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The East Los Angeles Dirigible Transport Lines (ELADATL) has announced the opening of new dirigible passenger ticket stations on N. Main Street adjacent to the L.A. River, easy access to San Antonio winery, wino on a bike, La Mano studios, Lanza Bros Italian Market Famous Italian Sandwiches since 1926 or 1986, plus river kayaking (in season) near at hand—as well as our new El Sereno Station, kitty corner to LEAD mural & pollo truck, access to nearby Lincoln Park, Plaza de la Raza, Wilson & Lincoln High Schools, Floating House and Stairs to Nowhere. New stations projected to open soon in Highland Park, Elephant Hills, HP, City of Vernon, City of Industry, Rosemead, and Frogtown.

In order to better serve these communities and promote dirigible use of free air space, ELADATL’s Ray Palafox has developed ground transportation lines of connecting LAND DIRIGIBLES. In the interests of public transport, public welfare, freedom of movement and the public good, transfers available on any flight for ground service wherever you may go. Simply ask the inflight conductor or the ticket booth attendant at the station, you will see. Sometimes at the El Sereno Station you might want to go around the side and check out back if you knock on the door and no one answers. Somebody is always around.

These new lines now open:

Land Dirigible Alhambra line 1051 goes "nowhere, nothing is there" (according to former Alhambra resident Phil Spector resident of Corcoran, CA 19 years to life). Something like Robert Johnson slide guitar erupts from electric poles overhead when the electricity connector hits lines across the intersections fast in the middle of the night.

Land Dirigible 143 departing the El Sereno Station, heading south on Soto, children occasionally waving at the levitating house or marveling at the LEAD mural readily visible from our car's spotless windows, and the teenage fruit vendor droops in the heat next to her cart while some dude talks her up. Why isn't she in school? It's the middle of the day and she is out on the sidewalk with her fruit cart.

Just one of many local sights you can see adjacent to our new El Sereno ELADATL Station. Frequent dirigible/ electric train connections, for ultimate convenience in getting from point A to point B. Not to mention Lincoln Heights, County USC Medical Center, King Torta.

Land Dirigible 750 heading toward Boyle Heights out of the El Sereno station, with stops at Brooklyn, King Taco, Tianguis, Borrego de Oro #1, Sears Tower, Farmer John, on its way to Carson and Paramount to the beach. Ever popular summer beach getaway line.

Many customers crowd our ticket booths to get their tickets, but you can avoid the rush by purchasing your tickets in advance. For your convenience, you may purchase a month's supply of tickets in a handy booklet format, or a week's commuter pass, or several at a time! "These ELADATL transfers come in so handy, I toss a couple in my purse just in case!" Margaret Saldivia says. "I even put them in the children's lunches!"

The Huntington Drive Land Dirigible 1063 north from our El Sereno hub is a stress-free, modern and economical way to get to the Rancho Meat Market, Xocolatl Coffeeshop, the post office, B-Man's in San Gabriel, the San Gabriel Nursery, or visit your Japanese American pals living at the Santa Anita Horse Stalls preparatory to their shipments to points east!

Several new lines of Land Dirigibles make frequent stops at important and conveniently located cross streets and points of interest near you, including Valley Boulevard and Eastern Avenue in the El Sereno hills. Perfect for a breezy summer day's ride when your work is done!

"I love jumping on the Land Dirigible for a quick trip to Hollenbeck Park to practice my kayak strokes and tip-over recovery," says Swirling Alhambra, secretary of the East L.A. Balloon club.

Edward Roybal is a frequent rider of the Land Dirigible, and ELADATL was a proud sponsor of his trip to his swearing in ceremony as East Los Angeles's first Chicano congressional representative. "Land Dirigibles!" Honorable Ed Roybal said.

Land Dirigibles make frequent, fast and comfortable stops everywhere along our air transport routes from Riverside to San Pedro and downtown Los Angeles. This Land Dirigible 1234 heads toward downtown from El Sereno with electrical sparks.

