Saturday, January 31, 2009


In a fit of "Black Humor," a joint US-Israeli Black Ops "Homage" to the 1977 film of the 1975 novel BLACK SUNDAY skyjacked the Goodyear Blimp and attacked the Super Bowl as the Half Time Show and ads began. . Posing as "Palestinian Terrorists" the Black Ops dropped leaflets claiming the huge Crowd & Stadium as a Poetic Analogy for the open air prison of Gaza, and its 1.5 million death row inmates. Stating " BUT--No Rockets were launched from inside the Super Bowl, “Presidents Ohmert and Obama ordered the carpet bombing of Gaza. Bettors and advertisers made sure Patriotic Duty prevailed and the game was completed as over Gaza “bombs burst in air—“and over the Stadium “our flag was still there.”

Under a sky grey as the concrete of Fascist train stations a large contingent of Avant Poets contributed readings, performances and brief speeches to the large rally. Fired by the unaccustomed welcome of the crowd’s partisan fervor, a leading Avantist announced: “Many accuse the American Avant of Silence regarding Gaza. Do they not understand Poetics sufficiently to know that “it goes without saying” that such “Silence” “Speaks Volumes” and at “High Volume” our Support of Israel?”

Black Sunday is a 1975 novel by Thomas Harris. It was the first novel by Harris, who went on to write the Hannibal Lecter novels. Harris wrote the novel after watching the 1972 Munich Olympics hostage crisis where Palestinian terrorists took Israeli athletes hostage and murdered them.

[edit] Film adaptation

Main article:Black Sunday (1977 film)

In 1977, a film was made based on the novel starring Robert Shaw and Bruce Dern and directed by John Frankenheimer.


Michael Lander (Bruce Dern) is an American blimp pilot deranged by years of torture as a prisoner of war in Vietnam, a failed marriage, and a bitter court martial. He longs to commit suicide and take as many people as possible with him, so he conspires with an operative (Marthe Keller) from a Palestinian terrorist group known as Black September to launch a massive suicide bombing on American soil. Lander plans to detonate a flechette-based bomb, housed on the underside of a blimp, over a football stadium during the Super Bowl. American and Israeli intelligence agencies, led by Mossad agent David Kabakov (Robert Shaw) and FBI agent Sam Corley (Fritz Weaver), race to prevent the catastrophe. To add further intrigue and a pall of doom, the President of the United States attends the game.

[edit] Reception

The film was a commercial hit when it was released in 1977. Although director John Frankenheimer lamented serious shortcomings in the visual effects of the climax (due to time and budgetary shortfalls), many critics trumpeted the final scene featuring a helicopter/blimp chase over the Orange Bowl as one of the more riveting and unusual in movie history. Black Sunday also features a film score from John Williams.

[edit] Behind the scenes

A significant portion of the filming was done during actual Super Bowl X at the Orange Bowl in Miami, Florida, on January 18, 1976. In the movie, Kabakov discusses the security arrangements for the game with Miami Dolphins owner Joe Robbie, who plays himself. In the movie, Jimmy Carter is shown as the President of the United States who attends the Super Bowl, although Gerald Ford was President when Super Bowl X took place.

[edit] Blimps

The Goodyear Tire and Rubber Company granted use of all three of its U.S.-based blimps for Black Sunday. The landing and hijacking scenes were photographed at the Goodyear airship base in Carson, California with Columbia (N3A); a short scene in the Spring, Texas base with the America (N10A), and the Miami, Florida Super Bowl scenes with the Mayflower (N1A), which was then based on Watson Island across the Port of Miami. While Goodyear allowed the use of their airship fleet, they did not allow the "Goodyear Wingfoot" logo (prominently featured on the side of the blimp) to be used in the advertising or movie poster for the film. Thus, the words "Super Bowl" are featured in place of the logo on the blimp in the advertising collateral.

