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.

Saturday, May 17, 2008

"The one-winged Blackbird----in the poem" --Paul Celan

Blackbird is David Stone's great ongoing annual compilation of works inspired by Paul Celan's poem

these are a few Blackbirds--with Gas--

(Celan was a Holocaust survivor)

Democracy Now! | Palestinian Rap Group DAM Use Hip-Hop to Convey the Frustrations, Hopes of a Dispossessed People ---

May 15, 2008


Palestinian Rap Group DAM Use Hip-Hop to Convey the Frustrations, Hopes of a Dispossessed People

We turn now to three young Palestinians who use hip-hop to tell their story of the Nakba and what it means to be a Palestinian growing up inside Israel. DAM, or Da Arabian MCs, is the first group of Palestinian rappers and was formed in the late 1990s. All three members were born and grew up in the slums of Lod or Al-Lyd, a mixed town of Arabs and Jews twelve miles from Jerusalem. [includes rush transcript]

DAM "Mn El Ta Lal Alef"

Video Description

DAM - Mn El Ta Lal Alef - T.N

DAM Palestinian Hip Hop

Video Description
فرقة راب عربي دام البوم اهداء dedication album DAM Palestine

DAM "I have no Freedom"

Video Description

This is a video about the freedom in Palestine. Freedom for the palestinian children.


Video Description

Palestinian rap group DAM (Da Arab MC's) created this music video about the life of Palestinians in Israel. They're from Lod, a town between Jerusalem and Tel Aviv, so they're Palestinians with Israeli citizenship (often called "Israeli Arabs"). They usually rap in Arabic, but they made a Hebrew version of this song with a music video to get their message out to the majority of Israelis who don't speak Arabic.

You find out more about them at .

I've always wanted a subtitled version, so I broke down and adapted the lyrics from their website, to create this. I think this is one of the most powerful rap songs out there.

See to see my extended comments on the video and its chorus.

To accept my friend request, click here.

Checkpoint303 - StreetsORamallah - live @ El Jem - Tunisia - 24/08/2007

Checkpoint 303 is great group whose members are in Paris, Tunisia and Ramallah.

Street and other sounds recorded in Ramallah live on site, sent on to Tunisia and Paris to be mixed in transit across two continents.

Video Description

Checkpoint303 - StreetsORamallah - live @ El Jem - Tunisia - 24/08/2007

U.S. Planning Big New Prison in Afghanistan - New York Times ---

Thursday, May 15, 2008

You're Invited to View the "Expressions of Nakba" On-Line Gallery

You're Invited to View the
"Expressions of Nakba" On-Line Gallery

Today, on the 60th anniversary of the Nakba, the expulsion and dispossession of hundreds of thousands of Palestinians from their homes and land in 1948, the US Campaign to End the Israeli Occupation invites you to view our "Expressions of Nakba" on-line gallery. 

Earlier this year, the US Campaign solicited entries for a multi-media arts competition to commemorate the Nakba.  We received more than 300 outstanding entries from 16 different countries in the following categories: visual arts, poster design, audio, digital media, and written word.

A distinguished 17-person jury reviewed the entries and the US Campaign is pleased to announce the winning entries in four of the five categories (results for the written word competition will be announced shortly):





ORDER 06/24/T







In addition to viewing the winning entries, you can view all of the honorable mention entries by visisting our on-line gallery.

Earlier this week, the US Campaign premiered its "Expressions of Nakba" exhibition in Washington, DC.  For pictures and more details about the exhibition, which runs until today and will feature a Nakba commemoration at 7PM tonight, please click here.

The US Campaign will be exhibiting "Expressions of Nakba" throughout the United States in upcoming months.  Please help support this project and raise awareness about the Nakba by making a generous tax-deductible contribution to the US Campaign by clicking here.

For a limited time, make a donation of $20 or more and we'll send you a limited edition poster print of "Parachutes Falling" by Ildiko Toth, the winning poster design entry in the competition. (Sorry, we can only ship posters within the United States.)  Please make your generous tax-deductible contribution today by clicking here.

Don't forget to check out all of the amazing artwork on our "Expressions of Nakba" gallery.

US Campaign to End the Israeli Occupation



From Venezuela: Todo lo que quisimos saber sobre Arte de Performance y no nos atrevimos a preguntar

Date: Thu, 15 May 2008 20:14:01 -0430
Subject: Todo lo que quisimos saber sobre Arte de Performance y no nos atrevimos a preguntar

"Todo lo que quisimos saber sobre Arte de Performance y no nos atrevimos a preguntar"

Conversatorio Abierto sobre Arte de Performance
dirigido por Julián Higuerey, Aidana Rico e Ignacio Pérez

Conversatorio de participación abierta que intentará reflexionar sobre las diversas definiciones que tenemos del Arte de Performance.

A partir de doce preguntas formuladas por los asistentes, se desarrollarán doce respuestas basadas en la experiencia y conocimiento de cada uno de nosotros, sea como observadores de performance o performancistas.

El resultado de esta experiencia será un documento que registre por escrito el conjunto de preguntas, respuestas y opiniones generadas por los participantes como reflexión en torno a sus propios acercamientos al Arte de Performance.

Esta actividad es organizada conjuntamente por el Museo de Bellas Artes, Performancelogía y la CIA (Compañía de Investigaciones Artísticas), en el marco del evento "Fiesta de los Museos".

Hall del Museo de Bellas Artes
Viernes, 16 de Mayo de 2008

Caracas, Venezuela

Todo sobre Arte de Performance y Performancistas

Recopilación, Publicación, Difusión e Intercambio
de Documentación sobre Arte de 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:

Wednesday, May 14, 2008

"Inmmigrants stories" installation by Jorge Restrepo

FW: ultimas noticias boek861

Date: Tue, 13 May 2008 23:18:04 +0200
Subject: ultimas noticias boek861






Bellesa en sèrie. Un cop d'ull a l'interior, de David Cobo, estarà
exposada del 8 al 30 maig. La proposta de David Cobo rau a intercedir
en la colonització constant que vivim de reproduccions d'icones
sorgides de les entranyes de les grans corporacions (les quals
estableixen les directrius de la cultura de masses), posant en
circulació imatges que escapen a aquesta lògica de mercat, imatge
lliures d'un aparell de marxandatge al darrere i que giren al voltant
de la temàtica de la bellesa.




