Monday, February 2, 2015

"MOON" ILLUMINATING














ALIENS ON THE MOON: THE TRUTH EXPOSED

        
In this compelling documentary available on YouTube which originally aired on the SyFy channel last July, Apollo astronaut Edgar Mitchell states, “I have no doubt that extraterrestrials could very well have populated or made structures on the far side of the moon.”
          
Featuring gigantic artificial-looking structures on the moon never seen before on TV and expert commentary, Aliens on the Moon reveals NASA archives lunar orbiter footage containing vivid features of inexplicable structures. According to the filmmakers, “nobody can explain what the structures represent.”
         
Some of those structures look like pyramids. But there are far more than pyramids on the moon. In the ‘70s, petroleum engineer Vito Saccheri was astounded to find in the book by George Leonard, Somebody Else Is On The Moon, photos of what look like strange lunar structures, and approached NASA for more information. Initially stonewalled, Saccheri was eventually granted access.
         
“At that moment,” says Saccheri, “the whole occasion turned. It became almost solemn. Because we knew what we were looking at. And we knew what it meant. There are structures there. There were pipelines.”
         
“We knew we were looking at an existing or at least an ancient technology,” he continues. “These things were built, and they were built on a huge scale.”
         
Regarding what appear to be huge radar installations and more, Edgar Mitchell, the sixth man to walk on the moon, says, “I suspect they’re looking at us.”
         
Dr. John Brandenburg, the former deputy manager of NASA’s Project Clementine, responds to photos of unidentified lunar objects, or, ULOs: “Of all the photos I’ve seen from the moon that show possible structures, the most impressive is the picture of a miles-wide rectilinear structure. It’s unmistakably artificial, and it shouldn’t be there.”
         
A former NASA employee says doctoring photos is part of the job. But it hasn’t happened to all of them. Some of the photos show physical structures of an alarming scale that conventional science can’t explain.
         
Was Apollo 8 a last-resort military staging reconnaissance mission? Why did we stop going to the moon?
         
According to one astronaut, we didn’t.
         
Russian researchers reveal that the Soviet mars probe Phobos was approached by a large unidentified object before contact was permanently lost. The object in the photo taken by a second Soviet probe shows something huge resembling a similar object found on the moon.
         
Neil Armstrong’s cryptic comments made in 1994 about NASA pulling back a veil of secrecy would seem to take on new light.


 Stewart Kirby writes for






KMUD 91.1 FM Garberville
Redwood Community Radio

Sunday, February 1, 2015

THE ROUNDS










































For the sheer sake of variety I write of the life that I know. Call it an experiment. No special place to start, nothing too clever or contrived. None of the old tricks.

I put in a few morning hours splitting wood, strict avoidance of potholes on the road up the mountain ever a necessity, the rutted back roads of Humboldt being hard on my bug. Usually when driving I listen to music. This time though it's CDs I burned of me reading Nietzsche's letters.

Certain it is I am indeed, rock-ribbed and unfailing in my belief that my Friedrich Nietzsche screenplay as envisioned lo these years would when filmed prove thoroughly engaging. This movie playing in my pineal gland stirs me to action, and I see thunderous scenes with each resounding swing of my monster maul.

Equally prevalent, images from Matterhorn, an action-adventure I have in mind set in the Swiss Alps in the 1880s and featuring loads of laughs, soaring music, and spectacular cinematography, sure to have everyone sporting Tyrol hats and lederhosen in no time.

Leaning the maul against a half-split round of fir, I take the damp folds of paper towel from a back pants pocket and use it again to wipe the sweat from my brow, around my eyes, behind my neck. Mindful of the sun, I drink water from a one gallon plastic jug in the shade.

The road winds to the work site like a trail Nietzsche takes as though moving on a speedy conveyor belt in a scene from the movie in my mind playing with Bach's "Toccata and Fugue," doors in dwarf oak opening like pipe organs and cuckoo clocks and giving glimpses in time with the music of figures from his writing.

The rumble of a pickup truck precedes its appearance on the hill. I chuck a chunk of fir that flew away in the split onto the wide pile of wood and wave to the truck going by. I don't know who's inside, but I see a hand wave back. People do that when they're way out alone. Opposite of busy places, here it would be rude not to. Vaguely mulling that, I put wet gloves back on and pick up the maul.

For no good reason I hear "Ashoken Farewell," theme song to Ken Burns' The Civil War, serene pulchritude of poignant modulations playing only in my mind.

