Thursday, September 14, 2006

AFF Update IV - Occupation 101 (Palestine)

Last night's screening of Occupation 101 was the 1st sold out show that I attended. I was surprised to be quite honest. I arrived at the Roxie on the early side, early enough for Schwarma and a casual stroll through the stacks at Adobe books where I found a copy of Words from Ends to Ez by Jackson Mac Low. The guy behind the counter thought that it might have some to do with the writings of John Cage. No, this book comes out of a reductive program that was fed Pound's Cantos and then Mac Low carefully culled the poems from the output of the comptuerized processor/randomizer. I don't know that I'm crazy about this book, but its unlike anything else out there. If you want to explore Mac Low then you should get a copy of Bloomsday, I found this book infinitely more digestable than Words from Ends. Now, onto the film...



Occupation 101

Of the three documentaries thus far, this has been the most visually gripping. The Omeish brothers knew their demographic well and present it in such a way that they're sure of keeping the attention of the 18-30 crowd that can be clocked, attention span-wise, by the time it takes for a web page to load on the fastest broadband line. There are plenty of insightful interviews interspersed with footage culled from various sources including Al Jazeera and other news outlets. There are talking heads, there are scenes of gruesom deaths, injured children, poverty, depravity, archival footage from pre 1948 and lots of flash animations and statistics. These are all the elemtns that should be included of a documentary that takes the position of "you don't know whats going on there." In this capacity it can't be faulted, it has a definite agenda and frankly, I think it tells the story well, but not perfectly.

I'm going to try and avoid a complete synopsis of the film, there's just too much information packed into it. The fast MTV-like pace of the movie makes it the equivalent of a page turner, but it operates from the position that everything the western news media tells you is wrong wrong wrong, and or misleading. Is it? The historical background of how the state of Israel was formed, the relative peace that palestine experienced during the 1st half of the 20th century, and even in the 19th, is intersting in terms of the archival footage presented. There is this conception that Jews and Arabs have been fighting since the dawn of time. This isn't at all true. Jews and Arabs occupied the holy land for long periods of time far more peacefully than their Ashkenazi cousins in Europe who were subject to anti-semitic laws and persecutions from one ruler to the next. Still, parts of Europe weren't that bad and Jewdaism flourished in various epochs, from the 11th century mystics of Spain, Spinoza of Portugal in the 17th century and Marx in the 19th. I guess the point I'm trying to make is there are no absolutes. None whatsoever.

However, the film makers present compelling evidence to the absolutes of Israeli occupation in Gaza and the West Bank. There are definite undeniables when you consider the past, in terms of Nazis occupation of Europe, the Geneva Convention, which when you think of the Occupied Territories as Occupied, then Geneva clearly states that you can't inhibit a person's freedom of movement, yet that's preceisely what has been happening, from the security wall, which is twice as high as the Berlin wall and longer than its European predecessor, to the way that Settlements in the West Bank cut Palestiniant communities off from each other. The proponents of "seperate but equal" would say dthat its necessary to stem the tide of suicide bombings. The film's answer is two fold: 1)its the last and most desperate act of a people that have little to no other means to resist occupation 2) it doesn't help their cause. The latter sentiment is echoed by Jews, Palestinians and others that're interviewed.

There are other misconcenptions that are attacked direclty and indirectly in the film, from the fact that Palestinians are lazy, well there are no jobs and infrastructure in the territories & they can't leave and work inside of Israel, to how the 1st and 2nd Intifada's began and why. No one really comes out of this documentary clean and unblemished; Israel is made to look like a fascist state that is doing exactly what was done to them in Nazis Germany, America might as well be no different than Iran in its support for Hezbollah, with the way that America supports Israel, and congress has a major lobby in the form AIPAC. There are many parallels that can be drawn between all the players on this field. I don't know, I think the film does what it intended to do, but if its going to be critical of the media, then I would've liked to have sene some criticism of the Arab networks too. Lets face it people, every story has two sides, and in the case of these stories, there are MANY sides, yet the film makers never once mention how bad the media coverage is from the Arab side. Are we to think that they can do no wrong?

You should check out the film for yourself. There are things that can't be denied, there is a human toll that is discussed and shown that you normally don't see. Gaza is the most densly populated place on Earth. How is that not a prison camp? A study of 1000 children done in the Gaza strip showed that the majority of them had lost or were loosing their will to live. There isn't a building in Gaza that isn't riddled with bullet holes. When you examine the numbers of Palestinian dead to Israeli, its rather lopsided. The dollars that support Israel are staggering, as is the the history and unwaivering nature of that support. Lots of small details come out, and together they make a narrative, but its not perfect, and you're going to have to go see it and see fo yourself where the holes in it might or might not be.

Tuesday, September 12, 2006

AFF Update III - Documentary Night (Iraq & Palestine/Israel)

Following the weekend's heavy selections from Morocco and Algiers I went for the 7-10 split down the middle. There was a double header of two documentaries, the First from Iraq and the second from Iraq & Palestine/Israel. Lets take one at a time and in the order that I saw them, as impression and perception build ontop of one another.



The Blood of My Brother

This piece opens up at the grave of Ra'ad. His younger brother Ibrahim is trying to lead his grieving mother away from the tomb of her deceased eldest son. The back story here is how Ra'ad died: he was shot by accident while guarding a holy shrine in Baghdad. He and a group of other devout men had taken up positions and rotating patrols around a very holy Mosque in Kadhimiya. A passing American patrol mistook him and openned fire. He was killed on the spot. He was unarmed.

This much of the film is pure narrative and doesn't take long in understanding that the killing of Ra'ad is a terrible burden. Similarly to the other two films, which featured absent patriarchs, and male sons that have assumed the role of patriarch and head of the household, Ibrahim is thrust into taking charge of his family and his brother's photography shop at a relatively juvenile age. His brother, Ra'ad, was something of a local legend. He had saved his money to open a photography studio and was well respected and known. The family boasts that 7,000 people show up for his funeral, the death of a Martyr. This is where the details get a little murky.

Now Ra'ad didn't die in an operation, or in the heat of battle, or in the fray of "once more unto the breach", he died guarding a holy Mosque. He is given the same glory as that of one who takes up arms for Jihad, he is deemed a Martyr. The scenes of his funeral are fantastic. People are carrying his image through the streets, his coffin on their shoulders and screaming and decrying his status as a holy Martyr, "Allah is great!" they chant as his corpse travels to the graveyard. It seems that Martyrdom can be bestowed on anyone deemed to be engaged in a socially accepted right action, one that furthers the locally sanctioned ideology, or socio-political intent. Martyrdom is the promse at the end of the road of misery and that of something, which on Iraqi later interview, describes "with my feeble brain I can't do it justice, but its a place not like Earth, with clean water, fresh fruit and maidens."

Ibrahim is a pretty central character in all of this. He has responsibility beyond his capacity while simultaneously coping with the death of his older brother who filled the void of his father. He says that he's ultimately not upset, he's happy that Ra'ad died in the manner that he did and that his family is happy to bury a Martyr for the cause. Which cause, we're not too sure. The neighborhood and Mosque are loyal supporters of the Mehdi Army and Moqtada Al-Sadr, so did he die supporting Moqtada? Did he die as a patriot for his country? Was Ra'ad's death more cloely associated to that of a crusading knight in defense of his small patch of holy land? The easy answer here is all of the above. Death, from what you begin to realize, is a public right and a private virtue. The death of a martyr is a personal honor, while the cause and intent of the death, after death, the life after death, becomes a matter of usurpation. Whoever wants to view that the death was joyous, or that it was in defense of something, or that it was needless, can coopt the martyr's victory, oh yes, lets not get this wrong, it is a victory of sorts, once the tears are gone there is nothing but absolute adoration for the way that Ra'ad died. Is this, like Octavio Paz wrote in Labrynth of Solitude, a people in love with Death? In Paz's pachuco world death is rebirth in the form of Dio De Los Muertos, Death is a positive of sorts and an absolute necessity to understand the solitude of a people that don't have a true sense of their own identity. Are we to think then that Iraqi's only understand themselves as Muslims, in the extreme certainly, as Arabs when they are surrounded by Martyrs and have the opportunity for the same? There's one thing that really makes me curious, how many martyrs were there in the days of Sadaam? Was everyone that perished in his prison, considered in their time and during their death, a martyr?

The documentary, at times, exercises restraint. When the family is being interviewed there are definite cautious approaches by the film makers in the sense of leaving no trace. You don't know they are there, Ibrahim and his family simply talk to the camera. I say this now because its definately not the case in the next film. However, there are other large stretches of the documentary that seem to be "out of place." I'm not sure I needed to see the incursions by Bradley Fighting vehicles and frenzies of people scurrying, and a helicopter shot down, to truly understand this film, and what to me is the story of a family. Was there not enough material, not enough quotidian footage with which to construct how a family grieves? The scenes of the US Military, shake cameras where the cinematographers are running as gunfire erupts, seems like it was meant for another documentary. We understand, they are not grieving in a vaccum, Iraq is happening now as I write this.

