Chapter Two

“I think of art, at its most significant, as a DEW line, a Distant Early Warning System that can always be relied on to tell the old culture what is beginning to happen to it.”                Marshall McLuhan  
  
I attended Bucknell University in Lewisburg, Pennsylvania because my father was incarcerated at the prison located in the same town.  My tuition subsidized to a large extent by G.I. Bill, still a significant means of financing an education for generations of emotionally wasted war veterans. “The United States Penitentiary (USP Lewisburg)” is a high-security federal prison for male inmates. An adjacent satellite prison camp houses minimum-security male offenders. My father was strictly high-security, convicted of various crimes against humanity, unindicted for sundry others. My father liked having me close by, someone on the outside he trusted, who also happened to be on his approved Visitor List. As instructed, I became his conduit for substances both illicit, like drugs, and the purely contraband, a variety of Italian cheeses, salamis, prepared baked casseroles of eggplant parmesan, cannoli, Baci chocolate from Perugia, in Tuscany, south of Florence, and numerous bottles of Italian wine, pungent aperitifs, Grappa, digestive stimulants and sweet liquors. I remained the good son until the day he died, the source of most of the mess I got myself into later on, and specifically the main caper at the heart of this story.

I must confess: my father scared the **** out of me.  Particularly during those years when he was not in jail, those years he spent at home, years coinciding roughly with my early adolescence.  These were my molding clay years, what the amateur psychologists write off with the term: “impressionable years hypothesis.” In his own twisted, grease-ball theory of child rearing, my father may have been applying the “guinea padrone hypothesis,” in his mind, nothing more certain would toughen me up for whatever he and/or Life had planned for me. Actually, his aspirations for me-given my peculiar pedigree--were non-existent as far as the family business went. He knew I’d never be either a Don or a Capo di Tutti Capi, or an Underboss or Sotto Capo.)  A Caporegime—mid-management to be sure, with as many as ten crews of soldiers reporting to him-- was also, for me, out of the question. Dad was a soldier in and of the Lucchese Family, strictly a blue-collar, knock-around kind of guy. But even soldier status—which would have meant no rise in Mafioso caste for him—was completely out of the question, never going to happen for me.

A little background: the Lucchese Family originated in the early 1920s with Gaetano “Tommy” Reina, born in 1889 in Corleone, Sicily. You know the town and its environs well. Fran Coppola did an above average job cinematizing the place in his Godfather films.  Coppola: I am a strict critic when it comes to my goombah, would-be French New Wave auteur Francis Ford Coppola.  Ever since “One From the Heart, 1982”--one of the biggest Hollywood box office flops & financial disasters of all time--he’s been a bit thin-skinned when it comes to criticism.  So, I like to zing him when I can. Actually, “One From the Heart” is worth seeing again, not just for Tom Waits soundtrack--the film’s one Academy Award nomination—but also Natasha Kinski’s ***: always Oscar-worthy in my book. My book? Interesting expression, and factually correct for once, given what you are reading right now.

Tommy Reina was the first Lucchese Capo di Tutti Capi, the first Boss of All the Bosses. By the 1930s the Luccheses pretty much controlled all criminal activity in the Bronx and East Harlem. And Reina begat Pinzolo who begat Gagliano who begat Tommy Three Finger Brown Lucchese (who I once believed, moonlighted as a knuckle ball relief pitcher for Yankees.)
Three Finger Brown gave the Lucchese Family its name. And Tommy begat Carmine Tramunti, who begat Anthony Tony Ducks Corallo. From there the succession gets a bit crazy. Tony Ducks, convicted of Rico charges, goes to prison, sentenced to life.  From behind bars he presides through a pair of candidates most deserving the title of boss: enter Vittorio Little Vic Amuso and Anthony Gaspipe Casso.  Although Little Vic becomes Boss after being nominated by Casso, it is Gaspipe really calling the shots, at least until he joins Little Vic behind bars.
Amuso-Casso begat Louis Louie Bagels Daidone, who begat the current official boss, Stephen Wonderboy Crea.  According to legend, Boss Crea got his nickname from Bernard Malamud’s The Natural, a certain part of his prodigious anatomy resembling the baseball bat hand-carved by Roy Hobbs. To me this sounds a bit too literary, given the family’s SRI Lexile/Reading Performance Scores, but who am I to mock my peoples’ lack of liberal arts education?

Begat begat Begato. (I goof on you, kind reader. Always liked the name Begato in the context of Bible-flavored genealogy. Mille grazie, King James.)

Lewisburg Penitentiary has many distinguished alumni: Whitey Bulger (1963-1965), Jimmy Hoffa (1967-1971) and John Gotti (1969-1972), for example.  And fictionally, you can add Paulie Cicero played by Paul Scorvino in Martin Scorsese’s Goodfellas, not to be confused with Paulie Walnuts Gualtieri played by Tony Sirico from the HBO TV series The Sopranos. Nor, do I refer to Paulie Gatto, the punk who ratted out Sonny Corleone in Coppola’s The Godfather, you know: “You won’t see Paulie no more,” according to fat Clemenza, played by the late Richard “Leave the gun, take my career” Castellano, who insisted to the end that he wasn’t bitter about his underwhelming post-Godfather film career. I know this for a fact from one of my cousins in the Gambino Family. I also know that the one thing the actor Castellano would never comment on was a rumor that he had connections to organized crime, specifically that he was a nephew to Paulie Castellano, the Gambino crime family boss who was assassinated in 1985, outside Midtown New York’s Sparks Steak House, an abrupt corporate takeover commissioned by John Teflon Don Gotti. But I’m really starting to digress here, although I am reminded of another interesting historical personage, namely Joseph Crazy Joe Gallo, who was also terminated “with extreme prejudice” while eating dinner at a restaurant.  Confused? And finally--not to be confused with Paul Muldoon, poetry gatekeeper at The New Yorker magazine, that Irish **** scumbag who consistently rejects publication of my work. About two years ago I started including the following comment in my on-line Contact Us, poetry submission:  “Hey Paulie, Eat a Bag of ****!”

This may come as a surprise, Gentle Reader, but I am a poet, not a Wise Guy.  For reasons to be explained, I never had access to the family business. I am also handicapped by the Liberal Arts education I received, infected by a deluge, a veritable Katrina ****** of classic literature.  That stuff in books rubs off after awhile, and I suppose it was inevitable. I couldn’t help evolving for the most part into a warm-blooded creature, unlike the reptiles and frogs I grew up with.

Again, I am a poet not a wise guy. And, first and foremost, I am a human being. Cold-blooded, I am not. I generate my own heat, which is the best definition I know for how a poet operates. But what the hell do I know? Paulie “Eat a Bag of ****” Muldoon doesn’t think much of my work. And he’s the ******* troll guarding the New Yorker’s poetry gate. Nevertheless, I’m a Poet, not a Wise Guy.  I repeat myself, I know, but it is important to establish this point right from the start of this narrative, because, if you don’t get that you’re never going to get my story.