Our Japanese American customers from Boyle Heights to Monterey Park and across the San Gabriel Valley have found our new Land Dirigible lines both modern and accessible as they venture downtown to complete important business. See you again soon!

Even the paleta man, Free Willy, says, "I love these new Land Dirigibles. They bring my customers to me!"

Once in a blue moon, technical problems may stall one of our dirigible flights. Never fear! While ELADATL technicians wrap up problems within minutes, just jump aboard the nearest Land Dirigible!

ELADATL technicians such as Liki Renteria seen here continue to upgrade and develop new procedures to make all your trips with us clean, contemporary and care free!

No matter what you may find yourself up to, there's an ELADATL flight or a Land Dirigible to take you there!

And remember! When social disturbances ruin the view on the ground, you can always retire to quality comfort in the air, floating high above traffic jams, disturbances and natural catasrophes of any kind on our regular dirigible flights!

Just look for the crowd! You'll find it forming now at the ELADATL Land Dirigible station nearest you! Get your ticket today! Or a discounted monthly pass for travel by Land Dirigible!

The attractions and mysteries of East Los Angeles are right outside your door with our new lines of Land Dirigibles!

Land Dirigibles, from NE L.A. to the sea, from Santa Monica to the desert, the perfect complement to the East Los Angeles Dirigible Air Transport Lines!

"Downtown in minutes, home whenever you feel like it!" That's our motto for ELADATL Land Dirigibles.

Pacific Electric Train Images copyright Pacific Electric Railway Historical Society (www.peryhs.org)

Lincoln Park, CA 1997, transcription by Jóse López Feliú:

I became acquainted with Filth Saints/Manifestos/Ballons sometime in
1986-7, when I was in Sonora, Mexico. An eccentric collaborative
publication, I was asked to contribute for the summer 1988 issue
commemorating the rupture of 1968.

The Sonoran desert at the time was full of miscreants, savages,
demonic forces. I studied with a ghost who lived in an abandoned
aluminum geodesic mushroom. It was in Sonora that I first met Ericka
Llanera, the founder of the second incarnation of East Los Angeles
Balloon Tours.

The history of dirigibles and balloons in East Los Angeles is long.
There is growing evidence that there was an infrastructure in place in
East Los Angeles (stations, anchoring spots, filling stations for
hydrogen and helium, hangars) to facilitate a mass transit system of
dirigibles and balloons. Launched sometime between the two world wars,
East LA Dirigible Transit Company transported its first passengers
from Monterey Park to Downtown Los Angeles on September 4th, 1921.

Surviving records show that rider-ship was moderate the first few
months, steadily increasing as the public realized the benefits of
flying. It’s thought that a conspiracy of oil, rubber and automobile
interests resulted in the company meeting an abrupt end. Most records
of the company were lost by the Los Angeles Police Department, assumed
destroyed, after the company went bankrupt. Likewise, any tax records
of the company have been redacted or lost. One photo remains as
evidence of the operation: a photo of a balloon operator found at an
estate sale along with stationery and ledgers with the company logo.

In 1969, Ericka Llanera resurrected the East LA Dirigible Transit
Company by launching a balloon from an old anchoring point in the
community of City Terrace. Renaming it East LA Balloon Tours, she
began to offer a limited route to and from California State University
Los Angeles from another anchor point in the community of El Sereno.

Ericka Llanera was also founder and editor of Filth Saints/Manifestos/
Ballons. The magazine covered a diverse range of topics within the
field of entheogenic physics, urban design and prophecy. It was also
designed as an echo of the revolutionary events of 1968… a kind of
delayed echo and elaboration of some of the policies put forth by the
student revolutionaries those years ago.

There were other contributors, some I knew like Renato Frias or
Agustina Sandate. Many I never met, their work came to the magazine
through anonymous mailings or go-betweens. Llanera’s most productive
decades were the 80’s and 90’s. She operated in the night, sharpening
her efforts to mine the ebb periods of the large social movements.

