Grayson/Sadler

Hmm.

http://bakerbloch.wordpress.com/?s=sadler

Sadler (Julie) is a collagist, but she’s changed her name since Pietmond days.

The remaining Grayson, (3rd; sans Sadler):

Ripshin, Grayson County, Virginia.

—–

Additional note: 2 separate Black Rocks occur in Grayson County, KY.

Additional note: Joe (TX), Cartwright (near TX), Ponderosa (KY).

Additional note: Sadler-Dixie, TX. Sadler-South, KY (obvious!).

Aditional note: *Also*, to reinforce above, Sadler-Southmayd, TX (!).

Additional note: Wax in Grayson County, KY (Bee, Byrd — Poe).

Additional note: Whitetop Mtn. in extreme nw corner of Grayson County, VA, which also contains a Whitetop village. All other Grayson Counties harbor “White” town oddities as well. Whitewright, TX on edge of that Grayson County, and White Mound and White Rock close, as already talked about. Larger Whitesboro, TX near opposite edge of same county. White Run near western line of Grayson County, KY. WHITE reinforced — run of Whites.

—–

1/21/14 update:

Sadler may instead be referring primarily to William S. Sadler, who helped publish the controversial Urantia book claimed to be channeled from an extraterrestrial source.

http://en.wikipedia.org/wiki/William_S._Sadler

In 1910, Sadler went to Europe and studied psychiatry for a year under Sigmund Freud. Sometime between 1906 and 1911, Sadler attempted to treat a patient with an unusual sleep condition. While the patient was sleeping he spoke to Sadler and claimed to be an extraterrestrial. Sadler spent years observing the sleeping man in an effort to explain the phenomenon, and eventually decided the man had no mental illness and that his words were genuine. The man’s identity was never publicized, but speculation has focused on Sadler’s brother-in-law, Wilfred Kellogg. Over the course of several years, Sadler and his assistants visited the man while he slept, conversing with him about spirituality, history, and cosmology, and asking him questions. A larger number of interested people met at Sadler’s home to discuss the man’s responses and to suggest additional questions. The man’s words were eventually published in The Urantia Book, and the Urantia Foundation was created to assist Sadler in spreading the book’s message. It is not known who wrote and edited the book, but several commentators have speculated that Sadler played a guiding role in its publication. Although it never became the basis of an organized religion, the book attracted followers who devoted themselves to its study, and the movement continued after Sadler’s death.

http://en.wikipedia.org/wiki/The_Urantia_Book

Or not.

Red Book

Why is a copy of C.G. Jung’s Red Book on Ullman’s Table in the Interview section of The Shining?

How was there even a copy available at the time (circa. 1980)? In fact, there couldn’t have been.

Given the prominence of Red in The Shining already highlighted here, the Red Book in all its facets may become super important.

Aha! A mention of Jung’s Red Book in The Shining, *before* it was published. The blog post compares it to the similarly red “Catcher in the Rye” book, seen in the scene prior to this. Super!

http://overlaphotel.blogspot.com/2013/08/catcher-in-rye-with-diamonds.html

Grayson/Sadler 02

Why Sadler? Does it really have to do with the collagist I’m acquainted with? See her Collage Clearinghouse for more about the artist. Why South/Dixie attached to Sadler? Julie is not from the South. South may stand for an immersion in an illusion, like Dixie, like Gone With The Wind’s Dixie.

Note: There are *tons* of Dixies strewn across the US, but only 2 “South”s.

But I also think it represent incarnation in a physical form — that kind of illusion. Love Lee. Love Lee (illusion of Lee as South’s savior). Gray is the color of Confederate uniforms. We are all confederates here on Earth, in this school.