Informe de Clemente Padín



al Sur/Sur por Clemente Padin

en Serie de David Cobo

/ Poesia Visual-Poema Objeto / E. Ortiz-E.Revuelta

la organización de la Bienal de expoesía08 os invitamos a
participar en las diferentes convocatorias.






convocatorias están colgadas en el BLOG
de expoesía:

información dirigirse:

por difundir estas

saludo La organización.

617 596 588



El próximo día 17 de Mayo
se celebra el DÍA DE INTERNET, que este año
tiene como lema 'a un click del mundo'.

participa como promotor en esta
celebración, en la cual nos gustaría contar con tu colaboración.

Lee por favor la información que te enviamos en adjunto y confirmanos
cuanto antes tu intención, o no, de participar.

La fecha límite para el envío de
obras es el 15 de Mayo.



from: mIEKAL aND: PDF of _Xerolage 34 - David Daniels_ online

The great American Epic poet/Visual Poet David Daniels passed away last week--

thank you to Xexoxial for making publicly available on line this work of his:

> David was one coolcat. I had the pleasure to meet him & the privilege
> to publish some of his work. This is one of my favorite things he's
> done.
> Download the pdf:
> Print version also available for $7 postpaid.

Re-Enactments Part One by Erroll Morris: Questioning the Relationship of images to the "Truth"

Morris' film "Standard Operation Procedure", along with the now released book, (see accompanying blog entry)

brings up some very interesting issues re the uses of re-enactments--

these are used ad infinitum already on TV--
for example the cable channel formerly known as "Court TV" has become
"Tru" TV

whose motto is "Not reality. Actuality."

which in itself is a very interesting question--what is the difference between "Reality" (and "reality TV") and "Actuality"--
let alone between re-enactements used as "Actuality" on Tru TV and those which Morris explores in his writings and films--??

does the "Truth" begin to emerge the more it is broken down into re-enactments, "Blow-Ups" and "Blow-Outs" (the De Palma film, after Antonioni's, with sound replacing fotos as the media under question--when edited with still fotos--)

or does it become ever more ambiguous--or begin to disappear the more closely it is examined--

the ever ongoing re-examinations, re-enactments, tests, enlargements, audio tests on sounds from open mics on police motorcycles--the huge mountain of texts and images and actions produced by the Zapruder film, the JFK assasination--

have produced as it were a collassal open ended "Conceptual Art Project" spanning decades now--

as in 1988, during an interview about my recently released film, “The Thin Blue Line.” I had decided for the first time as a documentary filmmaker to use slow-motion A new series by Erroll Morris questioning the relationship of images to the "Truth" of events
from the N Y Times
3 April 2008

Play It Again, Sam (Re-enactments, Part One)
By Errol Morris

O body swayed to music, O brightening glance,
How can we know the dancer from the dance?
—W.B. Yeats, “Among School Children”
“So, how is it that you managed to be on the roadway that night?” The question was posed by a reporter from the Dallas Morning News. This wre-enactments in my account of the wrongful conviction of Randall Dale Adams for the murder of Dallas Police Officer Robert Wood.
The question seemed insane. The film was released in 1988. The crime occurred in 1976. Was this reporter suggesting that I had been out on the roadway with a 35-millimeter film crew the night of the murder, and just happened to be at the right place, at the right time to film the crime – over a decade earlier? Indeed, he was.
Just so there is no doubt about this: I wasn’t there.
For those who have not seen “The Thin Blue Line,” it is a movie about a terrible miscarriage of justice. A 26-year-old man was sentenced to die in the Texas electric chair for a crime he did not commit.
It was an extremely cold night on Nov. 28, 1976. Robert Wood and Teresa Turko, two Dallas police officers, had stopped at a Burger King on Hampton Road, in a desolate area west of the city. Wood was driving. Turko was in the passenger seat with the milkshake she’d ordered. As they were about to pull out of the parking lot, they saw a blue car heading south, headlights off. They pulled out, turned on their red flashing police lights and directed the car to pull over. The intention was to issue a warning on a routine traffic stop: “You’re driving without headlights. Turn your headlights on.”
There is disagreement about what happened next. Turko claims that she and Wood got out of the patrol car more or less at the same time. Being a routine traffic stop, according to police procedure, Wood should walk up to the driver’s side of the car, and Turko should position herself to the rear of the vehicle, recording the license plate number and any other relevant details. Wood’s version of what happened is unknowable. He walked up to the driver’s side of the vehicle and was shot five times. The car sped off into the distance. Wood was dead at the scene.
A crime-scene diagram prepared by investigating officers suggests that Turko was not being entirely truthful. The telling detail was the location of where the milkshake landed: 14 feet from the door of the police cruiser.
Why care about the milkshake? Why does the milkshake matter? Because we assemble our picture of reality from details. We don’t take in reality whole. Our ideas about reality come from bits and pieces of experience. We try to assemble them into something that has a consistent narrative.
I interviewed Dale Holt, the principal Internal Affairs investigator. His retrospective account, his Internal Affairs report, the summaries of interviews with Turko taken at scene, and the drawing of the crime scene are the raw materials from which I reconstructed or re-enacted what probably happened. I also talked at length to Teresa Turko herself, but was never able to interview her on film. She had been consigned to a desk job, filing documents, and was not particularly anxious to revisit the past. The murder of her partner and the Internal Affairs investigation that followed had destroyed her career.

