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The Center for a Public Anthropology (based at the University of Hawaii and run by Dr. Robert Borofsky) recently released a study of social science faculty media impact at public universities. The aim, as Borofsky stated, was to permit the public to assess “the degree to which those who draw on public funding participate in public conversations in return.”

The project involved using the Google News archive from 2006 to 2011 to find how many times  faculty members were cited in any of 6,000 news sources, and then dividing the average number of citations for a school by the percentage of National Science Foundation funding the institution received. Schools then were ranked and, within schools, the political science, anthropology, psychology, economics and sociology departments were also ranked using the same system.

As reported in the University of Arkansas Newswire on October 11, 2013, the University of Arkansas social scientists ranked 5th in the country, out of 94 research universities, behind Rice University, Southern Methodist University, the Massachusetts Institute of Technology, and the University of Texas, San Antonio.

As is typical in such cases, the top three faculty at the University of Arkansas were named in the Newswire: Janine Parry and Andrew Dowdle from political science and my colleague Peter Ungar from anthropology. Among departments at the University of Arkansas, political science ranked #1. Anthropology ranked #2.

Curious, I decided to dig a little deeper, and discovered this:


Yep, I was number 4. I didn't make the headlines. Of course, I did have a lot fewer cites than the top 3, but 50% more than the numbers 5 and 6.

It's not that I really care about such things (well, that's not entirely true, if this ranking helped me get a larger merit raise that would be great). The point for calling attention to it is (1) because who else will, since I missed the top three cut-off (the tyranny of trinitological thinking!) and (2) my citations are in all likelihood due to this blog; the fact that I display here my obsession with kufiyas; and that during 2007-2008 there was a "kufiya craze" and a fair amount of media attention to the phenomenon. I was interviewed by various media reporters about the kufiya, most notably in the New York Times.

There is no lesson here, or at least, there is no "model" for anyone who wants a similar amount of media attention so they can impress their college dean. The media attention was really quite random. Moreover, the NSF funding that also factors into the equation has nothing to do with me. Most of it, when it comes to my university, is probably from my anthropology colleagues, especially those in Biological Science. There is no direct line between NSF funding and media impact with an impact on the public.

Saâda Bonaire

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This is a publicity photo for the early '80s synth dance band Saâda Bonaire. Problematic, isn't it? Especially given the name, the first half meaning happiness in Arabic (سعادة).
The 'ayn is often rendered as "â" in French.


I guess this photo (evoking what? catwoman in burka?) goes with not only the name of the group but also their track "The Facts," which is a wild synth-pop-goes-world dance number, entirely of its time, synth with "Eastern" instruments mixed in. Fact recently announced the "rediscovery" of the group and the release, over thirty years after their recording, of a single released in 1982 (two sides, it was the days of vinyl) and 11 previously unreleased tracks. All produced by the amazing Dennis Bovell, who also worked with The Slits and The Raincoats and Pop Group among others.

Of the tracks that I have managed to hear so far, it's "The Facts" that has that Eastern feel. Fact says it "is a decisively weird collision of Pet Shop Boys-influenced FM synth, pummeling disco rhythms, deadpan female vocals and, yep, Middle Eastern flutes and what sounds like Oud. It shouldn’t work at all, but we’re glad it does." I don't think it's flutes and I think it is a bouzouki (or in Arabic, buzuq), but Fact does get the idea. It does, somehow, work. (But I admit, I love that 80s synth sound.)

And it seems, according to this source, that the musicians on the recordings were "culled from the local immigration center." Hmmm, I wonder how much they were paid...
culled from the local immigration center
joined by dozens of local musicians culled from the local immigration center. - See more at: http://capturedtracks.com/news/coming-soon-saada-bonaire-2xlp-cd/#sthash.vrHPVB4B.dpuf

Here's the video for the song, featuring the two German vocalists, Stefanie Lange and Claudia Hossfield, in various states of undress. Very eighties. You've been warned.