Maybe the best way to explain my predicament—And I mean PREDICAMENT in the sense of George Santayana: "Life is not a spectacle or a feast; it is a predicament." (www.brainyquote.com), not to be confused with George’s son Carlos, the Mexican-American rock star: Oye Como Va, Babaloo!

www.youtube.com/watch?v...YouTube Dec 20, 2011 - Uploaded by a106kirk1, The Best of Santana. This song is owned by Santana and Columbia Records.

Maybe the best way for me to explain my predicament is with a poem, one of my early works, unpublished, of course, by Paulie “Eat a Bag of ****” Muldoon:

“CRAZY JOE REVISITED”  
        
by Benjamin Disraeli Sekaquaptewa-Buonaiuto

We WOPs respect criminality,
Particularly when it’s organized,
Which explains why any of us
Concerned with the purity of our bloodline
Have such a difficult time
Navigating the river of respectability.

To wit: JOEY GALLO.
WEB-BIO: (According to Bob Dylan)
“Born in Red Hook, Brooklyn in the year of who knows when,
Opened up his eyes to the tune of accordion.

“Joey” Lyrics/Send "Joey" Ringtone to your Cell
Joseph Gallo, AKA: "Joey the Blond."
He was a celebrated New York City gangster,
A made member of the Profaci crime family,
Later known as the Colombo crime family,

That’s right, CRAZY JOE!
One time toward the end of a 10-year stretch,
At three different state prisons,
Including Attica Correctional Facility in Attica, New York,
Joey was interviewed in his prison cell
By a famous NY Daily News reporter named Joe McGinnis.
The first thing the reporter sees?
One complete wall of the cell is lined with books, a
Green leather bound wall of Harvard Classics.
After a few hours mainly listening to Joey
Wax eloquently about his life,
A narrative spiced up with elegant summaries,
Of classic Greek theory, Roman history,
Nietzsche and other 19th Century German philosophers,
McGinnis is completely blown away by Inmate Gallo,
Both Joey’s erudition and the power of his intellect,
The reporter asks a question right outta
The Discrete Charm of the Bourgeoisie:
“Mr. Gallo, I must say,
The power of your erudition and intellect
Is simply overwhelming.
You are a brilliant man.
You could have been anything,
Your heart or ambition desired:
A doctor, a lawyer, an architect . . .
Yet you became a criminal. Why?”

Joey Gallo: (turning his head sideways like Peter Falk or Vincent Donofrio, with a look on his face like Go Back to Nebraska, You ******* Momo!)

“Understand something, Sonny:
Those kids who grew up to be,
Doctors and lawyers and architects . . .

They couldn’t make it on the street.”

Gallo later initiated one of the bloodiest mob conflicts,
Since the 1931 Castellammare War,
And was murdered as a result of it,
While quietly enjoying,
A plate of linguini with clam sauce,
At a table--normally a serene table--
At Umberto’s Clam House.

Italian Restaurant Little Italy - Umberto's Clam House (www.umbertosclamhouse.com)
In Little Italy New York City 132 Mulberry Street, New York City | 212-431-7545.

Whose current manager --in response to all restaurant critics--
Has this to say:
“They keep coming back, don’t they?
The joint is a holy shrine, for chrissakes!
I never claimed it was the food or the service.
Gimme a ******* break, you momo!
I should ask my paisan, Joe Pesci
To put your ******* head in a vise.”

(Again, Martin Scorsese getting it exactly right, This time in  . . . Casino (1995) - IMDb www.imdb.com/title/tt0112641/Internet Movie Database Rating: 8.2/10 - ‎241,478 votes Directed by Martin Scorsese. With Robert De Niro, Sharon Stone, Joe Pesci, James Woods. Greed, deception, money, power, and ****** occur between two  . . . Full Cast & Crew - ‎Trivia - ‎Awards - ‎(1995) - IMDb)

Given my lifelong, serious exposure to and interest in German philosophy, I subscribe to the same weltanschauung--pronounced: veltˌänˌSHouəNG—that governed Joey Gallo’s behavior.  My point and Mr. Gallo’s are exactly the same:  a man’s ability to make it on the street is the true measure of his worth.  This ethos was a prominent one in the Bronx where and when I grew up, where I came of age during the 1950s and 60s.  Italian organized crime was always an option, actually one of the preferred options--like playing for the Yankees or being a movie star—until, that is, reality set in.  And reality came in many forms. For 100% Italian kids it came in a moment of crystal adolescent clarity and self-evaluation:  Am I tough enough to make it on the street?  Am I ever going to be tough enough to make it on the street? Will I be eaten alive by more cunning, more violent predators on the street?

For me, the setting in of reality took an entirely different form.  I knew I had what it takes, i.e., the requisite ferocity for street life. I had it in spades, as they say. In fact, I’d been blessed with the gift of hyper-volatility—traced back to my great-grandfather, Pietro of the village of Moschiano, in the province of Avellino, in the region of Campania, Italia Sud. Having visited Moschiano in my early 20s and again in my late 50s, I know the place well. The village square sits “down in the holler,” like in West Virginia; the Apennine terrain, like the Appalachians, rugged and thick. Rugged and thick like the people, at least in part my people. And volatile, I am, gifted with a primitive disposition when it comes to what our good friend Abraham Maslow would call lower order needs. And please, don’t ask me to explain myself now; just keep reading, *******.  All your questions will be answered.

Great Grandfather Pietro once, at point blank range, blew a man’s head off with a lumpara, or sawed-off shotgun. It was during an argument over—get this--a penny’s worth of pumpkin seeds--one of many stories I never learned in childhood. He served 10 years in a Neapolitan penitentiary before being paroled and forced to immigrate to America.  The government of the relatively new nation--The Kingdom of Italy (1861)--came up with a unique eugenic solution for the hunger and misery down south, south of Rome, the long shin bone, ankle, foot, toes & kickball that are the remote regions of the Mezzogiorno, Southern Italy: Campania, Basilicata, Calabria, Puglia & Sicilia. Northern politicians asked themselves: how do we flush these skeevy southerners, these crooks and assassins down South, how do we flush the skifosos down the toilet—the flush toilet, a Roman invention, I report proudly and accept the gratitude on behalf of my people. Immigration to America: Fidel Castro did the same thing in the 1980s, hosing out his jails and mental hospitals with that Marielista boatlift/Emma Lazarus Remix: “Give us your tired and poor, your lunatics, thieves and murderers.” But I digress. I’ll give you my entire take on the history of Italy including Berlusconi and the “Bunga Bunga” parties with 14-year old Moroccan pole dancers . . . go ahead, skip ahead.

