Notes an octave apart are the same note because of the mechanics of vibration. Consider a piano string that is hit by a hammer and vibrates 1000 vibrations per second. So in 1/1000th of a second, it does this: Starts at center, then is hit by hammer. Snaps upwards. Hits the upper limit of its vibration, when the tension pulls it back towards the center. Crosses the center but keeps moving because of the momentum. hits the downward limit of it's vibration. Snaps back towards the center. Crosses the center on its way upward again, completing the cycle.

The precise timing of this motion is: 0 Seconds - position center - hit by hammer 1/4000 of a second: hits upper limit of motion 2/4000 of a second: crosses center moving downward 3/4000 of a second: hits downward limit 4/4000 (= 1/1000) of a second : crosses center again, completing cycle.

Now consider a string an octave higher. The definition of an "octave" is a doubling of frequency, so an octave above a 1000 vibrations per second is 2000 vibrations per second. In that same 1/1000th of a second, this second string vibrates twice. The timing for this string is like this: 0 Seconds - position center - hit by hammer 1/8000 of a second: hits upper limit of motion 2/8000 of a second: crosses center moving downward 3/8000 of a second: hits downward limit 4/8000 (= 2/4000) of a second : crosses center again, completing first cycle. 5/8000 of a second: hits upper limit of motion 6/8000 of a second: crosses center moving downward 7/8000 of a second: hits downward limit 8/8000 (= 1/1000) of a second : crosses center again, completing second cycle.

Now notice the zero crossings for that second string: 0 Seconds, 2/8000 of a second, 2/4000 of a second, 6/8000 of a second, 1/1000 of a second. Notice that for fully 50% of these center crossings, every other one, the first string is also crossing center. The "waveforms" of the first and second pitches could not coincide more frequently without the pitches being exactly the same (IE, both 1000 cycles per second.) Hence we say they are the same note, but in two different octaves.

Then you get into things where string#1 crosses zero every third time that string#2 does. This is what we call a fifth. If you hit a C on a piano, and then hit the G not in the same octave but an octave higher, this is exactly what's happening.

The interesting thing about this is it means a C and the G an octave higher are actually more consonant than a C and the G in the same octave. Which is, from a physical standpoint, true. But generally, as long as the ratio of frequencies of two notes (frequency is directly related to the center crossings - in effect, the center crossing times define the frequency... crossing center 2000 times/second -once downwards, once upwards- equals frequency 1000 Hz) can be expressed in low integers, they are relatively consonant. The two strings given in the example above would generally be said to have frequency ratio 1:2. (1000 cycles per second:2000 cycles per second). A C and the G an octave up are 1:3. A C and a G in the same octave are 1:1.5, which is more clearly written as 2:3. (Obviously we're getting into a little algebra here.) A 2:3 frequency is not quite as consonant as a 1:2 or 1:3, but it's still pretty consonant. 91:129, for example, would NOT be very consonant.

1:4 (String#1 crosses center once for every fourth time string #2 does): 2 octaves
1:5 (String#1 crosses center once for every fifth time string #2 does): 2 octaves + a third
1:6 (String#1 crosses center once for every sixth time string #2 does): 2 octaves + a fifth
1:7 (String#1 crosses center once for every seventh time string #2 does): 2 octaves + a ... fuck, I don't remember, I think it's somewhere around a seventh. This is the launching point for a lot of interesting music theory. If this interests you look up "well temperament", "just intonation" or "mean tone" on the web for several years' worth of fascinating reading.
1:8 (String#1 crosses center once for every eighth time string #2 does): 3 octaves
1:9 (String#1 crosses center once for every ninth time string #2 does): 3 octaves + a pling
1:10 (String#1 crosses center once for every tenth time string #2 does): 3 octaves + a durgen
1:11 (String#1 crosses center once for every eleventh time string #2 does): 3 octaves + a quackledaff

I made those last three up.

"If it's music, it's got to vibrate. If it don't vibrate, it ain't music." - Wadada Leo Smith

[NOTE: I DON'T WANT TO HEAR FROM ANY PEDANTIC ACOUSTICIANS CORRECTING THIS EXPLANATION. IT'S A SIMPLIFIED INTRODUCTION. TAKE A CHILL PILL.]

A condiment enhances the flavor of food and is used sparingly. A sauce adds an additional flavor or richness of its own to the dish, and may be used generously.

I'm glad you asked that, Jim. Frequently as part of the negotiations involved in taking a part in a TV show or movie, an agent will include a stipulation that the actor gets a certain special credit in the opening credits or, in the case of a movie, on the poster. They may strike a deal for a "single card", which means that the actor's credit will appear alone onscreen, with other credits appearing before or after it but not onscreen at the same time. For an actor in a particularly strong negotiating position, they may be able to secure a "character credit", in which the actor is specially identified on the poster or in the opening credits as playing a particular character, while most of the actors are credited by their name alone, without a mention of the character played.

The rocks are the rough ones, and the stones are the smooth ones.

I'm getting to this one. I have the answer but haven't had the time to put it down here.

I don't have the answers to everything.

OK, that's two in a row I don't know. Anybody?

Well, it's been about 20 years but if I recall correctly, the movie has almost nothing to do with the place, only one scene is set there. The movie is most memorable for a 20 minute psychedelic sequence of things blowing up in slow motion accompanied by Pink Floyd's "Careful With That Axe, Eugene", as well as for the soundtrack album, which contains hard-to-find material from the Floyd, John Fahey, Jerry Garcia and the Grateful Dead. A few bootleg albums of Pink Floyd outtakes from the Zabriskie Point soundtrack sessions are highly prized among collectors.

That's all I can say about the film. I do have a personal connection with the place, though. Zabriskie Point was named after General Andrew Christian Zabriskie, the "Borax King", who opened the borax mines there. Zabriskie was a Polish immigrant and former army officer who later built "Blithewood", a southern manor-style house and formal walled gardens on the grounds of what later became St. Leon's College, where I went to school. As a former general, Zabriskie kept a private militia on the grounds. Later, I came to meet many people, both students and staff, who had experienced supernatural and inexplicable occurrences in and around Blithewood when it was still in use as a dorm. Among them was a history professor who told me about Jake Grossberg, a sculpture professor who I didn't ever meet personally but who used the barn out back as his studio. Grossberg eventually had to leave the barn because he kept getting disturbed by the noisy specter of the long-dead General Zabriskie still blowing reveille at dawn. The barn was never used again.

I used to take mushrooms and camp out alone overnight in the walled Blithewood Gardens, waiting for some sort of spectral visitation. Nothing ever happened. It was not until tonight, looking in Wikipedia to get my facts straight for this very answer, that I discovered that the professor who had told me the tale of General Zabriskie and Jake Grossberg was hopelessly dotty, and that Zabriskie Point is in fact named after Christian Brevoort Zabriskie - who had nothing whatsoever to do with Andrew Christian Zabriskie, who was a National Guard Captain, not an army general, and was born in New York City, not Poland. And the "Borax King" was a man named Francis Marion Smith, who had nothing to do with either. So, not much of a story, I guess, but there you go.