Thursday, October 22, 2009

Happy Trails Snoopy

Snoopy was in terrible pain for the
past few years. This week was her
absolute worst, a nightmare of pain
for her, with the left rear leg almost
useless, her ability to make the stairs
to the barn for biscuits was virtually
gone by yesterday. She lay quietly in
the back of the house throughout the
night, and at 3 a.m., she was gone,
passing gently into the Long Sleep.

Her last message was, "Thanks for all
the biscuits! See you in L315a!!!"

Readings for Snoopy were performed
within minutes of her passing, and
she's very thankful to be out of pain.

I had gotten up, uncharacteristically
early, 11 pm -- and worked on the
smartphone orb, ZombieJamboree while
she lay resting, preparing to pass.
Once done the orb will carry a Snoopy
character somewhere within it.

The orb is not yet complete...there
are a few more levels to construct,
but it is essentially looking as it
will look when it gets massaged into
the iPhone and G2 apps hopefully in
a few days, in time for a christmas

Snoopy was wagging her tail at the
end, and was well-tended in her last
hours. She hopes for you that when
your time comes, you will have as
easy and gentle a passing as was hers.


Sunday, October 18, 2009

Captain Video

Set in a very unclear time period
high up in a secret mountaintop
retreat somewhere on Planet Earth,
Captain Video & His Video Rangers
were live broadcasts of the adventures
of this brave group of space police.
Their uniforms were generally suit &
tie with a football helmet, insignia
glued on rather clumsily. The total
budget per show ranged somewhere around
$25- $100.

Captain Video's sidekick was a youngish
fellow known only as The Video Ranger.
Captain Video's boss was the Commissioner
of Public Safety, whose jurisdiction
involved the western sector of the Miky
Way Galaxy.

Captain Video was DuMont Television's
entry into video broadcasts, starting
in 1949, only two years after the first
public tv sets were offered on sale.
Television sets numbered in the hundreds
at this time.

Tobor -- robot backwards -- was a
featured character on the show, and
was definitely the first televised
robot on public channels anywhere.

The show was broadcast live from the
Dumont Studio in the Wanamaker Department
Store building which was on the way
home from school for me when we lived
in Stuyvesant Town, so naturally I stopped
in after school and sat in the kids'
section behind the enormous early tv

Captain Video was as popular with all
ages of viewers, as was I Spy, Get Smart,
Wild Wild West and Man From U.N.C.L.E
during the heyday of the spy shows in
the 1960s.

The show was so popular with adults
that it ran in Prime Time from 7:00
PM to 7:30PM on the Dumont Network,
at what is now news time.

The size of the budget is only apparent
when you note that the curtain separating
the cockpit from the rest of the ship was
at first only a shower curtain from the
housewares department in the Wanamaker
store; the football helmet space gear was
from the sporting goods department, and
many of the props were borrowed from
Wanamaker's and then returned at the end
of the show.

Captain Video's live adventures were
limited during the first three years
to about 20 minutes; Ranger Rogers would
introduce Captain Video's "undercover
agents" and then show a typical Republic
serial featuring cowboys and such.

Dr. Pauli was Captain Video's Moriarty --
he was an insane and malevolent evil
inventor whose inventions always resembled
something you might find in a large retail
department store such as Wanamaker's.
Sometimes they'd take suggestions from us
kids about what to use for Dr. Pauli's
latest invention. I saw several hundred
broadcasts and the prop director was
always appreciative of suggestions from
the Peanut Gallery (yes, I was present at
live broadcasts of Howdy Doody, also, as
well as Magic Cottage, Mr. I Magination,
Kukla Fran & Ollie and more).

The primary spaceship that the producer
settled on was a V-2 style ship called
The Galaxy, since most of the writers on
the show were also writers for my Dad's
science fiction magazine, Galaxy, which
was one of the Big 3 SF magazines of the

Richard Coogan created the role of Captain
Video, and did the broadcast for about a
year and a half. When he left the show to
try his hand at live theater on Broadway,
his replacement was Al Hodge, who continued
the role until the show's cancellation in
1955. Al was a good friend and he and his
wife, who I believe was his second marriage,
used to visit us for dinner with the kids,
who I think were his wife's by another
marriage. Another family friend, Don Hastings,
played the Special Ranger throughout the show's
relatively long life, six years, which was a
record for pioneer tv shows along with the
Milton Berle Show which aired during the
same years.