Whitehouse, Maryland use to be called Black Rock. 2 Black Rocks in Grayson County, KY, with a White Run on its western side. White, gray, black. Whitehouse is the only *variant* name of Black Rocks in US that’s primary. Black Rock name is most attached to Grayson County, KY (as Sadler is to Grayson County, period).

http://lostpedia.wikia.com/wiki/Black_Rock

The Black Rock was a fully-rigged 19th century British trading ship that was found shipwrecked on the Island and overgrown by the jungle. The ship carried a cargo of slaves, dynamite, and other equipment intended for mining. In the midst of a large storm at sea, a massive wave swept the vessel inland, causing it to crash violently into the statue of Taweret, thus toppling the structure, leaving only the foot of the statue intact. This wave carried the ship far into the interior of the Island where it finally came to rest in an area known as the “Dark Territory”. The ship was captained by Magnus Hanso, who was allegedly buried somewhere close to the wreck. In 2007, Hugo Reyes destroyed the ship by detonating the remaining dynamite.

We know from 1P that Black Rock resonates with the Twin Peaks’ Black Lodge thru “loss of arms”. There’s also a White Lodge, another black-white duality.

Only prominent US North in Orangeburg Co., *South* Carolina. North is circular, like an orange itself. Nearby are Norway, Sweden and Denmark, all northern world countries. Very Nordic, very white with blue eyes/blonde hair type of places.

—–

http://www.dailymail.co.uk/news/article-2100947/Eisenhower-secret-meetings-aliens-pentagon-consultant-claims.html

The initial meeting is supposed to have taken place with aliens who were ‘Nordic’ in appearance, but the agreement was eventually ‘signed’ with a race called ‘Alien Greys’.

http://en.wikipedia.org/wiki/Nordic_aliens

Nordic aliens (also known as space brothers) are said by self-described contactees and some UFOlogists to be a group of humanoid extraterrestrials who resemble European racial images, or more specifically Nordic-Scandinavians.

Stephanie Kelley-Romano observes that “white extraterrestrials are those that are most revered”, compared to other beings like the greys, and argues that claimants may use their stories about extraterrestrials “as a means of articulating racially based fears”.[5]

Grayson = et contact. What happened at Whitehouse?

http://exopolitics.org/Study-Paper-8.htm

At his farewell speech in 1961, President Eisenhower was possibly alluding to the growing power of national security agencies that dealt with the extraterrestrial presence and were gaining great power as a result of the dilemma over what to do with the extraterrestrial presence:

In the councils of government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military industrial complex. The potential for the disastrous rise of misplaced power exists and will persist. We must never let the weight of this combination endanger our liberties or democratic processes. We should take nothing for granted. Only an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military machinery of defense with our peaceful methods and goals, so that security and liberty may prosper together.

If the President was dissatisfied with the non-disclosure of the extraterrestrial presence, then his speech was indicating that the responsible national security agencies were both dominating public policy and taking a ‘hard-line approach’ that was inconsistent with American democratic ideals.

Steptoe Series 03

(continued from)

bb:

As usual, Hucka D., I’m rushed for time, even though I should have a bunch of time.

Hucka D.:

Too many projects. Too many project reviews. That’s good!

bb:

So I’m enlisting your help again.

Hucka D.:

No. You can do it.

—–

This is Collage 4 of the Steptoe collage series, which is in four parts of an animation. We’ll call these 04a, 04b, 04c, 04d. The above is 04a. Hucka D. wants me to do this alone. We have Jack’s VW bug, but reversed in color from yellow to blue, and heading the opposite way from the previous collage (Collage 03) already reviewed. Jack’s son Danny from The Shining also re-emerges here, or at least his head and arm. He’s already appeared the Steptoe series in Collage 02, also an animation, and taking place in the midst of a small Washington state cemetery named Stipe (variant name: McConnell). Collage 03 also takes place in the same general vicinity, or at the entrance to the same cemetery. In Collage 04, we also haven’t moved far away, staying in the area to visit Steptoe Butte about 10 miles to the nw of the cemetery. The butte is a very prominent landmark, rising about 1000 feet from the surrounding, flatter terrain. It can probably be spied from the cemetery itself. So what is happening in the 4 part Collage 04 animation? The figure of 04a has Danny’s head, true, but a different body. It’s that of REM lead singer Michael Stipe, culled from an earlier Jan. blog post. Danny, with his own hand, is playing a game of darts not with a dartboard but Steptoe Butte itself, with the traditional board’s bullseye being replaced by an ear. Eye for an ear. It is then a bull’s ear. So what does *this* mean? Hucka D. is still not going to help me. The ear is that of Michael Stipe again, severed from the head and placed near the top of the butte. As Stipe is a musician, we might assume this has to do with hearing or listening to his music. And I think the particular song inferred here is “Shiny Happy People”, as will become evident during the animation’s progression. So here we have ear substituted for eye; Michael Stipe’s body substituted for Danny’s; and Jack’s VW car and car shadow reversed. Keep in mind as well that Steptoe Butte has become a variant name of Michael Stipe himself — Michael and this standalone mtn. have become one and the same in the collage series. As Stipe/Steptoe Butte have been assoc. with the color blue through the cube topped Story Room figure, it seems that the change in Jack’s VW color signifies that we have moved into REM territory and away from Tom Petty’s yellow.

