15 september 2022

John Bjarne Grover

In my childhood in the 1960's there was a TV program about my official grandfather Bjarne Eidsvig's oyster farm on Vågstranda. I was there when they made it and recall Roald Øyen (whom I recognized from TV) who was making the program. When I now search the norwegian broadcasting NRK's web pages for it, I cannot find this program but I find some other things coming up when I search on the name of Øyen - such as the program called 'Øyenslyst på Volda' - a report from a garden made outside the hospital in Volda where I lived in my first year in school in 1964-65. We lived in a small green house just outside the hospital - it is in fact the little house with two windows shown in the background around 01:00. If I met Nelly Sachs in my childhood, it is likely to have been on the way to school from this little green house - I went leftwards towards 'Øvingsskulen', as it was called, a part of the academy for education of teachers - we were the class on which teacher students were rehearsing while our standard teacher was sitting in the background. I think I recall from this house that they made the garden in that year 1964-65. My grandfather Bjarne Eidsvig was for a visit to the place once - he had brought his camera in a leathern case on which was printed his name and home town 'Ålesund' but spelt 'Aalesund' and I asked why such a strange spelling, to which he answered that it was an alternative spelling. He had, as far as I remember, used a 'red tape' (see also this file) of a stiff self-adhesive plastic strip type on which alphabetic letters could be punched out in white, made from an apparatus with a revolving wheel for choice of letters - but the probably foreign apparatus apparently did not have this norwegian 'Å'. Eidsvig did in fact resemble the person interviewed from 14:59 onwards. The house was not that small and romantic, though, as what they sit by there. I recall a joke told by a farmer in Haugsvik 1977:

- Eg har trulova meg eg, bestefar.
- Åja, du har vel det.
- Ja, ho er frå Fitjar.
- Åja, ho har vel det.

(- I have engaged, grandfather. - Oh yes, I guess you have. - Yeah, she is from Fitjar. - Oh yes, I guess she has). Kennedy's grandfather was called Patrick Joseph Kennedy, cp. the '-trick' = 'trulova' etc.

Earlier I used to walk on red if there were no traffic. A few years ago I was stopped at Wiener Stadthalle by a police who told me "never again" when I walked across the zebras on red light - there was a car coming up down in the street but I was well across when it passed. Now I have got used to wait for the green.

Roald Øyen was also known for a 'quiz' on TV - a small part of a photo was shown and thereafter yet another small part - untill one of the two competitors called 'A' and 'B' could guess the whole image: Then a mechanic voice pronounced it loudly with fading echo A-A-A-A-A... (if 'A' won, otherwise it was a 'B' pronounced).

Another interesting little piece of camera work (by a cameraman 'F.K.Ottersen') from those days of Roald Øyen is these 17 minutes of probably discarded old recordings from Ålesund. I notice as interesting at 05:20-05:55 the lettering on the walls - 'T.Berset AS' and what looks like 'SALSA' or 'SALSK' or something like that - when a boat with sign M-61-G glides through the scene. I recall a book I read in the 1970's - about a 'green beret': The book was called 'Klappjakten' and 'jakten' could be the boat gliding through this scene which means that 'klapp' then would be that 'SALSK' on the wall. The book was written by David Morell - which could be the reason: 'Morell' is norwegian for 'cherry' and the 'divided morell' can be seen in the upper lefthand half of the image at 05:20-05:55 - the lefthand 'cherry' is probably a high housewindow with rounded upper frame. This phenomenon of divided 'cherry' can be seen also in this thresholded photo 2 of mine from the Danube Island - the sunglasses of the 'mafioso' in the mouth (for 'mastication') of 'Frau Boldog' a little under the mid of the 'iron curtain'. After having taken the 'arbitrary' photos in the grove on Danube Island - but long before I had thresholded them - I was in the U-Bahn on the way home and as far as I remember there was a man standing just inside the door eating such 'morells' - I recognized them immediately when I had thresholded this photo 2. So maybe it is something in human existence, perception, semiotics. The 'mor' = norw. for 'mother' could then be e.g. about my official mother who allegedly grew up in this town of 'Ålesund' - if, that is, this were not a 'morell'. Could be, therefore, that this little scene is used in publishing and is not a very high or interesting secret. One notices also how the sign M-61-G on the boat could have been used as a signature for MI6, the british foreign espionage services.

