Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
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 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US

Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453


Cost of War in Iraq


Cost of War in Afghanistan

The cost in your community

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

Cracking World’s Walls & Codes Concrete & Virtual

No Sieges, Tortures, Starvation & Surveillance
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'

The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.

The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)

I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Friday, December 21, 2007


Date: Mon, 17 Dec 2007 20:26:25 -0600
Subject: this friday - ANNA OXYGEN at darling hall with BATTEN REVUE, THE SECRET WEDDING PARTY, DITES DONC!

Start your weekend with a ton-of-fun show at Darling Hall this Friday, Dec. 21!
ANNA OXYGEN, whose performances during a prior era in Darling Hall history are fondly remembered in Milwaukee, returns from Olympia with her 80s pop-evocative beats, disarmingly mature voice, and winsome performance ways. On Kill Rock Stars records.
With BATTEN REVUE of Milwaukee, hilarious weirdo pop twosome brothers Dave and Ronnie with organ, drums, fancy headset with much reverb. Here's one of their latest songs:
No!!! THE SECRET WEDDING PARTY are the hilarious ones! Allison and Annie from Madison, maybe with holiday songs!
And DITES DONC! of Milwaukee, sassy-pants electronic/feminist/performance art/dance/party/experimental R&B Allison and Lindsay, featuring Lindsay's return to the stage just 1 month after the birth of her kid!
DOOR  9:00 / DITES DONC! opens at 10:00
601 S 6TH ST (corner of 6th & Bruce), MILWAUKEE, WI
$5 donation
Coming up at DARLING HALL:

friday, december 21


ANNA OXYGEN (on Kill Rock Stars), a highlight from the early days of Darling Hall, returns to Milwaukee to perform in a special show along with Milwaukee local and regional friends BATTEN REVUE, DITES DONC!, and THE SECRET WEDDING PARTY. 9 pm/10 pm 

friday, december 28
ANNA OXYGEN comes BACK -- again! -- with an AUDIO SCAVENGER HUNT that she'll have devised specifically for Milwaukee!  This is not a show -- it's an activity, a FREE event, just for fun!



NEW YEAR'S EVE - monday, december 31
A very special new year's eve GET DOWN, presented by Brent Goodsell and Andy Noble, with rare funk and soul, great Milwaukee bands, and all the dancing you care to do.
sunday, january 20


An evening of COMEDY, including DUNCAN WILDER JOHNSON, POTATO, and other Special Guests!  Sorry, no sportz.  8 PM.
january 18-26
Insurgent Theatre presents 8 1/2 x 11: A ONE-PAGE PLAY FESTIVAL.
saturday, february 2
Groundhog's Performance Hole! (also known as the latest installment of PERFORMANCE NIGHT)
friday, february 8
BENEFIT for PINK BANANA THEATRE: craft sale, bake sale, live music.
saturday, february 16
NORTH BY MIDWEST VIII - Featuring top Northern soul DJs from the tri-state area.
And MORE!  Stay tuned for more details.

Don't get caught with egg on your face. Play Chicktionary! Check it out!

Join 'Intrude: Art & Life 366' in Shanghai

Date: Fri, 21 Dec 2007 17:29:39 -0400
Subject: Join 'Intrude: Art & Life 366' in Shanghai

Zendai Museum of Modern Art

Join 'Intrude: Art & Life 366'
in Shanghai

Intrude: Art & Life 366 is an unprecedented event in the city of Shanghai. Starting on January 1st 2008 and ending on December 31st 2008, the Zendai Museum of Modern Art (Zendai MoMA) will present a cultural event to the people of Shanghai every single day of the year. This cross-cultural and interdisciplinary project is called Intrude: Art & Life 366 and aims to intervene in people's daily lifes, engage them to take part in art happenings and stimulate the public debate on art. An event of this scale and influence has never taken place in China before.

Curated by the director of the Zendai MoMA, Mr. Shen Qibin, Intrude: Art & Life 366 is a interdisciplinary project that connects culture and daily life in many forms and through different media. With a total of 366 events happening throughout the year, the events will be very diverse and will come from different cultural fields -- exhibitions, site-specific installations, performances, concerts, film screenings, debates, etc. In order to present their work differently, artists will explore new concepts and venture out into the public sphere.

Intrude: Art & Life 366 will present 366 different cultural events, taking place in public and private venues like parks, gardens, squares, shopping areas, etc. 100 Chinese and 266 international artists will participate, including local and internationally well-known artists and curators like Gu Wenda, Wang Jianwei, Yang Fudong, Xu Zhen, etc. There will also be collaborations with local and foreign institutions like the National Acadamy of Art in Hangzhou, the Centre for Contemporary Art & Politics, College of Fine Arts University of New South Wales in Australia, Institut pour la Ville-en-Mouvement in Paris etc.

