter, the kind of plasmate that PKD references, which is essentially a piece of the logos made flesh?

Just had a storm of epic proportions blow in 30 minutes ago...red sky/clouds, and multicolored lightning.  I have never seen that before in my life.  The Solstice is roaring.

Outside of Temporal Dimensions
June 21-22, 2011

Klaus:

To begin, Kubrick (K) is taking his Content(1) source from another book, from a horror writer King, who writes books read by dolts like Wendy. This is apparent from the written Title and Credits. He takes his Form(2) from a different book, FWake, written by Joyce, who writes for genius like K. This is apparent from the visual pun of the first sentence of FWake and the opening shot: riverrun, past Eve and Adams, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth, Castle and Environs. “The first half of the 20th century can be characterised as ‘science split the atom and Joyce split the word’ and this is particularly applicable to Finnegans Wake, where every word and phrase is loaded with meaning." I don't know who this quote is attributed to, but we can now bring in the Pink laser of VALIS in the form of digitally compressed music by Pink Floyd, echoing the sentiment of "cutting into little pieces". Seprating the sound from visual allows sense ratios to return to normal, to be allowed to see, instead of having static blinding cognition. McLuhan is tied to the album by the similarity of the book covers "Understanding Media" and "Meddle", both in light blue that echo the light blue if the letters of the Title/Credits. To assemble these planes into one experience is the colossal effort of human thought and delicate tapestry. It is a creation of a dialogue in a language familiar to Joyce: nonlicality, coincidance, multidimensional puns that are and are not simultaneously, a representation of the quantum physical laws beyond the Abyss. Pure reception of the feedback requires knowledge and awareness of multiple quanta of temporally bound information. A few simple Coincidances for names only Jack N/ Jack T Danny L/ Danny T Stephen King/Stanley Kubrick SK/SK Take the U out of Stuart Ullman and you have START LLMAN, the double LL of Danny and Bartender These connections weave a subconscious attention to a silent language one sees but does not hear--a reversal of the theme expressed by you. The sandwich Danny eats is very symbolic of an oral sex act, as he pulls the legs of the sandwich apart. Warner Bros/ Bugs Bunny shirt #42/ Hitchikers Guide: the clothing of a child Wendy is surrounded by hundreds of books, she is a horror fanatic, yet is reading Rye. She must be rereading it again, having been unable to cut it into little pieces. Jack N says "I made the Trip" in 3 1/2 hours, which is a true statement, as he wrote the screenplay for a film called The Trip in 1967, and judging by the writing, probably only took 3 1/2 hrs.

LeClair:

When Wendy reads "Catcher" in her Denver apt., one page is dog-eared (creased). Pg. 133 of her pocket book novel.  I made a careful match of the pattern of indentations on the page in question to my own identical pocket book of "Catcher".  Pg. 133 is it.

**Amazing catch.

I am going to have to actually read McLuhan now, instead of just generally infer his work from the work of others who emulate him.  Everything I know about Marshall I learned from Stanley, Cronenberg and Frank Zappa.  I must order "Understanding Media" and do the experiment suggested at the Kubrick/Floyd Site.

**I have read Gutenberg Galaxy, and Medium is the Massage, am finishing Understanding Media.  Very readable, very current.  The idea that sense ratios when disturbed effect consciousness seems almost obvious now, but an amazingly insightful premise for 1962.  The Apartment of the Torrances is filled with books, littered with them.  The Overlook seems utterly devoid of them.  I have a theory based on TV, dreams, and children.

What do you mean that "we cover our ears"?  Do you mean with headphones for instance, or do I miss the drift here?

**Headphones, yes.  Correcting the sensorial feedback, both Danny and us, the viewer are being abducted through a sensory wavelength, a wave that overrides and controls.

Also the HAL/HCE?  What's up... it rings a bell, like I've crossed it before, but I can't quite remember.  I can be a bit slow sometimes, so I hope I don't annoy with my questions.

**Just that HAL is SK's answer to Joyce's HCE.  I would read Robert Anton Wilsons essays on Joyce in the book "Coincidance" to fully grok this.

I am gonna start on "A Pillow of Winds" for tomorrow.

'Til Then...

Have a good rest.

LeClair:

I almost started a new thread for this one.  I was gonna call it "Another Kubrick in the Wall", or "MapOTHER", or my fave, "Pink Eyes Wide Shut".

