compiled by Dee Finney

Guernica by Picasso


11:11-06 DREAM - I was working at A-C on the south end of the building. I had to run an errand all the way at the north end of the building before I left at 5 pm. It was a large building covering several city blocks.

As I was on my way, another secretary, a cute, chubby, smiling black woman, who had to do the same thing I was doing, asked me if I would take her package to the Courier office and drop it off for her so she didn't have to make the trip. I said, "Okay!" because the Courier office was right next to where I was headed for.

Just then, two really old people, a man and a woman, who appeared to be in their 80's or 90's came around the corner. They were the founders/creators of this company. They were both very tall and stately, both with pure white hair.  They were dressed in fine linen clothing of a pale blue color.

As soon as I saw them, I wondered if they would recognize how much I looked like them.

The red and white Courier package I would be carrying was from them. The old man had commented on the cover sheet of what I carried that he liked the movie script better than the radio script.  The title of the movie to be made was 'WMCU KILLER UNIVERSITY'.  His handwriting was very finely written and beautiful light purple script except for the title which was prominently printed and dark purple.

The old couple turned and walked hand in hand down the immense purplish carpeted hallway towards their own massive offices which were on the 8th floor.

I was so impressed by their royal bearing.

The Courier office was in the basement of the building at the north end.

Since I was on the 8th floor, I had to take the elevator down. The elevators were run by a short stocky man in a black suit. The elevators which were side by side, were just metal platforms and you didn't dare touch the dark reddish brick walls as you went up and down in the elevator shaft.

The first elevator came and only a couple of people managed to get on it before the door quickly closed right in front of me.

But there was another elevator right next to it on the left and that door opened and I and another woman got on and the elevator operator took us down to the basement.

I met other people in the basement who were also on last minute errands. At one point, the floor in the basement was missing and there was a track in the space that was crooked and didn't connect to the floor on the other side. The man straightened the track, allowing me to cross this space, but there was a 3 foot leap I had to make at the end of the track which was a hole that went down into the abyss.  I managed to make it onto solid floor on the other side of the abyss.

Somehow I lost my long dark blue socks and my shoes and my brown tweed coat got stuck in the elevator somehow. But I managed to retrieve my coat from the elevator operator, and sat on the basement floor and put my socks and shoes back on.

By the then the Courier's office was closed, but I knew that my dark blue car was parked at a meter outside the front door of the building and I figured that if I went up to the first floor and got in my car, I could drive the 7 blocks to the personnel office on 66th and Green field Ave. by 5 pm because it was only 4:45 on the clock right then.

I figured that if I didn't make it by 5, I would pound on the door or windows until they opened up and took the founders/creators courier package with the movie manuscript in it.  I would now be the courier.

The elevator was the problem. People were coming down and going up constantly and everyone was going to a different floor so it took the elevator a lot of starts and stops and I only had 15 minutes to get to 66th and Greenfield with the package.

When I got to the elevator, I met an old friend, a black man named David. He was carrying several of my favorite foods with him, like potato chips and some other small packages. He asked if he could go with me on the elevator. I said, "Okay!" but the elevator was acting strange.  It was no longer coming all the way down to the floor and the door was only opening half way and people had to clamber quickly up into the elevator before the door quickly closed again.

So I had to tell David he wouldn't be able to come with me. I'd have to make the elevator trip by myself and I wouldn't have time to wait for him because I only had 15 minutes to complete my mission as Courier for the founder/creator of the company.

As the elevator came down to get me, there was a crushed white dove of peace on the front of the elevator door. It had gotten caught between the elevator platform and the door of the elevator.

The elevator floor was up about 4 feet from the floor, but the elevator operator pushed the platform down by hand and I got on. The elevator platform was only 4 x 4 so there was barely room for me and the elevator operator man to stand on the platform together.

He closed the door and as we ascended, he started to molest me with his hands and as he did that, a door rose up between the elevator shafts and on the other elevator platform was a gigantic photo of a very old woman's face.

I was stunned to see the photo, and I cried out loudly, "MOTHER!" 

and woke up. The time was precisely 6 a.m.

Since I had this dream on 11-11-06, this is appropriate:

The anti-war role of the Goddess continued at this sanctuary. ... Their abbess also kept the ancient anti-war aspect of the Goddess alive for among her ...

The dark of the Moon is Her time, the Abyss and darkness of space Her home. Her number is nine, symbolizing wisdom and sacred magick. ...


In dream interpretation, there is usually more than one way to interpret a dream. It can be personal, or it can be for humanity, so one has to research the symbols in the dream to find out what it really means.

The first thing I did after I woke up and wrote down the dream was to go on the computer and see if there was such a thing as WMCU.  This is what I found: 

89.7 Spirit FM | WMCU Radio

89.7 Spirit FM, WMCU Radio, is the radio ministry of Trinity International University. The station is located in Pompano Beach, FL.

Dr. Larry W. Poland, a college professor, founded WMCU-FM, the first Christian radio station in Miami, Florida, and was executive producer of the world's largest traveling mixed media production, World Thrust. He is an ordained minister, lecturer, conference speaker, consultant, and writer. He has authored numerous articles in national periodicals and six books, Spirit Power, Rise to Conquer, The Last Temptation of Hollywood, The Coming Persecution, Master Key, and a novel, 2084.

FM stands for 'frequency modulation' - the means of communication.

In the early days of FM radio stations, they were mainly Christian stations, but a group has been filing petitions with the FCC to change this and making a great deal of progress.  See this:


Larry W. Poland writes this:

For twenty-three years I've consulted with decision makers in film and television in Hollywood and New York media. As an evangelical Christian doing this, I understand prejudice. I live and work in a world in which “Jesus Christ”—my God and personal deliverer—is a common expletive. I know media professionals who have been publicly berated, denied job promotions, and even fired because they were born again Christians.

This contempt for those labeled “fundamentalists,” “born-againers,” or the “religious right” is openly accepted, and it commonly spills onto me personally. After a television executive and I had a delightful lunch together, he learned of my background and told a mutual friend, “I wouldn’t have met with him, if I’d known he was an evangelical Christian.” However irrational or prejudiced his perspective may have been, it was real to him.

At the same time that I have been representing a despised segment of American society in the politically correct, devoutly secular, or raw pagan milieu of Hollywood, I have gotten inside the minds and hearts of another segment of society which has struggled with this same irrationality and prejudice . . . much more than I have. Of course, I refer to the Jewish community. For two decades, I have had one foot in each of two communities which have had, at best, peaceful coexistence and, at worst, “warfare” with each other over a host of real and imagined issues.

Even as I’ve heard evangelicals described by the head of a leading media trade publication as “a bunch of no-nothing yahoos in the Bible belt,” I’ve heard Jews described as ”Christ killers.” All of this has taken place in the media industry—in an arena of professed “tolerance,” “diversity,” and broad acceptance of human differences. As a result of this experience, I think I have a unique perspective on an issue which has been resurrected by the release of a film about Jesus.

When Hollywood icon Mel Gibson announced the release of his film on the suffering of Jesus, a firestorm of protest erupted. The most vocal expressions came from segments of the Jewish community. Representatives of the Simon Wiesenthal Center and the Jewish Anti-Defamation League expressed concern that the release of the film would stir anti-Jewish sentiment and even violence against Jewish people. Some in media have asked, “How could Mel Gibson do this to us?”

Many from the Christian community—including my evangelical brothers and sisters— have expressed everything from bewilderment to outrage at the Jewish protest. To them, recounting the story of their lord’s betrayal, accusation, trial, and crucifixion has nothing at all to do with Jews or any kind of anti-Jewish agenda. They are typically incredulous—and offended—that anyone would impugn their motives by suggesting such a thing.

The purpose of this booklet is to help the reader understand both the evangelical Christian and Jewish perspectives, not just of Mel Gibson’s film, but of the broader issue of Jesus and the telling of his story. It is my passionate hope that the resulting dialogue will help build a bridge of trust and understanding between the Jewish and evangelical Christian communities. I’ll even offer some steps to “build the abutments” for this bridge.

What is the “passion” of Jesus?

HISTORICALLY, THE SUFFERING OF JESUS which resulted in his death has been known by Christians as his “passion.” This includes his betrayal by Judas, his accusation by the Jewish religious authorities, his trial before both Jewish and Roman courts, his beatings, his humiliation, his being required to carry his own cross to the place of crucifixion and the crucifixion itself.

Why would anyone think the portrayal of Jesus’ suffering might be anti-Jewish?

ONE OF THE EYEWITNESSES TO THE SUFFERING of Jesus was a follower of his named John who wrote one of the four historic accounts, called “gospels.” When John describes the actions of the Jewish religious leaders who, according to the witnesses, conspired to have Jesus condemned, he refers to them as “The Jews.” In a number of places in his writings, he includes references such as “The Jews persecuted him . . .” or “The Jews tried all the harder to kill him . . . .” When read out of the context of the story, these references can sound as if Jewish people—as an ethnic group—were responsible for killing Jesus.

This language, not used by the other three “gospel” writers, can easily be read by non-Christians as expressing an anti-Jewish sentiment, because “that’s what it says.” However, John himself was Jewish, and he obviously knew that this persecution of Jesus was not being directed by Jewish people against non-Jewish people or Christians, but by Jewish people against one of his, and their, own kin.

