Tuesday, July 31, 2007

With My Grandfather as the Witness.... Part 0001

[Due to the graphic nature of this post I suggest parental guidance for those under seventeen...]

With My Grandfather as the Witness.... Part 0001

When I was of appropriate age, my Grandfather often told me stories of things he had witnessed over the course of his life. Sometime in the 30s, when my Grandfather was thirteen or fourteen, he witnessed an old hobo get hit by a train near his home. He had been walking home with a young cousin when they saw it happen.

He had noticed the hobo wandering about before in the neighborhood - and though disheveled and homeless, the old man seemed to have a lust for life. My Grandfather thought it strange when the old man did not move away from the approaching train. Perhaps he couldn't hear it. He couldn't hear my Grandfather either, as he tried to gain the old man's attention in vain. Running towards him, yelling for him to look out, as fast as he could.

But it was too late and the old man was struck down by the locomotive - his body severed and broken and bloodied. My Grandfather could do nothing but watch it all happen.

He told me this to help me remember to always look both ways when crossing railroad tracks. And to be very cautious if I were to walk up or down railroad tracks. He explained to me what it looked like to be hit by a train and it wasn't pretty. The high pitched whine of metal on metal, sparks flying vainly trying to stop the heavy fist of locomotive as it made short work of whatever laid in its path. Flesh and bone were no match for metal and speed and weight - barreling down on the victim with the momentum of the last fifty counties behind it.

Bone separated from bone like crepe paper. Skulls cracked and backs broken and limbs severed. Blood spilled...

Gruesome reality of locomotive death.


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Saturday, July 28, 2007

West Michigan Youth OutReach Program

West Michigan Youth OutReach Program Meeting Minutes:

Melissa said: The kids these days don't want to listen to anyone tell them about saving money or brushing their teeth!

Guy said: What do kids like these days anyhow?

Melissa said: I could ask my little sister.

Rich said: Don't worry about that - when I was a kid I was into skulls.

Guy said: Do you think kids are still into skulls?

Rich said: Heck yes! All kids are always into skulls!

Melissa said: I think he has a point - though I may hold out and ask my sister.

Guy said: Too late Melissa! Skulls it is!

Wednesday, July 25, 2007

Debi Neal at 365 Days -2- Project

I have decided that when I disagree with a review over at the 365 Days -2- Project I should probably do something about it.

The reason I am posting this is because I really enjoyed this 10" Picture Disc and thought that all of you Plazniks [or Plaznoids - see the new Poll at right] out there might dig it.

I am quite appreciative that this disc was uploaded by the Swillman, and here is the first paragraph of his review:

I received this record through an associate of Bill Mumy (the kid from Lost in Space, and more recently, one half of Barnes & Barnes as his alter-ego, Art Barnes). It seems that back in 1981, Mumy and a bunch of his friends somehow got together with this Debi Neal person (probably the girlfriend of one of them, pffft) and recorded this 13-minute, ten-inch(!) picture disc. Apparently only 250 copies were made, and I own number 63. Too good to just have regular black vinyl and a picture sleeve, huh? And there's no reason this EP couldn't have fit on a 7", either. As such, since it is a picture disc, I apologize for the high amounts of surface noise.

Plazniks [or Plaznoids - make your voice heard!!] out there will know that I have always been a fan of Mr. Mumy's and so was very excited that this rare item has seen the light of the day. The Swillman did not, however, share my enthusiasm for the record. You can read the original review [as well as download the tracks] here. Lighten the Shadows is by far my favorite cut.

The Plaza of the Mind review of this record:

I have to say that I couldn't disagree more with the harsh critique of Debi - this is quite the gem - recalling the finest of eighties pop melancholy - and it has that tone that hits me in the chest. Reminds me of E.G. Daily at her best... though... I'm not saying that the picture disc didn't help a little.

Tuesday, July 24, 2007

Paranoia in the lyrics of Michael Jackson

...Even before the trouble and the allegations. When I was a childhood fan of Mr. Jackson's I was always taken by the inherent paranoia in his lyrics. Of course, I didn't really understand what it meant - what any of it meant - just that it sort of reflected my own problems in middle school and that all of my friends were African American girls. The music gave us something to talk about. I would twirl the jump rope for them while they did the Double Dutch.