Still there's one thing that I find telling, and eye popping, but not surprising. Ibrahim, in one of his candid moments looks at the camera and says "I don't hate Americans, but if when I saw an American or Jew I just want to kill him." Did you get that? His brother was killed by a US Soldier, as to the soldier's religious background its anyone's guess. However, the institutionalized hatred of Jews, a link between the US occupation, the Iraqi struggle against the occupation, a mentality of insurgency is balled up in that one phrase. It's as if Ibrahim's anger at Ra'ad's death is so abundant that he has to lump the Jews in or the whole of America wouldn't be sufficient to account for his brother's slaying. I once heard an interview with an Arab scholar who spoke about the Israeli/Palestinian conflict, he was Lebonese, and he said "the problem is that they [palestinians] hate the Jews more than they love Palestine." I think Thomas Friedman might have said something similar except he directed it to suicide bombers and changed Palestine to "children". Its not enough to hate just your brother's killer, why is that? Was it that the other hatred was there before? Its a curious statement and can be taken many ways. One thing is certain, this is not just one juvenile's outlook, or how he's lashing out at the unjust murder of his brother, this is an instituional hatred. Does this mean that every Iraqi, or lets just go for the unpopular stance here, every Arab hates the Jews and wishes them destroyed along with the Americans?! No, not in the least! As a matter of fact, this is what I would consider somewhat fringe, and just as there are all manner of people in this world, so are there religious ideologies with which to lead and mislead. If its one thing that this film maker, I think, wants to show us, is that its not only easy, but socially acceptable and even proper to join the resistance in Iraq from the standpoint of social acceptance, fraternity and for religion. The chants of Allah, and the fiery sermons of Sheikh al-Kadhimi in the Mosque interchange with "Allah is great" "There is only one True God" "Moqtada is Great." When politics and religion melt together with "T"ruth pinned down down and indisputably defined both politically and religiously, the outcome can be just as frightening as the complete abolishment of religion in lieu of totalitarian nationalism.

Its not at all the most comfortable film to watch, a lamb is slaughtered similarly to how the cow was slaughtered in Bled Number One, and it leaves you feeling a little queezy from the gitgo. But when you see the hundreds and thousands of men jumping and chanting, that you're dealing with something so powerful, religion, that you're living in the medieval ages and Sala'adin is near. Yes, a powerful film that has its flaws, is sensational at times, propogandist and definately somewhat one-sided, but important to see.



I Know I'm Not Alone

I have to give credit to the organizers of the festival: the juxtaposition of this film with the preeceding one was perfect. We move from an extremely violent and visceral portrayal of life in Iraq under the occupation as spectators caught between armored fighting vehicles and masked gunmen, to a man and his guitar and a bag of jah love trying to make sense of something that granted is confusing, but he's ill prepared to make a movie out of.

Michael Franti, the musician, goes to Iraq to try and understand the quagmire of the occupation. He sets out to meet and speak with locals, artists, writers and of course, as he puts it "especially musicians." As far as I'm concerned, this film absolutely fails as a documentary. You are constantly aware of of Franti, this isn't as much about the people as it is about Franti and his guitar, and frnakly, for the most part he comes of like a bafoon and completely out of his element.

Franti arrives in Iraq and decides to visit "dangerous places" with the help of his Iraqi driver to meet local people and talk to them. Here's where the challenge begins: trying to forget that Franti is there. But you can't! His music, and clips of him sitting like Val Kilmer sans a bottle of whiskey, at a Mike and recording his thougts by candle light, are interspersed between shots of him walking the streets of Iraq and later Palestine.

Some of the personalities interviewed are fascinating, I think the cab driver was a god send to them. However, as far as access goes, or having any real commentary or insight into the situation, Franti is a complete failure. At one point he decides that he wants to write a song in Arabic but makes the sober realization that he'll never be able to do it, so "I decided if I could write a song with one Arabic word in it, that it might break down some barriers." Oh yes, he does this, and the word of the day, ladies and gentlemen, is "Habibi". Habibi has several meanings, a plethora of them actually, and meaning changes with context and emotion. I'm very thankful to my friend Michelle who was at the movies. She's of Lebonese and Egyptian decent and found the Habibi song just as ridiculous as I did. The song features franti playing the same two chords and chanting Ha-bee-beee over and over again. According to Michelle, Habibi could mean "my dearlin" or "loved one" or "dear friend" or a few other things. After speaking a while we decided that Franti's use of Habibi completely devalues the rich cultural place that this term holds. The audience laughed with a kind of glee at the first rendition of this song. By the third or fourth time there wasn't so much as a chuckle in the audience.

Lets try and look past this, the film moves without any real direction, aimlessly through the streets, as he seeks out writers, a Christian family that tells them about their experience of living 11 days in their basement during the bombing. How dangerous it is to walk the streets and that to go to church you take a cab, to get back you take a cab, but who has money for a cab? You learn that under Saadam, the cab driver, a former school teacher, earned 1 us dollar a month, about 3,000 dinars. This is well below the UN poverty line, things haven't improved since those days except that things cost more and are in shorter supply. There are small illuminating facts, and moments of occasional levity as Franti takes you to meet a heavy/death/punk metal band in Baghdad called the black scorpions that talk about their love of noise and jam in what must be the equivalent of a sonic death chamber. You're introduced to their guitar teacher, that according to Franti, has taught pretty much all the guitar players in Baghdad. One of the members of the Black Scorpoins tells of their early days und Saadam, their teacher told them that they had to write a song for Saadam. They resisted, but then went ahead and did it. You never hear the song, but you learn quite clearly why it was important, because if they didn't "you might disappear behind the sun."

This is all well and good, and then there are the parts that I can't tollerate. Franti goes into a hospital, which is difficult to watch, you see the innocent victims of the conflict and occupation, children missing libms, burns, their faces caught in an expression of innocence tinged with knowledge that no child's eyes should ever have: horror. The images are frozen and a series of stills scrolls past the screen to remind you the viewer not to miss this, but let it soak in. Doing so decontexualizes them and turns them into a late night infomercial for the CCF. You're stomach turns and gets mad at the film makers for trying to juxtapose light hearted banter in the cafes, the constant kissing of people who meet Franti, and then this. It seems out of place, as if the film makers and franti haven't earned the right to show you this and make it stick because they spent more time on ridiculous scenes in Baghdad's first radio station with a loud mouthed US Army Seargent who thinks he's Adrian Cronauer.

After other ridiculous antics in and around Baghdad Franti and his crew depart for Palestine. He says that after seeing a country under occupation, he wants to visit a place that has been occupied for three generations. He arrives in a small Palestinian village on the boarder, on the green line, at the security wall. The village is in a very agriculturaly fertile region of the Levant. What begins is a rather simplified and very one sided explanation of the formation of the state of Israel, the green-line and the 1967 war. He tries to compress 60 someodd years of complicated political history in about 20 seconds. He then goes about interviewing people, again, meeting musicians, former Israeli soldiers, current Israeli soldiers and Palestinians and getting them to talk to one another, in what is the climax of the film. He brings villagers to the gate and has them speak to 2 Israeli soldiers. The conversation is meaningless for the most part. It is not something htat leaves you hopefull because you come to realize that not every Palestinian is a suicide bomber, and every Israeli hell bent on wipping out the Palestinians and loves to serve in the IDF. You already knew this, and you know that when that gate is locked nothing will have changed, and the only reason it was openned was for spectacle and a self serving belief in one-love. Well Mr. Franti, the 60s are over, and we are not that dimb-witted. Really, I swear to you, even if we are left of the middle, it doesn't mean we're less educated because we aren't "that left".

Everything about the Palestine sections of the film are painfully obvious. There's nothing really illuminating in the discussions, that range from a former IDF soldier who is disgusted with what he had to do, but did it, to admissions of other former soldiers who say "we treat them like shit." Well there's truth to that too. You are shown a first hand glimpse of the arduos Gaza border crossing, which is somewhat intriguing to see the abundant checkpoints and hoops that one must jump through in order to cross from here to there, it is not a place you want to be, that is for certain. The Palestinian Rappers are a much needed break from the film's attempt at education. As long as he sticks to culture and avoids politics, which is impossible in this region, then its tollerable.

Now that I've finished ripping it to shreds let me highlight a few of the good points. He does a good thing, he interacts with a people that desperately need to smile. Now if they're smilling because he's a tall man with a guitar and money is unclear, but they are smilling and he is doing that Patch Adams kind of work in a place where I think laughter can easily become an extraterrestial emotion. Franti does show a few fringe groups and peoples that you will never see elsewhere, this is really the only way he could make a movie, he has no expeirence in anything else, and its really his sweet spot. Don't want this film expecting to see a good documentary, or a documentary at all. Watch it because you need to be fed something you already know but this time with a soundtrack.

Coming up tomorrow... Occupation 101 (Palestine)another documentary, and if I can handle a double header Seeds of Doubt (Egyptian/German) feature film.

AFF Update II - Bled Number One (Algiers)



Sunday night I watched the Algerian film Bled Number One. The film is very much in the spirit of cinéma vérité, the French movement of naturalism, the rough translation means "cinema of truth" or from the Russian progenitor of the movement 'kino-pravda'. I'm not sure if you would call this an absolute or true form of cinéma vérité, but it does have the feel of a documentary and a moment in time. An examination of the actors in the film reveals a few of them with extensive filmographies so it fails on that account. Enough of the sound scape is naturalistic when examined the sharp and contrasting sound scapes of Rodolph Burger's heavy and haunting guitar. Technicalities aside, lets get to talking about the film.

The narrative revolves around Kamel, an Algerian ex-pat who returns to a small village in Algeria following a stay in France. The film's quiet moments reflect perfectly the quite and still pond-like life of the village that seems to effortlessly revolve around the seasons and practices that are as old as the stones in the hills. A cow is brought to the village and slaughtered on film. The sight is graphic in all of its realisim, not for the faint of heart, but at the same time, the way that the animal is bled, hillel or kosheric in nature, is ancient and something we just don't see here in the west where it grows on supermarket shelves. After the cow is butchered all the meat is arranged in small piles on fresh cut leafy branches. The men of the village stand around this square and pray, wishing each other and people the world over good will and praise Allah. Each man then comes forward and takes one small pile of meat and puts it into a basket as his fair share of the sacrifice. Its a beautiful scene following the grizzly death of the cow on screen.

The communal harmony of the village doesn't seem to last long. Enter a young band of ruffians who begin to terrorize the villagers with a brand of radical Islam. They go into the local cafe and declare that playing dominos is a sin, to which one of the villagers replies: "look, we're all muslims, we're not rejecting Islam, but to each their own." The zealots are pushed out of the village and a guard post is erected at the road leading into the village following a meeting to mobilize the men of the village in defense of their way of life.