Intrude: Art & Life 366 was created as a long-term project, continuing beyond the 366 days of events. All of the events will be methodically archived and will be presented in the future as international touring exhibitions. In addition, Zendai MoMA will regularly publish catalogues with scholarly essays on the projects and related ideas and issues, and magazines to inform people on the progress of the project.

How to participate - Zendai MoMA is inviting artists, galleries, museums, curators and performers to participate in this remarkable and ambitious project. Because of the interdisciplinary nature of this project, artists active in different fields (visual arts, music, theatre, dance, etc.) and people from different backgrounds (writers, actors, philosophers, architects etc.) can submit proposals by filling out a proposal form and sending it to Zendai MoMA's Intrude project team. All works that can be realized in different public or private spaces in Shanghai are welcomed. To download the proposal form please visit or write to

ABOUT Zendai MoMA - Founded in 2005 and located in Pudong New Area in Shanghai, Zendai MoMA exhibits and collects innovative contemporary art from China and around the world. Zendai MoMA's diverse program covers a broad spectrum of cultural activities, including film screenings, talks and educational events, theatre and music performances, and exhibiting visual and new media arts. The museum facilities include 4 galleries, a classroom, a gift shop/bookshop and a café. Covering 3000m2, and located in one of the fastest-developing areas of Shanghai, Zendai MoMA functions as a bridge between the local and international community, connecting both to the world of arts.

For more info contact Liz Coppens, Project Coordinator (Curatorial Department) at or visit

Todo sobre Performance y Performancistas

Recopilación, Publicación, Difusión e Intercambio
de Documentación sobre Performance y Performancistas

Intercambios: Av. Urdaneta, Edificio Ipostel.
Apartado Postal: 5048. Caracas, Venezuela.

Si deseas recibir nuestro Boletín Informativo,
regístrate a través de nuestra dirección:
You received this message because you are subscribed to the Google Groups "The Performance List" group.
To post to this group, send email to
To unsubscribe from this group, send email to
For more options, visit this group at

i'm is proud to present Cause Effect, a series about real people making a difference. Learn more

The Story of STUFF

> Date: Thu, 20 Dec 2007 23:40:39 -0600
> From:
> Subject: The Story of STUFF
> thought you might like this website...
> "the story of stuff"
> it starts off with a really cogent & well illustrated video/animation
> (stuff you know, but presented in a thoughtful, clear way)
> and then there's lots of info on it too.
> be well,
> polina

i'm is proud to present Cause Effect, a series about real people making a difference. Learn more

FW: Revista Ping Pong # 6

Date: Fri, 21 Dec 2007 18:09:56 +0100
Subject: Revista Ping Pong # 6

Así como algunos cierran los ojos en el aeropuerto de Los Angeles y los abren en el aeropuerto de Tokio, hemos llegado al sexto número de la  Revista Ping Pong. Esto quiere decir, que la   Revista Ping Pong  ( ) ya se encuentra en línea y que deben entrar. Queremos agradecer a las personas que colaboraron en este número  y a cada uno de nuestros lectores.
El contenido de la sexta Revista Ping Pong es el siguiente.
Denisse Vega Farfán
José Cabrera Alva
Andrea Cabel García
Lucho Zuñiga
Miguel angel Malpartida Quispe
Patricia Colchado Mejía
Arianna Castañeda
Dalmacia Ruiz - Rosas Samohod
Willy Dómez Migliaro
Diego Lazarte
Ana María Falconi
José Miguel Herbozo Duarte
Al escritor Junot Díaz sobre su obra y su relación con la poesía.  
Al intelectual Pedro Conde Sturla sobre poesía dominicana. 
Sobre John Ashberry de Luis Chacón
Presentación del libro Bicéfalo de Ariadna Vázquez y Daniela Camacho por Frank Báez
Manuel del Cabral no envejece por Frank Báez
La universidad Desconocida de Roberto Bolaño por Javier Moreno
Tú si eres Junot Díaz de Paul Alvarez
Nueve poemas caribeños de Derek Walcott por Frank Báez e ilustrado por July Monción
Selección de poemas de Billy Collins por Giselle Rodriguez Cid e ilustrados por ella misma.
Selección de poesía visual del poeta brasilero Almandrade
Cualquier comentario por favor enviarlo a este mail. Si no desea recibir más información sobre la revista Ping Pong, 
consteste este mail simplemente cambiando el asunto/subject por REMOVER.

Don't get caught with egg on your face. Play Chicktionary! Check it out!

Lakota Nation to Become its own Country--Links to News Stories ---

Israeli blockade fuels Gaza poverty - 16 Dec 07

Fallen Angels Japanese Trailer

Fallen Angels - Wong Kar Wai

Thursday, December 20, 2007

Marseille Hip Hop Helps Keep the Peace


In Marseille, Rap Helps Keep the Peace

Helen Margaret Giovanello for The New York Times

Three members of PSY4 de la Rime: from left, Segnor Alonzo, DJ Sya Styles and Don Vincenzo.