Ed Norton on the Honeymooners is a
character who is a big fan of Captain
Video, and the show is mentioned on the
Honeymooners in at least two episodes.

Station breaks were peppered with
exhortations toward honor, decency
and ethics, along with live commercials
for various Captain Video products --
the most memorable was the pitch for the
Captain Video Decoder Ring which had not
only a decoder and a signal mirror, but
a compass and a two way lens device that
was...well, I'll let the Video Ranger
tell it:

"...and hey, kids, look through this
end and it's a magnifier! Look through
the other end and it's a SMALLIFIER!"

I never forgot that, and we kids roared
with appreciative laughter as he said
that line!

Early on, there were no scripts --
everything was improvised from a general
story outline, but by the year 1952 scripts
were being written by my Dad's stable of
Galaxy SF writers Damon Knight, James Blish,
Jack Vance, Isaac Asimov, Cyril M. Kornbluth,
Milt Lesser, Walter M. Miller, Jr., Robert
Sheckley, M'Intosh, Evelyn E. Smith, Jerome
Bixby, and one script by my Dad,
Horace L. Gold, in collaboration with me,
at the age of 13, my first script and
collaboration with him, but not by any
means the last.

Russell and Haberstroh added special
effects for the show sometime in 1952
using models and 16mm film effect spots
made at the Bunin Studio uptown, inserted
as required by the script. Morey Bunin
was famous for stop-frame animation but
also did a lot of outside work. I worked
for Hope and Morey Bunin on their production
of Alice in Wonderland, and had the delight
of also working on the set of Foodini at
about that same time. Foodini was a
hand-puppet who performed magic tricks.

It was about this time that I met Senor
Wences, who taught me a few simple tricks
of ventriloquism and how to write a
ventriloquist act. He encouraged me to
make my own vent doll and I did. I made
a minor living at this later on in Los
Angeles on Sunset Strip in the 1960s.

Only seven of the many hundreds of Captin
Video shows are available today, along with
24 more in the UCLA film archives. They
alone survived the destruction of the
entire Dumont Film Archive in the mid-1970s,
in which almost all early television shows
were obliterated forever by MetroMedia,
the company that inherited the film archives.
I was working for MetroMedia at the time,
and quit my job in the mailroom in protest
to their stupid short- sighted action so
reminiscent of the destruction of the
Library of Alexandria but frankly, knowing
those cold-hearted bottom-line bastards,
I don't think they noticed a thing.

ej gold

Thursday, October 8, 2009

Wormhole Travel


Think of the field of voyaging as a
swiss cheese with millions
millions of holes, some of
which are straight, some
twist and
, and some turn inward upon
themselves at strange and unexpected
intervals. Now
imagine being propelled
through this massive interpenetrating
web of
wormholes by some gentle but
compelling force -- that would be your
mode of travel, pushed forward
by a combination of hungers and fears,

which we call your "Tendencies".

With the application of SoundWave
forces such as the vibrational tones
mantras, prayer, chanting, Tamboura,
Sitar and Zen Flute, your direction of

travel can be powerfully controlled
and directed to a definite and specific


Each level of goal opens the pathway
to a new and possibly higher endpoint

and to further realms.

If each of the mis-turns and obstacles
can be overcome through direct
of the Essential Self's voyage through
the body of "cheese", a very
voyaging effect can be achieved.

Think of the Zen Flute as a very very
powerful navigational tool, similar to
rudder on a ship, turning the vessel
to port and starboard, full ahead and
stop, full astern and half speed.

The Zen Flute in conjunction with the
SuperBeacon is the most powerful

spiritual navigation device imaginable
and obtainable in this universe. Used

with care and caution with the proper
safeguards in place such as the Black

Tourmaline Demon Filters, it is an
incomparable tool for spiritual voyaging.

for more information go to-

to purchase go to-

Saturday, October 3, 2009


Have you ever wanted to play guitar
but didn't quite know how to get

started? Now, at last, there is a
way -- it's called the 3-Chord Method,
anyone can learn it in a single
Guitar lessons generally cost
$100, but the 3-Chord Method
is only $15 for a two-hour class, and
you'll be
able to play guitar the very
first day!