The boys would make fun of me for doing that - they would say that I was a faggot and that Michael Jackson was too. But when I'd put his LP on the platter he'd tell me that they were all lying and I believed him because they were lying about me too. I wasn't a faggot - I liked several of the girls I used to Double Dutch with.

There was a girl named Tiffany that I really liked. She was quite thin and her face was long and she was like a cross between Jenny on the Jeffersons and Thelma on Good Times. She used to wear very tight jeans. Tiffany used to tell me anthropomorphous stories of eroticized automobiles - a full decade before I ever even heard of JG Ballard. We would sit in wood shop and tell each other these different things concerning our makes and models. She was a Cadillac and I was a Trans Am.

She was pretty good at the Double Dutch - better than any of the annoying white girls from my grade school but there was a very heavy set young girl named Monique was even better than Tiffany.

I would twirl one end of the jump rope, while Brant twirled the other end. The boys called him a faggot as well. He actually was gay, I think. I ran into him years later when I was in college and he was quite flamboyant, wearing makeup and such - like something out of Andy Warhol's Factory years.

All I ever understood was television and records.

goin' around tellin' you lies.
They don't know how hard I've tried. You know it takes the pressure for me to see. Reaching out To touch a stranger Electric eyes are everywhere See that girl She knows Im watching Someone's Always Tryin' To Start My Baby Cryin' Talkin', Squealin', Lyin' Sayin' You Just Wanna Be Startin' Somethin' Billie Jean Is Not My Lover She's Just A Girl Who Claims That I Am The One But The Kid Is Not My Son She Says I Am The One, But The Kid Is Not My Son They Say I'm Different They Don't Understand Tired of the schemes The lies are disgusting So what does it mean You Really Hurt, You Used To Take And Deceive Me So Just Leave Me Alone

And, I think, deep down - this was why I always wanted to believe Michael. He knew my pain when I was in middle school like no one else. I felt that I needed to return the favor. Anyway - he finally did get away from them all. All the tormentors in the United States - but maybe it's just like switching schools - we fall into the same habits and sooner or later the kids find out that what the others said was true:

They Say I'm Different They Don't Understand

Monday, July 23, 2007

M O T H M A N fever strikes the Plaza of the Mothman

"I wish we had never seen it, I wish someone else had seen it."

Linda Scarberry, eyewitness, 1966

"I will take Ms. Scarberry up on that offer. If anyone knows of a way to astrally switch places with another sentient being on a specific point in the past let me know. I have been doing studies of a Parapsychological nature and could use some guidance in that aspect of astral projection. I really see no reason that an astrally projected mind need stay linked into any one temporal period. Although I have no evidence to support this possibility it seems intuitive that it must be true."

Kurt Weller, Mothman enthusiast, 2007

Sunday, July 22, 2007

T A T U M meets M O T H M A N

Tatum entered the foyer of the hotel looking for the guy from the entertainment magazine. She was nervous because she had not done an interview for quite some time and was afraid that this interviewer would pull some sort of dirt search.

As she walked through the lobby she noticed a tall man in a long grey coat wearing dark sunglasses though she was convinced that she could see two red eyes beaming from behind the black lenses. She stopped in front of him and peered into his glasses. She was unsure why she was doing this but felt that he was okay with it. She thought that he wanted her to be doing this.

He opened up his coat and she was horrified to see that instead of a body, it appeared that there was a thick cloud seeping up through the lapels. He slowly enveloped her in his arms and she smiled. She was going to be taken care of....

Meanwhile - in the Penthouse of the hotel, J---- M--l B------- was embracing ---------- in a long and meaningful hug. J---- was shirtless and ---- marveled at how smooth the young man's back was.
Tatum stepped into the the world of the Mothman and looked around. She was on the beach and it felt lightly breezy. But it wasn't salty like the ocean - it was strangely fresh and stagnant at the same time.

Wilkommen to Lake Michigan.

She turned around to face E----- R-------.
I thought you were the d------ f--. She said.


Don't follow him Tatum!

She turned to see ---- racing towards her through the fog.

You must return with me to the hotel - the Mothman has confused you again.

Tatum nodded.

she said, Okay.