Stefanie Lange and Claudia Hossfeld

And here is the cover of the release, just out on November 12. Yep, Arabic on the cover.


Here's a photo of Saâda Bonaire without the weird "burqa":


And a couple more Saâda Bonaire tracks on youtube. "Invitation" (with bagpipes that also "work" and what sounds like a sampled Middle Eastern female vocal). "You Could Be More As You Are." And "Funky Way," which is very dub, but with "Eastern-sounding" horns, and the best track of theirs I've heard so far.

However, I just bought the album (it came out two days ago, 12 November), so maybe I'll find more that I like.

Note: for some strange reason "Funky Way" is not on the just-released album. So grab it from youtube. You've got the link.

ADDED November 16: You can now stream the entire album here.

Dub Snakker Does the Bendaly Family's "Do You Love Me?"

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In 2007 I asked here whether the video of Lebanon's Bendaly Family's "Do You Love Me?" (1978) was the best video clip of Arabic music ever.


Now Dub Snakker has done a re-fix of the song, which he calls "Do You Wubb Me," and which was recently broadcast on Quarter Tone Frequency Vol. 2. You can listen to it at 46:40. Thanks to Jackson Allers for playing it. The entire show, featuring independent music from the UAE, Egypt, Jordan and Lebanon is well worth a listen, but I was particularly moved by this track.

You can download Dub Snakker's release Khat Thaleth, a 23 track compilation of politically conscious Arab hip-hop, here.

The Bendaly Family's official website is here. And check out Rene Bendaly's very wild 1982 release "Tanki Tanki" here.

And one more, also very wacky, Bendaly Family's "popcorn" version of the great Saudi singer Muhammad 'Abdu's "Ab'ad Kuntum wa-al la Aqrabiyin." Nuts. [addendum Nov. 16: thanks to Hammer for this translation of the title - 'Whether You Were Near or Far' -- see comments.]

10 taboo Arabic songs: Habiba Msika

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The very fine on-line publication Ma'azef (in Arabic, and because I read Arabic very very slowly I haven't explored nearly enough) recently published a piece called 10 taboo songs: ١٠ أغاني محرّمة.


I was most interested in item 4, a song by the Tunisian Jewish singer Habiba Msika called "'Ala Sarir al-nawm dala'ni."



Habiba Msika (1903-1930) was quite the sensation in Tunis in the twenties, wearing Paris fashion when the norm was for respectable women to be covered up, taking up with lovers in a fairly public fashion. In 1925 she appeared onstage in a production of Romeo and Juliet, playing Romeo opposite the Libyan Jewish actress Rachida Lotfi's Juliet. Their onstage kiss caused an uproar, and her côterie of fans, known as the "soldats de la nuit," who included many young Tunisian dandies, had to rescue her from outraged members of the audience.

In 1930 a jealous ex-lover entered her flat, poured gasoline on her, and set her on fire. She died the next day. (And you can read more about her fascinating career here.) Tunisian director Salma Baccar made a film about her, La Danse du feu (1995), which I would love to see. (This might be a clip from the film.) And the blog Jewish Morocco reflects on how Habiba Msika is "remembered" in Tunisia today, here.

(And someone please help me with a vernacular translation of that song!)

Added, a few hours later. See the comments from Hammer. The song could be translated as "On My Bed He Spoiled Me." I.e., he shtupped me. Hence the "taboo" nature of the song.

Muhammad Assaf, Raise The Kufiya

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 Clearly I'm behind on my kufiyaspotting blogs. Just so no one who reads this and is trying to keep track thinks I've missed anything, it's important to note that Muhammad Assaf, the Arab Idol winner, performed the song "Raise The Kufiya" (‘Alay al-kufiya) as his final song.



It starts with a mawwal, for which Australians for Palestine has provided this translation.