[edit] Differences between the novel and the film

* In the novel, the Aldrich Rubber Company owns the blimp. In the film, the Goodyear Tire and Rubber Company permitted its blimp to be used. A Goodyear representative noted that it is impossible for two people, alone, to launch the blimp.
* In the novel, the Super Bowl occurs in New Orleans at Tulane Stadium. Harris wrote his novel before completion of the Louisiana Superdome. In the film, the Super Bowl occurs in Miami at the Orange Bowl Stadium.
* In the novel, Mochevsky (Kabakov's assistant) survives to the end of the story, but Kabakov, the helicopter pilot, and the FBI Agent Corley are killed in the blimp explosion over the Mississippi River. In the film, Mochevsky is killed; Kabakov is not.
* In the novel, Muhammad Fasil, a Palestinian terrorist who assisted Lander survives and is repatriated to Israel (by Mochevsky) to be tried; in the film, Kabakov shoots and kills him during a gun fight in Miami.
* In the novel, Kabakov has a relationship with a young psychiatrist named Rachel Baumann. The part was originally scripted with either Ali McGraw or Katharine Ross in mind, but due to budgetary issues, the script was revised and the role was deleted.

[edit] In Popular Culture

In Tom Clancy's novel The Sum of All Fears, Mark Russel mentions Black Sunday to the main antagonists when he notes the similarity of their plan to that of the film.

Mission Accomplished/ (or “A Thankless Task”)

The once whitewashed walls of the underground room never free of cracks, dirt marks, dust and spider webs—now had acquired further markings in the form of marker-scrawled graffiti and wide, wild flung stains of dried and time grimed blood.
The one overhead lamp, suspended as ever from a strapped series of wirings to a bit of piping leading to the furnace room adjacent, gave as little light possible to still read and write by, as well as to examine the marks made in flesh by burns, slicings, bruises and acid. The other light, the blindingly bright and searchlight-powerful one—was still there also—still mounted aboard its dolly, parked still in the small door way leading to a side room whose damp rotting plaster walls crumbled at the touch . . .
With their self-restraint pushed to the extreme, the two men seeing this for the first time stood at the foot of the stone stairs leading down into the underground from the battered wooden slanted door opening coffin like from among the weeds and dead flowers at the back of the house.
As their eyes grew accustomed to the shadowy and ill lit patch work of markings, stains, cracks, smudges, pipes, and splintered wood, the men discerned emerging a series of instruments attached to the few solid-backed areas of the walls, behind which were the fat and stoic remains of the foundation’s beams, not yet thoroughly rotted and drowned in the persistent encroachments of the chilling dampness.
These instruments for the most part had not changed their features in hundreds of years—old mechanisms long known to torturers, with here and there interspersed the newer additions to the gallery exhibitions of cruelty. The electric mechanisms, especially, were there in a variety ranging from the crudest, homemade ones to ones relativity sophisticated yet still out of-date. Various forms of welding torches and other tools for the applications of fire and heat to bodies were there, and also a wide variety of cleaning fluids, over the counter poisons, gas and oil containers and stacks of coiled wirings of differing sizes.
Turning on their flashlights, the two men advanced towards the far door, a smashed and scarred wooden one once painted a bright yellow now turned a kind of off china white, like a sample of cheap heroin kept too long in a humid baggie. On this door—which, when opened, led into the furnace room—had been inscribed in permanent marker and painted in the crude colors of cheap enamels applied with a narrow brush a kind of chart, a sort of crude calendar and log book of some of the events which had taken place in this room, a room among others in a long series of clandestine spaces being haphazardly found scattered throughout an area whose boundaries continually expanded.
One of the men thought of the Mayan Calendar, with its days which were marked far into the future for sacrifices in blood.
Moving slowly and carefully, getting down on hands and knees, the men shifted dust and dirt and metal scraps until they found some wirings, whose clandestine paths led them to an apparent cul-de-sac. Scratching at the rough textures of this dead end, the men found themselves confronted with the realization that this was no wall, but a crudely concealed door cut into the area immediately beneath a staircase dimly outlined by the probing flashlights.
The door, though heavy with layers of grime and the camouflaging texturings, opened slowly but steadily as they applied all their strength to it. All of a sudden, it gave way and they found themselves stumbling into a room which had still a working light switch.
In this room were several tripods, discarded film canisters, and snaking dust covered segments of celluloid. The first light showed a series of other lights running into aan eerily long distance. Into this the men advanced, flicking on one after another various kinds of film lamps, fluorescent lights, overhead “Mastercraft” work lamps and, at the farthest end, a single large standing floor light, beside which was a still mounted projector, set back inside a crudely made booth.
Along the now visible walls were arrayed various bits of costuming, straps, handcuffs restraints, some folding beds folded up, and more scraps of celluloid coiling among the dusty heaps of what appeared to be stills taken from the film whose celluloid strips were brushing gently against some objects shoved back and underneath the beds and pieces of equipment. .
Turning the flashlights on these obscured objects, the two men saw that they were fragments of bones, human bones that had been separated from each other and apparently had once formed a series of letterings. Here and there among the bones they found what also appeared to be perhaps very dried out pieces of human flesh, as though being very crudely “cured” for some purpose.
As though simultaneously taking commands from the messages in human bone, the men began moving through the celluloid and grime on the floor, scooping up the film stills that had coiled and grown sooty with mildew, damp and dust. Wiping them off carefully, bringing them to the light, the men observed that almost every one was of a woman in the throes of a violent death. Garrotings, stabbings, floggings, rapes done with various instruments and by gang rape—
And, at the bottom of each, a stamped logo and information of some “film company,” whose name was represented, not in writing, but by a crudely carved rubber stamped human skull.
The men rose slowly to their feet, and stood staring at the dried blood stains they now saw for the first time among the other markings on the filthy walls.
They then turned their eyes at the same time towards the projector in its booth, and, as though moving to the commands of some force outside and yet also inside themselves, they slowly crossed the distance to the projector and, wiping it off, started its motor. Dully, in a numbing trance, they saw the light come though the projectors lens and the first signs of a film begin to unroll, the first notes of some badly recorded sounds.
In this film, the journey to death of the woman was made to take place in slow motion, as though each instant had been lingered over and savored by all but the victim, whose soundless and agonized mouth as it reached the final paroxysm had a man’s erect member inserted into it.
Emerging in complete shock from the underground, the two men only slowly became aware of the men standing in a semi circle facing them in the now advanced shadows of an evening they had forgotten all about. As the shadowed men slowly made themselves visible by the cautious light of a few small flashlights, their shock turned into horror.
“We had to send someone down there to see if the place was still sealed off or not. We were in a hurry, then, you see, before our counter attack, and not sure how long our rush job would hold. Since you joined us later, we chose you to find out for us.”
The man who spoke was calm, impersonal, while those gathered near him were completely silent and standing at attention.
“I’m afraid my friends, “said their Company Commander, with a deprecatory smile, “ that though your work has proved very useful, its very success guarantees that it is a thankless task.”
From behind him, obeying a slight gesture, the others began to step forward----