Now this egalitarianism is all well and good until Louisa arrives home and the darker side of this patriarchal society is shown. Louisa, as you later find out, has left her husband and taken their young boy Yanis. She has come home because she wants to sing American Jazz and Cabaret which goes against the wishes of her family. She is reprimanded by her Mother and urged to return to her husband. Louisa has a tired and half defeated look in her eyes as she listens to her Mothers chidding and her brother Bouzid looks on, dubious and plotting. Flash forward, Bouzid is stumbling through the hills with two cases of alcohol and the zealots catch up to him and threaten to cut off his head. For a moment you think theyr'e going to do it, but they eventually let him go. The next day Louisa's husband shows up to collect her and his child. Her husband spends the evenning in the local cafe drinking and chewing tchim which I can't seem to find the meaning of. At first I thought it was betelnut, but that's more of an Asian phenomenon, not so much African. In the cafe there are discussions of politics and what people are doing about their relative situations. There's no real animosity toward the west in the discussion, there is a kind of removal, an odd sort of objectavism that you don't expect to exist. Eventually Louisa and Yanis leave. Half way down the road Louisa's husband stops the car, steps out of it, throws her suitcase to the side of the road and then drags Louisa out of the car by her hair and takes off with the boy.

Here is where Louisa's troubles begin. For every insult that befalls her there is an injury waiting to happen. When she returns home late at night alone Bouzid, her brother, takes her to her room and proceeds to beat her bloody. She has shamed the family and he exacts a kind of revenge. The interesting parallel between this and the previous Moroccon picture, Heaven's Doors is the absence of a father in all of this. The brother is effectively running the household and distributes a kind of patriarchal justice, or at least has the final say in how things will happen. The sad fact of the matter is that Louisa is exercising her freedom of dissent with her spouse and this isn't tollerated. She is ostracized by her family, shunned by her husband's family and beaten for her insolance. The scene is difficult and provacative. After this incident she is taken to the local cleric for advice and told to put her faith in Allah that the husband will come back for her. She is also told to absolve her sins by allowing seven waves to lash her in the face and then to run around the mosque seven times.

As effective outsiders, Louisa and Kamel share a strange attraction. Kamel calls Bouzid on his brutality and accuses him with a Western air of righteousness of not being a man for beating his sister. You get the sense that tragedy rolls down hill like shit and that his castration at the hands of the ruffians is ultimately paid for by Louisa. Nothing can console Louisa at the loss of her child so she leaves the village for the city and her Husband's family who tells her he has taken the child and throws her out of her own home. She is distraught, attempts suicide by jumping off a bridge and is stopped and taken to a mental institution that resembles more of a battered women's shelter than anything else. The occupants are all women, or at least we're not shown the male ward, but you get the feeling that they are all there for the same exact reason. The images and deft cinematography is reminscent of Diane Arbus's photographs from mental instituions that are simply numbered, denying her subjects a kind of human dignity in terms of a name as they jostle through the black and white images in their stark white robes in their role as patient and subject. Louisa stages a concert at the institution in a long black evenning dress contrasting the gowns most of the audience is wearing in a rather touching scene that is as odd as it is surreal. This performance is juxtaposed with two strange scenes of Rudolph Berger sitting on a hillside with an electric guitar plugged into an amp and Kamel wandering around, playing music that is the soundtrack. These two scenes come in pivotal moments in the film, one in the middle and then the very last scene after Kamel decides that he's in love with Louisa, who is now gone, and that he has to leave the village and will go so far as sneaking into Tunisia, as he's going mad and his sense of democracy and women's rights is completely at odds with the accepted pace of village life. It is Rudolph's guitar that closes out the film with a haunting melody. You never quite find out what happens to Louisa, or Kamel for that matter, and the guitar so much reminds you of Wes Anderson's inclusion of guitar players singing and "scoring" the film as part of the film that you're left to wonder if that wasn't possibly borrowed, but its effective and quixotic in its import and placement throughout the film.

All in all, a very good film, difficult to watch at times, but very good... a slice of time and life in a place that none of us will ever visit but impossible to forget even on celluloid.

Monday, September 11, 2006

AFF Update I - Heaven's Doors (Morocco)

I'm three deep into the festival and have some time to kill before number four, a double header if you will on this monday 9/11. I started off with a selection from Morocco: Heaven's Doors on Saturday night. When I purchased my tickets, for Saturday and Sunday, the cashier at the Roxie said to me "Oh, you're going for the heavy ones." Well, yes, I suppose that's just my nature and I should stick with what I know, right? So lets go in order...


Heaven's Doors

The film is a tryptich, a kind of day in the lives of three groups of people linked by tragedy and coincidence. The vignettes work themselves out in a Tarantino like chronology where you start in the middle and move forward and back through time, placing the onus on the individual to arrange the narrative in your head, in time and space, and in that Jungian sense, becoming a part of the narrative by taking an active hand in writing it.

The first vignette concerns a young man by the name of Ney who digs ditches for a living. He supports his blind mother and adolescent sister. As the sole bread winner and head of the small but tight house hold the respondibility for the survival of the family is places squarely on his shoulders. Fast money eventually seduces him when his friends introduce him to Mr. Monsour, who says "Let's be honest, we are breaking the law, but we will make lots of money." The dynamics of the family, albeit in a foreign tongue, aren't that far removed from western portrayals of poverty and the struggle for survival in an urban landscape. Ney is living in the globalized world where American Rap music dominates, the soundtrack of the film never really touches native music, but instead keeps its frenetic hand held pace with angry hip hop, youths break dancing, chase scenes, over exposed cinematography where shapes become ethereal and rooftop scapes of Ney jumping rope to stay in shape. The money flows, for a while, but like all crime sagas, the street catches up. Ney is wounded in an altercation and sent to the hospital. He recovers and seeks revenge. You know from the first five minutes that this will end badly, as you see the end, a shoot out in an apartment that leaves 3 people dead.

Flash forward, there's one survivor in the bathroom, you don't know this until the second vignette that centers around the survivor, Salim, and his mother who is in a coma after being shot, taken in by an American ex-pat art professor who is the wife of the slain father's brother. Did you follow me on that one? The man who shot Ney and that Ney went back to shoot had a brother that married an American woman, Lisa, her husband died some years back and she's been living in solitude, angry, nursing her pain with Jack Daniels. She is now the guardian of Salim and his mother as she's the only living relative. The story is somewhat contrived, Lisa, in her anger and solitude, unable to have children, is cold and distant. She sets harsh rules for the gentle Salim and expects a distraught child who walked out of the bathroom to find a scene reminiscent of the shootout at the OK Coral on his living room floor. With time and understand Lisa melts and falls in love with Salim, "Je t'aime" she says to Salim as she tells him he's the son she never had. The shadowy Mr. Monsour makes an appearance offering to take care or help out with the family by contacting the social worker, Jalil, who has a crush on Lisa. This is incredibly strange when you consider that Monsour gave Ney the address of Salim's father to exact his revenge and provided the firearms with which to carry out his plan. Eventually another relative surfaces and Lisa must give up Salim and his mother's still silent body in a painful agony of returning to solitude. She says that there was a time before Salim and then there's the time after Salim. What will become of her is uncertain, but she chooses to go home for a bit to deal with her "phantoms" and dysfunctional family back in San Francisco.

These themes aren't new, the dynamics of the Moroccon social system and how this relative is able to trum Lisa, as not true family and only the wife of a deceased relative, is intersting. What really gets you is the poetry. Between the Vignettes are poems, illuminating, foreboding, somewhat beautifully lyrical and foreshadowing of events to come. Lisa, on a trip to the beach meets a homeless woman, an old begger asking for change. She sits and like a sage from the desert gives her a bit of wisdom about solitude loosely put: some run from solitude because they aren't comfortable with it, some run to solitdue because they can't live without it. Lisa's nature is of the first variety, the old woman on the other hand is the latter. As she lives, Lisa offers her money, and she refuses, saying next time.

Vignette number three, once again, a moment is illuminated at the beginning, you see an old man in prison through the 1st 2 Vignetts, Smail, an old con, a sage in his own right who tells a younger cell mate "we are not friends, we are both her in this situation and have to rely on each other, when we get out we might be friends." The story of Smail starts with him at the slain man's apartment trying to procure a gun. He leaves and passes a young man in the hallway on the way to the elevator, Ney, the connections are now complete. Smail's story, and at this point, the whole montage, seems very much like Ameros Peros, there's the old guy that has debts to settle and a self righteousness which comes off as compelling. Smail is in a small bungalo by the beach, he funds his life with a small treasure that he stashed before going to prison for 15 years because one of his partners sold him out. We never learn the nature of the crime but you assume some kind of heist. The details of his movements read more like those of Redford in SpyGame than an Freeman in Shawshank. He acquires a fake passport, hooks up with his only dear friend left, Omar. He says goodbye to his mother, who he said, in his prison monologues, is the only one who will wait for me. His contention is that wives and children will abandon you, but the love of the mother will keep you safe. This very much parallel's Ney's mother who says "mothers hold the keys to Heaven's Doors" and that "children must obey and respect their mothers for they have the power to curse their children" in the sense of 'i brought you into this world I can take you out.'

Smail is late on the scene, his mother is dying in the hospital and he eventually burries her. With that detail of his life settled he sees the woman he lost when he went to prison, Omar's sister, a quiet and painful conversation, and also meets a sage at the beach, an old drunk who imparts similar knowledge about solitude and "being" in that Schoppenhauerian sense of being. The plot pushes forward and you soon learn that the partner who screwed Smail is Monsour and that he's going to exact his revenge before he leaves to Bangkok, before he ties up all the loose ends and settles his score. The killing field is repeated ominously through the film and between Vignettes by the sound of a gun going off and a shot of a field of dry and pressed flat grass with trees on the right side of the screen. The climax happens here and so the film ends with a long shot of Smail driving away in Monsour's BMW, his hand fondling the air outside the window. Everything is tied up, nice and neat, the curse comes true, Ney perishes, Salim melts Lisa's heart and Smail exacts revenge.