And here's the Arabic for the song, plus translation (which I've adapted from a couple sources, here and here).

raise the kufiya raise it high, wave it in the air.
 علّي الكوفيّه علّي، ولولح فيها

sing the Ataba and Mijana enjoy it
وغنّي عتابا وميجانا، وسامر فيها

Shake your shoulder gently, Jafra, Ataba and Dahiyya [traditional dances]
هز الكتف بحنيّة، جفرا، عتابا، ودحيّة.

let the gun contribute and make it more fun
 خلّي البارود يهلل ويحلّيها

raise the flag in Ram-Allah and in the mountain of fire [Nablus, a nickname dating from the 1936-39 revolt]]
علّي الراية بِـ رام الله وبِـ جبال النار

your proud aqal [head band for the kufiya] is a symbol of determination and persistence
وعقال العزة عقالك، عزم وإصرار

the first shot is a tale of a journey
والطلقة الأولى فيها حكاية مشوار

when the time comes, we'll turn things upside down
وعند الحق نخلّي العالي واطيها

we planted orchards of figs and olives, we brought wheat seeds and lemons
احنا زرعنا البيارة تين وزيتون، وبذار القمح علينا وبيدر ليمون

When you call my country we'll be ready
رهن الإشارة يا وطن إحنا حنكون

Lighting the path of victory on the day of battle  
يوم العرك دروب النصر نضويها

The esteemed Palestinian singer Reem Kilani has penned a very interesting piece on Assaf (whose talent she greatly admires), in which she worries about how he might be put to use by the Palestinian Authority.

Assaf’s repertoire may be very versatile in terms of Arabic music, but he must ensure that his repertoire on stage encompasses all Palestinians, and that off-stage, he doesn’t allow himself to become the musical mouthpiece of the PA. Mohammed Assaf might have won the tarab of the Arabs, but he must keep the spirit of duende. For himself and for Palestine.

More on Saâda Bonaire's "Bedouin funk archive" & their "oriental disco-funk tunes"

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"Bedouin funk archive" and "Oriental disco-funk tunes" -- this is how Dazed Digitaldescribes the recent eponymous release of this '80s project's canned recordings. They also describe it thus: "Combining the occasionally stony, stark minimalism of European electronics with the groove-laden funk of Turkish and Kurdish folk."

Dazed Digital has interviewed DJ Ralph “von” Richtoven and singers Stephanie Lange (but not singer Claudia Hossfeld) on the occasion of the release. What I found of interest was how they describe the recordings "Eastern" feel. Excerpts follow:

von Richtoven: The band? Well there was no real band. It was a lot of friends from the music scene. I also gathered some traditional Kurdish folk musicians from the local Turkish communist party to play some more Eastern instruments on the tracks. I didn't really want a band – Saâda Bonaire was a pop-art project...

We saw the strong influence that Afro-Cuban sounds had on American music. We could hear the influence that Caribbean and Indian immigrants had on British music in the 80s. In France, they had the Rai music from the Maghreb and a lot of musicians from West Africa. In Germany, we only had Turkish immigrants... millions of them. In the 1970s I studied social work. By the 1980s, I was working for the German government's immigration department. I was responsible for many immigrant social clubs in Bremen. I was also collecting music tapes from Turkey and Egypt since 1975. In theory it was obvious what we had to do: fusion. In reality it was very difficult and almost impossible.

So there you have it: Cool German artists want to emulate the hip reggae and bhangra sounds coming out of England and the "rai" and West African influence on French music. [As an aside, I'm sure this an anachronism, as I seriously doubt that pop rai was much evidence in Germany as early as 1982.] But they "only" had Turks around...who happened to be Kurds who belonged to the Turkish Communist Party?

Don't you wish music journalists asked more questions?

But maybe not, if they don't know the difference between Bedouin and Turks...

What I'm Doing This Saturday

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I'll be at the American Anthropological Association annual meetings in Chicago, and participating in this:

Amahl Bishara is the author of Back Stories: U.S. News Production and Palestinian Politics. Rochelle Davis, the author of Palestinian Village Histories: Geographies of the Displaced. Samuli Schielke wrote The Perils of Joy: Contesting Mulid Festivals in Contemporary Egypt. They are all terribly clever. 