Furthermore, there have been some calling themselves Christians who have actually viewed Jews generically as “Christ-killers.” Growing up in a small, WASP community in which the family of the scrap yard owner was the only Jewish family in town, I never knew these bigots even existed. But, a couple of years ago, I asked the Jewish members of a group of trusted media executives in the board room of CBS Television City if any of them had ever been called a “Christ-killer.” Both said, “Yes”! I was stunned to learn this. One said, “I remember it like it was yesterday. I was going to school when I was ten years old, and some kids yelled ‘Christ-killer’ at me. I didn’t know what they were talking about. I knew I hadn’t killed anybody.”

If Jewish people don’t read the Gospel of John in context or have had someone call them a Christ-killer, it’s easier to see why the dramatic telling of the story of Jesus’ killing would not be seen as an act of friendship.

Why would Jewish people be concerned about Christians using the portrayal of the suffering of Jesus to stir anti-Jewish sentiment?

THERE IS ONE COMPELLING REASON WHY Jewish people would think this. There are a number of historical instances in which this is exactly what has happened!

In Europe, the best-known theatrical presentation of the passion of Jesus is the one performed at Oberammergau, Germany. Begun in 1634 and continuing to this day, this spectacular “passion play” uses 1,700 players to tell the story. It is performed at the start of each decade to fulfill a vow made to God by the citizens of Oberammergau when bubonic plague claimed 15,000 of its residents. The vow was an act of devotion to Jesus Christ in hopes God would never again allow a deadly plague to strike their community.

When Adolf Hitler came to power and sought to fuel the fires of hatred for Jewish people, he used this Oberammergau “passion play” drama to stir non-Jews with the message, “See, it was the Jews who killed your savior!” While this is, at best, a half truth, Hitler never let the truth stand in the way of his propaganda machine and its violent contempt for everyone and everything Jewish.

Why are Jewish people so sensitive about anything that hints of anti-Semitism? 

JEWISH PEOPLE ARE IN A CLASS by themselves as objects of hatred and violence from other nations. Over the centuries, no other ethnic group on the planet has been more consistently and viciously persecuted.

From the insidious plot to annihilate the Jewish people in the reign of Persian King Xerxes, circa 460 B. C. E. (recorded in the Hebrew Scriptures’ Book of Esther) to the merciless propaganda campaigns and horrific atrocities against Jewish people in mid-twentieth-century Europe, Jewish people have been singled out for destruction. Tensions in the Middle East today also make this point. Multitudes in a major world religion and scores of nations openly call for the annihilation of the Jewish people and of Israel . . . without apology.

This persecution has produced a greater sensitivity to religious and racial bigotry among Jewish people. One needs only to consider Tevye’s lament to God in the musical Fiddler on the Roof: “I know that we are the chosen people, but couldn’t you have chosen somebody else?” to gain a better understanding of the impact of this history of hatred on the Jewish psyche.

An American proverb declares, “A scalded cat runs from cold water.” There is no doubt that the Jewish people have been repeatedly “scalded” throughout history. Even today, one undeniable fear of many Jewish people is that somehow, somewhere, someone will kill them just for being Jewish.

Evangelical Christians should be able to identify deeply with their Jewish friends in this fear. In the last century, “born again” Christians have been slaughtered by the hundreds of thousands by Communists in settings as diverse as the salt mines of Siberia under Stalin and the caves of China by Chairman Mao. As I write this, thousands are still being persecuted, imprisoned, raped and slaughtered in fundamentalist Muslim nations just for being Christian. The American President, known for his Christian faith, is damned as a hated “crusader” for Christianity.

Whether Jewish, Christian, Armenian, or Kurdish, there’s nothing like a history of continual hatred and repeated persecution to stir sensitivity to any hint of more of it.

Who, in fact, did kill Jesus?

EYEWITNESS ACCOUNTS FROM THE BIBLE and trustworthy manuscripts from non-biblical sources of the first century agree: the condemnation, trial, and murder of Jesus had complicity from a number of sources. One of Jesus’ closest associates, a greedy follower named Judas Iscariot, himself a Jew, betrayed Jesus by disclosing his whereabouts and identity to Jerusalem’s ruling Jewish rabbis for thirty pieces of silver. These leaders held great wealth and political and religious power.

The Jewish religious leaders apparently had a mix of motivations for wanting to remove Jesus from the public arena. On one hand, they were legitimately offended that Jesus claimed to be God. This claim constituted the most egregious form of blasphemy in the Jewish faith and carried the death penalty under their code of divine law. There is also evidence that the rapidly growing—yet spontaneous—movement of Jesus’ followers was viewed as a threat. It threatened both the tenuous political authority of the Jewish religious establishment and the dominance of the Roman conquerors of Israel.

Lacking the political or judicial authority to execute Jesus, these religious leaders pursued their plan with the Roman regional governor, Pontius Pilate. Pilate, according to historical records, was caught in a delicate position between Rome and the Jewish people he was ordered to keep in subjection. His tenuous personal situation was evidently a key part of his motivation for giving consent to the Roman military to carry out the torture, humiliation and crucifixion of Jesus.

So, the passion of Christ can be laid at the feet of a betraying friend, a cadre of self-protective Jewish leaders, a weak or conflicted Roman official, and a violence-prone Roman military.

In the screening of Mel Gibson’s film I attended, one guest questioned the wisdom of portraying the Jewish religious leaders as so evil. Another guest said, “Well, I’m Italian, and, frankly, the Romans didn’t come off looking too great either!”

One salient point remains to be made on this issue. In a very real sense, neither the Jews, Romans, nor others can bear the full responsibility for Jesus’ death. In his own testimony, Jesus declared that he came to earth to die and was giving his life into the hands of others to carry out the plan. “No one takes my life from me,” Jesus declared, “I lay it down myself.” This explains the willing submission he apparently showed in the face of the plots, humiliation, torture and crucifixion he suffered.

Was the suffering of Jesus the result of “anti-Christian” acts? 

AT THE TIME OF HIS DEATH, JESUS had been teaching publicly for only about three and a half years. Typically, this would be too short a time to create any kind of significant political or religious movement. However, because of the supernatural signs and miracles attributed to him, his following gained spectacularly rapid momentum. Jesus frequently had spontaneous gatherings of more than 20,000 people, and tens of thousands pursued him seeking miracles of healing, exorcism, and provision.

The profile of Jesus’ audience was not, technically, “Christian.” Even though Christians mark the origin of the Christian “Church” at Pentecost fifty days after the crucifixion, and all of the New Testament was written within four decades, there was no organized Christian religion or ecclesiastical structure until many years after Jesus’ death. In fact, his followers were overwhelmingly Jewish.

Jesus directed his message almost exclusively to Jewish people. He did so, because he had pure Jewish lineage on both sides of his family, and his parents were devout adherents to the Jewish faith. Also, he viewed his divine mission as addressing the “house of Israel” and “fulfilling the Law of Moses.” He commonly taught in Jewish synagogues, a fact which—given the radically different perspectives he expressed in his teachings—actually worked against him.

Essentially, the passion of Jesus portrays one segment of the Jewish community persecuting another segment—and its popular and charismatic leader—with the complicity of the Roman political and military authorities.

Is not placing blame on Jewish religious leaders for Jesus’ death the same as blaming the Jewish people as a whole? 

THE SIMPLE ANSWER IS “It shouldn’t be the same.” Yet, the history of what might be called “Christian anti-semitism” hinges on this point. Outrageous as it is, the blame for what was done by a few first-century Jewish leaders has been unfairly projected onto living Jews—those dubbed “Christ-killers” by the misguided. In actuality, the blame doesn’t fit even first-century Jews . . . as a group.

Let’s assume that those first-century religious leaders were more than just misguided individuals protecting their authority and deeply held beliefs. Suppose they were downright corrupt—as putting a price on Jesus’ head with Judas would indicate. Even so, the corruption of a few doesn’t justify the indictment of an entire ethnic group at the time of the crimes—much less, centuries later.

Corruption sometimes occurs among religious leaders, even in religions with the highest moral and ethical ideals. Roman Catholic Church history is sprinkled with immoral popes, violent anti-Jewish crusades, financially corrupt church officials, and, currently, pedophile priests.

Christian Protestant church history also has more than its share of moral scandals. Corrupt behavior includes everything from Lutheran complicity with the Nazis to the sex and money scandals of American televangelists.

Clearly, it is inexcusable to project blame for the conduct of a few onto their entire religion or ethnic group. But, Jewish and Christian people would have to agree that inexcusable acts are not without precedent by the “jerk factor” in both communities.

How could some Jewish people and some Christians differ so widely in the message they see in Mel Gibson’s film? 

SOME OF THE REVIEWS OF THOSE WHO have seen Mel Gibson’s movie are widely disparate in their perceptions of the messages it conveys. Keith A. Fournier, a prominent Catholic constitutional lawyer, declared, ”There is not a scintilla of anti-Semitism to be found anywhere in this powerful film.” Other viewers passionately disagree.

I am very familiar with Mel Gibson’s movie. I was one of a select few who read the script before the movie was produced and was in a small-group screening with Mel Gibson as early as July 10, 2003. Naturally, I took all of my evangelical Christian “filters,” my years of study of the history of Jesus Christ, and my seminary training into the screening with me. I also took into the screening a world view that’s a mix of passionate love for everything Jewish and an absolute conviction that Jesus’ death had absolutely nothing to do with Jewish people, then or now. No surprise, then, that I saw a film free from anything “anti-Semitic.”