Published: December 19, 2007

MARSEILLE, France — The other day, a dozen or so teenage rappers in baggy jeans and hoodies gathered outside a community arts center called Le Mille-Pattes in Noailles, a poor immigrant neighborhood here, hard by the Old Port.


The Sounds of Marseille

 'Je Danse Le Mia' by IAM
 'Belzunce Breakdown' by Bouga
 'Les Enfants de la Lune' by Psy4 de la Rime
 'Le Rap a Perdu Ses Esprits' by Keny Arkana
 ' Voila' by PSY 4 De la Rime
Photographs by Helen Margaret Giovanello for The New York Times

Marseille neighborhoods like La Castellane have spawned the city's vibrant rap scene.

One of this city's most successful hip-hop artists, M'Roumbaba Saïd, who calls himself Soprano, lately wrote a track called "Melancholic Anonymous": "I can't help it, expressing my feelings, my melancholy in my lyrics," he rapped. "I can laugh at my sadness. It helps."

When the slums outside Paris and Toulouse exploded last month, repeating the violence that erupted two years ago, here in Marseille, France's second-largest city, all remained calm. Back in July, in one of this city's impoverished northern neighborhoods, a 14-year-old boy named Nelson Lobry-Gazelle was killed by a police car. Four hundred people demonstrated peacefully, so the incident barely made headlines. As it happens, it was also a police car's killing two teenagers in Villiers-le-Bel, a destitute suburb about 10 miles north of Paris, that sparked the trouble that broke out across France in November. A bus-burning here in October 2006 was considered an isolated incident and failed to ignite a local chain reaction.

The Marseillais have plenty of explanations for this disparity, aside from the obvious one that the poor areas here aren't segregated on the city outskirts, as they are in Paris — but it is hip-hop, as much a source of local pride as the town's soccer team, that turns out to be a lens through which to examine why this city didn't burn.

Melancholy is the word often used to describe the local rap style: melancholy as a reflective state of mind. In contrast to the city's sun-and-sea context, melancholy actually suits lots of its culture. A Marseille novelist, Jean-Claude Izzo, who died just a few years ago, became famous in France for writing grim, pessimistic detective stories. Robert Guédiguian, also from Marseille, is a filmmaker whose reputation is based on dark movies.

Rappers in Marseille, some of the most original and distinctive ones anyway, compose sad odes to their local neighborhoods and hymns to the whole melting-pot city. The sound of Paris hip-hop, slicker and more aggressive, adopts much from American gangsta rap, as Marseille hip-hop does too, but Marseille boasts a groovier style. It mixes in blues, flamenco, Jamaican ragga.

The number that a decade or more ago helped fixed IAM, the Marseille group, on the French charts, borrows from George Benson to lay down a mellow beat. "Belsunce Breakdown," about one of the city's downtown neighborhoods, by Bouga, a rapper from there, begins with a hypnotic piano riff, jazzily syncopated — a little Steve Reich crossed with 50 Cent.

Here the basic interconnectedness of all modern music expresses a local truth about the city's cultural identity. An ancient, gritty seaport, Marseille flaunts its history as an immigrant magnet. Its population of 820,000 includes 200,000 Muslims, 80,000 North African Jews, 80,000 Armenians. One of the largest immigrant groups is made up of Muslims from the Comoro Islands, near Madagascar. Three of the four musicians in PSY4 de la Rime, Soprano's band, are Comorians who grew up in the northern part of Marseille where Mr. Lobry-Gazelle died. The fourth member of the band, DJ Sya Styles (of Moroccan background, born Rachid Aït Baar), like many of the teenagers at Le Mille-Pattes, comes from Noailles.

Marseille lyrics can be full of rage but they're not violent, the way those of certain Parisian bands are. Two years ago 152 conservatives in the French Parliament brought suit against seven rap groups, but notably none from Marseille, for fostering hatred and racism against whites and for what one politician called "anti-French " sentiments.

PSY4, by contrast, wrote a rap not long ago called "Justicier": "I know all the cops are not that bad, but why do you always ask me for my ID? To your violence I prefer responding with my lyrics. Can't we have a proper dialogue?"

The other evening PSY4 occupied a recording studio in Grottes Loubières, just northeast of the city. During a break the members talked about the way rappers help one another here, and about how success comes not from landing studio contracts but from earning respect, ground up.

"Rap's not a business here, the way it is in Paris," DJ Sya Styles said. "It's not like Paris, where the suburbs are just concrete. Here you first have to prove yourself in the neighborhoods."