I don't know Joanne Nucho, who is a grad student at UC Irvine and "studies the notion of sectarianism in Lebanon and the way in which infrastructures, services and municipal planning create a sense of community as well as the conditions of possibility for various forms of conflict along sectarian lines." Nor do I know Elif Babul, who teaches at Mt. Holyoke and who wrote in a note to Rochelle Davis, that in her dissertation she "worked on the human rights training programs for state officials in Turkey, organized as part of Turkey's campaign for accession to the European Union." You can check out her pubs here. I'm sure that Joanne and Elif are terribly clever too. It should be fun.

drone life Gaza: zenana

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By Jonathan Cook, via Richard Falk, on the "unfolding tragedy of Gaza."

Drones are increasingly being used for surveillance and extra-judicial execution in parts of the Middle East, especially by the US, but in nowhere more than Gaza has the drone become a permanent fixture of life. More than 1.7 million Palestinians, confined by Israel to a small territory in one of the most densely populated areas in the world, are subject to near continual surveillance and intermittent death raining down from the sky.

There is little hope of escaping the zenana– an Arabic word referring to a wife’s relentless nagging that Gazans have adopted to describe the drone’s oppressive noise and their feelings about it. According to statistics compiled by human rights groups in Gaza, civilians are the chief casualties of what Israel refers to as “surgical” strikes from drones.

 An unmanned aerial vehicle (Photo: Israel Aerospace Industries)

An earlier post on Israeli drones over Gaza and surfing as a way to avoid them stated that "zanana" translated as mosquito.

Ha'aretzwrote in 2010 that Gazans "have begun using the slang word zanana to also refer to those Gazans who report to the Hamas authorities what people say and do, with whom they meet, who visits them, and whose brother has gone to Ramallah."

The Washington Post in 2011 wrote this: "Roughly translated, zenana means buzz. But in neighboring Egypt, a source of Gaza custom and culture, the term is slang used to describe a relentlessly nagging wife."

I guess it could be all those things. And deadly. Zzzzzzzzzzzzzzzz.

20 years of talks keep Palestinians occupied

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Great, invaluable visualization of the results of the "peace process," from Visualizing Palestine. Please see the original here, it's way bigger and easier to visualize.

Settler population doubled (to over half million), 11,000 Palestinians forced out of Jerusalem, 53,000 settler homes built. Lots of accomplishments!


Kufiyaspotting: Psychosis 2010

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Psychosis 2010 by tsweden
Psychosis 2010, a photo by tsweden on Flickr.
This lame British horror film opens with a group of anarchist squatters who, in 1992, are attempting to preserve the local wildlife in the vicinity of a village. All except for one are slaughtered by a serial killer. This is one of the victims. The kufiya signals her politics.

Meir Ariel: “At the end of every Hebrew sentence, sits an Arab with a hookah"

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Jaffa: Umm Kalthum Hookah/Shisha cafe shop (via Palestine Remembered)

From a very illuminating article on the Israeli (Jewish-only) left, by Susie Linfield, in the Boston Review.

Unfortunately, Linfield misses the potential implications of this quote from singer-songwriter Meir Ariel. (Unfortunately, I don't know what song of his is referred to.) No Palestinians are interviewed for the article, and so the Palestinian-Israelis who are about 20% of the Israeli population, are not presented as part of the Israeli left. Nor is there any Mizrahi presence here, as far as I can tell. So the tale is one of Ashkenazi progressives and Palestinians in the West Bank and Gaza, and Mizrahis and Palestinian-Israelis (who combined make up much more than 50% of the population of Israel) are excluded.

That said, the article is nonetheless very interesting, and I'm very glad it gave me this quote!

Update (a couple hours later):

I've been informed that the song in question is "Shir Keev"שיר כאב ("A Song of Pain"). Here it is, with translated lyrics.