Tom Petty’s signature song of Carrcass-10 is “Running Down a Dream”, dubbing the very first part of the movie where we have the golden bug navigating through huge Montana Colorado mountains. If we run with the current theory, then the REMs’ primary or significant song is “Shiny Happy People”, although their later hit “Stand” is also included in Carrcass-10 (as Petty’s “Don’t Come Around Here No More” represents his own second and last entry in C-10). The reason I believe this is that pictorial elements dubbed by this song in The Shining begin to appear in Collage 04b, which would be the Jack-Lloyd scenes at the bar of the hotel’s Gold Room.

The dart and the ear are still there, true, but behind them is now the head of Jack and Lloyd respectively. Also significant is that the lighted bar glass appears in the road below them, a seeming continuation of the white trailing VW from 04a. The original photo I took all 3 of these Gold Room elements from is this one.

In Collage 04c, the held dart and target ear have vanished altogether, leaving us with a plain view of Jack and Lloyd the bartenders’ heads. The inverted blue VW has reappeared, but further away and on Steptoe Butte itself now, forming a tight pyramid-type triangle with the 2 aforementioned heads.

This is a continuation of the animation of 04a (car with light shadow) and 04b (lighted bar top), and now it can be inferred that the bar itself is one with this inverted VW and its shadow. The road leading to Steptoe Butte gives the appearance of a runway (related to Petty’s “Runaway”??), and I think back to the Barry-Shin(i)n(g) 03 post and the close proximity of Barry, Minnesota with a Stanley Field airstrip.

Danny’s dart also seems to have transformed into a cigarette, losing its red tail in the process. A wiff of smoke emerging from the point opposite Jack gives the illusion that he’s smoking this “cig”. I believe this particular drug vice is substituting for the Jack Daniels drink that Jack actually partakes of at this bar, as poured by Lloyd the bartenter. Smoking a cigarette equates with drinking the Jack Daniels in a glass.

*But*, in reference to the next and last part of the 4 part Collage 04, the cigarette also infers a lighted fuse that, when burned down, will *explode* Jack and also his bartender, his inverted VW heading right for him, and even Danny’s arm holding the cigarette/fuse.

(continue to)

Steptoe Series 04

(continued from)

A second, smaller Danny-head suddenly appears from the back of his first head, turning the opposite way.

What we have here in this 4 part collage animation is a meshing of several separate scenes from The Shining. The Danny related images — head, arm, dart, extra head — come from early in the film, when he first directly encounters the Grady Twins while playing darts in the game room of hotel the family’s just arrived at. Danny throws 3 darts at the board, scores no points apparently, (missing the scoring area each time) and then goes up to the board and pulls 2 of the 3 darts out before being “alerted” to the presence of the twins behind him. We’ve also spoken about how the board in front of him would have a backwards 2-3-7 in alternating numbers (culled from Kearns’ research once more). The last dart he pulled was right below the 3 in the center, reinforcing this. There’s no doubt, to me, that the character Danny sees all this, and attaches the dartboard with Room 237 later on in the film. He’s a bright boy — he “shines” even. 🙂