We can slowly feel Tatum slipping back to us and we feel uplifted and content. We've always loved Tatum

-from a Point Pleasant Chamber of Commerce Post Card
Point Pleasant, West Virginia

Time Keeps Tickin' Away

They tore down the catwalk
They tore down Hong Kong Inn
They tore down Sir Loin's
They tore down The Clock
They tore down German Village
They tore down Great Day
They tore down the Weather Ball
They tore down the City Centre
They tore down Mad Cat
They tore down Tylon Video

Project N - 10 Year Anniversary Special Project

Project N - 10 Year Anniversary Special Project

'Something is Watching Us!' cried Denise Stingley to her Special Boy.


Kurt Weller

Chapter One

6427 Words

Available [Here]

Author's Note:

I began this work in the winter of 1996 and finished it sometime in 1997. The original title was 198x - I had several friends and colleagues read it and, though rough, they all seemed to enjoy it. However, as the years drug on and I kept myself from attempting to publish again and again I began to doubt the original version and began an updated draft. I did away with many of the more Science Fiction stylings and aimed the story more towards an everyday level. I also did away with all of the Pop Cultural references and all of the profanity and changed the title from the admittedly Orwell inspired 198x to the more obscurely referenced (I'll never tell) 'Something is Watching Us!' cried Denise Stingley to her Special Boy.

Inspired by my friend and colleague Greg Lester's Story of the Month, I decided to publish chapters of my new work The Sinkers under the Plaza of the Mind: Project N moniker.

But as I began work on The Sinkers it struck me that The Sinkers was becoming a sequel of sorts to my original story 'Something is Watching Us!' cried Denise Stingley to her Special Boy - and so I decided that this would be the perfect opportunity to - now knowing how the original story will ultimately end - finish the revision of the first installment.

This will be the final version.

When it has been published in its entirety it will be self-published in book form and made available here at the Plaza of the Mind. I am happy, because this comes as sort of an end to a long debate I have had in my head for the last decade - to seek approval of publishers and send out manuscripts or to self-publish.

The modest successes I have made here at the Plaza of the Mind have kind of made the decision for me (anyway - do you actually think anyone would publish a book with a title like: 'Something is Watching Us!' cried Denise Stingley to her Special Boy besides the brave men and women here at the Plaza of the Mind?)

I hope you enjoy...

Kurt Weller


Friday, July 20, 2007

The Plaza of the Mind Interview with Producer David Newfeld!

One night in 1994, while hanging out at my girlfriend’s house, two of her old high school friends showed up. One of them was an affable young man I had met on a couple of occasions when he had visited our school a few years earlier. He was studying broadcasting and worked at his campus radio station. He said he had wondered if I had heard of this really cool new record: Producers for Bob - Bob’s Media Ecology ². He pulled a copy of it out of his backpack and told me to check it out. I thanked him and put it in my own backpack where it sat, forgotten, for a few weeks

I used to enjoy driving around West Michigan in my 1983 Oldsmobile Omega Brougham. I would frequently take the drive from University to Lake Michigan in the dead of night, sometimes with friends, most of the time alone. I remember feeling an enormous melancholy one night, I had drank alone and was feeling smothered in my small room a so I grabbed my backpack, hoping to get some writing or sketching done by the beach. I was tired of all of the music in my car and as I was rummaging through my bag I came across the Producers for Bob tape.

I put it in the tape deck and I didn’t stop listening to it for months. I hesitated to take it out of my car but I needed to in order to make a copy of it for my room. It was easily one of the coolest records I had ever heard.

Regular visitors to this site will know that I have been enthralled by the works of Paramedia Ecologist Bob Dobbs. I did a long form interview with him a few months ago which I found to be quite exciting due to my love for his Bob’s Media Ecology ².

I felt, however, that this was only one side of the coin. I had always wondered about the person who had set Bob's words to the amazingly atmospheric chords and beats. Luckily Bob was able to put me into contact with the other side - David Newfeld - the Producer for Bob.

Mr. Newfeld was gracious enough to participate in an interview for the Plaza of the Mind during the relocation of his studio back in April.

[The Plaza of the Mind quotes appear in Bold-type, Mr. Newfeld’s in normal-type]

The earliest examples of your work I know of are the Bob's Media Ecology records. [You are the Producer for Bob] When did you first get into music production?

When I was a teenager I would play with tape recorders, then went into journalism, then macintosh computers started happening along with MIDI in the late 80's, so I started doing computer based music.

Could you give a brief overview of your career?