Ahh, Magnavox. I declare, back in the early '80s, I do remember we had us some TV then. "Hunter" was into its second season. "Cagney and Lacey" was doing very well in the ratings. Indeed, in Miranda, upon the veranda, of a sultry summer evening, we would observe the goings-on of not only one Simon, but two.

In one split round, gray goop drips. Not regular sap at all. Some strange kind of sludge.

Heading back down the hill, I wonder what would happen if I spent twelve and a half days in a completely dark cave. That would give me the three hundred hours required, according to the research, for pineal gland stimulation. More accurately, my experience would prove to me firsthand the veracity of this supposition. As a writer, naturally I would record my findings. Probably even be able to run it in The Independent.

On the Avenue of the Giants I keep my third eye in mind. Coors in the cooler at Deerhorn Market call. Last fall the owners let me put up a flyer for my Creative Writing class through College of the Redwoods in Garberville. I remind myself to print out some flyers for the spring class coming up. Brushing sawdust from my forearms and kicking it loose from my boots, I open the door and set the bell on it jingling. They've got Boston on inside.

If it's a dude behind the counter, all will be well.

Sometimes, all hasn't been well.

I met a gal around these parts a couple years back, when I was sent tumbling wide from the big split. One night having met, this gal and I made plans to hang out the next day. We exchanged numbers. That night, on the phone, I happened to mention it to a pal.

The next day she called me to say she thought she'd be a little bit late, and then again called me shortly afterwards to say she was ready after all, and that we could meet down at the grove below Miranda.

I drove down and found her waiting outside her rig with her dog. We walked around for awhile before discovering that her uncle and I had gone through grade school together. This was fine, no big deal, we had only just met. But we could see there was no possibility of anything further. All good, we parted.

A couple days later I happened to meet someone who turned out to be, this time, her aunt. And a couple days after that, when I happened to see her again, this gal was all ticked off with me that her aunt found out we met. Because it turns out she lied about being single, and didn't like her aunt knowing we had met in the grove.

Lucky for me, the buddy I had happened to tell was around one time when she started lying about me. Somehow my name came up, whereupon she said my name aloud as an interrogative, followed by the claim that I had once stalked her down to the grove below Miranda. My friend was quick to catch this, explaining to her and everyone else present that, no way, he knew that she had called me, called me up twice, and waited down there for me to show up. And his saying all that shut her up, that time.

But then there were all the other times she made the rounds, all the times my friend wasn't there to clear the air, set the matter straight, and put her in her place. And a lot of those times were with girls behind counters.

Author, books? Huh, whuh?

Oh, that guy? I heard he robs people's graves and sells the bodies for medical experiments.

The guy behind the counter says he liked my movie review. I thank him and pay for my Coors half in change.

Back in the bug, what with the chem-trails, NWO GMOs, fascist state drones and big oil fracking, I wonder how much the planet can stand. Long shadows from tall trees tiger-stripe the road, and cosmic conditions align with each glinting glimpse of the sun on the snaking Eel.

Homeless hikers hanging out in the corners of the overgrown ruins watch the haves move by while they brush up on their Hieronymus Bosch.

When I get to the house, I mow the lawn, then take a shower, zap some grub and check online before getting a call. It's a guy I know. Says he's found a bunch of graves, and wants to know what time I'd like to help him rob them so we can sell the bodies and make a few bucks.

I say eight-ish, he says fine. On the way out to the work site in his pickup I give him the gist of my Matterhorn movie idea, and start piecing loose bits together.













































Tuesday, January 13, 2015

SIGN-UP BEGINS




















I'm Stewart Kirby, and I'd like you to tell some lies.

Sign up for my Creative Writing class at the College of the Redwoods Garberville Instructional Site this Spring and write the story you've always dreamed. .

This community education course is open to all levels of writing and will focus on developing story-writing muscles by jumping in and getting started. The closest thing to a textbook will be the second half of Stephen King's ON WRITING, the gist of which being: Write a few pages every day, setting aside consistent time and space to enter that form of self-hypnosis which allows the writer to record characters attempting to resolve conflict.

No previous work necessary. This class focuses on starting and ending one or more stories. The purpose of the forum is to legitimize the time required to show events with setting, conflict and resolution, or some intriguing facsimile thereof, for a duration of eight weeks. Write one long story, or a story each week, or a combination, and share it with an audience.

If you're looking for writing motivation, and a group to give some feedback, sign up and get hacking.

Working on a story every day, always keep the flashlight just a little bit ahead. Planning too much either bottlenecks the flow and seizes up the process, or the process grinds laboriously out...and reads that way.