EJ Gold's 3-Chord Method is presented
personally by world-famous
me-EJ Gold, I am a former student of

Pete Seeger
who has over 300 recordings
to his credit.

Of course you must bring your own guitar
to class. Steel-string or nylon
acoustic guitars only, please, no electrics.

Classes are on Sunday afternoons,
2PM to 4PM
sharp, at
127 Neal Street, Grass Valley, CA.
If you'd like to
attend, you MUST
phone ahead, at
530-271-2239 to be
invited to the class.
No walk-ins will
be admitted; strictly invitation-only!!!

Thursday, October 1, 2009

Directed Flow


The use of the Zen Flute to produce
Pusher SoundWaves is similar to the

methods used in Fluid Dynamics to
direct flow and to introduce energy
into a
complex local field.

With the Demon Filters in place on
your SuperBeacon, you are protected

from the dominant effects of malevolent
beings as you open up and become

vulnerable during this phase of
voyaging. With some training, you'll
be able
to defend easily against these
lower but very powerful and potent

nonphenomenal entities.

The Zen Flute is used exactly as a
valving system in a closed-field

environment, except that the field
is not actually boundaried but is
restrained by something
on the order of a magnetic bottle
effect, containing
the energies within
a known set of coordinates.

How does it work? Imagine the SoundWaves
coming out of the Zen Flute to
be the
hands of guides in a river, pushing
your kayak through the rapids,
you to avoid rolling over or wrapping
around a rock or tree-branch.
Think of
the SoundWaves as "helpers" along the
way as the rushing water
slams you
through a swiftly changing set of
obstacles and dangerous
and drowning pools.

Now imagine yourself adrift on an
endless ocean with no navigational

guidance, no stars to steer by, no
sun and moon to offer directional
hints, no
magnetic North to provide
compass settings, and no wind to give
you sailing

This is where the Zen Flute's Spirit
Power comes to the rescue. Its

SoundWaves gently flow and buffet
your small craft to its destination,
though unseen and uncharted by
you. The SoundWaves push you through

the ocean of voidness, guiding your
every movement and protecting you

from pitfalls, traps, obstacles and
deadly dangers.

At your destination, the Zen Flute
wraps you in a SoundWave Protective

Barrier and keeps you safe as you
explore new worlds and alternate

realities, contacting your Parallel
World Selves and integrating them
your Essential Self Energy Field.

You can actually feel the effect of
the Zen Flute's powerful SoundWave

forces. Listen to TeaHouse of
Tranquility while connected to the
grippers of
your SuperBeacon, and you
will feel yourself being pushed and
about. This effect is magnified
by the SuperBeacon, and when applied in

higher Levels, produces a remarkable
voyage into Higher Dimensions.

To understand more about exactly how
this works, put a garden hose into a

bucket and see the effect as you move
the hose end about inside the
Changing the water pressure will alter
the effect.

Another example of this effect can be
produced in the bathtub. Place a bar

of floating soap or a tub toy in the
bathwater, and gently splash it with
pushed by your hand. You will
note that waves develop and propel
floating item in some direction
away from the hand. Then push some
from another slightly different
direction. The floating item will
alter its course slightly
or greatly.

This is very comparable to how the
SoundWaves produced by the Zen Flute

move the Essential Self through energy
fields and across Membranes and

dimensional barriers, except that the
Zen Flute SoundWaves are much
controllable and more highly directional
than hand-produced water
waves, and
that their effects are not surface-only
nor are they limited to
three dimensional
vertices. Their effect is entirely

The amount of force is not dependent
upon the force of the wind through the

flute. It is controlled by a combinant
variation of flow, quaver, pitch,
waveforms and purity, achievable
only with certain grades of flute such
the Modified Grenadilla and Tulipwood
Zen Flutes.

The Modification Process is itself
interesting and will be examined in
at least
one chapter of my forthcoming
book on the Zen Flute.

The power of the Zen Flute to influence
Spiritual Movement is another area

that will be amply examined in the
Zen Flute book.

Be sure to make the experiment I have
outlined. Hook yourself up to a

SuperBeacon or a Beacon and let yourself
get driven by the force of the Zen

Flute's SoundWaves for just a few minutes
and you will see exactly what it

can do and what its potential for
interdimensional voyaging will be for