Where there is disparity in assessing the film’s message, it seems to run along Jewish/Christian lines. Dennis Prager, Jewish intellectual, author and talk show host, suggests that the two groups “see two different films.” He says, “For two hours, Christians watch their Savior tortured and killed. For the same two hours, Jewish people watch Jewish people arrange the killing and torture of the Christians’ savior.” Prager said a Jewish friend who viewed the movie said that during it he “wanted to take a gun and shoot those who had brought such pain to Jesus.”

I can understand this. The Jewish religious leaders were—in historical fact and in the film—clearly the “heavies.” During the film, I burned in anger at those who pursued the death of my lord, savior and intimate friend. But, I made no transference from the ill-motivated Jewish leaders to “Jews” or to “Jewish people” in general, for the simple reason that the whole story was Jewish.

Sitting next to me in the screening was a Jewish man who heads a film studio and who has a number of joint ventures with Mel Gibson. I asked him what he thought of the film. It was the second time he’d viewed it. Among other things, he said, “It’s very Jewish.” We talked about the lines delivered in the Aramaic language and how many similar words and phrases there were to Hebrew. Even I recognized them from my now-rusty seminary Hebrew language study.

The film is very Jewish, and the Jewish leaders are—to put it kindly—not the kind of people you’d like to face . . . whatever their ethnicity. In the film, you’re motivated to despise or even to hate them, and they did play a significant role in the drama leading to Jesus’ death.

Herein lies a legitimate Jewish concern: that some hate-filled, disturbed or bigoted non-Jews might be motivated to do the same—to take revenge on those who “killed the Christians’ savior.” Fear remains that some maniac—in the name of Christ or Christians—might “want to take a gun and shoot those who brought such pain to Jesus.”

It is precisely this kind of unjustified retribution—even from nominal Christians—which stirs sensitivity in the Jewish community when powerful portrayals of the passion of Jesus appear. The scars are still raw from Oberammergau and from the Holocaust—from people who did their evil under the symbols of the swastika and the cross.

Some Jewish critics charge Mel Gibson’s film with perpetrating a view of God that is not in keeping with Jewish–or Christian–understanding. Why? 

THIS CHARGE WAS MADE BY ONE prominent Jewish leader who rejects the notion that God would exact a blood price from His own son to atone for the wrongdoing of the world. He suggests that to paint a portrait of a God like this denies God’s true, loving and just character.

Christians do believe that Jesus willingly submitted to a torturous death—“shed his own blood”—as an innocent, divine man. He declared that he did so in order to pay for the sins of all those who would accept his payment on their behalf.

For first-century Jewish followers of Jesus, blood atonement was not a new concept. It was part and parcel of the Mosaic Covenant and was practiced daily at the temple in Jerusalem. From Jewish beginnings, the sacrificial shedding of the blood of an animal with no defects—a bull or goat for sin offerings—was an essential part of ceremonial atonement. A goat was slaughtered for Yom Kippur ceremonies.

The blood of an unblemished lamb was used on the door posts of the first Passover in Egypt and every following Passover. Thus, when Jesus’ cousin, John the Baptizer, introduced Jesus to the public, he proclaimed, “Behold the lamb of God who takes away the sins of the world.” In doing this, John was announcing Jesus as the Messiah of Israel who would remove sin once and for all by spilling his own blood.

The reasoning set forth by Jesus’ followers for his blood sacrifice was that the same God of Abraham, Isaac, Jacob, Moses, and the prophets who required the blood of animals for sin atonement throughout Jewish history was now requiring the blood of His innocent son—the “unblemished lamb”—for one final and all-encompassing covering for the sins of the world. This atonement, they assert, requires only belief and acceptance of his atoning work.

As I said earlier, early Jewish disciples of Jesus believed that he was divine, so they found it obvious that ultimately he, and he alone, could surrender his life. Biblical Christians believe that no mortal ruler or band of religious zealots could take it from him—not from God.

Since this is the clear teaching of Jesus and of the Christian New Testament as well, it relegates the ultimate responsibility of those human instruments of Jesus’ death to a somewhat secondary one.

While the full guilt of their actions rests on them, Jesus’ killers were instruments in the Jewish Messiah’s accomplishment of a divine mission—one foretold hundreds of years earlier by the Jewish prophet Isaiah in the 53rd chapter of his prophecies. Thus, for Christians, this act of surrender to death became unique in human history. It became an expression—not of the capriciousness of a vindictive God—but an expression of the voluntary, loving sacrifice of this God-become-man for the entire human race—Jewish and non-Jewish alike.

What’s the bottom line? 

While traditional Jewish people and two millennia of Christian believers differ significantly on their views of the role and “office” of Jesus, their differences have been grossly exaggerated, and their respective religious leaders have often deepened the divide between them. On one hand, irresponsible and corrupt Christian leaders have perpetrated contempt for and even persecution of Jewish descendants of the heroes and heroines of their own faith!

On the other hand, irresponsible and corrupt Jewish religious and political leaders have perpetrated contempt for, prejudice against, and even persecution of, conservative Christians or Christian evangelicals—believers in the Jews’ very own God, Scriptures, and faith heroes and heroines!

Interestingly, it appears that the more closely Jewish and Christian people pursue a deep, personal relationship with their common God, His moral law, and His sacred Scriptures, the more rapport and fellowship they seem to enjoy with each other. It seems that secularism is the poison in the well of both groups.

Jewish leaders will acknowledge that among the “best friends” of Israel are evangelical Christians. Some have even defended evangelicals as protectors of their interests in modern America.

Christians will note that their “most loyal allies” in the pursuit of moral righteousness in government, education, and media are often Jewish people of faith. True Christians also openly and uniformly condemn acts of hatred or violence against Jewish people or Jewish religious interests.

What are the “action points” for Jewish people in this controversy?

I would plead with those in the Jewish community to . . .

What are the “action points” for evangelical Christian people in this controversy?

I would plead with those in the Christian community to . . .

A Dream Scenario

I DREAM OF A TIME WHEN JEWISH PEOPLE of faith and authentic Christians will set aside traditions of unthinking or ill-motivated suspicion and hostility toward each other and explore what they have in common. I trust that the controversy over Mel Gibson’s film will morph into a gracious dialogue and, in so doing, will put the keystone in a bridge between Christian and Jewish people that no one can destroy. In Dennis Prager’s words, “The last thing Jews need is to create tension with their best friends. And the last thing Christians need is a renewal of Christian hatred toward Jesus’ people.”

Such a bond of developing trust and friendship would certainly permit the telling of uniquely Jewish or uniquely Christian stories in films, books, or other forms of media without stirring suspicions of hostility.


To purchase copies of the 19-page booklet containing the text above, contact MasterMedia International,  order online, phone: 909-335-7353 (MasterMedia New York, 212-696-9351), email or write to:

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Copyright ©
MasterMedia International. Used by permission.

copyright © 1995-2006 Leadership U. All rights reserved.
This article is part of the Telling the Truth Project.

  In my internet research, I also found this:

2130 WTKX 101.5 FL Pensacola, “Killer Country,” Niceville mention

Thanks to everyone that stopped by our table at Hellfest this year. It was a great year for us and it\'s amazing to see so much love for Facedown 3,000 miles from our home! We\'ll definitely be back next year! Comeback Kid just finished up their headlining summer tour and it was a huge success! The band will take a couple months off of the road to finish writing and recording their much anticipated sophomore release. In November they will be touring in Europe with Champion. Dates are up now in the tours section. Nodes Of Ranvier are currently on tour with Caliban and Scars Of Tomorrow and they are making their way to the west coast as I type this! It\'s going to be some amazing shows in Cali! Nodes will be recording this winter for a spring 2005 release. Their new stuff is their finest material that they\'ve ever written! Alove For Enemies are on the road right now with Anterrabae so make sure to check that out. Alove For Enemies debut Facedown full length will also be out in Spring 2005! Last but not least, Bloody Sunday is touring this month with The Killer and Blood In Blood out. Bloody Sunday also has their Facedown debut scheduled for a spring 2005 release!


  Then I found this:  an article that deserves its own space. You can decide for yourself what to make of it. I personally was appalled.

'Soap Star or Macho Minister?'

The Miami New Times has an article on our favorite columnist/painter/big game hunter/manly pastor, Doug Giles. 
Let's read selections from it together, so that we might learn a little more about the enigma wrapped in pop culture references and topped off with mousse that is Doug.
It's a hot day on Indiantown's Brady Ranch. And pastor Doug Giles has his hands on a gun. A wiry man in fatigues and a crumpled cowboy hat, he crouches between two fat oak trees. Then he locks his sight on a 500-pound nilgai antelope and pulls the trigger.
The bullet hits with a force so fierce that the animal sails four feet into the air. Then for a moment it regains its footing and tries to scramble away. But a shattered front leg flops like a jelly-filled sack. When the minister fires again, the antelope tumbles to the ground.