Why is Danny then throwing a dart at Steptoe Butte, and at a giant ear no less? We’ve identified the ear as that of Michael Stipe, lead singer of the REMs. Michael Stipe has been translated, through the not-to-be-underestimated power of Carrcass-1, into the variant Steptoe Butte (same name as the mountain), heading a variant band known as Murmur (in “our” reality, the name of the 1st album of REM). The giant ear seems to be about their music, since it is Stipe’s. I’ve already speculated, I believe, (writing this several weeks after the last collage interpretation) that this is more about the belittled early single “Shiny Happy People”. And this brings us directly to the second, major section of The Shining indicated in Collage 04 images: the Jack-Lloyd bar scene. Or actually scenes plural, since Jack visits the time warp bar on two separate occasions while living in the hotel. From the bar scenes, we have Jack’s head, Lloyd’s head, and the lighted top of the bar itself between them. In a two tier process, these second Shining elements emerge from behind the first (Danny-dart throwing). And in Collage 04c, we have an interesting transformation of Danny’s dart into what appears to be a cigarette or maybe a cigar. But perhaps it is a marijuana cigarette instead — a joint? Anyway, it certainly also doubles as a lighted fuse if so, and in Collage 04d, the final permutation, the background Jack-Lloyd stuff disappears in a flash of white hot light, taking Danny’s arm and transformed dart with it, and also the inverted VW bug (blue) rushing toward the mountain in 04a, 04b, and 04c. I suppose that would be another, different aspect of The Shining to figure in here — Jack driving the VW bug up to the hotel at the beginning of the movie, and then again (plural scenes once more), when taking wife Wendy and son Danny to the hotel after procuring the winter caretaker position. The VW has reversed position and color (yellow to blue) from Collage 03 before this. I believe it represents a switch from emphasis on Tom’s Petty High (Tom Petty variant band) to Murmur (REM variant band) in Carrcass-1, per the colors demonstrated in Collage 00, 01, and 02 already (red = Story Room, yellow = Tom’s Petty High, blue = Murmur). That Danny’s head rests atop Stipe’s torso and Stipe’s ear projects from Steptoe Butte in Collage 04 reinforces this interpretation.

Bull’s eye becomes Bull’s ear — what does this mean, then? We’ve all heard the expression eye for an eye (and tooth for tooth), which means retributions will equal damages done. The ear is on top of Steptoe Butte, and Stipe has become the same as Steptoe in variant terms… so the mountain’s top represents *his* top (or head — ears included). That Stipe’s *eye* shows up on Danny’s bigger head in Collage 04d is telling… as the ear disappears at the same time after being present in 04a, 04b, and 04c. I believe that the spirit of Danny has quote unquote possessed the head of Stipe, or Stipe allowed this takeover — for the purposes of enacting the collage animation. When the process ends, i.e., the Jack-Lloyd elements have been manifested and then destroyed, in effect, then Danny can allow Stipe to repossess the head, eye returned (and perhaps the rest of the head’s elements shortly). The smaller Danny head then emerges from the back of the larger Danny head, which is being returned to Stipe, we’ll say. This smaller head then becomes the true Danny-head after this. The head turns around from the position of the first. In The Shining, this is when Danny turns his head away from the dartboard to view the Grady Twins. The dart game appears to be over, just as the Jack-Lloyd bar elements of Collage 04 and the Steptoe collage series as a whole have ended.

Moving on for now: what happens in Collage 05?

Well, The twins are also seen there (!), but in a grassy meadow and not in the game room. We’re still near Steptoe Butte with this picture’s background, so one can imagine the smaller and now truer Danny-head actually sees this collage when turning around from Steptoe Butte itself. He sees the twins, but he also sees Jack from the very end of The Shining movie, positioned like The Devil in his namesake tarot card as also already talked about quite a lot in this blog. I’ve also seen discussion about the Grady Twins being identified with The Twins card (card 6 of the Major Arcana, as The Devil is card 15), and there’s actually a degraded version of what appears to be these same twins in card 15, now loosely chained to the devil itself and not free.