The Sounds of Marseille

 'Je Danse Le Mia' by IAM
 'Belzunce Breakdown' by Bouga
 'Les Enfants de la Lune' by Psy4 de la Rime
 'Le Rap a Perdu Ses Esprits' by Keny Arkana
 ' Voila' by PSY 4 De la Rime

Stéphane Gallard put it another way: "Paris is more hard-core." He is the quiet, suave young man in charge of music programming for the nonprofit Radio Grenouille, the city's most popular hip-hop station. "The fact that hip-hop artists sell their music on their own blocks contributes to their identifying with Marseille, and this explains why there's no car burning," he said. "Different communities in Marseille are still quite separate, there's racism here, but it's a city in which you have the freedom to move among communities if you choose."

It's also true that this city has a contrarian streak going back at least 2,000 years, to when it backed Pompey over Caesar. You might say Marseillais rappers reflect the tradition of "pays," or local communities, to which their inhabitants maintain more powerful loyalties than to France. At the same time, it's a place proud of its old Corsican and French-Italian mob heritage (a popular downtown clothing store was named for a famous mob boss), and the prevalence of drug dealers and North African gangs does partly explain why there's relative calm in destitute areas: Calm is maintained for the sake of their businesses.

Unemployment nears 40 percent in those same parts of town among those 18 to 25; it's 13 percent citywide, much more than the national average of 8 percent. So clearly job opportunities alone, or their lack, don't account for the absence of urban violence recently.

It helps that an old, Mediterranean-style civic patronage system doles out favors to earn loyalty and keep the peace. And, as everybody says, unlike Paris, where immigrant poor occupy huge concrete blocks cut off from the city center, Marseille has its neighborhoods, like Noailles, that are smack in the middle of town, while the hard-pressed quarters to the north are linked to the center by cheap public transport and remain inside city limits. So residents feel that they belong to Marseille, because they do, and in turn they feel that Marseille belongs to them.

Out of these communities, where musicians have their own version of a patronage system, the hip-hop scene has emerged — besides PSY4 de la Rime, IAM and Bouga, others, like Keny Arkana, FAF Larage, Fonky Family, DJ Rebel and Prodige Namor, have made it big here.

"Marseille rap never integrated violence the way Paris did," Philippe Fragione told me. He's Akhenaton, the leader of IAM. He, like other older musicians here, supports younger Marseille rappers. It was his studio in Grottes Loubières that PSY4 was using. Marseille rap is "more socially conscious," Mr. Fragione added. "That's because there is a real sense of community."

I stopped in the waterfront office of Paul Colombani, the deputy director of the redevelopment program Euroméditerranée. With more than $5 billion in public and private investments, it plans, by 2012, to turn some 2.5 miles of downtown into office towers, mixed-income apartments, museums and esplanades. Zaha Hadid , Jean Nouvel and other archistars have signed on. Outside the porthole office window, the Danielle Casanova, an enormous white ferry, waited to carry passengers to Algeria. Passengers coming back often bring knockoff goods that merchants hawk on sidewalks. "Les jeunes errants," as migrant street children, some as young as 12, are called, hide in boats, then head for Noailles when they land. A few have become aspiring rappers through community cultural centers like Le Mille-Patte.

Mr. Colombani noticed my gaze. "That will be moved out of this area," he said about the ferry. He meant to L'Estaque, far to the north, "easier for customs," he explained. Luxury cruise ships will dock here instead.

Marseille can surely use the money, but hardly at the cost of undoing the social chemistry that has kept the peace and fostered, among other things, the city's musical life. At Le Mille-Patte those dozen or so young rappers outside were a typical Marseille mix: first-, second- or third-generation immigrants from Algeria, Morocco, the Comoro Islands, Eastern Europe, Argentina.

Habib was a skinny 18-year-old with a doleful face and a band called Urban Revolution. "We all get along because we share music," he explained. Le Mille-Patte had first encouraged him to rap as a young boy: "I didn't know what to do with my days, so this place was very important."

Bacariane, a slightly older rapper wearing a New York Yankees cap, its brim pressed down over his eyes, piped in: "This is a rough neighborhood, but there's not violence here without meaning, like in Paris. I lived there for a while," he said, meaning in the isolated suburbs outside the capital. He paused to consider the difference. "Here there is a culture of respect," he said. "We're all Marseillais."

Death Comes for Mexican Singers of Love and Death

Songs of Love and Murder, Silenced by Killings

Adriana Zehbrauskas for The New York Times

Fans at a funeral for Sergio Gómez, one of 13 Mexican country musicians killed recently.


Published: December 18, 2007

MORELIA, Mexico — Mexico's country music stars are being killed at an alarming rate — 13 in the past year and a half, three already in December — in a trend that has gone hand in hand with the surge in violence between drug gangs here.


K-Paz de la Sierra
Official site
"Volvere" (
"Mi Credo" (

Zayda y los Culpables
"Tiro de Gracia" (

Adriana Zehbrauskas for The New York Times

A wake in Mexico City for Sergio Gómez, the lead singer of K-Paz de la Sierra, whose killing this month shook the music industry.