Here is Dale Holt’s account as it appears in “The Thin Blue Line”:
Dale Holt: His partner was one of the first female police officers that was assigned to patrol. They were out of the Northwest Station. Just patrol officers, following the clock, working the graveyard shift and everything. They had been into a fast food restaurant [Burger King] and she had a malt. This car came by, just two dudes in it, with no lights on. It really wasn’t a serious problem, but he just pulled up, turned his lights on, and stopped him just to warn the man that his lights were off. Got out of the car and walked up. And before he got to the window where the driver was, he was in the right position: this man just turned around and just…pop, pop, pop, with a little small-caliber pistol.
The first shot hit him in the arm. He had his flashlight. It hit the flashlight, as I recall, and went into his arm. And the next one hit him right in the chest. You know, the officer falls in the street, and he was in the first traffic lane, lay there and bled to death. So, she’s out of the car. She empties her pistol at the fleeing suspect, and she runs to his aid.
Procedure says you grab the radio and call for an ambulance. Common sense will tell you that but what do you do? And then at the time, she’s so torn down – and the blood, an enormous amount of blood. So how do we hold her responsible for not following procedure at that point?
Speculation was at the time was that his partner was sitting in the car.
That’s where the discrepancies were: just a matter of time, and whether or not she was out of the car, completely out of the car, or partially out of the car, or just sitting in there with the door closed.
Turko’s account was regarded with considerable skepticism. If she had gotten out of the police car and was standing at the rear of the suspect vehicle, wouldn’t she have left the milkshake in the car? Or if she had taken it with her, wouldn’t she have dropped it where she was supposed to be standing, that is, just behind the suspect vehicle? Why was the spilled milkshake found next to the door on the passenger’s side of the cruiser? Various scenarios could be constructed, but the one accepted by police investigators went as follows: Turko didn’t get out of the cruiser when Robert Wood, her partner, got out. It was an extremely cold night. It was a routine traffic stop. Her partner walked up to the window of the suspect vehicle, was shot five times, and at that point, not before, she jumped out of the cruiser throwing the milkshake away.

I re-enact this detail in my film. The milkshake-toss for me is emblematic of the discrepancies between Turko’s account and what really happened[1]. As such, the spilled milkshake is a clue and stands at the beginning of a chain of inferences.