Giles sells a video of the hunt after Sunday services at his Aventura Clash Christian Church ...
There's nothing like selling self-promoting videos in church (videos of a antelope trying to run with a bullet in its gut and a shattered front leg, no less) to remind one of Jesus. 
But as we noted before, it cost Doug $2000 (plus hunt costs) to bag that antelope at Brady Ranch ("The Trophy Hunter's Paradise"), so we can see why he'd want to find a way to recoup his money.  And making his parishioners buy a video of him killing God's creatures in a canned hunt is just such a way. 
(We want to see Doug go hunting with Dick Cheney -- there can be only one!)
Giles, now 43 years old, has always been something of a rabble-rouser. The Lubbock, Texas native says he began smoking pot at age twelve. During his teens, he stole, dealt drugs, and spent almost as much time in the principal's office as in class. His college years weren't much better. He flunked out and then drifted for a while. "His rebelliousness took its toll on the family," says his sister, Paula Winger. "All those nights they stayed up worrying really aged my parents."
Oh, if only they had taken Doug's advice on "Raising Boys That Feminists Will Hate"!
Then at age 21, Giles found Christ, and his life changed. He enrolled in Texas Tech University and graduated. Then, after dabbling in business for a while, he launched a church called Covenant Christian Fellowship in his hometown.
Does this career path remind anybody else of Elmer Gantry's?
In some ways, though, he remained the same.
He still deals drugs?
"He never lost that radical streak," explains Winger. "He doesn't worry what the fallout is going to be, who he's going to offend. He has a fierce, no-compromise attitude."
Which is good, because the Bible tells us, "Blessed are the radical, take-no-prisoner, offensive dudes who don't care about the fallout, for theirs is the kingdom of Dirty Harry."
Giles's tough talk is welcomed by the 200 members of his church. The group meets in the Royal Palm conference room of Aventura's posh Residence Inn amid bismuth pink carpeting and mahogany trim.
Oooh, la la, pink carpet and mahogany trim!  Now doesn't that sound manly?

On a recent Sunday morning, slumping teenagers, aging housewives, and muscular twentysomethings with camouflage Bibles gathered there to hear him preach.

The service began with some rocky Christian hymns. Then Giles sauntered up to the front of the room and placed his hands on his hips. "Why are you so quiet?" he asked. "You turn into Quakers?" Then he leaned over the lectern and growled, "If there's any place to make noise, it's Clash Christian Church."

But the silence lingered.

Finally a burly man with Jesus tattoos yelled, "Yeah, come on!"

"Not you," Giles jeered. "If you say, 'Come on,' again, I'm going to stuff potatoes in your mouth."

Clash Church is a manly church for manly men, and there will be lots of noise, and lots of belching, farting, and boo-yeahs during its services.  (But no "come on"s, because that sounds kind of suggestive.)

Part of the goal of his aggressive style and message is to "jerk the slack out of" slacking Christians. He urges followers to toughen up, quit complaining, and take action by stepping into the public square. This is because, like many members of the religious right, Giles believes America was founded as a Christian nation. "My ultimate goal," he wrote by e-mail, "is to help the U.S., via my little influence, retain the traditional Judeo-Christian values that have made this nation great."

And this means injecting biblical principles into government.

And we call it dominionism

Sam Hacman, a 30-year-old commercial real estate broker, first attended Clash Christian Church after hearing Giles's WMCU program. [...] At first Hacman was surprised by Giles's appearance. The pastor's sinewy build doesn't seem to square with his baritone voice.

I think that by "wiry" and "sinewy," the reporter is trying to say that Doug is "petite."

And he's better preened than his macho message would suggest.

Something that TBogg noted some time ago.  (But I'm glad that the paper noted this too, and gave the photo of Doug the caption that I used for the title of this entry.)

But Hacman was drawn in by the minister's charisma. "It energizes you," he explains. "When you leave, you feel alive."

Until Doug guns you down in the parking lot, as he films his next hunting video.


The Miami News Times version reads a little differently:

It's a hot day on Indiantown's Brady Ranch. And pastor Doug Giles has his hands on a gun. A wiry man in fatigues and a crumpled cowboy hat, he crouches between two fat oak trees. Then he locks his sight on a 500-pound nilgai antelope and pulls the trigger.

The bullet hits with a force so fierce that the animal sails four feet into the air. Then for a moment it regains its footing and tries to scramble away. But a shattered front leg flops like a jelly-filled sack. When the minister fires again, the antelope tumbles to the ground.

Giles sells a video of the hunt after Sunday services at his Aventura Clash Christian Church, along with his new book, The Bull Dog Attitude: Get It or Get Left Behind — a treatise on muscular Christianity. In Giles's view, the church has grown soft and lazy. And its traditions have become increasingly effeminate. As a result, men have fled the pews, America has lost its moral bearings, and secular forces are "hacking away at our religious roots like Paul Bunyan on crystal meth." Giles aims to fix the problem by injecting testosterone back into the church. And his message is as brash and politically incorrect as it is macho.

He regularly bashes Muslims, undocumented immigrants, feminists, metrosexuals, and liberals of all stripes. And this approach has earned him a modest measure of fame. Each month, he says, more than 300,000 people tune to his Internet show, Clash Radio, where guests have included conservative luminaries like Ann Coulter, Oliver North, and Katherine Harris. He also has a syndicated column on Three million people visit the site each day, and it publishes screeds from dozens of conservative icons, among them Michelle Malkin and William F. Buckley.

Giles, now 43 years old, has always been something of a rabble-rouser. The Lubbock, Texas native says he began smoking pot at age twelve. During his teens, he stole, dealt drugs, and spent almost as much time in the principal's office as in class. His college years weren't much better. He flunked out and then drifted for a while. "His rebelliousness took its toll on the family," says his sister, Paula Winger. "All those nights they stayed up worrying really aged my parents."

Then at age 21, Giles found Christ, and his life changed. He enrolled in Texas Tech University and graduated. Then, after dabbling in business for a while, he launched a church called Covenant Christian Fellowship in his hometown.

In some ways, though, he remained the same. "He never lost that radical streak," explains Winger. "He doesn't worry what the fallout is going to be, who he's going to offend. He has a fierce, no-compromise attitude."

Giles moved to Miami in 1996, along with wife Mary Margaret and daughters Regis and Hannah. New Times has requested interviews with him four times since October 2005, but each time he declined. He did provide some basic information via e-mail, including the reason he chose Miami. "Great place for ministry," he wrote. "Wild and multicultural."

Four years after arriving in the Magic City, Giles launched Clash Christian Church (originally called His People Christian Church). Around the same time, he founded Clash Radio. Initially it aired on Miami's WMCU-FM (89.7) and a Texas transmitter. The program had a number of dedicated fans, but it also drew droves of complaints. And eventually WMCU dropped it.

It's not difficult to understand why some believers might object to Giles's message. During a recent service, he told parishioners: "You couldn't drag me into most churches even if you used meat hooks and wild horses." In his columns, he dismisses most Christian music as "saccharine-laced slush" and calls for an "end to the preaching by whiny, quiche-eating, preening nancy boys."

Some liberal groups have taken issue with Giles's approach. "He uses ridiculous hyperbole," says Paul Waldman, senior fellow at Media Matters for America, a watchdog organization that monitors Giles's column. "This kind of talk isn't about convincing anybody. It's about defining who the enemy is and shutting down reasoned dialogue. And that's dangerous."

But Giles's unvarnished style has also opened doors for him. Each episode of Clash Radio begins with a blast of heavy metal followed by a Giles monologue and an interview with a prominent conservative. Jonathan Garthwaite was among the guests on the show in February 2004. Before his interview, he caught one of Giles's rants. It railed against the "media elite," a.k.a. the "wannabe-Euro-socialist-talking-heads that carp, fart, and blather anti-American sentiments."

Garthwaite liked what he heard. "Doug discusses cultural and religious issues in a way that appeals to the common person," he explains. "And he never minces words." He asked Giles to submit a version of his anti-media screed as a sample column for Townhall. It ranked third among all columns on the site the week it appeared, according to Giles.

Garthwaite wouldn't confirm this claim. "I'm not in the business of ranking," he says. But the experiment was successful enough that he offered Giles a permanent spot. And today he notes, "Doug's column is consistently among the top ones on the site."

Townhall, a branch of the Heritage Foundation, also syndicates Giles's column to other conservative publications like the Washington Times. What's more, Giles has been tapped as a pundit by CNN's Anderson Cooper 360¬ and the Dennis Prager Show.

The Aventura minister uses his column to lash out against liberals, who he says "spit on the Word of God." He also bashes gender-bending. In his view, the "antagonistic metrosexual 'thang'" is just another " bigger-than-Dallas-sized sign that America could be headed down the toilet." As for feminists, they "live to walk on our flag" and "hate anything that's decent."


  Blogs can be interesting:

"End of the Spear".

Carol and I saw this movie on Saturday. World Magazine has an article about it here. As a production, I would give it three stars (out of four) and call it a worthy effort, well worth seeing.

Of particular interest to me was that the following words (and others in their vein )did not appear in the movie, at least in English: Jesus, Lord, God, sin, redemption, repentance, Holy Spirit. Yet the movie presented the Gospel as the story developed. This was refreshing in a movie produced by Christians for a secular movie culture. I hope it works.

This morning on WMCU, our Christian radio station, the new DJ criticized the movie because it was not religious enough. You just want to grab someone like that and give them a good shake.