I think the best way to prepare for a story is to know your world, first of all. You have to have something to say. The atmosphere of your work needs to reflect your ethos. Every story you write is a branch from that one trunk

Begin by writing the first sentence and go from there. Write what you know. You can write about anything you like, and as long as there's emotional truth, readers will get it. Let characters breathe and move. Write to find out what you're writing about. Be daring and embrace failure. Develop a thick skin without losing your sensitivity.

Eliminate distractions. Dangle ideas on scraps of paper in front of you and remove them as they get addressed. Some stories take longer. The longer they sit, the harder they are to revive. Joining the class gives the excuse to make that daily commitment.

Keep audience in mind. Grammar and punctuation are the tools. Be adept.

How does the opening sentence sound? What pulls the reader in?

These things and much more to be considered in the company of fellow writers. 

 


I'm the weekly movie reviewer for The Independent over the past thirteen years. I've got print books of my stories available throughout Humboldt County and beyond, and I read my story LOST COASTER on the first Thursday of every month on KMUD 91.1 FM Garberville radio.

Sign up, and bring a friend!

Classes run Tuesday nights 5:30 - 8:00pm
March 3 through May 5

To register, call 707-476-4500




http://www.redwoods.edu/Departments/Community-Ed/PersonalEnrichment.asp

Saturday, January 3, 2015

FORM AND CONTENT

Form and content in poetry in particular used to be extremely important to me.
So important, I had to show it. A lot.
Listening to birds outside my window, I was driven to express in language which didn't just capture the sound, but also visually propelled the experience. When I wanted to reveal the concealment of Sasquatch, I saw in the form a way to show the content.





BIRD CODE

turns beats written in English
gradually into claw-like marks
fading away which could just
as easily be multiplied increasingly
into total overlapping blackness,
a shift in form speaking to the
shift in understanding the
language of forbidden knowledge.





Forms of Bigfoot
openly hidden in the content.



Multiplicity,
and the way hidden forms
extend the more we look
fascinated me like a mental
Big Bang
so much, and for so long,
it's part of my DNA.



Reads straight across,
and diagonally, too.


Palindromes and anagrams a must.














I write for The Independent,
I have a radio show on KMUD 91.1 FM Garberville,
I teach Creative Writing for College of the Redwoods
and I have print books of my stories available all around
Humboldt County and beyond.


Welcome to the Redwoods!

Hey, wanna see a giant flea?

http://stewartkirby.blogspot.com/2013/09/hidden-springs.html


Monday, November 17, 2014

ESCHER DOCUMENTARY DEEPLY IMPRESSIVE








































METAMORPHOSE: M.C. ESCHER, 1898 – 1972
Directed by Jan Bosdriesz

          
Cutting edge biography of the Dutch graphic artist.
          
Math and art meet in the mind-blowing woodcuts, lithographs and more from Maurits Cornelis Escher. Although he had no formal training in math, his distinctive visual illusions that give the brain a workout are familiar to many as geometry textbook covers.
           
Freely available online, Metamorphose: M.C. Escher, 1898 – 1972 shows how a kid from Haarlem (Netherlands, capitol of the North Holland province) would lay down on the floor in the church and listen to the organ blast Bach, filling the walls, his reflection in the dome above. Good times for young Escher, and he always wanted to find a way to show it.
          
“I hated school,” Escher says, “but the drawing lessons were always a great relief.”
           
This straight-forward documentary shows the woodcuts in jaw-dropping detail, the brilliance of which is offset by the stark lights and darks of piano keys. We learn of Escher’s love for the southern Italian landscape where he lived in his youth and which he idealized throughout his life, and for the woman he married, Jetta.
           
Mediocre student and fortunate son in a well-to-do family, Escher was able to focus on graphically illustrating an idea using as little as possible to be as clear as possible. The film itself is nearly as evocative and minimalist as its subject, gradually revealing the shifts in Escher’s evolving life.
           
When expressing ideas in woodcuts didn’t initially pan out, he turned to wresting from oblivion images of the daily life he saw around him.
           
Initially Escher considered his most enduring work involving Tessellations—regular patterns that divide a plane with no overlapping or gaps—as “an amusing game” inspired by Moorish tiles. What makes Escher’s work so useful to mathematicians is the symmetry of the endless repetition. A balance in keeping with what the ancient Egyptians called Ma-At.
           
Sketched hands that come out of the paper and into life, sketching each other. Stairs bending in impossible ways. Warped perspectives with the self-rendering artist at the center, holding the distortion in the globe.
           
Eventually Escher’s evolving genius was to link interlocking repeating patterns with human, animal, and fanciful imagery—“figures you can never actually see at the same time because one is the background of the other”—graphically illustrating concepts equally artful and mathematical in a picture too big to see.