Ok, 20 minutes till I know I'm Not Alone, Michael Franti's Documentary shot in Palestine, a man, a camera and a guitar. I'm hoping that its not over the top in its one love message, I'm not sure I can handle that right now, but it might be a nice parallel to the visceral The Blood Of My Brother. Both will have reviews soon. Look for a review of Bled Number One an Algerian film that I saw on Sunday night.

Sunday, September 10, 2006

Arab Film Festival

I'm going to be attending the Arab Film Festival at the Roxie and other Theatres around the bay area. If anyone wants to join me, this is the tenative list of films I'm planning to see.

Sunday 9/10
Sacred Space Denied / Out of Place-Out of Time / Yasmine's Song 2pm - Roxie SF
Bled Number One 9pm - Roxie, SF (already have tix)

Monday 9/11
The Blood of My Brother 6:30pm - Roxie, SF
I know I'm Not Alone 9pm - Roxie, SF

Wednesday 9/13
Occupation 101 9pm - Roxie, SF

Thursday 9/14
Ahlaam 9pm - Roxie, SF

Friday 9/15
Once Upon a Time in the Wadi 6pm - California Theatre, Berkeley (maybe)

Saturday 9/16
Shorts Program (Human Condition) 2pm - California Theatre, Berkeley
Waiting 5pm - California Theatre, Berkeley

Sunday 9/17
Kiss Me Not on the Eyes 4:15pm - California Theatre, Berkeley

HD Blog [35]

A continuation of Craig Perez's HD Blog...



[35]

Let us substitute
enchantment for sentiment,

re-dedicate our gifts
to spiritual realism,

scrape a palette,
point pen or brush,

prepare papyrus or parchment,
offer incense to Thoth,

the original Ancient-of-days,
Hermes-thrice-great,

let us entreat
that he, by his tau-cross,

invoke the true-magic,
lead us back to the one-truth,

let him (Wisdom),
in the light of what went before,

illuminate what came after,
re-vivify the eternal verity.

be ye wise
as asps, scorpions, as serpents.

The theme of magic and references to magical Egyptian symbols continues in section 35. The openning advises us to replace sentiment (Personal experience, one's own feeling, Sensation, physical feeling. In later use, a knowledge due to vague sensation) with enchantment (The action or process of enchanting, or of employing magic or sorcery, Alluring or overpowering charm; enraptured condition; (delusive) appearance of beaut). The rededication of gifts to spiritual realism, if you excuse the pun, is truly openning pandora's box. In the modern sense, spiritual realism is a kind of off-shoot from new age sciences. There is however an interesting kernel of truth to be explored in the idea of spiritual realism, rather than the ideas that comprise it. Spiritual realism is a departure from the imagistic nature of main stream religions, and even the sometimes overly ritualized mysticisms that connote the deeper understandings of the top level religions. Spiritual Realism is an attempt to understand spirituality in an ulinked state from the usual totemic images of spirituality, mainstream, fringe, dogmatic, pagan or otherwise. Spiritual Realism in its modern "crystal-crunchy" state didn't exist in quite the same context during HD's life, but rather the idea that gifts should be offered to the real experience of spirituality, something tangible like a glorious sunrise, or any other touchstone of divinity, is an interesting one considering that this section is bookended by magic and vipers and the preceeding section which deals with Egyptian and Greek Gods and Goddesses. To "scrape a pallet /point pen or brush" continues on this theme of spiritual realism but recasts it in the form of Art. The new divine is on the canvas and that the artist is a kind of modern priest capable of tapping into those energies historically reserved for ecclesiastical orders and what not. The artist as priest or a kind of demagogue? Is HD saying that perhaps the artist has the power to help us understand that the myth isn't here to elucidate the truth, but to show our place in the narrative in the same way that a sermond reminds us, theosophically, of our place and part in the story of Divine (granting depending on the amount of brimstone you take in your cup o church).



We are pulled back into the pantheon of Egyptian Gods as we are advised to offer Thoth incense. Thoth was one of the more important gods of the Egyptian Pantheon having helped Isis work her magic to bring Osiris back to life and aiding her son Horus in his battle against Set. He is a powerful wielder of magic and also has a female counterpart in the form of Ma'at. This is where things get a little interesting if you ask me.



Ma'at embodies the ancient Egyptian's concepts of morality, law and justice. She is the weigher of words in the underworld and a perfect simulacrum of Plato's logos. What is more astounding, when you consider that woman had nearly no status in Greek society, wasn't supposed to leave the house alone, etc. etc. was given governence in ancient Egypt over these ideal and important concepts dealing with the ethical issues. The Greeks, as HD mentions, referred to Thoth as Hermes, or rather Hermes came from the concept of Thoth, but she is going back to the source of all things. The Triology doesn't deal with the Republic so much as it is angling for the original pattern here, or as she puts it "Ancient-of-days, / Hermes-thrice-great"




The Tau-cross is an ancient symbol that predates christianity, but like all things useful, is usurped by christendom and kept around as an alternative to the latter Latin cross. The Tau-Cross is named after the Greek letter Tau and the Summerian God Tammuz, consort of Ishtar. The story of Tammuz is very Christ-like in nature having to do with a death and rebirth, and was celebrated seasonally. There's evidence that the act of ash crosses on the forehead dates back to these Summerian rituals. Tammuz's name is the symbol for the Tau cross and at the same time represents a doorway, openned and parted, a passage, a point of metamorphosis, the gate.



Tammuz the Summarian


The story of the tau cross isn't over, in its Egyptian incarnation, the tau cross is given a hoop, at once, in its completeness representing the strap of a sandal, as it in its component pieces is the feminine and masculine with the hoop as a kind of solar (sun) disc like that of of the headdress of Horus, once again, a plane between two things, an entry way, a door, a gate. The Ankh not only was a symbol of eternal life, but carrying both genders codified in its structure, was a source of creative energy. Early coptic and gnostic Christians adopted this symbol which also predates the latin Cross as a symbol for Christ's rebirth.

The next couplet is intersting when considering that the true-magic HD is referring to could be the very incarnation of pre-latin symbols for death/rebirth. Are we not looking at the book that inherantly informs the book? Is she asking us to go back further in time for a salve for modernity's ailments? Nietzsche was concerned with similar things in Birth of Tragedy where he derrided Socrates for destroying older forms of Greek Drama which to him were the true embodiment of an ecstatic worship of Dionysis and the Satyr Chorus. The desire to seek a more potent spirituality isn't new per say, it seems a constant obsession that along the way to progress, in our desire to modernize, we've lost some integral piece of knowledge and are less complete, regardless of our achievments. The next couplet that advises us to "illuminate what came after" seems to suggest that a kind of ancient lore could help us in our modenr struggle.

Lets back up a bit... HD does something really odd, in all these symbols of the feminine divine, she mentions "let him (Wisdom) / in the light of what went before", this has been bugging me. I'm not quite sure how to take this except as a jab at monotheism. The wisdom of the ancient world being lost, and at the same time HIM and wisdom being linked or rather footnoted, as a kind of wise God, perhaps one that has to answer for all things that came before. Before this age where HD is urging us to reach back and over real gifts to the true Gods? WWII is raging all around and the feminine divine is nowhere to be found, rather a masculine order of war mongers, in light of these tragic and terrible happenings, one has to question if the past can illuminate the future in light of the present set of circumstances. I'm curious how other people read this couplets.



The final couplet seems to move back to this more tangible form of magic in the shape of snakes and asps and serpents. Now biblical portrayals of the snake are generally unfavorable as in the serpent in the garden of eden, later in Deuteronomy (32:33), "Their wine is the poison of serpents, the cruel venom of asps" a way of saying "lies", or allowing the snake to do the talking, which never tells the truth. Also in Job 20, the lie as serpent returns "Yet his meat in his bowels is turned, it is the gall of asps within him". However, when we consider Serqet as the scorpion woman, and that Isis is often represented as a snake, in particular, an asp, or is adorned with one, then HD is urging us to be as wise as these Goddesses of old that were at peace with the what we, in our modern civility construe as the cruelest of creatures. There's one more reading of this, when you consider that in order to resurect Osiris so that she could give birth to Horus, Isis had to learn Magic. She needed Ra's magic and in order to learn his secret name, a kind of "enchantment" she tricked a snake into biting him. When bitten Ra spoke his secret name to stay alive and so Isis learned magic. Again, a kind of dominion, usefuleness, or as The Byrds sang:

A time to be born, a time to die
A time to plant, a time to reap
A time to kill, a time to heal
A time to laugh, a time to weep

To everything - turn, turn, turn
There is a season - turn, turn, turn
And a time for every purpose under heaven...

HD Blog [34]

A continuation of Craig Perez's HD Blog...



[34]

We have seen how the most amiable,
under physical stress,

become wolves, jackals,
mongrel curs;

we know further that hunger
may make hyenas of the best of us;

let us, therefore (though we do not forget
Love, the Creator,

her chariot and white doves),
entreat Hest,

Aset, Isis, the great enchantress,
in her attribute of Serqet,

the original great-mother,
who drove

harnessed scorpions
before her.

Once again we have a return to ancient Egypt in the form of the Jackal, Anubis. The jackal, a medium-sized carnivore with doglike features and a bushy tail, is widely distributed in Africa, the Middle East and India. This animal has long been the subject of superstition about death and evil spirits. The ancient Egyptians believed a jackal-headed god, Anubis, guided the dead to those who judged their souls. Such beliefs were probably encouraged by the jackal's cleverness, nocturnal habits, eerie howling and scavenging.