I started mainly doing dance oriented music, then the Bob records and McLuhan album. Following that a more publically inactive period where I was working on different projects here and there. By the later 90's I started recording and producing independent bands, and by '99 had set up my own proper recording studio in downtown Toronto that I'm presently vacating after eight years. It was here that I started working with more well known people and began encountering critical success. In 2002 I started working with Broken Social Scene and things really blew up for them and myself in a pretty big way. More recently I've worked with a band
from Mexico called Chikita Violenta, they've recently released their full length in Mexico and it's been really well received. Also, just recently worked with the legendary Welsh band Super Furry Animals on their next full length that's coming out in August of this year. There's other projects on the go, including my own stuff and others, like Los Campesinos, a new band from Cardiff that's wonderfully shabby and catchy and youthful. We have some singles we've done and plan to do a full length in August of this year.

Right now I'm busy setting up a new studio. I've bought an old Anglican church with a separate seven bedroom parsonage in the Prince Edward County area in Eastern Ontario. It's going to be quite a place when it's done. It's massive compared to what I've been renting in Toronto.

Greg Duffell told me you founded the International Connection with Bob Marshall - could you describe those days?

I don't want to take credit for 'founding' the International Connection, 'cause ultimately that's the brainchild of Bob. Let's just say as news director at the station, I was Bob's biggest fan and supporter and was very inspired by his sources and by his personal intellect and humourous style.

What musicians or artists have inspired your music?

The usual suspects: Beatles, Zeppelin, Stooges, Bowie, Zappa, movie soundtracks, disco and dance music, hip hop, etc.

BME Squared is easily one of my favorite records of all time - how did you go about putting together all of the samples, etc?

That's wicked, you're the first person that's thought that, most people don't even know such an album exists. I basically culled through cassettes of Bob's radio show, picked out the stuff I thought could be understood by anyone and weaved it together with midi music I'd generated for the record.

It was time consuming but fun and I had financial backing from Nelson Thall, so I was able to devote alot of time for a four month period to put it together.

What projects are you working on currently?

I'm working on setting up a new studio and moving out of my existing one. I'll be working shortly with a local Toronto artist named Shawn Hewitt. Plus, I'm in the summer months scheduled to work with The Flying Klezmer Band, they're very seasoned players and doing a genre different to what I've been working in previously. It should be a nice change of pace in
terms of no huge walls of electric guitars and pounding drums, which I do like as well. Plus, Los Campesinos in August and September are scheduled in. I still have to deliver a solo record, my project is called The Brink of Everything. I've a fair bit of stuff down already, it's a collaboration between me and different individual artists, some well known, some not

You recorded a Marshall McLuhan record as well. When did you first get into the works of McLuhan?

Bob and Nelson turned me on to McLuhan, so in the mid 80's I started getting expose to his mastermind genius works.

What is your favorite style of architecture?

I like the Victorian era stuff with traces of Gothic thrown in. Lots of detailed brickwork, pretty gardens and foliage, tudor glass with oval tops on windows, gables, porches, detailed trimwork. Lots of rooms jutting out from the main structure, lots of windows. The stuff looks cool as it ages, crumbles and gets overgrown with trees and greenery. Basically, a brick based mansion with fieldstone and limestone mortar from about 1860 with secret rooms and multiple passages is very intriguing and exciting in my books.

I assume that you worked on the Media Ecology Trilogy [[BME1 - BME2 -Medium is the Message] that's what I'm calling it - hope you don't mind] mostly by yourself as opposed to the current set up you now have with live muscians - do you ever miss the solitude of the electronic composition medium?

Yeah, for sure, it requires a lot more tact and patience and sublimation of one's self to produce other folks. My best work, from my view, is almost always when I'm alone and unfettered; that applies to when I'm working with bands as well, invariably, I like what I'm able to add to their music when I"m on my own. I prefer to mix that way as well, it's sometimes tough to mix when other people are in the room projecting their own expectations, etc. into the air. Sometimes I can't get around not having the band in the room, and so I'll work that way as well, but solitude is where it's at for sure.

[Yet] I don't want to totally imply I don't like working with other people. That's a massive part of the recording process. It's been quite fun and fulfilling interacting with the different musicians and singers. Songwriting also benefits when it's collaborative, cause you're bouncing off someone else, so it's stimulating both parties. I do prefer to have space to hash things out on a technical production level alone or maybe with one or two people closely connected to a particular project, where there's a chilled out, patient atmosphere. I do find when no one's in the room, my focus is better since my 'other people' concerns aren't occurring.