And there’s yet another tarot card more obviously present in Collage 05: The World, its final (21st) trump card. Behind the first physical appearance of the Grady Twins in the movie is a controversial poster seeming to depict, in a lower resolution capture, some kind of horned being surrounded by what might be an ourobouros image, or a snake swallowing its tail. To me, it seemed very similar to the circular wreath of “The World” card, and earlier in this blog I made an attempt to overlap the two and discuss the results. Through Collage 05, I’ve now more successfully integrated the two, and also incorporated Jack’s image as the devil. How is this done? Through the bull pictured on The World Card, which lies in the lower left corner to us. Simply put, I substituted the bull’s head of the card with Jack’s, or, more accurately, superimposed Jack’s head atop the bull’s. The bull represents Taurus in the card, one of the four fixed signs of astrology along with Leo, Scorpio, and Aquarius. Each of these signs are represented in the card by figures: bull for Taurus as spoken about, lion for Leo, eagle for Scorpio, and man for Aquarius.

“The World” tarot card.

Danny first sees the Grady Twins, w/ controversial poster under discussion highlighted.

(continued in)

Gray (S)adler 01

http://idyllopuspress.com/idyllopus/film/shining_tuesday.htm

208 MS Jack. (45:47)

Wendy exiting, as she reaches the end of the rainbow painting, cut back to Jack from the angle of where she had been standing. As we hear her footsteps continuing across the floor, Jack returns to work. The scrapbook shows different images and paper is already in the carriage. This shot of Jack appears out of joint with the others, his temperament and face dramatically different, no hint of rage there, but Kubrick has styled the shot so that Wendy’s departing footsteps heard over it tie the cuts together aurally.

The door beyond is now hidden by the lamp. Jack’s position conceals whether or not the table and chair, which were there then gone then returned, are there or not.

Juli contends this is the *real* (or realer) Jack typing the horror story based on the scrapbook he found in the Boiler Room (in King’s book; not shown in or edited out of Kubrick’s film, however, as discussed previously). The typewriter has changed colors from white to gray in the meantime.

Later on in her “Tuesday” section, Juli reveals her “base plan” starting with the above photo…

Jack’s expression is so different here, I really do feel like this is one of the few “real” shots in the film (there are a couple of others), and that the rest are only Kubrick allegory world and mental scenes from Jack working away on his novel. None of this really happens. It is a story. And that’s all right. After all, it’s only a story anyway. It’s fiction from beginning to end.

The film is full of impossibilities from beginning to end, and I have said repeatedly that one can’t approach this realistically. I really do think we have two stories, that of the writer who is at a lodge typing out his story, perhaps one a lot like Stephen King, an alcoholic with anger problems, and the story is inspired by this and a working out of it. And the story is also an allegory, a vehicle for the story Kubrick is intending to tell.

I’ve already discussed this idea of a story within a story (within a story) as well, most likely inspired by an earlier study of Kearns’ massive Shining document. Back to the Base Plan… Juli gives a list of some of the movie’s perceived “90 degree turns” and inexplicable, attached disappearances. She then states…

Fig. 48 – Pyramid and pyramidal trapezoid, monolith, vanishing point and single point perspective, all wrapped up in one, but the apex (and, hence, the vanishing point, the pyramid, the angle of convergence) is obscured.

An expresion for these 90 degree/right angle turns and the disappearances and appearances that seem to be associated with them I again find in the “vanishing point” (angle of convergence) of the trapezoid pyramid shape that is repeated throughout the film. Again, when one views this not as just a trapezoid but a rectangle viewed from an extreme perspective we find in it the disappearing angle of the vanishing point.

Kubrick consistently expresses the trapezoidal pyramid shape in the film with a circle above as if obscuring the angle of convergence. Take a look at the sconce on the wall above Jack’s head and how we have this expressed even in the shadow created by the light and the bottom of the sconce being what obscures the angle of convergence. This is an example of what I’m talking about. A simple expression of light and shadow and geometry.

We see the same later in the peculiar choking poster.

We see it implied in the Colorado flag.

She goes on to give several other examples of this vanishing point, including a corner of the hotel related scrapbook in one shot that appears to be altered by Kubrick to represent this. I personally think Kearns is on to something. She concludes her “Tuesday” section with the following, directly connected to the scrapbook’s sudden, unexplained appearance in the film…

Up to this point in The Shining, things had been going fairly well for Wendy and Danny and Jack at the Overlook, in as much as he hadn’t entered his crisis yet, that state of obsession in which he types over and over again the one phrase, “All work and no play make Jack a dull boy.” But that has now changed. The shift has been made.