Yesterday Van preached on Acts 16: 1-3. There Paul meets Timothy, the son of a Jewess. Before they begin Paul's second missionary journey, Paul circumcises Timothy. Van pointed out the irony of this act, in light of the resolution in Jerusalem, described in the fifteenth chapter, of the controversy over whether one must first become a Jew before becoming a Christian. Paul, of course, was firmly on the side of those who said that becoming a Jew was not at all necessary and such a requirement was a needless stumbling block for Gentiles. The "apostles, elders and brethren" in Jerusalem agreed. Yet Paul is careful about observing the conventions with Timothy in order to remove what might be a stumbling block for
those they wish to reach with the Gospel on the journey that they are about to begin. Paul said elsewhere that he would be "all things to all men" in order to communicate the Gospel.

So I applaud the producers of "The End of the Spear". We need more strategic thinking like that.



Picasso, Guernica, Qana & The Da Vinci Code

On the Right Hand Side after the Christ figure we have at the TOP the Appalled Observer (e.g. me); thence resigned, dying Adonis and finally the back of Adonis’ head in the Forest of Cedars of Lebanon below Mount Lebanon in which Adonis is hunting. In the MIDDLE we have a Donkey/Ass (an innocent animal victim), an Old Muslim Woman (who despairingly has seen it all before), and the Ram/Sheep/Goat (another innocent animal victim). In the Right Hand Side BOTTOM we have the fallen classical Pillars (e.g. of Baalbek), the crushed Dove of Peace targeted by the Bomb (that incorporates the Old Muslim Woman and whose tail fin is over the shoulder of the Dying Adonis), and the Little Girl (self-possession and curiosity overcoming apprehension) and her dumb Teddy Bear.

There is careful complementarity in colour and symbolism. Thus there is another Bomb on the LHS (incorporating the Eagle, it is flesh-coloured, with the double entrendre of Biological Bomb; its stylized  tail fin is above the wings of the Eagle). Various trampling Ungulate hooves are logical elements. The 2 bombs are part of the “Vesica Pisces” construction arising from the classical Golden Rectangle (L = 1.618 x W) construction  used by the Ancient Greeks (the Parthenon), Ancient Egyptians (the Great Pyramid), painters from the Renaissance onwards (notably da Vinci) and even (intuitively) by great landscape  photographers such as Anselm Adams (see: 

A final element in the painting the painting owes a lot to my Great Uncle George Polya’s solution of the problem of regular shapes that fit into 2 dimensions (technically, 17 plane symmetry groups, all of which were used by the Muslim Moors in the fabulous Alhambra Palace in Spain). This solution inspired lithographer M.C. Escher (you no doubt have seen his wonderful lithographs of interweaving animal forms ). I had also tried, in a different way,  for many years to “fit” multiple images into the 2 dimensions of paper and canvas following the mathematical proof of my wonderful Great Uncle George (see: George Polya, Zeitschrift für Kristallographie, 1924;  Harold & Loretta Taylor, “George Polya. Master of Discovery”, Dale Seymour Publications, Palo Alto, 1993; George Polya, “How to Solve It”, 1945, published in many languages and still in print). 

I am represented in spirit in “Qana” by the appalled observer between Christ and the dying Adonis. My "Qana" (1.3 metres x 2.9 metres) partly owes its style to Fernand Léger and Henri Matisse and its underlying geometry to Picasso and Da Vinci. It has about 3 dozen thematic elements but the core is the evil of destruction by war (crucifixion) but with the promise of renewal (resurrection) - a task poor Lebanon must now meet for the second time in a quarter century.

If enough people like my “Qana” I might attempt a really “Guernica”-size version for the cause of Peace and Humanity. I share the vision of French writer Emmanuel Todd ("Apres l'Empire"; English translation “After the Empire. The Breakdown of American Order, Constable, London, 2004) for a 21st century of endless Peace, or as Fukuyama puts it: "the end of history".

Peace is the only way but silence kills and silence is complicity. Each of us, in our own way, must speak out for the innocent. We are obliged to inform others about abuses of humanity and to act ethically in our dealings with all those complicit in such abuses. International sanctions and boycotts worked against Apartheid South Africa. International and intra-national sanctions and boycotts may yet constrain those complicit in the crucifixion of Lebanon and the destruction of Qana.

was a town in Southern Lebanon that was destroyed in July by Israeli bombing (see: bbc ). Decent people throughout the world have been distraught over the latest crucifixion of Lebanon which had only 6 years ago emerged from 20 years of destructive Israeli occupation. The latest Israeli War has killed over 1,000, wounded some 4,000, rendered 1 million homeless and made much of Southern Lebanon uninhabitable (genocide) by unexploded bombs including those deriving from the dropping of 1 million cluster bombs. It is estimated that reduction of Lebanon to a UK-US-occupied Iraq scenario through the destruction of economy and infrastructure would cause 20,000 avoidable deaths annually (see MWC News ).

Words fail at such barbarity. I am a scientist – I pose and test potentially falsifiable hypotheses in order to get to the truth of things. I am also a Humanist writer and have committed myself to quantitatively reporting the horrendous avoidable mortality in the world (substantially deriving from Occupation or neo-colonial First World economic domination) and the even worse dangers facing the world from global warming (e.g. see MWCNews ). I am also an artist and because words have failed I took up my paint brush in response to the Lebanon tragedy that was quintessentially defined by the destruction of Qana by the Israeli Wehrmacht.    

I have painted a huge painting entitled "Qana" that derives conceptually from Pablo Picasso's 1937 "Guernica" and from my profound, acute distress over the recent devastation of Lebanon. Picasso's huge "Guernica" (3.5 metres x 7.8 metres) was painted after the Nazi German bombing of the Basque town of the same name during the Spanish Civil War and is the most famous anti-war painting as well as one of the largest paintings ever made.

My mentor as an artist was the late Spanish painter Ignacio Marmol who knew Picasso and introduced me to the classical scaffolding employed widely by painters from the Renaissance onwards (Leonardo da Vinci and Raphael being celebrated examples, more recent notables being Renoir and Modigliani). Such scaffolding is crucial for big paintings such as murals and theatrical sets (as I well know from painting huge paintings). However, while I suspected the geometrical order underlying "Guernica", I was astonished to discover the extraordinary mathematical precision of Picasso's construction.

Picasso’s “Guernica” Double Golden Rectangle secret revealed

The Secret of “Guernica” (and of “Qana”) is that Picasso used a “Double Golden Rectangle” geometry. A Golden Rectangle (beloved of architects and artists from the Ancient Egyptians and Greeks onwards) (see MWC News ) is a rectangle in which the Length (L) is 1.618 (Phi) times the Width (W) i.e. L = 1.618 x W. You will immediately  protest that surely the overall dimensions of Picasso’s “Guernica” are inconsistent with this, that they are 3.5 meters x 7.8 meters  and 7.8/3.5 = 2.2 not 1.61s. The important thing is that the top frame and the partial bottom frame (at the far Left Hand Side, LHS, of the painting) are clearly delineated and Picasso used 2 exact Golden Rectangles for the rest of the painting between these 2 lines; put precisely, the length of the painting, L =  2 x Phi x the distance (W) between these lines  = 2 x 1.618 x W. Picasso was very precise in this construction – on a scale of several metres it is astonishingly exact to within half a centimeter.

Qana and the Da Vinci Code

I have used exactly the same “Double Rectangle” geometry in my painting “Qana” – the boundaries of the “double Golden Rectangle” in “Qana” are the sides of the painting, the top line (the bottom edges of the bomb tail fins) and the bottom line (starting on the far LHS and running through the bull’s hoof and thence ending just after the teddy bear at the far Right Hand Side).

The painting contains a lot of themes but is fundamentally about destruction (the Israeli bombing of Qana) and resurrection (the re-building). Hence it has a central figure of an inclusive bearded Christ with a Crown of Thorns and the Spear Wound. However the Jesus Crucifixion and Resurrection story is pre-dated by the Greek/Roman/Phoenician myth of Adonis, the beautiful young man (seen hunting beneath the Cedars of Lebanon and the snows of Mount Lebanon on the far RHS). Adonis (with a Semitic meaning of “my lord”) was killed by a boar while hunting but could not be saved by his lover the goddess Astarte/Aphrodite/Venus  (see the wounded, resigned Adonis); the River ran red with blood - this actually happened in spring time in Lebanon in classical times with the River Adonis, the present-day Nahr Ibrahim that is fed by melting snow from Mount Lebanon in the Spring (bottom Left Hand Side). However there is eventually resurrection (as depicted by the androgynous figure, far Left Hand Side).

Other key “players” (from Left Hand Side to Right Hand Side) are the Woman being violated by a Bull/Minotaur (the US; cf Guernica) which also relates to  Zeus in the form of a Bull raping Europa; the Woman is also attacked by an Eagle (Israel) which grasps her deshabillé left breast and attacks the Infant wrapped in the Lebanon flag colors (Red, White, Green); the Woman (no hijab i.e. possibly Christian) has an infant; her Dress and that of the adjacent, secretive Muslim Mother and Child is simultaneously fallen, modern, white Brickwork (bombed Buildings); and  beneath this lies a dead or dying Man and the River of Blood (the River Adonis or Nahr Ibrahim of present-day Lebanon). Qana claimed to be the place where Jesus changed water into wine at the wedding – but there are other Qana (or Cana) candidates, albeit only a few dozen kilometers away (R.H. Mounce favours these latter candidates over the Lebanon Qana; see The International Standard Bible Encyclopaedia, William Eerdmans, Ann Arbor, 1979). 