And as his mouth began to open in a scream—the desperate, cornered eyes of one of the men found themselves staring, straining in the shadows to see if the advancing men had, any of them, the signs of an erect member—as he plunged into darkness---


Tuesday, January 27, 2009

Aiheita van Goghin korvasta--Poetry by Rita Dahl--cover art d-b Chirot

Aiheita van Goghin korvasta
by Rita Dahl


Poet Rita Dahl chose this cover- by David Chirot "The Executioner is a Sunday Painter" Many thanks to Rita Dahl and Jukka Kervinen

david chirot

Aiheita van Goghin korvasta

Aiheita van Goghin korvasta

by Rita Dahl

Rita Dahl

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"All Animals are Equal, But Some Are More Equal than Others"
George Orwell, Animal Farm

While telling the Muslim world he would treat it with respect, President Obama also told his Arab TV interviewer that he did not respect those who kill civilians. Now American lexographers are busily redefining "citizen" to exclude the 16 Pakistanis killed earlier in the day by American missiles, and at least two-thirds of the 1,400 dead in Gaza.

Fearing War Crimes charges, members of the Bush and Olmert administrations. along with the IDF officers and soldiers involved in Operation Cast Lead are occupying Guantanamo as a Protective Custody measure while its inhabitants are transferred to the Open Air Prison of Gaza.

Sunday, January 25, 2009




[For The Lower Half]

predestination / karma / reincarnation

Some agnostics define death as:
death = life – life axiom 1)

In many religions the believe is there is something after or above death. This could be written as:
death ≠ 0 axiom 2)

Now if axiom 1 and axiom 2 are simultaneous valid, this leads to the postulate:
life ≠ life

This looks contradictory, however if we introduce the element time, axiom 1 could be written as:
death = life(n+1) – life(n),
where n is the current life. Moving variables yields: life(n+1) = life(n) + death. This could be written as:

next life = this life + death (predestination)


this life = next life – death This formula looks a bit strange, however this is due to semantics. If we take into account that time is not necessarily linear we could replace the word ‘next’ by the word ‘another’.