It's a pretty interesting lyric. The singer complains that his girlfriend seems to be falling for an Arab (Palestinian citizen of Israel) who participates with them in a "mixed" theater group and is from the Triangle (an area adjacent to the West Bank with a high concentration of Palestinians, including the towns of Tayibeh and Umm al-Fahm). It's the fact that the girl is attracted to the Arab that makes it a song of pain.

The Arab invites them to visit him in his village. He serves them alcohol. It gets late, he invites them to stay over because of all that they've had to drink. The singer says no, we're gonna go. Where? the Arab asks. To Jerusalem.

The Arab responds, "At the end of every sentence you say in Hebrew sits an Arab with a hookah/nargileh. Even if it begins in Siberia or in Hollywood with Hava Nagila."

The man responds in Yiddish "She judges between us." (It's not clear whether the Arab understands the Yiddish. But I think not.)

Comments on the youtube vid suggest that the song is "really" about the land of Israel, represented by the girlfriend.

Sooooo, it turns out that Linfield does not get the quote quite right, that the lyric in the song is uttered by a Palestinian-Israeli. And that the song, unlike Linfield's discussion of the Israeli left, includes rather than excludes the point of view of the Palestinian citizens of Israel.

Tunisian rapper Weld El 15 sentenced to jail for 4 months

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The author of the infamous and incendiary song "Boulicia Kleb" (Cops Are Dogs) has turned himself in (December 5) to Tunisian authorities, and will serve a 4 month prison sentence, after his 21 month sentence for "insulting the authorities" was reduced. (As reported by Informed Comment.)

I've posted previously about Tunisian rappers (including Weld El 15) and their struggles with the authorities, post-revolution, here and here.

And, as noted previously, Pussy Riot continue to receive lots of publicity and support in the West. Tunisian rappers: almost none.

Robert Crumb plays his North African 78s

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The iconic cartoonist R. Crumb is well-known as a collector of 78s, many of which he has picked up during his residence in southern France, where he has lived since 1993. (He owns around 5,000 of them.)

He has appeared a number of times over the last year on John's Old Time Radio Show, most recently to play a number of 78s in his collection recorded by North African musicians.

It's really an amazing show, and the music quite remarkable. I was quite surprised at how good those old 78 rpms sounded. I highly recommend that you download the podcast and listen repeatedly.

Some of the artists on the session are quite well known, such as the Jewish-Arab singer Habiba Msika from Tunisia, about whom I recently posted. (Unfortunately, the track is not identified, presumably because the title is written in Arabic on the album label. I urge you to post a comment, asking that R. Crumb post photos of the labels of the songs in question, so that those of us who read Arabic can identify the songs.)

There is the great Morrocan singer Hocine Slaoui, who recorded the famous song “Dakhlau Al-Merikani” (The Coming of the Americans), a comment on the arrival of Allied Troops in North Africa in 1942. It includes the recurring refrain in English, “All I hear is ‘Ok, Ok. C’mon. Bye-bye.’” (It's also known as "El Marikan Ain Zerka" (The American with the blue eye)). Check it out here.

And there is the celebrated violinist Sami Shawa, who was born in Syria but whose career was in Cairo, who was known both for his solo recordings (here is his "Taqsim Hijaz") and also for his work with great singers like Umm Kalthoum.

And according to JewishMorocco, there are two other Tunisian Jewish singers on the set, besides Habiba Msika: Fritna Darmon (here's another track from her) and Asher Mizrahi.

The rest of the artists, I've been unable to track down any information about.