Things could even said to be heading *south* from this point on.

(continued?)

Gray (S)adler 02

(continued from)

http://idyllopuspress.com/idyllopus/film/shining_wednesday_1.htm

There is above the lamp in the entry to the inner apartment of 237 a picture and at its bottom one of the shadowy forms occasionally seen in the photographs of the lodge instead of the usual chronicle of faces arranged about a table. One has here a sense of something like the abyss, and a great question mark concerning the figure staring across that great desert–though the picture appears to be of a lake. The image blends with other background paintings in the hotel that are instead wastes of snow. Knowing that later Jack will come up to Room 237 to inspect it, the silhouette presence in the image imparts the impression of it being Jack.

Kearns points out a very interesting, apparent transformation of this silhouette figure into a boiler switch in the subsequent crossfade. I’ve captured some screen shots to show the effect. When I first read about this, I thought that maybe Juli was looking too deep at this particular aspect, and seeing too much.

I believe I’ve changed my mind, given that the switch is red, and the very next scene transition, a cut this time, has almost directly overlapping red rectangles. Toggle back and forth between successive frames around this cut pictured below to see the effect. How much did Kubrick plan?? I haven’t even begun to reach the depth.

Red rectangle at bottom of safety poster…

… transforms into rectangular red bottom of pack of Marlboro cigarettes.

So let’s back up and see what Juli has to say about that boiler switch/painting silhouette match. I’ll focus on the provided pictures:

Fig. 17 – The silhouette in the painting at the entry of Room 237.

Fig. 18 – The silhouette in the painting at the entry of Room 237 begins to overlay the boiler in the basement.

Fig. 19 – The silhouette in the painting at the entry of Room 237 seems to reverse orientation, when it is instead a switch on the boiler becoming more prominent.

Fig. 20 – The switch on the boiler in the basement.

As the silhouette from the painting fully merges into the hardware on the boiler, and the crossfade ends, Wendy leans to the right so that the lean of her posture mimics the silhouette/hardware. We will see this kind of side-leaning mimicry again when Jack knocks a number of objects to the ground on his way to the Gold Room, in the scene where he comes upon all the balloons. In that scene, the side-lean will be observed also in a poster beyond Jack.

Here’s the leaning Wendy, seeming to mimic the angle of the red and black boiler switch in question to her left.

Again, I now think Ms. Kearns is definitely on to something here. So let’s look again at the chOking poster also displayed not once but twice in this particular Shining shot… this is shot 263 of the film according to Kearns’ counting. Quoting her again…

The unique CH O KING poster has the 0 slightly truncating the red form of the pyramid or plane below, which reminds of Wendy’s action of operating the can opener over a crossfade of the mountain in the Tuesday section which results in a sort of truncation of the mountain so it is concealed from view for the remainder of the movie.

We will learn in a little while that a “crazy woman” has attempted to strangle Danny in the bathroom of room 237. The crossfade from room 237 to Wendy in the boiler room when Danny asks if she’s in there, and the presence of the CH O KING poster and the pinups of the nudes could place Wendy in Room 237 symbolically if not literally, or are simply revealing to us the story of what is happening to Danny at this very moment.

She then provides this close up of the poster, which I’ve already displayed in the 1st post of this little series just below. Here it is again.

Continuing…

No two ways about it, we’ve no ordinary safety poster here giving instruction on what to do in the case of choking. The lettering is hand done and has the feel of 1950s/1960s horror film movie poster lettering. We see above the truncated pyramid, in the O, what appears to be a human face, mouth open in a large O. A depiction of a choking individual? The Blu-Ray’s colors are more intense and one wonders what is that red field down below the mouth? It doesn’t appear red in the DVD, and there are some scenes in the Blu-Ray where the colors are so completely wrong it’s a travesty. Can we take this as an image of Danny being choked? We also can glean here the image of Danny screaming in horror of Dick’s being killed.