Which of your works have you been the most satisfied with?

Probably Bob's Media Ecology vol. 1 .........As far as stuff I've produced, I'm still really happy with Stars and Suns off of Broken Social Scene You Forgot it in People. Pacific Theme off that same record is pretty cool too.

You seemed to gravitate toward an arguably eccentric crowd [Dobbs, Thall, etc.] early in your career. I have found that these are the only kind of people that really bring something special into my life. What was it like working with those guys?

I was lucky to have met both of them. They gave me alot of freedom to do my own thing and Nelson was very encouraging and gave me thoughtful feedback throughout the process as I fed him the work in progress. It was a pretty cool period of my life. Bob was fine too, but he doesn't care much about CD's in general, so he in effect was very hands off and detached.

I am from Michigan, and visited Toronto a number of times growing up. During my teenage years I watched a lot of Cronenberg and then got turned on to Atom Egoyan and Don McKellar. I honeymooned in Nova Scotia. I guess I have a hard-on for Canada. Is this just a grass is greener thing or is there truly something special about that neighbor to my north that my country somehow lacks?

I'm not sure, maybe it's just a generally affluent, socially liberal, easy to deal with place and most everyone rolls with that flow. We're certainly have our flaws, it's no utopia, but it's pretty excellent as far as earth and human history goes.

If you could re-produce any album - which would it be? For me, I would like to redo the Are We Not Men? We Are Devo! record because even though I am a fan of Brian Eno, I felt that that record kind of steered away from the original flavor of the band's early four-track stuff and took it to a place somewhat less representative.

As time goes on I'm not sure if I'd want to re-produce any record, I'm content to savour all the brilliant productions that already exist and continue to wow me, like Waldo De Los Rios, hits by the Four Seasons, the Stranglers, the list is just endless. I'm a big Devo fan by the way, they're fucking brilliant. I love the sound of their later album called 'Oh No, it's Devo'.

In preparing for this interview I did a Google image search on you and I found this picture of you having been beaten up by the police!

I was sorry to read about that and even more troubled by the picture. [I guess that's not so much a question as a statement..]

Yeah, that was a weird experience, they actually have in effect apologized and in about 7 weeks I'll receive about $70,000 cdn from them for being put through this. Basically, I sued them for false arrest and excessive force and they told me a couple weeks ago that they'd give me a nice chunk of money to drop my case. I plan to write a press release about it shortly regarding this victory, so that when my name is googled, my victory will be ever so sweet!


Thursday, July 19, 2007

+Dreaming of B A LL A R D + [This Post Contains Explicit Content - I suggest Parental Guidance for anyone under 18]

I dreamt of JG Ballard last night.

He was at a record store that I happened upon - I invited him to my parent's house and he accepted the invitation.

He was in his mid to late forties.

He was wearing a black trench coat and had brought a book of photographs with him.

The photographs were mostly of vivisected animals - all in color - all quite disturbing and yet impossible to look away from.

The book was in my favorite art book format - 8.5" x 11" - it is my opinion that art books should all be this size - no larger - no smaller - with spines that allow them to be flattened without physical damage and each plate printed on only one side of the page in case one wants to frame an image for display as a wall accessory.

Novels should be a size down. And should never have the subtitle 'a novel' anywhere on the cover.

I came across a black and white picture of Ballard's head coming out of the decapitated neck stump of a cow. In the notes it stated that Ballard had prepared long and hard for this piece. He was surrounded by various organs and the floor was covered in blood. His hair was long and unkempt.

As we sat at my parent's dinner table - Ballard told us his political views. He had a strange way of talking and used this phrase 'If you'll understand it without my saying...'

I spoke to a friend on the phone and he told me he had just finished reading a Ballard book - he pronounced it 'Pallard' - Ballard looked at me and rolled his eyes - he must have heard it over the tiny cellular telephone speaker.

I told my friend that 'I've got Ballard here.'

I told Ballard that I enjoyed a film they had made about him - he said that he did not.

Tuesday, July 17, 2007

Strange Things are afoot at the Circle K

If one were to map out their life based upon architectural events at what point would a man about to celebrate his 36th birthday fall?

