638 Ways to Kill Castro

638 Ways to Kill Castro is a Channel 4 documentary film, broadcast in the United Kingdom on 28 November 2006, which tells the story of some of the numerous attempts to kill Cuba's leader Fidel Castro.

The film reveals multiple methods of assassination, from exploding cigars to femmes fatales; a radio station rigged with noxious gas to a poison syringe posing as an innocuous ballpoint pen. Fabian Escalante, the former head of Cuban Intelligence, the man who has had the job of protecting Castro for many of the 49 years he’s been in power, alleges that there were over 600 plots and conspiracies known to Cuban agents, all dreamt up to end the life of the “red menace”. Some were perpetrated by the CIA, especially during the first half of the 1960s. From the seventies onwards, the attempts were most often made by Cuban exiles who had been trained by the CIA shortly after Castro took power in 1959.

On the trail of Castro’s would-be killers, the filmmakers meet a series of would-be assassins – several are also accused terrorists, still living in America. Orlando Bosch, accused by many of being the greatest terrorist in the hemisphere, is found living peacefully in his Miami home, surrounded by an adoring family. Curiously, both Bosch and his companion in arms and fellow accused terrorist Luis Posada Carriles turn out to be keen amateur landscape painters.

The film also contains extensive material shot with Antonio Veciana, the Cuban exile who got close to killing Castro on three occasions, spanning 17 years. He is found running a marine supplies store in Miami. All these men, the film reveals, were supported and funded by the United States. At one point, staggeringly, the CIA even sought the help of the Mafia in the hope they would be able to succeed where so many others had failed. Other characters are Félix Rodríguez, the CIA operative who took part in three planned assassination attempts against Castro, and gave the order for Che Guevara's execution in 1967 in Bolivia, and Enrique Ovares, possibly the first man to make an attempt on Castro's life after he took power. Robert Maheu is interviewed, the Hughes associate who served as liaison between the CIA and mobsters "Johnny" Roselli and Sam "Momo" Giancana, in another plot to kill Castro, this time using poison pills.

In 2006, the documentary was the centre of a controversy surrounding US Congresswoman Ileana Ros-Lehtinen. In it the Miami Republican, who had been recently tapped to become the top Republican on the House International Relations Committee, states “I welcome the opportunity of having anyone assassinate Fidel Castro and any leader who is oppressing the people.” A clip of her statement made its way to the popular website YouTube where the newsmedia quickly picked up the story. There was a subsequent public questioning of Ros-Lehtinen's morals and suitability for her job. She responded by asserting that the clip was spliced together and that it was taken out of context; but after her account was contested by the film's director, she eventually released a statement, on Christmas Eve, accepting that she had made the remark.

The sub-text of the film is a comment on the contemporary War on Terror. The film's executive producer was Peter Moore. It was directed by Dollan Cannell and the commissioning editor was Meredith Chambers.

Courtesy of Wikipedia

Pritzker Prize Goes to Peter Zumthor

He is not a celebrity architect, not one of the names that show up on shortlists for museums and concert hall projects or known beyond architecture circles. He hasn’t designed many buildings; the one he is best known for is a thermal spa in an Alpine commune. And he has toiled in relative obscurity for the last 30 years in a remote village in the Swiss mountains.

But on Monday the Swiss architect Peter Zumthor is to be named the winner of the 2009 Pritzker Prize, the highest recognition for architects.

"He has conceived his method of practice almost as carefully as each of his projects," the citation from the nine-member Pritzker jury says. "He develops buildings of great integrity — untouched by fad or fashion. Declining a majority of the commissions that come his way, he only accepts a project if he feels a deep affinity for its program, and from the moment of commitment, his devotion is complete, overseeing the project’s realization to the very last detail."

For Mr. Zumthor, 65, winning the Pritzker, which is awarded annually to a living architect and regarded as architecture’s equivalent of the Nobel Prize, is a kind of vindication. "You can do your work, you do your thing, and it gets recognized," he said in a telephone interview from Haldenstein, the Swiss village where he lives and works.Mr. Zumthor is the 33rd laureate to receive the prize, which consists of a $100,000 grant and a bronze medallion and is awarded at a different architecturally significant location each year. This year’s ceremony is to be held on May 29 in Buenos Aires.

The project most closely associated with Mr. Zumthor is the spa he completed in 1996 for the Hotel Therme in Vals, an Alpine village in Switzerland. Using slabs of quartzite that evoke stacked Roman bricks, Mr. Zumthor created a contemporary take on the baths of antiquity.

He is also known for his use of wood, as in St. Benedict Chapel in Sumvitg, Switzerland, which evokes a giant hot tub.

The Pritzker jury praised Mr. Zumthor’s use of materials. "In Zumthor’s skillful hands, like those of the consummate craftsman, materials from cedar shingles to sandblasted glass are used in a way that celebrates their own unique qualities, all in the service of an architecture of permanence," the citation said, adding, "In paring down architecture to its barest yet most sumptuous essentials, he has reaffirmed architecture’s indispensable place in a fragile world."

Mr. Zumthor said that his projects generally originated with materials. "I work a little bit like a sculptor," he said. "When I start, my first idea for a building is with the material. I believe architecture is about that. It’s not about paper, it’s not about forms. It’s about space and material."

Mr. Zumthor’s buildings do not share a common vernacular. They range from tall and circular to low-slung and boxy. For his Field Chapel to St. Nikolaus von der Flüe, completed in 2007, in Mechernich, Germany, Mr. Zumthor formed the interior from 112 tree trunks configured like a tent. Over 24 days, layers of concrete were poured around the structure. Then for three weeks a fire was kept burning inside so that the dried tree trunks could be easily removed from the concrete shell. The chapel floor was covered with lead, which was melted on site and manually ladled onto the floor.

For an art museum in Bregenz, Austria — a four-story cube of concrete, steel and glass that opened in 1997 — Mr. Zumthor used glass walls that at night can become giant billboards or video screens.

His Kolumba Art Museum in Cologne, Germany, completed in 2007, rises out of the ruins of the Gothic St. Kolumba Church, destroyed in World War II. The Pritzker jury called the project "a startling contemporary work, but also one that is completely at ease with its many layers of history."

Mr. Zumthor said that he deliberately kept his office small— no more than 20 people. "That’s the way it’s going to be so that I can be the author of everything," he said."I’m not a producer of images," he added. "I’m this guy who, when I take on a commission, I do it inside out, everything myself, with my team."

One of Mr. Zumthor’s best-known designs never came to fruition. In 1993 he won the competition for a museum and documentation center on the horrors of Nazism to be built on the site of Gestapo headquarters in Berlin. Mr. Zumthor’s submission called for an extended three-story building with a framework consisting of concrete rods. The project, called the Topography of Terror, was partly built and then abandoned when the government decided not to go ahead for financial reasons. The unfinished building was demolished in 2004. Born in Basel, Switzerland, Mr. Zumthor as a teenager served a four-year apprenticeship with a cabinetmaker. He studied at the Basel Arts and Crafts School and spent a year at Pratt Institute in New York. In the 1970s he moved to Graubünden, Switzerland, to work for the Department for the Preservation of Monuments. He established his own practice in 1979 in Haldenstein, where he and his wife, Annalisa Zumthor-Cuorad, brought up their three children.

Mr. Zumthor said that his village had been an inspiration and a refuge. "It helps you concentrate," he said. "And also collaborators coming here are not distracted by all the things of the big city. To come up with me, you’re in the Alps. It’s sort of a commitment. It’s a beautiful feeling. Of course you have to like the mountains."

New York Times
by Robin Pogrebin
April 12 2009