Yes, genetically speaking, I was sufficiently ferocious to make it on the street, and it took very little spark to light my fuse. Moreover, I’ve always been good at figuring out the angles--call it street smarts--also learned early in life. Likewise, for knowing the territory: The Bronx was my habitat. I was rapacious and predacious by nature, and if there was a loose buck out there, and legs to be broken, I knew where to go.
Yet, alas, despite all my natural talents & acquired skills, I remained persona-non-grata for the Lucchese Family. To my great misfortune, I fell into a category of human being largely shunned by Italian organized crime: Mestizo-Italiano, a diluted form of full strength 100% Italian blood. It’s one of those voodoo blood-brotherhood things practiced by Southern European, Mediterranean tribal people, only in part my people.  Growing up, my predicament was always tricky, always somewhat bizarre. Simply put: I was of a totally different tribe. Blame my exotic mother, a genuine Hopi Corn Maiden from Shungopavi, high up on Second Mesa of the Hopi Reservation, way out in northern Arizona. And if this is not sufficiently, ******* nuts enough for you, add to the child-rearing minestrone that she raised me Jewish in The Bronx.  I **** you not. I took my Bar Mitzvah Hebrew instruction from the infamous Rabbi Meir Kahane, that’s right, Meir “Crazy Rebbe” Kahane himself--pronounced kɑː'hɑːna--if you grok the phonetics.

In light of the previously addressed “impressionable years hypothesis,” I wrote a poem about my early years. It follows in the next chapter. It is an epic tale, a biographical magnum opus, a veritable creation myth, conceived one night several years ago while squatting in a sweat lodge, tripping on peyote. I

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"Wagons East (1994) - IMDb www.imdb.com/title/tt0111653/ Internet Movie Database Rating: 4.7/10 - ‎3,545 votes (stylized onscreen as ‘Wagons East’) is a 1994 western comedy film directed by Peter Markleand starring John Candy and Richard Lewis. The film marked one of Candy's last film appearances although it was not his last film release. His last film, Canadian Bacon which he had completed before “Wagons East,” had a delayed release in 1995. The film was notable for its leading actor Candy dying of a heart attack during the final days of the film's production. A stand-in and special effects were used to complete his remaining scenes and it released five months after his death."

And it’s Wagons East!
John Candy’s last mega-bomb,
Released 5 months postmortem.
Alas, even the sympathy vote stayed home,
Reject the we-owe-it-to-him-for
“Planes, Trains & Automobiles”(1987, IMDB).
The role, like money in the bank,
Earning diminishing returns,
Yielding interest but losing value over time.
The myth of INTEREST:
Das Capital, 2015.
The Prime is at 0%,
Yet, Inflation soars at, well,
At inflationary rates,
Digit-pounding inflation,
Higher food & shelter prices,
Masked ever so cleverly,
So deftly obscured by benevolent gasoline prices.

“Planes, Trains & Automobiles” (1987, IMDB)
Meet Del Griffith,
An obnoxious slob,
A complete schlemiel
(Also shle·miel (shlə-mēl′),
A serene shower curtain ring
Salesman and tour de force.
A film illustrative of everything
We love about farce,
(Merci beaucoup, Molière!)
And love about any
John Hughes/Steve Martin collaboration.

Needless to say,
I watched “Wagons East”
On TV the other day.
It was ten o’clock in the morning.
Will-o'-wisping in the ashtray,
Smoke from my first joint of the day.
The ashtray, a mosh pit carbonara--
Actually, an inverted exoskeleton dome--
One of dem big muthas,
I once free-dived for,
Offshore Mendocino Coast,
Back in the day,
Back when THE FRENCH LAUNDRY . . .
(The French Laundry: Thomas Keller Restaurant Group, www.thomaskeller.com. Chef Thomas Keller visited Yountville, California in the early 1990's on a quest for a space to fulfill a longtime culinary dream: to establish a destination for fine --314 Google reviews · Write a review 6640 Washington St, Yountville, CA 94533 (707) 944-2380. Daily Menus - ‎Make a Reservation - ‎Restaurant)
Back when THE FRENCH LAUNDRY
Paid beaucoup bucks for
Well-tenderized,
Sledge hammered slabs of illegal,
Black Market abalone.
Most assuredly, I digress.

So where else would I be?
My laptop was open & willing,
Legs spread, wet and waiting for
Whatever comes what may.
What came was a film
Earning pitch perfect
Dramatic chops for Candy.
We owe you, Del.
We owe you for this Anthem:
“You wanna hurt me? Go right ahead if it makes you feel any better. I'm an easy target. Yeah, you're right, I talk too much. I also listen too much. I could be a cold-hearted cynic like you . . . but I don't like to hurt people's feelings. Well, you think what you want about me; I'm not changing. I like . . . I like me. My wife likes me. My customers like me. Cause I'm the real article. What you see is what you get.”
But that was then,
This is now.
Wagons East:
A disastrous ****** bomb.
A vapid character jambalaya:
(1) A defrocked doctor
(2) A sagebrush *****.
(3) A queer book vendor.
(4) A Donner Party Survivor
Sounds can’t miss, right?
Or was it a classic Broadway/Hollywood sting?
Redux: “Spring Time for ******.”
N'est-ce pas?
Four *******
Heading east by wagon train;
Giving up on The West,
Heading east for Saint Louie,
Where freaks & geeks go undercover.
Down go their guards.
Camouflaging the chimera,
Transits the urban Wasteland,
Vast & nasty, as it were.

St. Louis, Missouri:
A much more tolerant
Hideout place.
THE WEST:
Just too much of
A hassle, I guess,
Too much for one’s
Flat-lined human mind,
Bored too shitless by
Buffalo turds to venture thought.
THE WEST:
Neorealismo italiano.
Complete Jolting-Joe reality,
A veritable wake-up call
Devouring any & all
Residual romantic fantasies . . .
THE WEST:
Struggle & Drudge,
Life lived west of the Mississippi.

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That’s right: another advertisement,
Smack dab in the middle of
Of the ******* poem!
My invention, by the by,
Putting herein another plug for
A preferred memorial gravesite,
The Shrine To Me!
Situated in Scituate,
(Always wanted to say that.)
Scituate MA (www.scituatema.gov)
Knowing my kryptonite crypt,
My not-marble-nor-gilded
Princely-monument,
Had no chance to outlive
This fakakta rhyme scheme . . .
The Shrine To Me!
My final resting place:
My very tony, exclusive
Sub Zip Code?
The South Transept
Westminster Abbey
The so-called Poets’ Corner,
Of course!