The magazine ran from 1988 till 1995, folding when Llanera was
arrested after the police raided her apartment in East Los Angeles.
All of her papers were confiscated and I lost contact with her. No one
knows where she went; we’re left with her valuable work.

 

Download the FREE pdf document of our new Shipping Manifesto today!

 

at http://www.doveglion.com/2011/05/sesshu-foster-and-arturo-romo-fly-the-east-l-a-dirigible-transport-lines/

FREE!

Includes endorsements from Mosaic Roskalnikov and letters from Darryl Gates, first cyber-bionic-Latino U.S. president Antonio Villaraigosa and other well-wishers.

Includes a preview of our new lunch menu available on most flights over the southland, featuring Farmer John products!

For the first time ever, we’re rolling out for your view, our completely unnecessary and unused complaint form, drafted by our union representatives stationed in Slovenia!

Includes photographic proof of Sergio holding a picture of the ELADATL ship Colima and pointing to the spot of its most likely fateful demise, showing that we have been right all along about 2009 the End of the Automotive Era!

Welcome to the new age of 2011! Year of Rushing Noise and Leaves!

Plan your next travel by dirigible!

Safe, convenient, quiet.

Globular, sensitive, clean.

Pastel colored, silver, and shining.

Reasonable, modern, fresh.

Not old, or unstable, or nightmarish.

Tranquil, Western, Pacific.

Whether you are enroute to Flagstaff or Kingman, Needles or Taft, Bakersfield or the Bay Area, go to the new El Sereno ticket station and bang on the door and yell out, “Sergio!”

Whether you are commuting to Mexico City or Seattle, San Bernardino or HP, Wilmas or City Terrace, jump aboard, don’t worry!

We’ll take you to Downey, La Habra, Long Beach, Covina, or wherever.

Knowledgeable pilots! Variable rates! The greatest views!

Look at all the little people stuck in traffic on the freeway as you zip past overhead.

Free confetti balls to throw at them.

 

 

with grateful acknowledgment to the editors at Doveglion (they win queso fresco & free tickets to a fried chicken picnic in the air high above Pasadena in our New Year’s balloon picnic):

Barbara Jane Reyes, author of Diwata and other books

Oscar Bermeo, author of To the Break of Dawn

Download the pdf document of our new Shipping Manifesto today!

at http://www.doveglion.com/2011/05/sesshu-foster-and-arturo-romo-fly-the-east-l-a-dirigible-transport-lines/

Have you heard of the condition “Ocular Erection”?

Does your work life interfere with your “eyes spitting blood” and entrails?

Have you worked on anything recently related to the cleaning of tripa? Are you familiar with Angular Mental Menudo?

Has your head popped off?

Expected date of head popping off __/__/____ Has your diagnostic been bagged and bloodied? and do your shoes still fit?

Is poverty recognized in your heart awareness as trauma?

Does you hair continue to grow after?

Were the morsels spotted with gummy blood enough?

Hair wraps made of noise

from the East L.A. Dirigible Transport Lines to the Metropolitan Transit Authority

Jose Lopez-Feliu and Swirling Wheelnuts discuss East LA history, the future of Dirigible Transport in Los Angeles and the finer points of street cooked chicken. Part II

http://www.youtube.com/watch?v=DkaemdUG85c

Someone asked, “What do you think of [Such & such a poet]?”

“The last time I saw him he borrowed forty bucks from me,” I said.

Of course that was just my facile attempt to side-step the expectation that I must judge the poet’s work, good or bad.