Dr Gideon PolyaMWC News Chief political editor, published some 130 works in a 4 decade scientific career, most recently a huge pharmacological reference text "Biochemical Targets of Plant Bioactive Compounds" (CRC Press/Taylor & Francis, New York & London, 2003), and is currently writing a book on global mortality ---

Contact Dr.Polya By E-mail


Guernica (painting - see first image above)

From Wikipedia, the free encyclopedia

Guernica is a painting by Pablo Picasso, inspired by Picasso's horror at the Nazi German bombing of Guernica, Spain on April 26, 1937 during the Spanish Civil War. The air raid destroyed the city, killing an estimated 1,600 people and injuring many more.

The huge mural was produced under a commission by the Spanish Republican government to decorate the Spanish Pavilion at the Paris International Exposition (the 1937 World's Fair in Paris). Picasso said as he worked on the mural:

The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death.[1]

The painting

In its final form, Guernica is an immense black and white, eleven-and-one-half-foot tall and almost twenty-six feet wide mural painted in oil. In creating Guernica, Picasso had no interest in painting the non-representational abstraction typical of some of his contemporaries, such as Malevich. The mural presents a scene of death, violence, brutality, suffering, and helplessness without portraying their immediate causes. The choice to paint in black and white contrasts with the intensity of the scene depicted and invokes the immediacy of a newspaper photograph.

Hidden images in Guernica. This de-contrasting of the lower portion of the horse makes it easier to discern the hidden skull-in-profille in the painting. The bull's head is formed mostly by the bent front leg. The head's nose is formed by the leg's knee cap.

Hidden images in Guernica. This de-contrasting of the
lower portion of the horse makes it easier to discern the
hidden skull-in-profile in the painting. The bull's head is
formed mostly by the bent front leg. The head's nose is
formed by the leg's knee cap.

Guernica depicts suffering people, animals, and buildings wrenched by violence and chaos.

  • The overall scene is within a room, where, at an open end on the left, a wide-eyed bull stands over a woman grieving over a dead child in her arms.
  • The center is occupied by a horse falling in agony as it had just been run through by a spear or javelin. The shape of a human skull forms the horse's nose and upper teeth.
  • Two "hidden" images formed by the horse appear in Guernica :
    • A human skull is overlayed on the horse's body.
    • A bull appears to gore the horse from underneath. The bull's head is formed mainly by the horse's entire front leg which has the knee on the ground. The leg's knee cap forms the head's nose. A horn appears within the horse's breast.
  • Under the horse is a dead, apparently dismembered soldier, his hand on a severed arm still grasps a shattered sword from which a flower grows.
  • A light bulb blazes in the shape of an eye over the suffering horse's head.
  • To the upper right of the horse, a frightened female figure, who seems to be witnessing the scenes before her, appears to have floated into the room through a window. Her arm, also floating in, carries a flame-lit lamp.
  • From the right, an awe-struck woman staggers towards the center below the floating female figure. She looks up blankly into the blazing light bulb.
  • At the far right, another female figure falls helplessly and in shock through a burning building. (Many reproductions cut off the ps a reference to Goya's Third of May.

Symbolism in Guernica

Interpretations of Guernica vary widely and contradict one another. This extends, for example, to the mural's two dominant elements -- the bull and the horse. Art historian Patricia Failing said, "The bull and the horse are important characters in Spanish culture. Picasso himself certainly used these characters to play many different roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very tough. Their relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's career." When pressed to explain them in Guernica, Picasso said, "...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are." [2]


1937 Paris International Exhibition

Guernica was initially exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition[3]. The Pavilion, which was financed by the Spanish Republican government at the time of civil war, was built to exhibit the Spanish government's struggle for existence contrary to the Exposition's technology theme. The Pavilion's entrance presented an enormous photographic mural of Republican soldiers accompanied by the slogan:

We are fighting for the essential unity of Spain.
We are fighting for the integrity of Spanish soil.
We are fighting for the independence of our country and for
the right of the Spanish people to determine their own destiny.

The display of Guernica was accompanied by a poem by Paul Éluard, and the pavilion displayed works by Joan Miró and Alexander Calder, both, of whom, were sympathic to the Republican cause.

Post-Exhibition experiences

After the Paris Exhibition, the painting went on tour, first to the Scandinavian capitals, then to London, where it arrived on September 30, 1938, the same day the Munich Agreement was signed by the leaders of the United Kingdom, France, Italy, and Germany. The London exhibition at the Whitechapel Art Gallery included preparatory studies and was organised by Roland Penrose with Clement Atlee addressing a public meeting. It then returned briefly to France; after the victory of Francisco Franco in Spain, the painting was sent to the United States to raise funds and support for Spanish refugees. At Picasso's request the safekeeping of the piece was entrusted to the Museum of Modern Art (MOMA) in New York City. It formed the centerpiece of a Picasso retrospective at MOMA which opened six weeks after the Nazi invasion of Poland. [4][5]

Between 1939 and 1952, the painting traveled extensively in the United States; between 1953 and 1956 it was shown in Brazil, at the first-ever Picasso retrospective in Milan, Italy, and then in numerous other major European cities, before returning to MOMA for a retrospective celebrating Picasso 's seventy fifth birthday. It then went on to Chicago and Philadelphia. By this time, concern for the state of the painting resulted in a decision to keep it in one place: a room on MOMA's third floor, where it was accompanied by several of Picasso's preliminary studies and some of Dora Maar's photos. The studies and photos were often loaned for other exhibitions, but until 1981, Guernica itself remained at MOMA. [5]

During the Vietnam War, the room containing the painting became the site of occasional anti-war vigils. These were usually peaceful and uneventful, but in 1974, Tony Shafrazi — ostensibly protesting Richard Nixon's pardon of William Calley for the latter's actions during the My Lai massacre — defaced the painting with red spray paint, painting the words "KILL LIES ALL"; the paint was relatively easily removed from the varnished surface. [6]

As early as 1968, Franco had expressed an interest in having Guernica return to Spain. [5] However, Picasso refused to allow this until the Spanish people again enjoyed a republic. He later added other conditions, such as the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso's junior, died two years later, in 1975. After Franco's death, Spain was transformed into a democratic constitutional monarchy, ratified by a new constitution in 1978. However, MOMA were reluctant to give up one of their greatest treasures and argued that a constitutional monarchy did not represent the republic that had been stipulated in Picasso's will as a condition for the painting's return. Under great pressure from a number of observers, MOMA finally ceded the painting to Spain in 1981. The Spanish historian Javier Tusell was one of the negotiators.

During the 1970s, it was a symbol for Spaniards of both the end of the Franco regime and of Basque nationalism. The Basque left has repeatedly used imagery from the picture.

A tiled wall in Gernika claims "Guernica" Gernikara, "The Guernica (painting) to Gernika."

A tiled wall in Gernika claims "Guernica" Gernikara,
"The Guernica (painting) to Gernika."

In 1992 the painting was moved from the Museo del Prado to the Museo Nacional Centro de Arte Reina Sofía, both in Madrid, along with about two dozen preparatory works. This action was controversial in Spain, since Picasso's will stated that the painting should be displayed at the Prado.

However, the move was part of a transfer of all of the Prado's collections of art after the early 19th century to other nearby buildings in the city for reasons of space; the Reina Sofía, which houses the capital's national collection of 20th century art, was the natural place to move it. A special gallery was built at the Reina Sofía to display Picasso's masterpiece to best advantage.

When first displayed in Spain, the painting was placed at El Casón del Buen Retiro, an annex to the Prado that housed early nineteenth century paintings but had a large enough wall. It was kept behind bullet-proof glass and guarded with machine guns. However, since that time there has never been any attempted vandalism or other security threat to the painting. In its present gallery, the painting has roughly the same protection as any other work at the Reina Sofía. [7]

Basque nationalists have advocated that the picture should be brought to the Basque country, especially after the building of the Guggenheim Bilbao Museum. Officials at the Reina Sofía claim that the huge canvas is now thought to be too fragile to move. Even the staff of the Guggenheim do not see a permanent transfer of the painting as possible, although the Basque government continues to support the possibility of a temporary exhibition in Bilbao. [7]

Guernica at the United Nations

A tapestry copy of Picasso's Guernica is displayed on the wall of the United Nations building in New York City, at the entrance to the Security Council room. It was placed there as a reminder of the horrors of war. Commissioned and donated by Nelson Rockefeller, it is not quite as monochromatic as the original, using several shades of brown. On February 5, 2003, a large blue curtain was placed to cover this work, so that it would not be visible in the background when Colin Powell and John Negroponte gave press conferences at the United Nations. On the following day, it was claimed that the curtain was placed there at the request of television news crews, who had complained that the wild lines and screaming figures made for a bad backdrop, and that a horse's hindquarters appeared just above the faces of any speakers. Diplomats, however, told journalists that the Bush Administration pressured UN officials to cover the tapestry, rather than have it in the background while Powell or other U.S. diplomats argued for war on Iraq. [8]

See also


  1. ^ Colm Tóibín, The Art of War, The Guardian, April 29, 2006. Accessed online 16 July 2006.
  2. ^ ...questions of meaning, part of a series of web pages on Guernica in PBS's Treasures of the World series. Accessed 16 July 2006.
  3. ^ Martin, Russell, Picasso's War: The Destruction of Guernica and the Masterpiece that Changed the World on-line excerpt. Accessed 2 August 2006.
  4. ^ Hoberman 2004
  5. ^ a b c Timeline, part of a series of web pages on Guernica in PBS's Treasures of the World series. Accessed 16 July 2006.
  6. ^ Hoberman 2004
  7. ^ a b Author interview on Russell Martin's Picasso's War site. Accessed 16 July 2006.
  8. ^ David Cohen, Hidden Treasures: What's so controversial about Picasso's Guernica?, Slate, February 6, 2003. Accessed 16 July 2006.