Which brings me to my true purpose:
My true intentions for you this morning?
To publicize the strange Case of
CHARLES ROCKET:
(Go ahead, ******* Google him!)
“Charlie Rocket, found dead in a field near
His Connecticut home on October 7, 2005,
His throat had been cut.
He was 56 years old.
The state medical examiner
Later ruled the death a suicide.”
And if you believe the Coroner,
A Medicine Man &
Master of Self-Interest;
If you give that sharp-dealing,
Proverbial Connecticut Yankee his due,
Then you will probably also think
That millionaire Robert Durst
Didn’t **** Susan Berman,
Even as we see him
Getting away with ******.
Again.

PROLOGUE:

“’We must stop this brain working for twenty years.’” So said Mussolini’s Grand Inquisitor, his official Fascist prosecutor addressing the judge in Antonio Gramsci’s 1928 trial; so said the Il Duce’s Torquemada, ending his peroration with this infamous demand.’”  Gramsci, Antonio: Selections from the Prison Notebooks, Introduction, translation from Italian and publishing by Quintin ***** & Geoffrey Nowell Smith, International Publishers, New York, 1971.

BE IT RESOLVED: Whereas, I introduce this book with a nod of deep respect to Antonio Gramsci--an obscure but increasingly pertinent political scientist it would behoove us all to read and study today, I dedicate the book itself to my great grandfather and key family patriarch, Pietro Buonaiuto (1865-1940) of Moschiano, in the province of Avellino, in the region of Campania, southern Italy.

Let it be recognized that Pete Buonaiuto may not have had Tony Gramsci’s brain, but he certainly exhibited an extreme case of what his son--my paternal grandfather, Francesco Buonaiuto--termed: Testaduro. Literally, it means Hardhead, but connotes something far beyond the merely stubborn. We’re talking way out there in the unknown, beyond that inexplicable void where hotheaded hardheads regurgitate their next move, more a function of indigestion than thought. Given any situation, a Testaduro would rather bring acid reflux and bile to the mix than exercise even a skosh of gray muscle matter.  But there’s more. It gets worse.

To truly comprehend the densely-packed granite that is the Testaduro mind, we must now sub-focus our attention on the truly obdurate, extreme examples of what my paternal grandmother—Vicenza di Maria Buonaiuto—they called her Jennie--would describe as reflexive cutta-dey-noze-a-offa-to-spite-a-dey-face-a types. I reference the truly defiant, or T.D.—obviously short for both truly defiant and Testaduro. T.D.’s—a breed apart--smiling and sneering, laughing and, finally, begging their regime-appointed torture apparatchik (a career-choice getting a great deal of attention from the certificate mills--the junior colleges and vocational specialty institutes) mocking their Guantanamo-trained torturer: “Is that what you call punishment?  Is that all you ******* got?”

If, to assist comprehension, you require a literary frame of context, might I suggest you compare the Buonaiuto mind to Paul Lazzaro, Vonnegut’s superbly drawn Italian-American WWII soldier-lunatic with a passion for revenge, who kept a list of people who ****** with him, people he would have killed someday for a thousand dollars.

Go with me, Reader, go back with me to Vonnegut’s Slaughter-House-Five: “Billy Pilgrim has become unstuck in time . . .”
It is long past the Tralfamadorian abduction and his friendship with Stony Stevenson. Billy is back in Germany, one of three dingbat American G.I.s roaming around beyond enemy lines.  Another of the three is Private Lazzaro, a former car thief and undeniable psychopath from Cicero, Illinois.

Paul Lazzaro:  “Anybody touches me, he better **** me, or I’m gonna have him killed. Revenge is the sweetest thing there is. People **** with me, and Jesus Christ are they ever ******* sorry. I laugh like hell. I don’t care if it’s a guy or a dame. If the President of the United States ****** around with me, I’d fix him good. Revenge is the sweetest thing in life. And nobody ever got it from Lazzaro who didn’t have it coming.  Anybody who ***** with me? I’m gonna have him shot after the war, after he gets home, a big ******* hero with dames climbing all over him. He’ll settle down. A couple of years ‘ll go by, and then one day a knock at the door. He’ll answer the door and there’ll be a stranger out there. The stranger’ll ask him if he’s so and so. When he says he is, the stranger’ll say, ‘Paul Lazzaro sent me.’ And then he’ll pull out a gun and shoot his pecker off. The stranger’ll let him think a couple seconds about who Paul Lazzaro is and what life’s gonna be like without a pecker. Then he’ll shoot him once in the gut and walk away. Nobody ***** with Paul Lazzaro!”

(ENTER AUTHOR. HE SPEAKS: “Hey, Numb-nuts! Yes, you, my Reader. Do you want to get ****** into reading that Vonnegut blurb over and over again for the rest of the afternoon, or can I get you back into my manuscript?  That Paul Lazzaro thing was just my way of trying to give you a frame of reference, not to have you ******* drift off, walking away from me, your hand held tightly in nicotine-stained fingers. So it goes, you Ja-Bone. It was for comparison purposes.  Get it?  But, if you insist, go ahead and compare a Buonaiuto—any Buonaiuto--with the character, Paul Lazzaro. No comparison, but if you want a need a number—you quantitative ****--multiply the seating capacity of the Roman Coliseum by the gross tonnage of sheet pane glass that crystalized into small fixed puddles of glazed smoke, falling with the steel, toppling down into rubble on 9/11/2001. That’s right: multiply the number of Coliseum seats times a big, double mound of rubble, that double-smoking pile of concrete and rebar and human cadavers, formerly known as “The Twin Towers, World Trade Center, Lower Manhattan, NYC.  It’s a big number, Numb-nuts! And it illustrates the adamantine resistance demonstrated by the Buonaiuto strain of the Testaduro virus. Shall we return to my book?)

The truth is Italian-Americans were never overzealous about WWII in the first place. Italians in America, and other places like Argentina, Canada, and Australia were never quite sure whom they were supposed to be rooting for. But that’s another story. It was during that war in 1944, however, that my father--John Felix Buonaiuto, a U.S. Army sergeant and recent Anzio combat vet decided to visit Moschiano, courtesy of a weekend pass from 5th Army Command, Naples.  In a rough-hewn, one-room hut, my father sat before a lukewarm stone fireplace with the white-haired Carmine Buonaiuto, listening to that ancient one, spouting straight **** about his grandfather—Pietro Buonaiuto--my great-grandfather’s past. Ironically, I myself, thirty yeas later, while also serving in the United States Army, found out in the same way, in the same rough-hewn, one-room hut, in front of the same lukewarm fireplace, listening to the same Carmine Buonaiuto, by now the old man and the sea all by himself. That’s how I discovered the family secret in Moschiano. It was 1972 and I was assigned to a NATO Cold War stay-behind operation. The operation, code-named GLADIO—had a really cool shield with a sword, the fasces and other symbols of its legacy and purpose. GLADIO was a clandestine anti-communist agency in Italy in the 1970s, with one specific target:  Il Brigate Rosso, the Red Brigades.  This was in my early 20s. I was back from Vietnam, and after a short stint as an FBI confidential informant targeting campus radicals at the University of Miami, I was back in uniform again. By the way, my FBI gig had a really cool codename also: COINTELPRO, which I thought at the time had something to do with tapping coin operated telephones. Years later, I found out COINTELPRO stood for counter-intelligence program.  I must have had a weakness for insignias, shields and codenames, because there I was, back in uniform, assigned to Army Intelligence, NATO, Italy, “OPERATION GLADIO.“

By the way, Buonaiuto is pronounced:

Bwone-eye-you-toe . . . you ignorant ****!