Poets, I believe, subvert the binary, especially all such formulaic ways of seeing the world, whenever possible. It was true the poet in question borrowed forty bucks, but that wasn’t really my point. The point was that the real world is so much infinitely more manifold than good or bad. I may not at the moment have any use for another poet’s poetic projects, but I might later. If I have confidence in my own work, that it will develop and advance and go the distance, then sooner or later it will democratically engage with other voices, whether I agree with them or not. We will end up on writers’ panels, on reading stages with others, at festivals, in reading series, on campuses and in the community, delivering our side to the public dialogue. We integrate the magazines and the bookshelves. If we want a more democratic culture, we have to go public. Poets, writers and artists ought to have that confidence in their own work, their own voices, in part because (particularly if we speak with minority, working class, gay or denied voices) our work represents.

All sincere poets, I happen to believe, make the world better precisely because on some level they are engaged in this subversion, diversifying POVs and eroding conformist worldviews. If you survive long enough, life might be generous with you and allow you to see the positive aspect of (self-admitted) boring work such as that of Kenneth Goldsmith—perhaps even Robert Frost. Reciprocate life’s manifold generosity by living long, subverting to the end.

Students regularly instruct me, looking into a poem which I shrugged off, thinking, “Really? That’s it?” where they scan usefulness or purpose which I missed. I’m taking a number, standing with everybody else in line waiting to pay. My thinking gets boxed in and standardized by habit and made ineffectual like anybody else’s. That’s how poetic diversity is useful.

Robert Desnos, Resistance fighter and Surrealist poet, who died in Theresienstadt concentration camp, 1945

ERASED MURALS, LOST ARTWORKS

photo by Daniel Hernandez

 

1. How would you describe the effects of lost artworks?
—In this way: the Big Man gets bigger. The Big Name is running in the street. Cars drive forward, mental wheels reify, cognating into walls.
2. How do artworks disappear?
—Washed by orange juice.
Washed by lights.
Washed by ideas.
Washed by plastic film.
Washed by notions.
Washed by paper.

They enter museums. Fotos are white walls, frames, labels. They enter books, libraries, data systems. They smudge paper. They arrive at perfection. They are reproduced. They become thin. Sliced sections. They lose dimension. They… They become part of the Wheel of Ideas. The Wheel of Ideas is perceived in the cognate teeth of its Walls.
3. It’s been documented that some people stare at walls as if murals still remain. How about that?
—The wheels are spinning, the wheels are turning. Sometimes you can see through walls into civilizations, into the cracks, inside the sweeping of forces. The teeth of the wheels cognate. The gaze of some viewers may be unique, may float above the vast sweeping.
4. What was the purpose of putting murals on freeways?
—Murals on freeways serve three main purposes according to the Los Angeles Department for Cultural Affairs:

To cover up blank spots on city surfaces, improving overall drivability of the basic interurban grid
Reflection of small silver angels that everyone recognizes, whenever they spot them
To use the technical auras of muralized walls like mental sponges, in order to soak up vague anguish and indeterminate sufferings of lonely adolescent taggers who wish they could go to art school or have girlfriends.
5. Is there a resource where I can find lost artworks?
—Their presence is unstable, like all art, and fleeting: egg shapes, egg sacs of certain insects, in particular frogs (in this regard the extinction of amphibians is to be regarded with real alarm)— and in any urgent lack, in every lapse and interstice of “architectural” or structural need: empty lots, urban renewal, the void above freeways where clouds of carbon monoxide and noxious particulate. Art while formless remains a kinetic energy held in abeyance, awaiting release.
6. Is this discussion limited to lost art works?
—Lost art works relate to gambling losses, lost toys, lost wars, and lost electrons. These categories have not been fully examined, so it may well turn out that small silver angels crowd interstices that may appear to be “cracks”, the angels chattering, melting together, much loss attaches to them.
7 – 8? [lost!]
9. Does the sum total of lost art works create enough mass to relate to new artworks?
—Yes, as civilizations arise, silver angels, flies from larvae, and almost microscopic spiders wafted into the upper atmosphere on strands of web, this is one phase of the transformation of the actual into the virtual, of the objective into the ideal, of lives into atmospheric ash.
10. Is lost artwork a force in the city?
—Cities, walls, structures and architecture are partly constituted of, cohered by, and underpinned by nodes and spots like chewing gum on sidewalks.
11. I want to talk about the absence of lost artworks.
—Speak to the empty windows of surrounding buildings.
12. Do those who erase artworks retain ownership? Is the absence their property? Or does the absence belong to everybody?
—Lost artworks form windows into civilizations. Are windows owned by people looking through them? Who owns the view? The randomness of the view and the many angles of the view may result from accretions of lost artwork, affecting everyone’s view.
13. Do lost artworks come out at night?
—They are little affected by light or dark. They are more affected by activity or stillness, by eating or hunger, by solitary angels or angels crowded into small cracks in all things, chattering.
Left-wing philosophers may say that artworks are born in the night and to the night return. Right-wing philosophers may assert that only in full daylight can one recognize real art, thus art only “really” exists in recognition of official noon. I’ve been a member of the committees where these discussions of darkness and light take place. It makes you feel sick with a giant headache, like sucking gasoline fumes through a siphon hose. I think the fumes drive philosophers whacko. Left-wing philosophers start arguing that human beings only “really” exist in their sleep. Right-wing philosophers start asserting that the only art which ever truly existed with any permanence outside thought exists in photographs from 1949 – 1978, the so-called “Golden Age” of Art History, before digitlization and before the so-called Po-mo Reformation.
14. Are lost artworks those pinpoints of floating light we talked about? Are they constellations we can reconstruct?
Impregnator and 20th century operator Juan Fish has been overheard saying, “Floating points of light can be reconstructed by striking yourself in your face with your fist, but it won’t bring back Eloy Torres dangling from the side of invisible buildings that aren’t there, on top of Bunker Hill that has been taken away. Eloy Torres can paint a Burger King paper crown atop Cheech Marin’s grinning head, but he can’t release fireflies from a mason jar over empty lots of Bunker Hill & Belmont and conjure an atomized community out of the empty (smoggy) air of late afternoon. The atoms have been released. They are floating in the last light of afternoon.”
But Juan Fish is a slippery character and everything attributed to him is a slippery slope. For instance, what about Eloy Torres painting of Diane Gamboa wearing the same crown as Cheech Marin? Does that invalidate her royal status? If so, how does that affect the floating lights?
15. What’s the ratio of preserved artworks to lost artworks?
—Again, we go back to that same argument between the left wings and the right wings of our party. The left wing would probably fall back to the position that it’s all good, that the destruction of artworks (public images) causes them to revert back to “the people,” that deepest reservoir of fertility, which retains the initial impulses of creativity in the form of dark, formless kinetic energy. The right wing would counter that that’s wishful thinking, religious in nature, unscientific and self-defeating. The right wing would argue that all public images, often supported by tax dollars and located on or near public right of ways, on or near public property, are singular, unique historical monuments per se, and as such, represent high points of the movement, of community consciousness articulated in its most concrete and accessible form, a spiritual resource for all, and therefore, the community must be mobilized to fight for public images on its own behalf, to the very last one. Its memory, its history, its demands necessarily depend on these images. The right wing thus asserts that when the public image is erased, the community itself is atomized and dispersed in spiritual particles. It accuses, in its most desperate moments, the left wing of its own party of participating in the destruction of legacy, of communality, of our goofy looking but actual past, in its own specious, thin, deluded nostalgia and idealism, of trying to go back to the womb of the people, go back to formless darkness and hide from our political responsibilities. The committee meetings, town halls, panel presentations and university conferences at which these views are exchanged luckily are never attended by more than a handful of people, who are not on the A List.
16. Do we have accurate records of lost artworks according to zip code, community or demographic areas?
—Such records and archives have been researched and tabulated by writers such as Alvar Nunez Cabeza de Vaca, Mario Payeras, Miguel Hernandez, and have been authored by Tiburcio Vasquez, Joaquin Murieta, Ralph Williams Ford, and Charles Mingus. Access to these and many other related documents can be found at:
Chicano Resource Center
East Los Angeles Library
Daniel Hernandez, Librarian
4837 E. Third St.
Los Angeles, CA 90022-1601
(323) 263-5087
CRC@library.lacounty.gov

 



Amid the hectic rush to get from point A to point B, the bitter and broken metaphor.