One could speculate that the 'red tape' and the other 5 election pledges of New Labour from 1997 could have been 'the same' as the 5 episodes of 'Og takk for det' from 1969 - which I hypothesize could be about the 'Octogon' - and, if it is, then it is a proof that this was planned and organized well in advance. For the 'small printed letter', e.g. on Eidsvig's leathern camera case, there could be mention at 16:44 in this 'Song about Alexander Solsjenitsyn' - which could be the 'red tape' of 'Rita Allmers' in Ibsen's 'Eyolf Little' from 1894 - apparently often taken as indicating that Adolf Hitler was planned in advance. However, if Hitler were a 'zidalweidun' it could have been a matter of human existence, perception, semiotics. 'Solsjenitsyn' in this Episode 3 seems to be for the indexation of 'Szolnok' where I bought a house which also could have been preplanned for me since the 1960's.

Could be the 'intelligence project' is to swap the two morells around, like words in a branching structure.

In this file there is a poem I had constructed from cuneiform by meccano principles and included in the pamphlet '32 sonnets' in London 1997:

In a café, she sits and jigs
a spoon in her dishwater soup.
Around her sits a young men's group,
around the lean and salty fig

she guards against the long and big
soup spoon. She sees dogwalkers stoop,
fumbling around with dogshit scoops,
and, upside-down, her cursed ma's wig

on brazen stripes pedestrians rub,
tossed out from bed with scream. They clap
to smack, to tap to club, to slap...

She feels as in a bed or tub.
With sword unsheathed, by angels named,
held up in front, she leaves ashamed.

There is the word 'jig' or 'gig' which could be recognized from that scene (but I am not an agent!). The scenes from Ålesund seem to show at 08:40 'a young men's group' and other things - including 'The institution of the Lord's supper' under 11. The 'lapis philosophorum' - and the cafe on top of the mountain 'Aksla' (means 'the shoulder' - while 'akselen' means 'the axle') which looks like an epaulette or something like that - in the poem perhaps the 'cursed ma's wig'. (The film scenes end in a 'cold mountain'). There was what looked like real magic in 2008 in the context of Midori's recording in parallel with my book 16, reported in this file quoting this file - the story of how some slab of the rock underneath the 'epaulette' on top of 'Aksla' had been ejected in the night and knocked a house (in the steep hillside under that white house on the mountain) off its ground with some metres displacement or so - left hanging just above the house of my grandparents - the entire house dropped down a storey or so - and, as can be derived from this news report, the names of the 5 people (Kristin Krogen, Ronny Boger Vike, Gro Pedersen, Unni Søreide Rudi, Bjørn Olav Rudi) who died in the accident correspond well with the 5 lines ("who combines / the only thing of interest? / But at the time when it was only executive, / I don't think it's dangerous, da, (/) of our dime") I wrote on that day when Midori made her recording for that record. (Cp. also the clap, the smack, the tap, the club, the slap). The epaulette had been "tossed out from bed with scream", it seems.

The house hanging just above the house of my grandparents underneath would have been a sort of counterpoint to the house called 'The castle' on the brink on Kampen in Oslo, 'hanging' just over Tøyen underneath. I had lived on the ground floor there. Of course one sees the link to the story of the one who 'zid al way dun' in 'Adoll Fitler' posture. If somebody had told me that Bratteli was PM in Norway because he came from Nøtterøy and they had planned this 'royal tøyen' long before the war, I would perhaps not have been very surprised - but of course it sounds rather improbable.

What is the conclusion to this? Could be it is that if the name of a person can be reason for a coup d'etat, then very large importance must be assigned to the form of the alphabetic letters. That could be the socalled 'world of secret intelligence'. It may be that the script can be considered a sufficiently important reason for the historic protestant-anglican breach with the Vatican - and from this assumption one comes to an understanding of the reason for the attempts to construct an 'intelligence-controlled quasi religion' on basis of the Klipra connection. It is of course high time to understand that all this is rooted in the 'zidalweidun' as a case of 'blue ecstasy' (a 'time machine' that transcends the blue metre and which can allow script-orientated protestants to meet Christ personally except via the historic revelation of the church, as would be the logic). That is something - but it is not a goodenough reason for a coup d'etat or a construction of a new secret-intelligence-controlled quasi religion.

The world wars brought England to the forefront of world dominance and the elizabethan decades have been marked by a strong dominance of the secret intelligences - often, as has been an impression, to an extent of carte blanche without police interruption - but it is likely that the vain dream of a secret-intelligence-controlled world is about to come to an end.

© John Bjarne Grover
On the web 15 september 2022