Anubis was charged with the measure of a person's life. When the dead reched the gates to the underworld, to the realm of Osiris, it was Anubis who would weight the heart against a feather on the scales of justive, thereby preserving the balance of good and eveil between the now and hereafter. If the person's life was just and good their heart was lighter than a feather and if it they lead a poor life then their heart would be heavier than the feather and it would be cast to Ammit, the eater of the dead.



The theme of the mongrel continues in the form of the Hyena. Hyenas have two niches in Africa. As real animals, filling the night wit their maniacal whoops and laughs, they hunt aggressively and are confident enough to terrorize lions. As creatures of myth, over the centuries they have generated fantastic tales of depravity and horror. Until modern times, reality and myth so commingled that the hyena ranked as the most misunderstood and most maligned animal in Africa.



The Hyena, in all of its misunderstanding, is still a wretched animal, but in its wretchedness gives Lions a run for their money. Lions, an essentially lazy animal in their social heirarchy, where the regal males laze around and assume first right to the kills generated by the femailes of a pride, stand as a symbol of power, at times the very image of soveriegnty and kingship. Could there be a double meaning in HD's use of Hyena here? As an animal that lives like a scavenger, the mongrel Hyena challenges the power, the best of us, when forced with untennable situations and plights, might like the Hyena take to fighting the established order and power, and we too might eat the dead in order to survive.

HD now switches gears to the subject of Doves: doves come from Cyprus, island sacred to Venus. Apuleis, but also others before him, tells us that Venus's chariot is drawn by snow-white doves, called in fact the birds of Venus because of their excessive lust. Others recall that the Greeks called the dove περιστερα, because envious Eros changed into a dove the nymph Peristera, much loved by Venus. Doves are the kissing bird, in nature, there is no season for love, love for the dove, or in actuality, the act of mounting the female, is a year round occupation for the male dove.



The dramatic shift from Jackals and symbols of the underworld to that of love as the creator is tempered by mentioning Hest. Hest could be short for Hestia and would keep with the Pan-Classical theme moving from the jackal to Hyena, perhaps also a parallel of Ammit. Hestia, the Greek Goddess of the hearth. She was also the link of the metropolis to the smaller outposts as the first thing that is necessary in establishing the home.



At this point HD takes a turn for the truly mystical, and also drawing a kind of parallel once more, a doubling, as all things in this seem to be doubled into their positive and negative forms, she invokes Isis but then invokes her as Serqet, the Scorpion Goddess of magic who protects against the venom of the scorpion and can kill with the same wrath. She is also the justified's rebirth mother, helping them be reborn in the afterlife.






Serqet has two forms in art: as a scorpion with the head of a woman and as a woman with a scorpion on her head. She is also, in her ability to welcome the dead to the land of Osiris, a female counterpart to that of Anubis, in a way they are both Janus, the two headed Roman God of passages, but a male female split.

(I am) Serqet, mistress of heaven and lady of all the gods. I have come before you (Oh) King's Great Wife, Mistress of the Two Lands, Lady of Upper and Lower Egypt, Nefertari, Beloved of Mut, Justified Before Osiris Who Resides in Abtu (Abydos), and I have accorded you a place in the sacred land, so that you may appear gloriously in heaven like Ra.

-- Inscription in the Tomb of Nefetari, Serqet speaking to Nefertari



So in this section we are cautioned not to behave like scavengers and reminded that before monotheism dominated the land there was an older and more ecstatic cult that worshiped the great mother, the female godhead, which predates the male, and is both lustful and beautiful, violent and murderous, but equally as great as the male godhead of later monotheistic doctrines.

Saturday, September 09, 2006

Arab Film Festival

I'm going to be attending the Arab Film Festival at the Roxie and other Theatres around the bay area. If anyone wants to join me, this is the tenative list of films I'm planning to see.

Saturday 9/9
Heaven's Doors - Roxie, SF (already have tix)

Sunday 9/10
Sacred Space Denied / Out of Place-Out of Time / Yasmine's Song 2pm - Roxie SF
Bled Number One 9pm - Roxie, SF (already have tix)

Monday 9/11
The Blood of My Brother 6:30pm - Roxie, SF
I know I'm Not Alone 9pm - Roxie, SF

Wednesday 9/13
Occupation 101 9pm - Roxie, SF

Thursday 9/14
Ahlaam 9pm - Roxie, SF

Friday 9/15
Once Upon a Time in the Wadi 6pm - California Theatre, Berkeley (maybe)

Saturday 9/16
Shorts Program (Human Condition) 2pm - California Theatre, Berkeley
Waiting 5pm - California Theatre, Berkeley

Sunday 9/17
Kiss Me Not on the Eyes 4:15pm - California Theatre, Berkeley

Thursday, September 07, 2006

...

"It is poetry that proceeds from an obsessive desire to discover the truth and know the self and the world."

-Adonis

Wednesday, September 06, 2006

You should get this...



Cause it has some great stuff in there like the work of Craig Perez and if you snooze on it then you might turn into a knuckle scraping monkey itcher, and here i quote the Great L.R.S. cause he's in the book too...

Once you've had your fill of that gem, you should get Face Time cause like you should, and if you don't I'll turn you into a knuckle scraping monkey itcher!

And While you're at it... just for a few shits and giggles... you really should check out LENS at Detumescence Press cause there might be something you can print out and fold for your reading pleasure.

Tuesday, September 05, 2006

Heraclitus Fragments 130-139: Len's Completion and Faux Translation

Fragment 130:

There is nothing intuitive about one who
thinks he knows something about infinity

Fragment 131:

Opportunity exists for those seeking a
real purpose in all things materially real

Fragment 132:

Infinity welcomes careful drivers but shuns
cosmic misfits riding on astral buffalos

Fragment 133:

Distance decreases the need for an actual
human relation when the phone is plugged in

Fragment 134:

What we don’t know in particular is if the
question without a meaningful answer has
to be considered a meaningful question
to be asked in the first place

Fragment 135:

You can’t speak with any certainty about what
happened just before you arrived on the scene
but you’re more than likely to invent the story
now

Fragment 136:

If it takes the universe an eternity
to cool to absolute zero then it was in
absolute harmony we were given tempers

Fragment 137:

Rumor or observation will clarify that
this isn’t really an official party-line

Fragment 138:

Fire climbs down hill, while mountains reach for the sky, trees
stand stoic, rivers run long, and man, man is here
and then suddenly gone.

Fragment 139:

Free will is a risk often taken and unknown.

Saturday, August 19, 2006

A Devotchka kind of week(End)



Well its been one of those weeks when one good thing just rolls right into another. After seeing Devotchka on Wednesday we decided to see Little Miss Sunshine this evenning. Lets just put it this way, and here, I'm borrowing Ilya's words, but good writing wins out over special effects any day of the week. Mix that with good acting and you have a sure fire winner every single time. Little Miss Sunshine is a gem of a film, awkward, humorous, just poignant enough to balance the sugar with a dash of salt, quirky and filled with moments, so many moments, linked throughout a continuim of good writing and acting. We laughed out loud... You should see it, really. While on the road with this disturbed Hoover family, enjoy the scenery and the sounds of Devotchka who scored the film.

Oh yeah... just to make the pot a littl emore sweet, I won the trivia contest at the Balboa theatre before the film started and scored a free ticket. Not too shabby I'd say. I love independant theatres, one of only 5 left in SF. So if you live in SF, support your local and independant movie palaces as they're truly a dying bread.

And for those of you that were curious, the question was: "Alan Arkin, the grandfather in Little Miss Sunshine starred in a film, about 10 years ago, a genre film, sci-fi, with Jude Law, what was that film?" My hand shot up before the question was fully asked... and the answer is here

-L

Friday, August 18, 2006

Useless worries #4

The how and why of longing
is understanding that retail
therapuetics leave one tied down.
There's too much to carry out
or in, or into something smaller
more frugal, lets face it, cheaper.
This isn't our father's generation
when you could work your whole entire,
life for one company and reap
pensions and timex quartz stop watches.
Sometimes there's too much to move
too much space required to store,
all the very small bad days
and where will the shelves go
to stack up and up and up
the knick knack patty whack of
this spree, or that sprained knee.
Sometimes, there's more to care for
and less to carry. Sometimes there's
too much for the maybe of tomorrow,
what might happen when I'm no longer,
tied to this profession or that,
and I do as JFK suggested, for my
country? Not in this day and age son,
I just want to travel and live on
goverment doles in third world holes.
There'll be too much for public storage,
too many boxes aof unread books
added to the collection, every good
library needs this and that, and
you can't imagine being without
one more tea-lighted evenning,
they come in bags,
fifty to a hundred.

Another fantastic Devotchka show on the books!

Devotchka is the soundtrack I want to live in at times. Or, maybe, in planning my own wake, I want everyone to swoon under Tom's magic violin spell. Yeah, that's it... or just let Nick Urata croon his heart out and whistle my tune in an almost Enio Mariccon spaghetti western style. Then again, it could be the mariachi balads and the fact that every other song is about the loss to come and you remember back to when you were 16 and listening to The Cure's pictures of you seemed like the only tonic for the heart ache you didn't have but needed to feel human. But you're older now, more mature, sophisticated, saavy and read reviews and think yo have discerning taste, and you need a new elixir for modernity's modern pangs, and so you turn to something that melts the ashes of mariachi, tango, flamenco, klezmer and well crafted rock into a beautiful, beautiful malady.... Yeah, you should go out and listen to Devotchka, you won't regret it. If you need a little more urging, I'm giving you a review which I think is spot on...