R. Crumb put out a collection in 2003 called Hot Women: Women Singers from the Torrid Regions of the World, with tracks culled from his 78s collection. (He airs his rather antediluvian geographical theories about what produces "hot" music on the radio show as well.)
It contains three tracks from North Africa: (1) "Guenene Tini" by Cheikha Tetma (1930). Cheikha Tetma was a singer and 'ud player from Tlemcen, Algeria, who performed in the hawzi genre, the brand of Andalusian music specific to Tlemcen. Listen here. (2) "Khraïfi" by Aïcha Relizania (1938): listen here). I know nothing about her, but the name indicates that she was from Rélizane (Arabic, Ghalīzān), a village of European colonizers in the Oran region of Algeria. It's the same town that rai star Cheikha Rimitti (who originally recorded as Cheikha Remitti Relizania) grew up in. (3) "Yama N'Chauf Haja Tegennen" by Julie Marsellaise (1929). Again, I have no information about her, other than that she is from Tunisia, and I've not yet heard the song in question, but here's another recording by her, "Ya Helaouet el-Clap." (The video for that song shows the record in question, and it appears that her full name might be Julie Marsellaise Mahieddine.)

Let's pray that another collection, devoted to music of North Africa, is forthcoming. It would be great if an expert on North African music could be hired to work on the notes!

Origins of rai: Ahmed Saber

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Ahmed Saber (1930-71) is one of Oran's most celebrated ouahrani artists. One could also simply call the genre he performed in, as does the blog Phocéephone, "algérien moderne."

Phocéephone recently posted a couple of terrific tracks from Ahmed Saber, which it describes as having a Berber rhythm, an Arab arrangement. They are: "El Khedma"



and "El Khayene."



as well as a photo of the '45 record jacket:


And finally, Phocéephone posted a link to an article about Ahmed Saber, in French. It treads a little more lightly than Andy Morgan does in his article about rai in the Rough Guide to World Music. According to Morgan, Saber was critical of the Algerian regime that came to power after independence, and the song "El-Khayene" (The Thief), was a critique of official corruption, as was “Bouh bouh el khedma welat oujouh” (Oh, oh, you get a job by pulling strings)--listen here. Saber used to get in trouble with the censors and spent some time in jail, before passing away, after a brief illness, in 1971.

(Ouahrani of course stands as a great genre in its own right, but it is through rai that I got interested in it, and in my research I'm interested in the various strands that go into the making of rai as it emerges in the seventies.)

Mahragan (electro sha'abi) at the Norient Musikfilm Festival, Bern, Jan. 9-11, 2014

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I was asked to write the program notes on electro sha'abi (better known in Egypt as mahragan) for the 2014 Norient Musikfilm Festival, and they were just published today. You can read them here in English, and for the first time, something I wrote has also been translated into German, which you can read here.

The Festival program is very exciting, and I really wish I could attend. (But there is that cash flow problem...).

On the mahragan/electro sha'abi front, the festival features a very fine documentary on the mahragan scene, Hind Meddeb's Electro Chaabi. Here's a trailer:



Plus there is a Cairo Electro Sha'abi Club Night, featuring (live!) the mahragan stars MC Sadat and MC 'Alaa 50 Cent with DJ Ramy from Cairo, plus the Dutch electro sha'abi dj's Cairo Liberation Front. Very exciting.

MC Sadat

The festival will also screen the terrific film about Algerian shaabi (very very different from Egypt's electro shaabi!) and the recent reunion and tour of Jewish and Muslim shaabi musicians, El Gusto.

Plus films about Pussy Riot and the cultural scene around Mexico's narcotraficantes.

If you are anywhere near Bern you should go!

Rue Georges-Picot, Beirut, 1958

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I sooooo love this photo by Thomas Abercrombie from the April 1958 issue of National Geographic, and featured as "photo of the day" on the National Geographic website on August 23, 2013. (For a somewhat clearer view of the photo, click on the link.)


It is from story by Abercrombie about "Young-old Lebanon," and its caption read, in part: "For variety, few cities can match Lebanon's bustling capital. Part Christian, part Moslem, Beirut combines East and West, ancient and modern. Contrasts stand out vividly in street scenes such as this on the Rue Georges Picot. … A sign over the blouse shop shows the cedar, Lebanon's national symbol. The market-bound shepherd in Near Eastern headdress and Western jacket icily ignores the latest European fashions."