Oh yes, prepare yourself for insult, Kemosabe! I refuse to soft soap what ensues.  After all, you’re the one on trial here this time, not Gramsci and certainly not me. Capeesh?

Let’s also take a moment, to pay linguistic reverence to the language of Seneca, Ovid & Virgil. I refer, of course, to Latin. Latin is called: THE MOTHER TONGUE. Which is also what we used to call both Mary Delvecchio--kneeling down in the weeds off Atlantic Avenue--& Esther Talayumptewa --another budding, Hopi Corn Maiden like my mother—pulling trains behind the creosote bush up on Black Mesa.  But those are other stories.

LATIN: Attention must be paid!

Take the English word obdurate, for example—used in my opening paragraph, the phrase truly obdurate: {obdurate, ME, fr. L. obduratus, pp. of obdurare to harden, fr. Ob-against + durus hard –More at DURING}.

Getting hard? Of course you are. Our favorite characters are the intransigent: those who refuse to bend. Who, therefore, must be broken: Paul Newman in Cool Hand Luke comes to mind. Or Paul Newman again as Fast Eddie, that cocky kid who needed his wings clipped and his thumbs broken. Or Paul Newman once more, playing Eddie Felson again; Fast Eddie now slower, a shark grown old, deliberative now, no longer cute, dimples replaced with an insidious sneer, still fighting and hustling but in shrewder, more subtle ways. (Credit: Scorsese’s brilliant homage The Color of Money.)

The Color of Money (1986) - IMDb www.imdb.com/title/tt0090863 Internet MovieDatabase Rating: 7/10 - ‎47,702 votes. Paul Newman and Helen Shaver; still photo: Tom Cruise in The Color of Money (1986) Still of Paul Newman in The Color of Money (1986). Full Cast & Crew - ‎Awards - ‎Trivia - ‎Plot Summary

Perhaps it was the Roman Catholic Church I rebelled against.  The Catholic Church: certainly a key factor for any Italian-American, a stinger, a real burr under the saddle, biting, setting off insurrection again and again. No. Worse: prompting Revolt! And who could blame us? Catholicism had that spooky Latin & Incense going for it, but who wouldn’t rise up and face that Kraken? The Pope and his College of Cardinals? A Vatican freak show—a red shoe, twinkle-toe, institutional anachronism; the Curia, ferreting out the good, targeting anything that felt even half-way good, classifying, pronouncing verboten, even what by any stretch of the imagination, would be deemed to be merely kind of pleasant, slamming down that peccadillo rubber-stamp. Sin: was there ever a better drug? Sin? Revolution, **** yeah!  Anyone with an ounce of self-respect would have gone to the barricades.

But I digress.

I continue to be amused &
Captivated by Gabriel García Márquez,
His Love in the Time of Cholera,
Captivating me still.
His simple use of the name
“Bolívar,” por ejemplo.
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There is something uniquely Latin
About life in Latin America,
Once again, stating the obvious
For all the media-slain retards
Hovering around me.
Their never-ending enthrallment
With Strong Men,
Particularly when strength is
A measure of one’s honor,
Hizzoner,
Your honor,
To wit: Honor Killings.
In practice, a sober demonstration
Of the theory as it is practiced.
Americans—with swarthy exceptions—
Do unfavorably view most of us who
Can trace our ancestry to Southern Europe.
“Southern European,”
Itself a vicious racial slur,
And remains so north of Eboli,
No surprise that Christ stopped there,
According to Carlo Levi, writing off the
Il Mezzogiorno, beyond redemption.
Southern European:
Smug words you make them eat,
Throwing Greco-Roman Civilization
Up into their faces.
Athens & Rome--
Epitomes of culture and class--
Patricians, of course, yet
Skifoso bragging rights for all those
***** scratched plebeians of the mob.
But I digress.

Strongman Latino-Americano.
Some Bolívar, some José Martí.
Why not some Fidel?
¿Por Que No?
Tu compadre, Gabo--
Tu Generalissimo Cubano.
How could you miss, Gabo?
Castro lobbying for you, twisting the
Surreal & squirrely qualms
Of Nobel Prize Nabobs.
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You owe that bearded strong man, Gabo.
Fidel Castro: Maximum Leader to be sure--
Like Omar Torrijos & Noriega--
Panamanian Reds,
Tasmanian Devils!
And Sonny Barger –
Dubbed Maximum Leader,
By Hunter S. Thompson's Hell's Angels:
(The Strange and Terrible Saga of the Outlaw Motorcycle Gangs RetroBites: Hunter S. Thompson & Hell's Angels (1967) - YouTube ► 6:21► 6:21 www.youtube.com/watch?v=ccyu44rsaZo‎ Jul 7, 2010 - Uploaded by CBCtv Hunter S.Thompson defends his book against an irate Hell's Angels biker.)
Come Perón, come Hugo Chávez.
But, Hark-a-lark,
Let’s wait a sec
Lest we forget
Cristina Fernández de Kirchner,
One tough, Argentine *****,
Illustrating again for all men
The root of all machismo:
La Mujer!
The ***** that bore him;
Nurtured & nursed him.
****** & ****** him.
La Mujer!
(La mujer sin cabeza (2008) - IMDb www.imdb.com/title/ tt1221141/‎ Rating: 6.4/10 - ‎1,815 votes Directed by Lucrecia Martel. With María Onetto, Claudia Cantero, César Bordón, Daniel Genoud. After running into something with her car, Vero experiences a... I get 7 cents for each link, each hit, making poetry pay for once, the savvy poet, a marketer finally figuring out how to avoid death in the gutter, a death penniless, diseased, babbling and insane.)
Yes, the woman,
The woman, who loved him,
That widow who buried him.
The woman—at any particular
Time of life, in his life—
The woman who just happened to be there;
Was just hanging around
During that brief, emphatic,
Conversation lull.
Genesis got it wrong:
Adam was a stiff rib of Eve,
Made from sterner stuff,
A creation conceived in torture,
Reared in disequilibrium.

Women create the men they touch.
Strong women.