 Stewart Kirby writes for
    

   

Friday, November 7, 2014

LOVE CHILD








I'd been having a great deal of sex with my girlfriend. She's old enough to be my mother, and I ain't no spring chicken. She told me she went through menopause and everything, so the last thing we expected was for her to be expecting.

 
Or so I thought.


She was cute as hell when she broke the news. We stood in the center of this circle she has on her floor, just holding each other. Looking deep into her eyes I told her, "You're gonna be my baby mama. You bear my seed. Even now, it grows in you. Gotta be some kinda record here." She giggled. Together we marveled at the mystery. Then, glowing with an impish grin, my girlfriend revealed that, unknown to me, she had slipped a Ouija board under the mattress. Plus did some other esoteric stuff. She's got that shit all over the place. I never thought there was anything to it.


"You know what it was?" she said, explaining why she had operated in secrecy. "I was afraid you might not want me to have your love child." I told her not to be silly. We held each other, naked in the circle the way she likes, while she came up with names for the product of our union, all of which sounded like weird words in some forbidden tongue.

 
A few days later, my girlfriend was showing. We were so excited. She had me pull down an old high chair from her attic which looked like it was made sometime in the 1800s, and she started wearing black maternity dresses. The sex was incredible. She cut her usual fun-time intake, imbibing-wise, down to nothing like a good girl. I read Rosemary's Baby to her belly. Religiously, we watched every episode of not only "The Twilight Zone" but also "The Addams Family" as well. The former being my call. I'm the hugest Rod Serling fan ever.


This got cloying though, of course. After all that kinda crap nonstop, sometimes we had to resort to ETA Hoffmann and Franz Kafka readings just for a breath of fresh air. Then we'd dive into David Lynch and Craig Jones.


One night about nine weeks later, my girlfriend started screaming. There was a rainstorm pelting outside, and strange, lasting thunder ominously cracked. "Honey," I said through the door to her room, "you okay?" Again with the screams. Well, long story short, my girlfriend gave birth to a weird lump that night, a white-ish thing that looked like a cross between a fist and a brain. It had one eye that blinked. I could never remember whether it was one blink that meant yes or if it was two.

 
Our love child being a large one-eyed knotted lump, none of the antique baby clothes fit. I didn't want to say anything or be rude. It did seem a tad askew. I guess my girlfriend sensed what I was thinking, because she produced the Ouija board with a doleful look. The board was all bent out of shape and warped.

 
"I wouldn't have been so rigorous if I'd known it was there," I said. She laughed sardonically at that and called me a liar. When I asked whether our love child was a boy or a girl, she said probably.

 
"You realize," I said upon retrieving from her attic an ancient dusty stroller, "we're going to get some looks when we walk around town."

 
"Who cares?" my girlfriend said, wrapping our blinking love child in wax paper. Bits of lint and cat hair were forever sticking to the raw, brain-like skin. When her black cat, Baggy, short for Bagheera, tried to spray our love child, I was reminded of Baloo and came up with Balloon as a nickname.


"Balloon," my girlfriend said, shaking her head and chuckling.


With a finger to my lips I cautioned silence, and we gently snuggled closer keen to observe Balloon interacting with Baggy. The roughly kidney-shaped mass of meat, moist as Spam and just as pinkish, spasmodically inched across the floor emitting thickly muffled grunts of what we took for joy.


"They seem to really like each other," she observed.


I was actually a little bit worried for Balloon because Baggy's a regular terror, and when he's had enough of somebody, he lets that be known. Sure enough, Balloon inched across Baggy's tail, and faster than you can snap your fingers Baggy whipped around to scratch. But he never once did. He stopped immediately because Balloon had suddenly loomed, that one lone eye eerily protruding, like one of those caterpillars with the big fake orb on its raised rear end for defense. Baggy backed away. Very quietly.


"Wow, check out the love child stickin' up for the rights."


"I guess they had to work it out," she said.








































 
Strolling around Madrani with Balloon, we went inside the Redwood Palace and showed off our miracle. The owners are really cool and congratulated us. My girlfriend thanked them. "I never thought at my age I could even have a kid."


"We do have a lot of sex," I said. "Say, do you carry Spam? I have an old Mr. Potato Head eye I'd like to jam into a lump of Spam as a toy here for the kid."


Grunting joyfully in the stroller, our love child excitedly blinked. Unfortunately, the Redwood Palace was all out of Spam. And this made our love child act like a total turd. You never saw such a meltdown. We were absolutely embarrassed with this outrageous behavior. My sugar dumpling looked at me like it was the responsibility solely of moi to calm down the bobbing ball sack spazzing out in the ancient carriage. Something in her eyes told me if I didn't get this familial public dysfunction under control, pronto, I wouldn't get any of this, that or the other.