This leads to:
this life = another life – death (karma)

created for Mathematical Poetry
link to the
original post

Wednesday, January 21, 2009

I Fail to Notice Lamb's Wool Anymore

Who minted winter as an application exercise for cloth?

One with skill fashions the left arm long enough to sign the bill of lading.

Offering the givens in return for service of the notary.

Would you like for me to demonstrate the loss of texting to a competing master of Morse Code?

Spawning the condition of hair torn away from one's own scalp.

Compare your LSAT to cleanliness of souls surrounding.

Happenstance no longer qualifies for individual achievement.

When you're ready to assume an oar, say something to the infant near you.

There's birthing in them hills.

Go easy on contagious individuation.

As oils overtake acrylic, so the surface loses its absorbency.

Pray for mittens anymore.

For cardiac intentions.

For the rest in us.

In vestments.

Tuesday, January 20, 2009

turn left

turn left

<if> you see what they perceive
<then> reload reality
<else> next


Explaining the policies regarding the banning of journalists from the Active Militarized Zones, Spokesperson Mouthpiece said, "To spare journalists being seen as tourists in others' misery, no observers of any kind are allowed within the zones. And also, to spare the private emotions and ruins of the survivors lives being made public in an exploitative manner by the World Media."

The Ministry of Defense has announced its use of "Chance Operations" in the Site-Selection of Reconstructive Bombing Raids. In this way, no discernible "Pattern" will be found at work in the Reconstituting of Civilians as Collateral Damage by which they risk being tried as War Criminals.

Thursday, January 15, 2009


"paredon agrietado
recientemente enlucida
un tinte de misterio"

(Gustavo Adolfo Becquer)

Wednesday, January 14, 2009


retromancer invoked yesterday
          | |
it had no color


Tuesday, January 13, 2009

noir zone 1

this is the part of the universe where I live
(even though all I see is snow with naked eyes

Sunday, January 11, 2009

Bus Stop Graf--Milwaukee

This is in the part of Milwaukee where I live--Central and West Central City.
Bus stop at biig intersection of Capitol & Fond du Lac Avenue

Thursday, January 8, 2009

The Fall of the Text of Usher _ [ part II ]

XeveXtheless, iX this maXsioX of Xloom I Xow pXoposed to myself a sojouXX of some weeks. Its pXopXietoX, XodeXick UsheX, had beeX oXe of my booX compaXioXs iX boyhood; but maXy yeaXs had elapsed siXce ouX last meetiXX. A letteX, howeveX, had lately Xeached me iX a distaXt paXt of the couXtXy—a letteX fXom him—which, iX its wildly impoXtuXate XatuXe, had admitted of Xo otheX thaX a peXsoXal Xeply. The MS. Xave evideXce of XeXvous aXitatioX. The wXiteX spoke of acute bodily illXess—of a meXtal disoXdeX which oppXessed him—aXd of aX eaXXest desiXe to see me, as his best, aXd iXdeed his oXly peXsoXal fXieXd, with a view of attemptiXX, by the cheeXfulXess of my society, some alleviatioX of his malady. It was the maXXeX iX which all this, aXd much moXe, was said—it was the appaXeXt heaXt that weXt with his Xequest—which allowed me Xo Xoom foX hesitatioX; aXd I accoXdiXXly obeyed foXthwith what I still coXsideXed a veXy siXXulaX summoXs.

HISTORIC DOUBLE FEATURE!!!!! Felix Feneon and Hercules


Felix Feneon and Hercules aka Steve Reeves in Hercules Unchained

Tuesday, January 6, 2009

And Terror the Tearer Just Reached Down out of the Sky-- and Tore Those Lame Ass Excuses for Men Right Up!!!

"Of all their promises, they kept but one"--American Indians & Palestinians--US America's Genocideds for Land

"Of all the promises they made, and there were many, they only kept but one. They said they would take our land, and they did."

The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children.

They describe people defending their homelands as terrorists, savages and hostiles . . .

My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing.

--Leonard Peltier, Annual Message January 2004
(Leonard Peltier is now serving 33rd year as an internationally recognized Political Prisoner of the United States Government)