I have long sought quiet.
And please, let me be clear: quiet.
Not the quietus Hamlet desired,
No “consummation devoutly to be wished” for me.
No, with or without a bare bayonet,
UNBEINGNESS is hardly what I seek.
It is not the predicament of death,
But the quiet spectacle of the grave I envy.  
Originally a city mouse,
I am familiar with the urban soundscape.
I know city noise, amped up in decibels.
Noise-induced stress, shrill and enervating,
Add to the mix a working-class neighborhood,
Where someone is always hammering,
Using a power tool of some kind,
Repairing, improving an older, somewhat decrepit home;
But a steal as the realtors say.
Or vehicles, like Old Havana relics,
Held together by secular prayer,
And thriving underground Cuban capitalism.
Then just for fun: "Let’s send the ******* to war."
Tympanic membranes be wary and be ******.
Stretched and perforated,
Compressed and torn,
Shredded like wheat.
Pummeled by shock wave.
I was Lear wandering the heath,
Your ***-cheeks cracked:
“Cataracts and hurricanes . . .
Oak-cleaving thunderbolts . . .
Sulphurour and thought-executing fires . . .
Singe my white head!”
Cue Cabaret music (Cabaret (1972) - IMDb www.imdb.com/title/tt0068327): “Willkommen, bienvenue, welcome . . . to Indochine,”
First a Weimar-Saigon suckee-fuckee,
Then out to The ****,
Mind-numbing concussion,
Reek of jellied gasoline,
Charred meat,
Assorted red entrails,
Obliteration of thought complete.

My advice to fellow geezers?
Just say **** it!
“Roll up to the magical mystery tour!”
Just like John & Yoko!
Smoke a big fat doobie each morning.
Step out the Hogan door, just greet
The East and walk in beauty.
After a few weeks you just won’t
Give a **** anymore; just not give a ****
In general, no longer care about what’s
Not important: The Guv’ment.
Politics. The rate of unemployment.
Inflation. Even radical, freaking
Muslim Jihadist TERROR!
Yes.  Just light up, Babaloo,
Do one’s bit for the Decline &
Fall (dropped you, didn’t I?)
Let’s mourn the dying ***** goddess.
America: that shining city on a hill,
Colombia in all her senility, insolvency &
Not even D or I, just Lusions of grandeur.
Let us contemplate the decrepitude,
The crumbling, up-in-smoke spiritual infrastructure,
The USA: the United ****'s-Creek of America,
Going down, down, down . . . ALERT!
NEWS FLASH! It’s Rome & Great Britain,
It’s the update, the demise of Empire all over again.
I remember those sorry-***, pathetic Brits,
Met them all over while hitchhiking around
Europe, an intensive, closely observed tour of duty
Abroad: a gift to myself, in fact a scholarship,
I rigged for myself back in the early ‘70s.
Going abroad: once a reserved right of passage for certain,
Privileged children of the 1890s, lucky spawn from
Families known as the “Well-to-do.” And why not add:
Dubbed the “Mauve Decade" because William Henry Perkin’s
Aniline dye allowed widespread use of that color in fashion.
The "Gay Nineties,” referring to a time not of buggery, but
Merriment & optimism, & lest we forget, Twain’s “Gilded Age.”
Got the time, spare a dime, got the freaking time-frame, Mack?
It was a dark & stormy total eclipse of Jupiter.
Spiritually speaking, I was free-floating.
And what of those same-self, sad-assed &
Sorry, pathetic Brits?
Well, consider the specific years.
Experience in Europe in my early 20s,
Meant 1972, 1973 & 1974.
Surely, a time for English disillusionment,
What with the sun finally setting,
A vague, prismatic twilight time,
A virtual requiem for His or Her Majesty’s Empire,
“Rule, Britannia ... Britannia rule the waves.”
(Cue ruffles & flourishes, fifes & flugelhorns)
This was pre-North Sea Oil Bonanza days.
This was England before Mrs. Thatcher
Gave her good people a long overdue,
Richly deserved kick in the tuchas.
“The Iron Lady” they called her.
Stopped Orwell’s future, doornail dead, she did.
“Maggie’s Miracle” they called it.

Those Brits I met & knew back then,
Those “Used-to-be-Contender” types:
Self-deprecatory, apologetic & cynical,
Mocking the Union Jack,
Shedding salty tears for Lost Empire.
“This blessed plot, this earth,
This realm, this England.”
Ironic & bitter to a man,
“Gulping gin & bitters later,” observes
Current tenant occupier, 221B Baker Street,
Sherlock finding the word at last,
The definitive literary term,
That one precise mot juste, that says it all.
In a word? Sardonic.
The USA is going down, down down—
“And away goes trouble down the drain!”

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That’s right: $KA-CHING$!
An ad right in the middle of a ******* poem!
Always the sensible poet, I kept my day job.
But now in my 60’s finally figuring out:
HOW TO MAKE POETRY PAY?
Bow down to Adam Smith & Ricardo—
Not the ‘Splaine me, Cuban bandleader
Of that surname, but David, the classical economist,
The “Iron Law of Wages” guy
It’s time to make money.
Call in the Madmen.
Send in the clowns.

Mad Men – AMC - AMC.com www.amc.com/shows/mad-men Official site for AMC's award-winning series Mad Men: Games, making-of videos, plus episode & character guides.

$KA-CHING$! $KA-CHING$!

And Dan Draper: an alcoholic, chain-smoking,
***** magnet & Korean War ****-up, shifty
Name-changer, last seen at that Big Sur ashram,
The Esalen Retreat & Jingle Inspiration Center,
**** Whitman coming clean, at last:
Hovering a foot off the ground
In the lotus position, receiving **** *** from a
Coke bottle incarnation of Vishnu.

Search Results I'd Like to Teach the World to Sing (In Perfect Harmony ... https://en.wikipedia.org/I'dLiketoTeachtheWorld . . . Wikipedia "I'd Like to teach the World to Sing (In Perfect Harmony)" is a popular song that originated as the jingle "Buy the World a Coke" in the groundbreaking 1971 ... Writer(s)‎ ‎Jon Hamm AKA Dan Draper; ‎Label‎: Sterling Cooper Draper Pryce.

Money: FUNGIBLE GREEN.
$KA-CHING$!

Those once sardonic Brits,
Now have Brooklyn accents.
We’re going down the drain, Babaloo!
The barbarians are at the gates,
A horde of hunger, a ******* rabble,
Green-eyed monsters, envying America’s poor,
Craving what little Uncle Sam’s indigenous poor have left,
Ragtag migrants, short, dark compañeros,
Swarthy Huns & Visigoths,
Whitman's last yawp, the last gasp breath of
Work Ethos, be it Protestant or Papist,
A colossal mélange of famine, hope & prayer,
The usual suspects: “Your tired, your poor,
Your wretched refuse & solid waste,
Your huddled, yearning masses.”
My advice to Emma--Sephardic-Ashkenazi,
Proto-Zionist, years before Herzl:
Get yourself a nightclub act, Ms. Lazarus.