I don't love the photo precisely for the reasons enumerated in the caption, although that is part of it. I think to make sense of the photo, it is better to jettison the notion that it juxtaposes East and West and ancient and modern. Rather, this is just a guy from the countryside who has brought his herd to the city to sell to a butcher. His clothes, like those of the others in the photo, are machine-made, from head to toe, he is probably wearing a wristwatch, and he is just as likely to drink the Coca-Cola sold in the grocery store (baqqala) pictured on the left as the more modern others in the photo. But he is probably ignoring them, as they no doubt feel themselves more urbane and sophisticated and superior to the lowly herder.

As someone who lived in Beirut between 1964 and 1976, and who made my first visit there in 1961, the scene is very familiar to me, and it captures so much. The "baqqala" is a typical one, selling not just Coca-Cola but Chiclets and Fab detergent (there are signs for these) as well as bananas and eggs and oranges and grapefruit (all very fresh), and really, everything you need. Next door is an embroidery (broderie in French, tatriz in Arabic) shop owned by an Armenian (V. Oflazian), with its sign in French, Armenian and Arabic, and the the cedar tree. It is having a sale, indicated by the "Occasion" sign (in French and Arabic) that is partially obscured by the two chicly dressed women. The two young men are very smartly turned out as well.

Note as well the tram line. During the first couple years I lived in Beirut, we often used to ride the tram from West Beirut (Bliss Street) to downtown. Rue Georges-Picot (named after French diplomat François Georges-Picot, one of the infamous authors of the Sykes-Picot Agreement) was the west extension of Rue Weygand (named after the French commander Maxime Weygand). Just a ways further along west from here is Wadi Jamil, Beirut's Jewish quarter. When I lived there, of course, street names, except for a few, were not used all that commonly, and we just knew this area as Bab Idris. It's hard for me to tell, it may be known now as Omar Daouk Street.

Here's a bit of a map to show where it is (you can read George Picot right below the Normandy Hotel). You can see the entire map, produced by the US Army Corps of Engineers Map Service in 1961, here, courtesy of the University of Texas Perry-Castaneda Library.


Here are a couple older photos of Rue Georges-Picot, this one from 1920 (and perhaps before it was even called Georges-Picot), looking west. The tram line is in evidence (it dates from 1908, put in by the Ottomans.)


And another, looking east I think, and somewhat later than 1920.


And this one is from the late sixties or early seventies. It's labeled as Rue Weygand, and that is where it is taken from, but just up the street it becomes Georges-Picot. It's a scan of a postcard my grandmother Claudia purchased when she visited Beirut in 1972.


Note the bus: these replaced the trams in 1965. They were faster and cleaner but the trams were way more fun.

 tram, 1965, copyright Charles Cushman

Beirut Tram on Parliament Square [1965] | Copyright Charles W. Cushman - See more at: http://oldbeirut.com/post/13807808775/beirut-tram-on-parliament-square-1965#sthash.KxzsTFmN.dpuf



Beirut Tram on Parliament Square [1965] | Copyright Charles W. Cushman - See more at: http://oldbeirut.com/post/13807808775/beirut-tram-on-parliament-square-1965#sthash.KxzsTFmN.dpuf

Kufiyaspotting remembered: Tahrir in the New York Times

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Today's (December 15) New York Times featured this photo (in both the print and the online versions) from Jehane Noujaim's very well-received documentary on the Egyptian uprising of January-February 2011, The Square ("Al Midan"), and its complicated. (From Manohla Dargis' article "The Festival World, and What's Beyond." Online, it's photo 14.)

Noujaim Films

Almost three years later, Egypt is a total mess. But those were glorious days on Tahrir, in early 2011, it is important to remember, and it ("the revolution" or whatever it is) is not necessarily over. And the kufiya was and continues to be an important sartorial symbol of those days. And of coming ones.