Where was Turko when the shooting occurred? In the car? Out of the car? How many people were in the suspect vehicle? Two people? One person? What did the driver look like? Did he have bushy hair? Sandy-blonde hair? All of this is critical information in deciding who did it, who killed the cop.
How do you represent this in a movie? How do you evaluate the nature of competing and conflicting evidence? It is through reconstructing the past with re-enactments.
We tell stories to ourselves and to others. The prevailing story – the story accepted by the Dallas Police – was as follows: A 26-year-old drifter, Randall Dale Adams, was driving the blue car and a 16-year-old kid from Vidor, Texas, David Harris, was a passenger. Adams claimed that earlier that night he had been dropped off at the motel where he was staying and therefore Harris was alone in the car when it was stopped by the Dallas police officer. The question of how many people were in the car – one or two – essentially decides who committed the crime. Which one of them dies in the electric chair?
Turko’s account changed from her original crime-scene report to her later testimony in court. She saw only one person in the car at the crime scene, but testified in court that there were two people in the car. Sandy-blonde hair had become bushy hair. I re-enacted these discrepancies, as well – showing the car with one person in it and with two. I also showed the driver with sandy-blonde hair and with bushy hair. These details were at the heart of my investigation into the crime.
Memory is an elastic affair. We remember selectively, just as we perceive selectively. We have to go back over perceived and remembered events, in order to figure out what happened, what really happened. My re-enactments focus our attention on some specific detail or object that helps us look beyond the surface of images to something hidden, something deeper – something that better captures what really happened. I also thought the re-enactments provided a way of presenting the crime, so that it could be understood, of reducing the crime to essential questions. There were five prosecution eyewitnesses to the crime and a complete absence of physical evidence. If the testimony of each of them was suspect, what would remain of the case? Was there one person in the car or two? Do we believe that Adams’s claim that he was at the motel in bed? Or do we believe that Harris was a passenger in the car and that Adams was the driver?
Critics don’t like re-enactments in documentary films – perhaps because they think that documentary images should come from the present, that the director should be hands-off. But a story in the past has to be re-enacted. Here’s my method. I reconstruct the past through interviews (retrospective accounts), documents and other scraps of evidence. I tell a story about how the police and the newspapers got it wrong. I try to explain (1) what I believe is the real story and (2) why they got it wrong. I take the pieces of the false narrative, rearrange them, emphasize new details, and construct a new narrative. I grab hold of the milkshake as an image because it focuses the viewers’ attention and helps them to better understand what really happened. The three slow-motion shots of the milkshake – the milkshake being thrown, its parabolic trajectory through the night sky and its unceremonious landing in the dirt at the side of the road – are designed to emphasize a detail that might otherwise be overlooked and to focus attention on where Turko was and what she saw.
It never occurred to me that someone might think that the re-enactments were not re-enactments at all, but honest-to-God vérité footage shot while the crime was happening. It’s crazy for someone to think I had just happened to be out on that roadway, that night, with a 35-millimeter film crew and many, many cameras – cameras taking multiple angles, high angles from overhead, low angles at tire-level looking under the car, even angles inside the suspect vehicle. How could anyone think that? How could anyone believe that? Of course, people believe some pretty amazing things, and it made me think: is it a legitimate question? How do we know what is real and what is re-enacted in a photograph? What is real and what is a simulacrum? It’s a question about images. How do we know what is happening for the first time and what is a re-enactment of an event? In a photograph or in a movie? How do we know it hasn’t been doctored or altered to deceive us about the “reality” we imagine we are observing?
Indeed, the Academy Awards in the documentary category has been beset by controversies about re-enactments. In 2005 they involved the documentary short, “Mighty Times: The Children’s March,” which received the Oscar for short documentary subject. The Times wrote:
Although re-enactments are a staple of documentary filmmaking and explicitly allowed by the academy, some documentary filmmakers are questioning the ethics of Bobby Houston and Robert Hudson’s unflagged use of a technique Mr. Houston and Mr. Hudson call “faux doc” in portraying the 1963 civil rights protest by thousands of children in Birmingham, Ala. The filmmakers, based in Ojai, Calif., recreated scenes using vintage cameras and distressed film stock to shoot more than 700 extras, trained dogs and period automobiles and fire engines on various locations in Southern California.
But surely, this is not a question about re-enactments. It’s a question about fraud. If someone presents a scene as a real event, and it has been produced after the fact, it’s a re-enactment that’s a deceptive practice. It’s a false claim. It’s a lie. History is replete with them: doctored photographs, faked footage, falsifying the provenance of film footage or of a still image. But to what end?
Jon Else, a prestigious documentary filmmaker and a professor of journalism at Berkeley, was called in by the academy to examine “Mighty Times.” He had been involved with a series of documentary films on the civil rights movement, “Eyes on the Prize,” and he had been a student activist in Birmingham in 1963. He was interviewed in 2005 on NPR’s “All Things Considered”:
Jon Else: The real archive footage and the very skillfully dramatized [re-enacted] footage are seamlessly woven together. So that the audience has no way of knowing whether a particular shot of Police Commissioner Bull Connor is the real Bull Connor or an actor. That’s a problem. The other problem is that there are shots from other cities at other times that are edited into the events in Birmingham. No one has any problem with re-enactment. We all do re-enactment from time to time. The question raised here is whether it is appropriate to use re-enactment that the audience does not know is re-enactment.
NPR: Now at the producer’s Web site they speak of a technique that they call “faux doc.” And they say in order to distinguish “faux doc” from archival footage we [show] the border of re-enacted scenes with film sprocket holes. The end result is honorable both artistically and historically, making it very clear which footage is new and which is not.
Jon Else: That was not done in the copy of the film that I saw.
Jon Else talked to me about the controversy. (Admittedly, I had some misgivings about writing about this. Was I asking for trouble – the people-who-live-in-glass-houses-shouldn’t-throw-stone s principle?)
Jon Else: It’s fraud, deception. The problem is not re-enactment. The problem is deceptive re-enactment. The audience has no way of knowing what it’s getting. I got involved because the academy asked me to weigh in on all that stuff. I had worked on “Eyes on the Prize,” so I knew all the footage from Birmingham really well. And it was clear right off the bat. Two things were very clear. I won’t say clear. Two things were very suspicious. Where did all this new archive footage come from? And one of the problems with creating counterfeit archive footage is that you are going to get busted. Someone is going to see it and say, “Wait a minute, I was there and that didn’t happen.” They claimed they had done it on previous films. In previous films they had flagged the footage with sprocket holes. But they hadn’t done it in the version of the film for the Academy. We had no way of knowing what was original and what was re-enacted[2].
[The problem goes beyond the failure to show sprocket holes – the failure to flag the re-enacted footage as re-enacted footage. Prohibiting posing or re-enacting is no solution. Clearly, we are concerned here with an underlying intention to deceive. And if there is an intention to deceive, no rule or regulation can protect us[3]. – E.M.]
Jon Else: To me, the bigger problem in “Mighty Times” is that they used footage from a lot of other cities and other years. There’s footage from the Watts riots two years later cut into scenes of Birmingham. There’s footage from the Little Rock school integration crisis five years before cut into Birmingham. The thing that tipped it for me was I was had worked in Birmingham in ’63. I was actually on S.N.C.C. staff – Student Nonviolent Coordinating Committee.
Errol Morris: How old were you?
Jon Else: I was a kid. I was like 19. I hadn’t actually worked on the Birmingham movement, but I had been through there the week after the church was bombed. I remember the guy at the Y.M.C.A. – the white Y.M.C.A. – we asked how to get to the 16th Street Baptist Church – and he said, “You mean that church that the niggers bombed?” I had been recruited to be an undercover guy. I was to go eat lunch at a restaurant owned by Lester Maddox in Atlanta. He had a mob of Klansman at his restaurant that beat up any black person who tried to eat there. For months, I went over to the Pickrick, his restaurant, with a buddy of mine, we were both on the S.N.C.C. staff. And over the door of the restaurant he had a sign “I refuse to serve Integrationists.” And after several months of doing this, I ended up going into court and testifying against him. The reason this matters, is that I’m watching “Mighty Times” [about the summer of 1963 in Montgomery] and up pops a shot of Lester Maddox in Atlanta, Ga., taken two years later, standing in the door of his restaurant saying “I refuse to integrate.” And that’s when I thought, “Jesus, I risked my life to testify against this guy, and they are putting him in a different city two years earlier.” There’s a real audio-visual record of what happened during those years in that part of the country. It’s double deception. Both in the re-enactments and in the wholesale importing of other cities, other times. It’s like Monopoly money.
Critics argue that the use of re-enactments suggest a callous disregard on the part of a filmmaker for what is true. I don’t agree. Some re-enactments serve the truth, others subvert it. There is no mode of expression, no technique of production that will instantly produce truth or falsehood. There is no veritas lens – no lens that provides a “truthful” picture of events. There is cinéma vérité and kino pravda but no cinematic truth.
The engine of uncovering truth is not some special lens or even the unadorned human eye; it is unadorned human reason. It wasn’t a cinéma vérité documentary that got Randall Dale Adams out of prison. It was a film that re-enacted important details of the crime. It was an investigation – part of which was done with a camera. The re-enactments capture the important details of that investigation. It’s not re-enactments per se that are wrong or inappropriate. It’s the use of them. I use re-enactments to burrow underneath the surface of reality in an attempt to uncover some hidden truth.
But what about the reporter who thought I had been out on the roadway? Maybe I could have been there – by pure happenstance – 10 years before I started work on the film, out there on the roadway with a film crew. Unlikely, but possible. I wasn’t, but that isn’t the point. Is the problem that we have an unfettered capacity for credulity, for false belief, and hence, we feel the need to protect ourselves from ourselves? If seeing is believing, then we better be damn careful about what we show people, including ourselves – because, regardless of what it is – we are likely to uncritically believe it.
P.T. Barnum is often credited for saying: “There’s a sucker born every minute.” With respect to photographs we are all suckers. There are putative photographs of Yeti footprints[4] and Cottingley fairies. I myself don’t believe in Yetis or fairies. (Although I am willing to give some future aspirant photographer the benefit of the doubt.) What are we to make of them? Are they part of some hoax, or did the photographer believe that he was photographing a “real” Yeti footprint? Or had framed up “real” fairies in the viewfinder. Are we the gullible ones or is it the photographer who was gullible? Or perhaps it is both the photographer and us?

