Wednesday, March 12, 2014

An Open Blatter to Nic Pizzolatto

Goatse, anyone?  Bueller?  Anyone?

I admired and enjoyed TD from top to bottom, so to speak. My controversial take is that TD is the most refined of television ventures which aim to circle around the great wave of ass fetishism rearing its head these days. 

Truman Capote parodied his homosexual predilections (in "Breakfast at Tiffany's"), with a called a character called "Rusty Trawler". 

Rustin Cohle provides a similar bon mot.  RU stink-hole. 

The name "Cohle" could be formed with a variety of spellings and the strained choice made by writers reinforces the "Rusty Hole" motif with an "o-h-l-e" jumble. 

Rust's final injury would, of course, necessitate bowel resection and colostomy and a very likely death by peritonitis--making the final scene in hospital a trick Hollywood ending.  Rust and Marty are likely dead, and as they muse upon the stars, they muse upon themselves.


The theme of the Mississipi as a continental "waste passage" is persistant of late, and may represent a memetic hijack on the BP spill, which may in turn be regarded as a bait-and-switch cover-up for an industrial accident or some eminent domain issues UP stream from New Orleans, thus shoveling the fecal waste of the USA southward into the waters of Mexico.  A serious researcher might look at environmental events along the mighty Miss, leading up to the BP "Spill".  I am not such a researcher and yet, could the identified oil slicks along the "coast" in fact be the wash-back from a massive mass grave somewhere in southern Lousianna, which orginates deeply engounh inland that it could pollute the fresh water Muddy into a great big Tap Water for Cannibals?  


Rust is a blatant "asshole", at least in the colloquial way. 

And Marty is surely a "mouth", a charming, lippy "frat boy" whose name rhymes with Party Hard, and who will literally eat "anything". So we have Mouth (Oral) and Ass (Anal) serving as a reflexive Alpha and Omega sequence. Oral is first. Eating as Alpha in the O(mega) of O-ral vs. Then Anal.  The Asshole as Omega in A(lpha) of Ass. 

Hey Mom, I'm hungry.  Bring me that meatloaf.


Saturday, January 25, 2014

Because VALIS

Chef Halloran and Katie Holmes and the Katzenjammer Kids want to know... "how did we end up in this g-damned picture!!?"
"Y'er thinking about Katie Holmes, aren't you Tom, you fuckin' poofta!?!"

I have been informed that the pictured image is from a 2005 publication and is therefore not likely to be a potential choice of inspiration for the EWS poster.

Well, all thee smarty pants, need I remind you that this blog is about a sensational altogether fucked-up trans-finite multiphasic time-loop within a loop-de-loop that goes on like 4 Evur!!!

Of course, I have also proven that Da WWWiz lives in the smallest, stupiderest sub-loop thereof, because clearly, this is all I can handle.

Sue Me. 

Wall It In

The first line of dialog in Eyes Wide Shut is "Honey--have you seen my wallet?"

In EWS, the spectre of the Freudian model is self-evident to those familiar with Schniztler's Traumnovelle, or as I like to call it, Trauma Drama.  For Freud, the big IT was the suppression of the id--the demanding, wanting, impatient child in the basement of the self, locked away for the benefit of social order, and thereby the dismay of the most basic, most fundamental source of psychic motivation, namely, the desires or needs of the body.  Simply, the expressive and sensual id must be controlled and repurposed into social service, because otherwise...

...or even worse...

Most folk carry money in their wallet, but not all of the time.  For the very rich money is unnecessary and for the very poor money is scarce.  But the one thing EVERYONE carries in their wallet is their Identification, or as it is also known, ID.

Understanding Sociology as we do, we appreciate the necessity of keeping the id, the animal self, the ID, "walled in".

The title EYES WIDE SHUT delivers this architecture simply and precisely.

e  y  e  s
w  I  D e
s  h  u  t 

I wonder if Stanley took a look at this particular book, (coloured to match Domino's dress) when designing the above poster for EWS...

...but then settled for (below), because the text is so clearly readable.  Just sayin' is all.


I have been informed of an error.  Here for details.

Thursday, January 16, 2014

Haunted Abbey

As noted in my recent Type One radio gab, Downton Abbey is about the planet Jupiter, or more comprehensively, about the panoply of Greek gods under Zeus.

Do you see...