External links

Guernica for rent in Poem for Rent project.

Retrieved from ""


UN conceals Picasso’s “Guernica” for Powell’s presentation

By David Walsh
8 February 2003

In an act with extraordinary historical resonance, United Nations officials covered up a tapestry reproduction of Pablo Picasso’s anti-war mural “Guernica” during US Secretary of State Colin Powell’s February 5 presentation of the American case for war against Iraq.

Picasso’s painting commemorates a small Basque village bombed by German forces in April 1937 during the Spanish Civil War. The painter, in desolate black, white and grey, depicts a nightmarish scene of men, women, children and animals under bombardment. The twisted, writhing forms include images of a screaming mother holding a dead child, a corpse with wide-open eyes and a gored horse. Art historian Herbert Read described the work as “a cry of outrage and horror amplified by a great genius.”

The reproduction has hung outside the Security Council chamber at UN headquarters in New York since its donation by the estate of Nelson A. Rockefeller in 1985. As the council gathered to hear Powell on Wednesday, workers placed a blue curtain and flags of the council’s member countries in front of the tapestry.

UN officials claimed that the cover-up was simply a matter of creating a more effective backdrop for the television cameras. “When we do have large crowds we put the flags up and the UN logo in front of the tapestry,” asserted Stephane Dujarric. New York Newsday, however, reported that “Diplomats at the United Nations, speaking on condition they not be named, have been quoted in recent days telling journalists that they believe the United States leaned on UN officials to cover the tapestry, rather than have it in the background while Powell or other US diplomats argued for war on Iraq.”

The right-wing Washington Times was obliged to note: “Television cameras routinely pan the tapestry as diplomats enter and leave the council chambers, and its muted browns and taupes lend a poignant backdrop to the talking heads. So it was a surprise for many of the envoys to arrive at U.N. headquarters last Monday for a Security Council briefing by chief weapons inspectors, only to find the searing work covered with a baby-blue banner and the U.N. logo.”

Further damaging Dujarric’s claim, the Toronto Star’s art critic Peter Goddard wrote that “the coverup may have been prompted by UN realization that images of the mural’s vivid anti-war message were televised world-wide when it appeared as a backdrop to the Jan. 27 interim report by chief weapons inspector Hans Blix.”

A group of protesters held up copies of Picasso’s painting outside the UN on Wednesday while Powell was making his warmongering appeal.

Aside from its general evocation of anti-war sentiment, Picasso’s painting threatened to speak to historical parallels that the Bush administration and UN officials were clearly determined that the media or the public should not make.

For an entire generation the bombing of Guernica and Picasso’s interpretation of the event signified the barbarity of fascism and the widespread determination to resist its violence and brutality.

The bombing of Guernica, by the German Luftwaffe in support of Francisco Franco’s Nationalist army, was one of the first opportunities for European fascism to reveal its murderous face.

German bombers launched an unprovoked attack on the Basque village of 5,000 at 4:30 in the afternoon, the busiest hour of a market day. According to one account, “The streets were jammed with townspeople and peasants from the countryside. Never before in modern warfare had noncombatants been slaughtered in such numbers, and by such means” (Lael Wertenbaker, The World of Picasso, 1967).

From 4:30 to 7:45 the squadron of German airplanes rained uncontested bombs and gunfire on the village. “Villagers who were not immediately killed fled to the fields to take refuge, only to be ravaged by plunging machine gun fighters” (Thomas Gordon and Max Morgan, Guernica: The Crucible of World War II, 1975).

One-third of the population of the village was either killed or wounded. The fires that engulfed the city burned for three days. Isolated farms as far away as four miles were bombed.

A survivor of the attack recounted, “The air was alive with the cries of the wounded. I saw a man crawling down the street, dragging his broken legs.... Pieces of people and animals were lying everywhere.... In the wreckage there was a young woman. I could not take my eyes off her. Bones stuck through her dress. Her head twisted right around her neck. She lay, mouth open, her tongue hanging out. I vomited and lost consciousness” (Gordon and Morgan).

The bombing of Guernica had no strategic military significance. It was an opportunity for the German military—with the authorization of Franco—to test its powerful new air force. The killing and maiming of 1,700 Spanish villagers was essentially done for bombing practice. The raid also had the aim of intimidating and terrorizing not simply the Spanish population, but any and all of those who might oppose the fascist onslaught.

After news of the massacre had reached Paris, more than one million people flooded the city’s streets on May 1 to protest the atrocity. Eyewitness accounts filled French newspapers. Stunned and horrified by the black and white photographs of the bombing’s devastation, Picasso quickly sketched the first images for the Guernica mural. Three months later the painting was delivered to the Spanish pavilion at the 1937 World’s Fair in Paris. Following the victory of Franco’s fascist army, with the aid of Hitler and Mussolini, Picasso forbade the work’s display in Spain until the country enjoyed “public liberties and democratic institutions.” “Guernica” was returned to Spain on October 25, 1981, on the centenary of the painter’s birth.

See Also:
Powell’s UN speech triggers countdown to war against Iraq
[6 February 2003]


  On a more personal level:

This was, for now and forever, to be known as the "Crushed Dove" speech.

Bohl accused KU basketball coach Roy Williams of hatred and vindictiveness, adding that Williams held Bohl in his hand like a dove.

"He had the choice," Bohl stated, "to either crush me with his power of influence, or let me fly with my visions for a better total program. He chose to crush me."



Demons feared Jesus Christ not just because He had the power but in
 Matthew 10:8 - see also Casting Out Demons), by means of the Holy Spirit, to cast them out of someone they possessed, but also because He had the power and authority to sentence them into the abyss.


9:1  And the fifth angel sounded, and I saw a star fall from heaven unto the earth: and to him was given the key of the bottomless pit.
9:2  And he opened the bottomless pit; and there arose a smoke out of the pit, as the smoke of a great furnace; and the sun and the air were darkened by reason of the smoke of the pit.
9:3  And there came out of the smoke locusts upon the earth: and unto them was given power, as the scorpions of the earth have power.
9:4  And it was commanded them that they should not hurt the grass of the earth, neither any green thing, neither any tree; but only those men which have not the seal of God in their foreheads.
9:5  And to them it was given that they should not kill them, but that they should be tormented five months: and their torment was as the torment of a scorpion, when he striketh a man.
9:6  And in those days shall men seek death, and shall not find it; and shall desire to die, and death shall flee from them.
9:7  And the shapes of the locusts were like unto horses prepared unto battle; and on their heads were as it were crowns like gold, and their faces were as the faces of men.
9:8  And they had hair as the hair of women, and their teeth were as the teeth of lions.
9:9  And they had breastplates, as it were breastplates of iron; and the sound of their wings was as the sound of chariots of many horses running to battle.
9:10  And they had tails like unto scorpions, and there were stings in their tails: and their power was to hurt men five months.
9:11  And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name Apollyon.
9:12  One woe is past; and, behold, there come two woes more hereafter.
9:13  And the sixth angel sounded, and I heard a voice from the four horns of the golden altar which is before God,
9:14  Saying to the sixth angel which had the trumpet, Loose the four angels which are bound in the great river Euphrates.
9:15  And the four angels were loosed, which were prepared for an hour, and a day, and a month, and a year, for to slay the third part of men.
9:16  And the number of the army of the horsemen were two hundred thousand thousand: and I heard the number of them.
9:17  And thus I saw the horses in the vision, and them that sat on them, having breastplates of fire, and of jacinth, and brimstone: and the heads of the horses were as the heads of lions; and out of their mouths issued fire and smoke and brimstone.
9:18  By these three was the third part of men killed, by the fire, and by the smoke, and by the brimstone, which issued out of their mouths.
9:19  For their power is in their mouth, and in their tails: for their tails were like unto serpents, and had heads, and with them they do hurt.
9:20  And the rest of the men which were not killed by these plagues yet repented not of the works of their hands, that they should not worship devils, and idols of gold, and silver, and brass, and stone, and of wood: which neither can see, nor hear, nor walk:
9:21  Neither repented they of their murders, nor of their sorceries, nor of their fornication, nor of their thefts.