"All right, that's it," I manfully declared, laying down the law. "You calm down right now, I mean it." I looked over at my girlfriend like I'd just jumped a dozen buses on my motorcycle. But when I turned back and looked into Balloon's protruding eye now angrily upraised, something happened. Something that gave me a sense of what scared off Baggy.


"There's a prince inside our love child," I told my girlfriend squeaking along outside the Redwood Palace.


"Is there?" she said. "That's great!You know, I knew there was something special about that kid."


"It gets dizzy when he does that," I confessed under my breath, passing the Avenue Cafe. On the other side of the street, I remembered, there used to be a gas station. The owner was my Little League baseball coach. I still have the trophy from our 1979 championship. And over next to that was where the Post Office used to be a long, long time ago, just like yesterday.


"It gets dizzy when he does that," my girlfriend repeated, shaking her head and chuckling.


I felt rather heroic as I ignored her. It did occur to me, strolling past the Burl Barn and the high school, checking out the sunlight streaking bright red up under the great big sexy blanket of clouds, she might have told me that inside our love child there could stand an antique royal fellow clad in tights and cape with a short sword and long-feathered cap.


"Why didn't you bother to tell me?" I asked heading down the hill out of town toward the grove.


My girlfriend took my arm. "Welcome to the real world," she said.








      

Monday, November 3, 2014

INVASION OF THE ALIEN DOCUMENTARY




























































































DAN AYKROYD UNPLUGGED ON UFOs
Starring Dan Aykroyd,
David Sereda,
Gordon Cooper,
Paul Hellyer,
John Hutchison,
Ken Storch
Directed by David Sereda
Running time 81 mins.


          It’s not new, it’s just interesting. In fact, it’s been with us for years. And it’s freely available on YouTube.
          In the 2005 documentary Dan Aykroyd Unplugged on UFOs, UFO enthusiast David Sereda sits down with Dan Aykroyd and has an amazing conversation.
          For those familiar with Aykroyd from “Saturday Night Live,” and the Conehead alien which he played, the idea that Dan could have something serious to say on the subject might just seem too far out.
          “It was like Einstein was hiding inside of a comic genius,” says Sereda. “Dan Aykroyd speaks about UFOs as if he was a full professor on the subject.”
          Striking UFO footage over many years from many varied sources around the world interspersed with Aykroyd’s cogent commentary compels.
          Astronaut Gordon Cooper, President Ronald Reagan, and sundry members of the military attest in the documentary at various times to the validity of the subject. Paul Hellyer, a former Canadian Defense Minister, is the highest-ranking member of the G8 to state unequivocally that UFOs and alien beings are not the stuff of science fiction, but actual fact.
          According to Hellyer, there are many different species of alien living with us now, and among them some that look just like us.
          In considering the rapid progression from the Wright Brothers to the Space Age, Aykroyd points out, “In a hundred years since fabric and wood we’ve come to advanced metallurgy, fuel use, and propulsion.” Try therefore to conceive of a species with a million years of technological advancement over us.
          One of the great things about YouTube is the related material that appears with a search. Among the names one finds associated with this subject is former Lockheed Senior Scientist Boyd Bushman. “Boyd Bushman on Antigravity Propulsion Devices” is another of David Sereda’s conversations worth investigating.
          One experiment Bushman conducted with magnets inside of a rock showed him that altering the rock’s magnetic field affected its gravity. In both the Bushman and Aykroyd conversations, the fascinating antigravity experiments of John Hutchison also arise.
          Another related search, ponderously titled “Robert Lazar – Ex-worker of Area 51 Tells All About Flying Saucers and Aliens – Secret Space Program,” offers insider insight into reverse-engineering a UFO.
          Lazar recounts how as a scientist working for the military he studied a craft which he came to realize was not of earthly origin. He describes the interior of the craft as ominous. “It feels as if you shouldn’t be there.”
          Among the array of interesting things Lazar has to say, UFOs such as the one he studied create their own gravitational field. Inside the craft--the walls of which one can see out of--matter and antimatter are combined into pure energy. Turns out, violating the first Law of Thermodynamics is crucial in artificially creating intense gravity in order to modify time and space.
          Boldly go and check it out.



 Stewart Kirby writes for
           






Tune in this Thursday to KMUD 91.1 FM Garberville for the second episode of LOST COASTER


https://soundcloud.com/stewart-kirby/lost-coaster-on-kmud