None of the cases have been solved. All have borne the signs of Mexican underworld executions, sending a chill through the ranks of other grupero musicians, who sing to a country beat about love, violence and drugs in modern Mexico.

One of the most shocking attacks was the kidnapping of Sergio Gómez, the founder and lead singer of K-Paz de la Sierra, who was seized as he left a concert in his home state of Michoacán early on the morning of Dec. 2.

His body was found the next day dumped on a roadside outside this city, the state capital. He had been beaten, tortured with a cigarette lighter, then strangled with a plastic cord, officials said. He was 34 and had just been nominated for a Grammy Award.

"We don't understand why this happened," his uncle, Froylán Gómez, said in an interview. "He never did anyone any harm."

The motives for the killings remain a matter of speculation, and no evidence has been found to link them to a single killer. In some cases, the musicians appeared to have ties to organized crime figures, making them potential targets in reprisal attacks from rival gangs.

Others had composed ballads known as narcocorridos, glorifying the shadow world of drug dealers and hit men, which can offend other drug dealers and hit men. In still other cases, as the musicians' fame grew, they may have become embroiled with criminals unwittingly.

"Sometimes there is a direct relationship between the musician and the narcotics trafficker," said Miguel Olmos, a musicologist at the College of the Northern Border in Tijuana. "But also there are a lot of passionate crimes. That is to say, the musician establishes some sort of sentimental relationship with people who are linked to this culture of violence and of narcotics trafficking, and somehow it gets out of hand. They always touch some nerve of the trafficker."

In the case of Mr. Gómez, who was best known for his stirring love songs, prosecutors are investigating whether he had ties to organized crime. So far, however, the investigation into his abduction has been a morass of conflicting accounts, missing witnesses and loose ends unlikely to be tied up soon.

Investigators have yet to interview the two impresarios who were with Mr. Gómez when he was kidnapped, nor have they interviewed the other members of his group. "We hope we can locate all these people," said María Elena Cornejo Chávez, the assistant attorney general of Michoacán State. "It's very complicated for us because they all left the state."

The killings have been particularly brutal. On Thursday, José Luis Aquino, 33, a trumpet player with Los Conde, was found beaten to death in Oaxaca State, with a plastic bag over his head and his hands and feet tied.

On Dec. 1, Zayda Peña, the raven-haired lead singer of Zayda y los Culpables, was shot in a motel room in Matamoros in Tamaulipas State. She survived the attack, but the killers followed her to the hospital and finished her off with two more bullets as she lay in bed. She was 28.

"We are in shock, because it's a weird thing that in one week three members of the grupero wave would be killed," José Ángel Medina, the leader of the group Patrulla 81, told reporters after the recent killings. "We are afraid because we are superexposed, and this could keep going. We don't know who's next."

Entire groups have been targeted as well. Four members of Los Padrinos de la Sierra were shot and killed in Durango State on June 9. On Feb. 19, assassins with machine guns attacked the members of Tecno Banda Fugaz in the town of Puruarán, Michoacán, killing four and wounding one.

The toll in 2006 was equally grim. On Aug. 9, three members of Explosión Norteña, a group who dedicated themselves to songs about drug traffickers, were shot and seriously wounded in their offices in Tijuana, across the border from San Diego.

Adriana Zehbrauskas for The New York Times

Fans applauded a final time as a hearse carried the body of Mr. Gómez to the Metropolitan Cathedral in Mexico City.


K-Paz de la Sierra
Official site
"Volvere" (
"Mi Credo" (

Zayda y los Culpables
"Tiro de Gracia" (

Associated Press

Relatives mourned José Luis Aquino, a trumpet player who was found beaten to death in Oaxaca State on Thursday.

Nov. 25 of that year brought the assassination of the singer Valentín Elizalde, 25, along with his manager and driver, shortly after a show in the border town of Reynosa, Tamaulipas, across from McAllen, Tex. More than 60 rounds from an AK-47 were fired into their car.

A month later, Javier Moralez Gómez, a member of Los Implacables del Norte, was shot to death in Huetamo, Michoacán.

All the victims played various genres of grupero, the Mexican country music distinguished by its oompah beat and maudlin lyrics, often recounting tales of unrequited love, hard luck, famous bandits or their modern equivalent, drug lords.

Some were known particularly for their narcocorridos. One of Ms. Peña's hits, for instance, was "Tiro de Gracia," a reference to gangland executions. Mr. Elizalde was also well known for his ballads about bandits and drug kingpins.

Mr. Gómez, of K-Paz de la Sierra, however, was different. His biggest hits were love songs like "Mi Credo" (My Creed) and "Volveré" (I Will Return.) His band played in the Durango dance style, characterized by the prominence of brass instruments and a superfast march beat. Like many other grupero combos, the band members wore identical western suits and cowboy hats.