Keep in mind we see *2* CH O KING posters in shot 263, one in the boiler room, and another in the utility room just outside, with the washers and dryers. We’ve also already seen this in a photo above, (far left center) representing the very last frame of the shot. The 2 posters appear identical; twinned.

Green and gold Wendy runs between green washers and golden dryers to end shot 263.

(continued in)

Gray (S)adler 03

(continued from)

At 58:42, Wendy acquires “Rudolf nose” as her head begins to eclipse the red cross on the bulletin board.

The crown of her head passes directly beneath the turned up corner of the paper above the bulletin board precisely above the red cross. Simultaneously she starts to look up at the approaching boiler — her head *bends* with the line of the curve.

Another red nose effect quickly takes place — Wendy has encountered the eastern edge of the all important CH O KING poster. She now looks directly at KING.

She seems to balance the “O” on her nose at one position. Like a seal and its ball?

Her mouth aligns with red, middle region at the western edge of the poster, as if she is eating it in reverse (?)

After pushing some boiler buttons and hearing Jack grunt in seeming reaction, Wendy looks directly at the camera as her head realigns with the “O” of CH O KING, with the KING clearly visible again. And just to remind, we have that mysterious red sparkle appearing right when she then sets her clipboard down on the table, as she starts to move toward Jack in the Colorado Lounge to see what’s going on.

The 2nd CH O KING poster again in the adjacent utility room, which Wendy trots past on her way to Jack. We see that the paper with the red cross is once more beside it, but to its left instead of the former right. In the screen capture, Wendy’s head is centered in the “X”, maybe a direct counterpart to the poster’s median “O”? It’s also a possibility that it relates to the much smaller red cross just beside it here.

The red cross represents a *level* or horizontal cross, while the “X” represents a cross on a diagonal, in effect. Level Cross, North Carolina is the birthplace of NASCAR legend Richard *Petty*, who was known as “The KING” because he was at the top of his game when driving. Level Cross, NC happens to be directly west of a village named Red Cross. I’ll get back to that line of thought in a moment.*

Short theory here: I believe Kubrick wanted to parallel the 4 green washers *below* this second CH O KING poster to 4×4 paper *above* the first seen one. Starting at the left, both identical posters appear carefully aligned between the 1st and 2nd “columns” of paper and bank of washers respectively. The switching of the red cross from right to left indicates that we are dealing with an inversion, and that also top should be seen as bottom now. The washer furthest from Wendy here is slightly out of line with the others, just as one of the 4 columns in the 4×4 paper has a slightly bent corner, the one where Wendy begins to *bend* her head at to face the poster right as she passes beneath it. It’s not a calendar, however, since this would be 4×3 (for the 12 months). I believes it’s the washers or the washers are it. Each of the 4 washers turned on their primary axis would present 4 rectangles to the viewer — a top, a bottom and 2 sides, front and back. Likewise each of the 4 columns of the paper contains 4 rectangles.

We run smack into the same question again and again: why would *Kubrick go to so much trouble to do this*?!

(continued in)

—–
* Level Cross has recently been in the news.
http://www.autoweek.com/article/20131105/nascar01/131109924

Gray (S)adler 04

(continued from)

There are a number of other very interesting towns around Red Cross besides nearby Level Cross already discussed in “Gray (S)adler 03.” Note first that Red Cross is near Climax, just over the northern Randolph County line in Guilford, and also lies within the Climax topographic map. Julian also seems meaningful, but I’ll have to get back to that if so. And then we have both a Grays Chapel and a Whites Chapel not far south of Red Cross (!). Lineberry (Linberry?) may reinforce, for us, the 2 needed lines to form a cross. Then there’s Melanchton a couple of miles to Red Cross’ southwest, the only US population place that begins with the letters “melanch”, like “melancholia”. I pretty strongly believe, however impossible it seems once more, that this is referring to Durer’s very famous 16th Century print “Melencholia I”, the first of a series planned on the subject of melancholia in general according to some sources. For now, I’ll say it has to do with the 4×4 Magic Square of the picture — I’ll study more about the print this weekend.