The footprint photographs were auctioned at Christie’s last year for about $7,000. A partial account (from Michael Ward, a member of the 1951 Everest expedition) was provided in the auction catalog:
At about 16,000-17,000 feet we came across a whole series of footprints in the snow, on the lower part of the glacier. There seemed to be two groups, one rather indistinct in outline leading on to the surrounding snowfields. The others were much more distinct with, in places, a markedly individual imprint etched in the 2- to 4-inch covering of snow. We had no means of measuring so after examining them [Eric] Shipton took four photographs: two of the indistinct prints with myself, my footprints, and rucksack beside them for comparison; the other two photographs were of one of the most detailed and distinct group of prints, with my ice ax for scale, and a second one with my booted foot. The footprint was about the same length as my boot, and I take a size 42 Continental, or 8½ British, which is about 12 to 13 inches long. The print was nearly twice as broad as my boot (3 to 4 inches) and had clear-cut edges in the crystalline snow on a base of firm snow ice. There was the definite imprint of a big toe that was broader and shorter than the other rather indistinct toes, of which there seemed to be four or five. We followed these tracks for some way down the easy glacier and noticed that whenever a narrow 6-inch-wide crevasse was crossed there seemed to be claw marks in the snow at the end of the toe imprints…” [Michael Ward, “Everest 1951: the footprints attributed to the Yeti — myth and reality,” Wilderness and Environmental Medicine, 8, 29-32 (1997)].
Yeti footprints? People uneasy about the authenticity of the photograph keep hoping for a confession. Perhaps if Eric Shipton (who took the photographs) or Michael Ward had provided a deathbed confession, it would clarify things. But that assumes that either of them knew themselves. Perhaps a sherpa with a sense of humor had stomped around the glacier with some oddly shaped snowshoes. Or perhaps as Reinhold Messner has subsequently suggested[5], the footprints were of some rare bear. Yeti, no; bear, yes. And Shipton and Ward? Gullible, credulous, self-deceived? Perpetrators of a Yeti-hoax? True believers? Does anyone know? Do they know? Can it be that the narrative in our head overwhelms everything else? Even common sense, whatever that might be?
The Cottingley fairies photographs seem to me to be deliberate deceptions, yet the debate about their “authenticity” has gone on for nearly 100 years. It is as if people want to believe in them. And that desire to believe supersedes the slipshod nature of the fabrication.

Two cousins, Elsie Wright (16) and Frances Griffith (10) routinely played in the woods at Cottingley, near Bradford, England. Elsie, who had worked in a number of photographic darkrooms, took the pictures – five in all. Elsie’s engineer father was skeptical. But no less a personage than Arthur Conan Doyle championed their authenticity. More than seventy years went by with various journalists trying to get the cousins to confess that the fairies were a deliberate fraud. Frances would come close to admitting the fraud then backtrack. Elsie never gave it up.
There is a problem here – the assumption that the cousins knew the answer to the reporters’ questions. Say the fairies were produced through some kind of fakery, such as cardboard cutouts. They could easily have been the product of some wish. As the cousins repeated the falsehood again and again over the years, they came to believe it to be true. They wished to believe it, and hence they came to believe it.
The problem is that perception is endlessly colored by fantasy and belief – perception of the present as well as the past. If there is a story that we wish to believe, our perceptual apparatus will usually modify or reinterpret what we see rather than the other way around. We see things that do not exist and fail to see things that are right in front of our eyes. We often remember things incorrectly and our memories change over time.
The brain is not a Reality-Recorder. There is no perfect replica of reality inside our brains. The brain elides, confabulates, conflates, denies, suppresses, evades, confuses and distorts. It has its own agenda and can even work at cross-purposes with our conscious selves. Consciously, we may think that we see all and know all, but our brains may be “blind” to much of what is going on around us.
Many people believe they have found a way around the eccentricities of the brain by substituting a camera, but this only defers the problem. It does not solve it. Even photographs have to be perceived. They have to be seen. There is no shortcut around the Cartesian riddle of separating reality from the appearance of reality. There is no shortcut to reality. The brain is all we have.
In the next part, I interview two experimental psychologists on “continuity errors” and “inattentional blindness,” and discuss re-enactments in the movie “Casablanca” and the philosopher R. G. Collingwood’s idea that “history is the re-enactment of the past in the mind.”
1. In rhetoric we speak of “metonymy,” the use of a word to stand for a concept, e.g. “The White House” to stand for the presidency. In the O.E.D., the definition is extended from words that stand for concepts to things – in this instance, images that stand for concepts. The milkshake is a metonym for the many problems with Turko’s account.
2. The school version of “Mighty Times” does have the sprocket holes.
3. The same kind of argument applies to the two Roger Fenton photographs. Did Fenton pose or re-enact the second picture [ON] in the Valley of the Shadow of Death and if he did, did he intend to deceive the prospective viewer? Had he previously seen cannonballs on the road and re-enacted what he had seen in an effort to deceive us into believing it wasn’t a re-enactment? I believe in all likelihood Fenton posed the second picture, but I don’t believe he intended to deceive anyone. He made no effort to destroy or hide the glass-plated negative of the first picture [OFF]. In fact, there is evidence that he exhibited prints of both pictures.
4. In 1990, I visited the legendary climber Reinhold Messner in Munich. This was at the very end of his climbing career, and he told me that he had been doing a lot of walking. Much like you would tell someone that you were walking to the subway or the supermarket to pick up groceries. I asked him where he had been walking and he told me that he had just walked across Tibet. I then asked him if he had seen the Yeti. He said, “Which one? The Red Yeti or the Brown Yeti?” Messner is the greatest mountaineer in history and has climbed all of the 8,000-meter peaks – many of them without oxygen. This feat has been considered by many to be physiologically impossible, and yet, Messner has done it. But there is no way of really knowing what effect the oxygen deprivation has had on his thinking.
5. In 2000, Messner published a book, “My Quest for Yeti: Confronting the Himalayas’ Deepest Mystery.” In the book Messner is seemingly less convinced of the existence of the Yeti – red or brown. He offers up a number of explanations, including the possibility that the Yeti is a rare kind of brown bear.