From Filter Magazine- "Devotchka may be the best band in America youve never heard of. This fascinating little quartet from Denver Colorado has made a wistful, beautifully-arranged something that isnt really an indie rock record, and isnt really a jazz record, and isnt really a mariachi/norteno (or Eastern European) folk record. Its the album you put on when you want to wallow, when you want to brood, when you want to shut your windows and close your blinds and lose yourself in the wistful tragedy of love and loss and hope and nostalgia that bubbles to the surface in all of your darker, finer moments. And though it could easily be the soundtrack to One Hundred Years of Solitude (what, with all the horns and guitars and the crooning Nick Urata), its actually more spiritually related to the darker and finer moments of, say, Modest Mouse. (Night on the Sun the-world-is-ending-right-here-in-this-guitar-delay Modest Mouse, not the newly-minted disco Mouse). It makes you think. It makes you long. It makes you dream. And if you can listen to the aching troubador ballad Dearly Departed without feeling the suffocating sensation of tearing flesh from bone that accompanies any true loss, then you havent loved and you havent lost and you shouldnt kid yourself that your better for it." -Mikel Jolet 11/19/04

Friday, August 11, 2006

Useless Worries #3

It's always the beginning
that makes me hesitate, before
actually starting something,
perhaps more than comitment
I'd venture to make not knowing,
what's to come or more importantly
what more than likely won't
come around, if you can stop
the inevitable from happening,
this is called the flip side
of the coin of procrastination,
which must be defined as simply
the fear that prevents a body
from starting something,
like all those books
ith their uncut pages,
the show piece that isn't
being fully used to best
and highest usage just might,
make the dog's coat shine
a little less, or maybe
if I start cleaning too much
I'll never quite make it
as clean as if it were
professionaly done, see here
I'm not an expert in all things
vertically speaking, my capacity
is in the many beginnings
here and there, left still
and quite unfinished in order
to be there when I get around
to finding myself ready to accept
an aptitude less novel and
properly more specific.

Monday, August 07, 2006

Giving the bird

I simply don't get what the attraction is? I know, I just had my 31st birthday and I'm like a year old, a year crotchetier, a year closer to death but I never understood the fascination with flipping off those taking a picture. I mean you see everyone from the most innocent looking suburban girl next door, to the farmer's daughter to someone's grandma? Why is it we're so bloody fascinated with being caught on film with an extended finger saying fuck you taking the picture and whoever else looks at this photo? I simply don't get it... someone help me out.




































































enough for now...

Friday, July 28, 2006

Useless Worries #2

The part about cleaning
constantly, cleaning
before leaving, anticipating
the return to clean
is nothing shy of who
will clean when I die
and if I should leave
kitchens and sinks
replete with morsels
abandoned and something
that seems sedentary
like I lived here once
and the crows above
fighting with gulls
and the daffodils
unwattered bamboo shoots
stalk green to brown
will somehow wilt faster
far away, where I can't
quite imagine the way
it might be, after I'm gone
dust born bunnies
will choose the breeze
that best suits
through the open crack
meant to freshen the air
allowing for circulation
through the domestic
organisms will surely
breed out of control
and the germ-fare
fantastic born colonies
will leap and cause sedition
among the fruits
everything will start
the lambic dance
while inanimate
objects will memorize
and provide direction

Tuesday, July 18, 2006

Useless worries

In the end I'm actually afraid
that I'll die in the fall,
loosing an hour when I was born,
in the spring, I'd have time
enough to write the last chapter,
read the last one written,
and maybe play that game
with petals and flowers,
the one that magic eight balls
were meant to replace
so that the 20th century's need,
for every mess to be hidden
until it can be written, back
into existence in an op-ed
after it stales on the front
page, of this or that local rag
comes to bear fruit,
it either is or it isn't the case
when counting leap years
that the best ones are common place,
and I'm afraid that death'll come
between the fours, and I'll miss
yet another olympiad when we all
feel something like kings,
watch the critics make critics
of us all and that instant
expertise evolves us into tyrants
on the couch, I'm afraid
that there'll be dishes left to do
and that I'll still never have
owned a nice new car that purs,
like she might've been a brand
name, or else I've thought about,
spending way more than I had
the means beyond which I worry
about useless shit and wane each day,
that I've grown closer to knowing,
when exactly it is I'll die.

Saturday, July 15, 2006

Rituals of Truce & the Other Israel (Reviewed)

If you're interested in the middle east, specifically what's going on there, then you should read Benjamin Hollander's Rituals of Truce & The Other Israeli, but you should start with Khaled's review of it which can be found here in the Palestine-Israel Journal.

This was my take on it when I first read it...

This is a book, this is not a book. I think Magritte would agree with me when saying this about Benjamin Hollander's work. One part citation, one part recitation, one part interior monologue, one part exterior dialogue makes for a complicated read that asks questions that are begging to be asked. However, in asking the important questions about conflict, the writer and the book take into account that the solutions may not necessarily exist in the current discussions about the conflict, but rather in asking fundamentaly different questions. There's a tension that can only be called frustration over a problem that is at once local and foreign. It's as if the book and its auther are refugees from each other and are searching for nothing more than a mode of communication regarding something that has pages and pages of preemptive "essays" in anticipation of the dialogue. How, in this kind of atmosphere, where the opinions are formed and declared before the discussion ensues, are answers to be found? At this point, it's safe to say that the conflict in question is the Israel/Palestine crisis. This book doesn't claim to be the spawn of a Jimmy Carter peace effort, but rather an intriguing inquiry into a problem that has been fought within the context of a stalemate. If you are looking for a political diatribe you will not find it here; however, if you are looking to read something that is fresh and invigorating, something that posits a problem outside of the normal battlefield in which you can't see the hills from the craters, then read this book. Even if you don't know what the green line is, or why this latest intifada broke out, you will gain a perspective outside of our sound bite culture into the possible rituals of truce that exist beyond the assumed positions of friend, foe and other.

A few more pictures

Just going over stuff... finding more pictures that should've been put up... go look...

Friday, July 14, 2006

The Last Days...

In past years I’ve been really bad about posting the “last days” of my trip, but I thought I’d write a closing thoughts or summary of what happened and perhaps even how I felt after the trip. I mean I didn’t write a post home after my first year at the program where I drank till the moment I left and suffered from the absolute worst flight in my life, sweating beer and vodka all the way across the Atlantic and North America until we touched down in Seattle where I thanked the powers that be for depressurization and cursed the authorities of Seattle’s airport for confining smokers to a 6x9 foot square on the lowest level of the multi tiered structure. No I didn’t write about that or how on the drive to the airport I saw a dead body on Moskovsky prospect, a woman lay there between police cars in a pool of blood and how it seemed that either she had been shot or brutally hit by a car. I omitted these details and the fact that St. Petersburg bid me farewell that first year by saying: “your romantic notions are just that, and here’s the grim reality of being mortal.” No, my love affair with the city didn’t end there, but every year I find another reason to hate and love the city all at once. That first year, I hadn’t seen the sun actually rise in two weeks as the buildings obscure the “act” of sunrise, but that morning, when I reached the airport and found the door to the domestic terminal check in and registration locked, I stood outside on the 2nd floor of Pulkova and smoked a cigarette staring at a ball of crimson fire in the sky and how the pool of blood on the road and this cosmic event seemed to be a mirror reflection of the microcosm of human existence. No, I didn’t write about any of this, or the anti-semitic cab driver who said “Bloomberg (NYC’s mayor), is a bit of a Jew isn’t he?”

The last days of my trip this year weren’t quite as visceral as the previous years. In a strange way, they were the perfect juxtaposition for what I had experienced; you might say that the scales were balanced after this year. My trip with Sergei was fantastic, we started at the Hermitage, the clouds weren’t really cooperating, but it was still a treat to be out there on Aleksander’s Square during the wee early hours of the morning when very few people were out and the DPC (cops) were asleep in their cars, that blocked certain street entrances to the square. It didn’t quite strike me at first how many cops were out on the roads, but as we left the hermitage and began to drive to the small church near the Marinsky theatre taking the long route along the Fontanka canal their presence became an undisputable fact. Every corner had either several DPC’s or young soldiers in camouflage standing guard. The G8 which starts today, was still several almost two weeks away. The city seemed to be undergoing some kind of rehearsal for what I can only imagine is a massive show of force where they will be shooting first and asking questions later.

The street that the small church sits on has a small canal that runs along it. The marinsky is a block or two away. The sky was just becoming right as we pulled up along a sleepy little street. Sergei stayed in his car and I got out and began to take pictures. Every now and then I couldn’t help but look over my shoulder and at the shoddy building behind me with its darkened courtyard entrance. I imagined that some drunken hooligan would come out at any minute and I would have to make the decision of weather to brain him with the monopod of my camera or make a dash for the car. I thought back to last year and how I had visited this church then and been denied access as I hadn’t remembered that I need to wear long pants when going to orthodox churches, even those that are museums and not working churches. I used my telephoto lens to peek inside the church, into its gilded bowels. This year, the sky blue paint, seemed a cold husk against the slowly warming sky that was turning different shades of rose, and the clouds that still weren’t lit from below and hung heavy in their gray lifelessness.

After I snapped a few and stood there staring at the waters of the canal I decided we needed to make a dash for the small rose church, way out near the airport. Sergei lived in a large building, in what he described as a good neighborhood, a few blocks from the church. We arrived to find it sitting there, perfectly picturesque in a setting of gravel and trees and a playground behind it. The church was built in the 18th century to mark the victory of a naval battle. During festival days people flock to it, due to the size the party spills out onto the grounds leading up to the church. It was beautiful and I was happy to finally find this little structure which seemed to be the perfect counterpoint to the massive and heavy domed churches that line Nevsky Prospect. This small memorial chapel with its very simply crown of spires and stripes, and the pink color of its walls, seemed to sit there humbly adorning the trees behind it, waiting for someone to come up to it and acknowledge its beauty. I was reminded of Bramante’s Tempietto of San Pietro and how perfect it is in both size and decoration. What is lost in terms of grandeur like the Pantheon in its classical perfection, is gained in the subtlety of its form, the way it doesn’t impose but makes the eye trace its circular circumference, it makes one desire to see what is on the other side or stand atop the balcony that although held by a round of columns has the appearance of floating.