Let me first say that I loved and laughed at your Trip related email.  Lucid.  Also, I am quite curious about your theory re: children, dreaming and TV.  I fit all three categories, as I am a wild dreamer, and a born TV baby of the '60's, so please, let me hear your theory.

So much falls into place at once, it is like a down pour.  I am seeing, hearing and forgetting ten delights for every one I remember.

Here's the thing.  I was too wound up to sleep last night, super-tired but jazzed by the electro-static revelations of the last couple of days.  Reading cools me out, and so I opted to explore the Kubrick/Floyd Site.  I read the main feature, which attempts to justify the philosophy of a Meddle/Shining mash.  I was impressed by the idea that the reason "The Shining" is such a weird, unsatisfying film is because Kubrick was in fact making a crypto-silent film.  The author makes a good case, and this fits nicely with my own discovery of the proper DSOTM/2001 mash timing, which clearly illustrates that the album is a triple boilerplate to score "2001".  The article even suggests that Kubrick made the Meddle mash to recapitulate the DSTOM mash designed by Floyd, as a revenge of sorts on the band, and particularly on Waters, who I have now learned is a Kubrick fanatic.  Moreover, this "silent treatment" meets your own standard of all music ears, no movie ears.

Now, in a mail to you yesterday, I hinted at an idea to expand this project to math-ic proportion.  This plan of mine is informed by the "physical tensor" informed by the math of Gauss.  I learned about Gauss from Lyndon Larouche at his mag called "Fidelio", a magazine that Kubrick subbed to.  In fact, I would say the single most profound piece of writing I have encountered is out of "Fidelio".  It is called "On the Subject of Metaphor".  Is Larouche the LL that Kubrick is hinting at in "The Shining"?

Anyway, my idea was to use the concept of the "physical tensor" to examine three Kubrick films.  As the tensor, I wanted to use three Floyd albums.  This would mean using three separate albums to measure against three movies.  I knew I wanted DSOTM and "2001", but I stalled at that point.  Because of the Pink Shining and subsequent readings, I have found my second and third movie and album.

A quick confession.  I have always hated EWS.  Just for this reason I have put more energy into EWS than any other film (except "Burn After Reading", a movie alot of fun to watch)--and all for the hope that it would yield some emotional connection to the film and restore Kubrick's last movie to the level of masterpiece I felt his other work represented.  I have had no luck on this task for 13 years.  I have seen EWS more times than any other movie and always hated it.  I have kept this animus a secret to myself.

The best I could come up with was that EWS was a super-intellectual parody of the Hammer vampire films Kubrick loved so much.

My attitude has been adjusted as of the 2 hr an 40 min shock to the system I have just endured.  Now, for me, EWS is possibly the ultimate masterpiece of cinema, and this time I'm not posing for the "in-crowd".  It is not a parody of a horror movie, but the most horrific film I have ever seen.  Like the best horror films it is over flowing with dark humor and deeply touching pathos.  See, I didn't know until just a few hours ago it was a silent film, meant to be heard to the awesome recording of Floyd's "The Wall".  Ziegler means brick layer--I shoulda sussed it sooner, but hey...

Now, there may be an anomaly.  I did not own a copy of the wall at 2 am, so I downloaded the remaster on iTunes.  I have a question to clarify: does the original recording have a short snippet of the very end of the album tacked on to the beginning of the first track "In the Flesh?".  It seems odd but works so well, and the timing given on iTunes is the same as that of the original track so...

If this "snippet" is intended, start "The Wall" (all repeat) at the exact moment the White on Black title for "Warner Brothers" appears, just after the WB vanity trailer fades out..  The timing is at 00:16+ seconds--right between 16 and 17.  If my download is wonky, then the drum opening of "In the Flesh?" can be timed to match Alice disrobing at precisely 00 and 34 seconds. Watch EWS through to the end of the credits.  To my eyes and ears and soul (if I have one), this mash is perfectly electrifying.  It is the bomb my nizzy... turning a shit film and one of my life's great disappointments into a movie I can hardly wait to watch again and again.

The album, heard for the first time tonight, it is a ball breaking triumph, so sonically profound.  But it is magnified to Cosmic Gnosis when mashed with EWS.  Man, this is fun... perhaps a bit too fun.

And on that note... I need some spatchka.   My gulliver is overloaded.  Back to "A Pillow of Winds" after a jolly nap.