Sean Bonney: Leaflet of Chirot piece to be Distributed at London Bernstein Reading Today

Just received this news out of the blue from Sean Bonney, one of my favorite poets/artists/editors in the world

check out his blog link (below) and his books!

Fwd: bernstein

hi David,
thought you should know, your postscript to yr KentJohnson review, re Bernstein's enough, is being printed as a leaflet to distribute at his London
reading tomorrow. hope thats ok . . . .
how are things?

to read the "postscript" leaflet, go to:

just learned that the Kent Johnson book "Lyric Poetry After Auschwitz" of the review mentioned is coming out in an Italian translation ---

The Corporation--View/Download the film ---

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The Corporation

I believe this is one of the best and most important documentary films to be made in many years.
This is an extraordinary film about the creation of the American corporation, its legal organizational model, its global economic dominance and its psychopathic tendencies, and its incredible ambition to influence every aspect of culture in its unrelenting pursuit of profit.

After viewing this film, it becomes all too evident that these large corporations have too much power, whose mandate is not the common good of the people, and who will go to any lengths, legally and otherwise, in the pursuit of profit and the bottom line. Reviewer: C. Middleton (Australia)

CLICK PLAY TO VIEW - Run Time: 145 minutes

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Monday, May 12, 2008

Hamas condemns the Holocaust : Information Clearing House - ICH ---

Updates: Nakba 60th Anniversary Commemoration in Cities Near You!

Date: Mon, 12 May 2008 14:23:18 -0400
Subject: Updates: Nakba 60th Anniversary Commemoration in Cities Near You!



Dear David,

May 15 is Nakba Day, commemorating the 60th anniversary of the ethnic cleansing of Palestine. In 1948, the newly-created State of Israel destroyed hundreds of Palestinian villages, and caused to flee or exiled hundreds of thousands of Palestinians. These refugees and their descendents number today in the millions as Israel continues to deny them their right of return.

From now until the end of May, events commemorating the 60th anniversary of the Nakba will be taking place throughout the United States.

We encourage all our supporters and member organizations to attend these events. If you do not see your event listed, please add it by clicking here<>. If your existing event timing or venue has changed, please contact Omar Masri, National Membership & Outreach Coordinator, at with those changes.

Please note that the inclusion of these events in this email or on our on-line calendar does not constitute an endorsement of them.


You can help commemorate the Nakba with our Nakba 60 Pins. Click here<> or on the image to the right to get a handsome key-shaped lapel pin with butterfly clasp.

And don't forget that on May 15 we will go live on-line with the winning entries from our Expressions of Nakba arts competition. Check it out by clicking here<>.



May 12, 2008: Los Angeles, CA

What: The Sacrifice of Peace and Justice Speakers: Cindy and Craig Corrie

Where: Humanities A65, UCLA

When: 6:00pm

Contact(s): Randa Wahbe<>

Organizer(s): Students for Justice in Palestine at UCLA

May 12, 2008: Columbia, MD

What: The Nakba: What Happened to the Palestinians When the Israeli State Was Established?

Where: Howard County Public Library, East Columbia Branch, 6600 Cradlerock Way, Columbia, MD21045

When: 7:00pm - 9:00pm

Contact(s): Joanne Heisel<>

Organizer(s): Howard County Campaign to End the Israeli Occupation


May 13, 2008: St Louis, MO

What: St. Louis, MO Women in Black Remembering the Nakba Vigil

Where: Near the Bread Co., on Delmar, in the U-City Loop, St Louis, MO

When: 11:30am-1:00pm

Contact(s): Hedy Epstein<>

May 13, 2008: Cleveland, OH

What: Press Conference and Panel Discussion

Where: St. Joseph Center/River's Edge 3430 Rocky River Dr. Cleveland, OH

When: 1:00pm-2:30pm

Contact(s): Liz Lavelle<>

Organizer(s): Interfaith Council for Peace in the Middle East

May 13, 2008: Victoria, BC

What: Screening of Ilan Pappe talk 'The Ethnic Cleansing of Palestine'

Where: BCGEU hall 2994 Douglas St, Victoria, BC v5h2l9

When: 7:00pm

Organizer(s): CAIA-Victoria. [Coalition Against Israeli Apartheid]

Contact(s): George Mc Fetridge<>

May 13, 2008: Washington, DC

What: Expressions of Nakba: The Exhibit Opening Reception

Where: Josephine Butler Parks Center 2437 15th Street NW

When: 7:00pm

Organizer(s): US Campaign to End the Israeli Occupation

Contact(s): Suha Dabbouseh<> 202-332-0994

May 13-15, 2008: Washington, DC

What: Nakba Commemoration

Where: Josephine Butler Parks Center 2437 15th Street NW

When: 7:00pm

Organizer(s): US Campaign to End the Israeli Occupation

Contact(s): Suha Dabbouseh<> 202-332-0994


May 14, 2008: Los Angeles, CA

What: U Assume I Witness: Accounts of Palestine Anna Baltzer, Jewish American Activist and Author

Where: Franz Hall 2258, UCLA, Los Angeles, CA

When: 6:00pm

Contact(s): Randa Wahbe<>

Organizer(s): Students for Justice in Palestine at UCLA


May 15, 2008: Washington, DC

What: "Palestinians and the Jewish State: 60 Years of Exile and Dispossession"

Where: The Palestine Center 2425 Virginia Ave NW

When: 11:30am-2:00pm

Organizer(s): The Palestine Center

Contact(s):<> 202-338-1985 x 11

May 15, 2008: Eugene, OR

What: Nakba 60th Commemoration

Where: 500 E. 4th Ave Eugene, OR 97401

When: 3:00pm-6:00pm

Organizer(s): Al-Nakba Awareness Project/Palestine: JustJustice!