The topographic maps covering Randolph County could be a reinterpretation of the 4×4 square given the presence of MELACHton within (Grays Chapel topo map).

A 4×4 square appears above the CH O KING poster. In the movie, I believe Kubrick wants an association to be made between it and the 4 washers in the neighboring room, as already discussed as well in “Gray (S)adler 03”. I now think it can also be associated with Randolph County, NC, even though this is something that Kubrick in all likelihood *didn’t* plan. We have wandered off his map, if so.

The position of Red Cross is marked with a red cross. If The Shining’s 4×4 paper and Randolph County’s topo maps are aligned this way, the 2 “red crosses” are basically directly north and south of each other. The folded back corner of one the pieces of the “map” indicates the position of Red Cross, and also Level Cross directly above it, in turn (again if we turn the map sideways).

Some more on Randolph County:

http://en.wikipedia.org/wiki/Randolph_County,_North_Carolina

Randolph County is located in the center of North Carolina & the city of Asheboro (located in Randolph County) is the center point of North Carolina.

In 1911, a new county called Piedmont County was proposed, with High Point as its county seat, to be created from Guilford, Davidson and Randolph Counties. Many people appeared at the Guilford County courthouse to oppose the plan, vowing to go to the state legislature to protest. The state legislature voted down the plan in February 1911.[7][8]

Durer’s “Melancolia I” and its well known 4×4 square, also called the Magic Square of Jupiter:

http://en.wikipedia.org/wiki/Melencolia_I

Even if he didn’t plan it, don’t you think Kubrick would like the alignment of 2 maps called Climax and Erect on either side of Randolph County?!

X marks the spot again.

(Continued in)

Kubrick was a collage artist.

I’m convinced of this now. Except he collaged together different elements of his films, including segues between shots. Else you can’t explain why Jack’s light colored t-shirt aligns so perfectly with the white edges of the typewriter here in the crossfade between shots 171 and 172. The t-shirt advertises Stovington High (a name taken directly from the Steven King source book) and their mascot, the eagle. The typewriter we crossfade to here is an Adler, which means “eagle” in German. There’s also a more stylized eagle emblem on the typewriter above the brand name. Jack’s t-shirt, in the fade, begins to say A D L E R instead of STOVINGTON as his arm moves in front of the latter. There’s no doubt about it: Kubrick wanted the Stovington Eagles and the Adler typewriter and its eagle emblem to be *directly* connected. Second eagle replaces the first.

While I have shot 172 loaded in my DVD player, I’ll show you something else about it that others have spotted. Instead of working on his story in the shot, Jack is throwing that yellow ball against the Indian mural above the hearth. At one point, he assumes the position of the an upside down version of the Tarot’s Hanged Man, the 12th card of the pack’s Major Arcana.

And there’s the monkey shaped driftwood again beside him.

http://en.wikipedia.org/wiki/The_Hanged_Man_%28Tarot_card%29

This event is also actually synched in Carrcass-10, where the REMs (or *Murmur* now) sing, “Your feet are going to be on the ground,” a verse from their “Stand” single. Jack’s feet, however, very briefly leave the ground while he assumes the reversed hangman position.

Interestingly, the Hanged Man card appears in Steven King’s Dark Tower series, begun several years after the release of The Shining. The Hanged Man wikipedia article specifically earmarks the Gunslinger novel, the first of the long series, where it symbolizes the main character Roland and his quest.

recent Randolph County idiocy.

Ralph Ellison’s ‘Invisible Man’ banned in North Carolina
September 19, 2013|By Carolyn Kellogg

http://articles.latimes.com/2013/sep/19/entertainment/la-et-jc-ralph-ellison-invisible-man-banned-north-carolina-20130919

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Now some lighthearted Randolph County related fantasy:

http://pixar.wikia.com/Lynda_Weathers

Mrs. The King — hmm.

Thankfully Randolph County and The Magic Square of Jupiter in Durer’s “Melencolia I” will forever be linked. Magic cures all.

https://archive.org/details/architecturalhis00what

https://sixweeksofshining.wordpress.com/category/week-6/