<Here are some earlier Tahrir kufiya posts.>

Meanwhile, here's a trailer for the film. And more kufiyas.


Mandela Morocco/Algeria postscript

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I posted a photo of Nelson Mandela in a kufiya on December 21, 2012. He was wearing it Algiers, which he visited in May 1990 to see his former FLN contacts, who gave him and his comrade Robert Resha (d. 1974) military training in Morocco in March-April 1962.

Since Mandela's death this photo of him in Oujda, Morocco in March 1962 has been circulating a lot.


Mandela is in the second row, wearing shades. The man in front of him, in the brown sports jacket, is Ahmed Ben Bella, first President of Algeria, from 1963-65. He was deposed by the man with the mustache, wearing a tie and a light overcoat, Houari Boumedienne, who served as Chair of Algeria's Revolutionary Council from June 1965 to December 1976, and from then until December 1978 as Algeria's second President. (It may be Amilcar Cabral of the PAIGC standing between Boumedienne and Ben Bella.)

(As an aside, I'm glad that Mandela and the ANC did not adopt the policy toward Jewish South Africans that the FLN took toward Jewish Algerians.)

Mandela stated, on his arrival in Algeria on a state visit in 1990 that "it was the Algerian army [i.e., the Algerian Liberation Army] that made him a man."


Here's a photo of Mandela (center), his ANC comrade Robert Resha, and his trainer Mohamed Lamari. (For some reason several Algerian sources identify Resha mistakenly as Hamilcar [sic] Cabral. Amilcar Cabral was the leader of the Guinea-Bissau and Cape Verde national movement for independence, the PAIGC.) Lt. Gen. Lamari was part of the officer corps that overthrew Algerian President Chadli Benjadid in 1992, and he became the army Chief of Staff in 1993, a position he held until 2004. That is, he was the head military man during the bloody Algerian civil war. As head of the army, and as an "eradicationist," that is, someone who rejected any negotiation with the Islamist opposition. No doubt he was responsible for numerous war crimes.

Read more about Mandela and Algeria here (in French).

drone life #whatever: Bride and Boom! (How the New York Post smirks about murdered Yemeni wedding guests)

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Here's the cover of the December 13th  New York Post, smirking about the murder of 11-17 Yemeni civilian wedding guests.


Please read Tom Engelhardt's report

The reference was to a caravan of vehicles on its way to or from a wedding in Yemen that was eviscerated, evidently by a U.S. drone via one of those “surgical” strikes of which Washington is so proud.  As one report put it, “Scorched vehicles and body parts were left scattered on the road.”

Cover Cheikhs

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A holiday gift from the invaluable blog Jewish Morocco, this take on three covers from Algerian singers.

1. Mahieddine Bentir (who I blogged about previously, in a post kindly cited by Jewish Morocco), does a cover of "Le marchand de bonheur"(done here by André Roc), called "Anaya Bouhali."

2. Lili Boniche does a cover of Charles Aznavour's "La Mama," called "Ya Yemma." (Jewish Morocco is of the opinion that Boniche's cover is more powerful than the original. You decide. By the way, Aznavour was born Shahnour Varenagh Aznavourian, to Armenian immigrants to France.)

3. Salim Halali does a cover of Yossele Rosenblatt's "Ma Yiddishe Mama." Hilali keeps the same title but does the song in Arabic. It's amazing. Jewish Morocco thinks it's the only Yiddish song translated into Arabic.

The post also mentions that Lili Boniche, like his Jewish-Algerian compatriot Luc Cherki, even recorded a disco EP. Check out Cherki's "Discoriental"here. I wish Jewish Morocco would provide the title of that Boniche-gone-disco track.

And I reallyreally wish that someone will turn up the Mahieddine Bachetarzi cover of Josephine Baker’s "J’ai deux amours" that Jewish Morocco mentions. ("J'ai deux amours/Mon pays et Paris.")


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