If you are gonna do it, I also suggest subtitles.

Klaus:

Gotta get my copy from a friend, I'll synch up tonight.

The album is correct, as my older version reflects the same cyclical wrap around.  The Ziegler connect seems so obvious now.

This silencing of film and resurrection through alternate soundtrack is the core concept of PKD and his Gnosticism.  Much like Maze of Death, Man in the High Castle, the Valis Trilogy....The value and worth is revealed on the content, the healing content.   These operations seem to have restorative powers.

My plan is to reread the LL article, and synch EWS later on tonight ( Danny shuts his wide eyes in The Shining, giving further value to your Danny/Doc--Bill/Doctor extension).

Atom Heart Mother seems like the shrapnel of Pink Floyd's initial attempt at scoring a film, but the initial suite works well at the end of 2001.  Look at all song titles involved in that album.

I'm still a bit shaken about the breakdown of the notes from WC's opening theme: 20-13…

Helter Skelter Vol. 2: How Would He Know Where We're Going?

Pyramid Scheme
March 20, 2011

Klaus:

Rewatching this scene I thought, "Hey, them photos look like a pyramid, with no top". Guess who completes the image?



Hope you are hearing good news from overseas. Just thought I'd share this nugget.

Light 
April 2-3, 2011

Klaus:

I had a very long day, started at the Hospital (for nursing school) and finished up at work (bartending), and experienced an amazing amount of highs and lows, which ultimately revealed a sliver of the divine order, enough to carry me home in high spirits.  I hope you and yours are doing well.  Pax my brother.

LeClair:

Hey Bro,

Yeah man, I'm good. Just sort of undercover these days. I feel a little frozen. Not out of doubt, but out of a real sense of stupendous ignorance. All I feel certain of is that I am probably wrong about everything. It has a kind of a "Winston Smith" vibe to it, but it is not all bad. I have scored a copy of Inception, but have put off the experiment as yet. Just no heart at the moment, but I know it won't last... I'll get angry and want back in the game soon enough.

Interesting that you are studying nursing. I good nurse is, in my view, worth 100 doctors, and I ought to know, having spent a good portion of my life as a patient.

Peace to you and talk soon...

Klaus:

Yeah, I completely understand.  You gotta come down for air eventually.  Crowley in his best moments knew this.

For when you are ready:

Inception: I'm dead set on 2:03:05 for the start of side 1 of Meddle.

I'll write you back when Harry Potter drops and I can fine tune it a bit.

Good to hear from you!

A Good Read: McKenna on PKD
April 14-17, 2011

Klaus:

http://www.sirbacon.org/dick.htm

I UNDERSTAND PHILIP K. DICK

by

Terence Mckenna

1991
Afterword which appeared in the book : In Pursuit of Valis: Selections from the Exegesis edited by Lawrence Sutin

____________
True stories have no beginnings and neither does the tale of PKD’s encounters with the Overmind. But we writers understand narrative economy, and for purposes of narrative economy his story seemed to him to begin with the mysterious break in and riffling of his papers that was made notorious by an article in Rolling Stone, which brought Phil long-delayed and much-deserved fame. The break-in date was 11/17/71. It was a date and a style of referring to time that Phil used frequently.

I turned twenty-five the day before. It was no casual birthday either. I met my natal day by sifting down and sincerely preparing myself for an Apocatastasis, the final Apocalyptic ingression of novelty, the implosion really, of the entire multidimensional continuum of space and time. I imagined the megamacrocosmos was going to go down the drain like water out of a bathtub as the hyperspatial vacuum fluctuation of paired particles that is our universe collided with its own ghost image after billions of years of separation. The Logos assured me that parity would be conserved, all sub-atomic particles except photons would cancel each other, and our entire universe would quietly disappear. The only particles that would remain, according to my fantastic expectation, would be photons, the universe of light would be exposed at last, set free from the iron prison of matter, freed from the awful physics that adhered to less unitary states of being. All mankind would march into the promised garden.

