THE MOVIE SCRIPT
"WMCU - KILLER UNIVERSITY"
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
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
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
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
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
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:
|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,
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
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.
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
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
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
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?
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.
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.
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.”
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
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!
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
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
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.
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
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
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
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.
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?
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,
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
Is not placing
blame on Jewish religious leaders for Jesus’ death the same as blaming
the Jewish people as a whole?
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
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
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?
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.
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
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.”
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
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.”
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.
critics charge Mel Gibson’s film with perpetrating a view of God that
is not in keeping with Jewish–or Christian–understanding. Why?
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
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.
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
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
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!
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
What are the
“action points” for Jewish people in this controversy?
would plead with those in the Jewish community to . . .
Christians some slack” in the telling of the stories of their faith,
and choose to believe that their motives are not anti-Semitic or
- End the
stereotyping of Christians as being either “Catholics, Nazis, or
fundraisers,” as one Jewish friend described his perceptions before
meeting some loving evangelicals.
- Don’t assume
that evangelical Christians care about you only as potential
proselytes—as “prospects for their religious, multilevel downline.”
Most dearly love Jews, Jewish traditions, the Jewish faith, and the
- Don’t get up
tight when Christians share their faith or their Jesus with you in
films or in speech. In a free market of ideas, we learn from each
other by listening to each other. Respect them as enthusiastic
salesmen, not dangerous potential “captors.”
- Get to know
a passionate evangelical Christian intimately, and get past their
unwitting insensitivity to things Jewish until you can hear their
- Go see Mel
Gibson’s film, and discuss it—not argue over it—with a Christian
friend or a Jewish believer in “Yeshua” as “Messiah.” Listen and
learn from the dialogue.
What are the
“action points” for evangelical Christian people in this controversy?
would plead with those in the Christian community to . . .
- Get past
your denial about the subtle anti-Jewish attitudes, expressions, and
stereotypes you hold. They are sin; ask God to forgive them.
- Get to know
Jewish people, Jewish traditions, and Jewish history. Doing so will
help you understand—and love—Jewish people.
pursue random acts of loving-kindness toward Jewish people, even if
rebuffed. Trust for Christians doesn’t come easily for them . . .
for good reasons.
trying to “convert” Jewish people to “Christianity.” They will
always be Jewish—enviably so—even if they come to believe “Yeshua”
is the “Messiah.”
- Kill any
semblance of anti-Jewish thought or action, remembering that the
savior you say you love and serve and the faith you hold are really
- Go see Mel
Gibson’s film and discuss it—not argue over it—with a Jewish friend.
Listen and learn from the dialogue.
A Dream Scenario
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
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Leadership U. All rights reserved.
Redlands, California 92374
This article is part of the
the Truth Project.
|In my internet research, I also found this:
2130 WTKX 101.5 FL Pensacola, “Killer Country,”
SUMMER TOUR UPDATE + FESTIVAL REPORT
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.
Star or Macho Minister?'
an article on our favorite columnist/painter/big game
hunter/manly pastor, Doug Giles.
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
Giles sells a video of the hunt after Sunday services
at his Aventura Clash Christian Church ...
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
we noted before, it cost Doug
(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
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
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
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
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,
"Not you," Giles jeered. "If you say, 'Come on,' again,
I'm going to stuff potatoes in your mouth."
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
And this means injecting biblical principles into
And we call
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.
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
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
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
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
Townhall.com. 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,
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
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
that carp, fart, and blather
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.
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
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.
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
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.
THE CRUSHED DOVE
Picasso, Guernica, Qana & The Da Vinci
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
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.
QANA was a town in Southern
Lebanon that was destroyed in July by Israeli bombing
). 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
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
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).
Gideon Polya, MWC 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
Guernica is a
Pablo Picasso, inspired by Picasso's horror at the
bombing of Guernica, Spain on April 26,
Spanish Civil War. The air raid destroyed the city, killing an
estimated 1,600 people and injuring many more.
was produced under a commission by the
Spanish Republican government to decorate the Spanish Pavilion
Paris International Exposition (the
World's Fair in
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.
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-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.
suffering people, animals, and buildings wrenched by violence and
- 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
- Two "hidden" images formed by the horse
appear in Guernica :
- A human skull is overlayed on the
- 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
- 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.
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."
1937 Paris International Exhibition
initially exhibited in July 1937 at the Spanish Pavilion at the
Paris International Exposition.
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
- We are fighting for the integrity of
- 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
After the Paris Exhibition, the painting went
on tour, first to the
Scandinavian capitals, then to
London, where it arrived on
the same day the
Munich Agreement was signed by the leaders of the
Germany. The London exhibition at the
Whitechapel Art Gallery included preparatory studies and was
Roland Penrose with
Clement Atlee addressing a public meeting. It then returned
briefly to France; after the victory of
Francisco Franco in
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
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.
Between 1939 and 1952, the painting traveled
extensively in the United States; between 1953 and 1956 it was
Brazil, at the first-ever Picasso retrospective in
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
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.
Vietnam War, the room containing the painting became the site
of occasional anti-war vigils. These were usually peaceful and
uneventful, but in
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.
As early as 1968, Franco had expressed an
interest in having Guernica return to Spain.
 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
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"
"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
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
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.
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
at the United Nations
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.
The Art of War, The Guardian, April 29, 2006.
Accessed online 16 July 2006.
...questions of meaning, part of a series of web pages on
PBS's Treasures of the World series. Accessed 16 July
Picasso's War: The Destruction of Guernica and the
Masterpiece that Changed the World on-line excerpt.
Accessed 2 August 2006.
a b c
Timeline, part of a series of web pages on Guernica
PBS's Treasures of the World series. Accessed 16 July
Author interview on Russell Martin's Picasso's War
site. Accessed 16 July 2006.
Hidden Treasures: What's so controversial about Picasso's
Guernica?, Slate, February 6, 2003. Accessed 16 July
- On-Line Picasso Project - OPP.37:01.
- Martin, Russell, Picasso's War: The
Destruction of Guernica and the Masterpiece that Changed the
On-line excerpts link.
Guernica for rent in
Poem for Rent project.
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
The reproduction has hung outside the Security Council chamber at
UN headquarters in New York since its donation by the estate
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
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.
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"
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."
not just because He had the power but in
Matthew 10:8 - see also
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.
"Jesus then asked him, "What is your name?" And he said,
"Legion"; for many demons had entered him. And they begged Him not
to command them to depart into the abyss."
(Luke 8:30-31 RSV)
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
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
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
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
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
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.
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."
and the Beast from the Abyss
This is an ongoing theme from year to year:
The 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
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
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
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
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
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
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
From John Hogue, expert on the prophecies of
Nostradamus and MABUS;
Is he now dead, or is it someone else?
that none of my interpretations of Nostradamus’ fearsome and shadowy
“Mabus” come true.
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.
DREAMS OF THE GREAT
EARTHCHANGES - SITE MAP
OF THE GREAT EARTHCHANGES - MAIN INDEX
WWII - from Pink Floyd's 'THE