News of his death prompted some musicians to cancel concerts in Michoacán. Others said the killings made them nervous about appearing in public.

"These assassinations have been done with a lot of cruelty and this makes us tense," said Jorge Medina, a singer with La Arrolladora Banda, in a televised interview.

Michoacán investigators say Mr. Gómez left a stadium in Morelia after his concert at about 3:30 a.m. on Dec. 2, a Sunday. He was in the company of a driver and two music industry executives, Javier Rivera and Víctor Hugo Sánchez. They drove off in a sedan, the police said. The other seven musicians in the band and two of Mr. Gómez's brothers followed in other cars.

A short while later, a member of the group called the federal police and reported that Mr. Gómez and the two businessmen had been abducted by armed men about three miles outside Morelia on the highway to Salamanca. The federal police informed the state police, the authorities said.

What happened next remains unclear. The state police maintain that when they arrived at the scene, federal agents told them they had interviewed the two businessmen and determined the kidnapping had been a false alarm, said Ms. Cornejo, the deputy state attorney general. A spokesman for the federal attorney's office in Morelia, Miguel Ángel Hernández, confirmed that account.

Yet Mr. Gómez was tortured to death between 4:30 a.m. and 11 a.m. on Dec. 2 in an unknown place, an autopsy found. He had been beaten badly around the head and chest. His thighs and genitals had been burned with a flame. He died of strangulation.

In Ciudad Hidalgo, a small farming town nestled in a valley about 60 miles east of Morelia, people remembered Mr. Gómez with warmth. He had grown up there, the son of a local singer who never made the big time, in a modest house in a poor neighborhood. While still a teenager, he married a girl from a nearby ranch, lived in his parent's home, fathered his first child and went to work as a cabinet maker.

The entire family moved to Chicago during the financial crisis in the mid-1990s, where Mr. Gómez worked menial jobs, fathered two more children and ran into trouble with immigration authorities. Eventually he found work as a sound technician for a band, Montéz de Durango.

In 2003, he and three musicians from that group formed K-Paz de la Sierra. His career took off. The band recorded four highly successful albums and regularly toured arenas and large concert halls in Mexico.

He also visited Ciudad Hidalgo every year and gave thousands of dollars to expand the grade school where he studied as a child. He never put on airs with his old friends, neighbors said. "He always behaved very well," said an acquaintance, who asked not to be identified for fear of drug dealers. "He was not one to be very snobbish."

His wife, Felicita, told reporters he seemed relaxed in the days just before his death and never mentioned any threats. "I never saw him nervous or expecting something bad," she said.

Froylán Gómez said his nephew never sang about drug dealers or used drugs himself. "This man didn't even smoke or drink," he said. "We cannot understand why it happened. The whole family is demanding justice. We want to know who is the author of this crime."




I apologize for all the caps, but...we're excited.

Your Narrow House Friends,


David Baratier

Jeffery Beam

John M. Bennett

John Berndt

Dan Breen

David-Baptiste Chirot

Mark Dickinson

Adam Good

Diana Bellessi translated by Cathy Eisenhower

Raymond Farr

Jamie Gaughran-Perez

Amira Hanafi

Jeff Harrison

Amy King

Richard Kostelanetz

M. Magnus

Megan McShea (with John Eaton)


Tom Orange

Ross Priddle

Ric Royer

Cole Swenson

Chris Toll

justin sirois

Irving Weiss

Convocatoria PERFORMANCE TIME 08 (Estambul) / Call PERFORMANCE TIME 08 (Istanbul)

Date: Thu, 20 Dec 2007 00:22:57 -0400
Subject: Convocatoria PERFORMANCE TIME 08 (Estambul) / Call PERFORMANCE TIME 08 (Istanbul)

Performance Time 08  March 24-30th, 2008

GalataPerform, an artist-run interdisciplinary performance venue in
Istanbul, is organizing an event in March 08, exploring new fields and new approaches in performance: Performance Time 08. The aim is to bring together local and foreign artists from a number of disciplines, such as, performance art, experimental theatre, dance, music; all, which can be associated with the art of performance.

Performance Time 08 targets to create a lively platform for experimental and creative projects in
Istanbul, interesting both for artists and audiences.

Artists interested in presenting their performances in Performance Time 08, are invited to submit their projects by filling and sending the application form below to GalataPerform will provide accommodation during the event for elected artists, in the houses of local artists and give technical support for performances. Unfortunately, do to lack of sponsorship, artists will cover their traveling expenses and provide their material.

Deadline for submission is
January 15th, 2008.

Thanks to all for your kind attention.