At one brutal end of time, at one far end of the earth, all there was was a metaphor, or part of one.

Who was it before us that tried to fly that figure of speech, and it did not get off the ground? But that did not stop us.

Re-envisioned, it was organic, summery and green, it rose lighter than air in the hangar like THE SMELL OF URINE.

Remains of dessicated or destroyed flimsy errors, deformations or aborted attempts made a carpet of leaves on our faces.

Allusive faded whiteness, holy Scotch tape, pissy child. Unfinished sentence.

Eye test for pilot candidates, get a haircut. $12 per hour, my neighbor vomiting last night after the party.

LIKE HUGE metaphors roaming through the dark night. You could see the lights.

Summative, sums. DOWN, UP.

"I don't give a fucking goddamn who the hell is down there! I will make my connection!" cried the metaphor, throwing yet another fit.

Inside the metaphor was a simile or synecdochial wonder, at least. Yellow as mustard.

Some bled from their orifices, some their bodies turned black. The lucky survived and are still working today. No one knows about them.

The light was not a symbol. The palm frond was not a dead dog. The look was not a signal. The empty intersection was not a turning point. The figure was not latency.

Attached were concepts of motion, stasis, departure, destination, filth, fertilization, rupture, deformation, birth. Some people objected.

Tumbleweeds of truth. Stickers of factuality. Cuttings of mordant replantings. Rhyzomatic and axiomatic smears. That's all we said. Or what?

Fetishizing violence wasn't the metaphor. Building something out of nothing was.

Not even. Not now. Not later. Not ever. However, it was seen as a figure in the metaphor.

Shipping Manifesto: The Zeppelin Attack Dirigible Sessions now on-line at Joyland Magazine

By Sesshu Foster and Arturo Romo-Santillano

THE ELEVATED VIEW AFFORDED FROM HEIGHTS OFFERED BY BALLOON TRANSPORT OF THE FUTURE ARE EXCITING. IMAGINE SEEING THE DRIFT OF EastLA LIKE YOU HEAR PIECES OF MUSIC DRIFTING IN FROM HOUSES SUNDAY MORNING, EXCELLENT OPPORTUNITIES FOR CRACKING OPEN CODES OF VISUAL INTERFERENCE.
—ZAD MANIFESTO

Should we say our names out loud? For the record?

Just transcribe it, we’ll sort out who was who later.

Or we won’t.

http://www.joylandmagazine.com/stories/los_angeles/shipping_manifesto_zeppelin_attack_dirigible_sessions

About Joyland

Selected by the CBC as part of the Top 100 of 2008, Joyland has been called “the go-to spot for readers seeking the best voices in short fiction.”

In an article on the state of literary magazines, Quill and Quire proclaimed, “A savvy, sleek publication, devoted entirely to new short fiction. Joyland boasts editors in several major North American cities, and has published marquee names such as Jonathan Lethem and Lydia Millet … The future of literary magazines is already here.”

Meanwhile, Montreal’s Hour writes, “Joyland is an innovative, online publication devoted to new fiction,” and Time Out Chicago has called Joyland “a lovely literary site that has a preoccupation with location… We certainly like the idea of towns self-identifying by virtue of their hometown authors. And so far, the work speaks for itself.”

Joyland is dedicated to finding a new way to publish short fiction. We’ve chosen several editors to select and post stories by authors in a given locale. We think this is both simple and full of possibilities for authors and fans of short stories to discover work they normally wouldn’t.