America: I am hidden in a high grass savannah,
I watch the hyenas pick your carcass clean.
Adam Smith: he displaced the term greed--
Smacking as it does of deadly sin baggage—
Replaced the term Greed with Self-Interest.
And the only invisible hand I know of is
Down my pants, jerking me off,
Mesmerized by slogans, divine metaphors, like:
“A rising tide lifts all boats,” a Big Lie, for example.
Today’s economists call it “The Multiplier Effect.”
You pay me and I pay him & he pays he or she,
Merry Goes Round, Goes Round & Round the Merry-Ground.
All is just so cool & groovy,
Life is just a copacetic bowl of copacetic until
Some self-interested ****-*** decides to export
Your ******* job right out of the country:
Casus belli? Most certainly. Class warfare,
Always our hitherto history.
It’s not like that fat slob Michael Moore never warned us.

**Roger & Me (1989) - IMDb www.imdb.com/title/tt0098213/ Internet Movie Database  Rating: 7.5/10 - ‎22,470 votes Director Michael Moore pursues GM CEO Roger Smith to confront him about the harm ... Roger & Me -- Michael Moore's controversial but popular film is a highly ... Plot Summary - ‎Quotes - ‎Trivia - ‎Awards

On Monday
you are sponges
Squeezed empty by
Pokemon tournaments and
Supernatural Watchathons

On Wednesday
you are dictionaries
lexicons of hyperbolic histrionics
thesauri of sturm and drang and
angsty angsty goodness

But Friday
you are IMDB
airbenders and Fassbender and
light bending across the sails
of a ship bound for the

unreal
implausible
impossible
unnatural
illogical

while Monday
you are rabid
like word-eating mongrels

and Wednesday
you are 1930's radios
spewing never-before-heard myths and mysteries

but Friday
you are careening
between the moons of Jupiter

ungrounded
unfettered
untethered
unrealistic
imaginative­

but Friday
you are
gone gone gone gone

gone

I am twenty years old
I don’t sing in the shower,
But I always try to harmonize in the car

My waterbottle is my favorite accessory
I still wear youth large clothes,
And steal from my mom’s closet

I like to wear the color red,
But I usually buy things that are blue, and my favorite color is purple
My thoughts and my actions often don’t match up

I never pay attention in class,
and sometimes focus more on IMDB
than the movie in front of me

I always run out of free article reads online,
but have a tough time reading body language

I used to be vegetarian
I don’t eat salmon
And I am pretty sure ranch dressing goes with everything

I like snapchat
But the idea of big brother scares me
Perhaps its because I am an only child

My hands are always dancing
And my shoes are always laced up to run

I always talking about growing up
As if my future is not already knocking on my door

I don’t think its fair that  we don’t have enough time to be everyone we’d wish to be
That we only get one lifetime to figure it out

I want to be a professional dancer who acts on the side and is a nurse by night
I want to travel the world, but also have a picket fence house
To be a bachelorette for life, but have a family waiting at home

I have been blessed with good health
But I’m not convinced that there isn’t a disease hiding in my abdomen

I have good grades
But somehow I have a hard time making sense of everyday life
I wish I knew what it felt like to be friends with me

But still, I don’t like myself very much
And I don’t like other people either
Or maybe other people don’t like me

I used to love the color gray
Perhaps because I was trying to find comfort in the uncertainty
Or I couldn’t decide whether light or dark made me feel at home

I believe in Sunday mornings,
And rainy days

An overcast sky makes me feel more alive
But if you ask me why,
I probably would not have an answer

I don’t like having my picture taken,
Though always smile when I’m taking someone else’s

I am afraid of tomorrow,
And yesterday’s should haves,
Scare me

I am not very good with a GPS
But being lost never worries me
Except for that one time,
In the woods,
Alone

Probably because being alone feels infinite
And being together feels fleeting
I treasure my alone time, but am
Always missing
You

I’m not sure if this is all worth it,
But for what its worth,
It just might be

I’ve never put a candidate’s bumper sticker on my car before—
why not take sides—what are you waiting for?
Death puts a stop to daily low intensity warfare but in the meantime—
      fight on!
What are we fighting for? Let’s see—
clean air and water and room to walk around in cities and deserts
America the seeing eye dog not America the junkyard dog—
collective deliberation among nations, clear passage through seas and
      borders
compact and contiguous Congressional districts that represent actual
      communities
education and health care for everyone who wants it—worldwide
good food too, affordable shelter and a living wage
a say in governance—local and global—free from fear of violence

Should you be subsumed by a cause bigger than the self?
unlike Rick in Casablanca who keeps to himself
I’m advertising my loyalties with bumper stickers on rickshaw and kayak
every time I come and go
it’s a free country—or maybe I’m so low profile no one notices or
      cares to take revenge
so small time I have time and no enemies or friends
What about Whitman and his love for Lincoln
he found a way to participate in the war that satisfied his muse, as a
      nurse
oh, I want to add space exploration and no nuclear war
plus basic science and ancient arts, black lives matter

Here are some things you have to put up with or out of mind
while enjoying the beautiful black and white photography and rousing
      Marseillaise:
that Sam, played by Dooley Wilson in worshipful subservience to “Mr.
      Rick,” endures his lonely abnegation and abstinence in Paris while
      Rick savors the nordically white, luscious Ilsa;
that Ilsa, on the lam across the wide world from pursuing Nazis, is
      apparently transporting an extensive, elegant, perfectly manicured
      wardrobe;
that Rick, in wartime Casablanca, has managed to hire a full 20-piece  
      jazz orchestra for which we willingly suspend disbelief since it’s  
      essential for singing the Marseillaise which never fails to bring tears
      of pride to Yvonne’s eyes;
I guess that’s about it except why would you spend a minute in Sydney
      Greenstreet’s fly-infested café when Rick’s air-conditioned
      establishment is right across the street, an overnice contrast to
      Maghreb culture;
otherwise, I’m in complete accord with IMDb’s 8.5 rating.

On the news last night the president changed the trajectory of a  
      category 4 hurricane. He can’t do that! Not my president! They’re  
      laughing at us!
Who’s got trouble? We've got trouble. How much trouble? Too much  
      trouble.
After Casablanca, it's headed for South Carolina.

You promise me your Watchlist
on IMDb
Will tell me more about you
Than dessert and another round of coffee
Ever could,
But I know a Shazam history
Will reveal nothing at all,
So I then order
—for I must—
That coffee and dessert
And stay until
They tell us they're shutting down.