Once I had my fill of trying to capture the fleeting, and now flat light of morning, we left and wound up at a coffee shop near Kazanskay. I bought Sergei a mocha and he began to tell me stories about “driving” in St. Petersburg. The most memorable was about train tracks. According to him, the driver who pulls closest to the tracks, in an act of bravery, is “the man” (krutoy), and will be the first one to peel out once the train passes. A land cruiser had made its way pretty close to the tracks as a long freight train was passing through. A small Lada , this thing is tiny, made its way through the crowd of cars, skillfully weaving in and out of the lane of traffic and using the sidewalk managed to pull in front of the big shiny new Land Cruiser in a move of total defiance. The guys inside the Land Cruiser took this as an insult and got out of their car and began to beat the crap out of the Lada smashing the tinted window to reveal four passengers. They took out the headlights and riddled it with dents as they had money and thought themselves tough guys. Once they were done they got inside their big shiny car and sat there content. The doors to the Lada opened and four guys with machine guns stepped out of the car, the real mafia. They proceeded to do to the land cruiser what was done to their “fly” soviet ride. As three of them took the land cruiser apart, shooting out its tires, one man stood in front of the car with his machine gun pointed inside the cab. Once they were done demolishing this once shiny and new piece automobile, they climbed inside their newly ventilated ride and drove off… the moral of the story is: never assume that expensive cars are driven by mafia, never assume that cheap ones aren’t.

The next few days were filled with last minute shopping, packing, a trip to the banya with Parker where I watched a replay of the Italy vs. Germany game where the Italians scored 2 goals in the final minutes of the second overtime. It was beautiful, and as I sat, recently baked in the parilka, smoking a cigarette next to other toga wrapped men, we all agreed, it was pretty the way the Italians knocked the Germans out of the World Cup. After the banya we went to the Ukranian joint for a quick bite before the final open mic. Shinok, the name of the restaurant means puppy in Russian, and so we sat, hungrier than puppies staring at the menu. I found something that seemed to fit the bill as I didn’t want eat a huge and heavy meal for fear of falling asleep during the reading. I kept the alcohol intake to 1 beer. The waitress, dressed in a quasi traditional headdress, and the waters in their billowing and baggy red satin pants make the whole theme a bit laughable. Still, she comes over and I order cauliflower friend in egg. Its something my grandmother makes here, and it’s a wonderfully simple and not very heavy dish. A few minutes later she comes out of the kitchen and says that they just served up their very last portion of cauliflower and I needed to choose something else. I ask her “so what else is good here vegetable wise?” She looks at me and says “well the chicken in curry on a skewer is nice.” Aha, so as I had previously thought, chicken is a vegetable. I went with the chicken on a skewer as replacement for my cauliflower.

My departure, on Friday, was fast approaching and there was little time to do anything. I decided that I would take things easy, instead of running myself thinner than I already had, I would just “chill” and take in the sights and sounds. I started packing early so that I wouldn’t be bothered by it on Thursday. Wednesday night turned into a bit of a late, late night at The Datcha. In truth, we hadn’t quite planned for that late of a night, but that’s the way things go. It started something like this: Sam Lipsyte, James and I were sitting in The Office Pub. I asked Misha, the bartender, for one last round of vodkas, were thirsty, what can I say? He apologized saying that they had closed down the register. The way that the pub closes down is this, first they ring the last call bell, then they turn on the lights if they’ve been dimmed, then the TV goes off, then they kill the music, and then they throw you out if you still haven’t left. During the process they put away the register and cash and stop serving booz. The three of us weren’t quite ready to put the axe down and after stepping outside for fresh air and the 30 millionth smoke of the night, we decided, what the hell, two vodkas at Datcha and then we’re done. Ok, so we all went back to the hostel so I could unload the camera, no way was it accompanying me to Datcha without a well built and well strapped security guard. As we were leaving the hostel we heard voices emanating from Nancy and Sarah’s room. We knocked quietly and found the two of them plus Kristin, all in black cocktail dresses, fresh from the ballet. Try as we might, they didn’t want to join us for drinks at Datcha, so we were off… And when we arrived, we found a good number of SLSers dancing the night away at that asshole of a bar. Well we drank, and kept drinking, and drank some more, and danced to remixes of the doors, it seemed to be funk night and the James Brown was flowing free along with Sly and The Family Stone. Ryan was there and he was dancing as if he fell off some lost episode of soul train. We left, eventually, and hit the sack around 6 in the morning, could’ve been seven, I simply can’t remember, and I was the most sober one among us.

I woke the next day and blundered around the hotel, finishing the packing, throwing this and that away, figuring out how I was going to smuggle as much vodka as possible back home, the odds and ends of leaving a place after living there for a month. Sveta called me around noon to tell me that I’m going with them to the Datcha, now I had heard about some staff dinner that was going to take place at a real Datcha an hour outside the city. Originally they told me that we’d be back around 9 the next day, or so I thought they meant 9am, so I had turned down the invitation as my flight was leaving at 11. No, they were coming back around 9, it actually was more like 11 or 12 at night, but that was fine, I wouldn’t of minded spending the night there. So at 4 in the evening I made my way to Gherzen to meet parker. Sveta’s mother, Victoria, and a driver, were there to pick us up. We drove north onto Vasilevsky Island and continued down into the thick of Krushev apartment buildings where we picked up Lana. Now with Parker, Lana and I squeezed into the back of this Lada station wagon, we drove another 30 – 40 minutes beyond the city, into the country, to the home of Edward and Vera Romenko. Vera is the “Dean” of Victoria’s program at the Gherzen. Victoria is a liason for foreign affairs if I remember this correctly. Edward is retired and was our host for the night.

How do I begin to describe this experience? Well I think I’ve mentioned that Datchas are the country residences that Russians with means keep outside the city. Some are small and quaint as in the case of my relatives in Moscow, and passed down generation to generation, and others are more opulent, as is the case with Edward. Their Datcha is a modest 3 story affair that has 3 bedrooms, and I’m sure the dinning room is used as sleeping quarters for large parties, sits on a very nice chunk of land that is planted with all sorts of flowers, fruits and vegetables. Off to one side there’s a banya, and beyond that another datcha that will dwarf Edwards, its probably twice the size, which has an indoor pool and banya in a separate structure. Although that Datcha is beautiful, I like Edwards, with its brick façade and near Dutch staircase that has a vertical angle that makes it seem more like a ladder than anything we know in the west. Parker and I were taken in, shown the house, complete with a Gym, which Edward says keeps him young, and at 70, he’s definitely ahead of the curve. We settled at a table outside with Jenya (short for Jennifer Lopez), Sveta’s dog, jumping and prancing around us. Victoria brought out a plate of freshly cut vegetables that included giant tomatoes, pickles and yellow and red bell peppers, a plate of various salami and home made hachapuri for appetizers. I was terribly thirsty with a wicked cotton mouth, so instead of starting with beer I asked for Kvas, and eventually made my way to the beer. We sat outside with Edward who seemed as if he was sizing us up. He asked us questions, wanted to know how I spoke Russian so well, and we simply sat there having a conversation. He told me that he was a survivor of the blockade of Leningrad. He has a card that designates him as a “blakadnik”. He shows this card to police when they stop him and half of them don’t believe him and ask where he bought the forgery. I can only imagine that this is one of the biggest insults that you could give to someone who lived during the days when food rations were 100 grams of bread per day. If you think about it, 50 grams is 1 shot of vodka, maybe that puts the ration into perspective. His father came home from the front, a couple years into the war, and caught pneumonia and died on the couch. Edward was alone with his mother and would surely have died of starvation if it wasn’t for his aunt who worked for the KGB. They were given a larger food ration and they shared it with Edward and his mother. He said that when you ate bread in those days, whatever crumbs fell onto the table or the floor, you would lick your finger and carefully collect every single crumb and speck of bread dust as food was that scarce.

An hour or so after we arrived the rest of our dinner crew made it to the Datch, driven by Alina and Sveta. After greetings, a beer outside, it was time to dine. We went into the hose to find a long table with five different kinds of vodkas, as many salads, juice, sparkling water, salty goods, everything that I’ve come to know as home, growing up, that my Mother will tell you as a child, my brothers and I would refer to as Russian Torture, that now is ambrosia to me. It was all there, and so we dug in amazed by the variety, the freshness and the absolute pleasure. Needless to say there were many toasts and I was expected to act as translator, alternating with Sveta and Tatiana. Edward doesn’t drink, he kept a glass of champagne that he nursed through maybe one refill during the entire dinner. Yet he was fond of giving toasts, and even more appreciative when you would give one in return. James and Sam both stood, in drunken wavers, and toasted his health. We thanked each him, Vera and Victoria for their hospitality, we drank to friendship between peoples and countries, to good times, to Russia, to America, to peace on Earth and nothing at all. We drank, oh boy did we drink, and we ate. The meal was multiple courses, of course, and they decided to omit the hot fish course, after we had the meat course, and the potatoes before that, and the 2 cold courses before that. We just couldn’t do it anymore, I later found out that Ryan had to purge not because of the drink, but because he had eaten way too much. I know that I was in pain at some point. I made the mistake of coming last to the hot course, had to use the facilities, and being a rather stout fellow, they decided that I needed two of everything. So as not to be rude, I ate it. Danny hardly touched his food and he got an ear full, that “you don’t like it?” Which we nudged him and said eat, doesn’t matter if you’re full, keep eating, you’re eating for those that starved to death during the blockade damn it!

Over the dinner table hung a portrait of Edward from when he was 25. He was bare chested and his abdominal muscles were painted and exaggerated. Edward told us that he was a “master of sport” which is a designation that doesn’t really exist in the states. During the days of the soviet union, all sports, all professional athletes were state sponsored, so there was a designation, a degree if you will, called Master of Sport. Its hard to imagine, but its when you reach such a profound level of skill in your chosen sport that you are given this title. Edward was a weight lifter, not body builder, weight lifter, and as such was a master of sport. He used to pose for artists as a model, after one such session he lined up all the paintings and bought his favorite for 15 rubles. That was a sizeable chunk of change 45 years ago. I asked him if there was a cubist among them, he said yes, and he couldn’t tell if he had painted him or the female model, so he passed over that citing a lack of understanding or appreciation for such styles of art.