Contact(s): Marian Leung<>

May 15, 2008: Memphis, TN

What: Protest the Israeli Occupation

Where: Highland and Poplar intersections

When: 3:00pm

Contact(s): Dania Helou<>

May 15, 2008: Cleveland, OH

What: People's Occupation at Federal Building Plaza

Where: A.Celebrezze Federal Bldg 1240 East Ninth Street Cleveland, OH

When: 4:00pm-5:30pm

Contact(s): Don Bryant<>

Organizer(s) :Middle East Peace Forum, Beit Hanina Social Club and Interfaith Council for Peace in the Middle East

May 15, 2008: Los Angeles, CA

What: To Resist is to Exist: Ethnic cleaning Of Palestine Ilan Pappe, Israeli Historian

Where: Rolfe 1200, UCLA, Los Angeles, CA

When: 6:00pm

Contact(s): Randa Wahbe <><>

Organizer(s): Students for Justice in Palestine at UCLA

May 15, 2008: Ann Arbor, MI

What: "Deir Yassin" screening

Where: Michigan Union, Pond Room 530 S. State St.Ann Arbor, MI 48104

When: 7:00pm

Organizer(s): Ann Arbor Middle East Film Society, Students Allied for Freedom and Equality (SAFE), Detroit-Ann Arbor SABEEL

Contact(s): Shirley Zempel,<>


May 16, 2008: New York, NY

What: Commemorating the 60th Anniversary of the Nakba (Palestinian Catastrophe)

Where: Dag Hammarskjöld Park

When: 1:00pm - 4:00pm


May 16, 2008: Woodstock, NY

What: Presentation on Palestinian "Nakba" refugees

Where: Woodstock Community Center 56 Rock City Road

When: 7:30pm-9:00pm

Contact(s): Harriet Malinowitz<>

May 16 - 18, 2008: Anaheim, CA

What: 6th Annual International Al-Awda Convention on The 60th of Al-Nakba and Struggle to Return

Where: The Embassy Suites Hotel Anaheim - South, 11767 Harbor Boulevard, Garden Grove, CA

When: May 16 - 18, 2008



May 17, 2008: Denver, CO

What: Remember al-Nakba: Palestine 60 Years Later

Where: West Lawn Capitol Denver, Lincoln & 14th

When: 11:00A-3:00P

Organizer(s): Friends of Sabeel-Colorado, Colorado Progressive Jewish News, Rocky Mountain Peace & Justice Center

Contact(s): Joy Lapp,<>, 303-494-2338

May 17, 2008: Boston, MA

What: Commemoration

Where: Winthrop Park

When: 11:00am - 3:00pm


May 17, 2008: Minneapolis, MN

What: Al-Nakba - No More Massacres

Where: Loring Park, Minneapolis

When: 1:00pm

Contact(s): Sarah Martin<> 612-437-0222

Organizer(s): Coalition for Palestinian Rights, Anti-War Committee

May 17, 2008: Washington, DC

What: Nakba Commemoration: 400 Villages

Where: West of the Reflecting Pool in view of the U.S. Capitol, Jefferson Dr SW and 3rd St SW

When: 2:00pm-4:00pm

Contact(s): Brian Hennessey<> 202-378-0868

Organizer(s): Washington Interfaith Alliance for Middle East Peace, Vineeta Foundation

May 17, 2008: Portland, ME

What: The Nakba Conference

Where: University of Southern Maine in Payson-Smith Hall, Room 302. Payson Smith Hall is located at 96 Falmouth Street in Portland.

When: 6:30pm

Contact(s): Wells Staley-Mays<>

Organizer(s): Peace Action Maine, Pax Christi Maine, Maine Veterans for Peace


May 18, 2008: Portland, ME

What: The Nakba Conference

Where: University of Southern Maine in Payson-Smith Hall, Room 302. Payson Smith Hall is located at 96 Falmouth Street in Portland.

When: 11:00am-3:45pm

Contact(s): Wells Staley-Mays<>

Organizer(s): Peace Action Maine, Pax Christi Maine, Maine Veterans for Peace

May 18, 2008: Oak Park, IL

What: Seventh Walk for a Just Peace

Where: 848 Lake Street, Oak Park, IL60301

When: 1:00pm - 4:00pm

Contact(s): Caren Levy Van Slyke<> 312-427-2533 x 18

Organizer(s): CJPIP

May 18, 2008: Los Angeles, CA

What: Branch out to Peace! Fundraiser Banquet for Children in Palestine (Benefiting Palestine Children's Relief Fund)

Where: Ackerman Grand Ballroom, UCLA, Los Angeles, CA

When: 6:00pm

Contact(s): Randa Wahbe<>

Organizer(s): Students for Justice in Palestine at UCLA

May 18, 2008: Marin, CA

What: The Nakba: The Palestinian Experience of the Creation of Israel as a Jewish State

Where: San Anselmo Inn, 339 San Anselmo Ave, San Anselmo, Marin, CA94960

When: 7:00pm - 9:00pm

Contact(s): Jane Jewell<>

Organizer(s): 14 Friends of Palestine, Marin Peace and Justice Coalition


May 19-23, 2008: Los Angeles, CA

What: Jerusalem Dispossessed: Photo Exhibit

Where: Kerckhoff Art Gallery

When: 6:00pm

Contact(s): Randa Wahbe<>

Organizer(s): Students for Justice in Palestine at UCLA


May 21, 2008: Brooklyn, NY

What: May 1948 - A New State for Israelis, Al-Nakba (Catastrophe) for Palestinians