I felt I was well situated for the event as I, quite consciously and deliberately, and to the concern of my friends, had placed myself in the teeming, hallucinogen saturated center of the largest garden I could find, the trackless rain forest of the Upper Amazon Basin of Colombia. My confidence in my vision was unshakable. Had not the Logos itself lead me to this vision, not only by revelation but by painstaking explanation? I had no radio, no way to contact the outside world at all. Who needed that? I knew with perfect clarity that the world of time, the illusion of history was ending. Divine Parousia was entering the world, and the just, the meek and the humble were leaving their fields and factories, pushing back their chairs from their office desks and workbenches and walking out into the light of a living sun that would never set for there could be no setting for the eternal radiance of the Logos. Tears of joy streaming down their cheeks, the illumined billions were turning their eyes at last to the sky and finding there a consolation that they had never dared hope for.

However, Nixon’s weary world ignored the eschatological opportunity I thought my brother’s inspired fiddling with hyperspace had afforded. The world continued grinding forward in its usual less than merry way. There was only one small incident that might subsequently be construed, even within the framework of the schizoid logic that was my bread and butter then, to support my position. Unknown to me, a struggling, overweight SF writer, an idol of mine since my teens, discovered the next day that his house have been broken into, his privacy violated by the Other. How peculiar that on the first day of the new dispensation in my private reformist calendar, he had been burglarized by extraterterrestials the CIA or his own deranged self in an altered state. The torch had been passed, in a weird way the most intense phase of my episode of illumination/delusion ended right where Phil’s began.

This raises some questions:

Can we refer to a delusional system as a folie a' deux, if the deux participants have never met and are practically speaking, unaware of each others’ existence?

Does the delusion of one visionary ecstatic validate the delusion of another? How many deluded, or illuminated ecstatics does it take to make a reality? PKD proved that it only takes one. But two is better.

When my brother looked over the edge in the Amazon and felt the dizziness of things unsaid in March of 1971, he came back with two words bursting from his lips, "May Day! May Day!"—the pilot’s call of extreme emergency.

May Day found me in Berkeley sheltered by friends so concerned about my state of mind that they considered committing me. I was only a few miles from Phil, who was rapidly going nuts too, as his psych admission of 3 May ‘71 attests. It was always like that with PKD and me. We never met but we lived around each other for years. In Berkeley, we both lived on Francisco St. within five blocks and a few years of each other. We both had roots in Sonoma County, in Orange County. How many times were we a table or two away from each other in the Cafe Med? How many times did I hurry past him on the Ave on some stoned errand? Later his homeopathic doctor was my doctor. There is a garbled mention of me (or my brother) on pg. 74 of this book.

Yah, yawn, the world is fuckin’ strange, right bro?

Wrong. Or rather, of course, sure. But that is not the point, the point is that I understand Philip K. Dick. I know that sounds like hubris and if I am wrong I am sorry (as*Phil says somewhere.)

(as* PKD lived at 1126, then a few years later and for six months I lived at 1624.)
But part of the delusional system in which I live contains and adumbrates the notion that I know what happened to the poor dude. We shared an affliction, a mania, sort of like Queequeg and Ishmael. And like one of those whale chasing sailors "I alone escaped to tell thee of it".

Phil wasn’t nuts. Phil was a vortex victim.* Schizophrenia is not a psychological disorder peculiar to human beings. Schizophrenia is not a disease at all but rather a localized traveling discontinuity of the space time matrix itself. It is like a travelling whirl-wind of radical understanding that haunts time. It haunts time in the same way that Alfred North Whitehead said that the color dove grey "haunts time like a ghost."

There is an idea that wants to be born, it has wanted to be born for a very long time.** And sometimes that longing to be born seffles on a person. For no damn good reason. Then you’re "it," you become the cheese, and the cheese stands alone. You are illuminated and maddened and lifted up by something great beyond all telling. It wants to be told. It’s just that this idea is so damn big that it can’t be told, or rather the whole of history is the telling of this idea, the stuttering rambling effort of the sons and daughters of poor old Noah to tell this blinding, reality-shattering, bowel-loosening truth. And Phil had a piece of the action, a major piece of the action.