If I had the resources I would construct a perfect Convenience Store, a fully stocked, functioning and clean Circle K [maybe to indulge my midwestern Bill and Ted fantasies of a better life out West].

I would surround the convenience store with a large Richard Serra type enclosure - no one could go into the convenience store. It would be guarded 24 hours a day.

At a certain point the bills would no longer be paid and the lights would flicker off.

Along with the refrigeration.

The soda dispensers would loose their carbonation and the syrup would slowly ooze out.

The rotting food and sugar would attract insects and rodents who would make this Circle K their new home.

When storms came and broke windows or flooded the store no one would be there to do repairs.

No one could stop weeds growing inside the store as the Circle K fell further and further away from its human creators - and no

o n e

would be there to see it because of the large copper plated wall surrounding it all.

And then of course - after so many years - after I had passed on and my claim on that little piece of property had long since vanished. And my children died and my grandchildren died - someone would show up with crowbars to tear down the wall and they would find the most magnificent garden...

Monday, July 16, 2007



Привод! Нажмите его к полу до двигатель screams. Управляйте! Drivin ' как демон управляет вашим ударом. Вы находитесь на трудной дороге, никто заботите если вы ударяете проломы. Вы gotta думаете быстро, держите их в шестерне, одно выскальзование все, котор они принимают. Вы содержание gotta ваши колеса на прямой и узко, если вы wanna выдерживаете. Привод! Нажмите его к полу до двигатель screams. Управляйте! Drivin ' как демон управляет ударом. Привод!

Friday, July 13, 2007

человек рыб игра тревожности молока

человек рыб игра тревожности молока

человек рыб

‘the milk spoiled again.’


‘I asked you to hurry – what were you doing?’

человек рыб

‘I came back from market as soon as I could – I don’t know, I was thinking that next time I could bring a cooler.’


‘What’s wrong with you? No one else needs their boys to take a cooler to market. What will they think when they see you walking along with that stupid cooler, they’ll laugh at you.’

человек рыб

‘They laugh at me anyway.’


‘Go back to the store and get some milk.’

человек рыб

‘Can I take the cooler?’



Wednesday, July 11, 2007

- Star Wars 1978 - [a sketch for a film]

A long time has come and gone...
Faithful droid R2D2 has escaped the final Sith plot to destroy the entire universe...
He has taken the young Padawan Deek Skywalker [frozen in a block of carbonite]...

In an escape pod that barely escapes the huge Sith anti-matter weapon...
.They float through the universe for thousands upon thousands of years...

Until they crash land upon the state of Minnesota, in the year 1978...

They land in the field of a young farmer named Ted Wilson...

A hard working auto enthusiast...
Who helps R2D2 free Deek from the Carbonite block...

He takes them to the city where they meet young April Zorn...

A young musician that Deek senses the force within...

Who is also having troubles of her own...


Coming soon: Star Wars 1978 Episode 2 - 1982...

Deek begins his own Jedi academy just outside of the twin cities...

Tuesday, July 10, 2007

Can You Guess the Secret of 'Deadline' Bob?

The secret of 'Deadline' Bob
will be revealed on
September 1st, 2007.


Be There.

The Pointer Sisters

When I was in eighth grade I was a huge Pointer Sisters fan. I really liked the song Jump and the video with the athletes jumping in various sporting events that required jumping.

I also liked the video for I'm so Excited because it featured June Pointer taking a provocative bubble bath.

The synth pop backing of the songs still proves to be quite intoxicating.

There is a melancholy in those chords and those sounds.

The synth sounds are genetically mapped in my cell structure [probably in the remnants of Body #2]

I believe that those synth sounds may appear at the end of time - at that place where the space and time end at this pinnacle that overlooks this huge swirling universe of color and matter. Not the black space of the comic strips but a white background with swirling paint strokes of black and deeper black and thick browns and the sky looks like seltzer water.

That is the end of time that those chords and sounds show me when I close my eyes and listen to the Pointer Sisters.

The pinnacle cliff at the End of Time with Chords and Synth Voices from I'm So Excited populating the void.

Apparently Oil and Marker on Board.

Kurt Weller

Tuesday, July 03, 2007

Disaster Report and Raw Danger

We must help our friends to safety...

Sometimes even the best intentions have disastrous results...

I do this for myself. I must survive. I must carry on...

This duology plays like a film from the seventies...

We are only missing Mr. George Kennedy...