Where: Brooklyn Friends Meeting House, 110 Schermerhorn, Brooklyn, NY

When: 7:00pm

Contact(s): Naomi Allen<>

Organizer(s): Brooklyn For Peace


May 23, 2008: Chicago, IL

What: The Palestinian American National Conference

Where: Crowne Plaza Chicago O'Hare, 5440 North River Road, Rosemont, IL

When: May 23 - 24, 2008

Contact(s): Hesham Tillawi<>

May 23, 2008: Chicago, IL

What: Rally to Commemorate 60 years of the Palestinian Nakba

Where: The Federal Plaza in Downtown Chicago (Dearborn St and Adams St)

When: 5:00pm

Contact(s): Ramsey<>

Organizer(s): Palestine Activist Network


May 24 -25, 2008: Milwaukee, WI

What: Al Nakba exhibits and speakers

Where: Milwaukee Ramada Inn South, 6401 S 13th St.

When: Afternoon and Evening

Organizer(s): Muslim American Society<>


May 31, 2008: Portland, OR

What: Commemorating 60 years of Palestinian dispossession, 40 years of Israeli occupation

Where: Hoffman Hall Portland State University 1833 SW Eleventh, Portland, OR 97201

When: 1:00pm - 5:00pm

Contact(s): Peter Miller<>

Organizer(s): Americans United for Palestinian Human Rights


US Campaign to End the Israeli Occupation




Make Windows Vista more reliable and secure with Windows Vista Service Pack 1. Learn more.

Reenviar: Rv: Es importante que se sepa....


Nota: Se adjuntó el mensaje reenviado.




Reenvíen esto que todavía no tomó todo el estado público que merecería ya que constituye uno de los mayores despojos de los últimos años.

BAILANDO POR UN SUEÑO? ( el de Marcelo Tinelli). Me pregunto qué danza tendremos que hacer los Mapuches y campesinos para que nos devuelvan las tierras.
Es tan conmovedor ver a Tinelli cuando se emociona ante algún caso deinjusticia social. Se le llenan los ojos de lágrimas y mira hacia las cámaras.
 ¿Si los indígenas se presentaran en su show podrían conseguir algo de respeto a sus derechos naturales?
¿Saben que es 'Trafipan 2000'?
Marcelo Tinelli, conductor-empresari o televisivo que compró miles de hectáreas en la provincia sureña de Chubut, necesita desalojar 30 familias mapuches para construir un megaproyecto turístico.
 Moira Millán, integrante de la Comunidad Pillán Mahuiza y del
 Frente de Lucha Mapuche y Campesinos en el marco de la lucha por la defensa del Agua y la Tierra aseguró a radio Universidad Nacional de Cuyo, que le dicen rotundamente ¡No! a cualquier megaproyecto que pretenda 'arrasar  con nuestro entorno a cualquier precio'.
La dirigencia indígena denunció que el megaproyecto turístico que pretende construir Marcelo Tinelli 'es sobre la vivienda de 30 familias mapuches y, casualmente, lleva nombre mapuche,Trafipan 2000, cuando para llevarlo a  cabo, necesita de su desalojo'.
'Cuanta más gente se entera, más nos ayuda para conseguir el apoyo de las autoridades para poder conservar nuestras tierras'.

 Amigos: envío este mail para que ustedes también colaboren en la
 difusión de las cosas que suceden y que los medios de comunicación
 tapan.... Los medios alternativos (radio, diarios zonales) lo están
haciendo, entonces es la labor nuestra sumarnos ante el silencio de los  medios oficiales.

Lic. Marisa Burlastegui
Universidad Nacional de Mar del Plata
Favor de reenviar!!!! !!!

 Adriana Jadrosic
Link to Sabbah's Blog

refugeeHood: the inheritance

Posted: 09 May 2008 12:16 PM CDT

Palestinian youth in the Dheisheh refugee camp talk about what it means to them to be a refugee, their identities and hopes for the future.

Video source:


U.S. judge orders CIA to turn over "torture" memo - International Herald Tribune ---

US war dead cremated in same facility as pets: Pentagon - Breaking News - World - Breaking News ---




Please forward and donate if you  can...




To celebrate 60 years of independence, Israel is planning a large-scale birthday bash with events taking place in many different countries around the world.  In Jerusalem, a 3-day conference, under the title 'Facing Tomorrow' is planned from May 13 – 15, to which many world leaders, such as U.S. President Bush, and French President Sarkozy, and celebrities such as Barbara Streisand and Steven Spielberg have been invited and plan to attend. 
 It is wrong to celebrate and we need to do something BIG to make the world, and those gathered to celebrate Israel, see and hear us.  We* have this idea and we need your help to make it happen! On May 15, we will launch 21,915 (365 days x 60 years) black balloons over the skies of Jerusalem.  We aim to turn the skies over Israel's celebrations black to let people know that there is another side of the story, a side of heartache, suffering and dispossession. At the same time, each balloon will carry a letter from a Palestinian child expressing his/her hope for the future, to let the world know that we believe in and dream of justice.
Please help us make this happen by buying a balloon!  $1.00 will help us cover the cost of 3 balloons.  Please buy 3, 6, or 9 balloons (or more!) and be part of our action.  Donation information below.
Other things that you can do:

(1)   On May 15, we are asking everyone, wherever he or she is, to wear back.  PLEASE WEAR BLACK!

(2)   WRITE LETTERS, or help collect letters from Palestinian children.  You can email us the letters and we will print them out and attach to the balloons that we will launch;

(3)   If you are in Palestine, volunteer to help us inflate and LAUNCH the balloons on May 15;

(4)   Wherever you are, consider doing an action in SOLIDARITY with our action (in addition to whatever else you may be planning).  For example, you can launch your own balloons, fly black kites, march with black banners, etc.

To donate to the cost of the balloons, you can:

HSBC Bank -- Ramallah

Account name: Palestinian Strategic Initiative

Acct No: 011-026630-087

Swift Code: BBMEPS22

Contact Number: +970-599-130-426