But I anticipate myself. Those who grasp a piece of the action end up with two things on their plate; the experience and their own idiosyncratic explanation of the experience based on what they have read, seen and been told

__________
* "ZEBRA (VALIS): ‘a vortex of intelligence extending as a supra-temporal field, involving humans but not limited to them, drawing objects & processes into a coherency which it arranges into information. A FLUX of purposeful arrangement of living information, both human & extra-human, tending to grow & incorporate its environment as a unitary complex of subsumations.’"(pg. 72)

** "Okay, fertilization is what takes place: it isn’t a seed such as a plant has, but an egg such as a human woman ovulates, and cosmic spermatika fertilizes it; a zygote is produced." (pg. 22

The experience is private, personal, the best part, and ultimately unspeakable. The more you know the quieter you get. The explanation is another matter and can be attempted. In fact it must be told, for the Logos speaks and we are its tools and its voice. Phil says a lot of things in the Exegesis, he is aware that he says too much, so he keeps trying to boil it down to ten points or twelve parts or whatever. I have my own experience, equally unspeakable, and my explanation, equally prolix. Phil (sometimes) thought he was Christ,* I (sometimes) thought I was an extraterrestrial invader disguised as a meadow mushroom. What matters is the system that eventually emerges, not the fantasies concerning the source of the system. When I compare Phil’s system to mine, my hair stands on end. We were both contacted by the same unspeakable something. Two madmen dancing, not together, but the same dance anyhow.

Truth or madness, you be the judge. What is trying to be expressed is this: The world is not real. Reality is not stranger than you suppose, it is stranger than you can suppose. Time is not what you think it is.** Reality is a hologram.*** Being is a solid state matrix and psychosis is the redemptive process ne plus ultra.**** The real truth is splintered and spread throughout time.

__________
* "1 am a homoplasmate: Zebra acting in syzygy with a human." (pg. 79 but also: "Did I do something? Absolutely. But I don’t know what I did, so I don’t know who (so to speak) I am in the drama." (pg. 42.)

** "If the Logos is outside time, imprinting, then the Holy Spirit stands at the right or far or completed end of time, toward which the field-flow moves (the time flow). It receives time: the negative terminal, so to speak." (pg. 64.) See also "If there is to be immortality, there must be another kind of time: one in which past events (i.e., the past in its entirety) can be retrieved—i.e., brought back. I did experience such a time." (pg. 79.)

*** "It (reality) is a hologram. 1) My augmented sense of space proves it. And 2) the information element; consisting of two parts: set and ground.

"All this points to: hologram. Based on two information-rich signals." (pp. 98-99.)
**** "The Gospels, then, depict a sacred mythic rite outside of time, rather than a historical event.

"Note: This whole process can be regarded as a psychological transformation, that of a redemptive psychosis." (pg. 95.
Appearances are a vast and interlocking lie.* To finally know the Logos truly, if that means anything, is to know it as for, as what Phil called a "unified abstract structure." In a way this was where PKD went wrong. It wasn’t his fault. He saw that the world of 1975 was a fiction and behind that fiction was the world of AD 45. But he lacked an essential concept, lacked it because it really hadn’t been invented yet. Anyhow the man was a SF writer and a scholar of classical philosophy, he could not be expected to stay in touch with arcane discoveries beginning to take place on the frontiers of research mathematics. But he got very close, his intuition was red hot when he reached the conclusion that a unified abstract structure lay behind the shifting always tricky casuistry of appearances. The concept he needed was that of fractals and fractal mathematics. The infinite regress of form built out of forms of itself built out of forms of itself * unto infinity. The principle of self similarity. Phil was right, time is not a linear river. He was right, the Empire never ended. Parallel universes is too simple a concept to encompass what is really going on. The megamacrocosmos is a system of resonances, of levels, of endlessly adumbrated fun-house reflections. PKD really was Thomas and Elijah and all the other precursive concrescences that came together to make the cat-loving fat man who compacted trash into gold. The logic of being that he sought, and largely found, was not an either-or logic but a both-and and and-and kind of logic.

_____________

* "Probably the wisest view is to say: the truth—like the Self—is splintered up over thousands of mile and years; bits are found here and there, then and now, and must be recollected; bits appear in the Greek naturalists, in Pythagoras, in Plato, Parmenides, in Heraclitus, Neo-Platonism, Zoroastrianism, Gnosticism, Taoism, Mani, orthodox Christianity. Judaism, Brahmanism, Buddhism, Orphism, the other mystery religions. Each religion or philosophy or philosopher contains one or more bits, but the total system interweaves it into falsity, so each as a total system must be rejected, and none is to be accepted at the expense of all the others..." (pp. 111-112)
PKD was never more right than when he wrote:

