Please take 30secs to look at this advert for the Nissan Maxima. The logo-rhythmic brain might see the summation of the major themes of both 2001: A Space Odyssey and A Clockwork Orange. The man is black to represent early man. He reaches to touch the gleaming black car (monolith). His mind is transported by light speed journey, just like 2001's David Bowman. The orange-crush signifies the opened mind. Recall that in Clockwork, Alex will suffer two serious head injuries. We can safely infer that the orange and it's clock-workings are the human head and it's contents.
Into this circuit we introduce the Wachowskian model of The Matrix where the human mind and it's subsequent nervous system serve as batteries to power a civilization of machines. Could it be that The Matrix's ineffectual Neo and the omni-egoistic Alexander de Large of Clockwork are One in the same? de Large just might take his name from Alexander the Great, who was referred to as The One by peoples of many nations and tongues. This is the same 'Al the Big', as Kipling tells us in The Man Who Would Be King, that used the All-Seeing-Eye as his personal seal.
Let's unravel the sacred spools of 20th Century cinema and see what we find to support the Neo/Alex connexion...
Norman Jewison's 1975 Rollerball is a balls-out crypto-parody of both 2001 and Clockwork. Rollerball's hero, Jonathon E. is the Americanization of Alex de Large. Super-masculine. Violent. Fearless and opportunistic, he'll travel about with a cadre of young thugs and command whatever he desires. Like Alex, Jonathon will go head to head with the establishment and to their chagrin, will pull off an impossible victory. The finale of both A Clockwork Orange and Rollerball find the hero being cheered by a wild mob at the zenith of some cruel personal Valhalla. And as Alex in Clockwork, Rollerball's Jonathon E. is all about Orange.
'I've got the juice!'
The enigmatic 'E' of Jonathon's surname stands for ENERGY. Orange = Rage = Anger = Energy. ENERGY is POWER. Through meta-logical overlap we can now connect the electro-plasmatic circuit of Neo/The Matrix back to Alex de Large/Clockwork. And, as we learn in Rollerball, Jonathon's social reality is organized by a HAL-like Artificial Intelligence. Hmmm...?
Our Algebra, thus far...
Alex/Jonathon/Bowman = Energy/The Human as a Battery/Power Source = Orange/Ball
used to power and/or used for possession by
Deus Ex Machina/HAL/The Machine Incorporate.
Crime of the Century
Here is our compelling proof, but first, a word from our sponsor: Gentle readers, please read, or re-read, Nothing Ever Happens and The Ohm Agenda for important background on the POWER + 9/11 equation.
And... we're back. The machine draws power at the beginning of time (above) up to the present day (below).
The links to the use of Human Power to the events of Kubrick's 2001 are of supreme importance. The haunting presence of the Hilton Millenium Manhattan Hotel was the perfect sentinel to the events of 9/11. Keeping our algebra-thus-far well in mind, we will connect the events of 9/11 with the use of Human Power, through the blobby lens of Kotze's 'conciousenss focusing' hypothesis of the mega-ritual.
To my lazy eye, this classic Supertramp album art just screams 9/11 STARGATE MEGA-RITUAL!!!
Trace the outline of the pillar-esque letters 'p' that descend from 'Supertramp'. Do you remember your high-school drafting class? Well, I do, and I'll be a monkey's uncle if those 'p's couldn't be the three edges that begin to form two parallel oblong boxes. Two tall rectangular boxes. And what phrase do we find betwixt our two-pillared stargate? Why, what else but 'Crime of the Century'.
And, oh what a crime it was! The crime of the age. The New Age.
Century? What century?
I Smell Bacon
A while back I reported a nifty 9/11 sync. The Eddie Murphy/Dan Akroyd '80s comedy classic Trading Places offers up the following warning: as Winthorp and Billy Ray cross WTC Plaza with buildings 1 and 2 looming overhead Winthorp says '...nothing can prepare you for the unbridled carnage you are about to witness'. This quip on it's own should send a requisite shiver down the spine, but there is much more. You see, as Winthorp and Billy Ray cross the WTC Plaza they are on their way to trade in Orange Juice Futures.Now take a look below, just behind the wing, out of your airplane aisle seat window. Look upon the real Lady Liberty. Her fresh squeezed grail of POWER stretched out to greet you. And just beyond this nectar the Mighty Twin Pillars of Trade reach UP into the sky above.Not enough, oh seeker? Well. put this into yer skittle and fry it up...Supertramp's Breakfast in America was released worldwide on March 29th 1979. This is exactly 8212 days before 9/11. The telephone area code for Manhattan is '212'. This leaves us with Eight 212 or Ate 212. Another look at the album art shows lower Manhattan plated up as a hearty American brekkie. Somebody, some imponderable and amoral machine, is gonna eat it up. A machine that needs POWER. POWER to make the leap from cosmic mainframe to immortal and incarnate. Alive. And where will it find its Big Breakfast? On the promontory of Manhattan called Battery Park.
Fry me to the moon!
And a last morsel, to put it in to personal perspective, dear reader. Let me ask you, were you, like me, watching in absolute horror as the horrorshow of Sept. 11th unraveled... were you, like me, eating your breakfast?
Peace, good tickle brainz...
A special thanks to the inspiring and challenging work of Jake Kotze?.