Revelation 17

17:7: And the angel said to me, "Wherefore dost thou wonder? I will tell thee the mystery of the woman, and of the beast that carries her which has the seven heads and the ten horns.
17: 8: The beast that thou sawest was, and is not, and is about to come up from the abyss, and will go to destruction. And the inhabitants of the earth - whose names have not been written in the book of life from the foundation of the world - will wonder when they see the beast which was, and is not.
17:9: And here is the meaning for him who has wisdom The seven heads are seven mountains upon which the woman sits; and they are seven kings;
17:10: five of them have fallen, one is, and the other has not yet come; and when he comes, he must remain a short time.
17:11: and the beast that was, and is not, is moreover himself eighth, and is of the seven, and is on his way to destruction

In the Book of Revelation 20:1, it is commonly thought that Michael is the "angel coming down from heaven, having the key of the abyss and a great chain in his hand." He is usually depicted wearing armor or chain mail and an unsheathed Sword, signifying his role as God's champion. He was described as young, strong and handsome; very huge and militant; eyes looking like pools of fire with firm, chiseled facial features. His skin was described as the "color of copper which radiates and glows from being in the Presence of God".

"Then I saw an angel come down from heaven with the key of the Abyss in his hand and an enormous chain. He overpowered the dragon, that which is the devil and Satan and chained him up for a thousand years  … When the thousand years are over, Satan will be released from his prison and will come out to deceive all the nations in the four quarters of the earth, GOG AND MAGOG and mobilize them for war. His armies will be as many as the sands of the sea; they will come swarming over the entire country and besiege the camp of the saints, which is the city that God loves. But fire will come down on them from heaven and consume them. Then the devil, who misled them, will be thrown into the lake of fire and sulphur, where the beast and the false prophet are, and their torture will not stop, day or night, for ever and ever."

The Abyss and the Beast from the Abyss

This is an ongoing theme from year to yearThe abyss in dreams is getting wider and wider through time.

12-24-97 - DREAM - Again I was in a city and walked to an outdoor restaurant where I met my friend Alice O. and another friend and my daughter for lunch. On the way there, a nasty old woman I knew from my apartment building told me I had a loose thread hanging from my lace blouse.

I thanked her for telling me and went on my way. We had a nice lunch, then when we left, I was going to pick up my dark blue car and drive my daughter somewhere. I began picking up things left behind by the others to take with me which included several pairs of white shoes in various sizes, and my sweater which was draped over the back of the chair.

I commented to the waitress, "You can tell which ones are the mothers by the way they remember to pick up even the shoes."

(I have a memory of retrieving a baby girl which had crawled under a couch and taking care of her, but I don't remember at which point this happened.)

On the way from the restaurant to the car, the nasty old woman again confronted me and told me about the loose thread and now I looked and the thread had pulled way out. I held it in my hand. It was zigzagged and very long. I broke it off so it wouldn't pull out any farther and continued on towards the car which was on the other side of a huge ditch from where the old woman was. (The abyss)

1-11-98 - DREAM - Everything was greatly exaggerated. when I was in my office with the bookcase and file cabinets, I was somewhat tied to them which kept me from falling into a dark bottomless abyss just one step away.

When my father appeared to talk to me on a great plaza, he was standing up on a huge brown square platform, driving it like a chariot on huge spoked wheels . When he came into the plaza, there was not even 1/4" space leeway to spare for him to move in.

When I was on a street later trying to explain this to someone, a huge truck came by like a UPS highway truck, dark, dark green with no writing on it. It seemed as tall as the sky, and it too, when it turned left at the intersection, didn't have any leeway of ever 1/4" to go by either.

7-4-99 - DREAM -

I was at my New Berlin house, but other people lived there also like it was an apartment building. Some of the people who appeared in the dream cover a 30 year period of life who never were at or even heard of my New Berlin house, much less lived there.

In one scene, I was in the living room. At first glance the carpet looked okay. It was like orange shag and quite worn all over. The woman who came to visit was named Dawn (Lorna's sister) She told me that she always sat with her feet under her on the couch so the carpet didn't get worn in front of it. I got down on the floor and looked at the carpet closely. The fibers were constructed of huge dead bugs like locusts. Some of them were coming loose, so I took a vacuum hose and hand vacuumed the entire carpet. I was not grossed out by the bugs but understood the loose ones had to be removed. Dawn watched this whole process. I was about done and realized that the vacuum cleaner had not really sucked up the bugs, they had merely accumulated in the vacuum cleaner hose.

My friend David (mean's love) arrived. I also got a phone call from an old boyfriend who said that an ex-co-worker had met him on the street and had asked him about me and whether I had gotten over being raped. I didn't now how that information got that widespread, but I decided I needed to put a shroud on to sleep and I slid the shroud over a narrow board on the bed while David stood by my side. I would sleep on that narrow board. (It was shaped like an ironing board)

I then went to the bathroom to get ready for bed and discovered that the toilet had been running over for some time.

I opened the doorway to the hall and discovered that the bathroom had now separated from the hallway and the house had actually split off separately on the 3rd floor.

This panicked me for other people's safety as I was not the only one who used this bathroom. I carefully jumped the gap to the other side of the hallway and went down to the 1st floor to warn other people about the problem. I told the other people they should gather in apartment #101 rather than risk falling into the gap on the 3rd floor by the bathroom.

I was concerned that I needed to tell my husband who was off working on the night shift. At that point, some supervisors from work appeared, one was named John from "One Life to Live" TV show. He assured me that he had a cell phone if we needed help and Paul was with him and had another cell phone if necessary.

I thanked them and they left.

I made sure that all the people were safe in apartment #101, then went back up to the bathroom on the 3rd floor. The sag and separation between the bathroom and the rest of the house was even greater now. In the gap was only darkness down below and falling into the abyss would not be pleasant.

The corner of the bathroom was held up by a strong pillar so there was no problem there, only in the separation between it and the rest of the house.

Again, as I stood in the bathroom, the toilet bowl stood solitary in the center of the room and a tremendous amount of brown water came up and ran over and down the outside wall and I knew that the bathroom would soon be standing alone on the 3rd floor and nobody would be able to use it.

I went through the living room again which now had brand new carpeting which was light aqua wall to wall. It was really pretty and had been installed to keep me happy.

Again I went to the door of the bathroom to jump the ever widening gap to warn the people that the house was separating.

(After I woke up, I lay there thinking about the dream, a voice said, "You need the Elf of truth!")

Either before this dream or within the dream, I saw a flash of a magazine ad which was for  tourism to Scotland. At the upper right hand corner of the ad stood Dawn and her new "cop" boyfriend waving joyously as they flew across the blue water on a jet ski. He stood close behind her.

NOTE: Dawn and her cop boyfriend bought matching jet skis during the summer, but I can't recall if it was before or after the dream.

7-9-00 I was laying in bed, wondering if the above dream was related to a dream I had last year about a house that my Father had built that was hollow underneath and there was a crack in the floor and you could see down into the abyss below. Then when my Father went underneath the house I could see what a thin layer of dirt was underneath the floor and it was all hollow underneath.  I then fell asleep and had the following dream.

7-9-00 - DREAM - I was in a room where we were taking care of a vine that was on a pedestal.  But the vine fell off the pedestal and blew across the floor. There was like a drop off between where the floor linoleum ended and became wood and there was a white toilet there with no lid on it.  The dried up vine slid into the toilet.

I retrieved the dried up vine and put it back up on the pedestal, but it was obvious it was too late to save it.  It was dead, and the man whom we were taking care of it for was coming back.  I wouldn't know what to tell him.  The vine had died.

This is a channeling from Jesus to John Leary:

Thursday, March 7, 2002:

       Jesus said: "My people, there is no doubt that good angels and demon angels exist.  The devil is a real fallen angel and he and his bad angels have been tempting man to sin since Adam's time.  There is also a hell and heaven with a fixed abyss between them.  These are the realities of life that cannot be denied and it is why you only have a choice between heaven and hell.  The evil one wants you to think that he does not exist and he tempts you with all manner of pleasures and comforts.  He will discourage you from coming to Me in church or the sacraments.  He knows My power is absolute, but he still tries to place fear in your heart.  I am here for everyone who calls on My help, especially in protecting you from the devil's temptations.  Just as I cast demons from people in My time, so there are some in your time that are possessed by evil spirits who have sold their souls for wealth and pleasure.  Exorcisms are still needed in your world because you are in an age of apostasy with possessed people.  Science may explain some phenomena, but it cannot explain the absence or presence of a demon.  You should know the difference between good and evil, so pray for deliverance from temptations instead of giving in to them.  My help is always available, but it is you who must invoke My Name in healing."

From John Hogue, expert on the prophecies of Nostradamus and MABUS;  Is he now dead, or is it someone else?

I pray that none of my interpretations of Nostradamus’ fearsome and shadowy “Mabus” come true.

*UPDATE 30 June 2001: So far both sides continue to stare at the abyss rather than jump in as they try to sustain a cease fire. The Israeli Prime Minister, Ariel Sharon, in a recent interview for Newsweek made what sounded to me like a veiled threat to take Yasser Arafat out of action in the near future. Clearly he believes Arafat is in the way of achieving at least his idea of peace terms. I cannot help sensing that the Israeli government is contemplating some kind of assassination or bombing “accident” that could take out the Chairman of the Palestinian Authority. And, if they do, then Arafat’s death as “the first to fall” in the coming conflict will make him a martyr and a means for others to wage a 27 year war of terrorism on Israel and the world.







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WWII - from Pink Floyd's 'THE WALL'