I actually had to develop a love of the disordered & puzzling, viewing reality as a vast riddle to be joyfully tackled, not in fear but with tireless fascination. What has been most needed is reality testing, & a willingness to face the possibility of self-negating experiences: i.e., real contradictions, with something being both true & not true.The enigma is alive, aware of us, & changing. It is partly created by our own minds: we alter it by perceiving it, since we are not outside it. As our views shift, it shifts. In a sense it is not there at all (acosmism). In another sense it is a vast intelligence: in another sense it is total harmonia and structure (how logically can. it be all three? Well, it is). *
One cannot learn these things. One can only be told these things. And it is the Logos that does the telling. The key is in the I Ching, which Phil loved and used but which occupies a disappointingly small fraction of his ruminations in the Exegesis.** Almost as if the counter flow, the occluding intelligence, kept Phil’s eyes diverted from the key element necessary to the universal decipherment that he was attempting. Time is a fractal, or has a fractal structure. All times, moments, months and millennia, have a pattern; the same pattern. This pattern is the structure within which, upon which, events "undergo the formality of actually occurring," as Whitehead used to say. The pattern recurs on every level. A love affair, the fall of an empire, the death agony of a protozoan, all occur within the context of this always the same but ever different pattern. All events are resonances of other events, in other parts of time, and at other scales of time.***

_____________

* (pg.91.)
** "MITHC seems to be a subtle, even delicate questioning of, what is real? As if only the 2 books in it, GRASSHOPPER & the I CHING are really the only actual reality. Strange." (pg. 181.)

*** "Through anamnesis and restoration to the Form realm you have access to several space-time continua based on your universals." (pg. 102.)

The mathematical nature of this pattern can be known.* It can be written as an equation, just like the equations of Schrodinger or Einstein.

The raw material, the Ur text, out of which this mathematical pattern can be drawn is the King Wen sequence of the I Ching. That is where the secret lies. In the world’s oldest book. Of course. Once possessed the pattern can then be discerned everywhere. Of course. It is ubiquitous. One of Phil’s favorite words. I know this because the Logos taught me the pattern and I escaped the black iron prison of the world to tell thee of it. I have published it, I have lectured it and have had it written into software. My books are on the way, some with Phil’s old publisher Bantam. I would bet dollars to donuts that if Phil had lived to see, to feel, and to understand what this PKD-inspired servant of the Logos has managed to drag home from the beach, he would embrace it. This cannot be said without sounding like a madman or a jackass. I am sorry about that. As Phil Dick said,

"What’s got to be gotten over is the false idea that hallucination is a private matter." **
What is important is that the birth of this idea is now very near, has in fact already happened, and PKD showed the way. The answer is found. And this incredible genius, this gentle, long-suffering, beauty-worshipping man showed the way. When it counted he was right. All hail Philip K. Dick.

-Terence McKenna Occidental, California
June 1991

______________

* "The agent of creation (Logos or Forms, whatever called) is at the same time the abstract structure of creation. Although normally unavailable to our cognition and perception, this structure—and hence the agent of creation can be known..." (pg. 125) Also, ". this insubstantial abstract structure is reality properly conceived. But it is not God. Here, multiplicity gives way to unity, to what perhaps can be called a field. The field is self-perturbing; it initiates its own causes internally; it is not acted on from outside". (pg. 127). Also, "‘The agent of creation is its own structure’. This structure must not be confused with the multiplicity of physical objects in space and time governed by causation; the two are entirely different. (The structure is insubstantial, abstract, unitary and initiates its own causes internally, it is not physical and cannot be perceived by the human percept-system sensibly; it is known intelligibly, by what Plato called Noesis, which involves a certain ultimate high-order meta-abstracting.)" (pg. 128). And finally: "1 ... posit ontological primacy to the insubstantial abstract structure, and, moreover, I believe that it fully controls the physical spatiotemporal universe as its basis and cause." (pg. 129)


LeClair:

Hey WK,

As we discussed, I have been in the doldrums lately, and very worried about the future of the human race--pretty much impossible to enjoy things.  Lately, though, my mood has become positive.  I am ready to do some more iahuasca.  I have visitors right now, for the next few days.  Some old friends with interest similar to our own.  I plan to share the Inception mash-up with them--it turns out we saw the movie together, in the theater, so I'm primed for a good time.

Anyhow, just wanted to drop a line to say hi.  I'm also looking forward to the Deathly HALlows mash up.  Jesus man, this has turned out to be an expensive addiction... but worth it.