For more details and questions:

Deniz Aygun
GalataPerform Program Director

cell: +90 536 276 77 21
+90 212 296 94 23

Adres: Büyük Hendek Cad. no:21/1 Galata Kuledibi, Beyoğlu, Istanbul

+90 212 243 99 91

Performance Time 08

Project Application form

1-Name of artist:

2-Title of Project:

3-Brief conceptual declaration for the project:

4-Basic action line:

5-Approximate time of performance:

6-Performance venue (indoor-outdoor):

7-Requested technical support (light, audio):

8-Brief bio or CV of artist:

9-Artist's contacts (telephone number, address ve e-mail, web-site):



Todo sobre Performance y Performancistas

Recopilación, Publicación, Difusión e Intercambio
de Documentación sobre Performance y Performancistas

Intercambios: Av. Urdaneta, Edificio Ipostel.
Apartado Postal: 5048. Caracas, Venezuela.

Si deseas recibir nuestro Boletín Informativo,
regístrate a través de nuestra dirección:
You received this message because you are subscribed to the Google Groups "The Performance List" group.
To post to this group, send email to
To unsubscribe from this group, send email to
For more options, visit this group at

i'm is proud to present Cause Effect, a series about real people making a difference. Learn more

Feliz 2008...!

Date: Thu, 20 Dec 2007 15:12:27 +0100
Subject: Feliz 2008...!

Champion rewards your spirit
FELIZ 2008...!

i'm is proud to present Cause Effect, a series about real people making a difference. Learn more

Tuesday, December 18, 2007

"Wrack" image & Ruins, Wrecks & Runes//& re "Grid is Space Between" flickr gallery & essay link

I was interested in the comments re Peter's "Wrack" image and the relation of the virtual with "natural" or "organic" language.    

 In his monumental five decade long labor of love, the 18th Century  Natural History, Buffon writes that perhaps the scaly tail of the beaver is due to its eating fish.      Which, "quite naturally," prompted some wag to query in that case, how long might be M Buffon's tail?--if, of course, he did eat fish!--
      In the "Language" section of "Nature" Emerson writes:
     1.  Words are signs of natural facts. 
               ("And ain't that a natural born fact, Jack," as the saying goes.)
     2. Particular natural facts are symbols of particular spiritual facts. 
               (The fish in Peter's image being, say,  Pisces, or the Christian symbol of the fish, St Peter as a fisher of men, or an allegory of the fish dying of polluted waters,  or a sign for Fish Fry Fridays--)
      3.  Nature is the symbol of spirit.
              (Completing Emerson's Transcendental and redeeming  version of the  dreaded Jesuitical machinations known as the syllogism.)

           Very quickly one moves from natural facts to words as their signs, to "particular" natural facts being symbols of spiritual facts and then to nature as a symbol of spirit.

           The movement from the natural to the spiritual, from signs to symbols in a peculiar way seems not unlike what one might call a "Transcendentalism of the Virtual."  Or, perhaps, a Transcendentalism in Reverse, in the way that Robert Smithson, after Nabokov, wrote of construction sites as "ruins in reverse."

          One begins--in this reversal-- from the Transcendental "spirit"--the Virtual Image--Virtuality being not unlike "spirit" in the sense that is "there" via symbols (digital codes)--and since particular spiritual facts are symbols of particular natural facts--(whose signs are words)--then--"nature is the symbol of spirit."

          In other words, the world is a symbol of the virtual.  Words as "signs of natural facts" which are "spiritual facts" which are the turning of nature into the symbol of the spiritual--are both "signs of natural facts" and symbols of the spirit.  Language and nature are symbols of spirit--or, Virtuality.

         Spirit is Virtuality. Virtuality is spirituality, and so, in a way, becomes, is, also virtue  (The shared etymology of the Latin virtus.)

          Virtuality as virtue, as another form of the spirituality which redeems the "fallen world" by turning it into a "symbol."

         This has a strange effect on the experience of, perception of, the world, as it no longer exists, but is now world-as-symbol. For, if it is a symbol, this means the world is not "real."

           The world-as-symbol becomes a place of tourism for the "virtual eye"-- taking the Surrealists' trips to the flea markets to new heights.

 There are tours now for persons to take in which they are shown the "signage" and other "symbols" of the virtual that exist in their neighborhoods.  This form of perception is considered a "virtue."  The poet Charles Bernstein goes to China and comes back with --what else--but a great many photos of signs and "symbols."  The disconnect between the English "mistranslations" from the Chinese is a  "symbolic joke" and illustrative of one's own virtue as a perceiver of signs and symbols.  (Though i always wonder if the Chinese might not actually be saying something like--well, we shall leave that to the reader's imagination.)

      By virtue, so to speak, of this effect of the Virtual, what is seen in the world are only those things which are signs and symbols of the symbolic world of the Virtual.

      What one sees in the world is a reflection of the Virtual.  That is, one recognizes as "real" only those things which one knows from the Virtual. In a sense the tours of one's neighborhood as a trove of signage and symbols are a form of training in this recognition of the Virtual  "real" and its virtues.