.as ever, some memorable lines bumping like atoms in my head, and instead of a pen and paper handy, or a keyboard, all i have is a mouth full of toothpaste, shampoo in my hair, a Popeye's squirm, one hand washing my genitals and the other holding the shower (handle), replying aloud to "the third person": what?!

... and after that? a whole array of punctuation
marks: drying yourself,
remembering the last conversation
from yesterday,
                 '****, this would be a waste
of a **** fine bottle of amber-glug...'
                            (not that it matters)...
'this might as well be a dial-up modem!'
  again: punctuation marks...
    putting your pinky finger into
the pinky end of a glove to dry out your
ears before putting in the headphones and
plugging in...
   what will it be today...
   jazzy cosmopolitan feel....
or airy, haunting, indie cosmopolitan
nostalgia -esque -esque of a missing
   prefix?
              ah...
   (i still find horror movie soundtracks
the most ideal lullabies...
   forget about Strauss dying
                              with a lack of
     contentment at not being able to write
a serious piece of work...
  well... if you're going to be a waltz-poodle
for the Habsburgs...
   you're going to be a waltz-poodle
till your fingerprints are no more...
   and you die a death by macaroons...
in a room filled with: white lilies...
as a joke: Strauss, waking upon
the deathbed:
    any of you ******* put those
chrysanthemums near me! i swear!
    better throw some fallen autumn leaves
from the park! i've never encountered
the scent of a rotting fern...
but these flowers just about do it!)
      ha!
this would have been a waste of a good
bottle of whiskey...
why didn't i encounter this prior...
   toiling in what ended up being something
of a cough medicine in terms
       of: well... something or other.
- unless i remember what it was...
    however many pockets in a day...
Nietzsche and pockets...
         or rather the film starring jim carrey,
dark crimes...
         and... yeah... that filter layer...
that something like this happens...
   but then turned into a movie...
     well... that doesn't exactly hide what
is made into an elaborate fiction:
working from a very base beginning...
like metallurgy...
      reality is the base ore... crude...
  un-rehersed...
  until it is subjected to... refinement...
  but that isn't the point:
       what is Heidegger's
    dasein in relation to journalism
in relation to post-journalism as in:
the film industry?
       which deviates from a mere "existence"
(out of every instance...
  my variety of ex-instance [E, A...
O... what's the difference?]
     there's an insistence) -
   and becomes... presence...
            or rather...       concern...
otherwise known as: the murky wood...
synonymous a variety of
other psychoanalytical metaphors...
yet in a film like 4.5/10 IMDb starring
jim carrey (well **** me!
    6.5 IMDb nicholas "8mm" cage!)
       that... dasein aura that journalism
cannot capture:
   as if we're supposed to be repeatedly
shocked by what "doesn't" happen:
when it clearly happens...
        en masse journalism:
frankly? i prefer the anaesthetic prior
to my tooth being drilled...
                     alternatively:
the film industry has made me
dasein ******...
                                      like gaining
access to a third eye that's in
the back of my head:
   and a ego-"personna"
           that capitulates to the role
of puppeteer:
   whereby the cognitive essence of
"thought" is: third person...
                   or... akin to the movie
get out:
                  always that one shutter-close
prior to: no other eventuality.
- besides that!
   already criticism:
nagging nagging, pampering
to... der geliebt leßer...
                     my ***: to some
coffee-mug "whining rhyming" poetics...
- but sure as ****...
you can make a fine, fine cauliflower
soup... as long as you add fried
   chouriço sausage to it...
  (χoυριςo) - which has clearly
entombed an orthographic error:
            correction - χoυρισo -
yes... every roman in italics:
is just as well (in appearence) greek -
but guess what!
   ever see a Greek write Greek?
i mean: handwriting...
                    even i inquired...
crux?

                Υ                        Ν

- is that an N?
- no... that's a U...
- "huh?!"

mind you: they do look pretty similar,
and i am more used to Vv(5)...
                                      ν / υ

and that was a real life scenario...
back on the 23rd of November 2018...
Warsaw...
     and giving directions
to get from Modlin (aiport)
               to Warsaw (central)...

still... a whole jar of coffee...
  and thankfully there's double cream in
the house... at 30% fat...
what coffee isn't a Hollywood coffee?

- and then there's that...
thought from the shower...

           honest to god...
give me the 1950s / 1950s-esque
   technicolor movies...
   eastmancolor - or whatever you want
to name them...
that very specific tinge...
acrylic...
   and you can hide all the CGI
and all the phosphorescent neon
             80s optic-**** festivities...
and those panoramic one shot
scenes... where a man on horseback
travels from one end of the panorama
to the other: and there is no cutting
             involved: no sub-movie editing...

mind you:
i'm still trying to find the sort of person
that could epitomize
   being more inclined to read
comic books... than watch a movie...

  coffee and cream... coffee and cream...
and a wintry afternoon.

insanity: doing the same thing over and over again and expecting different results.
                                - anon.

don't know why it boils down to this,
but i like the idea
of everything being stripped down -
i remember being 13 / 14,
   and when the release date for
a computer game came out,
    i have the sweats,
      running into the ilford mall and gripping
the **** copy of a game
with sweaty hands...
   but there's something different
about this release...
             *logan... i'm anticipating it
like a kid...
                   but i had a precursor dessert
(sort of speak) -
   seeing clips from logan -
and then watching blood father
starring mel gibson,
        i'm wondering: who copied who?
they're so alike in these films...
  i'm starting to doubt whether logan
will live up to my kiddy-anticipation...
i already know that gibson added
the comic-edge to the role...
                    never mind the claws...
sure, imdb have it a 3 stars,
                    i never liked reading critiques
of either movies, books, or albums:
                   each to his own, after all;
it's just such a shame, that american
are like butter: easy to watch,
   while all foreign cinema is so ******
meaty...
                oh i don't mind the sub-titles,
but americana can be watched on-repeat,
european films, iranian, turkish,
       they are always so ****** meaty:
notably those provided for the english audience...
of course you can have native films
that are just as american, as the american
movies...
                 i don't know if it's a compliment,
or whether it isn't...
    up in the edinburgh film society,
pedro almodóvar was a hit,
   notably for the film bad education...
    and those films are just meaty,
   you watch them once -
   and then, for some reason, never return to them:
perhaps they have the content of
a pneumatic drill that drills past your
attention, and into your memory...
   american films rare have that quality -
you keep watching them, over and over again,
simply because they're so easily forgettable,
but it's this "short-memory loss" regarding
them, that makes them so fascinating to
watch two, three times...
    the memory loss doubles up with
sequels, prequels, rocky 8 rambo 7
                                      terminator 10.
i've recorded a few e. i. bergman films,
trouble is, i haven't finished watching
   wild strawberries...
  i started, couldn't finish...
   a bit like *** with foreign language cinema:
you really have to be in a mood,
otherwise it's just another **** by a blockbuster
from america.