Pax Owt and Talk Soon

Klaus:

Potter:  timecode for DVD, start* at 0:25.  I'm repeating myself, but it's worth it to view the first time with no subtitles.  

Glad to hear your spirits are improving.  Looking forward to your thoughts.

*Dark Side of the Moon

Exejesus
May 8-9, 2011

Klaus:

Just dropped the dough for the out of print "Selections From The Exegesis".  Good stuff.  Send me some good vibes bro.

LeClair:

Hey WK,

How are you? Sorry to be so long in a reply... I feel encased in stone these days. I have done the Deathly Hal-lows mash up and I was blown away. I don't even know where to start talking about it, except to say that I continued with the experiment into Three plays of the album and I wasn't disappointed. And all without subtitles. You may think that I jest, but to me the film is much better to Floyd than it is on its own. The visual/musical clues are profound. I nearly gasped when the wind blows through the leaves of the small tree next to Harry as he stands in the doorway of his old home. It was a truly magical experience.

I have written very little lately, and am finding it tough to get back into the swing of it.

Like most occult researchers, I am following the connection between Obama/Osama--The Mid West Disaster-The Royal Wedding--The Beatification of Pope John Paul. Events which to my thoughts are One in the Same. I have my own Wrong Way Twist, of course, but I just don't have a heart for it lately, and for some reason, I have developed a Techno-Phobia of late. I have been avoiding my e-mails and such, and watching funny animal videos on YouTubes, in the place of my usual vigorous curiosity.

My god, I may be de-evolving here!

Pax and Comfy Slax

Klaus:

Hey Mark-

Always good to hear from you.  Thanks for checking out the Hallow Floyd, i'm glad you appreciated it.

I hope you have heard encouraging news from over seas, and that the turbulence of the world isn't too much of a strain.  It certainly is a rough sea out there right now.

As I tend to believe, the artists mind must hibernate, must retreat and allow the deeper mind a chance to process before birthing the big ideas and the big pictures.  Rereading your essay on A Serious Man, it's clear to my eyes that there isn't anyone in your league.  I know your next creative season is going to be a monster.

Keep the faith man.

Inception Mash 
May 25, 2011

LeClair:

Hey WK,

I did the Inception Meddle link up and I was blown away. Many ideas. The big one that jumped at me is Cobb's return to the US. Of course, the supreme context of this scene works just exactly because the rest of the mash is so nice. When I watched, the US return at the airport was on par with some of the great "knowledge drops" of my career as a watcher. I have seen Inception in a radically new light. The movie appears to be about the purging of Evil from Cobb's soul as he attempts to cross the threshold that separates himself from "The One". The whole "France is Evil and the U.S. is Good" theme gives it a real War on Terror sort of feel, mixing as it does with the many international travel arrangements and proper documents necessary for Cobb to "get back home" . And recall how the Devil Merovingian in The Matrix was French. And of course Mal is franc-ish for Evil. Inception, seen in this way, is about a mystery system, operating upon Cobb alone, to quite literally whip the Devil out of Him. I also detect a Catholic pedophile priest redemption code in the Fischer subplot. And all of this I somehow missed before the use of your mash up instructions.

I could write about this matter at length, but I am not ready. I feel a need to redefine the nature and message of my work, indeed my life, in a big way. My trip to Japan and recent world events have changed me somehow, and I don't think I have figured out how to represent those changes. Time will tell, I guess, but in the meantime, thanks again for the bitchin' intel and keep in touch.

Pax to the Max

Klaus:

I was wondering when this mash was going to hit.  It's just so completely seamless.  So many things tie together in it, and it continually reveals treasure upon each viewing.    

2001, Kubrick, Wizard of Oz, Floyd, Nolans work, etc.....the tornado/totem/record player, the headphones awakening them to reality, but to work in the cover of the album is stunning ("you say the hill's to steep to climb").   And yes, I completely agree with your read on Cobb's redemption.  Flow, my tears, heavily as I watched that rearrival scene the first time.  Epic.  

I might be repeating myself, but the childrens names in Inception are James and Philippa, clearly an homage to Joyce and Phil K Dick, as the writings of those two must have been huge influences to Nolan.

Again, I HIGHLY recommend the Selections from the Exegesis book...though it is a bit pricey.   The sections where PKD discusses his total body of work and how they are interelated is incredible.  Of course, a solid knowledge of his novels helps.


Good to hear from you as always.  

Helter Skelter Vol. 3