Joyland was created by Emily Schultz and Brian Joseph Davis, and developed by Bill Kennedy of Stop 14 Media.

 

We practiced for our participation in the Cinco de Mayo parade sponsored by Coors. The side of our float, a perfect scale model of the ELADATL ship Agnes Smedley, presented our public service message: RIDE FUEL EFFICIENT LIGHTER THAN AIR TRANSPORT! NO WAR FOR OIL IN 1987! IN 1990! IN 1991! IN 2003! IN 2006-7! IN 2011! NO WAR FOR OIL! IN 2015-2016! In 2025!

Tania and Jose went to look at the parade route and had birria at Chalio's. They were like, "I want huesos." Do you want it wet or dry? "I want it wet!"

Abel, Dixon and Evelina took a group up over City Terrace where they looked down on Sybil Brand Women's Jail on the way to survey the new public art installation sight alongside the 710 freeway. "Is that Cal State L.A. down there?" Rebel asked. Dixon and Evelina were like, "No."

The club took off from Alhambra airport and held a map orientation class at 4,000 feet, taught by Tania, Rebel and Dixon. "Don't drop the chihuahua this time," Dixon told Rebel, who was showing the dog everything.

A dozen or so club members met at the Zep Diner as usual for Sunday morning debriefings on recent overflights of the San Gabriel Valley. "I feel like I just got off work," Mona said, with the burnt rubber smell of the Goodyear plant in the breeze.

Members were glad to report that the East L.A. Dirigible Transport Lines is further developing lighter than air infrastructure in corridors throughout the metropolitan, Northeastern Los Angeles and San Gabriel Valley region.

Here for example are arrivals at the new Soto Street/ Huntington Drive ELADATL station, where transfers can be made to Glendale, Pomona, and Wilmington lines.

Here's another shot of the new station. Swirling and Jose crossed the street to view new street art and caught ELADATL air traffic on video: http://www.youtube.com/watch?v=gwVOOy4v96M.

According to company spokesperson Tina Lerma, ELADATL plans to open a docking terminal atop County USC General Hospital, for easier access to medical care for the general public.

Lucky club members were met outside ELADATL company headquarters in El Sereno by senior vice-president of public relations and inner-city projects, Tina Lerma. She led our group on a very informative tour of new ELADATL facilities.

We were sworn to secrecey about new technology used in production of state of the art aircraft, the latest in cutting edge solar powered and titanium self-charging frame structures. But here is a picture anyway.

Under the scientific leadership of Mosaic Raskolnikov, ELADATL has hired teams of researchers from as far away as Stockton, Yuma, Tecate and San Diego. This diverse team (some of whom are refugees from war torn countries long since bombed and abandoned by the USA) are shown here developing the prototype for the Kabocha Hydrogen Balls, which will provide essential lift (and power) to new dirigibles.

Here is another shot of the team that developed the Kabocha Hydrogen Ball concept for production. Mosaic Raskolnikov is painstakingly "tuning" the Kabocha ball by twisting its nipple and calibrating or harmonizing the magnetic pencil.

After touring ELADATL production facilities in El Sereno, Tania and Jose assured everyone that in the light-than-air future, with the advent of this new technology in clean and green, quiet and affordable transportation, internal combustion engines will become as quaint and outdated as road apple jalopies.

Club members were given the opportunity to sit inside the titanium self-charging frame to "test drive" a new dirigible even before it left the ground!

You can imagine, Tania and other club members were saying to themselves, "Everyday scenes like this are soon going to seem like the visions of yesterday!"

Before leaving ELADATL headquarters, club members and ELADATL staff shared refreshments outside on the traffic median.

Tania said, "I observed a wild ocelated turkey as I was leaving."

Dixon was so impressed with ELADATL offices at company headquarters, that he found it hard to leave. We had to yell at him we were leaving. But we'll be back!

Meet with us monthly to go on more of our exciting excursions!

November 2019
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