      Yet what of those who live, pagans, beyond the pale of the virtues of Virtual "access?" 

        One speaks of the "dependence on foreign oil"--one hears little about the "dependence on electricity" in terms of access to the "real" as it is realized in the Virtual.

       Are those who exist beyond electricity's reach those are without virtue?

        This would seem to be the case for those affected by the following events:  in Rwanda, when the massacres were to being, all cables, telephone lines, any electric access, was completely cut off.  Once sealed from the real Virtual world, the now  Virtual "disappeareds" were removed from the world as being without virtue.  In Myamar, protests were followed by the cut-off with the outside world of cable and phone access.  In the world's largest ever prison, already Walled off from the world, a "refugee Camp," the Palestinians of Gaza are disappearing from virtue by virtue of the cut off of electricity.  When all the lights go out--where will they be?

       If one were to go about cutting off electricity, chopping off cables, pulling plugs, denying on line access to citizens for various reasons--controlling who is part of the Virtual and virtuous world--one might wonder if part of the possibility of this is to inculcate  ever more "willing suspension of disbelief" in the Virtual and its virtues in the denizens of the Virtual.

For then will they not ever more willingly accede to the "transparency" of a new Transparent Eyeball in reverse, the Panoptical Eye of instantaneous "real time"  surveillance of everyone and access to everyone's files, images, messages, transactions in order to keep "secure" the virtue of the Virtual?

The threat of the loss of the Virtual, of being a part of the virtues of the Virtual, may become a new form of discipline.  And, desirous to not lose one's sense of Virtual Reality, might not one then accede to entering into a world wide prison?

To "die" outside the Virtual--or to "Live" as a prisoner.

Along those cheerful lines--Drew Kunz recently invited me to a group involved with thinking on the artistic developments through time taking the grid as a proposition for work.  Personally i don't like grids at all(even though one benefits much of course from the virtues of the electronic grids--) and personal experience of them has done nothing to to tarnish the dislike.
   Yet paradoxically, due to this dislike of grids and what they may men in various circumstances, a great deal of my work has made use of them, far more than one realized.
       This flickr gallery includes works made with overt and explicit as well as more covert and implicit grids.  Many are from a series of "Walls" which will be forthcoming in a book from Otoliths.  The examples here are often of language that is affected by violence, fire, the wear and tear of Time, the "dirtiness" of non-Virtual and virtuous existence.
       Attached is an essay "Hidden in Plain Sight" which appeared in Otoliths which discuss the impact since childhood of construction sites, crow's nests and found materials on my work and methods.
        The essay has a link to another short piece re Bob Cobbing, my friend and mentor. Of the two of us jw curry wrote that, outside the division of "Clean" and "Dirty" Schools of Visual Poetry, there was the "Quick'nDirty" School of Cobbing and Chirot.  Bob Cobbing was one of the great geniuses and artists of the 20th Century.  He and Kurt Schwitters, with Dubuffet, are for me the three most important artists of their times.
       I see their work and what i continue on with as a kind of guerilla art of survival in the hidden in plain site/sight/cite of the real world, as opposed to existing solely in the Virtual world which is not real, but a reflection, though its effects are real.
        This kind of work can be done anytime any where with next to nothing at all except the everything that is here and there, there, there--found all around one, right at hand. It is "born" of necessity, the Motherfucker of Invention.

      here is the  link for the essay: - 32k -

the flickr is also here on this blog--see entry for 18 Dedember 2007
and here the flickr link


Querido amigos, nos vamos 10 dias de vacaciones navideñas con la siguiente ruta: Delta del Ebre, Valencia, Cuenca, Toledo, Madrid, Guadalajara y acabaremos en las tierras volcánicas de la Garrotxa en Girona. En nuestra ausencia, Agustín Calvo Galan, Ibirico y Roberto Farona se hacen responsables (con mano firme) de la dirección del Boek861. Por nuestra parte os dejamos con una excelente noticia por cuanto 32 poetas visuales rinden un gran homenaje a Miguel Hernandez en la Universidad que lleva su nombre en la ciudad de Elche. El comisario es el Vice-rector de esta universidad,y poeta visual, Josep Sou, que convertirá la muestra en itinerante y realizará un libro conmemorativo del evento / EL TALLER DEL SOL/BOEK861
y aqui teneis el indice de autores que han participado en la muestra
finalmente un par de obras del taller del sol


Share life as it happens with the new Windows Live. Share now!

Auguri di buone feste di Claudio Romeo//Happy Holidays DodoDada Mail Art

From: <>

Auguri di
Claudio Romeo

DodoDada - Arte Postale

La tua mail nel 2010? Creane una che ti segua per la vita con la Nuova Yahoo! Mail