To begin, we explain that Downton Abbey is not about people but rather about a place--a Haunted Palace, or polis.  The term polis, which we use as a suffix to describe the city, in fact derives from the name of a sort of temple to be occupied gods, found at the center of a community in the days of the so-called Greek city-state, the supreme example being the Parthenon of Athens.

...what I see?

The first episode of Downton Abbey commemorates the Titanic disatser, and Cameron's film Titanic gives a clue to the tongue-in-cheek staging, by master writer Julian Fellowes, of Highclere Castle as the Haunted Polis called Downton.  The final image of Cameron's film finds the last surviving member of the Titanic returning to the Haunted Ship at the moment of her death.

As a fan of DA, you will notice that each and every character, however small the role, inevitably visits and enters the Abbey proper.  Thus the Abbey is a Death Vortex, a place of All Returning, that once one visits, one haunts as a ghost and as a god forever.  The term Downton is coined precisely because of its evenly accented similarity to the term haunted.

Jupiter is depicted with a wild and manly head of spaghetti hair 
...and the conflation is painfully obvious.
The Jupiter question requires a good deal of knowledge to apprehend in its fullest, because it relates to not only the panoply of gods, but also as a symbol of Britannia.  British composer Gustav Holst composes Jupiter (heard just below), and a little research on this piece uncovers that the pastoral melody at the center of the work was and continues to be championed as the template for a proper "peoples" British National Anthem.  Alongside said music, there are many Jupiter clues in the dialog here, from Robinson's masterful How To Get A Head In Advertising.  It includes the reference to "a tin a of spaghetti", which provides Jupiter/Zeus as the alchemical tin and as the father god we now call the Great Spaghetti monster.


To reinforce the use of this clue, some spoilers are necessary.  I do not have DA on disc, and watch it as it plays out on US TV. Therefore, the freshest memory comes from the most recent US  PBS broadcast of season 4, which portrays the awful rape of Anna.

The main figure of this episode is that of the late Matthew Crawley's Victrola, which is dragged out of its posthumous attic to serve as a music box for some guests who wish to dance.  This figure is reiterated in a seemingly throw away comment from Lord Grantham, who explains that lurking somewhere in Downton's vast library there is an original Gutenberg Bible.

The first book of a Gutenberg is "The Book of Matthew", which encodes in its first chapter the presence of Christ as an Alpha Omega reality binding agent.  The verses describe the lineage of Christ in three sections of fourteen verses, giving  π or 3.14. The total number of verses is therefore 42.  In the common occult parlance of our times, 42 is connected to Jupiter by way of the alchemical symbol for tin.  Thus, the verses represent the patrilineal power of Zeus, and Christ, as the last of this line, becomes J. Zeus, Junior Zeus, Apollo, the Sun, the Son.

The Book of Matthew is a record of this loop, which brings us to the Victrola, pulled from the haunted memory of Matthew Crawley.

As the needle and needle arm of a phonograph moves to the center of the disc, it provides a complete path that is indicated in the Jupiter Tin glyph.  The "t" shape serves as the the needle arm and needle.  The Phi Spiral, like the curve of the Arabic number 2, indicates the eternal motion of the needle toward its impossible center, as it whispers to each of us the everlasting mystery of death.

For keeners.  A study of the British fascination with the Greek myths can be found in the work of playwright and screenwriter Harold Pinter.  Both Accident and The Homecoming are completely bitchin'.     The Homecoming.

All of these matters are likewise visible in Fellowes' and Altman's Gosford Park and hinted so sweetly with its final song.

Here is Holst's complete Jupiter.


Saturday, January 11, 2014

Mission Accomplished

More moon than funny can buy.

Current Art Podcasts at Blog Talk Radio with Type1RadioAshram on BlogTalkRadio

Sunday, January 5, 2014

REBA! -- The Musical

Some folk seem to think that to live forever could become a crashing bore.  As for me, I perceive no limit to the joys and horrors of fascination.

Slowly, slowly...

Wednesday, January 1, 2014

Radio Lounge!

Happy new year, all of thee.

On January 11th 2014, I will join the crew on TypeOne Radio Lounge with Psonik, Sophia, and the ravishing Thomas Sheridan for a hot discussion in fool's rushin'.  Satisfaction guaranteed or none of your money back!  

Tune in.  Turn on.  Type One.