We all agreed that spending the night would’ve been an ideal way to digest the food. I mean they pulled out young garlic from the ground, washed it and there we ate it with pieces of salami. It was divine, but alas, it was time to go, so we bid Edward farewell. Sam happened to have a copy of The Subject Steve in his bag and he gave it to Edward, after signing it, as a parting gift. There were pictures, handshakes and hugs. A thousand thank yous to our hosts and then we were off, heading back for the wilds of St. Petersburg. Alina drove like a bat out of hell, I mean this was normal for ST. Petersburg, and Parker and I sang hair metal songs in a drunken haze as we went flying by. To be honest, I put my seatbelt on for the first time in Russia, she made me very nervous… poor Parker, there wasn’t one in the back seat for him to wear, otherwise he would’ve.

So we came back, spent a few hours at the office pub, said boodbye to friends and then headed for the hotel where I set out my clothes for the next morning, put away the laptop, camera and everything else and went to sleep for a few hours before I woke and began the very long trip home. And so here I am home… missing the fact that I could get meat on a stick in any restaurant, that I can buy cigarettes in every restaurant, that beer is once again an alcoholic beverage, that I’m not walking everywhere, that I’m stuck in my car, that I can’t buy vodka in Subway, that the nights are truly dark, and that hitchhiking isn’t an acceptable mode of transportation. These things I miss… I’ll probably always miss them as they’re touchstones of the romance I have with a place that is at once a home I never really knew or understood, and a destination that I know well enough to enjoy and help others enjoy. Shislivo…

Saturday, July 08, 2006

The Pictures are Up!

The pictures are all up! You should go see them, they're located HERE

One last post as to the final days will come soon... once I aclimate to this thing called home...

Tuesday, July 04, 2006

Sergei is coming...

I hired a driver to take me on a cruise of St. Petersbrug at dawn. The goal is to capture dawn in its varied and sumptuous colors. The sky here is a long exapnse broken by massive pancake buildings that the light struggles to overcome. That night that I drove Wendy back to the Astoria, and the driver went down Admiraltastvay, and I saw the sun crest over the top of the winter palace and hermitage floored me. I got the idea to do this then, and I'm finally going to make it happen. There is no way in hell I'll walk these streets at this hour with two thousand dollars worth of camera gear on my back, just not happening, I'm even a little nervous about getting out of the car with gear on my back, hopefully 19 year old Sergei is more of a man than me and will intervene with shit bag cops if the need arises. I'm going to pay him well, we still haven't settled on a price, but he's a sweet kid and picked me up at the airport, and since he's a friend of Katia's I trust him more than most other people. He has an infinitely cool car, called a Moskvich, only 500 were ever made, I'll take a picture so you can see, but its like a volvo, but smaller and sleeker, with tinted windows, a radar detector and a thumpin stereo. I'm going to give him copies of my CDs, just as a little thank you gift, my last ones, the rest have been dolled out... anyway, he knows the pink church with the stripes, I've been dying to find it for three years now, its at the ass opposite end of the city and will take forever to reach by metro, which is closed now, it happens to be near where he lives, hopefully its not skin head central.

I forgot to mention, I saw a cat with a swastika on his forearm, it was very disconcerting... he wasn't a skin head, rather he had hair and was rather handsome, but plain as day, there it was on his forearm with old english script, in German, around it. With what happened to this city because of the Nazis, you'd think someone would've cut this fuckers arm off and shoved it up his ass by now. I went to the siege museum, maybe this is what spawned this tiraed, but anwyay, it used to be 3 square blocks of the city, until Stalin shot the directors, it was started in 1944, before the war and the blockade was fully broken. The city was besieged for 900 days, 1.5 million people were starving and kept the Germans at bay for 3 years. During the first year of the siege the river, from which the Nevya flows, froze over, it was the 100 year freeze and they called it the road of life, as trucks would drive across it carrying supplies bound for leningrad. The last freeze happened during the Napoleonic wars, how very timely and convenient, no? The museum was filled with old guns, propoganda posters, military uniforms, and a display showing how a storng, healthy, atheletic woman, who before the siege was gorgeous and in the prime of life and one year into it, was reduced to looking as if she was in her 60s. It was frightening. Pictures to come of this and more. So based on just this, this reminder of the past, how could someone have a swastika on their arm here? I suppose assholes are everywhere, but especially here, it seems so very wrong. I ran into Resa shortly after this and she said, well, you have to have compassion even for the racists, as its the most extreme people, the ones least worthy of compassion that really test the limits and define an all inclusive compassion, she's right, but I'm not that zen. When I walked into the museum an old woman, one of the "guards" came up to me and tried to speak English, I finally convinced her that I speak Russian and she began to tell me the history of the museum, as I walked furhter back, she would come running up to me to detail how and what happened, it was really amazing, even more startling to find out that she was in 1st grade and remembered it. There's still memory walking this streets, still there, still a heart beats, and still someone cries, somewhere, in the dark of this darless night, for what happened here. I thought back to my grandmother and how her youngest brother starved to death in her arms during the war and just had to sit down for a while, I'm sitting now, and wondering if anything I do here as any real significance or meaning, considering what was done here. Eh... too much and too big for a small body and place.

wish me luck!

Ring down the days...

Time is flying by, this last week is going to be a blur. I've resigned myself to do two more "cultural" things: one more day at the Hermitage, 3rd floor this time, and then a trip to the siege memorial that sits in the giant round on Moskovsky Prospect. The museum is underground, under the giant memorial, and easily accessable by the metro. At this point I've less than 3 days left in Russia.

Last night's concert was good, but strange. Let me explain, when seeing a show in the bay area I expect to be swimming through a cloud of pot, regardless of the act, this is just a fact of life when going to see shows back home. There wasn't a trace or hint of pot anywhere in the ice palace. The concert was undersold, which I didn't mind, we were like 20 feet from the stage and could see the wrinkles on his face. Steve Stevens, his guitar player, is a legend, and has two solo albums that I'm going to pick up when I get home. Stevens played a solo bit when Idol went off stage that started with flamenco, dropped into classical, moved into heavy metal, back to flamenca back to classical and ended with stairway to heaven, all on acoustic guitar. Yeah, he's god-like. The only drawback of the show was, well my right ear hasn't stopped ringing, I think I did some damage. Some of the solos during the 15 minute rendition and finale of mony mony hurt, they were amazing to watch, but they hurt, or rather my ear is hurting because of them now.

After the show, we tired, and battle hardened few, Tanya had to leave during the show, some emergency, we lost her as she went to smoke and we rushed in when the lights went to black, Katia went home after depositing us off at Nevsky Prospect metro station, Ryan, James and I wandered to the office pub where we met Sam Lipsyte and Peter Gizzi. I spent a long time talking to Peter about various things, observations, the city, my work, his work on the Spicer Collections, as he's "the spicer guy" now. It was a good and easily flowing chatter. He eventually bid us all goodnight and I found myself heading for the beer garden, slightly drunk, only to get slightly more drunk with the beer garden gang. I really didn't have that much to drink, like three or four beers and 2 shots of vodka, that's like breakfast here, I think it was the sheer elation mixed with fatigue that lowered my normally superhuman tolerance, and caused me to feel quite "gawn".

So today I went back to the art bazar to haggle for a painting, but the guy that I was looking for wasn't there, he probably was running late. Tom and I went and had a quick bite, went back to the bazar to see if he had arrived, no dice, so we headed to the Gribojedeva Canal and bought nice eurotrash jeans, comfy I might add.

Now I'm gearing up to go to the Banya, just a select and elite troop of people to getsome heat and hopefully relax the tension of leaving, of packing, of the goodbyes and the forthcoming helos... or something like that. A little more shopping to do, one more party to attend, at someone's Datcha, outside the city, Sveta's mom's friend has offered up her place for a staff get together that may or may not go down, if it does, I'll hate life, cause its thursday night and we'll be getting back just about the time I have to be stepping outside to meet my cab to the airport, so, as always, till the last minute, till the last breath of this foul air, rage, rage against the coming of faux freedom back home.

Sunday, July 02, 2006

Rebel Yell

That's right, Billy Idol is in town and performing tomorrow night at the Ice Palace, your's truly is off to rock the cradle of love along the blue highway as we're just eyes with a face... wooo hoooooooooooo! Fuck the ballet, its about Vitol Idol!

Ran the participant open mic reading today, Ryan and Ken did a piece with guitar, it was great, turns out they used to run a radio show in San Diego together, it was brilliant, really was... wish we could've recorded it, but the photographs will have to suffice.

Tomorrow I'm not sleeping in till 1, no way damn it, I think I needed it today, but tomorrow I'm going to make a beeline for the defense of leningrad museum and then if time remains, for the Hermitage to do the 3rd floor.

Alright, that's it for now, still bummed about Brazil loosing, but a part of me really wants to see Germany and France in the world cup; its like settling old aggressions methinks.

Paka...

Saturday, July 01, 2006

Funny Sign

Before I forget, I stole this off the wall of the bathroom in "The Office" pub. Either they've grown weary of serving drunk foreigners that refuse to leave when the damn place is closed or they really are out of booz, but the sign just killed me:

Dear ladies and gentlemen!

Because of the issuing new bill "About the realization of alcoholic drinks", starting from 01.07.06, and the delays of the bureaucratic apparatus of Russian Federation we can provide you a little choice of the drinks containing alcohol. We bring our apologizes. The quanitty of the drinks will rise up as soon as they appear on the market.

-Administration

hahahahh!